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.
UNDER THE INFLUENCE VOLUME ONE COMPILED BY DJ RED GREG.
UNDER THE INFLUENCE VOLUME ONE COMPILED BY DJ RED GREG.
With so much good music being released, sometimes I don’t get the opportunity to write about an album when it’s released. One such album is a compilation of rare soul and disco entitled Under the Influence Volume One Compiled By DJ Red Greg. Released in October 2011, on Joey Negro’s Z Records, this was one of my favorite compilations of 2011. Compiled by Darren Griffiths aka DJ Red Greg, a DJ and crate digger extraordinary. Under the Influence is the first installment in a new series, which the ZR label have planned. Joey Negro know Darren Griffiths’ reputation as a avaricious collector of music and as a talented DJ, so decided that Darren should be given the honor of compiling the first compilation in the series. Using the knowledge and music that only a lifetime spend crate digging in record shops, dusty basements and warehouses gives you, Darren compiled a double album which contains twenty-four delicious slices of lesser know soul and disco tracks, eight of which Darren has edited. Rather than choosing the usual tired collection of “classics,” Darren has decided to dig deeper, way deeper. So what you’ll find on Under the Influence Volume One Compiled By DJ Red Greg, are a mixture of hidden gems, B-sides and vastly underrated tracks. Truly, Under the Influence Volume One Compiled By DJ Red Greg is a compilation containing so many great tracks that choosing just a few of its highlights isn’t easy, but that’s what I’ll now do.
SIDE ONE.
Straight away, the track that opens Under the Influence Volume One Compiled By DJ Red Greg, Donnell Pitman’s Love Explosion grabs your attention. Released on the Arpco label, and produced by Archie Russell and Floyd, the sound it’s a funky sound that opens the track with a loping bass line and drums combining with keyboards and percussion. After that, the arrangement then takes on a Philly Sound influence with cascading strings entering, before Donnell’s emotive and powerful vocal enters. From there on, the track just gets better, with punchy, rasping horns joining the lush strings and funky rhythm section. Similarly, Donnell’s vocal grows in power and emotion as this lost disco gem reveals its brilliance over six majestic minutes.
The first of the eight of DJ Red Greg’s edits is Beckie Bell’s Music Madness, a gorgeous slice of French disco with a soulful sound. This is from Beckie’s 1980 album In Need Of, released in 1980 on the French Trema label and only released in France. Playing on this track are former members of Lafayette Afro Rock band, while Patrick Cowley played synths. It’s an uptempo track with a real feel-good sound, where percussion, stabs of blazing horns and swirling strings combine with Beckie’s beautiful subtle vocal. She’s accompanied by backing vocals throughout a track that mixes funk, soul and even Afro Beat with disco. Why a track so good as this was only released in France seems strange, and DJ Red Greg deserves credit for including this gorgeous track on the compilation.
Andy Crown’s track Why Do I Love You is another of DJ Red Greg’ edits of a track released on the Magic Touch Label. This version sees Andy Crown’s vocal removed, with female backing vocalists and instrumental parts of the track replacing his vocal. The tempo is quick, with keyboards, lush strings, bursts of synths and the rhythm section combining with braying horns and soulful female backing vocalists. While the track has a really lush sound, thanks to the strings, the backing vocalists add a soulful side and the rhythm section add some funk. Later, filters are used effectively and sparingly, transforming the sound and adding an element of drama. It’s a great track, perfect for any dance-floor, with a tempo of 117 beats per minute and its lush disco strings and soulful backing vocalists.
Released on New York’s Reflection Records in 1975, Sophisticated Ladies’ This Ain’t Really Love is a cover version of a track originally recorded by Bobby and Cindy. Written by Bobby Dukes and The O’Jays, it’s four stunning minutes of disco soul, with a diva-esque vocal. Accompanying this vocal, are soaring backing vocalists, crunchy drumbeats, shivering strings, stabs of keyboards and handclaps. Of the twenty-four tracks on Under the Influence Volume One Compiled By DJ Red Greg, this track has the best vocal..by far. Impassioned and powerful, it’s made even better by the backing vocalists. Together with a stomping, dramatic arrangement, this is one of the best tracks on the compilation.
Feeling Freaky by The Vandales was released on Q-City Records, but only as a seven inch single. Here, Parts One and Two of the single are edited together to lengthen. This works really well with blazing horns, sweeping strings, the rhythm section and percussion combining with the vocal to give the track a sound that veers between a laid back and a catchy upbeat sound. What I really like about this track is the gentle, lilting vocal accompanied by crisp drumbeats, female backing vocalists and handclaps. DJ Red Greg’s edit is one of his best on Disc One and transforms this track into one that’s catch and hook laden.
My final choice from Disc One of Under the Influence Volume One Compiled By DJ Red Greg, is a track that was originally released in 1979 on Ardent Records. Sir Ted Ford’s Disco Music is a rare single, that features Fred Wesley’s horn section. When the track opens, it reminds me slightly of George McRae’s The Hustle. What follows sees a flute, rasping horns, the rhythm section and keyboards combine with Ted’s sultry vocal. Meanwhile, Maxine and Julia Waters contribute soaring backing vocal, while the arrangement even features a searing guitar solo. Produced by Ted Ford and featuring some blazing horns from Fred Wesley’s horn section, the track is a sizzling slice of soulful disco.
So Disc One of Under the Influence Volume One Compiled By DJ Red Greg is absolutely crammed full of quality soul, funk and disco music, featuring a few real hidden gems. I’ve only mentioned six of the twelve tracks on Disc One, but there’s much more to Under the Influence Volume One Compiled By DJ Red Greg than these six tracks, with each of the tracks of a consistent quality. However, can Disc Two of Under the Influence Volume One Compiled By DJ Red Greg match the consistency and quality of Disc One? Let’s hope so.
DISC TWO.
Opening Side Two of Under the Influence Volume One Compiled By DJ Red Greg is a track that combines elements of Afro Beat, funk and soul on a blazing, percussive heavy disco track. Punchy vocals, bursts of sizzling horns, a proliferation of percussion and the funkiest of rhythm sections combine on Rim and Kasa’s Love Me For Real, from their 1982 mini album released on Sum Sum Records. Add to this grand strings and squelchy synths, and the result is a compelling and hugely catchy funk laden track, edited by DJ Red Greg.
Produced by Ross Whitney and released on New Hit Records, You Don’t Want My Love was the B-side of Let’s Go Disco. This is a fast, lush sounding string drenched track with a soulful soaring vocal accompanied by braying horns, rhythm section, keyboards and cascading strings. With a tempo of 129 beats per minutes, it’s one of the quickest tracks on the album, and it also has one of the best vocals on the compilation. It’s a combination of emotion and passion delivered powerfully, against a backdrop of the lushest strings and braying horns.
It’s always interesting to hear the history of songs on a compilation were discovered by the compiler. Lafayette Street’s Can You Dig It was originally hidden on the B-side of an album entitled “Learn To Hustle,” one of numerous albums teaching the listener how to “disco dance.” On the track’s discovery by DJs, the track was released as a single. With its sound effects, funk laden rhythm section and sweeping, swirling strings augmented by bursts of rasping horns it’s a track that marries disco strings with a loping bass line and punchy drums. Produced by Michael Goldberg and Eddie Youngblood, it’s a stunning instrumental track that has a real mid-seventies sound.
When you hear New Love Ltd and Interstate ’95’s So Much To Talk About, from the group’s debut album So Much To Talk About you’ll immediately hear the influence of groups like Brass Construction or B.T. Express. Disco funk is how I’d describe the music, with bursts of rasping horns, the funkiest of rhythm section and lush disco strings combining with percussion before the vocal enters. First a powerful female vocal enters, before being replaced by a near falsetto male vocal. Later, backing vocalists enter as the track speeds along at 127 beats per minute, with the strings swirling frantically as the powerful vocal soars high above the arrangement. It’s a catchy, irresistible slice of percussive heavy disco funk with plenty of lush strings and emotive, powerful vocals.
The sensuous sounding I Got To Have Your Love by Jim Manns, released on Black Giant Records in 1980 features the sultriest of sensuous backing vocalists, sweeping strings, punchy horns, keyboards and rhythm section accompanying Jim’s lead vocal, a beautiful track quickly reveals itself. What makes this such a great track are the female backing vocalists, lush strings and flourishes of keyboards. Produced by Offe Reese this is one of my favorite tracks on the compilation, one that sounds just beautiful.
Crazy by Carl Marshall and The S.D’s is my final choice from Disc Two of Under the Influence Volume One Compiled By DJ Red Greg. This is taken from his 1980 album You, released on Chantilly Records. By 1980, Greg was an experienced singer, songwriter and musician, having worked with The Neville Brothers and previously been a member of Sam and The Soul Machine. The tempo is quick, 126 beats per minute, with crisp drumbeats, guitars, handclaps and bursts of horns that punctuate the arrangement. Carl’s vocal is thoughtful but tender, with backing vocalists accompanying him, while drumbeats and handclaps add to the driving, funky arrangement. Although it’s quite different to other tracks I’ve mentioned, it has something that each of these tracks has in common…quality.
Having wondered whether Disc Two of Under the Influence Volume One Compiled By DJ Red Greg would match the consistency and quality of Disc One, I can certainly say that it does. This is testament to DJ Red Greg aka Darren Griffiths’ determination and tenacity in discovering quality music. Just when you think the music can’t get any better, it does, with a track coming from leftfield to bowl you over. Many of these tracks are little known, hidden gems that are quite stunning. With tracks ranging from soul, funk and disco, there’s an eclectic and compelling selection of music on Under the Influence Volume One Compiled By DJ Red Greg. Some of the tracks incorporate all three genres in one track. Like Disc One, Disc Two is chock full of some great music. Throughout the album, there’s plenty of the lushest disco strings, fat bass lines and blazing horns, together with some hugely soulful vocals. If you like either soul or disco music then Under the Influence Volume One Compiled By DJ Red Greg is an album that belongs in your music collection. Unlike lesser compilations, it’s an eclectic collection of music, where the quality of music is consistent from the first track of Disc One, to the last track on Disc Two. Standout Tracks: , Donnell Pitman Love Explosion, Andy Crown Why Do I Love You, Sophisticated Ladies This Ain’t Really Love and Jim Manns I Got To Have Your Love.
UNDER THE INFLUENCE VOLUME ONE COMPILED BY DJ RED GREG.
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DEEP DISCO AND BOOGIE VOLUME 1.
DEEP DISCO AND BOOGIE VOLUME 1.
For over thirty years I’ve been a fanatical collector of music in all forms. When I first started collecting, vinyl was still king, with tapes, mini discs and compact discs all still to come. Since then, I’ve been unable to resist crate digging, with anywhere where there might be music sold being explored. Previously, this meant hunting second hand shops, record shops and record fairs trying to find something new and brilliant that might change my life forever. Once vinyl started to be replaced by compact discs my love of music never wavered, and I kept crate digging, looking for new and rare music of every genre. When the internet arrived, this allowed me to widen my horizons, all from the comfort of home. With a click of a button I was able to buy music from anywhere around the world in any format, whether vinyl or compact disc. From vinyl I bought a few tapes, but mostly stayed true to vinyl, before converting to compact disc and briefly, mini disc. Over the years, I’ve bought and discovered some great music, but have made my fair share of mistakes. After all, what was I doing spending £300 buying a mini disc player or an almost unlistenable album of free jazz? Occasionally, it seems that the journey to the discovery of new music seems disproportionate to the music itself, with the music almost an anticlimax. However, sometimes, when you discover a little known album that no-one else has, never mind knows about, it’s all worthwhile. One man who knows all about crate digging and discovering rare and little known tracks is Zaf Chowdry, a UK-based record dealer and collector. On 30 January 2012, Zaf released another compilation entitled Deep Disco and Boogie Volume 1 on the Dutch label Kindred Spirits.
Deep Disco and Boogie Volume 1 is a compilation I’ve been looking forward to hearing and reviewing. It features twelve slices of the deepest disco and boogie. With hard to find tracks from China Burton, Cash and Roy Ayers, sitting comfortably beside the lush sounding C.C. Cameron track Live For Love and the fabulously funky Ojeda Penn. So, Deep Disco and Boogie Volume 1 is quite clearly a compilation crammed chock full of quality music, but what are the album’s highlights? That’s what I’ll now tell you.
Opening Deep Disco and Boogie Volume 1 is one of the compilation’s highlights, China Burton’s You Don’t Care (About Our Love) (Long Version). Released on Logo Records in 1979, it’s a classic disco boogie track with swirling strings, percussion, bursts of blazing horns and punchy drums combining with China’s lilting, near falsetto vocal to create a hook laden, hugely catchy track. After the vocal drops out, handclaps, reverberating synths and those punchy drums combine with lush sweeping strings, rasping horns and chiming guitars. Together, they create a truly stunning and irresistible sounding track.
Very different and very funky is Ojeda Penn’s Brotherson, released on IFE Records, which combines lush strings with the funkiest bass line you’ll hear in a long time. It’s not only a compelling combination but one that works really well. Add to this breathy backing vocals, bursts of swirling synths, percussion and crisp drumbeats and the track just sweeps along. However, what makes this such a great track is the quivering strings and funky slap bass. With its lush sound, this is a track that mixes funk and disco strings magically.
Now as someone whose a big fan of Roy Ayers’ music, it was good to hear one of his songs on Deep Disco and Boogie Volume 1. This version of Rock Your Roll was a promotional version released in 1980 from his Love Fantasy album also released in 1980. There’s a broken beat influence to the track, a track that welds synths, with vibes, crispy drumbeats and percussion with a funk laden bass line. The tempo is fast, the sound combining funk and soul with boogie, while female vocalists accompanying Roy. It’s a quality track from Roy, quick, catchy and with a real feel-good sound.
G.C. Cameron, or George Curtis Cameron, a former Vietnam veteran who was lead singer with The Detroit Spinners when they were on Motown. He contributes the best track on the compilation, Live For Love (Extended Mix). This is a track that combines soul with the lushest of disco strings. Pounding drums open this Harvey Fuqua produced track, before a beautiful, heartfelt vocal enters. It’s swathed in lush strings that sweep behind him, while flourishes of keyboards and bursts of rasping horns enter. When all this is combined with the soaring backing vocalists that accompany George’s impassioned vocal. So good is this track, that I’ll very definitely be searching out more of George’s music.
Ricky Womack and Christian Essence’s I Need You is like gospel track sung against an arrangement that speeds along at breakneck speed. The tempo is 140 beats per minute, with a spiritual sounding female vocal testifying, while gospel influenced backing vocalists accompany frantic drums, percussion and keyboards. Although the track sounds fantastic, it would’ve sounded even better slowed down a bit, allowing the emotive, gospel tinged vocal to take centre-stage and shine even more.
Although there are many fat, funky bass lines on Deep Disco and Boogie Volume 1, my final choice, The Exoutics’ If You Can’t Feel the Funk has one of the fattest and funkiest bass lines. This track is from The Exoutics’ 2011 EP on the Kindred Spirits label, proving that modern funk is alive and well. When the track opens with some slap bass, percussion and punchy drums, accompanying the joyful vocal you realize that this is a very special track. Later, blazing horns, stabs of synths and searing guitars join the mix combining to give the track a real retro funky sound, reminding me of Bootsy Collins Rubber Band at their best. With a track this good, Zaf Chowdry proves a theory I formed many years ago, that often, compilers keep one the best tracks on a compilation until last. This seems to be the case here.
As someone whose bought and listened to enough compilations to fill a small warehouse I’ve heard a mixture of the good, the bad and ugly. Having listened to Deep Disco and Boogie Volume 1 almost constantly since I got it last week, it’s obvious that the compilation belongs in the first category. Deep Disco and Boogie Volume 1 is a very good compilation, one that avoids some of the tired and all too familiar tracks that usually feature on similar compilations. Instead, Zaf Chowdry has dug deep into the crates to find twelve tracks as good as this. There’s disco and boogie, but with a soulful and funky influence with even gospel twist on Ricky Womack and Christian Essence’s I Need You. All this means Deep Disco and Boogie Volume 1 is an eclectic and compelling compilation. As to the quality of music on Deep Disco and Boogie Volume 1, it’s consistent throughout, without any faux pax or filler. I just hope that Zaf will currently be compiling Volume 2, of Deep Disco and Boogie. If so, I for will be buying Volume 2, and if it’s anywhere near as good asDeep Disco and Boogie Volume 1 then it’ll be something to savor. Standout Tracks: China Burton You Don’t Care (About Our Love) (Long Version), Ojeda Penn Brotherson, G.C. Cameron Live For Love and The Exoutics If You Can’t Feel the Funk.
DEEP DISCO AND BOOGIE VOLUME 1.
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SOUL JAZZ RECORDS PRESENTS VOGUING AND THE HOUSE BALLROOM SCENE 1976-1996.
SOUL JAZZ RECORDS PRESENTS VOGUING AND THE HOUSE BALLROOM SCENE 1976-1996.
Recently, I’ve noticed that there have been some quality compilations being released by some of the smaller independent record labels. Many of these labels like BBE, Harmless and the Soul Jazz have a good record for releasing quality compilations. A couple of weeks ago, I noticed that Soul Jazz Records would be releasing a compilation on 6 February 2012 entitled Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, compiled by Stuart Baker, with lengthy and informative sleeve notes by Tim Lawrence. Available as either a double album or the limited edition triple album that I’m reviewing, Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, is a retrospective compilation of the voguing dance scene of the mid-eighties to mid-nineties. On the compilation is some of the music that the soundtrack to the voguing scene, with tracks by Inner Life, Cheryl Lynn, Loose Joints, Diana Ross and Masters At Work on Disc One, while Disc Two features M.F.S.B., First Choice, Salsoul Orchestra, Junior Vasquez and Nitro Deluxe. The triple album features a bonus disc featuring a Junior Vasquez mix which features every track on the album, plus a track by Ellis D. if you buy the triple album, it also includes a set of black and while postcards featuring photographs of the voguing scene. Personally, for all the extra cost of the triple album, it’s well worth spending the extra for Junior Vasquez’s mix and the postcards. So having briefly, told you about Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, I’ll briefly tell you about the history of voguing, and then will review the majestic music on the compilation.
Voguing emerged from the Harlem ballroom scene of the sixties, first becoming popular during the seventies and eighties. Back in the early sixties, voguing was referred to as presentation, later being called performance. Originally, voguing or presentation was popular within the Latino American and African American community. After this, its popularity spread to the gay and transgender community, when it became popular in the gay ballroom scene, with the scene spreading across America. Like many music scenes, it eventually became much more mainstream, and by the mid-nineties, artists like Madonna and Malcolm McLaren were releasing tracks to vogue to. Often, when this happens, the scenesters and hip people have moved onto something new. However, back then, voguing was perceived as the something new, when it was actually thirty years old.
The inspiration for voguing came from Vogue magazine, where dancers copied the poses of models in the magazine. Typically, this meant dancers copying the rigid, angular and linear shapes of the models. Gradually, the moves became more intricate, fanciful and theatrical. Quickly, competitions were established, with teams of dancers called “houses” competing against other houses. Among the best know houses of performers and dancers were the House of Icon, House of McQueen and House of Ninja, founded by Willi Ninja, whose perceived as the godfather of voguing. House of Ninja was “serving” that is competing in the voguing scene for twenty years. To show their loyalty to their “house” the members of a house, often referred to as “children,” would legally change their names to show which house they were members of. This demonstrated how seriously people involved in the voguing scene took their scene. As well as having different houses, there were different styles of dancing.
The different styles of voguing can be separated into three styles, old way, which is the style of voguing before 1990, the new way which was the style after 1990 and vogue femme which was popular about 1995. Of course, older dancers refer to the way they danced as the old way, while they perceive the way the younger dancers danced as the new way. However, what’s the difference between the styles of voguing?
With the old way of voguing, it was distinguished by dancers forming line, with symmetry and precision in the way they carried out their formations. They’d to be carried out gracefully, with fluidity vital to the style. Inspiration for old way can be found in the fashion poses of Vogue models and Egyptian hieroglyphics. To win the contest, a dancer had to “pin” their opponent. This meant that their opponent couldn’t carry out any of their movements, whether this was carrying voguing movements with their hands or arms, referred to as “hand performance,” or doing “floor exercises,” which were executed against a wall. After the old way gave way to the new way, things changed quite considerably.
Post 1990, the new way featured rigid, geometric movements, with “clicks” added to this. Clicks were contorting limbs at the joints, with arms control added, where the hands and wrists illusions sometimes combined with tutting. Tutting was a style modern abstract interpretative street dance popular in hip hop and based around Egyptian hieroglyphics, where the body was moved in a synchronized robot movement. As well as incorporating tutting, mime was introduced during the new way style of voguing, with geometric shapes used and moved around the dancer’s body, demonstrating their agility, dexterity and memory. The new way was popular after 1990, but was rivaled by vogue femme, introduced around 1995.
Vogue femme was influenced by both modern dance and ballet, with fluidity really important. Everything was exaggerated, with five key ingredients to vogue femme. They’re hand performance, catwalk, duckwalk, floor performance and dips, while spins were the sixth and unofficial element. All of these elements were incorporated into dancers’ movements, and became the voguing style of late nineties, by which time voguing had moved from the underground to mainstream, with artists like Madonna and Malcolm McLaren releasing tracks specifically to vogue to. So what started off in sixties Harlem and was popular among the Latino American and African American communities, then became popular within the gay and transgender community from the seventies onwards, eventually became a mainstream phenomenon. This phenomenon voguing, had a wonderful soundtrack, some of which can be heard on Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, which I’ll now tell you about.
DISC ONE.
Disc One of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, features eight ten tracks that feature music from between 1976 and 1996. On the compilation are some well known tracks, sitting comfortably with tracks that many people won’t be familiar with. Among the better known tracks are Inner Life’s Moment of My Life, Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, Masters At Work’s The Ha Dance, First Choice’s classic Let No Man Put Asunder and Diana Ross’ Love Hangover. Apart from these tracks, tracks like Ellis D’s Just Like A Queen, 2 Body’s Body Drill and Raze’s Break 4 Love may not be so well know, although they’ve one thing in common….quality. So what are the highlights of Disc One of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996?
My first choice is the track that opens the compilation Inner Life’s Moment of My Life, released on Salsoul Records in 1982. Arranged by Leroy Burgess, who co-produced the track with Greg Carmichael, it features a stunning, diva-esque vocal, full emotion and passion, delivered with power. This is delivered against a backdrop of crunchy drumbeats, percussion, keyboards and the funkiest of bass line, while gospel tinged backing vocalists augment the lead vocal. The tempo is 114 beats per minute and like so many of the Salsoul releases, is just a quality slice of disco, with elements of funk and soul featuring in the arrangement. Of all the tracks on the compilation, this has to be one of the best.
Like Inner Life’s Moment of My Life, First Choice’s Let No Man Put Asunder is another Salsoul Records release. Released in 1977 and produced by Ron Baker, Norman Harris and Earl Young, who were originally part of M.F.S.B. at Philadelphia International Records. They left to become the Salsoul Orchestra and played and produced numerous Salsoul classics. Let No Man Put Asunder is very definitely one of their very best productions. Against a backdrop of the brilliant 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. Although the word classic is used far too easily, this track is worthy of being referred to as a classic.
From one classic label in Salsoul, to another in West End Records, who released Loose Joints Is It All Over My Face in 1980? Produced by Arthur Russell and Steve D’Aquisto two giants of the club scene, the track incorporates crisp drumbeats, handclaps and a funk drenched bass line, while keyboards and percussion feature in the arrangement. After an prolonged and lengthy introduction lasting ninety-seconds where a funky rhythm section combine, the vocal enters. Unlike the two previous tracks, it’s not as joyous, having a much more thoughtful sound. However, this is made up for by the hypnotic yet catchy sound of the track. Throughout the track, the bass playing is fantastic, with stabs of keyboards and crunchy beats combining well with percussion during this seven minute voguing epic.
One track that I’m pleased to see feature on Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, is Cheryl Lynn’s Got To Be Real, which has long been a favorite disco track of mine. This was from her self-titled 1978 album Cheryl Lynn, released on Columbia. Produced by Marty and David Paich, it marries an arrangement that’s funky and soulful, against Cheryl’s slow, sultry and soulful vocal. With lush strings, a loping bass, bursts of rasping horns and punchy drumbeats, Cheryl delivers the track slowly, her voice starting way down low, and like the arrangement, soaring high. To me, Cheryl’s voice is hugely underrated, and mixing passion and power in a soulful style, it’s one of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996 highlights.
The final track from Disc One of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, I’ll mention is Junior Vasquez truly epic, near ten minute track Witch Doktor, with the Dark Ages Mix chosen for this compilation. Here, the tempo is quick, the music a frantic mix of pounding beats, percussion and howling, shrieking vocals. With sirens and haunting vocals interspersed throughout the track, it’s frenzied, repetitive and compelling. Although it’s far removed from the other tracks I’ve mentioned, its haunting, frenzied sound would sound spectacular on a giant PA in a club, and would make an intriguing soundtrack to vogue to.
Although I’ve mentioned just five of the ten tracks on Disco One of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, there’s nothing wrong with any of the other tracks. Of these tracks, The Ha Dance by Masters At Work was one of their earliest successes when they formed their partnership and has a similar frenzied, repetitive and compelling sound to the Junior Vasquez track. Ellis D’s Dress Like A Queen has a sultry, slightly moody sound, with the crunchy beats, percussion and synths providing a spacey backdrop for a sultry and impassioned vocal. One of the biggest artists on the album is Diana Ross. Her Hal Davis produced 1976 hit Love Hangover, has a similar tempo to Cheryl Lynn’s Got To Be Real, and has a lovely spacious arrangement with a sensuous, breathless vocal from Diana. Unlike other female vocalists on the album, Diana’s vocal is subtle, even understated and is a quality slice of lush soulful disco complete with a string laden arrangement. So overall, Disc One of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1989-92, is full of quality dance music spanning various genres. However, will Disc Two of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, match this quality.
DISC TWO.
While Disc One of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, has ten tracks, Disc Two only has eight tracks, with an eclectic selection of music featuring on the disc. With artists that range from M.F.S.B.’s Love Is the Message, First Choice’s Love Thang and the Salsoul Orchestra’s Ooh I Love It, to Junior Vasquez’s X, Malcolm McLaren Deep In Vogue and Nitro Deluxe This Brutal House, it certainly is an eclectic selection of tracks. Of the eight tracks, only two are the original versions, with a variety of different mixes chosen. This allows the listener to hear another take on tracks you may already be familiar with. However, is the quality of music on Disc Two as good as Disc One of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996.
As someone who loves the Philly Sound, my first choice is M.F.S.B.’s Love Is the Message. This mean that this is the another appearance from the Baker, Harris and Young rhythm section, who played on this track as well as many Salsoul classics. Love Is the Message was from M.F.S.B.’s album Love Is the Message, released in 1973. Written by Gamble and Huff and featuring the vocals of The Three Degrees, the track was used as the theme tune to Soul Train.On its release as a single, it reached number one in the US R&B and US Billboard 100 charts. The version on the compilation is the Tom Moulton mix, an eleven and a half minute epic. Featuring the rhythm section of Baker, Harris and Young, with strings swirling and sweeping, horns rasping and Lenny Pakula’s wailing atmospherics Hammond organ, the introduction is lengthened to over two glorious minutes. It’s only then that the beautiful sound of The Three Degrees enters, amidst Don Renaldo’s horns and strings. From there on, Tom Moulton demonstrates that you can improve on a truly classic track. He takes one of the biggest hits of the Philly Sound, and turns it into something quite stunning.
Having just mentioned the Salsoul Records label, it seems a fitting time to mention First Choice’s 1983 track Ooh I Love It (Love Break). The tempo is 118 beats per minute, the drumbeats crispy, with percussion, funky bass and sound effects combining while the track has a Latin sound and influence. When the vocals enter, they’re punchy, swathed in shrieks and yelps. Later, sweeping, swirling strings, keyboards and bursts of blazing horns punctuate the track, as the arrangement reveals its brilliant funk tinged sound. Like First Choice’s Let No Man Put Asunder, this track demonstrates just how important and influential a label Salsoul was.
First Choice’s Love Thang, released in 1979 on Gold Mind Records is a lush sounding dance-floor classic. With lush strings sweeping, while rasping horns and a funky rhythm section combine with percussion, handclaps and keyboards, a sultry, diva-esque vocal soars above the arrangement. Accompanied by backing vocalists, crunchy beats and handclaps, the strings shiver as the vocal drops out, before rejoining. The track has a similar sound the tracks by First Choice and Inner Life. Like these tracks, they’ve something else in common….quality.
My final choice from Disc Two of Disc One of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, is Nitro Deluxe’s track This Brutal House. It has a very different sound to many of the tracks on the album. Released in 1987 on the Cooltempo label, stabs of squelchy synths open this deep house track. They’re followed by percussion and crisp beats. Add to this a vocal that’s almost rapped and a variety of scratches are added to the mix. Later a variety of squeaky synth sounds join the beats, before dropping out. While the arrangement has a catchy, somewhat hypnotic sound, it demonstrates just how music had changed by 1987, with drum machines and synths replacing the more fulsome arrangements on tracks on Salsoul, Philadelphia International and West End Records.
Of the other four tracks on Disc Two of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, Junior Vasquez’s X is another ten minute epic from Junior. Released in 1994 the track opens with crunchy pounding beats and percussion dominating the arrangement before synths reverberate the track quickly takes on a repetitive, hypnotic sound. Later, a vocal soars way above the arrangement, before being replaced by another frustrated, punchy vocal. From there on, the track combines each of these elements, locking you into its mesmeric sound. Quite different is Din Daa Daa by George Kranz released in 1983, which has a frenzied, frantic sound. Breakneck vocals accompany by pounding drums, percussion, before later, synths join the arrangement. For four minutes this pounding frenetic sound drives along, with drums, synths and percussion building and building to the track’s dramatic crescendo.
Although the music on Disc Two of Soul Jazz Records Presents and The House Ballroom Scene 1976-1996, Voguing features a more contemporary selection of tracks, the music is both eclectic and of good quality. It’s an interesting demonstration of how music began to change from 1983 onwards. The music sees musicians and the almost lavish and lush arrangements of Salsoul, Philadelphia International and West End Records replaced by drum machines and synths. This meant the music sounded very different, and some people would say soulless. I would argue that this isn’t the case, as with this progress, came new genres of music, influenced by the older genres and labels. If you listen carefully to many house tracks you’ll hear the influences of the triumvirate of Salsoul, Philadelphia International and West End Records. On Disc Two of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, these three labels all feature, providing some of the best music on the album. Like Disc One of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, the music on Disc Two is both eclectic and of the highest quality. The same can be said of Disc Three, the bonus disc which sees Junior Vasquez weave his magic incorporating seventeen of the eighteen tracks on the album. During this mix, Junior displays his considerable talents as a DJ with his mixing skills amazing, leaving you spellbound for sixty-six minutes. To me, it’s well worth spending a little extra just to get the bonus disc just to hear Junior’s mix. With that you get a lovely set of evocative black and white post cards, which is a nice feature. So, having told you about Soul Jazz Records Presents Voguing should you buy the album? I say very definitely, it’s one of the finest compilations I’ve heard so far this year. With three discs of amazing music, lengthy and informative sleeve sleeve notes by Tim Lawrence and some beautiful black and white post cards Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, is a lavish and quite brilliant compilation which is well worth buying. Standout Tracks: Inner Life’s Moment of My Life, First Choice’s Let No Man Put Asunder, Cheryl Lynn’s Got To Be Real and M.F.S.B.’s Love Is the Message.
SOUL JAZZ RECORDS PRESENTS VOGUING AND THE HOUSE BALLROOM SCENE 1976-1996.
CHIC-TAKE IT OFF.
CHIC-TAKE IT OFF.
It never ceases to amaze me how quickly a group or artists’ star can wane. In some cases, this is because the quality of their music is no longer as good as it once was, or it can be because their music is no longer fashionable. With Chic, the demise in popularity of their music certainly wasn’t caused by a drop in quality of their music. Instead, their suffered due to the backlash against disco. Chic’s music suffered because of the backlash whipped up by the Disco Sucks movement. This cumulated with Disco Demolition Night on July 1979 when at Comiskey Park Chicago, when a group of disgruntled rock music fans decided to blow up a quantity of disco records. These “good ole boys” not only blew up the records, but very nearly blew up themselves and the stadium. Following this display of intolerance and hatred, suddenly disco music became persona non gratis on radio stations. After this, Chic’s music declined in popularity. Risque, Chic’s third album was released just after Disco Demolition Night, but still matched the popularity of their two previous albums. It reached number five in the US Billboard 200 and number two in the US R&B Charts, resulting in Chic’s third platinum album. In the UK, Risque didn’t fare as well as C’est Chic, which was certified gold, reaching number twenty-nine, resulting in a silver disc for Chic. The album that followed Risque was Real People, released in June 1980, and sales suffered due to the disco backlash. Real People only reached number thirty in the US Billboard 200 and number eight in the US R&B Charts, while it failed to chart in the UK. Sadly, worse was to come when Chic would release their fifth album Take It Off in November 1981.
1981 was a busy year for Niles Rogers and Bernard Edwards. As well as writing and recording Take It Off, Niles and Bernard wrote and produce two other albums. These were Debbie Harry lead singer of Blondie’s debut solo album Koo Koo and Johnny Mathis’s album I Love My Lady, which was never released. Of this trio of albums, Debbie Harry’s would be the most successful, reaching number twenty-five in the US Billboard 200. However, how would Take It Off fare?
Recording and mixing of Take It Off took place during 1981 at the Power Plant in New York, Niles Rogers favorite recording studio and where every Chic album was recorded. With Niles playing bass, Bernard guitar and Tony Thompson drums, this was the classic lineup of Chic. Add to this the vocals of Alfa Anderson, Fonzi Thornton, Luci Martin and Jocelyn Brown and Randy Brecker contributing trumpet and flugelhorn and this was the recipe for some wonderful music. In total ten tracks were recorded, and Take It Off was scheduled for release later in 1981.
Take It Off was released in November 1981 on Atlantic Records, only reaching number 124 in the US Billboard 200 and number thirty-six in the US R&B Charts. This was easily Chic’s least successful album at this point. Like Real People, Take It Off failed to chart in the UK. Worse was to come though, when Stage Fright became the first Chic single to fail to enter the US Billboard 100, while it only reached number thirty-five in the US R&B Charts. Obviously, this was a huge disappointment to Chic, given the quality of music on Take It Off. However, should Take It Off have fared much better? That’s what I’ll now decide.
Opening Take It Off is Stage Fright, the only single released from the album. Opening with short, sharp bursts of Alfa and Fonzi’s vocals, they give way to Bernard’s quick chiming guitar, Bernard’s funky bass and keyboards. Tony Thompson’s drumming provides a steady backdrop as the lead vocal is powerful and emotive. Later, Niles and Bernard combine during a breakdown, contributing some funky classic Chic licks to this mid-tempo track. Like Alfa and Fonzi’s vocals, there’s no drop in quality, with Chic still a group of hugely talented and creative individuals. One thing that’s missing however, are The Chic Strings. Their lush sound doesn’t grace this album. This makes the sound quite difference.However, Stage Fright is still a quality track, with punchy vocals from Alfa and Fonzi and a real funk influence, thanks to Bernard, Niles and Tony.
Although there’s no Chic Strings on Take It Off, Burn Hard features some great horn playing. Here, the tempo quickens, with Alfa and Fonzi contributing energetic and punchy vocals while the rhythm section of Niles, Bernard and Tony drive the track along. Niles’ guitar playing is really fast, accurate with a jazzy sound. Meanwhile Bernard contributes some slap bass, while keyboards augment the sound. As the track progresses, the guitars soar and sear, while the vocals become even sharper and punchier. This is very different from Chic of old, and demonstrates change in style and sound. It’s almost a post disco sound, augmented by elements of jazz, soul and even a rocky sound to the guitar. While the rhythm section play with aplomb, I’m not sure the quick-fire and snappy delivery of the lyrics works. However, it’s still a decent track, if not vintage Chic.
So Fine sees the Chic rhythm section roll back the years. With Niles demonstrating his flair and talent as guitarist, while Tony and Bernard and contribute to the looser and much more laid back style of the track. Even the vocals are much more gentle and subtle. Keyboards feature throughout the track, with electric piano and gently soaring backing vocalists. It’s very much Niles’ guitar playing that steals the show. He effortlessly plays a jazz tinged solo, while everyone else is left to provide his backing band. Like the previous track, it’s very different to the old Chic sound, but is a much better track than its predecessor, one with quality stamped all over it, thanks to Niles’ guitar playing.
Flash Back opens with a loping bass and slow drums playing, giving the track a slightly moody sound. Then keyboards enter, lightening the sound. When Niles’ thoughtful vocal enters this suits the slower temper. What I really like are the gospel influenced backing vocals that appear is short bursts. Later, when Niles’ vocal drops out, they take over, before Niles vocal reenters. During the track, Bernard’s bass and Tony’s drums provide the track’s heartbeat, although Niles gets an opportunity to contribute a searing solo. Overall, it’s a track that demonstrates a new side to Chic’s music. Gone are the lush strings, in is a thoughtful and slightly moody sound, with Niles contributing a considered vocal. Although this is quite a departure from the disco sound we all know and love Chic for, but it demonstrates the group’s versatility and determination not to be remembered as just a band who prospered during the disco era.
Closing Side One of Take It Off is Telling Lies, which has an electro influenced introduction, where synths combine with the rhythm section. This gives way to an arrangement that has the typical Chic guitar sound. Above the arrangement is an emotive and strong vocal, while Alfa and Fonzi contribute backing vocals. Taking the track in a funky direction are the rhythm section, guitars and keyboards, while the vocal has a really soulful quality.
Side Two opens with Your Love Is Cancelled. Again it’s a departure from the old Chic sound, with a piano, finger-clicks and slap bass combining with a soaring, searing guitar before Niles’ vocal slightly dramatic vocal enters. The track has a loose and funky sound, with the bass key to the this, while guitar, drum, percussion and keyboards augment the vocal. It’s another track with a quite different sound, one that’s unlike anything else on Take It Off. Having said that, I enjoyed the track, with its looser style and sound.
Would You Be My Baby sees Alfa and Fonzi return, their vocals delivered first in short, sharp bursts before giving way to an emotive, dramatic style. Meanwhile, the rhythm section, guitar, piano and percussion provide the perfect backdrop for their vocals. It’s a mid-tempo arrangement, that features elements of funk and soul, while the vocal is again, soulful and delivered beautifully, resulting in one of the best tracks on Take It Off.
The sound and style changes on the title track Take It Off. There’s more of a funk influence with keyboards, rhythm section and blazing horns combining with Niles’ breakneck chiming guitars. They give way to Alfa’s vocal, which is accompanied by soaring, powerful backing vocalists. Niles takes over the vocal, before it changes hands again. Meanwhile, bursts of a funk laden rhythm section, braying horns and keyboards combine to produce the funkiest of backdrops for the rhythm section. This proves that there was much more to Chic than disco music, with the group capable of producing some fantastically funky music.
Just Out of Reach is the fastest track on Take It Off. It opens with just keyboards playing, before Niles’ ups the tempo with his guitar playing. He plays quickly, before the rhythm section join in. They give way to a beautiful and heartfelt vocal from Alfa, before Niles delivers a gentle and equally beautiful vocal. Here, we see a more soulful side of Chic, which is made even better by Lenny Pickett’s alto saxophone solo, which soars and drifts high above the arrangement, adding to the track’s drama and beauty. He gives way to the much more subtle sound of the vocals, before this beautiful, romantic track comes to an all to quick ending.
Closing Take It Off, is Baby Doll a much slower, funky track. With the rhythm section adding some funky licks and tricks, the horns enter, while keyboards add an atmospheric sound. By now, the track resembles a jam, where funk and jazz are the two predominate influences. Again Lenny Pickett contributes alto saxophone, blowing a stunning solo, as Chic are let of the leash, allowed to take a magnificent journey into jazz funk that’s quite brilliant, demonstrating the group’s talent and versatility. This seems the perfect way to close Take It Off, with a track that shows there was much more to Chic than disco.
Take It Off was a very different sounding album from Chic. Gone were The Chic Strings, gone was the disco of previous albums and in was a very different sound. The album saw Chic combine elements of soul, funk, jazz and even rock. However, it still had the same quality you’d expect from Chic. Maybe becase the album was quite different in sound and style, that’s why Take It Off wasn’t a commercial success. Some of the songs like Your Love Is Cancelled have a looser sound, while Take It Off and Baby Doll have a funk drenched sounds. Baby Doll even sees Chic take a journey into jazz funk, during what is essentially a funky jam. On So Fine, you hear a jazz influence, which can be Although Take It Off has a funky side, there’s still a soulful side to the music, with Telling Lies and Would You Be My Baby proof of this. During Take It Off, there’s a jazz influence, with So Fine, a track where you hear this jazz influence. Overall, I really enjoyed Take It Off, although I must admit I did miss the lush and beautiful sound of The Chic Strings. However, while strings and disco were but a distant memory, we hear just how versatile and talented musicians Chic were, with Take It Off combining soul, funk and jazz effortlessly. Sadly after Take It Off, only 1982s Tongue In Cheek entered the US Billboard 200, reaching just number 173 and number forty-seven in the US R&B Charts, while 1983s Believer failed to chart. Even Chic’s comeback album Chic-ism released in 1992, only reached number thirty-nine in the US R&B Charts. This was a long way from Chic’s first three platinum certified albums. If however, you’ve never heard Take It Off, it’s an album that’s well worth exploring, although don’t expect disco and The Chic Strings. To me, it’s a compelling album, full of quality music that crosses the musical genres, demonstrating Chic’s talent and versatility. Standout Tracks: Stage Fright, Telling Lies, Take It Off and Baby Doll.
CHIC-TAKE IT OFF.
THE DETROIT SPINNERS-PICK OF THE LITTER.
THE DETROIT SPINNERS-PICK OF THE LITTER.
Previously, I’ve reviewed a trio of The Detroit Spinners albums, starting with the first album Thom Bell produced for the group, Spinners, released in April 1973 on Atlantic Records. This was the first album in a series of classic albums from The Detroit Spinners that started in 1973 and lasted until 1976. Starting with their third album Spinners, which reached number fourteen in the US Billboard 200 and number one in the US R&B Charts. Spinners was the first of five albums being certified gold. Following Spinners, I reviewed Mighty Love, released in March 1974, which reached number sixteen in the US Billboard 200 and number one in the US R&B Charts. The previous Detroit Spinners I reviewed was New and Improved, their fifth and most successful album. It reached number nine in the US Billboard 200 and number one in the US R&B Charts. Pick of the Litter would follow in August 1975, and is perceived as the last of the quartet of classic albums produced by Thom Bell.
Pick of the Litter was recorded at the Sigma Sound Studios in Philadelphia, where so many classic albums were recorded. With Bobby Eli playing guitar, Funk Brother Bob Babbit playing bass and M.F.S.B.’s horns and strings arranged by Don Renaldo on Pick of the Litter, it was an album that featured a number of creative people. Barbara Ingram, Carla Benson and Yvette Benton contributed backing vocals, while Dionne Warwick contributed a vocal on Just As Long As We Have Love. Like the three previous albums by The Detroit Spinners, Thom Bell produced the album and cowrote two songs, one with his regular songwriting partner Linda Creed. Of the other six tracks, Charles Simmons, Bruce Hawkes and Joseph B. Jefferson cowrote a trio of tracks, while Vinnie Barrett cowrote two tracks, one with Bobby Eli. Overall, some hugely talented singers, songwriters, musicians and producer all contributed towards Pick Of the Litter? Would it match the success of their three previous albums?
On the release of Pick Of the Litter in August 1975, the album reached number eight in the US Billboard 200 and number two in the US R&B Charts, resulting in the fourth consecutive gold disc for The Detroit Spinners. Two singles were released from the album, with Games People Play reaching number five in the US Billboard 100 and number one in the US R&B Charts, while the track reached number two in the UK. Love Or Leave, the second single released from the album reached number thirty-six in the US Billboard 200 and number eight in the US R&B Charts. Overall, Pick Of the Litter had been a success, critically acclaimed on its release, and a commercial success. Not only that, but Pick Of the Litter is seen as the last classic album released by The Detroit Spinners. After this, although they’d release some great albums, none of them would match the success of Pick Of the Litter, which I’ll now tell you about.
Pick Of the Litter opens with Honest I Do, co-written by Thom Bell, Sherman Marshall and Phillip Pugh. It’s a track that has a real “Spinners” sound, and features a stunning arrangement from Thom Bell. Dramatic drums, percussion and Bobby Eli’s chiming guitars give way to swirling, sweeping strings and piano during a quite brilliant and dramatic introduction to this uptempo and uplifting track. Then, Bobby Smith’s emotive and beautiful vocal enters, while the other Spinners and backing vocalists accompany him. Meanwhile, punchy drums, lush strings, percussion, harp and guitars combine. Together, they create the perfect backdrop for Bobby’s vocal as he sings about loneliness and love. With Thom Bell producing the track, the result is easily one of Pick Of the Litter’s highlights.
I Don’t Want To Lose You has a very different sound. Gone is the fuller, uptempo and dramatic arrangement, replaced with a more gentle, subtle sound. Accompanied by a piano, lush sad strings and drums Bobby’s vocal has a tenderness and sadness. The tempo is slower, but the arrangement is still beautiful Shimmering strings, flourishes of harp, percussion and piano, accompany drums and backing vocalists as Bobby sings about not want to lose his partner and how he loves her as she is. Although much slower, with a more understated arrangement, this is a really beautiful, heartfelt song, with a gorgeous vocal from Bobby Smith.
The tempo increases and it’s a much fuller arrangement on Love Or Leave, one of two singles released from Pick Of the Litter. Written by Charles Simmons, Bruce Hawkes and Joseph B. Jefferson, Thom Bell arranges the track with a much louder, fuller and dramatic arrangement. Searing, soaring guitars, piano and blazing horns open the track, while swirling, sweeping strings give way to Bobby’s vocal. It’s louder and stronger, while the rest of the group and backing vocalists accompany his vocal. Swathes of strings, punchy drums, piano and rasping horns provide a backdrop for Bobby to powerfully deliver his ultimatum “love me or leave me.” Like the backing vocalists, the arrangement rises and falls dramatically. This adds to the emotion and power of this fantastic track, that like the opening track, is one Pick Of the Litter’s highlights.
Closing Side One of Pick Of the Litter is the mid-tempo Sweet Love of Mine co-written by Vinnie Barrett and Bobby Eli. When the track opens, the sound is dark and dramatic. This changes slightly when a harp briefly enters, followed by drums that play slowly and subtly. When Bobby’s vocal enters, it’s full of sadness and heartache, his girlfriend having left him. Behind him, the other Spinners sing harmonies, while the strings and piano contribute to the sad sounding arrangement, as Bobby sings of his love for his girlfriend. Although it’s really sad sounding track, it’s quite beautiful. Both the arrangement and vocal have a similar sad sound, that’s quite irresistible.
Side Two of Pick Of the Litter opens with All That Glitter’s Ain’t Gold. It opens with a searing guitar solo, rhythm section and percussion, before the strings sweep in and the track really unfolds. Bobby’s vocal is louder and quicker, while arrangement is catchy, with its bursts of blazing horns, swirling strings, searing guitars. As the song progresses, the arrangement quickens, the sound growing almost frenzied and much more powerful. Meanwhile the other Spinners contribute tight harmonies, while Bobby’s voice grows in strength and power, like the arrangement. Although quite different from other tracks, it’s still got the same quality as the previous tracks. It also demonstrates the versatility of The Detroit Spinners and the musicians who played on the track, as well as producer Thom Bell’s ability to produce such a wide range of tracks.
It’s a very different sound that features on You Made A Promise To Me, a much slower track with a much more understated arrangement. With just piano, percussion and drums accompanying Bobby’s vocal, he sings the lyrics with a combination of tenderness and sadness. This sadness is caused by his girlfriend cheating on him. Adding to the sad sound are the strings that sweep slowly in, while drums add a touch of drama. However, it’s Bobby’s vocal that takes centre-stage as he sings with a tinge of sadness and regret this bittersweet but beautiful track written by Charles Simmons, Bruce Hawkes and Joseph B. Jefferson.
Games People Play gave The Detroit Spinners a number one single. The tempo is slow, with swathes of lush strings, piano and rhythm section accompanying Bobby and a female vocalisr, before the vocal changes hands, the Spinners sharing the lead vocal. The female vocal has a tenderness, while the way the vocal is arranged gives the track a lovely old fashioned sound and feel. So too does the rasping horns, sweeping strings and piano solo. The track just floats along, strings shimmering and shivering, while the group sing some lovely harmonies. Listening to this track, it’s no wonder it was such a huge success when released as a single, after all, it’s The Detroit Spinners at their very best.
Closing Pick Of the Litter is another slow track, Just As Long As We Have Love. A woodwind solo, gives way to sad strings, flourishes of harp and a slow, thoughtful rhythm section as the lead vocal enters, before changing hands. Enveloped in swathes of the lushest strings, Bobby sings about how they might not have much materially, but they’ve got love. Dionne Warwick contributes a vocal to this track, her vocal emotive and gentle, as it floats high above the beautiful arrangement. She plays a large part in the success of this track, really adding to its quality. As the songs heads towards it’s close, the arrangement marries emotion and drama, with the string playing an important part in this slow, sad and quite beautiful track that brings The Detroit Spinners sixth album to a close.
Like the trio of other albums by The Detroit Spinners that I’ve reviewed, Pick Of the Litter is another stunning album full of some quality music. Sadly, Pick Of the Litter was the last really consistent album from The Detroit Spinners. After Pick Of the Litter, although they continued to produce some quality music, the consistency wasn’t quite there. Pick Of the Litter, like the three albums that preceded it Spinners, Mighty Love and New and Improved, all produced by Thom Bell was the last in a quartet of classic albums from the group. On Pick Of the Litter, like its three predecessors, The Detroit Spinners are in fine voice, with Bobby Smith’s lead vocal and the rest of the group’s harmonies merging seamlessly. Providing the backdrop for their vocals were members of M.F.S.B., Funk Brother Bob Babbit, while Barbara Ingram, Carla Benson and Yvette Benton contributed backing vocals. Making a guest appearance on Pick Of the Litter was Dionne Warwick, whose beautiful vocal graces the Pick Of the Litter’s final track Just As Long As We Have Love. What helped make the album so good, was the standard of songwriting, which featured a trio of tracks from the Charles Simmons, Bruce Hawkes and Joseph B. Jefferson songwriting partnership. So, overall, Pick Of the Litter was a quality album, by The Detroit Spinners, the last of four classic albums produced by Thom Bell. With Thom Bell’s help, The Detroit Spinners’ fortunes were transformed, turning the into one of the biggest and most successful soul groups of the seventies. Standout Tracks: Honest I Do, Love Or Leave, Pick Of the Litter and You Made A Promise To Me.
THE DETROIT SPINNERS-PICK OF THE LITTER.
LOOSE CHANGE-LOOSE CHANGE.
LOOSE CHANGE-LOOSE CHANGE.
Tom Moulton’s role in disco music can’t be understated. He’s credited with inventing the remix, and could take a three minute track, extend it, creating eight minutes of majestic disco music. Now, remember this was long before the technology that’s available now. Back then, there was no Logic Pro, Reason or Ableton Live. So to create a remix was time-consuming and laborious work, but back in the seventies, Tom Moulton created some of the earliest and most successful disco tracks. However, there was more to Tom Moulton’s work than as a remixer. He was also a successful producer, responsible for albums by artists that includeFirst Choice, Grace Jones and Loose Change, a group he discovered and produced. After I’ve told you about Loose Change, I’ll tell you about their self-titled debut album Loose Change, released in December 1979.
When Loose Change were discovered by Tom Moulton’s brother Jerry, the group were performing using a different name. Their original name didn’t seem to fit with the project that Tom and Jerry Moulton had in mind. They’d been looking for a group of female singers to record an album with for some time. This would be released on their Tom ‘N’ Jerry Records label, a subsidiary of Casablanca Records. So the trio of Becky Anderson, Donna Beene and Leah Gwin became Loose Change, and would soon record their debut album.
Before recording of Loose Change took place, Tom Moulton had met Thor Baldursson in Munich, asking Thor to write the arrangements for the album. They previously worked on albums by Grace Jones and First Choice, working well together and each appreciating the other’s work. Seven songs were written by a variety of songwriters, including amongst others, Tom Moulton, Thor Baldursson, Ron Hanks and Bobby Martin of M.F.S.B. Recording of Loose Change took place at the legendary Sigma Sound Studios in Philadelphia, where Gamble and Huff recorded so many of the Philadelphia International Records albums, including classics by The O’Jays, Harold Melvin and The Blue Notes, Billy Paul and Teddy Pendergass. Another Philadelphia International connection was Don Renaldo’s Horns and Strings, which featured on so many of the Philly Sound albums. Once the album was recorded, remastering took place in New York, at Sterling Sound Studios. Now that Loose Change had recorded their debut album, it was set for release in December 1979.
Loose Change released their debut album Loose Change in December 1979. Immediately, the album became a firm favorite of fans of disco music, although it neither entered the US Billboard 200, nor the US R&B Charts. The first of two singles that were released from Loose Change fared better. Straight From the Heart reached number fifty-four in the US R&B Charts and number twenty-one in the Disco Charts. I Wanna Hold On To You didn’t do as well, failing to chart. However, since then, Loose Change is seen as one of the best albums of the disco period. It’s that album Loose Change that I’ll now tell you about.
The first track on Loose Change is Babe, co-written by Tom Moulton and Thor Baldursson. It’s a track with a Euro Disco sound, influenced by producers like Giorgio Moroder. As the track opens, a piano plays, before a flourish of harp gives way to lush strings. Then, all change, pounding beats enter, while the strings sweep and swirl before Donna Beene’s sweet lead vocal enters. By now, the track has been totally transformed. When the track opened, you wondered where it was heading, but now realize the destination is Disco Heaven. With the beats pounding, Jimmy Walker and Larry Walker contribute subtle percussion, while the bass buzzes in the background and strings are ever-present. Donna’s vocal has grown in power, becoming confident and sassy, while Becky and Leah contribute backing vocals. Together with Thor Baldursson’s arrangement, Tom Moulton’s production this is classic disco with a European twist.
All Night Man is a much quicker track, the tempo 131 beats per minute. Dramatic strings, quick, crunchy beats and percussion combine with dark synths as the track builds and builds. Again, Donna sings the lead vocal, her style matching the drama of the arrangement. Her voice is strong, soaring high above the arrangement while a choir accompany her. Synths reverberate, searing guitars, percussion and swirling strings accompany beats that are quick, crunchy and punchy. It’s a real diva-esque vocal from Donna on a track that builds and builds and is just full of drama. Not only that, but the addition of the choir was a masterstroke as was the quicker tempo. All this makes this a totally compelling and hugely catchy track.
Darling, That’s Me is a mid-tempo track, that was originally recorded by Judy Cheeks on her 1978 album Mellow Lovin.’ Whereas Judy recorded the track as a pop song, this is very different. With a beautiful lush arrangement, where strings, a sultry saxophone solo from John Davis, keyboards and waves of flutes grace the arrangement. Together they accompany Donna’s gorgeous, heartfelt vocal. So good is this track that it’s one of the album’s highlights. This is like something you’d expect The Three Degrees to sing during their Philadelphia International era.
Very different from the previous track is Straight From the Heart, the first single released from Loose Change. As soon as the track opens, the tempo increases and the funkiest of rhythm sections kickstart the track. Joining them are blazing horns, swirling strings, keyboards and handclaps that accompany the vocal. It’s powerful and gospel tinged, like the backing vocals. Here, Loose Change combine funk, soul and disco, as they testify their way through a track that’s fast, funk and totally hook laden. It’s a totally irresistible track, one that I absolutely adore, and always have.
Again, it’s a bass that breathes life into track, laying down some of the funkiest licks on Love Is Just A Heartbeat Away. It’s joined by drums, percussion, chiming guitars and sweet strings. Originally recorded by Gloria Gaynor, Loose Change deliver the track with a combination of drama, emotion and power. Behind them, strings sweep and swirl, while guitars chime, horns punctuate the arrangement and the rhythm section drive the track along. Midway through the track there’s a breakdown, where percussion and drums accompany the vocals, before strings add drama and the bass enters. After that lengthy breakdown, the track rebuilds with Loose Change’s dramatic and emotive vocals sitting above this equally dramatic arrangement, with pounding disco beat. Although many people will disagree with this, I much prefer Loose Change’s version of this track. To me, it’s more dynamic, dramatic and full of energy.
Rising Cost of Love is by far, the slowest track on the album. Opening with a slow, moody bass line and plodding drums, they give way to chiming guitars, percussion and keyboards before a hugely powerful, emotive and passionate vocal enters. Meanwhile, the other members of Loose Change contribute backing vocals, while a meandering but funky arrangement unfolds. Strings join the arrangement, while the vocal has a really soulful and impassioned quality. Although quite different to other tracks on Loose Change, it demonstrates the group’s versatility and proves that there was much more to Loose Change than disco music. Who knows, maybe Tom and Jerry Moulton thought that Loose Change could become their version of The Three Degrees?
Closing Loose Change’s debut album Loose Change is the second single released from the album I Wanna Hold Onto You. A funky rhythm section, soaring saxophone solo and chiming guitars combine with Donna’s vocal. Her vocal is powerful, dramatic and emotive, while horns punctuate the track and the rhythm section provide a steady backdrop. Later another saxophone solo sails high above the arrangement, while the rhythm section and guitars provide a funky backdrop for the sweet and sultry backing vocals. Meanwhile, Donna contributes one of the best vocals on the album, demonstrating just how talented a vocalists she is. When her vocal is combined with Becky and Leah’s backing vocals and a quite stunning arrangement laden with strings, horns and a funky rhythm section, this allows Loose Change to end their debut album Loose Change on a high.
Loose Change was a combination of a trio of talented vocalists in Becky Anderson, Donna Beene and Leah Gwin who were fortunate to work with such a talented producer as Tom Moulton. On Loose Change, he surrounded himself with equally talented people, including Thor Baldursson and Don Renaldo. Together with Loose Change they recorded seven songs, which were a combination of disco, soul and funk. On Loose Change there’s a Philly Sound influence that can be heard throughout the album. This isn’t surprising given Don Renaldo’s previous work with Philadelphia International Records and Tom Moulton’s previous work remixing some of the Philadelphia International records. However, what made this such a good album is the talented trio of vocalists who make up Loose Change. Becky, Donna and Leah all had stunning voices, and Loose Change deserved to far much better when it was released as an album. Since then, Loose Change has become a classic of the disco era, which demonstrates and showcases Tom Moulton’s production skills. Last year, in April 2011 Loose Change’s debut album Loose Change was remastered and rereleased by BBR Records, allowing a new generation of music lovers to hear this classic disco album. If like me, you love disco music, then Loose Change deserves a place in your record collection. The music on Loose Change still sounds as good as it was when I first heard the album over thirty year ago. So take yourself on a trip to the heady days of disco with Loose Change’s album Loose Change. Standout Tracks: All Night Man, Darling, That’s Me, Straight From the Heart and Love Is Just A Heartbeat Away.
LOOSE CHANGE-LOOSE CHANGE.
BODDHI SATVA-INVOCATION.
BODDHI SATVA-INVOCATION.
What I’ve always loved about music is the way it can change your emotions. Last week, I heard one of the most beautiful tracks that I’ve heard in a long time, one that left me feeling totally uplifted and at peace with myself. This gorgeous track just soothed my soul, washed away my troubles and made me feel totally at peace with the world. What was this stunning track? Well, the track is by Boddhi Satva and is entitled From Another World. It features a beautiful, yet almost haunting and spiritual vocal from Vikter Duplaix. This is one of the tracks from Boddhi’s forthcoming album Invocation, which will be released on BBE Music. Intrigued by the beauty of this track, I set out to find out more about Boddhi Satva and his music. Before I tell you about Boddhi’s new album Invocation, I’ll tell you about his life, which is a quite fascinating story.
Boddhi Satva was born and spent the early part of his life in the Central African Republic. Before long, Boddhi was immersed in music, writing, producing and rapping with the hip hop crew the Gbekpa Crew, which he founded with his friends. Although enjoying being immersed in the local music scene, Boddhi wanted his music to be heard much further afield. Luckily, when Boddhi headed to Belgium to continue his studies, his dream of his music reaching a wider audience came true.
Having moved to Belgium to continue his studies in 2000, Boddhi Satva discovered something that he’d quickly became passionate about, deep house music. Now that he’d discovered a musical genre he loved, he started immersing himself into the genre’s music. Quickly, he started to discover the giants of the deep house scene. Artists like Kevin Yost, Alton Miller, Osunlade and Masters At Work became some of his favorites. Now he’d discovered a musical genre he loved, Boddhi decided that he’d make a career out of it. DJ-ing and producing deep house music was now going to be his career.
Five years later, Boddhi would meet and collaborate with one of the artists who inspired him to make a career out of the music he loved. Alton Miller and Boddhi met in 2005 and produced two EPs Prelude To A Motion and See the Day. Both were released on Paris based label ATAL Music. These EPs were well received and quickly, Boddhi was receiving recognition from both fans and his peers in the music industry. Quickly, he established a reputation as a talented producer, one capable of producing stunning music, music that had an uplifting quality, By 2006, Boddhi produced the Ancestral Soul, released on Yoruba Records. After this, he became in demand for both remixes and new tracks. The next step would be for Boddhi to start his own label, Offering Recordings.
Boddhi established Offering Recordings a label where he’d seek to release quality music that was uplifting, has a spiritual quality and a message behind the music. In a way, it’s music for the soul, music that helps people forget their worries, fears and pain. Although Boddhi has an almost unique take on music, he doesn’t forget that the music he’s producing is for people to dance to. His music sees drums and traditional sounds and instruments and is a compelling and glorious combination. Having established his own label, another label owner would sign Boddhi to his label in 2010. This was one of the people who inspired Boddhi, fueling and inspiring his love of house music, Louie Vega, from Masters At Work.
Louie Vega was by now an Grammy Award winning producer, who owned Vega Records. Boddhi signed for Vega Records in 2010 and started introducing everyone to Boddhi’s music. From Miami’s World Music Conference, to London’s Ministry of Sound and everywhere from Amsterdam to Ibiza, music lovers and people in the music industry were introduced to Boddhi and his music. Not long after this, Boddhi started recording the album this review is about Invocation, an album that crosses the musical genres.
Invocation is an eclectic collection of music spanning Nu Soul, African Roots and Ragga, all with Boddhi Satva’s own unique sound. Boddhi says Invocation was recorded during visits to Africa, in his home studio, with a quite basic and modest setup. To record the album, he used just a PC, ordinary sound card, one microphone, plus drums, koras and a variety of other instruments. On Invocation, Boddhi collaborates with a variety of artists including Oumou Sangare, Vikter Duplaix and Vivian K. On Invocations are fourteen tracks, where Boddhi Satva collaborates with a variety of artists, producing some uplifting, inspirational and beautiful music, music that crosses the musical genres. Having told you about Boddhi’s fascinating career so far, I’ll now tell you just what Invocations sounds like.
Invocation opens with Invocation which features Freddy Masamba, a singer and dancer from Congo Brazzaville whose now based in Belgium. Here the track has a real African roots sound, quick tempo and spiritual sound. As the track opens there’s a slightly foreboding sound as caused by darks synths. They quickly gives way to a joyful and uplifting sound. This is the result of drums and percussion combining with the vocal, augmented by multi-tracked backing vocals. Quickly, the soaring and impassioned vocal, pounding drums, percussion and koras drive this almost hypnotic and sounding track along, one with a really joyous and spiritual sound and feel.
You’re My Woman is very different to the previous track, with its fusion of jazz and Nu Soul. It’s a totally gorgeous sounding track, featuring a beautiful, heartfelt vocal from singer, songwriter and producer C. Robert Walker, who also wrote this track. His vocal is accompanied by punchy, rasping horns which punctuate the track, while keyboards, drums, percussion and handclaps accompany him. The vocal is delivered with a tenderness and sincerity, against a backdrop that fuses two cultures. While there’s a jazz and Nu Soul sound and feel, Boddhi’s combines this with elements of African music. During the track, traditional African instruments sit comfortably with keyboards and horns, which play a huge part in the track’s arrangement. When this is combined with the beauty, tenderness and sincerity of the vocal, the result is a stunning track, one where two cultures unite as one.
The track that brought this album to my attention is next, From Another World, featuring a quite beautiful, but almost haunting and spiritual vocal from Vikter Duplaix. It’s a long time since I was just so taken by a track. From the first time I heard it, I was enchanted and enthralled by its subtlety and beauty. Since then, I’ve been constantly playing the track, and indeed the album Invocation. Vikter Duplaix is another hugely talented man whose not just a singer and songwriter, but is a multi-instrumentalist and producer. Not only that, but he has a fantastic voice. Keyboards open the track, before handclaps, pounding drums and percussion combine, before Vikter’s tender and almost spiritual vocal enters. There’s a contrast in sounds, with the drums pounding while the vocal is delivered thoughtfully, with a tenderness. Adding to the song’s quality and beauty are the lyrics. If you listen carefully, you’ll hear an important message “I come from another world…but that’s no reason for you not to be my girl.” This message is delivered with a sincerity, against an arrangement that fuses elements of African music with a Nu Soul sound, resulting in a stunning track, one of the highlights of Invocation.
With the previous track I said that this was music with a message, well the same can be said about Africa, a track where C Robert Walker collaborates with Boddhi. When Africa opens, it’s a sombre and thoughtful introduction where C Robert Walker talks about the war, famine and poverty that’s blighted Africa’s past. He asks us to “stand together” and bring about change. The vocal from Pegguy is delivered with a mixture of emotion, frustration and passion, as she pleads with Africa to “wise up.” Meanwhile, equally emotive and passionate backing vocalists accompany his vocal, while a combination of keyboards, koras, percussions and punchy drums provide an uplifting and impassioned backdrop to her vocal. Not only is this a song with an important social message, but it’s delivered emotively and with sincerity by Pegguy who delivers C. Robert Walker’s beautiful lyrics, against a backdrop that’s uplifting and beautiful.
Stabs of keyboards open Who Am I, which features Athenai and C. Robert Walker, who cowrote the track. It’s another track that explores a range of important issues, each of which are interconnected. 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 totally compelling and powerful track where the hypnotic beats and the frustration and anger in Athenai voice can’t fail to move you. It demonstrates the power of music and makes you despair at those who hate and discriminate.
Life Is A Lesson opens with squelchy synths, pounding drumbeats, koras and percussion accompanying Vivian K’s echoey, floaty vocal. Her vocal is enveloped with delay and echo, while backing vocalists subtly add to the track’s beauty. Meanwhile crunchy drumbeats, percussion and the beautiful sound of the koras drive the track along as 120 beats per minute. This makes the track perfect for both listening to at home, or on the dance-floor. I can imagine this sounds amazing played at volume through a large PA system, the pounding drums punishing the bass bins, while the vocal resonates. It’s another track where the music of two cultures unite gloriously, producing a track that wonderfully encapsulates elements of African and Western music.
Nankoumandjan features Mangala Camara, from Kaye in Mali a former protege of Salif Keita. This is a track that features some glorious rhythms, that reveal themselves during the track. Powerful drumming, percussion, bursts of squelchy synths and of course the impassioned and emotive vocal of Mangala Camara. His voice has a compelling and spiritual quality, on a track that has a real African roots sound, augmented by synths. There’s a joyous and uplifting quality to what is an epic track one that lasting seven fantastic minutes.
Elengi, which features the vocals of Zé Pequenio and Heritier, has much in common with the previous track. During the track we hear some more of those catchy, hypnotic and frenzied rhythms unfold. These rhythms combine with punchy, pounding drums, stabs of keyboards and percussion. Add to this the impassioned vocals of Zé Pequenio and Heritier, who deliver their vocals powerfully, combining emotion and joy during an entrancing track with a real authentic African sound. So good is the track, so glorious are the rhythms that you long to submit to their subtleties and charms and dance like you’ve never danced before.
One artist that Boddhi was almost honored to collaborate with was Oumou Sangaré, a singer and musician from Mali, sometimes known as The Songbird of Wassoulou. She’s an advocate for women’s rights protesting against child marriage and polygamy. Ngnari Konon opens with dialogue between Oumou and Boddhi, before giving way to dark and foreboding synths. They’re augmented by percussion, flutes and koras. Then, quickly, quick pounding drums enter dominating the arrangement, while Oumou’s vocal enters. Her vocal is a mixture of emotion, passion and power. Backing vocalists accompany her, while the drums are accompanied by percussion, flutes and koras. This gives the track a sound that fuses elements of African and Western music. Oumou’s vocal has a joyous quality, uplifting and with a spiritual quality. Add to that the thunderous drums and proliferation of percussion, koras and flutes and you’ve a track that’s not only joyous and beautiful, but uplifting and spiritual.
There’s a real change of sound and style on Because I Know which features Leah Beabout’s vocal. The track has a contemporary sound, combining house and Nu Soul. Sweet sounding female backing contribute backing vocals before Leah’s vocal enters. Her vocal is confident and sassy, delivered quickly against an arrangement that features synths, crunchy drumbeats and flourishes of percussion. When the backing vocalists reenter, they allow Leah’s vocal to flourish, soaring powerfully, high above the arrangement. It seems Boddhi found inspiration for this track from his love of house music. Combining house music with Nu Soul results in a brilliant track, one that’s very different from previous tracks.
Continuing the change in style and sound is How Sex Changes Things, written by C Robert Walker. It has a similar sound to the previous track and features a beautiful vocal from Leslie Kisumuna. She delivers her sensuous vocal against crisp drumbeats, synths, handclaps and percussion, while backing vocalists augment her vocal. Again, the track is a combination of house music and Nu Soul, with a really joyful, catchy and uplifting sound that is absolutely irresistible.
Jah Sanctuary sees another change in style, with the track having a Ragga sound. It features Mic Mo and Yuba delivering the vocal against a quick and powerful arrangement where a piano, squelchy synths, punchy beats and percussion combine. They combine to create an arrangement that’s much fuller, louder and powerful. It’s laden with drama, similar to Mic Mo and Yuba’s delivery of the lyrics. Their delivery of the lyrics is impassioned and powerful, delivered at breakneck speed. Although very different to all the previous tracks, it’s an impassioned track full of emotion, with a powerful and compelling sound. It also demonstrates the many influences and variety of Boddhi Satva’s music.
When Enemies opens a siren sounds, before Rohan Xilent’s vocal enters. He almost raps the vocal, while the arrangement is quick, the beats crunchy and the synths squelchy. Percussion and koras augment this combination, the arrangement growing and growing, while Rohan’s delivery of the lyrics is quick-fire and impassioned. It’s a track that combines synths that belong in an old Acid House track, with crunchy beats you’d find in a hip hop track, while the percussion has an authentic African sound. Towards the end of the track, the arrangement grows in power and volume. Eventually, it reaches a dramatic, impressive and impassioned crescendo, before as if burnt out, gradually tailing off, as if so much passion and energy has been expended, the track has nothing left to give. No wonder though. For five minutes, the music was just a majestic combination of sheer energy and passion, especially Rohan Xilent’s impassioned vocal.
Closing Invocation is one of the most beautiful tracks Stop Crying which features Sage Monk. It’s a track with a really spiritual sound. A slow emotive vocal accompanied by handclaps, percussion and moody synths, gives way to a spoken vocal before the crisp and crunchy drumbeats make their appearance. Accompanied by waves breaking on the beach, that haunting vocal returns, it’s beauty washing over you, before the spoken vocal returns. With synths, the sound of the sea, drumbeats and handclaps accompanying the vocal, the track reveals its subtleties and hidden charms. What makes this such a beautiful track is that beautiful, haunting vocal, which soars emotively and passionately, as the arrangement quickens, while the waves are a constant companion to his pleas. Synths, whistles, drumbeats and percussion drive the track and indeed the album to it’s dramatic, yet beautiful conclusion. This is just the perfect track to close Invocation, one that sums up what Boddhi Satva’s music is about. It has a dramatic, but joyous, uplifting and spiritual sound, which fuses various styles and sounds seamlessly.
Having immersed myself in Invocation, Boddhi Stava’s forthcoming album which will soon be released on BBE Music, I can honestly say that this is one of the most beautiful, brilliant and compelling albums I’ve heard recently. Invocation sees Boddhi Satva fuse a variety of musical styles and sounds together. On Invocation there’s everything from authentic African music, Ragga and hip hop to Nu Soul, jazz and house music. The album opens with Invocation an authentic slice of African music, while jazz and Nu Soul unite on You’re My Woman, whereas From Another World sees African music with Nu Soul unite. How Sex Changes Things and Because I Know see house music and Nu Soul combine, while Jah Sanctuary has a Ragga sound before Enemies features elements of hip hop. This demonstrates the sheer variety of music on Invocation. Each of the fourteen tracks on Invocation has something different to offer, with each track given its own twist by Boddhi Satva. Not only has each track something different to offer, but each track is of the highest quality. This is the same quality that can be found in all of Boddhi’s music, of which there is plenty to explore. Since he started making music, Boddhi is known as one of the hardest working people in dance music. This lead to him being given the affectionate nickname The Machine. Having started recording Invocation in 2010, the album was completed later that year. He hoped that recording Invocation would help heal the inner pain he talks about in the album’s sleeve-notes. Well, I sincerely hope that recording Invocation proved to be a cathartic experience, because having spent so long listening to Invocation it’s proven to have been a cathartic experience for me. Like all good music, the music on Invocation has the power to provoke a variety of emotions. Happiness, joy, sadness, and frustration are just a few of the variety of emotions the music on Invocation provoked. However, mostly I found Boddhi Satva’s music uplifting, which is what he always seeks to do when he records music. So, if you want to experience some of the most beautiful and emotive music you’ll have the pleasure of hearing this year, then you should seek out Boddhi Satva’s brilliant forthcoming album on BBE Music Invocation. Standout Tracks: You’re My Woman, From Another World, Ngnari Konon and Because I Know.
BODDHI SATVA-INVOCATION.
SMOKEY ROBINSON-SMOKEY’S FAMILY ROBINSON.
SMOKEY ROBINSON-SMOKEY’S FAMILY ROBINSON.
In a previous review, I reviewed one of Smokey Robinson’s solo albums, Quiet Storm, which released in 1975. This a critically acclaimed and landmark album, one that spawned its own musical genre Quiet Storm. The music on Quiet Storm was very different to most of the music being released in 1975. Back then, funk ruled the roost, with James Brown, Sly and The Family Stone and even Curtis Mayfield releasing funk albums. So, Smokey’s album Quiet Storm was a complete contrast to most of the music being released back then. On Quiet Storm’s release, the album was a both commercially successful and critically acclaimed, reaching number thirty-six in the US Billboard 200 and number seven in the US R&B Charts. This was Smokey’s third solo album, with 1973s Smokey and 1974s Pure Smokey the two albums preceding Quiet Storm. Smokey had released number seventy in the US Billboard 200 and number ten in the US R&B Charts, while Pure Smokey reached number ninety-nine in the US Billboard 200 and number twelve in the US R&B Charts. 1976 saw Smokey release his fourth album Smokey’s Family Robinson, a pun on the Swiss Family Robinson, a book and movie. Would Smokey’s Family Robinson continue the success of Quiet Storm, a landmark album, one that spawned a musical genre?
Recording of seven tracks took place in 1975 with musicians Fred Smith playing horns, bassist Wayne Tweed, drummer Joseph A. Brown Jr., and guitarist Marv Taplin. While Smokey produced Smokey’s Family Robinson, Sonny Burke helped Smokey arrange the rhythm section, while Fred Smith arranged the horns. Like Quiet Storm, Smokey wrote four of the seven tracks, while he cowrote two tracks with Rose Ella Jones. With the Smokey’s Family Robinson recorded, the album was set for release in February 1976.
Smokey’s Family Robinson was released in February 1976, reaching number fifty-seven in the US Billboard 200 and number nine US R&B Charts. Open was the only single released from the album, reaching number eighty-one in the US Billboard 100 and number ten in the US R&B Charts. Although the album hadn’t fared as well as Quiet Storm, the music on Smokey’s Family Robinson was just as good as its predecessor. On the album was a combination of dance-floor friendly funk, mellow soul and space jams. Why the album didn’t fare better commercially seems strange, given the quality of music on Smokey’s Family Robinson. So what does Smokey’s Family Robinson sound like? That’s what I’ll now tell you.
Opening Smokey’s Family Robinson is When You Came, one of four tracks written by Smokey. The tempo is quick, the sound slightly moody as the track opens, quickly giving way to a fast and furiously funky track, which loses the moody sound. It’s replaced by Smokey’s gentle vocal, accompanied by a driving, funk drenched rhythm section, guitars, percussion and subtle, soulful female backing vocalists. Above the arrangement floats a flute, while keyboards punctuate the now joyful arrangement. When you listen to this stonewall funk classic from Smokey, it’s hard to believe that this is from the man who brought us Tracks of My Tears and The Tears of A Clown. This is as far removed from those two songs as you can get, but this is an irresistible and compelling slice of funky from Smokey Robinson.
Get Out of Town is a slower track, one that allows Smokey to demonstrate his beautiful vocal. It’s a soulful track built track built around keyboards and blazing horns, while female backing vocalists accompany Smokey. Their voices have a similar beauty to his vocal, which veers between tender to emotive and passionate. With the rhythm section accompanying the rasping horns and keyboards, the track combines elements of soul with jazz. Drums, horns and keyboards add a punchy dramatic sound, providing the perfect backdrop for Smokey’s vocal. What I like so much about this track, is Smokey’s emotive and passionate delivery of the lyrics, and the horns arranged by Fred Smith that punctuate the track. Together, they combine to produce a quite beautiful track that mixes soul and jazz.
There’s a return to the funk sound on Do Like I Do. Here, Smokey gets into the seventies funk sound that dominated the musical landscape. This isn’t just funk music though, it’s a funky space jam, with some hugely talented musicians accompanying Smokey. The rhythm section, blazing horns and blazing horns combine to play a series of prolonged funk laden jams during the track, while Smokey’s vocal is louder and almost dramatic. It’s a track with a really spacey, but funky sound, with keyboards building the track up, while bursts of horns and the rhythm section deliver a funk masterclass. Atop the arrangement sits Smokey’s vocals with yelps and howls augmenting his vocal. Although the track has a really funky sound, there’s elements of jazz within the track, especially the prolonged jams and solos, which epitomize all that’s good about jazz music. Throw in a huge slice of funk, add to that Smokey’s dramatic and emotive vocal, and you’ve the recipe for a quite brilliant track that closes Side One of Smokey’s Family Robinson.
After two funk and one soulful track, one wonders what’s coming next. What will When You Came open Side Two of Smokey’s Family Robinson? When Open reveals itself, the track heads firmly in the direction of funk. From a hesitant start, the track quickly grows, with a female vocalist accompanied by the funkiest of rhythm section, searing, soaring guitars and blazing horns. There’s almost a late sixties sound to the music, with the track building and building, growing in power. Smokey’s vocal is louder and stronger, transformed into a growl, while female backing vocalists play a major part in the track, singing lead and backing vocals. They’re accompanied throughout by the choppy reverberating guitars, a loping bass, punchy drums, and horns which rasp and blaze gloriously. Together they create a powerful wall of sound of the funkiest music which unbelievably, includes Smokey Robinson’s vocal. Never before have you heard Smokey quite like this.
So In Love is a mid-tempo track, that reveals a side of Smokey we’re much more familiar with, a lovely soulful love song. Punchy drums, flute and rasping horns open the track, before a tender vocal from Smokey enters. Like the horns, female backing vocalists envelope his beautiful and emotive vocal. Throughout the track, the punchy drums add touches of drama as the song’s smooth and soulful beauty reveals itself. This is much more like you’d expect from Smokey Robinson, and this is quite simply the best track on the album. What makes this such a good track is the arrangement, with its sultry horns, gorgeous soulful backing vocalists and of course Smokey’s romantic and beautiful vocal.
From one beautiful song in So In Love to another in Like Nobody Can, which features another beautiful and heartfelt vocal from Smokey. It just the rhythm section, percussion and keyboards combine before Smokey’s gentle and thoughtful vocal enters. Smokey’s vocal is allowed to take centre-stage, with the slow, arrangement meandering along, before subtle, but soulful female backing vocalists enter, They accompany Smokey, while the arrangement still just features the rhythm section, percussion and keyboards. This is perfect, as nothing is allowed to overpower the beauty and emotion of Smokey’s vocal on this stunning love So good is this track, that it’s even better than the previous song So In Love,
Closing Smokey’s Family Robinson is Castles Made of Sand a track that has much in common with the previous track. The arrangement has a similar understated beauty, while the arrangement has a similar sound. It’s just the rhythm section, percussion and keyboards, with a guitar played with subtlety. Smokey’s vocal has a similar understated sound, tender and heartfelt, and again, is enveloped by swathes of tender and quite beautiful backing vocalists. Their addition is a masterstroke and really add to the track, making an already beautiful song even better. What a stunning and gorgeous track this is to close Smokey’s Family Robinson.
Having spent some time revisiting Smokey’s Family Robinson, I’ve come to the conclusion that I much prefer Smokey’s Family Robinson than Quiet Storm. It’s an album that combines a compelling combination of soul and funk. On Smokey’s Family Robinson are a trio of funk tracks, When You Came, Do Like I Do and which demonstrate a very different side of Smokey’s music. How fans of Smokey’s old group Smokey Robinson and The Miracles reacted to this change in music, one wonders? I can imagine they’d be quite nonplussed, but would welcome the trio of tracks that close the album. So In Love, Like Nobody Can and Castles Made of Sand demonstrated that Smokey could still write and record some beautiful soul music. This trio of tracks are among the best tracks on the album. However, that’s not to say there’s anything wrong with the funky side of Smokey. Quite the opposite. On these tracks Smokey demonstrates his versatility as a singer, songwriter and producer. Although Smokey’s Family Robinson was very much a change in direction from his music with The Miracles, and even from previous solo albums, to me it demonstrates Smokey developing as a singer and producer. Not for him releasing the same type of album time after time. Instead, he wanted to grow as an artist and develop his music, taking it in new directions. While Quiet Storm helped spawn a new musical genre, Smokey’s Family Robinson saw Smokey music cross the musical genres. From soul, funk and even touches of jazz music, there’s a real mixture of music on Smokey’s Family Robinson, an album that features some fantastic funk and stunning soul music. It might not be one of Smokey’s most successful solo albums, but Smokey’s Family Robinson is an underrated and compelling album Smokey Robinson, one that’s full of some great music, and well worth seeking out next time you’re in your local record shop. Standout Tracks: Do Like I Do, So In Love, Like Nobody Can and Castles Made of Sand.
SMOKEY ROBINSON-SMOKEY’S FAMILY ROBINSON.
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