CLIFFORD COULTER-THE BETTER PART OF ME.
CLIFFORD COULTER-THE BETTER PART OF ME.
During a ten year period, Clifford Coulter released three solo albums. The first two of these albums 1970s East Side San Jose and 1972s Do It Now! Worry About It Later, were both released by one of the most prestigious jazz labels, Impulse Records. After this, it would another nine years before Clifford released another solo album, Better Part of Me on Columbia Records. Better Part of Me, which will be rereleased by BBR Records on 23rd April 2012, saw Clifford hook-up with Bill Withers, who produced the album. This made sense, given Bill Withers was going through one of the most successful periods of his career. Would some of the success Bill Withers had experienced between 1971 and 1979 rub off on Clifford Coulter, and could The Better Part of Me match the success of Bill Withers two most successful albums 1972s Still Bill and 1977s Menagerie?
Bill Withers and Clifford Coulter were no strangers when they started working on The Better Part of Me. Previously, Clifford had played keyboards on two of Bill’s albums, 1976s Naked and Warm and 1977s Menagerie, which gave Bill the second gold dic of his career. On Menagerie, Bill covered a song written by Clifford, Wintertime. This wasn’t the only occasion when successful artists covered a Clifford Coulter song, with Tower of Power covering By Your Side and Lovin’ You Is Gonna See Me Thru, while Sergio Mendes covered Life. At this time of Clifford was a songwriter, no longer perceiving himself as a singer. However, when Bill Withers played some demos of Clifford’s songs to CBS executives, suddenly, Clifford found himself back as a recording artist, signed to Columbia. However, since Clifford last recorded an album, he’d changed something, his vocal style.
Clifford felt he was able to deliver songs in a higher voice, better able to get across the emotion in a song. It was this new style that Clifford took to the recording studios in Los Angeles along with eight new songs. Recording took place at the Tiki Studios and Coultron Studios in San Jose, California. With Bill Withers producing what would become The Better Part of Me, a band of talented and accomplished musicians was assembled. This included drummer Ronnie Beck, Jerry Beck playing wah-wah guitar and Cubby Ingram on congas. Bill Withers played clavinet on some tracks, while Clifford a genuine multi-instrumentalist played keyboards, synths, bass, guitar, 12-string guitar, vibes and glockenspiel. Not only was Clifford a multi-instrumentalist, be co-produced the album. Occasionally, Bill and Clifford would exchange words, but mostly, the pair worked well. While Clifford laid down the music, Bill would be in charge of producing the vocals. This combination worked well, and soon, the eight tracks on The Better Part of Me were recorded. All that was left, was for it to be released. Would The Better Part of Me give Clifford some of the success that Bill Withers had recently enjoyed?
Before the release of The Better Part of Me, Don’t Wanna See You Cry was released as a single. It reached number eighty-five in the US R&B Charts in April 1980. A month later, in May 1980, The Better Part of Me was released. Sadly, The Better Part of Me failed to chart. Sales of the album weren’t helped by limited radio play of the single Don’t Wanna See You Cry. As if this wasn’t bad enough, people found it difficult to find the album in record shops. The failure of The Better Part of Me was a huge disappointment to everyone concerned, Clifford, Bill and of course, Columbia Records. It would prove to be both Clifford’s debut and final album for Columbia. It seems like the commercial failure of The Better Part of Me wasn’t down to the music on the album, more external factors. To see whether that’s the case, I’ll tell you about the music on The Better Part of Me.
Opening The Better Part of Me was the only single released from the album Don’t Wanna See You Cry. Here, Bill Withers plays clavinet, while former Tower of Power drummer Ronnie Beck plays drums, combining with Paul Jones’ Fender bass key to produce a funky rhythm section. Add to this punchy, jazzy horns, while Clifford plays an assortment of instruments including a Polymoog, Coultron synth and clavinet and a slick, jaunty arrangement that fuses funk with jazz unfolds. Of course, central to the track’s success is Clifford’s falsetto vocal that’s full of emotion and sincerity. Why a track as good as this didn’t fare better than number eighty-five in the US R&B Charts seems remarkable.
Nothing in the World is Free with its philosophical title, has a quite different sound and style. It’s a much slower, almost laid-back sounding track, with a poignant, thoughtful vocal accompanied by an arrangement that just meanders along beautifully, with just the rhythm section, synths and Jerry Perez’s wah-wah guitar combining. Clifford’s vocal is multi-tracked, so he sings backing vocals, that soar soulfully high above the arrangement as he delivers some of his best lyrics on the album. Although very different from the previous track, this is one of the real highlights of the album, with its thoughtful lyrics and laid-back, beautiful sound.
Magic Carpet Ride is a track that’s more in common with the opening track than the previous track. Here, Clifford and his band take you on a magical musical journey where they provide the soundtrack. The track marries funk with a post-disco beat and a myriad of synths. Providing the track’s heartbeat is drummer Russ Kunkel, while Kenny Burke lays down a pounding, funky bass line and stabs of synth and Polymoog complete the journey’s soundtrack. Meanwhile, Clifford adds a lilting falsetto vocal to a track that was perfect for any dance-floor, reminding me of the type of music Dan Hartman was making in his prime.
What’s so intriguing and compelling about The Better Part of Me is the eclectic quality of music on the album. On the title-track, The Better Part of Me Clifford slows things way down, delivering one of his most heartfelt vocals. His band provide the perfect backdrop for his vocal, never once overpowering his vocal. Here, Bill Withers plays both clavinet and acoustic guitar, while the rhythm section play subtly. Clifford adds a Polymoog and Coultron synth, allowing them to take centre-stage when his vocal drops out. This provides a real contrast to the emotion and beauty of Clifford’s vocal. Like another of the slower songs, Nothing in the World is Free, Clifford delivers his lyrics, emotively and with a real heartfelt style. This is what makes this such a compelling, and ultimately beautiful song.
When Another Day starts, immediately, you’re caught up in its hook-laden, irresistible charms. Here Clifford is like a one-man band, playing every instrument except drums. That’s left to Ronnie Beck, while Clifford plays clavinet, synths, bass and wah-wah guitar. Together with Ronnie, he produces an arrangement that sounds like something you’d expect on an Earth, Wind and Fire album. Together, they produce a funky arrangement, that includes wah-wah guitar and atop it, sits his soaring, soulful falsetto vocal. The longer the track goes on, the harder it gets to resist the charms of its pulsating, funky sound. Eventually, you realize that resistance is impossible and succumb to this track’s delights.
After the delights of the previous track, You and I Together has more of the same. Clifford meanwhile, plays guitar and 12-string guitar on this track, plus synth and Polymoog. Jerry Knight and Ronnie Beck provide the rhythm section, while Jerry Perez adds wah-wah guitar. They lay the foundations for the track, while Clifford’s guitar playing augments their playing. His impassioned falsetto is multi-tracked, so he sings backing vocals, responding to his call. He combines a pounding beat of 123 beats per minute with a funky sound, resulting in a track that although funky, works as a dance track. Like the previous track, is hugely catchy, full of subtle hooks, with an irresistible sound that’s guaranteed to sweep you away.
Love’s Too Hot to Hide sees Clifford reveal a different side to his music, with a much slower, jazzy sounding track. After two quick, dance tracks, he must think listeners need to recover. What better way to recover than a track as good as this one. Although predominantly jazzy in style, there’s still an element of funk present. Clifford’s vocal is gentle, tender and beautiful, while the rhythm section, wah-wah guitar, piano and synths combine. The track just gradually, meanders along, revealing its charms and secrets, fusing jazz and funk while Clifford’s heartfelt vocal adds just the finishing touch to this accomplished and classy sounding song.
Closing The Better Part of Me is Maybe It’s Better to Go, another slow song. Here, Clifford delivers one of the most emotive vocals on the album. Again, he’s like a one-man band, adding vibes and glockenspiel to his repetoire. Mostly, it’s with piano, synths, rhythm section and wah-wah guitar that feature throughout the arrangement. At the heart of the song’s success is Clifford’s heartfelt, emotive vocals. Later, during a prolonged breakdown, many of the instruments Clifford plays are key to the arrangement. He uses the piano and synth effectively, combining them with rhythm section to add to the drama and emotion of the track.
Clifford Coulter’s third and final solo album, The Better Part of Me is an album of eight, eclectic tracks that have one thing in common…quality. Whether you like your songs slow or fast, or your preference is for ballads, funky or dance-floor friendly music, it’s all here. With a multi-talented, highly experienced band, Clifford and producer Bill Withers record an album that combines soul, jazz and funk, with a few dance-floor friendly tracks. Nothing in the World is Free, The Better Part of Me, Love’s Too Hot to Hide and Maybe It’s Better to Go are slower tracks with some lovely lyrics, that demonstrate how talented a lyricist Clifford Coulter really is. On Magic Carpet Ride, When Another Day and You and I Together sees Clifford and his band kick loose, with track that are a fusion of styles, with jazz, funk and a post-disco beat combining to create three of the album’s highlights. The track that opens The Better Part of Me, Don’t Wanna See You Cry was the only single released from the album, and given its quality and beauty, should’ve fared much better than it did. Indeed, given the music on The Better Part of Me, the album should’ve sold in much greater numbers. There was nothing wrong with the music and the production was polished and professional. That such a multi-talented singer, songwriter, musician and producer as Clifford Coulter never found commercial success sees almost unjust. Hopefully, BBR Records’ forthcoming remastered rerelease of The Better Part of Me will see many people either rediscovering or discovering Clifford’s music for the first time. With music as good as features on The Better Part of Me, Clifford Coulter’s music very definitely deserves a much wider audience. Standout Tracks: Nothing in the World is Free, Magic Carpet Ride, When Another Day and You and I Together.
CLIFFORD COULTER-THE BETTER PART OF ME.
TEENA MARIE-STARCHILD.
TEENA MARIE-STARCHILD.
In 1983, Teena Marie released her fifth album Robbery, which was the first album for her new record label Epic. Robbery hadn’t matched the commercial success of her three previous albums for Motown, only reaching number 119 in the US Billboard 200 and number thirteen in the US R&B Charts. Undeterred, Teena Marie headed back to her Los Angeles home and set about writing songs for her next album. Little did she know that what would become Starchild, would become her most successful album. Starchild, which will be rereleased on SoulMusic.com on 16th April 2012, would surpass everything Teena had ever released, or would release in the future. Before I tell you about the music on Starchild, I’ll tell you about the background to, and making of Starchild.
After the commercial failure of Robbery, Teena Marie decided that it was time for a change in her sound and style. On Starchild, it was decided that the album would feature music tinged with a more rocky sound. To do this, bassist Allen McGrier recruited Texan guitarist David Taylor, to lay down some rocky guitar licks. With David Taylor onboard and eight songs ready to record, the band headed to the studio. The sessions took place at three studios in Los Angeles, Sound Castle, Ocean Way Recording Studio and A&M Recording Studios, while the band also recorded at The Automatt in San Francisco.
Then, whilst recording of the sessions were taking place, a tragedy that touched and affected Teena deeply, took place. Marvin Gaye was shot dead by his father. This prompted Teena in conjunction with Rick James sister P.J. and Leon Ware, who often collaborated with Marvin to cowrite My Dear Mr Gaye. To record this track, Teena recruited three musicians who’d worked with Marvin. They were, saxophonist Ernie Watts, drummer James Gadson and guitarist David T. Walker. With Gene Page arranging the track, Teena recorded a moving and beautiful tribute to one of the greatest soul singers.
Of the other eight tracks that make up Starchild, Teena wrote six, while she cowrote two other tracks. During part of 1983 and much of 1984, the recording sessions took place. Eventually, with nine tracks recorded, Starchild was completed. All that was left was for Starchild to be released. At this time, Teena must have been nervous. She’d changed her trademark sound, adding a rockier edge. In the back of her mind must have been the fear of her second album for Epic being a commercial failure. Little did Teena know, but Starchild would be the biggest commercial success of her career.
Preceding the release of Starchild, was the release of a track that Epic felt would prove to be the perfect single, Lovergirl. Released in 1984, reached number four in the US Billboard 100, number nine in the US R&B Charts and number six in the Dance Music/Club Play Charts. This bode well for the release of Starchild, which on its release in November 1984, reached number thirty-one in the US Billboard 200 and number nineteen in the US R&B Charts. This resulted in the only platinum disc of Teena’s career. Two further singles were released, with Jammin’ reaching number eighty-one in the US Billboard 100 and number forty-five in the US R&B Charts. Out On A Limb was the final single released from Starchild, reaching number fifty-six in the US R&B Charts. Teena’s decision to change her sound and style on Starchild had paid-off, with a platinum certified album. However, what does the music on Starchild sound like, given the new Teena Marie sound?
Opening Starchild is Lovergirl, the most successful single released from the album. Straight away, you realize just why this was chosen as the lead single from Starchild, with its fusion of funk and rock. It’s the type of track that would’ve appealed to radio in 1984. With its combination of whooping vocal, funky rhythm section, wash of synths and chiming guitars the track gets underway. Teena’s quick, emotive delivery, is accompanied by screaming, rocky guitars while the rhythm section concentrate on laying down a funky backdrop for Teena’s powerful vocal. This much more powerful fusion of genres works well, especially when combined a tempo of 123 beats per minute and the emotion and passion in Teena’s delivery.
Rocky guitars get Help Youngblood Get To the Party underway, but give no indication of what’s to follow. After the entrance of rocky guitars, comes stabs of synth and the rhythm section. Key to the funk of the rhythm section is the slap bass of Allan McGrier, who later is called upon to lay down a rap during verses. He was replacing Eddie Murphy, who’d originally agreed to do the rap. Later, Teena takes her turn to rap, which is a change from her powerful style. Together with a backdrop rock tinged guitars, synths and the tightest of rhythm sections, a compelling and intriguing track unfolds mixing rap, rock and R&B.
Out On A Limb is very different to the previous two tracks. It’s a ballad, with a pleading vocal full of insecurity from Teena. She delivers it against a slow arrangement, where drums provide the heartbeat, while a wash of synths and guitars combine. It demonstrates a different side to Teena, allowing us to hear just how talented she was when singing ballads. Her delivery is a combination of insecurity, neediness and passion, while the arrangement is slow, subtle and sometimes dramatic. When all this is combined, the result is one of Starchild’s most beautiful tracks and one of its highlights.
After the beauty of the previous track, Teena ups the tempo, while showing she’s just as comfortable rocking out on Alibi. It’s a tale of infidelity, delivered quickly and with a sense of urgency. Behind her, the rhythm section drive the track along, while synths and guitars combine to create the sense of urgency in Teena’s vocal. Again, rocky guitars are added, here to add to the track’s drama. This works really well, as they gradually take the track reach its dramatic and emotive crescendo.
Jammin’ was another of the singles released from Starchild, but never reached the heights of Lovergirl. Given the track’s quality, this is surprising. Teena’s band provide a backdrop that fuses funk and rock, while Teena’s vocal is laden with emotion. Stabs of synths, a funky bass and rocky guitars are key to the tracks sound. Mostly, the sound is funky, with occasionally, guitars adding their rocky influence. Not only is this one of the funkiest tracks on Starchild, where Teena delivers one of her best vocals, but this to me, is one the best and most hook laden tracks on the album,
Starchild the title-track, was the B-side of the third single Jammin.’ This was one of the six tracks Teena wrote herself. It’s an intriguing mid-tempo track, with a space-age sound, that gradually, reveals its secrets. Opening with the rhythm section and synths combining, Teena’s emotive punchy vocal enters. Her voice becomes impassioned as the track progresses. Later, a vocoder makes an appearance, and with the synths and crisp drums give the track an eighties electronic sound. While this is quite different from the previous tracks, it demonstrates the eclectic nature of style of music that make up Starchild.
We’ve Got To Stop (Meeting Like This) features soul singer Ronnie McNeir. They sing a duet against a slow, lush sounding arrangement where cascading strings, keyboards and a gentle rhythm section combine. Both Teena and Ronnie’s vocal are impassioned and drenched in emotion. The arrangement flows beautifully along, with percussion and occasional drums adding short bursts of drama. However, what makes this such a beautiful and romantic track are Teena and Ronnie’s heartfelt, impassioned vocals.
Teena’s tribute to Marvin Gaye, My Dear Mr. Gaye is a fitting and moving tribute penned by Teena, P.J. and Leon Ware, featuring three musicians who regularly played with Marvin. They’re saxophonist Ernie Watts, drummer James Gadson and guitarist David T. Walker, while Gene Page arranges the track. The song has a very different sound to other tracks on Starchild. This may be due to Gene Page’s beautiful arrangement. He uses swathes of the lushest strings, piano and backing vocalists to accompany Teena’s impassioned and sincere vocal. She delivers the track with feeling, reserving one of her best vocals for this song. Later, in the track the saxophone signals all change, and the track wanders of in a jazz-funk direction, With Ernie’s saxophone and David’s jazz guitar combining with the piano, while Teena’s vocal dances above the arrangement, this truly is a fitting and quite brilliant tribute to one of the greatest soul singers, Marvin Gaye.
Closing Starchild is a track that demonstrates Teena’s gospel roots, Light. Although only seventy-five seconds long, it’s a revealing insight into the music that shaped Teena as a singer. With just a piano accompanying her, Teena’s vocal is both spiritual and beautiful as she gives thanks for her music. Having heard this short track, it makes you want to hear much of Teena singing gospel music.
Although Starchild was released just over a year after Robbery, the turnaround in Teena Marie’s fortunes were remarkable. After the commercial failure of Robbery, Starchild would sell over one-million copies, being certified platinum in the process. The reason for this was Teena’s decision to change her sound. This was a risky gamble, but one that paid off handsomely. If it hadn’t paid off, how would Epic, her record company have reacted? They had backed her gamble, and would share in the reward. Changing a sound or style for any artist can prove a huge gamble, especially if like Teena you’re an established artist. While some fans maybe were disappointed in this change in sound, many more adored it. Although Teena’s decision to fuse her usual style of music with a rockier sound, apart from Alibi and Jammin,’ the tracks that are among Starchild’s highlights are very different from this rock-tinged sound. Out On A Limb is a beautiful ballad, while Ronnie McNeir duets on the love song We’ve Got To Stop (Meeting Like This). My Dear Mr. Gaye, Teena’s tribute to Marvin Gaye, which was arranged by Gene Page is indeed a fitting, sincere and ultimately heartfelt song, that’s one of Starchild’s real gems. Light was a tantalizing taste of Teena’s gospel roots and demonstrates the eclectic nature of Starchild. Whether it’s ballads, love songs, jazz or a fusion of funk and rock, there’s all this and much more on Starchild which will be rereleased on SoulMusic.com on 16th April 2012. The remastered rerelease features five bonus tracks, with alternate versions of the three singles released from Starchild. For anyone wanting to discover the music of Teena Marie, the rerelease of Starchild will allow you to once again, hear the biggest selling album of her career. Standout Tracks: Out On A Limb, Jammin,’ We’ve Got To Stop (Meeting Like This) and My Dear Mr. Gaye.
TEENA MARIE-STARCHILD.
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BETTY WRIGHT AND THE ROOTS-BETTY WRIGHT THE MOVIE.
BETTY WRIGHT AND THE ROOTS-BETTY WRIGHT THE MOVIE.
Ten years after the release of her previous album, 2001s Fit For A King, Betty Wright released her sixteenth studio album Betty Wright The Movie in 2011, which was a collaboration with The Roots. On Betty Wright The Movie, Betty collaborates with Joss Stone, Snoop Dogg and Lenny Williams. Released in November 2011, on the S-Curve label, Betty Wright The Movie features twelve tracks, written or co-written by Betty herself. Betty is no stranger to songwriting, having spent the previous ten years writing, arranging and producing tracks for a variety of artists, as well as singing backing vocals for various artists. All this, proves just how multitalented Betty is. Back in 1985, Betty even founded her own label, Miss B Records, which made history, when Betty’s 1987 album, Mother Wit was certified gold, becoming the first female black artists to have a gold album on her own label. This is typical of Betty Wright, a woman who throughout her career, has been a pioneer and innovator. Best known for her 1971 million selling, gold certified single Clean Up Woman, which Betty recorded when she was just seventeen. However, there’s so much more to Betty Wright’s career than just one song, as you’ll discover when I briefly tell you about Betty’s career, after which I’ll tell you about Betty Wright The Movie.
Betty Wright was born in 1953 in Miami, Florida, starting her career aged two, as a member of gospel group Echoes of Joy. They released their first album in 1956, performing until the mid-sixties. After the group split-up in 1965, Betty and her four octave voice turned to R&B, signing a record contract aged twelve. By 1968, and signed to the Henry Stone’s TK label Betty released her debut album First Time Around, having her first hit single with Girls Can’t Do What Boys Do. Three years later, Betty would release her trademark song, Clean Up Woman.
Clean Up Woman was co-written by Clarence Reid and Willie Clarke, reaching number six in the US Billboard 100 and number two in the US R&B Charts. This resulted in the single selling over a million copies, resulting in it being certified gold. After the success of Clean Up Woman, future singles wouldn’t match its success, although 1972s Babysitter and 1973s Let Me Be Your Lovemaker both gave Betty some chart success. However, it would two years later in 1975, when Betty released three important singles.
1975 was an important year for Betty. Where Is the Love, an early disco track was released in 1975 as a single. It proved popular in the US R&B and US Disco Charts, resulting in Betty winning a Grammy for writing the Best R&B Song. Later that year, another early disco track Shoorah, Shoorah, was released from Betty’s Danger! High Voltage album, which is considered one of Betty’s best albums. The other single was Tonight Is the Night, about Betty’s first sexual experience, which like Shoorah, Shoorah, reached number twenty-eight in the US R&B Charts. However, when a live version of Tonight Is the Night was released in 1978, it would do much better, reaching number eleven in the US R&B Charts. That year, 1978 Betty would discover Peter Brown, and would sing backing vocals on his singles. Around that time, Betty sang a duet with Alice Cooper and was the opening act on a Bob Marley tour. Sadly, by the late seventies and early eighties, Betty’s music was no longer as popular, and her label TK was experiencing problems. She moved to Epic and released Betty Wright in 1981. Four years later, Betty would found her own record label.
In 1985, Betty founded her own label, Miss B Records. Two years later, Betty made history, when her 1987 album, Mother Wit was certified gold. She became the first female black artists to have a gold album on her own label. This was followed up by 4u2enjoy in 1989. After the release of her next album Passion and Compassion in 1990, Betty took a break from the music industry, returning in 1994 with B-Attitudes. While Betty may not have been releasing albums, her music became popular among hip hop artists, who sampled her music. It would be seven more years before Betty released another album, Fit For A King in 2001. While Betty may not have been releasing albums, her music became popular among hip hop artists, who often, sampled her music. During the next ten years, Betty spent time writing, arranging and producing music, while singing backing vocals on various albums. Among the artists she worked with are Lil Wayne, Joss Stone, P Diddy, Kelly Clarkson and Keyshia Cole. Then in 2011, Betty would make her comeback.
In 2011, Betty collaborated with legendary hip hop artist The Roots, recording twelve tracks in New York and Miama, that would become Betty Wright The Movie. On the album, Betty collaborates with Joss Stone, Snoop Dogg and Lenny Williams on the twelve tracks she either wrote or cowrote. Betty also co-produced Betty Wright The Movie, along with Ahmir Questlove Thomson and Angelo Morris. Then in November 2011, fans of Betty Wright were delighted to see that after ten long years, a new Betty Wright album had been released. Many wondered what Betty Wright The Movie would sound like, after an absence from music of ten years. That’s what I’ll now tell you.
Opening Betty Wright The Movie is Old Songs, a mid-tempo track, with a real retro sound when the track opens. It’s a combination of rhythm section, chiming guitars and Betty’s voice which sounds distant. Quickly, her vocal moves to the front, and straight away, you realise what you’ve been missing for the past ten years. Betty’s vocal although strong, has a joyous sound, with backing vocalists accompanying her. They augment her vocal, while the arrangement has the same catchy, uplifting sound throughout the track. Later, Betty briefly, almost raps the lyrics, before her voice drops out, returning with her backing vocalists as she continues to roll back the years, both with the quality of her vocal and the classy, retro sounding arrangement.
Real Woman is one of the slowest tracks on Betty Wright The Movie, with a quite different production style. The arrangement is much louder, brasher, with a more moderne R&B sound. Sometimes, however, the arrangement seems to loud. Here, the beats are crunchy, while guitars and synths are responsible for this quite different, more contemporary sound. Betty’s voice is powerful and impassioned, before later, Snoop Dogg makes his presence felt, rapping his way through the track, laying down some slick rhymes. His vocal is perfect for the arrangement, a real contrast with the soulful strains of Betty. Here, two genres collide, with soul and hip hop combining to create a track that’s slick and soulful.
On In The Middle Of The Game (Don’t Change The Play) Betty ups the tempo, with the style returning to a more traditional soulful sound. Here, Betty gets the opportunity to demonstrate her four octave range. Her voice is full of emotion, with her delivery powerful as The Roots and his accomplished band create an arrangement that’s fuses soul, R&B and even elements of hip hop. Key to the sound are the rhythm section, guitars, keyboards and a Hammond organ that adds an old school sound. Add to this testifying, soulful, soaring backing vocalists, and one of Betty’s best vocals on the album ensures that this is a real return to form for Betty, on one of the highlights of Opening Betty Wright The Movie.
As Surrender opens, you briefly hear a Prince influence in the arrangement. It fuses soul with a little funk, as Betty delivers a really heartfelt, impassioned vocal tinged with sadness and regret. Meanwhile, the arrangement meanders along, with Ahmir Questlove Thomson drums prominent in the mix, while bass and guitars both play important rolls. However, Betty’s vocal is quite rightly allowed to take centre-stage, given its quality, and the emotion and passion Betty reveals. Although, backing vocalists accompany her, they like the band, are playing second fiddle to a true legend of soul, Ms. Betty Wright on this heartfelt, beautiful track.
Although Grapes On A Vine sees the style change, there’s one constant, the quality of Betty’s vocal. Here, the track has a contemporary R&B sound, with the rhythm section and guitars accompanying Betty’s emotive, powerful vocal. Synths signal a change, with the track heading in a rocky direction. Guitars scream, soaring high, while a wash of synths and pounding drums combine. Lil Wayne lays down some slick, angry sounding rhymes while Betty kicks loose, proving that she’s quite comfortable with the rockier style. When Betty’s vocal drops out, Lil Wayne takes over, his vocal suiting the rocky backdrop. Punchy backing vocals and then Betty’s raw, screaming vocal combines with Lil Wayne before the track reaches its dramatic, powerful crescendo after five frantic, and quite fantastic minutes.
After a hesitant start, Look Around (Be A Man) starts to reveal its secrets. It’s another mid-tempo track, with Betty’s frustrated, angry vocal accompanied by backing vocalists. Their soulful strains are accompanied by a wash of synths, rhythm section, percussion and guitars. As the song progresses, Betty decides to unleash her powerful vocal, displaying a mixture of anger and frustration that’s perfect for the lyrics about infidelity and the breakup of a marriage. The arrangement has a polished, contemporary sound thanks to the production skills of Betty, Ahmir Questlove Thomson and Angelo Morris. Together, they provide the perfect backdrop for Betty’s feisty, frustrated vocal.
With a half-spoken introduction, Tonight Again begins. Crunchy drums and a slow tempo help create an atmospheric backdrop for Betty’s vocal. It’s just a backdrop of synths, rhythm section, backing vocalists and handclaps that accompany Betty’s sassy vocal. The really slow tempo is perfect for a track that’s hugely catchy, with more than its fair share of hooks. Truly, it’s an irresistible sounding slice of Nu-Soul from Betty.
Flourishes of piano and dark moody, broody synths open Hollywould the slowest track on Betty Wright-The Movie. This dark sound and Betty’s dramatic delivery suits the gritty lyrics about drug addiction and prostitution. Throughout the track, this moody sound provides a backdrop for Betty’s strong, dramatic vocal. Adding an equally dark, gritty vocal is Robert “the Messenger” Bozeman. Together with Betty, they provide the darkest tale on the album.
Whisper In The Wind sees a return to a more traditional, soulful sound. Betty’s vocal starts off tender and gentle, accompanied by lush strings, rhythm section and keyboards. Backing vocalists join the rasping horns that join the mix, as Betty’s vocal grows in strength. Still she hasn’t unleashed the power she’s displayed on previous tracks. When she does, it’s only briefly, but mostly, it’s a more restrained Betty that we hear. To close the track, Betty begins a vamp, feeding off her backing vocalists, with the interplay between them laden with emotion. While Betty may be more restrained on this track, her vocal is just beautiful and soulful as previous tracks, especially when augmented by backing vocalists and one of the slickest, most polished arrangements on Betty Wright-The Movie.
Pounding drums open Baby Come Back, before what sounds like a choir of backing vocalists accompany Lenny Williams, before Betty’s vocal enters. His vocal is full of pain and longing, while Betty’s vocal is full of sadness and regret. They’re accompanied by the backing vocalists, rhythm section, guitars and keyboards, with the backing vocalists key to the song’s success. When Lenny and Betty’s vocals are added the result is a track laden with sadness and sorrow, where the emotion is almost tangible.
So Long, So Wrong opens with crunchy drums, subtle backing vocalists, percussion and keyboards combining, before Betty’s questioning, emotional vocal enters. While her voice lacks the power of previous tracks, the quality is still present. The backing vocalists that accompany Betty, are perfect for her vocal, and the Nu-Soul sound arrangement. This Nu-Soul sound is especially prevalent later in the song, with punchy backing vocalists and a rap that drifts in and out of the track. What Betty does so well here, and on other tracks, is make you believe in the story behind the lyrics. She sounds as if she’s lived and breathed them, yet survived to tell the tale. That to me, is the mark of a great vocalist, which Betty truly is.
Closing Betty Wright-The Movie is You And Me, Leroy, another track where Betty gives a half-spoken introduction. From there, it’s all change, with the track quickly opening up, the arrangement growing. It’s the rhythm section, guitars and some of the most soulful backing vocalists that accompany Betty. Her, vocal is feisty and confident, as she delivers her vocal powerfully. Guitars, a pounding bass and crisp drums combine with flourishes of piano as Betty’s vocal soars and roars, before returning to her normal style. With lyrics about financial hardship and struggling to pay the bills, Betty signs of her sixteenth studio album with a track full of social comment delivered with hope and confidence.
Having spent some time listening to Betty Wright-The Movie, I’m left thinking that, given the quality of music on the album, it wasn’t released on a bigger label. It’s an album that deserves a much wider audience, given how good Betty’s vocals are and how accomplished and polished the arrangements and productions are. On Betty Wright-The Movie, it’s a real return to form for Betty, with the album a reminder of what music has been missing for a decade. When Betty Wright-The Movie was released, it wasn’t with the hype many lesser albums have. Instead, it was an almost low-key release, with many people not realizing the album had been released. Thankfully, now that Betty is touring, the album has received some welcome publicity. After all, this hidden gem of an album deserves to be a commercial success. Betty’s collaboration with The Roots worked well, with The Roots mixing Betty’s soulful sound with a much more contemporary sound. However, The Roots knows what Betty does best, sing soul, and allows her to do just that on many tracks. Truly, she doesn’t disappoint, and this collaboration between the veteran soul singer Betty Wright and one of the most talented artists and producers The Roots, is a musical gem, one that anyone who loves soul, R&B or even hip hop should investigate. There’s some great music awaiting discovery on Betty Wright-The Movie, and let’s just hope it isn’t another ten years before Betty releases her next album, after all, singers this soulful are a rarity nowadays. Standout Tracks: Old Songs, In The Middle Of The Game (Don’t Change The Play, Look Around (Be A Man and Baby Come Back.
BETTY WRIGHT AND THE ROOTS-BETTY WRIGHT THE MOVIE.
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BOSSA RIO-BOSSA RIO.
BOSSA RIO-BOSSA RIO.
Back in 1969, Bossa Rio released their now legendary album Bossa Rio on Herb Albert’s A&M Records. The album was produced by Sergio Mendes, who’d brought Bossa Rio to A&M. After signing with A&M, their first appearance was on Cannonball Adderley’s album Cannonball’s Bossa Nova, released in 1962. This wouldn’t be Bossa Rio’s last collaboration with Cannonball Adderley, with the group appearing on Cannonball Adderley Con Sergio Mendes Y El Sexteto Bossa Rio. By 1969, Bossa Rio were ready to record their eponymous debut album, Bossa Rio. No doubt, A&M were hoping that Bossa Rio’s debut album would prove as commercially successful as Sergio Mendes’ Brasil ’66. So, hiring the man behind the success story that is Brasil ’66, made sense. Sergio Mendes was chosen to produce Bossa Rio, which although it contained popular US hits like Bacharach and David’s Do You Know the Way To San Jose, Jimmy Webb’s Up, Up and Away has many more secrets and hidden gems awaiting discovery. These included Day By Day, previously a hit for Astrud Gilberto, Wave by Antonio Carlos Jobin, Saiupa, the beautiful Gentle Rain and the beauty of both Boa Palavra and Cancao Do Sal. In total, Bossa Rio laid down twelve tracks for their debut album Bossa Rio. They’re variously compelling, beautiful, haunting and enchanting as you’ll discover, when I tell you about the music on Bossa Rio, which was rereleased by Rev-Ola in 2009.
Opening Bossa Rio’s debut album is Por Causa De Voce Menina written Jorge Ben. Although just over two minutes long, they’re filled with beauty and drama. A combination of piano, percussion, stabs of Hammond organ and drums, give way to the a beautiful sound of Grachinha Leporace’s vocal. She’s accompanied by a male vocal, their voices a perfect fit for each other. Then it’s all change. The track becoming stirring and dramatic. Punchy vocals, percussion and flourishes of piano punctuate the arrangement, before returning to its previous sound. However, then when your least expecting it, the track almost explodes, as it heads to it dramatic and stirring crescendo.
Many artists may have recorded Bacharach and David’s easy listening classic, Do You Know The Way To San Jose but here Bossa Rio inject some bossa rhythms and Latin soul into the track. With a much quicker tempo and a proliferation of percussion, piano and drums that accompanying Grachinha’s vocal, the track reveals its charms. Although, Grachinha’s sunny, but winsome vocal is augmented by a male vocal, her vocal transforms the track, turning it into a slice of sunshine pop, with a Brazilian heartbeat and real feel-good sound.
Wave allows Grachinha’s vocal to take centre-stage, allowing you to focus on the beauty, emotion and sometimes almost fragility of her vocal. It’s just an acoustic guitar, percussion and drums that provide an accompaniment to her vocal. Here, the rest of Bossa Rio are merely the support act for Grachinha, whose vocal is not only heartfelt and emotive, but hauntingly beautiful.
Day By Day is mostly, a laid-back sounding track, which later, reveals its samba charms, growing in power and vitality. Here, Grachinha is accompanied by a backdrop of piano, percussion and drums as the tracks sashays along. Later the track grows in power and energy, with the Hammond organ, piano, percussion and drums that accompany Grachinha’s lilting vocal on this irresistible track.
An acoustic guitar opens Boa Palavra as a heartfelt vocal from Grachinha enters. It’s one of the most moving, beautiful vocals on the album. However, just when you’re enjoying it, the track changes, bursting briefly into life. Before long, the beautiful, emotive sound of Grachinha reappears, before it’s all change again, with the track heading towards a frenzied, dramatic conclusion. However, what makes this such a compelling track is the poignant and wistful vocal from Grachinha.
Anyone my age, will remember hearing 5th Dimension’s version of this Jimmy Webb penned track Up, Up And Away growing up. Here, Bossa Rio brighten your day with their version of the track. With just drums, percussion and standup bass combining, the track opens, before Grachinha’s vocal enters. She’s accompanied by stabs of Hammond organ, while flourishes of piano and a male vocal augment her vocal. Together, Bossa Rio mix emotion, drama and power, while injecting some sunshine into Jimmy Webb’s classic track, that remind you of growing up and long hot summer days on sandy beaches.
Nana has a much more authentic sound than the previous easy listening classic. Pounding drums, punchy piano, percussion and Grachinha’s combine on this stirring, sometimes dramatic track. Later, the entrance of a Hammond organ, sees the track a “groovy” diversion, before the piano takes over, accompanying Grachinha and the male vocal. Their vocals reflect the punchiness of the rhythms, before floating effortlessly along, towards the punchy, dramatic ending. Although quite different to the previous track, given its more authentic Brazilian sound, it’s impossible not to succumb to its charms and delights.
Old Devil Moon is one of the real highlights of Bossa Rio. After drums, percussion and piano give way to Grachinha’s vocal, it’s obvious that’s this is glorious slice of samba that’s revealing its subtleties and secrets. A punchy piano is like a signal for the track to reveal its joyous sound. As it does, you become swept away by the sound, a surprise awaits you. A solo from the Hammond organ sees the track head in a jazzy direction. From there, stabs of Hammond, handclaps, percussion and drums deliver a delicious, delightful and joyful sounding track, made all the better by Grachinha’s vocal.
Following the delights of the previous track, Veleiro is a much more subdued, but quite beautiful and emotive track. Grachinha’s winsome, thoughtful vocal is accompanied by a male vocal, while the piano, percussion, drums and acoustic guitar combine to accompany them. Together, they provide a backdrop that meanders and flows along, with occasional peaks and troughs punctuating the arrangement. Meanwhile, Grachinha adds melancholy, poignant vocals that are intensely, compelling.
Gentle Rain is one of the most beautiful, poignant tracks on Bossa Rio. Here, Grachinha doesn’t sing lead, replaced by a hauntingly beautiful male vocal, accompanied by an understated arrangement, where percussion, piano and standup bass combine. Later, a flute is added, adding to the sense of poignancy that the track evokes. For nearly four minutes, you’re taken on an emotional journey where your heartstrings are tugged by this heartachingly beautiful track.
Closing Bossa Rio’s debut album Bossa Rio is Cancao Do Sal which sees the return of Grachinha. Her gentle vocal is accompanied by a shuffling bossa beat, while stabs of Hammond, percussion and drums accompany her. Augmenting her vocal is male vocal, while drums add drama, driving the track along. They’re key to arrangement, as the track veers between a gentle to a louder, more powerful sound and style. Regardless of whether the track is gentle or louder and more powerful, one thing is constant, the quality of music that Bossa Rio produce.
When Bossa Rio released Bossa Rio in 1969, many Brazilian artists had made the breakthrough to mainstream music. None more so that Sergio Mendes, who produced Bossa Rio. Along with artists like Astrud Gilberto and Antonio Carlos Jobim, the sound of the bossa nova became hugely popular. Even American jazz musicians like Stan Getz and Charlie Byrd helped popularize the bossa nova sound. On Bossa Rio, with Sergio Mendes’ help, Bossa Rio recorded eleven tracks of authentic Brazilian music, music which forty-three years later, still has the same timeless sound and power. It evokes and awakens a variety of emotions, from sadness to joy, and everything in between. Key to Bossa Rio’s sound was Grachinha Leporace’s vocal helps stir and awaken emotions and feelings within you. To me, she played a huge part in the success of Bossa Rio, with her delivery ranging from heartfelt, poignant, sad and joyous. Together with the rest of Bossa Rio, she helped create an album which even today, still sounds just as good as it did back in 1969. For that reason, I can throughly recommend that anyone who loves either Latin or jazz music, investigate the bossa nova classic that is Bossa Rio’s debut album Bossa Rio released by Rev-Ola in 2009. Standout Tracks: Wave, Day By Day, Old Devil Moon and Gentle Rain.
BOSSA RIO-BOSSA RIO.
LUTHER VANDROSS-NEVER TOO MUCH.
LUTHER VANDROSS-NEVER TOO MUCH.
Luther Vandross’ route to a solo career which saw him sell over 25 million albums, including his debut solo album Never Too Much, is a quite fascinating story. Born in April 1951 in New York, Luther grew up in a musical family. He started playing piano aged three, joined the group Shades of Jade in high school, who played Harlem’s legendary Apollo Theater. Later, he was part of Listen My Brother, a theatre workshop who released two singles, Only Love Can Make You Better and Listen My Brother. Aged eighteen, Luther appeared in the second and fifth episodes of Sesame Street in 1969, before heading to Western Michigan University. After a year at university, Luther dropped out, having decided to pursue a career in music.
Soon, Luther began appearing on albums by some of the biggest artists of the time. His first credit as a solo artist was on Roberta Flack and Donny Hathaway in 1972, sing backing vocals on Delores Hall’s Hall Mark album. On Hall Mark, Luther cowrote Who’s Gonna Make It Easier For Me, which he sang on. By 1974, Luther was working with David Bowie, co-writing Fascination for Bowie’s Young Americans album, and later toured as one of Bowie’s backing vocalists. A year later, 1975 saw Luther write Everybody Rejoice for the musical The Wiz and appeared in the film as part of the choir. His next project was as part of the group Luther, who had some commercial success with singles, released two albums 1976s Luther and 1977s This Close To You which weren’t commercially successful. During this period, Luther sang backing vocals for among others, Diana Ross, Donna Summer, Chaka Khan, Chic and Greg Diamond’s Bionic Boogie. Towards the end of the seventies and early eighties, Luther would even write and sing jingles, before joining a group which would help see Luther finally, find commercial success, Change.
Change were a studio band created by Italian businessman Jacques Fred Petrus. They’d two hits in 1980, with The Glow of Love and Searching, which Luther sang lead vocal on. Their 1980 album The Glow of Love reached number twenty-nine in the US Billboard 200 and number ten in the US R&B Charts, resulting in the album being certified gold. Luther was meant to sing on Change’s second album Miracles, released in 1981, but didn’t, due to a dispute with Jacques Fred Petrus over money. This lead to Luther deciding to try to kickstart his solo career, signing a recording contract with Epic. Luther still appeared on Change’s second album Miracles, but only singing backing vocals. He would also feature on another of the groups Jacques Fred Petrus created the B.B. and Q. Band’s 1981 debut album B.B. and Q. Band. However, later in 1981, when Luther released his debut album Never Too Much, it would transform his career.
Never Too Much featured seven tracks, six which Luther had written himself. The only cover version was A House Is Not A Home, which Burt Bacharach and Hal David cowrote. Recording took place at New York’s Media Sound Studios, with Chic’s Fonzi Thornton and Norman Jean Wright adding backing vocals. Joining them on backing vocals was Cissy Houston, while guitarist Steve Love and bassists Anthony Jackson and Marcus Miller all played on the album. Arranging horns and strings was Paul Riser, while Luther arranged and produced Never Too Much. With the seven tracks on Never Too Much recorded, it was scheduled for release on 12th August 1981. Probably, Luther never expected Never Too Much to be the huge commercial success it would be.
On the release of Never Too Much on 12th August 1981, it reached number nineteen in the US Billboard 200 and number one on the US R&B Charts. This resulted in the album being certified double platinum, having sold over two million copies. Three singles were released from Never Too Much, with the title track Never Too Much reaching number thirty-three in the US Billboard 100 and number one in the US R&B Charts. Don’t You Know That was the second single, reaching number 107 in the US Billboard 100 and number ten in the US R&B Charts. The third and final single released from Never Too Much, Sugar and Spice (I Find Me A Girl) reached just number seventy-two in the US R&B Charts. Overall, Luther’s debut album Never Too Much had been both critically acclaimed and a huge commercial success, and was to prove to be just the first step in a highly successful solo career. Once I’ve told you about the music on Never Too Much, you’ll realize just why it was such a huge commercial success.
Opening Never Too Much is the number one US R&B hit single and title track Never Too Much, arranged by Luther and Nathaniel Adderley Jr. The track literally bursts into life a mass of cascading strings, funky rhythm section and guitars, while stabs of piano augment the arrangement. When Luther’s vocal enters, his delivery is quick, impassioned and heartfelt. Behind him, the lushest of strings sweep and swirl, while his rhythm section, guitars and percussion contribute some funk to his soulful vocal. Adding to the soulfulness of the track are backing vocalists, that include Cissy Houston, Yvonne Lewis, Brenda White and Michelle Cobb. They provide just the finishing touch to the arrangement, as Luther delivers one of his best vocals on the album, accompanied by a tight, polished band who combine funk and soul seamlessly, resulting in one the true highlights of Never Too Much.
From one of Never Too Much’s singles to another, Sugar And Spice (I Found Me A Girl). How this track never fared much better than number seventy-two in the US R&B Charts seems quite incredible. It’s just piano and drums that combine as the track opens, before quickly, things change. From there, the rhythm section, chiming Niles Rodgers’ like guitars, punchy blazing horns, sweet sweeping strings combine. Then Luther’s powerful, joyous vocal enter, while augmenting his vocal are beautiful backing vocalists. Meanwhile the tempo slows and then quickens, as if reflecting the joy and happiness in Luther’s vocal. Again, his band mix funk and soul during the track, while Luther’s delivery veers between smooth and polished, to powerful and passionate. Truly, it’s five minutes of beautiful, joyous music, demonstrating that all Luther’s years learning his craft as backing vocalist for the best in the business had paid off.
Don’t You Know That has a quite different sound and style. The tempo drops, with the song a ballad delivered thoughtfully and emotively by Luther. Cascading strings, rhythm section and guitars accompany him, while Tawatha Agee’s backing vocals drift in and out of the track, answering Luther’s call. She’s joined by Phillip Ballou and Luther, while the strings that play such a vital part in the track’s sound are arranged by Paul Riser. Another thing that’s key to track’s success, is the interplay between the dual guitars, that can be heard throughout the track. Although the style and sound has changed here, Luther doesn’t disappoint, delivering a thoughtful and emotive vocal on this quality track.
On I’ve Been Working, the style changes again, with the arrangement combining elements of jazz and funk. Here, Gary King arranges this mid-tempo track, with a the rhythm section fusing jazz and funk, while Luther’s vocal is laden with emotion, drama and passion. He’s accompanied by some of the most soulful backing vocalists on Never Too Much. Fonzi Thornton, Norma Jean Wright, Tawatha Agee and Phillip Ballou are responsible for these soulful, punchy interjections. While they deliver their backing vocals, Luther vamps his way through the track and his band deliver an arrangement that just swings. When all this is combined, the result is a jazz tinged track, that’s beautiful and swings along beautifully.
As She’s A Super Lady opens with the funkiest of bass lines, drums and guitar, you think Luther’s about to unleash a slice of the fattest funk. Then, when keyboards, blazing horns and swirling strings accompany Luther’s powerful vocal, the track starts to combine funk and soul. It mixes bursts of drama, with the emotion and passion in Luther’s voice. From there, things get even better, with Luther, his band and backing vocalists really finding their A-game. The rhythm section give a funk masterclass, while the backing vocalists attain new heights of soulfulness. This seems to spur Luther on, as his vocal is full of feeling and passion, augmented by the backing vocalists, who soulfully respond to his call. By the end of this dramatic, impassioned track, you realize that you’ve just heard one of the best tracks on Never Too Much.
You Stopped Loving Me sees Luther drop the tempo, on one of the saddest and emotive tracks on Never Too Much. As lush cascading strings, piano, percussion and the rhythm section combine, Luther gives one of the most heartfelt and emotive vocals on the album. His voice is laden with sadness and regret, while backing vocalists add to the sadness, delivering punchy and then soaring backing vocals. The use of strings adds to the sadness of the track, so much so, that you start to feel sorry and sympathize with Luther. Although full of regret and heartache, this is also a really beautiful, irresistible track. Not only that, but it’s one of the best break-up songs you’ll hear, and next time you’re heart is broken, play this track.
Closing Never Too Much is the only track Luther didn’t write, a cover of A House Is Not A Home, co–written Burt Bacharach and Hal David. Here, Luther transforms it into a seven minute Magnus Opus, scatting against a slow backdrop of piano, subtle cymbals, a meandering, thoughtful bass and the lushest of strings. This backdrop is perfect for the song, and when Luther’s vocal enters, the arrangement is still subtle. His vocal is drenched in sadness, loneliness and drama. The arrangement allows his vocal to take centre-stage, with the piano playing a prominent and important role in the song. So do occasional flourishes of harpsichord and the strings. Later, the arrangement grows in drama, as Luther almost emotionally vamps his way through the track, the sadness and regret almost tangible. However, it’s Luther’s delivery that makes this version of the song one of the best I’ve ever heard.
Listening to Luther Vandross’ debut solo album Never Too Much, it’s a cumulation of a decade spent learning his craft as a singer, songwriter, arranger and producer. He’d spent those ten years working with some of the biggest names in music, and had learnt so much. Whether it was singing backing vocals, co-writing songs or watching some of the best arrangers and producers of the time working, some of their magic had rubbed off on Luther. Working with Niles Rodgers and Bernard Edwards must have helped, given their production skills. The Chic influence can be found here, with Fonzi Thornton and Norma Jean Wright singing backing vocals. Along with Cissy Houston, who also sang backing vocals and one of the tightest, most polished bands, Luther laid down seven tracks which ranged from jazz, funk and soul, plus some stunning, beautiful ballads. Of these seven tracks, Luther wrote six of them, while arranging and producing the album. Among Never Too Much’s highlights are two of the album’s singles Never Too Much, Sugar And Spice (I Found Me A Girl). However, there’s much more to the album than that, with the jazz-tinged I’ve Been Working and fusion of funk and soul that is She’s A Super Lady, are both among the best on the album. One of the most emotive and powerful tracks was Burt Bacharach and Hal David’s A House Is Not A Home, which Luther delivers brilliantly. In truth, there isn’t a bad track on Never Too Much, which is remarkable for a debut album. For anyone whose never heard Never Too Much, I can’t recommend it highly enough. It’s now available as part of a three disc box set Original Album Classics, which also includes Give Me the Reason and Power of Love. This gives you the perfect opportunity to let a little Luther Vandross into your life. Standout Tracks: Never Too Much, Sugar And Spice (I Found Me A Girl), I’ve Been Working and A House Is Not A Home.
LUTHER VANDROSS-NEVER TOO MUCH.
THE DELLS-LOVE CONNECTION.
THE DELLS-LOVE CONNECTION.
After the release of The Harris Machine produced They Said It Couldn’t Be Done, But We Did It! in 1977 The Dells regrouped to record the follow-up album Love Connection which will be rereleased on SoulMusic.com on 16th April 2012. They Said It Couldn’t Be Done, But We Did It! had reached number 208 in the US Billboard 200 and number forty in the US R&B Charts, which was an improvement on its predecessor 1976s No Way Back. It had only reached number forty-seven in the US R&B Charts. However, given the quality of music on They Said It Couldn’t Be Done, But We Did It! The Dells must have been disappointed. So with The Harris Machine producing, and writing the material for Love Connection, and some of Philly’s finest musicians ready to provide a musical backdrop for Marvin Junior, Mickey McGill, Verne Allison, Johnny Carter and Chuck Barksdale, The Dells were once again, Philly bound. Love Connection would be their seventeenth album, since their 1959 debut Oh What A Night. Would it prove more of a commercial success than They Said It Couldn’t Be Done, But We Did It?
Like their previous album, They Said It Couldn’t Be Done, But We Did It!, recording would take place at Philadelphia’s legendary Sigma Sound Studios. Eight songs had been written for The Dells to record, with Ron Tyson, Bobby Eli, T.G. Conway and Norman Harris all co-writing tracks. Bunny Sigle wrote Should I Or Should I Not, while Marvin Junior wrote Wasted Tears, the album that closed Love Connection.
Norman Harris had assembled some of Philly’s greatest musicians, with drummer Earl Young, guitarist Bobby Eli and keyboard played Ron Kersey just a trio of the talents that can be heard on Love Connection. While The Harris Machine produced the album, Norman Harris called upon T.G. Conway, Ron Tyson, Allan Felder, Bruce Gray, Ron Kersey to co-produce some of the tracks. Jack Faith one of Philadelphia International Records’ best arrangers, arranged How Can One Man Be So Lucky. All this demonstrated how The Harris Machine worked so well. Norman Harris was able to access a pool of talented songwriters, arrangers, producers and musicians, who could literally write, arrange, produce and play on an album. This is what they did on Love Connection, and with the eight tracks, written, recorded, arranged and produced, all that was left was for Love Connection to be released. How would Love Connection fare compared to its predecessor They Said It Couldn’t Be Done, But We Did It?
On the release of Love Connection in 1977, it only reached number 204 in the US Billboard 200 and number forty-five in the US R&B Charts. This was much the same as They Said It Couldn’t Be Done, But We Did It, and compounded The Dells disappointment. That was two albums of quality music produced by The Harris Machine they’d released, but they hadn’t sold in the quantities they hoped. Even the release of Private Property as a single didn’t help matters. It only reached number fifty-seven in the US R&B Charts. Sadly, the commercial failure of Love Connection lead to Mercury dropping The Dells after just three albums. Maybe the problem was The Dells music, like many other soul singers and groups, was out of fashion, given the huge popularity of disco. Was that that the case? That’s what I’ll tell you, after I’ve told you about the music on Love Connection.
Opening Love Connection is Private Property, the only single released from the album. Co-written by Eddie Moore and Ron Tyson and straight away, you can hear there’s a more traditional soul sound, with the lushest of strings and horns accompanying the The Dells on this beautiful ballad. The tempo is slow, with lush strings, subtle horns and an equally subtle rhythm section combining, before The Dells add heartfelt harmonies. When the lead vocal enters, it changes hands quickly, with each Dell’s delivery heartfelt and emotive. Combine the lead vocal with swathes of strings and The Dells close, tight and beautiful harmonies, and result is one of the most beautiful tracks on Love Connection, arranged by Norman Harris and co-produced by The Harris Machine by Norman, Allan Felder and Ron Tyson.
God Helps Those (Who Help Themselves) is a quite different track from the previous track, and has more in common with some of the tracks on They Said It Couldn’t Be Done, But We Did It! Here, the tempo increases to 122 beats per minute, with track a fusion of soul, funk and even disco. Drums and the funkiest of bass lines signal the entrance of cascading strings and blazing horns, before Marvin’s powerful, impassioned lead vocal enters. Add to this, punchy backing vocals, plus a piano that drifts in and out the track, and one of the best tracks on Love Connection is unfolding. Key to Norman Harris’ arrangement is his use of sweeping, swirling strings and horns, while the rhythm section inject some funk to The Dells’ soulful strains. The result of this is one of the highlights of Love Connection, a fantastic dance-floor friendly track, that thirty-five years later, sounds just as good as it did back in 1977.
On I’m In Love (I Can’t Explain What I Feel) The Dells get another chance to do what they do so well, sing ballads. Arranged by T.G. Conway, who co-produced the track with Norman Harris and Bruce Gray, who cowrote the track with T.G., The Dells don’t disappoint. Against a backdrop of a meandering, gentle piano the track gets underway, with the rhythm section accompanying The Dells. They take turns in singing lead. When Marvin takes his turn delivering the vocal, his delivery is perfect. It’s a combination of emotion and sincerity, while the other Dells delivery is a mixture of power and passion, delivered against a dramatic backdrop of swirling strings, rhythm section and piano. Together, this combination works really well, demonstrating that after eighteen years producing albums, The Dells were among the best at delivering heartfelt, beautiful ballads.
Ron “Have Mercy” Kersey arranged and co-produced with Norman Harris, Don’t Trick Me, Treat Me an irresistible track where Marvin delivers one of his best vocals on Love Connection. This is a mid-tempo track with Philly Soul writ large all over it. A combination of the rhythm section, flourishes of piano and the lushest of strings combine with Marvin’s powerful, passionate vocal. Meanwhile, the rest of The Dells sweep in and out, delivering some beautiful, soaring harmonies. Midway through the track a breakdown sees a combination of cascading strings, punchy horns and guitar combine, before the track rebuilds. For five minutes, The Dells cast their spell over you, on this irresistible track, where Marvin Junior delivers one of his best vocals on Love Connection.
The questioning How Can One Man Be So Lucky was co-written by Eddie Moore and Ron Tyson who cowrote Private Property. This is a quite different track, with the tempo much quicker, with an arrangement from Jack Faith that’s laden with strings and horns. From the opening bars, where the rhythm section, flourishes of piano and The Dells enter the track just flows along, sweeping you along in its wake. When Marvin’s lead vocal enters, it’s perfect for the song, a mixture of power and adoration, while the other Dells contribute punchy backing vocals. Later, Marvin almost vamps his way through the track, against a backdrop of punchy horns, sweeping strings and percussion. Two things are key to the success of this track, Marvin’s pleading, passionate vocal and Jack Faith’s excellent arrangement.
Should I Or Should I Not written by Bunny Sigler, is one of the most dramatic and emotive on Love Connection. After a combination of wailing, atmospheric Hammond organ, blazing, punchy horns and rhythm section Marvin’s vocal enters. It’s hugely emotive and dramatic, full of indecision and heartache, as he wonders whether to take his love affair further. The rest of The Dells contribute backing vocals, which like the arrangement, are drenched in emotion and drama. Taken together, this is one of the most moving, heartfelt and beautiful songs on Love Connection, thanks to Marvin’s fervent, vocal laden with heartache and indecision. Of course, credit must Ron “Have Mercy” Kersey for his arrangement and Norman Harris for his production. Both helped The Dells make what is, the best song on the album.
Love Connection is an uptempo, uplifting track, with a real joyous feel-good vibe and disco beat.The rhythm section, cascading strings, percussion and then braying horns combine before Marvin’s throaty powerful lead vocal enters. It’s accompanied by punchy backing vocalists, while horns, strings and the rhythm section produce an arrangement that’s Philly through and through, and resembles something you’d expect to find on an early to mid-seventies album by The O’Jays. Later, a piano enters, joining Norman Harris’ arrangement, joining the swirling strings, punchy horns and rhythm section as the track hits disco heaven 127. Given Norman Harris’ recent successes with Salsoul, he knew exactly what the magical recipe for a successful disco track was, and shared his secrets with The Dells on this track.
Closing Love Connection is Wasted Tears a mid-tempo track written by The Dells lead singer Marvin Junior. As the track opens The Dells deliver some close harmonies, before an arrangement that turns back time unfolds. Sounding like something from an old soul or doo wop album, the arrangement is a mixture of piano, rhythm section and the lushest of strings. The Dells seem to raise their game, with Marvin’s vocal full of sadness and regret, while their harmonies tighter and sweeter, as they turn back time, to their early classic sound. Later, the finishing touch is a lone saxophone solo that drifts in and out of the track. When all this is combined, the lovely retro sounding arrangement, and The Dells harmonies, this seems a highly fitting way to close Love Connection, with a nod to The Dells past.
Like The Dells previous album They Said It Couldn’t Be Done, But We Did It! Here, the music on Love Connection is flawless. Mind you, given the combination of a group who previously, had released sixteen albums like The Dells had, we shouldn’t be surprised. That’s not forgetting some of Philly’s finest musicians that played on Love Connection, while The Harris Machine arranged and produced the album. The only difference with They Said It Couldn’t Be Done, But We Did It!, is that there’s a more traditional soul sound on the album, with the lushest of strings and horns accompanying the The Dells. There’s still tracks that were perfect for the time, 1977, with God Helps Those (Who Help Themselves and the title track, Love Connection, sees The Dells reach 127 disco heaven. Ballads like Private Property, ’m In Love (I Can’t Explain What I Feel), How Can One Man Be So Lucky, Should I Or Should I Not and the Marvin Junior penned Wasted Tears which closes Love Connection, and has a lovely retro sounding arrangement. In total, The Dells produced eight quality tracks on Love Connection. Maybe the reason why Love Connection wasn’t a bigger commercial success was that musical tastes had changed. Disco had become more popular that soul music, with artists and groups like The Dells neither as fashionable nor popular. However, Love Connection was a great album, just like They Said It Couldn’t Be Done, But We Did It! Here, Love Connection, which demonstrate just how talented a group The Dells were. Thankfully, Love Connection, like They Said It Couldn’t Be Done, But We Did It! Here, will be rereleased on SoulMusic.com on 16th April 2012, giving everyone another chance to discover two highly underrated albums from one of the greatest soul groups ever, The Dells. Standout Tracks: I’m In Love (I Can’t Explain What I Feel), How Can One Man Be So Lucky, Should I Or Should I Not and Love Connection.
THE DELLS-LOVE CONNECTION.
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FAC. DANCE: FACTORY RECORDS 12” MIXES AND RARITIES 1980-1987.
FAC. DANCE: FACTORY RECORDS 12” MIXES AND RARITIES 1980-1987.
Between 1978 and November 1992 when Factory Records became insolvent, Factory proved to be one of the most influential and innovative British labels. Indeed, it wouldn’t be exaggerating to say that Factory’s influence spread much wider, influencing independent labels worldwide. During this period, Factory Records were a cutting-edge label, fearlessly treading where neither majors nor other independent labels would tread. After all, how many other labels would build a nightclub like Hacienda in Manchester, or decided to open variously a clothes shop, hairdressers or venture into the world of independent films? Many of Factory’s ventures have attained legendary status, and can be read about in two excellent books Peter Hook’s The Hacienda: How Not To Run A Club Properly and James Nice’s Shadowplayers. While both books detail Factory Records downfall, lest we not forget that Factory Records released so much influential and innovative music. Although many people will know Factory from albums by New Order, Happy Mondays and Joy Division, how many people are aware of A Certain Ratio, The Durutti Column, Quando Quango, Section 25 and 52nd Street? Whether you’re one of the people yet to scratch below the surface of Factory Records back-catalogue, or a Factory veteran, who knows their Swamp Children from their Crispy Ambulance, then Strut Records 2011 compilation Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 is for you. It contains twenty-four tracks, spread across two discs, with dance tracks from some of the many artists who made the Factory label one of the most innovative, influential and important labels during its fourteen year lifetime. As I tell you about some of the music on Dance: Factory Records 12” Mixes and Rarities 1980-1987, I’ll tell you about what part the artist played in the history of Factory Records.
DISC ONE.
Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 contains twelve tracks from ten artists. These ten tracks feature an eclectic selection of artists and styles of music, from groups who either played major or minor rolls in the Factory Records story. From electro dance, roots reggae and jazz funk to Latin, avant-garde and new wave, there’s something for all tastes. Truly, Factory Records was a broad church, releasing music that although it might not prove commercially successful, was music the original founders of Factory Tony Wilson, Alan Eramus, Peter Saville, Rob Gretton and Martin Hammett believed in. Many of these tracks were produced on tight budgets, with some groups making just one EP or album. While many of these releases were produced on limited budgets, each featured graphic designer Peter Saville’s legendary artwork and unique cataloguing system. This resulted in single and album covers that were almost works of art in themselves. Peter’s work can be found on singles, EPs and album by the ten artists who features on Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987.
On Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 the twelve tracks include two each from Section 25, who released three albums on Factory between 1981 and 1988. Their tracks are Looking From A Hilltop and Dirty Disco. A Certain Ratio released five albums between 1981 and 1986 and Wild Party and Knife Slits Water are their tracks on Disc One. Both groups would become two of Factory’s most popular acts. Vini Reilly’s The Durutti Column, were one of Factory’s most underrated and most talented artists. Here, they contribute a track from 1980 For Belgian Friends. Quando Quango, who featured Mike Pickering, later a member of M People, contribute one of the compilation’s highlights, 1983s Love Tempo. Two other tracks demonstrate just how eclectic a label Factory was. 52nd Street, a jazz-funk group, contribute Express, a fantastic slice of jazz-funk with a twist, while X-O-Dus, a Manchester roots reggae band, See Them-A-Come closes Disc One. Having briefly told you about some of the tracks on Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987, I’ll pick a few of Disc One’s highlights.
My first choice from Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 is Section 25’s Looking From A Hilltop, with the Megamix the version chosen. This broody slice of electro is from Section 25’s 1984 album From the Hip. From the opening bars, a myriad of moody, broody synths, drum machines and a slightly sinister, whispery vocal male vocal. Add to this atmospheric sound, a tempo of 118 beats per minute, some equally moody, atmospheric sound effects and crystalline, but introspective vocal you’ve the recipe for an early eighties electro track. Unlike many similar tracks, this one has aged well, and nearly thirty years later, retains its haunting, moody and ultimately timeless sound.
Although Quando Quango were on Factory between 1982 and 1985, they only released one album, 1985s Pigs and Battleships. Two years before, in 1983, they released Love Tempo, a joyous fusion of Latin, synth pop and funk. Founded by Mike Pickering and Simon Topping, the track is a mass of Latin percussion, punchy, blazing horns, synths and rhythm section. Combine this with a joyful, punchy vocal, and the result is a hugely catchy, almost infectious and irresistible fusion of three musical genres.
Earlier I mentioned how Vini Reilly’s The Durutti Column, were one of Factory’s most underrated, but talented artists. Not only that, but they produced a number of critically acclaimed albums, and even thirty years later, Vini’s still producing music. Although For Belgian Friends was originally released in 1985, on the Domo Arigato album, the version here is from the 1986s Valuable Passages album. It’s a mid-tempo track, with a moody, introspective sound. Just drums, keyboards and guitar feature as the track gradually reveals its beauty. Guitars and keyboards are shrouded in echo, as the drums provide the tracks heartbeat. Taken together, the result is one of the most beautiful, thoughtful tracks on Disc One. Anyone wanting to discover The Durutti Column’s music should try either their best of, or if you can find it, Four Factory Records.
A Certain Ratio were one of Factory’s most popular groups, releasing five albums between 1981 and 1986. One of their two tracks featuring on Disc One is Knife Slits Water, with the near ten minute 12” version chosen. This track was released in 1982, featuring on their third album Sextet. The track has a similar moody, introspective sound and mood to other tracks as it opens. Then when a slap bass solo enters, accompanied by guitar, handclaps and percussion, we have lift off. This is a contrast from the vocal. Later, a wash of synths enter, accompanying the drums and percussion. When punchy, rasping horns and steel drums enter, they add to the funkiness provided by the bass and percussion. The result is an intriguing, compelling fusion of genres, where funk and Latin meets new wave and electro and remarkably, works really well.
While Manchester roots reggae band X-O-Dus only released one EP on Factory in 1980, English Black Boys, it contained See Them-A-Come. This is a majestic, meandering slice of English reggae from X-O-Dus. They were a group who, given their considerable talent, and great lyrics should’ve had a much bigger future. Opening with just guitar, rhythm section, piano and vocal which delivers some political, pertinent and relevant lyrics for 1980. Many of these lyrics are just as relevant over thirty years later. Accompanying the vocal, which has a Bob Marley influence, are some soulful, backing vocals. Later, a searing guitar solo reflects the frustration and anger of the vocal, as this track which combines roots reggae and dub majestically. This results in one of my favorite tracks on Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987.
The twelve tracks that feature on Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 demonstrate how eclectic a selection of music Factory Records released between 1980 and 1987. Whether you liked electro, jazz funk, Latin or roots reggae, Factory released something that would interest you. What’s remarkable is that most of the artists on Disc One are all from Manchester or the northwest of England. That’s not to say that Factory ignored the wider world. Quite the opposite, it’s just that these twelve tracks demonstrate the sheer quality of music coming out of Manchester. During this time, Joy Division, New Order and The Smiths would all release some of the biggest albums of the eighties, while the Hacienda was on its way to becoming the most club ever. While not many of the Factory bands were lucky enough to have huge hits, they released some critically acclaimed and memorable music, some of which can be heard on Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987. However, will Disc Two of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 contain the same quality of music as Disc One?
DISC TWO.
Several of the groups that feature on Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 also feature on Disc Two. This includes Quando Quango, 52nd Street and The Durutti Column. Quando Quango and 52nd Street have two tracks on Disc Two, while The Durutti Column and Swamp Children have one apiece. A welcome inclusion is from Factory’s biggest success story New Order, who contribute the original 12” version of Confusion. Obviously, Blue Monday is New Order’s dance Magnus Opus, that saw the band change musical direction, transforming them from indie rockers to dance legends, but Confusion pointed towards the direction the group was now heading. Among the new artists on Disc Two are Shark Vegas, Marcel King, Minny Pops and Streetlife, who all feature here. However, how will the music on DIsc Two compare to that on Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987. That’s what I’ll tell you, when I tell you about the highlights of Disc Two.
Obviously, my first choice from Disc Two of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 is New Order’s 1983 hit single Confusion. Opening with a wash of moody synths, percussion, searing electric guitars and rhythm section, New Order haven’t deserted their indie roots given the track’s sound. When Barney’s vocal enters, it’s accompanied by percussion, while Gillian Gilbert adds backing vocals and a myriad of synths accompany his vocal. This the classic New Order lineup, with Hooky’s bass, Stephen Morris’ drums key to the sound, while Barney’s vocal is thoughtful and impassioned. Although quite different to the seminal Blue Monday, this is another classic from Blue Monday and demonstrates the direction their music was heading, in its fusion of indie rock and dance music.
Marcel King’s Ready For Love was released in 1984, and combines synth pop with elements of funk and disco. Here, synths combine with a funky rhythm section, providing a contrast of sounds, which when combined, provides the perfect backdrop for Marcel’s vocal. His vocal is tender, but joyous and key to the success of the track. Stabs and washes of synths, crisp electro sounding drums and percussion dominate the sound, as the earlier funky sound is replaced by an eighties dance-floor friendly sound. Listen carefully, there’s even a slight Michael Jackson influence. Taken together, the result is a catchy track, that nearly thirty years later, still sounds great.
52nd Street’s Look Into My Eyes is one of the standout tracks on Disc Two of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987. Released in 1982 and featuring the vocal of Beverly McDonald, this is sizzling slice of jazz funk produced by Donald Johnson, A Certain Ratio’s drummer. Key to the track is an accomplished group of musicians and of course, Beverly’s vocal. Opening with the funkiest of rhythm sections and percussion, keyboards join before Beverly’s vocal enters. When it does, it’s an emotive, impassioned delivery of the lyrics, while the rhythm section and keyboards provide a backdrop for her vocal. Her vocal is power and passion, while Tony Henry augments her vocal. For nearly seven hypnotic minutes, you’re transfixed by this track, which is a highly accomplished, polished and sizzling slice of jazz funk from 52nd Street.
Swamp Children’s You’ve Got Me Beat was released in September 1982 on the Factory Benelux label. It’s a fusion of jazz and Latin music, with a lovely, laid-back sound. A combination of piano, acoustic guitar, percussion and rhythm section, accompany a distant fragile vocal, as slowly, the track begins to reveal its nuances, subtleties and hidden charms. Later, subtle horns drift in, as gentle percussion, piano and the rhythm section take take the track on a journey through a fusion, lilting laid-back Latin and jazz, which has a beautiful timeless sound, making you want to investigate the Swamp Children’s music further.
My final choice from Disc Two of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 isthe hugely talented Vini Reilly’s Durutti Column. Madeleine is a track from their 1981 L.C. album, and is an example of the innovative and ambitious music The Durutti Column make. This is like an ambient soundscape where ripples of music meander majestically along, the textures and contrasts a pleasing fusion. It’s primarily guitars, keyboards and percussion that combine to create this gorgeous sound, with echo used sparingly and effectively. On this track, and the rest of L.C. Vini plays each of the instruments himself, resulting in a luxuriant eighties soundscape that’s full of subtle sounds, contrasts and musical textures.
Similar to Disc One of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987, Disc Two features an eclectic selection of quality music. From Factory founders’ New Order’s huge hit single Confusion, to Marcel King’s Ready For Love which fuses synth pop with elements of funk and disco, through to the jazz-funk of 52nd Street’s Look Into My Eyes each tracks oozes quality. That’s not forgetting Swamp Children’s You’ve Got Me Beat which is a relaxing combination of jazz and Latin music. The Durutti Column’s Madeleine is an avant garde soundscape, full of some gorgeous sounds, contrasts and textures, that demonstrate perfectly the quality of music The Durutti Column have been producing for over thirty years. Of course, there are seven other tracks on Disc Two of Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987, with two Quando Quango featuring twice, plus another track from 52nd Street. Among the other delights that can be heard on Disc Two are Shark Vegas, Hood, Abecedarians and Streetlife. These twelve tracks, plus the twelve on Disc One demonstrate not only how eclectic a selection of music Factory Records released between 1980 and 1987, but the quality of that music. For anyone who has yet to discover the many delights of the Factory Records, then Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 is the perfect primer, and a good place to start. After that, you can then delve into Factory’s considerable back-catalogue, which has many delights awaiting discovery. However, Fac. Dance: Factory Records 12” Mixes and Rarities 1980-1987 isn’t just for Factory Records’ newcomers, as the compilation will appeal to Factory veterans everywhere, allowing them to relive their youth again. Standout Tracks: Quando Quango Love Tempo, The Durutti Column For Belgian Friends, New Order Confusion and 52nd Street Look Into My Eyes.
FAC. DANCE: FACTORY RECORDS 12” MIXES AND RARITIES 1980-1987.
DISCO DISCHARGE-DISCO EXOTICA.
DISCO DISCHARGE-DISCO EXOTICA.
Disco Discharge-Disco Exotica is the second installment of Harmless Records’ Disco Discharge compilation series of 2012. This is the fourth year of the highly successful and critically acclaimed compilation series, that first hit the shops back in 2009. After four compilations in 2009, another four followed in 2010, and then 2011. So, now celebrating their fourth year of releasing some of the finest disco compilations, crammed full of disco delights for the discerning disco dilettante. The first Disco Discharge compilation released in 2012 was Disco Discharge-American Hot, released on 26th March 2012, which I’ve previously reviewed. It didn’t disappoint, keeping up the high standard of releases I’ve come to expect from the Disco Discharge series. Often, after thirteen compilations, the quality of music of starts to suffer, if a compilation series lasts that long. However, this isn’t the case with the Disco Discharge series. Quite the opposite. Compiler Mr Pinks seems to forever be on the look out for delectable, disco delights. A combination of hidden gems and a few familiar tracks ensure that the Disco Discharge series continues to contain the quality of music I’ve come to expect from one of the best disco compilation series’ on the market. To celebrate the success of this series, Harmless Records have announce the launch of a new label, Disco Recharge, which will soon be releasing Disco Discharge regulars Voyage’s 1977 debut album Voyage. That’s all still to come. Before that, I’ll tell you all about the twenty tracks that can be found on the two discs of Disco Discharge-Disco Exotica, which will be released on 9th April 2012 on Harmless Records.
DISC ONE.
Disc One of Disco Discharge-Disco Exotica like Disc Two, features ten full-length tracks, with a mixture of familiar tracks, classics and hidden gems. Among the familiar tracks are Liquid Gold’s Substitute, Patrick Hernandez’s 1979 smash-hit Born To Be Alive, Sylvia Love’s Extraterrestial Lover and Disco Circus’ In A Gadda De Vida/Garden of Eden. That’s not forgetting the fourteen minute cover of the dinosaur rock track House of the Rising Sun. Klein and MBO’s Dirty Talk features here,with the European Connection Mix chosen, and is a classic of the Italo-disco genre. Hidden gems include Who’s Who’s’ Dancin’ Machine, Pussyfoot’s Lay Your Love On the Line and The Chaplin Band’s Extraterrestial Lover. As you’ll realize by now, Disc One of Disco Discharge-Disco Exotica doesn’t disappoint. However, what are the best tracks from Disc One of Disco Discharge-Disco Exotica?
My first choice from Disc One of Disco Discharge-Disco Exotica is Liquid Gold’s Substitute, released in 1980 on the POLO label. Adrian Baker and Eddie Seago cowrote the track, while Adrian Baker produced the track. Liquid Gold were a UK band and Substitute is proof that sometimes, UK artists could produce a glorious disco track. Although better known for their other hit single Dance Yourself Dizzy, this to me, is one of the highlights of their career. Opening with keyboards, percussion and cascading strings, the funkiest of bass lines enter, before guitars and drums join. Dramatic swirling strings signal the enter of Ellie Hope’s lead vocal, accompanied by punchy backing vocals. Her voice is sweet and emotive later becoming powerful and impassioned. Meanwhile the rhythm section add drama and a frisson of funk, as strings contribute a lush sound. For over six minutes, Liquid Gold prove beyond all reasonable doubt that America and Europe hadn’t the monopoly on producing quality disco music.
Klein and MBO’s Dirty Talk was originally released in 1982, on their 1982 album Dirty Talk, released on the Zanza Records. The version included on Disco Discharge-Disco Exotica is the European Connection version, from that 1982 album. It’s a truly innovative, influential track that influenced New Order’s Blue Monday. Hysterical laughter pounding beats and a wash of synths accompany an almost sensual, whispery vocal. Add to this, a myriad punchy beats, hissing hi-hats, percussion and soaring vocals as this hypnotic, futuristic sounding track begins to reveal its subtleties, nuances and hidden charms over eight and a half minutes. Of course, without the vocal the track wouldn’t have been as good. The vocal combined with the synths and drum machines to me, equals a truly is innovative, influential track, one that thirty years later, has a timeless sound. European Connection is one of my favorite versions, it always has been, and this slice of Italo-disco is one of the real highlights of the compilation.
Anyone growing up in 1979 couldn’t help but hear Patrick Hernandez’s Born To Be Alive, which gave the French singer a huge hit. Produced by Patrick Vanloo, and released on the Aquarius label and was the title of his 1979 album. With pounding drums, synths and hissing hi-hats, the track literally explodes into life. Handclaps, guitars and blazing horns combine before Patrick’s joyous vocal enters. With booming backing vocals punctuating the track, a piano and horns drift in and out of the arrangement as this hugely catchy track unfolds. Resistance is impossible, you just can’t help but get swept away by the track. Much as you try, finally you succumb and find yourself singing along. Hours later, you can’t get the song out of your head. That’s why the track racked up fifty-two gold and platinum discs, from fifty separate countries. Sadly, after this, Patrick only released on further album, Crazy Day’s Misery Nights.
One of the hidden gems on Disco Discharge-Disco Exotica is Pussyfoot’s Lay Your Love On The Line, with the original 12” single chosen. Released in 1979 on EMI, and co-written, arranged and produced by Mickey Flinn, the track features Donna Jones vocal. The track was entered into the Song For Europe contest, coming fourth. It’s a track that features a big production, and equally big, powerful, emotive vocal from Linda. She’s accompanied by a combination of pounding drums, keyboards and guitars that don’t spare the power chords, are key to the arrangement’s sound. Her vocal has a sweet sound, but is powerful, laden with emotion and passion. Behind her, the rhythm section, guitar, keyboards and percussion produce a much more Euro Discoo sound rather than a classic American disco sound. Regardless of whether its origins are European or American, this track’s addition on Disc One of Disco Discharge-Disco Exotica is a welcome one.
Although I’ve only mentioned four of the tracks on Disc One of Disco Discharge-Disco Exotica, I could just as easily have mentioned any one of the ten tracks. I wanted to include a familiar track, a classic and a hidden gem. Obviously, Klein and MBO’s Dirty Talk is a stonewall classic, so that choice was easy. Choosing a familiar track was quite easy, given how big a hit Patrick Hernandez’s Born To Be Alive had been. Liquid Gold’s Substitute was another track that qualified as a familiar track, and proved the occasionally, the British could produce a great disco track. Choosing a hidden gem wasn’t as easy. I was torn between a trio of tracks that included Who’s Who’s Dancin’ Machine, Sylvia Love’s Extraterrestrial Lover and the track I chose Pussyfoot’s Lay Your Love On The Line. That it was so difficult choosing just one track demonstrates the consistency of music on Disc One of Disco Discharge-Disco Exotica. Will this be the case on Disc Two of Disco Discharge-Disco Exotica?
DISC TWO.
On Disc Two of Disco Discharge-Disco Exotica, the tracks can again be separated into distinct categories, with the disc a combination of familiar tracks and hidden gems. Voggue’s Dancin’ the Night Away is one of the familiar faces, while Gina Soccio and Patrick Juvet are two other artists who’ve previously featured on other Disco Discharge compilations. Among the hidden gems are tracks like Jeanette’s Don’t Say Goodnight To the Lady of Spain, Azoto’s Soft Emotion, Passengers’ I’ll Be Standing Beside You and Bette Middler’s Hurricane. That’s not forgetting a cover version of Stevie Wonder’s My Cherie Amour by an artists you’d never guess…..Boney M. One artist features on both discs, the Chaplin Band with Il Veliero their contribution to Disc Two. Overall, there’s an intriguing selection of some quality music on Disc Two of Disco Discharge-Disco Exotica. However, what are the highlights of Disc Two of Disco Discharge-Disco Exotica?
Voggue’s Dancin’ The Night Away was released by Mercury in 1981 and featured the vocals of Angela Songui and Chantal Condor. Produced by Michael Daigle, two Philly Sound veterans feature on this track. Richard Rome contributes keyboards while the luscious string sound of the Don Renaldo Ensemble dances around the arrangement. Add to this the sweet and beautiful sound of Angela and Chantal’s vocals, some blazing horns, a tight rhythm section and plentiful supply of percussion and you’ve the recipe for a classic disco track, one with a healthy sprinkling of Philly magic. What more can you ask for?
Bette Midler contributes her 1979 track Hurricane to Disc Two of Disco Discharge-Disco Exotica’s highlights with Hurricane. Co-written by Bette and Randy Kerber, this was a track from her 1979 Thighs and Whispers album. This was released at a time when many artists and actors were attempting to rejuvenate their careers via a disco hit. Unlike many of them, Bette is a talented singer. Produced by Arif Mardin, the track opens with aptly, a hurricane blowing. Then pounding beats, shivering strings, percussion and piano giving way to Bette’s vocal. Her vocal is a mixture of tenderness, emotion and quickly power. Backing vocalists accompany Bette, while subtle horns drop in and out of the arrangement. All of this is combined with a pounding disco beat and a tempo of 120 beats per minute, results in accomplished slice of disco from The Divine Miss M.
Gino Soccio is responsible for one of the best tracks on the whole compilation, Dance To Dance. This is a track from her 1979 album Outline, released on Celebration Records and produced by Mix Machine. Dance To Dance gave Gino a huge hit single on the US Billboard Disco Charts in 1979. Written by Gino, and sung against an arrangement that reaches 128 beats per minute, this is seven minutes of majestic music. Opening with a whispery vocal, percussion and piano, it’s all change when pounding beats enter, along with punchy, blazing horns. Central to the track is a combination of Gino’s vocal and an excellent arrangement. The rhythm section drive the track along, while horns, percussion and keyboards accompany Gino’s vocal. It’s shrouded in echo, while punchy horns punctuate the arrangement. When all this combined, the result is a fantastic track, one of the real highlights of Disco Discharge-Disco Exotica.
The final track from Disc Two of Disco Discharge-Disco Exotica I’ve chosen is by Dutch producer Theo Vaness. Sentimentally It’s You is a track from his 1979 album on Prelude Records Bad Bad Boy. The track has a real combination of sound, with Euro Disco and Hi-NRG fusing as one. This fusion of styles has a tempo of 137 beats per minute, demonstrating the move away from the classic disco sound, towards the harder, faster Hi-NRG style. No longer is 127 Disco Heaven, but the style and sound was for much quicker tracks. Here, a combination of synths, keyboards and quick, crunchy drumbeats accompany the vocal as the track unfolds. Quickly the tempo rises, with 127 Disco Heaven left way behind. What makes the track for me, is the vocal. It’s emotively delivered, with a vampy style, while punchy backing vocals augment it. By the end of the track, you realize just why this track and Theo’s other 1979 hit As Long As It’s Love proved to be such popular, European dance-floor anthems.
Similar to Disc One of Disco Discharge-Disco Exotica, Disc Two delivers a consistent and eclectic selection of disco music. Whether it’s Euro Disco, Hi-NRG or the more traditional, classic disco sound you prefer, then there’s something for everyone here. That’s not forgetting Klein and MBO’s slice of Italo Disco Dirty Talk on Disc One. Such an eclectic selection of disco is what you’d expect from compiler Mr Pinks. Again, he’s dug deeper than he’s ever dug before, succeeding in unearthing a selection of hidden gems and golden disco nuggets. In doing so, Mr Pinks doesn’t neglect the more familiar tracks, with Liquid Gold’s Substitute, Patrick Hernandez’s Born To Be Alive, Klein and MBO’s Dirty Talk and Voggue’s Dancin’ the Night Away some of the familiar friends that we’re reintroduced to on Disco Discharge-Disco Exotica. Hidden gems include Pussyfoot’s Lay Your Love On the Line, Jeanette’s Don’t Say Goodnight To the Lady of Spain and Bette Midler’s Hurricane. Many of the tracks on Discharge-Disco Exotica are a move away from the earlier classic disco sound, with the focus on the sounds and styles that would replace it, after the Disco Sucks movement tried to destroy disco. This saw Euro Disco, Italo Disco and Hi-NRG become the favored sounds of disco lovers. However, over thirty years after the Disco Sucks movement tried to destroy disco, the music is even more popular than before and is why quality disco compilations like Disco Discharge-Disco Exotica are welcomed by lovers of disco everywhere. On what’s the fourteenth installment of the Disco Discharge series, Disco Discharge-Disco Exotica doesn’t disappoint, featuring twenty disco delights which will keep you hooked until the next instalment, Disco Discharge-Europa hits the shops on 23rd April 2012. Let’s hope that it’s as good as Disco Discharge-Disco Exotica. Standout Tracks: Liquid Gold Substitute, Klein and MBO Dirty Talk and Voggue Dancin’ the Night Away and Gino Soccio Dance To Dance.
DISCO DISCHARGE-DISCO EXOTICA.
ANDRE CYMONE-LIVIN’ IN THE NEW WAVE.
ANDRE CYMONE-LIVIN’ IN THE NEW WAVE.
Andre Cymone and Prince had been childhood friends, growing up together in Minneapolis and even shared a house. Later, Andre became the bassist in Prince’s band, before they became The Revolution. Then, by 1981, the year Prince released the platinum selling album Controversy, Andre thought it was time to step out of Prince’s shadow, and embark upon a solo career. This lead to Andre singing for Columbia, where he’d release three solo albums between 1982 and 1985. The album that started Andre’s career was 1982s Livin’ In the New Wave, which will be rereleased by BBR Records on 16th April 1982. This was the same year Prince released 1999, his first top ten album in the US Billboard 200. Would Andre’s decision to leave Prince’s employ and become a solo artists prove the right move, and would Livin’ In the New Wave prove anywhere near as successful as Prince’s album Controversy?
When Andre Cymone was growing up, it was as part of a stable family immersed in music. His friend Prince Rogers Nelson like Andre, loved music, but wasn’t blessed with such a stable family life. This lead to Prince often staying with the Cymone family and was the start of a long-lasting friendship, which saw Andre and Prince learn their musical trade. Their first band was Grand Central, whose name paid homage to Grand Funk Railroad. After this, the group changed their name to Champagne, a group which built up a large following on the Minneapolis club scene. Then in 1978, Prince signed to Warner Bros. Records, and Andre’s unique bass sound can be heard on Prince’s debut album For You. Andre stayed with Prince until 1981, when he signed to Columbia, releasing Livin’ In the New Wave in 1982.
The last tour Andre undertook as Prince’s bassist, was a tour of Europe in 1981. Andre chose to do the tour free, so when he arrived back in Minneapolis he needed to earn some money. Then Andre’s brother bought him a four-track portable studio. This allowed Andre’s sound to evolve and mature. The next step for Andre was to phone Columbia Records telling them he wanted to sign for them. They told him to send in a demo, which he did. Then, a few months later in 1982, after sending his demo, Andre was celebrating signing with Columbia at the Palm Restaurant in Hollywood. Next step for him would be recording his debut album, Livin’ In the New Wave.
Recording of Livin’ In the New Wave was recorded at the American Artists Studios in Minneapolis. On the album were nine tracks, all written by Andre, who also produced the album. To record the album, Andre used drum machines, sequencers and synths, to produce the innovative fusion of funk, new wave and R&B that can be heard on Livin’ In the New Wave. With the album complete, how would Livin’ In the New Wave fare on its release?
Before the release of Livin’ In the New Wave, the title-track Livin’ In the New Wave was released as a single in July 1982, reaching number seventy-nine in the US R&B Charts. The second single was Kelly’s Eyes, was released in October 1982, which reached number seventy-two in the US R&B Charts and number 107 in the US Billboard 100. When Livin’ In the New Wave was released in November 1982, the album reached number forty-nine in the US R&B Charts. Although Andre’s debut album Livin’ In the New Wave didn’t quite match the commercial success of Prince’s debut album For You, it had been well received, hailed as a innovative, pioneering album. Why is this the case? That’s what I’ll tell you, when review the nine tracks on Livin’ In the New Wave.
Opening Livin’ In the New Wave is the title track, Livin’ In the New Wave, the lead single from the album. As the track opens with a myriad of drum machines, synths and sequencers, Andre’s bass is key to the sound, which mixes elements of funk and eighties new wave. When his vocal enters, it powerful and impassioned as Andre spreads his message. By now, the tempo has risen, hitting 118 beats per minute. Listen carefully, and you’ll hear different time signatures amid the drums, sequencers. However, it’s not just eighties technology that’s key to the tracks’s success. Add in multi-tracked vocals, a funky bass and searing, sizzling guitars to the crunchy beats, frenzied, jumpy rhythms and effects and result is a fusion of funk with a magical eighties new wave makeover.
Kelly’s Eyes sounds like something you’d hear on an early Prince album, which isn’t surprising given the pair’s friendship. The arrangement isn’t as busy, and has a more poppy sound. It’s just a wash of synths, drums and bass, with Andre’s vocal sounding just like Prince’s. With stabs of synths, drums and his vocal multi-tracked, the arrangement is hugely catchy, helped greatly by some hook-laden lyrics. Once you’ve heard this irresistible track, I guarantee you won’t be able to get it out your head and will be singing it for days. That’s the mark of a good pop song and what makes this one of the highlights of Livin’ In the New Wave.
All I Need Is You sees another change in style, with the track slower, with a more dramatic sound. The slower tempo and combination of punchy keyboards and wash of synths and drums is perfect for Andre’s emotional and almost sensuous delivery. Standing behind Prince playing bass, has allowed him to learn how to deliver a track passionately and sexily from a master, and Andre puts this to good use here. Later, when the track slows way down, with just guitars, drums and his bass combining with his vocal is a masterstroke, adding to the drama and sensuous sound of this song. With the ability to write, produce and sing a track as emotively and seductively as this, it’s no wonder Andre’s decided to step of out Prince’s shadow.
Trouble sees Andre turn up the funk, using a fusion of squelchy synths that reverberate above the arrangement and adding the funkiest of bass and synths plus some crispy drumbeats. Add to this his powerful, punchy, pleading vocal and a dirty slice of funk unfolds. The combination of synths, guitars and bass works well, with Roger Dumas responsible for the synths and programming. Later, the arrangement reflects the punchy style of Andre’s vocal, as he fuses elements of seventies funk, with a classic Prince sound and plenty of eighties synths. The longer the track goes on, the more Andre’s vocal becomes frenzied and the funkier the track gets, with a vocoder added effectively to Andre’s arsenal of secret musical weapons. Taken together the result is a hugely satisfying slice of intense, dirty, funky music which features one of the best arrangements and productions on the album.
On Get It Girl, a track designed for the dance-floor the tempo rises to 125 beats per minute. What follows is one of the bravest and ambitious tracks on Livin’ In the New Wave. However, Andre manages to bring everything together, using a myriad of drum machines, synths, sequencers and vocoders, plus the more traditional guitar and bass. The drumbeats are crisp, crunchy and quick, the vocoder is used often, but effectively and the wash of synths have an edge. That’s not forgetting the funky, chiming guitars and of course, Andre’s rapid-fire vocal. Andre often uses the vocoder, but doesn’t make the mistake of overusing it. Meanwhile stabs of synths play an important part in this eighties dance-floor fusion of electro funk, which thirty years later, wins you over with its charms and delights.
Baby Don’t Go is one of the three slower tracks in Livin’ In the New Wave and is quite different from other tracks. It’s a love song, with Andre’s tender vocal accompanied by a jaunty arrangement that sees a wash of synths, drums and bass combine. The slower tempo and synth dominated arrangement is perfectly suited to the emotion, pleas and sadness in Andre’s vocal. When all this is combined, the result is one of the saddest, but most beautiful songs on the album.
Squelchy synths open So Fine, before giving way to an arrangement that sounds like something you’d expect Prince to have produced. Even the vocal is delivered in a similar style. A pounding, dramatic combination of synths, drums and guitars drives the track along, combining funk with an eighties new wave sound. Later, a sizzling guitar solo is unleashed, as Andre’s vocal soars, powerfully. Towards the end of the track, Andre lays down one of his trademark funk drenched bass lines, adding just the final, finishing touch to a track that’s both long on funk and synths, but sounds just great.
Voice On the Radio opens with a rockier sound than other tracks, with dual guitars driving the track along. Synths play a supporting role, while Andre delivers one of his best vocals. Similarly, the lyrics are some of the strongest, on the album. Throughout the track, it’s just the guitars, rhythm section and synths that augment Andre’s vocal that feature. Although there’s a rocky sound to the arrangement, the lyrics have a poppy quality, and are easily remembered and sung. This is key to the success of a single, which this would’ve made. Why this track wasn’t released as a single seems strange, given it had the perfect qualities for a single and radio play.
Closing Livin’ In the New Wave is Ritz Club, which sees another change in style. There’s a real edge to Andre’s vocal here, as there is with the guitar sound, which is edgier. The track’s best described as a new wave track, with guitars and rhythm section driving the track along, while a wash of synths provide an accompaniment. Even Andre’s vocal is rawer, more powerful and delivered in an angry, frustrated style. This demonstrates another side to Andre Cymone’s music and his versatility as musician and producer, on an album that’s ranged from love songs to funk, electro and now a new wave sound.
Livin’ In the New Wave, Andre Cymone’s debut album was an ambitious, innovative album. On it he fuses a variety of styles, with funk and an eighties new wave electronic sound prevalent on many of the tracks, while on other tracks, Andre delivers beautiful love songs, and on the closing track, changes to an angry, new wave style. This demonstrates his versatility and ambition. After all, many new artists would try to deliver a focused set of songs with just one style of music on each track. Not Andre, he decided to be innovative, fearless some might say, and did things his way. Of the nine tracks on the album, this mix of styles results in some great songs. These include the second single Kelly’s Eyes, the beautiful All I Need Is You and the funky Trouble. Add to this Andre’s emotive pleas on Baby Don’t Go, the Prince tinged So Fine and the radio friendly Voice On the Radio. All of these tracks demonstrate just how accomplished, polished and eclectic an album Livin’ In the New Wave is. Thankfully, now everyone who missed the album first time around, thirty years ago in 1982 can rediscover Livin’ In the New Wave. It’s been remastered and will be rereleased on 16th April 2012 on BBR Records, with two additional tracks, the single versions of Livin’ In the New Wave and Kelly’s Eyes. For anyone who loves either funk, R&B, eighties new wave or Prince’s music, then Livin’ In the New Wave is an album that will appeal to you, and I advise you check out this album on its release. Standout Tracks: Kelly’s Eyes, All I Need Is You, Baby Don’t Go and Voice On the Radio.
ANDRE CYMONE-LIVIN’ IN THE NEW WAVE.
TEENA MARIE-ROBBERY.
TEENA MARIE-ROBBERY.
After releasing here fourth and final album for Motown It Must Be Magic in 1981, Teena Marie signed for Epic Records in 1982, where she’d release five albums. Her time at Motown was the most successful period of her career, resulting in a gold album for her final Motown album, It Must Be Magic. This had come after a rapid improvement in Teena’s popularity over her first three Motown albums. Starting with her debut album, 1979s Wild and Peaceful, which only reached number ninety-four in the US Billboard 200 and number eighteen in the US R&B Charts, Teena’s popularity would quickly grow. Then, Teena hit a rich vein of form, with 1979s Lady T reaching number forty-five in the US Billboard 200 and number eighteen in the US R&B Charts. Irons In the Fire fared even better, reaching number thirty-eight in the US Billboard 200 and number nine in the US R&B Charts. However, Teena’s final album for Motown, 1981s It Must Be Magic written and produced by Teena, proved the most successful. It was released to critical acclaim, reaching number twenty-three in the US Billboard 200 and number two in the US R&B Charts, giving Teena her first gold album. Then in 1982, Teena and Motown became embroiled in a legal battle over her contract with Motown, regarding the release of new material. This lead to a landmark legal ruling, “The Brockert Initiative.” which made it illegal for a record company to keep an artist under contract without releasing any new material. Should that happen now, artists are able to sign with another label and release new material. Now freed from the shackles of her Motown contract, but having spent over one million dollars doing so, Teena Marie would sign with Epic, while founding her own publishing company. A year later, in 1983, Teena released her first album on Epic Robbery, which will be rereleased by SoulMusic.Com on 16th April 2012. Before I tell you about Robbery, I’ll tell you about the background to the album.
Robbery features nine songs, eight of which Teena wrote herself, while she cowrote with P.J. These nine songs make up a concept album, about how a seemingly perfect man can put his loyal, loving woman through during their relationship. It’s full of the problems, and ups and downs of their relationship, with more far more downs than ups. He’s turned into a cheating, deceiving Casanova, whose generally, leading a double life that makes his partner miserable. She in turn, is tempted and tantalized by playboys willing to mend her lonely, broken heart. These nine songs take you through their tumultuous relationship, without ever knowing what will happen next. Teena had personal experience of such a relationship, having allegedly had an affair with Rick James, that lead to a short-lived engagement. Unknown to Teena, Rick James was already in a relationship. Once she discovered this, their affair ended, resulting in a tumultuous friendship afterwards. This gave Teena the inspiration to write one of her best know tracks, Casanova Brown, which features on Robbery.
With nine tracks to record, the recording sessions took place at two studios, Ocean Way Recording Studios in Los Angeles and Record One Studios, Sherman Oaks, California. Like her previous album It Must Be Magic, Teena produced Robbery herself, while arranging six of nine tracks. A number of famous musicians played on Robbery, including keyboard players Patrice Rushen and John Bokowski, percussion player Paulinho da Costa, bassist Stanley Clarke plus drummer and former member of the Average White Band Steve Ferrone. Paul Riser arranged both the string and horns. Having assembled such a talented team of musicians, recording took place during 1982 and 1983. When the nine tracks were recorded, Robbery was set for release later in 1983.
On the release of the first single, Fix It, it only reached number twenty-one in the US R&B Charts. Then when Robbery was released, it only reached a disappointing number 119 in the US Billboard 200 and number thirteen in the US R&B Charts. Midnight Magnet was the second single, reaching only thirty-six in the US R&B Charts, while Dear Lover stalled at number seventy-seven in the US R&B Charts. Although Robbery never matched the success of her final Motown album It Must Be Magic, a year later, Teena Marie would release her second album for Epic, the platinum selling Starchild. However, although Robbery wasn’t the commercial sucess Teena and Epic must have hoped for, it was an ambitious, accomplished album, full of some great music, as you’ll discover when I tell you about the music on Robbery.
Opening Robbery is the title-track Robbery, which although about theft of another kind, may be thinly veiled reference to some of the music business’ former practice. That is merely speculation. Against a backdrop of cop cars with sirens screaming, the track opens, giving way to dramatic synths and drum machines, before Teena’s punchy vocal enters. A slap bass, rocky sounding dual guitars, with both lead and rhythm guitar played by Keith Alexander are key to the arrangement. Meanwhile, Teena wants an APB sent out for the thief who stole her heart. Her vocal is a mixture of emotion, drama and anger, enveloped by searing guitars that dominate the arrangement. Their sound replicates and reflects the emotion, drama and anger in her voice. Although this is quite different from Teena’s usual sound, this track works well, resulting in a dramatic track laden with frustration, anger and heartache.
Playboy is a quite different track from the previous one, with the rocky sound replaced by a more familiar funky sound and style. Key to this are the rhythm section, comprising drummer Steve Ferrone, who’d recently left the Average White Band and bassist Anthony Jackson, who created the bass line on The O’Jays’ For the Love of Money on their Ship Ahoy album. Together, Steve, Anthony and guitars lay down a funky groove while synths and punchy horns combine, before Teena’s vocal enter. Her rapid-fire delivery of the lyrics is impassioned, while the arrangement that combines funk and soul. Later, backing vocalists briefly interject, while blazing horns punctuate the arrangement and Teena’s vocal soars mixing emotion and frustration, as she admits succumbing to the charms of one of the baddest guys in town. When combined with the arrangement, the result is a hugely catchy track, one that fuses soul and funk, that’s written, arranged and produced by Teena.
Shadow Boxing is one of the most beautiful tracks on Robbery. It truly is a classic love song, delivered beautifully by Teena, allowing you to hear just how talented and versatile a vocalist she was. Again, there’s a change in style, with the tempo slower, and just a wistful, thoughtful acoustic guitar accompanying Teena’s emotive and impassioned, powerful vocal. Then drums and keyboards enter, while swathes of the lushest strings and backing vocalists are the perfect accompaniment to Teena’s vocal. As Teena’s vocal grows in power, drums add to the drama to the arrangement. Later, a dramatic breakdown, features crystalline rocky guitars and percussion, that’s reminiscent of Santana, before punchy blazing horns enter. Following this is the finishing touch, the addition of a hugely seductive and sultry saxophone solo. However, what makes this such a standout track, is Teena’s vocal. Her delivery is a combination of power, passion combined with sadness and joy.
Midnight Magnet is a mid-tempo track and was the second single released from Robbery, stalling at number seventy-seven in the US R&B Charts. Listening to the track, it should’ve fared much better, given its quality and lyrics, which are some of the best on the album. Opening with the rhythm section, a wash of synths and funk guitars, Teena’s vocal is thoughtful and dramatic, which given the lyrics. They’re about a woman driven to the depths of despair, and ultimately insanity after the became involved with the wrong guy. Teena cowrote the track with Penny Johnson, Rick James’ sister. Later, a trio of guitars, a dark, haunting bass and menacing synths combine as Teena sings about the woman’s descent into insanity. Here, Teena’s delivery of thoughtful, sobering lyrics and a dramatic arrangement result in a track that deserved to fare much better than it did, when it was released as a single.
Fix It was the lead single from Robbery, which reached number twenty-one in the US R&B Charts. Some people have criticized the fuller, busier production style, and said Teena’s vocal is hard to make out. Listening to the track, the production style is neither over busy, nor is Teena’s vocal hard to make out. Quite the opposite, the arrangement is similar to many other early eighties tracks, while Teena’s vocal is delivered quickly. The tempo is really quick, as a wash of synths, chiming guitar, funky rhythm and cascading synths open the track. They give way to Teena’s vocal which is quick, accompanied by punchy backing vocalists. Later, a funky arrangement unfolds, while strings dance and cascade, as Teena warns of the Fix-It man, who’ll say all the right things, but leave you lost and lonesome.
Ask Your Momma has some of the best lyrics on Robbery, as Teena sings of the needless problems couples within interracial relationships face. After a thoughtful spoken word introduction, things quickly change. The tempo quickens, with the rhythm section, synths and cascading strings accompanying Teena’s vocal. Her vocal is full of emotion, as the rhythm section, stabs of synths and strings drive the track along. Key to the song’s success are the lyrics, Teena’s impassioned delivery. It’s full of frustration, accomompanied by an arrangement that’s sympathetic to the lyrics. Similarly, the quicker tempo adds to the drama, sadness and beauty of the track.
Dear Lover is very different from the previous track, with the tempo slower, while piano, a slow rhythm section and beautiful, lush strings accompany Teena’s powerful, passionate vocal. Accompanying her, are backing vocalists whose voices soar soulfully, as Teena sings of two lovers who when circumstances mean they must be apart, grow even closer. Teena’s vocal is one of her most impassioned on Robbery, while the addition of piano and strings is a masterstroke, as are the way the drums add an element of drama to what is easily, one of the the most beautiful, and best tracks on Robbery.
After such a beautiful and impassioned performance on the previous track, Stop the World has a hard act to follow. It’s a mixture of percussion and steel drums that give the track a calypso feel and sound. When Teena’s vocal enters, it’s laden within emotion and heartache, as she sings of the man she loved, but let go. Backing vocalists and lush strings enter, contrasting with continuing calypso sound. Later, Teena’s voice grows in power, full of sadness and sorrow, before she vamps her way through a breakdown. Accompanying her are a funky rhythm section, sultry saxophone and beautiful strings. These additions are just the finishing touches to a stunning track, one tinged with sadness and regret, and one many people will be able to relate to.
Closing Robbery, is a track that many people will know, Casanova Brown, the slowest track on the album, and one with a real jazzy sound. Here, Teena’s accompanied by just the piano and strings, while Stanley Clarke plays stand-up bass. This allows her vocal to take centre-stage, with her voice full of sadness, regret and sometimes, defiance at her dalliance with a man who two-timed her, treating he badly in the process. Then after two minutes the tempo increases slightly, but the jazz influence is still present. For six minutes, you’re almost spellbound, at both Teena’s vocal and the understated, classy jazzy arrangement. When they’re combined, the result is a beautiful, powerful and emotional musical journey, that demonstrates brilliantly, just how talented and versatile a singer Teena Marie truly was.
Although Robbery, Teena Marie’s debut album for Epic, never matched the huge commercial success of its predecessor It Must Be Magic, this certainly wasn’t because of the quality of the music. On Robbery, there are some great tracks, including Playboy, Shadow Boxing, Ask Your Momma, Dear Lover, Stop the World and Casanova Brown demonstrating not just Teena’s talents as a singer, but as a songwriter, arranger and producer. It’s on the ballads that she really flourishes and stands out, bringing the lyrics alive on Shadow Boxing, Dear Lover, Stop the World and Casanova Brown. Robbery was an ambitious album, given it was a concept album, meaning the nine songs had to have a thread that ran through them. Teena managed this, coming up with an album about how a seemingly perfect man can put his loyal, loving woman through some tumultuous times during their relationship. The way Teena sings some of these songs are as if she’s lived and breathed them, but lived to tell the tale. That’s what makes these songs so emotive and realistic. Concept albums are always notoriously hard for an artist to carry off, but Teena Marie manages this, resulting in an accomplished, compelling and emotional musical journey through this tempestuous relationship. While Robbery wasn’t the biggest selling album Teena ever had, the follow-up would become the most successful album Teena Marie would ever release. Starchild, released in 1984 which would give Teena her only platinum selling album. However, the album that started Teena Marie’s career at Epic off was Robbery, a highly accomplished and compelling album, which features some great music and will be rereleased by SoulMusic.Com on 16th April 2012. Standout Tracks: Shadow Boxing, Dear Lover, Stop the World and Casanova Brown.
TEENA MARIE-ROBBERY.
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PHILADELPHIA INTERNATIONAL RECORDS-THE 40TH ANNIVERSARY BOX SET.
PHILADELPHIA INTERNATIONAL RECORDS-THE 40TH ANNIVERSARY BOX SET.
One of the most eagerly awaited and much anticipated box sets finally hits the shops on 21st May 2012. In case anyone doesn’t realize what I’m talking about, this is the Philadelphia International Records-The 40th Anniversary Box Set, a mammoth ten disc box set, released by Harmless Records and compiled by Ralph Tee. This comes hot on the heels of Harmless Records’ previous box set, Philadelphia International Classics-The Tom Moulton Remixes, a four disc box set of thirty-one remixes from the godfather of the remix and twelve inch single. Both box sets are to celebrate the fortieth anniversary of one of the most innovative, influential and successful record labels not just in soul, but music per se, Philadelphia International Records. For anyone like myself who absolutely adores the Philly Sound and the music of Gamble and Huff, this is Philly heaven. It’s like all you Christmases and birthdays rolled into one. With ten discs of music to listen to, many lovers of The Sound of Philadelphia aren’t going to be doing much next Monday but reliving old memories. Obviously, reviewing such a Magnus Opus isn’t easy, given the proliferation of great music, so what I’ll do is take you through the box set, picking out some of the many highlights, while maybe reminding you of some of the hidden gems that may have escaped your musical memory. Looking through the track listing, there so many familiar songs, songs that many people, like me, grew up with, plus a few, that until now had slipped my memory. Not only does this bring back memories, but is testament to the two men who made Philadelphia International Records such a success, Kenneth Gamble and Leon Huff. All to often the word genius is bandied about far too freely, but in the case of Gamble and Huff, they truly were musical geniuses and visionaries. This box set is a tribute to their genius and vision, as well as all the songwriters, arrangers, producers, musicians, including M.F.S.B. their legendary house band, and of course all the artists involved. Without further ado, I’ll explore the music on the Philadelphia International Records-The 40th Anniversary Box Set, rationing myself to picking just three track from each track to tell you about.
DISC ONE.
Disc One of the Philadelphia International Records-The 40th Anniversary Box Set, features twenty tracks, with tracks from some of the biggest names on Philadelphia International and some of their biggest hits. This includes The O’Jays, Harold Melvin and The Blue Notes, The Three Degrees and M.F.S.B. That’s not forgetting tracks by The Jacksons during their short spell on Philadelphia International Records, plus tracks by Archie Bell and The Drells, People’s Choice and Instant Funk. My three choices are by three artists who’d play a huge part in the label’s early success.
Obviously, given their success, groups like The O’Jays have several tracks, including Backstabbers, I Love Music, Message In the Music and Darlin,’ Darlin’ Baby. Of this quartet, my favorite is Backstabbers, the title track from their 1972 album. This gave The O’Jays one of their most successful albums and singles during their time on Philadelphia International. The album reached number ten in the US Billboard 200 and number three in the US R&B Charts, while Backstabbers gave the group their first number one US R&B single, reaching number three in the US Billboard 100.
Harold Melvin and The Blue Notes were another of Philadelphia International’s biggest groups, releasing four albums for the label between 1972 and 1975. Bad Luck and the brilliant The Love I Lost, from their 1973 album Black and Blue both feature here. Black and Blue reached number fifty-seven in the US Billboard 200 and number five in the US R&B Charts, while The Love I Lost reached number one in the Us R&B Charts and seven in the US Billboard 100.
Although The Three Degrees only released two albums for Philadelphia International, 1973s The Three Degrees and International, these included some of their greatest music. These include When Will I See You Again, Year of Decision, Take Good Care of Yourself and TSOP, which they recorded with M.F.S.B. with The Three Degrees providing the vocals for this number one US R&B single. Of these four tracks, When Will I See You Again is my favourite, which reached number two in the US Billboard 100 and number four in the US R&B Charts, from 1973s The Three Degrees, which reached number thirty-three in the US Billboard 200 and number twenty-eight on the US R&B Charts.
The twenty tracks on Disc One of Philadelphia International Records-The 40th Anniversary Box Set, include tracks from some of the label’s most successful acts, including The O’Jays, Harold Melvin and The Blue Notes and The Three Degrees. It reminds you, if you ned reminded just how successful the label was in the early to mid-seventies, with Gamble and Huff, and everyone at Philadelphia International working towards making the label the biggest in the US and the Philly Sound famous worldwide. If the other nine discs are as good as this, then Philadelphia International Records-The 40th Anniversary Box Set will be a veritable feast of Philly Soul.
DISC TWO.
Like Disc One, Disc Two of Philadelphia International Records-The 40th Anniversary Box Set, sees the label’s most successful acts feature more than once. The O’Jays feature four times, while Harold Melvin and The Blue Notes have three tracks. Apart from these tracks, Billy Paul, Lou Rawls, M.F.S.B. The Three Degrees all represent the label’s big hitters, while tracks from The Intruders and People’s Choice are featured. Again, some of the biggest singles Philadelphia International ever released featured, alongside some hidden gems. Here, are my three choices from Disc Two.
Probably, the single most people remember Billy Paul for, is Me and Mrs Jones, a classic track from his 1972 album 360 Degrees of Billy Paul. It was Billy most successful album, reaching number seventeen in the US Billboard 200, while reaching number one in the US R&B Charts. Me and Mrs Jones gave Billy a number one in the US Billboard 100 and US R&B Charts. This track gave Philadelphia International one of their first number one singles.
Lou Rawls, arrived at Philadelphia International in 1976, recording All Things In Time in 1976, which reached number seven in the US Billboard 200 and number one in the US R&B Charts. When You’ll Never Find Another Like Mine was released it reached number two in the US Billboard 100 and number one in the US R&B charts. This Gamble and Huff penned track, like the album rejuvenated his career, and is one of his finest ever tracks. Incidentally, on Philadelphia International Classics-The Tom Moulton Remixes, there’s a stunning remix of this track.
My final choice is another Harold Melvin and The Blue Notes track, Satisfaction Guaranteed (Or Your Love Back), from their 1973 album Black and Blue. This is Teddy Pendergrass at his best, full of bravado and confidence, on track that reached number fifty-eight in the US Billboard 100 and number six in the US R&B Charts.
On Disc Two of Philadelphia International Records-The 40th Anniversary Box Set, it’s just one hit single after another, with many of the tracks from the 1972-1976 period. Among the other tracks are The O’Jays’ Love Train, Livin’ For the Weekend and For the Love of Money, while Harold Melvin and The Blue Notes contribute Don’t Leave Me This Way and If You Don’t Know Me By Know. Really, there isn’t one poor track, just quality all the way. Will Disc Three be hits and quality all the way?
DISC THREE.
Unlike the two previous discs, Disc Three of Philadelphia International Records-The 40th Anniversary Box Set concentrates on some of the lesser known, less successful acts. However, this doesn’t mean the quality suffers. It allows the listener to experience the music of The Intruders, Derek and Cyndi, Anthony White, Robert Upchurch and Johnny Williams. In total, there are twenty-three tracks on this disc so choosing a trio isn’t easy.
Robert Upchurch’s The Devi Made Me Do It recently featured on Philadelphia International Classics-The Tom Moulton Remixes. So to hear the original, and compare it with the remix is an interesting exercise. Produced by the legendary Baker, Harris, Young rhythm section of M.F.S.B. and later, Salsoul Orchestra, I’ve always thought that this 1974 single was highly underrated.
Similarly, The Intruders released two albums on Philadelphia International, 1973s Save the Children and 1974s Energy of Love, which have long been albums I’ve felt deserved a wider audience. To Be Happy To Be the Real Thing was a single from their Save the Children album, and hopefully, it’s inclusion might mean people will investigate The Intruders music further.
Johnny Williams’ is another artists who recently featured on Philadelphia International Classics-The Tom Moulton Remixes, with Slow Motion remixed by Tom. Love Don’t Rub Off was the B-side of the single It’s So Wonderful, and is an opportunity to discover just how talented an artist Johnny really was.
While Disc Three of Philadelphia International Records-The 40th Anniversary Box Set isn’t laden with successful hit singles by some of the giants of Philadelphia International, it’s an opportunity to discover some of the singles that weren’t successful, because as anyone who regularly reads this blog will realize, there’s so much great music that wasn’t commercially successful. This disc will allow people to dig deeper, deeper into the back-catalogue of Philadelphia International, resulting in the uncovering some real hidden gems. Will Disc Four be more hidden gems, or music from some familiar friends?
DISC FOUR.
The answer to my question is both. It’s a combination of hidden gems and familiar faces that grace Disc Four of Philadelphia International Records-The 40th Anniversary Box Set. Among the familiar faces are The O’Jays, Harold Melvin and The Blue Notes and Billy Paul, while Jean Carn, M.F.S.B. and Archie Bell and The Drells all feature. Among the hidden gems are tracks like Bunny Sigler’s Keep Smilin,’ Instant Funk’s So Glad I’m the One and The Futures’ Party Time Men. Truly, it’s an eclectic and compelling collection of music, each track with one thing in common…quality. Here’s my three choices.
Many people will associate The Whole Town’s Laughin’ At Me with Teddy Pendergrass, as he recorded the track for his 1977 debut album Teddy Pendergrass. However, Billy Paul recorded the song first. It appears on his 1973 album War of the Gods, reaching number 110 in the US Billboard 200 and number twelve in the US R&B Charts. The two versions are very different, with Teddy injecting more drama and emotion into the song, while Billy’s version is quicker, but still bathed in sadness and regret. If you get the chance compare both versions, and you’ll see what I mean.
Jean Carn who has two tracks on this disc, the excellent Free Love and my favorite, If You Want To Go Back, is one of the most underrated singers to record for Philadelphia International. Between 1976 and 1979, Jean recorded three albums for Philadelphia International, with her 1976 debut Jean Carn featuring both Free If You Want To Go Back. Two further albums would follow, 1978s Happy To Be With You and 1979s When I Find Love. All are well worth exploring.
The last track I’ve chosen from Disc Four is Harold Melvin and The Blue Notes’ Keep On Lovin’ You, from their 1975 album Wake Up Everybody, the final album featuring Teddy Pendergrass as lead singer and the last album they recorded for Philadelphia International. Wake Up Everybody saw Harold Melvin and The Blue Notes leave Philadelphia International with an album that reached number nine in the US Billboard 200 and number one in the US R&B Charts. After this, Teddy would leave to pursue what would be a hugely successful solo career, while Harold Melvin and The Blue Notes never again, reached the same heights commercially.
On Disc Four of Philadelphia International Records-The 40th Anniversary Box Set there’s a nice mix of tracks from the bigger artists like Billy Paul, The O’Jays and Harold Melvin and The Blue Notes and other artists like Jean Carn and Dee Dee Sharp that never hit the commercial heights their music deserved. There’s also tracks from The Futures, Instant Funk and Bunny Sigler which although good tracks, never were huge commercial successes. These are welcome inclusions, as every so often, you hear a track that you’d forgotten about, only to feel the joy of rediscovering it again. What tracks will be rediscovered on Disc Five?
DISC FIVE.
Disc Five of Philadelphia International Records-The 40th Anniversary Box Set is chock full of great music, although not every track was a commercial success. Among the success stories are tracks like The O’Jays’ Used Ta Be My Girl, Billy Paul’s Let ‘Em In and Teddy Pendergrass’ version of The Whole Town’s Laughin’ At Me. However, there’s much more to this disc, with tracks from Dee Dee Sharp, Jean Carn, The Jacksons, The Jones Girls and Archie Bell and The Drells. With so many great tracks, picking three isn’t easy, but here goes.
Of all the tracks on the recent Philadelphia International Classics-The Tom Moulton Remixes box set, one of my favorites was from Archie Bell and The Drells. This was Where Will You Go To When the Party’s Over, the title track to their 1976 album on Philadelphia International Records. Originally produced by McFadden and Whitehead with Victor Carstarphen, before Tom Moulton turned it into a nine minute epic.
I Bet She Won’t Love You Like I Can by Jean Carn is one of the most beautiful tracks on this disc. Taken from 1978s Happy To Be With You, this track reinforces just how talented a singer Jean is. Whether jazz, soul or tracks for the dance-floor Jean with her five octave vocal can deliver them equally well.
After the success of Lou Rawls first album for Philadelphia International, his second album Unmistakably didn’t fare so well, reaching just number forty-one in the US Billboard 200 and number fourteen on the US R&B Charts. However, on the album was a gorgeous love song, See You When You Git There, which reached number sixty-six in the US Billboard 100 and number eight in the US R&B Charts. This Gamble and Huff penned tracks, is one of the most beautiful Lou recorded during his time on Philadelphia International.
The eighteen tracks that make up Disc Five of Philadelphia International Records-The 40th Anniversary Box Set contain a combination of beautiful love songs from Lou Rawls, Billy Paul, Teddy Pendergrass, Jean Carn and The O’Jays, plus some more uptempo tracks from The Jones Girls, Bunny Sigler and Archie Bell and The Drells. There’s something for everyone here, whether it’s fast or slow you like your music, or sad or seductive you prefer your love songs. These tracks are written by some of the most talented songwriters of the time, including Gamble and Huff. Let’s just hope Disc Six is just as good.
DISC SIX.
On Disc Six of Philadelphia International Records-The 40th Anniversary Box Set, there are three tracks from Teddy Pendergrass, whose solo career was now well underway. Meanwhile, Jerry Butler was the latest big name to join Philadelphia International, featuring here alongside The Philadelphia All Stars, The Jones Girls, Billy Paul and M.F.S.B. That’s not forgetting another track from The O’Jays, plus Dexter Wansel who was now a solo artist. It seems by Disc Six, time were a changing at Philadelphia International, which makes picking three tracks even harder.
Having left Harold Melvin and The Blue Notes, Teddy Pendergrass’ solo career took off straight away. His debut solo album Teddy Pendergrass reached number seventeen in the US Billboard 200 and number five in the US R&B Charts. One of the best tracks from the album was The More I Get, The More I Want, co-written by McFadden and Whitehead with Victor Carstarphen. Strangely, this track, which features a dramatic vamp from Teddy, wasn’t released as a single. That’s why I’m so pleased to have this track included here.
Although many people remember The Jones Girls mostly for Nights Over Egypt, there’s much more to their music. You’re Gonna Make Me Love Somebody Else is one of their best tracks, released in 1979 as a single and taken from debut album The Jones Girls. This is one of the highlights from this album, which features some great music.
The Philadelphia All Stars’ Let’s Clean Up the Ghetto was inspired by Gamble and Huff seeing the mess in New York during the garbage strike. Released in 1977 as a single, featuring some of the label’s biggest stars, the single was a huge success. Later, an album Let’s Clean Up the Ghetto was released, featuring tracks by Billy Paul, The Three Degree and The O’Jays, proved equally successful. However, like so many Gamble and Huff penned tracks, there’s a message in the music.
Apart from the tracks I’ve chosen, Teddy has three other classic tracks on Disc Six Philadelphia International Records-The 40th Anniversary Box Set. These are the dismissive, I Don’t Love You Anymore, You Can’t Hide From Yourself and When Somebody Loves You Back. However, there’s more to this disc than Teddy Pendergrass, with hidden gems from Lou Rawls, like the questioning What’s the Matter With the World and Not the Staying Kind. Meanwhile, Jerry Butler’s laid-back (I’m Just Thinking Of) Cooling Out and Billy Paul’s Only the Strong Survive both feature. Add to that, tracks from The O’Jays and The Jacksons, and the quality of music on Disc Six, is what we’ve come to expect from this box set. Will Disc Seven be the same?
DISC SEVEN.
Like Disc Three, Disc Seven of Philadelphia International Records-The 40th Anniversary Box Set takes an opportunity to introduce listeners to some lesser known tracks, plus tracks from artists that didn’t find the success their talent deserved. This includes tracks from Phyllis Hyman, Patti La Belle, Dexter Wansel and Leon Huff as a solo artist. Of the bigger names, Billy Paul, The O’Jays and M.F.S.B. all feature, on what’s an eclectic collection of tracks, which contains a number of hidden gems and musical golden nuggets. Here are my three choices from Disc Seven.
During his time with Philadelphia International, Dexter Walsel had been a songwriter with his songwriting partner Cynthia Biggs, and had arranged, produced on played on many albums. 1976 saw him release his debut album Life On Mars a fusion of funk, soul and disco. Two tracks from this compelling, innovative and influential album feature here, Theme From the Planets and my favorite, Life On Mars. If you’ve never heard this album, it’s one to look out for.
M.F.S.B. played a huge part in the success of Philadelphia International, because of the talented group of musicians that made up M.F.S.B. They released eight albums between 1973 and 1980, with 1980s Mysteries of the World their final album. The title track of Mysteries of the World features here, and demonstrates just how talented a group M.F.S.B. were, even though this was M.F.S.B. Mk II, due to many of the original group leaving to form the Salsoul Orchestra in 1976. To hear the best of the original M.F.S.B., buy their early albums.
Patti La Belle released three albums for Philadelphia International between 1981 and 1985. Lover Man (Oh Where Can You Be) was a track from Patti’s second album for Philadelphia International I’m In Love Again, the follow-up to 1981s The Spirit’s In It. Patti released her final album on Philadelphia International, 1985s Patti. These three albums are underrated albums from the former member of Labelle.
The music on Disc Seven of Philadelphia International Records-The 40th Anniversary Box Set is an interesting insight into some of the people who recorded for Philadelphia International, but didn’t find the success they’d hoped for. This includes Thad Jones and Mel Lewis, Monk Montgomery and Michael Pedicin Jr., who released just one album for Philadelphia International, 1979s Michael Pedicin Jr. On this disc, Leon Huff demonstrates just how talented a keyboard player he is, on two tracks from 1980 Tight Money and I Ain’t Jivin,’ I’m Jammin.’ Along with tracks from Billy Paul, The O’Jays and Dexter Wansel, Disc seven has a few welcome surprises for listeners. What surprises awaits on Disc Eight.
DISC EIGHT.
On Disc Eight of Philadelphia International Records-The 40th Anniversary Box Set there are a mixture of tracks from the label’s biggest stars, new arrivals and artists who didn’t find the success they’d hoped for. Teddy Pendergrass and The Jones Girls have three tracks each on this disc, while The O’Jays’ Brandy and Billy Paul’s Sooner or Later both feature. Along with tracks from songwriters, arrangers and producer McFadden and Whitehead and Dexter Wansel are two tracks from new arrivals The Stylistics. That’s not forgetting tracks from Silk and The Futures. With quality like this, choosing just three tracks isn’t easy, but here are my choices.
Turn Off the Lights was a bedroom ballad from Teddy Penderrass’ 1979 platinum selling album Teddy, which reached number five in the US Billboard 200 and number five in the US R&B Charts. When Turn Off the Lights was released as a single, it reached number forty-eight in the US Billboard 100 and number two in the US R&B Charts. This track demonstrates just how great Teddy was at delivering seductive and soulful bedroom ballads.
Although Billy Paul’s 1977 album Only the Strong Survive wasn’t a huge commercial success, it featured some great music. One of these tracks was Sooner Or Later, a beautiful mid-tempo track, featuring a questioning, emotive vocal from Billy. After this, Billy only released one more album for Philadelphia International, First Class. However, Billy’s back-catalogue is one well worth exploring.
During their time with Philadelphia International, McFadden and Whitehead wrote, arranged and produced many tracks. Then, between 1979 and 1983, they released three albums, including 1979s McFadden and Whitehead, which featured their huge hit single Ain’t No Stoppin’ Us Now. Another single from the album was I’ve Been Pushed Aside, which they produced with Jerry Cohen. This track demonstrates that McFadden and Whitehead were not just talented songwriters, arrangers and producers, but also talented singers as well.
Really, trying to choose three tracks wasn’t easy. It was difficult enough just choosing one track from Teddy. However, Billy Paul’s track demonstrates just how talented a singer he was, although his later albums didn’t match the success of 360 Degrees of Billy Paul. McFadden and Whitehead had decided it was time to take centre-stage, and did so with style on I’ve Been Pushed Aside. Apart from these three tracks, The Jones Girls contributed three great tracks, while The Stylistics were in the process of trying to rejuvenate their career with Gamble and Huff’s help. Another welcome addition is The O’Jays beautiful single Brandy, while Dexter Wansel continues his solo career. Add to this tracks by Patti La Belle and Jean Carn, and Disc Eight of Philadelphia International Records-The 40th Anniversary Box Set a veritable feast of Philly soul. Can Disc Nine be as good?
DISC NINE.
When you look at the track listing for Disc Nine of Philadelphia International Records-The 40th Anniversary Box Set, you realize that there’s no let up in the quality. Tracks from Billy Paul, McFadden and Whitehead, The O’Jays, Teddy Pendergrass, The Jones Girls and Jean Carn see to this. One welcome addition is the hugely catchy Strut Your Funky Stuff by Frantique, which many people will remember fondly. With tracks like The Jones Girls’ Nights Over Egypt, Teddy’s Love TKO and McFadden and Whitehead’s joyous Ain’t No Stoppin’ Us Now, Disc Nine is seventeen slices of scintillating Philly soul, of which I’ll choose just three.
McFadden and Whitehead’s Ain’t No Stoppin’ Us Now another track from their 1979 album McFadden and Whitehead. This single gave them the biggest hit single of their solo career. Written and produced by McFadden and Whitehead with Jerry Cohen and arranged by Jack Faith this is just seven brilliant, hook-laden and joyous music.
As I said earlier, The Jones Girls will forever be remembered for their 1981 hit single Nights Over Egypt. This is from their 1981 Get As Much Love As You Can album, co-written by Dexter Wansel and Cynthia Biggs, while Dexter arranged and produced the track. Featuring the vocals of Valerie, Shirley and Breda Jones, this is a true classic from The Jones Girls.
Of all the songs Billy Paul ever recorded, Bring the Family Back is one of my favorites. This is a track from 1979s First Class, Billy’s final album for Philadelphia International. it’s a track with a social conscience, featuring an impassioned vocal from Billy set against an uplifting and stunning arrangement from John L. Usry Jr. Add to this Phil Terry and Frank Smith’s accomplished production, and you’ve the recipe for a track that’s quite brilliant, making First Class a fitting farewell to Philadelphia International from Billy Paul.
Only choosing three tracks from Disc Nine of Philadelphia International Records-The 40th Anniversary Box Set is problematic. This means not mentioning tracks like Love TKO from Teddy, Jean Carn’s Bet Your Lucky Star and Was That All It Was, Dee Dee Sharp’s I Love You Anyway and Frantique’s Strut Your Funky Stuff. However, many tracks choose themselves, given their importance in different times in the Philadelphia International story. The Jones Girls’ Nights Over Egypt was released at a time when heavyweights like Three Degree and Harold Melvin and The Blue Notes had all left the label. Artists like Patti La Belle, Jean Carn, Lou Rawls and Dee Dee Sharp were now the future, tasked with providing Philadelphia International with hits. However, recreating these artists earlier success wasn’t easy, given times and tastes had changed. Who will provide the hits on Disc Ten of Philadelphia International Records-The 40th Anniversary Box Set?
DISC TEN.
The tenth and final disc of Philadelphia International Records-The 40th Anniversary Box Set features a collection of tracks from both newcomers to the label and old friends. These newcomers include The Dells and Shirley Jones, formerly of The Jones Girls, and now a solo artist. Add to this recent arrivals like The Stylistics, Patti La Belle and Phyllis Hyman, and the only familiar faces were Dee Dee Sharp, Teddy Pendergrass and The O’Jays. Times had again changed, but had the quality of music? After choosing three tracks I’ll tell you.
One of Dee Dee Sharp’s most memorable and successful tracks was Easy Money, from her 1980 album Dee Dee. It reached number one in the US Dance Club Play Charts in 1981, a year after Dee Dee quit music, to begin a psychology degree. Now over thirty years later, Easy Money is still heard in clubs, with its timeless sound featuring Dee Dee’s sassy, confident vocal.
By the time The Stylistics signed for Philadelphia International in 1979, their career was at a crossroads. They found themselves without a record contract, until Gamble and Huff signed them. Their first album for their new label was Hurry Up This Way Again, which reached number eleven in the US R&B Charts. Hurry Up This Again Again was released as a single, reaching number eighteen in the US R&B Charts. Although this wasn’t anywhere like their earlier successes, this track and album, was a welcome return to form for The Stylistics.
My final choice from Disc Ten and the Philadelphia International Records-The 40th Anniversary Box Set is a track by a man who brought so much success to the label, Teddy Pendergrass. Heaven Only Knows was the title-track from Teddy’s final album for Philadelphia International, reaching number fifty-nine in the US Billboard 200 and number six in the US R&B Charts. This was the first album Teddy recorded after his tragic accident in 1982, which left him paralyzed from the waist down. Although it didn’t match the success of his earlier, it features some great music, and is testament to Teddy’s determination to carry on his singing career.
While Disc Ten of Philadelphia International Records-The 40th Anniversary Box Set, may not feature some of the big names of earlier discs, there’s still plenty of great music to discover. Many of these tracks may be new to you, including tracks from Shirley Jones’ solo career, plus tracks from old groups like The Dells and The Stylistics both trying to rejuvenate their careers on Philadelphia International. However, Teddy Pendergrass and Dee Dee Sharp, both contribute two of the best tracks. By 1980 Dee would be gone and so would Teddy in 1983, eleven years after Harold Melvin and The Blue Notes released their debut album I Miss You in 1972. However, Throughout this period, as Disc Ten of Philadelphia International Records-The 40th Anniversary Box Set demonstrates, Philadelphia International never stopped looking for new and old talent to join the label.
I’ve thoroughly enjoyed reviewing the ten discs that make up the Philadelphia International Records-The 40th Anniversary Box Set. It’s been like a trip down memory lane, with the music that provided the soundtrack to my growing up. Listening to the music on the ten discs was a pleasure, given the quality of music that each disc features. What I like about this box set, is it’s not just the biggest hits of Philadelphia International. Quite the opposite, there’s tracks from albums, B-sides, tracks by artists which weren’t hits and plenty of hidden gems. Of course, all the big hits are here, with The O’Jays, Harold Melvin and The Blue Notes, Billy Paul, The Three Degrees and Teddy Pendergrass all having several songs spread over the ten discs. Many of these tracks are like old friends, so familiar they are. Still they can still stop you in your tracks, and make you listen to the lyrics and the arrangements, as you wallow in their beauty and genius. Much of that genius came from two men, Kenneth Gamble and Leon Huff, two musical visionaries, who together, but sometimes with other people, wrote, arranged and produced some of the most memorable tracks of the Philly Sound. Part of their genius was their ability to choose the right people to work with Philadelphia International. Together, Gamble and Huff assembled some of the greatest musicians, songwriters, arrangers and producers of the time. Musicians like Baker, Harris, Young, the rhythm section of M.F.S.B., songwriters, arrangers and producers like McFadden and Whitehead, Victor Carstarphen, Jack Faith, Bobby Martin, John L. Usry Jr. and not forgetting Dexter Wansel. All of these musicians, songwriters, arrangers and producers gathered together by Gamble and Huff contributed towards making the Philly Sound famous worldwide. Even forty years later, the Philly Sound is loved by many people worldwide, who will forever have a special place in their heart for the music, and that’s why so many people will enjoy Philadelphia International Records-The 40th Anniversary Box Set. Even someone with only a passing interest in Philly Soul should buy this brilliant box set, given the veritable feast of fantastic music you’ll find within the ten discs on Philadelphia International Records-The 40th Anniversary Box Set.
PHILADELPHIA INTERNATIONAL RECORDS-THE 40TH ANNIVERSARY BOX SET.
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PETER JACQUES BAND-FIRE NIGHT DANCE.
PETER JACQUES BAND-FIRE NIGHT DANCE.
Between 1979 and 1985, the Peter Jacques Band released a trio of albums, starting with Fire Night Dance, which was rereleased by BBR Records in November 2011. After this followed 1980s Welcome Back and then, five years later, the group’s final album Dancing In the Street. Of these three albums, Fire Night Dance is perceived as a disco classic, one which features the vocals of Leroy Burgess, who before this, had been a member of Black Ivory. Together with Mauro Malavasi and Jacques Fred Petrus, Leroy Burgess created probably, the Peter Jacques Band’s finest moment, Fire Night Dance. Although Fire Night Dance only features four tracks, they’re four of the finest Italo-disco tracks of the late seventies. Before I tell you about the music on Fire Night Dance, I’ll tell you about the Peter Jacques Band and how they came to make a disco classic.
During the late seventies the sound of Eurodisco was a familiar sound, not just throughout Europe, but in the US too. Producers like Giorgio Moroder were among the best known purveyors of the Eurodisco sound. Groups like The Three Degrees and Donna Summer had fallen under his spell, resulting in massive hits for both artists. One man paying attention to Eurodisco’s popularity was Jacques Fred Petrus. Fred was a man who loved soul music, and used to include soul music in his DJ sets. This was very different to his former job as a ship mechanic. Having arrived in Bologna, Italy, Fred opened a record shop Goody Music, which was a part of the US chain Sam Goody. Little did Fred know it, but this would lead to him later launching his own record label, which would become established both sides of the Atlantic.
Having opened Goody Music, Fred decided to diversify, using the profits from his shop. His partner in the newly formed Goody Music Productions, launched in 1978, was Mauro Malavasi, a hugely talented musician. The new label operated as both a production and publishing company. Goody Music Productions first success was Macho’s I’m A Man, which was licensed in the US through their own offices. Originally, the track had been released as a B-side of a single by The Spencer Davis Group. However, this was something very different, something that proved hugely popular and attracted the attention of Prelude Records, where Patrick Adams was based. Patrick would help Goody Music get his old friend Leroy Burgess onboard for their next project, which would be the Fred Jacques Band.
Before Leroy was hired as lead vocalist of the Fred Jacques Band, Mauro Malavasi had been busy recording instrumental tracks at the Fonoprint Recording Studios in Bologna. With a team of musicians that included a rhythm section of bassist Davide Romani, drummer Gabrielli Melotti and guitarist Fabbri Giorgino, plus saxophonist and percussion player Rudy Trevisi. These musicians were augmented by the Goody Music String Ensemble and backing vocalists. It seems that Mauro was intent on creating his version of M.F.S.B. in Bologna, who recorded the instrumental tracks over which Leroy Burgess would add his vocal.
With the backing tracks completed, Leroy Burgess was hired on a one-day deal to sing lead vocalist for the Fred Jacques Band, Mauro Malavasi had two songs for him to sing on. These were recorded at Sigma Sound Studios in New York, scene of so many famous recordings. Over just one day, Leroy Burgess, ever the consummate professional, laid down his vocals. Now that the four tracks were completed, the Fred Jacques Band would release their debut album, Fire Night Dance.
On the released of Fire Night Dance on Prelude Records in January 1979, the album reached number six in the US Disco Charts. Two singles were released from the album, but neither Walking On Music nor Fire Night Dance charted, although both were hugely popular in clubs. However, critics loved Fire Night Dance, praising not just its style, but its sound and quality. It seemed they recognized Mauro Malavasi’s talent as composer, arranger and producer. However what does Fire Night Dance sound like, that’s what I’ll now tell you.
Opening Fire Night Dance is the first of two singles released from the album Walking On Music. The track opens with synths, before pounding drums drive the track along. From there, the lushest of cascading strings and synths join the mix, before female backing vocalists enter. They help to create a joyous, uplifting sound, while behind them, the tempo is really quick at 136 beats per minute. This works really well with the catchy sound of the arrangement and vocal. Later, a percussive breakdown allows dancers to get their breath back. However, respite is brief, as the drums kick in, driving the track along, with the tempo just as quick. Together with synths, the rest of the rhythm section, keyboards and the backing vocalists, this hugely catchy, hook laden track heads towards the finish. Listening to this track, it’s hard to believe that it’s thirty-three years old, given its timeless sound. It truly is a hidden gem of a disco classic.
Devil’s Run opens with crisp, crunchy drumbeats, moody synths and an equally broody bass. Then when strings cascade in, to be joined by backing vocalists the earlier darkness is replaced, especially when blazing horns enter. They signal the arrival of Leroy Burgess’ vocal, with his delivery quick. His vocal is high, laden with emotion, as he delivers the vocal at breakneck speed. Meanwhile, the arrangement is a mass of crisp drums, blazing horns, percussion, swirling strings and synths, with Leroy accompanied by backing vocals. It’s impossible not be swept away by this irresistible sounding track. Gradually, it draws you in, until resistance is hopeless as the arrangement combines the lush strings of a Philadelphia International arrangement with the tempo of a Hi-NRG track. This is a potent combination, which will sweep you up after tempting you with its irresistible charms.
The title track Fire Night Dance was the second single released from the album, as is a track that sees the tempo rise to 132 beats per minute. Starting off with percussion and pounding drums, synths sidle in, starting off low and slow, before growing in power. They’re accompanied by a funky bass, cascading, swirling strings and braying horns, before Leroy’s vocal enters. It’s impassioned and emotive, with the quality you’d expect from a vocalist as talented as Leroy. As strings sweep and swirl, horns rasp, synths atmospherically slide in and out of the arrangement. Meanwhile drums pound, before percussion joins the fray, while the arrangement grows, now featuring a glorious sound that’s the result of Mauro’s skills as arranger and producer. There’s everything you could want and more in this arrangement. Whether its lush strings, blazing horns, a tight but funky rhythm section and a healthy sprinkling or percussion, it’s all here and more, including the vocal of Leroy Burgess. This leads you to wonder if you’ve entered disco heaven?
Closing Fire Night Dance is Fly With the Wind, a track that has a real Italo-disco sound. It’s a combination of synths and crunchy, pounding drums that open the track, before a wash of atmospheric sounding synths enter. This produces a contrast to the synths and drums that drive the track along. Another contrast is the female backing vocals that enter, they’re dramatic, delivered quickly, with a touch of echo used on them. By now, you realize that this is quite a different track, both in style and sound. Gone are the lush strings and blazing horns, replaced by just synths and drums, plus much later, percussion. Taken together, this offers a much more moderne, technological based sound, due to the reliance on synths. Here, the Peter Jacques Band explore the Eurodisco sound, combining it with the nascent technology that became available during the seventies, and pioneered by groups like Kraftwerk. When it’s all combined, it works well, resulting in a track that’s got a real Italo-disco sound throughout the arrangement, and is made all the better by the addition of the female backing vocalists.
Having spent some join reveling in the sound of Peter Jacques Band’s debut album Fire Night Dance, I can very definitely say that this is an absolute classic an album, one that combines Italo-disco and the classic American disco sound. Fire Night Dance belongs in the collection of anyone who loves disco music. A mark of the quality of the music on Fire Night Dance, is that Leroy Burgess sings vocals on both Devil’s Run and Fire Night Dance. The addition of Leroy’s vocal adds to the quality of otherwise excellent tracks. Three of the tracks have Walking On Music, Devil’s Run and Fire Night Dance have a more traditional American disco sound, while Fly With the Wind has a much more Eurodisco, Italo-disco sound. Of the trio of albums the Peter Jacques Band released during their six year lifetime, Fire Night Dance is, in my opinion, the best of these three albums. Last year, in November 2011 Fire Night Dance was remastered and rereleased by BBR Records, including seven bonus tracks, with single and disco versions of Walking On Music, Fire Night Dance and Fly With the Wind included. All of this makes BBR Records rerelease of the Peter Jacques Band debut album Fire Night Dance the ideal opportunity to either rediscover or discover a classic disco album either again or for the first time. Standout Tracks: Walking On Music, Devil’s Run, Fire Night Dance and Fly With the Wind.
PETER JACQUES BAND-FIRE NIGHT DANCE.
NONA HENDRYX-NONA.
NONA HENDRYX-NONA.
After recently reviewing the ZE Records Story 1979-2009, which featured Bustin’ Out by Material featuring Nona Hendryx, one of the highlights of the compilation, I decided that I’d review Nona’s 1983 album Nona, released on RCA. This was Nona’s second album since leaving Labelle, an all-girl group which featured Patti La Belle, Sarah Dash and Nona. By 1976, amid musical and personal tensions, the Labelle decided to split-up. At the heart of their disagreements were the future direction of the group, which had released albums ranging from rock, soul, funk and R&B. Their most successful single was 1974s Lady Marmlade, which reached number one in the US Billboard 100 and US R&B Charts. This was from their 1974 platinum selling album Nightbirds, which reached number seven in the US Billboard 200 and number four in the US R&B Charts. However, that was all in the past, when in 1976, Labelle went their separate ways, with each member embarking on a solo career. First stop for Nona Hendryx would be Epic Records, where she’d record her debut album Nona Hendryx. However, when Nona’s debut album failed commercially, it would another six years before she’d record her second album, Nona, which was recently rereleased in Funkytowngrooves on 12 March 2012. Before I tell you about Nona’s second album Nona, I’ll tell you about her musical career.
When Nona left Labelle, it would be the first time she’d ever recorded an album as a solo artist. Previously, she’d always been part of a group, starting out with a short lived spell as a member of Del-Capris. After this, Nona aged just seventeen became a lead singer of The Ordettes in 1961. The Ordettes featured Patti La Belle, Sarah Dash and Nona. Later, in 1962, a fourth member would join the group, Cindy Birdsong. After their debut single I Sold My Heart To the Junkman became a hit in 1962, the group changed their name to Patti La Belle and The Bluebelles. Then in 1967, disaster struck for the group, when Cindy decided to join The Supremes. This happened to coincide with a change in musical tastes. Suddenly, girl groups like The Chantels, The Supremes and Patti La Belle and The Bluebelles weren’t so popular. Deciding that a move to England might rejuvenate their career, Patti La Belle and The Bluebelles moved to England in 1971, where they’d gained a cult following.
Now based in England, Vicki Wickham set about changing the group’s image. This lead to a new name Labelle. Patti La Belle was resistant to the change of name, image and sound, but eventually agreed. This was to prove to be a wise move for Labelle. Between 1971 and 1976, they released six solo albums, plus 1971s Gonna Take A Miracle with Laura Nyro. Only 1973s Pressure Cooker failed to chart in the US R&B Charts, with the other albums all proving successful. Most successful was 1974s Nightbirds, which featured their number one single. It reached number seven in the US Billboard 200 and number four in the US R&B Charts. However, just two years after this, Labelle split, amid tensions and recriminations. Now that Nona was now a solo artist it was her chance to take centre-stage.
Although Nona Hendryx released her debut album Nona Hendryx in 1977, it would be another six years until she released the follow-up Nona. Nona’s debut album hadn’t been a commercial success, resulting in Epic dropping her from the label. After this, Nona recorded four singles for London based label Arista, before singing backing vocals for Talking Heads and touring with them. Nona’s also worked with Dusty Springfield, during her 1978 comeback. Nona wrote Checkmate, from Dusty’s It Begins Again album. It was during this period that Nona became lead singer with Zero Cool and with experimental funk group Material, who had a huge club hit with Busting Out. Two further club hits would follow for Nona, with a remake of The Supremes Love Is Like An Itching Heart. Her second club hit was when Nona sung lead vocal on The Cage’s Do What You Wanna Do. All this success must have played its part in Nona receiving a new recording contract with RCA. Now six years after her debut solo album was released, Nona would record her second album, hoping that it would fare much better than Nona Hendryx did in 1977.
For recording of Nona, Nona would assemble an all-star cast of musicians, which would include pianist Valerie Simpson, drummers Trevor Gale and Sly Dunbar, bassist Trevor Gale and percussion player Daryl Burgee. Add to this Niles Rodgers playing guitar on Keep It Confidential and Laurie Anderson playing violin on Design For the Living and Nona featured some of the best musicians in America and beyond. Not only did Nona played synths on the album, but she co-produced the album, along with Material, with whom Nona had collaborated with. In total, eight tracks were recorded, which would become Nona, an album that combined electro, synth pop, disco and rock.
On the release of Nona in 1983, it’s much more modern dance sound fared better than her debut album. It reached number eighty three in the US Billboard 200 and number twenty-five US R&B Charts. Critics also liked the album, believing that Nona’s second album was much more in keeping with the music of 1983. Two of the tracks from the album gave Nona chart success. Keep It Confidential gave Nona a minor R&B hit, reaching number ninety-one in the US Billboard 100, number twenty-two in the US R&B Charts and number twenty-five in the US Club Charts. B-Boys was remixed and became a huge success in clubs, reaching number twenty-five in the US Club charts. Overall, Nona Hendryx’s second album Nona, had proved to be the success that her talent warranted. However, what does the music on Nona sound like? That’s what I’ll now tell you.
Opening Nona is B-Boys, one of the two singles released from the album. Daryl Burgee play percussion and Kashif of BT Express plays keyboards alongside Raymond Jones. When the track opens, it’s a beefy, bass line, keyboards and guitars that combine. They give way to Nona’s vocal, which is sassy, and temporarily shrouded in echo. Accompanying her vocal is percussion, stabs of keyboards and the rhythm section, while backing vocalists augment Nona’s powerful, confident vocal. There’s a real funk sound to this dance track, with the echo that’s used on Nona’s vocal working well. Partly, this is because it’s used sparingly and effectively. A combination of some catchy lyrics, an arrangement that combines dance music with funk, and of course Nona’s powerful, sometimes sassy vocal all contribute to making this one of the album’s highlights.
Living On the Border sees the tempo increase to 116 beats per minute on a track that features a combination of rhythm section, guitar, keyboards and punchy, backing vocalists. Like the opening track, Nona’s vocal is powerful, laden with passion and emotion, as the backing vocalists respond to Nona’s call. Meanwhile, the arrangement is perfect for Nona’s vocal and the lyrics. It’s equally powerful, with the rhythm section accompanied by guitar keyboards and punchy backing vocalists, that join with Nona. Later, a rocky guitar solo from Ira Siegel is unleashed, as it weaves its way across the arrangement, adding to the drama of the track. Although quite different from the opening track, with its much more rocky sound and arrangement, not only has it a similar quality to the preceding track, but features some of the best lyrics on the album.
Keep It Confidential was the most successful single released from Nona, and once you’ve heard the track you’ll realize just why. After an understated opening where just keyboards slowly and dramatically play, Nona’s vocal enters. It’s gentle and thoughtful, but quickly grows in power and emotion, as the track starts to grow, gradually revealing its charms and beauty. The keyboards, rhythm section and guitar played by Niles Rodgers combine, as Nona’s vocal is powerful, full of emotion and feeling. She’s accompanied by hugely soulful backing vocalists, as the track combines a soulful vocal with a dance-floor friendly tempo of 123 beats per minute. Later, Kashif and Kenni Hairston’s keyboards combine, with the backing vocalists punchy, soulful interjections, before Nona’s vocal rejoins. These backing vocalists match Nona every step of the way for soulfulness, passion and emotion, and are key to this track’s success as a single. Not only that, but nearly thirty years later, it still sounds just as good, if not better.
Design For Living features two other hugely successful female artists in Valerie Simpson on piano and Laurie Anderson on violin. After a hesitant start, one of the most beautiful songs on Nona unfolds. Key to this success is Valerie Simpson’s paino playing which accompanies Nona’s thoughtful, beautiful vocal. As the song progresses, the arrangement and Nona’s vocal grows. The rhythm section, gospel tinged backing vocalists, Valerie’s piano and Laurie’s violin combine. Add to this a rocky guitar solo from Nancy Wilson and the result is a beautiful, dramatic and impassioned track, with an arrangement that features an all-star cast of female musicians.
Transformation is an aptly titled track, as the album has undergone a transformation over the last few tracks. From the rocky sounding Living On The Border to the dance-floor friendly Keep It Confidential and B-Boys to the beauty of Design For Living, this is an album of a variety of styles. Here, the track opens with squelchy sounding synths, keyboards and pounding drums played by Sly Dunbar. This gives the track a real eighties sound. When Nona’s vocal enters, her vocal is strong and impassioned, accompanied by punchy, yet soulful soaring backing vocals. Nona’s new, and latest sound works well, especially with Sly’s drumming and the wash of synths and keyboards that accompany her vocal. Add to this a mid-tempo arrangement, and you’ve the recipe for a track that with a real classic eighties sound.
After the mid-tempo previous track, Run For Cover sees the tempo increase, to 116 beats per minute, on a track that marries an eighties electronic sound with rocky guitars. This is similar to Living On The Border. Opening with rocky sounding guitars, rhythm section and keyboards, Nona’s vocal is softer, accompanied by dramatic backing vocalists. Meanwhile, Kevin Staples sprays his rocky guitar sound throughout the arrangement, while drums and bass pound and keyboards provide a contrast. For four and a half minutes, the arrangement is loud, powerful and dramatic, as Nona and her band combine an eighties electronic sound with rock music. Not only does this work well and sound great, but demonstrates Nona’s versatility as a singer, musician and producer.
On Steady Action we hear the return of drummer Sly Dunbar on the slowest track on the album. The track is just seventy-five beats per minute, with Sly laying down some slow, thoughtful beats, while Nona’s gives one of her best vocals on the album. Her vocal veers between gentle and thoughtful, to an impassioned and powerful style. Meanwhile backing vocalists accompany her throughout, their voices fusing perfectly with Nona’s. Meanwhile horns that sometimes, sound as if they belong on a reggae album augment the arrangement. All this works well, combining to produce a track that demonstrates a very different, impassioned and quite beautiful side to Nona’s music.
Closing Nona is Dummy Up, which opens with a keyboard solo, before the rhythm section and further keyboards enter. For a moment, Nona sounds a bit like Pat Benetar, as her vocal begins. It’s powerful, full of emotion, while backing vocalists augment her vocal. The arrangement mixes a punchy, dramatic sound where keyboards and the rhythm section are key to the sound. Later, a funky bass line makes an appearance, before quickly disappearing, as Nona and her punchy, backing vocalists take centre-stage on a track that has a slightly moody, broody and dramatic electronic sounding arrangement that’s perfect for Nona’s dramatic, powerful delivery of the lyrics.
I’ve really enjoyed reviewing Nona Hendryx’s second solo album Nona, an album that’s made up of an eclectic selection of music. This includes dance-floor tracks like Keep It Confidential and B-Boys to the fusion eighties electronic sounds and rock guitars of Transformation and Living On the Border. That’s not forgetting the beautiful sounding Design For Living featuring Valerie Simpson on piano and Laurie Anderson on violin, which to me, is the most beautiful sounding track on Nona. Then there’s the laid-back sound of Steady Action featuring Sly Dunbar on drums, which features an impassioned and quite beautiful side of Nona Hendryx’s music. All of this demonstrates that Nona Hendryx is a singer, musician and producer whose not only versatile musically, but equally comfortable delivering a variety of styles of music. Some artists have a comfort zone, and are unable to operate out-with this musical comfort zone. Not Nona Hendryx though, her previous experience working and collaborating with a variety of artists and musicians helped her create such an eclectic sounding and quality album. This was the result of Nona’s twenty-two years experience of being a recording artist, which had seen her work with various singers, musicians and producers. Thankfully, Nona is available again, after being unavailable for far too long. It was rereleased by Funkytowngrooves on 12 March 2012, together with seven bonus tracks. These are remixes and single versions of B-Boys, Keep It Confidential, Steady Action and Transformation. When this is combined with the eight tracks that feature on Nona, then this is an album that’s well worth either rediscovering or discovering. Nona is a great album, one which will either appeal to anyone who either enjoys soul, dance and eighties new wave music. Standout Tracks: B-Boys, Keep It Confidential, Design For Living and Steady Action.
NONA HENDRYX-NONA.
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JUMPIN.’
JUMPIN.’
Since 1995, Harmless Records have been releasing an eclectic selection of compilations. This has ranged from their highly successful funk, soul and jazz compilations Pulp Fusion to compilations, to compilations of breakbeats and Latin music. However, over the past few years, Harmless Records have also released a number of quality disco compilations, including their highly successful Disco Discharge series, which they started in 2009. Now, given that I’m a huge fan of disco, and always on the look out for quality disco compilations, I’ve bought every one of these compilations. It seems that in the last few years, Harmless Records have become one of finest purveyors of quality disco delights, loved by disco dilettantes everywhere. Back in 2010, as part of their fifteenth birthday celebrations, Harmless Records released another of their famous disco compilations Jumpin,’ a two-disc set crammed full of quality disco music. This was a combination of some familiar tracks and hidden gems, spread over two discs. In total, there are twenty-four tracks, with tracks from labels that includes Philadelphia International Records, Salsoul, West End Records, Vanguard and Philly World Records. Among the familiar names are the Salsoul Orchestra, Loleatta Holloway, Jean Carn, Skyy, Inner Life, Leroy Burgess, Terri Wells and Harold Melvin and The Blue Notes. Truly, what more can you ask for than two dozen disco delights, from some of the greatest labels and artists of the disco era. Even trying to choose just a few tracks to review won’t be easy, given the quality of music on Jumpin.’ However, after much indecision and thought here are the best tracks from Jumpin.’
DISC ONE.
Disc One of Jumpin’ sees some familiar favorites of the disco era, with seven of the tracks from Salsoul Records. This includes the Dreamin’ by Salsoul Orchestra featuring Loleatta Holloway, Skyy’s First Time Around, Logg’s I Know You Will and Inner Life’s First Time Around. Vanguard Records provide a trio of tracks, including The Nobles’ Jealousy, Rainbow Brown’s Till You Surrender and Fonda Rae’s Over Like A Fat Rat. The lone track from Philadelphia International Records is Jean Carn’s Was That All It Was, a hugely underrated track from Jean. With so many great tracks from great labels and artists, choosing the highlights wasn’t easy, but here goes.
My first choice from Disc One of Jumpin’ is a track that’s definitely deserving of the word classic, Dreamin’ by the Salsoul Orchestra featuring Loleatta Holloway. Released in 1976 on Salsoul Records, this was a track from Loleatta’s third album, Loleatta, released in 1976. Produced by Baker, Harris, Young this is the original album version of the track. Here, Loleatta delivers a sassy vocal, before vamping her way through the track. With the Salsoul Orchestra accompanying her, everything is in place for a seminal disco track. Cascading, swirling strings, Earl Young’s legendary drumming, percussion, Ron Harris’ bass and then Norman Baker’s guitar give way to Loleatta’s impassioned, sassy vocal. After this, Loleatta gives a masterclass of a vocal, accompanied by some soulful backing vocalists. Add to all this Vince Montana Jr.’s vibes, plus blazing, dramatic horns that punctuate the track and you’ve the recipe for not just one of the greatest disco tracks of the seventies, but a track with a totally timeless sound.
I’ve always thought that Jean Carn was one of the most underrated vocalists on Philadelphia International. During her time on Philadelphia International she released three albums, with Was That All It Was a track from her 1979 album When I Find You Love. This track was produced by Jerry Butler, with the original 12” mix featuring on Jumpin.’ It features swathes of swirling and sweeping strings that envelop Jean’s impassioned and emotive vocal. This is all to come though, with the track having an understated opening, with just the percussion and drums opening the track, as synths reverberate above the arrangement. The bass enters and the track starts to take shape. Jean’s vocal grows in power and emotion, as the strings enter and the rhythm section help drive the track along. Later, blazing horns enter, completing what is a stunning, dance-floor friendly track from Jean Carn and confirmation if it was needed, of just how good a vocalist Jean Carn was in her Philadelphia International days.
Another track from the Salsoul label is Skyy’s First Time Around. This is form Sykk’s debut album Skyy, released in 19879. First Time Around was released in May 1979 and the version on Jumpin’ is the original 12” mix. Opening with just a wandering bass, a male vocal enters, before sizzling guitars, cascading strings and pounding drums combine. The arrangement is dramatic, with sweet, sensuous vocals drifting in and out of the track. There’s a different sound to this track, with rocky guitars providing a contrast to the lushness of the strings and the pounding drums. There’s even synths which occasionally reverberate above the arrangement, as the track reveals its charms and secrets. Much as I like various remixes of the track, for me the original is still my favorite.
Inner Life’s Moment of My Life was released on Salsoul Records in 1982. This was a track from Inner Life’s third and final album for Salsoul Inner Life II. Arranged by Leroy Burgess, who co-produced the track with Greg Carmichael, it features a stunning, diva-esque vocal, full emotion and passion, delivered with power. This is delivered against a backdrop of crunchy drumbeats, percussion, keyboards and the funkiest of bass line, while gospel tinged backing vocalists augment the lead vocal. The tempo is 114 beats per minute and like so many of the Salsoul releases, is just a quality slice of disco, with elements of funk and soul featuring in Leroy’s fantastic arrangement. Of all the tracks on Disc One of Jumpin,’ this is one of the best.
Rainbow Brown’s Till You Surrender is a track originally released on Vanguard Records. This was from the group’s only album Rainbow Brown released in 1981 and featuring the vocals of Fonda Rae. Written, arranged and produced by Patrick Adams, who also plays keyboards on the track, this original twelve inch mix is one of the highlights of Disc One of Jumpin.’ Opening with a glorious myriad of cascading, swirling strings, rhythm section and backing vocals, a flourish of keyboards and punchy, blazing horns give way to Fonda’s vocal and we’re in disco heaven. Fonda’s vocal is sweet, soulful and full of passion, as the strings sweep and swirl behind her, as the arrangement becomes dramatic and punchy. With equally soulful backing vocalists including Lucy Martin, Yvonne Lewis, Christine Wlitshire and Ullande McCullough accompanying Fonda, everything is in place for a classic disco track to unfold. This is indeed the case on a track combines elements of soul and funk, on its way to producing a heavenly slice of delightful disco.
So good was the previous track that featured the vocals of Fonda Rae, that I had to include her track 1982 track Over Like a Fat Rat released on Vanguard Records. This is the original twelve inch mix of track arranged by Leroy Burgess and produced by Bob Blank, and is a quite different track to the Rainbow Brown track. Gone is the big, fuller production style, replaced by a track that allows Fonda 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.
Choosing just six tracks from Disc One of Jumpin’ wasn’t an easy exercise. However, I eventually settled on a trio from Salsoul Records, a duo from Vanguard Records and one from Philadelphia International. In choosing these tracks, I had to omit quality tracks from Donna McGhee, Love Committee, The Nobles and Skip Mahoney. That just demonstrates the consistent quality of the music on this disc. It also demonstrates the high standard of disco music that was being released during the late seventies and early eighties. Will I be saying the same about the music on Disc Two of Jumpin’?
DISC TWO.
Whereas Disc One of Jumpin’ featured tracks from some of the biggest names and labels in the history of disco, Disc Two has some hidden gems to reveal alongside a few familiar faces. Among the familiar faces are Barbara Mason, Leroy Burgess, Loleatta Holloway and Harold Melvin and The Blue Notes. The track by Harold Melvin and The Blue Notes is from their final studio album Talk It Up (Tell Everybody) on Philly World Records, who have a total of five tracks on Disc Two. Salsoul provide two tracks, while West End Records have Barbara Mason’s Another Man on the disc. Apart from these tracks, Yarborough and Peoples and Pennye Ford also feature on this disc. Pennye Ford many people will remember was lead singer in the S.O.S. Band and Snap. Here, her solo hit Dangerous features on Disc Two of Jumpin,’ along with another eleven tracks.
Barbara Mason’s Another Man is my first choice from Disc Two of Jumpin.’ The track was released in 1983, on West End Records and was written, mixed, arranged and produced by Butch Ingram. Opening with just the fattest of bass lines, drums and percussion, the track quickly reveals its delights. When Barbara’s vocal enters, it’s half-spoken and sassy. Then, when her vocal starts off gently, it quickly grows in power and frustration. With soulful female backing vocalists accompanying her, their vocals prove to be the perfect accompaniment to Barbara’s vocal. Meanwhile, the arrangement relies heavily on just the bass, drums and keyboards, as it meanders along. However, this allows Barbara’s vocal to quite rightly take centre-stage, where it belongs, on a classic track from West End Records.
Leroy Burgess released Heartbreaker on Salsoul Records in 1983. Not only did he cowrite the track, but arranged and produced the track. When the track opens, it’s a combination of funky rhythm section, squelchy synths and joyous backing vocalists that combine. They give way to Leroy’s vocal. His vocal is powerful, passionate and emotive as the backing vocalists combine with him throughout the track. Flourishes of piano, reverberating synths and the rhythm section provide the perfect backdrop for Leroy’s vocal. Along with his joyous, gospel tinged backing vocalists, Leroy creates a stunning track, one that demonstrates his talents not just as a vocalist, but as a songwriter, arranger and producer.
Loleatta Holloway released Love Sensation, a track written by Dan Hartman in July 1980. Then, nine years later in 1989, Love Sensation would be “sampled” by both Black Box on Ride On Time and Good Vibrations by Marky Mark and The Funky Bunch. While both tracks were huge commercial successes, neither can match the Norman Baker produced original, featuring Loleatta Holloway a true disco diva. Opening with a combination of rhythm section, percussion, piano and cascading strings, so familiar is the track you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta delivers one of her trademark vocals. Her voice becomes an impassioned roar, while backing vocalists accompany her. The remix is a myriad of the lushest strings combined with dramatic drums and blazing horns, with Loleatta’s powerful, sassy vocal key to the track’s timeless, dramatic sound and huge commercial success.
Released in December 1982, Do It Any Way You Wanna was Cashmere’s debut single, and later would feature on their debut album Let the Music Turn You On in September 1983. The track was co-written by drummer Daryl Burgee, producer Nick Martinelli and Bryan Hudson. Squelchy synths which remind me of many an Italo disco track combine with the funkiest of bass and drums. When Dwight’s vocal enters, a boogie classic reveals its infectious charms. With punchy, backing vocals the combination of synths and rhythm section drive the track along. A searing guitar solo then adds an element of drama, as Dwight’s vocal is powerful and impassioned. By the end of the track, you can’t help but succumb to charms of Cashmere’s seminal boogie classic.
Don’t Give Me Up was a track from Harold Melvin and The Blue Notes final studio album Talk It Up (Tell Everybody), released in 1984 on Philly World Records. The track was co-written by Harold Melvin, McKinley Horton and Michael Forte, who also arranged the track. This track has a very different sound to the group’s previous music, combining boogie with a post disco sound. A combination of synths, drum machines, keyboards and then chiming guitars open the track, before the group enter singing tight harmonies. This gives way to Gil Saunders lead vocal, with his baritone emotive and almost sensuous. Meanwhile, behind him the other four Blue Notes contribute subtle harmonies. The lyric that the group “promise to be better to you…promise to be sweeter this time to you,” strikes a chord. Although sung in the context of a relationship, this could equally apply the group’s long standing fans, after some disappointing albums. Here, Harold Melvin and The Blue Notes sound better, and indeed sweeter, on a track that’s catchy and melodic.
When Terri Wells recorded I’ll Be Around, originally recorded by The Detroit Spinners, she was paying homage to a group she’d previously sung backing vocals for. This was a track from Terri’s 1984 album Just Like Dreamin,’ released on Philly World Records. Here, the track is transformed from a three minute track into a six minute epic. Although I love the original, this is an excellent cover version. It’s a track that combines a great arrangement with a stunning delivery of the lyrics from Terri. After a chiming guitar opens the track, things get even better, with the electronic combination of synths and drums combining with the Fender Rhodes. However, what makes the track is Terri’s vocal which she delivers with a swing, in a sassy, confident style. Not only does Terri sing lead vocal, but she sings backing vocals that echo around. Meanwhile crisp drums and synths combine as her vocal grows in power and passion as the track heads to its brilliant ending. For me, this track is the best track Terri Wells ever recorded.
Disc Two of Jumpin’ proved to a combination of classics and hidden gems, with familiar faces like Loleatta Holloway, Leroy Burgess, Barbara Mason and Harold Melvin and The Blue Notes all featuring. Here, the compiler eschewed the choice of familiar tracks from Harold Melvin and The Blue Notes, instead digging deep, and choosing tracks from their 1984 Philly World album Talk It Up (Tell Everybody). The inclusion of Terri Wells’ I’ll Be Around gives listeners the opportunity to discover a hidden and vastly underrated track from Terri, that once you’ve heard once, will always cherish. Cashmere’s Do It Any Way You Wanna is a boogie classic, from their 1983 album Let the Music Turn You On and is a worthy of its place on Jumpin. As are the inclusion of Loleatta Holloway’s Love Sensation, Barbara Mason’s Another Man and Leroy Burgess’ Heartbreaker, which are a trio of classics. Among the other tracks that I wasn’t able to mention are The Gap Band’s Big Fun and Yarborough and Peoples’ Don’t Waste Your Time. Like Disc One of Jumpin,’ this demonstrates just how high the standard of music on Disc Two of Jumpin’ truly is. For anyone who loves seventies and eighties disco, then Jumpin’ is a compilation that deserves to find its way into your collection. You get twenty-four delicious disco delights, which are a mixture of familiar tracks and hidden gems. What more could you ask for? Standout Tracks: Loleatta Holloway Dreamin,’ Rainbow Brown Till You Surrender, Cashmere Do It Any Way You Wanna and Terri Wells I’ll Be Around.
JUMPIN.’
ZE RECORDS STORY 1979-2009.
ZE RECORDS STORY 1979-2009.
Back in New York in 1978, Michael Zikha and Michael Esteban decided to set up their own record label, ZE Records. Using the initials of their surnames, to name of their new and nascent label, an innovative and influential label was born. During the label’s short lifetime, they released an eclectic selection of music, music which spanned the musical genres, including post-punk, post-disco, dance rock and disco pop. Fourteen of these tracks can be found on a compilation released by Strut in 2009, ZE Records Story 1979-2009. This includes some of the label’s most memorable tracks released during its five year history, including tracks from Was (Not Was), Kid Creole and The Coconuts, Casino Music and Sympho State. However, before I tell you about this music, I’ll tell you about the history of ZE Records.
After studying first art in Paris, then at New York’s School of Visual Arts, Michael Esteban immersed himself in music and art. After returning to Paris from New York, Michael opened a shop specializing in music merchandise Harry Cover, which sold merchandise from both the UK and US. Then, quickly, members of the Parisian music scene gravitated towards his shop, with new wave bands using his basement as rehearsal space. His next venture was publishing Rock News, which documented the birth of punk in New York and London. Then in 1977, Michael published a trio books, two by Patti Smith, Witt and The Night, plus Lizzy Mercer’s debut Desiderata. Later that year, Michael would branch out to music, his first foray into the music industry, which would lead to him meeting future business partner Michael Zikha.
Michael Esteban’s first foray into music came with Marie et les Garcons, when he signed the group. To produce them, Michael approached John Cale, formerly of Velvet Underground. John who’d been introduced to Michael by Patti Smith, decided to head to New York to produce the album. Once there, John decided to found a record label with Jane Friedman, and asked Michael to help. After this, John introduced Michael Esteban to Michael Zikha. Their friendship established, the two Michael’s then decided to for a record company SPY. This was ostensibly to release singles produced by John Cale, but SPY would also release singles by Harry Toledo, Model Citizens and legendary music critic Lester Bangs. However, after founding SPY, Michael Esteban to Michael Zikha left SPY to form what would become an influential and innovative label ZE Records.
Once ZE Records was established in 1978, the label set about releasing an eclectic selection of music, music that crossed the musical genres. This included new wave, post-punk, post-disco, dance rock and disco pop that ZE Records released. Another title given to ZE Records music was Mutant Disco, which was the title of one of the labels early compilations, that become a successful compilation series. Island Records’ Chris Blackwell spawned another name for the music, no-wave. Regardless of the name of the genre of music ZE Records were releasing, the label quickly established an eclectic roster of artists that were a mixture of old and new artists.
Among ZE Records new artists were Was Not Was, Kid Creole and The Coconuts, Christina, The Waitresses, Casino Music and Sympho State. However, ZE Records weren’t just concentrating on new artists, with John Cale and Suicide among the older, more established artists. Quickly, the label’s music was being played at New York’s biggest, hippest clubs, including The Paradise Garage, the spiritual home of garage music. Although ZE Records were releasing some influential and innovative music, the label would prove to be relatively short-lived.
Between 1981 and 1982, ZE Records was at its creative and commercial zenith. Then in 1982 the label suffered a blow when one of the its founders, Michael Esteban left New York. Whether this lead to the decline in the label’s popularity and success is merely speculation, but two years later, in 1984, the label closed down. Although ZE Records was founded in 1978, and was only releasing music between 1979 and 1984, some of that music proved to be innovative, influential and memorable. You’ll realize this when I tell you about some of the music on ZE Records Story 1979-2009.
My first choice from ZE Records Story 1979-2009 is Was (Not Was’) Tell Me That I’m Dreaming. It’s the 12” Remix that features on the compilation, released in 1981 and co-written by Don and David Was. Ken Collier remixed this track, which was from the 1981 eponymous album Was (Not Was). Opening with a combination of drums and percussion, the funkiest of bass lines and guitars enter. Sweet female backing vocalists enter, before the lead vocal enters. By now, the track is fusing elements of Latin, funk and soul as the tempo reaches 118 beats per minute. Add to this a myriad of samples and sound effects, that augment the vocal, and this alternative eighties soundscape is still revealing it charms and surprises. While the track is perfect for the dance-floor, and would still work today, there’s a few left-field elements that make this such an intriguing, compelling and quite wonderful track.
Deputy Of Love by Don Armando’s Second Avenue Rhumba Band featuring Fonda Rae was an offshoot of The Original Savannah Band, and features founder Augustus Darnell and Andy Hernadez. This was one of many projects the pair were involved in, that were released on ZE Records. Featuring the vocal of disco diva Fonda Rae, this is another quality track from the future King Creole. With a tempo that’s nearly 127 disco heaven, a frantic piano solo opens the track, before percussion, rhythm section and blazing horns enter. As if this isn’t enough, cascading strings signal the arrival of Fonda’s vocal. Her vocal is emotive and impassioned as the arrangement reveals it hidden secrets and treasures that are a joy to behold. It’s quite definitely a track that should be filed under disco, with the track’s five and a half minutes some of the best on the ZE Records Story 1979-2009 by far.
Another of ZE Records biggest artists and successes was Augustus Darnell in the shape of Kid Creole and The Coconuts. Here, Larry Levan’s mix of Something Wrong In Paradise is chosen, and is another of the dance-floor highlights on the ZE Records Story 1979-2009. Taken from the 1983 album Doppelganger, a moody, meandering bass line opens the track, before quickly, it’s all change. Out goes the darkness, with Kid Creole ushering in his uplifting, feel-good sound. This sees a combination of the rhythm section, guitars and percussion augmented by The Coconuts. At near breakneck speed, the arrangement unfolds, before Kid Creole enters. His vocal is thoughtful and considered, a contrast to the carnival atmosphere of the arrangement. Behind him, The Coconuts deliver some joyous backing vocalists, while blazing horns combine with rest of the arrangement. For neigh on five minutes, Kid Creole and The Coconuts provide us with an uptempo, joyous, carnival atmosphere laden with his feel-good sound and vibe.
Sympho State’s You Know What I Like is easily, one of the highlights of the ZE Records Story 1979-2009 compilation. It’s blessed with a timeless sound and arrangement, which isn’t the case with other tracks, which sound “of their time,” Not this track though, mind you with Leroy Burgess co-writing and singing the vocal, you’d expect this to be a great track. Released in 1979, this track was the B-side of Fever but has much more in common with the classic disco sound than other tracks. Opening with the rhythm section, rasping horns and the lushest of swirling strings, Leroy’s vocal enters, accompanied by a sensuous, female vocal. Meanwhile, the arrangement is the most polished on the compilation, with a real classy, slick sound. From there, a myriad of sweeping strings, rasping horns, sensual vocals and quick pounding drums drive the track along, mixing disco and boogie as the track heads to its dramatic ending. So good is this track, it’s almost worth buying the compilation for it.
Material With Nona Hendryx’s Bustin’ Out (Seize The Beat Version) is quite different from my previous choices, with this electro track fusing, funk with rock guitars and crunchy beats. Released in 1981, the crunchy beats and fat bass line are joined by rocky sounding guitars, while electro sound is much more prevalent when the guitars drop out. Then when Nona’s vocal enters it’s powerful and sassy, while the arrangement is constantly punctuated with those rocky guitars, while the crunchy beats are key to the track’s sound. Later, dark keyboards enter, as this powerful, slightly foreboding sonic experiment takes shape. A welcome addition is the percussion that provides a brief respite from the powerful, foreboding sound. Replacing the percussion are stabs of synths as the track welcomes the latest addition in its eight and a half minute musical journey. Although quite different from my previous choices, this an accomplished, quality track, made all the better by Nona’s powerful, passionate vocal
Aural Exciters’ Maladie D’amour is my final choice from the ZE Records Story 1979-2009. It’s a track from the 1979 Spooks In Space album, co-written by Augustus Darnell, the mastermind behind Kid Creole and The Coconuts and Elbow Bones and The Racketeers. With disco luminaries like Fonda Rae and Tanya Garnder’s vocals appearing on the track, this is another quality dance-floor friendly track, albeit with a twist. After all, where else could you hear a tuba accompanying the sweetest of female vocals as a mid-tempo dance track unfold? Add to this a mixture of punchy horns, lush strings, flourishes of piano and the tightest of rhythm section, and the rest of the arrangement has a much more traditional sound. All of this from a group named after a piece of studio equipment, is combined to make a track that’s not only dance-floor friendly, but catchy, full of hooks and featuring the sweetest of vocals.
Although ZE Records only released music for five short years, they released some influential, innovative and memorable music, some of which can be found on the ZE Records Story 1979-2009. While the music ZE Records released was truly eclectic, some of that music still sounds good some thirty years later. That can’t be said for other labels, whose music sounds dated. Still, tracks by Was (Not Was), Don Armando’s Second Avenue Rhumba Band featuring Fonda Rae, Kid Creole and The Coconuts, Sympho State and Aural Exciters demonstrate the quality of music ZE records were releasing between 1979 and 1984. In my opinion, and others, ZE Records released their best music between 1981 and 1982, some of the music from 1979 is just as good. Whether Michael Esteban’s leaving New York contributed to the music and label’s decline and ultimate closure in 1984, is open to speculation. Opinions will differ whether this is indeed the case, and there are many examples that can be cited of quality music released between 1982 and the label’s closure in 1984. However, at least ZE Records has its place in music history, fondly remembered for many of its releases and the Mutant Disco compilations. For people who are newcomers to ZE Records, then Strut’s 2009 release the ZE Records Story 1979-2009 is the ideal primer to the label’s music. From there, the newcomer can go on to explore more of the label’s music, including Zevolution: ZE Records Re-edited, another Strut compilation released in 2009, which is the ideal companion to ZE Records Story 1979-2009. After this, there’s the Mutant Disco compilations and various albums released by ZE Records’ artists. However, a good starting point for anyone yet to discover the music of ZE Records, then ZE Records Story 1979-2009 is the ideal place to start. Standout Tracks: Was (Not Was) Tell Me That I’m Dreaming, Kid Creole and The Coconut Something’s Wrong In Paradise, Sympho State You Know What I Like and Aural Exciters Maladie D’amour.
ZE RECORDS STORY 1979-2009.
BILLY PAUL-WAR OF THE GODS.
BILLY PAUL-WAR OF THE GODS.
A year after the release of Billy Paul’s most commercially successful album 360 Degrees of Billy Paul in 1972, an album that featured the Grammy Award winning number one single Me and Mrs Jones, Billy released his follow-up album War of the Gods. By this time, Philadelphia International Records had undergone something of a transformation. Their legendary house band M.F.S.B. had become the slick, sophisticated and polished band that would appear on so many great albums. Driven along by the rhythm section of Baker, Harris, Young, guitarist Bobby Eli, while Vince Montana Jr. would add vibes, and Don Ronaldo’s strings and horns would provide their trademark sound. Together with the talents of producers Gamble and Huff and Thom Bell, arrangers Jack Faith, Bobby Martin and Lenny Pakula, Philadelphia International Records would transform seventies soul music, when the Philly Sound was born. Variously described as sophisticated, polished and slick, the music was ultimately beautiful, becoming critically acclaimed and a huge commercial success. An album that perfectly demonstrated the new direction Philadelphia International Records was heading, was Billy Paul’s third studio for Philadelphia International, War of the Gods.
Recording of War of the Gods took place at the scene of so many albums the contain the Philly Sound, the Sigma Sound Studios, in Philadelphia. With M.F.S.B. accompanying Billy, six songs were recorded, four written by Gamble and Huff, who produced the album. Recording got underway in 1973, with Bobby Martin and Lenny Pakula arranging the six tracks. These included The Whole Town’s Talking and the ten minute Magnus Opus that’s the title track War of the Gods. Among the other four tracks, were Thanks For Saving My Life, which would be released as a single from the album. With the six tracks that made up War of the Gods recorded, the album would be released in 1974.
On the release of War of the Gods in 1974, the album reached number 110 in the US Billboard 200 and number twelve in the US R&B Charts. Thanks For Saving My Life reached number thirty-seven in the US Billboard 100 and number nine in the US R&B Charts. Another track that was released as a single, The Whole Town’s Talking, which three years later in 1977, featured on Teddy Pendergrass’ debut album Teddy Pendergrass. When it was released as a single it gave Teddy a US R&B hit single. However, The Whole Town’s Talking was originally on Billy Paul’s third album for Philadelphia International Records, War of the Gods, which I’ll now tell you about.
Opening War of the Gods is I See the Light, written by Bunny Sigler. Arranged by Lenny Pakula and produced by Gamble and Huff. The track opens slowly and dramatically with just melodic keyboards and percussion, that give way to Billy’s thoughtful vocal. His vocal starts off gently, before quickly growing in power. Meanwhile drums punctuate the track, with the arrangement growing to include the Sigma Sweethearts, rasping horns and lush strings. At the heart of this dramatic track is Billy’s vocal, as the arrangement and vocal veer between a gentle, to powerful style. This works really well, holding your attention. It gets that you’re hanging on Billy’s every word and wondering what direction the track is heading next. For six minutes Billy’s vocal is powerful, laden with emotion and passion, while the arrangement fuses drama and power seamlessly.
War of the Gods Magnus Opus is the title track War of the Gods, one of four Gamble and Huff penned tracks, arranged by Bobby Martin, one of Philadelphia International’s legendary arrangers. This is a track that’s like many similar big, ambitious productions that were popular during the early seventies, and something Gamble and Huff did so well. It’s a mid-tempo track, where frenzied sirens open the track, before slowly, slightly dark keyboards enter joined by piano, vibes and bass. Subtle backing vocalists join adding light to the darkness of the arrangement, as slowly and dramatically the track unfolds. It’s over two minutes before Billy’s considered, thoughtful vocal enters. Accompanying him are piano and organ, as Billy sings of the evil and darkness in the world, before the arrangement heads takes on a jaunty style. Billy’s accompanied by backing vocalists as his voice grows in power, when he calls for “bad things to end.” Later, the arrangement becomes jazz tinged, especially when the tempo slows. By then, you realize that truly, this ambitious track is deserving of the description Magnus Opus. Not only is it Billy Paul at his best, but M.F.S.B., arranger Bobby Martin and Gamble too. It’s a sign of what was still to come from Philadelphia International.
Although many people will think of The Whole Town’s Talking as a Teddy Pendergrass song, it was Billy Paul that sung the track originally. The two versions are quite different, but both have one thing in common, a fantastic deliver by soul superstars. While Teddy sings the track as a ballad, bathed in sadness and emotion, Billy’s version has a slightly jaunty, faster arrangement. Opening with just the rhythm section, keyboards and rasping horns, Billy’s delivery is quicker, maybe not as emotive as Teddy’s version, but laden with drama and passion. He’s accompanied by punchy horns, Philadelphia International’s legendary female backing singers the Sweethearts of Sigma. Add to this, dramatic flourishes of piano, lush cascading strings and Billy’s dramatic, emotive, punchy delivery of the lyrics. The result is a powerful, impassioned and dramatic version of The Whole Town’s Talking that’s quite different from Teddy’s later version, but like that version, features a stunning vocal.
I Was Married is the first in a trio of slower songs, co-written by Cary Gilbert and Joannie Arc. Bobby Martin’s arrangement is stunning, and demonstrates just how talented an arranger he is. Opening with a sultry saxophone, Eddie Green on piano and lush strings, while Earl Young’s drums provide the track’s heartbeat. Then, when Billy’s vocal is full of sadness and regret. Behind him, slow, sweeping strings, rasping horns, stabs of Hammond organ and flourishes of piano provide a gorgeous jazz tinged backdrop. This is perfect for the emotion and sadness in Billy’s vocal, resulting in one of the true highlights of War of the Gods.
Thanks For Saving My Life was a single released from War of the Gods and is similar to the jazz tinged, emotion of the previous track. Here, Billy decides to kick loose, while the Sweethearts of Sigma accompany him, as this jazzy track swings along. With M.F.S.B. seamlessly transformed into a jazz band, a myriad of blazing horns, rhythm section, flourishes of piano and swirling strings accompany Billy. While M.F.S.B. play a huge part in ensuring the track goes with a swing, credit must be given to the Sweethearts of Sigma, who like Billy revel in their role on another swinging slice of sumptuous jazz.
Closing War of the Gods is one of the most emotive and beautiful tracks, Peace Holy Peace. Written and produced by Gamble and Huff, while Lenny Pakula is the arranger, this is the slowest song on the album. It’s also the most emotive and in a way, uplifting and hopeful. Just the meandering Hammond organ played by Lenny Pakula, slow strings and rhythm section accompany what sounds like a celestial choir of backing vocalists that accompany Billy’s slow, emotive and almost spiritual vocal. The arrangement has an understated sound, allowing Billy and his choir of backing vocalists to take centre-stage on one of the most moving, beautiful and hopeful songs Billy Paul ever recorded. What a beautiful way to end War of the Gods.
While War of the Gods was Billy Paul’s follow up to 1972s hugely successful and critically acclaimed 360 Degrees of Billy Paul, there wasn’t a hit single like Me and Mrs Jones. That’s the only difference between the two albums, with War of the Gods featuring more in the way of new music. This included four songs from Gamble and Huff plus one from Bunny Sigler and I Was Married co-written by Cary Gilbert who cowrote Me and Mrs Jones. The six songs on War of the Gods featured the Magnus Opus that’s the title track, the emotion and sadness that are The Whole Town’s Talking and I Was Married plus the jazz tinged, swinging Thanks For Saving My Life. That’s not forgetting the moving, beautiful and hopeful Peace Holy Peace. Overall, War of the Gods’ success is due to everyone connected with the album. Obviously, crucial to this was Billy Paul’s powerful, emotive and impassioned vocals, plus arrangers Lenny Pakula and Bobby Martin, along with Gamble and Huff. However, War of the Gods wouldn’t have been the same album without the versatility of M.F.S.B. Whether it was soul or jazz, they could deliver it with aplomb on the album’s six tracks. Adding backing vocals were the Sweethearts of Sigma, who contributed some beautiful backing vocals throughout the album. All of these musicians, backing vocalists, arrangers and producers all played their part in helping Billy Paul make War of the Worlds a fantastic and fitting follow-up to 360 Degrees of Billy Paul. Standout Tracks: The Whole Town’s Talking, I Was Married, Thanks For Saving My Life and Peace Holy Peace.
BILLY PAUL-WAR OF THE GODS.
DARK ROOM NOTES-DARK ROOM NOTES.
DARK ROOM NOTES-DARK ROOM NOTES.
Dark Room Notes, who were formed in Galway in 2006, will soon release their second album, the eponymous Dark Room Notes on BBE Music. This is the follow-up to their 2009 debut album We Love You Dark Matter, which contained their highly acclaimed single Love Like Nicotine. Since then, much has happened to Dark Room Notes, the now three-piece electro synth-pop band. They’e supported Kraftwerk, Karl Craig and Robyn and toured the US, UK and Germany. This has seen Dark Room Notes appear at Oxegen, Castlepalooza, Sea Sessions and Electric Picnic. As if that’s not enough, their music featured in the film A Kiss For Jed Wood. It seems Dark Room Notes have come a long way in eight years, from their Galway beginnings. Before I tell you about their forthcoming album Dark Room Notes, I’ll tell you about the group’s background, and how they got to where they are now, in just six years.
Back in Galway in 2006, Dark Room Notes were formed by Ronan Gaughan, Ruairi Ferrie and former drummer Ruira Cavanagh. Then Darragh Shanahan would replace drummer Ruira Cavanagh, while Arran Murphy, would also join the band. Now the Dark Room Notes lineup is Ronan Gaughan, Ruairi Ferrie and Arran Murphy. Their debut concert was in December 2006, in their hometown of Galway. Having make their live debut, the next step for Dark Room Notes would be to release their debut single.
A year later, in June 2007, Dark Room Notes would release their debut single, Love Like Nicotine on Gonzo Records, which became an indie hit on radio. Next for Dark Room Notes was the release of the Dead Start Program EP, which featured the single Slow Puncture and Shake Shake My Ceiling. It was Shake Shake My Ceiling that would feature in the film A Kiss For Jed Wood. Then when the band were chosen to feature on the sixth series of RTE’s Other Voices TV program, they won the Viewers’ Choice poll. This was another step in the development of Dark Room Notes career, but the next step would lead to bigger and even better things for them, with the release of their debut album.
Recording of Dark Room Notes’ debut album We Love You Dark Matter took place during summer 2008, with Ciaran Bradshaw producing the album. On the release of We Love You Dark Matter it was critically acclaimed, with the band heading off on a major tour to promote the album. This saw Dark Room Notes playing in Ireland and at a variety of the major summer festivals. Then came their big break, when BBE Music signed the band in autumn 2008. BBE Music rereleased Love Like Nicotine as a single, then We Love You Dark Matter worldwide in April 2010. However, 2010 would prove to be an album of ups, interspersed with the occasional down.
2010 started well, with Dark Room Notes’ debut album We Love You Dark Matter winning the 2009 Choice Music Prize, the Irish Album of the Year. Then in March 2010, Dark Room Notes headed to North America to play two prestigious music festivals. First stop was Toronto and the CMW music festival, then SXSW in Austin, Texas. However, just when things were going well for the band, Dark Room Notes lost another drummer, when Darragh Shanahan left the band. This left the band a three piece, with the lineup now Ronan Gaughan, Ruairi Ferrie and Arran Murphy. Instead of replacing their drummer, the group decided to continue with a drum machine. After the shock of their drummer’s departure, Dark Room Notes continued from strength to strength, with new projects underway in 2011.
In April 2011, BBE Music decided to release Dark Room Notes’ 2007 Dead Start Program EP. The next month, November, they performed what was a specially commissioned soundtrack to The Lost World, a 1925 silent film, which was an adaptation of Sir Arthur Conan Doyle’s 1912 book The Lost World. This had been composed by the group, with the performance taking place in Sligo, at The Model. During this period, Dark Room Notes had been recording what would become their second album Dark Room Notes.
Before the release of Dark Room Notes’ second album, the eponymous titled Dark Room Notes, they released the first single from the album. This was Baby Don’t Hurt Me No More in 5 March 2012. Dark Room Notes will then be released on 14 April 2012 on BBE Music. On Dark Room Notes are eight tracks, including the single Baby Don’t Hurt Me No More, which I’ll now tell you about.
Opening Dark Room Notes is Wallop Waves, which opens with a thunderous combination of synths and drums, before a wash of synths accompany the vocal. The sound is powerful, dark and moody, with the vocal reminding me of Barney’s from New Order. This New Order comparison grows, as the song progresses. Behind the vocal sits a crystalline, elegant sound that emerges from the depths of the arrangement, providing a total contrast. Later, as the vocal breaks down, a myriad of sound effects including birdsong enters. Then, just as you least expect it, drums pound and join forces with the synths. They drive the track along to its powerful and energetic conclusion, leading you to think that in the year New Order reform, a new challenger to the old order may come in the shape of Dark Room Notes. If the rest of the album is as good as this track, then this could be the case.
Stabs of buzzing synths open We Got Love, which is a slightly quicker track, one with a ponderous, thoughtful sound. When the vocal enters, it too has a similar quality. Then, when the drums enter, a myriad of synths combine to produce a brighter sound, matched by the hope in the backing vocals. Meanwhile, the lead vocal is a mixture of power, emotion and hope, as they deliver some well written, thoughtful vocals. You can’t fault the passion and emotion in the vocal, while the backing vocals reflect this hope and have a crystalline quality, that reminds me of Liz Fraser or even Annie Barker. When all this is combined, the result is an impassioned and emotive slice of quality electro pop.
Baby Don’t Hurt Me No More was released as a single in early March 2012, and when you hear the track you’ll soon realize why. This is one of the highlights of Dark Room Notes. With a combination of synths and pounding drums the track opens, before giving way to a combination of a gorgeous, ethereal female and louder male vocal. Taken together, they sound a bit like New Order, more so with the wash of synths and drums that accompany them. If you shut your eyes, you think its Barney and Gillian from New Order. All that’s missing is Hooky’s trademark bass. However,
Dark Room Notes have two aces up their sleeve. These are the guitars that enter. They’re quick, chiming brightly, while drums pound and synths are key to the track’s success. Add to this the vocal, which is atmospheric, before bright synths replace it and a distant vocal augments the lead vocal. The result is a glorious, quite joyful sounding track, one of the album’s highlights.
An Alignment Part I opens with an echoey spoken word introduction, giving the track a space-age, sci-fi sound. Then synths and drums gives way to more shimmering synths, with the earlier space-age sound, becoming slightly foreboding until the vocals enter. Again, the male lead is accompanied by that sweet sounding female vocal. Gradually, the track starts to unfold, with the track losing some of its earlier foreboding sound. Synths and drum machines are key to an arrangement that then reveals several hooks. Although the track is quite unlike the previous track, it’s still got one thing in common…quality.
After An Alignment Part I comes An Alignment Part II, a track that opens with punchy drums and a male vocal. The vocal has the same quality as previous tracks, accompanied by booming punchy drums, backing vocals and washes of synths. As the track progresses, layer upon layer of the arrangement reveals itself. Quickly, the track grows in power, synths reverberating, while searing guitars join the mix, adding another layer of music. This also provides a contrast, while layers of synths, unravel gradually, as the track reaches a crescendo of powerful and uplifting music. It pounds and flows, with the vocals rejoining, but dominated by this wall of powerful, dramatic music.
Jumpstart (I Just Want Your Love) has an understated introduction before revealing a softer, more melodic sound. Similarly, the vocal is delivered in a softer, more tender style. At the end of each line, the vocal is answered by another male vocal. It’s then that the combination of synths, drums and backing vocals combines to produce a gentler, softer sound. The lead vocal has a breathy quality, perfect for the lyrics. This is very different to After An Alignment Part I, and in some ways, is the polar opposite. To me, this reveals a different side to Dark Room Notes’ music, one that comes as a very welcome and quite beautiful surprise.
As Melt This High Strangeness opens the wash of synths glide gracefully in, joined by pounding drums and the vocals. From there, the track almost explodes, revealing an anthemic quality. Stabs and flourishes of synth produce a crystalline sound, while the drums fade into the distance, before rejoining. They’re joined by banks of synths, who are responsible for the mainstay of the arrangement, while the drums are punchy. Later, guitars join, producing a powerful solo, soaring high above the arrangement. Here, indie rock meets electro and synth pop, to produce a six minute epic, laden with drama and moments of joy.
Closing the second album by Dark Room Notes’ Dark Room Notes is Pinecone, a track that has a broody, dramatic sound. It’s the quickest track on the album, where buzzing synths, powerful drums and guitars unite, before the vocal joins. It too has a broody sound, while the synths buzz and guitars play a bigger part in the arrangement, cutting in and out of the arrangement. As synths reverberate and muted guitars threaten to reveal their power, you feel the track is ready to almost kick loose at many moment. Will Dark Room Notes close the album with a bang? Eventually, they do kick loose, a fusion of power, drama and emotion, where guitars and synths combine with the impassioned vocals. Then after just under five minutes, the track is over, the group seemingly spent and exhausted after unleashing a dramatic, dynamic and powerful wall of music, where indie rock meets electro. What an impassioned way to close Dark Room Notes, with the group revealing that secretly, they’re partial to a little rock and roll, just don’t tell anyone.
Having enjoyed Dark Room Notes debut album We Love Dark Matter, it seems that Dark Room Notes well on the road to a successful career on Dark Room Notes. The album is crammed full of quality music, with the group fusing electro and synth pop, with even some indie rock thrown into the mix. On several of the tracks on Dark Room Notes, you can hear a real New Order sound shining through. Sometimes this is so strong that you think somehow, you’ve put on a previously unheard New Order album. That’s testament to the quality of the music on Dark Room Notes, that I’m making such a comparison. Dark Room Notes’ decision not to replace their drummer was a brave one, but the album doesn’t suffer for the absence of a drummer. In the right hands, which is the case here, a drum machine works well. The same can be said of the synths. Far too often, in the past thirty odd years I’ve heard synths used badly, but not here. Instead, it’s quite the opposite, with the synths key to the success of the album. Used correctly, like it is here, the results can be stunning. Another thing that I liked about the album, were the vocals, which bring the lyrics to life, combining emotion, joy, passion and thoughtfulness during the eight tracks. Truly, there isn’t a poor track on Dark Room Notes, with the group looking like having a bright and successful future ahead. I’m sure they’ll charm audiences at festivals in the UK and elsewhere during the summer months. By then Dark Room Notes will be in the shops, as it’s released on 14 April 2012 on BBE Music. However, having heard Dark Room Notes I can throughly recommend it to anyone who loves either electro, synth-pop or New Order. Should you be unable to wait until then to hear Dark Room Notes, then you can also check out Dark Room Notes’ debut album We Love Dark Matter. That’ll keep you occupied until the release of Dark Room Notes. Standout Tracks: Wallop Waves, We Got Love, An Alignment Part II and Pinecone.
DARK ROOM NOTES-DARK ROOM NOTES.
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THE STAPLE SINGERS-TURNING POINT.
THE STAPLE SINGERS-TURNING POINT.
The last time I reviewed an album by The Staple Singers was their 1972 album, Be Altitude: Respect Yourself, their most successful album, which included I’ll Take You There. It reached number one in both the US Billboard 100 and US R&B Charts, giving them their second US R&B number one single. However, a lot would happen to The Staple Singers over the next ten years. In 1975, their record label Stax folded, leaving The Staple Singers looking for a new label. They then signed for Curtis Mayfield’s Curtom label, where Let’s Do It Again reached number one in both the US Billboard 100 and US R&B Charts. After releasing just one album for Curtom, Let’s Do It Again, The Staple Singers changed labels again, releasing three albums for Warner Bros. between 1976 and 1978 and then one apiece for 20th Century and a newly reformed Stax in 1981. Then disaster struck for The Staple Singers in 1982, when they found themselves without a record deal, with the group believing that their age was a factor. Then, the label-less Staple Singers received a break in 1984, when they were signed by Private I Records, formed by Joseph Isgro, originally in partnership with CBS. Now that The Staple Singers had a new label, they’d begin writing and recording what would become Turning Point, which was rereleased by SoulMusic.Com on 26th January 2012. Turning Point was aptly titled, representing a turning point in the musical direction and sound, with The Staple Singers incorporating new ideas and instruments on the album’s eight tracks. Before I tell you about the music on Turning Point, I’ll tell you about the background to the album.
Now that The Staple Singers had signed their new recording contract, set about finding material and musicians for what would be their twenty-fifth album since their 1959 debut album Uncloudy Day. Eventually, eight tracks were chosen, including This Is Our Night, a track co-written by Mike Piccirillo and Gary Goetzman, previously a member of Chocolate Milk, who’d been hired by Private I to work with the group. One of the leftfield choices of songs was Slippery People, a Talking Heads track, with David Byrne laying down some funky guitars licks. Among the other tracks, Mack Rice wrote That’s What Friends Are For, Homer Banks and Carl Hampton cowrote Bridges Instead of Walls and L.J. McNally cowrote The Turning Point. With the eight songs chosen for Turning Point, recording would begin.
Recording of Turning Point took place at two studios. Six tracks on Turning Point were co-produced by Pervis Staples and experienced engineer Henry Bush at Memphis’ Ardent Recording Studios. Among the musicians who recorded the six songs were some of Memphis’ best session musicians. This included a familar face from The Staples Singers’ Stax days, former Bar Kays guitarist Michael Toles. The other two tracks, Slippery People and This Is Our Night were co-produced by Mike Piccirillo and Gary Goetzman at Can-Am Recorders in Tarzana, California. Now that the eight tracks that would become Turning Point were recorded, the album would be released later in 1984.
When Turning Point was released in 1984, it reached number forty-three in the US R&B Charts. Three singles were released from the album, with H.A.T.E. (Don’t Live Here Anymore) reaching number forty-six in the US R&B Charts. The second single Slippery People, a cover of a Talking Heads track, became a hit in clubs, reaching number four in the Top Dance Music/Club Singles Play Charts and number twenty-two in the US R&B Charts. This Is Our Night was the final single released from Turning Point, reaching number fifty in the US R&B Charts. Overall, The Staple Singers’ new sound on Turning Point had proved successful, but what does it sound like? That’s what I’ll now tell you.
Opening Turning Point is This Is Our Night, the third single released from the album, and one of two tracks co-produced by Mike Piccirillo and Gary Goetzman. This is an uptempo track, joyous sounding track, that has so much going for it. With Mavis, Cleo and Yvonne’s vocals accompanied by punchy drums, a wash of synths and the sultriest of saxophone solos that drifts in and out of the track, The Staple Singers produce music that’s contemporary and dance floor friendly. Add to that Pops vocal that makes an occasional appearance, providing a complete contrast the other three Staple Singers. However, what makes this one of the album’s highlights is the emotion, joy and passion in Mavis, Cleo and Yvonne’s vocals.
Back in 1972, when The Staple Singers released Be Altitude: Respect Yourself, they’d never envisage working with someone like David Byrne, never mind recording one of his tracks. Chalk and Cheese is the phrase that springs to mind. Twelve years later, music had changed, with The Staple Singer metaphorically and literally, reaching a Turning Point. Hence, the four Staple Singers and David Byrne in a California studio collaborating on Slippery People, which would turn The Staple SIngers into the doyen of clubland across America. The track has a classic eighties sound of synths and of drums, before Mavis vocal enters, accompanied by David Byrne’s funky guitar licks. Quickly, the vocal changes hands, Pops entering, while the rest of the group contribute joyous backing vocals. When the vocal drops out, a pounding bass and David’s frantic, funky riffs take over. From there the track reclaims its earlier joyful, sound when The Staple Singers do what they do best. For four minutes, you’re taken on a journey back to 1984, with some classic eighties dance-music, when Pops, Mavis, Cleo and Yvonne met David Byrne, and created a mini-musical masterpiece.
Bridges Instead Of Walls was co-written by Homer Banks and Carl Hampton who’d previously written so many classic tracks. Here, Mavis takes centre-stage, delivering one of her trademark heartfelt and fervent vocals. This she does against an arrangement that’s like her vocal, is steeped in drama. The arrangement sees the past and present unite, with the rhythm section combining with eighties synths and keyboards. Meanwhile, Chris Redding lays down some soaring guitar solos, while keyboards augment the guitar. Parts of the track contain a real vintage Staple Singers sound, and you’d be able to guess this was one of their songs. However, good as the arrangement is, Mavis steals the show, with a vocal that’s dramatic, and impassioned and heartfelt in its delivery.
When The Turning Point opens, is a mid-tempo track, combining an eighties sounding arrangement with elements of soul and funk. As the track opens, it’s synths and a rhythm section that sprinkles some funk that combine, before the soulful strains of The Staple SIngers, singing their trademark four part harmonies. Cleo, Pops, Mavis and Yvonne’s vocals compliment each other perfectly, with the vocal changing hands as the song progresses. Meanwhile the other three Staple Singers produce passionate and powerful backing vocals, which is reflected in the arrangement. When taken together, the result is a perfect example of what The Staple Singers having been doing so well since 1959, making music that’s full of emotion, passion and….soul.
As Right Decision unfolds, Pops Staples becomes a philosopher, pondering the questions people make in life. This he does against a wash of synths and drums, his vocal quite different from on other tracks. His vocal has a more contemporary style, and when Mavis enters, her vocal is deliver in sassy style. The arrangement is perfect for the track, the synths and drums, joined by a soaring, dramatic and crystalline solo from Chris Redding. Add to this punchy backing vocals, thoughtful, probing lyrics and a tempo of 125 beats per minute and the result is a philosophical, dance-track featuring the glorious vocals of The Staple Singers.
H-A-T-E (Don’t Live Here Anymore) was the first single released from Turning Point. It opens with a combination of synths, the rhythm section and fast, funky, chiming guitars, before Pops vocal enters. There’s a real eighties sound to the track, while the bass and guitar add some funk. Later, a wash of synths enter, as the other Staple Singers contribute backing vocalists, with Mavis’ powerful vocal soaring high. Augmenting this are some of the best guitar sounds on the album. Key to the success of this track, are the lyrics, which when Pops delivers them, makes you take notice. Add to this the soulful strains of Mavis, Cleo and Yvonne and you’ve got a song with an important message, one that will always be relevant.
The slowest and probably saddest song on Turning Point is On My Own Again. Again, Mavis takes over the lead vocal, demonstrating her beauty and emotion, while her delivery is heartfelt and moving. When the song opens, it’s a combination of power and drama, with the experience of the musicians shining through. With the rhythm section, percussion, piano and the lushest of sad strings combining, they’re joined the Mavis’ vocal. It’s raw, powerful and full of sadness and regret, as Cleo and Yvonne contribute backing vocals, as one the best tracks unfolds. Together, one of the best arrangements on Turning Point and Mavis’ vocal make this song a joy to behold.
Closing That’s What Friends Are For written by Mack Rice. The tempo increases, with the song very different from the preceding track. One thing it has in common is a quality vocal from Mavis. This she delivers an arrangement that has a real eighties sound, because of the combination of synths, keyboards and drums. However, this works, still sounding good nearly thirty years later, when combined with the power and passion of Mavis’ vocal. She sings of how she believes unquestionably, in unconditional love, while the rest of the group contribute backing vocals. Given the subject matter of the lyrics, and the sincerity in her voice, this is the perfect track to close Turning Point, The Staple Singers twenty-fifth studio album.
Although The Staple Singers career may have been at a real turning point when they found themselves with no record contract, due to record companies believing they were too old, they proved that this was far from the case. They grabbed the opportunity offered by the Private I label, and produced Turning Point, an album full of some hugely soulful music, with a contemporary twist. In some ways, they’d to reinvent themselves, making their music appealing to a new generation of music fans, who maybe, weren’t aware of their musical history. This they did, collaborating with David Byrne on Slippery People, which turned The Staple Singers into club sensations, with a new generation dancing to their music. Their new sound embraced the changes in music, embracing synths and Fairlights on Turning Point. However, some things didn’t change, with their music still featured the familiar sound of horns, strings and a tight rhythm section. On Turning Point, Mavis Staples especially, is at her very best, delivering her vocals using a combination of power, passion and emotion, judging her delivery perfectly. Whether it was joyous or heartfelt deliver, Mavis carried it peerlessly. That’s not to say Turning Point was just about Mavis. Quite the opposite Cleo, Pops and Yvonne all played their part in making Turning Point such a great album, with some compelling and timeless music on it. Turning Point was rereleased on 26th January 2012, by SoulMusic.Com and their rerelease features five bonus tracks. These include alternate versions of the singles Slippery People and H-A-T-E (Don’t Live Here Anymore), plus Can You Hang, a single which wasn’t on Turning Point. All this, plus the eight songs on Turning Point make this a very welcome rerelease of an album released when The Staple Singers themselves found their career at a turning point. Standout Tracks: Slippery People, Bridges Instead Of Walls, H-A-T-E (Don’t Live Here Anymore) and On My Own Again.
THE STAPLE SINGERS-TURNING POINT.
LINDA LEWIS-A TEAR AND A SMILE.
LINDA LEWIS-A TEAR AND A SMILE.
Twelve years after the release of her debut album Say No More released on Reprise in 1971, Linda Lewis was preparing to record her eighth studio album A Tear and A Smile, which will be rereleased on 2nd April 2012 by BBR Records. This would be Linda’s first album for four years, since 1979s Hacienda View. In the intervening years, Linda’s marriage to Jim Cregan had broken-up, with this affecting her creativity. However, help was at hand in the shape of Robin Blanchflower, former president of Ariola, who’d now founded Kaleidoscope Records. Robin would give Linda the opportunity to work with a producer she’d previously worked with, Bert DeCoteaux. He’d previously produced three tracks on Linda’s most successful album, 1975s Not A Little Girl Anymore. Instantly, Linda agreed, deciding Bert DeCoteaux could be the man who’d kick start her career. So, after signing to Kaleidoscope Records, Linda would head prepare to record her eight album, which would become A Tear and A Smile.
Recording for A Tear and A Smile would take place in New York, with Bert DeCoteaux producing the album. Previously, Bert had worked with a variety of artists, arranging and producing, with his credits including Marlena Shaw, Dexter Gordon, Diana Ross and The Manhattans. His work had previously encompassed jazz, soul, funk and disco, Bert was not only hugely experienced, but perfectly suited to Linda’s unique fusion of folk, funk, soul, pop and soul. In total, ten tracks were chosen for the album, with Linda writing two tracks I Can’t Get Enough and Sweet Heartache, while co-writing two others, This Boy and Why Can’t I Be the Other Woman. Among the other tracks chose for the album, were a cover of Jackie Ross’ 1965 Chess Records single Take Me Just A Little While. Eventually, seven tracks were recorded and produced by Bert. However, before the release of an album Why Can’t I Be the Other Woman was released as a single, securing airplay in UK radio stations, but failing to chart. Then when Robin Blanchflower’s Kaleidoscope Records negotiated a deal with CBS Records, Kaleidoscope became part of Epic. Now Linda found herself with an unfinished album, which was another huge setback to her comeback.
CBS decided that Linda should return to London, where she’d finish recording the album, with new producers. So, CBS hired another CBS act to produce the remaining tracks. These were Colin Campsie and George McFarlane of The Quick Association. They’d produce three tracks, This Boy, (Close the Door) Take Your Heart and I Am What I Am. Now that the album was finished, what would be Linda’s first and only album for Epic, A Tear and A Smile would be released.
A Tear and A Smile was released in 1983, but although well received, sadly, failed to chart. Neither did (Close the Door) Take Your Heart nor This Boy, the second and third singles released from A Tear and A Smile. This wan’t just a blow to Linda’s comeback, given the quality of the music, but producers Bert DeCoteaux, The Quick and of course, Epic Records. However, although the album failed commercially, it was nothing to do with the music on A Tear and A Smile, as I’ll now explain.
Opening A Tear and A Smile is Destination Love, and the first difference that I notice from Say No More is the change in style and the production style. The track has a much more uptempo, dance-floor friendly style, with Bert DeCoteaux giving the track his polished style. Written by Diane Warren, a funky rhythm section, keyboards and guitars combine, before Linda’s gentle, beautiful vocal enters. She’s accompanied by backing vocalists, with a prominent male vocalist playing in important part. Over nearly four minutes, Linda is transformed almost into a disco diva, while her band is tight, as they combine funk and disco. By the end of the track, Linda is almost unrecognisable from her debut album, with this one of the best tracks on the album.
Straight away, it’s noticeable that I Am What I Am has a slightly, heavier sound, with the arrangement still funky, but relying more on keyboards and synths. They’re accompanied by punchy, blazing horns and the rhythm section, while Linda’s vocal is stronger, although she doesn’t unleash her five octave vocal. Later, a funky slap bass enters, providing a contrast to the synth and keyboard heavy arrangement. The reason for the change in the sound of the arrangement is that this was one of the arrangement by The Quick Association. Although the sound and is different to Bert DeCoteaux’s, it’s still a good track with its eighties sound, while Linda’s vocal is powerful and impassioned.
Take Me For A Little While is another of the seven Bert DeCoteaux produced tracks, and is a slower track, where Linda gives one of her best, and most emotive vocals on A Tear and A Smile. She starts of with a tenderness and sadness in her vocal, while the arrangement is a combination of the rhythm section, keyboards and strings, before subtle backing vocalists enter. After a minute, Linda’s vocal starts to grow in power, as the emotion also rises. Still, the arrangement has an understated and pensive sound, made all the better by the addition of the tender backing vocalists. They combine beautifully with Linda, resulting in song that’s thoughtful, but emotive, but quite beautiful.
Stabs of synths open Don’t Let It Go, before the rhythm section and guitars join. They’re followed by Linda’s joyful and sweet vocal, while percussion and backing vocalists augment the arrangement. Here, Linda gets a chance to display her wide vocal range, her voice soaring during the track, while a wash of synths and the rhythm section combine behind her. Like the previous track, the backing vocalists combine well with Linda, responding to her vocal with an emotive, soulful sound. Although the arrangement relies heavily on synths and keyboards, this works well, and has aged well, resulting in a catchy sounding track, made all the better by Linda’s stirring, passionate vocal.
You Don’t Know What You’re Missing has a really polished, professional sounding arrangement and production, from Bert. Add to that a soulful and tender vocal from vocal from Linda, sung against a slow arrangement, where the rhythm section, percussion and keyboards and augmented by lush strings and backing vocals. As Linda sings, the arrangement meanders behind her, revealing its beauty and subtleties. The result is one of the most beautiful tracks on A Tear and A Smile, one which demonstrates just how talented a vocalist Linda Lewis is.
Having to follow such a gorgeous track as the previous one won’t be easy, but the track that has to do that, is (Close the Door) Take You Heart Out, another of the three tracks produced by The Quick Association in the UK. Again, they rely upon synths as the track opens, which are accompanied by the rhythm section and piano. When Linda’s vocal enters, it’s gentle, but quickly grows in power. Her vocal is multi-tracked resulting in a wall of powerful vocals combining, resulting in an eighties power-ballad style. Meanwhile a rocky sounding guitar solo accompanies the vocal, drifting and out of the track, as do the multi-tracked vocals. The result is a track that’s a fusion of rock, eighties synth-pop and even power-ballads, displaying a very different side to Linda Lewis and A Tear and A Smile.
As I Can’t Get Enough opens, Linda’s vocal sound not unlike Minnie Riperton. This has been the case on several tracks, but is really apparent here. Another similarity is their vocal range, spanning over five octaves. On this track, Bert’s production results in a smooth sounding track, with a contemporary sound. With a myriad of strings, a rhythm section that combines funk and soul and a piano that drifts in and out the track, Linda delivers another emotive, impassioned vocal. Again, she’s accompanied by backing vocalists, before during a breakdown, an eighties sounding keyboard solo enters. However, overall, the result is a quite beautiful sounding song, one that’s the perfect platform for Linda’s lovely vocal.
Very different from the previous track is the final track produced by The Quick Association, This Boy. It’s a quicker track, where Linda’s powerful vocal is accompanied by a driving rhythm section, punchy, blazing horns, synths and keyboards. However, with backing vocalists accompanying Linda’s joyous, powerful vocal, the result is a catchy track, and the best of the trio produced by The Quick Association.
Why Can’t I Be the Other Woman was originally recorded by Jackie Ross in 1965, on Chess Records. Here, the track is given a smooth eighties makeover, and slowed down to 70 beats per minute. This is the slowest song on the album, with an understated arrangement, that’s allows Linda’s vocal to take centre-stage. It’s just the rhythm section, keyboards, percussion and strings combine, before Linda’s vocal enters. It ranges from a gentle, questioning style, soaring high and powerfully, full of frustration and emotion, against a string laden backdrop, that also includes backing vocalists. Bert DeCoteaux’s production’s is perfect for the song, while Linda delivers the lyrics with feeling, emotion and passion.
Closing A Tear and A Smile is Sweet Smile, one of only two songs Linda wrote herself. The other was I Can’t Get Enough one of the most beautiful songs on the album. Hopefully, this track will be just as good. Opening subtly, with just percussion and keyboards, Linda’s tender, heartfelt vocal enter, before guitars and the rhythm section join. They’re followed by lush strings, before a slap bass injects a sprinkling of funk into the track. Subtle, soulful backing vocalists augment Linda’s vocal, which is a mixture of tenderness, feeling and beauty. After having wondered whether Sweet Smile matched the quality of I Can’t Get Enough, I’m pleased to say it did, demonstrating not just Linda’s talent as a singer, but as a songwriter too.
Having recently reviewed Linda Lewis’s debut album Say No More, which was released in 1971, Linda’s music had changed by 1983 and the release of A Tear and A Smile. Gone was the folk and pop sound, replaced by soul, funk and even disco, with Bert DeCoteaux adding a sophisticated and polished production. One thing that hadn’t changed was Linda’s voice, which was still emotive, impassioned and beautiful, capable of delivering a variety of songs with aplomb. These include the disco sound of Destination Love, while Take Me For A Little While, You Don’t Know What You’re Missing, Can’t Get Enough, Why Can’t I Be the Other Woman and Sweet Smile are a combination of soulful sounding songs, which sometimes are infused with a modicum of funk. What’s noticeable is the change in style with the trio of tracks produced by The Quick Association. They’ve a different style and sound, with the sophisticated and polished sound produced by Bert DeCoteaux, replaced by an eighties synth and keyboard sound that was really popular in 1983. There’s nothing wrong with this production style, but you can quickly tell when the producer changes. The best of the three songs produced by The Quick Association is This Boy, which has a really joyful sound. Comparing the two production styles is an interesting exercise, but one that will depend upon your preference. However, A Tear and A Smile is a good album from Linda Lewis, one that anyone who either loves either Linda’s music, or anyone who loves good quality soulful music should seek out. A Tear and A Smile will be rereleased by BBR Records on 2nd April 2012, with five bonus tracks included on their remastered release. This will a very welcome rerelease of one of Linda Lewis’ best albums, A Tear and A Smile. Standout Tracks: Destination Love, You Don’t Know What You’re Missing, Why Can’t I Be the Other Woman and Sweet Smile.
LINDA LEWIS-A TEAR AND A SMILE.
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