PETER JACQUES BAND-FIRE NIGHT DANCE.
PETER JACQUES BAND-FIRE NIGHT DANCE.
Between 1979 and 1985, the Peter Jacques Band released a trio of albums, starting with Fire Night Dance, which was rereleased by BBR Records in November 2011. After this followed 1980s Welcome Back and then, five years later, the group’s final album Dancing In the Street. Of these three albums, Fire Night Dance is perceived as a disco classic, one which features the vocals of Leroy Burgess, who before this, had been a member of Black Ivory. Together with Mauro Malavasi and Jacques Fred Petrus, Leroy Burgess created probably, the Peter Jacques Band’s finest moment, Fire Night Dance. Although Fire Night Dance only features four tracks, they’re four of the finest Italo-disco tracks of the late seventies. Before I tell you about the music on Fire Night Dance, I’ll tell you about the Peter Jacques Band and how they came to make a disco classic.
During the late seventies the sound of Eurodisco was a familiar sound, not just throughout Europe, but in the US too. Producers like Giorgio Moroder were among the best known purveyors of the Eurodisco sound. Groups like The Three Degrees and Donna Summer had fallen under his spell, resulting in massive hits for both artists. One man paying attention to Eurodisco’s popularity was Jacques Fred Petrus. Fred was a man who loved soul music, and used to include soul music in his DJ sets. This was very different to his former job as a ship mechanic. Having arrived in Bologna, Italy, Fred opened a record shop Goody Music, which was a part of the US chain Sam Goody. Little did Fred know it, but this would lead to him later launching his own record label, which would become established both sides of the Atlantic.
Having opened Goody Music, Fred decided to diversify, using the profits from his shop. His partner in the newly formed Goody Music Productions, launched in 1978, was Mauro Malavasi, a hugely talented musician. The new label operated as both a production and publishing company. Goody Music Productions first success was Macho’s I’m A Man, which was licensed in the US through their own offices. Originally, the track had been released as a B-side of a single by The Spencer Davis Group. However, this was something very different, something that proved hugely popular and attracted the attention of Prelude Records, where Patrick Adams was based. Patrick would help Goody Music get his old friend Leroy Burgess onboard for their next project, which would be the Fred Jacques Band.
Before Leroy was hired as lead vocalist of the Fred Jacques Band, Mauro Malavasi had been busy recording instrumental tracks at the Fonoprint Recording Studios in Bologna. With a team of musicians that included a rhythm section of bassist Davide Romani, drummer Gabrielli Melotti and guitarist Fabbri Giorgino, plus saxophonist and percussion player Rudy Trevisi. These musicians were augmented by the Goody Music String Ensemble and backing vocalists. It seems that Mauro was intent on creating his version of M.F.S.B. in Bologna, who recorded the instrumental tracks over which Leroy Burgess would add his vocal.
With the backing tracks completed, Leroy Burgess was hired on a one-day deal to sing lead vocalist for the Fred Jacques Band, Mauro Malavasi had two songs for him to sing on. These were recorded at Sigma Sound Studios in New York, scene of so many famous recordings. Over just one day, Leroy Burgess, ever the consummate professional, laid down his vocals. Now that the four tracks were completed, the Fred Jacques Band would release their debut album, Fire Night Dance.
On the released of Fire Night Dance on Prelude Records in January 1979, the album reached number six in the US Disco Charts. Two singles were released from the album, but neither Walking On Music nor Fire Night Dance charted, although both were hugely popular in clubs. However, critics loved Fire Night Dance, praising not just its style, but its sound and quality. It seemed they recognized Mauro Malavasi’s talent as composer, arranger and producer. However what does Fire Night Dance sound like, that’s what I’ll now tell you.
Opening Fire Night Dance is the first of two singles released from the album Walking On Music. The track opens with synths, before pounding drums drive the track along. From there, the lushest of cascading strings and synths join the mix, before female backing vocalists enter. They help to create a joyous, uplifting sound, while behind them, the tempo is really quick at 136 beats per minute. This works really well with the catchy sound of the arrangement and vocal. Later, a percussive breakdown allows dancers to get their breath back. However, respite is brief, as the drums kick in, driving the track along, with the tempo just as quick. Together with synths, the rest of the rhythm section, keyboards and the backing vocalists, this hugely catchy, hook laden track heads towards the finish. Listening to this track, it’s hard to believe that it’s thirty-three years old, given its timeless sound. It truly is a hidden gem of a disco classic.
Devil’s Run opens with crisp, crunchy drumbeats, moody synths and an equally broody bass. Then when strings cascade in, to be joined by backing vocalists the earlier darkness is replaced, especially when blazing horns enter. They signal the arrival of Leroy Burgess’ vocal, with his delivery quick. His vocal is high, laden with emotion, as he delivers the vocal at breakneck speed. Meanwhile, the arrangement is a mass of crisp drums, blazing horns, percussion, swirling strings and synths, with Leroy accompanied by backing vocals. It’s impossible not be swept away by this irresistible sounding track. Gradually, it draws you in, until resistance is hopeless as the arrangement combines the lush strings of a Philadelphia International arrangement with the tempo of a Hi-NRG track. This is a potent combination, which will sweep you up after tempting you with its irresistible charms.
The title track Fire Night Dance was the second single released from the album, as is a track that sees the tempo rise to 132 beats per minute. Starting off with percussion and pounding drums, synths sidle in, starting off low and slow, before growing in power. They’re accompanied by a funky bass, cascading, swirling strings and braying horns, before Leroy’s vocal enters. It’s impassioned and emotive, with the quality you’d expect from a vocalist as talented as Leroy. As strings sweep and swirl, horns rasp, synths atmospherically slide in and out of the arrangement. Meanwhile drums pound, before percussion joins the fray, while the arrangement grows, now featuring a glorious sound that’s the result of Mauro’s skills as arranger and producer. There’s everything you could want and more in this arrangement. Whether its lush strings, blazing horns, a tight but funky rhythm section and a healthy sprinkling or percussion, it’s all here and more, including the vocal of Leroy Burgess. This leads you to wonder if you’ve entered disco heaven?
Closing Fire Night Dance is Fly With the Wind, a track that has a real Italo-disco sound. It’s a combination of synths and crunchy, pounding drums that open the track, before a wash of atmospheric sounding synths enter. This produces a contrast to the synths and drums that drive the track along. Another contrast is the female backing vocals that enter, they’re dramatic, delivered quickly, with a touch of echo used on them. By now, you realize that this is quite a different track, both in style and sound. Gone are the lush strings and blazing horns, replaced by just synths and drums, plus much later, percussion. Taken together, this offers a much more moderne, technological based sound, due to the reliance on synths. Here, the Peter Jacques Band explore the Eurodisco sound, combining it with the nascent technology that became available during the seventies, and pioneered by groups like Kraftwerk. When it’s all combined, it works well, resulting in a track that’s got a real Italo-disco sound throughout the arrangement, and is made all the better by the addition of the female backing vocalists.
Having spent some join reveling in the sound of Peter Jacques Band’s debut album Fire Night Dance, I can very definitely say that this is an absolute classic an album, one that combines Italo-disco and the classic American disco sound. Fire Night Dance belongs in the collection of anyone who loves disco music. A mark of the quality of the music on Fire Night Dance, is that Leroy Burgess sings vocals on both Devil’s Run and Fire Night Dance. The addition of Leroy’s vocal adds to the quality of otherwise excellent tracks. Three of the tracks have Walking On Music, Devil’s Run and Fire Night Dance have a more traditional American disco sound, while Fly With the Wind has a much more Eurodisco, Italo-disco sound. Of the trio of albums the Peter Jacques Band released during their six year lifetime, Fire Night Dance is, in my opinion, the best of these three albums. Last year, in November 2011 Fire Night Dance was remastered and rereleased by BBR Records, including seven bonus tracks, with single and disco versions of Walking On Music, Fire Night Dance and Fly With the Wind included. All of this makes BBR Records rerelease of the Peter Jacques Band debut album Fire Night Dance the ideal opportunity to either rediscover or discover a classic disco album either again or for the first time. Standout Tracks: Walking On Music, Devil’s Run, Fire Night Dance and Fly With the Wind.
PETER JACQUES BAND-FIRE NIGHT DANCE.
NONA HENDRYX-NONA.
NONA HENDRYX-NONA.
After recently reviewing the ZE Records Story 1979-2009, which featured Bustin’ Out by Material featuring Nona Hendryx, one of the highlights of the compilation, I decided that I’d review Nona’s 1983 album Nona, released on RCA. This was Nona’s second album since leaving Labelle, an all-girl group which featured Patti La Belle, Sarah Dash and Nona. By 1976, amid musical and personal tensions, the Labelle decided to split-up. At the heart of their disagreements were the future direction of the group, which had released albums ranging from rock, soul, funk and R&B. Their most successful single was 1974s Lady Marmlade, which reached number one in the US Billboard 100 and US R&B Charts. This was from their 1974 platinum selling album Nightbirds, which reached number seven in the US Billboard 200 and number four in the US R&B Charts. However, that was all in the past, when in 1976, Labelle went their separate ways, with each member embarking on a solo career. First stop for Nona Hendryx would be Epic Records, where she’d record her debut album Nona Hendryx. However, when Nona’s debut album failed commercially, it would another six years before she’d record her second album, Nona, which was recently rereleased in Funkytowngrooves on 12 March 2012. Before I tell you about Nona’s second album Nona, I’ll tell you about her musical career.
When Nona left Labelle, it would be the first time she’d ever recorded an album as a solo artist. Previously, she’d always been part of a group, starting out with a short lived spell as a member of Del-Capris. After this, Nona aged just seventeen became a lead singer of The Ordettes in 1961. The Ordettes featured Patti La Belle, Sarah Dash and Nona. Later, in 1962, a fourth member would join the group, Cindy Birdsong. After their debut single I Sold My Heart To the Junkman became a hit in 1962, the group changed their name to Patti La Belle and The Bluebelles. Then in 1967, disaster struck for the group, when Cindy decided to join The Supremes. This happened to coincide with a change in musical tastes. Suddenly, girl groups like The Chantels, The Supremes and Patti La Belle and The Bluebelles weren’t so popular. Deciding that a move to England might rejuvenate their career, Patti La Belle and The Bluebelles moved to England in 1971, where they’d gained a cult following.
Now based in England, Vicki Wickham set about changing the group’s image. This lead to a new name Labelle. Patti La Belle was resistant to the change of name, image and sound, but eventually agreed. This was to prove to be a wise move for Labelle. Between 1971 and 1976, they released six solo albums, plus 1971s Gonna Take A Miracle with Laura Nyro. Only 1973s Pressure Cooker failed to chart in the US R&B Charts, with the other albums all proving successful. Most successful was 1974s Nightbirds, which featured their number one single. It reached number seven in the US Billboard 200 and number four in the US R&B Charts. However, just two years after this, Labelle split, amid tensions and recriminations. Now that Nona was now a solo artist it was her chance to take centre-stage.
Although Nona Hendryx released her debut album Nona Hendryx in 1977, it would be another six years until she released the follow-up Nona. Nona’s debut album hadn’t been a commercial success, resulting in Epic dropping her from the label. After this, Nona recorded four singles for London based label Arista, before singing backing vocals for Talking Heads and touring with them. Nona’s also worked with Dusty Springfield, during her 1978 comeback. Nona wrote Checkmate, from Dusty’s It Begins Again album. It was during this period that Nona became lead singer with Zero Cool and with experimental funk group Material, who had a huge club hit with Busting Out. Two further club hits would follow for Nona, with a remake of The Supremes Love Is Like An Itching Heart. Her second club hit was when Nona sung lead vocal on The Cage’s Do What You Wanna Do. All this success must have played its part in Nona receiving a new recording contract with RCA. Now six years after her debut solo album was released, Nona would record her second album, hoping that it would fare much better than Nona Hendryx did in 1977.
For recording of Nona, Nona would assemble an all-star cast of musicians, which would include pianist Valerie Simpson, drummers Trevor Gale and Sly Dunbar, bassist Trevor Gale and percussion player Daryl Burgee. Add to this Niles Rodgers playing guitar on Keep It Confidential and Laurie Anderson playing violin on Design For the Living and Nona featured some of the best musicians in America and beyond. Not only did Nona played synths on the album, but she co-produced the album, along with Material, with whom Nona had collaborated with. In total, eight tracks were recorded, which would become Nona, an album that combined electro, synth pop, disco and rock.
On the release of Nona in 1983, it’s much more modern dance sound fared better than her debut album. It reached number eighty three in the US Billboard 200 and number twenty-five US R&B Charts. Critics also liked the album, believing that Nona’s second album was much more in keeping with the music of 1983. Two of the tracks from the album gave Nona chart success. Keep It Confidential gave Nona a minor R&B hit, reaching number ninety-one in the US Billboard 100, number twenty-two in the US R&B Charts and number twenty-five in the US Club Charts. B-Boys was remixed and became a huge success in clubs, reaching number twenty-five in the US Club charts. Overall, Nona Hendryx’s second album Nona, had proved to be the success that her talent warranted. However, what does the music on Nona sound like? That’s what I’ll now tell you.
Opening Nona is B-Boys, one of the two singles released from the album. Daryl Burgee play percussion and Kashif of BT Express plays keyboards alongside Raymond Jones. When the track opens, it’s a beefy, bass line, keyboards and guitars that combine. They give way to Nona’s vocal, which is sassy, and temporarily shrouded in echo. Accompanying her vocal is percussion, stabs of keyboards and the rhythm section, while backing vocalists augment Nona’s powerful, confident vocal. There’s a real funk sound to this dance track, with the echo that’s used on Nona’s vocal working well. Partly, this is because it’s used sparingly and effectively. A combination of some catchy lyrics, an arrangement that combines dance music with funk, and of course Nona’s powerful, sometimes sassy vocal all contribute to making this one of the album’s highlights.
Living On the Border sees the tempo increase to 116 beats per minute on a track that features a combination of rhythm section, guitar, keyboards and punchy, backing vocalists. Like the opening track, Nona’s vocal is powerful, laden with passion and emotion, as the backing vocalists respond to Nona’s call. Meanwhile, the arrangement is perfect for Nona’s vocal and the lyrics. It’s equally powerful, with the rhythm section accompanied by guitar keyboards and punchy backing vocalists, that join with Nona. Later, a rocky guitar solo from Ira Siegel is unleashed, as it weaves its way across the arrangement, adding to the drama of the track. Although quite different from the opening track, with its much more rocky sound and arrangement, not only has it a similar quality to the preceding track, but features some of the best lyrics on the album.
Keep It Confidential was the most successful single released from Nona, and once you’ve heard the track you’ll realize just why. After an understated opening where just keyboards slowly and dramatically play, Nona’s vocal enters. It’s gentle and thoughtful, but quickly grows in power and emotion, as the track starts to grow, gradually revealing its charms and beauty. The keyboards, rhythm section and guitar played by Niles Rodgers combine, as Nona’s vocal is powerful, full of emotion and feeling. She’s accompanied by hugely soulful backing vocalists, as the track combines a soulful vocal with a dance-floor friendly tempo of 123 beats per minute. Later, Kashif and Kenni Hairston’s keyboards combine, with the backing vocalists punchy, soulful interjections, before Nona’s vocal rejoins. These backing vocalists match Nona every step of the way for soulfulness, passion and emotion, and are key to this track’s success as a single. Not only that, but nearly thirty years later, it still sounds just as good, if not better.
Design For Living features two other hugely successful female artists in Valerie Simpson on piano and Laurie Anderson on violin. After a hesitant start, one of the most beautiful songs on Nona unfolds. Key to this success is Valerie Simpson’s paino playing which accompanies Nona’s thoughtful, beautiful vocal. As the song progresses, the arrangement and Nona’s vocal grows. The rhythm section, gospel tinged backing vocalists, Valerie’s piano and Laurie’s violin combine. Add to this a rocky guitar solo from Nancy Wilson and the result is a beautiful, dramatic and impassioned track, with an arrangement that features an all-star cast of female musicians.
Transformation is an aptly titled track, as the album has undergone a transformation over the last few tracks. From the rocky sounding Living On The Border to the dance-floor friendly Keep It Confidential and B-Boys to the beauty of Design For Living, this is an album of a variety of styles. Here, the track opens with squelchy sounding synths, keyboards and pounding drums played by Sly Dunbar. This gives the track a real eighties sound. When Nona’s vocal enters, her vocal is strong and impassioned, accompanied by punchy, yet soulful soaring backing vocals. Nona’s new, and latest sound works well, especially with Sly’s drumming and the wash of synths and keyboards that accompany her vocal. Add to this a mid-tempo arrangement, and you’ve the recipe for a track that with a real classic eighties sound.
After the mid-tempo previous track, Run For Cover sees the tempo increase, to 116 beats per minute, on a track that marries an eighties electronic sound with rocky guitars. This is similar to Living On The Border. Opening with rocky sounding guitars, rhythm section and keyboards, Nona’s vocal is softer, accompanied by dramatic backing vocalists. Meanwhile, Kevin Staples sprays his rocky guitar sound throughout the arrangement, while drums and bass pound and keyboards provide a contrast. For four and a half minutes, the arrangement is loud, powerful and dramatic, as Nona and her band combine an eighties electronic sound with rock music. Not only does this work well and sound great, but demonstrates Nona’s versatility as a singer, musician and producer.
On Steady Action we hear the return of drummer Sly Dunbar on the slowest track on the album. The track is just seventy-five beats per minute, with Sly laying down some slow, thoughtful beats, while Nona’s gives one of her best vocals on the album. Her vocal veers between gentle and thoughtful, to an impassioned and powerful style. Meanwhile backing vocalists accompany her throughout, their voices fusing perfectly with Nona’s. Meanwhile horns that sometimes, sound as if they belong on a reggae album augment the arrangement. All this works well, combining to produce a track that demonstrates a very different, impassioned and quite beautiful side to Nona’s music.
Closing Nona is Dummy Up, which opens with a keyboard solo, before the rhythm section and further keyboards enter. For a moment, Nona sounds a bit like Pat Benetar, as her vocal begins. It’s powerful, full of emotion, while backing vocalists augment her vocal. The arrangement mixes a punchy, dramatic sound where keyboards and the rhythm section are key to the sound. Later, a funky bass line makes an appearance, before quickly disappearing, as Nona and her punchy, backing vocalists take centre-stage on a track that has a slightly moody, broody and dramatic electronic sounding arrangement that’s perfect for Nona’s dramatic, powerful delivery of the lyrics.
I’ve really enjoyed reviewing Nona Hendryx’s second solo album Nona, an album that’s made up of an eclectic selection of music. This includes dance-floor tracks like Keep It Confidential and B-Boys to the fusion eighties electronic sounds and rock guitars of Transformation and Living On the Border. That’s not forgetting the beautiful sounding Design For Living featuring Valerie Simpson on piano and Laurie Anderson on violin, which to me, is the most beautiful sounding track on Nona. Then there’s the laid-back sound of Steady Action featuring Sly Dunbar on drums, which features an impassioned and quite beautiful side of Nona Hendryx’s music. All of this demonstrates that Nona Hendryx is a singer, musician and producer whose not only versatile musically, but equally comfortable delivering a variety of styles of music. Some artists have a comfort zone, and are unable to operate out-with this musical comfort zone. Not Nona Hendryx though, her previous experience working and collaborating with a variety of artists and musicians helped her create such an eclectic sounding and quality album. This was the result of Nona’s twenty-two years experience of being a recording artist, which had seen her work with various singers, musicians and producers. Thankfully, Nona is available again, after being unavailable for far too long. It was rereleased by Funkytowngrooves on 12 March 2012, together with seven bonus tracks. These are remixes and single versions of B-Boys, Keep It Confidential, Steady Action and Transformation. When this is combined with the eight tracks that feature on Nona, then this is an album that’s well worth either rediscovering or discovering. Nona is a great album, one which will either appeal to anyone who either enjoys soul, dance and eighties new wave music. Standout Tracks: B-Boys, Keep It Confidential, Design For Living and Steady Action.
NONA HENDRYX-NONA.
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JUMPIN.’
JUMPIN.’
Since 1995, Harmless Records have been releasing an eclectic selection of compilations. This has ranged from their highly successful funk, soul and jazz compilations Pulp Fusion to compilations, to compilations of breakbeats and Latin music. However, over the past few years, Harmless Records have also released a number of quality disco compilations, including their highly successful Disco Discharge series, which they started in 2009. Now, given that I’m a huge fan of disco, and always on the look out for quality disco compilations, I’ve bought every one of these compilations. It seems that in the last few years, Harmless Records have become one of finest purveyors of quality disco delights, loved by disco dilettantes everywhere. Back in 2010, as part of their fifteenth birthday celebrations, Harmless Records released another of their famous disco compilations Jumpin,’ a two-disc set crammed full of quality disco music. This was a combination of some familiar tracks and hidden gems, spread over two discs. In total, there are twenty-four tracks, with tracks from labels that includes Philadelphia International Records, Salsoul, West End Records, Vanguard and Philly World Records. Among the familiar names are the Salsoul Orchestra, Loleatta Holloway, Jean Carn, Skyy, Inner Life, Leroy Burgess, Terri Wells and Harold Melvin and The Blue Notes. Truly, what more can you ask for than two dozen disco delights, from some of the greatest labels and artists of the disco era. Even trying to choose just a few tracks to review won’t be easy, given the quality of music on Jumpin.’ However, after much indecision and thought here are the best tracks from Jumpin.’
DISC ONE.
Disc One of Jumpin’ sees some familiar favorites of the disco era, with seven of the tracks from Salsoul Records. This includes the Dreamin’ by Salsoul Orchestra featuring Loleatta Holloway, Skyy’s First Time Around, Logg’s I Know You Will and Inner Life’s First Time Around. Vanguard Records provide a trio of tracks, including The Nobles’ Jealousy, Rainbow Brown’s Till You Surrender and Fonda Rae’s Over Like A Fat Rat. The lone track from Philadelphia International Records is Jean Carn’s Was That All It Was, a hugely underrated track from Jean. With so many great tracks from great labels and artists, choosing the highlights wasn’t easy, but here goes.
My first choice from Disc One of Jumpin’ is a track that’s definitely deserving of the word classic, Dreamin’ by the Salsoul Orchestra featuring Loleatta Holloway. Released in 1976 on Salsoul Records, this was a track from Loleatta’s third album, Loleatta, released in 1976. Produced by Baker, Harris, Young this is the original album version of the track. Here, Loleatta delivers a sassy vocal, before vamping her way through the track. With the Salsoul Orchestra accompanying her, everything is in place for a seminal disco track. Cascading, swirling strings, Earl Young’s legendary drumming, percussion, Ron Harris’ bass and then Norman Baker’s guitar give way to Loleatta’s impassioned, sassy vocal. After this, Loleatta gives a masterclass of a vocal, accompanied by some soulful backing vocalists. Add to all this Vince Montana Jr.’s vibes, plus blazing, dramatic horns that punctuate the track and you’ve the recipe for not just one of the greatest disco tracks of the seventies, but a track with a totally timeless sound.
I’ve always thought that Jean Carn was one of the most underrated vocalists on Philadelphia International. During her time on Philadelphia International she released three albums, with Was That All It Was a track from her 1979 album When I Find You Love. This track was produced by Jerry Butler, with the original 12” mix featuring on Jumpin.’ It features swathes of swirling and sweeping strings that envelop Jean’s impassioned and emotive vocal. This is all to come though, with the track having an understated opening, with just the percussion and drums opening the track, as synths reverberate above the arrangement. The bass enters and the track starts to take shape. Jean’s vocal grows in power and emotion, as the strings enter and the rhythm section help drive the track along. Later, blazing horns enter, completing what is a stunning, dance-floor friendly track from Jean Carn and confirmation if it was needed, of just how good a vocalist Jean Carn was in her Philadelphia International days.
Another track from the Salsoul label is Skyy’s First Time Around. This is form Sykk’s debut album Skyy, released in 19879. First Time Around was released in May 1979 and the version on Jumpin’ is the original 12” mix. Opening with just a wandering bass, a male vocal enters, before sizzling guitars, cascading strings and pounding drums combine. The arrangement is dramatic, with sweet, sensuous vocals drifting in and out of the track. There’s a different sound to this track, with rocky guitars providing a contrast to the lushness of the strings and the pounding drums. There’s even synths which occasionally reverberate above the arrangement, as the track reveals its charms and secrets. Much as I like various remixes of the track, for me the original is still my favorite.
Inner Life’s Moment of My Life was released on Salsoul Records in 1982. This was a track from Inner Life’s third and final album for Salsoul Inner Life II. Arranged by Leroy Burgess, who co-produced the track with Greg Carmichael, it features a stunning, diva-esque vocal, full emotion and passion, delivered with power. This is delivered against a backdrop of crunchy drumbeats, percussion, keyboards and the funkiest of bass line, while gospel tinged backing vocalists augment the lead vocal. The tempo is 114 beats per minute and like so many of the Salsoul releases, is just a quality slice of disco, with elements of funk and soul featuring in Leroy’s fantastic arrangement. Of all the tracks on Disc One of Jumpin,’ this is one of the best.
Rainbow Brown’s Till You Surrender is a track originally released on Vanguard Records. This was from the group’s only album Rainbow Brown released in 1981 and featuring the vocals of Fonda Rae. Written, arranged and produced by Patrick Adams, who also plays keyboards on the track, this original twelve inch mix is one of the highlights of Disc One of Jumpin.’ Opening with a glorious myriad of cascading, swirling strings, rhythm section and backing vocals, a flourish of keyboards and punchy, blazing horns give way to Fonda’s vocal and we’re in disco heaven. Fonda’s vocal is sweet, soulful and full of passion, as the strings sweep and swirl behind her, as the arrangement becomes dramatic and punchy. With equally soulful backing vocalists including Lucy Martin, Yvonne Lewis, Christine Wlitshire and Ullande McCullough accompanying Fonda, everything is in place for a classic disco track to unfold. This is indeed the case on a track combines elements of soul and funk, on its way to producing a heavenly slice of delightful disco.
So good was the previous track that featured the vocals of Fonda Rae, that I had to include her track 1982 track Over Like a Fat Rat released on Vanguard Records. This is the original twelve inch mix of track arranged by Leroy Burgess and produced by Bob Blank, and is a quite different track to the Rainbow Brown track. Gone is the big, fuller production style, replaced by a track that allows Fonda to display her diva-esque vocals. As the track opens it’s just a lone bass that you hear, before a drum, piano and handclaps enter. From there, the track begins to reveal its secrets. Keyboards join the mix, then Fonda’s vocal, which is laden with emotion, as she begins to reveal a powerful and impassioned vocal. Here, the tempo is slower than the Rainbow Brown track, just 105 beats per minute. However, one thing stays the same, the quality of Fonda’s vocal and similarly, the quality of the arrangement. It’s what you’d expect from Leroy Burgess, and what you’d expect on a track baring the label Vanguard Records.
Choosing just six tracks from Disc One of Jumpin’ wasn’t an easy exercise. However, I eventually settled on a trio from Salsoul Records, a duo from Vanguard Records and one from Philadelphia International. In choosing these tracks, I had to omit quality tracks from Donna McGhee, Love Committee, The Nobles and Skip Mahoney. That just demonstrates the consistent quality of the music on this disc. It also demonstrates the high standard of disco music that was being released during the late seventies and early eighties. Will I be saying the same about the music on Disc Two of Jumpin’?
DISC TWO.
Whereas Disc One of Jumpin’ featured tracks from some of the biggest names and labels in the history of disco, Disc Two has some hidden gems to reveal alongside a few familiar faces. Among the familiar faces are Barbara Mason, Leroy Burgess, Loleatta Holloway and Harold Melvin and The Blue Notes. The track by Harold Melvin and The Blue Notes is from their final studio album Talk It Up (Tell Everybody) on Philly World Records, who have a total of five tracks on Disc Two. Salsoul provide two tracks, while West End Records have Barbara Mason’s Another Man on the disc. Apart from these tracks, Yarborough and Peoples and Pennye Ford also feature on this disc. Pennye Ford many people will remember was lead singer in the S.O.S. Band and Snap. Here, her solo hit Dangerous features on Disc Two of Jumpin,’ along with another eleven tracks.
Barbara Mason’s Another Man is my first choice from Disc Two of Jumpin.’ The track was released in 1983, on West End Records and was written, mixed, arranged and produced by Butch Ingram. Opening with just the fattest of bass lines, drums and percussion, the track quickly reveals its delights. When Barbara’s vocal enters, it’s half-spoken and sassy. Then, when her vocal starts off gently, it quickly grows in power and frustration. With soulful female backing vocalists accompanying her, their vocals prove to be the perfect accompaniment to Barbara’s vocal. Meanwhile, the arrangement relies heavily on just the bass, drums and keyboards, as it meanders along. However, this allows Barbara’s vocal to quite rightly take centre-stage, where it belongs, on a classic track from West End Records.
Leroy Burgess released Heartbreaker on Salsoul Records in 1983. Not only did he cowrite the track, but arranged and produced the track. When the track opens, it’s a combination of funky rhythm section, squelchy synths and joyous backing vocalists that combine. They give way to Leroy’s vocal. His vocal is powerful, passionate and emotive as the backing vocalists combine with him throughout the track. Flourishes of piano, reverberating synths and the rhythm section provide the perfect backdrop for Leroy’s vocal. Along with his joyous, gospel tinged backing vocalists, Leroy creates a stunning track, one that demonstrates his talents not just as a vocalist, but as a songwriter, arranger and producer.
Loleatta Holloway released Love Sensation, a track written by Dan Hartman in July 1980. Then, nine years later in 1989, Love Sensation would be “sampled” by both Black Box on Ride On Time and Good Vibrations by Marky Mark and The Funky Bunch. While both tracks were huge commercial successes, neither can match the Norman Baker produced original, featuring Loleatta Holloway a true disco diva. Opening with a combination of rhythm section, percussion, piano and cascading strings, so familiar is the track you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta delivers one of her trademark vocals. Her voice becomes an impassioned roar, while backing vocalists accompany her. The remix is a myriad of the lushest strings combined with dramatic drums and blazing horns, with Loleatta’s powerful, sassy vocal key to the track’s timeless, dramatic sound and huge commercial success.
Released in December 1982, Do It Any Way You Wanna was Cashmere’s debut single, and later would feature on their debut album Let the Music Turn You On in September 1983. The track was co-written by drummer Daryl Burgee, producer Nick Martinelli and Bryan Hudson. Squelchy synths which remind me of many an Italo disco track combine with the funkiest of bass and drums. When Dwight’s vocal enters, a boogie classic reveals its infectious charms. With punchy, backing vocals the combination of synths and rhythm section drive the track along. A searing guitar solo then adds an element of drama, as Dwight’s vocal is powerful and impassioned. By the end of the track, you can’t help but succumb to charms of Cashmere’s seminal boogie classic.
Don’t Give Me Up was a track from Harold Melvin and The Blue Notes final studio album Talk It Up (Tell Everybody), released in 1984 on Philly World Records. The track was co-written by Harold Melvin, McKinley Horton and Michael Forte, who also arranged the track. This track has a very different sound to the group’s previous music, combining boogie with a post disco sound. A combination of synths, drum machines, keyboards and then chiming guitars open the track, before the group enter singing tight harmonies. This gives way to Gil Saunders lead vocal, with his baritone emotive and almost sensuous. Meanwhile, behind him the other four Blue Notes contribute subtle harmonies. The lyric that the group “promise to be better to you…promise to be sweeter this time to you,” strikes a chord. Although sung in the context of a relationship, this could equally apply the group’s long standing fans, after some disappointing albums. Here, Harold Melvin and The Blue Notes sound better, and indeed sweeter, on a track that’s catchy and melodic.
When Terri Wells recorded I’ll Be Around, originally recorded by The Detroit Spinners, she was paying homage to a group she’d previously sung backing vocals for. This was a track from Terri’s 1984 album Just Like Dreamin,’ released on Philly World Records. Here, the track is transformed from a three minute track into a six minute epic. Although I love the original, this is an excellent cover version. It’s a track that combines a great arrangement with a stunning delivery of the lyrics from Terri. After a chiming guitar opens the track, things get even better, with the electronic combination of synths and drums combining with the Fender Rhodes. However, what makes the track is Terri’s vocal which she delivers with a swing, in a sassy, confident style. Not only does Terri sing lead vocal, but she sings backing vocals that echo around. Meanwhile crisp drums and synths combine as her vocal grows in power and passion as the track heads to its brilliant ending. For me, this track is the best track Terri Wells ever recorded.
Disc Two of Jumpin’ proved to a combination of classics and hidden gems, with familiar faces like Loleatta Holloway, Leroy Burgess, Barbara Mason and Harold Melvin and The Blue Notes all featuring. Here, the compiler eschewed the choice of familiar tracks from Harold Melvin and The Blue Notes, instead digging deep, and choosing tracks from their 1984 Philly World album Talk It Up (Tell Everybody). The inclusion of Terri Wells’ I’ll Be Around gives listeners the opportunity to discover a hidden and vastly underrated track from Terri, that once you’ve heard once, will always cherish. Cashmere’s Do It Any Way You Wanna is a boogie classic, from their 1983 album Let the Music Turn You On and is a worthy of its place on Jumpin. As are the inclusion of Loleatta Holloway’s Love Sensation, Barbara Mason’s Another Man and Leroy Burgess’ Heartbreaker, which are a trio of classics. Among the other tracks that I wasn’t able to mention are The Gap Band’s Big Fun and Yarborough and Peoples’ Don’t Waste Your Time. Like Disc One of Jumpin,’ this demonstrates just how high the standard of music on Disc Two of Jumpin’ truly is. For anyone who loves seventies and eighties disco, then Jumpin’ is a compilation that deserves to find its way into your collection. You get twenty-four delicious disco delights, which are a mixture of familiar tracks and hidden gems. What more could you ask for? Standout Tracks: Loleatta Holloway Dreamin,’ Rainbow Brown Till You Surrender, Cashmere Do It Any Way You Wanna and Terri Wells I’ll Be Around.
JUMPIN.’
ZE RECORDS STORY 1979-2009.
ZE RECORDS STORY 1979-2009.
Back in New York in 1978, Michael Zikha and Michael Esteban decided to set up their own record label, ZE Records. Using the initials of their surnames, to name of their new and nascent label, an innovative and influential label was born. During the label’s short lifetime, they released an eclectic selection of music, music which spanned the musical genres, including post-punk, post-disco, dance rock and disco pop. Fourteen of these tracks can be found on a compilation released by Strut in 2009, ZE Records Story 1979-2009. This includes some of the label’s most memorable tracks released during its five year history, including tracks from Was (Not Was), Kid Creole and The Coconuts, Casino Music and Sympho State. However, before I tell you about this music, I’ll tell you about the history of ZE Records.
After studying first art in Paris, then at New York’s School of Visual Arts, Michael Esteban immersed himself in music and art. After returning to Paris from New York, Michael opened a shop specializing in music merchandise Harry Cover, which sold merchandise from both the UK and US. Then, quickly, members of the Parisian music scene gravitated towards his shop, with new wave bands using his basement as rehearsal space. His next venture was publishing Rock News, which documented the birth of punk in New York and London. Then in 1977, Michael published a trio books, two by Patti Smith, Witt and The Night, plus Lizzy Mercer’s debut Desiderata. Later that year, Michael would branch out to music, his first foray into the music industry, which would lead to him meeting future business partner Michael Zikha.
Michael Esteban’s first foray into music came with Marie et les Garcons, when he signed the group. To produce them, Michael approached John Cale, formerly of Velvet Underground. John who’d been introduced to Michael by Patti Smith, decided to head to New York to produce the album. Once there, John decided to found a record label with Jane Friedman, and asked Michael to help. After this, John introduced Michael Esteban to Michael Zikha. Their friendship established, the two Michael’s then decided to for a record company SPY. This was ostensibly to release singles produced by John Cale, but SPY would also release singles by Harry Toledo, Model Citizens and legendary music critic Lester Bangs. However, after founding SPY, Michael Esteban to Michael Zikha left SPY to form what would become an influential and innovative label ZE Records.
Once ZE Records was established in 1978, the label set about releasing an eclectic selection of music, music that crossed the musical genres. This included new wave, post-punk, post-disco, dance rock and disco pop that ZE Records released. Another title given to ZE Records music was Mutant Disco, which was the title of one of the labels early compilations, that become a successful compilation series. Island Records’ Chris Blackwell spawned another name for the music, no-wave. Regardless of the name of the genre of music ZE Records were releasing, the label quickly established an eclectic roster of artists that were a mixture of old and new artists.
Among ZE Records new artists were Was Not Was, Kid Creole and The Coconuts, Christina, The Waitresses, Casino Music and Sympho State. However, ZE Records weren’t just concentrating on new artists, with John Cale and Suicide among the older, more established artists. Quickly, the label’s music was being played at New York’s biggest, hippest clubs, including The Paradise Garage, the spiritual home of garage music. Although ZE Records were releasing some influential and innovative music, the label would prove to be relatively short-lived.
Between 1981 and 1982, ZE Records was at its creative and commercial zenith. Then in 1982 the label suffered a blow when one of the its founders, Michael Esteban left New York. Whether this lead to the decline in the label’s popularity and success is merely speculation, but two years later, in 1984, the label closed down. Although ZE Records was founded in 1978, and was only releasing music between 1979 and 1984, some of that music proved to be innovative, influential and memorable. You’ll realize this when I tell you about some of the music on ZE Records Story 1979-2009.
My first choice from ZE Records Story 1979-2009 is Was (Not Was’) Tell Me That I’m Dreaming. It’s the 12” Remix that features on the compilation, released in 1981 and co-written by Don and David Was. Ken Collier remixed this track, which was from the 1981 eponymous album Was (Not Was). Opening with a combination of drums and percussion, the funkiest of bass lines and guitars enter. Sweet female backing vocalists enter, before the lead vocal enters. By now, the track is fusing elements of Latin, funk and soul as the tempo reaches 118 beats per minute. Add to this a myriad of samples and sound effects, that augment the vocal, and this alternative eighties soundscape is still revealing it charms and surprises. While the track is perfect for the dance-floor, and would still work today, there’s a few left-field elements that make this such an intriguing, compelling and quite wonderful track.
Deputy Of Love by Don Armando’s Second Avenue Rhumba Band featuring Fonda Rae was an offshoot of The Original Savannah Band, and features founder Augustus Darnell and Andy Hernadez. This was one of many projects the pair were involved in, that were released on ZE Records. Featuring the vocal of disco diva Fonda Rae, this is another quality track from the future King Creole. With a tempo that’s nearly 127 disco heaven, a frantic piano solo opens the track, before percussion, rhythm section and blazing horns enter. As if this isn’t enough, cascading strings signal the arrival of Fonda’s vocal. Her vocal is emotive and impassioned as the arrangement reveals it hidden secrets and treasures that are a joy to behold. It’s quite definitely a track that should be filed under disco, with the track’s five and a half minutes some of the best on the ZE Records Story 1979-2009 by far.
Another of ZE Records biggest artists and successes was Augustus Darnell in the shape of Kid Creole and The Coconuts. Here, Larry Levan’s mix of Something Wrong In Paradise is chosen, and is another of the dance-floor highlights on the ZE Records Story 1979-2009. Taken from the 1983 album Doppelganger, a moody, meandering bass line opens the track, before quickly, it’s all change. Out goes the darkness, with Kid Creole ushering in his uplifting, feel-good sound. This sees a combination of the rhythm section, guitars and percussion augmented by The Coconuts. At near breakneck speed, the arrangement unfolds, before Kid Creole enters. His vocal is thoughtful and considered, a contrast to the carnival atmosphere of the arrangement. Behind him, The Coconuts deliver some joyous backing vocalists, while blazing horns combine with rest of the arrangement. For neigh on five minutes, Kid Creole and The Coconuts provide us with an uptempo, joyous, carnival atmosphere laden with his feel-good sound and vibe.
Sympho State’s You Know What I Like is easily, one of the highlights of the ZE Records Story 1979-2009 compilation. It’s blessed with a timeless sound and arrangement, which isn’t the case with other tracks, which sound “of their time,” Not this track though, mind you with Leroy Burgess co-writing and singing the vocal, you’d expect this to be a great track. Released in 1979, this track was the B-side of Fever but has much more in common with the classic disco sound than other tracks. Opening with the rhythm section, rasping horns and the lushest of swirling strings, Leroy’s vocal enters, accompanied by a sensuous, female vocal. Meanwhile, the arrangement is the most polished on the compilation, with a real classy, slick sound. From there, a myriad of sweeping strings, rasping horns, sensual vocals and quick pounding drums drive the track along, mixing disco and boogie as the track heads to its dramatic ending. So good is this track, it’s almost worth buying the compilation for it.
Material With Nona Hendryx’s Bustin’ Out (Seize The Beat Version) is quite different from my previous choices, with this electro track fusing, funk with rock guitars and crunchy beats. Released in 1981, the crunchy beats and fat bass line are joined by rocky sounding guitars, while electro sound is much more prevalent when the guitars drop out. Then when Nona’s vocal enters it’s powerful and sassy, while the arrangement is constantly punctuated with those rocky guitars, while the crunchy beats are key to the track’s sound. Later, dark keyboards enter, as this powerful, slightly foreboding sonic experiment takes shape. A welcome addition is the percussion that provides a brief respite from the powerful, foreboding sound. Replacing the percussion are stabs of synths as the track welcomes the latest addition in its eight and a half minute musical journey. Although quite different from my previous choices, this an accomplished, quality track, made all the better by Nona’s powerful, passionate vocal
Aural Exciters’ Maladie D’amour is my final choice from the ZE Records Story 1979-2009. It’s a track from the 1979 Spooks In Space album, co-written by Augustus Darnell, the mastermind behind Kid Creole and The Coconuts and Elbow Bones and The Racketeers. With disco luminaries like Fonda Rae and Tanya Garnder’s vocals appearing on the track, this is another quality dance-floor friendly track, albeit with a twist. After all, where else could you hear a tuba accompanying the sweetest of female vocals as a mid-tempo dance track unfold? Add to this a mixture of punchy horns, lush strings, flourishes of piano and the tightest of rhythm section, and the rest of the arrangement has a much more traditional sound. All of this from a group named after a piece of studio equipment, is combined to make a track that’s not only dance-floor friendly, but catchy, full of hooks and featuring the sweetest of vocals.
Although ZE Records only released music for five short years, they released some influential, innovative and memorable music, some of which can be found on the ZE Records Story 1979-2009. While the music ZE Records released was truly eclectic, some of that music still sounds good some thirty years later. That can’t be said for other labels, whose music sounds dated. Still, tracks by Was (Not Was), Don Armando’s Second Avenue Rhumba Band featuring Fonda Rae, Kid Creole and The Coconuts, Sympho State and Aural Exciters demonstrate the quality of music ZE records were releasing between 1979 and 1984. In my opinion, and others, ZE Records released their best music between 1981 and 1982, some of the music from 1979 is just as good. Whether Michael Esteban’s leaving New York contributed to the music and label’s decline and ultimate closure in 1984, is open to speculation. Opinions will differ whether this is indeed the case, and there are many examples that can be cited of quality music released between 1982 and the label’s closure in 1984. However, at least ZE Records has its place in music history, fondly remembered for many of its releases and the Mutant Disco compilations. For people who are newcomers to ZE Records, then Strut’s 2009 release the ZE Records Story 1979-2009 is the ideal primer to the label’s music. From there, the newcomer can go on to explore more of the label’s music, including Zevolution: ZE Records Re-edited, another Strut compilation released in 2009, which is the ideal companion to ZE Records Story 1979-2009. After this, there’s the Mutant Disco compilations and various albums released by ZE Records’ artists. However, a good starting point for anyone yet to discover the music of ZE Records, then ZE Records Story 1979-2009 is the ideal place to start. Standout Tracks: Was (Not Was) Tell Me That I’m Dreaming, Kid Creole and The Coconut Something’s Wrong In Paradise, Sympho State You Know What I Like and Aural Exciters Maladie D’amour.
ZE RECORDS STORY 1979-2009.
BILLY PAUL-WAR OF THE GODS.
BILLY PAUL-WAR OF THE GODS.
A year after the release of Billy Paul’s most commercially successful album 360 Degrees of Billy Paul in 1972, an album that featured the Grammy Award winning number one single Me and Mrs Jones, Billy released his follow-up album War of the Gods. By this time, Philadelphia International Records had undergone something of a transformation. Their legendary house band M.F.S.B. had become the slick, sophisticated and polished band that would appear on so many great albums. Driven along by the rhythm section of Baker, Harris, Young, guitarist Bobby Eli, while Vince Montana Jr. would add vibes, and Don Ronaldo’s strings and horns would provide their trademark sound. Together with the talents of producers Gamble and Huff and Thom Bell, arrangers Jack Faith, Bobby Martin and Lenny Pakula, Philadelphia International Records would transform seventies soul music, when the Philly Sound was born. Variously described as sophisticated, polished and slick, the music was ultimately beautiful, becoming critically acclaimed and a huge commercial success. An album that perfectly demonstrated the new direction Philadelphia International Records was heading, was Billy Paul’s third studio for Philadelphia International, War of the Gods.
Recording of War of the Gods took place at the scene of so many albums the contain the Philly Sound, the Sigma Sound Studios, in Philadelphia. With M.F.S.B. accompanying Billy, six songs were recorded, four written by Gamble and Huff, who produced the album. Recording got underway in 1973, with Bobby Martin and Lenny Pakula arranging the six tracks. These included The Whole Town’s Talking and the ten minute Magnus Opus that’s the title track War of the Gods. Among the other four tracks, were Thanks For Saving My Life, which would be released as a single from the album. With the six tracks that made up War of the Gods recorded, the album would be released in 1974.
On the release of War of the Gods in 1974, the album reached number 110 in the US Billboard 200 and number twelve in the US R&B Charts. Thanks For Saving My Life reached number thirty-seven in the US Billboard 100 and number nine in the US R&B Charts. Another track that was released as a single, The Whole Town’s Talking, which three years later in 1977, featured on Teddy Pendergrass’ debut album Teddy Pendergrass. When it was released as a single it gave Teddy a US R&B hit single. However, The Whole Town’s Talking was originally on Billy Paul’s third album for Philadelphia International Records, War of the Gods, which I’ll now tell you about.
Opening War of the Gods is I See the Light, written by Bunny Sigler. Arranged by Lenny Pakula and produced by Gamble and Huff. The track opens slowly and dramatically with just melodic keyboards and percussion, that give way to Billy’s thoughtful vocal. His vocal starts off gently, before quickly growing in power. Meanwhile drums punctuate the track, with the arrangement growing to include the Sigma Sweethearts, rasping horns and lush strings. At the heart of this dramatic track is Billy’s vocal, as the arrangement and vocal veer between a gentle, to powerful style. This works really well, holding your attention. It gets that you’re hanging on Billy’s every word and wondering what direction the track is heading next. For six minutes Billy’s vocal is powerful, laden with emotion and passion, while the arrangement fuses drama and power seamlessly.
War of the Gods Magnus Opus is the title track War of the Gods, one of four Gamble and Huff penned tracks, arranged by Bobby Martin, one of Philadelphia International’s legendary arrangers. This is a track that’s like many similar big, ambitious productions that were popular during the early seventies, and something Gamble and Huff did so well. It’s a mid-tempo track, where frenzied sirens open the track, before slowly, slightly dark keyboards enter joined by piano, vibes and bass. Subtle backing vocalists join adding light to the darkness of the arrangement, as slowly and dramatically the track unfolds. It’s over two minutes before Billy’s considered, thoughtful vocal enters. Accompanying him are piano and organ, as Billy sings of the evil and darkness in the world, before the arrangement heads takes on a jaunty style. Billy’s accompanied by backing vocalists as his voice grows in power, when he calls for “bad things to end.” Later, the arrangement becomes jazz tinged, especially when the tempo slows. By then, you realize that truly, this ambitious track is deserving of the description Magnus Opus. Not only is it Billy Paul at his best, but M.F.S.B., arranger Bobby Martin and Gamble too. It’s a sign of what was still to come from Philadelphia International.
Although many people will think of The Whole Town’s Talking as a Teddy Pendergrass song, it was Billy Paul that sung the track originally. The two versions are quite different, but both have one thing in common, a fantastic deliver by soul superstars. While Teddy sings the track as a ballad, bathed in sadness and emotion, Billy’s version has a slightly jaunty, faster arrangement. Opening with just the rhythm section, keyboards and rasping horns, Billy’s delivery is quicker, maybe not as emotive as Teddy’s version, but laden with drama and passion. He’s accompanied by punchy horns, Philadelphia International’s legendary female backing singers the Sweethearts of Sigma. Add to this, dramatic flourishes of piano, lush cascading strings and Billy’s dramatic, emotive, punchy delivery of the lyrics. The result is a powerful, impassioned and dramatic version of The Whole Town’s Talking that’s quite different from Teddy’s later version, but like that version, features a stunning vocal.
I Was Married is the first in a trio of slower songs, co-written by Cary Gilbert and Joannie Arc. Bobby Martin’s arrangement is stunning, and demonstrates just how talented an arranger he is. Opening with a sultry saxophone, Eddie Green on piano and lush strings, while Earl Young’s drums provide the track’s heartbeat. Then, when Billy’s vocal is full of sadness and regret. Behind him, slow, sweeping strings, rasping horns, stabs of Hammond organ and flourishes of piano provide a gorgeous jazz tinged backdrop. This is perfect for the emotion and sadness in Billy’s vocal, resulting in one of the true highlights of War of the Gods.
Thanks For Saving My Life was a single released from War of the Gods and is similar to the jazz tinged, emotion of the previous track. Here, Billy decides to kick loose, while the Sweethearts of Sigma accompany him, as this jazzy track swings along. With M.F.S.B. seamlessly transformed into a jazz band, a myriad of blazing horns, rhythm section, flourishes of piano and swirling strings accompany Billy. While M.F.S.B. play a huge part in ensuring the track goes with a swing, credit must be given to the Sweethearts of Sigma, who like Billy revel in their role on another swinging slice of sumptuous jazz.
Closing War of the Gods is one of the most emotive and beautiful tracks, Peace Holy Peace. Written and produced by Gamble and Huff, while Lenny Pakula is the arranger, this is the slowest song on the album. It’s also the most emotive and in a way, uplifting and hopeful. Just the meandering Hammond organ played by Lenny Pakula, slow strings and rhythm section accompany what sounds like a celestial choir of backing vocalists that accompany Billy’s slow, emotive and almost spiritual vocal. The arrangement has an understated sound, allowing Billy and his choir of backing vocalists to take centre-stage on one of the most moving, beautiful and hopeful songs Billy Paul ever recorded. What a beautiful way to end War of the Gods.
While War of the Gods was Billy Paul’s follow up to 1972s hugely successful and critically acclaimed 360 Degrees of Billy Paul, there wasn’t a hit single like Me and Mrs Jones. That’s the only difference between the two albums, with War of the Gods featuring more in the way of new music. This included four songs from Gamble and Huff plus one from Bunny Sigler and I Was Married co-written by Cary Gilbert who cowrote Me and Mrs Jones. The six songs on War of the Gods featured the Magnus Opus that’s the title track, the emotion and sadness that are The Whole Town’s Talking and I Was Married plus the jazz tinged, swinging Thanks For Saving My Life. That’s not forgetting the moving, beautiful and hopeful Peace Holy Peace. Overall, War of the Gods’ success is due to everyone connected with the album. Obviously, crucial to this was Billy Paul’s powerful, emotive and impassioned vocals, plus arrangers Lenny Pakula and Bobby Martin, along with Gamble and Huff. However, War of the Gods wouldn’t have been the same album without the versatility of M.F.S.B. Whether it was soul or jazz, they could deliver it with aplomb on the album’s six tracks. Adding backing vocals were the Sweethearts of Sigma, who contributed some beautiful backing vocals throughout the album. All of these musicians, backing vocalists, arrangers and producers all played their part in helping Billy Paul make War of the Worlds a fantastic and fitting follow-up to 360 Degrees of Billy Paul. Standout Tracks: The Whole Town’s Talking, I Was Married, Thanks For Saving My Life and Peace Holy Peace.
BILLY PAUL-WAR OF THE GODS.
DARK ROOM NOTES-DARK ROOM NOTES.
DARK ROOM NOTES-DARK ROOM NOTES.
Dark Room Notes, who were formed in Galway in 2006, will soon release their second album, the eponymous Dark Room Notes on BBE Music. This is the follow-up to their 2009 debut album We Love You Dark Matter, which contained their highly acclaimed single Love Like Nicotine. Since then, much has happened to Dark Room Notes, the now three-piece electro synth-pop band. They’e supported Kraftwerk, Karl Craig and Robyn and toured the US, UK and Germany. This has seen Dark Room Notes appear at Oxegen, Castlepalooza, Sea Sessions and Electric Picnic. As if that’s not enough, their music featured in the film A Kiss For Jed Wood. It seems Dark Room Notes have come a long way in eight years, from their Galway beginnings. Before I tell you about their forthcoming album Dark Room Notes, I’ll tell you about the group’s background, and how they got to where they are now, in just six years.
Back in Galway in 2006, Dark Room Notes were formed by Ronan Gaughan, Ruairi Ferrie and former drummer Ruira Cavanagh. Then Darragh Shanahan would replace drummer Ruira Cavanagh, while Arran Murphy, would also join the band. Now the Dark Room Notes lineup is Ronan Gaughan, Ruairi Ferrie and Arran Murphy. Their debut concert was in December 2006, in their hometown of Galway. Having make their live debut, the next step for Dark Room Notes would be to release their debut single.
A year later, in June 2007, Dark Room Notes would release their debut single, Love Like Nicotine on Gonzo Records, which became an indie hit on radio. Next for Dark Room Notes was the release of the Dead Start Program EP, which featured the single Slow Puncture and Shake Shake My Ceiling. It was Shake Shake My Ceiling that would feature in the film A Kiss For Jed Wood. Then when the band were chosen to feature on the sixth series of RTE’s Other Voices TV program, they won the Viewers’ Choice poll. This was another step in the development of Dark Room Notes career, but the next step would lead to bigger and even better things for them, with the release of their debut album.
Recording of Dark Room Notes’ debut album We Love You Dark Matter took place during summer 2008, with Ciaran Bradshaw producing the album. On the release of We Love You Dark Matter it was critically acclaimed, with the band heading off on a major tour to promote the album. This saw Dark Room Notes playing in Ireland and at a variety of the major summer festivals. Then came their big break, when BBE Music signed the band in autumn 2008. BBE Music rereleased Love Like Nicotine as a single, then We Love You Dark Matter worldwide in April 2010. However, 2010 would prove to be an album of ups, interspersed with the occasional down.
2010 started well, with Dark Room Notes’ debut album We Love You Dark Matter winning the 2009 Choice Music Prize, the Irish Album of the Year. Then in March 2010, Dark Room Notes headed to North America to play two prestigious music festivals. First stop was Toronto and the CMW music festival, then SXSW in Austin, Texas. However, just when things were going well for the band, Dark Room Notes lost another drummer, when Darragh Shanahan left the band. This left the band a three piece, with the lineup now Ronan Gaughan, Ruairi Ferrie and Arran Murphy. Instead of replacing their drummer, the group decided to continue with a drum machine. After the shock of their drummer’s departure, Dark Room Notes continued from strength to strength, with new projects underway in 2011.
In April 2011, BBE Music decided to release Dark Room Notes’ 2007 Dead Start Program EP. The next month, November, they performed what was a specially commissioned soundtrack to The Lost World, a 1925 silent film, which was an adaptation of Sir Arthur Conan Doyle’s 1912 book The Lost World. This had been composed by the group, with the performance taking place in Sligo, at The Model. During this period, Dark Room Notes had been recording what would become their second album Dark Room Notes.
Before the release of Dark Room Notes’ second album, the eponymous titled Dark Room Notes, they released the first single from the album. This was Baby Don’t Hurt Me No More in 5 March 2012. Dark Room Notes will then be released on 14 April 2012 on BBE Music. On Dark Room Notes are eight tracks, including the single Baby Don’t Hurt Me No More, which I’ll now tell you about.
Opening Dark Room Notes is Wallop Waves, which opens with a thunderous combination of synths and drums, before a wash of synths accompany the vocal. The sound is powerful, dark and moody, with the vocal reminding me of Barney’s from New Order. This New Order comparison grows, as the song progresses. Behind the vocal sits a crystalline, elegant sound that emerges from the depths of the arrangement, providing a total contrast. Later, as the vocal breaks down, a myriad of sound effects including birdsong enters. Then, just as you least expect it, drums pound and join forces with the synths. They drive the track along to its powerful and energetic conclusion, leading you to think that in the year New Order reform, a new challenger to the old order may come in the shape of Dark Room Notes. If the rest of the album is as good as this track, then this could be the case.
Stabs of buzzing synths open We Got Love, which is a slightly quicker track, one with a ponderous, thoughtful sound. When the vocal enters, it too has a similar quality. Then, when the drums enter, a myriad of synths combine to produce a brighter sound, matched by the hope in the backing vocals. Meanwhile, the lead vocal is a mixture of power, emotion and hope, as they deliver some well written, thoughtful vocals. You can’t fault the passion and emotion in the vocal, while the backing vocals reflect this hope and have a crystalline quality, that reminds me of Liz Fraser or even Annie Barker. When all this is combined, the result is an impassioned and emotive slice of quality electro pop.
Baby Don’t Hurt Me No More was released as a single in early March 2012, and when you hear the track you’ll soon realize why. This is one of the highlights of Dark Room Notes. With a combination of synths and pounding drums the track opens, before giving way to a combination of a gorgeous, ethereal female and louder male vocal. Taken together, they sound a bit like New Order, more so with the wash of synths and drums that accompany them. If you shut your eyes, you think its Barney and Gillian from New Order. All that’s missing is Hooky’s trademark bass. However,
Dark Room Notes have two aces up their sleeve. These are the guitars that enter. They’re quick, chiming brightly, while drums pound and synths are key to the track’s success. Add to this the vocal, which is atmospheric, before bright synths replace it and a distant vocal augments the lead vocal. The result is a glorious, quite joyful sounding track, one of the album’s highlights.
An Alignment Part I opens with an echoey spoken word introduction, giving the track a space-age, sci-fi sound. Then synths and drums gives way to more shimmering synths, with the earlier space-age sound, becoming slightly foreboding until the vocals enter. Again, the male lead is accompanied by that sweet sounding female vocal. Gradually, the track starts to unfold, with the track losing some of its earlier foreboding sound. Synths and drum machines are key to an arrangement that then reveals several hooks. Although the track is quite unlike the previous track, it’s still got one thing in common…quality.
After An Alignment Part I comes An Alignment Part II, a track that opens with punchy drums and a male vocal. The vocal has the same quality as previous tracks, accompanied by booming punchy drums, backing vocals and washes of synths. As the track progresses, layer upon layer of the arrangement reveals itself. Quickly, the track grows in power, synths reverberating, while searing guitars join the mix, adding another layer of music. This also provides a contrast, while layers of synths, unravel gradually, as the track reaches a crescendo of powerful and uplifting music. It pounds and flows, with the vocals rejoining, but dominated by this wall of powerful, dramatic music.
Jumpstart (I Just Want Your Love) has an understated introduction before revealing a softer, more melodic sound. Similarly, the vocal is delivered in a softer, more tender style. At the end of each line, the vocal is answered by another male vocal. It’s then that the combination of synths, drums and backing vocals combines to produce a gentler, softer sound. The lead vocal has a breathy quality, perfect for the lyrics. This is very different to After An Alignment Part I, and in some ways, is the polar opposite. To me, this reveals a different side to Dark Room Notes’ music, one that comes as a very welcome and quite beautiful surprise.
As Melt This High Strangeness opens the wash of synths glide gracefully in, joined by pounding drums and the vocals. From there, the track almost explodes, revealing an anthemic quality. Stabs and flourishes of synth produce a crystalline sound, while the drums fade into the distance, before rejoining. They’re joined by banks of synths, who are responsible for the mainstay of the arrangement, while the drums are punchy. Later, guitars join, producing a powerful solo, soaring high above the arrangement. Here, indie rock meets electro and synth pop, to produce a six minute epic, laden with drama and moments of joy.
Closing the second album by Dark Room Notes’ Dark Room Notes is Pinecone, a track that has a broody, dramatic sound. It’s the quickest track on the album, where buzzing synths, powerful drums and guitars unite, before the vocal joins. It too has a broody sound, while the synths buzz and guitars play a bigger part in the arrangement, cutting in and out of the arrangement. As synths reverberate and muted guitars threaten to reveal their power, you feel the track is ready to almost kick loose at many moment. Will Dark Room Notes close the album with a bang? Eventually, they do kick loose, a fusion of power, drama and emotion, where guitars and synths combine with the impassioned vocals. Then after just under five minutes, the track is over, the group seemingly spent and exhausted after unleashing a dramatic, dynamic and powerful wall of music, where indie rock meets electro. What an impassioned way to close Dark Room Notes, with the group revealing that secretly, they’re partial to a little rock and roll, just don’t tell anyone.
Having enjoyed Dark Room Notes debut album We Love Dark Matter, it seems that Dark Room Notes well on the road to a successful career on Dark Room Notes. The album is crammed full of quality music, with the group fusing electro and synth pop, with even some indie rock thrown into the mix. On several of the tracks on Dark Room Notes, you can hear a real New Order sound shining through. Sometimes this is so strong that you think somehow, you’ve put on a previously unheard New Order album. That’s testament to the quality of the music on Dark Room Notes, that I’m making such a comparison. Dark Room Notes’ decision not to replace their drummer was a brave one, but the album doesn’t suffer for the absence of a drummer. In the right hands, which is the case here, a drum machine works well. The same can be said of the synths. Far too often, in the past thirty odd years I’ve heard synths used badly, but not here. Instead, it’s quite the opposite, with the synths key to the success of the album. Used correctly, like it is here, the results can be stunning. Another thing that I liked about the album, were the vocals, which bring the lyrics to life, combining emotion, joy, passion and thoughtfulness during the eight tracks. Truly, there isn’t a poor track on Dark Room Notes, with the group looking like having a bright and successful future ahead. I’m sure they’ll charm audiences at festivals in the UK and elsewhere during the summer months. By then Dark Room Notes will be in the shops, as it’s released on 14 April 2012 on BBE Music. However, having heard Dark Room Notes I can throughly recommend it to anyone who loves either electro, synth-pop or New Order. Should you be unable to wait until then to hear Dark Room Notes, then you can also check out Dark Room Notes’ debut album We Love Dark Matter. That’ll keep you occupied until the release of Dark Room Notes. Standout Tracks: Wallop Waves, We Got Love, An Alignment Part II and Pinecone.
DARK ROOM NOTES-DARK ROOM NOTES.
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THE STAPLE SINGERS-TURNING POINT.
THE STAPLE SINGERS-TURNING POINT.
The last time I reviewed an album by The Staple Singers was their 1972 album, Be Altitude: Respect Yourself, their most successful album, which included I’ll Take You There. It reached number one in both the US Billboard 100 and US R&B Charts, giving them their second US R&B number one single. However, a lot would happen to The Staple Singers over the next ten years. In 1975, their record label Stax folded, leaving The Staple Singers looking for a new label. They then signed for Curtis Mayfield’s Curtom label, where Let’s Do It Again reached number one in both the US Billboard 100 and US R&B Charts. After releasing just one album for Curtom, Let’s Do It Again, The Staple Singers changed labels again, releasing three albums for Warner Bros. between 1976 and 1978 and then one apiece for 20th Century and a newly reformed Stax in 1981. Then disaster struck for The Staple Singers in 1982, when they found themselves without a record deal, with the group believing that their age was a factor. Then, the label-less Staple Singers received a break in 1984, when they were signed by Private I Records, formed by Joseph Isgro, originally in partnership with CBS. Now that The Staple Singers had a new label, they’d begin writing and recording what would become Turning Point, which was rereleased by SoulMusic.Com on 26th January 2012. Turning Point was aptly titled, representing a turning point in the musical direction and sound, with The Staple Singers incorporating new ideas and instruments on the album’s eight tracks. Before I tell you about the music on Turning Point, I’ll tell you about the background to the album.
Now that The Staple Singers had signed their new recording contract, set about finding material and musicians for what would be their twenty-fifth album since their 1959 debut album Uncloudy Day. Eventually, eight tracks were chosen, including This Is Our Night, a track co-written by Mike Piccirillo and Gary Goetzman, previously a member of Chocolate Milk, who’d been hired by Private I to work with the group. One of the leftfield choices of songs was Slippery People, a Talking Heads track, with David Byrne laying down some funky guitars licks. Among the other tracks, Mack Rice wrote That’s What Friends Are For, Homer Banks and Carl Hampton cowrote Bridges Instead of Walls and L.J. McNally cowrote The Turning Point. With the eight songs chosen for Turning Point, recording would begin.
Recording of Turning Point took place at two studios. Six tracks on Turning Point were co-produced by Pervis Staples and experienced engineer Henry Bush at Memphis’ Ardent Recording Studios. Among the musicians who recorded the six songs were some of Memphis’ best session musicians. This included a familar face from The Staples Singers’ Stax days, former Bar Kays guitarist Michael Toles. The other two tracks, Slippery People and This Is Our Night were co-produced by Mike Piccirillo and Gary Goetzman at Can-Am Recorders in Tarzana, California. Now that the eight tracks that would become Turning Point were recorded, the album would be released later in 1984.
When Turning Point was released in 1984, it reached number forty-three in the US R&B Charts. Three singles were released from the album, with H.A.T.E. (Don’t Live Here Anymore) reaching number forty-six in the US R&B Charts. The second single Slippery People, a cover of a Talking Heads track, became a hit in clubs, reaching number four in the Top Dance Music/Club Singles Play Charts and number twenty-two in the US R&B Charts. This Is Our Night was the final single released from Turning Point, reaching number fifty in the US R&B Charts. Overall, The Staple Singers’ new sound on Turning Point had proved successful, but what does it sound like? That’s what I’ll now tell you.
Opening Turning Point is This Is Our Night, the third single released from the album, and one of two tracks co-produced by Mike Piccirillo and Gary Goetzman. This is an uptempo track, joyous sounding track, that has so much going for it. With Mavis, Cleo and Yvonne’s vocals accompanied by punchy drums, a wash of synths and the sultriest of saxophone solos that drifts in and out of the track, The Staple Singers produce music that’s contemporary and dance floor friendly. Add to that Pops vocal that makes an occasional appearance, providing a complete contrast the other three Staple Singers. However, what makes this one of the album’s highlights is the emotion, joy and passion in Mavis, Cleo and Yvonne’s vocals.
Back in 1972, when The Staple Singers released Be Altitude: Respect Yourself, they’d never envisage working with someone like David Byrne, never mind recording one of his tracks. Chalk and Cheese is the phrase that springs to mind. Twelve years later, music had changed, with The Staple Singer metaphorically and literally, reaching a Turning Point. Hence, the four Staple Singers and David Byrne in a California studio collaborating on Slippery People, which would turn The Staple SIngers into the doyen of clubland across America. The track has a classic eighties sound of synths and of drums, before Mavis vocal enters, accompanied by David Byrne’s funky guitar licks. Quickly, the vocal changes hands, Pops entering, while the rest of the group contribute joyous backing vocals. When the vocal drops out, a pounding bass and David’s frantic, funky riffs take over. From there the track reclaims its earlier joyful, sound when The Staple Singers do what they do best. For four minutes, you’re taken on a journey back to 1984, with some classic eighties dance-music, when Pops, Mavis, Cleo and Yvonne met David Byrne, and created a mini-musical masterpiece.
Bridges Instead Of Walls was co-written by Homer Banks and Carl Hampton who’d previously written so many classic tracks. Here, Mavis takes centre-stage, delivering one of her trademark heartfelt and fervent vocals. This she does against an arrangement that’s like her vocal, is steeped in drama. The arrangement sees the past and present unite, with the rhythm section combining with eighties synths and keyboards. Meanwhile, Chris Redding lays down some soaring guitar solos, while keyboards augment the guitar. Parts of the track contain a real vintage Staple Singers sound, and you’d be able to guess this was one of their songs. However, good as the arrangement is, Mavis steals the show, with a vocal that’s dramatic, and impassioned and heartfelt in its delivery.
When The Turning Point opens, is a mid-tempo track, combining an eighties sounding arrangement with elements of soul and funk. As the track opens, it’s synths and a rhythm section that sprinkles some funk that combine, before the soulful strains of The Staple SIngers, singing their trademark four part harmonies. Cleo, Pops, Mavis and Yvonne’s vocals compliment each other perfectly, with the vocal changing hands as the song progresses. Meanwhile the other three Staple Singers produce passionate and powerful backing vocals, which is reflected in the arrangement. When taken together, the result is a perfect example of what The Staple Singers having been doing so well since 1959, making music that’s full of emotion, passion and….soul.
As Right Decision unfolds, Pops Staples becomes a philosopher, pondering the questions people make in life. This he does against a wash of synths and drums, his vocal quite different from on other tracks. His vocal has a more contemporary style, and when Mavis enters, her vocal is deliver in sassy style. The arrangement is perfect for the track, the synths and drums, joined by a soaring, dramatic and crystalline solo from Chris Redding. Add to this punchy backing vocals, thoughtful, probing lyrics and a tempo of 125 beats per minute and the result is a philosophical, dance-track featuring the glorious vocals of The Staple Singers.
H-A-T-E (Don’t Live Here Anymore) was the first single released from Turning Point. It opens with a combination of synths, the rhythm section and fast, funky, chiming guitars, before Pops vocal enters. There’s a real eighties sound to the track, while the bass and guitar add some funk. Later, a wash of synths enter, as the other Staple Singers contribute backing vocalists, with Mavis’ powerful vocal soaring high. Augmenting this are some of the best guitar sounds on the album. Key to the success of this track, are the lyrics, which when Pops delivers them, makes you take notice. Add to this the soulful strains of Mavis, Cleo and Yvonne and you’ve got a song with an important message, one that will always be relevant.
The slowest and probably saddest song on Turning Point is On My Own Again. Again, Mavis takes over the lead vocal, demonstrating her beauty and emotion, while her delivery is heartfelt and moving. When the song opens, it’s a combination of power and drama, with the experience of the musicians shining through. With the rhythm section, percussion, piano and the lushest of sad strings combining, they’re joined the Mavis’ vocal. It’s raw, powerful and full of sadness and regret, as Cleo and Yvonne contribute backing vocals, as one the best tracks unfolds. Together, one of the best arrangements on Turning Point and Mavis’ vocal make this song a joy to behold.
Closing That’s What Friends Are For written by Mack Rice. The tempo increases, with the song very different from the preceding track. One thing it has in common is a quality vocal from Mavis. This she delivers an arrangement that has a real eighties sound, because of the combination of synths, keyboards and drums. However, this works, still sounding good nearly thirty years later, when combined with the power and passion of Mavis’ vocal. She sings of how she believes unquestionably, in unconditional love, while the rest of the group contribute backing vocals. Given the subject matter of the lyrics, and the sincerity in her voice, this is the perfect track to close Turning Point, The Staple Singers twenty-fifth studio album.
Although The Staple Singers career may have been at a real turning point when they found themselves with no record contract, due to record companies believing they were too old, they proved that this was far from the case. They grabbed the opportunity offered by the Private I label, and produced Turning Point, an album full of some hugely soulful music, with a contemporary twist. In some ways, they’d to reinvent themselves, making their music appealing to a new generation of music fans, who maybe, weren’t aware of their musical history. This they did, collaborating with David Byrne on Slippery People, which turned The Staple Singers into club sensations, with a new generation dancing to their music. Their new sound embraced the changes in music, embracing synths and Fairlights on Turning Point. However, some things didn’t change, with their music still featured the familiar sound of horns, strings and a tight rhythm section. On Turning Point, Mavis Staples especially, is at her very best, delivering her vocals using a combination of power, passion and emotion, judging her delivery perfectly. Whether it was joyous or heartfelt deliver, Mavis carried it peerlessly. That’s not to say Turning Point was just about Mavis. Quite the opposite Cleo, Pops and Yvonne all played their part in making Turning Point such a great album, with some compelling and timeless music on it. Turning Point was rereleased on 26th January 2012, by SoulMusic.Com and their rerelease features five bonus tracks. These include alternate versions of the singles Slippery People and H-A-T-E (Don’t Live Here Anymore), plus Can You Hang, a single which wasn’t on Turning Point. All this, plus the eight songs on Turning Point make this a very welcome rerelease of an album released when The Staple Singers themselves found their career at a turning point. Standout Tracks: Slippery People, Bridges Instead Of Walls, H-A-T-E (Don’t Live Here Anymore) and On My Own Again.
THE STAPLE SINGERS-TURNING POINT.
LINDA LEWIS-A TEAR AND A SMILE.
LINDA LEWIS-A TEAR AND A SMILE.
Twelve years after the release of her debut album Say No More released on Reprise in 1971, Linda Lewis was preparing to record her eighth studio album A Tear and A Smile, which will be rereleased on 2nd April 2012 by BBR Records. This would be Linda’s first album for four years, since 1979s Hacienda View. In the intervening years, Linda’s marriage to Jim Cregan had broken-up, with this affecting her creativity. However, help was at hand in the shape of Robin Blanchflower, former president of Ariola, who’d now founded Kaleidoscope Records. Robin would give Linda the opportunity to work with a producer she’d previously worked with, Bert DeCoteaux. He’d previously produced three tracks on Linda’s most successful album, 1975s Not A Little Girl Anymore. Instantly, Linda agreed, deciding Bert DeCoteaux could be the man who’d kick start her career. So, after signing to Kaleidoscope Records, Linda would head prepare to record her eight album, which would become A Tear and A Smile.
Recording for A Tear and A Smile would take place in New York, with Bert DeCoteaux producing the album. Previously, Bert had worked with a variety of artists, arranging and producing, with his credits including Marlena Shaw, Dexter Gordon, Diana Ross and The Manhattans. His work had previously encompassed jazz, soul, funk and disco, Bert was not only hugely experienced, but perfectly suited to Linda’s unique fusion of folk, funk, soul, pop and soul. In total, ten tracks were chosen for the album, with Linda writing two tracks I Can’t Get Enough and Sweet Heartache, while co-writing two others, This Boy and Why Can’t I Be the Other Woman. Among the other tracks chose for the album, were a cover of Jackie Ross’ 1965 Chess Records single Take Me Just A Little While. Eventually, seven tracks were recorded and produced by Bert. However, before the release of an album Why Can’t I Be the Other Woman was released as a single, securing airplay in UK radio stations, but failing to chart. Then when Robin Blanchflower’s Kaleidoscope Records negotiated a deal with CBS Records, Kaleidoscope became part of Epic. Now Linda found herself with an unfinished album, which was another huge setback to her comeback.
CBS decided that Linda should return to London, where she’d finish recording the album, with new producers. So, CBS hired another CBS act to produce the remaining tracks. These were Colin Campsie and George McFarlane of The Quick Association. They’d produce three tracks, This Boy, (Close the Door) Take Your Heart and I Am What I Am. Now that the album was finished, what would be Linda’s first and only album for Epic, A Tear and A Smile would be released.
A Tear and A Smile was released in 1983, but although well received, sadly, failed to chart. Neither did (Close the Door) Take Your Heart nor This Boy, the second and third singles released from A Tear and A Smile. This wan’t just a blow to Linda’s comeback, given the quality of the music, but producers Bert DeCoteaux, The Quick and of course, Epic Records. However, although the album failed commercially, it was nothing to do with the music on A Tear and A Smile, as I’ll now explain.
Opening A Tear and A Smile is Destination Love, and the first difference that I notice from Say No More is the change in style and the production style. The track has a much more uptempo, dance-floor friendly style, with Bert DeCoteaux giving the track his polished style. Written by Diane Warren, a funky rhythm section, keyboards and guitars combine, before Linda’s gentle, beautiful vocal enters. She’s accompanied by backing vocalists, with a prominent male vocalist playing in important part. Over nearly four minutes, Linda is transformed almost into a disco diva, while her band is tight, as they combine funk and disco. By the end of the track, Linda is almost unrecognisable from her debut album, with this one of the best tracks on the album.
Straight away, it’s noticeable that I Am What I Am has a slightly, heavier sound, with the arrangement still funky, but relying more on keyboards and synths. They’re accompanied by punchy, blazing horns and the rhythm section, while Linda’s vocal is stronger, although she doesn’t unleash her five octave vocal. Later, a funky slap bass enters, providing a contrast to the synth and keyboard heavy arrangement. The reason for the change in the sound of the arrangement is that this was one of the arrangement by The Quick Association. Although the sound and is different to Bert DeCoteaux’s, it’s still a good track with its eighties sound, while Linda’s vocal is powerful and impassioned.
Take Me For A Little While is another of the seven Bert DeCoteaux produced tracks, and is a slower track, where Linda gives one of her best, and most emotive vocals on A Tear and A Smile. She starts of with a tenderness and sadness in her vocal, while the arrangement is a combination of the rhythm section, keyboards and strings, before subtle backing vocalists enter. After a minute, Linda’s vocal starts to grow in power, as the emotion also rises. Still, the arrangement has an understated and pensive sound, made all the better by the addition of the tender backing vocalists. They combine beautifully with Linda, resulting in song that’s thoughtful, but emotive, but quite beautiful.
Stabs of synths open Don’t Let It Go, before the rhythm section and guitars join. They’re followed by Linda’s joyful and sweet vocal, while percussion and backing vocalists augment the arrangement. Here, Linda gets a chance to display her wide vocal range, her voice soaring during the track, while a wash of synths and the rhythm section combine behind her. Like the previous track, the backing vocalists combine well with Linda, responding to her vocal with an emotive, soulful sound. Although the arrangement relies heavily on synths and keyboards, this works well, and has aged well, resulting in a catchy sounding track, made all the better by Linda’s stirring, passionate vocal.
You Don’t Know What You’re Missing has a really polished, professional sounding arrangement and production, from Bert. Add to that a soulful and tender vocal from vocal from Linda, sung against a slow arrangement, where the rhythm section, percussion and keyboards and augmented by lush strings and backing vocals. As Linda sings, the arrangement meanders behind her, revealing its beauty and subtleties. The result is one of the most beautiful tracks on A Tear and A Smile, one which demonstrates just how talented a vocalist Linda Lewis is.
Having to follow such a gorgeous track as the previous one won’t be easy, but the track that has to do that, is (Close the Door) Take You Heart Out, another of the three tracks produced by The Quick Association in the UK. Again, they rely upon synths as the track opens, which are accompanied by the rhythm section and piano. When Linda’s vocal enters, it’s gentle, but quickly grows in power. Her vocal is multi-tracked resulting in a wall of powerful vocals combining, resulting in an eighties power-ballad style. Meanwhile a rocky sounding guitar solo accompanies the vocal, drifting and out of the track, as do the multi-tracked vocals. The result is a track that’s a fusion of rock, eighties synth-pop and even power-ballads, displaying a very different side to Linda Lewis and A Tear and A Smile.
As I Can’t Get Enough opens, Linda’s vocal sound not unlike Minnie Riperton. This has been the case on several tracks, but is really apparent here. Another similarity is their vocal range, spanning over five octaves. On this track, Bert’s production results in a smooth sounding track, with a contemporary sound. With a myriad of strings, a rhythm section that combines funk and soul and a piano that drifts in and out the track, Linda delivers another emotive, impassioned vocal. Again, she’s accompanied by backing vocalists, before during a breakdown, an eighties sounding keyboard solo enters. However, overall, the result is a quite beautiful sounding song, one that’s the perfect platform for Linda’s lovely vocal.
Very different from the previous track is the final track produced by The Quick Association, This Boy. It’s a quicker track, where Linda’s powerful vocal is accompanied by a driving rhythm section, punchy, blazing horns, synths and keyboards. However, with backing vocalists accompanying Linda’s joyous, powerful vocal, the result is a catchy track, and the best of the trio produced by The Quick Association.
Why Can’t I Be the Other Woman was originally recorded by Jackie Ross in 1965, on Chess Records. Here, the track is given a smooth eighties makeover, and slowed down to 70 beats per minute. This is the slowest song on the album, with an understated arrangement, that’s allows Linda’s vocal to take centre-stage. It’s just the rhythm section, keyboards, percussion and strings combine, before Linda’s vocal enters. It ranges from a gentle, questioning style, soaring high and powerfully, full of frustration and emotion, against a string laden backdrop, that also includes backing vocalists. Bert DeCoteaux’s production’s is perfect for the song, while Linda delivers the lyrics with feeling, emotion and passion.
Closing A Tear and A Smile is Sweet Smile, one of only two songs Linda wrote herself. The other was I Can’t Get Enough one of the most beautiful songs on the album. Hopefully, this track will be just as good. Opening subtly, with just percussion and keyboards, Linda’s tender, heartfelt vocal enter, before guitars and the rhythm section join. They’re followed by lush strings, before a slap bass injects a sprinkling of funk into the track. Subtle, soulful backing vocalists augment Linda’s vocal, which is a mixture of tenderness, feeling and beauty. After having wondered whether Sweet Smile matched the quality of I Can’t Get Enough, I’m pleased to say it did, demonstrating not just Linda’s talent as a singer, but as a songwriter too.
Having recently reviewed Linda Lewis’s debut album Say No More, which was released in 1971, Linda’s music had changed by 1983 and the release of A Tear and A Smile. Gone was the folk and pop sound, replaced by soul, funk and even disco, with Bert DeCoteaux adding a sophisticated and polished production. One thing that hadn’t changed was Linda’s voice, which was still emotive, impassioned and beautiful, capable of delivering a variety of songs with aplomb. These include the disco sound of Destination Love, while Take Me For A Little While, You Don’t Know What You’re Missing, Can’t Get Enough, Why Can’t I Be the Other Woman and Sweet Smile are a combination of soulful sounding songs, which sometimes are infused with a modicum of funk. What’s noticeable is the change in style with the trio of tracks produced by The Quick Association. They’ve a different style and sound, with the sophisticated and polished sound produced by Bert DeCoteaux, replaced by an eighties synth and keyboard sound that was really popular in 1983. There’s nothing wrong with this production style, but you can quickly tell when the producer changes. The best of the three songs produced by The Quick Association is This Boy, which has a really joyful sound. Comparing the two production styles is an interesting exercise, but one that will depend upon your preference. However, A Tear and A Smile is a good album from Linda Lewis, one that anyone who either loves either Linda’s music, or anyone who loves good quality soulful music should seek out. A Tear and A Smile will be rereleased by BBR Records on 2nd April 2012, with five bonus tracks included on their remastered release. This will a very welcome rerelease of one of Linda Lewis’ best albums, A Tear and A Smile. Standout Tracks: Destination Love, You Don’t Know What You’re Missing, Why Can’t I Be the Other Woman and Sweet Smile.
LINDA LEWIS-A TEAR AND A SMILE.
CHERYL LYNN-IN THE NIGHT.
CHERYL LYNN-IN THE NIGHT.
Although many people will remember Cheryl Lynn for her debut single Got To Be Real, a real disco classic, which reached number one in the US R&B Charts in 1978, there’s much more to Cheryl’s career than just one song. Quite the opposite, Cheryl’s career has spanned five decades, releasing nine albums between 1978 and 1995. Her first six albums were released on Columbia Records, between 1978 and 1985, starting with Cheryl Lynn, produced by Marty and David Paich and featured Got To Be Real. It gave Cheryl her biggest commercial success, reaching number twenty-three in the US Billboard 200 and number five in the US R&B Charts. The follow-up was 1979s In Love, which was produced by Barry Blue, which reached number 167 in the US Billboard 200 and number forty-seven in the US R&B Charts. After a two year break, Cheryl was ready to record her third album, which would become In The Night, which will be rereleased on 2nd April 2012, on BBR Records. Another new producer was hired, with Ray Parker Jr. chosen, but could he help Cheryl replicate the success of her debut album on In The Night?
The choice of Ray Parker Jr. for In The Night was a shrewd move, as he was going through a successful period, producing Raydio, Patti LaBelle, Deneice Williams, Barry White and Herbie Hancock. It also gave Cheryl access to some of Los Angeles hottest session musicians, which Ray hired for the sessions. This included a rhythm section that included guitarist Wah-Wah Watson, bassist Marcus Miller and drummer James Gadson. Add to this percussion player Ollie E. Brown and Gene Page who arranged the strings. With this multi-talented band, they headed to the Amerycan Studios in Los Angeles.
Now that Cheryl and her band were settled in the Amerycan Studios, they started recording the nine tracks that would make up In The Night. Cheryl cowrote four tracks, two with Ray, who wrote two other tracks and cowrote another. On the nine tracks, Cheryl was able to demonstrate not just her five octave vocal, but her musical versatility, on tracks that combined soul, funk and disco. Once the nine tracks were recorded, In The Night would be released in June 1981.
Before the release of the album In The Night, Shake It Up Tonight was released in May 1981, as the first single, reaching number seventy in the US Billboard 100, number five in the US R&B Charts and number five in the US Disco Charts. After the success of Shake It Up Tonight, In The Night was released in June 1981, reaching number 104 in the US Billboard 200 and number fourteen in the US R&B Charts. In The Night was the second single, released in September 1981, reaching number seventy-nine in the US R&B Charts. The third and final single was Show You How, released in November 1981, which failed to chart. Although In The Night hadn’t matched the success of Cheryl Lynn, Cheryl’s debut album, it was a much bigger commercial success than In Love her previous album. This must have pleased everyone connected with the album, including producer Ray Parker Jr. and of course Cheryl. However, what made In The Night such a successful album? That’s what I’ll now tell you.
Opening In The Night is Shake It Up Tonight and straight away, you realize why this track was chosen as the first single. It’s a stunning disco track, that allows Cheryl to demonstrate her five octave range, as she delivers a sassy, impassioned and joyful vocal. She’s accompanied by lush, cascading strings, the tightest of rhythm sections that sprinkle funk throughout the arrangement, while piano and Fender Rhodes and percussion augment the rhythm section. As the strings swirl and sweep, Cheryl’s voice is passionate and powerful, as she delivers the lyrics. Together with her band, they combine to produce a hook-laden track, one with a real feel-good sound and a highlight of In The Night.
Show You How sees a change in style, with Cheryl dropping the tempo on this R&B track. Her voice is starts of gently, emotive and beautiful, while Marcus Miller lays down a meandering bass line. Strings sweep gently in the background, as the rhythm section combine as Cheryl’s voice grows in power. Backing vocalists add to the emotion, as washes of Fender Rhodes are joined by sultry horns. They’re just the finishing touches to the track, especially the backing vocalists, when they’re combined with Cheryl’s impassioned vocal. Together, they add to the power and emotion of this gorgeous track.
In The Night was the second single from the album, and sees Ray Parker Jr. play most of the instruments on the track, including synths, bass, guitar, drums and piano. Like other tracks, Gene Page arranges the strings. The track has a different sound, with synths, playing a bigger role in the arrangement. Synths, the rhythm section and guitars combine with Cheryl’s gentle vocal, before subtle strings enter. A punchy bass and drums accompany Cheryl, while synths and piano are joined by subtle, backing vocalists. As the track progresses, Cheryl’s voice mixes a tenderness, with emotion and beauty. Although the track relies upon synths more than other tracks, it has aged well and still sounds as good as it did back in 1981.
On Hurry Home, it’s immediately apparent that something special is about to unfold. The arrangement is slower, with space left throughout, that highlights the tenderness and devotion in Cheryl’s voice, as she awaits the arrival of the man she loves. It’s just a combination of the rhythm section, guitar, piano and synths. Here, a bass synth and string synth are used effectively, providing the perfect, slow and spacious backdrop for Cheryl’s needy vocal. This results in another beautiful track, one that again, demonstrates Cheryl’s versatility as a vocalist, and whether ballads, soul or disco, she can deliver each with aplomb.
I’m On Fire was one of the tracks written by Ray Parker Jr. and demonstrates his talent as songwriter and producetr. It has a similar introduction to Shake It Up Tonight, and has a similar quality. Opening with a rhythm section that includes a funky bass, lush strings enter, swirling above the arrangement. Then the drums signal the entrance of Cheryl’s vocal, which is a mixture of power, frustration and emotion, while punchy, soulful, backing vocalists accompany her. Ever-present is Marcus Miller’s funky bass, as the track reveals its hook-laden and catchy charms. Later, Cheryl’s voice grows in power, as she unleashes her five octave range, on a timeless, contemporary, sounding track, that’s another of In The Nights best tracks. Why a track as good as this wasn’t released as single seems strange?
With Love On Our Side is a slower track, that opens with a a moody sounding rhythm section and thoughtful strings. They give way to Cheryl’s vocal which is laden with sincerity and accompanied by flourishes of piano and guitar. Through most of the track, the arrangement and vocal have a thoughtful, pensive sound that are sympathetic to the lyrics. However, later, Cheryl’s vocal is transformed into a powerful and impassioned style, with backing vocalists accompanying her as the song head’s to its dramatic ending. Although very different to the previous track, this song has one thing in common, its quality.
After the previous slower song, Cheryl ups the tempo, delivering another dance-floor friendly track with If You’ll Be True To Me, which she cowrote with Ray. The arrangement features Ray playing guitar, bass, piano and drums, while Gene Page arranges the strings and Cheryl contributes backing vocalists. Again, she’s transformed into a disco diva, with the tempo of 121 beats per minute perfect for the track. She delivers the song against a pounding disco beat, punctuated by a punchy bass, while strings dance above her. When she delivers her lead vocal in a powerful, style, she also answers them, with her backing vocals. Like the two other dance-floor friendly tracks, this is another irresistible sounding track, hugely catchy, and featuring an impassioned vocal from Cheryl.
So far, Cheryl has delivered a trio of great dance tracks, well now make that a quartet. What’s On Your Mind is the latest of these dance-floor friendly tracks. Co-written by Cheryl, it allows her to unleash that powerful, and sometimes, sassy vocal. This she does against a backdrop of blazing horns, funky rhythm section, percussion and keyboards. During the track, guitarist Wah-Wah Watson and bassist Marcus Miller play important parts in the track’s success, as do the horn section. However, it’s Cheryl’s vocal that steals the show, on the latest of her dance-floor friendly tracks.
Closing In The Night is Baby, co-written by Cheryl and Ray. Ray plays guitar, bass and synth, while John J. Barnes contributes synths and keyboards. It’s Ray’s bass that opens the track, before the keyboards and synths enter, as Cheryl’s vocal is strong and punchy. She delivers her vocal against an arrangement that combines drama and power with a funky style. While the track has a very different sound from other tracks, given its reliance on synths and keyboards, it still just works, proving that in the hands of a talented player and producer, synths could work really well and make great music. Mind you, not many other producers had such a talented singer as Cheryl Lynn to deliver the vocal in a powerful, punchy style.
Having spent some time listening to Cheryl Lynn’s third album In The Night, I can truly say that this is a stunning album, crammed full of some great songs. With the quartet of dance-floor friendly tracks that include, Shake It Up Tonight, I’m On Fire, If You’ll Be True To Me and What’s On Your Mind some of the highlights of In The Night. However, there’s much more to In The Night than just four songs, with Hurry Home a beautiful love song and With Love On Our Side a thoughtful sounding track. Two of the other tracks In The Night and Baby, rely more upon synths and keyboards, but this works really well, unlike many other songs from other artists from this time. Truly, from the opening bars of In The Night, to the closing notes of the album, there’s no let up in the consistent quality of the music. Each of the nine tracks feature Cheryl’s stunning vocal, accompanied by a multi-talented band and an experienced and talented producer in Ray Parker Jr. The result is that In the Night is a fantastic album, one that will appeal to anyone who like soul, funk and disco. BBR Records rerelease of In The Night is a very welcome release of one of Cheryl Lynn’s best albums. Not only does BBR Records remastered rerelease of In The Night features the nine original tracks that made the album, but also features the single versions of Shake It Up Tonight and In The Night. Together, this makes In The Night a must-have album for fans of Cheryl Lynn’s music, or anyone who loves disco, funk or soul music. Standout Tracks: Shake It Up Tonight, I’m On Fire, If You’ll Be True To Me and What’s On Your Mind.
CHERYL LYNN-IN THE NIGHT.
BRYAN LOREN-BRYAN LOREN.
BRYAN LOREN-BRYAN LOREN.
Bryan Loren, whose eponymous debut album Bryan Loren was rereleased on 26 March 2012 on BBR Records, is much more than a singer, he’s also a talented multi-instrumentalist, arranger, producer and songwriter. Some people would call Bryan a prodigy, learning and mastering various instruments, and then writing songs while still in his early teens. While still in high school, Bryan started working part-time in Philadelphia’s Alpha International Studios. Then by 1982, Bryan’s talent and music came to the attention of Fat Larry’s Band, with Bryan joining as keyboard and synth player, playing on their 1982 album Breakin’ Out and 1983s Straight From the Heart. As if this wasn’t enough, he played keyboards and sang backing vocals on Cashmere’s debut album, Let the Music Turn You On, released on Philly World Records. The single that preceded the album’s release was Do It Anyway You Wanna, which Bryan cowrote. This gave Philly World their first top forty single, and lead to the recording of Let the Music Turn You On. Soon, Philly World owner Pete Pelullo’s became interested in signing Bryan as a solo artist, who back then, was still referred to as Bryan Hudson. Then, when he signed his recording contract, Bryan Loren was born, and so was a successful musical career.
Now that Bryan had been signed to Philly World, he set about recording his debut album. Not only was Bryan write the eight tracks on the album, but he produced the album as well. Mind you, he’d learnt from two talented producers, Bobby Eli and Nick Martinelli. The only track where Bryan isn’t credited as sole producer, is Lolilpop Luv, the debut single from the album. Nick Martinelli received a credit, although Bryan believes the only reason for this was to help gain radio play. Bryan states Nick Martinelli was never present for any of the recording studios.
Recording started late in 1983, at Philadelphia’s Alpha International Studios. Bryan given was complete artistic freedom, allowed to record the album as he saw fit. However, Philly World were desperate to let the public hear their new signing’s debut album. He had to have the album finished by February 1984, to coincide with Black History Month. In 2007, Bryan said he felt wasn’t given enough time to finish the album as he would’ve liked. Three tracks however, Bryan believes weren’t completed to his satisfaction. Somehow, though, Bryan made the deadline, with the eight songs that make up Bryan Loren recorded. How would the album fare on its release?
Before the release of Bryan’s debut album Bryan Loren, two singles were released. The first was Lollipop Luv,’ released in February 1984. It reached number twenty-three in the US R&B Charts, number 105 in the US Billboard 100 and number ninety-seven in the UK. Do You Really Love Me was the second single, released in June 1984 reaching number sixty-eight in the US R&B Charts. Then when the album Bryan Loren was released in July 1984, it reached number forty-four in the US Cashbox Charts. The third and final single released was Easier Said Than Done, released in September 1984, which failed to chart. However, given that two singles had charted, as had the album Bryan Loren, Philly World must have been pleased with the album’s success, and so would Bryan. His mixture of soul and funk on Bryan Loren, which I’ll now tell you about, was the first step in his long and successful career.
Opening Bryan Loren, is Lollipop Luv,’ the debut single released from the album. It’s a truly infectious track, one that highlights not just Bryan’s talent as a singer and songwriter, but as a producer. When the track opens, immediately, you’re aware of a Prince influence to the track. A combination of rhythm section, keyboards and synths give way to Bryan’s vocal, with has an understated, but emotive sound. Then when the track starts to reveal its charms, you’re not just hooked by the groove, but swept away by its infectiousness. Similarly, the melody is irresistible, while the arrangement has aged well. Unlike many tracks of this era, the combination of synths, keyboards and drums doesn’t sound dated. However, given such an infectious and irresistible sound, surely it deserved to far better when released as a single?
Easier Said Than Done was the third single released from Bryan Loren, but was the only single that never charted. This was one of three tracks that Bryan described as “incomplete.” Listening to the track, and its fusion of soul and funk, I feel Bryan is being hard on himself. His sad, soulful vocal combines well with a quick, funky arrangement. It’s crisp drums, stabs of dramatic synths and a slap bass that combine, before Bryan’s vocal enters. Bryan’s vocal is a mixture of sadness, sincerity and passion, while his vocal multi-tracked so he also sings the backing vocals that accompany him. Together, the slap bass and keyboards combine during a break, before the vocal reenters, as the track fuses soul and funk perfectly. Listening to the track, not only it has some of the best lyrics on the album, but it features a heartfelt vocal and a suitably, sympathetic vocal.
For Tonight sees the tempo drops slightly to 116 beats per minute, with Bryan changing style as the song opens. He’s transformed into a heartfelt, balladeer against a backdrop of stabs of synths and the rhythm section. Meanwhile his multi-tracked vocals accompany him on this fusion of eighties R&B and dance music. By now, there’s even a slight Jackson 5 sound to the track, before it’s all change. Then, a prominent bass punctuates the arrangement, while Bryan’s vocal is still heartfelt and beautiful. Later, a piano drifts effectively in and out of the track, as the rhythm section and keyboards add a touch of funk to the track. This is just the finishing touch to a track that’s a fusion of musical genres, mixing eighties R&B and dance music seamlessly.
Complications opens with pounding drums, synths and percussion as the tempo increases. The track has a Michael Jackson style and sound, and if you listen to albums like Off the Wall, and then this album, then the similarities will become apparent. Even Bryan’s vocal sounds similar, with the track littered with lovely, winsome melodies. Later in his career, Bryan would work with Michael Jackson. Obviously, this track has a heavier synth sound, with its has an eighties new wave style. However, the track is catchy, it draws you in, and before you know it, you’re truly hooked. Key to the track is the combination keyboards, dance-floor friendly drumbeats and tempo, not forgetting Bryan’s vocal. Together, they’re combined by Brian into one of the catchiest, hook-laden tracks on the album, one that was perfect for any eighties dance-floor.
The second single from Bryan Loren was Do You Really Love Me, a mid-tempo track. It was originally the opening track on the album’s second side, which is slower than the first side. The track has an enchanting, feel-good sound, where ever-present synths are key to the arrangement’s sound. When they’re combined with the crispy drums, they prove a potent and successful combination. Bryan’s vocal is emotive and impassioned, as the track flows along beautifully. However, later, Bryan delivers a curve-ball, in the shape of a wall of guitars, that compliments the rest of the arrangement and the song’s romantic lyrics. This results in one of the most beautiful and best songs on Bryan Loren.
Falling In Love is another mid-tempo romantic track, one where jazz, soul and funk unite as one. While combination of rhythm section and keyboards give the track a slightly funky sound, flourishes of jazzy guitar enter, combining with Bryan’s needy, heartfelt vocal. Later, percussion and slap bass augment the arrangement, as crisp drums almost crack, and keyboards play an important part in the arrangement’s success. Like other tracks, Bryan’s vocal is multi-tracked, providing backing vocals. Here, they’re the perfect accompaniment for his vocal, their heartfelt sound just the finishing touch the track needs, in its journey through jazz, funk and soul.
Stay With Me is by far, the slowest track on the album, at just 83 beats per minute. Even by the standards of the slower, second side this is much slower. It’s also one of the best tracks on the album, with Bryan’s vocal sad, and almost desperate. Again, backing vocals augment his vocal, as the arrangement combines jazz and soul. Subtle chord changes on the keyboards, a lissome, chiming guitar and drums are key to the arrangement. Bryan sings around the keyboards, filling the spaces they leave. The arrangement just meanders along, slowly revealing its sadness and beauty. Later, Bryan’s vocal is emotive and impassioned, resulting in one of his best vocals on the album.
Closing Bryan Loren is Take All of Me, which Bryan demonstrates Bryan’s talent as an arranger and producer. The track opens with some clever chord changes on the keyboards, while the rhythm section and other keyboards accompany him, as the track unfolds. His delivery is considered, laden with feeling and emotion, while some gorgeous harmonies accompany him. Throughout the track, his chord changes are subtle and highly effective, as his addition of a stunning piano solo later in the track. By the end of the track, Bryan just seems to have brought everything together perfectly, with his arrangement almost seamless. Add to this a vocal that’s full of sincerity and feeling, and this is beautiful track to close the album.
I’ve been looking forward to reviewing Bryan Loren’s eponymous debut album Bryan Loren for some time, and I certainly wasn’t disappointed. How could I be disappointed given the high standard of music on Bryan Loren? The first four tracks made up the first side of the original album, with the music quicker than on the other four tracks. Two of the highlights are the irresistibly, infectious Lollipop Luv’ and Complications, a hook-laden, dance-floor friendly track. On the other four tracks, Bryan drops the tempo, surpassing himself with a trio of tracks that include Do You Really Love Me, Stay With Me and Take All of Me. Like each of the eight tracks on the album, Bryan wrote, produced and played many of the instruments. This demonstrates not just his talent, but also his versatility, as he seamlessly fuses soul, funk and jazz music during the album, and sometime, during one song, such as Falling In Love. It’s just one of the many highlights of Bryan Loren, which has been remastered and rereleased by BBR Records on 26 March 2012. Not only does it include the original album, but also features seven bonus tracks. These include of various versions of the singles released from Bryan Loren. Add to this lengthy and informative sleeve-notes from Justin Kantor, and BBR Records’ rerelease of Bryan Loren is a welcome release from a multi-talented, multi-instrumentalist, singer, songwriter and producer. Standout Tracks: Lollipop Luv,’ Complications, Do You Really Love Me and Stay With Me.
BRYAN LOREN-BRYAN LOREN.
LATIN CONCRETE: A MODERN LATIN RHYTHM SUITE-MIXED AND COMPILED BY CHRIS READ.
LATIN CONCRETE: A MODERN LATIN RHYTHM SUITE-MIXED AND COMPILED BY CHRIS READ.
So far this year, BBE Music have continued their policy of releasing an eclectic selection of quality music, starting with Al Kent’s The Best of DIsco Demands, a five disc box set crammed full of disco delights. This was followed by the classic soul of Sandy Barber’s The Best Is Yet Come, and then Johnny D Presents Disco Jamms Volume 1, a refreshingly eclectic collection of music ranging from Philly Soul, house and Euro Disco, to soul, R&B and disco. Next came Boddhi Satva’s beautiful and powerful Invocation, a fusion of authentic African music, Ragga and hip hop that also encompasses Nu Soul, jazz and house music. The next addition to BBE’s back catalogue will be a a retrospective compilation of jazz, soul and funk entitled The Best of Perception and Today Records Compiled By DJ Spinna and BBE Soundsystem. However, very different will be Chris Read’s forthcoming compilation Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read. This is a two disc set, one mixed and the other unmixed, which includes seventeen slices of infectious Latin music, laden with rhythms and beats aplenty. Before I tell you about the music on Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read, I’ll tell you how Chris’ compilation differs from other BBE Music releases.
Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read, which will be released on 30 April 2012, is quite different from the other albums and compilations released by BBE Music this year and previously. Whilst other BBE releases concentrate on crate digging to discover hidden gems, rarities and long forgotten classics, BBE have decided to turn the spotlight on a musical scene that’s quietly, been evolving over the past ten years. This is the Latin music scene, which Chris Read approaches from a DJ’s and music lover’s perspective. However, Chris didn’t grow up in an environment where he was surrounded by Latin music. Instead, he discovered it through the music he was listening to. Much of this was what he refers to as the “sample based music” from the late eighties and early nineties, much of which was hip hop and house music. Previously, many DJs and producers have been influenced by, and sampled Latin music. Like many people, Chris traced the sources of this music, and in doing so, discovered the disparate delights of Latin music. It’s this music that features on the two discs of Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read. On the mixed disc, Chris seamlessly mixes his may through the seventeen tracks on the album, demonstrating not just his mixing skills, but also his taste in music. Quite simply, this is a great DJ mix, percussive heavy, with beats and rhythms aplenty. However, of the seventeen tracks on Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read, what are the highlights of the compilation? That’s what I’ll now tell you.
My first choice from Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read is the track that opens the compilation Oddisee’s Viva Brasil, taken from Oddisee’s 2011 album Odd Seasons, released on Mello Music. Oddisee is Washington born producer and MC, now based in Brooklyn, New York, whose part of the Low Budget crew. Viva Brasil is an irresistible slice of musical sunshine, with a real feel-good vibe. With its combination of heavy percussion, pounding beats and guitars, stabs a Hammond organ enters, adding an atmospheric sound to this shuffling mid-tempo track. For four minutes the rhythms, beats and percussion signal the arrival of summer, with its gorgeous lilting sound. Resistance is impossible, all you can do is surrender to this tracks irresistible charms.
Quantic & Nickodemus’ Mi Swing Es Tropical features Tempo & The Candela All-Stars, and was released as a single in 2007, on the US label Wonderwheel Recordings. This is one of these hidden gems that make you thankful that people like Chris Read dig deeper, to unearth such treasures. It’s another mid-tempo track, fusing funk, Latin and soul. Opening with just the vocal, rhythm section and percussion, the track quickly unfolds to reveal its secrets. As if on the signal of the pounding drums, the track reveals some glorious meandering rhythms, a proliferation of percussion and crispy beats. They combine with punchy, blazing horns and quick, joyful vocals. It’s almost impossible not to be swept away by this track, one that’s guaranteed to put a smile on your face and make you feel at peace with the world.
When I heard The Juju Orchestra’s What Is Hip? featuring Terry Callier and Carolyn Leonhard this was a welcome addition, as I’m a huge admirer of both The Juju Orchestra and Terry Callier’s music. This track is from The Juju Orchestra’s 2007 album Bossa Nova Is Not A Crime. The tempo is quick, with a piano opening the track, before percussion and Terry’s punchy vocal enters. By now the rhythms and heavy and the percussion plentiful, as Terry’s vocal drifts in and out of the track. With pounding drums and percussion key to the arrangement, Terry’s vocal gives way to frantic handclaps and stabs of organ. Later, whoops and hollers aplenty join the arrangement, before the organ, percussion and pounding drums augment Terry’s vocal, as the track heads to a close. For anyone whose neither heard the music on The Juju Orchestra nor Terry Callier, then you must hear this track to discover just what you’ve been missing, then explore both artists back catalogue.
Beatfanatic, who is Ture Sjoberg, a Swedish producer has two tracks on Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read. These are Cookin’ and Jogando Capoeira. Both are from his 2003 single released on Raw Fusion Recordings and were on his 2004 album Adventures In The World of No-Fi Beats. Cookin’ sees a glorious combination of powerful, jazzy drums accompanied by punchy and persistent blazing horns while the track is percussive heavy. A vocal drifts in and out of the track, as the track takes on an infectious, driving style. Stabs of horns are augmented by crisp drums and frenzied percussion, as the track fuses an infectious combination of funk, jazz and Latin music. Jogando Capoeira is a quicker track, but shares many of the same qualities with Cookin.’ Although the tempo is quicker, 114 beats per minute, there’s the same irresistible combination of percussion, Latin rhythms and driving beats. Add to that, a piano that helps drives the track along, and an emotive female vocal, and you’ve the recipe for another great track from Beatfanatic.
Like Beatfanatic, compiler Chris Read has two tracks on Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read. Mind you, when you’re the compiler, and have two tracks as good as this, they deserve to be icluded. These are Ritmos Colombianos and Disco Cumbia, from Chris’ 2011 single on Breakin’ Bread Records, which he arranged and produced. As Ritmos Colombianos opens it’s a combination of whistles, a heavy, pounding rhythm section, percussion and vocals that reveal themselves. Then a horns soars, while drums and bass pound, drive the track along. Add to this percussion, frantic horns, occasional blasts of whistles and the vocal, and a track that combines jazz, funk and Latin music reveals its charms. Of the two tracks, Disco Cumbia is my favorite. It sounds like a carnival atmosphere is gradually unfolding as you listen. For four minutes, the drums pound, so much so, that you fear for the skins, before a combination of percussion, whistles and blazing horns accompany the vocal. The rhythms are glorious, the percussion plentiful, while the horns combine power and passion, resulting in a truly authentic and glorious Latin sounding track.
Color Climax are Paul Toller and Steve Ashby, two Coventry based producers, whose track Batidas Latinas was one of the tracks on their 2007 album Plug It In on Breakin’ Bread Records. When the track opens with its combination of keyboards, percussion and rhythm section, it has a slightly darker sound. However, when the vocals enter, they provide a contrast, as the track fuses jazz, funk and Latin. The rhythms and strong, the beats punchy and pounding, before a drum solo takes the track in a jazzy direction. Then, the addition of keyboards add a touch of funk, before wah-wah guitars add to the funkiness. By now the tempo is quick, the dark sound has gone, replaced by an arrangement that’s powerful, joyous and fabulously funky. Here, Latin music meets funk, with a sprinkling a jazz thrown in for good measure, as the highlight of Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read reveals its brilliance.
The last track I want to mention is the track that closes Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read, Black Grass’ Lucha Contra De La Injusticia. This is a track from Black Grass’ 2006 album A Hundred Days In One, released on Catskills Records. When the track opens there’s a real Latin sound and feel, before a guitar, bass and percussion combine. From there punchy beats enter, joined by keyboards and the track begins to reveal its beauty and subtlety. While drums drive the track along, a percussive laden arrangement is augmented by keyboards, whistles and vocals. Later, squelchy, old school synths add a contrasting sound, before quickly, exiting stage left. They’re replaced by guitars, keyboards, percussion and pounding beats, before subtle horns are the latest addition to the arrangement. The result is a track that’s a fusion of Nu-Jazz, soul and Latin music, that results in another of the album’s highlights.
Having spent a considerable time listening to Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read, I can honestly say that this is a refreshingly, eclectic collection Latin music. Although many people won’t have heard of some of the artists that feature on the compilation, their music deserves a much wider audience. This is the case with Beatfanatic, Black Grass, Color Climax, The Juju Orchestra, Oddisee and Quantic and Nickodemus. Each of these artists contribute some great music to Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read, music which is infectiously catchy, percussive heavy and laden with glorious rhythms and beats. Hopefully, after hearing this music, people will decide to explore the artists music further. As someone whose familiar with a number of these artists, I can recommend doing so. Truly, there is some amazing music awaiting your discovery. Personally, BBE Music deserve the utmost credit for giving Chris Read the opportunity to introduce the wider public to the music he’s so passionate about. In many ways, this is brave move, given that this isn’t one of the currently fashionable genres of music. Instead, it’s got a small and loyal fan-base, made up of passionate people, who love Latin music. Maybe after hearing the majestic and infectious music on Latin Concrete: A Modern Latin Rhythm Suite-Mixed and Compiled By Chris Read, many more people will seek out this music, music which is deserving of a much wider audience. Standout Tracks: Oddisee Viva Brasil, Beatfanatic Cookin,’ Color Climax Batidas Latinas and Black Grass’ Lucha Contra De La Injusticia.
LATIN CONCRETE: A MODERN LATIN RHYTHM SUITE-MIXED AND COMPILED BY CHRIS READ.
DISCO DISCHARGE-AMERICAN HOT.
DISCO DISCHARGE-AMERICAN HOT.
Since 2009, when Harmless Records launched the Disco Discharge series, compiler Mr Pinks has been bringing quality disco to the masses over the previous twelve volumes. These twelve previous volumes of the Disco Discharge series have ranged from Classic Disco, Disco Fever USA, Disco Ladies through Disco Boogie to Euro Disco, Euro Beats and European Connection. Truly, this is one of the most comprehensive disco series ever, perfect for disco newcomers or disco veterans. However, Mr Pinks work isn’t done. Not by a long shot. His first compilation of 2012 is Disco Discharge-American Hot, which will be released on 26 February. Now you’d think after twelve previous volumes, Mr Pinks would be under pressure to keep up the same quality as previous installments of the series, and that standards might be starting to slip. After all, we’ve all watched other inferior compilations quality and standards slip after four or five volumes. Not for Mr Pinks, he’s a perfectionist, a crate digger extraordinaire who dares to dig where other disco compilers fear to dig. His raison d’etre and life’s mission is to educate disco novices and bring delicious disco delights to the masses. Well, with Disco Discharge-American Hot he doesn’t disappoint. Quite the opposite, instead, he goes the extra mile, delivering hidden gems and forgotten classics aplenty. With a combination of strutting disco divas, soul veterans and disco converts on Disco Discharge-American Hot, there are twenty full length mixes to revel in. So dust of your disco balls as I tell you about the music on Disco Discharge-American Hot.
DISC ONE.
Disc One of Disco Discharge-American Hot features eleven tracks, with a few surprising and intriguing tracks. This includes Tony Orlando, formerly a clean cut teen idol, then member of Dawn, famed for tracks like Tie A Yellow Ribbon Around the Old Oak Tree. Here, he shakes loose the shackles of his previous group and is transformed temporarily into seventies, strutting disco star. Jazz flautists Herbie Mann’s Superman is also included, which reached number one in the Billboard Dance Charts, resulting in a reluctant disco star. The disco divas come in the shape of Cissy Houston, Claudia Barry, Delores Hall and Marilyn McLeod, while Randy Crawford’s Last Night In Danceland is a welcome inclusion. Among the disco groups are Slick, The Brothers and The Ritchie Family, Disco Discharge regular. Overall, the quality of music on Disc One of Disco Discharge-American Hot is what you’d expect from disco dilettante Mr Pinks. However, what are the highlights of Disc One of Disco Discharge-American Hot? That’s what I’ll now tell you.
My first choice from Disc One of Disco Discharge-American Hot is Claudja Barry’s Love For The Sake Of Love, with the version chosen the Tom Moulton Mix. This track was originally released on Salsoul Records in 1977. It has a deceptive introduction, with just drums providing the track’s heartbeat, before keyboards and guitars enter. The tempo is slow for a disco track, just 91 beats per minute. By now, you’re anticipating that something is about to happen, that sometime soon, the track will explode into disco heaven. However, the track just meanders beautifully along, gradually revealing its charms and delights. Then, after nearly three minutes, Claudjia’s sensuous whispery vocal enters, accompanied by subtle backing vocalists. After six minutes, it’s all change, as the arrangement grows. Claudjia, accompanied by percussion, lush strings and chiming guitars combine, and they’re key to the success of this subtle, sensuous and beautiful mid-tempo track.
Randy Crawford’s Last Night In Danceland, was released in 1980 on Warner Bros, and was taken from her album Now We May Begin. Written by Joe Sample of The Crusaders and Will Jennings, this is another mid-tempo track demonstrates both Randy’s versatility and talent as a vocalist. Opening with an acoustic guitar, before the rhythm section and keyboards enter. They give way to Randy’s tender, gentle vocal, while the understated arrangement features just keyboards and the rhythm section, allowing the vocal to take centre-stage. Quickly, Randy’s vocal grows in power, delivering the lyrics in a thoughtful, then jazzy style. Meanwhile, cascading strings join an arrangement that combines elements of jazz and soul. This track that would become a rare groove classic, while Randy would become one of the biggest artists of the eighties.
What I love about compilations like Disco Discharge-American Hot, is you find hitherto unknown disco tracks like Tony Orlando’s Don’t Let Go, released in 1978 on Elektra. The track is a cover of a 1958 track recorded by Roy Hamilton and was co-produced by Jerry Wexler and Barry Beckett. Now this is a cry way from his days with Dawn or as a teen idol, with Tony transformed into a strutting disco star. Against a string laden backdrop, horns punctuate the arrangement, as Tony delivers the lyrics is a melodramatic style. Accompanying Tony are soulful, female backing vocalists, while the pounding rhythm section drive the track along. Later, an organ drifts in and out of the track, augmenting the pounding drums, strings and horns that are key to the track’s sound and success, as as this nine minute epic reveals its hidden charms. Although very different from what you’d expect Tony Dawn to sound like, and Mr Pinks deserves credit for unearthing this hidden gem. Play this track and ask people to guess the singer, and I’m sure nobody will correctly guess Tony Dawn.
One of the best tracks on Disc One of Disco Discharge-American Hot, is Cissy Houston’s Think It Over, which has a real classic disco sound. Released in 1978 on the Private Stock label, it has everything you’d want in a disco track. Swathes of lush, cascading strings, blazing horns, the tightest of rhythm sections and of course a true diva in Cissy Houston to deliver the lyrics. She’s accompanied by some stunning backing vocalists, whose contributions are energetic and dramatic. The longer the track progresses, the better it gets. Cissy’s impassioned and powerful vocal is accompanied by a myriad of horns, strings, backing vocalists and handclaps, as the track combines great tracks you’ll find on Disc One, this is by far the best.
The last track I’ve chosen from Disc One of Disco Discharge-American Hot, is Marilyn McLeod’s (I Don’t Wanna Dance Tonight) I’ve Got Love On My Mind. Released in 1979 on Fantasy Records, this was co-written by Marilyn with Pam Sawyer. Previously, Marilyn had been signed to Motown, where she cowrote Love Hangover for Diana Ross and Same Ol’ Love for Anita Baker. Here, she demonstrates just how talented a vocalist she is, delivering the lyrics against a quick, pounding disco beat. It’s a combination of the rhythm section and swirling strings that give way to Marilyn’s sweet vocal, while backing vocalists accompany her. As the track progresses, Marilyn’s voice soars, while the strings play and backing vocalists play a more prominent role in the track. For nearly six minutes you can’t help but succumb to this hook-laden and quite beautiful track. Truly, resistance is impossible, so just enjoy the journey.
Although I’ve only mentioned five of the eleven tracks on Disc One of Disco Discharge-American Hot, there’s many more great tracks awaiting discovery or rediscovery. Another two tracks that are worth mentioning are Delores Hall’s diva-esque performance on Snapshot and The Brothers’ Are You Ready For This? The latter is a popular instrumental in both Northern Soul and disco circles, and was a track I was pleased to find had been included. These are two tracks that I could just as easily have mentioned. Really, given the consistent quality of music of Disc One of Disco Discharge-American Hot, it was quite difficult choosing just a few tracks to mention. Mind you, when you’ve a compilation as good as Disco Discharge-American Hot, then choosing just a few of the many highlights isn’t easy. Will this be the case on Disc Two of Disco Discharge-American Hot?
DISC TWO.
On Disc Two of Disco Discharge-American Hot there are even more hidden gems, familiar tracks and disco classics awaiting the listener. Opening with Sylvester featuring Patrick Cowley’s I Need Somebody To Love, and taking in tracks by Aretha Franklin, Luther Vandross and Donald Byrd, Disc Two of Disco Discharge-American Hot closes with the feel-good sound of Elbow Bones and The Racketeers’ A Night In New York. In total, there are nine tracks on Disc Two of Disco Discharge-American Hot, which continues where Disc One left of. This makes you wonder whether Mr Pinks ever rests in his pursuit of disco perfection given the quality of music he’s chosen? Choosing from nine delicious slices of disco isn’t easy, but here goes.
When Sylvester featuring Patrick Cowley’s I Need Somebody To Love Tonight was released in 1979, it was originally the B-side of I Who Have Nothing. Then, when the single was flipped over, came the delights of I Need Somebody To Love. It’s just dark synths and drums hat open the track, before the track starts to build up. In come the rhythm section, keyboards and percussion, before the unmistakable voice of Sylvester slowly and dramatically enters. The track has a spacey, trippy sound with its combination keyboards, rhythm section and percussion, which combines with Sylvester’s vocal. The track doesn’t so much unfold, as meander moodily, while there’s a real loneliness and longing, even vulnerability in Sylvester’s vocal during this spacey, dubby track.
The Saturday Night Band’s Touch Me On My Hot Spot is the complete opposite from Sylvester’s track. Released in 1978 from their Come On Dance, Dance, this track has a much more uptempo and uplifting sound, with an accomplished arrangement that’s drenched in strings, punchy horns, percussion and a funky rhythm section. This is accompanied by a soaring vocal female lead vocal and sensual, almost erotic backing vocalists. Meanwhile percussion, strings and horns augment the vocals, resulting in a sometimes dramatic, always energetic and polished arrangement, laden with hooks and breaks.
While Luther Vandross has had a hugely successful career, before his breakthrough he released Sugar And Spice (I Found Me A Girl), which was released in 1981, on Epic, and would appear on his album Never Too Much. This is one of the best tracks on Disc Two of Disco Discharge-American Hot, from its opening bars to closing notes. Opening with a piano solo and pounding drums, Luther’s vocal enters. It’s impassioned and emotive. Meanwhile the rhythm section, keyboards, rasping horns and cascading strings combine, to provide the perfect backdrop for his vocal. Later, sweet sounding backing vocalists accompany Luther, providing a contrast to his powerful and impassioned delivery. When you listen to this track, you quickly can understand just why Luther would go on to sell over twenty-five million albums, given the talent, passion and emotion he displays during this track.
Elbow Bones and The Racketeers released A Night In New York in 1983, a track from their New York At Dawn album, recently rereleased on Hot Shot Records. Featuring Stephanie Fuller’s gorgeous, inviting vocal, the track is a mass of sultry, rasping horns interspersed with drama and atmosphere. Opening with punchy, prominent drums, they give to rasping horns and flourishes of piano before Stephanie’s sweet and inviting vocal. There’s a sultry, breathless sound to her vocal, while the rhythm section, jazz guitars and percussion combine with the horns, to create a sound that’s roots are in forties big band music. This is given a contemporary makeover by Augustus, with his placing of the pounding drums and its importance in the track’s sweet, swinging horn drenched sound. By the end of the track, the majestic combination of the big band arrangement and gorgeous vocal is absolutely irresistible. I defy anyone not to be won over by its charm and sweetness.
Having been so impressed by the music on Disc One of Disco Discharge-American Hot, and having found it so difficult to choose just a few highlights of the eleven tracks, I was faced with the same problem on DIsc Two. Truly, the music doesn’t disappoint, with nine quality tracks following one after another. With tracks from Elbow Bones and The Racketeers, Luther Vandross, Sylvester, Aretha Frankin, Saturday Night Band and Donald Byrd the music somehow, is even better. These nine tracks combine a few hidden gems with tracks from some of the biggest stars in music. This includes music from jazz musician Donald Byrd and soul stars Aretha Franklin and Luther Vandross. Add to this Sylvester’s fusion of Hi-NRG and disco, while Elbow Bones and The Racketeers fuse a big band sound with eighties dance music. Here, Mr Pinks has dug deeper, delving into different musical genres to discover tracks that are perfect for any dance-floor, for the thirteenth installment of the Disco Discharge series. Like its predecessors, Disco Discharge-American Hot doesn’t disappoint, and is a worthy inclusion into the Disco Discharge series. For anyone thinking of buying Disco Discharge-American Hot, then I can thoroughly recommend this compilation. Whether you’re disco novice or disco veteran, then there many disco delights awaiting discovery or rediscovery on Disco Discharge-American Hot. Standout Tracks: Cissy Houston Think It Over, Marilyn McLeod (I Don’t Wanna Dance Tonight) I’ve Got Love On My Mind, Luther Vandross Sugar And Spice (I Found Me A Girl) and Elbow Bones and The Racketeers A Night In New York.
DISCO DISCHARGE-AMERICAN HOT.
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THE DEFINITIVE SALSOUL MIXES.
THE DEFINITIVE SALSOUL MIXES.
For some time, I’ve been meaning to write about one of my favorite, and without doubt, one of the greatest labels of the disco era, Salsoul Records. They were one of the most influential and innovative disco labels, releasing over three-hundred tracks between 1974 and 1985. Along with Casablanca, SAM, Prelude, T.K. and West End Records, Salsoul provided the soundtrack for the disco era. Now, twenty-seven years after the original Salsoul label folded in 1985, the music of Salsoul is like the holy grail of disco, loved by disco fans worldwide. This has meant that many compilations have been released, to quench the thirst of disco lovers for the music of Salsoul Records. However, one of the most comprehensive and in-depth compilations is The Definitive Salsoul Mixes, released in 2011, by Harmless Records. This is a three disc compilation, featuring thirty-one of Salsoul’s greatest songs, including tracks from disco diva Loleatta Holloway, The Salsoul Orchestra, Skyy, Instant Funk, Inner Life, Leroy Burgess and First Choice. As if this isn’t good enough, six of these tracks were remixed by Tom Moulton, the godfather of the remix, while Walter Gibbons and Larry Levan remixed four tracks apiece. So not only do you get thirty-one of the greatest tracks of the disco era, but twenty-three of them are remixed by some of the greatest remixers of the past forty years. Before I tell you about the music on The Definitive Salsoul Mixes, I’ll tell briefly you about the history of Salsoul Records.
Although Salsoul Records had been founded by Joseph, Kenneth and Stanley Cayre in 1974, it wasn’t until two years later in 1976, that Salsoul would release its first disco track. By that time, fate had intervened and Salsoul had been able to sign up some of the greatest musicians of the seventies, who would play a huge part in Salsoul’s success.
These musicians had previously worked at another innovative and influential label, Philadelphia International Records, and were known as M.F.S.B. During their time at Philadelphia International Records, this group of musicians had played a huge part in the success of the Philly Sound. Together, they’d played on many of the Gamble and Huff’s recordings. Kenneth Cayre was a huge fan of the Philly Sound, and was determined to sign the best musicians to his label. When M.F.S.B. were in dispute with Gamble and Huff over commercial matters, Kenneth Cayre spotted an opportunity that would transform not just Salsoul Records future, but music history.
Having realized the dispute between Gamble and Huff and M.F.S.B. Kenneth Cayre signed M.F.S.B. to Salsoul Records, renaming them The Salsoul Orchestra. This included the legendary Baker, Harris, Young rhythm section, who’d play a huge part in the label’s sound and success. Ronnie Baker played lead and rhythm guitar, while Norman Harris played bass and both wrote arranged and produced songs. Earl Young’s signature drum sound was key to the success of both Philadelphia International and Salsoul’s music. Like Ronnie and Norman, Earl wrote, arranged and produced tracks. Together the trio are credited with creating the sound and structure of disco tracks.
Joining Baker, Harris, Young was vibes player Vince Montana, whose orchestral arrangements would be key to Salsoul’s success. This wasn’t the end of the Philadelphia International influence in Salsoul’s sound and success. Bunny Sigler would also join Salsoul. Now that Salsoul had some of the greatest musicians and most creative minds in music working for them, Salsoul would set about releasing what would become some of the greatest disco music ever recorded, much of which can be heard on The Definitive Salsoul Mixes, and which I’ll now tell you about.
DISC ONE.
Like each of the three discs that make up The Definitive Salsoul Mixes, Disc One is arranged in chronological order, starting with the release of Bataan’s The Bottle (La Botella) in January 1975, the track that launched Salsoul as a disco label. Disc One then takes us through the release of two of Salsoul’s biggest tracks, Double Exposure’s Ten Per Cent and Loleatta Hollway’s Dreamin’ in November 1976. The two tracks that close Disc One were released in March 1977, Eddie Holman’s This Will Be A Night To Remember and Carol Williams Love Is. During this period, Salsoul were releasing some of their most memorable and biggest hits. These tracks were being mixed by some of the best remixers of that time, Tom Moulton and Walter Gibbons. Choosing just a few tracks isn’t easy, given the consistent quality of the eleven tracks, but eventually, I’ve managed to do so.
The track that most people consider launched Salsoul as one of the premier disco labels is Double Exposure’s Ten Per Cent, released in November 1976 and produced by Norman Harris. Opening with Earl Young’s trademark pounding drums, percussion and shivering strings, the track is driven along by the Baker, Harris Young rhythm section, as a gloriously, uplifting track unfolds. Hissing hi-hats, swirling strings, a sizzling guitar solo from Norman Harris and stabs of keyboards all play their part before the impassioned vocal enters. Accompanied by tight soulful harmonies, the vocal is laden with emotion, while an absolutely, intoxicating and invigorating arrangement sweeps you along. There’s everything you could want and more on a disco track. Strings, percussion, the tightest of rhythm section and of course that impassioned and emotive vocal. It’s impossible to resist the charms and beauty of the track, during nearly ten minutes of majestic disco, that’s deserving of the word masterpiece.
Silvetti’s Spring Rain was released in November 1976, with the Tom Moulton remix featuring on The Definitive Salsoul Mixes. This track wasn’t recorded in the Salsoul studio, instead it was recorded in Spain. Salsoul’s A&R department spotting the track’s potential. In the hands of Tom Moulton, the track was given a makeover, the result being a lush sounding track, that sounded as if it had been recorded by The Salsoul Orchestra. Opening with that much sampled piano riff, the lushest of strings enter, as the track sweeps along at 114 beats per minute. Subtle, gentle backing vocalists enter, as the track takes on a hustle sound. Percussion then plays its part, joining the strings and that piano, while drums pound dramatically. By the end of the track, you can only marvel at the timeless sound of a track that has inspired a new generation of producers who have sampled Spring Rain.
During her time at Salsoul, Loleatta Holloway was transformed from Southern Soul singer to disco diva. One of her greatest tracks in Dreamin,’ a stonewall disco classic, demonstrating just what it took to be a true disco diva. Dreamin’ was a track from Loleatta, her third album, released in 1976, on Salsoul. Released in March 1976, and produced by Baker, Harris, Young this is the original album mix of Dreamin’ a track that would become a true disco classic. Here, Loleatta delivers a sassy vocal, before vamping her way through the track. With the Salsoul Orchestra accompanying her, everything is in place for a seminal track. Sweeping, swirling strings, Earl Young’s peerless drumming, percussion, Ron Harris’ bass and then Norman Baker’s guitar give way to Loleatta’s impassioned, sassy vocal. From there, Loleatta gives a masterclass of a vocal, accompanied by soulful backing vocalists. Add to that Vince Montana Jr.’s vibes playing and blazing horns that punctuate the track adding drama, and you’ve the recipe for one of the greatest disco tracks of the seventies.
Carol Williams’ Love Is You, released in March 1977, is a track I’ve always loved, and for far too long, it was an underrated and overlooked track. Thankfully, Carol’s track has come back into “fashion,” and is one of the hidden gems in the Salsoul back-catalogue. Produced and co-written by Vince Montana Jr., who fuses the sweetest, joyful vocal with a stunning arrangement. This results in five minutes of majestic, magical music. When the track opens, it’s just Earl Young’s drums that you hear, before literally, the track explodes into life. Suddenly, you’re greeted by sweet, cascading strings, blazing horns, percussion and the rhythm section. They give way to Carol’s sweet, beautiful vocal. She’s accompanied by a backdrop of quivering strings, flourishes of guitars and bursts of horns as the track reveals its irresistible sound. Later, Vince adds just the finishing touch to the track with his vibes, playing a lengthy and glorious solo. This is just the perfect way to close this gorgeous track, one with a hook-laden, feel-good sound.
Although there are eleven tracks on Disc One of The Definitive Salsoul Mixes, I’ve only mentioned four of these tracks, but could just as easily have chosen any of the other seven tracks. That’s how good the music is, and it isn’t often you can say that about a compilation.Mind you, it isn’t everyday that you’re lucky enough to be revisiting a label like Salsoul. In choosing these four tracks, I had to miss out tracks by Eddie Holman, The Salsoul Orchestra and Helplessly. Will I have similar problems when choosing the tracks to review on Disc Two of The Definitive Salsoul Mixes?
DISC TWO.
After the disco delights of Disc One, Disc Two of The Definitive Salsoul Mixes promises more of the same. This starting with the release of a trio of Salsoul classics in April 1977 in First Choice’s Doctor Love, The Salsoul Orchestra’s Getaway and Loleatta Holloway’s Hit and Run. This period takes in Runaway by The Salsoul Orchestra featuring Loleatta Holloway, Gaz’s SIng Sing in November 1978 and closes with Skyy’s First Time Around and Instant Funk’s Crying in May 1979. It seems that it’s just one great Salsoul track after another, with the label seemingly at its creative peak. Little did anyone realize that come 12 July 1979, it would be all change for disco, with disco suddenly sucking and the infamous disco sucks movement. This came to a head at Disco Demolition Night at Comiskey Park in Chicago, when a huge quantity of disco records were blown-up. This would’ve a huge effect on disco labels, including Salsoul. However, that was all to come, before that, I’ve the highlights of Disc Two of The Definitive Salsoul Mixes to choose.
First Choice were a group discovered by Baker, Harris, Young, who had the group under contract. When Baker, Harris, Young left Philadelphia International, they brought them to Salsoul. Previously, the group had been signed to the Philly Groove label, with Armed and Extremely Dangerous gave the group some success. Doctor Love was released in April 1977, and produced by Norman Harris. With lead singer Rochelle Fleming, fronting First Choice, they’d become one of the disco era’s biggest groups. The track has a bright and bold introduction with a mixture of blazing horns, cascading strings and a punchy rhythm section combining. Then, when Rochelle’s vocal enters it’s perfect for the arrangement, with its mixture of power, passion and confidence. Behind Rochelle, the rest of the group contribute soulful, backing vocals, as the track heads to a breakdown. This was placed here by Tom Moulton, who remixed the original track. By adding this lengthy breakdown Tom allows the listener to experience the track in all its glory…and then some. A combination of Rochelle’s powerful and passionate vocal, Norman Harris’ stunning arrangement and Tom Moulton’s remixing skills result in one of First Choice’s greatest tracks.
One of the most memorable of the tracks released by Salsoul was Runaway, by The Salsoul Orchestra featuring Loleatta Holloway. Released in June 1977, this is another track featuring Salsoul’s very own disco diva. Since its release, Runaway has been remixed by countless remixers, but the version included on The Definitive Salsoul Mixes is the original track. A combination of some of the most talented musicians of the era, Vince Montana’s production skills and a true diva are at the heart of the track’s success. Opening with that unmistakable introduction, where the guitar and drums combine, quickly, the introduction grows. Rasping horns, swirling strings and percussion accompany Loleatta. Her vocal is confident, defiant and powerful, while drums punctate the arrangement and lush strings cascade. The arrangement sweeps along, with its potent combination of dramatic horns and drums, while percussion, vibes and strings provide a contrast. However, what makes the track is Loleatta’s vocal, as the confidently and defiantly vamps her way through a genuine and timeless disco classic, that would later influence a new generation of house producers.
Gaz’s Sing SIng is another track that wasn’t originally recorded by Salsoul. Instead, it was recorded by the German label Lollipop. Produced by Jurgen Korduletsch, who also discovered Claudia Barry and brought her to the US, Jurgen wanted Salsoul to distribute the track. Salsoul gave it to Robbie Rivera to remix. This was his first remix and the result is a joyous track with a real feel-good sound. Released in November 1978, and mixed by Robbie Rivera, the track is extended to seven magical minutes. Opening with pounding drums and guitars, they’re joined by the bass, percussion and strings, before Claudia’s vocal enters. As she sings, her vocal is answered by a male vocalist. The track benefits from a strong rhythm section, which is augmented by rasping horns, keyboards and percussion. Robbie Rivera’s mix is excellent, totally transforming the original track, turning it into a Magnus Opus, where the best of European and US disco becomes one.
Skyy’s First Time Around was released in May 1979 and the version included here is the original 12” mix. Opening with just a wandering bass, a male vocal enters, before sizzling guitars, swirling strings and pounding drums combine. The arrangement is dramatic, while sweet, sensuous vocals drift in and out of the track. This track has a quite different sound, with rocky guitars providing a contrast to the lushness of the strings and the pounding drums. There’s even synths which occasionally reverberate above the arrangement, as the track reveals its charms and secrets. Although I’ve heard various remixes and edits of this track, I still like the original, from another of disco’s biggest groups.
Like Disc One of The Definitive Salsoul Mixes, Disc Two features quality music from the opening bars of the first track, to the closing notes of the last track. The tracks here include some of the label’s greatest moments between April 1977 and May 1979, with First Choice’s Doctor Love, Skyy’s First Time Around and two classics from Loleatta Holloway, Runaway and Hit and Run. That’s without mentioning Instant Funk’s I Got My Mind Made Up and Crying, or Ripple’s And the Beat Goes On. Truly, Disc Two has an embarrassment of musical riches awaiting discovery or rediscovery. However, it seems ironic that just as Salsoul were entering such a hot period, that the Disco Sucks backlash would be just around the corner. Would this affect the music that Salsoul would then release? That’s what I’ll now tell you.
DISC THREE.
It seems a cruel twist of fate that the track that opens Disc Three of The Definitive Salsoul Mixes opens with Candido’s Jingo, which was released in July 1979, the same time as the Disco Sucks movement came to an ugly conclusion. After this, many radio stations and record companies avoided disco, which previously, had been one of the most popular musical genres. Records sales of disco records fell, while previously successful groups like Chic saw their popularity quickly decline and labels releasing disco music suffered. However, Salsoul proved resilient, with the label managing to continue releasing some of the most memorable music in its history. This included Candido’s Dancing’ and Prancin in July 1979,’ Loleatta Hollway’s Love Sensation in July 1980, Inner Life’s Ain’t No Mountain High Enough in May 1981 and First Choice’s Let No Man Put Asunder in May 1983. The track that closes The Definitive Salsoul Mixes is Leroy Burgess’ Heartbreaker in August 1983. Sadly, two years later, Salsoul would close its doors, after ten years of releasing some of the greatest disco music ever. I’ll now pick a trio of these tracks to tell you about.
Like many of the tracks released by Salsoul, Inner Life’s Ain’t No Mountain High Enough by Inner Life has a real timeless sound. It’s hard to believe that it was originally released back in August 1981. This timeless sounding arrangement is combined and a stunning vocal from Jocelyn Brown. Her vocal is diva-esque, as she delivers Ashford and Simpson’s lyrics. This was a track from Inner Life’s 1981 album Inner Life. Produced by Patrick Adams and Greg Carmichael, the version chosen is Larry Levan’s Remix. It’s a track that after a subtle, hesitant start, where drums, percussion and then Jocelyn’s vocal combine. Then. the track literally bursts into life. Drums pound, strings swirl, percussion, keyboards and chiming guitars combine before Jocelyn’s powerful, emotive vocal enters. After that, the track just gets so much better. Handclaps and bursts of backing vocalists join the arrangement, combining power and drama. The result is without doubt, one of the highlights of Disc Three of The Definitive Salsoul Mixes, given its uplifting, joyous and energetic sound.
Loleatta Holloway released Love Sensation in July 1980, with Tom Moulton’s remixing a track written by Dan Hartman. Nine years later, Love Sensation would be “borrowed” by both Black Box on Ride On Time and Good Vibrations by Marky Mark and The Funky Bunch. Both tracks were huge commercial successes, with Ride On Time the UK’s biggest selling record of 1989. However, neither track can match the Norman Baker produced original, featuring Loleatta Holloway disco diva. Opening with its combination of rhythm section, percussion, piano and cascading strings, you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta gives a vocal masterclass. Her voice becomes an impassioned roar, while backing vocalists accompany her. Tom Moulton’s remix is a mass of lush strings combined with dramatic drums and blazing horns, with Loleatta’s powerful vocal key to the track’s success and timeless, dramatic sound.
Frankie Knuckles’ remix of First Choice’s Let No Man Put Asunder was released in May1983. It was originally produced by Ron Baker, Norman Harris and Earl Young, of the Baker, Harris Young rhythm section. This is very definitely one of their very best productions. Here, Frankie Knuckles Remix takes the original track and turns it into a dance-floor classic, one that’s spanned several generations. Against a backdrop of the Baker, Harris, Young rhythm section, percussion and handclaps, Loleatta Holloway’s sassy vocal enters. She’s full of bravado and confidence, while backing vocalists accompany her. Loleatta literally vamps and struts her way through the six minute track. Over the years, I’ve heard numerous reedits and remixes of this track, but Frankie Knuckles version is one of the best versions of a track that’s worthy of being referred to as a classic.
During Disc Three of The Definitive Salsoul Mixes, there’s no let up in the quality of music. This period included tracks from Candido, Loleatta Holloway, Inner Life and First Choice, not forgetting The Salsoul Orchestra who can be heard on every track Salsoul recorded. Although disco was no longer as possible, after the Disco Sucks backlash, Salsoul continued to make some stunning music. In some cases, much of that music is now over thirty years old, but like a good wine, the music has aged well. Several times during my review I’ve referred to the music as timeless, and that’s the case with so many of the thirty-one tracks on The Definitive Salsoul Mixes. Ironically, this description of Salsoul’s music as timeless could be applied to another label, Philadelphia International Records. What makes this ironic, is how many of The Salsoul Orchestra were part of Philadelphia International’s house band M.F.S.B. Having provided the heartbeat and sound to the Philly Sound, the Baker, Harris, Young rhythm section, Vince Montana Jr. and Bunny Sigler would do the same in New York at Salsoul Records. In doing so, they wrote themselves into music history, having been part of the success story of two of the greatest labels in the history of music Philadelphia International Records and Salsoul Records. To me, part of the success of Salsoul and Philadelphia International, was the combination of some of the most creative and talented musical minds. Whether it was arrangers, producers, musicians or artists, both labels ensured that they had access to the finest, most creative people. This even extended to Salsoul’s A&R department, who spotted the potential of tracks like Bataan’s The Bottle (La Botella), Silvetti’s Spring Rain and Gaz’s Sing Sing. All of this lead to Salsoul becoming one of the greatest disco labels, with one of the best back catalogues. Thirty-one of these tracks can be found on three the discs of The Definitive Salsoul Mixes. So, whether you’re a Salsoul veteran, or newcomer to Salsoul’s music, then The Definitive Salsoul Mixes is an unmissable compilation from Harmless Records, featuring many of the Salsoul’s greatest and most memorable music in its eleven year history. Standout Tracks: Double Exposure Ten Per Cent, First Choice Doctor Love, Salsoul Orchestra featuring Loleatta Holloway Runaway and Inner Life Ain’t No Mountain High Enough.
THE DEFINITIVE SALSOUL MIXES.
FUTURE DISCO VOLUME 5-DOWNTOWN EXPRESS.
FUTURE DISCO VOLUME 5-DOWNTOWN EXPRESS.
On 27 February 2012, Future Disco Volume 5-Downtown Express was released. This was the latest instalment in a highly successful series that began in March 2009, when I came across the first volume of a new compilation series A Guide To 21st Century Disco, which was the first volume in what would become the Future Disco series. Straight away, I was hugely impressed with this new twist on disco. It had given disco a makeover for the twenty-first century, introducing the listener to new artists with a new take on disco. Over the next three years, and four volumes of the Future Disco series, the Future Disco team would release compilations of disco for the twenty-first century, with each volume surpassing the preceding volumes for quality. Then in 2011, I wondered whether could the Future Disco series get any better, given the quality of music the first four volumes contained. This is the question I asked myself when Future Disco Volume 5-Downtown Express was released. However, before I tell whether Future Disco Volume 5-Downtown Express managed to do so, I’ll tell you about the history of the Future Disco series.
A Guide To 21st Century Disco was the first volume in the Future Disco series. This was disco for the twenty-first century, but music whose roots were firmly in classic seventies disco. Artists included Hercules and Love Affair, Holy Ghost and Beyond The Wizards Sleeve had me hooked. Straight away, I realized that this was a series and label to watch. I decided to follow Future Disco’s progress with interest, awaiting the next installment of the Future Disco series. Thankfully, I didn’t have long to wait.
Later in 2009, just six months later, volume two was released in September 2009. This was The Extended Future Disco Mix, which was compiled by Sean Brosnan. Here, Sean had reedited, remixed and extended the tracks, resulting in the perfect material for him seamlessly mix. With remixes from Todd Terje, Greg Wilson and Friendly Fire sitting comfortably beside tracks from Faze Action, Crazy P and Juan McLean, this saw the compilation named iTunes Dance Album of 2009. Given the competition, the Future Disco team had been up against, this was a compilation series and label to watch. However, could they keep up the high standards they’d set with the first two volumes of the series?
Volume three of the Future Disco series was released in May 2010, and featured another sixteen tracks of twenty-first century disco, but with a more uptempo style. Future Disco Volume 3-City Heat, certainly didn’t disappoint, taking the series the next level. On the album were tracks from some old Future Disco familiar faces and new names. Crazy P, Todd Terje and Sean Brosnan were familiar faces responsible for a trio of great tracks, while Ilija Rudman, Lindstrom & Christabelle and Nick Chacona were just three of the other artists responsible for another trio of highlights from Future Disco Volume 3-City Heat. By now the Future Disco team had released three successful compilations, with no sign of the quality faltering or falling. Instead, it seemed that they were succeeding in improving the standard of music with each installment of the Future Disco series, but could this continue?
Future Disco Volume 4 – Neon Nights was released in 2011 and saw the style of music become much more uptempo. The album was a two disc set, with the mixed disc featuring sixteen tracks and the unmixed disc ten full length tracks. This was my favorite release in the series. Although though Future Disco Volume 3-City Heat had been really good, this was even better. Instead of one disc, there were two, with the unmixed disc allowing the listener to hear ten tracks in all their glory. The compilation featured tracks from Holy Ghost, Mario Basanov, Bad Rabbits, Hot Chip and Kaine featuring Kathy Diamond, with each track disco for the new millennia. Truly, the Future Disco team had surpassed themselves, and I remember thinking how do they better this? So when I saw that the fifth volume in the series was due out on 27 February I awaited Future Disco Volume 5-Downtown Express with interest.
Having received Future Disco Volume 5-Downtown Express, I was intrigued, could the Future Disco team do it again? Could the music match or even better that on 2011s Future Disco Volume 4 – Neon Nights? Again it was double album, with disc one the mixed album, featuring nineteen tracks, while disc two, the unmixed disc featured eleven full length tracks. Among the tracks were Crazy P Presents The Syndromes, Miguel Campbell, Cosmic Kids, David August, DJ T, Mario Basanov, and Joakim. Nine of these tracks were remixes, with Sean Brosnan the man who’d weave his way through the nineteen tracks on the mixed album. His mixing is tight and seamless, as he glides through the tracks. Quite simply, Sean who compiled the compilation, is a multi-talented guy, not just a hugely talented DJ, but one with great taste in music. If this is a taste of one of his DJ sets, then he’s definitely a DJ to hear live. Having listened to Sean’s mixed disc, it’s now time to reveal what the music on Future Disco Volume 5-Downtown Express sounds like and whether it can either match or better that on Future Disco Volume 4 – Neon Nights?
My first choice from Future Disco Volume 5-Downtown Express is Tensnake’s Need Your Lovin’ with the version chosen the Tiger & Woods Remix. Written by Marco Niemerski and released in 2011, the track opens with a combination of punchy, soaring vocals, pounding drums and synths, with filter added. This works well, taking the edge of the sound, while adding to the sense of anticipation. You wonder which direction the track is heading in. Then, after a minute, the track takes a dramatic turn, as it eventually starts to reveal itself. It’s a myriad of drums, keyboards and synths with the vocal ever-present. Later, filters are used, while crisp handclaps give way to pounding drums and the vocal, before keyboards reenter. When the sweet vocal reveals itself its swathed in filters, with the keyboards and drums provide a powerful backdrop. By the end of the track, Tensnake has taken the listener on a journey through electro, disco and house, with the delivery matching the earlier anticipation…and then some.
Miguel Campbell wrote and produced Something Special which was released in 2011. It was the B-side of Miguel’s Baby I Got single for the Hot Creation label. On this deep house track, there is an excellent female vocal, which is accompanied by crisp beats and dramatic, almost dark keyboards. This provides a contrast to the impassioned vocal, which makes this such a great track. With stabs of beefy sounding keyboards joining the arrangement, it’s a track that draws you in with its infectiously catchy, summery, feel-good sound. Truly, this is one of the real highlights of Future Disco Volume 5-Downtown Express.
Maxxi Soundsystem’s There’s No Love is a track from their Make Or Break EP, released in December 2011 on Needwant Recordings. This is another slice of deep house. Here, the drums really pound, while dark keyboards accompany the vocals and handclaps. The tempo is 122 beats per minute, with the male and female vocals feeding off each other. Meanwhile the drums are at the forefront of the arrangement and the stabs of keyboards add to the track’s drama. Together, they all contribute to the track’s glorious deep house sound.
When you hear Metronomy’s Corinne, it’s hard to believe this was made by a Joseph Mount a musician from Devon, given its Germanic sound. It was released in 2012 on Because Music, and is a fusion of electro and synth pop. You can hear his influences straight away, with LFO, Aphex Twin and Autechre a trio of artists how inspired him. The version chosen here is the Mario Basanov Remix. Opening with pounding beats, before synths enter, their sound is dark, sitting well with the drums. When the vocal enters, it’s enveloped in filter, sounding continental, with the delivery punchy, as it drifts in and out of the track. Later a synth solo enters, which has a real old school sound. Like the female vocal that then enters, it’s accompanied by pounding drums, percussion and reverberating synths. Although quite different from other tracks I’ve mentioned, I love this track, with its retro sound that fuses electro and synth pop.
DJ T’s City Life featuring Cari Golden was released on the German label Get Physical Music in July 2011. Here, the Maceo Plex Remix is chosen, which features the vocal delights of Cari Golden. This track sees Future Disco Volume 5-Downtown Express heading down the Tech House route, with this track a prime example. Accompanying the combination of punchy drums, percussion and dark keyboards are a joyous vocal from Cari, It gives the track a contrast sound to the real Tech House sound of the arrangement. Together with a combination of quick, stabs of keyboards, handclaps, punchy drums and Cari’s vocal, seven and a half minutes of tremendous Tech House unfolds irresistibly.
The last track I’ve chosen to mention from Future Disco Volume 5-Downtown Express is Penguin Prison ‘s Multimillionaire, which has a real Kraftwerk sound when the track opens. This is a track from Penguin Prison’s debut album Penguin Prison, which is US DJ and producer Chris Glover. The version chosen is Prince Language Instrumental Remix, which I’d best describe as a sophisticated slice of synth pop. During the track there’s everything from cascading strings, flourishes of piano, percussion and crisp drums, and of course, plenty of synths. Against the backdrop of crisp, crunchy beats the synths are central to the arrangement, with their sound timeless, while the piano and strings add a sophisticated twist to the track. If this is representative of what Penguin Prison’s music sounds like, then I’ll need to investigate their music further, as this is one the best tracks on Future Disco Volume 5-Downtown Express.
Earlier in this review, I wondered whether Future Disco Volume 5-Downtown Express could either match or better the quality of music on Future Disco Volume 4 – Neon Nights? Well, I’m pleased to say that the Future Disco team, and Sean Brosnan especially, have surpassed themselves. This is by far the best in the five volumes of the Future Disco series. Now given how competitive and crowded the compilation market is, and how hard it is to constantly discover new music of high standard, then Sean and everyone at Future Disco deserve congratulated for producing such a great compilation. After five volumes, the Future Disco series is still going strong, while many other compilations have fallen by the wayside. Although it’s less than a month since the release of Future Disco Volume 5-Downtown Express on Needwant Recordings, I’m looking forward to the next volume. So, if you want to hear disco for the twenty-first century, then there are five volumes of the Future Disco series awaiting your discovery, including Future Disco Volume 5-Downtown Express. Standout Tracks: Miguel Campbell Something Special, Maxxi Soundsystem There’s No Love, Metronomy Corinne and Penguin Prison Multimillionaire.
FUTURE DISCO VOLUME 5-DOWNTOWN EXPRESS.
LOOSE ENDS-SO WHERE ARE YOU?
LOOSE ENDS-SO WHERE ARE YOU?
Having released their debut album A Little Spice in 1984, which had reached number forty-six in the UK, Loose Ends were ready to record their second album, which would become So Where Are You?, which was rereleased by Soul.Music.com in December 2011. Little did they realize then, that 1985 would be a year that totally transformed their career. The reason for this was a song they’d written and would record Hangin’ On A String (Contemplating). This song would give Loose Ends the biggest single of their career so far, and would be one of two US R&B number one singles they have in the next two years. However, all that was still to come, with So Where Are You? still to be recorded. After I’ve told you about the recording of So Where Are You?, I’ll tell you what the music sounds like.
Now that Loose Ends were ready to record their second album, they headed to familiar territory, the city of brotherly love, Philadelphia. Their destination was Alpha Recording Studios, where they’d hookup with producer Nick Martinelli, who produced their debut album A Little Spice. Loose Ends had written the material for So Where Are You? at a demo studio in The Babican, not far from London’s Smithfields meat market. Most of the ten tracks were written in London, to give the track their traditional London sound. That would be fused with a Philly influence once producer Nick Martinelli worked his magic on their songs. Recording was meant to take place between September and the middle of November 1984. During their time in Philly, Loose Ends would stay in apartments in Center City. However, it wasn’t just Loose Ends and Nick Martinelli that would work on So Where Are You?
Joining Loose Ends and Nick Martinelli at the Alpha Recording Studios, were some of Philly’s musical giants. This included Dexter Wansel, who’d arrange and conduct the strings on the album. As if that wasn’t enough, a number of crack Philly musicians and The Sweethearts of Sigma, would appear on So Where Are You? The Sweethearts of Sigma were a trio of backing vocalists that included Barbara Ingram, Evette Benton and Carla Benson. Previously they’d sung on many Philly sound albums. They’d sing on The Sweetest Pain, co-written by Deter Wansel and Cynthia Biggs. This wasn’t the only cover version on So Where Are You?, with Loose Ends covering David Bowie’s Golden Years. Seven of the other eight tracks that were recorded were co-written by the three members of Loose Ends. Eventually, Loose Ends with Nick Martinelli producing the track, and many of Philly’s finest musicians playing on the ten tracks that would make up So Where Are You? were recorded.
One of the seven tracks co-written by the three members of Loose Ends was about to change their career forevermore, when it would be released as a single. Now that So Where Are You? was recorded, the album was set for release. However, it would only be released in the UK, reaching number thirteen in the UK Charts. The first single released was the single that transformed Loose Ends’ career. That was Hangin’ On A String (Contemplating), which reached number thirteen in the UK Charts. However, it would do much better in the US, where it reached number one in the US R&B Charts, while reaching number forty-three in the US Billboard 100 and number twelve in the US Hot Dance Charts. Hangin’ On A String (Contemplating) was added to a repackaged version for the US, which reached number forty-six in the US Billboard 200 and number five in the US R&B Charts. Two other singles were released in the UK in 1985 from So Where Are You? Magic Touch reached number sixteen, while Golden Years reached number fifty-nine. Overall, So Where Are You? had been a huge success, both in the UK and US, resulting in Loose Ends becoming one of the biggest R&B groups in the UK. However, what does the music sound like on So Where Are You? and how does it compare to their previous album A Little Spice?
Opening So Where Are You? is Magic Touch, one of the trio of singles released from the album, and one of seven co-written by the three members of Loose Ends, Carl McIntosh, Jane Eugene and Steve Nichol. It’s a combination of keyboards, flourishes of guitars and the rhythm section that open the track, before giving way to Jane’s sweet vocal. Quickly, her vocal is transformed into a more powerful style, while her vocal is multi-tracked, so that she provides sweet and beautiful backing vocals. Later, a sultry saxophone solo enters, replacing the vocal, before Carl’s vocal enters, while Jane contributes subtle, backing vocals. When the track ends, you realize why it was chosen as a single, and why it fared so well, given its sweet, smooth and hook-laden sound. Not only that, but this tracks sees Loose Ends maturing as a group, with their music moving up to the next level.
After the opening track, the standard is kept up on A New Horizon, another track written by Loose Ends. Opening with another glorious saxophone solo, accompanied by keyboards, percussion and the rhythm section. This gives way to Jane’s vocal, before quickly, the vocal changes hands, as the group contribute punchy, backing vocals. The tempo is the same as the opening track, 115 beats per minute, with an arrangement that’s a fusion of US eighties soul and jazz, given a a London twist by Loose Ends. This jazz influence is thanks to the dramatic, soaring saxophone that punctuates the arrangement. It augments the keyboards, rhythm section and percussion, while the vocals are a combination of punchy, dramatic and impassioned. When all this is combined, the result is an uplifting, uptempo fusion of soul and jazz from Loose Ends.
If My Lovin’ Makes You Hot is a track that has a real eighties sound, with its introduction featuring stabs of keyboards and drums augmented by percussion. When Carl’s vocal enters, it’s full of sadness and drama, delivered in an impassioned style. He sings about a father walking out and his wife being unable to cope with life. This is reflected in the arrangement that sprinkles drama throughout the song. Meanwhile, the rest of the group add backing vocals, before Jane’s vocal enters. She too, has another sad tale to tell, with another father leaving their family. Jane adds emotion to her delivery, before later, she begins to sound like Lisa Stansfield. Meanwhile, an eighties sounding arrangement reveals itself, with synths and drums key to the sound. This works well, and has aged well. However, what makes the track are the lyrics and the delivery of them.
The title track sees Loose Ends drop the tempo, on the mid-tempo So Where Are You? It sees slow keyboards joined by the rhythm section and percussion, before Jane delivers one of her most impassioned and beautiful vocals on the album. She’s joined by Carl, as they sing the song as a duet, one answering the other, on a beautiful love song. Jane’s voice is tender, as she delivers the lyrics, with Carl’s delivery perfect for what’s one of the best songs on the album. This is helped in no end by an understated and thoughtful arrangement that never overpowers the vocals.
Loose Ends had always wanted to record a David Bowie song, with Golden Years the one chosen. This works well, with a combination of keyboards, rhythm section and percussion accompanying Carl’s vocal, while Jane adds angelic sounding backing vocals. The arrangement stays true to the original, with the addition of a sizzling guitar solo adding something different to Bowie’s original. Later, he even adds a convincing Bowie sounding vocal, while percussion accompanies him. Of all the covers of Bowie songs I’ve heard, this is one of the best.
The track that Loose Ends will forever be remembered by is Hangin’ On A String (Contemplating). It brings to mind memories of 1985 as if it were just yesterday. Immediately, I remember the fashion, music and people I knew, as if it were just yesterday. To me, this one of the most memorable tracks of 1985, one I’ve always adored. It’s a mid-tempo track, 103 beats per minute, with its combination of jazz tinged guitar, crisp drumbeats, compelling percussion and prominent bass line. Add to that, the combined vocals of Jane, Carl and Steve, punchy, often beautiful and shrouded in delay, as slowly and gloriously the track reveals its subtleties and plentiful charms. For six minutes I’m transported back to 1985 by the beauty and brilliance of Loose Ends and their hook laden, irresistible Magnus Opus Hangin’ On A String (Contemplating).
Following a track that’s as great as the preceding one isn’t easy. Often, this means that an otherwise excellent song doesn’t get the credit it deserves, because of such comparisons. However, Give It All You Got is a track that doesn’t disappoint, as it quickly reveals its charms. A combination of keyboards, guitars and rhythm section combine to produce an uplifting sound. This is perfect for first Jane’s sassy vocal and then Carl’s emotive vocal. They’re accompanied by punchy backing vocals, while the arrangement is quick and full of subtle hooks. Key to the track’s success are keyboards, guitars and the rhythm section, not forgetting the impassioned vocals.
Cynthia Biggs and Dexter Wansel cowrote The Sweetest Pain, while The Sigma Sweethearts contribute some beautiful, subtle backing vocals. Dexter arranges and conducts the lush, cascading strings, while Jane’s vocal is gorgeous, one of her best on So Where Are You? It’s delivered in an impassioned and emotive style, while The Sigma Sweethearts, demonstrate why their voices appeared on so many Philly sound tracks. The arrangement is stunning, made all the better by the strings that accompany the subtle keyboards, rhythm section and percussion. When combined, the result is one of the highlights of So Where Are You? Not only that, but it demonstrates that Jane could’ve easily have had a solo career, given how talented a vocalist she is.
You Can’t Stop The Rain has a lovely laid back sound when the track opens. It’s just stabs of keyboards, drums and the lushest of strings that accompany Jane’s vocal. Her voice is a combination of tenderness and beauty as she delivers the lyrics. When Carl enters, his vocal is delivered with a similar tenderness, before Jane’s vocal becomes louder and emotive. Meanwhile, the arrangement meanders beautifully behind them, the strings key to the track’s beauty and laid back sound, whose sound and charm you can’t help but succumb to.
Closing So Where Are You? is the Latin tinged Silent Tinged co-written by Steve Jennings with Loose Ends. This is a very different, but very catchy track, similar to the track that closed A Little Spice. With its combination of Spanish styled acoustic, flourishes of piano and percussion, the track is a fusion of Latin and jazz music, that demonstrates the group’s versatility. Later, blasts of whistles, a myriad of percussion join the now dramatic piano, while the guitar is ever-present, during five minutes of majestic Latin tinged music.
Having spent a considerable time listening to So Where Are You?, I’ve come to the conclusion that this album saw Loose Ends maturing as a group. So Where Are You? is a highly accomplished and polished album, crammed full of some great music. This includes two of the singles from the album, Magic Touch and Golden Years, the uplifting A New Horizon and the two slow, beautiful tracks So Where Are You? and You Can’t Stop The Rain. These two slow tracks demonstrate a different side to Loose Ends, proving whether a track is fast or slow, they’re able to deliver it just as well. On The Sweetest Pain, one of the true highlights of So Where Are You? Jane delivers one of her best vocals on the album, accompanied by a trio of hugely talented backing vocalists, The Sigma Sweethearts. Here, Jane adds further proof that she could’ve had a successful solo career, delivering her vocal in an impassioned and emotive style. Of course, the best known and most successful tracks from So Where Are You? was Hangin’ On A String (Contemplating), which gave Loose Ends their first number one single in the US R&B Charts. Even twenty-seven years after its release, Hangin’ On A String (Contemplating) is still a timeless classic from Loose Ends. When I heard the opening bars, it brought back memories of 1985, as if they were just yesterday. As if that isn’t enough, there are two other versions of Hangin’ On A String (Contemplating), one mixed by the legendary Frankie Knuckles. Apart from these two bonus tracks, there are alternative versions of You Can’t Stop The Rain, Loose Ends cover of Golden Years and a version of Magic Touch featuring Roy Ayers playing vibes. With informative and in-depth sleeve-notes from David Nathan, So Where Are You? is an opportunity to revisit and rediscover the music of Loose Ends, on their second album So Where Are You? which was rereleased by Soul.Music.com in December 2011. So Where Are You? is an album I can thoroughly recommend, as it features some of the greatest music Loose Ends recorded, including their classic track Hangin’ On A String (Contemplating). Standout Tracks: So Where Are You, Hangin’ On A String (Contemplating), The Sweetest Pain and You Can’t Stop The Rain.
LOOSE ENDS-SO WHERE ARE YOU?
SANDY BARBER-THE BEST IS YET TO COME.
SANDY BARBER-THE BEST IS YET TO COME.
When I was reviewing Al Kent’s Disco Love Volume 2, one of my favorite tracks from the compilation was Sandy Barber’s I Think I’ll Do Some Stepping (On My Own). This made me think that it was time to review Sandy Barber’s The Best Is Yet To Come, which was rereleased in February 2012 by BBE Music, with five new tracks plus two remixes of Sandy’s brilliant I Think I’ll Do Some Stepping (On My Own). Originally, The Best Is Yet To Come was released in 1977, on Olde Worlde Records. After being unavailable for thirty-five years, thankfully, BBE Music have decided it’s time for everyone to either discover or rediscover Sandy Barber’s combination of soulful and funky music. However, before I tell you about Sandy’s debut album The Best Is Yet To Come, I’ll briefly tell you about her career.
Born in in New York, Sandy Barber’s love of music developed from an early age. By the time she was a teenager, Sandy entered the Apollo Theatre in Harlem’s Talent Night, ending up second. This lead to Chris Curry arranging an audition with David Jordan, who was working under the pseudonym Rare Pleasure. Sandy’s voice was perfectly suited to a song the group were working on Let Me Down Easy. Released on Cheri Records, the song became a huge hit in clubs. Having recorded with Rare Pleasure, Sandy decided that she’d prefer to pursue a solo career. It was the fate intervened, and Sandy met a writer and producer Clyde Otis, who also owned a label.
Having heard Sandy sing, Clyde immediately signed Sandy to his label. Then recording would start for her debut solo album The Best Is Yet To Come. With numerous contacts in the music industry, Clyde used these contacts to help with recording of The Best Is Yet To Come at New York’s Mediasound Studios. Nat Adderley Jr. and David Wofford arranged the songs, while Tasha Thomas arranged the vocals and sung backing vocals. Clyde Otis produced the eight tracks on what would become The Best Is Yet To Come. With The Best Is Yet To Come recorded, it was set for release in 1977.
On the release of Sandy Barber’s debut album The Best Is Yet To Come, sadly, the album wasn’t a commercial success. After this, Sandy recorded under another pseudonym, Blue Moderne, who’d record for Atlantic Records and the Roll label. Later, Sandy would become Sandy B, recording on tracks for King Street Records, Nervous and the Vinylmania label. In 1993, Feel Like Singing gave Sandy a huge hit, reaching number one in the US Dance Charts. Then in 1997, Make the World Go Round on Champion Records, was named record of the year, quite an honour given the competition she was up against. Now thirty-five years after the release of The Best Is Yet To Come, Sandy Barber continues to perform, singing around the New York area. However, the album that started Sandy Barber’s career was The Best Is Yet To Come, which I’ll now tell you about.
The Best Is Yet To Come opens with Look Out Sky, driven along by hissing hi-hats and bass before the rhythm kick in, driving the track along. Sandy’s vocal is powerful and blessed with a soulful sound. Lush strings cascade in the background, while backing vocalists punctuate the arrangement and the rhythm section sprinkle some funk. By now, the track has taken on an uplifting and anthemic sound, that’s totally irresistible. With its combination of strings, jazz tinged guitar, pounding beat and impassioned backing vocalists accompanying Sandy, this is a joyous, uplifting track with a real feel-good sound. What a scintillating way to open The Best Is Yet To Come.
I’ve Got Something Good (Come And Get It) has a slightly different sound, with the bouncy rhythm section, blazing horns and flourishes of keyboards combining with Sandy’s sassy introduction. From there, Sandy decides to up the ante. Her vocal becomes confident, before her voice grows in power, taking on a self assured style. Meanwhile, the horns are punchy, while the backing vocalists take their lead from Sandy, their voices transformed into an impassioned, but controlled roar. Quickly, this stomping track makes its way to disco heaven 127, the perfect tempo for a disco track, while Sandy Barber takes on the role of diva on this stomping timeless track.
After the previous stomper of a track, Sandy slows things down, delivering a beautiful ballad The First Time. This proves that she’s as comfortable with ballads as the quicker, uptempo tracks. There’s a sense of poignancy and sadness as Sandy delivers the lyrics. Her voice changes from a softer, to a much more powerful impassioned style. Accompanying her is a fantastic arrangement from Nat Adderley Jr. Sad strings, piano and subtle horns accompany Sandy, who sounds not unlike Marlena Shaw. Later, the arrangement takes on a dramatic style, with the drums, strings and horns responsible for this, and perfect for Sandy’s delivery. As the track ends, you realize the versatility and talent of Sandy, on a track that combines poignancy, joy and beauty seamlessly.
Don’t You Worry Baby (The Best Is Yet To Come) sees the tempo rise as the track gradually reveals itself. It’s a combination of the rhythm section, hissing hi-hats, stabs of keyboards and percussion. Add to this gently rasping horns and the soulful, beautiful backing vocalists. When Sandy’s vocal enters, it’s confident as the tempo quickens, reaching 130 beats per minute. Mixing power, confidence and a sprinkling of drama, Sandy’s vocal gives way to soaring saxophone solo, as this disco track reveals its subtleties and charms. By the midsection, it’s all change with graceful, gliding strings entering, accompanied by another sultry saxophone solo. Then Sandy starts a short vamp, before she and her backing vocalist, accompanied by blazing horns, percussion, strings and the rhythm section drive the song to its brilliant ending.
I Think I’ll Do Some Stepping On My Own is one of the highlights of The Best Is Yet To Come. The track was co-written by Clyde Otis, Natt Adderley and Jay Hoggard, while Jay Hoggard produced the track. What makes the track is Sandy’s glorious, defiant vocal. It’s powerful and soulful, as the arrangement reveals flourishes of keyboards, funky rhythm section, rasping horns and percussion. Later the lushest of strings that float above the arrangement, while punchy, rasping horns punctuate the track. From there, the arrangement grows, getting even better, revealing its beauty and drama. By now, you realize that this is one of the true highlights of The Best Is Yet To Come, while demonstrating just how talented a vocalist Sandy Barber really is.
Wonder Woman brings back memories of Linda Carter twirling round and round in her role as female superhero. Here, Sandy funks up the theme to the television show. While the rhythm section provide a funk laden backdrop, punchy, blazing horns enter. Meanwhile, Sandy delivers the vocal with a combination of power and passion, while her band sprinkle funk and then backing vocalists add some soul to this funky cover version of the theme to Wonder Woman.
Can’t You Just See Me sees Sandy combine soul and gospel against a horn drenched backdrop. Sandy’s vocal is powerful and impassioned, tinged with a gospel style. Her backing vocalists deliver their lyrics in a similar gospel infused style, while the rhythm section is punchy and dramatic, while horns blaze and a piano is central to the song’s success. It helps drive the track along, while guitars and percussion augment its sound. While the horns and backing vocalists play important parts in the track, it’s Sandy Barber that steals the show with her impassioned and powerful combination of soul and gospel.
Closing the original version of The Best Is Yet To Come is Stay Here With Me, another beautiful ballad. This is a mid-tempo track, opening with drums rolling dramatically, accompanied by equally dramatic strings and piano, which give way to Sandy’s vocal. Straight away, you can hear another self-assured vocal from Sandy is about to unfold. She combines emotion and frustration, delivering the lyrics in a heartfelt style, while the piano and lush cascading strings are key to the arrangement’s sound and success. While Sandy’s vocal is powerful and impassioned, it’s also beautiful, like the arrangement. When they’re taken together, the result is not only a beautiful, emotive track, but one of the highlights of The Best Is Yet To Come is Stay Here With Me and the perfect way to close the album.
Truly, Sandy Barber’s debut solo album The Best Is Yet To Come is a real hidden gem of an album, that should’ve been a much bigger commercial success on its release in 1977. Thankfully, BBE Music have rereleased The Best Is Yet To Come, along with five bonus tracks which were meant to be on the follow-up album. As if that’s not enough, there are also two remixes of I Think I’ll Do Some Stepping (On My Own). Both are stunning, giving a new twist on Sandy’s classic. One is by Al Kent and the other is by John Morales. However, although I Think I’ll Do Some Stepping (On My Own) is the best known track on The Best Is Yet To Come, and is a true classic, there’s much more to the album than this. With the uptempo tracks like Look Out Sky, I’ve Got Something Good (Come And Get It), Don’t You Worry Baby (The Best Is Yet To Come) and the gospel tinged Can’t You Just See, these five tracks are irresistible. The two ballads The First Time and Stay Here With Me, which closes The Best Is Yet To Come two beautiful, heartfelt tracks. These two tracks demonstrate Sandy Barber’s versatility as a vocalist, with her as comfortable singing slow tracks as the quicker, uptempo tracks. With this mixture of styles of music, The Best Is Yet To Come is an album that all lovers of soul, funk and disco will adore. The rerelease of The Best Is Yet To Come by BBE Music gives everyone to rediscover this hidden gem of album, thirty-five years after it was originally released. Standout Tracks: Look Out Sky, The First Time, I Think I’ll Do Some Stepping (On My Own) and Can’t You Just See Me.
SANDY BARBER-THE BEST IS YET TO COME.
THE O’JAYS-WE’LL NEVER FORGET YOU-THE IMPERIAL YEARS 1963-66.
THE O’JAYS-WE’LL NEVER FORGET YOU-THE IMPERIAL YEARS 1963-66.
Although I’ve reviewed a number of The O’Jays albums from their Philadelphia International days, including Back Stabbers, Family Reunion and Ship Ahoy, there was much more to their music than music than the Philadelphia International years. Granted, it was by far, the most successful period of The O’Jays career, when Gamble and Huff worked their magic, transforming them into one of the most successful soul groups ever. However, before The O’Jays released their first album Back Stabbers in 1972, on Philadelphia International, they’d been releasing singles since 1960, firstly, as The Miracles and then as The O’Jays. During that period, The O’Jays released some memorable and majestic soul music for the Imperial Records. Twenty-six of these tracks can be found on a forthcoming compilation entitled We’ll Never Forget You-The Imperial Years 1963-66, which will be rereleased on Shout Records on April 2 2012. As if these twenty-six tracks aren’t a veritable feast of soul music, there are two tracks from The O’Jays hard-to-find debut album Comin’ Through. This compilation features some of the most memorable music of the early period of The O’Jays career. On We’ll Never Forget You-The Imperial Years 1963-66 are the Northern Soul classic I’ll Never Forget You, plus their first two US R&B hits Lonely Drifter and Stand Tall. Before I tell you about some of the highlights of We’ll Never Forget You-The Imperial Years 1963-66, I’ll tell you about The O’Jays career until 1966.
The O’Jays were founded in the late fifties, in Canton, Ohio at the Canton McKinley High School. This came after watching Frankie Lymon and The Teenagers during an episode of American Bandstand in 1957. This lead Edward “Eddie” Levert, Walter Williams, William Powell, Bill Isles, Bobby Massey and William Isles to form a group, which they called The Mascots. They performed locally, singing is schools and clubs, until in 1960, a local Greek grocer spotted the group singing, and arranged for The Mascots to head to Cincinnati, where they’d record for Sid Nathan’s King Records. Liking what he heard, Sid Nathan signed the group to King, where they’d record two singles in 1960, The Story of My Heart and Lonely Rain. Then when The Mascots were invited to perform at a concert by Eddie O’Jay, this would lead to the group changing their name and the next stage of their career unfolding.
Having performed at the concert, The Mascots decided that Eddie O’Jay was the man to manage their career. They also decided to change their name, naming the group after Eddie. Suddenly, The Mascots became The O’Jays. When Eddie moved to the new WUFO radio station, The O’Jays started meeting some big names in the music industry. Frankie Crocker and Herb Hamlett worked at WUFO, while later, The O’Jays would be introduced by Motown’s Berry Gordy. After this, The O’Jays established themselves in Cleveland’s R&B clubs, performing in various battles of the bands, including against The Temptations. Having now established themselves under their new name, The O’Jays would sign a new record deal, with Daco Records, where they’d record Miracles. The single gave the group a local hit, resulting in The O’Jays being whisked away to LA in 1963, where they’d record for H.B. Barnum’s Little Star label.
Now signed to the Little Star label, The O’Jays recorded a trio of singles. The first was How Does It Feel, followed by Dream Girl. Their third single for Little Star saw them back New York singer Jimmy Norman. These three singles sold well, leading to H.B. Barnum helping The O’Jays secure a recording contract with Imperial Records in 1963.
Imperial Records quickly became a home from home for The O’Jays. They spend the next three years at Imperial Records, signing in 1963 and leaving the label in 1966. Straight away, Imperial was purchased by the Liberty label, who injected capital and new personnel into Imperial. It was at Imperial that The O’Jays would have their first hit single, Lonely Drifter which reached number ninety-three in the Billboard 100, while its follow-up Stand Tall reached number 131. Two years later, in 1965, The O’Jays would release their debut album Comin’ Through, the only album they released on Imperial. Two tracks from Comin’ Through can be found on We’ll Never Forget You-The Imperial Years 1963-66, I’m Gonna Make It and Time Is On My Side. The same year, 1965, The O’Jays had their third and biggest hit single, Lipstick Traces (On A Cigarette), which reached number forty-eight in the US Billboard 100 and number twenty-eight in the US R&B Charts. I’ve Cried My Last Tear was the next single, reaching number ninety-four in the US R&B Charts. After such a successful year as 1965, The O’Jays would enter their final year with Imperial Records, when they’d have their biggest US R&B hit single.
1966 would prove to be a pivotal year in The O’Jays career. They’d release a trio of new singles. The first two, I’ll Never Forget You and then No Time For Love, failed to chart. However, Stand In For Love changed that, it reached number ninety-five in the US Billboard 100 and number twelve in the US R&B Charts. That would be The O’Jays last new single for Imperial. To coincide with their leaving Imperial, Lonely Lifter was rereleased. It failed to match the success of its original release, but was one the highlights of The O’Jays career. That single, plus twenty-five of The O’Jays other Imperial singles can be found on We’ll Never Forget You-The Imperial Years 1963-66, which I’ll now tell you about, by picking a few of the highlights from this compilation.
My first choice from We’ll Never Forget You-The Imperial Years 1963-66, is The O’Jays first hit single for Imperial Records, Lonely Drifter. Released in 1963, it reached number ninety-three in the US Billboards 100. Opening with the sound of the beach, it’s a slow, dramatic and sad track. After the rhythm section enter, The O’Jays enter singing their trademark close harmonies. When Eddie Levert’s lead vocal enters, it’s impassioned, full of hurt and regret, while the harmonies are punchy, as the sound of the desolate beach drifts in and out. It’s two and a half minutes of pain and hurt, so much so, that you feel for Eddie’s loneliness.
Stand Tall was the follow up to Lonely Drifter, reaching number 131 in the US R&B Charts. This track has a very different sound, with the arrangement faster, driven along by the rhythm section and punchy guitars. When Eddie’s vocal enters, gone is the sadness and regret, replaced by pride and confidence. Meanwhile, the harmonies and tight and soulful, before later, blazing horns soar above the arrangement and the harmonies also soar. By the end of the track, it’s almost impossible but to resist the defiance and confidence in Eddie’s vocal and soulful harmonies that accompany him.
When Lipstick Traces (On My Cigarette) was released in 1965, it gave The O’Jays the biggest single of their career to date. It was written by Allen Toussaint, under the pseudonym Naomi Nevill and reached number forty-eight in the US Billboard 100 and number twenty-eight in the US R&B Charts. This song would go onto become a Mod anthem. Listen to it, and you’ll realize just why. With the impassioned, insecure backing vocals drifting in, they’re accompanied by just the rhythm section. Then when Eddie’s vocal enters, it’s self-assured, as he sings of his love for his girlfriend. Later, a horn drifts in, soaring above the arrangement, as one of the highlights of The O’Jays imperial Records career and We’ll Never Forget You-The Imperial Years 1963-66, draws to a close.
From Mod anthems to the beautiful Think It Over, Baby released in 1965. Arranged by Nick De Caro, who wrote the song, it’s co-produced by Tom LiPuma and Joe Saraceno. It’s one of the most impassioned songs on We’ll Never Forget You-The Imperial Years 1963-66. Here, Eddie demonstrates his versatility and talent as a vocalist, delivering the lyrics slowly, with his voice heartfelt and emotive. The slow tempo is perfect for the track. Strings, the rhythm section and guitars combine with the punchy harmonies, as the track is full of drama and emotion. This drama builds as the song reaches its dramatic conclusion, with Eddie’s vocal impassioned and full of sadness, as he contemplates life alone. With all this and more, it’s easily one of the most emotional and saddest tracks on We’ll Never Forget You-The Imperial Years 1963-66.
I’ll Never Stop Loving You is a track that went on to become a Northern Soul favorite, which even today, is a prize for collectors. Like many Northern Soul tracks, the original single never troubled the charts, but is guaranteed to fill a dance-floor. As the track opens, you realize why it’s a much prized Northern Soul track. With its rasping horns, handclaps, percussion and rhythm section combining with Eddie’s lead vocal the track has you hooked from the opening bars. Add to this the soulful backing vocals from the rest of the group, and the result is a true hidden gem of a track, one with a real Northern Soul sound.
Let It All Out written by the legendary Van McCoy reached number twenty-nine in the US R&B Charts in 1965. Produced by Nick De Caro, we hear the beauty of William Powell’s falsetto combining perfectly with Eddie’s much more powerful vocal. They sing against a backdrop that combines lush strings, rasping horns, piano and a rhythm. When the rhythm section is combined with the horns, they provide a dramatic backdrop for the vocal for the grace and power of William and Eddie’s vocals.
I’ll Never Let You Go is another track that has a Northern Soul sound. It was released in 1965, and like I’ll Never Stop Loving You, failed to chart. Like I’ll Never Stop Loving You, it grabs your attention as the track opens. Dramatic drums and percussion open the track, before The O’Jays sing the saddest of backing vocals. When the lead vocal enters, it’s impassioned and heartfelt, as the repeated strains of “I’ll never let you go” are laden with emotion and sadness. Later, a piano and rasping, dramatic horns adds to the effectiveness and sadness of what’s ultimately, a song full of emotion and beauty.
One of the two bonus tracks on We’ll Never Forget You-The Imperial Years 1963-66, from The O’Jays debut album Comin’ Through is a compelling cover of Time Is On My Side. Here, they transform the track, turning it from a rock track into something soulful and laden with drama. When the track opens, The O’Jays contribute intense, emotive backing vocals. Behind them, the arrangement plays second fiddle to their vocals. It’s just the rhythm section, which accompanies Eddie’s impassioned, powerful lead, while the rest of the group contribute similar backing vocals. This version of Time Is On My Side brings something that I’ve always thought is missing from the rocky covers of this track, some much needed soul.
With so many great tracks to choose from on We’ll Never Forget You-The Imperial Years 1963-66, choosing just one more wasn’t easy. In the end, I chose It Won’t Hurt, released in 1965. This is another slow track, with rasping horns and the rhythm section accompanying some of the most soulful harmonies you could wish to hear. Meanwhile, the lead vocal is full of emotion and sadness, sung in a heartfelt style, while the rhythm section adds punchy bursts of drama. They’re accompanied by a piano and percussion that are key to the song’s success. However, what makes this such a stunning, heartfelt and sad track are The O’Jays vocals. Although they deliver so many songs in a similar style, this is one of the best, and is totally irresistible.
Although the music on We’ll Never Forget You-The Imperial Years 1963-66 is quite different from The O’Jays Philadelphia International era music, their vocals have the same quality. Sometimes they’re heartfelt and emotional, other times dramatic, confident and full of power and passion. Each of the twenty-eight songs they bring to life, using their trademark harmonies and Eddie’s lead vocal. That’s what makes this such a great compilation. It shows what The O’Jays were like before they were given a Philly makeover by Gamble and Huff. Here, the arrangements can sometimes have a compelling rawness, fitting the emotion and passion of their music. Other times they’re full of grace and beauty. It’s quite a contrast to their later music for Philadelphia International, but has the same quality vocals you’d expect from The O’Jays. Unlike their Philadelphia International days, where their music took on a sophisticated and polished sound favored by Gamble and Huff is absent, it has a classic sixties soulful sound, a sound I’ve always loved and know many other people love. The music is emotive and beautiful, allowing you to concentrate on the quality of The O’Jays vocals. We’ll Never Forget You-The Imperial Years 1963-66 is a must-have compilation for anyone who loves The O’Jays music. Compiled by Glenn Gunton, We’ll Never Forget You-The Imperial Years 1963-66 will be released on 2 April 2012 on Shout Records. That’s a date for the diaries of all fans of The O’Jays. Standout Tracks: Lonely Drifter, Think It Over, Baby I’ll Never Let You Go and Let It All Out.
THE O’JAYS-WE’LL NEVER FORGET YOU-THE IMPERIAL YEARS 1963-66.
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LOOSE ENDS-A LITTLE SPICE.
LOOSE ENDS-A LITTLE SPICE.
After Carl McIntosh, Jane Eugene and Steve Nichol founded Loose Ends in 1981, the group went on to record five albums between 1984 and 1990. During this time, they also released nearly twenty singles, two of which Hanging On A String(Contemplating) in 1985 and Slow Down in 1986 reached number one in the US R&B Charts. Loose Ends’ fusion of Philly soul and London R&B, lead to the band becoming one of the biggest UK soul and R&B groups. Their music was just as popular on both sides of the Atlantic during this period. Although best known for the 1985 hit Hanging On A String(Contemplating), there’s much more to Loose Ends’ music than just one single. They were signed to Virgin Records in 1981, releasing a trio of singles before they released their debut album A Little Spice, which was rereleased by SoulMusic.com in November 2011. However, before I tell you about their debut album, I’ll tell you about Loose Ends’ career up until the release of A Little Spice.
When Steve Nichol and Jane Eugene met at a party at The Guildhall School of Music in 1981, the pair decided to form a group. Steve a keyboard player, was a talented music student, influenced by Herbie Hancock and The Crusaders, while Jane would become the vocalist. Together they started writing songs, while the group had grown to include about nine members. It was then Steve and Jane realized they needed another member, a bass player. That’s where Carl McIntosh came in. Having auditioned a number of bass players, they realized that Carl was the one straight away. Not only did he play bass, but he could also play guitar. That was the clincher, and Loose End was born. After that, the rest of the group were fired, with Loose End becoming a trio. However, this original name had to be changed, when a company of the same name threatened the group with a lawsuit. So an s was added, and the group would become Loose Ends.
Quickly, Loose End were signed to Virgin Records by Mick Clark who worked in A&R for Virgin. Straight away, Mick spotted the group’s potential, signing them on a singles deal. After much deliberation, Chris and Eddie Ammoo of Real Thing were chosen as producers. Their debut single was In the Sky, which failed to chart. The follow-up was We’ve Arrived, written and produced James George Hargreaves and Tony Ajagbe. It too, failed to chart. By then, the group had been forced to change their name from Loose End to Loose Ends, after a company with the same name threatened the group with a lawsuit. Now called Loose Ends came their third single.
Next in the producer’s chair for single number three was Peter Walsh, who previously produced Heatwave, Simple Minds and Beggar and Co. The song chosen was Don’t Hold Back Your Love, which like its predecessors, failed to chart. This meant Virgin had to stick or twist, as they’d an option to sign Loose Ends for an album. Luckily they did, and that album would become A Little Spice.
Having had three separate producers for their first three singles, producer number four would enter. Nick Martinelli was based in Philadelphia, and previously, had produced for the WMOT label. Mick Clark at Virgin had one of Nick’s productions, Brandi Wells’ Brandi album and loved the production. So contact was made between Virgin and Nick Martinelli, with the result being Loose Ends were heading Philly bound.
With ten tracks written by Loose Ends, it was up to Nick Martinelli to work his magic with the group. Recording took place at the Alpha Studios in Philadelphia. This was familiar territory for Nick, where he’d record his earliest albums, right through to the albums he recorded for Philly World Records. Nick had assembled some great session players for the recording of what would become A Little Spice. On guitar was Herb Smith, bassist Ron Jennings, saxophonist Bobby Malach while Dr. Gibbs sprinkled percussion throughout the album. With these session players accompanying Loose Ends, the ten tracks were recorded. Now that their debut album A Little Spice was recorded, all that was left was for its release.
On the release of A Little Spice in 1984, it reached number forty-six in the UK. When the album was released in the US in 1985, it reached number forty-six in the US Billboard 200, while reaching number five in the US R&B Charts. In total, three singles were released from A Little Spice. The first was Tell Me What You Want, which reached number seventy-four in the UK. Emergency (Dial 999) the second single, reached number forty-one in the UK. Choose Me (Rescue Me), the final single reached number fifty-nine in the UK and number forty-seven in the US R&B Charts. Overall, A Little Spice, with Nick Martinelli’s producing saw the group realize the potential Mick Clark saw in Loose Ends. However, what does A Little Spice sound like? That’s what I’ll now tell you.
Opening A Little Spice is the first single from the album Tell Me What You Want. It’s a combination of drums, keyboards and percussion that open the track, giving way to Carl’s impassioned vocal. Behind him, a rocky guitar sizzles across the arrangement, before Jane takes over the lead vocal. Her vocal has a sweet sound, which contrasts to the emotion and passion of Carl’s. Providing another contrast is the dramatic, rocky guitar. Overall the arrangement is quick and catchy, fusing R&B and soul with an eighties twist. This is perfectly suited to the vocals and signifies the next chapter in Loose Ends’ career, from where they’d eventually conquer the UK and US.
Feel So Right Now is one of the best tracks on A Little Spice. It sees Loose Ends drop the tempo way down to 83 beats per minute. A jazz tinged introduction opens with just a jazzy guitar weaving its way across the arrangement, as percussion, drums and keyboards enter. Then, the subtle vocals enters, before Jane delivers the vocal with a tenderness. When Carl enters, he sings call and response with Jane, while the arrangement meanders beautifully and subtly along. As the guitars chime, keyboards drift in and out, while drums are played carefully. Truly, it’s a gorgeous track, with beautiful vocal and an understated arrangement. Taken together, it’s a stunning combination, one of the highlights of A Little Spice.
With a title like Let’s Rock, it doesn’t take any stretch of the imagination to say that this track will be very different to its predecessor. Percussion, bursts of punchy horns and vocal, give way to crisp drums, as the tempo hits 120 beats per minute. As the vocals enter, Carl sings lead, while keyboards, drums and bass provide the backdrop. When they unite, they demonstrate their considerable vocal talents. Later, the arrangement takes on an eighties sound, combining funk, electro and soul. Synths, a vocoder and drum machines are used, while effects are used on some of the vocals and the track takes on a dramatic, frenzied sound. Although the track has a real eighties sound, it has aged well as Loose Ends combine three musical genres in one song.
When So Much Love opens, the tempo drops slightly, as Loose Ends take another opportunity to demonstrate just how talented vocalists they were. After punchy, eighties drums enter, keyboards augment their sound, adding bright, joyful sound. Then, when Jane’s vocal enters, it’s a combination of emotion, passion and beauty. Her vocal is answered by Carl, whose vocal sounds just as emotional. These vocals draw you in, you listen intently to the lyrics as the song reveals its charm and beauty. The arrangement doesn’t overpower the vocal, instead it’s sympathetic to them. It’s just keyboards and drums that drive the track along, allowing you to concentrate on the emotive, heartfelt vocals, on another beautiful track from Loose Ends.
(Emergency) Dial 999 was the second single from A Little Spice, and to me, is the best of the trio of singles. From the opening bars, you realize the song is something special. The tempo is quick as the combination of rhythm section and keyboards open the track. With the bass line prominent, drums pound and keyboards add flourishes of drama, quickly the track reveals its delights. When Jane’s vocal enters, it’s delivered first softly and sweetly, before becoming a combination of a passion, power and drama. Meanwhile the bass and drums pound prominently, while flourishes of keyboards drift in and out of the arrangement. What makes this the standout track from A Little Spice are an arrangement that’s a seamless combination of soul and funk, and of course Jane’s dramatic and impassioned vocal.
Music Takes Me Higher is the fourth of six tracks co-written by the three members of Loose Ends, with this one of three tracks written in America. It’s very different from the previous tracks, with its laid0back, shimmering and meandering arrangement that combines soul and jazz. Opening with the rhythm section, before a chiming, jazzy guitar, percussion and keyboards combine. Then as Jane’s vocal enters, it’s stronger and soulful, as she adds some drama to her delivery. Quickly, the vocal changes hands, becoming gentler and more subtle. Jane’s vocal is powerful, while the arrangement winds its way behind her, mixing jazz and soul seamlessly. While the track is quite different from other tracks, this is another of the highlights of A Little Spice, with its laid back sound and feel-good vibe.
Choose Me (Rescue Me) is a track that combines eighties sounding keyboards with jazzy horns and flourishes of keyboards. Add to this a mid-tempo arrangement and a heartfelt, inviting, almost desperate vocal from Jane as she pleas for someone to “rescue me.” Meanwhile, Carl and Steve contribute backing vocals, before, the sultriest of saxophone solos drifts above the arrangement. Accompanying the saxophone are keyboards and the rhythm section, which augment this sultry sound. Why this track stalled at number fifty-nine in the UK Charts is beyond me, given its sultry sound and pleading vocal from Jane. Together, they’re an irresistible combination.
Closing A Little Spice is the title track A Little Spice is a compelling, mostly instrumental track. It’s a jazz tinged samba, with a mid-tempo arrangement. The track gradually reveals a myriad of Spanish guitar, percussion and keyboards, while Steve plays trumpet and Donald Robinson flute. Steve’s rasping, soaring trumpet solo. It gives way to Jane’s sweet vocal which makes a brief and welcome appearance. It’s accompanied by punchy backing vocalists as the track and Loose Ends’ debut album heads towards a beautiful Latin tinged ending.
Revisiting Loose Ends’ debut album A Little Spice brings back memories of nearly thirty years ago, when they combined their own unique combination of Philly soul and UK R&B. With tracks like Tell Me What You Want, When So Much Love and (Emergency) Dial 999 plus the two slower tracks Feel So Right Now and Music Takes Me Higher, A Little Spice is a combination of uptempo tracks and some beautiful slow tracks. Add to this the Latin tinged A Little Spice, then Loose Ends debut album A Little Spice was a highly accomplished and polished fusion of Philly soul and UK R&B. This was just the first step on a musical journey that would see Loose Ends become one of the biggest UK R&B bands of the eighties, resulting in two US R&B number one singles and four further successful albums. While the trio of singles released from A Little Spice were commercially successful, Loose Ends world would be turned upside down when they released their second album So Where Are You Now? This would contain one of their best known and most memorable track, Hangin’ On A String (Contemplating) which would give Loose Ends their first US R&B number one single. That was all still to come, and would help cement their reputation as one of the UK’s biggest R&B groups. However, the album that launched Loose Ends’ career was A Little Spice, which was rereleased by by SoulMusic.com in November 2011, allowing us to rediscover the magical music of Loose Ends again. Standout Tracks: Tell Me What You Want, (Emergency) Dial 999, Feel So Right Now and Music Takes Me Higher.
LOOSE ENDS-A LITTLE SPICE.
DISCO LOVE VOLUME 2.
DISCO LOVE VOLUME 2.
After delivering Disco Love, DJ, remixer and disco detective Al Kent dug deeper, delving into the disco archives, for more disco delights for Disco Love Volume 2. Released in April 2011, Disco Love Volume 2 was double album, released on BBE Music. This was the follow-up to Disco Love, which had been released in February 2010. It was a stunning collection of hidden disco and soulful delights, which containing eighteen tracks plus a seamless mix from Al Kent. Having reviewed Disco Love, I was left wondering whether Al Kent could better Disco Love. Then came Disco Love Volume 2, with its two discs of disco delights. Having listened to Disco Love Volume 2 constantly since I received it, it seems Al Kent has triumphed again. He’s dug much deeper than other DJs or compilers would dare to dig. In doing so, Al has discovered fourteen fantastic disco delights, some of which Al has edited. These fourteen tracks can be found on Disc One of Disco Love Volume 2, where Al Kent seamlessly displays his DJ skills. He weaves his way through the tracks, never missing a beat. On Disc Two of Disco Love Volume 2, the music is unmixed, featuring twelve of the fourteen tracks. However, this dozen disco gems can be heard in all their glory, allowing you to hear some hidden gems and forgotten slices of delicious disco. To give you a flavor of the music that can found on Disco Love Volume 2, I’ll pick some of the best tracks from the compilation.
My first choice from Disco Love Volume 2 is a track from Lenny Bailey Strings & Rhythm Inc., Do It With Me. Released in 1976, the track was released on Ren-Rome Records, the tempo is 114 beats per minute, with the track having everything you could want on a disco track. A pounding disco beat, cascading strings and blazing horns combine with a plentiful supply of percussion. Add to this, soulful, soaring female backing vocalists, a driving rhythm section and chiming guitars and what more could you want? For six minutes, this hidden gem of a track sprinkles its disco delights, unleashing its infectiously catchy, dance-floor friendly sound.
Plaza Suite’s Joey’s Tune was released in 1978 on Thunder Records and his three and a half minutes of lush, sumptuous disco. Here, the drums are subtler, the strings grander and the female vocalists are subtle soulful. There’s even a slight hustle sound, as the track glides gracefully along at 120 beats per minute. Wah-wah-esque guitars, now graceful strings and punchy horns all punctuate the track, as keyboards and vocalists drift in and out of the track. However, for the three and a half minutes of the track it gracefully glides along, with its lush seventies sound sweeping you along in its wake.
Spooky & Sue are a Dutch group who cover Chuck Jackson’s I’ve Got The Need. Released on Negram Records in 1975, this is an irresistible track. Take a sweet and soulful female vocal, accompany it with confident male vocal, add cascading strings, blazing horns and a disco beat, and you get the idea what this three minute gem sounds like. As the track reveals its delights, you quickly fall in love with its mixture of punchy horns, lush strings and the vocals which compliment each other perfectly. This is one of these hidden delights that makes you grateful that Al Kent is the crate-digger extraordinaire he is. Al Kent we salute your crate digging skills.
Anyone whose been in love and fallen out of love, needs a break-up song. For the next time, I propose Valerie Simmons’ 1979 track on Simco Records I Can Make It On My Own. This is the perfect track to sooth your broken heart. A sassy, defiant vocal from Valerie, with equally defiant, confident backing vocalists. Behind Valerie, the arrangement is impassioned and uplifting, with the rhythm section, stabs of keyboards, swirling strings and rasping horns combining perfectly. It’s then that Valerie’s vocal enters, and it’s one part defiance one part passion. Delivered in a powerful, yet hugely soulful style. This is such a good break-up song it’s almost worth falling out of love for, just to listen to it until your broken heart mends.
Sandy Barber recently had an album released on BBE Music, the same label as Al Kent’s Disco Love 2. Entitled The Best Is Yet To Come, one of the tracks is I Think I’ll Do Some Stepping On My Own, which is my next choice. Originally released in 1977 by The Otis Music Group Inc., the track was co-written by Clyde Otis, Natt Adderley and Jay Hoggard, while Jay Hoggard produced the track. The track has a similar sassy, defiant vocal to Valerie Simmons. This sassy, but soulful vocal is delivered against a backdrop of the rhythm section, guitars and swooning backing vocalists. When Sandy’s vocal enters, it’s powerful and soulful, as the arrangement reveals its combination of keyboards, funky rhythm section, rasping horns and percussion. From there, the arrangement grows, revealing its beauty and drama. By now, you realize that this is one of the true highlights of Disco Love 2. Not only that, but I can thoroughly recommend Sandy’s album The Best Is Yet To Come released in February 2012.
I can concur with what Al Kent says in his sleeve-note, that how he can resist a song with a party in the background. Neither can I, which means I’ve got to mention Bill Avery’s Disco Fever. Not only does it sound like everyone at the party is having a ball, but so is Bill Avery, on a track from 1978, released on Big Dee Records. With a myriad of whoops, hand claps and funky rhythm section, synths are unleashed, as Bill hollers, whoops and gets the party going. Keyboards, a funky bass and drums help Bill keep the party going as synths reverberate above the arrangement. Here, Bill mixes funk and disco to create a track with a real good time party sound, that’s not just guaranteed to put a smile on your face, but will get any party started.
Nasty City’s Disco Baby was released in 1976 on Hit Bound Records. The track was written, arranged and produced by Norman B. Fowler. It’s a track that mixes funk and disco over nearly seven minutes. With the funkiest of rhythm sections opening the track, cascading strings are then accompanied by a disco beat. The band are tight, their playing proficient, as the arrangement gradually reveals its disco delights. Punchy, backing vocals enter, accompanied by equally, punchy horns, keyboards and percussion. This gives way to a pounding disco beat, soaring female backing vocalists, luscious strings and keyboards. Add to this a funky bass line, a joyful vocal and you’ve the winning formula for delicious fusion of funk and disco.
The last track I’ve chosen from Disco Love Volume 2 is J’s When Did You Stop. It’s just one of these track that has you hooked from its opening bars. Released in 2010 on Dante Records, glorious, sweet horns open the track, while the rhythm section and lush swirling strings join the arrangement. As the tempo his 126 beats per minute, soulful backing vocalists enter, before an impassioned and powerful lead vocal enters. From there, the arrangement is sweet and punchy as the track sees disco combined with an equal measure of soul thrown in for good measure. You just can’t resist this combination of horns, strings and soul drenched vocals. It’s a catchy, hook laden and ultimately beautiful combination of Northern Soul and disco.
Al Kent’s Disco Love Volume 2 picks up where Disco Love left off in 2010. From Disco Love, Al ups the ante on Disco Love Volume 2, digging way deeper and finding fourteen new disco delights to indulge you with. Having thought Disco Love was a fantastic compilation, Disco Love Volume 2 is even better. I didn’t think that would be possible, but it is. With tracks like Lenny Bailey Strings & Rhythm Inc., Do It With Me, Spooky & Sue’s I’ve Got the Need, Plaza Suite’s Joey’s Tune, Nasty City’s Disco Baby and J’s When Did You Stop, disco doesn’t get much better. Add to that Valerie Simmons’ I Can Make It On My Own, which is the ultimate break-up songs, and then Sandy Barber’s brilliant I Think I’ll Do Some Stepping On My Own, then you’ve got seven great tracks. Apart from these seven tracks, there are seven other delicious disco delights to discover. Another thing worth mentioning about Al Kent’s Disco Love Volume 2, is Al’s sleeve-notes. His description of each of the tracks are hilarious, displaying an infectious sense of humour. All this makes Disco Love Volume 2 an unmissable compilation, and is the perfect companion to Al Kent’s Disco Love and his five disc box set The Best of Disco Demands, both released on BBE Music. This will give you a veritable feast of disco delights that are guaranteed to get any party started. Once again, we must join together and pay homage to Al Kent, DJ, crate-digger, remixer and disco detective, for discovering the fourteen brilliant tracks that can be found on Al Kent’s Disco Love Volume 2. Standout Tracks: Plaza Suite Joey’s Tune, Valerie Simmons I Can Make It On My Own, Sandy Barber I Think I’ll Do Some Stepping On My Own and J When Did You Stop.
DISCO LOVE VOLUME 2.
CASHMERE-LET THE MUSIC TURN YOU ON.
CASHMERE-LET THE MUSIC TURN YOU ON.
Back in 1983, Cashmere released their debut album Let the Music Turn You On, on Philly Groove Records. The album went on to become a boogie classic, featuring the singles Do It Anyway You Wanna and Try Your Lovin.’ Featuring lead vocalist Dwight Dukes whose voice has an uncanny resemblance to Michael Jackson, Cashmere fused a mixture of sizzling funk, boogie and soul. Having left Chicago based group Heaven and Earth, the next step in Dwight’s career was Cashmere, who between 1982 and 1985, Cashmere would record a trio of albums. Together with producer Nick Martinelli, this new group Cashmere, would enter the studio for the first time, with their resulting album Let the Music Turn You On becoming a timeless boogie classic. Before I tell you about Let the Music Turn You On, which will be rereleased on BBR Records on 26 March 2012, I’ll tell you about the story of Cashmere and the making of their debut album.
Having left Heaven and Earth, Dwight Dukes was at a crossroads in his career. Heaven and Earth had been a group founded by Dwight and brother James, whilst the pair were still at South Shore High School in Chicago. They landed a record contract with local label GEC Records, and the group would release three albums between for various labels between 1976 and 1981. These included 1978s and 1979s Fantasy, both on Mercury, before That’s Love was released in 1981 on WMOT Records. It was at Philadelphia based WMOT Records that Dwight met producer Nick Martinelli. After Dean Williams who shared the lead vocals with Dwight had left the group, a suitable replacement couldn’t be found. Eventually, Dwight decided he’d leave the band too. However, as so often happens in music, fate intervened.
Nick Martinelli was then A&R Director at WMOT Records, but would then work at Philadelphia’s Alpha Studios, owned by Pete Pelullo, who’d just founded Philly Groove Records. Then like Heaven and Earth had, WMOT Records collapsed in 1982. Not long afterwards, Nick was on the look out for a top funk group for Philly World, one that would give the nascent label some hits. It was then that fate intervened in the shape of drummer Daryl Burgee, a man with a plan.
Daryl had played on many of Nick’s sessions, came up the idea for the group that would become Cashmere. Originally, it was Daryl, Dwight Dukes and Bryan Loren. With this new group Cashmere, recording started on their debut album. However, Bryan’s role in Cashmere was short-lived, just recording one track Do It Anyway You Wanna. On its release in December 1982, Do It Anyway You Wanna reached number thirty-five in the US R&B Charts, number twenty-one in the US Disco Charts and number eighty-seven in the UK. It seemed Nick had the group he needed for Philly World, until a member left.
After recording Do It Anyway You Wanna, Bryan Loren left to pursue what would become a highly successful solo and songwriting career. Obviously this slowed down the momentum Cashmere had built up. His replacement was James McKinley Horton, a keyboard player who cowrote the second single Try Your Lovin.’ It was released in August 1983, reaching number seventy-five in the US R&B Charts and number ninety-nine in the UK. This was just a month before the release of Cashmere’s debut album Let the Music Turn You On.
Having released two successful singles, Let the Music Turn You On was eventually completed. With a variety of songwriters and musicians collaborating on Cashmere’s debut album, the group had seven tracks recorded. These tracks would the two singles that had been released, plus a cover of the Smokey Robinson and The Miracles’ classic Tracks of My Tears. Little did the members of Cashmere realize that their debut album Let the Music Turn You On would become a boogie classic.
Let the Music Turn You On was released by Philly World in September 1983, reaching number sixty-nine in the US R&B Charts. Considering they were a brand new band, releasing their debut on a newly founded label, this was a good result. One further single would be released from the album in October 1983, the title track Let the Music Turn You On. Sadly, it failed to chart. However, Cashmere never realized that Let the Music Turn You On would go on to become a boogie classic, which I’ll now tell you about.
Opening Let the Music Turn You On is the title track and third single Let the Music Turn You On. Opening with a synth pop sound accompanied by drums, bass and horns, you’re immediately caught up in the song’s charms. Then you do a double take. Is it? No, it can’t be. That’s what you think when you hear Dwight’s vocal, given its similarity to Michael Jackson. Then when you concentrate and compare the pair, Dwight’s vocal has a lighter sound. However, it has a similar quality, as delivers the lyrics against an eighties sounding arrangement that’s delicious. With the synths, drums and blazing horns accompanying Dwight’s lilting soulful vocal, it’s an irresistible combination of eighties dance pop, with a real soulful twist.
Light of Love sees the style change, with Cashmere producing a funk laden sound, which is accompanied by a heartfelt vocal from Dwight. Synths, drums, a funky bass and cascading strings provide the backdrop for Dwight’s impassioned vocal. Later, bells chime and backing vocalists join the arrangement, combining perfectly with Dwight’s lead vocal. The arrangement is a slice of good times funk, while the strings provide a contrast. They’re arranged by Jack Faith, who arranged so many Philadelphia International classics. These strings contribute a lush sound, while the rhythm section and synths contribute some good time funk. Meanwhile, Dwight contributes an impassioned vocal, one of his best on the album.
From funk to soul and a cover of Smokey Robinson and The Miracles Tracks of My Tears. Written by Smokey and Marv Taplin, Cashmere give this an eighties makeover, while Jack Faith arranges the grand strings. Straight away, you realize that Dwight is as comfortable singing soul, as funk or pop. The arrangement is sympathetic to the track, with grand strings, guitars, keyboards and backing vocalists adding to the drama of the song. Synths are used, but work well, as do the backing vocalists who sing harmonies. Later a stunning guitar solo from Norman Harris adds just the finishing touch to the arrangement. However, it’s Dwight’s beautiful vocal that steals the show, with his style perfect for a gorgeous version Smokey’s classic track.
Do It Any Way You Wanna Cashmere’s debut single,was co-written by drummer Daryl Burgee, producer Nick Martinelli and Bryan Hudson. Squelchy synths which remind me of many an Italo disco track combine with the funkiest of bass and drums. When Dwight’s vocal enters, a boogie classic reveals its infectious charms. With punchy, backing vocals the combination of synths and rhythm section drive the track along. A searing guitar solo then adds an element of drama, as Dwight’s vocal is powerful and impassioned. By the end of the track, you can’t help but succumb to charms of Cashmere’s seminal boogie classic.
Try Your Lovin’ was co-written by keyboard player James McKinley Horton, who replaced Bryan Loren in Cashmere. Along with Daryl Burgee and Dwight, the trio cowrote the catchiest track on Let the Music Turn You On. If you think the previous track was catchy, think again. If you imagine an arrangement that sprinkles bouncy, eighties synths, add in funk drenched percussion and combine punchy drums that float around the arrangement, then you get the idea. Add to this Dwight’s Michael Jackson tinged vocal, combine this with catchy lyrics and plenty of hooks and you’re getting there. It’s totally boogie-tastic, catchy and hook laden. The result is boogie classic number two on Let the Music Turn You On
From two consecutive boogie classics we get to Inner Feelings, which opens with pounding drums before stabs of dark dramatic synths enter. A flourish of keyboards signals the entrance of Dwight’s vocal. It’s enveloped in echo, as the Michael Jackson influence is noticeable again. The track is like something MJ would record in his prime, that’s how good this track is. Throughout the track, stabs of synths, drums and flourishes of keyboards combine masterfully with Dwight’s vocal. Even the echo added to Dwight’s vocal adds to the track. With tracks this good on Let the Music Turn You On, you wonder just why the album wasn’t a huge success?
Closing Let the Music Turn You On is Contemplation a track that fuses disco with funk in the manner of group’s like Maurice White’s Earth, Wind and Fire. Punchy, blazing horns arranged by Sam Peake, dramatic keyboards, a driving rhythm section and a plentiful supply of synths provide a backdrop for Dwight’s vocal. The tempo is quick, 123 beats per minute, with Dwight’s vocal sitting atop the magic carpet that’s the arrangement, as the song just flies gloriously along. This magical fusion of disco and funk is glorious and totally irresistible.
For a debut album Cashmere’s Let the Music Turn You On is a highly accomplished album, full of some wonderful music. With its combination bogie, funk, soul and even pop, the track reveals just one great track after another. Although Do It Anyway You Wanna and Try Your Lovin’ were the two successful singles released from the album, there’s much more to the album than this. Cashmere’s cover of Smokey Robinson and The Miracles’ Tracks of My Tears sees Cashmere give the track an eighties makeover, with Dwight revealing himself as a talented vocalist. Light of Love is one of the funkiest on the album, with one of Dwight’s best vocals, while Inner Feelings and Contemplation are two hidden gems, where Dwight’s vocal is Michael Jackson tinged. Overall, Let the Music Turn You On is a boogie classic from the eighties, which nearly thirty years later, sounds just as good as when it was released. Thankfully, it’ll be remastered and rereleased by BBR Records on 26 March 2012, along with five bonus tracks. These bonus tracks are original and twelve inch versions of the three singles released from Let the Music Turn You On. Along with in-depth and informative sleeve-notes from J Matthew Cobb, BBR Records rerelease of Let the Music Turn You On is an opportunity to either rediscover or discover a brilliant boogie classic from the eighties. Standout Tracks: Do It Anyway You Wanna, Tracks of My Tears Try Your Lovin’ and Inner Feelings.
CASHMERE-LET THE MUSIC TURN YOU ON.
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