GEORGE MCCRAE-ROCK YOUR BABY.
GEORGE MCCRAE-ROCK YOUR BABY.
Imagine an artist could record a single in an hour, costing them just $15 or $20 and that single went on to reach number one in the US Billboard and US R&B Charts. While that might sound far fetched, it actually happened. Back in 1974 George McCrae recorded Rock Your Baby in less than an hour, with the track costing between $15 or $20 to record. On its release, not only did it reach number one in the US Billboard 100 and US R&B Charts, but in eight other countries. Having recorded such a hugely successful single, George recorded his debut album Rock Your Baby, which will be rereleased on 28th June 2012. However, Rock Your Baby nearly never happened. George was about to head back to college, to study law enforcement. Luckily, Richard Finch and Harry Wayne Casey of KC and The Sunshine Band brought a song for George’s wife Gwen to record, and the fickle finger of fate intervened. Unfortunately for Gwen, but luckily for George, Gwen was late for the recording session, so George stepped into the breach. He recorded the vocal after Richard and Harry spent forty-five minutes recording the backing track. Two takes later, the song was recorded and the course of musical history was forever changed. Rock Your Baby was released, becoming a worldwide hit. Then came George’s debut album Rock Your Baby, which I’ll tell you about.
Although Rock Your Baby was George McCrae’s breakthrough single and lead to him recording his debut album, he was an experienced singer. He’d started his career when he formed the Jivin’ Jets. A spell in the US Navy lead to a four year break from music.
By 1967, when he left the navy, George decided to reform the Jivin’ Jets, with his wife Gwen joining the group. Quickly, they decided that they’d become a duo, then signing for the Alston label, owned by Henry Stone. Then, when Gwen got a solo contract, George became her manager, while working as a session singer and singing in clubs. When success wasn’t arriving, George decided on a change of career. George was nearly through with music. Instead, he saw a career in law enforcement as a steady alternative. Before that, he’d to head to college.
Just before George was about to head to college, Richard Finch and Harry Wayne Casey of KC and The Sunshine Band arrived with Rock Your Baby for Gwen to record. George was going along to the Gwen’s recording of Rock Your Baby as an onlooker. Richard Finch and Harry Wayne Casey laid down the backing track in just forty-five minutes. Then a problem occurred. Gwen was late. George stepped in, singing the song in two takes. After the session, Jerome Smith was paid $15 to add guitar. With a McCrae having recorded Rock Your Baby, pretty soon, George’s plans for a career in law enforcement would be a thing of the past.
Rock Your Baby was released by T.K. Records in April 1974, with the single entering at number ninety-three in the US R&B Charts. Even then George mustn’t have thought the song would change his life. Over the next seven weeks, Rock Your Baby rose up the chart, reaching number one in the US Billboard 100 in July 1974, spending three weeks there. The single also reached number one in the US R&B Charts, while reaching number one in over eighty countries worldwide. It became the song of the summer of 1974. Whether it was clubs, cafes or car-radios the song was everywhere, on radio playlists everywhere. Given the success of Rock Your Baby, an album was needed. That meant a return to the studio for George.
For George’s debut album, Richard Finch and Harry Wayne Casey cowrote seven new tracks. They were recorded in less than two weeks, with Richard and Harry playing on and producing the album. Along with drummer Robert Johnson, guitarists Phillip Wright and Jerome Smith who’d played on Rock Your Baby the album was soon finished.
No sooner was the album Rock Your Baby completed, George started touring. He was the opening act for James Brown, The Jackson 5 and was on American Bandstand. Later, he’d accompany Rufus and Chaka Khan and Billy Preston on Soul Train. George must have been unable to believe his good luck. However, what must have Gwen felt like? What if she hadn’t been late? Would it be her that was appearing on American Bandstand and Soul Train?
After the success of Rock Your Baby, George released the followup single I Can’t Leave You Alone in September 1974. It reached number fifty in the US Billboard 100, number ten in the US R&B Charts and number nine in the UK. While this hadn’t matched the success of Rock Your Baby, it couldn’t have been expected to. After all, Rock Your Baby was a classic. Two months later in November 1974, George’s debut album Rock Your Baby was released, reaching number thirty-eight in the US Billboard 200 and number seven in the US R&B Charts. Meanwhile, over in the UK, the album number thirteen. In December 1974, I Get Lifted became the third single released by George, reaching number thirty-seven in the US Billboard 100 and number eight in the US R&B Charts. One year after the release of Rock Your Baby, came the release of Look At You in April 1975. Look At You reached number ninety-five in the US Billboard 100 and number thirty-one in the US R&B Charts. This brought a quite remarkable year for George McCrae to an end. He’d gone from future policeman to worldwide star, with a number one single in over eighty countries and released his debut album Rock Your Baby, which I’ll tell you about.
Opening Rock Your Baby is Rock Your Baby, the single that sold two-million copies and launched George’s career in the process. This isn’t the original version, but a six minute version, where the song is extended from under three minutes. To do this, a series of breaks are added. This allows you to revel in the song’s familiar strains even longer. It’s a bit like a twelve inch single, the sort of thing Tom Moulton does so well. What makes the track such a success is the original song’s simplicity. Just flourishes and cascades of organ, combine with the unmistakable drum sound. It gives the track its Miami rhythm shuffle. Add to that are with tambourine and overdubbed guitar by Jerome Smith. The finishing touch is George’s soaring, joyous falsetto, full of sensuality. Taken together, the result is a genuine classic, that nearly forty years later, sounds just as good.
Following the classic Rock Your Baby, is I Can’t Leave You Alone (I Keep Holdin’ On), which has some similarities with its predecessor. It’s not immediately apparent. as the rhythm section drive the track along, with George’s emotive vocal riding atop the arrangement. As the rhythm section build up the drama, flourishes of organ are unleashed. Just for a moment the similarity is apparent, but it’s hugely effective. From there, George’s vocal is impassioned and powerful, accompanied by a hard driving, pounding rhythm section. They combine with George to play their part in this emotive, dramatic track, that gave George his second hit single.
Stabs of Hammond organ and a pounding rhythm section accompany George as You Got My Heart begins. It’s almost as if George has grown in confidence, reveling in his roll. His vocal is confident, joyous and sassy, while flourishes of Hammond organ, piano and a hard driving rhythm section accompany him. The result is track with a lovely loose, but joyous sound.
As You Can Have It All opens, it nods its head to Rock Your Baby. There’s a similar sound and feel to the sound. That’s no bad thing, given how good the original is. The rhythm section, guitars and waves of Hammond organ accompany George’s cascading vocal. Sometimes, when delivers a line, he pauses, almost answering his own call. Then he unleashes his falsetto vocal, allowing it to soar, displaying an impressive range. His vocal plays an important part in the track’s catchy, hooky sound. Although best described as a cousin of Rock Your Baby, the song comes from a good family.
When You Can Have It All opens George’s vocal is half-spoken, accompanied by the rhythm section and reverberating guitars that drift into the distance. By then, you’ve no idea of the secrets the song has in store. A grand flourish from the organ, still gives no clue. What follows is an arrangement where George’s band explore the song’s subtleties. Flourishes of chiming guitar and piano, drift in and out, as waves of the arrangement replace George’s vocal. Meanwhile the rhythm section provide the track’s heartbeat, while the guitars duel and the waves of organ and piano are unleashed. Although the sound is soulful, it’s almost a jazz-tinged exploration of the song. Even George enjoys this, almost ad-libbing his vocal. After nearly five minutes, where George and his band kick loose, George’s soaring falsetto drifts into the distance. Both he and his band have demonstrated a quite different, looser but still soulful side to their sound, one I’d like to hear much more of.
Make It Right sees the rhythm section, guitars and organ combine, creating a sound that takes its lead from Rock Your Baby. George’s vocal soars atop the arrangement, which shuffles along, with its familiar sound. Later, when waves of organ are unleashed, George unleashes his falsetto vocal. It’s then that the similarities with Rock Your Baby become even more apparent. However, that doesn’t matter. Not when you hear the emotion, passion and power in George’s vocal, set against an arrangement where waves of glorious music arrive, before departing all too soon.
I Need Somebody Like You has a quite different sound from the other tracks on Rock Your Baby. It’s just guitar, drums and then piano that combine as the track begins to reveal its secrets. A flourish of piano, signals the arrival of George’s tender vocal, which sits back in the mix. The band don’t overpower or overcrowd his vocal. They do play in a way that’s quite different to other tracks. It suits the song and George’s tender, gentle vocal.
Another of the singles released from Rock Your Baby was I Get Lifted. The song has a sultry sound. George’s breathy, needy vocal is accompanied by an arrangement that arrives in waves. Just the rhythm section, complete with hissing hi-hats, piano and guitars accompany George. He unleashes a vocal that’s full of desire and sensuality, which is perfect for the arrangement. That’s why the song was so successful when released as a single, reaching number eight in the US R&B Charts and number thirty-seven in the US Billboard 100.
Closing Rock Your Baby is Rock Your Baby (Reprise), where you hear two more minutes of the song’s familiar strains. Listening to it, you can’t help be hooked by the song and its sheer simplicity. There’s no strings or horns, unlike what Gamble and Huff were doing in Philly. Just a great song, with a simple arrangement, recorded in two takes and sung by a legendary singer Mr. George McCrae.
The story of Rock Your Baby and how it transformed George McCrae’s career from almost quitting music for to study law enforcement, to an artist who sold two-million singles in the US alone and had a number one in over eighty countries is quite remarkable. It’s almost like the stuff of a low-budget movie, that usually, can be seen on rainy Sunday afternoons. For once, though it happened in real life, kick-starting a career that would span five decades for George McCrae. Fourteen further albums followed, one of those Together, with wife Gwen. His last album was 2009s Time For A Change, Even today, George is still touring, thirty-eight years after Rock Your Baby and the album that followed, Rock Your Baby were released. Listening to the album, it’s as if at last, after seven years in the music industry, George’s talent is unleashed. He’s been given a chance, after years of struggling, and nearly giving up. There’s no way he’s going to blow this chance, so gives everything of himself during the albums’s nine tracks. He knew that having given his all, he’d have no regrets. George wasn’t going to be one of those singers that later in life, bored people with his “could’ve been a contender, could’ve been someone” routine. Instead he unleashed his talent during the nine tracks that makeup Rock Your Baby, which will be rereleased by BBR Records on 25th June 2012. Instead, Rock Your Baby launched George McCrae’s career worldwide, proving there was much more to him than one song. Although George found fame with Rock Your Baby, you can’t help feel sorry far Gwen, his wife. If she hadn’t been late for the recording session, maybe musical history would be very different. Maybe I’d be writing about Gwen McCrae and George would a successful law enforcement officer, rather than the man who recorded that classic disco track Rock Your Baby? Standout Tracks: Rock Your Baby, I Can’t Leave You Alone (I Keep Holdin’ On), You Can Have It All and Make It Right.
GEORGE MCCRAE-ROCK YOUR BABY.
THE JACKSONS-GOIN’ PLACES.
THE JACKSONS-GOIN’ PLACES.
Just eleven months after The Jacksons had released the most successful album of their career thus far, 1976s The Jacksons, they released the followup album Goin’ Places. This was the second album of a joint venture between where Epic Records and Philadelphia International Records, with Gamble and Huff in charge of the post-Motown Jacksons. Given the success of The Jacksons, everyone assumed that the followup Goin’ Places would enjoy the same critical acclaim and commercial success. Like their previous album, The Jacksons, much of Goin’ Places was written and produced by Gamble and Huff, who by 1977, were going through the hottest period of their career. Everything you’d expect, was in place for Goin’ Places to build on the success of The Jacksons. Sadly, that wasn’t to be the case, as you’ll discover, when I tell you about the story behind Goin’ Places and the music on the album.
There were many similarities between The Jacksons and its followup Goin’ Places. Gamble and Huff again cowrote and produced five tracks. Similarly, the songwriting teams of Gene McFadden, John Whitehead and Victor Castarphen cowrote and produced Music’s Takin’ Over. Dexter Wansel and Cynthia Biggs cowrote Jump For Joy. However, while Michael Jackson wrote and cowrote one track with Tito Jackson for their previous album The Jacksons, Goin’ Places saw The Jacksons cowrite two tracks. These nine tracks would be recorded at Sigma Sound Studios in Philly.
Recording took place between December 1976 and August 1977, with M.F.S.B. accompanying The Jacksons. Among the personnel were guitarists Dennis Harris and Roland Chambers, drummer Charles Collins, percussionist Larry Washington and Leon Huff and Dexter Wansel who played keyboards and piano. Arranging the nine tracks on the album were Dexter Wansel, plus Jack Faith one of Philadelphia International’s most talented arrangers. Together with M.F.S.B. accompanying The Jacksons, producers Gamble and Huff, Dexter Wansel and Gene McFadden, John Whitehead and Victor Castarphen the nine tracks were recorded. Would Goin’ Places match the success of The Jacksons?
On the release of Goin’ Places on 18th October 1977, the album failed to match the success of its predecessor The Jacksons. Instead, it reached just number sixty-three in the US Billboard 200 and number eleven in the US R&B Charts. This was a long way from gold certified The Jacksons. Only in the UK did the Goin’ Places fare better than The Jacksons, reaching number forty-five, while The Jacksons reached just fifty-four. Five singles were released from Goin’ Places, with the title-track Goin’ Places faring best, reaching number fifty-two in the US Billboard 100 and number eight in the US R&B Charts. After that, Even Though You’re Gone, Different Kind of Lady and Music’s Takin’ Over all failed to chart. The final single Find Me A Girl reached number thirty-eight in the US R&B Charts. With three singles failing to chart, two others only enjoying moderate success and the album Goin’ Places becoming one of The Jacksons’ lowest-selling albums, this lead to the joint-venture between Epic Records and Philadelphia International Records ending. However, why did Goin’ Places sell so badly, or twenty-five years after its release is this album something of a sleeper or hidden gem?
Opening Goin’ Places is Music’s Takin’ Over written, arranged and produced by Gene McFadden, John Whitehead and Victor Castarphen. Immediately, you notice the track has a tougher, funkier sound, with M.F.S.B.’s rhythm section and guitars combining before blazing horns enter. A brief pause, signals the entrance of Michael’s vocal, with horns serenading his vocal. Then the rest of The Jacksons add joyous harmonies, before quickly dropping out. Dramatic pauses, funky driving beat complete with crashing cymbals is augmented by horns, add to the track’s tougher, but catchy sound. Although quite different from some of the tracks on The Jacksons, this is The Jacksons sound evolving, rather than stagnating or standing still. Gene McFadden, John Whitehead and Victor Castarphen produced a hook-laden track, while Michael gives a joyful, impassioned performance.
The title-track Goin’ Places is one of five written and produced by Gamble and Huff. From the opening bars, this is a track that has The Jacksons name written all over it. Gamble and Huff have written a track with them in mine. With the flourish of piano, rasping horns and driving, dramatic rhythm and keyboards, everything is in place for Michael’s vocal. He delivers his vocal quickly, his voice full of energy, while his brothers add harmonies. Braying horns punctuate the arrangement, while M.F.S.B. provide a backdrop that matches the energy and enthusiasm of Michael’s vocal. It’s good-time, complete with flourishes of piano, handclaps and sound-effects. There’s no message from Gamble and Huff here, like Let’s Clean Up the Ghetto, Ship Ahoy or The Air I Breath. Instead, it’s a track with a feel-good, good-time sound. However, maybe The Jacksons had outgrown this on The Jacksons?
Different Kind of Lady written by The Jacksons, takes its inspiration from many of their previous tracks. This is what Gamble and Huff did on the previous track Goin’ Places, write a “Jacksons sounding” track. Again there’s a real feel-good sound, with Michael’s vocal driving the track along, while M.F.S.B. provide a musical backdrop. Their playing is the quality you’d expect from M.F.S.B., as is Michael’s vocal and the harmonies. Sadly, the continued use of a vocoder is like a blot on the horizon. Someone should’ve pointed out the maxim less is more. If the song didn’t include the vocoder then it would be a much better song.
Even Though You’re Gone sees Gamble and Huff takeover songwriting and production duties, with Jack Faith arranging his first track on Goin’ Places. This is like Philadelphia International’s A-Team. They don’t disappoint, resulting in the most Philly sounding track so far. Michael’s vocal is tender, but still tinged with sadness. His vocal is delivered against a slow arrangement, where keyboards, lush strings and piano combine with percussion. Subtle rasping horns, brief flourishes of harp play their part in the arrangement’s beautiful sound. Here, Michael’s vocal is impassioned, accompanied by subtle, tender harmonies. Together with Jack Faith’s arrangement and Gamble and Huff’s production, the result is a beautiful track, the best on the album.
During their time at Philadelphia International, Dexter Wansel and Cynthia Biggs cowrote dozens of great songs. Jump For Joy is one of them. Arranger and producer Dexter Wansel throws a curveball as the track opens. The arrangement has a tough, funky sound, with the rhythm section, guitars and keyboards responsible for this. Then when Michael’s vocal enters, it’s joyous, full of energy and enthusiasm. Punchy harmonies augment his vocal, while M.F.S.B. take diversions into funk, while jazz-tinged guitars add to the song’s uplifting, feel-good sound. Later, The Jacksons revel in the uplifting, feel-good sound, sounding as they’re enjoying themselves, which the listener surely will.
Tito Jackson takes over the lead vocal on Heaven Knows I Love You, Girl, penned and produced by Gamble and Huff. Jack Faith’s arrangement is perfect for what is a quite beautiful love song. It’s something Jack Faith does so well. The arrangement meanders into being, lush strings, guitars and keyboards accompanying Tito’s vocal, while his brothers add tender, complimentary harmonies. His vocal is heartfelt, full of emotion, with guitars, percussion and swathes of strings floating above his vocal. They add to the beauty and tenderness of the song. Later, the vocal is half-spoken, giving way to the equally tender and heartfelt harmonies. This is the clincher, resulting in a song that’s not just beautiful and tender, but heartfelt too. It seems that the Gamble and Huff along with Jack Faith triumph again, producing a track that’s almost as good as Even Though You’re Gone.
After the success of the production and arrangement team of Gamble and Huff and Jack Faith, they’re reunited on Man Of War. This is what Gamble and Huff do so well, write songs with an important social message. It’s a song that questions the wisdom and folly of war, offering alternatives to it. Marlon Jackson takes charge of the lead vocal, delivering his tender, sincere vocal against a slow arrangement. Gentle rasping horns, layers of strings, piano and percussion are key to the arrangement. The Jacksons add heartfelt harmonies, before Tito takes over the lead. Later, bursts of horns punctuate the arrangement, before the vocal changes hands again. As the arrangement grows, The Jacksons deliver Gamble and Huff’s message, which isn’t just questioning and criticizing, but offering alternatives and wisdom in equal amounts. This is something similar inferior songs fail to do. One good example of this is the dirge-like Give Peace A Chance.
Do What You Wanna written by The Jacksons, sees them revisit a familiar Jacksons’ sound. It’s reminiscent of their previous songs, but given a Philly makeover by Dexter Wansel that’s key to the track’s success. Chiming guitars, booming drums, blazing horns and flourishes of strings help this joyous sounding track explode. Michael accompanied by handclaps and tight, sweet harmonies gives one of his best vocals. The track also features some of the best guitar playing on the album, augmented by flourishes of strings and piano. All this plays its part in the track’s joyous, dance-floor friendly feel-good sound.
Closing Goin’ Places is the last Gamble and Huff penned and produced track Find Me A Girl, which Jack Faith arranges. Not only does it allow The Jacksons to demonstrate just how good they were at singing harmonies, but shows just how talented a vocalist he is. His vocal is needy, full of emotion, while tender harmonies accompany him. They’re augmented by rasping horns, lush strings and a rhythm section that play slowly, in a way that reflects the emotion in Michael’s vocal. There’s a real old-style, vintage jazzy sound to the arrangement, that’s perfect for the song. The longer the track progresses, the better The Jacksons and M.F.S.B. are. This is the perfect way to close Goin’ Places, on a genuine high, with producers Gamble and Huff and arranger Jack Faith seeing to this.
Although Goin’ Places wasn’t the commercial success of its predecessor, the gold certified The Jacksons, it’s still an album that’s stood the test of time well. Apart from Different Kind of Lady, and its vocoder heavy sound, the rest of Goin’ Places is a really good, listenable album. Maybe with the title-track Goin’ Places, Gamble and Huff were trying too hard to write a “Jacksons’ sounding” track when they’d outgrown that sound. Having said that, I really like the track. With Do What You Wanna, written by The Jacksons, Dexter Wansel saves the day. If it hadn’t been for his Philly makeover, then the song would’ve had a similar “Jacksons’ sound” as so many of there previous tracks. Gene McFadden, John Whitehead and Victor Castarphen’s Music’s Takin’ Over tried to evolve their sound, give it a tougher, grownup sound. Similarly, the Gamble and Huff penned and produced tracks
Even Though You’re Gone, Heaven Knows I Love You, Girl, Man of War and Find Me A Girl, all arranged by Jack Faith succeed in evolving The Jacksons’ sound. They were no longer the group they were on Motown. Instead, they’d grown up and they couldn’t sing throwaway pop like ABC. Gamble and Huff succeeded in changing their sound, making it fit for the new, grownup Jacksons. Maybe the problems was that many of their fans, who were used to their Motown fare, didn’t understand or appreciate this grown up sound. After all, there were ballads, songs about the folly of war on Goin’ Places, real grownup music on Goin’ Places. This was as far from ABC as XYZ as you could get. Maybe, that twenty-five years after its release, then The Jacksons’ fans who didn’t “get” Goin’ Places will somewhat belatedly, understand, enjoy and cherish its nine tracks and its mixture beautiful ballads, dance-floor friendly tracks. Standout Tracks: Even Though You’re Gone, Heaven Knows I Love You, Girl, Man of War and Find Me A Girl.
THE JACKSONS-GOIN’ PLACES.
LIVE AND REMASTERED-20TH ANNIVERSARY BOX SET.
LIVE AND REMASTERED-20TH ANNIVERSARY BOX SET.
Recently, when reviewing Salsoul 30th, I was comparing how record labels celebrate anniversaries. Often, the differences can be stark. Sometimes, record companies release lavish box sets like Harmless Records Philadelphia International Records-The 40th Anniversary Box Set, a mammoth ten disc box set, that was the perfect way to celebrate one of soul’s greatest and most influential labels. I compared this with the somewhat disappointing way Salsoul celebrated its thirtieth anniversary. Although a number of quality compilations and mix CDs were released, I felt whereas disco’s most important label deserved a much more comprehensive retrospective. Soon, this will be rectified, with Salsoul entering a partnership with dance label Ultra to digitally rerelease the label’s illustrious back-catalogue. Another example of how a to celebrate an anniversary is the way Ministry of Sound celebrated their 20th anniversary. This they did with the release of their Live and Remastered-20th Anniversary Box Set, a five-disc box set, featuring live recordings of mixes by Larry Levan, David Morales, Todd Terry, Kenny Carpenter and Justin Berkmann. These five legendary DJs had their mixes recorded live, warts and all. For anyone who loves house and US garage, then this box set will be of
The Ministry of Sound nightclub in London was opened on 21st September 1991. From the opening night onwards, the club became one of the biggest venues in London. It attracted both clubbers and DJs alike. Soon, some of the biggest DJs worldwide were playing at Ministry of Sound. Five DJs that played at Ministry of Sound were Larry Levan, David Morales, Todd Terry, Kenny Carpenter and Justin Berkmann. When they played their sets at Ministry of Sound, the decision was taken to record them. It’s these recordings that make up the five disc set that I’ll tell you about.
Disc One features a mix from the legendary Larry Levan. He’d been booked to play a set at Ministry of Sound, but proceeded to miss eight flights, arriving eight days late without something every DJ needs..records. Having borrowed a few records, Larry proceeds to dazzle the adoring audience with a twelve-song set. Among the records he spun were Pleasure Pump’s Fantasize Me, which opens the set, before taking in tracks like Ceybil’s Love So Special, Robert Owens’ I’ll Be Your Friend and Crystal Waters’ Makin’ Happy, which closes his set. Larry’s mixing is peerless, and this alone made buying Live and Remastered-20th Anniversary Box Set.
On Disc Two, David Morales has a hard act to follow after Larry Levan’s blistering set. He rises to challenge, weaving his way through fifteen tracks, with dub and remixes aplenty spicing up his set. Opening his set with Tony Humphries’ remix of Plant X’s Once Upon A Dancefloor, his set then takes in Richard Rogers’ All I Want, Lil Louis’ Club Lonely. From there he drops Phuture’s Rise From the Grave and inner City’s Pennies From Heaven, with Mission Control’s Outta Limits closing his set. Although David Morales had a hard act to follow in Larry Levan’s mix, he comes pretty close. He produces a stunnung set that’s akin to a trip down memory lane for clubbers, with a few remixes and dub versions of tracks spicing up his set.
For Disc Three, Todd Terry takes over the decks. During his fifteen track set he spins seven tracks he produced himself. Among the other tracks, he spins Saint Etienne’s Only Love Can Break Your Heart, Lidell Townsell’s Nu Nu, plus two by The Untouchables, Take A Chance and Yeah C’Mon. This mix was recorded a few years after the previous two mixes and shows how house music was evolving. Although Todd’s mix is technically spot-on, with the music of the quality you’d expect of him, I prefer the other two discs.
Kenny Carpener’s mix on Disc Four is easily the most eclectic of the five discs. He gets the mix of to a storming start with World Series of Life’s Spread Love, before taking throwing a few curve balls that sit comfortably alongside some classic tracks. During his set, he mixes Bohannon’s Lets Start the Dance into a disco mix of Third World’s Now That We’ve Found Love, before following this with another classic, Little Louie and Marc Anthony’s Ride On the Rhythm. Closing his intriguing and eclectic set are Chaka Khan’s I Know You, I Love You and a the 1991 Club Mix of Natalie Cole’s This Will Be An Everlasting Love. This brings to an end a flawless set, which along with mixes by Larry Levan and David Morales make this set well worth the money.
Justin Berkmann whose mix features on Disc Five, was the resident DJ at Ministry of Sound. He’s been the warmup DJ for every big-name DJ that played at the club. His 2011 mix has a slightly underground feel to it, as he mixes fourteen tracks. During jis set he drops tracks like Instrum’s Wine and Earth People’s Dance, before teeing up Barbara Tucker’s classic track I Get Lifted. From there Dee-Lite’s Pussycat Meow, Wall of Sound’s Critical (If Only You Knew) and Danell Dixon’s Dance Dance are dropped, before House Culture’s N-My Soul closes Justin’s set, proving that he’s much more than a warmup DJ.
The five discs mixes from Larry Levan, David Morales, Todd Terry, Kenny Carpenter and Justin Berkmann that makeup the Live and Remastered-20th Anniversary Box Set were recorded between 1991 and 2011. They’re a interesting document of the twenty years of the Ministry of Sound nightclub, and the type of music played there. That music would be played worldwide, so anyone who spent any time clubbing between 1991 and 2011 might be interested in this box set. It’s one of these box sets that you dip in and out of. Since I came across it, I’ve played Larry Levan, David Morales and Kenny Carpenter mixes most. They two me are the best of the five. Listening to Larry Levan’s mix, his mixing is peerless, and considering the chaos that surrounded his arrival. He missed eight flights and arrived eight days late, but played flawless and peerless set. The other four DJs play like the consummate professionals they are, and which sets you prefer will depend on your musical taste. Another thing about the mixes that I liked is that each mix was recorded live. This means that any mistakes are there for everyone to hear, rather than any errors being corrected afterwards. All this adds to appeal of Live and Remastered-20th Anniversary Box Set, although the sleeve-notes could’ve been better. They’re not exactly in-depth or comprehensive. Mind you, given that Live and Remastered-20th Anniversary Box Set only cost less than £15 or $25 I suppose that can be forgiven. Instead Live and Remastered-20th Anniversary Box Set is a box set that not only will allow you to relive memories of the past twenty years, not just at Ministry of Sound, but any club, big or small, that played the same mixture of house and US Garage.
LIVE AND REMASTERED-20TH ANNIVERSARY BOX SET.
TEMMA TEJE-MIDGET LAMPS IN THE DARK.
TEMMA TEJE-MIDGET LAMPS IN THE DARK.
Although TEMMA-Teje is just twenty-one, he’s packed a lot into his nascent musical career, so far. Starting at just aged thirteen, he was writing songs for his band. By sixteen, his band were playing twice a week at various venues. He was guitarist and vocalist. Then his career progressed in different directions. Inspired by the music of Underworld, TEMMA-Teje started making music on his laptop. Having put his music on My Space, people all over the world, discovered his music. This lead to a career as remixer, remixing tracks by Dave Angel and Ken Ishii, Thopa, Hiroshi Wantanbe, Dublee and Sasaki Hiroki. These remixes have been critically acclaimed by his peers, as has his original work. So far, TEMMA-Teje has released three E.P.s, plus collaborating with Foog on an E.P, Dumb. His career as a remixer and artist runs parallel to a career as one of the hottest DJs in Tokyo, spinning his own brand of urban groove. Somehow, TEMME Teje has found time to record his debut album, Midget Lamps In the Dark, which will be released on 24th July 2012 on the Plaza In Crowd label. On Midget Lamps In the Dark, TEMMA-Teje’s fuses a variety of genres, with everything from folk, pop and rock to ambient, techno and house playing its part in the album’s sound.
Into opens Midget Lamps In the Dark is Intro, a track which teases you, making you wonder the direction the track is heading. Just guitars that sound as if they belong in sixties surf track combine with drums, before stabs of synths enter. They combine, repeating the same rhythms and patterns, building and building. You’re always awaiting something different happening, the track breaking loose. That never happens. Instead. TEMMA-Teje, by using a variation on a theme, teases and tantalizes, resulting in you hungrily awaiting the next track, to see which direction Midget Lamps In the Dark heads.
Straight away, when Littleorc begins, the track reminds you of an elegant, sometimes moody soundscape. TEMMA-Teje uses just synths, drums and bass as the track meanders into being. Washes of synths are key to the track, while slow, thoughtful keyboards drift in, accompanying the sometimes squelchy synths. Later, there’s even an Eastern influence when percussion is added. Then briefly, an almost haunting sound that emanates from the arrangement, bringing to mind eighties and nineties ambient tracks. However, by then, you’re drawn into the arrangement, succumbing to its gloriously, laid-back and elegant sound, which you want to hear much more of.
When Suici begins, you’re immediately struck by the dark, quite menacing side to the track. Brief bursts of ethereal vocals from a choir, scratches, spacey drums and stabs of synths combine. From the get-go, a darkness descends, becoming almost menacing. This is due to the synths, and slow drums. Repeatedly, TEEMA-Teje uses the same notes over and again, giving the track its dark, broody and menacing side. Later, the drums quicken, taking their sound from Detroit techno. They then become crisp, while scratches and effects offer a contrast. All this plays its part in this broody, moody and totally compelling, sound and success.
Quite different from the preceding track is Orb. Almost gone in the darkness of Suici. Instead, it’s replaced by a track where synths and percussion create a much lighter and compelling sounding track. Quickly, the track reveals its charms and secrets. When a keyboard enters solo enters, the mood lightens even more. As you wonder where the track is heading, TEMMA-Teje adds pounding drums. They’re just the finishing touch the track needs. By fusing elements of folk, techno and ambient music, TEMMA-Teje has produced one of the highlights of Midget Lamps In the Dark.
It seems on Midget Lamps In the Dark, TEMMA-Teje sees to toy with darkness and light. On Fillis, the track has a dark, stabs of dark keyboards resonate, while a haunting voice adds to the menacing sound. Then when the pounding drums charge in, they’re like the cavalry to the rescue. They’re stopped in their tracks by synths and vocal samples. Once drums break free, with the synths and sinister sounding vocals this eight minute Magnus Opus takes shape. Although variously dark, moody and broody, it’s impossible not to be swept along by the track. For me, it also allows TEMMA-Teje to reveal just how talented a composer, musician and producer he truly is, creating a glorious overture of beats, vocal samples and synths. Once you’ve heard the track you too will agree.
Fail sees TEEMA-Teje combine quick, pounding beats and synths to create a track that has a real old school sound. Complete with vinyl-like crackle he uses, synths, beats and percussion to drive the track along. Using techno as one of his reference points, he changes gears, hissing hi-hats joining the party. In doing so, he creates a track that’s totally irresistible, and rather than Fail as the title says, passes with credit.
Space is an apt title for a track, with TEEMA-Teje leaving space in between waves of music that surges powerfully. Bursts and stabs of synths, percussion and drums that almost punish your speakers are key to the track’s sound. It’s the type of track that would work really well in any club. As the arrangement gallops along, swathes of music reverberate, hanging dramatically in the ether. Hissing hi-hats join, contrasting the dark synths, while percussion and beefy drums are key to the track’s sound as success. Here, TEEMA-Tee pays a fitting homage to veterans of electronic music, including The Orb and his heroes Underworld.
Closing Midget Lamps In the Dark is Candy, where mellow, Eastern sounding percussion, melodic keyboards and pounding drums combine. The keyboards sound like what would happen if a harpsichord was played through an effects processor. Soon, the arrangement grows, with layers of keyboards, that remind me of Underworld, joining. Along with bursts of percussion, crashing cymbals and crisp drums that pound, the track is driven along. It heads on an intriguing and compelling musical journey. During that journey, Candy reveals so many surprises and subtleties, that it takes several times to discover them all. It’s well worth discovering these surprises and subtleties, that bring TEEMA-Teje’s debut album Midget Lamps In the Dark, to a close.
TEEMA-Teje’s debut album Midget Lamps In the Dark is a intriguing series of eight compelling and mesmerizing soundscapes. During the album TEMMA-Teje fuses a variety of musical genres and influences. Everything from folk, pop and rock to ambient, techno and house plays its part in the album’s sound. During the album, TEMMA-Teje journey’s through darkness and light. On some tracks, the darkness descends, with the sound becoming moody and broody, sometimes, even menacing. Other times, the darkness lifts, with the light shining through, and the music becoming quite different. This is what makes Midget Lamps In the Dark such a compelling, intriguing and accomplished suite of soundscapes. What makes Midget Lamps In the Dark even more remarkable, is that this is his debut album, plus of course, his age. He’s only twenty-one years old, but having started his career aged thirteen, is something of a music veteran. If TEMMA-Teje is able to create such an accomplished album as Midget Lamps In the Dark, aged just twenty-one, then what will the a bight future awaits him, not just as an artist, but as a remixer and DJ. Once you’ve heard Midget Lamps In the Dark, which will released on 24th July 2012 on the Plaza In Crowd label I’m sure you’ll agree. Standout Tracks: Littleorc, Suici, Orb and Fail.
TEMMA TEJE-MIDGET LAMPS IN THE DARK.
ALBERT KING-I’LL PLAY THE BLUES FOR YOU.
ALBERT KING-I’LL PLAY THE BLUES FOR YOU.
Although Stax was primarily a soul label, they also released gospel, funk, jazz and blues music. Without doubt, their most famous blues player was Albert King, who having released his debut album for King Records, The Blues, in 1962, signed to Stax in 1966. This would see Albert release seven albums between 1967 and 1974. Starting with 1967s Born Under A Bad SIgn, he followed this up with a live album, Live Wire/Blues Power in 1968. His second studio album for Stax was 1969s Years Gone By, before 1970s Blues For Elvis-King Does the King’s Things and 1971s Lovejoy followed in 1971. Next came I’ll Play the Blues For You In 1972 and then Albert’s final album for Stax I Wanna Be Funky, which was released in 1974, the year before Stax became insolvent. Of these albums, Albert King’s two best albums are Born Under A Bad SIgn and I’ll Play the Blues For You, which was recently remastered and released. Joe Tarantino who was given the job of remastering I’ll Play the Blues For You, has previously remastered a number of Stax album. Among them, are albums by The Staple Singers, The Dramatics, Booker T and The MGs and Shirley Brown. His remastering brought each of these albums to life. Will this be the case with Albert King’s I’ll Play the Blues For You? That’s what I’ll tell you, after I’ve told you about the background to I’ll Play the Blues For You and the music on the album.
By 1972, Albert King was releasing one album a year. His albums were steady sellers, consistently entering the US Billboard 200 and the US R&B Charts. Although Albert was most popular with blues fans, he’d also built up a following amongst rock fans. However, not many people had Albert King pegged as a soul singer, that is not until the release of his 1972 album I’ll Play the Blues For You. This might not have happened if fate hadn’t intervene. Albert was in Stax’s Memphis studios, searching for a song to record for his forthcoming album. Someone, Albert can’t remember who, suggested a Jerry Beach penned track, I’ll Play the Blues For You. This was added to the other six tracks that Albert recorded for his I’ll Play the Blues For You, his fifth studio album for Stax.
Accompanying Albert King on I’ll Play the Blues For You, were two different rhythm sections, The Bar-Kays and The Movement. Adding their inimitable sound were The Memphis Horns, who later, would play on so many Hi Records’ albums. With Allen Jones and Henry Bush producing the album, seven tracks were recorded. This saw Albert lay down a mixture of driving blues’ and some really soulful Southern Soul. How would Albert King’s fans respond to this combination of blues and soul? Would I’ll Play the Blues For You prove more successful than his previous albums, which had only enjoyed modest success?
When I’ll Play the Blues For You was released in the autumn of 1972, it proved to be the most commercially successful album of Albert King’s career so far. Not only did it reach number 140 in the US R&B Charts, but reached number eleven in the US R&B Charts. Angel of Mercy, which wasn’t on the original album, had been released as a single in February 1972, reached number forty-two in the US R&B Charts. Before the album was released, I’ll Play the Blues For You was the first single released from the album. It reached number thirty-one in the US R&B Charts in June 1972. Breaking Up Somebody’s Home was released in October 1972, eight months after Ann Peebles released her version of the song. Albert’s version reached number ninety-one in the US Billboard 100 and number thirty-five in the US R&B Charts. Ten years after Albert released his debut album, I’ll Play the Blues For You became his most successful album. However, why was I’ll Play the Blues For You such a successful album?
Opening I’ll Play The Blues For You is the title-track I’ll Play The Blues For You (Pts 1 & 2) written by Jerry Beach. It gave Albert a number thirty-one hit single in the US R&B Charts in June 1972. The Memphis Horns, rhythm section and atmospheric sound of a Hammond Organ combine, to provide a moody, emotive backdrop. Then when Albert enters, accompanied by his slow, spacious and shimmering guitar his pleading, hopeful vocal is tinged by hurt and loneliness. Rasping horns, percussion and the rhythm section provide the perfect backdrop for Albert’s half-spoken vocal. He leaves space within his playing, as it reverberates. Later, you think a soaring sultry saxophone has stolen the show. Not quite. Albert rises to challenge, playing heart-achingly beautiful, but sad solo. His playing, like that of his band is peerless, and his vocal isn’t just full of sadness and loneliness, but hope.
Henry Bush, Marshall Jones and Carl Smith cowrote Little Brother (Make A Way). It has a quite different sound to the previous track. A Hammond organ accompanies Albert’s tender thoughtful vocal, before the rhythm section and punchy, rasping horns enter. Although there’s a quite understated sound to the track, there’s still a funky side to the track. The rhythm guitar ensures this. Meanwhile, Albert’s playing is economical but effective. Horns, Hammond organ and the rhythm section playing their part in the success of this understated and soulful sounding track.
Eight month’s before Albert released Breaking Up Somebody’s Home, Ann Peebles released her version of the track. For many people, her version is the definitive version. Albert’s version is quite different, but still hugely soulful, but maybe, lacks the raw emotion of Ann’s version. He’e accompanied by braying horns, while the Hammond organ and rhythm section accompany Albert. His guitar playing is amongst the best on the album. It’s slow, crystalline and chimes, before he lays down a searing, sizzling solo. Similarly, his needy, vocal is full of frustration and loneliness. The Memphis Horns contribution can’t be underestimated, their playing reflecting the heartache in Albert’s voice and playing. Comparing Ann and Albert’s version isn’t fair. Both are very different in style. What they’ve got in common is their soulfulness.
From the opening bars of High Cost Of Loving, you realize that Albert King bluesman has entered the building. With a pounding rhythm section, punchy horns and piano accompany Albert. Like a wizard, he casts a spell with his guitar playing. His playing veers between economical but effective, to a much more intricate and dramatic. Here, he delivers one of his most impassioned and emotive vocals, with horns adding to the drama, while the rhythm section drive the track along. The longer the track progresses, the harder it is to resist both Albert’s vocal and his guitar playing.
To many people, I’ll Be Doggone will sound like a live performance. This isn’t the case. The acclaim and applause of the audience is overdubbed. It works well, adding to a track which Smokey Robinson, Pete Moore and Marv Taplin cowrote. Originally recorded by Marvin Gaye, Albert’s fuses funk and blues. During the track, Albert is almost transformed into James Brown. He whoops, hollers and vamps his way through the track with blazing horns and a funky performance from The Bar-Kays accompanying him. Then out goes the funk, back comes the blues. Albert lays down a searing, sizzling blues guitar solo, raising the roof in the process and working his “audience” into a frenzy. In doing so, he demonstrates why he was one of the best blues players of the past fifty years.
Answer To The Laundromat Blues sees Albert replying to his first hit single for Stax, 1966s Laundromat Blues. It’s the only track on I’ll Play the Blues For You that Albert wrote. Sadly, his playing is much better than his lyrics. They’re full of the worst type of macho bravado. Threatening his partner with domestic violence if she doesn’t stay near her washing machine is far from funny. Instead, this despicable, sexist attitude is quite simply beyond the pale. The irony is, this bluesy track has some stellar guitar playing from Albert King.
After the unpalatable previous track, the ironically titled Don’t Burn Down The Bridge (‘Cause You Might Wanna Come Back Across) closes I’ll Play the Blues For You. For me, Albert burnt his bridges with the previous track. A pounding bass, piano and bursts of horns accompany Albert and his shimmering, quivering guitar. Stabs of Hammond organ and punchy horns are accompanied by a driving rhythm section. Later, Albert lays down another of his trademark chiming, searing guitar solos as his vocal is tinged with emotion and passion. This is a vast improvement on the previous track, with Albert and his band bring close I’ll Play the Blues For You on a blues drenched high.
For the first five tracks of I’ll Play the Blues For You I was really enjoying the album, spellbound by Albert King’s mixture of soul and blues. He started the album on a high, with title-track I’ll Play the Blues For You. It’s without doubt the best track on the album. Little Brother (Make A Way) has a lovely understated sound, allowing Albert’s vocal to take centre-stage and shine. Eight months before Albert released Breaking Up Somebody’s Home, Ann Peebles released her version. Comparing the two versions isn’t fair, given how different they are. Although, both feature emotive and impassioned vocals, for me Ann’s version is the definitive version. On I’ll Be Doggone, Albert is almost transformed into James Brown, vamping his way through the track, fusing funk and blues. Then came the blot on the landscape that is Answer To The Laundromat Blues, with its sexist lyrics, where Albert threatens his partner with domestic violence. That to me, spoiled I’ll Play the Blues For You, leaving me disappointed and angry. Following that disappointment, Don’t Burn Down The Bridge (‘Cause You Might Wanna Come Back Across) closed I’ll Play the Blues For You. This driving blues got the album back on track. Overall, I’ll Play the Blues For You is a good album, where Albert King fuses funk, soul and blues, along with The Bar-Kays and the majestic Memphis Horns. Together, with five bonus tracks, including Angel of Mercy, a single which wasn’t on the original version of I’ll Play the Blues For You, this will be a welcome reissue to fans of Albert King. However, what really improves I’ll Play the Blues For You is Joe Tarantino remastering, which breathes new life into an album that’s now forty years old. Standout Tracks: I’ll Play the Blues For You Parts (1&2), Little Brother (Make A Way), Breaking Up Somebody’s Home and High Cost of Loving.
ALBERT KING-I’LL PLAY THE BLUES FOR YOU.
SALSOUL 30TH.
SALSOUL 30TH.
One thing I find quite ironic about the music industry is the importance certain bands and labels place on anniversaries. If you take bands like The Beatles, Beach Boys or labels like Motown, then it seems anniversaries give record labels the chance into go into marketing overdrive. Take The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band as an example. A special edition was released to mark its twenty-fifth anniversary, with an remastered edition released in 2009. I’m sure that their will be the same hype surrounding the next surrounding the next anniversary that fans are encouraged to celebrate. Similarly, how many times has the Beach Boys’ Pet Sounds, been rereleased? Then there’s Motown. How many box sets or volumes of “rarities” have been rereleased? After a while, you become immune to this over-marketing. Nowadays, look at the albums being rereleased, especially rock albums and the usual suspects are released ad infinitum, until you wonder whether there’s anyone alive that doesn’t have a copy of these albums? Sadly, soul, funk and disco aren’t as celebrated. Yes, this year the fortieth anniversary of Philadelphia International Records has been celebrated, with the release of a ten box set, plus a box set of remixes and album of reedits. Similarly, three box sets of Stax singles were released, recently celbrating Stax’s music. However, what about labels like Hi Records and of course, Salsoul Records? How were these labels anniversaries celebrated? In the case of Salsoul, how was its thirtieth anniversary celebrated in 2004? Was there an elaborate box set, or a complete reissue program of its greatest albums? Not quite. Indeed far from it. Instead, it was with a smattering of mix and compilations albums. One of these was Salsoul 30th, a two-disc set where thirty DJs, choose their favorite Salsoul track. Although not quite what fans of Salsoul hoped for, it featured some of the label’s biggest tracks, as you’ll see when I tell you about the compilation.
DISC ONE.
Disc One of Salsoul 30th features fifteen tracks from some of Salsoul’s royalty. The Queen of Salsoul Loleatta Holloway features four times, with Hit and Run, Dreamin,’ Catch Me On the Rebound and Love Sensation chosen. Among the other artists are First Choice, Double Exposure, Candido and the Salsoul Orchestra. These tracks are a mixture of the original singles, album tracks and twelve inch version. There aren’t any real leftfield choices, with most of the DJs playing it safe, choosing well known and classic tracks. Given that most of these tracks are among the best in Salsoul’s history, choosing the highlights of Disc One of Salsoul 30th won’t be easy, but here goes.
Opening Salsoul 30th is one of Loleatta Holloway’s Salsoul classics Hit and Run. Released in 1977 on Salsoul, Hit and Run features the sound of the Salsoul Orchestra. They were formed when M.F.S.B. left Philadelphia International Records to form the Salsoul Orchestra. With the Baker, Harris and Young rhythm section gracing their recordings, they went on to record some of the best tracks of the disco era. Along with Dreaming, Runaway and Hit and Run, 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 and a track that’s still a staple of many a DJ’s sets.
The track that most people consider launched Salsoul as one of the premier disco labels is Double Exposure’s Ten Per Cent, released in November 1976 and produced by Norman Harris. Opening with Earl Young’s trademark pounding drums, percussion and shivering strings, the track is driven along by the Baker, Harris Young rhythm section, as a gloriously, uplifting track unfolds. Hissing hi-hats, swirling strings, a sizzling guitar solo from Norman Harris and stabs of keyboards all play their part before the impassioned vocal enters. Accompanied by tight soulful harmonies, the vocal is laden with emotion, while an absolutely, intoxicating and invigorating arrangement sweeps you along. There’s everything you could want and more on a disco track. Strings, percussion, the tightest of rhythm section and of course that impassioned and emotive vocal. It’s impossible to resist the charms and beauty of a track that’s deserving of the word masterpiece.
During her time at Salsoul, Loleatta Holloway was transformed from Southern Soul singer to disco diva. One of her greatest tracks in Dreamin,’ a stonewall disco classic, demonstrating just what it took to be a true disco diva. Dreamin’ was a track from Loleatta, her third album, released in 1976, on Salsoul. Oroduced by Baker, Harris, Young this is the original album mix of Dreamin.’ Here, Loleatta delivers a sassy vocal, vamping her way through the track. With The Salsoul Orchestra accompanying her, everything is in place for a seminal track. Sweeping, swirling strings, Earl Young’s peerless drumming, percussion, Ron Harris’ bass and then Norman Baker’s guitar give way to Loleatta’s impassioned, sassy vocal. From there, Loleatta gives a masterclass of a vocal, accompanied by soulful backing vocalists. Add to that Vince Montana Jr.’s vibes playing and blazing horns that punctuate the track adding drama, and you’ve the recipe for one of the greatest disco tracks of the seventies.
Double Exposure’s My Love Is Free, from their 1976 debut album Ten Percent, was another track produced by Baker, Harris, Young. Opening with drums, shakers, swirling strings, guitars and flourishes of keyboards, they give way to the male lead vocal. Meanwhile, the rest of the group contribute punchy, backing vocals, while 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 heartbeat. However, while the arrangement is of the highest quality, so is the impassioned pleas of the lead vocal, augmented by some equally impassioned and soulful backing vocalists. Together, they combine to produce one of the most soulful tracks on Salsoul 30th.
First Choice were a group discovered by Norman Baker who had the group under contract. When Baker, Harris, Young left Philadelphia International, they brought First Choice to Salsoul from Philly Groove Records. The album Armed and Extremely Dangerous gave the group some success. Doctor Love was released in April 1977, and produced by Norman Harris. With lead singer Rochelle Fleming, fronting First Choice, they’d become one of the disco era’s biggest groups. The track has a bright and bold introduction with a mixture of blazing horns, cascading strings and a punchy rhythm section combining. Then, when Rochelle’s vocal enters it’s perfect for the arrangement, with its mixture of power, passion and confidence. Behind Rochelle, the rest of the group contribute soulful, backing vocals. A combination of Rochelle’s powerful and passionate vocal and Norman Harris’ stunning arrangement result in one of First Choice’s greatest tracks.
First Choice’s Let No Man Put Asunder was released in May 1983 and was produced by the Baker, Harris Young rhythm section. This is very definitely one of their very best productions. Against a backdrop of the Baker, Harris, Young rhythm section, percussion and handclaps, Rochelle Fleming’s sassy vocal enters. She’s full of bravado and confidence, while backing vocalists accompany her, as she literally vamps and struts her way through this classic track.
Loleatta Holloway released Love Sensation, written by Dan Hartman in July 1980. Nine years later, Love Sensation would be “borrowed” by both Black Box on Ride On Time and Good Vibrations by Marky Mark and The Funky Bunch. Both tracks were huge commercial successes, with Ride On Time the UK’s biggest selling record of 1989. However, neither track can match the Norman Baker produced original, featuring Loleatta Holloway disco diva. Opening with its combination of rhythm section, percussion, piano and cascading strings, you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta gives a vocal masterclass. Her voice becomes an impassioned roar, while backing vocalists accompany her. The lush strings combined with dramatic drums and blazing horns, with Loleatta’s powerful vocal key to the track’s success and timeless, dramatic sound.
Although I’ve chosen just seven of the fifteen tracks on Disc One of Salsoul 30th, I could just as easily have chosen several of the other tracks. However, tracks like Double Exposure’s Ten Per Cent, which launched Salsoul as disco’s greatest label, plus true classics like Loleatta Holloway’s Love Sensation and First Choice’s Doctor Love chose themselves. That’s not forgetting tracks like The Salsoul Orchestra’s You’re Just The Right Size, Joe Bataan’s The Bottle (La Botella) and Candido’s Thousand Finger Man. This demonstrates the consistent quality of the music on Disc One on Salsoul 30th. Will this be the case with Disc Two of Salsoul 30th?
DISC TWO.
On Disc Two of Salsoul 30th, most of the tracks are well known and can be found on many other Salsoul compilations. Most of the tracks are the original album tracks, with twelve inch mixes in the minority. There are several ways of looking at this. For a newcomer to Salsoul, it’ll allow them to hear more of label’s highlights. It also means that you’re hearing the track as it was originally recorded, rather than how a DJ has remixed it. Although there are many great remixes of Salsoul tracks, from true greats like Tom Moulton and John Morales, I’ve heard many remixes that are the musical equivalent of a car crash. Thankfully, none of these car crashes are present on Salsoul 30th. Instead, there’s tracks from Inner Life, the Salsoul Orchestra, First Choice, Inner Life and Leroy Burgess. With so much great music on Disc Two of Salsoul 30th, what are its highlights?
Like so many Salsoul releases, Inner Life’s Ain’t No Mountain High Enough, a track fro, 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 Larry Levan’s Remix. 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.
Gaz’s Sing SIng is a track that wasn’t originally recorded by Salsoul. Instead, it was recorded by the German label Lollipop. Produced by Jurgen Korduletsch, who also discovered Claudia Barry and brought her to the US, Jurgen wanted Salsoul to distribute the track. Salsoul gave it to Robbie Rivera to remix. This was his first remix. Released in November 1978, the track opens with pounding drums and guitars. They’re joined by the bass, percussion and strings, before Claudia’s vocal enters. As she sings, her vocal is answered by a male vocalist. The track benefits from a strong rhythm section, which is augmented by rasping horns, keyboards and percussion. Robbie Rivera’s mix is excellent, totally transforming the original track, turning it into a Magnus Opus, where the best of European and US disco becomes one.
Skyy’s First Time Around was released in May 1979 and 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, I still like the original, from another of disco’s biggest groups.
First Choice’s Love Thang, released in 1979 on Gold Mind Records is a lush sounding dance-floor classic. With lush strings sweeping, while rasping horns and a funky rhythm section combine with percussion, handclaps and keyboards, a sultry, diva-esque vocal soars above the arrangement. Accompanied by backing vocalists, crunchy beats and handclaps, the strings shiver as the vocal drops out, before rejoining. Although this track has a similar sound to other tracks by First Choice and Inner Life, it has something else in common, its quality.
Inner Life’s Moment of My Life was released on Salsoul Records in 1982. This was a track from Inner Life’s third and final album for Salsoul Inner Life II. Arranged by Leroy Burgess, who co-produced the track with Greg Carmichael, it features a stunning, diva-esque vocal, full emotion and passion, delivered with power. This is delivered against a backdrop of crunchy drumbeats, percussion, keyboards and the funkiest of bass line, while gospel tinged backing vocalists augment the lead vocal. The tempo is 114 beats per minute and like so many of the Salsoul releases, is just a quality slice of disco, with elements of funk and soul featuring in Leroy’s fantastic arrangement.
Leroy Burgess released Heartbreaker on Salsoul Records in 1983. Not only did he cowrite the track, but arranged and produced the track. When the track opens, it’s a combination of funky rhythm section, squelchy synths and joyous backing vocalists that combine. They give way to Leroy’s vocal. His vocal is powerful, passionate and emotive as the backing vocalists combine with him throughout the track. Flourishes of piano, reverberating synths and the rhythm section provide the perfect backdrop for Leroy’s vocal. Along with his joyous, gospel tinged backing vocalists, Leroy creates a stunning track, one that demonstrates his talents not just as a vocalist, but as a songwriter, arranger and producer.
Disc Two of Salsoul 30th picks up where Disc One left off, with one great track following hard on the heels of another. From Inner Life, you head on a musical journey that takes in the Salsoul Orchestra, Candido, First Choice, Instant Funk, Skyy and Leroy Burgess. It seems a magical, musical memory is just a few minutes away. Again, most of the tracks on Disc Two are well known. Sadly, none of the DJs go for a real leftfield choice. Given how DJs are always banging on about how deep into the crates they dig, not one of them has unearthed a hidden Salsoul gem. So for anyone who has even a few Salsoul compilations, you’ll have most of the tracks on the album. Having said that, most of the tracks on Salsoul 30th are the original versions, not the remixes or reedits that feature on other compilations. As much as I like remixes and reedits, and there are many fantastic remixes out there, from people like Tom Moulton, John Morales, Larry Levan and Walter Gibbons, not every remix has the same quality. Instead, far too many minor and amateur DJs produce remixes and reedits that despoil the Salsoul name. So to hear the unadulterated versions of the tracks is something to be welcomed. However, for anyone whose a big fan of Salsoul, there’s nothing new on Salsoul 30th. For a newcomer to the label, then Salsoul 30th will prove the perfect introduction to the music of Salsoul Records. Having said that, Salsoul 30th has no pretensions of being a definitive Salsoul compilation. Instead it’s described as a budget compilation, so is aimed at the newcomer to Salsoul, or someone just wanting an overview of Salsoul’s best bits. It fulfills its remit or raison d’etre, choosing to leave another label to release a much more comprehensive and in-depth compilation. Much as I enjoyed Salsoul 30th, I hope that by the time Salsoul turns forty on 2014, then a record company somewhere, will release a comprehensive and in-depth retrospective of the Salsoul back-catalogue that does disco’s biggest and greatest label justice. Standout Tracks: Loleatta Holloway Dreamin,’ Double Exposure My Love Is Free, Loleatta Holloway Love Sensation and Inner Life Moment of My Life.
SALSOUL 30TH.
PAUL BUCHANAN-MID AIR.
PAUL BUCHANAN-MID AIR.
Although The Blue Nile only released four albums between forming in 1981 and they released their final album High in 2004, they’ve attained legendary status among their fans. Sadly, their albums never sold in the quantities their talent deserved. Very little is known about the three members of The Blue Nile, Paul Buchanan, Robert Bell and PJ Moore. This played its part in air of mystery that surrounded The Blue Nile. They shied away from interviews and live appearances were rare. Luckily, over twenty years ago, I was fortunate to see The Blue Nile live. Even this added to aura and mystery surrounding the band. That night, they played material from their first two albums, 1983s A Walk Across the Rooftops and 1989s critically acclaimed Hats. Lead singer Paul Buchanan said little between songs, and seemed almost awkward, embarrassed even, by the acclaim and applause the band were receiving after each song. All too soon, the concert was over. People left looking forward to the next Blue Nile album. Seven years later, Peace At Last was released, featuring a very different sounding Blue Nile, driven by Paul Buchanan’s acoustic guitar and featuring a gospel choir. The followup to Peace At Last, High, took even longer to make, eight years, but reached number ten in the UK album chart. Given the success of High critics and fans wondered whether at last, The Blue Nile had made their breakthrough. In typical Blue Nile fashion, no further albums were released by the band. Last year, the band’s thirtieth anniversary, rumours were rife about a new album, but nothing happened. Then earlier this year, Blue Nile lead singer Paul Buchanan announced he was releasing his debut solo album. If there was to be no further Blue Nile albums, then this was the next best thing. Mid Air was released on 21st May 2012 on Newsroom Records. However, how does Mid Air differ from The Blue Nile’s four albums?
Eight years after the release of 2004s High, it’s not just a very different sound that greets the listener on Mid Air, but a much older and wiser Paul Buchanan. He’s now fifty-six, and from the music on Mid Air, has spent much of his time reflecting on life and everything it has thrown him. Whether love or loss or pain and death, it has affected Paul and the music on Mid Air. While the death of one of Paul’s closest friends has caused him pain and hurt, making him reflect on mortality, the breakup of The Blue Nile caused him pain and hurt. The Blue Nile were more than just a band, they were three close friends for over thirty years. So, the breakup of the band that Paul thought would last forever was another loss to Paul. This plus everything that’s happened to him in the past eight years has shaped the music on Mid Air.
Mid Air features fourteen songs that Paul wrote in his flat in Glasgow’s west end. With just a piano in his kitchen for company, Paul spent the early hours of many a night writing the songs on the album. Rather than write the songs on his trusty guitar, he preferred the immediacy of the piano. He could just sit down whenever he wanted, working on an idea for a song. Eventually, Paul had fourteen songs written, the recording took place mostly in his Glasgow flat, but also at a studio in Glasgow. Recording of Mid Air took place over two years, with Cameron Malcolm, son of Calum Malcolm The Blue Nile’s former producer. Helping Paul complete the album was Robert Bell, The Blue Nile’s bassist. Eventually, after two years, Mid Air was released on 21st May 2012. How would the album fare compared to The Blue Nile’s four albums?
On the release of Mid Air, the album reached number fourteen in the UK. This meant that Mid Air had almost matched the success of The Blue Nile’s most successful album High, which had reached number ten in the UK. In his native Scotland, Mid Air reached number one, while it reached number four in Ireland. It seems that fans loved the older, wiser and more pensive Paul Buchanan that features on Mid Air. However, why has Mid Air proved so popular? That’s what I’ll tell you after I’ve told you about some of the highlights of Mid Air.
Opening Mid Air is the title-track Mid Air, the first of fourteen short tracks. It seems Paul has heeded Brian Eno’s maxim that a shorter song is a more effective one. It’s just two and a half minutes long, with Paul playing the piano that accompanies him. Straight away, when that familiar voice washes over you, it’s apparent that Paul’s emotive vocal has the same quality that we last heard on High. Neither has he lost any of his talent as a songwriter. Instead, he’s matured as songwriter, with his lyrics pensive, thoughtful and melancholy. His vocal is tinged with sadness and regret at the memories he recalls. Later, wistful strings sweep in, adding to the emotion and sadness of the track. The sparse, pared down arrangement works beautifully, complimenting Paul’s vocal and leaving you wanting more, much more of Mid Air.
For anyone whose spent anytime as a night-owl, sitting, thinking and wondering, then Half The World could’ve been written for them. Opening with the lyrics “half the word has gone to street, half the world is on its knees,” to me, the lyrics paint a picture as Paul sitting in his Glasgow flat, observing the city as it sleeps. He thinks, thinks about the wider world, turning ideas over in his head and in doing so, his stream of consciousness becomes a song, a very good song. In fact, it’s one of the highlights of Mid Air. Just Paul playing the piano and singing some contemplative, intelligent lyrics, before briefly, subtle, melancholy strings make a fleeting appearance. That’s all it takes to make this haunting, heartfelt song one of the highlights of Mid Air.
Newsroom is another late-night song, full of heartbreak, loneliness and hurt. Paul sets the scene with the lyrics “last out the newsroom turn out the lights,” before delivering a triumvirate of moving, hugely emotive lines. “There’s no-one left alive, there’s no-one to make love to, no-one to blame.” The contrasts between the banality of turning out the lights, and the sense of desolation, desperation and loneliness felt by the life of song’s central character is huge. Here, with just the piano accompanying Paul the tortured troubadour, he gets across the sense of bleakness that the reality that their life has become. With Paul’s almost emotionless delivery and the lo-fi arrangement, this works beautifully, but leaves you thankful it isn’t you Paul is singing about.
When you hear I Remember You, there’s a real Blue Nile sound and influence, especially their debut album A Walk Across the Rooftops. It’s the use of synths and gentle horns that accompany Paul and his piano. He’s reflecting, in a contemplative mood, with the arrangement meandering into the spaces left by his vocal. His vocal is laden with emotion and memories. Later, when Paul briefly hesitates, and has to restart the line, this adds to the effectiveness and poignancy of this powerful track.
Wedding Party is a track that demonstrates Paul Buchanan’s talent as a songwriter. Not only does he paint pictures that unfold before your eyes, but he sounds as if he’s lived the lyrics he sings. His Wedding Party is like a tragi-comedy, complete with “tears in the car park” as a former lover marries someone else. Much as she tries, she can’t let it go, the hurt and regret haunting her every waking hour. The addition of the haunting piano and almost broody, menacing strings add to the effectiveness and sadness of a track that many people will be able to relate to, with its sense of love lost, but not forgotten.
Two Children is like a two minute short story set to music by Paul. He paints the picture of a couple with what seems a perfect life. They’ve “Two Children…flowers in every window…and…apples on every tree.” Their relationship is just a facade, with the couple really just two children, playing at grownups. Paul’s delivery has a tenderness, but is tinged with sadness that the reality of the situation can no longer be ignored. With just the piano and melancholy strings accompanying him, this reflects the sadness and pathos of situation perfectly ad subtly.
Tuesday is a relationship, with Paul singing of the “early morning phone call,” and its plea for forgiveness and a return to “how things used to be.” You get the sense that he’s fallen for this before, but lived to regret it. Things you see, can never be same. There’s always the doubts and blame. Paul’s voice reflects this, with piano strings and standup bass providing a complimentary backdrop to this tale of love lost and heartbreak. Older and wiser, Paul knows that things are never the same again, time and experience prove this.
Closing Mid Air is After Dark, the longest track on the album, just under four minutes long. Given how slowly The Blue Nile and Paul Buchanan produce albums, I find myself willing Paul to close Mid Air on a real high. True to form, Paul doesn’t disappoint. He’s kept one of the most melancholy and beautiful tracks until lost. It’s a paean to love, but not in the traditional sense. It’s a love song, but one he sings to Glasgow and its nocturnal side, After Dark. As someone who knows and loves Glasgow, I can only concur with Paul’s sentiments. Paul just playing piano as he gives one of his most impassioned, heartfelt vocals, opening up his heart and singing about the one thing and one place that’s been ever-present during his life, his hometown of Glasgow.
Having spent the last few weeks reveling in the subtleties, nuances and charms of Mid Air, I can’t recommend this album highly enough. It’s a really mature, grown-up album from Paul Buchanan. He’s now fifty-six and his world-weary voice has matured with age, as is his talents as a songwriter. Not only has age resulted wisdom, but has resulted in fourteen tales of life, love and loss. To put this into perspective, it took The Blue Nile eight years and two albums to produce fourteen tracks, whereas Mid Air took but two years from start to finish. Maybe before Paul turns sixty, we’ll have the followup to Mid Air. I sincerely hope that this is the case, because the Paul Buchanan that can he heard on Mid Air is compelling, emotive music. Paul explores a variety of subjects, including life, love and loss, with hurt, regret and sadness constant companions to hope and love. The music is moody, broody and sometimes hopeful, perfect for The Blue Nile’s now grownup audience, who like Paul are eight years older than they were when The Blue Nile released High in 2004. For many of The Blue Nile’s loyal fans, then Mid Air will strike a chord. They too will have experienced and witnessed the same things he has, and travelled the same roads as Paul Buchanan has. Not only that, but they too will concur with his outlook on love, life and loss and will enjoy the fourteen tracks on Mid Air knowing he’s travelled the same roads that they have. Now that The Blue Nile are sadly, no more, then Paul Buchanan carries the mantle they’ve left behind. Thankfully, Paul produced a similar style of music on Mid Air, introspective, poignant and wistful music that’s best enjoyed late at night, After Dark, When Half the World Is Asleep. Standout Tracks: Mid Air, Newsroom, Wedding Party and After Dark.
PAUL BUCHANAN-MID AIR.
DEXTER WANSEL-TIME IS SLIPPING AWAY.
DEXTER WANSEL-TIME IS SLIPPING AWAY.
Mention the name Dexter Wansel, and many people think of the music herwrote, arranged and produced for artists on Philadelphia International Records. The artists that Dexter worked with during his time at Philadelphia International Records reads like a who’s who of Philly Soul. Teddy Pendergrass, The Jacksons, Lou Rawls, The O’Jays, The Jones Girls, Jean Carn and Archile Bell and The Drells all benefited from either Dexter’s songwriting, arranging or production skills. However, what people forget is that Dexter is also a hugely talented keyboard player, who released four groundbreaking albums for Philadelphia International Records between 1976 and 1979. His debut album was1976s Life On Mars, which wasn’t just a truly innovative album, but one that inspired and influenced a new generation of producers. It reached number forty-four in the US R&B Charts. A year later, in 1977, came the release of What the World Is Coming To, which reached number 168 in the US Billboard 200 and number forty-five in the US R&B Charts. Next was Dexter’s most ambition and successful album Voyager, released in 1978. Voyager reached number 137 in the US Billboard 200 and number thirty-seven in the US R&B Charts. On Voyager, Dexter fused jazz-rock, soul and funk, resulting in a quite un-Philly sounding album. For his final album for Philadelphia International, 1979s Time Is Slipping Away, Dexter returned to the fold, with an album that had much more of a Philly Sound. Although Time Is Slipping Away proved to Dexter’s final album for Philadelphia International, was he leaving with a bang or a whimper?
Although Dexter’s previous album Voyager had been his most successful solo album, he decided to change his sound again. Gone was the jazz-rock and funk of Voyager in was a much more Philly sounding album. For Time Is Slipping Away, Dexter made a number of changes. Instead of using the Planets who accompanied him on Voyager, Dexter decided to use M.F.S.B. Mk II, Philadelphia International’s house band. After the original M.F.S.B. left the label to become the Salsoul Orchestra, a second incarnation of M.F.S.B. became the label’s house band. It would be them that accompanied Dexter when he recorded Time Is Slipping Away at Philly’s Sigma Sound Studios.
For Time Is Slipping Away, Dexter and his longtime songwriting partner Cynthia Biggs came up with three tracks, while Dexter wrote three tracks and one with Steve Green. The other track New Beginning was written by Herb Smith, M.F.S.B. guitarist who played guitar and sang the vocal on the track. Terry Wells who was still an up and coming singer, would sing lead vocal on The Sweetest Pain. Adding backing vocals wereThe Jones Girls, who were very much Dexter and Cynthia’s proteges.
Recording would take place at Sigma Sound Studios, with M.F.S.B. Mk II accompanying Dexter. M.F.S.B. Mk II were joined by the unmistakable sound of Don Renaldo’s strings and horns and The Sweethearts of Sigma, a.k.a Barbara Ingram, Evette Benton and Carla Benson on three tracks. Along with The Jones Girls and Terry Wells the eight tracks were recorded. Dexter produced Time Is Slipping Away and arranged two tracks, while Jack Faith arranged the other six. With Time Is Slipping Away recorded, the question on everyone’s lips is would it match the success of Voyager?
On the release of Time Is Slipping Away in 1979, the album reached number forty-four in the US R&B Charts. Two singles were released from the album, with It’s Been Cool reaching number ninety-one in the US R&B Charts. The Sweetest Pain which Dexter and Cynthia Biggs cowrote, fared much better, reaching number forty in the US R&B Charts. However, although The Sweetest Pain had proved popular and successful, and Time Is Slipping Away had reached forty-four in the US R&B Charts, this hadn’t built on, or even matched the success of Voyager. Why was that? That’s what I’ll tell after I’ve told you about the music on Time Is Slipping Away.
Time Is Slipping Away opens with I’ll Never Forget (My Favorite Disco) which has a real Chic-inspired sound. Dexter combines disco strings with jazz-funk and Chic styled vocals. Using the lushest of strings, a rhythm section that combines a pounding beat with a funky bass line, the stage is set for the vocal. The Jones Girls are transformed into something you’d expect to hear on a Chic track. Their vocals are sultry and seductive, with Shirley singing lead and Brenda and Valerie answering her call. Handclaps, blazing horns and a pounding disco beat accompany them. While the track is mostly out and out disco, sometimes Dexter takes a brief diversion into jazz-funk. However, mostly Dexter focus is on creating a peerless disco track, which he succeeds in doing, with a little inspiration from Chic.
The second single released from Time Is Slipping Away is The Sweetest Pain. This Dexter and Cynthia Biggs penned track would later be covered by English group Loose Ends. Gentle and melodic keyboards reverberate, before the rhythm section and percussion provide a pounding, but thoughtful backdrop. Stabs of keyboard, subtle shakers, jazz-tinged guitars and lush strings signal the arrival of Terri Wells’ impassioned vocal. She’s accompanied by The Jones Girls, who add tight, soaring and soulful backing vocals. Their voices compliment Terri’s, while flourishes of Don Renaldo’s strings sweep and swirl. Later, Don’s horns rasp as the arrangement grows, with M.F.S.B. Mk II producing a pounding backdrop for the vocal. When the cascading strings, backing vocals from The Jones Girls and Terri’s vocal are added to this, the result is not just the best track on the album, but a hidden gem from Philadelphia International’s back-catalogue.
Funk Attack is a fitting description of a track that has Dexter Wansel’s name written all over it, given his previous albums. It’s quite unlike the previous two tracks, with synths and keyboards playing a bigger part in the track. M.F.S.B. Mk II provide a funky beat, while guitars maraud across the arrangement. Backing vocalists and handclaps are almost ever-present, playing their part in the somewhat artificial, feel-good sound. The track’s only saving grace is its hypnotically catchy sound.
Time Is Slipping Away is another of the Dexter Wansel and Cynthia Biggs penned tracks. Just the piano, wistful horns and percussion accompany Dexter’s melancholy, emotive vocal. Jack Faith adds layers of strings to reflect the emotion in Dexter’s vocal. This works well, as does the crystalline guitar solo and wistful, pensive horns. They prove hugely effective, as do the flourishes of harp that close the track, adding to the track’s melancholy and beautiful sound.
It’s Been Cool which opens side two of Time Is Slipping Away, is a hard, driving slice of funk, augmented by the soulful strains of The Jones Girls. Keyboards, rhythm section and guitars drive the track along. Dexter’s vocal is gentle, but quickly grows in power. When The Jones Girls add backing vocals they really lift the song. Their backing vocals play an important part in the track. So do Don Renando’s blazing horns, Dexter’s keyboards and some sizzling guitar solos. Add in the pounding beat and like the title says It’s Been Cool.
Let Me Rock You like the rest of the second side of Time Is Slipping Away is arranged by Jack Faith, one of Philadelphia International’s best arrangers. This track shows just how good an arranger Jack was. The track is arranged for the dance-floor, combining a pounding beat with swirling, sweeping disco strings and The Jones Girls vocals. Shirley’s vocal is breathy, accompanied by Brenda and Valerie. They’re swept along by the strings, while percussion, handclaps and blazing horns add the finishing touches to the track. So good is this hook-laden track, that resistance is impossible, you’ll be totally smitten by its quality and beauty.
When you hear Herb Smith’s vocal on New Beginning he sounds not unlike Jon Lucien. Again, Jack Faith’s arrangement is perfect for the track. Backing vocalists, lush, floating strings, percussion and jazz-tinged guitars accompany Herb’s vocal. It has a dreamy, sometimes spiritual quality. He’s accompanied by The Jones Girls, who add subtle backing vocals. Later, Herb lays down jazzy guitar solo that’s one of the best on the album, while Dexter on keyboards accompanies him. The result is a beautiful track where Philly Soul, disco and jazz seamlessly unite.
Closing Time Is Slipping Away is One For The Road, which has a real jazz-funk sound. Dexter’s keyboards combine with M.F.S.B’s rhythm section before a stunning blazing horn solo steals the show. Once it drops out, Dexter’s keyboards and the rhythm section combine to drive the track along. During the track there’s always space left, allowing the track to breath. Sometimes, the sound is becomes more rock-funk than jazz-funk. When the track returns to its previous jazz-funk jam, that’s when the track is at its best, demonstrating just how talented and versatile musicians the Dexter and his band were.
Although Dexter Wansel’s Time Is Slipping Away didn’t match the success of his previous album Voyager, the music was much more like you’d expect from an album baring the Philadelphia International Records’ label. Gone was the rock-funk of Voyager to be replaced by an album that contained Philly Soul, disco, jazz, funk and a defiant diversion back into jazz-funk with One For The Road, which closes the album. The best tracks on the album either feature Terri Wells or The Jones Girls. This includes the Chic-inspired I’ll Never Forget (My Favorite Disco), the Dexter and Cynthia Biggs’ penned The Sweetest Pain, which features an impassioned vocal from Terri Wells. Time Is Slipping Away which was also written by Dexter and Cynthia, sees Dexter deliver the lead vocal, and delivering his best vocal, one that’s melancholy and pensive. Then there’s Let Me Rock You, which features The Jones Girls and is blessed with one of Jack Faith’s best arrangements on the album. Herb Smith wrote, sang and played the guitar on New Beginning, demonstrating his talents as a songwriter, singer and guitarist. The only track on Time Is Slipping Away I don’t like is Funk Attack with its pseudo good-time sound, full of false bonhomie. Having said that, it’s not a bad song, just one I don’t like. Overall, Time Is Slipping Away is an album where many of Philadelphia International’s artists, musicians, arrangers and songwriters play their part in what’s a fitting farewell to Philadelphia International Records. After Time Is Slipping Away didn’t build on the relative success of Voyager, Dexter Wansel became disheartened, deciding that for the time being, he stick to writing, arranging and producing other artist’s music. After Time Is Slipping Away, Dexter Wansel released just two albums, 1986s Captured and 2004s Digital Groove. However, throughout his career, Dexter was an innovator, pushing the musical boundaries as alums like Life On Mars, Voyager and Time Is Slipping Away demonstrate. Standout Tracks: I’ll Never Forget (My Favorite Disco), The Sweetest Pain, Let Me Rock You and New Beginning.
DEXTER WANSEL-TIME IS SLIPPING AWAY.
ARETHA FRANKLIN-JUMP TO IT.
ARETHA FRANKLIN-JUMP TO IT.
Before Jump To It was released in 1982, Aretha Franklin’s career was going through something of a lean spell. It had been six years since Aretha’s last top forty single Something He Can Feel and six years since her 1976 album Sparkle had been certified gold. Since then, Aretha had released five further albums, which had failed to replicate the success of Sparkle. However, Aretha’s fortunes would start to change when Aretha signed to Clive Davis’ Arista label. Her first album for her new label was 1981s Love All the Way, which reached number thirty-six in the US Billboard 200 and number four in the US R&B Charts. Although successful, it didn’t match the success of Aretha’s previous albums. What was needed was a hungry, up and coming producer who could give Aretha a more contemporary sound. Clive Davis found a man who fitted the bill perfectly, Luther Vandross. This would prove a masterstroke. He would prove key to the critically acclaimed, commercially successful and contemporary sound of Jump To It. Not only would he co-produce the album with Aretha, but wrote two tracks and cowrote two others. One of these tracks was Jump To It which Luther cowrote with Marcus Miller. It gave Aretha her first number one single in the US R&B Charts in five years, while Jump To would give Aretha her first gold disc in six years. Jump To It which will be rereleased by BBR Records on 25th June 2012, was the start of an Indian Summer for Aretha’s career. After I’ve told you about the background to Jump To It, I’ll tell you about the music on the album
For the last few years, one thing Aretha Franklin really wanted was a comeback album. For the last few years, her albums hadn’t been selling in the same numbers as before. Now signed to Arista Records, Clive Davis was able to make that happen. To do that Clive Davis hired Luther Vandross. Back then, Luther was a successful artist, but an aspiring songwriter and producer. With Luther hired to write produce and write songs for what was Aretha’s twenty-eighth album what was needed were contemporary sounding songs that would give Aretha a much need hit.
Luther came up with the goods, writing Love Me Right and This Is For Real, while he cowrote two tracks with Marcus Miller. These were (It’s Just) Your Love and Jump To It, which would give Aretha the hit single she so dearly wanted and needed to rejuvenate her career. Together with tracks from Sam Dees, Smokey Robinson and I Wanna Make It Up To You which Aretha penned herself, the album was ready to be recorded.
Recording of what would become Jump To It took place at three studios, Los Angeles’ Record Plant, New York’s Media Sound and United Sound in Detroit. For the recording sessions, an all-star band had been recruited. This included guitarist Doc Powell, bassist Marcus Miller, keyboard player Nat Adderley Jr., pianist George Duke, percussionist Paulinho Da Costa and drummer Buddy Williams. The lineup of backing vocalists were just as impressive. Luther Vandross recruited Fonzi Thornton and Norma Jean Wright with whom Luther had sung backing vocals on Chic’s album. Aretha recruited Cissy Houston and Erma Franklin to contribute backing vocals. During the recording sessions, it became obvious that this was quite different to what people expected of an Aretha Franklin album. It appeared her music had been given a makeover, making it more likely to interest new, younger listeners. Would Jump To It prove popular not just Aretha’s old fans, but new fans too, rejuvenating her career in the process?
June 1982 saw the release of the first single from Jump To It. The title-track Jump To It which Luther and Marcus Miller cowrote was chosen. It gave Aretha the hit single she so desired, reaching number twenty-four in the US Billboard 100 and number one in the US R&B Charts. This augured well for the release of Jump To It in August 1982. On its release the album became Aretha’s most successful album since 1976s Sparkle, reaching number twenty-three in the US Billboard 200 and number one in the US R&B Charts, giving Aretha the sixth gold disc of her career. Love Me Right was then released as a single in November 1982, reaching number twenty-two in the US R&B Charts. This Is For Real was the third and last single released from Jump To It in March 1983, reaching just number sixty-three in the US R&B Charts. However, Jump To It had had the desired effect, with Luther giving Aretha a more contemporary sound, and the much desired hit single and album. However, just how different is Jump To It from Aretha’s previous albums?
Opening Jump To It is the title-track and number one US R&B single Jump To It. Aretha’s vocal is preceded by backing vocalists who almost act as cheerleaders, encouraging Aretha and the band to “Jump To It.” The band rise to the challenge, fusing funk and soul, while Aretha’s half-spoken vocal is sassy, almost sultry. Quickly, you can hear Luther Vandross’ influence all over the track. After some neat interplay between Aretha and the backing vocalists, she rolls back the years. Her vocal is sassy, emotive and sometimes jazzy vamp. Bursts of tight backing vocalists, the rhythm section and keyboards provide the perfect backdrop. Later, Aretha scats, feeding off the energy of the backing vocalists, who play a huge part in the success of the track. Not only is the track the best on Jump To It, but the best single Aretha released in many years.
Love Me Right is another of the three singles released from Jump To It. Written by Luther Vandross, it’s a track that allows Aretha to prove that she’s lost none of her vocal prowess. Opening with backing vocalists and Marcus Miller’s funky bass accompanying Aretha’s breathy vocal, the track has many subtleties and surprises in store. Flourishes of harp and lush strings set the scene for Aretha’s heartfelt, impassioned vocal. Backing vocalists drift in and out, while the rhythm section provide the arrangement’s pulsating heartbeat. Later, Aretha’s vocal is one part power, to one part passion, while the strings and harp reflect the emotion and heartache in Aretha’s vocal.
For many years, Sam Dees has been one of my favorite songwriters and is also a hugely underrated singer. Sam wrote If She Don’t Want Your Lovin’ a track that meanders beautifully into life. Just backing vocalists, rasping horns and the rhythm section combine. Marcus Miller’s bass is slow and funky, while horns signal the arrival of Aretha’s thoughtful vocal. Lush strings sweep in, while the piano, strings and horns are augmented by backing vocalists including Cissy Houston. This seems to encourage Aretha to greater heights, her vocal even more full of impassioned and heartfelt. The interplay between Aretha and her backing vocalists is key to the track, with the blazing horns and quivering strings arranged by Nat Adderley Jr. adding the finishing touch to a beautiful, moving song, which is one of the highlights of the album.
The second of the Luther Vandross penned tracks is This Is For Real, which features a husky vocal from Aretha that veers between gentle and powerful. Unlike the other arrangements, this is much more understated. It allowing Aretha’s vocal to take centre-stage, where it deserves to be, given its quality. While the rhythm section, percussion, horns and George Duke’s piano are played subtly, the strings cascade elegantly. They spread their beauty across the arrangement, augmented by George Young’s soprano saxophone solo. What truly makes this track, is one of Aretha’s best vocals on Jump To It. It’s heartfelt, sincere and very beautiful.
Jump To It wasn’t the only track Marcus Miller and Luther Vandross cowrote, they also cowrote (It’s Just) Your Love. It has a lovely smooth sound and features a vocal from Aretha that one minute is restrained, before briefly soaring emotively. Backing vocalists almost whisper in Aretha’s ear as she delivers, her smooth, sultry vocal. It fuses perfectly with an arrangement that flows along. The rhythm section provide a gently pulsating beat, while flourishes of harp, lush strings and a jazz-tinged piano solo from Nat Adderley Jr. are key to the sound and success of the track. This track also show how versatile a vocalist Aretha really is.
I Wanna Make It Up To You was the only track that Aretha wrote on Jump To It. The unmistakable sound of Marcus Miller’s bass is accompanied by finger clicks, before flourishes of strings and backing vocalists give way to Aretha. Immediately, you’re spellbound by the beauty and quality of backing vocalists and Aretha’s vocal. Both are heartfelt and impassioned, set against an arrangement that’s subtle and full of sadness. Keyboards, quivering strings and a rhythm section that reflects the drama and emotion in Aretha and Levi Stubbs who share the vocal. These two legends are at the heart of the tracks success and soulfulness, along with the backing vocalists and backing vocals that include the rest of The Four Tops and Erma Franklin.
It’s Your Thing was written by The Isley Brothers and is a track where disco strings, funky rhythm section and gospel-tinged backing vocalists unite. Aretha’s vocal is sassy, while swathes of strings, blazing horns and the rhythm section arrive in dramatic waves. A sizzling, scorching guitar solo from Steve Love adds to the drama, while Marcus Miller’s bass playing is funk personified. Although this results in a quite different sounding track, it’s quite irresistible and laden with drama.
Closing Jump To It, is Just My Daydream, penned by another of soul music’s legends, Smokey Robinson, who wrote the song especially for Aretha. She certainly doesn’t disappoint with her delivery. It’s clear, tinged with emotion and feeling. Aretha is accompanied by backing vocalists, who include Cissy Houston and Darlene Love. Their contributions are huge and just as emotive as Aretha’s. Meanwhile, the arrangement just meanders beautifully along, gradually revealing its beauty and charm. Nat Adderley Jr. plays piano, as strings shimmer and quiver, horns gently rasp, while jazzy guitars and a sprinkling of percussion add to the song’s beauty and charms. With a songs as good as this, it proves the perfect way to close Jump To It, the comeback album from the Queen of Soul, Aretha Franklin.
After a lean spell, Jump To It saw Aretha Franklin’s career revitalized. This was just the start of an Indian Summer for her career. With Luther Vandross co-producing Jump To It, her music had been given a makeover, resulting in a much more contemporary sound that appealed to new and old fans alike. Not only did Jump To contain a number one US R&B single, but reached number one in the US R&B Charts and was certified gold. This was her first gold album since 1976s Sparkle. The Luther Vandross and Aretha Franklin would prove fruitful, with the followup album Get It Right also containing a number one US R&B single. However, what made Jump To It such a success was a combination of great songs, including tracks penned by Sam Dees, Smokey Robinson, Aretha, Luther, plus the the two tracks he cowrote with Marcus Miller. He was just one of the hugely talented musicians that played on Jump To It. Among the others were Nat Adderley Jr., Paulinho Da Cost and George Duke, plus some peerless backing vocals from the likes of Cissy Houston, Erma Franklin, Fonzi Thornton and Norma Jean Wright. Of course the final part in Jump To It’s success was Luther Vandross’ production skills. Together, Luther and Aretha formed a formidable and successful partnership, that although only lasted two albums, resulted in two of the best albums of Aretha’s later career Jump To It and Get It Right . Not only that, but Jump To It which will be rereleased by BBR Records on 25th June 2012 was the start of what was an Indian Summer for Aretha Franklin’s career, that lasted four years. Standout Tracks: Jump To It, If She Don’t Want Your Lovin’, This Is For Real and I Wanna Make It Up To You.
ARETHA FRANKLIN-JUMP TO IT.
BILL WITHERS-STILL BILL.
BILL WITHERS-STILL BILL.
A year after the release of his debut album Just As I Am, Bill Withers released what would prove to be his most successful album ever, Still Bill. Not only did it build on the success of his debut album Just As I Am, it became the first of two of his albums to be certified gold and contained two huge hit singles. While Just As I Am had reached number thirty-five in the US Billboard 200 and number nine in the US R&B Charts, Still Bill had much more crossover appeal, reaching number four in the US Billboard 200 and number one in the US R&B Charts. Still Bill also featured one of Bill’s best songs, Lean On Me, which reached number one in the Billboard 100 and US R&B Charts, which Rolling Stone magazine rated number 205 in their list of the 500 Best Songs of All Time. Following the success of Lean On Me, Use Me was released as a single, reaching number two in the Billboard 100 and US R&B Charts. Although Bill Withers would go on to release five further albums, nothing would match the success of Still Bill. However, what made Still Bill such a successful album?
For the followup to Just As I Am, Bill Withers wrote eight tracks himself and cowrote two other tracks. The two tracks Bill cowrote, were Who Is He (and What Is He To You?) with Stanley McKenny, and Another Day To Run with Benorce Blackmon. These ten tracks were recorded at the Record Plant in Los Angeles with a band that included the rhythm section of bassist Melvin Dunlap, drummer James Gadson and guitarist Benorce Blackmon. Together with percussionist Bobbye Hall and Raymond Jackson who played piano, clarinet and arranged the strings and horns. With the ten tracks that made up Still Bill recorded, the album was set for release in May 1972, exactly a year after Bill released his debut album.
Two months before Still Bill was released, Bill’s 1971 single Ain’t No Sunshine won a Grammy Award for the Best R&B Song. Little did he know that 1972 would be the most successful of his career. The success started when Still Bill was released to critical acclaimed. This critical acclaim translated into sales, surpassing the success of Just As I Am. Still Bill reached number four in the US Billboard 200 and number one in the US R&B Charts. Further success would head Bill’s way when Lean On Me was released as a single, reaching number one in both the US Billboard 100 and US R&B Charts. Since then, the song has been covered by many artists, with Bill’s version rated number 205 in Rolling Stone magazine’s list of the 500 Best Songs of All Time. Use Me was chosen as the followup to Lean On Me, reaching number two in the US Billboard 100 and US R&B Chart. Again, the track has been covered by many artists, with Esther Phillips’ version one of the best. After the success of Still Bill and the two singles released from the album, Bill must have been unable to comprehend the success that had come his way during 1972. After all, only a few years before, Bill was still working full time in a factory and singing at weekends. However, what made Still Bill such a hugely successful album?
Opening Still Bill is Lonely Town, Lonely Street one of the eight tracks written by Bill. Keyboards and guitar combine, creating waves of dramatic music, before Bill’s powerful, but soulful vocal enters. He’s accompanied by lush strings that sweep and quiver above his vocal. Still, the keyboard and guitar create that recurring riff, while Bill’s thoughtful vocal. Although the structure of the arrangement is quite simple, it’s effective and the perfect backdrop for Bill to deliver some thoughtful, poignant lyrics.
On Let Me In Your Life Bill delivers one of his most heartfelt vocals on Still Bill. This he does against a beautiful understated arrangement. Just a bed of strings accompany the rhythm section and guitars who play thoughtfully and with a subtlety. It’s as if Bill’s band are determined that his beautiful, heartfelt vocal should take centre-stage, where it deserves to be.
Who Is He (And What Is He To You) is a track about the complicated nature of relationships. The rhythm section create an arrangement that arrives in waves, while Bill’s vocal is probing, full of suspicion and insecurities. His suspicions are highlighted by quivering strings, while the rest of the arrangement is moody and broody. Later, wah-wah guitars add to the drama of the track, while Bill is still racked by insecurity and suspicions. For many people, this will be a track that speaks to them, and that sadly, they’ll have experienced too. However, for a very different version, track down Creative Source’s version of Who Is He (And What Is He To You).
Use Me is a track that’s been covered by many artists, including Mick Jagger and Esther Phillips to name but two. Bill wrote the song about after his friends discouraged him to get involved in a one-way relationship, where he would end up being used. His original version is quite different from later versions. A buzzing bass, drums and percussion accompany Bill’s vocal, which one minute is full of emotion, frustration and anger, the next sultry and sensuous. Much as I love Bill’s delivery, his delivery is as good as Esther Phillips,’ who struts her way through the track in a sassy, sensual way.
Lean On Me is another of the classic tracks Bill Withers wrote. On Just As I Am there was Ain’t No Sunshine, while Still Bill had Lean On Me, a track which has been much covered. Of all the versions I’ve heard, I still prefer Bill’s. Just a piano, subtle drums and organ accompany Bill. His vocal starts way down low, growing in power, emotion and sincerity. Lush strings sweep in, adding to the beauty and emotion of the track. Later, Bill is briefly accompanied by handclaps, as he starts to make the track swing. This is just a curveball, before this track about friendship and loyalty heads to a beautiful and emotive crescendo.
Kissing My Love was the first track on side two of Still Bill. Just the rhythm section, wah-wah guitars and piano accompany Bill’s joyful, thankful vocal. Strings lush and sweet, sweep in as Bill’s vocal grows in power and emotion. He’s accompanied by cascading strings which drift in and out, while the rhythm section, wah-wah guitars and flourishes of piano are constant companions to his joyous, thankful vocal.
An electric guitar and gentle flourishes of piano accompany Bill as I Don’t Know unfolds. Again, the track benefits from an understated, subtle arrangement. None of the musicians overplay, instead play around Bill’s vocal. His vocal is heartfelt, full of feeling. Later, it drops out replaced by a guitars solo that meanders across the arrangement, before his loose, wistful vocal returns adding the finishing touch to this quite beautiful love song.
Another Day To Run is one of two tracks Bill cowrote. His songwriting partner was guitarist Benorce Blackmon who played on Still Bill. Hissing hit-hats, a funky rhythm section and piano accompany Bill. They create an arrangement that one minute, unfolds in waves, before meandering gently along. Benorce Blackmon adds a jazz-tinged guitar solo, while Bill’s vocal is an amalgamation of styles. It ranges from confident powerful and passionate, to a thoughtful, wistful style. Similarly, the arrangement changes, matching Bill’s power and passion step for step. This is perfect for the lyrics, with his versatility the benefit of all the years Bill spent honing and perfecting his style and delivery.
Straight away, when I Don’t Want You On My Mind opens there’s a real bluesy sound and style apparent. Just the rhythm section and guitar are responsible for this. Bill responds to this change in style seamlessly, delivering his vocal in a similar bluesy style. His delivery is full of frustration and anger. When his vocal drops out, his band demonstrate just how talented they are, providing a blues drenched backdrop that’s a perfect fit for Bill’s vocal.
Closing Still Bill is Take It All In And Check It All Out another track written by Bill. It’s just a wah-wah guitar, rhythm section and acoustic guitar that accompany Bill. His vocal is accompanied by bursts of funky wah-wah guitar from Benorce Blackmon, who shows just how talented a guitarist he is. Meanwhile, Bill’s vocal fails to match the standard of other tracks. It just lacks the emotion and passion of previous tracks. This is a shame as the lyrics deserve a better delivery and this is a disappointing way to close Still Bill.
Although Bill Withers was thirty-four when he released his second album Still Bill, the time he’d spent honing his sound and learning his craft had been well spent. Before he signed his first recording contract, he’d been working in a factory, while singing at the weekend. Then his life was transformed in 1970, when he signed to Sussex Records. Less than a year later, Just As I Am was released in May 1971, to critical acclaim. This lead to Bill winning a Grammy Award for the Best R&B Song in March 1972, for his 1971 single Ain’t No Sunshine. That however, was just the start of a remarkable year for Bill Withers. The followup to Just As I Am, Still Bill, surpassed the success of his debut album and became the most successful album of his career. Not only was it certified gold, but contained two hugely successful singles, with Lean On Me reaching number one in the US Billboard 100 and US R&B Charts. What makes Still Bill such a critically acclaimed and commercially successful album are the ten songs, eight of which wrote and the other two he cowrote. Together with a small, tight and talented band Bill breathed life and meaning into his lyrics, delivering them beautifully, with variously, emotion, passion, frustration and joy. Even though Bill Withers released five further albums, none on them matched the thirty-six memorable and beautiful minutes that make up Still Bill. Standout Tracks: Who Is He (And What Is He To You), Use Me, Lean On Me and I Don’t Know.
BILL WITHERS-STILL BILL.
TEENA MARIE-EMERALD CITY.
TEENA MARIE-EMERALD CITY.
Having released four albums for Motown between 1979 and 1981, three of which had been certified gold, Lady T, Teena Marie had signed for Epic after a prolonged and bitter contract dispute that cost her over one-million dollars in legal fees. Her first album for Epic had been 1983s Robbery, which reached number 119 in the US Billboard 200, while reaching number thirteen in the US R&B Charts. Her next album, 1984s Starchild would become the most successful album of her career, reaching number thirty-one in the US Billboard 200, while reaching number nine in the US R&B Charts, resulting in the album being certified platinum. After the most successful album of her long career, Teena decided the follow-up would be different from previous albums. The reason for this change was that after the success of Starchild, Teena had complete creative control over the direction her music would take, plus an almost unlimited budget. With such creative freedom, Teena decided to explore her innovativeness and resourcefulness as a songwriter. This resulted in her seventh album Emerald City, a concept album featuring eight new songs, either written or co-written by Teena. Emerald City which will be rereleased by SoulMusic Records on 18th June 2012, saw Teena combine her usual soul and funk style, with jazz and rock more prominent. Would Emerald City build on the success of Starchild and how would fans and critics take to Teena’s new sound?
After the success of Starchild, Teena at last, had the freedom as a lyricist and producer. With this freedom, came something else an almost unlimited budget. For what would become Emerald City, Teena wrote five tracks and cowrote three others. Two of the tracks Teena cowrote were with Penny Johnson, one of her regular songwriting partners. Being able to express herself freely as a lyricist appealed to Teena, and the resulting eight songs would become Teena’s only concept album. This concept album saw a real fusion of styles and influences. It was a departure from Teena’s usual combination of soul and funk, with jazz and rock flavoring the music. For this departure of styles, Teena needed a versatile band capable of playing a variety of musical styles.
Recording of the eight tracks that became Emerald City took place at two studios in Los Angeles. These were Ocean Way Studios and Conway Recording Studios. Joining Teena were musicians of the calibre of bassists Bootsy Collins and Stanley Clarke, guitarists Michael Landua and Stevie Ray Vaughan who played on one part. They joined percussionist Paulinho Da Costa, saxophonist Branford Marsalis and trumpeter Gary Grant. Adding backing vocals were sisters Maxime and Julia Waters. Many of the musicians who joined Teena, including Stanley Clarke, Paulinho Da Costa, Branford Marsalis and Gary Grant were primarily jazz players, pointing at the direction of Emerald City. Would the new sound and style of music on Emerald City appeal to Teena’s large and loyal fan-base?
On the release of Emerald City in the early summer of 1986, critics and fans didn’t understand the album. This resulted in reviews of the album being poor, while Emerald City failed to sell as well as Starchild. Emerald City only reached number eighty-one in the US Billboard 200 and number twenty in the US R&B Charts. Two singles were released from Emerald City. Lips To You reached number twenty-eight in the US R&B Charts, while Love Me Down Easy only reached number eighty-one in the US R&B Charts. After the success of the platinum certified Emerald City, this must have come as a huge disappointment to both Teena and everyone at Epic. However, twenty-six years after the release of Emerald City, did the album deserve to fare better commercially? That’s what I’ll tell you, when I tell you about the music on Emerald City.
Opening Emerald City is the title-track Emerald City, one of five tracks written by Teena. Straight away, the change in Teena’s sound is apparent. Synths, rhythm section and percussion combine to give the track sound that fuses synth pop with rocky guitars. Teena delivers her voice quickly and coldly, while the arrangement is jagged, arriving in sharp, dramatic waves. Joining Teena is Bootsy Collins, who adds bass and vocals. Meanwhile the soundscape is laden with surprises and isn’t short of drama.
Once Is Not Enough has more in common with her two previous Epic albums. The tempo is quick, with space in the arrangement at a premium. Teena’s vocal is emotive and needy, while washes of synths add to the constant drama of the track. These synths are key to the sound, as are the rhythm guitar which later, gives way to an irresistible and sizzling rock-tinged guitar solo. After this, rolls of pounding drums, funky bass and percussion accompany Teena’s powerful, needy vocal as she delivers one of her best vocals on Emerald City.
Only two singles were released from Emerald City, the first of these was Lips That Find You. Washes of synths, guitars and the rhythm section combine before Teena’s vocal enters. It’s full of frustration and sadness, while backing vocalists accompany her. Quickly, the arrangement grows in power, before funky, then rocky guitars augment the driving rhythm section. Waves of synths are almost ever-present, while percussion and a pounding, funky bass line on a track that incorporates play their part in the track’s sound and success. Together, they fuse funk, rock and Latin music on a track that’s like a five-minute soap opera, full of emotion and heartache.
You So Heavy demonstrates the eclectic nature of the music on Emerald City, when Teena incorporates psychedelic rock into the track, while Stevie Ray Vaughan adds a blistering blues guitar solo. Pounding drums accompany Teena’s voice which resonates wistfully. They give way to the synths, rhythm section and percussion, before Teena’s earnest vocal enters. Her vocal is shrouded with subtle delay, that adds to the track’s drama. Later, Teena’s vocal soars as she scats, accompanied by Stevie Ray Vaughan sizzling, guitar solo. It not only matches the drama in Teena’s vocal, but is crucial to the track’s sound and success.
Shangri-La which opened side two of Emerald City sees another change in style. The track has an unmistakable eighties sound, with a moody, broody sound preceding Teena’s vocal. Some of the lyrics have a surreal quality, with meandering synths, drum machines and percussion accompanying Teena’s slow, wistful vocal. As the track progresses, her vocal grows in power and emotion, while synths, rhythm section and a smattering of percussion add a moody, pensive backdrop before the track comes to a dramatic ending.
Batucuda Suite is a track where jazz, Latin and Caribbean music are fused, creating the best track on the album. Teena is accompanied by steel pans that bring to mind sunny days on a Caribbean beach, while a myriad of percussion and sultry horns add to the uplifting sound. The track shimmers along, while Teena unleashes a joyous vocal that contribute to the celebratory nature of this uplifting and irresistible fusion of musical styles.
Love Me Down Easy was the second single released from Emerald City. Sadly, the single only reached number eighty-one in the US R&B Charts. This means so many people missed out on hearing one of Teena’s impassioned, heartfelt vocal. The arrangement benefits from much more space than previous tracks. Synths, rhythm section and guitars are key to a meandering, dramatic arrangement, that slowly unfolds. It allows what’s Teena’s best and undoubtably, most impassioned vocal on Emerald City to take centre-stage, where it quite rightly belongs. Given the quality of Teena’s vocal, Love Me Down Easy deserved to fare better when released as a single.
Closing Emerald City is Sunny Skies, where Teena demonstrates her versatility, delivering her vocal in a jazzy style. This she does with just a piano, lone sultry horn and percussion accompanying her. Teena responds to this much more understated arrangement, delivering her vocal beautifully with a combination of tenderness, emotion and later, power. Not only is this a quite beautiful way to end the album, but demonstrates her versatility. Given how good her vocal was on this track, It’s a pity that we didn’t hear more of this side of Teena Marie.
Emerald City, Teena Marie’s seventh album and first and only concept album is one that’s truly eclectic. The music on Emerald City ranges from Teena’s usual soul and funk style, taking in jazz and rock, plus brief diversions via Latin and Caribbean music. During the eight tracks on Emerald City Teena flits seamlessly between genres. Sometimes, just as you’ve just enjoyed a track, Teena decides to change direction. By doing this, you never know where Emerald City is heading. You’re kept on your toes, captivated and compelled, wondering where the album is heading. This was what Teena had planned, as Emerald City was a concept album, celebrating and demonstrating Teena talents as a songwriter. All too often, concept albums sell badly, because critics and fans tend to eye them with suspicion. To me, this is a pity, because there are many great concept albums including Pink Floyd’s Dark Side of the Moon, David Bowie’s The Rise and Fall of Ziggy Stardust and The Spiders From Mars and of course, Marvin Gaye’s Magnus Opus What’s Going On. Nor could it have been easy writing and recording such an ambitious album as Emerald City. Although Emerald City is an ambitious and eclectic album, there are more than a few highlights. This includes Once Is Not Enough, where Teena’s needy vocal is one of her best on the album. It’s matched by Love Me Down Easy and bettered only by the delightful, jazz-tinged Sunny Skies. Very different is Batucuda Suite, is a true musical fusion, with a joyous, uplifting sound, thanks to a myriad of steel pans and percussion. Of all the tracks on Emerald City, which will be rereleased by SoulMusic Records on 18th June 2012, Batucuda Suite demonstrates perfectly just how ambitious and eclectic an album it was. Indeed Teena Marie should be commended for her ambition in not being content to churn out album after album of similar music. Instead, she was brave, ambitious and of course, hugely talented as Emerald City demonstrates. Standout Tracks: Once Is Not Enough, Batucuda Suite, Love Me Down Easy and Sunny Skies.
TEENA MARIE-EMERALD CITY.
RONNIE FOSTER-LOVE SATELLITE.
RONNIE FOSTER-LOVE SATELLITE.
Between 1972 and 1975, Ronnie Foster released four studio albums and one live album for the legendary Blue Note label. His debut album was 1972s critically acclaimed The Two Headed Freap, before releasing the funk drenched Sweet Revival in 1973. It saw Ronnie interpret ten tracks, including The O’Jays classic Back Stabbers and a track that will forever be synonymous with Billy Paul, Me and Mrs Jones. Next came Ronnie’s only live album, Ronnie Foster Live: Cookin’ With Blue Note At Montreux which was released in 1974. Later in 1974, came what’s arguably one of Ronnie’s best Blue Note albums, On the Avenue. Ronnie’s final album for Blue Note was Cheshire Cat, a soul-jazz classic recorded in just four days. While Ronnie Foster’s albums were critically acclaimed, this didn’t translate into sales. After the release of Cheshire Cat, Ronnie was dropped by Blue Note. During the next three years, Ronnie was without a record contract, but was busy working with other artists, including playing on and writing a track onGeorge Benson’s classic crossover album Breezin.’ Following the success of Breezin,’ Ronnie contributed a track to each of George’s next three albums. Then Dr. George Butler, who’d previously worked at Blue Note, started working for Columbia as Vice-President of the label’s jazz department. One of his first signings would be Ronnie Foster. Ronnie was ready to resume his recording career, so signed to Columbia Records, where he’d record two albums. The first of these was Love Satellite, which will be rereleased by SoulMusic Records on 18th June 2012. Before I tell you about the music on Love Satellite, I’ll tell you about the background to the album.
For Ronnie Foster’s debut album for Columbia Records, Ronnie had written eight of Love Satellite’s nine tracks. He would play piano, electric piano, Keyboards, synths and even drums on one track. As if this wasn’t enough, Ronnie sang vocals and contributed backing vocals on three tracks. Jerry Peters was chosen to produce what would become Love Satellite, with George Butler executive producer. To help record what was his fifth studio album, Ronnie was accompanied by some of the best jazz musicians of the seventies. Recording would take place at Total Experience Recording Studios in Hollywood.
During his career, Ronnie having accompanied many artists, including Stevie Wonder, Grant Green and Grover Washington Jr. This had lead to Ronnie making many contacts in the music industry. Many of them would join him in recording Love Satellite, including some of the best jazz musicians of the seventies. Harvey Mason played drums on four tracks, Alphonso Johnson played bass and Paulinho Da Costa added percussion, castanets and tambourines. Leon “Ndugu” Chancler would add timbales and percussion. Two of the highest profile guest artists were Stevie Wonder and Roy Ayers, who played on Happy Song and Midnight Plane respectively. Together they helped Ronnie record Love Satellite, his comeback album. Would Love Satellite see Ronnie Foster crowned the comeback King?
Before the release of Love Satellite in 1978, Ronnie hadn’t much time to promote the album. Instead, he’d spent time doing a course at a motor racing school in Arizona, where he graduated second in his class. This is why on Love Satellite’s album cover Ronnie is seen wearing a racing helmet. Having graduated from racing school, Ronnie went back on the road with George Duke. In doing so, there wasn’t much time to promote Love Satellite. On the release of Love Satellite, the album neither charted in the US Billboard 200, nor the US R&B Charts. Its only chart position was number thirty-three in the US Jazz Charts. For George Butler who’d signed Ronnie Foster to Columbia, this must have been disappointing, even frustrating given the music on Love Satellite which I’ll now tell you about.
Opening Love Satellite is Why Don’t You Look Inside. There’s certainly no shortage of funk as the track opens. Ronnie on keyboards, drummer Dennis Davis, bassist Alphonso Johnson and percussionist Leon “Ndugu” Chancler combining, before the track briefly, settles down. Still there’s a funky groove, before Ronnie’s vocal gentle, grows in power like the arrangement. Meanwhile the band create a hypnotic jazz-funk beat, as waves of dramatic, driving music unfold. Later, Ronnie lays down a peerless keyboard solo, demonstrating his musical virtuosity, on this dramatic, driving jazz-funk track that launches Love Satellite.
A Soft Heart is not only very different to the previous track, but is graceful and beautiful. The tempo is slower, with the arrangement more spacious. Just a rhythm section of drummer Harvey Mason and bassist Byron Miller accompany Jerry Peters on acoustic piano, while Ronnie plays electric piano and synths. Here, the arrangement meanders along, with Harvey’s drums and Byron’s bass adding bursts of drama. Key to the track’s success are Ronnie’s keyboard and synths playing. They veer between gentle and flowing, to flamboyant flourishes. Together, Ronnie and his band create a track that’s not only graceful and beautiful, but intricate and intriguing.
On Happy Song Ronnie Foster is joined by Stevie Wonder, who plays drums on the track. Stevie’s drumming and another virtuoso performance from Ronnie on electric piano and synths are vital to the track’s sound and success, especially the way Stevie uses his hi-hats. Lush strings elegantly sweep above the arrangement, while Paulinho Da Costa sprinkles percussion throughout the track. However, it’s Ronnie and Steve who take centre-stage. They create an arrangement that one minute is jaunty and dramatic, the next glides elegantly along mixing jazz, funk and soul seamlessly.
Shooting Star isn’t so much a track, just fourteen compelling and intriguing seconds, of cascading effects from Ronnie’s trusty synths. It’s just a shame this track wasn’t developed as it nicely whets your appetite.
On Midnight Plane, Ronnie is joined by another high-profile guest Roy Ayers on vibes. Here, Ronnie delivers one of his best vocals. His voice is world-weary, accompanied by backing vocalists. Meanwhile the rhythm section, keyboards and percussion create an arrangement that flows along, complimenting his vocal, reflecting the sadness and emotion in his voice. Later, Roy Ayers adds one of his unmistakable vibes solos, before later, Ronnie’s keyboard solo steals the show. His playing adds what’s the finishing touch to a track laden with sadness and regret.
When you listen to I Want To Bring My Love Home it’s hard to believe that only two musicians and backing vocals from Ronnie and Jerry Peters created this track. Previously, a track like this would’ve required a much bigger band. This shows how synths were replacing musicians in sessions. Just Harvey Mason on drums and Ronnie on synths and piano create this track. Not only does it feature a heartfelt and sincere vocal from Ronnie but is full of waves of drama and emotion about life on the road for a musician in love.
Easier Said Than Done is one of the highlights of Love Satellite. Pounding drums open the track, before the rhythm section, percussion and backing vocalists accompany Ronnie on keyboards. Both his vocal and keyboard playing are amongst his best on the album. Midway through the track Ronnie unleashes a dramatic, simmering keyboard solo. This demonstrates just why he was so in demand as a session player during the seventies. After this, his impassioned vocal returns, accompanied by backing vocalists and his tight and talented band. Although they play their part in making this one of the highlights of the album, it’s Ronnie’s who steals the show, with his vocal and keyboard playing.
Not only is Nassau Day one of the funkier tracks on Love Satellite, but is the only one to feature a cowbell. Here, Ronnie drives the track along with his synths, while adding to the myriad of percussion added by Paulinho Da Costa. Harvey Mason plays drums and a syndrum hi-hat metronome. His drumming is powerful and thoughtful, arriving in waves. He’s almost competing against himself on syndrums. As wave after wave of drum rolls unfolds, Ronnie’s synths buzz along, augmented by the percussion and not forgetting that cowbell, played by producer Jerry Peters. The result is a track where technology and traditional instruments unite as one, resulting in a track tinged with a Caribbean influence.
Closing Love Satellite is the title-track Love Satellite, a slow, thoughtful sounding track. Straight away, a space-age sound is apparent, bringing to mind a satellite spinning through space, spreading a message of universal love. Drums, synths and percussion combine, creating a floaty, spacious arrangement. Later, flourishes of keyboards, floaty backing vocalists and percussion add contrasting sounds. They join the meandering, sometimes dramatic synths that dominate the track, as Ronnie Foster spreads his message of universal love, and closing Love Satellite with a wistful, thoughtful song and powerful message.
Listening to Ronnie Foster’s fourth studio album since 1972, but debut for Columbia Records, it’s interesting to see how his music has changed. By 1978 his music had evolved from his early seventies soul-jazz sound. He’d incorporated new technology, including synths which were much more commonplace and affordable. This saw his music move in a more jazz-funk and R&B inspired direction. Accompanied by some of the best jazz musicians of the seventies, including Harvey Mason, Alphonso Johnson and Paulinho Da Costa the Ronnie Foster you hear on Love Satellite is a mixture of music for the feet, soul and head. During the nine tracks on Love Satellite, you’ll not only want to dance, but the music will tug at your heartstrings and make you think. Among the emotions Love Satellite will provoke, are sadness, regret and joy. Love Satellite is an album that the more you listen to it, the more its subtleties, charms and secrets reveal themselves. Sadly, Love Satellite like Ronnie’s Blue Not albums, wasn’t a commercial success. After the release of Love Satellite, Ronnie Foster only released two further albums. These were 1979s Delight and 1986s The Racer. Both Love Satellite and Delight will be rereleased by SoulMusic Records on 18th June 2012, complete with three bonus tracks. Maybe this time around, Ronnie Foster’s Love Satellite will have a more successful landing than it did in 1978, on its original release. Standout Tracks: Why Don’t You Look Inside, A Soft Heart, Midnight Plane and Easier Said Than Done.
RONNIE FOSTER-LOVE SATELLITE.
SALSOUL NATION-COMPILED AND MIXED BY LUKE HOWARD.
SALSOUL NATION-COMPILED AND MIXED BY LUKE HOWARD.
Two of my favorite labels are Philadelphia International Records and Salsoul Records. Both labels were hugely important during the seventies, producing some of the greatest music of the decade. Even forty years later, the Philly Sound’s inimitable sound is still as popular and influential. Similarly, Salsoul Records’ music played an important part not just in providing the soundtrack to the disco and post-disco era, but influenced the development in house music. However, as someone steeped in Salsoul, I’m saddened that, no record label has undertaken a comprehensive and extensive reissue of Salsoul’s back-catalogue. Given that Salsoul’s vaults contains albums by Loleatta Holloway, Inner Life, First Choice, Logg, Skyy, Double Exposure, Candido and of course, the Salsoul Orchestra, you’ll realize the veritable feast of musical gems awaiting discovery by music fans old and new. To me, this is a missed opportunity, given how many people, myself included, love the music of Salsoul. It also means that a new generation of music fans, are almost unaware of one of the most important labels in the history of disco. Sometimes, rumors go round that Salsoul’s back-catalogue is being rereleased, but usually, this is just wishful thinking. So with most of Salsoul’s back-catalogue presently unavailable, all that’s left for Salsoul fans to savor, are the release of occasional compilations. While there are a variety of compilations available, most just scratch the surface of Salsoul’s illustrious back-catalogue. Previously, I’ve reviewed one of the best Salsoul compilations, Harmless Records’ The Definitive Salsoul Remixes. For me, this is perfect introduction to the music of Salsoul Records. Another quality Salsoul is Salsoul Nation, Compiled and Mixed By Luke Howard, which I’ll tell you about.
Back in 1990, DJ Luke Howard cofounded the Queer Nation club night in London. Since then, Queer Nation has become one of London’s longest running and most successful club nights, where clubbers dance to a mix of soulful house and disco. During his time DJ-ing at Queer Nation, one label in particular has been a constant companion for Luke Howard…Salsoul Records. So it was fitting that in 2005, Luke compiled a two-disc compilation Salsoul Nation.
Not only did Luke mix Salsoul Nation, but reedited a number of its twenty-eight tracks. Unlike many compilers, Luke eschews many of the familiar tracks. Instead, many hidden gems feature on the two discs. So do a number of new and intriguing reedits, which instantly, grab your attention, forcing you to take notice. This includes twenty-eight tracks featuring Salsoul royalty, including the Queen of Salsoul, Loleatta Holloway, with Carol Williams, Charo and Sharon Bailey just a few of Salsoul’s Princesses. Along with tracks from First Choice, Skyy, Instant Funk, Inner Life, Candido and the Salsoul Orchestra, Salsoul Nation is two discs of disco delights awaiting discovery.
DISC ONE.
On Disc One of Salsoul Nation, Luke Howard mixes thirteen tracks seamlessly. These are a mixture of familiar tracks, plus more than a few hidden gems. Among the better know from Loleatta Holloway, Double Exposure First Choice, Instant Funk and Salsoul Orchestra. Among the more leftfield choices are Charo, Carol Wiliiams, Metropolis and Lemon. With so much great music on Disc One of Salsoul Nation, I’ll tell you about some of the thirteen tracks.
Opening Disc One of Salsoul Nation is a track from the undisputed Queen of Salsoul Loleatta Holloway Hit and Run. This is a track from Loleatta’s 1976 album Loleatta, released on Norman Harris’ Gold Mind Records. The version included is the QN Reedit, where the original verses from the album version are combined with the vocal sassy, confident ad-libs from Walter Gibbons’ 12 remix, with a loop added to the end of the track. Of all the reedits and remixes of the track I’ve heard, brings something new to a classic track from one of the best vocalists of the disco era.
One of the tracks I was pleased to see on Salsoul Nation was Metropolis’ I Love New York. Metropolis only released one album for Salsoul, The Greatest Show On Earth in 1978. Produced by Tom Moulton and Thor Baldursson, the album features the vocals of The Sweethearts, a.k.a. The Sweethearts of Sigma, Barbara Ingram, Carla Benson and Evette Benson. Their unmistakable vocals are accompanied by lush, sweeping strings, bursts of rasping horns and the Baker, Harris, Young rhythm section. Their combined talents plus Tom and Thor’s production skills results in a true hidden gem from the Salsoul vaults.
During her time on Salsoul, Charo and The Salsoul Orchestra only released two albums. The first of these is Cuchi-Cuchi, which was released in 1977, with vibes player extraordinaire Vince Montana arranging, conducting and producing the album. Charo’s breathy vocal is accompanied by blazing horns, vibes and swathes of lush strings that glide elegantly into the arrangement. Baker, Harris Young provide the track’s heartbeat, while backing vocalists accompany Charo. Later, her vocal becomes much more flamboyant, as disco and Latin music are fused seamlessly. By the end of the track, you realize a little Charo will brighten up your life.
Carol Williams has one of the most underrated voices you’ll ever have the privilege of hearing. Although best known for her track Love Is You, there’s much more to Carol’s time on Salsoul than just one track. Indeed, Carol’s 1977 album ‘Lectric Lady, arranged, conducted and produced by Vince Montana features another of her best tracks More. From the opening bars you’re hooked. Carol’s emotive vocal is accompanied by percussion, the Baker, Harris, Young rhythm section and swathes of elegant strings. The Sweethearts of Sigma add sweeping harmonies and punchy backing vocals, while Carol vocal takes centre-stage, where it rightly belongs.
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 1978 album Nice-N-Nasty, which included Good For the Soul, arranged, conducted and produced by Vince Montana, with Norman Harris laying 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.
My final choice from Disc One of Salsoul Nation is Inner Life’s Ain’t No Mountain High Enough, a track where the combined talents of some musical giants resulted in a club classic. Written by Ashford and Simpson and produced by Patrick Adams and Greg Carmichael, this was a track from Inner Life’s 1981 album Inner Life. Straight away, Inner Life have your attention. Key to the track is Jocelyn’s sassy, emotive vocal. Along with cascading strings, bursts of booming drums and backing vocalists they add to the track’s drama. The tempo is relentless, and later, to give dancers a rest, a breakdown is added. When the synth solo enters, the track’s drama rebuilds, and the rest of this Salsoul classic reveals its charms and delights.
Disc One of Salsoul Nation features a mixture of well known and lesser known tracks, each with one thing in common…quality. The disc is like a who’s who of Salsoul’s best arrangers, producers, songwriters, musicians and artists. With the Salsoul Orchestra providing the musical backdrop for artists like Loleatta Holloway, Carol Williams, Charo, Candido and Bunny Sigler, one quality track follows hard on the heels of another. Not once do you feel yourself reaching over and skipping a track. Instead, you revel in fifteen tracks mixed seamlessly by Luke Howard, who if Disc One of Salsoul Nation is anything to go by, has impeccable taste in music. Will this be the case on Disc Two of Salsoul Nation?
DISC TWO.
Whereas Disc One of Salsoul Nation only features one track from each artist, this isn’t the case in Disc Two. The Salsoul Orchestra feature four times and Skyy twice. However, given the quality of the music whose complaining? Among the other artists are Instant Funk, Logg, Sharon Bailey, The Jammers and First Choice. Again, this is a combination of familiar tracks and hidden gems sit proudly next to each other. However, will Luke Howard’s taste be as impeccable on Disc Two of Salsoul Nation?
Instant Funk’s I Got My Mind Made Up was a track from their 1979 album Instant Funk. This was Instant Funk’s second album of 1979, and was produced by Bunny Sigler. Sadly, the Say What Edit that’s included on Salsoul Nation is only ninety-seconds long. Having said that, it whets your appetite nicely, resulting in you digging out the original, and revelling in seven minutes of Salsoul bliss.
Skyy released their eponymous album Skyy in 1979. On the album was their best known track, First Time Around. It demonstrates just how the Salsoul sound was changing, with the track having a post-disco sound. Rocky guitars solo, synths, percussion aplenty and a sultry, sensuous vocal are the vital ingredients for this track. Although quite different in sound from the earlier music on Salsoul Nation, it proves that Salsoul weren’t content to rest on their laurels, instead were determined to develop their sound in the now post-disco times.
Similar to Instant Funk’s I Got My Mind Made Up, the version of Inner Life’s Moment of My Life is just a shortened three minute version. Released in 1982, on Inner Life II, the group’s third and final album, with Shep Pettibone mixing the track. What makes the track so memorable is the interplay between the soaring lead vocal and backing vocalists. They so compelling, they become the focus of your attention, becoming spellbound by their emotion and drama. In doing so, you sometimes forget how good the arrangement is. Of the two albums Instant Funk released on Salsoul, this is one of their best ever tracks and like several other tracks on Salsoul Nation is worthy of being called a classic.
If you take a lead vocal from Leroy Burgess, who produced Logg’s I Know You Will and get Larry Levan to remix the track, then the end-result is bound to be something special. This was a track from Logg’s only album, 1981s Logg. It’s another track that demonstrates the importance of Salsoul in the development of house music. Leroy’s vocal helps give the track its uplifting, joyful sound. He’s accompanied by soaring backing vocalists, while the drums pound and the track features that unmistakable and much sampled piano riff. When this is all combined, the result is an uplifting, inspirational and almost spiritual sounding track.
First Choice released their debut album Armed and Extremely Dangerous on Philly Grove Records in 1973. By 1977, they were signed to Norman Harris’ Gold Mind Records and released their fourth album Delusions. It featured two of their classic tracks, Dr. Love and Let No Man Put Asunder which was produced by Baker, Harris, Young. Rochelle Fleming’s lead vocal is a sassy vamp, from a true disco diva. The interplay between Rochelle’s and her backing vocalists helps build up the drama and emotion of the track. This she does against a backdrop where the rhythm section, percussion and keyboards combine. For five minutes Rochelle teases and tantalizes with her peerless, sassy vocal.
My final choice from Disc Two of Salsoul Nation features one of the best vocals on the compilation, from one of the greatest vocalists of the disco era Loleatta Holloway. The Salsoul Orchestra featuring Loleatta Holloway released Runaway in June 1977. Opening with the guitar and drums combine, quickly, the introduction grows. Rasping horns, swirling strings and percussion accompany Loleatta. Her vocal is confident, defiant and powerful, while drums punctate the arrangement and lush strings cascade. The arrangement sweeps along, with its potent combination of dramatic horns and drums, while percussion, vibes and strings provide a contrast. What makes the track is Loleatta’s vocal, as the confidently and defiantly vamps her way through a genuine and timeless disco classic.
Having wondered whether Disc Two of Salsoul Nation would match the quality of Disc One, that’s quite definitely the case. Like Disc One, one great track follows another, leaving you aghast at the consistent quality of music on the compilation. This is something Salsoul managed to do over a prolonged period of time. The reason for their success was the personnel that came together at Salsoul. This included the musicians that made up the Salsoul Orchestra. Vince Montana, Bunny Sigler plus the Baker, Harris, Young rhythm section not only were part of the Salsoul Orchestra, but wrote, arranged and produced many of Salsoul’s classic tracks. That’s not forgetting the talents of arrangers, producers and songwriters like Leroy Burgess, Patrick Adams, Greg Carmichael and Tom Moulton. Together, they helped artists including Loleatta Adams, Inner Life, Instant Funk, Skyy and of course the Salsoul Orchestra create some of the most memorable tracks of the disco era and beyond. Many of these tracks are now considered true classics, and many of them are available on the two discs of Salsoul Nation, Compiled and Mixed By Luke Howard. Standout Tracks: Loleatta Holloway Hit and Run, Inner Life Ain’t No Mountain High Enough, Inner Life’s Moment of My Life and Salsoul Orchestra featuring Loleatta Holloway Runaway.
SALSOUL NATION-COMPILED AND MIXED BY LUKE HOWARD.
ROBERTA FLACK-FIRST TAKE.
ROBERTA FLACK-FIRST TAKE.
Mention Roberta Flack‘s name, and most people automatically think of two songs, The First Time I Saw Your Face and Killing Me Softly. The story of First Take is one where if fate hadn’t intervened, might have resulted in the album forever remaining a hidden gem. Having been released in 1969, First Take wasn’t a commercial success. Remarkably, when First Take was released in 1969, The First Time I Ever Saw Your Face wasn’t released as a single. Instead, Compared To What was the first single released from First Take. It wasn’t until two years later, in 1971, when fate intervened and The First Time I Ever Saw Your Face featured in the Clint Eastwood movie Play Misty For Me. This lead to the song being released as a single, giving Roberta her first US number one single. Spurred on by sales of The First Time I Ever Saw Your Face, First Take started selling, transforming Roberta’s career. Two years after its release, First Take would go on to sell over one-million copies, resulting in the album being certified platinum. However, things might have been very different, if The First Time I Saw Your Face hadn’t featured in Play Misty For Me. Before I tell you about the music on First Take, I’ll tell you about the background to the album.
First Take was Roberta Flack’s debut album for Atlantic. She was then thirty-two, and had been working as a teacher, while singing at weekends before signing to Atlantic. Les McCann had been in the audience when Roberta performed at a benefit concert for the Inner City Ghetto Children’s Library Fund. Having been smitten by Roberta’s performance, Les arranged for Roberta to audition for Atlantic. During the audition, Roberta played forty-two songs in three hours for producer Joel Dorn. Soon, Roberta found herself signed to Atlantic, recording thirty-nine songs in less than ten hours in November 1968. After this, the next time Roberta was in a recording studio would be record her debut album First Take.
Recording of First Take was scheduled to take place at Atlantic’s Recording Studios in New York. Eight songs were chosen for First Take, none of which were written by Roberta. Among these tracks were Gene McDaniels’ Compared To What, Donny Hathaway and Leroy Hutson’s Tryin’ Times, Leonard Cohen’s Hey That’s No Way To Say Goodbye and Our Ages of Our Hearts which Donny Hathaway and Robert Ayers cowrote. One other track was Euan McColl’s The First Time I Ever Saw Your Face, a track which two years later, would prove crucial in Roberta’s future career.
Once recording of First Take was underway at Atlantic’s Recording Studios in New York, Roberta’s band didn’t waste time. Together, guitarist John Pizzarellli, bassist Ron Carter and drummer Ray Lucas accompanied Roberta, who played piano. Recording started on 24th February 1969, ending on 26th February 1969. In total, First Take was recorded in just ten hours. Later, strings and horns were overdubbed, with First Take set for release in June 1969.
On the release of First Take on June 20th 1969, but the album wasn’t a commercial success. Only one single was released from First Take, Compared To What, which failed to chart. This must have been hugely disappointing for Roberta, Les McCann who’d discovered Roberta and producer Joel Dorn. However, that wasn’t the last that would be heard of First Take.
Fast forward two years to 1971. By then, Roberta had release the followup to First Take, 1970s Chapter Two and 1971s Quiet Fire. Both albums had proved commercially successful, being certified gold. First Take must have seemed a long time ago for Roberta, until a film was released. Clint Eastwood released the movie Play Misty For Me in 1971 and It featured The First Time I Ever Saw Your Face, which was a track on First Take. Given the success of the film and how many people loved The First Time I Ever Saw Your Face, Atlantic decided to release the track as a single. This resulted in First Take becoming belatedly, becoming a huge commercial success.
The First Time I Ever Saw Your Face was released in January 1972, reaching number one in both the US Billboard 100 and US R&B Charts. Spurred on by the success of The First Time I Ever Saw Your Face, First Take reached number one in both the US Billboard 200 and US R&B Charts. Eventually, First Take sold 1.9 million copies, resulting in the album being certified platinum three years after its original release. I’ve always wondered whether this commercial success might have happened sooner if The First Time I Ever Saw Your Face had been released as a single instead of Compared To What back in 1969? At least First Take found the success it deserved, if somewhat belatedly. However, why did it take three years for First Take to become a commercial success? That’s what I’ll tell you, after I’ve told you about the music on First Take.
Opening First Take is Compared To What, the only single originally released from the album. Written by Gene McDaniels, the track is jazz-tinged from the start. Just a standup bass and piano accompany Roberta’s vocal. Her voice quickly grows in power, full of emotion and frustration that’s perfect for the thoughtful, powerful lyrics. Bursts of blazing horns dramatically punctuate the arrangement, while Roberta’s small band leave space for her vocal, which is impassioned and emotive.
Flourishes of piano and a slow moody bass combine, creating a spellbinding combination as Angelitos Negros opens. Then Roberta’s vocal enters, accompanied by a light military beat, quivering strings and Spanish guitar. She articulates the lyrics beautifully, delivering them in such a way that’s deeply moving and powerful. Later, strings add to the track’s beauty, and are the perfect accompaniment to Roberta’s heartfelt vocal.
Donny Hathaway and Robert Ayers cowrote Our Ages Or Our Hearts. Here, producer Joel Dorn’s understated arrangement allows Roberta’s vocal to take centre-stage and shine. It’s just Roberta on piano, accompanied by strings that evoke a sense of sadness that precede the introduction of her vocal. When her vocal enters, it’s poignant, full of sadness and regret. The reason for this at the thought of two lovers being kept apart because of the difference in their ages. Wistful strings are ever-present, a constant companion to Roberta’s vocal on this very beautiful, but poignant song.
I Told Jesus is a traditional song, arranged by Roberta. Lush strings sweep slowly, while an equally slow, meandering standup bass accompanies it. As Roberta’s vocal arrives, it’s thoughtful and considered. Gradually, it grows in power and emotion, with bursts of rasping horns punctuating the arrangement. The longer the song progresses, the better Roberta’s vocal gets. It takes on a spiritual quality, growing in power, feeling and emotion.
Having heard various versions of Hey, That’s No Way To Say Goodbye written by Leonard Cohen, this has always been one of my favorites. Roberta songs unaccompanied, before a the piano, acoustic guitar and bass enter. So good is Roberta’s vocal, that you find yourself mesmerized by it. There’s both a warmth and passion in her vocal, resulting in her bringing out the beauty in Leonard Cohen’s lyrics. She’s just accompanied by flourishes of strings, before guitar, bass and piano take over. This understated arrangement, allows you to focus on not just one of Roberta’s best vocals on First Take, but one of producer Joel Dorn’s best arrangements.
Why The First Time Ever I Saw Your Face wasn’t released as a single when the album was released in 1969 seems strange? Quite simply, it’s the best song on the album. It was written by folk singer Euan McColl, and producer Joel Dorn’s arrangement brings out the beauty in the song and its lyrics. Key to the song’s success are a beautiful, but subtle arrangement. Just an acoustic guitar, bass and Roberta on piano accompany her vocal. Roberta’s vocal is slow, delivering the song with feeling, articulating the lyrics gently and softly. Wistful strings drift in and out of the track, as Roberta’s almost half-speaks the lyrics, delivering the as if she means them, feels them. Her delivery of some stunning lyrics, plus Joel Dorn’s arrangement results in not just a beautiful, very romantic song, the highlight of the album, but a true classic song.
Tryin’ Times is another song Donny Hathaway cowrote, this time with Leroy Hutson. As the track begins, Roberta’s band play subtly. Drums are played with brushes, while the bass is slightly more prominent, repeating the same line over and over again. Then when Roberta’s vocal enters, it offers a contrast. It’s louder, much more powerful, but full of frustration and disappointment at the Tryin’ Times Americans are experiencing. Poverty, inequality and conflict are the cause of Roberta’s disappointment and frustration. Later, percussion, piano and the bass combine, playing with a similar power as Roberta’s vocal. This helps Roberta reinforce Donny and Leroy’s message, doing so with equal amounts of sincerity, sadness and frustration.
Closing First Take is Ballad Of The Sad Young Men, a track where Roberta seems to have saved one of her best vocals. She’s accompanied just by swathes of strings, flourishes of acoustic guitar and drums played with brushes. This works really well, allowing Roberta to demonstrate just how talented and versatile a vocalist she truly is. Her vocal is tinged with sadness and a poignancy that suits the lyrics.
For a debut album, First Take was an accomplished album where Roberta Flack demonstrated just how talented a vocalist she was. This talent had been honed and refined over many years, before she signed to Atlantic Records in 1968. Having released her debut album First Take in 1968, she must have been hugely disappointed and saddened that it wasn’t a commercial success. Then luck, fate or whatever you want to call it intervened, when The First Time I Ever Saw Your Face featured in the Clint Eastwood film Play Misty For Me. It resulted in The First Time I Ever Saw Your Face being released as a single. It reached number one in both the US Billboard 100 and US R&B Charts, while First Take reached number one in both the US Billboard 200 and US R&B Charts. By then Roberta had released two other albums, both of which had been certified gold. However, The First Time I Ever Saw Your Face is a song that’s become synonymous with Roberta Flack. Together with Killing Me Softly, these are two of Roberta’s best known songs. While The First Time I Ever Saw Your Face is the best known track on First Take, it’s an album with much more to offer than just one track. Listening to First Take thirty-three years later, it’s an album that doesn’t sound like it was recorded in 1968 and released in 1969. Instead, it jazz-tinged sound sounds like it was recorded earlier, with just the understated combination of standup bass, drums and guitar accompanying Roberta. That’s part of First Take’s charm and beauty. It allows Roberta’s vocal to shine, and you to wallow in its quality, emotion and beauty. On the eight tracks on First Take, Roberta interprets them is such a way that she brings out their nuances, subtleties and charms. In doing so, Roberta Flack produced in First Take a classic album, which belatedly found the commercial success and critical acclaim it deserved. Standout Tracks: Angelitos Negros, The First Time I Ever Saw Your Face, Hey That’s No Way To Say Goodbye and Our Ages Or Our Hearts.
ROBERTA FLACK-FIRST TAKE.
EARTH, WIND AND FIRE-THAT’S THE WAY OF THE WORLD.
EARTH, WIND AND FIRE-THAT’S THE WAY OF THE WORLD.
If I were to ask which group during a ten year period between 1973 and 1983 released nine albums in the US, resulting in two album certified gold, plus three platinum, two double platinum and two triple platinum in the US, how many people answer Earth, Wind and Fire? However, between 1973 and 1983 that’s the unparalleled level of success Earth, Wind and Fire enjoyed. They were going through the hottest period of their career, where one commercially successful album followed hard on the heels of another. This run of commercially successful albums had started with 1973s Head To the Sky, which had reached number twenty-seven in the US Billboard 200 and number two in the US R&B Charts, resulting in the album being certified platinum. Open Your Eyes, released in 1974, would also be certified platinum, reached number fifteen in the US Billboard 200 and number one in the US R&B Charts. However, not only would That’s The Way of The World surpass the success of previous albums, but contained Earth, Wind and Fire’s first number one single. After I’ve told you about the background toThat’s The Way of The World, I’ll tell you about the music on the album.
That’s The Way of The World would be Earth, Wind and Fire’s sixth album since their self-titled debut album Earth, Wind and Fire. However, much had changed since then, with their debut album only reaching number 172 in the US Billboard 200 and number twenty-four in the US R&B Charts. Since then, Earth, Wind and Fire had honed their skills as songwriters, singers and musicians. For their sixth album, the various songwriting teams within the group had written eight new tracks. Phillip Bailey cowrote five tracks, while Maurice White cowrote seven of the eight tracks. Producer Charles Stepney, also a talented and successful songwriter would have three songwriting credits on That’s The Way of The World. With the eight tracks written, the next step was recording what would become That’s The Way of The World.
Recording of the eight tracks that became That’s The Way of The World took place at the Caribou Ranch, Nederland in Colorado. The sessions started on 16th September 1974, finishing on 2nd October 1974. Remarkably, the whole album was recorded in just over two weeks. Nowadays, recording one track can take even longer. With That’s The Way of The World completed, it was set for release in March1975.
Before the release of That’s The Way of The World, Shining Star was released in February 1974. It gave Earth, Wind and Fire a number one single in both the US Billboard 100 and US R&B Charts, resulting in sales of over one-million copies and a gold disc for Earth, Wind and Fire. The following month, March 1975, That’s The Way of The World was released to critical acclaim, replicating the success of Shining Star, reaching number one in the US Billboard 200 and US R&B Charts. Eventually, the album sold over three-million copies, resulting in the album being certified triple platinum. This gave Earth, Wind and Fire the most successful album of their career so far. Later, in June 1975, the title-track That’s The Way of The World was released as a single reaching number twelve in the US R&B Charts, while reaching number five in the US R&B Charts. This helped make That’s The Way of The World such a successful album. However, why was That’s The Way of The World so successful? That’s what I’ll tell you, when I tell you about the music on That’s The Way of The World.
Opening That’s The Way of The World is Shining Star, the number one single in both the US Billboard and US R&B Charts. It was co-written by Phillip Bailey, Maurice White and Larry Dunn. Straight away, the track bursts into life, with the rhythm section driving the track in the direction of funk, albeit with occasional bursts of jazz and rock guitars. When the vocal enters, it’s joyous, delivered in sharp bursts, augmented by harmonies. Keyboards, rocky guitars and dramatic bursts of horns punctuate the arrangement, while a hook is never far away. Although less than three minutes, there three minutes where joy and drama are constant companions.
Horns drift in as the title-track That’s The Way of The World reveals its beauty. The vocal has a tenderness, accompanied by a backdrop of percussion, keyboards and tight, emotive harmonies. Rasping horns and lush strings drift in, as Maurice and Phillip deliver one of their most impassioned, emotive vocals. The rest of the band concentrate on producing a slow, thoughtful and quite beautiful arrangement. It compliments and reflects the beauty and emotion of the vocal, resulting in one of the highlights of That’s The Way of The World.
Earth, Wind and Fire up the tempo on Happy Feelin’ a glorious slice of funky music. From the opening bars, a frantically, funky track unfolds. Percussion, rhythm section and keyboards get the track underway, before bursts of blazing horns signal the arrival of the vocal. It too, is delivered at breakneck speed, while the band fuse jazz and funk. Horns rasp, adding a jazzy sound, while the percussion is equally frenzied, as if the band are taking part in some sort of funk drenched race. Phillip’s falsetto voice soars above the arrangement, before Maurice takes over. Vibes, percussion and drums replace his vocal before the track races to a close. However, who can resist this frenzied funk-laden track, which allows Earth, Wind and Fire to showcase their considerable musical talents?
All About Love is a very different track, where the tempo drops way down, with Maurice taking over the lead vocal. His vocal is full of emotion, accompanied by just piano and the lushest of strings. Rasping horns accompany Phillip’s graceful falsetto, before briefly, the drama grow. Still the tempo is slow, Maurice’s vocal even more emotive and impassioned. Tight, elegant harmonies soar above the arrangement, while horns blaze, before Maurice vamp’s his way through the vocal. This is really effective, adding to the drama and emotion of a track that’s full of musical contrasts, and certainly not short of beauty.
Following a somewhat hesitant start, Yearnin’ Learnin’ sees Earth, Wind and Fire up the tempo. Maurice takes charge of the vocal, while the rhythm section, braying horns, guitars and percussion create a backdrop that mixes funk and jazz. This isn’t the constant, full-on funk of Happy Feelin.’ Instead, there’s more space in the track, with the song unfolding in waves. After Maurice’s vocal, the band up their funkometer. Then just when you’re enjoying it, they slow things down, teasing and tantalizing, before the roller-coaster begins it musical journey again.
Although Reasons never charted when released as a single, it’s still one of Earth, Wind and Fire’s most popular songs. It was written by Phillip, Maurice and producer Charles Stepney. The song just glides, elegantly into being, with percussion, subtle horns, keyboards and harmonies giving way to Phillip’s vocal. They’re joined by the rhythm section, lush strings and rasping horns producing a punchy arrangement. Later, Phillip’s scat is augmented by tight harmonies, before the drama grows when strings cascade, horns blaze and the rhythm section combine. Together, with Phillip’s soaring, emotive falsetto vocal, this results in the best track on the album.
A wistful fluttering flute opens Africano, before a myriad of percussion enters accompanied by bursts of vocals. After a brief pause, this gives way to a funky combination of blazing horns, rhythm section, guitars and percussion. They drive the track along, with punchy horns, wah-wah guitars resulting in the kind of track you’d expect to hear in Blaxploitation soundtrack. Instead, That’s The Way of The World was used for the soundtrack to Harvey Keitel’s Sig Shore, a movie about the music industry, which featured Earth, Wind and Fire playing themselves. However, whether used in a Blaxploitation film or one about the record industry, there’s no denying this is a gloriously, funky track..and then some.
Closing That’s The Way of The World is See the Light a six minute track which Larry Dunn, Louise Anglin and Phillip Bailey, who delivers the vocal cowrote. Percussion, soaring, braying horns and the rhythm section combine with Phillip’s vocal, while dramatic harmonies accompany him. Soon, it’s all change. The track settles down, with the arrangement gliding along like a boat on a calm sea. Phillip’s vocal is impassioned and laden with emotion, as keyboards, percussion and the rhythm section produce a flowing arrangement. Even the horns are subtle, while the strings drift along, while tight, subtle harmonies and keyboard solos drift in and out. For six minutes, Earth Wind and Fire combine beauty with occasional bursts of drama, resulting in a track that’s brings That’s The Way of The World to an intriguing, thoughtful and sometimes, quite beautiful ending.
Listening to That’s The Way of The World, you realize just why Earth, Wind and Fire were going through such a commercially successful period. What every successful band needs is good material, and within the band, there were some talented songwriters. Each of the band were talented musicians, while in Phillip Bailey and Maurice White, Earth, Wind and Fire had two equally talented vocalists. Their vocals were accompanied and augmented by some tight harmonies from the rest of the band. Finally, in Charles Stepney Earth, Wind and Fire had not just a talented and experienced producer, but a successful and experienced songwriter. This combination resulted in That’s The Way of The World becoming Earth, Wind and Fire’s most successful album, selling over three-million copies. That’s The Way of The World was also used as the soundtrack to Harvey Keitel’s Sig Shore, a movie about the music industry, which featured Earth, Wind and Fire making a cameo appearance as a band in a film about the music industry. This showed that there were no end to Earth, Wind and Fire’s talents. After the success of That’s The Way of The World, Earth, Wind and Fire would see their next six albums either certified gold, platinum or double or triple platinum, making them one of the most successful groups of the seventies and early eighties. Of all the albums Earth, Wind and Fire released, one of their most critically acclaimed and commercially successful, was That’s The Way of The World where they fuse soul, funk and jazz seamlessly. Standout Tracks: Shining Star, That’s The Way of The World, Reasons and See the Light.
EARTH, WIND AND FIRE-THAT’S THE WAY OF THE WORLD.
GQ-TWO.
GQ-TWO.
When Sabu and The Soul Survivors were founded in 1968 they were a quartet, but by the early seventies, the group became The Rhythm Makers primarily playing funk. The Rhythm Makers released one album had one Hole In Your Side, which contained the jazz-funk hit Zone. Then when drummer Kenny Banks left the group, to be replaced by Paul Service, the group changed their name to GQ, which was an acronym of Good Quality. With the lineup now composed of bassist Keith “Sabu” Crier, who’d founded the group in 1968, plus lead vocalist and rhythm guitarist Emanuel Rahiem LeBlanc, drummer Paul Service and keyboardist Herb Lane, the group signed to Arista Records. Their debut album 1979s Disco Nights not only reached number two in the US R&B Charts and number thirteen in the US Billboard 200, but contained three top ten US R&B singles, one of which reached number one. Disco Nights (Rock Freak) reached number one in the US R&B Charts and number twelve in the US Billboard, selling over one-million copies in the US alone. I Do Love You, a cover of a Billy Stewart track, reached number five in the US R&B Charts and number forty-ix in the US Billboard. The last single from Disco Nights was Make My Dreams A Reality, which reached number eight in the US R&B Charts. So eleven years after founding as Sabu and The Soul Survivors, GQ had a million selling single and top ten US R&B album under their belt. Would the followup Two, which was released by BBR Records on 4th June 2012 replicate the success of Disco Nights?
After the success of Disco Nights, GQ set about recording their second album which would become GQ. Producing GQ would be Jimmy Simpson, Valerie Simpson’s brother, while Larkin Arnold was the executive producer. Eight of the album’s nine tracks were written by the four members. The exception was Sitting In the Park, which like I Do Love You from their debut album Disco Nights, was written by Billy Stewart. With the material written for the followup to Disco Nights, the next step was to record the album. This would take place at New York’s Sigma Sound Studios.
New York’s Sigma Sound Studios was familiar territory for GQ. This was where much of Disco Nights had been recorded. With Jimmy Simpson producing the album, bassist Keith “Sabu” Crier, lead vocalist and rhythm guitarist Emanuel Rahiem LeBlanc, drummer Paul Service and keyboardist Herb Lane laid down the nine tracks on Two. Once Two was recorded, Jimmy Simpson mixed Two. All that was left was for Two to be released. Would it match the success of Disco Nights?
Before the release of Two in March 1980, Standing Ovation was released as a single, reaching number twelve in the US R&B Charts. Then in March 1980, Two was released. It reached number two in the US R&B Charts and number forty-six in the US Billboard 200. The next single released from Two, was Sitting In the Park in April 1980. Although it reached number nine in the US R&B Charts, it narrowly missed out on reaching the US Billboard 100, peaking at number 101. Someday In Your Life was the final single released from Two in June 1980. Sadly, the single failed to chart. While Two hadn’t quite matched the success of Disco Nights, nor had the singles been as successful as the three released from Two there maybe is a simple explanation for this. Suddenly disco wasn’t as popular by 1979. GQ were maybe seen as a disco band, and with the start of the Disco Sucks anti-disco bandwagon underway and bandwagon’s wheels turning quickly, sadly, some great disco music was being overlooked. Was this the case with Two? That’s what I’ll tell you when I tell you about the music on Two.
Opening Two is Standing Ovation, the first single released from the album and proves that there was much more to GQ than disco. This isn’t a disco track, instead, it’s a joyous, uplifting slice of jazz-funk. From the opening bars, GQ take you on a musical roller-coaster, where jazz-funk provides the soundtrack. A pounding rhythm section, chiming guitars and soaring, dramatic vocals give way to cascading strings. Then when Emanuel’ vocal enters, it’s powerful and emotive, accompanied by a tight, sweeping harmonies. Truly, the sound is joyful, with the use of disco strings a masterstroke and tight soaring harmonies, blending seamlessly with the pounding, driving and funky rhythm section. Later, an extended break where the rhythm section and percussion combine, proves that there’s much more to GQ than disco. The accompanying dubbed applause seems a fitting end to a track that’s perfect for any dance-floor.
The dance-floor friendly sound continues, while GQ pose a question, Is It Cool? Once you’ve heard the track, there’s only one answer…yes. There’s more of a disco influence to the track, although it’s sound is firmly rooted in jazz-funk. When the track opens at breakneck speed, there’s not let up in the energy. Keyboards, the rhythm section and punchy, rasping horns get the track underway, with Emanuel delivering his vocal with a similar passion and emotion to the opening track. There’s no space within the track, just funky, hook-laden music, with those growling horns key to the track’s dramatic sound. Quite simply, you can hear that GQ are a tight, polished band, while Jimmy Simpson’s production skills bring the track together, resulting in a storming slice of hook-laden jazz-funk.
A fat, pounding bass line threatens your speakers welfare as Someday (In Your Life) starts to reveal its hidden charms. Light, airy keyboards, chiming, funky guitars and then a heartfelt, impassioned vocal from Emanuel enters. It’s accompanied by some peerless harmonies, which are amongst the best on the album. They’re tight, emotive and reflect Emanuel’s deliver. Meanwhile, the arrangement is quick, with a pounding rhythm section, guitars and washes of keyboards ensuring the track meets GQ funky quota. However, what makes the track, is Emanuel’s vocal and the accompanying harmonies. Why the single never charted seems strange, given the track’s quality.
There’s no let up in the funk on Lies. In fact, it’s as if GQ have turned their funkometer up to eleven as the track gets underway. A combination of a pounding, funky rhythm section, stabs of blazing horns and guitars combine. Having created a funk-drenched backdrop, Emanuel delivers a vocal that’s impassioned, while elegant harmonies cascade behind him. They’re contrasted by bursts of blazing horns, keyboards and of course, GQ’s rhythm section who play a huge part in their sound and success. This is quite definitely the case here, playing with a similar passion to Emanuel’s heartfelt, emotive vocal.
If there’s a track from Two that perfectly describes GQ, it’s GQ Down. This is a fitting description for a band who took the party everywhere, but also bring the party to you. There’s a slightly more understated sound to the track. Here, the rhythm section, guitar and flourishes of keyboards tone down their funky sound, producing a much more soulful sound. This is perfect for Emanuel’s softer vocals, while the harmonies have a subtle, elegant sound. Adding the finishing touch are swathes of strings that sweep in, producing a graceful, elegant sound. Together, they play their part in producing what might have been GQ’s theme tune, GQ Down.
Don’t Stop This Feeling allows GQ to show a much more soulful side to their music. Similarly, it allows lead vocalist Emanuel to show whether disco, funk or soul, he can deliver the lyrics with aplomb. Just subtle guitars, lush strings, piano and a slow rhythm section accompany Emanuel’s vocal. Key to the track are the beautiful piano and meandering bass line, while strings reflect Emanuel’s beautiful, heartfelt delivery. Tender, elegant harmonies glide in, adding to the beauty and allure of what is one of the highlights of GQ.
Normal service is resumed on Reason For the Season a storming slice of jazz-funk. From the get-go, the rhythm section, guitars and keyboards produce a funk-drenched backdrop, while strings provide a contrast. Emanuel’s delivery is quick and powerful, while punchy harmonies augment his vocal. When the track slows down, the strings play a bigger role. Later, a prolonged rap, where GQ take inspiration from Grandmaster Flash and The Furious Five, The Sugarhill Gang et al, is accompanied by soaring harmonies. This results in a fusion of jazz, funk and hip-hop that was designed to fill any early eighties, post disco dance-floor.
Having covered a Billy Stewart track on their debut album Disco Nights, GQ return to Billy’s back-catalogue to cover Sitting In the Park. The result is a soulful, homage to Billy Stewart where GQ up their game, delivering some of their best harmonies. Similarly, Emanuel’s vocal is full of emotion and hugely soulful, delivered against an arrangement that’s bless with an equally soulful, retro sound. It’s just the rhythm section, keyboards and guitars combining to create an arrangement that has a real sixties sound. Key to the arrangement is the prominent, meandering bass line, which is determined to make its presence felt. While the bass plays a vital role, what makes this such a fantastic track are GQ’s considerable vocal talents. Together, they pay homage to Billy Stewart and his music the GQ way.
Closing GQ is It’s Like That, a track where GQ do what they do best, get funky. A combination of guitars, keyboards and rhythm section combine, getting funky one last time. Then when Emanuel’s lead vocal enters, it’s one part power to one part passion, contrasted by the tight, graceful harmonies. Meanwhile the arrangement is fast, funky and dramatic. Later, keyboards and synths combine to produce an extended break. After keyboard player Herb Lane showcases his talents, the track rebuilds. Once the momentum is regained, GQ go on to display their musical talents, producing their trademark funky sound one last time, to end Two on a high.
Although GQ’s second album Two didn’t match the success of its predecessor Disco Nights, this was no reflection on the music on the album. While Disco Nights, as the name suggests, was an album containing disco music, a year later disco wasn’t as popular. By 1979, the Disco Sucks bandwagon was in full flow, with disco albums or albums by groups who were perceived as disco artists not as popular. Two wasn’t a disco album, but maybe, GQ had wrongly been pigeonholed as a disco band. So, while Two reached number two in the US R&B Charts and number forty-six in the US Billboard 200, maybe sales were held back by people believing the album contained disco music. How wrong they would be if they thought this. Instead, Two contains a mixture of funk, jazz-funk and soul, with some disco delights tucked away. Overall, the music on Two is funky with a capital F, while there are two really soulful cuts in Don’t Stop This Feeling and a cover of Billy Stewart’s Sitting In the Park. The other seven tracks demonstrate GQ at their funky best, with their twelve years experience put to good use. With producer Jimmy Simpson, GQ produced Two, an album that’s features some tight, highly accomplished playing, topped off by Emanuel Rahiem LeBlanc’s vocals augmented by some peerless harmonies. Now thirty-two years after its initial release in March 1980, BBR Records have remastered and rereleased Two, complete with two bonus tracks. This allows you to experience the Bronx’s biggest party band GQ, who’ll get any any started when you play Two. Standout Tracks: Standing Ovation, GQ Down, Don’t Stop This Feeling and Sitting In the Park.
GQ-TWO.
HEATWAVE-TOO HOT TO HANDLE.
HEATWAVE-TOO HOT TO HANDLE.
Having spent several years playing London’s club circuit, Heatwave signed to Epic Records in 1975. What would was a three year period where Heatwave released three albums, two of which were certified platinum and one gold. This remarkable run started with 1976s Too Hot To Handle, which reached number eleven in the US Billboard 200 and number five in the US R&B Charts, resulting in the album being certified platinum. Next came 1977s Central Heating, which was also certified platinum, reaching number ten in the US Billboard 200 and number two in the US R&B Charts. The last in this trio of commercially successful albums was 1978s Hot Property, which reached number thirty-eight in the US Billboard 200 and number sixteen in the US R&B Charts, resulting in Heatwave’s first and only gold disc. Then in 1979, disaster struck. Lead-singer Johnnie Wilder was paralyzed in a car accident, resulting in him being hospitalized for a year. Sadly, after this tragedy, Johnnie had to quit Heatwave, becoming co-producer. After this, Heatwave never enjoyed the same success, releasing just three more albums, the last of which was The Fire in 1978. While tragedy struck for Johnnie Wilder in 1979, Rod Temperton’s career was reaching new heights. He’d written the songs for Heatwave’s first three albums. One man who was impressed by Rod’s talents was Quincy Jones. He hired Rod to write two tracks on Michael Jackson’s 1979 album Off the Wall. These two tracks were the title-track Off the Wall and Girlfriend. Off the Wall went on to be certified eight times platinum, selling over twenty-million copies worldwide. Suddenly, Rod Temperton was one of the most in-demand songwriters. He’d come a long way from touring the London clubs honing Heatwave’s sound. However, all that was still to come. Before that came the release of Heatwave’s debut album Too Hot To Handle, which I’ll tell you about, having firstly told you the background to the album.
Heatwave had been signed to Epic Records in 1975, with Barry Blue hired to produce their album. Rod Temperton had written the nine tracks that would become Too Hot To Handle. They’d be delivered by American brothers Johnnie and Keith Wilder. The rest of the band would provide a fusion of funk and disco on the album. This included keyboard player Rod Temperton, plus a rhythm section of drummer Ernest Berger, bassist Mario Matese and guitarist Eric Johns provided a fusion of funk and disco. They recorded Too Hot To Handle at London’s Audio International Studio. Once these nine tracks were recorded, Heatwave would release their debut album. Little did they know just how popular Too Hot To Handle would be.
When Too Hot To Handle was released in 1976, the album reached number eleven in the US Billboard 200 and number five in the US R&B Charts, giving Heatwave their first platinum album. Over in the UK, Too Hot To Handle only reached number forty-six. The two singles released from Too Hot To Handle are some of Heatwave’s most successful and memorable tracks. Boogie Nights reached number two in the US Billboard 100, number five in the US R&B Charts and number thirty-six in the UK. This lead to the single being certified platinum in the US, gold in Canada and silver in the UK. Always and Forever reached number eighteen in the US Billboard 100, number two in the US R&B Charts and number nine in the UK. The success of Too Hot To Handle and its two hit singles must have exceeded the members of Heatwave’s wildest dreams. After all, having both Too Hot To Handle and the single Boogie Nights certified platinum was no mean feat. However, what made Too Hot To Handle both critically acclaimed and such a huge commercial success? That’s what I’ll tell you, when I tell you about the music on Too Hot To Handle.
Opening Too Hot To Handle is the title-track Too Hot To Handle, which like the other eight tracks was written by Rod Temperton. Blazing horns, the rhythm section and chiming guitars give way to Keith Wilder’s vocal. He delivers the vocal in sharp bursts, before tight, sharp soaring harmonies augment his vocal. Quickly, his vocal become sassy, with stabs of braying horns, percussion and the funky rhythm section accompanying. The cascading harmonies that accompany Keith are peerless. They’re key to the track’s sound and success, getting Too Hot To Handle of to a glorious start.
A flourish of harp, jazz-tinged guitar and marauding bass combine, before tight harmonies enter. Quickly, Boogie Nights then starts to reveals its beauty. Keith’s joyous vocal is augmented by harmonies, before Clarke Peters adds a deep, punchy and memorable vocal hook. Meanwhile, the rhythm section, guitars and percussion combine, providing a backdrop where disco and funk are fused seamlessly. Later, Rod Temperton’s keyboards play an extended solo, his keyboards weaving their way along the arrangement. However, it’s Keith’s lead vocal and some of the best harmonies on Too Hot To Handle that make this such a classic track. No wonder the single would be certified platinum in the US, and has become a bona fide disco classic.
Following up a true disco classic, and one of Heatwave’s best ever tracks, isn’t easy. So, changing the style and sound is a good idea. On Ain’t No Half Steppin,’ Heatwave merge their soulful vocals with a funky arrangement. Johnnie Wilder takes charge of the lead vocal, while as usual, the harmonies are soulfulness personified. Rasping horns, sweeping, swirling, lush horns and the funky rhythm section provide the backdrop for Johnnie’s vocal. Here, Rod Temperton’s keyboards have a bigger part to play. Noticeably, the arrangement is full of contrasts, with the lushness of the strings provide a contrast to the blazing horns and funky rhythm section. Johnnie’s vocal is laden with emotion, while sharp backing vocals respond to his call. Although different in style from the previous track, they both have one thing in common…their quality.
The second single from Too Hot To Handle was Always and Forever. Like Boogie Nights, it’s one of Heatwave’s best singles, thanks to Johnnie’s vocals and Rod Temperton’s beautiful lyrics. However, whenever I hear the track, I’m reminding of the last dance at small town discos, where couples would smooch drunkenly and hopefully to a track like this. Having said that, it’s a beautiful, moving song, with Johnnie’s best vocal on the album. The arrangement builds and builds, becoming dramatic and emotive. From just the keyboards, gentle rhythm section and lush strings, the Hammond organ enters. They accompany Johnnie’s heartfelt vocal. Tender harmonies accompany Johnnie, as the arrangement and his vocal grows in power. Key to this are swathes of strings, bursts of rasping horns and the rhythm section, who later add to the track’s drama. For just over six minutes, Heatwave produce a track that’s not only beautiful and romantic, but one of the highlights of Too Hot To Handle.
Super Soul Sister sees Heatwave take a detour into funk, with a harder, much funkier track. Similarly, Johnnie’s vocal has an edge, accompanied by the rhythm section, punchy blazing horns and of course, some tight, punchy harmonies. While percussion and keyboards play their part in the track, it’s the rhythm section, chiming guitars and braying horns that are key to the track’s success. The other vital ingredient is Johnnie’s and the harmonies. Together, they’re mixed together by producer Barry Blue, resulting in a track that’s not just funky, but dramatic and compelling.
What I’ve always enjoyed about Too Hot Too Handle is the sheer variety of music. There’s everything from funk, disco and soulful tracks like All You Do Is Dial sees Heatwave. To me, it’s a track that allows Heatwave to showcase their considerable vocal talents. Here, Johnnie’s delivers a heartfelt lead vocal accompanied by some of the best harmonies on the album. Producer Barry Blue does his part, producing an arrangement that has a lovely understated sound. Guitars, keyboards and the rhythm section combine with percussion before Johnnie’s vocal enters. His vocal is full of feeling, while the harmonies are equally emotive and beautiful. Lush cascading strings and a sultry horns add the finishing touches as the arrangement grows, revealing its beauty and charms.
Lay It On Me sees a combination of the soulful and funky sides of Heatwave. The rhythm section and keyboards produce a funky backdrop that has a slightly harder edge. A burst of percussion signals the entrance of Heatwave’s harmonies, before Johnnie unleashes an impassioned vocal. His vocal is accompanied by dancing strings, percussion, Rod’s keyboards and bursts of horns. Meanwhile, the rhythm section of drummer Ernest Berger, bassist Mario Matese and guitarist Eric Johns provide a backdrop that’s both soulful and funky. This contrasts and compliments the strings, percussion and of course those peerless vocals. The end-result is a track where Heatwave seamless combine soul and funk, resulting in a track where they’re able to display their considerable vocal talents.
Rod Temperton’s keyboards, percussion and guitars combine as Sho’nuff Must Be Luv begins to reveal its subtleties and charms. Quickly, a beautiful love song unfolds. Johnnie’s tender, emotive vocal enters, accompanied by some slow strings. The rest of Heatwave add heartfelt harmonies, while bursts of rasping horns, lush strings provide the perfect accompaniment to this quite beautiful love song. So good is this track, that you’re spellbound by its beauty and Heatwave’s heartfelt delivery of Rod Temperton’s lyrics.
Closing Too Hot To Handle is Beat Your Booty where Heatwave seem determined to end the album on a high. The track sounds like a cousin of Boogie Nights, or something the Jacksons would have released. Johnnie’s like a cheerleader, encouraging the rest of Heatwave to greater heights. They respond to him, producing a track that’s funky, with punchy harmonies accompanied by flourishes of keyboards, a driving rhythm section and percussion. As the track progresses, the more the drama builds and the catchier the track gets. Key to this is the rhythm section, Johnnie’s vocal and those punchy harmonies. Together Heatwave succeed in ending their debut album Too Hot To Handle with a track that’s almost Too Hot To Handle.
While Heatwave may seem to many people as a band that were an “overnight success,” that’s far from the case. They spent several years touring London’s clubs honing and refining their sound. Eventually, they established a lineup that would see them achieve success beyond even their wildest dreams, between 1976 and 1978. Too Hot To Handle was the album that started this successful run of albums. On Too Hot To Handle, Heatwave blend soul, funk and disco, resulting in the album being certified platinum in the US, and spawning two hugely successful singles. These were Boogie Nights, a disco classic, that was certified platinum. Always and Forever a beautiful love song, was very different, and showed a different side to Heatwave and their music. It too, has become a classic track. However, one man played a huge role in Heatwave’s success, Rod Temperton. He was much more than the group’s keyboard player. More importantly, he wrote every song on Heatwave’s first three album. He was obviously destined for much greater things. Three years after the release of Too Hot To Handle, Quincy Jones hired him to write two tracks for Michael Jackson’s classic album Off the Wall. Rod’s contributions to the twenty-million selling album were Off the Wall and Girlfriend. By the time Off the Wall was released, tragedy had struck for Johnnie Wilder. Tragically he’d been paralyzed in a car accident, spending a year hospitalized. In some ways this spelt the end for Heatwave. Although they released three further albums, they never found the same success. Indeed, they only released three more albums, with just 1980s Candles and 1982s Current featuring most of the original members. By 1988, when Heatwave’s final album The Fire was released, only Keith Wilder remained of the original members. Sadly, the group were a shadow of the group you can hear on Too Hot To Handle. For me, Too Hot To Handle is Heatwave’s greatest album, closely followed by 1977s Central Heating. Both albums were rereleased by Edsel Records, part on Demon Music in 2010. This will allow you to discover or rediscover both of Heatwave’s platinum selling albums Too Hot To Handle and Candles, where Heatwave fuse soul, funk and disco seamlessly. Standout Tracks: Boogie Nights, Always and Forever, All You Do Is Dial and Lay It On Me.
HEATWAVE-TOO HOT TO HANDLE.
VISIONEERS-HIPOLOGY.
VISIONEERS-HIPOLOGY.
After a long wait of six year since the release of Dirty Old Hip Hop, Marc Mac under the guise of Visioneers is back with the follow-up Hipology, a double album,due for release on 11th June 2012, on BBE Music. However, during the intervening six years, Marc hasn’t been resting on his laurels. Far from it. Indeed, Marc has been one of the hardest working men in music, working under a variety of aliases and guises. This has seen him working as one half of 4Hero, Nu Era and Natures Plan. Then there’s Marc’s work as a producer, which has seen him previously producing Terry Callier, Jill Scott, Roy Ayers and Phonte. Although his career started back in the late eighties, the project that’s kept Marc Marc busy recently, is the much anticipated Hipology. On Hipology, Marc brings in a number of guests and featured musicians, who’ve collaborated with him in making the album’s fourteen tracks. So, among the guests Marc chose to join him to make Hipology, are John Robinson, Notes To Self, TRAC and Baron. These luminaries join musicians Luke Parkhouse, Ariya Astrobeat Arkestra and The Support Horns. Together, they’ve help Marc make Disc one of Hipology an album that’s not just funky and soulful, but chock full of breaks, beats and samples a plenty .Then on Disc Two, Marc Mac has compiled an old-school mix-tape. So, this Hipology is a veritable feast of music spread over two discs. Before I tell you about some of the many highlights of Hipology, I’ll tell you about Marc Marc and his long and illustrious career.
Marc Marc’s career stared back in the late eighties, when he produced his take on Urban Soul. This saw Marc fuse a combination of musical genres that include Nu-Jazz, Nu Soul, breakbeats and drum and bass. All this went into Marc Mac’s production melting pot, with the result music that was fitting soundtrack to 21st Century Britain. Then came the various guises Marc donned, which included Nu Era, Nature’s Plan and Maximum Style, no name but a few of Marc’s nom de plume’s. The other of Marc’s guises, is as one half of 4Hero.
4Hero’s debut album was 1991’s In Rough Territory, released on Reinforced Records, which was followed-up by 1994s Parallel Universe. Then in the late nineties, 4Hero signed to Giles Peterson’s Talkin’ Loud label, where they’d released two classic albums. These were 1998s Two Pages and 2001s Creating Patterns. Having released these two albums, the only output from 4Hero until 2007s Play With Changes would be 2003s The Remix Project Volume 1. By then, Marc would’ve taken on other rolls as produced, label owner and donned another guise as Visioneers.
Having released two classic albums in Two Pages and Creating Patterns, this opened doors for 4Hero and Marc. He donned the roll of producer, working with musical luminaries that included Terry Callier, Jill Scott and Roy Ayers, while producing acts like Phonte. The next step for Marc and 4Hero was to set up their own record label, Raw Canvas Records which released 2003s The Remix Project Volume 1. However, the next album Marc would release wouldn’t be as part of 4Hero, but as Visioneers.
Before the release of Dirty Old Hip Hop, The Visioneers released a number of seven inch singles. Quickly, DJs like Kenny Dope, Norman Jay and Giles Peterson started playing them. After this BBE Music signed Visioneers and their debut album Marc Mac Presents Visioneers- Dirty Old Hip Hop was released in 2006. Dirty Old Hip Hop was critically acclaimed upon its release, so a year later, in 2007, came Marc Mac Presents Visioneers-Dirty Old Remixes. This was released the same year as 4Hero’s critically acclaimed Play With Changes, released on Raw Canvas Records. However, after the release of Marc Mac Presents Visioneers-Dirty Old Remixes nothing was heard of Visioneers… until earlier this year, when rumors started spreading about the forthcoming release of their second studio album Hipology.
For the recording of Hipology, Marc brought in a number of guest artists and hugely talented musicians. This numbered John Robinson, Notes To Self, TRAC and Baron. These guests join musicians Luke Parkhouse, Ariya Astrobeat Arkestra and The Support Horns. Eventually, fourteen tracks were laid down, with Marc using a string and horn section during the recording of Hipology. Given Marc’s hip-hop roots, Hipology has more than a few samples tucked away, awaiting discovery by sample spotters worldwide. However, during the recording of Hipology, Marc started reflecting on hip-hop’s influence on his life. This resulted in a fascinating and groundbreaking project from Marc.
Having been thinking about how important hip-hop has been to his life whilst recording Hipology, Marc started looking at his life. To Marc, it’s been a bit like a hip-hop version of Adam Smith’s invisible hand, shaping his tastes and life itself. This set him thinking, reflecting on the albums, books and even clothes he owns and hip-hop’s roll in his life. Sometimes, this influence has been subtle, not quite obvious, but at other times, hip-hop’s roll is more apparent. This lead to Marc compiling a digital scrapbook at Hipology.org. It’s a fascinating insight into the ever-present reach of hip-hop into Marc Mac’s life. Looking at the digital scrapbook, which features on the cover of Hipology, you can compare how hip-hop has affected your lives. Whether it’s the music, record labels, radio stations or even Adidas Stan Smith trainers, I’m sure that hip-hop will have affected your life. For Marc Mac, hip-hop has been an ever-present in his life, and for that we should be really thankful. It’s played its part in shaping him as producer, as you’ll realize, when I tell you about Hipology.
Opening Hipology is Dial In (Intro), thirty-eight seconds which will bring back memories to many older listeners. It’s the sound of a radio being retuned, as it switches between radio stations, sounds and songs. For anyone who remembers the days before FM radio, this used to be a familiar sound. It’ll bring back frustrating memories of hiss, crackle and pop. However, the other glorious memory it brings back, is the many sounds and styles of music awaiting discovery within the city, where eclectic sounds aplenty are only a turn of the dial away.
Back In Time, which features Baron & Trac rapping, and is a track with a real feel-good, summery Nu-Soul sound. The tempo is quick, with the rhythm section driving the track along, while a Fender Rhodes, shimmering strings and percussion provide musical contrasts. Horns rasp and the bass pounds, while Barron contributes cascading backing vocals. Adding the finishing touch is a vintage sounding impassioned rap. Talking of vintage sounds, the use of the Fender Rhodes was a masterstroke. Nowadays, the Fender Rhodes is underused. Its warm sound, together with the cascading harmonies lightens up Back In Time, making this one of my favorite tracks from Hipology.
Ice Cream On My Kicks is not just one of these tracks that just brightens up your life, but was a fate worse than death to the proud owner of a new pair of Adidas Stan Smiths. Imagine the scene, you’ve gone a trip down the coast, decided on a cheeky Cornetto and disaster strikes, you’re box-fresh Stan Smiths are covered in Raspberry Cornetto. Not a good look. Back to the music though. There’s a real jazzy undertone to the track. Again, some vintage kit has been dusted off and put to good use. This includes the Moogs, plus the Fender Rhodes. They’re augmented by percussion, bongos and drums, while a glistening, crystalline, jazz-tinged guitar dances across the arrangement, while the rest of the band play around it. Hearing the Moogs and Fender Rhodes on one track, is a real treat, on a track where Marc Mac and the Visioneers pay a fitting homage to the effect jazz has had on hip-hop.
Shine features two more guests John Robinson and Jimetta Rose. John Robinson takes charge of the rap, while Jimetta who adds backing vocals is tasked with delivering the vocal hook. As the piano opens the track, percussion and quivering strings combine, before John’s rap enters. It’s delivered against a backdrop of backing vocals, shimmering strings, crisp drumbeats and guitars. When Jimetta’s multi-tracked backing vocals take centre-stage, the track takes on a real Nu-Soul sound. She has an outstanding voice, and her contribution means that one of the best arrangements on Hipology is unfolding. Key to this is the use of shimmering strings, not forgetting Jimetta’s beautiful backing vocals and John’s impasioned rap.
Given the role and importance of Blaxploitation movie soundtracks as a source of samples for hip-hop producers, Shaft In Africa (Addis) is a fitting tribute to this musical genre. Wah-wah guitars, punchy, blazing horns a proliferation of congas and percussion combine with a rhythm section that delivers funk with a capital F. Stabs of horns, flourishes of keyboards and a pounding, funky rhythm section are at the heart of this glorious track. Together, they create a glorious two minute track that pays homage to Black Caesar, Shaft, Superfly, Truck Turner, Shorty the Pimp et al.
While Oil and Water don’t mix, the musical contrasts within this track mix beautifully. From the lush strings, stabs of rasping horns, jazz tinged piano and Notes To Self’s frustrated, angry rap. That’s not forgetting the cuts and scratches aplenty from DJ Dopey, plus drums and a rocky guitar solo from Luke Parkhouse. Wave upon wave of elegant, and sometimes dramatic music unfold, rising and falling, revealing their charms. Truly this is a fusion of musical genres and sounds, taking in everything from rock, jazz, lush Philly strings and plenty of hip-hop with a vintage sound.
When Jungle Green Outlines begins, you just know that a pounding, funk drenched track is about to unfold. You’re certainly not disappointed. The rhythm section are fast, funky and provide a pounding beat. Stabs of blazing horns enter, so does the unmistakable sound of wah-wah guitars. They give the track a vintage funky sound. This brings to mind seventies funk albums, which for hip-hop producers, proved rich pickings for sample hunters. Adding another layer of music are synths, Fender Rhodes and piano, while bongos and percussion contrast the lushness of the strings. While this track is funk personified, listen carefully, and you’ll hear layer upon layer of music revealing reveal itself.
LuAnne From Harlem has a much more laid-back jazz-tinged sound. Rasping horns and percussion combine, before the rhythm section enter. They play second fiddle to the horns, which are ever-present and at the centre of track’s sound and success. Later, the Fender Rhodes can be heard in the background, its unmistakably warm sound seeping through the arrangement, making its presence felt. Mostly, it’s just the horns, drums and percussion that can be heard. They create a track that although very different from the other tracks on Hipology, is one of the album’s highlights.
My final choice is Apache (Battle Dub), where the Visioneers pay homage to a track that’s been sampled my many hip-hop producers. Originally recorded by The Shadows, then covered on Michael Viner’s Incredible Bongo Band’s album Bongo Rock: The Story of The Incredible Bingo Band. It too, was a rich source of samples for sample-hungry hip-hop producers. From the familiar opening bars, the Visioneers pay homage to The Shadows and then Michael Viner. This they do with aplomb. Bongos then percussion play an extended break, before blazing horns and then the rhythm section all take turns in showcasing their talents. Stabs of Hammond organ, then a Hank Marvin-esque guitar solo all drift in and out of the track. For over four minutes, the Visioneers pay tribute to a track that’s played an important part in the history and development of hip-hop.
Hipology is just one of these albums that once you receive it, it never leaves your CD player. Quickly, its subtleties and charms get under your skin, weaving their way into your soul, reminding you just why you love music, especially music as good as this. From the opening bars of Dial In (Intro), until the closing notes of Whatever Happened To Peace, Hipology is a musical adventure through a fusion of genres. This ranges from hip-hop, through funk, soul and R&B, taking in breakbeats, Blaxploitation and jazz. So good is this musical adventure, that once it’s over, you want to relive it and all its glories. With each listen, more of Hipology’s subtleties, charms and secrets reveal itself. This complex multilayered symphony has many subtleties, charms and secrets awaiting discovery. You have all this in front of you, with this glorious fusion of musical genres brought together by Marc Mac. Not only did he arrange and produce Hipology, but played everything from bass, piano, organ, synths, Fender Rhodes, Moogs, bass and Solina. Although Marc’s like a one-man band, he has a little help from his cast of special guests, plus a group of hugely talented musicians. Among this cast of rappers, backing vocalists and musicians, credit must go to Luke Parkhouse. Like Marc Mac, he’s deserving of being called a true multi-instrumentalist, playing everything from drums, guitars, congas and bongos. Along with rappers John Robinson, Barron and TRAC Hipology, plus Jimetta Rose’s beautiful backing vocals make Visioneers second album Hipology, a worthy successor to Dirty Old Hip Hop. Then after you’ve discovered the delights of Hipology, you’ve got the mix-tape to enjoy. You sit down, settle back and enjoy losing yourself in the delights of the mix-top Visioneers’ style. So, given the quality of music on the two discs that make up Hipology, which will be released by BBE Music on 11th June, then you’ll realize that it’s been well worth waiting six years for. Once you’ve heard Hipology, then I’m sure that you too, will agree it’s been well worth the long wait. Standout Tracks: Back In Time, Shaft In Africa (Addis), Jungle Green Outlines and LuAnne From Harlem.
VISIONEERS-HIPOLOGY.
JEAN CARN-WHEN I FOUND YOU LOVE.
JEAN CARN-WHEN I FOUND YOU LOVE.
This year has been a good vintage for anyone who loves Philly Soul. First came the release of Philadelphia International: The Re-Edits, then came the release of Philadelphia International Classics: The Tom Moulton Remixes. Then just two weeks ago came the Magnus Opus, the Philadelphia International: 40th Anniversary Box Set, ten discs of Philly’s finest music. On each of these compilations was the First Lady of Philadelphia International Records Jean Carn, who released a quartet of albums between 1976 and 1981. Jean’s career at Philadelphia International Records started with 1976s Jean Carn, with the follow-up Happy To Be With You released in 1978. After a gap of eighteen months came Jean’s third album When I Found You Love. Sadly, neither Jean Carn, nor Happy To Be With You had given Jean the commercial success her talent deserved. For her third album, there would be a change in the personnel working on When I Found You Love. Unlike her two previous albums, Gamble and Huff played no part in either writing or producing When I Found You Love. Instead, When I Found You Love was written and produced by various songwriting and production teams at Philadelphia International. How would this affect When I Found You Love?. That’s what I’ll tell you, after I’ve told you about the background to When I Found You Love, and the music on the album.
Among the songwriting and production teams who worked When I Found You Love were Linda Conlon, Jerry Butler and John Usry Jr. They cowrote two tracks, with Jerry and John producing the two tracks. Dexter Wansel wrote and produced What’s On Your Mind and Give It Up, co-producing two other tracks. The O’Jays’ lead singer Eddie Levert cowrote Intro/My Love Don’t Come Easy with Dennis Williams and Mike Jackson, co-producing the track with Dennis Williams. Cynthia Biggs, Ted Wortham and Gary Gilbert cowrote Lonely Girl In A Cold Cold World, which Theodore Wortham, Cynthia and Dexter Wansel produced. Jack Faith arranged and produced All I Really Need Is You, a track Janice Gugliuzza. These tracks would be recorded at Philly’s Sigma Sound Studios, the scene of all Philadelphia International Records recordings.
With the original M.F.S.B. having headed to New York to become the Salsoul Orchestra, so many familiar faces had been replaced. Instead of the Baker, Harris, Young rhythm section, now included variously, bassists Charles Collins, Jimmy Williams and Steve Green, guitarists Dennis Harris, Darnell Jordan and Roland Chambers, while the drummers included David Williams, Keith Benson and Quinton Joseph. Dexter Wansel and John Usry Jr played keyboards, while David Cruise and Ricky Hinds added percussion. Among the few remaining familiar faces were Don Renaldo’s strings and horns, with the Sweethearts of Sigma adding backing vocals. Together, they accompanied Jean Carn as she recorded the eight tracks at Sigma Sound Studios. Would the resulting album When I Found You Love see a change in Jean Carn’s fortunes?
Although two singles were released from When I Found Love, neither When I Found You Love, nor My Love Don’t Come Easy found chart success. This didn’t auger well for the release of On the release of When I Found Love in 1980. Sadly, it peaked at number forty-two in the US R&B Charts, while reaching number forty-two in the US Jazz Charts. Adding to Jean’s woes, Philadelphia International decided not to release the album in the UK, where Jean had a legion of fans. This was and the commercial failure of When I Found Love was hugely disappointing for Jean, especially given the quality of the music, which I’ll now tell you about.
Opening When I Find You Love is the title-track, written by Linda Conlon, Jerry Butler and John Usry Jr, while Jerry Butler and John Usry Jr. produced the track. It’s a track with a slow, spacious sound, where Jean demonstrates just how beautiful, emotive and powerful her vocal is. A piano, lush strings and rasping horns accompany Jean, her vocal starting slow and almost tender, growing in power and passion. Later, the track takes on a jazz-tinged sound. A sultry saxophone drifts above the arrangement, before the strings, horns and rhythm section combine to create a quicker, fuller arrangement. However, good as the arrangement from John Usry Jr. is and it’s very good, it’s Jean’s impassioned emotive vocal that steals the show.
Intro/My Love Don’t Come Easy a saxophone drifts wistfully above the arrangement, before pounding drums, cascading strings and jazzy guitars drift in. Next to join are punchy, rasping horns, whose disappearance signal the arrival of Jean’s breathy, sultry vocal. From there, a contemporary dance-floor friendly track reveals its many charms. The Sweethearts of Sigma add tender backing vocals, while strings dance, horns growl and the rhythm section add the track’s dance-floor friendly heartbeat. Later, Jean unleashes a soaring vocal, augmented by the Sweethearts of Sigma. By now you’ve been won over by what is a timeless dance-floor track that’s totally irresistible.
Start the Fire was written by William Pugh, who co-produced the track with Dennis Williams, who arranged the track. Vibes, rasping horns and the rhythm section open the track, with the punchy drums signaling the arrival of Jean’s tender, impassioned vocal. Strings glide gracefully in, their lush sound the perfect accompaniment to Jean’s vocal. Backing vocalists tenderly accompany Jean, before the vibes and braying horns combine during a solo. Towards the end of the track, Jean decides to unleash not just a powerful vocal, but one drenched in emotion and passion. This proves the perfect way to end a track.
On All I Really Need Is You Jean’s vocal sounds just like Karen Carpenter’s. The similarity is uncanny. Even the arrangement from Jack Faith who also produces the track adds to this similarity. He adds swathes of lush strings, keyboards and a rhythm section that play with a subtlety. Even the horns have a subtlety that’s perfect for the track. Nothing is allowed to overpower what is an outstanding vocal from Jean, set against a classic Jack Faith arrangement.
The tempo rises on Lonely Girl In A Cold Cold World a track penned by the songwriting team of Cynthia Biggs, Ted Wortham and Gary Gilbert. It’s very different from the previous track, arranged with the dance-floor in mind. Here, the Sweethearts of Sigma add tight soaring harmonies, while strings cascade, horns blaze and the rhythm section drive the track along. Throughout the track, the arrangement sweeps and swirls, with the tempo rising and falling. Later, there are several breaks where jazz-tinged guitars take centre-stage, while Jean scats, with the Sweethearts of Sigma feeding off her. Together, they encourage each other to greater heights. Much as I enjoy these breaks, my only concern is that they spoil the flow of the track for dancers. Apart from that concern, this is a track that shows how versatile a singer Jean Carn is, switching from soul to jazz within the same song seamlessly.
Pounding drums, washes of synths and keyboards accompany Jean as What’s On Your Mind? gets underway. Quickly, the tempo rises and rises, with Jean transformed into a disco diva. Layers of shimmering strings, a pounding rhythm section and keyboards plus the Sweethearts of Sigma accompany Jean on this post disco track. It’s a track with Dexter Wansel’s name written all over it, given its heavy use of keyboards. This gives the track a sound that’s not quite disco, but not quite boogie. Having said that, it’s a compelling, dramatic post-disco track.
Give It Up is the second track Dexter Wansel arranged, wrote and produced track. This track is quite different, there’s more space in the funky arrangement. The Sweethearts of Sigma accompany Jean’s sassy, confident vocal. Meanwhile a pounding rhythm section, flourishes of guitars, keyboards, synths and rasping horns provide the backdrop for Jean’s vocal. Again, Dexter uses synths and keyboards heavily, but here, it seems to work better. Similarly, Jean’s vocal seems to sit better in the mix. Maybe the bigger part played by the Sweethearts of Sigma helps, as this brings out the best in Jean. They seem to help Jean reach greater heights, which she does here, delivering her vocal joyously and confidently.
Often, I’ve remarked how sometimes, the best track is kept until last on an album. This is quite definitely the case on When I Find Love, with Was That All It Was the album’s real standing track. Of the album’s eight tracks, this is a Philly classic. The rhythm section and percussion combine, before synths reverberate above the arrangement. Then comes Jean’s voice, sounding disillusioned and full regret. Quickly, strings cut in, accompanying Jean’s now emotive vocal. Meanwhile, the rhythm section and percussion provide the track’s classy heartbeat. Later, horns growl sympathetically as Jean delivers one of her best vocals on what is easily, the album’s best track and one of Jean’s finest releases for Philadelphia International Records.
After a gap of eighteen months, Jean Carn returned with When I Find You Love, her third album for Philadelphia International Records. Her first two albums Jean Carn and Happy To Be With hadn’t found the commercial success that their quality deserved. Jean must have been hugely disappointed and frustrated. Adding to her disappointment was when Gamble and Huff, who’d written and produced much of her first two albums, leaving writing and production to Philadelphia International Records’ songwriting and production teams. Even thought Gamble and Huff played no part in When I Find You Love, the end-result was an album full of some quality music. The music was a combination of dance-floor friendly music and ballads, which allowed Jean to demonstrate just why she was the First Lady of Philadelphia International Records. She was one of the best female vocalists on the label, and the four albums she recorded for Philadelphia International Records contain many a hidden gem. Among the highlights of When I Find You Love, are When I Find You Love, Intro/My Love Don’t Come Easy and the highlight of the album Was That All It Was. To me, that’s one of the best tracks Jean Carn ever recorded for Philadelphia International Records. Even today, thirty-two years after its release, Was That All It Was is a timeless classic, blessed with a contemporary sound. On All I Really Need Is You, arranged and produced by Jack Faith, Jean’s vocal sounds uncannily like Karen Carpenter’s. It’s the only track on the album where this similarity is noticeable. Overall, there aren’t any poor tracks on When I Find You Love, an album where Jean mixes jazz, Philly Soul, funk and a post-disco sound, with the help of some of Philadelphia International Records songwriting and production teams, and M.F.S.B. Mk 2. Together, they helped Jean create When I Found Love, a compelling combination of dance-floor friendly tracks and heartfelt ballads, which is a true hidden gem of an album . Standout Tracks: When I Find You Love, Intro/My Love Don’t Come Easy, Lonely Girl In A Cold Cold World and Was That All It Was.
JEAN CARN-WHEN I FOUND YOU LOVE.
M.F.S.B.-SUMMERTIME.
M.F.S.B.-SUMMERTIME.
Recently, when reviewing The O’Jays’ Message In the Music, I mentioned how that 1976 was a pivotal year for Philadelphia International Records and their legendary house-band M.F.S.B. From the very first album Philadelphia International Records released, M.F.S.B. provided the album’s heartbeat. These musicians included bassist Ron Baker, guitarist Norman Harris and drummer Earl Young. They became known as the Baker, Harris, Young rhythm section. There was also guitarist Bobby Eli, percussionist Larry Washington, keyboard player Lenny Pakula, Vincent Montana on vibes and Don Renaldo’s strings and horns. Together, they were part of M.F.S.B., a group of musicians that number around thirty of Philly’s finest players. However, by 1976, M.F.S.B. were in dispute with Gamble and Huff over payments. Sadly, the dispute couldn’t be resolved. This resulted in M.F.S.B. leaving Philadelphia International Records and becoming the Salsoul Orchestra. Before their departure, M.F.S.B. would release their fifth album Summertime, which I’ll tell you about, after I’ve told you the background to the album.
With M.F.S.B. about to leave Philadelphia International Records, the label wasn’t just losing their house-band, but a highly successful group. Before the release of Summertime, they’d released four albums between 1972 and 1975. Starting with M.F.S.B. released in 1973, which reached number 131 in the US Billboard 200 and number twenty in US R&B Charts, their popularity quickly grew. Next came Love Is the Message later in 1973, their most popular album. It reached number four in the US Billboard 200 and number one in US R&B Charts. Universal Love, released in 1974, reached number forty-four in the US Billboard 200 and number two in US R&B Charts. Following Universal Love was 1975s Philadelphia Freedom, which reached number thirty-nine in the US Billboard 200 and number fourteen in US R&B Charts. After this run of commercially successful albums, would Summertime see M.F.S.B. Mk 1 leaving Philadelphia International Records on a high?
For their fifth album, Summertime, Gamble and Huff wrote four songs plus the successful songwriting team of Gene McFadden, John Whitehead and Victor Castarphen cowrote three tracks. The album’s other track was a cover of George Gershwin’s Summertime. These eight tracks would be recorded at Philly’s Sigma Sound Studios, where all the Philadelphia International Records albums were recorded.
Producing the album were Gamble and Huff who produced five tracks, while Gene McFadden, John Whitehead and Victor Castarphen produced three tracks. Arranging the eight tracks on Summertime would be Jack Faith, Bobby Martin and Tony Bell, Thom’s brother. Adding vocals to Summertime were the Sweethearts of Sigma. They’re vocal accompanied M.F.S.B. as they bid farewell to Philadelphia International Records? Would they do so with another successful album in Summertime?
On the release of Summertime, the album reached number 106 in the US Billboard 200 and number eighteen in the US R&B Charts. Two singles were released from Summertime. Picnic In the Chart reached number one in the US Dance Charts. The title-track Summertime reached number sixty-five in the US R&B Charts, also reaching number one in the US Dance Charts. However, why was Summertime not as successful as M.F.S.B’s previous albums? That’s what I’ll tell you after I’ve told you about the music on Summertime.
Opening Summertime is Picnic In the Park, one of the five Gamble and Huff penned and produced tracks. It opens with a crashing cymbal, before Ron Baker’s pounding bass stabs of keyboards and swathes of lush strings enter. The arrangement veers between a lush sound and bursts of drama, with the Baker, Harris, Young rhythm section providing the track’s heartbeat. Then the Sweethearts of Sigma add bursts of dramatic, soaring harmonies, before blazing horns punctuate the arrangement. Gradually, the track reveals its many subtleties and charms. Quivering strings, vibes, flourishes of keyboards and stabs of horns are just some of these subtleties and charms. Taken together, they’re proof positive that M.F.S.B. were still the hottest band of the seventies, providing a perfect soundtrack to any Picnic In the Park.
Mention Summertime, and everyone will mention George Gershwin. However, he cowrote the song with Ira Gershwin, DuBose and Dorothy Heyward. Since then, the track has been considered a true classic, covered by many, but never like the way M.F.S.B. do. A sultry saxophone solo drifts seductively above gentle stabs of keyboards, while lush, wistful strings enter. Suddenly, you think M.F.S.B. have been transformed into an old-time jazz band. Then…the track explodes. Funky wah-wah guitars, blazing horns, sweeping, swirling strings and the Baker, Harris, Young rhythm section driving the track along. It’s veritable fusion of jazz, funk and soul. For five minutes, M.F.S.B. produce a stunning cover version of a jazz classic, but with a sublime, funky twist.
On Plenty Good Lovin’ M.F.S.B are again joined by the Sweethearts of Sigma, whose soulful vocals augment M.F.S.B’s fusion of jazz and funk. When the track opens, the rhythm section, flute, flourishes of harp and punchy, rasping horns take the track in the direction of funk. Then when the Sweethearts of Sigma enter, their tender, understated vocals add soul to a now jazz-tinged arrangement from Bobby Martin. Still the funky side of the track emerges, but Norman Harris’ jazzy guitar has a funky counterpoint in Bobby Eli’s playing. Braying horns provide a contrast to flourishes of harp and later, Vince Montana’s vibes. This is what M.F.S.B. did so well, take a variety of different instruments and styles of music, fusing them seamlessly to make a timeless track. That’s what they do here, with the help of Gamble and Huff, plus arranger Bobby Martin.
Sunnin’ And Funnin’ is one of a trio of tracks penned and produced by Gene McFadden, John Whitehead and Victor Castarphen. It’s very different to the previous tracks, with a much more understated, mellow sound. Swathes of strings are at the track’s heart, while the rest of M.F.S.B. play subtly, as if within themselves. Gradually, their playing becomes more powerful. They never quite kick loose, but bursts of rasping horns, keyboards, rocky guitars and the rhythm section combine perfectly. Quivering, shimmering strings and the gentle, tender vocals from the Sweethearts of Sigma are the finishing touch to the track’s laid-back, mellow sound.
Summertime And I’m Feelin’ Mellow has one of the most recognizable sounds. From the opening bars, it’s familiar strains is akin to meeting a long lost friend. Swathes of strings sweep and swirl, before blazing horns enter. Along with the rhythm section, they add bursts of drama. Backing vocalists, drift in and out of the track, their subtle, soulful strains then replaced by percussion, shivering strings and growling horns. When the backing vocalists reenter, the drama and power is gone. It’s like the calm after the storm, but unlike a storm, M.F.S.B. in full flow is a thing of beauty, where grace and elegance, plus drama and power unite majestically, like they do here.
I’m On Your Side sees Gamble and Huff launch a curveball that would deceive even the smartest batsman. When the track opens, it’s like a calm sea, with the Sweethearts of Sigma’s tender harmonies floating along the calm sea. They’re accompanied by keyboards, guitar and rhythm section that create a flowing backdrop. Then suddenly, M.F.S.B. decide to unleash their funky side. Punchy blazing horns, wah-wah guitars, hissing hi-hats and the rhythm section add power and drama. However, then calm is resumed. This doesn’t last, with M.F.S.B. deciding to unleash their funky side again. From there, they tease and tantalize the listener, with the listener anticipating the arrival of fabulously, funky side of M.F.S.B. When it arrives, the anticipation and expectation are matched by the delivery, then some.
Earl Young’s drums open Hot Summer Nights as he makes his way round his kit. This signals the arrival of keyboards, rhythm section, gentle rasping horns and the lushest of strings. The arrival of the lush strings signal the arrival of the Sweethearts of Sigma’s beautiful, seductive sounding vocals. From there, M.F.S.B. decided to tease and tantalize the listener again. You never quite can guess the direction of the track. Will it head in the direction of funk or jazz? It gives indications of doing both, but makes brief, welcome excursions into jazz and funk, accompanied by the lushest of strings and the Sweethearts of Sigma. Key to the track’s success is arranger Bobby Martin, who in helping M.F.S.B. tease and tantalize, serves up a veritable feast, where jazz, funk and soul are fused brilliantly.
Closing Summertime, and the original M.F.S.B’s time on Philadelphia International Records is We Got The Time written and produced by Gene McFadden, John Whitehead and Victor Castarphen. The track almost bounces, joyously into being, with keyboards, the rhythm section, wah-wah guitars and percussion combining. It’s like each member of M.F.S.B. are saying this is what we can do, we’re the best. Don Renaldo’s strings sweep and swirl while his horns rasp, as the Sweethearts of Sigma deliver punchy backing vocals. Again, M.F.S.B. fuse soul, funk and jazz seamlessly, as they bid their farewell to Philadelphia International Records. Their next stop was one hundred miles away, in New York where they become the Salsoul Orchestra. This joyful, uplifting track is a fitting farewell to Philadelphia International Records, from M.F.S.B. who played such an important part in the making of the Philly Sound.
Looking back at M.F.S.B’s departure from Philadelphia International Records, it seems quite incredible that musicians of that calibre were allowed to leave the label, given the important part they’d played in the label’s sound and success. Of course, I’m not privy to what exactly the financial dispute was about, but nowadays, companies would fight tooth and nail to keep key employees like M.F.S.B. They were vital to the company’s future success. However, maybe the fact that there were so many talented musicians who were part of the pool of musicians that made up M.F.S.B. was why they were allowed to leave. However, there was only one Baker, Harris, Young rhythm section. They were irreplaceable. There was also guitarist Bobby Eli, percussionist Larry Washington. Similarly, vibes player Vincent Montana and Don Renaldo’s strings and horns were almost irreplaceable. M.F.S.B. continued their successful musical journey, flourishing after leaving Philadelphia International Records. Baker, Harris, Young became a successful songwriting and production team, so did Bobby Eli and Vince Montana. Don Renaldo’s strings and horns were just as in demand in New York at Salsoul Records. Together, M.F.S.B. settled into life at Salsoul seamlessly, flourishing and becoming even more successful. While Summertime wasn’t the same commercial success as their four previous albums, the music was just as good. Summertime is the hidden gem in the M.F.S.B. back-catalogue. Thankfully, it’s available as part of a double-album released by Edsel Records in 2010, which contains both Philadelphia Freedom and Summertime. This gives you the perfect soundtrack for Summertime as M.F.S.B. having found Philadelphia Freedom, head to New York and Salsoul Records, to start the next chapter in their career. Standout Tracks: Picnic In the Park, Summertime, Summertime And I’m Feelin’ Mellow and Hot Summer Nights.
M.F.S.B.-SUMMERTIME.
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