DIANA ROSS-DIANA.
DIANA ROSS-DIANA.
While Diana Ross’ 1979 album The Boss had been commercially successful, reaching number fourteen in the US Billboard and number ten in the US R&B Charts, resulting in the album being certified gold, for the follow-up Diana wanted a more modern, contemporary sound. Then fate intervened, when Diana was handed an album of material from one of the hottest songwriting and production teams. This material had been written by Nile Rodgers and Bernard Edwards, with Aretha Franklin in mind. After Aretha turned down the offer of the songs, the songs which included Upside Down, I’m Coming Out and My Old Piano were passed to Diana Ross. She decided that these songs were just what she was looking for and soon,
Niles Rodgers and Bernard Edwards were hired to produce what would become Diana, Diana Ross’ biggest commercial success. However, recording of Diana wouldn’t be without problems, as you’ll see when I tell about you the background to the album and then the music on Diana.
Having hired Niles Rodgers and Bernard Edwards to produce Diana, Niles and Bernard brought along the rest of the Chic Organization. This meant that joining Niles on guitar and Bernard on bass, were drummer Tony Thompson, The Chic Strings, backing vocalists Fonzi Thornton, Alfa Anderson, Luci Martin and Michelle Cobb. Joining The Chic Organization were a brass section of saxophonist Eddie Daniels, trumpeter Bob Milliken and trombonist Meco Menardo. Keyboard players Raymond Jones and Andy Schwartz. Together they were Diana Ross’ backing band. However, the long daily recording sessions weren’t without incident. When Diana Ross was singing flat, producers Niles and Bernard had to point this out to Diana. She didn’t take kindly to this, deciding to abandon the recording sessions. Eventually, the eight tracks on Diana were completed. While Niles and Bernard were happy with the results, Diana wasn’t. Then when Diana gave DJ Frankie Crocker a sneak preview of Diana the project was thrown into chaos.
Before the release of Diana, Diana gave DJ Frankie Crocker a preview of her forthcoming album, Diana. This was just after the Disco Sucks backlash, which come to head in July 1979. Once Frankie had heard Diana, he warned Diana that if she released the album it would be the end of her career. Given the quality of the music on Diana, even after the changes, how he came to this conclusion who knows? This lead to Diana deciding to make some changes to the album.
Once the abum’s master-tapes were sent to Motown, Diana and Motown engineer Russ Terana headed back to the studio. They remixed the whole album, taking out some of Chic’s funky playing, cutting down lengthy instrumental breaks and speeding up the tempo of Diana’s vocals. This was meant to make Diana’s voice sound younger and more vibrant. Not only did the do all this, but they moved Diana’s vocal to the front of the mix, making it sit in the centre of the mix. However, all this was going on without Niles or Bernard’s knowledge, permission or approval.
Once Niles and Bernard heard what had happened, they objected strongly. This they did in public. They even considered removing their names from the album’s list of credits. Another problem was that Niles and Bernard were contracted to produce the follow-up to Diana. However, Diana left Motown after the release of Diana. With the problems mounting, Niles and Bernard decided to sue Motown, after all, they’d created and produced the original version of Diana. Their claim however, was unsuccessful. All they could do was watch the supposed “new and improved” version of Diana being released on May 1980.
On the release of Diana in May 1980, the album reached number two in the US Billboard 200 and number one in the US R&B Charts. Diana album was certified platinum in the US, while being certified in gold in the UK and Canada. Upside Down was the first single released from Diana in June 1980. It reached number one in both the US Billboard 100 and US R&B Charts. I’m Coming Out was released in August 1980, reaching number five in both the US Billboard 100 and six in the US R&B Charts. The final single released from Diana was My Old Piano, released in September 1980, but only reached number 109 in the US Billboard 100, but fared better in the UK and Europe. Overall, Diana had been a huge commercial success, becoming Diana Ross’ most successful album ever, selling over million copies in the US and ten million copies worldwide. However, I’ve always wondered what would’ve happened if Diana had been released in its original form? Would it have been even more successful? Obviously, we’ll never know, but I’ll now tell you about the music on Diana.
Opening Diana is Upside Down, which was the first single released from the album. The track bursts into life, quite unlike Diana Ross’ previous music, but with the slick Chic sound standing out. Niles’ guitars and Bernard’s bass playing are key to the track. Bernard’s bass pounds, Tony Thompson’s drumming has a similar power, and is crucial in providing the song’s dance-floor friendly heartbeat. Meanwhile, Niles’ guitar playing is quick, accurate and chiming. Diana’s voice is light, bright and joyous, cascading throughout the song. She brings meaning to the lyrics, delivering them with feeling and a slightly sassy style. Completing the arrangement are strings that sweep and swirl, while keyboards drift in and out. Together, The Chic Organization play a vital role in helping the Queen of Motown create a joyous, hook-laden, dance-floor friendly classic.
Tenderness has Chic written over it. The rhythm section and Niles’ guitar precede the arrival of The Chic Strings and then Chic’s backing vocalists. They set the scene for Ms. Ross. Her vocal glides elegantly into the arrangement, her vocal tender, with backing vocalists accompanying her. Chic create an arrangement that’s influenced by jazz and funk, while adding a beat that’s perfect for the dance-floor. As Diana’s graceful vocal drifts across the arrangement, she’s accompanied by flourishes of strings. Niles, Bernard and Tony provide the perfect backdrop for tender, beautiful Diana’s vocal on a track that’s timeless and played its part in helping Diana Ross win over a new generation of fans.
Friend To Friend has a much more Diana Ross sound. The tempo drops, with graceful strings accompanying Diana’s tender, heartfelt vocal. As the strings drift slowly, the rest of the band play with a subtlety. Niles’ guitar playing is understated, while Bernard’s bass prowls along the arrangement, providing its slow heartbeat. This leaves the stage clear for Diana to deliver her tender, heartfelt vocal.
I’m Coming Out is a track that would become anthemic among Diana’s legion of gay fans. They felt the song was for them, loving it’s a celebratory, joyful sound. Key to this sound was Chic. Quick chiming guitars accompany Diana’s joyful vocal, before the rhythm and brass sections enter. Their entrance builds up the drama, the bass and drums pounding, while horns blaze and backing vocalists accompany Diana. She unleashes one of her best vocals on the album, delivering the lyrics with confidence and pride, transforming them into a celebratory, joyful anthem. After three minutes comes Merco Menardo’s trombone solo. He agreed to contribute the horns on the album in return for Niles producing his next album. Then come flourishes of keyboards, that give way to a masterclass from Niles, Bernard and Tony. When Diana accompanied by backing vocalists and blazing horns returns, she takes this anthemic track to its joyful, inspirational ending.
After the previous track, Have Fun (Again) has a hard act to follow. When the track opens, it does’t quite grab your attention like the other tracks. It’s just a bit contrived, with Diana encouraging you to Have Fun (Again). Her vocal is full of enthusiasm, while Chic play with their usual aplomb. The rhythm section, Niles’ guitar and swathes of strings accompany Diana, providing a polished, accomplished and funky backdrop. Backing vocalists augment Diana’s backdrop, adding to the track’s upbeat sound. However, neither Chic’s considerable talents nor Diana’s vocal can lift this track from a good track, to being a great track, like its predecessors. Maybe the original, unedited version of the track would’ve been better and the best version was left on the cutting-room floor?
I’ve always found it strange that My Old Piano wasn’t a bigger success in the US, matching the song’s success in the UK and Europe. It’s certainly neither lacking in quality nor hooks. Diana’s vocal is powerful, impassioned and full of emotion. Chic provide the perfect backdrop, with the rhythm section and guitars producing one of their tightest and most accomplished performances. Both Bernard’s bass and Niles’ guitar playing are the glue that hold the track together, while percussion, flourishes of piano and cascading strings augment their playing. Similarly, Diana lifts her game, resulting in a hugely memorable track where jazz, funk and soul are combined seamlessly by The Chic Organization.
Now That You’re Gone, like the other seven tracks on Diana were written by Niles Rodgers and Bernard Edwards. This track however, has a quite different sound. It’s a ballad, with an arrangement that unfolds in dramatic waves. Diana’s vocal is delivered in short bursts, full of regret and sadness. Flourishes of piano, slow, sad strings and percussion combine with the rhythm section and guitar who play with a much more subdued, less funky sound. This suits the song, but again, I wonder what the original version sounded like? However, although the track sounds unlike other tracks, it allows Diana to deliver a vocal full of heartache and regret, that’s not just perfect for the lyrics but is deeply moving and effective.
Closing Diana is Give Up a much more uptempo track, with quality written over it. Again, it has a very Chic sound. It’s more like a Chic track with Diana Ross drafted in to sing lead vocal. Bursts of rasping horns, sweeping, swirling strings, guitars and the rhythm section combine to create a dramatic, uptempo opening. Backing vocalists deliver sharp bursts of backing vocals, before Diana’s powerful, emotive vocal enters. Stabs of piano join the mix, as the rhythm section, strings and backing vocalists drift in and out of the arrangement. Later, Niles unleashes a stunning jazz-drenched solo, before strings dance in delight as this dramatic, but glorious track ends, far too soon.
Listening to Diana, it’s obvious why the album was both critically acclaimed and became Diana’s biggest selling album. With tracks like Upside Down, Tenderness, I’m Coming Out, My Old Piano and Give Up grab your attention from the opening bars. Straight away, you realize their quality, with Upside Down, Tenderness and I’m Coming Out perfect for the dance-floor, even today, thirty-two years later. That demonstrates their timeless quality. My Old Piano while not as dance-floor friendly, has quality written all over it. Friend To Friend has a much more Diana Ross sound, and is much more representative of Ms. Ross’ previous albums. Similarly, Now That You’re Gone is another ballad, but given a twist by Chic, which really works. The only track that doesn’t work is Have Fun (Again), which is a good track, but has a much too contrived sound. Regardless of how good an album Diana is, I’m left wondering what would’ve happened if the original, funkier version had been released? What would’ve happened if Frankie Crocker hadn’t heard Diana? His comments resulted in the Diana being changed beyond recognition. One wonders whether Diana had chosen a different DJ to hear the album before its release, whether the story would’ve had a very different ending. While DJs are and always have been to some extent tastemakers, taking one man’s word as gospel was dangerous, regardless of their reputation or talents. Although Diana might have had some concerns about the album, Niles Rodgers and Bernard Edwards were by 1979, experienced musicians, songwriters and producers, having sold many millions of album and having numerous gold and platinum discs under their belts. They’d given Diana’s music a more modern, contemporary sound, resulting in sales of ten million albums and a new generation of fans discovering her music. Having delivered the album to Motown, Diana totally changed the album, changing vocals and removing extended instrumental breaks which Chic were known for. Given Chic were known for these instrumental breaks, why hire a producer knowing how they work and the music they make? Maybe she should have given them a clearer remit, rather than changing the album after its completion. Having said all that, Diana is a classic album, featuring in Rolling Stone’s recently compiled list of 500 best albums ever. The best version of Diana buy is the remastered double album, released in 2003. It also features the original version of the album. If you listen to that version, you too will be able to hear both versions, and decide which version of Diana should’ve been released. Standout Tracks: Upside Down, Tenderness, I’m Coming Out and My Old Piano.
DIANA ROSS-DIANA.
THE O’JAYS-MESSAGE IN THE MUSIC.
THE O’JAYS-MESSAGE IN THE MUSIC.
By 1976, Philadelphia International Records four years after Gamble and Huff founded the label, their label had become the biggest label on the planet. Philadelphia International Records’ success story had at its heart, the meeting of a number of hugely creative minds. While Gamble and Huff played the biggest part in the labels success, this wouldn’t have been possible without all the songwriters, arrangers, producers and musicians. Songwriting teams included Gene McFadden, John Whitehead and Victor Carstarphen and Dexter Wansel and Cynthia Biggs. Arrangers included Jack Faith and Bobby Martin, while Dexter Wansel and Gene McFadden, John Whitehead and Victor Carstarphen were successful producers. The musicians were M.F.S.B., Philadelphia International Records’ legendary house-band. Then there was the label’s unenviable roster of artists that included Billy Paul, Teddy Pendergrass, Jean Carn and the label’s most successful group The O’Jays. Although by 1976 Philadelphia International Records were at the height of their success, two things would happen that changed the label. Both of these would an effect on The O’Jays’ music, either directly or indirectly. William Powell of The O’Jays had tragically, been diagnosed with cancer and Message In the Music, released in 1976, would be the last album to feature William Powell’s vocals. He’d be replaced by Sammy Strain for their next album Travellin’ At the Speed of Thought. The other problem concerned M.F.S.B. They’d leave Philadelphia International Records in 1976, after a dispute about finances, leaving to become the Salsoul Orchestra. So, one of the last albums the original M.F.S.B. would play on would be The O’Jays album Message In the Music. Before I tell you about the music on The O’Jays fifth album for Philadelphia International Records, I’ll tell you about the making of the album.
Message In the music was the follow-up to 1975s Family Reunion, which had been certified platinum. This was The O’Jays second album certified platinum, with their other two albums for Philadelphia International certified gold. This started with Backstabbers in 1972, which reached number ten in the US Billboard 200 and number three in the US R&B Charts. Ship Ahoy released in 1973, reached number eleven in the US Billboard 200 and gave the group the first of three consecutive number one albums in the US R&B Charts. The O’Jays released two albums in 1975, Survival and Family Reunion which reached numbers eleven and seven in the US Billboard 200, both reaching number one in the US R&B charts. Could Message In the Music match this success?
It seems that Gamble and Huff were determined to keep up this run of gold and platinum albums and US R&B number one albums. They used their best songwriters, arrangers and producers, plus of course the legendary M.F.S.B. Gamble and Huff cowrote six songs, with Bunny Sigler and the Gene McFadden, John Whitehead and Victor Carstarphen songwriting team contributing the album’s other track. Recording would take place as usual, at the Sigma Sound Studios in Philly.
Sigma Sound Studios were where every Philadelphia International Records recording took place. Joining The O’Jays were M.F.S.B., including the Baker, Harris, Young rhythm section, Don Renaldo’s strings and horns, guitarist Bobby Eli and Vince Montana on vibes. Arranging the eight tracks were Bobby Martin, Jack Faith and Ron “Have Mercy” Kersey. Producing the eight tracks were Gamble and Huff, who produced the six tracks they cowrote. Bunny Sigler produced I Swear I Love No-One But You, which he wrote. Similarly, Gene McFadden, John Whitehead and Victor Carstarphen produced Let Life Flow, which they cowrote. Together, the helped get across Message In the Music’s message of peace, love, wisdom, understanding and unity. Would that message and ultimately Message In the Music, continue The O’Jays run of hugely commercially successful albums?
The answer to that question is yes and no. While Message In the Music reached number twenty in the US Billboard 200 and number three in the US R&B Charts, this gave The O’Jays their third gold disc. This broke their run of consecutive number one US R&B albums. However, two US R&B number one singles made up for this. These two singles were the title-track Message In the Music and the classic Darlin’ Darlin’ Baby (Sweet Tender Love). Message In the Music reached number forty-nine in the US Billboard 100 and number one in the US R&B Charts. Darlin’ Darlin’ Baby (Sweet Tender Love) reached number seventy-two in the US Billboard 100 and number one in the US R&B Charts. Overall, Message In the Music and its two number one US R&B singles meant The O’Jays’ success story continued. Sadly, it was the last album to feature William Powell, and Message In the Music and its message is a fitting farewell to a true legend of soul, which I’ll now tell you about.
Opening Message In the Music is the title-track and US R&B number one single Message In the Music. It was written and produced by Gamble and Huff, with Bobby Martin arranging the track. Tight, punchy harmonies are accompanied by the rhythm section, keyboards, lush strings that glide in and blazing horns. Suddenly, the arrangement literally explodes. It’s a case of hold on and enjoy the ride. However, don’t forget to listen to the Message In the Music. Eddie Levert sings lead, while the rest of the group add soaring, almost dramatic harmonies. Sometimes, the lead vocal changes hands. Never does the quality drop, with The O’Jays and M.F.S.B. hitting their stride. Bursts of rasping horns, strings swirl and sweep, while the rhythm section and funky guitars provide the track’s heartbeat. Later, subtle acoustic guitars produce a contrast, as M.F.S.B. provide a pulsating arrangement. Add to this Gamble and Huff’s lyrics, Bobby Martin’s arrangement and of course, The O’Jays joyous, emotive vocals and the result is a glorious, uplifting and hook-laden Philly classic.
After the storming opening track, A Prayer sees the style and tempo drop way down. Eddie delivers his heartfelt, impassioned vocal against an understated arrangement. A piano is key to the sound, before the rhythm section, guitars and percussion join. They’re added by lush strings, which are just the finishing touch. Earl Young and the rest of the rhythm section add drama to Bobby Martin’s emotive arrangement. Throughout the track, the rest of The O’Jays deliver tight, heartfelt harmonies. They match Eddie’s sincere delivery, as he gets across the song’s spiritual lyrics. He sounds as he means every word he sings, his voice quivering in emotion. By the end of the track, you realize that you’ve been spellbound by Eddie’s delivery and some very beautiful, thoughtful lyrics.
Continuing the Gamble and Huff penned and produced tracks is Paradise, with Jack Faith taking over arranging duties. Spanish sounding acoustic guitars, percussion and flourishes of graceful strings combine, before Eddie’s joyful vocal enters. Quickly, the vocal changes hands, as Norman Harris adds guitar, while strings quiver and shiver and horns rasp. Meanwhile, the rest of The O’Jays add their peerless harmonies, as the arrangement grows and grows, with M.F.S.B. demonstrating not only their musical versatility but their virtuoso skills. Together, they help The O’Jays produce a track that’s quite simply, Musical paradise.
Eddie’s vocal soars emotively and powerfully as he takes on the roll of cheerleader, encouraging The O’Jays and M.F.S.B. to Make A Joyful Noise. They both rise to Eddie’s challenge. The O’Jays’ harmonies succeed in creating a joyful noise, while M.F.S.B. create an arrangement that’s uplifting and dramatic. Key to this is the Baker, Harris, Young rhythm section, who drive the track along, with Earl Young’s drumming dramatic and powerful. Ron Baker’s bass playing matches Earl’s drumming note for note, while Norman Harris jazz tinged guitar playing is augmented by Bobby Eli. Although his playing is different in style, it compliments Norman’s playing. Don Renaldo’s blazing horns punctuate the arrangement and his cascading string dance joyfully. With M.F.S.B’s help, The O’Jays Make A Joyful Noise, that’s also infectiously catchy and inspirational.
Stabs of Lenny Pakula’s Hammond organ open Desire Me, while subtle, beautiful acoustic guitar accompany Eddie’s vocal. He’s almost pleading, begging, before the vocal changes hands. Still, there’s the same feeling in the vocal, with the arrangement still having a subtle, understated sound. Swathes of strings are added by arranger Jack Faith, while guitars drift in and out, accompanying The O’Jays harmonies. Later, a sultry saxophone drifts in, as Eddie pleads. Its arrival signals the arrangement taking a jazz-drenched diversion. Instantly, M.F.S.B. are transformed into a big band. They provide the perfect accompaniment for Eddie’s emotive, heartfelt vocal and the equally emotional harmonies that accompany him. Although very different in style and sound, it’s an emotional roller coaster of a track, that demonstrates The O’Jays’ versatility and vocal prowess.
Darlin’ Darlin’ Baby is the sixth and last of the Gamble and Huff penned and produced tracks. It seems they’ve kept this classic track for last. How they continued to produce an endless supply of timeless tracks like this is remarkable. Bursts of punchy, blazing horns, sweeping swirling strings and the rhythm section create an arrangement that almost bounces into being. Straight away, you realize the track’s quality. A Hammond organ sits way down in the mix, playing an important roll in the sound. Eddie’s vocal is impassioned, accompanied by harmonies that glide in and out. The arrangement glides gracefully along, with waves of strings key to the sound and success. Sometimes, the arrangement almost pauses, adding to the drama, making you anticipate what’s still to come. What’s still to come, is more of this classic track, as it reveals its charms, beauty and joyful sound. So good is this track, that it’s worthy of being called a Philly classic and has become one of The O’Jays’ most popular singles.
When I Swear I Love No One But You opens, the drama builds and builds. Straight away, you hear the track is quite different from the previous six tracks. The reason for this is Bunny Sigler wrote and produced the track, while Ron Kersey arranged it. Here, the sound is bigger, bolder, with a slow, dramatic arrangement. Eddie’s vocal is emotive, heartfelt and accompanied by harmonies that soar dramatically. This bigger, bolder sound is created by the rhythm section, braying horns and shimmering strings. Later, stabs of Hammond organ and piano combine, joining the blazing horns and percussion as the track heads to its dramatic, impassioned crescendo.
Closing Message In the Music is Let Life Flow which sees the sound return to its previous sound in style. Here, Gene McFadden, John Whitehead and Victor Carstarphen cowrote and produced the track, with Jack Faith adding one of his trademark arrangements. From the get-go, the sound is inspirational, with bursts of blazing horns, shivering, shimmering strings and the rhythm section driving the track along. Eddie’s voice is joyful and powerful, while The O’Jays lift their game one more time, adding soulful, soaring harmonies. While horns rasp, punctuating the piano, percussion and graceful strings succeed in creating an arrangement that flows along beautifully, helping The O’Jays get across the song’s inspirational lyrics. With such an inspirational sound and message, this is the perfect way to close Message In the Music, one of The O’Jays’ finest albums…ever.
Although Message In the Music didn’t give The O’Jays their fifth consecutive US R&B number one album, it was still certified gold and contained two US R&B number one singles. Not only that, but it’s chock full of quality music from the album’s opening bars to its closing notes. Sadly, Message In the Music would be the last album to feature William Powell’s vocals. He was dying of cancer, dying in May 26th 1977. His replaced was Sammy Strain, who’d make his O’Jays debut on their next album Travellin’ At the Speed of Thought. However, Message In the Music was a fitting farewell from one of soul music’s true legends, William Powell. Along with the rest of The O’Jays, their combined vocals create peerless harmonies, while Eddie Levert’s lead vocals combine variously, power, passion, emotion and sincerity. Together, The O’Jays brought life and meaning to the eight tracks on Message In the Music. SIx of the tracks were written and produced by Gamble and Huff, who were at the height of their success as songwriters and producers. Somehow, they created six stunning tracks, including the title-track two singles Message In the Music and Darlin’ Darlin’ Baby (Sweet Tender Love). Along with tracks penned and produced by Bunny Sigler plus the songwriting and production team of Gene McFadden, John Whitehead and Victor Carstarphen. With arrangers Jack Faith, Bobby Martin and Ron Kersey, plus M.F.S.B. making one of their last appearances on a Philadelphia International Records’ recording. These creative minds helped The O’Jays deliver the Message In The Music, which was peace, love, wisdom, understanding and unity. Standout Tracks: Message In The Music, Paradise, Make A Joyful Noise and Darlin’ Darlin’ Baby (Sweet Tender Love).
THE O’JAYS-MESSAGE IN THE MUSIC.
BARBARA MASON-GIVE ME YOUR LOVE.
BARBARA MASON-GIVE ME YOUR LOVE.
By 1973, Barbara Mason had signed to Buddah Records, which quickly, had established an enviable roster of artists. Barbara joined musical giants like Gladys Knight and The Pips and The Trammps at Buddah. Before arriving at Buddah Records, Barbara had released three previous albums. This started with her 1965 debut album Yes I’m Ready, on Arctic Records. It reached number 129 in the US Billboard 200. Three years later, in 1968, Oh How It Hurts was released on Arctic Records, reaching just number forty-two in the US R&B Charts. Having switched labels to National General, If You Knew Him released in 1970, failed to chart. Things would improve for Barbara having signed to Buddah Records. She would go on to released three albums for Buddah between 1973 and 1974. Give Me Your Love, released in 1973, was the first of these albums, followed by Lady Love and Transition in 1974. Of these three albums, Give Me Your Love was the most successful. On Give Me Your Love, Barbara was backed by some of Philly’s finest musicians, which gave the track its unmistakable Philly Sound. After I’ve told you about the making of Give Me Your Love, I’ll tell you about the music on the album.
Of the nine tracks on Give Me Your Love, these tracks are a mixture of ballads and more uptempo tracks. Barbara wrote to of the tracks on the album, Yes, I’m Ready and You Can Be With the One You Don’t Love. Two tracks by David Gates also featured on Give Me Your Love. These were Everything I Own and Who Will Hurt You Next. Curtis Mayfield wrote the album’s title-track Give Me Your Love, which he’d written for the Superfly soundtrack. Another track Barbara covered was Let Me Into Your Life, written by Bill Withers, which had featured on his 1972 album Still Bill. Along with three other tracks, these songs would make up Barbara Mason’s fourth album, her first for his new label Buddah Records.
Recording of Give Me Your Love would take place at Philadelphia’s Sigma Sound Studios, with some of Philly’s finest musicians accompanying Barbara. This included the Baker, Harris, Young rhythm section, who were part of M.F.S.B., Philadelphia International’s legendary house-band. Among the other musicians were guitarist Bobby Eli, pianist Leon Huff and organist Lenny Pakula. Vince Montana Jr played vibes and percussion, plus arranged seven of the nine tracks. The unmistakable sound of Don Renaldo’s strings and horns would also grace the album. Providing backing vocals were The Sweethearts of Sigma, Barbara Ingram, Evette Benson and Carla Benson. Joining them, were Bunny Sigler plus Kenny Gamble and The Corner Boys. Truly, this was an all-star cast of Philly’s greatest musicians, arrangers and backing singers. However, another famous singer, songwriter and producer would produce two of the tracks on Give Me Your Love, Curtis Mayfield.
Give Me Your Love and You Can Be With the One You Don’t Love had been recorded in the Windy City of Chicago, at Curtis Mayfield’s Curtom Studios. Curtis produced both tracks, while Richie Tufo arranged them. This connection came about when Barbara had been asked to work with Curtis on Give Me Your Love, which would be on the Superfly soundtrack. Somewhat ironically, when Barbara recorded Give Me Your Love and released it as a single, it fared better than Curtis’ original. Barbara’s version reached number thirty-one in the US Billboard 100 and number nine in the US R&B Charts. However, that was all in the future. Before that came the release of Give Me Your Love, Barbara Mason’s first album for her new record company Buddah Records.
On the release of Give Me Your Love, the album would become Barbara’s most successful album. It reached number ninety-five in the US Billboard 200 and number seventeen in the US R&B Charts. The first single released was Bed and Board, which reached number seventy in the US Billboard 100 and number twenty-four in the US R&B Charts. Then came the release of the title-track Give Me Your Love, produced by Curtis Mayfield. This became the most successful single released from the album reaching number thirty-one in the US Billboard 100 and number nine in the US R&B Charts. One further single was released, the rerecorded version of Barbara’s biggest hit Yes, I’m Ready. Sadly, it didn’t replicate the success of its original release in 1965, where it had reached number five in the US Billboard 100 and number two in the US R&B Charts. Instead, it stalled at number 125 in the US Billboard 100. The release of Give Me Your Love had seen Barbara Mason’s career revitalized. Why was this and what made Give Me Your Love so successful? That’s what I’ll tell you, after I’ve told you about the music on Give Me Your Love.
Opening Give Me Your Love, and this new chapter in Barbara Mason’s career, was a song from her past Yes I’m Ready. This had been Barbara’s biggest hit single, back in 1965. This reinterpretation is very different, a nine minute Magnus Opus, where Barbara’s vocal veers between tender and heartfelt, to a half-spoken vamp. From the start, the Philly influence is unmistakable. The Baker, Harris, Young rhythm section combine with Don Renaldo’s strings and horns, while the Sweethearts of Sigma sweep in and out. Their voices are gentle and subtle. Swathes of strings lushly sweep, while Vince Montana’s vibes and percussion augment the arrangement. Meanwhile, Barbara’s vocal is heartfelt, growing in power, while Kenny Gamble and The Corner Boys add harmonies, and the Sweethearts of Sigma’s cooing, beautiful backing vocals are ever-present. For nine minutes, Barbara doesn’t so much reinterpret the track, but deconstructs it, and in reconstructing it, exploring its every nuance and subtlety. She’s in the best place to rebuilds the track, having written it. With Vince Montana’s help, this results in a very beautiful, heartfelt and impassioned version, that’s even better than the original.
When I Fall In Love is a track that many artists have covered. These versions can be divided into three categories, the good, the bad and the ugly. This version, which glides into being, is very definitely one of the best version’s I’ve heard. Strings slowly glide above the arrangement, while the rhythm section and percussion combine. Stabs of Hammond organ drift in, joining flourishes of guitar. By now the arrangement is dramatic, matching Barbara’s vocal. It’s emotive, full of passion, with the Sweethearts of Sigma adding backing vocals. Sometimes, they answer Barbara’s call, but mostly, deliver tight sweeping harmonies. They add to the beauty of the track, complimenting the emotion and drama in Barbara’s vocal, as she demonstrates just how the track should be sung.
David Gates of Bread wrote two tracks on Give Me Your Love, with Everything I Own the first of these. Grand bursts of strings open the track, before Barbara’s thoughtful, tender vocal enters. Quickly, the track opens up, the arrangement growing, with the strings joined by the rhythm section and the Sweethearts of Sigma. Their vocals are understated, before later, soaring soulfully. Barbara’s emotional reading of the lyrics brings out their beauty, while the arrangement veering between an understated and dramatic sound. Key to this is the rhythm section, strings and Barbara’s vocal. Together, they combine to bring new meaning to this familiar track, bringing out the beauty in David Gates’ lyrics, while adding a vital ingredient…soul.
Let Me In Your Life is a track from Bill Withers’ Still Bill album. Soaring backing vocals courtesy of the Sweethearts of Sigma, combine with the rhythm section and dramatic strings, accompanying Barbara’s half-spoken vocal. Soon, her vocal grows in power and emotion, with sad strings, percussion and backing vocalists sweeping in and out. Guitars chime, while strings and backing vocalists reflect the emotion in Barbara’s pleading vocal. As Barbara pleas, the so do the Sweethearts of Sigma. Their addition and the way their pleading backing vocals are used to build up the emotion and heartache in the track. Along with one of Barbara’s best vocals on the album, this is one of the highlights of Give Me Your Love.
Bed & Board was a track that Bobby Flax and Lenny Lambert cowrote. Slow strings sweep elegantly and gracefully, while blazing horns combine with the rhythm section, keyboards and percussion. Then come Barbara’s impassioned vocal. Her delivery is heartfelt and emotive, while the arrangement meanders along, Norman Harris and Bobby Eli’s guitars combining as the arrangement reflects the emotion and heartache in Barbara’s vocal. Later, The Sweethearts of Sigma accompany Barbara. Her band play with a subtlety and passion, allowing Barbara’s vocal to take centre-stage. This results in a powerful, moving and thoughtful track, that’s another of the highlights of Give Me Your Love.
Who Will You Hurt Next is the second David Gates’ penned track. It’s very different from Everything I Own. Whereas some people might think Everything I Own is a sugary, schmaltzy track, this is totally different and I would say much better. Lush strings, rhythm section, vibes and percussion accompany Barbara’s tender vocal. Although it’s full of hurt, she’s angry and frustrated. Backing vocalists accompany her, while flourishes of strings, rhythm section and blazing horns add to the track’s drama and emotion. What sounds like one of Thom Bell’s trademark lone horn sounds punctuates the arrangement, playing its part in the build up to the track’s emotive and dramatic ending.
You Can Be With The One You Don’t Love was produced by Curtis Mayfield, with Richie Tufo arranging the track. Straight away, the sound is different. Swathes of strings cascade, quivering and shivering while the rhythm section play slowly and backing vocalists accompany Barbara’s emotive, passionate delivery. Unlike the previous tracks, the arrangement sounds different, even the string sound. Having said that, it’s still a quality arrangement, but one minus Baker, Harris, Young, Don Renaldo’s strings and horns and the Sweethearts of Sigma. Despite those missing vital ingredients, Barbara’s vocal has the same quality and is just as impassioned as previous tracks.
Out Of This World sees us leave Chi Town, heading back to Philly for the final time. All the familiar faces are there, ready to accompany Barbara. Her voice is strong, heartfelt and accompanied by the Sweethearts of Sigma. Behind her, the rhythm section, lush strings and guitars combine. The rhythm section are key to the track, punctuating the arrangement with bursts of drama, while strings reflect the beauty in Barbara’s vocal. Backing vocalists play their part, accompanying Barbara, providing the perfect backdrop for her joyous, thankful vocal.
Closing Give Me Your Love is another track produced in the Windy City. It’s written and produced by Curtis Mayfield. This is very different in sound and style. You can hear why the track would sit well on a Blaxploitation album, given the way the song flows, revealing its dramatic secrets. Strings cascade, bursts of blazing horns and a pounding rhythm section combine with wah-wah guitars. Barbara’s vocal has a breathy, sensuous sound, with equally sensual backing vocalists accompanying her. The longer the track goes on, the harder resistance is. Eventually, all you can do is submit to the track’s charms, especially Barbara’s sensual vocal.
Give Me Your Love, which was Barbara Mason’s first album for Buddah Records saw an upturn in her fortunes. It reached number ninety-five in the US Billboard 200 and number seventeen in the US R&B Charts. Not only was the album a commercial success, but so were the singles released from the album. This got Barbara’s career at Buddah Records of to a promising start. Since then, Give Me Your Love has became Barbara’s most successful album. The album’s success is down to various things. This includes the choice of material on Give Me Your Love. When you first see the album’s track-listing, you wonder why several tracks were chosen, including the David Gates’ penned Everything I Own. To many people, it’s sugary and schmaltzy, but in the hands of Barbara the song is transformed, with a vital ingredient added…soul. A surprising cover version on the album is When I Fall In Love. Of the many previous cover versions, they remind me of a Clint Eastwood movie, The Good, The Bad and The Ugly. Barbara’s version is one of the best versions I’ve heard, demonstrating the way the song should be sung. Two tracks Yes, I’m Ready and You Can Be With the One You Don’t Love demonstrate Barbara’s talent as a songwriter. Another important factor in the album’s success are the musicians, backing vocalists, arrangers and producers who worked on the album. With musicians like Baker, Harris, Young, Bobby Eli, Vince Montana and Don Renaldo playing on the album, it’s no wonder the album sounds so good. Their combined talents are key to Give Me Your Love’s sound and success. However, the most important factor in the success of Give Me Your Love is Barbara’s stunning voice. Together with some of Philly’s finest musicians, Barbara Mason’s first album for Buddah Records Give Me Your Love’s is an album you should let into your life. Standout Tracks: Yes I’m Ready, Let Me In Your Life, Bed and Board and Who Will You Hurt Next.
BARBARA MASON-GIVE ME YOUR LOVE.
P&P RECORDS HITS, HITS, HITS.
P&P RECORDS HITS, HITS, HITS.
Each week, I always check out what albums will be released during the next few weeks and months. Sometimes, you get the odd surprise, with something being released without much fanfare of publicity. This was the case with P&P Hits, Hits, Hits a fifteen-disc box set, featuring nearly two-hundred tracks due for release on 28th May 2012. Now as someone, whose been a huge fan of P&P Records’ releases since the seventies, this was an unmissable opportunity. Straight away, I placed an order, so that I’d receive my copy on release day. Fast forward three weeks, and to Monday morning. The post-van arrived, with the postman struggling to the door groaning under the strain of a cumbersome, heavy parcel. Straight away, I knew this was what I’d been waiting for, the Magnus Opus that is the P&P Records’ box set. Having unwrapped it, I’ve spent much of the last two days listening to over seventeen hours of music from P&P Records and its various subsidiary labels which I’ll now tell you about.
The fifteen discs that comprise P&P Hits, Hits, Hits are a comprehensive overview of the music that Patrick Adams and Peter Brown created not just for P&P Records, but for its various subsidiary labels. Together, Patrick and Peter founded P&P Records in 1974, with their releases distributed by Morris Levy’s Roulette Records. Although many of P&P Records biggest hits were during the heady days of disco, Patrick and Peter realized that their music couldn’t stand still. After all, nothing lasts forever. This meant new labels for new sounds and styles of music. Gradually, they founded various subsidiary labels, twenty-four of which are represented on the fifteen discs that comprise P&P Hits, Hits, Hits. Among these labels are Clarence Music Records, Golden Flamingo Records, Heavenly Star Records, Land of Hits, Lonnie Records, Sound of Gold, Queen Constance Records, Hit Makers of American Music and Sound of The Universe Corp. Not only were these labels home to some of the biggest artists on the P&P Records’ roster, but contain many a hidden gem and golden nugget.
Among the nearly two-hundred tracks that feature on the fifteen discs of P&P Hits, Hits, Hits, there’s everything from disco to proto-rap, with boogie and funk aplenty. This demonstrates just how innovative, influential and progressive both Patrick Adams and Peter Brown were. Neither of them were content to sit still, looking forward and seeking out the next new, up and coming musical two genres. There are two examples of their progressiveness on this box set. During the disco era, they realized that as musical history proved yet again, another new musical genre and fashion replaces it. So, whilst other producers and label owners, big and small sat back and reaped the rewards of disco’s riches, Patrick and Peter looked at other musical genres. This meant that by July 1979, when the Disco Sucks backlash struck, they moved onto boogie and other genres, including rap. P&P Records were one of the first labels to see the future importance of hip-hop and rap music, which features on P&P Hits, Hits, Hits. Both examples not only demonstrate the labels progressive nature, but that unlike other labels, an ambition to push musical boundaries. It also required good A&R-ing, with people who were aware what was going on in clubs and on “the street.” The results of this can be heard on the fifteen discs that makeup P&P Hits, Hits, Hits.
Looking through the fifteen discs at the artists who grace them, they’re a mixture of some of P&P Records’ biggest singles and success stories, to other artists who played only a walk-on part in the label’s history. Sometimes, these bit-part players in a label’s history actually create one of a label’s most memorable songs. The tracks range from the mid-seventies onwards, taking in the glorious days of disco onwards, recording the change in musical tastes and fashions. Obviously, with nearly two-hundred tracks on the fifteen discs, it isn’t possible to mention every track. However, some of P&P Records’ best know tracks are here….in abundance. This includes a variety of tracks from Cloud One, including the classic Atmosphere Strut (Parts 1 & 2), Disco Juice and Flying High Parts 1 & 2. Another P&P Records’ classic is Clyde Alexander and Sanctions’ Got To Get Your Love, with the addition of the instrumental version a welcome bonus. This isn’t the only track where alternate versions of tracks features. There are many instrumentals and dub versions. Among the other tracks are Marta Acuna’s Dance, Dance, Dance, Dennis Mobley’s Superstition and Karisma featuring Jocelyn Brown’s Got You Dancing. That’s not forgetting tracks by among numerous other artists are Mary Clark’s Take Me I’m Yours, Stack’s Win Jesse Win, Universal Two’s Dancing Heart, Otis Turner’s Who’s Gonna and Wild Honey’s Only September. These are just a few of the treasures and hidden gems on P&P Hits, Hits, Hits.
For anyone wondering whether to buy P&P Hits, Hits, Hits, I can thoroughly recommend this box set. Best of all is the price. I paid less than $30 for the box set. To me, this is a real bargain, especially if you tried to buy each of the track’s on vinyl. Given their collectibility, and sometimes, rarity, the original vinyl would cost you a small fortune. So for aspiring DJs, P&P Hits, Hits, Hits this is an opportunity to collect some classic disco cuts for a fraction of the price of the original vinyl. My only quibble about the P&P Hits, Hits, Hits box set, is it would’ve been a good idea to include a booklet about the history of P&P Records and its associated labels. That’s the only thing missing from the whole package. Maybe that’s just me, but given the label’s importance, it would’ve allowed younger music fans to learn about the label’s history and the people who made it such a success story. Apart from that, everything else about the whole P&P Hits, Hits, Hits package make this one of the bargains and best buys of 2012 so far. Even the very box the fifteen discs are housed in is sturdy, designed to store and protect the musical delights within it. Since I’ve received my copy of P&P Hits, Hits, Hits, I’ve hardly stopped playing it, and I’m sure that if you decided to invest in this veritable musical feast, so will you.
P&P RECORDS HITS, HITS, HITS.
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QUINCY JONES-YOU’VE GOT IT BAD GIRL.
QUINCY JONES-YOU’VE GOT IT BAD GIRL.
During his career, Quincy Jones has fulfilled every musical role possible. This has seen him working as an arranger, producer, composer, conductor and musician. Despite this, when many people talk about Quincy’s career, they automatically mention that he produced Michael Jackson’s legendary 1981 Thriller. Mind you, Thriller did sell over 110 million copies worldwide. However, in just talking about Quincy’s career in relation to one album, albeit one of biggest selling albums ever, they forget to mention the seventy-nine times Quincy has been nominated for a Grammy Award, winning twenty-seven Grammys. This also overlooks Quincy’s work with artists like Frank Sinatra, Ray Charles, George Benson, Rufus and Donna Summer. There’s also the matter of Quincy composing soundtracks to films like In Cold Blood, The Italian Job, Roots and The Wiz. Another often overlooked part of Quincy Jones long and illustrious career is his solo career. It started with 1956s This Is How I Feel About Jazz and has spanned seven decades, resulting in ten of Quincy’s albums reaching number one in the US Jazz Charts. One of these albums was 1973s You’ve Got It Bad Girl, which was the first of five consecutive number one US Jazz albums for Quincy. After I’ve told you the background to the album, I’ll tell you about the music on You’ve Got It Bad Girl.
For what was Quincy Jones’ nineteenth studio album, he only included two tracks that he’d written himself, plus two which he cowrote. The two tracks he wrote were Love Theme From The Getaway and the Sanford and Son Theme (The Streetbeater). Quincy cowrote Eyes of Love with Bob Russell and Chump Change with Bill Cosby. Among the other tracks, were a cover of Stevie Wonder’s Superstition and Yvonne Wright’s You’ve Got It Bad. Another noticeable cover version was Summer In the City, featuring Valerie Simpson’s vocal. Her vocal features on Tribute To AF-RO, which features covers of Aretha Franklin’s Daydreaming and Ewan McColl’s The First Time I Ever Saw Your Face. Valerie Simpson was just one a number of stars who’d play on You’ve Got It Bad Girl, when it was recorded.
Recording took place at various studios in New York and Hollywood. In New York, A&R Studios were used, while in Hollywood, A&M Records Studios, Sun West Studios, The Record Plant and Burbank Studios. Joining Quincy and Valerie Simpson would be pianist Dave Grusin, saxophonist Ernie Watts, pianist George Duke, bassist Ray Brown and Toots Thielemans who’d play guitar, harmonica and whistle. Together, they helped Quincy lay down the nine tracks on You’ve Got It Bad Girl, which would be released in October 1973. Could it match the success of Quincy’s previous studio album Smackwater Jack which had reached number one in the US Jazz Charts?
On the release of You’ve Got It Bad Girl in October 1973, the album reached number ninety-four in the US Billboard 100 and number fourteen on the US R&B Charts. However, just like Smackwater Jack, You’ve Got It Bad Girl reached number one in the US Jazz Charts, becoming one of Quincy Jones most popular albums. Why was You’ve Got It Bad Girl such a popular album though? That’s what I’ll discover, as I tell you about the music on You’ve Got It Bad Girl.
Opening You’ve Got It Bad Girl is a very different version of Summer In The City. Straight away, when the track begins, you’realize where Nightmares On Wax got the “inspiration” for one their tracks. From this laid-back opening, the track takes on a looser, jazzy sound. The rhythm section and keyboards combine, before quivering, shivering strings enter. You get the feeling Quincy and his band are toying with you, teasing and tantalising you, making you wonder about the future direction of the track. By the time Valerie Simpson’s soaring emotive vocal enters, the original track has been deconstructed, then reconstructed. In doing this, Quincy has transformed the track. His exploration and deconstruction results in something not just laid-back and looser, but much more spacious and ambitious.
Quincy and Bob Russell cowrote Eyes Of Love, which meanders into being. Just gentle, subtle keyboards signal the entrance of Toots Thielemans harmonica solo. It takes centre-stage, and is played with passion. Toots is accompanied by standup bass, swathes of lush strings and keyboards as the arrangement grows in power and beauty. Key to the track’s success is the use of the strings which cascade in and out of the track, providing the perfect accompaniment to Toots’ harmonica solo.
Tribute To A.F. – RO is a medley of two tracks Daydreaming written by Aretha Franklin and then Ewan McColl’s The First Time I Ever Saw Your Face. Valerie Simpson delivers the vocal, against a subtle backdrop. Strings sweep and swirl, while keyboards, backing vocalists and Hubert Laws on flute accompany Valerie. On The First Time I Ever Saw Your Face, a sultry saxophone drifts slowly above the arrangement before Valerie’s tender, heartfelt vocal enters. Keyboards and guitar accompany Valerie, but you’re transfixed by her vocal and its beauty. Quincy joins her, singing subtly, before the saxophone adds the finishing touch to a track that’s quite simply beauty personified.
As Love Theme From “The Getaway” begins the arrangement is subtle, understated and played with emotion. Just an acoustic guitar, percussion and Toots Thielemans on harmonica combine. His playing is key to the track’s success and beauty, as is the tender, thoughtful way the rest of the musicians play with.
Yvonne Wright wrote You’ve Got It Bad Girl for Stevie Wonder for his Talking Book album. As the song opens, the arrangement has an understated sound, allowing the beauty of the song and its lyrics to shine through. It’s just keyboards, bursts of rasping horns and flourishes of strings that accompany the tender, heartfelt vocal. Gradually, the arrangement fills out, with the rhythm section, keyboards, strings and backing vocalists all playing their part. Later, the arrangement grows in power and drama, as the best track on You’ve Got It Bad Girl reaches its finale after nearly six minutes.
The Stevie Wonder connection continues as Quincy covers Superstition, another track from Stevie’s Talking Book album. There’s an almost moody, dark sound to the track, as percussion, harmonica, rhythm section and keyboards combine. When the vocals enter, things change, with the Three Beautiful Brothers taking charge of the track. Their voices are powerful, joyous and confident, feeding off each other. Blazing horns, rhythm section and keyboards accompany them while Toots adds bursts of harmonica. It’s as if the band have kicked loose, and starting to enjoy themselves. There’s a real improvement in the track, with this being not just a fitting homage to Stevie Wonder, but a track that’s uplifting and joyous.
Manteca was written by Dizzy Gillespie and Walter Fuller and sees the track head more in a traditional jazz style. Bob James plays electric piano, Dennis Budimir guitar and Cat Anderson trumpet. Bursts of rasping, blazing horns punctuate the track, from the opening bars, while the piano, percussion and rhythm section are content to play supporting roles. Swathes of slow lush strings drift in, but before long, they’re swallowed up by the power of the horns that dominate the track. Flourishes of guitars and keyboards drift in and out, while Latin percussion is almost ever-present and horns are key to the energy, emotion and drama of the track.
Sanford & Son Theme (The Streetbeater) sees Tom Morgan’s harmonica playing at the heart of this fusion of jazz and funk. He sprays flourishes of harmonica, while saxophonists Ernie Watts and Phil Woods punctuate the arrangement with rasping bursts of horns. Adding to the funky sound of the track are stabs of keyboards. Sometimes, you think that the band will really kick loose, transforming the track into a glorious slice of funk. Sadly this doesn’t happen, they’re never let off the reins by Quincy. This means that although his band to shine, it’s more a crescent moon that full moon.
Closing You’ve Got It Bad Girl is Chump Change, which Bill Cosby and Quincy cowrote. Again the track sees Quincy and his band combine elements of jazz and funk. Blazing horns, rhythm section, percussion and keyboards combine, creating a sound that’s dramatic and bold. The tempo rises and falls, with instruments drifting in and out of the track. Horns are replaced by a harmonica, while the rhythm section provide the track’s heartbeat, resulting in a compelling track to close the album that sadly, doesn’t quite fulfil its early potential.
You’ve Got It Bad Girl is a quality album from Quincy Jones, where he’s accompanied by some of the best jazz musicians of the early seventies. Bob James, Dave Grusin, Ernie Watts, George Duke and Ray Brown all join Quincy’s all-star cast of musicians. So does Valerie Simpson. Her vocals grace two tracks, Summer In the City and Tribute To A.F. – RO. These are quite simply two of the album’s highlights. Among the other highlights are two tracks most people associate with Stevie Wonder. Both tracks are from Stevie’s Talking Book album, Superstition and the Yvonne Wright penned You’ve Got It Bad Girl. Of the other five tracks, Love Theme From “The Getaway has a tenderness and beauty, while Manteca is a dramatic exploration and examination of a track Dizzy Gillespie cowrote. On the two tracks that close You’ve Got It Bad Girl, I’m left thinking what if? Both are good tracks, but just that. They could however, have been outstanding. During Sanford & Son Theme (The Streetbeater) you feel there’s a glorious slice of funk waiting to escape. Sadly, Quincy never quite lets the band of the leash, content to take the track in the direction of jazz-funk. This is really frustrating. Similarly, while Chump Change is dramatic and bold, again, you feel that although it’s a good track, it has the potential to be a great track. Instead, the track is like a meal at a well known burger company, where you’re left wanting more. Overall however, You’ve Got It Bad Girl is a good example of Quincy Jones music from the seventies and is a source of some great samples for crate diggers. Standout Tracks: Summer In the City, Tribute To A.F.- RO, You’ve Got It Bad Girl and Superstition.
QUINCY JONES-YOU’VE GOT IT BAD GIRL.
NATURAL FOUR-THE NATURAL FOUR.
NATURAL FOUR-THE NATURAL FOUR.
Having formed in Oakland in 1967, Natural Four signed their first recording contract with a local Oakland label Boola Boola Records. Their debut singles was I Thought You Were Mine, which sold over thirty-thousand copies in the Oakland area. After the release of the follow-up, Why Should Me Stop Now ABC Records signed Natural Four, having seen the group’s potential. ABC released Why Should Me Stop Now and the single reached number thirty-one in the US R&B Charts. Two further singles were released on ABC, plus Natural Four’s debut album Good Vibes. Sadly, when Natural Four couldn’t replicate the success of their debut single I Thought You Were Mine, ABC dropped Natural Four from its roster. Then in 1971, after the failure of the single Give A Little Love released on Chess Records, lead singer Chris James decided drastic action was needed. He replaced the other three band members. Remarkably, this worked, with Natural Four signing to Curtom Records in 1972. This saw Natural Four make a commercial breakthrough, with six US R&B hit singles and three albums being released. Each album was produced by Leroy Hutson, including 1974s The Natural Four which not only reached number thirty-six in the US R&B Charts, but featured three hit singles. After I’ve told you about the making of The Natural Four, I’ll tell you about the music on the album.
For the recording of what was the new lineup of Natural Four, lead singer Chris James, Darryl Cannady, Steve Striplin and Delmos Whitney headed to the Chicago, where Leroy Hutson would produce six of the nine tracks on their first album for Curtom. The other tracks were produced by Lowrell Simon and Richard Tufo. Leroy Hutson’s role wasn’t just as producer, but as songwriter. He was also arranger and songwriter. He cowrote seven of the nine tracks on The Natural Four, including the three singles that would be released from the album. Recording of the nine tracks took place at Curtom’s Studios in Chicago, with the album set for release in 1974.
On the release of The Natural Four, the album reached number thirty-six in the US R&B Charts. Three singles were released, with Can This Be Real reaching number thirty-one in the US Billboard 100 and number ten in the US R&B Charts. Love That Really Counts was the follow-up, reaching number ninety-eight in the US Billboard 100 and number twenty-three in the US R&B Charts. You Bring Out the Best In Me was the final single released from The Natural Four, reaching number twenty in the US R&B Charts. Chris James’ decision to change the lineup of Natural Four had worked, with three hit singles and a top forty US R&B album the proof. However, what does the music on The Natural Four sound like? That’s what I’ll now tell you.
Opening The Natural Four is Can This Be For Real, which Leroy Hutson cowrote, arranged and produced. Opening with a sultry, seductive saxophone drifting above arrangement, Chris James emotive, heartfelt vocal enters. He’s accompanied by tight harmonies from the rest of the group, while the rhythm section, percussion and lush strings. Later, the saxophone reenters, reflecting and complimenting the beauty and in emotion of Chris’ vocal, on what is one of the album’s highlights.
Like the opening track, You Bring Out The Best In Me was another single released from The Natural Four. When the track opens, you realize the quality of the track. Strings cascade, horns rasp and the rhythm section accompany Chris’ vocal. It’s impassioned and powerful, while tight, soulful harmonies accompany him. A pounding bass line is ever-present, while flourishes of keyboards, punchy horns and the lushest of strings drift in and out of the track. For over four joyous, impassioned and uplifting minutes, Natural Four have you spellbound, such is the quality of the track.
Blazing horns accompany the vocal as Try Love Again opens. Quickly, the vocal changes hands, while the rest of the group add harmonies. Bursts of horns, sweeping swirling strings and a rhythm section that’s punchy and powerful, inject drama that matches the vocal. Unlike the two previous tracks, the arrangement is busy, almost jumbled. Vocals seem to fight for attention, while the arrangement seems too “narrow” and crowded. Later, when the horns take centre-stage, playing a ninety second jam there isn’t the cohesive sound I’d expect. It seems that, after a promising start, the track failed to live up to expectation.
Thankfully, You Can’t Keep Running Away sees Natural Four get things back on track. Guitars and the rhythm section combine before flourishes of dancing strings give way to the vocal. The vocal changes hands, while tight, punchy harmonies are accompanied by crystalline guitars, shimmering strings and the rhythm section. Harmonies sweep in, augmenting the lead vocal, as this gloriously, uplifting and irresistible track reveals its charms.
This Is What’s Happening Now is quite different in sound as it gives up its secrets and subtleties. Against a backdrop of studio chatter, the rhythm section and guitars build up the drama, while strings shiver and quiver. Then, when the vocal enters, you realize that this track has some of the best lyrics on the album. They’re full of social comment, and remarkably, still relevant nearly forty years later. There’s frustration and anger in the lead vocal, with the harmonies more potent and effective. Strings, rhythm section and percussion provide a perfect, powerful and dramatic backdrop for Natural Four as they deliver their impassioned, emotive vocals.
On Love That Really Counts the tempo drops way down, while the arrangement has a much more understated sound. Guitars reverberate gently, with percussion and rhythm section playing thoughtfully and subtly. The vocals and harmonies have a similar understated and tender sound. Horns rasp gently, strings sweep tenderly as one of the most beautiful ballads on The Natural Four unfolds, with Natural Four delivering some of their most tender vocals.
Try To Smile sees the mood change, with a track whose irresistible, hook laden charms sweeps you along in its wake. Bursts of blazing horns, rhythm section and cascading strings accompanies Chris’ vocal. Harmonies sweep in, with the rhythm section adding to the track’s drama and the strings adding to its grace and beauty. Later, braying horns are accompanied by cooing, sweeping harmonies, while Chris delivers his vocal with a mixture of joy, hope and emotion. By then, you’re smitten, won over by this joyous, hook-laden track, which demonstrates perfectly just how talented the new Natural Four were.
Strings shimmer and quiver, as Love’s Society opens. Chris’ vocal is tender, thoughtful and impassioned, accompanied by harmonies that sweep in. A piano meanders in and out of the arrangement, as do stabs of Hammond organ. Key to the track’s sound is the braying horns, shivering strings and a rhythm section that mix subtlety and drama. This is a fitting backdrop, considering the quality of the lyrics, which Leroy Hutson cowrote with Joseph Scott and Roger Anfinsen. They’re poignant, full of social comment, and delivered with passion by Chris. All these ingredients make this a much more cerebral track, more for the head than the feet.
Closing The Natural Four is Things Will Be Better Tomorrow, written by Richard Tufo. It’s a song offering hope and is full of optimism. Set against an arrangement that’s much more funky than other tracks, with keyboards, dancing strings and howling horns combining. Then when the vocal enters, you do a double-take, checking the right album is on. The reason for this is briefly, the vocal sounded like Curtis Mayfield. Quickly, the vocal changes hands, with each member displaying their vocal talents. Their vocals are a perfect fit, one complimenting the other. Meanwhile, horns rasp, strings swirl and sweep and the rhythm section add the track’s funky heartbeat. Not only does this track show a tougher, funkier side to Natural Four, but it’s message of optimism and hope was a good way to end The Natural Four.
Natural Four’s second album The Natural Four sees a very different group, not just in personnel, but different sounding group. Their music is much more accomplished and polished. The only thing that remained the same was Chris James’ lead vocals. However, the three new members were key to Natural Four’s new sound. Not only did they contributing tighter, sweeter harmonies, but when they take turns of sharing the lead vocals, their voices were a better fit. Each member compliments the other perfectly. Together, the four members of Natural Four ensured that The Natural Four is an album full of what’s variously, emotive, beautiful and dramatic music. Apart from Try Love Again, which has a crowded arrangement, the other eight tracks see Natural Four at their soulful best. These tracks are a mixture of ballads and uptempo tracks. Some of the tracks on The Natural Four contain relevant and important messages. Whether music with a message, ballads or dance-floor friendly tracks, they’ve one thing in common, their quality. With music as good as this, this leads me to wonder just why Natural Four’s second album, and first album for Curtom Records, The Natural Four wasn’t a much bigger success. It only reached number thirty-six in the US R&B Charts, but did contain three top forty US R&B singles. After this, Natural Four would only release two more albums 1975s Heaven Right Here On Earth and 1976s Nightchaser. Although Natural Four didn’t find the success their music deserved, The Natural Four is an album full of Good Vibes where Natural Four take you to a place that’s Heaven Right Here On Earth. Standout Tracks: Can This Be For Real, You Bring Out The Best In Me, You Can’t Keep Running Away and Love That Really Counts.
NATURAL FOUR-THE NATURAL FOUR.
HARVEY MASON-GROOVIN’ YOU.
HARVEY MASON-GROOVIN’ YOU.
By the time Harvey Mason signed a five year recording contract with Clive Davis’ Arista Records in 1976, Harvey was one of the most in-demand session drummers. He was seen as the go-to guy for anyone needing a top-class drummer. This saw Harvey playing on albums by Minnie Riperton, Donald Byrd, Chick Corea and Earth, Wind and Fire. Ever since Harvey played on Donald Byrd’s breakthrough album Black Byrd, his services were in demand. From there, Harvey played on Herbie Hancock’s Headhunters album, before playing on albums by Grover Washington Jr., Patrice Rushen, Charles Earland, Carlos Santana and George Benson. Then in 1976, Clive Davis realized the Harvey Mason was more than a session player. Now was the time for Harvey to step up to the plate and become a solo artist. His debut album for Arista was 1976s Marching In the Street, followed by Earth Mover later in 1976. A year later, in 1977, came one of Harvey’s best albums, Funk In A Mason Jar. As good as Funk In A Mason Jar was, Harvey’s next album would surpass even it. Groovin’ You was released in 1979, and became Harvey Mason’s most successful album. Not only did it reach number forty-eight in the US R&B Charts, but became Harvey’s first album to enter the US Billboard 200, reaching number 149. One of the highlights of Groovin’ You is the title-track, Groovin’ You where funk and disco combine seamlessly. After I’ve told you about the background to Groovin’ You, I’ll tell you about the music on the album.
For what was Harvey’s fourth album in just three years, nine tracks were chosen. Of the nine tracks on Groovin’ You, Harvey Mason wrote two tracks and cowrote three other tracks. This included co-writing I’ll Still Be There with Onaje, Never Give You Up with Kenny Mason and Say It Again with David Foster. Somewhat ironically, Kenny and Sally Mason cowrote the album’s best known track Groovin’ You. Wave was a cover version of a track written by Antonio Carlos Jobim. With the tracks that would become Groovin’ You chosen, all that was needed was a band. The band that would accompany Harvey is deserving of the description, all-star band,
Joining Harvey Mason were some of the biggest names in music. This included guitarists Phil Upchurch, Ray Parker Jr, bassists Mike Porcaro and Stanley Clarke, while Bob James played keyboards and Sheila E sprinkled percussion throughout the album. Kenny Mason, Harvey’s brother, played trumpet on Groovin’ You. Adding backing vocals were Sheila E, Jim Gilstrap and Stephanie Spruill. Harvey produced the nine tracks on Groovin’ You, which was recorded at New York’s Power Station. Now that the album was recorded, all that was left was for the album to be released.
When Groovin’ You was released, it would become Harvey Mason’s most successful album. It reached number forty-eight in the US R&B Charts and number 149 in the US Billboard 200. While Marching In the Streets and Funk In A Mason Jar reached numbers forty-five and thirty-seven respectively in the US R&B Charts, neither had entered the US Billboard 200. This was a breakthrough for Harvey’s music, seeing it cross into the mainstream. Sadly, after this, only M.V.P. would enter the US Billboard 200, stalling at number 186, meaning Groovin’ You would be Harvey’s most successful album. However, what made Groovin’ You such a successful album though? Quite simply it was the music on Groovin’ You, which I’ll now tell you about.
Opening Groovin’ You is I’d Still Be There sees blazing horns and the rhythm section combining, before when the vocal enters, the track reminds me of Earth, Wind and Fire. Swathes of cascading strings, percussion and keyboards enter, as the track grows in drama and beauty. By now, Harvey Mason and his band have you hooked. A soaring vocal is accompanied by dancing strings, bursts of horns and a rhythm section with Harvey’s drumming at its heart. The result is a gloriously uplifting, joyous track.
A track that become synonymous with Harvey Mason is the title-track Groovin’ You. It bounces into being brief bursts of punchy horns, shimmering, quivering strings and the funkiest of bass lines. Bursts of backing vocals, handclaps and keyboards give way to Harvey’s vocal. Backing vocalists accompany him, while flourishes of keyboards, rasping horns and the rhythm section ensure the track swings along. Later, a myriad of percussion joins booming drums in adding to the drama of the track. Seamlessly, Harvey Mason and his band marry elements of funk, soul disco, resulting in dance-floor classic.
Harvey gets on his marks before The Race begins. For a race, this is lovely laid-back competition. Swathes of strings, gentle bursts of horns, chiming guitars and the rhythm section combine, before an emotive vocal enters. Soaring, soulful backing vocalists play an important part in the track’s lush, beautiful sound. So do keyboards, lush strings and braying horns that drift in and out the track. Again, there’s a real Earth, Wind and Fire sound present, the way the vocals, horns and strings are used. They’re used in a way that’s not just really effective, but quite beautiful.
We Can has a much more understated sound as the track opens. Key to the track’s success this is the slower tempo, plus the space that’s left within the arrangement. The addition of a tender, heartfelt vocal is the clincher for me. It really makes this track. The band play around the vocal, playing with a subtlety. Strings are lush, horns rasp gently, while keyboards and the rhythm section play with care, ensuring they don’t overpower the vocal. Later, their playing matches the power and emotion of the vocal, as the track heads towards its conclusion. Still the band don’t overplay, playing with just the right combination of power and subtlety. This is really effective. The band reflect and compliment one of the most emotive, impassioned vocals on Groovin’ You.
As Never Give You Up opens the drama builds and builds. The rhythm section, blazing horns and flourishes of piano combine, before a lone horn Thom Bell tinged horn sounds. From there, the track reveals its many charms and delights. Quickly, the sound becoming uplifting and joyous. Key to this are the vocals. Meanwhile, the rhythm section and guitars fuse funk and soul, while keyboards, dancing strings and bursts of blazing horns punctuate the arrangement. The lead and backing vocalists feed off each other, as if encouraging the other to greater heights of emotion and soulfulness. Somehow they manage to achieve this and in doing so, play their part in what is a hugely catchy, soulful track.
Say It Again opens with that much sampled “ooh ooh,” before the tracks reveals a sound that’s reminiscent of variously The Jacksons, Earth Wind and Fire. Straight away, the track bursts into life, with braying horns, sweeping, swirling strings and the rhythm section combine. Funk and soul are fused, with tight harmonies gracefully dancing their way through the track. Keyboards and guitars drift in and out, before the band take the track in the direction of funk during a breakdown. Guitars, rhythm section, punchy horns and a proliferation of percussion combine, before punchy vocals enter. By then, you realize you’re hearing this all-star band at the top of their game. They’re doing what comes naturally to them, making some funky music.
From the get-go, Harvey and his band keep the funk flying on Here Today Gone Tomorrow. The rhythm section, guitars and percussion combine with his vocal, while backing vocalists sweep in. Braying horns, keyboards and percussion play their parts, before the guitars and rhythm section take turns to demonstrate their talents. In doing so, they demonstrate how jazz-funk should sound. The music is bold and dramatic, with lengthy solos the order of the day. This isn’t so much grandstanding or showboating, but more hugely talented musicians exploring the music. They see where they can take the music, before rejoining their colleagues and uniting. There’s a word that describes this perfectly…jazz.
Wave was written by Antonio Carlos Jobim and sees the track head in a much more mellower direction. The track is slower, spacious and much more subtle sounding. Here, the emphasis is on percussion, lush sounding strings and the rhythm section playing gently and thoughtfully. Later, the music grows in power, with drums, bass and guitars responsible for the change in sound. Still, there’s a subtlety, with space still left, allowing the music to breath and its beauty to shine through.
Kauai the perfect track to close Groovin’ You. Opening with just the rhythm section and percussion combining, a sultry sounding saxophone drifts in. It’s accompanied by the rhythm section and guitars. Occasional flourishes of keyboards plus sweeping, swirling strings drift in and out. Later, the saxophone takes the track on diversions into a much more funky sound. The rest of the band follow this lead, before changing tack and returning the previous sound. This sees them flit between jazz and funk for five minutes during which Harvey Mason and his band tease and tantalise whilst Groovin’ You.
Of all the albums Harvey Mason has released, Groovin’ You has long been my favorite. I say this as someone whose been a fan of Harvey Mason’s music since his debut solo album Marching In the Streets. After the release of Marching In the Streets, Harvey released a string of outstanding albums. Although Funk In A Mason Jar and Groovin’ You are Harvey’s two best albums, Groovin’ You is an album that’s both complete and cohesive. From the opening bars of I’d Still Be There the album’s opener, until the closing notes of Kauai, which closes the album, there’s no let up in the consistency and quality of music. One great track gives way to another, leaving you spellbound. Jazz, funk, soul and even disco are fused during the nine track’s on Groovin’ You by Harvey Mason and his all-star band. This includes some of the biggest names in seventies jazz music. Since then, Harvey continues to release albums, plus writing music for films and working as a session musician. He continues to work with the biggest names in music, and since his career started in the early seventies, has played on more albums than just about any other musician. However, for anyone wanting to hear Harvey Mason at his very best, then Groovin’ You is the perfect starting place. After this, I’d recommend Funk In A Mason Jar. Both Groovin’ and Funk In A Mason Jar were rereleased by SoulMusic.com in 2011 and are the perfect introduction to Harvey Mason, and very soon, Harvey will be Groovin’ You. Standout Tracks: I’d Still Be There, Groovin’ You, We Can and Never Give You Up.
HARVEY MASON-GROOVIN’ YOU.
EDDIE LEVERT-I STILL HAVE IT.
EDDIE LEVERT-I STILL HAVE IT.
Never before, has an album title been more apt than Eddie Levert’s debut solo album I Still Have It. What Eddie Levert still has, is one of the best voices in R&B music. Eddie proves the maxim that form is temporary, but class is permanent. After joining The O’Jays in 1958, Eddie’s spent over fifty years as lead singer of Canton, Ohio’s favorite sons. Since then, The O’Jays have released album after album of classy, polished soul. During their time on Philadelphia International Records, not only did The O’Jays become one of the label’s biggest acts and success stories, but released a string of classic album. This included Back Stabbers, Ship Ahoy, Survival, Family Reunion, Message In the Music and Full of Love. That’s not forgetting numerous classic singles, including the joyous Love Train, I Love Music, Livin’ For the Weekend, Darlin’ Darlin’ Baby (Sweet, Tender, Love) and Use Ta Be My Girl. However, there was one thing Eddie Levert hadn’t done in all his years as a singer. He hadn’t released a solo album…until now. His debut solo album is I Still Have It, released in May 2012. Now, as if having Eddie Levert’s debut solo album released isn’t something to shout about from the rooftops, there’s an added bonus. Tom Moulton, the godfather of the remix and inventor of the twelve inch single mixes the album’s twelve tracks. This sees two colossuses of music unite with one common cause, ensuring that Eddie Levert’s debut solo album I Still Have It is a memorable one. Before I tell you whether that’s the case, I’ll tell you about the background to the album.
After fifty-three years in the music business, Eddie Levert decided to record a solo album, which he’d never done before. In writing and recording the music on I Still Have It, it must have proved challenging and even cathartic. On the twelve songs on I Still Have It, Eddie reflects on various aspects of his life. This includes his love for his wife Raquel Capelton, which he sings about on Lonely. He wrote this track about being parted from Rachel for the first time ever, when she embarked upon an expedition to Africa, where she climbs Mount Kilimanjaro. It was during this time they were parted, that Eddie felt such loneliness, that made him realise just how strong his love for Rachel was.
On Last Man Standing, the title-track and first single released from the album, Eddie broaches one of the most heartbreaking aspects of his life, the death of his two sons Eddie and Gerald. Obviously, this must be the worst thing that can happen to a father, outliving his sons. So, hopefully, writing and recording this track has proved cathartic, helping Eddie to come to terms with such tragic circumstances.
Like these two tracks, the other ten tracks on Last Man Standing were written and produced by Eddie. They’re a combination of ballads and uptempo tracks. Each track features the unmistakable sound of Eddie’s vocals. Unlike other artists, Eddie hasn’t collaborated with modern R&B artists. Strangely and modestly, Eddie feels he has to prove “worthy of being in their presence,” “that he’s an asset to what they’re doing” and that he’s still a “valuable artist.” Personally, I think it’s the other way around, with these artists worthy of working with the great Eddie Levert, a man whose a true legend of music. It’s was along with another musical legend that Eddie collaborated with in the making of I Still Have It. That was Tom Moulton, who remixed the twelve tracks on I Still Have It, Eddie Levert’s debut album, which I’ll now tell you about.
Opening I Still Have It is Last Man Standing, a song Eddie wrote about the loss of his two sons, Eddie and Gerald. Listening to the lyrics and Eddie’s vocal, you can hear the hurt and heartache in his voice. His voice is full of emotion, as keyboards, guitars and the rhythm section accompany him. They provide an arrangement that’s bright and uplifting. It’s as if the song is a celebration of his two son’s and their lives.Eddie’s vocal is multi-tracked, so he contributes soulful, backing vocals, that provide a contrast to his powerful, impassioned vocal. However, what makes this such a special, moving and beautiful song, is the lyrics and Eddie’s delivery of them.
Straight away, on Get Over It, I hear Tom Moulton’s influence. It’s the way the track is mixed, plus the way various instruments sit in the mix. Pounding drums, percussion and a wash of synths open this dance track. Eddie’s emotive, soaring delivery is reminiscent of Teddy Pendergrass, as soulful, swooning female backing vocalists augment his vocal. Synths, pounding drums, flourishes of keyboards and bursts of horns combine as this storming, stomping track unfolds. Later, Eddie vamps his way through the track, his vocal a throaty growl. His vocal plus Tom Moulton’s remixing skills make this a storming dance-floor friendly track for the 21st Century.
Lonely is a song about Eddie being temporarily parted from his wife Rachel, while visited Africa. Eddie missing Rachel so much, realized just how much he loved his wife. Guitars and percussion give way to Eddie’s emotive, soaring vocal. The rhythm section, guitars and keyboards add to the track’s drama and emotion. By now, Eddie’s voice is full of love, longing and loneliness. Later, backing vocalists sweep in, answering Eddie’s call. As the track progresses, the arrangement builds, growing in power and drama, reflecting the emotion and loneliness in Eddie’s heartfelt vocal. So good is Eddie’s vocal, I wonder why, it’s taken him so long to record his debut solo album?
Jazz tinged guitars and keyboards accompany Eddie as Blown Away begins. Slowly and gradually the track begins to reveal its charms. When the song decides to reveal its secrets, what you hear is a heartbroken Eddie, his voice full of hurt and sadness. He’s accompanied by backing vocals, percussion and flourishes of keyboards that combine with the rhythm section. Later, Eddie bares his soul, while the arrangement grows in power and drama. Female backing vocalists, feed off the Eddie’s vocal, while crystalline, chiming guitars, keyboards and percussion combine, while this seven Magnus Opus reveals its brilliance. Both Eddie’s production and Tom Moulton’s mixing play their part in making this such an outstanding track, full of emotion and drama, plus heartache and hurt.
I Like The Way You Move sees the appearance of the seductive, sensuous side of Eddie Levert. As his vocal enters, it’s husky, full of expectation and desire. As the rhythm section, guitars and keyboards accompany Eddie, the arrangement’s spacious and loose. Later this changes. Now it flows along, trailing bursts of wah-wah guitars and pounding bass in its wake. By then, Eddie’s delivery is powerful and sassy, as he struts his way through the track, with backing vocalists accompanying him on a seductive bedroom ballad par excellence.
Dramatic drum rolls open What If, before Eddie throws a curve-ball that has you grasping thin air. Given the opening bars, you think the track will explode. That isn’t the case. Instead, you hear one of the most beautiful ballads you’ll hear in a long time. Eddie’s vocal is impassioned, while piano, guitars, percussion and drums provide an understated and beautiful backdrop. Female backing vocalists drift in and out of the track, their subtle, soulful strains the perfect accompaniment for one of the most intense, heartfelt vocals from Eddie on I Still Have It. Truly, this beautiful ballad is a joy to behold.
Don’t Get Much Better is one of those joyous tracks where resistance is impossible. It’s better just to settle back, letting the dream team of Eddie Levert and Tom Moulton sweep you along in their wake. Handclaps, stabs of keyboards and the rhythm section combine, before Eddie’s joyous vocal enters. Backing vocalists accompany him, while bursts of horns, keyboards and percussion are sprinkled throughout the arrangement. Meanwhile, Eddie’s vocal is impassioned and emotive, with the backing vocalists responding to his call. The longer the track goes on, the more irresistible and joyous the track is, thanks to Messrs. Levert and Moulton, the real dream team.
Eddie drop the tempo way down on the ballad All About Me And You. This is something Eddie does oh so well. Drums that are slow and spacious, give way to Eddie scatting emotively, while guitars chime, gently. Then when Eddie’s vocal enters, it’s totally heartfelt. His band play gently and subtly, allowing Eddie’s vocal to take centre-stage and shine. Female backing vocalists enter just at the right time. Their addition is just at the right time, adding to the beauty and effectiveness of the track. For me, this isn’t just vintage Eddie Levert, but a track that like the album title says about Eddie… I Still Have It.
A piano played slowly opens I Don’t Want To Be the One, before Eddie’s vocal enters. It’s full of hurt and regret, sung against a minimalist arrangement. Just the piano and flourishes of cymbals and shakers accompany Eddie. This works really well, ensuring you focus on Eddie’s vocal and his lyrics. Later, jazz-tinged guitars enter, as the arrangement grows in drama with keyboards and percussion entering. Still the arrangement has an understated, almost minimalist sound, that allows Eddie’s emotive, heartfelt and quite beautiful delivery.
It’s a funk drenched sound that opens Don’t Lie To Me. Wah-wah guitars, rhythm section, bursts of blazing horns and keyboards accompany Eddie’s grizzled, passionate vocal. Layer upon layer of backing vocalists sweep in, while sizzling guitars and the funky rhythm section produce one of the “biggest” arrangements on the album. Eddie’s vocal has a similar power and boldness, reflecting and suiting the arrangement. Although quite different from other tracks, it shows another side of Eddie Levert.
Hate’n sees a change in style and sound. It’s a much more uptempo track, where soul and funk combine. The track literally bursts into life, so you jump onboard and enjoy the journey. Bursts of punchy horns, chiming guitars and a driving, pounding rhythm section combine with Eddie’s powerful, rasping vocal. Flourishes of keyboards, backing vocalists and rasping horns accompany Eddie as he roars and vamps his way through the track that’s hugely catchy and certainly not short of hooks.
Closing I Still Have It is You’re Always There, another of the ballads on the album. Bursts of horns, guitars and keyboards accompany heartfelt, grateful Eddie’s vocal. The lyrics are about love, and like Lonely, are a paean of adoration to his wife Rachel. Given how beautiful a track this is, she must be a very special lady. Soulful, impassioned backing vocalists sweep in, while one of the best arrangement unfolds. Flourishes of piano and guitar drift in and out, while the rhythm section provide the track’s steady heartbeat. Along with the backing vocalists that accompany Eddie are key to the track’s success and sound. Later, a lone horns drifts seductively above the arrangement, adding the finishing touch to a track as Eddie lays bare his soul. Not only is this a very beautiful, emotive and really moving love song, but the perfect way to close I Still Have It.
When I heard that Eddie Levert had, at long last, finished his debut solo album I Still Have It, I was really excited by the prospect. I couldn’t wait to hear the album, given this was Eddie Levert’s much talked about debut album. For years, there have been rumors that Eddie Levert was releasing his debut solo album. At last it was here and soon, I’d be hearing it. Then I was in for another pleasant surprise…Tom Moulton had mixed it. That was the clincher for me, I had to review the album. For me, this was a real dream team, two true masters at work. One was Eddie Levert, lead singer of The O’Jays, one of the most successful soul groups ever, while Tom Moulton is the greatest remixer ever. Unlike younger remixers, Tom Moulton picks and chooses which projects he gets involved in. He only gets involved in a projects where he’s working with a quality product, which must have one other vital ingredient….soul. Having worked with Eddie Levert during the seventies, when he remixed several of The O’Jays’ tracks, Tom knew Eddie Levert is a class act. So, he knew that his starting point would be music that’s of the highest quality. Eddie didn’t disappoint. On ballads like Blown Away, What If and All About Me And You, Eddie rolls back the years, resulting in vintage Eddie Levert. His voice is peerless, variously full of hurt and heartbreak, plus love and longing. Then on the uptempo tracks like Last Man Standing, Lonely, Don’t Get Much Better, Don’t Lie To Me and Hate’n, Eddie kicks loose. Tom then takes the twelve tracks on I Still Have It and brings out their beauty, bringing them to life in the process. In doing this, you’re able to experience and share the emotions Eddie Levert delivers these twelve songs with. Whether it’s joy, sadness desire or adoration, Eddie’s vocals are at the heart of Tom’s mixes. Adding to the quality of the songs, and Tom’s mixes, are the contributions of Eddie’s multitalented band and backing vocalists. Their part in the album’s success and sound can be underestimated. Tom’s mixes are of the highest quality, proving that he still has so much more to offer music. The same can be said of Eddie Levert, who wrote the twelve tracks on I Still Have It. His voice is just as good and along with Tom Moulton, these two legends of music have ensured that Eddie Levert’s much anticipated debut solo album I Still Have It is well worth the wait. Adding to the good news from Eddie Levert, Eddie says that he’s been working with The O’Jays and very that soon, they’ll be releasing a new album. In the meantime, Eddie Levert’s debut album I Still Have It is an album to buy and then treasure forevermore. Standout Tracks: Get Over It, Blown Away, Don’t Get Much Better and You’re Always There.
EDDIE LEVERT-I STILL HAVE IT.
MICHAEL KIWANUKA-HOME AGAIN.
MICHAEL KIWANUKA-HOME AGAIN.
When a new artist is compared favorably to some of the biggest names in music, then generally, people start to take notice. However, for those of us somewhat long in the tooth, we wonder whether, this is just the marketing department of a record company trying just a bit too hard to promote a promising artist. As Chuck D so eloquently and succinctly put it, “Don’t Believe the Hype.” All too often we hear claims that an artist is the next big thing, only for them to never be heard of again. Years later, when a music magazine does a “where are they now” article, we discover they’re stacking shelves at Wal-Mart or flipping burgers at Mickey D’s, but still wanting to get back to “doing what they love, making music.” The thing is, that so often do we hear these forecasts of greatness, that when a promising artist comes along, people shrug their shoulders and say “heard it before.” Ask yourself this, how often are a band said to be the next Beatles, Rolling Stones, Al Green or Teddy Pendergrass? Sometimes, though, these claims have some merit in them, with the artist in question having a promising future. This is the case with Michael Kiwanuka, who released his debut album Home Again, earlier this year. His music has been compared favorably to artists like Terry Callier, Bill Withers, Otis Redding and Van Morrison. After I’ve told you about Michael’s career so far, I’ll tell you about the music on Home Again.
After working as a session guitarist, Michael Kiwanuka was spotted by Communion Records in 2011. Communion Records released his Tell Me A Tale EP in April 2011, before releasing his second EP I’m Getting Ready in July 2011. In between the release of these two EPs, Michael had been supporting Adele, during her Adele Live tour. This included supporting Adele at the iTunes Festival. That wasn’t the only festival Michael played, playing at the Hard Rock Calling festival in London in July 2011. Later in 2011, Michael would make a big breakthrough, signing to Polydor Records. The next year, 2012 would see Michael win a prestigious award and release his debut album.
Having signed to Polydor Records, Michael Kiwanuka was named as the winner of the BBC Sound of 2012 award. Then the first of three singles from his debut album was released. The first was the title-track Home Again, which was released in January 2012, reaching number twenty-nine in the UK charts. Home Again, Michael’s debut album was release on 12th March 2012. It reached number four in the UK, while reaching number 120 in the US Billboard 200. Later in March, I’m Getting Ready was released as a single, reaching just 187 in the UK. I’ll Get Along was released as the third and final single, in May 2012 but failed to chart. Given the success of the album in the UK, and to some extent the US, Home Again had been a relatively successful album. However, what does the music on Home Again sound like?
Opening Home Again is Tell Me A Tale, which has a real seventies sound and feel. It’s best described as similar to the type of arrangement you’d expect to hear on an album someone like Terry Callier. Similar instruments are even used during the track. A wistful, quivering flute opens the track, before acoustic guitar, drums and strings accompany Michael’s emotive vocal, which sometimes, is delivered in sharp bursts. Then bursts of rasping horns, lush strings and percussion combine, while Michael’s vocal is questioning, frustrated even. The arrangement veers between dramatic, lush and beautiful, especially when the strings, percussion and horns are used. Although the track has a glorious seventies sound and feel, some people may say this sound is derivative. Whether you think this, the track features an emotive vocal from Michael, who wrote the track.
I’m Getting Ready was one of three singles released from Home Again. To me, it sees Michael discover his “own sound,” rather than a vintage sound. It’s just Michael’s tender, impassioned vocal and acoustic guitars that accompany him, before drums played with brushes enter. They’re accompanied by percussion and a Fender Rhodes played subtly. Later, when backing vocalists enter, their addition really lifts the track, giving it a spiritual sound, adding to the track’s beauty.
I’ll Get Along sees Michael return to his retro-tinged sound. However, this doesn’t preclude the track from being one of the album’s highlights. Here, Michael’s voice sounds quite different from previous tracks. Backing vocalists accompany him, while a cascading flute, quivering strings, guitars, piano and drums play their part in making this one of the best tracks on Home Again.
Rest has a quite understated sound and spacious arrangement. It’s just keyboards, guitars, drums and grand strings that accompany Michael. His vocal is slow, thoughtful and heartfelt. Instruments are played with a real subtly, drifting in and out the arrangement. Not once do the band overplay, always playing with a tenderness that compliments the intensity and emotion in Michael’s vocal.
The title-track Home Again was the most successful of the three singles released from the album. For the first minute, it’s just Michael and his trusty acoustic guitar. This really works well, but then when strings drift in and out, they sound like an afterthought. They’re too loud and jar. Gone are the lushness of the string sound on an earlier track. They don’t sound as they belong on the track. Maybe, if the strings were neither as sharp, sudden or loud, the track would’ve worked better. The irony of the situation is that there’s a good track trying to escape from the arrangement.
Bones sees the album heading in another direction, taking it’s reference points as jazz, soul and doo-wop. Drum provide a shuffling beat, while strings quiver and shiver, before guitars enter. When Michael’s vocal enters, it’s delivered in the same style as on I’ll Get Along. His calls are answered by backing vocalists, whose style has been influenced by soul and doo-wop. Meanwhile, a piano, percussion strings and drums are key to this jazz-tinged track’s sound and success. By the end of the this retro sounding track, you can’t help but be won over by this track which features some thoughtful lyrics from Michael.
As an acoustic guitar accompanies Michael on Always Waiting, instantly you realize that something quite beautiful and almost spiritual is about to unfold. Backing vocalists augment his vocal, while strings, percussion and piano combine. A welcome addition is the double bass which works much better than an electric bass would. Multi-tracked backing vocalists and graceful strings combine as the arrangement grows. By then layer upon layer of pensive, elegant and beautiful music wash over you, cleansing you with its near spiritual qualities.
When I Won’t Lie begins, the arrangement quickly unfolds to reveal powerful swathes of music. Again, there’s a spiritual side to the music, with rasping horns, crystalline guitar and broody strings offering musical contrasts. Michael’s vocal is louder, reflecting the confusion and frustration in his vocal. Backing vocalists are deployed effectively, before waves of music rise and fall, like waves crashing on a beach. Sometimes, Michael’s vocal almost reminds me of Jeff Buckley, with a similar power and emotive delivery, especially on a track so powerful and moving as this.
Chiming, jangling guitars, a pounding bass and percussion combine with Michael’s impassioned vocal as Any Day Will Do Fine begins to reveal its hidden depths. Blazing horns, lush strings, twanging, jangling guitars and percussion provide a backdrop for Michael’s emotive delivery. Briefly, backing vocalists sweep in, but their grace and subtly is underused. They could’ve improved this dramatic, poignant track, transforming it into something even better.
Closing Home Again is Worry Walks Beside Me. Like the previous tracks, Michael wrote it. His vocal is powerful, laden with emotion and hurt, while guitars and drums combine, to provide a spacious backdrop. Later, waves of backing vocalists and Hammond organ enter, adding to the drama and emotion of the track. Strings add a melancholy sound, while a piano adds to the moodiness of the track, as guitars and Hammond organ reverberate. Not only does it seem that Michael Kiwanuka has kept his best track for last, but it’s another track where you hear Michael’s own sound. This isn’t a homage to one of his heroes, but the real Michael Kiwanuka standing up and letting us hear what his music is about.
Michael Kiwanuka’s debut album Home Again is an accomplished collection of songs written by Michael and produced by Paul Butler. When I first heard the opening track Tell Me A Tale, I was instantly struck by its glorious seventies retro sound. Straight away, I heard similarities with artists like Terry Callier. Now, much as I love music from the seventies, and loved Tell Me A Tale, artists revisiting the seventies for inspiration risk their music being called derivative. Two other tracks, I’ll Get Along and Bones both have been inspired by the past. Having said that, both tracks really work, sounding thoughtful and beautiful. Tracks like I’m Getting Ready, Rest, Always Waiting and Worry Walks Beside Me are much more representative of Michael’s own sound and style. Quickly, you’ll realize that Michael is a talented songwriter, with his lyrics being variously pensive, thoughtful and spiritual. They provoke a variety of emotions and thoughts, which good lyrics always do. Of the ten tracks, only one, Home Again doesn’t really work. That’s purely because of the string sound, which to me, just doesn’t work. This is strange, because Paul Butler’s production works on most of the other tracks. Occasionally, you feel that an arrangement is a bit crowded, but mostly his productions compliment Michael’s vocal, playing an important part in the album’s commercial success. Overall, Michael Kiwanuka’s debut album Home Again is an accomplished, polished album that contains some compelling, quality songs. It’ll be to interesting to see how Michael Kiwanuka’s career progresses from here. Will he live up to the hype that surrounded the release of Home Again? Only time will tell. Standout Tracks: I’m Getting Ready, Always Waiting, I Won’t Lie and Worry Walks Beside Me.
MICHAEL KIWANUKA-HOME AGAIN.
JACKIE MOORE-I’M ON MY WAY.
JACKIE MOORE-I’M ON MY WAY.
Although many people remember Jackie Moore for her million selling single Precious, Precious released in 1970 on Atlantic Records, there’s much more to her career than just one track. Jackie’s career started in 1968, with Dear John, released in 1968 on Shout Records. Two years later, in 1970, came Precious, Precious which was certified gold in March 1971. After the success of Precious, Precious, Atlantic decided to release Jackie Moore’s debut album in 1973. Sweet Charlie Babe was essentially a collection of Jackie’s singles, containing two of her biggest hits Precious, Precious and Sweet Charlie Babe. This was the only album Jackie released on Atlantic and it would be two further years before she’d release her next album. Make Me Feel Like A Woman was released in 1975, on Kayvette Records. The next time Jackie Moore would record an album, would be for Columbia Records. Producing what would become I’m On My Way would be Bobby Eli, with whom Jackie had met while recording her debut album Sweet Charlie Babe. Together, with some of Philly’s finest musicians, the resulting album, I’m On My Way featured another of Jackie’s biggest singles, This Time Baby, previously made famous by The O’Jays. Once I’ve told you the background to I’m On My Way, I’ll tell you about the music on the album.
While Bobby Eli was producing what would become I’m On My Way, the Philadelphia influence on the album can’t be underestimated. Bobby Eli cowrote five of the albums tracks. Four of the tracks he cowrote with Jeffrey Pusan, while Bruce Gray cowrote the other track with Bobby and Jeffrey. Kenny Gamble cowrote Joe with Norman Harris and Alan Felder. This Time Baby, which Leroy Bell and Casey James of the Philly group Bell and James cowrote. This track had featured on The O’Jays 1978 album So Full of Love. So seven of the eight tracks on I’m On My Way had made in Philadelphia written all over it. So would the musicians who played on the album.
Accompanying Jackie Moore were some of Philadelphia International Records’ legendary house-band M.F.S.B. This included guitarists Norman Harris of the Baker, Harris, Young rhythm section, percussionist Larry Washington, keyboard player Lenny Pakula, drummer Keith Benson and the unmistakable sound of Don Renaldo and The Philadelphia Horns and Strings. Arranging the tracks on I’m On My Way, were Jack Faith, Norman Harris and Bobby Eli. Not only was Bobby Eli arranging and producing I’m On My Way, but played guitar on the album. Recording of the album took place at Sigma Sound Studios and the album was released in 1979.
I’m On My Way wasn’t a huge commercial success on it release in 1979. However, when This Time Baby was released as a single, it proved hugely successful, reaching number one in the Hot Dance Music-Club Play chart. This Time Baby would later be sampled by The Freemasons featuring Amanda Wilson on their 2005 hit Love On My Mind. On Love On My Mind, Jackie Moore with the help of Bobby Eli and Philly’s finest musicians fused disco and Philly Soul over eight tracks, which I’ll now tell you about.
Opening With Your Love is This Time Baby which Leroy Bell and Casey James cowrote. It’s a true disco classic, with a really fresh, contemporary sound. Pounding drums and bass open the track, before Larry Washington adds percussion. This gives way to soaring backing vocalists, before the percussion takes over. Eventually, after the drama has been built up, Jackie’s seductive vocal enters. Later, percussion, rhythm section, cascading strings and then blazing horns enter, before dramatic backing vocalists add the finishing touch to the track. Not only is arranger Norman Harris and producer Bobby Eli’s use of them stunning, building up the drama, but are key to the track’s contemporary sound. Tracks like this would later, play a huge part in the development of house music. However, for seven minutes, Jackie plus Philly’s finest musicians produce a disco class classic, one that could only have been made in one place…Philly. The result is a track that’s dramatic, soulful and one of Jackie’s best ever tracks.
Joe is a track that Kenny Gamble, Norman Harris and Alan Felder cowrote, and allows Jackie to demonstrate her soulful roots. Her voice is emotive, heartfelt and tinged with regret. Strings sweep and swirl, horns rasp, while the rhythm section replicate the drama and emotion in Jackie’s voice. Flourishes of piano and guitar drift in and out, while backing vocalists accompany Jackie’s vocal which is intense and impassioned. A flute floats in, as horns rasp and strings quiver as Jackie reveals her hurt and heartbreak. Not only is there an intensity in her delivery, but she displays a soulfulness and passion, which is reflected in the arrangement.
Can You Tell Me Why sees the album head in the direction of disco. From the opening bars, you’re totally hooked. A flourish of piano, bursts of rasping horns, cooing backing vocalists and shimmering strings combine with a pounding rhythm section. Everything is in place for Jackie’s vocal. Jackie doesn’t disappoint, transforming herself into a disco diva, with swooning backing vocalists accompanying her sassy vocal. Meanwhile, Bobby Eli’s arrangement is laden with cascading strings, that dance above her vocal, while the rhythm section provide the track’s pulsating heartbeat. After a percussive break, the track heads to a close, after six irresistible minutes and disco drenched minutes.
Let’s Go Somewhere and Make Love sees the tempo drop slightly, but the quality is still what you’d expect from an album produced by Bobby Eli and featuring the talents of Jack Faith who arranged this track. It’s one of these tracks that just totally joyous, uplifting and makes you want to dance. Jackie’s vocal is accompanied by lush strings, percussion, braying horns and the rhythm section. Backing vocalists augment her vocal, as this tantalizing arrangement reveals its charms and delights. It’s a fusion, of Latin music, soul, funk and disco, mixed together to create a hook-laden, joyful and uplifting track.
When I’m On My Way begins, Jackie and producer Bobby Eli throw a curve-ball. It’s just flourishes of harp and guitar that accompany subtle backing vocalists and Jackie. Then suddenly, the track explodes into life, sweeping you along in its wake. Swathes of strings, the rhythm section and bursts of punchy horns accompany Jackie’s soaring, emotive vocal. Backing vocalists sweep in, while bursts of horns and Bobby Eli’s guitar combine. Key to the track are the dancing strings and pounding, dramatic rhythm section. Together with Jackie’s vocal they sweep you along on captivating and enchanting musical journey, one that’s full of emotion and drama.
Although I’m On My Way is an album full of some great vocals from Jackie Moore, How’s Your Love Life Baby, features a really strutting, sassy and powerful vocal from Jackie. It’s delivered against a backdrop that’s laden with cascading strings, flourishes of piano, blazing horns and driving rhythm section. Backing vocalists play an important part in the track’s success. So do sweeping, swirling strings, bursts of punchy rasping horns and dramatic drums that punctuate that arrangement. Later, the unmistakable sound of Bobby Eli’s guitar playing enters, before later, the track takes a brief excursion into funk. Mostly the track’s a fusion of Philly Soul and disco, featuring as Jackie delivers one of her best vocals on the album.
Wrapped Up In Your Lovin’ is another track that Bobby Eli and Jeffrey Prusan cowrote. Here, Jackie’s vocal is powerful, passionate and soulful, soaring above the arrangement, She’s accompanied by equally soulful backing vocalists, while bursts of rasping horns, lush strings, keyboards combine. They provide an arrangement that’s not just hugely catchy, but reflects the drama, emotion and passion of Jackie’s vocal. Later, strings shimmer and quiver, as the drama builds and builds. Unfazed, Jackie somehow, raises her game, while equally dramatic, impassioned backing vocalists accompany her, adding to the emotion, drama and beauty of the track.
Closing I’m On My Way is Do Ya Got What It Takes, arranged by Jack Faith. Bursts of shivering strings, drums and blazing horns open the track, before Jackie’s vocal enters. She’s accompanied by swathes of strings, percussion and guitars, before backing vocalists sweep in. Throughout the track, bursts of horns and drums add drama. This is reflected in Jackie’s vocal. It too, is delivered in short, dramatic bursts, before soaring high and powerfully. Backing vocalists augment her vocal, delivering tight harmonies. Together with Jackie and some of Philly’s finest musicians they fittingly, bring I’m On My Way to a close, with a track that could only have been made in one place…Philadelphia.
To me, I’m On My Way, Jackie Moore’s third album, is something of a hidden gem, full of delicious disco and Philly Soul. While This Time Baby is the best known track on I’m On My Way, there’s much more to the album than just this one track. Good as This Time Baby is, and it’s a classic track, thanks to producer Bobby Eli and some of Philly’s finest arrangers, musicians and songwriters the album is quality from the album’s opening bars to its closing notes. After one great track, comes another, just as good. Among I’m On My Way’s highlights are Can You Tell Me Why, Let’s Go Somewhere and Make Love, How’s Your Love Life Baby and Wrapped Up In Your Lovin.’ Five of the album’s eight tracks were co-written by Bobby Eli, who not only produced I’m On My Way and arranged four tracks. Along with arrangers Norman Harris and Jack Faith, Bobby Eli played his part in the album’s success and sound. Jackie Moore’s vocals are variously emotive, impassioned, powerful and sassy. Whichever emotion was required, Jackie could get it across, breathing life and energy into the lyrics. Why an album as good as I’m On My Way wasn’t a bigger success seems strange. Maybe the problem was that by the time I’m On My Way was released, that disco wasn’t as popular. After the events at Comiskey Park in Chicago in July 1979, disco’s popularity declined. The Disco Sucks backlash caused sales of disco albums to decline. However, while disco suddenly sucked, I’m On My Way was an album full of some great music. This is music that has stood the test of time, and thirty-three years later, I’m On My Way is just as good as the day the album was released. Standout Tracks: This Time Baby, Can You Tell Me Why, Let’s Go Somewhere and Make Love and How’s Your Love Life Baby.
JACKIE MOORE-I’M ON MY WAY.
ARCHIE BELL AND THE DRELLS-WHERE WILL YOU GO WHEN THE PARTY’S OVER?
ARCHIE BELL AND THE DRELLS-WHERE WILL YOU GO WHEN THE PARTY’S OVER?
One of the many highlights on Tom Moulton’s recent Philadelphia Classics-The Tom Moulton Remixes was Tom’s remix of Archie Bell and The Drells’ Where Will You Go When the Party’s Over? Of the thirty-one remixes, that was one of my favorites. That set me thinking, that it was time I reviewed one of Archie Bell and The Drells’ albums. Obviously, given how much I enjoyed Where Will You Go When the Party’s Over?, where better place to start than that album, Where Will You Go When the Party’s Over? This was Archie Bell and The Drells’ second album for Philadelphia International Records, and the follow-up to 1975s Dance Your Troubles Away, which had been their first album since signing to Philadelphia International Records. It had reached number ninety-five in the US Billboard 200 and number eleven in the US R&B Charts, when it was released in December 1977. Thirteen months later, in January 1977, came the follow-up, Where Will You Go When the Party’s Over?, with its anthemic title-track. Before I tell you about the music on Where Will You Go When the Party’s Over?, I’ll tell you about the making of the album.
Where Will You Go When the Party’s Over would be Archie Bell and The Drells’ fifth album since their debut album Tighten Up, released on Atlantic Records in May 1968. It had reached number 142 in the US R&B Charts and number fifteen in the US R&B Charts. The follow-up was I Can’t Stop Dancing, released in February 1969, reaching number twenty-eight in the U R&B Charts. Their final album for Atlantic Records was There’s Gonna Be A Showdown, released in August 1969 and reaching number 163 in the US Billboard 200. Six years later, came their first album for Philadelphia International Records, Dance Your Troubles Away, released in January 1977. This saw an upturn in the group’s fortunes, reaching number ninety-five in the US Billboard 200 and number eleven in the US R&B Charts. This wasn’t the first time Archie Bell and The Drells and Gamble and Huff had worked together. Gamble and Huff had produced I Can’t Stop Dancing and There’s Gonna Be A Showdown. However, like their previous album Dance Your Troubles Away, it wouldn’t be Gamble and Huff who’d produce Where Will You Go When the Party’s Over. Instead it would another of Philadelphia International Records successful songwriting and production teams Gene McFadden, John Whitehead and Victor Castarphen.
For Archie Bell and The Drells’ fifth album McFadden and Whitehead would play an important role in what would become Where Will You Go When the Party’s Over. Together with Victor Castarphen the trio cowrote three songs, plus another with Leon Huff. However, one of the two tracks that McFadden and Whitehead would provide the anthemic title-track, Where Will You Go When the Party’s Over. Of the other three songs on the album, Bunny Sigler wrote and produced two tracks, Everybody Have A Good Time and I Swear You’re Beautiful. Vinne Barrett and Yvonne Gray cowrote the other track on the album Dancin’ Man. Recording of the eight tracks on Where Will You Go When the Party’s Over would take place at Philly’s legendary Sigma Sound Studios.
With M.F.S.B. having left Philadelphia International Records in 1976, to form the Salsoul Orchestra, it was a different M.F.S.B. that would accompany Archie Bell and The Drells. Gone were the Baker, Harris, Young rhythm section, with musicians like drummers Keith Erroll Benson and Scott Miller, bassists Jimmy Williams and Raymond Earl and guitarists that included Bunny Sigler, Kim Miller, Ronnie James and Theodere Life replacing them, Some things stayed the same, with Larry Washington playing bongos and Dexter Wansel playing piano. Arranging the eight tracks were Jack Faith and Richard Rome, while Gene McFadden, John Whitehead and Victor Castarphen produced six of the tracks on Where Will You Go When the Party’s Over. With the album recorded, all that was left was for Philadelphia International to release Where Will You Go When the Party’s Over.
Before the release of Where Will You Go When the Party’s Over, Nothing Comes Easy was released as a single, but failed to chart. This lead to Philadelphia International Records’ marketing department changing the album’s release date. Where Will You Go When the Party’s Over would be released in January 1977 reaching number forty-seven in the US R&B Charts. There wasn’t a single released to support the album, until the Bunny Sigler penned Everybody Have A Good Time was released in April 1977, reaching number sixty-eight in the UK. Meanwhile, in the UK, Don’t Let Love Get You Down was released as single, reaching number forty-nine in the UK Charts. The anthemic title-track Where Will You Go When the Party’s Over was also released as a single in the UK, and while it wasn’t a hit, it’s since become a firm favorite among Philly Soul fans. So although Where Will You Go When the Party’s Over didn’t match the success of their previous album Dance Your Troubles Away, it was still a successful album, with a truly anthemic title-track. However, what does the music on Where Will You Go When the Party’s Over sound like, that’s what I’ll now tell you.
Opening Where Will You Go When the Party’s Over, is Don’t Let Love Get You Down which Gene McFadden, John Whitehead and Victor Castarphen cowrote with Leon Huff. Produced by McFadden and Whitehead, with Jack Faith arranging the track, Archie’s vocal is accompanied by layers of lush strings, while rasping horns punctuate the arrangement and the rhythm section add drama to the beauty of the strings. The Drells add tight, sweeping harmonies, as Archie’s vocal is impassioned and emotive. Not only this a beautiful track to open the album, but one full of drama and passion.
It’s always puzzled me why such an anthemic track as Where Will You Go When the Party’s Over, wasn’t a huge hit. Written and produced by McFadden and Whitehead and featuring a classic Jack Faith arrangement. Opening with a slow sultry saxophone solo, hissing hi-hats, rhythm section, keyboards and cascading strings. Together they produce a sound that’s sweet and dramatic. Then, The Drellss enter, before the strings and rhythm section drive the track along. Punchy, rasping horns enter before Archie’s vocal enters. It’s sassy and impassioned, accompanied by harmonies, strings and horns. Together, these ingredients result in a track that’s totally joyous, uplifting sound and irresistible.
Archie Bell and The Drells drop the tempo on Right Here Is Where I Want To Be. Flourishes of piano, occasional chiming guitars and rasping horns, before The Drells add impassioned harmonies. When Archie’s vocal enters, it’s totally heartfelt and impassioned. He gives way to The Drells, who add some of their most soulful harmonies, as lush strings sweep slowly. A piano drifts in as horns rasp and the rhythm section build the drama gently. This sets up Archie Bell and The Drells as they surpass themselves, delivering the lyrics with equal parts of emotion and passion. Together, they deliver one of the most heartfelt ballads that you could hope to hear.
Dancin’ Man has a quite different sound from the previous tracks. It’s much funkier, almost exploding into life after a few bars. Gene McFadden, John Whitehead and Victor Castarphen produced the track. When Archie’s vocal enters, it’s a signal for the band to kick loose. The rhythm section provide the funk, with the help of keyboards and guitars. Archie’s vocal is powerful, with a crash of the drum signaling it’s time for The Drells to answer Archies call. They do this a punchy style, before Dexter on keyboards adds a prolonged keyboard solo that pushes the track further in a direction marked funk. Although quite different from other tracks, this track gives Archie Bell and The Drells plus M.F.S.B. Mk. 2 the chance to kick loose, which they do with aplomb and seem to throughly relish and enjoy doing.
Everybody Have A Good Time is the first of two consecutive tracks written and produced by Bunny Sigler. It’s another uptempo, uplifting and joyous track, with blazing horns, sweeping, swirling strings, sizzling guitars and a rhythm section that provide the track’s powerful and stirring heartbeat all playing their part. Archie’s vocal is powerful and joyful, while The Drells add subtle, cooing harmonies. Wah-wah guitars, flourishes of piano, cascading strings and braying horns provide a backdrop for Archie whose transformed into a strutting, showman, relishing a peerless performance from M.F.S.B. Mk. 2. He raises his game even higher, matching them stride for stride for passion, flair and flamboyance and in the process, produces one of the highlights of Where Will You Go When the Party’s Over.
I Swear You’re Beautiful is an uplifting, beautiful jazz tinged ballad. Here swathes of strings add to the track’s beauty, while rasping horns and guitars add to the jazz influence. Meanwhile, the rhythm section sprinkle funk, while Archie’s vocal is powerful, impassioned and heartfelt, accompanied by bursts of rasping horns. The Drells answer Archie’s vocal adding bursts of punchy, but soulful harmonies. During this hook-laden, beautiful and seductive song, M.F.S.B. Mk. 2 produce the a stunning backdrop, seamlessly combining elements of jazz, soul and funk.
Nothing Comes Easy is a track written and produced by Gene McFadden, John Whitehead and Victor Castarphen. They’ve produced another great track, one that very quickly, draws you in and where resistance is impossible. Best to just sit back as M.F.S.B. Mk.2 fuse soul and funk. Keyboards, blazing horns, wah-wah guitars and rhythm section combine, before Archie’s powerful, confident vocals enters. Key to the track’s success are the rhythm section, Dexter Wansel’s keyboard playing and bursts of punchy, rasping horns. Later, The Drells add equally powerful, joyful backing vocals, while bursts of horns and the funky rhythm section play their part in the track’s sound and success. Why is wasn’t a successful single seems strange, given its vocal hook and anthemic sound.
Closing Where Will You Go When The Party’s Over is I Bet I Can Do That Dance You’re Doin,’ another track penned and produced by Gene McFadden, John Whitehead and Victor Castarphen. Opening with a dramatic crash of drums, the rhythm section take the arrangement in the direction of funk, before dancing strings and a wah-wah guitar enter. After a minute, Archie Bell and The Drells enter, before the strings reenter, giving the track a lush sound. It’s replaced by wah-wah guitar, then bursts of blazing horns. The vocal drifts in and out, being replaced by the funk of M.F.S.B. Mk. 2. Together, they feed off each other, the interplay seamless and resulting in track that allows both M.F.S.B. Mk. 2 and Archie Bell and The Drells to shine.
Listening to Where Will You Go When the Party’s Over, it seems quite incredible that the album wasn’t a much bigger commercial success. On Where Will You Go When the Party’s Over Archie Bell and The Drells fuse Philly Soul and funk, over eight tracks. Key to the success of the album’s sound were four men. Three of these men were Gene McFadden, John Whitehead and Victor Castarphen, who cowrote five tracks and produced six of tracks on the album. The other man was Bunny Sigler, who wrote and produced two tracks on Where Will You Go When the Party’s Over. Together, these four men made Where Will You Go When the Party’s Over such a great album, an album that deserved to fare so much better commercially. Although the album is best known for its anthemic title-track Where Will You Go When the Party’s Over, there’s much more to the album than just one track. This includes uptempo tracks like Don’t Let Love Get You Down, Everybody Have A Good Time and Nothing Comes Easy, while there are two beautiful ballads on the album Right Here Is Where I Want To Be and the Bunny Sigler penned I Swear You’re Beautiful. What makes the sound of Where Will You Go When the Party’s Over even more remarkable, is that Philadelphia International Records’ legendary house-band M.F.S.B. had left the label, becoming the Salsoul Orchestra. Their departure meant that other musicians had to fill their shoes. They did this with aplomb, while arrangers Jack Faith and Richard Rome both played their part in making Where Will You Go When the Party’s Over such a great album. Thankfully, for anyone yet to discover Archie Bell and The Drells’ music, Demon Music released a trio of their albums on a two-disc set. This includes Where Will You Go When the Party’s Over, plus 1977s Hard Not To Like It and 1979s Strategy. So good is the music on these three albums is that the only problem is, Where Will You Go When the Party’s Over? Standout Tracks: Don’t Let Love Get You Down, Where Will You Go When the Party’s Over, Everybody Have A Good Time and Nothing Comes Easy.
ARCHIE BELL AND THE DRELLS-WHERE WILL YOU GO WHEN THE PARTY’S OVER?
ARETHA FRANKLIN-GET IT RIGHT.
ARETHA FRANKLIN-GET IT RIGHT.
By the early eighties, Aretha Franklin’s wasn’t enjoying the same success as earlier on in her career. It had been ten long years since one of her albums had been certified gold. As if that wasn’t bad enough, she hadn’t had a single enter the top forty since 1976s Sparkle and her last US R&B number one single had been 1977s Break It To Me Gently. The one thing Aretha wanted was a comeback. Then in 1982, her wish was granted. Clive Davis, now head of Arista Records hired Luther Vandrosss to produce her 1982 album Jump To It. It would give Aretha the comeback she wanted. Not only Jump To It it certified gold, but the title-track gave Aretha a number one single in the US R&B Charts. Given the success of Jump To It, Clive Davis wanted more of the same. So, Luther Vandross was hired to write and produce the follow-up, Get It Right, which will be rereleased by BBR Records on 4th June 2012. Get It Right would not only build on the success of Jump To It, but include another number one single, the title-track Get It Right written by Luther Vandross and Marcus Miller. It seemed that Aretha Franklin’s career was enjoying something of an Indian Summer. After I’ve told you the background to Get It Right, I’ll tell you about the music on the album.
The song that gave Aretha a number one single in 1982 was Jump To It, written by Luther Vandross and Marcus Miller. For Get It Right, Luther and Marcus cowrote four songs, including the two singles Get It Right and Every Girl (Wants My Guy). Luther contributed one other track I Got Your Love, which he wrote himself. Among the other tracks were Giving In, written by Aretha’s younger sister Carolyn Franklin, plus a cover of I Wish It Would Rain, co-written by Norman Whitfield and made famous by The Temptations. With the songs written, the next step was to record the eight tracks that would become Jump To It.
Recording of what would become Jump To It took place at three studios, Los Angeles’ Record Plant, New York’s Media Sound and United Sound in Detroit. The rhythm sessions were recorded in New York, while backing vocals and the strings were recorded in Los Angeles. Aretha recorded her vocals at Media Sound in New York. For the recording sessions, an all-star band had been recruited. This included guitarist Doc Powell, bassist Marcus Miller, keyboard player Nat Adderley Jr., pianist George Duke, percussionist Paulinho Da Costa and drummer Buddy Williams. The lineup of backing vocalists were just as impressive. Luther Vandross recruited Fonzi Thornton and Norma Jean Wright with whom Luther had sung backing vocals on Chic’s album. Aretha recruited Cissy Houston and Erma Franklin to contribute backing vocals. Once the sessions were finished, all that was left was for Jump To It to be released.
Before the release of Get It Right, the title-track Get It Right was released as a singe in June 1983. It would match the success of Jump To It, reaching number one in the US R&B Charts, while reaching number sixty-one in the US Billboard 100 and number nine in the US Dance Charts. The following month, July 1983, saw the release of Get It Right, which reached number four in the US R&B Charts, while reaching number thirty-six in the US Billboard 200. Every Girl (Wants My Guy) was the second single released from the album in September 1983, reaching number seven in the US R&B Charts. Although Get It Right didn’t quite match the success of Aretha’s previous album Jump To It, it still gave her a number one US R&B single. This was the next step in the rejuvenation of Aretha Franklin’s career. However, what does the music on Get It Right sound like? That’s what I’ll now tell you.
Opening Get It Right is the title-track and number one US R&B single Get It Right, written by Luther Vandross and Marcus Miller. There are similarities to Aretha’s previous number one US R&B single Jump To It. That’s not surprising given it was also written by Marcus and Luther. The rhythm section, synths, keyboards and percussion combine, giving the track a dance-floor friendly sound. Then, backing vocalists enter, before Aretha’s powerful, soaring vocal enters. By then you’re hooked, almost hypnotised by the beat and spellbound by the uplifting and joyous sound of the track, which is helped by the the backing vocalists who hep give the track such an irresistible, uplifting and joyous sound.
Although Pretender is another Luther Vandross and Marcus Miller penned track, it’s one with a much more “Aretha Franklin” sound. Here, Aretha’s vocal gets the opportunity to shine. Her vocal is heartfelt, full of hurt and regret, accompanied by soaring, emotive backing vocalists and swathes of the lushest strings. Later, the rhythm section take the track in the direction of funk, while Aretha’s half-spoken vocal is accompanied by dramatic backing vocals, quivering strings and percussion. They provide the perfect accompaniment to the emotion, hurt and heartache in Aretha’s vocal, which demonstrates she hadn’t lost any of her vocal prowess.
Crispy drums, bursts of synths and handclaps give way to Aretha’s vocal on Every Girl (Wants My Guy). Aretha’s almost like a cheerleader, encouraging her band and backing vocalists to even greater heights. This works, on this mid-tempo track. The rhythm section, keyboards, percussion and swooning, cooing backing vocalists lift their game, while Aretha rolls back the years, delivering a vocal that’s powerful and hugely soulful. Congas, percussion and a funky bass replace Aretha’s vocal, before gospel-tinged backing vocalists accompany her as the track heads to a close. It’s six minutes of infectiously catchy, upbeat and hook-laden minutes. No wonder it was released as the second single from Get It Right.
When You Love Me Like That is the fourth and last of the Luther Vandross and Marcus Miller penned tracks. However, it has the same quality as the three previous tracks. When the track opens, it gracefully glides into being. The rhythms section, bursts of horns and percussion, givie way to cascading strings and backing vocalists. Then in comes Aretha, her vocal has a tenderness, before growing in power and emotion. The backing vocalists are equally subtle and soulful, while rasping horns, percussion and lush strings add to the track’s elegance and beauty.
I Wish It Would Rain is a track that previously, had been covered by many artists, but made famous by The Temptations. It was co-written by Norman Whitfield, Barrett Strong and Roger Penzabene. Here, Aretha interprets the track, dropping the tempo way down, with just a pounding bass and slow, punchy drums accompanying her, Quickly, the arrangement grows, bursts of horns and backing vocalists, percussion and swathes of grand strings. Aretha’s backing vocalists give the track a gospel sound, as they answer her call. As they do this, the rhythm section add drama, as do the horns and strings. Later, Aretha unleashes her powerful, emotive voice. You can only marvel at her power, control and sheer soulfulness. When an arrangement that’s variously dramatic and subtle is added to the equation, the result in peerless cover version of The Temptations’ track.
It seems Get It Right is just one great track after another, with Better Friends Than Lovers, written by Michael Lovesmith just the latest in sumptuousness soulfulness from Aretha. Of all the tracks on the album, it’s the most soulful, featuring one of Aretha’s best vocals. Her vocal is sung feeling and passion, veering between gentle and powerful. Accompanied by subtle, soulful backing vocalists that are vital to the song’s sound and success, swathes of strings, an understated rhythm section and keyboards combine. However, it’s the undisputed Queen of Soul that makes this track just so beautiful and special. Here, Aretha’s vocal is peerless, and truly, is soulfulness personified.
I Got Your Love was the only track Luther Vandross wrote himself. After such a special song as the previous song, he has a lot to live up to. However, neither Luther nor Aretha disappoints. As the song bursts into life, with the rhythm section, keyboards, percussion and cascading strings, a funky bass signals the arrival of Aretha’s vocal. It starts of tender and gentle, full of emotion and passion, before growing in power. Backing vocalists accompany Aretha, with bursts of their soulful voices reflecting the beauty and emotion in Aretha’s vocal. Similarly, the arrangement, with it’s use of the rhythm section, piano and shimmering, quivering strings compliments Aretha’s vocal. They add to the beauty and emotion of Aretha’s tender, heartfelt vocal.
Closing Get It Right is Giving In, written by Carolyn Franklin, a track that sees the tempo fall, allowing Aretha to deliver a husky, impassioned vocal. This she does against an arrangement where strings cascade, horns rasp and guitars chime. Gospel-tinged backing vocalists accompany Aretha, while flourishes of piano and funky bass augment the arrangement. Waves of drama build up, punctuating the arrangement throughout the track. Later a jazzy guitar, and then sultry saxophone enter. From there, things get even better, as if somehow, Aretha and her band manage to lift her game one more time for the track that closes Get It Right on a real high. Like the other seven songs, Giving In has two things in common…quality and soulfulness.
Get It Right, which was the follow-up to 1982s Jump To It, saw Aretha Franklin continue her comeback. Like Jump To It, Get It Right reached number one in the US R&B Charts. These albums saw Luther Vandross rejuvenate Aretha’s career. His part in her comeback can’t be underestimated. Not only did he cowrite four tracks with Marcus Miller, but wrote I Got Your Love. He also produced Get It Right and together with a hugely talented group of musicians, produced the perfect musical backdrop to Aretha’s vocals. Aretha’s vocals had the same quality as previous albums, with her voice soulful, full of emotion, passion and sometimes powerful. However, ne group of people’s role can’t be underestimated. They’re the backing vocals, whose contributions are hugely important in the album’s sound and success. The complement Aretha’s vocals, reflecting and magnifying her emotion. Sometimes, the backing vocalists give some of the tracks gospel sound, which given Aretha’s gospel background is quite apt. Regardless of whether the tracks are ballads or more uptempo, dance-floor friendly tracks, Aretha’s vocal stands out and shines. Given the quality of her voice, it’s no wonder that Get It Right was both critically acclaimed and such a commercial success. It appealed to old and new fans alike. Both were won over by the mixture of Aretha’s old and new sounds on Get It Right, which will be rereleased on 4th June 2012. After the release of Get It Right, came the most successful album of Aretha Franklin’s career, 1985s Who’s Zooming Who? It was the thirtieth album of Aretha’s career, and her only album to be certified platinum. Following this came 1986s gold certified Aretha, which bookended Aretha Franklin’s comeback. Of these four albums, Jump To It and Get It Right are the best, as Aretha rolls back the years, delivering some peerless vocals. Standout Tracks: Get It Right, Every Girl (Wants My Guy), When You Love Me Like and Better Friends Than Lovers.
ARETHA FRANKLIN-GET IT RIGHT.
BILLY PAUL-EBONY WOMAN.
BILLY PAUL-EBONY WOMAN.
Billy Paul played a hugely important role in the success of Philadelphia International Records. Not only was his 1972 album 360 Degrees of Billy Paul the first album released on the newly founded Philadelphia International Records, but his classic single Me and Mrs Jones gave the label their first number one single. However, Gamble and Huff’s association with Billy Paul goes back before they founded Philadelphia International Records. Indeed, the story starts back in 1967, when Gamble and Huff had their first hit as songwriters and producers with the Soul Survivors’ Expressway To Your Heart. Kenneth Gamble saw Billy Paul performing at the Cadillac Club. He was working on an album, Feelin’ Good At the Cadillac Club, but it needed some work to complete it. In stepped Kenneth, signing Billy to Gamble and Huff’s Gamble Records. Feelin’ Good At the Cadillac Club was soon finished and released. This was a jazz album, driven by the piano and inspired by female singers like Nina Simone and Nancy Wilson. For his next album, Ebony Woman, Billy fused jazz, soul and R&B. Ebony Woman would be produced by Gamble and Huff and released in July 1970, saw Billy interpret nine cover versions, giving them his own unique twist. On Ebony Woman, which will be rereleased by BBR Records on 28th May 2012, you can hear Billy developing as a singer, with 360 Degrees of Bill the cumulation of Billy’s development as a singer. After I’ve told you about the background to Ebony Woman, I’ll tell you about the music on the album.
For Billy Paul’s second album Ebony Woman, nine songs were chosen. Eight of the tracks had been recorded by other artists, including Paul Simon’s Mrs. Robinson, Sly Stone’s Everyday People and John Fogerty’s Proud Mary. Another track on Ebony Woman was Windmills of Your Mind, previously recorded by Dusty Springfield on her seminal album Dusty In Memphis. Bobby Martin who would go on to play such an important part in Philadelphia International Records’ success, wrote the ballad Let’s Fall In Love All Over. He also arranged the track he wrote, plus the title-track Ebony Woman. There was just one song that hadn’t been released as a single in the three years before the release of Ebony Woman, the Horace Silver penned Psychedelic Sally
Psychedelic Sally was a track from Horace’s 1968 album Serenade To A Soul Sister. A chance meeting with Horace Silver saw Billy say how much he’d liked the track and immediately, Horace gave him the lyrics. While Horace’s version is a an instrumental, Billy’s interpretation is quick, full of emotion and energy and is a fitting and homage to Horace’s original track. With Psychedelic Sally and the other tracks that would become Ebony Woman chosen, recording would take place at a studio that would become synonymous with Gamble and Huff and the Philly Sound, Sigma Sound Studios.
Recording of the nine tracks took place at Philadelphia’s Sigma Sound Studios. Gamble and Huff produced Ebony Woman, while Bobby Martin arranged two tracks and Stanley Johnson the other seven songs. Together with some of Philly’s hottest musicians, the album was soon recorded. All that was left now was for Ebony Woman, Billy Paul’s second album to be released.
Only one single was released from Ebony Woman, the Bobby Martin penned Let’s Fall In Love All Over Again. It failed to chart, but proved particularly popular in Detroit, home of Motown. On the release of Ebony Woman on Neptune Records in July 1970, it reached number 183 in the US Billboard 200 and number twelve in the US R&B Charts. However, Ebony Woman could’ve been a bigger success, if the fickle finger of fate hadn’t intervened. Chess who distributed Neptune Records’ releases, folded after founder Leonard Chess died. After the success of Me and Mrs Jones and 360 Degrees of Billy Paul, Philadelphia International rereleased Ebony Woman in April 1973. By the time Ebony Woman was rereleased in 1973, Billy Paul had become Philadelphia International Records’ biggest artists. This time, Ebony Woman reached number 186 in the US Billboard 200 and number forty-three in the US R&B Charts. The rerelease of Ebony Woman which I’ll now tell you about, is an opportunity to discover another side of Billy Paul, when he was developing as an artists and performer.
Opening Ebony Woman is the title-track Ebony Woman, written by Morris Bailey Jr. Two years later, in 1972, Harold Melvin and The Blue Notes would also record Ebony Woman, with the track appearing on their debut album for Philadelphia International I Miss You. With dramatic cascading strings, vibes and the rhythm section combining, the tempo drops way down, signaling the entrance of Billy’s vocal. Using Miles Davis’ maxim about the importance of space in music, the arrangement almost pauses, before Billy’s vocal enters. Like the arrangement, it veers between gentle and understated, to dramatic and powerful. Jazzy guitars, layers of strings and a standup bass punctuate the arrangement, before the rhythm section add to the drama of Billy’s now, powerful, jazz-tinged vocal. Bobby Martin’s arrangement not only compliments Billy’s vocal, but gets across and magnifies the drama and beauty in this powerful, moving and beautiful track.
While many people have covered Paul Simon’s Mrs. Robinson, Billy with Gamble and Huff add something new to the track. It’s just the piano and percussion that accompany Billy as he scats the introduction, before delivering the lyrics quickly and with passion. The band that accompany him give the track a jazzy sound. Although a marauding bass, drums, flourishes of guitar and piano are key to the track, it’s Billy’s vocal that cascading, energetic vocal that breathes new meaning to the track.
Anyone covering a song like The Windmills Of Your Mind will always be compared both Dusty Springfield’s peerless version and Anthony Newley’s populist version. However, Billy’s version is quite unlike both versions, and indeed unlike any version I’ve heard. It’s spacious, full of drama, just an acoustic guitar, subtle percussion and piano that accompany Billy’s thoughtful, considered vocal. Such is the effect of the track, that you’re enthralled, totally spellbound by the power of the track.
As someone who loves Sly and The Family Stone’s original version of Everyday People, I was fascinated to hear how Billy and Gamble and Huff would approach the track. Nothing prepares you for this jazz drenched interpretation of the track. Billy delivers his vocal at breakneck speed, while his band produce an arrangement that’s quick, full of energy and brings new meaning to this anthemic track. Standup bass, hissing hi-hats, drums and piano open the track, playing with the same energy, enthusiasm and emotion as Billy delivers his vocal with. Cymbals crash, the piano crashes in and out, while the bass marauds up and down the arrangement. By the end of the track, you can’t believe this remarkable transformation of this Sly Stone classic. Together, Billy Paul with Gamble and Huff create a masterful interpretation, that’s uniqueness required vision and imagination.
Let’s Fall In Love All Over Again was the only single released from Ebony Woman. Written and arranged by Bobby Martin, this to me is the best track on the album. It’s a track that points towards the future direction of Billy Paul’s career. It’s a beautiful ballad, with lush strings, a subtle rhythm section and flourishes of percussion and piano that are key to the arrangement and song’s success. Billy’s vocal is heartfelt, laden with emotion and passion. Quite simply, his vocal like the song is the best on Ebony Woman.
Windy is a song that was previously recorded by The Association in 1967. Of the two versions, I much prefer Billy’s version. It’s bolder, has much more of an impact. Partly, this is down to the driving rhythm section that provide the track’s heartbeat. They combine with bursts of keyboards and Billy’s impassioned, powerful vocal. Here, the tempo is quicker, with the arrangement that fuses R&B and rock, is bolder than The Association’s. One other thing The Association didn’t have, was a vocalist as good as Billy Paul. Once you’ve heard both versions side-by-side, you’ll realize there’s only one winner…Billy Paul.
Horace Silver wrote Psychedelic Sally, which was a track from his 1968 album Serenade To A Soul Sister. Here, the arrangement fuses R&B and jazz, while Billy’s vocal is delivered at breakneck speed. His vocal is full of energy, enthusiasm and emotion, while the piano and rhythm section combine. The rhythm section add R&B, while the piano sprinkles jazz throughout the arrangement and Horace’s lyrics are sixties psychedelia. This results in a compelling and fascinating fusion of musical genres and influences, that’s enthralling and quite irresistible.
On Traces, the tempo is dropped, with Billy delivering a vocal that’s drenched in emotion and heartache. He’s accompanied by just piano, percussion and a rhythm section that play with subtly, providing an arrangement that’s variously spacious and dramatic. The band play around Billy’s vocal, providing an arrangement that reflects the emotion and drama in his vocal, but never once, overpower his vocal. Towards the end of the track, a piano and keyboards combine, providing layers of music that reverberate, reflecting the heartache, hurt and regret in Billy’s impassioned vocal.
Closing Ebony Woman is a jazz-tinged version of Creedence Clearwater Revival’s Proud Mary. Here, Billy deconstructs and then reconstructs the song, breaking it down into something CCRs version never was. With just the piano and drums accompanying him, providing a backdrop that allows you to focus on Billy’s vocal and the lyrics. In doing this, you’re able to listen to John Fogerty’s lyrics, as Billy brings new meaning and energy to them. With his band, Billy adds drama, emotion and definition to the song, transforming it, making it very different and very special.
It’s a quite different side of Billy Paul you hear on Ebony Woman. Instead of the soulful sound his later albums had, Ebony Woman is a much more jazz influenced album. This isn’t surprising, given Billy Paul started as a jazz singer. Eight of the tracks on Ebony Woman had previously, been covered by other artists in the three years before the release of Ebony Woman. These songs are an intriguing collection of songs, ranging from Paul Simon’s Mrs. Robinson, Sly Stone’s Everyday People and John Fogerty’s Proud Mary. That’s not forgetting The Windmills Of Your Mind covered by Dusty Springfield and Anthony Newland, plus Windy, which gave The Association a hit single in 1967. Each of the eight cover versions on the album see Billy inject new meaning and life to the tracks, often with a jazzy delivery and arrangement. However, the best track on Ebony Woman came from someone who Billy Paul and Gamble and Huff knew, Bobby Martin. He wrote and arranged Let’s Fall In Love All Over Again, the only single released from Ebony Woman. Later, Bobby Martin would play an important role in the success of Philadelphia International Records arranging, producing and writing for various artists. Let’s Fall In Love All Over Again is a beautiful ballad, with a sound that points towards his future soulful sound and style. Why Let’s Fall In Love All Over Again wasn’t a hit for Billy seems strange, given its quality and beauty. Two years later in 1972, Billy Paul would release both the album and single that made him Philadelphia International’s first male superstar. That was 360 Degrees of Billy Paul and Me and Mrs. Jones. However, although Ebony Woman is quite different in sound and style from albums like 360 Degrees of Billy Paul. Ebony Woman is an album full of some wonderful and beautiful music For anyone who loves either Billy Paul’s music or the Philly Sound then BBR Records rerelease of Ebony Woman on 28th June 2012 is the perfect opportunity to discover another side to Billy Paul and his music. Standout Tracks: Ebony Woman, The Windmills Of Your Mind, Let’s Fall In Love All Over Again and Psychedelic Sally.
BILLY PAUL-EBONY WOMAN.
BIG BOY BLOATER AND THE LIMITS-BIG BOY BLOATER AND THE LIMITS.
BIG BOY BLOATER AND THE LIMITS-BIG BOY BLOATER AND THE LIMITS.
Recently I reviewed BBE Music’s forthcoming compilation Snowboy Presents New Vintage Volume 1 and although the compilation is crammed full of some great music, one track stood out from the rest, Big Boy Bloater and The Limits’ Big Fat Trap. From the moment I heard the track, I wanted to hear much more of the hugely talented blues guitarist’s music. Thankfully, I’ve managed to get hold of a copy of Big Boy Bloater and The Limits’ debut album Big Boy Bloater and The Limits. Although Big Boy Bloater and The Limits’ is their first album after forming in 2011, this isn’t Big Boy Bloater’s first album. Quite the opposite, Big Boy Bloater is something of a veteran when it comes to recording. After I’ve told you about Big Boy Bloater’s career so far, I’ll tell you about the music on Big Boy Bloater and The Limits.
Big Boy Bloater’s recording career started back in 1998, when Big Boy Bloater and His Southside Stompers released Jumpin’ Rhythm and Blues. Their next album was You Better Believe It, released in 2001. Two years later in 2003, came the third album from Big Boy Bloater and His Southside Stompers, Great Hunk of A Man. After an absence of three years, came Big Boy Bloater and His Southside Stompers fourth album What You Been Praying For? in 2006. That would prove to be the last album from Big Boy Bloater and His Southside Stompers. The next time that Big Boy Bloater would release an album would be as a solo artist.
That Ain’t My Name was Big Boy Bloater’s first solo album, released on Azan Records in 2008. However, Big Boy Bloater had been busy between the release of the last album from Big Boy Bloater and His Southside Stompers and the release of That Ain’t My Name. Not only had be been wooing audiences throughout the UK, Europe and the US, but as a session player. He’s go-to-man for anyone looking for a guitarist to play on a recording session. This has seen him accompany a multitude of artists. Listing each of them here would fill the page and then some, but this includes Harvey Fuqua, Imelda May, Wanda Jackson, Paloma Faith, Frankie Miller, The Five Keys and Eddy Clearwater.
As well as touring and working as a session musician, Big Boy Bloater has also recorded a number of sessions for various radio shows. Listeners to either the Jo Whiley, Craig Charles or Mark Lamarr shows will have heard Big Boy Bloater, as will anyone who watches Jools Holland’s TV show. It’s not just in the UK that Big Boy Bloater has appeared on radio and TV. Again, he’s something of a veteran of radio and TV abroad, winning interviewers over with his legendary charisma, sense of humor and of course the music. His blend of what he describes as “dark blues and swamp soul” has won over audiences worldwide, with audiences spellbound at Big Boy Bloater’s virtuoso guitar skills and vocal. In between touring and working as a session musician, Big Boy Bloater somehow, found time to form a new group in 2011.
Big Boy Bloater formed Big Boy Bloater and The Limits in 2011. Straight away, they set about recording their debut at the Embassy Studio in Upton Grey, Hampshire. The resulting album simply called Big Boy Bloater and The Limits features eleven tracks, where Big Boy Bloater and The Limits deliver their own unique brand of “dark blues and swamp soul,” which I’ll now tell you about.
Opening Big Boy Bloater and The Limits is Ugly Way of Thinking, a track Big Boy Bloater wrote. It’s a great track to opens the album, allowing the listener to hear what was described to me as the “Big Boy Bloater experience.” It allows you to hear both Big Boy Bloaters’ husky, throaty vocal and his searing, sizzling blues guitar playing. He’s accompanied by a multitalented band, that compliment his vocal and guitar playing. From the rhythm section, to the piano that drifts in and out the track and Snowboy sprinkling percussion, The Limits prove worthy and complimentary accompanists. Together with Big Boy Bloater, they get the album of to a storming start, that has you wanting to hear much more of their music.
On I Heard Those Voices Again, Big Boy Bloater and The Limits raise the stakes. Big Bloater’s growling, frustrated vocal is accompanied by the rhythm section jangling, twanging guitars, and a Hammond organ adds to the track’s atmosphere. They provide a dramatic backdrop that reflects the energy and anger in his voice. During the track, The Limits almost pause, adding to the drama, before jangling guitars, and Big Boy Bloaters vocal reenter. Taken together, the result is a track that’s not just full of darkness, drama and energy, but one that compelling and intriguing.
Fumble Fisted Fool is the third of ten songs Big Boy Bloater wrote, and is one with a gloriously, authentic bluesy sound. His vocal is gentler, with crystalline, soaring, screaming guitars answering his call. Behind him, The Limits give one of their best performances. Pianist Matt Empson’s contribution can’t be underestimated, his blues drenched piano key to the track’s sound and success. Along with a rhythm section that drives the track along and some stunning guitar licks from Big Boy Bloater, this is quite simply a stunning track, easily one of the album’s real highlights.
Sweet and Brown is quite unlike the previous tracks on Big Boy Bloater and The Limits. It fuses rockabilly with some gospel tinged backing vocals. However, when the track opens you’ve no idea of the treat that’s in store. Gradually, the track reveals its secrets and charms. Big Boy Bloaters gruff, husky vocal is answered by those testifying backing vocalists and handclaps. Meanwhile, the piano, standup bass and bursts of Hammond organ provide a backdrop that quite simply swings and sweeps you along in its wake. Quite simply, It’s impossible to resist this track’s charms, which is made all the better by the backing vocalists who include Imelda May.
The only track on Big Boy Bloater and The Limits that Big Boy Bloater didn’t write is My Prayer. Again it’s a quite different sounding track, one with a reggae influence. Stabs of Hammond organ, standup bass and drums create chugging beat, that accompanies Big Boy Bloater’s thoughtful, emotive vocal. Amidst the chugging beat, the standup bass and bursts of Hammond organ stand out, before trombonist John Brooks solo adds just the finishing touch to a track that demonstrates a quite different, but quite beautiful sound of Big Boy Bloater and The Limits.
Straight from the opening bars of She’s Just A Friend you realize that you’re about to hear something special from Big Boy Bloater and The Limits. They certainly don’t disappoint. Big Boy Bloater vocal is husky, heartfelt and full of admiration and maybe, longing. Behind him, pianist Matt Empson is at the heart of the track’s success, while the rhythm section drummer Dean Beresford and bassist Al Gare provide the track’s heartbeat. Later, Big Boy Bloater demonstrates just how talented a guitarist he is, laying down a spellbinding solo, that shows just why he’s in such demand as a session player. However, not only is he a hugely talented guitarist, but a vocalist who brings a song to life, injecting emotion and meaning, like he does peerlessly here.
Rocket Surgery is an apt title for a track that literally explodes into life. This is an instrumental, where the band get a chance to kick loose and play some stunning blues music. At the heart of the action is Big Boy Bloater’s guitar playing. His fingers fly up and down the fretboard, never once missing a beat The rest of the band enjoy the chance to kick loose. Matt Empson on Hammond organ adds an atmospheric, howling solo, before. later, drums and guitars that wouldn’t be out of place on an old surf track briefly enter. For just over two and a half minutes you’re totally spellbound, enthralled by this scintillating slice of blues music.
As Get Over That Its Over begins with Big Boy Bloater weaving his guitar, he’s followed by the rhythm section, percussion and Hammond organ. After a lengthy introduction, his angry, throaty vocal enters, while guitars reverberate and a pounding bass line accompanies it. Snowboy sprinkles percussion throughout an arrangement that’s atmospheric and haunting, like something out a David Lynch film. The occasional introduction of surf guitars, drenched in reverb adds to the atmosphere, as does Big Boy Bloater’s gruff, dismissive vocal.
Rushing To Waste Time sees Big Boy Bloater and The Limits drop the tempo way down. When Big Boy Bloater’s emotive, heartfelt and sad vocal enters, it reminds me of Alan Price and even, Chris Farlowe. Behind him, the arrangement is spacious and dramatic, with slow drums punctuating the arrangement, while the piano and guitar fills some of the spaces. They provide the perfect accompaniment to the vocal, resulting in a heartfelt track, full of sadness, loneliness and regret.
The track that first introduced me to Big Boy Bloater and The Limits was Big Fat Trap, a track from Snowboy Presents New Vintage Volume 1. Not only is it one of the best tracks on the compilation, but one of the highlights of Big Boy Bloater and The Limits. This was a single released in 2011 on the Acid Jazz label. It’s a joyous, uplifting track, where bursts of punchy horns, a myriad of percussion, handclaps and driving rhythm section combine. They bring the track to life, injecting energy and passion. Magnus’ vocal is full of emotion, impassioned and powerful. A Hammond organ drifts in and out of the track, adding an atmospheric and melancholy sound. Meanwhile, horns blaze and frenzied percussion help create four minutes of joyful, infectious and irresistible music.
Closing Big Boy Bloater and The Limits is Every Path Has Its Puddle. After a lengthy introduction where the band build up the drama, Big Boy Bloater makes his grand entrance. His vocal is a throaty growl, while the rhythm section, percussion and cooing backing vocalists from Imelda May drift in and out. It seems the band seem determined to close the album on a high, providing a backdrop that’s bold and dramatic. So is Big Boy Bloater, as he lays down another one of his by now sizzling guitar solos. Together with The Limits, Big Boy Bloater ensures that they bring Big Boy Bloater and The Limits to a dramatic crescendo.
Ever since I first heard Big Fat Trap on Snowboy Presents New Vintage Volume 1, I’ve wanted to hear much more of Big Boy Bloater and The Limits’ music. Since I first received my copy of Big Boy Bloater and The Limits’ I’ve been won over, by their fusion of dark blues and swamp soul. I was told I’d enjoy the Big Boy Bloater experience and that’s very definitely the case. From the opening bars of the album, Big Boy Bloater and The Limits have you spellbound, taking you on a musical journey that takes in blues and soul, with brief and welcome diversions into rockabilly and surf music. Although Big Boy Bloater’s vocals and guitar playing key to the album’s sound and success, The Limits play their part in making this such a stunning album. Pianist Matt Empson, the rhythm section of drummer Dean Beresford and bassist Al Gare, plus percussionist Snowboy all play their part in making Big Boy Bloater and The Limits such a great album. Like Big Boy Bloater, they’re hugely talented and accomplished musicians. Along with Imelda May who contributes backing vocals, The Limits succeed in ensuring that each of the album’s eleven tracks are of the highest quality. There are neither any poor tracks, nor filler, just eleven blistering slices blues and some sumptuously soulful tracks. Currently, Big Boy Bloater and The Limits are recording their second album, which if it’s anywhere near as good as Big Boy Bloater and The Limits, will be something special and something to look forward to. For anyone whose yet to discover the music Big Boy Bloater and The Limits, like me, you’ll be won over by the Big Boy Bloater experience. Standout Tracks: Fumble Fisted Fool, Sweet and Brown, My Prayer and She’s Just A Friend.
BIG BOY BLOATER AND THE LIMITS-BIG BOY BLOATER AND THE LIMITS.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS 2.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS 2.
While Keb Darge has been a compiler of quality compilations since the late nineties, his life has revolved around music since the seventies. His career started as a record collector, then dancer, DJ, record compiler and label owner. Keb started his career Northern Soul DJ and is known for his love of soul, funk and R&B. Although it’s a career that’s taken a few twists and turns, Keb has always been an innovator, and is the founding father of “deep funk.” This had lead to him compiling several funk compilations for BBE Music. Indeed, it’s on BBE Music that Keb will release his forthcoming CD, Keb Darge and Little Edith’s Legendary Wild Rockers 2. This will be the third compilation from Keb Darge and Little Edith. Previously, they’ve released Keb Darge and Little Edith’s Legendary Rockin’ R&B in 2010 and 2011s Keb Darge and Little Edith’s Legendary Wild Rockers. If their forthcoming compilation Keb Darge and Little Edith’s Legendary Wild Rockers 2, which will be released on 10th July 2012 is as good previous volumes, then this compilation will be something special. Will this be the case? That’s what I’ll tell you, after I’ve told you about Keb Darge’s career.
Keb, born in Elgin, Scotland, started collecting soul records in the seventies, before making the journey to the famous Wigan Casino. By then, Keb wasn’t just a record collector and dancer at the Casino, he was also a DJ. His DJ-ing career took him around Scotland, and to Wigan, DJ-ing at a club just round the corner from the Casino. Keb continued to DJ until he was twenty-two, when he moved to London.
Having moved to London, Keb decided to quit DJ-ing. However, after promoters persisted in asking him to DJ, eventually, he relented, allowing London’s club-goers to experience the Northern Soul sound. Sadly, disaster struck for Keb in 1987, when he was divorced and had to sell his beloved record collection. With no records, Keb had to find a new career. This saw him try a variety of jobs to make ends meet. Then, when he rediscovered some records in his loft, this would change his career and life.
These records that Keb discovered in his loft were what he called “junk records,” and were the beginning of what would become “deep funk.” This was 1989, the height of Acid House, when Keb started spinning these discs at The Wagclub, which specialized in Acid Jazz. After the night ended at The Wagclub, Keb met fellow DJ and record collector Snowboy. They transferred the deep funk night to another venue, but due to the popularity of house music, the night never gathered momentum. From there, they headed to Soho, where the night became hugely successful, with their new venue quickly establishing itself as a club. Keb continued to DJ at the Legendary Deep Funk night lasted until 2010, when he decided to quit. He still continues to DJ at a variety of venues, spinning his own unique brand of Northern Soul, rockabilly, early R&B and jump-blues. However, by 2010, Keb was busy compiling compilations for various labels and running Kay Dee, a label he founded with Kenny Dope.
By 2010, Keb Darge had compiled various compilations, including several volumes of his Legendary Deep Funk, plus Soul Spectrum, Funk Spectrum and Lost and Found with Paul Weller. Incidentally, 2010 saw the first instalment of Keb Barge and Little Edith’s R&B compilations, a new compilation, which Keb and his wife Edith had compiled. Keb Darge and Little Edith’s Legendary Rockin’ R&B was released to critical acclaim in 2010. The second volume Keb Darge and Little Edith’s Legendary Wild Rockers was released a year later in July 2011, containing numerous hidden gems. On 10th July 2012, Keb Darge and Little Edith’s Legendary Wild Rockers 2, will be released. It contains twenty-one slices of rare rockabilly and surf, from the late fifties and early sixties. Will these tracks be as good as those on the previous two volumes? That’s what I’ll tell you, after I’ve told you about some of the highlights of Keb Darge and Little Edith’s Legendary Wild Rockers 2.
My first choice from Keb Darge and Little Edith’s Legendary Wild Rockers 2 is The Excels’ Let’s Dance. This was The Excels only single, released on Norton Records and written by Danny Goode. With a roll of the drums, the track literally bursts into life. For two minutes, you’re treated to a combination of hissing hi-hats, a sizzling guitar solo and a vocal that’s delivered at breakneck speed. The track’s a compelling combination of energy and enthusiasm, demonstrating just what a great surf track should sound like. For anyone whose only exposure to surf music so far has been Dick Dale, The Surfaris or The Ventures, this shows another side to surf music.
One of the most infectiously catchy tracks on Keb Darge and Little Edith’s Legendary Wild Rockers 2 is The Brave’s Woodpecker Rock. From its opening bars, you’re totally enthralled. It’s a storming slice of rockabilly, and quite simply, it’s almost impossible to keep still. You’re almost driven to dance. Key to the track’s success are the drums, plus some of the best guitar playing on the album. One other important factor is a vocal, which is laden with emotion and passion. Occasionally, the vocalist apes Woody Woodpecker, bringing a smile to your face. All this results in a totally irresistible track, one you’ll never tire of hearing and one that’s infectiously catchy.
The Swanks’ Ghost Train was the B-side of The Excels’ Let’s Dance. Again, this was The Swanks only release, but given the quality of the track, if this is to be your only single, make it one as good as this. Frantic drum rolls open the track, giving way to the rhythm section and guitar. Quickly, the train rolls away from the station, the track reveals its delights. Here, the guitar playing is stunning, just what you want to hear on a surf track. It’s fast, crystalline and accurate, with the delay used very subtly. Sadly, too soon, the track is over, after just two short minutes. However, this is one Ghost Train you’ll want to ride not just once, but many times.
It seems that Keb Darge and Little Edith have been digging really deep, to unearth the twenty-one tracks on Keb Darge and Little Edith’s Legendary Wild Rockers 2. Another of the hidden gems they’ve unearthed in The Tempests’ Lemon Line. It was released on Lifetime Recordings and is another explosive slice of surf music.
From the get-go, when drum rolls open the track, there’s no let up in the energy The Tempests expend. They place as if their lives depend on their performances. Hissing hi-hats and then a searing lead guitar enters, played with passion. Up and down the fretboard fingers fly, never missing a note. Meanwhile, the rest of the band provide the heartbeat to a blistering and brilliant slice of surf music.
Two years after forming his band, Larry Donn recorded the track he’s best known for Honey Bun in 1959. Since then, Larry has always been involved in music, still playing rockabilly over fifty years later. When you hear Honey Bun, you’ll realize just why, back in the late fifties, people thought he’d a great future ahead of him. Not only is his vocal full of emotion and passion, but his band play with a similar passion and energy. Key to this are the occasional flourishes of piano, chiming, sizzling guitars and the driving rhythm section that accompany Larry. Sometimes, his vocal bears uncanny resemblance Elvis, something that’s often been said of Larry. So good is this track, that after hearing it, people will want to hear much more of Arkansas’ Larry Donn.
Bobby Lawson’s If You Want My Love was released by the Mack Record Company in October 1958. Since then, it has graced many a compilation. Mind you, given how good a track this is, it’s no wonder it’s so popular with compilers. It’s two of the best minutes on Keb Darge and Little Edith’s Legendary Wild Rockers 2. Guitars open the track, before the drums and standup bass enter. Then when Bobby’s vocal enters, it’s accompanied by bursts of a train’s whistle that punctuate the arrangement. Later, things get even better, with guitar and piano solos raising the stakes even higher. Right up to the crashing cymbal that closes the track, Brian and his band don’t miss a beat, on what his the best track on the compilation. So good is this track, it’s almost worth buying the album for it alone.
The first time I heard Allen Page’s She’s the One That’s Got It, I was struck by how similar Allen’s vocal is to Eddie Cochran’s. Even the song’s structure even has similarities to Eddie Cochran’s Something Else. Once you hear the track, you’ll realize what I mean, and it’s certainly a track that’s well worth hearing. When the track opens, Allen’s almost dismissive, sneering vocal is answered by the crashing guitars, before later, soaring backing vocalists answer his call. Later, wave upon wave of guitar solos unfold, with Allen’s vocal riding atop these cascading waves of guitars. Of the many highlights of Keb Darge and Little Edith’s Legendary Wild Rockers 2, this is very definitely one of them.
Come Halloween, Bryan ‘Legs’ Walker with His Walkin’ Talkin’ Sax’s Trick Or Treat is the perfect track to play at your Halloween party. It’s moody and dark, with plenty of surprises in-store for the unsuspecting listener. As the track reveals its hidden charms, the vocal is barked out, before the band start to swing. With a combination of standup bass, drums, percussion and piano, the band swing, before Bryan’s Walkin’ Talkin’ Sax makes its grand entrance. It rasps and howls, screaming above the rest of the arrangement, competing with Bryan’s vocal.They combine to make Trick Or Treat the perfect soundtrack for Halloween.
Dubb Pritchett & The Rock-a-Taires’ is the final track on Keb Darge and Little Edith’s Legendary Wild Rockers 2. This track could only have been made in the fifties, given its sound. It’s like something you’d hear during a movie like The Last Picture Show at the local dance. Just chugging guitars and a standup bass accompany Dubb when the track opens. His vocal has a Southern twang, is droll and delivered in sharp bursts. When his vocal drops out, the band take over. They certainly don’t disappoint. The chugging and chiming guitars and bass are joined by fiddles that give this rockabilly track a country flavor. Although quite unlike other tracks on the compilation, it has one thing in common…quality.
Earlier I posed the question whether Keb Darge and Little Edith’s Legendary Wild Rockers 2 would match or better the quality of their two previous compilations? Well, I can say that somehow, they’ve done it again, bettering their two previous compilations. This can’t have been easy, given the quality of their two previous compilations. Not only that, but with so many compilations being released, it’s getting even harder to release a compilation with tracks that most listeners won’t have heard. However, given Keb Darge’s encyclopedic knowledge of all things, soul, funk and R&B, he knows where there are a few musical treats lying undiscovered. Many of the twenty-one slices of surf music and rockabilly that feature on Keb Darge and Little Edith’s Legendary Wild Rockers 2 are extremely rare and are almost impossible to track down. However, often, people equate rarity with quality. Although that’s not always the case, it is here. From the first time I played Keb and Little Edith’s latest offering, I was enthralled. It’s like taking a journey back in time, to the fifties and early sixties, where you relive the delights of surf music and rockabilly. For the uninitiated and newcomers to to this series, Keb Darge and Little Edith’s Legendary Wild Rockers 2 is going to a journey and indeed, experience to savor. I’m sure that once you’ve discovered Keb Darge and Little Edith’s Legendary Wild Rockers 2, you’ll be wanting to discover the two previous volumes, Keb Darge and Little Edith’s Legendary Rockin’ R&B and Keb Darge and Little Edith’s Legendary Wild Rockers. For those of you who can’t wait until 10th July 2012 until the release of Keb Darge and Little Edith’s Legendary Wild Rockers 2, then you can always enjoy the delights of the two previous volumes. Standout tracks: The Brave Woodpecker Rock, The Tempests Lemon Line, Bobby Lawson If You Want My Love and Allen Page She’s the One That’s Got It.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS 2.
THE DELFONICS-LA LA MEANS I LOVE YOU.
THE DELFONICS-LA LA MEANS I LOVE YOU.
When Stan Watson, manager of The Delfonics, and owner of Philly Groove Records, met novice producer Thom Bell in 1967, this would be the start of a relationship that saw The Delfonics not only pioneer the Philly Sound, but become one of the most successful soul groups of that era. Between 1968 and 1974, The Delfonics would release five albums, with The Delfonics first three albums produced by Thom Bell. Their first album was La La Means I Love You, released on Philly Groove Records in 1968. On La La Means I Love You, was one of their most memorable and successful singles, the title-track La La Means I Love You. It reached number four in the US Billboard 100 and number two in the US R&B Charts. This single was just the start of this successful partnership between The Delfonics and Thom Bell. Together, Thom Bell and The Delfonics pioneered what would become known as the Philly Sound. For their debut album, La La Means I Love You, The Delfonics would record eleven songs. These were a mixture of cover versions and new material written by lead singer William Hart and producer Thom Bell. Since the release of La La Means I Love You, the album is perceived as a classic album, influential, innovative and important in the development of the nascent Philly Sound. Before I tell you about the music on La La Means I Love You, I’ll tell you about the background to the album.
Before The Delfonics had signed to Philly Groove Records, they’d released two previous singles. He Don’t Really Love You had been released on Moon Shot in 1966, while You’ve Been True had been released on Cameo Parkway in 1967. Neither single had charted, but their third single, which Thom Bell and Delfonics lead singer William Hart cowrote would change all this and The Delfonics lives. However, that was still to come, before that, The Delfonics had an album to write and record.
Now signed to Philly Groove Records, with Thom Bell ready to produce their debut album, Thom Bell and William Hart had to cowrite songs for the album. Together, they cowrote six tracks including I’m Sorry, Break Your Promise, Losing You, You’re Gone, Can You Remember and one other track, La La Means I Love You. Joining these six tracks, were five cover versions, including two Bacharach and David songs The Look of Love and Alfie. Other tracks included Shadow of Your Smile, co-written by Bobby Hart and Bobby Weinstein. These tracks, plus three other cover versions, would be recorded at what would become a legendary studio, Philadelphia’s Sigma Sound Studio.
Accompanying The Delfonics were some of the musicians that would play a huge part in the future Philly Sound and would become part of M.F.S.B. This included guitarist Norman Harris and bassist Ronnie Baker of the legendary Baker, Harris, Young rhythm section. Joining Norman and Ronnie, were Vince Montana and Don Renaldo, whose strings and horns would grace so many Philadelphia International Records’ albums. With Thom Bell producing and Stan Watson assisting him, the eleven tracks on what would become La La Means I Love You was laid down at Philadelphia’s Sigma Sound Studios. All that was left was for La La Means I Love You to be released.
La La Means I Love You was released in May 1968, reaching number 100 in the US Billboard 200 and number fifteen in the US R&B Charts. The first single released from the album was La La Means I Love You, which reached number four in the US Billboard 100 and number two in the US R&B Charts. Following this, was I’m Sorry, which reached number forty-two in the US Billboard 100 and number fifteen in the US R&B Charts. Break Your Promise was the third and final single released from La La Means I Love You, reaching number thirty-five in the US Billboard 100 and number twelve in the US R&B Charts. Overall, the partnership of Thom Bell and The Delfonics had proved hugely successful, due to the music on La La Means I Love You, which I’ll now tell you about.
Opening La La Means I Love You is I’m Sorry, the first of six tracks which Thom Bell and William Hart cowrote. Drums play slowly, punctuating the arrangement, before quivering strings and a trademark Thom Bell lone horn enters. Quickly, this gives way to William’s lilting, tender vocal, while Randy Cain and Wilbert Hart add subtle, beautiful backing vocals. Thom Bell uses lush strings to add to the beauty and emotion of the track, while Vince Montana sprinkles percussion. Together, Thom Bell’s thoughful, understated arrangement and William’s heartfelt vocal, combine seamlessly, resulting in an emotive, but quite beautiful track.
Break Your Promise sees swathes of lush, shimmering strings, guitars and the rhythm section combining before William’s vocal enters. It’s full of emotion, tinged with sadness and regret, while Wilbert and Randy’s harmonies compliment William’s vocal. They soar high, as layers of strings sweep slowly, adding to this sadness and emotion. This is hugely effective, when combined with the peerless vocals and harmonies of The Delfonics.
The first of five cover versions on La La Means I Love You is The Shadow Of Your Smile. Here, Thom Bell transforms the track, giving it an understated arrangement, complete with occasional jazzy guitars. William’s vocal is tenderness personified and laden with emotion. Lush strings sweep slowly, while a lone horn drifts above the arrangement. In keeping with subtle sound, the drums are played with brushes, while Norman Baker sprinkles jazz guitar. All this, plus one of William’s tenderest vocals, makes this a subtle, but bewitching version of a classic song.
Hurt So Bad is a track that’s quite different from previous tracks, it’s a much more uptempo track, quicker, with a much fuller arrangement. The song literally bursts into life, with swathes of strings cascading, almost dancing, while the rhythm section drive the track along. William’s vocal is thoughtful and deliberate, full of hurt and regret. Wilbert and Randy, add punchy harmonies, while the strings sweep and swirl, and bursts of horn punctuate the arrangement. This much more uptempo track, is catchy and certainly, isn’t short of hooks. Hopefully, we’ll hear much more of this side of The Delfonics.
Losing You is another of the Thom Bell and William Hart penned tracks. It has a dramatic opening, just piano, bass and William’s spoken vocal combining. Then quickly, it’s all change. The track is transformed into an uptempo song, with the rhythm section and piano key to the track’s success. A chugging guitar punctuates the arrangement, while William’s quicker, emotive vocal is accompanied by some of the tightest harmonies on the album. Not only does this track demonstrate the vocal talents of The Delfonics, but how talented the Thom Bell and William Hart songwriting team were.
Covering a song that’s been covered as often as Bacharach and David’s Alfie isn’t easy, because you’ve got to bring something new to the song. Here, Thom Bell’s arrangement and William’s vocal does this. William’s vocal is deliberate, ironic even, while Thom’s arrangement fuses drama and beauty. To do this, he deploys layers of slow strings, his trademark horn sound and a piano. Together with tight, soaring harmonies and William’s vocal, they bring something new and different to an old song.
Easily the best known track on La La Means I Love You is the title-track, La La Means I Love You. This is the best track on the album, with this a seminal Delfonics’ track. Straight away, from the opening bars, you realize that this is a very special song. The rhythm section, quivering strings and piano combine, giving way to William’s gentle, heartfelt vocal. He’s accompanied by peerless harmonies, some of the best on the album. Meanwhile, lush strings sweep slowly, as William’s emotive vocal soars, bring to life the lyrics and their beauty, accompanied by Wilbert and Randy. Together with a peerless Thom Bell arrangement, The Delfonics produce one of the greatest songs of their career, a song that is a true Philly Soul classic.
When You’re Gone opens, the sound is dramatic and bold, with Thom Bell’s arrangement having a slight Motown influence. Strings, rhythm section and guitars combine, before William’s vocal enters, accompanied by soaring harmonies. Drums that dominate and help drive the arrangement along are key to sound, while strings add to the drama and boldness of the track. This track is quite unlike other tracks on the La La Means I Love You, with the sound more Detroit than Philly. That however, is an observation, not a criticism of a track that’s both bold and dramatic.
The Look of Love is the second Bacharach and David song on La La Means I Love You. Like The Delfonics version of Alfie, this is quite different from other versions. Compared to Dusty Springfield’s version this version is faster, with the arrangement fuller. William’s vocal is accompanied by layers of strings, percussion and Thom Bell’s trademark horn sound that punctuates the arrangement. Randy and Wilbert’s harmonies are subtle, in contrast to the rest of the arrangement. Later, a lone horn solo drifts across the arrangement, replaced by the lushest of strings. This is just the finishing touch to what’s a intriguing and soulful version of Bacharach and David’s classic track.
Can You Remember is the final track Thom Bell and William Hart cowrote on La La Means I Love You. It’s a slow song, that could only have been recorded by The Delfonics, given its sound. Not only that, but the track could’ve only been produced by Thom Bell. Percussion, layers of lush strings and the rhythm section combine. Drums are loud, prominent in the mix, while William delivers one his vocal gently and tenderly. Similarly, Randy and Wilbert’s harmonies are soft, subtle and hugely soulful. Together, with one of William’s best vocals on the album, this makes this one of the highlights of La La Means I Love You.
Closing La La Means I Love You is A Lover’s Concerto, which Sandy Linzer and Denny Randell cowrote. It’s a mid-tempo track, with an uplifting, joyous sound, perfect to close the album. The interplay between William’s lead vocal and Wilbert and Randy’s harmonies is seamless. They feed off each other, while strings cascade, rasping horns drift in and out, as the rhythm section provide the track’s heartbeat. However, it’s William’s impassioned, joyous vocal and Wilbert and Randy’s harmonies that are key to the track, and make this such an uplifting and blissful track to close the album.
Although La La Means I Love You was only The Delfonics debut album and Thom Bell’s first album as producer, this is a mature, polished and highly accomplished album. Six of the songs were co-written by Thom Bell and William Hart, demonstrating their talents as songwriters. To write such a classic track as La La Means I Love You was quite a remarkable achievement. Not only was it a huge hit, selling over a million copies, but since then, has become a classic Delfonics track and one that represents the nascent and developing Philly Sound. On La La Means I Love You, William Hart’s vocals brought each song to life, delivering his vocal with the requisite emotion. Whether it was joy, sadness or passion, William got that across, while Randy and Wilbert added harmonies that complimented his vocal. Thom Bell played an important part in The Delfonics success story. Even on La La Means I Love You, you can hear his trademark sound developing. Key to this was his use of his trademark lone horn, strings and prominent placement of the drums in the mix. He was key to the development of the Philly Sound, before Gamble and Huff along with Thom, would make it famous worldwide and make it the soundtrack to much of the seventies. Similarly, the genesis of the Baker, Harris, Young rhythm section and M.F.S.B. Bassist Ronnie Baker and guitarist Norman Harris played on La La Means I Love You, and would then be joined by Earl Young, completing the legendary rhythm section and heartbeat of M.F.S.B. Joining Ronnie Baker and Norman Harris in M.F.S.B. would be Vince Montana and Don Renaldo, who both played this album. Obviously, La La Means I Love You was hugely important for The Delfonics. Not only was it their debut album, but La La Means I Love You is perceived as a classic album, influential, innovative and important in the development of the nascent Philly Sound. After this, both The Delfonics would become one of the most popular purveyors of the Philly Sound. The Philly Sound would go on to dominate seventies soul, and over forty years later, we’re celebrating the sound made famous first by Thom Bell, then perfected by Gamble and Huff. It’s smooth, polished and and lush sound is still loved and admired. However, without Thom Bell and The Delfonics, the story might be very different. So, Thom Bell and The Delfonics, we thank you, for the part you played in developing what became known as the Philly Sound. Standout Tracks: I’m Sorry, Break Your Promise, La La Means I Love You and Can You Remember.
THE DELFONICS-LA LA MEANS I LOVE YOU.
THE ISLEY BROTHERS-GO FOR YOUR GUNS.
THE ISLEY BROTHERS-GO FOR YOUR GUNS.
Some time ago, I wrote about The Isley Brothers 1976’ album platinum certified album Harvest For the World, which was released during the hottest period of The Isley Brothers’ career. This hugely successful run of albums started with the release of 1973s 3 + 3 which was also certified platinum. Following this, was 1974s Live It Up, which was certified gold and was the first of five consecutive Isley Brothers’ albums to reach number one in the US R&B Charts. The Heat Is On, released in 1975, became their most successful album, reaching number one in the US Billboard 200 and US R&B Charts, while being certified platinum. Next came the release of 1976s platinum certified Harvest For the World. However, the album that followed Harvest For the World, would surpass everything that had preceded it. Released in 1977, Go For Your Guns, not only reach number one in the US R&B Charts, but contained a number one single The Pride, and was certified double platinum. After I’ve told you about the background to Go For Your Guns, which was rereleased in 2011 by BBR Records, I’ll tell you about the music on the album.
Following the success of their previous album Harvest For the World, the pressure must have been on The Isley Brothers to produce another commercially successful album. This would be a new start for The Isley Brothers, with the older Isley Brothers taking a back seat. One thing didn’t change though, with the seven songs co-written by the five Isley Brothers and Chris Jasper. For this new start, the music changed, with the band moving to New York.
Rather than move to New York City, Ernie, Marvin and Chris Jasper decided to relocate to Woodstock, in upstate New York. Recording would take place at the famous Bearsville Studios. Previously, many artists, including The Band, had recorded albums at Bearsville. The Band had recorded Stage Fright, Cahoots and Moondog Matinee at Bearsville.
Once settled in Bearsville, The Isley Brother experienced the much lauded special “vibe” that the studio was famous for. They also discovered a studio with cutting-edge equipment. However, one thing missing from their usual Los Angeles’ studio was the latest synths. This meant Chris Jasper had to bring his own ARP-2600. With his trusty synth in place, Chris and The Isley Brothers soon settled down to recording the seven songs they’d written for their new album. Soon, Bearsville became The Isley Brothers’ favorite studio. They recorded the seven songs that would become Go For Your Guns there. Go For You Guns was The Isley Brothers fifteenth studio album, since their 1959 debut album Shout! Would it match the success of their previous albums, including 1976s Harvest For the World?
Before the release of Go For Your Guns in March 1977, The Pride (Parts 1 & 2) was the first single released from the album in February 1977. It would reach number sixty-three in the US Billboard 100, number thirty in the US Disco Charts and number one in the US R&B Charts. This was the third US R&B number one single of The Isley Brothers career, and first since Fight the Power (Part 1) in 1975. Go For Your Guns was released in March 1977, reaching number six in the US Billboard 200 and number one in the US R&B Charts, being certified double platinum. Livin’ In the Life was released as a single in May 1977, reaching number forty in the US Billboard 100 and number four in the US R&B Charts. Voyage To Atlantis, the third and final single released from the album, was released in October 1977, reaching number fifty in the US R&B Charts. Given how successful Go For You Guns was, this new Isley Brothers’ sound had been well received by fans. However, what’s different about the music on Go For You Guns?
Opening Go For You Guns is the most successful single released from the album, The Pride (Parts 1 & 2). It’s representative of their new sound, with a tougher, funkier sound with a dance-floor friendly sound and tempo. Wah-wah guitars and a funky rhythm section combine, before Ronald delivers the song’s sociopolitical message. This is a warning shot to politicians, that without pride, people have no sense of belonging. Whispered backing vocals, keyboards and percussion augment the funk of the guitars and rhythm section, while there’s almost a disco beat throughout the track. With a combination of the disco beat and tempo, a tougher funkier sound and sociopolitical message, The Isley Brothers get album number fifteen of to a compelling, intriguing and irresistible start.
When you hear the guitar drift in as Footsteps In The Dark (Part 1 & 2) starts, immediately, you’re hooked. Then when Ronald’s tender, thoughtful vocal, accompanied by backing vocals, rhythm section, guitars and keyboards, you find yourself spellbound. Quite simply, this melancholy, wistful song is one easily, one of the best tracks on Go For You Guns. The Isley Brothers play around Ronald’s heartfelt vocal, on what’s a haunting, bewitching and beautiful track.
After the tenderness and beauty of the previous track, Tell Me When You Need It Again (Part 1 & 2) sees The Isley Brothers change tack. The sound is funkier, while Ronald’s vocal is impassioned, powerful and really soulful. Sizzling guitars soar above the arrangement, while the rhythm section add some tough funk accompanied by keyboards and percussion. Part of the track’s funky sound is due to Chris Jasper playing bass using a wah-wah pedal, which is really effective. Meanwhile, as Ronald delivers his vocal with emotion, power and passion, the other Isley Brothers add punchy backing vocals. When this fuller, funkier arrangement is combined with Ronald’s impassioned, soulful vocal the result is what The Isley Brothers do so well, fuse funk and soul seamlessly.
Climbin’ Up The Ladder (Part 1 & 2) is very different to the previous track. It has a much rockier sound, with screaming guitars opening the track, while Ronald’s growling vocal reflects this new, tougher sound. There’s still a modicum of funk present, but it plays second fiddle to the rocky sound. The rhythm section, guitars and keyboards combine, before the guitars kick loose, wailing and screaming, while drums rolls and fills compete. However, there’s more to this song than meets the eye. It’s about courage and meeting fear face on, akin to Climbin’ Up The Ladder (Parts 1 & 2). While this it’s another song with a message, it’s a song with a very different newer, harder, rocky sound, that’s very different to Summer Breeze and Harvest For the World. Having said that, it demonstrates a new, different side to The Isley Brothers and their music.
As Voyage To Atlantis opens, you’re wondering the direction the song is heading in. The tempo is slower, but crystalline, chiming guitars soar above the arrangement. Providing a contrast is Ronald’s vocal. It’s tender, emotive and beautiful, while the band play with a subtlety. This changes when the guitar drifts in, but in doing so, adds to the beauty and emotion of the track. Complimenting Ronald’s vocal are subtle backing vocals. They add to the beauty of this thoughtful, melancholy track, which to me is one of the highlights of Go For Your Guns.
Livin’ In the Life was the second single from Go For Your Guns. Again, it’s different from the preceding track, with more in common with Climbin’ Up The Ladder (Part 1 & 2). Both the vocal and arrangement have a bigger, and harder sound. Similarly, the arrangement has a much more electronic sound than other tracks. This is acknowledged by Chris Jasper in the sleeve-notes. Chugging and chiming guitars, clavinet, keyboards and the rhythm section are accompanied by constant handclaps. These handclaps play an important role in the track, as does Ronald’s powerful, grizzled vocal. It’s perfect for the arrangement, which has a similar tougher sound. Again, this track points to the new direction The Isley Brothers’ music was moving in, and given how successful Go For Your Guns was, fans very definitely approved of this new sound.
Closing Go For Your Guns was the title-track Go For Your Guns, which has a sound that’s not unlike the previous track. A driving rhythm section, searing, sizzling guitars, keyboards and percussion combine with constant handclaps. The tempo is quick, with a rocky guitar dominating the arrangement, before a powerful, short burst of a vocal enters. Like the track, it’s all too brief. After just two minutes, the track is over, just when I was really enjoying this new, rocky sound from The Isley Brothers. This is a tantalizing and delicious amuse bouche of a track, the perfect way to close Go For Your Guns.
While Go For Your Guns saw a change in The Isley Brothers’ music, their fans loved their new sound, so much so, that Go For Your Guns would go on to sell over a million toys and be certified platinum. Not only that, but The Pride (Parts 1 & 2), with its sociopolitical message, gave The Isley Brothers the third number one album of their career. However, one thing that I’ve noticed, and that’s that while The Isley Brothers were hugely successful in the US, they were more of a singles band in the UK. That to me, means that far too many people missed out on so many great albums from The Isley Brothers. On Go For Your Guns, the music is a fusion of soul, funk and rock. Of these tracks, The Pride (Parts 1 & 2), Footsteps In The Dark (Part 1 & 2) and Voyage To Atlantis are a trio of the highlights from Go For Your Guns. Climbin’ Up The Ladder (Part 1 & 2) with its message of overcoming fear and facing it head on, plus Livin’ In the Life and Go For the Guns are much more representative of the new, harder and rockier Isley Brother sound. Their decision to change direction was a brave one. Whereas The Isley Brothers could’ve continued to release similar albums to their previous ones, they decided to move forward and change direction. That’s why The Isley Brothers career has had such longevity, with Body Kiss, released in 2003 being certified gold. Considering Body Kiss was released forty-four years after their 1959 debut album Shout. Before Body Kiss, both 1996s Mission To Please and 2001s Eternal were both certified platinum, having sold over a million copies. However, back in 1997, when Go For Your Guns, which was rereleased in 2011 by BBR Records, complete with three bonus tracks, was just the latest in a long line of hugely successful albums The Isley Brothers released. Together with 1976s Harvest For the World, Go For Your Guns is a good starting point for anyone wanting to discover the music of The Isley Brothers. Standout Track: The Pride (Parts 1 & 2), Footsteps In The Dark (Part 1 & 2), Voyage To Atlantis and Livin’ In the Life.
THE ISLEY BROTHERS-GO FOR YOUR GUNS.
THE FUTURES-THE GREETINGS OF PEACE.
THE FUTURES-THE GREETINGS OF PEACE.
I thought that since the Philadelphia International Records-The 40th Anniversary Box Set was due out on 21st May 2012, that I’d revisit a few of the artists that’ll feature on the box set. This has included The Jacksons, first post-Motown album The Jacksons, which gave them the most successful album of their career. Another group that feature on the box set are The Futures, who released two albums for Philadelphia International Records. The first was 1978s Past, Present and The Futures, which I’ve previously reviewed. That was the second album of The Futures’ career, the follow-up to 1976s Castles In the Sky, released on Buddah Records. Two years after the release of Past, Present and The Futures, The Futures released their second album for Philadelphia International Records, 1980s The Greetings of Peace. Sadly, this would be the last album of The Futures career, released ten years after they released their debut single Our Thing in 1970, on Amjo Records. After I’ve told you about the background to the Greetings of Peace, I’ll tell you about the music on the album.
Whereas Gamble and Huff hadn’t been particularly hands-on for the recording of Past, Present and The Futures, The Futures previous album, they played a much bigger part in The Greetings of Peace. They cowrote four of the tracks, and together with Sherman Marshall, Gamble and Huff produced five of the album’s tracks. Kenneth Gamble and Sherman Marshall produced one further track, while Cynthia Biggs and Ted Wortham cowrote and produced Why Must It End? Arranging the eight tracks on The Greetings of Peace, were Dexter Wansel, Jack Faith and William Bloom. Together with M.F.S.B. Mk 2, which included organist Lenny Pakula, percussionist Larry Washington, guitarist Dennis Harris, keyboard players Leon Huff and Ted Wortham they’d record The Futures third album The Greetings of Peace. Joining the a cast of multitalented musicians that made up M.F.S.B. Mk 2, was Don Renaldo’s Strings and Horns and Cecil Womack. He’d would play guitar on Silhouettes. Recording of The Greetings of Peace would take place at the scene of so many previous Philadelphia International success stories. Would The Greetings of Peace be another of these success stories?
Before the release of The Greetings of Peace, Silhouettes was released. This was a cover of The Rays’ 1957, with The Futures’ version reaching just number seventy-nine in the US R&B Charts. Sadly, this was the only success The Futures would enjoy during the rest of their time on Philadelphia International Records. Similar to other R&B albums released during this period, The Greetings of Peace was overlooked by the record-buying public. It seemed that by the time of the album’s release, R&B albums full of ballads weren’t big sellers. This spelt the end of The Futures time on Philadelphia International Records. By 1981, Gamble and Huff were scaling down the label’s roster. One of several artists leaving the label were The Futures. After this, The Futures released just two further singles, for the small Warped label. Then in 1982, The Futures were a thing of the pass, with the group splitting-up. However, The Greetings of Peace is an album that’s well worth revisiting, and I’ll now tell you about the music on the album.
Opening The Greetings of Peace is Victory, the first Gamble and Huff penned track on the album. They produced the track with Sherman Marshall, with Dexter Wansel arranging it. Straight away, when the rhythm section and stabs of keyboards combine, there’s a funky sound to the track. When The Futures’ soaring, dramatic vocals enter, Frank Washington, Kenny Crew, Henry McGilberry and brothers James and John King combine seamlessly. As the vocal changes hands, the rest of the group add punchy harmonies. Meanwhile, Don Ronaldo’s strings cascade, as bursts of guitars and rasping horns augment The Futures vocals. Their vocals are dramatic and punchy, but still soulful, delivered against an equally dramatic, but funk-tinged arrangement from Dexter.
Although the proliferation of ballads on The Greetings of Peace is seen as part of the failure of the album on its release, The Futures delivered ballads so well. I’m So Proud of You Woman proves this perfectly. Again the track’s written by Gamble and Huff, with Dexter Wansel arranging it. Leon Huff plays keyboards, which together with the rhythm section, lush, sweeping strings and Larry Washington’s percussion, provide the perfect backdrop for the vocal. It’s full of emotion, pride and adoration, while the other Futures add beautiful, tight harmonies. When the swathes of strings that dance above the arrangement are added to the emotion of the rhythm section, the result is the finishing touch to one of the best tracks on the album.
When Peace opens, it has a quite different sound to the two previous tracks. It’s another Gamble and Huff song with a message. This is something they’ve previously done so well. Jack Faith, one of Philadelphia International’s best arrangers arranges the track. There’s a jazzy sound when the track opens, before revealing elements of soul and funk during the track. The Futures vocals range from subtle and sincere, to powerful and dramatic. Their harmonies are tight and peerless, while Jack Faith’s mostly understated arrangement compliments the vocals. Later, the vocal becomes a proto-rap, delivered against bursts of horns, keyboards and sweeping strings, as the track heads in the direction of jazz. Still The Futures can deliver their message of Peace, doing so with the same soulful sincerity and passion.
Cynthia Biggs and Ted Wortham cowrote and produced Why Must It End? Here, The Futures flourish, doing what they do so well, delivering a ballad with equal amounts of sadness, emotion and passion. As the track opens, with swathes of strings, bursts of rasping horns and the rhythm section combining, they reflect the emotion and passion of The Futures vocals. Then, when the lead vocal enters, it’s tender, tinged with sadness. Quickly, it changes hands, accompanied by one of the best arrangements on the album. The harmonies are tight, emotive and impassioned, augmented by punchy horns and drums. Meanwhile, a piano and strings reflect the heartache and emotion of the vocal. When all this is combined, the result is one of the most emotive, heartfelt and beautiful tracks on The Greetings of Peace.
The Rays originally released Silhouettes as a single back in 1957. Here, Cecil Womack was drafted in to play guitar on the track, with his guitar playing key to the understated sound of this vintage sounding arrangement. With just guitar, percussion, lush strings and a subtle rhythm section accompanying The Futures, the deliver their vocal in a doo-wop style. This is really effective, demonstrating another side to The Futures, especially when combined with the subtle, beautiful arrangement from Jack Faith, whose use of strings, guitar and piano is truly, a masterstroke.
We’re Gonna Make it Somehow is the last of the Gamble and Huff penned tracks on The Greetings of Peace, which they co-produce with Sherman Marshall. Straight away, it’s obvious that this is song with made in Philadelphia written all over it. From the opening bars when the rhythm section, keyboards and percussion this is Gamble and Huff personified. The lead vocal is delivered gently, with a tenderness, accompanied by punchy harmonies. Meanwhile, bursts of punchy horns, keyboards and the rhythm section combine, playing their part in the song’s success. By the end of this hook-laden track, it’s almost impossible to resist the track’s obvious charms.
Mr. Bojangles a track written in the thirties, has previously, been covered by a many artists. Here, with swathes of dramatic strings throwing a curve-ball, the The Futures with producers Kenny Gamble and Sherman Marshall, deconstruct the track, turning it into a cross between a waltz, doo-wop and soul. While The Futures begin delivering doo-wop vocals and harmonies, drummer Quinton Joseph produces a waltz beat. Later, a soulful vocal dances above the arrangement, perfect for the beat, while layers and layers of lush strings sweep and swirl, as if they, too are dancing. This deconstruction and reconstruction of the track breathes new life and meaning into Mr. Bojangles, offering something quite different and soulful.
Closing The Greetings of Peace and The Futures career at Philadelphia International Records is Feels Just Like The First Time, written by Frankie Smith and William Bloom. A solitary piano precedes the vocal, before a drum roll signals that soon, the track will reveal its charms and beauty. Ed Shea’s vibes and Don Ronaldo’s lush strings play vital roles in the arrangement, while tender backing vocals drift in and out. Later, Jack Faith plays a sultry, seductive saxophone solo that drifts above the arrangement, before dancing strings and backing vocals replace it. Along the vibes, they provide the perfect accompaniment for the emotive, impassioned vocal, on this very beautiful and fitting farewell from The Futures to Philadelphia International Records.
Sadly, after the failure of The Greetings of Peace, The Futures were dropped by Philadelphia International Records, who in 1981, were trimming their roster of artists. For me, the failure of The Greetings of Peace was nothing to do with the quality of music on the album. Quite the opposite. Instead, The Greetings of Peace fell victim to the vagaries of musical fashions and trends. Back in 1980, R&B albums full of ballads, weren’t selling well. The Greetings of Peace was an album that primarily, was full of ballads. This was what The Futures did so well. They were a hugely talented group, who during a career that spanned three decades, would only three albums. The last of these was The Greetings of Peace, where with the help of Gamble and Huff, who cowrote four of the tracks, and together with Sherman Marshall, Gamble and Huff produced five of the album’s tracks, they played their part in an album that’s deeply soulful, full of emotion, passion and sometimes, heartache. To me, The Greetings of Peace is a hugely underrated album, full of some sumptuous Philly Soul. Along with arrangers like the hugely talented Jack Faith, and Dexter Wansel, plus house-band M.F.S.B. Mk 2 and Don Renaldo’s Strings and Horns The Futures’ final album The Greetings of Peace is one that’s well worth discovering. Together with Past, Present and The Futures, The Greetings of Peace was rereleased by Demon Music as Party Time Men-The Futures on PIR. For anyone yet to discover The Futures, then why not discover the music of The Futures, Philadelphia International Records’ very own Party Time Men? Standout tracks: I’m So Proud of You Woman, Why Must It End?, We’re Gonna Make it Somehow and Feels Just Like The First Time.
THE FUTURES-THE GREETINGS OF PEACE.
THE LAST PICTURE SHOW-ORIGINAL SOUNDTRACK.
THE LAST PICTURE SHOW-ORIGINAL SOUNDTRACK.
Like many people, one of the most memorable parts of The Last Picture Show is the soundtrack. For me, it’s not just the music typifies the era, it’s the way director Peter Bogdanovich uses and deploys the music in such an evocative way. During the film, the music wafts out of jukeboxes, radios in houses, cars and trucks and at the town’s Christmas dance. The way the music is used is so effective, adding atmosphere in a way that gets across that here, in a backwater town in Texas, the town is on its knees, dying. It’s almost like everyone has given up hope. Not only does it get across the sense of hopelessness, but the landscape, like the town reflects this desolation and desperation. Much of this is down to the music on the soundtrack to The Last Picture Show. Originally, there were only ten tracks on the soundtrack, but El Records rerelease, which will be released on 28th May 2012, has twenty-eight tracks. Each of these tracks are from the era The Last Picture Show is set in, with tracks from Hank Williams, Pee Wee King, Tony Bennett, Johnny Ray and Frankie Laine. Before I tell you about the music on the Last Picture Show’s soundtrack, I’ll tell you about the background to the film.
Back in 1971, writer, critic and director Peter Bogdanovich released what was his third film, The Last Picture Show. He previously had only two small films to his credit, Target and Voyage To the Journey of Prehistoric Women. How the film came about is an example of how coincidence can play a huge part in someone’s career. Director Peter Bogdanovich happened to see a copy of Larry McMurtry’s semi-autobiographical novel The Last Picture Show whilst waiting in a queue in his local drugstore. Although the title piqued his interest, fter reading the synopsis, he decided the story about teenagers growing-up in Texas wasn’t for him. Then just a few weeks later, Peter’s actor friend Sal Mineo gave him a copy of the book. Sal admitted he’d always wanted to be in a film of the book. Peter gave the book to his then wife, Polly Platt, who enjoyed reading the book, but didn’t know how it could be turned into a film. After this, Peter and author Larry McMurtry set about writing a script. with some people believe ,Polly Platt helping Peter and Larry to write the film script. Steven Friedman, who although he for Columbia Pictures as a lawyer, wanted to become a film producer. He’d bought the film rights to The Last Picture Show, so was hired as producer. The next step was the filming of The Last Picture Show.
After talking with Orson Wells, Peter’s decided to shoot the film in black and white. This proved to be a masterstroke, adding to the effectiveness, evocativeness and aesthetic of the film. Shooting took place in Archer Town, north Texas, which Peter renamed it Aranene. Among the cast of The Last Picture Show were Jeff Bridges, Ben Johnson, Ellen Burstyn, Cloris Leachman and Cybil Shepherd. Once the film was shot, it was edited by Peter in Los Angeles, on a Moviola, allowing him to watch the film he edited it. Modesty, however, prevented Peter being credited as cowriter, director and editor. Instead, he recommended Donn Cambern, whose contribution to the film adds to the film’s impact. Now all that remained, was The Last Picture Show to be released.
On the release of The Last Picture Show in October 1971, Peter Bogdanovich’s career was transformed. Having shot a film on a budget of $1.3 million, it took $29.1 million at the box office. So highly rated was The Last Picture Show, that it was nominated for eight Academy Awards, eventually winning two. Since then, The Last Picture Show has been recognized by the United States Library of Congress, due to either it’s “cultural, historic and aesthetic significance” and chosen to be preserved by the US National Film Registry. That demonstrates the importance of The Last Picture Show in American society and culture. This story of a group of teenagers coming of age in a rural American town, one that’s on its knees, desolate, full of desperation and hopelessness, slowly dying and disappearing struck a nerve, resonating with not just the American public, but audiences worldwide. Key to The Last Picture Show’s success, was the music used in the film, and I’ll now tell you about some of the highlights.
Opening The Last Picture Show soundtrack is Hank Williams 1950 single on M-G-M Why Don’t You Love Me (Like You Used To Do). This is such a poignant and melancholy track, with Hank’s vocal accompanied by drums, piano, fiddles and guitars. His vocal is questioning, tinged with hurt and sadness. Later, when steel guitars and fiddles take their turn to replace his vocal, they add to the sadness and melancholy nature of the track. For fans of Hank Williams, they’ll love the forthcoming release of The Last Picture Show soundtrack, because it has eight of Hank’s songs on the album.
Cold, Cold Heart is another Hank Williams track, released in 1951 on M-G-M. Here, Hank’s vocal full is of heartache and hurt. He’s accompanied by a slow combination of steel guitars, while fiddles and acoustic guitars accompany him. While the steel guitar drifts in and out the track, reflecting the desperation in Hank’s vocal, the rest of his band play gently, allowing his heartbroken, desperate vocal to take centre-stage and shine.
Eddy Arnold’s released Bouquet of Roses in 1949, on RCA Victor and it had the privilege of being the very first 7 inch, 45 R.P.M. single. The original commercial was released in clear green vinyl. Backed by steel guitars, fiddles and acoustic guitars, Eddy delivers his vocal with a heavy heart. He’s heartbroken, with his vocal tinged with pain and suffering. His band reflect his suffering, the steel guitars and fiddles, providing a suitably sympathetic accompaniment.
One of the best known songs on The Last Picture Show will be Hank Williams’ Hey, Good Looking, released in 1951, on M-G-M. Steel guitars open the track, before a quite different Hank Williams enters. His vocal is sassy, joyous even, with the lyrics probably quite risque for 1951. It’s just guitars and fiddles that accompany Hank as he serenades his beau. Later, that all too familiar guitar solo replaces Hank’s vocal, which along with Hank’s almost lustful, desirous vocal makes this such a memorable track.
Of all the tracks on The Last Picture Show, one of my favorites is Hank Snow’s A Fool Such As I. It has a gloriously, melancholy sound, with Hank’s vocal key to this. It’s full of pathos, as if he should’ve known better that get involved. Together strummed acoustic guitars and fiddles add to the sadness of Hank’s vocal. Meanwhile, steel guitars drift in and out, adding a sound that that’s full of heartache and regret. To me, this is the perfect breakup song, one that will reflect resonate with the newly brokenhearted.
Back in the fifties, Johnnie Ray was much more than a singer, he was a musician, songwriter and pioneer of music. His dramatic stage performances paved lead the way for future stars of rock ‘n’ roll. Fusing jazz and R&B, Johnnie had a hugely successful career, delivering some memorable performances. Please, Mr. Sun, released in 1952 on Columbia is a track that personifies just what made Johnnie Ray such a big star. His delivery is impassioned and emotive, delivered like a true crooner, his vocal soaring powerfully and dramatically. Backing vocalists accompany him, while flourishes of harp augment his vocal. However, the track’s success is down to one thing and one thing only, Johnnie’s vocal.
If Johnnie Ray delivered his vocal like a crooner, Tony Bennett takes crooning to another level on Blue Velvet. Released in 1958, on Columbia, this track demonstrates just why Tony Bennett’s career has enjoyed such longevity. While this is one of three Tony Bennett tracks on The Last Picture Soundtrack, this is the best. Strings lush and slow and a piano accompany his heartfelt vocal, which although full of sadness and regret, good memories are present. His delivery is laden with emotion, sadness and totally peerless.
Another of my favorite tracks from The Last Picture Show’s soundtrack is Jo Stafford’s You Belong To Me. It was released in 1952, on Columbia and was the B-side to Pretty Boy (Pretty Girl). Accompanied by vibes, bursts of rasping horns and standup bass, Jo’s vocal is tender, full of sincerity and emotion. She controls her voice perfectly, using her delivery to get across the beauty and sentiment of the lyrics. As the track ends, you can’t help but love a track that although it’s from another era, is both beautiful and heartfelt.
My final choice from The Last Picture Show’s soundtrack is Webb Pierce’s Back Street Affair. Released in 1952, on Decca, its lyrics demonstrate how times change in sixty years. The lyrics deal with the shame of a woman having an affair with a married man. Fiddles and guitar accompany Webb, with his vocal full of regret and sadness at the affair and the effect it’s had on his marriage. He’s caught between loyalty and a loveless marriage, while freedom and true love beckons. The arrangement adds to the heartache and melancholy sound of the track. When combined with Webb’s vocal, this is a deeply moving and hugely sad song.
Although I’ve only reviewed nine of the twenty-eight tracks on the Last Picture Show’s soundtrack, each of these tracks are of the highest quality. These songs are representative of the fifties, a very different and some people would say, a much better, more innocent era. They bring back memories of this very different time, during which The Last Picture Show was set. Director Peter Bogdanovich used the music during The Last Picture so effectively. He used it to evoke emotions and replace dialogue, doing so just as effectively. If a picture paints a thousand words, then the use of music in The Last Picture Show does this just as well. This included tracks from Hank Williams, Hank Snow, Tony Bennett, Eddy Arnold, Johnnie Ray and Jo Stafford. All these track were either from the late-forties, or fifties. Whereas in The Last Picture Show, the music wafts out of jukeboxes, radios in houses, cars and trucks and at the town’s Christmas dance, then El Records rerelease will allow that music to waft out of your speakers. It’ll be released on 28th May 2012, which gives anyone whose yet to watch The Last Picture Show, the chance to watch this, powerful, poignant and classic film. After that, you can enjoy the music from the stunning soundtrack to The Last Picture show. Standout Tracks: Hank Williams Why Don’t You Love Me (Like You Used To Do), Johnnie Ray Please, Mr. Sun, Tony Bennett Blue Velvet and Jo Stafford You Belong To Me.
THE LAST PICTURE SHOW-ORIGINAL SOUNDTRACK.
BOOKER T. AND THE MGs-McLEMORE AVENUE.
BOOKER T. AND THE MGs-McLEMORE AVENUE.
Back in 1993, I was truly fortunate to see Booker T. and The MGs live. They were accompanying Neil Young on his European Tour. For someone who loves the music of Booker T. and The MGs, Stax and Neil Young, this was a concert I wasn’t going to miss. Even nearly twenty years later, the memories are still vivid. Both Booker T. and The MGs and Neil Young didn’t disappoint. Booker T. and The MGs were the perfect backing group for Neil Young, he seemed to feed off them, taking his performances to new heights. Of all the concerts I’ve witnessed, and I’m something of a veteran of concert going, this was up there with the best. So, when I read about the death of legendary Booker T. and The MGs’ bassist Donald “Duck” Dunn, I was hugely saddened. Truly, music lost a true legend. Although the word legend is bandied about all too loosely, Donald “Duck” Dunn is deserving of being called a legend. From the release of Booker T. and The MGs second album Soul Dressing, released in 1965, Donald “Duck” Dunn was part of the group’s rhythm section. He played on ten of their albums, and was part of Stax’s legendary house-band. One of the ten Booker T. and The MGs’ albums Donald “Duck” Dunn played on, was 1970s McLemore Avenue, where Booker T. and The MGs’ pay homage to The Beatles’ Abbey Road. Before I tell you about the music on McLemore Avenue, I’ll tell you about the background to the album.
The year before Booker T and The MGs released McLemore Avenue, The Beatles released Abbey Road in September 1969. Like their previous albums, Abbey Road became another huge selling album for The Beatles, reaching number one in the US and UK. It was album laden with melodies, full of complicated stories, hidden messages, with clues and sometimes, conflicting answers. Some people perceived The Beatles as mystics, delivering cryptic messages, messages that required unravelling and decoding. Not only did it intrigue and mystify some listeners, but it contained the iconic and somewhat controversial cover, with Paul in his bare feet crossing the road. This lead to people wrongly speculating, that Paul McCartney was dead. A month after its release, came the first album paying homage to Abbey Road, George Benson’s The Other Side of Abbey Road. While that was the first album paying homage to Abbey Road, Booker T and The MGs would release the definitive tribute to Abbey Road, McLemore Avenue.
When Booker T. Jones, now having moved to Los Angeles heard the album, it literally blew him away. To him, the album was bold, very different from anything he’d heard before. It was a fusion of styles and influences, with The Beatles playing as if liberated. Quickly, Booker T. Jones realized the importance of Abbey Road. This was the latest landmark album, following Revolver, Rubber Soul and Sgt. Pepper’s Lonely Hearts Club Band. Then Booker T. Jones hit on the idea of recording an album paying homage to The Beatles. With Booker T. and The MGs going through the hottest, most successful period of their career, the time was right for this tribute album, which became McLemore Avenue.
Recording of McLemore Avenue was due to take place at Stax’s studios in McLemore Avenue, Memphis. However, with Steve Cropper producing in New York, it was decided he’d overdub his guitar parts at Wally Helder Recording Studios in Hollywood. So, Booker T. Jones, Steve Cropper, Donald “Duck” Dunn and Al Jackson Jr. set about paying homage to The Beatles. Thirteen of Abbey Road’s seventeen songs were chosen for McLemore Avenue. Of the thirteen songs, twelve were incorporated into three medleys. The only song that was a standalone tracks was Something. Given the importance of McLemore Avenue, this became the title of the album. While The Beatles had Abbey Road, Booker T and The MGs had McLemore Avenue. With recording in Memphis and Steve Cropper laying down his overdubbed guitar parts in Hollywood, the album was set for release later on in 1971. Would McLemore Avenue continue the success of Booker T. and The MGs’ previous albums on its release?
McLemore Avenue was released on 30th January 1970, with the album launched in New York. Expectations were high for McLemore Avenue, but it only reached number 107 in the US Billboard 200. This was a disappointment for the group. They’d figured that McLemore Avenue would prove more popular. Maybe the problem was George Benson had beaten them to it, paying homage to Abbey Road on The Other Side of Abbey Road. Since then, fans have revised their opinion of McLemore Avenue, with the album being perceived as one of Booker T. and The MGs’ finest albums. Nowadays, when people discuss McLemore Avenue, many people forget that Booker T. and The MGs weren’t the first to pay homage to Abbey Road, overlooking George Benson’s earlier album. The reason for this is the quality of music on McLemore Avenue, which I’ll now tell you about.
Opening McElemore Avenue is the first of three medleys on the album. Here, Booker T. and The MGs embark on a magical mystery tour through five tracks from Abbey Road. This journey takes in Golden Slumbers, before detours into Carry That Weight, and a dark, dramatic take on The End. After, this, the next stops on the your are Here Comes the Sun and Come Together. With stabs of Booker T.’s Hammond organ key to the sound, the rhythm section of bassist Donald “Duck” Dunn and Al Jackson Jr. drive the track along, with Steve Cropper’s crystalline and accurate guitar sprinkled over the arrangement. One of the high points comes with the dark, dramatic version of The End, before veering into a jazzy Here Comes the Sun. Stabs of organ and flourishes of piano are augmented by a standup bass, as a transformation takes place. Suddenly, the track is transformed into something quite amazing, jazzy and sometimes grandiose. By the time the track gets to Come Together, you’re aghast at the imagination and creativity of Booker T. and The MGs interpretation. Come Together is almost the band paying homage to The Beatles, so close to the original is this version. For five songs, Booker T. and The MGs not only transform, some of the tracks, but restructure them, playing with creativity and freedom, plus fluidity and imagination.
Something is the only standalone track, bringing out the beauty in the track, while transforming it. Flourishes of piano, the rhythm section and Steve Cropper’s Beatles-esque guitar playing are key to the track. Donald on bass, gives one of his best performances, his bass line cascading and marauding up and down. Later, the band improvise, playing around the song, with piano, waves of guitars and the rhythm section taking the track in the direction of jazz. By now, the track no longer resembles the original, but something dramatic, imaginative and more freeform. Here, it’s not so much Booker T. and The Beatles paying homage to The Beatles. Instead, they take the original track, and using the imagination and influences The Beatles used on Abbey Road to create something new, different and quite compelling.
During a medley of Because and You Never Give Me Your Money, Booker T. and The MGs go on another voyage of discovery, taking the two original songs and toying with them. They transform and almost rewrite parts of them. In the process, they’re given new meaning. It’s a dark, moody introduction to Because, before dramatically, then spaciously, the song reveals its charms. Key to the track is Booker T. on Hammond organ, as Steve sprinkles guitar while Al and Donald providing the rhythm section. Together they combine drama, emotion and power, while leaving space. Later, the track changes with You Never Give Me, with the band fusing rock, jazz and soul. The track starts brightly, with the band sticking to the original song. Stabs of Hammond organ, the rhythm section and guitar drive the track along, as the take a detour, exploring the subtleties and nuances of the song. Steve Cropper’s playing is outstanding, key to the track’s success. Then towards the end, the band unite, playing with a passion, energy and vigor powering the track towards its dramatic conclusion.
Closing McLemore Road is the third and final medley. This sees Booker T. and The MGs take in Sun King, Mean Mr. Mustard, Polythene Pam, She Came In Through The Bathroom Window and I Want You (She’s So Heavy). As the track begins, they play with a subtlety, leaving space, allowing the track to breath. Waves of quivering, shimmering Hammond, drums rolls and flourishes of guitar, all drift in and out of the track. Then, it’s all change, the tempo quickens, with the rhythm section and guitar driving the track along, while Booker T.’s Hammond is key to the track. Together, they play with even more passion, fluidity and creativity. By the time they get to She Came In Through the Window, Booker T. and The MGs have hit their stride. It seems everything was just building up to this point. From there, they seamlessly move onto the last song in the medley, I Want You (She’s So Heavy), transforming the track in the process. Never when Lennon and McCartney wrote the song did they envisage it played like this. Towards the end, waves of dramatic music build and build, eventually, with the Hammond organ at the heart of the track, with everyone else playing a supporting role, it reaches a dramatic, pulsating crescendo.
Booker T. and The MGs McLemore Road was partly them paying homage to The Beatles, but partly, Booker T. and The MGs exploring and deconstructing their music. In doing so, the reinvent some of the songs, breathing new life, meaning and energy into the track. Sometimes, they take fragments of tracks, injecting them briefly into the track, before seamlessly, moving onto another song. Just as you’ve spotted a burst of a track, Booker T. and The MGs are onto the next song, slicing and dicing, deconstructing and reconstructing the songs. This sees them fuse a variety of styles, with jazz, soul, funk and rock all thrown into the Melting Pot. For anyone whose a fan of The Beatles, especially Abbey Road, then McLemore Avenue is an album well worth discovering. After this, I’d recommend digging deeper into the back-catalogue of Booker T. and The MGs. Apart from the thirteen studio albums Booker T. and The MGs released, the four members, organist Booker T. Jones, guitarist Steve Cropper, drummer Al Jackson Jr. and Donald “Duck” Dunn playing bass, Booker T. and The MGs were part of Stax Records house band. They played on many of Stax’s biggest hits, backing Isaac Hayes, The Dramatics, The Staple Singers, Johnny Taylor and Shirley Brown. Although each member played their part in Booker T. and The MGs’ sound, Donald “Duck” Dunn’s bass playing was an integral part of their success. Sadly, Donald “Duck” Dunn a true musical legend, died on 13th May 2012, leaving behind a wonderful musical legacy, including McLemore Avenue. So, after forty years of soulful, funky music, we must say Donald “Duck” Dunn, thanks for the music and the memories.
BOOKER T. AND THE MGs-McLEMORE AVENUE.
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dereksmusicblog 