ARETHA FRANKLIN-JUMP TO IT.
ARETHA FRANKLIN-JUMP TO IT.
Before Jump To It was released in 1982, Aretha Franklin’s career was going through something of a lean spell. It had been six years since Aretha’s last top forty single Something He Can Feel and six years since her 1976 album Sparkle had been certified gold. Since then, Aretha had released five further albums, which had failed to replicate the success of Sparkle. However, Aretha’s fortunes would start to change when Aretha signed to Clive Davis’ Arista label. Her first album for her new label was 1981s Love All the Way, which reached number thirty-six in the US Billboard 200 and number four in the US R&B Charts. Although successful, it didn’t match the success of Aretha’s previous albums. What was needed was a hungry, up and coming producer who could give Aretha a more contemporary sound. Clive Davis found a man who fitted the bill perfectly, Luther Vandross. This would prove a masterstroke. He would prove key to the critically acclaimed, commercially successful and contemporary sound of Jump To It. Not only would he co-produce the album with Aretha, but wrote two tracks and cowrote two others. One of these tracks was Jump To It which Luther cowrote with Marcus Miller. It gave Aretha her first number one single in the US R&B Charts in five years, while Jump To would give Aretha her first gold disc in six years. Jump To It which will be rereleased by BBR Records on 25th June 2012, was the start of an Indian Summer for Aretha’s career. After I’ve told you about the background to Jump To It, I’ll tell you about the music on the album
For the last few years, one thing Aretha Franklin really wanted was a comeback album. For the last few years, her albums hadn’t been selling in the same numbers as before. Now signed to Arista Records, Clive Davis was able to make that happen. To do that Clive Davis hired Luther Vandross. Back then, Luther was a successful artist, but an aspiring songwriter and producer. With Luther hired to write produce and write songs for what was Aretha’s twenty-eighth album what was needed were contemporary sounding songs that would give Aretha a much need hit.
Luther came up with the goods, writing Love Me Right and This Is For Real, while he cowrote two tracks with Marcus Miller. These were (It’s Just) Your Love and Jump To It, which would give Aretha the hit single she so dearly wanted and needed to rejuvenate her career. Together with tracks from Sam Dees, Smokey Robinson and I Wanna Make It Up To You which Aretha penned herself, the album was ready to be recorded.
Recording of what would become Jump To It took place at three studios, Los Angeles’ Record Plant, New York’s Media Sound and United Sound in Detroit. For the recording sessions, an all-star band had been recruited. This included guitarist Doc Powell, bassist Marcus Miller, keyboard player Nat Adderley Jr., pianist George Duke, percussionist Paulinho Da Costa and drummer Buddy Williams. The lineup of backing vocalists were just as impressive. Luther Vandross recruited Fonzi Thornton and Norma Jean Wright with whom Luther had sung backing vocals on Chic’s album. Aretha recruited Cissy Houston and Erma Franklin to contribute backing vocals. During the recording sessions, it became obvious that this was quite different to what people expected of an Aretha Franklin album. It appeared her music had been given a makeover, making it more likely to interest new, younger listeners. Would Jump To It prove popular not just Aretha’s old fans, but new fans too, rejuvenating her career in the process?
June 1982 saw the release of the first single from Jump To It. The title-track Jump To It which Luther and Marcus Miller cowrote was chosen. It gave Aretha the hit single she so desired, reaching number twenty-four in the US Billboard 100 and number one in the US R&B Charts. This augured well for the release of Jump To It in August 1982. On its release the album became Aretha’s most successful album since 1976s Sparkle, reaching number twenty-three in the US Billboard 200 and number one in the US R&B Charts, giving Aretha the sixth gold disc of her career. Love Me Right was then released as a single in November 1982, reaching number twenty-two in the US R&B Charts. This Is For Real was the third and last single released from Jump To It in March 1983, reaching just number sixty-three in the US R&B Charts. However, Jump To It had had the desired effect, with Luther giving Aretha a more contemporary sound, and the much desired hit single and album. However, just how different is Jump To It from Aretha’s previous albums?
Opening Jump To It is the title-track and number one US R&B single Jump To It. Aretha’s vocal is preceded by backing vocalists who almost act as cheerleaders, encouraging Aretha and the band to “Jump To It.” The band rise to the challenge, fusing funk and soul, while Aretha’s half-spoken vocal is sassy, almost sultry. Quickly, you can hear Luther Vandross’ influence all over the track. After some neat interplay between Aretha and the backing vocalists, she rolls back the years. Her vocal is sassy, emotive and sometimes jazzy vamp. Bursts of tight backing vocalists, the rhythm section and keyboards provide the perfect backdrop. Later, Aretha scats, feeding off the energy of the backing vocalists, who play a huge part in the success of the track. Not only is the track the best on Jump To It, but the best single Aretha released in many years.
Love Me Right is another of the three singles released from Jump To It. Written by Luther Vandross, it’s a track that allows Aretha to prove that she’s lost none of her vocal prowess. Opening with backing vocalists and Marcus Miller’s funky bass accompanying Aretha’s breathy vocal, the track has many subtleties and surprises in store. Flourishes of harp and lush strings set the scene for Aretha’s heartfelt, impassioned vocal. Backing vocalists drift in and out, while the rhythm section provide the arrangement’s pulsating heartbeat. Later, Aretha’s vocal is one part power, to one part passion, while the strings and harp reflect the emotion and heartache in Aretha’s vocal.
For many years, Sam Dees has been one of my favorite songwriters and is also a hugely underrated singer. Sam wrote If She Don’t Want Your Lovin’ a track that meanders beautifully into life. Just backing vocalists, rasping horns and the rhythm section combine. Marcus Miller’s bass is slow and funky, while horns signal the arrival of Aretha’s thoughtful vocal. Lush strings sweep in, while the piano, strings and horns are augmented by backing vocalists including Cissy Houston. This seems to encourage Aretha to greater heights, her vocal even more full of impassioned and heartfelt. The interplay between Aretha and her backing vocalists is key to the track, with the blazing horns and quivering strings arranged by Nat Adderley Jr. adding the finishing touch to a beautiful, moving song, which is one of the highlights of the album.
The second of the Luther Vandross penned tracks is This Is For Real, which features a husky vocal from Aretha that veers between gentle and powerful. Unlike the other arrangements, this is much more understated. It allowing Aretha’s vocal to take centre-stage, where it deserves to be, given its quality. While the rhythm section, percussion, horns and George Duke’s piano are played subtly, the strings cascade elegantly. They spread their beauty across the arrangement, augmented by George Young’s soprano saxophone solo. What truly makes this track, is one of Aretha’s best vocals on Jump To It. It’s heartfelt, sincere and very beautiful.
Jump To It wasn’t the only track Marcus Miller and Luther Vandross cowrote, they also cowrote (It’s Just) Your Love. It has a lovely smooth sound and features a vocal from Aretha that one minute is restrained, before briefly soaring emotively. Backing vocalists almost whisper in Aretha’s ear as she delivers, her smooth, sultry vocal. It fuses perfectly with an arrangement that flows along. The rhythm section provide a gently pulsating beat, while flourishes of harp, lush strings and a jazz-tinged piano solo from Nat Adderley Jr. are key to the sound and success of the track. This track also show how versatile a vocalist Aretha really is.
I Wanna Make It Up To You was the only track that Aretha wrote on Jump To It. The unmistakable sound of Marcus Miller’s bass is accompanied by finger clicks, before flourishes of strings and backing vocalists give way to Aretha. Immediately, you’re spellbound by the beauty and quality of backing vocalists and Aretha’s vocal. Both are heartfelt and impassioned, set against an arrangement that’s subtle and full of sadness. Keyboards, quivering strings and a rhythm section that reflects the drama and emotion in Aretha and Levi Stubbs who share the vocal. These two legends are at the heart of the tracks success and soulfulness, along with the backing vocalists and backing vocals that include the rest of The Four Tops and Erma Franklin.
It’s Your Thing was written by The Isley Brothers and is a track where disco strings, funky rhythm section and gospel-tinged backing vocalists unite. Aretha’s vocal is sassy, while swathes of strings, blazing horns and the rhythm section arrive in dramatic waves. A sizzling, scorching guitar solo from Steve Love adds to the drama, while Marcus Miller’s bass playing is funk personified. Although this results in a quite different sounding track, it’s quite irresistible and laden with drama.
Closing Jump To It, is Just My Daydream, penned by another of soul music’s legends, Smokey Robinson, who wrote the song especially for Aretha. She certainly doesn’t disappoint with her delivery. It’s clear, tinged with emotion and feeling. Aretha is accompanied by backing vocalists, who include Cissy Houston and Darlene Love. Their contributions are huge and just as emotive as Aretha’s. Meanwhile, the arrangement just meanders beautifully along, gradually revealing its beauty and charm. Nat Adderley Jr. plays piano, as strings shimmer and quiver, horns gently rasp, while jazzy guitars and a sprinkling of percussion add to the song’s beauty and charms. With a songs as good as this, it proves the perfect way to close Jump To It, the comeback album from the Queen of Soul, Aretha Franklin.
After a lean spell, Jump To It saw Aretha Franklin’s career revitalized. This was just the start of an Indian Summer for her career. With Luther Vandross co-producing Jump To It, her music had been given a makeover, resulting in a much more contemporary sound that appealed to new and old fans alike. Not only did Jump To contain a number one US R&B single, but reached number one in the US R&B Charts and was certified gold. This was her first gold album since 1976s Sparkle. The Luther Vandross and Aretha Franklin would prove fruitful, with the followup album Get It Right also containing a number one US R&B single. However, what made Jump To It such a success was a combination of great songs, including tracks penned by Sam Dees, Smokey Robinson, Aretha, Luther, plus the the two tracks he cowrote with Marcus Miller. He was just one of the hugely talented musicians that played on Jump To It. Among the others were Nat Adderley Jr., Paulinho Da Cost and George Duke, plus some peerless backing vocals from the likes of Cissy Houston, Erma Franklin, Fonzi Thornton and Norma Jean Wright. Of course the final part in Jump To It’s success was Luther Vandross’ production skills. Together, Luther and Aretha formed a formidable and successful partnership, that although only lasted two albums, resulted in two of the best albums of Aretha’s later career Jump To It and Get It Right . Not only that, but Jump To It which will be rereleased by BBR Records on 25th June 2012 was the start of what was an Indian Summer for Aretha Franklin’s career, that lasted four years. Standout Tracks: Jump To It, If She Don’t Want Your Lovin’, This Is For Real and I Wanna Make It Up To You.
ARETHA FRANKLIN-JUMP TO IT.
BILL WITHERS-STILL BILL.
BILL WITHERS-STILL BILL.
A year after the release of his debut album Just As I Am, Bill Withers released what would prove to be his most successful album ever, Still Bill. Not only did it build on the success of his debut album Just As I Am, it became the first of two of his albums to be certified gold and contained two huge hit singles. While Just As I Am had reached number thirty-five in the US Billboard 200 and number nine in the US R&B Charts, Still Bill had much more crossover appeal, reaching number four in the US Billboard 200 and number one in the US R&B Charts. Still Bill also featured one of Bill’s best songs, Lean On Me, which reached number one in the Billboard 100 and US R&B Charts, which Rolling Stone magazine rated number 205 in their list of the 500 Best Songs of All Time. Following the success of Lean On Me, Use Me was released as a single, reaching number two in the Billboard 100 and US R&B Charts. Although Bill Withers would go on to release five further albums, nothing would match the success of Still Bill. However, what made Still Bill such a successful album?
For the followup to Just As I Am, Bill Withers wrote eight tracks himself and cowrote two other tracks. The two tracks Bill cowrote, were Who Is He (and What Is He To You?) with Stanley McKenny, and Another Day To Run with Benorce Blackmon. These ten tracks were recorded at the Record Plant in Los Angeles with a band that included the rhythm section of bassist Melvin Dunlap, drummer James Gadson and guitarist Benorce Blackmon. Together with percussionist Bobbye Hall and Raymond Jackson who played piano, clarinet and arranged the strings and horns. With the ten tracks that made up Still Bill recorded, the album was set for release in May 1972, exactly a year after Bill released his debut album.
Two months before Still Bill was released, Bill’s 1971 single Ain’t No Sunshine won a Grammy Award for the Best R&B Song. Little did he know that 1972 would be the most successful of his career. The success started when Still Bill was released to critical acclaimed. This critical acclaim translated into sales, surpassing the success of Just As I Am. Still Bill reached number four in the US Billboard 200 and number one in the US R&B Charts. Further success would head Bill’s way when Lean On Me was released as a single, reaching number one in both the US Billboard 100 and US R&B Charts. Since then, the song has been covered by many artists, with Bill’s version rated number 205 in Rolling Stone magazine’s list of the 500 Best Songs of All Time. Use Me was chosen as the followup to Lean On Me, reaching number two in the US Billboard 100 and US R&B Chart. Again, the track has been covered by many artists, with Esther Phillips’ version one of the best. After the success of Still Bill and the two singles released from the album, Bill must have been unable to comprehend the success that had come his way during 1972. After all, only a few years before, Bill was still working full time in a factory and singing at weekends. However, what made Still Bill such a hugely successful album?
Opening Still Bill is Lonely Town, Lonely Street one of the eight tracks written by Bill. Keyboards and guitar combine, creating waves of dramatic music, before Bill’s powerful, but soulful vocal enters. He’s accompanied by lush strings that sweep and quiver above his vocal. Still, the keyboard and guitar create that recurring riff, while Bill’s thoughtful vocal. Although the structure of the arrangement is quite simple, it’s effective and the perfect backdrop for Bill to deliver some thoughtful, poignant lyrics.
On Let Me In Your Life Bill delivers one of his most heartfelt vocals on Still Bill. This he does against a beautiful understated arrangement. Just a bed of strings accompany the rhythm section and guitars who play thoughtfully and with a subtlety. It’s as if Bill’s band are determined that his beautiful, heartfelt vocal should take centre-stage, where it deserves to be.
Who Is He (And What Is He To You) is a track about the complicated nature of relationships. The rhythm section create an arrangement that arrives in waves, while Bill’s vocal is probing, full of suspicion and insecurities. His suspicions are highlighted by quivering strings, while the rest of the arrangement is moody and broody. Later, wah-wah guitars add to the drama of the track, while Bill is still racked by insecurity and suspicions. For many people, this will be a track that speaks to them, and that sadly, they’ll have experienced too. However, for a very different version, track down Creative Source’s version of Who Is He (And What Is He To You).
Use Me is a track that’s been covered by many artists, including Mick Jagger and Esther Phillips to name but two. Bill wrote the song about after his friends discouraged him to get involved in a one-way relationship, where he would end up being used. His original version is quite different from later versions. A buzzing bass, drums and percussion accompany Bill’s vocal, which one minute is full of emotion, frustration and anger, the next sultry and sensuous. Much as I love Bill’s delivery, his delivery is as good as Esther Phillips,’ who struts her way through the track in a sassy, sensual way.
Lean On Me is another of the classic tracks Bill Withers wrote. On Just As I Am there was Ain’t No Sunshine, while Still Bill had Lean On Me, a track which has been much covered. Of all the versions I’ve heard, I still prefer Bill’s. Just a piano, subtle drums and organ accompany Bill. His vocal starts way down low, growing in power, emotion and sincerity. Lush strings sweep in, adding to the beauty and emotion of the track. Later, Bill is briefly accompanied by handclaps, as he starts to make the track swing. This is just a curveball, before this track about friendship and loyalty heads to a beautiful and emotive crescendo.
Kissing My Love was the first track on side two of Still Bill. Just the rhythm section, wah-wah guitars and piano accompany Bill’s joyful, thankful vocal. Strings lush and sweet, sweep in as Bill’s vocal grows in power and emotion. He’s accompanied by cascading strings which drift in and out, while the rhythm section, wah-wah guitars and flourishes of piano are constant companions to his joyous, thankful vocal.
An electric guitar and gentle flourishes of piano accompany Bill as I Don’t Know unfolds. Again, the track benefits from an understated, subtle arrangement. None of the musicians overplay, instead play around Bill’s vocal. His vocal is heartfelt, full of feeling. Later, it drops out replaced by a guitars solo that meanders across the arrangement, before his loose, wistful vocal returns adding the finishing touch to this quite beautiful love song.
Another Day To Run is one of two tracks Bill cowrote. His songwriting partner was guitarist Benorce Blackmon who played on Still Bill. Hissing hit-hats, a funky rhythm section and piano accompany Bill. They create an arrangement that one minute, unfolds in waves, before meandering gently along. Benorce Blackmon adds a jazz-tinged guitar solo, while Bill’s vocal is an amalgamation of styles. It ranges from confident powerful and passionate, to a thoughtful, wistful style. Similarly, the arrangement changes, matching Bill’s power and passion step for step. This is perfect for the lyrics, with his versatility the benefit of all the years Bill spent honing and perfecting his style and delivery.
Straight away, when I Don’t Want You On My Mind opens there’s a real bluesy sound and style apparent. Just the rhythm section and guitar are responsible for this. Bill responds to this change in style seamlessly, delivering his vocal in a similar bluesy style. His delivery is full of frustration and anger. When his vocal drops out, his band demonstrate just how talented they are, providing a blues drenched backdrop that’s a perfect fit for Bill’s vocal.
Closing Still Bill is Take It All In And Check It All Out another track written by Bill. It’s just a wah-wah guitar, rhythm section and acoustic guitar that accompany Bill. His vocal is accompanied by bursts of funky wah-wah guitar from Benorce Blackmon, who shows just how talented a guitarist he is. Meanwhile, Bill’s vocal fails to match the standard of other tracks. It just lacks the emotion and passion of previous tracks. This is a shame as the lyrics deserve a better delivery and this is a disappointing way to close Still Bill.
Although Bill Withers was thirty-four when he released his second album Still Bill, the time he’d spent honing his sound and learning his craft had been well spent. Before he signed his first recording contract, he’d been working in a factory, while singing at the weekend. Then his life was transformed in 1970, when he signed to Sussex Records. Less than a year later, Just As I Am was released in May 1971, to critical acclaim. This lead to Bill winning a Grammy Award for the Best R&B Song in March 1972, for his 1971 single Ain’t No Sunshine. That however, was just the start of a remarkable year for Bill Withers. The followup to Just As I Am, Still Bill, surpassed the success of his debut album and became the most successful album of his career. Not only was it certified gold, but contained two hugely successful singles, with Lean On Me reaching number one in the US Billboard 100 and US R&B Charts. What makes Still Bill such a critically acclaimed and commercially successful album are the ten songs, eight of which wrote and the other two he cowrote. Together with a small, tight and talented band Bill breathed life and meaning into his lyrics, delivering them beautifully, with variously, emotion, passion, frustration and joy. Even though Bill Withers released five further albums, none on them matched the thirty-six memorable and beautiful minutes that make up Still Bill. Standout Tracks: Who Is He (And What Is He To You), Use Me, Lean On Me and I Don’t Know.
BILL WITHERS-STILL BILL.
TEENA MARIE-EMERALD CITY.
TEENA MARIE-EMERALD CITY.
Having released four albums for Motown between 1979 and 1981, three of which had been certified gold, Lady T, Teena Marie had signed for Epic after a prolonged and bitter contract dispute that cost her over one-million dollars in legal fees. Her first album for Epic had been 1983s Robbery, which reached number 119 in the US Billboard 200, while reaching number thirteen in the US R&B Charts. Her next album, 1984s Starchild would become the most successful album of her career, reaching number thirty-one in the US Billboard 200, while reaching number nine in the US R&B Charts, resulting in the album being certified platinum. After the most successful album of her long career, Teena decided the follow-up would be different from previous albums. The reason for this change was that after the success of Starchild, Teena had complete creative control over the direction her music would take, plus an almost unlimited budget. With such creative freedom, Teena decided to explore her innovativeness and resourcefulness as a songwriter. This resulted in her seventh album Emerald City, a concept album featuring eight new songs, either written or co-written by Teena. Emerald City which will be rereleased by SoulMusic Records on 18th June 2012, saw Teena combine her usual soul and funk style, with jazz and rock more prominent. Would Emerald City build on the success of Starchild and how would fans and critics take to Teena’s new sound?
After the success of Starchild, Teena at last, had the freedom as a lyricist and producer. With this freedom, came something else an almost unlimited budget. For what would become Emerald City, Teena wrote five tracks and cowrote three others. Two of the tracks Teena cowrote were with Penny Johnson, one of her regular songwriting partners. Being able to express herself freely as a lyricist appealed to Teena, and the resulting eight songs would become Teena’s only concept album. This concept album saw a real fusion of styles and influences. It was a departure from Teena’s usual combination of soul and funk, with jazz and rock flavoring the music. For this departure of styles, Teena needed a versatile band capable of playing a variety of musical styles.
Recording of the eight tracks that became Emerald City took place at two studios in Los Angeles. These were Ocean Way Studios and Conway Recording Studios. Joining Teena were musicians of the calibre of bassists Bootsy Collins and Stanley Clarke, guitarists Michael Landua and Stevie Ray Vaughan who played on one part. They joined percussionist Paulinho Da Costa, saxophonist Branford Marsalis and trumpeter Gary Grant. Adding backing vocals were sisters Maxime and Julia Waters. Many of the musicians who joined Teena, including Stanley Clarke, Paulinho Da Costa, Branford Marsalis and Gary Grant were primarily jazz players, pointing at the direction of Emerald City. Would the new sound and style of music on Emerald City appeal to Teena’s large and loyal fan-base?
On the release of Emerald City in the early summer of 1986, critics and fans didn’t understand the album. This resulted in reviews of the album being poor, while Emerald City failed to sell as well as Starchild. Emerald City only reached number eighty-one in the US Billboard 200 and number twenty in the US R&B Charts. Two singles were released from Emerald City. Lips To You reached number twenty-eight in the US R&B Charts, while Love Me Down Easy only reached number eighty-one in the US R&B Charts. After the success of the platinum certified Emerald City, this must have come as a huge disappointment to both Teena and everyone at Epic. However, twenty-six years after the release of Emerald City, did the album deserve to fare better commercially? That’s what I’ll tell you, when I tell you about the music on Emerald City.
Opening Emerald City is the title-track Emerald City, one of five tracks written by Teena. Straight away, the change in Teena’s sound is apparent. Synths, rhythm section and percussion combine to give the track sound that fuses synth pop with rocky guitars. Teena delivers her voice quickly and coldly, while the arrangement is jagged, arriving in sharp, dramatic waves. Joining Teena is Bootsy Collins, who adds bass and vocals. Meanwhile the soundscape is laden with surprises and isn’t short of drama.
Once Is Not Enough has more in common with her two previous Epic albums. The tempo is quick, with space in the arrangement at a premium. Teena’s vocal is emotive and needy, while washes of synths add to the constant drama of the track. These synths are key to the sound, as are the rhythm guitar which later, gives way to an irresistible and sizzling rock-tinged guitar solo. After this, rolls of pounding drums, funky bass and percussion accompany Teena’s powerful, needy vocal as she delivers one of her best vocals on Emerald City.
Only two singles were released from Emerald City, the first of these was Lips That Find You. Washes of synths, guitars and the rhythm section combine before Teena’s vocal enters. It’s full of frustration and sadness, while backing vocalists accompany her. Quickly, the arrangement grows in power, before funky, then rocky guitars augment the driving rhythm section. Waves of synths are almost ever-present, while percussion and a pounding, funky bass line on a track that incorporates play their part in the track’s sound and success. Together, they fuse funk, rock and Latin music on a track that’s like a five-minute soap opera, full of emotion and heartache.
You So Heavy demonstrates the eclectic nature of the music on Emerald City, when Teena incorporates psychedelic rock into the track, while Stevie Ray Vaughan adds a blistering blues guitar solo. Pounding drums accompany Teena’s voice which resonates wistfully. They give way to the synths, rhythm section and percussion, before Teena’s earnest vocal enters. Her vocal is shrouded with subtle delay, that adds to the track’s drama. Later, Teena’s vocal soars as she scats, accompanied by Stevie Ray Vaughan sizzling, guitar solo. It not only matches the drama in Teena’s vocal, but is crucial to the track’s sound and success.
Shangri-La which opened side two of Emerald City sees another change in style. The track has an unmistakable eighties sound, with a moody, broody sound preceding Teena’s vocal. Some of the lyrics have a surreal quality, with meandering synths, drum machines and percussion accompanying Teena’s slow, wistful vocal. As the track progresses, her vocal grows in power and emotion, while synths, rhythm section and a smattering of percussion add a moody, pensive backdrop before the track comes to a dramatic ending.
Batucuda Suite is a track where jazz, Latin and Caribbean music are fused, creating the best track on the album. Teena is accompanied by steel pans that bring to mind sunny days on a Caribbean beach, while a myriad of percussion and sultry horns add to the uplifting sound. The track shimmers along, while Teena unleashes a joyous vocal that contribute to the celebratory nature of this uplifting and irresistible fusion of musical styles.
Love Me Down Easy was the second single released from Emerald City. Sadly, the single only reached number eighty-one in the US R&B Charts. This means so many people missed out on hearing one of Teena’s impassioned, heartfelt vocal. The arrangement benefits from much more space than previous tracks. Synths, rhythm section and guitars are key to a meandering, dramatic arrangement, that slowly unfolds. It allows what’s Teena’s best and undoubtably, most impassioned vocal on Emerald City to take centre-stage, where it quite rightly belongs. Given the quality of Teena’s vocal, Love Me Down Easy deserved to fare better when released as a single.
Closing Emerald City is Sunny Skies, where Teena demonstrates her versatility, delivering her vocal in a jazzy style. This she does with just a piano, lone sultry horn and percussion accompanying her. Teena responds to this much more understated arrangement, delivering her vocal beautifully with a combination of tenderness, emotion and later, power. Not only is this a quite beautiful way to end the album, but demonstrates her versatility. Given how good her vocal was on this track, It’s a pity that we didn’t hear more of this side of Teena Marie.
Emerald City, Teena Marie’s seventh album and first and only concept album is one that’s truly eclectic. The music on Emerald City ranges from Teena’s usual soul and funk style, taking in jazz and rock, plus brief diversions via Latin and Caribbean music. During the eight tracks on Emerald City Teena flits seamlessly between genres. Sometimes, just as you’ve just enjoyed a track, Teena decides to change direction. By doing this, you never know where Emerald City is heading. You’re kept on your toes, captivated and compelled, wondering where the album is heading. This was what Teena had planned, as Emerald City was a concept album, celebrating and demonstrating Teena talents as a songwriter. All too often, concept albums sell badly, because critics and fans tend to eye them with suspicion. To me, this is a pity, because there are many great concept albums including Pink Floyd’s Dark Side of the Moon, David Bowie’s The Rise and Fall of Ziggy Stardust and The Spiders From Mars and of course, Marvin Gaye’s Magnus Opus What’s Going On. Nor could it have been easy writing and recording such an ambitious album as Emerald City. Although Emerald City is an ambitious and eclectic album, there are more than a few highlights. This includes Once Is Not Enough, where Teena’s needy vocal is one of her best on the album. It’s matched by Love Me Down Easy and bettered only by the delightful, jazz-tinged Sunny Skies. Very different is Batucuda Suite, is a true musical fusion, with a joyous, uplifting sound, thanks to a myriad of steel pans and percussion. Of all the tracks on Emerald City, which will be rereleased by SoulMusic Records on 18th June 2012, Batucuda Suite demonstrates perfectly just how ambitious and eclectic an album it was. Indeed Teena Marie should be commended for her ambition in not being content to churn out album after album of similar music. Instead, she was brave, ambitious and of course, hugely talented as Emerald City demonstrates. Standout Tracks: Once Is Not Enough, Batucuda Suite, Love Me Down Easy and Sunny Skies.
TEENA MARIE-EMERALD CITY.
RONNIE FOSTER-LOVE SATELLITE.
RONNIE FOSTER-LOVE SATELLITE.
Between 1972 and 1975, Ronnie Foster released four studio albums and one live album for the legendary Blue Note label. His debut album was 1972s critically acclaimed The Two Headed Freap, before releasing the funk drenched Sweet Revival in 1973. It saw Ronnie interpret ten tracks, including The O’Jays classic Back Stabbers and a track that will forever be synonymous with Billy Paul, Me and Mrs Jones. Next came Ronnie’s only live album, Ronnie Foster Live: Cookin’ With Blue Note At Montreux which was released in 1974. Later in 1974, came what’s arguably one of Ronnie’s best Blue Note albums, On the Avenue. Ronnie’s final album for Blue Note was Cheshire Cat, a soul-jazz classic recorded in just four days. While Ronnie Foster’s albums were critically acclaimed, this didn’t translate into sales. After the release of Cheshire Cat, Ronnie was dropped by Blue Note. During the next three years, Ronnie was without a record contract, but was busy working with other artists, including playing on and writing a track onGeorge Benson’s classic crossover album Breezin.’ Following the success of Breezin,’ Ronnie contributed a track to each of George’s next three albums. Then Dr. George Butler, who’d previously worked at Blue Note, started working for Columbia as Vice-President of the label’s jazz department. One of his first signings would be Ronnie Foster. Ronnie was ready to resume his recording career, so signed to Columbia Records, where he’d record two albums. The first of these was Love Satellite, which will be rereleased by SoulMusic Records on 18th June 2012. Before I tell you about the music on Love Satellite, I’ll tell you about the background to the album.
For Ronnie Foster’s debut album for Columbia Records, Ronnie had written eight of Love Satellite’s nine tracks. He would play piano, electric piano, Keyboards, synths and even drums on one track. As if this wasn’t enough, Ronnie sang vocals and contributed backing vocals on three tracks. Jerry Peters was chosen to produce what would become Love Satellite, with George Butler executive producer. To help record what was his fifth studio album, Ronnie was accompanied by some of the best jazz musicians of the seventies. Recording would take place at Total Experience Recording Studios in Hollywood.
During his career, Ronnie having accompanied many artists, including Stevie Wonder, Grant Green and Grover Washington Jr. This had lead to Ronnie making many contacts in the music industry. Many of them would join him in recording Love Satellite, including some of the best jazz musicians of the seventies. Harvey Mason played drums on four tracks, Alphonso Johnson played bass and Paulinho Da Costa added percussion, castanets and tambourines. Leon “Ndugu” Chancler would add timbales and percussion. Two of the highest profile guest artists were Stevie Wonder and Roy Ayers, who played on Happy Song and Midnight Plane respectively. Together they helped Ronnie record Love Satellite, his comeback album. Would Love Satellite see Ronnie Foster crowned the comeback King?
Before the release of Love Satellite in 1978, Ronnie hadn’t much time to promote the album. Instead, he’d spent time doing a course at a motor racing school in Arizona, where he graduated second in his class. This is why on Love Satellite’s album cover Ronnie is seen wearing a racing helmet. Having graduated from racing school, Ronnie went back on the road with George Duke. In doing so, there wasn’t much time to promote Love Satellite. On the release of Love Satellite, the album neither charted in the US Billboard 200, nor the US R&B Charts. Its only chart position was number thirty-three in the US Jazz Charts. For George Butler who’d signed Ronnie Foster to Columbia, this must have been disappointing, even frustrating given the music on Love Satellite which I’ll now tell you about.
Opening Love Satellite is Why Don’t You Look Inside. There’s certainly no shortage of funk as the track opens. Ronnie on keyboards, drummer Dennis Davis, bassist Alphonso Johnson and percussionist Leon “Ndugu” Chancler combining, before the track briefly, settles down. Still there’s a funky groove, before Ronnie’s vocal gentle, grows in power like the arrangement. Meanwhile the band create a hypnotic jazz-funk beat, as waves of dramatic, driving music unfold. Later, Ronnie lays down a peerless keyboard solo, demonstrating his musical virtuosity, on this dramatic, driving jazz-funk track that launches Love Satellite.
A Soft Heart is not only very different to the previous track, but is graceful and beautiful. The tempo is slower, with the arrangement more spacious. Just a rhythm section of drummer Harvey Mason and bassist Byron Miller accompany Jerry Peters on acoustic piano, while Ronnie plays electric piano and synths. Here, the arrangement meanders along, with Harvey’s drums and Byron’s bass adding bursts of drama. Key to the track’s success are Ronnie’s keyboard and synths playing. They veer between gentle and flowing, to flamboyant flourishes. Together, Ronnie and his band create a track that’s not only graceful and beautiful, but intricate and intriguing.
On Happy Song Ronnie Foster is joined by Stevie Wonder, who plays drums on the track. Stevie’s drumming and another virtuoso performance from Ronnie on electric piano and synths are vital to the track’s sound and success, especially the way Stevie uses his hi-hats. Lush strings elegantly sweep above the arrangement, while Paulinho Da Costa sprinkles percussion throughout the track. However, it’s Ronnie and Steve who take centre-stage. They create an arrangement that one minute is jaunty and dramatic, the next glides elegantly along mixing jazz, funk and soul seamlessly.
Shooting Star isn’t so much a track, just fourteen compelling and intriguing seconds, of cascading effects from Ronnie’s trusty synths. It’s just a shame this track wasn’t developed as it nicely whets your appetite.
On Midnight Plane, Ronnie is joined by another high-profile guest Roy Ayers on vibes. Here, Ronnie delivers one of his best vocals. His voice is world-weary, accompanied by backing vocalists. Meanwhile the rhythm section, keyboards and percussion create an arrangement that flows along, complimenting his vocal, reflecting the sadness and emotion in his voice. Later, Roy Ayers adds one of his unmistakable vibes solos, before later, Ronnie’s keyboard solo steals the show. His playing adds what’s the finishing touch to a track laden with sadness and regret.
When you listen to I Want To Bring My Love Home it’s hard to believe that only two musicians and backing vocals from Ronnie and Jerry Peters created this track. Previously, a track like this would’ve required a much bigger band. This shows how synths were replacing musicians in sessions. Just Harvey Mason on drums and Ronnie on synths and piano create this track. Not only does it feature a heartfelt and sincere vocal from Ronnie but is full of waves of drama and emotion about life on the road for a musician in love.
Easier Said Than Done is one of the highlights of Love Satellite. Pounding drums open the track, before the rhythm section, percussion and backing vocalists accompany Ronnie on keyboards. Both his vocal and keyboard playing are amongst his best on the album. Midway through the track Ronnie unleashes a dramatic, simmering keyboard solo. This demonstrates just why he was so in demand as a session player during the seventies. After this, his impassioned vocal returns, accompanied by backing vocalists and his tight and talented band. Although they play their part in making this one of the highlights of the album, it’s Ronnie’s who steals the show, with his vocal and keyboard playing.
Not only is Nassau Day one of the funkier tracks on Love Satellite, but is the only one to feature a cowbell. Here, Ronnie drives the track along with his synths, while adding to the myriad of percussion added by Paulinho Da Costa. Harvey Mason plays drums and a syndrum hi-hat metronome. His drumming is powerful and thoughtful, arriving in waves. He’s almost competing against himself on syndrums. As wave after wave of drum rolls unfolds, Ronnie’s synths buzz along, augmented by the percussion and not forgetting that cowbell, played by producer Jerry Peters. The result is a track where technology and traditional instruments unite as one, resulting in a track tinged with a Caribbean influence.
Closing Love Satellite is the title-track Love Satellite, a slow, thoughtful sounding track. Straight away, a space-age sound is apparent, bringing to mind a satellite spinning through space, spreading a message of universal love. Drums, synths and percussion combine, creating a floaty, spacious arrangement. Later, flourishes of keyboards, floaty backing vocalists and percussion add contrasting sounds. They join the meandering, sometimes dramatic synths that dominate the track, as Ronnie Foster spreads his message of universal love, and closing Love Satellite with a wistful, thoughtful song and powerful message.
Listening to Ronnie Foster’s fourth studio album since 1972, but debut for Columbia Records, it’s interesting to see how his music has changed. By 1978 his music had evolved from his early seventies soul-jazz sound. He’d incorporated new technology, including synths which were much more commonplace and affordable. This saw his music move in a more jazz-funk and R&B inspired direction. Accompanied by some of the best jazz musicians of the seventies, including Harvey Mason, Alphonso Johnson and Paulinho Da Costa the Ronnie Foster you hear on Love Satellite is a mixture of music for the feet, soul and head. During the nine tracks on Love Satellite, you’ll not only want to dance, but the music will tug at your heartstrings and make you think. Among the emotions Love Satellite will provoke, are sadness, regret and joy. Love Satellite is an album that the more you listen to it, the more its subtleties, charms and secrets reveal themselves. Sadly, Love Satellite like Ronnie’s Blue Not albums, wasn’t a commercial success. After the release of Love Satellite, Ronnie Foster only released two further albums. These were 1979s Delight and 1986s The Racer. Both Love Satellite and Delight will be rereleased by SoulMusic Records on 18th June 2012, complete with three bonus tracks. Maybe this time around, Ronnie Foster’s Love Satellite will have a more successful landing than it did in 1978, on its original release. Standout Tracks: Why Don’t You Look Inside, A Soft Heart, Midnight Plane and Easier Said Than Done.
RONNIE FOSTER-LOVE SATELLITE.
SALSOUL NATION-COMPILED AND MIXED BY LUKE HOWARD.
SALSOUL NATION-COMPILED AND MIXED BY LUKE HOWARD.
Two of my favorite labels are Philadelphia International Records and Salsoul Records. Both labels were hugely important during the seventies, producing some of the greatest music of the decade. Even forty years later, the Philly Sound’s inimitable sound is still as popular and influential. Similarly, Salsoul Records’ music played an important part not just in providing the soundtrack to the disco and post-disco era, but influenced the development in house music. However, as someone steeped in Salsoul, I’m saddened that, no record label has undertaken a comprehensive and extensive reissue of Salsoul’s back-catalogue. Given that Salsoul’s vaults contains albums by Loleatta Holloway, Inner Life, First Choice, Logg, Skyy, Double Exposure, Candido and of course, the Salsoul Orchestra, you’ll realize the veritable feast of musical gems awaiting discovery by music fans old and new. To me, this is a missed opportunity, given how many people, myself included, love the music of Salsoul. It also means that a new generation of music fans, are almost unaware of one of the most important labels in the history of disco. Sometimes, rumors go round that Salsoul’s back-catalogue is being rereleased, but usually, this is just wishful thinking. So with most of Salsoul’s back-catalogue presently unavailable, all that’s left for Salsoul fans to savor, are the release of occasional compilations. While there are a variety of compilations available, most just scratch the surface of Salsoul’s illustrious back-catalogue. Previously, I’ve reviewed one of the best Salsoul compilations, Harmless Records’ The Definitive Salsoul Remixes. For me, this is perfect introduction to the music of Salsoul Records. Another quality Salsoul is Salsoul Nation, Compiled and Mixed By Luke Howard, which I’ll tell you about.
Back in 1990, DJ Luke Howard cofounded the Queer Nation club night in London. Since then, Queer Nation has become one of London’s longest running and most successful club nights, where clubbers dance to a mix of soulful house and disco. During his time DJ-ing at Queer Nation, one label in particular has been a constant companion for Luke Howard…Salsoul Records. So it was fitting that in 2005, Luke compiled a two-disc compilation Salsoul Nation.
Not only did Luke mix Salsoul Nation, but reedited a number of its twenty-eight tracks. Unlike many compilers, Luke eschews many of the familiar tracks. Instead, many hidden gems feature on the two discs. So do a number of new and intriguing reedits, which instantly, grab your attention, forcing you to take notice. This includes twenty-eight tracks featuring Salsoul royalty, including the Queen of Salsoul, Loleatta Holloway, with Carol Williams, Charo and Sharon Bailey just a few of Salsoul’s Princesses. Along with tracks from First Choice, Skyy, Instant Funk, Inner Life, Candido and the Salsoul Orchestra, Salsoul Nation is two discs of disco delights awaiting discovery.
DISC ONE.
On Disc One of Salsoul Nation, Luke Howard mixes thirteen tracks seamlessly. These are a mixture of familiar tracks, plus more than a few hidden gems. Among the better know from Loleatta Holloway, Double Exposure First Choice, Instant Funk and Salsoul Orchestra. Among the more leftfield choices are Charo, Carol Wiliiams, Metropolis and Lemon. With so much great music on Disc One of Salsoul Nation, I’ll tell you about some of the thirteen tracks.
Opening Disc One of Salsoul Nation is a track from the undisputed Queen of Salsoul Loleatta Holloway Hit and Run. This is a track from Loleatta’s 1976 album Loleatta, released on Norman Harris’ Gold Mind Records. The version included is the QN Reedit, where the original verses from the album version are combined with the vocal sassy, confident ad-libs from Walter Gibbons’ 12 remix, with a loop added to the end of the track. Of all the reedits and remixes of the track I’ve heard, brings something new to a classic track from one of the best vocalists of the disco era.
One of the tracks I was pleased to see on Salsoul Nation was Metropolis’ I Love New York. Metropolis only released one album for Salsoul, The Greatest Show On Earth in 1978. Produced by Tom Moulton and Thor Baldursson, the album features the vocals of The Sweethearts, a.k.a. The Sweethearts of Sigma, Barbara Ingram, Carla Benson and Evette Benson. Their unmistakable vocals are accompanied by lush, sweeping strings, bursts of rasping horns and the Baker, Harris, Young rhythm section. Their combined talents plus Tom and Thor’s production skills results in a true hidden gem from the Salsoul vaults.
During her time on Salsoul, Charo and The Salsoul Orchestra only released two albums. The first of these is Cuchi-Cuchi, which was released in 1977, with vibes player extraordinaire Vince Montana arranging, conducting and producing the album. Charo’s breathy vocal is accompanied by blazing horns, vibes and swathes of lush strings that glide elegantly into the arrangement. Baker, Harris Young provide the track’s heartbeat, while backing vocalists accompany Charo. Later, her vocal becomes much more flamboyant, as disco and Latin music are fused seamlessly. By the end of the track, you realize a little Charo will brighten up your life.
Carol Williams has one of the most underrated voices you’ll ever have the privilege of hearing. Although best known for her track Love Is You, there’s much more to Carol’s time on Salsoul than just one track. Indeed, Carol’s 1977 album ‘Lectric Lady, arranged, conducted and produced by Vince Montana features another of her best tracks More. From the opening bars you’re hooked. Carol’s emotive vocal is accompanied by percussion, the Baker, Harris, Young rhythm section and swathes of elegant strings. The Sweethearts of Sigma add sweeping harmonies and punchy backing vocals, while Carol vocal takes centre-stage, where it rightly belongs.
Before becoming the Salsoul Orchestra, its members had found fame as M.F.S.B., Philadelphia International Records‘ house-band. Many of its members including the Baker, Harris, Young rhythm section and Vince Montana would go on to write, arrange and produce many classic Salsoul tracks. This was the case on Salsoul Orchestra’s 1978 album Nice-N-Nasty, which included Good For the Soul, arranged, conducted and produced by Vince Montana, with Norman Harris laying down a peerless guitar solo. A proliferation of percussion, backing vocalists, punchy horns and dancing, shimmering strings are key to the track’s success and its joyful, uplifting sound.
My final choice from Disc One of Salsoul Nation is Inner Life’s Ain’t No Mountain High Enough, a track where the combined talents of some musical giants resulted in a club classic. Written by Ashford and Simpson and produced by Patrick Adams and Greg Carmichael, this was a track from Inner Life’s 1981 album Inner Life. Straight away, Inner Life have your attention. Key to the track is Jocelyn’s sassy, emotive vocal. Along with cascading strings, bursts of booming drums and backing vocalists they add to the track’s drama. The tempo is relentless, and later, to give dancers a rest, a breakdown is added. When the synth solo enters, the track’s drama rebuilds, and the rest of this Salsoul classic reveals its charms and delights.
Disc One of Salsoul Nation features a mixture of well known and lesser known tracks, each with one thing in common…quality. The disc is like a who’s who of Salsoul’s best arrangers, producers, songwriters, musicians and artists. With the Salsoul Orchestra providing the musical backdrop for artists like Loleatta Holloway, Carol Williams, Charo, Candido and Bunny Sigler, one quality track follows hard on the heels of another. Not once do you feel yourself reaching over and skipping a track. Instead, you revel in fifteen tracks mixed seamlessly by Luke Howard, who if Disc One of Salsoul Nation is anything to go by, has impeccable taste in music. Will this be the case on Disc Two of Salsoul Nation?
DISC TWO.
Whereas Disc One of Salsoul Nation only features one track from each artist, this isn’t the case in Disc Two. The Salsoul Orchestra feature four times and Skyy twice. However, given the quality of the music whose complaining? Among the other artists are Instant Funk, Logg, Sharon Bailey, The Jammers and First Choice. Again, this is a combination of familiar tracks and hidden gems sit proudly next to each other. However, will Luke Howard’s taste be as impeccable on Disc Two of Salsoul Nation?
Instant Funk’s I Got My Mind Made Up was a track from their 1979 album Instant Funk. This was Instant Funk’s second album of 1979, and was produced by Bunny Sigler. Sadly, the Say What Edit that’s included on Salsoul Nation is only ninety-seconds long. Having said that, it whets your appetite nicely, resulting in you digging out the original, and revelling in seven minutes of Salsoul bliss.
Skyy released their eponymous album Skyy in 1979. On the album was their best known track, First Time Around. It demonstrates just how the Salsoul sound was changing, with the track having a post-disco sound. Rocky guitars solo, synths, percussion aplenty and a sultry, sensuous vocal are the vital ingredients for this track. Although quite different in sound from the earlier music on Salsoul Nation, it proves that Salsoul weren’t content to rest on their laurels, instead were determined to develop their sound in the now post-disco times.
Similar to Instant Funk’s I Got My Mind Made Up, the version of Inner Life’s Moment of My Life is just a shortened three minute version. Released in 1982, on Inner Life II, the group’s third and final album, with Shep Pettibone mixing the track. What makes the track so memorable is the interplay between the soaring lead vocal and backing vocalists. They so compelling, they become the focus of your attention, becoming spellbound by their emotion and drama. In doing so, you sometimes forget how good the arrangement is. Of the two albums Instant Funk released on Salsoul, this is one of their best ever tracks and like several other tracks on Salsoul Nation is worthy of being called a classic.
If you take a lead vocal from Leroy Burgess, who produced Logg’s I Know You Will and get Larry Levan to remix the track, then the end-result is bound to be something special. This was a track from Logg’s only album, 1981s Logg. It’s another track that demonstrates the importance of Salsoul in the development of house music. Leroy’s vocal helps give the track its uplifting, joyful sound. He’s accompanied by soaring backing vocalists, while the drums pound and the track features that unmistakable and much sampled piano riff. When this is all combined, the result is an uplifting, inspirational and almost spiritual sounding track.
First Choice released their debut album Armed and Extremely Dangerous on Philly Grove Records in 1973. By 1977, they were signed to Norman Harris’ Gold Mind Records and released their fourth album Delusions. It featured two of their classic tracks, Dr. Love and Let No Man Put Asunder which was produced by Baker, Harris, Young. Rochelle Fleming’s lead vocal is a sassy vamp, from a true disco diva. The interplay between Rochelle’s and her backing vocalists helps build up the drama and emotion of the track. This she does against a backdrop where the rhythm section, percussion and keyboards combine. For five minutes Rochelle teases and tantalizes with her peerless, sassy vocal.
My final choice from Disc Two of Salsoul Nation features one of the best vocals on the compilation, from one of the greatest vocalists of the disco era Loleatta Holloway. The Salsoul Orchestra featuring Loleatta Holloway released Runaway in June 1977. Opening with the guitar and drums combine, quickly, the introduction grows. Rasping horns, swirling strings and percussion accompany Loleatta. Her vocal is confident, defiant and powerful, while drums punctate the arrangement and lush strings cascade. The arrangement sweeps along, with its potent combination of dramatic horns and drums, while percussion, vibes and strings provide a contrast. What makes the track is Loleatta’s vocal, as the confidently and defiantly vamps her way through a genuine and timeless disco classic.
Having wondered whether Disc Two of Salsoul Nation would match the quality of Disc One, that’s quite definitely the case. Like Disc One, one great track follows another, leaving you aghast at the consistent quality of music on the compilation. This is something Salsoul managed to do over a prolonged period of time. The reason for their success was the personnel that came together at Salsoul. This included the musicians that made up the Salsoul Orchestra. Vince Montana, Bunny Sigler plus the Baker, Harris, Young rhythm section not only were part of the Salsoul Orchestra, but wrote, arranged and produced many of Salsoul’s classic tracks. That’s not forgetting the talents of arrangers, producers and songwriters like Leroy Burgess, Patrick Adams, Greg Carmichael and Tom Moulton. Together, they helped artists including Loleatta Adams, Inner Life, Instant Funk, Skyy and of course the Salsoul Orchestra create some of the most memorable tracks of the disco era and beyond. Many of these tracks are now considered true classics, and many of them are available on the two discs of Salsoul Nation, Compiled and Mixed By Luke Howard. Standout Tracks: Loleatta Holloway Hit and Run, Inner Life Ain’t No Mountain High Enough, Inner Life’s Moment of My Life and Salsoul Orchestra featuring Loleatta Holloway Runaway.
SALSOUL NATION-COMPILED AND MIXED BY LUKE HOWARD.
ROBERTA FLACK-FIRST TAKE.
ROBERTA FLACK-FIRST TAKE.
Mention Roberta Flack‘s name, and most people automatically think of two songs, The First Time I Saw Your Face and Killing Me Softly. The story of First Take is one where if fate hadn’t intervened, might have resulted in the album forever remaining a hidden gem. Having been released in 1969, First Take wasn’t a commercial success. Remarkably, when First Take was released in 1969, The First Time I Ever Saw Your Face wasn’t released as a single. Instead, Compared To What was the first single released from First Take. It wasn’t until two years later, in 1971, when fate intervened and The First Time I Ever Saw Your Face featured in the Clint Eastwood movie Play Misty For Me. This lead to the song being released as a single, giving Roberta her first US number one single. Spurred on by sales of The First Time I Ever Saw Your Face, First Take started selling, transforming Roberta’s career. Two years after its release, First Take would go on to sell over one-million copies, resulting in the album being certified platinum. However, things might have been very different, if The First Time I Saw Your Face hadn’t featured in Play Misty For Me. Before I tell you about the music on First Take, I’ll tell you about the background to the album.
First Take was Roberta Flack’s debut album for Atlantic. She was then thirty-two, and had been working as a teacher, while singing at weekends before signing to Atlantic. Les McCann had been in the audience when Roberta performed at a benefit concert for the Inner City Ghetto Children’s Library Fund. Having been smitten by Roberta’s performance, Les arranged for Roberta to audition for Atlantic. During the audition, Roberta played forty-two songs in three hours for producer Joel Dorn. Soon, Roberta found herself signed to Atlantic, recording thirty-nine songs in less than ten hours in November 1968. After this, the next time Roberta was in a recording studio would be record her debut album First Take.
Recording of First Take was scheduled to take place at Atlantic’s Recording Studios in New York. Eight songs were chosen for First Take, none of which were written by Roberta. Among these tracks were Gene McDaniels’ Compared To What, Donny Hathaway and Leroy Hutson’s Tryin’ Times, Leonard Cohen’s Hey That’s No Way To Say Goodbye and Our Ages of Our Hearts which Donny Hathaway and Robert Ayers cowrote. One other track was Euan McColl’s The First Time I Ever Saw Your Face, a track which two years later, would prove crucial in Roberta’s future career.
Once recording of First Take was underway at Atlantic’s Recording Studios in New York, Roberta’s band didn’t waste time. Together, guitarist John Pizzarellli, bassist Ron Carter and drummer Ray Lucas accompanied Roberta, who played piano. Recording started on 24th February 1969, ending on 26th February 1969. In total, First Take was recorded in just ten hours. Later, strings and horns were overdubbed, with First Take set for release in June 1969.
On the release of First Take on June 20th 1969, but the album wasn’t a commercial success. Only one single was released from First Take, Compared To What, which failed to chart. This must have been hugely disappointing for Roberta, Les McCann who’d discovered Roberta and producer Joel Dorn. However, that wasn’t the last that would be heard of First Take.
Fast forward two years to 1971. By then, Roberta had release the followup to First Take, 1970s Chapter Two and 1971s Quiet Fire. Both albums had proved commercially successful, being certified gold. First Take must have seemed a long time ago for Roberta, until a film was released. Clint Eastwood released the movie Play Misty For Me in 1971 and It featured The First Time I Ever Saw Your Face, which was a track on First Take. Given the success of the film and how many people loved The First Time I Ever Saw Your Face, Atlantic decided to release the track as a single. This resulted in First Take becoming belatedly, becoming a huge commercial success.
The First Time I Ever Saw Your Face was released in January 1972, reaching number one in both the US Billboard 100 and US R&B Charts. Spurred on by the success of The First Time I Ever Saw Your Face, First Take reached number one in both the US Billboard 200 and US R&B Charts. Eventually, First Take sold 1.9 million copies, resulting in the album being certified platinum three years after its original release. I’ve always wondered whether this commercial success might have happened sooner if The First Time I Ever Saw Your Face had been released as a single instead of Compared To What back in 1969? At least First Take found the success it deserved, if somewhat belatedly. However, why did it take three years for First Take to become a commercial success? That’s what I’ll tell you, after I’ve told you about the music on First Take.
Opening First Take is Compared To What, the only single originally released from the album. Written by Gene McDaniels, the track is jazz-tinged from the start. Just a standup bass and piano accompany Roberta’s vocal. Her voice quickly grows in power, full of emotion and frustration that’s perfect for the thoughtful, powerful lyrics. Bursts of blazing horns dramatically punctuate the arrangement, while Roberta’s small band leave space for her vocal, which is impassioned and emotive.
Flourishes of piano and a slow moody bass combine, creating a spellbinding combination as Angelitos Negros opens. Then Roberta’s vocal enters, accompanied by a light military beat, quivering strings and Spanish guitar. She articulates the lyrics beautifully, delivering them in such a way that’s deeply moving and powerful. Later, strings add to the track’s beauty, and are the perfect accompaniment to Roberta’s heartfelt vocal.
Donny Hathaway and Robert Ayers cowrote Our Ages Or Our Hearts. Here, producer Joel Dorn’s understated arrangement allows Roberta’s vocal to take centre-stage and shine. It’s just Roberta on piano, accompanied by strings that evoke a sense of sadness that precede the introduction of her vocal. When her vocal enters, it’s poignant, full of sadness and regret. The reason for this at the thought of two lovers being kept apart because of the difference in their ages. Wistful strings are ever-present, a constant companion to Roberta’s vocal on this very beautiful, but poignant song.
I Told Jesus is a traditional song, arranged by Roberta. Lush strings sweep slowly, while an equally slow, meandering standup bass accompanies it. As Roberta’s vocal arrives, it’s thoughtful and considered. Gradually, it grows in power and emotion, with bursts of rasping horns punctuating the arrangement. The longer the song progresses, the better Roberta’s vocal gets. It takes on a spiritual quality, growing in power, feeling and emotion.
Having heard various versions of Hey, That’s No Way To Say Goodbye written by Leonard Cohen, this has always been one of my favorites. Roberta songs unaccompanied, before a the piano, acoustic guitar and bass enter. So good is Roberta’s vocal, that you find yourself mesmerized by it. There’s both a warmth and passion in her vocal, resulting in her bringing out the beauty in Leonard Cohen’s lyrics. She’s just accompanied by flourishes of strings, before guitar, bass and piano take over. This understated arrangement, allows you to focus on not just one of Roberta’s best vocals on First Take, but one of producer Joel Dorn’s best arrangements.
Why The First Time Ever I Saw Your Face wasn’t released as a single when the album was released in 1969 seems strange? Quite simply, it’s the best song on the album. It was written by folk singer Euan McColl, and producer Joel Dorn’s arrangement brings out the beauty in the song and its lyrics. Key to the song’s success are a beautiful, but subtle arrangement. Just an acoustic guitar, bass and Roberta on piano accompany her vocal. Roberta’s vocal is slow, delivering the song with feeling, articulating the lyrics gently and softly. Wistful strings drift in and out of the track, as Roberta’s almost half-speaks the lyrics, delivering the as if she means them, feels them. Her delivery of some stunning lyrics, plus Joel Dorn’s arrangement results in not just a beautiful, very romantic song, the highlight of the album, but a true classic song.
Tryin’ Times is another song Donny Hathaway cowrote, this time with Leroy Hutson. As the track begins, Roberta’s band play subtly. Drums are played with brushes, while the bass is slightly more prominent, repeating the same line over and over again. Then when Roberta’s vocal enters, it offers a contrast. It’s louder, much more powerful, but full of frustration and disappointment at the Tryin’ Times Americans are experiencing. Poverty, inequality and conflict are the cause of Roberta’s disappointment and frustration. Later, percussion, piano and the bass combine, playing with a similar power as Roberta’s vocal. This helps Roberta reinforce Donny and Leroy’s message, doing so with equal amounts of sincerity, sadness and frustration.
Closing First Take is Ballad Of The Sad Young Men, a track where Roberta seems to have saved one of her best vocals. She’s accompanied just by swathes of strings, flourishes of acoustic guitar and drums played with brushes. This works really well, allowing Roberta to demonstrate just how talented and versatile a vocalist she truly is. Her vocal is tinged with sadness and a poignancy that suits the lyrics.
For a debut album, First Take was an accomplished album where Roberta Flack demonstrated just how talented a vocalist she was. This talent had been honed and refined over many years, before she signed to Atlantic Records in 1968. Having released her debut album First Take in 1968, she must have been hugely disappointed and saddened that it wasn’t a commercial success. Then luck, fate or whatever you want to call it intervened, when The First Time I Ever Saw Your Face featured in the Clint Eastwood film Play Misty For Me. It resulted in The First Time I Ever Saw Your Face being released as a single. It reached number one in both the US Billboard 100 and US R&B Charts, while First Take reached number one in both the US Billboard 200 and US R&B Charts. By then Roberta had released two other albums, both of which had been certified gold. However, The First Time I Ever Saw Your Face is a song that’s become synonymous with Roberta Flack. Together with Killing Me Softly, these are two of Roberta’s best known songs. While The First Time I Ever Saw Your Face is the best known track on First Take, it’s an album with much more to offer than just one track. Listening to First Take thirty-three years later, it’s an album that doesn’t sound like it was recorded in 1968 and released in 1969. Instead, it jazz-tinged sound sounds like it was recorded earlier, with just the understated combination of standup bass, drums and guitar accompanying Roberta. That’s part of First Take’s charm and beauty. It allows Roberta’s vocal to shine, and you to wallow in its quality, emotion and beauty. On the eight tracks on First Take, Roberta interprets them is such a way that she brings out their nuances, subtleties and charms. In doing so, Roberta Flack produced in First Take a classic album, which belatedly found the commercial success and critical acclaim it deserved. Standout Tracks: Angelitos Negros, The First Time I Ever Saw Your Face, Hey That’s No Way To Say Goodbye and Our Ages Or Our Hearts.
ROBERTA FLACK-FIRST TAKE.
EARTH, WIND AND FIRE-THAT’S THE WAY OF THE WORLD.
EARTH, WIND AND FIRE-THAT’S THE WAY OF THE WORLD.
If I were to ask which group during a ten year period between 1973 and 1983 released nine albums in the US, resulting in two album certified gold, plus three platinum, two double platinum and two triple platinum in the US, how many people answer Earth, Wind and Fire? However, between 1973 and 1983 that’s the unparalleled level of success Earth, Wind and Fire enjoyed. They were going through the hottest period of their career, where one commercially successful album followed hard on the heels of another. This run of commercially successful albums had started with 1973s Head To the Sky, which had reached number twenty-seven in the US Billboard 200 and number two in the US R&B Charts, resulting in the album being certified platinum. Open Your Eyes, released in 1974, would also be certified platinum, reached number fifteen in the US Billboard 200 and number one in the US R&B Charts. However, not only would That’s The Way of The World surpass the success of previous albums, but contained Earth, Wind and Fire’s first number one single. After I’ve told you about the background toThat’s The Way of The World, I’ll tell you about the music on the album.
That’s The Way of The World would be Earth, Wind and Fire’s sixth album since their self-titled debut album Earth, Wind and Fire. However, much had changed since then, with their debut album only reaching number 172 in the US Billboard 200 and number twenty-four in the US R&B Charts. Since then, Earth, Wind and Fire had honed their skills as songwriters, singers and musicians. For their sixth album, the various songwriting teams within the group had written eight new tracks. Phillip Bailey cowrote five tracks, while Maurice White cowrote seven of the eight tracks. Producer Charles Stepney, also a talented and successful songwriter would have three songwriting credits on That’s The Way of The World. With the eight tracks written, the next step was recording what would become That’s The Way of The World.
Recording of the eight tracks that became That’s The Way of The World took place at the Caribou Ranch, Nederland in Colorado. The sessions started on 16th September 1974, finishing on 2nd October 1974. Remarkably, the whole album was recorded in just over two weeks. Nowadays, recording one track can take even longer. With That’s The Way of The World completed, it was set for release in March1975.
Before the release of That’s The Way of The World, Shining Star was released in February 1974. It gave Earth, Wind and Fire a number one single in both the US Billboard 100 and US R&B Charts, resulting in sales of over one-million copies and a gold disc for Earth, Wind and Fire. The following month, March 1975, That’s The Way of The World was released to critical acclaim, replicating the success of Shining Star, reaching number one in the US Billboard 200 and US R&B Charts. Eventually, the album sold over three-million copies, resulting in the album being certified triple platinum. This gave Earth, Wind and Fire the most successful album of their career so far. Later, in June 1975, the title-track That’s The Way of The World was released as a single reaching number twelve in the US R&B Charts, while reaching number five in the US R&B Charts. This helped make That’s The Way of The World such a successful album. However, why was That’s The Way of The World so successful? That’s what I’ll tell you, when I tell you about the music on That’s The Way of The World.
Opening That’s The Way of The World is Shining Star, the number one single in both the US Billboard and US R&B Charts. It was co-written by Phillip Bailey, Maurice White and Larry Dunn. Straight away, the track bursts into life, with the rhythm section driving the track in the direction of funk, albeit with occasional bursts of jazz and rock guitars. When the vocal enters, it’s joyous, delivered in sharp bursts, augmented by harmonies. Keyboards, rocky guitars and dramatic bursts of horns punctuate the arrangement, while a hook is never far away. Although less than three minutes, there three minutes where joy and drama are constant companions.
Horns drift in as the title-track That’s The Way of The World reveals its beauty. The vocal has a tenderness, accompanied by a backdrop of percussion, keyboards and tight, emotive harmonies. Rasping horns and lush strings drift in, as Maurice and Phillip deliver one of their most impassioned, emotive vocals. The rest of the band concentrate on producing a slow, thoughtful and quite beautiful arrangement. It compliments and reflects the beauty and emotion of the vocal, resulting in one of the highlights of That’s The Way of The World.
Earth, Wind and Fire up the tempo on Happy Feelin’ a glorious slice of funky music. From the opening bars, a frantically, funky track unfolds. Percussion, rhythm section and keyboards get the track underway, before bursts of blazing horns signal the arrival of the vocal. It too, is delivered at breakneck speed, while the band fuse jazz and funk. Horns rasp, adding a jazzy sound, while the percussion is equally frenzied, as if the band are taking part in some sort of funk drenched race. Phillip’s falsetto voice soars above the arrangement, before Maurice takes over. Vibes, percussion and drums replace his vocal before the track races to a close. However, who can resist this frenzied funk-laden track, which allows Earth, Wind and Fire to showcase their considerable musical talents?
All About Love is a very different track, where the tempo drops way down, with Maurice taking over the lead vocal. His vocal is full of emotion, accompanied by just piano and the lushest of strings. Rasping horns accompany Phillip’s graceful falsetto, before briefly, the drama grow. Still the tempo is slow, Maurice’s vocal even more emotive and impassioned. Tight, elegant harmonies soar above the arrangement, while horns blaze, before Maurice vamp’s his way through the vocal. This is really effective, adding to the drama and emotion of a track that’s full of musical contrasts, and certainly not short of beauty.
Following a somewhat hesitant start, Yearnin’ Learnin’ sees Earth, Wind and Fire up the tempo. Maurice takes charge of the vocal, while the rhythm section, braying horns, guitars and percussion create a backdrop that mixes funk and jazz. This isn’t the constant, full-on funk of Happy Feelin.’ Instead, there’s more space in the track, with the song unfolding in waves. After Maurice’s vocal, the band up their funkometer. Then just when you’re enjoying it, they slow things down, teasing and tantalizing, before the roller-coaster begins it musical journey again.
Although Reasons never charted when released as a single, it’s still one of Earth, Wind and Fire’s most popular songs. It was written by Phillip, Maurice and producer Charles Stepney. The song just glides, elegantly into being, with percussion, subtle horns, keyboards and harmonies giving way to Phillip’s vocal. They’re joined by the rhythm section, lush strings and rasping horns producing a punchy arrangement. Later, Phillip’s scat is augmented by tight harmonies, before the drama grows when strings cascade, horns blaze and the rhythm section combine. Together, with Phillip’s soaring, emotive falsetto vocal, this results in the best track on the album.
A wistful fluttering flute opens Africano, before a myriad of percussion enters accompanied by bursts of vocals. After a brief pause, this gives way to a funky combination of blazing horns, rhythm section, guitars and percussion. They drive the track along, with punchy horns, wah-wah guitars resulting in the kind of track you’d expect to hear in Blaxploitation soundtrack. Instead, That’s The Way of The World was used for the soundtrack to Harvey Keitel’s Sig Shore, a movie about the music industry, which featured Earth, Wind and Fire playing themselves. However, whether used in a Blaxploitation film or one about the record industry, there’s no denying this is a gloriously, funky track..and then some.
Closing That’s The Way of The World is See the Light a six minute track which Larry Dunn, Louise Anglin and Phillip Bailey, who delivers the vocal cowrote. Percussion, soaring, braying horns and the rhythm section combine with Phillip’s vocal, while dramatic harmonies accompany him. Soon, it’s all change. The track settles down, with the arrangement gliding along like a boat on a calm sea. Phillip’s vocal is impassioned and laden with emotion, as keyboards, percussion and the rhythm section produce a flowing arrangement. Even the horns are subtle, while the strings drift along, while tight, subtle harmonies and keyboard solos drift in and out. For six minutes, Earth Wind and Fire combine beauty with occasional bursts of drama, resulting in a track that’s brings That’s The Way of The World to an intriguing, thoughtful and sometimes, quite beautiful ending.
Listening to That’s The Way of The World, you realize just why Earth, Wind and Fire were going through such a commercially successful period. What every successful band needs is good material, and within the band, there were some talented songwriters. Each of the band were talented musicians, while in Phillip Bailey and Maurice White, Earth, Wind and Fire had two equally talented vocalists. Their vocals were accompanied and augmented by some tight harmonies from the rest of the band. Finally, in Charles Stepney Earth, Wind and Fire had not just a talented and experienced producer, but a successful and experienced songwriter. This combination resulted in That’s The Way of The World becoming Earth, Wind and Fire’s most successful album, selling over three-million copies. That’s The Way of The World was also used as the soundtrack to Harvey Keitel’s Sig Shore, a movie about the music industry, which featured Earth, Wind and Fire making a cameo appearance as a band in a film about the music industry. This showed that there were no end to Earth, Wind and Fire’s talents. After the success of That’s The Way of The World, Earth, Wind and Fire would see their next six albums either certified gold, platinum or double or triple platinum, making them one of the most successful groups of the seventies and early eighties. Of all the albums Earth, Wind and Fire released, one of their most critically acclaimed and commercially successful, was That’s The Way of The World where they fuse soul, funk and jazz seamlessly. Standout Tracks: Shining Star, That’s The Way of The World, Reasons and See the Light.
EARTH, WIND AND FIRE-THAT’S THE WAY OF THE WORLD.
GQ-TWO.
GQ-TWO.
When Sabu and The Soul Survivors were founded in 1968 they were a quartet, but by the early seventies, the group became The Rhythm Makers primarily playing funk. The Rhythm Makers released one album had one Hole In Your Side, which contained the jazz-funk hit Zone. Then when drummer Kenny Banks left the group, to be replaced by Paul Service, the group changed their name to GQ, which was an acronym of Good Quality. With the lineup now composed of bassist Keith “Sabu” Crier, who’d founded the group in 1968, plus lead vocalist and rhythm guitarist Emanuel Rahiem LeBlanc, drummer Paul Service and keyboardist Herb Lane, the group signed to Arista Records. Their debut album 1979s Disco Nights not only reached number two in the US R&B Charts and number thirteen in the US Billboard 200, but contained three top ten US R&B singles, one of which reached number one. Disco Nights (Rock Freak) reached number one in the US R&B Charts and number twelve in the US Billboard, selling over one-million copies in the US alone. I Do Love You, a cover of a Billy Stewart track, reached number five in the US R&B Charts and number forty-ix in the US Billboard. The last single from Disco Nights was Make My Dreams A Reality, which reached number eight in the US R&B Charts. So eleven years after founding as Sabu and The Soul Survivors, GQ had a million selling single and top ten US R&B album under their belt. Would the followup Two, which was released by BBR Records on 4th June 2012 replicate the success of Disco Nights?
After the success of Disco Nights, GQ set about recording their second album which would become GQ. Producing GQ would be Jimmy Simpson, Valerie Simpson’s brother, while Larkin Arnold was the executive producer. Eight of the album’s nine tracks were written by the four members. The exception was Sitting In the Park, which like I Do Love You from their debut album Disco Nights, was written by Billy Stewart. With the material written for the followup to Disco Nights, the next step was to record the album. This would take place at New York’s Sigma Sound Studios.
New York’s Sigma Sound Studios was familiar territory for GQ. This was where much of Disco Nights had been recorded. With Jimmy Simpson producing the album, bassist Keith “Sabu” Crier, lead vocalist and rhythm guitarist Emanuel Rahiem LeBlanc, drummer Paul Service and keyboardist Herb Lane laid down the nine tracks on Two. Once Two was recorded, Jimmy Simpson mixed Two. All that was left was for Two to be released. Would it match the success of Disco Nights?
Before the release of Two in March 1980, Standing Ovation was released as a single, reaching number twelve in the US R&B Charts. Then in March 1980, Two was released. It reached number two in the US R&B Charts and number forty-six in the US Billboard 200. The next single released from Two, was Sitting In the Park in April 1980. Although it reached number nine in the US R&B Charts, it narrowly missed out on reaching the US Billboard 100, peaking at number 101. Someday In Your Life was the final single released from Two in June 1980. Sadly, the single failed to chart. While Two hadn’t quite matched the success of Disco Nights, nor had the singles been as successful as the three released from Two there maybe is a simple explanation for this. Suddenly disco wasn’t as popular by 1979. GQ were maybe seen as a disco band, and with the start of the Disco Sucks anti-disco bandwagon underway and bandwagon’s wheels turning quickly, sadly, some great disco music was being overlooked. Was this the case with Two? That’s what I’ll tell you when I tell you about the music on Two.
Opening Two is Standing Ovation, the first single released from the album and proves that there was much more to GQ than disco. This isn’t a disco track, instead, it’s a joyous, uplifting slice of jazz-funk. From the opening bars, GQ take you on a musical roller-coaster, where jazz-funk provides the soundtrack. A pounding rhythm section, chiming guitars and soaring, dramatic vocals give way to cascading strings. Then when Emanuel’ vocal enters, it’s powerful and emotive, accompanied by a tight, sweeping harmonies. Truly, the sound is joyful, with the use of disco strings a masterstroke and tight soaring harmonies, blending seamlessly with the pounding, driving and funky rhythm section. Later, an extended break where the rhythm section and percussion combine, proves that there’s much more to GQ than disco. The accompanying dubbed applause seems a fitting end to a track that’s perfect for any dance-floor.
The dance-floor friendly sound continues, while GQ pose a question, Is It Cool? Once you’ve heard the track, there’s only one answer…yes. There’s more of a disco influence to the track, although it’s sound is firmly rooted in jazz-funk. When the track opens at breakneck speed, there’s not let up in the energy. Keyboards, the rhythm section and punchy, rasping horns get the track underway, with Emanuel delivering his vocal with a similar passion and emotion to the opening track. There’s no space within the track, just funky, hook-laden music, with those growling horns key to the track’s dramatic sound. Quite simply, you can hear that GQ are a tight, polished band, while Jimmy Simpson’s production skills bring the track together, resulting in a storming slice of hook-laden jazz-funk.
A fat, pounding bass line threatens your speakers welfare as Someday (In Your Life) starts to reveal its hidden charms. Light, airy keyboards, chiming, funky guitars and then a heartfelt, impassioned vocal from Emanuel enters. It’s accompanied by some peerless harmonies, which are amongst the best on the album. They’re tight, emotive and reflect Emanuel’s deliver. Meanwhile, the arrangement is quick, with a pounding rhythm section, guitars and washes of keyboards ensuring the track meets GQ funky quota. However, what makes the track, is Emanuel’s vocal and the accompanying harmonies. Why the single never charted seems strange, given the track’s quality.
There’s no let up in the funk on Lies. In fact, it’s as if GQ have turned their funkometer up to eleven as the track gets underway. A combination of a pounding, funky rhythm section, stabs of blazing horns and guitars combine. Having created a funk-drenched backdrop, Emanuel delivers a vocal that’s impassioned, while elegant harmonies cascade behind him. They’re contrasted by bursts of blazing horns, keyboards and of course, GQ’s rhythm section who play a huge part in their sound and success. This is quite definitely the case here, playing with a similar passion to Emanuel’s heartfelt, emotive vocal.
If there’s a track from Two that perfectly describes GQ, it’s GQ Down. This is a fitting description for a band who took the party everywhere, but also bring the party to you. There’s a slightly more understated sound to the track. Here, the rhythm section, guitar and flourishes of keyboards tone down their funky sound, producing a much more soulful sound. This is perfect for Emanuel’s softer vocals, while the harmonies have a subtle, elegant sound. Adding the finishing touch are swathes of strings that sweep in, producing a graceful, elegant sound. Together, they play their part in producing what might have been GQ’s theme tune, GQ Down.
Don’t Stop This Feeling allows GQ to show a much more soulful side to their music. Similarly, it allows lead vocalist Emanuel to show whether disco, funk or soul, he can deliver the lyrics with aplomb. Just subtle guitars, lush strings, piano and a slow rhythm section accompany Emanuel’s vocal. Key to the track are the beautiful piano and meandering bass line, while strings reflect Emanuel’s beautiful, heartfelt delivery. Tender, elegant harmonies glide in, adding to the beauty and allure of what is one of the highlights of GQ.
Normal service is resumed on Reason For the Season a storming slice of jazz-funk. From the get-go, the rhythm section, guitars and keyboards produce a funk-drenched backdrop, while strings provide a contrast. Emanuel’s delivery is quick and powerful, while punchy harmonies augment his vocal. When the track slows down, the strings play a bigger role. Later, a prolonged rap, where GQ take inspiration from Grandmaster Flash and The Furious Five, The Sugarhill Gang et al, is accompanied by soaring harmonies. This results in a fusion of jazz, funk and hip-hop that was designed to fill any early eighties, post disco dance-floor.
Having covered a Billy Stewart track on their debut album Disco Nights, GQ return to Billy’s back-catalogue to cover Sitting In the Park. The result is a soulful, homage to Billy Stewart where GQ up their game, delivering some of their best harmonies. Similarly, Emanuel’s vocal is full of emotion and hugely soulful, delivered against an arrangement that’s bless with an equally soulful, retro sound. It’s just the rhythm section, keyboards and guitars combining to create an arrangement that has a real sixties sound. Key to the arrangement is the prominent, meandering bass line, which is determined to make its presence felt. While the bass plays a vital role, what makes this such a fantastic track are GQ’s considerable vocal talents. Together, they pay homage to Billy Stewart and his music the GQ way.
Closing GQ is It’s Like That, a track where GQ do what they do best, get funky. A combination of guitars, keyboards and rhythm section combine, getting funky one last time. Then when Emanuel’s lead vocal enters, it’s one part power to one part passion, contrasted by the tight, graceful harmonies. Meanwhile the arrangement is fast, funky and dramatic. Later, keyboards and synths combine to produce an extended break. After keyboard player Herb Lane showcases his talents, the track rebuilds. Once the momentum is regained, GQ go on to display their musical talents, producing their trademark funky sound one last time, to end Two on a high.
Although GQ’s second album Two didn’t match the success of its predecessor Disco Nights, this was no reflection on the music on the album. While Disco Nights, as the name suggests, was an album containing disco music, a year later disco wasn’t as popular. By 1979, the Disco Sucks bandwagon was in full flow, with disco albums or albums by groups who were perceived as disco artists not as popular. Two wasn’t a disco album, but maybe, GQ had wrongly been pigeonholed as a disco band. So, while Two reached number two in the US R&B Charts and number forty-six in the US Billboard 200, maybe sales were held back by people believing the album contained disco music. How wrong they would be if they thought this. Instead, Two contains a mixture of funk, jazz-funk and soul, with some disco delights tucked away. Overall, the music on Two is funky with a capital F, while there are two really soulful cuts in Don’t Stop This Feeling and a cover of Billy Stewart’s Sitting In the Park. The other seven tracks demonstrate GQ at their funky best, with their twelve years experience put to good use. With producer Jimmy Simpson, GQ produced Two, an album that’s features some tight, highly accomplished playing, topped off by Emanuel Rahiem LeBlanc’s vocals augmented by some peerless harmonies. Now thirty-two years after its initial release in March 1980, BBR Records have remastered and rereleased Two, complete with two bonus tracks. This allows you to experience the Bronx’s biggest party band GQ, who’ll get any any started when you play Two. Standout Tracks: Standing Ovation, GQ Down, Don’t Stop This Feeling and Sitting In the Park.
GQ-TWO.
HEATWAVE-TOO HOT TO HANDLE.
HEATWAVE-TOO HOT TO HANDLE.
Having spent several years playing London’s club circuit, Heatwave signed to Epic Records in 1975. What would was a three year period where Heatwave released three albums, two of which were certified platinum and one gold. This remarkable run started with 1976s Too Hot To Handle, which reached number eleven in the US Billboard 200 and number five in the US R&B Charts, resulting in the album being certified platinum. Next came 1977s Central Heating, which was also certified platinum, reaching number ten in the US Billboard 200 and number two in the US R&B Charts. The last in this trio of commercially successful albums was 1978s Hot Property, which reached number thirty-eight in the US Billboard 200 and number sixteen in the US R&B Charts, resulting in Heatwave’s first and only gold disc. Then in 1979, disaster struck. Lead-singer Johnnie Wilder was paralyzed in a car accident, resulting in him being hospitalized for a year. Sadly, after this tragedy, Johnnie had to quit Heatwave, becoming co-producer. After this, Heatwave never enjoyed the same success, releasing just three more albums, the last of which was The Fire in 1978. While tragedy struck for Johnnie Wilder in 1979, Rod Temperton’s career was reaching new heights. He’d written the songs for Heatwave’s first three albums. One man who was impressed by Rod’s talents was Quincy Jones. He hired Rod to write two tracks on Michael Jackson’s 1979 album Off the Wall. These two tracks were the title-track Off the Wall and Girlfriend. Off the Wall went on to be certified eight times platinum, selling over twenty-million copies worldwide. Suddenly, Rod Temperton was one of the most in-demand songwriters. He’d come a long way from touring the London clubs honing Heatwave’s sound. However, all that was still to come. Before that came the release of Heatwave’s debut album Too Hot To Handle, which I’ll tell you about, having firstly told you the background to the album.
Heatwave had been signed to Epic Records in 1975, with Barry Blue hired to produce their album. Rod Temperton had written the nine tracks that would become Too Hot To Handle. They’d be delivered by American brothers Johnnie and Keith Wilder. The rest of the band would provide a fusion of funk and disco on the album. This included keyboard player Rod Temperton, plus a rhythm section of drummer Ernest Berger, bassist Mario Matese and guitarist Eric Johns provided a fusion of funk and disco. They recorded Too Hot To Handle at London’s Audio International Studio. Once these nine tracks were recorded, Heatwave would release their debut album. Little did they know just how popular Too Hot To Handle would be.
When Too Hot To Handle was released in 1976, the album reached number eleven in the US Billboard 200 and number five in the US R&B Charts, giving Heatwave their first platinum album. Over in the UK, Too Hot To Handle only reached number forty-six. The two singles released from Too Hot To Handle are some of Heatwave’s most successful and memorable tracks. Boogie Nights reached number two in the US Billboard 100, number five in the US R&B Charts and number thirty-six in the UK. This lead to the single being certified platinum in the US, gold in Canada and silver in the UK. Always and Forever reached number eighteen in the US Billboard 100, number two in the US R&B Charts and number nine in the UK. The success of Too Hot To Handle and its two hit singles must have exceeded the members of Heatwave’s wildest dreams. After all, having both Too Hot To Handle and the single Boogie Nights certified platinum was no mean feat. However, what made Too Hot To Handle both critically acclaimed and such a huge commercial success? That’s what I’ll tell you, when I tell you about the music on Too Hot To Handle.
Opening Too Hot To Handle is the title-track Too Hot To Handle, which like the other eight tracks was written by Rod Temperton. Blazing horns, the rhythm section and chiming guitars give way to Keith Wilder’s vocal. He delivers the vocal in sharp bursts, before tight, sharp soaring harmonies augment his vocal. Quickly, his vocal become sassy, with stabs of braying horns, percussion and the funky rhythm section accompanying. The cascading harmonies that accompany Keith are peerless. They’re key to the track’s sound and success, getting Too Hot To Handle of to a glorious start.
A flourish of harp, jazz-tinged guitar and marauding bass combine, before tight harmonies enter. Quickly, Boogie Nights then starts to reveals its beauty. Keith’s joyous vocal is augmented by harmonies, before Clarke Peters adds a deep, punchy and memorable vocal hook. Meanwhile, the rhythm section, guitars and percussion combine, providing a backdrop where disco and funk are fused seamlessly. Later, Rod Temperton’s keyboards play an extended solo, his keyboards weaving their way along the arrangement. However, it’s Keith’s lead vocal and some of the best harmonies on Too Hot To Handle that make this such a classic track. No wonder the single would be certified platinum in the US, and has become a bona fide disco classic.
Following up a true disco classic, and one of Heatwave’s best ever tracks, isn’t easy. So, changing the style and sound is a good idea. On Ain’t No Half Steppin,’ Heatwave merge their soulful vocals with a funky arrangement. Johnnie Wilder takes charge of the lead vocal, while as usual, the harmonies are soulfulness personified. Rasping horns, sweeping, swirling, lush horns and the funky rhythm section provide the backdrop for Johnnie’s vocal. Here, Rod Temperton’s keyboards have a bigger part to play. Noticeably, the arrangement is full of contrasts, with the lushness of the strings provide a contrast to the blazing horns and funky rhythm section. Johnnie’s vocal is laden with emotion, while sharp backing vocals respond to his call. Although different in style from the previous track, they both have one thing in common…their quality.
The second single from Too Hot To Handle was Always and Forever. Like Boogie Nights, it’s one of Heatwave’s best singles, thanks to Johnnie’s vocals and Rod Temperton’s beautiful lyrics. However, whenever I hear the track, I’m reminding of the last dance at small town discos, where couples would smooch drunkenly and hopefully to a track like this. Having said that, it’s a beautiful, moving song, with Johnnie’s best vocal on the album. The arrangement builds and builds, becoming dramatic and emotive. From just the keyboards, gentle rhythm section and lush strings, the Hammond organ enters. They accompany Johnnie’s heartfelt vocal. Tender harmonies accompany Johnnie, as the arrangement and his vocal grows in power. Key to this are swathes of strings, bursts of rasping horns and the rhythm section, who later add to the track’s drama. For just over six minutes, Heatwave produce a track that’s not only beautiful and romantic, but one of the highlights of Too Hot To Handle.
Super Soul Sister sees Heatwave take a detour into funk, with a harder, much funkier track. Similarly, Johnnie’s vocal has an edge, accompanied by the rhythm section, punchy blazing horns and of course, some tight, punchy harmonies. While percussion and keyboards play their part in the track, it’s the rhythm section, chiming guitars and braying horns that are key to the track’s success. The other vital ingredient is Johnnie’s and the harmonies. Together, they’re mixed together by producer Barry Blue, resulting in a track that’s not just funky, but dramatic and compelling.
What I’ve always enjoyed about Too Hot Too Handle is the sheer variety of music. There’s everything from funk, disco and soulful tracks like All You Do Is Dial sees Heatwave. To me, it’s a track that allows Heatwave to showcase their considerable vocal talents. Here, Johnnie’s delivers a heartfelt lead vocal accompanied by some of the best harmonies on the album. Producer Barry Blue does his part, producing an arrangement that has a lovely understated sound. Guitars, keyboards and the rhythm section combine with percussion before Johnnie’s vocal enters. His vocal is full of feeling, while the harmonies are equally emotive and beautiful. Lush cascading strings and a sultry horns add the finishing touches as the arrangement grows, revealing its beauty and charms.
Lay It On Me sees a combination of the soulful and funky sides of Heatwave. The rhythm section and keyboards produce a funky backdrop that has a slightly harder edge. A burst of percussion signals the entrance of Heatwave’s harmonies, before Johnnie unleashes an impassioned vocal. His vocal is accompanied by dancing strings, percussion, Rod’s keyboards and bursts of horns. Meanwhile, the rhythm section of drummer Ernest Berger, bassist Mario Matese and guitarist Eric Johns provide a backdrop that’s both soulful and funky. This contrasts and compliments the strings, percussion and of course those peerless vocals. The end-result is a track where Heatwave seamless combine soul and funk, resulting in a track where they’re able to display their considerable vocal talents.
Rod Temperton’s keyboards, percussion and guitars combine as Sho’nuff Must Be Luv begins to reveal its subtleties and charms. Quickly, a beautiful love song unfolds. Johnnie’s tender, emotive vocal enters, accompanied by some slow strings. The rest of Heatwave add heartfelt harmonies, while bursts of rasping horns, lush strings provide the perfect accompaniment to this quite beautiful love song. So good is this track, that you’re spellbound by its beauty and Heatwave’s heartfelt delivery of Rod Temperton’s lyrics.
Closing Too Hot To Handle is Beat Your Booty where Heatwave seem determined to end the album on a high. The track sounds like a cousin of Boogie Nights, or something the Jacksons would have released. Johnnie’s like a cheerleader, encouraging the rest of Heatwave to greater heights. They respond to him, producing a track that’s funky, with punchy harmonies accompanied by flourishes of keyboards, a driving rhythm section and percussion. As the track progresses, the more the drama builds and the catchier the track gets. Key to this is the rhythm section, Johnnie’s vocal and those punchy harmonies. Together Heatwave succeed in ending their debut album Too Hot To Handle with a track that’s almost Too Hot To Handle.
While Heatwave may seem to many people as a band that were an “overnight success,” that’s far from the case. They spent several years touring London’s clubs honing and refining their sound. Eventually, they established a lineup that would see them achieve success beyond even their wildest dreams, between 1976 and 1978. Too Hot To Handle was the album that started this successful run of albums. On Too Hot To Handle, Heatwave blend soul, funk and disco, resulting in the album being certified platinum in the US, and spawning two hugely successful singles. These were Boogie Nights, a disco classic, that was certified platinum. Always and Forever a beautiful love song, was very different, and showed a different side to Heatwave and their music. It too, has become a classic track. However, one man played a huge role in Heatwave’s success, Rod Temperton. He was much more than the group’s keyboard player. More importantly, he wrote every song on Heatwave’s first three album. He was obviously destined for much greater things. Three years after the release of Too Hot To Handle, Quincy Jones hired him to write two tracks for Michael Jackson’s classic album Off the Wall. Rod’s contributions to the twenty-million selling album were Off the Wall and Girlfriend. By the time Off the Wall was released, tragedy had struck for Johnnie Wilder. Tragically he’d been paralyzed in a car accident, spending a year hospitalized. In some ways this spelt the end for Heatwave. Although they released three further albums, they never found the same success. Indeed, they only released three more albums, with just 1980s Candles and 1982s Current featuring most of the original members. By 1988, when Heatwave’s final album The Fire was released, only Keith Wilder remained of the original members. Sadly, the group were a shadow of the group you can hear on Too Hot To Handle. For me, Too Hot To Handle is Heatwave’s greatest album, closely followed by 1977s Central Heating. Both albums were rereleased by Edsel Records, part on Demon Music in 2010. This will allow you to discover or rediscover both of Heatwave’s platinum selling albums Too Hot To Handle and Candles, where Heatwave fuse soul, funk and disco seamlessly. Standout Tracks: Boogie Nights, Always and Forever, All You Do Is Dial and Lay It On Me.
HEATWAVE-TOO HOT TO HANDLE.
VISIONEERS-HIPOLOGY.
VISIONEERS-HIPOLOGY.
After a long wait of six year since the release of Dirty Old Hip Hop, Marc Mac under the guise of Visioneers is back with the follow-up Hipology, a double album,due for release on 11th June 2012, on BBE Music. However, during the intervening six years, Marc hasn’t been resting on his laurels. Far from it. Indeed, Marc has been one of the hardest working men in music, working under a variety of aliases and guises. This has seen him working as one half of 4Hero, Nu Era and Natures Plan. Then there’s Marc’s work as a producer, which has seen him previously producing Terry Callier, Jill Scott, Roy Ayers and Phonte. Although his career started back in the late eighties, the project that’s kept Marc Marc busy recently, is the much anticipated Hipology. On Hipology, Marc brings in a number of guests and featured musicians, who’ve collaborated with him in making the album’s fourteen tracks. So, among the guests Marc chose to join him to make Hipology, are John Robinson, Notes To Self, TRAC and Baron. These luminaries join musicians Luke Parkhouse, Ariya Astrobeat Arkestra and The Support Horns. Together, they’ve help Marc make Disc one of Hipology an album that’s not just funky and soulful, but chock full of breaks, beats and samples a plenty .Then on Disc Two, Marc Mac has compiled an old-school mix-tape. So, this Hipology is a veritable feast of music spread over two discs. Before I tell you about some of the many highlights of Hipology, I’ll tell you about Marc Marc and his long and illustrious career.
Marc Marc’s career stared back in the late eighties, when he produced his take on Urban Soul. This saw Marc fuse a combination of musical genres that include Nu-Jazz, Nu Soul, breakbeats and drum and bass. All this went into Marc Mac’s production melting pot, with the result music that was fitting soundtrack to 21st Century Britain. Then came the various guises Marc donned, which included Nu Era, Nature’s Plan and Maximum Style, no name but a few of Marc’s nom de plume’s. The other of Marc’s guises, is as one half of 4Hero.
4Hero’s debut album was 1991’s In Rough Territory, released on Reinforced Records, which was followed-up by 1994s Parallel Universe. Then in the late nineties, 4Hero signed to Giles Peterson’s Talkin’ Loud label, where they’d released two classic albums. These were 1998s Two Pages and 2001s Creating Patterns. Having released these two albums, the only output from 4Hero until 2007s Play With Changes would be 2003s The Remix Project Volume 1. By then, Marc would’ve taken on other rolls as produced, label owner and donned another guise as Visioneers.
Having released two classic albums in Two Pages and Creating Patterns, this opened doors for 4Hero and Marc. He donned the roll of producer, working with musical luminaries that included Terry Callier, Jill Scott and Roy Ayers, while producing acts like Phonte. The next step for Marc and 4Hero was to set up their own record label, Raw Canvas Records which released 2003s The Remix Project Volume 1. However, the next album Marc would release wouldn’t be as part of 4Hero, but as Visioneers.
Before the release of Dirty Old Hip Hop, The Visioneers released a number of seven inch singles. Quickly, DJs like Kenny Dope, Norman Jay and Giles Peterson started playing them. After this BBE Music signed Visioneers and their debut album Marc Mac Presents Visioneers- Dirty Old Hip Hop was released in 2006. Dirty Old Hip Hop was critically acclaimed upon its release, so a year later, in 2007, came Marc Mac Presents Visioneers-Dirty Old Remixes. This was released the same year as 4Hero’s critically acclaimed Play With Changes, released on Raw Canvas Records. However, after the release of Marc Mac Presents Visioneers-Dirty Old Remixes nothing was heard of Visioneers… until earlier this year, when rumors started spreading about the forthcoming release of their second studio album Hipology.
For the recording of Hipology, Marc brought in a number of guest artists and hugely talented musicians. This numbered John Robinson, Notes To Self, TRAC and Baron. These guests join musicians Luke Parkhouse, Ariya Astrobeat Arkestra and The Support Horns. Eventually, fourteen tracks were laid down, with Marc using a string and horn section during the recording of Hipology. Given Marc’s hip-hop roots, Hipology has more than a few samples tucked away, awaiting discovery by sample spotters worldwide. However, during the recording of Hipology, Marc started reflecting on hip-hop’s influence on his life. This resulted in a fascinating and groundbreaking project from Marc.
Having been thinking about how important hip-hop has been to his life whilst recording Hipology, Marc started looking at his life. To Marc, it’s been a bit like a hip-hop version of Adam Smith’s invisible hand, shaping his tastes and life itself. This set him thinking, reflecting on the albums, books and even clothes he owns and hip-hop’s roll in his life. Sometimes, this influence has been subtle, not quite obvious, but at other times, hip-hop’s roll is more apparent. This lead to Marc compiling a digital scrapbook at Hipology.org. It’s a fascinating insight into the ever-present reach of hip-hop into Marc Mac’s life. Looking at the digital scrapbook, which features on the cover of Hipology, you can compare how hip-hop has affected your lives. Whether it’s the music, record labels, radio stations or even Adidas Stan Smith trainers, I’m sure that hip-hop will have affected your life. For Marc Mac, hip-hop has been an ever-present in his life, and for that we should be really thankful. It’s played its part in shaping him as producer, as you’ll realize, when I tell you about Hipology.
Opening Hipology is Dial In (Intro), thirty-eight seconds which will bring back memories to many older listeners. It’s the sound of a radio being retuned, as it switches between radio stations, sounds and songs. For anyone who remembers the days before FM radio, this used to be a familiar sound. It’ll bring back frustrating memories of hiss, crackle and pop. However, the other glorious memory it brings back, is the many sounds and styles of music awaiting discovery within the city, where eclectic sounds aplenty are only a turn of the dial away.
Back In Time, which features Baron & Trac rapping, and is a track with a real feel-good, summery Nu-Soul sound. The tempo is quick, with the rhythm section driving the track along, while a Fender Rhodes, shimmering strings and percussion provide musical contrasts. Horns rasp and the bass pounds, while Barron contributes cascading backing vocals. Adding the finishing touch is a vintage sounding impassioned rap. Talking of vintage sounds, the use of the Fender Rhodes was a masterstroke. Nowadays, the Fender Rhodes is underused. Its warm sound, together with the cascading harmonies lightens up Back In Time, making this one of my favorite tracks from Hipology.
Ice Cream On My Kicks is not just one of these tracks that just brightens up your life, but was a fate worse than death to the proud owner of a new pair of Adidas Stan Smiths. Imagine the scene, you’ve gone a trip down the coast, decided on a cheeky Cornetto and disaster strikes, you’re box-fresh Stan Smiths are covered in Raspberry Cornetto. Not a good look. Back to the music though. There’s a real jazzy undertone to the track. Again, some vintage kit has been dusted off and put to good use. This includes the Moogs, plus the Fender Rhodes. They’re augmented by percussion, bongos and drums, while a glistening, crystalline, jazz-tinged guitar dances across the arrangement, while the rest of the band play around it. Hearing the Moogs and Fender Rhodes on one track, is a real treat, on a track where Marc Mac and the Visioneers pay a fitting homage to the effect jazz has had on hip-hop.
Shine features two more guests John Robinson and Jimetta Rose. John Robinson takes charge of the rap, while Jimetta who adds backing vocals is tasked with delivering the vocal hook. As the piano opens the track, percussion and quivering strings combine, before John’s rap enters. It’s delivered against a backdrop of backing vocals, shimmering strings, crisp drumbeats and guitars. When Jimetta’s multi-tracked backing vocals take centre-stage, the track takes on a real Nu-Soul sound. She has an outstanding voice, and her contribution means that one of the best arrangements on Hipology is unfolding. Key to this is the use of shimmering strings, not forgetting Jimetta’s beautiful backing vocals and John’s impasioned rap.
Given the role and importance of Blaxploitation movie soundtracks as a source of samples for hip-hop producers, Shaft In Africa (Addis) is a fitting tribute to this musical genre. Wah-wah guitars, punchy, blazing horns a proliferation of congas and percussion combine with a rhythm section that delivers funk with a capital F. Stabs of horns, flourishes of keyboards and a pounding, funky rhythm section are at the heart of this glorious track. Together, they create a glorious two minute track that pays homage to Black Caesar, Shaft, Superfly, Truck Turner, Shorty the Pimp et al.
While Oil and Water don’t mix, the musical contrasts within this track mix beautifully. From the lush strings, stabs of rasping horns, jazz tinged piano and Notes To Self’s frustrated, angry rap. That’s not forgetting the cuts and scratches aplenty from DJ Dopey, plus drums and a rocky guitar solo from Luke Parkhouse. Wave upon wave of elegant, and sometimes dramatic music unfold, rising and falling, revealing their charms. Truly this is a fusion of musical genres and sounds, taking in everything from rock, jazz, lush Philly strings and plenty of hip-hop with a vintage sound.
When Jungle Green Outlines begins, you just know that a pounding, funk drenched track is about to unfold. You’re certainly not disappointed. The rhythm section are fast, funky and provide a pounding beat. Stabs of blazing horns enter, so does the unmistakable sound of wah-wah guitars. They give the track a vintage funky sound. This brings to mind seventies funk albums, which for hip-hop producers, proved rich pickings for sample hunters. Adding another layer of music are synths, Fender Rhodes and piano, while bongos and percussion contrast the lushness of the strings. While this track is funk personified, listen carefully, and you’ll hear layer upon layer of music revealing reveal itself.
LuAnne From Harlem has a much more laid-back jazz-tinged sound. Rasping horns and percussion combine, before the rhythm section enter. They play second fiddle to the horns, which are ever-present and at the centre of track’s sound and success. Later, the Fender Rhodes can be heard in the background, its unmistakably warm sound seeping through the arrangement, making its presence felt. Mostly, it’s just the horns, drums and percussion that can be heard. They create a track that although very different from the other tracks on Hipology, is one of the album’s highlights.
My final choice is Apache (Battle Dub), where the Visioneers pay homage to a track that’s been sampled my many hip-hop producers. Originally recorded by The Shadows, then covered on Michael Viner’s Incredible Bongo Band’s album Bongo Rock: The Story of The Incredible Bingo Band. It too, was a rich source of samples for sample-hungry hip-hop producers. From the familiar opening bars, the Visioneers pay homage to The Shadows and then Michael Viner. This they do with aplomb. Bongos then percussion play an extended break, before blazing horns and then the rhythm section all take turns in showcasing their talents. Stabs of Hammond organ, then a Hank Marvin-esque guitar solo all drift in and out of the track. For over four minutes, the Visioneers pay tribute to a track that’s played an important part in the history and development of hip-hop.
Hipology is just one of these albums that once you receive it, it never leaves your CD player. Quickly, its subtleties and charms get under your skin, weaving their way into your soul, reminding you just why you love music, especially music as good as this. From the opening bars of Dial In (Intro), until the closing notes of Whatever Happened To Peace, Hipology is a musical adventure through a fusion of genres. This ranges from hip-hop, through funk, soul and R&B, taking in breakbeats, Blaxploitation and jazz. So good is this musical adventure, that once it’s over, you want to relive it and all its glories. With each listen, more of Hipology’s subtleties, charms and secrets reveal itself. This complex multilayered symphony has many subtleties, charms and secrets awaiting discovery. You have all this in front of you, with this glorious fusion of musical genres brought together by Marc Mac. Not only did he arrange and produce Hipology, but played everything from bass, piano, organ, synths, Fender Rhodes, Moogs, bass and Solina. Although Marc’s like a one-man band, he has a little help from his cast of special guests, plus a group of hugely talented musicians. Among this cast of rappers, backing vocalists and musicians, credit must go to Luke Parkhouse. Like Marc Mac, he’s deserving of being called a true multi-instrumentalist, playing everything from drums, guitars, congas and bongos. Along with rappers John Robinson, Barron and TRAC Hipology, plus Jimetta Rose’s beautiful backing vocals make Visioneers second album Hipology, a worthy successor to Dirty Old Hip Hop. Then after you’ve discovered the delights of Hipology, you’ve got the mix-tape to enjoy. You sit down, settle back and enjoy losing yourself in the delights of the mix-top Visioneers’ style. So, given the quality of music on the two discs that make up Hipology, which will be released by BBE Music on 11th June, then you’ll realize that it’s been well worth waiting six years for. Once you’ve heard Hipology, then I’m sure that you too, will agree it’s been well worth the long wait. Standout Tracks: Back In Time, Shaft In Africa (Addis), Jungle Green Outlines and LuAnne From Harlem.
VISIONEERS-HIPOLOGY.
JEAN CARN-WHEN I FOUND YOU LOVE.
JEAN CARN-WHEN I FOUND YOU LOVE.
This year has been a good vintage for anyone who loves Philly Soul. First came the release of Philadelphia International: The Re-Edits, then came the release of Philadelphia International Classics: The Tom Moulton Remixes. Then just two weeks ago came the Magnus Opus, the Philadelphia International: 40th Anniversary Box Set, ten discs of Philly’s finest music. On each of these compilations was the First Lady of Philadelphia International Records Jean Carn, who released a quartet of albums between 1976 and 1981. Jean’s career at Philadelphia International Records started with 1976s Jean Carn, with the follow-up Happy To Be With You released in 1978. After a gap of eighteen months came Jean’s third album When I Found You Love. Sadly, neither Jean Carn, nor Happy To Be With You had given Jean the commercial success her talent deserved. For her third album, there would be a change in the personnel working on When I Found You Love. Unlike her two previous albums, Gamble and Huff played no part in either writing or producing When I Found You Love. Instead, When I Found You Love was written and produced by various songwriting and production teams at Philadelphia International. How would this affect When I Found You Love?. That’s what I’ll tell you, after I’ve told you about the background to When I Found You Love, and the music on the album.
Among the songwriting and production teams who worked When I Found You Love were Linda Conlon, Jerry Butler and John Usry Jr. They cowrote two tracks, with Jerry and John producing the two tracks. Dexter Wansel wrote and produced What’s On Your Mind and Give It Up, co-producing two other tracks. The O’Jays’ lead singer Eddie Levert cowrote Intro/My Love Don’t Come Easy with Dennis Williams and Mike Jackson, co-producing the track with Dennis Williams. Cynthia Biggs, Ted Wortham and Gary Gilbert cowrote Lonely Girl In A Cold Cold World, which Theodore Wortham, Cynthia and Dexter Wansel produced. Jack Faith arranged and produced All I Really Need Is You, a track Janice Gugliuzza. These tracks would be recorded at Philly’s Sigma Sound Studios, the scene of all Philadelphia International Records recordings.
With the original M.F.S.B. having headed to New York to become the Salsoul Orchestra, so many familiar faces had been replaced. Instead of the Baker, Harris, Young rhythm section, now included variously, bassists Charles Collins, Jimmy Williams and Steve Green, guitarists Dennis Harris, Darnell Jordan and Roland Chambers, while the drummers included David Williams, Keith Benson and Quinton Joseph. Dexter Wansel and John Usry Jr played keyboards, while David Cruise and Ricky Hinds added percussion. Among the few remaining familiar faces were Don Renaldo’s strings and horns, with the Sweethearts of Sigma adding backing vocals. Together, they accompanied Jean Carn as she recorded the eight tracks at Sigma Sound Studios. Would the resulting album When I Found You Love see a change in Jean Carn’s fortunes?
Although two singles were released from When I Found Love, neither When I Found You Love, nor My Love Don’t Come Easy found chart success. This didn’t auger well for the release of On the release of When I Found Love in 1980. Sadly, it peaked at number forty-two in the US R&B Charts, while reaching number forty-two in the US Jazz Charts. Adding to Jean’s woes, Philadelphia International decided not to release the album in the UK, where Jean had a legion of fans. This was and the commercial failure of When I Found Love was hugely disappointing for Jean, especially given the quality of the music, which I’ll now tell you about.
Opening When I Find You Love is the title-track, written by Linda Conlon, Jerry Butler and John Usry Jr, while Jerry Butler and John Usry Jr. produced the track. It’s a track with a slow, spacious sound, where Jean demonstrates just how beautiful, emotive and powerful her vocal is. A piano, lush strings and rasping horns accompany Jean, her vocal starting slow and almost tender, growing in power and passion. Later, the track takes on a jazz-tinged sound. A sultry saxophone drifts above the arrangement, before the strings, horns and rhythm section combine to create a quicker, fuller arrangement. However, good as the arrangement from John Usry Jr. is and it’s very good, it’s Jean’s impassioned emotive vocal that steals the show.
Intro/My Love Don’t Come Easy a saxophone drifts wistfully above the arrangement, before pounding drums, cascading strings and jazzy guitars drift in. Next to join are punchy, rasping horns, whose disappearance signal the arrival of Jean’s breathy, sultry vocal. From there, a contemporary dance-floor friendly track reveals its many charms. The Sweethearts of Sigma add tender backing vocals, while strings dance, horns growl and the rhythm section add the track’s dance-floor friendly heartbeat. Later, Jean unleashes a soaring vocal, augmented by the Sweethearts of Sigma. By now you’ve been won over by what is a timeless dance-floor track that’s totally irresistible.
Start the Fire was written by William Pugh, who co-produced the track with Dennis Williams, who arranged the track. Vibes, rasping horns and the rhythm section open the track, with the punchy drums signaling the arrival of Jean’s tender, impassioned vocal. Strings glide gracefully in, their lush sound the perfect accompaniment to Jean’s vocal. Backing vocalists tenderly accompany Jean, before the vibes and braying horns combine during a solo. Towards the end of the track, Jean decides to unleash not just a powerful vocal, but one drenched in emotion and passion. This proves the perfect way to end a track.
On All I Really Need Is You Jean’s vocal sounds just like Karen Carpenter’s. The similarity is uncanny. Even the arrangement from Jack Faith who also produces the track adds to this similarity. He adds swathes of lush strings, keyboards and a rhythm section that play with a subtlety. Even the horns have a subtlety that’s perfect for the track. Nothing is allowed to overpower what is an outstanding vocal from Jean, set against a classic Jack Faith arrangement.
The tempo rises on Lonely Girl In A Cold Cold World a track penned by the songwriting team of Cynthia Biggs, Ted Wortham and Gary Gilbert. It’s very different from the previous track, arranged with the dance-floor in mind. Here, the Sweethearts of Sigma add tight soaring harmonies, while strings cascade, horns blaze and the rhythm section drive the track along. Throughout the track, the arrangement sweeps and swirls, with the tempo rising and falling. Later, there are several breaks where jazz-tinged guitars take centre-stage, while Jean scats, with the Sweethearts of Sigma feeding off her. Together, they encourage each other to greater heights. Much as I enjoy these breaks, my only concern is that they spoil the flow of the track for dancers. Apart from that concern, this is a track that shows how versatile a singer Jean Carn is, switching from soul to jazz within the same song seamlessly.
Pounding drums, washes of synths and keyboards accompany Jean as What’s On Your Mind? gets underway. Quickly, the tempo rises and rises, with Jean transformed into a disco diva. Layers of shimmering strings, a pounding rhythm section and keyboards plus the Sweethearts of Sigma accompany Jean on this post disco track. It’s a track with Dexter Wansel’s name written all over it, given its heavy use of keyboards. This gives the track a sound that’s not quite disco, but not quite boogie. Having said that, it’s a compelling, dramatic post-disco track.
Give It Up is the second track Dexter Wansel arranged, wrote and produced track. This track is quite different, there’s more space in the funky arrangement. The Sweethearts of Sigma accompany Jean’s sassy, confident vocal. Meanwhile a pounding rhythm section, flourishes of guitars, keyboards, synths and rasping horns provide the backdrop for Jean’s vocal. Again, Dexter uses synths and keyboards heavily, but here, it seems to work better. Similarly, Jean’s vocal seems to sit better in the mix. Maybe the bigger part played by the Sweethearts of Sigma helps, as this brings out the best in Jean. They seem to help Jean reach greater heights, which she does here, delivering her vocal joyously and confidently.
Often, I’ve remarked how sometimes, the best track is kept until last on an album. This is quite definitely the case on When I Find Love, with Was That All It Was the album’s real standing track. Of the album’s eight tracks, this is a Philly classic. The rhythm section and percussion combine, before synths reverberate above the arrangement. Then comes Jean’s voice, sounding disillusioned and full regret. Quickly, strings cut in, accompanying Jean’s now emotive vocal. Meanwhile, the rhythm section and percussion provide the track’s classy heartbeat. Later, horns growl sympathetically as Jean delivers one of her best vocals on what is easily, the album’s best track and one of Jean’s finest releases for Philadelphia International Records.
After a gap of eighteen months, Jean Carn returned with When I Find You Love, her third album for Philadelphia International Records. Her first two albums Jean Carn and Happy To Be With hadn’t found the commercial success that their quality deserved. Jean must have been hugely disappointed and frustrated. Adding to her disappointment was when Gamble and Huff, who’d written and produced much of her first two albums, leaving writing and production to Philadelphia International Records’ songwriting and production teams. Even thought Gamble and Huff played no part in When I Find You Love, the end-result was an album full of some quality music. The music was a combination of dance-floor friendly music and ballads, which allowed Jean to demonstrate just why she was the First Lady of Philadelphia International Records. She was one of the best female vocalists on the label, and the four albums she recorded for Philadelphia International Records contain many a hidden gem. Among the highlights of When I Find You Love, are When I Find You Love, Intro/My Love Don’t Come Easy and the highlight of the album Was That All It Was. To me, that’s one of the best tracks Jean Carn ever recorded for Philadelphia International Records. Even today, thirty-two years after its release, Was That All It Was is a timeless classic, blessed with a contemporary sound. On All I Really Need Is You, arranged and produced by Jack Faith, Jean’s vocal sounds uncannily like Karen Carpenter’s. It’s the only track on the album where this similarity is noticeable. Overall, there aren’t any poor tracks on When I Find You Love, an album where Jean mixes jazz, Philly Soul, funk and a post-disco sound, with the help of some of Philadelphia International Records songwriting and production teams, and M.F.S.B. Mk 2. Together, they helped Jean create When I Found Love, a compelling combination of dance-floor friendly tracks and heartfelt ballads, which is a true hidden gem of an album . Standout Tracks: When I Find You Love, Intro/My Love Don’t Come Easy, Lonely Girl In A Cold Cold World and Was That All It Was.
JEAN CARN-WHEN I FOUND YOU LOVE.
M.F.S.B.-SUMMERTIME.
M.F.S.B.-SUMMERTIME.
Recently, when reviewing The O’Jays’ Message In the Music, I mentioned how that 1976 was a pivotal year for Philadelphia International Records and their legendary house-band M.F.S.B. From the very first album Philadelphia International Records released, M.F.S.B. provided the album’s heartbeat. These musicians included bassist Ron Baker, guitarist Norman Harris and drummer Earl Young. They became known as the Baker, Harris, Young rhythm section. There was also guitarist Bobby Eli, percussionist Larry Washington, keyboard player Lenny Pakula, Vincent Montana on vibes and Don Renaldo’s strings and horns. Together, they were part of M.F.S.B., a group of musicians that number around thirty of Philly’s finest players. However, by 1976, M.F.S.B. were in dispute with Gamble and Huff over payments. Sadly, the dispute couldn’t be resolved. This resulted in M.F.S.B. leaving Philadelphia International Records and becoming the Salsoul Orchestra. Before their departure, M.F.S.B. would release their fifth album Summertime, which I’ll tell you about, after I’ve told you the background to the album.
With M.F.S.B. about to leave Philadelphia International Records, the label wasn’t just losing their house-band, but a highly successful group. Before the release of Summertime, they’d released four albums between 1972 and 1975. Starting with M.F.S.B. released in 1973, which reached number 131 in the US Billboard 200 and number twenty in US R&B Charts, their popularity quickly grew. Next came Love Is the Message later in 1973, their most popular album. It reached number four in the US Billboard 200 and number one in US R&B Charts. Universal Love, released in 1974, reached number forty-four in the US Billboard 200 and number two in US R&B Charts. Following Universal Love was 1975s Philadelphia Freedom, which reached number thirty-nine in the US Billboard 200 and number fourteen in US R&B Charts. After this run of commercially successful albums, would Summertime see M.F.S.B. Mk 1 leaving Philadelphia International Records on a high?
For their fifth album, Summertime, Gamble and Huff wrote four songs plus the successful songwriting team of Gene McFadden, John Whitehead and Victor Castarphen cowrote three tracks. The album’s other track was a cover of George Gershwin’s Summertime. These eight tracks would be recorded at Philly’s Sigma Sound Studios, where all the Philadelphia International Records albums were recorded.
Producing the album were Gamble and Huff who produced five tracks, while Gene McFadden, John Whitehead and Victor Castarphen produced three tracks. Arranging the eight tracks on Summertime would be Jack Faith, Bobby Martin and Tony Bell, Thom’s brother. Adding vocals to Summertime were the Sweethearts of Sigma. They’re vocal accompanied M.F.S.B. as they bid farewell to Philadelphia International Records? Would they do so with another successful album in Summertime?
On the release of Summertime, the album reached number 106 in the US Billboard 200 and number eighteen in the US R&B Charts. Two singles were released from Summertime. Picnic In the Chart reached number one in the US Dance Charts. The title-track Summertime reached number sixty-five in the US R&B Charts, also reaching number one in the US Dance Charts. However, why was Summertime not as successful as M.F.S.B’s previous albums? That’s what I’ll tell you after I’ve told you about the music on Summertime.
Opening Summertime is Picnic In the Park, one of the five Gamble and Huff penned and produced tracks. It opens with a crashing cymbal, before Ron Baker’s pounding bass stabs of keyboards and swathes of lush strings enter. The arrangement veers between a lush sound and bursts of drama, with the Baker, Harris, Young rhythm section providing the track’s heartbeat. Then the Sweethearts of Sigma add bursts of dramatic, soaring harmonies, before blazing horns punctuate the arrangement. Gradually, the track reveals its many subtleties and charms. Quivering strings, vibes, flourishes of keyboards and stabs of horns are just some of these subtleties and charms. Taken together, they’re proof positive that M.F.S.B. were still the hottest band of the seventies, providing a perfect soundtrack to any Picnic In the Park.
Mention Summertime, and everyone will mention George Gershwin. However, he cowrote the song with Ira Gershwin, DuBose and Dorothy Heyward. Since then, the track has been considered a true classic, covered by many, but never like the way M.F.S.B. do. A sultry saxophone solo drifts seductively above gentle stabs of keyboards, while lush, wistful strings enter. Suddenly, you think M.F.S.B. have been transformed into an old-time jazz band. Then…the track explodes. Funky wah-wah guitars, blazing horns, sweeping, swirling strings and the Baker, Harris, Young rhythm section driving the track along. It’s veritable fusion of jazz, funk and soul. For five minutes, M.F.S.B. produce a stunning cover version of a jazz classic, but with a sublime, funky twist.
On Plenty Good Lovin’ M.F.S.B are again joined by the Sweethearts of Sigma, whose soulful vocals augment M.F.S.B’s fusion of jazz and funk. When the track opens, the rhythm section, flute, flourishes of harp and punchy, rasping horns take the track in the direction of funk. Then when the Sweethearts of Sigma enter, their tender, understated vocals add soul to a now jazz-tinged arrangement from Bobby Martin. Still the funky side of the track emerges, but Norman Harris’ jazzy guitar has a funky counterpoint in Bobby Eli’s playing. Braying horns provide a contrast to flourishes of harp and later, Vince Montana’s vibes. This is what M.F.S.B. did so well, take a variety of different instruments and styles of music, fusing them seamlessly to make a timeless track. That’s what they do here, with the help of Gamble and Huff, plus arranger Bobby Martin.
Sunnin’ And Funnin’ is one of a trio of tracks penned and produced by Gene McFadden, John Whitehead and Victor Castarphen. It’s very different to the previous tracks, with a much more understated, mellow sound. Swathes of strings are at the track’s heart, while the rest of M.F.S.B. play subtly, as if within themselves. Gradually, their playing becomes more powerful. They never quite kick loose, but bursts of rasping horns, keyboards, rocky guitars and the rhythm section combine perfectly. Quivering, shimmering strings and the gentle, tender vocals from the Sweethearts of Sigma are the finishing touch to the track’s laid-back, mellow sound.
Summertime And I’m Feelin’ Mellow has one of the most recognizable sounds. From the opening bars, it’s familiar strains is akin to meeting a long lost friend. Swathes of strings sweep and swirl, before blazing horns enter. Along with the rhythm section, they add bursts of drama. Backing vocalists, drift in and out of the track, their subtle, soulful strains then replaced by percussion, shivering strings and growling horns. When the backing vocalists reenter, the drama and power is gone. It’s like the calm after the storm, but unlike a storm, M.F.S.B. in full flow is a thing of beauty, where grace and elegance, plus drama and power unite majestically, like they do here.
I’m On Your Side sees Gamble and Huff launch a curveball that would deceive even the smartest batsman. When the track opens, it’s like a calm sea, with the Sweethearts of Sigma’s tender harmonies floating along the calm sea. They’re accompanied by keyboards, guitar and rhythm section that create a flowing backdrop. Then suddenly, M.F.S.B. decide to unleash their funky side. Punchy blazing horns, wah-wah guitars, hissing hi-hats and the rhythm section add power and drama. However, then calm is resumed. This doesn’t last, with M.F.S.B. deciding to unleash their funky side again. From there, they tease and tantalize the listener, with the listener anticipating the arrival of fabulously, funky side of M.F.S.B. When it arrives, the anticipation and expectation are matched by the delivery, then some.
Earl Young’s drums open Hot Summer Nights as he makes his way round his kit. This signals the arrival of keyboards, rhythm section, gentle rasping horns and the lushest of strings. The arrival of the lush strings signal the arrival of the Sweethearts of Sigma’s beautiful, seductive sounding vocals. From there, M.F.S.B. decided to tease and tantalize the listener again. You never quite can guess the direction of the track. Will it head in the direction of funk or jazz? It gives indications of doing both, but makes brief, welcome excursions into jazz and funk, accompanied by the lushest of strings and the Sweethearts of Sigma. Key to the track’s success is arranger Bobby Martin, who in helping M.F.S.B. tease and tantalize, serves up a veritable feast, where jazz, funk and soul are fused brilliantly.
Closing Summertime, and the original M.F.S.B’s time on Philadelphia International Records is We Got The Time written and produced by Gene McFadden, John Whitehead and Victor Castarphen. The track almost bounces, joyously into being, with keyboards, the rhythm section, wah-wah guitars and percussion combining. It’s like each member of M.F.S.B. are saying this is what we can do, we’re the best. Don Renaldo’s strings sweep and swirl while his horns rasp, as the Sweethearts of Sigma deliver punchy backing vocals. Again, M.F.S.B. fuse soul, funk and jazz seamlessly, as they bid their farewell to Philadelphia International Records. Their next stop was one hundred miles away, in New York where they become the Salsoul Orchestra. This joyful, uplifting track is a fitting farewell to Philadelphia International Records, from M.F.S.B. who played such an important part in the making of the Philly Sound.
Looking back at M.F.S.B’s departure from Philadelphia International Records, it seems quite incredible that musicians of that calibre were allowed to leave the label, given the important part they’d played in the label’s sound and success. Of course, I’m not privy to what exactly the financial dispute was about, but nowadays, companies would fight tooth and nail to keep key employees like M.F.S.B. They were vital to the company’s future success. However, maybe the fact that there were so many talented musicians who were part of the pool of musicians that made up M.F.S.B. was why they were allowed to leave. However, there was only one Baker, Harris, Young rhythm section. They were irreplaceable. There was also guitarist Bobby Eli, percussionist Larry Washington. Similarly, vibes player Vincent Montana and Don Renaldo’s strings and horns were almost irreplaceable. M.F.S.B. continued their successful musical journey, flourishing after leaving Philadelphia International Records. Baker, Harris, Young became a successful songwriting and production team, so did Bobby Eli and Vince Montana. Don Renaldo’s strings and horns were just as in demand in New York at Salsoul Records. Together, M.F.S.B. settled into life at Salsoul seamlessly, flourishing and becoming even more successful. While Summertime wasn’t the same commercial success as their four previous albums, the music was just as good. Summertime is the hidden gem in the M.F.S.B. back-catalogue. Thankfully, it’s available as part of a double-album released by Edsel Records in 2010, which contains both Philadelphia Freedom and Summertime. This gives you the perfect soundtrack for Summertime as M.F.S.B. having found Philadelphia Freedom, head to New York and Salsoul Records, to start the next chapter in their career. Standout Tracks: Picnic In the Park, Summertime, Summertime And I’m Feelin’ Mellow and Hot Summer Nights.
M.F.S.B.-SUMMERTIME.
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.
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