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.
THE BREAKS-ORIGINAL B BOY STREET FUNK AND BLOCK PARTY CLASSICS.
THE BREAKS-ORIGINAL B BOY STREET FUNK AND BLOCK PARTY CLASSICS.
Recently, I reviewed one of the compilations Harmless Records released to commemorate their fifteenth anniversary, Mellow Mellow. However, that wasn’t the only compilation Harmless released to celebrate fifteen years of releasing quality music. Three other compilations were released, Jumpin’ was a collection of true disco classics. Pulp Fusion: The Return of the Original Ghetto Jazz and Funk Classics, was a retrospective collection of tracks from their highly successful Pulp Fusion compilation series, bringing together some of the series’ many highlights. The final release in this trio of releases, was The Breaks-Original B Boy Street Funk and Block Party Classics. It features thirty-one tracks over two discs, with songs that contain some of the best breaks in the history of hip hop. These breaks were the part of the song that the b boys waited for, and when the breaks kicked in, they started dancing as if their lives depended it. Eventually, when DJs like Afrika Bamabaataa, Kool Herc, and Grandmaster Flash realised that when the break was over, the b boys stopped dancing. He decided to lengthen the break, by cutting between two copies of the same record. This required real dexterity and lightning reflexes. Quickly, DJs hit on the idea to make one track out of a number of these breaks and one of the most important genres in modern music was born…hip hop. Included on The Breaks are tracks by Cyamide, Manzel, Al Green, Harold Melvin and The Blue Notes, Aaron Neville and Funkadelic. These are just a few of the thirty-one b boy classics on The Breaks-Original B Boy Street Funk and Block Party Classics, which I’ll now tell you about.
DISC ONE.
Disc One of The Breaks-Original B Boy Street Funk and Block Party Classics features fifteen tracks, which are a mixture of funk and soul. Some of these tracks feature some of the most recognizable breaks in hip hop history, from some of the biggest names in funk, disco and soul. This includes The Meters’ Same Old Thing, Cymande’s Bra, Manzel’s Space Funk, M.F.S.B.’s Get Down With the Philly Sound and Al Green’s Love and Happiness. Although you can just sit back and enjoy some soulful and funky music, part of the fun is working out which hip hop artists “borrowed” which sample. For any old b boy or girl, this is a trip down memory lane, to the early days of hip hop culture in the Bronx, when Kool Herc, Afrika Bamabaataa and Grandmaster Flash helped invent a new musical genre…hip hop. I’ll now pick some of the best tracks from Disc One of The Breaks-Original B Boy Street Funk and Block Party Classics.
My first choice from Disc One of The Breaks-Original B Boy Street Funk and Block Party Classics, is Sir Joe Quarterman & Free Soul’s 1973 track I’m Gonna Get You, from their Sir Joe Quarterman & Free Soul album. This is a much sampled track, with 3rd Bass sampling it on Oval Office. With blazing, punchy horns, rhythm section, chiming guitars and organ driving the arrangement along, an emotive vocal enters. Backing vocalists, enveloped in braying horns, the funkiest of rhythm sections and organ all combine to provide the perfect backdrop for Sir Joe’s emotional delivery. They all contribute towards making this funky, driving track, one that’s not just loved by b boys, but loved by funk fans alike.
One of my favorite tracks from Disc One of The Breaks-Original B Boy Street Funk and Block Party Classics is Manzel’s Space Funk. It was taken from Mazel’s Midnight Theme album released in 1977 on Fraternity Records. It’s a track that was sampled by Grandmaster Flash in the late seventies, mixing disco with funk. It has joyful sound, bursting into life, with the rhythm section, searing keyboards and the unmistakable sound of a Hammond organ driving the track along. Fast, funky chiming guitars, blazing horns and later, a funk masterclass on the Hammond organ help make this a true b boy classic. After that things get even better, making you realize that music doesn’t get funkier or sweeter than this.
It’s not just soul and funk that feature on this compilation, with Instant Funk’s disco classic I Got My Mind Made Up just one of several disco delights that feature on the two discs. Hailing from New Jersey, Instant Funk backed Loleatta Holloway, The O’Jays and Curtis Mayfield. The track reached number one in the US R&B Disco charts in 1979, on the Salsoul label. Released from their 1979 Instant Funk, I Got My Mind Made Up was sampled by De La Soul on A Rollerskating Jam Named Saturdays. Over nearly ten minutes, where a proliferation of percussion, a loping bass line, punchy drums and backing vocals, the track combines Latin, funk and disco music. With breathy backing vocals, accompanying a really soulful lilting lead vocal, this was Instant Funk’s biggest hit. Not only that, but it’s a highly memorable, timeless classic from the Salsoul label, the home of some great disco music.
Another track from the Salsoul label is Gaz’s Sing Sing, released in 1978, from the album Gaz. Although maybe not the best known track ever released on Salsoul, it’s a highly underrated, hidden gem of a track. Pounding drums, furious chiming guitars and bouncy, bass line are joined by swirling strings and rasping horns, before giving way to the sweetest of female vocals. It’s accompanied by backing vocals, while percussion kicks in, while the rhythm section drive the track along. With swirling strings and blazing horns, the track is a mixture of funk, soul and disco. It’s hook laden, catchy, feel-good sound totally irresistible and is one of the highlights of Disc One The Breaks-Original B Boy Street Funk and Block Party Classics.
M.F.S.B. played on so many of the Philadelphia International hits, and later, would go on to form the Salsoul Orichestra. Get Down With the Philly Sound was from their 1975 album Philadelphia Freedom album on Philadelphia International Records.While the track only reached number eleven in the US Dance Charts, the album reached number fourteen in the US R&B Charts and number thirty-nine in the US Billboard 200. This track features the classic M.F.S.B. line-up, with the Baker, Harris, Young rhythm section joined by guitarist Bobby Eli and Don Renaldo’s horns and strings. As the track opens, Earl Young’s inimitable drum sound is to the fore, before the blazing horns and sweeping strings enter, courtesy of Don Renaldo. Meanwhile, Larry Washington contributes percussion and Vince Montana Jr. vibraphone. Quickly, M.F.S.B. get into the tightest of grooves, horns blazing, before a saxophone solo drifts gloriously above the arrangement, as the Baker, Harris, Young rhythm section provide the track’s heartbeat. What this track demonstrates, is that not only were M.F.S.B. the hottest house bands in soul and funk music, but one of the hottest bands during the early to mid seventies per se.
The last track I’ll mention is Cymande’s Bra, one of the best known tracks on Disc One of The Breaks-Original B Boy Street Funk and Block Party Classics. Cymande were a British funk band from the seventies, whose sizzling brand of funk music can be found on their debut album Cymande, released in 1971. Bra was sampled by De La Soul on their debut album 3 Feet High and Rising, and was featured on the soundtrack to Spike Lee’s 1993 movie Crooklyn. When the track opens, that unmistakable sound hits you. The rhythm section, percussion and braying horns combine with Ray King’s vocal. Quickly, a saxophone solo kicks in, while the rhythm section and percussion combine. Although I’ve heard the track literally hundreds of times, I’m still mesmerized by its sound. Later, when Ray’s vocal reenters, it’s impassioned and emotive, while the bass and hissing hi-hats accompany pounding drums. It’s five minutes of the finest funk from one of the finest purveyors of UK funk music.
Of the fifteen tracks that feature on Disc One of The Breaks-Original B Boy Street Funk and Block Party Classics, the music is of the highest quality. Although I’ve only reviewed six of the six of fifteen tracks on Disc One, there’s nothing whatsoever wrong with the other nine tracks. With tracks by Al Green, Liquid Liquid, Taana Gardner and The Meters, the emphasis here is on the finest funk and soul music. This music is from labels like Salsoul, Philadelphia International Records, Hi Records and Brunswick and was released during the sixties and seventies. Of the fifteen tracks, my favourites are Mazel’s timeless classic Space Funk, M.F.S.B.’s Get Down With the Philly Sound, plus two true disco tracks from Salsoul Instant Funk’s I Got My Mind Made Up and Gaz’s Sing Sing. However, given the high standard of music on Disc One of The Breaks-Original B Boy Street Funk and Block Party Classics, will the music on Disc Two of The Breaks-Original B Boy Street Funk and Block Party Classics, keep up the same standard of music?
DISC TWO.
Looking at the track listing for Disc Two of The Breaks-Original B Boy Street Funk and Block Party Classics, it looks as if the quality of music on Disc Two is even better than Disc One. With tracks from Al Green, Harold Melvin and The Blue Notes, The O’Jays, The Stylistics and Lowell Fulson, this is a feast of the funkiest and most soulful music. Many of the tracks are from Philadelphia International Records, Hi Records, Westbound and Brunswick, some of the biggest, most influential and innovative labels of the seventies, which featured talented producers like Gamble and Huff, Willie Mitchell and Eugene Record. These producers, helped create some of the best music of the seventies, which I’ll now tell you about.
My first choice is Harold Melvin and The Blue Notes’ You Know How To Make Me Feel So Good, from their 1975 album Wake Up Everybody. This was the group’s most successful album, reaching number nine in the US R&B Charts and number one in the US R&B Charts. Although the album was certified platinum, it was the last to feature Teddy Pendergrass’ lead vocal, and the group’s last album for Philadelphia International Records. It’s a slow track, opening with the rhythm and string sections combining with gentle backing vocals. The track meanders along, the arrangement’s beauty gradually revealing itself. When Teddy’s vocal enters, it’s tender, accompanied by Sharon Paige. Her voice is equally gentle and tender, and with the addition of the backing vocals, a gorgeous track unfolds. Strings play a large part in the arrangement, dropping in and out of the track. There’s a subtlety in the playing, with chiming guitars and keyboards making their presence felt gently, while the rhythm section give an understated performance. This allows the vocal to take centre-stage, with Teddy and Sharon Paige’s voices a perfect match for each other, on what is a beautiful track.
The O’Jays were an other group who recorded on the Philadelphia International label, with Cry Together, a track from their 1978 album So Full of Love. It reached number twenty-seven in the US Billboard 200 and number six in the US R&B Charts, resulting in the album being certified gold. When the track opens, the tempo is slow, the sound understated, just sweeping strings, drums and chiming guitars, providing the backdrop for the half-spoken vocal. This gives way to a sweet, then hugely emotive, sad vocal, sung against a backdrop that now includes keyboards. It’s a hugely powerful track, one that’s drenched in emotion and sadness, sung with passion and feeling by The O’Jays against a classic Gamble and Huff arrangement.
The last in a trio of tracks from the Philadelphia International label, is Hurry Up This Way Again by The Stylistics. This in from one of group’s later albums, Hurry Up This Way Again, a really underrated album, which only reached number 127 in the US Billboard 200. After a lengthy introduction where the rhythm section, keyboards and guitars combine, with short bursts of drama as the arrangement meanders along, slowly revealing itself, a thoughtful, sad vocal enters. As the track progresses, the use of synths becomes noticeable. Although they don’t sound quite as dated as some albums of this time, they sound of their day. Their addition means it’s possible to tell the song’s musical DNA, accurately placing it at circa 1979-1980. However, although it would be a better track without them, it doesn’t hugely detract from the heartache, drama and emotion in Russell’s vocal on this almost epic track, lasting nearly six minutes.
Two Al Green tracks feature on The Breaks-Original B Boy Street Funk and Block Party Classics, with I’m So Glad You’re Mine opening Disc Two. This was the title track from Al’s fifth studio album. It reached number five in the US Billboard 200 and number one in the US R&B Charts, giving Al another platinum album. The track opens with just drums, before the Hammond organ enters, along with blazing horns, giving the track a real Southern Soul sound. Strings cascade while Al gives a beautiful heartfelt vocal, accompanied by backing vocalists. From there on, the Hi Rhythm Section, Memphis Horns and Strings, give a masterclass in Southern Soul music along with the sensuous sound of Al Green. What more could you ask for in a soul song?
Syl Johnson was on the same label as Al Green, Hi Records, recording four albums for Hi. One of these was Back For A Taste of Your Love, which features I Hate That I Walked Away. Swathes of the lushest strings, a wailing Hammond organ and slow rhythm section combine before Syl’s vocal enters. He’s full of regret and despair, having left his girlfriend, and realizing his mistake wants her back. As the emotion results in his voice rising, Rhodes, Chalmers and Rhodes enter, their united vocals swoop in, sympathetically accompanying Syl. With the strings sweeping and swirling, sometimes adding drama, the Hammond adds to the atmospheric slightly bluesy sound. Full of remorse and regret, Syl pleads forgiveness, his voices soaring as he apologizes. This is hugely effective and seems so realistic. That’s testament to both Syl’s vocal and Willie Mitchell skills as a production.
My final choice from Disc Two of The Breaks-Original B Boy Street Funk and Block Party Classics, is Lowell Fulson’s Tramp, a true classic from one of the biggest stars of blues music. Tramp reached number five in the US R&B Charts in 1965, and since then, its recognizable strains are known worldwide. The tempo is slow, the sound moody, guitars grinding away, while the rhythm section augment the arrangement. Lowell’s vocal is a combination of half-spoken, to a much more emotive, powerful style. When he unleashes a guitar solo, this demonstrates his talents as guitarist, the grinding, driving sound driving the track along, for three highly memorable, magical minutes of blues’ brilliance.
Earlier on, I wondered whether the music on Disc Two of The Breaks-Original B Boy Street Funk and Block Party Classics, I wondered whether the standard of music would be as good as that on Disc One. Well, considering the variety of music on Disc Two from the Southern Soul of Al Green, Syl Johnson and Jean Plum, to the Philly Sound of Harold Melvin and The Blue Notes, The Stylistics and The O’Jays. Add to this the funk of Funkadelic, Cymande and Funk Incorporated, and the blues sound of Lowell Fulson, you’ll see just how eclectic the music is on Disc Two of The Breaks-Original B Boy Street Funk and Block Party Classics. Each of these sixteen tracks have two things in common, quality and that they’re all b boy classics. These tracks include some of the most recognizable samples in the history of hip hop. In fact, the thirty-one tracks on The Breaks-Original B Boy Street Funk and Block Party Classics are a veritable feast of material for hip hop fans looking for a source of quality samples. What I like about this compilation is that it’s a combination of familiar tracks and hidden gems. Compiler Dean Rudland has dug deep, eschewing some of the more obvious tracks by artists like Al Green, Funkadelic, The O’Jays and Harold Melvin and The Blue Notes for less obvious choices. Among the hidden gems are Gaz’s SIng Sing, Manzel’s Space Funk and The Skullsnaps. So if, you love hip hop, and want to hear some of the tracks that the pioneers of hip hop like Kool Herc sampled, then The Breaks-Original B Boy Street Funk and Block Party Classics is a must-have album for you. However, if you’re a fan of soul and funk music, then The Breaks-Original B Boy Street Funk and Block Party Classics is an unmissable compilation. It also acts as a good introduction to the various soul and funk compilations released by Harmless throughout their fifteen year history. Like Mellow Mellow, which also helped Harmless commemorate their fifteenth birthday, The Breaks-Original B Boy Street Funk and Block Party Classics is a compilation of some fantastic which helped give birth to a new genre of music…hip hop. Standout Tracks: Manzel Space Funk, Gaz Sing Sing, M.F.S.B. Get Down With the Philly Sound and Harold Melvin and The Blue Notes You Know How To Make Me Feel So Good.
THE BREAKS-ORIGINAL B BOY STREET FUNK AND BLOCK PARTY CLASSICS.
DON RAY-GARDEN OF LOVE.
DON RAY-GARDEN OF LOVE.
Although Don Ray played an important role in European disco music, working with Marc Cerrone and Alec Constandinos, Don only ever released one solo album, Garden of Love, released in 1978. Garden of Love was co-produced by Marc Cerrone, who released albums like Love In C Minor, Cerrone’s Paradise and Supernature.
Don Ray had collaborated with Marc Cerrone on his 1976 debut album Love In C Minor,1977s Cerrone’s Paradise and would work with Marc again on Cerrone IV-The Golden Touch, released in 1978. However, even though Don Ray only released one solo album, Garden of Love, it’s an album that features some amazing music, from the disco classics of Got To Have Loving and Midnight Madness, to the jazz funk of Standing In the Rain. Thankfully, after being previously unavailable on CD, Garden of Love was remastered and rereleased by BBR Records in November 2011 giving fans of disco music the opportunity to hear Don Ray’s only solo album again.
Since 1977, Don Ray had been a busy man, collaborating with Marc Cerrone and Alec Constandinos. Don had worked with Marc Cerrone on two albums, Cerrone’s Paradise and Cerrone IV-The Golden Touch. Now, however, was Don Ray’s time to step out of the shadow and record his debut solo album, Garden of Love. Little did Don know, but this would be his only solo album.
Joining Don Ray for the recording of what would become Garden of Love was Marc Cerrone, who cowrote the six tracks on the album with Lene Lovich and Don. Marc and Don co-produced Garden of Love, with Marc also playing synths and drums on the album. Other familiar faces were Madeline Bell and Sue Glover, who’d both sung backing vocals on Cerrone’s Paradise, which Don collaborated on. They were joined by Kay Garner, who like Sue Glover, had contributed backing vocals on Cerrone IV-The Golden Touch. These female vocalists weren’t singing lead vocals, with male vocalists Lee Rich and Rob King chosen for the role. The reason for this was simple, Don wanted to distinguish his album from Cerrone’s. Lee Rich who sung most of the lead vocals, was known to Don, having previously sung on albums by the Kongas and Revalacion. Together with a small, tight band, Don recorded six tracks at London’s Trident Recording Studios, where Cerrone recorded his early albums. With Garden of Love completed during December 1977 and January 1978, the album was scheduled for release in August 1978.
Garden of Love was released in August 1978, where it would join Cerrone’s fourth album Cerrone IV-The Golden Touch. The album reached number 113 in the US Billboard 100, while reaching number four in the Disco Charts. Two singles were released from Garden of Love, with the disco classic Got To Have Loving the first single to be released. It reached number forty-four in the US Billboard 100, while the jazz funk single Standing In the Rain failed to chart. However, although both Garden of Love and the two singles weren’t a huge commercial success, Garden of Love is perceived as a classic album from the disco era, and I’ll now tell you just why that’s the case.
Opening Garden of Love is the classic disco track Got To Have Loving, which was the first single released from the album. The track gets underway with a combination of pounding drums, synths, keyboards and swirling strings, before blazing horns join the arrangement. Straight away, the track has a really catchy sound, which is added to when the trio of backing vocalists unite. Although there are similarities with Cerrone’s Paradise, which was released at the same time, especially the strings and drum sound. However, the use of male vocalists gives the track a quite different sound. The vocal is delivered with emotion and power, while the backing vocalists respond to his call. Meanwhile, synths, thunderous drums and braying horns all play their part in the dramatic arrangement. When the arrangement is pared down to just the drums, you can feel the drama and tension increase. Then when the arrangement rebuilds, it’s a myriad of drums, synths, keyboards and a loping, funky bass line. As the track heads a close, it somehow just keeps getting better. Backing vocalists, combine with Lee’s lead vocal as this brilliant track powers to its impressive and dramatic ending.
Body and Soul has a a quite different sound, opening with percussion and drums combining, before the track takes on a funky sound. The funkiest of bass lines, combines with synths, joining the drums and percussion. Unlike other tracks on the Garden of Love, this track doesn’t have a male lead vocal. Instead, it sees the joyous combination of Madeline Bell, Kay Garner and Sue Glover unite, while the deliver the lyrics almost like a chant. A flute soars above the busy arrangement, which now, combines elements of funk and even Afro-beat. However, good as the arrangement is, the highlight of the track is the joyful, united vocals of Madeline, Kay and Sue.
When Midnight Madness gets underway, the track combines elements of disco and funk. The song literally bursts into life, with the tempo the quickest on Garden of Love at 128 beats per minute. Not only that, but it’s the best track on the album. Here, Madeline, Kay and Sue’s backing vocalists accompany a powerful, sassy vocal from Lee Knight. Sung against an arrangement that’s a mass of cascading, swirling strings, a relentless drum beats, sweeping synths and blazing horns it’s an irresistible sounding, sizzling slice of the finest disco music. For nearly six minutes, the track is driven along by the pounding beat, while the trio of backing vocalists and Lee Knight deliver their best vocals on the album. This is one of these songs where everything is perfect about it, the arrangement, vocal and production from Don Ray and Marc Cerrone. It really is the highlight of Garden of Love.
How do you follow one great track? Quite simply with another. Standing In the Rain was the second single released from Garden of Love, and amazingly failed to chart. That seems remarkable given the quality of the song. With its driving drumbeats, punchy rasping horns, percussion and synths accompanying Lee’s vocal, the tempo is quick, the arrangement fuses elements of Euro disco, funk and electronic music. Again, Madeline, Kay and Sue contribute some scintillating backing vocals when the lead vocal drops out. For much of the arrangement, there’s no vocal, with synths and drums to the fore driving the track along, while horns and percussion augment Cerrone and Don’s production. What strikes me about the track is its timeless nature. Often albums from the late seventies that feature synths a lot, have aged badly. This isn’t the case here, with the track having a contemporary, almost timeless sound. Not only that, but it’s laden with energy and sounds fantastic.
The title track Garden of Love sees the tempo drop to 107 beats per minute, which is the slowest track on the album. Again, percussion and crunchy drums open the track, before shimmering guitars enter, giving way to Lee’s raw vocal, full of chagrin. Madeline, Kay and Sue’s backing vocalists offer a contrast, their voices sweet and soulful, while there’s an edge to Lee’s voice. As his vocal drops out, the drums signal a change in tempo and sound. Guitars take the lead, giving the track a very different sound, almost laid back, mellow sound. Quickly, the guitars are replaced by percussion and synths, as the track takes on a different sound. However, this sound is just as compelling and captivating, on a track that although quite different from previous tracks, with its mellow and quite beautiful sound.
Closing Garden of Love is My Desire another track that bursts into life, mixing Latin, disco and jazz funk. Horns blaze as the track opens, joined by percussion, punchy drums and guitars, before a lilting, sad sounding vocal enters. The tempo increases as drums help drive the track along, reaching 128 beats per minute. Lush strings enter, just as percussion and punchy drums decide to drive the track along. When the backing vocalists enter, their voices are subtle, almost overpowered by the rest of the dynamic arrangement, which mixes elements disco and Latin music seamlessly. A combination of rasping horns and swirling string combine with drums and percussion as the song heads to its dramatic ending, after seven and a half magical minutes of the catchiest, finest disco music. It seems Don Ray decided to keep this gem of a track until last, and it’s a fitting way to end this visit to his Garden of Love.
It seems quite fitting that although Don Ray only released one solo album, Garden of Love, it was a classic disco album. On Garden of Love are two stunning slices of disco music Got To Have Loving and Midnight Madness, while Don demonstrates his musical versatility on Love is My Desire, a sizzling jazz funk track. Although there are some similarities with Marc Cerrrone’s Cerrone’s Paradise, Don’s use of male vocalists helps distinguish the two albums’ sound. Like Cerrone’s Paradise, Don Ray’s Garden of Love is a classic European disco album, that demonstrates that American producers didn’t have the monopoly on producing quality disco music. While the album wasn’t a huge commercial success, Garden of Love should’ve been a bigger success. Even thirty-four years later, Garden of Love still sounds as good as did in 1978. After being unavailable on compact disc for far too long, BBR Records have remastered and rereleased Don Ray’s Garden of Love. This gives a new generation of disco lovers the opportunity to rediscover one of the classic albums of the disco era, Don Ray’s Garden of Love. Standout Tracks: Got To Have Loving, Midnight Madness, Standing In the Rain and Love is My Desire.
DON RAY-GARDEN OF LOVE.
CERRONE-CERRONE’S PARADISE.
CERRONE-CERRONE’S PARADISE.
During the disco era, it wasn’t just American labels like Salsoul, Casablanca, SAM and TK that were producing some of the greatest disco music. Over in Europe, producers like Giorgio Moroder, Frank Farian, Claude Francois, Don Ray and Cerrone were releasing some of the most cutting-edge, contemporary dance music. One of these producers, Marc Cerrone started releasing albums in the mid-seventies, and during his career, sold over thirty-million albums. One of Marc Cerrone’s best albums, is his second solo album, the classic Cerrone’s Paradise, released in July 1977, which was remastered and rereleased in October 2011 by BBR Records.
Marc Cerrone was neither a stranger to the music industry, nor a recording studio before he released his debut solo album Love In C Minor in 1976. Previously, he’d been a member of the Afro-rock band Kongas for three years. Having left Kongas, Marc decided to record one solo album, before bowing out of music forever. After struggling to find a record label who’d sign him, Marc decided to release Love In C Minor independently. When be mistake, copies of Love In C Minor found there way to New York, they 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. Quickly, Love In C Minor became 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. If Cerrone’s Paradise matched the success of Love In C Minor, then Marc agreed to tour the US. The question was, would Cerrone’s Paradise prove as popular as its predecessor Love In C Minor?
While Marc Cerrone had enlisted the help of Alec R. Constansinos on his debut album Love In C Minor, Alec didn’t collaborate on Cerrone’s Paradise. The pair had fallen out due to Alec’s lack of faith in the potential success of Love In C Minor. Instead, Marc called upon Raymond Donnez, known as Don Ray to write the arrangements for Cerrone’s Paradise. Also joining Marc and Don, was Alain Wisniak, who cowrote the four tracks on Cerrone’s Paradise. With the songs written, Marc headed to London and the Trident Recording Studios.
At Trident studios, Marc used the same backing singers that featured on Love In C Minor. This included Madeline Bell, Sue Glover, Joy Yates, Joan Stones and Jackie Sullivan. Their backing vocals feature alongside a rhythm section that sprinkles funk among the disco, before Cerrone becomes a balladeer on Time For Love. With steel drums, synths and wah-wah guitars sitting comfortably beside percussion and strings, the four songs on Cerrone’s Paradise follow closely in the footsteps of Love In C Minor. Once Cerrone’s Paradise was completed, the album was set for release in July 1977.
Before the release of Cerrone’s Paradise, a sampler of four edited versions of the songs on the album was released to radio stations and DJs. Quickly, the music became hugely popular in both clubs and on radio.This resulted in the release reaching number six on Billboards’s Dance Music-Club Play charts. After this, Cerrone’s Paradise was released in July 1977, with the album reaching number 162 in the US Billboard 200 and number fifty-two in the US R&B Charts. Marc Cerrone then decided to release an independently funded promotional video for two tracks, Cerrone’s Paradise and Take Me. Sadly, these videos failed to ignite interest in these tracks. With that, Marc headed back to his new home in Los Angeles, where he’d start work on his next album Supernature, also known as Cerrone III. However, it’s Cerrone’s Paradise that is seen as Marc Cerrone’s classic album, and I’ll now tell you why.
Cerrone’s Paradise opens with the title track Cerrone’s Paradise, which is a sixteen Magnus Opus complete with erotic sounding backing vocals. Opening with the sound of background noise and female conversations, chiming guitars, lush, cascading strings and chiming guitars combine with keyboards as the track gets underway. With strings, rhythm section and guitars driving the track along, bursts of rasping horns punctuate the track, while backing vocalists unite, contributing sweet, sultry harmonies. The strings swirl and sweep, drums pound relentlessly, while flourishes of keyboards and percussion augment the arrangement. A searing guitar solo, breathless, sensuous vocals and swathes of cascading strings, combine with the relentless pounding drums and percussion. Later they give way to erotic sounding vocals as the track reaches 126 beats per minute. For sixteen majestic minutes, a true, timeless disco classic reveals its charms, subtleties and sensuous sound.
Although Take Me has the same relentless pounding drumbeats, lush sweeping strings and sweet backing vocals, the track sees Cerrone add steel pan drums and a sprinkling of funk to the track. It has the same lovely lush sound, thanks to the strings and sensuous backing vocals. This is a much shorter track, coming in at just under six minutes. Similarly, the tempo is slower, at 119 beats per minutes. Later bursts of blazing horns are added to the disco strings, while the steel pan drums add a slight funky flavor. Much as I loved Cerrone’s Paradise, I prefer this track, with its lush and catchy sound which is absolutely laden with hooks aplenty. What makes it such a great track is the combination of strings and backing vocalists, combined with the guitars and punchy drums.
A surprise awaits the listener on Time For Love, with the track seeing Cerrone transformed into a balladeer par excellence. With a slow, almost pedestrian tempo of just 65 beats per minute, the arrangement has a floaty, pensive sound. The verses are sung English, while the chorus in sung in French. Here, the backing vocalists unite to deliver some of their most beautiful, subtle vocals. This they do against an equally gorgeous arrangement, where slow, beautiful strings, meandering percussion and keyboards combine with the rhythm section and keyboards. Together, they play with a subtlety, resulting in a very beautiful, romantic sounding track with some lovely lyrics and that pensive, subtle arrangement.
Closing Cerrone’s Paradise is a reprise of Cerrone’s Paradise. The track gets underway with pounding drums, swirling string and bursts of punchy horns, before the backing vocalists unite to deliver some more of their almost trademark sweet vocal. They’re joined by sizzling guitars and percussion, while dramatic strings cascade and the drums drive the track along, as the song and album heads to a close. Like the Magnus Opus that was Cerrone’s Paradise, this reprisal has the same beauty and quality of the opening track, demonstrating the considerable talents of Marc Cerrone. With talent like this, it’s no wonder he sold over thirty-million albums.
Although there are just four tracks on Cerrone’s Paradise, they’re four of the finest tracks Marc Cerrone recorded. For many people, Cerrone’s Paradise was his finest hour, where he combined three delicious slices of disco music with the balladry of Time For Love. Whereas other albums recorded in the late seventies that featured synths haven’t aged well, Cerrone’s Paradise, still retains a contemporary, almost timeless sound. If you tried to guess when it was recorded, you could guess anywhere from the mid-seventies until last year. It seems strange that Cerrone’s Paradise wasn’t a much bigger commercial success, given the standard of music on the album. That it only reached number reached number 162 in the US Billboard 200 and number fifty-two in the US R&B almost seems a travesty. Thankfully, Cerrone’s Paradise, like Love In C Minor, Cerrone III-Supernature and Cerrone IV-The Golden Touch, has been remastered and rereleased by BBR Records. The sound quality of the music on Cerrone’s Paradise, is of the highest quality, with informative, in-depth sleeve-notes from Rico “Superbizzee” Washington. If, like me, you love classic disco music, then you’ll love Cerrone’s second album Cerrone’s Paradise. It demonstrates, that while there was plenty of quality disco music being released in America, European artists like Marc Cerrone were also releasing some stunning music, like Cerrone’s Paradise.
CERRONE-CERRONE’S PARADISE.
ROSE ROYCE-STRONGER THAN EVER.
ROSE ROYCE-STRONGER THAN EVER.
From the release of their debut single and album Car Wash in 1976, Rose Royce were one of the most successful groups of the mid-seventies through to the early eighties. Their first three albums Car Wash, 1977s Rose Royce II: In Full Bloom and Rose Royce III: Strikes Again released in 1978 were all certified platinum, selling over a million copies. After their fourth album, 1979s Rose Royce IV: Rainbow Connection interrupted their run of million selling albums, Rose Royce continued releasing quality music into the early eighties. This included 1982 Stronger Than Ever, which was remastered and rereleased by BBR Records on 20 February 2012. Stronger Than Ever was Rose Royce’s first and only album for Epic Records, after leaving Whitfield Records, owned by their producer Norman Whitfield. However, although they’d left Whitfield Records, Norman Whitfield was still producing their albums, helping Rose Royce to produce their own brand of soulful, funky music, music that lit up dance-floors since their debut single Car Wash in 1976.
Stronger Than Ever was Rose Royce’s seventh album in seven years, and final album for a major label. It was recorded at the Fort Knox Recording Studio in Los Angeles. As usual, Norman Whitfield was producing the album, hoping to turn round the group’s fortunes. Ever since their fourth album, Rose Royce IV: Rainbow Connection, Rose Royce’s popularity had declined. What didn’t help matters was, Gwen Dickey had left the band after Rose Royce IV: Rainbow Connection. She was replaced by Ricci Benson. Since Ricci joined the group, their albums hadn’t been commercially successful. 1981s Golden Touch reached number 160 in the US Billboard 200 and number thirty in the US R&B Charts. Jump Street, Rose Royce’s previous album, released in 1982, only reached number 210 and failed to enter the US R&B Charts. That’s why both Rose Royce and Norman Whitfield were so keen to see an upturn in the group’s fortunes. Even though the music was still good, it wasn’t selling in great numbers. Would Stronger Than Ever see an improvement in Rose Royce’s fortunes?
Rose Royce recorded the eight tracks that became Stronger Than Ever at the Fort Knox Recording Studio in Los Angeles. Of these eight tracks, vocalist Kenny Copeland and keyboard player Michael Nash cowrote two songs, Still In Love and Talk To Me. They also cowrote two other tracks Dance With Me with Randy Thomas and You Blew It with Linda Thomson. Producer Norman Whitfield also contributed two tracks, Sometimesy Lady and Fire In the Funk. With Stronger Than Ever recorded, the album was scheduled for release in May of 1982. Would Stronger Than Ever improve on their previous album Jump Street?
Before Stronger Than Ever was released, Best Love was released as the first single from the album. It only reached number sixty-four in the US R&B Charts, which seems strange given the quality of the single. When Stronger Than Ever was released in May 1982, it too, reached number 210 in the US Billboard 200, but reached number fifty in the US R&B Charts. This was an improvement on 1981s Jump Street, but again, given how strong the material on Stronger Than Ever was, the album should’ve fared much better. The second and final single released from the album was Still In Love, which failed to even chart. However, listening to Stronger Than Ever I think that it’s an album that should’ve been a much bigger commercially, given the standard of music on the album. I’ll now tell why I think that’s the case.
Stronger Than Ever opens Dance With Me, which was produced by Kenny Copeland. It’s just the sound of drums that open the track, before a funky sounding track quickly, reveals itself. With a funky rhythm section, squelchy synths and what sounds like a party taking place in the studio, Ricci Benson’s vocal enters. Straight away, you’re struck by the quality of her sassy, confident vocal. Meanwhile, blazing horns, chiming guitars and backing vocalists accompany the funk drenched rhythm section and synths. Rasping horns punctate the arrangement, while a deep backing vocal and keyboards all combine with Ricci’s vocal to give the track a hugely catchy, funk laden sound, that gets the album of to a great start.
Very different in sound and style, is Norman Whitfield’s beautiful, but wistful ballad Sometimesy Lady. Kenny Copeland delivers the vocal against a backdrop of a gentle piano and lush, sad strings. There’s a tenderness and unhappiness in his vocal, due to the “love games” his partner plays, meaning he never knows where he stands. Although his vocal is subtle, full of sadness, it grows in power and frustration, accompanied by backing vocalists and melancholy strings. This gets across the sadness and emotion of the lyrics. What I really like about this track is the simplicity of the arrangement. It’s just the piano and strings accompanying Kenny’s vocal, allowing you to focus on his vocal, while the piano and strings add to the sadness and wistfulness of the lyrics. Truly it’s a beautiful but sad song, demonstrating that quality and standard of Rose Royce’s music.
Best Love was the first single released from Stronger Than Ever, and is a track that deserved to do much better than the number sixty-four it reached in the US R&B Charts. This is a track that was popular in UK clubs and disco during the early eighties and I can see why, given its stirring, uplifting sound. The track is driven along by the rhythm section, while cascading, lush strings and synths augment the arrangement. Meanwhile, Ricci gives one of her best vocals on the album. Her delivery is strong, emotive and ballsy, while the contrasting sound of drums, synths and quivering strings provide a backdrop for her vocal. Why such an uplifting, energetic and hook laden track didn’t do much better seems almost unjust, given how great a track this is. For me, this is one of the highlights of Stronger Than Ever.
While Best Love was the first single released from Stronger Than Ever, Still In Love was the second. Although it has a quite different sound, it has one thing in common with Best Love…quality. The track has an understated sound when it opens, just strings, flourishes of synths and gentle percussion. This gives way to drums, cascading, swirling strings and piano, while the rhythm section sprinkle some funk to an arrangement that has a lush sound. Then, when Ricci’s vocal enters it’s strong, laden with emotion, as strings swirl behind her. Meanwhile, the piano drops in and out of the track, while the rhythm section drive the track along. Ricci’s vocal soars, reminding me somewhat of Chaka Khan, while the strings have an orchestral sound. With it’s combination of lush strings, Ricci’s emotional vocal and Michael Nash’s potent production this is a stunning track, that should’ve been a huge hit single thirty years ago in 1982.
You Blew It is another track produced by Michael Nash, and is another track where Ricci Benson delivers an emotive, powerful vocal. From the opening bars, you realize that something special is about to unfold. Pounding drums, bursts of synths and cymbals, give way to a funky bass and chiming guitars. When Ricci’s vocal enters, it’s gentle, but full of emotion. Quickly, her voice grows in power, as the arrangement grows in power and drama. While Ricci’s vocal is soulful, the rhythm section combine funk and soul, before a sizzling rocky sounding guitar solo is unleashed. When this is combined with the drums and then replaced by the bass and vocal, it’s really effective. This is another track that demonstrates Ricci Benson’s talent as a vocalists, and just how talented a group of musicians Rose Royce were.
When Somehow We Made It Through the Rain opens, you’re greeted by a cloudburst, which is replaced by a beautiful understated arrangement, accompanied by a tender, beautiful from Ricci. Lush strings, a subtle rhythm section and brief bursts of horns are augmented by soaring backing vocalists. Later, Kenny Copeland sings the song as a duet with Ricci, their voices complimenting the other, as they sing about how their love has lasted, almost against all odds. Their voices are enveloped in swathes of beautiful strings, which are just the final touch to this gorgeous love song.
After a gorgeous love song, comes the funkiest track on Stronger Than Ever, Fire In the Funk, the only track produced by Norman Whitfield alone. It’s a searing, sizzling slice of funk, with Kenny Copeland delivering the lead vocal, while blazing horns punctuate the track, and percussion and a funk drenched rhythm section combine. With fast chiming guitars, it’s a track totally unlike anything on the album, but one with a real “Norman Whitfield” sound. Remember, he’s the man who produced the Temptations psychedelic albums where they combine soul and funk. Even Kenny’s vocal is delivered in a very different style, while the myriad of keyboards, percussion, rhythm section and guitars combine to produce an irresistible, sizzling slice of the funkiest music.
To close Stronger Than Ever, Rose Royce deliver another funky track, Talk To Me. It’s a track with a sound that reminds me of Earth, Wind and Fire, with the vocal even reminding me of Maurice White. The track is full of bravado, with braying horns, percussion, a loping, funky bass line and sizzling guitar accompanying pounding, punchy drums. Here, Rose Royce swagger their way through the track, proving there’s much more to their music than soul and disco, with them able to funk it up like the best of them. Kenny’s vocal is sassy, confident while around him, the band deliver a funk masterclass. This they do with aplomb, on a fantastically, funky track that closes Stronger Than Ever.
Although Stronger Than Ever was released at a time when Rose Royce’s popularity was in decline, it provided them with a brief upturn in their fortunes. While reaching number 210 in the US Billboard 200 and number fifty in the US R&B Charts, was a long way from their first three albums, Stronger Than Ever was an album that deserved to do much better, given the standard of music on the album. There isn’t a poor track on the album, with two beautiful ballads in Sometimesy Lady and Somehow We Made It Through the Rain, sitting comfortably next to the uplifting, emotive sound of the singles Best Love and Still In Love. To me, they’re two of the highlights of Stronger Than Ever. That’s not forgetting the trio of funky tracks Dance With Me, Fire In the Funk and Talk To Me. As if that’s not enough, BBR Records remastered rerelease of Stronger Than Ever features four bonus tracks. These are the single versions of Best Love, Still In Love and Fire In the Funk and the twelve inch version of Best Love. The sound quality of BBR’s remaster is stunning, while L. Michael Gipson’s sleeve-notes are in-depth and informative, giving you a flavor of Rose Royce’s career. Overall, Stronger Than Ever is an excellent album, one that features some fantastic, quality music from one of the biggest bands of the mid to late seventies. This rerelease of Stronger Than Ever, by BBR Records, gives you the opportunity to rediscover the last great album from Rose Royce. Standout Tracks: Sometimesy Lady, Best Love, Stronger Than Ever and Somehow We Made It Through the Rain.
ROSE ROYCE-STRONGER THAN EVER.
SOUTHPORT WEEKENDER VOLUME 9-MIXED BY MR SCRUFF AND DJ SPINNA.
SOUTHPORT WEEKENDER VOLUME 9-MIXED BY MR SCRUFF AND DJ SPINNA.
Since 1987, the Southport Weekend has been one of the highlights of the dance music scene. Rather confusingly, the first Southport Weekend took place in Berwick Upon Tweed. After that, Blackpool became a venue, before briefly, heading to Morecambe, just along the coast. Next stop was Southport, where the weekender called home for many years. Now, the home of the Southport Weekender is Minehead in Somerset. Over the twenty-five years of the Southport Weekender, some of the biggest DJs and artists have played at the event. Among these artists were A Tribe Called Quest, India Aria and Soul II Soul. Some of the biggest DJs of the past twenty-five years have all featured at the Southport Weekender, including Miguel Migs, Blaze, Kenny Dope, Tony Humphries, Giles Peterson, Dimitri From Paris, Joe Claussell and Kerri Chandler. Each of these DJs mixes have featured on the eight previous volumes of the Southport Weekender. Two other DJs whose mixes have featured on the previous volumes of the Southport Weekender are Mr Scruff and DJ Spinna. They both feature on the Southport Weekend Volume 9, the latest installment in this successful series. So three years after volume eight was released, comes Southport Weekend Volume 9-Mixed By Mr Scruff and DJ Spinna. Has it been worth the three week wait?
DISC ONE-MIXED BY MR SCRUFF.
On Disc One of Southport Weekend Volume 9, Mr Scruff weaves his way through a total of twenty-five tracks, with the focus quite definitely on soulful and funky track. During Mr Scruff’s set, his mixing isn’t just tight, but it’s totally seamless. Over nearly eight minutes, you get a snapshot of one of Mr Scruff’s legendary five hour sets. For this set, Mr Scruff has dug deeper, seeking out some hugely soulful tracks, while he sprinkles an element of funk throughout the set. Among the twenty-five tracks is his set are tracks by Le Frank O, Kerri Chandler, Theo Parrish, The Hi-Fly Orchestra, Midas Touch and Winfield Parker. However, with twenty-five tracks to choose from, what are the highlights of Disc One of Southport Weekend Volume 9?
My first choice from Disc One of Southport Weekend Volume 9 is the joyous, uplifting sound of Le Frank O’s Keep On Gettin’ Down released in 1978, on M M-M Gold. Written, arranged and produced by Frank Johnson, the track has a really soulful sound, with the irresistible sound of rasping horns and female backing vocalists accompanying the joyful, feel-good lead vocal. It’s a pity the full track doesn’t feature, with Mr Scruff only teasing us two minutes of the track. However, even two minutes of this hidden gem of track is better than nothing. To me, it’s one Mr Scruff’s best choices.
Midas Touch’s Nite Life (Let’s Get It On) is an irresistible track with a real feel-good sound. Released in 1979 on the Palisades label, the arrangement is one of the best on this disc. A combination of blazing horns, backing vocalists and cascading strings accompany a funky rhythm section, before an impassioned vocal enters. The longer the track, the better the track gets, with a saxophone solo, sweeping strings, punchy horns and sassy backing vocalists accompanying the lead vocal. You just can’t help but get caught up in this captivating track, one that’s guaranteed to fill any dance-floor.
Winfield Parker’s I Want To Be With You is one of the most soulful tracks on Disc One of Southport Weekend Volume 9. It’s very definitely my favorite track due to the passion and emotion of the vocal and the way it combines with arrangement. To call the track uplifting, is doing the track a disservice, it almost has a spiritual quality. With the rhythm section driving the arrangement along, braying horns that punctuate the arrangement while lush strings add the finishing touches. Add to this the most soulful of vocals and the result is an absolutely, stunning track. Amazingly, I Want To Be With You was only the B-side of My Love For You, when it was released on P&L Records. Taken from Winfield’s My Love For You album, this is a track that anyone who loves quality soul music will adore, I certainly do.
Kerri Chandler’s Rain was released in 2000 on Nervous Records. It’s a slice of deep house, with crunchy beats, percussion and synths accompanying the punchy vocal that drifts in and out of the track. Filters are used effectively throughout the track, but thankfully not overused. The track has a catchy sound and demonstrates the quality of music Kerri Chandler has been producing for so long.
Sascha Dive’s Deepest America is an uplifting soulful house track. It was released on Germany’s Ornaments’ label in 2008. What makes this such a great track are two things, the vocal and arrangement. Both have a joyous, infectious, feel-good sound. With the sweet female vocal accompanied by crisp beats, percussion, flourishes of piano and reverberating synths, you’re quickly swept away by the track’s irresistible hook-laden sound. When all this is combined with a tempo of 129 beats per minute the result is a tantalizing, infectious slice of soulful house.
The last track I’ve chosen from Mr Scruff’s mix is Solid Groove’s Missin,’ taken from their 2003 Dubsided EP on the Dubsided label. Here, the track is a combination of house and broken beat. This is a compelling combination that somehow, works well. With crunchy beats, piano, a flute and synths, the track is driven along at 134 beats per minute. Bursts of squelchy synths reverberate, while a floaty vocal drifts in and out of the track. During the track the tempo builds up, only to slow right down and then rebuild. Overall, the track’s a compelling combination of two genres, laden with energy.
Overall, Disc One of Southport Weekend Volume 9, Mixed by Mr Scruff is an eclectic selection of music, with the emphasis on soulful and funky music. During twenty-eight tracks, Mr Scruff reveals a few hidden gems, combining them with a selection of better known tracks. His mixing, like his selection of music, is of the highest quality. Although there’s so many great tracks on Mr Scruff’s mix, to me, the best tracks have to be Le Frank O’s Keep On Gettin’ Down, Midas Touch’s Nite Life (Let’s Get It On) and the brilliant Winfield Parker’s I Want To Be With You, which is the best track on this disc. Like Mr Scruff’s other compilations and mixes, his contribution to Southport Weekend Volume 9 is truly eclectic, and will appeal to a wide audience. Even though the emphasis is on soulful and funky music, Mr Scruff’s music will appeal to crate diggers, house music fans and of course, anyone who likes their music either soulful or funky. However, with Mr Scuff setting the bar high, will DJ Spinna be able to match or better, Mr Scruff mix?
DISC TWO.
While Mr Scruff takes the listener on an eclectic journey through twenty-eight tracks, with the emphasis on soulful and funky music, DJ Spinna takes the listener on journey through the soulful house. Here, he combines a few favorites with the latest in underground tracks. In total, DJ Spinna spins his way through twenty-three tracks on Disc Two of Southport Weekend Volume 9. The music ranges from Boddhi Satva to Kerri Chandler and Pevan Everett, via K.C.Y.C., Rhythm of Elements and Sandboy and Nanar. However, can DJ Spinna’s mix match that of Mr Scruff’s eclectic selection of all things soulful and funky? That’s what I’ll now tell you, as well as choosing my favorite tracks from Disc Two of Southport Weekend Volume 9?
The track that opens Disc Two of Southport Weekend Volume 9 and DJ Spinna’s mix is Boddhi Satva’s Who Am I? This is the French version of a track that features on Boddhi Satva’s forthcoming album which will be released on 20 March 2012 on BBE Music. Stabs of keyboards open Who Am I, which features Athenai and C. Robert Walker. It’s a track that explores a range of important issues, each of which are interconnected, including hatred, racism and discrimination. The lyrics are delivered with frustration and anger by Athenai against a spacey sounding arrangement where stabs of synths, crunchy drumbeats and percussion combine. Meanwhile, C. Robert Walker adds subtle and tender backing vocals, before later, his voice soars, laden with emotion and almost anger. It’s a compelling, powerful track where the hypnotic beats and frustration and anger in Athenai voice can’t fail to move you. Of the twenty-three tracks on DJ Spinna’s mix, this is easily my favourite track.
Very different from Boddhi Satva’s track is Kerri Chandler’s My Moody Life, from his 2011 Ozone EP on Madhouse Records. Crispy, pounding beats, stabs of synth and piano solo combine during this deep house track, as the tempo reaches 123 beats per minute. As the track gradually reveals itself, you realize it has an infectious, catchy sound. Key to that is the piano solo midway through the track. It’s a track that has a gradual wakening, eventually, revealing its subtleties and charms for all to hear.
One track I was really pleased to find on this mix was Sure, by Real People featuring Darien. The version chosen is Frankie Feliciano Classic Vocal which has everything you want from a soulful house track. Take an uplifting, joyful vocal, add crisp beats, bursts of synths and percussion and then add some equally joyous backing vocals and you’ve the recipe for a classic slice of soulful house designed to lift your spirits.
60 Hertz Project’s Capricorn (Ralf Gum Mix) is a track that was released on German label Gogo Music in June 2011. It’s a deep house track with a proliferation of percussion, subtle beats and keyboards. The arrangement seems to meander along with an irresistible sound thanks to the percussion, guitar and keyboards. Here the beats are more subtle than on other tracks, giving the track a lovely laid-back sound that you can’t help find irresistible.
Peven Everett’s Sweetness (Koyla Mix) opens with crispy beats, flourishes of keyboards and percussion combining with the emotive, soulful vocal. It’s a track with a polished, soulful quality and sound. Chiming guitars augment the arrangement, while the crunchy beats and keyboards are key to the arrangement. However, without Peven’s vocal, this wouldn’t be such a great track. Adding just the finishing touch, is a Hammond organ that enters after three minutes. Percussion is added to the track and this completes one of the highlights of DJ Spinna’s mix.
The track that closes DJ Spinna’s mix on Southport Weekend Volume 9, is Sandboy & Nanar’s Night Song (Yoruba Soul Mix) which is one of the most soulful sounding tracks that features on DJ Spinna’s mix. This is from their 2007 Night House EP, released on Germany’s Hinterland Records. With crunchy beats, stabs of synths and percussion, the track gets under way, before revealing its hidden charms. A breathy, sweet female vocal is enveloped among crunchy beats, percussion and flourishes of keyboards. It’s a track that builds and builds. Later, the track reaches a dramatic crescendo with rasping horns entering, joining the beats, synths and percussion. After that, the track rebuilds as it heads towards the track’s gradual finale. It’s a fitting finale to DJ Spinna’s set, with DJ Spinna saving one of the best tracks for last. It was definitely well worth the wait.
Although I’ve only chosen six of the twenty-five tracks that feature on DJ Spinna’s mix, I could’ve chosen just about any track from his mix. On Disc Two of Southport Weekend Volume 9, DJ Spinna spins a stunning selection of house music. Most of his set is soulful house, augmented by a few deep house delights. It’s a flawless mix, with one great track following hard on the heels of another. Overall, it’s a majestic journey through soulful house, taking in a few favorites and spicing things up with some cutting edge and contemporary underground tunes. DJ Spinna has chosen his tracks carefully, with him resisting the temptation to trot out the same tired old tunes that other DJs fill their mixes with. Nor did DJ Spinna try to be too clever, instead just concentrating on quality music. Here, he neither tries to impress the crate-diggers nor train-spotters who concentrate on a track’s rarity rather than it’s quality. Instead, he’s content to spin twenty-three quality slices of soul, seamlessly mixed.
Does DJ Spinna’s mix match or better the quality of Mr Scruff’s? Well, in my opinion good as Mr Scruff’s mix is, DJ Spinna’s is much better. His selection of music peerless and his mixing seamless. I prefer the music and mixing on DJ Spinna’s mix. Maybe on DJ Spinna’s mix the music is more focused, with the focus on just house music, whereas Mr Scruff mixes a more eclectic selection of music. Having said that, there’s absolutely nothing wrong with either Mr Scruff’s music or mixing. His choice of music is excellent and his mixing seamless. When I say that DJ Spinna’s mix is better, I just feel the music is more soulful, uplifting and dance-floor friendly. However, both Mr Scruff and DJ Spinna’s mixes are of the highest quality, making this a very welcome return to for for Southport Weekend Volume 9. Standout Tracks: Le Frank O’s Keep On Gettin’ Down, Winfield Parker’s I Want To Be With You, Boddhi Satva’s Who Am I? and Sandboy & Nanar’s Night Song (Yoruba Soul Mix).
SOUTHPORT WEEKENDER VOLUME 9-MIXED BY MR SCRUFF AND DJ SPINNA.
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SHUGGIE OTIS-HERE COMES SHUGGIE OTIS.
SHUGGIE OTIS-HERE COMES SHUGGIE OTIS.
Shuggie Otis’ debut album Here Comes Shuggie Otis, really is a remarkable album. Why I hear you ask? Well, it’s a highly accomplished album from an artist who was just sixteen years old when he recorded Here Comes Shuggie Otis. By then, Shuggie was almost a seasoned musician, having performed professionally with his father Johnny Otis’ band since the age of twelve. To allow Shuggie to play in after-hours clubs, this meant the young Shuggie had to don a disguise. This resulted in the young Shuggie taking to the stage wearing sunglasses and a false mustache. Even at the age of twelve, Shuggie was a true multi-instrumentalist, playing piano, organ, drums and bass. Similarly, Shuggie’s musical styles ranged from R&B, soul, funk, jazz and blues. However, Here Comes Shuggie Otis wasn’t even Shuggie’s debut in a recording studio.
Before Shuggie recorded Here Comes Shuggie Otis had gotten his big break when Al Kooper asked the fifteen year old Shuggie to play on the second volume of his Super Session albums, Kooper Session. During the session, Shguggie was following in the footsteps of experienced musicians. Previously, Stephen Stills and Mike Bloomfield had played on the first album. Remarkably, Kooper Session’s was recorded in just one weekend at a studio in New York. This was Shuggie’s debut as a recording artist, albeit, as a session musician. His second recording session was not far away.
Having returned to Los Angeles Shuggie joined his father and a singer called Delmar “Mighty Mouth” Evans, to record an album entitled Cold Shot. This album was released on the Kent Records, a Los Angeles label, in 1969. Another album would follow from the trio, Snatch and the Poontangs. The next time Shuggie entered a recording studio, it would be as a sixteen year old to record Here Comes Shuggie Otis.
Joining Shuggie Otis on Here Comes Shuggie Otis, were a number of experienced and well known musicians. Johnny Otls, Shuggie’s father played piano, harpsichord, timpani, celesta and percussion, while Wilton Felder of the Jazz Crusaders played bass, Stix Cooper drums and Leon Haywood organ. Add to these players a string and horn section, and in total, it took over thirty musicians to record the ten tracks on Here Comes Shuggie Otis. On the album, Shuggie sang lead and backing vocals, whilst playing guitar, piano, organ, celesta and harpsichord. As if that isn’t impressive enough, Shuggie wrote each the ten tracks himself.
Here Comes Shuggie Otis was released in 1970 on Epic Records, the first of a trio of albums Shuggie released for Epic. Sadly, the album didn’t sell well and wasn’t a commercial success. Since then, Here Comes Shuggie Otis was spoken about in almost hushed tones, with people unable to believe such a mature album was recorded by a sixteen year old musical virtuoso. This meant the album has gained cult status among record collectors. The music on Here Comes Shuggie Otis is a fantastic fusion of soul, R&B, funk, jazz and blues, which I’ll now tell you about.
Opening Here Comes Shuggie Otis is Oxford Gray a seven minute bluesy sounding track. Straight away, you hear how accomplished a guitarist Shuggie is, as he unleashes a sizzling, searing guitar solo. Accompanied by moody sounding, ponderous drums and a loping bass, Shuggie takes centre-stage. Later, he contributes some wailing Hammond organ, while a harpsichord adds a quite different sound to the darkness of the track. Bursts of horns and sweeping strings give the track a dramatic soundtrack feel, before a slide guitar enters, while a moody sound reenters. Overall, there’s a sense of drama, darkness and foreboding on a track that’s reminiscent of Jimi Hedrix and has a late-sixties sound. However, it’s an impressive showcase for the virtuoso skills of a young Shuggie Otis.
Jennie Lee opens with dramatic quivering strings, before giving way to Shuggie’s thoughtful vocal. With guitar, flute and organ accompany the rhythm section, strings sit towards the back of the mix. Later the organ moves to the front, joining subtle horns and Shuggie’s crystalline guitar. Although only two minutes long, it’s a pensive track with a lovely, understated arrangement, very different from the opening track.
Bootie Cooler has a driving blues sound, before Johnny’s scorching guitar solo enters. The rhythm section and keyboards accompany him, before he decides to add some atmospheric Hammond organ to the arrangement. This then gives way to another guitar solo, that’s just as impressive as his previous solo. During this solo, Shuggie combines elements of rock and blues, against a driving rhythm section and reverberating keyboards. By the end of the track, you just can’t help but be impressed and won over by Shuggie’s dazzling guitar licks and sheer musical versatility.
Knowing (That You Want Him) has a real retro sound, reminding me of early to mid-sixties tracks. This doesn’t sound like a track that was recorded in 1969. With its guitars, shimmering strings and Shuggie’s soft vocal key to the track. I really like how every line Shuggie sings is punctuated by a quivering strings. That and his gentle vocal and the way the guitars sound. Later, these guitars jangle, sounding like The Byrds, adding just the finishing touch to the track. This is one of the best tracks on Here Comes Shuggie Otis.
Closing Side One of Here Comes Shuggie Otis is a track that combines funk and the blues, Funky Thithee. It’s a much quicker track, with angry horns, wailing, an atmospheric Hammond organ and a rhythm section that combine funk with blues to good affect. Later, Shuggie adds a dramatic piano solo to the track, before interspersing this with the Hammond organ and horns. By the time Shuggie lets go another searing guitar solo, the arrangement is much fuller, but not overcrowded. The result is a sizzling fusion of funk and blues music.
Shuggie’s Boogie opens Side Two of Here Comes Shuggie Otis and sees Shuggie namecheck his blues heroes, while he shoots the breeze about growing up and playing live. He intersperses this with blues lick and tricks, copying the blues greats he’s seen and heard. After this, he launches into an irresistible sounding blues boogie. With booge woogie piano, another scorching guitar solo and Hammond organ accompanying a brilliant rhythm section, a majestic slice of the finest blues unfolds. You become so caught up in the track that you forget that the guy playing guitar is just sixteen. If this was someone like Jimi Hendrix playing this, people would be in raptures over it. To say it’s brilliant bluesy boogie is no understatement. Truly, it’s the highlight of the album.
Hurricane is a driving bluesy track, with blazing horns, accompanying the rhythm section and Shuggies searing, chiming guitar solo. Here, Shuggie’s vocal is emotive, but neither as powerful, nor mature as his guitar playing. Mind you, that’s to be expected given that he was only sixteen. By the time he recorded his second album Freedom Flight and his final album for Epic Records, Inspiration Information, his voice had matured and strengthened. Here his voice can’t quite carry the lyrics and would be more suited to a stronger voice. His guitar playing more than makes up for this, and like the rest of the arrangement, is of the highest standard.
Gospel Groove is a slow, moody sounding bluesy track. Here, the rhythm section and piano provide an understated backdrop for Shuggies’ slow, searing guitar solo. Later, the piano and bass play a more prominent roll, while the drums provide the track’s heartbeat. Towards the end of the track, the arrangement grows in strength and volume, with the Hammond organ adding to the drama, while Shuggie plays the leading roll in this stunning, blues’ success.
Baby, I Needed You is another slow, guitar lead track. A chiming guitar solo opens the track, accompanied by the rhythm section and Hammond organ. Here, Shuggie’s voice is better suited to the track, but his delivery is slightly lacking, sometimes almost sounding flat. Even the arrangement isn’t up to the standard of the other tracks on the album. It’s only when Shuggie’s guitar enters that the track improves. Overall, the track has a quite disappointing sound, not up to the standard of the rest of Here Comes Shuggie Otis.
Things improve on The Hawks, the final track on Here Comes Shuggie Otis. It’s a track that demonstrates Shuggie talent as a guitarist. He dazzles his way through a track that combines the blues, R&B and jazz. This he does against a backdrop of rasping horns and a driving rhythm section. For two and a half minutes you’re mesmerized by Shuggie Otis’ flair and virtuoso skills, right up to the tracks dramatic crescendo.
Overall, Shuggie Otis’ debut album Here Comes Shuggie Otis is an accomplished and mature album. Of the ten songs, eight of them work well, with only two tracks Hurricane and Baby, I Needed You disappointing. With both of these tracks, the problem is Shuggie’s vocal. On these two tracks his voice lacks the power to the deliver the songs to their full potential. Apart from these two tracks, the other eight track are of the highest standard. During these tracks, Shuggie’s guitar playing is mesmerizing, with his guitar solos sizzling throughout the album. Given that Shuggie was only sixteen when he recorded Here Comes Shuggie Otis, this is a remarkable achievement. Truly, the word prodigy is a fitting description at this junction of his career. Sadly, after this Shuggie recorded only two further solo albums, Freedom Flight in 1971 and 1974s Inspiration Information. That means Shuggie Otis hasn’t released a solo album in thirty-eight years. One wonders how his career would’ve developed if he’d been consistently releasing albums throughout this period. Would he have become one of the biggest stars of the last forty years? Who knows, but when you listen to the music on Here Comes Shuggie Otis you realize just how incredibly talented a musician he is. If Jimi Hendrix had released some of the music on Here Comes Shuggie Otis, people would’ve been in raptures over it. However, instead, Shuggie Otis became an artist with a cult following, unknown outside of a small group of dedicated lovers of his music. Maybe the rerelease of his three solo albums as a triple-disc box set entitled Original Album Classics will allow his music to heard by a much wider audience. I sincerely hope so, given the quality of music on Here Comes Shuggie Otis, Freedom Flight and Inspiration Information. Standout Tracks: Bootie Cooler, Shuggie’s Boogie, Gospel Groove and The Hawks.
SHUGGIE OTIS-HERE COMES SHUGGIE OTIS.
TERRI WELLS-JUST LIKE DREAMIN.’
TERRI WELLS-JUST LIKE DREAMIN.’
Anyone who loves the Philly Sound will know the voice of Terri Wells, whose 1984 album Just Like Dreamin’ will be released on February 27 by BBR Records. From an early age, Terri Wells’ life revolved around music, starting with singing in churches in her hometown of Philadelphia, before forging a career as a session singer during the early seventies. This saw Terri singing backing vocals for The Detroit Spinners and The Brockington Singers, before forming City Limits with her friends.
City Limits were Terri Wells, Ron Richardson, Ted Wortham and Vicki Richardson and in 1975, they were signed to Gamble and Huff’s Philadelphia International Records. They only released one album for Philadelphia International, Circles in 1975, produced by Bruce Hawkes. Circles saw some of Philadelphia International’s most creative people working on the album, including arrangers Jack Faith and Norman Harris of the legendary Baker, Harris, Young rhythm section that were part of M.F.S.B. and the Salsoul Orchestra. Cynthia Biggs, Charles Simmons, Joseph Jefferson and Bruce Hawkes all cowrote song for Circles. Sadly, on its release, Circles wasn’t a commercial success and City Limits were dropped by Philadelphia International. However, by 1979, Terri Wells was back at Philadelphia International.
In 1979, Terri returned to Philadelphia International, this time as a backing vocalist. This saw her sing backing vocals on recordings and tours by M.F.S.B., Lou Rawls, Jean Carn, Leon Huff and Dexter Wansel. Terri’s time at Philadelphia International lasted until 1979, when Dexter Wansel retired from performing live. After this, Terri would work with another music legend, vibes player extraordinary Roy Ayers.
Terri sang backing vocals on Roy Ayers’ albums and during his tours. She also cowrote Let’s Stay Together from Roy’s 1982 album Feeling Good and sang lead vocal on Turn Me Loose. Roy Ayers also signed Terri to his Una Melodic label, but no material was ever released. However, after leaving Roy Ayers, Terri Wells was signed to a new label, Philly World Records.
Philly World Records was founded Peter Pellullo, a businessman who’d owned the Alpha Recording Studios since 1977. Peter had hired Nick Martinelli as staff producer for Philly World, and he recommended that the label signed Terri to the new label. Now that Terri Wells was signed to Philly World, work started on her debut solo album, Just Like Dreamin,’ with Nick Martinelli producing the album.
Recorded of Just Like Dreamin,’ took place at Alpha Recording Studios in Philadelphia. Just Like Dreamin’ featured three songs co-written by Terri, while the other five tracks were written by a variety of songwriters. Two high profile guests artists featured on the album, both of whom had worked with Terri before. Norman Harris formerly of M.F.S.B. and the Salsoul Orchestra arranged the strings on the title track Just Like Dreamin’ and Falling Leaves, while Roy Ayers played vibes on Who’s That Stranger. When Just Like Dreamin’ was completed, the album would be released in 1984.
Before Just Like Dreamin’ was released, You Make It Heaven was released as a single in June 1983, proving popular in the UK where it reached number fifty-three. Sadly, when Just Like Dreamin’ Terri’s debut solo album was released, it failed to chart. Given the quality of the music on Just Like Dreamin,’ this seems strange. When the second single from the album was released, it was a cover of The Detroit Spinners’ classic I’ll Be Around. It reached number eighty-one in the US R&B Charts and number forty-six in the US Dance Charts in May 1984, and proved popular in the UK, reaching number seventeen. Two further singles were released, I’m Givin’ All My Love in August 1984, which reached sixty-six in the US R&B Charts and number twenty-five in the US Dance Charts, while, Just Like Dreamin’ failed to chart. Overall, Terri’s career with her new label Philly World had been a relative success, with a trio of hit singles. However, her album Just Like Dreamin’ deserved to have a been a bigger commercial success, and I’ll tell you why that’s the case.
Opening Just Like Dreamin’ was the third of four singles released from the album, I’m Givin’ All My Love. It was written by Terri and her husband John King and Kae Williams. The track has a bright, bouncy and slightly funky sound with electric piano, rhythm section and guitars accompanied by synths and percussion combining. After a lengthy introduction, an impassioned and emotive vocal from Terri enters. She’s accompanied by gospel tinged backing vocalists, as Terri’s voice grows in power and confidence. There’s some clever interplay between Terri and her backing vocalists, with the backing vocalists adding to the soulfulness of Terri’s vocal. Later, bursts of rasping horns and a piano solo add the finishing touches to this sassy slice of soul. Add to this Nick Martinelli’s fantastic arrangement, and the result is a fantastic track to open the album.
The fourth and final single from Just Like Dreamin’ was the title track Just Like Dreamin.’ This is a mid-tempo track with a funk drenched bass, sultry saxophone, synths and cascading strings joining the punchy drums. When Terri’s vocal enters, it’s swathed in lush strings, while the saxophone drifts in and out the arrangement. Backing vocalists, including Cynthia Biggs, Dexter Wansel’s songwriting partner, accompany Terri. Her voice veers between tender and thoughtful towards a more powerful style. Here, the arrangement is quite different, combining lush strings and some sultry saxophone playing, with an eighties combination of synth and drums. Together this combination works, providing the a hook laden, catchy backdrop for Terri’s vocal.
There’s a very different sound and style to Falling Leaves, which allows Terri to demonstrate that she’s just as comfortable singing ballads. With bursts of rasping horns, a meandering piano line and sad sounding strings at the heart of arrangement, Terri delivers some great lyrics with a thoughtful, emotive and heartfelt style. While the horns punctuate the track synths and drums augment the arrangement. Although very different in style and sound, it’s a very beautiful, sad song delivered with feeling and sadness by Terri.
Can’t Stop combines the eighties electronic sound of synths and drum machines with a funk drenched bass and guitar to horns and strings arranged by Norman Harris. This track marries an eighties electronics sound with traditional instruments. The track is quicker, the tempo 120 beats per minutes, with Terri proving whether ballads or dance tracks, she can deliver each with style and aplomb. During the track, Terri gets the opportunity to demonstrate her full vocal range. Her voice is powerful, soaring high with a ballsy delivery, before returning to a much more gentle style. Like other tracks on Just Like Dreamin,’ the track has a really catchy sound, and with the quicker tempo and Terri’s sassy delivery, is perfect for the dance-floor.
On I Already Know, the tempo rises again, reaching 128 beats per minute. A sizzling, searing guitar solo opens the track, against an arrangement that features synths and drum machines. Then, when Terri’s vocal enters, she sings of her love for her man, even when he’s not about. She knows him and trusts him, delivering her lyrics with a softer, emotive style that grows in power to a controlled roar. With backing vocalists accompanying her, and that sizzling, rocky guitar augmented by synths. The arrangement becomes quick and busy, when Terri’s vocal drops out and towards the end of the track, the arrangement is driven along. It grows in power and emotion as the song heads to a dramatic and impassioned climax.
For me, the best track on Just Like Dreamin’ is I’ll Be Around, originally recorded by The Detroit Spinners. Here, the track is transformed from a three minute track into a six minute epic. Although I love the original, this is an excellent cover version. I remember the song being released as a single and absolutely loving the song. Since then, it’s become a classic post-disco track. It’s a track that combines a great arrangement with a stunning delivery of the lyrics from Terri. After a chiming guitar opens the track, things get even better, with the electronic combination of synths and drums combining with the Fender Rhodes. However, what makes the track is Terri’s vocal which she delivers with a swing, in a sassy, confident style. Not only does Terri sing lead vocal, but she sings backing vocals that echo around, while crisp drums and synths combine as her vocal grows in power and passion as the track heads to its brilliant ending. For me, this track is the highlight of the album, and is the best track Terri Wells ever recorded.
When Who’s That Stranger begins, the unmistakable sound of Roy Ayers can be heard playing vibes. He joins punchy rasping horns, rhythm section and Fender Rhodes on a track with a real jazzy sound. Terri handles the change of style perfectly, her vocal more restrained and suiting the jazz tinged arrangement. With bursts of horns punctuating the track, the vibes and a tight rhythm section combining the track has a very different sound. Personally, Terri’s voice was well suited to this track, which allows her to demonstrate her versatility as a vocalists on another of the highlights of Just Like Dreamin.’
Closing Just Like Dreamin’ is You Make It Heaven. Cascading strings open the track, before drums, synths, keyboards and guitar give way to a thoughtful, subtle vocal from Terri. Guitars, strings, keyboards and drums are a constant companion to Terri’s vocal, which quickly, grows in power and emotion. Adding to the beauty and emotion of the lyrics about love, are swathes of the lushest, most beautiful strings and subtle, soulful backing vocalists. Together with Terri’s gorgeous vocal and Nick Martinelli’s arrangement, this is a fantastic track and the perfect way to close Just Like Dreamin’
Having spend some time listening to Just Like Dreamin,’ I find it hard to believe that the album wasn’t a much bigger success. There’s a real variety of influences and styles of music on Just Like Dreamin.’ With everything from Philly Soul, disco, funk and jazz music it’s on the album it demonstrates the versatility of Terri Wells. I’m Givin’ All My Love, Just Like Dreamin’ and You Make It Heaven all demonstrate the soulful side of Terri’s music, with I’ll Be Around a delicious slice of disco. Who’s That Stranger sees another change in style, with its jazz tinged sound. On Can’t Stop, Terri marries an eighties electronic sound with lush strings and rasping horns, to excellent effect. On Falling Leaves, an understated and thoughtful arrangement is perfect for this lovely ballad. However, the best track on Just Like Dreamin’ is a cover version of The Detroit Spinners’ classic I’ll Be Around. Since its release as a single in 1984, it’s become a post-disco classic. On BBR Records’ remastered rerelease of Just Like Dreamin’ there are two other versions of I’ll Be Around included in the eight bonus tracks. There’s also instrumental, single and twelve inch versions of the other three singles included in the bonus tracks. So with some wonderful music on Just Like Dreamin,’ eight bonus tracks and detailed sleeve-notes from Marcus Spehr, BBR Records’ have done a wonderful job with their remastered, rerelease of the album. For anyone who either loves Philly Soul, disco funk and jazz music, then Just Like Dreamin’ is an album that deserves a place in your music collection. Why Just Like Dreamin’ wasn’t a much bigger commercial success on it’s release seems strange, given the high quality of the music on the album. Just Like Dreamin’ is a hugely underrated, hidden gem of an album, that thankfully, once again is available for everyone to hear, thanks to everyone at BBR Records. Standout Tracks: I’m Givin’ All My Love, Just Like Dreamin,’ I’ll Be Around and Who’s That Stranger.
TERRI WELLS-JUST LIKE DREAMIN.’
DENIECE WILLIAMS-THIS IS NIECY.
DENIECE WILLIAMS-THIS IS NIECY.
Deniece Williams, whose legendary debut album This Is Niecy has been remastered and will be rereleased by BBR Records on February 27, never had any intention of becoming a singer when she was growing up. Quite the opposite, with Deniece heading for a career in medicine. She was was born and grew up in Gary, Indiana and after graduating high school, headed to the Morgan State University where she was studying to become a nurse and anesthetist. However, all that changed when she got a chance to sing in a club part-time. After that, Deniece recorded a number of singles as Deniece Chandler for Toddlin’ Town’s various labels. One of these singles I’m Walking Away which became popular on the Northern Soul scene. Now that Deniece had discovered music, her nascent career as a nurse and anesthetist was over. Medicine’s loss was music’s gain.
The next step in Deniece’s career was working as a session singer during the early seventies. She sang backing vocals on albums by Linda Lewis and Esther Phillips, as well as on albums produced by Stevie Wonder. This included Minnie Riperton and Syreeta. Later, Deniece became one of Stevie Wonder’s backing singers, becoming one of the famous Wonderlove. Deniece’s backing vocals can be heard on Stevie Wonder albums like Talking Book and Fulfillingness’ First Finale. However, Fulfillingness’ First Finale would be Deniece’s final album as part of Woderlove, because in 1975, she signed to Columbia Records, where she’d work with two legendary music figures, Charles Stepney and Maurice White.
Although Charles Stepney and Maurice White had worked together before, they both had were successful in their own right. Charles had worked with a variety of artists that included Rotary Connection, Howlin’ Wolf, Marlena Shaw Terry Callier and Minnie Ripperton. He’d also worked with Maurice White and his group Earth, Wind and Fire. Together, Maurice and Charles had co-produced Earth, Wind and Fire’s platinum album Open Our Eyes in 1974 and 1975s triple platinum That’s the Way of the World. So Maurice and Charles were two hugely successful producers, that were at the top of their game. They were perfect for producing Deniece Williams debut album This Is Niecy.
To record This Is Niecy, Maurice White and Charles Stepney headed to Los Angeles with Deniece Williams. They chose Studio 3 of the Wally Heider Studios, where artists like Jimi Hendrix, Herbie Hancock and Earth, Wind and Fire had all previously recorded. At Wally Heider Studios, seven songs were recorded. Of these seven songs, Deniece wrote Cause You Love Me Baby herself, and co-wrote the other six songs with various songwriting partners. It was an all-star cast of musicians that accompanied Deniece on This Is Niecy. This incuded three members of Earth, Wind and Fire who provided the rhythm, section. Maurice White was the drummer, Verdine White bassist and Al McKay played guitar. George Bohannon also played trombone, while Ernie Watts played saxophone. With this all-star cast of musicians, Deniece recorded the seven songs which would become This Is Niecy. This Is Niecy would be released on September 1976, and included a song that would become synonymous with Deniece Williams…Free.
On This Is Niecy’s release in Septempber 1976, the album soared to number three in the US R&B Charts, while reaching number thirty-three in the US Billboard 200. This resulted in Deniece receiving a gold disc for her debut album This Is Niecy. Meanwhile, the album reached number twenty-six in the UK. However, when Free was released as a single in October 1976, it became a huge hit, reaching number two in the US R&B Charts, number twenty-five in the US Billboard 100 and reaching number one in the UK. The follow-up single was That’s What Friends Are For, which reached number sixty-five in the US R&B Charts and number 103 in the US Billboard 100. However, That’s What Friends Are For fared better in the UK, reaching number eight. Overall, Deniece Williams debut solo album This Is Niecy had been a huge success, but what does the music sound like? That’s what I’ll now tell you.
Opening This Is Niecy is It’s Important To Me, which marries a funky arrangement with Deniece’s soulful vocal. The track opens with three members of Earth Wind and Fire providing a funky rhythm section, before blazing horns and keyboards combine with sweeping, soaring backing vocalists. Deniece’s vocal is a mixture of soulfulness, confidence and power, while the backing vocalists sweep in with their gospel tinged sound. She sings call and response with her backing vocalists, while a punchy, funky arrangement drives along. This is a stunning way to open the album, with a track that combines a punchy and uplifting arrangement with a confident, dynamic and soulful vocal from Deniece.
Apart from Free, That’s What Friends Are For is the best known track on This Is Niecy. Not only that, but it’s one of the most beautiful tracks, with gorgeous lyrics about love and friendship within a relationship. Opening with keyboards, searing guitars that give way to a gentle and beautiful vocal from Deniece. With percussion, drums and rasping horns accompanying her, her vocal grows in power, demonstrating her wide vocal range. Her vocal veers between a gentle style, to a soaring powerful style. All the time, she’s in total control of her vocal. Towards the end of the track, the arrangement also grows, with braying horns, rhythm section, percussion and keyboards combining brilliantly. However, what makes this such a beautiful track is Deniece’s vocal. She delivers the lyrics with a combination of tenderness and sincerity against a stunning arrangement from Maurice White and Charles Stepney. What I don’t understand though, is why such a gorgeous song wasn’t a bigger hit when released as a single.
Slip Away is very different from the previous track, with its combination of jazz, funk and soul music. Keyboards, chiming guitars and distant horns open the track, before the track reveals its hidden charms. Deniece delivers the lyrics in a sassy, powerful style, while behind her, punchy horns blaze, the rhythm section add a touch of funk and backing vocalists augment Deniece’s vocals. Flourishes of keyboards drift in and out of an arrangement that combines jazz and funk with Deniece’s sassy, soulful vocal.
Cause You Love Me Baby was written by Deniece herself, while she cowrote the other six tracks. It’s a mid-tempo track where gentle, melodic keyboards open the track, before chiming guitars and the rhythm section enter. Together, they provide a beautiful backdrop for Deniece’s thoughtful, emotive vocal and her lyrics about love. Subtle, punchy horns are added to an arrangement that has a lovely understated and catchy sound. This is perfect for the joy and emotion in Deniece’s vocal, as if she’s singing the song about someone special to her. Maybe this is what makes this such a great song, and one of the highlights of This Is Niecy.
Ask anyone to name a Deniece Williams song, and most people will say Free. Since its release, it’s a song that’s become synonymous with Deniece. It gave her the biggest hit single of her career, reaching number two in the US R&B Charts, number twenty-five in the US Billboard 100 and reaching number one in the UK. With its slow, meandering introduction where percussion glides effortlessly, combining with subtle burst of keyboards, before Deniece’s gentle, tender and beautiful vocal enters. This gives way to the rhythm section, who play with a subtlety, while percussion, keyboards and bursts of horns augment the arrangement. This is easily, the best vocal from Deniece on the album, with its breathy, tender style, delivered with feeling. During a breakdown, keyboards, rhythm section and backing vocalists replace Deniece’s vocal, before Deniece’s vocal reenters. For six minutes, it’s pure pop perfection, one of the greatest songs recorded in the past forty years, one that’s absolutely stunning.
Watching Over is a funk tinged track, with the rhythm section and punchy horns combining to accompany Deniece. Like the other tracks on This Is Niecy, the musicianship is of the highest standard. Mind you, with Maurice and Verdine White and Al McKay providing the rhythm section and the horn section including George Bohanon and Oscar Brashear, this is no surprise. On this track they get a chance to demonstrate their talents fully. Meanwhile Deniece’s vocal is quick, high and punchy. This is perfectly suited to the lilting, funky arrangement. When the arrangement and vocal are combined the result is a track that although almost the polar opposite to Free, demonstrates that Deniece is just as comfortable singing funky tracks like this.
Closing This Is Niecy is If You Don’t Believe, which opens with a sad trailing horn heading into the distance, before flourishes of keyboards and guitar combine. When Deniece’s vocal enters, it’s gentle and thoughtful, while piano, gentle rasping horns and guitar combine to provide a subtle backdrop for her vocal. The arrangement meanders along, with the track having a such a compelling quality, you’re almost scared to breath, in case you miss something. Quickly, you’re drawn into the track, become swept up in it, caught in the spell of its beauty, charms and subtleties. Keyboards, rasping horns and the rhythm section combine during a breakdown, before Deniece’s vocal returns. It’s grown in strength and emotion, while the arrangement also grows in power and beauty. For eight minutes of this epic track, you’re absolutely spellbound, entranced by this mesmerizing track’s hidden charms and subtleties. Although the last track on This Is Niecy, it’s very definitely one of the album’s very best tracks
Although This Is Niecy was Deniece Williams debut solo album, it’s a really mature and polished album, full of some stunning tracks. With two experienced and talented producers in Charles Stepney and Maurice White adding their expertise to This Is Niecy, the result is seven tracks where Deniece Williams combined elements of soul, funk and jazz. Although Free and That’s What Friends Are For are the two best known tracks on This Is Niecy, there’s much more to the album than just two tracks. Cause You Love Me Baby is one of the most soulful tracks on This Is Niecy, while It’s Important To Me, Slip Away and Watching Over combine elements of soul, funk and jazz. The track that closes This Is Niecy, If You Don’t Believe is another of the highlights of the album, with its mesmerizing and spellbinding quality. However, That’s What Friends Are For and Free are the best known tracks on This Is Niecy. Both are beautiful tracks, with That’s What Friends Are For an underrated track that deserved to do much better than it did when it was released as a single. It has a joyous quality and some beautiful lyrics. Free however, is the Magnus Opus from This Is Niecy, with its instantly recognizable and irresistible laid-back sound. On BBR Record’s remastered rerelease of This Is Niecy, there are two other versions of Free, a short and long version of the single, as well as the single version of That’s What Friends Are For. Add to this, stunning sound quality, in-depth sleeve notes from Rico “Superbizzee” Washington and BBR Records remastered release of This Is Niecy is an absolute must-have album. To me, This Is Niecy was the best album that Deniece Williams ever released. It’s an album that will appeal to anyone who loves soul, funk and jazz music, as well as anyone who loves the best known tracks Free and That’s What Friends Are For. Personally, I’ve waited a long time for This Is Niecy to be remastered and rereleased, and BBR Records have done an excellent job, like they did with the other Deniece Williams’ album I reviewed My Melody. Standout Tracks: That’s What Friends Are For, Cause You Love Me Baby, Free and If You Don’t Believe.
DENIECE WILLIAMS-THIS IS NIECY.
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