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.
|
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.
AL KENT-THE BEST OF DISCO DEMANDS.
AL KENT-THE BEST OF DISCO DEMANDS.
Now previously, I’ve written about quite a few disco compilations, but never one like this. This is something quite different and very special. The other disco compilations I’ve reviewed were good, very good, but this takes disco compilations to a new level. Whereas the other compilations had either one or two discs, The Best of Disco Demands has five, yes five discs of brilliant disco music. However, this is disco music with a difference. Not for Al Kent a Glasgow born DJ the usual tracks from the usual labels, no way. Instead, Al’s eschewed labels like Salsoul, West End and Prelude Records which are all great labels with so much great music to offer, but in all honestly, have been covered widely so many times before. So instead, Al dug deeply into the disco vaults looking for tracks that are new, fresh and different, deserving to find their way onto his compilation. As if this isn’t enough, of the forty-five tracks, Al decided to reedit forty-eight of the tracks. No wonder that this compilation took so long to compile, with so many tracks to reedit. Of these reedits, many have a house sound and feel, due to the way Al’s reedited them. Many of the reedits have been heavily looped, fitting in with the style of music Al plays in his DJ sets. Eventually, The Best of Disco Demands was released on 9 January 2012, on BBE Records, resulting in the perfect soundtrack for the new year. So having had a couple of weeks to wallow in the genius of Al Kent’s disco Magnus opus, now is the time to tell you about Al Kent, and then his labor of love, The Best of Disco Demands.
Not only is Al Kent one of busiest men in dance music, but he’s also a multitalented man as well. As well as DJing all over the UK and around Europe, he’s also a promoter, record label owner and host of his Million Dollar Disco parties in Glasgow. Add to that, he’s a fanatical record collector, who is the proud owner of one of the largest collection of rare disco records in the world, and you realize that there’s more than one string to his bow. His talents also extend to production and reediting, which he’s been doing plenty of for his latest compilation on BBE Records, The Best of Disco Demands, thirty-nine to be exact.
However, Al’s no stranger to the music industry, having released numerous edits on a variety of labels. Then in January 2008, Al released his debut album. Al Kent presents The Million Dollar Orchestra. Entitled Better Days and released on BBE Records this is Al’s first artist album. A year later in 2009, Al released Secret Sounds before the first of two compilations of Disco Love on BBE Records. The first volume of Disco Love was released in February 2010, with Volume two released in April 2011. This brings us round to his latest album The Best of Disco Demands, which I mentioned earlier. Really, it’s no exaggeration to refer to The Best of Disco Demands as a true labor of love, wIth forty-five tracks stretching over five discs. Although the year is but young, The Best of Disco Demands must be one of the compilations of the year, and to help you decide whether to buy this box of disco delights, I’ll tell you about it.
DISC ONE.
Looking through the nine tracks on Disc One of The Best of Disco Demands, this definitely isn’t the usual type of music you find on most disco compilations. This is a quite leftfield collection of tracks. However, like each of the five discs of The Best of Disco Demands, each of the nine tracks are of the highest quality. Straight away, the quality of music on The Best of Disco Demands is apparent. With tracks like Cheryl Berdell’s Giving It All To You from 1978 and Disco Warriors’ Cambaya Disco 1977 sitting side by side with TC & Company’s Let’s Do Disco and Curtis’ How Can I Tell Her from 1979, this looks like nine tracks of quality disco music. On Omni’s Disco Socks, Al pokes fun at the Disco Sucks movement which nearly killed off disco music. So not only is Al Kent a DJ and compiler with great taste in music, but one with a sense of humor. Having mentioned just five of the nine tracks, that’s not to say that there’s anything wrong with the other four, far from it. Like most things, music is all about taste and these are the ones I like best. However, three tracks in particular, deserve closer scrutiny.
My first choice is the track that opens Disc One of The Best of Disco Demands is Cheryl Berdell’s 1978 track Giving It All To You. Originally released on Mandingo Music and arranged and produced by Tom Tom 84, this track is reedited by Al and is disco with a twist. It opens with the sultriest of saxophones combining with lush strings, making you wonder where’s this is heading? Then crunchy drumbeats enter, while Cheryl’s sweet vocal sits atop the arrangement. From there on, Al’s reediting skills are put to good use. He extends the best parts of the track, and in doing so, not only builds up the drama, but proves you can’t have enough of a good thing. Having decided to unleash the wave of music, strings swirl and sweep, while blazing horns punctuate the track. By now Cheryl’s vocal grows in strength, while retaining that sweet sound. It’s the perfect track to open The Best of Disco Demands, one chock full of lush strings, horns a plenty and a driving beat, on top of which sits a great vocal from Cheryl Berdell.
Quite different from the previous track is Disco Warriors Cambaya Disco, released in 1977 on Remy and produced by Ben Remenick. It’s a percussive heavy track, with a driving beat and breathless vocals sitting above the arrangement. There’s a Latin feel to this track, one that takes a while to reveal its delights. Hugely catchy and gloriously repetitive thanks to Al’s reediting skills, it takes all of two minutes before the track unfolds. With braying horns combining with the vocals and percussion that plays a major part in the arrangement, this is very different style of track to Cheryl Berdell’s track. However, you can’t help but get caught up and swept away by this percussion heavy track that combines elements of Latin and disco magically.
Very different from the other two tracks is Curtis’ How Can I Tell Her. This is my favorite track from the first disc and one of my favorites from the compilation. Originally released in 1979 on Vinyl Charm Records, the track sees disco and funk combining brilliantly. With crunchy drumbeats combining with percussion, the funkiest of bass lines you could hope to hear winds its way through the arrangement. It’s joined by chiming guitars which help drive this epic eight and a half minute track along. Eventually, after two minutes, Curtis’ vocal accompanied by handclaps and backing vocalists enters. His vocal sits above the joyous arrangement, while he vamps his way through the vocal. Still the arrangement sweeps along catchy and hook laden, giving the track an anthemic quality. It’s just an absolutely stunning irresistible track, one that will immediately win you over. This is the perfect way to end Disco One of The Best of Disco Demands.
Of the nine tracks on The Best of Disco Demands, there’s a variety of styles of disco music here. Whether it’s track with great vocals, percussion heavy, or ones that have a Latin or funk influence, they’re all here. There’s something for all tastes, but most importantly they’re all guaranteed to get any party started and fill any dance-floor. This is a welcome change from the usual suspects that fill all too many disco compilations, and many of these tracks are welcome additions to The Best of Disco Demands. After just the first disc, things are looking good for Al Kent’s labor of love The Best of Disco Demands, will the other four discs keep up the quality?
DISC TWO.
Peruse the delights of Disc Two of The Best of Disco Demands and you’ll see a few tracks that you’ll be familiar with sitting next to a few new and unfamiliar faces. Of the nine tracks on Disc Two, I was really pleased to see Silver, Platinum and Gold’s 1976 tracks Just Friends, along with Universal Robot Band’s Disco Boogie Woman featuring. Both are welcome additions to any disco compilation. Apart from these two tracks, Living Proof’s The Theme From Living Proof, Chocolate City Connection’s Take the Music To the Party and Cordial’s Wave are a trio of great tracks. Choosing just three tracks to highlight isn’t easy, as there’s so many quality tracks to choose, but somehow, I’ve managed to do so.
Of the nine tracks, my favorite has to Silver, Platinum and Gold’s Just Friends. Originally released in 1976, this is a track with a classic disco sound, that reminds me of a number of Salsoul tracks. This is no bad thing, as anything that compares favorably with Salsoul must be a quality slice of disco. Here, the track hasn’t been reedited, instead we hear the original track. When the track opens, with a full sounding arrangement, where the rhythm section, percussion, swirling strings and rasping horns unite. Meanwhile it sounds as if delay has been used to soften the arrangement’s sound. Joining the arrangement is a female vocalist, accompanied by female backing vocalists. Together, they combine brilliantly, adding energy and drama to this joyous and uplifting track. Adding to the disco sound are stabs of organ, piano a proliferation of horns and percussion. Arranged and produced by Herbert Heard, this track is not just a highlight of Disc Two, but of The Best of Disco Demands. It’s also proof that disco never did suck.
Quite different from the previous track is the Universal Robot Band’s Disco Boogie Woman. It opens with a somewhat understated, yet funky sound, that’s nicely repetitive. With just the rhythm section and keyboards combining, the track seems shy about revealing its delights. However, when it does, blazing horns nicely liven up this funk laden track. A combination of wah-wah guitars, rhythm section and horns drive the track along nicely, mixing funk, with elements of Latin and disco. Although, very different from the previous track, it’s hugely catchy, proving that there’s more than one way to make a track that’s guaranteed to fill a dance-floor.
One track that has a real house sound and feel is Puff’s In the Mood, which was originally released back in 1979, on Willpower Records. Produced by Don Oriolo, the track sees percussion and crisp, crunch beats combine with a funk drenched bass line, before lush, swirling, sweeping strings enter. They’re accompanied by punchy, rasping horns which give way to a female lead singer. With an arrangement that combines funk and disco, the this gorgeous vocal drops out, being replaced by handclaps, percussion and plenty of crisp beats. Here, Al’s reediting skills really improve an already excellent track, highlighting and extending the best parts of the original track and adding just a little of his disco magic. This helps give the track a really contemporary sound, one that’s almost timeless, hugely catchy and full of hooks.
Having wondered aloud whether the quality found on Disc One of The Best of Disco Demands would continue, I needn’t have wondered. If anything, the music just gets even better, with one great track seemingly following another. Starting with Silver, Platinum and Gold’s Just Friends, and continuing through a journey of another eight tracks that ends with Cordial’s 1979 track Wave, you’re not disappointed. You never get the urge to skip a track, or even decide that you’ve heard enough of a track. Instead, you enjoy each of the nine tracks every second. To be able to hold the listener’s attention for so long is pretty impressive, but can Al Kent keep sprinkling his magical disco dust for five discs? I for one would hazard a guess that he could.
DISC THREE.
Now when I first played Disc Three of The Best Of Disco Demands, you can imagine my joy at finding a track by the Don Renaldo Strings Fiddlin’ Around opening the disc. What’s so exciting about this I hear you ask? Well Don was responsible for so many of the string and horn arrangements on the class Philadelphia International tracks. So to find one of his tracks is a welcome addition. Apart from The Don, Jimmy Sabater’s string laden To Be With You, Crosstown Traffic’s Party People and Ike Noble’s funk drenched Dance, Dance, Dance To the Music all feature. Joining these delights are The Legal Defense’s percussive heavy The Disco Stomp and Allan Harris and Perpetual Motion’s Get Ready. Really, I’m absolutely spoilt for choice on a disc where there’s neither any filler or poor tracks. This is testament to Al Kent’s choice of music and editing skills. Somehow though, I’ve managed to choose three.
I had to pick the Don Renaldo Strings track Fiddlin’ Around, because of Don’s work at Philadelphia International. It’s only a short unedited track lasting about two and a half minutes, but has a lovely lush sound with strings, rhythm section and percussion creating waves of music that rise and fall throughout the track. Although very different from the rest of the songs on Disc Three, this style of track would’ve featured in so many discos during the seventies, and is like a very welcome and beautiful trip back in time to the golden age of disco.
After that trip back in time, there seems to be a theme developing here with the string laden sound of Jimmy Sabater’sTo Be With You. When the track opens, the tempo is quick, the rhythm section and percussion driving the track along, before the shimmering, shivering strings join the mix. They sit high above the funky rhythm section offering a quite musical contrast. Together, they provide a compelling combination, two very different sounds suggesting two different styles of music. Then, rasping horns add another musical texture, while a female vocalist, floats in and out of the track. All of this fits together perfectly, and with Al Kent’s reediting skills helping give the track a contemporary sound, it’s a track from the past that’s perfect for today, oh and tomorrow.
Having been spoilt for choice, such is the quality of Disc Three of The Best Of Disco Demands, I decided to choose the final track on the disc Allan Harris and Perpetual Motion’s Get Ready, which isn’t reedited. The tempo is quick 135 beats per minute, when piano, horns, synths and crispy beats combining with Allan’s emotive vocal. Lush strings swirl, before percussion enters, as the song sweeps quickly along, the drama of the pulsating arrangement building up. Equally joyous backing vocalists, bursts of synths and swirling strings accompany Allan’s passionate vocal. Full of energy, the arrangement and vocal sweep along, until the song reaches its dramatic climax after six stunning minutes. Not only is this one of the highlights of Disc Three, but it finishes the disc on a high note, the listener craving more of the same.
Remarkably, Disc Three of he Best Of Disco Demands doesn’t see a fall in the quality of music. Usually, compilers are struggling to fill two discs of a compilation with quality music, and by now would be resorting padding out the disc with some filler and a few tired and predictable tracks. Similarly, this reviewer would be bringing this to your attention. However, not here, Al Kent’s The Best Of Disco Demands is still going strong with each disc seeming to better the previous one. One wonders how Al manages to find all this great music? Is he constantly crate digging in dusty corners of record shops and warehouses, or is he just blessed with a stunning record collection and impeccable taste in music? If so, he’s probably the envy of everyone whose bought the compilation and is reading this review. Whatever, one can only hope that the two remaining discs keep up the same quality of music.
DISC FOUR.
Straight away, when you look at the track listing for Disc Four of The Best Of Disco Demands, you find yourself thinking, well Al Kent does it again. Strength in depth is what Disc Four is about, with tracks like Hot Ice’s Dancing Free, Volstarr’s Dancing Free and Gordon’s War The Rock Is Gonna Get You providing a trio of tasty treats for the discernible disco connoisseur. Meanwhile, Alice Street Gang’s Bahia and The Live Experience’s Disco Joint are both worthy of a mention. Overall, the quality of music is stunning, as you’d forgive the odd poor track after four discs of top class music. Like before, I’m torn between which track to mention, but have decided on three of the discs highlights.
Crisp and crunchy drumbeats, percussion and then a funky a bass line combine as Hot Ice’s Dancing Free opens. Then chiming guitars, keyboards and blazing horns enter as the track gradually starts to reveal its hidden delights. Bursts of organ that could belong on a seventies Blaxploitation soundtrack augment the arrangement, while Al’s reediting skills allow him to loop some parts of the track, that are crying out to be repeated. By now, the track is a musical stew of sounds and styles, with funk, soul, Latin and even Blaxploitation influences all converging to make this a track that’s just hugely catchy, wonderfully repetitive and forever revealing another of its many subtleties and charms. The result is an absolutely brilliant track, one of the best on Disc Four.
With bursts of horns combining with crunchy beats and percussion, while guitars chime Volstarr’s Dancing bursts into life. It’s a combination of funk, Latin and disco with even a vocoder thrown into the mix. Female backing vocals add breathy vocals, before panning is introduced, which moves the track from side to side. Later, a breakdown sees a lengthy percussive solo, accompanied only by the crisp beats. This gives way to the reintroduction of the vocal, while the constant driving beat provides a crunchy and regular backdrop. Although it’s only four minutes long, it’s a track that I really enjoyed and found catchy with a contemporary sound.
The Live Experience’s Disco Joint must be the only track that sees a Hammond organ playing a major part in the arrangement. Played by what I can only describe as the Jimi Hendrix of the Hammond organ, they combine with a funk drenched combination of the rhythm section, blazing horns and percussion. Together, they combine to demonstrate just how funk music should be played. A vocal drifts in, before another masterclass on the Hammond organ. Now I’ve heard many people play the Hammond, but never like this, to say it’s a virtuoso performance is an understatement. With pounding drums and blazing horns accompanying the Hammond, the track reaches its grand finale. All I can say is, whoever played the Hammond on that track, I’d tip my hat to you, if I had one.
The variety and sheer quality of music on Disc Four of The Best Of Disco Demands, really is quite astounding. This isn’t just nine tracks where the music is all the same, not at all. There’s a variety of styles and influences throughout the track, from funk, Latin and even jazz, with a few rocky guitars thrown in for good measure. During this disc, Al Kent throws a few curveballs just to keep the listener’s and I dare say, reviewers on their toes. You just can’t bear to miss a track, for fear of what you might miss. After all, it might be that one track that changes your life, or one you’ve never heard for half a lifetime. Personally, after nearly six hours of the delights of The Best Of Disco Demands, I’m still going strong and ready to hear the last installment, Disc Five. By now I find myself will Al Kent, just to keep the quality up. Like a football team is ninety minutes from glory, Al Kent is nine tracks away from disco perfection, almost Disco Heaven 127.
DISC FIVE.
Now Disc Five can’t go wrong opening with Bobby Saunders and Magic’s Strung Out, The Good Life Ltd’s I Got It and going on to include Arthur King’s Fear, Mr Q’s Party Party while closing with Brooklyn Express’ Back In Time. It’s as if Al Kent is revealing a selection of the delights that can be found during the peak time of one his legendary DJ sets. The tempo is quick, the music joyous, catchy and just full of hooks. It seems that this is just the finishing touch to a musical marathon of disco delights, where five discs and forty-five tracks make up The Best Of Disco Demands. Al Kent, disco lovers everywhere salute you, for giving them a stunning soundtrack to their next house party. Having managed to pick just a trio of tracks to tell you about, I’ll tell you about my favorite tracks from Disc Five of The Best Of Disco Demands.
What better track to start with is Bobby Saunders and Magic’s Strung Out. From an understated opening, where a lone piano plays, before being joined by subtle strings, wah-wah guitar and percussion, before backing vocalists give way to a tender and beautiful vocal from Bobby. It’s enveloped by lush strings, chiming guitars, percussion and backing vocalists that add to the soulfulness of the sound. Then, when you least expect it, the drums kick in, and the tempo increases. Strings, rasping horns and guitars all accompany Bobby, as the track now reveals its direction. Soulful soaring backing vocalists unite, while Bobby’s vocal is high and emotive. It’s a beautiful track, with hidden charms aplenty, and is the perfect way to open the final disc. Unlike most tracks, this is an unedited version, so Al doesn’t get the chance to work his magic. One wonders what he could’ve done to this track though?
Instead of heading for 127 Disco Heaven, Arthur King’s track Fear, released on New Wave Records, goes further. Instead, it reaches 132 beats per minute, truly peak time stuff indeed. Here, crisp beats drive the track along, before percussion and handclaps combine. Then, comes swirling strings, bursts of synths and a funky bass. Gradually, the track reveals what it has to offer. Synths get their chance to take centre-stage, while the beats and handclaps drive the track along. For seven minutes, Arthur King takes us on a journey where a variety of sounds and instruments can be heard. What sounds like a party in the studio seems to be taking place, and later, Arthur’s vamping vocal is accompanied by crisp beats, strings, percussion and handclaps. It’s a stomping track, catchy and compelling and one that sounds quite brilliant.
My final choice is Mr Q’s Party Party, the title which to me, epitomises just what disco music was and is all about, having fun with friends while hearing some great music. This is a slower track, 117 beats per minute, where s combination of percussion, rhythm section and keyboards open the track. They create a fast, funky and catchy vibe, before later horns enter. Together, they merge a mixture of almost jazz funk and disco, which sounds strange, but is actually really catchy and hook laden. Throughout the track, they exploit a series of grooves to the full. With strings and horns augmenting the sound, the rhythm section, keyboards and percussion drive the track along. Later, the strings kick in, combining with horns as you think the track is heading to a dramatic conclusion. Mr Q and Al Kent postpone the ending, deciding to make you wait, building up the level of anticipation. However, eventually, it’s well worth the wait, with the listener’s patience rewarded on what’s just the latest in a long line of great tracks, guaranteed to either get the party started or fill any dance-floor.
Thankfully, Al Kent manages to achieve disco perfection, managing to pull of the remarkable feat of compiling the fifth disc of disco delights. Here, the tempo is quick, the beats crisp, each track catchy and plenty of hooks throughout the nine tracks. There’s neither a track that disappoints, nor a track that’s just so-so, with each capable of filling a dance-floor or getting a party started. From artists that you might be familiar with, to others that you might not, they provide nine slices of quality disco. This is thanks to the original artist, and of course, Al Kent’s skill as a re-editor.What he does, is extend the best bits of a track, remove other parts and then add either loops or some of his of magical disco dust. With a combination of the old and new, a new track is born, the ones that you hear on The Best of Disco Demands. I’m pleased that Disc Five of The Best of Disco Demands is as good as the other four, and that the quality didn’t decline on Disc Five, given that this was a labor of love for Al Kent. Somehow, Al Kent managed to keep up the quality over a gargantuan five disc set. This is through a combination of great music and clever reediting.
So, if you’re still in any doubt about whether to buy Al Kent’s The Best of Disco Demands or not, then all I can say is of course you should. It’s a trip back to the seventies with a twist. On The Best of Disco Demands, Al Kent reedits most of the tracks giving them the flavor of one of Al’s DJ sets. Many of the tracks have a house flavor, reflecting one of his DJ sets. With this irresistible combination of disco and house music, interspersed with elements of Latin, funk and even jazz music, then you’ve the perfect soundtrack to any house party. If having bought The Best of Disco Demands you want to hear more of Al’s music, then Al has previously released two other compilations, Disco Love and Disco Love Volume 2 both on BBE Records. These two compilations will keep you going until Al Kent’s next album is released. Alternately, you could see Al Kent in action during one of his legendary DJ sets, or if you ever find yourself in Glasgow, see Al in his home city, when he hosts his Million Dollar Disco party. However, if that’s not possible, why not just buy The Best of Disco Demands and transform your house into your very own seventies disco, with an Al Kent twist.
LINKS: http://bbemusic.com/
AL KENT-THE BEST OF DISCO DEMANDS.
|
L.T.D.-SOMETHING TO LOVE.
L.T.D.-SOMETHING TO LOVE.
I’ve always been one of these people who studies sleeve notes on albums carefully, to see which musicians played on an album, or even who arranged or produced the album. Sometimes this pays off, because you end up finding some great music. Often, I buy an album blind, having never heard it before because I recognize either a musician, arranger or producer. About twenty years ago, I came across an album that I wasn’t familiar with, but having always admired Bobby Martin the producer’s work on Philadelphia International Records, decided buy the album. After all, if it was as good as Bobby’s work on Philadelphia International Records, then I couldn’t go wrong. The album was L.T.D. fourth album from 1977 Something To Love. Having bought the album, I wasn’t disappointed and grew to love the music of L.T.D., which features some great production from Bobby Martin, who arranged and produced many great tracks on Philadelphia International. However, you may be unfamiliar with L.T.D.’s music, so I’ll briefly tell you them and their music.
L.T.D., which means Love, Togetherness and Devotion, were formed in 1968, in Greensboro, North Carolina. The group was formed by former members of the Fantastic Soul Men, who’d previously backed Sam and Dave. With multi-instrumentalist Arthur “Lorenzo” Carnegie, who played alto and tenor sax, flute and guitar, trombonist Jake Riley, Carle Wayne Vickers playing trumpet, flute and soprano sax joining with tenor saxophonist and vocalist Abraham “Onion” Miller they headed to New York. Once there, they hooked up with baritone saxophonist Toby Wynn. Now the newly formed group started performing, and it was whilst playing a concert in Rhode Island, that they met drummer and lead vocalist, Jeffrey Osborne. For two years, the group played around the New York area, before two years later, heading on a road trip where they’d record even more members.
Having headed to Los Angeles with all their worldly possessions in two cars and a trailer, Billy Osborne, Jeffrey’s brother was recruited into the band. Billy, a talented musician, played organ, drums, keyboards and became co-lead vocalist. Also joining the band were vocalist Celeste Cole, bassist and vocalist Henry E. Davis and conga player and percussionist Henry Santiel joined L.T.D. This was the line-up of L.T.D. that signed with A&M Records in 1974, the year they recorded their debut album.
Love, Togetherness and Devotion was recorded and released in 1974, with Calvin Carter producing the album. On its release, it reached number fifty-four in the US R&B Charts.
Their second album was Gittin’ Down, recorded at the A&M Studios in Los Angeles and produced by L.T.D. On the album’s release, it fared better than its predecessor, reaching number forty in the US R&B Charts. However, a change of producer for their third album saw an improvement in the group’s fortunes.
As well as a new producer, L.T.D. had a new member, guitarist Johnny McGhee. With Larry and Fonce Mizell producing what became Love To the World, the album was produced at The Sound Factory in Los Angeles. The album reached number fifty-two in the US Billboard 200 and number seven in the US R&B Charts. Love Ballad, the first of two singles released from Love To the World, reached number one in the US R&B Charts and number twenty in the US Billboard 100. However, with another new producer on board, the group would see a huge upturn in their fortunes.
This new producer was Bobby Martin, who previously, had arranged and produced so many great tracks for Philadelphia International Records. L.T.D. headed into the recording studios in 1977, and released Something To Love later in 1977. On its release, Something To Love reached number one in the US R&B Charts and number twenty-one in the US Billboard 200. This resulted in the first of two gold discs for L.T.D. When (Every Time I Turn Around) Back In Love was released as a single, it too, reached number one in the US R&B Charts and number four in the US Billboard 100. It seemed that Bobby Martin had sprinkled some of his magic over L.T.D.’s music, like he’d done so often at Philadelphia International, as this was the most successful album of the group’s career so far. In total, Bobby Martin produced a trio of albums for L.T.D., with 1978s Togetherness reaching number three in the US R&B Charts and number eighteen in the US Billboard 200, resulting in a platinum disc for L.T.D. The final album Bobby Martin produced was Devotion, released in 1979. It reached number five in the US R&B Charts and number twenty-nine in the US Billboard 200. However, the first of this trio of commercially successful and critically acclaimed albums was Something To Love, which I’ll now tell you about.
Something To Love opens with Age of the Showdown, which has a sweeping, swirling introduction that has a Philadelphia feel, the way the strings and horns combine. They combine with a funky rhythm section, percussion and guitars, while Billy Osbourne’s lead vocal is strong and joyous. Bobby Martin’s arrangement is excellent, with strings playing an important part, before dropping out to be replaced by a punchy rhythm section, percussion and searing guitars. Later, equally joyful backing vocalists and horns augment the sound, before they too drop out, being replace by Billy’s almost growling lead vocal. It’s an impressive and joyous sounding track, played and sung by a group of hugely talented musicians and singers.
There’s a change in the sound and style on (Won’t Cha) Stay With Me which sees a more soulful sound replace the funk of the previous track. The arrangement is slow and subtle, keyboards and rhythm section combining before Billy’s quite beautiful, thoughtful vocal. Again, Bobby Martin’s influence shines through, with strings and horns joining the meandering arrangement. They add to the beauty of the arrangement, augmenting and highlight the tender and impassioned vocal from Billy Osbourne. Of the nine tracks on the album this is one of the best, displaying the soulful side of L.T.D.
The funk returns on (Every Time I Turn Around) Back In Love Again, where a funk laden rhythm section exploit a hugely catchy groove, repeating it over and over. Here, you certainly can’t have too much of a good thing. Billy’s vocal is strong, powerful and passionate, while blazing horns punctate the funky arrangement along with sweet backing vocalists. As Billy’s almost growls, the rhythm section, guitars and horns contribute to this hook laden arrangement, while the backing vocalists add just the finishing touches. If you like funk music, well played and hugely catchy, complete with an impassioned vocal, you’ll love this track, like I do.
It seems to be a case of one track’s funky, the next is soulful, with You Come First At Last being the next of the soulful tracks. The tempo is quicker, with chiming guitars and rhythm section combining before Jeffrey Osbourne’s emotive and joyful vocal enters. After this, strings sweep in, accompanied by backing vocalists. This arrangement has Bobby Martin’s name written all over it, especially when the arrangement starts to grow quicker, building and building, becoming slightly more dramatic. As the track progresses, Jeffrey’s vocal gets even better, the emotion and passion shining through in this love song. With backing vocalists accompanying him, this really helps the track, and is like just the finishing touch to a beautiful, uplifting track, that’s one of the album’s best tracks and is a great way to close Side One of Something to Love.
Side Two of Something to Love opens with the fantastically funky We Party Hearty. It opens with percussion and the rhythm section combining with Billy’s enthusiastic vocal, where he encourages everyone to “Party Hearty.” Getting in on the act are backing vocalists, before the track unfolds, with the rhythm section, percussion and horns driving the track along. With Billy’s enthusiasm and joyful vocal augmented by backing vocalists who sound as if they’re having a party in the studio, searing guitars, blazing horns and the funkiest of rhythm section all give a funk drenched masterclass, above which sits Billy Osbourne’s vocal.
A piano hesitantly opens If You’re In Need, while Jeffrey Osbourne’s vocal is a mixture of drama and emotion. Eventually, the track reveals itself, with the rhythm section, piano and lush strings combining to provide a subtle, but sometimes dramatic backdrop for his vocal. The vocal grows in emotion as the track progresses, with sweeping strings, chiming guitars, rhythm section and the piano all playing important roles. Later, a horn subtly augments an arrangement, where Bobby Martin’s skills as arranger shine through. Here, he uses all the experience gained at Philadelphia International to arrange and produce a track that combines emotion, drama and beauty wonderfully.
There’s a real Philly Sound influence on Never Get Enough of You, an uptempo track with an uplifting sound. Here rasping horns combine with swirling, sweeping strings, keyboards and a punchy rhythm section before Billy’s vocal enters. Straight away, the similarities with the Philly Sound are apparent in the arrangement. Meanwhile, Billy’s vocal is perfect for this track, with his voice full of emotion and passion, as the arrangement sweeps along, with punchy drums punctuating the track, while lush strings swirl above. It’s a hugely catchy, hook laden track, one that features an excellent arrangement from Bobby Martin and uplifting vocal from Billy Osbourne.
Make Someone Smile, Today! is a slow ballad with a meandering, but impressive arrangement. Strings sweep slowly in, while a piano combines with rasping horns and the rhythm section. Above sits a vocal from Billy that’s laden in emotion, demonstrating his talent as a vocalist. Here his delivery is a mixture of sincerity and emotion against an arrangement that starts of subtly, building and building until it has grown into a climax of strings, horns, piano and rhythm section, with gospel tinged backing vocals accompanying Billy’s vocal. From what was just a quite subtle introduction, an uplifting and quite joyful track developed, during which the listener is taken on a majestic and almost spiritual musical journey.
The final track on Something To Love is Material Things. It sees a return to the funky side of L.T.D., with the rhythm section, searing guitars, percussion and blazing horns combine with Billy’s vocal. Again, backing vocalists accompany him, the interplay between the two almost in a call and response style. However, what I really like about the track is the standard of playing on the track. In L.T.D. were some really talented and versatile musicians. They were as happy playing funky tracks like this as the more soulful tracks. During this track, the rhythm section play quickly and with real skill, while the horns and percussion augment their sound. When this is combined with Billy Osbourne’s vocal, the result is a fantastically funky track that’s a good way to close the album.
Although L.T.D. were gradually becoming a successful group, with the Mizell Brothers producing their previous album Love To the World, it took the introduction of Bobby Martin to transform the group’s fortunes. Before that they’d had three separate producers for their first three albums, including producing their second album Gittin’ Down themselves. While the Mizell’s gave them a top ten album, with Bobby Martin’s help they went on to receive two gold and one platinum album for the trio of albums he produced. He was an experienced arranger and producer who’d worked with some big artists, and helped harness the group’s talent as well as offering continuity to them. For three albums Bobby worked with L.T.D. transforming their fortunes and bringing out their potential as musicians and singers. Something To Love was just the start of a journey where they’d achieve fame and become one the most successful soul and funk bands of that time. It was an album where funk and soul sat happily side by side. Some people believe the band at their best delivering the more soulful songs, whereas others prefer their funky side. It’s all about which side of the band you like best. Personally, the soulful side appeals more to me, but I did enjoy the funkier side of L.T.D. Regardless of which side of L.T.D. you prefer, you’ll be able to hear both sides of the band on Someone To Love, one of their best ever albums. Standout Tracks: (Won’t Cha) Stay With Me, You Come First At Last, If You’re In Need and Never Get Enough of You.
L.T.D.-SOMETHING TO LOVE.
ETTA JAMES-AT LAST!
ETTA JAMES-AT LAST!
As someone who has always loved soul music, I’ve long been a fan of Etta James music. Miss Peaches had one of the most recognizable, charismatic and soulful voices you’ll ever have privilege of hearing. From 1954, until her final album The Dreamer, released in November 2011, her music touched the hearts of millions of people. Like many people, over the years, I’ve collected so many of Etta’s albums, with her Chess era albums the ones I’ve loved most of all. Previously, I’ve written reviews of two of these albums 1966s Call My Name and 1968s Tell Mama, two of my favorite albums. However, as a tribute to Etta James who passed away on January 20 2012, I thought I’d revisit her debut album At Last! which features a quartet of her best known tracks, A Sunday Kind of Love, I Just Want To Make Love To You, At Last and Stormy Weather. At Last! was the first album in a career that lasted fifty-eight years and was the first of twenty-nine studios Etta would record. However, the first of these albums was recorded fifty-two years ago, in 1960, and would become At Last!
Back in 1960, between January and October of 1960, Etta James headed into the recording studio to record what was her debut album. The songs chosen for what would become At Last!, were a combination of R&B, jazz and blues standards. This included a trio tracks that would become almost synonymous with Etta A Sunday Kind of Love, I Just Want To Make Love To You and Stormy Weather. With an orchestra arranged and conducted by Riley Hampton, and Phil and Leonard Chess producing the album, ten tracks in total were recorded. Now that At Last! was recorded, the album was scheduled for release in 1961.
On At Last’s release on Argo Records, a subsidiary of Chess Records in 1961, the album was well received by critics, who were hugely impressed by Etta’s ability to handle a variety of songs, with everything from R&B and blues, to jazz and pop. At Last! reached number sixty-eight in the US Billboard 100, while four singles were released from the album. The first two, All I Could Do Was Cry and My Dearest Darling preceded At Last’s release. All I Could Do Was Cry reached number thirty-three in the US Billboard 100 and number two in the US R&B Charts, while My Dearest Darling reached number thirty-four in the US Billboard 100 and number five in the US R&B Charts. in 1961, the title track At Last! was released as a single reaching number forty-seven in the US Billboard 100 and number two in the US R&B Charts. Trust In Me was the fourth and final single released from At Last!, reaching number thirty in the US Billboard 100 and number four in the US R&B Charts. Amazingly, neither of A Sunday Kind of Love, I Just Want To Make Love To You and Stormy Weather were released as a single. Looking back, this seems strange, given how they’ve become some of Etta’s best known and best loved tracks. However, maybe this was a reflection of the quality of music in At Last!. If this is the case, then At Last! will prove to be a stunning album, which I’ll now tell you about.
At Last! opens with Anything To Say You’re Mine, written by Sonny Thompson. With a full orchestra accompanying her, Etta’s voice is full of sadness and hope, as she longs to here from the man she loves. Strings play a part in the hugely sad arrangement, while a bass, guitar and piano all play minor parts. What’s noticeable about the arrangement is its lovely old-fashioned sound, that’s very different from arrangements on the other Etta James albums I’ve reviewed. Considering Call My Name and Tell were recorded in 1966 and 1968 respectively, there’s a huge change in Etta’s music. However, it’s Etta’s powerful and emotive voice that steals the show, bringing out the pain and heartache in the song’s lyrics.
Rasping horns and shimmering strings open My Dearest Darling, before Etta’s thoughtful vocal enters. She’s accompanied by the rhythm section enter, her voice enveloped in swathes of strings, while brief bursts of horns punctuate the arrangement. As the song progresses, Etta’s vocal grows in power and passion, displaying her wide vocal range. Sometimes, the sound almost distorts, which is through no fault of Etta’s, more the equipment that was being used. This track demonstrates perfectly both the power and passion that that would become trademarks of Etta’s music.
Trust In Me has a much more gentle sound, with a piano, subtle rhythm section and quivering strings combining with Etta’s vocal. Etta pleads with her man to trust, as her voice grows stronger. Meanwhile, the arrangement has a lovely jazzy sound, just meandering along, while Etta’s voice grows in strength, power and emotion as the song heads to its impressive climax.
One of the best known tracks on At Last! is A Sunday Kind of Love. Etta sings slowly and thoughtfully, her voice full of loneliness and longing. Meanwhile a standup bass, guitar, drums and lush strings accompany her. As Etta sings of her loneliness, and longing for someone to love, her delivery is so impassioned that you almost believe that this song is personal for her. Combined with that beautiful, slow and string laden arrangement, this is easily one of the album’s highlights, and became a song synonymous with Miss Peaches.
Closing Side One of At Last! is Tough Mary, a Lorenzo Manley song. It has a very different almost poppy sound, probably to give Etta crossover appeal in the pop charts. With a quick tempo, backing vocalists accompany Etta’s powerful, roaring vocal, while the rhythm section drive the track along. A flute, and later, blazing saxophone augment the quick-fire, populist arrangement. This track sounds out of place on the album, and although it’s a decent enough track seems a strange choice for Etta’s debut album.
Opening Side Two is a much better, classic Etta James’ track, which is instantly recognizable, I Just Want To Make Love To You, written by Willie Dixon. With those familiar rasping horns, opening the swinging arrangement, the rhythm section, piano and swirling, sweeping strings accompany a sassy, confident and powerful vocal from Etta. Her voice soars, laden with power, passion and emotion. When the rasping horn solo enters, things just get even better, as the arrangement swings along brilliantly, resulting in a true classic from Etta. During this track, she delivered and outstanding, sassy, strutting vocal, and was fortunate to have such an excellent arrangement accompanying her. Even fifty-one years later, the track is a true, timeless classic.
Of the four singles released from the album, the title track, At Last is easily the best. Like the previous track, it’s one of Etta’s great track. Against a jazz tinged arrangement where a standup bass and slow sweeping strings play important parts, Etta’s voice veers between a tenderness and an impassioned, powerful style, as she sings about meeting someone to love. It’s a quite beautiful track, with a slow, subtle and gorgeous arrangement, that’s from another era. However, it still sounds stunning, and has aged gracefully, much like Etta did.
All I Could Do Is Cry was the first single released from At Last! and is a slow, sad song. With the rhythm section, woodwind and shivering strings accompanying Etta, her voice is full of sadness and regret, the man she loved have married another woman. Here, backing vocalists accompany Etta, adding to the sense of sadness in the song. Later, the rhythm section inject some drama into the arrangement, as Etta’s voice soars full of sadness and loneliness. Like so many other tracks on the album, Etta can bring the lyrics to life, making you believe in the story behind the lyrics. Not many singers have ability to do this, but Etta could.
The last of the quartet of tracks synonymous with Etta is Stormy Weather, written by Harold Arlen and Ted Koehler. With a shuffling beat, where the rhythm section and sad sounding strings combine, Etta’s vocal is tinged with sadness and regret at the break-up of her relationship, and the loss of her partner. While the arrangement meanders along, a piano plays its part in the sad arrangement, while Etta delivers one of her most emotive, yet beautiful vocals, where a combination of sadness, regret and power result in another classic track.
Closing At Last! is another track with a poppy sound, Girl of My Dreams. With piano, rhythm section and backing vocalists accompanying her, Etta gives an impassioned delivery of the lyrics. Her vocal is a combination of passion and power, delivered against an arrangement where piano and backing vocalists play important roles in the arrangement. Like the other tracks on the album, Etta throws herself into the song, even though it’s not one of the album’s highlights, and the result is a good, but not great song. There’s nothing wrong with Etta’s vocal, it’s just the song isn’t as good as others on the album.
At Last! was a great debut album for Etta James, full of quality songs, some of which would become synonymous with Etta. Her voice displays a combination of emotion, passion and power. During each song, she almost seems to have lived the lyrics, getting across the heartache and pain, loneliness and longing. This is something she’d do throughout her career, bring a song alive with a credible and believable interpretation of its lyrics. On At Last!, Etta didn’t choose the material, instead the record company chose each of the ten songs. That’s why two of the songs Tough Mary and Girl of My Dreams don’t really suit Etta’s voice or style. Chess were trying to give Etta popular appeal, which in a way worked, given the relative success of the four singles. Although At Last! was only recorded in 1960, by the time Call my Name was released in 1966, there was a huge change not only in Etta’s music, but music itself. Out were orchestrated albums like At Last!, in was a very different Southern Soul style, with Rick Hall and the Muscle Shoals Rhythm Section accompanying Etta. This demonstrates how Etta’s music was constantly changing and evolving. Over twenty-nine studio albums, Etta honed and refined her sound, becoming one of the most popular and celebrated soul singers. Not only did she sing soul, but could handle jazz, blues and even funk music. Her talent new no bounds and was a hugely versatile and talented singer. Even until just a few months before her untimely death, Etta was recording music, with The Dreamer what would be her final album, released in November 2011. After this, Etta announced her retirement from music. Tragically, even then, Etta was in poor health, and she didn’t get either the chance or time to enjoy her retirement. Instead, she died on January 20 2012, aged seventy-four. Her loss is a huge loss to music, and her many millions of fans mourn her loss. However, she leaves behind a wonderful legacy, her music. From her debut album At Last!, to her final album The Dreamer, this is music that we can all enjoy, including future generations, who like this generation and the previous one, will love the music of the woman they called Miss Peaches. Standout Tracks: A Sunday Kind of Love, I Just Want To Make Love To You, At Last! and Stormy Weather.
ETTA JAMES-AT LAST!
SADE-LOVE DELUXE.
SADE-LOVE DELUXE.
Now when you buy as many albums as I do, you tend to end up listening to the music you’ve just bought, at the expense of some of the older music that lurks in the corners of my music collection. With fifteen-hundred or more albums to choose from, then finding just the right album can be both tricky and time consuming. You end up spending time looking through piles of albums at the expense of actually listening to music. What do I want to listen to I find myself asking? Do I want to listen to soul? If so, do I want to listen to deep soul, Southern Soul or the Philly Sound? Maybe I decide that I want to listen house, but will I listen to soulful, funky or tech house. Then again, what about US Garage, but will I listen to eighties of nineties US Garage? For a hobby, music isn’t quite as simple or restful hobby as it seems, especially when I’m in an indecisive mood. What’s the solution to this then? Well, what I either find myself doing is either putting my laptop of iPod on shuffle and see where the musical journey takes me. Sometimes this can take you on a really unusual musical journey, where you end up hearing tracks from albums that you’ve not heard for ages. Other times, you end up hearing those hidden gems that are just waiting to be discovered on a long forgotten album. However, sometimes, your musical journey isn’t as exciting, and becomes predictable, making me wonder just how random the journey is, after three tracks in quick succession by the same artists. The last time I decided to allow my iPod to take me on a magical musical mystery tour it truly was a magical experience. I was taken on a journey where I heard some of my favorites, with a few hidden gems and tracks I’d long forgotten about. One of the tracks I came across was Sade’s I Couldn’t Love You More, a quite beautiful track from her 1992 album Love Deluxe. After hearing this gorgeous track again, I decided to have a listen to Love Deluxe and reacquaint myself with one of Sade Adu’s finest albums. Having thoroughly enjoyed revisiting Love Deluxe, I thought I’d review an album that’s unbelievably, is now twenty years old.
Love Deluxe was the fourth album by Sade, and was released in November 1992, four years after 1988s Stronger Than Pride. The album was recorded in a variety of studios in England, Italy and Los Angeles. With sessions taking place at both Ridge Farm and The Hit Factory in England, Studio Condulmer in Venice and Image Recording in Los Angeles, while remastering took place at Sterling Sound in New York. In total, nine songs were recorded by Sade, with each of the nine track co-written by Sade Adu and a variety of songwriting partners. The album was arranged and co-produced by Sade and Mike Pela, who co-produced 1985s Promise and 1988s Stronger Than Pride. With Love Deluxe finished, the album was scheduled for release in October 1992 in the US and November 1992 in the UK. Would Love Deluxe match the success of its predecessor Stronger Than Pride which had reached number three in the UK, number seven in the US Billboard 200 and number three in the US R&B Charts?
On the release of Love Deluxe, it reached number ten in the UK and was certified gold. Over in the US, the album fared much better, reaching number three in the Billboard 200 and number two in the R&B Charts, resulting in Love Deluxe being certified platinum four times. This meant Love Deluxe had sold over four million copies and was even more successful than its predecessor which sold over three million copies.
In total, four singles were released from Love Deluxe, with No Ordinary Love the first of these released in October 1992. The track reached number twenty-six in the UK, but when it was released in June 1993 reached number fourteen. No Ordinary Love won a Grammy Award for the best R&B performance by a duo or group with vocals in 1994. Feel No Pain was released in November 1992, reaching number fifty-six in the UK, while it reached number fifty-nine in the US R&B Charts. Kiss of Life was the third single released from Love Deluxe, reaching number forty-four in the UK, number seventy-eight in the US Billboard 100 and number ten in the US R&B Charts. Cherish the Day was the final single, released in July 1993, reaching number fifty-three in the UK and number forty-five in the US R&B Charts. Overall, Love Deluxe had been a huge commercial success and critically acclaimed upon its release, but what does it sound like? That’s what I’ll now tell you.
Love Deluxe opens with the Grammy winning single No Ordinary Love, co-written by Sade Adu and Stuart Matthewman. Crisp drumbeats, keyboards and percussion combine with a moody bass line, before Sade’s beautiful, heartfelt vocal, tinged with sadness enters. Acoustic and later, electric guitars accompany Sade,with the electric guitars later growing in power when they soar, almost growling. With backing vocalists augmenting her vocal, this mid-tempo track sometimes has a slightly overpowering, dramatic sound, that works well with the lyrics about a relationship breaking up. The use of effects on the vocal and drums, namely delay and echo also works well. As the song progresses, Sade combines a emotion with sadness and regret on this beautiful epic track lasting nearly seven and a half minutes.
Like the previous track, Feel No Pain was released as a single. It has a quite different slightly Jamaican sound and influence, especially in the drum and bass sound that opens the track. After that, Sade’s vocal enters, with keyboards and guitars accompanying her. As Sade sings lead vocal, her vocal is multi-tracked so that she also sings backing vocals. Her vocal is impassioned, full of frustration at the poverty, unemployment and lack of a future for people in the ghettoes. As the arrangement is pared back to just the rhythm section and occasional bursts of guitar, Sade asks “why, why, why,” with a mixture of frustration and anger. Although quite different from the previous track, it’s hugely powerful and even more relevant today than twenty-years ago,
I Couldn’t Love You More is the track that made me write this review, and I loved the subtle, understated arrangement that accompanies Sade’s gorgeous vocal. It’s just simple chord changes on an electric piano, with handclaps and a gentle rhythm section that accompany Sade’s tender and beautiful vocal. The tempo is really slow, with synths bubbling under the arrangement, like the bass and drums. Nothing is allowed to overpower the vocal, and even the saxophone solo has subtlety. For just under four minutes, the arrangement meanders along with Sade’s sultry, almost sensuous vocal sitting above it.
Like A Tattoo has a similar understated sound to the previous track. This is a style of music perfectly suited to Sade. Her voice is really effective singing gently and tenderly. It makes you focus even more on her vocal. Again, the arrangement is slow and subtle, with an acoustic guitar, keyboards and even strings combining. Meanwhile the rhythm section play with a similar subtly to Sade’s vocal. The result is beautiful, yet sad song, that’s one of Love Deluxe’s highlights.
After two songs with a really subtle arrangement, Kiss of Life follows in a similar vein. The arrangement sees keyboards, rhythm section and subtle strings combine with occasional bursts of horns. Again, the chord changes are simple and effective, while there’s a tenderness in Sade’s vocal as she sings of finding someone she loves, whose made her life so much better. Later, as the arrangement meanders along, Sade’s breathy vocal drops out and is replaced by a sultry saxophone played by Stuart Matthewman. This is just the finishing touch to another quite beautiful track, with a lovely understated arrangement.
Cherish the Day was the final single released from Love Deluxe. It’s another track where the arrangement has a subtle sound, with the spacey drums most prominent in the arrangement, while strings sweep in and out and keyboards augment the sound. Like the strings, Sade’s thoughtful, emotive vocal drops in and out of the arrangement as she longs for the day when the man she loves will be with her. Later, brief bursts of guitar join the arrangement, and as are played with care and subtlety as if fearful of overpowering or spoiling this excellent arrangement. Similar to the arrangement, Sade’s vocal is of the highest quality, a combination of emotion and longing.
Sade Adu and Andrew Hale cowrote Pearls which opens with sad sounding strings, sweeping slowly in. They give way to a thoughtful vocal full of sadness as she sings of people starving and dying in Somalia under the scorching hot sun. A cello joins the arrangement, adding to the sadness of the arrangement, while Sade’s vocal is heartfelt and impassioned, frustrated and angry at the unfairness and poverty she’s singing about. When this simple and uncomplicated arrangement is combined with the sadness and frustration in Sade’s voice the result is a hugely powerful and moving track.
Bullet Proof Soul has a slow tempo, and an arrangement that sees keyboards, rhythm section and a wailing horn combining. This provides the perfect backdrop for Sade’s vocal, about how she loved a man and would’ve done anything for him, but ultimately, he let her down and left her. Here, the arrangement is slightly fuller, but is by now means overpowering. Similarly, Sade’s vocal is louder, due to the emotion, sadness and regret in her voice. Bursts of guitar, join the sad sounding horn, keyboards and slow spacious drums in accompanying Sade on this emotive and sad song. This song perfectly demonstrates not only the quality of musicians playing on Love Deluxe, but the standard of songwriting too. Both are of the highest quality making this a hugely satisfying and beautiful album.
The closing track on Love Deluxe is Mermaid, which opens with a sound that’s reminiscent of the beach, while a guitar plays slowly and thoughtfully. It’s joined by keyboards, percussion and saxophone. Drums join the percussion, as the saxophone sails above the arrangement. Gradually, this instrumental track reveals its beauty. Although, it’s an unusual way to end Love Deluxe, it has a lovely ambient quality, and is much more like a soundscape than the rest of the tracks. However, it’s a welcome surprise to close the album, including the various sound effects towards the end of the track.
Love Deluxe was the fourth album of Sade’s career and to me, is the best album of her near thirty year career. It matched the commercial success of 1984s Diamond Life, 1985s Promise and her previous album 1988s Stronger Than Pride. Not only that, but Love Deluxe was critically acclaimed upon its release. What I love about Love Deluxe is the subtle, understated sound of many of the tracks. The arrangements just sit in the background, neither threatening nor daring to overpower the beauty of Sade’s vocal, which is a combination of tenderness, thoughtfulness and emotion. She can bring a song to life, getting across the emotion portrayed in the lyrics. Whether this be love songs like Couldn’t Love You More and Kiss of Life, or the hugely powerful and moving Pearls, Sade manages this with aplomb. Many of the songs benefit from lovely, understated arrangements played by a band full of really talented musicians, who also cowrote the songs on Love Deluxe. Each of the nine tracks on the album are flawless, there’s neither a song that you’d call filler, nor a track that you’re tempted to skip past. This makes Love Deluxe something of a rarity, as usually, there’s an average track on even the best albums. Another thing I like about Love Deluxe is its timeless sound. Even twenty years after its release, the album has a contemporary sound and the lyrics are just as relevant in 2012, as in 1992. It hard to believe that twenty years have passd since I first heard Love Deluxe, and in that period, Sade has only released two further albums, Lovers Rock in 2000 and Soldier of Love in 2010. However, given the quality of both albums, i’m sure her next album will be worth the wait, especially if it’s anywhere near as good as the beautiful and quite brilliant Love Deluxe. Standout Tracks: No Ordinary Love, Couldn’t Love You More, Like A Tattoo and Kiss of Life.
SADE-LOVE DELUXE.
THE STYLISTICS-CLOSER THAN CLOSE.
THE STYLISTICS-CLOSER THAN CLOSE.
What never ceases to amaze me is how sometimes, a group can go from being one of the biggest and most successful groups in soul music, to almost the forgotten men of soul music. It seems that fame is indeed temporary. Some people may say that form is also temporary, and that a group can easily go from having top ten US R&B albums that are certified silver and gold to albums that fail to even trouble the lower reaches of the charts. However, there are any amount of explanation for a loss of form, much of which is out-with the artists control. It can be something simple, like losing a key member, like Harold Melvin and The Blue Notes lost Teddy Pendergrass. Other possible causes are changing record labels or producers which can result in a group’s fortunes changing quickly. To back up my argument, various groups left Philadelphia International Records, and in doing so, lost access to some of the best musicians, songwriters, arrangers and producers, including the legendary Gamble and Huff. One group who experienced this was The Stylistics, who had a run of hugely successful albums on Avco Records, with Thom Bell producing their albums. This included three US gold discs, one UK gold discs and four silver discs in the UK. After The Stylistics changed labels so did their fortunes, until Gamble and Huff resurrected their career briefly.
This run of successful albums started with their eponymous titled album The Stylistics, produced by Thom Bell and released in November 1971. It reached number twenty-three in the US Billboard 200 and number three in the US R&B Charts, resulting in the album being certified gold.
Their next album Round 2, release in October 1972, was also produced by Thom Bell. It reached number thirty-two in the US Billboard 200 and number three in the US R&B Charts, resulting in gold disc number two.
By their third album Rockin’ Roll Baby released in November 1973, The Stylistics were becoming hugely popular in the UK, as well as the US. Although it only reached number sixty-six in the US Billboard 200, but number five in the US R&B Charts, the album proved popular in the UK. This lead to their first silver disc in the UK, where the album reached number forty-two. This would be the last Stylistics album produced by Thom Bell alone, as Hugo and Luigi, who produced albums for Sam Cooke would co-produce their next album with Thom.
With Hugo and Luigi co-producing Let’s Put It All Together with Thom Bell, The Stylistics fourth album was released in May 1974. This album saw an upturn in their fortunes, reaching number fourteen in in US Billboard 200 and number four in the US R&B Charts, giving The Stylistics a trio of gold discs. With their popularity growing in the UK, the album reached number twenty-six, giving them their second silver disc in the UK. Heavy was The Stylistics second album of 1974, reaching number forty-three in the US Billboard 200 and number eight in the US R&B Charts. Meanwhile it proved popular in the UK reaching number twenty-six and resulting in their third silver disc.
1975 saw The Stylistics release two albums, the second of which was their final album for Avco. Thank You Baby reached number seventy-two in the US Billboard 200 and number nine in the US R&B Charts. However, it proved to be their most popular UK album, reaching number five in the UK, giving The Stylistics their only UK gold disc. The final album released by The Stylistics on Avco was You Are Beautiful, which reached number ninety-nine in the US Billboard 200 and number twelve in the US R&B Charts. Again, the album proved popular in the UK, reaching number twenty-six, giving the group their fourth silver disc in the UK.
Having left Avco, The Stylistics headed for the H&L label. Quickly, The Stylistics run of successful albums dried up. Dyring 1976 and 1977, the group released a quartet of albums, with only 1976s Fabulous and Once Upon A Jukebox charting. Even then, Fabulous only reached number 117 in the US Billboard 200 and number thirty-two in the US R&B Charts, while Once Upon A Jukebox only reached number 209 in the US R&B Charts and number forty-five in the US R&B Charts. The two albums released in 1977 Sun and Soul and Wonder Woman both failed to chart. After this disappointment, The Stylistics headed for Mercury Records.
Even then, they didn’t trouble the upper reaches of the charts. Then in 1978, The Stylistics changed labels again, heading for Mercury where they released just two albums. These were In Fashion, released in 1978, which reached number forty-three in the US R&B Charts and 1979s Love Spell which failed to chart. After this, The Stylistics headed to Philadelphia International Records where Gamble and Huff would briefly resurrect their career.
Now signed to Philadelphia International Records, Gamble and Huff set about resurrecting The Stylistics career. The first Stylistics album released on Philadelphia International was Hurry Up This Way Again, released in 1980. It reached number 127 in the US Billboard 200 and number eleven in the US R&B Charts. This was the group’s most successful album since 1976s’ Fabulous. Could their next album Closer Than Close build on this success?
Closer Than Close was released in 1981, and was The Stylistics fourteenth album in ten years. Eights songs were recored at the legendary Sigma Sound Studios, with the usual stellar cast of musicians, arrangers and producers trying to continue the revival of The Stylistics career. Of the eight songs on Closer Than Close four were produced by Thom Bell, who also cowrote them with Linda Creed his songwriting partner. This saw The Stylistics reunited with their old producer, who was with the group during their most successful period. Dexter Wansel arranged and produced three tracks, and co-wrote three songs with his songwriting partner Cynthia Biggs. He also co-produced a track with Darnell Jordan and Joel Bryant. Gamble and Huff didn’t write or produce any of the tracks, instead, leaving this their most successful songwriters, arrangers and producers. With the eight tracks that would become Closer Than Close recorded, then the album was ready for release later in 1981.
On Closer Than Close’s release, the album failed to match the success of its predecessor Hurry Up This Way Again, reaching just number 210 in the US R&B Charts and number forty-four in the US R&B Charts. This was a disappointment for both The Stylistics and everyone at Philadelphia International, who’d tried so hard to make this the next step on The Stylistics rehabilitation into the soul superstars that they previously were. However, the album’s lowly chart position is no reflection on the quality of music on offer on Closer Than Close. Of the eight tracks, although the four Thom Bell and Linda Creed tracks standout, that’s doing the other tracks a disservice. They too, are good quality songs, well written, arranged and produced. Maybe, however, the problem was that soul groups like The Stylistics were out of fashion. Times and tastes had changed musically in the past ten years, and although the music was still good quality. Although Closer Than Close wasn’t a hugely successful album, it still features some great music that I’ll now tell you about.
Closer Than Close opens with the first of a trio of Dexter Wansel and Cynthia Biggs penned tracks What’s Your Name?, which Dexter arranged and produced. Straight away, I can tell this is a Dexter Wansel arrangement and production because of the use of synths and drum sound. There’s a real disco sound to the track, with a funky rhythm section combining with synths and guitars, augmented by handclaps. As the arrangement speeds along at 119 beats per minute, Russell Thompkins Jr.’s sweet lead vocal enters. With the rest of the group singing harmonies, this disco style track unfolds, with sweeping strings and chiming guitars joining the funk laden bass and synths. Although it’s very different from vintage Stylistics, Russell’s vocal is still quality, and the Dexter’s funky disco arrangement is catchy.
It’s a very different sound on the Thom Bell and Linda Creed penned I’ve Got This Feeling. Reunited with their mentor, The Stylistics try to roll back the years on this beautiful track. With shivering string, a slow rhythm section and percussion combining to produce a lovely slow arrangement. This is the perfect backdrop for Russell’s beautiful, thoughtful vocal. It’s track that’s much better suited to The Stylistics’, allowing them to demonstrate just what made them one of the best soul groups of the seventies. As this string drenched song progresses, the arrangement and vocal gets so much better. Strings sweep in combining with the rhythm section and Russell’s soaring lead vocal, and of course, those gorgeous harmonies. Together, a combination of emotion and drama results in one of the album’s highlights from The Stylistics and producer Thom Bell.
Mine All Mine sees Dexter Wansel arrange and produce the track. What’s noticeable is the way the two producers and arrangements styles differs. Dexter seems to use a lot of synths, which is okay, but can sound a bit dated sometimes. He also seems to prefer a more “bouncy” drum sound. Both find their way into his mid-tempo arrangement, along with chiming guitars and keyboards. This arrangement is better than his previous one, and is more suited to The Stylistics music and style, than the disco of I’ve Got This Feeling. The slower arrangement allows Russell’s vocal to shine, as it soars above the arrangement. Sometimes, the synths do sound somewhat dated, but this can be forgiven because of the quality of Russell’s powerful and emotional vocal. With the other Stylistics contributing subtle backing vocals, the track has the same catchy quality of I’ve Got This Feeling, but altogether sounds much better. Much of this is down to Russell’s vocal and the slower arrangement, which is more suited to their style of music.
Closing Side One of Closer Than Close is the second of a quartet of Thom Bell and Linda Creed tracks Habit. Here, the track has a real Philly Sound arrangement as the track opens. It’s a big introduction where sweeping, swirling strings, a punchy rhythm section and guitars are augmented by subtle harmonies, before Russell’s thoughtful lead vocal. With the rest of the group contributing swooning harmonies, and the arrangement sweeping along, with swathes of strings and punchy drums adding a touch of drama, Russell sings of the habit he needs to break. This habit is the relationship he’s in and can’t break. Like the other Thom Bell and Linda Creed song, I’ve Got This Feeling, this is another of the album’s highlights, with this track having a stunning, drama laden and emotive arrangement from Thom Bell. With his help, The Stylistics prove that they still were capable of producing some great music.
Side two of Closer Than Close opens with Searchin’ which features an excellent Jack Faith arrangement. The track has a really uptempo and uplifting sound, which demonstrated that The Stylistics were very definitely still a musical force. Jack Faith deploys plenty of sweeping, swirling strings, augments this with bursts of blazing horns and a rhythm section that drive the track along. This is the quickest track on the album, and features some great interplay between Russell and the other Stylistics. As Russell’s vocal soars joyously, it’s accompanied by some equally joyful harmonies. Although the track maybe wasn’t purposely arranged or produced for a dance-floor, this track with its quick tempo, strings laden sound and bursts of drama would fill any dance-floor. Not only that, but it has a real Philly Sound, proving that that the Philly Sound lived on into the eighties. Much of the credit for the track goes to Jack Faith, whose arrangement is flawless and stunning.
The last Dexter Wansel produced track is It’s Only Love, a much slower track, that he cowrote with Cynthia Biggs. It opens with chiming guitars combining with keyboards and the rhythm section, who play slowly and carefully. When Russell’s vocal enters, it’s full of emotion and sadness, at the sudden break up of his relationship. As the arrangement meanders behind him his voice soars high, full of sadness and regret. An organ cuts in adding to the sense of sadness and regret. Of the trio of tracks arranged by Dexter Wansel this is by far the best. Here, he plays to The Stylistics strengths, the understated slow arrangement combining perfectly with Russell’s beautiful and heartfelt vocal. The result is a gorgeous track, demonstrating Dexter’s talent as an arranger and producer.
Two Thom Bell and Linda Creed close the album, with the title track Closer Than Close, the first of them. Again, Thom uses a a fuller, dramatic arrangement, with quivering strings and a punchy, rhythm section adding drama, before Russell’s vocal enters. It’s almost as if the strings are shivering as his vocal grows in strength and emotion, while the other Stylistics add subtle harmonies. Meanwhile, the punchy, string laden arrangement grows, bursts of drama punctuating the lush mid-tempo arrangement. Like Thom Bell’s two previous arrangements, this arrangement has all the similar qualities. He combines emotion of the vocal with the drama of the arrangement, and when taken together, the result is a fantastic track, that rolls back the years for The Stylistics to their seventies heyday.
Closing Closer Than Close is Almost There, the last of the four Thom Bell and Linda Creed tracks. It’s a slower track than the previous one, with shimmering strings, combining with a piano, rhythm section and woodwind, before a lovely vocal from Russell. The lead vocal changes hands, with each of The Stylistics taking the over the lead vocal, against the string drenched arrangement. Augmenting the arrangement which grows in drama as the track progresses, is a piano which plays an important part in the arrangement. When the drama increases, sweet harmonies enter, before the lead vocal changes hands again. The Stylistics seem to raise their game on this track, as if trying to prove that they’re still a force to be reckoned with. With music of the quality of this track, they should’ve been, but sadly, the album wasn’t a commercial success. What’s ironic about this, is that people missed out on some great music, including a beautiful love song Almost There, which closes album number fourteen for The Stylistics.
In what seems a recurring theme for me, quality music doesn’t always equate to commercial success. Closer Than Close proves this. On the album were some fantastic tracks, including the quartet of Thom Bell and Linda Creed tracks. Add to this, the Jack Faith arranged Searchin,’ and the Dexter Wansel produced tracks Mine All Mine and It’s Only Love, and you’ve got six quality tracks. That’s not to say that the opening track the disco tinged What’s Your Name? is a poor track, just very different from what you’d expect from The Stylistics. However, overall Closer Than Close is an album full of some great music. Being reunited with Thom Bell seemed to bring out the best in The Stylistics, like he did during the early seventies. Dexter Wansel also played his part in the album, although his music has a very different sound to that of Thom Bell’s. An example of this is his preference for using synths on a couple of his tracks. Sometimes, this synth sound doesn’t age well. Proof of this is Mine All Mine, but thankfully, the quality of the vocal makes up for this dated synth sound. Jack Faith, one of Philadelphia International’s best arrangers plays his part on the excellent Searchin’, the quickest track on the album, and one that’s very definitely dance-floor friendly. This is an example of how the Philly Sound wasn’t just about songs for the heart, but songs for the dance-floor. Some of the tracks on the album are vintage Philly Sound, thanks to Thom Bell and Jack Faith, proving that the Philly Sound was still going strong into a new decade, the eighties. Why Closer Than Close wasn’t a commercial success seems strange, as there’s some excellent music on the album. If you’re a fan of either The Stylistics or the Philly Sound, then Closer Than Close is an album that’s really underrated and proves that The Stylistics were still a creative force, capable of producing some great music long after the commercial success of the early to mid-seventies heyday. Standout Tracks: I’ve Got This Feeling, Habit, Searchin’ and Closer Than Close.
THE STYLISTICS-CLOSER THAN CLOSE.
LIVIN’ THE NIGHT LIFE AND SATURDAY HOUSE FEVER.
LIVIN’ THE NIGHT LIFE AND SATURDAY HOUSE FEVER.
While disco provided the soundtrack to the seventies, garage was one of the genres of music that provided the soundtrack to the eighties. Like disco in the seventies, garage in the eighties and nineties both feature on a Backbeats compilations. Whereas seventies disco featured on Yowsah, Yowsah, Yowsah, eighties garage features on Livin’ the Nightlife, while Saturday House Fever features nineties garage anthems. Both of these compilations are part of the now thirty strong Backbeats compilation series, which started in 2010. This is just the latest in the long line of successful compilation series’ released by Harmless. After successful compilations like Pulp Fusion, Backbeats is a popular series, with each of the thirty releases costing less than £4, $6 or €5. Starting with the eighties, I’ll tell you about the first of Backbeats’ garage compilations, Livin’ the Nightlife.
LIVIN’ THE NIGHT LIFE.
Livin’ the Nightlife was the very first of the Backbeats compilations, released back in 2009. On Livin’ the Nightlife are eleven New York Garage classics from the eighties. Each of the eleven tracks are the original 12 inch mix, which I like, as it allows you to hear the original track as it was meant to be. Much as I like remixes, many people buying this compilation won’t be familiar with this genre of music, so it allows them to hear the original track. This may even be the first time they’ve bought such a compilation, so it’s good to hear a new track in its original form. If there anything like me, then having bought most of the compilations, they’ll want to complete the set. The good thing about this, is having bought this compilation, they may grow to love the music like I do. On the album, are tracks by Young and Company, Class Action, Colonel Abrams and Dinosaur L. These tracks are from a variety of labels including Sleeping Bag Records, Easy Street Records and The International Music Network. So having told you about Ian Dewhirst’s compilation, what does Livin’ the Nightlife sound like?
Opening Livin’ the Nightlife is Young and Company’s I Like (What You’re Doing To Me), released on Brunswick Records in 1980 is one of the best tracks on the album. It has a really uplifting sound, with crunchy beats, percussion and the sweetest of vocals sitting atop the arrangement. The tempo is 118 beats per minutes, perfect for any dance-floor, which I’m sure this track would still fill.
Often on lesser compilations, the compiler puts the best tracks at the start of the compilation, leaving the filler until later in the album. Here, there’s no filler just great music, that takes you back to the eighties, but in a good way. Class Action’s Weekend is just the second track, with a vamping, sassy vocal set against an arrangement full of drumbeats, synths and percussion. It’s an impressive sounding track, with a great vocal, full of power and emotion, released back in 1983 on Sleeping Bag Records who also contribute a track by Dinosaur L. This track brings back good memories, and proves that there really was some great dance music around in the eighties, a decade that isn’t remembered for its great music.
Although The Paul Simpson Connection’s track Treat Her Sweeter is slightly slower than the two previous tracks, it sounds deceptively fast. In reality, it’s only 116 beats per minute, and features some great interplay between Paul’s lead vocal and his backing vocalists, sung against arrangement that has a slightly harsher, harder arrangement. During the track, there are some stunning divaesque backing vocalists that soar above the synth heavy arrangement. Listening to the track, you could almost date its release date to 1985, when it was released on Easy Street Records. However, although the arrangement has this harder, harsher sound, reminiscent of the mid-eighties, the track isn’t short of hooks, and is really catchy.
Proving that there’s quality throughout the compilation, the penultimate track Cuba Gooding’s Happiness Is Just Around the Corner, released in 1983 on Streetwise Records. This is an eight minute epic track that’s 120 beats per minute, perfect for any dance-floor. With a chugging synth heavy arrangement, where drumbeats and backing vocalists play a vital part in the arrangement this familiar sounding track gets underway. Sitting above the arrangement is the near falsetto lead vocal, with sweet sounding backing vocalists and percussion providing an accompaniment. Although synths play a large part in the arrangement, this sound has dated well, unlike so many eighties tracks where synths played such an important part in the sound.
These tracks are just four of the album’s highlights. Livin’ The Night Life has many more highlights. These include Colonel Abrams Music Is the Answer, released on 1984 Streetwise Records. With synths and crunching drumbeats accompanying the Colonel’s dramatic, vamping vocal this a great track just takes off, full of energy.
Adeva’s In and Out of My Life released in 1988 on Easy Street Records, has a very different sound. Unlike Colonel Abrams contribution, the arrangement doesn’t have the same harsh arrangement, but is just as full of energy and features a real diva style vocal, set against the quick reverberating arrangement that sweeps along. The final track I’ll mention is Serious Intention’s You Don’t Know, released in 1984 on Easy Street Records. Again, synths play a major part in the arrangement, combining with crisp drumbeats, while stabs of echoey synths are accompanied by a similarly echoey vocal. Effects are used heavily throughout the track, with delay and echo arranger and producer’s weapon of choice. This works well, even when the vocal is given the same treatment on this electronic slice of garage music.
Livin’ The Night Life is a nostalgic trip back to the eighties and proves that after the classic disco of the seventies, there was some good quality dance music during the eighties. On the compilation are eleven quality garage tracks, from a variety of artists and labels which are very different from the disco era. Why I hear you ask? Well, by the eighties, synths and drum machines were used much more on dance tracks, and this lead to a very different sound. No longer did producers require session musicians like the Salsoul Orchestra for a session, instead, all they needed were synths and drum machines and they had the basis for a track. By then, the synth sound was much better than that of seventies. However, this lead to a harsher sound, while the drumbeats sounded much crisper. One thing that hadn’t changed was the use of a vocalist on the tracks. Whether it was a male vocalist or a sassy, strutting diva, they were still needed, as back then, they’d not yet been replaced by samples. Although the music sounded different, it was still good quality, but how would the garage music of the nineties that’s found on Saturday Night Fever, Backbeats compilations of nineties garage anthems compare? Would it compare favorably to the music found on Livin’ The Night Life, which contains some great music. Standout Tracks: Young and Company’s I Like (What You’re Doing To Me), Class Action Weekend, The Paul Simpson Connection Treat Her Sweeter and Cuba Gooding Happiness Is Just Around the Corner.
LIVIN’ THE NIGHT LIFE.
SATURDAY HOUSE FEVER.
By the nineties dance music was changing, and changing fast. On Saturday House Fever, the music proves this. Gone are the slightly harsh arrangements of eighties garage, in is music which is much more joyous and uplifting. The music has a softer sound which is partly to do with a combination of things. Now, the synths and drum machines were improving in quality, and some producers had decided to start using “proper musicians.” One thing that was still needed was a quality vocal, and on Saturday House Fever there are some stunning vocalists, none better than Kathy Brown on Happy People, an absolute timeless classic. Other divas included Keisha Jenkins, Leisha Moore and Debbie Pender, who all contribute some great tracks to Saturday House Fever. This is an album of tracks originally released on Easy Street Records compiled by Ian Dewhirst and released in 2009. It’s that compilation, Saturday House Fever that I’ll now tell you about.
Although Kathy Brown’s track Happy People is the penultimate track on Saturday House Fever, it’s easily the compilation’s highlight and that’s why I’ve chosen to review it first. Released in 1999 on Easy Street Records, it’s a track that thirteen years later still sounds just as good, and has a timeless quality, like all good music. Starting with Kathy just scatting over a gentle piano and lush strings, the track literally bursts into life. With crisp drumbeats and handclaps joining the piano, Kathy is transformed into a diva, her voice soaring, powerfully while backing vocalists sweetly accompany her. It’s a true classic garage track, so good that it alone, almost makes buying this compilation worthwhile.
Keisha Jenkins’ Goin’ Through the Motions was released in 1993. Like Kathy Brown’s track Happy People, this is another real garage classic. With keyboards, percussion and drumbeats combining, the track begins. It has a really catchy sound, even before horns blaze in at the same time as Keisha’s vocal. After that, the track just gets even better, with Keisha delivering the lyrics beautifully, while backing vocalists accompany her. Like the previous track, the track lacks the harshness of some of the eighties tracks, and has a much more soulful sound that has dated much better and has a contemporary sound. Again, this is one of Saturday House Fever’s real highlights.
Another of the great female vocalists that features on this compilation is Leisha Moore, with her contribution being Damn, What A Feeling. Like the two previous tracks, this was released on Easy Street Records, this time in 1995. The arrangement has a slightly harsher sound and quicker tempo, with crisp drumbeats, synths and percussion playing important parts in the pumping arrangement. Atop that arrangement sits Leisha’s confident, powerful vocal, while backing vocalists accompany her soaring vocal. Although it has a slightly different sound, it has one thing in common with the other two tracks quality.
The quickest track on Saturday House Fever is Debbie Pender’s Movin’ On, released in 1997. Her sultry vocal sits on top of a quick arrangement, where drumbeats, synths and percussion combine, while backing vocalists accompany Debbie’s sultry, sassy vocal. Like the previous track, the arrangement has a slightly harsher, harder sound, although neither as harsh or hard as the eighties tracks. However, it doesn’t take away from the uplifting and joyous sound of this hugely catchy, hook laden track.
Although I’ve mentioned four tracks by female singers, they just happen to be some the best tracks on Saturday House Fever. I could just as well have mentioned Bobby Blackwell’s 1994 track Let Love Through. Bobby proves that there are some great tracks on the compilation that feature a male vocalists. Here, synths, drums and percussion accompany Bobby’s uplifting vocal, which sometimes gives way to a vamp. The sweet sounding, gospel tinged backing vocalists provide a contrast to the sound of the arrangement. Overall it’s a track that’s among the compilation’s best.
Cassio’s Baby Love (Asja Iman) is one of a quartet of tracks that were recorded and released in the eighties. Released in 1982, this track has a much more nineties garage sound, and deserve its place on the compilation. The only artist who has more than one track on the album is Alexander Hope, whose two tracks Saturdays and Let the Music Take You, were both released in 1984. Again, both tracks have a much more nineties sound, and sit better on Saturday House Fever rather than the eighties garage compilation Livin’ the Night Life. Similarly, both tracks prove that there are quality tracks from male vocalists on the compilation. Of the two tracks, Let the Music Through is my favorite, with crunchy drumbeats, synths and backing vocalists providing the backdrop for Alexander’s soulful vocal. This is just the latest in a long line of quality tracks that can be found on Saturday House Fever.
Saturday House Fever has a very different sound to Livin’ the Night Life which featured the eighties garage sound. Personally, the nineties garage sound was a bit more soulful, than its eighties counterpart. Having said that, I’m a huge fan of all types of dance music and partial to both eighties and nineties garage. One thing I would say though, is while I’ve referred to the music on the compilation as garage, many people would refer to the tracks as house music. However, I think the music really is garage music, and have referred to it as such. Regardless of what genre of music is on the music, it all has one thing in common, quality. For anyone wanting to hear some nineties garage music, then this is a good introduction. This is one of great things about the Backbeats’ series, that if you buy the thirty compilations, you’ve only spent £120, $180 or €150 and have your own library of music covering everything from Northern Soul, Southern Soul and Deep Soul to Disco garage and house music. Of these thirty compilations, two of my favorites are Livin’ the Night Life and Saturday House Fever, which feature some fantastic garage music, spanning two decades, the eighties and nineties, both hugely important decades in the history of dance music. Standout Tracks: Kathy Brown Happy People, Keisha Jenkins Goin’ Through the Motions, Leisha Moore Damn, What A Feeling and Debbie Pender Movin’ On.
SATURDAY HOUSE FEVER.
YOWSAH, YOWSAH, YOWSAH.
YOWSAH, YOWSAH, YOWSAH.
Dance, Dance, Dance, (Yowsah, Yowsah, Yowsah) sang Chic in 1977, on what became one of their classic tracks. That track became one of the classic tracks of the disco era. However, Yowsah, Yowsah, Yowsah is also the title of an excellent compilation of 70s New York Disco released as part of the Backbeats series. The Backbeats series now thirty compilations and is the latest in a long line of successful compilation series released by Harmless. Previously, I’ve written reviews of several of the Backbeats’ series, including their Philly Soul and Southern Soul compilations. On Yowsah, Yowsah, Yowsah Backbeats takes us to destination 127 Disco heaven. This was the tempo of many of the great tracks of the disco era. On the compilation are eleven tracks, a combination of classics, familiar faces and hidden gems that I’ll now tell you about.
One of the best tracks on Yowsah, Yowsah, Yowsah is Lucy Hawkins Gotta Get Out of Here, released in 1978 on Sam Records. It’s just under six minutes of classic disco, with a stunning vocal from a diva of disco. Add to that an arrangement full of energy with a funky bass line, blazing horns and backing vocalists augmented by percussion and you get the idea. Lucy vamps and struts her way through the horn heavy track. This track alone, almost makes buying the compilation worthwhile.
A true diva of disco who features on the compilation is Loleatta Holloway, with one of her Salsoul classics Hit and Run. Released in 1977 on Salsoul, Hit and Run features the sound of the Salsoul Orchestra. They were formed when M.F.S.B. left Philadelphia International Records to form the Salsoul Orchestra. With the Baker, Harris and Young rhythm section gracing their recordings, they went on to record some of the best tracks of the disco era. Along with Dreaming, Runaway and Hit and Run, Loleatta Holloway was the greatest diva of the disco era. Here, her powerful and sassy vocal along with the multi-talented Salsoul Orchestra, make this one of the greatest tracks of the disco era, a track that’s still a staple of many a DJ’s sets.
First Choice contribute The Player to Yowsah, Yowsah, Yowsah. This was originally released in 1974 on Philly Groove and is a track that straight away, bursts dramatically into life, the arrangement sweeping along, before giving way to fantastic ballsy vocal, augmented by some sweet backing vocals. The track is arranged by Norman Harris guitarist in M.F.S.B. and later the Salsoul Orchestra. He Co-produced the track with Stan Watson. This is just one of the many great tracks that came out of Philadelphia during the seventies.
Another track from the Salsoul label is Eddie Holman’s This Will Be A Night To Remember released in 1977. It’s produced and arranged by Ron Baker in both M.F.S.B. and the Salsoul Orchestra. This is the fastest track on the compilation, at 136 beats per minute, but has really catchy string laden arrangement, with flourishes of piano accompanying the Baker, Harris and Young rhythm section. Atop that arrangement sits Eddie’s joyous vocal. Together, they combine to create another great track from the Salsoul label.
Other tracks that deserve a mention include The Players Association great track I Like It, which was the B-side of a 1977 single Love Hangover, on Vanguard. Add to this Jackie Moore’s 1979 percussion heavy track This Time Baby on Columbia, which also features a fantastic vocal and you realize just how much quality is on the album. One last track that I must mention is from the Tom Moulton, often credited as the godfather of the twelve inch mix. Here, using the guise of TJM he contributes Am I Dreaming, released on Casablanca in 1979. This eight minute epic features a lengthy introduction full of percussion, sweeping strings and a funky rhythm section, gives way to an dramatic vocals, augmented by swooning backing vocals. It’s a hugely catchy track laden with drama throughout the eight minutes.
These are just a few of the highlights of Yowsah, Yowsah, Yowsah, an excellent compilation of 70s New York Disco. As you can see, it’s a mixture of some real classics including Loleatta Holloway’s Hit and Run. Although that track may feature on other compilations, this is the original 12 inch version, not a remix. You hear the track the way it was meant to be heard. Indeed, none of the eleven tracks are anything other than the original album version of original 12 inch version. This is quite refreshing, as usually, you get a remix, often from a DJ you’ve never heard of, who ends up ruining a classic track. Not here, where the tracks can be heard in their original form. Apart from Loleatta Holloway, other divas of disco feature here as well, including Lucy Hawkins and Jackie Moore. Tracks like Eddie Holman’s This Will Be A Night To Remember, The Players Associations I Like It and Ultra High Frequency’s We’re On the Right Track are a trio of welcome additions on Yowsah, Yowsah, Yowsah. Overall, this an album full of classic disco music, from the heyday of disco. Compiler Ian Dewhirst deserves credit for managing to compile an album full of such great music. He resists the temptation to resort to including some of the predictable choices that you find on many similar compilations. Indeed rather than resort to these predictable tracks that everyone has heard so often, he compiles an album where classics sits happily next to hidden gems. When taken together, this a an excellent combination, that makes Yowsah, Yowsah, Yowsah a disco compilation that deserves to find its way into your collection. After all, at less than £4, it’s some of the best value for money you’ll come across. So, treat yourself, and enjoy some excellent 70s New York Disco on Yowsah, Yowsah, Yowsah. Standout Tracks: Lucy Hawkins Gotta Get Out of Here, Loleatta Holloway’s Hit and Run, First Choice The Player and Eddie Holman’s This Will Be A Night To Remember.
YOWSAH, YOWSAH, YOWSAH.
SAM COOKE-NIGHT BEAT.
SAM COOKE-NIGHT BEAT.
Like many so many people, one of my favorite soul singers of all time has to be Sam Cooke. When in November 2011, I saw that RCA were releasing an eight disc box set of some of Sam Cooke’s greatest albums, I just had to have a copy. It’s a good way to replace much loved vinyl and at £24, $36 or €30, represents great value for money. Since I got the RCA Albums Collection, to give the box set its correct title, I’ve been absorbed my the music of Sam Cooke. Now I’m not going to say that each and every one of the albums is outstanding, because that isn’t the case. Some are better than others, but of the eight albums, one stood out for me. That album is the bluesy sounding Night Beat, released in 1963.
Night Beat was released by Sam Cooke in August 1963, and remarkably, was the thirteenth album he’d released since 1957, not counting 1962 Best of Sam Cooke. Compared to modern day artists, this is an amazing statistic, because nowadays, few artists will even get to album number thirteen. Today, many artists will struggle to release an album every other year, never mind annually. As if thirteen albums in seven years isn’t an impressive statistic, Night Beat only took four days to record. Recording took place between 22-25 February 1963, at the RCA Studios in Hollywood, California. With Hugo and Luigi producing what would become Night Beat, and Rene Hall the guitarist and arranger acting as conductor, what was an all-star band was assembled. Accompanying Sam on Night Beat was a sixteen year old Billy Preston, whose organ playing is stunning, and befitting on an older, much more experienced and mature musician. Billy Preston is one of the few musicians who deserves the accolade of musical prodigy. Another well known name who played on Night Beat is Hal Blaine, who played in Elvis Presley’s band, was one of the Wrecking Crew, and played on hits by The Ronettes and The Beach Boys. Joining this duo was jazz guitarist Barney Kessel, bassist and drummer Edward Hall, guitarist Cliff White and bassist Clifford Hills. Over four days, twelve tracks were recorded, and what became Night Beat would be released later in 1963.
August 1963 was chosen as the release date for Night Beat. On Night Beat’s release on the RCA Victor label, it reached number sixty-two in the US Billboard 200. This seems a somewhat disappointing chart position, given the album’s quality. However, since then, Night Beat is seen as one of Sam Cooke’s greatest albums, which I’ll now tell you about.
Night Beat opens with Nobody Knows the Trouble I’ve Seen, a traditional song, arranged by Sam Cooke himself. It’s just a slow moody bass that precedes Sam’s really emotive vocal. With just cymbals gently hissing joining the arrangement, Sam demonstrates his talent as a vocalist, singing almost unaccompanied. He delivers the lyrics perfectly, as if he can relate to the loneliness and loss caused by his girlfriend that he’s singing about. Although very different to other tracks on Night Beat, it’s hugely powerful and emotive.
Lost and Lookin’ has a similar introduction, with just the bass and cymbals accompanying Sam. Again, the lyrics deal with a girlfriend leaving a guy, and the pain and heartache he feels. Like the previous track, Sam gets across the sense of despair and loneliness in the lyrics, delivering James W. Alexander and Lowell Jordan’s lyrics thoughtfully and beautifully.
There’s a real change in the sound on Mean Old World, written by Sam Cooke, which opens with Ray Johnson playing piano before Billy Preston makes his debut on organ. Billy’s playing adds to the sense of sadness and loneliness of Sam’s vocal, while the rhythm section play slowly and carefully. As Sam’s forlorn vocal soars, the organ adds an atmospherics sound, while the piano plays a leading role in the arrangement. Together, Sam and his band combine perfectly, the result being a song that although is full of sadness, is sung and played beautifully, resulting in one of Night Beat’s highlights.
Many of the tracks on Night Beat deal with relationships, and specifically the break up of them. Please Don’t Drive Me Away, is another example of this. The track has a real bluesy feel and sound, with piano and rhythm section combining to create a shuffling beat. Atop the arrangement sits Sam’s vocal, as he pleads with his girlfriend not “to drive him away.” Adding to this sound is Billy Preston’s wailing Hammond organ, with stabs of it dropping in and out of the track, adding to the emotion and desperation in Sam’s voice. This bluesy track is very different to many of Sam’s best known tracks, and displays another, and very welcome, side to his music.
Continuing the bluesy sound is I Lost Everything, which features a desperate vocal from Sam, whose lost the woman he loves. With searing guitars and the rhythm section combining, the Hammond organ adds a sympathetically sad sound to the slow arrangement. Later, a piano joins, seemingly adding just the finishing touch to the arrangement as a desperate Sam gives a realistic portrayal of a man has indeed, lost everything.
Closing SIde One of Night Beat is Get Yourself Another Fool, another slow bluesy track. With piano and bass combining brilliantly to open the track before Sam’s vocal enters. His vocal is drenched in sadness and regret, while the Hammond organ subtly adds to track’s sadness. It’s the piano that leads the track, with searing guitars chiming sadly when Sam’s vocal drops out. This too, adds to the sadness and emotion of the track, and when combined with Sam’s forlorn vocal, is a stunning track, one of Night Beat’s best.
Side two of Night Beat opens with a track written by Willie Dixon, Little Red Rooster, which gives Sam’s band the chance to demonstrate their considerable talents. With Billy Preston on Hammond organ and Ray Johnson on piano combining to create a fantastic sounding backdrop, Sam delivers Willie’s lyrics slowly. Billy Preston’s organ playing is just outstanding, and when combined with the piano playing of Ray Johnson, things really start to swing. Even Sam seems impressed by the virtuoso skills of the then sixteen year old Billy Preston, who easily holds his own with experience musicians like Ray Johnson. Both Ray and Billy drive the track along, each encouraging the other to new heights, making Willie Dixon’s classic swing. Add to this a great vocal from Sam, and it’s an impressive and very different track to anything on Side One.
Sam Cooke wrote a trio of tracks on Night Beat, with Laughing and Clowning the second of the trio. Many people forget that apart from being a hugely talented singer, Sam was also a talented songwriter. It’s Ray Johnson’s piano playing that opens this bluesy sounding track. When Sam’s vocal enters, there’s a sense of despondency in his vocal, at the loss of his girlfriend, and yet people expect him to be the “life of the party.” Here, it’s a case of “the tears of a clown when no-one is around.” As the arrangement meanders along, Ray Johnson’s piano plays a vital part in the blues tinged arrangement, and later, is joined by Billy Preston’s Hammond organ. Like so many other tracks like this, Sam was a master of being able to deliver songs about relationships and emotions with a gritty realism, that many singers just can’t achieve. When he does this, there’s a real beauty in his voice, even though he’s singing about heartache and despair.
As Trouble Blues opens, Sam just hums slowly, while the rhythm section play, before his downcast and despondent vocal enters. It’s joined by the piano as he sings of his heartache, caused by his relationship breaking up. However, there’s positivity in the vocal too, as he sings that someday soon, he’ll get over her. Later, adding it’s atmospheric and sad sound is the Hammond organ, which adds to the sadness of Sam’s version of Charles Brown’s. This seems to be the missing ingredient, one that turns a good version of this track into a truly great one.
You Gotta Move is the last of the trio of Sam Cooke penned tracks on Night Beat. Again, it’s a track with a lovely bluesy sound, where the piano and Hammond organ are vital to the track’s ultimate success. With just the rhythm section accompanying the piano and Hammond organ accompanying him, Sam delivers his lyrics with a combination of enthusiasm, emotion and passion. Delivering the lyrics with a swing, against another great arrangement from a really tight and talented band, you can’t help but love a track that sounds as good as this one does.
When Fools Paradise opens, the tempo is slow, with just the rhythm section and piano accompanying Sam’s vocal. He’s full of regret at the things he’s done, the time he’s wasted “drinking and gambling, staying out all night.” As he sings how, he’s “learned his lesson,” Billy Preston’s Hammond organ cuts in, adding to the emotion of a man almost seeking forgiveness and redemption. This works really well, adding to the power and emotion of this really moving, dramatic and quite beautiful track.
Night Beat closes with Sam’s version of a track written by Charles Calhoun, Shake, Rattle and Roll. After an album full of bluesy sounding tracks, Sam decides to end the album with a real swing. Here, his band raise their game for an old classic track, even singing backing vocals in a call and response style. Driven along by a rhythm section of bassist Cliff Hills and drummer Hal Blaine, they combine with guitarists Rene Hall and Clifton White, while Ray Johnson on piano and Billy Preston all play their part in ensuring Night Beat ends with a satisfactory swinging sound. Sam delivers his vocal joyously, enjoying the track’s good-time sound, provided by his band. Even though this track is nearly fifty years old, it still sounds great, and has an almost timeless sound, like all good music. What better way is there to close Night Beat?
Tragically, just over a year after Night Beat was released in August 1963, Sam Cooke died in December 1964 aged just thirty-three. After this he only released one further album, Ain’t That Good News in March 1964. It too, was a stunning album, a fitting finale to a career that was tragically cut short. In some ways, it seems fitting that Sam Cooke released the two best albums of his career just prior to his death. Although Ain’t That Good News is an excellent album, I much prefer the bluesy sound of Night Beat. On that album were some great bluesy tracks, which Sam delivered with a combination of emotion, sadness and regret. Many of these songs are about relationships and the break up of them, and Sam delivers these songs with a gritty, realism. Backed by a hugely talented band which included organist Billy Preston, pianist Ray Johnson and drummer Hal Blaine, they helped Sam create an album that nearly fifty years later still sounds stunning and has a timeless quality. Although it’s quite different to many of Sam’s other albums, it has strength in depth, with twelve quality tracks, one following the other. Of the eight albums that can be found in the RCA Albums Collection which contains eight of Sam’s album Cooke’s albums, this is the best. So, if you either like soul music, or love the music of Sam Cooke, then Night Beat is an album that belongs in your music collection. Standout Tracks: Mean Old World, Get Yourself Another Fool, Trouble Blues and You Gotta Move.
SAM COOKE-NIGHT BEAT.
PHILADELPHIA INTERNATIONAL: THE RE-EDITS.
PHILADELPHIA INTERNATIONAL: THE RE-EDITS.
Sometimes, once you’ve heard that a new album will be due out soon, then you can’t wait to get your hands on to review. That’s how I felt about Harmless’ latest compilation, Philadelphia International: The Re-Edits, which I’ve waited to hear for a number of weeks. This is just the latest compilation that will be released during 2012, which is the fortieth anniversary of Philadelphia International Records. As if this latest compilation isn’t enough, then fans of the Philly Sound will soon be able to enjoy a four disc box set entitled Philadelphia International Classics: The Tom Moulton Remixes which is due for release in February 2012 on Harmless. Now if that isn’t enough to whet your appetite, then how a ten, yes ten disc box set which will be released later in 2012. However, getting back to the Philadelphia International: The Re-Edits compilation, this is an interesting concept which I’ll now tell you about.
Now, most similar albums of re-edits or remixes see many of the same familiar names used to either re-edit or remix classic tracks like this. Not here though. Instead, what we have is a number of re-edits from DJs who’ve been fans of the music, and maybe aren’t the highest profile DJs. This is quite refreshing, as on many albums, the usual suspects are dragged out to give their “take” on a track. So what we have here, are twenty-one re-edits from DJs who maybe wouldn’t usually find their music on such an esteemed compilation. To me, this is part of the attraction to the compilation, hearing fresh takes on the music by fans of the music. These DJs come from not quite the four corners of the globe, but pretty close. There are DJs from San Francisco to Sunderland, Brooklyn, Brescia and Bristol, not forgetting Glasgow, Chicago and New York. Truly, it’s a cosmopolitan mix of DJs who contribute to the album. However, four other people who made this compilation possible, are compilers Ian Dewhirst and Jay Negron, as well as Gamble and Huff who brought us this majestic music.
Now before I tell you about the music however, I’ll explain the idea behind a re-edit, and how this differs from a remix. This should allow you an insight into how the various DJs on this compilation came up with the various re-edits. With the re-edits on this compilation, none of the DJs had access to the master tapes or any of the raw parts of the song. This is always the case with re-edits. What happens is that the DJ takes the song, and basically takes pieces out of the track, maybe adds drum beats, sometimes a keyboard line and often a number of effects. Quite often, the DJ will look to extend parts of a song, make it longer, more suitable for the dance-floor. Often, this will mean adding additional drum beats, extending the introduction and extending the best bits of the track. This can build up the dramatic effect of a track and turn it into something much more dynamic and energetic. However, who does the DJ manage to do this? Well there are a number of software editing packages available, with prices suiting every budget. You can get packages that are free, up to packages that run into hundreds of pounds. Although the best packages are quite expensive, if you want to try making your own re-edit, then a free or cheap package will allow you to try this. It’s possible to make your own re-edit using just a basic laptop or desktop and some free or cheap software. Many DJs do re-edits to put into their DJ sets, and this allows them something unique, that may become one of their signature tracks. Having told you about re-edits, what is a remix?
A remix is totally different as the remixer has access to the original master tapes, or nowadays, the computer files. This means the track is divided into different parts, for example, the drums, bass, guitars and vocals. The remixer can choose to use all, some or even just a few. Then, various loops can be added and new parts old replacing parts of the track. Sometimes, this is just a few things added and changed, and sometimes, the track is rebuilt totally. It depends on what the remixer is trying to do.
Usually, the master tapes are played through a mixing desk, and the various sound levels are adjusted, maybe boosting the bass, loosing some high end. Then the remixer starts to add and remove parts of the track. Often, they’ll extend some parts, maybe adding some drumbeats, add effects, maybe filters and panning, ideal for the dance-floor. Often, these remixes are trying to make a track fit a dance-floor, that originally, were never conceived as a dance track. Some remixers like Masters At Work have worked with a number of artists whose music wouldn’t usually be considered dance music. Nowadays, the remix is an important tool for many artists in adding to their “crossover” appeal, and is a lucrative sideline for DJs who are also remixer. Now that I’ve explained the difference between re-edits and remixes, we get to the important part, the music. Just what does, Philadelphia International: The Re-Edits sound like? That’s what I’ll now tell you, highlighting some of the compilations best tracks.
Philadelphia International: The Re-Edits has two discs, separated into two themes. Disc One is entitled Uptempo Good Time Philly, while the second disc is Mellow Slinky Philly. Now, the compilers have decided sensibly, to open Disc One with a bang. To do this, they’ve chosen one of my favorite re-edits from the whole compilation, Morning Star’s 2004 re-edit of Harold Melvin and The Blue Notes Satisfaction Guaranteed (Or Take Your Loving Back). Originally from Harold Melvin and The Blue Notes’ platinum certified 1973 album Black and Blue, which reached number one in the US R&B Charts and number nine in the US Billboard 200. When released as a single in 1974, it reached number fifty-eight in the US Billboard 100 and number six in the US R&B Charts. It’s a much longer track than the original, which only lasts three and a half minutes. Here, the track is extended to seven and a half magical and energetic minutes. From the moment the track opens, the re-edit is just full of energy, building and a building and never running out of steam, The principle is take the best bits and extended them. It seems Morning Star have decided that you can’t get enough of a good thing, which in the case of Harold Melvin and The Blue Notes and Gamble and Huff, is certainly the case. The result is a dynamic track, laden with energy that’s perfect for any dance-floor.
The only Billy Paul track on Disc One, is Only the Strong Survive, the title track from his 1977 album Only the Strong Survive. This is a very different re-edit, with Jay Negron in his guise as J’Ski providing this track. Unlike the opening track, the track takes a while to unfold, with J’Ski almost teasing the listener, as he seeks to build up the track’s drama. He succeeds in achieving this, and uses filters effectively. They’re used sparingly, whereas sometimes, they can be overused. Even the saxophone solo which in the original is later earlier in the original track is extended and is one of the highlights of the track. Its sultry sound just goes on and on, the dramatically, seems to last forever. This is a very welcome addition, and what I also like about the track is the way the vocal has been rearranged. In the original it’s a track that slowly builds and builds. Here, parts of the vocal are used as a breakdown, and then used to rebuild the track’s drama. Like Harold Melvin and The Blue Notes’ track, it’s a track that would sound great on any dance-floor, and would be a new and novel way to introduce a new generation of music lovers to Billy Paul’s music.
A Jean Carn track that I’ve always enjoyed is Free Love, and it’s a welcome addition to Philadelphia International: The Re-Edits. This was from Jean’s eponymous album Jean Carn, released in 1976. Free Love was released as a single, reaching number twenty-three in the US R&B Charts. Here, Victor Rosado takes a track that was originally lasted four minutes and transforms it into a seven minute epic, subtly taking the best parts of the track extending them, and carefully using filters. With plenty of lush swirling strings augmented by crisp beats, a great bass line and of course Jean’s sassy vocal sassy vocal sitting atop the arrangement, that even features rocky guitars it’s an excellent re-edit of a classic Philly dance track.
Although The Trammps were formed in 1972, the genesis for the group was back in the sixties and a group called The Volcanoes. Their most successful period was when Earl Young and Norman Harris of M.F.S.B. joined the group. The Trammps contribution to Philadelphia International: The Re-Edits is Save A Place, again re-edited by J’Ski. His re-edit has the same qualities as his Billy Paul re-edit, turning the track into a six and a half minutes Magnus Opus. This track is from The Trammps 1975 album Trammps. Here, the track has a lengthy string laden introduction, which is full of energy, even before the vocal enters. Once it enters, the track gets even better, with the anticipation matching the delivery. You just can’t fail to be drawn into this track, which is hugely catchy and hook laden. J’Ski uses filters again, but does so with subtlety. What makes this such a great track, is that the original track features some really talented musicians, with Earl Young’s drumming and Norman Harris’ guitar playing stunning. Thankfully, J’Ski is able to pay homage to their genius with an excellent re-edit, one of the compilation’s highlights.
One track that I’ve always loved and was really pleased to see on Philadelphia International: The Re-Edits, was McFadden and Whitehead’s Ain’t No Stopping Us Now. Now previously, I’ve heard a number of versions of the track over the years, but this is quite different. Here, this track could divide opinion, as The Noodleman deploys plenty of effects as the track opens, with filters and delay his weapon of choice. He’s seeking to heighten the drama, extending the introduction, letting the anticipation of those joyous vocals enter. With percussion joining his armoury and the drumbeats sounding crunchier, he again uses effects to increase the drama. This works and works well, and will sound quite spectacular in a large club with a large PA. My only concern is that sometimes, effects can be overused and here, the Noodleman treads a fine line. However, after a few listens, I’m pleased to say that I’ve grown to enjoy the track.
The final track I’ve chosen from Disc One is The O’Jays classic, Message In Our Music. This was the title track from their 1976 album Message In Our Music which reached number three in the US R&B Charts and number twenty in the US Billboard 200, resulting in the second of their albums being certified gold. On its release as single, it gave the group another US R&B number one single, while only reaching number forty-nine in the US Billboard 100. Here a UK DJs edit is chosen, Jimmy the Twin’s and it’s a lovely version of the track, with a prolonged introduction building up to the vocal, while percussion, guitar and strings all play their part in the track. It’s a track that has a Latin a feel and mixes this with bursts of drama later in the track. Like his earlier re-edits, this is another quality re-edit from J’Ski.
Two other tracks that also deserve a brief mention are J’Ski’s re-edit of M.F.S.B.’s Mysteries of the World which combines a lovely lush string laden sound with bursts of funk. J’Ski’s re-edit stays true to the original and with some subtle tweaks and additions, the track is complete and sounds great. Be For Real by Harold Melvin and The Blue Notes from their debut album I Miss You, released in 1972 and reached number four in the US R&B Charts and number fifty-three in the US Billboard 200. Here, quick, crunching drumbeats are added to the track, giving it a house sound and feel, especially when the percussion enters. When Teddy’s vamping vocal enters at the start, you realize this is something special that’s unfolding. Thankfully, you’re far from disappointed, and the result is magnificent, indeed it’s a case of Satisfaction Guaranteed.
Having spent some time listening to Disc One of Philadelphia International: The Re-Edits, I’m pleased to report that of the eleven tracks on the disc, there isn’t a bad one. Of the eleven tracks, their re-edited with love and care, resulting in some interesting takes on some of the Philly Sound’s best known and best loved tracks. The only track I wasn’t sure about was the re-edit of McFadden and Whitehead’s classic Ain’t No Stopping Us Now. When I first heard it, I thought that maybe, the effects had been overused. However, after listening to the track, The Noodleman’s re-edit has grown on me. However, he treads a fine line, and could’ve ended up spoiling the original and his re-edit, but thankfully this isn’t the case…just. Apart from that, the other ten tracks feature some great re-edits, but will Disc Two Mellow Slinky Philly keep up the same high standards?
Now Disc Two, of Philadelphia International: The Re-Edits is entitled Mellow Slinky Philly, only has ten tracks on it, and I’ll pick the best tracks from this disc. My first choice is another Jean Carn track, If You Want To Go Back, from her debut album on Philadelphia International Records Jean Carn, released in 1976. When I first heard the Morning Star re-edit, I felt the track had been slowed down slightly at the start. Having checked the beats per minute, both the original and re-edit are 127 beats per minute. Straight away, the introduction is looped several times, building the tension, and highlighting a fantastic introduction. After that, with swathes of strings surrounding Jean’s vocal, and flourishes of piano and bursts of horns accompanying her, this excellent re-edit unfolds. What you hear is a track that when it was released, became a true dance-floor classic, and thirty-five years is given a subtle makeover by Morning Star. The result is a flawless re-edit, one of the compilation’s best tracks.
Like the re-edit of McFadden and Whitehead’s classic Ain’t No Stopping Us Now, it took me a good few listens to grow to enjoy JKriv’s aka Deep and Disco’s Re-Work of The O’Jay’s Darlin, Darlin’ Baby, their number one US R&B single from 1976, that also reached number seventy-two in the US Billboard 100. Again, Darlin, Darlin’ Baby was from The O’Jays 1976 album Message In Our Music.This is one of their best known track, from The O’Jays and reworking a track like this requires great care. Why, well this is a true Philly classic, and re-editing this is a bit like asking a modern artist to rework a Constable or Picasso. However, after a few listens I grew into the track, which sounds great on a high end hi-fi. With crunchy drumbeats, filters and delay used throughout the track, this Philly classic is reworked into something very different. There’s a house feel and sound to the track because of the drums, which also have a spacey sound. The track combines space, effects and drama, and even sees dramatic pauses used during the track. Having grown to really enjoy this track, I wonder how Philly purists will view the track? After all, The O’Jays quite rightly, are like Philly royalty.
Having been undecided about which of The Jones Girls’ tracks to choose, then I thought I’d mention two of the three tracks on Disc Two. In total, Shirley, Brenda and Valerie feature on three tracks in total. They’re Dance Turned Into Romance on Disc One, while the pulsating You’re Gonna Make Me Love Somebody Else and the classic Nights Over Egypt feature on Disc Two. Of the two tracks, Henry Greenwood contributes a fantastic re-edit of You’re Gonna Make Me Love Somebody Else which is from their 1979 self-titled debut album The Jones Girls. When the bass line cuts in as the track opens combining with bursts of synths and crisp drumbeats, the track has an understated yet pulsating sound. It’s as if the track has been pared down, stripped of anything unnecessary. Then, when the vocal enters, Shirley’s vocal sits atop the arrangement which starts to builds up now, and later synths and effects join that brilliant bass line. The track just pulsates along, for nearly eight and a half magnificent minutes, resulting in one of my favorite tracks on the album.
Nights Over Egypt is the other track by The Jones Girls and is from their 1981 album Get As Much Love As You Can and is re-edited by Womack and TOT. This is quite different from other versions I’ve heard. Filters are used to transform the sound, and the drumbeats are pounding, ready to punish your speaker’s bass bins. The vocal only enters after ninety-seconds, but still the rest of the track has effects transforming the sound, and making you anticipate the revealing of the rest of the arrangement. That never happens though, and the way the effects almost guard the arrangement works well. To me, it’s all about anticipation, anticipating something that never quite happens. However, the advantage this has is that it allows you to focus on the glorious vocal from Shirley. Overall, it’s a great version of a classic track.
Another of the Philly ladies to feature is Dee Dee Sharp Gamble, and here, she contributes Easy Money from her 1980 album Dee Dee. This re-edit is by Todd Terje, and sees him slow the track down as the track starts. Then, bursts of synths briefly punctuate the track, before a funky bass line plays vital part in a very different sounding arrangement. Effects are deployed, handclaps used and the drumbeats rearranged, so much so, that just after midway through the track, there’s a mini breakdown, before sound effects or samples are added. However, all this works, as Todd Terje builds up the momentum again, using a combination of handclaps and additional drumbeats, as the momentum slows just before the track’s ending. The result is an interesting twist on old track and one that like me, after a few listens, I’m sure you’ll grow to love it too.
Now there are two other tracks I’d like to mention, the first of which is Billy Paul slice of soul with a social conscience Let the Dollar Circulate, from his 197t album, When Love Is New. This is the Scratch ‘N’ Sniff Extended Re-Rub, where the the drama builds and builds before the vocal enters. Eventually, after two and a half minutes of anticipation, the wait is over, and Billy’s vocal enters. Even then, delay is used sparingly on the vocal. Here, the best bits are taken and extended to make this into an epic track, one that I’ve always loved. The final track that I’d like to mention is Harold Melvin and The Blue Notes’ Wake Up Everybody, the title track from their platinum certified US R&B number one album Wake Up Everybody, which also reached number nine in the US Billboard 200. When released as a single this track reached number one in the US R&B Charts and number twelve in the US Billboard 100. DJ Apt One’s re-edit is a starts of with Teddy Pendergrass’ voice reverberating against subtle drumbeats and piano, and quickly, is transformed into an uplifting hook laden, slice of soul with a message and a feel-good sound. Gradually, the track unfolds, revealing its brilliance and beauty, and is the perfect way to end the compilation.
After Disc One of Philadelphia International: The Re-Edits proved to be full of quality Philly Soul I wondered whether Disc Two would’ve the same high standard of music on it. I needn’t have worried because after one great track comes another. Indeed, many of my favorites feature on the album so it has been a labor of love for me reviewing Philadelphia International: The Re-Edits. If having read this review you’re still wondering should I or shouldn’t I buy this compilation, all I can say is of course you should. It’s full of some wonderful interpretations of classic Philly Soul songs. Each of the twenty-one re-edits have been done with care and love, from people who are basically fans of this wonderful music, music that’s timeless and very special to many people, including me. I will say that when I first heard of this compilation, I was worried how the tracks would sound, because of the memories they have for me and what they mean to me. However, I needn’t have worried, the twenty-one tracks have been re-edited sensitively, carefully and with love. It’s almost as if the various re-editors are paying homage to the two creative geniuses who made this music wonderful music possible, Kenneth Gamble and Leon Huff. That’s what makes Philadelphia International: The Re-Edits such a great album, one that belongs in the collections of anyone who loves either soul or Philly Soul.
PHILADELPHIA INTERNATIONAL: THE RE-EDITS.
|
SHATTERED DREAMS-FUNKY BLUES 1967-1978.
SHATTERED DREAMS-FUNKY BLUES 1967-1978.
Over the many years I’ve been collecting first vinyl, even tapes and now CDs, I’ve lost count of the number of compilation albums I’ve bought. I won’t admit to what the total must be, all I’ll say is that it’s into four figures, so you can speculate to your hearts content. These albums fall broadly into three categories the good, the average and totally forgettable. Occasionally, I’ve been forced to add a fourth category, the unmissable, must have compilation. This rarity, is a compilation that features one great track after another. This is real rarity and very few compilations fall into this category. However, last year, in March 2011, BGP, one of the Ace Records’ labels released an album that deserves entry into this exclusive club, Shattered Dreams-Funky Blues 1967-1978. Since I got this compilation, I’ve played it so often that I’ve almost worn away the disc. Of the twenty-one tracks on the album there’s neither any filler nor poor tracks, just some stunning slices of funky blues.
The music on Shattered Dreams-Funky Blues 1967-1978 comes from a time when soul music became the most popular music in black America, with blues music, previously the most popular music sidelined. By the late sixties, many blues musicians were struggling to make a living, and were finding it tough to adapt to the changes in musical tastes. While soul singers and rock groups played huge venues, blues players were relegated to playing some of the many smaller, run-down clubs that could be found in every part of America. Many of these musicians raised on the blues, stubbornly refused to change their style of music. However, they had to adapt to survive, so many of them started throwing in some funky licks and soulful hollers and screams into their music. This became hugely popular with their audiences, and since then, with crate diggers and collectors of funk music. So, to save you the time and expense of searching out these hidden gems of funky blues, BGP have saved you the time and expense, collecting twenty-one of these masterpieces onto one disc, Shattered Dreams-Funky Blues 1967-1978.
Of the twenty-one tracks that can be found onShattered Dreams-Funky Blues 1967-1978, many of the names will be familiar to even the casual lover of blues music. Lowell Fulson, Albert King, Buddy Guy and The Johnny Otis Show are some of the better known artists, while some people will be familiar with the music of Smokey Wilson and Freddie Robinson. If you’re not, then after hearing this compilation you will be, and I can assure you that you’ll want to hear much more of their magical music. These are just a few of the artists that feature on this stunning compilation.
On the album, are tracks drawn from some stellar and well known labels including Stax, Jotis and Modern. Now, many people may not be aware that Stax released some quality blues music, including releases by Albert King, Little Milton and Little Sonny. Al Bell at Stax had ensured that Stax had a variety of artists over the range of musical genres, so that all tastes were catered for. It was his idea to sign blues artists like Albert King who contributes the excellent Playing On Me, the B-side of his 1973 single The High Cost of Living. It’s a moody sounding track where a Hammond organ, chiming guitars braying horns come together with Albert’s frustrated vocal, which features hollers and whoops. The other Stax artist who features on the compilation is Little Milton, with a track that was a single released in 1971, That’s What Love Will Make You Do which features searing guitars, blazing horns and throaty vocal from Little Milton on a track that brilliantly combines elements of funk and the blues.
Some artists contribute more than one track, with Lowell Fulson contributing a duo of tracks, Mellow Together and Welcome Home. Mellow Together was the B-side of a 1968 single Blues Pain. Mellow Together was previously unreleased, until they released the track on a compilation of Lowell’s entitled Black Nights: The Early Kent Sessions. Although both are quality tracks, the driving Mellow Together is the best of the duo. Full of energy with guitars and horns combining with Lowell’s thoughtful vocal. These two tracks give the listener a taster of Lowell Fulson’s music, music which is just waiting to be discovered.
Like Lowell Fulson, The Johnny Otis Show contribute two tracks. The first is Country Girl, a 1969 single released on Kent, while the other track has never previously been released, Comin’ At Ya Baby Pt. 2. Of these two tracks, Comin’ At Ya Baby Pt. 2 is a fantastically funky, slice of the blues, with harmonica and horns featuring throughout.
Another artist who has two tracks on the album is Smokey Wilson, whose music many people won’t be familiar with. That’s more the pity, as he’s a versatile and talented musician. These two tracks are quite different with You Shattered My Dreams, a single on Big Town from 1978, that’s a slow, sultry horn heavy track with chiming guitars accompanying the saddest of vocals from Smokey. His other contribution High Time has never been released and is quite different. It’s a good-time slice of funk drenched blues that’s hugely catchy. If you’ve never heard of Smokey Wilson, then an album like this gives you the opportunity to discover and acquaint yourself with some artists who you’re unfamiliar with. This can lead to a journey of discovery of much more, magical music.
Similar to Smokey Wilson, many people will never have heard of Finis Tasby. That is until now. He too, contributes a duo of tracks It Took A Long Time, a 1977 track that’s never been released before. Neither has his other contribution Cloudy Day, also recorded in 1977. It Took A Long Time is a seriously funky bluesy number with a Hammond organ and the rhythm section driving the track along, while Finis’ vocal is full of emotion. Cloudy Day has a much more traditional blues sound, but still has a funky side. I love arrangement, especially the harmonica that punctuates the track, and wonder why it took thirty-four years to release this track? One wonders what other goodies are just waiting to be unearthed?
My two final picks from Shattered Dreams-Funky Blues 1967-1978 are Icewater Slim’s funk laden Your Love Is Good Enough, which features wah-wah guitars and a powerful vocal. This track was the B-side to his 1974 single the amazingly titled Supersonic Megatonic Flash on Hawk Sound Records. The last track I’ll mention is from a veteran blues musician Buddy Guy, entitled I’m Not the Best, which was the B-side of his single Fever. It’s a live track which gives the flavor of the kind of clubs he was playing during this period. After whipping the crowd into a frenzy, Buddy and his band deliver a stunning blues track, complete with searing, soaring guitars, blazing horns and handclaps provided by the audience. Add to this Buddy’s roaring, passionate vocal and this is just a fantastic track, which is just another reason to buy the compilation.
So, now I’ve told you about some of twenty-one tracks onShattered Dreams-Funky Blues 1967-1978, what was in my opinion one of the best compilations of 2011 you’ll be maybe still be wondering why should I buy this album? Well, if like me you enjoy both blues and funk music, and would enjoy hearing both genres combined then this is well worth buying. To me, part of the fun of buying these compilations is discovering music from artists I’ve never heard before, or tracks from familiar artists that are new to me. For example, I’ve heard many a track by The Johnny Otis Show, and Buddy Guy, but never heard two of the tracks that feature here. If you’re anything like me, you’ll get a real kick out of finding a brilliant new track, and it often leads you on a voyage of discover. You find yourselves buying albums by an artists you’ve never heard before, and quickly, you realize you’ve bought most of their back catalogue. That’s part of what I love about music, constantly discovering old music, music that’s often gone unnoticed and has long been forgotten about. Much of the music on Shattered Dreams-Funky Blues 1967-1978 falls into that category. Compiler Dean Rudland deserves credit for rediscovering, and almost rescuing this music from the dusty vaults of the various record companies and sharing it with us. This gives us the opportunity to wallow in the hidden gems and familiar faces that feature on the this excellent compilation. If you like blues and funk music, then you’ll love the music on Shattered Dreams-Funky Blues 1967-1978 which to me, is one of the best compilations of 2011.
SHATTERED DREAMS-FUNKY BLUES 1967-1978.
|
BILLY PAUL-FIRST CLASS.
BILLY PAUL-FIRST CLASS.
First Class was Billy Paul’s ninth and final album for Philadelphia International Records, released in 1979. After some hugely successful singles and albums, including Billy’s 1972 album 360 Degrees of Billy Paul and Let ‘Em In, and singles like Let ‘Em In and Mr and Mrs Jones, Billy had decided to retire from music. However, there was much more to Billy’s career than just a couple of albums and singles. Albums like Only the Strong Survive and When Love Is New combined soul with a social conscience and stunning love songs. Now after nine years with Philadelphia International Billy decided to seek new challenges. Would his final album see Billy’s career with Philadelphia end on a high?
Sadly, of Billy’s nine albums First Class was his least successful album for Philadelphia international, although the title First Class, is an apt description of the music on the album. In truth, there isn’t a bad song on the album which contains nine tracks. Of these nine tracks, Gamble and Huff cowrote three, with Carl Gamble co-writing False Faces, while Glad To See You Again, is easily one of the album’s highlights. Their other contribution Treasure of My Life, demonstrates that the duo were still writing quality songs. Another of the albums highlights was the gorgeous ballad What A Way To Love, co-written by Phillip Pugh and Phillip Terry, who also produced the track. Billy contributed one song, co-writing It’s Critical with William Hatcher and C.J. Clark. Not only was Billy involved in the writing process, but he produced one track and co-produced two others. One wonders if Billy was looking ahead to a career as a producer? However, with a variety of writers contributing songs to First Class, and having recorded nine tracks at Philadelphia’s Sigma Sound Studios, the album was released, but failed to chart. This was hugely disappointing given it was Billy’s farewell to Philadelphia International Records and given the quality of music on the album. Would the singles released from First Class fare any better?
Of the three singles released from the album, Bring the Family Back was the first, reaching just number ninety in the US Billboard 100. Meanwhile, the album fared better in the UK, reaching number fifty-one, where it became a popular track at clubs. Having only spent three weeks in the American charts during spring 1979, the single dropped out the chart. The second single was the funk laden False Faces, but remarkably, it failed to chart. What was Billy’s final single for Philadelphia International was You’re My Sweetness, which reached number sixty-nine in the US R&B Charts during its five week chart sortie. After this, Billy left Philadelphia International, and didn’t release another album until Lately in 1985. However, his final album Philadelphia International was First Class in title and quality, and I’ll now tell you about that album.
First Class opens with False Faces, co-written by Gamble and Huff with Carl Gamble. With John L Usry Jr. arranging the track and Gamble and Huff producing the track, some of Philadelphia International’s most creative people collaborate with Billy. A funky bass line, drums and chiming guitars open this funk drenched track. Billy’s vocal is slow, laden in emotion and passion, as stabs of Hammond organ, and bursts of horns join the arrangement. Strings sweep in, combining with the horns, rhythm section and female backing vocalists as the arrangement just gets better and better. Later, an alto saxophone drifts above the arrangement, while drums add drama. It’s one of these tracks that grows and grows, ultimately resulting in a hugely satisfying and catchy funk laden track.
Bring the Family Back was one of the trio of singles released from First Class. It’s a very different track to the previous one, and features a stunning arrangement from John Usry Jr. Not only has the track a really lovely uptempo and uplifting sound, but is a song with a social conscience, about the breakdown of family life and how society would be better with a return to family. With sweeping, swirling strings, and piano that plays a huge part in the arrangement, along with the rhythm section, handclaps and rasping horns, the arrangement flows beautifully along. Adding to the arrangement is an excellent bass line which is ever-present throughout the track. Also ever-present, are the female backing vocalists who accompany Billy’s tender and thoughtful vocal, which grows in power and passion as the song progresses. Overall, a stunning arrangement and passionate vocal from Billy make this one of this one of First Class’ highlights.
After what’s easily one of First Class’ best tracks, comes Game of Life, which sees a real change in sound and style. Again, it’s a song with gritty lyrics, about the hardships faced by many people in the “Game of Life.” While synths reverberate above the arrangement, a piano dramatically plays and guitars chime, before Billy’s half-spoken vocal enters. After that, he delivers the lyrics accompanied by female backing vocalists, with a combination of tenderness and frustration. The arrangement sees the rhythm section, piano and female backing vocalists key to song’s sound. Synths are deployed occasionally, but not overused. Later, Billy’s voice grows in power, with frustration creeping into his voice at the hardships ordinary people face. With a sympathetic arrangement that’s redolent of the drama and hard times faced by many ordinary people during late-seventies America, Billy Paul delivers another slice of soul with a social conscience.
Billy co-wrote It’s Critical with William Hatcher and C.J. Clark and arranged and produced the track. Having spent so long working with some of the most talented arrangers and producers, did some of their magic rub off on Billy? When blazing horns open the track, and go on to punctuate the tracks with burst of their rasping sound. Billy’s vocal is quick, full of emotion and passion accompanied by the rhythm section, percussion and searing guitars and of course blazing horns. It’s a very different sound, the tempo almost frantic, while Billy’s voice is full of frustration and heartache as he desperately seeks to get his girlfriend back. Here, Billy’s arrangement is perfect for the lyrics, as the fast tempo and blazing horns aping his desperation and frustration. Although very different from other arrangements and productions, it proves Billy had indeed learnt from the likes of Gamble and Huff, Jack Faith, Bobby Martin and John L Usry Jr.
Side one of First Class closes with a track co-written by Billy Paul with Frank Smith Thank You (For This Blessing). Of the track Billy wrote or cowrote, this is easily the best, with lovely spiritual lyrics, where Billy gives thanks to everything he’s got. Here, you tell this is a John L. Usry Jr arrangement straight away. It has his sound and style, and is perfect for the song. WIth a piano and percussion combining with guitars, rhythm section and backing vocalists, Billy’s voice soars above the arrangement, before his beautiful, heartfelt vocal enters. Almost breathless female backing vocalists combine with the rhythm section, chiming guitars and flourishes of piano. With a combination of beauty and sincerity Billy gives thanks to God on this beautiful track.
The jazz tinged sound of What A Way To Love opens side two of First Class. Here, the tempo is slow, with a meandering piano, flute, chiming guitars and muted horns opening the track. They give way to a slow, thoughtful vocal from Billy, accompanied by the rhythm section and piano. Co-written by and co-produced by Phillip Pugh and Phillip Terry, this gorgeous love song is delivered with a combination of tenderness and care by Billy. This he does against a slow, yet beautiful John L. Usry Jr. arrangement, augmented by subtle, female backing vocalists and muted horns. Like the previous track, it’s delivered beautifully and thoughtfully by Billy, against another excellent arrangement.
Gamble and Huff contribute three songs on First Class, and So Good To See You Again is the second of them. It has the quality you’d expect from the maestros, who also produce the track. It’s a tale of meeting an old girlfriend after a long time, delivered with passion by Billy against a mid-tempo, catchy and dramatic arrangement. Here, flourishes of organ, chiming guitars and rhythm section combine with Billy’s vocal. Putting on a brave face, he sings with joyfully about meeting his old flame, but secretly, still has feelings for her. To make things worse for Billy, she’s now married. Reminiscing about the old times, guitars chime, backing vocalists accompany Billy, while stabs of organ and sweeping strings all play their part in John L. Usry Jr.’s arrangement. Drums add occasional bursts of drama, as Billy’s vocal grows in power and passions. As the song progresses, the arrangement builds and builds, getting even better, as does Billy’s vocal. By the end of the track, Gamble and Huff demonstrate that by 1979, they were still writing great songs, and with Billy Paul passionately delivering their lyrics does it get any better than this?
How do you follow one great Gamble and Huff track? Quite simply, with another. This is their third and final contribution to First Class and their final collaboration with Billy Paul after nine years. Fittingly, they’ve contributed another quality song, Treasure of My. Here, the arrangement swings along, with a really jazzy sound, thanks to John L. Usry Jr. A piano dramatically opens the track, before the bass and chiming guitars combine before Billy’s jazzy vocal enters. Sweeping, swirling strings, blazing horns and piano drive the track along in a direction marked jazz, before drums briefly punctuate the track dramatically. It’s a glorious sounding track, with a really authentic jazz sounding arrangement, combining with Billy’s powerful, passionate voice which is augmented by female backing vocalists. Although quite different from much of Gamble and Huff’s music, this has their trademark quality from the opening bars to closing notes.
First Class closes with I Gotta Put This Life Down which opens with woodwind, piano and rhythm section playing slowly, before Billy’s vocal enters. He sounds sad and downhearted as strings sweep in, woodwind and a piano meanders along. Quickly, his voice grows in power and frustration, while the arrangement slowly unfolds. Again, there’s a real jazz influence here, with wave upon wave of the arrangement rising and falling, the emotion and drama building. During the arrangement, the piano, woodwind and strings all play their part in the arrangement by Ed Green, while Billy and Ed Green produce the track. There’s a real melancholy sound to this quite beautiful track that closes First Class.
After nine years and nine albums, First Class brought Billy Paul’s career with Philadelphia International to a close. Although First Class wasn’t a commercial success, it was an album full of some wonderful music. Obviously, Billy would’ve liked to end his time at Philadelphia International on a high, but it must have been important to him to release an album full of usual quality music. Unlike other similar artists, Billy didn’t try to change his music to suit the changing musical tastes. Rather than release an album full of music that was dance-floor friendly, Billy concentrated on quality music. Now thirty-three years later, First Class still stands up as an album, and has dated well. From the first track False Faces until Gotta Put This Life Down, the music sounds great. With some talented musicians, arrangers and producers all working on First Class, it was an album that deserved to do much better. Sadly, by the time it was released, musical tastes had changed. Of all the people who worked on the album, a few people deserve credit. Obviously, Gamble and Huff who did so much for Billy’s career deserve credit, for writing and producing a trio of tracks, which include some of album’s highlights. The other person who did so much to make this album sound so good, is John L. Usry Jr. who arranged five of the tracks on First Class. He is one of the finest arrangers at Philadelphia International, along with Bobby Martin and Jack Faith. On this album, his work is of the highest standard, and really helps make this such a great album. After First Class, Billy Paul only released two further albums, 1985s Lately and Wide Open in 1988. However, his 1979 album First Class, which was his farewell to Philadelphia International Records, was aptly titled, because the music itself was indeed First Class. Standout Tracks: Bring the Family Back, Thank You (For This Blessing), What A Way To Love and So Good To See You Again.
BILLY PAUL-FIRST CLASS.
THE DETROIT SPINNERS-NEW AND IMPROVED.
THE DETROIT SPINNERS-NEW AND IMPROVED.
After their two previous albums 1973s Spinners and Mighty Love released in 1974, had reached number one in the US R&B Charts, resulting in both albums being certified gold, when The Detroit Spinners released New and Improved, in December 1974, they hoped to make this a trio of US R&B number one albums. Since Thom Bell had been guiding the group’s career, there had been an upturn in their fortunes. Now they were on a hot streak, where seemingly nothing could go wrong for them. Could what was their fifth album, New and Improved, continue the run of US R&B number one albums?
New and Improved was recorded at the Sigma Sound Studios in Philadelphia, where so many hit singles and albums were recorded. A total of eight tracks were recorded, with Dionne Warwick joining the group on Them Came You. Joseph B. Jefferson cowrote three songs on the album with Bruce Hawkes and Charles Simmons, while the Linda Creed and Thom Bell songwriting partnership contributed two songs. One of these was Living A Little, Laughing A Little which was the second single released from New and Improved. Backing The Detroit Spinners were members of M.F.S.B., Bob Babbit bassist of the Funk Brothers, Jack Faith arranger and producer at Philadelphia International who played flute and alto saxophone. With such a stellar band of musicians backing them, Billy Henderson, Bobby Smith, Phillipe Wynne, Henry Fambrough and Pervis Jackson soon completed their fifth album. Would New and Improved match the success of its two predecessors?
New and Improved was released in December 1974, reaching number nine in the US Billboard 200 and number one in the US R&B Charts and was certified gold. This was the group’s first album to enter the US Billboard 200. Three singles were released from the album. Then Came You, which features Dionne Warwick the first single released from New and Improved, reaching number one in the US Billboard 200 and number two in the US R&B Charts. Living A Little, Laughing A Little was the second single, reaching number thirty-seven in the US Billboard 100 and number seven in the US R&B Charts. The final single was Sadie, which reached number fifty-four in the US Billboard 100 and number seven in the US R&B Charts. So, New and Improved was not only a critically acclaimed, but a huge commercial success, matching the success of their two previous albums. However, does it sound as good as its two predecessors Spinners and Mighty Love?
Sitting On Top of the World is the track that opens New and Improved. This is the first of a trio of tracks co-written by Joseph B. Jefferson, Bruce Hawkes and Charles Simmons. Shivering, swirling strings, piano and rhythm section combine to create a dramatic and powerful introduction. After this, the tender and thoughtful lead vocal from Bobby Smith enters, while the rest of the group sing harmonies. While the drums provide the track’s heartbeat, flourishes of piano combine with strings to create a dramatic backdrop for the vocal. Later, subtle and gentle backing vocalists that include Linda Creed, Barbara Ingram Carla Benson and Evette Benton enter, providing a musical contrast, and combining beautifully with the lead vocal and accompanying harmonies, resulting in a beautiful song bathed in emotion, that evokes a sense of pathos.
Smile While We Have Each Other in the second of the trio of Joseph B. Jefferson, Bruce Hawkes and Charles Simmons penned tracks. This songwriting partnership contributed six of the eight tracks on their previous album Mighty Love. Here, they contribute another quality track. It opens with just piano, then bass and harp before the drums and sad strings enter. When Billy’s vocal enters, it’s a pensive, thoughtful delivery of the lyrics he gives. Then, when the harmonies enter and combine with the quivering strings this highlights this only seeks to amplify the underlying sense of sadness in the song. The lyrics focus on the temporary sense of a relationship, one that’s struggling, where mistrust and suspicion are prevalent, with one partner not knowing what the other is doing. Thom Bell’s use of slow, drums, where dramatic pauses are used adds to an stunning arrangement, made all the better by a vocal where sadness and emotion are prevalent throughout the track.
Then Came You sees Dionne Warwick join The Detroit Spinners and sings a duet with Bobby Smith. Against an arrangement that combines elements of Philly Soul with a sprinkling of funk that track is quick, joyful and hook laden. With searing wah-wah guitars, swirling, sweeping strings and piano, the track literally bursts into life, with Bobby and Dionne delivering Sherman Marshall and Phillip Pugh’s lyrics with a combination of emotion, joy and passion. Here, the drumming is stunning, a combination of power and drama, and when combined with bursts of rasping horns, lush strings and piano, this is easily, one of the best arrangements on New and Improved. Meanwhile, Dionne rolls back the years, delivering a vintage vocal, while Bobby Smith is spurred on to even greater heights, combining beautifully, and quite brilliantly, with Dionne and a stunning Thom Bell arrangement on one of the album’s highlights.
Closing side one of New and Improved is There’s No One Like You, which has a beautiful introduction when chiming guitars, combine with piano, harp and rhythm section before lush strings sweep in. Then, when Bobby’s tender and gentler vocal enters, it’s accompanied by backing vocalists and the rest of the group. The lead vocal changes hands, while the subtle harmonies are gorgeous. Drums add bursts of drama, while strings and harp combine effectively, and are augmented by short bursts of horns. When combined with Bobby’s beautiful gentle vocal, the result is a gorgeous track, and the perfect way to close side one of the album.
Side two of New and Improved opens with the first of two Thom Bell and Linda Creed tracks Living A Little, Laughing A Little, which was the second single released from the album. A piano plays slowly and slightly dramatically, before guitars, a flourish of harp and rhythm section enter. They give way to sad strings and brief bursts of horns. It’s only then that Bobby’s lead vocal enters, before changing hands quickly. Quickly, the song starts to build, while backing vocalists, quivering strings and harp combine behind them. However, when the song starts to move up a gear that you realize how good a track this is. It takes a while to get going, but when it eventually unfolds and reveals itself, it’s a track full of emotion and drama.
Guitars chime, before the piano enters, as Sadie begins. It’s another song laden with emotion and featuring a lovely understated Thom Bell arrangement. While guitars reverberate, the rhythm section plays thoughtfully while a piano plays a vital role in the arrangement. With backing vocalists sympathetically accompanying Bobby’s heartfelt vocal, guitars almost weep in sadness at the song’s beautiful lyrics. Although the arrangement is the most complex on the album, it’s a fitting and sympathetic accompaniment to the vocal. It allows the vocal and therefore the lyrics to shine and take centre-stage.
The second Thom Bell and Linda Creed track is Lazy Susan, which sees piano and chiming guitars combine, before the arrangement quickly grows. Drums dramatically punctuate the track, combining with blazing horns and swirling strings. They give way to the lead vocal about a beautiful, free-spirited woman, whose voice and beauty almost mesmerises and hypnotizes men. Meanwhile, Bobby delivers the lead vocal with passion and enthusiasm, the rest of the group contribute tight harmonies. This they do against a backdrop where dramatic drums, strings and horns all play vital roles in Thom Bell’s excellent arrangement.
New and Improved closes with I’ve Got To Make It On My Own, an uptempo track. It has a classic Thom Bell arrangement, where sweeping, swirling strings, rhythm section and piano, combine with guitars and rasping horns, before Bobby’s thoughtful yet determined lead vocal enters. He’s unwilling to rely on anyone to help him, instead wants to make his own way in life. With backing vocalists augmenting the group’s harmonies, the lush swirling strings are key to the track’s hugely catchy arrangement. Bursts of rasping horns, a tight rhythm section and flourishes of harp all play their part on one of the best arrangements on the album. This joyful, uplifting and uptempo arrangement is Thom Bell at his very best. He brings out the very best in the Detroit Spinners, on a fantastic track laden with emotion and passion.
Like their two previous albums, Spinners and Mighty Love, New and Improved, saw The Detroit Spinners fifth album, reach number one in the US R&B Charts and saw it certified gold. Not only that, but it became their first album to enter the top ten in the US Billboard 200. Sadly, this run of number one US R&B albums was broken with their next studio album Pick of the Litter, which only reached number two. However, it still sold enough copies to be certified gold, like Happiness Is Being With The Spinners. During this incredible spell, The Detroit Spinners were one of the most successful groups in soul music. This isn’t surprising given how talented a group they were, the quality of songs they had available to them and the musicians who accompanied them. The other factor was producer Thom Bell. One wonders what would’ve happened if The Detroit Spinners hadn’t teamed up with Thom Bell? Would they have found anything like the success they did, or would they have continued to struggle like they had before meeting him? Personally, I think Thom Bell was vital to The Detroit Spinners success, and although they may have had some success, it took Thom Bell to transform them into multi-million selling soul superstars. New and Improved was just the latest in a series of stunning albums from The Detroit Spinners. This started with Spinners took in Mighty Love, New and Improved, Pick of the Litter and Happiness Is Being With The Spinners. Each of these five albums feature some of the best music The Detroit Spinners ever recorded in their long and illustrious career. Standout Tracks: Then Came You, There’s No One Like You, Lazy Susan and I’ve Got To Make It On My Own.
THE DETROIT SPINNERS-NEW AND IMPROVED.
dereksmusicblog
dereksmusicblog 