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