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.
LEROY BURGESS-ANTHOLOGY VOLUME 2: THE PRODUCER.
LEROY BURGESS-ANTHOLOGY VOLUME 2: THE PRODUCER.
Having reviewed Leroy Burgess-Anthology Volume 1: The Voice, I decided that I’d review the follow-up or companion compilation Leroy Burgess-Anthology Volume 2: The Producer. Given the title, you’d expect this compilation to feature some of the many artists who’ve benefited from Leroy Burgess’ production skills. Not quite. Instead, the compilation features artists who Leroy has worked with. This explains why there are two tracks from Black Ivory, and tracks from Convertion and Class Action, neither of which were produced by Leroy on the compilation. Among the eleven tracks on Leroy Burgess-Anthology Volume 2: The Producer, are tracks from Fonda Rae, Dazzle, Dino Terell, Mainline and Caprice. Each of these eleven tracks were either written, arranged or produced by Leroy Burgess. There are also two tracks from Black Ivory, the group that gave Leroy his recording debut, leading to a long and illustrious musical career. On Leroy Burgess-Anthology Volume 2: The Producer are eleven tracks either written, arranged or produced by Leroy. I’ll now pick five of the best tracks from the compilation.
Black Ivory were one of the biggest, most successful groups on the Perception and Today labels. Discovered and produced by Patrick Adams, Leroy was a member of the group until 1972. Six years later, two songs he wrote Hustlin’ (You Gotta Be Dancin’) and Mainline featured on their 1978 album Hangin’ Heavy, released on Buddah Records. These two tracks feature on Leroy Burgess-Anthology Volume 2: The Producer Hustlin’ (You Gotta Be Dancin’) and Mainline. Of the two, my favorite is Hustlin’ (You Gotta Be Dancin’), with Stuart Bascombe singing the lead vocal. Leroy sang backing vocals, and arranged both the vocal and rhythm parts. With rasping horns, driving rhythm section and chiming guitars accompany Stuart’s vocal, the track reveals its beauty and charms. Lush strings, percussion and backing vocals all enter. Bursts of blazing horns punctuate the arrangement, while Stuart’s vocal play’s an important part in the arrangement. Later, the pounding, funky rhythm section, swirling strings and backing vocals all contribute towards making this joyous, uplifting track one of the highlights of the compilation.
Released in 1982 on Vanguard Records, Fonda Rae’s Over Like A Fat Rat was arranged by Leroy Burgess and produced by Bob Blank. Here, Fonda Rae gets the opportunity to display her diva-esque vocals. As the track opens it’s just a lone bass that you hear, before a drum, piano and handclaps enter. From there, the track begins to reveal its secrets. Keyboards join the mix, then Fonda’s vocal, which is laden with emotion, as she begins to reveal a powerful and impassioned vocal. Here, the tempo is slower than the Rainbow Brown track, just 105 beats per minute. However, one thing stays the same, the quality of Fonda’s vocal and similarly, the quality of the arrangement. It’s what you’d expect from Leroy Burgess, and what you’d expect on a track baring the label Vanguard Records.
High Frequency were an offshoot of Aleem, which featured Leroy Burgess as lead vocalists. Summertime was released in 1980, on NIA Records, with Leroy co-producing the track with brothers Taharqa and Tunde Ra Aleem. The track was recorded at the same time as Hooked On Your Love, a track from Aleem on Leroy Burgess-Anthology Volume 1: The Voice. Featuring Leroy’s lead vocal, the track just bursts into life, at 131 beats per minute. It’s just percussion, dark synths, keyboards and cascading strings that combine, before Leroy’s vocal, accompanied by backing vocalists, enters.Together, Leroy and the backing vocalists totally change the track. Leroy’s vocal is impassioned and emotive, with the backing vocalists variously soulful and dramatic. They’re joined by cascading strings, percussion, a funk drenched rhythm section and synths. Combine this results in a scintillating and totally irresistible slice of hook-laden disco.
Class Action featuring Christine Wiltshire released Weekend on Masterdisk Records in December 1982. Written by Leroy and James Calloway, while Bob and Lola Blank produced the track. Originally, the track was recorded by Phreek and co-prodiuced by Leroy and Patrick Adams. When the track opens, it has a compelling, intriguing sound. Pounding drums and hissing hi-hats are joined by brief flourishes of keyboards, before beefy, squelchy old school synths join the mix. By now, you think the track is heading in the direction of electro-funk. HStabs and washes of synths give way to joyous, soaring backing vocalists, before the sassy lead vocal enters. It’s half-spoken, before becoming powerful and frustrated. Soulful backing vocalists, synths and the rhythm section combine, with the strutting, sassy lead vocal. They all play their part in making this eight minute cover version of Phreek’s original track worthy of the word classic.
Dino Terrell You Can Do It (It’s So Easy) in 1986, on the New Image label. Written by Leroy Burgess and co-produced by Tommy Green. This is a mid-tempo track has one of the best vocals on Leroy Burgess-Anthology Volume 2: The Producer. Dino’s vocal is powerful, passionate and emotive, accompanied by soaring, soulful backing vocalists. They’re accompanied by a rhythm section that’s funky, while washes of synths, keyboards and strings combine. Together, they produce an arrangement that’s perfect for the vocal. It’s dramatic, punchy and emotive. When the arrangement and vocal are combined, the result is one of the real highlights of the compilation. Not only that, but it demonstrates perfectly how talented a songwriter and producer Leroy Burgess really is.
Like the music on Leroy Burgess-Anthology Volume 1: The Voice, the music on Leroy Burgess-Anthology Volume 2: The Producer includes some of the many highlights of Leroy’s long and illustrious career. It’s a shame that only eleven tracks were chosen, as there are so many classic tracks that could’ve and some might say should’ve been included. Truly, there are so many tracks that could’ve been chosen that a triple album wouldn’t have done them justice. However, Leroy Burgess-Anthology Volume 2: The Producer is a perfect primer for anyone wanting to discover the music of Leroy Burgess. I was going to say the production skills of Leroy Burgess, but that wouldn’t be accurate, as several of the tracks were either written or arranged by Leroy, not produced. That however, might be perceived as just splitting hairs, but for anyone new to Leroy’s music, they’d think he’d produced each of the tracks. That isn’t the case. Instead, Leroy Burgess-Anthology Volume 2: The Producer demonstrates just how multitalented Leroy Burgess really is. Whether it’s as a singer, songwriter, arranger or producer, Leroy Burgess can fulfill each of these rolls, with aplomb. He has played a huge part in music over the years, producing literally hundreds of tracks that cross the musical genres, not just soul, disco and boogie. Leroy’s been involved in so many musical projects, that collecting each of them must be a record collector’s equivalent of climbing Everest. Should you just want a compilation of some of his finest work, then Leroy Burgess-Anthology Volume 2: The Producer is a goo place to start. After that, you can further investigate the riches of Leroy Burgess’ back-catalogue, which will prove to be a majestic voyage of musical discovery. Standout Tracks: Black Ivory Hustlin’ (You Gotta Be Dancin’), Fonda Rae Over Like A Fat Rat, High Frequency Summertime and Dino Terrell You Can Do It (It’s So Easy).
LEROY BURGESS-ANTHOLOGY VOLUME 2: THE PRODUCER.
THE MANHATTANS-THE MANHATTANS.
THE MANHATTANS-THE MANHATTANS.
By the time The Manhattans were about to release their seventh album The Manhattans, success had eluded the group. The most successful of their six previous albums had been their previous album 1974s There’s No Me Without You, which reached number 150 in the US Billboard 200 and number nineteen in the US R&B Charts. That was about to change when The Manhattans was released in 1976. It would surpass everything that had gone before, reaching number sixteen in the US Billboard 200 and number six in the US R&B Charts, being certified gold in the process. This would be the first of three albums by The Manhattans that would be certified gold. After this, the follow-up to The Manhattans,1977s It Feels So Good and 1980s After Midnight were both certified gold. These three albums featured some of the best music of The Manhattans career. They were all recorded in Sigma Sound Studios in Philadelphia, which back in the seventies, was the music capital of America. Both The Manhattans and It Feels So Good were co-produced by Bobby Martin and Bert DeCouteaux two hugely talented, experienced and successful producers. Together with The Manhattans, they produced the album that started this run of successful and gold certified albums The Manhattans. Together with After Midnight, The Manhattans was rereleased by Superbird Records in 2010. However, before I tell you about the music on The Manhattans, I’ll tell you about the background to, and making of the album.
Like their two previous albums, 1973s There’s No Me Without You and 1974s That’s How Much I Love You were co-produced by Bobby Martin. For recording of The Manhattans, Bobby Martin and Bert DeCouteaux were hired to coproduce the album. Recording sessions too place at two studios, with seven tracks recorded at Sigma Sound Studios in Philadelphia, while the other three tracks were recorded at Columbia Recording Studios in New York. These recording sessions would be the turning point in Richard Taylor, Edward Bivins, Winfred “Blue” Lovett, Kenneth Kelly and Gerald Alston, The Manhattans. Little did they know that the ten songs that they were about to record would change their career.
With recording taking place in Philadelphia and New York, ten tracks were chosen for the album. This included Reasons, co-written by Maurice White, Philip Bailey and Charles Stepney. Two of The Manhattans contributed tracks for the album. Edward Bivins wrote one song, while Winfred “Blue” Lovett wrote two songs, one of which would provide The Manhattans with the biggest hit of their career. These three songs, plus the seven other tracks were recorded in Philadelphia and New York, with some experienced and talented musicians accompanying them. With The Manhattans seventh album recorded, all that was left was for it to be released. This would prove to be the album that started the most successful period in The Manhattans’ career.
When The Manhattans seventh album The Manhattans was released, it reached number sixteen in the US Billboard 200 and number six in the US R&B Charts, being certified gold in the process. Two singles were released from the album, with Kiss and Say Goodbye reaching number one in both the US Billboard 100 and US R&B Charts. Hurt was the second single released, reaching number ninety-seven in the US Billboard 100 and number ten in the US R&B Charts. After this The Manhattans would enter the most commercially successful period of their career. However, the album that started this period was The Manhattans, which I’ll now tell you about.
Opening The Manhattans is Searching For Love arranged by Bobby Martin, who co-produced the track with The Manhattans. This is one of the uptempo tracks on the album, with a real Philly sound influence thanks to Bobby Martin. The rhythm section and bursts of horns combining as the track opens. When The Manhattans contribute tight, emotive, cascading four-part harmonies, strings cascade above the arrangement, as Gerald Alston delivers an impassioned, powerful vocal. From there, the track becomes a joyous explosion of the slickest, smoothest Philly soul. Strings, sweep and swirl, horns rasp, while the rhythm section and percussion combining seamlessly with Gerald’s heartfelt, impassioned vocal and some the best harmonies you’ll ever hear. It’s an irresistible, hook-laden slice of the finest Philly soul.
On We’ll Have Forever To Love, The Manhattans drop the tempo on a track written by Edward Bivins. The tempo is just 79 beats per minute, with the sultriest of saxophones, rhythm section and Hammond organ accompanying Gerald’s half-spoken vocal. Then when his vocal enters, it’s heartfelt and sincere, accompanied by subtle harmonies. Sometimes, drums add drama, while lush strings and guitars add to the track’s beauty and romantic sound. Later, the addition of a lone saxophone is the finishing touch to what’s a gorgeous heartfelt paean to love.
Take It or Leave It is another of the slower tracks, which The Manhattans are so good at delivering. Again, Bobby Martin arranged and co-produced the track with The Manhattans. Gerald’s vocal is laden with emotion as he delivers the lyrics, while the rest of the group add equally emotional and heartfelt harmonies. The slow arrangement combines an understated sound, before later, the rhythm section and strings add to the drama and emotion. Mostly, it’s just the rhythm section, keyboards and slow, sad strings that combine. This is really effective, combining beautifully with Gerald’s lead vocal and the harmonies that accompany him.
Reasons is a cover of a song that Maurice White, Philip Bailey and Charles Stepney cowrote for Earth, Wind and Fire. It’s one of the trio of songs recorded in New York, arranged and produced by Bert DeCouteaux. His “sound” is very different from Bobby Martin’s, and although it’s a good track, I feel Bobby Martin’s sound is more suited to The Manhattans. Each of The Manhattans take turns of delivering the lead vocal, while swathes of strings envelop their vocal. As the vocal changes hands, the rhythm section, strings, percussion and occasional bursts of horn accompany The Manhattans. While this track has a different sound to previous tracks, it has one thing in common….quality.
Winfred Lovett of The Manhattans wrote two songs on the album, with How Can Anything So Good Be So Bad For You the first of these. Here Bert DeCouteaux arranges and co-produces the track with The Manhattans. This is another uptempo track, with a really catchy, feel-good sound, laden with hooks. Both The Manhattans and the band surpass themselves. Gerald’s powerful, passionate vocal is augmented by some of the finest harmonies on the album. Meanwhile, the rhythm section, swirling, sweeping strings and bursts of blazing horns combine to produce a joyous, peerless arrangement on what’s one of the highlights of the album. Why this track wasn’t released as a single seems incredible?
The second single released from The Manhattans was Hurt, co-written by Al Jacobs and Jimmie Craine. Previously, the track had been a hit single for Tim Yuro and Roy Hamilton. Here, The Manhattans give the song their own twist, produced by the group and Bobby Martin. The Manhattans contribute beautiful harmonies, before a half-spoken introduction, that gives way to Gerald’s heartbroken lead vocal, laden in sadness and regret. Lush strings, burst of rasping horns and drums, combine with the harmonies to produce an arrangement that’s drenched in sadness and a perfect accompaniment for the lead vocal. Of the ten tracks on The Manhattans, this is by far the saddest, most moving and ultimately, beautiful.
Wonderful World Of Love, written by Robert Riley Sr. is another of the slow, ballads The Manhattans deliver so well. The interplay between the heartfelt lead vocal and harmonies is peerless, the result of fourteen years experience. Bobby Martin’s arrangement plays an important role in the track’s success. Much of this is down to the rhythm section, who provide the perfect, understated backdrop for the vocal, before later, swathes of strings enter. They add to the emotion and beauty of The Manhattans’ vocals. Their delivery combines passion, emotion and sincerity. When combined with Bobby Martin’s arrangement, this results in another beautiful ballad, of the quality we’ve come to expect from The Manhattans.
Keyboards, rhythm section and slow, sweeping strings combine as If You’re Ever Gonna Love Me opens. When Gerald’s vocal enters, it’s slow, impassioned and dramatic. The rest of The Manhattans combine to deliver harmonies that are heartfelt and dramatic. Later, the lead vocal changes hands, as the string drenched arrangement unfolds. Like other tracks on the album, the arrangement has an understated sound, allowing The Manhattans to take-centre stage. Here, it’s just keyboards, rhythm section and strings that are key to the arrangement. Bobby Martin’s arrangement is one of his best, fusing seamlessly with The Manhattans on one of the best tracks on then album.
As La La La Wish Upon A Star opens, The Manhattans demonstrate how good they are at singing four-part harmonies. They’re accompanied by lush strings, bursts of rasping horns and the rhythm section that as usual, provides the track’s heartbeat. Gerald’s vocal is tender and sincere, while cascading strings and harmonies augment it. Horns punctuate the arrangement, combining with strings to play starring roles in the track’s success. Winfred acts as the closer for the track, his deep, distinctive bringing this uplifting, joyful track to a close.
Closing The Manhattans is Kiss And Say Goodbye, the track that gave The Manhattans number one singles in the US Billboard 100 and US R&B Charts. This is the second track written by Winfred Lovett, whose spoken word introduction opens the track. From the get-go, the track is laden with sadness and regret, with Winfred having to say goodbye to the woman he was having an illicit affair with. After a minute, Gerald takes over. His vocal is riddled with regret and heartache, while the Hammond organ, cascading strings and rhythm section accompany him. The rest of the group add to the sense of sadness and regret, adding harmonies drenched in emotion. For over four minutes, you’re enthralled, at the drama and heartache unfolding before you. You become caught up in the song, begin to feel sorry for everyone, especially the woman he’s saying goodbye to, demonstrating just a good a track this is. For me, this is the best track on The Manhattans, and a perfect way to close the album.
Fourteen years after The Manhattans were founded, they made their commercial breakthrough with their seventh album The Manhattans. It reached number sixteen in the US Billboard 200 and number six in the US R&B Charts. This gave them the first of three gold discs, and was the start of the most commercially successful period of The Manhattans long career. Bobby Martin who arranged and co-produced seven of the ten tracks, played an important part in the album’s success. So did Bert DeCouteaux who produced the three other tracks on the album. However, Bobby Martin weaved some Philly magic on seven of the tracks, with his arrangements and productions providing a perfect backdrop for The Manhattans’ vocals. Having two different producers working on the album could’ve caused problems, but thankfully this wasn’t the case. Both Bobby Martin and Bert DeCouteaux were experienced and talented producers, who played a huge part in the success of The Manhattans. Given how talented a group The Manhattans were, it seems strange that it took them seven albums before their music found the success it deserved. After this, two more of their albums 1977s It Feels So Good and 1980s After Midnight were certified gold. The albums The Manhattans released between 1976 and 1980, including The Manhattans, contain some of the best music of their career. These albums were rereleased by Superbird Records in 2010, giving anyone whose yet to discover the music of The Manhattans the perfect opportunity to do so. For me, The Manhattans is the perfect place to start when discovering the music of The Manhattans. For anyone who loves the Philly sound, then The Manhattans is a real must-have album. Standout Tracks: Searching For Love, We’ll Have Forever To Love, How Can Anything So Good Be So Bad For You and Kiss And Say Goodbye.
THE MANHATTANS-THE MANHATTANS.
BILL WITHERS-JUST AS I AM.
BILL WITHERS-JUST AS I AM.
How Bill Withers came to become one of the biggest artists of the seventies and eighties, is a fascinating story. Born in 1938, in Slab Fork, West Virginia, Bill’s father died when he was twelve years old. Aged eighteen, Bill joined the US Navy, where he spent nine years. It was during that time, that Bill started writing and singing. After leaving the navy in 1965, Bill headed to Los Angeles in 1967 looking to pursue a musical career. So that he could afford to record demo tapes, he worked in assembly for various companies. At night, Bill sang in LA nightclubs, while waiting and hoping for his breakthrough. Then in early 1970, Bill got a breakthrough. He’d sent a demo tape to Sussex Records, where Clarence Avant realized Bill’s potential. Clarence signed Bill to Sussex Records, hiring Booker T. Jones to produce his debut album. This debut album, Just A I Am, which will be rereleased by BBR Records on 7th May 2012, would contain one of Bill’s most famous songs, Ain’t No Sunshine, and give him a number five album in the US R&B Charts. After this, Bill’s days of assembling aircraft parts were seemingly over. However, he was reluctant to give up his day-job, perceiving the music industry as unstable, especially for a new, up and coming act. Thankfully, he decided to give up his day-job, to concentrate on music, releasing five albums that reached the top ten in the US R&B Charts and two were certified gold. Just As I Am was the album that started Bill’s long and illustrious career, and after I’ve told you about the background to the album, I’ll tell you about the music on it.
Having signed to Sussex Records, Clarence Avant hired Booker T. Jones to produce Bill Withers’ debut album. For the recording sessions at Sunset Sound Recorders and Wally Helder Recording Studios, Booker T. Jones the frontman for Booker T. and The MGs put together one of the tightest, most talented bands. This included his band mates bassist Donald “Duck” Dunn and drummer Al Jackson Jr., while Booker would also play guitar and keyboards as well as producing the album. Stephen Stills played guitar, Jim Keltner drums and on bass, Chris Etridge, who sadly, died on 23rd April 2012. Percussion player Bobbie Hall Porter was the last member of this multitalented band.
Now that Bill had a backing band in place, the recording sessions could get underway. Twelve tracks were chosen for the album, ten of which Bill had written himself. One of these songs would become synonymous with Bill Withers, Ain’t No Sunshine, which gave Bill the first big hit of his career. There are two cover versions on the album. The first is a cover of Fred Neil’s Everybody’s Talkin,’ first recorded by Fred Neil on his second album, 1966s Fred Neil and later covered by Harry Nilsson. The second cover version is a cover of The Beatles’ Let It Be, which they’d released as a single in March 1970. With these two cover versions, plus the ten songs written by Bill recorded, what would be come Just As I Am was scheduled for released later in 1971.
Before the release of Just As I Am, the label decided to release Harlem as a single in April 1971. On the B-side, was Ain’t No Sunshine. Harlem wasn’t a success as a single. However, Lady Luck decided to intervene. DJs decided to flip the single over, playing Ain’t No Sunshine instead. The following month, May 1971, the album Just As I Am was released. It reached number thirty-five in the US Billboard 200 and number nine in the US R&B Charts. After DJs started playing Ain’t No Sunshine, Sussex Records decided to release it as a single, reaching number three in the US Billboard 100 and number six in the US R&B Charts. Since then, Ain’t No Sunshine has been ranked at number 280 in Rolling Stone Magazine’s list if 500 songs of all time. Then in October 1971, Grandma’s Hands was the third and final single released from Just As I Am. It reached number forty-two in the US Billboard 100 and number eighteen in the US R&B Charts. Although Bill Withers nascent solo career had got off to a successful start, he was loathe to give up his day-job. He thought the music industry as unstable, especially for a new, up and coming act. In reality though, his days of working assembling airplanes was long gone. Just As I Am was just the first of seven successful solo albums Bill Withers would release during the seventies. However, why was Just As I Am such a successful debut album from Bill Withers?
Opening Just As I Am was Bill’s debut single Harlem, a song Bill had been inspired to write after visiting New York. It’s a track that gradually builds, revealing some powerful lyrics and a dramatic arrangement from Booker T. Washington. Key to this are the strings and rhythm section, adding drama and driving the track along. With just acoustic guitar and cascading strings, Bill’s thoughtful vocal enters. The rhythm section provide the song’s heartbeat and drama, while the strings soar high above the rest of the arrangement. As the track progresses, it reveals its charms and some vivid lyrics about life in Harlem. By then, the rhythm section and strings have combined to provide a dramatic backdrop for Bill’s emotive, thoughtful vocal. This gets the album of to a storming start, and should the rest of Just As I Am be of a similar standard, then this will prove to be an incredible debut album from Bill Withers.
Although I’ve probably heard Ain’t No Sunshine hundreds of times, I’m still bewitched and enthralled by song’s beauty. Personally, I find it incredible that this was originally chosen just as the B-side of Harlem, when it has hit written all over it. This is the case from the opening bars when Bill’s vocal, full of sadness enters, with just an acoustic guitar accompanying him. Lush, sad sounding strings, percussion and an understated rhythm section combine with Bill’s vocal, for two of the most beautiful, enthralling and saddest minutes of music you’ll ever hear.
Grandma’s Hands was the third single released from Just As I Am. It’s a story that tells a story from a personal perspective, paying homage to his grandmother Lula Carter Galloway. There’s a bluesy, understated sound to the track, with Bill’s impassioned vocal, accompanied by the rhythm section. They provide a subtle, thoughtful, bluesy backdrop to Bill’s vocal, allowing his heartfelt vocal quite rightly, to take centre-stage.
Sweet Wanomi is a celebratory song, about laying in back beside the one he loves. The track opens with just Bill and acoustic guitar combining, before revealing Booker T. Jones on keyboards and swathes of slow, lush strings. Bill’s vocal is blissful and sincere, while Booker T. Jones’ keyboards drift in and out and strings add to the song’s beauty.
Everybody’s Talkin’ written by Fred Neil and made famous by Harry Nilsson, is covered by Bill. He transforms the song, giving it a bluesy, rocky twist. When the song opens, you realise straight away, that something special is about to unfold. It’s a multilayered arrangement, with acoustic guitar, rhythm section and then Bill’s almost angry vocal entering. Slow strings add another layer of music, adding to the rhythm section and guitars that accompany Bill’s impassioned, sometimes scatted vocal. By the end of the track, Bill has transformed the track, turning it into something very different and very special from previous versions, giving the track the new life and new meaning.
As Do It Good opens the track has a jazzy sound. It’s just guitar, rhythm section, keyboards and then backing vocalists that combine. The backing vocalists are key to the track, especially the good-natured interplay between Bill and them. They unite, delivering punchy backing vocals, before Bill’s vocal enters. His lyrics jocular quality remind me of Nina Simone’s Funkier Than A Mosquito’s Tweeter. As Bill sings, then vamps his way through the track, the backing vocalists soulful interjections provide a contrast. Meanwhile, the band jam, providing a sympathetic backdrop to Bill’s vocal on this intriguing track, that shows another side to Bill and his music.
There’s a poignancy and melancholy nature to the lyrics of Hope She’ll Be Happier. It’s a breakup song, Bill playing the heartbroken lover, whose partner has left him for another guy. With just a wistful picked electric guitar playing Bill’s heartbroken vocal enters an arrangement that’s full of space. Then stabs of a Hammond organ enter, adding to the atmosphere, while subtle, distant drums gently add to the atmosphere. As the song progresses, the emotion and sadness in Bill’s vocal grows. Combined with the atmospheric, emotive arrangement, this results in one of the highlights of Just As I Am.
Just over a year earlier, The Beatles released Let It Be as a single. Here, Bill grabs the song by the neck and transformed it into a gospel-tinged track. His vocal is joyous, backed by handclaps and Booker T. Jones on Hammond organ. The track swings along, very different and much better than the original, which to me, was hardly the most uplifting and joyful of The Beatles’ back-catalogue.
I’m Her Daddy is a story about discovering that you’re the father of a six year old daughter. During the song, Bill questions the mother about his estranged daughter, trying to find out about her. He delivers his a vocal that’s part joy and trepidation, against an arrangement that’s slightly rocky, and quite dramatic. Drums are to the fore, while guitars add to the track’s drama and emotion. However, for me, what makes the track, are emotions present in Bill’s vocal.
In My Heart sees a lovelorn Bill just accompanied by acoustic guitar. His vocal is laden with emotion and sadness, but heartfelt and full of sincerity. He really lets his voice go, delivering one of the most poignant vocals on the album. Although he’s just accompanied by acoustic guitar, this works well, allowing the listener to focus purely in Bill’s heartfelt, sincere and impassioned delivery of the vocals.
Moanin’ And Groanin’ is a three minute paean to a woman Bill misjudged. It seems she was twice the woman he thought she was. He’s accompanied by backing vocalists, acoustic guitars and an understated rhythm section. Mostly, it’s just pounding drums, acoustic and electric guitars that accompany Bill, with backing vocalists accompanying him. Containing elements of soul, blues and rock, Bill delivers a vocal that’s impassioned, powerful and soulful.
Closing Just As I Am, is Better Off Dead, that’s funkier than the two track it can be compared with Ain’t No Sunshine and Hope She’ll Be Happier. Whereas on these two tracks Bill was heartbroken and distraught, here he’s given up hope, not just at seeing his partner, but hope with life. It’s just over two minutes of desperation, with a real twist in the tail. The rhythm section, guitars and keyboards accompany Bill, reflecting the darkness and despair in his voice. His vocal is laden with sadness, despair and darkness. This darkness is reflected with the song’s twist in the tail, the sound of a gun exploding as the song ends.
Over the years, I’ve heard many debut albums, but rarely, have I come across as highly accomplished debut album as Bill Withers’ Just As I Am. It’s not just his talent as a singer, but just as importantly his skill as a songwriter and storyteller. His songs are emotional dramas, that tell stories of love and heartbreak. They’re full of joy, heartbreak and as Better Off Dead shows, darkness and drama. Maybe why he was such an accomplished singer and songwriter is that he’d spent many years learning his craft. Unlike many singers and songwriters, Bill was older, aged thirty-three when Just As I Am was released. He’d lived, maybe more than a little, had seen and experienced many things during his lifetime. This meant the storyline to many of his songs were about things people could relate to. That’s why the ten songs he wrote for Just As I Am were just so good. Even the cover versions worked. His covers of Everybody’s Talkin’ and Let It Be brought these songs to life, transformed them. That’s why I can’t recommend this album highly enough. Bill Withers’ debut Just As I Am is one of these albums that anyone who loves good music should either discover or rediscover. Just As I Am is an album crammed full of some great music from the hugely talented singer, musician and songwriter…Bill Withers. Standout Tracks: Harlem, Ain’t No Sunshine, Hope She’ll Be Happier and I’m Her Daddy.
BILL WITHERS-JUST AS I AM.
CEU-CARAVANA SEREIA BLOOM.
CEU-CARAVANA SEREIA BLOOM.
Back in 2005, when Céu released her eponymous titled debut album Céu on Opius Music I’ve been following her career with interest. Since then, she’s released two further albums, 2009s Vagarosa and 2012s Caravana Sereia Bloom. Given just how talented a singer, songwriter and musician Céu is, I’ve always felt that she would eventually make a breakthrough into the mainstream music. It seems I was right. Last week, Céu sang Falta De Ar from her third album Caravana Sereia Bloom, released earlier this year live on UK television. Hopefully, this will introduce many more people to the music of Céu, as her talent is deserving of a much wider audience. Now many people won’t have heard of Céu…yet. So, before I tell you about some of the tracks from her third album Caravana Sereia Bloom, I’ll tell you about Céu’s career so far.
Céu was born Maria do Céu Whitaker Pocas in Sao Paulo, Brazil, on April 1980 into a musical family. With a father who is a composer, arranger and musicologist, it wasn’t a surprise that by aged fifteen, Céu had decided to become a musician. This lead to her studying music theory and learning to play the violao, a Brazilian guitar. Quickly, Céu came to appreciate a wide range of genres of music, which would all influence her music. Latin, soul, Afro-Beat, hip-hop, R&B and electro-jazz, all played its part in influencing the musical development of Céu. Soon, Céu was a rising star of the Brazilian music scene, performing alongside some of Brazil’s biggest artists.
Later, she’d would spend time in New York, where a chance meeting with another Brazilian musician Antonio Pinto resulted in Antonio producing Ave Cruz, a track from her debut album Céu, released in 2005, when she was twenty-five. It reached number fifty-seven in the US Billboard 200 and reached number one in the US Billboard World Music Charts. This lead to Céu receiving a host awards, in various countries, including the US, UK, Japan, France and the Netherlands.,
It would be another four years until the release of the follow-up to Céu was released in 2009. However, two years later, in 2007, Céu released her Remixed EP, which was only available in digital form. By this time, Céu’s reputation was rising, with her debut album charting in France, Italy, the Netherlands and Canada. It seemed Céu’s career was on the ascendancy. This was confirmed when she released her second album Vagarosa in 2009. It reached number two in the US Billboard World Music Charts and like Céu, was nominated for a Latin Grammy Award.
Proof of Céu’s rising profile came in 2010, when she was invited to collaborate with legendary jazz artist Herbie Hancock. They recorded a version of Tempo de Amor for his 2010 album The Imagination Project. The following year, Céu was asked to collaborate with N.A.S.A. and Apollo Nove for the Red Hot Organization’s charity album. Again, this was proof that Céu’s profile and reputation was growing in stature. So what better time to record her third album, Caravana Sereia Bloom. It was released in 2012 on Six Degrees Records. On Caravana Sereia Bloom, Céu fuses a variety of genres, styles and influences. There’s everything from Latin, soul funk, rock, bossa-nova and electronic music on the thirteen tracks on Caravana Sereia Bloom and which I’ll now tell you about.
My first choice from Céu’s third album Caravana Sereia Bloom is Falta De Ar which she performed on Later With Jools Holland. The track opens with the rhythm section and Wurlitzer organ combining. Straight away, there’s a funky vibe to the rhythm section, before Céu’s vocal enters. Her vocal is impassioned, emotive and beautiful, with rocky guitars, vibes and the rhythm section providing a backdrop. Here, Céu and her band fuse authentic Brazilian music, adding elements of rock and funk. This results in one of the album’s highlights, made all the better by Ceu’s vocal.
Amor De Antigos has a more traditional Latin sound, with Céu’s vocal having the same qualities as the previous track. Her vocal is heartfelt and sincere, while her band provide an atmospheric, shuffling backdrop. They combine traditional instruments and technology to do this. Bassist Gui Amabis is also in charge of programming, as the band use computers and drum machines. This was apparent during their performance last week. However, the rhythm section, guitars, keyboards and vibes that are key to the track’s success. Guitars that sound as if they’re weeping, combine with keyboards to produce an atmospheric, melancholy sound. This combines perfectly with Céu’s vocal, resulting in a wistful, thoughtful and quite beautiful sounding track.
Retrovisor, which was written by Céu has a quite different, more stripped down, retro sound. The track is an atmospheric soundscape, with a really, pensive, thoughtful sound. This is apparent from the opening bars when crunchy drums and Céu’s tender, impassioned vocal combine. They’re joined by waves of atmospheric organ, before retro sounding guitars enter. They wouldn’t sound out of place in a David Lynch movie enter. By then, the whole track takes on a sparse sound, which is variously compelling, haunting, atmospheric and thoughtful and shows a very different side to Céu’s music.
As Contravento opens, you immediately realize that something quite special is about to unfold. It’s the waves of music that gradually grow in drama, that tells you this. This in the result of a combination of tenor saxophone, prolonged, dramatic keyboards and Céu’s vocal. Quickly, Céu and her band reveal one of the best tracks on the album. Pounding drums, guitars and bass combine with keyboards to create a joyous, almost frenzied backdrop for Céu’s vocal. Like the previous tracks, her vocal is emotive, heartfelt and soulful. She sings from the heart, gives something of herself each song. Her band realize this, raising their game, fusing Latin, plus elements of jazz, funk and with a similar appetite, fervor and passion as Céu.
On You Won’t Regret Itm Céu delivers her vocal in English, doing so with a mixture of emotion, tenderness and sensuality. She’s accompanied by the rhythm section, guitar and rasping horns as the track opens. Backing vocalists sweep in, accompanying Céu, while keyboards and piano drift in and out. When the flugelhorn and trumpet combine to replace Céu’s vocal, they produce a sound steeped in emotion and beauty. It’s perfect for the arrangement, and a fitting replacement for Céu’s vocal which is tender, sensual and one of her best vocals on Caravana Sereia Bloom.
Baile De Ilusão has a sound that reminds me of a sixties film soundtrack. It’s mainly the guitars which prompts this comparison. They’ve a retro sound, accompanied by the rhythm section, handclaps and keyboards. Céu’s vocal is stronger, emotive, but has real quality and beauty. As the track is driven along by the rhythm section and handclaps, a flugelhorn and tenor saxophone punctuate the arrangement. They provide just the finishing touch to a track that’s Latin in origin, but given a moderne twist, by Céu and her multitalented band. This results in a track that’s one of the catchiest, most joyous and uplifting tracks on Caravana Sereia Bloom.
The last track I’ve chosen to mention is Streets Bloom, another track where Céu delivers the vocal in English. This she does against an arrangement that’s broody, moody and atmospheric, thanks to the rhythm section and keyboards. Drums add drama to the track, while Céu’s vocal is slow and thoughtful, perfect for the lyrics, which have a similar thoughtful nature. By the end of the track, you’re left feeling melancholy and thoughtful, but satisfied at having heard such a compelling, intriguing tracks.
Caravana Sereia Bloom Céu’s third album is a compelling album which fuses a variety of styles of music. There’s everything from Latin, soul, funk, hip-hop, bossa-nova, rock and electronic within the thirteen tracks. Each of these tracks are variously impassioned, emotive, joyous, melancholy and beautiful thanks to Céu and her band. Céu is blessed with a beautiful voice, which is capable of exploring a variety of emotions, each with aplomb. However, she’s not just a singer, but a talented songwriter and musician, who co-produced Caravana Sereia Bloom. On Caravana Sereia Bloom, Céu is accompanied by a multitalented band, who produce the perfect musical backdrop for Céu’s beautiful vocal. Although Caravana Sereia Bloom is just her third album, it’s a highly mature, accomplished and polished album. It’ll appeal to anyone who loves Latin music, soul, funk or just good music. To me, Caravana Sereia Bloom is the perfect starting point for anyone wanting to discover the beautiful and stunning music of Céu. After that, they can investigate her two previous albums Céu and Vagarosa. Standout Tracks: Falta De Ar, Amor De Antigos, You Won’t Regret It and Baile De Ilusão.
CEU-CARAVANA SEREIA BLOOM.
DISCO DISCHARGE-EUROPA.
DISCO DISCHARGE-EUROPA.
Disco Discharge-Europa released on 23rd April 2012, sees Harmless Records’ Disco Discharge compilation series celebrate its fifteenth birthday. This is the fifteenth Disco Discharge compilation since the series started in 2009, and following in the footsteps of Disco Discharge-American Hot and Disco Discharge-Disco Exotica, is the third compilation of 2012. It’s also the fourth compilation celebrating European Disco. Following the success of Disco Discharge-Euro Disco, Disco Discharge-European Connection and Disco Discharge-Euro Beats comes Disco Discharge-Europa, twenty-four slices of Euro and Italo Disco. Again, compiler Mr. Pinks has determinedly, dug deeper in his quest to bring you some of the best, and hottest, Euro and Italo Disco of the eighties. These will provide you with the perfect disco soundtrack to the summer. Among the twenty-four tracks, are tracks from Taco, Loco Loco, Rose Laurens, Adelph and Digital Emotion and that’s just on Disc One. On Disc Two, there are even more goodies with tracks from Cleo, Swan, Lee Marrow, Alan Barry, Vanessa and Dr. Groove. So, with so many delicious, disco delights on Disco Discharge-Europa, choosing just a few tracks to tell you about hasn’t been easy, but here are the compilation’s highlights.
DISC ONE.
On Disc One of Disco Discharge-Europa, there are a total of eleven full length versions of European and Italo Disco. Unlike previous Disco Discharge compilations, Disco Discharge-Europa isn’t crammed full of tracks from well known artists. In fact, unless you’re a connoisseur of European or Italo Disco, then you won’t have heard much of the music on Disco Discharge-Europa. However, once you’ve heard the music on Disc One, and of course, Disc Two, then you’ll be won over by the mixture of European and Italo Disco. Among the highlights of Disc One of Disco Discharge-Europa, are tracks from artists that include Taco, Loco Loco, Rose Laurens, Adelph and Digital Emotion. These are just a taster of the treats on the compilation, which to me, is the perfect primer for anyone new to either eighties European or Italo Disco. For veterans of the Disco Discharge series, they’ll have been introduced to European disco on previous Disco Discharge compilations Euro Disco, European Connection and Euro Beats. Like these compilations, Disco Discharge-Europa features some great music, the highlights of which I’ll tell you about.
My first choice from Disc One of Disco Discharge-Europa is a perfect example of how disco had evolved in just ten years. From the classic sounds of Salsoul, Casablanca, T.K. Disco and Prelude, ten years earlier, Lian Ross’ Say You’ll Never demonstrates where disco was at by the mid-eighties. The version included is the Original 12-Inch version, which was released in 1985 on ZYX Records and was produced by Bobby To. Punchy, stabs of synths and drum machines combine to create a sound that’s a combination of disco and synths pop. It’s a track that can’t be anything else but European in origin, given its sound. When the vocal enters, it’s sweet, but emotive and needy, accompanied by a a dramatic backdrop created by synths, keyboards and drum machines. This emotive and dramatic track perfectly demonstrates the changes in disco post-1979 and the Disco Sucks backlash.
Loco Loco’s Hey Mr DJ was released in 1986 by the Gira label, and like Lian Ross’ Say You’ll Never was co-written by Leroy Skeete. This a really compelling, mid-tempo slice of European disco, that has you hooked from the get-go. Bursts of squelchy synths, crunchy drumbeats and keyboards give way to bursts of dramatic synths before the vocal enters. The female vocal is shrouded in echo, while stabs of synths, drums and a meandering keyboard solo are key to the track’s success and sound. This is one of these tracks that gets under your skin, draws you in, and won’t let go. That’s what makes this such a compelling and compulsively catchy track.
One of the key ingredients for a great disco track is the vocal. On Africa (Voodoo Master), French singer-songwriter Rose Laurens delivers the best vocals on Disco Discharge-Exotica. Africa (Voodoo Master) was a track from her second album Rose Laurens, released in 1983 on WEA. This is a much quicker track, 120 beats per minute, laden with passion, mainly thanks to Rose’s vocal. When the track opens, it’s just the rhythm section and synths combining. Then when Rose’s vocal enters, it’s all change. She grabs the track, delivering the vocal powerfully and emotively, in an impassioned style, accompanied by backing vocalists. Their addition really helps and lifts the track, as does the saxophone solo and sound effects that are added. Together, they all play their part in making this track one of the highlights of Disc One of Disco Discharge-Europa.
One of the biggest Italo Disco labels was Time Records, who released Jock Hattle Band’s To Be Or Not To Be in 1986. During the eighties they were one of the most innovative, influential and successful Italo Disco labels. This is a perfect example of both the music they released and what Italo Disco is about. The track opens with pulsating drumbeats, a dark, haunting vocal and synths that are variously brash, punchy and dramatic and explodes into a classic and delicious slice if Italo Disco. Driven along by crunchy beats, washes and stabs of synths, keyboards and a dark, moody vocal, accompanied by multi-tracked backing vocals. Listen carefully, and there’s even a Sparks influence in what’s a totally irresistible and classic Italo Disco track.
The last track from Disc One of Disco Discharge-Europa I’ve chosen Digital Emotion’s Go Go Yellow Screen. This is a track from their 1984 album Digital Emotion, released on Break Records. The track sometimes, has a futuristic, space-age sound, but quickly, a dramatic, driving Euro Disco track unfolds. Synths reverberate above the arrangement, while the drumbeats are quick and crispy. Later, bouncy synths combine with dramatic drum rolls, while synths and sound effects seem to recreate the sound of an early Space Invaders video game. When all this combined, the result is a glorious, futuristic and dramatic sounding track, that although brings back memories of the early eighties has a sound that nearly thirty years later, is timeless.
Although I’ve only mentioned five of the eleven tracks on Disc One of Disco Discharge-Europa, I could just as easily have mentioned any of the other six. After all, there are some great tracks from Taco, Silver Pozzoli, Baltimora and Aleph. Here, Mr. Pinks has resurrected some classic tracks from the European and Italo Disco vaults. Many of these I’ve not heard for a few years, but straight away, memories come flooding back. I’m sure this will be the same for many other people of my “vintage.” Of the five tracks I’ve chosen from Disc One, the tracks by Rose Laurens, Jock Hattle Band and Digital Emotion are some of the best tracks on the compilation and make it worthwhile buying Disco Discharge-Exotica for these three tracks alone, such is their quality. Like the fourteen previous instalments of the Disco Discharge series, Mr. Pinks has succeeded in discovering a consistently high standard of music on Disc One of Disco Discharge-Europa. Can he do the same on Disc Two of Disco Discharge-Europa?
DISC TWO.
Although there were eleven tracks on Disc One of Disco Discharge-Europa, Mr. Pinks has managed to squeeze even more delights onto Disc Two. There are thirteen slices of delectable European and Italo Disco on Disc Two. This includes tracks from Cleo, Swan, Lee Marrow, Lili & Sussie, Alan Barry, Vanessa and Dr. Groove. Again, these are the original 12” versions which, many people will be hearing for the first time. These tracks are a perfect introduction to the two genres, and will allow the newcomer to either European or Italo Disco to go on a fantastic journey of discovery of labels and artists. As someone who is a fan of both European and Italo Disco, who has heard many of the tracks previous or have them in my collection, this will lead to a lifetime love of both genres. While I found it troublesome picking my highlights of Disc One, this was just as difficult with Disc Two. However, here are my highlights of Disc Two of Disco Discharge-Europa.
I just had to choose Cleo’s Go Go Dynamo as my first choice from Disc One, as it’s a joyous explosion of Italo Disco. Released in 1986, on Many Records, the track grabs your attention from the opening bars. A combination of synths, keyboards, drums and the vocal combine, before the vocal drops out. When it returns, it’s powerful, impassioned and laden with emotion. Meanwhile, crispy drums, synths and keyboards create a powerful, driving arrangement, that’s impossible to resist. Key to the track’s success and sound is the vocal, augmented by backing vocals. Although classified as Italo Disco, it’s a track with a real European disco sound, which is irresistible, you can’t help but succumb to it’s hook-laden charms.
Lili & Sussie were two Swedish sisters whose breakthrough hit single came with Oh Mama in 1987. This was a track from their 1987 album Dance Romance on 1987. Here, European disco and synth pop are combined, resulting in one of catchiest, most commercial sounding tracks on the compilation. Synths, keyboards and crispy drums combine to create an arrangement that’s quick, dramatic and catchy. Add to that, sweet vocals that are emotive and joyous, with an Abba-esque influence. Later, distant sounding backing vocals join the mix, before on the signal of the drums, the vocals explode back in. Catchy and commercial sounding, this is six minutes that represent what’s good about eighties European disco music.
Alan Barry Tell Me The Reason is another Italo Disco track, released in 1988 on Discomagic Records. To me, this is one of the real highlights of Disc Two of Disco Discharge-Exotica and demonstrates everything that’s good about late eighties Italo Disco. Here, Alan’s vocal is emotive and heartfelt, accompanied by pounding drums, percussion and washes of synths. Later, keyboards replace his vocal, combining with the pounding drums and synths, resulting in track that’s variously dramatic, driving and dynamic, but most importantly is of the highest quality.
Sweet Connection’s Need Your Passion was the title-track of their 1988 EP, released on the Blow Up label. Here, synth pop and European disco unite seamlessly for eight and a half minutes. Everything is in place for a successful synth pop/European disco track. This includes two impassioned, sensuous sounding female vocalists, a combination of pounding drums, synths and keyboards and a dance-floor friendly tempo of 120 beats per minutes. Of course, there’s more to it than that…you need a talented producer. That’s where Reinhard Franz comes in. He deploys these ingredients in an effective way, perfect for a late-eighties dance-floor. That includes lengthy percussive breaks where the vocal drops out, and the then popular vocoder which was still popular. The result is, a seamless combination of synth pop and European disco, with an Italo Disco influence that’s one of the highlights of Disco Discharge-Europa.
The last track from Disc Two of Disco Discharge-Europa is Dr. Groove’s Freak It Out Mr. DJ. Released in 1984 on Break Records, with tempo of 131 beats per minute, it’s another Italo Disco track, that’s five fantastic and frantic minutes of music that put a huge smile on your face. Stabs and washes of synth, crunchy, pounding drum beats and keyboards are combined with dark vocal and handclaps as the track bursts into life. Female vocalists then add their joyous sound while synths reverberate, drums pound and stabs of synths and keyboards augment the arrangement. There’s even a Visage influence in the synth and vocal sound, albeit the track is quicker and different in style. It’s the way the washes of synths unfold and the vocal arrangement that prompt comparisons. By the end of the track, Dr. Groove has worked his magic, curing ills without pills, with five fantastic minutes of magical Italo Disco.
Like Disc One of Disco Discharge-Europa, Disc Two is crammed full of some great examples of both European and Italo Disco. In choosing the five tracks to mention, some picked themselves, like Cleo’s Go Go Dynamo, Sweet Connection’s Need Your Passion and Dr. Groove’s Freak It Out Mr. DJ, while choosing other tracks was a lot harder. The consistency of quality meant that I could’ve just as easily picked any of the other ten tracks. Unlike other, lesser disco compilations, there are no tracks on Disco Discharge-Europa where you feel your finger hovering over the next button. Instead, you sit back and revel in the quality of the music, wondering how Mr. Pinks manages to consistently produce the disco goods. Does this man ever sleep in his quest for disco perfection, or is his life a twenty-four hour pursuit of disco nirvana? Who knows? All I know is that like the two previous installments of the Disco Discharge series, and previous fourteen compilations, he never disappoints. In fact, the Disco Discharge series is one of these rare compilation series you can safely buy without even checking the track-listing, safe in the knowledge that you’re guaranteed two discs of disco delights. So, if you’ve yet to discover the Disco Discharge series, then there’s fifteen volumes of the best in disco music to discover. This includes the latest volume, Disco Discharge-Europa, with twenty-four slices of European and Italo Disco awaiting your discovery. Standout Tracks: Jock Hattle Band To Be Or Not To Be, Digital Emotion Go Go Yellow Screen, Cleo Go Go Dynamo and Sweet Connection Need Your Passion.
DISCO DISCHARGE-EUROPA.
jock hattle band to be or not to be
TOM BROWNE-MAGIC.
TOM BROWNE-MAGIC.
The story of jazz trumpeter Tom Browne’s career is a quite remarkable one. Born in Queens, New York in 1954, Tom’s first choice of instrument wasn’t the trumpet. Aged eleven he’d originally started learning the piano, before being inspired to switch to the trumpet by his collection of jazz albums. By 1975, Tom played his first gig, in Queens, New York, before releasing his debut album four years later in 1979. This was Browne Sugar on GRP Records produced by Dave Grusin and Larry Rosen. His next album was 1980s Love Approach, which reached number eighteen in the US Billboard 200 and number one in the US R&B Charts. On Love Approach, was Tom’s best known and most successful single Funkin’ For Jamaica. It reached number one in the US R&B Charts. After this, signed for Arista Records who’d distributed all GRP releases. Tom would release three albums for Arista between 1981 and 1984. The first of these albums was Magic, which was rereleased by BBR Records on 16th April 2012. However, could Tom Browne weave his magic again, producing an album as successful as Love Approach? That’s what I’ll tell you, and then tell you what the music on Magic sounds like.
To record the follow-up to Love Approach, Tom decided to use the musicians who’d toured with him, following the success of Love Approach. This meant musicians like bassist Marcus Miller, drummer Buddy Williams, pianist and bassist Sekou Bunch and guitarist Kevin Cummings Adding the vocals on the album would be Toni Smith, who with Sekou Bunch and Kevin Cummings cowrote Let’s Dance. Like Tom’s two previous albums the producers would be Dave Grusin and Larry Rosen. Recording of the album would take place in New York, at A&R Studios. Tom and his band would record eight tracks, with Tom writing I Know and co-writing Thighs High (Grip Your Hips and Move). Producer Dave Grusin wrote one track Night Wind, while Tom one of the most compelling and haunting tracks was a cover version of God Bless the Child. With the eight tracks that would make up Magic recorded, all that was left was for the album to be released.
Before the release of Magic, Thighs High (Grip Your Hips and Move) was released as a single in December 1980. It reached number four in the US R&B Charts and number twenty-five in the US Disco Charts. This would prove to a good omen for Magic, which, on its release in February 1981, reached number thirty-seven in the US Billboard 200 and number five in the US R&B Charts. Although the album wasn’t as successful as Love Approach, a top ten US R&B album was still a great ways to start his career at Arista. Let’s Dance was chosen as the second single from Magic, reaching number fifty-nine in the US R&B Charts. Overall, Magic with its two hit singles proved a good start to Tom Browne’s career with Arista. However, what does the music on Magic sound like?
Opening Magic is Let’s Dance, co-written by Toni Smith, Sekou Bunch and Kevin Cummings. It’s a jazz-funk track where the rhythm section and blazing horns set the tone of the track when it opens. From there, Toni Smith’s vocal enters, it’s powerful, laden with emotion and passion. Meanwhile, keyboards add jazz to the rhythm section’s funk. Later, Sekou Bunch adds a writhing bass solo, while backing add to the joyous sound of the track, accompanying Toni’s vocal. Together Tom, Toni and the band create a tight, peerless and joyful sounding slice of jazz-funk.
Cliff Branch Jr. takes over the lead vocal on the title-track Magic, a track he wrote. From the the start, it’s a track with a big, bold and ballsy New York sound. Stabs of powerful horns, flourishes of piano and a rumbling juggernaut of a bass line all play important roles in the track, while Cliff’s vocal is uninhibited and impassioned. The rhythm section drive the track along, while handclaps, braying horns, percussion and keyboards combine. Although it’s a hugely catchy slice of jazz-funk, there’s a soulfulness to a track, thanks to Cliff’s impassioned, powerful vocal.
When I Know opens, the first thing you think is Earth, Wind and Fire. Everything about the track screams their sound and style, from the horn lead arrangement and vocals, you’re struck by the similarities. The track has a smooth, polished sound, with plenty of bright, bursts of horns, including a stunning trumpet solo from Tom. It’s the highpoint of the track, although Marcus Miller’s bass playing runs Tom a close second. Here, Tom and Toni contribute vocals, with Tom doing a pretty good Maurice White style vocal. Toni as always, delivers her lyrics with the requisite amount of feeling and fervor. Taken together, this is an irresistibly smooth sounding track, that’s one of the highlights of Magic.
Pat Windham was the guest vocalist on Midnight Interlude, a track when it opens has a moody, melodramatic sound. After this, it’s all change, with a glorious and joyous sounding jazz-funk track revealing its secrets and charms. Key to this are rasping horns, a funky rhythm section and Pat’s vocal. It flits between graceful to a throaty, rasping style, with multilayered backing vocal augmenting her. Sekou Bunch’s slap bass playing is funky and flawless, at the heart of the rhythms that reveal themselves. Add strings, percussion and keyboards and everything is in place for a rhythmic tour de force.
Producer Dave Gruisin a member of Tom’s touring band, joins Tom on a cover of God Bless The Child, most memorably covered by Lady Day, Billie Holliday. Tom’s trumpet playing is haunting, heartfelt and bewitching. He’s just accompanied by merely piano and swathes of slow, wistful strings. These subtle strings produce a contrast to the emotion and power of Tom’s trumpet playing. Combined with just piano and strings, the result is a quite beautiful, bewitching version of a classic track.
Night Wind was written by producer Dave Gruisin is another beautiful, melancholy sounding track. A combination of piano, swathes of cascading strings, reverberating guitars and keyboards give way to a flugelhorn solo. Meanwhile, the rhythm section and percussion join the mix, as the arrangement meanders along. With every note, it reveals even more of its subtleties and charms, before briefly, transforming into a dramatic jazz-funk track. After that, it returns to it previous enchanting, melancholy and beautiful jazz drenched sound.
Thighs High (Grip Your Hips And Move) was the hit single released from Magic, and is a jazz-funk track with a real uplifting feel-good sound. Taking its influences from The Gap Band and Cameo, the track is full of blazing horns, handclaps, funky bass, stabs of keyboards and pounding drums. Toni takes charge of lead vocal, while backing vocalists accompany her, as the track swings along. It’s impossible trying to resist this infectious sounding track, better just to succumb to its charms and groove.
Closing Magic is Making Plans a track that has an Earth, Wind and Fire influence. Here Tom sings the lead vocal, with his voice poignant and wistful. The arrangement is full of strings, dramatic drums, braying horns and soulful backing vocalists. Later, Tom delivers a trumpet solo that’s tinged with a poignancy, that’s reflected in the rest of the arrangement. By then, the arrangement has taken on a dramatic sound, with multi-tracked backing vocalists adding to this. Such a dramatic and poignant sounding track seems a good way to close Magic, Tom Brown’s third album and first for Arista.
For anyone who remembers Tom Browne for his most successful single Funkin’ For Jamaica, then Magic is an album that demonstrates just how much more there is to his music. He’s not just a talented trumpet player, but an equally talented singer and songwriter. On Magic, the eight tracks combine jazz, funk and jazz-funk. They feature singer Toni Smith and a multitalented band that feature some of the best jazz musicians of the seventies and eighties. With two experienced producers in Dave Grusin and Larry Rosen, everything was in place for Magic to become a critically acclaimed, commercial success. This was the case, with Magic reaching number thirty-seven in the US Billboard 200 and number five in the US R&B Charts. Although Magic wasn’t as successful as Love Approach, which reached number one in the US R&B Charts, there wasn’t a hit single like Funkin’ For Jamaica on Magic. Instead there were some fantastic tracks, including Let’s Dance, I Know, Midnight Interlude, God Bless The Child and Night WInd. These tracks make Magic, which was rereleased by BBR Records on 16th April 2012, an album that’s well worth discovering. Magic will appeal to anyone who loves jazz, funk, jazz-funk or wants to hear more from the man that brought us Funkin’ For Jamaica. Standout Tracks: Let’s Dance, I Know, Midnight Interlude and Night WInd.
TOM BROWNE-MAGIC.
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