JOHN MORALES-THE M & M MIXES.
JOHN MORALES-THE M&M MIXES.
Over the past few months, I’ve reviewed a number of compilations of remixes from some of the best and highest profile remixers in the history of disco. Recently, I’ve reviewed Mixed With Love-The Walter Gibbons Anthology and Larry Levan-The Definitve Salsoul Remixes 1978, while previously, I reviewed Philadelphia Classics-The Tom Moulton Remixes, to name but three. These three remixers, Walter Gibbons, Larry Levan and the Godfather and inventor of the remix and twelve inch single Tom Moulton are a trio of the most talented remixers in the history of modern dance music. To this trio, I add one other name, John Morales who was responsible for one of my favorite compilations of 2011, John Morales-The M&M Mixes Volume 2 on BBE Music, which I reviewed some time ago. Two years previously in 2009, John released his first volume of remixes John Morales-The M&M Mixes on BBE Music. Like Volume Two, John Morales-The M&M Mixes is a double-album, featuring nineteen remixes, including previously unreleased Salsoul remixes. Now given John’s track record of being responsible for some of the best Salsoul remixes and that I was a huge Salsoul fan, buying this album back in 2009 was a slam dunk. What could be better? Here was one of the pioneers of modern dance music, a remixer who was innovative and imaginative releasing a double album, with these unreleased Salsoul remixes an added bonus. For anyone whose yet to discover John Morales-The M&M Mixes, here’s what I found.
John Morales’ love of music started at an early age, working in an after-school job at a local record shop. He was only about twelve at the time, with the record shop paying him in singles. By fourteen, John formed a band, the F Band. They played gigs at local high schools, but nothing became of the F Band. However, even then, John knew that he wanted to make music a career. Then his collection of singles, which he’d started when working in the record shop lead to a career in music.
When John started DJ-ing in 1975, he played first at small clubs and bars in his native Bronx. Then when the rollerskating craze started in the early eighties, John started working at the Bruckner Roller Dome. From there he played at other rollerskating venues, before heading into New York, where he’d DJ at various bars and clubs. Soon he was playing the Limelight, Pippins and Studio 54. With Sergio Munzibai, John opened a club, with 1018 becoming M&M. However, during that period, John had established another career which ran parallel with his DJ-ing career.
This other career was working at New York’s WBLS radio station, where Frankie Crocker, was musical director. John was responsible for the midday and weekend mixes. These mixes required John to teach himself to reedit tracks. He had to make them longer, because the records were far too short. To do this, John bought a Sony reel-to reel tape recorder. At home, he taught himself to edit tracks, splicing the tape up, rejoining it, lengthening breaks and making them much more dance-floor friendly. Remember there were no Apple Mac’s running Logic, ProTools or Ableton Live. This was an example of John was learning his craft, something many modern producers no longer do. However, John Morales, like Tom Moulton learnt his trade and next step would see John as one of the best remixers of the mid-seventies and early eighties.
Soon, John Morales and Sergio Munzibai launched one of the most fruitful and prolific remixing partnerships in dance music history. After their first remix, they decided that each of their remixes would feature the M&M name. John says his first credited remix was Inner Life’s Caught Up, although before that, he’d undertaken a number of remixes. Ironically, on Caught Up, his first credited remix, John’s name was spelt wrongly. Since then, they’ve undertaken literally hundreds of remixes, all featuring the M &M logo. Of all the remixes John’s undertaken, his Salsoul remixes are some of his best known.
After meeting Patrick Adams and Greg Carmichael, John Morales became their favorite remixer for their Salsoul work. The Patrick Adams and Greg Carmichael’s production team’s partnership with John Morales at Salsoul Records proved to be a fruitful one. It’s not just Greg and Patrick’s Salsoul recordings John remixed, he also remixed non-Salsoul acts like Universal Robot Band. However, it was for his remixes of Greg and Patrick’s Salsoul recordings John became best known for. This saw John remix tracks by Inner Life, Logg, Aurra, Sky, Funk Deluxe and Instant Funk. Several of John Salsoul remixes feature on Disc Two of John Morales-The M&M Mixes, including previously unreleased remixes. Remixing such high-profile tracks helped John’s career no end. It helped him become one of the most successful, busiest and highest profile remixers of eighties and early nineties. By 1989 John and Sergio ended their remixing partnership. Then in 1993, illness had a huge impact upon John’s career.
Sadly, John became ill in 1993, with the illness lasting a decade that meant time away from the recording studio. However, this gave him the opportunity to test learn the musical software that would soon dominate the music industry. During this period, John tested what would become Cubase for Atari Computers. In some ways, this must have given John an advantage over other producers for his return the recording studio. Since his return to the studio, John has been even busier than ever, remixing some of the highest profile names in dance music. He’s now spent forty years as a DJ and remixer. During that time, John has becomoe one of the most respected DJs and remixers, respected by everyone within dance music. On John Morales The M&M Mixes nineteen of John’s mixes feature on two discs, which I’ll now tell you about.
DISC ONE.
On Disc One of John Morales The M&M Mixes there are ten underground New York disco anthems, including five tracks from men who’d play a big part in John’s remixing career. Two tracks are from Universal Robot Band produced by Greg Carmichael, while Bumblebee United were produced by Greg Michael and Patrick Adams. Greg and Patrick would also produce many tracks for Salsoul, with John their favored remixer. La-Rita Gaskin was another Greg Carmichael produced track. Class Action featuring Chris Wiltshire was written by James Calloway and Leroy Burgess, with whom John would work at Salsoul. Among the other tracks on Disc One are Ronnie, Dyson, Julia and Company and Cubie Burke. Most of the tracks on Disc One were remixed in the early eighties. However, what are the highlights of Disc One of John Morales The M&M Mixes?
My first choice from John Morales The M&M Mixes is Class Action featuring Chris Wiltshire’s Weekend. This is the JM After-Session M&M Mix which was remixed in December 1982. The track was released in 1983 on Sleeping Bag Records and written by James Calloway and Leroy Burgess, while Bob and Lola Blank produced the track. Punchy, soulful and sassy backing vocalists beckon your attention. With voices like that, you can’t ignore them. They’re joined by pounding drumbeats, before swathes and stabs of synths are joined percussion. Soon you’re hooked, smitten by the track’s delights. Chris’ diva-esque vocal vamps and struts its way through the track, while the beats, synths, keyboards and percussion provide a backdrop that combines disco with eighties synths and a soulful vocal from Chris. Although nearly thirty-years old, the track still retains a contemporary sound.
Ronnie Dyson’s All Over Your Face was a track from his 1983 album Brand New Day. Written by Norman Ingram, Butch Ingram arranged and produced the track. Here, the JM After-Session M&M Mix, remixed in May 1983 is chosen. Straight away, you realize how good and underrated a vocalist Ronnie Dyson was. His vocal is emotive, impassioned and powerful. He’s accompanied by Latin percussion, while the rhythm section are augmented by layers of synths. Barbara Ingram, one of the Sweethearts of Sigma adds backing vocals. Later, a prolonged synths solo adds to the track’s drama and impact. When Ronnie’s vocal reenters, he delivers it with the confidence of someone like Teddy Pendergrass. The remix transforms the original track, turning it into a dance-floor epic that’s irresistible and laden with hooks.
Julia & Company released Breakin’ Down (Sugar Samba) in 1983, on the District of Columbia label. It’s a track John remixed in March 1984. His JM After-Session M&M Mix opens with crunchy drumbeats, percussion and synths combining with handclaps. When stabs of keyboards, a sultry lone and Julia’s vocal enters with swathes of strings cascading, you’re spellbound. Truly, Julia makes the song swing. From there, things get even better. Julia’s vocal grows in power and passion, while bursts of horns and backing vocalists take the track to new heights. Key to the track is Julia’s vocal, with the strings, percussion, keyboards and horns providing an arrangement where soul, disco, jazz and Latin music are fused. Together they create a track that’s enchanting and captivating.
The version of La-Rita Gaskin’s Never Can Say Goodbye that appears on John Morales The M&M Mixes is a Demo Version. Why a track this good was never released, seems incredible. Her vocal is one of the best on Disc One, strong, laden with emotion and passion. La-Rita just struts her way through the track, delivering her vocal forcefully, not unlike Loleatta Holloway in her prime. Blazing horns, a pounding rhythm section, percussion, handclaps and backing vocalists accompany her. While La-Rita’s vocal is outstanding, so is the band’s performance and the production. Mind you, with Greg Carmichael producing the track and Peter Jacques of The Peter Jacques Band the engineer, it’s no surprising this track is as good as it is. For me, this is a real hidden gem, one of the highlights of the compilation.
Barely Breaking Even by the Universal Robot Band is another Greg Carmichael production, released in 1982 on Moonglow Records. This track was remixed back in November 1981. It’s very different to Never Can Say Goodbye, when the track opens, with an almost space-age sound combining with boogie. Percussion, pounding beats and peels of bells combine, before a funky bass-line enters. The bass races ahead, while the rest of the arrangement meanders along. It’s a compelling combination, with surprises aplenty revealed during nearly thirteen minutes. Synths, a dramatic keyboard solo and vocoder combine before an impassioned, joyous vocal enters. Gospel-tinged backing vocalists and guitars are added, as the track starts to unfold. You’re taken on an action packed, joyful musical journey, where surprises are sprung by John Morales and Sergio Munzibai.
Disc One of John Morales The M&M Mixes sees ten of John’s early eighties mixes, with five of them tracks written, arranged or produced Greg Michael, Patrick Adams and Leroy Burgess. These three men played an important part in John’s remixing career, especially their productions for Salsoul Records. However, there’s more to Disc One than these five tracks. Of the other five tracks, the tracks from Ronnie Dyson, Julia and Company and La-Rita Gaskin are of the highest quality. Why La-Rita Gaskin’s Never Can Say Goodbye wasn’t commercially released is astounding, given how good a track it is. Like Julia and Company, the success of La-Rita Gaskin’s track is the vocal, which is sassy and struts its way above the arrangement. While many people might not have heard several tracks on Disc One of John Morales The M&M Mixes, they don’t know what they’re missing. These tracks are of the standard you’d expect from a release baring the M&M logo. Will that be the case on Disc Two of John Morales The M&M Mixes where we hear the delights of John’s Salsoul remixes?
DISC TWO.
Unlike Disc One, Disc Two of John Morales The M&M Mixes is given over to nine of John’s unreleased Salsoul releases. On Disc Two, there are remixes from Inner Life, First Choice, Logg, Skyy, Funk Deluxe and Instant Funk. During a period of his career, John became synonymous with Salsoul Records, being the chosen remixer of Patrick Adams and Greg Carmichael. John also remixed several of Leroy Burgess’ releases, including Logg, who have three tracks on Disc Two. Many of the tracks are late-period Salsoul, very different from the early Salsoul sound. Several of these tracks feature a much more electronic sound than say, Loleatta Holloway, Double Exposure and The Salsoul Orchestra featuring the Baker, Harris, Young rhythm section, vibes supremo Vince Montana and Don Renaldo’s swirling strings and horns. How will this affect the tracks on Disc Two of John Morales The M&M Mixes?
Like so many Salsoul releases, Inner Life’s Ain’t No Mountain High Enough, a track from their 1981 album Inner Life, has a real timeless sound. It’s hard to believe that it was originally released back in August 1981. This 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. Produced by Patrick Adams and Greg Carmichael, the version chosen is the JM 4AM Mix. 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 and gives the track its uplifting, joyous and energetic sound.
From one of the highlights of John Morales The M&M Mixes comes another, First Choice’s Happy Love Affair. This was a track from First Choice’s final Salsoul album Breakaway, released in 1980. John remixed the track in December 1982, with the JM After-Session M&M Mix the result. Here he has a great track to begin with, with Rochelle Fleming’s vocal a mixture of tenderness, power and passion. She’s accompanied by tight, punchy soaring harmonies, while Don Renaldo’s strings sweep and swirl and his punchy horns rasp. As usual, the track’s driven along by the Salsoul rhythm section, with Bobby Eli adding guitar. Keyboards add drama, as percussion is sprinkled throughout the arrangement. However, it’s Rochelle, Debbie Martin and Annette Guest’s vocals that are key to the track’s sound, along with Don Renaldo’s Swinging Strings and Horns. Tracks like this, and Ain’t No Mountain High Enough are what made Salsoul the greatest disco label ever.
Logg were the brainchild of Leroy Burgess and John Morales was Leroy Burgess’ chosen remixer for Logg’s tracks. On Disc Two of John Morales The M&M Mixes three tracks by Logg feature. These are Lay It On The Line, and (You’ve Got) That Something, my favorite of the trio. All three tracks featured on Logg’s 1981 album Logg. The version chosen is JM After-Session M+M Mix, which has a real Leroy Burgess sound and feel. Percussion, drums, a crashing cymbal and then funky bass gradually build up the track. Next comes guitars, layers of keyboards and then Leroy’s vocal, accompanied by tight, punchy backing vocals. From there, boogie, funk and disco are combined, with synths and keyboards adding to the Leroy Burgess sound. Although Logg only produced one album for Salsoul, if you’re only going to produce one album, make it one as good as Logg’s.
Funk Deluxe are another group who only produced one album for Salsoul, their 1984 album Funk Deluxe. The album was written and produced by Randy Muller. This Time was a track from that album and has a very different sound to early Salsoul albums, Whereas early albums featured the Baker, Harris, Young rhythm section, vibes supremo Vince Montano and Don Renaldo’s strings and horns, Funk Deluxe has a much more electronic sound. Synths, keyboards and a vocoder are combined, with the drums having an electronic sound too. One thing stays the same, a classy, sassy female vocal. It’s contrasted by a male vocal that’s deiver without emotion, sometimes rapped, while a vocoder to the adds to the electronic sound. However, what makes the track is the vocal, which is sassy and emotive, plus John’s hypnotic sounding M After-Session M&M Mix.
The last track I’ve chosen to mention is Instant Funk’s No Stoppin’ That Rockin,’ a track from their penultimate Salsoul album Instant Funk V in 1983. The original track was produced by Bunny Sigler, with John’s JM After-Session M&M Mix mixed in October 1982. Again, the track has a much more electronic sound, with a vocoder opening the track. Similarly, the drums have a more electronic sound, with synths and a funky bass contrasted by a tender vocal. Tight backing vocalists accompany the vocal, which when it changes hands, grows in power and is replaced by the vocoder. While the track has a real electronic sound, there’s still a really funky side to the track and sometimes, a really soulful vocal escapes. All this plays its part in giving the track a compelling, hypnotic sound, where soul, funk and electronic music unite as one.
Although many of the tracks that feature on Disc Two of John Morales The M&M Mixes are late-period Salsoul releases, they’ve one thing on common with the earlier Salsoul music…quality. The track bursts into life with Inner Life’s Ain’t No Mountain High Enough. Then comes First Choice’s Happy Love Affair, another of the real highlights of the compilation. Rochelle Fleming’s vocal is key to the track, as is Leroy Burgess’ vocal on the trio of tracks by Logg. While Funk Deluxe’s Funk Deluxe and Instant Funk’s No Stoppin’ That Rockin’ have a quite different sound from Inner Life and First Choice’s, it shows Salsoul as a label changing. Disco was dead, with boogie and electronic music taking over. This is reflected in several of tracks on Disc Two. Still, the quality is there however, with Salsoul Records’ providing the perfect material for John to remix. This he does with flair, imagination, innovation and an eye to what works on a dance-floor. Like the ten tracks on Disc One, John deconstructs them, then reconstructs them, giving them his own unique twist. These nineteen tracks are a mixture of well-known tracks, hidden gems and previously unreleased remixes. For anyone who wants to hear one of the greatest remixers in the history of modern dance music doing what he does so well, then John Morales-The M&M Mixes is the album for you. After that, why not look out for John Morales-The M&M Mixes Volume 2, which features another twenty M&M remixes. For any nascent producers, then remixes like the ones on John Morales-The M&M Mixes show a remixer at the peak of his powers. Along with Tom Moulton and Walter Gibbons, John Morales is one of the greatest remixers in modern dance music. John Morales-The M&M Mixes and John Morales-The M&M Mixes Volume 2 both released on BBE Music proves this perfectly. Standout Tracks: Julia & Company Breakin’ Down (Sugar Samba), La-Rita Gaskin Never Can Say Goodbye, Inner Life Ain’t No Mountain High Enough and First Choice Happy Love Affair.
JOHN MORALES-THE M&M MIXES.
JEFFREY OSBORNE-ONLY HUMAN.
JEFFREY OSBORNE-ONLY HUMAN.
During his time as a member of L.T.D., and as a solo artist, Jeffrey Osborne spent a total of eighteen years with A&M Records, during which he enjoyed the most successful period of his career. Between 1977 and 1979, L.T.D. saw 1977s Something To Love and 1979s Devotion. certified gold, while Togetherness was certified platinum. Then in 1980, Jeffrey and his brother Billy left L.T.D., launching solo careers. For Jeffrey, the success continued with eighteen of singles charting. Among these singles were I Really Don’t Need No Light, On the Wings of Love, Stay With Me Tonight and On the Left, the only number one US R&B single of his career. By early 1990, ten years after launching his solo career, Jeffrey left A&M, signing to Clive Davis’ Arista Records. Later that year, Jeffrey released his only album for Arista, 1990s Only Human, which will be rereleased on 16th July 2012 by SoulMusic Records.
This wasn’t Jeffrey’s first involvement with Arista. Previously, he cowrote All At Once with Michael Masser, which was the B-side of Whitney Houston’s hit single Saving All My Love For You. All At Once also featured on Whitney’s debut album Whitney. Two years later in 1987, Jeffrey sang a duet with Whitney’s cousin Dionne Warwick. Love Duet gave the pair a number one single in the US AOR Charts, while reaching number twelve in the US Billboard 100 and number five in the US R&B Charts. So when Jeffrey Osborne signed to Arista Records, people within Arista felt that Jeffrey and Arista were a perfect fit. Would he enjoy the same success with Arista he’d enjoyed at A&M, and during his previous collaborations with Arista, and would Only Human see Jeffrey achieve the same success on his early albums?
To produce Jeffrey’s debut album for Arista Barry Eastmond was hired by Clive Davis. He felt that Barry was the perfect fit for Jeffrey’s debut album for Arista. Not only did Barry produce what became Only Human, but wrote six of the album’s eleven tracks, plus played synths, keyboards and programmed the drums. Jeffrey only wrote one track, Baby Wait A Minute. Among the other tracks, were the Eugene McDaniels’ penned Feel Like Making Love, Sam Dees’ Getting Better All the Time and David Barratt’s If My Brother’s In Trouble.
Recording of Only Human took place at several studios, including Right Track Studios, Axis Studios and Greene Street Recording in New York. Other tracks were recorded at Soundcastle Studios in California. Among what seems like a huge cast of musicians accompanying Jeffrey were drummer Buddy Williams, bassists Anthony Jackson and Sam Sims, plus guitarists Mike Campbell, Georg Wadenius and Nicky Moroch. Grover Washington played alto saxophone on Lay Your Head, while Yolanda Lee, Tawatha Agee and Nicki Richards sang backing vocals. Eventually, the eleven tracks that made up Only Human were recorded. All was set for the release of Only Human later in 1990. Would Only Human replicate the success of Jeffrey Osborne’s albums and singles for A&M?
On the release of Only Human later in 1990, the album reached number ninety-five in the US Billboard 200 and number nine in the US R&B Charts. While Only Human wasn’t as successful as Jeffrey’s five albums for A&M, maybe the singles would fare better? Chosen as the first single was the title-track Only Human, which reached number three in the US R&B Charts. This was Jeffrey’s most successful single since 1988s On the Left, which reached number one in the US R&B Charts. The next single was My Brother’s In Trouble, which reached number eleven, helped along by Shep Pettibone’s remix turning the track into a club favorite. The Morning After I Made Love To You was then released as a single, reaching number twenty-four in the US R&B Charts. Overall, Jeffrey Osborne’s debut album for Arista Only Human had proved a success, reaching the top ten in the US R&B Charts and featuring a top ten US R&B single. After Only Human, many people expected Jeffrey to release further albums for Arista. That never happened. Only Human was his only album for Arista, which I’ll now tell you about.
Opening Only Human is My Brother’s In Trouble which became a club hit after Shep Pettibone’s remixed the track. Written by David Barratt the track only features keyboard player Terry Burrus, programmer Alan Friedman and backing vocalists. Together Terry and Alan create an impressive and contemporary sounding arrangement. Crisp drums, swathes of strings and keyboards create a dramatic arrangement, before Jeffrey’s vocal enters. His vocal is powerful, emotive and impassioned vocal. It’s accompanied by soulful, soaring, gospel-tinged backing vocalists. The longer the track progresses, the more the drama, soulfulness and passion builds. So good is the track, you can’t wait to hear the rest of the album.
On Only Human, a beautiful ballad written by producer Barry Eastmond, the tempo drops way down. Jeffrey’s delivery is heartfelt, full of sincerity, accompanied by whispered backing vocals. Meanwhile, the arrangement sees synths, keyboards and drums combine with guitars. This arrangement compliments Jeffrey’s powerful, passionate vocal. His delivery is irresistible, turning back the years, demonstrating why he was one of the best soul singers of the eighties. Given the quality of the track, it’s no wonder it reached number three in the US R&B Charts.
Good Things Come To Those Who Wait is quite different from the previous tracks. Gone is the balladeer of the previous track, replaced by a contemporary sound, where he fuses elements and influences. Crunchy drums, keyboards and bass combining before Jeffrey’s vamping vocal enters. His vocal is enveloped in delay, with tender backing vocalists accompanying him. It’s soul music but, given a twist, fusing funk with dance and electronic music. Here, Jeffrey’s trying to make his music appeal to a new audience, trying to update his sound for a new decade. This he manages to do, demonstrating another side to Jeffrey Osborne and his music.
After the diversion into new and unchartered territory for Jeffrey, he’s back doing what he does so well, delivering a ballad, The Morning After I Made Love To You. Here, Jeffrey’s accompanied by keyboards, synths and the rhythm section who provide a slow, melodic and sometimes, dramatic arrangement. Jeffrey’s vocal veers between tenderness and power, combining emotion and passion. He’s accompanied by some of the best backing vocalists of the time, including Yolanda Lee, Tawatha Agee and Nicki Richards. They’re the perfect foil to Jeffrey’s power, their vocals tender and soulful. Later, the finishing touch is Vincent Henry’s sultry saxophone solo. All of this makes this track one of the highlights of Only Human.
Lay Your Head has a much more electronic sound than the previous track. This is apparent from the opening bars, where synths, drum machines and keyboards combine with the guitar. When Jeffrey’s heartfelt vocals enters, you realize the quality is just the same. Jeffrey adds subtle backing vocals, as his vocal grows sassy and confident. As his vocal drops out, Grover Washington lays down a sensuous alto saxophone solo. Then Jeffrey delivers a lesson on soulfulness, pleading his way through the rest of the track.
Baby Wait A Minute has much in common with Good Things Come To Those Who Wait. Here, Darryl Duncan plays all the instruments, namely synths, keyboards and drums. This results in a bold, dramatic sound. Washes and stabs of synths combine with drums, while Jeffrey’s vocal matches the arrangement for drama and boldness, adding one other ingredient soul. Backing vocals compliment his vocal, before later Bright Eyes unleashes a sassy rap. The result is Jeffrey Osborne, electronic music and hip hop uniting as one.
It seems during Only Human, Jeffrey mixes his more traditional style with a contemporary sound, like the previous track. Sending You A Love Song is back to the “old” Jeffrey Osborne, delivering a ballad with an unrivalled emotion and sincerity. This he does against an arrangement where of keyboards and drum machines, while Jeffrey and Yolanda Lee add backing vocals. The result is a track that’s deeply soulful, featuring one of Jeffrey’s most fervent, impassioned vocals.
Feel Like Making Love sees Jeffrey deliver a very different version of the Eugene McDaniels penned track. Washes of synths, drums that crack and keyboards accompany him, while backing vocalists add sensuous backing vocals. Jeffrey’s vocal is a mixture of passion and power, as he seeks to give a classic track a nineties makeover. Here, Jeffrey and producer Barry Eastmond deconstruct the track, before reconstructing it in a way that had never been done before.
Back In Your Arms is the last of the tracks Barry Eastmond wrote. It’s another slow song, with a vocal from Jeffrey full or hurt and sadness. He’s accompanied by melodic keyboards, synths and bassist Anthony Jackson. Key to the track’s sound are subtle, soulful backing vocalists that compliment Jeffrey’s vocal. While lush strings add to the emotion and sadness of the track, it’s Jeffrey’s vocal, plus the backing vocalists that make this such a beautiful track.
Nighttime was the only track on Only Human Jeffrey wrote. Pounding drums, synths and keyboards accompany him as the track reveals its secrets. Tender backing vocalists accompany Jeffrey, before their voices soar, matching the emotion in Jeffrey’s vocal. Later, Jeffrey’s vocal grows in power and sincerity, as he delivers the lyrics as if he means each word. Meanwhile, the slow arrangement compliments Jeffrey’s vocal, meandering melodically along, complimenting and providing the perfect backdrop to Jeffrey’s passionate deliver.
Closing Only Human Getting Better All the Time, penned by Sam Dees, one music’s best kept secrets. Melodic keyboards open the track, before Jeffrey scats, then delivers a vocal that’s heartfelt and intense. Lush strings cascade above his vocals, while the rhythm section, synths and keyboards combine slowly. Unlike other tracks, Jeffrey’s vocal is much more tender, perfect for Sam Dees beautiful lyrics. This results in another of the highlights of Only Human.
Although Only Human never matched the success of Jeffrey Osborne’s early albums for A&M, the music on the album is a combination of the soulful side of Jeffrey’s music that people knew and love, plus a more contemporary sound. This meant there was something for his old fans, plus something to attract new fans. On tracks like Only Human, The Morning After I Made Love To You, Sending You A Love Song, Back In Your Arms and Getting Better All the Time the more traditional soulful side of Jeffrey Osborne comes to the fore. The more contemporary sound of Jeffrey Osborne can be heard on Good Things Come To Those Who Wait, Lay Your Head, Baby Wait A Minute and Feel Like Making Love, while My Brother’s In Trouble is a fusion of both styles. Although there’s much to commend both styles of music, it’s the more traditional side of Jeffrey Osborne that I prefer. It seems that Jeffrey’s at his very best delivering emotive, impassioned and heartfelt ballads. Between 1980 and 1990, Jeffrey Osborne was one of the best soul singers of that time. However, his career had started way before that, back in 1974 with L.T.D. Their best albums were the trio of Bobby Martin produced albums Something To Love, Togetherness and Devotion are the place to start. After leaving L.T.D., Jeffrey’s solo career started with 1982s Jeffrey Osborne and 1983s Stay With Me Tonight, his two best solo album. Three further albums followed for A&M, 1984s Don’t Stop, 1986s Emotional and One Love: One Dream in 1990. Sadly, Only Human was Jeffrey Osborne’s only album for Arista. It was another ten years before Jeffrey Osborne recorded another secular album That’s For Sure in 2000. His absence from music was music’s loss, as you’ll realize when you hear Only Human, which will be rereleased on 16th July 2012 by SoulMusic Records. Standout Tracks: My Brother’s In Trouble, Only Human, The Morning After I Made Love To You and Getting Better All the Time.
JEFFREY OSBORNE-ONLY HUMAN.
MIXED WITH LOVE-THE WALTER GIBBONS ANTHOLOGY.
MIXED WITH LOVE-THE WALTER GIBBONS ANTHOLOGY.
Recently, I reviewed Larry Levan-The Definitive Salsoul Mixes 1978-1983 and this provoked some controversy. The controversy was whether Larry actually remixed some of the tracks on the compilation. These rumors weren’t new to me, as they’ve been circulating for many years. I hoped my review would bring these rumors out into the open and provoke debate. Similarly, many people responsible for these mixes or around between 1978 and 1983 seem unwilling to perpetuate the myths that Larry remixed several of these tracks. John Morales said as much in an interview with disco disco. While we’ll never know beyond reasonable doubt who mixed what tracks, what I do know, is that during the period Larry Levan was remixing for Salsoul, Larry lead quite a chaotic lifestyle and was known for his lack of punctuality. This has since lead to accusations that remixes credited to Larry, were remixed by either studio engineers, or DJs like John Morales or Walter Gibbons. One example is the Patrick Adams and Greg Carmichael productions, including groups like Inner Life and Logg. John Morales was Patrick and Greg’s favored remixer, and is thought to have remixed the tracks by Inner Life and Logg on Larry Levan-The Definitive Salsoul Mixes 1978-1983. Again, John Morales said as much in the aforementioned interview. While the truth may never be known, one thing I do know, is that remixers like John Morales and Walter Gibbons’ remixes were some of the best and most successful Salsoul remixes. So successful were Walter Gibbons remixes, that a three-disc box set of his remixes Mixed With Love-The Walter Gibbons Anthology was released by Sussd Records in 2004. It’s Mixed With Love-The Walter Gibbons Anthology which we can safely say, was mixed by Walter, which I’ll tell you about.
Previously, I’ve reviewed another Walter Gibbons’ compilation Walter Gibbons-Jungle Music released by Strut Records in 2010. In that article. I remarked how Walter Gibbons was one of the most talented, innovative and influential remixers, who’d influence a whole generation of remixers. Not only that, but Walter was a DJ who other DJs would go to watch. One of the biggest compliments people play to Walter is that he was a DJs’ DJ. However, During his remixing career Walter Gibbons’ name became synonymous with one label in particular…Salsoul Records.
Walter Gibbons was born in 1954 in Brooklyn, New York, growing up with his mother, sister and two brothers. People described him as quiet and unassuming. Having grown up in Brooklyn, Walter headed to Queens and some people might say his life started all over again when he started DJ-ing at the Galaxy nightclub.
When Walter stood behind the decks at the Galaxy nightclub, a different Walter Gibbons emerged. He became a pioneer of New York’s disco scene from its very early days. He was one of the first DJs to pioneer beat-matching, while his sets were imaginative and experimental. From his early days at the Galaxy, Walter’s mixing was flawless, precise, focusing on extending a track’s percussive breaks, so that he was almost remixing tracks live. By switching between tracks, he’d seamlessly mix breaks from one track to another. In doing this, he was willing to sacrifice the melody for the sake of the dancers, who he teased relentlessly with his mixing. While this required maximum concentration and dexterity, and must have proved exhausting. After all, the breaks didn’t last long, maybe thirty-seconds maximum. There was neither Traktor nor Ableton Live back then. Instead, he’d to mix another record into the previous one. Then Walter’s hit on an imaginative, innovative idea.
This idea came about almost by accident. Walter was putting his mixes on reel-to-reel tape and decided to edit the tracks. It allowed him to extend breaks, rearrange tracks so they were longer and more dance-floor friendly. What Walter was doing was similar to what Tom Moulton had pioneered. By doing this, a two-minute track could be extended to four-minutes and rearranged in such a way that suited the dance-floor. Walter was like a musical Alfred Hitchcock, building up the tension and drama, before unleashing a track that raised the roof. Soon, he came to the attention of a man who owned a record label Ken Cayre, owner of Salsoul Records.
Salsoul Records had just released their first album, The Salsoul Orchestra’s The Salsoul Orchestra. Ken Cayre gave Walter a track to remix from a group he’d recently signed, Double Exposure. This was Ten Percent, which would become Walter’s first remix for Salsoul. Although the track was referred to as a remix, it was actually more like a reedit of the master. What Walter did was more akin to what he’d been doing at home. Regardless of whether it was a reedit or remix, it became a classic, and was perceived as the best twelve inch single released until then. For remixing the track, Walter was paid $185. However, it was the start of a relationship with Salsoul that lasted until 1979, after which Walter didn’t play such a big role in remixing Salsoul’s tracks. Then came what some people refer to as Walter’s first true remix. The track was from the Queen of Salsoul Loleatta Holloway. Hit and Run would go on to sell over 300, 000 copies.
Among the many Salsoul artists that Walter went on to remix, were some of the label’s biggest names. This includes Salsoul royalty, including the Queen of Salsoul Loleatta Holloway, The Salsoul Orchestra, Double Exposure, First Choice, Love Committee and Anthony White. Many of these tracks feature on the three discs of Mixed With Love-The Walter Gibbons Anthology. The three discs are separated into Disc One-The Madness Begins, Disc-Two The Madness Continues and Disc Three-Total Insanity. Several of the same tracks feature on all three discs, but with different remixes. This is intriguing, demonstrating how Walter brings something new to a track, sometimes three times. In total, there are twenty-nine remixes, but I’ll pick the best tracks from Mixed With Love-The Walter Gibbons Anthology which I’ll tell you about.
DISC ONE.
Disc One of Mixed With Love-The Walter Gibbons Anthology features ten tracks from Walters’ early days of remixing Salsoul tracks is entitled The Madness Begins. We’re taken on a journey through some classic Salsoul, written, arranged and produced by luminaries like the Baker, Harris, Young songwriting and production team, plus Vince Montana and Ron “Have Mercy” Kersey. Loleatta Holloway and Love Committee feature twice, while Double Exosure, Anthony White, First Choice and True Example all make appearances. Each of these tracks are remixed by Walter, extending the original and making them even more dance-floor friendly. Here are my selections from Disc One of Mixed With Love-The Walter Gibbons Anthology.
The track that opens Disc One of Probably Walter Gibbons’ Mixed With Love-The Walter Gibbons Anthology is one of Walter’s earliest Salsoul remixes Double Exposure’s Ten Per Cent. Released on Salsoul, and produced by the legendary Baker, Harris, Young rhythm section, formerly of M.F.S.B. and then The Salsoul Orchestra this is a genuine disco classic. Percussion, rhythm section and handclaps open the track, before strings cascade and join the arrangement. Straight away, this is a track that could only have been released on one label Salsoul. This is The Salsoul Orchestra at their finest, with the Baker, Harris, Young rhythm section providing the track’s heartbeat. It takes nearly three minutes before punchy backing vocals enter. When they do, they briefly soar above the arrangement. Flourishes of piano enter, joining the frenzied guitars, pounding drums and percussion. Add in the lush strings and dramatic, punchy blazing horns, and you’ve the recipe for what was required for a classic disco track. Later, when the vocal enters it’s impassioned and emotive, perfect for the arrangement. With a tempo of 124 beats per minutes, this is just a stunning slice of delicious disco, one that deserves to be called a classic.
Anthony White’s Block Party was produced by Earl Young, who knew him from his Philadelphia International days, when he released his Could It Be Magic album in 1976. Written by Baker, Harris Young, this is one of the most underrated tracks in Walter Gibbons’ back-catalogue. Just pounding drums and percussion open the track, before a rumbling bass-line from Ron Baker accompanied Earl’s drums beat for beat. A Hammond organ enters, before horns growl and the arrangement builds and builds. Swirling strings become the latest addition as this track reveals its secrets. Later a myriad of percussion, wah-wah guitars and the best rhythm section of the seventies combine. They creating a track where Walter teases and tantalizes mercilessly, for nearly six majestic, drama packed minutes.
First Choice’s Let No Man Put Asunder is another Salsoul of Walter Gibbons’ best known remix. Originally, released in 1977, and produced by Ron Baker, Norman Harris and Earl Young, who were originally part of M.F.S.B. at Philadelphia International Records. They left to become the Salsoul Orchestra and played and produced numerous Salsoul classics. Let No Man Put Asunder is very definitely one of their very best productions. They provide Walter with the basis for a classic remix. Against a backdrop of the brilliant Baker, Harris, Young rhythm section, percussion and handclaps Loleatta Holloway’s sassy vocal enters, full of bravado and confidence. While backing vocalists accompany her, Loleatta vamps her way through the track. Although the word classic is used far too easily, this track is worthy of being referred to as one.
While many compilers always plump for one of Loleatta Holloway’s better known tracks, it makes a pleasant change to hear We’re Getting Stronger (The Longer We Stay Together). Released in 1977, but a track Loleatta’s 1976 album Loleatta. Produced by Norman Harris, the track reveals a really soulful side to the Queen of Salsoul. Again the Baker, Harris, Young rhythm section are key to the track’s sound and success, combining with keyboards and rasping horns, before the track takes on melodic, hooky sound. Cascading strings enter, before Earl’s dramatic drums signal’s the Queen’s entrance. Her voice is emotive, impassioned and deeply soulful. Sizzling guitars, a pounding rhythm section, lush strings and braying horns accompany Loleatta’s vocal as she veers between tenderness and power. This is an irresistible combination, as Loleatta demonstrates her Southern Soul roots.
Although I’ve only mentioned four tracks from Walter Gibbons’ Mixed With Love-The Walter Gibbons Anthology, I could’ve mentioned several others. Most of the tracks picked themselves, with Double Exposure’s Ten Percent starting Walter’s career at Salsoul, while First Choice’s Let No Man Put Asunder is another classic Walter Gibbons mix. Anthony White’s Block Party is one of the most underrated tracks on the compilation and I couldn’t not pick a track from Loleatta Holloway, the undisputed Queen of Salsoul. Having said that, tracks from The Salsoul Orchestra and Love Committe would’ve been worthy of a mention too. Will my choices be just as easy on Disc Two of Mixed With Love-The Walter Gibbons Salsoul Anthology?
DISC TWO.
The Madness Continues, which is the title of Disc Two of Mixed With Love-The Walter Gibbons Salsoul Anthology is a fitting description of disco’s hedonistic heyday. Here, ten tracks that provided the soundtrack to disco’s hedonism are remixed by Walter. Some old friends from Disc One reappear, like Loleatta Holloway, Double Exposure, Anthony White and The Love Committee. True Example are the only newcomers on Disc Two, where The Madness Continues.
Before becoming The Salsoul Orchestra, its members had found fame as M.F.S.B., Philadelphia International Records’ house-band. Many of its members including the Baker, Harris, Young rhythm section and Vince Montana would go on to write, arrange and produce many classic Salsoul tracks. This was the case on Salsoul Orchestra’s 1976 album Nice ‘N’ Nasty. The title-track, Nice ‘N’ Nasty written, arranged, conducted and produced by Vince Montana. Pounding drums and hissing h-hats give way to a sizzling guitars, before horns blaze, strings swirl and breathy female vocals enter. From there, you’re swept away, atop lush strings, while horns serenade you. Later, Norman Harris lays down a peerless guitar solo. A proliferation of percussion, backing vocalists, punchy horns and dancing, shimmering strings are key to the track’s success and its joyful, uplifting sound.
One of Walter’s most commercially successful remixes was his remix of Loleatta Holloway’s Hit and Run 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, remixed by many remixers. Walter’s version still stands out from the crowd, lasting eleven minutes. However, what made the track was the sound of the Salsoul Orchestra. With the Baker, Harris and Young rhythm section at the heart of the trackm 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.
Another track produced by Baker, Harris, Young is Double Exposure’s My Love Is Free, from their 1976 debut album Ten Percent. The introduction is extended, so that the combination of drums, shakers, swirling strings, guitars and flourishes of piano seemingly and thankfully go on forever. Eventually, the vocal drifts in and out fleetingly. Here, the arrangement has made in Phialdephia stamped all over it. With rasping horns, cascading string, percussion and the Baker, Harris, Young rhythm section provide the track’s pounding heartbeat. However, while the remix is of the highest quality, Walter sacrifices the vocal at disco’s altar, ensuring this pounding slice of soulful disco is sufficiently dance-floor friendly. This is quite definitely the case..and then some.
Where Will It End is one of two tracks from The Love Committee on Disc Two. It’s produced by Baker, Harris, Young and is another underrated track from Salsoul’s back-catalogue. That’s why I’m so pleased it features here. The track literally bursts into life, blazing horns combining with cascading strings and the rhythm section. Percussion and tight soulful harmonies are added, as the track grows and grows. Horns growl, keyboards drift in and out then the throaty vocal enters. Quickly, it changes hands, each vocal adding to the track’s quality. Here, The Salsoul Orchestra’s performance is peerless, as is Baker, Harris, Young’s production. For over seven minutes, they seamlessly combine soul, drama and peerless disco joyfully.
Choosing just four tracks from Disc Two of Mixed With Love-The Walter Gibbons Anthology wasn’t as easy as I’d thought. With so many great tracks, I could’ve chosen just about any of the tracks. Loleatta’s Holloway’s Hit and Run picked itself, as did Double Exposure’s My Love Is Free. Picking the other two tracks wasn’t as easy, but The Salsoul Orchestra’s Nice “N’ Nasty shows how seamlessly and peerlessly they could fuse disco, funk and soul. Similarly, The Love Committee’s Where Will It End is another track where disco and soul unite joyously. Among the other tracks, Anthony White’s I Can’t Turn You Loose is one of the highlights, and a track I could’ve chosen just as easily. Like Disc One, Disc Two features a consistently high standard of music. Will that be the case on Disc Three of Mixed With Love-The Walter Gibbons Anthology?
DISC THREE.
Although the first two discs of Mixed With Love-The Walter Gibbons Anthology feature some of Salsoul’s biggest names, on Disc Three Total Insanity, many of these names are absent. Just The Salsoul Orchestra and Loleatta Holloway are present, with the Luv You Badly Orchestra, Cellophane and the Robin Hooker Band featuring. This sees covers of Tammy Wynette’s Stand By Your Man and Hank Williams’ My Cheating Heart, given a disco makeover by Salsoul and remixed by Walter Gibbons. Does the inclusion of these leftfield choices affect the quality of music on Disc Three of Mixed With Love-The Walter Gibbons Anthology?
The Salsoul Orchestra’s Magic Bird of Fire (Fire Bird Suite) was released in 1977, from the album Magic Journey. This track is arranged, conducted and produced by Vince Montana Jr., another former alumni of M.F.S.B. and Philadelphia International Records. While it’s just crunchy drumbeats that open the track, it gives way to a dramatic, almost grandiose combination of strings and percussion. It reminds me of something you’d hear in the soundtrack to a movie, at the point where they were trying to create an element of suspense. Joining this is fast, funky bass line and then piano and punchy blazing horns. Although set to a disco beat, with the tempo 128 beats per minute, this could’ve worked well on a movie soundtrack. Flourishes of harpsichord and woodwind are just the latest in a hugely eclectic selection of instruments to join the arrangement. Together, they combine to produce something very different from what you’d expect of The Salsoul Orchestra, but something full of suspense and drama, where you never know what will happen next.
Luv You Madly Orchestra’s Moon Maiden was released in 1978, on their Luv You Madly Orchestra on Salsoul. The project paid tribute to Duke Ellington, with disco tracks composed by the Duke. Here, crispy drumbeats pound, flourishes of flute cascade, before a thunderous bass enters. It’s joined by keyboards, percussion and female backing vocalists. Strings cascade, sweep and swirl, before synths make a brief appearance. Things change when a soulful soaring female vocalist enters, accompanied by tight, equally soulful harmonies. The result is quite different from the other Salsoul tracks on the compilation, but still has the trademark quality of a track featuring the famous Salsoul label.
My final choice from Disc Three 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 Three and demonstrates just why Loleatta Holloway was the real First Lady of Disco. No-one else came close.
While I only picked three of the nine tracks on Disc Three of Mixed With Love-The Walter Gibbons Anthology, the inclusion of some leftfield choices didn’t affect the quality of music. Luv You Madly Orchestra’s Moon Maiden was very different from other tracks on the compilation. So were Robin Hooker Band’s covers of Stand By Your Man and My Cheating Heart. Although disco and country songs seem strange bedfellows, they somehow work well. In the anything goes days of disco, this was the case, with artists covering all sorts of tracks. The Salsoul Orchestra and Loleatta Holloway were the only familiar faces on Disc Three, with Loleatta’s Catch Me On The Rebound another welcome inclusion, rather than more familiar tracks like Dreamin’ or Love Sensation.
Loleatta Holloway is one of Salsoul’s biggest names that feature on the three discs of Mixed With Love-The Walter Gibbons Anthology. She’s joined by Double Exposure, The Salsoul Orchestra and First Choice, plus a few other welcome additions. These include Anthony Jackson, Love Committee and True Example. Each of the twenty-nine tracks on the three discs see Walter Gibbons remix the track, bringing something imaginative and innovative to the original track. He knew what worked on the dance-floor, plus was able to lengthen the tracks so that he was no longer constantly mixing between tracks to lengthen breaks. On some tracks, Walter lengthens the breaks so much, that you feel they’ll last forever. Then, Walter allows the track to explode, with joy and drama escaping at last, after teasing and tantalizing dancers. Many of Walter’s remixes are timeless classics, but we must remember that with many of the tracks, he’d the perfect starting point for his remixes. This includes track produced by Baker, Harris, Young and vibes virtuoso Vince Montana. With The Salsoul Orchestra providing the musical soundtrack for each artist, these tracks were some of the best tracks Walter Gibbons would ever produce. For anyone who loves disco, Salsoul or Walter Gibbons’ remixes, then Mixed With Love-The Walter Gibbons Anthology is essential listening. On Mixed With Love-The Walter Gibbons Anthology, you’ll hear some of the best music of the disco era, which I can safely say were remixed by Walter Gibbons…unless of course you know different.
MIXED WITH LOVE-THE WALTER GIBBONS ANTHOLOGY.
THE STAPLE SINGERS-THE STAPLE SINGERS.
THE STAPLE SINGERS-THE STAPLE SINGERS.
By the early eighties, The Staple Singers had spent over thirty years performing and recording. Their career started in 1948, with the group singing in churches in the Chicago area. Four years later in 1952, they signed their first record contract, releasing their debut album Uncloudy Day in 1959. Since then, The Staple Singers had released over twenty albums. In 1984 Pops Staples celebrated his seventieth birthday, and announcing on Soul Train that he was ready to retire. He’d been trying to retire for several years, but kept getting asked to record more albums and perform even more concerts. When Pops announced his attention to retire, it had been three years since the release of their last albums Hold On To Your Dream and This Time Around in 1981. However, retirement would have to wait, after Private I Records offered The Staple Singers a new recording contract. This would see them collaborating with David Byre of Talking Heads. This unlikely alliance lead to Slippery People, a dance hit for The Staple Singers. It was a track from their 1984 Turning Point album produced by Gary Goetzman and Mike Piccirillo. So impressed was Pops Staples with their production, that he asked them to produce the followup, The Staples Singers’ which will be released on 9th July 2012 by SoulMusic Records. Again, the unlikely alliance of David Byrne and The Staple Singers would collaborate, the result of which was Life During Wartime, one of several songs exploring various social and political issues. Would The Staple Singers see a continuation of the success they’d enjoyed with Turning Point the previous year?
For what was The Staple Singers’ twenty-sixth album and would become The Staple Singers, Gary Goetzman and Mike Piccirillo cowrote four of the album’s eight tracks. There were two themes running through social and political issues. These were issues The Staple Singers had explored in some of their older albums. Other songwriters were involved, with David Byrne contributing Life During Wartime. Of the other three tracks, the standout track was Are You Ready, a cover version of the title-track of Pacific Gas and Electric’s 1970 album. It got the album of to an explosive start. These eight tracks were recorded at Can-Am Recorders in Tarzana, California.
Producing The Staple Singers at Can-Am Recorders were Gary Goetzman and Mike Piccirillo. Mike was also part of the small, tight band who played on the album, playing guitars and drums. He was joined by Ron Jeffries who played bass, synths and keyboards, while Paul Schaffer played the keyboard solos on Nobody Can Make It On Their Own and Reason To Love. David Byrne played guitar on Life During Wartime, with Paul Jackson joining him on guitar and laying down a sizzling guitar solo that’s key to the track. Although this was just a small band that played on The Staple Singers, if the result was similar to Turning Point, then fans of The Staple Singers were in for a pleasant surprise. Would this be the case though?
On the release of The Staple Singers, disappointingly, it didn’t make any impact on the US charts. Whereas Turning Point reached number forty-three in the US R&B Charts, The Staple Singers failed to chart. However, the two singles released from The Staple Singers fared better, achieving limited success. Are You Ready reached number thirty-nine in the US R&B Charts. Then when Nobody Can Make It On Their Own was released as a single, it reached just number eighty-nine in the US R&B Charts. However, while The Staple Singers was a commercial failure, did the album deserve to fare better? That’s what I’ll tell you, after I’ve told you about the music on The Staple Singers.
Opening The Staple Singers is Are You Ready, a cover of a track originally released by Pacific Gas and Electric’s 1970 in 1970. It’s an explosive, dramatic sounding track, with keyboards, sizzling rocky guitars and the rhythm section driving the track along. At the heart of the action is Mavis’ vocal as she asks: “are you ready..are you living your life in a way that when he comes, you will be one of the chosen ones.” This is perfect for Mavis’ vocal, a mixture of soul and gospel, accompanied by the rest of The Staple Singers adding joyful, gospel-tinged harmonies. The searing rocky guitars add to the drama and theatre of the track, with Mavis’ vocal what makes this the best track on the album.
Life During Wartime was the result of a collaboration between David Byrne and The Staple Singers. While Slippery People from their previous album Turning Point was dance hit, this was quite different. The dual guitars of David Byrne and Paul Jackson are key to the tracks sound, sounding like gunfire, while washes of synths and the rhythm section accompany Mavis’ sassy, frustrated vocal. Soon the vocal changes hands, but it’s Mavis whose vocal has most impact. Later, Paul Jackson weaves a guitar solo that’s sizzles its way across the arrangement. You can’t help but be impressed by his skill, even if like me, you’re not a big fan of rocky guitars on soul albums. Here, I make an exception, for a track as good as this.
Nobody Can Make It On Their Own is the first of four tracks that Gary Goetzman and Mike Piccirillo cowrote. It was also the second single released from the album, and has a real Staple Singers’ sound. Listen carefully, and you can hear their hit single Respect Yourself’s influence. This influence helps gives the track it’s catchy, hooky sound. Washes and stabs of synths, rhythm section and guitars provide the backdrop for Mavis’ vocal. She sings “no-one can change things on their own…no-one is an island.” Peace not war she sings, blaming the worlds ills on politicians. Later, Paul Schaffer’s keyboard solo adds the icing to The Staple Singers’ cake, and along with Mavis, plays an important part in the track’s sound and success.
Back To the War is another of the Gary Goetzman and Mike Piccirillo penned tracks, with war and conflict as its theme. Stabs of synths, keyboards and percussion are at the heart of the arrangement, with Mavis delivering vocal, her voice tinged with anger and frustration as she sings “what makes you think you can change the world with a gun in your hand.” This strikes home, making you think. As the vocal changes hands, the delivery is equally powerful. Later, the vocal is replaced during a breakdown by synths, keyboards and percussion, which has a real eighties sound. However, what’s important is the song’s message which like The Staple Singers delivery, is potent and powerful.
Very different is Reason To Love, which is best described as caribbean-tinged and soulful, with keyboards and synths at its heart. This gives the track a light, bright, joyous sound. Similarly, the vocal is gentle, but impassioned and emotive. The harmonies are tight and uplifting, what we’ve come to expect of The Staple Singers. Later, things change, with rocky guitars making a fleeting appearance, before Paul Schaffer unleashes another keyboard solo. Then the joyful vocal and harmonies return. Again, Mavis grabs the vocal delivering it with equal amounts of emotion, joy and sincerity.
We Stand (Together Forever) is a track that’s would’ve made a great single back in 1985. It has a pounding beat driving the track along. It’s augmented by waves of synths, chiming guitars and a sassy, impassioned vocal. From the opening bars you’re hooked by the track’s irresistible sound. Here, the synths and keyboards work well, with intricate guitars played subtlety. They don’t dominate the arrangement by veering into a rocky sound. Instead, they combine well with the synths, while The Staple Singers add soulful, harmonies. Sometimes, you’re reminded of Womack and Womack’s classic track Teardrops. This track has a similar pounding dance-floor friendly beat and hook-laden sound.
Pops Staples sings lead as Start Walking begins. His vocal might not have the power of Mavis,’ but he delivers the lyrics with an intensity, while subtle, soulful harmonies accompany him. The rest of the arrangement is bolder, with guitars, keyboards, synths and the rhythm section providing a backdrop for his vocal. A sizzling, guitar solo is unleashed, contrasting with Pops tender, sincere vocal. It adds drama, while later, synths and keyboards that are a sympathetic replacement for Pops vocal. Although Pops Staples was seventy-one when he recorded this album, his vocal still has the quality of their earlier years. Maybe it’s as well he postponed his retirement, as he still had much to offer music.
Having opened The Staple Singers on a high with Are Ready, they’re determined to close the album with a similar flourish. Love Works In Strange Ways is the perfect track to do so. It’s the last of the tracks Gary Goetzman and Mike Piccirillo cowrote. With the rhythm section, guitars and keyboards providing a slow, understated backdrop, a tender vocal tinged with sadness and hurt enters. The lyrics are some of Gary and Mike’s best, delivered with feeling by Mavis. She has you spellbound with her delivery, fusing soul and gospel as she sings “Love Works In Strange Ways.” Meanwhile, the arrangement is much more understated, allowing Mavis to take centre-stage, complimenting rather than dominating her vocal. Although the track hasn’t the boldness of the opening track, it has a similar power and quality.
A year after prematurely announcing his retirement live on Soul Train, Pops Staples and the rest of The Staple Singers returned with the followup to Turning Point. The Staple Singers was their second album since Pops made a U-turn about his impending retirement. It was lucky that The Staple Singers didn’t call time on their career, as they still had much to offer. Having said that, much of what they had to offer was down to Mavis Staples. Her vocals were impassioned, emotive, powerful and deeply soulful. She was key to the group’s sound, at the heart of so much of their success. Even without the rest of The Staple Singers, Mavis would’ve been a star. Many people believe The Staple Singers they were stronger as a whole than the the sum of their separate parts. Their harmonies complimented Mavis’ lead vocal. While Pops was the de facto leader of The Staple Singers, Mavis was the star. This is the case on The Staple Singers. Mavis gets the album of to a storming start on Are You Ready, continuing in the same vein on Life During Wartime, Nobody Can Make It On Their Own, We Stand (Together Forever) and closing the album with Love Works In Strange Ways. Pops plays his part, delivering the vocal of Start Walking, with a mixture of tenderness, humility and sincerity. Gary Goetzman and Mike Piccirillo’s production style pleased Pops so much on Turning Point, that he invited them to produce the followup The Staple Singers. Their style sees them fuse soul, R&B, rocky guitars and poppy hooks, resulting in an album that showed a very different side to The Staple Singers. So did David Byrne on Life During Wartime, which was his contribution to the album. Although they were unlikely bedfellows, The Staple Singers and David Byrne’s collaborations worked well. What The Staple Singers showed and many artists can learn from it, is that even aged seventy-one Pops Staples was wanting to try new things musically. Pops wasn’t content to stand still, releasing similar sounding music to previous albums. Instead, he absorbed and welcome collaborations, new ideas and innovations like he did on The Staple Singers, which will be released on 9th July 2012 by SoulMusic Records. Standout Tracks: Are You Ready, Nobody Can Make It On Their Own, We Stand (Together Forever) and Love Works In Strange Ways.
THE STAPLE SINGERS-THE STAPLE SINGERS.
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KC AND THE SUNSHINE BAND-KC AND THE SUNSHINE BAND.
KC AND THE SUNSHINE BAND-KC AND THE SUNSHINE BAND.
Imagine this scenario. You’re part of a band whose just released your debut album which fails to chart. A year later, you release the followup which not only reaches number one in the US R&B Charts and is certified triple-platinum, but features two singles that reach number one in the US Billboard 100 and US R&B Charts. Although this sounds somewhat far-fetched, and not unlike the scrip for a low-budget movie, it really happened back in 1975. The band were KC and The Sunshine Band, whose debut album Do It Good was released back in 1974, but failed to chart. Then when KC and The Sunshine Band released Get Down Tonight in April 1975, the single reached number one in the US Billboard 100 and US R&B Charts. Three months later in July 1975, KC and The Sunshine Band released their second album KC and The Sunshine Band. It reached number four in the US Billboard 200 and number one in the US R&B Charts. By now, KC and The Sunshine Band were one of the biggest bands of 1975, but in August 1975 they’d release a track that since then, has become synonymous with them That’s the Way (I Like It). This single replicated the success of Get Down Tonight, reaching number one in the US Billboard 100 and US R&B Charts. However, KC and The Sunshine Band which will be rereleased on 9th July 2012 by BBR Records, was just the start of a four year period when KC and The Sunshine Band became one of the biggest funk bands in America. Once I’ve told you about the making of KC and The Sunshine Band, I’ll tell you why the album KC and The Sunshine Band was so successful.
After the disappointment of the commercial failure of their debut album Do It Good, Harry “Wayne” Casey and Richard Finch the two original members of KC and The Sunshine Band set about writing new material for their next album. They cowrote eight tracks, plus chose to cover a track they cowrite for George McCrae’s Rock Your Baby album, I Get Lifted. The eight new tracks were heavy on hooks, and sometimes, are unkindly referred to as “bubblegum funk.” While it’s true the music isn’t the heavier funky sound of P-Funk, that’s doing KC and The Sunshine Band a disservice. They fuse funk with soul and disco, succeeding in turning many people onto funk, something James Brown and George Clinton had tried to do for many years.
Recording of the album took place at TK’s Miami Studios. After the disappointment of the commercial failure of their debut album Do It Good, Harry “Wayne” Casey and Richard Finch were joined by the other band members. While Harry sang lead vocal, Richard played bass, drums and percussion, with guitarist Jerome Smith and drummer Robert Johnson key to the band’s sound. Together with a horn section and backing vocalists, the nine tracks were recorded, with Harry and Richard arranging and producing the nine tracks that became KC and The Sunshine Band. Soon, the lives of the members of KC and The Sunshine Band would be transformed, when the first single was released from KC and The Sunshine Band.
Get Down Tonight was chosen as the first single to be released from KC and The Sunshine Band. It was released in April 1975, reaching number one in the US Billboard 100 and US R&B Charts. This bode well for the release of KC and The Sunshine Band. On its release in July 1975, it reached number four in the US Billboard 200 and number one in the US R&B Charts, resulting in the album being certified triple platinum in the US and platinum in Canada. KC and The Sunshine Band’s success continued apace, when they released the second single from KC and The Sunshine. That’s the Way (I Like It) was released in August 1975, replicating the success of Get Down Tonight, reaching number one in the US Billboard 100 and US R&B Charts in September 1975. One further single, Boogie Shoes was released in February 1978, reaching number thirty-five in the US Billboard 100 and number twenty-nine in the US R&B Charts. While this was slightly disappointing, given the success of the two previous singles and the album KC and The Sunshine Band, the lives of the members of KC and The Sunshine Band had been changed forever. However, what made KC and The Sunshine Band such a successful album? That’s what I’ll now tell you.
Opening KC and The Sunshine Band is Let It Go (Part One), where percussion and pounding drums give way to Harry’s vocal which signals the track bursting into life. The track heads in the direction of funk, with blazing horns, percussion and the rhythm section driving the track along. Harry’s like a cheerleader, encouraging the band on. Having expended so much energy, KC and The Sunshine Band regroup during a breakdown, before rebuilding and driving the track along to its close. This whets your appetite nicely, for what’s about to unfold.
You don’t have long to wait for something really special to unfold, with a track that’s since become synonymous with KC and The Sunshine Band That’s the Way (I Like It) bursting joyously into life. Suddenly, it’s late summer of 1975 again, with KC and The Sunshine Band providing the soundtrack. The familiar strains of the backing vocalists soaring above the massed ranks of the rhythm section percussion and rasping horns. Then comes Harry’s impassioned vocal, made even better by the continued presence of the backing vocals. Layers of backing vocals, a buzzing bass and punchy horns all play their part in the track’s success and sound. It’s impossible not to get caught up in the song’s hook-laden, good-time, joyful Miami sound as KC and The Sunshine Band fuse funk, soul and disco seamlessly.
How do you follow a classic track like the previous one, is something I’ve always wondered. Although Harry and Richard never knew how successful That’s the Way (I Like It) would be, they must have had an inkling. So whatever track follows has a hard act to follow. Here, Get Down Tonight sees KC and The Sunshine Band combine elements of funk and soul. There’s plenty of punchy, rasping horns that are key to sound, that are accompanied by a pounding, funky rhythm section. Harry’s vocal drifts in and out the track, not unlike Let It Go (Part One). However, it’s the band that take centre-stage, producing a track that although isn’t as hooky as the previous track, is catchy, good-time funk and far from the “bubblegum funk,” that KC and The Sunshine Band were unkindly accused of producing.
Boogie Shoes was the third and final single released from KC and The Sunshine Band and closed Side One of the original album. Like That’s the Way (I Like It), this is another track that demonstrates what made KC and The Sunshine Band’s music so successful. From the opening bars, they have you’re attention with the combination of rhythm section and growling horns. The lyrics are simple, memorable and have a feel-good sound. Importantly, the whole track is dance-floor friendly. Harry’s vocal is full of joy, all hollers and happiness, with the horns ever-present throughout the track, while the rhythm section and percussion provide the track’s heartbeat. Similar to the other two singles, Harry and Richard ensure the track isn’t short of hooks, and has a real feel-good sound that’s dance-floor friendly. That’s why it’s my favorite song from the album.
Ain’t Nothing Wrong was the track that opened Side Two of KC and The Sunshine Band. You can imaging having listened to Side One, flipping the record over and wondering can it match the quality of Side One. Instantly, you’re aware of a more laid-back sound wafting out of your speakers. There’s still rasping horns, but the track is much more soulful. Just the rhythm section, piano and backing vocalists accompany Harry’s gentle, heartfelt vocal. The track along meanders, with flourishes of piano, guitars and growling horns key to the track’s sound and success. Meanwhile Harry spreads his message of love, while demonstrating a much mellower, soulful side of KC and The Sunshine Band.
I’m So Crazy (About You) sees a driving, pounding rhythm section open the track, before being joined by punchy, braying horns. Harry’s vocal is soft, tender and contrasts with the rest of the arrangement. This makes you focus on his vocal and the lyrics. The punchy arrangement suits the song, and is another example of Harry “Wayne” Casey and Richard Finch’s ability to write songs with catchy, memorable lyrics. There’s a poppy quality to the lyrics and the arrangement, even though the band are fusing funk and soul. Although this is an example of a good pop song, it’s tracks like this that lead to unkind accusations of KC and The Sunshine Band producing “bubblegum funk.” Mind you, many of these barbed arrows came from less successful funkateers, jealous of the band’s success.
What Makes You Happy sees another change in style from the band. The tempo drops way down, with guitars and the rhythm section producing a track with a sixties sound. The addition of the Hammond organ and Harry’s vocal adds to this. Gone is the joyous vocal from Harry, replaced by a more thoughtful delivery. He’s accompanied by growling horns, while the rhythm section take the arrangement in a direction where rock and funk combine. This is a very different song from other tracks, and rebuts the accusations of KC and The Sunshine Band producing “bubblegum funk.
I Get Lifted was a track that Harry and Richard cowrote for George McCrae’s debut album Rock Your Baby. KC and The Sunshine Band ‘s cover version gives new meaning to the track. Harry uses his vocal to produce a sultry exploration of the lyrics subtleties and nuances. Similarly, the rest of the band take the song in a new direction. There’s space to the arrangement, which the rhythm section and guitars leave. Chiming, crystalline guitars, a buzzing bass and percussion provide the backdrop for Harry’s sensual, joyful vamping vocal. Together with the rest of the band their interpretation of this song brings new life and meaning to it.
Closing KC and The Sunshine Band is Let It Go (Part Two), which is a perfect two minute reminder of the track that started the album. My theory is that it’s designed to remind you how good the track is and that you’ll flip the record over and listen again. Nowadays we don’t even need to do that, just press play again. Before that there’s the small matter of three bonus tracks, the single versions of Get Down Tonight and That’s the Way (I Like It). Then there’s Tom Moulton’s stunning remix of Get Down Tonight. After that, and only after that, you can press play again.
KC and The Sunshine Band was just the first of four KC and The Sunshine Band’s albums that would be certified platinum. When KC and The Sunshine Band released their next album The Sound of Sunshine failed it to chart. Thankfully, this was just a temporary hitch, explained by the fact It was an instrumental album, credited to just the Sunshine Band. Normal service was resumed with 1976s Part 3, which was also certified triple platinum. Two years later in 1978, Who Do Ya (Love) was certified platinum, as was 1979s Do You Wanna Go Party. Following Do You Wanna Go Party KC and The Sunshine Band never enjoyed the same commercial success. Seven further albums followed, with 2007s Yummy the last of these. For five years, KC and The Sunshine Band were one of the biggest funk bands around, fusing their unique brand of funk, soul and disco. The album that started it was 1975s KC and The Sunshine Band. This was a long way from their 1974 debut album Do It Good, which failed to chart. However, any album that featured three singles of the quality of Get Down Tonight, That’s the Way (I Like It) and the brilliant Boogie Shoes was destined for greatness in 1975. Having said that, there’s more to the album KC and The Sunshine Band than just three tracks. Let It Go (Part One), Get Down Tonight, Ain’t Nothing Wrong and I’m So Crazy (About You) are proof of this. For me, KC and The Sunshine Band, which will be rereleased by BBR Records on 9th July 2012, and its mixture of funk, disco and sunshine soul is the perfect soundtrack to the long summer nights that lie ahead. KC and The Sunshine Band is guaranteed to get any party started and have everyone looking for their Boogie Shoes. Standout Tracks: Get Down Tonight, That’s the Way (I Like It), Boogie Shoes and Ain’t Nothing Wrong.
KC AND THE SUNSHINE BAND-KC AND THE SUNSHINE BAND.
JOHN AND GINA CAREY-THE FAMILY THAT LIVE, LAUGH AND LOVE TOGETHER.
JOHN AND GINA CAREY-THE FAMILY THAT LIVE, LAUGH AND LOVE TOGETHER.
This year, 2012, has been a big year for John and Gina Carey, releasing three albums so far. On St. Valentines’ Day 2012, which was quite apt, considering how devoted to a couple they are, they both released their new solo albums. John released his album Smooth, Soulful and Funky, which was a perfect description of the music on the album. As usual, John’s playing was the standard what we’ve come to expect from the Urban Soul Guitarist, who incidentally, is a true multi-instrumentalist who can play bass, keyboards, drums and percussion. Smooth, Soulful and Funky demonstrated why he’d opened for legends of music, including Earth Wind and Fire, George Benson, Buddy Guy, Norman Brown and Rose Royce.
Meanwhile, Gina had been working just as hard. Not only did her vocals feature on John’s Smooth, Soul and Funky, but she released what would be her first album of the year, Love Letters. This was the followup to Melodic and found Gina fuse a delicious mixture of Nu-Soul, smooth soul, R&B and jazz. Then in May 2012, Gina released the followup to Love Letters, Love Letters 2. It featured four tracks from Melodic and Love Letters, plus three new tracks from her forthcoming album Live, Laugh and Love. This whetted Gina’s fans appetite nicely for Live, Laugh and Love.
With John and Gina having released three albums so far during 2012, you’d think that the hardest working family in soul and jazz music would take a break. Not at all. Later this year, John will release his second album of 2012 Family. I’ve been given a sneak preview of his new single Family, title-track to his forthcoming album Family, which I’ll tell you about.
John describes his new single family as a “smooth jazz,”…”nothing to funky, but not sleepy either.” That’s the perfect description for the track. It’s what John’s forthcoming album Family will sound like. As the track opens, there’s a real smooth jazz sound to the track. John’s crystalline guitar playing is accompanied by the rhythm section. His playing is slow and accurate, quickening as Gina’s vocal drifts in. Gina’s warm, heartfelt Nu-Soul vocal soars, mixing emotion with controlled power. When her vocal drops out, John’s vocal takes centre-stage. He plays each note with care, as he embarks on an intricate journey up and down the fretboard. The result is a delicious sounding track, where John’s guitar playing is central to Family’s smooth jazz sound, with Gina’s vocal the finishing touch to another beautiful, slide of smooth jazz from the multitalented John Carey.
Having listened to Family many, many times since I received it last night, I can’t wait to hear the rest of John’s forthcoming album Family. I’m sure the rest of Family will be of the same standard as his new single is. This year has been a huge year for both John and Gina Carey. John released Smooth, Soulful and Funky, whose title is a perfect description of the music on the album. Gina’s two albums Love Letters and Love Letters 2 were a delicious, flawless fusion of Nu-Soul, smooth soul, R&B and jazz. Soon, the next chapter in the story of John and Gina Carey will unfold, when John releases Family and Gina Live, Laugh and Love. Given the quality of music on their previous albums, I can’t wait to hear these new albums from John and Gina Carey, one of the hardest working family in soul and jazz, and the Family that Live, Love and Laugh together.
LARRY LEVAN-THE DEFINITIVE SALSOUL MIXES 1978-1983.
LARRY LEVAN-THE DEFINITIVE SALSOUL MIXES 1978-1983.
Recently, when I reviewed Salsoul Nation-Mixed and Compiled By Luke Howard, I mentioned how although Salsoul Records was one of the most important labels of the disco era, but no record company had undertaken a comprehensive and extensive reissue of its back-catalogue. However, not long after I wrote that article, I discovered that not one, but two labels are planning to reissue Salsoul’s illustrious back-catalogue. In the UK, BBR Records will begin reissuing Salsoul’s back-catalogue in late August 2012. Starting with albums by The Salsoul Orchestra, Double Exposure, First Choice and Instant Funk, Salsoul fans will at long last, be able to rediscover these albums once again. As if that’s not enough, Ultra Records in the US, are planning a digital release of the Salsoul back-catalogue. With two labels making Salsoul’s back-catalogue again, this is Disco Heaven. So, for those of you who can’t wait until then, I thought I’d review some of the best Salsoul compilations available. The first compilation I’ve chosen is Larry Levan-The Definitive Salsoul Mixes 1978-1983, a double-album released in 2005 by Sussd Records. Larry Levan-The Definitive Salsoul Mixes 1978-1983 features twenty of the remixes over two discs. On the compilation are remixes of tracks by Loleatta Holloway, The Salsoul Orchestra, First Choice, Aurra, Instant Funk, Skyy and Inner Life. Before I tell you about some of the music on Larry Levan-The Definitive Salsoul Mixes 1978-1983, I’ll tell you about the role Larry Levan played in making Salsoul Records the most important label in disco’s history.
By the time Salsoul Records became the label disco lovers know and love, Larry Levan was a twenty-one year old DJ. He’d grown up in Bedford, Stuyvesant in Brooklyn, New York and had started DJ-ing alongside Frankie Knuckles at the Continental Baths. He got his next break there, when he replaced Nicky Siano who founded The Gallery. From there, Larry started DJ-ing around New York, becoming a regular fixture among New York’s club scene. By 1977, Larry Levan was offered a residency at the club which would become synonymous with him..Paradise Garage.
Michael Brody who owned Paradise Garage, had intended to transform the club into something akin to Studio 54. In the beginning, Larry attracted a following that crossed the social spectrum. Soon, the club became restricted to members only. Membership restricted to a carefully selected clientele, who were allowed through the hallowed doors of what was just a somewhat anonymous building from the outside…until you got inside.
Once inside the Paradise Garage, you were immediately struck by the sheer size of the club. In total, there was twenty-thousand square feet, so this required a very special sound and lighting system. Designed by Richard Long, it featured a Bozak Mixer, plus to help get the sound into every nook and cranny of the club the Levan Horn Bass Speakers. The Paradise Garage wasn’t an easy club to design a sound system for, but Richard Long managed to do so. All that was left was for Larry to do his part, attract the club-goers.
Soon Larry Levan began to become one of the biggest draws in the New York club scene. He would remix tracks live, fusing different parts of track seamlessly. He’d lengthen introductions, mix in instrumental parts, tease dancers with breakdowns and then throw in an accapellas. Essentially, he was taking part of one track, mixing it with another, resulting in a new track being born. This is what he’d go on to do at Salsoul, a year after he’d started DJ-ing at the Paradise Garage.
Although Salsoul had opened its doors as a disco label in 1975, Larry was something of a latecomer when it came to remixing Salsoul’s music. He joined the ranks of DJs like John Morales and Walter Gibbons, and would create some of Salsoul’s best known remixes. One of his first remixes for Salsoul was Instant Funk’s Crying. After that, he worked his way through Salsoul royalty, remixing tracks by the Queen of Salsoul Loleatta Holloway, whose The Greatest Performance of My Life Larry Remixed in 1981. Soon, Instant Funk, Skyy, Logg, Double Exposure,The Salsoul Orchestra and Inner Life were remixed by Larry. Along with Walter Gibbons and John Morales, Larry’s reputation grew.
During a five year period between 1978 and 1983, Larry Levan’s profile as a remixer and DJ soared. Indeed, his profile got so high, that he became the first DJ to release a remix album, Larry Levan’s Greatest Remixes Volume 2. This confused record collectors, as there had never been a Volume 1. Back in 2003, Sussd Records collected twenty of Larry’s Salsoul remixes on Larry Levan-The Definitive Salsoul Mixes 1978-1983, which I’ll now tell you about.
DISC ONE.
Among the ten Larry Levan Salsoul remixes on Disc One of Larry Levan-The Definitive Salsoul Mixes 1978-1983, there’s a mixture of well known and what I’d call leftfield choices. Some of his better known tracks have been eschewed, with compiler Jeremy Newall deciding to introduce listeners to some of his less well known tracks. Tracks like Inner Life’s Ain’t No Mountain High Enough, Instant Funk’s Crying, Logg’s I Know You Will and Bunny Sigler’s By the Way You Dance all feature. Joining them are Loleatta Holloway’s The Greatest Performance Of My Life, The Salsoul Orchestra’s How High, Aurra’s When I Come Home and Jimmy Castor’s Tellin’ On The Devil. As you can see, there’s plenty of great tracks, so choosing just a few to mention won’t be easy.
My first choice from Disc One of Larry Levan-The Definitive Salsoul Mixes 1978-1983, is a Salsoul classic, Inner Life featuring Jocelyn Brown’s Ain’t No Mountain High Enough. Released in 1981, from Inner Life’s album Inner Life, it has a real timeless sound. It’s hard to believe that it was originally released back in August 1981. This 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. Produced by Patrick Adams and Greg Carmichael, it’s a track that after a subtle, hesitant start, where drums, percussion and then Jocelyn’s vocal combine, 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 and gives the track its uplifting, joyous and timeless sound.
Bunny Sigler’s By the Way You Dance (I Knew It Was You) was a track from his 1979 album I’ve Always Wanted To Sing…Not Jut Write Songs. Here, Larry takes the original seven minute song and stretches it to just over ten minutes. A pounding, funky rhythm section, percussion and guitars combine, with Larry teasing the listener, extending the introduction. When Bunny’s vocal enters, he delivers it in powerful, punchy bursts, with the rhythm section and percussion for company. Layers of keyboards are added, with backing vocalists added to an arrangement, where Latin, funk and disco are combined. Later, Bunny struts his way through the track, with percussive breaks and the pounding rhythm section playing their part in the track’s inspirational, uplifting and good-time sound.
First Choice, who featured the vocals of Rochelle Fleming were one of Salsoul’s biggest groups. Double Cross, was a track from their Hold Your Horses album, released in 1979. Written by Norman Harris and Ron Tyson, and produced by Norman Harris this is a classic from First Choice. Just the dramatic soaring vocal opens the track, before grand strings cascade, blazing horns and the rhythm section enter. They provide the perfect backdrop for Rochelle’s vocal, while tight, soulful harmonies accompany her. As her impassioned vocal drops out, a bass pounds, horns rasp, and flourishes of strings are joined by a wistful flute and jazz-tinged guitars from Bobby Eli. All this makes Double Cross one of the best remixes on the compilation. Mind you, Larry had a good starting point, with Rochelle’s stunning vocal and Norman Harris’ peerless production.
On many Salsoul compilations, when a compiler chooses a Loleatta Holloway track, it’s usually either Dreamin,’ Hit and Run or Love Sensation. Not here. Instead, The Greatest Performance Of My Life, a track from her 1979 album Loleatta Holloway. Produced by Floyd Miller, just a wistful piano and subtle guitar accompany Loleatta’s heartfelt vocal, before percussion enters. Soon, the track reveals its secrets, with the rhythm section and guitars joining, as lush strings add to the emotion of the track. When Loleatta’s vocal drops out, Larry builds the track up. Percussion, keyboards, strings and drums are dropped in, just at the right moment. Unlike other tracks Loleatta doesn’t vamp her way through the whole track. Instead she restricts her vamp to later in the track, revealing a much more soulful side to her music.
One of Larry Levan’s best known remixes is Instant Funk’s Crying. It was one of the first Salsoul remixes he undertook, back in 1978 and appeared on their 1979 album Instant Funk. There’s an almost space-age sound to the track, before the pounding drums and powerful vocal enters. The rhythm section are key to the track’s sound, while guitars and keyboards play their parts. Blazing horns signal the arrival of tight, soulful harmonies. Then at last nearly two minutes into the track the growling, emotive vocal enters. It’s well worth the wait, with seven more minutes still to come. They fly by, with Larry’s remix highlighting everything that makes this a classic track. This means the vocal, harmonies, swathes keyboards, punchy, blazing horns and not forgetting the pounding rhythm section. These pieces of the jigsaw are put together by Larry in a way no-one else had thought of, resulting in Salsoul classic.
While I’ve only mentioned five of the ten tracks on Disc One of Larry Levan-The Definitive Salsoul Mixes 1978-1983, this is no reflection on the quality of the other tracks. It’s just certain tracks chose themselves, with Inner Life’s Ain’t No Mountain High Enough, First Choice’s Double Cross and Instant Funk’s Crying three of them. Loleatta Holloway’s The Greatest Performance Of My Life showed a quite different, soulful side to her music. Among the other tracks I could’ve mentioned, were tracks by The Salsoul Orchestra, Logg and Aurra. Really, the quality of remixes was so high that I could’ve chosen nearly every track. Will that be the case on Disc Two of Larry Levan-The Definitive Salsoul Mixes 1978-1983?
DISC TWO.
On Disc Two of Larry Levan-The Definitive Salsoul Mixes 1978-1983, rather than ten separate artists like on Disc One, Instant Funk feature four times and Skyy twice. The four other tracks are from Jimmy Castor, Sparkle, Steve Arrington and Inner Life Featuring Jocelyn Brown. Will the tracks on Disc Two of Larry Levan-The Definitive Salsoul Mixes 1978-1983 match the quality of Disc One?
Instant Funk don’t just feature once or twice on Larry Levan-The Definitive Salsoul Mixes 1978-1983, but five times. Larry remixed a number of their tracks, including their ten-minute epic I Got My Mind Make It Last Forever. Hailing from New Jersey, Instant Funk backed Loleatta Holloway, The O’Jays and Curtis Mayfield. The track reached number one in the US R&B Disco charts in 1979, and was from their 1979 Instant Funk. I Got My Mind Made Up was sampled by De La Soul on A Rollerskating Jam Named Saturdays. Over nearly ten minutes, where a proliferation of percussion, a loping bass line, punchy drums and backing vocals, the track combines Latin, funk and disco music. With breathy backing vocals, accompanying a really soulful lilting lead vocal, this was Instant Funk’s biggest hits. Not only that, but it’s a highly memorable, timeless classic from Salsoul label, mixed by Larry Levan.
Skyy’s First Time Around was released and remixed by Larry in May 1979. Opening with just a wandering bass, before a male vocal enters. Then 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. Although I’ve heard various remixes and edits of this track, Larry’s version is one of the best versions of a track from one of disco’s biggest groups.
Jimmy Castor never released an album for Salsoul, but several of his tracks became favorites of remixers, including Larry Levan. Probably his best known is It’s Only Just Begun. Stabs of keyboards, bursts of braying horns and the rhythm section give the track a loose, funky sound with a Latin twist. Then when Jimmy’s vocal enters, he delivers it with a swing, perfect for the arrangement. Backing vocalists are added, helping percussion, handclaps and growling horns, creating the loose, catchy sound. This results in a quite un-Salsoul sounding track. There’s neither the big production of other tracks, nor the vocal that grabs your attention. However, it still works, still results in a catchy, some might say irresistible sounding track. Personally, although I appreciate the quality of this tracks, it’s one of my least favourite tracks on the album. My reason for this is its quite un-Salsoul sound.
Sparkle’s Handsome Man is a track Larry remixed for Salsoul but which was never released by the label. When Larry Levan-The Definitive Salsoul Mixes 1978-1983 was released, this was the first time the track was ever available. A pounding bass-line, percussion and handclaps are combined, with guitars and keyboards added. There’s even a slight Chic sound to the track, especially the guitars. The vocal seems a bit weak, sitting far back in the mix. It’s accompanied by backing vocalists and blazing horns. Soon, you realize it’s a track that you want to love, but the vocal lets it down. If someone like Rochelle Fleming or Loleatta Holloway was singing the vocal, it would be a much better track. Instead, it’s good, but not great.
The last track I’ve chosen to mention is by the group who were my first choice from Larry Levan-The Definitive Salsoul Mixes 1978-1983 Inner Life featuring Jocelyn Brown’s. Make It Last Forever was remixed by Larry in 1981 and is a track Patrick Adams and Greg Carmichael cowrote and produced for their Inner Life album. This is a thirteen-minute Magnus Opus, with swathes of cascading strings, joined by the rhythm section and percussion. Then Jocelyn’s vocal heartfelt, impassioned enters, with tight, soulful harmonies accompanying her. Her vocal and the way the strings are used are key to the track. They’re the perfect accompaniment to Jocelyn’s vocal, and are augmented by the rhythm section, keyboards and percussion. As Jocelyn sings “Make It Last Forever,” you wish the track would indeed last forever, given it’s one of Larry best remixes. While it doesn’t last forever, it’s a thirteen minute epic.
On Disc One of Larry Levan-The Definitive Salsoul Mixes 1978-1983 there were ten separate artists on the disc. No artist was featured twice. This isn’t the case on Disc Two, where Instant Funk feature four times and Skyy twice. Mind you, given Larry’s association with both groups, this may be understandable. For some people however, they’ll be disappointed by two groups featuring eight times on the compilation’s twenty tracks. It could be argued that maybe, the compilers could have chosen some of Larry’s other Salsoul mixes. Personally, I think as long as the quality is there, then the compiler can be forgiven for featuring Instant Funk and Skyy as often. Having mentioned quality, there’s only one track that didn’t quite work for me. This was Sparkle’s Handsome Man, which previously, had never been commercially available. Everything was in place for a great track, except one thing…the vocal. To me, it was weak, sitting too far back in the mix. If Loleatta Holloway or Rochelle Fleming had delivered the vocal, the track would’ve been far better. The two tracks from Jimmy Castor, who never recorded an album for Salsoul, didn’t have what I’d have what I’d call a Salsoul sound. Despite this, It’s Just Begun is actually a really good dance track , but one of my least favourite tracks on the compilation. I’m not so sold on Tellin’ On The Devil, with its proto-rap vocal. To me, that’s the only weak track on Disc One. Apart from just three tracks, the other seventeen on Larry Levan-The Definitive Salsoul Mixes 1978-1983 feature some of his best mixes. Of these tracks, some of them are bona fide Salsoul classics, including Inner Life’s Ain’t No Mountain High Enough, Instant Funk’s Crying, First Choice’s Double Cros, Skyy’s First Time Around and Inner Life’s Make It Last Forever. They’re closely followed by Bunny Sigler’s By the Way You Dance (I Knew It Was You) and Loleatta Holloway’s The Greatest Performance of My Life. For anyone who loves either disco, Salsoul Records or Larry Levan, then Larry Levan-The Definitive Salsoul Mixes 1978-1983 is well worth buying. It contains some Salsoul classic, classics that Larry Levan played at the Paradise Garage between 1977 and 1987, when he was one of the biggest, highest profile DJs in the history of dance music. Standout Tracks: Inner Life’s Ain’t No Mountain High Enough, First Choice’s Double Cross, Loleatta Holloway’s The Greatest Performance of My Life and Inner Life’s Make It Last Forever.
LARRY LEVAN-THE DEFINITIVE SALSOUL MIXES 1978-1983.
RICHARD SEN PRESENTS THIS AIN’T CHICAGO.
RICHARD SEN PRESENTS THIS AIN’T CHICAGO.
When I first received Richard Sen Presents This Ain’t Chicago released on Strut Records in June 2012, I was instantly transported back to 1985, when I first heard the first wave of Chicago House music. Straight away, I realised that things were about to change. This wasn’t just a musical fad, this was something very different. Fast forward two years to 1987, and the Acid House scene was exploding in the UK. For the next few years, the old order was overthrown. Frankly, it was about time. People were fed up of the exclusive and sometimes, discriminatory policy of certain soul and rare groove nights. Trying to get into some of these nights, was akin to getting a camel through the eye of the needle, if you’re face or race didn’t fit with the “door policy.” Given that these clubs were playing soul, funk, R&B and rare groove, this was somewhat ironic. Irony, was something certain organizers didn’t quite get. Soon, things would change, soon there was a changing of the guard, soon there would be a revolution, a musical revolution.
The revolution came with the Acid House explosion. Now the tables were turned. This was a musical, social and cultural revolution. Not in the faux revolutionary sense of punk and post punk, with public school boys masquerading as musical revolutionaries. Quite the opposite. There was a sense of inclusion, togetherness and being part of a scene where the rules were made up as you went along. There were many welcome changes. Gone were selective door policies and the clubs that perpetuated this form of discrimination. They were replaced by an inclusive come one, come all policy. Suddenly, race, wealth or social position didn’t matter. Everyone was welcome, everyone danced side by side, with the music policy truly eclectic.
Unlike the soul scene, with its constant petty bickering about whether a track was too Northern or Modern, music like people, was equal. Anything and everything was played, with a new breed of UK producers making their own unique brand of Acid House. These nascent producers took their lead from the Windy City, Chicago, the spiritual home of House.
These tracks produced by new producers were inventive, imaginative, unique and would provide the soundtrack to many a memorable Acid House night. However, even then, Acid House had its critics. Fans of rock music clutched their Prog Rock albums, whining that: “these aren’t real musicians, playing real instruments.” Other music fans music fans complained the tracks had no soul. Critics and embittered DJs who’d lost their venues to Acid House nights smugly said, Acid House was a passing musical fad. In their opinion, it neither had a future, nor would it enjoy longevity. Well, twenty-five years later Acid House is still alive and thriving, with twenty-four of these tracks, recorded between 1987 and 1991, featuring on Strut Records recently released Richard Sen Presents This Ain’t Chicago.
Richard Sen Presents This Ain’t Chicago is a double album of twenty-four UK House and Acid House tracks recorded between 1987 and 1991. These producers were among the first wave of UK producers. Unlike nowadays, there were no Apple Macs running Logic, Ableton Live or Pro Tools. Instead, it was all very different, with the equipment much more basic or lo-fi. Drum machines, synths, samplers and sequencers were all you had. Either you recorded these tracks onto a basic four-track recorder, or if you had the money, hired a recording studio. Sometimes, a vocalist was used, but all too often, samples were all the producer had.
Like the early hip hop pioneers, they scoured charity shops, record shops and dank, dusty warehouses for vinyl, borrowing many a sample. These were added to their productions, and for the lucky few, picked up by a DJ and played at an Acid House night. Sometimes, this resulted in the track being picked up by hungry record companies, desperate to get a slice of this new, underground scene. Often, contracts were hurriedly drawn up, all too often signed, in haste by an artist desperate for their track to be released. Their idea was, grab a slice of the action before it’s all over. Despite people saying UK House and Acid House wouldn’t enjoy longevity, people still are hungry to discover or rediscover the heady sounds of twenty-five years ago. Step forward Richard Sen, whose new compilation Richard Sen Presents This Ain’t Chicago will sate the appetite of either veteran or newcomers to the UK House and Acid House scene. So settle down, relax and enjoy a return to the heady glory days of Acid House, as I pick my top ten tracks from Richard Sen Presents This Ain’t Chicago.
DISC ONE.
On Disc One of Richard Sen Presents This Ain’t Chicago, Richard has chosen thirteen slices of UK House and Acid House. These are from the period between 1987 and 1991, and are the fruits of UK producers. These new, young producers were among the pioneers of this new scene. They were based throughout the UK, ranging from Manchester in the North West, Birmingham in the Midlands and London in the South. Among them, are Bang the Party, Baby Ford, The Man With No Name, May and Julie Stapleton, these will bring back memories of clubs like Manchester’s Hacienda and Heaven in London. They’ll also be the soundtrack to many a forty-something’s clubbing days. However, twenty-five years after some of the tracks on Richard Sen Presents This Ain’t Chicago were released, how do they sound? Have they lost any of their magic and sparkle, or do they still evoke the seem feelings and memories?
My first choice from Disc One of Richard Sen Presents This Ain’t Chicago, is the track that opens the album Bang the Party’s Bang Bang You’re Mine (Full Vocal Release). This was released in 1989 and was written, arranged and produced by Lawrence Bachelor and Leslie Lawrence. Crispy beats, a myriad and synths and a haunting, tortured vocal from Lawrence “Kid” Bachelor is combined. The vocal, wrapped in delay, melts into the distance, while pounding beats and washes of synths combine with percussion. Listening to the track, it’s hard to believe it’s twenty-three years old. It has a contemporary, dramatic and dynamic sound and is a perfect reminded of the glory days of Acid House.
Julian Jonah’s Jealousy and Lies, released in 1988 is a track that takes its reference points from Chicago House. This is apparent from the track’s opening beats. While it hasn’t the drama of Bang the Party’s Bang Bang You’re Mine, it’s a track that leaves an impression. From the opening bars you’re hooked. Handclaps, percussion and pounding beats give way to squelchy synths. Stabs of synths signal the track to reveal its secrets and reference points. A moody, broody vocal is enveloped by beats, percussion and layers of synths. Suddenly, you’re transported back to the late eighties, remembering dark warehouses on the edge of cities, with tracks like this providing the soundtrack to many a memorable evening. It’s like having you’re own time machine, one that takes you back to when you were younger, before reluctantly, you had to grow old up and grow older.
The Man With No Name sounds like a gunslinger from an old Western movie, rather than Martin Freeland, who back in 1990 released From Within The Mind Of My 909. Released on Spiral Cut, the track supported the Freedom Party, who were opposing politician’s plans to change legislation stopping all night raves. Here, Martin combines pounding beats, dark synths and percussion, before gradually revealing the track’s subtleties. Flourishes of synths compete with a piano house inspired keyboard solo and drumbeats that test the tolerance of your speakers. Squelchy synths are dropped in, before dramatic synth solos unfold, with beats and percussion constant companions. His production style sees layer upon layer of complex, dramatic and joyful music unleashed. This only serves to remind you just why you loved this music all this years ago.
Safety Zone released in 1989 on Catt Records isn’t quite unleashed like an Exocet thankfully. There’s no devastation, instead, just old school Acid House. There’s squelchy synths, beeps and bleeps aplenty. It meanders along, before gradually the tempo increases, becoming deceptively fast. Eventually, the stabs and washes of squelchy synths and crispy beats create a futuristic sounding soundscape, while the tempo reaches a 122 beats per minute. As I listen to this glorious sounding track, with its unmistakable Acid House sound, I can hear the crusty old hippies stroking their beards and saying: “this isn’t music.” To them I say, it’s all a matter of opinions, and thousands or ravers can’t be wrong.
May’s Love Me Baby (Garage House Mix) is my final choice from the tracks on Disc One of Richard Sen Presents This Ain’t Chicago. Released on Rhythmbeat Records in 1989, and produced by P. Mac, this track is different in style, more garage-house than Acid House. Amongst the surprises May spring during the track’s five minutes, are an ethereal vocal. Crashing hi-hats, pounding drums, dark broody synths are all there, before a sinister male vocal assails your senses. Then comes that ethereal vocal from Mavis Clarke, soulful and sassy. Bursts of dramatic synths, crunchy beats and percussion accompany Mavis, whose vocal, along with P. Mac’s production make this one of the highlights of Disc One.
While I’ve only picked five tracks to tell you about, another day it might be different. The reason for this is that the quality is consistently high throughout Disc One of Richard Sen Presents This Ain’t Chicago. Sometimes, it’s hard to limit yourself to just five track. Inwardly, I’m debating the merits of one track over another, constantly considering which tracks to tell you about. I could just as easily mentioned Window Smashers’ Free To Be or Rio Rhythm Band’s Cuba Jakkin’ recorded in a garage using just the most basic equipment. Then there’s Playtime Toons’ Shaker Song, a favorite in clubs like Land of Oz, Trip and Shoom. Choice, choices indeed. Hopefully, the quality of music on Disc Two of Richard Sen Presents This Ain’t Chicago will be just as high and my choices just as difficult.
DISC TWO.
After the thirteen quality tracks that made Disc One of Richard Sen Presents This Ain’t Chicago such compelling listening. It was like being transported back in time, to the heady days of Acid House. You remember its carefree, inclusive, come one, come all attitude, dancing in dank, dark warehouses after spending half your evening traipsing up and down motorways, A roads and dimly-lit side-streets. Eventually, you arrived, following the noise of the P.A. and the stream of up-for-it ravers. Once there, you danced to a soundtrack similar to that on Disc Two of Richard Sen Presents This Ain’t Chicago. Here, Richard Sen has only room for eleven tracks, with producers like Sly And Lovechild, Static, Colm III, The E.L.F. and Annette entrusted with bringing back hazy memories of hedonistic nights, where anything went and usually did. Among the backdrop for your night of hedonism, chaos or carefree fun were tracks live the five I’ve chosen from Disc Two of Richard Sen Presents This Ain’t Chicago.
Sly And Lovechild’s The World According To Sly And Lovechild (Andrew Weatherall Soul Of Europe Mix) is my first choice from Disc Two of Richard Sen Presents This Ain’t Chicago. Released on 1990 on the Heavenly label, it’s certainly designed to grab your attention. Opening with the sampled sound of a half-spoken vocal and subtle jazz-tinged piano, Eastern percussion adds to the moody sound. Soon, you think, the track is ready to explode. Drums pound, swathes of synths unravel, with the vocal central to track’s sound and success. Percussion enters, with Andrew Weatherall fresh from mixing Loaded, remixing the track. Things get even better when a diva-esque vocal enters, adding to the dramatic, dynamic sound. You’re hooked, swept along by a track that although over twenty years old, still has a contemporary sound.
Static’s Iron Orbit (J. Saul Kane Mix) was released in 1989 on the Static label and demonstrates a much heavier, industrial sound. This is apparent when the drums pound so much your speakers complain at the punishment. Layers of synths maraud along, while a pulsating bass, percussion and a myriad of industrial sounds join the fray. They produce a sound that’s abrasive, industrial and pulsating. It was perfect for the cavernous warehouse and clubs that were the cathedrals, where Acid House followers came to give thanks to its sounds and delights.
Show Me What You Got by S.L.F. was released back in 1988, and has taken as its inspiration two different musical genres. Keyboards are inspired by Italian piano house, while squelchy, synths crispy, pulsating drumbeats give the track its Acid House sound. This is a combination that works seamlessly. Hypnotic beats, a myriad of bleeps, beep and squelches are at the heart of the track’s sound. Unlike many tracks from this era, the track still has a contemporary sound. It’s aged well, like a bottle of fine wine. Drop this track in any club and the place would explode.
Bizarre Inc.’s Technological (Detroit Mix) is another track that owes a debt of gratitude to the spiritual home of house and techno music Chicago. Released in 1988 on Blue Chip Recordings, the track mixes 4/4 beats with a synth sound that sound not unlike Mr. Fingers’ classic Chicago House track Washing Machine. Maybe this is just Bizarre Inc. paying homage to the Chicago House pioneer, but you can’t mistake the passing similarity. This was a groove designed with some hard jacking in mind. Just the beats, with the Detroit sounding marauding synths is all it takes to create a track that fuses house and techno seamlessly.
The last track I’ve chosen to mention on Disc Two of Richard Sen Presents This Ain’t Chicago is US’ Born In the North. This was the brainchild of a collective of Manchester based musicians, poets and artists. It’s a track that’s full of satire and political comment. Released in 1988, on Wooden Records, during a time when politicians, media and social commentators were fixated with the south of England, and London in particular. Here, US cock a snook at the London fixated politicians and media. Using a mixture of layers of synths, percussion, pounding and punchy horns, US fuse satire and sarcasm. Edward Barton’s dark, calm, but angry vocal articulates the feelings of everyone North of Watford, while a female vocalist parodies then Prime Minister Margaret Thatcher. The result is a track which isn’t just satirical and sarcastic, but was one of the first protest songs of the Acid House era.
Having posed the question whether Disc Two of Richard Sen Presents This Ain’t Chicago would match the quality and consistency of Disc One, I can say that not only does he manage to do so, but in some cases surpasses the quality on Disc One. During the eleven tracks, you rediscover the delights of Sly And Lovechild, Static, S.L.F., Bizarre Inc and US. These five artists are joined by artists of the calibre of Ability 2, Com III, M. D. Emm and Rohan Delano. Add these eleven tracks to the thirteen track on Disc One of Richard Sen Presents This Ain’t Chicago and you’ve twenty-four classics from the dawn of UK House and Acid House scene. Whilst writing this review, I was horrified to realize that it’s now twenty-five years since some of these tracks were first released. It doesn’t seem so long ago when these tracks were part of something very special, something new and something where everyone was equal. No longer were you turned away at the door because your face or race didn’t fit. Quite the opposite. During the Acid House years, it was all inclusive, with rich and poor and all colors and creeds dancing side by side. Friendships were made that lasted the next twenty-five years, while those that said the whole dance scene wouldn’t last long, have been proved wrong. Not only did Acid House prove to have longevity, but proved to be the springboard for new scenes. House music became one of the biggest, most important musical genres during the nineties and beyond. For those who were there back at the birth of UK House and Acid House, then Richard Sen Presents This Ain’t Chicago will bring back magical, heady memories of the whole scene. For newcomers, who weren’t around back in 1987, then Richard Sen Presents This Ain’t Chicago will introduce you to some of the best tracks from the glory days of UK House and Acid House. Standout Tracks: Bang the Party Bang Bang You’re Mine (Full Vocal Release), Julian Jonah Jealousy and Lies, Sly And Lovechild’s The World According To Sly And Lovechild (Andrew Weatherall Soul Of Europe Mix) and S.L.F. Show Me What You Got.
RICHARD SEN PRESENTS THIS AIN’T CHICAGO.
THE DELLS-ONE STEP CLOSER.
THE DELLS-ONE STEP CLOSER.
The last time I reviewed an album by The Dells, it was their 1978 album Love Connection. Like their previous album, They Said It Couldn’t Be Done But We Did It Anyway, it was produced by Norman Harris’ The Harris Machine. Along with some of Philly’s finest musicians, The Harris Machine gave The Dells a Philly Sound makeover. Sadly, neither albums was the commercial successes the music deserved. Love Connection was The Dells’ final album for Mercury. After this, they signed to ABC, releasing two albums, New Beginnings and Face To Face. New Beginnings released in 1978, saw an upturn in The Dells’ fortunes, reaching number 169 in the US Billboard 200 and number fifty-five in the US R&B Charts. Face To Face, released in 1979 reached reaching number 203 in the US Billboard 200 and number seventy-one in the US R&B Charts. For 1980s I Touched A Dream, The Dells signed to 20th Century Fox. It became their most successful album since The Mighty Mighty Dells, reaching number 137 in the US Billboard 200 and number twenty in the US R&B Charts. Thinking their career was on an upturn, The Dells released Whatever Turns You On, but it failed to chart. Without a record deal, The Dells didn’t release another album for three years, until 1984s One Step Closer, which was released by SoulMusic Records on 18th June 2012. Would One Step Closer, The Dells’ twenty-second album, get their career back on track?
After a two year absence from the recording studio, the five members of The Dells Marvin Junior, Mickey McGill, Verne Allison, Johnny Carter and Chuck Barksdale signed to Los Angeles based Joe “Hitman” Isgro’s Private I Records. Since the release of their last album for Cadet, 1975s We Got To Get Our Thing Together, The Dells had spent time on Mercury, ABC and 20th Century Fox Records. Their previous album, 1981s Whatever Turns You On had been the least successful album of their career. Now thirty-one years after forming in 1952, The Dells were ready to record the twenty-second album of their career for Private I Records. Their new label had previously revived the careers of The Chi-Lites, Staple Singers and Bonnie Pointer. Could they do the same with The Dells?
For what would become One Step Closer, a number of producers and songwriting teams would work with The Dells. Chuck Jackson and Martin Yancy cowrote three song and produced five of the songs on One Step Closer. David Williams wrote one track, cowrote another and produced two tracks on the album. The other track, I’m Your Man, written by Ashford and Simpson, was produced by David Johnson and Archie Russel. These eight tracks would becme One Step Closer, The Dells twenty-second album of their thirty-two year career. However, unlike their previous albums, One Step Closer was recorded on a budget.
Whereas The Dells had been used to recording albums for big labels like Chess, Mercury, ABC and 20th Century Fox, Private I Records didn’t have such deep pockets. Recording was taking place in Chicago and California, but during the recording sessions, The Dells felt violins were needed for a track. This needed more money, $2,500 to be precise to pay the arranger. After a trip to see label owner Joe “Hitman” Isgro, The Dells had the money to pay their arranger. Even then another problem arose. The booth was really small. Indeed, it was so small, that the strings had to be recorded sitting on the steps inside the building. Eventually, the sessions were completed and One Step Closer was One Step Closer to being released.
One Step Closer was released in 1984, reaching number forty-nine in the US R&B Charts. Three singles were released from One Step Closer. You Just Can’t Walk Away reached number twenty-three in the Us R&B Charts. The title-track One Step Closer reached number forty-six in the US R&B Charts. Love On was the final single released from One Step Closer, reaching number sixty in the US R&B Charts. After the disappointment of Whatever Turns You On not charting, One Step Closer saw The Dells making a comeback. However, what did One Step Closer sound like?
Opening One Step Closer is the title-track One Step Closer, one of the three singles, and a track Chuck Jackson and Martin Yancy cowrote and produced. The tempo is quick, with the rhythm section and washes of synths giving way to The Dells’ tight, urgent harmonies. Then comes Marvin Junior’s lead vocal. He’s lost none of his vocal prowess during their three year absence from recording. Very different is the arrangement, with its reliance on synths and drum machines. It’s very difference from The Harris Machine productions on Love Connection, with Philly’s finest musicians. Having said that, Marvin’s vocal and the harmonies are just as good. Welcome back The Dells.
Love On was the third single released from One Step Closer. It has a dramatic introduction, designed to grab your attention. This it does. What follows is one of Marvin’s best vocal. His vocal has a tenderness, but is impassioned and full of sincerity. Stabs of keyboards,a rhythm section that’s both soulful, but slightly funky provides a fitting backdrop. The rest of The Dells add equally tender, impassioned harmonies. Bursts of punchy rhythm section ensure The Dells have your attention. This they do, on one of the highlights of One Step Closer, delivering vocals and harmonies like only The Dells can.
You just know when the mid-tempo You Just Can’t Walk Away begins, that this is another gem from The Dells. Comparisons can be drawn with Teddy Pendergrass in the with its subtle heartfelt delivery. The other Dells deliver some tight, tender harmonies, while the arrangement sees keyboards and the rhythm section playing around The Dells, allowing them to do what they’d been doing so well since 1952. As the song progresses, Marvin’s vocal grows stronger, full of feeling, longing and love. Realizing just how good Marvin’s vocal is, the rest of The Dells lift their game. Their harmonies are the perfect accompaniment, fries to Marvin’s burger. No wonder this track gave The Dells their biggest single since 1980s I Touched A Dream, reaching number twenty-three in the US R&B Charts.
Even though One Step Closer is made on a budget, with synths and drum machines replacing what many people would call “real musicians,” Come On Back To Me still works. Here, the synths and drum machines are augmented by bass and guitars, giving the track a real eighties synth sound, this doesn’t matter. They provide the appetizer, while The Dells vocal talents provide the main course and dessert. Drums pound, while washes of synths and keyboards precede the vocal. Soon, Marvin takes over the lead vocal, throwing himself into the vocal, combining power and passion. Quickly, the vocal changes hands again, with the other Dells adding punchy harmonies, accompanied by equally punchy drums which crack. It’s the vocal that grab your attention, and what you focus on. However, I wonder what the song would’ve sounded like with the musicians that played on Love Connection?
A piano meanders in, before lush strings cascade and Holdin’ On, a dramatic, heartfelt and emotive ballad unfolds. The vocal is shared, with each Dell adding to the drama and emotion. They deliver the lyrics as if they mean every word, getting across the subtleties and nuances of the lyrics. One of the best arrangements on One Step Closer unfolds. There’s less reliance on synths, with a the piano and rhythm section providing the perfect backdrop for the vocal. Then there’s the strings recorded on the studio’s steps. Even they work really well, adding to the track’s irresistible sound.
Don’t Want Nobody sees a change in producer, with David Williams taking over. Straight away, a very different sound emerges from your speakers. Gone are the synths and drum machines. Instead, percussion, a pounding, funky rhythm section and keyboards combine. There’s even a Latin feel and sound to the arrangement. You sense this will lead to The Dells raising their game. Marvin grabs the song by the scruff of the neck, his vocal powerful and passionate. Tight, soaring harmonies augment his vocal, while the percussion heavy arrangement is enchanting and beguiling.
I Am Your Man written by Ashford and Simpson, sees the introduction of another production team, with the track produced by David Johnson and Archie Russel. They’re responsible for an arrangement that features keyboards, rhythm section and slow, sweeping strings whose lush sound are perfect for The Dells’ vocals. Marvin’s vocal is slow, heartfelt and sincere, delivering the vocal as if he means it. The when the other Dells add harmonies, they match Marvin stride for stride, their delivery just as intense and fervid. Of the eight songs on the album, Ashford and Simpson provide the
Closing One Step Closer is Jody, which was produced by David Williams. It sees another change in sound. Percussion, rhythm section and rocky guitars combine, with the bold guitar sound dominating the arrangement. Marvin’s vocal is equally bold. Quickly, the vocal changes hands, with each vocal probing, questioning “who is this Jody?” Although very different, with its marauding, rocky guitars, adds to the drama and of the arrangement, which incidentally, has a much more electronic sound than the other David Williams produced track.
Although The Dells had been without a recording contract since the commercial failure of 1981s Whatever Turns You On, The Dells that can be heard on 1984s One Step Closer, hadn’t lost any of their vocal prowess. Marvin Junior’s vocals were just as emotive, impassioned and sometimes, powerful as on Love Connection. However, the production style on One Step Closer was very different from The Harris Machine produced Love Connection. On Love Connection, Norman Harris and some of Philly’s finest musicians produced a really polished album where he gave The Dells a Philly Sound makeover. It wasn’t possible to produce as polished a sounding production on One Step Closer given the much lower budget available for The Dells. They’d even to ask for just $2,500 to pay someone to arrange the strings. So instead of the big production of Love Connection, synths and drum machines replaced what some people call “real musicians.” What the three producers or productions came up with were a variety of production styles. Sometimes synths and drum machines were used, other times the rhythm section, had percussion and strings added. While this wasn’t what many people must have expected from a Dells’ album, it worked well, with The Dells’ trademark vocals still of the quality you’d expect. Tracks like Love On, You Just Can’t Walk Away, Holdin’ On, Don’t Want Nobody and I Am Your Man may have differing production styles, but they’re a fitting accompaniment to The Dells. While One Step Closer is quite different from albums like They Said It Couldn’t Be Done But We Did It Anyway and Love Connection, one thing stays the same…The Dells vocals and harmonies. For anyone whose a fan of The Dells, R&B and soul music, then The Dells twenty-second album One Step Closer released by SoulMusic Records on 18th June 2012 is something of a hidden gem in their long and illustrious back-catalogue.To me, it’s hidden gem that’s well worth unearthing and comparing to They Said It Couldn’t Be Done But We Did It Anyway and Love Connection, when The Harris Machine gave The Dells a Philly Sound makeover. Standout Tracks: Love On, Holdin’ On, Don’t Want Nobody and I Am Your Man.
THE DELLS-ONE STEP CLOSER.
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DENIECE WILLIAMS-I’M SO PROUD.
DENIECE WILLIAMS-I’M SO PROUD.
Sometimes, the difference an experience and talented producer can make to an artist’s career can’t be underestimated. While everyone has their own examples, Deniece Williams certainly felt this when she first met Thom Bell. Instantly, they realized they were musical soul mates. By that time, Thom Bell was a vastly experienced producer, having worked with artists like The Delfonics, Detroit Spinners and The Stylistics. So, in hiring Thom Bell to co-produce Deniece’s 1981 album My Melody, it was no surprise when the albumwas certified gold. Given the success of My Melody, it’s no surprise that Thom was hired to co-produce the followup Niecy. However, when Deniece came to record her sixth solo album I’m So Proud, Thom Bell wasn’t available. Considering how well they worked together and the musical results, this must have been hugely disappointing. With Thom Bell unavailable, another producer was needed. Rather than choose one producer, instead, production duties were shared between Deniece, jazz legend George Duke and Bill Neale. George Duke and Deniece had met at a party and spoked about working together in the future. A few months later, this collaboration was underway, with George sharing production with Bill Neale. How would the sharing of production duties and Thom Bell’s absence affect I’m So Proud?
For Deniece’s sixth studio album I’m So Proud, a mixture of new material and cover versions were chosen. Deniece wrote one track and cowrote three tracks. Two of these she cowrote with producer George Duke. The other track Deniece cowrote was Love, Peace and Unity, which she cowrote with Scott Sigman. Among the other four tracks, were covers of a track Curtis Mayfield wrote for The Impressions, I’m So Proud. Two other tracks were They Say which Skip Scarborough and Theresa McFaddin cowrote, plus Heaven In Your Eyes written by Raymond Jones and Love. On So Deep In Love, which Jeff Barry and Bruce Roberts cowrote, Deniece is reunited with Johnny Mathis and they shares the lead vocal. With the eight tracks chosen, Deniece headed to various studios, one in New York and Los Angeles with producers George Duke and Bill Neale.
With two producers working on I’m So Proud, recording took place at various studios. For the four tracks produced by George Duke, the tracks and vocal were recorded at The Complex in Los Angeles. Later, guitars, keyboards and percussion were overdubbed at Le Gonks West in Los Angeles. Not only did George Duke produce these four tracks, but played keyboards and drums on these tracks. Given the recordings took place at different studios, George used different musicians to Bill Neale.
For the three tracks that Bill Neale produced, two studios were chosen. Monterey Sound Studios in Glendale California and Sunset Sound Studios in Hollywood were chosen. Bill arranged and produced the three tracks, while using different musicians to George Duke.
The other track, Love, Peace and Unity was produced by Deniece, with the track recorded at New York’s Sigma Sound Studios. Given recording of the eight tracks on I’m So Proud were recorded at five separate studios, a long list of musicians were used
Among the long list of talented musicians that would play on I’m So Proud, were a rhythm section of guitarist Paul Jackson Jr., bassist Louis Johnson and drummer Rickey Lawson. Accompanying them were percussionist Paulinho DaCosta and keyboard player Jerry Peters. Not only did George Duke produce four tracks, but played keyboards and drums on these tracks. Eventually, the eight tracks that became I’m So Proud were recorded. All that was left was for I’m So Proud to be released. Would it match the success of Deniece’s two previous Thom Bell produced albums My Melody and Niecy?
Before the release of I’m So Proud in May 1983, Do What You Feel reached number 102 in the US Billboard 100 and number nine in the US R&B Charts. On the release of I’m So Proud in May 1983, it reached number fifty-four in the US R&B Charts and number ten in the US R&B Charts. This didn’t match the success of Deniece’s previous album Niecy. It had reached number twenty in the US Billboard 200 Charts and number five in the R&B Charts. July 1983 saw the release of the title-track I’m So Proud, which reached number twenty-eight in the US R&B Charts. The final single was Heaven In Your Eyes, released in September 1983, but failed to chart. Unlike Niecy, the singles released from I’m So Proud didn’t prove as popular. Niecy had contained It’s Gonna Take A Miracle, which gave Deniece a US R&B number one single, plus two other hit singles. Although I’m So Proud didn’t match the success of Niecy, how do the two albums differ? That’s what I’ll tell you, once I’ve told you about the music on I’m So Proud.
Do What You Feel opens I’m So Proud, and is a track Deniece and George Duke cowrote, with George producing the track. There’s a real George Duke sound to the track from its opening bars. Funk and soul are fused during the track. When the keyboards open the track, you’ve no hint of what’s about to unfold. The pounding rhythm section is funky, while chiming guitars and blazing horns punctuate the arrangement. Here, Deniece’s vocal is looser than on tracks on Niecy, but still soulful. It soars high, quivering, replacing the sizzling horns. Sometimes, the horns showboat, grandstanding as they’re played with power. However, Deniece holds her own, mixing power and emotion. She copes well with the fusion of funk, jazz and soul, demonstrating a quite different side to her music.
I’m So Proud was written by Curtis Mayfield and recorded by The Impressions, giving them a hit in 1965. Here, Bill Neale takes over production duties, producing the perfect arrangement for Deniece’s tender, heartfelt vocal. He combines keyboards, guitars backing vocalists and the rhythm section. They produce a slow, spacious and understated arrangement. Later, a harmonica solo adds the finishing touch to the arrangement. It’s replaced by Deniece’s vocal which soars, trembling and quivering emotively, while backing vocalists accompany her. Here, Deniece and Bill Neale give an old song a new twist, breathing new life and meaning into it.
So Deep In Love sees Deniece joined by Johnny Mathis, who sing a duet. As the arrangement begins, it’s dark and dramatic, stabs of piano, layers of pounding guitars and the rhythm section combining. It’s unlike anything else on I’m So Proud, but has the required effect. It grabs your attention. You’re intrigued and certainly not disappointed. The combination of Deniece and Johnny is a potent one. There’s a chemistry between them that’s almost tangible. Their voices compliment each other, while the dramatic arrangement provides a fitting backdrop to the emotion and chemistry in their voices.
I’m Glad It’s You is another of the George Duke production, but quite different from his production on Do What You Feel. He produces a much slower, more soulful sounding backdrop for Deniece’s tender, impassioned vocal. Gone is the funk and blazing horns. They replaced by melodic keyboards, percussion and the an understated rhythm section. They combine, producing an arrangement that not only suits the song, but compliments Deniece’s vocal. This suits the song, and is much more Deniece Williams in sound. That’s what makes this one of the highlights of I’m So Proud.
Punchy drums pound, augmented by percussion, before the rhythm section and chiming guitars combine on Heaven In Your Eyes. It’s a much bolder sound, Deniece’s dramatic, emotive vocal swept along amidst waves of keyboards, a driving, slightly funky rhythm section and guitars. Later, George Duke adds jazzy keyboards, mixing jazz and funk. Again, this is a very different Deniece Williams from the one we heard on Melody and Niecy. Having said that, her vocal is full of life and energy, on a track that shows how versatile a vocalist she is. Whether soul, funk or jazz, she’s just at home.
They Say was co-written by Skip Scarborough and Theresa McFaddin and isn’t just one of the best songs on I’m So Proud, but one that could’ve been written with Deniece in mind. There’s also another change of producer, with Bill Neale taking charge. He produces a seven minute epic track that has you spellbound Immediately, you realize something impressive is about to unfold. You’re not disappointed. Waves of keyboards and rhythm section combine, before Deniece’s vocal enters. As the arrangement meanders along, the emotion in Deniece’s vocal is palpable. Backing vocalists accompany her, sometimes sharing the lead vocal. Here, Deniece seems totally at home, delivering a heartfelt, impassioned vocal against an arrangement that’s elegant and beautiful.
Deniece and Scott Sigman cowrote Love, Peace And Unity, a track packed full of social comment and optimism. She also produced the track, which has a very different sound to other tracks on I’m So Proud. When the track opens, it’s with sizzling rocky guitars, before it’s all change. An almost reggae style is revealed, with keyboards, the rhythm section and percussion responsible for this. Her vocal is filled with optimism and sincerity, as the arrangement flows along. Suddenly, there’s space within the arrangement, filled by percussion, dramatic drums and her deliberate vocal. This is really effective, ensuring you listen to the lyrics.
Closing I’m So Proud is It’s Okay, which Deniece and producer George Duke cowrote. Chiming jazz-tinged guitars, stabs of dark keyboards combine, before giving way to a joyous sounding arrangement. Deniece’s vocal almost floats along, atop the jazzy arrangement spreading her message of hope. Meanwhile, the rhythm section, guitars, rasping horns and percussion combine. Later, a braying horn dances above the arrangement, before Deniece’s vocal returns. When it drops out, she’s joined by a children’s choir, percussion and whistles that give the track a carnival atmosphere. This is the perfect way to close I’m So Proud, with its positive message, hope, and a joyful sound.
Earlier I wondered how having three separate producers would affect I’m So Proud? In some ways it worked well, allowing Deniece to explore new musical styles. George Duke took her music in a different direction from Thom Bell, fusing funk, jazz and soul, sometimes within the same song. This was the case on Do What You Feel, which has a trademark George Duke sound. You could pick a George Duke production out any musical lineup. After that, he changed his production style, making it suit Deniece’s vocal. Gone were the showboating, blazing horns that were a feature of Do What You Feel. On I’m Glad It’s You, in came a much more mellow, understated arrangement from George, much more suited to Deniece’s delivery. Then came I’m Glad It’s You, which is the best of the four tracks he produced.
Of the other four tracks on I’m So Proud, Bill Neale produced three of them. Deniece’s cover of The Impression I’m So Proud breathed new life, meaning and energy to the track. However, it was on They Say, which Skip Scarborough and Theresa McFaddin cowrote, that Bill Neale surpassed everything else on the album. It features a heartfelt vocal from Deniece, with an elegant, beautiful and complimentary arrangement from Bill. This to me is the highlight of the album. The other track Love, Peace And Unity, which Deniece produced herself has a quite different, compelling sound but is full of hope and optimism.
I’m So Proud has a much more eclectic selection of songs than My Melody and Niecy. The album was produced by two talented and experienced producers, whose approach was quite different to Thom Bell’s. For me, Thom Bell’s sound has always been polished and tight. The musicians don’t have the freedom that say Gamble and Huff would give them. Here, George Duke gave Deniece more freedom to try to explore new styles of music, while Bill Neale’s “sound” was much more Deniece Williams. Although this results in an album of quality music, it wasn’t as successful as My Melody and Niecy, Deniece’s two previous Thom Bell produced albums. Whether you prefer the tighter, more polished Thom Bell sound or the production style of George Duke and Bill Neale will be down to personal taste. For me, as a lover of the Philly Sound and an admirer of Thom Bell’s work my preference is for My Melody and Niecy. However, I’m So Proud, which was rereleased by BBR Records on 25th June 2012, has one thing in common with My Melody and Niecy…its quality. Standout Tracks: I’m So Proud, I’m Glad It’s You, Heaven In Your Eyes and They Say.
DENIECE WILLIAMS-I’M SO PROUD.
CHAKA KHAN-NAUGHTY.
CHAKA KHAN-NAUGHTY.
After Rufus released their sixth album Street Player in 1978, Chaka Khan decided the time was right to launch her solo career. Her peerless vocals played a huge part in the success of Rufus, resulting four of their albums being certified gold and 1977s Ask Rufus being certified platinum. Chaka’s solo career started where her career with Rufus had ended with another hugely commercially successful album Chaka. It reached number twelve in the US Billboard 200 and number two in the US R&B Charts in 1978. Adding to the success of Chaka was a track that since then, has become synonymous with Chaka Khan, I’m Every Woman. On its release in 1978, it reached number one in the US R&B Charts and number twenty-one in the US R&B Charts. Since then, I’m Every Woman has become a feminist anthem. With such a successful debut solo album, you’d have thought Chaka would head straight back to the studio and record the followup to Chaka? That however, wasn’t the case. While she headed to the studio, it was to record Rufus’ 1979 albumI Masterjam. Billed as Rufus and Chaka Khan, it was certified gold. A year later, Chaka would release her second solo album Naughty. However, could it match the commercial success of 1978s Chaka, or even Masterjam, her final album with Rufus?
For Naughty, ten tracks were chosen for what was the followup to Chaka. Two of these, were written by Ashford and Simpson. These were Clouds, the first single to be released from Naughty, plus Our Loves In Danger. Greg Diamond would write another of the singles, and another track that’s become synonymous with Chaka, Papillon (Hot Butterfly). Chaka cowrote just one track on Naughty, What You Did. It wouldn’t chosen as a single, with Get Ready, Get Set was cowritten by Kathy Anderson, Ellison Chase, Bill Haberman and Art Jacobson chosen instead. Producing Naughty would be Arif Mardin, who’d produced Chaka.
For the recording of the ten tracks that would become Naughty, Arif Mardin put together a multitalented band. In total, over fifty musicians and backing vocalists would play their part in recording sessions at Atlantic Studios in New York. Some musicians played on one track, others several tracks. Among these musicians were bassist Marcus Miller, guitarists Phil Upchurch, Hiram Bullock and Steve Khan plus drummer Steve Ferrone. They were joined by keyboard player Leon Pendarvis, percussionist Sammy Figueroa and tenor saxophonist Michael Brecker. Backing vocalists included Whitney and Cissy Houston, Luther Vandross and Ullanda McCullough. With the ten tracks the became Naughty recorded, the album was set for release in 1980. Could Naughty match the success of 1978s Chaka?
On the release of Naughty, it reached number forty-three in the US R&B Charts and number six in the US R&B Charts. Although this didn’t match the success of Chaka, Naughty didn’t have a single like I’m Every Woman. Instead, the Ashford and Simpson penned Clouds was the most successful single, reaching number ten in the US R&B Charts. Clouds/Papillon (Hot Butterfly) would reach number thirty-one in the US Dance Music Club Play Charts. The third and final single was Get Ready, Get Set, which reached just number forty-eight in the US R&B Charts. However, although Naughty didn’t replicate the success of Chaka, how good is the music on the album?
Opening Naughty is Clouds, the first of two Ashford and Simpson penned tracks. Pounding drums and keyboards open the track, before cascading strings and soaring backing vocals signal Chaka’s arrival. She picks up where she left of on Chaka. Her vocal is powerful, strong but soulful. Backing vocalists accompany her, while guitars augment the pounding rhythm section and keyboards. It’s noticeable that Chaka’s vocal range in widening. She delivers the lyrics with a mixture of power and passion, accompanied by a band that fuses funk, soul and even rock guitars, with plenty of drama thrown in for good measure.
Like Clouds, Get Ready, Get Set was one of three singles released from Naughty. It’s track that benefits from a more understated arrangement. The rhythm section, synths and guitars accompany Chaka, whose vocal is softer and subtler. Sometimes, she unleashes her full vocal range, while backing vocalists add understated harmonies. Again, the sizzling guitars soar above the arrangement, matching Chaka stride for stride and note for note. Unlike Clouds, this track has a looser, spacier arrangement, one that suits Chaka’s impassioned vocal.
Jazz-tinged guitars, sweeping strings and the rhythm section create a meandering arrangement, as Move Me No Mountain starts to reveal its hidden depths. Chaka’s vocal starts of heartfelt, much gentler, perfect for the arrangement. That doesn’t mean Chaka won’t demonstrate her full vocal range. Soon, she’s off and running. Her voice soars, while strings cascade as guitars, percussion and the rhythm section combine. Bursts of moody horn give way to an arrangement that bursts into joyously into life. From there, Chaka and her backing vocalists indulge in some dynamic, dramatic vocal interplay. This is just the finishing touch to a track that would’ve made a great single.
A melodic keyboard solo opens Nothing’s Gonna Take You Away, before Chaka’s slow, dramatic vocal enters. The tempo is much slower, with the rhythm section, swathes of strings, percussion and some of the most soulful backing vocals accompanying Chaka. Still the melodic keyboards, jazzy guitars and backing vocals are key to the track, before producer Arif Mardin drops in a sultry saxophone solo. After that, Chaka vamps her way through the rest of the track, competing with the saxophone. Eventually, it wins out, closing the track with its sultry, seductive strains.
So Naughty explodes into life, horns blazing, Chaka’s vocal strong and dynamic, soaring high, while a punchy, funky rhythm section punctuate the arrangement. With a drum roll, things change. A much more understated sounding arrangement arrives. Chaka’s just accompanied by keyboards, guitars and the rhythm section. They’re joined by bursts of blazing horns, while Chaka and her band explore two sides of the song. One minute it’s punchy, dramatic and full or energy, the next much more understated in sound. Backing vocalists accompany Chaka, who throughout the track delivers a vocal that’s sassy and confident, as she and her band fuse elements of funk, soul and jazz flawlessly.
Too Much Love has a very different sound when the track begins. Waves of jagged, rocky guitars assail you, driving the track along. They’re almost ever-present, dominating the arrangement. This is a pity, because Chaka delivers a vocal that’s powerful and impassioned, quite different in sound. Here, her voice is different to the the Chaka Khan we heard on Chaka, due to her range increasing. Throughout the track she’s accompanied by backing vocalists, who compliment her vocal. Percussion, the rhythm section and keyboards replace the guitars, before they make they’re return. They’re then joined by frenzied percussion, that like the guitars, detracts from the arrangement. This could’ve been a much better track, if not for the rocky guitars and frenzied percussion.
Funky is the best word to describe All Night’s All Right. The rhythm section and guitars combine with blazing horns, playing slowly but funkily. Chaka’s vocal is slow, starting way down low and gradually, soaring high. Punchy, soaring backing vocalists add a soulful side to the arrangement. Fiddles are used, but don’t sit well, their sound grating and out of place. The rest of the band, play slowly, leaving space within the arrangement, which Chaka and her backing vocalists fill. However, by the end of the track, you’re left with the feeling that the track lacks something. Funky and soulful in parts it is, but sadly, It lacks the sparkle of the first five tracks.
After two disappointing tracks, What You Did sees Chaka get Naughty back on track. Again, the arrangement displays a funky side, while Chaka adds the required soul. The rhythm section, guitars, keyboards and backing vocalists combine, as the track meanders along, while bursts of growling horns punctuate the arrangement. Later, another searing, rocky guitar is unleashed. Thankfully, it only makes a brief appearance, with producer Arif Mardin heeding the maxim less is more. Here, it’s Chaka and her backing vocalists who play the biggest part in the track’s sound and success. She mixes power, passion and emotion perfectly and purposely, getting Naughty back on the right road after two wrong turns.
Probably the best known track on Naughty is Papillon (Hot Butterfly) written by Greg Diamond. His version is the definitive version, wonderfully over the top, but Chaka’s comes a close second. Here, she delivers her best performance on Naughty. She’s helped along by her backing vocalists and a truly stunning arrangement. The arrangement literally bursts into life, a wistful harmonica giving way to pounding drums, guitars and keyboards. Then comes Chaka, strutting her way through the track, the interplay between her backing vocalists peerless. Lush strings, percussion, keyboards and later, the addition of a harmonica solo is a masterstroke. It breaths even further energy into the track, as if it needs it. As this hook-laden, joyous classic track ends, you find yourself pressing play again. No wonder, it’s a truly irresistible track from Chaka. Now check out Greg Diamond’s version.
Closing Naughty is Our Love’s In Danger, which Ashford and Simpson cowrote. It has a quality you expect from such a talented songwriting team. Flourishes of keyboards, cascading strings and a pounding rhythm section combine, accompanying Chaka’s frustrated, emotive vocal. Backing vocalists add to the drama of the track, adding some of the best and most soulful harmonies on the album. Similarly, the band are tighter, mixing funk and soul flawlessly. Blazing horns, lush strings, soulful harmonies and a funky rhythm section. It’s all there, with the band raising their game one more time, ensuring Chaka ends Naughty on a real high. Maybe having such a good song to sing and play helped everyone lift their game. It’s just a pity Ashford and Simpson didn’t supply more songs for Naughty.
After a gap of two years since she released her debut solo album Chaka, Chaka Khan returned with the followup Naughty. It didn’t match the success of Chaka, which had featured the classic, anthemic track I’m Every Woman. There was no such track on Naughty, although Papillon (Hot Butterfly) became one of Chaka’s most popular tracks and a staple of her live shows. Ashford and Simpson provided Naughty’s two of the best tracks on Naughty, Clouds and Our Love’s In Danger. While these were the highlights, Too Much Love and All Night’s All Right didn’t have the same quality. Here, Chaka was let down by the production, which just didn’t work and to be kind, grated and lacked sparkle. With two tracks in a row that didn’t work, Naughty was in danger of coming off the rails. Luckily, things improved on What You Did, before finishing on a high with Papillon (Hot Butterfly) and Our Love’s In Danger. Overall, Naughty was two tracks away from being an album that matched her debut album Chaka. What it lacked was a hook-laden single like I’m Every Woman. Obviously, tracks of that quality and stature are one-offs. However, maybe the solution was to hire successful songwriters with a proven track record. Who better than Ashford and Simpson, who’d had long and established track record? They could’ve provided help not just as songwriters but as producers. Maybe then Chaka’s career would’ve taken a different road? Although her fortunes improved with her next album, 1981s What Cha Gonna Do About Me, by 1982 she was collaborating on an album of jazz standards Echoes Of An Era, with jazz musicians including Joe Henderson, Chick Corea and Freddie Hubbard. By 1983, Chaka was back with Rufus, releasing the live album Stompin’ At the Savoy. Then in 1984, Chaka released the platinum selling album I Feel For You. I’ve always wondered whether, if things had been different, with different songwriters providing material for Chaka Khan, whether the huge success she enjoyed with I Feel For You could’ve come earlier. After all, Naughty was only two songs away from being a great album, rather than the good album it was. Standout Tracks: Clouds, Move Me No Mountain, Papillon (Hot Butterfly) and Our Love’s In Danger.
CHAKA KHAN-NAUGHTY.
BARA BROST-KOKOLORES.
BARA BROST-KOKOLORES.
Sometimes, very occasionally, an album comes along, that from the moment it you first play it, you’re hooked, swept away by its charms and delights. This is what happened when I first received Bara Brost’s second album Kokolores, which will be released by BBE Music on 9th July 2012. From the opening bars of The Gunman, Bara Brost, provide the perfect soundtrack to the long hot summer months that lie ahead. From there, they take you on a journey, where you meet a cast of characters and guest artists. With tracks Juicy Lady, My Mess, Tony Curtis and Stupid Little Story of A Bass Drum, you can’t help but be intrigued. I know I was. Once I put Kokolores on, I didn’t budge until I’d heard the fourteen tracks. During that time, Benjamin Quint and Markus Schwarzbauer, aka Bara Brost introduce guest artists Conan Kowalski, Capey Cash, Igid Pop and Domonique. They all play their part in Kokolores sound and success, as Bara Broest, fuse their unique brand of Deep and Funky House, with elements of disco, poppy hooks and a subtle twist of Detroit Techno. The result is Kokolores, an enchanting, charming and compelling collection of tracks, that are designed to instantly win you over. Before I tell you about the music on Kokolores, I’ll tell you about Bara Brost.
Although the two members of Bara Brost Benjamin Quint and Markus Schwarzbauer have been friends since school, they’ve only been producing music together for a few years. The story of Bara Brost began when Benjamin and Markus started sharing an apartment in the Neukolln district of Berlin. A shared love of house music lead to them converting part of their apartment into a studio. This is where they recorded their debut album Elephancycle, which was released on BBE Music in September 2012.
Elephancycle was what many people would call a concept album, about a night spent at the circus. During the fourteen tracks, Bara Brost introduce you an almost surreal cast of characters. There’s Madame Milla, who heats up the circus tent with her brass band. Then there’s Zebril, an African crocodile who somehow, has managed to swallow a zebra. This brings us to the star of Bara Brost’s show, the bashful elephant Pete, whose speciality is doing tricks on an undersized bicycle. All this takes place against a backdrop of deep and tech house, with Bara Brost supplying hooks aplenty. On the release of Elephancycle, critics were one over by its delights, which was designed to put a smile on dancers and listener’s faces. This it did..and then some.
The following year, 2011 Bara Brost returned, with Elephancycle-The Remixes Part 1, a six track E.P. This whetted the appetite of their ever-growing fan-base, while Benjamin and Marcus worked on the followup to Elephancycle.
Now less than two years later, the followup to Elephancycle, Kokolores is completed, and will be released on 9th July 2012. Kokolores which many people won’t be aware of, is a German word meaning nonsense. It’s a word that’s origins are the sound of a rooster’s crow, but the word was used to describe the nonsensical, cocaine fueled chatter of Berlin’s bohemians and hipsters. However, this music is the polar opposite of nonsense or cocaine fueled chatter. Instead, Bara Brost bring you some enchanting, joyous music.
On Kokolores Benjamin and Markus of Bara Brost collaborate with a trio talented musicians, plus guest artists. They’re key to the fourteen tracks sound and success. Pianist Jonathan Moore, drummer Michael Neuber and Phillipp Stevens play a part in creating the lush melodies, warm welcoming sound, and proliferation of hooks that feature on Kokolores’ fourteen tracks. Along with guest artists Conan Kowalski, Capey Cash, Igid Pop and Domonique Bara Brost fuse Deep and Funky House with elements of disco and pop. These track on Kokolores, not only are blessed with a warmth, but are melodic and hook-laden as you’ll realize, when I tell you about some of the highlights of Kokolores.
My first choice from Bara Brost’s second album Kokolores is The Gunman, which features a vocal from Conan Kowalski. His wistful, melancholy vocal is perfect for the track’s haunting, thoughtful lyrics. They set you thinking. Who is this flawed character that Conrad sings about? He deliver his vocal against a backdrop of meandering, melodic synths and keyboards. Then, Bara Brost throw their first curve-ball of Kokolores. His vocal gives way to crunchy hypnotic beats, while waves of synths, hissing hi-hats and percussion provide a backdrop that’s variously light, melodic, hypnotic and infectiously catchy. Now Bara Brost have your attention, they’ll continue to hold it for a further thirteen tracks.
My Mess Part 1 sees the track head in the direction of Deep House, albeit with a twist of Detroit Techno thrown in. From the get-go, the track is mesmerizing and bewitching, with quality written all over it. A combination of pounding beats, stabs of keyboards and synths that create an entrancing backdrop. Then Bara Brost add the next and vital ingredient. This one is the finishing touch to the track’s sound and success. It’s seductive, sultry vocal from Igid Pop. Her vocal drifts sensually in and out of the track, providing a contrast to the dark beats and stabs of synths. By the end of the track, you realize that this is one of the real highlights of Kokolores.
Let Go features another of the guest artists that Bara Brost introduce over the fourteen tracks that comprise Kokolores. This time it’s Domonique whose the guest vocalist. Her vocal is sweet and soulful, reminiscent of many a soulful house or Nu Disco track. Here, Bara Brost provide a backdrop that sees wave upon wave of synths, pounding beats and percussion combine seamlessly. The result is more than pleasing. They create a track that’s not only blessed with a summery sound, but is anthemic and hook-laden. I’m sure this will be one track that will be a favorite of many a DJ this summer.
On Jimmy, Bara Brost reveal a different side to their music. The arrangement starts off slow and spacey, giving the track a pensive, introspective sound. Unlike other tracks the beats aren’t as crispy, with layers of synths and keyboards unravelling, reverberating, while the vocal is impassioned, heartfelt. There’s even an indie feel and sound to the vocal, which considering the dark, spacious electronic arrangement makes this a compelling and intriguing combination.
Captivating is the only way to describe Like We Do, as it begins to reveals its secrets and subtleties. Immediately, you’re hooked. Swathes and stabs of synths, percussion and dark pounding beats are combined by Bara Borst as the track begins. Then comes Capey Cash’s sassy vocal. It’s accompanied by handclaps, melodic synths, percussion and broody beats. They offer a contrast to the light, bright, melodic synths. Soon, the tempo hits 123 beats per minute, with the track revealing a good-time sound, that has more than its fare share of hooks. For nearly six minutes, Bara Brost have you captivated with their uplifting, refreshing and unique brand of house music with a twist of disco.
Igid Pop whose vocal features on My Mess Part 1 returns on Aerobic. Whether this is a coincidence or not, Aerobic is another of the highlights of Kokolores. It’s an irresistible track, which is full of contrasting sounds. Key to this are the melodic keyboards that are central to track’s sound. They sit well with crystalline guitars, while the beats and percussion drive the track along. Offering a contrast are regular bursts of a dark vocal, which is contrasted by Igid’s carefree, sassy vocal. Soon there’s sensual chemistry developing between the two vocals, the interplay between them, adding to the track’s irresistible quality.
All Over Now sees the return of Domonique, whose vocal on Let Go was key to the track’s sound and success. Stabs of synths and crunchy beats combine to drive the track along, before Domonique’s whispery, breathy vocal enters. Immediately, you realize the vocal is the same quality as on Let Go, but is different. This time, her vocal has an air of mystery. It drifts in and out of the track, resulting in you awaiting its return. Too soon it’s gone. It’s replacement are layer upon layer of synths. These are unleashed in waves, cascading joyously. They sweep you along, on a joyful, melodic journey, while the crunchy drumbeats provide the track’s heartbeat. The result is a glorious slice of Deep House, fused with elements of disco and poppy hooks that again, has the makings of a summer anthem.
Closing the musical adventure that’s Bara Brost second album Kokolores, is Meli Melo. This is just a short two minute track, but demonstrates another side of Bara Brost. Gone is the Deep House of previous tracks. Instead, it’s replaced by an enchanting vocal from Igid Pop. It’s delivered slowly and joyously, while guitars, bass and keyboards create a wistful accompaniment. Soon, the tempo quickens with percussion and stabs of keyboards add to the song’s wistful charms and delights. Far too quickly, the track is over, leaving you wanting to hear much more of Meli Melo and indeed Bara Brost and the subtleties and charms of Kokolores. Soon, you find yourself reaching over, pressing play and enjoying the journey aagin.
Although I’ve only mentioned eight of the fourteen tracks on Bara Brost’s second album Kokolores, I could just as easily have mentioned any one of the album’s fourteen tracks. Given that there’s usually some filler or padding to an album that stretches to fourteen tracks, this is testament to Bara Brost’s musical prowess. To me, Kokolores is essential summer listening, with Bara Brost fusing house with elements of disco and pop. This they do flawlessly, with melodies and hooks aplenty. Tracks like My Mess Part 1, Let Go, Like We Do, Aerobic and All Over Now are proof positive of this and I’m sure several of these tracks will be on heavy rotation during the summer months. Any DJ worth their salt, will unleash tracks like Let Go, Like We Do and All Over Now. They should become many a DJs’ secret weapon. Similarly, anyone whose heading of in pursuit of sun, fun and hedonism should ensure that when packing their bags, among the essentials is an iPod containing a copy of Bara Brost’s second album Kokolores. By then, BBE Music will have released Kokolores, Bara Brost’s second album. on 9th July 2012 So, for anyone looking for a soundtrack to their summer vacation, then Bara Brost’s Kokolores is just as essential as suncream and swimming costumes. Standout Tracks: My Mess Part 1, Let Go, Aerobic and All Over Now.
BARA BROST-KOKOLORES.
DISCO RECHARGE: VOYAGE-LET’S FLY AWAY.
DISCO RECHARGE: VOYAGE-LET’S FLY AWAY.
Back in June 2012, when Harmless Records launched their new label Disco Recharge, the new label’s first release was Voyage’s eponymous debut album Voyage. This saw Voyage embark upon a worldwide whistle-top tour, during which they paid homage to various styles of music. Their final destination was America, not just the home of the free, but the home of disco. To pay homage to America, the disco capital of the world, it was with Lady America, the track that closes the album. Later in 1978, Voyage returned with the followup to Voyage, Let’s Fly Away, a Euro Disco classic, which is the third in the Disco Recharge series and will be released on 30th July 2012. Before I tell you about the music on Disco Recharge: Voyage-Let’s Fly Away, I’ll tell you about the background to the album.
Voyage released their second album, the followup to Voyage Let’s Fly Away in December 1978. This was the second album of 1978 and had much in common with its predecessor. Not only would Let’s Fly Away become a Euro Disco classic, but matched the huge commercial success of Voyage. It reached number one on the Billboard Hot Disco Dance Charts. Another thing it had in common was it was an album with a message. The seven tracks on Let’s Fly Away have a message that’s carefree and hedonistic. You become a globetrotter, with Voyage taking you to the four corners of the globe. During this journey, you experience the sounds of that include Hawaiian guitars, Eastern sounds, rock, soul and lashings of Euro Disco. This eclectic sounding musical adventure was the brainchild of three men in particular, plus one woman with a very special voice
The seven tracks on Let’s Fly Away were written and arranged by Marc Chantereau, Pierre-Alain Dahan and Slim Pezin. They also played most of the instruments on Let’s Fly Away and co-produced the album with Roger Takarz. Key to Voyage’s sound was 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 Let’s Fly Away, it’s no wonder the album was such a commercial success.
On the release of Let’s Fly Away, the album headed all the way to number one in the Billboard Hot Disco Dance Charts. It spent eighteen weeks on the charts, becoming a favorite of DJs worldwide. Souvenirs was released as a single from Let’s Fly Away. It reached number forty-one in the US Billboard 100 and number seventy-three in the US R&B Charts. However, what made Let’s Fly Away so successful? That’s what I’ll tell you, once I’ve told you the seven tracks on Let’s Fly Away.
Souvenirs opens Voyage’s second album Let’s Fly Away. It conjurs up warm golden beaches, where the beautiful people mingle. It’s a bold statement of intent, with rolls of drums rumbling, while waves of synths and a proliferation of percussion combine. They give way to elegant melodies with Sylvia Mason’s crystalline, heartfelt vocal. It’s accompanied by lush strings, funky bass and the beautiful backing vocals of the Birds of Paris. They’re augmented by bursts of rasping horns, flourishes of keyboards and ever-present pulsating beats. Together, they provide the perfect soundtrack for the beautiful people’s hedonistic adventures, beneath the golden sun, as they collect Souvenirs, but none better than this track though.
Bursts of frenzied backing vocals, a funky bass and synths combine, to reveal the secrets of this Kechak Fantasy. The tempo is quick, the sound very different to Souvenirs. Drums are beaten by hand, while percussion, jagged guitars and layers of swirling synths are joined by the frenzied vocal. They all play their part in this track’s compelling, exotic sound, before Voyage take you on an Eastern Trip.
On Eastern Trip, Voyage combine elements of authentic Indian music with a pounding disco beat. Guitars reverberate, complimenting the traditional Eastern sound. The result is an intriguing musical fusion, where east and west unite as one, seamlessly. However, that’s not the end of Let’s Fly Away’s eastern flavor, with Tahiti the next stop.
Pounding beats, percussion and a chanted vocal combine as Tahiti, Tahiti begins. Soon, the unmistakable sound of Hawaiian guitars drift in and out of the track. They’re replaced by a lilting vocal, which cascades across the arrangement. It’s accompanied by harmonies, Hawaiian guitars, percussion and that omnipresent pulsating beat. The result is an irresistible, sounding track, as Voyage take you on a whistlestop musical journey.
The title-track Let’s Fly Away has a quite different sound to the preceding tracks when it opens. It’s a harder sound that greets the listener, with layers of synths and punchy beats key to the sound. Softer sounding synths then provide a contrast, hinting at what’s about to take centre-stage and compliment their sound. This is Sylvia Mason’s elegant, crystalline vocal. Her vocal is complimented by subtle and equally elegant harmonies. Stabs of synth, jagged, rocky guitars and blazing horns add drama, while lush strings offer another contrast. While of this plays its part in the track’s sound and success, it’s Sylvia’s vocal that’s what makes this one of the highlights of Let’s Fly Away.
When Golden Eldorado begins, you’re immediately aware of the fusion of rock and soul that are the two threads that run through the track. There’s a hint of mystery in the track’s sound and lyrics. Swathes of strings, Spanish guitar and a galloping beat accompany the male vocal. Sometimes, the track reminds me of a Western soundtrack, albeit set to a pounding disco beat. This become more noticeable when the lone horns drifts above the arrangement and later, rolls of dramatic drums are added. Meanwhile bursts of backing vocals gallop along, accompanying the beat, destination the Golden Eldorado.
Closing Let’s Fly Away is Gone With the Music, a joyous slice of disco music, with a difference. It seems Voyage are determined to close the album on a high, fusing elements of rock with disco seamlessly. Sylvia’s vocal has sizzling, rocky guitars, blazing horns and a driving rhythm section for company. The rhythm section provide a pulsating beat, while the Birds of Paris accompany Sylvia, delivering tight harmonies. During the track, the horns, rock-tinged guitars provide the perfect, irresistible and hook-laden accompaniment. Voyage demonstrate that there’s more than one way to make a peerless disco track. Although the polar opposite of Salsoul, this is a scintillating slice of disco, but not disco as we know it.
Although there’s just seven tracks on Voyage’s second album Let’s Fly Away, there seven great tracks. From the opening bars of Souvenirs, Let’s Fly Away reveals its subtleties, charms and secrets, plus its theme of enjoyment and hedonism. You’re taken on a magical musical journey, where the beautiful people mingle, collecting Souvenirs on sun-drenched beaches, before the secrets of Kechak Fantasy are revealed. After this, you head on an Eastern Trip, destination Tahiti, Tahiti, with Hawaiian guitars serenading your every move. Then Voyage decide Let’s Fly Away, destination the Golden Eldorado where you’re transported, taken away, Gone With the Music. These seven tracks are a captivating and compelling whistletop tour of musical destinations, with Voyage as tour guides and providing the soundtrack to your journey. However, there’s much more to Disco Recharge: Voyage-Let’s Fly Away than just this classic Euro Disco album.
On Disc One of Disco Recharge: Voyage-Let’s Fly Away, there are also eight instrumental tracks from Voyage’s first two albums Voyage and Let’s Fly Away. Previously, they were available only to a select group of DJs. Not now though. Thanks to Mr. Pinks and everyone at Harmless Records, you too, can hear these tracks and be the proud owner of them. Among the highlights of these remixes, are instrumental versions of Lady America and We’ve Gotta Dance from their debut album Voyage, plus Golden Eldorado and Let’s Fly Away from their second album Let’s Fly Away.
As if all this isn’t enough there’s still Disc Two of Disco Recharge: Voyage-Let’s Fly Away to tell you about. It contains eight remixes of tracks from Let’s Fly Away, with the original twelve inch version of Souvenirs and Steve Algozino’s Hot Tracks Mix, plus the twelve inch version of Let’s Fly Away three of the many highlights of Disc Two of Disco Recharge: Voyage-Let’s Fly Away. There’s also Dance and Romance, a track Voyage recorded as Disco and Co., which closes the Disc Two.
For me, Disco Recharge: Voyage-Let’s Fly Away has whetted my appetite nicely, leaving me wanting to hear the next installments of this new series. Starting with Voyage’s debut album Voyage, the Disco Recharge series got of to a fantastic start. After thiss Euro Disco classic, Mr. Pinks brought us Disco Recharge: Tangerue-Strange Affair. The series headed to Philly, with compiler Mr. Pinks uncovering two hidden disco gems. This brings us nicely to the third volume of the Disco Recharge series, another real Euro Disco classic from Voyage, Let’s Fly Away. It’s two discs of disco delights, brought to you by Mr. Pinks and Harmless Records. With so many delicious disco delights on the two discs of of Disco Recharge: Voyage-Let’s Fly Away, then this third installment lives up to its title of Special Edition. Indeed, that’s its understating its brilliance, it should be the Very, Very Special Edition of of Disco Recharge: Voyage-Let’s Fly Away. Standout Tracks: Souvenirs, Eastern Trip, Let’s Fly Away and Gone With the Music.
DISCO RECHARGE: VOYAGE-LET’S FLY AWAY.
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ROSE ROYCE-ROSE ROYCE III: STRIKES AGAIN.
ROSE ROYCE-ROSE ROYCE III: STRIKES AGAIN.
When Norman Whitfield decided to set up his own record company Whitfield, after spending ten years at Motown as their psychedelic kahuna, one of his first signing were Total Concept Unlimited, an eight-piece band from Los Angeles. Norman became the group’s mentor, signing them to his label and shaping their nascent career. Soon, the band were known as Magic Wand, working with Yvonne Fair and Undisputed Truth as their studio and live backing band. During a tour backing Undisputed Truth, Joe Harris the lead singer of Undisputed Truth met Gwen Dickey after a concert in Miami. Gwen was a member of The Jewels, a local Miami band. Joe Harris told Norman Whitfield about her and soon, Gwen was heading to Los Angeles, to audition as lead singer of Magic Wand. Quickly, it became apparent that here was what Magic Wand needed, an enchanting lead singer. Now he’d found the final piece to the Magic Wand jigsaw, Norman gave Gwen the stage-name Rose Wand and set about recording the group’s debut album. Then fate decided to intervene. Film director Michael Schultz asked Norman to write the score for his next film Car Wash. Having sampled the atmosphere surrounding the film set, Norman set about writing the film score and changed the band’s name one more time. They became Rose Royce, the name giving the group an aura of riches, success and fame. This rubbed off, with Car Wash giving Rose Royce three hit singles in 1976, with Car Wash reaching number one in the US, while I Wanna Get Next To You and I’m Going Down reached the top ten in the US R&B Charts. A year later, Rose Royce released Rose Royce II: In Full Bloom which was certified platinum in the US and gold in the UK. Following such a successful album wasn’t going to be easy, but in 1978, Rose Royce released Rose Royce III: Strikes Again. Could Rose Royce III: Strikes Again repeat the success of its predecessor Rose Royce II: In Full Bloom?
For their third album, Rose Royce III: Strikes Again Norman Whitfield wrote four new tracks and cowrote What’s Wrong With Me with Rose Royce. Miles Gregory contributed two songs for the forthcoming album, Rose Royce III: Strikes Again. One of these would be a song that became synonymous with Rose Royce, Love Don’t Live Here Anymore. The other two tracks Angel In the Sky and Help were written by Billie Calvin and Robert Daniels respectively. Interestingly, apart from What’s Wrong With Me the members of Rose Royce didn’t contribute any other songs for Rose Royce III: Strikes Again. With nine tracks written, Rose Royce and producer Norman Whitfield headed to the studio.
Recording of Rose Royce III: Strikes Again took place at four studios in Los Angeles. Sound Factory West, One Step Up, Westlake Studios and Fort Knox Studio were all used to record the nine tracks. Accompanying Rose Royce were drummer Walter Downing, bassist Mark Kenoly and guitarists Wah-Wah Watson and Cornelius Grant. Joining them were percussionist Jack Ashford, organist Walter Downing and keyboard player Mark Davis. Together with Rose Royce, the nine tracks were recorded, with the album due for release in August 1978.
On the release of Rose Royce III: Strikes Again in August 1978, the album reached number twenty-eight in the US Billboard 200 and number four in the US R&B Charts. This gave Rose Royce the first gold disc of their career. Over in the UK, the album reached number seven, resulting in it being certified gold. Three singles were released from Rose Royce III: Strikes Again. The first was I’m In Love (and I Love the Feeling), which reached number five in the US R&B Charts and number fifty-one in the UK. Then came a track that became synonymous with Rose Royce, Love Don’t Live Here Anymore. It reached number thirty-two in the US Billboard 100 and number five in the US. In the UK, the single climbed all the way to number two, giving Rose Royce their biggest UK hit single. First Come, First Served was the third and final single released from Rose Royce III: Strikes Again, reaching number sixty-five in the US R&B Charts. Although Rose Royce III: Strikes Again hadn’t matched the commercial success of its predecessor Rose Royce II: In Full Bloom any album that’s certified gold in the US and UK must be regarded as a huge success. However, why was Rose Royce III: Strikes Again so successful? That’s what I’ll tell you once I’ve told you about the nine tracks on Rose Royce III: Strikes Again.
Opening Rose Royce III: Strikes Again is Get Up Off Your Fat, the first of four consecutive tracks written by Norman Whitfield. An intriguing slice of funk opens with a funky equivalent of the carnival crier encouraging you to “see the funkiest band in all the land.” Rose Royce’s rhythm section and driving guitars dominate the arrangement, mixing funk and rock, while Gwen Dickey’s vocal is almost absent. She’s replaced by the male members of the band, whose tougher vocal suits the arrangement. Later, her vocal makes a brief appearance, but is then replaced by prolonged, grandiose, flourishes of piano which close the track. Although the sound is tough and funky, Rose Royce don’t quite live up to their boast of being “the funkiest band in the land,” but give it a good shot.
Do It, Do It sees the funky side of Rose Royce continuing, with a pounding slap bass and sharp bursts of blazing horns combining, a glorious slice of funk is underway. Maybe Rose Royce can walk the walk, rather talk the talk here, transforming themselves into “the funkiest band in the land.” Gwen’s vocal is again absent, with the male members of Rose Royce taking centre-stage, delivering a vocal that suits the funky arrangement. Sizzling guitars, stabs of braying horns and the funky rhythm section combine with keyboards percussion. The result is a track that sounds as if belongs on album by Kool and The Gang, with shades of Earth, Wind and Fire and early Commodores for good measure. This allows Rose Royce to do what they always wanted, play some funky music, and then some.
I’m In Love (And I Love The Feeling) sees Kenny Copeland take over the lead vocal on a track that’s much slower and soulful. His tender, heartfelt vocal is accompanied by cascading, shimmering strings as the rhythm section provide an understated backdrop. The rest of the group add equally tender harmonies, while the lushest of strings compliment their harmonies. Norman Whitfield’s production is key to the track’s soulful sound and success, with Kenny’s vocal perfect for the beautiful lyrics written by Norman. Of the tracks so far, this is the best by far.
First Come, First Serve was the third single released from Rose Royce III: Strikes Again and sees Gwen Dickey make her grand entrance. This she does against an arrangement that features the Bentley Rhythm Ace, first heard on Sly and The Family Stone’s There’s A Riot Goin’ On. Here, Norman Whitfield’s favored percussive makes its swan-song. It rumbles along, with punchy blazing horns handclaps and backing vocals accompanying Gwen’s vocal on this heavy slice of funk. However, good as her vocal is here, she’d surpass it on the album’s next track, accompanied by Norman Whitfield’s newest secret weapon.
It’s as if everything was building up to the best track on Rose Royce III: Strikes Again, Love Don’t Live Here Anymore. Here, UK composer and arranger collaborates with Norman Whitfield, on a track penned by Miles Gregory. Giving the track it’s unique sound are the keyboards and the electronic LinnDrum machine, which replaced the Bentley Rhythm Ace as Norman’s favorite percussive device. It’s accompanied by slow, shimmering strings and the bass, which provide the perfect, atmospheric backdrop for Gwen’s haunting, heartfelt vocal, laden with emotion and hurt. Of all the tracks she sang on, this is her best performance, on a track that deserves to be called a classic.
Angel In The Sky is another track where Gwen Dickey showcases her vocal prowess. This was the track that opened Side Two of Rose Royce III: Strikes Again and is the polar opposite of the track that opened Side One. The track is much more Rose Royce in sound. Just piano and subtle hi-hats accompany Gwen’s impassioned vocal. Lush strings sweep, cascading and swirling, while percussion and piano accompany her beautiful vocal. Her delivery is heartfelt and tender and when combined with Norman Whitfield’s arrangement results in the second best track on the album, after Love Don’t Live Here Anymore.
As Help gets underway, the arrangement seems not unlike the previous one. Just piano and percussion combine, with the hi-hits crashing subtly. When the vocal enters, it’s not Gwen who delivers it. Instead, it’s guitarist Kenji Brown who takes over the lead vocal. Soon, the arrangement and his vocal has grown in power and drama, with swathes of strings and the rhythm section accompanying his vocal. While sharp bursts of strings are unleashed, backing vocals accompany them and Kenji’s vocal grows in power and emotion. By the end of the track, it’s a very different to the one that began, but one that’s full emotion and drama and shows Kenji Brown to be a talented vocalist.
Chiming, jazz-tinged guitars and percussion open Let Me Be The First To Know, while the rhythm section provides the track’s heartbeat. Kenny Copeland’s vocal is accompanied by layers of the lushest strings, providing the perfect accompaniment to his impassioned delivery. Tender harmonies are the finishing touch to this results very beautiful arrangement, that’s much more Rose Royce than their funky side.
Closing Rose Royce III: Strikes Again is That’s What’s Wrong With Me, a very different sounding track. Rose Royce cowrote the track with Norman Whitfield, and it’s not the easiest song on the album. Funk and rock are fused, with searing, sizzling guitars, keyboard and the funky rhythm section accompanying Gwen’s vocal. Her delivery is tougher, sassier matching the arrangement. The arrangement speeds up and slows down, much like a merry-go-round. Later, there’s even a psychedelic side to the track, with Norman Whitfield donning the persona of psychedelic kahuna. For nearly seven minutes, Rose Royce and Norman Whitfield produce a track that although technically, is flawless, isn’t the easiest to listen to and leaves the listener wondering, will the real Rose Royce step forward.
Having just remarked that Let Me Be the First To Know was much more Rose Royce in sound than the funky side of Rose Royce, they close the album with a track that not only sees their funky side return, but somewhat confuses the listener. The reason for the confusion is the fusion of funk, rock and psychedelia isn’t the easiest to listen to, and is the polar opposite of the tracks that preceded it. It’s as if on some of the tracks on Rose Royce III: Strikes Again, the group are struggling to establish their identity. Much as they’re a good band playing funk, they’re a much, much better group when they reveal their soulful side. Tracks like I’m In Love (And I Love The Feeling), Love Don’t Live Here Anymore, Angel In The Sky, Help and Let Me Be The First To Know demonstrate the beautifully, soulful side of Rose Royce, which they do so well, and which people will always remember them for. However, you always feel that they’re always a frustrated funk band waiting to escape. Luckily, when the funky side escapes, they’re able to carry it of with aplomb. Sometimes, like on the two tracks that bookend the album, Get Up Off Your Fat and That’s What’s Wrong With Me, which demonstrate a very different, tougher funky side of the band, this doesn’t work as well as on Do It, Do It or First Come, First Served. To me, Rose Royce are at their very best on tracks like Love Don’t Live Here Anymore and Angel In The Sky, with Gwen Dickey delivering the two best vocals on the album. Her vocal on Love Don’t Live Here Anymore was key to the success and sound of this classic track. Overall, Rose Royce III: Strikes Again is an album of quality music, with the soulful side of Rose Royce what makes this such an enjoyable and timeless sounding album. Standout Tracks: I’m In Love (And I Love The Feeling), Love Don’t Live Here Anymore, Angel In The Sky and Help.
ROSE ROYCE-ROSE ROYCE III: STRIKES AGAIN.
THE O’JAYS-TRAVELIN’ AT THE SPEED OF THOUGHT.
THE O’JAYS-TRAVELIN’ AT THE SPEED OF THOUGHT.
A year after The O’Jays released Message In the Music, their final album to feature William Powell, The O’Jays would release Travellin’ At the Speed of Thought, their first album featuring their new vocalist Sammy Strain. Given how successful The O’Jays had been since releasing their first album for Philadelphia International Records in 1972, the remaining members of The O’Jays must have wondered how this would affect their continued success. Sammy Strain had a hard act to follow in William Powell, who tragically, was terminally ill. He’d been at the helm of The O’Jays during the most successful period of their career. Since the release of Backstabbers in 1972, The O’Jays had released five albums, three of which were certified gold and two platinum. This had lead to The O’Jays becoming Philadelphia International Records biggest group. However, would their first album without William Powell Travellin’ At the Speed of Thought, continue this run of critically acclaimed and commercially successful albums?
For The O’Jays sixth album for Philadelphia International Records, Travellin’ At the Speed of Thought, Gamble and Huff cowrote and produced six of the album’s eight track. One of Philadelphia International Records’ most successful songwriting and production teams, Gene McFadden, John Whitehead and Victor Castarphen cowrote and produced These Lies (Done Caught Up With You This Time). The other track chosen for Travellin’ At the Speed of Thought was a cover of Feelings, which Morris Albert cowrote. These eight tracks would be recorded at Sigma Sound Studios, where all of Philadelphia International Records’ recordings were recorded.
With the original version of M.F.S.B. having left Philadelphia International Records over a dispute regarding finances, it was M.F.S.B. Mk 2 that would accompany The O’Jays. Gone were the legendary Baker, Harris, Young rhythm section, plus vibes player Vince Montana. Replacing musicians of this calibre wasn’t easy, but some hugely talented musicians would accompany The O’Jays. Drummer Charles Collins, bassist Michael “Sugar Bear” Foreman and guitarists Roland Chambers, T.J. Tindall and Dennis Harris. Larry Washington would add percussion, while Carlton Kent played organ and Dennis Williams played piano. Arranging the eight tracks were Jack Faith, one of the best arrangers at Philadelphia International Records, plus Dexter Wansel and Dennis Williams. Soon, the eight tracks that made up Travellin’ At the Speed of Thought were recorded. Would Travellin’ At the Speed of Light continue the success of The O’Jays five previous Philadelphia International Records’ albums?
Before Travellin’ At the Speed of Thought was released, unusually, Philadelphia International Records never released a single. This didn’t affect sales of Travellin’ At the Speed of Thought when it was released in May 1977. It reached number twenty-seven on the US Billboard and number six on the US R&B Charts, resulting in The O’Jays fourth gold album. The first single and only released from the album was Gamble and Huff penned and produced Work On Me, which reached number seven in the US R&B Charts. Even with a new member, The O’Jays’ success story continued on Travellin’ At the Speed of Thought, which I’ll now tell you about.
Opening Travellin’ At the Speed of Thought is the title-track Travellin’ At the Speed of Thought, one of six which Gamble and Huff cowrote and produced. Arranged by Dexter Wansel, the track has a meandering, hesitant start, which leaves you wondering what direction the track is heading? Then once a pulsating beat enters, joining the percussion, reverberating guitars and congas, the track begins to reveal its secrets. Eddie’s confident vocal enter, with the track building. The rhythm section, keyboards, swathes of sizzling guitars and percussion accompany the vocal, which quickly, changes hands. Tight harmonies accompany the vocal, while jagged guitars add bursts of drama. Later, the harmonies are delivered in sharp bursts, in keeping with the arrangement’s somewhat “space-age” sound. While this suits the lyrics, it’s not what you’d expect from The O’Jays or Gamble and Huff. Having said that, it has the quality you’d expect from them both.
We’re All In This Together, has a much more O’Jays sound. Jack Faith takes over arranging duties, while Gamble and Huff wrote and produced the track. It has a much more “Philly Sound.” Layers of lush strings, M.F’S.B.‘s rhythm section and bursts of rasping horns punctuate the arrangement, before Eddie’s impassioned, heartfelt vocal enters. Subtle, gentle harmonies augment his vocal, while the strings are key to the track’s sound and success. As the horns are used sparingly and subtly, percussion and the rhythm section provide the track’s beautiful heartbeat. Eddie’s vocal is one of his best on the album. The interplay between Eddie and the other O’Jays is peerless, laden with emotion and sincerity and made all the better by Jack Faith’s stunning arrangement.
So Glad I Got You Girl is another of the Gamble and Huff penned tracks. What never ceases to amaze me, is how they could consistently write and produce so many great tracks. From the opening bars, with its blazing horns, swirling strings and punchy rhythm section you realize this another winner from Gamble and Huff. Eddie’s vocal is joyful, and swept along on swathes of cascading strings. The other O’Jays match Eddie stride for stride, producing some equally, joyful, uplifting and inspirational harmonies. Meanwhile, the arrangement, like the vocal is irresistible, arriving in waves and transporting you along in its hook-laden wake. Why this track wasn’t released as a single seems strange, given its irresistible, uplifting and joyful sound?
Stand Up closed Side One of Travellin’ At the Speed of Thought. This was another Gamble and Huff track, which Dexter Wansel arranged. When the track opens, it’s to acclaim and applause. Eddie is like a cheerleader, encouraging everyone to Stand Up. His vocal is delivered powerfully, sometimes, with a growl, while the rest of the group add bursts of soaring harmonies. M.F.S.B. provide a pounding backdrop that’s just a little funky. Layers and stabs of Hammond organ, blazing horns and the driving rhythm section help The O’Jays bring Side One of Travellin’ At the Speed of Thought to a blistering close.
The songwriting and production team of Gene McFadden, John Whitehead and Victor Castarphen cowrote and produced These Lies (Done Caught Up With You This Time). It’s just the latest in a long line of fantastic tracks they wrote for The O’Jays and reveals a quite different O’Jays. Here, their sound is much more funky, with Eddie’s vocal is full of emotion, while a punchy, pounding rhythm section, sweeping strings and braying horns accompany him. The bass line from Michael “Sugar Bear” Foreman pounds throughout the track, matching Charles Collins drums beat for beat. However, what would the Baker, Harris, Young rhythm section made the track sound like? Sometimes, The O’Jays sound like The Temptations, albeit with a crack rhythm section accompanying them. This reveals a very different, funky O’Jays, with Eddie Levert producing one of his best vocals on the album.
Feelings is one of these standards that’s been covered by so many artists. However, The O’Jays’ version is one of the very best. Just a piano opens the track, before tight, beautiful harmonies enter, giving way to Eddie’s lead vocal. His vocal is not just emotive and impassioned, but deeply beautiful. The harmonies, flourishes of guitar, percussion and the lushest of strings combine beautifully, as Eddie gives a truly heartfelt performance. Later, bursts of rasping horns add to the emotion of Eddie’s delivery. The longer the track progresses, the more the drama and emotion builds, resulting in a peerless cover version of an oft covered standard, that can’t fail to move you.
Work On Me was the only single released from Travellin’ At the Speed of Thought. It’s a track whose funky side is revealed straight away. Bursts of punchy blazing horns, a pounding rhythm section, keyboards and percussion accompany Eddie’s vocal. He delivers his vocal with bravado, a real swagger in his delivery. The other O’Jays add soaring harmonies, while flourishes of keyboards, braying horns and the pounding rhythm section are key to the track’s sound and success. Here, The O’Jays mix funk and Philly Soul seamlessly, with Eddie swaggering his way through the song.
Closing Travellin’ At the Speed of Thought is Let’s Spend Some Time Together, written and produced by Gamble and Huff, with Jack Faith responsible for the vintage sounding arrangement. It’s a track where jazz, big band music and doo-wop have influenced the arrangement. Lush strings accompany M.F.S.B. as they’re transformed into a big band. They play with a similar subtlety as Eddie delivers his vocal. Just as M.F.S.B. seem to revel in their role, the rest of The O’Jays deliver doo-wop style vocals. This is perfect for the track and is a brilliant way to end the album. Key to the track’s sound and success was Jack Faith’s arrangement, plus of course, Eddie’s vintage style vocal and M.F.S.B., who were seamlessly transformed into a big band. What a way to end Travellin’ At the Speed of Thought. Just perfect.
Travellin’ At the Speed of Thought saw The O’Jays continue their run of successful albums. It was certified gold and contained a top ten US R&B single in Work On Me. Gamble and Huff cowrote and produced six of the album’s eight tracks, while the songwriting and production team of Gene McFadden, John Whitehead and Victor Castarphen cowrote and produced These Lies (Done Caught Up With You This Time). The other track was a peerless cover of Morris Albert’s Feelings, which can’t fail to move you. Although the original M.F.S.B. had left Philadelphia International Records, to continue their success as the Salsoul Orchestra, M.F.S.B Mk 2, provided the perfect backdrop for The O’Jays. This saw them fuse everything from Philly Soul, funk, jazz and doo-wop. On Let’s Spend Some Time Together, Jack Faith’s vintage sounding arrangement sees M.F.S.B Mk 2 transformed into a big band, providing the perfect backdrop for Eddie’s vocal and the other O’Jays doo-wop style harmonies. For me, this was the perfect way to close Travellin’ At the Speed of Thought, and the song’s success is Jack Faith. He was one of the best arrangers at Philadelphia International Records, along with Bobby Martin and John L. Usry. These three men are among the many unsung heroes of Philadelphia International Records’ success. While people remember groups like The O’Jays, plus top musicians like the legendary Baker, Harris, Young rhythm section, vibes player Vince Montana and Don Renaldo’s strings and horns, the arrangers are often forgotten. Here, Jack Faith and Dexter Wansel played important roles in the sound and success of Travellin’ At the Speed of Thought.
After Travellin’ At the Speed of Thought, The O’Jays’ success story continued apace, with their next two albums 1978s So Full of Love and 1979s Identify Yourself being certified platinum. Unlike their one time label-mates Harold Melvin and The Blue Notes, The O’Jays survived the loss of a key member in William Powell. Sadly, as Travellin’ At the Speed of Thought was released, William died from cancer. The loss of William must have meant the success of Travellin’ At the Speed of Thought was tinged with sadness. However, he played a huge part in The O’Jays’ success story, featuring on their first five Philadelphia International Records’ albums. Their first without him, Travellin’ At the Speed of Thought is a fitting tribute to such talented singer. Standout Tracks: We’re All In This Together, So Glad I Got You Girl, These Lies (Done Caught Up With You This Time) and Let’s Spend Some Time Together.
THE O’JAYS-TRAVELIN’ AT THE SPEED OF THOUGHT.
TEENA MARIE-NAKED TO THE WORLD.
TEENA MARIE-NAKED TO THE WORLD.
Having left Motown after a bitter and prolonged legal dispute, Teena Marie signed for Epic Records, releasing five albums. She’d enjoyed commercial success at Motown, releasing three albums that were certified gold between 1979 and 1981. These were Lady T in 1979, 1980s Irons In the Fire and 1981s It Must Be Magic. Two years later, once she’d extricated herself from her Motown contract, Teena released her debut album for Epic Robbery in 1983. It didn’t match the success of her Motown albums, reaching just 119 in the US Billboard 200 and number thirteen in the US R&B Charts. She got her career back on track with 1984s Starchild, which was certified gold. Then two years later, in 1986, came her concept album Emerald City, which reached just number eighty-one in the US Billboard 200 and number twenty in the US R&B Charts. This must have disappointed both Teena and everyone at Epic. What they needed was another successful album, something more akin to the platinum certified Robbery. However, another problem had arisen during recording of Emerald City. Teena and Allen McGrier’s friendship had hit the buffers somewhat. Teena was encouraged to try to get their relationship back on track. Allen had one condition, that they received a production credit on the next album. Considering Allen played an important part in the production process, this was only fair. That Teena and Allen were able to reconcile their differences, was fortuitous. One of the songs they cowrote for Naked To the World, which was rereleased by SoulMusic Records on 25th June 2012, would give Teena her only number one US R&B single. Not only that, but Naked To the World proved a bigger commercial success than Emerald City, Teena’s concept album.
With Teena and Allen McGrier’s friendship back on track, they settled down to write some tracks for Teena’s eighth album and fourth for Epic, Naked To the World. Teena and Allen cowrote two tracks Call Me (I Got Yo Number) and Ooo La La La. Another of Teena’s regular songwriting partnerships would also proved fruitful. Along with Penny PJ, Johnson, Rick James younger sister, Teena wrote Work It. The other seven tracks for Naked To the World were written by Teena. Now she had ten songs ready, Naked To the World was ready to be recorded.
Along with Allen McGrier, who was responsible for bass, synths and drum programming, Teena and the rest of her band headed to Smoketree Ranch where the ten tracks were recorded. Jimmy Stewart played keyboards and piano, Nikki Slick lead and rhythm guitar and Danny LaMelle played alto and tenor saxophone within Teena’s band. Brenda Lee Eager sang lead and backing vocals. Among the guest artists were guitarist Michael Landua, plus Rick James. He would sing two duets with Teena on Call Me (I Got Yo Number) and The Once and Future Dream. Together with a horn and string section the ten tracks that became Naked To the World were recorded. Next step was the release of Naked To the World. Would it far better than Emerald City, Teena’s previous album?
Before Naked To the World was released, Ooo La La La was chosen as the lead single from the album. It would reach number eighty-five in the US Billboard 100, but number one in the US R&B Charts, giving Teena her only number one US R&B single. When Naked To the World was released, it improved on Emerald City, reaching number sixty-five in the US R&B Charts and number fifteen in the US R&B Charts. Work It was chosen as the second single, reaching number ten in the US R&B Charts. Overall, Naked To the World had proved a success for Teena and everyone at Epic Records. The album had sold well, Ooo La La La had reached number one in the US R&B Charts and Work It gave Teena a top ten US R&B single. This was nearer to the success of both Robbery and Teena’s Motown days. However, what made Naked To the World so popular and successful? That’s what I’ll tell you, after I’ve told you about the music on Naked To the World.
Opening Naked To the World is Trick Bag, one of seven tracks written by Teena. This sees Teena return to her fusion of funk and rock from Robbery. In the song, she’s in a relationship with someone who won’t commit to her. It’s one of two tracks written by Allen McGrier and sees the rhythm section and jagged, rocky guitars and washes of synths combine dramatically before Teena’s vocal enters. Her vocal is laden with emotion and frustration, at the lack of commitment in her relationship. Sharp bursts of backing vocalists add to the drama and frustration, while a funky bass is key to the rhythm section that, along with the synths drives the track along. Michael Landua’s sizzling guitar solo later in the track is just the finishing touch to a track that bursts into life, making an impact and lasting impression, grabbing the listener’s attention in the process.
Call Me (I Got Yo Number) is the first of two tracks where Rick James duets with Teena. The tempo is slower, the rhythm section adding a funky backdrop, while synths and chiming guitars combine. When Teena and Rick duet, there’s an energy and atmosphere between them. Teena’s vocal is almost angry, frustrated and sometimes sneering. Rick’s vocal is impassioned and emotive. They’re the perfect foil, each feed off the other. Then when they unite, they’re vocals compliment each other perfectly. Later, Teena almost raps her vocal, producing a peerless performance, that sounds almost personal. So good is the track that you wonder, why it wasn’t released as a single?
Ooo La La La gave Teena her only number one US R&B single. Like the previous track, it was a track Teena cowrote with Allen McGrier. Whether it’s just coincidental. this is another of the real highlights of Naked To the World. It’s a very different Teena we hear. The tempo is slower, with the rhythm section providing the track’s heartbeat, while a sultry, seductive saxophone drifts wistfully above the arrangement. Synths don’t play such a big part in the arrangement. This really helps the track. Here, Teena’s vocal is one of the best on the album, delivering it with real feeling, in way that’s totally heartfelt and quite beautiful. No wonder the track was such a huge success for Teena, reaching number one in the US R&B Charts.
Crocodile Tears sees a return to the previous sound that’s almost become Teena’s trademark sound, where funk and rock combine. The track is much more reliant on synths, with pounding drums also key to the funky sound. Teena’ vocal is quite different, tinged with passion, but mostly humor. Meanwhile the band fuse funk and soul, with the rhythm section adding a funky backdrop for Teena’s vocal, which sometimes, sounds not unlike Madonna’s. Interestingly, during the recording of this track, Teena’s band were almost exhausted, so much so, a doctor had to be called. After this, they let the tape run, with the result a compelling combination of funk and rock, tinged with humor, drama and passion from Teena.
Opus III – The Second Movement is just a seventy-second track, where Teena’s soaring vocal has just keyboards, percussion and sound effects for company. This is something of an opportunity, as Teena’s delivers a hugely effective, impressive vocal that’s one of her best on the album. If the song had been worked on, it could’ve been something bigger, something truly memorable, rather than a tantalizing teaser of a track.
Surrealistic Pillow sees Teena pay homage to a 1967 Jefferson Airplane album. Her lyrics have a surreal quality, full of i, lysergic imagery. Her vocal is delivered at a breakneck speed, drums cracking, rocky guitars and a myriad of synths providing a backdrop for her vocal. She delivers her vocal quickly, in a rocky style where emotion and frustration are comfortable bedfellows for her Surrealistic Pillow. This track has Teena’s name written all over it, with the vocal and arrangement unmistakably Lady Tee, but the lyrics reveal another quite different, intriguing side of Teena Marie.
Rick James makes his second appearance on The Once and Future Dream. This is a much slower track, with Teena’s vocal elegant and heartfelt. Synths and the rhythm section provide the perfect backdrop for her vocal. It’s thoughtful and spacious, perfect for both Teena and Rick’s vocal. Their vocals are equally emotive, with each of them giving something of themselves. They do this against a backdrop where keyboards, lush strings and percussion are key to the sound. Later, a rasping saxophone solo is just the finishing touch to this gorgeous track. Of the seven songs Teena wrote on Naked To the World, this is the best. Quite simply, it’s a beautiful, heartfelt romantic song, about true love and devotion.
Work It was the second single from Naked To the World, reaching number ten in the US R&B Charts. A funky rhythm section, washes and stabs of synths combine, before signaling the arrival of Teena’s vocal. It’s quite different, lighter, more relaxed and without the intensity of previous tracks. There’s even some more of the humor found in Crocodile Tears, with Teena delivering her vocal with a swagger. Her bravado is accompanied by an arrangement where synths and the rhythm section are key to its sound and success, while rasping horns occasionally make brief, welcome appearances. What made the song a successful single was its poppy sound, with catchy lyrics and more than a few hooks.
The Ball is another uptempo track, where synths play an important part in what’s essentially a funk jam. All that’s needed are a wash of synths, funky rhythm section and bursts of rasping horns, that sound as if they belong on an Average White Band album. Add to this Teena’s vocal, delivered in sharp bursts, while backing vocalists accompany her. Here, three synths are combined, to give the track its multilayered sound, which along with Teena’s dramatic vocal is key to this funky jam.
Naked to the World closes with the title-track, Naked to the World. It’s a slow, heartfelt ballad, something Teena does so well and something I’d have liked to hear much more of. Her vocal is powerful and passionate, soaring above an arrangement where lush strings are added to an arrangement that relies much less upon synths. Instead, keyboards, piano and the rhythm section are augmented by percussion. Adding to the emotion of Teena’s vocal are rocky guitars that neither overplay or overpower her vocal. They’re played with a subtly, while towards the end of the track, the arrangement builds and builds. It seems Teena and her band are determined to end the album on a high. This they do, closing Naked To the World on real high, with one of the best tracks on the album.
Teena Marie’s decision to patch things up with Allen McGrier before Naked To the World was recorded proved to be a wise one. It was one of the collaborations between Allen and Teena Ooo La La La that resulted in a number one US R&B single for Teena. This would be the only number of her career. Both of the tracks they cowrote Call Me (I Got Yo Number) and Ooo La La La are among the album’s best tracks. The two collaborations with Rick James featured an energy that’s almost palpapable, so much so, that you can feel the energy and electricity. The title-track that closes the album, Naked To the World sees Teena delivering a beautiful heartfelt ballad. It’s a case of keeping the best to last. Overall, Naked To the World was much more akin to Robbery than Emerald City. With its combination of funk and rock, Teena’s large and loyal fan-base loved the album. This meant that Naked To the World, which was rereleased by SoulMusic Records on 25th June 2012, saw Teena deliver an album full of some quality music. While Emerald City divided opinions, her fans were united about Naked To the World, Lady Tee was back with a bang on Naked To the World. Standout Tracks: Call Me (I Got Yo Number), Ooo La La La, The Once and Future Dream and Naked To the World.
TEENA MARIE-NAKED TO THE WORLD.
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RONNIE FOSTER-DELIGHT.
RONNIE FOSTER-DELIGHT.
After the release of Ronnie Foster’s previous album, 1978s Love Satellite, Ronnie headed out on the road with George Duke, before accompanying George Benson on one of his tours. On his return home, Ronnie would release the most commercially successful album of his career, Delight. On Delight, which was rereleased by SoulMusic Records on 25th June 2012, Ronnie Foster is joined by a host of guest artists, including George Benson, who he’d recently toured with. Joining Ronnie’s all-star band were also Stevie Wonder, Fred White of Earth Wind and Fire, Robert Pops Popwell of the Crusaders and Phyllis Hyman who sang backing vocals. Together, this all-star band helped Ronnie create not just some of Ronnie’s best post-Blue Note music, but his most successful album Delight, which reached numbe nineteen in the US Jazz Charts. Its success was helped no end by the radio play a track from Delight Argentina garnered. After I’ve told you about the background to Delight, I’ll tell you about the music on the album and why it proved so successful.
With Ronnie finished touring with George Benson, he had nine songs ready for what would be his sixth studio album since his 1972 debut The Two Headed Freap, released on Blue Note. Delight would be his second and final album for Columbia Records. Joining him to record the nine tracks on Delight would be some of the best jazz and funk musicians of the day.
Among this all-star cast of musicians were Stevie Wonder, Fred White of Earth Wind and Fire plus Leon Ndugu Cahncler who’d all play drums. Bassists Nathan Watts and Robert “Pops” Popwell, The Crusaders would provide another strand of Delight’s rhythm section and George Benson played guitar. Phyllis Hyman, Jim Gilstrap and George Benson would all add backing vocals. Ronnie would play keyboards, Bass Moog, piano and sing the lead vocals. With this cast of hugely talented musicians assembled, they joined Ronnie in two separate Hollywood studios.
Recording of Delight took place at two studios in Los Angeles, Devonshire Sound Records and The Village Recorders. Producing Delight was Jerry Peters, who’d produced Ronnie’s previous album Love Satellite. Ronnie was responsible for arranging the nine tracks on Delight. With such talented musicians accompanying Ronnie, the nine tracks that made up Delight were recorded. The now titled Delight was ready for release. However, could it surpass the somewhat disappointing sales of Love Satellite?
On the release of Delight in 1979, it climbed to number nineteen in the US Jazz Charts. You’re the One was the only single released from the album, but failed to chart. However, Delight was Ronnie’s highest chart placing, easily surpassing sales of 1978s Love Satellite, which had stalled at number thirty-three in the US Jazz Charts. The success of Delight was helped by the radio play Argentina, a track from the album attracted on Quiet Storm radio stations. Although Delight had hit the upper reaches of the US Jazz Charts, it failed to crossover into the US Billboard 200 and US R&B Charts. This must have proved disappointing to Ronnie and everyone at Columbia, given the mystical brew of music on Delight, which I’ll now tell you about.
Opening Delight is Argentina, a driving slice of jazz fusion, where Ronnie uses two separate drummers, Leon Ndugu Cahncler who’d just left Santana and Fred White of Earth, Wind and Fire. Ronnie’s Bass Moog open the track, before pounding drums kickstart the track. From there, Ronnie plays both Bass Moog and keyboards. His keyboards provide an elegant sound, that dances along the arrangement, with the two drummers and Crusaders bassist Robert “Pops” Popwell, providing the track’s engine room. They do the hard work, driving the track along, while Ronnie’s keyboard playing adds the vital finishing touch, to a track that would become a staple of Quiet Storm radio.
Ronnie drops the tempo on You’re the One, the only single released from Delight. The track features Ronnie’s first vocal on the album. His vocal is tender and heartfelt, with backing vocalists adding, subtle beautiful backing vocals, that compliment his vocal. Meanwhile Leon Ndugu Cahncler plays drums and adds percussion while Nathan East takes charge of bass playing. Later, when Ronnie’s vocal drops out, he lays down a prolonged keyboard solo, while the arrangement meanders along. When his vocal returns, Phyllis Hyman andJim Gilstrap add equally impassioned backing vocals, to what’s a quite beautiful track.
Using his keyboards to provide a slightly space-age sound, while his piano provides a musical contrast We As Love begins to divulge its secrets. His piano playing is some of the best on the album, with Ndugu Cahncler adding bongos and percussion to a rhythm section of Nathan East and drummer Dennis Davis. They play subtly, allowing Ronnie’s piano playing to take centre-stage, where it quite rightly belongs.
Let Me Into Your Life sees Stevie Wonder join Ronnie, playing drums on the track. Not only does Ronnie play Moog Bass and keyboards, but sings lead vocal. Here, he sounds not unlike Stevie Wonder. His impassioned voice has a similar tone and warmth. Backing vocalists including George Benson, accompany Ronnie, on a track where he and his band fuse soul, jazz and funk. The addition of some of Ronnie’s big-name friends on the track, seems to spur him on. His vocal is one of his best on Delight and his lyrics are just as good.
Feet is a track that takes part of its inspiration from the popularity of disco. It bursts into life, with Ronnie’s keyboard and Bass Moog key to the track’s sound. The arrangement is driven along at breakneck speed by the rhythm section, who provide the track’s disco-inspired heartbeat. Also inspired is Leon Ndugu Cahncler’s playing during a percussive break. He demonstrates his mastery of percussion, plus plays timbales. Then when Ronnie’s keyboard and Bass Moog reenter, they collaborate, encouraging each other to even greater heights. It becomes like a duel, but so good is their playing it ends a dead-heat. For nearly seven minutes Ronnie and his band mix disco, jazz-fusion and funk, resulting in a stunning track.
When Will I Write You A Song sees Ronnie drop the tempo again, revealing his talents as both a songwriter and singer. Backing vocalists add tender harmonies, while the rhythm section and keyboards combine, before another tender, emotive vocal from Ronnie. His playing and vocal are both key to song’s success, and unlike Let Me Into Your Life, Ronnie seems to find his own voice. The similarity with Stevie Wonder is gone. Instead, Ronnie Foster’s real vocal is revealed and it’s even better. The addition of gentle, harmonies not only compliments his vocal but adds the beauty and quality of this lovely romantic track.
The title-track Delight opens with stabs of keyboards, Bass Moog and drummer Dennis Davis. Along with Leon Ndugu Cahncler who adds percussion and plays congas, they combine to create a slow, jazz-funk track. Sometimes, there’s a glimpse of Ronnie’s early Blue Note sound, but mostly it’s a much more funky Ronnie Foster you hear. From the get-go, Ronnie’s plays slowly, unleashing waves of keyboards, before he and his band transform the track, turning it into into a real seventies classic funk track. He flits between the two styles seamlessly, and in doing so, creates a track that’s shows two sides two Ronnie and his music, both just as good.
Closing Delight is I’ve Got Your Love, another track where Ronnie takes charge of the lead vocal. His vocal is different again, quite unlike his two previous vocals. He sings higher, delivering the lyrics in sharp bursts, against a jagged, funky arrangement. He’s accompanied by a rhythm section of drummer Dennis Davis and bassist Nathan East. Ronnie’s the busiest man, playing synths, piano, electric piano and organ. His keyboards are layered. Layer upon layers of keyboards are accompanied by bursts of punchy, pounding drums that punctuate the arrangement, while punchy backing vocalists are drift in and out. While the track has a quite different sound, albeit with jazz and funk still present, it demonstrates the versatility and creativity of Ronnie Foster, as he bids farewell to Columbia Records.
Delight was Ronnie Foster’s second and final album for Columbia Records, with Ronnie leaving Columbia with his most successful album. On Delight, he called upon some of his high-profile musical friends, with George Benson, Stevie Wonder, Fred White and Phyllis Hyman all playing their part in Delight’s success. Although Delight reached number nineteen in the US Jazz Charts, still Ronnie couldn’t make a breakthrough in mainstream music. His albums never entered either the US Billboard 200 or US R&B Charts, giving him mainstream success. However, Argentina the track that opens Delight proved a staple of Quiet Storm radio stations. You’re the One the only single failed to chart, which must have been disappointing, given its quality. After leaving Columbia Records, Ronnie Foster didn’t release another album until 1987, The Racer. That was his final album, with Ronnie content to write songs for other people and accompany them in the studio and live. Of all the albums of Ronnie Foster’s career, not only was Delight his most successful album, but contained some of his best and most eclectic music. On Delight, which was rereleased by SoulMusic Records on 25th June 2012, Ronnie Foster mixes jazz, funk and soul, along with his all-star band. The music on his sixth album is indeed a Delight. Standout Tracks: Argentina, You’re the One, Let Me Into Your Life and When Will I Write You A Song.
RONNIE FOSTER-DELIGHT.
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QUAZAR-QUAZAR.
QUAZAR-QUAZAR.
Having spent several years aboard George Clinton’s Mothership Connection, as vocalist and guitarist for Funkadelic and Parliament, Glenn Goins started getting restless being just a side-man for George. He watched other members leave the bands, forming their own successful bands. Soon he too, was considering his future, having played important roles on mid-seventies Funkadelic and Parliament albums. Among these albums were Parliament’s 1975s Mothership Connection, 1976s The Clones of Dr. Funkenstein and Funkentelechy vs. the Placebo Syndrome, plus Funkadelic’s Let’s Take It To the Stage, released in 1975, 1976s Hardcore Jollies and 1977s Tales of Kidd Funkadelic. By 1978, Glenn Goins was also frustrated at George Clinton’s management of the bands, so started thinking about heading out on his own. Luckily, there was the perfect solution to his predicament. His brother Kevin already had a band, so Glenn decided to join Kevin’s band. He brought along with a number of musicians, including Greg Fitz, Richard Banks, Darryl Dixon, trumpeter Monica Peters, percussionist Darry Deliberto plus Lena Eure, a talented vocalist. Everything was in place for this new band, Quazar. Before long, songs were written and Quazar headed to Detroit the record their debut album Quazar, which was rereleased by BBR Records on 25th June 2012. However, that’s when things started to get complicated and before the Quazar would be released tragedy would strike.
Having written the nine songs on Quazar, the group flew to Detroit, their destination the Pac-3 Studios. Once there, Quazar would record their eponymous album. Glenn Goins would arrange and produce the album, as well as co-writing four tracks and writing one himself. The rest of the band had collaborated, each pitching in with songs. Jerome Brailey, another alumni of Parliament and Funkadelic cowrote two tracks and play drums, providing the group’s funky heartbeat. Soon the album was finished and the group were set to head back to New York. That’s when things got complicated and messy.
Before the group had headed to Detroit, Clive Davis of Arista Records had expressed an interest in signing Quazar. While Clive Davis thought Quazar were his band, so did Armen Boladian of Westbound. Both labels thought they had first option on the band. So when Glen headed to Detroit to pickup the master-tapes, a major problem arose. He’d picked up the master-tapes, gotten to Detroit’s airport and then was stopped by the police. The tapes were seized and a bitter two-month court battle ensued. Sadly, although he never knew it, this would prove to be two months Glenn couldn’t afford to waste.
Armen Boladian of Westbound claimed he was over $85,000. Without this sort of money, Glen decided to abandon the tapes and rerecord the album. He also decided that the group would change its name to Quazar. With a new name and now signed to Arista, a new album had to be recorded. At the same time, Glenn was working on a solo album and an album for Bobby Womack. Sadly, he’d never finish either his solo album, or Quazar’s album.
On 29th July 1978, Glenn Goins died, aged twenty-four, from Hogkins Disease. The rest of Quazar found out about this after a concert in Philadelphia. Soon, they were heading back to their friend and band mate’s funeral. As if this wasn’t bad enough, they had to finish the album. It was scheduled for release in August 1978. So, after the funeral, the rest of Quazar had ten days to complete the album. They were at the production stage, with Glenn having completed much of the album. To help Quazar complete the rest of Quazar, another former member of Parliament and Funkadelic was drafted in. Jerome Brailey wasn’t just a drummer, but also a close friend of Glenn’s. Somehow, Jerome and the rest of Quazar managed to complete their debut album Quazar within the ten day deadline. It was under these sombre circumstances that Quazar released their debut album Quazar. How would it fare upon its release?
Two months before the release of the album Quazar in October 1978, the first single was released from the album. It was Funk ‘N’ Roll (Dancing In the Sunshine), which reached number eleven in the US R&B Charts. Then in October 1978, Quazar was released, reaching number 121 in the US Billboard 200 and number twenty-one in the US R&B Charts. A second single was released to coincide with the album’s release, Funk With A Big Foot, but failed to chart. With both the first single Funk ‘N’ Roll (Dancing In the Sunshine) and the album Quazar commercially successful, it seemed music lovers shared Glenn’s passion and vision for the music he played such a crucial role in creating. However, what does the music on Quazar sound like?
Opening Quazar is the second single released from the album, Funk With A Big Foot. With its combination of funky rhythm section, sizzling guitars and punchy vocals, the P-Funk influence is obvious straight away. The sound is loose and funky, as Quazar explore the track’s nuances. Quickly, they tighten-up, the rhythm section providing the track’s heartbeat. Key to this are the pounding drums, while chiming guitars and waves of keyboards accompany punchy, soaring and joyful vocals. The result is a track that’s not just funky, but P-Funky.
Funk With A Capital G has similarities with the opening track, but is quicker, with the rhythm section driving the track along. Jagged guitars, percussion and washes of synths and keyboards are augmented by brief bursts of horns. The vocal is delivered powerfully, soaring and roaring, while the rest of the group add frenzied backing vocals and handclaps. Later, the addition of the rasping, blazing horns really lifts the track, adding the finishing touch to a driving slice of funky music.
Funk ‘N’ Roll (Dancing In the Sunshine) was the debut single from Quazar, reaching number eleven in the US R&B Charts. Once you’ve heard the track you’ll realize why. It’s one of the best tracks on Quazar. Key to the track’s success are the Quazar rhythm section. Chiming, driving guitars, thunderous drums and a pounding bass line are augmented by growling horns, while the combined vocals are delivered sharply, in bursts. Later, the vocal reminds me of something you’d expect to hear on a mid-seventies Funkadelic or Parliament album. Having travelled on George Clinton’s Mothership, Glenn Goins had learnt from the head funketeer, George Clinton. Here, some of George’s influence, vision and genius shines through.
Workin’ On A Buildin’ is another of the tracks where the George Clinton influence shines through. After a moaning vocal that opens the track, to the driving guitars, heavy pounding rhythm section that produce an arrangement the unfolds in waves. The bass loops powerfully, drums pound and throughout the track, George’s influence can be heard. Braying, blazing horns and vocals that are delivered loudly and powerfully. They drift above one of the funkiest arrangements on the album so far. It pounds powerfully, punishing your speakers to within an inch of their lives, with some fantastically funky music from Quazar.
When You’re Lovin’ Is Easy opens, the sound is much more understated. Just percussion and keyboards combine, before the guitars make their presence felt. The vocal is full of desire, before banks of keyboards, rhythm section and percussion combine. Still, the rhythm section unleash waves of powerful music, while soulful backing vocals contrast the lead vocal. It’s a very different sounding track and a pleasant diversion from the heavy duty P-funk that’s preceded it. Personally, this is a side to Quazar I’d have liked to hear much more of.
Lena Eure takes over the lead vocal on Love Me Baby, and straight away, you realize just how talented a vocalist she is. The rest of Quazar tone down their funky music, allowing her vocal to sit amidst a much more soulful arrangement. There’s still a funky side to the arrangement, but her emotive, impassioned vocal is accompanied by keyboards, rhythm section and braying horns. Her vocal is perfectly suited to both the song and its arrangement. Later, rolls of punchy drums reflect the drama and passion in her vocal, which is one of the best on Quazar.
Having just said about hearing the more soulful side to Quazar’s music, I’ve been rewarded by two more tracks like that. The second is Savin’ My Love For A Rainy Day. It meanders along, with funk, jazz and soul fused seamlessly. Gone is the uber-funky music, with a much slower, mellower sounding track taking its place. Bursts of punchy horns, keyboard and the rhythm section accompany the lead vocal, while it’s augmented by backing vocalists. This breaks the album up nicely, and is a welcome departure from Quazar’s previously heavier funkier sound. Here, the much slower, mellower sound which sees them break free from the shackles of P-funk is one of the real highlights of Quazar.
Starlight Circus was written about the group’s growing disillusionment with the music business. After all, all they wanted to do was make music, not be held to ransom over contractual disputes. These lyrics have a poignancy, given Glenn’s tragic and early death. Were it not for the contract dispute, he’d have lived long enough to see Quazar’s album released and enjoy its success, even just briefly. With just piano accompanying the vocal, while backing vocalists drift in and out, the lyrics are tinged with a sadness, that many a musician will relate to. There goes them, they’ll think. Just this wistful arrangement and the poignant lyrics are a powerful, beautiful and haunting combination, that shows a very different side to Quazar.
Closing Quazar is Shades of Quaze where keyboards, percussion and a growling horn combine. The drama builds, leaving you wondering the future direction of the track. What unfolds is a mixture of jazz and funk, more jazz-funk than P-Funk. Keyboards, rhythm section, blazing horns and wah-wah guitars combine, as Quazar demonstrate their talents and versatility. They’re just as happy and comfortable closing Quazar with what’s a very different sounding track to the one that opened the album. They’ve travelled a long way during the musical journey that makes up the album’s nine tracks. It seems their final destination is one of the best, bringing to an end a compelling, quality and eclectic musical adventure.
The story of Quazar’s only album Quazar is a tale of some hugely talented musicians who all they wanted, was to release their own music. Sadly, the story didn’t have a happy ending, with Glenn Goins dying from Hodgkins Disease just a month before Quazar was released. Tragically, if it hadn’t been for the contractual dispute between Westbound and Arista Records, which resulted in Quazar having to rerecord the album, then Glenn Goins would’ve seen the album released. Sadly, greed and avarice stopped this happening. This leads me to wonder what the original album sounded like? Would it have sounded the same as Quazar, or would it have been better or worse? That’s open to speculation. What I do know, is that the nine tracks that make up Quazar are a compelling combination of quality P-Funk, soul, jazz and funk. This is played by the ten members of Quazar, who collectively and individually, combined and played their part in the success and sound of Quazar. Opening with four slices of P-Funk, the album takes diversions via soul and jazz, with funk ever-present. Glenn Goins was the driving force behind the album, arranging and producing the nine tracks on Qauzar, which was rereleased by BBR Records on 25th June 2012. For anyone whose a fan of Funkadelic, Parliament or P-Funk, then this is an album that’s a must-have. However, Quazar is also an album laced with tragedy, with Glen Goins who played such an important part in Quazar dying before he could enjoy the fruits of his talent and creativity. He was only twenty-four, but musically, was hugely creative and talented, and something of a musical visionary, as you’ll realize once you’ve heard Quazar. Standout Tracks: Funk With A Big Foot, When You’re Lovin’ Is Easy, Love Me Baby and Starlight Circus.
QUAZAR-QUAZAR.
DISCO RECHARGE-TANGERUE/STRANGE AFFAIR.
DISCO RECHARGE-TANGERUE/STRANGE AFFAIR.
After the success of Harmless Records’ Disco Discharge series, which celebrated the release of four further volumes in 2012, taking the total to sixteen volumes of the Disco Discharge series, Harmless have launched another new label and series, Disco Recharge. The Disco Recharge series sees Harmless rerelease long out of print classic disco albums unearthed by the mysterious Mr. Pinks, who compiled the Disci Discharge compilation series. Tangerué/Strange Affair is the second in the series, and will be rereleased on 2nd July 2012. Voyage’s 1977 French Disco classic Voyage was the first installment in this new series. From the Euro Disco of Voyage, volume two sees the Disco Recharge series pack its bags and head to Philadelphia, the City of Brotherly Love. It was there that Bruce Weedon and Ed Strauman who were proteges of Boris Midney, a true legend of disco recorded the two albums on the second volume of Disco Recharge. They put together a studio band Tangerue in 1979 who recorded just one album Tangerué, full of lush Philly disco strings, infectious melodies and pulsating beats. Tangerué was then released to critical acclaim and since then, has become a highly collectable disco classic.
By the time Bruce Weedon returned to the studio, this time with Giuliani Salerni of Ultimate, to record Strange Affair’s only album Strange Affair, disco had died. After the Disco Sucks movement had single-handedly destroyed disco, disco albums weren’t selling well. Record companies backed off from anything disco related. This spelled disaster for Strange Affair’s only album Strange Affair. Although the album was crammed full of quality disco music, with a Philly twist, it sold badly. Since then, Strange Affair, like Tangerue, has become a highly collectable album, with copies changing hands for considerable sums of money. Now thankfully, you don’t need deep-pockets to afford either Tangerué or Strange Affair, with Harmless’ forthcoming release ensuring this. However, what makes Tangerué and Strange Affair’s albums so collectable?
TANGERUE-TANGERUE.
Before Bruce Weedon met Boris Midney, Bruce had been a session guitarist. With so many guitarists for hire, times were tough for musicians like Bruce. Then when Boris Midney asked Bruce along to his new, hand built studio, Bruce’s career was transformed. Boris needed a guitarist to play guitar on a project he was working on. When the pair first met, Boris was installing a new mixing desk in his studio. This required some soldering done, and Bruce was able to do this. After this, Boris asked Bruce to stay on, and become his new apprentice. From then on, Bruce played guitar and engineered many of Boris’ recordings, including albums like Beautiful Blend, USA-European Connection and USA-European Connection 2. It was during the recording of USA-European Connection 2 that Bruce met Ed Strauman.
Ed Strauman taught and played piano, often performing in jazz clubs in evenings, augmented his income by arranging and copying musical scores by hand. One man who needed his talents was Boris Midney. He was working on USA-European Connection’s Come Into My Heart, and needed Ed Strauman to copy the string parts for the arrangement. After copying the score, be played piano on the track. It was the start of a working relationship between Ed and Bruce. From then on, the pair would work on a various projects and would be reunited again in Philadelphia.
By 1979, Ed Strauman had signed a songwriting contract with South Philly Productions. One day, he was asked to write a disco track, similar to Donna Summer’s Last Dance. He sat down with his wife Mary Cavallaro, a lyricist and came up with Dance With Me. With the song written, the label wanted someone to record it. Linda Clifford expressed an interest, but chose not to record the track. Then Ed hit on the idea of a studio album. Along with his wife, he cowrote three more tracks. Now they had enough songs for an album all they needed were musicians.
For recording of the four tracks that became Tangerué’s only album Tangerué, Ed enlisted the help of his old friend Bruce Weedon. Ed and Bruce produced the album, with Ed playing keyboards and Bruce guitar. Along with guitarist John Valentino, bassist Jim Sutton, drummer and percussionist Miguel Fuentes. Th Ultimate Players added strings and horns, while the somewhat mysterious Tangerué added vocals. With the album recorded, Tangerue’s one and only album was ready for release.
On the release of Tangerué, it lit up dance-floors, with its combination of lush cascading strings, pulsating beats, beckoning vocals and infectious melodies. Soon, the album Tangerué became a cult classic. Ed and Bruce buoyed by their success must have thought a future as disco producers beckoned. However, what made Tangerué such a successful album?
Tangerué opens with Dance With Me, and from the opening bars you’re hooked. This is the type of music that made disco great. The track literally explodes into life. Pounding drums, percussion, bursts of blazing horns and lush cascading strings welcome the arrival of the sweetest of vocals. You’re swept away, atop the swathes of shimmering strings and punchy horns, with that pulsating beat ever-present. Of course, best not forget that beckoning vocal, full of promise and mystery. Later, percussive breaks, a pounding bass and rasping horns all play their part in the track’s hook laden sound. It’s like being a journey back to 1979, with Tangerué providing the soundtrack, complete with shimmering strings, glamour and glitter balls aplenty.
Everynight, Everyday takes up where Dance With Me left off. Pounding beats and percussion combine, before a dark synth signals a change in sound. When the growling horns and shimmering strings enter, the synth continues to make its presence felt. Hissing hi-hats, flourishes of keyboards and percussion give the track a Latin feel, while the pounding drums remind you it’s a disco album. Strings sweep and swirl, as the wistful, hopeful vocal enters. By now it’s impossible to resist the track’s charms. All you can do is succumb to Tangerue as they take you on a majestic, unforgettable ten minute adventure.
As Doin’ Your Own Thing prepares to reveal its secrets, you’re constantly trying to second guess where the track is heading. Funk and jazz make brief appearances, before another glorious slice of 4/4 disco gives up its secrets. Rasping horns, stabs of keyboards, a driving rhythm section and dancing strings accompany cooing vocalists. When the vocals drop out, the strings shiver and quiver, before percussion, blazing horns and dramatic keyboards take centre-stage. For six minutes, Tangerue fuse jazz, funk and disco are seamlessly, resulting in a track that’s dramatic, grandiose and is a glorious reminder of the heady days of disco.
Ed Strauman must have called upon all his years of experience as a jazz musician to create the arrangement for Tangerué. His arrangement has a vintage sound, that sounds like its from another era. That is, until you add the pulsating disco beat. As the track begins you’re oblivious to what’s about to unfold. Percussion and pounding beats give way to stabs of keyboards, vintage strings and growling horns. Then comes the louche vocal, encouraging you to do the Tangerué, their very own dance. It’s perfect for the arrangement, as they reveal the mysteries of Tangerué. A jazz tinged piano gives way to a myriad of Latin percussion and pulsating beats, before shimmering strings glide in. By then, not only have you been schooled in the mysteries of Tangerué, but have been lucky enough to hear its louche soundtrack, where jazz and disco unite as one, producing the perfect track to close Tangerué.
Listening to Tangerué, it’s quite obvious why the album is so highly rated and collectable. From its opening bars, Tangerué take you on a magical musical journey, back to the heady days of disco. During that journey, you’re introduced to lush Philly disco strings, blzing horns, infectious melodies and pulsating beats plus hook galore. It’s impossible to resist the music on Tangerué, and by Tangerué, which closes the album, you’ll find yourself doing the Tangerué. Although there are just four tracks on the album, they’re four glorious tracks. For me, I’d rather have an album with just four great tracks, than a longer meandering album padded out with filler. This isn’t the here. Quite the opposite, there are just four great tracks on Tangerué, with Tangerué Melody, which previously was only available as a twelve inch single a welcome and added bonus. With an album as good as Tangerué, then the addition of Strange Affair’s second album Strange Affair is just like a bonus. However, will Strange Affair match the quality of Tangerué?
STRANGE AFFAIR-STRANGE AFFAIR.
A year after the release of Tangerué, South Philly Records would release another studio album, Strange Affair’s second album Strange Affair. By then, Ed Strauman had moved on to other projects. Given that disco was no longer as popular, after the Disco Sucks backlash, this may have been a wise move. Record companies and record buyers were shunning disco music, with disco singles and albums deeply unpopular. So, Giuliani Salerni who would produce Strange Affair’s album faced an uphill struggle. He’d been brought in by Bruce Weedon, after Ed moved on. Bruce knew Giuliani Salerni with the pair working on projects by Giuliani’s group Ultimate. Could he replicate this success with Strange Affair’s second album Strange Affair?
For Strange Affair’s second album, Giuliani wrote the five tracks on the album, while playing piano, synth and clavinet. Bruce Weedon would act as engineer and play guitar on the album. Joining them for the recording of Strange Affair was M.F.S.B. guitarist T.J. Tindall, bassist Timmy Allen and Don Renaldo’s strings and horns. Adding vocals were Brenda Hill, Carolyn Mitchell, Joy Lober and Vansessa Thomas, sister of Irma Thomas. Like the Tangerue album, recording took place at Alpha International Studios. Soon, Strange Affair’s second album Strange Affair was recorded and ready for release. Would it buck the trend of disco albums selling badly?
Sadly, when Strange Affair released their second album Strange Affair, it almost sank without trace. It seemed the disco backlash had claimed another victim. Given the quality of music on Strange Affair, this is something of a tragedy, as you’ll realize when I tell you about the music on the album.
Strange Affair opens with Bad Connection. The funkiest of bass lines and punchy drums combine, before blazing horns and sweeping swirling strings signal the arrival of the vocal. They’re breathy, emotive and sometimes, needy. When they drop out, waves of dramatic music are unleashed. Synths and the rhythm section combine while a sinister sounding male vocal prowls around the arrangement. As he departs, the needy breathy vocals returns. In their absence, a mixture of funky bass, disco and strings and frenzied washes of synths make their presence felt. By then, the rest of Strange Affair, have all played their part in getting Strange Affair of to a compelling, dramatic and disco drenched start.
No, No, No sees distant rocky guitars and handclaps, welcome the arrival of a pulsating beat, rasping horns and chiming Chic-influenced guitars. The tempo is quick, the vocals excitable and emotive, while strings sweep and swirl. Percussion and a pounding bass line augment the pulsating beat, while handclaps accompany the vocal that’s delivered in short, sharp bursts. This results in a captivating and tantalizing track, where Strange Affair mix funk and disco, reminding me of Chic.
When Love Is A Strange Affair begins, the Chic influence is apparent again. Several things lead me to draw this comparison. From the cascading strings that dance across the arrangement, accompanying the female vocalists to the guitar. The big difference is the drum sound. Chic’s drums weren’t so loud or prominent in the mix. While Chic were purveyors of disco perfection, Strange Affair are the new kid on the block. Their sound is best described as Chic with a pulsating, pounding disco beat and like Chic, Strange Affair are capable of creating some quality disco music. Here, they do so with a twist of jazz and lashings of style, paying homage to the doyens of disco Chic.
Meandering keyboards trail off, before keyboard, pounding drums and cascading strings open I’m Ready / Disco Star. Straight away, you’re smitten by the infectiously catchy sound. Key to this are the vocals, along with bursts of punchy horns, lush strings and jazz tinged guitar. During a prolonged break, stabs of synths and percussion join the arrangement. Those sweet vocals sit atop the arrangement, which dances along, sweeping you along in its wake. It’s impossible to resist the track’s jazz-tinged, percussive charms. I kid you not, resistance is impossible. Once you’ve heard the track, you too will agree.
Closing Strange Affair is Don’t Stop The Music, which is my sentiments exactly. So good is the album, that you just don’t want it to end. Sadly this is Strange Affair’s farewell, with male and female vocalists featuring on a track where the band make diversions into funk and jazz. These excursions prove the band’s versatility, and are a departure from sweeping, swirling strings, growling horns and ever-present pounding drums. Although sometimes, the track is quite different from the other tracks on Strange Affair, the quality is just the same. Strange Affair don’t disappoint, leaving you with pleasant memories, and pressing play again, to experience their delights one more time.
Earlier, I wondered whether Strange Affair’s second album would match the quality of Tangerué’s album Tangerué? Well, having spent some time listening to the album, then I can say that this is the case. Where Tangerué left of, Strange Affair takes over. During the five tracks on Strange Affair, producer Giuliani Salern adds funk, jazz and soul into Strange Affair’s lush brand of disco. Like Tangerué’s album, there are strings and horns aplenty from Don Renaldo, who appear on numerous Philadelphia International Records and Salsoul Records’ recording. The final piece in this disco jigsaw were the vocals, with the soulful strains of Brenda Hill, Carolyn Mitchell, Joy Lober and Vansessa Thomas adding the finishing touch to the album. Sadly, by the time Strange Affair released their second album Strange Affair, disco had died. After the Disco Sucks bandwagon killed disco, record companies didn’t want to release disco albums which record buyers wouldn’t buy. This was what happened to Strange Affair. It was released and sank without trace. Since then, music fans have rediscovered the delights of Strange Affair, with the album changing hands for even greater sums of money. Thankfully, after 2nd July 2012, when Harmless Records rerelease Disco Recharge-Tangerué/Strange Affair you’ll be able to afford your own copy of these two classic disco albums, which given the quality of music on them, is a must-have for disco lovers everywhere. Once again, Mr. Pinks has succeeded in unearthing two albums that are absolute disco gold. If the rest of the Disco Recharge series is as good as Disco Recharge-Tangerué/Strange Affair then they’ll be a joy to behold. All I can say to Mr. Pinks is Don’t Stop the Music, not when it’s as good as this.
DISCO RECHARGE-TANGERUE/STRANGE AFFAIR.
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DENIECE WILLIAMS-NIECY.
DENIECE WILLIAMS-NIECY.
From the release of her debut album This Is Niecy in 1976, Deniece Williams embarked on an eight year musical adventure, where she released seven solo albums, two of which were certified gold and one platinum. During that period, Deniece worked with some of the most successful producers of that time. This included Maurice White, Ray Parker Jr., George Duke and Thom Bell. Her debut album This Is Niecy was produced by Maurice White and Jerry Peters, and was certified gold. The followup, 1977s Song Bird was also produced Maurice and Jerry, but didn’t enjoy the same success as This Is Niecy. For her third album, When Love Came Calling, Ray Parker Jr. was drafted in to produce the album. The album didn’t sell well, reaching just number ninety-six in the US Billboard 100 and number twenty-seven in the US R&B Charts. Two years later, Thom Bell was chosen to co-produced My Melody with Deniece. This was the perfect partnership, with Thom and Deniece musical soul-mates. His production complimented Deniece’s vocals, as he sprinkled some of his Philly magic over My Melody’s eight tracks. He did this with the help of some of Philly’s finest musicians. My Melody, the resulting album was certified gold. With the partnership having proved fruitful, a year later, Thom Bell and Deniece were reunited for the followup to My Melody, Niecy, which will be rereleased by BBR Records on 25th June 2012. However, could and would Niecy repeat the commercial success of My Melody?
Before recording of the followup to My Melody could begin, Thom Bell and Deniece Williams had to come up with some new material. Together, they cowrote four songs, while four other songs were chosen for the album. Deniece also cowrote A Part of Love Kevin Bassinson and I Believe In Miracles with Bill Neale. Two other tracks, including Love Notes which Skip Scarborough’s cowrote were chosen for Niecy. The other track was It’s Gonna Take A Miracle, co-written by Teddy Randazzo, Lou Stallman and Bob Weinstein. It had previously been a hit for The Royalettes in 1965 and Laura Nyro in 1971. Could this give Deniece a hit eleven years later?
With the eight tracks chosen, recording of the album took place at Philadelphia’s legendary Sigma Sound Studios, which was familiar territory for Thom Bell. Many of the albums he recorded for The Detroit Spinners, The Stylistics and The Delfonics were recorded, plus the various albums he worked on for Gamble and Huff’s Philadelphia International Records. For the recording sessions for Niecy, Thom called upon some of Philly’s top musicians, who also played on My Melody. This included guitarist Bobby Eli, percussionist Larry Washington and the inimitable sound of Don Renaldo’s horns and strings. Bob Babbit who’d been part of The Funk Brothers and M.F.S.B. played bass. Thom Bell didn’t just co-produce Niecy, but played also keyboards. Soon, the eight tracks that would become Niecy were recorded and the album would be released in April 1982. Would it match the success of its predecessor My Melody?
In March 1982, a month before the release of Niecy in April 1982, the first single was released from the album. It’s Gonna Take A Miracle which had given The Royalettes and Laura Nyro a hit was chosen. It reached number ten in the US Billboard 100 and number one in the US R&B Charts. This must have helped sales of Niecy, when it was released in April 1982. Niecy fared even better than My Melody, reaching number twenty in the US Billboard 200 and number five in the US R&B Charts, but unlike My Melody, Niecy wasn’t certified gold. Waiting By the Hotline was released as a single in July 1982, reaching number 103 in the US Billboard 100 and twenty-nine in the US R&B Charts. In October 1982, Waiting was the final single released from Niecy, but stalled at number seventy-two in the US R&B Charts. However, Niecy had surpassed the chart success of Deniece’s previous albums, while It’s Gonna Take A Miracle gave her, her first US R&B single and her highest placing in the US R&B Charts. Overall Niecy had been a hugely successful album for the Deniece Williams Thom Bell production partnership, but why was that?
Waiting By the Hotline the first of the four tracks Thom Bell and Deniece Williams cowrote opens Niecy. This was the second single from the album, but didn’t repeat the success of It’s Gonna Take A Miracle. As the track opens, Thom Bell deploys a synth, something he never used often. It gave him the sound he was looking for. A flourish of synth gives way the piano and slow, thoughful rhythm section. When Deniece’s vocal enters, washes of synths and subtle backing vocalists accompany her. The piano and synths are key to arrangement, while Deniece’s vocal is full of hope and longing. It’s framed by an arrangement that not only has a contemporary sound, but reflects the hope and longing in Denice’s vocal.
Not only did It’s Gonna Take A Miracle give Deniece her first US R&B number one single, but was her highest charting single in the US Billboard 100. It benefits from a vintage sounding arrangement. Thom Bell combines the piano and rhythm section, who play slowly, whilst leaving space in the arrangement, helping give it its vintage sound. Deniece adapts her vocal style for the song. She delivers it in a way that compliments the arrangement. Her vocal is full of hurt and heartache, with swathes of lush strings a constant companion and backing vocalists reflecting her hurt and heartache. By the end of the track, you realise three things made this such a successful song, its lyrics, arrangement and of course, a vocal from Deniece laden with heartache and hurt.
Love Notes is another of the cover versions on Niecy, and is a track with secrets a plenty in-store. Rocky sounding guitars dance across the arrangement, while a pounding rhythm section provide the track’s heartbeat. Then when Deniece’s wistful vocal enters, it’s to this pounding beat which quickly, dissipates. It’s replaced by a floaty, elegant arrangement, which just as quickly disappears. From there, the arrangement flits between its two sides. As Deniece’s vocal grows in power and passion, she has cascading flute and growling horns for company. When they exit stage left, they’re replaced by the duelling guitars of Bobby Eli and Bill Neale. Throughout the rest of the track, Deniece and her band toy with you, teasing and tantalizing you with both sides of the song.
Deniece cowrote I Believe In Miracles with Bill Neale who arranged the strings on the track. These strings play an important part in the song and its success. As the song begins, shivering strings, percussion and the rhythm section accompany Deniece. Her vocal is full of optimism and hope, cascading and quivering, while elegant strings shimmer and quiver. The piano and drums add a contrast, with the drums dramatically punctuating the arrangement, as if reinforcing the hope and optimism in Deniece’s vocal. So, convincing is her delivery, that by the end of the track, I Believe In Miracles.
How Does It Feel opens with the line “how did it feel when he changed his number.” Deniece’s vocal is full of anger and hurt, accompanied by just a piano. Soon, the arrangement reflects the anger and hurt in Deniece’s vocal. A dramatic, punchy rhythm section and growling horns see to this. They’re like an explosion of emotions. This doesn’t last long. Quickly, as spent of emotion and anger, the arrangement returns to just the piano and percussion. The arrangement becomes almost elegant, but not for long. Soon the hurt returns, the emotion welling up and exploding. Throughout the rest of the track, this pattern returns, with Deniece playing the role of spurned lover with aplomb, her vocal laden with anger and hurt. Thom Bell’s arrangement, which veers between dramatic and powerful, to gentle and elegant, reflects the sense of anger and betrayal brilliantly. All this makes this one of the highlights of Niecy.
Waiting is another of the tracks Thom Bell and Deniece cowrote. It glides elegantly into being guitars reverberating, cymbals crashing and drums pounding dramatically. Shivering strings and flourishes of harp signal the arrival of Deniece’s heartfelt, impassioned vocal. Larry Washington’s percussion, Bobby Eli’s guitar and Charles Collins drums are key to the arrangement. Later, shimmering, quivering and wistful strings are just the finishing touch, while Deniece and her backing vocalists add to the emotion and beauty of the track.
Now Is the Time For Love is one of these tracks that gradually, reveals its secrets. It could’ve only been made in one place, Philadelphia. Thom Bell surpasses himself with the arrangement. It builds and builds, the rhythm section, strings and percussion entering. Gradually, the secrets are revealed. Rolls of grand drums, stirring strings and percussion accompany Deniece’s tender vocal. Then Deniece is swept along atop an arrangement where bursts of horns, drums, flourishes of keyboards and sweeping, swirling strings combine. Her vocal grows, as if spurred on by her band’s brilliance. Soon, they’re as one, both playing their part in the song’s sound and success, which has Philly written all over it.
Closing Niecy is A Part of Love, written by Kevin Bassinson and Deniece. A Fender Rhodes reverberates as the song begins, leaving you spellbound. It accompanies Deniece’s tender vocal, before dark strings enter, adding a melancholy, sad sound. This understated sounding arrangement works well, meaning you focus on the hurt and sadness in Deniece’s vocal. Similarly, the strings reflect her hurt, while the Fender Rhodes has a melancholy sound. Although this song has a much more understated sound, it’s perfect for the song and Deniece’s heartfelt, vocal full of sadness and regret.
Although Niecy wasn’t certified gold like My Melody, it surpassed the chart placings of My Melody. Where My Melody left of, Niecy continues. Thom Bell and Deniece were perfect musical partners, both when it came to songwriting and production. By then, Thom Bell was vastly experienced and knew what made a good song from the point of view as a songwriter and producer. Deniece was also a talented songwriter, so it was a symbiotic, creative relationship. This relationship resulted not just in the four tracks they cowrote, but in choosing the right songs for Niecy and how Deniece would interpret them. His vintage-sounding for arrangement for It’s Gonna Take A Miracle was a masterstroke. It must have struck a chord with people, sounding as if it was recorded in another era. Whether old or young, Deniece’s cover version appealed to people, resulting in it heading to number one in the US R&B Charts and number ten in the US Billboard 100. This isn’t the only example of where the inventiveness of the producer is key to song’s sound and success. How Does It Feel and its sense of betrayal and hurt is like a welling up of emotion, while Waiting is not just beautiful, wistful and emotive. On the Philly sounding Now Is the Time For Love, the arrangement takes time to reveal its secrets, but when it does, it’s well worth the wait. A Part of Love which closes Niecy has a very different, much more understated sound, but is another example of how the producer plays an important roll in a track’s sound and success. However, regardless of how good a producer is, or how good the musicians are, and on Niecy they included some of Philly’s best, it takes a talented artist to make this production worthwhile. In Deniece Williams, Thom Bell had one of the most talented singers of the seventies and eighties. On Niecy, Deniece Williams performances are just as good as her ones on My Melody. She injects life and emotion to the eight tracks on Niecy, which will be released by BBR Records on 25th June 2012, along with its followup I’m So Proud. Standout Tracks: It’s Gonna Take A Miracle, I Believe In Miracles, Waiting and Now Is the Time For Love.
DENIECE WILLIAMS-NIECY.
dereksmusicblog
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