THE DELLS-ONE STEP CLOSER.
THE DELLS-ONE STEP CLOSER.
The last time I reviewed an album by The Dells, it was their 1978 album Love Connection. Like their previous album, They Said It Couldn’t Be Done But We Did It Anyway, it was produced by Norman Harris’ The Harris Machine. Along with some of Philly’s finest musicians, The Harris Machine gave The Dells a Philly Sound makeover. Sadly, neither albums was the commercial successes the music deserved. Love Connection was The Dells’ final album for Mercury. After this, they signed to ABC, releasing two albums, New Beginnings and Face To Face. New Beginnings released in 1978, saw an upturn in The Dells’ fortunes, reaching number 169 in the US Billboard 200 and number fifty-five in the US R&B Charts. Face To Face, released in 1979 reached reaching number 203 in the US Billboard 200 and number seventy-one in the US R&B Charts. For 1980s I Touched A Dream, The Dells signed to 20th Century Fox. It became their most successful album since The Mighty Mighty Dells, reaching number 137 in the US Billboard 200 and number twenty in the US R&B Charts. Thinking their career was on an upturn, The Dells released Whatever Turns You On, but it failed to chart. Without a record deal, The Dells didn’t release another album for three years, until 1984s One Step Closer, which was released by SoulMusic Records on 18th June 2012. Would One Step Closer, The Dells’ twenty-second album, get their career back on track?
After a two year absence from the recording studio, the five members of The Dells Marvin Junior, Mickey McGill, Verne Allison, Johnny Carter and Chuck Barksdale signed to Los Angeles based Joe “Hitman” Isgro’s Private I Records. Since the release of their last album for Cadet, 1975s We Got To Get Our Thing Together, The Dells had spent time on Mercury, ABC and 20th Century Fox Records. Their previous album, 1981s Whatever Turns You On had been the least successful album of their career. Now thirty-one years after forming in 1952, The Dells were ready to record the twenty-second album of their career for Private I Records. Their new label had previously revived the careers of The Chi-Lites, Staple Singers and Bonnie Pointer. Could they do the same with The Dells?
For what would become One Step Closer, a number of producers and songwriting teams would work with The Dells. Chuck Jackson and Martin Yancy cowrote three song and produced five of the songs on One Step Closer. David Williams wrote one track, cowrote another and produced two tracks on the album. The other track, I’m Your Man, written by Ashford and Simpson, was produced by David Johnson and Archie Russel. These eight tracks would becme One Step Closer, The Dells twenty-second album of their thirty-two year career. However, unlike their previous albums, One Step Closer was recorded on a budget.
Whereas The Dells had been used to recording albums for big labels like Chess, Mercury, ABC and 20th Century Fox, Private I Records didn’t have such deep pockets. Recording was taking place in Chicago and California, but during the recording sessions, The Dells felt violins were needed for a track. This needed more money, $2,500 to be precise to pay the arranger. After a trip to see label owner Joe “Hitman” Isgro, The Dells had the money to pay their arranger. Even then another problem arose. The booth was really small. Indeed, it was so small, that the strings had to be recorded sitting on the steps inside the building. Eventually, the sessions were completed and One Step Closer was One Step Closer to being released.
One Step Closer was released in 1984, reaching number forty-nine in the US R&B Charts. Three singles were released from One Step Closer. You Just Can’t Walk Away reached number twenty-three in the Us R&B Charts. The title-track One Step Closer reached number forty-six in the US R&B Charts. Love On was the final single released from One Step Closer, reaching number sixty in the US R&B Charts. After the disappointment of Whatever Turns You On not charting, One Step Closer saw The Dells making a comeback. However, what did One Step Closer sound like?
Opening One Step Closer is the title-track One Step Closer, one of the three singles, and a track Chuck Jackson and Martin Yancy cowrote and produced. The tempo is quick, with the rhythm section and washes of synths giving way to The Dells’ tight, urgent harmonies. Then comes Marvin Junior’s lead vocal. He’s lost none of his vocal prowess during their three year absence from recording. Very different is the arrangement, with its reliance on synths and drum machines. It’s very difference from The Harris Machine productions on Love Connection, with Philly’s finest musicians. Having said that, Marvin’s vocal and the harmonies are just as good. Welcome back The Dells.
Love On was the third single released from One Step Closer. It has a dramatic introduction, designed to grab your attention. This it does. What follows is one of Marvin’s best vocal. His vocal has a tenderness, but is impassioned and full of sincerity. Stabs of keyboards,a rhythm section that’s both soulful, but slightly funky provides a fitting backdrop. The rest of The Dells add equally tender, impassioned harmonies. Bursts of punchy rhythm section ensure The Dells have your attention. This they do, on one of the highlights of One Step Closer, delivering vocals and harmonies like only The Dells can.
You just know when the mid-tempo You Just Can’t Walk Away begins, that this is another gem from The Dells. Comparisons can be drawn with Teddy Pendergrass in the with its subtle heartfelt delivery. The other Dells deliver some tight, tender harmonies, while the arrangement sees keyboards and the rhythm section playing around The Dells, allowing them to do what they’d been doing so well since 1952. As the song progresses, Marvin’s vocal grows stronger, full of feeling, longing and love. Realizing just how good Marvin’s vocal is, the rest of The Dells lift their game. Their harmonies are the perfect accompaniment, fries to Marvin’s burger. No wonder this track gave The Dells their biggest single since 1980s I Touched A Dream, reaching number twenty-three in the US R&B Charts.
Even though One Step Closer is made on a budget, with synths and drum machines replacing what many people would call “real musicians,” Come On Back To Me still works. Here, the synths and drum machines are augmented by bass and guitars, giving the track a real eighties synth sound, this doesn’t matter. They provide the appetizer, while The Dells vocal talents provide the main course and dessert. Drums pound, while washes of synths and keyboards precede the vocal. Soon, Marvin takes over the lead vocal, throwing himself into the vocal, combining power and passion. Quickly, the vocal changes hands again, with the other Dells adding punchy harmonies, accompanied by equally punchy drums which crack. It’s the vocal that grab your attention, and what you focus on. However, I wonder what the song would’ve sounded like with the musicians that played on Love Connection?
A piano meanders in, before lush strings cascade and Holdin’ On, a dramatic, heartfelt and emotive ballad unfolds. The vocal is shared, with each Dell adding to the drama and emotion. They deliver the lyrics as if they mean every word, getting across the subtleties and nuances of the lyrics. One of the best arrangements on One Step Closer unfolds. There’s less reliance on synths, with a the piano and rhythm section providing the perfect backdrop for the vocal. Then there’s the strings recorded on the studio’s steps. Even they work really well, adding to the track’s irresistible sound.
Don’t Want Nobody sees a change in producer, with David Williams taking over. Straight away, a very different sound emerges from your speakers. Gone are the synths and drum machines. Instead, percussion, a pounding, funky rhythm section and keyboards combine. There’s even a Latin feel and sound to the arrangement. You sense this will lead to The Dells raising their game. Marvin grabs the song by the scruff of the neck, his vocal powerful and passionate. Tight, soaring harmonies augment his vocal, while the percussion heavy arrangement is enchanting and beguiling.
I Am Your Man written by Ashford and Simpson, sees the introduction of another production team, with the track produced by David Johnson and Archie Russel. They’re responsible for an arrangement that features keyboards, rhythm section and slow, sweeping strings whose lush sound are perfect for The Dells’ vocals. Marvin’s vocal is slow, heartfelt and sincere, delivering the vocal as if he means it. The when the other Dells add harmonies, they match Marvin stride for stride, their delivery just as intense and fervid. Of the eight songs on the album, Ashford and Simpson provide the
Closing One Step Closer is Jody, which was produced by David Williams. It sees another change in sound. Percussion, rhythm section and rocky guitars combine, with the bold guitar sound dominating the arrangement. Marvin’s vocal is equally bold. Quickly, the vocal changes hands, with each vocal probing, questioning “who is this Jody?” Although very different, with its marauding, rocky guitars, adds to the drama and of the arrangement, which incidentally, has a much more electronic sound than the other David Williams produced track.
Although The Dells had been without a recording contract since the commercial failure of 1981s Whatever Turns You On, The Dells that can be heard on 1984s One Step Closer, hadn’t lost any of their vocal prowess. Marvin Junior’s vocals were just as emotive, impassioned and sometimes, powerful as on Love Connection. However, the production style on One Step Closer was very different from The Harris Machine produced Love Connection. On Love Connection, Norman Harris and some of Philly’s finest musicians produced a really polished album where he gave The Dells a Philly Sound makeover. It wasn’t possible to produce as polished a sounding production on One Step Closer given the much lower budget available for The Dells. They’d even to ask for just $2,500 to pay someone to arrange the strings. So instead of the big production of Love Connection, synths and drum machines replaced what some people call “real musicians.” What the three producers or productions came up with were a variety of production styles. Sometimes synths and drum machines were used, other times the rhythm section, had percussion and strings added. While this wasn’t what many people must have expected from a Dells’ album, it worked well, with The Dells’ trademark vocals still of the quality you’d expect. Tracks like Love On, You Just Can’t Walk Away, Holdin’ On, Don’t Want Nobody and I Am Your Man may have differing production styles, but they’re a fitting accompaniment to The Dells. While One Step Closer is quite different from albums like They Said It Couldn’t Be Done But We Did It Anyway and Love Connection, one thing stays the same…The Dells vocals and harmonies. For anyone whose a fan of The Dells, R&B and soul music, then The Dells twenty-second album One Step Closer released by SoulMusic Records on 18th June 2012 is something of a hidden gem in their long and illustrious back-catalogue.To me, it’s hidden gem that’s well worth unearthing and comparing to They Said It Couldn’t Be Done But We Did It Anyway and Love Connection, when The Harris Machine gave The Dells a Philly Sound makeover. Standout Tracks: Love On, Holdin’ On, Don’t Want Nobody and I Am Your Man.
THE DELLS-ONE STEP CLOSER.
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DENIECE WILLIAMS-I’M SO PROUD.
DENIECE WILLIAMS-I’M SO PROUD.
Sometimes, the difference an experience and talented producer can make to an artist’s career can’t be underestimated. While everyone has their own examples, Deniece Williams certainly felt this when she first met Thom Bell. Instantly, they realized they were musical soul mates. By that time, Thom Bell was a vastly experienced producer, having worked with artists like The Delfonics, Detroit Spinners and The Stylistics. So, in hiring Thom Bell to co-produce Deniece’s 1981 album My Melody, it was no surprise when the albumwas certified gold. Given the success of My Melody, it’s no surprise that Thom was hired to co-produce the followup Niecy. However, when Deniece came to record her sixth solo album I’m So Proud, Thom Bell wasn’t available. Considering how well they worked together and the musical results, this must have been hugely disappointing. With Thom Bell unavailable, another producer was needed. Rather than choose one producer, instead, production duties were shared between Deniece, jazz legend George Duke and Bill Neale. George Duke and Deniece had met at a party and spoked about working together in the future. A few months later, this collaboration was underway, with George sharing production with Bill Neale. How would the sharing of production duties and Thom Bell’s absence affect I’m So Proud?
For Deniece’s sixth studio album I’m So Proud, a mixture of new material and cover versions were chosen. Deniece wrote one track and cowrote three tracks. Two of these she cowrote with producer George Duke. The other track Deniece cowrote was Love, Peace and Unity, which she cowrote with Scott Sigman. Among the other four tracks, were covers of a track Curtis Mayfield wrote for The Impressions, I’m So Proud. Two other tracks were They Say which Skip Scarborough and Theresa McFaddin cowrote, plus Heaven In Your Eyes written by Raymond Jones and Love. On So Deep In Love, which Jeff Barry and Bruce Roberts cowrote, Deniece is reunited with Johnny Mathis and they shares the lead vocal. With the eight tracks chosen, Deniece headed to various studios, one in New York and Los Angeles with producers George Duke and Bill Neale.
With two producers working on I’m So Proud, recording took place at various studios. For the four tracks produced by George Duke, the tracks and vocal were recorded at The Complex in Los Angeles. Later, guitars, keyboards and percussion were overdubbed at Le Gonks West in Los Angeles. Not only did George Duke produce these four tracks, but played keyboards and drums on these tracks. Given the recordings took place at different studios, George used different musicians to Bill Neale.
For the three tracks that Bill Neale produced, two studios were chosen. Monterey Sound Studios in Glendale California and Sunset Sound Studios in Hollywood were chosen. Bill arranged and produced the three tracks, while using different musicians to George Duke.
The other track, Love, Peace and Unity was produced by Deniece, with the track recorded at New York’s Sigma Sound Studios. Given recording of the eight tracks on I’m So Proud were recorded at five separate studios, a long list of musicians were used
Among the long list of talented musicians that would play on I’m So Proud, were a rhythm section of guitarist Paul Jackson Jr., bassist Louis Johnson and drummer Rickey Lawson. Accompanying them were percussionist Paulinho DaCosta and keyboard player Jerry Peters. Not only did George Duke produce four tracks, but played keyboards and drums on these tracks. Eventually, the eight tracks that became I’m So Proud were recorded. All that was left was for I’m So Proud to be released. Would it match the success of Deniece’s two previous Thom Bell produced albums My Melody and Niecy?
Before the release of I’m So Proud in May 1983, Do What You Feel reached number 102 in the US Billboard 100 and number nine in the US R&B Charts. On the release of I’m So Proud in May 1983, it reached number fifty-four in the US R&B Charts and number ten in the US R&B Charts. This didn’t match the success of Deniece’s previous album Niecy. It had reached number twenty in the US Billboard 200 Charts and number five in the R&B Charts. July 1983 saw the release of the title-track I’m So Proud, which reached number twenty-eight in the US R&B Charts. The final single was Heaven In Your Eyes, released in September 1983, but failed to chart. Unlike Niecy, the singles released from I’m So Proud didn’t prove as popular. Niecy had contained It’s Gonna Take A Miracle, which gave Deniece a US R&B number one single, plus two other hit singles. Although I’m So Proud didn’t match the success of Niecy, how do the two albums differ? That’s what I’ll tell you, once I’ve told you about the music on I’m So Proud.
Do What You Feel opens I’m So Proud, and is a track Deniece and George Duke cowrote, with George producing the track. There’s a real George Duke sound to the track from its opening bars. Funk and soul are fused during the track. When the keyboards open the track, you’ve no hint of what’s about to unfold. The pounding rhythm section is funky, while chiming guitars and blazing horns punctuate the arrangement. Here, Deniece’s vocal is looser than on tracks on Niecy, but still soulful. It soars high, quivering, replacing the sizzling horns. Sometimes, the horns showboat, grandstanding as they’re played with power. However, Deniece holds her own, mixing power and emotion. She copes well with the fusion of funk, jazz and soul, demonstrating a quite different side to her music.
I’m So Proud was written by Curtis Mayfield and recorded by The Impressions, giving them a hit in 1965. Here, Bill Neale takes over production duties, producing the perfect arrangement for Deniece’s tender, heartfelt vocal. He combines keyboards, guitars backing vocalists and the rhythm section. They produce a slow, spacious and understated arrangement. Later, a harmonica solo adds the finishing touch to the arrangement. It’s replaced by Deniece’s vocal which soars, trembling and quivering emotively, while backing vocalists accompany her. Here, Deniece and Bill Neale give an old song a new twist, breathing new life and meaning into it.
So Deep In Love sees Deniece joined by Johnny Mathis, who sing a duet. As the arrangement begins, it’s dark and dramatic, stabs of piano, layers of pounding guitars and the rhythm section combining. It’s unlike anything else on I’m So Proud, but has the required effect. It grabs your attention. You’re intrigued and certainly not disappointed. The combination of Deniece and Johnny is a potent one. There’s a chemistry between them that’s almost tangible. Their voices compliment each other, while the dramatic arrangement provides a fitting backdrop to the emotion and chemistry in their voices.
I’m Glad It’s You is another of the George Duke production, but quite different from his production on Do What You Feel. He produces a much slower, more soulful sounding backdrop for Deniece’s tender, impassioned vocal. Gone is the funk and blazing horns. They replaced by melodic keyboards, percussion and the an understated rhythm section. They combine, producing an arrangement that not only suits the song, but compliments Deniece’s vocal. This suits the song, and is much more Deniece Williams in sound. That’s what makes this one of the highlights of I’m So Proud.
Punchy drums pound, augmented by percussion, before the rhythm section and chiming guitars combine on Heaven In Your Eyes. It’s a much bolder sound, Deniece’s dramatic, emotive vocal swept along amidst waves of keyboards, a driving, slightly funky rhythm section and guitars. Later, George Duke adds jazzy keyboards, mixing jazz and funk. Again, this is a very different Deniece Williams from the one we heard on Melody and Niecy. Having said that, her vocal is full of life and energy, on a track that shows how versatile a vocalist she is. Whether soul, funk or jazz, she’s just at home.
They Say was co-written by Skip Scarborough and Theresa McFaddin and isn’t just one of the best songs on I’m So Proud, but one that could’ve been written with Deniece in mind. There’s also another change of producer, with Bill Neale taking charge. He produces a seven minute epic track that has you spellbound Immediately, you realize something impressive is about to unfold. You’re not disappointed. Waves of keyboards and rhythm section combine, before Deniece’s vocal enters. As the arrangement meanders along, the emotion in Deniece’s vocal is palpable. Backing vocalists accompany her, sometimes sharing the lead vocal. Here, Deniece seems totally at home, delivering a heartfelt, impassioned vocal against an arrangement that’s elegant and beautiful.
Deniece and Scott Sigman cowrote Love, Peace And Unity, a track packed full of social comment and optimism. She also produced the track, which has a very different sound to other tracks on I’m So Proud. When the track opens, it’s with sizzling rocky guitars, before it’s all change. An almost reggae style is revealed, with keyboards, the rhythm section and percussion responsible for this. Her vocal is filled with optimism and sincerity, as the arrangement flows along. Suddenly, there’s space within the arrangement, filled by percussion, dramatic drums and her deliberate vocal. This is really effective, ensuring you listen to the lyrics.
Closing I’m So Proud is It’s Okay, which Deniece and producer George Duke cowrote. Chiming jazz-tinged guitars, stabs of dark keyboards combine, before giving way to a joyous sounding arrangement. Deniece’s vocal almost floats along, atop the jazzy arrangement spreading her message of hope. Meanwhile, the rhythm section, guitars, rasping horns and percussion combine. Later, a braying horn dances above the arrangement, before Deniece’s vocal returns. When it drops out, she’s joined by a children’s choir, percussion and whistles that give the track a carnival atmosphere. This is the perfect way to close I’m So Proud, with its positive message, hope, and a joyful sound.
Earlier I wondered how having three separate producers would affect I’m So Proud? In some ways it worked well, allowing Deniece to explore new musical styles. George Duke took her music in a different direction from Thom Bell, fusing funk, jazz and soul, sometimes within the same song. This was the case on Do What You Feel, which has a trademark George Duke sound. You could pick a George Duke production out any musical lineup. After that, he changed his production style, making it suit Deniece’s vocal. Gone were the showboating, blazing horns that were a feature of Do What You Feel. On I’m Glad It’s You, in came a much more mellow, understated arrangement from George, much more suited to Deniece’s delivery. Then came I’m Glad It’s You, which is the best of the four tracks he produced.
Of the other four tracks on I’m So Proud, Bill Neale produced three of them. Deniece’s cover of The Impression I’m So Proud breathed new life, meaning and energy to the track. However, it was on They Say, which Skip Scarborough and Theresa McFaddin cowrote, that Bill Neale surpassed everything else on the album. It features a heartfelt vocal from Deniece, with an elegant, beautiful and complimentary arrangement from Bill. This to me is the highlight of the album. The other track Love, Peace And Unity, which Deniece produced herself has a quite different, compelling sound but is full of hope and optimism.
I’m So Proud has a much more eclectic selection of songs than My Melody and Niecy. The album was produced by two talented and experienced producers, whose approach was quite different to Thom Bell’s. For me, Thom Bell’s sound has always been polished and tight. The musicians don’t have the freedom that say Gamble and Huff would give them. Here, George Duke gave Deniece more freedom to try to explore new styles of music, while Bill Neale’s “sound” was much more Deniece Williams. Although this results in an album of quality music, it wasn’t as successful as My Melody and Niecy, Deniece’s two previous Thom Bell produced albums. Whether you prefer the tighter, more polished Thom Bell sound or the production style of George Duke and Bill Neale will be down to personal taste. For me, as a lover of the Philly Sound and an admirer of Thom Bell’s work my preference is for My Melody and Niecy. However, I’m So Proud, which was rereleased by BBR Records on 25th June 2012, has one thing in common with My Melody and Niecy…its quality. Standout Tracks: I’m So Proud, I’m Glad It’s You, Heaven In Your Eyes and They Say.
DENIECE WILLIAMS-I’M SO PROUD.
CHAKA KHAN-NAUGHTY.
CHAKA KHAN-NAUGHTY.
After Rufus released their sixth album Street Player in 1978, Chaka Khan decided the time was right to launch her solo career. Her peerless vocals played a huge part in the success of Rufus, resulting four of their albums being certified gold and 1977s Ask Rufus being certified platinum. Chaka’s solo career started where her career with Rufus had ended with another hugely commercially successful album Chaka. It reached number twelve in the US Billboard 200 and number two in the US R&B Charts in 1978. Adding to the success of Chaka was a track that since then, has become synonymous with Chaka Khan, I’m Every Woman. On its release in 1978, it reached number one in the US R&B Charts and number twenty-one in the US R&B Charts. Since then, I’m Every Woman has become a feminist anthem. With such a successful debut solo album, you’d have thought Chaka would head straight back to the studio and record the followup to Chaka? That however, wasn’t the case. While she headed to the studio, it was to record Rufus’ 1979 albumI Masterjam. Billed as Rufus and Chaka Khan, it was certified gold. A year later, Chaka would release her second solo album Naughty. However, could it match the commercial success of 1978s Chaka, or even Masterjam, her final album with Rufus?
For Naughty, ten tracks were chosen for what was the followup to Chaka. Two of these, were written by Ashford and Simpson. These were Clouds, the first single to be released from Naughty, plus Our Loves In Danger. Greg Diamond would write another of the singles, and another track that’s become synonymous with Chaka, Papillon (Hot Butterfly). Chaka cowrote just one track on Naughty, What You Did. It wouldn’t chosen as a single, with Get Ready, Get Set was cowritten by Kathy Anderson, Ellison Chase, Bill Haberman and Art Jacobson chosen instead. Producing Naughty would be Arif Mardin, who’d produced Chaka.
For the recording of the ten tracks that would become Naughty, Arif Mardin put together a multitalented band. In total, over fifty musicians and backing vocalists would play their part in recording sessions at Atlantic Studios in New York. Some musicians played on one track, others several tracks. Among these musicians were bassist Marcus Miller, guitarists Phil Upchurch, Hiram Bullock and Steve Khan plus drummer Steve Ferrone. They were joined by keyboard player Leon Pendarvis, percussionist Sammy Figueroa and tenor saxophonist Michael Brecker. Backing vocalists included Whitney and Cissy Houston, Luther Vandross and Ullanda McCullough. With the ten tracks the became Naughty recorded, the album was set for release in 1980. Could Naughty match the success of 1978s Chaka?
On the release of Naughty, it reached number forty-three in the US R&B Charts and number six in the US R&B Charts. Although this didn’t match the success of Chaka, Naughty didn’t have a single like I’m Every Woman. Instead, the Ashford and Simpson penned Clouds was the most successful single, reaching number ten in the US R&B Charts. Clouds/Papillon (Hot Butterfly) would reach number thirty-one in the US Dance Music Club Play Charts. The third and final single was Get Ready, Get Set, which reached just number forty-eight in the US R&B Charts. However, although Naughty didn’t replicate the success of Chaka, how good is the music on the album?
Opening Naughty is Clouds, the first of two Ashford and Simpson penned tracks. Pounding drums and keyboards open the track, before cascading strings and soaring backing vocals signal Chaka’s arrival. She picks up where she left of on Chaka. Her vocal is powerful, strong but soulful. Backing vocalists accompany her, while guitars augment the pounding rhythm section and keyboards. It’s noticeable that Chaka’s vocal range in widening. She delivers the lyrics with a mixture of power and passion, accompanied by a band that fuses funk, soul and even rock guitars, with plenty of drama thrown in for good measure.
Like Clouds, Get Ready, Get Set was one of three singles released from Naughty. It’s track that benefits from a more understated arrangement. The rhythm section, synths and guitars accompany Chaka, whose vocal is softer and subtler. Sometimes, she unleashes her full vocal range, while backing vocalists add understated harmonies. Again, the sizzling guitars soar above the arrangement, matching Chaka stride for stride and note for note. Unlike Clouds, this track has a looser, spacier arrangement, one that suits Chaka’s impassioned vocal.
Jazz-tinged guitars, sweeping strings and the rhythm section create a meandering arrangement, as Move Me No Mountain starts to reveal its hidden depths. Chaka’s vocal starts of heartfelt, much gentler, perfect for the arrangement. That doesn’t mean Chaka won’t demonstrate her full vocal range. Soon, she’s off and running. Her voice soars, while strings cascade as guitars, percussion and the rhythm section combine. Bursts of moody horn give way to an arrangement that bursts into joyously into life. From there, Chaka and her backing vocalists indulge in some dynamic, dramatic vocal interplay. This is just the finishing touch to a track that would’ve made a great single.
A melodic keyboard solo opens Nothing’s Gonna Take You Away, before Chaka’s slow, dramatic vocal enters. The tempo is much slower, with the rhythm section, swathes of strings, percussion and some of the most soulful backing vocals accompanying Chaka. Still the melodic keyboards, jazzy guitars and backing vocals are key to the track, before producer Arif Mardin drops in a sultry saxophone solo. After that, Chaka vamps her way through the rest of the track, competing with the saxophone. Eventually, it wins out, closing the track with its sultry, seductive strains.
So Naughty explodes into life, horns blazing, Chaka’s vocal strong and dynamic, soaring high, while a punchy, funky rhythm section punctuate the arrangement. With a drum roll, things change. A much more understated sounding arrangement arrives. Chaka’s just accompanied by keyboards, guitars and the rhythm section. They’re joined by bursts of blazing horns, while Chaka and her band explore two sides of the song. One minute it’s punchy, dramatic and full or energy, the next much more understated in sound. Backing vocalists accompany Chaka, who throughout the track delivers a vocal that’s sassy and confident, as she and her band fuse elements of funk, soul and jazz flawlessly.
Too Much Love has a very different sound when the track begins. Waves of jagged, rocky guitars assail you, driving the track along. They’re almost ever-present, dominating the arrangement. This is a pity, because Chaka delivers a vocal that’s powerful and impassioned, quite different in sound. Here, her voice is different to the the Chaka Khan we heard on Chaka, due to her range increasing. Throughout the track she’s accompanied by backing vocalists, who compliment her vocal. Percussion, the rhythm section and keyboards replace the guitars, before they make they’re return. They’re then joined by frenzied percussion, that like the guitars, detracts from the arrangement. This could’ve been a much better track, if not for the rocky guitars and frenzied percussion.
Funky is the best word to describe All Night’s All Right. The rhythm section and guitars combine with blazing horns, playing slowly but funkily. Chaka’s vocal is slow, starting way down low and gradually, soaring high. Punchy, soaring backing vocalists add a soulful side to the arrangement. Fiddles are used, but don’t sit well, their sound grating and out of place. The rest of the band, play slowly, leaving space within the arrangement, which Chaka and her backing vocalists fill. However, by the end of the track, you’re left with the feeling that the track lacks something. Funky and soulful in parts it is, but sadly, It lacks the sparkle of the first five tracks.
After two disappointing tracks, What You Did sees Chaka get Naughty back on track. Again, the arrangement displays a funky side, while Chaka adds the required soul. The rhythm section, guitars, keyboards and backing vocalists combine, as the track meanders along, while bursts of growling horns punctuate the arrangement. Later, another searing, rocky guitar is unleashed. Thankfully, it only makes a brief appearance, with producer Arif Mardin heeding the maxim less is more. Here, it’s Chaka and her backing vocalists who play the biggest part in the track’s sound and success. She mixes power, passion and emotion perfectly and purposely, getting Naughty back on the right road after two wrong turns.
Probably the best known track on Naughty is Papillon (Hot Butterfly) written by Greg Diamond. His version is the definitive version, wonderfully over the top, but Chaka’s comes a close second. Here, she delivers her best performance on Naughty. She’s helped along by her backing vocalists and a truly stunning arrangement. The arrangement literally bursts into life, a wistful harmonica giving way to pounding drums, guitars and keyboards. Then comes Chaka, strutting her way through the track, the interplay between her backing vocalists peerless. Lush strings, percussion, keyboards and later, the addition of a harmonica solo is a masterstroke. It breaths even further energy into the track, as if it needs it. As this hook-laden, joyous classic track ends, you find yourself pressing play again. No wonder, it’s a truly irresistible track from Chaka. Now check out Greg Diamond’s version.
Closing Naughty is Our Love’s In Danger, which Ashford and Simpson cowrote. It has a quality you expect from such a talented songwriting team. Flourishes of keyboards, cascading strings and a pounding rhythm section combine, accompanying Chaka’s frustrated, emotive vocal. Backing vocalists add to the drama of the track, adding some of the best and most soulful harmonies on the album. Similarly, the band are tighter, mixing funk and soul flawlessly. Blazing horns, lush strings, soulful harmonies and a funky rhythm section. It’s all there, with the band raising their game one more time, ensuring Chaka ends Naughty on a real high. Maybe having such a good song to sing and play helped everyone lift their game. It’s just a pity Ashford and Simpson didn’t supply more songs for Naughty.
After a gap of two years since she released her debut solo album Chaka, Chaka Khan returned with the followup Naughty. It didn’t match the success of Chaka, which had featured the classic, anthemic track I’m Every Woman. There was no such track on Naughty, although Papillon (Hot Butterfly) became one of Chaka’s most popular tracks and a staple of her live shows. Ashford and Simpson provided Naughty’s two of the best tracks on Naughty, Clouds and Our Love’s In Danger. While these were the highlights, Too Much Love and All Night’s All Right didn’t have the same quality. Here, Chaka was let down by the production, which just didn’t work and to be kind, grated and lacked sparkle. With two tracks in a row that didn’t work, Naughty was in danger of coming off the rails. Luckily, things improved on What You Did, before finishing on a high with Papillon (Hot Butterfly) and Our Love’s In Danger. Overall, Naughty was two tracks away from being an album that matched her debut album Chaka. What it lacked was a hook-laden single like I’m Every Woman. Obviously, tracks of that quality and stature are one-offs. However, maybe the solution was to hire successful songwriters with a proven track record. Who better than Ashford and Simpson, who’d had long and established track record? They could’ve provided help not just as songwriters but as producers. Maybe then Chaka’s career would’ve taken a different road? Although her fortunes improved with her next album, 1981s What Cha Gonna Do About Me, by 1982 she was collaborating on an album of jazz standards Echoes Of An Era, with jazz musicians including Joe Henderson, Chick Corea and Freddie Hubbard. By 1983, Chaka was back with Rufus, releasing the live album Stompin’ At the Savoy. Then in 1984, Chaka released the platinum selling album I Feel For You. I’ve always wondered whether, if things had been different, with different songwriters providing material for Chaka Khan, whether the huge success she enjoyed with I Feel For You could’ve come earlier. After all, Naughty was only two songs away from being a great album, rather than the good album it was. Standout Tracks: Clouds, Move Me No Mountain, Papillon (Hot Butterfly) and Our Love’s In Danger.
CHAKA KHAN-NAUGHTY.
BARA BROST-KOKOLORES.
BARA BROST-KOKOLORES.
Sometimes, very occasionally, an album comes along, that from the moment it you first play it, you’re hooked, swept away by its charms and delights. This is what happened when I first received Bara Brost’s second album Kokolores, which will be released by BBE Music on 9th July 2012. From the opening bars of The Gunman, Bara Brost, provide the perfect soundtrack to the long hot summer months that lie ahead. From there, they take you on a journey, where you meet a cast of characters and guest artists. With tracks Juicy Lady, My Mess, Tony Curtis and Stupid Little Story of A Bass Drum, you can’t help but be intrigued. I know I was. Once I put Kokolores on, I didn’t budge until I’d heard the fourteen tracks. During that time, Benjamin Quint and Markus Schwarzbauer, aka Bara Brost introduce guest artists Conan Kowalski, Capey Cash, Igid Pop and Domonique. They all play their part in Kokolores sound and success, as Bara Broest, fuse their unique brand of Deep and Funky House, with elements of disco, poppy hooks and a subtle twist of Detroit Techno. The result is Kokolores, an enchanting, charming and compelling collection of tracks, that are designed to instantly win you over. Before I tell you about the music on Kokolores, I’ll tell you about Bara Brost.
Although the two members of Bara Brost Benjamin Quint and Markus Schwarzbauer have been friends since school, they’ve only been producing music together for a few years. The story of Bara Brost began when Benjamin and Markus started sharing an apartment in the Neukolln district of Berlin. A shared love of house music lead to them converting part of their apartment into a studio. This is where they recorded their debut album Elephancycle, which was released on BBE Music in September 2012.
Elephancycle was what many people would call a concept album, about a night spent at the circus. During the fourteen tracks, Bara Brost introduce you an almost surreal cast of characters. There’s Madame Milla, who heats up the circus tent with her brass band. Then there’s Zebril, an African crocodile who somehow, has managed to swallow a zebra. This brings us to the star of Bara Brost’s show, the bashful elephant Pete, whose speciality is doing tricks on an undersized bicycle. All this takes place against a backdrop of deep and tech house, with Bara Brost supplying hooks aplenty. On the release of Elephancycle, critics were one over by its delights, which was designed to put a smile on dancers and listener’s faces. This it did..and then some.
The following year, 2011 Bara Brost returned, with Elephancycle-The Remixes Part 1, a six track E.P. This whetted the appetite of their ever-growing fan-base, while Benjamin and Marcus worked on the followup to Elephancycle.
Now less than two years later, the followup to Elephancycle, Kokolores is completed, and will be released on 9th July 2012. Kokolores which many people won’t be aware of, is a German word meaning nonsense. It’s a word that’s origins are the sound of a rooster’s crow, but the word was used to describe the nonsensical, cocaine fueled chatter of Berlin’s bohemians and hipsters. However, this music is the polar opposite of nonsense or cocaine fueled chatter. Instead, Bara Brost bring you some enchanting, joyous music.
On Kokolores Benjamin and Markus of Bara Brost collaborate with a trio talented musicians, plus guest artists. They’re key to the fourteen tracks sound and success. Pianist Jonathan Moore, drummer Michael Neuber and Phillipp Stevens play a part in creating the lush melodies, warm welcoming sound, and proliferation of hooks that feature on Kokolores’ fourteen tracks. Along with guest artists Conan Kowalski, Capey Cash, Igid Pop and Domonique Bara Brost fuse Deep and Funky House with elements of disco and pop. These track on Kokolores, not only are blessed with a warmth, but are melodic and hook-laden as you’ll realize, when I tell you about some of the highlights of Kokolores.
My first choice from Bara Brost’s second album Kokolores is The Gunman, which features a vocal from Conan Kowalski. His wistful, melancholy vocal is perfect for the track’s haunting, thoughtful lyrics. They set you thinking. Who is this flawed character that Conrad sings about? He deliver his vocal against a backdrop of meandering, melodic synths and keyboards. Then, Bara Brost throw their first curve-ball of Kokolores. His vocal gives way to crunchy hypnotic beats, while waves of synths, hissing hi-hats and percussion provide a backdrop that’s variously light, melodic, hypnotic and infectiously catchy. Now Bara Brost have your attention, they’ll continue to hold it for a further thirteen tracks.
My Mess Part 1 sees the track head in the direction of Deep House, albeit with a twist of Detroit Techno thrown in. From the get-go, the track is mesmerizing and bewitching, with quality written all over it. A combination of pounding beats, stabs of keyboards and synths that create an entrancing backdrop. Then Bara Brost add the next and vital ingredient. This one is the finishing touch to the track’s sound and success. It’s seductive, sultry vocal from Igid Pop. Her vocal drifts sensually in and out of the track, providing a contrast to the dark beats and stabs of synths. By the end of the track, you realize that this is one of the real highlights of Kokolores.
Let Go features another of the guest artists that Bara Brost introduce over the fourteen tracks that comprise Kokolores. This time it’s Domonique whose the guest vocalist. Her vocal is sweet and soulful, reminiscent of many a soulful house or Nu Disco track. Here, Bara Brost provide a backdrop that sees wave upon wave of synths, pounding beats and percussion combine seamlessly. The result is more than pleasing. They create a track that’s not only blessed with a summery sound, but is anthemic and hook-laden. I’m sure this will be one track that will be a favorite of many a DJ this summer.
On Jimmy, Bara Brost reveal a different side to their music. The arrangement starts off slow and spacey, giving the track a pensive, introspective sound. Unlike other tracks the beats aren’t as crispy, with layers of synths and keyboards unravelling, reverberating, while the vocal is impassioned, heartfelt. There’s even an indie feel and sound to the vocal, which considering the dark, spacious electronic arrangement makes this a compelling and intriguing combination.
Captivating is the only way to describe Like We Do, as it begins to reveals its secrets and subtleties. Immediately, you’re hooked. Swathes and stabs of synths, percussion and dark pounding beats are combined by Bara Borst as the track begins. Then comes Capey Cash’s sassy vocal. It’s accompanied by handclaps, melodic synths, percussion and broody beats. They offer a contrast to the light, bright, melodic synths. Soon, the tempo hits 123 beats per minute, with the track revealing a good-time sound, that has more than its fare share of hooks. For nearly six minutes, Bara Brost have you captivated with their uplifting, refreshing and unique brand of house music with a twist of disco.
Igid Pop whose vocal features on My Mess Part 1 returns on Aerobic. Whether this is a coincidence or not, Aerobic is another of the highlights of Kokolores. It’s an irresistible track, which is full of contrasting sounds. Key to this are the melodic keyboards that are central to track’s sound. They sit well with crystalline guitars, while the beats and percussion drive the track along. Offering a contrast are regular bursts of a dark vocal, which is contrasted by Igid’s carefree, sassy vocal. Soon there’s sensual chemistry developing between the two vocals, the interplay between them, adding to the track’s irresistible quality.
All Over Now sees the return of Domonique, whose vocal on Let Go was key to the track’s sound and success. Stabs of synths and crunchy beats combine to drive the track along, before Domonique’s whispery, breathy vocal enters. Immediately, you realize the vocal is the same quality as on Let Go, but is different. This time, her vocal has an air of mystery. It drifts in and out of the track, resulting in you awaiting its return. Too soon it’s gone. It’s replacement are layer upon layer of synths. These are unleashed in waves, cascading joyously. They sweep you along, on a joyful, melodic journey, while the crunchy drumbeats provide the track’s heartbeat. The result is a glorious slice of Deep House, fused with elements of disco and poppy hooks that again, has the makings of a summer anthem.
Closing the musical adventure that’s Bara Brost second album Kokolores, is Meli Melo. This is just a short two minute track, but demonstrates another side of Bara Brost. Gone is the Deep House of previous tracks. Instead, it’s replaced by an enchanting vocal from Igid Pop. It’s delivered slowly and joyously, while guitars, bass and keyboards create a wistful accompaniment. Soon, the tempo quickens with percussion and stabs of keyboards add to the song’s wistful charms and delights. Far too quickly, the track is over, leaving you wanting to hear much more of Meli Melo and indeed Bara Brost and the subtleties and charms of Kokolores. Soon, you find yourself reaching over, pressing play and enjoying the journey aagin.
Although I’ve only mentioned eight of the fourteen tracks on Bara Brost’s second album Kokolores, I could just as easily have mentioned any one of the album’s fourteen tracks. Given that there’s usually some filler or padding to an album that stretches to fourteen tracks, this is testament to Bara Brost’s musical prowess. To me, Kokolores is essential summer listening, with Bara Brost fusing house with elements of disco and pop. This they do flawlessly, with melodies and hooks aplenty. Tracks like My Mess Part 1, Let Go, Like We Do, Aerobic and All Over Now are proof positive of this and I’m sure several of these tracks will be on heavy rotation during the summer months. Any DJ worth their salt, will unleash tracks like Let Go, Like We Do and All Over Now. They should become many a DJs’ secret weapon. Similarly, anyone whose heading of in pursuit of sun, fun and hedonism should ensure that when packing their bags, among the essentials is an iPod containing a copy of Bara Brost’s second album Kokolores. By then, BBE Music will have released Kokolores, Bara Brost’s second album. on 9th July 2012 So, for anyone looking for a soundtrack to their summer vacation, then Bara Brost’s Kokolores is just as essential as suncream and swimming costumes. Standout Tracks: My Mess Part 1, Let Go, Aerobic and All Over Now.
BARA BROST-KOKOLORES.
DISCO RECHARGE: VOYAGE-LET’S FLY AWAY.
DISCO RECHARGE: VOYAGE-LET’S FLY AWAY.
Back in June 2012, when Harmless Records launched their new label Disco Recharge, the new label’s first release was Voyage’s eponymous debut album Voyage. This saw Voyage embark upon a worldwide whistle-top tour, during which they paid homage to various styles of music. Their final destination was America, not just the home of the free, but the home of disco. To pay homage to America, the disco capital of the world, it was with Lady America, the track that closes the album. Later in 1978, Voyage returned with the followup to Voyage, Let’s Fly Away, a Euro Disco classic, which is the third in the Disco Recharge series and will be released on 30th July 2012. Before I tell you about the music on Disco Recharge: Voyage-Let’s Fly Away, I’ll tell you about the background to the album.
Voyage released their second album, the followup to Voyage Let’s Fly Away in December 1978. This was the second album of 1978 and had much in common with its predecessor. Not only would Let’s Fly Away become a Euro Disco classic, but matched the huge commercial success of Voyage. It reached number one on the Billboard Hot Disco Dance Charts. Another thing it had in common was it was an album with a message. The seven tracks on Let’s Fly Away have a message that’s carefree and hedonistic. You become a globetrotter, with Voyage taking you to the four corners of the globe. During this journey, you experience the sounds of that include Hawaiian guitars, Eastern sounds, rock, soul and lashings of Euro Disco. This eclectic sounding musical adventure was the brainchild of three men in particular, plus one woman with a very special voice
The seven tracks on Let’s Fly Away were written and arranged by Marc Chantereau, Pierre-Alain Dahan and Slim Pezin. They also played most of the instruments on Let’s Fly Away and co-produced the album with Roger Takarz. Key to Voyage’s sound was Sylvia Mason. She added her crystalline vocals, with the backing vocalists the Birds of Paris accompanying her. Among the Birds of Paris were Madeline Bell, Kay Garner, Sue Glover, Stephanie De Sykes and Vicki Brown, some of whom had sung on albums by Cerrone and Don Ray. With such talented personnel having collaborated on Let’s Fly Away, it’s no wonder the album was such a commercial success.
On the release of Let’s Fly Away, the album headed all the way to number one in the Billboard Hot Disco Dance Charts. It spent eighteen weeks on the charts, becoming a favorite of DJs worldwide. Souvenirs was released as a single from Let’s Fly Away. It reached number forty-one in the US Billboard 100 and number seventy-three in the US R&B Charts. However, what made Let’s Fly Away so successful? That’s what I’ll tell you, once I’ve told you the seven tracks on Let’s Fly Away.
Souvenirs opens Voyage’s second album Let’s Fly Away. It conjurs up warm golden beaches, where the beautiful people mingle. It’s a bold statement of intent, with rolls of drums rumbling, while waves of synths and a proliferation of percussion combine. They give way to elegant melodies with Sylvia Mason’s crystalline, heartfelt vocal. It’s accompanied by lush strings, funky bass and the beautiful backing vocals of the Birds of Paris. They’re augmented by bursts of rasping horns, flourishes of keyboards and ever-present pulsating beats. Together, they provide the perfect soundtrack for the beautiful people’s hedonistic adventures, beneath the golden sun, as they collect Souvenirs, but none better than this track though.
Bursts of frenzied backing vocals, a funky bass and synths combine, to reveal the secrets of this Kechak Fantasy. The tempo is quick, the sound very different to Souvenirs. Drums are beaten by hand, while percussion, jagged guitars and layers of swirling synths are joined by the frenzied vocal. They all play their part in this track’s compelling, exotic sound, before Voyage take you on an Eastern Trip.
On Eastern Trip, Voyage combine elements of authentic Indian music with a pounding disco beat. Guitars reverberate, complimenting the traditional Eastern sound. The result is an intriguing musical fusion, where east and west unite as one, seamlessly. However, that’s not the end of Let’s Fly Away’s eastern flavor, with Tahiti the next stop.
Pounding beats, percussion and a chanted vocal combine as Tahiti, Tahiti begins. Soon, the unmistakable sound of Hawaiian guitars drift in and out of the track. They’re replaced by a lilting vocal, which cascades across the arrangement. It’s accompanied by harmonies, Hawaiian guitars, percussion and that omnipresent pulsating beat. The result is an irresistible, sounding track, as Voyage take you on a whistlestop musical journey.
The title-track Let’s Fly Away has a quite different sound to the preceding tracks when it opens. It’s a harder sound that greets the listener, with layers of synths and punchy beats key to the sound. Softer sounding synths then provide a contrast, hinting at what’s about to take centre-stage and compliment their sound. This is Sylvia Mason’s elegant, crystalline vocal. Her vocal is complimented by subtle and equally elegant harmonies. Stabs of synth, jagged, rocky guitars and blazing horns add drama, while lush strings offer another contrast. While of this plays its part in the track’s sound and success, it’s Sylvia’s vocal that’s what makes this one of the highlights of Let’s Fly Away.
When Golden Eldorado begins, you’re immediately aware of the fusion of rock and soul that are the two threads that run through the track. There’s a hint of mystery in the track’s sound and lyrics. Swathes of strings, Spanish guitar and a galloping beat accompany the male vocal. Sometimes, the track reminds me of a Western soundtrack, albeit set to a pounding disco beat. This become more noticeable when the lone horns drifts above the arrangement and later, rolls of dramatic drums are added. Meanwhile bursts of backing vocals gallop along, accompanying the beat, destination the Golden Eldorado.
Closing Let’s Fly Away is Gone With the Music, a joyous slice of disco music, with a difference. It seems Voyage are determined to close the album on a high, fusing elements of rock with disco seamlessly. Sylvia’s vocal has sizzling, rocky guitars, blazing horns and a driving rhythm section for company. The rhythm section provide a pulsating beat, while the Birds of Paris accompany Sylvia, delivering tight harmonies. During the track, the horns, rock-tinged guitars provide the perfect, irresistible and hook-laden accompaniment. Voyage demonstrate that there’s more than one way to make a peerless disco track. Although the polar opposite of Salsoul, this is a scintillating slice of disco, but not disco as we know it.
Although there’s just seven tracks on Voyage’s second album Let’s Fly Away, there seven great tracks. From the opening bars of Souvenirs, Let’s Fly Away reveals its subtleties, charms and secrets, plus its theme of enjoyment and hedonism. You’re taken on a magical musical journey, where the beautiful people mingle, collecting Souvenirs on sun-drenched beaches, before the secrets of Kechak Fantasy are revealed. After this, you head on an Eastern Trip, destination Tahiti, Tahiti, with Hawaiian guitars serenading your every move. Then Voyage decide Let’s Fly Away, destination the Golden Eldorado where you’re transported, taken away, Gone With the Music. These seven tracks are a captivating and compelling whistletop tour of musical destinations, with Voyage as tour guides and providing the soundtrack to your journey. However, there’s much more to Disco Recharge: Voyage-Let’s Fly Away than just this classic Euro Disco album.
On Disc One of Disco Recharge: Voyage-Let’s Fly Away, there are also eight instrumental tracks from Voyage’s first two albums Voyage and Let’s Fly Away. Previously, they were available only to a select group of DJs. Not now though. Thanks to Mr. Pinks and everyone at Harmless Records, you too, can hear these tracks and be the proud owner of them. Among the highlights of these remixes, are instrumental versions of Lady America and We’ve Gotta Dance from their debut album Voyage, plus Golden Eldorado and Let’s Fly Away from their second album Let’s Fly Away.
As if all this isn’t enough there’s still Disc Two of Disco Recharge: Voyage-Let’s Fly Away to tell you about. It contains eight remixes of tracks from Let’s Fly Away, with the original twelve inch version of Souvenirs and Steve Algozino’s Hot Tracks Mix, plus the twelve inch version of Let’s Fly Away three of the many highlights of Disc Two of Disco Recharge: Voyage-Let’s Fly Away. There’s also Dance and Romance, a track Voyage recorded as Disco and Co., which closes the Disc Two.
For me, Disco Recharge: Voyage-Let’s Fly Away has whetted my appetite nicely, leaving me wanting to hear the next installments of this new series. Starting with Voyage’s debut album Voyage, the Disco Recharge series got of to a fantastic start. After thiss Euro Disco classic, Mr. Pinks brought us Disco Recharge: Tangerue-Strange Affair. The series headed to Philly, with compiler Mr. Pinks uncovering two hidden disco gems. This brings us nicely to the third volume of the Disco Recharge series, another real Euro Disco classic from Voyage, Let’s Fly Away. It’s two discs of disco delights, brought to you by Mr. Pinks and Harmless Records. With so many delicious disco delights on the two discs of of Disco Recharge: Voyage-Let’s Fly Away, then this third installment lives up to its title of Special Edition. Indeed, that’s its understating its brilliance, it should be the Very, Very Special Edition of of Disco Recharge: Voyage-Let’s Fly Away. Standout Tracks: Souvenirs, Eastern Trip, Let’s Fly Away and Gone With the Music.
DISCO RECHARGE: VOYAGE-LET’S FLY AWAY.
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ROSE ROYCE-ROSE ROYCE III: STRIKES AGAIN.
ROSE ROYCE-ROSE ROYCE III: STRIKES AGAIN.
When Norman Whitfield decided to set up his own record company Whitfield, after spending ten years at Motown as their psychedelic kahuna, one of his first signing were Total Concept Unlimited, an eight-piece band from Los Angeles. Norman became the group’s mentor, signing them to his label and shaping their nascent career. Soon, the band were known as Magic Wand, working with Yvonne Fair and Undisputed Truth as their studio and live backing band. During a tour backing Undisputed Truth, Joe Harris the lead singer of Undisputed Truth met Gwen Dickey after a concert in Miami. Gwen was a member of The Jewels, a local Miami band. Joe Harris told Norman Whitfield about her and soon, Gwen was heading to Los Angeles, to audition as lead singer of Magic Wand. Quickly, it became apparent that here was what Magic Wand needed, an enchanting lead singer. Now he’d found the final piece to the Magic Wand jigsaw, Norman gave Gwen the stage-name Rose Wand and set about recording the group’s debut album. Then fate decided to intervene. Film director Michael Schultz asked Norman to write the score for his next film Car Wash. Having sampled the atmosphere surrounding the film set, Norman set about writing the film score and changed the band’s name one more time. They became Rose Royce, the name giving the group an aura of riches, success and fame. This rubbed off, with Car Wash giving Rose Royce three hit singles in 1976, with Car Wash reaching number one in the US, while I Wanna Get Next To You and I’m Going Down reached the top ten in the US R&B Charts. A year later, Rose Royce released Rose Royce II: In Full Bloom which was certified platinum in the US and gold in the UK. Following such a successful album wasn’t going to be easy, but in 1978, Rose Royce released Rose Royce III: Strikes Again. Could Rose Royce III: Strikes Again repeat the success of its predecessor Rose Royce II: In Full Bloom?
For their third album, Rose Royce III: Strikes Again Norman Whitfield wrote four new tracks and cowrote What’s Wrong With Me with Rose Royce. Miles Gregory contributed two songs for the forthcoming album, Rose Royce III: Strikes Again. One of these would be a song that became synonymous with Rose Royce, Love Don’t Live Here Anymore. The other two tracks Angel In the Sky and Help were written by Billie Calvin and Robert Daniels respectively. Interestingly, apart from What’s Wrong With Me the members of Rose Royce didn’t contribute any other songs for Rose Royce III: Strikes Again. With nine tracks written, Rose Royce and producer Norman Whitfield headed to the studio.
Recording of Rose Royce III: Strikes Again took place at four studios in Los Angeles. Sound Factory West, One Step Up, Westlake Studios and Fort Knox Studio were all used to record the nine tracks. Accompanying Rose Royce were drummer Walter Downing, bassist Mark Kenoly and guitarists Wah-Wah Watson and Cornelius Grant. Joining them were percussionist Jack Ashford, organist Walter Downing and keyboard player Mark Davis. Together with Rose Royce, the nine tracks were recorded, with the album due for release in August 1978.
On the release of Rose Royce III: Strikes Again in August 1978, the album reached number twenty-eight in the US Billboard 200 and number four in the US R&B Charts. This gave Rose Royce the first gold disc of their career. Over in the UK, the album reached number seven, resulting in it being certified gold. Three singles were released from Rose Royce III: Strikes Again. The first was I’m In Love (and I Love the Feeling), which reached number five in the US R&B Charts and number fifty-one in the UK. Then came a track that became synonymous with Rose Royce, Love Don’t Live Here Anymore. It reached number thirty-two in the US Billboard 100 and number five in the US. In the UK, the single climbed all the way to number two, giving Rose Royce their biggest UK hit single. First Come, First Served was the third and final single released from Rose Royce III: Strikes Again, reaching number sixty-five in the US R&B Charts. Although Rose Royce III: Strikes Again hadn’t matched the commercial success of its predecessor Rose Royce II: In Full Bloom any album that’s certified gold in the US and UK must be regarded as a huge success. However, why was Rose Royce III: Strikes Again so successful? That’s what I’ll tell you once I’ve told you about the nine tracks on Rose Royce III: Strikes Again.
Opening Rose Royce III: Strikes Again is Get Up Off Your Fat, the first of four consecutive tracks written by Norman Whitfield. An intriguing slice of funk opens with a funky equivalent of the carnival crier encouraging you to “see the funkiest band in all the land.” Rose Royce’s rhythm section and driving guitars dominate the arrangement, mixing funk and rock, while Gwen Dickey’s vocal is almost absent. She’s replaced by the male members of the band, whose tougher vocal suits the arrangement. Later, her vocal makes a brief appearance, but is then replaced by prolonged, grandiose, flourishes of piano which close the track. Although the sound is tough and funky, Rose Royce don’t quite live up to their boast of being “the funkiest band in the land,” but give it a good shot.
Do It, Do It sees the funky side of Rose Royce continuing, with a pounding slap bass and sharp bursts of blazing horns combining, a glorious slice of funk is underway. Maybe Rose Royce can walk the walk, rather talk the talk here, transforming themselves into “the funkiest band in the land.” Gwen’s vocal is again absent, with the male members of Rose Royce taking centre-stage, delivering a vocal that suits the funky arrangement. Sizzling guitars, stabs of braying horns and the funky rhythm section combine with keyboards percussion. The result is a track that sounds as if belongs on album by Kool and The Gang, with shades of Earth, Wind and Fire and early Commodores for good measure. This allows Rose Royce to do what they always wanted, play some funky music, and then some.
I’m In Love (And I Love The Feeling) sees Kenny Copeland take over the lead vocal on a track that’s much slower and soulful. His tender, heartfelt vocal is accompanied by cascading, shimmering strings as the rhythm section provide an understated backdrop. The rest of the group add equally tender harmonies, while the lushest of strings compliment their harmonies. Norman Whitfield’s production is key to the track’s soulful sound and success, with Kenny’s vocal perfect for the beautiful lyrics written by Norman. Of the tracks so far, this is the best by far.
First Come, First Serve was the third single released from Rose Royce III: Strikes Again and sees Gwen Dickey make her grand entrance. This she does against an arrangement that features the Bentley Rhythm Ace, first heard on Sly and The Family Stone’s There’s A Riot Goin’ On. Here, Norman Whitfield’s favored percussive makes its swan-song. It rumbles along, with punchy blazing horns handclaps and backing vocals accompanying Gwen’s vocal on this heavy slice of funk. However, good as her vocal is here, she’d surpass it on the album’s next track, accompanied by Norman Whitfield’s newest secret weapon.
It’s as if everything was building up to the best track on Rose Royce III: Strikes Again, Love Don’t Live Here Anymore. Here, UK composer and arranger collaborates with Norman Whitfield, on a track penned by Miles Gregory. Giving the track it’s unique sound are the keyboards and the electronic LinnDrum machine, which replaced the Bentley Rhythm Ace as Norman’s favorite percussive device. It’s accompanied by slow, shimmering strings and the bass, which provide the perfect, atmospheric backdrop for Gwen’s haunting, heartfelt vocal, laden with emotion and hurt. Of all the tracks she sang on, this is her best performance, on a track that deserves to be called a classic.
Angel In The Sky is another track where Gwen Dickey showcases her vocal prowess. This was the track that opened Side Two of Rose Royce III: Strikes Again and is the polar opposite of the track that opened Side One. The track is much more Rose Royce in sound. Just piano and subtle hi-hats accompany Gwen’s impassioned vocal. Lush strings sweep, cascading and swirling, while percussion and piano accompany her beautiful vocal. Her delivery is heartfelt and tender and when combined with Norman Whitfield’s arrangement results in the second best track on the album, after Love Don’t Live Here Anymore.
As Help gets underway, the arrangement seems not unlike the previous one. Just piano and percussion combine, with the hi-hits crashing subtly. When the vocal enters, it’s not Gwen who delivers it. Instead, it’s guitarist Kenji Brown who takes over the lead vocal. Soon, the arrangement and his vocal has grown in power and drama, with swathes of strings and the rhythm section accompanying his vocal. While sharp bursts of strings are unleashed, backing vocals accompany them and Kenji’s vocal grows in power and emotion. By the end of the track, it’s a very different to the one that began, but one that’s full emotion and drama and shows Kenji Brown to be a talented vocalist.
Chiming, jazz-tinged guitars and percussion open Let Me Be The First To Know, while the rhythm section provides the track’s heartbeat. Kenny Copeland’s vocal is accompanied by layers of the lushest strings, providing the perfect accompaniment to his impassioned delivery. Tender harmonies are the finishing touch to this results very beautiful arrangement, that’s much more Rose Royce than their funky side.
Closing Rose Royce III: Strikes Again is That’s What’s Wrong With Me, a very different sounding track. Rose Royce cowrote the track with Norman Whitfield, and it’s not the easiest song on the album. Funk and rock are fused, with searing, sizzling guitars, keyboard and the funky rhythm section accompanying Gwen’s vocal. Her delivery is tougher, sassier matching the arrangement. The arrangement speeds up and slows down, much like a merry-go-round. Later, there’s even a psychedelic side to the track, with Norman Whitfield donning the persona of psychedelic kahuna. For nearly seven minutes, Rose Royce and Norman Whitfield produce a track that although technically, is flawless, isn’t the easiest to listen to and leaves the listener wondering, will the real Rose Royce step forward.
Having just remarked that Let Me Be the First To Know was much more Rose Royce in sound than the funky side of Rose Royce, they close the album with a track that not only sees their funky side return, but somewhat confuses the listener. The reason for the confusion is the fusion of funk, rock and psychedelia isn’t the easiest to listen to, and is the polar opposite of the tracks that preceded it. It’s as if on some of the tracks on Rose Royce III: Strikes Again, the group are struggling to establish their identity. Much as they’re a good band playing funk, they’re a much, much better group when they reveal their soulful side. Tracks like I’m In Love (And I Love The Feeling), Love Don’t Live Here Anymore, Angel In The Sky, Help and Let Me Be The First To Know demonstrate the beautifully, soulful side of Rose Royce, which they do so well, and which people will always remember them for. However, you always feel that they’re always a frustrated funk band waiting to escape. Luckily, when the funky side escapes, they’re able to carry it of with aplomb. Sometimes, like on the two tracks that bookend the album, Get Up Off Your Fat and That’s What’s Wrong With Me, which demonstrate a very different, tougher funky side of the band, this doesn’t work as well as on Do It, Do It or First Come, First Served. To me, Rose Royce are at their very best on tracks like Love Don’t Live Here Anymore and Angel In The Sky, with Gwen Dickey delivering the two best vocals on the album. Her vocal on Love Don’t Live Here Anymore was key to the success and sound of this classic track. Overall, Rose Royce III: Strikes Again is an album of quality music, with the soulful side of Rose Royce what makes this such an enjoyable and timeless sounding album. Standout Tracks: I’m In Love (And I Love The Feeling), Love Don’t Live Here Anymore, Angel In The Sky and Help.
ROSE ROYCE-ROSE ROYCE III: STRIKES AGAIN.
THE O’JAYS-TRAVELIN’ AT THE SPEED OF THOUGHT.
THE O’JAYS-TRAVELIN’ AT THE SPEED OF THOUGHT.
A year after The O’Jays released Message In the Music, their final album to feature William Powell, The O’Jays would release Travellin’ At the Speed of Thought, their first album featuring their new vocalist Sammy Strain. Given how successful The O’Jays had been since releasing their first album for Philadelphia International Records in 1972, the remaining members of The O’Jays must have wondered how this would affect their continued success. Sammy Strain had a hard act to follow in William Powell, who tragically, was terminally ill. He’d been at the helm of The O’Jays during the most successful period of their career. Since the release of Backstabbers in 1972, The O’Jays had released five albums, three of which were certified gold and two platinum. This had lead to The O’Jays becoming Philadelphia International Records biggest group. However, would their first album without William Powell Travellin’ At the Speed of Thought, continue this run of critically acclaimed and commercially successful albums?
For The O’Jays sixth album for Philadelphia International Records, Travellin’ At the Speed of Thought, Gamble and Huff cowrote and produced six of the album’s eight track. One of Philadelphia International Records’ most successful songwriting and production teams, Gene McFadden, John Whitehead and Victor Castarphen cowrote and produced These Lies (Done Caught Up With You This Time). The other track chosen for Travellin’ At the Speed of Thought was a cover of Feelings, which Morris Albert cowrote. These eight tracks would be recorded at Sigma Sound Studios, where all of Philadelphia International Records’ recordings were recorded.
With the original version of M.F.S.B. having left Philadelphia International Records over a dispute regarding finances, it was M.F.S.B. Mk 2 that would accompany The O’Jays. Gone were the legendary Baker, Harris, Young rhythm section, plus vibes player Vince Montana. Replacing musicians of this calibre wasn’t easy, but some hugely talented musicians would accompany The O’Jays. Drummer Charles Collins, bassist Michael “Sugar Bear” Foreman and guitarists Roland Chambers, T.J. Tindall and Dennis Harris. Larry Washington would add percussion, while Carlton Kent played organ and Dennis Williams played piano. Arranging the eight tracks were Jack Faith, one of the best arrangers at Philadelphia International Records, plus Dexter Wansel and Dennis Williams. Soon, the eight tracks that made up Travellin’ At the Speed of Thought were recorded. Would Travellin’ At the Speed of Light continue the success of The O’Jays five previous Philadelphia International Records’ albums?
Before Travellin’ At the Speed of Thought was released, unusually, Philadelphia International Records never released a single. This didn’t affect sales of Travellin’ At the Speed of Thought when it was released in May 1977. It reached number twenty-seven on the US Billboard and number six on the US R&B Charts, resulting in The O’Jays fourth gold album. The first single and only released from the album was Gamble and Huff penned and produced Work On Me, which reached number seven in the US R&B Charts. Even with a new member, The O’Jays’ success story continued on Travellin’ At the Speed of Thought, which I’ll now tell you about.
Opening Travellin’ At the Speed of Thought is the title-track Travellin’ At the Speed of Thought, one of six which Gamble and Huff cowrote and produced. Arranged by Dexter Wansel, the track has a meandering, hesitant start, which leaves you wondering what direction the track is heading? Then once a pulsating beat enters, joining the percussion, reverberating guitars and congas, the track begins to reveal its secrets. Eddie’s confident vocal enter, with the track building. The rhythm section, keyboards, swathes of sizzling guitars and percussion accompany the vocal, which quickly, changes hands. Tight harmonies accompany the vocal, while jagged guitars add bursts of drama. Later, the harmonies are delivered in sharp bursts, in keeping with the arrangement’s somewhat “space-age” sound. While this suits the lyrics, it’s not what you’d expect from The O’Jays or Gamble and Huff. Having said that, it has the quality you’d expect from them both.
We’re All In This Together, has a much more O’Jays sound. Jack Faith takes over arranging duties, while Gamble and Huff wrote and produced the track. It has a much more “Philly Sound.” Layers of lush strings, M.F’S.B.‘s rhythm section and bursts of rasping horns punctuate the arrangement, before Eddie’s impassioned, heartfelt vocal enters. Subtle, gentle harmonies augment his vocal, while the strings are key to the track’s sound and success. As the horns are used sparingly and subtly, percussion and the rhythm section provide the track’s beautiful heartbeat. Eddie’s vocal is one of his best on the album. The interplay between Eddie and the other O’Jays is peerless, laden with emotion and sincerity and made all the better by Jack Faith’s stunning arrangement.
So Glad I Got You Girl is another of the Gamble and Huff penned tracks. What never ceases to amaze me, is how they could consistently write and produce so many great tracks. From the opening bars, with its blazing horns, swirling strings and punchy rhythm section you realize this another winner from Gamble and Huff. Eddie’s vocal is joyful, and swept along on swathes of cascading strings. The other O’Jays match Eddie stride for stride, producing some equally, joyful, uplifting and inspirational harmonies. Meanwhile, the arrangement, like the vocal is irresistible, arriving in waves and transporting you along in its hook-laden wake. Why this track wasn’t released as a single seems strange, given its irresistible, uplifting and joyful sound?
Stand Up closed Side One of Travellin’ At the Speed of Thought. This was another Gamble and Huff track, which Dexter Wansel arranged. When the track opens, it’s to acclaim and applause. Eddie is like a cheerleader, encouraging everyone to Stand Up. His vocal is delivered powerfully, sometimes, with a growl, while the rest of the group add bursts of soaring harmonies. M.F.S.B. provide a pounding backdrop that’s just a little funky. Layers and stabs of Hammond organ, blazing horns and the driving rhythm section help The O’Jays bring Side One of Travellin’ At the Speed of Thought to a blistering close.
The songwriting and production team of Gene McFadden, John Whitehead and Victor Castarphen cowrote and produced These Lies (Done Caught Up With You This Time). It’s just the latest in a long line of fantastic tracks they wrote for The O’Jays and reveals a quite different O’Jays. Here, their sound is much more funky, with Eddie’s vocal is full of emotion, while a punchy, pounding rhythm section, sweeping strings and braying horns accompany him. The bass line from Michael “Sugar Bear” Foreman pounds throughout the track, matching Charles Collins drums beat for beat. However, what would the Baker, Harris, Young rhythm section made the track sound like? Sometimes, The O’Jays sound like The Temptations, albeit with a crack rhythm section accompanying them. This reveals a very different, funky O’Jays, with Eddie Levert producing one of his best vocals on the album.
Feelings is one of these standards that’s been covered by so many artists. However, The O’Jays’ version is one of the very best. Just a piano opens the track, before tight, beautiful harmonies enter, giving way to Eddie’s lead vocal. His vocal is not just emotive and impassioned, but deeply beautiful. The harmonies, flourishes of guitar, percussion and the lushest of strings combine beautifully, as Eddie gives a truly heartfelt performance. Later, bursts of rasping horns add to the emotion of Eddie’s delivery. The longer the track progresses, the more the drama and emotion builds, resulting in a peerless cover version of an oft covered standard, that can’t fail to move you.
Work On Me was the only single released from Travellin’ At the Speed of Thought. It’s a track whose funky side is revealed straight away. Bursts of punchy blazing horns, a pounding rhythm section, keyboards and percussion accompany Eddie’s vocal. He delivers his vocal with bravado, a real swagger in his delivery. The other O’Jays add soaring harmonies, while flourishes of keyboards, braying horns and the pounding rhythm section are key to the track’s sound and success. Here, The O’Jays mix funk and Philly Soul seamlessly, with Eddie swaggering his way through the song.
Closing Travellin’ At the Speed of Thought is Let’s Spend Some Time Together, written and produced by Gamble and Huff, with Jack Faith responsible for the vintage sounding arrangement. It’s a track where jazz, big band music and doo-wop have influenced the arrangement. Lush strings accompany M.F.S.B. as they’re transformed into a big band. They play with a similar subtlety as Eddie delivers his vocal. Just as M.F.S.B. seem to revel in their role, the rest of The O’Jays deliver doo-wop style vocals. This is perfect for the track and is a brilliant way to end the album. Key to the track’s sound and success was Jack Faith’s arrangement, plus of course, Eddie’s vintage style vocal and M.F.S.B., who were seamlessly transformed into a big band. What a way to end Travellin’ At the Speed of Thought. Just perfect.
Travellin’ At the Speed of Thought saw The O’Jays continue their run of successful albums. It was certified gold and contained a top ten US R&B single in Work On Me. Gamble and Huff cowrote and produced six of the album’s eight tracks, while the songwriting and production team of Gene McFadden, John Whitehead and Victor Castarphen cowrote and produced These Lies (Done Caught Up With You This Time). The other track was a peerless cover of Morris Albert’s Feelings, which can’t fail to move you. Although the original M.F.S.B. had left Philadelphia International Records, to continue their success as the Salsoul Orchestra, M.F.S.B Mk 2, provided the perfect backdrop for The O’Jays. This saw them fuse everything from Philly Soul, funk, jazz and doo-wop. On Let’s Spend Some Time Together, Jack Faith’s vintage sounding arrangement sees M.F.S.B Mk 2 transformed into a big band, providing the perfect backdrop for Eddie’s vocal and the other O’Jays doo-wop style harmonies. For me, this was the perfect way to close Travellin’ At the Speed of Thought, and the song’s success is Jack Faith. He was one of the best arrangers at Philadelphia International Records, along with Bobby Martin and John L. Usry. These three men are among the many unsung heroes of Philadelphia International Records’ success. While people remember groups like The O’Jays, plus top musicians like the legendary Baker, Harris, Young rhythm section, vibes player Vince Montana and Don Renaldo’s strings and horns, the arrangers are often forgotten. Here, Jack Faith and Dexter Wansel played important roles in the sound and success of Travellin’ At the Speed of Thought.
After Travellin’ At the Speed of Thought, The O’Jays’ success story continued apace, with their next two albums 1978s So Full of Love and 1979s Identify Yourself being certified platinum. Unlike their one time label-mates Harold Melvin and The Blue Notes, The O’Jays survived the loss of a key member in William Powell. Sadly, as Travellin’ At the Speed of Thought was released, William died from cancer. The loss of William must have meant the success of Travellin’ At the Speed of Thought was tinged with sadness. However, he played a huge part in The O’Jays’ success story, featuring on their first five Philadelphia International Records’ albums. Their first without him, Travellin’ At the Speed of Thought is a fitting tribute to such talented singer. Standout Tracks: We’re All In This Together, So Glad I Got You Girl, These Lies (Done Caught Up With You This Time) and Let’s Spend Some Time Together.
THE O’JAYS-TRAVELIN’ AT THE SPEED OF THOUGHT.
TEENA MARIE-NAKED TO THE WORLD.
TEENA MARIE-NAKED TO THE WORLD.
Having left Motown after a bitter and prolonged legal dispute, Teena Marie signed for Epic Records, releasing five albums. She’d enjoyed commercial success at Motown, releasing three albums that were certified gold between 1979 and 1981. These were Lady T in 1979, 1980s Irons In the Fire and 1981s It Must Be Magic. Two years later, once she’d extricated herself from her Motown contract, Teena released her debut album for Epic Robbery in 1983. It didn’t match the success of her Motown albums, reaching just 119 in the US Billboard 200 and number thirteen in the US R&B Charts. She got her career back on track with 1984s Starchild, which was certified gold. Then two years later, in 1986, came her concept album Emerald City, which reached just number eighty-one in the US Billboard 200 and number twenty in the US R&B Charts. This must have disappointed both Teena and everyone at Epic. What they needed was another successful album, something more akin to the platinum certified Robbery. However, another problem had arisen during recording of Emerald City. Teena and Allen McGrier’s friendship had hit the buffers somewhat. Teena was encouraged to try to get their relationship back on track. Allen had one condition, that they received a production credit on the next album. Considering Allen played an important part in the production process, this was only fair. That Teena and Allen were able to reconcile their differences, was fortuitous. One of the songs they cowrote for Naked To the World, which was rereleased by SoulMusic Records on 25th June 2012, would give Teena her only number one US R&B single. Not only that, but Naked To the World proved a bigger commercial success than Emerald City, Teena’s concept album.
With Teena and Allen McGrier’s friendship back on track, they settled down to write some tracks for Teena’s eighth album and fourth for Epic, Naked To the World. Teena and Allen cowrote two tracks Call Me (I Got Yo Number) and Ooo La La La. Another of Teena’s regular songwriting partnerships would also proved fruitful. Along with Penny PJ, Johnson, Rick James younger sister, Teena wrote Work It. The other seven tracks for Naked To the World were written by Teena. Now she had ten songs ready, Naked To the World was ready to be recorded.
Along with Allen McGrier, who was responsible for bass, synths and drum programming, Teena and the rest of her band headed to Smoketree Ranch where the ten tracks were recorded. Jimmy Stewart played keyboards and piano, Nikki Slick lead and rhythm guitar and Danny LaMelle played alto and tenor saxophone within Teena’s band. Brenda Lee Eager sang lead and backing vocals. Among the guest artists were guitarist Michael Landua, plus Rick James. He would sing two duets with Teena on Call Me (I Got Yo Number) and The Once and Future Dream. Together with a horn and string section the ten tracks that became Naked To the World were recorded. Next step was the release of Naked To the World. Would it far better than Emerald City, Teena’s previous album?
Before Naked To the World was released, Ooo La La La was chosen as the lead single from the album. It would reach number eighty-five in the US Billboard 100, but number one in the US R&B Charts, giving Teena her only number one US R&B single. When Naked To the World was released, it improved on Emerald City, reaching number sixty-five in the US R&B Charts and number fifteen in the US R&B Charts. Work It was chosen as the second single, reaching number ten in the US R&B Charts. Overall, Naked To the World had proved a success for Teena and everyone at Epic Records. The album had sold well, Ooo La La La had reached number one in the US R&B Charts and Work It gave Teena a top ten US R&B single. This was nearer to the success of both Robbery and Teena’s Motown days. However, what made Naked To the World so popular and successful? That’s what I’ll tell you, after I’ve told you about the music on Naked To the World.
Opening Naked To the World is Trick Bag, one of seven tracks written by Teena. This sees Teena return to her fusion of funk and rock from Robbery. In the song, she’s in a relationship with someone who won’t commit to her. It’s one of two tracks written by Allen McGrier and sees the rhythm section and jagged, rocky guitars and washes of synths combine dramatically before Teena’s vocal enters. Her vocal is laden with emotion and frustration, at the lack of commitment in her relationship. Sharp bursts of backing vocalists add to the drama and frustration, while a funky bass is key to the rhythm section that, along with the synths drives the track along. Michael Landua’s sizzling guitar solo later in the track is just the finishing touch to a track that bursts into life, making an impact and lasting impression, grabbing the listener’s attention in the process.
Call Me (I Got Yo Number) is the first of two tracks where Rick James duets with Teena. The tempo is slower, the rhythm section adding a funky backdrop, while synths and chiming guitars combine. When Teena and Rick duet, there’s an energy and atmosphere between them. Teena’s vocal is almost angry, frustrated and sometimes sneering. Rick’s vocal is impassioned and emotive. They’re the perfect foil, each feed off the other. Then when they unite, they’re vocals compliment each other perfectly. Later, Teena almost raps her vocal, producing a peerless performance, that sounds almost personal. So good is the track that you wonder, why it wasn’t released as a single?
Ooo La La La gave Teena her only number one US R&B single. Like the previous track, it was a track Teena cowrote with Allen McGrier. Whether it’s just coincidental. this is another of the real highlights of Naked To the World. It’s a very different Teena we hear. The tempo is slower, with the rhythm section providing the track’s heartbeat, while a sultry, seductive saxophone drifts wistfully above the arrangement. Synths don’t play such a big part in the arrangement. This really helps the track. Here, Teena’s vocal is one of the best on the album, delivering it with real feeling, in way that’s totally heartfelt and quite beautiful. No wonder the track was such a huge success for Teena, reaching number one in the US R&B Charts.
Crocodile Tears sees a return to the previous sound that’s almost become Teena’s trademark sound, where funk and rock combine. The track is much more reliant on synths, with pounding drums also key to the funky sound. Teena’ vocal is quite different, tinged with passion, but mostly humor. Meanwhile the band fuse funk and soul, with the rhythm section adding a funky backdrop for Teena’s vocal, which sometimes, sounds not unlike Madonna’s. Interestingly, during the recording of this track, Teena’s band were almost exhausted, so much so, a doctor had to be called. After this, they let the tape run, with the result a compelling combination of funk and rock, tinged with humor, drama and passion from Teena.
Opus III – The Second Movement is just a seventy-second track, where Teena’s soaring vocal has just keyboards, percussion and sound effects for company. This is something of an opportunity, as Teena’s delivers a hugely effective, impressive vocal that’s one of her best on the album. If the song had been worked on, it could’ve been something bigger, something truly memorable, rather than a tantalizing teaser of a track.
Surrealistic Pillow sees Teena pay homage to a 1967 Jefferson Airplane album. Her lyrics have a surreal quality, full of i, lysergic imagery. Her vocal is delivered at a breakneck speed, drums cracking, rocky guitars and a myriad of synths providing a backdrop for her vocal. She delivers her vocal quickly, in a rocky style where emotion and frustration are comfortable bedfellows for her Surrealistic Pillow. This track has Teena’s name written all over it, with the vocal and arrangement unmistakably Lady Tee, but the lyrics reveal another quite different, intriguing side of Teena Marie.
Rick James makes his second appearance on The Once and Future Dream. This is a much slower track, with Teena’s vocal elegant and heartfelt. Synths and the rhythm section provide the perfect backdrop for her vocal. It’s thoughtful and spacious, perfect for both Teena and Rick’s vocal. Their vocals are equally emotive, with each of them giving something of themselves. They do this against a backdrop where keyboards, lush strings and percussion are key to the sound. Later, a rasping saxophone solo is just the finishing touch to this gorgeous track. Of the seven songs Teena wrote on Naked To the World, this is the best. Quite simply, it’s a beautiful, heartfelt romantic song, about true love and devotion.
Work It was the second single from Naked To the World, reaching number ten in the US R&B Charts. A funky rhythm section, washes and stabs of synths combine, before signaling the arrival of Teena’s vocal. It’s quite different, lighter, more relaxed and without the intensity of previous tracks. There’s even some more of the humor found in Crocodile Tears, with Teena delivering her vocal with a swagger. Her bravado is accompanied by an arrangement where synths and the rhythm section are key to its sound and success, while rasping horns occasionally make brief, welcome appearances. What made the song a successful single was its poppy sound, with catchy lyrics and more than a few hooks.
The Ball is another uptempo track, where synths play an important part in what’s essentially a funk jam. All that’s needed are a wash of synths, funky rhythm section and bursts of rasping horns, that sound as if they belong on an Average White Band album. Add to this Teena’s vocal, delivered in sharp bursts, while backing vocalists accompany her. Here, three synths are combined, to give the track its multilayered sound, which along with Teena’s dramatic vocal is key to this funky jam.
Naked to the World closes with the title-track, Naked to the World. It’s a slow, heartfelt ballad, something Teena does so well and something I’d have liked to hear much more of. Her vocal is powerful and passionate, soaring above an arrangement where lush strings are added to an arrangement that relies much less upon synths. Instead, keyboards, piano and the rhythm section are augmented by percussion. Adding to the emotion of Teena’s vocal are rocky guitars that neither overplay or overpower her vocal. They’re played with a subtly, while towards the end of the track, the arrangement builds and builds. It seems Teena and her band are determined to end the album on a high. This they do, closing Naked To the World on real high, with one of the best tracks on the album.
Teena Marie’s decision to patch things up with Allen McGrier before Naked To the World was recorded proved to be a wise one. It was one of the collaborations between Allen and Teena Ooo La La La that resulted in a number one US R&B single for Teena. This would be the only number of her career. Both of the tracks they cowrote Call Me (I Got Yo Number) and Ooo La La La are among the album’s best tracks. The two collaborations with Rick James featured an energy that’s almost palpapable, so much so, that you can feel the energy and electricity. The title-track that closes the album, Naked To the World sees Teena delivering a beautiful heartfelt ballad. It’s a case of keeping the best to last. Overall, Naked To the World was much more akin to Robbery than Emerald City. With its combination of funk and rock, Teena’s large and loyal fan-base loved the album. This meant that Naked To the World, which was rereleased by SoulMusic Records on 25th June 2012, saw Teena deliver an album full of some quality music. While Emerald City divided opinions, her fans were united about Naked To the World, Lady Tee was back with a bang on Naked To the World. Standout Tracks: Call Me (I Got Yo Number), Ooo La La La, The Once and Future Dream and Naked To the World.
TEENA MARIE-NAKED TO THE WORLD.
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RONNIE FOSTER-DELIGHT.
RONNIE FOSTER-DELIGHT.
After the release of Ronnie Foster’s previous album, 1978s Love Satellite, Ronnie headed out on the road with George Duke, before accompanying George Benson on one of his tours. On his return home, Ronnie would release the most commercially successful album of his career, Delight. On Delight, which was rereleased by SoulMusic Records on 25th June 2012, Ronnie Foster is joined by a host of guest artists, including George Benson, who he’d recently toured with. Joining Ronnie’s all-star band were also Stevie Wonder, Fred White of Earth Wind and Fire, Robert Pops Popwell of the Crusaders and Phyllis Hyman who sang backing vocals. Together, this all-star band helped Ronnie create not just some of Ronnie’s best post-Blue Note music, but his most successful album Delight, which reached numbe nineteen in the US Jazz Charts. Its success was helped no end by the radio play a track from Delight Argentina garnered. After I’ve told you about the background to Delight, I’ll tell you about the music on the album and why it proved so successful.
With Ronnie finished touring with George Benson, he had nine songs ready for what would be his sixth studio album since his 1972 debut The Two Headed Freap, released on Blue Note. Delight would be his second and final album for Columbia Records. Joining him to record the nine tracks on Delight would be some of the best jazz and funk musicians of the day.
Among this all-star cast of musicians were Stevie Wonder, Fred White of Earth Wind and Fire plus Leon Ndugu Cahncler who’d all play drums. Bassists Nathan Watts and Robert “Pops” Popwell, The Crusaders would provide another strand of Delight’s rhythm section and George Benson played guitar. Phyllis Hyman, Jim Gilstrap and George Benson would all add backing vocals. Ronnie would play keyboards, Bass Moog, piano and sing the lead vocals. With this cast of hugely talented musicians assembled, they joined Ronnie in two separate Hollywood studios.
Recording of Delight took place at two studios in Los Angeles, Devonshire Sound Records and The Village Recorders. Producing Delight was Jerry Peters, who’d produced Ronnie’s previous album Love Satellite. Ronnie was responsible for arranging the nine tracks on Delight. With such talented musicians accompanying Ronnie, the nine tracks that made up Delight were recorded. The now titled Delight was ready for release. However, could it surpass the somewhat disappointing sales of Love Satellite?
On the release of Delight in 1979, it climbed to number nineteen in the US Jazz Charts. You’re the One was the only single released from the album, but failed to chart. However, Delight was Ronnie’s highest chart placing, easily surpassing sales of 1978s Love Satellite, which had stalled at number thirty-three in the US Jazz Charts. The success of Delight was helped by the radio play Argentina, a track from the album attracted on Quiet Storm radio stations. Although Delight had hit the upper reaches of the US Jazz Charts, it failed to crossover into the US Billboard 200 and US R&B Charts. This must have proved disappointing to Ronnie and everyone at Columbia, given the mystical brew of music on Delight, which I’ll now tell you about.
Opening Delight is Argentina, a driving slice of jazz fusion, where Ronnie uses two separate drummers, Leon Ndugu Cahncler who’d just left Santana and Fred White of Earth, Wind and Fire. Ronnie’s Bass Moog open the track, before pounding drums kickstart the track. From there, Ronnie plays both Bass Moog and keyboards. His keyboards provide an elegant sound, that dances along the arrangement, with the two drummers and Crusaders bassist Robert “Pops” Popwell, providing the track’s engine room. They do the hard work, driving the track along, while Ronnie’s keyboard playing adds the vital finishing touch, to a track that would become a staple of Quiet Storm radio.
Ronnie drops the tempo on You’re the One, the only single released from Delight. The track features Ronnie’s first vocal on the album. His vocal is tender and heartfelt, with backing vocalists adding, subtle beautiful backing vocals, that compliment his vocal. Meanwhile Leon Ndugu Cahncler plays drums and adds percussion while Nathan East takes charge of bass playing. Later, when Ronnie’s vocal drops out, he lays down a prolonged keyboard solo, while the arrangement meanders along. When his vocal returns, Phyllis Hyman andJim Gilstrap add equally impassioned backing vocals, to what’s a quite beautiful track.
Using his keyboards to provide a slightly space-age sound, while his piano provides a musical contrast We As Love begins to divulge its secrets. His piano playing is some of the best on the album, with Ndugu Cahncler adding bongos and percussion to a rhythm section of Nathan East and drummer Dennis Davis. They play subtly, allowing Ronnie’s piano playing to take centre-stage, where it quite rightly belongs.
Let Me Into Your Life sees Stevie Wonder join Ronnie, playing drums on the track. Not only does Ronnie play Moog Bass and keyboards, but sings lead vocal. Here, he sounds not unlike Stevie Wonder. His impassioned voice has a similar tone and warmth. Backing vocalists including George Benson, accompany Ronnie, on a track where he and his band fuse soul, jazz and funk. The addition of some of Ronnie’s big-name friends on the track, seems to spur him on. His vocal is one of his best on Delight and his lyrics are just as good.
Feet is a track that takes part of its inspiration from the popularity of disco. It bursts into life, with Ronnie’s keyboard and Bass Moog key to the track’s sound. The arrangement is driven along at breakneck speed by the rhythm section, who provide the track’s disco-inspired heartbeat. Also inspired is Leon Ndugu Cahncler’s playing during a percussive break. He demonstrates his mastery of percussion, plus plays timbales. Then when Ronnie’s keyboard and Bass Moog reenter, they collaborate, encouraging each other to even greater heights. It becomes like a duel, but so good is their playing it ends a dead-heat. For nearly seven minutes Ronnie and his band mix disco, jazz-fusion and funk, resulting in a stunning track.
When Will I Write You A Song sees Ronnie drop the tempo again, revealing his talents as both a songwriter and singer. Backing vocalists add tender harmonies, while the rhythm section and keyboards combine, before another tender, emotive vocal from Ronnie. His playing and vocal are both key to song’s success, and unlike Let Me Into Your Life, Ronnie seems to find his own voice. The similarity with Stevie Wonder is gone. Instead, Ronnie Foster’s real vocal is revealed and it’s even better. The addition of gentle, harmonies not only compliments his vocal but adds the beauty and quality of this lovely romantic track.
The title-track Delight opens with stabs of keyboards, Bass Moog and drummer Dennis Davis. Along with Leon Ndugu Cahncler who adds percussion and plays congas, they combine to create a slow, jazz-funk track. Sometimes, there’s a glimpse of Ronnie’s early Blue Note sound, but mostly it’s a much more funky Ronnie Foster you hear. From the get-go, Ronnie’s plays slowly, unleashing waves of keyboards, before he and his band transform the track, turning it into into a real seventies classic funk track. He flits between the two styles seamlessly, and in doing so, creates a track that’s shows two sides two Ronnie and his music, both just as good.
Closing Delight is I’ve Got Your Love, another track where Ronnie takes charge of the lead vocal. His vocal is different again, quite unlike his two previous vocals. He sings higher, delivering the lyrics in sharp bursts, against a jagged, funky arrangement. He’s accompanied by a rhythm section of drummer Dennis Davis and bassist Nathan East. Ronnie’s the busiest man, playing synths, piano, electric piano and organ. His keyboards are layered. Layer upon layers of keyboards are accompanied by bursts of punchy, pounding drums that punctuate the arrangement, while punchy backing vocalists are drift in and out. While the track has a quite different sound, albeit with jazz and funk still present, it demonstrates the versatility and creativity of Ronnie Foster, as he bids farewell to Columbia Records.
Delight was Ronnie Foster’s second and final album for Columbia Records, with Ronnie leaving Columbia with his most successful album. On Delight, he called upon some of his high-profile musical friends, with George Benson, Stevie Wonder, Fred White and Phyllis Hyman all playing their part in Delight’s success. Although Delight reached number nineteen in the US Jazz Charts, still Ronnie couldn’t make a breakthrough in mainstream music. His albums never entered either the US Billboard 200 or US R&B Charts, giving him mainstream success. However, Argentina the track that opens Delight proved a staple of Quiet Storm radio stations. You’re the One the only single failed to chart, which must have been disappointing, given its quality. After leaving Columbia Records, Ronnie Foster didn’t release another album until 1987, The Racer. That was his final album, with Ronnie content to write songs for other people and accompany them in the studio and live. Of all the albums of Ronnie Foster’s career, not only was Delight his most successful album, but contained some of his best and most eclectic music. On Delight, which was rereleased by SoulMusic Records on 25th June 2012, Ronnie Foster mixes jazz, funk and soul, along with his all-star band. The music on his sixth album is indeed a Delight. Standout Tracks: Argentina, You’re the One, Let Me Into Your Life and When Will I Write You A Song.
RONNIE FOSTER-DELIGHT.
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QUAZAR-QUAZAR.
QUAZAR-QUAZAR.
Having spent several years aboard George Clinton’s Mothership Connection, as vocalist and guitarist for Funkadelic and Parliament, Glenn Goins started getting restless being just a side-man for George. He watched other members leave the bands, forming their own successful bands. Soon he too, was considering his future, having played important roles on mid-seventies Funkadelic and Parliament albums. Among these albums were Parliament’s 1975s Mothership Connection, 1976s The Clones of Dr. Funkenstein and Funkentelechy vs. the Placebo Syndrome, plus Funkadelic’s Let’s Take It To the Stage, released in 1975, 1976s Hardcore Jollies and 1977s Tales of Kidd Funkadelic. By 1978, Glenn Goins was also frustrated at George Clinton’s management of the bands, so started thinking about heading out on his own. Luckily, there was the perfect solution to his predicament. His brother Kevin already had a band, so Glenn decided to join Kevin’s band. He brought along with a number of musicians, including Greg Fitz, Richard Banks, Darryl Dixon, trumpeter Monica Peters, percussionist Darry Deliberto plus Lena Eure, a talented vocalist. Everything was in place for this new band, Quazar. Before long, songs were written and Quazar headed to Detroit the record their debut album Quazar, which was rereleased by BBR Records on 25th June 2012. However, that’s when things started to get complicated and before the Quazar would be released tragedy would strike.
Having written the nine songs on Quazar, the group flew to Detroit, their destination the Pac-3 Studios. Once there, Quazar would record their eponymous album. Glenn Goins would arrange and produce the album, as well as co-writing four tracks and writing one himself. The rest of the band had collaborated, each pitching in with songs. Jerome Brailey, another alumni of Parliament and Funkadelic cowrote two tracks and play drums, providing the group’s funky heartbeat. Soon the album was finished and the group were set to head back to New York. That’s when things got complicated and messy.
Before the group had headed to Detroit, Clive Davis of Arista Records had expressed an interest in signing Quazar. While Clive Davis thought Quazar were his band, so did Armen Boladian of Westbound. Both labels thought they had first option on the band. So when Glen headed to Detroit to pickup the master-tapes, a major problem arose. He’d picked up the master-tapes, gotten to Detroit’s airport and then was stopped by the police. The tapes were seized and a bitter two-month court battle ensued. Sadly, although he never knew it, this would prove to be two months Glenn couldn’t afford to waste.
Armen Boladian of Westbound claimed he was over $85,000. Without this sort of money, Glen decided to abandon the tapes and rerecord the album. He also decided that the group would change its name to Quazar. With a new name and now signed to Arista, a new album had to be recorded. At the same time, Glenn was working on a solo album and an album for Bobby Womack. Sadly, he’d never finish either his solo album, or Quazar’s album.
On 29th July 1978, Glenn Goins died, aged twenty-four, from Hogkins Disease. The rest of Quazar found out about this after a concert in Philadelphia. Soon, they were heading back to their friend and band mate’s funeral. As if this wasn’t bad enough, they had to finish the album. It was scheduled for release in August 1978. So, after the funeral, the rest of Quazar had ten days to complete the album. They were at the production stage, with Glenn having completed much of the album. To help Quazar complete the rest of Quazar, another former member of Parliament and Funkadelic was drafted in. Jerome Brailey wasn’t just a drummer, but also a close friend of Glenn’s. Somehow, Jerome and the rest of Quazar managed to complete their debut album Quazar within the ten day deadline. It was under these sombre circumstances that Quazar released their debut album Quazar. How would it fare upon its release?
Two months before the release of the album Quazar in October 1978, the first single was released from the album. It was Funk ‘N’ Roll (Dancing In the Sunshine), which reached number eleven in the US R&B Charts. Then in October 1978, Quazar was released, reaching number 121 in the US Billboard 200 and number twenty-one in the US R&B Charts. A second single was released to coincide with the album’s release, Funk With A Big Foot, but failed to chart. With both the first single Funk ‘N’ Roll (Dancing In the Sunshine) and the album Quazar commercially successful, it seemed music lovers shared Glenn’s passion and vision for the music he played such a crucial role in creating. However, what does the music on Quazar sound like?
Opening Quazar is the second single released from the album, Funk With A Big Foot. With its combination of funky rhythm section, sizzling guitars and punchy vocals, the P-Funk influence is obvious straight away. The sound is loose and funky, as Quazar explore the track’s nuances. Quickly, they tighten-up, the rhythm section providing the track’s heartbeat. Key to this are the pounding drums, while chiming guitars and waves of keyboards accompany punchy, soaring and joyful vocals. The result is a track that’s not just funky, but P-Funky.
Funk With A Capital G has similarities with the opening track, but is quicker, with the rhythm section driving the track along. Jagged guitars, percussion and washes of synths and keyboards are augmented by brief bursts of horns. The vocal is delivered powerfully, soaring and roaring, while the rest of the group add frenzied backing vocals and handclaps. Later, the addition of the rasping, blazing horns really lifts the track, adding the finishing touch to a driving slice of funky music.
Funk ‘N’ Roll (Dancing In the Sunshine) was the debut single from Quazar, reaching number eleven in the US R&B Charts. Once you’ve heard the track you’ll realize why. It’s one of the best tracks on Quazar. Key to the track’s success are the Quazar rhythm section. Chiming, driving guitars, thunderous drums and a pounding bass line are augmented by growling horns, while the combined vocals are delivered sharply, in bursts. Later, the vocal reminds me of something you’d expect to hear on a mid-seventies Funkadelic or Parliament album. Having travelled on George Clinton’s Mothership, Glenn Goins had learnt from the head funketeer, George Clinton. Here, some of George’s influence, vision and genius shines through.
Workin’ On A Buildin’ is another of the tracks where the George Clinton influence shines through. After a moaning vocal that opens the track, to the driving guitars, heavy pounding rhythm section that produce an arrangement the unfolds in waves. The bass loops powerfully, drums pound and throughout the track, George’s influence can be heard. Braying, blazing horns and vocals that are delivered loudly and powerfully. They drift above one of the funkiest arrangements on the album so far. It pounds powerfully, punishing your speakers to within an inch of their lives, with some fantastically funky music from Quazar.
When You’re Lovin’ Is Easy opens, the sound is much more understated. Just percussion and keyboards combine, before the guitars make their presence felt. The vocal is full of desire, before banks of keyboards, rhythm section and percussion combine. Still, the rhythm section unleash waves of powerful music, while soulful backing vocals contrast the lead vocal. It’s a very different sounding track and a pleasant diversion from the heavy duty P-funk that’s preceded it. Personally, this is a side to Quazar I’d have liked to hear much more of.
Lena Eure takes over the lead vocal on Love Me Baby, and straight away, you realize just how talented a vocalist she is. The rest of Quazar tone down their funky music, allowing her vocal to sit amidst a much more soulful arrangement. There’s still a funky side to the arrangement, but her emotive, impassioned vocal is accompanied by keyboards, rhythm section and braying horns. Her vocal is perfectly suited to both the song and its arrangement. Later, rolls of punchy drums reflect the drama and passion in her vocal, which is one of the best on Quazar.
Having just said about hearing the more soulful side to Quazar’s music, I’ve been rewarded by two more tracks like that. The second is Savin’ My Love For A Rainy Day. It meanders along, with funk, jazz and soul fused seamlessly. Gone is the uber-funky music, with a much slower, mellower sounding track taking its place. Bursts of punchy horns, keyboard and the rhythm section accompany the lead vocal, while it’s augmented by backing vocalists. This breaks the album up nicely, and is a welcome departure from Quazar’s previously heavier funkier sound. Here, the much slower, mellower sound which sees them break free from the shackles of P-funk is one of the real highlights of Quazar.
Starlight Circus was written about the group’s growing disillusionment with the music business. After all, all they wanted to do was make music, not be held to ransom over contractual disputes. These lyrics have a poignancy, given Glenn’s tragic and early death. Were it not for the contract dispute, he’d have lived long enough to see Quazar’s album released and enjoy its success, even just briefly. With just piano accompanying the vocal, while backing vocalists drift in and out, the lyrics are tinged with a sadness, that many a musician will relate to. There goes them, they’ll think. Just this wistful arrangement and the poignant lyrics are a powerful, beautiful and haunting combination, that shows a very different side to Quazar.
Closing Quazar is Shades of Quaze where keyboards, percussion and a growling horn combine. The drama builds, leaving you wondering the future direction of the track. What unfolds is a mixture of jazz and funk, more jazz-funk than P-Funk. Keyboards, rhythm section, blazing horns and wah-wah guitars combine, as Quazar demonstrate their talents and versatility. They’re just as happy and comfortable closing Quazar with what’s a very different sounding track to the one that opened the album. They’ve travelled a long way during the musical journey that makes up the album’s nine tracks. It seems their final destination is one of the best, bringing to an end a compelling, quality and eclectic musical adventure.
The story of Quazar’s only album Quazar is a tale of some hugely talented musicians who all they wanted, was to release their own music. Sadly, the story didn’t have a happy ending, with Glenn Goins dying from Hodgkins Disease just a month before Quazar was released. Tragically, if it hadn’t been for the contractual dispute between Westbound and Arista Records, which resulted in Quazar having to rerecord the album, then Glenn Goins would’ve seen the album released. Sadly, greed and avarice stopped this happening. This leads me to wonder what the original album sounded like? Would it have sounded the same as Quazar, or would it have been better or worse? That’s open to speculation. What I do know, is that the nine tracks that make up Quazar are a compelling combination of quality P-Funk, soul, jazz and funk. This is played by the ten members of Quazar, who collectively and individually, combined and played their part in the success and sound of Quazar. Opening with four slices of P-Funk, the album takes diversions via soul and jazz, with funk ever-present. Glenn Goins was the driving force behind the album, arranging and producing the nine tracks on Qauzar, which was rereleased by BBR Records on 25th June 2012. For anyone whose a fan of Funkadelic, Parliament or P-Funk, then this is an album that’s a must-have. However, Quazar is also an album laced with tragedy, with Glen Goins who played such an important part in Quazar dying before he could enjoy the fruits of his talent and creativity. He was only twenty-four, but musically, was hugely creative and talented, and something of a musical visionary, as you’ll realize once you’ve heard Quazar. Standout Tracks: Funk With A Big Foot, When You’re Lovin’ Is Easy, Love Me Baby and Starlight Circus.
QUAZAR-QUAZAR.
DISCO RECHARGE-TANGERUE/STRANGE AFFAIR.
DISCO RECHARGE-TANGERUE/STRANGE AFFAIR.
After the success of Harmless Records’ Disco Discharge series, which celebrated the release of four further volumes in 2012, taking the total to sixteen volumes of the Disco Discharge series, Harmless have launched another new label and series, Disco Recharge. The Disco Recharge series sees Harmless rerelease long out of print classic disco albums unearthed by the mysterious Mr. Pinks, who compiled the Disci Discharge compilation series. Tangerué/Strange Affair is the second in the series, and will be rereleased on 2nd July 2012. Voyage’s 1977 French Disco classic Voyage was the first installment in this new series. From the Euro Disco of Voyage, volume two sees the Disco Recharge series pack its bags and head to Philadelphia, the City of Brotherly Love. It was there that Bruce Weedon and Ed Strauman who were proteges of Boris Midney, a true legend of disco recorded the two albums on the second volume of Disco Recharge. They put together a studio band Tangerue in 1979 who recorded just one album Tangerué, full of lush Philly disco strings, infectious melodies and pulsating beats. Tangerué was then released to critical acclaim and since then, has become a highly collectable disco classic.
By the time Bruce Weedon returned to the studio, this time with Giuliani Salerni of Ultimate, to record Strange Affair’s only album Strange Affair, disco had died. After the Disco Sucks movement had single-handedly destroyed disco, disco albums weren’t selling well. Record companies backed off from anything disco related. This spelled disaster for Strange Affair’s only album Strange Affair. Although the album was crammed full of quality disco music, with a Philly twist, it sold badly. Since then, Strange Affair, like Tangerue, has become a highly collectable album, with copies changing hands for considerable sums of money. Now thankfully, you don’t need deep-pockets to afford either Tangerué or Strange Affair, with Harmless’ forthcoming release ensuring this. However, what makes Tangerué and Strange Affair’s albums so collectable?
TANGERUE-TANGERUE.
Before Bruce Weedon met Boris Midney, Bruce had been a session guitarist. With so many guitarists for hire, times were tough for musicians like Bruce. Then when Boris Midney asked Bruce along to his new, hand built studio, Bruce’s career was transformed. Boris needed a guitarist to play guitar on a project he was working on. When the pair first met, Boris was installing a new mixing desk in his studio. This required some soldering done, and Bruce was able to do this. After this, Boris asked Bruce to stay on, and become his new apprentice. From then on, Bruce played guitar and engineered many of Boris’ recordings, including albums like Beautiful Blend, USA-European Connection and USA-European Connection 2. It was during the recording of USA-European Connection 2 that Bruce met Ed Strauman.
Ed Strauman taught and played piano, often performing in jazz clubs in evenings, augmented his income by arranging and copying musical scores by hand. One man who needed his talents was Boris Midney. He was working on USA-European Connection’s Come Into My Heart, and needed Ed Strauman to copy the string parts for the arrangement. After copying the score, be played piano on the track. It was the start of a working relationship between Ed and Bruce. From then on, the pair would work on a various projects and would be reunited again in Philadelphia.
By 1979, Ed Strauman had signed a songwriting contract with South Philly Productions. One day, he was asked to write a disco track, similar to Donna Summer’s Last Dance. He sat down with his wife Mary Cavallaro, a lyricist and came up with Dance With Me. With the song written, the label wanted someone to record it. Linda Clifford expressed an interest, but chose not to record the track. Then Ed hit on the idea of a studio album. Along with his wife, he cowrote three more tracks. Now they had enough songs for an album all they needed were musicians.
For recording of the four tracks that became Tangerué’s only album Tangerué, Ed enlisted the help of his old friend Bruce Weedon. Ed and Bruce produced the album, with Ed playing keyboards and Bruce guitar. Along with guitarist John Valentino, bassist Jim Sutton, drummer and percussionist Miguel Fuentes. Th Ultimate Players added strings and horns, while the somewhat mysterious Tangerué added vocals. With the album recorded, Tangerue’s one and only album was ready for release.
On the release of Tangerué, it lit up dance-floors, with its combination of lush cascading strings, pulsating beats, beckoning vocals and infectious melodies. Soon, the album Tangerué became a cult classic. Ed and Bruce buoyed by their success must have thought a future as disco producers beckoned. However, what made Tangerué such a successful album?
Tangerué opens with Dance With Me, and from the opening bars you’re hooked. This is the type of music that made disco great. The track literally explodes into life. Pounding drums, percussion, bursts of blazing horns and lush cascading strings welcome the arrival of the sweetest of vocals. You’re swept away, atop the swathes of shimmering strings and punchy horns, with that pulsating beat ever-present. Of course, best not forget that beckoning vocal, full of promise and mystery. Later, percussive breaks, a pounding bass and rasping horns all play their part in the track’s hook laden sound. It’s like being a journey back to 1979, with Tangerué providing the soundtrack, complete with shimmering strings, glamour and glitter balls aplenty.
Everynight, Everyday takes up where Dance With Me left off. Pounding beats and percussion combine, before a dark synth signals a change in sound. When the growling horns and shimmering strings enter, the synth continues to make its presence felt. Hissing hi-hats, flourishes of keyboards and percussion give the track a Latin feel, while the pounding drums remind you it’s a disco album. Strings sweep and swirl, as the wistful, hopeful vocal enters. By now it’s impossible to resist the track’s charms. All you can do is succumb to Tangerue as they take you on a majestic, unforgettable ten minute adventure.
As Doin’ Your Own Thing prepares to reveal its secrets, you’re constantly trying to second guess where the track is heading. Funk and jazz make brief appearances, before another glorious slice of 4/4 disco gives up its secrets. Rasping horns, stabs of keyboards, a driving rhythm section and dancing strings accompany cooing vocalists. When the vocals drop out, the strings shiver and quiver, before percussion, blazing horns and dramatic keyboards take centre-stage. For six minutes, Tangerue fuse jazz, funk and disco are seamlessly, resulting in a track that’s dramatic, grandiose and is a glorious reminder of the heady days of disco.
Ed Strauman must have called upon all his years of experience as a jazz musician to create the arrangement for Tangerué. His arrangement has a vintage sound, that sounds like its from another era. That is, until you add the pulsating disco beat. As the track begins you’re oblivious to what’s about to unfold. Percussion and pounding beats give way to stabs of keyboards, vintage strings and growling horns. Then comes the louche vocal, encouraging you to do the Tangerué, their very own dance. It’s perfect for the arrangement, as they reveal the mysteries of Tangerué. A jazz tinged piano gives way to a myriad of Latin percussion and pulsating beats, before shimmering strings glide in. By then, not only have you been schooled in the mysteries of Tangerué, but have been lucky enough to hear its louche soundtrack, where jazz and disco unite as one, producing the perfect track to close Tangerué.
Listening to Tangerué, it’s quite obvious why the album is so highly rated and collectable. From its opening bars, Tangerué take you on a magical musical journey, back to the heady days of disco. During that journey, you’re introduced to lush Philly disco strings, blzing horns, infectious melodies and pulsating beats plus hook galore. It’s impossible to resist the music on Tangerué, and by Tangerué, which closes the album, you’ll find yourself doing the Tangerué. Although there are just four tracks on the album, they’re four glorious tracks. For me, I’d rather have an album with just four great tracks, than a longer meandering album padded out with filler. This isn’t the here. Quite the opposite, there are just four great tracks on Tangerué, with Tangerué Melody, which previously was only available as a twelve inch single a welcome and added bonus. With an album as good as Tangerué, then the addition of Strange Affair’s second album Strange Affair is just like a bonus. However, will Strange Affair match the quality of Tangerué?
STRANGE AFFAIR-STRANGE AFFAIR.
A year after the release of Tangerué, South Philly Records would release another studio album, Strange Affair’s second album Strange Affair. By then, Ed Strauman had moved on to other projects. Given that disco was no longer as popular, after the Disco Sucks backlash, this may have been a wise move. Record companies and record buyers were shunning disco music, with disco singles and albums deeply unpopular. So, Giuliani Salerni who would produce Strange Affair’s album faced an uphill struggle. He’d been brought in by Bruce Weedon, after Ed moved on. Bruce knew Giuliani Salerni with the pair working on projects by Giuliani’s group Ultimate. Could he replicate this success with Strange Affair’s second album Strange Affair?
For Strange Affair’s second album, Giuliani wrote the five tracks on the album, while playing piano, synth and clavinet. Bruce Weedon would act as engineer and play guitar on the album. Joining them for the recording of Strange Affair was M.F.S.B. guitarist T.J. Tindall, bassist Timmy Allen and Don Renaldo’s strings and horns. Adding vocals were Brenda Hill, Carolyn Mitchell, Joy Lober and Vansessa Thomas, sister of Irma Thomas. Like the Tangerue album, recording took place at Alpha International Studios. Soon, Strange Affair’s second album Strange Affair was recorded and ready for release. Would it buck the trend of disco albums selling badly?
Sadly, when Strange Affair released their second album Strange Affair, it almost sank without trace. It seemed the disco backlash had claimed another victim. Given the quality of music on Strange Affair, this is something of a tragedy, as you’ll realize when I tell you about the music on the album.
Strange Affair opens with Bad Connection. The funkiest of bass lines and punchy drums combine, before blazing horns and sweeping swirling strings signal the arrival of the vocal. They’re breathy, emotive and sometimes, needy. When they drop out, waves of dramatic music are unleashed. Synths and the rhythm section combine while a sinister sounding male vocal prowls around the arrangement. As he departs, the needy breathy vocals returns. In their absence, a mixture of funky bass, disco and strings and frenzied washes of synths make their presence felt. By then, the rest of Strange Affair, have all played their part in getting Strange Affair of to a compelling, dramatic and disco drenched start.
No, No, No sees distant rocky guitars and handclaps, welcome the arrival of a pulsating beat, rasping horns and chiming Chic-influenced guitars. The tempo is quick, the vocals excitable and emotive, while strings sweep and swirl. Percussion and a pounding bass line augment the pulsating beat, while handclaps accompany the vocal that’s delivered in short, sharp bursts. This results in a captivating and tantalizing track, where Strange Affair mix funk and disco, reminding me of Chic.
When Love Is A Strange Affair begins, the Chic influence is apparent again. Several things lead me to draw this comparison. From the cascading strings that dance across the arrangement, accompanying the female vocalists to the guitar. The big difference is the drum sound. Chic’s drums weren’t so loud or prominent in the mix. While Chic were purveyors of disco perfection, Strange Affair are the new kid on the block. Their sound is best described as Chic with a pulsating, pounding disco beat and like Chic, Strange Affair are capable of creating some quality disco music. Here, they do so with a twist of jazz and lashings of style, paying homage to the doyens of disco Chic.
Meandering keyboards trail off, before keyboard, pounding drums and cascading strings open I’m Ready / Disco Star. Straight away, you’re smitten by the infectiously catchy sound. Key to this are the vocals, along with bursts of punchy horns, lush strings and jazz tinged guitar. During a prolonged break, stabs of synths and percussion join the arrangement. Those sweet vocals sit atop the arrangement, which dances along, sweeping you along in its wake. It’s impossible to resist the track’s jazz-tinged, percussive charms. I kid you not, resistance is impossible. Once you’ve heard the track, you too will agree.
Closing Strange Affair is Don’t Stop The Music, which is my sentiments exactly. So good is the album, that you just don’t want it to end. Sadly this is Strange Affair’s farewell, with male and female vocalists featuring on a track where the band make diversions into funk and jazz. These excursions prove the band’s versatility, and are a departure from sweeping, swirling strings, growling horns and ever-present pounding drums. Although sometimes, the track is quite different from the other tracks on Strange Affair, the quality is just the same. Strange Affair don’t disappoint, leaving you with pleasant memories, and pressing play again, to experience their delights one more time.
Earlier, I wondered whether Strange Affair’s second album would match the quality of Tangerué’s album Tangerué? Well, having spent some time listening to the album, then I can say that this is the case. Where Tangerué left of, Strange Affair takes over. During the five tracks on Strange Affair, producer Giuliani Salern adds funk, jazz and soul into Strange Affair’s lush brand of disco. Like Tangerué’s album, there are strings and horns aplenty from Don Renaldo, who appear on numerous Philadelphia International Records and Salsoul Records’ recording. The final piece in this disco jigsaw were the vocals, with the soulful strains of Brenda Hill, Carolyn Mitchell, Joy Lober and Vansessa Thomas adding the finishing touch to the album. Sadly, by the time Strange Affair released their second album Strange Affair, disco had died. After the Disco Sucks bandwagon killed disco, record companies didn’t want to release disco albums which record buyers wouldn’t buy. This was what happened to Strange Affair. It was released and sank without trace. Since then, music fans have rediscovered the delights of Strange Affair, with the album changing hands for even greater sums of money. Thankfully, after 2nd July 2012, when Harmless Records rerelease Disco Recharge-Tangerué/Strange Affair you’ll be able to afford your own copy of these two classic disco albums, which given the quality of music on them, is a must-have for disco lovers everywhere. Once again, Mr. Pinks has succeeded in unearthing two albums that are absolute disco gold. If the rest of the Disco Recharge series is as good as Disco Recharge-Tangerué/Strange Affair then they’ll be a joy to behold. All I can say to Mr. Pinks is Don’t Stop the Music, not when it’s as good as this.
DISCO RECHARGE-TANGERUE/STRANGE AFFAIR.
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DENIECE WILLIAMS-NIECY.
DENIECE WILLIAMS-NIECY.
From the release of her debut album This Is Niecy in 1976, Deniece Williams embarked on an eight year musical adventure, where she released seven solo albums, two of which were certified gold and one platinum. During that period, Deniece worked with some of the most successful producers of that time. This included Maurice White, Ray Parker Jr., George Duke and Thom Bell. Her debut album This Is Niecy was produced by Maurice White and Jerry Peters, and was certified gold. The followup, 1977s Song Bird was also produced Maurice and Jerry, but didn’t enjoy the same success as This Is Niecy. For her third album, When Love Came Calling, Ray Parker Jr. was drafted in to produce the album. The album didn’t sell well, reaching just number ninety-six in the US Billboard 100 and number twenty-seven in the US R&B Charts. Two years later, Thom Bell was chosen to co-produced My Melody with Deniece. This was the perfect partnership, with Thom and Deniece musical soul-mates. His production complimented Deniece’s vocals, as he sprinkled some of his Philly magic over My Melody’s eight tracks. He did this with the help of some of Philly’s finest musicians. My Melody, the resulting album was certified gold. With the partnership having proved fruitful, a year later, Thom Bell and Deniece were reunited for the followup to My Melody, Niecy, which will be rereleased by BBR Records on 25th June 2012. However, could and would Niecy repeat the commercial success of My Melody?
Before recording of the followup to My Melody could begin, Thom Bell and Deniece Williams had to come up with some new material. Together, they cowrote four songs, while four other songs were chosen for the album. Deniece also cowrote A Part of Love Kevin Bassinson and I Believe In Miracles with Bill Neale. Two other tracks, including Love Notes which Skip Scarborough’s cowrote were chosen for Niecy. The other track was It’s Gonna Take A Miracle, co-written by Teddy Randazzo, Lou Stallman and Bob Weinstein. It had previously been a hit for The Royalettes in 1965 and Laura Nyro in 1971. Could this give Deniece a hit eleven years later?
With the eight tracks chosen, recording of the album took place at Philadelphia’s legendary Sigma Sound Studios, which was familiar territory for Thom Bell. Many of the albums he recorded for The Detroit Spinners, The Stylistics and The Delfonics were recorded, plus the various albums he worked on for Gamble and Huff’s Philadelphia International Records. For the recording sessions for Niecy, Thom called upon some of Philly’s top musicians, who also played on My Melody. This included guitarist Bobby Eli, percussionist Larry Washington and the inimitable sound of Don Renaldo’s horns and strings. Bob Babbit who’d been part of The Funk Brothers and M.F.S.B. played bass. Thom Bell didn’t just co-produce Niecy, but played also keyboards. Soon, the eight tracks that would become Niecy were recorded and the album would be released in April 1982. Would it match the success of its predecessor My Melody?
In March 1982, a month before the release of Niecy in April 1982, the first single was released from the album. It’s Gonna Take A Miracle which had given The Royalettes and Laura Nyro a hit was chosen. It reached number ten in the US Billboard 100 and number one in the US R&B Charts. This must have helped sales of Niecy, when it was released in April 1982. Niecy fared even better than My Melody, reaching number twenty in the US Billboard 200 and number five in the US R&B Charts, but unlike My Melody, Niecy wasn’t certified gold. Waiting By the Hotline was released as a single in July 1982, reaching number 103 in the US Billboard 100 and twenty-nine in the US R&B Charts. In October 1982, Waiting was the final single released from Niecy, but stalled at number seventy-two in the US R&B Charts. However, Niecy had surpassed the chart success of Deniece’s previous albums, while It’s Gonna Take A Miracle gave her, her first US R&B single and her highest placing in the US R&B Charts. Overall Niecy had been a hugely successful album for the Deniece Williams Thom Bell production partnership, but why was that?
Waiting By the Hotline the first of the four tracks Thom Bell and Deniece Williams cowrote opens Niecy. This was the second single from the album, but didn’t repeat the success of It’s Gonna Take A Miracle. As the track opens, Thom Bell deploys a synth, something he never used often. It gave him the sound he was looking for. A flourish of synth gives way the piano and slow, thoughful rhythm section. When Deniece’s vocal enters, washes of synths and subtle backing vocalists accompany her. The piano and synths are key to arrangement, while Deniece’s vocal is full of hope and longing. It’s framed by an arrangement that not only has a contemporary sound, but reflects the hope and longing in Denice’s vocal.
Not only did It’s Gonna Take A Miracle give Deniece her first US R&B number one single, but was her highest charting single in the US Billboard 100. It benefits from a vintage sounding arrangement. Thom Bell combines the piano and rhythm section, who play slowly, whilst leaving space in the arrangement, helping give it its vintage sound. Deniece adapts her vocal style for the song. She delivers it in a way that compliments the arrangement. Her vocal is full of hurt and heartache, with swathes of lush strings a constant companion and backing vocalists reflecting her hurt and heartache. By the end of the track, you realise three things made this such a successful song, its lyrics, arrangement and of course, a vocal from Deniece laden with heartache and hurt.
Love Notes is another of the cover versions on Niecy, and is a track with secrets a plenty in-store. Rocky sounding guitars dance across the arrangement, while a pounding rhythm section provide the track’s heartbeat. Then when Deniece’s wistful vocal enters, it’s to this pounding beat which quickly, dissipates. It’s replaced by a floaty, elegant arrangement, which just as quickly disappears. From there, the arrangement flits between its two sides. As Deniece’s vocal grows in power and passion, she has cascading flute and growling horns for company. When they exit stage left, they’re replaced by the duelling guitars of Bobby Eli and Bill Neale. Throughout the rest of the track, Deniece and her band toy with you, teasing and tantalizing you with both sides of the song.
Deniece cowrote I Believe In Miracles with Bill Neale who arranged the strings on the track. These strings play an important part in the song and its success. As the song begins, shivering strings, percussion and the rhythm section accompany Deniece. Her vocal is full of optimism and hope, cascading and quivering, while elegant strings shimmer and quiver. The piano and drums add a contrast, with the drums dramatically punctuating the arrangement, as if reinforcing the hope and optimism in Deniece’s vocal. So, convincing is her delivery, that by the end of the track, I Believe In Miracles.
How Does It Feel opens with the line “how did it feel when he changed his number.” Deniece’s vocal is full of anger and hurt, accompanied by just a piano. Soon, the arrangement reflects the anger and hurt in Deniece’s vocal. A dramatic, punchy rhythm section and growling horns see to this. They’re like an explosion of emotions. This doesn’t last long. Quickly, as spent of emotion and anger, the arrangement returns to just the piano and percussion. The arrangement becomes almost elegant, but not for long. Soon the hurt returns, the emotion welling up and exploding. Throughout the rest of the track, this pattern returns, with Deniece playing the role of spurned lover with aplomb, her vocal laden with anger and hurt. Thom Bell’s arrangement, which veers between dramatic and powerful, to gentle and elegant, reflects the sense of anger and betrayal brilliantly. All this makes this one of the highlights of Niecy.
Waiting is another of the tracks Thom Bell and Deniece cowrote. It glides elegantly into being guitars reverberating, cymbals crashing and drums pounding dramatically. Shivering strings and flourishes of harp signal the arrival of Deniece’s heartfelt, impassioned vocal. Larry Washington’s percussion, Bobby Eli’s guitar and Charles Collins drums are key to the arrangement. Later, shimmering, quivering and wistful strings are just the finishing touch, while Deniece and her backing vocalists add to the emotion and beauty of the track.
Now Is the Time For Love is one of these tracks that gradually, reveals its secrets. It could’ve only been made in one place, Philadelphia. Thom Bell surpasses himself with the arrangement. It builds and builds, the rhythm section, strings and percussion entering. Gradually, the secrets are revealed. Rolls of grand drums, stirring strings and percussion accompany Deniece’s tender vocal. Then Deniece is swept along atop an arrangement where bursts of horns, drums, flourishes of keyboards and sweeping, swirling strings combine. Her vocal grows, as if spurred on by her band’s brilliance. Soon, they’re as one, both playing their part in the song’s sound and success, which has Philly written all over it.
Closing Niecy is A Part of Love, written by Kevin Bassinson and Deniece. A Fender Rhodes reverberates as the song begins, leaving you spellbound. It accompanies Deniece’s tender vocal, before dark strings enter, adding a melancholy, sad sound. This understated sounding arrangement works well, meaning you focus on the hurt and sadness in Deniece’s vocal. Similarly, the strings reflect her hurt, while the Fender Rhodes has a melancholy sound. Although this song has a much more understated sound, it’s perfect for the song and Deniece’s heartfelt, vocal full of sadness and regret.
Although Niecy wasn’t certified gold like My Melody, it surpassed the chart placings of My Melody. Where My Melody left of, Niecy continues. Thom Bell and Deniece were perfect musical partners, both when it came to songwriting and production. By then, Thom Bell was vastly experienced and knew what made a good song from the point of view as a songwriter and producer. Deniece was also a talented songwriter, so it was a symbiotic, creative relationship. This relationship resulted not just in the four tracks they cowrote, but in choosing the right songs for Niecy and how Deniece would interpret them. His vintage-sounding for arrangement for It’s Gonna Take A Miracle was a masterstroke. It must have struck a chord with people, sounding as if it was recorded in another era. Whether old or young, Deniece’s cover version appealed to people, resulting in it heading to number one in the US R&B Charts and number ten in the US Billboard 100. This isn’t the only example of where the inventiveness of the producer is key to song’s sound and success. How Does It Feel and its sense of betrayal and hurt is like a welling up of emotion, while Waiting is not just beautiful, wistful and emotive. On the Philly sounding Now Is the Time For Love, the arrangement takes time to reveal its secrets, but when it does, it’s well worth the wait. A Part of Love which closes Niecy has a very different, much more understated sound, but is another example of how the producer plays an important roll in a track’s sound and success. However, regardless of how good a producer is, or how good the musicians are, and on Niecy they included some of Philly’s best, it takes a talented artist to make this production worthwhile. In Deniece Williams, Thom Bell had one of the most talented singers of the seventies and eighties. On Niecy, Deniece Williams performances are just as good as her ones on My Melody. She injects life and emotion to the eight tracks on Niecy, which will be released by BBR Records on 25th June 2012, along with its followup I’m So Proud. Standout Tracks: It’s Gonna Take A Miracle, I Believe In Miracles, Waiting and Now Is the Time For Love.
DENIECE WILLIAMS-NIECY.
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.
dereksmusicblog
dereksmusicblog 