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.
PATRICE RUSHEN-PATRICE.
PATRICE RUSHEN-PATRICE.
By the time Patrice Rushen signed to Elektra Records after releasing three jazz albums for Prestige she decided to change her style and sound. Previously, the three albums she’d recorded for Prestige, 1974s Prelusion, 1975s Before the Dawn and 1976s Shout It Out had been traditional jazz albums. Now signed to Elektra, Patrice decided to move her music to a more jazz, quiet storm and R&B sound. On the release of Patrice her first album for Elektra, which will be released by SoulMusic.com on 30th April 2012, Patrice incurred the wrath of the jazz police. Never did she imagine the backlash she’d experience from the jazz purists and self-style jazz cognoscenti. They were outraged, vilifying the album, accusing her of selling out for commercial gain. However, Patrice had the last laugh, laughing longest and loudest, when Patrice became her most successful album, reaching number ninety-eight in the US Billboard 200, number twenty-seven in the US R&B Charts and number five in the US Jazz Charts. Since then, Patrice has been recognized as a classic of its genre, with Patrice Rushen releasing some of her best and most commercially popular albums for Elektra. Before I tell you about the music on Patrice, I’ll tell you about the background to Patrice.
When Patrice Rushen signed for Elektra, she became one of the first big names on jazz music to sign for Elektra. Soon, she’d be joined by Donald Byrd, Grover Washington Jr., Lenny White, Terry Callier and Lee Ritenour. Now signed to Elektra, the label set about working out who Patrice’s audience were. She’d just made the transition from traditional jazz to a more jazz, quiet storm and R&B sound. For her first album and new sound and style, Elektra gave Patrice a budget that allowed her to produce an album the way she wanted to. This meant a string, woodwind and horn section and some of the best musicians of the time.
In seventies Los Angeles, there were plenty of top musicians, many of whom would play on Patrice. Joining Patrice at the three studios used, Conway Recording, Group IV Recording and The Record Plant were an array of talented players. This included a rhythm section of drummerJames Gadson, bassist Freddie Washington and guitarists Al McKay and Marlo Henderson. Add to this percussionist Paulinho Da Costa and horn section that featured trumpeter Ray Brown and trombonist George Bohannon. Syreeta Wright and Jim Gilstrap who sang backing vocals on some of Stevie Wonder’s albums, contributed backing vocals on Patrice. Many of these musicians were friends, many were the best in music business. With this all-star, multitalented band full of jazz greats and Patrice playing keyboards, percussion and sang, it’s no surprise Patrice proved so successful.
On the release of Patrice in October 1978, sales surpassed that of her previous three albums. Patrice reached number ninety-eight in the US Billboard 200, number twenty-seven in the US R&B Charts and number five in the US Jazz Charts. It seemed Patrice’s decision to change her sound and style had been vindicated, regardless of what the jazz police said. The ten tracks on Patrice see Patrice and her band fusing jazz, quiet storm and R&B, which I’ll now tell you about.
Opening Patrice is Music Of The Earth, co-written by Patrice and Angela Rushen. this track features guitarist Al McKay formerly of Earth Wind and Fire, while percussionist Paulinho Da Costa and James Gadson plays drums. It’s a jazz-funk jam tinged with Latin sound. A funky guitar and rhythm section help the track burst into life, while beautiful, soulful backing vocalists combine with percussion and lush strings. Later, blazing horns punctuate the track, while strings sweep and swirl, as the backing vocalists continue to add beauty. Between the funk of the rhythm section, the blazing horns, lushness of the strings and beauty of the backing vocalists, this is an outstanding track to open the album.
On When I Found You, a beautiful, understated love song, Patrice’s vocal sounds like Minnie Riperton. The rhythm section play thoughtfully and subtly, while strings and gentle horns add to the arrangement’s beauty. Later, an alto saxophone solo winds its way above the arrangement, before being replaced by Patrice’s vocal. She’s accompanied by tender backing vocalists, rasping horns and acoustic guitar. Together, they combine to create one of the best and most beautiful tracks on Patrice.
Changes (in Your Life) opens with a tempestuous, choppy guitar solo, before the track reveals a rocky slice of jazz funk. Patrice’s vocal is much more powerful and emotive, as the rhythm section drive the track along. Backing vocalists and handclaps accompany Patrice as the track charges along, fusing jazz, funk and rocky guitars seamlessly.
After the change of sound on the previous track, Wishful Thinking written by Patrice, sees Patrice return to the beautiful sound of When I Found You. Here, the track is dreamy, ambient and full of space. Again, Patrice’s vocal is not unlike Minnie Riperton, with a similar sound and quality. It’s dreamy, drawing you in, snaring you with its ethereal sound. The arrangement has a gentle sound, with backing vocalists, woodwind, acoustic guitar and piano all key to the track’s success and sound. This track not only demonstrates just how beautiful a voice Patrice has, but how talented a singer and songwriter she is.
There’s a real Earth, Wind and Fire sound to the Reggie Andrews penned Let’s Sing A Song of Love. Straight away, there’s a jazz-funk sound, with the rhythm section joined by cascading strings and keyboards. Backing vocalists combine to deliver the vocal, while punchy horns, a meandering electric piano solo and the tightest, funkiest of rhythm sections provide the track’s heartbeat. The group backing vocals, Patrice’s piano solo and the rhythm section all play their part in making this a scintillating slice of jazz funk.
Hang It Up is another track written by Patrice, with a real uplifting, funky feel-good vibe. Blazing horns, funky rhythm section and keyboards are augmented by tight, punchy backing vocals. These backing vocals contribute to the joyous sound of the track, while the rhythm section concentrate on keeping things funky. This they do easily, playing their part in this infectiously catchy, funky track.
Cha Cha is another track written by Patrice with her sister Angela and Sheree Brown. It’s also another track where we get the chance to hear just how beautiful a voice Patrice has. Her vocal is full of emotion, while backing vocalists and guitars accompany her. The mainstay of the arrangement is the rhythm section and percussion, while the guitars and backing vocals play their part in what’s another laid-back, emotive and beautiful track.
Patrice and Freddie Washington collaborated to cowrite the fabulously funky Just A Natural Thing. It’s a track that’s very definitely funky. Wah-wah guitars augment the funky rhythm section, while punchy, braying horns and keyboards combine. Add to this soaring, backing vocalists and they’re the finishing touch to what’s a funky track, with a real feel-good sound.
Throughout Patrice, there have been a combination of jazz-funk and ballads. Didn’t You Know is another of the ballads. On Patrice, there have been three great ballads so far. Will it soon be four? The track was co-written by Sheree Brown and from the get go, it seems another beautiful ballad is unfolding. Patrice’s vocal is tender and emotive, while piano, rhythm section, acoustic guitars and the lushest of strings combine. Backing vocalists answer Patrice’s call, as her voice soars elegantly and gracefully, accompanied by strings. Like the other trio of ballads on Patrice, Didn’t You Know didn’t disappoint, with Patrice delivering a vocal laden with emotion and passion.
Closing Patrice is Play co-written by Patrice and Charles Mims Jr. Here, Patrice seems determined to close her first album for new label Elektra on a memorable high. This she does. Blazing horns, rhythm section, percussion, keyboards and backing vocalists combine to create a dynamic and sometimes, dramatic slice of jazz-funk. Hissing hi-hats, a funky rhythm section and jazz-tinged keyboards are key to this, while backing vocalists, handclaps and blazing horns all play vital roles. Together, they ensure that Patrice closes in a memorable, musical high.
Patrice Rushen’s fourth album Patrice is a joy to listen to. In equal measures you’ve jazz-funk and beautiful ballads. To me, the ballads are among the best tracks on Patrice, with Patrice’s interpretation of the lyrics a mixture of beauty, emotion and passion. On the jazz-funk tracks, Patrice and her all-star band kick loose, showing that she and her band can outdo the best of jazz-funk bands. This isn’t surprising given personnel that accompany her on the album’s ten tracks. She was joined by some of the biggest, most successful musicians in the business. With trombonist George Bohannon, drummer James Gadson, bassist Freddie Washington, guitarist Al McKay and percussionist Paulinho Da Costa plus backing vocalists that included Syreeta Wright and Jim Gilstrap, these were some of the best players in the seventies. Their playing is flawless and peerless, as is Patrice’s keyboard playing, singing and songwriting. For anyone who loves either jazz-funk, R&B, quiet storm or singers like Minnie Riperton, then Patrice is an album that’s a must-have. It’s welcome rerelease by SoulMusic.com on 30th April 2012 of Patrice will allow everyone to hear one of the greatest album released by Patrice Rushen during her long and illustrious career. Standout Tracks: When I Found You, Wishful Thinking, Let’s Sing A Song of Love and Cha Cha.
PATRICE RUSHEN-PATRICE.
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THE POINTER SISTERS-SERIOUS SLAMMIN.’
THE POINTER SISTERS-SERIOUS SLAMMIN.’
When The Pointer Sisters released their fourteenth album Serious Slammin,’ it was their ninth and final album to be produced by Richard Perry and their final album for RCA. Serious Slammin’ marked a change in their sound, with Richard Perry giving The Pointer Sisters a harder electronic, funky sound. This meant their sound became much more like successful groups of the time, including The Gap Band and Cameo.
Serious Slammin’ also marked a change in the group’s fortunes, becoming their last album to chart. Unlike their previous multi-platinum albums, Serious Slammin’ reached just number 152 in the US Billboard 200. Their previous album Hot Together, released two years earlier in 1986, had reached number forty-eight in the US Billboard 200 and number thirty-nine in the US R&B Charts, whereas 1985s Contact had been certified platinum. That was more like the success The Pointer Sisters were used to.
Since their first album The Pointer Sisters, released in 1973, five of their previous thirteen albums had been certified gold, one platinum and one triple-platinum. After the disappointment of Serious Slammin’ The Pointer Sisters must have wondered why the album hadn’t been more successful? Especially since He Turned Me Out, the first single released from the album, entered the top forty in the US R&B Charts and featured in the cult movie Action Jackson.
Before the recording of what would become Serious Slammin,’ The Pointer SIsters and producer Richard Perry decided to rethink their sound. Together, The Pointer Sisters and Richard Perry decided the group had to reconnect with their fan-base. This meant the group needed a more urban sound.
In came funky, hip-hop and dance-floor friendly music and a new face, with a famous name, Norman Whitfield Jr., son of legendary producer Norman Whitfield. Together Norman and James Reese were hired as associate producers. Also joining the “team” was John Bowowski, known for his skill in sequencing. With this trio of new faces joining Richard Perry and The Pointer Sisters, recording of what would become Serious Slammin’ could begin.
In total, ten tracks were recorded at Studio 55 in Los Angeles with The Pointer Sisters’ newly assembled team. Among the ten tracks were I’m In Love the second single released from the album. Written by Jonathon Butler and Simon May, It previously, had given Ruby Turner a minor hit in the UK. He Turned Me Out, was the other single released from Serious Slammin’ and was the opening theme to the cult movie Action Jackson. The eight other tracks saw the three Pointer Sisters fusing a variety of styles, and drawing upon various influences. This included soul, funk, gospel, hip-hop and dance music, to reinvigorate their career. Would this work though?
When Serious Slammin’ was released in February 1988, it reached just number 152 in the US Billboard 200. He Turned Me Out, also released in February 1988, reached number thirty-nine in the US R&B Charts. Then, when I’m In Love the second single that was released from the album in May 1988, it reached just number sixty-seven in the US R&B Charts. This meant that Serious Slammin’ was The Pointer Sisters least successful album since 1976s Havin’ A Party, which reached number 176 in the US Billboard 200 and number fifty-one in the US R&B Charts. It seemed that the plan to revitalize The Pointer Sisters’ music on Serious Slammin’ hadn’t worked, with their fans not buying into their new sound.
Opening Serious Slammin’ is the title-track Serious Slammin,’ and straight away, you’re aware of the harder edged sound. The drums are crisp, the bass funky, while the guitars are hard and rocky. When The Pointer Sisters enter, they do so with throaty, dirty laughs at the Serious Slammin’ taking place next door. They’re accompanied by a wash of synths, with their delivery sassy and punchy. The arrangement has a bigger, bolder sound, fusing funk, rock and electronic music, giving the track a more contemporary sound. This results in a track that grabs your attention, demanding you listen, at the new sassy, ballsy sound of The Pointer Sisters.
Shut Up and Dance sees drums that crack like whips and synths key to the track. Smack bang in the middle of the arrangement are the vocals. The lead is delivered in a powerful, confident style, while the rest of the group add similar backing vocals. Meanwhile, layer upon layer of synths rise up dramatically. Washes and stabs of synths and crispy drums provide the backdrop for The Pointer Sisters, on a track that demonstrates their new sound fully. Gone are the soulful strains of previous albums, replaced by a sound that’s more contemporary dance oriented sound, aimed at the dance-floor and a broader, newer fan-base.
June Pointer takes over the lead vocal on Moonlight Dancing, on a track that’s quite different from the preceding tracks. It’s more like what older fans of The Pointer Sisters would come to expect from the group. Opening with drums that are slow, spacious and prominent in the mix, her vocal has a tenderness and is augmented by subtle backing vocals. Meanwhile the rhythm section, percussion and keyboards provide the backdrop for the vocal. Not only does this song demonstrate that the group hadn’t forgotten their roots and shows just how talented a vocalist June Pointer is.
He Turned Me Out was the second single from Serious Slammin,’ featuring in the movie Action Jackson. It reached number thirty-six in the US R&B Charts and sees another change in style. The track has more in common with the first two tracks. Drums and a bass synth contribute to the funky sound, combining with synths and percussion. Meanwhile, The Pointer SIsters add punchy, emotive vocals, which are some of the best on the album. Their vocals are impassioned, mixing power and emotion, on what’s one of the best tracks on Serious Slammin.’
Following on from one of the highlights of Serious Slammin,’ comes Flirtatious, another of the albums best tracks. It features some of the sassiest, most sensuous vocals on the album. Here, The Pointer Sistersa unite as one, delivering the lyrics with a swagger. They’re accompanied by a combination of drums and a myriad of keyboards, which had a contemporary electronic sound. However, The Pointer Sisters’ funky, swaggering vocal is what makes this track to compelling and irresistible.
My Life was the first track on Side Two of Serious Slammin,’ and marked a change in sound. Gone was the contemporary and moderne sound, replaced by more popular AOR sound. Straight away, this is apparent. It shows that The Pointer Sisters hadn’t deserted their old fans. Here, The Pointer Sisters turn back the years, delivering some tight, impassioned vocals. This they do against an arrangement where synths and drum machines feature heavily, augmented by guitars which chime sweetly. Although the synths and drum machines are used extensively, they’re used in a way that creates an arrangement which has a more popular AOR sound. With this change in sound and style, The Pointer Sisters seem to lift their game, as if welcoming the safer, more familiar territory and sound.
I’m In Love sees Ruth get her chance to take centre-stage and delivers the vocal beautifully, bringing to life the romantic lyrics, with emotion and passion. The vocal is slow, heartfelt and emotive, accompanied by subtle backing vocals. Although the arrangement still features synths and drum machines, they’re used quite subtly, augmented by guitars and a Fender Rhodes. Later, a sultry saxophone floats above the arrangement, adding just the finishing touch to what’s quite simply, the best and most beautiful track on Serious Slammin.’
Pride was co-written by Jimmy Lang and Matthew Wilder, who had a huge hit in 1983 with Break My Stride. Again, the track has a more populist, AOR sound. One difference is the arrangement. It’s louder, bolder and built with layers of synths, drum machines and organ. Similarly, The Pointer SIsters’ delivery is louder, bolder and more dramatic. They combine passion and emotion, their voices combining and complimenting the others perfectly.
Uh Uh is the only track the departs from the more AOR sound, having more in common with the contemporary sound of Side One. Drums crack and stabs of synths give way to The Pointer Sisters, whose vocal is one of their most soulful on the album. A funky bass and chiming guitar combine with the stabs and washes of synths and drums. Later, guitars even add a rocky solo, while the The Pointer Sisters combine peerlessly and flawlessly.
Closing Serious Slammin’ is I Will Be There, a song about love and friendship. This was an apt choice to close the album, as The Pointer Sisters and Richard Perry realized this would be the last album they’d work on together. With this the last song they recorded together, they combined to make it not just a good one, but a very good one. Against a backdrop of rhythm section, synths and keyboards, The Pointer Sisters deliver their vocals with a combination of emotion, passion and drama, highlighting the lyrics about friendship and love. The drama and emotion in their vocals is reflected in the arrangement, which grows in power and drama, fusing with the vocal to bring Serious Slammin’ to emotional, impassioned end.
Listening to Serious Slammin’ twenty-four years after its release in 1988, it’s very much an album of two sides and styles, containing some quality music. On Side One, The Pointer Sisters move their music forward, giving it a more contemporary sound, adding elements of funk, hip-hop and dance music. This was meant to widen their appeal to a greater, newer and younger fan-base.
Then on Side Two, they returned to their more familiar, popular AOR sound, which would ensure their old fans wouldn’t feel overlooked. It was a clever and some might say, brave strategy, that should’ve worked. There was something for new and old fans alike.
Sadly, this strategy didn’t work commercially, even though the music on the album was of the quality you’d expect from both The Pointer Sisters, and a Richard Perry produced album. Maybe, by trying to appeal to new fans, older fans were alienated by a sound that featured elements of hip-hop, funk and dance music? For younger fans listening to hip-hop and dance music, maybe their perception of The Pointer Sisters’ music wasn’t what the music on Serious Slammin’ sounded like?
Both old and new fans missed out on an album that features some great music. The Pointer Sisters’ vocals are laden with emotion, passion and drama, while other times, they’re sassy and confident. Richard Perry’s production was tight and polished, with Norman Whitfield Jr. James Reese and John Bowowski helping give the album a more contemporary sound as they try to reinvent The Pointer Sisters. This multitalented quartet helped produce a highly accomplished and quality album in Serious Slammin’. It should’ve fared much better commercially than number 152 in the US Billboard 200, and is an oft-overlooked album in The Pointer Sisters’ back-catalogue.
THE POINTER SISTERS-SERIOUS SLAMMIN.’
GREG PHILLINGANES-PULSE.
GREG PHILLINGANES-PULSE.
Although Greg Phillinganes had worked as a session musician with some of music’s biggest names, by 1985, he’d only released one solo album, 1981s Significant Changes. This was all about to change, with Greg releasing his second and final solo album Pulse. Since he’d released Significant Changes in 1981, Greg had been busy, working on Quincy Jones’ The Dude, Donald Fagen’s Nightfly, Michael Jackson’s Thriller, Paul Simon’s Hearts and Bones and Lionel Ritchie’s Can’t Slow Down. These were the type of artists Greg Phillinganes worked with, given his reputation as one of the best keyboard players in the world. Whether keyboards or synths, Greg Phillinganes can play them with aplomb, resulting in nearly every major artist having Greg’s telephone number. His client list also includes Anita Baker, Aretha Franklin, Eric Clapton, Paul McCartney and Toto, with whom he spent three years working with. With such a busy schedule, it’s incredible that Greg even found the time to record one solo album, never mind two. However, three years after his debut solo album Significant Changes, the follow-up Pulse would be released. After I’ve told you about the background to Pulse, I’ll tell you about the music on the album.
The idea for Greg Phillinganes’ second album Pulse can be traced to a meeting that changed music history. Present were Rod Temperton, Quincy Jones, Greg and Michael Jackson. The occasion was a pre-production meeting where Michael played some of the tracks that would end up on Thriller. This included Billie Jean, Wanna Be Startin’ Something plus a number of other tracks that didn’t make the cut for Thriller. One of these tracks was Behind the Mask, originally written by The Yellow Magic Orchestra, with additional lyrics written by Michael Jackson. After the meeting, Greg asked Michael if he could have the song if he decided not to include it on Thriller. Michael agreed, and after a busy period between 1983 and 1984, Greg decided to revisit Behind the Mask. This became the starting point for what would become Pulse.
Having recorded Behind the Mask, approval came from Yellow Magic Orchestra founder and cowriter, Chris Mosdell, who liked how Greg had stayed true to the original, but added a soulfulness and a new sense of emotion. This combination of the studio technology and the more radio friendly fusion of soul and pop became the byword for the album. Greg chose eight other songs to record. These songs were written by artists like Robbie Nevil, Janet Jackson, Donald Fagen and Rogers and Hammerstein. Guest artists included people who Greg had previously worked with, including The Pointer Sisters, Howard Hewett, Phillip Ingram and James Ingram. To produce the album, Richard Perry was drafted in. Recording would take place in Los Angeles, with a number of guest musicians playing on Pulse.
Recording of Pulse took place primarily at Studio 55, with additional recording taking place at The Room, Bodifications and The Music Grinder. Among the musicians who’d play on Pulse, were percussionist Paulinho DaCosta, guitarists Robbie Nevil and David Walker, drummer Carlos Rios and horn player Jerry Hey. Together, they recorded a total of eight tracks. For recording of Lazy Nina, especially written by Donald Fagen for Greg, Donald co-arranged the track with Greg, while Robbie Nevil did likewise on Won’t Be Long Now. With Pulse finished and such a multitalented personnel working on the album, would the album be a commercial success?
Before the release of Pulse, Behind the Mask was released as a single in February 1985 on Planet Records. Although it only reached number seventy-seven in the US R&B Charts, it reached number four in the US Dance Charts. The problem was radio play, Greg wasn’t an established artist, so wasn’t able to radio playlists. This impacted on sales of Pulse, when it was released in March 1985. It failed to chart, as did Playin’ With Fire, the second single released from Pulse in April 1985. It seemed that like Greg’s 1981 debut album, Significant Changes, commercial success had eluded him, even with such multitalented, group of musicians and singers appearing on Pulse. However, what did the music on Pulse sound like? That’s what I’ll now tell you.
Opening Pulse is the lead single, Behind the Mask, co-written by Chris Mosdell and Ryuichi Sakamoto of the Yellow Magic Orchestra with additional lyrics written by Michael Jackson, who arranged the track. Futuristic synths give way to crisp, pounding guitars, stabs of synths and then Greg’s powerful, emotive vocals. Guitars, then a vocoder, played by Michael Boddicker enters, with Greg answering its call. Between the vocoder and synths, this stays true to the Yello Magic Orchestra’s original track, with Greg adding one other ingredient…his soulful vocal. Between Michael Jackson’s arrangement, with its waves of drama and power, plus the emotion, passion and soulfulness in Greg’s vocal, this is an outstanding track, far better than Eric Clapton’s effort.
Won’t Be Long Now was the first of two tracks co-written by Robbie Nevil, this time with Mark Muller. Robbie had written songs for artists that include Eddie Kendricks, Linda Clifford and The Pointer Sisters, who sung backing vocals on this track. With Greg singing lead vocal, against an arrangement where stabs, then washes of synths, guitars and percussion combine, June, Anita and Bonnie Pointer contribute some subtle and beautiful backing vocals. Their voices compliment each other’s perfectly, with their vocals contrasting the wash of synths. They meander, squeak and squelch behind them, like a futuristic, bubbling machine. This works well in Greg and Robbie Nevil’s eighties sounding, yet timeless arrangement. They’re them replaced by the vocal, with Greg and The Pointer Sisters, each feeding off each other, driving the other to greater, more soulful heights.
Jackie Jackson cowrote and arranged Playin’ With Fire. James and Phillip Ingram, plus Howard Hewet deliver the vocal. This they do against one of the best arrangements on Pulse, that’s perfect for the lyrics. Key to this are the synths and drums. Here, as well as the usual synths, a horn synth is played by Jerry Hey. He also adds punchy, blazing horns, while Carlos Rios’ drumming is a mixture of power, passion and drama, which is reflected in the vocal. The three vocalists deliver their vocals with an equal measure of power, passion, power and drama spraying shrieks and yelps throughout the track. When they’re vocals are combined with the arrangement, this results in one the real highlights of Pulse.
I Have Dreamed sees Greg revisit the songbook of Rogers and Hammerstein giving an old song a new interpretation. His voice has a tenderness, with just synths accompanying him. Later, hissing hi-hats and cymbals augment the wash of synths, before later a prolonged synth solo adds to the emotion and drama of a beautiful track, arranged by Greg.
Come As You Are is the second song co-written by Robbie Nevil, this time with Brock Walsh, who both were associate producers on the track. Robbie arranges the track, with just percussion, stabs of synths and then layers of synths producing a multi-layered sound. Searing, screaming guitars, drums and percussion all play their part in an arrangement that’s powerful and dramatic. Meanwhile, Greg’s vocal mixes joy and emotion, while deep, punchy backing vocalists answer his call. Having Robbie Nevil the cowriter, arrange the track was a masterstroke, he brings the track to life, resulting in track that’s variously joyful, emotive and dramatic.
Previously, Greg had played on Donald Fagen’s solo album Nightly. Here, he returns the favor, writing Lazy Nina especially for Greg’s second album Pulse. Donald co-arranged the track with Greg, which has a slow tempo, and a real Donald Fagen/Steely Dan sound. The track tells a story about an enigmatic woman Lazy Nina, with a piano accompanies the synths and drums. Greg meanwhile, delivers one of his best vocals on Pulse, with layers of backing vocalists and piano key to the track’s success. Here, the arrangement, including the vocal, has the sound you’d expect from a track Donald Fagen’s associated with. Of the nine songs on Pulse, this jazz-tinged track is one the best, surpassed only Behind the Mask.
Signals has a dark, moody and dramatic sound when it opens, with broody synths, drums and bass combining. When Greg’s vocal enters, it offers a contrast, with his vocal tender and emotive. The darkness is still there, but contrasted by keyboards and percussion. Later, as Greg’s vocal soars, he’s accompanied by powerful, punchy backing vocalists. Mostly though, his voice is tender, emotive and impassioned, on a track that although sometimes is dark, is quite beautiful, with some of the best lyrics on the album co-written by Greg.
Countdown To Love a real retro-sounding track is arranged by Howie Rice, who plays synths on the track. Greg plays both keyboards and synths, on a track that when it opens, has a real doo-wop sound. This continues throughout the track, with backing vocalists accompanying Greg, singing in a doo-wop style. Compared to the modernity of the arrangement, and the synths and keyboards that are key to the sound, this is a compelling, contrast in sounds and styles. However, this works well, with the sounds and styles fusing seamlessly, resulting in a stunning, sounding track.
Closing Pulse is Shake It, a track where the arrangement is played entirely by synths and keyboards. Crispy, crunchy drumbeats, beefy synths and punchy, backing vocalists accompany Greg. Together, the synths provide a backdrop resembling a futuristic train careering along. Later, synths generate a series of percussive sounds, augmented by beeps and squeaks, while Greg and his backing vocalists combine, producing powerful, punchy and emotive vocals. For six minutes, this epic, innovative, ambitious and futuristic sounding track unfolds. During this time, it reveals its charms, subtleties and secrets, with jazz, electronic and soul music uniting.
Greg Phillinganes and his multitalented group of guest musicians, arrangers and songwriters all played their part in making Pulse, Greg’s second album a compelling, accomplished and highly enjoyable album. With Joe Perry producing Pulse, the nine tracks are a combination of soul, R&B, jazz and electronic music. Opening with Behind the Mask, arranged by Michael Jackson, the quality of music continues to be consistent. From there on, Greg demonstrates that not only is he a hugely talented keyboard player, but is an equally talented vocalist. He delivers the songs with variously a tenderness and beauty, with sometimes, emotion, passion and power. Accompanied by The Pointer Sisters on Won’t Be Long Now, Greg gives one of his best vocals on Pulse, surpassed only by his vocals on Behind the Mask and Lazy Nina, written by Donald Fagen of Steely Dan. This demonstrates how highly regarded Greg is, with Donald Fagen writing a track for him, Michael Jackson arranging Behind the Mask and The Pointer Sisters adding backing vocals on Won’t Be Long Now. Not only that, James and Howard Ingram, plus Howard Hewet contribute vocals on Playin’ With Fire. Sadly, Pulse, with its multitalented cast of songwriters, singers, musicians, arrangers and producers failed commercially. After this Greg Phillinganes didn’t release another solo album, concentrating on session work for some of the biggest names in music. Thankfully, Pulse has been remastered and will be rereleased by BBR Records on 23rd April 2012, along with six bonus tracks, including Only You, the B-side of Behind the Mask, which Greg cowrote with Bill Withers. This rerelease of Pulse allows anyone who previously, has only heard Greg Phillinganes work as a session musician to hear just how talented a singer, songwriter and musician he really is. After this, why not revisit some of the classic albums that Greg Phillinganes played on, during his long and illustrious career. Standout Tracks: Behind the Mask, Won’t Be Long Now, Playin’ With Fire and Lazy Nina.
GREG PHILLINGANES-PULSE.
PHAROAH SANDERS-LOVE WILL FIND A WAY.
PHAROAH SANDERS-LOVE WILL FIND A WAY.
During a solo career that started in 1964, with the release of his debut album Pharoah’s First, Pharoah Sanders has released over thirty solo albums. As if this isn’t impressive enough, he’s accompanied jazz legends John and Alice Coltrane, McCoy Tyner and Don Cherry. Pharoah’s other collaborations have included working with such luminaries as Terry Callier, Sun Ran and Ornette Coleman, who referred to Pharoah as “probably the best tenor player in the world.” This is high praise indeed, but for anyone who has heard his legendary sheets of sound, this isn’t unexpected. Some of the Pharoah’s best work was for Impulse Records, the home to ‘Trane, Coleman Hawkins, Chico Hamilton and Max Roach. to name but a few. Whilst signed to Impulse, Pharoah released ten albums between 1969 and 1973. However, five years later, Pharoah Sanders would release an album of the music he started off playing, R&B. This was Love Will Find A Way, the first of two albums he released for Arista. On Love Will Find A Way, which will be rereleased by BBR Records on 23d April 2012, Pharoah fuses R&B, soul, funk and quiet storm, on seven tracks, which feature jazz drummer Norman Conners and Philly soulstress Phillis Hyman. However, before I tell you about Love Will Find A Way, I’ll tell you about the background to the album and how the change in style on the album came about.
Before Pahroah signed to Arista, things weren’t going well for him. He was living in a run-down flat in New York, and it was quite obvious Pharoah was down on his luck. He was without a record deal, having only released one album since leaving Impulse in 1973, Pharoah in 1977 on the American independent label India Navigation. However, things were soon to change when a musician from his past would reenter his life, Norman Connors.
Norman had first played with Pharoah when he was just sixteen, and part of John Coltrane’s band. Due to Trane’s regular drummer Elvin Jones not playing, Norman replaced him. After this, Norman Connors and Pharoah’s paths continued to cross. By 1978, Norman had released a trio of successful albums, 1976s You Are My Starship, 1977s Romantic Journey and Norman’s first album for Arista, 1978s This Is Your Life. Having seen the conditions Pharoah was living in, and realized how their careers had taken quite different paths Norman decided to try and help his idol. He approached Clive Davis, head of Arista, and broached the subject of signing Pharoah to Arista. Clive Davis agreed to this, with Norman finding Pharoah, who then signed a recording contract with Arista. This saw Pharoah release two albums for Arista, 1977s Love Will Find A Way and 1978s Beyond A Dream. This would see a transformation in Pharoah’s life, with him leaving his run-down flat in New York, the destination California.
Pharoah’s destination was the Kendun Studios, Burbank, California, where Norman Connors would produce what would become Love Will Find A Way. Joining Norman and Pharoah, was Phillis Hyman, who’d sung on Norman’s 1976 album You Are My Starship. The band that would accompany Pharoah included guitarists Wah Wah Watson and David T. Walker, bassist Donny Beck and keyboard players Hubert Eaves and Bobby Lyle. The horn section included saxophonist Ernie Watts and trombonist George Bohannon. In total, over twenty musicians played on Love Will Find A Way, plus The Waters Family who sang backing vocals. They backed Pharoah on an album that fused soul, funk and R&B. Seven songs were recorded, with Pharoah writing one track, Phoramba and cowrote two others. With these songs recorded, not only did the album mark a change in style from Pharoah’s normal free jazz, but marked a change in his fortunes.
Before the release of Love Will Find A Way, As You Are was released as a single in February 1978, but failed to chart. When Love Will Find A Way was released in March 1978, the album reached number forty-one on the US R&B Charts, marking a change in Pharoah’s fortunes commercially. After the success of Love Will Find A Way, Got To Give It Up was released as a single, but like As You Are, failed to charge. However, Norman Connors and Clive Davis’ decision to sign Pharoah Sanders had been vindicated, with Love Will Find A Way proving a commercial success. Although it’s very different from Pharoah’s usual free jazz, it’s a hidden gem of an album, as you’ll realize when I tell you about the music on Love Will Find A Way.
Love Will Find A Way opens with the title-track, Love Will Find A Way, written by Pharoah’s daughter Bedria Sanders. It’s a gentle, melodic track with percussion, piano and the rhythm section combining with the lushest strings, as the track meanders beautifully along. When Pharoah’s rasping tenor saxophone enters, he’s playing it with feeling and emotion, taking care with each note. Behind him, The Waters Family add beautiful, subtle backing vocals, which are replaced by the cascading strings. Flourishes of piano play a large part in the track, drifting majestically in and out. However, every musician plays their part in making this beautiful, melodic track so compelling and enthralling.
Pharomba was the only track written by Pharoah himself and arranged by McKinley Jackson. It sees him kick loose, unleashing a powerful solo not long after the track opens. The combination of pounding drums, piano and percussion is just an Amuse Bouche, with Pharoah providing the meaty main course. His playing is a mixture of power and passion, his tenor saxophone unleashing a wash of screaming, blazing and emotive music. Meanwhile, the rest of his band augment his playing, with the rhythm section, piano, percussion seemingly content to let the Pharoah take centre-stage. Here, he demonstrates his legendary sheets of sound, as timpani and backing vocalists accompany him, as he strays into free jazz territory towards the end of the track displaying just why Ornette Coleman called Pharoah “probably the best tenor player in the world.”
On Love Is Here, Phyllis Hyman makes her first appearance on Love Will Find A Way. The Philly-born singer delivers an impassioned and emotional performance. Meanwhile, Pharoah and his band combine to produce an arrangement that starts of reflecting the power and passion in Phyllis’ vocal, before it’s all change, when Pharoah unleashes a solo. He replaces Phyllis’ vocal for the rest of the track, playing with a similar display of power and passion. His rasping, growling saxophone veers between beautiful, emotive and impassioned, before becoming laden with drama, soaring high, leaving the rest of his band trailing in his wake. The contrast between the sound of Phyllis’ vocal and Pharoah’s tenor saxophone may be vast, but they’re both heartfelt, full of emotion, displaying power and passion.
There’s a real jazz funk sound on Got To Give It Up, a cover of a Marvin Gaye penned track. Pounding drums, a funk laden bass and blazing horns combine, as the track gets underway. The rhythm section and punchy, growling horns are key to a track, which is the catchiest on the album. Later, amidst a myriad of horns, handclaps and a funky, driving rhythm section, Pharoah enters, giving one of his most impassioned and powerful solos. Behind him, his band ensures the track’s still funky and swings, with the track sounding like a party is unfolding in the studio. Searing, sizzling, screaming guitars and piano enter, as Paharoah and his band jam their way through six minutes of the tightest, funkiest music you’ll hear in a long time.
The other single released from Love Will Find A Way was As You Are, a song Norman Connors cowrote. Later, it would become a Quiet Storm classic, still popular today on Smooth Jazz radio stations today. Featuring Phyllis Hyman’s vocal talents, this is one of the album’s real highlights. Opening with flourishes of harpsichord, flute and a lone horn, what unfolds is both dramatic and beautiful. Swathes of strings and drums add drama, before on the signal of the bass, Phyllis’ vocal enters. Although powerful, it’s emotive and beautiful, accompanied by piano, cascading strings and the rhythm section. Backing vocalists are provided by The Waters Family, adding to the track’s beauty. When Phyllis’ vocal drops out, Pharoah steps up to the mark, unleashing an impassioned solo, before Phyllis reenters. She’s accompanied by a beautiful backdrop of guitars, strings, piano and later Pharoah’s soaring saxophone. This results in what’s quite simply the best, and most beautiful song on Love Will Find A Way.
Answer Me My Love sees Paul Riser arrange this familiar song in three parts. He gives the track new meaning. Opening with Bobby Lyle’s piano solo accompanied by a subtle soprano saxophone played by Pharoah, before strings and percussion enter. It’s nearly two minutes before the track changes, with drums and bass kicking in, and the track becoming more R&B tinged. Then eventually, the track changes, the track revealing its jazzy peak, where the saxophone, piano and strings and combine, before returning to its earlier gentler, more subtle sound. Here, Paul Riser gives an old track new meaning, with pianist Bobby Lyle and of course Pharoah on soprano saxophone, combining brilliantly and beautifully.
Closing Love Will Find A Way, is Everything I Have Is Good, another track Norman Connors cowrote. Again, Pharoah plays soprano saxophone, while Bobby Lyle on piano plays an important role. Norman Connors and Phyllis Hyman contribute vocals, with Phyllis’ vocal impassioned and full of sincerity and emotion. When their vocals drop out, Bobby Lyle plays a prolonged and peerless piano solo, that’s his best solo on the album. Pharoah plays a solo above Norman’s vocal, his playing punchy and subdued, subtle even. This is just the finishing touch to a beautiful track, where Bobby Lyle and Phyllis Hyman steal the Pharoah’s crown with stellar performances.
As someone who is used to Pharoah Sanders’ usual free jazz, Love Will Find A Way came as a very pleasant and welcome surprise. It marked a revival in Pharoah’s fortunes commercially, after several lean years, that saw him down on his luck and without a record deal. He had Norman Connors and Clive Davis to thank for their leap of faith in signing him to Arista. Their leap of faith was repaid when Love Will Find A Way reached number forty-four in the US R&B Charts. This was helped by the all-star band Norman had assembled, which included Phyllis Hyman’s vocal on three tracks. The seven tracks on Love Will Find A Way are a combination of Smooth Jazz, Quiet Storm, soul, funk and the music Pharoah grew up playing R&B. On each track, Pharoah proves he hadn’t lost his chops, playing with emotion, passion, power and sometimes, tenderness. Although quite different to the music he made his name playing free jazz, Love Will Find A Way which will be rereleased by BBR Records on 23rd April 2012, is the perfect introduction to Pharoah Sanders’ music. It’s much easier on the ear for casual listeners than his frenzied free jazz. So, if you want to investigate the music of Pharoah Sanders, but are unsure where to start, then Love Will Find A Way is the perfect starting point, containing some amazing music, from Pharoah Sanders, Phyllis Hyman and Norman Connors’ all-star band. Standout Tracks: Pharomba, Love Is Here, Got To Give It Up and Love Will Find A Way.
PHAROAH SANDERS-LOVE WILL FIND A WAY.
RENE AND ANGELA-RISE.
RENE AND ANGELA-RISE.
By 1983 Rene and Angela were about to release their third, and what would become their most successful album, Rise. This was Rene Moore and Angela Winbush’s follow-up to their 1981 album Wall To Wall. Their had started with their 1980 eponymous album Rene and Angela. Like their second album, Wall To Wall, Rise was co-produced by Rene and Angela with Bobby Watson, who’d co-produced their first two albums. Unlike their two previous albums, Rise would prove to be commercially successful, with two successful singles Banging the Boogie and My First Love being released from the album. Although Rise proved to be the album that launched Rene and Angela’s career, it was to be their final album for their label Capitol Records. After this, Rene and Angela signed to Mercury, where they’d the most successful period of their career. This included the release of their final album, 1985s Street Called Desire, which contained three top ten US R&B singles, including the number one single Your Smile. However, that was still to come, with Rise the album that proved to be the springboard for the launch of Rene and Angela’s career. Before I tell you about the music on Rise, I’ll tell you about the making of the album.
After Wall To Wall, Rene and Angela were even more determined to find the success they believed their talent deserved. So, for the recording sessions at the various studios used, Rene and Angela arrived at the studios at 9pm and worked until 6pm, Monday to Friday. This pleased co-producer Bobby Watson, the brother of Rufus, from Rufus and Chaka Khan fame. Bobby had worked with Quincy Jones, and realized the importance of a professional approach to recording an album. It would prove more efficient, economical and hopefully, much more successful. In total, eight tracks were recorded, with each track co-written by Rene and Angela. Their new way of working meant that Rise was ready for release in May 1983, some two years after its predecessor Wall To Wall and would prove much more successful than it.
Before the release of Rise, Banging the Boogie was released as a single in April 1983. It reached number thirty-three in the US R&B Charts. The second single Keep Runnin,’ was released in July, the same time as the album. While Keep Runnin’ failed to chart, Rise reached number thirty-three in the US R&B Charts, the highest chart placing for any of Rene and Angela’s first three albums. However, things would improve when My First Love was released as the third and final singe, surpassing everything that had gone before, reaching number twelve in the US R&B Charts. This was a huge change in Rene and Angela’s career, with Rise proving the saying that third time lucky is true. Why was there this upturn in Rene and Angela’s fortunes with Rise? Was it purely down to a more focused, determined approach? That’s what I’ll explain when I tell you about the music on Rise.
Opening Rise is the title-track Rise, which, like all the tracks on the album is co-written by Rene and Angela. Rise is an uptempo track, that’s catchy sound almost explodes joyously into life. A combination of blazing horns, cascading strings, rhythm section and synths open the track. When Rene’s vocal enters, it’s accompanied by a myriad of handclaps, funky bass line and bursts of horns and swirling strings, before Angela’s vocal takes over. Both vocals are emotive and impassioned, as the rhythm section and synths drive this hook-laden dance track along. Everything about the track is perfect. The tempo of 120 beats per minute is dance-floor friendly, while the hugely catchy arrangement is polished, full of hooks and made all the better by the impassion and emotion in Rene and Angela’s vocals.
Of the three singles released from Rise, Keep Runnin’ was the only one to chart. Given it’s quality, this is surprising. Here, the tempo is quicker, 129 beats per minute, with swirling, sweeping strings, squelchy synths and handclaps key to the track’s sound. The vocals are delivered quickly, in a punchy, style that’s full of emotion. Although the arrangement is synth heavy, it’s still fabulously funky. Key to this are the quick, crisp drums and wandering, funky bass line, which combines well with the synths. Rene’s vocal is dramatic, while the backing vocals are punchy and soulful accompanied by handclaps. While the arrangement is synth heavy, this doesn’t stop it from being not only funky, but truly soulful, thanks to Rene and Angela.
When you hear the opening bars of My First Love, you realize that this is a very different track. Layer upon layer of slow, lush strings accompany Rene’s vocal. It’s thankful, full of emotion and love. Backing vocalists add to the track’s beauty and emotion, before Angela’s powerful, dramatic vocal. Like Rene’s, it’s heartfelt and emotive, delivered against an arrangement where strings are at the heart of the arrangement. Later, a keyboard solo is added, providing quite a contrast. However, until the closing notes, the track is beautiful and heartfelt, making it quite obvious why this track reached number twelve in the US R&B Charts.
From one hit single in My First Love, to Bangin’ The Boogie, the first single from Rise, which reached number thirty-three in the US R&B Charts. It’s a track that had all the ingredients for a 1983 club hit. Take a rhythm section that’s powerful, laden with energy and capable of driving a track along, mix with dueling guitars, synths, plus punchy, blazing horns. Add to this, Rene and Angela, who deliver the track in a joyous, inspirational style. Later, a beefy, bass synth plays an important part in trhe track, while the guitars duel dramatically and punchy horns punctuate the arrangement. When all these ingredients are mixed together, the result isn’t just a hugely catchy club for 1983, but a track that nearly thirty years later, still would fill a dance-floor.
There’s hardly any drop in the tempo on When It Comes To You, another of Rise’s uplifting, catchy tracks that reminds me of Ashford and Simpson. Stabs of synths, rhythm section and keyboards combine with handclaps and Rene and Angela’s vocal. When Angela’s vocal enters, it has the passion and power of Chaka Khan, while when Rene and Angela add harmonies, there’s an Ashford and Simpson influence. Later, synths and keyboards combine during a breakdown, before Rene and Angela contribute their tight, quality harmonies, against one of the best arrangements on Rise. All this, makes this one of the Rise’s real highlights and would’ve made a great and surely, successful single.
Wait Until Tonight sees the tempo increase, but the quality remain the same. It seems that there’s not a bad track on Rise. Again, there’s an Ashford and Simpson “sound,” which is a real compliment. The arrangement has a driving rhythm section, punctuated by synths, while Rene and Angela’s vocals combine. Then, Rene sings lead first, but good a vocalist as he is, Angela’s delivery is better. Her voice has a presence, power and passion, with anticipation and longing ever-present. Chiming guitars, funky bass and synths provide a backdrop to their vocals, along with finger clicks. As we’ve come to expect, Rene and Angela don’t disappoint, delivering vocals that are variously, emotive, while full of anticipation and longing. Together, with an arrangement that mixes funk and soul seamlessly, this another great track from Rene and Angela.
Can’t Give You Up opens with swirling, sweeping strings weaving their dramatic, but lush and beautiful sound, before the rhythm section and keyboards add drama. When Rene and Angela’s vocals enter, their vocals are heartfelt, full of emotion and sincerity. As strings cascade, guitars chime and drums add drama, Angela’s vocal grows in power and passion, displaying how good a vocalist she is. Then, when they join, singing harmonies, their vocals blend beautifully, one complimenting the other perfectly, on what’s a beautiful love song, full of emotion and adoration.
Closing Rise is Take Me To the Limit, which sees the tempo climb, while synths play a bigger roll in the arrangement. Rene’s vocal is delivered a breakneck speed, with strings sweep and swirl, bursts of synths squelch and horns punctuate the arrangement. Later, Angela takes over the lead vocal, displaying the power and presence her vocal has. It’s replaced by the combination of synths, horns, strings and rhythm section, before Rene and Angela return, as they bade farewell to Capitol Records on a rousing track, which sees eighties electronic music, funk, soul and post-disco unite as one.
It seems ironic that, just as Rene and Angela were making a commercial breakthrough with Rise, and the two successful singles released from the album Banging the Boogie and My First Love, they’d be bidding their fond farewells to Capitol Records. After that, they’d sign for Mercury, releasing 1985s Street Called Desire, which contained three top ten US R&B singles, including the number one single Your Smile. While they’d find the success their talents warranted on Mercury, Rise pointed at the success that would follow. Not only did Rise reach number thirty-three in the US R&B Charts, and contained two hit singles, but was crammed full of quality tracks. These eight tracks never once disappoint, proving that Rene and Angela’s much more focused, organized and professional approach to recording Rise paid off. Apart from the three singles, Banging the Boogie, Keep Runnin,’ and My First Love, there are several other highlights on the Rise, including When It Comes To You, Wait Until Tonight and the beautiful Can’t Give You Up. Of the two other tracks, Rise which opens the album and Take Me To the Limit, which closes Rise, they’ve all got one thing in common…quality. This is what makes Rise, which was rereleased by BBR Records on 16th April 2012, the perfect introduction to Rene and Angela’s music. It features some wonderful music, and for anyone who has still to discover Rene and Angela’s music, Rise is the best place to start. After, that you can investigate the other three albums they released between 1980 and 1985 released by two multi-talented singers, songwriters and producers, Rene and Angela. Standout Tracks: My First Love, When It Comes To You, Wait Until Tonight and Can’t Give You Up.
RENE AND ANGELA-RISE.
DONNA MCGHEE-MAKE IT LAST FOREVER.
DONNA MCGHEE-MAKE IT LAST FOREVER.
Before embarking on her solo career, Donna McGhee got her first break singing with The Fatback Band. Later, she found herself touring with Chaka Khan, Crown Heights Affair and Teddy Pendergrass. By 1977, Donna found herself signed to the disco label Red Greg Records, releasing Make It Last Forever in 1978. Produced by the Greg Carmichael and Patrick Adams, Make It Last Forever is a true disco classic, with copies changing hands for upwards of $100. Thankfully, these days are over, with BBR Records rereleasing a remastered version of Make It Last Forever on 16th April. Featuring the seminal disco classic Mr. Blindman and the Grammy Award nominated, Donna McGhee’s debut album Make It Last Forever is one of the best albums of the disco era. After I’ve told you about Donna’s career and the making of Make It Last Forever, I’ll tell you about the music on the album.
Sometimes, coincidence can play a part in artists career. This was the case with Donna McGhee and producer Patrick Adams. In 1977, when Donna signed to the Red Greg label, this wasn’t the first time their paths had crossed. Between 1970 and 1973, Patrick Adams was the head of A&R at Perception Records, the label The Fatback Band were signed to. Then, a year after Patrick left to for P&P Records, Donna McGhee would join The Fatback Band. By that time, The Fatback Band had left Perception, joining Event Records.
Having joined The Fatback Band, Donna spent three years with them. By 1977, Donna McGhee decided to leave the band. During her time with The Fatback Band, the band was about the group, with no individual having a starring role. Neither Donna nor Phillis Hyman, who appears on The Fatback Band’s 1976 album Night Fever, were chose for the lead vocal role. Deciding that the time was right to leave The Fatback Band, Donna’s next group was Ricky Williams and Knight Flight. This was how Donna would meet Greg Carmichael, and ultimately, Patrick Adams, resulting in a long and successful collaboration.
During the seventies, Patrick Adams had been one of the most innovative, creative and influential producers. Having founded P&P Records with Peter Brown, a record executive, the label would go on to release some of the seventies greatest underground classics. Helping Patrick was producer Greg Carmichael. Together, the pair were constantly creating and innovating and soon to join them, was Donna McGhee, adding her tender, beautiful backing vocals to their soulful and melodic creations. She would appear on many of their tracks, becoming one of their favored session singers. However, before that, she’d sign for the Red Greg label, recording her debut solo album, Make It Last Forever.
Recording of Make It Last Forever took place in 1977, with the album featuring five tracks. Greg and Patrick cowrote the title-track and single Make It Last Forever, while Patrick wrote the Grammy Award nominated I’m A Love Bug. Mr. Blindman was written by Greg, who also wrote Do As I Do. Patrick and Greg arranged and produced the album, while Donna recorded the five songs. Two tracks demonstrated a quite different side to Donna, a sultry, sensuous side on the title-track Make It Last Forever. Here, her vocal is full of gasps, groans and moan, as is also the case on Do As I Do. On the other three tracks, there’s variously everything from tenderness and fragility, to bravado and emotion in her voice.With the five tracks on Make It Last Forever recorded, all that was left for the album to be released.
On the release of Make It Last Forever as a single, it failed to chart. The title-track, Make It Last Forever which was meant to be released as a single, wasn’t released. It had been hoped that its release as a single, would create the required buzz to sell the album. This wasn’t the case and even the release of Mr. Blindman as a single in the UK, didn’t help matters, when it too, failed to chart. Instead, Make It Last Forever remains a hidden gem of a disco album, which I’ll now tell you about.
Opening Make It Last Forever is the title-track, Make It Last Forever, co-written by Greg Carmichael and Patrick Adams. Swathes of the lushest cascading strings open this mid-tempo track, accompanied by the rhythm section, percussion and chiming guitars. As the track reveals its charms, Donna’s sensuous vocal enters, full of anticipation and desire. Meanwhile, the ever-present strings are key to the arrangement, while percussion and guitars, play a supporting role. Later, Donna’s vocal is full of moans, groans and gasps, desire and anticipation having overtaking her. For over eight minutes, this classic charms displays its hidden secrets and passion, with Donna’s impassioned, sultry vocal plus Patrick and Greg’s stunning string drenched arrangement key to the track’s success and timeless sound.
Do As I Do, written by Greg Carmichael has a quite different sound, with the tempo increasing slightly. There’s a sense of drama and desire in Donna’s vocal, with her vocal reaching an orgiastic climax, as layers upon layer of luscious strings enveloping Donna. Meanwhile, a pounding rhythm section provide a backdrop that’s reminiscent of the Rolling Stones’ disco single Miss You. The bass and drums sound similar, providing the perfect beat, but with Greg and Patrick adding something that’s missing from Miss You….soul. Augmenting the rhythm section are shimmering vibes and piano, while Donna sounds as if she’s reaching a dramatic climax. When combined with a pulsating disco beat and luscious strings, the result is a track that showed disco pretenders just what a disco track should sound like.
It Ain’t No Big Thing is a track that bursts into life, with the sweetest, swaggering vocal from Donna laden with bravado. This is surprising given the song’s about the breakup of a relationship. Again, Patrick and Greg utilize strings, while the tempo is the slowest on the album, just 98 beats per minute. Opening with just piano, the strings, vibes and rhythm section then combine. Like the previous track, the pounding bass plays an important part in the arrangement, while Donna’s vocal is sometimes multi-tracked. Her voice is full of confidence and bravado, not perturbed at the end of her relationship. Later, the bass, vibes, piano and guitar combine, adding a sprinkling of funk. Hissing hi-hats, then vibes add a contrast during the breakdown, before Donna’s vocal reenters. Still it’s sweet and sassy, as one of the best tracks on Make It Last Forever
Mr. Blindman was the only single released from Make It last forever, but only in the UK. For some reason, it failed to make an impression on the charts. Why a song as good as this wasn’t a hit, seems strange. Donna’s vocal is impassioned and dramatic, delivered in a punchy style, reflected in the arrangement, which comes in punchy, dramatic waves. From the get-go, the track is dramatic, chiming guitars, swirling, sweeping strings and the rhythm section weaving their magic, providing the perfect backdrop for Donna’s vocal. Swathes of strings, backing vocals and guitars accompany Donna, as the track unfolds, with Donna revealing her love for the man who fails to recognize her devotion and adoration. With a song as good as this, it’s no wonder that this classic track is still played by DJs today and features on so many compilation albums.
Closing Make It Last Forever is the Grammy Award nominated I’m A Love Bug. Written by Patrick Adams, the track’s an explosion of drama, joy and sensuality. With swathes of strings cascading, the tempo is quicker, with Donna’s vocal a combination of joy and later, sensuality. As the track begins, she’s joyous, before later, moaning and groaning her way through the track. Meanwhile, the arrangement is dramatic, strings, flourishes of piano and the rhythm section key to its sound. For part of the track, Donna’s vocal drops out, replaced by just the band, who give a highly accomplished performance, proving that key to the success of this album, and much of the music produced by Greg and Patrick, was using the finest musicians available. This was the case with singers too, with Donna playing her part in many of their later success for P&P Records.
Sadly, after the failure of Donna McGhee’s debut solo album Make It Last Forever, Donna never released any further solo albums. Instead, she would play an important role in the success of Patrick Adams and Greg Carmichael’s music. She can be heard on many of their most important collaborations. That Donna never released another solo albums is quite sad and disappointing, because Donna McGhee was blessed with a great voice and is a hugely talented singer. The five tracks on Make It Last Forever demonstrate this, with her voice a mixture of sensuality, passion, emotion and joy. Together with Patrick Adams and Greg Carmichael, Donna created in Make It Last Forever, an album that should’ve been a much bigger commercial success. When you listen the five tracks, they’re of highest quality, with Donna’s talent shining through. One reason for the album’s commercial failure is the nature of several tracks. Make It Last Forever was meant to be released as a single, but given the sensuous sound and Donna’s moans and groans, it was never going to be played on radio, either in the US or UK. Given that any single needs radio play to help its commercial success, this wouldn’t be the case here. Even if it had been released as a single and subsequently banned, then this may have helped sell copies of the single or album, but not enough to make Make It Last Forever the commercial success it deserved. However, thirty-four years later, Make It Last Forever, a timeless sounding album has been remastered and rereleased by BBR Records, with three bonus tracks. One of the bonus tracks is Danny Ktivit’s Re-Edit of It Ain’t No Big Thing, which is an excellent reedit. Together with single versions of Make It Last Forever and It Ain’t No Big Thing, BBR Records is the perfect opportunity to rediscover Donna McGhee’s only solo album Make It Last Forever, a classic disco album. Standout Tracks: Make It Last Forever, Do As I Do, It Ain’t No Big Thing and Mr. Blindman.
DONNA MCGHEE-MAKE IT LAST FOREVER.
THE FUTURES-PAST, PRESENT AND THE FUTURES.
THE FUTURES-PAST, PRESENT AND THE FUTURES.
While reviewing the forthcoming Philadelphia International Records-The 40th Anniversary Box Set and the recently released Philadelphia International Records-The Tom Moulton Remixes, I came across tracks by The Futures, a group who were one of Philadelphia International Records’ nearly men. They released two albums for Philadelphia International, 1978s Past, Present and The Futures and 1980s The Greetings of Peace. Sadly, neither album gave The Futures the success their talent warranted. If lady luck had been on their side, many people believe they could’ve joined the long list of Philly groups that found fame and fortune. Sadly, that wasn’t to be. Regardless of that, many people, myself included, are fans of their music and have a soft spot for The Futures music. So, finding a nine minute remix of The Futures’ best known track Party Time Man was a very welcome surprise. Hopefully, it’s addition will mean more people will investigate their two Philadelphia International albums. Of the two albums, Past, Present and The Futures is the better known of the two. Hwever, before I tell you about Past, Present and The Futures, I’ll tell you about their career.
By the time The Futures signed to Philadelphia International Records, the group had been together since the late sixties. They released their debut single Our Thing in 1970, for the Amjo Record Company. Then, two years later, in 1972, they were about release a single for what had been Kenneth Gamble’s Gamble Records. However, it became Philadelphia International Records and was backed by Columbia Records.
Then, the success of another Philadelphia International group meant their future was on hold. The O’Jays’ Love Train had just been released, becoming a huge hit and taking up everyone at the label’s time and efforts. Then in January 1973, Love Is Here was eventually released, reaching number forty-seven in the US R&B Charts. There was to be no follow-up of Love Is Here on Philadelphia International Records and the group were left to their own devices. Returning to their day jobs, nothing would be heard of The Futures as recording artists until 1975.
In 1975 The Futures were signed to New York based Buddah Records, who by then, had a number of successful artists, including The Trammps, Barbara Mason and Gladys Knight and The Pips. It was for Buddah records that The Futures would release three singles and their 1975 debut album Castles In the Sky. The Futures had some success on Buddah, with We Got Each Other, one of two singles recorded with Barbara Mason, reaching number thirty-eight in the US R&B Charts. However, their success on Buddah was short lived, and again, they were without a recording contract. It would be three and a half years before they signed their next contract, with two men who they crossed paths with earlier in their career, Gamble and Huff.
Signing with Philadelphia International Records in late 1978, The Futures would hit the ground running. They started recording their second album and debut for Philadelphia International Past, Present and The Futures. Eight tracks were chosen for the album, with Gamble and Huff not writing any of the tracks. Instead, songwriters like Sherman Marshall, Charles Simmons, Joseph Jefferson and Douglas Brown wrote the eight tracks. Many of the same people that wrote the songs produced the tracks. Kenneth Gamble only co-produced one track, while Leon Huff doesn’t feature on the album. With the eight tracks recorded at Philly’s legendary Sigma Sound Studios, Past, Present and The Futures was ready for release. Would The Futures find the success that had eluded them for so long?
Before the release of Past, Present and The Futures, The Futures released a track that’s became synonymous with them, Party Time Man. Sadly, it only reached number ninety-four in the US R&B Charts. On the release of the second single was Ain’t No Time Fa Nothing, it failed to trouble the charts. When the album Past, Present and The Futures was released, it too never charted. It seemed that for The Futures, success was still determined to elude them. This was strange, given the music on Past, Present and The Futures, which I’ll now tell you about.
Opening Past, Present and The Futures is Party Time Man, the song The Futures are best known for. Co-written by Sherman Marchall and Ted Wortham, straight away, you realize why the track was chosen as the lead single. From the opening bars when a punchy rhythm section, cascading strings and blazing horns enter, you realize something very special is about to unfold. Then, when the tender, beautiful lead vocal enters you realize that this is a hidden Philly gem. Accompanied by tight harmonies, the lead vocal changes hand. Together, Frank Washington, Kenny Crew, Henry McGilberry and brothers James and John King vocals compliment each other. Meanwhile, M.F.S.B. Mk. II help The Futures produce a joyous uplifting backdrop, one that fuses the best of Philly soul with elements of funk and disco. Why this track never fared better as a single than number ninety-four in the US R&B Charts is astounding.
After the uptempo opening track, The Futures drop the tempo on the beautiful Ain’t No Time Fa Nothing, which was the second single released from Past, Present and The Futures. It’s penned by the successful songwriting team of Charles Simmons and Joseph Jefferson who both produced the tracks. It’s a laid-back, mid-tempo track, where sultry horns, lush strings and keyboards accompany The Futures. Their vocals are reminiscent of what you’d expect on an Earth, Wind and Fire album. This is the case with the arrangement where the rhythm section provide the heartbeat, while the strings, horns and keyboards are key to the arrangement’s success. Along with some beautiful vocals and close, tight harmonies from The Futures, this is beautiful, laid-back slice of soulful music that’s totally irresistible.
Deep Inside of Me is one of the most thoughtful, beautiful ballads you’ll hear in a long time, reminding me of The Stylistics at their best. It’s the only track that Kenneth Gamble co-produced. He does so with Cynthia Biggs, while Jack Faith arranges the track. The lead vocal is full of emotive and heartfelt, while the harmonies are tight and tender, complimenting the lead vocal perfectly. Jack Faith’s arrangement has a subtlety, meandering along with lush strings at its heart, while stabs of rasping horns and drums punctuate the arrangement, as if pointing out the track tenderness and beauty. Written by Cary Gilbert, Ted Wotham and Cynthia Biggs, The Futures surpass themselves, delivering a track that’s not only heartfelt, tender and beautiful, but one of the highlights of Past, Present and The Futures.
Flourishes of a harpsichord open Sunshine And You, another ballad before the lead vocal, stabs of Hammond organ and rhythm section combine. Arranger John L. Usry Jr. then introduces lush, sweeping strings, while subtle backing vocals and bursts of rasping horns combine. Here, there’s a change in lead vocal, it’s deep and sultry, filled with emotion and sincerity, reminding me of Jon Lucien. It’s perfect for the lyrics penned by Douglas Brown, Terry Price and William Bloom, who produced the track. For nearly four minutes you’re enthralled and captivated by this track, and again, are left wondering why The Futures weren’t a huge success, given the talent they obviously had.
Come To Me (When Your Lovin’ Is Down is another slow track, with the tempo way down, only 78 beats per minute. This allows The Futures to demonstrate their talents in delivering close harmonies. However, the track has a slightly different sound, with the track reliant more on harmonies than previous tracks. There’s still the same quality, with Jack Faith’s arrangement full of the lushest strings, sultry bursts of horns, piano and harpsichord. Although different from previous tracks, one thing remains the same…the quality of vocals from The Futures and Jack Faith’s thoughtful, subtle and emotive arrangement.
You Got it (The Love That I Need) sees The Futures up the tempo after three slower songs. Strings cascade, while vocals soar elegantly and gracefully, as bursts of punchy horns and the rhythm section combine. Then, comes a joyous falsetto vocal, while the rest of The Futures add harmonies and handclaps. Meanwhile, the arrangement mixes drama with the emotion in the vocal, while the strings, bursts of horns and drums add what’s just the finishing touches to a track that’s drenched in emotion. Not only that, but the lead vocal is one of the best on the album, augmented by some of the tightest, sweetest harmonies.
The thing about The Futures second album Past, Present and The Futures is that you’re always waiting for a poor track, which thankfully, never comes. They never once let their standards drop, with (You’re the One) Someone Special the latest in a line of great songs. Bobby Eli’s guitar, piano and the rest of the rhythm section enter, while bursts of blazing horns and sweeping, swirling strings combine. Together, they provide the type of arrangement that made Philadelphia International famous. With such a quality arrangement revealing its secrets, The Futures produce some stunning harmonies, while the lead vocal changes hands. Regardless of who delivers the vocal, they deliver it with emotion, passion and care. As the arrangement progresses, it grows in drama, as does the vocal. For four minutes, The Futures have you spellbound, weaving a spell over you with some tantalizing vocals and harmonies.
Closing Past, Present and The Futures I Wanna Know; Is it Over? Co-written by Douglas Brown and Frankie Smith, this is a track full of emotion and heartache, against a slow, dramatic arrangement. Opening with a wandering bass lines, piano and the atmospheric sound of the Hammond organ, Bobby Eli’s guitar adds bursts of its melancholy sound. Meanwhile, The Futures deliver tight, emotive harmonies, while a half-spoken introduction adds to the drama and heartache. Eventually, the vocal enters, accompanied by a Thom Bell influenced lone horn. The wait was worthwhile, as the vocal is drenched in heartache, regret and emotion. Quickly, it changes hands, with The Futures delivering questioning backing vocals. As the vocal drops out, cascading strings and horns replace it, as the track heads to its emotive ending, full of sadness and regret.
Listening to The Futures’ second album Past, Present and The Futures, it seems quite incredible that the album wasn’t a commercial success. There’s eight great tracks on Past, Present and The Futures, with one great track following the previous one. Throughout the album, you keep thinking surely the quality can’t be as consistent throughout the album, but it is. With a variety of songwriters, arrangers and producers working on Past, Present and The Futures, they contributed and produced music that’s designed to tug at your heartstrings. These songs move you. One minute you’re sad, next track you’re joyful and sometimes thoughtful. That’s the power of the eight tracks on the album. With vocalists as good as Frank Washington, Kenny Crew, Henry McGilberry and brothers James and John King we shouldn’t be surprised at the quality of the music. Together with M.F.S.B. Mk II, they thought that Past, Present and The Futures would give The Futures the success and recognition their music and talent warranted. After several false starts, The Futures thought that at last, their career was heading on an upward trajectory. Sadly that wasn’t to be, with Past, Present and The Futures failing commercially. Two years later, The Greetings of Peace was released in 1980, and sadly, it too failed commercially. As a result, Philadelphia International Records and The Futures parted company, success having eluded them through their fifteen year career. Unfortunately, the Party Time Men became the nearly me of Philadelphia International Records. However, they leave behind a legacy of two quality albums, 1978s Past, Present and The Futures and 1980s The Greetings of Peace. These albums feature some wonderful music, music which you can hear again on Party Time Men The Futures on PIR which was released in 2005 by the Demon Music Group. So why not let Philadelphia International Records’ Party Time Men into your lives, you won’t regret it. Standout Tracks: Party Time Man, Ain’t No Time Fa Nothing, Deep Inside of Me and You Got it (The Love That I Need).
SYLVESTER-STEP II.
SYLVESTER-STEP II.
A year after signing a record contract with Fantasy Records in 1977, and releasing his debut solo album Sylvester, produced by legendary Motown producer Harvey Fuqua, Sylvester would release his second album Step II. On Step II was a track that would forever be synonymous with Sylvester, You Make Me Feel (Mighty Real). Later, in 2004, the year before Sylvester’s death, You Make Me Feel (Mighty Real) was inducted into the Dance Music Hall of Fame. However, that wasn’t the only huge hit on Step II. Dance (Disco Heat), was another track that would give Sylvester a number one US Dance single. This was a long way from Sylvester’s debut album Sylvester, which, upon its release failed to chart. It seemed that a year was a long time in music for Sylvester James, as you’ll see, when I tell you about Step II and them the music on it.
After signing to Fantasy Records in 1977, Sylvester released his debut solo album Sylvester. Like the two albums Sylvester recorded as Sylvester and The Hot Band, Sylvester failed to chart. This was despite having legendary Motown producer Harvey Fuqua producing the album. Undeterred, Sylvester and Harvey Faqua returned to the drawing board and studio, preparing to record what would be Step II. With a collection of seven songs, Sylvester, his band and backing singers Two Tons O’ Fun headed to the recording studios. Recording took place at the Fantasy Studios in Berkeley and Conway Studio Los Angeles. With Harvey Fuqua producing the seven tracks were recorded and the album ready for release. Sylvester found himself hoping that Step II would be the album that kick-started his career. Little did he know what would follow.
On the release of Step II in 1978, it reached number twenty-eight in the US Billboard 200 and number seven in the US R&B Charts. Then two singles were released from the album and Sylvester found him self with two US R&B number ones in the space of two months. Dance (Disco Heat) was released first, reaching number nineteen in the US Billboard 100, number four in the US R&B Charts and number one in the US Dance Charts. Next to be released was You Make Me Feel (Mighty Real) which reached number thirty-six in the US Billboard 100, number twenty in the US R&B Charts and number one in the US Dance Charts. Five years after releasing his debut album with Sylvester and The Hot Band, Sylvester’s music had become hugely popular. Partly, this was thanks to Patrick Cowley, his longtime collaborator, encouraging him to move his music in a more dance-floor oriented direction. This worked, with the results being heard on Step II, which I’ll now tell you about.
Opening Step II is the track that forever more will by synonymous with Sylvester, You Make Me Feel (Mighty Real). A combination of pounding drums and synths are at the heart of the track, while a bass pounds in the background. Sylvester’s falsetto vocal is full of joy, as the arrangement combines disco, funk and Hi-NRG. Handclaps and synths that reverberate above the arrangement, while this joyous, celebratory track explodes spawning a new musical genre in the process, Hi-NRG. His vocal is theatrical and dramatic, as he vamps his way through this epic six and a half minute track. Although Sylvester recorded seven further albums and released countless singles, nothing quite matched the joyous, celebratory sound of You Make Me Feel (Mighty Real), a true disco and Hi-NRG classic.
Dance (Disco Heat) was the second number one US Dance single Sylvester had within two months in 1978. Here, Two Tons of Fun, Martha Wash and Izora Rhodes feature heavily on this track, their soulful vocals providing the accompaniment to an arrangement that’s 134 beats per minute. Sylvester just provides occasional punchy backing vocals, while the rhythm section are like a runaway juggernaut, with the rhythm section and synths, driving the track along. A testifying Two Tons O’ Fun are key to the track’s success, their powerful, impassioned vocals encouraging and cajoling. When their vocals drop out later, the synths and rhythm section combine to produce a funky backdrop, replaced by what became known as the Hi-NRG sound. While Sylvester only plays a supporting role on Dance (Disco Heat), Tons of Fun make this track their own, testifying soulfully, while issuing an impassioned cry to dance.
After the joyous explosion of You Make Me Feel (Mighty Real) comes You Make Me Feel (Mighty Real) – Epilogue. It sees a thoughtful, introspective Sylvester giving a heartfelt and hugely soulful vocal, accompanied by gospel tinged backing vocals from Two Tons O’ Fun and a meandering arrangement. Later, Two Tons O’ Fun testify and give thanks, adding handclaps and emotion to what’s a beautiful reply to Sylvester’s earlier Magnus Opus.
The drop in tempo on the previous track was merely temporary, as Grateful sees Sylvester take the tempo higher, reaching 139 beats per minute. His soaring, emotive falsetto is accompanied by an arrangement that mixes drama and beauty. Drums, Two Tons O’ Fun backing vocals, percussion and piano provide drama, while punchy, blazing horns punctuate the arrangement. Providing the beauty are lush strings and the emotion and passion in Sylvester’s vocal. It’s contrasted and complimented by the power, passion and soulful strains of Martha Wash and Izora Rhodes. Together, with a band that fuses disco, soul and funk seamlessly, Two Tons O’ Fun and Sylvester take you on a dramatic, beautiful and soulful roller-coaster journey of explosive, dynamic music.
I Took My Strength From You lets us see a very different side to Sylvester. It’s a much more introspective, thoughtful side. With an arrangement that’s jazz tinged and beautiful, with lush strings, an understated rhythm section, atmospheric Hammond organ and bursts of punchy, rasping horns. There’s a tenderness and fragility in Sylvester’s vocal, while Two Tons O’ Fun’s gospel tinged vocals add to the emotion and tenderness of what is a quite bewitching track.
Was It Something That I Said is mid-tempo track that shows a hugely soulful side of Sylvester. Opening with interplay between Sylvester and Two Tons O’ Fun, what unfolds is soulful and deeply satisfying. There’s a classy soul sound to the track, from Sylvester’s half-spoken vocal and an arrangement that combines soul and jazz. Two Tons O’ Fun add soaring, then dramatic but soulful backing vocals. Flourishes of piano, lush strings and bursts of blazing horns all play their part in a tracks that, thanks to Sylvester and Two Tons O’ Fun, is deeply satisfying, and hugely soulful.
Closing Step II is Just You And Me Forever, which is a slow, ballad opens with flourishes of piano, before Sylvester’s thoughtful, yet emotive vocal. He’s accompanied by Two Tons O’ Fun who add soaring, soulful, gospel-tinged backing vocals. Meanwhile, bursts of atmospheric Hammond organ drift in and out of the track, as the piano is at the heart of the tracks success. It’s occasionally augmented by sad strings, that add the finishing touch to the track. Here, there’s a real gospel sound, to the arrangement, especially with Sylvester’s vocal, the backing vocals and the Hammond organ. Together, with the piano, they contribute to a track that displays a different, thoughtful, introspective and somewhat spiritual side to Sylvester’s music. Not only that, but there’s a fragility and beauty in a track, that’s the perfect way to end Step II.
It’s remarkable the difference a year can make to an artists career. In just one year, Sylvester went from an unknown artist, who’d been struggling since 1973 as a singer. Then, on his second album Step II, he was propelled to superstardom, with the help of longtime collaborator Patrick Cowley and producer Harvey Fuqua. the result was Step II, seven tracks that display the different sides to Sylvester’s music. On tracks like You Make Me Feel (Mighty Real), Dance (Disco Heat) and Grateful sees his music full-on, joyous disco and Hi-NRG music. However, on You Make Me Feel (Mighty Real)-Epilogue, I Took My Strength and Just You And Me Forever displays a quite different, thoughtful and introspective side. Here, there’s a fragility and tenderness, with Sylvester a different singer and person. His vocals are soulful thoughtful and even, gospel tinged. He seems caught between two styles of music, but is just as comfortable with either style. While many people might remember Sylvester for songs like You Make Me Feel (Mighty Real), I prefer to remember both sides of his music, because both have much to commend them. There’s the flamboyance and joy of his faster, dance tracks and the thoughtful, introspective and sometimes, even insecurity in his slower tracks. On Step II, Sylvester lets us see both side of himself and his music. For anyone who hasn’t heard Step II, i can thoroughly recommend it, as this is one of the greatest albums Sylvester ever recorded. Standout Tracks: You Make Me Feel (Mighty Real), Dance (Disco Heat), I Took My Strength and Just You And Me Forever.
SYLVESTER-STEP II.
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BLACULA-MUSIC FROM THE ORIGINAL SOUNDTRACK-GENE PAGE.
BLACULA-MUSIC FROM THE ORIGINAL SOUNDTRACK-GENE PAGE.
Forty years ago, in 1972, it was a classic year for Blaxploitation films and soundtracks. Starting with Super Fly, with a seminal Blaxploitation soundtrack provided by Curtis Mayfield, Across 110th Street was the next big Blaxploitation film, with none other than Bobby Womack providing the soundtrack to the movie. Then later that year, Trouble Man, saw another giant of soul music pen a Blaxploitation soundtrack, Marvin Gaye. This trio of films weren’t the only Blaxploitation films released that year. There was Hit Man, Black Mama, White Mama and Slaughter. However, a Blaxploitation film that crossed movie genres was also released, Blacula which has been rereleased by Revola to commemorate the fortieth anniversary of the film’s release.
Blacula was a horror movie, the terrifying tale of an African Prince bitten and taken prisoner by Count Dracula. When he’s released, he goes on to wreak havoc on the denizens of modern day Los Angeles. Written and directed by William Crain, and starring William Marshall, although the film received mixed reviews, it became one of the biggest grossing films of 1973. This lead to Blacula being awarded The Saturn Award, with a sequel Scream, Blacula, Scream following in 1973. After this, many similar Blaxploitation horror films were released. What they didn’t have though, was a soundtrack as good as Blacula’s. Written and composed by Gene Page, Blacula features fourteen funk drenched tracks, including three track from The Hues Corporation. For lovers of funk, crate diggers and sample hunters alike, Blacula is a hidden gem of a soundtrack. I’ll now pick some of the highlights of the Blacula and tell you about them.
Opening Blacula is Blacula (The Stalkwalk), which bursts into life, full of energy, drama and plenty of funk. Flutes, keyboards and piano and rhythm section set the scene, before badass wah-wah, guitars and bursts of blazing horns enter. Drums and horns provide drama as Blacula seeks his victim. Meanwhile wah-wah guitars spray their inimitable sound throughout the track as keyboards and piano play leading roles in setting the scene. This adds to the tension and energy of the track, as Gene Page and his band provide a wickedly funky and dramatic backdrop, that funk fans and Blaxploitation lovers alike will adore.
There He Is Again is the first of three tracks to feature The Hues Corporation. It’s a track that unfolds at breakneck speed, resembling a chase. It’s as if Blacula is hot on the heels of The Hues Corporation. A frantic, driving rhythm section, stabs of raging horns, wah-wah guitars and vocals that are delivered rapidly and frantically combine. Backing vocals are just as frenzied and impassioned, as the track reveals its dark secrets. This tracks is as far removed from The Hues Corporation’s 1974 hit Rock the Boat as you can get. It’s a frenzied,frenzied energetic fusion of funk, jazz and rock that’s compelling and enthralling.
Gene Page returns on Movin’ ninety-seconds of dramatic music. Stabs of blazing horns, wah-wah guitars and a tight, but hugely funky, rhythm section combine with a proliferation of percussion. Later, the rasping horns and rhythm section are key to the dynamic, funk laden backdrop, as wah-wah guitars join the mix, combining to produce a short, but stunning slice of the funkiest music.
Main Chance sees the only appearance of the 21st Century Corporation, on a track that has a vocal that’s reminiscent of David Bowie. He’s accompanied by an arrangement that sees soaring backing vocals, percussion and a rhythm section that plays slowly, subtly and thoughtfully. The finishing touch are lush, but sad strings. This results in track that’s beautiful, but thoughtful.
Even listening to the sound of Blacula Strikes is enough to strike terror into the heart of anyone whose not a fan of horror movies. Somehow, Gene Page uses this funky band to produce a sound that’s bloodcurdling, haunting and full of tension. Jazzy horns spray their angry sound above the arrangement, while haunting strings add tension and terror. Meanwhile, the wah-wah guitars add to the track’s drama and another important quality…funk. Together, with the rhythm section, percussion and blazing horns, they provide the musical backdrop while Count Blacula stakes his claim on the Prince. Of the fourteen tracks on the Blacula soundtrack, not only is this one drenched in tension and terror, but it’s one of the highlights of the album.
I’m Gonna Catch You sees the return of The Hues Corporation, on a track that fuses funk, soul and rock. As bursts of blazing horns and the rhythm section open the track, it’s all change when the vocal enters. It’s delivered with emotion and passion, in a style that fuses rock and soul. The backing vocalists however, add their soulful strains, while rasping horns constantly punctuate the track, augmented by the rhythm section guitars on the album. Together with The Hues Corporation, they provide a powerful, passionate and glorious fusion of soul, funk and rock.
Call is a quite different track, one that lacks the frantic, funky sound of previous tracks. Cascading strings, subtle rasping horns, percussion and rhythm section combine to produce a track that meanders beautifully along. It’s a real contrast to previous tracks, the lushness of the music allowing Gene Page to demonstrate another side of his music. This is a brief, beautiful and welcome interlude from the blazing funk that’s gone before and will follow.
Wakeeli (Swahili Farewell) is the track that closes Blacula. It’s perfect for the conclusion of the film. It’s full of strings that wouldn’t be out of place in an Alfred Hitchcock film providing tension and terror, while pounding kettle drums add to the drama and anticipation. Then mid-way through the track, it’s full of haunting, tense sounds. Keyboards combine with strings that add atmosphere, before percussion ensures you’re sitting firmly at the edge of your seat. Here, Gene Page uses a variety of instruments to provide an atmospheric, dramatic and haunting end to Blacula.
Although I’ve only mentioned eight of the fourteen track on Blacula, there’s nothing whatsoever wrong with any of the other six tracks. Quite the opposite, with music of this quality, it’s difficult trying to pick just a few of the tracks to mention. Here, Gene Page with a little help from The Hues Corporation and the 21st Century Corporation produces a soundtrack for Blacula that’s variously furiously and frantically funky, dramatic and haunting, yet other times thoughtful and introspective. For anyone who loves Blaxploitation film soundtracks, the rerelease of Blacula by Revola to commemorate the fortieth anniversary of its original release is the opportunity to discover an absolute hidden gem of a soundtrack. It’s not just fans of Blaxploitation films that will enjoy this soundtrack. Funk fans, crate-diggers and sample-hunters alike, will welcome the rerelease of classic Blaxploitation soundtrack, featuring some wickedly funky music from Gene Page. After you’ve bought the soundtrack, while not revisit Blacula the movie, only if you dare. Standout Tracks: Blacula (The Stalkwalk), There He Is Again, Movin’ and Call.
BLACULA-MUSIC FROM THE ORIGINAL SOUNDTRACK-GENE PAGE.
LOS TRANSATLANTICOS-FIRST TRIP.
LOS TRANSATLANTICOS-FIRST TRIP.
As most people who regularly read this blog will have realized, I’ve quite an eclectic taste in music. Over the years, I’ve explored and enjoyed all types of music. One of these genres I discovered over twenty years ago, is world music. Whether it’s Latin, African or Caribbean music, I’ve explored and enjoyed it. So, you imagine my delight when I received the forthcoming album from Los Transtlanticos, First Trip, which will be released on May 28th 2012 on BBE Music. The story that leads up to the release of Los Transtlanticos is an intriguing and fascinating one. At its heart, is a friendship between two men who shared a common bond. This common bond was a love of Caribbean music. Six years later, this friendship and love of music would lead to the release of Los Transtlanticos’ debut album First Trip. Before I tell you about the music on Los Transtlanticos’ album First Trip, I’ll tell you the story behind Los Transtlanticos and their debut album First Trip.
The Los Transtlanticos story starts back in 2006, when Dean Bagar, a Croatian born, but Berlin based DJ, producer, record shop and record label owner visited Bogota. There he met Pablo Gaviria, a music producer who previously, has worked with Bamba Estero and produced Pulenta. Quickly, the pair formed a friendship, with their common bond a love of Caribbean music. After this, Dean started making regular visits to Bogota, where he and Pablo started recording jam sessions in a local studio. Soon, Pablo’s brother Alvaro Gaviria, an instrumentalist, would then join the pair. Alvaro is a musician whose worked with an eclectic selection of artists, everything from hip-hop to Ethiopian-Australian punk rock. Eventually, the next step for the trio was the formation of a band.
Dean, Pablo and Alvaro’s nascent band would become Los Transtlanticos. The reason for the name, was not just the distance between the musicians, but their musical approach. Together with a number of Columbian musicians and singers, their new band Los Transtlanticos was born. Los Transtlanticos made their debut in Berlin, at the Worldtronic Festival in December 2011, where they received an enthusiastic and enraptured response from an enthralled audience. From there, Los Transtlanticos would record their debut album.
Now that Los Transtlanticos had recorded their debut album First Trip, it will be released by BBE Music May 28th 2012. Before that, Mi Sembado will be released as their debut single, while they’ll soon be releasing their first music video. It was filmed in concerts in both Berlin and Bogota, the two cities that have proved so important in the Los Transtlanticos story. However, six years after Dean and Pablo formed their transatlantic friendship, Los Transtlanticos debut album has been hugely anticipated. Thankfully, I’ve been given a sneak preview of First Trip, and will tell you about some of the tracks on hopefully, the first of many albums from Los Transtlanticos.
My first choice from Los Transtlanticos forthcoming debut album First Trip, is the track that opens the album, Moving Up (Se Me Siento Fine). Featuring Freddy Livingston, Pina and Doggy Fresh, it’s track fusing styles, sounds and influences. Straight away, you hear an eclectic and intriguing combination of instruments and influences. Stabs of guitar, brief bursts of rasping horns, percussion and vocals are contrasted by old school synths, which reverberate above the arrangement. Here, it’s a fusion of traditional Caribbean music, reggae and hip-hop, with Latin music even making its presence felt. Then, when the impassioned, vocal enters, it’s delivered by Freddy in a style that mixes hip-hop and reggae. As his vocal drops out, it’s replaced by a vocal that’s delivered at breakneck speed, while Pina adds subtle backing vocals. When Freddy returns, the track meanders along to its dramatic, dub drenched ending, getting First Trip of to a rapturous, rollicking start.
Mi Sembrado is a mid-tempo track with a much more traditional sound, albeit given a twist by Los Transtlanticos. Here, Victor Daril, a.k.a Mr. Baba, an M.C. and singer is in charge of the vocal, while R&B, soul singer and tango dancer Juliana Valentina, known as Liana, augments his vocal. An accordion, percussion, piano and pounding drums combine, before lilting backing vocalists join in. Above the arrangement is Mr. Baba’s vocal, delivered in am M.C. style where hip-hop and Jamaican toasting unite. This he does against a frenzied backdrop, where a multitude of tantalizing and mesmerizing sounds reveal their charm and beauty, on a track where traditional and modern Caribbean music unite as one.
Edna’s Delight features Edna Orozco and is a track where a traditional and more moderne sound meet. Here, a pounding rhythm section, woodwind, percussion and accordion combine, while stabs of organ augment this combination. The more moderne influence see bursts of squelchy, old school synths, dubby drums and vocals drift in and out of the tracks. It’s a real fusion of old and new Caribbean music, with bursts of Acid house era synths augmenting and complimenting this fusion. Together, they combine to create a sound that’s variously haunting and enchanting, but beautiful and bewitching.
On La Receta, we get another opportunity to hear the beautiful sound of Liana’s vocal. Here, she plays a bigger part in the track, and is joined by DJ Galletas Calientes and Mr. Baba. Like so many tracks on First Trip, it’s an amalgamation of talents and styles. Liana’s vocal is soulful, while Mr. Baba M.C.’s delivery is powerful, confident and dominates the track. Meanwhile, the rest of Los Transtlanticos provide a joyous backdrop that fuses traditional Caribbean music, with bursts of soul and reggae. This is not only hugely catchy, but absolutely irresistible and guaranteed to brighten up your day.
Alone I Am is a track that fuses a moody, broody arrangement with a half-spoken vocal from Benjamin Benjam. It’s more like a Nu-Jazz-tinged soundscape complete with lyrics from Tom Waits, and unlike anything that’s gone before. However, that’s what makes this such a compelling and intriguing track .A pounding bass that tests your speakers to their limits, combines with a myriad of woodwind, drums and Benjamin’s half-spoken vocal. The track has an almost hypnotic effect, drawing you in, resulting in you hanging on Benjamin’s every word. When this is combined with an arrangement that fuses an eclectic selection of sounds, the result is a track that’s compelling, intriguing and utterly enthralling.
Cartasal Asecho is the complete opposite of Alone I Am. Whereas, it was moody and broody, Cartasal Asecho featuring Liana and Doggy Fresh has a joyous, uplifting sound. This is thanks to the combination of Liana’s impassioned, emotive and soulful vocal, accompanied by acoustic guitars, percussion, handclaps and backing vocalists. Add to this, a myriad of scratches, stabs of piano and Doggy Fresh’s rapped vocal. Here, hip-hop, Caribbean music and soul are fused seamlessly, on a track that’s joyful, numinous and beautiful.
Shimmering, cascading strings, percussion and haunting screams combine with Mr. Baba as Keep On Growing unfolds. That’s just a curve ball, because what follows is a delectable combination of Caribbean rhythms, Mr. Baba’s MC-ing and the soulful sound of Liana. Again, Liana and Mr. Baba at the heart of everything that’s good about this track. Between them, they inject energy and hope into the track. Meanwhile, behind them, the arrangement sees pounding drums and percussion key to a track that has everything that’s good about Caribbean music, plus elements of hip-hop, reggae toasting and soul thrown in for good measure. All this is mixed together by Los Transtlanticos into a delicious, rhythmic soulful stew.
Donde Esta Marie is my final choice from Los Transtlanticos’ debut album First Trip. It’s a joyful explosion of uplifting, feel-good music. This is music for the heart, feet and soul. For just under three irresistible minutes, the music sweeps you along in its pounding, impassioned wake. A proliferation of percussion and pounding drums are key to the glorious rhythms that unfold. Meanwhile, a punchy joyous vocal and a a frantic piano solo combine, before later, stabs of blazing horns join the party. When this is all combined the result is glorious, passionate track to lose yourself in, one that’s for the heart, feet and soul.
Although I’ve only mentioned eight of the fifteen tracks on Los Transtlanticos’ forthcoming debut album First Trip, choosing just eight tracks wasn’t easy, given the consistently high quality of music on the album. From the first track Moving Up (Se Me Siento Fine) to the closing track LA 33’s, it’s a seamless procession from one quality track to another. During that time, the music is variously emotive, impassioned, enchanting and enthralling. Often the music is compelling, other times it’s bewitching and very often, it’s beautiful. It’s music that’s for the heart and soul, yet other times for your feet. On First Trip, Los Transtlanticos take you on a journey through traditional Caribbean while incorporating reggae, dub and Jamaican DJ toasting. However, it’s not only Caribbean music that features on First Trip, with soul, jazz, Latin and hip-hop all making welcome appearances. There’s even old school Acid House synths which feature on several tracks. Truly, Los Transtlanticos’ forthcoming debut album First Trip is a truly compelling fusion of musical styles that once you’ve heard it, you’ll forever be enthralled by its subtleties, charms and beauty. It has an irresistible charm and a sound that’s joyous and is full of the most glorious rhythms. For anyone who loves Caribbean music of any kind, world music, dance music or just good music per se, then Los Transtlanticos’ forthcoming album First Trip, which will be released on 28th May 2012, is very definitely an album that belongs in your music collection. Standout Tracks: Edna’s Delight, On La Receta, Alone I Am and Cartasal Asecho.
LOS TRANSATLANTICOS-FIRST TRIP.
http://soundcloud.com/bbemusic/04-desde-colombia-feat-doggy
http://soundcloud.com/bbemusic/11-baila-cumbia-feat-rosfriay
MATHIAS STUBO-MATHIAS STUBO.
MATHIAS STUBO-MATHIAS STUBO.
During the first few months of 2012, BBE Music have been on a roll, releasing a mixture of compilations and artists albums, which have included some great releases. Among the compilations, there’s been the release of Al Kent’s five disc disco Magnus Opus The Best of Disco Demands, Henry Street Records’ founder Johnny DeMairo’s amazing Johnny D Presents Disco Jamms and the soon to be released Best of Perception and Today Records compiled by DJ Spinna and BBE Soundsystem. Artists albums have included the critically acclaimed album from Boddhi Satva Invocation, plus the very welcome rerelease of Sandy Barber’s The Best Is Yet To Come and the recently released Dark Room Notes album Dark Room Notes. However, very soon, another of BBE Music’s rising stars will release his second album. He’s twenty year-old Norwegian Mathias Stubo, who released his highly acclaimed debut album 1979 in 2011. Mathias’ second album Mathias Stubo will be released in June 2012 on BBE Music. Mathias Stubo is no ordinary album however. It’s an ambitious and innovative twenty track album, which I’ll tell you about after I’ve briefly told you about Mathias Stubo’s life and career so far.
Born in 1992 in Oslo Norway, to jazz loving parents, who both had attended the prestigious Norwegian Jazz Academy, Mathias Stubo grew up immersed in music. Since then, he’s been passionate about seventies music. However, a key year for him was 1979, which would become the title for his debut album on BBE Music. The reason for his fascination with 1979, was the music, and the way it was being made.
By 1979, synthesizers, sequencers and drum machines had revolutionized the way music was being made and freed musicians from previous constraints. In conjunction with “traditional” instruments, music was changing, and changing fast.
For Mathias 1979 was the start of a four year “golden period” that ran through to 1982. During that period, so much of his favorite music was released, by artists like Harvey Mason, Don Blackman, Sylvia Stripplin, Patrice Rushen and Logg. That music would find its wayinfluence Mathias’ music career, especially his debut album, 1979.
This passion for music that Mathias had would eventually, lead to a career in music. Having learnt to play the drums, Mathias would start writing, making and producing music. His first album was 1979, released on BBE Music in June 2012. 1979 was a fusion of an eclectic combination of musical genres. This included funk, soul, hip hop, post-disco and Afro-funk. On its release, 1979 was released to critical acclaim. Since then, fans of Mathias Stubo have been waiting expectedly for the follow-up. Well, the wait will soon be over, with Mathias Stubo due for release in June 2012.
So, just a year after the release of his critically acclaimed debut album 1979 was released on BBE Music, Mathias Stubo is back with the eponymous follow-up Mathias Stubo. While second albums can prove difficult for many artists, this isn’t the case for Mathias. Indeed it’s quite the opposite. His new album Mathias Stubo is an ambitious twenty-track Magnus Opus, separated into two parts. The nine tracks that make up Part One is entitled High Frequency Feelings, while Part Two, entitled Soul Touch contains eleven tracks. This is an ambitious project, where Mathias fuses a variety of genres of music, including funk, soul, hip hop, post-disco and Afro-funk. These influences can also be heard on Mathias’ debut album 1979, and are among the genres of music that have shaped Mathias Stubo as a musician. However, what does Mathias’ second album Mathias Stubo sound like, and is it as good, or better than, his debut album 1979? That’s what I’ll decide when I tell you about some of the twenty tracks on Mathias Stubo.
With so much quality music on the two parts of Mathias Stubo, the best way to review the album is by picking some of its many highlights. My first choice from the nine tracks that make up Part One High Frequency Feelings is Soon On A Brighter Day. It’s a track that fuses a variety of genres within three minutes. Broken beat, jazz, soulful vocals and pounding beats combine with a wash of synths. As the track opens, you think a meandering soundscape is about to unfold. Wrong. From there, the track almost explodes. Present are a variety of sounds and musical textures. The vocals are sweet and soulful, the drums loud and proud, while gentle Spanish acoustic guitars and washes and stabs of synths combine. This results in a mesmerizing and tantalizing track that’s ultimately powerful, dramatic and intriguing.
Those High Frequency Feelings is another fusion of sounds and styles that from the opening bars, grabs your attention and doesn’t let go until the closing notes. Think funk, jazz, Latin, broken beat and even early noughties Nu-Jazz all combined in one bubbling melting pot. Stabs of horns, a proliferation of percussion, bursts of a driving, funk drenched, rhythm section that give way, to stabs of rasping jazzy horns, while synths reverberate above the arrangement. Burst of vocal and drums that add drama. There’s so much going on that you daren’t blink, for fear of missing something. It’s a frantic, compelling and complex combination of sounds. Mathias has a used an eclectic palette of sounds and influences, painting them on with bold brush strokes, resulting in a quite stunning sonic canvas, where the more you listen the more you hear, and the better it gets.
Let Time Pass sees no let up in Mathias Stubo’s ambition, creativity or sense of innovation. Opening, it reveals a space-age sound, before revealing a quite beautiful, spacious soundscape. A brief vocal, stabs of drums and synths give way to mid-tempo, spacious sounding track. Still the futuristic sound continues, as drums and synths punctuate the track, while brief glimpses of floaty vocals and haunting horns combine. Here, it’s like Nu-Jazz, downtempo and elements of futuristic dub combine, creating a track that’s dreamlike and beautiful.
Opp I Lufta, is one of the real gems of Mathias Subo has one of the atmospheric, chimerical sound that transports you into a phantasmagorical place. There you marvel at the sonic palette that Mathias weaves. Floaty synths, percussion and keyboards combine with stabs of horn and piano, while drums pound gently. By now you’ve been transfixed by this floaty, ambient, sonic masterpiece. It’s like the soundtrack to a surreal dream, where nothing makes sense but it’s still hugely enjoyable. For six ethereal and exquisite minutes Mathias takes you on a celestial, dreamlike, ambient journey that’s delicious and irresistible.
Continuing in a similar vein from the previous track is Life (Outro), another ambient, dreamlike soundscape. Mathias takes you on a graceful, floaty journey where times stands still. Here, a combination of a moody, meandering bass line, bursts of synths and flourishes of piano combine with spacey drums, while celestial vocals make brief appearances. Taken together, it’s like finest downtempo music, with elements of jazz and noughties Nu-Jazz combined. Although this is the last track on Part One of High Frequency Feelings, there’s still Part Two, Soul Touch to come. If it’s anywhere as good as Part One, then Mathias Stubo will prove to be quite an incredible album.
My first choice from Part Two Soul Touch is Oss To, a quite delicious and lush sounding track. Stabs of keyboards that produce a beautiful, dreamlike sound. They combine with drums, ethereal vocals and bursts of haunting horns as this soundscape meanders along. Filters are used effectively, adding to the beauty, as the track grows in power and potency. As the track grows, fatter funkier sounds emanate, before the track returns to its previous beautiful and bewitching sound.
When We Were One sees Mathias make good use of the keyboards and synths he utilized so effectively on the previous track. This is one of these tracks where resistance is impossible. All you can do is surrender to its charms, subtleties and melancholy beauty. Here, Mathias combines keyboards, synths and drums to produce a mid-tempo track that meanders along, trailing its thoughtful, somewhat melancholy sound in its wake.
For Your True Soul is another track with a pensive, but charming sound. Mathias combines an understated combination of drums, synths and keyboards, which combines light but sometimes, with a thoughtful sound. Although it’s a track that works its way into your consciousness, it makes you think. Like the last track, it has a melancholy sound, and is a dichotomy of sounds and textures. It makes you wonder what Mathias was thinking when he made the track, but more importantly, makes you think about the music you’ve just experienced and enjoyed. That’s the power this short, but compelling track truly has.
Stay/Come Back is track that fuses a variety of sounds and influences. Even in the first minute, you hear some of the music that’s shaped Mathias Stubo. Stabs of floaty synths, drums and keyboards that resonate, produce a sound that’s reminiscent of downtempo and Nu-Jazz, before pounding post-disco and house drums signal all change. From there, the track heads in the direction you’d get if you fused post-disco and house, with some old school synths and bursts of jazzy horns thrown in. Add to this, a funky bass line and bursts of ethereal vocals and you’ll get the picture. Still the drums pound, with their post-disco sound driving the track along, resulting in a hugely satisfying 21st century dance track.
The last track I’ve chosen from Mathias Stubo is Don’t Look Down, a truly intriguing track. Here, Mathias fuses drums that wouldn’t sound out of place on either a post-disco or house track, with haunting horns and floaty synths that could just as easily belong on a downtempo or Nu-Jazz track. His fusion of these sounds is both flawless and seamless. There’s a hypnotic sound to the drums, while the bursts of haunting horns and floaty synths add an atmospheric sound. Like so many times throughout Mathias Stubo, Mathias throws a curve-ball just when you don’t expect it. In doing so here, he produces a track that’s hypnotic, atmospheric and like so many tracks on this album, compelling and quite irresistible.
Earlier, I wondered whether Part Two of Mathias Stubo, Soul Touch, would match the quality of Part One, High Frequency Feelings. Well, I can truly say that that’s quite definitely the case. The music has the same quality and consistency, with one compelling and intriguing quality slice of music following on the heels of the previous one. It’s like Mathias Stubo has taken all the genres of music that has influenced and moved him during his life, using them to create an eclectic palette of music. From broken beat, jazz, soul and funk, to Nu-Jazz, dub, house and post-disco, it’s all here, mixed up and used by Mathias to create the twenty tracks on Mathias Stubo. Truly, it’s a melting pot of musical genres, sounds and textures. Although only twenty years old, Mathias Stubo has created a mature, ambitious and innovative album, one that contains some wonderful music, music that’s both compelling and intriguing. From ambient, atmospheric soundscapes, to frantic, frenzied, dramatic tracks with secrets and subtleties awaiting discovery, while dance tracks fusing post-disco and house are tinged with jazzy horns and floaty synths. All this, and much, much more is awaiting discovery on Mathias Stubo. It’s an album, where the more you listen to it, the more its subtleties and secrets reveal itself. That’s what makes Mathias Stubo such an ambitious, compelling and intriguing album, and a worthy successor to Mathias’ previous album, 2011s 1979. Mathias Stubo, which will be released in June 2012 by BBE Music, and is an album that I’d recommend to anyone who loves good music. If, however, you can’t wait until June, why not investigate 1979, Mathias Stubo’s debut album, that introduced the world to the multi-talented Norwegian musician and producer, Mathias Stubo. Standout Tracks: Opp I Lufta, Life (Outro), Oss To and When We Were One.
MATHIAS STUBO-MATHIAS STUBO.
SHIN NISHIMURA-MASH.
SHIN NISHIMURA-MASH.
Since his 2005 debut album Star Light, Japanese techno producer Shin Nishimura has released four albums plus two albums of remixes. His new album Mash, which I recently received, will be released on 15th May on the Plaza In Crowd label. This is the follow-up to his previous studio album Q’hey and Shin’s 2007 album Planetary Alliance. However, between 2007 and 2012, Shin has been busy, releasing two remix albums Identity Politics and Identity Politics Part 2, while releasing a series of EP’s for the Plus label. However, before I tell you about the music on Mash, I’ll tell you about Shin Nishimura’s career so far.
In 2002, Shin Nishimura released his debut EP Rhythm Machine on the Plus label, which he’d founded. Three EP’s later on Plus, Shin released his debut album Star Light in April 2005. Two years later on Plus, Shin would release the follow-up to Star Light, Vlow in March 2007 on Plus. Then in May 2007, came Shin’s third album, a collaboration with DJ and producer Masaya Kyuhei. Q’Hey and Shin’s Planetary Alliances, was released on Kasuga Recordings. Planetary Alliances was the last album of original material Shin would release, until now and his forthcoming album Mash. However, between 2007 and 2012, Shin would release two albums of remixes in 2008 on his Plus label. These were Identity Politics and Identity Politics Part 2. Since then, Shin has released a number of EP’s, for Plus, Hypermuzik and Sleaze Records. This brings us full circle and Shin’s forthcoming album Mash. Shin describes Mash as an innovative techno album that contains “UK Beats and hard grooves,” which I’ll now tell you about.
Opening Mash is Unity, a track that combines crisp, crunchy beats with bursts of squelchy synths. Together, they give the track a hypnotic sound, before a haunting vocal emanates from the arrangement. This adds to the hypnotic sound of the track. Things change later, when ambient sounding synths enter, adding variety and another texture to what’s a highly accomplished and satisfying slice of techno. Not only that, but Shin proves he’s more than capable of producing innovative, quality techno.
In his description of Mash, Shin describes the album as containing “UK beats,” but that’s not the only UK influence. Many of the track names reference places and things London is famous for. One of these is the Tube, hence Shin’s title. The track marauds along, like a tube on the Piccadilly or Central Line. With a combination of pounding beats and a wash of synths, the track reveals its subtleties and secrets. In many ways, this is not unlike a trip on London’s tube, with Shin using synths and beats to cleverly replicate the sound and experience. Like the previous track, the production is polished, with the sound compelling and the journey thoroughly enjoyable.
Earl’s Court has a quite different sound from the previous two tracks. A compellingly repetitive vocal, sensuously soars above the combination of percussion, beats and laid-back, smooth synths. As the vocal appears, disappears and reappears the beats become dark and moody, a contrast to the vocal, percussion and synths. However, there’s something irresistible about this track, and that’s the vocal. It helps the track worm its way into your psyche, where it remains, a tantalizing reminder of this irresistible sounding track.
Neal’s Yard sees pounding drums and handclaps open the track, while a fusion of hi-hats percussion and beefy sounding synths combine. Then when you least expect it, a rapped vocal enters. It’s charismatic, full of confidence and bravado. When the vocal drops out, it’s replaced by a wicked sounding groove. This luscious sound is thanks to a combination of synths, percussion and chugging beats. They combine seamlessly, resulting in a very different sounding track, but one that’s blessed with the wickedest of grooves and a rap full bravado,
Milden Hall is one of the best tracks on Mash. It sees another change in style and sound. There’s a spacey, dubby sound to the track, while a sensual, ever-constant vocal floats above the synths and crunchy beats. Synths reverberate while the almost ever-present vocal becomes like a close companion, and crispy, crunchy, beats drive this grandiose track along to it’s to quick conclusion.
On Mash Bass, the drumbeats pound relentlessly, while steely synths reverberate and gradually, very gradually the track decided to reveal its secrets and hidden depths. For five minutes, the beats mesmerize and hypnotize, while stabs and washes of synths offer variety and contrast. There’s an urban sound and influence, before cascading percussion decides to make an appearance, on a track that’s got Detroit written all over it.
As Knightsbridge opens there’s a subdued sound to the drums, before handclaps and reverberating retro sound synths combine. There’s a real old school sound to this track, as if vintage synths have been dusted off and used to make this track. This gives the track an intriguing, compelling sound, that bring back good memories of how techno used to sound. For Shin Nishimura we should be eternally grateful for producing a track as good as this one.
As I pointed out earlier, there are many references to London in the titles to the tracks of Mash. Camden Rock is just the latest. It’s a track with relentless, pounding beat that’s both dark and moody. As this track pounds along, the synths produce a contrast to the broody, moody and quite glorious sounding beats. Rather than Camden, this is more like a life enhancing ride of a Japanese bullet train.
Acid Polka is an innovative, intelligent take on electronic music, with bubbling synths, percussion and synths that squeak and beep vaingloriously. They give way to thunderous drums, stabs of punchy synths that reveal a glorious old school, lo-fi selection of beeps, squeaks and squelches. Here, Shin has looked to the past to create the future. Using synth sounds from electronic music’s past, he’s used them in a way that’s innovative, intelligent and creative, and in doing so, has created a sound that points towards a direction techno could be heading.
Closing Mash is Acid Eye, an epic track lasting nearly eight minutes long. Here, thunderous, drums pound, before crisp synths sweep in. Then, stabs of synths and a rapid-fire vocal join the mix. After this, the track becomes like an unstoppable juggernaut. Drums dominate this soundscape, while synths, percussion and vocal samples play supporting roles. Later drone like synths combine with the reverberating drums, before disappearing, content in having played an important role in this powerful and dramatic Magnus Opus, which is a fitting and worthy conclusion to Mash, Shin Nishimura’s fourth solo album.
Mash, which is Shin Nishimura’s fourth album is an ambitious, innovative and highly accomplished album of techno. His claim that Shin is an innovative album, with “UK beats” pointing towards the future direction techno is heading, was indeed a bold statement. However, Mash is an innovative album of techno music from a hugely experienced techno producer. In total, there are twelve tracks on Mash, the eleven that make up the album, plus a bonus track Frustration-No Nukes. Using a variety of influences, Shin came up with an album that’s compelling, intriguing and contains an eclectic and consistently high quality of techno. From the opening bars of Unity, until the closing notes of Acid Eye Shin never strays from his mission statement to create, innovate and demonstrate the direction he thinks techno is heading in the future. He’s had plenty of time to think about this, given it’s five years since his last album, Planetary Alliance was released. Given the quality of music on Mash, let’s hope that it’s not another five years until Shin Nishimura’s next album. For anyone who loves techno music, then Mash is an album to look out for. When it’s released on 15th May 2012 on the Plaza In Crowd label, this will allow everyone to hear Shin Nishimura’s manifesto for the future direction of techno, Mash. Standout Tracks: Earl’s Court, Milden Hall, Mash Monster and Knightsbridge.
SHIN NISHIMURA-MASH.
BUDDY MILES-ALL THE FACES OF BUDDY MILES.
BUDDY MILES-ALL THE FACES OF BUDDY MILES.
During his career, Buddy Miles was a member of Ruby and The Romantics and The Ink Spots before founding The Electric Flag with Mike Bloomfield in 1967. Then in 1969, Buddy Miles became the drummer for Jimmy Hendrix’s newly formed The Band of Gypsys. Although the band was short lived, Buddy played on the platinum certified The Band of Gypsy’s album. Following his spell with Jimi Hendrix, Buddy Miles not only became a producer, but embarked upon a successful solo career. Starting with 1970s We Got To Live Together released on Mercury, Buddy would then release both A Message To the People and Them Changes in 1970, before releasing Buddy Miles “Live” in 1971. While Buddy hadn’t released a solo album for three years, Carlos Santana and Buddy Miles Live had proved commercially successful. So after an absence from the studio of four years, Buddy Miles decided he’d start recording his fifth album. This would be All the Faces of Buddy Miles, which will be rereleased by BBR Records on 23rd April 2012. Before I tell you about the music on All the Faces of Buddy Miles, I’ll tell you about background and recording of the album.
For recording of All the Faces of Buddy Miles, Buddy recruited Johnny Bristol to produce the album. He’d produced a number of successful albums for Motown artists, including Gladys Knight and The Pips, Stevie Wonder and Edwin Starr. For his band, Buddy decided to recruit a number of Motown musicians. This seemed strange, given Buddy’s contacts within Philadelphia. Previously, Buddy had played drums for The Delfonics, so had many contacts with the Philadelphia music community. Instead, Buddy brought in a rhythm section of bassist James Jamerson, drummer Edward Greene and guitarist Melvin Ragin a.k.a Wah Wah Watson. Add to this keyboard player Clarence McDonald and saxophonist Ernie Watts who’d just finished working with Marvin Gaye. With a stellar, all-star band backing him, Buddy headed to the studios in North Hollywood.
Recording took place at Devonshire Sound Studios in North Hollywood. Arranging the the tracks on All the Faces of Buddy Miles was H.B. Barnum, while Johnny Bristol produced the album. The addition of Johnny Bristol as producer meant All the Faces of Buddy Miles meant a quite different sounding Buddy Miles album. There’s more of Motown sound on the album, than the usual Buddy Miles’ sound. Not that Buddy Miles resented this change in sound and style. Quite the opposite, he welcomed it, treating the sessions as a process of musical discovery, where he experienced new ideas and ways of working. With All the Faces of Buddy Miles recorded, all that was left was for the album to be released.
The first single released from All the Faces of Buddy Miles was We Got Love, which was released in November 1974, reaching number 108 in the US Billboard 100. When All the Faces of Buddy Miles was released in November 1974, it failed to chart. Pull Yourself Together was the second single released from the album, reaching number eighty-three in the US R&B Charts. Although the two singles had some success, reaching the lower reaches of the charts, the failure of All the Faces of Buddy Miles commercially was a disappointment, especially given the quality of the music on the album, which I’ll now tell you about.
Opening All the Faces of Buddy Miles is Pull Yourself Together which opens with a rasping horn, Buddy’s soaring vocal, before you get the first chance to hear this slick and accomplished band Buddy’s put together. The rhythm section, keyboards, lush strings and blazing horns give way to Buddy’s heartfelt, soulful vocal. Guitars and backing vocalists accompany him, while the drums provide the track’s heartbeat. It’s a very different, smoother sound to that on his collaboration with Carlos Santana, with producer Johnny Bristol’s influence responsible for this polished, soulful sound. The finishing touch are the backing vocalists that accompany Johnny. Together with his multi-talented band, he gives an emotive, heartfelt delivery of what is, a very beautiful song.
We Got Love was written by producer Johnny Bristol. The track is perfect for Buddy’s vocal, as is the arrangement, with its rocky guitars, backing vocalists and lush strings that accompany the rhythm section. Key to the success of the track is Buddy’s powerful, impassioned vocal. Later, a braying horn drifts above the arrangement, while screaming guitars and pounding guitars combine. However, what makes the track is the power, passion and emotion in Buddy’s vocal.
Buddy drops the tempo on All The Faces, a slow, sad song. The arrangement has a much more understated sound, with the rhythm section playing subtly, while swathes of strings, steel guitars and Hammond organ add an atmospheric backdrop. Backing vocalist accompany Buddy, adding the sadness and emotion of the track, while later a rasping horn hangs over the subtle arrangement. Here, we hear a quite different side of Buddy Miles, one although full of sadness and regret, that’s bewitching and beguiling.
I’m Just A Kiss Away is another Johnny Bristol song, with a trademark Johnny Bristol arrangement. Here, Buddy delivers the lyrics about standing in front of a church, awaiting his bride’s arrival knowing that kiss will lead to happiness, if not with a swing, but pretty near it. There’s joy and happiness in his voice, as his band provide a jazz tinged arrangement. The rhythm section, blazing horns and piano combine to provide a catchy, jazzy arrangement that swings along irresistibly.
An atmospheric Hammond organ, piano and blazing horns combine as It’s Only The Good Times opens. They accompany Buddy as he delivers the lyrics accompanied by swooning backing vocalists. The addition of strings and female backing vocalists add to an arrangement that combines jazz, soul and blues, reminding me of something Ray Charles would sing. Meanwhile, Johnny sings about the end of a relationship, looking back and remembering the good times, with a song reaching a crescendo, with gospel tinged backing vocalists and Johnny combining to create a mesmerizing ending to what is, one of the many highlights of All the Faces of Buddy Miles.
Got To Find Ms. Right is a track that quickly explodes joyfully into life. As Buddy is accompanied by the rhythm section, chiming guitars, Hammond organ, cascading strings and blazing horns, the track begins to reveals its charms and beauty. Buddy’s vocal mixes power, passion and longing, while backing vocalists augment his vocal. Here, Buddy, his band and producer Johnny Bristol surpass themselves. Not only is this glorious sounding track that fuses soul and jazz joyous and laden with passion, but it’s the best track on the album.
Trying to match of the quality of the previous one isn’t easy, but wisely, Buddy decides to change the style of music on Pain. it’s a much slower, moody and sad sounding track, with just a keyboards, shimmering strings and an understated rhythm section combining. Backing vocalists play an important role in the track, while later, haunting, rasping horns combine beautifully with the strings. Buddy’s vocal is full of hurt and pain, which is reflected in the haunting, atmospheric arrangement. Although very different from the previous track, it’s a really compelling, haunting song, laden with hurt and Pain.
Kiss And Run sees a myriad of keyboards, guitars and rhythm section explode into life, with Buddy’s vocal an impassioned roar. The arrangement mixes soul and funk, with Buddy’s band kicking loose. Lush strings provide a contrast to the blazing horns, wah-wah guitars and driving, dramatic rhythm section. This is the perfect track for his band to demonstrate their talents. They do this aplomb, the horns howling, guitars funky and rhythm section providing a masterclass, as Johnny joins his band and kicks loose, as he and his band prove they can rock like the best.
Wants And Needs (The Earth Song) is the fourth Johnny Bristol song on All the Faces of Buddy Miles, with this a much more traditional sound after the previous track. Here, a dramatic opening gives way to punchy horns, shivering strings, wah-wah guitar and the rhythm section, while flourishes of piano drift in and out the track, Buddy’s voice is deeper and louder, with a backing vocalist replying to his call. Behind him, his band give a masterclass, proving the benefit of having experienced, talented musicians accompanying him. With Johnny Bristol producing the track, everything is in place for another accomplished and quality track from Buddy Miles.
Closing Buddy Miles fifth solo album All the Faces of Buddy Miles, is Baby Don’t Stop (Sit On The Rock). It has a hesitant start, with hissing cymbals, percussion and moody bass combining, before gradually the track awakens. The Hammond organ, stabs of rocky guitar and drums all enter, before taking the track in a direction where jazz and funk meets. Blazing horns, pounding drums and bass, Hammond organ and rocky guitars combine for a jazzy jam. You can only sit back and marvel at this tight and multi-talented band, as they end the album with joyous, sometimes frantic and dramatic fusion of jazz and funk.
Buddy Miles fifth solo album All the Faces of Buddy Miles is an amazing album where he mixes soul, jazz and funk seamlessly. Produced by Johnny Bristol, this to me, is the best album that Buddy had produced. There are so many great tracks on All the Faces of Buddy Miles with the jazzy I’m Just A Kiss Away giving way to the joyous fusion of soul and jazz that’s Got To Find Ms. Right. Pain is a compelling and haunting song while on Kiss And Run Buddy and his band kick loose, mixing soul and funk with a touch of rock. Wants And Needs (The Earth Song) was the fourth and final Johnny Bristol penned song on the album, with Buddy delivering Johnny’s lyrics with aplomb. Overall, All the Faces of Buddy Miles is a highly accomplished, polished and hugely satisfying album, that anyone who loves soul, jazz and funk will adore. I can’t recommend All the Faces of Buddy Miles enough. It’s an album that deserves to find its way into every music lover’s collection. The remastered rerelease of All the Faces of Buddy Miles will be released on 23rd April 2012 by BBR records, along with a bonus track, the single version of We Got Love. This rerelease of All the Faces of Buddy Miles is the perfect opportunity to discover the best solo album Buddy Miles released during his long and illustrious career. Standout Tracks: We Got Love, I’m Just A Kiss Away, Got To Find Ms. Right and Pain.
BUDDY MILES-ALL THE FACES OF BUDDY MILES.
ANDRE CYMONE-SURVIVIN’ THE 80’S.
ANDRE CYMONE-SURVIVIN’ THE 80’S.
Having released his debut solo album Living In The New Wave in November 1982, less than a year later, in September 1983, Andre Cymone released the follow-up album, Survivin’ the 80’s. His debut album Living In The New Wave had reached number forty-nine in the US R&B Charts, with both singles Living In The New Wave and Kelly’s Eyes entering the US R&B Charts. This had been an encouraging start to Andre’s solo career. Like his debut album, Survivin’ the 80’s saw Andre write, produce and mix the album, while playing drums, guitars and keyboards on the album’s eight tracks. It seemed that Prince’s former bassist was heading for a successful solo career. Would Survivin’ the 80’s which will be rereleased by BBR Records on 16th April 2012, surpass the success of Living In The New Wave?
Andre had written eight new songs for his second album Survivin’ the 80’s. Like the title-track of his previous album Living In The New Wave, the title-track Survivin’ the 80’s sees Andre’s political side come to the fore. This demonstrates Andre’s political awakening and his doubts about how the eighties would play out. It’s the only overtly political song on the album. The other seven songs are Andre’s usual fusion of funk, soul and eighties electronic music, with more in common with the songs on Living In The New Wave. For recording of the eight tracks on Survivin’ the 80’s, Andre and his band headed to familiar territory, American Artists Studios in Minneapolis.
At Minneapolis’ American Artists Studios, Andre and his band set about recording the eight tracks on Survivin’ the 80’s. Although Andre played drums, guitars and keyboards on the album, guitarist Bobby Dean played on three tracks, while drummer John Mordan played on two tracks. Linda Renae played keyboards on Stay, while Craig Thomas played both synths and keyboards on the albums. Contributing backing vocals alongside Andre were Bobby Brooks, Bobby Dean and Craig Thomas. Overseeing the whole project was Executive Producer Larkin Arnold. Once the eight tracks that became Survivin’ the 80’s were recorded, it would be released in September 1983.
Before the release of Survivin’ the 80’s, Make Me Wanna Dance was released in August 1983, reaching number thirty-seven in the US R&B Charts. The following month, September saw Survivin’ the 80’s released number 185 in the US Billboard 200 and number thirty-one in the US R&B Charts. This was an improvement on his debut album Living In The New Wave, which had only reached number forty-nine in the US R&B Charts. October 1983 saw the release of the title-track Survivin’ the 80’s, but unlike the Make Me Wanna Dance, failed to chart. Overall, Andre Cymone’s second album Survivin’ the 80’s had been a commercial success, improving on his debut album and seeing his career continue on its upwards trajectory. However, what does the music on Survivin’ the 80’s sound like?
Survivin’ the 80’s opens with the title-track, and second single released from the album. It’s a track with the excesses of eighties Reganomics, with Andre singing about the “classic cars, plastic bars and plastic people,” which to many people, sum up the eighties. This he does against a backdrop of a vocal that’s distant, with Andre sometimes, using a vocoder on his vocal. Meanwhile, a wash of synths, crisp drums and stabs of keyboards augment his vocal. Rock tinged guitars and pounding drums accompany the frustration and anger in Andre’s vocal. Listening to this song, which although recorded in 1983, Andre’s lyrics would prove prophetic about what the eighties really were about.
Squelchy synths, drums that almost crack and keyboards combine, while guitars intertwine on M.O.T.F. This somewhat futuristic sounding arrangement is quite different to much of the music on Survivin’ the 80’s, and Andre’s debut album Living In the New Wave. Man of the Future has a futuristic, spacious sound with Andre’s vocal buried deep in the arrangement. Instead, a myriad of synths, keyboards, pounding bass lines and guitars intermingle, combining with crisp drums as Andre’s voice plays a secondary role. The result is an ambitious, innovative track, with a futuristic, spacey sound.
Make Me Wanna Dance was the lead single from the album. Here, the tempo increases to 128 beats per minute, with Andre fusing funk with eighties electronics. There’s even a Prince influence prevalent. Again, Andre uses the vocoder, while electronic sounding drums pound, while synths and keyboards are key to the track’s sound. Like the previous track, there’s even a futuristic sound, to what’s a really catchy and compelling dance track.
Lovedog is one of the best tracks on Survivin’ the 80’s. The tempo is frantic, with Andre’s vocal laden with emotion, as a funky bass, wash of synths, stabs of keyboards and punchy drums combine. You hardly get a chance to draw breath as the track reveals its charms and secrets. Although the arrangement is awash with an electronic sound, the track has a really poppy sound. Together with one of Andre’s best, most emotive vocals on one of the album’s highlights.
Body Thang has much in common with Make Me Wanna Dance. Both have an urban sound, both are quality dance tracks and both are hugely catchy. Of the two tracks, I think Body Thang is even better than Make Me Wanna Dance. Synths reverberate, before the funkiest of bass lines, guitars and synths combine with drums. Andre picks up from where he left off on the previous track. His vocal is impassioned, emotive and sometimes, dramatic. Backing vocalists accompany him, with a sensuous sounding female backing singer drifting in and out of the track. Combined with tempo of 129 beats per minute, this is an impassioned slice of urban eighties dance music, that although nearly thirty years old, is still irresistible.
Stay sees Andre drop the tempo way down low, with just moody synths and crisp drums accompanying his soaring vocal. Persistent, punch synths accompany Andre’s vocal, which is full of sadness and pain. Meanwhile, drums and a wash of synths augment his vocal, as he delivers some of the best lyrics on Survivin’ the 80’s. Later, Andre pleas and begs, his voice not unlike Prince’s, as the arrangement grows in power and drama. While this track reveals a very different sound to Andre Cymone, it’s one that I really enjoyed and would like to have heard more of, given how emotive and powerful the track is.
The questioning What Are We Doing Here sees a reawakening of Andre’s earlier political side. This he does against a backdrop of pounding drums, crashing cymbals, whistles, synths and keyboards. His vocal takes on a Prince sound, as he asks a series’ of questions, his voice full of frustration and even anger, on what’s one of his best vocals on the album. Given the quality of the track, it seems strange that it was only chosen as the B-side of Survivin’ the Eighties, the second single released from the album. Personally, this track would’ve made a good single, given it’s one of the best tracks on Survivin’ the Eighties.
Closing Survivin’ the Eighties is Don’t Let the Future (Come Down On You). Here, the tempo slows, with the track having a thoughtful sound, as if Andre’s vision of the future wasn’t what he’d hoped for. Crisp drums, a wash of synths, bass and Andre’s vocal combine to produce a moody, dramatic sound. The track is reminiscent of something Prince would produce during the eighties. This isn’t surprising, given the friendship and working relationship between Prince and Andre. Not only does the track feature an accomplished, dramatic arrangement, but Andre’s delivery of some wonderful lyrics is full of emotion and passion. It seems that Andre, like so many other artists, have kept this thoughtful, but dramatic and amazing track until last.
Andre Cymone’s second album Survivin’ the Eighties saw him produce another ambitious, innovative and accomplished album. It contains some quality music, including the first single released from Survivin’ the Eighties, Make Me Wanna Dance, Body Thang a slice of quality and funky dance music and Stay, a slow, sad song with a really emotional vocal. There’s much more to Survivin’ the Eighties than three tracks, with the two tracks that close the album, the questioning, ponderous What Are We Doing Here and the thoughtful, dramatic Don’t Let the Future (Come Down On You). On the title-track Survivin’ the Eighties, it’s full of social comment, regarding the greed, excess and selfishness of the eighties. It would proved to be a prophetic song, given how that decade played out. Like Living In The New Wave, Survivin’ the Eighties demonstrated how multi-talented Andre was. Not only did he write, produce the eight tracks on Survivin’ the Eighties, but he played drums, synths, keyboards and guitar on the album. Survivin’ the Eighties was a bigger commercial success than his debut album, Living In The New Wave and saw his career continue on an upward trajectory, After this, Andre would only release one further solo album AC in 1985. After that, he’d become a successful producer, producing a variety of artists, including two number one US R&B singles for future wife Jody Watley. However, that was all still to come. Back in 1983 Andre Cymone had released his second album, Survivin’ the Eighties which has been remastered and rereleased by BBR Records on 16th April 2012, along with his debut album Living In The New Wave. Both Living In The New Wave and Survivin’ the Eighties are accomplished, ambitious and innovative albums, from the multi-talented Andre Cymone. Standout Tracks: Body Thang, Stay, What Are We Doing Here and Don’t Let the Future (Come Down On You).
ANDRE CYMONE-SURVIVIN’ THE 80’S.
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