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.
MELI’SA MORGAN-DO ME BABY.
MELI’SA MORGAN-DO ME BABY.
There aren’t many artists whose debut single reaches number one in the US R&B Charts. If there are, then even fewer will have had their debut album reach number four in the US R&B Charts. This was the case, when Meli’sa Morgan released her debut single and album Do Me Baby. However, this was no overnight success, if such a thing even exists. Instead, Meli’sa had paid her dues, firstly as lead singer of Shades of Love and then High Fashion. Meli’sa’s career really took off, when she became a solo artist, releasing a cover version of Prince’s Do Me Baby as her debut single. Suddenly, Meli’sa had a number one US R&B hit single, and then a top ten US R&B album, Do Me Baby, which will be released by SoulMusic.com on 26 March 2012. Before I tell you about the music on Do Me Baby, I’ll tell you about Meli’sa’s career.
Like many artists, Meli’sa’s first sang in church, where she sang gospel music with the Starlets of Corona. It was whilst singing gospel music, that Meli’sa got her first break in the music industry. This came when Meli’sa became lead vocalist for Shades of Love, a dance group. With Shades of Love, Meli’sa had her first hit in 1982, when Body To Body (Keep In Touch) charted, reaching number twenty-six on Billboard’s Hot Dance Club Play Chart. Later in 1982, Meli’sa was approached by Jaques Fred Petrus, to join his newly formed studio band High Fashion.
High Fashion was a trio of New York based vocalists that included Alyson Williams, Eric McLinton and Meli’sa. The group only ever had one hit single, Feelin’ Lucky Lately, in 1982. After just a year as a member of High Fashion, Meli’sa left the group, becoming a session singer in New York. However, when Meli’sa decided to pursue a solo career, that’s when her life was turned upside down.
Having signed Capitol Records as a solo artist, Meli’sa would release her debut single in 1985. The song chosen was a cover version of a Prince song, Do Me Baby. This was a clever choice of track, given Prince was going through the hottest period of his career, seemingly writing one great track after another. Now the song was chosen, a producer was needed. Paul Lawrence was hired and the song was recorded. On its release, the impact of Do Me Baby would be huge.
Released in 1985 as Meli’sa’s debut single, Do Me Baby raced to number one in the US R&B Charts, while reaching number forty-six in the US Billboard 100. Suddenly, Meli’sa’s life was turned upside down, with her having to constantly tour and make TV and radio appearances, including on the legendary Soul Train TV program. This was when Meli’sa and her record company Capitol decided it was imperative that an album was recorded. That would be the next move in the career of Meli’sa Morgan.
With collaborator Lesette Wilson in tow, Meli’sa and Lesette set about writing tracks for Meli’sa’s debut album. In total, they cowrote five tracks, while other songwriters contributed three tracks. This included Do Me Baby, which became the title of the album. Having written the material that would become Do Me Baby, Meli’sa headed to the studio, to record her debut album.
Recording took place at two studios in New York, Digital By Dickinson and Celestial Sounds. With producers that included Meli’sa and Lesette, Pul Lawrence, Brian Loren and Dennis Lambert and Jeremy Smith eight tracks were recorded. Joining Meli’sa on backing vocalists was Freddie Jackson, who Meli’sa would collaborate with in 2005 on the single Back Together Again. Now that Do Me Baby was recorded, the album was set for released in 1986.
Meli’sa released her debut album Do Me Baby in 1986, with the album having a similar success as her debut single. The album reached number four in the US R&B Charts, while reaching number forty-one in the US Billboard 200. An added bonus for the release of Meli’sa’s first album, was when Do Me Baby was chosen for the soundtrack to Eddie Murphy’s latest film The Golden Child. The soundtrack was released in late 1986, giving Meli’sa’s nascent career a huge boost. However, there was further success still to come for Meli’sa, when a trio of other singles were released from Do Me Baby.
Chosen as the second single from Do Me Baby was Do You Still Love Me? It reached number five in the US R&B Charts. Next to be released as a single was Fool’s Paradise, which reached number twenty-four in the US R&B Charts. The only disappointment was when Heart Breaking Decision failed to chart. Overall, Meli’sa’s debut album Do Me Baby had been a huge success, not only commercially, but being critically acclaimed. However, what does Do Me Baby sound like? That’s what I’ll now tell you.
Do Me Baby opens with the third single released from the album, Fool’s Paradise, co-written by Meli’sa and Lesette Wilson. Opening with a combination of plucked bass, keyboards and drums, the track mixes funk and soul seamlessly. Meli’sa’s vocal is delivered soulfully, with a combination of passion and power, while backing vocalists augment her vocal. While Meli’sa adds soul to the track, the arrangement reveals a funky groove, thanks to the rhythm section, guitars and synths. The lyrics are clever, some of the best on the album. They’re about a young woman who falls in love with a guy who becomes famous, only to start tripping. Delivered with emotion and passion by Meli’sa, in a powerful, soulful style, this is fantastic way to start any album, never mind a debut album.
Paul Lawrence produced Meli’sa’s debut single Do Me Baby, and produces two other tracks on the album, including Heart Breaking Decision. This was the fourth single released from Do Me Baby, and the only one not to chart. Given the quality of this ballad, it should’ve done much better. Co-written by Freddie Jackson and Meli’sa, this mid-tempo track features a vocal that reminds me of Chaka Khan at her prime. Here, Meli’sa demonstrates her full vocal range, delivering the lyrics powerfully, with a real intensity and emotion that matches the lyrics. With a backdrop of keyboards, synths, rhythm section and guitars accompanying her, Meli’sa’s vocal isn’t as strong at the start, but is still impassioned and laden with emotion. All the time, her vocal grows in power and intensity, but not once, does Meli’sa lose control of her voice. This demonstrates her talent and versatility as a vocalist, on one of the best tracks on Do Me Baby. Not only that, but it’s impossible not to get swept up in the emotion and heartache of the track.
Do You Still Love Me is another of the four singles released from Do Me Baby. It’s a slower track, with a dramatic introduction where and a piano plays an important role in the arrangement. Augmented by slow, spacious drums, they give way to Meli’sa’s vocal. She delivers the track much more thoughtfully, using a more subtle restrained style, to get across the questioning, poignant lyrics. She asks “do you still love me” against a thoughtful, understated arrangement. There’s a sense of vulnerability and insecurity in Meli’sa’s vocal, that’s tinged in sadness. Her vocal is multi-tracked so she sings backing vocals, while a sultry, saxophone drifts in and out of the arrangement. Although pensive and poignant, this is a beautiful track, perfectly suited to the subtle arrangement.
I’ll Give It When I Want It sees a feisty, sassy Meli’sa delivering the lyrics against an arrangement sprinkled with funk and soul. With the rhythm section and guitars adding a touch of funk, flourishes of piano and keyboards augment Meli’sa’s confident vocal. Here, she delivers the lyrics in a sassy, powerful style, before almost rapping the lyrics in a self-assured style. This she does against a quick, driving arrangement. Meanwhile backing vocalists, accompany Meli’sa, adding some soul to a track that’s catchy, laden with hooks and has a real contemporary sound.
Of all the covers of Prince songs I’ve heard, Meli’sa’s version of Do Me Baby has to be right up their with the best. There’s even a Prince “sound” to the arrangement, where the rhythm section, guitars and keyboards combine perfectly. However, it’s Meli’sa’s vocal that makes the track. Unlike other tracks, she delivers the track in a more restrained, breathy style. While backing vocalists add to the Prince sound of the track, Meli’sa’s voice is sensuous, full of longing and desire. Later, stabs of synths accompany Meli’sa as her voice grows in strength and passion, soaring high above the arrangement. This is just the finishing touch to a classic cover version, one that Prince himself would be proud of. So good is this track, that I even prefer it to the original.
Getting To Know You Better produced by Bryan Loren dramatically bursts into life. Synths and drums crash dramatically, while funky bass joins keyboards as Meli’sa’s vocal enters. Here, Meli’sa’s vocal is louder and stronger, sung against an electronic, eighties sounding arrangement. Unlike many similar sounding tracks from this era, this track is one that has aged well. As the track reveals its charms, Meli’sa’s vocal grows in strength and emotion, the arrangement reverberates around her impassioned vocal, while soulful backing vocalists add to the track’s eighties charms.
Now Or Never sees Meli’sa offer an ultimatum on one of five tracks from Do Me Baby written and produced by Meli’sa with Lesette Wilson. The arrangement is similar to Do You Still Love Me, with its much more understated sound. It’s just piano and bass that open the track, with Meli’sa’s vocal soaring gracefully above the arrangement. Her delivery is subtle and beautiful, as she asks “can you truly say that you’ll love me forever.” This song has some of the best lyrics on the album, perfectly suited to arrangement. Here, the bass and piano offer contrasting sounds, with the bass moody and broody, while the piano offers brightness and optimism, as it drifts in and out the track. Meanwhile, Meli’sa delivery is not only impassioned and emotive, but heartfelt and beautiful. When combined with the understated arrangement, this is one of the highlights of Do Me Baby.
Closing Do Me Baby is Lies, produced by Paul Laurence, which has a quite different sound. It’s another relationship song, with Meli’sa’s voice full of frustration and disappointment. Meanwhile synths, guitars and the rhythm section revisit an eighties sounding arrangement. Again, this works well, with Meli’sa’s exasperated vocal reflecting the betrayal by her partner, and the lies he’s told her. Delivered in a powerful, sassy style, she’s had enough of his lies and cheating, deciding it’s time for change. There’s a Chaka Khan influence to Meli’sa’s delivery, which combines with the busy, dramatic arrangement. Synths, the rhythm section and guitars drive the track along mixing an eighties sound with a bright catchy hook, resulting in another impassioned performance from Meli’sa Morgan to close her debut album Do Me Baby.
When listening to Meli’sa Morgan’s debut album Do Me Baby, I was immediately struck by how polished and professional this was for a debut album. Although Meli’sa had previous experience as lead vocalist in both Shades of Love and High Fashion, and had been steeped in music all her life, this is a highly accomplished, quality album, full of some wonderful music. Although the single Do Me Baby is a peerless cover version of Prince’s track, there’s much more to Meli’sa Morgan’s music than that. Whether it’s uptempo tracks or beautiful ballads, Meli’sa can deliver them just as comfortably. Two of the best tracks on Do Me Baby are ballads, Do You Still Love Me and Now Or Never. Both have lovely understated arrangements which suit the lyrics perfectly. Of the four singles released from the album, Do Me Baby, Do You Still Love Me, Fool’s Paradise and Heart Breaking Decision, these are a quartet of tracks of the highest quality. The only one not to chart was Heart Breaking Decision, which seems remarkable given the track’s quality. With music as good as this, it was no wonder Do Me Baby sold so well on its release in 1986. If you’ve never heard Do Me Baby, then it’ll be rereleased on 26 March 2012 by SoulMusic.com. Along with the eight tracks on Do Me Baby, there are seven bonus tracks included, which are twelve inch versions of the singles. This allows fans old and new of Meli’sa Morgan’s music, to revisit her highly accomplished and professional debut album Do Me Baby again, reminding them of just how talented a vocalist Meli’sa Morgan is. Standout Tracks: Heart Breaking Decision, Do You Still Love Me, Do Me Baby and Now Or Never.
MELI’SA MORGAN-DO ME BABY.
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THELMA JONES-THELMA JONES.
THELMA JONES-THELMA JONES.
Although Thelma Jones’ career started in 1967, when she released her first single The House That Jack Built on Barry Records, it wasn’t until 1978 that she released her debut album Thelma Jones. Produced by legendary producer Bert DeCoteaux, who previously, had produced Marlena Shaw, Linda Lewis and The Main Ingredient Thelma Jones is an album of quality soul music. Incredibly, it wasn’t until 2006, that Thelma released the follow-up to Thelma Jones, Low of Old. Thankfully, after being out of print for far too long, Thelma Jones will be rereleased on 12 March 2012, on BBR Records. On Thelma Jones, are ten tracks, including cover versions of Smokey Robinson and The Miracles’ I Second That Emotion, The O’Jays’ Now That We Found Love and Angel of the Morning written by Chip Taylor. Also included on the album is Thelma’s earlier single Salty Tears, which was originally released on Columbia. Before I tell you about the music on Thelma Jones, I’ll tell you about Thelma’s career and the making of Thelma’s debut album Thelma Jones.
Thelma Jones was immersed in music from a young age, singing gospel music, when her family moved from North Carolina to New York City. Together with the rest of her siblings, Thelma toured the gospel circuit as The McDaniels Singers. Working with some of the biggest names in gospel, it looked as if Thelma was destined for a career as a gospel singer. However, when Thelma sang at the famous Apollo Theatre’s amateur night her career path changed. In the audience was James Hazley, who convinced Thelma to let him manage her. As well as managing Thelma, James and Thelma became an item, with the pair became romantically involved. Straight away, James Hazley managed to get Thelma her first record deal, with Barry Records.
Now signed to Barry Records, Thelma released a string of singles, cutting the original version of The House That Jack Built, later made famous by Aretha Franklin. During her time at Barry Records, Thelma immersed herself in the technical side of music, being coached by Big Maybelle, with whom Thelma remained friends until Big Maybelle’s death in 1972. Although Thelma recorded enough material to release an album for Barry Records, they seemed only interested in releasing singles. After hearing one of her Barry singles Never Leave Me, Jerry Wexler of Atlantic Records heard Thelma’s music and decided to sign her to Atlantic. However, this would prove to be an opportunity lost for Thelma.
With a new contract signed, her new label Atlantic, decided to send Thelma to the legendary Muscle Shoals Sound Studios, where she’s record her first material for her new label. However, after a difference of opinion between Thelma’s manager James Hazley and Bobby Lance, Thelma’s contract with Atlantic was cancelled. Having left Atlantic, Thelma would sign with Columbia in 1975.
Having signed to Columbia, Thelma would return to the Muscle Shoals Sound Studios to record her next single Salty Tears. This was a much more positive experience than first time around, with Salty Tears giving Thelma a minor hit. After this, it would be two more years before Thelma’s debut album would be released in 1978.
To produce Thelma’s debut album Thelma Jones, producer Bert DeCoteaux was hired. He produced nine of the albums ten tracks, with Salty Tears previously produced by Brad Shapiro. A strong collection of material was chosen, written by some of the most talented songwriters. This included three cover versions on Thelma Jones. Second That Emotion was co-written by Smokey Robinson, while Gamble and Huff cowrote Now That We’ve Found Love and Chip Taylor Angel of the Morning. Sam Dees contributed two tracks, Lonely Enough To Try Anything and I Want What You Want. Van McCoy was another of the big name songwriters contributing tracks to Thelma Jones, with Stay Awhile With Me co-written by him.
With the songs chosen, recording began on Thelma Jones, with a tight and talented band accompanying Thelma. This included Funk Brother Bob Babbit playing bass, drummer Jimmy Young, guitarist Lance Quinn and backing singers Gwen Guthrie, Brenda White and Ullanda McCullough nine new tracks were recorded at the Mediasound Studios. Now that the album was recorded, Thelma Jones was set for release in 1978.
Eleven years after her debut single was released, Thelma released her debut album Thelma Jones. Sadly, Thelma Jones wasn’t a commercial success, failing to find favor with American record buyers. Similarly, the first single released from the album I’d Rather Leave While I’m In Love wasn’t commercially successful, although the second single would prove more popular. This was Second That Emotion, which reached number seventy-four in the US R&B Charts. After this, Thelma wouldn’t release another album for twenty-eight years. However, Thelma but would continue to prove a popular live act, while her debut album Thelma Jones was known as a hidden gem among soul aficionados and connoisseurs, and a hidden gem that I’ll now tell you about.
Opening Thelma Jones is a cover of a track made famous by Smokey Robinson and The Miracles, Second That Emotion. This was the second single released from the album and only one to chart. Thelma’s version of Second That Emotion is quite different from the original, with the track having a funky arrangement. The rhythm section, keyboards and guitars give way to Thelma’s powerful, but soaring, soulful vocal. Straight away, you’re smitten by Thelma’s take on Smokey’s classic, with her vocal accompanied by a trio of equally soulful backing vocals. There’s a real joyful, feel-good sound to the track. It’s hugely catchy, with the funky arrangement suiting the track. Although keyboard and the rhythm section are key to the track’s success, it’s Thelma’s vocal that steals the show, grabbing centre-stage. What a way to start Thelma Jones, and if the rest of the album is as good, then this will be something special.
For many years I’ve strongly believed that Sam Dees is one of the most underrated songwriters and singers. Here, he contributes one of my favourite tracks from Thelma Jones, Lonely Enough To Try Anything. It sees the tempo drop, with the backing vocalists and slow drums and guitars opening the track. Even then, you realize that something very special is about to unfold. It does, when Thelma’s delivers Sam’s lyrics with a heartfelt and emotive delivery. These lyrics paint the picture of a man haunted by sadness and insecurity, almost desperately seeking love and acceptance, but not mature enough to be able to. Meanwhile, backing vocalists add dramatic and emotive backing vocals, while one of the best arrangement on the album reveals itself. Chiming guitars, rhythm section and subtle horns augment keyboards as Thelma brings to life the lyrics, combining drama with her heartfelt, moving delivery. Not only is this a beautiful song, delivered with feeling and passion, but one that demonstrates Thelma’s talent and versatility as a vocalist, and Sam Dees talent as a songwriter.
Over the years, I’ve heard various versions of The O’Jays Now That We’ve Found Love, written by Gamble and Huff. One particularly abominable version I once heard still haunts me. Regrettably, I heard it a couple of weeks ago and I’m still traumatized. Thankfully, Thelma’s version serves as the perfect antidote. Here, the tempo is quick, 122 beats per minute, the uptempo arrangement blessed with an uplifting, joyful and hook-laden sound. Incorporating rasping horns, lush, cascading strings that are added to the rhythm section, chiming guitars and trio of backing vocalists, Thelma’s delivery is confident, powerful and almost diva-esque, giving an old classic new life. There’s a sophisticated disco sound to the track, one that has a timeless, contemporary sound. Of all the covers of this track, this is by far my favorite version, one where Thelma Jones pays homage to the genius of Gamble and Huff.
Angel of the Morning written by Chip Taylor has been covered by numerous artists, including Dusty Springfield, Melba Montgomery and Nina Simone. Here, Thelma delivers a mid-tempo version, against an arrangement that welds sizzling guitars, percussion and punchy drums, while a flute and keyboards augment the sound. There’s a carefree, jaunty sound to the arrangement, while Thelma delivers the lyrics beautifully and thoughtfully, in a similar carefree style. Not once does she resort to the amateur dramatics of lesser singers. Instead, with her trio of backing vocalists accompanying her, she delivers Chip’s lyrics in a style that demonstrates the quality of her vocal and the lyrics, while the arrangement breezes along behind her. The end-result is an assured and impassioned version of Angel of the Morning from Thelma.
I Can Dream is a song co-written by Leon Ware and Harold Payne. Previously, Leon Ware collaborated with Marvin Gaye, while releasing several solo albums. As well as being a talented arranger, producer and artist Leon is also a talented songwriter, as this track proves. Set against an arrangement that has percussion and lush strings at its heart, while guitars, rasping horns and rhythm section and augment their sound. Here, Thelma’s delivery is a combination of control, emotion and beauty. While the arrangement almost floats and glides along, her voice is subtle and beautiful, accompanied by a myriad of strings, percussion, guitars and horns. Later, Thelma’s vocal grows in power, as she gets across the emotion and longing in the lyrics. With a combination of great lyrics, one of Bert DeCoteaux’s best productions on the album and of course Thelma’s beautiful, heartfelt delivery, this is a track to treasure and cherish.
The tempo increases slightly on How Long, while the style changes incorporating soul with elements of funk. Add to this Thelma’s confident, impassioned delivery, and you’ve the recipe for another quality track. Here, the sounder is bigger, with a funky rhythm section, rasping horns and guitars joined by flutes and dramatic, punchy backing vocals. There’s an edge to Thelma’s voice, as she dramatically asks how long her man will stay angry. Adding to the drama of Thelma’s vocal are the backing vocalists whose voices soar as they sing “how long,” enveloped by blazing horns and the rhythm section. This is really effective, and is a masterstroke from producer Bert DeCoteaux, helping to make this one of the highlights of Thelma Jones. Not only that, but like all good music, the track has a really contemporary sound, which makes the song hard to date.
Van McCoy cowrote Stay Awhile With Me, a track that combines heartache, longing and drama. Again, the trio of backing vocalists are key to the song’s success, combining and complimenting perfectly with Thelma’s vocal. Thelma’s voice is dramatic, powerful and impassioned as she sings about “offering you my love,” against an equally dramatic, moving and powerful backdrop. This includes the rhythm section, subtle guitars and the lushest of cascading strings. Add to this the backing vocalists, and you’ve the recipe for a stunning and really moving, but sad song, where Thelma lays bare her soul for all to see.
A song that will be familiar to many people is I’d Rather Stay While I’m In Love, co-written by Carole Bayer Sager and Peter Allen. Again, this is a track covered by many artists, but here Thelma transforms the track against one of the best arrangements on Thelma Jones. Delivered against a slow, string laden arrangement, where the rhythm section provide the song’s heartbeat and guitars chime Thelma’s delivery is a mixture of emotion, power and pathos. Rasping horns drift in and out the track, while backing vocalists contribute lovely, subtle backing vocals. They’re a contrast to the power and emotion of Thelma’s delivery. Overall, the track is a fusion of everything good. With one of the best arrangements on the album, subtle backing vocals and the sadness and emotion of Thelma’s vocal, this is a beautiful cover version of an oft covered track.
After a number of slower tracks, Thelma ups the tempo on the second Sam Dees penned track on Thelma Jones I Want What You Want. It has the same quality as the other track Sam wrote Lonely Enough To Try Anything. Here, the quicker tempo turns the track into a joyful, uplifting and almost spiritual sounding track. Infectiously catchy rhythms, cascading strings and blazing horns accompany the powerful, joyful backing vocalists, while Thelma grabs the track by the scruff of the neck and totally transforms Sam Dees’ song. This she does with aplomb, turning the track into a joyous, uplifting track with a really feel-good sound, that’s impossible not to get swept away by.
Closing Thelma Jones is Salty Tears, Thelma’s debut single for Columbia, recorded in 1975 and produced by Brad Shapiro. Although the track has a slightly different sound, Thelma’s vocal is just as good as on the preceding tracks. The arrangement features piano, lush, sweeping strings and the rhythm section, while Thelma’s voice is deep, powerful and laden with emotion. Later, rasping horns enter, joining the strings, adding the atmosphere and emotion of the tracks. Unlike the other tracks on the album, backing vocalists aren’t used. Instead, Thelma’s vocal takes centre-stage, on a track full of emotion and sadness.
It’s not often I’m so taken by an album as I am by Thelma Jones. From the first to last track, it’s an album full of some stunning music, from one of the most underrated singers of the past fifty years. Truly, there isn’t one poor track on Thelma Jones. With Thelma’s versions of Smokey Robinson’s Second That Emotion, The O’Jays Now That We’ve Found Love and Carole Bayer Sager’s I’d Rather Stay While I’m In Love she reinvigorates these songs, breathing new life into them and they’re amongst the best cover versions of these tracks that I’ve heard. Add to these tracks two great songs written by Sam Dees, with Lonely Enough To Try Anything heartfelt and moving, while I Want What You Want is joyous and uplifting. Meanwhile, I Can Dream, co-written by Leon Ware is hidden gem, one to cherish and treasure, while Stay Awhile With Me, co-written by Van McCoy is impassioned and powerful. Why an album of the quality of Thelma Jones wasn’t a commercial success seems incredible. Truly, Thelma’s debut album Thelma Jones is very definitely an overlooked, hidden gem of an album. Anyone who loves either soulful, jazzy or funky music will adore this stunning album. As if the ten tracks on Thelma Jones aren’t enough, there are a trio of bonus tracks included on BBR Records remastered rerelease due for release on 12 March 2012. This includes a third gem from Sam Dees, Love Look What You Got Me Into and You’re the Song (That I Can’t Stop Singing). The single version of Second That Emotion is the third bonus track included on Thelma Jones. Along with Quentin Harrison’s informative and in-depth sleeve-notes, BBR Records have done a wonderful job on the reissue of Thelma Jones. The remastering is of the highest quality, bringing to life the brilliant music from Thelma Jones on her wonderful debut album Thelma Jones, which is a must have for all lovers of good music. Standout Tracks: Lonely Enough To Try Anything, I Can Dream, Stay Awhile With Me and I’d Rather Stay While I’m In Love.
THELMA JONES-THELMA JONES.
NIGHT OF TREASON-GENTLEMEN AND HOOLIGANS.
NIGHT OF TREASON-GENTLEMEN AND HOOLIGANS.
Although I don’t usually review new wave or punk rock albums, I had to make an exception when Night of Treason’s forthcoming album Gentlemen and Hooligans was referred to as “the best English punk record from the 70s.” Now, you’ve got to either admire their confidence, or think that this album is just a bit special. This isn’t youthful exuberance from a young, inexperienced group of musicians, fresh to the music industry, and clutching their first record contract. Instead, Night of Treason are veteran punk rockers, with over 250 concerts under their belt and twenty years experience. During their career, Night of Treason have been joined by Billy Bragg, Mike Peters of The Alarm and Mick Jones of The Clash and Big Audio Dynamite. Indeed, when I first came across Night of Treason, it was with when I saw a video of Mick Jones joining the group on a version of I Fought the Law. Immediately, I was struck by Night of Treason’s talent, passion and energy. Adding cache to Gentlemen and Hooligans, was having Smiley, formerly the drummer with Joe Strummer and The Mescaleros and Robbie Williams producing the album.
Gentlemen and Hooligans started life as a concept album, with the central character returning to their hometown, wondering what became of his idealistic friends, who he shared his adolescent years with. These years were spent with football, war comics and solvents, before working at the local social security office. However, from a concept album, Gentlemen and Hooligans grew legs, with Night of Treason spawning a number of other tracks. These were so good, that it was almost impossible to leave them off Gentlemen and Hooligans. So, from the original concept album, came thirteen songs from lead singer Pinky and the rest of Night of Treason. Will Night of Treason’s Gentlemen and Hooligans live up to the hype as the “the best English punk record from the 70s?” That’s what I’ll now tell you.
Gentlemen and Hooligans literally bursts into life, opening with Can’t Remember. It’s an energetic, guitar driven track. While machine gun like guitars and drums drive the track along, trailing feed-back in their midst. Meanwhile, the vocal is raw, full of anger and frustration. Keyboards drop in out of the track, as this lightning quick slice of punk rock reveals its angst ridden charms, bringing to mind the summer of ’76 again.
After the angst and energy of the opening track, the Ballad of the Teddy Boy (From Ladbroke Grove) reveals a totally different side of Night of Treason. Here, the music is neither as frenzied nor raw, with the song revealing the best lyrics on Gentlemen and Hooligan. They’ve got a strong narrative and clever lyrics, telling the story of a teddy boy living through the punk era in the style of Elvis Costello and XTC. There’s still a punk and new wave influence, albeit without the rawness of the previous track. Listen carefully to the arrangement, and there’s even elements of The Alarm during the track. The lyrics are delivered in an impassioned style, while the dual guitars and rhythm section provide a hooky arrangement. When combined, the result is a catchy track with clever, melancholy lyrics that remind me of The Alarm.
From the intelligent, melancholy lyrics of the previous track, to the rawness and energy of If You Wannit. Like Speed and Glue and Rock ‘N’ Roll, a tale of adolescent malcontent mischief and foolhardiness, this is delivered in the Oi style, fusing punk, pub rock and glam rock. With a backdrop of sirens, searing, scorching guitars, angry drums and vocals that are barked out, both are seething songs, full of anger, aggression and frustration.
Straight away, The Young Conservatives reminds me of The Jam. Again the song has a strong narrative and political lyrics. When Gentlemen and Hooligans was going to be a concept album, this was about the central character getting a job in his local social security office. Delivered against a backdrop that sounds like something from a Billy Bragg album, I love the payoff line “I hope you know I’m not a Young Conservative,” enveloped amongst swathes of rocky guitars. Truly, a great song, like Teddy Boy (From Ladbroke Grove).
On Clockwork Orange Street there’s a real Clash influence throughout the track. I’d also hazard a guess that Night Of Treason are fans of Graham Greene, given the title and lead singer Pinky sharing a name with the central character in Brighton Rock. Listen carefully to the track, and The Clash influence becomes more prominent after two minutes. By then, you’d swear you’d put on the wrong album, and this was actually Joe Strummer and company in their pomp. There’s the same dynamics and energy, during this track. Later on in the album with Night Of Treason revisit The Clash’s influence on Letter From the Front, the final track from the album. Opening with a solemn harmonica solo from Mike Peters, formerly of The Alarm, this change totally. Screeching guitars, loud and proud, drive the track along, while drums crack and Pinky delivers some poignant, honest and bleak lyrics about a career in the army.
What Became Of The Boys Brigade has a moody, broody sound. Again there’s a real Jam influence, with Pinky’s vocal even reminding me of a young Paul Weller. The only difference is Night Of Treason feature dual guitars, which are loud and rocky as they drive the track along. Barked out backing vocals accompany Pinky’s lead vocal, as the track descends to a catchy, rousing singalong ending, that’s laden with energy.
Skate City is another track with some great lyrics, lyrics which have a real English quality. With lyrics like “I’m going to skate city, to see my English rose,” there’s a pastoral element to the lyrics. This is combined with an urban grittiness, when combined with “put a pill on my tongue, to take the pain away.” Sung against a jaunty arrangement, where rhythm and lead guitar are key to the track, while drums provide the track’s heartbeat. Pinky delivers the lyrics with a sense of urgency and then fatalism. His fatalistic delivery is mirrored by the blazing crescendo of screaming guitars that accompany his vocal, during this dichotomy of an English song.
Borrowed Time offers a bleak vision of the 21st century. There’s a real sense of darkness in the lyrics, while guitars reverberate, then scream and weave across the arrangement. Meanwhile, Pinky darkly delivers Night Treason’s bleak message that we’re living on borrowed time, while the world explodes and descends into chaos. Like other tracks on Gentlemen and Hooligans, this track is political, as it offers up Night of Treason’s somewhat fatalistic and bleak worldview, to an equally dark and bleak musical backdrop.
Similar to other tracks on Gentlemen and Hooligans, Violette deals with the subject of war and love. These subjects are intertwined, with a woman finding love during war, only to lose her lover during a battle. Although melancholic, with a sense of pathos in the lyrics, it could be argued that the track almost glorifies and glamorizes war and loss. Keyboard, rhythm section and guitars provide the backdrop to a half-spoken vocal. Meanwhile, the rest of the group contribute backing vocals, while meandering keyboards are key to the arrangement. Later guitars build up the drama of the track, creating a one man wall of sound. Overall, this is a good track, with thoughtful poignant lyrics
This Is My Town is a walk down memory lane, where Pinky remembers places and people from his youth. This he does against guitars that ring out the sound of Big Ben, before launching into a Clash and Jam inspired track. With guitars to the fore, snappy drums and Pinky’s raw vocal drives the track along before the payoff line delivered with pride “This Is My Town.” It’s a stirring, rocky anthemic track, one of the catchiest from Gentlemen and Hooligans.
Closing Gentlemen and Hooligans is the title track Gentlemen and Hooligans. Borrowing Joy To the World at the start of the track, Pinky sings about being asked by his father “gentleman or hooligan, what are you going to be?” Now his life having come full circle, he’s asking his own son the same question. Buried among a jaunty myriad of searing, guitars and punchy guitars his vocal is raw and powerful, delivered in a Jimmy Pursey singalong style, circa Hersham Boys. In a way, this track not only makes you think, but leaves you with a smile on face with its rousing, boisterous style.
Having described Night Of Treason’s debut album Gentlemen and Hooligans as a punk rock or new wave album, I think that they’re more that that. On some of the tracks, they demonstrate a similar rocky style to The Clash. Granted on many tracks, the music is punk of new wave music through and through. During the album, Night Of Treason’s influences range from The Alarm, The Clash, The Jam, Elvis Costello, Billy Bragg, Sham 69 and XTC. Each of these influences can be heard on the thirteen tracks on Gentlemen and Hooligans. Unlike many other punk bands, Night Of Treason are much more accomplished musicians and lyricists. Many of their lyrics are intelligent, blessed with a strong narrative, and are clever, poignant and melancholy. Given that Night Of Treason are such an experienced band, this shouldn’t come as a surprise. For anyone who longs for the heady days of ’76, and is an aging punk or new waver, waiting for the next great punk album to arrive, then your wait is nearly over. Night Of Treason’s Gentlemen and Hooligans will be released on 30 April 2012, with the album released on Night Of Treason Records and available via Amazon. So did Gentlemen and Hooligans live up to the hype as “the best English punk record from the 70s?” I’d say yes, given the quality of music and lyrics on Gentlemen and Hooligans. It’s a collection of thirteen highly accomplished tracks that brings to mind the spirit of ’76. Standout Tracks: Ballad of the Teddy Boy (From Ladbroke Grove), The Young Conservatives, On Clockwork Orange Street and This Is My Town.
NIGHT OF TREASON-GENTLEMEN AND HOOLIGANS.
TAVARES-SUPERCHARGED.
TAVARES-SUPERCHARGED.
Anyone who grew up in the seventies, will fondly remember Tavares’ music. They were one of the most successful US soul and disco bands of the seventies. Between 1973 and 1979, they released what seemed like one successful single after another. This lead to Tavares having three US R&B number one singles, while ten of their singles entered the US R&B top ten. Among their biggest hits were She’s Gone, It Only Takes A Minute, Heaven Must Be Missing An Angel, Whodunnit and More Than A Woman. In both the US and UK, Tavares became one of the most popular groups, with their singles seemingly were ever-present in the UK and US charts. However, Tavares weren’t just a singles band, also releasing twelve albums between 1973 and 1983, including 1980s Turbocharged which will rereleased on SoulMusic.com on 26 March 2012. Turbocharged was released at a time when Tavares’ music was changing, from their earlier disco sound, to a funkier, R&B sound. However, before I tell you about Supercharged, I’ll tell you about Tavares and the making of Supercharged.
When Tavares released their debut single and album Check It Out in 1973, they were an experienced group, having been founded in 1959 as Chubby and The Turnpikes. The group originally was composed of the brothers Tavares, Ralph, Pooch, Chubby, Butch and Tiny. As Chubby and The Turnpikes, they signed to Capitol Records, releasing two minor hit singles I Know the Inside Story in 1967 and 1968s Nothing But Promises. By 1973, the group were at a crossroads, and decided to change their name to Tavares. After 1973s Inside Story, Tavares released six further albums during the seventies, but by the end of the new decade, were at another crossroads in their career. Not wanting to be stereotyped as a just disco band, and suffer from the Disco Sucks’ backlash, Tavares decided to change their sound.
Looking back, this was a brave move, considering their first five albums had entered the top twenty in the US R&B Charts. The only album not to do so, was their previous album, 1978s Future Bound, which only reached number 115 in the US Billboard 200 and number fifty-five in the US R&B Charts. When Madame Butterfly was released in 1979, out went their disco sound, in came a funkier, R&B sound. This revived Tavares’ fortunes, with the Madame Butterfly reaching number ninety-two in the US Billboard 200 and number thirteen in the US R&B Charts. Having had their brave decision to change their sound vindicated, would Tavares’ eighth album Supercharged see this improvement in their fortunes continue?
While Bobby Martin formerly of M.F.S.B. and an arranger and producer at Philadelphia International Records, had produced Tavares‘ previous album Madame Butterfly, he wasn’t available for Supercharged. Bobby had decided to leave the music industry, to train for the ministry. So, to replace Bobby Martin, Capitol Records decided to hire Bobby Columby, the drummer for rock band Blood, Sweat and Tears. He was by now an experienced producer, having turned to production in mid-seventies when he left Blood, Sweat and Tears. With Bobby Columby on-board, a number of other session musicians joined the recording sessions. This included drummer Harvey Mason, Funk Brothers’ bassist James Jamerson and Toto guitarist Steve Lukather. Recording took place at Capitol Records Studios, Sunset Sound Studios and Conway Recorders Studios all in Hollywood. In total, eight tracks were recorded, with full horn string sections used. Now that Turbocharged was recorded, it was due for release in February 1980.
Turbocharged was Tavares’ eight studio album in eight years, and the first of the new decade. Released in February 1980, the album was a commercial success, reaching number seventy-five in the US Billboard 200 and number twenty in the US R&B Charts. Two singles were released from Turbocharged. Bad Times was the first of these, reaching number forty-seven in the US Billboard 200 and number ten in the US R&B Charts. I Just Can’t Go On Living Without You didn’t fare as well, when released as a single, only reaching number forty-two in the US R&B Charts. However, Turbocharged’s commercial success further vindicated Tavares’ decision to change their sound. However, although the album was a commercial success, what does it sound like? That’s what I’ll now tell you.
Opening Turbocharged is Bad Times, where Chubby, Ralph and Pooch Tavares share the lead vocal. Written by Gerald McMahon, Bad Times has a spacey, funky introduction, with just electric piano, moody drums and bass combining. They give way to the sultriest saxophone solos, while lush, cascading strings enter and then a thoughtful, soulful vocal. Chubby, Ralph and Pooch share the lead vocal, their voices combining perfectly and complimenting each other. The vocal grows in power and emotion, while percussion, French horns and braying horns combine with the strings and moody rhythm section. Electric and acoustic pianos augment the stunning, polished mid-tempo arrangement, while the brothers Tavares deliver their trademark quality vocals with emotion, passion and soulfulness.
We Both Tried, which demonstrates a much more tender, romantic side of Tavares. A gentle, meandering piano combines with punchy drums and a rocky guitar solo that injects drama to the arrangement. When Tavares enter, the lead vocal are delivered with a tenderness and sadness, tinged with regret at the breakdown of a relationship. Meanwhile, the rest of the group deliver emotional harmonies, laced with drama and heartache. Behind them, the arrangement is perfect for the lyrics. Guitars soar high adding drama, while a piano, strings and French horns add to the sadness and emotion. It’s a perfect combination, even the rocky sounding guitars, which when combined with the drums add to the emotion and drama of what is, a quite beautiful and moving track.
After the sadness and emotion of the previous track, the tempo increases on Can’t Get Enough. Here, Tavares seem determined to lift the listener’s spirits. This they do, with a really joyful, uplifting track that’s a myriad of swinging, rasping horns, percussion, strings and a funky, punchy rhythm section. The vocals are equally joyous, with some frenzied interplay between the lead and backing vocals. It’s almost a call and response style, with the backing vocalists answering the lead vocal in an equally, uplifting joyous style. Meanwhile, the session musicians surpass everything that’s gone before, demonstrating how tight and talented a group of musicians they truly are. Here they’re an important part of Tavares’ recipe for delivering a slice of good-time, feel-good funky, soulful music.
Why Can’t We Fall In Love sees a return to the Tavares sound of We Both Tried. It’s the type of tender ballad that Tavares do so well. Against a slow arrangement that features The Benjamin Wright Orchestra, punchy drums, lush strings and rasping horns are key to song’s success. While the lead vocal veers between a tender and then powerful, emotive style that soars high above the arrangement. Meanwhile, the other Tavares’ brothers deliver tight, sweet and beautiful harmonies, as their brother fervently wonders why he can’t fall in love. Together with the heartfelt lead vocal, and an arrangement that fuses drama, power and emotion, this is a really beautiful track, one of real highlights of Turbocharged.
Having previously delivered a beautiful slow ballad, which is one of the highlights of Turbocharged, Tavares deliver another slow ballad, I Can’t Go On Living Without You. Like the previous track, the subject matter is love, with Tavares delivering some of the best lyrics on Turbocharged. This they do against the slowest arrangement on the album, where the rhythm section, piano, rasping horns and lush strings providing a backdrop for Tavares. For much of the track, their delivery has the sound and power of a choir, before the lead vocal drifts in and out of the track. Although a ballad, the delivery is quite unlike the previous track. Here, their sound is poignant and powerful, with the song suiting the way the group combine to deliver the lyrics. When framed against an arrangement that compliments, but never overpowers the vocal, the end-result is both moving and powerful, but emotional and sad too.
When you read the song titles for Turbocharged, they read like a turbulent and tempestuous relationship. From Bad Times and We Both Tried, to Can’t Get Enough and I Can’t Go On Living Without You, we now get to I Don’t Want You Anymore. In some ways, this is indeed a Turbocharged relationship. Here, the introduction is loud and dramatic, with the rhythm section, searing guitars, keyboards and percussion providing a backdrop for Tavares’ punchy and powerful vocals. There’s an element of bitterness and frustration in the lead vocal, matched by the melodramatic arrangement. Meanwhile, the other Tavares brother contribute tight, soulful harmonies. In amongst the bitterness and frustration of the lead vocal, an impassioned, soulful delivery escapes. Surrounded by a frenzied, emotive arrangement that includes rocky guitars, it’s a track the mixes soul, funk and even rock music.
Paradise sees the tempo drop, with Butch Tavares taking over the lead vocal. Opening with just percussion and acoustic guitar, the rhythm section and guitars gives way to a tender, beautiful vocal from Butch, enveloped in lush strings. While guitars reverberate, the group contribute subtle, gentle harmonies. As the arrangement meanders along, strings and flourishes of keyboards combine perfectly. Later, a Mini Moog plays a solo, working well. In the wrong hands this could’ve spoiled the track, but in Steven George it’s in capable hands. Like the other ballads on Turbocharged, Tavares are at their very best. This track is no exception, with Butch delivering the lyrics beautifully.
Closing Turbocharged is Got To Have Your Love, where Tiny Tavares gets his chance to sing lead vocal. His vocal is stronger, well suited to the tougher, funkier sound. Blazing horns, a funky rhythm section, piano and percussion combine, with Tiny’s impassioned, powerful vocal before sizzling guitars enter. Meanwhile the brothers Tavares contribute punchy, then soaring harmonies, on a much more uptempo track, one that combines funk and soul majestically. Not only that, but it demonstrates Tavares’ versatility as a group. Whether funk, soul or ballads, they’re just as comfortable singing them.
Turbocharged was Tavares’ eighth album since 1973, and was their second album since they turned their backs on their earlier disco sound. Although this was a brave decision, it also probably prolonged their career. If they’d stuck to their earlier disco sound, they’d have suffered at the hands of anti-disco backlash, caused by the Disco Sucks movement. By taking the brave decision to change their sound, Tavares saw their career revitalised, on both Madame Butterfly and Turbocharged. Not only that, but we saw another side to Tavares’ music. With funk, soul and beautiful ballads, Turbocharged was an album full of some quality music. From the opening bars to the closing notes, Tavares weave their magic, augmented by a group of tight and talented session musicians. With Bobby Columby producing, rather than their first choice Bobby Martin, he allowed and encouraged the group to spread their wings musically, exploring new genres of music, and adding different influences to their music. Even the rocky sounding guitars that can be heard on several tracks work, whereas in the wrong hands this sound could grate. Although quite different to some of their biggest hits like, Heaven Must Be Missing An Angel, Whodunnit and More Than A Woman, Turbocharged has the type of quality that you’d expect from the Tavares brothers. Sadly after Turbocharged, Tavares never found the same success, releasing just four further albums, the last in 1983. However, if you want to hear the best of Tavares’ post-disco sound, I can thoroughly recommend Turbocharged, an album full of some quality soulful and funky music, which will be released on 26 March on SoulMusic.com. Standout Tracks: We Both Tried, Why Can’t We Fall In Love, I Can’t Go On Living Without You and Got To Have Your Love.
TAVARES-SUPERCHARGED.
SEARCH-SEARCH I.
SEARCH-SEARCH I.
Recently, I’ve reviewed two albums which were originally released on Philly World Records. These were Terri Wells’ Dreamin’ and Harold Melvin and The Blue Notes’ Talk It Up (Tell Everybody), remastered and rereleased by BBR Records. Founded by Peter Pellullo, a businessman who’d owned the Alpha Recording Studios since 1977, Philly World Records became an important label, releasing albums by artists like Cashmere, Eugene Wells and Search, whose remastered album Search I will be rereleased on 12 March 2012, by BBR Records. Search played an important role in the story of Philly World Records, with the release of their single Like the Way You Funk With Me, the new label’s very first ever release. Philly World Records was founded ten years after the label that put Philadelphia on the musical map, Philadelphia International Records. Peter Pellullo must have hoped for even a fraction of the success Philadelphia International Records had had. On the release of Like the Way You Funk With Me, things look good for both Search and Philly World Records. DJs that included Philly based Bob Pantano wrote in Billboard that Search’s debut single was an “up and coming record” in the magazine’s Disco Mix feature. After the praise in Billboard, the Search shot promotional videos and readied themselves for the released of their debut album, Search I, a memorable fusion of soul, funk and jazz later in 1982. Would Search I give Search and Philly World the success the album deserved?
Search were Philly World Records first signing, made up of Philly based musicians and singers. This included Jeff Dudley, who was the lead vocalist, guitarist and backing vocalist. Les Paul Roque, played keyboards, synths and contributed backing vocals, while Mike Jude was the bassist. The trio hadn’t met drummer James Campbell until the recording of Search I began at Alpha Recording Studios. Under the supervision of producer Buddy Turner, who’d previously produced The Trammps, Four Tops and Eddie Hendricks recording got underway, with T.G. Conway co-producing the album. Seven tracks were recorded, including the two singles Like the Way You Funk With Me and Peanut Butter and Jam. With seven tracks recorded that mixed funk and soul, Search’s debut album was recorded. How would it fare in its release in spring 1982?
Before the release of Search I, Peanut Butter and Jam was released as a single. It wasn’t just released in the US, but throughout Europe and the UK, after a licensing deal with PRT, which was then Pye Records was reached. This allowed Search’s music to be heard by an appreciative audience in the UK, who enjoyed music like Atlantic Starr, Shalamar and Skyy. Sadly, like its predecessor Like the Way You Funk With Me, the single made no impact on the US charts, but proved more popular in the UK and Europe. This must have come as a blow not just to Search, but everyone at Philly World Records. When Search released their debut album Search I, it wasn’t a commercial success, failing to chart in the US. Given the standard of music on Search I, and the group’s potential. This was a huge disappointment. Worse was to come though, when Search weren’t offered another contract. Thus there would be no Search II, and Search never got the chance to realize their potential, the potential which can quite clearly be heard on Search I, and which I’ll now tell you about.
Search’s debut and only album Search I opens with the first single released from the album Like the Way You Funk With Me. A loping, funky bass and drums open the track, settling into the funkiest of grooves, before percussion, blazing horns and synths enter. Even before the vocal enters, there’s only one way the track is heading, funkwards. When the vocal enters, I’m reminded of KC and The Sunshine Band and Kool and The Gang. Searing, chiming guitars and a vocoder join keyboards as the song reveals its beauty and hidden charms. They join the funk drenched combination of rhythm section, braying horns and guitars, resulting in an infectiously catchy track, one that belies the fact that this is a debut album. Instead, it sounds like a track from an experienced group of musicians. It’s no wonder this track quickly, became a dance classic.
Is It Love (For Now) sees the quality continue, with the song reminding me like many early eighties soul artists that became popular. This track however, has a much more timeless sound. Written by Jeff Dudley, the vocal is accompanied by the rhythm section, synths, guitars and understated percussion the provides the track’s gentle heartbeat. When the vocal enters, it’s heartfelt and soulful, but laden in emotion and passion, as he wonders whether this time it’s love? As Les Paul Roque delivers his vocal, the rest of the band contribute impressively, dramatic backing vocals. Meanwhile stabs of synths and keyboards drift in and out of the arrangement, while the subtle percussion is ever-present, fluttering and floating throughout the track. Of the seven tracks on Search I, this is one of the most soulful, beautiful and impassioned, thanks to Les Paul Roque’s vocal.
Peanut Butter and Jam was the second single released from Search I. During the track, Jeff Dudley indulges himself with some clever wordplay, pondering the meaning of the word jam, in the traditional and musical sense. Here, each of the band members get their opportunity to show-case their talents in a improvisational jazz style, while Jeff lays down some clever couplets. This is the type of thing hip-hoppers were doing later on in the eighties. From the opening bars the emphasis is on funk and jazz, with sizzling guitars, a funky rhythm section and keyboards combining. This gives way to the punchy backing vocals, before the lead vocal enters. Against a funk laden backdrop the interplay between the lead and back vocalists is clever and catchy. Each of the group gets the chance to display their considerable talents during a frenzied, energetic six minute funk track, which is tinged with a jazz influence. Although quite different from previous tracks, it’s just as good, demonstrating Search’s versatility and talent with aplomb.
Get Up Off Your Assets has a title that reminds me of something you’d expect on a Funkadelic album. That’s where the similarities end though. With rocky sounding guitars, rhythm section and keyboards, the track sees Search combine rock, funk and soul. Punchy, dramatic, rocky backing vocals accompany a much more soulful and thoughtful, lead vocal. There’s a similar clever play on words during this track, much like Peanut Butter and Jam, when Search list various goods that count as “assets” to them. Much like any young men, this includes trainers, designer jeans and Mercedes cars are their choices, during a track that welds rock, funk and soul. This is quite different to many other soul groups were doing during this time, and was quite a brave choice of track. While it works well here, in less talented hands this could’ve been a disaster. Thankfully, Search had the talent to pull this track off, mixing rock, soul and funk seamlessly.
Quite different from the previous two tracks is Do You Love Me Still is a lovely melodic track, with some of the best lyrics on Search I. After a combination rumbling bass, drums and percussion, keyboards give way to soulful, emotive backing vocals. Then, enters a tender, beautiful lead vocal. Quickly, it grows in emotion and power, while the backing vocalists contribute harmonies. Here, the lyrics are a paean to love, asking whether his partner still loves him. Things get even even better when the sultriest of saxophone solo drifts above the arrangement, accompanying the sadness and emotion of the lead vocal. This is a track with a real Philly Soul sound, and is one of the best tracks on Search I, a timeless paean about love and love lost.
Missing You sees the tempo increase, with the rest of the group contributing punchy, backing vocals. Meanwhile the lead vocal is a combination of sadness, regret and emotion. Sung against an arrangement that sees the rhythm section, guitars, keyboards and percussion combine with sizzling, searing guitars. Throughout the track, there’s a real doo wop influence in the backing vocals, as they cascade above the arrangement, providing a vocal hook. The arrangement sees jazz and funk combining with a subtlety, allowing the vocals to take centre-stage. This they do, resulting in a track that draws it vocal influence from doo wop, while jazz and funk influence the arrangement. This is an irresistible combination, that demonstrates just how versatile Search were musically.
Search I closes with A Song For Carrie, an instrumental track, written by Les Paul Rogue for his wife. Joining Search is Jasper Bradley on guitar. It’s just guitar, rhythm section and keyboards that open this meandering, jazz influenced track. Here, Les Paul Rogue’s keyboards and Jasper Bradley’s guitar playing are key to the sound, which almost has a smooth jazz sound. Les Paul Roque’s keyboard playing is of the highest quality, augment his sound with brief bursts of synths, while the guitar is subtle and beautiful. Together Search produce a beautiful Valentine’s Day present for Mrs Roque, much better and more beautiful than anything you’d find in your local Hallmark shop.
Overall Search’s debut, and sadly, only album Search I was an album full of some wonderful music, music which demonstrated the group’s versatility and considerable talent. With talent like Search had, Search I deserved to do so much better. That Search I wasn’t a commercial success seems strange, given the success similar groups had. Maybe this was partly due to being on a new label, Philly World Records, who maybe hadn’t forged alliances and made the connections required for a new record company. Regardless of the reason for Search I’s commercial failure, it’s an album of quality music. During Search I, the group fuse soul, jazz and funk over seven tracks, with the album also including two bonus tracks of the singles. With in-depth sleeve notes from Christian John Wikane and interviews with some of the personnel involved on Search I, BBR Records remastered rerelease is an album to treasure. It’s an album that anyone who loves soul, jazz and funk will enjoy, especially people who cherish the early eighties soul sound of groups like Shalamar, Atlantic Starr and Skyy, then you should seek out this album when it’s released on 12 March 2012 on BBR Records. It’ll allow you to hear some amazing music from Search on Search I, the group who released the first single for Philly World Records. Standout Tracks: Like the Way (You Funk With Me), Is It Love (For Now), Do You Love Me Still and Missing You.
SEARCH-SEARCH I.
AL KENT-DISCO LOVE.
AL KENT-DISCO LOVE.
One of my favorite compilations of 2012 so far, is Al Kent’s The Best of Disco Demands, a five-disc box set full of some delicious delights of disco music. Al Kent’s The Best of Disco Demands was released on 12 February 2012 on BBE Music, and is one of the best disco compilations I’ve come across in many a long year. Not for a Al the same familiar, tired tracks, available on many inferior compilations. Instead, Al Kent digs way deeper, looking for hidden gems and long forgotten classics. Many of these tracks the artists may have long forgotten even recording. So, what Al does, is bring them back to life, sometimes reediting the tracks, sprinkling them with some of disco dust. However, Al Kent’s The Best of Disco Demands, was neither Al’s first disco compilation, nor his first released on BBE Music. Previously, Al has released two other compilations of hidden disco gems, Disco Love released in February 2010 and Disco Love 2 in April 2011. Both are double albums, with one disc mixed, and the other disc unmixed. This means the mixed CD gives you a flavor of one of Al Kent’s DJ sets, while the mixed CD allows you to hear the track in full, allowing you to discover each of the tracks subtleties, hidden charms and beauty. I’ll now pick some of the best tracks from the first of these compilations Disco Love.
Released in February 2010, Disco Love is a double-album released on BBE Music. Disc One is the mix CD which sees Al seamlessly mix the eighteen tracks together, during the smoothest seventy-nine minute set you’ll have the privilege of hearing. Here, Al Kent demonstrates not just how talented a DJ he really is, but also his reediting skills. Some of the tracks on Disco Love have been reedited by Al, which breathes new life into these tracks, making them not only more dance-floor friendly, but more DJ friendly. Together with his seamless mixing skills, Disc One of Disco Love is mix to treasure, from one the multitalented Al Kent, crate DJ, re-editor, digger and record collector extraordinaire. While Disc One of Disco Love is mixed, Disc Two is unmixed. There are eighteen tracks on Disc Two of Disco Love, with the music a treasure trove of disco delights. Given the quality of music on Disco Love, trying to pick a few tracks to mention isn’t easy, given how good each track is. However, after much deliberation, here are my septet of delicious, disco delights.
My first choice from Disco Love is the track that opens the album, Black Rock’s New York City Bump. Released in 1975, the track is mixed by Tom Moulton. When I first heard this track, it made me think of arrangements by Issac Hayes. After a sample of a train station, wah-wah guitars, a funky rhythm section and soaring male falsetto converge. Although the arrangement is almost understated, there’s a sense of anticipation, that the arrangement will reveal something glorious. You’re not disappointed, female vocalists joins cascading strings, wah-wah guitars, that funky rhythm section and hissing hi-hats drive the groove along. There’s a real contrast between the sound of the lush strings and the rest of the arrangement. Add to an arrangement that marries elements of funk with disco strings, a punchy vocal and soaring falsetto, then you’ve a track that’s not just intriguing and compelling, but one that’s of the highest quality.
Sweet Daddy Floyd’s I Just Can’t Help Myself was released in 1978 on Super-Star Records and is one of the highlights on Disco Love. With its dramatic introduction of percussion, steel drums, stabs of punchy, rasping horns, cascading, swirling strings and the rhythm section, the drama and sense of anticipation is built up for ninety-seconds. During this time, the arrangement reminds me of seventies American funk tracks, especially the type you’d hear in low-budget movies. Just as you’re wondering where the track is heading, a curve ball is thrown, catching you off guard. That’s when an emotive and impassioned male vocal enters, singing of being in love, and how good he feels. Accompanied by female backing vocalists, plus a myriad of percussion, sweeping, lush strings, flourishes of piano and stabs of horns. Together with the rhythm section they combine to create a track that’s soulful, beautiful and has a real feel-good sound. This is true hidden gem, unearthed by the disco detective, Al Kent.
Bob William’s funk tinged I’m Alright, released in 1979, is an intriguing track, that combines disco, soul and funk. It features blazing horns, woodwind and a funk drenched rhythm section, as the arrangement sweeps along at 120 beats per minute. Meanwhile disco strings sit above the arrangement, as horns drift in and of the track, accompanying a powerful, passionate vocal. Backing vocalists provide a soulful backdrop, as a myriad of sounds that wouldn’t sound out of place on an African funk track punctuate the track. With a soulful vocal and arrangement that combines disco with elements of funky music, this track isn’t just intriguing, but is one with an irresistibly catchy sound.
Crosstown Traffic feature on Al Kent’s The Best of Disco Demands, contribute another track Party People. Here, their contribution is Love Your Family, released on D.C. Records, this track was the B-side of Party People. Given the quality of the track, it seems incredible that this was just a B-side. Although described as a disco track, there’s a real funk influence in this track. With stabs of Hammond Organ, handclaps and the rhythm section combining, this gives the track a real disco sound. From the start of the track, it has a joyous, uplifting sound, which is added to when the vocal and then growling horns enter. This gives way to the funky part of the track, when a loping bass-line, one of the funkiest on Disco Love enters. It’s accompanied by punchy vocals during this funk masterclass, before the track returns to its earlier disco sound. By the end of the track, you’ve been won over by the track’s disco delights and its joyous, uplifting, feel-good sound.
JNB’s I’ll Be the One is another of those hidden gems that Al Kent seems consistently able to discover. Released on Glyn Records, this was the B-side to Kansas City Woman. Originally, the track was just under three minutes long, but the version on Disco Love is nearly five minutes long. Straight away, this track has disco written all over it. With the lushest of strings, chiming guitars that weave their way across the arrangement, combine with braying horns and keyboards. Then comes a gorgeous female vocal, their voice gentle and lilting, while the arrangement almost floats and swirls behind her vocal. There’s everything you could possibly want on a disco track, lush strings, rasping horns, flourishes of keyboards and of course that beautiful vocal. Together, the combine to make this not just one of the most beautiful tracks on Disco Love, but one of the best.
The Midas Touch’s The Nightlife (Lets Get It On) is one of the most soulful cuts on Disco Love. Against a backdrop of growling, rasping horns, stabs of Hammond organ, rhythm section and percussion emerges a really soulful, emotive male vocal. Accompanied by equally soulful, female backing vocalists the track meanders and floats along. Flourishes of organ, stabs of braying horns, soaring backing vocals accompany the impassioned vocal, which is drenched in sincerity and emotion. This is very definitely the rare soul that’s mentioned on the cover of the album. When I hear a track like this, I always wonder why it wasn’t a big hit, given its sheer beauty, quality and soulfulness.
New Ghetto Express’s cover of Funkadelic’s Standing On The Verge Of Getting It On is a track that seamlessly marries elements of disco and funk majestically. With keyboards, rhythm section and searing, chiming guitars combining with cascading string that sweep and swirl, the track meanders along beautifully. The rhythm section sprinkle funk into the track, while keyboards, percussions and strings deliver some disco delights. There’s even a jazzy sound to the guitar and other parts of the arrangement. Later, rasping horns enter, as the rhythm section and strings help the track floats beautifully and elegantly along, seducing you with its beauty, subtlety and hidden charms, resulting in a quite brilliant cover version of Funkadelic’s original. This might be heresy to say, but I much prefer this version to Funkadelic’s original.
My final choice from Disco Love is my favorite track from this compilation, The Four Sonics’ If It Wasn’t For My Baby, released on JMC Records and produced by Jimmy Roach. What makes this such a standout track is the impassioned, emotive male and female vocals. Meanwhile, the arrangement combines lush strings, blazing horns, percussion and the rhythm section. The arrangement is a combination of drama and emotion, while the male vocal delivers their part with raw emotion. It’s the female vocalist who plays a much bigger role, her vocal is full of emotion, passion and deeply soulful, delivering the lyrics if she really means them. These vocals are augmented by backing vocalists who to the track’s drama and emotion, while horns growl and rasp, and the lush strings add to the emotion of the track. Of the eighteen tracks on Disco Love, this is my favourite, a track that’s soulful, dramatic and laden with emotion and passion.
Although I’ve only mentioned eight of the eighteen tracks on Disco Love, I could just as easily have mentioned any of the tracks. From the first to final track, Al consistently keeps up the quality of the music. Unlike so many inferior disco compilations, there’s neither any poor tracks nor filler. Instead, Al Kent, the disco detective, has dug deep in his pursuit of all this soulful and disco music. In doing so, he’s discovered some hidden gems including Sweet Daddy Floyd’s I Just Can’t Help Myself, JNB’s I’ll Be the One The Midas Touch’s The Nightlife (Lets Get It On) and The Four Sonics’ If It Wasn’t For My Baby. With tracks ranging from soulful and funky to delicious, disco dancers, there’s an eclectic quality to Disco Love. What makes this such a great compilation, is Al doesn’t choose the usual tired tracks, that crop up far too often. Instead, he unearths long-forgotten B-sides, cover versions and a crate load of hidden gems. Truly, a lots effort has gone into putting together this Disco Love, given the obscurity and rarity of some of the tracks. For that, Al Kent deserves huge credit for that. Not only that, managing to compile a compilation as good as Disco Love, is no easy task. To do so, requires a crate digger extraordinaire, an extensive record collection and impeccable musical taste. Al Kent is blessed with this, as well as being a hugely talented DJ and re-editor. The proof of this can be found on the two discs that make up Disco Love, released on BBE Music. Standout Tracks: Sweet Daddy Floyd I Just Can’t Help Myself, JNB I’ll Be the One The Midas Touch The Nightlife (Lets Get It On) and The Four Sonics If It Wasn’t For My Baby.
AL KENT-DISCO LOVE.
OM BEACHED.
OM BEACHED.
Recently I reviewed Walter Gibbons-Jungle music, a compilation on Strut of some of Walter’s best remixes. In that article, I mentioned how his DJ-ing and remixing influenced a later generation of DJs and house producers, especially deep house producers. So, I thought that having not reviewed a house compilation for a while, I’d look at a house compilation from one of a dance label that’s consistently released quality house music since 1995, OM Records. However, there’s much more to OM Records than house music, or indeed compilations. Apart from all things house that are deep, funky and soulful, OM have released compilations that range from chill-out, broken beat and electro. As well as compilations, OM have released albums from artists that include Dirty Vegas, Miguel Migs and Soulstice to Samantha James, Mark Farina and Groove Armada. Previously, I’ve written about some of their most popular compilation series’ including OM Lounge, Sounds of OM, House of OM and Mushroom Jazz. While these are some of OM’s best known and most successful compilations, there’s so much more to OM Records than just these compilations series. A compilation from OM Records that features all things house music is OM Beached, released in 2005, which features fourteen tracks. With tracks from Chuck Love, Afro-Mystik, Johnny Fiasco. Bebel Gilberto and Bozho, OM Beached is a quality compilation of some of the best house music from 2005, which I’ll now tell you about.
My first choice from OM Beached is Johnny Fiasco’s All Right [Double Dub]. Johnny Fiasco has featured on many OM Records compilations, including House of OM, OM Miami and OM Summer Sessions. Crispy beats, percussion and reverberating synths give way to a sweet, soulful female vocal. As the vocal drifts in and out the track, keyboards and a burst of saxophone punctuate the arrangement, while gasping backing vocalists accompany the vocal. Like the vocal, the backing vocals drift in and out of the track. Throughout the track drums, percussion, keyboards and later, horns are key to this song’s success. Truly, this is a quality slice of funky house from Johnny Fiasco, with an infectiously, catchy, uplifting sound.
Similar to my first choice Johnny Fiasco, Afro-Mystik has featured on many OM Records’ compilation, including OM Lounge, Sounds of OM and Remixed. Here, he contributes Rhythm Is, from the 2003 album Morphology, with the version chosen the Marques Wyatt Mix. The tempo is the same as the Johnny Fiasco track, 126 beats per minute, with there being other similarities with this track. A female vocalist enters, accompanied by crunchy drumbeats, percussion and a cascading keyboard solo. Later, flourishes of keyboard augment the vocal which grows in power, becoming impassioned and emotive. Still the percussion, keyboards and drums provide a steady backdrop, allowing the vocal to take centre-stage and shine. What makes this such a great track is the combination of an excellent arrangement and powerful, emotive vocal. Together they make this deep house track, one of the highlights of OM Beached.
Chuck Love’s Something Right has a very different sound from the two previous tracks. Rasping horns, an acoustic guitar, subtle percussion and understated drumbeats give the track a Latin house sound. A male vocal enters, and it too, has a gentle sound and style. A combination of blazing horns, beats and percussion drive the track along, while the acoustic guitar and occasional keyboards add to song’s beauty. While the sound and style is quite different, one thing stays the same, the tempo. Like the two other tracks, it’s 126 beats per minute. However, that’s the only similarity with a track that has a gorgeous understated and laid-back sound and Latin influence. One thing it does have in common with the two other tracks is quality.
Another track with a real Latin influence is Bebel Gilberto’s River Song, which was released in 2004. Here, the Grant Nelson Mix features on OM Beached. Although the tempo is only 122 beats per minute, the track seems quicker. Bebel’s has a beautiful and emotive vocal, which is accompanied by a proliferation of percussion, crispy beats, woodwind and blazing horns. Her lilting vocal is enveloped in the exotic, Latin and jazz tinged arrangement where horns, percussion, vibes and later, booming steel drums all feature. This is one of these tracks, one that mixes Latin ad jazzy house, giving the track a really uplifting, feel-good sound, one that’s totally irresistible.
Only U by Uneaq is another deep house track to feature on OM Beached. It sees pounding beats, reverberating synths and percussion combine before a joyful female vocal enters. The beats are crisp and loud, while percussion and an acoustic guitar all play important parts in the arrangement. Later a searing, sizzling guitar weaves its way across the arrangement, while delay and then filters are used. Thankfully, both are used sparingly, and not overused. They’re effectively used at the end of the track, heightening the sense of drama and anticipation, when the vocal is enveloped in filters and delay. SImilarly to other tracks on OM Beached, this track features an acoustic guitar, which works well with the percussion, giving the track a Spanish or Latin feel and providing a contrast to the pounding beats. Overall, Only U has a really contemporary, summery sound and feel, one that makes you dream of long, hot summers days lying on a warm beach.
My final choice from OM Beached is the final track on the compilation Bozho’s Just Let Go, which has the type of sound you’d expect from a track released on either OM Records or Naked Music. A beautiful, lush sounding female vocal is accompanied by stabs of keyboard, percussion and crispy beats. Synths meander in and out of the arrangement, while the vocal is enveloped in echo and delay. Later, the drums have a punchy sound, with just percussion accompanying them, when the keyboards and vocal drops out. This changes the sound slightly, but by then the tracks drawn you in, winning you over with its beauty and charms. Of the fourteen tracks on OM Beached, this luscious slice of soulful house one of the very best.
Having spent some time listening to OM Beached, I’m pleased to say that it has the quality you’d expect from a compilation released by OM Records. There’s a variety of styles of house music on OM Beached. Whether you’re a fan of deep, funky, jazzy, Latin or soulful house, there’s something here for you. From the jazz and Latin tinged track from Bebel Gilberto, to Johnny Fiasco’s funky house, Afro-Mystik’s deep house and the soulful house of Bozho, this is an eclectic compilation of the finest quality house music. From the first track, right through to the last track, the quality of music is consistently high. Not once do you ever skip a track, instead, you’re compelled to pay close attention to some of the best house music you could hope to hear. Why OM Records never released OM Beached Volume 2 seems strange. Given how many great artists they have on their roster, surely they could’ve found another fourteen tracks of a similar quality. However, for anyone wanting to explore OM Records’ back-catalogue, there’s plenty of great music to choose from. If it’s house you love, then you’ve the House of OM, Sounds of OM and OM Miami to choose from. Should you prefer something a bit more laid-back and chilled out, then there’s OM Lounge and Mushroom Jazz waiting for you. Overall, there’s a veritable feast of quality music waiting for you in OM Records back-catalogue, including OM Beached, a wonderful compilation of all things house. Standout Tracks: Johnny Fiasco’s All Right [Double Dub], Aftro-Mystic Rhythm Is, Uneaq Only U and Bozho Just Let Go.
OM BEACHED.
WALTER GIBBONS-JUNGLE MUSIC.
WALTER GIBBONS-JUNGLE MUSIC.
If you were to ask most lovers of all things disco, who the most important, influential and innovative DJs of the seventies were, Walter Gibbons’ name wouldn’t be far from most people’s lips. Walter’s role in the history of DJ-ing can’t be underestimated. He was one of the most technically brilliant DJs, a pioneer of beat-matching, while other DJs were still blending. So good a DJ was Walter Gibbons, that other DJs would go to watch him play, almost as if hoping some of his magic would run off on them. However, Walter Gibbons was much more than just a DJ, he was also a talented remixer, responsible for classic remixes like Double Exposure’s Ten Percent, on the Salsoul label. This was a label Walter had a long and fruitful working relationship with. While Double Exposure’s Ten Percent was one of Walter’s most commercially successful remixes, his remix of Loleatta Holloway’s Hit and Run also proved commercially successful, giving Loleatta a surprise hit. There are so many great remixes of tracks on the Salsoul label, that in 2004, Salsoul released a triple-album, Mixed With Love (Walter Gibbons’ Salsoul Anthology). However, it wasn’t just for Salsoul Walter Gibbons remixed tracks for. He remixed tracks for a variety of labels, with an eclectic selection of artists given the Walter Gibbons’ remix treatment. Fourteen of these tracks feature on Walter Gibbons-Jungle Music, a double album of his remixes and edits, released on Strut in 2010. On Walter Gibbons-Jungle Music, an eclectic selection of his remixes are featured, with artists ranging from Betty Lavette, Gladys Knight, Sandy Mercer and Jakki to the Salsoul Orchestra, Arthur Russell, Arts and Craft and Dinosaur L. Over the two discs of, Walter Gibbons-Jungle Music, you’re able to hear some of Walter’s classic mixes, from a DJ who was not just an innovative and influential DJ, but a true artist. I’ll now tell you about the highlights of Walter Gibbons-Jungle Music.
DISC ONE.
Disc One of Walter Gibbons-Jungle Music features seven of Walter’s remixes and edits. This ranges from the soulful strains of Gladys Knight and Betty Lavette to the classic disco sound of the Salsoul Orchestra and Double Exposure and not forgetting Sandy Mercer’s You Are My Love. Overall, it’s an interesting and eclectic selection of remixes, which demonstrate the wide range of music that Walter remixes during his career. I’ll now pick some of the best tracks from Disc One of Walter Gibbons-Jungle Music and tell you about these tracks.
My first choice from Disc One of Walter Gibbons-Jungle Music Sandy Mercer’s You Are My Love, with the version chosen the Original 12” edit. Originally released in 1978 on H & L Records, from her album Hey Love, Come and Get It. This track was originally the B-side of Play With Me, released in 1978. Originally mixed by Walter Gibbons and Steve D’Acquisto, the track opens with crispy drums, before giving way to a funky bass line and then chiming guitars. Punchy, rasping horns and lush, cascading strings precede Sandy’s powerful, emotive vocal. This is accompanied by gospel tinged backing vocals. After that, a gorgeous track unfolds, with a tempo of120 beats per minute. What makes this such a stunning track, is the way the vocal and arrangement fuse perfectly, giving the track an uplifting, joyful sound that’s absolutely irresistible. Of the seven tracks on Disc One, this is one of the best tracks.
Gladys Knight’s It’s a Better Than Good Time is a Walter Gibbons Mix that transforms the original track six minute track into a twelve and a half minute epic. Originally released in 1978 on Buddah Records, Tony MacAulay wrote and produced the original track, which was from the Miss Gladys Knight album. This is very different from Gladys’ Motown and early Buddah Records’ music. Keyboards, crispy drumbeats and hi-hats combine as the track begins. For ninety-seconds the track meanders along at 118 beats per minute, while the drums and keyboards dominate the arrangement giving it an understated sound. Then, a burst of blazing horns and swirling strings join the mix, as gradually the track reveals its hidden charms. When Gladys’ vocal enters her vocal is confident and sassy. As the arrangement fills out, a funk laden bass and percussion join the horns, strings and rhythm section. By now the track has developed a real feel-good sound, with the glorious arrangement and Gladys’ strutting, sassy vocal driving the track along. For over twelve minutes, the tracks gradually reveals its subtleties and hidden charms, resulting in a classy disco track with the help of Walter Gibbons’ remixing skills.
Probably Walter Gibbons’ best known and most successful remix in Double Exposure’s Ten Per Cent. Released on Salsoul, and produced by the legendary Baker, Harris, Young rhythm section, formerly of M.F.S.B. and then The Salsoul Orchestra this is a genuine disco classic. Percussion, rhythm section and handclaps open the track, before strings cascade and join the arrangement. Straight away, this is a track that could only have been released on one label Salsoul. This is The Salsoul Orchestra at their finest, with the Baker, Harris, Young rhythm section providing the track’s heartbeats. It takes nearly three minutes before punchy backing vocals enter. When they do, they briefly soar above the arrangement. Flourishes of piano enter, joining the frenzied guitars, pounding drums and percussion. Add in the lush strings and dramatic, punchy blazing horns, and you’ve the recipe for what was required for a classic disco track. Later, when the vocal enters it’s impassioned and emotive, perfect for the arrangement. With a tempo of 124 beats per minutes, this is just a stunning slice of delicious disco, one that deserves to be called a classic.
Bettye LaVette’s Doin’ The Best That I Can is another 12” mix by Walter, and again, he takes the original track and transforms it into something it was never envisaged as. Released in 1978, on West End Records, this is very different from Bettye’s sixties soul sound. Percussion, braying horns and drums combine with sweeping strings, as the track gets underway. There’s a sense of anticipation when the arrangement starts to build with keyboards and bass entering that something special is about to unfold. With the strings and horns accompanying those crunchy beats Bettye is transformed into a disco diva. Her voice is soulful, accompanied by equally soulful backing vocals, while the driving arrangement provides the perfect arrangement for Bettye. Disco strings, blazing horns, a plentiful supply of percussion and the rhythm section combine brilliantly with Bettye LaVette during this eleven minute epic track, resulting in a hook laden, uplifting and soulful disco track.
The last track from Disc One of Walter Gibbons-Jungle Music I’ve chosen is The Salsoul Orchestra’s Magic Bird of Fire (Fire Bird Suite). Released in 1977, the album Magic Journey, the track is arranged, conducted and produced by Vince Montana Jr., another former alumni of M.F.S.B. and Philadelphia International Records. While it’s just crunchy drumbeats that open the track, it gives way to a dramatic, almost grandiose combination of strings and percussion. It reminds me of something you’d hear in the soundtrack to a movie, at the point where they were trying to create an element of suspense. Joining this is fast, funky bass line and then piano and punchy blazing horns. Although set to a disco beat, with the tempo 128 beats per minute, this could’ve worked well on a movie soundtrack. Flourishes of harpsichord and woodwind are just the latest in a hugely eclectic selection of instruments to join the arrangement. Together, they combine to produce something very different from what you’d expect of The Salsoul Orchestra, but something full of suspense and drama, where you never know what will happen next.
While I’ve only mentioned five of the seven tracks from Disc One of Walter Gibbons-Jungle Music, there’s nothing whatsoever wrong with the other two tracks. Both Jakki and TC James and The Fist O Funk Orchestra’s tracks are of the highest quality. Trying to choose just a few to mention was really difficult. That demonstrates the high standard of music on Disc One of Walter Gibbons-Jungle Music. With a trio of tracks from two of the greatest disco labels of the seventies and eighties, Salsoul and West End Records there’s some seminal disco music on Disc One of Disc One of Walter Gibbons-Jungle Music. Will the standard of music be as good on Disc Two of Walter Gibbons-Jungle Music?
DISC TWO.
The music on Disc Two of Walter Gibbons-Jungle Music is quite different from the music on Disc One. It features more music from the eighties than the seventies. By this time, disco had suffered at the hands of the Disco Sucks music. This lead to a decline in disco’s popularity, especially in the mainstream. Different genres of dance music being developed, and although disco never died, there isn’t much disco on Disc Two. Instead, there are tracks from Dinosaur L, Arthur Russell, Strafe, Arts and Crafts and Harlequin Fours. However, given the different styles of music on Disc Two of Walter Gibbons-Jungle Music, will that mean the quality isn’t as good?
My first track is Arts and Craft’s I’ve Been Searching, released on the Jus Born label, co-owned by Walter. It’s a track that marries a disco with elements of funk and soul. Live percussion, keyboards, crispy drumbeats, lush strings and really soulful vocals provide the basis for the arrangement. Synths reverberate, while overall, there’s a minimalist sound to the arrangement. There’s a feeling of space within the track, with Walter concentrating on the low and high-end frequencies. This is quite deceiving and is a sound that would be copied on many deep house tracks. Later, a funk drenched bass combines with the strings and synths, before the vocal changes hands from a female to male vocalist. Of all the tracks on Disc Two of Walter Gibbons-Jungle Music this is my favorite, due to an arrangement which takes disco to a new level, marrying elements of funk and soul majestically.
Luv You Madly Orchestra’s Moon Maiden was released in 1978, on their Luv You Madly Orchestra on Salsoul. The project paid tribute to Duke Ellington, with disco tracks composed by the Duke. Here, strings cascade, sweep and swirl, while punchy drums and percussion combine with beautiful, soulful soaring female vocals. It’s quite different from the other Salsoul tracks on the compilation, but still has the trademark quality of a track featuring the famous Salsoul label. Halfway through the track, a bass joins the arrangement, providing a contrast to the strings and percussion. Occasionally, filters are used on the vocal, while synths briefly sweep in and out of the track. Overall, it’s an intriguing and compelling track, one that has a lush, sweet sound, that would still sound great played through the PA in a cavernous club.
Harlequin Fours’ Set it Off is my final choice from Disc Two of Walter Gibbons-Jungle Music. Released in 1986 on the Champion label, this is a very different track from my other choices. It’s a track that combines electro and hip hop, featuring synths, crunching beats and percussion, while Willie Daniels almost raps the vocal. Again, there’s a minimalist sound to the arrangement, with just the drums, squelchy synths and percussion augmenting the vocal. This is the slowest track on the compilation, just 74 beats per minute. Not only that, but it demonstrates how attitudes to arrangements had changed. Here, there’s no lush strings, blazing horns or bigger, fuller arrangements. Instead, the track has a much more minimalist sound, demonstrating how with the advent of new technology, it was much easier for artists to produce a track, one that mixes elements of electro in the arrangement, with a hip hop vocal. Although very different from the other tracks on Walter Gibbons-Jungle Music, it still features the quality you’d expect from a Walter Gibbons remix.
Although the music on Disc Two of Walter Gibbons-Jungle Music is quite different from that on Disc One, it’s still music of the highest quality. It shows Walter moving on to different styles of music and collaborating with different producers, like Arthur Russell. This demonstrates his versatility as a remixer, It wasn’t just the case the Walter thrived during the disco era, no he thrived in the post disco era, happy to work with electro and hip hop artists. What this did, was give his career longevity, allowing him to work through three decades, where he became one of the most celebrated and in-demand remixers. On Walter Gibbons-Jungle Music is a celebration of some of his best remixes, fourteen in total, which demonstrate his talent and versatility. Some of these remixes influenced later house producers, while his DJ-ing style and ability to beat-match was hugely influential to early Acid House DJs, as well as garage and house DJs. So, if you’re interested in hearing some wonderful remixes from one of the the most innovative and influential remixers and DJs, then Walter Gibbons-Jungle Music, is album that’s very definitely one for you. Standout Tracks: Sandy Mercer You Are My Love, Double Exposure Ten Per Cent, Bettye LaVette Doin’ The Best That I Can and The Salsoul Orchestra Magic Bird of Fire (Fire Bird Suite).
WALTER GIBBONS-JUNGLE MUSIC.
HENRY STREET GROOVES: CLASSIC DEEP, FUNKY AND JAZZY HOUSE FROM NEW YORK CITY.
HENRY STREET GROOVES: CLASSIC DEEP, FUNKY AND JAZZY HOUSE FROM NEW YORK CITY.
Recently, I reviewed one of my favorite albums of 2012, Johnny D Presents Disco Jamms Volume 1, which is due out today, 5 March 2012 on BBE Music. It was compiled by Johnny De Mairo, DJ, producer, record collector extraordinary and cofounder of Henry Street Records, who previously released Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City. This is a collection of some of the best music released on Henry Street and is a follow-up to Henry Street Music: The Music So Far-1993 To 1999, also released by BBE Music. Like its predecessor, Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City features some classic cuts from the vaults of one of the most influential and innovative record companies in dance music of the last twenty years. Before I tell you about the music on Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City, I’ll briefly tell you about the history of Henry Street Records.
Johnny De Mairo founded Henry Street back in 1993, with Tommy Musto. Both were producers, experienced in the ways of the music industry, and in Johnny, a successful businessman. To deal with distribution and street marketing, Johnny originally enlisted the help of Silvio Tancredi and Tommy Musto, owners of Northcote Productions. They were already responsible for legendary house labels Sub-Urban, 4th Floor and 25 West. A&R was left to Johnny, while Nicky Palermo became Johnny’s studio partner and right hand man. Quickly, Henry Street became known as one of the most innovative and influential dance labels in the US. The reason for this was the quality and cutting-edge music being released. What makes the story of Henry Street Records even more remarkable, is that Johnny was working full-time at firstly, S.I.N. a New York promotions company and later, for Atlantic Records. This meant Johnny ran Henry Street in the evenings and weekends. However, despite this hectic and grueling schedule, Johnny still managed to attract some of the biggest and most talented recording artists to Henry Street. Among them were Kenny “Dope” Gonzalez, Lil Louie Vega, Robbie Rivera, Ralphie Rosario and Armand Van Helde.
It wasn’t just new music Henry Street was releasing. Since the label was founded, old tracks and hidden gems were unearthed, some twenty years old. Johnny resurrected these tracks, helping breath new life into them, using his enthusiasm, knowledge of all things disco and house and of course, his A&R skills. This meant that many a track that slipped through the net first time around, was given a second chance.
From Henry Street’s first release, Kenny Dope Presents the Bucketheads’ Whew, released in Spring 1994, the label was at the cutting-edge of contemporary dance music. Quickly, Henry Street became one of the leading US dance labels. When the label released its fourth single Kenny Dope Presents the Bucketheads’ Bomb (These Sounds Fall Into My Mind), the label became an international success. Now Henry Street wasn’t just a player in the US, but worldwide. With Johnny’s finger always on the pulse of the music scene, the success of Henry Street Records grew and grew, resulting in it becoming one of the major players in dance music. Meanwhile, Johnny became one of most influential people in the music business, while constantly DJ-ing, producing and continually building his legendary eighty-thousand record collection. Now, nineteen years after it was founded in 1993, Henry Street Records is still releasing quality music, like the music that can be found on Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City, which I’ll now tell you about.
DISC 1.
Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City is a two-disc set featuring eighteen tracks, eleven on Disc One and seven on Disc Two. Chronologically, the tracks range from 1995, up to 2004. Among the artists on Disc One are Dirty Harry, Mike Delgado, 95 North, Murder Inc. and Liquid Dope. The music is a combination of styles of house music, ranging from jazzy, to funky and deep house. One thing they all have in common, is the quality you’d expect on any release with the legendary Henry Street Records’ label. With eleven quality cuts to choose from, choosing just a few of the best isn’t easy, but here goes.
95 North’s Check It Out (Dub) is my first choice from Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City. Released in 1996, and written, composed and produced by Doug Smith and Richard Payton, this is a mesmeric, irresistible deep house track, with jazzy influence. Pounding drums, bursts of punchy horns, percussion and vocals that drift in and out of the track combine, while filter is added to the track. The beats are crunchy and quick, the tempo 123 beats per minute, while the sound is furiously catchy. Later, flourishes of keyboards are added, but it’s the combination of beats, horns percussion and vocal the draw you in, and seduce you with their irresistibly, catchy charms.
Dirty Harry makes my day by contributing two tracks the this compilation. One is Funk Daze, released in 1996, and written, composed and produced by Harry Stanley. This is a deep house track that gradually worms its way into your psyche, winning you over with its slightly dark sound. It’s just crispy beats, occasional, subtle, keyboards that dip in and out, while a distant vocal is a welcome addition. Mainly, it’s just the drums that provide a wonderfully hypnotic sound, while the vocal adds to the track’s darkness and mystery, over seven compelling and magical minutes.
Very different from the previous track is Markus’s Do What Cha Like. It’s a track that combines elements of deep and funky house. Released in 1996, the track features joyful, punchy vocals, driving, pounding beats, keyboards and synths that combine magically as the track heads to 128 beats per minute. There’s an almost old school sound to the track, with the squelchy synths, crunching beats and joyful, whooping vocal. That and the infectious sound of the track make this one of the highlights of Disc One Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City.
Ashley Beedle and Phil Asher collaborate as The Rising Sunz on Sunrize, a jazzy house track from 1996. This is very different to the other tracks I’ve chosen with blazing horns and jazz tinged keyboards Uschi Classen accompanying the crisp beats and breathy female vocal. The track uses a serious of dramatic pauses to heighten the tension and drama, with one after three minutes you’d think almost giving way to a new track. It’s then that percussion enters, as the drums drive the track along, while the keyboards sprinkle some jazz and the horns provide a joyous, uplifting sound. Filters are used sparingly, and effective, adding a sense of drama, as the track ends. Of the eleven tracks on Disc One, this is the best, and is certainly the one with biggest feel-good vibe.
My final choice from Disc One of Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City is Liquid Dope’s That Sound (Kenny “Dope” Mix), released in 1998. This is a track from Kenny Dope that features the quality of music you’d expect from one half of Masters At Work. Originally, Kenny had started The Bucketheads project having heard so much poor quality music on the radio, during a drive from Manhattan to Brooklyn with Johnny De Mairo. Kenny decided to fuse a combination of old disco classics to make new tracks. The result was Dungeon Tapes EP. Here the track combines a sweet, soulful vocal that reminds me of an old disco track, with keyboards, percussion and crunchy drums. Occasionally, filters are used, but sparingly and with subtlety. For four minutes, you hear Kenny merge disco and house seamlessly, resulting a blissful and beautiful slice of joyful house music.
Although I’ve only mentioned five of the eleven tracks on Disc One of Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City, I could just as easily picked any track. That demonstrates just how consistently high the quality of music is throughout Disc One. It’s like a trip down memory lane, back to the golden age of quality house music. With jazz, deep and funky house all featuring on Disc One, the standard of music has been set high. Can the standard of music on Disc Two of Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City match that on Disc One?
DISC TWO.
While there were eleven tracks on Disc One of Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City, there are just seven tracks on Disc Two. However, there’s no let up in the standard of music on Disc Two, with tracks from DJ Duke, E-Smoove, Ray Roc, Maurizio Ruggiero and Robbie Rivera. These tracks range from 1995-2004, with each of the seven slices of house of the highest quality. However, will they be as good as those on Disc One of Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City?
DJ Duke’s D2-D2 truly is a Magnus Opus of a track lasting all of twenty-one and a half minutes. Here, you hear the track in its full glory, unlike you would on inferior compilations. Released in 1996, it’s a combination of keyboards, crispy beats and sound effects. The track has an understated start, as if the track is just taking its time to get underway. It’s just the keyboards, synths and drums that combine, with the tempo reaching 120 beats per minute. For the first five minutes, it’s a relaxing, almost laid-back musical journey, but you sense things could change. Chiming guitars join the mix, while the beats and keyboards help the track meander along. As you listen to the track, it doesn’t sound as quick as it is, while the track draws you in. Gradually, you’re smitten by the track, its mesmerizing almost hypnotic sound, entrances you. By the end of the track, the beats are slightly crunchier, while the sound effects and keyboards combine beautifully, resulting in quite relaxing, almost laid back journey lasting twenty-one and a half magical minutes.
Ray Roc’s Shake It (Rock & Kato Original) was released in 2002, and is a funky house track. A soaring saxophone drifts above the arrangement of pounding beats, keyboards and percussion. The saxophone in ever-present, while keyboards drift in and out of the track, with the beats constantly crunchy. Written, composed and produced by Ray Roc Checo, the track has a really catchy sound, one that mixes elements of jazzy and funky house. One thing that makes the track is the way the saxophone constantly drifts above the flourishes of keyboards and pounding beats. Although ten years old, the track has a contemporary, timeless track, one with a memorable and melodious sound.
Maurizio Ruggiero’s Uncomfortably Numb, released in 2000, sees bells chime before the crunchiest of beats enter. They’re quickly joined by crashing cymbals, before frantic percussion before the funkiest of bass line weaves its way across the arrangement. Quickly, the track takes on a compelling, funky, percussive sound. Then the track becomes almost dark, before out of the darkness comes a lighter, brighter sound. From there, the track undergoes a change. Flourishes of keyboards and percussion change the sound of the track. The tempo rises and falls, sometimes almost stopping, before rebuilding, with the tempo rising, reaching 128 beats per minute. Later, the track is transformed, the sound much lighter, with keyboards, bass and percussion combining with the beats. Overall, the track is an intriguing, compelling combination of darkness and light, with the lighter, brighter sound coming to the fore towards the end of the track, resulting in an uplifting, funky sound.
Robbie Rivera’s Saxmania #1 is my final choice from Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City. Released in 1999, the track sees crisp beats and hissing hi-hats combine before the tempo heads to 127 beats per minute. The arrangement sees a driving, yet uplifting combination of percussion and beats joined by the sultriest of rasping saxophone. This gives the track a jazz tinged sound. That saxophone becomes almost ever-present, as filters are used sparingly. Joining the saxophone are beats and percussion, and together, they give the arrangement a jazzy, joyous, feel-good sound, that makes this one of the highlights of Disc Two of Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City.
Earlier, I wondered whether the music on Disc Two of Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City would match the standard of music on Disc One. I needn’t have worried, with the seven tracks just as good, the quality of music what you’d expect to find on a compilation baring the Henry Street Records’ label. This music was some of the finest house music of the nineties or noughties. Whether it’s deep, funk or jazzy, Henry Street Records released some of the most influential, innovative and finest music from the golden age of house music. With Johnny De Mairo at the helm of Henry Street Records, the label became one of the most successful and important labels in dance music. This lead to Johnny becoming one of the biggest players in the music industry. Listening to the music on Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City, is like a trip back to the golden age of house music, a time when the music was either deep, funky or jazzy. So, if like me, you love house music, and want to hear some of the finest house music of the twenty years, then Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City is very definitely, for you, as is Johnny D Presents Disco Jamms Volume 1, released on 12 March 2012. Fittingly, both Henry Street Grooves: Classic, Deep, Funky and Jazzy House From New York City Johnny D Presents Disco Jamms Volume 1, were released on BBE Music, which like Henry Street has been releasing some stunning music since the nineties. Standout Tracks: Dirty Harry Funk Daze, The Rising Sunz Sunrize, DJ Duke’s D2-D2 and Robbie Rivera’s Saxmania #1.
HENRY STREET GROOVES: CLASSIC DEEP, FUNKY AND JAZZY HOUSE FROM NEW YORK CITY.
HAROLD MELVIN AND THE BLUE NOTES-TALK IT UP (TELL EVERYBODY).
HAROLD MELVIN AND THE BLUE NOTES-TALK IT UP (TELL EVERYBODY).
After Teddy Pendergrass left Harold Melvin and The Blue Notes, both Teddy and Harold Melvin and The Blue Notes fortunes varied. While Teddy went on to become a global superstar, resulting in his first four albums being certified platinum and another three gold, Harold Melvin and The Blue Notes success and popularity was on the wane. Gone were the days of gold and platinum albums that were critically acclaimed. It was a far cry from their Philadelphia International days, with Teddy singing lead. That was until 1984, when they released their final album, Talk It Up (Tell Everybody), which has been remastered and will be rereleased on March 12 2012. It gave the group two hit singles, in both the US and UK, songs which even today, are some of the groups most popular dance tracks, Today’s Your Lucky Day and I Really Love You. However, before I tell you about Talk It Up (Tell Everybody), I’ll tell you how Harold Melvin and The Blue Notes and Teddy Pendergrass’ fortunes varied.
The last Harold Melvin and The Blue Notes’ album to feature Teddy Pendergrass was 1975s Wake Up Everybody, released on Philadelphia International Records. It was their most successful album, reaching number nine in the US Billboard 200 and number one in the US R&B Charts, giving the group their only platinum album. After this Teddy and the group parted company, with Teddy signing as a solo artist to Philadelphia International, while Harold Melvin and The Blue Notes headed for a new label ABC.
Harold Melvin and The Blue Notes’ next album Reaching For the World was released in 1977, the same year Teddy released Teddy Pendergrass his debut solo album. While Reaching For the World reached number fifty-six in the US Billboard 200 and number fifteen in the US R&B Charts, Teddy Pendergrass gave Teddy his first hit album. It reached number seventeen in the US Billboard 200 and number six in the US R&B Charts, giving Teddy his first platinum disc as a solo artist.
Having been disappointed with the success of Reaching For the World, Harold Melvin and The Blue Notes released their second album for ABC, Now Is the Time. Sadly, it failed even to match its predecessor, reaching just number fifty in the US R&B Charts. By the time Harold Melvin and The Blue Notes would release their next album in 1980, Teddy would’ve established himself as one of the biggest soul singers of the time.
Teddy released Life Is A Song Worth Singing in 1978, which reached number eleven in the US Billboard 200 and number one in the US R&B Charts, giving him platinum disc number two. His next album was Teddy, released in 1980, which was his most successful solo album, reaching number five in the US Billboard 200 and number one in the US R&B Charts. This gave Teddy a trio of platinum discs to add to the one he received for Wake Up Everybody. By the time his next solo album was released, Harold Melvin and The Blue Notes would’ve released their next album, The Blue Album.
The Blue Album was released by Harold Melvin and The Blue Notes on the Source label, reaching number ninety-five in the US Billboard 200 and number fifteen in the US R&B Charts. This was a big improvement on Now Is the Time and many people wondered whether things were improving for the group. Meanwhile, Teddy released TP in 1980, which was still hugely popular, despite only reaching number fourteen in the US Billboard 200 and number three in the US R&B Charts, giving Teddy his fourth and final platinum disc. By the following year, Harold Melvin and The Blue Notes would switch labels again, when they released their penultimate album All Things Happen In Time.
All Things Happen In Time saw the group back on major label, MCA. However, this didn’t help their fortunes, with the album only reaching number forty-seven in the US R&B Charts. That year Teddy released It’s Time For Love, which reached number nineteen in the US Billboard 200 and number six in the US R&B Charts. It seemed even Teddy’s popularity was declining, but the album still was certified gold. While Harold Melvin and The Blue Notes wouldn’t release another solo album until 1984, Teddy would release an album a year.
1982 was a year of mixed fortunes for Teddy. Just before the release of This One’s For You, Teddy was involved in a terrible car crash. It left him paralyzed from the waist down, due to a spinal cord injury. On the album’s release, it only reached number fifty-nine in the US Billboard 200 and number six in the US R&B Charts. After this tumultuous year for Teddy, he’d release one further album for Philadelphia International.
Heaven Only Knows was released in 1983, just after he left Philadelphia International for Asylum. The album was Teddy’s least successful solo album so far, reaching just number 123 in the US Billboard 200 and number nine in the US R&B Charts. In 1984, Teddy released his first album for Asylum, while Harold Melvin and The Blue Notes would release their final album, Talk It Up (Tell Everybody).
Harold Melvin and The Blue Notes had joined Philly World Records in 1982, joining Cashmere, Terry Wells, Bryan Loren and Eugene Wilde on the label. By then, there had been changes in the group, with original member Bernard Wilson and Jerry Cummings who joined in the mid-seventies both leaving the group. They were replaced by William Spratelly and Dwight “Blackey” Johnson. David Ebo and Sharon Paige who left the group in 1980, were replaced by Rufus Thorne and Gil Saunders, who possessed an impressive, powerful baritone. This was the lineup that joined Harold Melvin in recording Talk It Up (Tell Everybody).
It wasn’t just the lineup that had changed by the time Talk It Up (Tell Everybody) was recorded at Alpha Studios. The music on the album was different. Out went the disco and doo wop of previous albums, in came Bunny Sigler to help reinvigorate the group’s sound. He was another former Philadelphia International alumni, co-producing a trio of tracks and co-writing What We Both Need (Is Love). Two other former Philadelphia International alumni were arranger Jack Faith, who arranged the strings and horns on This Is Love. Norman Harris, of Philadelphia International’s legendary house band M.F.S.B. and part of the Baker, Harris, Young rhythm section arranged the strings and horns on Time To Be My Lover and played guitar two tracks. Harold Melvin cowrote six tracks, while co-producing each of the eight tracks on the album. With Nick Martinelli and Michael Forte also co-producing tracks on Talk It Up (Tell Everybody), the album featured a huge number of Philadelphia’s most creative people. Would Talk It Up (Tell Everybody) see an upturn in the group’s fortunes?
While Harold Melvin and The Blue Notes released Talk It Up (Tell Everybody), Teddy Pendergrass released his first solo album of Asylum, Love Language. It saw an improvement in Teddy’s fortunes, with the album reaching number thirty-eight in the US Billboard Charts and number four in the US R&B Charts. Meanwhile, when Harold Melvin and The Blue Notes released Talk It Up (Tell Everybody), on the Philly World label. Sadly, even though the music on Talk It Up (Tell Everybody) was some of the best since leaving Philadelphia International, the album failed to chart. However, three of the four singles released from the album proved popular, all charting.
Don’t Give Up (Tell Everybody) was the first single released from Talk It Up (Tell Everybody), reaching number eighty-five in the US R&B Charts and number fifty-nine in the UK. Today’s Your Luck Day was the second single, reaching number eighty-one in the US R&B Charts and number sixty-six in the UK. I Really Love You was the third single from the album to chart, reaching number eight-one in the US R&B Charts. Time To be My Lover was the final single released from the album, but failed to chart. Although Talk It Up (Tell Everybody) wasn’t a commercial success, the singles gave the group a trio of hit singles. Given the quality of music on Talk It Up (Tell Everybody), the commercial failure of the album seems strange. This was the group’s best albums since leaving Philadelphia International, and featured some wonderful music, which I’ll now tell you about.
Opening Talk It Up (Tell Everybody) is Don’t Give Me Up, co-written by Harold Melvin, McKinley Horton and Michael Forte, who also arranged the track. This track has a very different sound to the group’s previous music, combining boogie with a post disco sound. A combination of synths, drum machines, keyboards and then chiming guitars open the track, before the group enter singing tight harmonies. This gives way 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, auguring well for the rest of the album. If the other seven tracks are as good, sweet, catchy and melodic as this, then Talk It Up (Tell Everybody) will indeed, prove to be a welcome return to form for the group.
After the infectiously, catchy sound of the opening track, comes Time To Be My Lover, the fourth and final single from Talk It Up (Tell Everybody). It was the only single that failed to chart, which is surprising, given the quality of the track. Featuring Norman Harris on guitar, who arranged the strings and horns, this is a beautiful ballad. With a slow tempo, drums and keyboards accompany Gil’s soliloquy, before he delivers a thoughtful, heartfelt vocal. Drums provide a slow heartbeat for the track, while strings cascade and Norman’s guitar chimes and weaves its way across the arrangement. This provides the perfect backdrop for Gil’s emotive, heartfelt pleas. Later, bursts of understated, rasping horns punctuate the track, providing just the final touch to a gorgeous, emotional arrangement, while Gil delivers one his best vocals on the album. Why the single wasn’t a hit seems strange, given that this is one of the highlights of Talk It Up (Tell Everybody).
The title track Talk It Up (Tell Everybody) is another track that features flourishes of strings. They accompany the rhythm section, guitar and keyboards. This includes a funky, slap bass played by Doug Wimbush, before Gil’s vocal enters. Although the arrangement has an early eighties electronic sound, this doesn’t detract from the song, given the quality of the arrangement and vocal. Gil’s vocal veers between a considered, emotive style, to a more powerful delivery. Similarly, the backing vocals are delivered with an impassioned, yet soulful style. Meanwhile, the arrangement combines soul and funk, with a quicker, more dance-floor friendly tempo of 111 beats per minute. Jimmy Sigler’s arrangement gives the track a real uptempo, feel-good sound. Later, when Gil starts to vamp his way through part of the track, you’re reminded of the classic Harold Melvin and The Blue Notes’ sound, with Teddy at the helm. This demonstrates the quality of Gil’s vocal. When combined with the arrangement, the result is an uplifting, joyous track, one that’s quite irresistible.
I Really Love You sees the tempo drop again, on a track that has a Quiet Storm sound and style. This is another ballad, with Gil delivering the lyrics about love tenderly, singing of his love for his girlfriend. This he does against an arrangement that features understated, but tender backing vocals, while keyboards, drums and a bass combine. There’s even the sound of steel drums in background, while the arrangement meanders, beautifully along at 84 beats per minute. Like the previous ballad, Time To Be My Lover, this is another highlight of the album, one that demonstrates just how talented and underrated a vocalist Gil Saunders is.
Again, Today’s Your Lucky Day sees the style and tempo change. Here, Harold Melvin and The Blue Notes are joined by Nikko, who shares the lead vocal. This is similar to when Sharon Paige joined the group in the mid-seventies. Her vocal is perfectly suited to Gil’s. Both possess a powerful, impassioned vocal, and seem to be spurring each other on to even greater things. They’re accompanied by just keyboards, drums and bass, which drive the track along as the arrangement combines elements of funk and soul. Midway through the track, there’s a fantastic keyboard solo, while the bass plays around it. It gives way to Gil and Nikko’s emotive vocals, as the track heads to its dramatic finish. While the track wasn’t a huge hit in the US, it proved more popular in the UK and Europe. I can see why, with the track laden with energy, drama and power, thanks to its funky, yet soulful sound.
This Is The Love sees Harold Melvin and The Blue Notes drop the tempo again, as we hear another beautiful ballad about love, which features the best arrangement on the album. Percussion from Dr. Gibbs, Norman Harris’ guitar playing, joins lush strings and subtle horns arranged by Jack Faith. Keyboards and the rhythm section both contribute towards the arrangement’s beauty. Gil’s vocal has a tenderness, with his deliver heartfelt and sincere. Again, he’s joined on lead vocal by Nikko, whose vocal is equally emotive and impassioned. When this combined with the best arrangement on Talk It Up (Tell Everybody), the result is another bewitching ballad from Harold Melvin and The Blue Notes.
I Can’t Let You Go is the quickest track on Talk It Up (Tell Everybody), with the tempo a dance-floor friendly 121 beats per minute. The track also features some powerful vocals from Gil, with his baritone voice put to good use. Similarly, the punchy backing vocals from the Blue Notes, are delivered with emotion, while drums, guitar and keyboards drive the track along. Although very different to the previous two tracks, the track has a catchy, mesmeric sound, that gradually reels you in, until you can no longer resist the tracks subtleties and hidden charms.
Closing Talk It Up (Tell Everybody), and Harold Melvin and The Blue Notes recording career after nine albums since 1972, is What We Both Need Is Love, a mid-tempo track. Often, a group or artist seem to keep the best track until last, and this is very definitely the case here. Gil’s half-spoken introduction is accompanied lush strings, while the rhythm section, guitar and keyboards combine. Straight away, it’s like being taken back to 1972 and If You Don’t Know Me By Now. The track sounds similar, and it’s like meeting an old flame after many years. Here, Gil’s delivery has a similar impassioned and sincere delivery as Teddy’s on If You Don’t Know Me By Now. As the song progresses, the similarities are startling, you almost expect Gil to start singing “If You Don’t Know Me By Now.” Here, the Blue Notes harmonies are some of the best on the album. Drums add to the drama of Gil’s vocal, while keyboards augment the sound, and later, help build the drama as the song heads to it’s dramatic conclusion. While I absolutely adore this track, which is the highlight of Talk It Up (Tell Everybody), the similarities with If You Don’t Know Me By Now are starting. However, it seems fitting that Harold Melvin and The Blue Notes close their final album on such a great track, one that brings back memories of the group at their Philadelphia International prime.
Although Harold Melvin and The Blue Notes’ final album Talk It Up (Tell Everybody), may not have been the biggest commercial success of their long and glorious career, it’s an album full of quality music. Among This Is The Love’s highlights are a trio a slow ballads in Time To Be My Lover, I Really Love You and This Is The Love. Another of the best tracks on What We Both Need Is Love, a track closely related to their 1972 hit If You Don’t Know Me By Now. For me, it’s the best track on Talk It Up (Tell Everybody), and is a beautiful and fitting track to close Harold Melvin and The Blue Notes’ recording career. However, there’s much more to Talk It Up (Tell Everybody) than just four tracks. Don’t Give Me Up is an infectiously catchy track, while the trio of dance-floor friendly tracks Talk It Up (Tell Everybody), Today’s Your Lucky Day and I Can’t Let You Go demonstrate that there’s much more to Harold Melvin and The Blue Notes’ than gorgeous ballads. How Talk It Up (Tell Everybody) wasn’t a bigger commercial success than it was, seems strange, given the wonderful music on the album. Talk It Up (Tell Everybody) is another album that proves a theory of mine that many albums that failed commercially, feature some fantastic music. This has been demonstrated so many times, with. Harold Melvin and The Blue Notes’ Talk It Up (Tell Everybody) just the latest in a long line of albums to prove this theory. Like the music on the three previous Harold Melvin and The Blue Notes’ albums released by BBR Records, Black and Blue, I Miss You and Wake Up Everybody, Talk It Up (Tell Everybody) is another album that features some wonderful music. On BBR Records remastered, rerelease of Talk It Up (Tell Everybody), there are seven bonus tracks, including single and twelve inch versions of track. This includes two remixes from John Morales and Sergio Munzibai. Along with in-depth sleeve notes from J. Matthew Cobb, the sound quality is stunning. So if you’re a fan of either Philly Soul or Harold Melvin and The Blue Notes, then BBR Records’ release of Talk It Up (Tell Everybody), which will be released on 12 March 2012, is one that belongs in your music collection. Talk It Up (Tell Everybody) features some beautiful and wonderful music, and is a fitting finale to the long, illustrious and successful career of Harold Melvin and The Blue Notes. Standout Tracks: Time To Be My Lover, I Really Love You, This Is The Love and What We Both Need Is Love.
HAROLD MELVIN AND THE BLUE NOTES-TALK IT UP (TELL EVERYBODY).
DANNY KRIVIT-EDITS BY MR K-VOLUME 2: MUSIC OF THE EARTH.
DANNY KRIVIT-EDITS BY MR K-VOLUME 2: MUSIC OF THE EARTH.
Nowadays, it seems it’s not enough for a DJ to have impeccable music taste and be technically brilliant, but they’ve also get to be an “artist,” capable of remixing and reediting tracks. These are now tools that every DJ should have in their arsenal. This is just the latest change in a DJ’s life, and is a long way from when a DJ spun vinyl on a pair of Technics 1200s. Now things are very different, digital DJ-ing must be mastered by a DJ, who previously, had just got used to CD decks. So from the beloved Technics 1200s and 1210s, came the Pioneer CDJ200 CD decks, which are quickly being replaced by digital software like Traktor and Serato Scratch. As if that isn’t complicating matters enough, DJs are expected to be able to either remix or reedit tracks. Reedits are more common that remixes for the average DJ, which means mastering various software packages, which can range from Cool Edit Pro right up to Ableton Live, Pro Tools and Logic. All this means that not only must a DJ be technically brilliant, have impeccable taste in music and be able to work digital controllers and software, as well as software for reediting music. One DJ that can do all this and more is Danny Krivit. Danny’s not only made a career out DJ-ing worldwide, but is also a talented remixer and re-editor. His reedits feature during his DJ sets, and also on two volumes of Edits By Mr K on the Strut label. I’ve chosen to review the second volume in the series, Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth, released in September 2010 on Strut. On this compilation are ten of Danny’s reedits, with reedits of tracks by The Philadelphia All-Stars, The Fatback Band, Patrick Rushden, Soul Searchers and Chairmen of the Board. However, before I tell you about the music on Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth, I’ll tell you about Danny career re-editing tracks.
Danny Krivit first reedited tracks as far back as 1982, long before the software packages that are used nowadays. Instead, he’d have to rely on cutting up reel-to-reel tape and patiently, splicing it back together. This was time consuming, laborious work. Like many DJs of that time, these reedits were for using during their sets, not designed for being released commercially. However, Danny was approached by a record company who wanted to release some of these reedits. When these were released on TD Records, Danny decided to use the pseudonym Mr K for the release of the reedits. Two of the tracks were The Chi-Lites’ My First Mistake and the Philly classic from the Philadelphia All Stars’ Let’s Clean Up the Ghetto. Little did Danny know prior to their release, that very soon, these reedits would attain legendary status. Thankfully, the near twelve minute version of Philadelphia All Stars’ Let’s Clean Up the Ghetto is one of the tracks on Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth. However, reedits would play a big part in Danny’s DJ career.
After this, Danny found himself DJ-ing at New York’s Roxy indoor roller skating arena and it was there that Danny decided to try mash-ups. Here, he’d reedit a track and combine two tracks that worked well. This would later influence hip hop DJs and went down well at venues like the legendary Paradise Garage and Roxy. Like his earlier reedits, Danny chose to reedit and mash-up hidden gems and forgotten classics, exposing them to a new, appreciative and much wider audience. Since then, Danny has gone on to reedit numerous tracks, during his long and successful career as a DJ. Some of these reedits can be found on Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth, where the music is a combination of well known tracks and hidden gems, edited with Danny’s subtle editing skills. This is what sets Danny’s reedits apart from other re-editors. His edits are subtle, staying true to the original track and edited with an ear and view to what works on a dance-floor. So having told you briefly how Danny Krivit’s career as a re-editor started, I’ll now pick my favorite tracks from Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth.
My first choice from Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth, is Patrice Rushen’s Music of The Earth, from her 1978 album Patrice on Elektra. Co-written by Angela Rushen, it’s an example of how Patrice’s music was changing in 1978. Her music had gone from jazz fusion to a much moderne, funky sound with a great vocal. The introduction has been changed by Danny, with a stunning, searing wah-wah guitar solo weaving its way across the arrangement. It’s joined by pounding drums and hissing hi-hats. Quickly, the arrangement bursts into life, a proliferation of percussion joining the mix, with shakers to the fore. Then on the signal of the drums, things move up a gear. A slice of the funkiest music reveals itself, with keyboards, joining the rhythm section, guitars and percussion. When Patrice’s vocal enters, it’s gentle and beautiful, accompanied by cascading strings. Blazing horns reveal themselves as the track has at last revealed its subtleties and hidden charms. From fusion, to funk, Patrice Rushen reveals her talents during a track that combines drama, subtlety with funk and soul, all seamlessly reedited by Danny Krivit, Mr K.
When you listen to Midnight Movers’ Follow the Wind, you might find yourself wondering that the guitar licks sound familiar. That is indeed the case, with Skip Pitts also responsible for the inimitable guitar sound on Isaac Hayes’ masterpiece Shaft. It’s not just Skip whose a music veteran, the rest of the band have played with such luminaries as Sam and Dave, Wilson Pickett and The Isley Brothers. Here, Skip lays down some more of his trademark guitar licks. They’re fast and furious, with the emphasis on funk. His guitar joins constant, pounding drums, punchy, rasping horns and punchy vocals, that drift in and out of the track. Throughout the track, there’s no let up in the tempo of 122 beats per minute, while there’s very little space left in the arrangement. Instead, the arrangement is driven along by a fast, funky rhythm section, blazing horns and of course, Skip’s sizzling guitar playing. The end result is six minutes of funk drenched music, from a group of veteran of soul music.
One of the tracks that made Danny’s name as a re-editor was Philadelphia All Stars’ classic Let’s Clean Up the Ghetto, written about the time the garbage workers in New York were on strike. Released in 1977, on Philadelphia International Records, the track was produced by Gamble and Huff and arranged by Dexter Wansel. Six of Philadelphia International’s biggest names sung the vocal, including Lou Rawls. Here, the part of the vocal is edited out, with parts of the instrumental version added. This results in a near ten minute masterpiece. When the track opens, the introduction is dark and repetitive, with M.F.S.B. combining with Don Renaldo’s strings and horns. Quickly, the arrangement has grown, with a contrasting sound offered by the horns and percussion. With the introduction lengthened, you’re able to revel in the track’s drama, and enjoy hearing M.F.S.B. do what they do best. With just the rhythm repeated, percussion and horns add variety. It takes just over four minutes before the vocal enters, with Danny building up the anticipation. His decision to remove parts of the vocal works, with the lyrics not suiting the dance-floor. However, it could be argued that part of the song’s impact and message is lost. Regardless of this, Danny’s reedit is stunning, done with subtlety and with a view to how the song would work on the dance-floor. Of all the reedits on Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth, this is the best, a real classic.
The Fatback Band started their career working with Patrick Adams at Perception Records. By 1975, they were signed to Polydor Records, where they’d release the single (Do The) Spanish Hustle. Opening with a dynamic rhythm section, percussion and keyboards, the track is a combination of funk jazz and Latin music. Braying horns join the arrangement, while a myriad of keyboards, percussion and the rhythm section help drive the track along. After two minutes, the track just glides along effortlessly, sweeping you away with its catchy, infectious and soulful, disco sound. Later, when the vocal enters, it has a equally joyful, uplifting sound. It’s enveloped by percussion, flourishes of keyboards, rasping horns and the rhythm section. By now you realize just how well this track would work on a dance-floor. Even now, the track would work perfectly in any DJ’s set, with the track blessed with a contemporary, timeless sound.
The last track I’ve chosen from Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth, is quite different in sound and tempo. Whereas the previous track was 122 beats per minute, a similar tempo to most tracks on the compilation, Chairman of the Board’s Life & Death is a mid-tempo track, only 96 beats per minute. The track was originally recorded by Sly Stone for his Abaco Dream project, Taken from Chairman of the Board’s Skin I’m In album, the track is quite different from much of their music. As the track opens, it’s an intriguing combination of percussion and drums you hear, before later, searing, sizzling guitars and keyboards join the track. Together, they take the track on a funky musical journey, with a dark, dramatic sound. When the vocal enters, it’s a powerful, dramatic delivery, while the arrangement takes a rocky sound. Although the track, the track has a real hard edge sound to it, almost unrecognisable from their better known tracks, it has a compelling sound that draws you in, making you wonder what will happen next. Play this to anyone who loves Chairman of the Board’s more popular music, and they’ll never believe it’s the same group.
Overall, Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth features a variety of remixes from Danny. Each of his edits are done with skill and subtlety, with a view to how they’ll work on the dance-floor. In doing so, he’s approached each track from both a DJ and dancer’s perspective. That’s why each of these reedits works so well. Although I’ve only mentioned five of the ten tracks, there’s much more to Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth than these five tracks. With track’s from Blue Moderne, Milton Hamilton, Rare Pleasure and the Soul Searchers, this is a treasure trove of tracks, from one of the most talented DJs and re-editors. With a wealth of experience as both a DJ and re-editor, Danny Krivit is someone any aspiring DJ should look up to. He possesses all the attributes of a successful, twenty-first century DJ, as comfortable DJ-ing as he is reediting and remixing tracks. These reediting skills are demonstrated to the full on the ten tracks that make up Danny Krivit-Edits By Mr K-Volume 2: Music of the Earth. Standout Tracks:Patrice Rushen Music of The Earth, Midnight Movers Follow the Wind, Philadelphia All Stars Let’s Clean Up the Ghetto and The Fatback Band (Do The) Spanish Hustle.
DANNY KRIVIT-EDITS BY MR K-VOLUME 2: MUSIC OF THE EARTH.
NUPHONIC 01 AND NUPHONIC 02.
NUPHONIC 01 AND NUPHONIC 02.
When I was looking through an old pile of compilations recently, I rediscovered a much loved, and sadly lamented compilation series that ran for four volumes between 1998 and 2003. This was the Nuphonic series, which began with Nuphonic 01 in 1998 and ended with Nuphonic 04 in 2003. In between, Nuphonic was at the vanguard of contemporary dance music released in the UK. However, there was so much more to the Nuphonic label than just four compilations. Nuphonic released the first two volumes of Joey and Norman Jay’s Good Times compilations, plus two volumes of David Mancuso Presents The Loft. It wasn’t just compilations that Nuphonic released though. They also released albums from Block 16, Fug, Idjut Boys, Faze Action, Black Jazz Chronicles and Adam Goldstone. Sadly, the Nuphonic label only existed for eight years, but during those eight years released some of the most memorable music of that time. Before I tell you about the music on the first two volumes of the Nuphonic series, I’ll briefly tell you about Nuphonic’s history.
Nuphonic were founded in 1995 by Sav Remzi and David Hill in London. Their aim was to release and promote dance music, with the emphasis on house and electronic music. This music reflected the pair’s love for funk, soul, jazz and world music. The first album the new label released was in June 1995, and was Faze Action’s Original Disco Motion. After this, EPs from Blaze and twelve inch singles from Larceny and The Free Chicago Movement followed in 1995.
In 1998, the Nuphonic 01 compilation was released. This compilation reflected Nuphonic’s passion for Nu-House music, with tracks from Blaze, Kerri Chandler and Joe Claussell. However, there was more to Nuphonic 01 than house music, with the compilation representing the eclectic quality of the label’s roster. Tracks from Black Jazz Chronicles, The Free Chicago Movement, Fuzz Against Junk and Faze Action. When Nuphonic 01 was released, it immediately became a hugely popular compilation, with Nuphonic becoming one of the hottest labels in the UK.
A year later, Nuphonic 02 would be released in 1999. By this time, Nuphonic had released the first volume of David Mancuso Presents The Loft, plus albums by Fuzz Against Junk, Faze Action and Soul Ascendants. On Nuphonic 02 were tracks from Nuphonic’s recent releases, with tracks from Roy Davis Jr., Blaze, Marcel and Soul Ascendants. It really was another eclectic selection of quality music from Nuphonic.
In 2000 Nuphonic 03 was released, along with albums like The Idjut Boys’ Saturday Night Live and Andrew Weatherall’s Nine O’Clock Drop. Meanwhile, Nuphonic were releasing some of the best compilations of that time. This included Last Night A DJ Saved My Live, David Mancuso Presents The Loft Volume 2 and the first installment of Joey and Norman Jay’s Good Times compilation series. Looking back, the year 2000 was one of the biggest years in Nuphonic’s history. Little did people know back then, that the label would only last another two years.
While 2000 had been a big year for Nuphonic, 2001 was almost as busy. Nuphonic 04 was released, with compilations including Joey and Norman Jay’s Good Times Volume 2 and London Xpress demonstrating Nuphonic’s ability to release consistent, quality compilations. However, it was some of the artist albums Nuphonic released in 2001 that really stood out. 2001 was truly a golden year for Nuphonic and artists albums, with Fug’s Ready For Us, Block 16’s Morning Sun and Adam Goldstone’s Lower East Side Stories a trio of great albums from Nuphonic. Sadly, after this golden year for Nuphonic, 2002 would see Nuphonic close its doors.
Although Nuphonic would close its doors in 2002, it still issued some quality music. Among the highlights were a remix album of Block 16’s Morning Sun, entitled Morning Sun Remixed, along with the This Is Not A Soundclash compilation. However, apart from the odd EP and a couple of twelve inch singles, that was all that was heard from Nuphonic. The label folded in 2002, citing a fall in sales, the changing way consumers were buying music and a change in musical tastes. What had been one of the most influential and innovative labels in the UK ceased trading. By 2004, Sav Remzi was back in the music industry with a new label, Tirk Records. Two years later, in 2006, Dave Hill was back in music, having formed Radial Music a composing and supervisory company. However, many people, myself included, look back on the Nuphonic label with fondness, remembering the many great albums and compilations the label released during its eight year history. Two compilations which contain the type of music Nuphonic were releasing during 1998 and 1999, are Nuphonic 01 and Nuphonic 02, which I’ll now tell you about.
NUPHONIC 01.
Nuphonic 01 was released in 1998, and was like a sampler of the music Nuphonic was releasing at this time. I remember buying this compilation, after being impressed by the variety and quality of music being released by Nuphonic from 1995 onwards. With tracks from Blaze, Kerri Chandler and Joe Claussell, Faze Action, Black Jazz Chronicles and The Free Chicago Movement, Nuphonic 01 was an eclectic compilation of nine tracks from artists on the Nuphonic label. I’ll now pick my favorite tracks from Nuphonic 01.
My first choice from Nuphonic 01 is Blaze’s Moonwalk, which opens with crispy drumbeats, before moody sounding synths atmospherically drift across the arrangement. Keyboards meander, adding to the atmospheric, mysterious sound that gradually, is revealing itself. There’s an interesting contrast between the crispness of the drums and squelchy, moody sound from the mainstay of the arrangement. Even when the tempo gradually increases, an air of mystery still hangs over this slice of deep house music. Since I first heard this track back in 1998, I’ve found it almost mesmeric and hypnotic.
Kerri Chandler and Joe Claussell’s Escravos De Jo opens with just a trumpet blazing, accompanied by percussion and drumbeats. This combination is joined by backing vocalists that sweep in. By now, the track has a real Latin sound and feel, that’s combined with elements of jazz and house music. The house music element is provided by crispy beats that enter, helping drive the track along. Still it’s just percussion, trumpet and backing vocalists that accompany the drumbeats. However, they manage to give the arrangement a fuller, busy sound. Together, they create a track that combines elements of Latin, jazz and house music majestically.
Tribute by Soul Ascendants is one of the best tracks on Nuphonic 01. It’s a jazzy house track, with the crispest of drumbeats, joining percussion, stabs of keyboards and braying horns. Together they combine elements of jazz, Latin and house music. This is combined by the Soul Ascendants and transformed into a near ten minute epic track. With it’s joyous and infectiously catchy sound, it’s one of the highlights of Nuphonic 01, and a reminder of the quality of music Nuphonic were releasing in 1998.
The final track I’ve chosen from Nuphonic 01, is Ten City’s Nothing’s Changed. This track has a very different, but quite beautiful sound. Featuring flourishes of keyboards, cascading strings, percussion and punchy drumbeats, they’re joined by a lovely vocal. It’s emotive and joyous, accompanied by backing vocalists, while the arrangement is mixture of contrasting sound. There’s everything from bursts of rasping horns, lush strings, crispy drumbeats and a myriad of percussion. Much as I love the arrangement, it’s the vocal which is the highlight of track. Subtle and lilting, then emotive and expressive, it’s gorgeous, especially when combined with an arrangement this good.
I remember when I first listened to Nuphonic 01, I was immediately struck not just by the eclectic nature of the compilation, but the quality of the music. Back then, like now, I was buying many compilations. Many of these varied in quality, with it being a case of the good, the bad and ugly. Nuphonic 01 wasn’t just good though, it was very good. Then when I heard a second volume was about to be released in 1999, I wondered if Nuphonic 02 would match the quality of Nuphonic 01. Too often, I’d come across cases where volume two was but a pale imitation of volume one. This was at a time when it seemed new independent labels were starting up every week, all over the world. So when I received Nuphonic 02, it was with some trepidation that I started listening to it, hoping it would match the quality of Nuphonic 02? Was that the case though?
NUPHONIC 01.
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NUPHONIC 02.
Released in 1999, a year after Nuphonic 01, Nuphonic 02 featured a few familiar faces from the previous volume. Again, there were songs by Blaze, Soul Ascendants, Faze Acton and Fuzz Against Junk. Alongside these familiar faces, were tracks from Roy Davis Jr., Tiny Trendies and Rollercone. So with a combination of eclectic tracks from old and new friends, I took the plunge, put on Nuphonic 02, hoping it was as good as Nuphonic 01. However, could and would, Nuphonic 02 live up to my expectations?
One of the familiar faces from Nuphonic 01, Soul Ascendants, were responsible for one of the best tracks on Nuphonic 01. Here, their contribution is String Thing, a combination of crunching beats which combine perfectly with percussion. They’re augmented by flourishes of synths and keyboards, before dramatic, grandiose strings enter. They’ve an orchestral sound, while the rest of the arrangement is a scintillatingly catchy sound. Bursts of of equally dramatic rasping horns enter, before furiously, quick chiming guitars join the mix. For just over six amazing minutes Soul Ascendants take you on a truly hook laden musical journey fusing house and jazz, with orchestral strings magically.
Blaze were also on Nuphonic 01, with their track Moonwalk another highlight of the compilation. Here, Swag’s Spiritual Mix of My Beat is even better than Moonwalk. It’s a track that reminds me of 1999, when Nuphonic 02 was released. With cruchy beats, a proliferation of percussion, stabs of keyboards and a confident female vocal that enters later in the track. The track is driven along, with Blaze’s unique brand of jazzy house, where the beats are crisp, the keyboard sound warm and the percussion plentiful. For me, the finishing touch is the slow, confident vocal. Together with the arrangement, Blaze contribute one of the real highlights of Nuphonic 02.
Faze Action’s Moving Cities, the title track from their 1999 album is another track that features stirring, dramatic strings. They’re fused with a dark, moody bass, drumbeats, percussion and keyboards. Chiming guitars enter, providing a contrast to the darkness and drama of the strings, during an arrangement that’s fast, catchy and mixes a variety of musical contrast. Layer upon layer of music gradually reveals itself thanks to brothers Robin and Simon Lee. Later, the strings take on a lush sound, as they glide gracefully atop the arrangement. To me, this track is a fitting reminder of the fantastic music Faze Action were making during their time on Nuphonic.
My final choice from Nuphonic 02 is Rollercone’s Palais Mascotte, the group’s only release on Nuphonic. Mind you, if you’re only going to release one single on a label, make it one as good as this. The beats are slow, crisp and slightly spacey as the track opens. Stabs of keyboards are joined by a scatted vocal, which has beautiful sound. Still, it’s just a compelling combination of keyboards and crispy beats, that accompany the jazzy, scatted female vocal as you await the track to reveal itself. Handclaps join the mix, before the track seems to have a false ending after two minutes. Instead, it’s just a case of rebuilding the track, with drums, percussion and keyboards accompany the scatted vocal. Although the arrangement is a variation on an earlier theme rearranged, it somehow draws you in. You become caught up in the track, find yourself almost hypnotized by the constant beats, so much so, that you hardly notice that over six minutes have passed before the track ends. However, what a fantastic way to spend six minutes, listening to a track as beautiful as this.
Having wondered whether Nuphonic 02 would match the quality of its predecessor Nuphonic 01, I shouldn’t have worried. The music isn’t just as good as that on Nuphonic 01, it’s even better. I’ve not even mentioned tracks by Fuzz Against Junk, Roy Davis Jr. and Tiny Trendies. Truly, the ten tracks onNuphonic 02 are an eclectic collection of music, with the emphasis on quality music. It’s an interesting snapshot of the quality of music Nuphonic were releasing in 1999. Back then, nobody thought that three years later, Nuphonic would fold. However, for eight years Nuphonic were one of the most innovative and influential UK labels, releasing music from not just the UK, but Europe, the USA and even further afield. After the release of Nuphonic 02, Nuphonic 03 would be released in 2000, with Nuphonic 04 following in 2001. Along with albums by Fug, Block 16, Faze Action and Adam Goldstone, the next Nuphonic release some of their most memorable artists albums between 2000 and 2002. That’s not to mention compilations like Joey and Norman Jay’s Good Times Volume 2 and David Mancuso Presents The Loft Volume 2. So, if when you’re crate digging in any record shop and see any album with the Nuphonic label on it, why not take a chance on it. Should you do so, what you’ll find is some fantastic music, from a much loved and sadly missed label, Nuphonic. Standout Tracks: Soul Ascendants Tribute, Ten City Nothing’s Changed, Faze Action Moving Cities and Rollercone Palais Mascotte.
NUPHONIC 02.
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