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.
STAX GOLD-HITS 1968-1974.
STAX GOLD-HITS 1968-1974.
For some time, I’ve been meaning to do a feature on one of my favorite soul labels Stax. Previously, I’ve reviewed a number of albums that have been rereleased and remastered, with Johnny Taylor’s Taylored In Silk, Shirley Brown’s Woman To Woman, The Dramatics’ Whatcha See Is Whatcha Get and The Staple Singers’ Be Altitude: Respect Yourself just four of these albums. These are just four of a huge roll-call of artists that recorded for Stax during the label’s lifetime. Among the other artists were some of the biggest names in soul and funk music. This included Otis Redding, Isaac Hayes, Booker T and the MGs, Carla Thomas, William Bell, The Emotions, Mavis Staples, The Soul Children, The Temprees and Mel and Tim all recording for Stax. With so many big names and so much great music on Stax, I thought that I’d feature one of the many Stax compilations have been released. Now as someone who over the years, has collected so many Stax compilations, I’ve plenty of albums to choose from. So, as a taster for a future in-depth feature on the trio of The Complete Stax/Volt Soul Singles’ box sets, I thought I’d review a compilation that features some of the best known singles between 1968 and 1974, Stax Gold-Hits 1968-1974, which was released in 1991 by Ace Records.
On Stax Gold-Hits 1968-1974 are tracks from some of the biggest artists on Stax at this period. This compilation includes music from the mid and later period on Stax. Stax’s history is broken into three periods on The Complete Stax/Volt Soul Singles’ box sets. Between 1959 and 1968 was the “first period,” with 1968-1971 the “mid period” and 1972-1975 the “later period,” when Stax was experiencing financial problems. However, Stax Gold Hits 1968-1974 features music from the mid and later period, with some great music from some of Stax’s biggest names. Among the artists featured on Stax Gold Hits 1968-1974 are Booker T and the MGs, Isaac Hayes, Judy Clay and William Bell, The Dramatics, Johnny Taylor and The Bar-Kays. The twenty-four tracks that feature on Stax Gold Hits 1968-1974 are a good overview of music that Stax released during this time, and is a perfect introduction to the label’s music. After this, there’s so much magnificent music to explore from the Stax’s three periods. However, what are the highlights of Stax Gold-Hits 1968-1974? That’s what I’ll now tell you?
My first choice from Stax Gold-Hits 1968-1974 are two tracks from Booker T and The MGs, who were also Stax’s house band. They played on so many tracks for a variety of other Stax artists including Otis Redding and Sam and Dave. The two tracks on the compilation are two of their best tracks. Soul Limbo was released in 1968 and the title track from their Soul Limbo album. With its wailing Hammond organ, frenzied percussion and driving rhythm section it’s a true classic from Booker T and The MGs, a two and a half minutes stew of soul and funk music that’s just brilliant.
Time Is Tight was released in 1969 and was from their soundtrack album Up Tight. Like Soul Limbo, it feature the unmistakable sound of Booker T Jones’ Hammond organ, while bassist Donald “Duck” Dunn, drummer Al Jackson Jr. and guitarist Steve Cropper provide one of the tightest rhythm sections in soul music’s history. Although Time Is Tight is a quicker track, the arrangement is quite different with just that tight rhythm section and Booker T Jones’ Hammond organ featuring. Here, the rhythm section provide the track’s heartbeat, with pounding drums to the fore, while Booker T Jones’ Hammond organ wails atmospherically and beautifully throughout the track, adding to the track’s subtleties, charms and beauty.
Johnnie Taylor was one of the biggest solo artists in Stax’s history, releasing hits like Who’s Making Love, which gave him a number one US R&B single in 1968. In 1973, Johnny had another million selling single I Believe In You (You Believe In Me), from his 1973 Taylored In Silk album. It’s a song about love and relationships. The tempo is slow, an organ, rhythm section and flute accompany Johnnie. Meanwhile, bass dances around, seemingly partnering the flute and then latterly the strings. Straight away, the arrangement unfolds revealing a combination of pounding drums, sweeping strings, shimmery, chiming guitars, floaty flute and that dancing bass. They provide a fuller arrangement for Johnnie’s vocal which is laden with power and passion. His voice soars, accompanied by female backing vocalists, whose voices unite soulfully with the driving, swirling and rich arrangement, resulting in a track that sounds quite beautiful and brilliant.
Another song from Johnie Taylor’s Taylored In Silk album is Cheaper To Keep Her, a song about love and relationships gone wrong, Johnny coming to the conclusion that it’s cheaper to keep his wife than divorce her. When released as a single, it reached number two in the US R&B Charts and number eleven in the US Billboard 100. It’s a track that swings, with shades of a big band sound when the blazing horns briefly interject, accompanied by a piano and bass. When Johnnie sings, his vocal is quite different, half-sung, half spoken. While horns rasp ironically, female vocalists sweetly, swoon, soulfully in unison “it’s cheaper to keep. her.” Still, the piano and bass, continue to provide a sound that has a quaint, old-fashioned sound and feel, that’s highlighted by the horns, backing vocalists and slower, yet swinging tempo. Above the arrangement sits Johnnie’s vocal, full of confusion and bemusement. Although quite different from the previous tracks in sound and style, this song really works. Much of this is down to the somewhat retro sounding, big band influenced arrangement, and Johnnie’s ability to breath life and energy into the lyrics.
Private Number by Judy Clay and William Bell is another track about relationships gone wrong. A heartbroken William sings his heart out, against swathes of strings, rasping horns and a rhythm section that features members of Booker T and The MGs. Judy replies to William, her vocal matching the raw emotion and passion of William. Thankfully, by the end of the track Judy agrees to give William her Private Number, giving the song has a happy ending. However, this is a real heartbreaking slice of Southern Soul, laden with emotion, featuring an arrangement that matches the emotion of the vocal. With strings and horns accompanying Judy and William, the result is a stunning arrangement, one of the best on Stax Gold-Hits 1968-1974.
Another of the Stax albums I’ve previous reviewed was The Dramatics’ Whatcha See Is Whatcha Get. Probably their most famous track was In the Rain, giving the group a number one R&B hit, while reaching number five in the pop charts. It has a hugely atmospheric and effective opening, with rain and gusts of wind combining. That gives way to chiming guitars which echo, creating an atmospheric, deeply sad sound, perfect for the lyrics. The guitar combines with piano and rhythm section, providing an understated arrangement, allowing a vocal laden in sadness and regret to take centre-stage. Adding to the sad and atmospheric sound are lush strings and subtle backing vocals. Later in the track, rasping horns briefly enter, their sound subdued, in keeping with the rest of the arrangement. It’s atmospheric song, dramatic and full of sadness and regret, with some deeply sad and thoughtful lyrics.
Probably one of the best known tracks on Stax Gold-Hits 1968-1974 is Issac Hayes funk drenched, Blaxploitation classic Shaft. This was the title track from his 1971 film soundtrack Shaft, which gave Isaac a number one albums in the US R&B Charts and US Billboard 200. Isaac also won two Grammy Awards for Shaft and when Shaft was released as a single, it too reached number one albums in the US R&B Charts and number two in the US Billboard 100. Now as someone who loves Blaxploitation music, this is a stonewall classic, totally peerless. With its dramatic introduction that gradually builds and builds, to reveal a searing, sizzling, funky stew of blazing horns, wah-wah guitars and cascading string and of course, the funkiest, hottest rhythm section. Add to that Isaac’s understated, yet strutting vocal, with breathless female backing vocalists accompanying him, and you get the picture that this track is indeed a true classic. From there on, things get even better, with the punchy horns rasping, the strings sweeping and swirling, whilst the rhythm section and wah-wah guitars combining to create the funkiest sound backdrop for Isaac’s vocal. However, this is just a taster of the Shaft soundtrack, which belongs in every record collection. Truly, it’s one of the best soundtracks of the past forty plus years…by far.
The Staple Singers have two songs of Stax Gold-Hits 1968-1974, with Respect Yourself the first of these two tracks. Taken from their 1972 album Be Altitude: Respect Yourself which became The Staple Singers’ most commercially successful album. It reached number nineteen in the US Billboard 200 and number three in the US R&B Charts. Respect Yourself reaching number twelve in the US Billboard 100 and number two in the US R&B Charts when it was released as a single. The track opens with keyboards, rhythm section and horns blazing before Pops’ understated vocal enters. Behind him, the rest of the group sing backing vocals, while a pounding rhythm section, guitars and keyboards accompany them. The lead vocal changes hands several times, with Mavis powerfully telling everyone to respect themselves. According to Mack Rice, the song was about encouraging African American people to respect themselves. This song about self-empowerment became important at a time when the civil rights movement was just about over. Meanwhile, the band have locked into a funk groove, and are feeding off each other, encouraging one another to greater heights. This they do, while in the process, recording a quite brilliant track, one that would become synonymous with The Staple Singers for evermore.
While Respect Yourself was a successful single for The Staple Singers, another track from Be Altitude: Respect Yourself that would give them their biggest hit single. I’ll Take You There, was released in February 1972 and was written and produced by Al Bell, reached number one in both the US Billboard 100 and US R&B Charts. During the track, Mavis asks everyone to find heaven. When you listen to the introduction, many people will recognize it as being part of a reggae track The Liquidator. Al Bell wrote the song in one key, C, only using three chords, C, F and A. After the “borrowed” introduction, Mavis pleading, emotive vocal enters, with the rhythm section, chiming guitars and short snaps of horns accompanying her. Later, an electric piano is played by Barry Beckett, while engineer Terry Manning plays harmonica. Both instruments are important in the track’s success. Just as important were The Memphis Horns soulful contributions, which can be heard throughout the track. However, without Mavis almost preaching vocal, this wouldn’t have been the same track. Here, she demonstrated just how hugely talented a singer she was, giving a powerful, moving and emotive performance.
Like Mavis Staples, Shirley Brown was another hugely talented female vocalist on Stax. She’s best known for her hit single Woman To Woman, which reached number one in the US R&B Charts, number twenty-two in the US Billboard 100 and was nominated for a Grammy Award in 1975. Later, an album also entitled Woman To Woman was released in 1975, reaching number eleven in the US R&B Charts and number ninety-eight in the US Billboard 200. However, by then Stax was experiencing financial problems, and the album was neither promoted nor marketed widely enough. Woman To Woman is best described as a mini-drama, with the track opening with Shirley phoning a woman called Barbara, who apparently has been having an affair with Shirley’s husband. Shirley warns her love rival, that the man she’s in love with, is her’s, every bit of him. Against a slow, lush and atmospheric arrangement that’s mainly the rhythm section, chiming, shimmery guitars, and subtle horns, Shirley warns Barbara. After a minute and a half, Shirley’s vocal begins. Like the earlier part of the track, Shirley’s voice is full of passion, but here it soars powerfully, as she warns Barbara and explains the situation. Behind her, the arrangement is still subtle, melodic, with just the rhythm section, horns and guitars combining. Together, they provide the perfect backdrop for Shirley’s gutsy vocal, which is part warning, part promise. Quite simply, Woman To Woman is a ballsy track, one part bravado, to one part passion.
My final choice from Stax Gold-Hits 1968-1974 is the final track on the compilation, The Soul Children’s tale of an affair and stolen moments, I’ll Be the Other Woman, which reached number thirty-six in the US Billboard 100 and number three in the US R&B Charts. This track was also on their 1974 album Friction. Written by Carl Hampton and Homer Banks, it’s three and a half minutes of raw emotion and heartache. With just keyboards, hi-hats and gentle percussion opening the track, horns rasp, before a vocal laden with emotion and sadness enters. Meanwhile, the rest of the group sing tight, soulful backing vocals, while horns soars above the arrangement. A slow, wandering bass line is ever-present throughout the track, while Booker T Jones’ Hammond organ adds to the track’s emotion and atmosphere. Truly, this is one of the best tracks on the compilation, thanks to an arrangement that matches the vocal’s emotion, heartache and sadness.
Stax Gold-Hits 1968-1974 demonstrates the quality of artists that recorded for Stax between 1968 and 1974. With artists like Isaac Hayes, Booker T and the MGs, Carla Thomas, William Bell, The Emotions, Mavis Staples, The Soul Children and Mel and Tim recording for Stax during this period, Stax had one of the most talented and successful rosters in American soul music. Apart from possibly Motown, Stax was blessed with a proliferation of creative minds working at their McLemore Avenue studios in Memphis. While the artists grabbed the headlines, a small army of songwriters, producers and musicians were responsible the brilliant music the label released between 1957 and 1975, when the label closed due to financial problems. However, between 1959 and 1975, Stax released some of the most important, influential and innovative soul music, with their trademark Southern Soul sound. On Stax Gold-Hits 1968-1974 you can hear some of the labels best music during that period. This is the perfect introduction to some of the best music in the mid and late periods of Stax Records. After this, their is a wealth of some of the best Southern Soul music to explore, from artist albums, compilations and box sets, some of which I’ll be reviewing in the future. Meanwhile, Stax Gold-Hits 1968-1974 is a perfect primer to the music of Stax Records. Standout Tracks: Issac Hayes Shaft, The Staple Singers Respect Yourself, Judy Clay and William Bell Private Number and The Soul Children I’ll Be the Other Woman.
STAX GOLD HITS 1968-1974.
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JOHN CAREY-SMOOTH, SOULFUL AND FUNKY.
JOHN CAREY-SMOOTH, SOULFUL AND FUNKY.
It’s not often that a husband and wife both release new albums at the same time. This is what happened when John and Gina Carey both released new albums earlier in February 2012. While Gina released her beautiful, sixth album Love Letters, John Carey, The Urban Soul Guitarist released his new album Smooth, Soulful and Funky. Like Gina Carey’s album Love Letters, John’s album Smooth, Soulful and Funky is released on the couple’s GiCo Music. It’s a collection of nine tracks from Chicago born jazz guitarist John. However, John Carey is much more than a guitarist with over forty years experience, but he’s a multi-instrumentalist who can play bass, keyboards, drums and percussion. Back in the early seventies though, John made his name playing electric guitar and singer. During his career, John has worked with some of the legends of music, opening for Earth Wind and Fire, George Benson, Buddy Guy, Norman Brown and Rose Royce. Previously, John has released four albums on independent labels, including 2011 New Beginnings, released on GiCo Music. It reached number eight in the UK Soul top thirty and was named one of the top Smooth Jazz albums of 2011 in the UK. So, having told you about John Carey’s background, I’ll tell you what his new album Smooth, Soulful and Funky sounds like.
The first track on Smooth, Soulful and Funky is Eunice (Song For Mom). This is a lovely, laid-back slice of smooth jazz, with John’s subtle jazz guitar accompanied by keyboards, lush strings and percussion. His talents as a guitarists are demonstrated on this track, as the guitar drifts in and out of the track, while a horn soars above the arrangement. It’s joined by occasional bursts of the lushest strings, while percussion augments this truly beautiful smooth jazz track.
Let It Flow opens with John’s guitar meandering, before crispy drumbeats and Gina Carey adds vocals. Keyboards join the track, while John jazz tinged guitar playing is quick and accurate, as it chimes and soars, as his fingers effortlessly flow up and down the fretboard. With the lovely combination of Gina’s subtle, sensuous vocal and the crunchy drums accompanying John, this is a track with a lovely mellow, understated sound.
Quite different from the two previous tracks is Spicy, which literally bursts into life, combining jazz with Latin influence. Percussion, a searing guitar solo from John and blazing horns open the track, which now has a Spanish sound and influence. With alto saxophonist and smooth jazz composer Will Donato accompanying John, the track is full of energy and like. Will’s punchy saxophone and John’s guitar combine, before John takes centre-stage with stunning guitar solo. After that. John and Will combine, their efforts driving the track along. Then, Will gets his chance to shine, playing an equally stunning rasping solo. The success of the track is down to two things, when John and Will unite, and when they both take turns of demonstrating their virtuoso skills.
Stanky sees another change in style, with the track having a funky sound. This is down to John’s guitar playing which sears and soars throughout the tracks. John seems to almost make his guitar talk, while keyboards, drums and percussion accompany him. Like the other tracks on the album, John plays each instrument, demonstrating he is a true multi-instrumentalist. However, it’s on guitar that John Carey made his name, and here he demonstrates that he’s one of the finest jazz guitarists around, making his guitar do things other lesser guitarists could only demonstrate on this funk drenched track.
I’m Into You is truly a “family affair” to quote the legendary Sly Stone. On this track, John’s wife Gina is the guest vocalist. Crunchy beats, a loping funky bass and braying horns give way to the sultry sound of Gina’s vocal. She duets with John, who has a really throaty, rasping voice. Lush strings, join the horns and rhythm section, while John’s guitar plays an important part in the arrangement. Meanwhile Gina and John sing of their love for each other, as they sing “I’m Into You.” This is a a very beautiful song, that combines John’s jazzy sound with Gina’s Nu Soul, on a track where the Carey’s sing of their love for each other. To me, this is easily, one of the highlights of Smooth, Soulful and Funky and would make a great single.
Old School sees John reminiscing about the old school music of his youth, while Gina adds some soulful vocals, against an arrangement that features keyboards, crisp beats and chiming guitars. Then, John joins Gina as they duet. John’s voice is full of emotion and impassioned, as he rolls back the years, singing of his musical heroes like Smokey Robinson Teddy Pendergrass and Freddie Jackson, on a track with some fantastic lyrics. Meanwhile Gina’s vocals soar high above the arrangement, before she takes her turn to sing about her heroes, name checking Gladys Knight, Aretha Franklin and Stephanie Mills. Again, her vocal is equally emotive and impassioned as John’s, soaring beautifully, but always in control. What makes this such a great track are the lyrics and John and Gina’s impassioned vocals which are fill of emotion.
You’re My Inspiration is one of Smooth, Soulful and Funky’s quicker tracks. During this song, John sings of how Gina is her inspiration. This he does against an arrangement that marries his jazz guitar with a really soulful arrangement. His chiming, shimmering guitar is played quickly and seemingly effortlessly. This results in a beautiful, emotive sound, while keyboards, drums and percussion accompany Gina on backing vocals. Later, John decides to show-case his skills as a guitarist, with a dazzling, sizzling solo that is mesmerizing. When this is added to the soulful sounding vocals and arrangement, then this is the recipe for a beautiful track that’s a fusion of John and Gina’s musical styles and talents.
Who Am I sees Gina singing vocal on another track with some great lyrics from John. These lyrics are full of social comment, pondering the meaning of identity as Gina asks “Who Am I?” With synths, crispy beats and some searing, soaring guitar playing from John throughout the track, Gina delivers the lyrics thoughtfully and punchily. Later, a sample is effectively added, before the track returns to the punchy, Nu Soul sound. This Nu Soul sound has a slow, slightly spacey arrangement, while John’s jazz tinged guitar sears and sizzles along this track that marries contemporary lyrics with a Nu Soul sound and a twist of jazz.
On We Came Here To Party, John takes the roll of MC as this funk drenched track opens. A combination of bursts of Dave Thomasson’s rasping saxophone, Theo Coakly’s funky bass and Kirkwood Coakley synths, augment John’s sizzling, funk laden guitar and a proliferation of percussion combine to create the a stunning stew of jazz funk. Meanwhile, Gina adds vocals that drift in and out of the track. With four hugely talented musicians combining, John is spurred on, laying down one of his best guitar solos on the album, one that mixes, rock, jazz and funk. The result is an absolutely mesmerizing, blistering track that demonstrates the hugely talented John Carey and his trio of talented jazz friends.
Closing Smooth, Soulful and Funky is Tears For A Fallen Soldier, a gentle, thoughtful and introspective track that’s very different to the previous track. It’s a return to the smooth jazz sound of earlier tracks, with an electric piano, sad sounding strings and subtle percussion combining, before John’s adds an emotive and atmospheric guitar solo. This is perfect for a track that has a thoughtful, sad sound. When the guitar drops out, the electric piano reenters, adding to the emotive, pensive sound of this track. After that, John’s guitar returns as the track heads to its emotional ending. Not only is this a quite beautiful track, but one that has a thoughtful and emotive sound, that makes you think deeply about the title and something that sadly, is a far too common and tragic occurrence nowadays.
John Carey’s album Smooth, Soulful and Funky is an eclectic combination, ranging from the smooth jazz of Eunice (Song For Mom) and Let It Flow, while Spicy combines jazz and Latin music and Stanky and We Came Here To Party are two funk drenched tracks. Adding a soulful sound are I’m Into You, Old School and You’re My Inspiration, while Who Am I has a real Nu Soul sound and feel. Overall, the ten tracks on Smooth, Soulful and Funky are an eclectic selection of some incredible, quality music. On the album John’s mesmerizing, virtuoso guitar skills are augmented by the soulful voice of Gina Carey, along with saxophonists Will Donato and Dave Thomasson, bassist Theo Coakly and synth player Kirkwood Coakley. Along with John Carey they helped him to create an album that deserves to be heard by the widest audience possible. So, If like me, you love jazz, funk and soul music, Smooth, Soulful and Funky features all this and much more. It also includes some gorgeous smooth jazz, which allows John to showcase his jazz skills. Like his wife Gina Carey’s new album Love Letters, John Carey’s Smooth, Soulful and Funky is a must have album for everyone who loves quality jazz, soul and funk music. I’m sure that by the end of 2012 both Smooth, Soulful and Funky and Love Letters will be crowned two of the best albums of 2012, like John’s previous album New Beginnings and Gina’s 2011 album Melodic. Standout Tracks: Let It Flow, I’m Into You, Old School and We Came Here To Party.
JOHN CAREY-SMOOTH, SOULFUL AND FUNKY.
GINA CAREY-LOVE LETTERS.
GINA CAREY-LOVE LETTERS.
Sometimes, when you hear a song it just stops you in your tracks. You become caught up in the song’s beauty, swept away by its subtleties and charms. This happened to me last week, when I heard the most gorgeous track from Gina Carey, For Love. This is her new single, and is also a track from Gina’s new album Love Letters. Having been swept away by For Love, I decided to find out more about Gina Carey and her new album Love Letters.
Now for anyone who hasn’t yet heard Gina Carey’s music, Gina has had a long and successful recording career, releasing three gospel albums and a trio of soulful albums. Her career started in 1990, and saw Gina’s voice compared to legendary soul and disco singer Stephanie Mills. Straight away, I heard the similarity and was struck by how similar Gina’s voice sounded to Stephanie’s. However, their music is quite different, but has one similarity, both are hugely soulful.
Although Gina Carey’s career started in 1990, it wasn’t until 1996 that Gina released her solo album In His Time, the first of three gospel albums Gina released. It was an album that sold over ten thousand copies throughout the United States and lead to Gina being nominated by the Black Music Academy Association of America for two awards, Best Female Gospel Performer and Gospel’s Rising Star. After the release of In His Time, two further gospel albums would follow in the next ten years. 2003 saw the release of Gina’s second gospel album Changes. Three years later in 2006, came the last in Gina’s trio of gospel albums Tell Um. 2006 also saw Gina receive a prestigious award for her music, when she won the Las Vegas Black Music Awards’ for Best Gospel Performer at the Cashman Theater. However, when Gina’s next album was released, the style of music would be different.
Much had happened to Gina between the released on Tell Um in 2006 and My Journey in 2008. In 2007, Gina auditioned for America’s Got Talent on NBC TV and had performed with Lee Bailey at the inaugural EURWEB Awards. Gina also auditioned for another television show “Showtime At The Apollo, filmed at the famous theatre in Harlem where so many great singers had appeared. So impressed with Gina were the judges, that she was twice asked to be a guest on the show. It definitely seemed that Gina Carey’s star was rising during 2007 and this continued into 2008 when BET J played the video for her True Love single on their Cup show. When Gina would release her next album it would demonstrate her talent as a singer, songwriter and arranger.
Melodic was Gina’s second soul album and fifth album overall. On Melodic, Gina wrote and arranged the songs, while her husband John, Urban Soul Guitarist and played on, and produced Melodic. This was Gina’s most successful album, reaching number one in the UK Soul Charts in August 2011. Then, in December 2011, Gina received a huge accolade, when Melodic was named one of the best soul albums of 2011. Gina was in illustrious company, joining names like Jill Scott, Maysa Leak and Eric Benet. This bodes well for the release of Gina’s new album Love Letters.
Love Letters is Gina’s third soul album and sixth album overall, released in February 2012 on Gico Music, Gina and John Carey’s own label. Written, arranged and produced by Gina, while John plays all guitar parts. On Love Letters are ten beautiful songs, which I’ll now tell you about.
Love Letters opens with Boogie On Down, a track that combines elements of Nu Soul with funk music. Opening with a James Brown like growl, the track marries an arrangement that’s full of a funky rhythm section, punchy blazing horns and handclaps with Gina’s sweet sounding vocal. Her vocal is controlled and confident, with a beautiful, soulful quality. Meanwhile John’s guitar licks augment the good-time, joyous arrangement, full of rasping horns and funky rhythm section. This is an uplifting and joyful opening track, featuring an assured vocal from Gina and an irresistibly, funky arrangement.
Forever is a mid-tempo track with some beautiful, almost spiritual lyrics about everlasting love, that touches on faithfulness and the sanctity of marriage and marriage vows. These lyrics sound as if they’ve been influenced by Gina’s gospel background. She delivers them with a combination of sincerity and emotion, against a backdrop of crispy drumbeats, synths, subtle strings and John’s guitar. Gina’s vocal is multi-tracked, so she ends up singing backing vocals. This works really well, as does a brief searing, sizzling guitar solo from John just after two minutes, which demonstrates his talents as a guitarist. However, it’s Gina’s vocal and lyrics that steal the show. I love the lyrics to this song, as they’ve a lovely sentiment, about marriage and relationships.
Although Category 5 is just 115 beats per minute, it seems a quicker track. Here, Gina gets the opportunity to demonstrate not just the quality of her vocal, but its power and control. Her voice is louder, stronger and sassy, but she’s always in control, her voice perfectly clear as she sings about love. Behind her, backing vocals accompany her, while the arrangement features a lovely, shuffling combination of rhythm section, synths and percussion combine with bursts of guitar. Later a sample of a thunderstorm features, as Gina sings “about showering you with love.” This is a masterstroke, adding just the finishing touch to a fantastic track that marries a great arrangement with a confident, crystalline vocal from Gina that’s also impassioned and beautiful.
So Natural might be the title of this track, but could also describe Gina’s singing style. Not for Gina the histrionics you hear on some modern soul albums, just music sung with emotion and passion, delivered in a voice that’s very beautiful. This is the case here, with her vocal delivered with a combination of subtlety, emotion and passion. Like her vocal, the arrangement has a similar understated quality, just keyboards, crispy drumbeats, lush strings and some subtle guitar playing from John. Similar to other tracks, Gina’s vocals are multi-tracked so she also contributes backing vocals. Towards the end of the track, her voice soars high, but as always, Gina controls her voice perfectly. Of the ten tracks on Love Letters, So Natural is one of the most gorgeous tracks, a paean to love, sung with feeling, sincerity and emotion by Gina Carey.
When For Love opens, a brief burst of strings can be heard, before giving way to slow, crisp beats and keyboards. They provide the perfect backdrop for Gina’s louder, strong and hugely impassioned vocal. Backing vocalists accompany Gina, as she sings about what “she’d do for love.” The track has a real 21st century Nu Soul sound, with its drums, keyboards combining slowly with Gina’s sensuous, sultry vocal. Like other tracks on Love Letters, Gina Carey can write and delivers some beautiful love songs, which she brings to life with her impassioned and sensuous delivery.
There’s a very different sound on the Funky Jazz Remix of Unbelievable. Rather than the combination of smooth soul and Nu Soul of the previous tracks, there’s a real Nu Jazz sound. Opening with John’s guitar playing, a myriad of percussion, blazing horns combine with crunchy drumbeats on this mid-tempo song. Again, there’s a shuffling sound to the arrangement, while Gina’s vocal is laden with emotion and controlled power, as her delivery is jazz tinged. While horns drift above the arrangement, Gina’s scats in a jazzy style, with backing vocalists accompanying her. Although this track has a different sound and style, with the arrangement busier and jazz tinged, it has the same quality as previous tracks. Not only that, it demonstrates Gina’s versatility as a vocalist, with her seemingly as comfortable with jazz tinged tracks as her usual soulful style.
Beautiful Music seems an apt title for this track, with its slow tempo, beautiful, subtle arrangement and Gina reflective and thankful. Her delivery is heartfelt, the lyrics about love and her relationship with husband John. Lyrics like “I’m the strings on your guitar” and “we make beautiful music together” are just two of the many lovely lyrics in this song. The arrangement features flourishes of keyboards, a slow bass and crisp drums, while guitar, finger-clicks and backing vocalists add to what is one of Love Letters’ most romantic, heartfelt and beautiful tracks.
Flourishes of percussion open Love You Baby, before keyboards, electric piano and then Gina’s gentle, thoughtful vocal. Quickly, Gina’s vocal grows in strength and emotion, while the backing vocalists sing subtly. Later, when a piano solos and a flute enters, Gina half-speaks the vocal, delivering the lyrics about love with a heartfelt, sincerity. Then, when bursts of horn briefly enter, Gina’s vocal grows in strength, soaring high, a combination of passion and genuine emotion. Although this track has a quite different slightly, Latin sound because of the percussion, Gina’s vocal is just as good as on previous tracks.
I Run is a mid-tempo track with a real gospel influence. Gina’s first three albums were gospel albums and this is a lovely combination of gospel and soul music. The track opens with keyboards, standup bass, guitars and percussion before a vocal from Gina that’s assured and sincere enters. During the track, Gina sings “I run to the Lord,” and “surrender to God” demonstrating her faith. With backing vocalists accompanying her, the song is delivered in a call and response style, with the backing vocalists answering Gina. Throughout mesmerizing arrangement’s sound. Again, though, it’s Gina’s beautiful vocal that takes centre-stage as she delivers her message with an assuredness and sincerity.
Closing Love Letters is another track with a lovely sentiment, Love, Peace and Joy. This is the quickest track on the album, with a really joyous, uplifting sound, as Gina wishes everyone “Love, Peace and Joy.” Meanwhile, the arrangement features searing guitars, soft drumbeats, flourishes of keyboards and strings. Gina delivers the lyrics beautifully, with backing vocalists and John augmenting her heartfelt vocal. Just before the end, fiddles briefly join the track, adding another influence to a beautiful, joyous, uplifting song with a lovely message. This seems the perfect end to Love Letters, with a song that incorporates soul and gospel music perfectly.
Having been drawn to Gina Carey’s sixth album by her latest single For Love. , I can honestly say that each of the other nine tracks are of a similar quality. The ten tracks on Love Letters are a combination beautiful love songs like Forever, So Natural, For Love and Beautiful Music delivered with a combination of sincerity, emotion and passion, in a style that combines smooth soul with Nu Soul. It’s a highly mature, elegant and polished album from Gina, one that also features the jazz tinged sound of Unbelievable and the funky opening track Boogie On Down. Apart from soul, jazz and funk, there’s the gospel sound of I Run and Love, Peace and Joy, two equally beautiful tracks sung with sincerity by Gina. Overall, Love Letters is an album the crosses the genres several times, during the ten tracks written, arranged and produced by Gina. Each of the ten tracks are beautifully arranged and feature some polished production from Gina. With husband John Carey, whose new album Smooth, Soulful and Funky, was recently released, playing guitar on Love Letters, the album was truly a family affair. Not only that, but Love Letters was released on Gina and John’s own label Gico Music. However, with talent like Gina Carey’s it shouldn’t be long before a bigger label tries to tempt her away. So, if you love soul music, soul music that’s smooth and has a Nu Soul sound, the Love Letters is an album that definitely belongs in your collection. Love Letters is a beautiful, elegant and quite brilliant album of music from Gina Carey that I can thoroughly recommend to anyone who loves good music. Standout Tracks: Forever, So Natural, For Love and Beautiful Music.
GINA CAREY-LOVE LETTERS.
MASTERS AT WORK PRESENTS WEST END RECORDS THE 25TH ANNIVERSARY MASTERMIX.
MASTERS AT WORK PRESENTS WEST END RECORDS THE 25TH ANNIVERSARY MASTERMIX.
Along with Salsoul, Casablanca, SAM and Prelude Records, West End Records is seen as one of the most important labels in the history of disco. Founded by Ed Kushins and Mel Cherin in 1976, West End Records became one of the most important, influential and popular disco labels. Unlike other labels, West End Records were innovators, not merely content to follow in the footsteps of other labels. Instead, they released records that were unique and innovative, leaving other labels trailing in their wake. Like Salsoul, Casablanca and SAM Records, West End Records music came to define the disco era. With artists like Loose Joints, Taana Gardner, Karen Young and the N.Y.C. Peech Boys, West End Records supplied the soundtrack for New York’s dance-floors. Now thirty-six years later, West End Records’ music is revered, still hugely popular with DJs and music lovers alike. Back in 2001, Masters At Work revisited the West End Records back catalogue releasing Masters At Work Presents West End Records The 25th Anniversary Mastermix. This is a double album where Masters At Work, Louie Vega and Kenny Dope mix a selection of their favorite tracks from West End Records. In total, there are twenty full-length tracks, with a trio of short breaks and loops of songs demonstrating the duo’s creativity as DJs. Of the twenty tracks, Masters At Work have remixed the original tracks. So Masters At Work Presents West End Records The 25th Anniversary Mastermix is a combination of the original tracks in all their glory, and some given a new twist by Masters At Work. Having told you about the album, I’ll now tell about some of the legendary music that can be found on Masters At Work Presents West End Records The 25th Anniversary Mastermix.
DISC ONE.
Disc One of Masters At Work Presents West End Records The 25th Anniversary Mastermix features thirteen tracks in total, with ten of the tracks full length versions. Among the tracks that feature on Disc One are Loose Joint’s classic Is It All Over My Face, Karen Young’s Hot Shot, N.Y.C. Peech Boys’ Don’t Make Me Wait and Raw Silk’s Do It To the Music. That’s not forgetting tracks by Brenda Taylor, Michele and Mahogany. Truly, there are some stonewall classics on this disc. Five of the tracks have been remixed by Masters At Work, with these remixes being like a labor of love for Kenny and Louie. They realize that they’re working with some of the best tracks of the disco era and treat the tracks with respect. They realize that with music this good, you don’t want to risk doing anything to either detract from the original, or spoil a cherished memory. Their remixes bring something new to the music. While some people might have preferred to hear the original tracks unadorned, I always enjoy hearing a new twist on classic tracks. The other tracks are in their original form, with each track bringing memories flooding back. Since I bought this album back in 2001, I’ve returned to it so many times, loving these classic tracks, which even thirty-six years later, still have a contemporary sound. However, of the thirteen tracks, what are the best on Disc One of Masters At Work Presents West End Records The 25th Anniversary Mastermix?
My first choice from Disc One of Masters At Work Presents West End Records The 25th Anniversary Mastermix, has to be one of West End Records’ best known and best loved tracks, Loose Joints’ Is It All Over My Face. Originally released in 1980, and written and produced by Arthur Russell and Steve D’Aquisto, Masters At Work have remixed the track. They’ve taken a track that was originally nine and a half minutes and shortened it by three minutes. Straight away, there’s a real house sound and feel, with the drumbeats not as crisp, before the keyboards and funky bass kick in. When the vocal enters, parts of the vocal are looped, the same line constantly repeated, building up a sense of anticipation. During a breakdown, the rhythm section, keyboards and percussion drive the track along, while bursts of vocal drift in and out of the arrangement. Later, horns blaze in adding just the final touch to what is a genuine disco classic. Much as I love the original track, Masters At Work have given the track a real contemporary sound. Considering the remix, like the compilation was released back in 2001, it really has stood the test of time. Like all good music, the original and remix has a timeless sound.
Mahogany’s Ride On the Rhythm was released in 1982 and features a vocal from Bernice Watkins. This is another Masters At Work remix, with the track again having a contemporary sound. Squelchy synths, cascading strings and rasping horns combine with the rhythm section before Bernice’s vocal enters. Her voice is suited the arrangement delivering the lyrics with a mixture of emotion, passion and controlled power. Behind her, the arrangement magically marries funk and soul, providing the perfect backdrop for her vocal. When you listen to the track, you realize how sophisticated a track this is, one that’s quite unlike much of the music of the time. Remember this is 1982, when the fashion in music was for synths, drum machines and post punk and“New Romantic” groups. This is very different and unlike much of that music, this track has aged better. With the help of Masters At Work’s remixing skills Ride On the Rhythm remains one of the gems of the West End Records back-catalogue.
During their career, N.Y.C. Peech Boys worked extensively with legendary DJ Larry Levan. Larry produced many of their tracks, co-producing Don’t Make Me Wait with Michael De Benedictus in 1982. This is one of the tracks not remixed by Masters At Work. With a myriad of handclaps, echoey vocals, percussion and synths the track opens. The drumbeats are crunchy, the tempo 115 beats per minute and the track a combination of disco and funk. It’s not a track with the smooth sound of Mahogany’s Ride On the Rhythm. Instead, the arrangement is choppy and busy, before later, the track changes, when the vocals kick in. Later, a rocky sounding guitar solo enters, before the track changes again, delay and echo being used on the vocals, with the track returning to its choppy, busy sound. Having said all that, it’s one of my favorite tracks from the N.Y.C. Peech Boys and demonstrates Larry Levan’s talents as a producer.
Let’s Go Dancin’ by Sparque is an uplifting and joyous track remixed by Masters At Work. Released in 1981, the track was arranged and produced by Larry Joseph, while Larry Levan and Francois K mixed the track. Like so many West End Records releases, this track benefits from a great vocal, almost diva-like in its quality. It’s sung against an arrangement that combines electronic music with disco and funk. With plenty of percussion, keyboards, synths and a rhythm section that injects some funk in to the track, it’s a track with a real joyful, feel-good sound and of course that diva-esque vocal.
My final choice from Disc One of Masters At Work Presents West End Records The 25th Anniversary Mastermix is Karen Young’s Hot Shot, released in 1978. This is the original version, with some filters added to the introduction, where keyboards, handclaps and the rhythm section drive the track along at 122 beats per minute. In some ways, the use of filters heightens the sense of anticipation. After ninety-seconds, Karen’s powerful, sassy vocal enters with blazing horns accompanying her. Meanwhile percussion, keyboards, handclaps and the rhythm section complete the swinging, Latin influenced arrangement. For nearly nine mesmerising, hook laden and hugely catchy minutes Karen’s vocal and one of the best arrangements on Disc One sweep you along. Just when you think things can’t get any better, it does. A prolonged percussion lead breakdown adds to the Latin feel of the track, before a funky bass and then Karen’s sassy vocal reenters. From there on, you can only revel in this glorious track, which to me, rivals Loose Joints for the title of the best track on Disc One.
So, the standard of music on Disc One of Masters At Work Presents West End Records The 25th Anniversary Mastermix proved to be of the highest quality, with my two highlights Loose Joints Is It All Over My Face and Karen Young’s Hotshot. Having said that, there’s so much more to Disc One than either these two tracks, or indeed the five tracks I’ve mentioned. Of the ten full-length tracks, each of them are a snapshot of the kind of music West End Records’ were releasing, and some are among the best tracks West End Records ever released. With tracks by Raw Silk, Brenda Taylor and Michele, there’s some great music throughout Disc One. Each of these thirteen tracks are seamlessly mixed together by Masters At Work. Like their remixing skills, their DJ-ing skills are almost peerless. However, will their DJ-ing and remixing skills and choice of music be just as good on Disc Two of Masters At Work Presents West End Records The 25th Anniversary Mastermix?
DISC TWO.
Whereas Disc One of Masters At Work Presents West End Records The 25th Anniversary Mastermix featured thirteen tracks, Disc Two only features ten tracks. Of these tracks, there is one short break featuring a loop of Taana Gardner and Billy Nichols and a track from Masters At Work entitled All Night (I Can Do It Right). Among the other eight tracks, are a near fourteen minute epic of Taana Gardner’s When You Touch Me, remixed by Masters At Work. Apart from that track, are Raw Silk’s Just In Time, Shirley Lites’ Heat You Up and a twelve minute remix of North End’s Kind of Life (Kind of Love). With so many great tracks to choose from, choosing just a few to write about isn’t easy, but I’ll now choose the highlights of Disc Two of Masters At Work Presents West End Records The 25th Anniversary Mastermix.
Taana Gardner’s When You Touch Me is my first choice from Disc Two of Masters At Work Presents West End Records The 25th Anniversary Mastermix. Released in 1979 and produced by Kenton Nix, Larry Levan mixed the track. Here, that ten and a half minute original track is transformed into a fourteen minute epic by Masters At Work. With a sizzling scratch, the track gets underway, the sound of the ocean hitting the beach, giving way to an understated combination of the rhythm section and percussion. Taana’s vocal is gentle and subtle vocal, before soaring high above the arrangement. Crunchy beats accompany keyboards, sweeping strings and percussion, as this epic track reveals its hidden charms and subtleties. Suddenly, with the beats crunching, the tempo increases, before the bass and keyboards enter. They give the track a jazzy feel that’s a contrast to the pounding beats. It would be easy to argue that the beats overpower the rest of the arrangement, but I prefer to think they provide a musical contrast. After that, Taana’s vocal reenters, soaring high, a combination of emotion and pure passion, while the rhythm section and keyboards are key to driving the track along, magically mixing funk and disco during this epic track.
Raw Silk’s Just In Time is one of two tracks from Raw Silk on the compilation. Originally released in 1983, it’s a track written and produced by Nick Martinelli and David Todd. Opening with percussion, flourishes of keyboards and the rhythm section combining, the track has a Latin influence in its choppy, busy arrangement. Synths join the mix, delay is added to the arrangement before the sweetest of vocals enters. This really lifts the track, giving it a soulful, joyous sound. Add to this equally sweet and soulful backing vocals and it’s a track that’s a bit of slow burner, taking a while to reveal its beauty and charms. By then, the earlier choppy, busy sound is gone, replaced by jazz tinged keyboards and funky bass. Together with that gorgeous vocal this is one of my favorite tracks from Disc Two, of Masters At Work Presents West End Records The 25th Anniversary Mastermix.
Keep On Dancin was released by Forrce in 1982 and is another track mixed by Francois Kevorkian, who also overdubbed the track. A sizzling funky bass line with delay added, opens the track. It’s joined by crispy drums and percussion, adding a Latin influence to earlier funky sound. When the massed vocals enter, they create a joyous sound, before a vocal is almost rapped. This gives the track a hip hop influence, while the Latin influence is represented by a myriad of percussion. Later, searing, rocky guitars join the mix, while the rhythm section continue to funk it up. Overall, its a mesmerising stew of musical genres, with funk, hip hop, rock and Latin music all incorporated into just four minutes of music.
My final choice from Disc Two of Masters At Work Presents West End Records The 25th Anniversary Mastermix is another track from Taana Gardner, Work That Body. Produced by Kenton Nix and mixed by Larry Levan, the track was released in 1979, Unlike When You Touch Me, this is the original version, not a remix. This is one of the quickest tracks on the compilation, opening at breakneck speed when the rhythm section, keyboard and percussion combine. Then Taana’s sweet and almost fragile vocal enters, while handclaps accompany her. With backing vocalists accompanying her, the track is driven along by a majestic mass of percussion, keyboards and a funky rhythm section. Adding the final touch to one of Disc Two’s highlights is Taana’s vocal which is sweet, soulful and impassioned.
Of the four tracks I chose from Disc Two of Masters At Work Presents West End Records The 25th Anniversary Mastermix, three were the original versions, with Taana Gardner’s When You Touch Me the only remix I chose. Although the remixes by Masters At Work are of the highest quality, it’s good to hear the original track. Of the ten tracks on Disc Two, only three are remixes, whereas there were five remixes on Disc One. However, Masters At Work treated the originals with respect and the reverence these tracks deserve. The quality of music on Disc Two, is just as good as on Disc One, with Masters At Work choosing some of the best tracks from West End Records back catalogue. Like the music on Salsoul, Casablanca, SAM and Prelude Records, West End Records’ music is part of disco’s history and some of the most important and influential music of that era. When Masters At Work Presents West End Records The 25th Anniversary Mastermix was released, I was pleased because I felt it was time someone released a compilation of the labels music. After that, I felt surely someone would release a comprehensive retrospective of West End Records music. That has never happened, and apart from the occasional mix album, there’s very few compilations of music on West End Records. While there are many compilations of the music on Salsoul Records, fans of West End Records aren’t so well catered for. As Masters At Work Presents West End Records The 25th Anniversary Mastermix demonstrates, West End Records is a label with a rich musical heritage, a musical heritage that deserves to be explored throughly, allowing a new generation of music lovers to experience the delights of one of the most important, influential and innovative labels of the disco era. Standout Tracks: Loose Joints Is It All Over My Face, Karen Young Hot Shot, Raw Silk Just In Time and Taana Gardner Work That Body.
MASTERS AT WORK PRESENTS WEST END RECORDS THE 25TH ANNIVERSARY MASTERMIX.
LOST ON ARRIVAL.
LOST ON ARRIVAL.
For as long as I can remember, I’ve always got a real thrill from discovering new music. Even now, after over thirty years of chasing new music, I still get the same buzz when I discover something new. Whether it be a new artist, compilation or new label, the thrill is still the same. Back in 1999, leafing through a catalogue of forthcoming releases, I noticed a new compilation from a label called Naked Music. This was their first ever compilation Nude Dimensions Volume One, compiled by Bruno Ybarra and Petalpusher a.k.a.Miguel Migs. Straight away, I realized that this looked like something special, so ordered the album. When I received Nude Dimensions Volume One I absolutely adored the compilation, and after this, bought every compilation Naked Music released. This included two further volumes of Nude Dimensions, three volumes of Carte Blanche, two volumes of Bare Essentials, plus Midnight Snack and Nude Tempo. In 2002, Naked Music started releasing studio albums, with albums by Blue Six, Aquanote and Miguel Migs following in 2002. Then in 2003 came something quite different from Naked Music, Lost On Arrival, compiled by Bruno Ybarra. What was different was the music, with Bruno describing the music as a combination of: “dirty disco, electro funk and dub house.” Although this was different to the soulful house of earlier releases, with its slightly harder, edgier sound, I was immediately hooked by Naked Music’s latest offering, swept away by the change in sound and funk drenched beats Lost On Arrival, which I’ll now tell you about.
Lost On Arrival was released back in 2003, compiled by Bruno Ybarra, who previously, has compiled various compilations for Naked Music, including Nude Dimensions, Bare Essentials and Midnight Snack. On Lost On Arrival, Bruno has compiled a collection of seventeen tracks that combine elements of disco, house, funk and dub music. Each of the artists that feature on Lost On Arrival are newcomers to Naked Music compilations. Only Trentemoller and Chicken Lips feature more than once. Trentemoller features twice and Chicken Lips three times, once with Zeefungk. Among the other artists are Tea Dancers, DJ T, Unai, Cosmic Force and Daniel Wang. As you can see, this is an eclectic selection of lesser known artists, who many people would be unfamiliar with. However, this was Bruno’s idea.
According to Bruno, the aim of Lost On Arrival was to provide a “showcase” for new artists whose music was “intriguing” and “operating just outside the beaten path.” This is commendable, because how else will new artists and producers get their music heard by a wider audience? Nowadays the internet allows artists access to a worldwide audience, but back in 2003, the internet was neither as sophisticated nor commonplace in many homes. So, an established label like Naked Music giving artists a break like is to be commended. However, some people would say it was also risky. After all, previously, Naked Music had a successful, winning formula, releasing compilations with their trademark soulful house sound, which was loved by a worldwide audience. Was releasing a compilation like Lost On Arrival, full of lesser know artists whose music was slightly more leftfield than previous Naked Music compilations not risky? That was maybe the case, but releasing any compilation of new music is risky, and previously, Naked Music had been pioneers of the soulful and vocal house scenes. So why not release another pioneering compilation. That’s what Lost On Arrival was, but what did the music sound like?
The track that opens Lost On Arrival, Tea Dancers’ Cosmic Dance Percapella, perfectly demonstrates the very different sound on the compilation. Tea Dancers is a collaboration between Jamie Odell and Nick Cohen, released on Jamie’s Freerange label. Opening with a spoken word sample about space travel, crunchy mid-tempo beats accompany another similar sample as synths sweep in. By now the beats are to fore, while synths whoosh and sweep, and a variety of beeps and effects accompany the sample. This deep house track is both intriguing and compelling, with a edgy, nervy and with a harder sound that’s never before graced a Naked Music compilation.
Staying with the harder, edgier sound is Themroc’s Bloodline, with the version chosen the Eastwick and Holloway Mix. Released in 2003, on the Wall of Sound label, this is a much quicker track, at 122 beats per minute. Here the beats are crunchier, with synths and keyboards accompanying a vocal that drifts in and out of the arrangement. There’s a real deep house sound to the track, very different to the softer, more soulful offerings of previous Naked Music compilations. However, times change, and Naked Music didn’t want to become stale, so released tracks like this. With it driving beats, handclaps and myriad of samples, synths and keyboards, it’s one of Lost On Arrival’s highlights.
With my long standing love affair with the Philly Sound, I had to include any track entitled Philly. Hopefully, DJ T will pay homage to the Philly Sound by including some lush cascading strings and a proliferation of percussion, as you’d expect to find on any track from Philly. Released on Germany’s Get Physical Music, DJ T was written and produced by DJ T and Booka Shade. The track opens with dark pounding beats while synths reverberate. They’re joined by swirling strings and percussion as the mid-tempo arrangement flits between a softer, more soulful sound to a deeper, edgier sound. Later, the harder edge becomes prominent, as before revealing another glimpse of the track’s softer sound. Again, it’s very different from what I’d expect from a track on Naked Music compilation, but is a hook laden, catchy track that you can’t help but love.
Switch’s Get Ya Dub On is another track released on Freerange Records in 2003. Here it’s remixed by Jamie Odell, using his Jimpster guise. The track has a tech house sound, with the quickest tempo on Lost On Arrival at 126 beats per minute. With its dark, harder sound, the crunchiest of beats, combine with a female vocal and squelchy synths galore. Occasionally, a sinister sounding sample makes an appearance, while the arrangement reverberates revealing a softer, sweeter sound. Personally, this is a track I find hypnotic and mesmerizing, sweeping you away with its dichotomy of dark and soft sounds.
While there are two tracks from Trentemoller on Lost On Arrival, the best has to be Le Champagne, a track from a 2003 EP Trentemoller, on Naked Music. It’s a track with deep house sound, with crispy beats, sweeping synths and percussion combining, to give the track a compelling sound. Again, the track mixes a hard edge, with a sweeter sound as the tempo hits 124 beats per minute. Much as I like Trentemoller’s other track Work In Progress from the same EP, Le Champagne just has the edge for me. Both tracks have a similar deep house sound, while Work In Progress has a slightly dubby sound. The beats are crisper, while flourishes of synths build the track up, then slow it way down. Brief bursts of a vocal are a welcome visitor, and sometimes, delay is added to the arrangement, giving the track a dubby sound. Although it’s hard to choose between the two tracks, for me Le Champagne is the best track, purely because it has a slightly softer sound.
Although Trentemoller has two tracks on Lost On Arrival, Chicken Lips go one better with three tracks. Since 2000, Chicken Lips have released four albums, with 2010s Experience of Malfunction their latest album. Of their trio of tracks on this compilation, Hey What You Doin’ is for me, the best of the three. On this track Chicken Lips collaborate with Zeefungk, from their Clap Slap EP on Session Recordings. Written and produced by Andrew Meecham and Dean Meredith, the track was mixed by Zeefungk. Squelchy synths reverberate, while beats pound at 116 beats per minute. Stabs of keyboards take over, driving the track along while the beats now reverberate. Delay is used sparingly and subtly, giving the track a dubby sound, while the synths swirl above the arrangement. This gives the track a quite different sound to many on the album. If you combine deep house with electro and add some dub, then this is how this tracks sounds like. For me, the dubby sound helps make the track the best of Chicken Lips’ trio of tracks.
My final choice just happens to be the final track on Lost On Arrival, Manzel’s extended version of Space Funk. This isn’t a recent track, far from it. Released in 1977 on Fraternity Records it’s a track that mixes disco with funk. The track joyously bursts 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. After that things get even better, making you realize that music doesn’t get funkier or sweeter than this. Not only is this a fantastically, funky track to close Lost On Arrival, but it’s my favorite track on the album. Bruno it seems, kept the best to last.
Although Lost On Arrival was very different from the previous compilations on Naked Music, it’s still a compilation of the highest quality music. In many ways I admire Naked Music’s bravery in breaking from their previous style of compilations. After all, they could have continued to release similar releases to Bare Essentials, Carte Blanche and Nude Dimensions and this would’ve proved hugely popular and lucrative commercially. However, the problem with this, as many other labels have discovered, is that there’s a risk that the music becomes stale. If that happens, then sales fall, the compilation concerned and even the label’s image can be damaged. So sometimes, it’s best to quit while your ahead, and move the music in a different direction like Naked Music did. Thankfully, they didn’t forget the people who loved the “old” Naked Music sound and began to release further artist albums from Blue Six, Aquanote, Lisa Shaw, Gaelle and Aya. Sadly though, after 2003, there were no further compilations from Naked Music. Instead, they released artist albums by Gaelle, Aya, Lisa Shaw and Blue Six. While Naked Music may not be the most prolific label, it tends to concentrate on quality music, rather than quantity. Where Lost On Arrival differs from other Naked Music compilation is with the style of music, with the style new, contemporary and eclectic. Lost On Arrival had one thing in common with Naked Music’s previous and subsequent releases….quality. Standout Tracks: Themroc Bloodline, DJ T Philly, Trentemoller Le Champagne and Manzel Space Funk.
LOST ON ARRIVAL.
OM CHILLED.
OM CHILLED.
Previously, I’ve written features about both OM Records and chill-out music. In my feature on OM Records, looking at some of the label’s best releases. In that article, I mentioned how OM were famous for releasing chilled out, laid back and mellow music, with compilations like OM Lounge and Mushroom Jazz, which I’ve also written a feature on. Well, in 2006, OM released another compilation of mellow, laid-back grooves OM Chilled. Compiled and sequenced by Cool Rob G, OM Chilled is a quality compilation of chill out music, proving that there are still some labels that can release quality compilations of downtempo music. As I said in my feature on chill-out music, a few years ago, it seemed every label, including the majors, were releasing chill-out compilations. This lead to a drop in quality, with many compilations featuring music that never in your wildest dreams could it be described as either chill-out, downtempo or lounge music. Even certain previously long standing, quality compilations took their eye of the ball releasing inferior compilations. After that, the chill-out music seemed not so popular or fashionable. Many people moved on to other genres of music, disappointed that a musical genre that started of almost underground, had been destroyed. Although I still loved what I’d call “classic period chill-out,” there weren’t many new compilations being released. Six years ago, I remember receiving a pleasant surprise in 2006, when OM released OM Chilled. Having bought and loved the album, I wondered if this was the start of a new series from OM. Then when OM Chilled Volume 2 was released, featuring the same quality downtempo, laid back grooves, I though that this could turn into the next OM Lounge. That, however, wasn’t too be, with OM only releasing the two volumes of OM Chilled. Who knows though, maybe as I type this, over in OM headquarters in San Francisco, Volume 3 is underway. If not, there’s always the two volumes of OM Chilled to explore and cherish. However, what kind of music can be found on OM Chilled?
Fourteen laid -back tracks can be found on OM Chilled, with tracks from some familiar faces on OM compilations. This includes Samantha James, Jimpster, Michael Tello, Stolen Identity and Joey Youngman. All of these artists can be found on previous OM compilations. Among the other artists that feature on OM Chilled are Land Shark, Crystal Stafford, Gil Tamazyan and The Moves. So OM Lounge is a combination of artists that have previously featured on OM Records, and new artists. However, each of these artists provide some quality laid back, chilled out grooves. Of the fourteen tracks on OM Chilled, they’re all the high standard you’d expect from an OM Records compilation. So high is the standard of music on OM Chilled, that trying to choose a few of the highlights is difficult, but I’ve managed to do so, and here are my favorite tracks.
My first choice from OM Chilled, is a track from Samantha James, whose music can be found on compilations like OM Lounge Volume 10, OM Dubai and OM Dubai. Not only does Samantha’s music feature on OM compilations, but she’s also released two solo albums Rise in 2007 and 2010s Subconscious. Angel Love is the track that features here, and is a track with a lovely understated sound. With just crisp beats and flourishes of synths accompanying Samantha’s sweet, sensuous vocal. A touch of delay is used on her vocal, while a Rhodes piano and subtle, bursts of guitar augment the arrangement. This is gorgeous track, with a lush sound that just meanders along. It’s very typical of Samantha’s music, and I’m sure that once you’ve heard Angel Love you’ll be checking out both her previous solo albums.
Jimpster is the musical vehicle of Jamie Odell, founder of Freerange Records. Previously, his music has featured on compilations by Naked Music and OM Records, as well as his own Freerange label. He’s been releasing music since the mid-nineties, and previously, has released six albums. On OM Chilled is Left and Right, which features Capitol A’s vocal. This track is from his 2006 album Amour, released on the Village Again label. I’ve been a fan of Jimpster’s music for many years, and this track demonstrates Jamie’s talent as a producer. There’s a real hip hop influence to the track, with Capitol A rapping the vocal against a compelling backdrop of crunchy beats, percussion and stabs of squelchy synths. Add to this echoey keyboards that drift in and out of the track, while the beats are quick and crisp. Although the track has a hip influence thanks to the vocal, the arrangement has a dreamy, floaty sound. Even without the vocal, this track would work well, but with the vocal, it’s even better.
The only artist to have two tracks on the album is Headphonism. There first offering Stay Home and Chill, opens OM Chilled. Written and produced by Tim Bernhardt and Stephen Baldo, the track has a dreamy, floaty sound, with a vocal appearing swathed in echo. It Instructs you to: “stay home and chill,” before disappearing, only to reappear. This gives way to crunchy beats, percussion and stabs of synths and keyboards. Together they produce a totally chilled out backdrop that almost envelopes you. You find yourself drawn to track, succumbing to the instruction to: “stay home and chill.” Having done so, it almost induces a state of relaxation, that only a classy chill-out track can do. I for one will be exploring Headphonism’s music further.
Having loved Headphonism’s Stay Home and Chill, I had to mention their other track on OM Chilled , Guidance. It features a beautiful vocal from Anna Meta. It has a fragility, but also a sweet sound. Enveloped in echo, with crispy drumbeats, hi-hats, floaty synths accompanying the vocal, the track gets underway. The track has a dreamy sound, but when a flute enter, the track quickens. Keyboards and more drums join the mix, with the drums having a slight drum and bass influence, before Later, squelchy synths enter. However, what makes this track so special is the vocal, which transforms a good track to a great one.
Very different in sound from many of the tracks on OM Chilled is Crystal Stafford’s Breathe. It features the delicious, subtle vocal of Crystal Stafford, sung against a backdrop of acoustic guitar, bass and sharp beats. Again, there’s a fragility to her voice, with the song having almost a Nu-Folk sound, but sung against crispy beats. To me, this is a good example of how a variety of songs can be classed as chill-out or downtempo music. There’s no formula to what is, or isn’t chill-out. It can be anything from an old John Martyn album track, obscure jazz or dub reggae tracks to the latest in electronic music or Crystal Stafford’s beautiful music.
One track I just had to mention was Bassnectar’s So Butterfly, an instrumental track. Previously, Bassnectar has released eight albums, for labels that include Amorphous Music, Organic Music and OM. So Butterfly is taken from Bassnectar’s 2003 album Motions of Mutation, released on Amorphous Music. It’s a track with a “bigger” and more complex arrangement than many on OM Chilled. From a gentle start where keyboards open the track, crispy beats join the track. After that, the arrangement builds and builds. Eventually, the arrangement has unfolded, with the arrangement fuller and busier, a myriad of keyboards, synths and crunchy drumbeats. Having reached its peak, the arrangement almost pauses, before gathering momentum, until after seven glorious minutes this hypnotic and mesmerizing track finishes.
My final choice from OM Chilled is Jon Beltran’s It Was All Beautiful. John has previously featured on other compilations, including Highway and Landscape, which I reviewed in my feature on chill-out music. He’s released seven albums, including Human Engines in 2006, on Milan Records, which included It Was All Beautiful. Swathes of synths float out of your speakers when the track opens. The tempo is slower than many tracks on the compilation, at only 108 beats per minutes. A piano and chorus of subtle voices in the background are joined by punchy beats, as the track begins to reveal its subtleties and hidden charms. Of the fourteen tracks on OM Chilled, this is a gem of a track, well worth waiting until the final track for. The swathes of music build and build, their beauty washing over you, cleansing your soul, with their mass of synths, beats, piano and chorus of angelic vocals.
Although I’ve only mentioned half of the fourteen tracks on OM Chilled, I could just as easily have mentioned any of the other tracks. Such is the quality of music on the compilation. OM Chilled has the standard of music you’d expect from a compilation from OM Records. Like OM Lounge, Mushroom Jazz, Sounds of OM or House of OM, OM seek out the very best music around from around the world. This they’ve done so many times before, and I’m sure they’ll long continue to do so. It’s just a shame that OM didn’t decide to release more than two volumes of OM Chilled, because sadly, there’s a lack of quality chill-out compilations being released. Who know though, maybe Volume 3 of OM Chilled will be replaced this year. However, if it is, it has a lot to live up to, given the quality of music on OM Chilled. If like me you love chill-out and downtempo music, then OM Chilled is an album that features some gorgeous, laid-back, chilled out grooves, and is well worth adding to your music collection. Standout Tracks: Samantha James Angel Love, Headphonism Stay Home and Chill, Crystal Stafford Breathe and Jon Beltran It Was All Beautiful.
OM CHILLED.
DISCO DISCHARGE-DIGGIN’ DEEPER.
DISCO DISCHARGE-DIGGIN’ DEEPER.
Growing up, I was just the right age to hear the best music of the disco era. Since then, I’ve always loved disco music. Even when disco was meant to “suck,” I still loved the music, and over the last thirty odd years, have amassed quite a collection of classic disco. So, every time I see a new disco compilation released, I’ve just got to explore it. Back in 2009, I spied a new compilation series that was just about to be released by Harmless Records, Disco Discharge. Starting with four compilations in 2009, Classic Disco, Disco Ladies and Euro Disco another eight compilations followed between 2009 and 2011. This included Disco Boogie, Mondo Disco and Cruising the Beats. Another of the Disco Discharge series was Diggin’ Deeper, in May 2010. Like the other eleven compilations, it was compiled by that international man of mystery Mr Pinks. Who is Mr Pinks I hear you ask? Well, no-one knows, all that’s known about him is that he’s deeply knowledgeable in all matters disco, steeped in disco music and has exquisite taste. That knowledge and exquisite taste is put to good use on Disco Discharge-Diggin’ Deeper, which is a double album featuring twenty full-length tracks. On the Disco Discharge series, there’s no chopped down, shortened versions that lesser labels feature on their compilations. Here it’s quite the opposite, with the original twelve inch mixes featuring on Disco Discharge-Diggin’ Deeper. It doesn’t matter whether the track is six, seven, eight or fourteen minutes long in the case of Dan Hartmam’s epic masterpiece Coutdown/This Is It, you hear the track in all its glory. That track is just one of twenty, from artists that include The Trammps, Mick Jackson, Touch of Class, Frantique and the brilliantly names John Davis and The Monster Orchestra. With so many great tracks on the two discs of Disco Discharge-Diggin’ Deeper, choosing just a few to talk about is a tough job. However, someone has to do it, so these are the highlights of Disco Discharge-Diggin’ Deeper.
DISC ONE.
My first choice from Disc One of Disco Discharge-Diggin’ Deeper, has to be The Trammps’ Soul Searchin’ Time. This is the original version from The Trammps’ 1976 album Where the Happy People Go, which reached number fifty in the US Billboard 200 and number thirteen in the US R&B Charts. When oice from Disc One of Disco Discharge-Diggin’ Deeper, has to be The Trammps’ Soul Searchin’ Time was released as a single, it only reached number sixty-seven in the US R&B Charts and number forty-two in the UK. Why this track never fared better seems strange, but The Trammps’ next single Disco Inferno, gave them one of the biggest hits of their career. To me, the music of The Trammps equals energy and joy, demonstrated perfectly with this track. It has everything, cascading strings, bursts of blazing horns, an impassioned vocal augmented by tight, punchy harmonies and a sizzling, funky rhythm section. With the Baker, Harris, young rhythm section providing the track’s heartbeat, it’s a dramatic slice of disco that masterfully combines passion and emotion.
Mick Jackson is best known for co-writing and recording Blame It On the Boogie, which was a huge hit for The Jacksons, at the same time Mick released his version of the song. However, there’s much more to Mick’s music than that one track, with Weekend, released on Atlantic in 1979, a track that’s long been a favorite of mine. Taken from Mick’s 1979 album Weekend, the original is a joyous, uptempo track with a real feel-good sound. Here, the version included is a previously unreleased instrumental version. This has a real Philly Sound influence, with swathes of the lushest strings at the heart of the arrangement. They’re accompanied by rasping horns that punctuate the track, while the rhythm section and chiming guitars augment the strings. It’s very different to the original, but has an irresistible, lush sound, thanks to the layers of strings. Add to this punchy horns, handclaps and keyboards, while flourishes of guitar drift in and out the track, and you’ve a track that not only sounds lush, but grand and beautiful.
Although Never Gonna Say Goodbye is usually associated with one of disco’s divas, Gloria Gaynor, there’s a very different, totally sensual version from Poussez on Disco-Discharge-Diggin’ Deeper. Taken from Poussez’s 1979 album Poussez, one Vanguard Records Never Gonna Say Goodbye is totally transformed, with breathy, sensuous vocals giving the track a red-hot, sizzling sound, so much so, that the track should have an adult rating! With a plentiful supply of percussion, punchy drums, handclaps and a funk laded bass accompanying keyboards and cascading strings, the soft, breathless vocal enters. It gives way to a gentle vocal enveloped by swirling strings and handclaps. As the energy builds, the percussion enters, while breathy bursts of backing vocals join the mix. From there on, the track just gets even better, resulting in a steamy, sensuous slice of disco, that makes Gloria’s version almost look tame.
Wayne St. John’s Something’s Up (Love Me Like the First Time) is a disco track with a real funk influence when the track opens. Released in 1977 on Salsoul Records and produced by Ian Geunther and Willi Morrison, the track builds and builds, resulting in a dynamic and energetic arrangement. While a dramatic combination swirling strings, searing guitars and blazing horns accompany a rhythm section that combines funk, with a soulful side. Above the arrangement sits Wayne’s vocal, matching the energy and drama of the arrangement, but adding to it emotion and a sense of soulfulness. It’s a sizzling slice of disco, with just a sprinkling of funk in Pete Pederson’s arrangement.
My final choice from Disc One of Disco Discharge-Diggin’ Deeper is Carol Hahn’s Do Your Best, released in 1982 on Nickel Recording. Taken from her 1982 album Portraits, Carol has a lovely voice, sweet and soulful, sung against an arrangement that marries an electronic sound with disco music. Synths, handclaps and the rhythm section merge with sweeping strings while Carol’s voice is impassioned and subtle. With backing vocalists accompanying her, the track swings along. Although quite different from my other four choices from Disc One, Do Your Best has one thing in common, quality. Like the other four tracks, this is a quality slice of soulful disco music, with an early eighties synth sound.
Although I’ve only mentioned five of the tracks on Disc One of Disco Discharge-Diggin’ Deeper, there’s absolutely nothing wrong with the other five tracks. With tracks that include The Ritchie Family’s Quiet Village, Constellation Orchestra’s Dancing Angel and Q’s The Voice of Q, this demonstrates just how consistent the quality of music is on Disc One of Disco Discharge-Diggin’ Deeper. However, that’s not surprising given Mr Pinks’ quality control of the music on the Disco Discharge. He wouldn’t allow any poor or inferior tracks to grace one of his compilations. He’s a man that eats, lives and breathes disco, and has an encyclopedic knowledge of disco gems. I’m sure he won’t let his standards drop on Disc Two of Disco Discharge-Diggin’ Deeper. Having told you about the highlights of Disc One, I can’t wait to tell you about the disco delights that can be found on Disc Two of Disco Discharge-Diggin’ Deeper.
DISC TWO.
While the music on Disc One of Disco Discharge-Diggin’ Deeper was of the highest standard, it seems Mr Pinks has dug even deeper on Disc Two. Truly, it’s a disc crammed full of some stunning slices of delectable disco delights, with tracks from Touch of Class, Dan Hartman and Frantique, sitting comfortably beside tracks be Ferrara, Freddie James and John Davis and The Monster Orchestra. Overall, it’s ten classy slices of disco, with plenty of lush, disco strings gracing Disc Two of Disco Discharge-Diggin’ Deeper. However, what are the best tracks of this feast of disco music? That’s what I’ll now tell you.
Opening Disc Two of Disco Discharge-Diggin’ Deeper, is Touch of Class’ I’m In Heaven, from their 1975 debut album I’m In Heaven, released on Midland International Records. Touch of Class were a disco quartet from Philadelphia, the City of Brotherly Love, who released a trio of albums between 1975 and 1981. When you listen to the track there’s a real Philly Sound influence, with the arrangement reminding me of The Detroit Spinners. The reason for this is that many of the same musicians played on both sessions, including unmistakable sound of Don Renaldo’s strings and horns and Vince Montana Jr.’s vibes all grace this track. Swathes of lush strings, chiming guitars and the rhythm section accompany the lilting, soulful strains of Touch of Class, while the lead vocal is sweet and the harmonies tight and gentle. Later, bursts of horns add to the gorgeous arrangement, and add the final touch to a lush sounding quite and beautiful slice of disco Philly style.
Avenue B Boogie Band’s contribution Bumper to Bumper is another track released on Salsoul Records, this time in 1980. Co-written by Billy Mersey, who also arranged and produced this track with a post disco sound that incorporates elements of funk and Latin percussion. Adding to this funky sound are blazing horns, searing guitars and flourishes of keyboards, which accompany the joyous, rasping vocal. Meanwhile backing vocalists give the impression that it was party time in the studio when the track was recorded. Together with a proliferation of percussion, loping bass and rasping horns the end result is a sizzling marriage of funk and Latin music that’s totally irresistible and hugely catchy.
My favorite track on Disc Two of Disco Discharge-Diggin’ Deeper is easily, Dan Hartman’s epic masterpiece Countdown/This is it. It’s fourteen minutes of impassioned, driving disco. Released in 1978 and taken from Dan’s 1978 album Instant Replay, it’s a song of two parts. Part one, Countdown is a driving, dynamic track lasting eight minutes, full of keyboards, percussion and a rhythm section that provide the song’s heartbeat, while synths explode and Dan’s powerful vocal is augmented by backing vocalists. The song just builds and builds, the energy never ceasing, before the track changes totally in part two, This Is It. Opening with punchy drums, cascading strings, keyboards and Dan’s vocal, the track unfolds at breakneck speed. During a breakdown, strings sweep and swirl and horns rasp, before woodwind cut in, signaling the return of Dan’s vocal. From there on, the track just sweeps you away with its impassioned, uplifting, feel-good sound. It’s a true classic, one with a real hands in the air sound, that reminds you just why you love disco music.
When I originally bought Disco Discharge-Diggin’ Deeper, I was really pleased to find a track by John Davis and The Monster Orchestra. Ain’t That Enough for You was the title track from their 1978 album on SAM Records. It’s another really quick track, 136 beats per minute, with searing guitars and the rhythm section driving the track along, while lush strings and percussion accompany the female vocal. As the strings quiver and shiver, the beat is constant, the sound catchy with a lush quality. Later, flourishes of piano and blazing horns are added the arrangement. They’re just the finishing touch to what’s a quite brilliant track, one that’s combines funk with disco strings masterfully, resulting in an uplifting track laden with hooks.
The last track on Disc Two of Disco Discharge-Diggin’ Deeper I’ve chosen to mention has a quite different sound to many of the tracks I’ve previously mentioned. Ferrara’s Love Attack has an Italo Disco sound, and was released in 1979 as the B-side to Shake It Baby Love. Arranged and produced by John Ferrara, Love Attack has a real electronic sound with synths, drums and funk drenched bass driving the track along at 130 beats per minute. Handclaps punctuate the arrangement before a sweet female vocal briefly enters. A haunting woodwind sound sits atop the arrangement, before bursts of punchy, rasping horns enter. By now, I’ve been seduced by the charms of Love Attack and just allow the rest of this totally joyous track to reveal itself. For nearly six minutes you’re unable to resist this delicious slice of driving Italo Disco.
So on Disc Two of Disco Discharge-Diggin’ Deeper Mr Pinks weaves his magic yet again. As if effortlessly and seamlessly, he combines the classic sound of Dan Hartman, with Ferrara’s Italo Disco and the Philly disco of Touch of Class. Add to that Avenue B Boogie Band’s funky sound with the uplifting, hook laden sound of John Davis and The Monster Orchestra. That’s not forgetting tracks by Frantique, Freddie James and The Ring. Overall, the ten tracks on Disco Discharge-Diggin’ Deeper are just as good, if not better than the ten tracks on Disc One. When I listened to the music on Disc One, I thought that it would be difficult to either match, or better, the music on that disc. However, somehow, Mr Pinks has managed to do so. By digging deeper than other compilers, and relying upon his encyclopaedic knowledge of all things disco, Mr Pinks succeeds yet again. Truly, Disco Discharge-Diggin’ Deeper is one of my favorite compilations in the Disco Discharge series, due to brilliant music that can be found on the two discs. Since the release of the previous compilations, Mr Pinks has been busy. Probably the hardest working man in disco, and unable to rest and when there’s always more delectable disco delights to discover, Mr Pinks has been digging even deeper. Recently, he’s found more majestic music for four further volumes of Disco Discharge to add to the previous twelve volumes. Soon, American Hot, Midnight Shift, Disco Exotica and Europa will be added to the Disco Discharge series. If these four new volumes of are as good as Disco Discharge-Diggin’ Deeper then we’ll need to salute Mr Pinks once again. Sir, long may your disco balls sparkle. Standout Tracks: The Trammps’Soul Searchin’ Time, Mick Jackson Weekend, Dan Hartman Countdown/This is it and John Davis and The Monster Orchestra Ain’t That Enough for You.
DISCO DISCHARGE-DIGGIN’ DEEPER.
THE BEST OF PERCEPTION AND TODAY RECORDS-COMPILED BY DJ SPINNA AND BBE SOUNDSYSTEM.
THE BEST OF PERCEPTION AND TODAY RECORDS-COMPILED BY DJ SPINNA AND BBE SOUNDSYSTEM.
All too often, compilations of soul, jazz and funk music, tend to focus purely on the bigger, better known labels. With soul music, compilers tend to focus on labels like Motown, Stax, Fame and Hi Records, while with jazz music it’s labels like Blue Note, Impulse, Verve and Pacific they concentrate on. Of course, these labels issued some of the most important, influential and innovative music of their genres, but by focusing on the major labels, compilers are missing out on some amazing music released by some of the smaller, lesser known labels. Many of these labels released just as important, influential and innovative music, music that often, is only known to crate diggers and purists alike. Sadly for many people, they never hear this music, meaning they’re never exposed to some wonderful music. Two of these labels are Perception and Today Records, founded in the late sixties by Terry Phillips and Boo Frazier, who ran the label until 1974. Today Records released an eclectic selection of music, with everything from jazz, soul, and vocal harmony soul, to Latin, rock and even proto-disco. Like the music Today released, their roster was equally eclectic, with artists from Dizzy Gillespie, Black Ivory and Astrud Gilberto to The Fatback Band, J.J. Barnes and Tyrone Washington. However, thanks to BBE Music music, fans can hear all of this wonderful music on BBE Music’s forthcoming compilation The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem, which will be released in April 2012. This is a two-disc set, with thirty tracks which are a perfect introduction the majestic music of Today and Perception Records. Compiled by DJ Spinna and BBE Soundsystem . The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem, features a combination of familiar tracks and hidden gems, which I’ll tell you about, after I’ve told you about the history of Today and Perception Records.
Perception Productions were founded in the late sixties by Terry Phillips and Boo Frazier in New York. Their first signings were some of the biggest names in the history of jazz music. This included pianist and vocalist Shirley Horn, legendary trumpet player Dizzy Gillespie and saxophonist and flautist James Moody. This trio of greats had produced some of the most important and influential music in the history of jazz music. By the seventies jazz music was changing and no longer was as popular with record buyers.Miles Davis had gone electric on Bitches Brew, and jazz fusion was becoming popular, with groups like Weather Report releasing a series of hugely popular albums. So many people wondered why Terry Phillips and Boo Frazier had signed a trio of jazz greats?
Terry Phillips and Boo Frazier would be proved right when Dizzy released a stunning album in 1971. Dizzy’s released a trio of albums for Perception Records, Real Thing in 1969, Portrait of Jenny in 1970 and Giants in 1971, an album where he collaborated with Brian Hackett. The best of these albums was Portrait of Jenny, a sumptuous jazz album, very different from Real Thing which had a much more moderne sound. These albums vindicated the signing of Dizzy, but having realized that jazz’s popularity was waning, decided to branch out into other genres of music.
Now that Perception had decided to branch out into other genres of music, they decided to found a new label, Today Records, which would release mostly soul and funk music. A young producer called Patrick Adams would prove to be crucial in the success of this new label. Together with Bill Curtis of The Fatback Band, the duo would drive the label on, releasing some of the most memorable music in the label’s history.
One artists signed to Today Records was Julius Brockington, who was a young organist whose music is best described as a combination of soul, jazz and funk. Julius released two underrated albums for Today Records, Sophisticated Funk in 1972 and 1973s The United Chair, both produced by Patrick Adams and Boo Frazier.
Adding to the eclectic nature of Perception Records’ roster were Baltimore poet Wanda Robinson. She released two albums for Perception, 1971s Black Ivory and 1973s Me and A Friend. On both albums, Wanda was backed by Julius Brockington and his band. While Julius Brockington and Wanda Robinson added to the eclectic nature of Today and Perception Records’ rosters, so would another of their signings, a singer who released a number of successful records in the sixties, Astrud Gilberto.
Brazilian born Astrud Gilberto, became one of the biggest jazz singers of the sixties, recorded a number of successful albums and singles. Best know for her Bossa Nova hit The Girl From Ipanema with Stan Getz, Astrud recorded eight solo albums for Verve Records, while collaborating with Stan Getz and Walter Wanderley. Having signed to Perception Records, Astrud recorded just one album for her new label, 1972s Now, an album of Bossa Nova and Latin Jazz. Having added a Latin influence to their Perceptions’ roster, Terry Phillips and Boo Frazier would sign two band’s that became Today Records’ biggest acts, Black Ivory and The Fatback Band.
Black Ivory had been founded in 1969 by Russell Patterson and Stuart Bascombe. Later, they’d ask their friend Leroy Burgess to join their group, then called Mellow Souls, and sing lead vocal. When they were trying to get a deal from record companies they happened to meet Patrick Adams. As someone experienced in the ways of the music industry, Patrick decided to mentor the group. One thing he decided was that the group change their name to Black Ivory. Having done this, Patrick signed the group to Today Records. Now signed to their new label, Black Ivory would release to stunning albums, Baby, Won’t You Change Your Mind and Don’t Turn Around, both released in 1972. Both were arranged and produced by Patrick Adams, who also wrote a number of the songs on these albums. These two albums were critically acclaimed and became some of the most popular albums released by Today Records. While Black Ivory’s music proved popular, another group would surpass even their popularity and success, The Fatback Band, which featured the talents of Bill Curtis.
The Fatback Band were signed to Perception Records in 1972, releasing their debut slice of funk and soul Let’s Do It Again in 1972. Featuring the talents of Bull Curtis, Earl Shelton, quickly, The Fatback Band became one of Perception Records most successful and popular acts. They’d release two further albums for Perception, People Music in 1973 and 1974s The Fatback Band. Sadly, not long after The Fatback Band’s third album for Perception Records was released, tragedy would occur for Terry Phillips and Boo Frazier, when Perception Records closed, just five years after it was founded. Thankfully, BBE Music have decided to revisit Perception and Today Records back catalogue on The Best of Perception and Today Records, on their two-disc set, which features thirty selections of eclectic music. I’ll now pick a selection of The Best of Perception and Today Records’ highlights, which I’ll now tell you about.
DISC ONE.
Disc One of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem, features fifteen tracks with tracks by a combination of well known and lesser known artists. Among the well known artists are Dizzy Gillespie, Astrud Gilberto, Black Ivory, Wanda Robinson and J.J. Barnes, while there are some real hidden gems from lesser known artists like One Life, Joe Thomas. Madhouse and The Eight Minutes. These tracks range from jazz, soul, funk and Latin music. This demonstrates the real eclectic nature of Perception and Today Records. With so many great tracks choose from on The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem just trying to pick a few tracks to talk about isn’t easy. However, having spent some time listening to The Best of Perception and Today Records, these are the tracks I’ve chosen as the highlights of Disc One.
Opening Disc One of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem , is one of the compilations real highlights, Dizzy Gillespie’s Matrix, which shows a very different, funky side of Dizzy. Taken from Dizzy’s 1970 album Real Thing, featuring bassist Phil Upchurch and guitarist Eric Gayle, it’s a stunning mid-tempo slice of jazz groove. A combination of Dizzy’s trumpet and James Moody’s tenor saxophone punchily punctuate the arrangement, combining masterfully with Phil Upchurch’s trademark guitar sound. Meanwhile a subtle, understate rhythm section augment the rasping horns and chiming guitars. Later in the track, Dizzy and James kick loose, their horns soaring full of emotion and passion, as Dizzy demonstrates his versatility and virtuoso skills, on a track that although very different from his previous music, is just as incredible and quite brilliant.
Earlier, I spoke about the hidden gems on The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem . One of these is the soulful strains of The Eight Minutes I Can’t Get No Higher. This is a track from their 1972 album An American Family, and with its swirling strings and punchy horns accompanying a gentle, thoughtful female lead vocal, you’re quickly seduced by the track’s charms. With backing vocalists accompanying the swathes of strings that almost dominate the arrangement, the vocal grows in power and emotion. By the end of the track, you realize that this is a hugely underrated, hidden gems, making you wonder why The Eight Minutes music wasn’t a bigger success. If the rest of An American Family is this good, I’d love to hear more of their music.
By the time J.J. Barnes released his only album for Perception Records, Born Again in 1971 he’d released eight singles and one album. This included singles released on Ric-Tic, Groovesville and Volt Records. One of the tracks on Born Again is You Owe It To Yourself, eight and a half minutes of stupendous, laid back soulful music, that rivals anything he’d previously recorded. The track has an understated introduction, before lush strings kick in, followed by the rhythm section and dark, moody horns. Add to this gentle wah-wah guitars and J.J.’s beautiful soaring harmonies. Having settled into a laid back groove, the strings, guitars and bursts of horns all play their part in creating the most soulful sound, before J.J.’s pleading vocal enters. From there on, his vocal is a combination of raw emotion and passion, sung against this meandering, beautiful arrangement. It’s a track of epic proportions, but one that has the most gorgeous sound, and is very definitely one of the highlights of The Best of Perception and Today Records.
One of the biggest successes of the Perception and Today labels was The Fatback Band, who released three albums on Perception. Nija Walk (Street Walk) was from their 1972 album People Music and is a sizzling slice of the funkiest music. Wah-wah guitars, a funk laden rhythm section and percussion combine before the vocal enters. With a joyful variety of hollers and whoops, this is good time party music from The Fatback Band. Add to this, blazing horns, a driving rhythm section and a proliferation of percussion, and you realize that this is some of the funkiest music of the early seventies, a time when funk was King. For three minutes, the Fatback Band give a majestic masterclass in what funk music should really sound like.
From one searing slice of funk to another in Bartel’s Naturally Good, which is a mass of blazing horns, percussion, soaring guitars and another funk drenched rhythm section. As if trying to outdo The Fatback Band, Bartel come close in out-funking one of funk music’s greatest groups. Mixing funk with psychedelic rock and jazz fusion it’s a totally compelling sounding track. It gets even better when a Hammond organ is added to the mix. Whoever played the Hammond is a true virtuoso, transforming the instrument, like Jimi Hendrix did with the guitar. Then, a rocky guitar solo enters, adding to the dynamic, nearly frenzied sound which marries rock, funk and jazz music quite brilliantly. Taken from Bartel’s 1972 album Bartel on Perception Records, this is one album I’d love to be reissued, if the rest of the album is as good.
Astrud Gilberto adds a Latin flavor to The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem , with her track Gingele, from her 1972 album Now, on Perception Records. With it’s drums and percussion giving way to Astrud’s beautiful, gentle vocal, this bossa nova track gets underway. Like her work for Verve, her voice has the same quality and beauty. Accompanied by acoustic guitar a frenzied myriad of percussion, rasping horns and backing vocalists, it’s an uplifting and hugely catchy track with a real feel-good sound.
My final choice from Disc One is The Albert’s One Life, a track that reminds me slightly of Terry Caliier, but mostly Jon Lucien’s lilting vocal. It’s a gorgeous track, taken from The Albert’s 1970 album on Perception The Albert. When the track opens, the Jon Lucien similarity is apparent, with the arrangement similar to some on Terry Callier’s Cadet albums. Punchy horns rasp, while the rhythm section and backing vocalists accompany the beautiful, emotive lead vocal. There’s a real spiritual quality to the vocal, while the driving, energetic arrangement compliments the passion of the vocal.
Although I’ve only mentioned seven of the tracks on Disc One of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem , there’s much more to this disc than these seven songs. There are also tracks by Black Ivory, Joe Thomas, Debbie Taylor and another by The Eight Minutes on Disc One of The Best of Perception and Today Records. This demonstrates the sheer consistency of quality music on the compilation. With tracks ranging from funk and soul and the psychedelic stew of rock, funk and jazz of Bartel’s Naturally Good, to Astrid Gilberto’s slice of bossa nova Gingele, it’s just one of the most eclectic selections of music you’ll have the privilege of hearing this year. However, will Disc Two of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem keep up the quality of Disc One?
DISC TWO.
Disc Two of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem also features fifteen tracks, and like Disc One, features a real eclectic selection of music. These fifteen tracks vary in style, with sizzling funk sitting side by side with some soulful cuts, while there’s a Latin tinge comfortably sitting beside the psychedelic stew of Bartel. There’s even one of Wanda Robinson’s poems set to the music of Julius Brockington, whose track Rock Steady features on The Best of Perception and Today Records. This demonstrates the sheer quality of music that can be found in the back-catalogue of Perception and Today Records. However, with fifteen tracks to choose from, what are the highlights of Disc Two of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem ? That’s what I’ll now tell you.
Having loved Bartel’s track Naturally Good on Disc One of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem, they contribute two tracks on Disc Two. These tracks are Boogie and You’ve Just Been Bitten, both from their 1972 album Bartel on Perception Records. Of these two tracks, Boogie is a driving slice of jazz funk, with blazing horns, Hammond organ and rhythm section combining to produce a very different sound from Naturally Good. Whereas it was a psychedelic fusion of soul, jazz and rock, Boogie has a more jazz fusion, with some sizzling horns peppering the track. Later, the Hammond organ plays an important part in the track, driving it along with a spectacular solo, when the track becomes a psychedelic fusion of soul and jazz, before the horns howl brilliantly. With the Hammond and horns to the fore, Bartel produce another tremendous track, which blends a trio of genres seamlessly.
Black Ivory were the biggest, most successful groups on the Perception and Today labels. Discovered and produced by Patrick Adams, there are a trio tracks from Black Ivory on The Best of Perception and Today Records. On Disc Two are I Keep Asking You Questions and Surrender form their 1972 album Don’t Turn Around. With swirling strings, searing guitars and a driving, funky rhythm section, Black Ivory combine soul with a sprinkling of funk. When the vocal enters, it’s powerful and impassioned, sung against a joyous mid-tempo arrangement. With cascading strings, blistering guitars and a tight rhythm section, Patrick Adams arrangement provides the perfect backdrop for the soulful strains of Leroy Burgess and Black Ivory. Surrender is even better than Don’t Turn Around, with the vocals and harmonies even sweeter and more soulful. With a punchy arrangement, incorporating swirling strings, chiming guitars and that diving beat, the harmonies are tight, while Leroy Burgess’ lead vocal takes on a punchy style matching the arrangement. Like his vocal on I Keep Asking You Questions, Leroy’s vocal is hugely soulful and emotive, demonstrating just why Black Ivory’s music is still popular forty years later.
Julius Brockington’s track Rock Steady features on Disc Two of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem. This is from Julius’ 1972 album Sophisticated Funk and is probably his best known track. Like many people, I’ve always been a fan of the Hammond organ, an instrument that sounds stunning in the right hands. Julius is another virtuoso of the Hammond organ, bringing the instrument to life, while accompanied by a tight and talented band. He marries soul, jazz and funk majestically during three and a half magical minutes of old school funk music.
Earlier in my review I said how I’d like to hear much more of The Eight Minutes’ music, after loving Take My Love Don’t Set Me Free on Disc One of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem. Thankfully, my wish has been granted, with two more tracks featuring on Disc Two, Looking For A Brand New Game and Find the One That Loves You. Both tracks are from their 1972 album An American Family. Featuring a sweet lead vocal accompanied by backing vocalists, Looking For A Brand New Game gets underway. The arrangement is equally soulful, combining rasping horns, cascading strings with the rhythm section. Although the track sounds quite different to Take My Love Don’t Set Me Free, it has several things in common with that track beauty, quality and soulfulness. As much as I liked Looking For A Brand New Game, Find the One That Loves You is an even better track, with a lovely understated and quite beautiful arrangement. Lush strings, piano and rhythm section accompany the sweetest of vocals, while beautiful, subtle backing vocals augment the lead vocal. Later, the arrangement, like the lead vocal grows, soaring high above the arrangement mixing emotion and beauty, with that lush arrangement.
The final track i’ve chosen to mention is the final track on Disc Two of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem is Wanda Robinson’s A Possibility (Back Home), from her 1973 album Me and A Friend on Perception Records. Here, Wanda’s poetry is set to music, where she reads her poetry against an understated backdrop of funk music. Chiming guitars, rhythm section, flute and later Hammond organ combine to produce a slow, subtle arrangement while Wanda confidently reads her poetry. This works really well, with the contrast between the music and vocal intriguing and compelling. Wanda delivers her poetry with a mixture of confidence and emotion, while horns bray and stabs of Hammond organ augment her words. Although nearly forty years old, this track still works and is compelling combination of poetry married to funky music.
While I’ve only chosen to highlight just seven of the highlights of Disc Two of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem, I can promise you that there’s much more to discover on this disc. Add to the tracks I’ve mentioned, tracks by James Moody, Dizzy Gillespie, Joe Thomas and Astrud Gilberto, you can see just how much great music is on Disc Two of The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem. It truly is an album chock full of an eclectic selection of delights. There’s something for every musical taste, from funk, soul and Latin music, to jazz and psychedelic rock, married with soul and funk. The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem is one of these compilations where you discover one great track, get excited about it, only to discover the next track is even better. Another great thing about The Best of Perception and Today Records is that many people will be hearing the music for the very first time. This makes listening to the compilation almost a voyage of discovery. Having listened to the album, I’ll now start searching out much of the music on the compilation. Although I was familiar with a number of the tracks, there were a few hidden gems and welcome surprises awaiting my discovery. For anyone who loves finding and listening to new music, then The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem is a must have for any music lover. DJ Spinna and BBE Soundsystem have dug deep to discover thirty tracks as good as this. Like previous compilations from BBE Music like Al Kent’s The Best of Disco Demands, Johnny D Presents Disco Jamms Volume One, this is yet another top quality release from BBE Music. From the first track until the last, what you get is quality music, which is consistent throughout both discs. So, whether you like soul, funk, jazz, Latin or a psychedelic stew of funk, rock and jazz music, then you’ll find plenty of stunning music on The Best of Perception and Today Records Compiled by DJ Spinna and BBE Soundsystem, which is due out in April 2012, on BBE Music. Standout Tracks: Bartel Naturally Good, The Albert One Life, Black Ivory Surrender and Julius Brockington Rock Steady.
THE BEST OF PERCEPTION AND TODAY RECORDS-COMPILED BY DJ SPINNA AND BBE SOUNDSYSTEM.
THE BIG APPLE BITES BACK-NEW YORK HOUSE AND REMIX CULTURE.
THE BIG APPLE BITES BACK-NEW YORK HOUSE AND REMIX CULTURE.
Over the last few months, I’ve been reviewing just a few of the Backbeats series of compilations released by Harmless since 2009. This is a comprehensive overview of various genres of music that numbers everything from Deep Soul, Eighties Garage and Northern Soul to Philly Soul, Disco and House music. One of my favorites of the thirty compilations that Backbeats, a subsidiary of Harmless have released is The Big Apple Bites Back-New York House and Remix Culture, released in July 2010. This is compilation that contains a combination of Salsoul and house music, many of which are remixed by various DJs. Among the DJs remixing tracks are Frankie Knuckles, Kerri Chandler, Joe Clausell and Blaze. These remixes offer a new take on some familiar tracks, bringing a new twist to these songs. On The Big Apple Bites Back-New York House and Remix Culture, are eleven tracks by from artists like First Choice, Inner Life, Candido, Jungle Brothers and The Todd Terry Project. Overall, this is an eclectic compilation, which will appeal to anyone who loves either disco, house or dance music. With an album that’s both eclectic and full of some great music, what are the highlights of The Big Apple Bites Back-New York House and Remix Culture? That’s what I’ll now tell you.
My first choice is Double Exposure’s Everyman, which was from their 1976 album Ten Per Cent, released on Salsoul Records. Everyman was produced by Norman Baker of the Baker, Harris, Young rhythm section, who were part of M.F.S.B. and later, the Salsoul Orchestra. They too feature on Everyman, written by Allan Felder and Bunny Sigler. The version that features on The Big Apple Bites Back-New York House and Remix Culture, is Joe Claussell’s Remix, which offers a new take on a classic Salsoul track, transforming the track into a ten minute epic, with the typical quality and sound you’d expect from a classic slice of Salsoul. As well as featuring the Baker, Harris, Young rhythm section, Vince Montana Jr. contributes vibes, while Bobby Eli plays guitar and there’s plenty of blazing horns and cascading strings. Together, with a big production and dramatic vocal, the track gets underway, with drums, blazing horns and lush strings combining with a flourish of piano. Tight backing vocals from Barbara Ingram, Carla Benson and Evette Benton accompany the vocal, while the arrangement unfolds, revealing a real joyful and feel-good sound, that has Salsoul written all over it. Joe Claussell’s remix extends the track by two minutes, improving an already stunning track.
Another track from Salsoul Records is First Choice’s Let No Man Put Asunder is another Salsoul Records release. Released in 1977, it’s produced by Ron Baker, Norman Harris and Earl Young, of the Baker, Harris Young rhythm section, This is very definitely one of their very best productions. Here, Frankie Knuckles Remix is chosen, which again, takes the original track and turns it into a dance-floor classic for another generation. Against a backdrop of the Baker, Harris, Young rhythm section, percussion and handclaps Loleatta Holloway’s sassy vocal enters, full of bravado and confidence. While backing vocalists accompany her, Loleatta vamps her way through the track. Over the years, I’ve heard literally dozens of versions of reedits and remixes of this track, but Frankie Knuckles version is right up there with the best. This is because he stays true to the original, realising that with such a good track to start off with, it’s best not to stray to far from the original track which after all, is worthy of being referred to as a classic.
Sometimes when you hear a track, you find it hard to believe how old the track is. With Ain’t No Mountain High Enough by Inner Life it seems just a few years when I first heard this uplifting and joyful Salsoul track, whereas it was released back in 1981. Unlike so many tracks from back then, it’s a track with a timeless sound and one of the best vocals on the compilation. Featuring a real diva-esque vocal from Jocelyn Brown and written by Ashford and Simpson, it was a track from Inner Life’s 1981 album Inner Life. Produced by Patrick Adams and Greg Carmichael, the version chosen is Larry Levan’s Remix. It’s a track that after a subtle, hesitant start, where drums, percussion and then Jocelyn’s vocal combine, the track literally bursts into life. Drums pound, strings swirl, percussion, keyboards and chiming guitars combine before Jocelyn’s powerful and emotive vocal enters. From there on, the track just gets so much better handclaps and bursts of backing vocalists join the arrangement, which combines power and drama. This is easily one of the compilation’s highlights, a track that’s uplifting, dynamic and sounds just fantastic, thanks to the arrangement and Jocelyn’s diva-esque vocal.
Skyy are another group of the disco era who released so many great tracks on Salsoul during the seventies and early eighties. One of these was Call Me, released in 1981 and taken from Skyy’s Skyyline album. Here, it’s Blaze’s DJ Vocal Mix that features, with the track having a real house sound. Crunchy drumbeats, squelchy synths and keyboards open the track, giving it a contemporary sound. When the female vocal enters, it veers between a thoughtful, understated sound to a louder more powerful, sassy style. Listening to the track, two things strike me. Skyy were a vastly underrated band of the disco era, and the song has a really timeless sound. It could’ve been recorded any time in the last thirty years, whether 1981, 2001 or 2011. Blaze’s remix is one of my favorite remixes on the album, purely because of the way the track is given a really contemporary, vocal house style. If this was played in any club, it would still fill the dance-floor and that’s testament to Skyy, producers Randy Muller and Solomon Roberts Jr. and of course, Blaze’s remixing skills.
Very different to the previous tracks are The Todd Terry Project’s Bango (To The Batmobile). Released in 1988, on Fresh Records, this track came at a time when there was an explosion in popularity of Acid House music. Many tracks were released that sampled various cartoon’s with The Woodentops and Trumpton two that spring to mind. On this track, there’s a sample from Batman as the track opens, before crispy drumbeats, synths and a female vocal enter. The track has a busy sound, with sound effects and laughter part of the arrangement, as the same line is repeated constantly, giving the track a mesmeric, but catchy quality. Although very different from the other tracks I’ve chosen, it demonstrates the evolution of dance music during the late eighties.
The last track I’ve chosen to mention on The Big Apple Bites Back-New York House and Remix Culture, The Jungle Brothers’ I’ll House You, released in 1988. Like the previous track, it demonstrates how dance music had evolved since the seventies, with The Jungle Brothers hip hop sound. With a variety of scratches, crunchy beats and samples combining with a rapped vocal, it’s totally different in sound from other tracks on The Big Apple Bites Back-New York House and Remix Culture. However, like the other tracks, this has one thing in common with previous tracks quality. To me, The Jungle Brothers were one of the finest hip hop and rap groups of that era. Their music was love, happiness and having fun, quite different to other groups whose sound was more gritty. I’ll House You is a totally compelling track, where samples, sound effects, crispy beats and their rapped vocals are merged seamlessly together, creating a masterful soundscape that nearly twenty five years later still sounds just as good, as when I first heard the track.
I always enjoy reviewing compilations like The Big Apple Bites Back-New York House and Remix Culture, which feature an eclectic selection of music. There’s everything on the album from classic disco from Salsoul Records’ Double Exposure, First Choice, Inner Life and Skyy, to the Acid House of The Todd Terry Project and the hip hop sound of The Jungle Brothers. That’s not forgetting classic disco from Candido on Jingo, the old school house sound of Black Riot’s A Day In the Life and Afrikali’s combination of house and Afro Beat on Out Of the Jungle. This demonstrates the sheer depth of consistency and quality of music on The Big Apple Bites Back-New York House and Remix Culture. Although this is an album of some of the finest dance music of the seventies and eighties, the price tag of The Big Apple Bites Back-New York House and Remix Culture isn’t high. Like each of the Backbeats series, the compilation only costs £4, €5 or $6. This allows music lovers to explore a wide range of musical genres at a budget price. In total, there are thirty volumes of the Backbeats’ series, each of which is a perfect introduction to a different musical genre. It’s like a musical education for anyone who wants to find out more about various genres of music. Previously, I’ve reviewed Backbeats compilations featuring South Soul, Philly Soul, New York House and eighties and nineties garage music. Each of these albums have a similar quality of music, like The Big Apple Bites Back-New York House and Remix Culture. If you love either disco, house or dance music, or maybe just want to find out more about either of these genres of music, then The Big Apple Bites Back-New York House and Remix Culture is the perfect introduction for you. Standout Tracks: Double Exposure Everyman, First Choice Let No Man Put Asunder, Inner Life Ain’t No Mountain High Enough and Skyy Call Me.
THE BIG APPLE BITES BACK-NEW YORK HOUSE AND REMIX CULTURE.
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DISCO GOLD: SCEPTER RECORDS AND THE BIRTH OF DISCO.
DISCO GOLD: SCEPTER RECORDS AND THE BIRTH OF DISCO.
In previous articles I’ve written about disco music and remixes, one name that keeps cropping up in Tom Moulton. He is credited as the godfather of the remix, literally single handedly creating one of the most important tools in every DJ’s arsenal, the twelve inch single. Quickly, Tom Moulton became a legend in music, and was responsible for some of the earliest remixes. He could take a three minute track, and turn it into eight minutes of magical disco music. Almost single-handedly, Tom Moulton created ways to remix tracks long before technology was around. This was time-consuming, laborious work, but Tom a real perfectionist, slowly and carefully, created some of the earliest, most successful disco tracks. Over the years, Tom Moulton literally remixed hundreds of tracks, for a various labels. Many of these mixes have since become legendary, with DJ’s still playing them in their sets today.
Back in the seventies, when Tom Moulton began his career as a remixer, it was remixing tracks for Scepter Records. Since then, these remixes are like the holy grail of disco music. So, to find a compilation of Tom Moulton’s remixes for Scepter Records came as a pleasant and most welcome surprise for me last year. Disco Gold: Scepter Records and The Birth of Disco, was compiled by Bill Brewster and released on BGP in August 2011. It features twelve of Tom’s legendary remixes, for Scepter Records, with five of these previously unreleased. The other seven were originally released on two compilation entitled Disco Gold and Disco Gold Volume 2 on Scepter Records. Each of the twelve tracks on Disco Gold: Scepter Records and The Birth of Disco were remixed and edited by Tom Moulton at the legendary Sigma Sound Studios in Philadelphia, where both Gamble and Huff and Thom Bell recorded so much of the great music of the Philly Sound era. So, having told you about the background to Disco Gold: Scepter Records and The Birth of Disco, I’ll now tell you about some of the compilation’s highlights.
With the Disco Gold: Scepter Records and The Birth of Disco compilation, it’s difficult just choosing a few tracks to write about, given the quality of music and the consistency of the music. My first choice is a track written and produced by Curtis Mayfield, Patti Jo’s Make Me Believe In You. Originally released in 1973 on Wand Records, this track was on Scepter’s first volume of Disco Gold. After a lengthy, slightly dramatic introduction where drums, percussion and keyboards combine. The track is a slow burner, with a moody sound, before Patti’s sassy vocal enters. Her voice is full of confidence and attitude, while backing vocalists accompany her. Stabs of keyboards, drums and percussion combine before disco string sweep in, while guitars chime. Although I wouldn’t class this as a disco track, it’s a track with a moody, dramatic sound, topped of by the sassiest of vocals from Patti Jo.
South Side Movement’s Mud Wind was originally released in 1973 on Wand Records and produced by Jimmy Van Leer and featured on Scepter’s Disco Gold Volume 2. It’s a track with more of a disco sound than Patti Jo’s Make Me Believe In You. This is a classic Tom Moulton remix, on a track that combines swirling, sweeping string, rhythm section and blazing horns with keyboards as the song literally bursts joyously into life. There’s a “hustle” sound as the track opens, before gradually revealing a track that combines elements funk, jazz funk and disco masterfully. With horns and drums punctuating the track with bursts of drama, lush string sweep grandly and the Hammond organ and searing guitars add to the upbeat and catchy sound on a track that has an irresistible and timeless sound.
Another track that has aged really well is Ultra High Frequency’s Back On the Right Track, and is one of Disco Gold: Scepter Records and The Birth of Disco best tracks. Released in 1973 on Wand Records, it’s arranged Norman Harris and produced by Stan Watson and Norman Harris, of the legendary Baker, Harris and Young rhythm section. They were part of M.F.S.B. and later, became part of the Salsoul Orchestra, playing on so many famous tracks from artists ranging from Billy Paul, Teddy Pendergrass, The O’Jays and Loleatta Holloway. Here, the arrangement and production has the type of sound I’d associate with Norman Harris. Opening with a dramatic sound of a train, the arrangement features the rhythm section, the lushest of strings, percussion and blazing horns, before rasping horns enter. When the vocal enters, the it has a joyous sound, with backing vocals and horns augmenting it. With the remix, Tom has extended parts of the track, managing to turn a magical three minute song into a five masterpiece, that sounds just stunning. It’s disco with a Philly influence, what more can you want?
Arise and Shine by The Independents is easily the fastest track on the album, at 132 beats per minute. Released in 1974, on Scepter Records and produced by soul singer Chuck Jackson it’s a track that has many influences, including a Northern Soul influence. Add to a stomping beat, cascading strings and blazing horns and driving vocal accompanied by tight harmonies, it’s the perfect raw material for a remix. From the original with its Northern Soul influence, Tom Moulton extends the dramatic parts, transforming the track into an energetic, stomper with plenty of grand strings, rasping horns and soaring vocals. This results in a totally compelling, driving track that’s totally irresistible, capable of packing many a dance-floor today with its feel-good sound.
One of the best vocals on Disco Gold: Scepter Records and The Birth of Disco can be found on (Baby) Save Me by Secrets. Not only does the this track released in 1975 on Wand Records have a great vocal, but its constant rasping horns throughout the track makes a great track even better. Produced by David Jordan and David Smith, the track opens with swirling strings, rasping horns, percussion and rhythm section before the sweet female vocal enters. It’s accompanied by that horn sound, percussion and backing vocals as the track drives along at 124 beats per minute. Later a searing guitar solo adds to the track’s drama as it heads to a close. Although originally a soul song, it works well as disco track, especially the way Tom Moulton has remixed it. By extending the best bits of the arrangement, like percussive breaks, he proves you just can’t get enough of a good thing.
My final choice is the track that closes Disco Gold: Scepter Records and The Birth of Disco George Tindley’s Pity the Poor Man, another soul song, released in 1970 on Wand Records. Originally the B-side of Wan-Tu-Wah-Zuree, the song was arranged by Tom Sellers and Bobby Eli, who was a guitarist in M.F.S.B. Later, Bobby became a successful arranger and producer, as well as playing numerous sessions. The track was originally two and a half minutes long, but is transformed into five energetic and dramatic minutes of music. Percussion, keyboards, rhythm section and rasping horns give way to George’s vocal. It’s swathed in percussion and horns, while backing vocalists and guitars accompany him. As the song builds up, the drums play an important part. Throughout the track, the energy hardly ever drops, with the percussion, drums and horns vital to this. This is also testament to Tom Moulton’s skill as a remixer. Like other tracks on the album, he extends percussive parts of the track, before dropping in other parts of the track, like the vocal and horns. As with other tracks, this works well, transforming a slice of uptempo soul into something magical, laden with energy and emotion.
Since I first bought Disco Gold: Scepter Records and The Birth of Disco last year, it’s been a compilation I’ve loved, full of great music, remixed by Tom Moulton. Even though they were some of Tom’s earliest remixes, they’re of the highest quality. Given how time-consuming and laborious work this was, and that he literally had to invent a way of remixing tracks this is testament to his talent and I dare say, his patience. It probably helped that the original music Tom was remixing was of the highest quality. After all, even a talented remixer like Tom Moulton, couldn’t make a silk purse out of a sow’s ear. Having remixed the twelve tracks on Disco Gold: Scepter Records and The Birth of Disco, they featured on Scepter’s two volumes of Disco Gold, the first volume winning Billboard Magazine’s 1974 Trendsetter Award. Since then, these remixes have become the holy grail of disco music, loved my many people, including several generations of DJs. So, if like me you loved disco music, then Disco Gold: Scepter Records and The Birth of Disco features twelve stunning slices of disco music, full of swirling strings, blazing horns and soulful vocals. Standout Tracks: Patti Jo Make Me Believe In You, South Side Movement Mud Wind, Ultra High Frequency Back On the Right Track and The Independents Arise and Shine.
DISCO GOLD: SCEPTER RECORDS AND THE BIRTH OF DISCO.
GREG WILSON CREDIT TO THE EDIT VOLUME ONE.
GREG WILSON CREDIT TO THE EDIT VOLUME ONE.
For someone that loves music as much as I do, one of the worst things that could happen is having your music collection stolen. After all, how can you replace albums that are either long out of print, were released on small labels or are imports that took ages to source. That to me, is just a nightmare scenario, for someone whose music collection includes over 1500 albums. This actually happened to Greg Wilson whose first volume of Credit To the Edit was released back in August 2005.
Having experience financial problems that saw his house, car and musical equipment repossessed, his trauma was made even worse when his record collection was stolen. This was a real low point in the life of Greg Wilson, who has been doing edits for over thirty years. These edits feature on Greg Wilson Credit To the Edit Volume One, released on the TIRK Records. Having been taught how to edit by a radio DJ Dave Porter, who was then working for Radio Merseyside, Greg began incorporating his edits into his DJ sets and later, created mixes for a show on Piccadilly Radio in Manchester. Reediting wasn’t as easy as it is now with the advent of computer software. Instead, it was a case of splicing reel-to-reel tape with razor blade then rejoining the tape to create the reedit. This was something Tom Moulton did to great affect during the seventies, when he created the original twelve singles. However, a reedit is very different to a remix, with the person doing the reedit never having access to the master tapes like a remixer will. Now that Greg was starting to establish a reputation as a talented re-editor, he decided to stop working as a DJ in 1984
Having stopped DJ-ing in 1984, Greg decided concentrate on his reediting work. In 1984, Greg worked on the Street Sounds UK Electro compilation, reediting all but one track. For the rest of the eighties, Greg continued working on reedits, with this work continuing into the nineties when his editing skills were put to good use on two albums by The Rap Assassins. By now, he was using an Akai sampler as part of his work, and in 1996 produced his last reedit using his beloved Revox tape machine. Nowadays, Greg, like other producers, uses computers and software to reedit a track. This means he can do things much quicker that in the “old days.” With the nineties giving way to the new millennium, Greg would make his DJ comeback.
Greg’s comeback came in December 2003 at Manchester’s Music Is Better. For this auspicious occasion, Greg decided to rework some of his old reedits. This included Walking On Confusion, where he took New Order’s Confusion and married this with an acappella of Arthur Baker’s production of Walking On Sunshine by Rocker’s Revenge. After his comeback, Greg continued working as a DJ, but wanted to start remixing tracks. However, he found himself unable to get work as a remixer, he decided to start collaborating with other musicians, blazing a trail for acts like Coldcut, M/A/R/R/S and Bomb the Bass. After this, Greg decided to try to persuade record companies to hire him as a remixer by producing what he calls a series of “turntable edits.” This he thought, would be a showcase for his talents. Creating these at his home, with his Technics SL-1200s and his reel-to-reel tape, this failed to generate the interest he’d hoped for. Not long after this, his financial problems meant he lost everything, with his grief added to, when his record collection was stolen. Thankfully, after these traumatic events, things would eventually improve for Greg Wilson, with his life rising like a phoenix from the ashes in 2005, when TIRK Records released Greg Wilson Credit To the Edit Volume One. It features fifteen of Greg’s reedits, with tracks from the Salsoul Orchestra, Rockers Revenge, Chaka Khan, Yello Chic. These are reedits of a combination of familiar tracks and a few leftfield choices, which some people may not be familiar with. However, each track is creatively edited, adding something new to the original track. I’ll now choose some of the best reedits on Greg Wilson Credit To the Edit Volume One.
Opening Greg Wilson Credit To the Edit Volume One is the Salsoul Orchestra’s Ooh I Love It (Love Break), is the 1983 Shepp Pettibone remix of Vince Montana Jr.’s original production. Like the First Choice version, the tempo is 118 beats per minute, the crispy drumbeats, with percussion, a funky bass line and keyboards combining before backing vocalists enter. Then, cascading strings enter, while the track takes on a Latin sound and influence due to the percussion and bursts of vocal enter. When the lead vocal enter, it’s almost rapped be a female vocalists, while the percussion, drums and strings provide a mesmeric, almost hypnotic backdrop. It’s a new take on a classic track, one with a funk tinged percussive heavy sound.
Produced by Arthur Baker and written by Eddy Grant, Walking On Sunshine by Rockers Revenge is now thirty years old. Gaining popularity in clubs before giving Rockers Revenge a huge chart hit in 1982. Here, Greg has used three versions of the track for this reedit Sunshine, Partytime (Rap), Dubbing In Sunshine and Acappella Sunshine. As the track opens, crunchy beats, bursts of squelchy synths and percussion combine as the track begins to reveal itself. Gradually, keyboards and the powerful vocal combine, with delay used on the vocal, while backing vocalists cut in. Searing guitars are the next component, while a Latin influence makes its presence felt. Although three versions of the track have been combined the end result is a seamless reedit with a contemporary sound, that’s credit to Greg Wilson’s reediting skills.
Back in the early eighties Scritti Politti were one of the biggest groups around, with their electro, new wave sound. Here, Greg calls the track Absolute Wood Beez, because it’s a combination of two Scritti Politti tracks Absolute and Wood Beez (Pray Like Aretha Franklin). This was a reedit Greg did in 1984, when all he had was a reel-to-reel tape and his trusty razor blade to splice the tape. During the track, after two minutes, Greg says there’s a forty-five second part that took several hours to complete. Listening to the track, all his efforts are well worthwhile, creating one great track from two tracks. With the vocal multi-tracked and delay used on the vocal, old school synths and drum machines combine with the sweetest of vocals. It’s a track that sounds circa 1984, with its drums and synth sound. When the track gets to the minute mark, you can only marvel at Greg’s reediting skills, to be able to edit and merge the two tracks perfectly. Considering the lack of technology available back then, it demonstrates how talented Greg Wilson is, that he could create one track from two very different tracks, with a real old school eighties sound.
While Kraftwerk were producing some of the most influential electronic music in Germany, Yello were doing something similar in Switzerland. Lost Again is a futuristic sounding track where synths and drum machines play a major part in the track’s sound. They combine with a vocal sung through a vocoder to producing a haunting, hypnotic sounding track. Released from Yello’s 1983 third album You Gotta Say Yes To Another Excess, the last album featuring founder member Carlos Peron. This track demonstrates just how influential Yello were to in the evolution of electronic music, their music later influencing later artists. I’ve always thought that Yello were a hugely underrated band, with a back catalogue that deserves more attention.
Many years ago, I was fortunate to see Chaka Khan in concert, where she performed I Feel For You. However, it sounded nothing like Greg’s reedit. Here, the tempo is quick, 128 beats per minute, with this one of the “turntable edits” Greg sent out when trying to get some work as a remixer. Written by Prince and a hit for Chaka in 1984, I Feel For You has a fantastic frenzied sound, with scratches repeated during the introduction, before the track gets under way with that harmonica solo. It gives way to the rap which has filter added, before the harmonica returns and then Chaka’s sassy vocal enters. WIth bouncy electro beats, synths, funky bass and a chiming guitar accompanying Chaka, parts of the track are repeated, scratches added and synths squelchy before coming to an abrupt halt. Of the fifteen tracks on Greg Wilson Credit To the Edit Volume One this is one of the best reedits.
Another of the compilation’s highlights is Greg’s reedit of Chic’s Dance, Dance, Dance (Yowsah, Yowsah, Yowsah). A true classic of the disco era, Greg combines various samples before Chic’s combination of funk and soul unfolds. With the funkiest of bass lines, chiming guitars and punchy drums giving way to the lush, swirling Chic Strings, while synths reverberate and filters take the edge of the sound. Instead of the normal vocal, bursts of samples, laughter and vocal emerge from the flowing string laden arrangement. Although very different to Niles and Bernard’s original masterpiece, it’s a new and compelling take on a true classic.
My final choice is Kool and The Gang’s Open Sesame, originally released in 1976 and a track that featured on the Saturday Night Fever soundtrack. It’s a track that’s familiar to many, but not this version. With it’s combination of percussion, funky rhythm section and blazing horns, the track has a joyous funky sound. This was before the group changed their sound, releasing more soulful tracks. Instead, this is a blistering slice of uptempo funk with a real feelgood sound. Here, Greg’s has cleverly rearranged the whole track transforming it into three minutes of joyful funk music, by one of music’s unsung heroes Kool and The Gang. Although I’ve only mentioned seven of the tracks on Greg Wilson Credit To the Edit Volume One, there’s much more to this compilation than this. Among the other tracks worth mentioning are one of Boystown Gang’s best tracks Cruisin’ the Streets, Mr Bloe’s Groovin’ With Mr Bloe or The Controllers’ I Can’t Turn the Boogie Around. Greg Wilson Credit To the Edit Volume One is an album where the music is consistently of a high quality. On the album are a mixture of well known tracks, hidden gems and a few tracks that’ll be new to many people. While there’s many remix albums available, there aren’t many albums of reedits available. Previously, I’ve reviewed Philadelphia International The Re-Edits, which was a stunning collection of reedits, by a number of DJs. Like that compilation, Greg Wilson Credit To the Edit Volume One is another album full of clever and interesting takes on each of the tracks. The great thing about a reedit, is that you can chop up a track, take out bits you feel don’t work and extend the best bits of a track. This can totally transform an average track to something very special. Here, Greg starts with good tracks to reedit, giving each of them his own unique twist. I love what he’s done to Chic’s Dance, Dance, Dance (Yowsah, Yowsah, Yowsah), Salsoul Orchestra’s Ooh I Love It (Love Break) and Chaka Khan’s I Feel For You. Greg treats each track sympathetically, trying to add something to the track, but something different from other reedits and remixes. This is testament to Greg’s thirty years experience as a re-editor and what makes Greg Wilson Credit To the Edit Volume One such a fine album, chock full of quality reedits. Standout Tracks: Salsoul Orchestra Ooh I Love It (Love Break), Yello Lost Again, Chaka Khan I Feel For You and Chic Dance, Dance, Dance (Yowsah, Yowsah, Yowsah).
GREG WILSON CREDIT TO THE EDIT VOLUME ONE.
MELLOW MELLOW-15TH ANNIVERSARY EDITION.
MELLOW MELLOW-15TH ANNIVERSARY EDITION.
One of my favorite independent record labels over the past seventeen years is Harmless Records, who were founded in 1995. Since then, they’ve been releasing quality music on a regular basis. They’ve released a number of hugely successful compilation series including Pulp Fusion, Disco Discharge and of course thirty editions of the Backbeats series which. The music Harmless have released has been totally eclectic, with everything from soul and funk, to jazz and Philly Soul. Each of these releases have one thing in common, quality. Two of my many favorites of the Harmless compilations was the two Mellow Mellow compilations, released in March 2000 and August 2001. Both of these compilations featured some lovely laid music including tracks by Barry White, Al Green, Curtis Mayfield, Roy Ayers and Minnie Ripperton. So imagine my delight when in March 2011, as part of Harmless’ fifteenth anniversary, they released a two disc compilation of some beautiful chilled out soul music entitled Mellow Mellow-15th Anniversary Edition. On this compilation are thirty-five tracks from artists on Hi Records, Philadelphia International and Curtom Records. This includes tracks from Billy Paul, The O’Jays, The Chi-Lites, Al Green and Teddy Pendergrass. Truly, Mellow Mellow-15th Anniversary Edition is a compilation of some fantastic music, which I’ll now tell you about, by picking some of the album’s best tracks.
DISC ONE.
Disc One of Mellow Mellow-15th Anniversary Edition has eighteen tracks, with a mixture of old favorites and some less well known tracks. These tracks are from a variety of labels, including Hi Records, Brunswick, Philadelphia International and Curtom Records. Of the eighteen tracks on Disc One of Mellow Mellow-15th Anniversary Edition, there’s just so much good music that trying to choose just a few tracks is difficult. Unlike some compilations where you struggle to choose a few tracks to talk about, here you could literally pick any track. Dean Rudland the compiler has chosen wisely, mixing familiar songs with a few leftfield choices. So what are my favourite tracks from Disc One of Mellow Mellow-15th Anniversary Edition?
My first choice is one of the most underrated soul singers of the seventies, Leroy Hutson and a track from his 1975 album Hutson, All Because of You. It’s a slow, beautiful track opening with drums, cascading strings and funky bass and chiming guitars before Leroy’s joyous vocal enters. Joining the mix are keyboards and percussion, who together with rasping horns and lush, shimmering strings create a beautiful backdrop for Leroy’s vocal. It’s a gorgeous track, written and produced by Leroy, who and demonstrates just how talented singer Leroy Hutson is.
Dee Dee Sharp Gamble recorded a trio of highly underrated albums on Philadelphia International Records. On her 1977 album What Color Is Love, was a track Just As Long As I Know You’re Mine, which is one of the finest tracks Dee Dee ever recorded. The track has an upbeat, uptempo style, with keyboards, rhythm section, percussion and guitars combining before a louder, but slightly husky sounding vocal from Dee Dee begins. Quickly, a really catchy, arrangement combines elements of soul and funk. A myriad of keyboards, quick funky bass line, shimmery guitars combine, while braying horns and bouncy drums inject drama. Like the arrangement, Dee Dee’s vocal gets stronger and funkier. She delivers the vocal with a mixture of power and raw emotion. Dramatic waves of driving, powerful music, accompany Dee Dee’s vocal, matching her passion and energy every step of the way. It’s a dynamic, driving combination of soul and funk that remains a well kept secret to all but soul connoisseurs and the music cognoscenti.
Having mentioned on of Philadelphia International’s biggest acts, it seems fitting to follow this with Hi Records’ most successful artist Al Green. Here, Call Me (Come Back Home) is chosen, which is a nice change to the usual familiar tracks from Al that feature on other lesser compilations. Released on Al’s 1973 album Call Me, which reached number one in the US R&B Charts and number ten in the US Billboard 200, the album was certified gold. On the release of Call Me (Come Back Home) as a single, it reached number ten in the US Billboard 100 and number two in the US R&B Charts. With the Memphis Horns and Memphis Strings combining with backing vocalists and the legendary Hi Rhythm Section, three minutes of sensuous soul unfolds, with Al’s voice tender and full of longing. Backing vocalists accompany him, his voice full of sadness and desire, while stabs of Hammond organ add to the atmospheric and beautiful arrangement. Combined with Willie Mitchell’s production, this is a slice of vintage Southern Soul from Al Green.
The Jones Girls contribute This Feeling’s Killing Me from their self-titled debut album The Jones Girls, released in 1979 on Philadelphia International Records. Again, compiler Dean Rudland has eschewed the obvious choice, Nights Over Egypt, delving deeper into The Jones Girls back catalogue. It’s a slow song with chiming guitars and rhythm section opening the track, before a beautiful, thoughtful vocal from Shirley. Meanwhile Brenda and Valerie sing tight and equally beautiful harmonies. Later, bursts of horns punctuate the arrangement, while lush strings sweep in and out of the track, augmented by punchy drums. Although the arrangement is excellent, as you’d expect on a Philadelphia International track, it’s The Jones Girls’ soulful vocals that steal the show.
While groups like The O’Jays and Harold Melvin and The Blue Notes were producing some of the finest Philly Soul, in Chicago on Brunswick Records The Chi-Lites were producing a similar combination of socially conscious music and love songs. Oh Girl was released in 1972 and was number one in both the US Billboard 100 and US R&B Charts. It was taken from The Chi-Lites album A Lonely Man which reached number five in the US Billboard 200 and number one in the US R&B Charts. It features an atmospheric harmonica solo, while Eugene Record’s heartfelt vocal is accompanied by lush strings, piano and tight harmonies. Scared that his girlfriend will leave him, Eugene delivers a gorgeous, heartfelt, paean of adoration to the one he loves. It’s a track that reminds me just how great a group The Chi-Lites were during the seventies.
The last track I’ve chosen to mention is Eugene Wilde’s Gotta Get You Home With Me Tonight, from his 1984 album Eugene Wilde. His voice reminds me slightly of Lionel Ritchie, with the arrangement full of synths, a loping bass and lush strings, while Eugene’s vocal is sensuousness personified. This track is very different to other tracks on Disc One of Mellow Mellow-15th Anniversary Edition, with a slightly more eighties electronic sound. However, it’s the vocal that really makes the track, with Eugene’s emotive and impassioned delivery.
Although I’ve only chosen six of the eighteen tracks on Disc One of Mellow Mellow-15th Anniversary Edition, I could just as easily have mentioned Holland and Dozier’s Why Can’t We Be Lovers, Phyllis Hyman’s Ain’t You Had Enough Love or Dee Dee Sharp Gamble’s stunning Just As Long As I Know Your Mine, one of Dee Dee’s finest tracks, a track that demonstrates how talented a vocalist she is. Tracks like these demonstrate the consistency and quality of music on Mellow Mellow-15th Anniversary Edition. That Dean Rudland has compiled such a consistently high quality selection of music demonstrates his impeccable taste. However, can Disc Two of Mellow Mellow-15th Anniversary Edition keep up the consistency and quality?
DISC TWO.
One of the most familiar tracks on Mellow Mellow-15th Anniversary Edition, is The O’Jays’ Use Ta Be My Girl, from their 1978 album So Full of Love, which reached number six in the US Billboard 200 and number one in the US R&B Charts. On Use Ta Be My Girl’s release as a single, it reached number four in the US Billboard 100 and number one in the US R&B Charts, resulting in the album being certified platinum. With its chiming guitars, quivering strings, rhythm section and percussion opening the track, the lead vocal enters, while the other O’Jays sing harmonies. This they do against a backdrop of swirling strings, punchy drums that combine to produce an arrangement that mixes beauty, drama and a lovely lush sound. It’s a track that’s a true classic, from one of Philadelphia International Records most successful groups
After leaving Harold Melvin and The Blue Notes, Teddy Pendergrass launched a highly successful solo career. Heaven Only Knows was the title track from Teddy’s 1983 album, which was his final and least successful album on Philadelphia International Records. It only reached number 123 in the US Billboard 200 and number nine in the US R&B Charts. Although it’s a quality slice of soul with a disco influence, it’s an unusual choice of track from Dean Rudland. Again, he’s avoided more obvious tracks and included a track with pounding drums, chiming guitars, flourishes of harp and quivering strings, which accompany Teddy’s sultry vocal. Backing vocalists accompany Teddy, as he delivers the lyrics with emotion and power, against a trademark quality Philly Sound arrangement.
My favorite track on Disc Two of Mellow Mellow-15th Anniversary Edition is Billy Paul’s paean to seduction, on the bedroom ballad Let’s Make A Baby. It’s a track that should carry a government health warning, prolonged listening to this track can turn two into three. From Billy’s When Love Is New album, it features one of the best arrangements on this compilation. With a slow, lush backdrop of strings, chiming guitars and subtle backing vocalists, Billy Paul does what he does so well, sing about love. Like Teddy Pendergrass and Barry White, he’s a master of the bedroom ballad, with this track just one of his finest ever tracks.
Back in the seventies, Earth, Wind and Fire were one of the biggest soul and funk bands, consistently producing quality music. One of these tracks was Devotion, which reached number thirty-three in the US Billboard 100 and number twenty-three in the US R&B Charts. Taken from their 1974 album Open Our Eyes, which reached number fifteen in the US Billboard 200 and number one in the US R&B Charts. The track is very different from singles like Boogie Wonderland and September, with a slower tempo and gentle vocal from Maurice White. With keyboards, guitars and rhythm section accompanying him, Maurice delivers a thoughtful and tender vocal, while the rest of the group combine to sing lovely backing vocals. This track demonstrates a very different and beautiful side to Earth, Wind and Fire, one many people may not have discovered, but should do.
The last track I’ve decided to review is George Jackson’s Aretha, Sing One For Me. George is a talented Southern Soul singer, songwriter and producer whose music deserves to be heard by a much wider audience. Released as a single in 1972, Aretha, Sing One For Me is a song about a relationship breaking up. It features an emotive and impassioned vocal from George, accompanied by gospel tinged backing vocalists, a tight rhythm section and blazing horns. This is a emotive slice of authentic Southern Soul, one that demonstrates just how talented a singer George Jackson was.
Having wondered whether Disc Two of Mellow Mellow-15th Anniversary Edition would match the consistency and quality of Disc One, I needn’t have worried. I’ve only mentioned five of seventeen slices of soul, without mentioning tracks by Jean Carn, Millie Jackson and Isaac Hayes, Ann Peebles and Gary Bartz. Truly, Disc Two matches the quality of music on Disc One of Mellow Mellow-15th Anniversary Edition, and if anything, has a more eclectic selection of music. Dean Rudland, the compiler has chosen to include less obvious tracks, including tracks by Anthony White, Jean Plum and Paris. To me, Mellow Mellow-15th Anniversary Edition is a compilation crammed full of quality, mellow soul music, with bedroom ballads and Philly Soul comfortable bedfellows. So, if you like soul music, with the plenty of laid back Philly Soul, Southern Soul and a few hidden gems then you should buy Mellow Mellow-15th Anniversary Edition. It’s an example of what a compilation should sound like, unpretentious, with the emphasis on good quality music. That’s why Harmless Records are now seventeen years old, they know what people want to hear, good quality music. Standout Tracks: Dee Dee Sharp Gamble Just As Long As I Know You’re Mine, Al Green Call Me (Come Back Home), Billy Paul Let’s Make A Baby and George Jackson Aretha Sing One For Me.
MELLOW MELLOW-15TH ANNIVERSARY EDITION.
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