THE JACKSONS-THE JACKSONS.
THE JACKSONS-THE JACKSONS.
After the release if their 1975 album Moving Violation, it was all change for The Jacksons. They’d left Motown, the record company they’d called home for seven years, since the release of their first album Diana Ross Presents the Jackson 5 in 1969. That was the first of ten studio albums for Motown. Now they were signed to CBS Records, having broken their Motown contract. Jemaine however, decided to stay at Motown, but was replaced by Randy, the youngest Jackson brother. Their first album for CBS would be a joint venture, between Epic and Philadelphia International Records. The joint venture meant that The Jacksons would be produced by Gamble and Huff, who were the most successful production team of the seventies. With Gamble and Huff producing The Jacksons’ first album for CBS, this was the dream team. Add to the equation, being able to draw upon the combined talents of Philadelphia International’s songwriters, arrangers, producers and musicians, this would prove to be the most successful album of The Jackson’s career. Once I’ve told you about the background to the album, I’ll tell you about the music on The Jacksons.
Ten songs were chosen for The Jacksons, with Gamble and Huff co-writing five of the tracks. The prolific and successful songwriting team of Gene McFadden, John Whitehead and Victor Carstarphen wrote Strength of One Man. Dexter Wansel wrote two tracks, Keep On Dancing and Living Together. On The Jacksons, Michael Jackson would make his songwriting debut, writing Blues Away and co-writing Style of Life with brother Tito. With the ten tracks written, recording would take place at Philadelphia’s legendary Sigma Sound Studios.
Recording of The Jacksons took place between June and October 1976, apart from the vocals for Style of Life and Blues Away. They were recorded at Chicago’s Paragon Studios. Accompanying The Jacksons, would be Philadelphia International Record’s legendary house band M.F.S.B. Arranging the tracks were some of Philadelphia International’s top arrangers. Bobby Martin arranged three tracks, Jack Faith two tracks and Dexter Wansel four tracks. Gamble and Huff produced five tracks, while Dexter Wansel produced two tracks and Gene McFadden, John Whitehead and Victor Carstarphen one track. The Jacksons were involved in producing two tracks, Blues Away and Style of Life. Recording of the album was completed by October 1976. All that was left was for The Jacksons to be released in November 1976.
Before the release of The Jacksons, Enjoy Yourself was the first single released from the album at the end of October 1976. It reached number six in the US Billboard 100, number two in the US R&B Charts and number forty-two in the UK. This was just the start of the success, with The Jacksons released in November 1976. The Jacksons reached number thirty-six in the US Billboard 200 and number six in the US R&B Charts, resulting in the first gold disc of The Jacksons’ career, despite having previously sold over ten-million albums whilst signed to Motown. Over in the UK, The Jacksons, reached just number fifty-four. Show You the Way To Go was released as a single in January 1977, reaching number twenty-eight in the US Billboard 100 and number six in the US R&B Charts, but reaching number one in the UK. Dreamer, penned by Gamble and Huff, was the third and final single released from The Jacksons. While it failed to chart in the US, it reached number twenty-two in the UK. Overall, The Jacksons’ career had been rejuvenated, with their first post-Motown album giving the group their first gold disc in the US, plus a number one in the UK. It seems that The Jacksons and Gamble and Huff were the dream team, as you’ll realize when I tell you about the music on The Jacksons.
Opening The Jacksons first album for CBS is Enjoy Yourself, written and produced by Gamble and Huff, with Bobby Martin arranging the track. The rhythm section, percussion and bursts of punchy, rasping horns give way to Jackie and Michael’s vocal. This is one of three tracks they share lead vocal duties. Behind them, the rest of The Jacksons, add sweet, soaring harmonies. Meanwhile, the arrangement is uplifting, with the rhythm section giving the track a hypnotic heartbeat, while horns punctuate the track. Michael’s vocal is key to the track, he’s like cheerleader, encouraging the group, forcing them to greater heights of joyousness. Together The Jacksons succeed in creating in joyous, uplifting track that gets the album of the a storming start.
Think Happy sees a moody bass line and percussion combining, before the rhythm section, complete with rocky guitars change the track totally. Strings cascade, swirling and sweeping Jackie and Michael share the vocal. The interplay between the lead vocals is seamless and peerless, with layers of backing vocals and swathes of strings combining. Add to this flourishes of piano, bursts of braying horns and a rhythm section that combine with the strings to create occasional bursts of drama. Gamble and Huff, plus arranger Bobby Martin provide a backdrop that’s like musical sunshine, perfect for The Jackson’s seamless fusion of soul and pop.
On Good Times, the tempo drops way down, allowing Michael and Jackie to deliver a beautiful ballad. This Gamble and Huff penned and produced track, with a classic Jack Faith arrangement. It has a subtle, understated sound, allowing one of The Jackson’s best vocals to take centre-stage. Both Michael and Jackie deliver the lyrics with a tenderness, while the harmonies soar elegantly and gracefully. The arrangement sees the rhythm section and percussion play with care and subtlety, with layers of the lushest strings and with gentle horns accompanying the vocal. This results in one of the most beautiful, and best songs on the album, where The Jacksons come of age as a group.
Dexter Wansel wrote, arranged and produced Keep On Dancing, a track that points to the Jacksons’ more grownup sound. There’s a tougher, funkier edge to a dance-floor friendly track. To me, Michael’s vocal style it points towards the future direction his career would take. It’s a song of two parts almost, with the first two minutes slower, with the rhythm section and keyboards accompanying Michael’s vocal, which is powerful and dramatic. The with horns serenading them, The Jacksons combine delivering punchy vocals, while Michael drives the track along. Quite simply, he’s full of energy and enthusiasm, while a funky rhythm section, wah-wah guitars, keyboards and blazing horns accompany him. Although a song of two parts, it’s a song with surprises and subtleties that will charm and enthrall you, while pointing towards the future direction of Michael’s career.
Blues Away saw Michael Jackson make his songwriting debut, on one of the slower songs on The Jacksons. He sings the lead vocal, with swathes of lush strings, enveloping his vocals, before rasping horns provide a constant companion to his vocal. Meanwhile, the other Jackson brothers sing gentle soaring harmonies and add handclaps, while M.F.S.B. add to the track’s drama and beauty. While this was Michael’s songwriting debut, it points towards a talented songwriter, who, a few years later, would become a solo artist.
I’ve always been amazed why Show You The Way To Go wasn’t a much bigger hit in the US. It only reached number twenty-eight in the US Billboard 100 and number six in the US R&B Charts, but reaching number one in the UK. To me, this is a classic Jacksons track, hugely catchy, laden with hooks and featuring an outstanding performance from The Jacksons. Penned and produced by Gamble and Huff and produced by Bobby Martin, the track glides into being. Swathes of strings, crystalline guitars, percussion and the rhythm section combining before Michael gives one of the most memorable vocals on the album. Harmonies sweep in, while strings cascade and bursts of horns punctuate the arrangement. Truly, it’s a glorious track, one of the finest tracks by The Jacksons ever.
Living Together has an arrangement that has made in Philadelphia written all over it. Dexter Wansel is the man responsible for writing, arranging and producing the track. Pounding drums and hissing hi-hats, give way to a storming arrangement. Key to this is the rhythm section, swirling strings and guitars while Michael and Jackie share the lead vocal. Tight, beautiful harmonies, percussion and bursts of horns all play their part in a peerless performance from M.F.S.B. Together with the guiding hand of Dexter Wansel, The Jackson’s produce another peerless slice of soulful perfection.
The songwriting team of Gene McFadden, John Whitehead and Victor Carstarphen cowrote so many great songs during their time at Philadelphia International Records. Not only is Strength Of One Man an example of their talents as songwriters, but as producers. They co-produced this track with Gamble and Huff, which features a heartfelt vocal from each of The Jacksons except Tito.. Their vocals are enveloped in swathes of lush strings, while flourishes of piano, rasping horns and the rhythm section accompany them. What this track proves is just how talented each of The Jacksons were as vocalists. It wasn’t just when singing harmonies they shine, but delivering a heartfelt lead vocal like they do hear.
Dreamer is the first of two tracks where Michael delivers the vocal alone, with the rest of The Jackson’s adding soft, gentle harmonies. A piano is key to the arrangement, with percussion layers of strings and subtle rasping horns adding to the effectiveness of the arrangement. Not only does Michael’s tender thoughtful vocal makes this such a beautiful, but I find quite poignant given the lyrics.
Closing The Jacksons is Style Of Life, a track that Michael and Tito cowrote. It’s an uptempo track, bookending the album nicely. Again, Michael sings the lead, adding emotion and passion to his vocal, while M.F.S.B. somehow, raise their game. They produce a classy sounding arrangement, with the rhythm section, percussion, swathes of strings and punchy horns accompanying Michael. The rest of The Jackson add harmonies, which to me, are just the finishing touch to this uplifting and joyful track.
Truly, the combination of The Jacksons and the multitalented, creative minds of the staff of Philadelphia International Records was the ultimate musical dream team. With the help of Gamble and Huff, plus the various songwriters, arrangers, producers and M.F.S.B., this lead to The Jacksons first gold album of their career. Despite having previously sold ten-million albums during their time at Motown, they’d never, before, had an album certified gold. On The Jacksons, Michael flourishes, really coming of age as a singer and making his songwriting debut. Listening to The Jacksons, you can hear the Michael Jackson that three years later, would release Off the Wall in 1979. However, having said all that, The Jacksons is far from a Michael Jackson solo album. Quite the opposite, Jackie shares the lead with Michael on four tracks, while each of The Jacksons share vocal duties on Strength of One Man. Not only that, but their harmonies are peerless throughout the album. Throughout the album, M.F.S.B. provided the perfect backdrop for their vocals. Similarly, arrangers Bobby Martin, Jack Faith and Dexter Wansel played a huge part in the album’s success. Two men however, played a vital role in The Jacksons’ success, Gamble and Huff. Together, they cowrote and produced five tracks, giving Jacksons a Philly makeover, and in the process, making them honorary Philadelphians. Along with Dexter Wansel, plus Gene McFadden, John Whitehead and Victor Carstarphen Gamble and Huff helped produce the most successful album of The Jacksons’ career. Thirty-six years later, The Jacksons is a timeless classic, crammed full of some wonderful music, music with a Philly twist, which was the highlight of The Jacksons’ career. Standout Tracks: Enjoy Yourself, Good Times, Keep On Dancing and Show You The Way To Go.
THE JACKSONS-THE JACKSONS.
ISAAC HAYES AND DIONNE WARWICK-A MAN AND A WOMAN.
ISAAC HAYES AND DIONNE WARWICK-A MAN AND A WOMAN.
By 1977, much had changed for Isaac Hayes. Stax where he’d enjoyed the most successful period of his career, had been declared bankrupt. He’d then signed to ABC and while his first two albums 1973s Joy and 1975s Chocolate Chip had sold well, his next three albums hadn’t sold well. His 1975 foray into disco with Disco Connection hadn’t proved popular. Things improved slightly with 1976s Groove-A-Thon. Juicy Fruit, released in 1976, reached just number 124 in the US Billboard 200 and number eighteen in the US R&B Charts. This would be his last album for ABC. Salvation however, came in the shape of another music legend, Dionne Warwick. She too, was at a crossroads in her career, suing Bacharach and David, who’d been key to making her a star back in her Scepter Records days. They were no longer active as songwriters or producers, so the hits had dried up for Dionne. Neither was Dionne happy with the terms of her recording contract with Warner Bros, which she’d signed back in 1970. It had been six long years since she’d had a hit. So when Isaac and Dionne’s managers first kicked around the idea of the pair embarking on a concert tour both singers welcomed the idea. The tour kicked off in spring 1976, with both singers anxious, wondering whether they were still box office draws. They shouldn’t have worried, the tour was a huge success. A recording of a show in The Fabulous Fox Theatre, Atlanta was recorded and released as A Man and A Woman in 1977. It will be rereleased on SoulMusic Records on 21st May 2012 and before I tell you about the music on A Man and A Woman, I’ll tell you some of the background to the album.
Having agreed to embark upon a tour together, Isaac and Dionne had to work out how the show would work. Neither singer had previously worked with the other, so although they knew each other, weren’t up to speed with how the other worked. They had to decide on what songs to sing and what musicians to use on the tour. Eventually, they decided to take two rhythm sections and two sets of backing vocalists. They’d join a full string section and would all be onstage at the one time. Now all that was left was to choose the songs for the tour.
Twelve songs were chosen, including a cover of The O’Jays’ Unity penned by Gamble and Huff. My Love a hit for Paul McCartney was another choice, plus a medley of Bacharach and David’s I Just Don’t Know What To Do With Myself and Walk On Bye. Save A Little Prayer was another track made famous by Dionne. Among the Isaac Hayes tracks were Come Live With Me, Body Language and Chocolate Chip. A fourteen minute medley included I Love Music and Love Will Keep Us Together. While much of A Man and A Woman is made up of duets, both Isaac and Dionne step into the spotlight and shine. This they did, and then some. After the recording of A Man and A Woman at The Fabulous Fox Theatre, Atlanta the album was set for release in 1977.
On the release of A Man and A Woman in 1977 by ABC Records, it reignited interest in both Isaac and Dionne’s career. The album reached number forty-nine in the US R&B Charts and number twenty in the US R&B Charts. After this, Dionne would embark on another successful part of career. This started with 1979s platinum certified Dionne, taking in 1983s Heartbreaker and 1985s Friends. Isaac’s career didn’t become as successful as Dionne’s after the release of A Man and A Woman, but For the Sake Of Love proved more successful than previous albums. Some of Dionne and Isaac’s future success could be credited to A Man and A Woman, which reinvigorated their careers. I’ll now tell you about some of the highlights of A Man and A Woman.
The track that opens A Man and A Woman is the anthemic track Unity, originally a track on The O’Jays 1975 album Family Reunion, penned by Gamble and Huff. It’s an explosive, uplifting opening track. Swathes of lush strings cascade combining with a funky, driving rhythm section while bursts of horns signal the arrival of Dionne and Isaac’s vocal. Together, their vocals are joyous and uplifting. Then Isaac takes over the lead vocal, before Dionne’s soaring, powerful vocal replaces his. Behind them, the strings sweep and swirl, while the rhythm section produce an arrangement that’s dramatic, soulful and funky. Later, when Dionne and Isaac improvise, scatting their way through the track, they put their combined talents and experience to good use, delivering a joyous, uplifting version of a Gamble and Huff classic.
I Just Don’t Know What To Do With Myself and Walk On By sees Dionne and Isaac combine to sing a duet on two songs they’ve both previously recorded. Isaac sings the lead, while the rhythm section and horns punctuate the arrangement softly and subtly. Backing vocalists sweep in, as Isaac tenderly and emotively delivers the lyrics. Later, when Dionne sings Walk On By, it’s with a sadness, full of regret and heartache. Backing vocalists, wah-wah guitars, lush strings and dramatic bursts of horns accompany her. Then when Isaac’s vocal enters, his voice is has a similar emotion, full of heartache and hurt. Together, they produce a really moving, medley of two Bacharach and David songs, breathing new life and meaning into them both.
My Love was previously a hit for Paul McCartney and Wings, and was a track from his Red Rose Speedway album in 1973. With the lushest of sweeping strings Isaac’s slow, thoughtful vocal enters. He delivers the lyrics softly and beautifully, with subtle backing vocalists accompanying him. As the song progresses, his voice soars, full of emotion, bringing a new meaning to the song. Later, as the band almost stop playing, Isaac takes centre-stage, as he teases the audience with his vocal. Eventually, the band and backing vocalists return, joining Isaac in taking the track to an emotive, dramatic and beautiful crescendo.
By the Time I Get To Phoenix written by Jimmy Webb and Bacharach and David’s I Say A Little Prayer are third medley on A Man and A Woman. Slow swathes of lush strings, flourishes of piano and guitars give way to Dionne’s vocal, as she sings parts of Say A Little Prayer, while Isaac sings parts of By the Time I Get To Phoenix. From there, the interplay between them is stunning. They sing parts of each song, both songs fusing them seamlessly. Although they take turns of singing lead vocal, mostly it’s Isaac that sings lead, with Dionne feeding off Isaac. Behind them, one of the most subtle and beautiful arrangements unfolds. When all this is combined, the result is one of the best tracks on A Man and A Woman.
Feelings and My Eyes Adored You is the next medley on A Man and A Woman. It features beautiful, thoughtful vocals from both Isaac and Dionne. They’re accompanied by just slow, subtle strings, piano and subtle horns on Feelings. On My Eyes Adored Me, the arrangement is still understated, with Issac and Dionne’s vocals full of adoration and passion. Bursts of punchy, horns, percussion and piano accompany them. Then, when they unite, delivering the vocals together, it’s not only, hugely effective, but very beautiful.
Body Language is the first of the songs on A Man and A Woman that Isaac Hayes wrote. Opening with bursts of Shaft, his band settle into a funk laden groove, while Isaac teases the audience. He’s just jiving, rapping really, before eventually, his vocal enters. Dionne accompanies him, answering his call. Her voice is softer, subtle. Meanwhile, his band hit their stride, providing an arrangement that’s funky but soulful, while strings sweep in and horns rasp. This is what Isaac does so well, build a song up, teasing the listener before hitting his stride. For seven minutes, he has the audience, and listener in the palm of his hand. They’re transfixed, enthralled at the man they call Black Moses and Dionne.
My final choice from A Man and A Woman is Chocolate Chip, the track that closes the album. It’s an eight minute Magnus Opus, with Isaac’s band kicking loose, combining to create the funkiest of backdrops. Wah-wah guitars, rhythm section, bursts of horns and soaring backing vocalists accompany Isaac. His vocal is powerful, sassy and full of confidence. You can sense that Isaac and his band are heading for a big finish. The funk increases as the track progresses. Horns blaze, the funky rhythm section and testifying backing vocalists all play their part. Meanwhile, Isaac’s vocal is frenzied, the blazing horns and backing vocalists answering his call. Over eight minutes Isaac and his band work the audience into a frenzy, saving the best until last. What a way to end the concert and A Man and A Woman.
A Man and A Woman could be referred to as Isaac Hayes and Dionne Warwick’s comeback album. Both artists had their problems before their tour and the recording of A Man and A Woman. The tour and the release of 1977s A Man and A Woman which documents this comeback, proving perfectly that both Isaac and Dionne had so much more to offer the music industry. Together, they fed off each other, one driving the other to even greater heights. With a multitalented band, they produce twelve tracks, a number of which are medleys. On the album, the breath new life and energy into these songs, transforming them, and bringing new meaning to them. After this, Dionne Warwick’s career would go from strength to strength, releasing albums like Dionne, Heartbreaker and Friends. While Isaac’s career never got the same boost, his album sales improved. Their tour proved to their doubters in the music industry that they had so much more to offer. Maybe Isaac and Dionne hadn’t found the last years easy given their problems, but class very definitely is permanent. For anyone whose a fan of either Isaac Hayes or Dionne Warwick, then A Man and A Woman is an album that they’ll love. Similarly, anyone whose a fan of soul, funk and R&B will enjoy A Man and A Woman, which will be rereleased on 21st May 2012. Standout Tracks: Unity, I Just Don’t Know What To Do With Myself and Walk On By, My Love and Chocolate Chip.
ISAAC HAYES AND DIONNE WARWICK-A MAN AND A WOMAN.
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SNOWBOY PRESENTS NEW VINTAGE VOLUME 1.
SNOWBOY PRESENTS NEW VINTAGE VOLUME 1.
When those little shiny discs drop through the door, it’s a bit like Forest Gump’s box of chocolates, “you never know what you’re gonna get.” With Snowboy’s new compilation Snowboy Presents New Vintage Volume 1, this is the ultimate box of chocolates, with every one a sumptuous soft center, and not a nougat in the box. After pressing play for the first time, I was transfixed, each track tantalizing me. Before long, I was totally hooked, mesmerised even, by the sheer eclectic nature and quality of music on Snowboy Presents New Vintage Volume 1, which will be released by BBE Music on 3rd July 2012. Of all BBE Music’s compilations released in 2012, this must be the most eclectic selection of music yet. It’s a compilation that will appeal to music lovers of all ages. Snowboy has compiled a collection of music from artists who are influenced by music from the past, music he refers to as vintage. Unlike many compilers, Snowboy eschews the term retro, preferring instead the word vintage. To Snowboy, and I agree with him, retro has negative connotations, believing the word refers to something from “the past.” On Snowboy Presents New Vintage Volume 1, Snowboy has collected twenty-one tracks ranging from swing, R&B, rockabilly, mambo, Northern Soul, rock ‘n’ roll and mod jazz. The artists range from Big Boy Bloater and The Limits, The James Taylor Quartet, Imelda May, Magnus Carlson, Sharon Jones and The Dap Kings and James Hunter. Truly, this is a veritable feast of vintage sounding music, from some of today’s artists. Before I tell you about the music on Snowboy Presents New Vintage Volume 1, I’ll tell you about Snowboy and the background to the compilation.
For anyone not yet familiar with the career of Snowboy, he’s a man with many strings to his bow. Not only is he a highly accomplished Latin percussionist, but a band leader, recording artist and DJ. His DJ career started back in the seventies, at the same time as he started learning percussion. He released his first single Bring On the Beat in 1985 as Snowboy and The G.L. Band. By the late eighties, Snowboy signed to Acid Jazz Records. As Snowboy and The Latin Section, Ritmo Snowbo his debut album was released. Since then, Snowboy has released over a dozen albums, plus compiling numerous compilations. Whilst working as a musician and band leader, Snowboy has maintained another career, that of DJ.
Snowboy has been a DJ for over thirty years, running the Hi-Hat Jazz-Dance Club at London’s Jazz Cafe in Camden Town. This long running and successful night survived and thrived despite the various musical fads and fashion. Since then, Snowboy continues to DJ and is a mainstay of the jazz-dance scene, something he’s also written about.
Back in 2009, Snowboy, using his “real” name Mark Cotgrove, wrote The History of The UK Jazz Dance Scene. This is perceived as the definitive history of the UK jazz dance scene. Snowboy is no stranger to writing about music. Previously, he’s worked as a music journalist and reviewer. In doing so, he’s put his encyclopedic musical knowledge to good use.
It seems that there are no ends to Snowboy’s talents. Indeed, back in 2010 he took on another role, that of curator to the first Vintage Festival at Goodwood, on the Sussex Downs. The invitation came from none other than Wayne Hemingway MBE, fashion designer and cofounder of the fashion chain Red Or Dead. This new role allows Snowboy to put his musical knowledge and thirty-thousand record collection to good use. He’s now curator of 1940s entertainment and music in the Torch Ballroom, and tasked with entertaining the two-thousand dancers who fill the dance-floor. This new role goes hand in hand with his new compilation Snowboy Presents New Vintage Volume 1.
In keeping with his new role, Snowboy has compiled Snowboy Presents New Vintage Volume 1, an album of what he calls “period influenced music.” What this is, is music by modern artists who are influenced by vintage music. The twenty-one artists on the compilation, take their inspiration from the past. The music they love is from the thirties onwards, spanning swing, R&B, rockabilly, mambo, Northern Soul, rock ‘n’ roll and mod jazz. However, this music is lovingly recreated by artists of today, including rockabilly, mambo, Northern Soul, rock ‘n’ roll and mod jazz. The artists range from Big Boy Bloater and The Limits, The James Taylor Quartet, Imelda May, Magnus Carlson, Sharon Jones and The Dap Kings and James Hunter. Having told you about Snowboy’s career and the background to Snowboy Presents New Vintage Volume 1, I’ll tell you about some of the compilations many highlights.
The track that opens Snowboy Presents New Vintage Volume 1 is Darrel Higham and The Enforcers’ Baby, Take Me Back. This is a delicious slice of rockabilly that gets the compilation of to a storming start. Instantly, you’re transported back in time. It’s a track that could just as easily have been recorded sixty years ago in the US, rather then in the last ten years. Everything about this vintage sounding track is totally authentic. Darrel’s vocal, sounds not unlike early Elvis, while The Enforcers with their standup bass, crystalline guitar and drums combo provide a convincing, authentic and rocking backdrop. Together, they get the compilation of to a storming and irresistible start.
Laura B and The Moonlighters’ That’s A Pretty Good Love sees the compilation head in the direction of R&B. This is a track from Laura B and The Moonlighters 2010 album Jump and Shout. With rasping horns, piano and drums combining, Laura’s powerful, impassioned vocal enters. Her vocal is similar to Big Mama Thornton’s, given her style and delivery. The Moonlighters play with a similar power and passion. Although horns are played powerfully, it’s with passion and precision. Meanwhile, a piano augments the horns, also playing a vital role. Later, the horns takes a diversion into jazz, before Laura’s vocal returns. Still, Laura’s delivery is impassioned and emotive. Together with her hugely talented band The Moonlighters, Laura provides an impassioned and heartfelt slice of vintage-tinged R&B.
Straight away, when I heard the first bars of Eli ‘Paperboy’ Reed & The Trueloves’ The Satisfier I was hooked. It’s a track from Boston-born Eli’s 2010 album Roll With You. He’s a soul singer, who previously, has been compared to some of soul music’s greats. Given this stunning offering, I’m not surprised. Here, Eli fuses soul and funk, backed by his multitalented band The Trueloves. Chiming guitars, bursts of blazing horns, soaring and soulful female backing vocalists combine while a Hammond organ and rhythm section drive the track along. His band sprinkle funk and soul, as Eli’s vocal is delivered with power, passion and emotion, in the style of sixties soul stars like Wilson Pickett and Sam and Dave. With an arrangement that takes its reference points from Stax, Fame and Hi Records, this isn’t just old school soul music for the 21st Century, but one of the highlights of Snowboy Presents New Vintage Volume 1.
James Hunter’s Kick It Around was the title-track from his 1999 album on Ruf Records. Since then, he’s released a number of albums, with his music moving from the bluesy sound of Kick It Around to a more soulful style and sound. When the track opens, James’ voice sounds not unlike James Brown’s on his slower, more soulful tracks. He’s accompanied by punchy, growling horns give the track a blues sound. As usual, James deploys his trademark twangy guitar while the rhythm section that provide an old-style jazzy backdrop that’s spacious. His atmospheric, soulful vocal fills these spaces. Together with his band, James Hunter makes music from another era, music that will appeal to lovers of jazz, soul and blues.
Of all the tracks on Snowboy Presents New Vintage Volume 1, Ondrej Havelka and His Melody Makers provide a track that quite simply, sounds like it’s from another era. Sing, Sing, Sing quite simply takes you back to the thirties and the birth of swing. You’re transported back to the jazz age, the time of Art Deco, an age of elegance, big bands and Noel Coward. To take you on this journey, requires a full orchestra, complete with horns, strings and a lead vocalist whose delivery, like that of the orchestra, is convincing and authentic. His call is answered by backing vocalists, who combine and play their part in creating an absolutely joyous and uplifting track.
Probably one of the best known artists on the compilation is Imelda May. Over the last few years, she’s become one of the rising stars of the music scene with albums like Love Tattoo, Mayhem and More Mayhem. For anyone unfamiliar with her music, Stop Whistlin’ Wolf is the perfect introduction. It’s a fusion of jazz and rockabilly, with her vocal sassy, full of character and wolfish charm. Meanwhile bursts of jangly guitars, standup bass and drums accompany her, punctuated by regular wolf-whistles. Not only is it a cheeky track, full of humor, that will put a smile on your face, but one that will make you want to hear much more from Imelda May.
Crazy Cavan and The Rhythm Rockers takes you back to the days of Teddy Boys, quiffs and drainpipe trousers. Teddy Boy Rock And Roll is ninety-seconds of truly authentic slice of rock ‘n’ roll from Crazy Cavan and The Rhythm Rockers’ 1977 album Crazy Rhythm. Snowboy deserves every credit for unearthing this real gem. With jingly, jangling guitars, standup bass and drums accompanying a vocal that takes Eddie Cochran and Gene Vincent as its reference point, the track quickly reveals its hidden secrets and charms. Sadly, all to soon, the track is over, leaving just the lasting memory of this hidden gem.
For anyone who doesn’t spot the wordplay, Rich Clifford and The Saddows is an anagram of Cliff Richard and The Shadows. Together, Rich Clifford and The Saddows create a sound that pays homage to early sixties sound of Cliff and his Shadows. Indeed, the sound is totally accurate. Listening to the guitar playing, you’re almost convinced that you’re listening to guitarist Hank Marvin in his prime. For anyone who grew up in the sixties, this will bring back good memories.
Many years ago, I saw Chaka Khan in Glasgow, and the support act that were The James Taylor Quartet. Truly, they lifted the roof off, with their own unique brand of Acid Jazz. Among the tracks they played that night was Blow Up, a single from 1987. It has the trusty Hammond organ at its heart, driving the track along. With a sound that references Booker T and The MGs, this is all that’s good about Acid Jazz. Think vintage Hammond organ players like Charles Earland, Booker T. Jones, Jimmy McGriff and Jack McDuff and this is what the track sounds like, but speeded up. For four minutes, you’re taken on a journey into Acid Jazz, by one of its most practiced purveyors, the brilliant James Taylor Quartet.
My final choice from Snowboy Presents New Vintage Volume 1 is one of the best tracks on the compilation, Magnus Carlson and The Moon Ray Quintet’s Big Fat Trap. This was a single released in 2011 on the Acid Jazz label. It’s a joyous, uplifting track, where bursts of punchy horns, a myriad of percussion, handclaps and driving rhythm section combine. They bring the track to life, injecting energy and passion. Magnus’ vocal is full of emotion, impassioned and powerful. A Hammond organ drifts in and out of the track, adding an atmospheric and melancholy sound. Meanwhile, horns blaze and frenzied percussion help create four minutes of joyful, infectious and irresistible music.
Since I received Snowboy Presents New Vintage Volume 1 I’ve hardly stopped playing it. Each time I listen to the compilation, I’m enthralled, transfixed from its opening bars to its closing notes. Every one of the twenty-one tracks tantalizes and is a winner. Snowboy unearths more than his fair share of hidden gems. Each of artists on Snowboy Presents New Vintage Volume 1 are ones that Snowboy knows personally. These artists are hugely talented, with their talent deserving a much wider audience. They each have one thing in common, their music influenced from the past. The sound is described by Snowboy as vintage. That’s the perfect description of these tracks. It’s a journey from thirties swing onwards, taking in rock ‘n’ roll, rockabilly, mambo, mod jazz, Northern Soul and Acid Jazz. When you hear each of the tracks, you immediately think of several similar artists from the past. It’s like a trip down memory lane, triggering a multitude of musical memories. For someone like myself who has an eclectic taste in music, then Snowboy Presents New Vintage Volume 1 is the type of compilation I enjoy. Both Snowboy and BBE Music, who will release Snowboy Presents New Vintage Volume 1 on 3rd July 2012 have surpassed themselves. In securing the licenses to each of the tracks on Snowboy Presents New Vintage Volume 1, BBE music will release one of the most eclectic collections of music of 2012. Not only that, but Snowboy Presents New Vintage Volume 1 is full of some amazing music, music that will take you on a journey back in time, through musical genres and memories. Standout Tracks: Darrel Higham and The Enforcers Baby, Take Me Back, Eli ‘Paperboy’ Reed & The Trueloves The Satisfier, James Hunter Kick It Around and Magnus Carlson and The Moon Ray Quintet Big Fat Trap.
SNOWBOY PRESENTS NEW VINTAGE VOLUME 1.
THE DYNAMIC SUPERIORS-GIVE AND TAKE.
THE DYNAMIC SUPERIORS-GIVE AND TAKE.
Much had changed since The Dynamic Superiors had released their debut album Pure Pleasure in 1975. Ashford and Simpson, who’d wrote and produced their first two albums Pleasure and The Dynamic Superiors, had been replaced for their third album You Name It. Replacing them were various songwriters and producers, that included Hal Davis, Michael Sutton and the songwriting and production team of Marilyn McLeod and Paw Sawyer. For The Dynamic Superiors fourth album, You Name It, there would be further changes. To produce Give and Take, The Dynamic Superiors’ fourth album Brian Holland of the legendary Holland-Dozier-Holland songwriting and production team was hired as producer, with Eddie Holland named executive producer. Motown Records hoped that with Brian and Eddie Holland onboard, they could help The Dynamic Superiors build on their previous success. Part of this plan would be marketing Give and Take, which will be rereleased by SoulMusic Records on 14th May 2012 as a disco album. Would this work, and would it see The Dynamic Superiors fourth album Give and Take build on the success of previous singles and albums?
With Brian Holland hired to produce Give and Take, he wouldn’t just produce the album, but would cowrite four tracks on the album with various songwriting partners. These four tracks weren’t the only track Brian cowrote on Give and Take. A nine minute epic version of Nowhere To Run, which Brian cowrote with Lamont Dozier and Eddie Holland was one of the album’s highlights. The old Martha and The Vandellas’ classic was given a makeover, transformed into something very different and very special on Give and Take. Another cover version was All In Love Is Fair, written by Stevie Wonder. Together with two other tracks, these eight tracks would be recorded at three different studios.
Recording of Give and Take took place at Wally Heider Recording Number 3, Whitney Recording Studios and Conway Recorders and Studio Masters. Accompanying The Dynamic Superiors were a band that included guitarist Ray Parker Jr., drummer James Gadson and bassist Henry Davis and Scott Edwards. Sylvester Rivers played keyboards, Bobbye Hall Porter congas and Gary Coleman percussion. Together, they provided a musical backdrop for The Dynamic Superiors. With the eight songs on Give and Take recorded, the album was set for release in 1977. Would it build on the success of previous Dynamic Superiors’ albums?
Sadly, when The Dynamic Superiors’ fourth album Give and Take was released, it was released during a month when David Ruffin, Thelma Houston and Jerry Butler, released albums. With this trio of Motown big-hitters releasing albums, maybe Give and Take was slightly overlooked by the label’s promotion and marketing teams. When Nowhere To Run was released as a single, proving really popular in clubs. So popular was the single, that in the UK, Give and Take was released as Nowhere To Run. Only one other single was released from Give and Take, You’re What I Need. This would prove to be the last single The Dynamic Superiors released for Motown. After this, The Dynamic Superiors left Motown, having released four albums. The last of these was Give and Take, which I’ll now tell you about.
Opening Give and Take is Happy Song, a slow ballad where just percussion and drums combine. Strings shiver as the piano enters and horns rasp. Gradually, the song reveals its beauty and charms. Then, when Tony Washington’s vocal enters, it’s heartfelt and impassioned, with the rest of the group adding emotive, soaring harmonies, while lush strings cascade. Meanwhile, the arrangement grows in drama and beauty, as Tony’s vocal soars powerfully, laying bare his soar on what’s an incredibly beautiful, dramatic ballad.
After the previous slow track, The Dynamic Superiors kick loose, on a faster, uptempo and joyous track. Give It All Up, written by Brian and Edward Holland with Jamie Bradford, is the first of the dance-floor friendly tracks. It bursts into life from the opening bars. A combination of percussion and rhythm section signal the entrance of the vocal. Here, Tony’s and the rest of the group indulge in some clever vocal interplay. They seem to feed off each other, each seemingly encourages the other to greater heights. Meanwhile delicious tight, soaring harmonies augment a lead vocal delivered with power and passion. Behind them, wah-wah guitars, a percussion, swirling strings and the rhythm section combine soul, disco and funk. Together, with The Dynamic Superiors, they create an irresistible sounding track, with some of the most impassioned vocals on Give and Take.
Martha and The Vandellas released the original version of Nowhere To Run, but they never envisaged the track could ever sound like The Dynamic Superiors version. Here, with producer Brian Holland’s help, they create a nine minute Magnus Opus. Pounding drums, congas, percussion precede brief bursts of vocal. Gradually, the rhythm section, piano, blazing horns are all unleashed, with Brian Holland teasing the listener. Eventually, the powerful and impassioned vocal enters. Behind them, the arrangement has more in common with The Temptations and Sly and The Family Stone. The vocal is still soulful, while the arrangement is funk laden. Keyboards, percussion, rasping horns, bursts of backing vocals drift in and out of the arrangement, while the rhythm section drives the track along. For nine minutes, The Dynamic Superiors breath new life and energy into an old song. Their reference points are The Temptations’ psychedelic soul, whilst fusing elements of funk, soul and even disco. Thrown into the musical melting pot, the result is a dance-floor classic.
When You’re What I Need opens, instantly, you realize that this is a very special song. You’re not disappointed. Piano, bursts of braying horns, quivering, shimmering strings and the rhythm section combine, creating one of the best arrangements on Give and Take. Tony Washington’s vocal is just as good. He delivers the lyrics powerfully, combining a heartfelt, passion with a neediness. While the rest of the group add harmonies luscious strings and blazing horns combine. Later, the track changes, with the rhythm section and percussion taking charge and the vocal changing hands. After returning to the previous sound, The Dynamic Superiors continue tease and tantalize for the rest of the track, combining soul and funk, with beauty and passion peerlessly.
All In Love Is Fair was written by Stevie Wonder and covered by Barbara Mason on her 1974 album Lady Love. Here, The Dynamic Superiors deliver the sing beautifully. The arrangement is slow, spacious and full of emotion. Percussion, piano and an understated rhythm section combine with Tony’s emotive, heartfelt vocal. Swathes of lush strings enter, adding to the beauty of the arrangement. Tony meanwhile, delivers a vocal that’s earnest and sincere, and by far, one of his best on Give and Take. The result is one of the most beautiful songs of The Dynamic Superiors Motown career.
Following such a great song as the previous one isn’t easy, but All You Can Do With Love is a very good attempt. It’s an uptempo, uplifting song, which sweeps you along in its wake. Tony’s falsetto vocal is accompanied by piano, cascading strings, bursts of rasping horns and percussion. The rhythm section provide the songs joyous heartbeat, while the rest of the group add punchy, dramatic backing vocals. When all this is combined by producer Brian Holland, the rest is a joyous, hugely catchy slice of good-time soul that’s quite irresistible.
Although The Dynamic Superiors decide to drop the tempo slightly on Here Comes That Feeling Again, there’s no let up in the quality. Swathes of lush strings, rhythm section, bursts of guitars and percussion combine, before Tony’s tender vocal enters. As the arrangement floats along, strings and percussion are key to its sound. Meanwhile, the rest of the group add punchy backing vocals, augmenting Tony’s sincere, heartfelt and joyous vocal. Later, a sultry saxophone floats above, his vocal joining the graceful, floaty strings and adding what’s the finishing touch to this joyful, beautiful love song.
Closing not just Give and Take, but The Dynamic Superiors’ Motown career is Once Is Not Enough, a track that fuses funk and soul seamlessly. When the track opens with the rhythm section, guitars and blazing horns combining with the vocal, the sound is very definitely funky. Then when Tony takes over the vocal, the track becomes more soulful. From there, the song veers between funk and soul, but this works well. It seems The Dynamic Superiors are determined to leave Motown on a high. With strings cascading, while the rhythm section, wah-wah guitars and horns produce a funky backdrop for the impassioned, powerful vocals of The Dynamic Superiors. Too quickly, this sizzling fusion of funk and soul is over, with The Dynamic Superiors four album career at Motown over. At least they signed off their fourth album Give and Take on a high.
After releasing four albums since 1975, The Dynamic Superiors drew time on their career at Motown with Give and Take. For a farewell to Motown, Give and Take was a fitting end to their time at this great label. The album was full of some great music, with Nowhere To Run the best known of the eight tracks. However, there’s much more to Give and Take than just one song. Quite the opposite. Ballads like Happy Song, You’re What I Need, All In Love Is Fair and Here Comes That Feeling Again prove this perfectly. These four songs, plus Give It All Up and All You Can Do With Love which are two of the quicker, dance-floor friendly tracks demonstrate that there’s much more to Give and Take than Nowhere To Run. Truly, Give and Take features some wonderful music, music which is among the best of The Dynamic Superiors’ career. Although they were able to deliver ballads and dance-floor friendly tracks, for me, The Dynamic Superiors are at their best when singing ballads. Tony Washington flourishes on ballads, his falsetto voice full of emotion and passion. On Give and Take, there are both ballads and dance tracks, both with the same quality of vocals and some fantastic arrangements by Brian Holland. He played a big part in making Give and Take the best album of The Dynamic Superiors Motown career. For anyone yet to discover the music of The Dynamic Superiors, then both You Name It their third album and Give and Take will be rereleased by SoulMusic Records on 14th May 2012. These are the perfect introduction to the music of The Dynamic Superiors and some stunningly, soulful music. Standout Tracks: Happy Song, You’re What I Need, All In Love Is Fair and Here Comes That Feeling Again.
THE DYNAMIC SUPERIORS-GIVE AND TAKE.
JAMES BROWN-GRAVITY.
JAMES BROWN-GRAVITY.
When James Brown released the single Living In America in December 1985, it had been nine years since he’d last had a hit single. The last time one of James Brown’s singles charted in the US Billboard 100, was 1976, when Body Heat reached number eighty-eight. Since then, although James Brown was still the hardest working man in show business, this wasn’t translating into record sales. However, he was about to get a break, one that would relaunch his career. Luckily for James, Sylvester Stallone wanted James Brown to perform Living In America for his forthcoming film Rocky IV. On the release of this Dan Hartman and Charlie Midnight penned single, it would reach number four in the US Billboard 100 and number ten in the US R&B Charts. Later, Living In America would win a Grammy Award for the Best Male R&B Vocal Performance. Before this, however, James Brown had a problem. He’d just had his first hit single in nine years, but no new album build on his renewed popularity. This meant heading into the studio to record his first new album since 1983s Bring It On. Producing this new album was Dan Hartman, who’d produced and cowrote Living In America. This new album would be Gravity, which will be rereleased by BBR records on 21st May 2012. Before I tell you about the music on Gravity, I’ll tell you about the background to the album.
Before James Brown released Living In America, he was without a record deal. Then when Johnny Musso, president of Scotti Brothers Records heard Living In America, straight away, he made a decision sign James Brown. Against record companies with deeper pockets, Johnny Musso secured James Brown’s signature. James signed a five-album deal, but with a caveat. The caveat was that Dan Hartman,who cowrote and produced Living In America, produced the first album.
While the pairing of James Brown and Dan Hartman may seem strange bedfellows, this was a clever decision. By 1985, James Brown’s brand of R&B and funk wasn’t as popular. So maybe Dan Hartman was the man to relaunch James Brown’s career. Maybe, Dan could make his music more popular and appealing to a newer, younger audience. Previously, Dan Harman had hits with Instant Replay andRelight My Fire, plus written songs for artists like Loleatta Holloway, Tina Turner and for film soundtracks. Now Dan Harman and songwriting partner Charlie Midnight would write an album’s worth of songs for James Brown.
Together, Dan Hartman and Charlie Midnight cowrote seven further songs for James’ new album Gravity. Alison Moyet cowrote Let’s Get Personal with Dan and Charlie. Recording of Gravity would take place at the Multi-Level studios, plus additional sessions at Greene Street Recording Studio. For the sessions, Dan Harman had Alison Moyet sing backing vocals, while The Uptown Horns, guitarist Stevie Ray Vaughan and Steve Winwood played synths. Maceo Parker plays alto saxophone and Dan Hartman sing backing vocals while playing everything from guitars, bass, keyboards, synths, drums, horns and programs the Fairlight. Soon the seven new songs, were recorded. Gravity would contain the seven new songs plus Living In America. James Brown’s first album for three years would be issued later in 1986. Would Gravity reinvigorate James Brown’s career?
Before the release of Gravity, the title-track Gravity was released as a single in September 1986. It reached number ninety-three in the US Billboard 100, number twenty-six in the US R&B Charts and number thirteen in the US Dance Charts. Then when Gravity was released in October 1986, it reached number 156 in the US Billboard 200 and number thirty-nine in the US R&B Charts, while reaching number eighty-five in the UK. How Do You Stop was the second single released from Gravity, reaching number ninety in the US Billboard 100 and number ten in the US R&B Charts. Although Gravity and its two singles never matched the success of Living In America, the album had the desired effect, reinvigorating James Brown’s career. With Dan Hartman’s production and musical skills, Gravity sees James Brown’s music given an eighties makeover, as you’ll see when I tell you about Gravity.
Opening Gravity is the title-track Gravity, which was the second single released from the album. Straight away, James vamps his way through the introduction. There’s a different and similarities with the arrangement. Washes of synths are new, augmenting a still fabulously, funky arrangement. Blazing horns, the funkiest of rhythm sections and backing vocalists accompany a vocal that’s unmistakably James Brown. He does what he’s been doing for over twenty years, deliver a powerful, emotive vocal, full of whoops and hollers. Behind him, the rhythm section and guitars produce a funk masterclass, while angry, rasping horns punctate the arrangement. Meanwhile, backing vocalists answer James’s call, as Gravity gets off to an explosive and funk drenched start.
Alison Moyet cowrote Let’s Get Personal with Dan Hartman and Charlie Midnight. Not only that, but Alison adds backing vocals during the track, answering James’ call. Crisp drums and synths demonstrate the new James Brown sound. As his vocal enters, it’s laden with echo. Quickly, James gets funky, his backing vocalists helping get the party started. Along with chiming guitars, stabs of braying horns and the rhythm section, James vamps his way through the track. The arrangement sees funk meet eighties technology. Synths, drums and Fairlight all play their part. However, it’s the blazing horns and backing vocalists that are key to the track’s success. Together with James Brown, they add energy, enthusiasm and of course one other vital ingredient, funk, and plenty of it.
How Do You Stop shows a quite different side to James Brown, one many people might not have heard before. There’s a tenderness in his heartfelt vocal, while the arrangement is much more soulful, rather than funk. The horns and backing vocalists combine with the rhythm section, playing with an understated, thoughtful style that suits the lyrics. Later, a synth solo played by Steve Winwood adds to the tenderness, before James gives an impassioned, heartfelt and quite beautiful vocal. This shows a very different, but very welcome side to his music, and is one of the highlights of Gravity.
After the understated sound of the previous track, James is back with fast and furiously funky track, Turn Me Loose, I’m Dr. Feelgood. At breakneck speed, the track gets underway, with the rhythm section, guitars and blazing horns accompanying James’ impassioned, frantic vocal. Stabs of howling, wailing horns, bursts of backing vocalists, frenzied, funky guitars and rhythm section take you on this high-speed journey into funk, with James Brown as your driver and tour-guide.
Living In America was originally, on the soundtrack to Rocky IV, and was the track that reignited James Brown’s career. It’s six minutes of what James Brown does so well, and by 1985, had been doing for three decades. It’s an uptempo, uplifting and joyous celebration of the American dream. Washes of synths, the rhythm section, bursts of rasping horns combine, before James’ vocal enters. He’s accompanied by backing vocalists, whose contribution, throughout the track is vital. So too, are the driving, funk laden rhythm section who create the track’s heartbeat. Rocky guitars sizzle along the arrangement, as James powerful, passionate vocal roars its way through the track. Horns add to the energy and vitality of James Brown, on this hook-laden comeback track from the hardest working man in show-business.
Goliath sees a slight change in sound and style. Although the music is still as funky, the arrangement isn’t as fast, and more spacious. Not only that, but the band seem to play within themselves. All the usual ingredients are still there. Yes, there’s still a horn and rhythm section, with guitars and keyboards augmenting their sound. However, they produce a more considered but just as funky sound. James meanwhile gives one of his best vocals on Gravity, while backing vocalists and stabs of horns accompany him. Later, Maceo Parker lays down a truly, stunning saxophone solo, as James can’t resist the opportunity to kick loose. Together with his band, this different approach results perfectly, resulting in an outstanding slice of funk from James and his band.
Repeat the Beat (Faith) sees a guitars and percussion combine, before the entrance of James sees the track almost explode. The track heads to 141 beats per minute, with the rhythm section, blazing horns and percussion combining. Backing vocalists sweep in, while horns growl, as James’ vocal drifts emotively in and out of the track. By now, you’ve realised that this is a hugely compelling and totally irresistible track. Horns rasp and howl, while backing vocalists again, play an important part in the track. Meanwhile, the rhythm section provide the engine-room, driving this hugely catchy, irresistible hidden gem along. So good is the track, that once it ends, you end up pressing repeat and reveling in fantastically, funky track.
Closing Gravity is the second slower track on the album, Return To Me. Again, we get another chance to hear another side of James Brown, which like How Do You Stop, is very welcome. His vocal is impassioned, full of emotion and tinged with sadness. Horns punctuate the track, while the keyboards and rhythm section provide a suitably emotional and dramatic backdrop for James’ vocal. Soulful backing vocalists sweep in and out of the track, while horns sprinkle drama above them. Of all the tracks on Gravity, James seems to have reserved one of his best vocals for this track, while his band provide the perfect accompaniment to James Brown’s comeback album. What a stunning way to end any album, never mind a comeback album.
Having neither released an album for three years, nor had a hit single for nine years, James Brown made a successful comeback firstly with Living In America, then Gravity. The release of Gravity brought his music up-to-date, introducing him to a newer, younger audience. Before this, many of this younger audience were only aware of James Brown’s music indirectly, when hip-hop artists had sampled his music. Pairing him with producer Dan Hartman was part of this master-plan, due to his previous track record. Dan gave his music an eighties makeover, but crucially, didn’t throw out the funk with the bathwater. Still, five of the seven new tracks from the pen of Dan Hartman and Charlie Midnight were funk personified. The other two tracks, How Do You Stop and Return To Me introduced listeners to a much more soulful side of James Brown’s music. While Living In America is the best known track on Gravity, there’s much more to Gravity than one track. Truly, Gravity sees James Brown and his band, with Dan Hartman playing one of the most important roles. Not only did Dan cowrite and produce Gravity, but he adds backing vocals and plays a myriad of instruments. Together, with Stevie Ray Vaughan, Steve Winwood and Maceo Parker, Dan Hartman played a huge part in James Brown’s comeback. The result of this collaboration, are the eight funky and soulful tracks, plus seven bonus track that make up Gravity, which will be rereleased by BBR Records on 21st May 2012. Standout Tracks: How Do You Stop, Living In America, Goliath and Return To Me.
JAMES BROWN-GRAVITY.
DISCO DISCHARGE-MIDNIGHT SHIFT.
DISCO DISCHARGE-MIDNIGHT SHIFT.
Harmless Records say farewell to their Disco Discharge series with Disco Discharge-Midnight Shift, their fourth and final compilation of 2012. It’ll be 2013 before compiler Mr. Pinks makes his next appearance. This is the sixteenth compilation since the series started back in 2009. Since then, Mr. Pinks has treated us to everything from delicious disco delights that take in everything from Salsoul, classic seventies disco, Hi-NRG, Italo Disco and Euro Disco. It seems that regardless of the sub-genre of disco, Mr. Pinks has an encyclopedic knowledge of its hidden gems. Whereas the previous volume Disco Discharge-Europa saw Mr. Pinks dust of his passport and head to the continent of Europe, Disco Discharge-Midnight Shift sees him travel further afield in his pursuit of late-night, midnight sounds and peak-time sounds. In total, there are twenty tracks, with familiar Disco Discharge friends like Bette Midler, Suzy Q, Boystown Gang, Patrick Juvet, Lian Ross, Astaire and Tapps. Newcomers to Disco Discharge-Midnight Shift include Love Twins, The Flirtations, Kim Carnes, Lisa Lougheed and Quartslock. Of the twenty tracks on Disco Discharge-Midnight Shift, will they match the quality of the three previous volumes of the Disco Discharge series of 2012?
DISC ONE.
Disc One of Disco Discharge-Midnight Shift sees Mr. Pinks take the listener on a journey from America over to Europe and visit Sweden, Germany and the UK. From there, he heads over to Australia and finally back to North America and specifically, Canada. This journey sees Mr. Pinks discover discover disco delights from potential disco divas including The Divine Miss M, Bette Midler, Suzy Q, Kim Carnes and Lisa Lougheed. Apart from disco divas, artists like Patrick Juvet, Love Twins and The Flirtations are among the other artists helping Mr. Pinks say farewell to 2012. However, of the ten tracks on Disc One of Disco Discharge-Midnight Shift, what are the highlights?
Bette Midler, The Divine Miss M opens Disc One of Disco Discharge-Midnight Shift with the Original 12″ Mix of My Knight In Black. Taken from Bette’s 1979 album Thighs and Whispers it’s both six minutes of sultry and sleazy music. Accompanied by dramatic piano, pounding drums and stabs of synths, Bette’s sultry vocal grows in power and passion. Punchy backing vocalists, dark synths and piano all play their part in the track, as Bette’s divine vocal soars above the arrangement. They’re key to its success and sound. By now Bette’s vocal is seductive, soaring powerfully as the arrangement grows in drama. Then after seven minutes, the track reaches its dramatic, powerful and sultry crescendo.
Patrick Juvet may be best known for I Love America, but there’s much more to his music than one track. Lady Night, the title-track to his 1979 album on Casablanca proves my point perfectly. This track has one of the best and most polished productions on the compilation. Lush strings cascade, while blazing horns punctuate the arrangement and the rhythm section and handclaps provide the track’s heartbeat. Meanwhile, patrick’s vocal soars soulfully, before being replaced by swathes of luscious strings and percussion. Truly, all this is just disco heaven courtesy of Patrick Juvet, on a track that shows just how talented an artist and producer Patrick Juvet is.
During The Flirtations long career, they’ve donned a few disguises. Originally from Australia, they were Cliff Richard’s backing singers on his TV series, before recording a Northern Soul classic Nothing But A Heartache. They recorded three albums, but Earthquake was released in 1985, two years after their third album. When the track begins, The Flirtations through a real curve-ball, that has you confused. The track starts of slow and thoughtful, before exploding into life. From there, it’s Hi-NRG all the way. Booming drums, backing vocals, flourishes of piano and washes of synths combine. They’re accompanying a vocal that’s powerful and passionate. Strings, cymbals and kettle drums all play their part, before a prolonged breakdown when sweeping synths and percussion aplenty dominate. After that, things get even better, the track driving, dramatically along. Although both the arrangement and vocal are uplifting and joyous, I just wonder what Cliff would think of his old backing singers?
Suzy Q’s Can’t Live Without Your Love (Airwave Mix) is the title-track from a 1994 compilation on the Canadian Unidisc label. Previously, Suzy Q had released two albums, 1981s Get Up and Do It Again and 1982s Don’t You Stop the Feeling. Can’t Live Without Your Love had originally been released on J.C. Records. Straight away, the track is heading in the direction of Hi-NRG. The faster tempo and proliferation of synths and drum machines demonstrate this perfectly. Crispy drums, percussion and synths combine, before rocky guitars join. Then when Suzy’s vocal enters, it’s emotive and dramatic, with backing vocalists augmenting her vocal. Meanwhile, the arrangement reaches 128 beats per minute, with rocky guitars, percussion and pounding drums combining with stabs of synths. Together, with Suzy Q’s vocal they create a track that’s full of emotion and drama, demonstrating just how much dance music had changed since the heady days of disco’s heyday.
For anyone who only knows Kim Carnes for Bettye Davis Eyes, then they’re in for both a surprise and treat on Voyeur, the title-track of her 1982 album. Voyeur was Kim’s seventh album since 1971s Rest On Me. While the style of music was very different to her early music, one thing was unmistakable, Kim’s voice. Buzzing synths, crispy drums and keyboards combine driving the track along at breakneck speed. Then when that husky, throaty voice enters the track comes alive. Quickly, Kim’s voice grows in power, delivering the lyrics with an impassioned style, while the arrangement mixes Euro and synth pop, with even rocky guitars thrown in for good measure. However, what makes this such a great track is Kim Carnes vocal, which is instantly recognizable and full of power and passion. Truly, she brings the track to life seamlessly.
On Disc One of Disco Discharge-Midnight Shift Mr. Pinks unearths a mixture of tracks from old friends from the Disco Discharge series and a few newcomers too. Of the ten tracks, the standout tracks are quite simply Bette Midler’s My Knight In Black and Patrick Juvet’s Lady Knight. The Flirtations’ Earthquake, complete with kettle drum quakes is another track that stands out from the crowd. Apart from these three tracks, Kim Carnes delivers one of the best vocals on the compilation, while Suzy Q demonstrates just how a Hi-NRG track should sound. Of the other five tracks there’s nothing whatsoever wrong with then. I could just as easily have mentioned either Love Twins, Astaire or Lisa Lougheed. Will the quality be as good on Disc Two of Disco Discharge-Midnight Shift?
DISC TWO.
On Disc Two of Disco Discharge-Midnight Shift veterans of the previous fifteen volumes of the Disco Discharge series are reintroduced to a few old friends. Among them are Lian Ross, Tapps and Boystown Gang. Meanwhile, Ronni Griffith, Diva and Quartzlock are among the Disco Discharge newcomers, given the responsibility of bidding farewell to the good ship Disco Discharge, as it sails into the sunset, until its return in 2013. This sees Mr. Pinks continue his worldwide tour, making stops in Europe in Germany, Sweden, via South Africa then Canda and America on Disc Two of Disco Discharge-Midnight Shift. Will this see Mr. Pinks bidding his adoring disco dilettantes in style?
Lili and Sussie’s pounding Candy Love opens Disc Two of Disco Discharge-Midnight Shift. This is a track from Swedish sisters Lili and Sussie’s 1986 album Dance Romance. It’s a track where synth pop and disco unite, with pounding, drums and percussion combining with the sweet, almost ethereal vocals of Lili and Sussie. Flourishes of piano, washes of synths and cruchy drums replace the vocal, creating drama and sometimes, darkness, a contrast to the beauty of the vocals. Together, they unite, resulting in a satisfactory combination of synth pop and disco.
Roni Griffith released Love Is the Drug in 1982, on Vanguard Records. Here, Roni combines elements of electronic music with shades of funk and soaring gospel backing vocalists. Washes of synths, drum machines and a rhythm section that sprinkle a touch of funk accompany Roni’s vocal. They borrow heavily from Lipps Inc. Funkytown. Later, a piano signals the entrance of soaring gospel vocalists, before pounding drums drive the track to its ending. Sadly, this irresistible track only lasts five minutes. It’s compelling and intriguing, combining elements of songs and styles throughout these five minutes.
One thing any great disco compilation needs is a diva. Here, Diva delivers Double Trouble released in 1981 on Matra Records. This is by far, one of the highlights of Disc Two. From the get-go and the crispy drums, hi-hats and handclaps everything is in place for a great track. Thankfully, it gets even betters. Bursts of synths precede the sweet, soaring vocal, before blazing horns and cascading strings combine. Swathes of drama caused by washes of synths, crispy drums and percussion take the track more in the direction of Euro Disco, whereas earlier the infuence and sound of strings and horns was more a traditional American sound. However, taking the best of European and American disco works well for Diva, who lives up to her name. She delivers a vocal worthy of the description diva-esque on one of the highlights of Disco Discharge-Midnight Shift.
People Like Us’ Deliverance has no dueling banjoes, just plenty of synths and drum machines, not forgetting an emotive, impassioned vocal. It’s delivered against a dramatic, powerful driving arrangement. Candy Dickinson is the vocalist, her voice perfect for the track, powerful and soaring, accompanied by backing vocalists. Meanwhile, the arrangement sees synth pop and Hi-NRG combine. Although sometimes, dramatic and powerful, this track is hugely catchy, with Candy Dickinson’s vocal key to the track’s success.
My final choice from Disc Two of Disco Discharge-Midnight Shift is Boystown Gang’s Dance Trance Melody. The original track can be found on their 1984 album A Cast of Thousands on the Fantasy label. This is a fourteen minute epic, from one of the finest exponents of Hi-NRG. Swirling synths, blazing horns and a driving rhythm section get the track underway. Soaring vocals sit atop the arrangement, as one of the best tracks on Disco Discharge-Midnight Shift reveals its charms. Both the arrangement and vocals unite seamless as one. Blazing horns, cascading strings, synths, washes soaring, plus flourishes of guitars and keyboards all play their part in the track’s success. Add to this percussion and soaring, emotive vocals and the Boystown Gang provide the perfect soundtrack to close Disco Discharge-Midnight Shift and bid Mr. Pinks a fond farewell until 2013.
On Disc Two of Disco Discharge-Midnight Shift Mr. Pinks keeps up the same quality of music that we’ve come to expect of the great man. Among the highlights are Roni Griffith’s Love Is the Drug, Diva’s Double Trouble, People Like Us’ Deliverance and Disc One’s Magnus Opus the Boystown Gang’s Dance Trance Melody. Like Disc One, Disc Two of Disco Discharge-Midnight Shift features an eclectic, compelling and intriguing collection of music. Synth pop, Hi-NRG, electronic and disco are among the genres of music on this compilation. For the fourth time in 2012, and the sixteenth time overall, Mr. Pinks has succeeded in compiling a quality and eclectic selection of disco delights and a more than a few hidden gems. Disco Discharge-Midnight Shift, which was released on 7th May 2012, is a fitting farewell to 2012 from Mr. Pinks. For the rest of 2012, Mr. Pinks will sail into the sunset, pursuing the next batch of delicious, disco delights for next year’s installments of the Disco Discharge series. Until then, why not discover the delights of Disco Discharge-Midnight Shift and the previous fifteen volumes of this long-running and high-quality disco compilation series. Standout Tracks: Bette Midler My Knight In Black, Patrick Juvet Lady Night, Diva Double Trouble and Boystown Gang Dance Trance Melody.
DISCO DISCHARGE-MIDNIGHT SHIFT.
ENCHANTMENT-ONCE UPON A DREAM.
ENCHANTMENT-ONCE UPON A DREAM.
Having released their debut album Enchantment in November 1976, Enchantment would release the followup Once Upon A Dream a year later, in December 1977. On Once Upon A Dream, was one of Enchantment’s most successful and best known singles, It’s You That I Need. It would give Enchantment the only number one US R&B single of their career. However, much had happened between the release of their debut album and the release of Once Upon A Dream. Since then, Enchantment had appeared on some of America’s biggest music programs. Soul Train and American Bandstand had both featured Enchantment, singing their singles Gloria and Sunshine. These appearances increased Enchantment’s profile, which after the release of Once Upon A Dream, would increase even further. Before I tell you about the music on Once Upon A Dream, which will be released on 14th May 2012, by BBR Records, I’ll tell you about the background to the album.
For recording of Once Upon A Dream, a number of changes were made. The first of changes were the songs. Whereas the eight tracks on Enchantment had been co-written by Emanuel “EJ” Johnson and Michael Stokes, they only cowrote two tracks on Once Upon A Dream, Silly Love Song and Trying To Get Over (With You. The other seven tracks were co-written by Michael Stokes and Verdell Lanier, a Detroit songwriter. Due to Enchantment’s busy touring schedule, recording of the album took place at various studios. Like their debut album, recording of several of tracks would take place at Sound Suite in Detroit and the Hit Factory in New York. Other tracks were recorded at Miami’s Criteria Recording Studio and New York’s Record Plant.
Due to several of the tracks being recorded whilst Enchantment were touring, this meant a number of musicians were used. This included a rhythm section that included drummer Allan Schwartzberg, bassists Will Lee and Neil Jason, guitarists John Tropea, Lance Quinn and Robert Lowe. Among the other musicians were keyboard player Patrick Rebillot, percussion player Carl Small plus a string and horn section courtesy of the Detroit Symphonic Orchestra. With the nine tracks on Once Upon A Dream recorded in Miami, Detroit and New York in between Enchantment’s busy touring schedule, the album was scheduled for release in December 1977.
Before the release of Once Upon A Dream, It’s You That I Need was the first single released from the album in December 1977. Little did they know that this would become their biggest single ever, reaching number thirty-three in the US Billboard 100 and number one in the US R&B Charts. This would become Enchantment’s biggest selling single of their career. No doubt, this helped sales of Once Upon A Dream, which was released in December 1977. It reached number forty-six in the US Billboard 200 and number eight in the US R&B Charts. The second single released was If You’re Ready (Here It Comes) which reached number fourteen in the US R&B Charts. Not only did It’s You That I Need give Enchantment the biggest hit of their career and only US R&B number one single, but Once Upon A Dream would become Enchantment’s biggest selling album, which I’ll now tell you about.
Opening Once Upon A Dream is Sunny Shine Feeling, one of seven tracks that Michael Stokes and Detroit songwriter Verdell Lanier cowrote. Straight away, there’s difference to the lyrics from the new songwriting team. They namecheck “rainbows,” “velvet seats” and “erasing time and space.” Having said that, it’s the perfect track to open the album, uptempo and uplifting, with a stomping beat and some joyous vocals from Enchantment. From the get-go, Enchantment are accompanied by this stomping beat, pounding bass, percussion and cascading Philly influenced strings. Emanuel “EJ” Johnson delivers the vocals about love in a joyous style, while the rest of Enchantment add tight, soulful and soaring harmonies. Bursts of blazing horns, flourishes of piano combined with an almost Northern Soul style beat and Philly tinged strings get Once Upon A Dream this cosmic love song of to uplifting and joyful start.
While If You’re Ready (Here It Comes) is another uptempo track, there’s much more of a funky style as the track opens. This is thanks to the rhythm section, wah-wah guitars and keyboards, with Enchantment’s vocals delivered in a louder, tougher style. Then just as you’re enjoying this funky diversion, in sweep the lushest of strings, as the track returns to a more soulful sound. This is only a momentary diversion. Blazing horns join the rhythm, section and guitars combine to a produce a sound that demonstrates a very different, much funkier and quite irresistible side of Enchantment.
Having delivered two quick tracks, Enchantment drop the tempo, on the incredibly beautiful It’s You That I Need. On this track, Emanuel realized that the song was better suited to Joe’s vocal. The group took a lot of convincing, but eventually, relented. Ironically, a track without Emanuel’s lead vocal gave Enchantment a number one US R&B single. For me, this track sees a return to what Enchantment do so well, deliver ballads. With just percussion, a slow rhythm section, sweeping strings and then a lone horn giving way to Joe’s vocal. Very quickly you realize that this is a very special song. His vocal is heartfelt, tinged with sadness and heartache, while swathes of strings, blazing horns and subtle harmonies combine. Acoustic guitars, percussion and strings add to the beauty of the arrangement, while horns and drums add drama. When all this is combined, the result is a very beautiful, heartfelt and emotive, six minute Magnus Opus, that will forever be synonymous with Enchantment.
I’ve always thought that when trying to followup a song as good as the previous one, it’s best to do so with a different type of song. That’s what Enchantment do, with You’re the One, a much quicker track. Percussion, pounding drums, cascading, swirling strings and rasping horns combine to create a glorious introduction before Emanuel’s vocal enters. There’s a tenderness and beauty in his vocal, while the rest of Enchantment deliver some of the best and most emotive harmonies. Meanwhile, the arrangement rivals anything on Once Upon A Dream. The strings are lush, sweeping and swirling, while blazing horns and the rhythm section create a peerless arrangement. Why a track so beautiful and so good, wasn’t released as a single seems incredible. To me this is the best song on the album.
After one great song, Enchantment up the tempo and emotion, on You Must Be An Angel. In doing this they reveal a more popular and populist side to their music. It’s one of these tracks that after just one listen, you’re hooked. Resistance is impossible. Best to just succumb to the charms of Enchantment. With punchy, rasping horns, swathes of strings, a driving rhythm section and Emanuel’s vocal combining, the track reveals its charms. His voice soars, a mixture of tenderness, emotion and sometimes power, as he delivers the lyrics about love, with a passion and desire. Meanwhile equally emotive harmonies augment his vocal, as the track heads to its sudden and dramatic ending.
So sudden is the ending that many people might thinks Up Higher a two minute fusion of disco and funk is part of the previous track. The tempo rises slightly, with the rhythm section combining to produce a funk drenched arrangement. Soaring, punchy and dramatic disco-funk vocals, a myriad of percussion and blazing horns combine. Alto Reed, like Enchantment, a native of Detroit and saxophonist from Bob Seeger’s Silver Bullet Band plays a stunning saxophone solo that is just the finishing touch to two impassioned and funk laden minutes.
Very different and very beautiful is Silly Love Song. It’s a slow, ballad which Emanuel “EJ” Johnson and Michael Stokes cowrote. Emanuel’s vocal is heartfelt, emotive and fervent, while strings sweep slowly, while bursts of rasping horns and drums add drama. Flourishes of piano augment quivering strings, as Emanuel’s vocal grows in drama and power, as the rest of Enchantment combine. Their harmonies range from subtle and punchy, to emotive and dramatic. Together, the result is a ballad that’s not just beautiful and impassioned, but dramatic and emotive too.
Angel In My Life meanders atmospherically into being, before quivering, shivering strings, rhythm section and braying horns combine. Together, they create a dramatic and intriguing backdrop, that has you wondering what direction the track is heading. When Emanuel’s vocal enters, it’s full of sincerity, but tinged with sadness and regret. With horns wailing atmospherically, while strings sweep, the track is compelling. Then after two minutes it’s briefly, all change. Suddenly, with a burst of horns and drums the songs starts to swing. This is a a real curve-ball, but only momentarily. Then flourishes of piano, swathes of strings and the rhythm section combine. The arrangement flows beautifully along, with Emanuel’s ethereal and soaring vocal key to the track’s beauty, emotion and success.
Closing Once Upon A Dream is the second song Emanuel “EJ” Johnson and Michael Stokes cowrote, Trying To Get Over (With You). Burst of braying horns, layers of lush strings, piano and the rhythm section combine, before giving way to a tender and beautiful vocal from Emanuel. The rest of Enchantment deliver subtle, soaring and gorgeous tight harmonies, while Emanuel’s determined to get over the heartache and hurt he’s experienced. Here, the arrangement compliments his vocal, growing in power and drama, like his vocal. Again, producer Michael Stokes brings out the best in Enchantment, on a heartfelt, deeply moving and dramatic ballad that brings the album to impassioned close.
Although there was only a year between the release of Enchantment’s debut album Enchantment, and the release of their followup Once Upon A Dream, Enchantment had matured and progressed as a group. The music on Once Upon A Dream is a highly accomplished and professional album, where Enchantment deliver nine deliciously soulful tracks. Emanuel “EJ” Johnson’s vocals are even more emotive, beautiful and impassioned, while the rest of Enchantment’s harmonies are tighter and more soulful. However, what do you expect from a group with eleven years experience under their belts. The new songwriting partnership of Michael Stokes and Verdell Lanier provided seven tracks of the highest quality, while Michael Stokes and Emanuel “EJ” Johnson contributed two tracks. Producer Michael Stokes brought out the best in Enchantment, encouraging them to greater heights of success and soulfulness. With his help, Enchantment had their first and only number one single of their career, while Once Upon A Dream became the most successful single of their career. Together their debut album Enchantment and Once Upon A Dream are two great albums from Detroit’s Enchantment. They’re the perfect introduction to one of the most soulful groups you’ll hear in a long time. Both Enchantment and Once Upon A Dream will be rereleased on 14th May 2012, by BBR Records. For anyone who loves soul or R&B, then these two albums are a must have, and very soon, will become two of your favorite albums. Standout Tracks: Sunny Shine Feeling, It’s You That I Need, You’re the One and Trying To Get Over (With You).
ENCHANTMENT-ONCE UPON A DREAM.
ASHFORD AND SIMPSON-SOLID.
ASHFORD AND SIMPSON-SOLID.
Previously, I’ve written about two of Ashford and Simpson’s album 1982s Street Opera and 1983s High Rise. While both were commercially successful, the album that followed High Rise, would surpass both these albums and prove to be one of their most successful albums. This was 1984s Solid, which reached number twenty-nine in the US Billboard 200 and gave Ashford and Simpson their second US R&B number one. Not only that, but it gave Ashford and Simpson the fourth gold disc of their career. The title-track, Solid would prove to be the most successful single of their career, reaching number twelve in the US Billboard 200 and number one in the US R&B charts. Mind you, given the quality of Ashford and Simpson’s two previous albums, this isn’t a surprise. On both Street Opera and High Rise, the albums were crammed full of some of Ashford and Simpson’s greatest music. However, Solid would surpass both these albums. Before I tell you about the music on Solid, I’ll tell you about the background to the album which was rereleased by Cherry Pop in 2009.
For Solid, Nick Ashford and Valerie Simpson cowrote seven of the album’s seven songs. Closest To Love, one of two tracks that were on the soundtrack to Body Rock, saw Ashford and Simpson collaborate with Phil Ramone and Phil Galdston. The other track from Body Rock was The Jungle. Recording of Solid took place at 39th Street Music Recording in New York, with a band that included guitarist Sid McGinnis, bassist Francisco Centeno and drummers Chris Parker and Brian Break. Saxophonist Vinnie Della-Rocca, percussion player Sammy Figueroa and backing vocalist Ullanda McCullough all appeared on Solid. Little did they know that on the release of Solid, Ashford and Simpson would have not just one of the most successful albums of their career, but their biggest hit single.
Three singles were released from Solid, with the title-track Solid the first of this trio. It reached number twelve in the US Billboard 200 and number one in the US R&B charts. When the album Solid was released, it reached number twenty-nine in the US Billboard 200 and gave Ashford and Simpson their second US R&B number one album. Not only that, but the album became Ashford and Simpson’s fourth album ti be certified gold. The second single Outta the World only reached number 104 in the US Billboard 100, but fared much better in the US R&B and Dance Charts, reaching number four. Babies was the final single released from Solid, reaching number 102 in the US Billboard 100 and number twenty-nine in the US R&B Charts. Solid was truly a momentous album for Ashford and Simpson, surpassing the success of their two previous albums for Capitol Records. The reason for that is quite simple, with Solid crammed full of some great songs, which I’ll now tell you about.
Opening Solid is the title-track Solid, which like the album reached number one in the US R&B Charts. Instantly, it’s like meeting an old friend, the familiar strains of Valerie Simpson’s vocal swathed in echo opening the track, before Nick’s vocal enters. Accompanied by percussion, rhythm section and synths, Nick and Valerie lay bare their souls. They sing about their relationships and its ups and down. Each of them deliver their vocal with emotion and passion, while horns rasp, washes of synths and backing vocalists accompany them. Not only is the song beautiful and heartfelt, but nearly thirty years later, is a timeless classic which many people will be able to relate to.
Outta the World was the second single from the album, but has a very different sound. There’s almost a futuristic sound to the track, with just synths, drum machines and bass accompany Nick’s vocal. It’s powerful and impassioned, with Valerie replying to his call, before taking over the lead vocal. Meanwhile, a wash of synths and a Linn drum machine combine with the pounding bass guitar. Although very different from Solid, the arrangement still has a contemporary sound, with Francis Kevorkian’s remix one of the four bonus tracks on Solid. However, one thing stays the same, the quality of Nick and Valerie’s vocals.
Two tracks from Solid featured on the soundtrack for Body Rock. The Jungle is the first of these two tracks and sees Ashford and Simpson up the tempo and drama. Nick’s vocal is strong, powerful and impassioned, sung against a powerful, rocky arrangement. The rhythm section, guitar and synths accompany Nick’s lead vocal, while Valerie and Ullanda McCullough contribute soaring, soulful backing vocals. Meanwhile, the arrangement reflects the power and drama in Nick’s vocal. Marauding guitars and the rhythm section drive the arrangement along, until the song reaches its dramatic and powerful ending.
Honey I Love You returns to a more “Ashford and Simpson” sound. They drop the tempo way down, to 75 beats per minute. Nick’s vocal is tender and beautiful, while a piano, lush strings and percussion accompany him. When Valerie’s vocal enters, it has a similar beauty and tenderness, before later, horns drift above the arrangement. To me, this is by far, the most beautiful, impassioned song on Solid, with gorgeous lyrics about love and adoration.
Babies is another track where the arrangement has a much more electronic sound. While the arrangement has a different sound, the lyrics are of the quality you’d expect from Nick and Valerie. They’re about a young woman, who believing babies were made in heaven, finds her life transformed and about to become a parent. Nick who plays the role of father-to-be, delivers a vocal that’s dark and punchy. This is reflected in the electronic sound of the arrangement. Meanwhile, Valerie’s vocal is heartfelt and tinged with sadness and regret. They deliver their vocals against a backdrop of the rhythm section, guitar and synths. Together, they provide a dark, dramatic arrangement, which is fitting and sympathetic, considering the lyrics, which are like a mini soap-opera.
The Closest To Love was the second track from the soundtrack to the movie Body Rock. Like The Jungle, the arrangement is fuller and bolder, stabs of synths and percussion accompanying Valerie’s vocal. Her vocal is strong, fervent and impassioned, while the stabs of synths and percussion combine to create a dramatic backdrop. Although this track has more in common with The Jungle than other tracks, of the two tracks from Body Rock, this is the best. My reason for this is the dramatic arrangement and an amazing vocal from Valerie.
Cherish Forever More is a much more soulful and romantic track, with Nick’s emotive, heartfelt vocal accompanied by synths, a Linn drum machine and percussion. When Valerie’s vocal enters, it has a similar intensity and passion, with Nick and Valerie feeding off each other, each encouraging the other to greater heights of passion and soulfulness. Later, a sultry, seductive saxophone solo from Michael Brecker adds the finishing touch to this beautiful, romantic and heartfelt paean to love from Ashford and Simpson.
Closing Solid is Tonight We Escape (We Make Love), the last of seven songs Ashford and Simpson cowrote. To me, they’ve kept one of the most beautiful songs until last. Valerie’s vocal is gentle, with a tenderness and beauty that’s reflected in Nick’s vocal. They’re accompanied by keyboards, slow lush strings and drums. The longer the song progresses, the beauty and intensity grows. Nick and Valerie deliver the lyrics with an unrivaled sincerity and devotion. That’s what makes this not just one of the most beautiful songs on Solid, but one of the album’s highlights.
Solid was Ashford and Simpson’s third album for Capitol, continuing the quality of music on Street Opera and High Rise. Although Solid is by far, the best known track on Solid, there’s much more to the album than just one track. Tracks like Honey I Love You, Babies and Cherish Forever More demonstrate the soulful side of Ashford and Simpson’s music. Not only that, but it’s of the quality of music we’d come to expect from Ashford and Simpson during the eighties. There were two tracks from the soundtrack to Body Rock, The Jungle and The Closest To Love on Solid. While they’d a different sound, they had the quality you’d expect from Ashford and Simpson. Outta the World has a slightly futuristic sound for 1984, but nearly thirty years later has a contemporary sound. Francois Francis Kevorkian’s remix of Outta the World is one of four bonus tracks on Cherry Red’s rerelease of Solid. To me, Solid was the third in trio of quality albums Ashford and Simpson released during the early to mid-eighties. These are Street Opera, High Rise and Solid, which for a newcomer to Ashford and Simpson’s music is the perfect starting point. From their, you can rediscover not just more of the music that Ashford and Simpson released, but the music that they wrote and produced. Truly, a magical musical journey of discovery awaits you, as you discover the highlights of Ashford and Simpson’s long and illustrious career. Standout Tracks: Solid, Honey I Love You, Babies and Cherish Forever More.
ASHFORD AND SIMPSON-SOLID.
BARBARA MASON-LADY LOVE.
BARBARA MASON-LADY LOVE.
During a career that’s spanned over forty years and five decades, Philly born singer Barbara Mason has released over a dozen albums and countless singles. Her recording career started in 1964, with the release of the single Trouble Child. A year later, in 1965, Barbara released one of her best know and most successful single, Yes, I’m Ready. It reached number four in the US Billboard 100 and number two in the US R&B Charts. This lead to the release of Barbara’s debut album, also entitled Yes, I’m Ready, which reached number 129 in the US Billboard 200. After this, Barbara would release further albums, with Oh How It Hurts released in 1968, If You Knew Him Like I Do in 1970 and Give Me Your Love in 1973. Give Me Your Love was Barbara’s first album for Buddah Records and was the most successful album of her career, reaching number ninety-five in the US Billboard 200 and number seventeen in the US R&B Charts. The following year, 1974, saw Barbara release the follow-up to Give Me Your Love, Lady Love. Like Give Me Your Love, Lady Love saw Barbara reunited with the creme de la creme of Philly’s musicians, with recording taking place at Philly’s legendary studios Sigma Sound. Before I tell you about the music on Lady Love, I’ll tell you the background to the album.
Recording took place at Sigma Sound Studios in 1973 with the cream of Philly’s musicians accompanying Babara. This included the Baker, Harris, Young rhythm section, guitarist Bobby Eli, Leon Huff on piano, while Ron “have mercy” Kersey plays piano, organ, Fender Rhodes and clavinet. Larry Washington adds percussion, while the familiar strains of Don Renaldo’s strings and horns grace Lady Love. The final piece in the jigsaw were the Sweethearts of Sigma, backing vocalists Carla Benson, Evette Benton and Barbara Ingram. This hugely talented group of musicians and singers would accompany Barbara on Lady Love.
Seven tracks were chosen for Lady Love. Of the seven tracks on Lady Love, Barbara wrote three of them. There are two cover versions, one isShe covers Stevie Wonder’s All In Love Is Fair. The other is a ten minute epic version of Gamble and Huff’s Me and Mrs Jones. Here, Barbara replies to Billy, vamping her way through ten majestic minutes, that brings new meaning to a track that gave Billy Paul a number one single. With the seven tracks recorded, Lady Love would be released in 1974. Would it surpass the success of Give Me Your Love?
On the release of Lady Love, although it didn’t replicate the success of Give Me Your Love, it was a commercial success. Lady Love reached number twenty-nine in the US R&B Charts. Two singles were released from Lady Love, but neither Caught In the Middle nor World War Three charted. However, since the release of Lady Love it’s perceived as one of the greatest albums of Barbara Mason’s long and illustrious career. You’ll realize just why, when I tell you about the music on Lady Love.
Opening Lady Love is a song that since its release, has become synonymous with Billy Paul Me and Mrs Jones written by Gamble and Huff. Here, Barbara replies to Billy, on a ten minute epic version. Straight away, you realize that something special is about to unfold, with the Baker, Harris rhythm section, Bobby Eli’s guitar and Don Renaldo’s Strings and Horns combining. When Barbara’s slow seductive vocal enters, she’s accompanied by the Sweethearts of Sigma. Lush strings cascade, while the rhythm section provide the romantic heartbeat and rasping horns punctuate the arrangement. Barbara’s vocal has a sultry, breathless quality, perfect for the lyrics, as she replies to Billy. Together, with her multitalented band and backing vocalists, Barbara vamps her way through the track, breathing new life and meaning to the track, which is best described as a Magnus Opus.
Bed & Board was a track that Bobby Flax and Lenny Lambert cowrote, a song Barbara had originally recorded on her previous album, Give Me Your Love. Her new version features a lengthy rap, similar to Millie Jackson’s on her Caught Up and Still Caught Up albums. Slow strings sweep elegantly and gracefully, while blazing horns combine with the rhythm section, keyboards and percussion. Then come Barbara’s rap, which gives way to her 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, as she raps her way through the track. 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 one of the highlights of Lady Love.
The first of a trio of tracks written by Barbara is Who’d Ever Think. It’s arranged by Ronnie Baker. His arrangement is sympathetic to Barbara’s vocal. Her vocal is tinged with sadness and frustration, while the rhythm section, punchy, braying horns, cascading strings and percussion combine. Again, the Sweethearts of Sigma add subtle, beautiful backing vocalists, while drums and angry horns reflect the anger and frustration in Barbara’s vocal. Lush strings add to the sadness and emotion, as Barbara delivers a vocal where she lays bare her soul. For five minutes, Barbara and her band unite as one. Their mission is to accompany Barbara and reflect her emotive, heartfelt vocal. This they do seamlessly and brilliantly, producing an arrangement that’s sympathetic, reflecting the frustration and heartbreak in her vocal.
World War Three sees Barbara launch into another rap as a track she wrote begins. It’s a track that points towards the future direction of her music, funk. From the get-go, her band rise to challenge, reflecting the passion and energy in her vocal. This isn’t surprising given that Barbara had most of M.F.S.B. accompanying her, one of the most adaptable and talented bands of the seventies. The rhythm section and wah-wah guitars combine with blazing horns, dancing strings, keyboards and percussion. Meanwhile, Barbara’s lyrics are packed with social comment, while the Baker, Harris, Young rhythm section and Bobby Eli surpass themselves, producing the funkiest of backdrops for Barbara’s impassioned, sassy vocal, which sometimes, is drenched in echo. Although quite different from the three preceding tracks, World War Three demonstrates not just Barbara’s versatility as a singer, but reinforces just how talented a songwriter she also is.
While, Caught In The Middle is final song written by Barbara it features one of her most heartfelt, fervent vocals. This intensity is matched by an arrangement that’s not lacking in drama and emotion. Flourishes of keyboards, bursts of dramatic drums and punchy horns combine with the soaring, ethereal backing vocals from the Sweethearts of Sigma. Waves of music unfold, starting with Barbara’s vocal, which grows in power and emotion. As this happens, her band reflect and replicate this power and emotion. Later, the piano, strings, horns and backing vocalists combine, beautifully, adding to Barbara’s impassioned, fervent vocal. It’s impossible not be swept up in the emotion and drama of the track. Indeed resistance is impossible, it’s much better to just succumb to intensity and drama of this immensely powerful track.
I Miss You Gordon is a track that Al Elias and Andy Badale cowrote. When you hear the track, it’s perfect for Barbara’s vocal. It’s drenched in sadness and heartache, with the rhythm section and percussion accompany Barbara, before arranger Vince Montana, adds lush strings and rasping horns. Then, as strings cascade, the Sweethearts of Sigma join in. Their addition is just the finishing touch. They sing with a subtlety, their vocal reflecting the sadness in Barbara’s emotive, needy vocal. Together, they accompany Barbara as the song heads to its moving, emotive and heartfelt ending.
Closing Lady Love is All In Love Is Fair a song written by Stevie Wonder. A writhing bass line, then lone piano solo gives way to Barbara’s vocal. Her vocal is swathed in lush strings, while drums add drama, as the the piano and and meandering bass accompany Barbara. Here, Barbara’s vocal is powerful, emotional and soars effortlessly above the arrangement. Meanwhile, the piano and strings are key to the beauty of the track, as Barbara delivers one of her most beautiful, passionate and powerful vocal. This seems the perfect way to close Lady Love.
Truly, Barbara Mason’s second album for Buddah Records Lady Love is to me, one of the best albums of her career. With the cream of Philadelphia’s musicians, backing singers and arrangers working on Lady Love, then it’s no surprise that this is such an outstanding album. With tracks like Me and Mrs Jones, Bed & Board, Who’d Ever Think and I Miss You Gordon, the seven tracks on Lady Love demonstrate not just Barbara Mason’s talent as a singer, but as a songwriter too. Barbara wrote a trio of tracks on Lady Love Who’d Ever Think, World War Three and Caught In The Middle. Of the seven tracks on the album, Me and Mrs Jones and Bed and Board are both Magnus Opus.’ Barbara’s reply to Billy Paul’s Me and Mrs Jones breathes new life to a track that’s always been synonymous with Billy Paul. So good is her ten minute epic, that it’s almost worth buying Lady Love for that track alone. Having said that, there are other six tracks on Lady Love, and each of them are of the highest quality. This makes Lady Love, which was released by Soul Brother Records an album that’ll appeal to anyone who loves Philly Soul, soul or R&B. For me, Lady Love is an outstanding album, with Philly soul queen Barbara Mason accompanied by some of Philly’s finest and most talented musicians on seven stunning songs. Standout Tracks: Me and Mrs Jones, Bed & Board, Who’d Ever Think and I Miss You Gordon.
BARBARA MASON-LADY LOVE.
GINA CAREY-LOVE LETTERS TWO.
GINA CAREY-LOVE LETTERS TWO.
Just three months after releasing her sixth solo album Love Letters, Gina Carey returns with another album Love Letters Two. This is a combination of old and new songs. There are four songs apiece from Gina’s two previous albums, 2011s Melodic and 2012s Love Letters. The three new songs, You, Being In Love and You Are Right are from Gina’s forthcoming album Live, Love and Laugh, due out in September 2012. These three songs should whet your appetite nicely, with Gina silky, sultry voice better than ever. If this is the standard Gina sets on Live, Love and Laugh, then this will very definitely be an album to look out for. Not only that, but Love Letters 2 is the perfect introduction to Gina Carey’s music. It gives newcomers to her music the opportunity to hear songs from her two previous album. I’m sure that after hearing Love Letters Two, they’ll be seeking out Gina’s previous albums. Unlike her previous albums, Gina has decided that Love Letters 2 will be a digital only release, and will be released on 21st May 2012. So for those of you who can’t wait until the release date of Love Letters Two, I’ll tell you about the music on the album.
Opening Love Letters Two is one of the trio of new songs Being In Love. Slow strings briefly sweep in, instantly grabbing your attention. Then suddenly, it’s all change. Now the tracks heads for familiar territory, Nu-Soul. This is something Gina does so well. Straight away, her vocal is emotive and heartfelt. Gina’s accompanied by acoustic guitar, rhythm section and stabs of organ, which prove really effective. Her vocal is multi-tracked, so Gina adds backing vocals. Meanwhile, husband John, plays bass and guitar, before later, adding backing vocals. To quote Sly Stone, Love Letters Two is a “family affair.” Together, the Carey’s combine to create a stunning new track, with Gina’s vocal irresistible, heartfelt and beautiful.
Unbelievable is the first of four tracks from Gina’s 2011 album Melodic. Gina scats emotively as the track opens, before an understated, but effective arrangement reveals its beauty and charms. A bass, acoustic guitar and an atmospheric organ combine. They’re played with a subtlety that allows Gina’s vocal to take centre-stage and shine. Her vocal is impassioned and sincere, as if the lyrics are personal. Her vocal is multi-tracked, so she contributes backing vocals. Meanwhile, John continues sprinkle subtle wah-wah guitar while lush strings reflect the emotion and beauty in Gina’s vocal.
You Are Right is the second new song, from Gina’s forthcoming album Live, Love and Laugh. It’s a mid-tempo track, with a quite different, more moderne sounding arrangement. Having said that, it’s really effective, with Gina surpasses herself, delivering a vocal full of hurt and heartache. Her voice quivers with emotion, as it soars while she delivers the lyrics, against a shuffling Nu-Jazz arrangement. Mostly, it’s just the rhythm section, guitar, percussion and keyboards that accompany a reflective Gina. Interestingly, sometimes, her voice is swathed in echo, which seems to add to the emotion and sadness of the track. Of the three new tracks on Love Letters Two, this must be the most emotive and powerful of the trio, with an older, wiser Gina reflecting on the past.
Swathes of lush, graceful strings and piano open Lush Share My Life another track from Gina’s 2011 album Melodic. Then, guitars and the rhythm section accompany Gina’s heartfelt vocal. Her voice is impassioned, quivering emotively, and is tinged with an intensity. Meanwhile, backing vocals accompany Gina, as strings glide gracefully, while guitars drift in and out. Key to the track is the piano, which like the strings, play important roles, adding the effectiveness and emotion of the song. What makes this such an outstanding track is the intensity and desire in Gina’s vocal.
You is the third and final new track from Gina’s forthcoming album Live, Love and Laugh. The track is a classy slice of Nu-Soul which to me, will make a great single. The tempo is quicker, with Gina singing lead vocal and singing backing vocals. During the track, Gina takes a diversion into Nu-Jazz, scatting her way through part of the song. Later she unleashes her vocal, allowing it soar elegantly and gracefully. When she does this, it’s emotive and impassioned, especially when delivered against the understated arrangement. Here, stabs of piano, lush strings, guitar and crisp drums combine, but never once, overpower Gina’s vocal. Instead, they provide the perfect backdrop for Gina, who surpasses herself. Not only does she deliver one of her best vocals on Love Letters Two, but this is the best song of Gina’s three new ones.
Not only is Loving You is another track from Melodic, Gina’s fourth album, it demonstrates just how talented a vocalist and songwriter Gina Carey is. Like the other tracks on Love Letters Two, Gina wrote the song. It’s a beautiful love song, with Gina’s vocal full of devotion and desire. Guitars reverberate, while subtle drums and keyboards accompany Gina. Later, John lays down a crystalline, emotive guitar solo, that’s perfect for the track. So are Gina’s multi-tracked backing vocals, which add to the soulfulness and intrinsic beauty of the track. After you’ve heard this compelling and captivating track, and others from Melodic, I’m sure you’ll want to hear much more of the album.
Although So Natural is the title of this track, it could also describe Gina’s singing style. Not for Gina the histrionics you hear on some modern soul albums, just music sung with emotion and passion, delivered in a voice that’s very beautiful. This is the case here, with her vocal delivered with a combination of subtlety, emotion and passion. Like her vocal, the arrangement has a similar understated quality, just keyboards, crispy drumbeats, lush strings and some subtle guitar playing from John. Similar to other tracks, Gina’s vocals are multi-tracked so she also contributes backing vocals. Towards the end of the track, her voice soars high, but as always, Gina controls her voice perfectly. This paean to love, is sung with feeling, sincerity and emotion by Gina and was one of the highlights of Love Letters, Gina’s previous album.
Don’t You Give Up is the fourth and final track from Melodic, revealing the spiritual side to Gina’s music. This is no surprise, given Gina’s first three albums were gospel albums. While the arrangement is Nu-Soul, the track is gospel tinged, with Gina’s vocal sincere and thankful. Meanwhile, the arrangement sees punchy drums, handclaps, guitars and keyboards combine. The drums are prominent, while guitars, and keyboards play lesser roles. Later, Gina unleashes her secret weapon, husband John. He unleashes a dramatic guitar solo, that not only grabs your attention, but demonstrates just why he’s heard in such high regard in jazz circles. Then when Gina’s vocal reenters, her vocal is heartfelt and sincere, as she fuses Nu-Soul with R&B and gospel seamlessly and effortlessly.
When For Love opens, a brief burst of strings can be heard, before giving way to slow, crisp beats and keyboards. They provide the perfect backdrop for Gina’s louder, strong and hugely impassioned vocal. Backing vocalists accompany Gina, as she sings about what “she’d do for love.” The track has a real 21st century Nu Soul sound, with its drums and keyboards combining slowly with Gina’s sensuous, sultry vocal. Like other tracks on Love Letters, Gina’s previous album, this track demonstrates she can write and delivers some beautiful love songs, which she brings to life with her impassioned and sensuous delivery.
Beautiful Music was an apt title for this track from Love Letters, given its slow tempo, beautiful, subtle arrangement and Gina reflective and thankful. Her delivery is heartfelt, the lyrics about love and her relationship with husband John. Lyrics like “I’m the strings on your guitar” and “we make beautiful music together” are just two of the many lovely lyrics in this song. The arrangement features flourishes of keyboards, a slow bass and crisp drums, while guitar, finger-clicks and backing vocalists add to what is one of Love Letters’ most romantic, heartfelt and beautiful tracks.
I Run is a mid-tempo track with a real gospel influence. Gina’s first three albums were gospel albums and this is a lovely combination of gospel and soul music. The track opens with keyboards, standup bass, guitars and percussion before a vocal from Gina that’s assured and sincere enters. During the track, Gina sings “I run to the Lord,” and “surrender to God” demonstrating her faith. With backing vocalists accompanying her, the song is delivered in a call and response style, with the backing vocalists answering Gina. Throughout mesmerizing arrangement’s sound. Again, though, it’s Gina’s beautiful vocal that takes centre-stage as she delivers her message with an assuredness and sincerity.
Love Letters Two, Gina Garey’s sixth album is a compelling and captivating collection of songs, old and new. The music is variously beautiful, heartfelt and impassioned. Gina’s decision to release an album containing four songs from Melodic and Love Letters, her two previous albums and three from her forthcoming album Live, Love and Laugh should result in many new fans discovering her music. It allows people to discover her back-catalogue, while new fans will want to hear a preview of what Live, Love and Laugh will sound like. If the rest of Live, Love and Laugh is as good as the three songs on Love Letters Two, then it’ll prove to be the best album of her career. Having said that, Melodic and Love Letters are both outstanding albums, where Gina delivers some beautiful music, music which shows that Gina Carey has a big future ahead of her. Not only is she a hugely talented vocalist, but a talented songwriter, musician and producer. Surely very soon, major labels will start to take an interest in Gina Carey’s career. For anyone yet to discover Gina Carey’s music, then Love Letters Two is the perfect starting point. Standout Tracks: Being In Love, You, So Natural and Beautiful Music.
GINA CAREY-LOVE LETTERS TWO.
THE DUALERS-PRINCE BUSTER SHAKEDOWN.
THE DUALERS-PRINCE BUSTER SHAKEDOWN.
One of the things I love about music, is it’s ability to transport you back in time, a bit like Dr. Who’s Tardis. This is what happened when I first played The Dualers third album Prince Buster Shakedown. Suddenly, I was transported back over thirty years to the late seventies, and the second coming of ska. Back then, like many people, my interest was sparked by the 2-Tone genre, which fused ska’s rhythms with a faster tempo and harder edge. Like other people, I wanted to know more about the roots of 2-Tone. In doing so, I was taken on a musical journey, discovering producers like Edward Seaga, Duke Reid, Coxsone Dodd and Prince Buster. From there, I started exploring the history of not just ska, but rocksteady, lovers rock and dub. This musical journey was one of discovery, one that’s lasted a lifetime. So when a week ago, I received a copy of The Dualers’ Prince Busters Shakedown, my love of ska and all things reggae was rekindled. I sat back, reveling in the eight tracks on Prince Buster Shakedown, determined to discover more about The Dualers and their music. What I discovered is a real rags to riches tale, with The Dualers route to success taking a few twists and turns along the way. After I’ve told you about their musical journey, I’ll tell you about the music on Prince Buster Shakedown which will be released on 7th May 2012 on the newly formed Phoenix City label.
After studying at London’s Guildhall School of Music and Drama, Tyber Cranstoun and his brother Simon decided to hit London’s streets busking. From the late nineties, they played a mixture of ska, reggae and soul entertaining Londoners. Their love of of ska was passed on by their father Bill, who was a pioneer of ska in the UK. With his Savoy Sound System, Bill introduced London to ska. Now his sons were reawakening London’s love affair for ska.Quickly, they establishing a following wherever they played. This lead to gigs in London, with Tyber and Simon now calling themselves The Dualers. Soon, they headed further afield. Venues in Kent and Essex were won over by the Dualers and their fusion of ska, reggae and soul. Then in 2004, The Dualers decided to release a single, without a record company.
The Dualers’ debut single was Kiss On the Lips, a self-funded single, released without the usual wave of record company publicity. With no budget for promotion, The Dualers relied upon their loyal and ever-growing fan-base buying the single. This they did, in such quantities that the single reached number twenty-one, outselling major artists in the process. In charting, The Dualers became the first street performers to ever have a single chart. However, this was just the first step in The Dualers rise and rise.
November 2005 saw the second single released by The Dualers. Again, Truly Madly Deeply was self-funded, with no money left for promotion or marketing. Like their debut single, Kiss On the Lips, Truly Madly Deeply entered the charts, reaching number twenty-three. Three years later, the track was chosen by Warner Bros. to feature in the movie Fools Gold.
Before Truly Madly Deeply was chosen to feature in Fools Gold, The Dualers launched a club night, The Skaoovie, a monthly club night in London’s west end. This successfully ran until November 2007. By this time, The Dualers had released their third single. Don’t Go was released in June 2006, with their debut album The Melting Pot being released. This saw The Dualers go on a promotional tour, playing a series of festivals. Not only did this see them attracting a following among music lovers, but among musicians too. Among The Dualers’ fans in music industry were Toots and The Maytals, Ziggy Marley, The Beat and The Blockheads. They each invited The Dualers to support them at their shows. Suddenly, The Dualers found themselves touring much further afield, conquering Europe with their irresistible fusion of ska and rocksteady.
By 2009, The Dualers had released their second album, Rhymes and Rhythms. They continued to play to packed concert halls, especially in London. Since the release of their second album Rhymes and Rhythms, Simon has left The Dualers. However, Tyber and the rest of The Dualers have since recorded their third album Prince Buster Shakedown, which I’ll now tell you about.
Opening Prince Buster Shakedown is Chinaman Ska, a track that’s the perfect opening track for any album. Straight away, it grabs your attention, before bursting into life. Bursts of blazing horns combine with the rhythm section before Tyber’s vocal enters. Tyber delivers some insightful political lyrics, before quickly, it’s all change. Suddenly, the track explodes and a joyous musical journey begins. Punchy horns punctuate the track, rasping and blazing, while the rhythm section provide the track’s heartbeat. Meanwhile, Tyber takes on the role of tour-guide, delivering the lyrics joyfully and emotively as this uplifting and irresistible track unfolds. So good is the track, that when it ends, you immediately find yourself playing it again.
There’s no let up with King of Kings of a similar quality as the opening track. You’re swept away by The Dualers, as the track skanks along. Like a King on his throne, Tyber’s vocal sits atop the arrangement. Meanwhile, a combination of the rhythm section and percussion drive the track gloriously along, while braying horns are almost ever-present. During the track, one of the best bass lines on the album reveals itself. It sits way down low, writing along, making its presence felt. Together bassist Ian and drummer Aitch are a potent rhythm section, and along with the horns, key The Dualers sound. Like the previous track, King of Kings has an infectious quality, one that demonstrates just how talented and tight The Dualers are.
Following two quick tracks, The Dualers decide to drop the tempo on Nothing Takes The Place Of You. It shows a different, much more tender side to their music. Tyber’s vocal is heartfelt, tinged with sadness and regret. Later, the addition of a lone horn adds to the emotion of the track, reflecting the wistful nature of Tyber’s vocal. Meanwhile, the rhythm section continue to demonstrate their importance in The Dualers’ sound. Although very different to the two previous tracks, Nothing Takes The Place Of You shows a quite different, tender and beautiful side to The Dualers’ music.
Although Take It Easy is another slower track, it’s the Magnus Opus of Prince Buster Shakedown. Not only does it last over six minutes, but it’s album’s best track. Here, each of The Dualers play their part in the track’s success. Opening with the bass snaking up and down, while percussion and drums combine, the track on gradually reveals its subtleties and charms. Stabs of organ join, before Tyber delivers a thoughtful, but impassioned vocal. Bursts of blazing horns drift in and out, as the rhythm section, organ and percussion combine to create a spacious, slice of laid-back and uplifting music.
As each track goes by, you can’t help but marvel at the quality and consistency of the The Dualers’ music. Firestick a much quicker track, sees no drop in quality. Quite the opposite. Instead, The Dualers seem intent on bettering the previous tracks. Tyber’s vocal is even more emotive and impassioned, while the rhythm section, percussion and sizzling horns that accompany him raise their game. They play with greater vigor, precision and passion. Together, they collectively reach new heights, while Tyber delivers his most impassioned vocal on Prince Buster Shakedown.
Orange Street is another track that allows the listener to hear a much more laid-back, understated side of The Dualers music. With the rhythm section, guitars and percussion combining with stabs of organ, Tyber delivers a heartfelt vocal. Sometimes, Tyber’s vocal sounds not unlike Bob Marley. Later, short, subtle bursts of horns punctuate the arrangement, while the rhythm section drive the track along. Together with Tyber’s vocal they create a spacious, understated and quite beautiful track.
Sister Big Stuff is a track with a real retro sound, that’s like a real trip back in time. Blazing horns combine with the rhythm section and percussion before Tyber’s vocal enters. Backing vocalists subtly accompany him, while horns and later, a guitar solo that glides gracefully across the arrangement play key roles in the arrangement. Later, stabs of organ, horns and backing vocalists punctuate the arrangement. They all play important parts in a track that’s not just hugely catchy and compelling, but one of the best tracks on Prince Buster Shakedown.
Closing Prince Buster Shakedown is Enjoy Yourself, a track that’s perfect to close the album. It’s blessed with a similar joyous sound to the opening track, Chinaman Ska. This bookends the album nicely. When the track opens,Tyber delivers his message against a backdrop of a skanking rhythm section, punchy, rasping horns and percussion. Again, a pounding bass line plays an important role in the track, while stabs of organ and handclaps help The Dualers create a joyous, roclicking party atmosphere. By the end of the track, you can’t help but sing a long with The Dualers. Resistance is impossible, the track is so catchy, it’s almost infectious. Just like Enjoy Yourself closes Prince Buster Shakedown, I’m sure that The Dualers will close many a show this summer with this track.
Truly, Prince Buster Shakedown, The Dualers third album is a captivating and compelling album that’s joyous uplifting and joyous. From the opening bars of Chinaman Ska until the closing notes of Enjoy Yourself, The Dualers take you on a journey that visits ska and rocksteady, all delivered with a soulfulness. What’s more The Dualers are an accomplished and tight band, blessed with a rhythm section that drives each song along and a horn section that add an authentic Jamaican sound. With Tyber Cranstoun’s lead vocals, everything is in place for The Dualers to complete their musical journey that’s taken a myriad of twists and turns since their days busking on London’s streets. Hopefully, Prince Buster Shakedown, which will be released on 7th May 2012 on the newly formed Phoenix City label will see their music reach a much wider audience. Given The Dualers undoubtable talent, Prince Buster Shakedown should be a huge success. For anyone who loves either ska, rocksteady, reggae or just good music, take my advice and buy The Dualers’ uplifting and joyous Prince Buster Shakedown, you won’t regret it. Standout Tracks: Chinaman Ska, Nothing Takes The Place Of You, Take It Easy and Enjoy Yourself.
THE DUALERS-PRINCE BUSTER SHAKEDOWN.
DEE DEE WARWICK-FOOLISH FOOL.
DEE DEE WARWICK-FOOLISH FOOL.
Although Dee Dee Warwick’s career started in 1963 when she recorded You’re No Good for Jubilee Records, produced by Leiber and Stoller, it wasn’t until she signed for Mercury Records and began working with producer Ed Townsend that her career took-off. Before that, Dee Dee had recorded for a variety of labels, often with Leiber and Stoller. This included I Don’t Think My Baby’s Coming Back, recorded in 1964 on Leiber and Stoller’s Tiger label. After this, Dee Dee recorded I (Who Have Nothing), written by Leiber and Stoller, but not produced by them. Then in 1965, Dee Dee signed to Mercury and her career started in earnest. With Ed Townsend producing, Dee Dee released We’re Doing Fine on Blue Rock, which reached number twenty-five in the US R&B Charts. When Dee Dee released I Want To Be With You on Mercury, this resulted in the first US R&B top ten single of her career. Her follow-up was the classic I’m Gonna Make You Love Me. Fast forward four years, and Dee Dee and Ed are reunited, resulting in the Grammy nominated, deep soul classic Foolish Fool. Not only did it reached number fourteen in the US R&B charts and number fifty-seven in the US Billboard 100, but became the title-track for Dee Dee’s 1969 Mercury album. Foolish Fool is a collection of tracks from a variety of sessions Dee Dee recorded for Mercury and after being unavailable for far too long, will be rereleased by SoulMusic Records on 21st May 2012. Before I tell you about the music on Foolish Fool, I’ll give you some background to the album.
The eleven tracks on Foolish Fool were recorded between 1965 and 1969, at various studios and with a variety of producers. This included six produced by Ed Townsend, three of which were recorded in 1968, including Foolish Fool. Dee Dee’s version of Bacharach and David’s Alfie was recorded in London in 1966 and produced by Johnny Franz. It was released as a single in the UK in 1966, while in the US, it was the flip-side of the 1967 single Locked In Your Love. It’s Not Fair was co-written by Kenny Gamble and Thom Bell, produced by Gamble and Huff. In total, there are six of Dee Dee’s singles feature on Foolish Fool. These are When Love Slips Away, Don’t Pay Them No Mind, Don’t You Ever Give Up On Me, Foolish Fool and That’s Not Love. One of the singles, Don’t Pay Them No Mind was produced by Lou Courtney. Jerry Ross was the other producer who produced two tracks, the 1967 singles When Love Slips Away and Don’t You Ever Give Up On Me. Once the eleven tracks on Foolish Fool were chosen, the album was set for release in 1969.
On the release of Foolish Fool in 1969, it reached number thirty in the US R&B Charts. This was no doubt helped by the success of the single Foolish Fool, which had earlier reached number fourteen in the US R&B charts and number fifty-seven in the US Billboard 100. That’s Not Love was then released as a single, reaching number forty-two in the US R&B Charts. This would prove to the most successful period of Dee Dee’s career. Not only would Foolish Fool would prove to be the most successful single of Dee Dee’s career, but Foolish Fool would be her most successful album. You’ll realize why, when I tell you about the music on Foolish Fool.
There’s no better way to open Foolish Fool than with a deep soul classic, Foolish Fool, Dee Dee’s biggest single. From the get-go, you realize something more than a bit special is about to unfold. Crystalline guitars and the rhythm section combine, before Dee Dee’s powerful vocal, accompanied by quivering strings enters. Her vocal is impassioned, angry and even sassy, the object of her, the thought of someone taking her man from her. Like her vocal, the arrangement is powerful, reflecting the drama and frustration in her vocal. Guitars, rhythm section, piano and strings are all it takes to accomplish this. By the end of the track, you realize that while the word classic is bandied about all too often, Foolish Fool is worthy of being called a classic. Once you’ve heard the emotion, frustration and affront in Dee Dee’s vocal you too, will realize why.
Bacharach and David’s Alfie has been covered by many artists, with Dusty Springfield and Dionne Warwick, Dee Dee’s sister, both having hits with this track. In the sleeve-notes to Foolish Fool, Dionne refers to Dee Dee’s version as the “definitive version.” That may sound like a big statement, but Dionne is in a position to judge. With swathes of dramatic strings giving way to Dee Dee’s vocal, you begin to come around to Dionne’s way of thinking. Dee Dee emotively and slowly delivers the lyrics, while strings cascade above her. A piano augments the strings, as Dee Dee’s heartfelt and beautiful vocal brings out the subtleties and nuances in the lyrics. In doing so, Dee Dee makes the song her own, delivering quite possibly, the definitive version.
When Love Slips Away is one of two tracks Jerry Ross produced. This is the best of these two songs, with Dee Dee’s vocal tinged with sadness and regret, as the track swings along. Rasping horns, lush strings and the rhythm section combine with the piano and backing vocalists. Together, they provide the perfect backdrop for Dee Dee. When she adds her vocal that’s heartfelt and full of hurt, this is the finishing touch to a song that’s not just sadness personified, but beautiful too.
Way before Philadelphia International Records conquered the world, the three prime movers of the Philly Sound combined on a track for Dee Dee. It’s Not Fair was written by Kenneth Gamble and Thom Bell, while Gamble and Huff produced the track. The track is tinged with drama, perfect for the lyrics. Dee Dee’s vocal is powerful, full of emotion and frustration, while the production is polished, like you’d expect of a Gamble and Huff. Dee Dee delivers her vocal, while the rhythm section, rasping horns, harpsichord and strings accompany her. Meanwhile backing vocalists augment her vocal, reflecting the hurt in frustration in Dee Dee’s vocal. As the track ends, you realize that Gamble and Huff even in 1968, were accomplished producers. One wonders whether Mercury had persisted with Gamble and Huff as producers, what the future would’ve held for Dee Dee? Given the quality of this track, it was a missed opportunity.
You Taught Me To Love, is one of six tracks Ed Townsend produced on Foolish Fool. It’s a track laden with emotion, Dee Dee delivering her vocal with the requisite combination of power and passion. Ed Townsend uses swathes of strings, a slow, dramatic rhythm section and blazing horns to accompany Dee Dee. This is really effective, with the Dee Dee’s vocal heartfelt and sincere.
On Thank God, there are some of the most moving lyrics on Foolish Fool. It’s a song about the folly of war and conflict, with humanitarian lyrics, written by Ed Townsend. You can’t help but be moved by both the lyrics and arrangement. Dee Dee accentuates the lyrics, as if believing in them deeply. Strings and kettle drums accompany her, but what makes the track so good, is the Teaneck Choir. Their massed voices unite gracefully and spiritually, helping Dee Dee get across the beauty and importance of the the lyrics.
That’s Not Love saw Dee Dee and producer Ed Townsend collaborate to cowrite this song. Recorded in 1969, this was from the same session as Foolish Fool. Like that track, Dee Dee delivers one of her best vocals, against an arrangement where flourishes of piano, sweeping strings and the rhythm section accompany her. Dee Dee’s vocal is powerful, impassioned and dismissive. She almost barks out the lyrics, as if angry and frustrated. As the song progresses, the arrangement becomes dramatic and powerful. This is perfect for the vocal, helping get across the Dee Dee’s frustrated, dismissive vocal.
Where Is That Rainbow was recorded at the same session as the previous track, with Dee Dee carrying on where she left of. She delivers the lyrics with a mixture of emotion and passion, her vocal questioning, while the arrangement sees the rhythm section, strings and blazing horns accompanying her. The strings cascade as horns punctuate the arrangement, while drums are prominent throughout the track. However, it’s Dee Dee’s heartfelt, sincere vocal that steals the show.
Although Lou Courtney only produced one track on Foolish Fool, Don’t Pay Them No Mind has some of the most powerful lyrics on the album. While they were relevant in 1969, there still relevant over forty years later. The lyrics are about a couple ridiculed by society because of their race or sexual or preferences. Dee Dee rises to the occasion, delivering them with a mixture of passion and frustration, even anger. Horns rasp, strings sweep and swirl, while the rhythm section add the track’s heartbeat, as Dee Dee gives an impassioned vocal. Backing vocalists accompany her, while a Hammond organ atmospherically drifts in and out of the track as Dee Dee delivers her lyrics with a defiance. Of all the tracks on Foolish Fool, this is not just one of the most moving, but one of the best.
Don’t You Ever Give Up On Me is the second Jerry Ross produced track. Here, the tempo increases, with Dee Dee giving a joyous vocal, accompanied by an uplifting arrangement. Blazing horns, backing vocalists and cascading strings combine while the rhythm section drive the track along. When the arrangement and vocal are combined, the result is an irresistibly uplifting and joyful track.
Closing Foolish Fool is Thank You Love, the last of the six Ed Townsend produced tracks. This is the perfect track to close the album, with Dee Dee saving one of her best vocals till last. Her vocal is a fusion of passion, power and emotion, so much so, that you can hear the pops on the microphone as she throws herself into the song. Behind her, strings sweep, braying horns punctuate the arrangement and rhythm section combine, as Dee Dee gives thanks. In doing so, Dee Dee raises the stakes emotionally, surpassing herself, with her voice dripping in gratitude and sincerity.
Foolish Fool features a collection of tracks that Dee Dee Warwick recorded over a four year period, with a variety of producers. Each of these producers seemed to get the best out of Dee Dee. Producers of the caliber of Gamble and Huff, Lou Courtney, Jerry Ross, Johnny Franz and Ed Townsend realized just how talented Dee Dee was and tapped into her talent, each bringing out different emotions and with Dee Dee displaying her passion on each track. Whether it was sadness, joy, anger, frustration or heartache, Dee Dee could give a realistic portrayal of each emotion. She brought each song to life, made you think each song was personal. Among the highlights of the album are the title-track Foolish Fool, which since its release, has become a deep soul classic. One listen will tell you why. On Bacharach and David’s Alfie, I can only agree with Dionne Warwick, that Dee Dee’s version is the “definitive version.” When Love Slips Away and You Taught Me How To Love, Dee Dee’s vocal is heartfelt and sincere. The Gamble and Huff produced It’s Not Fair brings out the best in Dee Dee, and if it hadn’t been for Mercury Records’ impatience in wanting a hit single, they could’ve forged a fruitful and long-lasting relationship with her. Both Thank God and the Lou Courtney produced Don’t Pay Them No Mind are two of the most moving tracks on Foolish Fool, while Don’t You Ever Give Up On Me is an uplifting and joyous track. Thank You Love which closes the album, sees Dee Dee give thanks, her vocal sincere and emotional. Of the eleven tracks on Foolish Fool, Dee Dee never drops her standards, as if constantly striving for perfection. The same can be said of the five bonus tracks, which feature on SoulMusic Records on release of Foolish Fool on 21st May 2012. These five tracks have the same qualities as the eleven tracks on Foolish Fool. This is what makes Foolish Fool such a compelling and enthralling album. Not only does Foolish Fool feature some great music, but is the perfect introduction to one of the greatest voices in soul music Dee Dee Warwick. Standout Tracks: Foolish Fool, When Love Slips Away, It’s Not Fair and Don’t Pay Them No Mind.
DEE DEE WARWICK-FOOLISH FOOL.
THE DYNAMIC SUPERIORS-YOU NAME IT.
THE DYNAMIC SUPERIORS-YOU NAME IT.
Although The Dynamic Superiors were formed in 1963, it wasn’t until 1975 that they signed to Motown Records. It was for Motown, that The Dynamic Superiors released four of their five albums. For their first two 1975 albums The Dynamic Superiors and Rare Pleasure, Ashford and Simpson produced these albums. These two albums had resulted in four hit singles for The Dynamic Superiors. Shoe Shoe Shine and Leave It Alone were released from their debut album The Dynamic Superiors, while Change Me and Deception were taken from Rare Pleasure. By their third album, 1976s You Name It, which will be rereleased by SoulMusic Records on 14th May 2012, a host of top producers and songwriters were hired to replace Ashford and Simpson. They were tasked with keeping The Dynamic Superiors’ musical profile high and replicate their previous success. These, high-profile producers included producers Brian Holland of Holland, Dozier and Holland and Hal Davis, who previously, had worked with The Jackson 5 and Thelma Houston. Songwriters working on the album included the songwriting teams of Art Posey and Josef Powell plus Marilyn McLeod and Paw Sawyer. With this multitalented team behind them, would The Dynamic Superiors’ third album You Name It prove as successful as their two previous albums?
There were a number of changes for recording of The Dynamic Superiors third album. The first and biggest change, was the decision to replace Ashford and Simpson as producers and songwriters. Another change was recording the album in Los Angeles. Recording would take place at Motown Recording Studios in Hollywood. Rather than have one producer or production team, a number of producers were used. This ranged from Hal Davis who produced three tracks to Michael and Don Daniels who produced one apiece. Marilyn McLeod and Pam Sawyer cowrote three tracks which they also co-produced. Art Posey and Josef Powell cowrote two of the other tracks on You Name It. Similarly, a number of arrangers were used on the album with Art Wright arranging four tracks, while Gene Page and Mel Bolton arranged three tracks. With this multitalented team of arrangers, producers and songwriters all contributing towards You Name It, The Dynamic Superiors and their band laid down the eight tracks. You Take It also pointed to a change in musical direction for the group. The music was a progressive combination of soul and dance-floor friendly tracks, perfectly suited to musical tastes. So with new producers, songwriters and a newer, more progressive sound, would this prove to be commercially successful?
The five members of The Dynamic Superiors George Spann, George Wesley Peterback Jr., Michael McCalpin Maurice and Tony Washington readied themselves for the release of You Name It in October 1976. The album wasn’t a commercial success, failing to enter the US Charts. Only one single was released from the album, I Can’t Stay Away (From Someone I Love). Like You Name It, the single wasn’t a commercial success. There was one small crumb of comfort, with The Dynamic Superiors signing for the William Maurice Agency. This saw them touring with The Chi-Lites, Stevie Wonder and The Jackson 5. After thirteen years, The Dynamic Superiors music was reaching a much wider live audience. This included the songs on You Name It, which I’ll now tell you about.
Opening You Name It is Stay Away, arranged by Art Wright and produced by Hal Davis. It’s a track that literally bursts into life, with the rhythm section driving the track along, while rasping horns and cascading strings accompany Tony Washington’s soaring lead vocal. Behind him, the rest of The Dynamic superiors add equally soulful, soaring harmonies. Tony vamps his way through the track, with the interplay between the rest of the group adding to the dynamics of the track. Later, flourishes of piano join a myriad of percussion, horns, strings and rhythm section that accompany the group. Together with a tempo of 133 beats per minute this is a joyous explosion of dance-floor friendly music, with the larger than life Tony Washington key to the track’s success and sound.
After the breakneck tempo of the opening track, the tempo drops on one of the highlights of You Name It, Looking Away. The track features one of Tony’s best vocals. It’s heartfelt and impassioned, while harmonies augment his vocal. Here, the arrangement has a lush sound, with strings sweeping and swirling, while the rhythm section and bursts of blazing horns dramatically punctuate the arrangement. A punchy bass line meanders along the arrangement, while Tony’s vocal is emotion personified as the rest of The Dynamic Superiors contribute some of the most soulful and impassioned vocals on this beautiful and emotive track.
Many Many Changes is the first of three tracks that Marilyn McLeod and Pam Sawyer cowrote and produced. When the track opens, Tony’s vocal is dramatic and seductive, while the arrangement is fuller and dramatic. Swathes of dramatic music unfold in waves, with the rhythm section, layers of lush strings and rock-tinged guitars. Later, Tony’s vocal is tinged with sadness and betrayal, while blazing horns add to the drama of this betrayal and heartache. Meanwhile strings cascade, reflect Tony’s sadness, caused by his cheating partner. Here, his vocal takes centre-stage, with the rest of the group contributing just occasional backing vocals. This is perfect for the track, with Tony getting across the betrayal, hurt and sadness of the song’s lyrics dramatically and realistically.
Before the Street Lights Come On is one of these tracks where you’re trying to second-guess a curveball. The strings that open the track give no clue as to the direction of the track. Neither do the pounding drums, nor the half-spoken vocal. You’re still wondering when The Dynamic Superiors unite to deliver some of the tightest harmonies on the album. With shimmering, dancing strings, braying horns and the rhythm section combining,Tony sings the lead, while the rest of the group add peerless harmonies.
The only single released from you Name It was I Can’t Stay Away (From Someone I Love). This is another of the tracks aimed firmly at the dance-floor and within a few bars, you’ll realise just why this track was chosen as a single. Immediately, you’re hooked by the track, with its combination of cascading, lush strings, pounding drums, rasping horns and backing vocals that open the track. Then when the lead vocal enters, things get even better. It’s sassy, delivered with a swing and a smile, while the rest of the group add backing vocals. Meanwhile, strings dance, horns rasp and the rhythm section drive the track along. Then Tony and the group feed off each other, each encouraging the other to greater heights of soulfulness. By the send of the track you’ve been smitten by this hook-laden, dance-floor delight.
Supersensousation (Try Some Love) is a mid-tempo bedroom ballad that’s four minutes of sensuality. Tony’s lead vocal is one part emotion to one part passion, as the rest of the group deliver soaring, dramatic harmonies. This they do against an arrangement that reflects the emotion and drama in the vocal. Strings shimmer, sweep and swirl, blazing horns drift in and out as the rhythm section build the drama up, continuing to do so throughout the track. For four minutes The Dynamic Superiors and their band deliver a bedroom ballad par excellence. Don’t just take my word, hear it and I’m sure you’ll agree.
If I Could Meet You glides elegantly into being, the arrangement spacious and laid-back. Strings quiver, horns rasp and breathy backing vocals enter, before Tony’s slow, dramatic lead vocal enters. Quickly, the lead vocal changes hands, while guitars, slow, sweeping strings and the rhythm section combine to produce a slow spacey and romantic backdrop. Meanwhile, The Dynamic Superiors produce some beautiful, subtle vocals perfect for the arrangement. Again the songwriting and production team of Marilyn McLeod and Pam Sawyer surpass themselves, producing one of the most beautiful, romantic songs on You Name It.
Closing You Name It is I Can’t Afford To be Poor, the third track that Marilyn McLeod and Pam Sawyer cowrote and produced. Unlike their two other contributions, this isn’t a romantic song. Instead, the track has a slightly more funky sound, although primarily the track is soulful. Against a backdrop of the rhythm section, keyboards and sweeping, swirling strings, The Dynamic Superiors add their vocals. They combine variously power, passion and drama, as the band add dramatic waves of funk and soul. This allows the group to display another, quite different side to their music, showing there’s much more to The Dynamic Superiors than soul and dance-floor friendly tracks.
Although The Dynamic Superiors’ third album You Name It may not have been the commercial success that the group had hoped, it certainly was nothing to do with the music. On You Name It, The Dynamic Superiors progressed their music, moving their music onto a combination of soul and dance-floor friendly tracks. Tony Washington the four other members of the group rose to the challenge, delivering music that was hugely soulful, including Looking Away, Many Many Change, Supersensousation (Try Some Love) and If I Could Meet You. The dance-floor friendly tracks are Stay Away and Can’t Stay Away (From Someone I Love). Of these two tracks, the single Can’t Stay Away (From Someone I Love) is quite simply, the highlight of You Name It. While Ashford and Simpson had been replaced as songwriters and producers, the various replacements rose to the challenge, but failed to move The Dynamic Superiors to the next level. Maybe part of the problem was that back in 1976, disco was at the height of its popularity, and like many other artists, The Dynamic Superiors music wasn’t “fashionable.” Even their dance tracks weren’t what fans of disco would expect from a dance track. However, although The Dynamic Superiors music wasn’t “fashionable, it certainly didn’t lack in quality. Quite the opposite. The eight tracks on You Name It, which along with Give and Take, their fourth album, will be rereleased by SoulMusic Records on 14th May 2012 are of the highest quality and will appeal to anyone who loves soul or R&B. So why not take a trip back to the seventies and let The Dynamic Superiors entertain you with their soulful sounds on the hidden gem of an album. Standout Tracks: Stay Away, Looking Away, I Can’t Stay Away (From Someone I Love) and Supersensousation (Try Some Love).
ODYSSEY-HANG TOGETHER.
ODYSSEY-HANG TOGETHER.
Not only was Odyssey’s 1977 eponymous debut album Odyssey, the group’s most successful album, it featured their biggest hit single, Native New Yorker. This was a song that would forever become synonymous with Odyssey, reaching number twelve in the US Billboard 100 and number six in the US R&B Charts. Spurred on by the success of Native New Yorker, Odyssey’s debut album Odyssey reached number thirty-six in the US Billboard 200 and number fifteen in the US R&B Charts. A year later, came the followup, Hollywood Party Tonight. It didn’t replicate the success of Odyssey, reaching just number 123 in the US Billboard 200 and number seventy-two in the US R&B Charts. Two years later, in May 1980 came Odyssey’s third album Hang Together. This would see a change in Odysseys’s fortunes, but not in the US, with one of their singles, Use It Up and Wear It Out reaching number one in the UK. Before I tell you about the music on Hang Together, I’ll tell you about the background to the album.
After the commercial failure of Hollywood Party Tonight, Sandy Linzer, who’d produced Odyssey’s debut album Odyssey was hired. Sandy decided to move thee recording sessions to the Hit Factory in Manhattan. The other change Sandy made, was bringing in Ray Chew as arranger. Previously, he’d worked with Ashford and Simpson on a number of albums. This included Diana Ross’ The Boss, Gladys Knight and The Pips’ All About Love and albums by Candi Staton. One final thing Sandy decided to do was hire a number of songwriters. They cowrote the eight tracks on Hang Together with Sandy Linzer, including three songs with Larry Russell Brown. With eight songs written, Odyssey and their band headed to the Hit Factory in Manhattan.
Accompanying the three members of Odyssey Billy McEachern and sisters Lillian and Louise Lopez were a band that included Ray Chew on keyboards and synths. Bassist Francisco Centeno, drummer Paul Kimbarow and guitarist Cliff Morriss made up the rhythm section while Sammy Figuero added percussion. Together, Odyssey and their band laid down the eight tracks that would become Hang Together. Would Hang Together see a revival in Odyssey’s fortunes on its release?
Before the release of Hang Together, Don’t Tell Me, Tell Her was released as a single in April 1980, but failed to chart. Strangely, Use It Up and Wear It Out was only on the B-side. Then when Hang Together was released in May 1980, it reached number 181 in the US BIllboard 200 and number sixty-six in the US R&B Charts. Meanwhile, in the UK the album reached number thirty-eight, while Don’t Tell Me, Tell Her failed to chart. Use It Up and Wear It Out was released as a single in the UK in June 1980, giving Odyssey their first UK number one. Hang Together was the second single released in the US in July 1980, but it too failed to chart. Following up Use It Up and Wear It Out in the UK was If You’re Looking For A Way Out, released in September 1980, reaching number six. The final single released in the UK was Hang Together in January 1981, reaching number thirty-six. Hang Together it seemed, was a tale of two continents, faring well in the UK, but only slightly better than its predecessor Hollywood Party Tonight. It seemed Odyssey were more popular in the UK than their home country. However, what made Hang Together so popular in the UK. That’s what I’ll now tell you, when I tell you about the music on the album.
Hang Together opens with the title-track Hang Together, one of the singles released from the album. It was written by Sandy Linzer and Larry Russell Brown and straight away you’re struck by the pounding, funky rhythm section which gradually, builds up of the arrangement. Guitars, piano and synths enter, before Lillian Lopez’s vocal enters. Behind her, the arrangement is spacious, with her vocal gradually growing in power and emotion. Meanwhile, the rest of the group add punchy, dramatic backing vocals, while the rhythm section, piano and horns punctuate the arrangement. Eventually, this uptempo and uplifting track reveals its subtleties, nuances and charms, but the wait has been well worthwhile.
Never Had It All sees the tempo drop, with the track having a more thoughtful, considered sound. It’s just piano and Lillian’s half-spoken vocal that open this gospel tinged track. The arrangement is much more subtle, with the rest of the group adding gospel infused backing vocals. Strings cascade gently, while the piano and rhythm section combine. Together, they provide a sympathetic arrangement that compliments Odyssey’s vocals. This track, with its gospel influence displays a quite different, but very beautiful side to Odyssey’s music.
Don’t Tell Me, Tell Her was another of the singles released from Hang Together. It sees the group deliver a track that combines funk and soul. The arrangement is uptempo, with Lillian’s lead vocal fiery and impassioned, while Louise and Billy’s fervent, soaring backing vocals are equally passionate. They’re accompanied by blazing horns and strings which sweep and swirl, while one of the highlights of the arrangement is the bass line. Here, Francisco Centeno’s bass and Ray Chew’s keyboards are key to the track, augmented by the strings and horns. Meanwhile, Lillian delivers one of her most heartfelt vocals, on one of the highlights of Hang Together.
Down Boy is a track that has a much more poppy sound. The band combine to create a sound that resembles a chase, with the rhythm section and rocky guitars driving the track along. Keyboards and braying horns punctuate the track, while Lillian’s vocal is loud and strong. Meanwhile the rest of Odyssey deliver punchy, dramatic and soaring backing vocals. Although the song has a more poppy than other tracks on Hang Together, it’s a track that shows another side to Odyssey.
Follow Me (Play Follow the Reader) sees Odyssey return to a track that’s much atypical than the previous one. From the get-go, it’s obvious that this track is something special. Percussion, cascading, lush strings and rasping horns combine before the vocal enters. Lillian and Louise share the lead vocal, accompanied by backing vocalists. Their voices sit well together, while strings dance and shimmer behind them. Later, guitars, percussion and the rhythm section seamlessly combine elements of funk and soul. By the end of the track, you realize this is a track which has everything going for it. Two sassy vocals, an arrangement that while it combines soul and funk has populist appeal and a killer hook.
Use It Up and Wear It Out was the track that gave Odyssey their only number one single in the UK. Here, Odyssey combine, disco with elements of funk, soul and Latin music to a tempo of 128 beats per minute. A myriad of percussion, rhythm section and squelchy synths accompany Odyssey as Lillian gives a joyous, impassioned vocal, while backing vocalists accompany her. Punchy, blazing horns, steel drums, whistles and keyboard solos all play their part in this irresistible, joyful and uptempo track.
While Use It Up and Wear It Out was the most successful single released from Hang Together, I always felt If You’re Looking For A Way Out was the better track. The tempo is much slower, with the arrangement laden in emotion, drama and sadness, while Lillian gives one her most heartfelt vocals. It’s just the piano, guitar and subtle percussion that combine with her vocal. It’s tinged with emotion and sadness, quickly growing in power, while lush strings and subtle, soulful and soaring backing vocalists accompany her. Here, she gives everything she has, singing the song as if it’s personal and pertinent to her life. This she does against the best arrangements on Hang Together, one that’s steeped in drama, getting across the emotion, sadness and beauty of the song. That’s what makes this the best song on the album easily.
Closing Hang Together is Rooster Loose In the Barnyard, a track which has a funk laden introduction. Key to this is the beefiest of bass lines, while Lillian and Louise add sassy, suggestive vocals. They’re enveloped by rocky guitars, while the rhythm section concentrate add the fattest slice of funk. Although funky and full of innuendo, Lillian and Louise deliver the lyrics with a smile on their faces., providing a lighthearted and good natured way to end Hang Together. Having said that, it’s still funky with a capital F.
While Odyssey’s third album Hang Together didn’t sell as well in the US, it performed much better in the UK. Not only did it reach number thirty-six in the UK, but Use It Up and Wear It Out reached number one and If You’re Looking For A Way Out reached number six. After this, Odyssey continued to be more popular in the UK than the US. For me, Odyssey’s music was always underrated, with tracks like Never Had It All, Don’t Tell Me, Tell Her, Follow Me (Play Follow the Reader) plus the two hit singles Use It Up and Wear It Out and If You’re Looking For A Way Out demonstrate this. Of these tracks, the gospel tinged Never Had It All shows a quite different, but very beautiful side to Odyssey’s music, while Follow Me (Play Follow the Reader) is blessed with a killer hook. Then there’s the fusion of funk, disco, soul and Latin music that is Use It Up and Wear It Out. It’s one of the most memorable tracks on Hang Together, apart from If You’re Looking For A Way Out, which to me, is absolutely peerless. To me, You’re Looking For A Way Out is one of the highlights of Odyssey’s career, bettered only by Native New Yorker, from their debut album Odyssey. It was rereleased by BBR Records in 2011, while Hang Together will be rereleased by BBR Records on 7th May 2012. This rerelease of Hang Together, Odyssey’s finest album, is the perfect introduction to their music and will allow you to hear the various sides to Odyssey’s music. Standout Tracks: Never Had It All, Follow Me (Play Follow the Reader), Use It Up and Wear It Out and If You’re Looking For A Way Out.
ODYSSEY-HANG TOGETHER.
CISSY HOUSTON-PRESENTING CISSY HOUSTON.
CISSY HOUSTON-PRESENTING CISSY HOUSTON.
During Cissy Houston’s long musical career, she’s worked with some of the biggest artists in music, singing backing vocals on some of the biggest most successful albums. This includes Aretha Franklin’s Lady Soul, Van Morrison’s Moondance, Donny Hathaway’s Donny Hathaway and David Bowie’s Young Americans. That’s not forgetting albums by Roberta Flack, Dee Dee Warwick, Luther Vandross, Chaka Khan and her daughter Whitney Houston. However, there’s much more to her career than that. She has recorded nine solo albums, that’s seen Cissy sing soul and gospel, before Cissy being temporarily, transformed into a disco diva. Her solo career started back in 1969, when she left The Sweet Inspirations, releasing Presenting Cissy Houston in 1970. Presenting Cissy Houston will be rereleased on 21st May 2012, on SoulMusic Records. Before I tell you about the music on Presenting Cissy Houston, I’ll tell you Cissy’s career up until then.
Cissy Houston was Emily “Cissy Houston in September 1933. Her career started when she was just aged five, in 1938, as a member of The Drinkard Four, a family gospel group that included her sister Anne, plus brothers Larry and Nicky. Later, the group would become The Drinkard Singers. In 1955, the year Cissy married Freddie Garland, The Drinkard Singers recorded a live album for RCA, A Joyful Noise at Webster Hall. This would become a landmark gospel album, because it was the first gospel album released on a major label.
In 1959, Cissy had the opportunity to make her debut as a backing singer. This was on a session for Faye Adams, whose best known for her single Shake A Hand. However, during this period, Cissy was working full-time in the offices of RCA and didn’t want to risk losing her job, so didn’t go. Then in 1961, Cissy’s niece was booked to sing backing vocals for Ronnie Hawkins and The Hawks. She couldn’t make the session, so Cissy filled in and after that, her career started to gather momentum. Two years later, in 1963, Cissy would form a legendary group, The Sweet Inspirations.
By 1963, Cissy had given birth to daughter Whitney and formed what would become The Sweet Inspirations, with her niece Dee Dee Warwick and Doris Troy. Soon, they were accompanying Otis Redding, Wilson Pickett, The Drifters and Dusty Springield. Many of the artists they were accompanying, were recording for Atlantic Records and Jerry Wexler of Atlantic Records’ was keen to sign the group to his label. This was when The Sweet Inspirations name was born. They released Why (Am I Treated So Bad?) which reached number fifty-seven in the US Billboard 100 and number thirty-six in the US R&B Charts. Meanwhile, in 1967 Cissy also released a single on Kapp Records Don’t Come Running Back To Me. To round of what was an important year for The Sweet Inspirations, they sang backing vocals for The Jimi Hendrix Experience on Burning of the Midnight Lamp, a track from his seminal 1968 album Electric Ladyland. The year after Electric Ladyland was released, 1969, would prove be an important year for Cissy Houston.
Two important things happened in 1969 for Cissy Houston. In July and August 1969, The Sweet Inspiration accompanied Elvis Presley during his return to performing live. Elvis’ comeback took place in Las Vegas, and for two months, he was accompanied by The Sweet Inspirations. These concerts would prove to be Cissy’s last performances with The Sweet Inspirations. After this, she decided to concentrate on he career as a recording artist, which would allow her to spend time with her children. Her final duties with the group were recording the single Gotta Find Me A Brand New Lover. The next time Cissy stepped into a recording studio would be as a solo artist.
Cissy signed to New York based Commonwealth United Records, which had been founded in 1969 by Charles Koppelman and Donald Rubin, who ran the company. On the label were Maxine Brown and Lenny Welch. Straight away, Cissy started preparing to record what would become her debut solo album, Presenting Cissy Houston, released in June 1970.
Producing the album were Charles Koppelman and Donald Rubin, while Bert DeCoteaux later a successful producer, would arrange the nine tracks. These nine tracks were cover versions of tracks by some of the biggest songwriters. This included two by Bacharach and David, I Just Don’t Know What To Do With Myself and This Empty Place. Jimmy Webb wrote Didn’t We, Bobby Darin wrote I’ll Be There and Isaac Hayes and David Porter contributed When Something Is Wrong With My Baby. Cissy even covers Be My Baby, which Phil Spector cowrote. Overall, Presenting Cissy Houston sees Cissy cover songs by the great and good of songwriting. However, would Presenting Cissy Houston be a commercial success?
On the release of Presenting Cissy Houston in June 1970, the album failed to make any impression on the charts. I’ll Be There, which was released as a single fared better. It reached number fifty-four in the US Billboard 100 and number twenty in the US R&B Charts. Then disaster struck. Commonwealth United folded in September 1970. This saw Cissy’s contract was sold to Janus Records. Janus then repackaged Presenting Cissy Houston, licensing it to Pye Records, a UK company, who rereleased the album as The Long and Winding Road in the UK. They also released two more singles from Presenting Cissy Houston. I Just Don’t Know What To Do With Myself failed to chart, while Be My Baby reached number ninety-two in the US Billboard 100 and number thirty-one in the US R&B Charts. Sadly, Cissy’s debut solo album Presenting Cissy Houston had been a victim of fate, with her record company Commonwealth United folding. Two hit singles were a small crumb of comfort, with Presenting Cissy Houston a missed opportunity, given the quality of music on the album, which I’ll now tell you about.
Opening Presenting Cissy Houston is Bacharach and David’s I Just Don’t Know What To Do With Myself. Straight away, you get the opportunity to hear the power and passion in Cissy’s vocal. The arrangement is much quicker than other versions of this track. Cissy’s accompanied by a driving rhythm section, while punchy, blazing horns and backing vocalists punctuate the arrangement. Strings sweep and swirl, while Cissy’s vocal is impassioned, emotive, getting across the desperation and hopelessness in the lyrics. It’s a hugely impressive opening track, where Cissy brings to life Bacharach and David’s lyrics perfectly.
Didn’t We, written by Jimmy Webb is very different, with the tempo much slower. Similarly, the arrangement is much more subtle, with the rhythm section providing the song’s gentle heartbeat, while piano, rasping horns and sad strings combine. One thing stays the same, Cissy’s powerful, heartfelt delivery. There’s an intensity in her deliver, while sometimes, when Cissy’s voice sings the lower notes, you hear similarities with Whitney. However, here, Cissy’s vocal steals the show, with its intensity, fervor and passion.
Bobby Darin wrote I’ll Be There another of the trio of singles released from Presenting Cissy Houston. It’s another slower, ballad, which sees gospel-tinged backing vocalists Cissy. Guitars with a sound that’s straight out of Nashville, combine with cascading strings and the rhythm section, to back Cissy. However, key to the track are Cissy’s impassioned pleas and those gospel-tinged backing vocalists. Together, they combine to create an irresistible track, that’s one of the real highlights of the album.
Singer-songwriter Melanie Safka wrote Any Guy, a track where Cissy delivers one of her most impassioned vocals on the album. Her vocal is part anger, frustration and defiance as she barks out the lyrics to her former lover. She’s accompanied by strings and piano which add to the sadness of the track, while the rhythm section and angry, braying horns reflect the anger, frustration and defiance in Cissy’s vocal. The finishing touch to the track is the addition of soaring, soulful and questioning backing vocalists. Their addition is a masterstroke, adding to the drama and emotion of the track.
Cissy’s version of Isaac Hayes and David Porter’s When Something Is Wrong With My Baby is steeped in drama and intensity, quite unlike Sam and Dave’s version. The fuller arrangement sees piano, rhythm section and strings combine with Cissy, replicating the fervor and enthusiasm in her vocal. Waves of drama unfold, with Cissy unleashing her powerful, impassioned vocal. It’s protective, full of feeling and adoration even. Horns and backing vocalists enter, combining with the drums to dramatically punctuate the track, adding to, and reflecting Cissy’s impassioned and protective defense of the man she loves. Truly, this is an outstanding cover version of a classic track.
When Be My Baby opens, it’s almost unrecognizable from The Ronettes version. Here, Cissy slows the track way down, transforming the track into something soulful and beautiful. Gone is Phil Spector’s Wall of Sound, replaced by an understated, slow arrangement, where horns and backing vocalists play an important roll. Cissy’s delivery is soulful in the extreme, bringing new meaning to the song, with an intensity and fervor in her interpretation. Of the trio of singles released from Presenting Cissy Houston, this is by far, the best. For anyone who loves and regards The Ronettes version as the best, you must hear this version. It comes close to rivaling it.
This Empty Place is the second Bacharach and David song on Presenting Cissy Houston. Together with an arrangement that’s powerful and drama drenched, Cissy delivers one of her most impassioned and powerful vocals. When the track opens, you realize what’s about to unfold. Quickly, she unleashes her vocal, which has an intensity and fervor. That’s replicated by the arrangement, where drums, strings and blazing horns play important parts, matching Cissy stride for stride. By the end of the track, you can’t help but be impressed, not just by Cissy’s power, but her control and ability to breath new life and meaning into a familiar track.
Now I must admit, that I’ve never been a fan of The Beatles version of Long and Winding Road. I’ve always found it a depressing song. However, Cissy transforms the track and my opinion of the song. Cissy delivers the song in a style that’s reminiscent of Aretha Franklin. Her version is uplifting, delivered with a swing, against a jaunty arrangement, where lush strings cascade, horns blaze as the orchestral style arrangement reveals its beauty.
Closing Presenting Cissy Houston is He -I Believe, a medley of two tracks that allows Cissy to demonstrate her gospel roots. Her vocal is delivered beautifully against a subtle organ, slow strings and meandering bass line. Beautiful backing vocalists enter, delivering their gospel tinged roots soaring, spiritually on I Believe. Together with Cissy, they encourage each other to even greater feats of soulfulness. This isn’t just intense and beautiful, but deeply uplifting, spiritual even and for me, is the perfect way to close Cissy’s debut album Presenting Cissy Houston.
Presenting Cissy Houston should’ve been a much bigger commercial success seems. Sadly, the fickle finger of fate intervened. Her record company folded four months after the release of Presenting Cissy Houston. Although two singles from the albums gave Cissy hit singles, this must have been a small crumb of comfort. Fate was to intervene in Cissy’s career again, for her next recording session. She was working with producer Sonny Limbo, when Jim Weatherly sent a new song, entitled Midnight Plane To Houston. This was changed by Cissy to Midnight Train To Georgia, which scans and sounds much better. The track was released as a single, but failed to make an impression on the charts. If Janus Records had promoted the single, maybe it would’ve become synonymous with Cissy, not Gladys Knight and The Pips. A year later, Gladys released her version, which since then, has been synonymous with her. Cissy’s original version, is just one of twelve bonus tracks on SoulMusic Records rereleased version of Presenting Cissy Houston, which will be released on 21st May 2012. These twelve bonus tracks, plus the nine tracks on Presenting Cissy Houston, make this an album that anyone who either loves Cissy Houston, The Sweet Inspirations music or just fans of soul and R&B music will adore. For me, Presenting Cissy Houston is a real hidden gem of an album, where Cissy breathes new life and meaning into nine cover versions, making these songs her own, with a combination of passion, fervor, emotion and enthusiasm. Standout Tracks: Didn’t We, I’ll Be There, Be My Baby and He-I Believe.
CISSY HOUSTON-PRESENTING CISSY HOUSTON.
ENCHANTMENT-ENCHANTMENT.
ENCHANTMENT-ENCHANTMENT.
After being formed in 1966 at Detroit’s Pershing High School, Enchantment signed their recording contract in 1969. This came about when the group won a local talent contest sponsored by the local Detroit radio station WCHB. However, it would be another eight years before the group would release their debut album Enchantment, which will be rereleased by BBR Records on 14th May 2012. After this, Enchantment would release five further albums between 1978 and 1983. The reason it took so long for Enchantment to record their debut album, was that they were determined to hone their talent, become more professional. To do this, they signed to Dick Scott’s Artists International, who had a track record of developing new artists. This saw Enchantment concentrate on honing their stage show, learning choreography while performing in clubs throughout Detroit. Then in 1975, when Enchantment played at a fashion show in Detroit, the were introduced to a man who’d play a big part in their future career Michael Stokes. He was a songwriter and producer, who wrote four songs for the soundtrack to Deliver Us From Evil. Enchantment were chosen to sing them for the soundtrack. Call On Me was released by Polydor as a single but failed commercially. A year later, in 1976 Enchantment made their big breakthrough, signing to Sid Maurer’s Roadshow Records, releasing three albums, Enchantment, Once Upon A Dream and Journey To the Land of …Enchantment. While this gave Enchantment their big break in the music industry, there would be a twist in the tale. Before I tell you what that is, I’ll tell you about the background to Enchantment, then the music on the album.
Now that the five members of Enchantment, Dave Banks, Joe Thomas, Emanuel “EJ” Johnson, Walter Jones and Mickey Clanton had signed to Roadshow Records they were ready to record their debut album, Enchantment. This comprised eight songs which Emanuel “EJ” Johnson and Michael Stokes had cowrote. Michael Stokes would produce the eight songs that would become Enchantment. Johnny Allen would arrange the eight tracks, while Alvin Taylor arranged the vocals. Recording took place at two studios, Sound Suite in Detroit and the Hit Factory in New York. With a band that included bassist Alvin Taylor, drummer Tony Robinson, guitarists John Tropea and Eddie Willis. Strings and horns came courtesy of the Detroit Symphonic Orchestra. Together, Enchantment and their band laid down the eight tracks on their debut album Enchantment. This was the next step in a musical journey that started ten years ago, when the group was formed.
Before Enchantment was released, three singles were released. First was Come On and Ride, released in June 1976, which reached number sixty-seven in the US R&B charts and number thirty-seven in the Disco charts. Gloria, one of the tracks synonymous with Enchantment reached number twenty-five in the US Billboard 100 and number five in the US R&B Charts. November 1976, a month before the release of Enchantment’s debut album, Sunshine was released as a single. It reached number forty-five in the US Billboard 100 and number three in the US R&B Charts. Gradually, it seemed, Enchantment’s popularity was rising, perfect for the release of Enchantment in December 1976. On the release of Enchantment, it reached number 104 in the US Billboard 200 and number eleven in the US R&B Charts. Overall, it seemed Enchantment’s decision to hone their craft before releasing an album had paid off. For a debut album, Enchantment had performed well, with three hit singles and a hit US R&B album. However, what does the music on Enchantment sound like? That’s what I’ll tell you.
Opening Enchantment is the first of the three singles released from the album Come On and Ride. It’s a driving slice of soul with a funky side. Straight away, the lyrics and song remind me slightly of The O’Jays’ Love Train. Emanuel “EJ” Johnson’s powerful lead vocal is impassioned, emotive and delivered with a real growl. Behind him the hard driving, funky rhythm section combine to create a disco love train. While the bass, bursts of blazing horns and train’s whistle blow, the rest of Enchantment add some soulful, soaring backing vocals. Guitars cascade, while the punchy drums and horns and prominent are key to the sound and the success of the track. It’s a glorious stomper of a track, that thirty-six years later, that’s timeless and irresistible.
Gloria, a track that’s become synonymous with Enchantment, was another single released from the album. It displays a really tender and beautiful side to their music. Here, they drop the tempo, with Emanuel delivering this ballad beautifully, bringing out the subtleties and nuances of the song. He’s accompanied by just the piano, slow understated rhythm section and percussion. The rest of the group add four part harmonies, while lush strings cascade and bursts of rasping horn punctuate the track. Everything about the track works perfectly, especially, the emotive, heartfelt vocal, understated, beautiful arrangement and some stunning harmonies from the rest of Enchantment. No wonder this track has become synonymous with Enchantment, it’s absolutely beautiful.
Dance To the Music is the complete opposite of Gloria. It’s fabulously funky with a the rhythm section laying down the slinkiest, funkiest groove, while braying horns and wah-wah guitars punctuate the arrangement. Dancing strings provide a contrast, their sound lush and sweet, while the lead vocal is dramatic, passionate and powerful. Meanwhile, the rest of Enchantment’s harmonies are soulful, subtle even, when compared to Emanuel’s lead vocal. However, it sits well with funk drenched backdrop, while the strings and harmonies provide a contrast. Together, they combine to create a fabulously, funk laden, mid-tempo track with a soulful side.
Sunshine is a track that has a dramatic sound straight from the get-go, with shivering strings and the rhythm section combining. However, when soaring harmonies enter, they signal a change in direction. This sees the track head in a soulful direction. This is thanks to some of the most heartfelt vocals on the album, as the lead vocal changes hands. They’re accompanied by the rhythm section, blazing horns and strings who create a dramatic backdrop, perfect for the heartache and regret in the lyrics. To me, this is one of the best arrangement on Enchantment, with some of the best, impassioned vocals. So good is this track, that after you’ve heard this track just once, you’ll forever by enthralled by its beauty and drama.
The title Hold On is quite apt, because it’s a case of fasten your seat-belts and enjoy the ride, with Enchantment fusing funk and soul. Here, the tempo is 133 beats per minute, with the rhythm section and wah-wah guitars combining with rasping horns and cascading strings. They provide a fast, furious and funk backdrop for Enchantment. Still their vocals and harmonies are peerless, the same soulful standard they’ve set so far. When their vocals drop out, the band give a funk masterclass, complete with sweeping, swirling strings. Then when Enchantment add soaring backing vocals that rise and fall with the strings, this is just the finishing touches to this six-and-half-minute Magnus Opus.
There’s a real change of style on My Rose, another ballad, which Enchantment deliver so well. With a subtle rhythm section and piano accompany him, Emanuel’s vocal is tender and full of feeling. Quickly, the vocal changes hands, while, the rest of Enchantment add impassioned harmonies. Lush, beautiful strings are accompanied by bursts of drums and blazing horns, which punctuate the arrangement dramatically. This adds to the emotion of the track, highlighting the beauty in the lyrics. Like, Gloria, this track proves that Enchantment are hugely talented purveyors of impassioned, heartfelt ballads.
Sexy Lady sees the funky side of Enchantment come to the fore. Waves of wah-wah guitars, rhythm section and sensuous backing vocals give way to Emanuel’s sassy lead vocal. Strings dance, swirling and sweeping, while braying horns join the fray, joining Emanuel and Enchantment’s soulful harmonies. With their band creating the funkiest and sassiest of backdrops, they add some seductive, sultry vocals. When this is all combined by producer Michael Stokes, the result is vampish, alluring and funk drenched track.
Closing Enchantment’s debut album Enchantment, is Thank You Girl For Loving Me, a track that reveals a really soulful side to the group’s music. As the track opens, Enchantment unite to deliver some impassioned, emotive backing vocals. Emanuel’s lead vocal gives thanks to the woman who loves him, accompanied by a rhythm section and guitars that sprinkle funk throughout the arrangement, while rasping horns and cascading strings combine soulfully. However, what makes this such a great track, is the heartfelt lead vocal and tight, beautiful and impassioned harmonies. This makes this not just the perfect way to close Enchantment’s debut album, but a beautiful and emotional one too.
It seems that Enchantment’s decision to learn their trade and hone their craft worked well. Their debut album Enchantment, is a highly accomplished, polished album, where Enchantment fuse soul and funk. Whether uptempo tracks or ballads, funky of soulful tracks, Enchantment deliver them with the requisite amount of emotion and passion. Emanuel “EJ” Johnson’s vocals bring the songs to life, with each of the songs subtleties and charms being revealed. Of the eight songs on the album, Come On and Ride, Gloria and Sunshine, the three singles are among the highlights on Enchantment. However, there’s much more to the album than three tracks. My Rose and Thank You Girl are slower, heartfelt tracks, while Dance To the Music, Hold On and Sexy Lady demonstrate the funkier side of Enchantment. For anyone who loves soul or funk, then this album is one that you really should discover. It’ll be rereleased on BBR Records on14th May 2012, along with their second album Once Upon A Dream. After this Enchantment would release just one more album on Roadshow Records, Journey To the Land of …Enchantment, after which Roadshow Records folded. This disappointment lead to Enchantment signing to Columbia Records, releasing two more albums 1982s Enchanted Lady and 1983s Utopia. Standout Tracks: Come On and Ride, Gloria, Sunshine and Thank You Girl For Loving Me.
ENCHANTMENT-ENCHANTMENT.
ISAAC HAYES-BLACK MOSES.
ISAAC HAYES-BLACK MOSES.
In a previous article, I wrote about how Isaac Hayes’ solo career was very nearly short-lived. After the commercial failure of 1967s Presenting Isaac Hayes, Isaac was all set to give up his solo career, and concentrate on his songwriting and production duties at Stax. It was lucky he didn’t though, 1969s Hot Buttered Soul reached number eight in the US Billboard 200 and gave Isaac his first number one US R&B album. After this, his next four albums would all reach number one in the US R&B Charts. These were 1970s The Isaac Hayes Movement and …To Be Continued, with 1971s seminal Blaxploitation soundtrack Shaft and Black Moses the last of this quartet of number one US R&B albums. It seemed that Isaac Hayes, or as Stax executive Dino Woodward fondly rechristened him, Black Moses, could no wrong. This was truly, the hottest period of Issac Hayes career. However, neither did he know that after this, he’d only release three further albums for Stax before the label folded, nor that only two more of his albums would enjoy the same commercial success. To misquote Bob Dylan, the times and music were a changing. Before I tell you about the music on Black Moses, I’ll tell you about the background to the album.
Recording of Black Moses, Isaac Hayes fifth album took place between March and October 1971. This was a busy time for Isaac, with the recording of the soundtrack for Shaft taking place in July 1971. Add to this, his usual songwriting and production duties at Stax and it’s quite an accomplishment to have recorded two albums in 1970 and 1971. Not only had he recorded Shaft, but Black Moses would be a double album. A total of fourteen tracks were recorded, a mixture of eleven cover versions and three that Isaac cowrote. Among the tracks chosen for the album, were songs written by some of the biggest songwriters of all time. Curtis Mayfield, Gamble and Huff and Bacharach and David were just three of the songwriters contributing to Black Moses. Isaac had a similarly impressive band, including The Bar-Kays, bassist Ronald Hudson and drummer Willie Hall. Together they recorded the fourteen songs that made-up the four sides of Black Moses. Would what was Isaac’s fifth album match the success of his previous three albums?
Isaac’s fifth album was entitled Black Moses, after the nickname bestowed upon him by Dino Woodward. This nickname had been popularized by Chester Hayes, in an article he wrote for Jet magazine. The nickname had come about because of the popularity of Isaac’s music on black audiences. For Isaac a devout Christian, he was unsure about the nickname, believing it sacrilegious, but eventually, perceived the nickname as a symbol of black pride. It was Larry Shaw, head of marketing and publicity at Stax who hit on the title Black Moses. This was how the title of Isaac’s fifth album came about. With Bar-Kays member Ron Gordon, he came up with the idea of Black Moses’ gatefold sleeve. When it’s unfolded, it reveals a a poster sized picture of Isaac, dressed in robes like Moses. This design was innovative, for the release of Black Moses in November 1971. Black Moses reached number ten in the US Billboard 200 and number one in the US R&B Charts. Never Can Say Goodbye, previously recorded by The Jackson 5, and later, becoming synonymous with Gloria Gaynor, was released as a single, reaching number twenty-two in the US Billboard 100 and number five in the US R&B Charts. With both Shaft and Black Moses reaching number one in the US R&B album charts in 1971, 1971 would prove to be a landmark year in his career, undoubtably the most successful of his long career. The reason for this is quite simple, the music, and it’s the music on Black Moses that I’ll now tell you about, choosing some of the highlights from the album.
Opening Side One of Black Moses is Never Can Say Goodbye, written by Clifton Davis and made famous by The Jackson 5 and Gloria Gaynor. Here, Isaac slows the song way down, adding sadness and emotion to his vocal. It’s just The Bar-Keys, keyboards and hugely soulful backing vocalists. The rhythm section play with a subtlety, while Isaac plays Hammond organ and he plays vibes which augment the arrangement. Although the polar opposite of other versions, Isaac’s version transforms the track. He brings out the sadness and regret in the lyrics, with an impassioned vocal and understated, yet effective arrangement.
Bacharach and David cowrote They Long To Be Close To You, which was a huge hit for The Carpenters. Here, Isaac works his magic on the track. Female backing vocalists soulfully and gracefully combine with bursts of rasping horns, while the rhythm section provide the track’s heartbeat. With a flourish of piano, Isaac’s beautiful vocal enters, accompanied by soaring backing vocalists and the lushest of strings. Together with guitars and bursts of horns they bring new meaning to Bacharach and David’s beautiful track on Isaac’s nine minute Magnus Opus. Of all the tracks on Black Moses this isn’t just one of the most beautiful, but one of the best.
Nothing Takes The Place Of You was co-written by Toussaint McColl and Alan Robison and is, quite simply one of the saddest and most moving. It’s a tale of love lost, with Isaac’s vocal full of hurt, heartbroken even. The arrangement is slow, spacious and full of sadness. Keyboards, piano and a subtle rhythm section combine with gospel-tinged backing vocalists, while a heartbroken Isaac lays bare the hurt he’s feeling and experiencing. His delivery is so heartfelt and convincing that you end up feeling and sharing his hurt. That, to me, is something only a great song, like this one, can do.
Gamble and Huff along with Jerry Butler cowrote Never Gonna Give You Up. Jaunty, blazing horns, cascading keyboards and impassioned backing vocalists combine as the track opens. They give way to Isaac’s vocal, which is full of hurt, his partner’s cheating on him, but he’s never gonna give her up. He’s here to stay, in love with her. His passion is reflected by the drama the braying horns, rhythm section and swirling, sweeping strings create. While Isaac’s pride is hurt, is love’s still strong, with his emotion and passion reflecting this. Here, like so many songs on Black Moses, Isaac sings about the problems of relationships, doing so with a realism that’s effective.
Need Someone To Love has a grand, orchestral sound, with cascading strings, rasping horns and serene backing vocalists combing, before Isaac’s needy vocal enters. A harpsichord plays in the background, before swathes of strings cut in, accompanied by bursts of horns while Isaac lays bare his heart. In doing so, he brings a new meaning to this Curtis Mayfield penned track, mixing drama, emotion and loneliness peerlessly. Much of this is down to his needy vocal, combined with an arrangement that reflects the sadness and emptiness in his life.
Kris Kristofferson wrote For The Good Times, and Isaac’s version is one of the best I’ve heard. Much of this is down to the arrangement, which is one part understated, one part emotion and one part beauty. Lush strings, heartfelt backing vocals and bursts of braying horns combine with the desperation and insecurity in Isaac’s vocal. He realizes his relationship is over, but can’t bare to say goodbye. His vocal is key to the song’s success, with the arrangement playing an emotive, supporting role. Backing singers respond to Isaac’s call, and like the strings, add to the sadness of the song. Together, they create a track drenched in sadness and regret, but one that’s beautiful and a perfect breakup song.
I’ll Never Fall In Love Again is the second Bacharach and David song, with this one of the true classics they cowrote. Although it’s been covered by many artists, nobody has covered it like Isaac does. He slows the song way down, with swathes of strings surrounded his heartbroken vocal. Meanwhile, the rhythm section provide the song’s broken-heartbeat. Bursts of horns and Hammond organ add to the atmospheric, almost dramatic arrangement. However, what makes this such a memorable cover version is Isaac’s vocal, which sounds like he’s lived the song, experiencing the emotion he’s singing about.
My final choice from Black Moses is Going In Circles co-written by Jerry Peters and Anita Poree. Straight away, you realize something impressive is about to unfold. The lengthy introduction slowly builds up the drama and tension, with strings, rhythm section and ethereal backing vocalists combining. Strings add drama and a melancholy sound, while drums add drama before signaling the arrival of Isaac’s vocal. His voice is laden with emotion and sadness, his head spinning in confusion at his problems with his partner. Throughout this epic seven minute track, the rhythm section, backing vocalists and strings combine to create a backdrop that’s full of drama, tension and sadness. Add Isaac’s emotive, heartfelt vocal to this and the result is one of the most moving and beautiful tracks on Black Moses and perfect to close the album.
Of the first five Isaac Hayes albums, Black Moses to me is the finest. To me it’s worthy of being called a Magnus Opus, with fourteen songs spread over two albums. Here, Isaac Hayes transforms many of the tracks on Black Moses, bringing new meaning to each of these songs. This includes Never Can Say Goodbye, They Long To Be Close To You, For The Good Times and I’ll Never Fall In Love Again. Isaac Hayes interpretation of these tracks, and the rest of the songs on Black Moses, brings out the subtleties and nuances of the songs. His arrangements on the album play a big part in the songs success. Swathes of lush strings, rasping horns and The Bar-Kays providing the album’s heartbeat. The backing vocalists soulful, emotive contributions that augment Isaac’s vocals compliment and exemplify the emotion and passion in his vocals. When all this is combined, Black Moses is one of the highlights of Isaac Hayes long and illustrious career. Black Moses was the second important album of 1971, with the seminal Blaxploitation soundtrack Shaft, the other. For anyone For whose yet to discover Isaac Hayes music, then these two albums from 1971 are the place to start. Both Black Moses and Shaft, are albums that I can’t recommend highly enough and belong is any music lover’s collection. After that, then albums like Hot Buttered Soul, The Isaac Hayes Movement and …To Be Continued are other Isaac Hayes albums that I’d recommend. Standout Tracks: Never Can Say Goodbye, They Long To Be Close To You, For The Good Times and I’ll Never Fall In Love Again.
ISAAC HAYES-BLACK MOSES.
BILLY PAUL-GOING EAST.
BILLY PAUL-GOING EAST.
After releasing Feelin’ Good At the Cadillac Club on Gamble Records in 1968 and Ebony Woman on Neptune in 1970, Billy Paul signed to a newly formed label in Philadelphia, founded by two songwriters, musicians and producers. The label was Philadelphia International Records and the two founders were Kenneth Gamble and Leon Huff. Neither Billy Paul, nor Gamble and Huff had any idea of what would follow and the effect both would have on soul music. Billy Paul, who’d release Philadelphia International Records’ first album in 1971, Going East and become Philadelphia International Records’ first male superstar. Philadelphia International Records would go on to release some of the most influential, innovative and commercially successful albums of the seventies. However, the album that launched the nascent label was Going East, Billy Paul’s third album. A year later, Billy Paul would release his most successful album 360 Degrees of Billy Paul, which contains a song that has become synonymous with Billy Me and Mrs Jones. That was all to come. Before that, was the album that launched one of the most innovative and influential record labels, Philadelphia International Records, Going East, Billy Paul’s third album and the album that brought him to the public’s attention.
Recording of Going East would take place at Sigma Sound Studios, where all the future Philadelphia International Records’ recordings would take place. Gamble and Huff would produce the album, with Bobby Martin, Lenny Pakula and Thom Bell arranging the album’s nine tracks. For the recording sessions at Sigma Sound, many musicians who’d become part of M.F.S.B. played on the sessions. This included guitarist Norman Harris of the Baker, Harris, Young rhythm section, vibraphone player Vince Montana and Don Renaldo’s string section. In total, nine tracks were recorded, with just Love Buddies written by Gamble and Huff. The rest of the tracks were written by other songwriters, including Bobby Martin, who cowrote I Wish It Were Yesterday with Lee Phillips. Once Billy had recorded the nine tracks that became Going East, Philadelphia International Records were ready to release their very first album. How would Going East perform commercially?
On the release of Going East in 1971, it entered the US Billboard 200 at 197. It fared better in the US R&B Charts, reaching number forty-two. Although this wasn’t the most successful album of Billy Paul’s career, it wasn’t bad for a new artist on a newly founded label. However, the next album Billy would release would prove much more commercially successful, 360 Degrees of Billy Paul. That was still to come. Going East, which preceded it, is an ambitious, genre defying album, with nine tracks, which span jazz, funk and Philly soul, that I’ll now tell you about.
Opening Going East is East, written by Philly bassist and baritone Tyrone-William Brown and arranged by Lenny Pakula. Even an early Philadelphia International release like Going East demonstrates Gamble and Huff’s determination to innovate and push musical boundaries. This is shown with their use of the sound of an airplane taking-off, preceding Billy’s thoughtful and moving spoken word introduction. As the track begins to reveal its secrets, Billy’s vocal is full of emotion, while percussion, keyboards and the rhythm section combine to produce a jazzy backdrop. Strings cascade, while the bass prowls along the arrangement and Billy’s heartfelt vocal. It’s key to the track’s success, along with the lyrics and Lenny Pakula’s atmospheric and dramatic arrangement.
Very different from the opening track is (If You Let Me Make Love To You Then) Why Can’t I Touch You? It’s much quicker, with a jaunty arrangement, where punchy, rasping horns and sweeping, swirling strings accompany Billy’s impassioned vocal. Again, Thom Bell’s arrangement is jazz-tinged, but still soulful. Strings dance above his emotive, needy vocal, while the rhythm section provide the track’s heartbeat. Although it’s quite different from the opening track, Billy and his band combine to create a track that although jazz-tinged, is still soulful and emotive.
Jimmy Webb wrote This Is Your Life, which has a lovely understated arrangement, with just the piano and lush strings accompanying Billy. His vocal is thoughtful, augmented by backing vocalists, while the entrance of the rhythm section signals the arrangement’s unfolding. Bursts of rasping horns punctuate the arrangement, while the strings sweep slowly, and Billy delivers one of his most impassioned, emotive and beautiful vocals on the album. This he does against an arrangement that’s understated and beautiful, perfect for Billy’s vocal.
Moh Jakke wrote Jesus Boy (You Only Look Like A Man), a track that’s bathed in drama from the opening bars. This is due to a combination of drums and short, sharp bursts of horns, before the Hammond organ and grand strings enter. Billy’s vocal is thoughtful, considered and understated. Backing vocalists accompany him, soaring elegantly and powerfully above the arrangement, as the track becomes dramatic and even, grandiose. By now, Billy’s vocal has grown in power and passion, as the arrangement quickens and slows, adding to the drama and effectiveness of the track.
Demonstrating the variety of music on Going East is Magic Carpet Ride, a track which sees the album change direction again. From a jazz-tinged start, the track quickly changes, with Billy’s vocal quick, delivered at breakneck speed, but in a soulful style. After this, the rhythm section, percussion and flute, then later, Hammond organ combine to drive the track along on a tour of musical genres. This journey takes in elements jazz, funk, sixties rock and soul. It truly is a Magic Carpet Ride, where Billy and his band visit a variety of musical genres.
During his time with Philadelphia International, Bobby Martin would become one of the label’s best arrangers, before later, forging a successful career as a producer. On I Wish It Were Yesterday we get the chance to hear a song Bobby cowrote with Lee Phillips. It proves that not only is Bobby Martin a hugely talented arranger and producer, but an equally talented songwriter. Bobby’s arrangement is stunning, with the lushest of strings and slow piano accompanying Billy’s heartfelt and beautiful vocal. With just occasional flourishes of guitar and old style jazz bass, the most beautiful song on the album takes shape, mixing a heartfelt vocal and jazz drenched arrangement.
Compared To What continues the jazzy style, with the rhythm section and stabs of Hammond organ combining with piano. Billy’s vocal has a similar jazzy style, complete with bursts of punchy, blazing horns and flute. Here, this nascent version of M.F.S.B. get a chance to kick loose, doing so, with aplomb, proving their talent and versatility. This would be put to good use over the next decade or so. Billy meanwhile, gives a powerful, impassioned vocal, seamlessly demonstrating his versatility and talent.
Love Buddies was the only Gamble and Huff penned track on Going East. However, quality as anyone knows, is more important than quantity. With the sultriest of saxophone and Vince Montana’s vibes combining with the piano, Billy’s vocal is full of emotion, heartfelt and impassioned. Again, there’s a jazzy sound to Bobby Martin’s arrangement, with slow, lush strings adding to the emotion and beauty of the track. Billy delivers one of his best vocals on what is, one of the real highlights of Going East, showing his ability to bring a song to life, with the emotion and passion that’s present in his vocal.
Closing Going East is a track by Richard Rogers and Lorenz Hart, There’s A Small Hotel. It’s the perfect track to close the album, allowing Billy’s vocal to take centre-stage. His vocal is a combination of subtlety and passion, while the understated arrangement combines slow, lush strings and a piano provides the perfect accompaniment. Together, Billy and the band bring out the beauty in Rogers and Hart’s classic song.
Although Going East was Billy Paul’s first album for Philadelphia International Records, he’d previously released two other albums and worked with Kenneth Gamble. This is reflected in the nine tracks that make up Going East. It’s a mature, highly accomplished and polished album, with this polished sound becoming something associated with Gamble and Huff and the Philly Sound.The music on Going East is more jazz than soul. Having said that, there’s no shortage of soul on the album, with several of the track fusing jazz and soul. While Gamble and Huff only wrote one track on Going East, Love Buddies, it was one of the highlights of the album, bettered only by I Wish It Were Yesterday, which Bobby Martin cowrote. To me, it’s the best track from the album, showing that Bobby Martin wasn’t just a hugely talented arranger and producer, but songwriter too. The track that opens Going East, East was also written by another Philadelphia musician, Tyrone-William Brown and is one of the most moving and powerful tracks on the album, with a similar power as The O’Jays Ship Ahoy. Overall, the music on Going East points towards the future sound of Billy Paul, Gamble and Huff and the Philly Sound. Similarly, the musicians that played on the album demonstrate the talent, versatility and sound that M.F.S.B. would become famous for. All this makes Going East, Billy Paul’s debut album for Philadelphia International Records such an important album in the history of Philadelphia International Records. A year later, Billy Paul would go on to release his most successful album, 360 Degrees of Billy Paul, which included Me and Mrs Jones, the song that would become synonymous with Billy Paul. For anyone whose either a fan of Billy Paul, the Philly Sound or just music in general, then Going East, the album that launched a legendary label is well worth discovering. Standout Tracks: East, I Wish It Were Yesterday, Compared To What and Love Buddies.
BILLY PAUL-GOING EAST.
AUNTIE AUBREY’S EXCURSIONS BEYOND THE CALL OF DUTY PART 2-THE ORB REMIX PROJECT.
AUNTIE AUBREY’S EXCURSIONS BEYOND THE CALL OF DUTY PART 2-THE ORB REMIX PROJECT.
Sometimes, unless you dig deep, trawling the internet to discover what albums are about to be released, albums can pass you by. The reason for this is quite simple, purely because they’re released without fanfare, or much in the way of promotion. This means that people who’d otherwise buy these albums, miss them, purely because they’re unaware the album has even been released. In some ways, this low-key approach to promotion is a welcome alternative to the hype and overkill major record companies use when marketing albums by some of the supposed “major artists.” Conversely, this must cost artists sales, especially artists who are signed to smaller labels. Another problem with this low-key approach to marketing is that some great albums lay undiscovered and unloved by music lovers. Thankfully, because I’m always on the lookout for new and interesting albums to review, I came across an album that many people won’t be aware of. It’s the second volume of remixes from The Orb, entitled Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project. Released on 23rd April 2012, this two-disc set was originally released back in 2001 and features twenty remixes by The Orb. Last year, saw the rerelease of the first volume of remixes, Auntie Aubrey’s Excursions Beyond The Call of Duty Part 1-The Orb Remix Project, which had originally been released back in 1996. Given the quality of ambient and chill-out music on both compilations, these are welcome rereleases. Indeed, with so many quality remixes on Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project, choosing just a few of the compilation’s highlights isn’t easy. Somehow, though, I’ve managed to do so and these are my highlights from the compilation.
DISC ONE.
On Disc One of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project, some of The Orb’s best known remixes feature. Indeed, one of the best know is their remix of Primal Scream’s Higher Than the Sun. Among the other highlights are KLF’s 3AM Eternal, The Orb’s track Once More and Penguin Cafe Orchestra’s Music From A Found Harmonium. Apart from this, there are remixes of tracks from Lisa Stansfield, Tubeway Army, Rick Wright, Art of Noise, Wendy and Lisa and intriguingly, Robbie Williams v The Orb’s I Started A Joke. With so many great remixes, choosing a few wasn’t easy, but with after much debate and indecision, these are my highlights of Disc One of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project.
My first choice is KLF’s 3AM Eternal, a track from KLF’s 1990 ambient house album chill out. The version included is the eight minute Blue Danube Orbital Mix. This demonstrates perfectly The Orb’s skill as remixers, producing a track that’s dubby, spacey and atmospheric. It’s a track full of samples, sound effects and surprises. One minute you’re listening to spoken-word samples, slow spacey drums swathed in echo and delay, the next, snatches of the Blue Danube waltz enter. They’re replaced by bird song, washes of synths and echoey vocals. Layer upon layer of this ambient soundscape gradually, reveal surprises and subtleties, teasing and tantalizing, with aural delights aplenty. Regardless of how many times you listen to the track, some new surprise or delight reveals itself. Of all the remixes The Orb have ever done, this remains worthy of the word classic.
Having just used the C-word, classic, I find myself retyping the word. How can that be I hear you ask? Well, quite simple, once you’ve heard The Orb’s remix of Primal Scream’s Higher Than The Sun you’ll realize why. The Battersea Shield Mix is one of my favorite remixes of this track. This is from Primal Scream’s seminal 1991 album Screamadelica, where they fused dance and indie rock. It’s only 81 beats per minute, with Bobby Gillespie’s haunting vocal sitting amidst slow, punchy, dubby drums, while washes of atmospheric synths glide in and out of the mix. Spoken-word samples, haunting vocals, plus a myriad of otherworldly sounds join, enter and leave the track. Synths beep and squeak, while drums provide the heartbeat of the track. Together, the effect and combination is irresistible and mesmerizing, making you dig out you’re much loved copy of Screamadelica, one more time and succumb to its seminal delights.
Wendy Melvoin and Lisa Coleman were part of Prince’s backing band The Revolution, in the early eighties. After that, they launched a solo career, as Wendy and Lisa and briefly, as Girl Bros. They’ve since released five albums, but Staring At The Sun doesn’t feature on any of their albums. Here, The Orb remix the track, with The Blinding Mix nearly nine minutes of enthralling and compelling music. The track features several of The Orb’s favorite ingredients spoken word samples, albeit swathed in echo, while distant drums pound, augmented by a myriad of mystical, eastern sounds. Keyboards drift in out of the track, as Wendy and Lisa’s distant vocals provide a contrast, sounding wistful and melancholy. Like the drums, the vocals are distant, giving them a mysterious, otherworldly sound. When all this is combined, the effect is an ambient soundscape, with secrets awaiting discovery.
Lisa Stansfield’s Time To Make You Mine was originally, a track from her second album, 1991s Real Love. However, this is Lisa Stansfield with a twist. Never before will you have heard Lisa like this. Using two spoken-word samples, the second of which heavily borrows from Pink Floyd’s The Wall, The Orb’s In My Dreams Mix starts to reveal its hidden depths. Amidst slow, crispy drums and stabs of atmospheric, repetitive synths sits Lisa’s emotive, sensuous vocal. Although slow, somewhat distant swathed by drums, synths and bursts of rocky guitars, Lisa’s vocal is bewitching, full of emotion and promise. Backing vocalists float in the ether, while Lisa’s vocal tantalizes, drifting in and out of the mix. For ten minutes, you’re enthralled, captivated and ultimately smitten by the beauty of Lisa’s vocal, not forgetting The Orb’s skills as remixers par excellence.
The last track from Disc One of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project is Penguin Cafe Orchestra’s Music for a Found Harmonium. Although this track was a staple of many a chill out or downtempo album, the Pandaharmoniumorb Mix brings new meaning to the track. This was a track from the Penguin Cafe Orchestra’s 1984 album Broadcasting From Home, which is a must-have album for lovers of downtempo or chill out music. Here, The Orb turn the track into a broody, moody soundscape. It’s full of mystical and futuristic sounds, with spoken-word samples, haunting vocals and chiming bells before eventually, you hear the mainstay of the original song, albeit swathed in filters. The track has been slightly sped up, with the track resonating. My only criticism is the use of filters. They slightly detract from the track’s intrinsic beauty. Apart from that, this remix brings new life and meaning to a true chill-out classic.
While I’ve only mentioned five of the ten tracks on Disc One of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project,), I could just as easily have mentioned several other tracks. However, tracks like KLF’s 3AM Eternal and f Primal Scream’s Higher Than The Sun chose themselves. Other tracks like the Penguin Cafe Orchestra’s Music for a Found Harmonium is a true classic of the chill-out or downtempo genres. Lisa Stansfield’s Time To Make You Mine shows a different side to her music, with her vocal on this remix bewitching. Of the other tracks on Disc One, I could just as easily have mentioned tracks by The Orb, The Art of Noise or Tubeway Army. That shows the consistency of quality on Disc One. Will the music on Disc Two of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project be just good though?
DISC TWO.
Disc Two of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project sees The Orb remix tracks from an eclectic selection of artists. This includes Mike Oldfield, System 7, Can, Meat Beat Manifesto, Tangerine Dream and The Damage Manual. Mind you, this eclectic selection isn’t surprising. Before 2001, when this compilation was originally released, The Orb were one of the most in-demand remixers, this isn’t surprising. They were one of the remixers of choice, hired to remix some of music’s biggest names. While many of these big names are absent from this compilation, the eclectic nature of the artists on Disc Two is quite apparent and astounding, as you’ll realize when I pick my highlights from Disc Two of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project.
One of the biggest names on Disc Two is Mike Oldfield. Here The Orb remix a track Oldfield v The Orb Sentinel. This is the Nobel Prize Mix, all fourteen and a half minutes of it. There’s a futuristic sound to the track, with haunting, otherworldly samples and sounds present from the get-go. Pounding drums, resounding synths and a moody, haunting vocal whose presence is not unlike Banquo’s ghost all play their part in this 21st Century soundscape. Drums gallop across the arrangement, with synths adding encouragement, not unlike the effect a jockey’s whip has on a horse. Gradually, the track decides to share it’s secrets, marauding along at 133 beats per minute. By now, you’re hooked, enthralled by the remix, wondering what will happen now? What surprises have The Orb in store? For over fourteen minutes you’re spellbound, won over by this futuristic soundscape and all its 21st Century delights.
Back when chill-out and downtempo music was flavor of the month, System 7 were one of the most popular purveyors of chill-out music. Miracle was a track from their 1991 album System 7 and here the Orb Remix gives the track a new twist. The track is louder, more in your face than some tracks on the compilation. Flourishes of synths, which have an Italian Piano House sound, combine with crunchy, pounding drums, while sirens explode above the arrangement. A myriad of sounds and styles are thrown in The Orb’s remixing pot, including bursts of rock-tinged guitars. When this is all combined with a tempo of 122 beats per minute, the effect is a track that fuses Italian Piano House, downtempo, house and rock guitars. Somehow this works, resulting in a track that brings back memories of Acid House and the second summer of love.
Can released Tago Mago in February 1971. One of the tracks from the double-album was Halleluwa an eighteen minute epic. Here, The Orb’s Halleluwa Orbus II remix is only nine minutes, but is the perfect introduction to Can’s music, for people yet to discover the delights of Krautrock. When the track opens, The Orb deploy several samples that are guaranteed to bring a smile to your face. They’ve a surreal quality, the perfect Amuse Bouche to the chugging, meandering combination of washes of synths and sound effects that wind their way into your consciousness. From there, it’s an otherworldly mixture of synths, sound effects and drums that wind their way slowly and atmospherically across the arrangement. This is ambience personified, best just to lie back and submit to the glorious, atmospheric charms of Can and The Orb.
Tangerine Dream, like Can, are another pioneering German electronic group, founded in the sixties. Like Can, their music is given The Orb remix treatment. Towards the Evening Star is the track chosen, with this the Mandarin Cream Mix. It’s eight minutes of electronic pioneers old and new. With a combination of atmospheric sounding samples and synths the track gets underway. Again, it’s ambience personified, with stabs of synths, drums and the sound of the desert wind blowing in. Then, just as you’re succumbing to the low-key sounds and delights, things liven up. Not too much though, just enough to ensure you’ve not slipped into a bliss-like sleep, caused by the aural delights of Can and The Orb. However, after three minutes, the track almost explodes, snapping you out of your ambience induced enjoyment. There’s still the quality, but louder, faster but still enthralling, compelling and intriguing.
My final choice from Disc Two of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project is Witchman’s Angel Art The Tale of The Orb Remix. This is hip-hop given a makeover by The Orb, so expect scratches and samples a plenty. Crispy drums, so loud they test the tolerance of your speakers, are combined with a rapped otherworldly vocal, bursts of spooky, haunting samples. Add to this stabs of synths and spoken-word samples that have The Orb’s trademark style and humor all are mixed together, to a produce a hip-hop soundscape The Orb way.
Like the music on Disc One of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project, the ten tracks that comprise Disc Two contain some great remixes by The Orb. This includes their remixes of Mike Oldfield, System 7, Can, Tangerine Dream and Witchman. That’s not forgetting tracks by The Grid, Meat Beat Manifesto and The Damage Manual. The music on Disc Two demonstrates just how eclectic a selection of artists The Orb have remixed over the years. These include artists from the sixties onwards, including Tangerine Dream, Can and Mike Oldfield. This is quite fitting, given artists like this trio were among the pioneers of electronic music. Similar to the music on Disc One, the music on Disc Two has a consistent quality, with some aural, ambient treats awaiting discovery. Now, although I enjoyed the two discs of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project I must add a caveat. When I received my copy of Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project, I was expecting the album would have been remastered and new version released for 2012. Not at all. When I looked at the sleeve and saw that this was the 2002 version, I felt short-changed., cheated even. Why did the record company not release a new version, one that was remastered I hear you ask? This would’ve been a good idea, as the album could benefit from a remaster. Well, there’s a good reason why the record company, Deviant Records, didn’t release a new version. They went into liquidation in 2006 and obviously, are no longer trading. However, regardless of this, if you’re a fan of either The Orb or chill-out music, then Auntie Aubrey’s Excursions Beyond The Call of Duty Part 2-The Orb Remix Project will appeal to you, that is, if you don’t mind buying a copy of a ten year old album. Standout Tracks: KLF 3AM Eternal, Primal Scream Higher Than The Sun, Lisa Stansfield Time To Make You Mine and Can Halleluwa.
AUNTIE AUBREY’S EXCURSIONS BEYOND THE CALL OF DUTY PART 2-THE ORB REMIX PROJECT.
LEROY BURGESS-ANTHOLOGY VOLUME 1: THE VOICE.
LEROY BURGESS-ANTHOLOGY VOLUME 1: THE VOICE.
Starting as the lead vocalist in Black Ivory during the early seventies, Leroy Burgess would go on to become one of the most successful men in music. Leroy wasn’t just a singer, he was a multi-instrumentalist, songwriter, arranger and producer. His career started as lead vocalist of Black Ivory, who released two albums in 1972, Baby, Won’t You Change Your Mind and Don’t Turn Around. These two albums were produced by Patrick Adams, who also managed the group. Patrick Adams would play a big part in Leroy’s career, collaborating projects like Bumble Bee Unlimited, Logg, Inner Life, The Universal Robot Band and Dazzle. Each of these groups feature Leroy Burgess’ vocals. Later, as a solo artist, Leroy released Heartbreaker on Salsoul Records, a classic boogie track. After this, Leroy became lead vocalist with Aleem, releasing two albums, 1986s Casually Format and 1987s Shock! Several of these tracks feature on Leroy Burgess-Anthology Volume 1: The Voice, a compilation released by Soul Brother Records in 2002, there are nine tracks featuring some of Leroy Burgess best known work. These include tracks from Aleem, The Fantastic Aleems, Logg and two tracks from Leroy’s solo career, Heavenly and Heartbreaker. Leroy Burgess-Anthology Volume 1: The Voice was the first of two retrospective compilations of Leroy Burgess’ work, with Leroy Burgess-Anthology Volume 2: The Producer also released in 2002. However, I’ll review that compilation separately. Before that, I’ll review Leroy Burgess-Anthology Volume 1: The Voice, choosing some of the highlights of that compilation.
My first choice from Leroy Burgess-Anthology Volume 1: The Voice is probably Leroy’s the best known track from his solo career, Heartbreaker. Released in August 1983 on Salsoul Records, Heartbreaker was the last track released by Salsoul before it closed its doors. Not only did Leroy cowrite the track, but arranged and produced it. When the track opens, it’s a combination of a funky rhythm section, squelchy synths and joyous backing vocalists combining. They give way to Leroy’s vocal. His vocal is powerful, passionate and emotive as the backing vocalists combine with him throughout the track. Flourishes of piano, reverberating synths and the rhythm section provide the perfect backdrop for Leroy’s vocal. Along with his joyous, gospel tinged backing vocalists, Leroy creates a stunning track, one that demonstrates his talents not just as a vocalist, but as a songwriter, arranger and producer.
Logg released Dancing In the Stars in 1981 on Salsoul Records. It was the B-side of (You’ve Got) That Something and arranged and produced by Leroy with Greg Carmichael, with whom he often collaborated with. Both tracks were from the only album Logg released, Logg in 1981. As the track opens, percussion and the funkiest of rhythm sections combine. The bass line is so funky, it tests the tolerance of your speakers. Keyboards then make their appearance, as gradually, the arrangement unfolds. Female vocalists enter, before squelchy, eighties sounding synths signal the arrival of Leroy’s impassioned vocal. While he delivers his vocal, a compelling combination of percussion, rhythm and synths produce a sound that’s quite unlike earlier Salsoul releases. Like these tracks, this track has one similarity…quality. Together with the female backing vocalists, rhythm section and a myriad of percussion, Leroy’s vocal plays a huge role in the success of this post-disco track.
The Fantastic Aleems released Hooked On Your Love in 1980, on NIA Records. This track features not just Leroy’s vocal, but Calebur and Luther Vandross, who sang backing vocals with Ullanda McCullough. Leroy co-produced the track, while John Morales mixed it. Pounding drums and percussion open the track, before you think the track will literally burst into life. However, you’re just being teased. Bursts of keyboards signal more percussion and another flourish of piano. Then after a minute, the track starts to reveal its charms. The rhythm section, keyboards, cascading strings and a flourish of piano signal the arrival of a female vocal. It’s loud, joyful accompanied by dancing strings and a funky bass. They give way to Leroy’s vocal which is emotive, accompanied by punchy backing vocals and an arrangement that combines drama and a lushness, thanks to the dancing disco strings. From there, this disco track gets even better, with Leroy’s vocal and production key to this irresistible and timeless track’s success.
Leroy Burgess was the lead vocalist of Aleem, releasing two albums, 1986s Casually Format and 1987s Shock! They released Get Loose in 1984, which Leroy cowrote with Sonny Davenport. They both produced the track with Taharqa and Tunde Ra Aleem. With a combination of rhythm section, synths, backing vocalists and percussion a quite different sounding track to Hooked On Your Love gets underway. This tracks has more of an electro-funk sound. However, like Hooked On Your Love and other tracks on Leroy Burgess-Anthology Volume 1: The Voice, Leroy’s vocal is at the heart the track’s success. While handclaps, a wash and stabs of synths, the rhythm section and backing vocalists all play their part in the track, it’s the emotion and passion in Leroy’s vocal that make this such a compelling slice of electro-funk.
The last track I’ve chosen to mention is another track by Logg, I Know You Will. Like Dancing In the Stars, which features on their 1981 Logg. It was released as a single in 1981. Arranged and produced by Greg Carmichael and Leroy, from the track’s opening bars you realize that this track is more than a little special. This is because this is the rare eleven minute version, which previously, could only be found on the B-side of the US version of (You’ve Got) That Something. Leroy’s accompanied by joyous backing vocalists, while the rhythm section, keyboards and flourishes of percussion combine. Of the nine tracks on Leroy Burgess-Anthology Volume 1: The Voice, this to me, is one of his best. When combined with the backing vocalists and an arrangement that’s variously powerful, dramatic and uplifting, the result is one of the best tracks on Leroy Burgess-Anthology Volume 1: The Voice.
Although I’ve only chosen to review five of the nine tracks on Leroy Burgess-Anthology Volume 1: The Voice, there’s nothing whatsoever wrong with the other four tracks. Quite the opposite, the nine track on Leroy Burgess-Anthology Volume 1: The Voice, include some of the best music of Leroy’s career as a vocalist. These include two tracks from his solo career, two with Aleem and The Fantastic Aleems, plus three from his time as a lead vocalist with Logg. There are two ways of looking at this compilation. You can view it as almost, the perfect introduction to Leroy Burgess career as a singer. Conversely, you can argue that there’s much more to his career as a singer, than his work with these three bands. Why there isn’t a track from his time with Black Ivory seems strange, given it was with Black Ivory that Leroy made his recording debut. Now I could argue quite rightly that given Aleem, Logg and The Fantastic Aleems were important parts of Leroy’s career as a singer and the music is some of the best of his career, so they should each feature twice, or in Logg’s case three times. However, just as important was his work with Black Ivory. Two tracks from Black Ivory features on Leroy Burgess-Anthology Volume 2: The Producer, albeit two tracks from their 1978 album Hangin’ Heavy, which Leroy wrote and arranged. In some ways, regardless of how good the music on Leroy Burgess-Anthology Volume 1: The Voice is, this compilation was a missed opportunity. Surely this was an opportunity to produce a much more comprehensive compilation. Nine tracks hardly do justice to Leroy Burgess’ career, and even a double album would’ve only scratched the surface. An artist of Leroy Burgess stature and importance, deserves a much more comprehensive retrospective of his career as a singer. However, for anyone wanting to discover Leroy Burgess’ career as a singer for the first time, then this is the perfect place to start. Standout Tracks: Leroy Burgess Heartbreaker, Logg Dancing In the Stars, The Fantastic Aleems Hooked On Your Love and Aleem Get Loose.
LEROY BURGESS-ANTHOLOGY VOLUME 1: THE VOICE.
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