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.
DEXTER WANSEL-CAPTURED.
DEXTER WANSEL-CAPTURED.
After releasing a quartet of albums on Philadelphia International Records, where Dexter Wansel was a pivotal figure in the label’s success, Dexter left Philadelphia International, signing for 10 Records, where he’d release Captured in 1986. This was Dexter’s first album since Time Is Slipping Away in 1979 and only his fifth solo album since 1976. Mind you, his previous albums were something special, with 1976s Life On Mars, followed by 1977s What Is the World Coming To and 1978s Voyager containing some great music. However, while Dexter had only produced four previous albums, he’d been kept busy writing, arranging and producing music for Gamble and Huff’s Philadelphia International Records. Although Dexter had moved to a new label, Captured which will be rereleased on Cherry Red’s Robinsongs label on 26 March 2012, features some familiar faces from his Philadelphia International days. Six of the ten tracks on Captured were co-written by Dexter’s songwriting partner Cynthia Biggs, who also features on the album, along with The Jones Girls, Pearl William Jones and Bunny Sigler. In many ways this made Captured a Philadelphia International reunion. With talent like this collaborating with Dexter, then Captured looks like being a feast of Philly soul. However, before I tell you about the music on Captured, I’ll tell you about the background to the album.
By the eighties, Dexter Wansel had got from being a solo artist to a songwriter, arranger and producer. It seemed his solo career had been put on hold. Much of his work was with Cynthia Biggs, with whom Dexter had written songs since the pair collaborated on Dee Dee Sharp’s What Color Is Love album. After this, they cowrote numerous songs, songs that would be sung by some of Philadelphia International’s biggest names and other non Philadelphia International artists. Among the Philadelphia International artists who recorded their songs were Billy Paul, The Jacksons and The Jones Girls, who recorded Dexter and Cynthia’s classic Nights Over Egypt. Cynthia would become so close to the three Jones Girls, so much so, that she became a cross between older sister and fourth member. Grover Washington Jr and The Stylistics were just two of many non Philadelphia International artists who benefited from the Cynthia Biggs and Dexter Washington partnership. However, by the mid-eighties, Dexter was getting restless, ready to record a new solo album. This came after producing both P.P Arnold’s Smile and Saass,’ a vocal trio for 10 Records in 1985. 10 Records gave Dexter the chance to record a new album, his first since Time Is Slipping Away in 1979. This album would become Captured and featured some familiar Philly faces.
Dexter and Cynthia set about writing songs for Dexter’s new album. They cowrote seven songs of Captured’s ten tracks, while Dexter wrote two. The other track was a cover of Maurice Jarre’s The Year of Living Dangerously, which Dexter interpreted magically. Now that the ten tracks for Captured were written, recording would take place at three studios.
One studio was familiar territory for Dexter and everyone involved, Philadelphia’s Sigma Sound Studios, scene of so many legendary Philly sound recordings. Just two tracks were recorded there, although the album mixed there. Seven tracks were recorded at Kajem Studios in Gladwyne, Pennsylvania, while another track was recorded at Turtle Beach Recording Studios, York, Pennsylvania. With a cast of guest artists that included The Jones Girls, Bunny Sigler and up and coming singer Meeta Gajjar, the ten tracks that made up Captured were recorded. However, how would Dexter’s fans respond to Captured?
Sadly, when Dexter Wansel’s fifth album was released, it was neither the commercial success it had been hoped for, nor the success the music deserved. Everyone concerned with Captured enjoyed recording the album, but for some reason it didn’t resonate with the record buying public. Undeterred, Dexter and Cynthia continued their careers, occasionally collaborating in years to come. This included Dexter’s 2004 album Digital Groove Project, and co-writing new material during the Thanksgiving holiday period in 2007. However, Captured remains a memorable musical landmark in the career of both Cynthia Biggs and Dexter Wansel, featuring some wonderful music which I’ll now tell you about.
Captured opens with the title track Captured, which features The Jones Girls, Brenda, Valerie and Shirley. This is a mid-tempo track, that opens with just synths and drums combining, before keyboards signal the tight, beautiful harmonies of The Jones Girls. Their vocals are peerless, accompanied by just drums and flourishes of synths. One minute their vocals are tight and sweet, the next soaring gracefully and soulfully above the myriad of keyboards, synths and drums. Later, guitars and piano enter, adding a contrast to synth heavy arrangement, that provides the perfect backdrop for The Jones Girls’ peerless vocals.
A vocoder opens Do What You Wanna Do, before an electronic arrangement unfolds with Meeta Gajjar Parker contributing vocals. This track is much faster, 130 beats per minute, with synths, drums and keyboards combining. When the vocal enters, it provides a real contrast. It’s delivered in a different style from the opening track, with Meeta taking turns delivering the lower parts and the higher parts. This works well and is really effectively. Her vocals are a mixture of subtlety, drama and emotion. Meanwhile, Dexter provides a timeless eighties backdrop, with percussion joining the synths, drums and keyboards. When Meeta’s vocal added to this arrangement, the result is one of the best tracks on Captured.
Maurice Jarre, father of Jean Michel Jarre wrote The Year of Living Dangerously, and here, Dexter gives it a thoughtful sound. It’s just keyboards and guitars that combine, before pounding drums enter. Gradually, the track meanders along, as you await to see the direction Maurice Jarre’s track will take. Still its just the wall of keyboards and drums, with a cymbal crashing. As the track builds up, you hear elements of both Dexter’s earlier work reveal themselves and even Jean Michel Jarre. There’s a sense of drama throughout the track, as you await what happens next. Although very different from the two previous tracks, Dexter gives Maurice Jarre a new twist as Dexter demonstrates his virtuoso skills on the keyboards.
The tempo quickens on Heart On the Line, another track featuring The Jones Girls. They contribute punchy vocals, while the quick, punchy drums set the tempo. Meanwhile, stabs of keyboards and blazing horns punctuate the arrangement, before percussion and a sizzling guitar solo augment the arrangement. However, what makes this such a memorable track are The Jones Girls punchy, dramatic vocals. The deliver Dexter and Cynthia Biggs’ lyrics with aplomb against Dexter’s driving arrangement.
One of the most beautiful tracks on Captured is Each Moment. Opening with just a lovely, thoughtful piano solo, before Cynthia Biggs’ vocal enters. Her vocal is gorgeous, made all the better with angelic backing vocalists accompanying her. Behind her, it’s jus piano and the rhythm section that accompany Cynthia, who wrote the stunning lyrics about love and waiting for the one you love. This track, which is one the gems on Captured, demonstrates not just how talented a songwriter Cynthia is, but how talented a vocalist she is too.
Conversations is one of two tracks written by Dexter himself and totally different from the preceding track. It has a bigger, bolder and dramatic sound. Opening with a short spoken word vocal, this gives way to a combination of keyboards, drums and a sultry, rasping horn. This is interspersed with occasional bells, as the saxophone soars high above the arrangement, while a guitar drifts in and out of the track. As Dexter’s arrangement unfolds, the saxophone steals the show, transforming the earlier drama into something emotional and quite beautiful.
Turn Me On is another track from the Cynthia Biggs and Dexter Wansel songwriting partnership. Featuring the then up and coming vocalist Meeta Gajjar, her vocal is set against a pared down arrangement. The track has an eastern sound, before the combination of keyboards and drums combine. It’s then that Meeta’s vocal enters. Her voice has a sweet, impassioned sound, which is augmented by backing vocalists. Meanwhile, crisp drums and keyboards are key to the quick arrangement. This arrangemenent is driven along by the rhythm section, while the keyboards and backing vocalists help give this track its dance-floor friendly sound. Although Meeta was a newcomer to music, you wouldn’t know by her performance, which is highly accomplished and key to the track’s success.
NAM (I Can’t Get No Sleep At Night) was written by Dexter and is the traumatic story of a Vietnam veteran. It’s told from his point of view and is a song written about Dexter’s experiences in the Vietnam War. Bunny Sigler sings the song’s moving and distressing lyrics. Opening with keyboards that have an emotive, moving sound, they’re joined by pounding drums and percussion. Then squelchy synths enter, accompanied by Bunny’s vocal. The addition of the sounds of a helicopter add the emotion of the track, lending the track authenticity. What makes the song are Dexter’s lyrics. They’re poignant and haunting, bringing to life the trauma the supposed “lucky” ones who returned from the war continued to relive.
Following on from the poignant, haunting previous track is In the Wind, which features Cynthia’s old musical theory teacher Dr. Pearl Williams Jones. Her voice is strong, but soulful, as she’s accompanied by a bright arrangement of synths, drums and hugely soulful backing vocalists. The arrangement has a bright, jaunty sound as it reveals its charms. Later, a guitar is added, joining the combination of drums, synths and percussion. Together with her backing vocalists, Dr. Jones adds some soulfulness to Dexter’s uplifting, jaunty arrangement.
Closing Captured is the seventh Cynthia Biggs and Dexter Wansel penned track East Meets West. Opening with pounding drums, keyboards cut in, adding drama before Cynthia’s vocal enters. She sings the vocal, and is later joined by Dexter. The lyrics are about the final home for humans, The House of Peace. While the arrangement is bold and powerful, Cynthia’s vocal is impassioned and thoughtful. Blazing horns and percussion join the drums and keyboards. Rock tinged guitars cut in briefly, as Cynthia’s vocal is enveloped by horns and then the guitars. As the drums pound, the arrangement is dramatic and much fuller than many arrangements on Captured. However, this suits the song and of course, the lyric’s subject matter. It almost seems fitting that this is the track is so bold and dramatic, as Dexter says goodbye to music until 2004, eighteen years after the release of Captured.
Having spent some time listening to Dexter Wansel’s fifth album Captured, it’s very much a return to form from Dexter. Captured features ten tracks, seven of which were co-written by his songwriting partner Cynthia Biggs. Their songs are of the quality you’d come to expect from Cynthia and Dexter. Among the highlights of these seven tracks are the title track Captured, which features the beautiful vocals of The Jones Girls , while Do What You Wanna Do features Meeta Gajjar Parker. My favorite track written by Dexter and Cynthia, is Each Moment, featuring Cynthia’s stunning vocal. Another of Captured’s best tracks is the compelling, poignant and haunting NAM (I Can’t Get No Sleep At Night). Apart from this quartet of tracks, Turn Me On sung by Meeta Gajjar a dance-floor friendly track is one that’s hugely catchy, while In the Wind features the soulful strains of Dr. Pearl Williams Jones, Cynthia’s old music theory teacher. In truth, there aren’t really any poor tracks on Captured. Really, this a return to form for virtuoso keyboard player, and songwriter, arranger and producer extraordinaire. After being behind the scenes at Philadelphia International Records for too long, 1986 was time for Dexter to take centre-stage on his fifth solo album. Thankfully, the album was a real return to form for Dexter, and after being previously unavailable on compact disc, Captured will be remastered and rereleased on Cherry Red’s Robinsongs label on 26 March 2012. This gives music fans the opportunity to rediscover the talents of Dexter Wansel and a cast that includes some of his Philly friends on his fifth album Captured. Standout Tracks: Captured, Each Moment, Do What You Wanna Do and NAM (I Can’t Get No Sleep At Night).
DEXTER WANSEL-CAPTURED.
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PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES.
After a long wait since the project was first announced, one of the most anticipated box sets will soon be released. 26 March 2012 is the day when Philadelphia Classics-The Tom Moulton Remixes will be released and thankfully, I’ve been given a sneak preview of this box set. I’m pleased to tell you that Philadelphia Classics-The Tom Moulton Remixes has been well worth the wait, featuring thirty-one Philly classics, including seventeen brand new remixes. Truly, the music is stunning, having spent some time just reveling in the magnificence of the music. It’s a fitting tribute to Tom Moulton, a man who is an innovator, and whose influence on dance music has been huge. Without Tom Moulton, there would have been neither remixes nor twelve inch singles, and doubtless, the history of DJ-ing would be very different. Single-handedly Tom invented both the remix and twelve inch single, while creating some of the best remixes in the history of music. Before I tell you about the music on Philadelphia Classics-The Tom Moulton Remixes, I’ll tell how Tom Moulton inadvertently invented both the remix and twelve inch single.
How Tom Moulton invented the remix is a fascinating tale of how fate and being in the right place at the right time can change history. Throughout Tom’s career, he’d been steeped in music, working firstly as a junior promo man for United Artists, RCA and then King Records from the late fifties onwards. By the late sixties and disillusioned with the dishonesty and corruption that scarred music, Tom left the music industry. From there, he became a model, working on photographic shoots and on the catwalk. While he was making a living, his real passion was music. However, when a colleague invited him to Fire Island to club the Sandpiper, he’d have a eureka moment that would change his life and music.
Having arrived at Fire Island, Tom headed to the Sandpiper, where he’d change musical history. When watching a DJ mix the old seven inch singles, he realized that just when dancers were gaining momentum and getting into the groove, the single was over. After this there another single was mixed in and the same thing was happening. Realizing this must be hugely frustrating for dancers and DJs, Tom decided to rectify the problem.
Back home, he spend nearly a week editing a forty-five minute reel-to-reel tape designed keep the dance floor going. Now this wasn’t easy. He extended parts of tracks, looping the most exciting parts and ensured there was a seamless changeover between tracks, so much so, that dancers hardly noticed it. Using his own collection of soul music, the tape was compiled, but this hadn’t been easy. It meant editing the tape using razor blades, tape and fluid, constantly joining and rejoining the tape. Dexterity, patience, skill and an ear for music were needed, but Tom had all that. So after a week, the tape was finished, and was given to a DJ at the Sandpiper. The result was as he’d expected, the dance-floor loved it. This would be Tom’s first step on the road to remixer extraordinaire.
Having made his first disco mix, Tom set about finding tracks to remix. This turned out to be relatively easy, mainly because Tom wasn’t a DJ. The reason for this was radio was still King, with DJ’s in clubs and record companies neither communicating nor perceived as important in the great scheme of thing. This is very different from today. So, when Tom approached record companies to remix one of their tracks, then often they say yes. Starting with The Carstairs’ It Really Hurts Me Girl, remixed by Tom for Red Coach Records, Tom’s nascent remixing career was underway. By 1974, Tom Moulton had perfected his craft, remixing BT Express’ Do It Till You’re Satisfied. Although the group didn’t like the track, Tom’s remix became a big hit. Suddenly, Tom was remixing Loleatta Holloway, Eddie Kendricks and First Choice. By now he’d arrived, with the Tom Moulton remix a surefire sign of quality. Having invented the remix inadvertently, fate intervened again, with Tom inventing the twelve inch single.
The first twelve inch single was made cut purely because of fate and a shortage of seven inch singles. After remixing I’ll Be Holding On by Al Downing, Tom took that remix to have an acetate cut. However, when the single was going to be cut, engineer Jose Rodriguez realized that there were no seven inch singles left, so cut it on a twelve inch single. When Tom saw this, he realized that it didn’t look right. It looked like a seven inch single on a twelve inch piece of vinyl. Then Tom hit on the idea of spreading grooves so that they reached the end of the vinyl. The effect this had was to increase the volume and dynamic range because the groove was much wider. This mean the music was much louder than other singles, resulting in clubs and DJs complaining that the single nearly blowing their speakers. This begs the question, why didn’t they just adjust the volume?
Although they might have complained about volume, they liked the break midway through Al Downing’s I’ll Be Holding On. Everything bar drums and percussion dropped out and then the started to rebuild. This was Tom’s way of dealing with a key change. He gradually took out parts one by one, leaving merely drums and percussion. This breakdown grabbed the attention of record companies, DJs and dancers, with people asking why didn’t Tom put these breakdowns in other records. After this Tom would add breakdowns to other tracks, something that’s since been copied by remixers worldwide. However, the next step in Tom’s career would see him Philly bound, where he’d remix some of his most famous mixes for Philadelphia International Records, which cane be heard on Philadelphia Classics-The Tom Moulton Remixes.
In 1974 Tom discovered the Philly Devotions’ I Just Can’t Say Goodbye on the Don De label. Having worked on the track at home, Tom took this to Columbia Records in New York. They loved what he’d done, and wanted him to remix the track. Although Columbia offered to send the tapes to New York, Tom decided to head to Philadelphia, having fallen in love with the Philly Sound.
Once he’d moved to Philadelphia, Tom fell in love with the city and its slower pace of life. He was constantly in demand. Having established himself in Philly, Tom hooked up with the two men who’d responsible for the Philly Sound, Kenneth Gamble and Leon Huff. Gamble and Huff and Tom Moulton met through The Trammps manager Harry Chipetz. At first, Tom thought that Gamble and Huff hadn’t any need for Tom’s help. However, eventually, Harry Chipetz brought Tom into the “Philly family.” Initially, Harry brought the forthcoming albums about to be released, to see whether Tom could do anything with the music. The first song Tom chose was a People’s Choice track Do It Any Way You Wanna. However, when Tom first got involved with the Philly Sound, there was a backlash against with music coming out of Philly.
The problem was some people in the black community felt that the Philly Sound was being transformed into music for white people, with the addition of strings and horns. Tom like many people, was amazed and even annoyed. Tom decided to make a point, but needed the right track. He chose the People’s Choice track Do It Any Way You Wanna, mixing it without strings or horns. This would dispel the accusation that Philly were making soul music for white people. He offered to do the song without taking a fee, but asked for his name to be put on the label, which it wasn’t. On the release of Do It Any Way You Wanna, it became a huge hit, reaching number one in the US R&B Charts, while reaching the top twenty in the US Billboard 100. This would be the start of a long and fruitful relationship between Tom and Philadelphia International Records. Gamble and Huff would supply the soundtrack to the seventies and early eighties, with much of this music being remixed by Tom Moulton.
After the success of People’s Choice single Do It Any Way You Wanna, Harry Chipetz approached Tom with an idea to produce an album entitled Philadelphia Classics, complete with a cover of an old Rolls Royce on the album cover. This was because Harry saw the music as rich and classy, which it really is. There was one caveat, Tom couldn’t include M.F.S.B.’s Love Is the Message, as it had already been a hit. However, Tom wasn’t keen, because Love Is the Message was the track he desperately wanted to remix. Eventually, the label changed their mind, allowing Love Is the Message to be on the album. This changed Tom’s mind and his album of remixes went ahead, including Love Is the Message, the song which he’s most proud of. The resulting album was a huge success, and over the next few years, Tom became Philadelphia International Records’ go-to-guy for remixes. Tom remixed many of the label’s biggest singles, with many of these tracks featuring on Philadelphia Classics-The Tom Moulton Remixes, which I’ll now tell you about.
DISC 1.
Philadelphia Classics-The Tom Moulton Remixes is a four-disc box set which features thirty-one tracks. These track are chronologically arranged, with Disc One covering the period between 8 July 1972 and the release of The O’Jays’ Back Stabbers to 6 October 1973 and the release of The Three Degrees’ Dirty Ol’ Man. In total, there are eight tracks on Disc One, with tracks from Philly giants The O’Jays who have two tracks on Disc One, while Harold Melvin and The Blue Notes, Billy Paul and The Three Degrees have one apiece. The other three tracks include a duo from The Intruders and one from Johnny Williams. Among the highlights of Disc One are The O’Jays’ Back Stabbers and Love Train, Harold Melvin and The Blue Notes’ The Love I Lost and Billy Paul’s The Whole Town’s Laughing At Me, which I’ll tell you about.
The O’Jays released Back Stabbers on 8 July 1972, whilst Tom mixed the track in September 2011. This was from The O’Jays debut album for Philadelphia International Back Stabbers, reaching number ten in the US Billboard 200 and number three in the US R&B Charts. When released as a single, Back Stabbers reached number three in the US Billboard 100 and number one in the US R&B Charts. Opening with flourish of piano, rhythm section and chiming guitars that combine with lush sweeping strings, the introduction is extended by Tom. This gives way to the vocal, which is frustrated and angry vocal. Quickly, the lead vocal changes hands. Behind them a stunning arrangement unfolds. It’s an infectious combination of dramatic, yet beautiful music, thanks to the combination of lush strings, chiming guitars, piano and drums, while the horns and rhythm section deliver punchy, brief bursts of drama. When combined with the vocal the result is an O’Jays classic, made even better by Tom’s near ten minute masterpiece of a mix.
Billy Paul was Philadelphia International’s male superstar, releasing a string of successful albums, including 1974s War of the Gods, which reached number 110 in the US Billboard 200 and number twelve in the US R&B Charts. It featured The Whole Town’s Talking which Tom remixed in December 2011, totally transforming the track. The tempo is quicker, with a myriad of swirling strings, percussion and the rhythm section combining, during an extended introduction, before giving way to Billy’s vocal. It’s soft, full of sadness and regret, accompanied by backing vocalists. Behind him, the strings sweep, while the punchy rhythm section inject drama as Billy’s vocal grows in power. Flourishes of piano, percussion and the rhythm section combine when Billy’s vocal drops out, before the strings rejoin and the track starts to rebuild. Tom’s decision to extend this part of the track and highlight the frenzied, flourishes of piano is a masterstroke. After that Billy and his backing vocalists rejoin, as the track heads to its glorious finish, with an emotive and impassioned vamp from Billy. Truly, this is an irresistible remix from Tom Moulton, the godfather of the remix.
One of the biggest groups on Philadelphia International were Harold Melvin and The Blue Notes, with The Love I Lost one of the many highlights of the Teddy Pendergrass era. This track was from their Black and Blue album, released in September 1973, reaching number five in the US R&B Charts and fifty-seven in the US Billboard 200. When The Love I Lost was released as a single, it reached number seven in the US Billboard Hot 100 singles’ charts and reached number one in the R&B Charts. Originally it was meant to be recorded as a ballad, but Kenny Gamble the cowriter and producer asked the group to speed the song up, and sing it with a swagger. In doing so, this transformed the track. Keyboards, then chiming guitars enter, before the pounding drums and strings sweep in. Here, Tom extends the glorious introduction, building up the drama, and providing the perfect backdrop for Teddy’s impassioned vocal. Meanwhile, the rest of the group compliment his lead vocal with tight harmonies, against an arrangement that’s dramatic and emotive. M.F.S.B., Philadelphia International’s house band surpassing themselves, producing a impassioned and dramatic arrangement. Here, Tom Moulton extends the track to over twelve minutes, allowing you to revel in the emotion and sadness of a true Philly classic, as a seminal arrangement reveals itself.
During the time The Three Degrees spent with Philadelphia International they recorded the best music of their career. This included The Three Degrees which reached number twenty-eight in the US Billboard 200 and thirty-three in the US R&B Charts. Dirty Ol’ Man only reached number fifty-eight in the US R&B Charts on its release as a single. As the track opens, the tempo is quick, with the arrangement having a fuller sound. Swirling, lush strings, a punchy rhythm section and chiming guitars are at the heart of the arrangement while Sheila’s voice is loud and scathing. She’s accompanied by Valerie and Fayette’s equally powerful, backing vocals, which later become softer and subtle. Throughout the track the tempo is quick, with no let up in what’s a catchy, bright and sweeping arrangement. Part of the track’s success is down to the way the strings, guitars and quick, punchy rhythm section combine. Add to that the excellent vocals and it’s a winning combination. Remixed by Tom in October 1976, his remix adds to the track’s drama and emotion, highlighting the excellent arrangement and scathing vocals from Sheila.
With so much great music on Disc One of Philadelphia Classics-The Tom Moulton Remixes, choosing just a few tracks to talk about wasn’t easy. After all, this meant neither mentioning The O’Jays classic Love Train nor tracks from The Intruders and Johnny Williams. Each of these tracks are worthy of mentioning giving their quality, especially since (Win, Place Or Show) She’s A Winner by The Intruders is one of Tom’s new remixes. However, given the importance of the tracks I’ve mentioned in the Philadelphia International story that wasn’t possible. Will choosing the best tracks on Disc Two be as difficult?
DISC TWO.
On Disc Two of Philadelphia Classics-The Tom Moulton Remixes the music covers the period from the release of The Trammps Love Epidemic on 29 December 1973, through to their single Trusting Heart on 23 November 1974. During this period, several of Philadelphia International’s most memorable tracks were released, including T.S.O.P. The Sound of Philadelphia by M.F.S.B. and The Three Degrees and the remix Tom Moulton is most proud of M.F.S.B.’s Love Is the Message. Meanwhile, The Trammps were going through the hottest period of their career, thanks to the Baker, Harris, Young rhythm section. Disc Two features four tracks from The Trammps, two from M.F.S.B. and The Three Degrees, plus Robert Upchurch’s The Devil Made Me Do It. With so many great tracks, choosing the highlights isn’t easy, but here goes.
T.S.O.P. The Sound of Philadelphia by M.F.S.B. and The Three Degrees reached number one in the US R&B and Billboard 100, and number twenty-two in the UK. Opening quickly, a hugely melodic, soulful vocal is accompanied by cascading strings, rhythm section and percussion before it’s punctuated by bursts of horns. Quickly, this soulful sounding track is transformed into a beefy slice of funk, thanks to M.F.S.B. Then a rasping horn signals all change. This doesn’t worry The Three Degrees. They rise to this challenge. Their voices unite sweetly and soulfully, while M.F.S.B. give a funk laden masterclass. It’s a combination of driving rhythm section, blazing horns, percussion and not forgetting some grand, yet lush strings. Here, the vocal plays second fiddle to the arrangement, with the vocal drifting in and out of the arrangement. Still they give everything they have, as M.F.S.B. seemingly having brought their A-game produce a brilliant arrangement, funky yet soulful, made all the better with the help of The Three Degrees’ soulful interjections.
Where Do We Go From Here by The Trammps was released on 18 May 1974 and remixed by Tom in 1977. Featuring the legendary Baker, Harris, Young rhythm section and the vocal of Jimmy Ellis, this is one of The Trammps best tracks. Cascading strings, the rhythm section and backing vocalists combine as the track opens. The drums have Earl Young’s trademark sound, before the track heads to an extended string drenched break. When Jimmy’s vocal enter, it’s powerful and impassioned, accompanied by backing vocalists, while the strings sweep and swirl and the rhythm section drive the track along contributing drama and emotion. Listening to this track is quite poignant, given the sad death of Jimmy Ellis recently, but this track demonstrates his talent as a soul vocalist. Add in the greatest rhythm section of the seventies and give the track to the godfather of the remix Tom Mouton, and the result is five minutes of emotion, passion and drama.
Of all the tracks in the Philadelphia International back-catalogue, the one Tom wanted to remix was M.F.S.B.’s Love Is the Message, released in July 1974. Anyone who knows the track will realise why. Once Tom got the opportunity to remix the track in September 1976, this became a career defining track, lasting over eleven minutes. This is Tom’s Magnus Opus, the remix he’s most proud of. When the track opens it’s a mass of the lushest strings, blazing horns, percussion and the rhythm section. From its soulful beginnings, the track quickly decides to reveal its drama and delights. On the signal of the drums, a sizzling saxophone solo enter, while Lenny Pakula’s Hammond adds atmosphere. After that, the track briefly heads in a direction marked funk, before returning to its soulful sound. Later, the Three Degrees add their soulful strains, as the track combines soul and funk seamlessly. With Tom looping and extending parts, building up drama, then breaking it down, only to rebuild, no wonder he’s so proud of this track. He truly should be, it truly is one of his greatest remixes, one blessed with a contemporary, timeless sound, that sounds as good today as in 1976.
Choosing just a trio of tracks from Disc Two of Philadelphia Classics-The Tom Moulton Remixes wasn’t easy. The obvious choice were T.S.O.P. The Sound of Philadelphia by M.F.S.B. and Love Is the Message, but choosing just one Trammps track wasn’t easy. During their career, they recorded so many great tracks. They truly were a special group, being one of the first seventies disco band. With Baker, Harris, Young, part of M.F.S.B. and later, the Salsoul Orchestra, they’d the hottest rhythm section of the seventies. They feature on every track on Disc Two, and most of the tracks on this compilation. Add in Jimmy Ellis’ vocal to The Trammps and they were the complete package. Sadly, Jimmy died recently and these four tracks are a tribute to his talent and that of Baker, Harris, Young, who helped make this music so memorable.
DISC THREE.
By Disc Three of Philadelphia Classics-The Tom Moulton Remixes we’ve got to the period between the release of Harold Melvin and The Blue Notes’ Bad Luck on 15 March 1973 and the release of People’s Choice Jam, Jam, Jam (All Night Long) on 15 January 1977. This includes music from Archie Bell and The Drells, Lou Rawls, The O’Jays and People’s Choice. Truly, it’s a veritable feast crammed full of the finest Philly soul. Again, choosing from such a feast of music is problematic, what to choose and what to leave out. Anyway, here goes.
Bad Luck was a track from Harold Melvin and The Blue Notes 1975 album To Be True, which reached number twenty-six in the US Billboard 200 and number one in the US R&B Charts, resulting in the group’s only album to be certified gold. The track has a bold, punchy introduction with the rhythm section, piano and percussion combining before Teddy’s powerful, passionate vocal enters. Strings enter, sweeping and swirling above Teddy’s vocal as he rues his Bad Luck. Then the rest of the group enter, contributing joyous, sweet backing vocals, as Teddy’s vocal takes centre-stage. Punchy, rasping horns enter as Teddy starts to vamp his way through this anthemic track. Like so many of Tom’s remixes, it has an irresistible, dramatic sound during its eight minutes. Not only has he the uncanny ability to know exactly what will work best, by extending and looping parts of the track, but his remixes have a timeless quality and are deserving of the work classic in the compilation’s title.
Lou Rawls’ You’ll Never Find Another Love Like Mine is one of his best known tracks. It’s from his All Things In Time album, released in June 1976. It reached number seven in the US Billboard 200 and number one in the US R&B Charts. When You’ll Never Find Another Love Like Mine was released as a single, it reached number two in the US Billboard 100, and number one in the US R&B Charts and US Dance Charts. What makes the track work so well is how Bobby Martin’s arrangement and Lou’s vocal unite. They compliment each other perfectly. Piano and rhythm section combine before Lou’s slow, smooth, sensuous vocal enters. As Lou sings, it’s almost call and response between Lou and the piano. He leaves a space which the piano fills dramatically. Then when the tempo increases, with drums, rasping horns and the piano adding brief flourishes of drama, Lou’s voice rises, becoming stronger, full of emotion and passion. Meanwhile, female backing vocalists cut in, their gentle voices a contrast to Lou’s powerful vocal. What makes this track is an arrangement that builds and builds. Layer upon layer of sumptuous music reveals itself, with the rhythm section and piano key to success of the track, with the horns adding just the finishing touch. Add to this Lou’s fantastic vocal, and the result is one of the best songs Lou Rawls ever recorded made even better by Tom’s magnificent mix recorded in September 2011.
Opening with a slow sultry saxophone solo, Where Will You Go When The Party’s Over by Archie Bell and The Drells quickly reveals its beauty. Joining the saxophone are hissing hi-hats, the rhythm section, keyboards and cascading strings. Together they produce a sound that’s sweet and dramatic. Then, the backing vocalists enter, before the strings and rhythm section drive the track along. Punchy, rasping horns enter before Archie’s vocal enters. It’s sassy and impassioned, accompanied by sensuous backing vocalists. With strings and horns accompanying Archie, the track takes on a joyous and uplifting sound that’s irresistible. By now the track has an anthemic quality. After the emotion and passion of the track, Tom inserts a break after five minute, allowing dancers to get their breath back. It’s just the piano and horn that combine, before Archie’s vocal reenters, becoming a vamp, as the track starts to rebuild gradually. By he end of this nine minute epic, you can only marvel at the talents of Tom Moulton. Using his considerable talent and a dancer’s ear, he remixed this track in December 2011, resulting in an anthemic, dance-floor classic for the twenty-first century.
Disc Three of Philadelphia Classics-The Tom Moulton Remixes sees the quality of music just get even better. With a combination of three classic mixes and four new remixes from 2011, Tom proves he’s still able to produce classic remixes. One of the best is his remix of Where Will You Go When The Party’s Over by Archie Bell and The Drells, which I’m sure will be one that DJs will love. Play that in a club and I’m sure the place will explode. It has an anthemic quality, and deserves its place beside a classic like The O’Jays’ I Love Music. Another new remix is Lou Rawls’ You’ll Never Find Another Love Like Mine, which is transformed into a ten minute epic. Truly, from track one to seven, Tom never misses a beat, with seven fantastic remixes, including four new ones. However, given Tom’s set the standard so high, will the music on Disc Four match the quality on the other three?
DISC FOUR.
The fourth and final disc of Philadelphia Classics-The Tom Moulton Remixes covers the period between the release of Teddy Pendergrass’ I Don’t Love You Anymore on 30 April until the release of The Jones Girls Nights Over Egypt on 13 February 1982. This period covers the end of Teddy Pendergrass’ time with Harold Melvin and The Blue Notes and the start of his solo career. It also covers tracks from Philadelphia International veterans The O’Jays, through Lou Rawls second album and albums by Blue Notes and the start of his solo career. It also covers tracks from Philadelphia International newcomers Jean Carn and The Jones Girls. Really, it covers the changing of the guard, with old favorites saying farewell to the label, new careers being launched and the next generation of artists signing for the label. This was an exciting time, as you’ll discover when I tell you about the highlights of Disc Four of Philadelphia Classics-The Tom Moulton Remixes.
I Don’t Love You Anymore was from Teddy Pendergrass’ solo album Teddy Pendergrass. Released in June 1977, it reached number seventeen in the US Billboard 200 and number five in the US R&B Charts, while I Don’t Love You Anymore, reached number five in the US R&B Charts and forty-one in the US Billboard 100. Opening with percussion, before blazing horns and swirling strings combine to provide a backdrop for Teddy’s quick, passionate vocal. Adding to an already joyful upbeat sound are piano, strings and backing vocalists whose voices unite soulfully. Later shimmering guitars interject, combining with a piano during a mini-breakdown. Then Teddy’s vocal drops way down, before quickly returning to it’s previous joyful, impassioned sound. Tom’s remix from October 2011 takes the song and combines Teddy’s impassioned vamp with a dramatic, string and horn drenched arrangement. In doing so, he transforms it, adding to it’s drama and passion, while giving it a contemporary sound.
Of the tracks Lou Rawls recorded for Philadelphia International, my favorite is See You When I Git There, from his Unmistakably Lou album, released in May 1977. It didn’t match the success of All Things In Time, reaching just number forty-one in the US Billboard 200 and number fourteen in the US R&B Charts. When See You When I Git There was released as a single, it only reached number sixty-six in the US Billboard 100 and number eight in the US R&B Charts. This is an uptempo track with a real feel-good sound, with pounding drums, an organ and chiming guitars combining during the extended introduction. They give way to a husky spoken word introduction from Lou. After this, the track quickens up, a lovely lush sound string laden sound, combining with percussion, rasping horns, rhythm section and guitars. Lou’s vocal is full of love and emotion, with female backing vocalists accompanying him. His vocal about going home to the woman he loves in beautiful, especially when sung against Bobby Martin’s stunning arrangement. The lush strings, rhythm section and guitars combine beautifully with the keyboards, and occasional bursts of horns. For me, this was one of the highlights of Lou’s career with Philadelphia International, given its timeless sound. Tom’s remix from November 2011 takes a great track and makes it even better, turning it into ten minutes of beautiful, lush string drenched music.
This Time Baby was a single from The O’Jays album So Full of Love. It reached number one in the US R&B Charts and number six in the US Billboard 200.Originally arranged and produced by Thom Bell, a combination of swirling, sweeping strings, driving rhythm section, piano and guitars open the extended introduction. This builds and builds for three minutes, before a flourish of drums and strings eventually signal the entrance of the vocal. Against a quick arrangement, Eddie’s vocal enters. Meanwhile, Walt and Sammy contribute backing vocals, while blazing horns, swirling strings and a punchy rhythm section combine to create a fast, driving arrangement. Combined with the powerful vocal, it’s a winning combination, with the original four minute track transformed into a ten minute epic. What I love about Tom’s remix, is how the track builds and builds. It takes three minutes before the vocal enters. The sense of anticipation is tantalizing, as you await to see how Tom will structure the track. Thankfully the anticipation is matched by the delivery on another of Tom’s new remixes from December 2011.
My final choice from Philadelphia Classics-The Tom Moulton Remixes is the final track on the album, The Jones Girls, Nights Over Egypt, from their 1980 album Get As Much Love As You Can. Nights Over Egypt still retains the magical, timeless sound it had back in 1980. Opening with hissing hi-hats, the mystical, meandering introduction begins. A combination of synths, rhythm section, harp and acoustic piano combine. The funkiest of basses plays its part before the sisters unite to sing gentle, tight harmonies. Their voices grow in strength and power, as the arrangement peaks, before giving way to a lush, almost mystical and exotic sound, before lush strings sweep and swirl, as the vocal rejoins. Jack Faith plays flute on the track, while gentle, rasping horns escape from the arrangement. By the end of the track, you realize that you’ve been fortunate enough to hear a classic remix, never before released from the godfather of the remix, Tom Moulton, a true musical genius and innovator.
Like the music on the previous three discs, Disc Four of Philadelphia Classics-The Tom Moulton Remixes the music is just as good. This demonstrates Tom’s talent as a remixer. It’s a combination of classics and new tracks, with the music is of the highest quality. With the new tracks, Tom’s remixes are just as good as his older remixes, demonstrating that he’s still a hugely talented remixer. In fact, listening to these tracks, there much better than anything the new generation of remixers are producing. Compare these tracks, and its like master and pupil, with Tom very much the master. Other remixers are just pretenders to Tom’s throne. For nearly forty years, Tom Moulton has been remixing music, with his remixes some of the most innovative and influential in the history of music. Without Tom Moulton, music, especially dance music wouldn’t be the same. There would be no remixes, no twelve inch singles and maybe, no superstar DJs. Instead, DJs would still be scrambling about mixing seven inch singles, with dancers suffering when the momentum they’d built up dropped as they’d just got into the groove. Of course maybe another DJ would’ve invented the remix, but would fate have intervened for them and the twelve inch single have been born? Who knows, but they wouldn’t have had the influence, skill and determination Tom Moulton would have on music. I doubt it. Truly, Tom Moulton is one of the real heroes of music. On 26 March 2012, Philadelphia Classics-The Tom Moulton Remixes a stunning four disc box set of thirty-one of his remixes will be released by Harmless Records. This gives everyone the opportunity to either rediscover or discover the genius of Tom Moulton, inventor of the remix, twelve inch single and remixer extraordinaire. Standout Tracks: Harold Melvin and The Blue Notes The Love I Lost, M.F.S.B. Love Is the Message, Archie Bell and The Drells Where Will You Go When The Party’s Over and Teddy Pendergrass I Don’t Love You Anymore.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES.
THE POINTER SISTERS-ENERGY.
THE POINTER SISTERS-ENERGY.
All too often, when a group lose one of their members, this can prove fatal, resulting in their career being over. Often, if somehow the group survive, then their music is never the same again. Obviously, there are exceptions to this rule, with The O’Jays, Rolling Stones and Temptations all having successful careers after losing a member. Another group who survive losing one of their founding members were the Pointer Sisters. After releasing their 1977 album Having A Party, Bonnie Pointer left the group, resulting in the group briefly splitting up.
As if this wasn’t bad enough, this was the last album produced by David Rubinson, who’d produced their first four albums. During this time, their first two albums, 1973s The Pointer SIsters and 1974s That’s A Plenty were certified gold in the US. However, after Bonnie’s departure, June also left to pursue a solo career. However, that wasn’t the end of the group.
The two remaining Pointer Sisters decided to reform, resulting in the group entering the most successful period of their career. Three albums were certified gold in the US and Canada and one in the UK, while two album were certified platinum in the US and Canada. The album that launched this commercially successful period for Ruth, Anita and June Pointer was 1978s Energy. It relaunched their career, and in the process, The Pointer SIsters became one of the biggest bands of the next decade.
After Bonnie and June Pointer left the band, the four sisters decided to split the group up. Then, after a brief split, Ruth and Anita Pointer decided to reform the group. As befitting a new beginning, the group signed with producer Richard Perry’s new label Planet. He was going through a hot streak, working with artists like Diana Ross, Nilsson and Barbara Streisand and was tasked with rejuvenating the Pointer Sisters’ music.
The group’s two previous studio albums 1975s Steppin’ and 1977s Having A Party hadn’t matched the success of their first two albums, 1973s The Pointer SIsters and 1974s That’s A Plenty which were both certified gold in the US. To help the group regain their earlier popularity, they decided to change their sound. Although this could’ve lost the group their loyal fans, it would prove to be a gamble worth taking. It result in the Pointer Sisters becoming even more popular than ever before. However, there was a problem their new third member wasn’t a suitable replacement for the other two Pointer Sisters. Then, fate would intervene, or should that be fate and a phone call from Richard Perry.
Having signed with Richard Perry’s newly launched label Planet, the producer set out working his magic with The Pointer Sisters. Once he got them into the studio, Richard Perry immediately spotted a problem. The new third member of the group was the weak link, bringing Ruth and Anita Pointer down to her level. He pointed this out to the group and immediately, the search for a new member was underway.
A variety of singers were auditioned, but nobody seemed to suit the group’s style. Then as a throwaway question, Richard Perry asked where Bonnie and June were?
By then, recording had started with Sylvia St. James the third member of the group. However, the music sounded like a including Sylvia St. James solo album. Ruth and Anita Perry didn’t think this worked, so Richard asked for June’s phone number. Richard Perry spoke with June’s husband, saying he’d a song for her to sing on an album with her two sisters. She agreed.
When June Pointer entered the studio and sung her part, the music just came alive. Immediately, Richard realized this was the solution. However, June’s husband said June would only sign if she could get a solo project as part of the deal. With this agreed, the three Pointer Sisters would start recording what would become Energy.
Recording took place at Studio 55 in Los Angeles, with Richard Perry recording the three Pointer Sisters. The material chosen for the Pointer Sisters fifth album would be quite different from previous album, and so would the sound. Songs were written by artists like Bruce Springsteen, Steven Stills, Allen Toussaint, Sylvester Stweart plus Steely Dan’s Walter Becker and Donald Fagen. This resulted in an album that would be a mixture of R&B, soul and rock. In total, ten tracks were recorded and would become Energy, album number five from the now trio of Pointer Sisters and would be released in November 1978.
Energy was released in November 1978, reaching number thirteen in the US Billboard 200 and number nine in the US R&B Charts, resulting in a third gold disc for the Pointer Sisters, while the album was certified platinum in Canada. The first single was released in November 1978, and was a Bruce Springsteen track Fire. It reached number two in the US Billboard 100 and number fourteen in the US R&B Charts, while reaching number thirty-four in the UK. Happiness was the second single, released in February 1979, reaching number thirty in the US Billboard 100 and number twenty in the US R&B Charts. Meanwhile, Everybody Is A Star was released as a single in the UK, reaching number sixty-one in July 1979. Overall, Energy had been not just a huge commercial success, but was well received by critics who loved their new sound .
Opening Energy is Lay It On the Line, co-written by Patrick Henderson and Wornell Jones. Straight away, you can hear the change in the Pointer Sisters’ sound, with the track having a really rocky sound. Searing, chiming guitars, the rhythm section and piano opening the track, while June’s vocal is powerful, with a ballsy sound. The sound is big and bold, driven along by the rhythm section. Waddy Watchell’s lead guitar and Dave “Baby” Paich’s piano playing are key to the track, as Danny Kortchar’s rhythm guitar fills in the spaces. With Anita and Ruth contributing backing vocals that augment June’s lead vocal, this is a track that makes a big impression as it grabs your attention.
Dirty Work was a track from Steely Dan’s Can’t Buy A Thrill album. Written by Walter Becker and Donald Fagen, Anita takes over the lead vocal on this track. Her voice suits the track, with her heartfelt vocal laden with emotion and later, power. Richard Perry’s arrangement is perfect and one of the best on Energy. A weeping guitars matches the emotion of the vocal. It’s a mixture of anger and frustration and the lyrics are delivered like an ultimatum or warning. Together with an electric piano, the rhythm section has a Steely Dan influence mixed with a country sound. Later, the heartbreaking saxophone solo from Bryan Cumming, adds to the emotion and drama of the track builds and backing vocals add to the frustration. By the end of the track, you can’t help but be won over by this country-tinged cover of a Steely Dan classic.
Hypnotized is a Fleetwood Mac track that sees The Pointer Sisters share the lead vocal. Here, the track is very different from the two previous tracks. It has a loose funky feel combined with elements of rock. Just the rhythm section and guitars combine before the vocal enters. The vocal is slow, with some peerless harmonies accompanying it. Meanwhile the backdrop of guitars, synths, clavinet and electric piano combine to give the track a thoughtful, even slightly moody sound that suits the lyrics. A slide guitar glides in and out of the track, adding an atmospheric sound to a track that’s taken on a real rocky sound.
Stephen Stills wrote As I Come of Age, another track where The Pointer Sisters share the lead vocal. It gives themthe chance to demonstrate the quality of their harmonies which are peerless. Of all the tracks on Energy, no other track demonstrates this better. Accompanied by a backdrop of rock guitars, electric piano and the rhythm section, they combine slowly with an organ that drifts effectively in and out of the track. With the bass meandering prominently throughout the arrangement, the three Pointer Sisters deliver some beautiful, heartfelt vocals. You can’t help surrender to their emotion and beauty, and they’re key to the success of the track.
The Pointer Sisters move up through the gears on Come and Get Your Love which was written by Russ Ballard. Pounding drums, sizzling guitars and a Hammond organ wailing beautifully combine as the track unfolds. When Ruth’s vocal enters, it’s loud, strong and impassioned, while Anita and June contribute similar powerful, impassioned and punchy backing vocals. By the time the track gets to the bridge, Ruth unleashes a powerhouse of a vocal, against searing, rocky guitars. However, her delivery has a real soulful quality and is augmented by punchy backing vocals. Together the trio of Pointer Sisters inject some soul into a track with a rocky arrangement
Happiness was written by Allen Toussaint and unfolds slowly and dramatically as June Pointer delivers a soulful vocal against a jazzy piano. By then, there’s no indication of the direction the track is heading. Suddenly, it’s all change and punchy harmonies usher in they vocal against the catchy arrangement. There’s a contemporary drum sound on the track, while the rhythm section drive the track along and are augmented by synths, guitars and piano. The backing vocals are of the highest quality, sweeping in, before soaring soulfully above the funky sounding arrangement. They play their part in the song’s sound and success.
The biggest single from Energy was a cover of Bruce Springsteen’s Fire. Opening with just guitars and hissing hi-hats, this gives way to Anita Pointer’s vocal. There’s even a Bruce Springsteen sound to the arrangement, with the rhythm section, guitars, pianos and Hammond organ combining. Together, the vocal and the arrangement slowly and dramatically reveals the song’s subtleties and charms on the best track on the album.
Angry Eyes was co-written by Kenny Loggins and Jim Messina, and it’s June Pointer who was chosen to sing the song. When the guitars open the track they indicate the direction the track is heading in. This is a dramatic and impassioned vocal sung against a seventies southern rock arrangement. June’s vocal is impassioned, full of anger and frustration. She almost barks out the lyrics, accompanied by tight harmonies and screaming guitars which are key to the arrangement’s sound and drama. Both the delivery and arrangement are perfect for the track, getting across the anger and frustration in the lyrics.
Echoes of Love was co-written by two men who played a huge part in the success of Hi Records, Willie Mitchell and Earl Randle. Along with Patrick Simmons they cowrote a track sung by Anita. Piano and synths open the track, before guitars announce the arrival of Anita’s vocal. While the piano drifts in and out the track, The Pointer Sisters deliver some of their trademark quality harmonies. They’re delivered in a punchy, then really soulful style, against an arrangement that fuses flourishes of piano, synths and searing rocky guitars. Together, The Pointer Sisters deliver a impassioned version of what was originally a Southern Soul track and take it in a new direction.
Closing Energy is a gorgeous and fitting track for the Pointer Sisters, Everybody Is A Star, written by Sylvester Stewart. The tempo is slower, the sound understated. A slide guitar escapes from the arrangement, as the rhythm section, guitars and piano play thoughtfully and carefully, as they combine with the vocal. Fittingly, the lead vocal is shared by The Pointer Sisters. When one sister singer sings lead, the others deliver punchy backing vocals on the album closer.
Energy was very different from The Pointer Sisters’ four previous albums which were produced by David Rubinson. The mixture of R&B, rock and soul reinvigorated and rejuvenated their career, resulting in gold and platinum albums in the US, UK and Canada, as well as two further Grammy Awards to add to their 1975 award for Fairytale.
During the period 1978 to 1985, which was like a fairytale for The Pointer Sisters who they became one of the biggest groups worldwide. The album that started it all of was Energy, ten tracks of R&B, rock and soul. However, if it hadn’t been for Richard Perry’s persistence and phone call to June Pointer, none of this might have happened. Instead, the two remaining Pointer Sisters Anita and Ruth may have have persisted with a third member who didn’t match their vocal talents. Thankfully, June Pointer rejoined the group, and The Pointer Sisters achieved success beyond their wider dreams over the next seven years and seven albums.
These albums contained some of greatest music of the Pointer SIsters long and successful career, a career that was launched in 1973 with The Pointer SIsters as a quartet, then relaunched in 1978 as a trio with Energy. This meant the Pointer Sisters joined the list of groups who survived losing one of their members and went onto bigger and better things, starting with Energy.
THE POINTER SISTERS-ENERGY.
ELBOW BONES AND THE RACKETEERS-NEW YORK AT DAWN.
ELBOW BONES AND THE RACKETEERS-NEW YORK AT DAWN.
Back in 1983, when Elbow Bones and The Racketeers released their debut single A Night In Yew York it sounded like the soundtrack for a forties nightclub, with its big band sound given a contemporary eighties twist. You could imagine the smokey atmosphere where movie stars, hustlers and gangsters sat side by side, sipping whiskey, gambling and smoking while Elbow Bones and The Racketeers’ provided the perfect jazz drenched, big band soundtrack. Truly, the music was like revisiting another era, but updated for the eighties. A Night In Yew York was one of these irresistible tracks that you couldn’t help but fall in love with. It put a smile on your face, with its sultry, retro sound. Wherever you went, it seemed that A Night In Yew York was playing. Cars, bars and malls and whenever you turned on the radio, there was Augustus Darnell’s latest creation. Following on from the success of A Night In Yew York, Elbow Bones and The Racketeers released their debut album New York At Dawn. On New York At Dawn, which will be released on 26 March on Hot Shot Records, was more of Elbow Bones and The Racketeers’ unique fusion of forties big band music with eighties dance music. This seemed to strike a chord with its retro sound proving popular with people on both sides of the Atlantic. However, who were Elbow Bones and The Racketeers who produced this magical fusion which was New York At Dawn? That’s what I’ll now tell you, before telling you about the eight tracks that make up New York At Dawn.
Elbow Bones and The Racketeers’ New York At Dawn was the latest project from the flamboyant, bon viveur and musical maverick Augustus Darnell. His latest project was a band that never really existed in the traditional sense. Instead, they were a studio band, existing only in the listener’s imagination. Like a casting director, Augustus set about finding singers and musicians who would fit the part for his vision of a contemporary big sound. Many of this new “band” was made up of people who hadn’t yet made it in music, but whom Augustus felt deserved to have their talents and voices heard. Among the people who featured on New York At Dawn were singer Stephanie Fuller, whose sultry, sensuous vocal can be heard on Take Me For A Night In New York. Joining her were Frank “Pago Pago” Pasalacqua, Gichy Dan, Ken Fradley, Lee Robertson and Carol Coleman, one of Kid Creole’s Coconuts. Now the band had been assembled, all that was needed were some songs for Elbow Bones and The Racketeers.
So with this studio band was made up of some of Augustus’ wide range of contacts throughout the New York area, Augustus asked his songwriting friends from his Savannah Band and King Creole and The Coconuts days to come up with a number of songs for the album. Eventually, eight songs were conceived and chosen for the album. They were written by a variety of songwriters and songwriting partnerships, Augustus co-writing four tracks. Ron Rogers and Debbie Clarkin’ cowrote the most memorable and magical song on New York At Dawn, A Night In New York. However, the masterstroke was getting Stephanie Fuller sing the lead vocal. Her sultry, sensuous vocal goes a long way to making Take Me For A Night In New York such a special and memorable track. Little did anyone connected with the project just how big an impact either A Night In New York or New York At Dawn would have before heading to the recording studio.
With Augustus having assembled a cast of musicians and singers that could deliver his vision of fusion of big band and eighties dance music, Elbow Bones and The Racketeers headed to the studio. recording took place at two studios in New York, Electric Lady and Media Sound studios, with Augustus producing and directing his cast of characters. Once the eight tracks that would become New York At Dawn were recorded, the album would be released late 1983. However, before that, a single would be released, with the one chosen, one that would win the hearts of music fans young and old, A Night In New York.
A Night In New York was released as a single in November 1983. Straight away, people were won over by its retro, big band sound which was given a new twist by Augustus. The single reached number thirty-three in the UK, while reaching number eighty-two in the US R&B Charts and number twenty-four in the US Disco Charts. This disappointed Augustus, who’d been thinking terms of gold and platinum sales. Worse was to come, when New York At Dawn was released, with the album failing to chart. A small crumb of comfort was the release of the second single Happy Birthday, Baby reached a lowly ninety-four in the UK. Suddenly, cold reality struck, with Augustus realizing there wouldn’t be album number two from his latest creation Elbow Bones and The Racketeers. Instead, he’d return to his other projects. Kid Creole and The Coconuts would release a further ten albums, while The Savannah Band, would release their next album not long after New York At Dawn. However, everyone connected with Elbow Bones and The Racketeers would remain forever grateful to Augustus for providing a showcase for their musical talents, talents which can be heard on New York At Dawn, which I’ll now tell you about.
New York At Dawn opens with the track that won the affection of music fans on both sides of the Atlantic, A Night In New York. 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.
Other Guys was co-written by Ron Rogers and Debbie Clarkin’ who cowrote A Night In New York. The track also features Stephanie’s vocal, which is slow, emotive and dramatic. Again, horns are at the heart of the arrangement, while Latin percussion accompanies the rhythm section. As the track meanders atmospherically along, a myriad of percussion and thoughtful horns are key to the arrangement. Meanwhile Stephanie’s deliver is softer, her style confessional as she sings “I’ve been dating other guys,” in an almost carefree and guilt free style. It demonstrates another side to Stephanie, and another side to Augustus on a song that although very different from the previous track, has a similar quality.
Stephanie Fuller makes her third appearance on Happy Times another quicker track, with a contemporary sound. Gone is the big band sound of the opening track. This is replaced by pounding drums, with a real dance music sound and style. These drums are at forefront of the arrangement, while a piano, bursts of rasping horns and strings combine with Stephanie’s subtle, which drifts in and out of the track. There’s a grandiose, old-fashioned style to the piano playing, which like the horns and string are from another era. With chiming guitars, they help the arrangement to swing gently along, before towards the end, the track takes on a very eighties sould. Similarly, the drums are very much from the eighties, and sound like something you’d still hear in dance music. Together, a fusion of music from two eras is combined to create a track with a real contemporary sound, that’s still sounds good today.
Glichy Dan takes over the vocal duties on Our Love Will Always Stand, the second consecutive song from the Augustus Darnell and Stony Browder Jr. penned track. Accompanied by blazing horns, pounding drums, percussion and keyboards Glichy’s joyous vocal enters. The arrangement has a similar joyful sound, with the horns serenading him. Meanwhile, drums crack, eighties’ keyboards and backing vocalists augment the arrangement. It’s a hugely catchy, joyful, horn drenched track, made all the better by Glichy Dan’s vocal.
The track that closed Side One of New York At Dawn was the second single from the album Happy Birthday, Baby. Co-written by Augustus and another of his songwriting partners Peter Schott, who played keyboards in King Creole and The Coconuts. When you hear this track, you wonder why it didn’t fare better than the lowly number four it reached in the UK. It has a similar bight, feel-good sound of other tracks. Here, the tempo is quick, 122 beats per minute, with horns key to the arrangement. They blaze in and out of the track, accompanied by keyboards that are also key to the arrangement. Using just subtle, but effective chord changes they’re key to the song’s uplifting sound. Glichy’s vocal has a similar joyous sound to the previous track, perfectly suited to a stunning arrangement, that’s one of the best on the album.
Mama’s In Love Again was the track that opened Side Two of New York At Dawn. This is the perfect track to open the second side of the original album. It’s hook laden, swinging sound literally explodes into life. With the now familiar sultry, punchy, rasping horns serenading Glichy vocal, it’s a track with a real feel-good sound. It’s perfect track for a dance-floor, with a sound that you’d think is from another era. Zoot suits, spats and hats are what you’d imagine Glichy to wear as he delivers his vocal, while a myriad of horns, pounding drums and flourishes of keyboards accompany him. For four and a half minutes you’re transported to another era courtesy of Elbow Bones and The Racketeers, with their hook-laden, catchy, irresistible sound.
Everlasting love is explored on I Got You, another song written by Augustus Darnell and Stony Browder Jr. The track sees Stephanie Fuller and Glichy sing a duet against an arrangement that fuses Latin and jazz music. Opening with horns, piano and percussion, Stephanie and Glichy’s vocal enters. Stephanie’s vocal is sweet and subtle, while Glichy’s is louder and more powerful. They combine well, and when their vocals drop out, are replaced by punchy braying horns that spray their jazzy sound throughout the lightning quick arrangement. Drums, piano and percussion are also used to drive the track along as Stephanie and Glichy deliver the lyrics about everlasting love in an impassioned and heartfelt style.
I Call It Like I See It was written and sungby Dutch Robinson. It’s the first in a trio of tracks Dutch wrote. Listen carefully, there’s a slight Steely Dan influence to the arrangement, especially the guitars. There’s a rawness and honesty to the lyrics, while the arrangement combines a dramatic, punchy horn punctuated arrangement with a hugely emotive, impassioned vocal. Again, dynamic, blazing horns are used in an effective way to create drama and emotion. They help give the track its punchy sound, which works well with a vocal full of emotion and drama. Augmented by a rhythm section and guitar that have a slight Steely Dan sound, keyboards also add to the track’s drama. From this track, you can hear the album coming to its dramatic and soulful crescendo. If the next two tracks are as good as this one that mixes funk, jazz and even rock, then they’ll be something special.
On I Belong To You the theme of everlasting love is revisited again, on a track that continues in similar vein as the previous track. The drama and emotion of that track continues here, thanks to the vocal. Accompanied by punchy backing vocalists, while a piano, braying horns and the rhythm section provide a backdrop that’s drama laden. Strings grandly sweep and swirl, while Dutch’s vocal is impassioned emotive and full of drama, all of which is reflected in the arrangement.
There’s a different sound to You Got Me High, sung by Dutch. The arrangement is slightly slower and Latin tinged, because of the percussion and drums. However, Dutch’s vocal has the same emotion and passion of the previous track. Here, he sings of love, and the effect his partner on him. His voice is high, nearly quivering with emotion, while the drums, percussion and keyboards accompany him, on the last of a trio of tracks he wrote and sung. It’s a beautiful and fitting closing track to New York At Dawn.
Listening again to Elbow Bones and The Racketeers’ New York At Dawn is like taking a wander down memory lane, where you meet an old friend A Night In New York. It brings back memories from nearly thirty years ago, when the track was filled the airwaves. Unlike anything else being released, A Night In New York became a big hot, loved my young and old. After the success of A Night In New York, people thought that when New York At Dawn would be a similar success. Sadly, that wasn’t to be. The album failed to chart, while Happy Birthday, Baby only reached a lowly ninety-four in the UK. However, New York At Dawn deserved to fare much better, given the quality and standard of music on the dawn. With its fusion of big band music and dance music, the album was an intriguing and compelling combination of music that was irresistible. After it release in 1983, New York At Dawn was unavailable for far too long. Thankfully, Hot Shot Records have remastered and rereleased New York At Dawn, allowing people to revisit and rediscover the music of Elbow Bones and The Racketeers. As if that isn’t enough, there are six bonus tracks included on this rerelease. This includes bonus the single and twelve inch versions of the single, plus the previously unreleased I Wanna Remind You. All of this, plus the remastered version of New York At Dawn make this the perfect opportunity to discover or reacquaint yourself with the music of Elbow Bones and The Racketeers. Standout Tracks: A Night In New York, Our Love Will Always Stand, Happy Birthday, Baby and Mama’s In Love Again.
ELBOW BONES AND THE RACKETEERS-NEW YORK AT DAWN.
CERRONE-LOVE IN C MINOR.
CERRONE-LOVE IN C MINOR.
Recently, I wrote about Cerrone’s second album Cerrone’s Paradise, released in 1977. The album that inadvertently started Marc Cerrone’s solo career was Love In C Minor, released the year before, in 1976. After this, Marc Cerrone would go on to become one of the biggest selling artists of the disco era, selling over thirty million albums worldwide. This made Marc Cerrone one of the most successful European disco artists. Apart from being a hugely successful artist, Marc is an innovator. He realized the importance of the kick drum in modern dance music, and is credited with positioning the kick drum at the front of the mix. However, when Mark Cerrone recorded his debut album Love In C Minor, which was rereleased by BBR Records in 2011, he never envisaged a long and successful solo career. Instead, this was Marc bowing out from music, but determined to do so with a bang, rather than a whimper.
Having left his previous group Kongas after the group decided to change direction musically, the now twenty-three old Marc Cerrone found himself married with a young family. Now was the time to heed the advice of his father, and get himself a “regular” job. Using a portion of his royalties from the sales of the Konga’s music, Marc bought a record shop Import Music. However, rather than settle for family life and working in his record shop, he wanted one last hurrah musically. This he said was farewell to music from Marc Cerrone. So, to make sure this was a memorable musical farewell, Marc enlisted the help of Alec R. Constandinos, a writer and producer. Together, the pair would ensure that Marc farewell was a Magnus Opus, fitting his premature farewell to music.
Marc had an idea for his farewell, an album that was a sensuous symphony of delicious disco music. Grandiose and lavish this album would be, tinged with funk and spread over two sides of the album. Initially, Alex was unsure, but quickly came round to Marc’s way of thinking. Now convinced in the project’s merits, the pair headed across the channel, destination the Trident Studios in London.
Once Marc and Alex arrived in London, they spent September and October of 1976, recording what would become Love In C Minor. With three tracks written, two by Marc and Alex, who’d also produce the album, they put together a band and backing singers. Joining Marc on the album, would be keyboard player Don Ray, with whom he’d colaborate on Marc’s second album Cerrone’s Paradise and Don’s Garden of Love. Among the other musicians were bassist Mo Foster, percussionist Tony Carr and guitarist Hughie Burns. The backing vocalists were Madeline Bell and Jackie Sullivan who both sang on Cerrone’s Paradise, plus Stephanie De Sykes, Joanne Williams and Jean Hawker. With John Watson’s brass section and the Pat Halling String Ensemble, Love In C Minor was indeed going to a lavish album, worthy of any farewell to the music industry. However, would Love In C Minor prove a successful farewell to music from Marc Cerrone?
Now that Love In C Minor was recorded, Marc tried to get a French record label interested in the album. Regardless of who he approached, no-one was interested. Instead, he decided to have five-thousand copies pressed, and sell them himself. Alex wasn’t convinced, trying to stop Marc from making what he thought was a huge mistake. Sadly, this lack of belief in Marc’s music caused a split in their relationship. Undeterred, Marc had the record pressed, with five-thousand copies of Love In C Minor pressed for his own Malligator Records label. Then fate would intervene when an error was made in shipping an order.
This shipping error resulted in copies of Love In C Minor finding their way across the Atlantic, finding there way to New York. Love In C Minor took the Big Apple’s discos by storm. Atlantic Records realizing the potential of the album, struck a deal to license it through their Cotillion Records subsidiary. Before Love In C Minor was released in America, Love In C Minor (Part 1) was released as a single reaching number thirty-six in the US Bilboard 100, while reaching number twenty-nine in the US R&B Charts. Meanwhile, the single reached number twenty-six in the UK. On the release of Love In C Minor, the album reached number 153 in the US Billboard 200, number fifty-five in the US R&B Charts and number two in the Disco Charts. Quickly, Love In C Minor had become a hugely popular album, resulting in Atlantic desperately trying to persuade Marc to tour the US to promote the album and tour. Marc was insistent that he’d finish his second album, which would become Cerrone’s Paradise. It seemed that Marc Cerrone’s farewell to music would’ve to be put on hold, after the success of Love In C Minor which I’ll now tell you about.
Opening Love In C Minor is Love In C Minor (Part 1) which was released as a single, a track that lead to the term Euro Disco being coined. It’s a sprawling, sensuous sixteen minute Magnus Opus, that took up one side of Love In C Minor. As the track opens, there’s badinage and double entendres from Marc’s backing vocalists, before pounding drums, lush cascading strings, percussion and the rhythm section combine with flourishes of keyboards. The tempo is 126 beats per minute, perfect for a disco track. While the strings swirl and sweep, horns rasp as the rhythm section drive the track along. By now, the sound is a combination of a dramatic arrangement and sensuality from the backing vocalists. They in turn change from sweet and innocent backing vocalists, before being are transformed into a hedonistic, sensuous and ultimately orgiastic chorus. Later, the funk influence makes its presence felt, when the rhythm section and percussion combine to create a pulsating, dramatic backdrop complete with wah-wah guitars. A musical contrast in provided by the lush strings, sultry sax solo and punchy keyboards from Marc. Subtle backing vocalists reenter, very different from their earlier erotic sound. By the end of the track, you realize not just how innovative a track this was, but how inluential it was, helping launch Euro Disco. Truly, this was a moment of genius from Marc Cerrone, a brave musical visionary of the disco era.
Black Is Black is the only track on Love In C Minor not written by Marc and Alex. Instead it co-written by Michelle Grainger, Steve Wadey and Tony Hayes. Here, the tempo increases, reaching 132 beats per minute. There’s more of a Euro Disco sound, when the track opens, with keyboards giving way to chiming guitars, rhythm section and lush strings. Listen carefully, and there’s even a hustle sound to the arrangement. Beautiful, understated, breathless backing vocalists enter, combining well with the swirling strings. Meanwhile the keyboards and pounding drums sit well together, helping give the track its Euro Disco sound. Adding an uplifting, joyful sound to the track are the cascading strings, blazing horns and backing vocalists. Combine this with some catchy lyrics sung by the backing vocalists, and classic American disco given a European twist by Marc Cerrone, and you’ve the recipe for a timeless sounding track, that over thirty years later still has a contemporary sound.
Closing Love In C Minor is Midnite Lady, the fastest of the trio of tracks on the album. Hissing hi-hats open the track, before the track takes on a moody, thoughtful sound. Accompanying Marc’s breathless, sensual vocal, is an arrangement that promises drama. This is signaled by the relentless, pounding beats, keyboards and percussion. They sprinkle funk throughout the arrangement, especially when the rhythm section and percussion combine, before being joined by blazing horns. Then when the lushest of strings and backing vocalists enter, there’s still a funky sound, which combines with the Euro Disco sound. Later, the track takes on a pulsating, dramatic sound, thanks to the drums, while strings and backing vocalists provide a contrast. It’s almost impossible not to get caught up in the track’s irresistible sound. Quickly, you’re drawn in and just as quickly, swept away by this Midnite Lady.
Listening to Love In C Minor you only begin to realize just how innovative and influential this album was. Marc Cerrone was brave, releasing an album that was unlike anything before. In doing so, he helped invent a new genre of music Euro Disco. The three tracks on Love In C Minor have a timeless quality like all good music. Unlike many similar albums, Love In C Minor’s release, the album retains a contemporary sound. Given that it’s now thirty-six years since Love In C Minor’s release, this is quite remarkable. It seems ironic that this was meant to be Marc Cerrone bowing out of music and bidding the music industry farewell. If it hadn’t been for a shipping error, then Marc Cerrone may have ended up behind the corner in his record shop Import Music. Thankfully, fate intervened, resulting in the start of a long and successful career, and over twenty further albums. However, the album that started his career was Love In C Minor, which was rereleased in October 2011. This gives disco lovers to either discover or rediscover the delights on Marc Cerrone’s innovative and influential debut album Love In C Minor. Standout Tracks: Love In C Minor (Part 1), Black Is Black and Midnite Lady.
CERRONE-LOVE IN C MINOR.
DISCO CONNECTION VOLUME 2-AUTHENTIC CLASSIC DISCO 1974-1981.
DISCO CONNECTION VOLUME 2-AUTHENTIC CLASSIC DISCO 1974-1981.
A few years ago, Warners released a number of soul, funk and disco compilations that gave a tantalizing glimpse of the hidden delights within their back-catalogue. Two of the best compilations were the Disco Collection series, a short lived and much lived compilation series. Although both compilations were crammed full of quality disco, my favorite was Disco Connection Volume 2-Authentic Classic Disco 1974-1981, which contains a dozen delicious disco delights. Released by WSM in 2004, Disco Connection Volume 2-Authentic Classic Disco 1974-1981 features a combination of familiar classics and hidden gems. On the compilation are classic tracks from Ashford and Simpson, The Trammps, Chic, Herbie Mann, Chaka Khan, Phreek and Gino Soccio. Among these tracks are some of the most memorable and popular tracks from the disco era and are tracks that crossed over to the mainstream. For many people, these tracks launched a life long love affair with all things disco, that’s never left them. Disco Connection Volume 2-Authentic Classic Disco 1974-1981 also demonstrates the quality of disco music hidden away in the Atlantic vaults, which must contain the ultimate treasure trove of disco delights. Trying to choose just a few of the highlights from the dozen delicious slices of disco on Disco Connection Volume 2-Authentic Classic Disco 1974-1981, isn’t easy, but after some indecision, I’ve managed to do so.
My first choice from Disco Connection Volume 2-Authentic Classic Disco 1974-1981 is the track that opens the compilation, Ashford and Simpson’s Bourgie Bourgie. Originally released by Ashford and Simpson in 1977, it was the B-side of Love Don’t Make It Right. Taken from their 1977 Send It album, Bourgie Bourgie has gone onto be covered by many artists, including Gladys Knight. The version on the compilation, is the rare 12” mix, lasting six minutes. There’s a real sense of anticipation as the piano and hissing cymbals open the track, with the arrangement gradually revealing itself. In come the rhythm section, the bass funky, the drums punchy, while rasping horns and cascading strings join the arrangement. By now the tracks has a pulsating, dramatic and grand sound. Using elements of funk and soul, a true disco classic gradually reveals its charms. What makes this a classic of the disco era is the arrangement, and how Ashford and Simpson gradually build it up. Somehow, everything seamlessly falls into place just at the right time, resulting in a classic track from Ashford and Simpson, one of the most talented singer, songwriting and production partnerships.
There’s a sense of poignancy when listening to my next choice, The Trammps’ That’s Where the Happy People Go, given the recent death of lead singer Jimmy Ellis. This was from their their 1976 Where the Happy People Go, and when released as a single reached number twenty-seven in the US Billboard 100 and twelve in the US R&B Charts. The Trammps were disco pioneers, becoming one of the first disco bands. Produced by the legendary Baker, Harris, Young rhythm section, who were part of M.F.S.B. and later, Salsoul Orchestra. Like Bourgie Bourgie, the arrangement is of the highest quality, taking time to reveal its hidden depths. Listen to the track for the first time, and you’ll be thrown by the introduction. Dramatic piano and lush strings combine beautifully, before melancholy horns enter and then bang, things change. From there, Earl Young’s drums drive the track along, while strings, horns and Jimmy Ellis’ vocal enters. His voice is impassioned and powerful, while the rest of the band contribute backing vocals. With the hottest rhythm section of the seventies, combining with blazing horns and swirling strings, you can’t help but be swept away by the track’s joyous sound and emotion, resulting in one The Trammps greatest tracks. It’s also a tribute to the talent of Jimmy Ellis, a true legend of soul and disco.
A band who almost single handed contributed the soundtrack to the late seventies disco era were Chic. Everybody Dance was from their debut album C’est Chic, which reached number twenty-seven in the US Billboard 200 and number twelve in the US R&B Charts. When released as a single, Everybody Dance reached number thirty-eight in the US Hot 100, twelve in the US R&B Charts. The song epitomizes everything that’s good about Chic’s music. Tony Thompson’s drumming and Bernard’s bass playing is at the heart of the irresistible sound of the introduction. Some simple, but hugely effective chord changes on piano, give way to the vocal. Alfa and Norma Jean produce some of their best vocals, while the strings sweep lushly. Midway through the track, Bernard decides to give yet another bass masterclass. His playing is fast and funky. From there until the end, a musical masterpiece unfolds, thanks to a combination of one of the best rhythm sections of the past forty years, some lush, sweet strings, subtle percussion, chiming guitars and joyous vocals.
Another band who benefited from Niles Rogers and Bernard Edwards’ guidance were Sister Sledge, transforming the band from also-rans to superstars. He’s the Greatest Dancer a single from their We Are Family album, which reached number three in the US Billboard 200, and number one in the US R&B Charts. When He’s the Greatest Dancer was released as a single it reached number nine in the US Billboard 100 and number one in the R&B Charts. Opening with the rhythm section and guitar combining, before piano and strings enter. For nearly one minute, bassist Bernard Edwards and guitarist Niles Rodgers are at the heart of the arrangement. Together with Tony Thompson on drums, and The Chic Strings, Chic have provided the perfect backdrop for Kathy Sledge’s vocal. When she sings, she certainly doesn’t disappoint. There is a confidence in her voice, which sounds really natural, as she sings the lead vocal, backed by her sisters singing tight harmonies. Meanwhile vocals, The Chic Strings sweep in and out of the track. While the strings play, Niles contributes quick, funky licks, ably assisted by the rhythm section and piano. For just over six minutes, Sister Sledge, with the help of Chic produce one of the tracks of their career and a classic song from the disco era.
Produced and arranged by Patrick Adams, who cowrote the song with Leroy Burgess, these two giants of the disco and boogie scene collaborated Phreek’s Everybody Loves a Good Thing. This is one of the most joyful and uplifting tracks on Disco Connection Volume 2-Authentic Classic Disco 1974-1981. Released in 1978, from the album Patrick Adams Presents Phreek. With a tempo of 127 beats per minute, this is disco heaven 127. Opening with pounding drums and percussion, this gives way to strings and a soaring, lilting female vocal, before flourishes of keyboards enter. From there, the track has a joyful sound when the vocal enters. Backing vocalists and then the lead vocal enters. It changes hands with Venus Dodson, Patrick Adams and Leroy Burgess all featuring during the track. Towards the end of the track, the rhythm section, keyboards and percussion combine, before the keyboards drive the track to it’s dramatic and powerful crescendo. They build and build the tension, until you feel they can take the track no further. However, they do, playing an important part in providing an uplifting and totally joyous sounding backdrop, for the impassioned and emotive vocalists. This combination results in one of the most joyous sounding tracks on the compilation, and whose irresistible charms you can’t help but succumb to.
The last track from Disco Connection Volume 2-Authentic Classic Disco 1974-1981 that I’ve chosen to feature is Goody Goody’s It Looks Like Love, true hidden gem written, produced and arranged by vibes supremo Vince Montana Jr. who played in both M.F.S.B. and the Salsoul Orchestra. Goody Goody was a project that featured Vince’s daughter Denise. This track is a single released from the 1978 album Goody Goody. It’s six minutes of funk tinged pulsating disco music, featuring a proliferation of percussion, vibes and an ever-present meandering and funky bass line. While cascading strings sweep in and out, guitars and flute accompany Denise’s sensuous, breathy vocal. Although there’s both a Philadelphia International and Salsoul influence to an arrangement, it’s Denise’s vocal and that mesmerizing, pulsating bass line that make this great track.
The twelve tantalizing tracks that are featured on Disco Connection Volume 2-Authentic Classic Disco 1974-1981 give us just a taster of the hidden gems and classic tracks that are hidden away in Atlantic Records’s vaults. This was the second volume in the Disco Connection series, with Disco Connection-Authentic Classic Disco 1976-1981 the first in this short lived series. After this, regrettably, there were no further installments of this series. So for just two volumes, we got a brief glimpse of the classic disco delights in Atlantic’s vaults. With twelve classic tracks, these are a combination of familiar friends from Ashford and Simpson, Chic, Sister Sledge, The Trammps and Chaka Khan, and lesser known tracks from Phreek, Goody Goody, Five Special and Mass Production. Each of these tracks are some of the best disco tracks you could hope to hear. Listening to these tracks is like a stroll down a musical memory lane, back to the golden years of the disco era. Although many of the tracks can be found on other compilations, several of the mixes allow you to discover new and different version of some old favorites. That’s what makes Disco Connection Volume 2-Authentic Classic Disco 1974-1981 such a great compilation, and one that anyone who loves classic disco will adore. Standout Tracks: Ashford and Simpson Bourgie Bourgie, The Trammps That’s Where the Happy People Go, Chic Everybody Dance and Goody Goody It Looks Like Love.
DISCO CONNECTION VOLUME 2-AUTHENTIC CLASSIC DISCO 1974-1981.
JOHN MORALES THE M AND M MIXES VOLUME 2.
JOHN MORALES THE M AND M MIXES VOLUME 2.
One compilation I was really excited about last year, was John Morales The M and M Mixes Volume 2, released in March 2011 by BBE Music. Here was double album featuring eighteen previously unreleased mixes from John Morales that had never been released before. Previously, the only way to hear the tracks was in a New York club, when John was doing a DJ set. So, to be able to hear all of these eighteen tracks on one album, so this was truly disco heaven. These tracks represent some of the most iconic and memorable disco anthems of John’s career, which started back in the seventies, as a DJ. Like other DJs, John realized that he needed longer tracks for his DJ sets, so following in the footsteps of Tom Moulton, Walter Gibbons and Larry Levan, John taught himself to edit tracks. This meant he could take a three minute track and transform it into six or seven minutes of DJ friendly music. Now remember, this was long before computers or software like Logic, Pro Tools or Ableton Live. Instead, all John had to rely on was reel-to-reel tape, razor blades and editing tape, which he’d splice and then rejoin. Using a DJ and dancer’s ear, he quickly worked out what exactly worked on a dance-floor. His work paid off, when Patrick Adams and Greg Carmichael, two New York producers heard his work. They gave John his first chance to remix a track, Inner Life’s Caught Up (in A One Night Love Affair). Then in 1982, another chance meeting changed his career and the course of dance music’s history.
When John Morales met Sergio Munzibai, who back then, along with Frankie Crocker, was musical director at New York’s WBLS radio station. This meeting launched one of the most fruitful and prolific remixing partnerships in dance music history. After their first remix, which was Mikki’s Itching For Love, they decided that each of their remixes would feature the M and M name. Since then, they’ve undertaken literally hundreds of remixes, all featuring the M and M logo. However, an illness to John in 1993 had an impact upon his career.
John became ill in 1993, with the illness lasting a decade that meant time away from the recording studio. However, this gave him the opportunity to test learn the musical software that would soon dominate the music industry. During this period, John tested what would become Cubase for Atari Computers. In some ways, this must have given John an advantage over other producers for his return the recording studio. Since his return to the studio, John has been even busier than ever, working with on retrospective projects that include Marvin Gaye’s I Want You and Here My Dear, The Four Tops, James Brown, while working with Double Exposure and Chaka Khan. Now forty years as a DJ and remixer, John Morales The M and M Mixes Volume 2 allows you to hear eighteen of John’s greatest mixes of that time on two discs, which I’ll now tell you about.
DISC ONE.
Disc One of John Morales The M and M Mixes Volume 2 features nine tracks from an eclectic selection of artists who John has remixed over the years. From his very first remix of Inner Life’s Caught Up (in A One Night Love Affair), there’s tracks from Teddy Pendergrass, Harold Melvin, War, Brass Construction and Candi Staton. Truly, this demonstrates just how wide a variety of artists John and then John and Sergio Munzibai remixed during their career. WIth artists and tracks of such a high quality, choosing just a few to review, wasn’t easy, but here are my highlights from Disc One of John Morales The M and M Mixes Volume 2.
Starting with the very first remix John ever Inner Life’s Caught Up (in A One Night Love Affair), released in 1979 on Prelude Records, this was a single from Inner Life’s album Caught Up (in A One Night Love Affair). Featuring Jocelyn Brown on lead vocal, the M and M Mix is a true timeless classic, lasting nearly nine minutes. It has everything you could want in a disco track, and much more. Punchy drums, handclaps and percussion, give way to keyboards, before blazing horns enter accompanied by backing vocalists. It’s only then that Jocelyn’s sweet and impassioned vocal enters. Accompanied by joyful backing vocalists, the arrangement begins to reveal its charms and subtleties. With cascading strings, rasping horns and the rhythm section accompanied by keyboards, Jocelyn’s vocal grows in power and passion. When all this combined, the result is an impassioned and irresistible disco masterpiece from Inner Life, with John Morales’ sprinkling his magic throughout the track.
Teddy Pendergrass’ The More I Get was originally from his debut album Teddy Pendergrass, released in 1977. On it’s release, the album reached number seventeen in the US Billboard 200 and number five in the US R&B Charts. It’s real dance-floor friendly track from it’s opening bars. Guitars chime, accompanied by a fast funk laden bass, percussion and drums. The tempo is quick, the sound upbeat and hook laden. Teddy’s vocal is charismatic and powerful, as he testifies his way through the track accompanied by joyous, gospel tinged backing vocalists. Key to the arrangement are blazing horns, cascading, sweeping strings, percussion and pounding drums. Together, they combine to produce a dance-floor classic from Teddy. Listening to the track, it’s hard to comprehend that this is a track from the late seventies, given its contemporary sound. Any producer wanting to hear what it takes to fill a floor, should listen to both Gamble and Huff’s original and John’s remix. Similarly, anyone interested in the history of dance music, should listen to this track and they’ll see how tracks like this were hugely important in the development of house music in the eighties.
The next track I’ve chosen, is from an album I reviewed recently, Harold Melvin and The Blue Notes’ final album Talk It Up (Tell Everybody), released in 1984. The album and Don’t Give Me Up have a very different sound to the group’s previous music, combining boogie with a post disco sound. Synths, drum machines, keyboards and then chiming guitars combine, before the group enter singing tight harmonies. This gives way Gil Saunders lead vocal. His baritone is emotive, almost sensuous, while 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 what would be their farewell album.
Brass Construction’s Now Is Tomorrow was a track from their 1976 album Brass Construction II. It’s a mixture of funk, soul and disco, with Brass Construction’s famed rhythm section driving the track along. Meanwhile braying horns and punchy soulful vocals and backing vocals drift in and out the track. Strings almost shiver, as the rhythm section, percussion and horns provide the funk, while there’s a hustle sound to the arrangement. The result is a mesmerizing and compelling mixture of funk, soul and disco during John’s nine minute remix.
Candi Staton’s disco anthem Young Hearts Run Free, was the title track of Candi’s 1976 album. Written and produced by Dave Crawford, Sylvester Rivers arranged the single which reached number one on the US R&B Charts, while reaching number twenty in the US Billboard 100 and number two in the UK. It marked a real change in style from Candi’s previous Southern Soul style. Here, she’s transformed into a disco diva, her vocal enveloped of by punchy rasping horns, percussion and swathes of lush strings that are key to track’s success. John has taken the four minute original, transforming it into an eight minute epic. Even today this track is guaranteed to fill any dance-floor. His formula for success is simplicity itself. Take both the breaks and best parts of the track and extend them. This means you hear extended percussive breaks, much more of those glorious rasping horns, lush strings and of course Candi’s heartfelt and impassioned vocal. Does disco get better than this?
Although I’ve only mentioned five of the nine tracks on Disc One of John Morales The M and M Mixes Volume 2, there’s nothing whatsoever wrong with the other four tracks. Indeed, the tracks from Evelyn Thomas, Fantastic Aleems and War have the quality you’d expect from a track with the M and M logo on it. Many of these nine tracks have a real contemporary sound, one that’s almost timeless. These tracks sound as good today as they did they were remixed by John. This is why so many of these tracks have entered disco folklore, attaining legendary status among disco lovers. That’s why it’s so good to have these tracks on John Morales The M and M Mixes Volume 2. However, will the nine tracks on Disc Two of John Morales The M and M Mixes Volume 2 match the standard of music on Disc One? That’s what I’ll now tell you.
DISC TWO.
Like Disc One, Disc Two of John Morales The M and M Mixes Volume 2 features another nine tracks. This includes two more tracks from Inner Life, plus tracks from Loleatta Holloway, First Choice, Brenda Gooch and the Salsoul Orchestra. Five of these tracks feature artists who recorded for the Salsoul label. These are tracks from the label’s greatest period, when it was releasing some of the best disco music ever. With music of this quality, then it looks likely that Disc Two of John Morales The M and M Mixes Volume 2 will match the quality of music on Disc One, if not better it. Is that the case though?
One of Loleatta Holloway’s best known and most memorable tracks from her disco career is Dreamin.’ Released in 1976, this was a track from Loleatta’s third album Loleatta. Loleatta’s musical background is similar to Candi Staton’s career. Both Candi and Loleatta started of singing Southern Soul, before becoming disco divas. Dreamin’ was released on Salsoul and produced by Baker, Harris, Young, formerly of M.F.S.B. and then the Salsoul Orchestra. Here, the M and M mix takes a three minute track, transforming it into a stonewall disco classic, where a sassy Loleatta vamps her way through the track. With the Salsoul Orchestra accompanying her, and the Baker, Harris, Young rhythm section 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, and you’ve the recipe for one of the greatest disco tracks of the seventies.
First Choice’s The Player was the title track from their 1974 album, released on Philly Groove Records. Arranged by Norman Baker, who along with Stan Watson, produced the album. The Baker, Harris, Young rhythm section feature on the track, along with Vince Montana Jr.’s vibe and Don Renaldo’s horns and strings. Many of these musicians played in both M.F.S.B. and the Salsoul Orchestra. When an arrangement featuring such talented musicians is combined with a powerful, impassioned vocal, the end-result is something special. The track literally bursts into life dramatically, with blazing horns, the rhythm section and percussion combining before the vocal enters. It has a similar power and passion to Loleatta’s, and is accompanied by backing vocalists who sweep in and out the track. Cascading strings enter, combining with the punchy, dramatic horns, providing the perfect backdrop for the vocal, as John builds and builds the drama during his nine minute remix. Like on so many other tracks on the compilation, the basis for a great remix is the original track. Using all his years of experience, he helps create one of the best tracks on the compilation, helped in no end by having a great track to start with.
Although the Salsoul Orchestra played on tracks by many artists on the Salsoul label, they also recorded numerous albums, including The Magic Journey in 1977. On that album was Magic Bird of Fire, produced by Vince Montana Jr. This is a track that combines funk, Latin and disco with a sometimes dark foreboding orchestral sound. Of course this is set to a disco beat, with a tempo of 126 beats per minute. The track is sees dramatic braying horns and strings, combine with an equally dramatic rhythm section. Adding a contrast is the Latin percussion which is sprinkled through the track. Towards the end, the track becomes rousing and stirring, mixing elements of classical music with funk, Latin and disco before reaching its dramatic crescendo. If you want to hear a different side to the Salsoul Orchestra, then this is track for you.
Another track produced by Baker, Harris, Young is Double Exposure’s My Love Is Free, from their 1976 debut album Ten Percent. Opening with drums, shakers, swirling strings, guitars and flourishes of keyboards, they give way to the male lead vocal. Meanwhile, the rest of the group contribute punchy, backing vocals, while the arrangement has made in Philadelphia stamped all over it. With rasping horns, cascading string, percussion and the Baker, Harris, Young rhythm section provide the track’s heartbeat. However, while the arrangement is of the highest quality, so ia the impassioned pleas of the lead vocal, augmented by some equally impassioned and soulful backing vocalists. Together, they combine to produce one of the most soulful tracks on John Morales The M and M Mixes Volume 2.
Choosing just one more track from Disc Two of John Morales The M and M Mixes Volume 2 wasn’t easy. However, after much deliberation I chose another track from Inner Life, If You’re Gonna Love Me which features Jocelyn Brown’s lead vocal. This is from the 1982 album Inner Life II, released on Salsoul. Opening with just the drums, then handclaps, the arrangement quickly grows. A bass, keyboards and then Jocelyn’s vocal enters. It has the same quality as on Caught Up (in A One Night Love Affair). It’s strong, emotive and impassioned, sung against a catchy and punchy arrangement. From there, things get even better, with the rhythm section driving the track along, while keyboards, lush strings and percussion augmenting the vocal on this joyous, uplifting and hook laden track.
Certainly Disc Two of John Morales The M and M Mixes Volume 2 didn’t disappoint. The music was just as good as on Disc One, with the music of the highest quality. While I’ve only chosen five of the nine tracks, the five I’ve chosen are some of John’s best remixes on the compilation. His remix of Loleatta Holloway’s Dreamin’ is one of the best I’ve heard, while First Choice’s The Player and are two masterpieces produced by Baker, Harris, Young. Truly, Disc Two of John Morales The M and M Mixes Volume 2 is quality from the opening bars to the closing notes. That’s not forgetting tracks Logg and Gary Criss, both on Salsoul, as well as Brenda Gooch’s You and I from 1978. Like the rest of the tracks on John Morales The M and M Mixes Volume 2, they’re the quality you’d expect from a remix with the M and M logo on it. These tracks are testament to the skill, experience and creativity of John Morales, not only a talented remixer and DJ, but a man immersed in music. He’s a inspiration to young DJs and producers, given his perseverance and determination. From the start of his career, he showed both determination and perseverance to learn his craft, mastering first the old style reediting and remixing skills, then immersing himself in the technology that would come to dominate music in the late twentieth and early twenty-first century. The fruits of John Morales’ perseverance and determination is here for everyone to hear and cherish on John Morales The M and M Mixes Volume 2. Released in 2011 by BBE Music, John Morales The M and M Mixes Volume 2 features eighteen of his best and most memorable disco mixes of his forty year career. Standout Tracks: Inner Life Caught Up (in A One Night Love Affair), Teddy Pendergrass The More I Get, Candi Staton Young Hearts Run Free and First Choice The Player.
JOHN MORALES THE M AND M MIXES VOLUME 2.
LINDA LEWIS-SAY NO MORE.
LINDA LEWIS-SAY NO MORE.
When Linda Lewis released her debut album Say No More for Reprise in 1971, many people were wowed by Linda’s ability to seamlessly combine musical genres. Whether folk or funk, or rock and soul, Linda was equally comfortable and accomplished. Using her five octave vocal range, something few singers are blessed with, Linda launched her long and successful recording career. With Ian Samwell who’d previously written songs for The Small Faces, The Isley Brothers and Dusty Springfield producing Say No More, this was the next step in a career in music that started in 1964, when Linda was just fourteen. Say No More, which has just been rereleased by BBR Records, was the first of eleven studio albums Linda would release, in a career that’s spanned over forty years. Before I tell you about Linda’s debut album Say No More, I’ll tell you about her early career.
Growing up as a child, Linda Lewis taught herself to play both guitar and keyboards. Using Billie Holliday, Smokey Robinson and Joni Mitchell for inspiration, Linda’s style evolved as a fusion of folk, funk, rock and soul. However, by this time, Linda had been steeped in both music and show-business. From the age of three, Linda attended stage school, making her film debut aged eleven in The Beatles movie A Hard Days Night. Aged fourteen, Linda attended a John Lee Hooker concert, ending up singing Dancing In the Streets with. It was John Lee Hooker that introduced Linda to her future manager, Don Arden, who’d get her signed to Polydor. Now signed to Polydor, Linda released her debut single, You Turned My Bitter Into Sweet, which is now a rare Northern Soul single. Having recorded her debut single, the next step for Linda would be to form her own band.
Linda formed White Rabbit with Junior Marvin, before joining The Ferris Wheel, where she replaced Martha Hunt. With The Ferris Wheel, Linda toured extensively and recorded a trio of singles. These were I Can’t Break the Habit, The Na Na Song and Can’t Stop Now, before releasing their only Ferris Wheel in 1970, the same year the band split-up. Now a solo artist, Linda would perform at the very first Glastonbury Festival by DJ and booker Jeff Dexter. Later that year, a fortuitous meeting with Warner Bros. Records’ executive Ian Ralfini lead to Linda being signed to Warner’s subsidiary Reprise. Linda’s would also launch a career as a session singer, leading to her appearing on David Bowie’s Aladdin Sane, as well as albums by Cat Stevens and Al Kooper. However, the recording session that would be most important would be the sessions for Linda’s debut album Say No More.
Recording for Say No More took place at Trident Studios, where so many other important albums would be recorded. With Ian Samwell producing the album, an experienced group of session musicians were chosen to accompany Linda. This included bassist Chris Spedding, flautist Ian McDonald and Ray Cooper on vibes, marimba and percussion. Twelve tracks were recorded, ten of which were written by Linda, while she cowrote one song with Ian Samwell, who wrote one song himself. With Say No More recorded, the album was set for release in 1971,
Released towards the end of 1971, Say No More allowed the world to hear the multi-talented Linda Lewis. Singer, songwriter and musician Linda’s music attracted a wide range of fans. From fans of folk, funk, rock and soul, Say No More enthralled them with its subtleties, charms and beauty. Although the album wasn’t a huge commercial success, it was well received by critics. Just one single was released from Say No More, with We Can Win chosen. However, it was the track on the B-side Hampstead Heath, that proved to be a favorite among Linda’s fans, and can still he heard in her sets forty-one years later. It’s just one of the many great songs that can be heard on Say No More, which I’ll now tell you about.
Opening Say No More is For Mama, a short track lasting just under a minute. Although just a short track, it’s poignant and powerful, with Linda singing unaccompanied, demonstrating the quality of her voice. Her delivery is sincere and heartfelt as she sings some beautiful lyrics about her mother. It’s a beautiful and poignant song to open the album.
Quite different from the opening track is Come Along People, which has some clever lyrics, using people she met in Hampstead Way as the basis for the track. With characters like Mother Earth, there’s a real sixties feel to the lyrics. The arrangement is catchy, with a loose sound and feel. Guitars are key to the arrangement, while percussion is sprinkled throughout the track and the rhythm section drive the track along. The addition of a harmonium, played by Linda is effective, adding to the arrangement. Meanwhile we get the first chance to hear the Linda’s sweet, joyful vocal which grows in power, demonstrating her wide vocal range. Her vocal combines perfectly with the arrangement, resulting in one of the highlights of Say No More.
When The Same Song opens with just a guitar playing, it gives the track a melancholy sound. It gives way to Linda’s gentle, thoughtful vocal, accompanied by just guitars, before the rhythm section and piano enter. They play in an understated style, taking care never to overpower the beauty of Linda’s vocal, which reminds me of Minnie Riperton, who had a similar wide, vocal range. Later, Jimmy Horrowitz adds Hammond organ on a track that uses some clever wordplay, using rhyming couplets. Written by producer Ian Samwell, Linda’s vocal fuses perfectly with the understated, wistful sounding arrangement to make a song whose charms are irresistible.
After Linda’s beautiful vocal enters on Hampstead Way, it quickly grows in power and emotion, before revealing an intriguing an arrangement. From a gentle, meandering wistful introduction, featuring just gently strummed guitars and Linda’s vocal which you think will continue throughout the track, a curve ball is thrown. Like a jolt to the system, a rocky sounding riff enters briefly. This grabs your attention, given the earlier soulful nature of the song. From their we return to a more gentle, meandering sound, where the comparisons with Minnie Riperton are even more apparent, especially when her voice grows stronger. When the track ends with Linda whistling, this is just a masterstroke, on a track that’s a true timeless classic from Linda’s back-catalogue where she introduces us to life in Hampstead Way.
Peter’s Garden sounds like an enchanted world, where magical things happen, and the way Linda delivers the lyrics this seems to be the place. Written after exploring a friend’s garden, Linda introduces Indian lilies and African antirrhinums to her lyrics, giving the song and exotic, mystical and ultimately beautiful sound and feel. Sung against a backdrop of harpsichord, rhythm section, percussion and guitars, there’s a folk rock sound to the track. This demonstrates Linda’s versatility as a singer and songwriter, that she’s equally at home singing folk as she is with rock, soul or funk.
One of the most beautiful tracks on Say No More is We Can Win. Here, the arrangement has a much bigger, grander sound. Horns and strings are used for the first time on the album, enveloping Linda’s vocal on a song she cowrote with producer Ian Samwell. Opening with grand strings and harpsichord, the track has a classical sound as it meanders along. When Linda’s vocal enters it pensive, enveloped in strings and horns, while piano and harpsichord accompany her. As the arrangement grows, Linda’s vocal has delay added to it, giving it a dreamy quality. By now the arrangement has become grandiose and dramatic, very different from the preceding track. This very different, much fuller arrangement compliments Linda’s wistful vocal and features some of quintessentially English, pastoral lyrics about exploring the beauty of the countryside.
Funky Kitchen was the track that opened the second side of Say No More, and like For Mama, is just a short track, a minute long. Here, it’s just Linda accompanied by acoustic guitar. Her voice is strong and confident, with her voice reminding me slightly of Joni Mitchell, one of her musical inspirations.
Follow the Piper is another track where Linda turns to folk music for her inspiration. The lyrics seem to have their roots in history, specifically the Medieval period. Linda incorporates several traditional folk instruments including a flute during the song. There are similarities to artists like Al Stewart and John Martyn during this track. Opening with just acoustic guitar, Linda delivers the lyrics against an arrangement that features almost military drums and flute and harpsichord. Linda’s vocal soars high, almost gliding gracefully and elegantly above the arrangement, demonstrating the beauty of her voice.
Donkey’s Years opens with just an acoustic guitar and piano accompanying Linda. When Linda delivers the lyrics, the song structure starts off A-A-A-A, with the same rhyming structure repeated. This makes you take notice, giving the track a real charm. Throughout the track the arrangement has an understated sound, which allows you to focus on Linda’s vocal and the lyrics. With backing vocalisst sweeping in, they join the guitar and piano, giving the song a wistful, melancholy sound that’s quite enthralling.
With Latin sounding percussion and a moody bass providing a contrast, I Dunno gets underway. Linda’s vocal is bright and punchy, while a flute and keyboards accompany her vocal. The vocal grows in power and passion during this paean to love. Meanwhile, stabs of keyboards drift in and out the arrangement effectively. Here, Linda gets the chance to display her wide vocal range, on a track that’s has a joyous and uplifting sound.
Magic In the Music sees another change in style. Whereas the preceding track was bright and uplifting, combining Latin and soul, here the arrangement is thoughtful sounding, matching Linda’s vocal. It’s just guitars and rhythm section that combine slowly, bringing about this thoughtful sound. Meanwhile Linda’s voice is pensive, accompanied by backing vocalists, who combine beautifully with Linda’s vocal on a track that’s blessed with a thoughtful sound, which slowly reveals its hidden charms allowing you to hear the Magic In the Music.
Closing Say No More is Hymn, which opens with church bells chiming, while marching military drums can be heard playing gently in the background. Linda’s voice is considered and almost dramatic on this folk tinged track. There’s a grandness and drama to the track, due to the blazing horns, dramatic strings and choir of backing vocalists. Add to this, the marching drums, and this is another track with a very English folk tradition, that’s stirring, grandiose and dramatic.
Listening to Say No More, which was Linda Lewis’ debut solo album, it’s a highly mature debut album, given the standard of lyrics and delivery from Linda. Her versatility is also noticeable, with Linda seeming just as comfortable with folk and funk, and rock and soul. Whatever the track, Linda delivers it with aplomb, while contributing backing vocals and playing guitar on Funky Kitchen. Granted Linda was steeped in music and show business from an early age, and had been a singer since she was fourteen, but going from a member of a band to solo artist was a big step. Many artists haven’t coped with this, but Linda Lewis did, delivering an full of quality music, which was highly accomplished, with an eclectic collection of twelve tracks. Some of these tracks have a timeless sound, and sound as good forty-one years after they were recorded. Say No More was to be the first step in Linda’s career, a career that would see her music loved my her fans and peers. Among the musicians who cherish Linda’s music are Joni Mitchell, Stevie Wonder and Noel Gallagher. So, if unlike these music greats, you’ve still to discover the magical music of Linda Lewis, then Say No More has been remastered and released by BBR Records, who’ve previously rereleased with Lark, Fathoms Deep, Not A Little Girl Anymore and Woman Overboard. This will allow you to hear some of Linda’s best music, including the album that started her career off Say No More. Standout Tracks: Come Along People, The Same Song, Hampstead Way and We Can Win.
LINDA LEWIS-SAY NO MORE.
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