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.
STEVIE WONDER-MUSIC OF MY MIND.
STEVIE WONDER-MUSIC OF MY MIND.
When Stevie Wonder was recording Music of My Mind, he neither knew nor realized that this was the first album in a series of critically acclaimed and commercially successful albums. Between 1972, when Music of My Mind was released, until Songs In the Key In Life in 1976. These two albums bookmarked a run of albums that included his second album of 1972 Talking Book, 1973s Innervisions and Fulfillingness’ First Finale in 1974. This made it five classic albums in the space of five years. However, the album that started it all of for Stevie, was Music of My Mind.
Music of My Mind released in March 1973, was Stevie Wonder’s fourteenth studio album. This was impressive feat for a man that was only twenty-one years old. After all, many artists or groups never reach album number fourteen in a career, never mind by aged twenty-one. On Music of My Mind there’s a change in Stevie’s music. Not only is it very different to his previous albums, but it’s his first album to feature synthesizers on it. The change in his music saw him fuse a variety of genres of music during songs that were much longer than his previous songs. For his long-standing fans, this must have been quite a shock, but the music found much wider appeal than his previous albums.
Recorded at Electric Lady Studios in New York and Crystal Industries in Los Angeles. A total of nine songs were recorded, with six written by Stevie himself, while he cowrote two with Yvonne Wright and one with Syreeta Wright. Music of My Mind was co-produced by Stevie, with Malcolm Cecil and Robert Margouleff. Once Music of My Mind was recorded, it was ready for release. How would Stevie Wonder’s new sound appeal to fans when Music of My Mind was released?
On the release of Music of My Mind in March 1972, the album reached number twenty-one in the US Billboard 200 and number six in the US R&B Charts. This was an improvement on his previous album, 1971s Where I’m Coming From, which only reached number seven in the US R&B Charts, but failed to chart in the US Billboard 200. However, after Music of My Mind, his next four albums reached number one in the US R&B Charts, while both Fulfillingness’ First Finale and Songs In the key In Life reached number one in the US Billboard 200. Two singles were released from Music of My Mind. The first was Keep On Running, which only reached number ninety in the US Billboard 100 and number thirty-six in the US R&B Charts. When Superwoman (Where Were You When I Needed You) was released as a single, it fared slightly better, reaching number thirty-three in the US Billboard 100 and number thirteen US R&B Charts. So, overall, Music of My Mind had been both critically acclaimed and a commercial success, but what does Stevie Wonder’s the album sound like?
Music of My Mind opens with Love Having You Around, co-written by Stevie and Syreeta Wright. The track opens with a Moog bass, drums and synth accompanying Stevie’s vocal, while a vocoder is used sparingly when his vocal is multi-tracked. His vocal is joyous, yet powerful, the tempo quick and the drums punchy. Meanwhile a combination of Fender Rhodes and backing vocalists augment the uplifting arrangement. The addition of backing vocalists really adds to the joyful sound of the track. Towards the end of the track, Stevie throws a curve ball, when Art Baron contributes trombone. This is just the latest surprise and innovation in what’s an epic track. Even with a vocoder, Moog bass and trombone solo, Stevie still manages to produce a track, that forty years later still sounds fresh and contemporary. Often, tracks like this haven’t aged well, but this one has, and has a joyous and uplifting sound.
One of two singles released from Music of My Mind was Superwoman (Where Were You When I Needed You). It’s a track that tells a story, one with two parts. Part one is about Stevie’s relationship with a singer who wants desperately to leave her old life behind to become a movie star. The second part, which is a reworking of Never Dreamed You’d Leave In Sumer from his 1971 album Where I’m Coming From. Here, the narrator, Stevie, wonder why she hadn’t returned when he’d hoped. This song is thought to be about Stevie’s relationship with his first wife Syreeta Wright, who was originally a singer, but become a successful soul singer. Again, it’s a lengthy track, eight minutes long, but with a lovely floaty sound and feel. On this track, Stevie plays every track, apart from electric guitar. As the track opens, it has a hesitant and floaty sound, before the Fender Rhodes accompanies Stevie as his voice is tender, but thoughtful. Drums, Moog Bass and T.O.N.T.O. synthesiser feature on the track, while subtle yet beautiful, backing vocals accompany Stevie. When he joins the backing vocalists, their subtlety and beauty is augmented by his power, and possibly frustration. As part one segues into part two the floaty, ambient sound continues, with the T.O.N.T.O. synthesizer, Fender Rhodes and Moog bass, contributing towards a beautiful arrangement. By now, Stevie’s vocal is laden with sadness, regret and disappointment as it grows in power. While his vocal grows in strength, the tempo quickens, and some stunning guitar playing from Buzz Feiten enters. It combines well with the the rest of the arrangement, and of course Stevie’s vocal. Although very different in musical form, the track works well, helped along by a strong, yet personal narrative from Stevie, a beautiful floaty arrangement and a vocal full of sadness, regret and frustration.
A very different sounding track is I Love Every Little Thing About You, a gorgeous love song that provides a contrast to the previous track. With a Fender Rhodes, Moog bass and bongos accompanying Stevie’s tender and heartfelt vocal, the track reveals its beauty. Bursts of breathy vocals can be heard throughout the track, while joyous backing vocals match the emotion and happiness in Stevie’s vocal. As the track progresses, Stevie’s vocal grows in power and joy, made all the better by the addition of the backing vocalists. This is an absolutely gorgeous love song, one filled with emotion, joy and happiness.
Closing Side One of Music of My Mind is Sweet Little Girl, one of six tracks written by Stevie himself. A Moog bass, drums and keyboard combine with a harmonica solo from Stevie, before his gentle vocal enters. Quickly, it grows in strength and passion, before the tracks slows down and Stevie half speaks the vocal, backed by the harmonica. Then as the track quickens up, Stevie plays some jazz tinged piano, while the harmonica still adds to the sound. From there on, the track slows down and speeding up again, with his half-spoken vocal a regular feature. This you can argue either adds to the track or spoils it’s flow. To me, it spoils the flow of the track. Apart from that, there’s so much that’s good about the track, with great harmonica and piano playing from Stevie. It’s one of these tracks that divides opinions, and sadly, I only like parts of it.
Opening Side Two is a much better track, the beautiful Happier Than The Morning Sun written by Stevie. A Hohner clavinet and Moog bass accompany Stevie’s tender and beautiful vocal as the track opens. On this track, Stevie plays all the instruments and sings all the vocal parts. It’s a beautiful song about love with some of the best lyrics on the album. The arrangement is quite simple, just the Hohner clavinet and Moog bass, with Stevie’s vocal multi-tracked, so that he sings lead and backing vocals. This simplicity is hugely effective, resulting in one of Music of My Mind’s highlights.
Girl Blue is a track Stevie cowrote with Yvonne Wright. Again, Stevie is like a one man band, playing every instrument. This means he’s playing Hohner clavinet, Moog bass, T.O.N.T.O. synthesizer, harmonica and percussion. When the track opens, his vocal is sung through a vocoder, with percussion, Hohner clavinet and drums accompanying him. The vocoder is used subtly, while percussion augments an arrangement where there’s plenty space. Later, the T.O.N.T.O. synthesizer joins the Hohner clavinet, while Stevie contributes a harmonica solo to the arrangement. What I love about this track is the sense of space, and how there’s always space left that’s unfilled. Add to that, Stevie’s vocal and a masterclass in multi-instrumentalism and it’s a very satisfying track from one of the most talented musicians of the past fifty years.
Seems So Long is another track with a slightly hesitant start, but soon reveals its hidden charms. Keyboards, T.O.N.T.O. synthesizer, Moog bass and drums accompany Stevie’s desperately sad vocal on this slow, moody sounding track. Above his vocal, synths float, adding to Stevie’s sense of sadness caused by his girlfriend leaving him. As the sadness and emotion in his voice grows, so does the arrangement, to an impressive and dramatic climax. By then, Stevie’s sadness and mistrust is gone, having found someone new, someone who he can trust and love. Not only does this song have lovely lyrics and an emotive, heartfelt vocal, but it has an arrangement where synths are heavily used to augment the arrangement, adding to emotion and drama. Although synths were to some extent in their infancy, their sound has aged well and add to, rather than detract from the song’s sound and impact.
Keep On Running opens with a piano reverberating, while a Moog bass, drums and Hohner clavinet drive the track along quickly with Stevie’s vocal sitting atop the arrangement. Gospel tinged backing vocalists and handclaps accompany Stevie’s powerful vocal. It’s is a track that mixes funk with soul, with the the Moog bass, drums and Hohner clavinet combining to create a funk laden backdrop. Meanwhile Stevie and the backing vocalists contribute the soulful side of the track. The tempo is fast, the arrangement funky and Stevie’s vocal full of emotion, joy and passion, on a track that allows Stevie to demonstrate a new and very different side to his music.
Closing Music of My Mind is Evil, co-written by Stevie and Yvonne Wright. It’s a slightly foreboding and dark sound that opens the track, but gives way to the T.O.N.T.O. synthesizer and piano, before a confused and questioning Stevie sings about the subject of evil. Drums and Moog bass join the arrangement, while a choir provide grand, sweeping and beautiful backing vocals. They combine with Stevie’s vocal which grows in strength, emotion and frustration, as he questions why so many evil things happen. It’s a thoughtful and powerful track to close the track, one that poses a number of question but sadly, provides no answers. This seems a fitting way to close Music of My Mind, the album that started Stevie Wonder’s classic period.
Music of My Mind was just the first in a long line of commercially successful and critically acclaimed albums Stevie Wonder would release during the seventies. This was Stevie’s most creative and successful period. It seemed he could do no wrong, with four US R&B number one albums between 1972 and 1976. After his classic period, he continued to release some great music, with Stevie Wonder’s Journey Through the Secret Life of Plants released in 1979 and Hotter Than July in 1980. In truth, between 1972 and 1980, Stevie Wonder didn’t release a bad album. He seemed to be at his creative peak then. This started with Music of My Mind, an album that saw his music move in a very different direction. Although this may have alienated some fans, it introduced more people to his music. Like Marvin Gaye, Stevie Wonder’s most critically acclaimed music was released during the early to mid seventies. Granted Stevie and Marvin both released plenty of great music during the sixties, but they were mostly singles and the odd album. Both found real commercial success and critical acclaim when they moved their music in a very un-Motown direction. After Music of My Mind, came 1972s Talking Book, 1973s Innervisions, Fulfillingness’ First Finale in 1974 and 1976s Songs In the Key In Life. Add to that 1979a Stevie Wonder’s Journey Through the Secret Life of Plants and Hotter Than July released in 1980, and you’ve just about every great album Stevie Wonder ever recorded. Little did Stevie know when he recorded Music of My Mind that he was about to enter such a creative period, a period that started when he was twenty-one in 1972 and thirty by the time he’d released Hotter Than July, his twentieth album in 1980. If you’ve never heard Music of My Mind, it’s an album that deserves to find its way into your music collection, as do the rest of Stevie Wonder’s albums from his classic period. However, Music of My Mind was the album that started this creative period, where Stevie Wonder’s music was both critically acclaimed and commercially successful throughout the best part of the seventies. Standout Tracks: Love Having You Around, Superwoman (Where Were You When I Needed You), Love Every Little Thing About You and Happier Than The Morning.
STEVIE WONDER-MUSIC OF MY MIND.
JOHNNY D PRESENTS DISCO JAMMS VOLUME 1.
JOHNNY D PRESENTS DISCO JAMMS VOLUME 1.
Nowadays, for anyone wanting to try to become a DJ, the equipment is very different to the equipment Johnny “D” DeMairo learnt his trade on. For the wannabe DJ, they can choose from CD decks, USB controllers with software like Traktor or if they’re traditional or old school DJs, they’ll choose a pair of Technics 1210s. However, back in 1980, when Johnny D, whose Johnny D Presents Disco Jamms Volume 1 is released on BBE Music on March 5 2012, started to learn how to mix, he wasn’t quite as lucky. With a set of Lafayette T-2000s the young Johnny DeMairo started a journey that would end up with him becoming a hugely successful DJ, record label owner and owning a record collection numbering an impressive eighty-thousand records.
When aged twelve, Johnny DeMairo started learning to mix on a pair of Lafayette T-2000s his father bought him, this was just the first step on the road to DJ stardom. Quickly, Johnny managed to master his set of Lafayette T-2000s, which as anyone whose ever tried to learn to DJ on a cheap set of decks, is quite a feat, and testament to Johnny’s ability and patience. A year later, Johnny got new set of Technics 1200 Mk IIs, one of the first sets in New York. That was just the next step on a journey that started with parties at the local high school and in his local neighborhood, before moving onto block parties, where he’d meet much older and more experienced DJs. Undeterred, and with an impressive array of records, Johnny soon won over the older DJs, with his skill and choice of music. His selection of music was eclectic to say the least, with Italo disco and Led Zeppelin sitting next to classics on the West End and Prelude labels. Having impressed his peers with his skills, he’d soon meet a DJ whose skills would impress Johnny no end.
Aged fourteen and having managed to acquire a fake id, Johnny managed to gain entry to New York’s hottest nightclub, Studio 54, where he’d meet resident DJ Leroy Washington. His mixing skills on a set of Thorens’ turntables blew Johnny away, where he’d mix every type of music, all with impeccable timing and stunning mixing skills. Leroy was just one of a series of people who’d inspire Johnny, and a year later, Johnny would have his own residency.
When Johnny was fifteen, he met Danny Cole, a Brooklyn DJ who DJ-ed each Friday and Saturday at Brooklyn’s Plaza Suite. Danny invited Johnny to join him, and together, the duo DJ-ed while live acts like Jimmy Castor also featured at the Plaza Suite. Not only was Johnny was Dj-ing at the Plaza, but also parties at night, and holding down a job in his family business. This allowed him to continue building his record collection, which now numbers eighty-thousand records. These records would find their way into his DJ sets. Around this time, he’d encounter someone else who’d become a huge influence in Johnny’s career, Shep Pettibone.
Back then, Shep Pettibone was one of the hottest DJs on New York radio. Along with Frankie Crocker, the pair ruled New York’s airwaves on Kiss FM. Johnny was hugely impressed by Shep’s reediting and mixing skills, and like Leroy Washington, became influential in shaping Johnny’s nascent career. They weren’t the only DJs who’d influence Johnny though. This also included freestyle DJs Albert Carera and Tony Moran who together, made up the The Latin Rascals. As well as the Latin Rascals, The Dynamic Duo, aka the late Tommy Sozzi and Tommy Musto both influenced Johhny. All of these DJs played their part influencing Johnny’s DJ career.
Through meeting DJ at record pools and in clubs, Johnny soon had numerous contacts among New York’s music community. However, soon, he’d have contacts much further afield. Although Johnny had plenty contacts within New York, he needed contacts further afield. He was able to increase his contacts worldwide by joining a promotion company the Street Informations Network. This allowed him to network with DJs from worldwide and also played a part in Johnny forming his own record company Henry Street, which became one of the most important and influential label.
However, Johnny’s new compilation Johnny D Presents Disco Jamms Volume 1 isn’t a compilation of tracks from his Henry Street label. Instead, it’s music that personal to him and music that helped shape his Henry Street label. They’re tracks from a variety of sources, ranging from his diligent crate digging expeditions across New York’s record shops, to tracks that he heard on Shep Pettibone and Frankie Crocker’s radio shows. Add to that, tracks he’d heard in clubs or alternative mixes of classic tracks he’s discovered then you’ll realize that this is music from a wide range of sources. These says Johnny D are his “secret weapon tracks” and “real disco.” Here, Johnny shares these “secret weapon tracks” with everyone on Johnny D Presents Disco Jamms Volume 1, which I’ll now tell you about.
On Johnny D Presents Disco Jamms Volume 1 on BBE Music, you’ll find a total of twenty tracks on two discs. Unlike other inferior compilations where you find many of the same tracks recurring time and time again, this isn’t the case here. Instead, this is a refreshingly eclectic collecting music ranging from Philly Soul, house and Euro Disco, to soul, R&B and disco. This allows you a sneak preview into the world of Johnny D’s musical influences and DJ sets. With music ranging from the Philly soul of The O’Jays, the classic house of Klein and MBO’s Dirty Talk, the Euro Disco of Cerrone’s Look For Love and the Brooklyn, Bronx and Queen’s Band mixture of R&B and post-disco on Time For Love, you get the idea of the quality of music on the compilation. If that’s not enough, how about the soul of Ashford and Simpson’s One More Try, Skky’s classic disco track Call Me or the electro disco of the B Beat Girls’ For the Same Man. Quite simply, Johnny D is a man with an impeccable and eclectic taste in music, and on Johnny D Presents Disco Jamms Volume 1, he throws just a few musical curve balls. This is what makes this compilation just so irresistible, as you never know what to expect next. Never try to second guess Johnny D, as it’s almost impossible to guess what direction Johnny D Presents Disco Jamms Volume 1 will take next. However, I’ve been given a preview of Johnny D Presents Disco Jamms Volume 1 and can tell you about a few of the twists and turns of this excellent compilation.
Johnny D Presents Disco Jamms Volume 1 opens with The System’s It’s Passion, a track released in 1982 on the Mirage label. Produced by David Frank and Mic Murphy, it’s a combination of electro and disco with synths and drums driving the track along while a powerful and emotive vocal sits atop the arrangement. The track has an old school electro sound because of the use of synths and drum machines, but is a welcome reminder of the early eighties electro disco sound.
Very different is The O’Jays track This Time Baby 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. This was the third O’Jays album to be certified platinum and is a track that typifies everything that’s good about the Philly Sound. Not only that, but it’s an interesting choice of track. Whereas many compilers would’ve chosen one of The O’Jays hit singles, Johnny has chose a less obvious, but stunning track from The O’Jays. A combination of swirling, sweeping strings, driving rhythm section, piano and guitars open the track, before a flourish of drums and strings signals the entrance of the vocal. Against a fast moving arrangement, Eddie promises that this time their love will work. Meanwhile, Walt and Sammy contribute backing vocals, while blazing horns, swirling strings, funky guitars and a punchy rhythm section combine to create a fast, driving arrangement. Combined with powerful vocal, it’s a winning combination that sees Thom Bell successfully mix elements of soul and funk to create one of the highlights of Johnny D Presents Disco Jamms Volume 1.
From one dance-floor classic to another from Klein and MBO, which inspired New Order to change their musical direction to one that was dance-floor influenced. Klein and MBO are from Italy’s post Italo Disco scene, releasing a trio of hits during the mid-eighties. These were Dirty Talk, Wonderful and The MBO Theme, which became favorites in both the New York garage and Chicago house scenes. Of these three tracks, Dirty Talk, released in 1982 on Zanza Records is a stonewall classic. A compilation or crispy drumbeats and squelchy synths combine to give the sound a real electro and techy disco sound. Throw in hissing cymbals and handclaps and you’ve the recipe for a timeless dance-floor classic, one of the best of early eighties nascent garage and Chicago house scenes.
One track I was delighted to find on Johnny D Presents Disco Jamms Volume 1 was the Bronx, Brooklyn and Queens Band track Time For Love, from their 1981 debut album The Bronx, Brooklyn and Queens Band. My reason for welcoming the addition of this track on the compilation, is a few years ago, this was one of several hundred albums I lost in somewhat tragic circumstances. So to hear a track from the album on this compilation made my day. The track is a combination of soul, funk and disco with the funkiest of loping bass lines featuring throughout the track. Meanwhile a soaring, emotive vocal is accompanied by sweet backing vocals. This is set to a dance-floor friendly beat, where the rhythm section, flourishes of keyboards and guitars provide a backdrop that combines elements, of funk, soul and disco. Having not heard the track for a few years now, it’s a welcome reminder of just how talented and versatile a band the Bronx, Brooklyn and Queens Band were.
Two classic disco tracks that I was also pleased to see feature in this compilation are Cerrone’s Look For Love and Skyy’s Call Me. Look For Love was released by Cerrrone in 1979 as a single, and was from Jean Marc Cerrone’s 1978 album Cerrone IV-The Golden Touch. This was just one of seven albums released between 1976 and 1979. Of the many tracks recorded by Cerrone, Johnny couldn’t have chosen better than this beautiful, lush sounding epic, with a grand sweeping arrangement. Rather than choose the four minute original, Johnny has chosen a ten minute extended version. It’s a catchy track, full of hooks, a stomping disco beat and lovely female vocal and one of my favorite tracks from the compilation.
The other classic disco track is Skyy’s Call Me released on 1981, on one of the classic disco labels Salsoul Records. Written by Randy Muller and produced by Randy Muller and Solomon Roberts, this is from Skyy’s 1981 Skyy Line album. It’s a track that marries elements of funk with a disco beat. Atop the loping bass line, crisp driving beats and chiming guitars sits a dramatic vocal accompanied by backing vocals. Later, bursts of keyboards and rocky sounding guitars give the track a quite different sound to earlier Salsoul tracks. However, this track has one thing in common with these tracks…quality.
Ashford and Simpson were also known for writing, producing and recording quality music, including One More Try released in 1976, reaching number nine in th US Dance Charts. This track is from their album Come As You Are, which reached number 189 in the US Billboard 200 and thirty-five in the US R&B Charts. Why the single never fared better, is a mystery given its sound and quality. It’s a perfect tempo for the dance-floor 124 beats per minute, with an arrangement driven along by chiming, soaring guitars and rhythm section. Atop that sits Valerie and Nick’s vocals, while drums crisp and fast accompany the dual guitars, on this this hugely catchy and dramatic track. This is very definitely a welcome addition to Johnny D Presents Disco Jamms Volume 1.
WIth so many great tracks on Johnny D Presents Disco Jamms Volume 1, it’s difficult just to pick a selection to review. One track definitely that deserves a mention in the electro disco of Spencer Jones How To Win Your Love. Released in the Netherlands in 1986, on the Injection Disco Dance label, the arrangement marries an electro sound to a disco beat and even features a touch of hip hop. Add to this the sweetest of vocals and you’ve got a track that has an irresistibly catchy, feel-good sound.
The B-Beat Girls contribute For the Same Man, a single from 1983, released on 25 West Records. It has an old school electro sound, with a proliferation of squelchy synths and crunchy beats accompanying a sassy, confident vocal. The track veers between a diva-esque vocal style to dramatic spoken style full of jealousy and rivalry. All the while, synths and beats providing a retro backdrop, to a track that reminds me of how dance music used to sound.
My final choice from Johnny D Presents Disco Jamms Volume 1 is Lafleur’s Dance Till We Drop (Dub Version), released in 1983 on the Dutch label High Fashion Music. This track I feel has a real Euro Disco sound. Pounding drums of and percussion open this epic track lasting eight minutes, driving it along, as it builds and builds. Later, keyboards enters, joining the variety of drums and percussion. A vocoder is used, adding to the Euro Disco sound, while the funkiest of bass lines enters. Later, a variety of types of drums are used during an extended breakdown, their different sounds adding to the track’s catchy, yet driving sound. They give way to synths, bursts of horns and subtle backing vocalists who drop out when the drums and percussion drive the track to its dramatic ending.
Having been able to listen to Johnny D Presents Disco Jamms Volume 1 for a number of days, I’ve been struck by not just the quality of the music, but by the eclectic range of music. The compilation features not just the twenty tracks, ten of which I’ve reviewed here, but a continuous disco mix from Johnny D. He really has an exquisite taste in music, with everything from Philly Soul, house and Euro Disco, to soul, R&B and disco, with even a sprinkling of electro and funk thrown in for good measure. On Johnny D Presents Disco Jamms Volume 1 we’re given a sneak preview into the colossus that is Johnny’s eighty-thousand record collection and just what one of his DJ sets sounds like. Anyone who can compile a compilation which features everything from the soulful sound of The O’Jays and Ashford and Simpson, to a stonewall club classic Klein and MBO’s Dirty Talk, to Cerrone and Skyy’s disco classics, deserves your admiration and attention. Not only that, but of the twenty tracks on the album, there’s neither any filler or poor tracks, just good quality dance music. You also get the chance to hear Johnny’s disco mix which demonstrates just how talented a DJ he really is. So having told you all about Johnny D Presents Disco Jamms Volume 1, do I recommend that you buy this compilation? Of course you should, Johnny D Presents Disco Jamms Volume 1 is an album full of some fantastic music which is constantly crossing the musical genres, resulting in an irresistible combination of some stunning dance music. Standout Tracks: The O’Jays This Time Baby, Klein and MBO Dirty Talk, Cerrone Look For Love and Lafleur Dance Till We Drop (Dub Version).
JOHNNY D PRESENTS DISCO JAMMS VOLUME 1.
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ANN PEEBLES-TELLIN’ IT.
ANN PEEBLES-TELLIN’ IT.
It’s been a while since I looked back at the Hi Records back catalogue, so thought that I’d rectify that by doing a review of one of Ann Peebles’ albums. With seven albums to choose from, I’ve plenty of great music to chose from. Previously, I’ve written about Ann’s most successful album, 1974s I Can’t Stand the Rain and her penultimate album for Hi If This Is Heaven. Today, I’ve chosen to review the album that followed I Can’t Stand the Rain, 1975s Tellin’ It, which I’ll now tell you about.
Tellin’ It was Ann’s fifth album for Hi Records, released in 1975 and recorded at the Royal Recording Studios in Memphis and produced by Willie Mitchell, the legendary producer. Memphis’ Royal Recording Studios were where so many great albums from Al Green, O.V. Wright, Otis Clay, Syl Johnson and Ann Peebles had been recorded. Featuring on Tellin’ It were the Hi’s famous rhythm section, the Memphis Strings and Memphis Horns, while Chalmers, Rhodes and Chalmers contributed backing vocals. With ten songs recorded, five of which were either written or co-written by Earl Randle, three of which Earl cowrote with Willie Mitchell. Ann cowrote two songs with Don Bryant, I Needed Somebody and Love Played A Game. Now that Tellin’ It was recorded, it was ready for release.
On the release of Tellin’ It, it reached number thirty-eight in the US R&B Charts. This was one of Ann more successful albums, with only 1971s Part Time Love and 1974s I Can’t Stand the Rain dong much better. Part Time Love had reached number forty in the US R&B Charts, while I Can’t Stand the Rain reached number twenty-five in the US R&B Charts. Tellin’ It featured two successful singles, Beware and Come To Mama, both released in 1975. Beware reached number sixty-nine in the US R&B Charts, while Come To Mama reached number sixty-two in the US R&B Charts. Overall, Tellin’ It had been a successful album for Ann, producing two US R&B hit singles, but what does Tellin’ It sound like? That’s what I’ll now tell you.
Tellin’ It opens with the second single released from the album Tell Mama, co-written by Willie Mitchell and Earl Randle, who wrote so many great songs for Hi Records artists. Come To Mama is a mid-tempo track with a real Southern Soul sound and feel. With piano, percussion and a Hammond organ adding an atmospheric sound, the Hi Rhythm Section enter, before Ann’s emotive vocal enters. Ann’s accompanied by blazing horns Rhodes, Chalmers, and Rhodes, the legendary trio of backing vocalists. The arrangement is punctuated by percussion throughout the track, repeating the same groove. However, this slightly spoils the arrangement, but Ann’s sultry sounding vocal, impassioned and laden with emotion that steals the show, resulting in a good track to open the album,.
The tempo drops on I Don’t Lend My Man, a track that’s much better than the opening track. Here, we hear Ann delivering her vocal with a warning, that says hands of her man because “I Don’t Lend My Man.” As she delivers her warning, the arrangement is slow, with a Hammond organ, rhythm section and rasping horns providing a moody backdrop for her vocal. Backing vocalists accompany Ann, their vocals drifting in and out of the track, while the Hammond organ, rhythm section and horns are almost ever-present throughout the track. Although the opening track was good, this is a much better track, one with a really slow Southern Soul sound thanks to Willie Mitchell’s production and of course Ann’s vocal.
I Needed Somebody is another slow track, one that very definitely has its roots in Memphis. Here, Ann’s vocal is tinged with regret, sadness and guilt, because she needed somebody, and had an affair. She’s accompanied by a slow, thoughtful rhythm section, Hammond organ and saxophone solo that drifts above the arrangement throughout the track. Later, Ann’s vocal grows in power, and Rhodes, Chalmers, and Rhodes contribute subtle and gentle backing vocals. While Ann’s vocal is full of sadness and guilt, the saxophone and Hammond organ both add an atmospheric sound to one of the best arrangements on Tellin’ It. When this arrangement is combined with the guilt and regret in Ann’s voice this is a compelling and beautiful combination, especially if you listen closely to the lyrics.
Earl Randle cowrote Stand By Woman with Orielle Roberts and it’s a track with a quite different sound to the two previous tracks. It has more in common with the opening track Tell Mama. The song features lush strings, a flute, Hammond organ and the rhythm section accompanying Ann’s tender byt confident vocal. Here, the rhythm section produce a slightly “swampy” sound. However, this combines well with the Hammond organ, while the slow, lush strings and flute are both welcome additions, that add to the track. Although the track that has a quite different sound to other tracks, it’s still a quality slice of Southern Soul from Ann Peebles.
Closing Side One of Tellin’ It is a really sad sounding song, one tinged with regret and heartache It Was Jealousy. The tempo is slow, with an arrangement that combines the emotive sound of a Hammond organ, sad strings and rasping horns with the legendary Hi Rhythm Section. Together they play slowly, resulting in the saddest of backdrops for Ann’s vocal, that’s full of regret and heartache. Her regret is caused by having left her lover because of her jealousy. As Ann delivers the lyrics horns punctuate the arrangement, while the Hammond and strings combine to reflect the sadness in Ann’s voice. This is hugely effective and works really well, resulting in the best track of Side One of Tellin’ it, one with a stunning Willie Mitchell arrangement.
Opening Side Two of Tellin’ It is a much quicker track Dr Love Power. WIth the Hi Rhythm Section driving the track along, augmented by braying horns, percussion and Hammond organ, they provide the perfect backdrop for Ann’s sassy vocal. Rhodes, Chalmers, Rhodes provide gospel tinged and influenced backing vocals that soar in and out of the track. This is a very different, much quicker track, one that’s hugely catchy and full of hooks, as it swings along brilliantly.
Very different, but just as good is You Can’t Hold A Man, a slow, sad song co-written by Willie Mitchell and Earl Randle. It opens with the rhythm section, wailing, atmospheric and sad sound of the Hammond organ combining with slow, lush strings. When Ann’s vocal enters, it’s tinged with regret, with an almost worldly and weary sound, perfect for the track. The cause of this is a failed relationship, caused by jealousy and possessiveness. Adding to the song’s sadness is the subtle, gentle backing vocals that accompany Ann, as the arrangement grows in drama. Blazing horns, slow strings, the Hammond organ and drums combine to create this dramatic backdrop, while, Ann’s vocal almost becomes a mini vamp. As I said earlier, it’s very different to the previous song, but is just as good, and is a track tinged with drama, regret and heartache.
Blazing horns, a driving rhythm section and Hammond organ combine with Ann’s emotive vocal as Beware bursts into life. Written by Earl Randle, this was one of the two singles released from Tellin’ It and is a track with an authentic Southern Soul sound. Ann’s vocal is strong, full of frustration at people talking behind her back about her man. Meanwhile the arrangement drives along, with horns punctuating the track, while Rhodes, Chalmers, Rhodes contribute punchy, yet soulful backing vocals. When you combine the quicker tempo, emotive vocal and horn laden, driving arrangement, you’ve all the ingredients for a great track, which this very definitely is.
Even when I hear the opening bars of Put Yourself In My Place, this track could only have been recorded at Hi Records. It has their trademark sound, plus a frustrated, angry vocal from a weary Ann. Horns blaze throughout the track, while the Hi Rhythm Section, Hammond organ and piano combine, playing slowly and with passion. Together, they provide a backdrop that matches the emotion, anger and frustration in Ann’s vocal. What makes this such a great track, is the slow tempo set by the rhythm section, the blazing horns and the frustration and despair in Ann’s voice.
The final track on Side Two of Tellin’ It, is Love Played A Game, a much slower track, again with the trademark Hi Records’ sound. A combination of rhythm section, Hammond organ and braying horns accompany Ann’s powerful and emotive vocal. Her voice soars high above the arrangement, while backing vocalists accompany her. Meanwhile, the rhythm section and horns drive the track along, creating a somewhat moody and atmospheric backdrop for Ann’s vocal, which seems tinged with sadness, regret and even frustration. This was one of two tracks co-written by Ann, demonstrating that she’s more than a hugely talented singer, but also a talented songwriter too. Here, she delivers her lyrics beautifully, against yet another, great arrangement from producer Willie Mitchell. This almost seems a fitting way to end Ann’s fifth album Tellin’ It.
Overall, Tellin’ It was a quality album from Ann Peebles, and was a worthy successor to her most successful album I Can’t Stand the Rain. Although it didn’t have a huge hit single like I Can’t Stand the Rain, the album featured a number of great songs, written by among others Earl Randle and Willie Mitchell and Don Bryant and Ann herself. Really there aren’t any poor tracks on the album, with
I Needed Somebody, It Was Jealousy, Dr Love Power and Beware among Tellin’ It’s highlight. The only track I wasn’t sure about was Come To Mama, one of the two singles released from the album, which wasn’t one of my favorite tracks. What the album does have is some great production from Willie Mitchell, while the Hi Rhythm Section, Memphis Strings, Memphis Horns and Chalmers, Rhodes and Chalmers all contribute towards making Tellin’ It a great album, which is very definitely, a worthy successor to Ann’s most successful album I Can’t Stand the Rain. Not only that, but here, Ann’s voice is a combination of emotion and passion, and heartache and pain. She brings each of the ten songs to life, delivering the lyrics as if she’s lived the lyrics herself. That’s what makes Ann Peebles such a talented and versatile vocalist. If you’ve never heard this album before, I can thoroughly recommend Tellin’ It to anyone who loves either Southern Soul music or Ann Peebles music. To me, this is one of the best of the seven albums Ann Peebles released on Hi Records. Standout Tracks: I Needed Somebody, It Was Jealousy, Dr Love Power and Beware.
ANN PEEBLES-TELLIN’ IT.
TEDDY PENDERGRASS-IT’S TIME FOR LOVE.
TEDDY PENDERGRASS-IT’S TIME FOR LOVE.
When I was reviewing Dimitri From Paris’ Philly Sound compilation Get Down With the Philly Sound, the compilation featured five tracks from one of my favorite soul singers Teddy Pendergrass. This included two tracks from Teddy’s debut solo album Teddy Pendergrass, plus a trio of tracks from Teddy’s old group Harold Melvin and The Blue Notes. After I’d finished reviewing Get Down With the Philly Sound, I thought I’d revisit one of Teddy’s solo albums, It’s Time For Love, released in September 1981. It’s Time For Love was Teddy’s fifth solo album since his debut album Teddy Pendergrass. Each of these four albums had been certified platinum, turning Teddy into one of the biggest soul singers of that time. Could his fifth album It’s Time For Love match the success of his four previous albums?
Having left Harold Melvin and The Blue Notes, Teddy Pendergrass had released his first solo album Teddy Pendergrass in June 1977. The album reached number seventeen in the US Billboard 200 and number six in the US R&B Charts, giving Teddy the first of a quartet of platinum discs.
Life Is A Song Worth Singing was released a year later, in June 1978. On its release, the album reached number eleven in the US Billboard 200 and number one in the US R&B Charts. By now, Teddy was surpassing not only a soul superstar, but the biggest artist on Philadelphia International Records. Could Teddy surpass the success Life Is A Song Worth Singing with his next album?
The answer to that is yes. When Teddy was released in June 1979, it featured some stunning music, including bedroom ballads like the Gamble and Huff penned Turn Off the Lights, which was the second single released from the album, reaching number forty-eight in the US Billboard 100 and number two in the US R&B Charts. On Teddy’s release, it managed to surpass the success of previous two albums, reaching number five in the US Billboard 200 and number one in the US R&B Charts.
Following Teddy, was TP, released in July 1980. This featured two duets with Stephanie Mills, Take Me In Your Arms Tonight and Feel the Fire. Also on the album was a classic Teddy Pendergrass track Love T.K.O., which gave Teddy a hit in 1981, reaching number forty-four in the US Billboard 100 and number two in the US R&B Charts. When TP was released, it provided Teddy with his fourth consecutive platinum disc, reaching number fourteen in the US Billboard 200 and number three in the US R&B Charts. After a quartet of critically acclaimed and hugely commercially successful albums, would his next album match the success of Teddy’s four previous albums?
Like Teddy’s four previous albums, It’s Time For Love was recorded at Sigma Sound Studios in Philadelphia. With M.F.S.B. Mk 2 backing Teddy, eight tracks were recorded. Six of the tracks were co-written by Gamble and Huff, while Barry Mann and Cynthia Weil contributed She’s Over Me. Of the eight tracks, four were produced by Gamble and Huff, two by Thom Bell and one apiece by Sherman Marshall and Gene McFadden. Some of Philadelphia International Records best arrangers worked on the album, including Jack Faith, John Usry and Dexter Wansel. With such a talented and creative group of people working on It’s Time For Love would it match the success of Teddy’s previous albums?
On the release of It’s Time For Love in September 1981, the album was well received by critics, who loved the album. It’s Time For Love proved successful reaching number nineteen in the US Billboard 200 and number six in the US R&B Charts, resulting in a gold disc for Teddy. Although the album didn’t do as well as previous albums, the music was still as good. Three singles were released from It’s Time For Love, with I Can’t Live without Your Love reaching number ten in the US R&B Charts, while You’re My Greatest Inspiration reached number forty-three in the US Billboard 100 and number four in the US R&B Charts. The final single was Nine Times Out of Ten/The Gift of Love, which reached number thirty-one in the US R&B Charts in 1982. Overall, It’s Time For Love had proved successful for Teddy Pendergrass, but what does the music on the album sound like? That’s what I’ll now tell you.
It’s Time For Love opens with I Can’t Live Without Your Love, the first of three singles released from the album. Produced by Leon Huff, it’s a slow ballad with shimmering strings, piano and a subtle rhythm section combining, before a heartbroken Teddy enters. His vocal is full of sadness and regret, while the understated arrangement reveals itself. That arrangement is perfect for his vocal, growing in drama, but full of emotion and sadness. With swathes of sad strings, piano and rhythm section accompanying him, Teddy gives a stunning vocal, laden with emotion and heartache, resulting in one of the album’s highlights.
Following one slow song, is another You’re My Greatest Inspiration, the second single released from It’s Time For Love. Teddy’s vocal has a tenderness, on this beautiful ballad, where he sings of his love for the woman in his life. With chiming guitars, piano, lush strings and a subtle rhythm section combining, this is another “bedroom ballad” from Teddy, with a similar tempo and feel to the opening track. Percussion joins the track, while a Hammond organ adds an atmospheric sound and drums add brief bursts of drama. Later backing vocalists accompany Teddy’s impassioned vocal. As the song progresses, Teddy’s vocal just gets so much better, the passion and emotion in his voice shining through as his voice grows in power. Like the previous track, this is a fantastic track from Teddy, again written and produced by Gamble and Huff and arranged by Leon Huff and Jack Faith, one of Philadelphia International’s best arrangers.
Nine Times Out of Ten sees the tempo increase, and sees Teddy deliver the vocal with a combination of tenderness and passion. It’s another love song, about his love for his partner and how he needs her “more and more.” Against a backdrop where strings play an important part in the arrangement, piano, percussion, chiming guitars and the rhythm section combine to create an arrangement that’s starts of with an understated sound, building and building, but never overpowering Teddy’s vocal. With backing vocalists harmonising in the background, Teddy combines emotion and passion, with a sense of need and vulnerability. This demonstrates how Teddy could bring the lyrics to life, almost making you believe in his delivery of the story behind the song. When this is combined with Gamble and Huff production skills, and Leon Huff and Jack Faith’s arrangement the result is a very special and very beautiful and emotive track.
Closing Side One of It’s Time For Love is Keep On Lovin’ Me the fastest song on Side One. It’s a dance-floor friendly track, that sees a punchy, dramatic rhythm section combine with chiming guitars, swirling strings and handclaps, before Teddy’s vocal enters. He delivers the lyrics quickly, while female backing vocalists accompany him. The arrangement is quick and catchy with blazing horns, percussion and keyboards joining the track. When they’re combined with the swirling strings, rhythm section and guitars, they drive the track along, with drama interspersed throughout the track. However, good as the Dexter Wansel’s arrangement is, Teddy’s vocal steals the show, on a track the would still fill a dance-floor with it’s quick tempo and contemporary sound.
Side Two of It’s Time For Love is another love song, the title track It’s Time For Love, written and produced by Gamble and Huff and arranged by Leon Huff. It’s another “bedroom ballad”, with a slow sultry sound. A sensuous saxophone drifts above the arrangement, while the rhythm section, handclaps and chiming guitars punctuate the track. Later, backing vocalists accompany a Teddy’s sensual vocal, which grows in power and passion as the song progresses. To me, this is what Teddy Pendergrass did so well, sing love song, and like I Can’t Live Without Your Love which opened Side One, this too, is one of the album’s best tracks.
The tempo drops way down on She’s Over Me co-written by Barry Mann and Cynthia Weil. This is a hugely sad and emotional track, with Teddy singing about how his ex-girlfriend is over him. Here, the slow tempo suits the track, as does the subtle arrangement, that eventually grows in power. The track opens with synths and keyboards, before Teddy’s sad vocal enters. A harp, sad and lush strings and then the rhythm section enter. Drums add to drama and emotion of the track, as strings and female backing vocalists play an important role in the arrangement. Later, a searing guitar solo takes centre-stage in Dexter Wansel’s arrangement. However, the guitar solo seems not to add anything to an already good arrangement, and if anything, breaks up the flow of the arrangement. However, it’s still a good track, co-produced by Teddy with Dexter Wansel full of emotion and sadness.
I Can’t Leave Your Love Alone is a mid-tempo, dance-floor friendly track, where Teddy’s powerful vocal is accompanied by soaring female backing vocalists and blazing horns. Adding to this stomping, funk tinged arrangement from Leon Huff and George Howard, are the funkiest of bass lines, punchy drums and swirling strings. Horns punctuate the track, adding brief bursts of drama, while flourishes of piano and Hammond organ augment the track, adding to what’s a fantastic, dance-floor friendly track, featuring a powerful and emotive vocal from Teddy. Not only that, bit it features a great production from Gamble and Huff, and one of the best arrangements on the album.
Closing It’s Time For Love is another of the faster tracks, You Must Live On. It opens with dramatic bursts of drums and horns, while guitars and keyboards give way to the lushest of string and Teddy’s vocal. It veers between tender and powerful, sometimes in the space of a few bars. With backing vocalists, piano, strings, horns and the rhythm section accompanying him, the track combines a lush sound with bursts of drama. Meanwhile, Teddy’s vocal is a mixture of regret and passion, as the arrangement is driven along, by the rhythm section. However, the strings are key to the lush and sad sound of the arrangement, and help provide the perfect backdrop for Teddy’s vocal. Produced by Gamble and Huff and arranged by Leon Huff and Jack Faith, this is the perfect song to close the album, one that combines emotion, passion and sadness and features one of Teddy’s trademark vocals. What more could anyone ask for?
Although It’s Time For Love wasn’t as successful as Teddy Pendergrass’ four previous albums, it’s still an album full of some stunning music from Teddy. Mind you, when I say it wasn’t as successful as other albums, it still sold over half a million copies, resulting in a gold disc for Teddy Pendergrass. On It’s Time For Love, there are six tracks tracks written by Gamble and Huff, who produced five of the tracks on the album. Teddy Pendergrass also co-produced two of the tracks with Dexter Wansel. It’s Time For Love is an album that I can honestly say doesn’t have one bad track on it. That’s testament to not only Teddy, but everyone at Philadelphia International Records. Tracks like the bedroom ballads I Can’t Live Without Your Love, You’re My Greatest Inspiration and dancers like Keep On Lovin’ Me and I Can’t Leave Your Love Alone, not only prove the quality of music on the album, but also the different styles of music. Truly, It’s Time For Love was a combination of Teddy’s immense talent, and also the talented team of people who worked on It’s Time For Love. During this time, there were fortunate to have some hugely talented and creative people working at Philadelphia International Records. Not long after It’s Time For Love was completed, Teddy’s management announced that Teddy would be leaving Philadelphia International Records after his contract expired in early 1982. However, not long after this announcement, Teddy’s life changed dramatically, and suddenly music and contracts seemed unimportant.
Tragedy struck for Teddy in March 1982, changing his life forever. He was involved in road traffic accident that left him a paraplegic. Amazingly, through sheer courage, Teddy was able to make a comeback, continuing to release albums on Philadelphia International Records until 1983. Not long after his horrific accident, Teddy released This One’s For You in July 1982, which didn’t do as well commercially, reaching number fifty-nine in the US Billboard 200 and number six in the US R&B Charts. Later, having left Philadelphia International Records in 1983,Teddy signed for Asylum, releasing Love Language in November 1984. When Teddy left Asylum, he signed for Electra, releasing Joy in November 1998. Teddy released his final studio album You and I in April 1997, although he’d release a Christmas album in 1998 and two live albums in 2002 and 2009. However, It’s Time For Love was the last great album Teddy released for Philadelphia International Records and in my opinion, was the last great album Teddy released. If you’ve never heard It’s Time For Love, then this is the chance to hear Teddy Pendergrass at his very best, singing a mixture of bedroom ballads and dance-floor friendly tracks. Standout Tracks: I Can’t Live Without Your Love, You’re My Greatest Inspiration, It’s Time For Love and I Can’t Leave Your Love Alone.
TEDDY PENDERGRASS-IT’S TIME FOR LOVE.
DIMITRI FROM PARIS-GET DOWN WITH THE PHILLY SOUND.
DIMITRI FROM PARIS-GET DOWN WITH THE PHILLY SOUND.
For anyone who like me who is a huge fan of Philadelphia International Records, 2012 is going to be year to enjoy. A number of compilations, box sets and live albums are being released to celebrate the fortieth anniversary of Kenneth Gamble and Leon Huff founding Philadelphia International Records in 1971. The first album released by Gamble and Huff’s new label was Billy Paul’s debut album Going East in October 1971. In 1972, forty years ago, Philadelphia International Records released a trio of stunning albums, Harold Melvin and The Blue Notes I Miss You, The O’Jays Back Stabbers and Billy Paul’s second album 360 Degrees of Billy Paul. Quickly, Philadelphia International Records became one of the most important and influential record labels in music, giving birth to the Philly Sound. Since then, many people, myself included, have fallen in love with the Philly Sound. For me, it’s been a lifelong love affair, that’s seen me buy countless albums, box sets and compilations. With so many albums and compilations to choose from, I’ve written a number of articles on the best albums and compilations telling you about the best ones available. This is the latest installment of this series, where I’ll tell you about another great Philly Sound compilation, but one with a twist, Get Down With the Philly Sound compiled by Dimitri From Paris, a double album released on BBE Music in May 2010.
Although the album is entitled Get Down With the Philly Sound, it’s important to mention that not all the tracks on the album were released on the Philadelphia International Records label. The reason for this is quite simple. When Dimitri From Paris was growing up, like so many people, he loved disco music and noticed that he could hear a similar sound to Gamble and Huff’s Philly Sound on other labels. Back then, twelve inch singles and even some albums, didn’t tell you who played on a track or album. What Dimitri and probably many people didn’t realize, is that the same musicians that played on Philadelphia International Records, also played on tracks on labels like Salsoul, Motown, SAM and Atlantic Records. This included musicians like the Baker, Harris, Young rhythm section who played on so many of the Philly Sound tracks. Bassist Ronnie Baker, guitarist Norman Harris and drummer Earl Young were the legendary rhythm section that played on albums by The O’Jays, Billy Paul, The Detroit Spinners and Harold Melvin and The Blue Notes to name but a few. They were joined by among others, guitarist Bobby Eli, organist Lenny Pakula, Don Renaldo’s string and horn section and vibes player Vince Montana Jr. Not only did these musicians play on Philadelphia International Records recordings as M.F.S.B. but recorded a number of successful albums. Later, they left Philadelphia International Records to become the Salsoul Orchestra, where they played on some of the greatest records of the disco era. This is why the same unique sound kept being heard by Dimitri From Paris on the twelve inch singles he was listening to. So, the music on Get Down With the Philly Sound isn’t all from Philadelphia International Records, but is from several labels. However, what tracks feature on Get Down With the Philly Sound? That’s what I’ll now tell you.
DISC ONE.
On Disco One of Get Down With the Philly there are six tracks from the Philadelphia International label, with Teddy Pendergrass featuring on four of them. Two of the tracks are from his 1977 debut album Teddy Pendergrass, while the other three come from his time as lead singer with Harold Melvin and The Blue Notes. The other track is from The Jacksons, who signed to Philadelphia International after Michael became a solo artist. Of the other seven tracks, there’s a real Philadelphia International connection, with both Earl Young and Norman Harris of M.F.S.B. members of The Trammps. Their classic track The Night the Lights Went Out features on Get Down With the Philly Sound. Next, I’ll tell you about the tracks that feature on Disc One, starting with the man who features five times, Teddy Pendergrass.
On Get Down With the Philly Sound Teddy Pendergrass opens the album and features on four of the tracks. Teddy’s first contribution is You Can’t Hide From Yourself, from his debut solo album Teddy Pendergrass, released in June 1977. It reached number seventeen in the US Billboard 200 and number five in the US R&B Charts resulting in the album being certified platinum. You Can’t Hide From Yourself was co-written by Gamble and Huff and released as a single in 1977, reaching number seven in the US Dance Charts. It’s an uptempo track, laden with energy and drama, featuring swirling strings, blazing horns and punchy drums. Add to that Teddy’s joyous, sometimes vamping vocal accompanied by female backing vocalists and you realize that this track is more than a little special. Why it didn’t do better on it’s release as a single has always puzzled me.
Another track from Teddy’s debut album is The More I Get, The More I Want. This is very different sounding track to You Can’t Hide From Yourself, but like that track, is perfectly suited for the dance-floor. Not only that, but it has a proto-house sound, allowing listeners to see how the Philly Sound and disco music directly influenced house music. It’s a slightly quicker track, at 125 beats per minute with a stunning arrangement where M.F.S.B. demonstrate their importance contributing a funk drenched bass, rasping horns, percussion, chiming guitars and sweeping strings. M.F.S.B. accompany Teddy as he delivers the vocal with a combination of charisma, power and passion. This results in a catchy, joyous and ultimately timeless track, one that demonstrates just how talented Teddy Pendergrass was as a singer.
Harold Melvin and The Blue Notes contribute a trio of tracks to Get Down With the Philly Sound. These tracks were recorded during their classic years, when Teddy Pendergrass was lead singer. The first of these is Bad Luck from their 1975 album To Be True, released in February 1975, when the album reached number twenty-six in the US Billboard 200 and number one in the US R&B Charts, giving the group their first US gold disc. Bad Luck was the second single released from the album, reaching number fifteen in the US Billboard 100, number four in the US R&B Charts and number one in the US Dance Charts.
Tell the World How I Feel About Cha is an interesting choice from Wake Up Everybody, as most compilers tend to overlook this track when choosing tracks from Wake Up Everybody. So to see Tell the World How I Feel About Cha feature on this compilation makes a nice change. When Wake Up Everybody was released in November 1975, by Harold Melvin and The Blue Notes the album reached number nine in the US Billboard 200 and number one in the US R&B Charts, Tell the World How I Feel About Cha was the second single taken from the album reaching number ninety-four in the US Billboard 100, number seven in the US R&B Charts and number four in the US Dance Charts. To me, this has always been a track that’s been underrated and overlooked by compilers, to well done to Dimitri for including this classic track here. This is a joyful, feel-good track, one that melodic and dramatic. Here, Teddy is transformed into soul man number one, as he delivers the track with combination of emotion, passion and power, while the rest of the group contribute beautiful, uplifting harmonies. The arrangement is driven along by the Baker, Harris, Young rhythm section, while strings sweep and swirl and blazing horns punctuate the track. Together with Teddy’s impassioned vocal, this is a stunning track from Wake Up Everybody, the final album to feature Teddy’s vocals.
Of the trio of Harold Melvin and The Blue Notes’ tracks, my favorite is The Love I Lost from their Black and Blue album released in September 1973, reaching number fifty-seven in the US Billboard 200 and number five in the US R&B Charts. On The Love I Lost’s release as a single, it reached number seven in the US Billboard 100 and number one in the US R&B Charts. The song was originally meant to be a ballad, but was speeded up, with Teddy asked to deliver the track with a swagger. This he does with aplomb, delivering the track with a mixture of drama, sadness and regret while rest of the group contribute sweet, tight harmonies. M.F.S.B. play their part in the song’s success, with the Baker, Harris Young rhythm section combining with Lenny Pakula’s organ playing, while the lushest of strings and blazing horns both play important roles in this stunning arrangement. Like the other tracks on Black and Blue, it’s Harold Melvin and The Blue Notes at their very best. Quite simply, this is one of the highlights of Get Down With the Philly Sound.
After The Jacksons left Motown, they signed to Philadelphia International, where they worked with Gamble and Huff. On Get Down With the Philly Sound, Dimitri includes a track, written, arranged and produced by Dexter Wansell, Living Together. This was from their tenth studio album The Jacksons released in November 1976. It reached number thirty-six in the US Billboard 200 and number six in the US R&B Charts. Amazingly, it was the group’s first gold album, although they’d previously sold over ten million albums when contracted to Motown. Living Together was never released as a single, but is a track that’s perfect for any dance-floor. With a tempo of 132 beats per minute, and all swirling strings, braying horns, flourishes of piano and a vocal from Jackie Jackson. Later, the vocal changes hands, each member of the group getting their chance to take centre-stage.Of course, there’s some subtle, sweet harmonies from the rest of the group, which when added to the string laden arrangement is a potent combination. Another thing that makes this such a great track are Dexter’s lyrics about peace and everyone living together peacefully.
Although not a Philadelphia International group, The Trammps have an important connection to the label, with Earl Young and Norman Harris of M.F.S.B. both members of the group. With so many great tracks to choose from, Dimitri chooses one of my personal favorites, The Night the Lights Went Out. This was a song about the power cuts that affected New York in July 1977, and was from their 1977 album Trammps III. Produced by Ronnie Baker, Norman Harris and Earl Young, this is another example of the Philadelphia International connection. On its release, the single reached number eighty in the US R&B Charts, while the album reached number forty-six in the US Billboard 200 and number sixteen in the US R&B Charts. It’s a track with a dramatic opening, the rhythm section, punchy, blazing horns and grand, sweeping strings. After that, a dramatic, powerful vocal enters, while the rhythm section drives the stirring, punchy track along, while the horns blaze and strings swirl frantically. Similar to the power cuts that swept New York in July 1977, The Night the Lights Went Out is a dramatic track, and unlike that night, it’s bristling with energy.
Two other tracks on Get Down With the Philly Sound, a trio of tracks deserve mention. The first is the title track Night and Day from John Davis and The Monster Orchestra’s 1976 album Night and Day. Released on the SAM label, it’s a track that has been influenced by the Philly Sound, featuring a funk drenched rhythm section, grand and lush strings and blazing horns that punctuate the track. They give way to some sweet and beautiful female vocals, that like the percussion and keyboards, drift in and out this disco track. This an absolutely irresistible track, laden with hooks and features a great arrangement from John Davis.
It’s fitting that my final choice from Disc One is of Get Down With the Philly Sound is a track by TJM. TJM or to give him his proper title Tom Jerome Moulton is a man who many DJs owe a debt of gratitude to, for he invented the remixer, and is known as the godfather of the remix. Back in 1979, Tom released an album TJM. With Arthur Baker one of the songwriters, and a number of musicians playing on the album, including some of M.F.S.B. Mk 2 and The Brotherhood contributing vocals what started as a number of unfinished tracks written by Arthur Baker became an album. Released on Casablanca Records, the album included I Don’t Need No Music. It’s a percussive heavy introduction that gives way to the rhythm section, and piano before a vocal soars in. After that, the strings enter dramatically as the song unfolds, reaching 130 beats per minute. What follows is a classic slice of disco from the godfather of the remix. Like the John Davis’ track, this too has been heavily influenced by the Philly Sound. Although the track is over thirty years old, it still has a timeless and contemporary sound.
Having spent some time reviewing Disc One of Get Down With the Philly Sound, I’ve come to the conclusion that these are thirteen quality disco tracks either from some of the finest proponents of the Philly Sound or artists influenced by the Philly Sound. Among the artists who recorded on Philadelphia International Records and worked with Gamble and Huff were Teddy Pendergrass, Harold Melvin and The Blue Notes and The Jacksons. During their spell on Philadelphia International Records each of these groups enjoyed huge commercial success, helped greatly by the quality of songwriters, musicians, arrangers and producers working at the label. Of the artists influenced by the Philly Sound, you can hear that influence shine through on each of the other seven tracks, but is best demonstrated on tracks from The Trammps, John Davis and The Monster Orchestra and TJM. This trio of tracks especially, almost paid homage to the Philly Sound, but with a disco beat. Many of these tracks are timeless, but how will Dimitri from Paris deal with them on Disc Two where he reedits and blends them?
DISC TWO.
Disc Two of Get Down With the Philly Sound features a total of nine tracks, which Dimitri from Paris has given his own twist. Previously, he’s released a number of compilations and is a vastly experienced DJ and remixer. Incidentally, he isn’t from Paris but from Istanbul, Turkey, where he was born Dimitris Yerasimos. Since starting out as a DJ, he’s worked in radio, released two artists albums, Sacrebleu in 1996 and Cruising Attitude in 2002. As well as all that, he’s found time to release seventeen compilation albums, including Get Down With the Philly Sound. Reading the sleeve-notes that accompany this album, it’s quite clear that Dimitri is a real fan of the music on the album and because of that, he’s almost reverential towards the music. His love of the music shines through, as does Al Kent’s who contributes detailed sleeve-notes about the history of the Philly Sound. So good are the nine tracks on Get Down With the Philly Sound that choosing just a few tracks to review was tough. However, I’ve managed to choose a quartet of tracks, which I consider to be the best of some brilliant tracks.
My first choice is the track that opens Disc Two of Get Down With the Philly Sound, Harold Melvin and The Blue Notes’ The Love I Lost. Now I’ve always loved this track, and remember hearing it on the radio when I was growing up. SInce then it’s remained a favorite, so when I hear people remixing or reediting tracks like this I sometimes hope they don’t spoil the track and the memory. However, I’ve no need to worry here, with Dimitri From Paris’ Super Disco Blend to give the track its full title. The track opens with Teddy vamping, his voice full or heartache, as he testifies about his loss. With just the organ adding atmosphere, fingerclicks and bursts of keyboards, the arrangement gradually builds and builds. Chiming guitars and rhythm section enter, as a heartbroken Teddy sings his heart out. By now, the track unfolds, the tempo quickening, The Blue Notes adding punchy backing vocals, before the track’s beauty reveals itself. From a track lasting only six and a half minutes, a nearly twelve minute epic is born, with the tempo quicker, 130 beats per minute against the original’s 124 beats per minute. What’s amazing is that this track was originally meant to be a ballad. Here, Dimitri adds to the track lengthening parts and adding breakdowns, as if realizing that dancers need a rest during some a lengthy and quick track. Percussive parts are lengthened effectively, while the beats sound crunchier and even Teddy’s vamp is prolonged. The result is a stunning epic where to quote The Beatles in Hey Jude Dimitri’s taken “a good song and made it better.” Maybe good is the wrong word, maybe brilliant is a better word.
Having been really impressed with The Love I Lost, I can’t wait to tell you what Dimitri’s done with The Jacksons Living Together. This is a reedit of the track lasting nearly eight minutes. It opens with crunchy drumbeats, giving way to a driving rhythm section and chiming guitars, augmented by piano, swirling, shimmering strings and blazing horns that punctuate the track. They usher in the joyous vocal from Jackie, before the vocal changes hands, against a punchy and quick arrangement. It’s a hugely catchy track, with the strings, horns and guitars really adding to the track’s uplifting, feel-good sound. It’s a track with a real Philly Sound and is very different to The Jacksons’ previous music. While the original track was only four and half minutes, Dimitri’s reedit transforms the track, adding nearly three and a half minutes to the track. He manages this by clever reediting, extending the best bits of the tracks, with the vocal looped and looped, and just a touch of delay used effectively. Similarly, a guitar solo is transformed into something that any seventies guitar hero would be proud of. All of this and more combine to make one of the album’s real highlights, and for fans of The Jacksons’ this is their music but with a twist.
One other track that deserve a mention include Dimitri’s reedit of Harold Melvin and The Blue Notes Tell the World How I Feel About Cha Baby. He extends the track by one minute and somehow, manages to build on the track’s joyful and uplifting sound, which features a trademark impassioned vocal from Teddy and equally beautiful harmonies from The Blue Notes. Add to this M.F.S.B’s stunning arrangement, with swathes of lush strings and blazing horns aplenty. It’s just a pity Dimitri didn’t turn this into an epic of Homeric proportions, but still, what he’s done is pretty stunning.
Similar to Tell the World How I Feel About Cha Baby, Dimitri adds to the drama and energy of The Trammps The Night the Lights Went Out. With an arrangement that’s drama laden from the opening bars, this is a track ripe for Dimitri’s reediting skills. Key to the arrangement are tightest of rhythm sections, braying horns that punctuate the track, while swathes of grandiose, swirling, sweeping strings add to the track’s energy and drama. A similar drama can be found in a vocal that combines a mixture of power and passion with this drama. Although the track isn’t much longer than original, it’s quite different, and offers a new take on an old classic, one that has made in Philadelphia stamped all over it, albeit one that’s got a Gallic and Grecian influence.
I’ve kept my favorite track until last, Teddy Pendergrass You Can’t Hide From Yourself. This is another of Dimitri’s Super Disco Blends and transforms the track totally. With punchy, soaring backing vocalists repeating gloriously just the one phrase, and the the rhythm section, guitars, percussion and keyboards building round that groove, they give way to a drama laden, powerful vocal from Teddy. As if on cue, the drums signal the track to open up and reveal an arrangement that’s full of blazing horns, grand strings and gospel tinged backing vocalists. However, it’s the rhythm section that drives the track along, while the horns and strings play vital roles in the arrangement. With handclaps, soaring, testifying backing vocalists and Teddy’s charismatic and impassioned vocal sitting atop the dramatic arrangement it’s just an absolutely stunning track, made all the better by Dimitri extending parts of the track, adding breakdowns and generally producing a track that’s pays homage to a true giant of soul, the late, great Teddy Pendergrass.
Although I’ve only chosen five tracks from Disc Two of Get Down With the Philly Sound to review in depth, there’s more that five tracks to this disc. All the nine tracks offer something new and fresh to classic disco tracks. As a fan of the Philly Sound and all the music on Get Down With the Philly Sound, Dimitri has treated each of the nine tracks with love and respect. His mixture of reedits and disco blends offer a contemporary take on some old and much loved tracks. He truly is a talented DJ and remixer, one that loves classic disco music. What I like about having the disc of original tracks on Disc One and Dimitri’s reedits and disco blends on Disc Two, means it allows you to compare the original to Dimitri’s new take on the music. On these two discs you’ll hear tracks from some of the biggest names on Philadelphia International Records like Harold Melvin and The Blue Notes, Teddy Pendergrass and The Jackson, alongside tracks influenced by the Philly Sound. This includes The Trammps, John Davis and The Monster Orchestra and TJM, among many others. So, in the year that Philadelphia International Records is celebrating its fortieth anniversary, Get Down With the Philly Sound allows you to hear some stunning disco music from some of the finest purveyors of the Philly Sound and others influenced by its sweet and soulful sound. Standout Tracks: Harold Melvin and The Blue Notes’ The Love I Lost, The Jacksons Living Together, Harold Melvin and The Blue Notes Tell the World How I Feel About Cha Baby and Teddy Pendergrass You Can’t Hide From Yourself.
DIMITRI FROM PARIS-GET DOWN WITH THE PHILLY SOUND.
CHOCOLATE MILK-ACTION SPEAKS LOUDER THAN WORDS.
CHOCOLATE MILK-ACTION SPEAKS LOUDER THAN WORDS.
During their career, Chocolate Milk recorded with both Allen Toussaint and Paul McCartney and released eight albums. Of these eight albums, their debut album Action Speaks Louder Than Words is probably the best known. Released in 1975, Action Speaks Louder Than Words is a mixture of funk and soul. Since then, it’s become a favorite of hip hop artists, sampled by Eric B. Rankin, Move the Crowd and Stetsasonic. However, there was much more to Chocolate Milk than just soul and funk, with the group also recording a number of disco hits including their 1981 hit Blue Jeans. Sadly, disco was one of the reasons the group split up in 1983. Along with the decline in popularity of disco, as well as changes in producers and personnel, Chocolate Milk split-up in 1983. Although they’d only been formed in 1974, Chocolate Milk had packed a lot into just nine years.
Formed in 1974 by saxophonist Amadee Castenell Jr. in Memphis, Tennessee, the band headed to New Orleans, where they became the house band for legendary songwriter and producer Allen Toussaint. In doing so, they replaced The Meters, so had a hard act to follow. Signing with RCA Records, the band started recording what would become their debut album Action Speaks Louder Than Words.
Recording of Action Speaks Louder Than Words took place at the Sea-Saint Recording Studio in New Orleans. With Allen Toussaint and Marshall Sehorn producing the album, a total of ten tracks were recorded. Using a mixture of traditional and the nascent technology that was available, the group recorded a combination of soul and funk tracks. On the album a tight rhythm section combine with a brass section and instruments like the Fender Rhodes and clavinet, plus percussion aplenty. New technology like the Moog Bass was used on the album, and can be best heard on the opening track Actions Speak Louder Than Words. On that track, Chocolate Milk revealed an important side to their music, politics. Like many groups, some members of Chocolate Milk were schooled in jazz, and with this jazz background went a political angle. Chocolate Milk, like many artists before them, released music with a message. Around this time, Gil Scott Heron, was making music with a political message, and like his music, their debut single seemed to strike a chord with people, and proved to be popular when released as a single.
Released in June 1975, Action Speaks Louder Than Words reached number thirty-eight in US R&B Charts. This was pretty good for a group that had only been formed a year ago. Adding to this success, was their debut single, Action Speaks Louder Than Words. When it was released as a single, it reached number fifteen in the US R&B Charts and number sixty-nine in the US Billboard 100. Sadly, the follow-up single My Mind Is didn’t fare so well, failing to chart. However, overall, Action Speaks Louder Than Words had been a success for the newly formed group, who’d go on to release a further seven albums.
Chocolate Milk’s next album was their eponymous album Chocolate Milk, released in 1976. 1977 was a busy year for Chocolate Milk, releasing two albums We’re All In This Together and Comin.’ On We’re All In This Together, was one of their best known singles Girl Callin’.
After a gap of two years Milky Way was released in 1979. It featured another classic Chocolate milk single, Say Won’t Cha. This was the last Chocolate Milk album to feature Allen Toussaint as producer. He and Chocolate Milk went their separate ways in 1980.
With a new producer George Tobin in tow, Chocolate Milk recorded their sixth album Hipnotism. It was released in 1980 and featured another of the group’s best known singles I’m Your Radio.
Blue Jeans was Chocolate Milk’s penultimate album and was released in 1981. It saw another new producer working with the group, Allen A. Jones. The album saw a change in style from Chocolate Milk, demonstrated in and one the group’s singles, disco. For some time Chocolate Milk had been releasing disco tracks, and Blue Jeans was their biggest disco hit. However, with disco starting to become less popular, changes in the group’s personnel and losing Allen Toussaint as producer, the group would only record one further album.
Friction was released in 1982, and was maybe an apt title, given the band would split up a year later. Again the album was produced by Allen A. Jones, his second album as producer. However, after the release of Friction, the band decided to call it a day in 1983. Like I said earlier, they’d packed a lot into just nine years. After all, how many modern bands record nine albums in seven years, never mind nine albums in their career? Chocolate Milk managed to do so, and of these eight albums, one of the best is Action Speaks Louder Than Words, which I’ll now tell you about.
Action Speaks Louder Than Words opens with the title track, Action Speaks Louder Than Words. It’s funk, but funk with a political message. The track has a slow moody sound, built around a Moog bass line, with percussion, funky rhythm section and searing guitars accompanying the punchy vocal. With Frank Richard’s vocal almost a call for action not dialogue, the track starts to build. While keyboards, Moog bass and the rhythm section envelop his vocal, the rest of the group contribute backing vocals. Both the lead and backing vocals float in and out of the track, a mixture of frustration and anger, while the funkiest of backdrops brilliantly reveals itself. Like the music of Gil Scott Heron this is music with a message, a message that’s still relevant over thirty-six years later.
Time Machine has a very different slightly spacey sound. It’s a much more soulful sounding track, one about escapism, with a haunting, emotive vocal from Frank. The rhythm section combine with horns while percussion and guitars combine. Stabs of keyboard punctuate the track, while the track reminds me slightly of Andy Bey’s Experience and Judgement album. Later, blazing horns combine with the rhythm section, guitars and keyboards, revealing the jazzy side to Chocolate Milk. This demonstrates the versatility of the group, that they can flit from funk to soul and jazz seamlessly. Add Frank Richard’s vocal to the equation, and this spacey sounding track that merges soul, funk and jazz is truly something to behold.
The second single released from Action Speaks Louder Than Words was My Mind Is Hazy, which amazingly failed to chart. This seems strange, given just how great a track it is. It demonstrates the funky side of Chocolate Music, and is some of the best mid-seventies funk you’ll hear. What makes this such a great track, is how tight and talented a group they were. It’s got a real searing funky groove, that brings to mind vintage Sly and The Family Stone. The dirtiest of funky grooves is exploited by the rhythm section, while rasping horns drench the arrangement, and Frank sings about the intoxicating charms of a woman he knows. Augmenting his vocal are breathy backing vocals, while wah-wah guitars, punchy horns and a plentiful supply of percussion combine with a driving Sly Stone influenced rhythm section. As the track progresses, Frank’s vocal is transformed into a howl, so intoxicated is he. It’s a mesmerizing and indeed intoxicating track, that’ll have you totally transfixed.
On Confusion the group’s jazz schooling is very noticeable. During this breakneck funk drenched jam, Chocolate Milk use their jazz background to good use. The track has a complicated structure, with the track having more twists and turns than the average maze. Up and down the keyboards and fretboards the band go, funk and jazz combining, in what almost resembles a high speed car chase, with Frank’s vocal sitting atop. Driving the track along are the rhythm section, while keyboards and blazing horns combine with searing guitars. You can’t help but admire Chocolate Milk’s talent and versatility, in being able to cope with such a complicated track, and managing to play it with such ease. Goodness knows how many takes the track requires, but what I can tell you is that there isn’t a bum note anywhere. For that Chocolate Milk deserve your congratulations.
Closing SIde One of Action Speaks Louder Than Words is Pretty Pimpin’ Willie sounds like something you’d expect in a vintage Blaxploitation movie when the track opens. With the sound of traffic and horns a hooting, Pretty Pimpin’ Willie makes his strutting appearance, to a funk laden backdrop of braying horns, rhythm section and wah-wah guitars. Frank’s vocal is full of charisma and bravado, all roars, hollers and bluster. While other members of the group contribute backing vocals, a meandering and moody slice of funk reveals gradually itself. It’s a track that’s one part funk track, one part Blaxploitation movie waiting to be made.
Opening Side One of Action Speaks Louder Than Words is Tin Man, a track originally recorded by America. The track’s inclusion was an attempt to give the album crossover appeal. Although the track has a lovely sound, opening with keyboards, percussion and rhythm section, giving way to a flute and then Frank’s emotive vocal, it’s quite different in style from the other tracks. However, the track has a floaty, laid-back sound, with the lyrics having a somewhat quaint folky sound, with its mention of Sir Galahad. Having said all that, Frank’s vocal really suits the track, and with a more understated arrangement, we see a different side of Chocolate Milk.
It’s a case of from the sublime to the ridiculous, with Chocolate Pleasure being as far removed from Tin Man as you could get. From folksy lyrics, to lyrics about a lover’s sexual ability, how different can you get? This track might have sat better next to Pretty Pimpin’ Willie, given the two track’s similarities. Here, a searing bass line, punchy drums, keyboards, flute and guitars combine, to create a repetitive groove that they seek to exploit fully. Having discovered a driving catchy groove, they build upon it, adding Frank’s preening vocal to it, while the group contribute tight harmonies. Above the arrangement floats a flute, which adds another dimension and sound to the track. Although it’s the complete opposite of its predecessor, it’s a catchy, albeit repetitive slice of strutting, preening funk.
People sees Chocolate Milk combine elements of funk and soul with a gospel tinge. Imagine a driving funk track with a New Orleans influence and gospel influenced lyrics that open the track. A chant of “ask God forgiveness,” opens the track. Later Chocolate Milk sing “if you want saved,” demonstrating the track’s gospel influence. Meanwhile, rasping horns, funky wah-wah guitars and rhythm section, combine with squelchy keyboards as the track meanders along. Above the New Orleans influenced arrangement is Frank’s impassioned vocal, as he pleads forgiveness. Together the arrangement and Frank’s vocal combine to make a track that got made in New Orleans written all over it. Not only is it a track that’s made in New Orleans, but it’s one of the album’s highlights.
A really squelchy keyboard opens Ain’t Nothin’ But A Thing, opens another track with a message. It’s about poverty, unemployment and trying to survive in the face of it all. Complete with New Orleans’ Dixieland marching band backdrop, this laid-back, loping slice of funk meanders jauntily along. With the rhythm and brass sections combining with keyboards and guitars, it’s another track with a real New Orleans sound and feel. It demonstrates the funky side of Chocolate Milk, but rather than the breakneck style of Confusion, or the steroid pumped Pretty Pimpin’ Willie or preening Chocolate Pleasure, this is a quite different, laid back and jaunty funk track.
Sometimes, groups keep one of the album’s highlights to the closing track of an album. This is the case with Chocolate Milk and Action Speaks Louder Than Words, with Out Among the Stars. To call this laid-back would be an exaggeration, it’s totally chilled out, with a lovely understated and beautiful arrangement. Add to this, an irresistible, thoughtful vocal from Frank and you realize that this is something pretty special. With cymbals gently hissing, keyboards enter, playing slowly, giving way to a thoughtful rhythm section. Frank’s dreamy, floaty vocal enters, as the track very gradually, reveals its hidden charms and subtleties. From there, a quite stunning ballad unfolds, percussion and Fender Rhodes combining, while a meandering bass line creeps along. Way above, a flute snakes along, making a brief and welcome contribution. For five and a half minutes, you’re held spellbound by Chocolate Milk during this beautiful, totally chilled out and mesmerizing track, that’s my favourite track from Action Speaks Louder Than Words. What a fantastic way to end the album.
Although Chocolate Milk had only formed in 1974, releasing Action Speaks Louder Than Words the following year in 1975, this is a really mature album. The reason for this is that Chocolate Milk were made up of a really tight and talented group of musicians. With many members of the band having a jazz background, this contributed towards the group’s versatility. This meant they were able to switch between soul, funk and even jazz during Action Speaks Louder Than Words. Some of the tracks on the album are songs with a message. Nothing demonstrates this better than the title track Action Speaks Louder Than Words, which is like a call for action when dialogue has failed. While this is maybe the best known track on the album, there’s much more to Action Speaks Louder Than Words that this one track. Tracks like Time Machine, My Mind Is Hazy, Confusion and Out Among the Stars. These are just some of this album’s highlights. That’s not to say there’s anything wrong with any of the other tracks. It’s just the quality of these tracks stand out. My favorite track is the one that closes Action Speaks Louder Than Words Out Among the Stars. Of all the tracks on the album, this lovely, laid-back and chilled out track truly is a hidden gem. It demonstrates Chocolate Milk’s talent and versatility, which saw them produce some memorable and majestic music, which spanned funk, soul, jazz and latterly disco over eight albums. However, the album that started it all off, Action Speaks Louder Than Words was released and remastered in October 2011 by BBR Records. This allows you to either reacquaint yourself with or rediscover Chocolate Milk’s what I believe was their best album Action Speaks Louder Than Words. Standout Tracks: Action Speaks Louder Than Words, Time Machine, My Mind Is Hazy and Out Among the Stars.
CHOCOLATE MILK-ACTION SPEAKS LOUDER THAN WORDS.
THE ISLEY BROTHERS-HARVEST FOR THE WORLD.
THE ISLEY BROTHERS-HARVEST FOR THE WORLD.
What people forget about when they talk about The Isley Brothers career is both the longevity of their career and how successful a career they had. In a career that saw them release their first album Shout in 1959 and their last album Baby Makin’ Music in 2006, they released a total of thirty studio albums over a period of six decades. Of these thirty albums, ten reached number one in the US R&B Charts, while they had two number one albums in the US Billboard 200. Four of these albums were certified gold, seven were certified platinum and two double platinum. The Isley Brothers’ most successful period was between 1973 and 1980, when their albums were almost a permanent fixture in the US R&B Charts, their albums being certified gold, platinum or double platinum. One of theses albums was 1976s Harvest For the World, which later, I’ll tell you about.
This run of hugely successful albums started with 3 + 3 released in August 1973. It featured two of The Isley Brothers’ biggest hits That Lady (Part 1) and Summer Breeze (Part 1). On the album’s release, 3 + 3 reached number two in the US R&B Charts and number eight in the US Billboard 200, resulting in their first platinum disc. Little did The Isley Brothers’ know that they were entering their most successful period.
Live It Up was released in August 1974, and featured the beautiful ballad Hello Its Me. This was the album that gave The Isley Brothers their first US R&B number one album, also reaching number fourteen in the US Billboard 200 and being certified gold. Although this album and its predecessor had given the group the biggest successes of their career, their next album would surpass everything that preceded it.
When The Heat Is On was released in June 1975, it became their most successful album ever, reaching number one in both the US Billboard and US R&B Charts. This resulted in the album being certified double platinum, having sold over two million copies in the US alone. On the album was their funk protest song Fight the Power (Part 1 and 2), which became the group’s most successful single, reaching number one in the US R&B Charts and number four in the US Billboard 100. By now, The Isley Brothers must have been wondering could things get any better? The answer was of course they could.
The album this article is about, Harvest For the World was released in May 1976, with the title track Harvest For the World a slice of soul with a social conscience. On the albums release, it reached number nine in the US Billboard 200 and number one in the US R&B Charts. Since then, Harvest For the World has become one of The Isley Brothers’ best known and best loved albums. Like Harvest For the World and The Heat Is On, their next album would also feature another protest song, that become a number one funk anthem, The Pride.
Go For Your Guns was released in March 1977, and reached number six in the US Billboard 200 and number one in the US R&B Charts. This was second of The Isley Brothers’ albums to be certified double platinum. On the album was the protest song that became a funk anthem, The Pride. When it was released as a single, it reached number one in the US R&B Charts and number sixty-three in the US Billboard 200. WIth no sign of The Isley Brothers’ losing their magic touch, this run was set to continue.
When The Isley Brothers released their next album Showdown, in April 1978, fans were in for a surprise. On the album was a track that combined funk with disco, Take Me To the Next Phase. This was released as a single, reaching number one in the US R&B Charts. On Showdown’s release, it reached number four in the US Billboard 200 Charts and number one in the US R&B Charts, giving The Isley Brothers another platinum disc. It seemed that they could do no wrong, and this run of commercially successful albums would last forever. Could it though?
Winner Takes All was a double album released in 1979, which reached number fourteen in the US Billboard 200 Charts and number three in the US R&B Charts. Although it was certified gold, it became The Isley Brothers’ first album since 1974 not to reach number one in the US R&B Charts. Was this the end of the rich vein of form The Isley Brothers?
April 1980 saw the release of Go All the Way, which saw The Isley Brothers return to number one in the US R&B Charts, while reaching number eight in the US Billboard 200. IThe album was certified platinum and like the previous albums, was well received by critics. It seemed that even into a new decade The Isley Brothers music was still popular. However, this popularity would only last until 1981, after which the commercial success they’d enjoyed became more sporadic.
By now, The Isley Brothers’ music wasn’t aging well. Even albums recorded just a few years ago sounded dated. Although Grand Slam sold well, reaching number twenty-eight in the US Billboard 200 and number three in the US R&B Charts, on its release in 1981, it seemed like the group had run out of creativity. After this, their albums didn’t sell as well, with only 1983s Between the Sheets and 1996s Mission To Please selling particularly well. Both were certified platinum. Then, into a new millennia, The Isley Brothers saw an upturn in their fortunes, with 2001s Eternal and 2003s Body Kiss being certified platinum and gold respectively. However, by 1981, The Isley Brothers’ run of success came to an abrupt end. One of their most successful and critically acclaimed albums was Harvest For the World, which I’ll now tell you about.
Harvest For the World was recorded at The Record Plant in Los Angeles during 1976. Released on their T-Neck imprint, and produced by The Isley Brothers themselves, the song was made up of eight songs, written by The Isley Brothers and Chris Jasper. On Harvest For the World’s release in May 1976, the album sold over half a million copies in three weeks, becoming one of the fastest selling albums ever. It reached number nine in the US Billboard 200 and number one in the US R&B Charts, resulting in album being certified platinum. A trio of singles were released from the album, with Harvest For the World the first single, reaching number sixty-three in the US Billboard 100 and number nine in the US R&B Charts. Who Loves You Better was the second single, reaching number forty-seven in the US Billboard 100 and number three in the US R&B Charts. The final single was People of Today, which reached number three in the US Dance Charts. Having told you about Harvest For the World, I’ll now tell you what it sounds like.
Harvest For the World opens with Harvest For the World (Prelude). This track was inspired by Marvin Gaye’s classic album What’s Going On, and was Ernie Isley’s idea. It’s just a short two minute track, opening with piano, rhythm section and Ronald Isley’s emotive and dramatic lead vocal, while the rest of the group sing harmonies. With cymbals, drums, piano and guitars combining behind him, the arrangement meanders along gradually petering out, before giving way to its big brother Harvest For the World.
Like so many of The Isley Brothers’ albums, there’s usually a track with a social conscience. Harvest For the World is it, the theme being world peace. With, guitars, rhythm section and piano combining with handclaps, the song swings joyously into being. The song is uptempo with a real feel-good sound. Ronald’s vocal is impassioned yet joyous. Meanwhile, the track is driven along, the piano and rhythm section at the heart of the arrangement. Drums punctuate the sound, adding drama, while the other Isley’s contribute backing vocals. Not only is this soul with a social conscience, but is a song designed to lift your spirits, that’s hugely catchy and laden with hooks.
There’s a real change in sound and style on People of Today, the final single released from the album. Given its funky sound it’s no wonder that it reached number three in the US Dance Charts. With a funk drenched rhythm section, searing guitars and keyboards combining with an ARP synthesizer, Ronald’s vocal enters. His vocal is perfect for the arrangement, fast with a funky style, that later is transformed into a powerful and passionate roar. Meanwhile, a vocoder is used during the track, with a background vocal sung through it. While all this is happening, The Isley Brothers give a funk masterclass, playing at breakneck speed, the bass and guitars driving the track along, while drums, percussion and handclaps augment the sound. Like the previous track the result is a hugely catchy track, even with the addition of a vocoder, which sounds just a little dated. However, even its inclusion doesn’t spoil this joyous track.
Who Loves You Better closes Side One of Harvest For the World, a track that was the second single released from the album. Screaming, searing guitars open the track, their sound having a rock influence. They’re joined by the rhythm section, keyboards and percussion, before Ronald’s vocal enters. His voice is much more tender than the previous track, with the rest of the group singing tight harmonies. By now the arrangement has a “crowded” sound, the tempo quick, the guitars and their rocky sound to the fore. With the rhythm section helping them drive the track along, the track has a very different sound to anything that’s gone before. Ronald’s vocal has grown in power, maybe because of the almost overpowering arrangement. Although it’s funky, it’s not like the funk of the previous track. Instead it’s funk with a rock influence. Granted The Isley Brothers technically are excellent musicians, and this track proves this, but to me, this track has too rocky a sound. This track lacks something? What is that? The answer is soul.
Opening Side Two of Harvest For the World is a much better, more soulful track. (At Your Best) Let You Are Love sees Ronald Isley deliver the lead vocal. His voice is perfectly suited to the track, delivering the lyrics about love beautifully and with a tenderness. Against a backdrop of reverberating guitars that are almost weeping, keyboards and a subtle rhythm section, Ronald delivers this ballad thoughtfully and tenderly, while the other Isley’s sing tight and equally beautiful harmonies. This is a much better track than the previous one, one that displays a tender and beautiful side of The Isley Brothers’ music, and yes one that has the all important ingredient …soul.
How do you follow-up one of the best tracks on Harvest For the World? Quite easily, with one that’s just as good. Let Me Down Easy sees Ronald singing the lead, delivering the lyrics subtly and with emotion. Behind him, the arrangement sees the rhythm section, chiming guitars, keyboards and percussion combine. The arrangement isn’t quite as understated as the previous track, but is still perfect for this track about love. Ronald sings about maybe losing the woman whose done so much for him. During his heartfelt delivery of the lyrics, he almost pleads with her to let him down easy, if she ever decides to leave. A combination of a slow, almost understated arrangement and a gorgeous vocal make this the second beautiful ballad in a row. Like its predecessor, it’s one of the album’s highlights.
After a duo of ballads, the tempo quickens on So You Wanna Stay Down, which is a mixture of soul and funk, two things The Isley Brothers do so well. With keyboards, rhythm section, guitars and handclaps, the track opens before Ronald’s vocal enters. It too is fast, a combination of power and passion, mixed with emotion and frustration as he delivers the lyrics. It’s a song about love, but also about people being scared to try and better themselves. As a result, They’re kept down, almost as if they know their place. That’s the cause of Ronald’s frustration, resulting in him almost spitting out the lyrics in frustration and anger. While he delivers the lyrics, the arrangement speeds along, with the rhythm section, guitars and keyboards key to the sound and success of the track. However, it’s Ronald’s vocal that makes this such a great track, because of the passion, emotion and frustration that fills his voice.
So You Still Feel the Need is a slice of funk that closes Harvest For the World. it sees Rudolph Isley take over the lead vocal. With guitars, keyboards and the rhythm section combining, they create a really funky, stop start arrangement. Having hit on a the funkiest of grooves, the Isley’s set about exploiting and repeating it fully. Meanwhile, Rudolph’s charismatic vocal is slow and powerful, accompanied by the keyboards before the rest of the group contribute punchy backing vocals. Later, searing, funk laden guitars and bass combine with the keyboards helping contribute toward a really atmospheric funk drenched arrangement. Of the funky tracks on Harvest For the World, this has to be the best, and is a good way to end the album.
Listening to Harvest For the World it’s an album that’s aged well. It hasn’t suffered the same fate of some of The Isley Brothers’ other albums. Starting with the Marvin Gaye influenced Harvest For the World (Prelude), giving way to the socially conscious Harvest For the World, followed by the fabulously funky People of Today, the spell was slightly broken by Who Loves You Better. Although it’s still funky, it has a quite rocky sound, that lacks the soul of many of the other tracks. The Isley Brothers’ make up for this lapse with a duo of great ballads (At Your Best) Let You Are Love and Let Me Down Easy. Both are heartfelt, tender and beautiful tracks, that are two of the album’s highlights. Things change again on So You Wanna Stay Down and So You Still Feel the Need two funky tracks, with the latter one of the best funk tracks on Harvest For the World. Overall, Harvest For the World is an album that sees The Isley Brothers at their creative peak. Of the albums they released during the spell between 1973 and 1981, Harvest For the World is one of my favorites and one of their best. During a career that lasted six decades and thirty albums, The Isley Brothers released many quality albums, and Harvest For the World is just one of them. Thankfully, for all fans of The Isley Brothers’ music, Harvest For the World has been rereleased and remastered by BBR Records in October 2011 allows fans of The Isley Brothers to revisit one of their finest albums. Standout Tracks: Harvest For the World, (At Your Best) Let You Are Love, Let Me Down Easy and So You Still Feel the Need.
THE ISLEY BROTHERS-HARVEST FOR THE WORLD.
GLADYS KNIGHT AND THE PIPS-ABOUT LOVE.
GLADYS KNIGHT AND THE PIPS-ABOUT LOVE.
By 1980 when Gladys Knight and The Pips released About Love, their career had stalled, with the group at a crossroads in their long and distinguished career. This run of hugely commercially successful albums began with their final album on Motown Neither One of Us and Lasted until 2nd Anniversary, her third album for Buddah Records. After this Gladys Knight and The Pips career seemed to stall, until they were reunited with Ashford and Simpson for About Love. Before I tell you about that album, I’ll tell you about the highs and lows of Gladys Knight and The Pips career before that.
Having been almost a permanent fixture at Motown, Gladys Knight and The Pips decided to change labels, heading for Buddah Records. Before leaving Motown, their final album Neither One of Us, reaching numbers one in the US R&B Charts and number nine in the US Billboard 200 Charts. This was their most successful album, and allowed them to leave their old label on a high. Little did they know, that they were entering the most successful period of their career.
Now at Buddah Records, this successful period began, with three critically acclaimed and commercially successful albums following one after another, all being certified gold. The first was 1973s Imagination, which reached numbers one in the US R&B Charts and number nine in the US Billboard 200 Charts. Following this was 1974s I Feel A Song reaching number numbers one in the US R&B Charts and number seventeen in the US Billboard 200 Charts. This run ended with 2nd Anniversary, which reached number twenty-four in the US Billboard 200 and number four in the US R&B Charts. Little did they know it then, but this was the end of this hugely commercially successful period for Gladys Knight and The Pips.
Their next three albums would fail to match the success of their first three albums on Buddah. Bless This house released later in 1975 failed to chart, while 1977s Still Together reached number fifty-one in the US Billboard 200 and number eighteen in the US R&B Charts. Gladys Knight and The Pips final album for Buddah was The One and Only, released in 1978. It only reached number 145 in the US Billboard 200 and number thirty in the US R&B Charts. After six albums, Gladys Knight and The Pips left Buddah Records for a new label Columbia, where they’d hook-up with familiar faces Ashford and Simpson.
Previously, Gladys Knight and The Pips had worked with Ashford and Simpson during their Motown days. With Ashford and Simpson onboard, Gladys Knight and The Pips set about reviving their career. By now disco was the most popular genre of music, with many of the group’s peers recording disco hits, this was one avenue open to them. However, when Ashford and Simpson headed to the New York’s Sigma Sound Studio it was to record an album that featured a mixture of music. With ballads and disco music sitting side by side, it was a new direction for Gladys Knight and The Pips. With guest musicians Michael Brecker of Steely Dan and Ralph McDonald who previously, had worked with everyone from Donny Hathaway, Burt Bacharach and David Bowie, an all-star band was assembled. Nick Ashford and Valerie Simpson cowrote all the songs on About Love and produced the album as well. With a total of eight tracks recorded, About Love was completed. Could About Love revive the fortune of Gladys Knight and The Pips?
Before About Love was released, Landlord was released in April 1980 as the first single from the album, reaching number forty-six in the US Billboard 100 and number three in the US R&B Charts. About Love was then released in May 1980, reaching number forty-eight in the US Billboard 200 and number five in the US R&B Charts. It seemed that the collaboration with Ashford and Simpson revived the career of Gladys Knight and The Pips, giving them their most successful album since 1975s 2nd Anniversary. Two other singles were released from About Love, with Taste of Bitter Love proving popular in both the US and UK. While the single reached number thirty-eight in the US R&B Charts, it reached number thirty-five in the UK. The final single released from About Love was the brilliant Bourgie Bourgie, which saw Gladys transformed to disco diva. Strangely, this great track only reached number forty-five in the US R&B Charts and number thirty-two in the UK. Since then, the track has become a disco classic, remixed by a variety of remixers. Overall, About Love proved to be the perfect fillip for the career of Gladys Knight and The Pips, reviving their career, but what does the album sound like?
About Love opens with the first single released from the album, Landlord, a beautiful love song. Like the other tracks on About Love, it’s written by Ashford and Simpson. The tempo is slow, while the arrangement gradually builds up, the anticipation rising all the time. Here, the rhythm section, keyboards and lush strings combine with horns before Gladys’ vocal enters. Straight away, when you hear Gladys’ beautiful vocal you realize the wait was worthwhile. Her voice is tinged with sadness and regret, while behind her the arrangement intersperses drama with a lovely, lush sound. The Pips contribute backing vocals, while Gladys’ heartfelt vocal soars, a mixture of emotion and passion. With rasping horns, sweeping strings and a punchy rhythm section accompanying her vocal it’s a beautiful and emotive track. No wonder it gave the group their biggest hit single since Part Time Love in 1975.
Taste of Bitter Love was another of the trio of singles released from About Love. It has a very different sound and style to the previous track. The tempo is quicker, with an uptempo and uplifting sound that combines funk and disco. With blazing horns, swirling, sweeping strings, handclaps and a funky rhythm section, Gladys’ is transform to disco diva. While strings quiver and shiver, Gladys’ voice is strong, impassioned and perfectly suited to this track. As the arrangement is driven along by the rhythm section, horns and strings, The Pips sing harmonies, while Gladys’ vocal veers from tender and sweet, to powerful and passionate. Although it’s a long way from Midnight Train To Georgia, this hugely catchy and hook laden track demonstrates another side to Gladys Knight and The Pips, one that’s very different, but quite brilliant.
After the diversion into disco territory, Gladys returns to a much more familiar style of music on Still Such A Thing. It’s a slow ballad, something Gladys Knight can handle with aplomb. The tempo is slow, the arrangement dramatic and Gladys’ vocal full of emotion and drama. A combination of the lushest strings, piano, rhythm section and chiming guitars give way to Gladys’ emotive vocal. With the piano and strings accompanying her, her voice soars high full of drama. Here, the slow tempo and arrangement combine perfectly with Gladys’ vocal. Behind her, The Pips and backing vocalists accompany Gladys as the song builds and builds. By now, her voice is a combination of power and frustration, as the heads to its dramatic and emotive conclusion. If ever proof was required that Gladys Knight could still deliver like she could during her Motown and Buddah Records heyday, this is it. A combination of power, emotion and drama proves this perfectly on this Ashford and Simpson penned track.
Closing Side One of About Love is Get the Love, a quite different song from the balladry of Still Such A Thing. Again, the tempo quickens, with rasping horns, swirling strings and the rhythm section opening the track, before a much more gentle and softer vocal from Gladys. As this quick disco track reveals itself, the rhythm section drive the track along, reaching 128 beats per minute, just above the perfect tempo for a disco record, Disco Heaven 127. While horns punctuate that track, the strings sweep and swirl and a funky bass line is ever-present. With The Pips adding subtle backing vocals, Gladys’ vocal grows in power as this hugely catchy song heads to a close. Like Taste of Bitter Love this is another disco tinged track from Gladys Knight and The Pips delivered with aplomb.
Side Two of About Love opens with another ballad, Add It Up. This mid-tempo track with one of the best arrangements on the album, allows Gladys to do what she does best, sing ballads. While lush strings, punchy horns and rhythm section combine with searing guitars, Gladys gives an emotive and impassioned delivery of Ashford and Simpson’s lyrics. Similar to Still Such A Thing Gladys’ heartfelt delivery of the lyrics sees her combine drama, emotion and passion to her delivery, while The Pips and backing vocalists accompany her. Of the two styles of music that feature during About Love, much as I enjoy Gladys the disco diva, I prefer Gladys impassioned delivery of the ballads. To me, it’s classic Gladys Knight and The Pips.
The track that Gladys Knight’s disco era will be remembered best for is Bourgie Bourgie, one of the trio of singles. Although it only reached number forty-five in the US R&B Charts and number thirty-two in the UK, it’s gone on to become a disco classic. However, this is disco music with a message, with Ashford and Simpson’s lyrics about people who forget their roots. While a piano plays, guitars chime, strings swirl and the rhythm section drive the track along until it reaches 120 beats per minute. Gladys’ vocal does the biting lyrics justice, as she sings the song in a call and response style with The Pips. Later, backing vocalists augment The Pips, while chiming guitars, a funky rhythm section and swirling strings combine with rasping horns. Together, they provide the perfect backdrop to allow Gladys to be transformed into a sassy, strutting disco diva, a role she pulls of perfectly, on this classic track.
Friendly Persuasion is another of the slower ballads on About Love. With grand swirling, sweeping strings combining with a piano and subtle rhythm section, Gladys delivers the lyrics with a tenderness. Behind her, The Pips contribute gentle, subtle backing vocals. Here, the arrangement has a lovely understated sound that allows Gladys’ vocal to shine and take centre-stage. There’s a sense of sadness and regret in her voice about getting involved in a relationship, almost against her better judgement. Later, when her vocal drops out, a horns solo combines with strings and the rhythm section to give the track a much bolder, dramatic sound. This contrast to the earlier understated sound works well, as the track heads to its dynamic and dramatic ending. Like the other ballads on the album, Gladys demonstrates just what made her famous, her stunning delivery of heartfelt and beautiful ballads.
About Love closes with We Need Hearts, which sees a return to the disco side of teh album. Crisp drumbeats, funky bass, blazing horns and piano combine before Gladys’ soaring divaesque vocal enters, accompanied by The Pips and backing vocalists. The track has an anthemic quality, with a real feel-good sound. There’s a sense of togetherness in the lyrics if you listen to them carefully. Later, percussion enters, accompanying the funk drenched rhythm section, blazing horns and piano. During the track, there’s some good interplay between Gladys and The Pips, while backing vocalists augment their sound. Partly, this is what gives the track its anthemic quality. Together, with the stomping beat and an excellent arrangement from Ashford and Simpson this is a great track with a real feel-good sound, perfect to close About Love with.
After a disappointing run of albums, Gladys Knight and The Pips have their career reinvigorated by Ashford and Simpson. About Love gave them their most successful album since 1975s 2nd Anniversary. Collaborating with familiar faces Ashford and Simpson, who they’d know since their Motown days, was the perfect fillip for their career. The album was a combination of beautiful ballads and disco music. With Ashford and Simpson’s help, Gladys Knight was transformed into a disco diva extraordinaire. On the four disco tracks, Gladys is transformed into a sassy, strutting disco diva, while on the four ballads, Gladys turns back the clock to her Motown and Buddah Records heyday. This is what makes this such a compelling and interesting album, the mixture of two very different styles of music. Although I love the ballads best of all, I really enjoyed hearing Gladys’ transformation into a disco diva. Listening to About Love, the album has aged well, and hasn’t dated at all. Much of the music has a timeless quality, the ballads especially. Even the disco music still sounds fresh and contemporary, unlike many other early eighties albums. Thankfully, About Love has been rereleased and remastered by BBR Records back in April 2010. So if you want to hear Gladys Knight transformed into a disco diva, then you should buy About Love. Not only will you hear Gladys Knight disco diva, but you’ll hear what Gladys Knight does best, singing beautiful ballads. Standout Tracks: Landlord, Still Such A Thing, Add It Up and Bourgie Bourgie.
GLADYS KNIGHT AND THE PIPS-ABOUT LOVE.
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