MITTY COLLIER-SHADES OF A GENIUS.
MITTY COLLIER-SHADES OF A GENIUS.
When I was writing my review of The Fame Records Story-1961-1973, one of the tracks I mentioned was Mitty Collier’s Take Me Just As I Am which she recorded at the legendary Fame Studios in 1968. Until the box set was released last year in 2011, this excellent track had never been released. Back in 1968, Mitty’s career was struggling, and she’d been sent to Rick Hall at Fame in an attempt to revitalize her career. However, four years previously, in 1964, Mitty had recorded the track that most people will remember her by, the stunning I Had A Talk With My Man Last Night, the secular version of I Had A Talk With God Last Night. This was the biggest single of Mitty’s career, reaching number forty-one in the US Billboard 100 and number three in the US R&B Charts. A year later, in 1965, Mitty released her debut album, Shades of A Genius.
When Mitty recorded I Had A Talk With My Man Last Night, she was just twenty-three years old, and blessed with the most soulful of voices. She could bring songs to life, inject emotion and passion, as well as make a song swing. Since she’d been a teenager, she’d been singing in church, joining gospel groups The Hayes Ensemble and The Lloyd Reese Singers. Later, when she was at college, she started singing in the local rhythm and blues clubs to pay her way through college. Then, while spending time in Chicago in 1959, Mitty entered disc jockey Al Benson’s talent show at the Regal Theatre. Amazingly, she won the show six consecutive weeks, resulting in her winning a chance to perform at a concert where Etta James and B.B. King were topping the bill. It was at this concert that Ralph Bass first became aware of Mitty Collier. He was so impressed with Mitty that he offered her a recording contract with Chess Records.
Having signed for Chess in 1961, Mitty spent the next eight years releasing fifteen singles and one album, Shades of A Genius. Although her debut single Gotta Get Away From It in 1961 failed to chart, by 1963 Mitty had her first hit single I’m Your Part Time Love, which reached number twenty in the US R&B Charts. Her next big hit was a secular version of James Cleveland’s gospel song I Had A Talk With God Last Night, which was changed to I Had A Talk With My Man Last Night. This reached number forty-one in the US Billboard 100 and number three in the US R&B Charts. After the success of I Had A Talk With My Man Last Night, Mitty released her next single No Faith, No Love also written by James Cleveland. On its release in 1965, it reached number ninety-one in the US Billboard 100 and number nineteen in the US R&B Charts. Having had two successful singles, Chess decided that Mitty should record her debut album, Shades of A Genius.
Shades of A Genius was released in 1965, and featured twelve tracks. Three of the tracks were written by Ray Charles, while James Cleveland, Willie Dixon and Henry Glove contribute one apiece. The album was produced by Roquel Davis, while Riley Hampton, Bert Keyes and Phil Wright arranged the tracks. Sadly, Shades of A Genius wasn’t a commercial success, although there’s some wonderful music on the album. After this, Mitty had only one further hit single on Chess, Sharing You in 1966, which reached number ninety-seven in the US Billboard 100 and number ten in the US R&B Charts. Other singles were released, but failed to chart and after Mitty visit to Fame in 1968, where she worked with Rick Hall, rerecording Gotta Get Away From It All. However, this failed to revitalize her career, and shortly afterwards, Mitty left Chess.
Having left Chess, Mitty recorded five further singles and an album William Bell’s Peachtree label based in Atlanta, Georgia. However, tragedy would strike in 1971, when Mitty developed polyps on her vocal cords. She lost her ability to sing, and decided to end her secular singing career, instead devoting her life to Christianity. Having regained her voice, she recorded the first of a series of gospel albums in 1972, The Warning. This was followed by 1977s Hold the Light and I Am Love. Later, Mitty devoted more and more of her time and energies to religion and her community. Eventually she became a preacher and then a pastor in Chicago, where she still sings gospel music. Since then, Mitty has received a number of honors and awards for her work in her community, including being given the key to the city of Birmingham in 1987 and receiving the National Council of Negro Women of Wonder Award in 2000. All of this is far removed from her previous secular music career, when she released a series of highly regarded singles and her 1965 album Shades of A Genius which I’ll now tell you about.
Shades of A Genius opens with a song written by Ray Charles, Come Back Baby. It’s just the rhythm section and piano that accompany Mitty’s sad and powerful vocal. As the strings sweep in, she pleas with her lover to come back so “they can talk things over one more time.” Adding to the emotive and moving arrangement are the rasping horns, which cut in, punctuating the track, as Mitty’s voice soars, drenched in emotion and desperation. It’s a hugely moving track to open the album, demonstrating Mitty’s ability to bring lyrics to life, so much so that you almost become spellbound in her delivery.
Probably the best known track Mitty ever recorded was I Had A Talk With My Man Last Night, written by James Cleveland. From the first time I ever heard the track, I was smitten by both Mitty’s delivery and the arrangement. With an organ opening this beautiful ballad, while the rhythm section play subtly and a piano accompanies Mitty’s stunning vocal. Her vocal marries power, passion and emotion, while the arrangement floats along, at almost like a waltz. The track works as either a secular or gospel track, and of the two versions, I much prefer the secular version. Here, Mitty’s delivery is powerful, adding a combination of drama and passion to this love song. However, what really helps the track is the arrangement, which builds and builds, reaching a dramatic, spectacular and stirring crescendo, where Mitty’s delivery is totally peerless. Of all the songs she recorded, this will forever be synonymous with Mitty Collier. You only need to hear the song once to be uplifted, and become smitten with its beauty.
Lush strings dramatically sweep in as Would You Have Listened opens, while the rhythm section and subtle backing vocalists accompany Mitty. A combination of anger and frustration fill her voice, at the hurt caused to the man she loves, by “the other woman.” Adding to the sadness and drama of the track, are horns which blaze in, while the strings sadly sweep in and out of the track. As the track progresses, Mitty’s vocal grows in power, with a hint of defiance combining with the frustration, while a piano, strings and horns combine with Mitty as the song reaches its dramatic and powerful climax.
I Gotta Get Away from It All was the song that Mitty would later rerecord with Rick Hall at Fame Studios in 1968, when she tried to reignite her career. However, this is the original version of the Lloyd Reese song. Shivering, quivering strings subtly enter adding a sense of sadness, as Mitty desperate vocal sings of a mistreating man, who “beats and scolds” her. She has to get away from him, she sings, against an arrangement where the rhythm section, chiming guitars, piano and shimmering strings create a sad and sympathetic backdrop. Later, they combine to create a dramatic ending to the track, as Mitty’s vocal soars, full of heartache, hurt and even hope for the future. As I said before, Mitty draws you into the story behind the song, so much so, that you become caught up in the drama, which becomes very realistic, no more so than right here.
Willie Dixon wrote was a prolific songwriter, whose songs were covered by so many of the on Chess Records. This includes My Babe, which Mitty covers here. The track just bursts into life with a swing. Horns rasp, cooing backing vocalists and the rhythm section are responsible for this, and we hear a very different Mitty hear. With the backing vocalists providing a contrast to her powerful vocal, Mitty takes the song by the scruff of its neck and makes it swing. While horns rasp and blaze, the rhythm section drive the track along, Mitty gives a joyful, swinging vocal, that demonstrates her versatility as a vocalist.
Of all the Ray Charles songs there are to cover, what could be better that the joyous and uplifting Hallelujah (I Love Him So) to close side one of Shades of A Genius. With bursts of horns punctuating the track, strings sweeping in and a drums and piano playing an important part in the arrangement, Mitty’s gives a joyous rendition of Ray’s uplifting lyrics. With bursts of drums and horns adding drama, while flourishes of piano and strings add to the beauty of the arrangement, Mitty makes sure the track swings along beautifully, bringing side one of the album to a close.
Side two of Shades of A Genius opens with the Henry Glover penned Drowned In My Own Tears. Horns play slowly, adding drama, before a hugely emotive vocal from Mitty enters. The reason for her unhappiness and despondency is her partner has left her. As strings sweep in, adding to the sadness, the rhythm section add to the song’s drama. Flourishes of piano add hope to Mitty’s vocal, while despairing horns rasp, accompanying Mitty’s distraught vocal to the song’s finish.
No Faith, No Love was another of Mitty’s hit singles, reaching number ninety-one in the US Billboard 100 and number nineteen in the US R&B Charts. As shimmering strings, horns and the rhythm section combine to create a dramatic and powerful opening, they give way to Mitty’s vocal, which is accompanied by piano, horns and sweeping strings. Quickly, her vocal grows in power, matching the power and drama of the arrangement. It’s a string laden arrangement, with piano, horns and rhythm section all playing vital roles. Here, emotion and drama go hand in hand, while waves of the arrangement reveals itself. This is the perfect accompaniment for Mitty’s emotional and powerful delivery of the lyrics.
Roquel Davis who produced Shades of A Genius wrote Together using his nickname Billy Davis. This wasn’t the only track he wrote on the album, co-writing No Faith, No Love and Little Miss Loneliness. This is another track that allows Mitty to demonstrate her versatility and talent as a vocalist, while the arrangement, adds to the song. Producer Roquel Davis is able to coax the best out of Mitty, getting her to deliver the song he wrote with right combination of emotion and passion. Let Them Talk was written by Sonny Thompson and is a slow track, where rasping horns and rhythm section open the track, giving way to Mitty’s deep and emotive vocal. It’s a defiant vocal from Mitty, who doesn’t care who knows that she loves her man. With strings sweeping in, backing vocalists singing subtly, and horns and drums adding a dramatic element, which matches the power and passion in Mitty’s voice. This is an impressive, dramatic and quite beautiful song, sung with defiance and passion by Mitty.
Little Miss Loneliness opens with a slight, moody and dramatic combination of rasping horns and drums accompanying a thoughtful, sad vocal from Mitty. The cause of her sadness and loneliness is her partner leaving her. While she delivers the lyrics with a more tender style, the drums and horns accompany her, driving the song along. As the song progresses, her vocal grows in power, as emotion and sadness takes over. It’s a heartfelt delivery of the lyrics from a heartbroken and distraught Mitty.
Shades of A Genius closes with Ain’t That Love written by Ray Charles. This is the third Ray Charles track on the album. However, given the quality of songs he wrote, this is no bad thing. Swirling strings, piano and rhythm section accompany Mitty’s vocal, as horns punctuate the arrangement. Mitty delivers the song with aplomb, delivering the lyrics with a swagger, allowing the song to almost swing along. Later, a trumpet plays a solo, as Mitty’s vocal drops out. When it rejoins, the strings sweep in, as Mitty’s voice soars powerfully, as the song heads to its dramatic conclusion. This seems a good way to end what has been an album full of some wonderful music.
It seems remarkable that during the eight years Mitty Collier was with Chess Records, that she only released one album Shades of A Genius. This seems strange, given that Etta James released seven albums between 1961 to 1968. Maybe Chess wasn’t the right label for Mitty, as other artists, including Marlena Shaw discovered. She recorded some of her best music after leaving Chess. Mitty however, stuck with Chess for eight years, and during that time, released just fifteen singles and one album. Whether Mitty had changed labels she’d have found the success her talent deserved, we can only speculate. Sadly, after she left Chess, her career was cut short in 1971, when she developed polyps on her vocal chords. After this, her life took a new direction, when she went on to devote her life to her Christian faith. However, the one album secular album she did record, Shades of A Genius, is just a glimpse at the sheer talent and versatility of Mitty Collier as a singer. She could inject emotion and passion into a song, and whether it was singing a song with sadness or a swing, then Mitty could carry it off with aplomb. Three years after the release of Shades of A Genius, Mitty was sent to Rick Hall at Fame Studios, in an attempt to revitalize her career. One wonders if Rick Hall could’ve got much more out of Mitty Collier than those at Chess did. Can you imagine Mitty Collier backed by the Muscle Shoals Rhythm Section and Muscle Shoals Horns? Sadly, by the time Rick got the chance to record with Rick, it seems her career at Chess was all but over. Maybe if he’d gotten a chance to record a follow-up album to Shades of A Genius then the Mitty Collier story would’ve been very different. That however, is all supposition and speculation. What i do know, however, is that Shades of A Genius is an album full of some wonderful music, from one of the most underrated and hugely talented soul singers Mitty Collier. Standout Tracks: I Had A Talk With My Man Last Night, Would You Have Listened, Hallelujah (I Love Him So) and No Faith, No Love.
MITTY COLLIER-SHADES OF A GENIUS.
THE FAME RECORDS STORY-1961-1973.
THE FAME RECORDS STORY-1961-1973.
Over the years I’ve accumulated many boxed sets, some of which are stunning, some merely good and a few that were to put it politely a rip-off. Three box sets that fall into the stunning category are the trio of Stax box sets which document every single the label ever released. They’re among my favorite box sets of the many I own. Another box set which joined the first category back in 2008 was Take Me To the River: A Southern Soul Story 1961-1977, an excellent three disc set released by Kent. Since I first bought that box set, it’s been one I’ve cherished, and patiently, I awaited the next box set from Kent. Then, back in November 2011, Kent released another three disc box set The Fame Records Story 1961-1973, documenting the story of one of the most influential record labels in the history of Southern Soul. Since then, The Fame Records Story has been on heavy rotation, as I’ve immersed myself in its beauty. Now I thought I’d share with you my thoughts on what is an unmissable box, one that’s vital for anyone like myself who adores Southern Soul.
There aren’t many recording studios that play such an important part in their town’s history, that they’re added to the list of local landmarks and designated part of the town’s heritage. That’s what happened to the Fame Recording Studios in December 1997, when the recording studios were added to the Alabama Register of Landmarks and Heritage. Now if you’re not familiar with the history of Southern Soul, you may be wondering what makes this particular studio so important?
The story starts during late fifties when Rick Hall, Tom Stafford and Billy Sherill founded their record label, and built their first studio above the City Drug Store in Florence, Alabama. However, by the early sixties, this nascent partnership would split-up, resulting in Tom Stafford and Rick Hall needing a new studio. They decided to move to what had been a tobacco warehouse in Muscle Shoals, Alabama. As if by magic, Rick Hall soon recorded what would be his first hit single, Arthur Alexander’s You Better Move On. Wisely, he decided to invest the profit in a better studio, and moved to their current location Avalon Avenue in Muscle Shoals, Alabama. The first hit single Rick Hall recorded in his new studio was Jimmy Hughes’ Steal Away. Little did Rick Hall know it back then, but soon his new studio would see artists coming from far and wide to record at Fame.
After Rick’s success with Jimmy Hughes, word got out that Fame was the place to go to record a new single or album. Quickly, everyone from Tommy Roe to The Tams, and from Joe Tex, Joe Simon, Wilson Pickett, George Jackson and Clyde McPhatter to Irma Thomas, Etta James, Mitty Collier and even Aretha Franklin arrived at Muscle Shoals. It was at Muscle Shoals that Jerry Wexler brought Aretha Franklin, to record her 1967 album I Never Loved A Man the Way I Loved You. However, why did all these artists choose to head to Muscle Shoals to Fame?
Part of the reason was the session musicians that worked with Rick Hall. This included the legendary Muscle Shoals Rhythm Section and Muscle Shoals Horns. They were some of the hottest and tightest musicians of that era, and when they recorded together, they were one of the finest backing bands ever. Between 1961 and 1969, when they departed from Fame to found the rival studio Muscle Shoals Sound Studio. However, their sound graced numerous hit singles and album, many examples of which can be found on The Fame Records Story 1961-1973 box set which I’ll now tell you about.
The Fame Records Story 1961-1973 box set is enclosed in a slipcase and once you’ve taken it out the case, you’re greeted with what can only be described as a lavish eighty-four page book. This gives you an in-depth history of Fame Records and the numerous artists that recorded at the famous studios. Included in the book are a variety of photographs which transport you back to Fame’s heyday. Once you’ve worked your way through the label’s history, you come to the track-by-track commentary of the seventy-five sumptuous slices of Southern Soul that are included on the three discs. The tracks are presented in chronological order, complete with a description of the track and photographs, including copies of the original single. This is truly an in-depth and hugely informative historical document that gives an insight into the music and personnel involved. Compilers Tony Rounce and Dean Rudland must be praised for what seems like a labor of love for both of them. After the eighty-four page book comes the music, with each of three discs having a title. Disc One is entitled Steal Away, while Disc Two is Slippin’ Around and Disc Three Get Involved. However, who features on each disc, and what are the box set’s highlights?
DISC ONE STEAL AWAY.
Disc One of The Fame Records Story 1961-1973 box set features music from the early years of the studio’s history. The first track on the album is Arthur Alexander’s You Better Move On, the first recording after Rick Hall and Tom Stafford had split with his former partner Billy Sherill. Tom Stafford knew Arthur Alexander, and had a song in mind for him. With a group of musicians who hung around the City Drug Store backing Arthur, You Better Move On was recorded. This gave the label it’s first hit, when the single was released on Dot Records. With the profit they made from the Jimmy Hughes’ single being reinvested in building a new studio, the Fame story was just beginning.
However, this isn’t the only Arthur Alexander track on Disc One, with I Hope They Get Their Eyes Full a previously unreleased track found while the box set was being researched. It was recorded while Arthur was signed to Dot Records who’d released You Better Move On.
Jimmy Hughes contributes two tracks to Disc One, Steal Away which was a hit on the Vee Jay label. Again the profits from the track were reinvested by Rick Hall, and used to buy new studios, which are still in use today. The other track Jimmy Hughes contributes is Neighbor, Neighbor which was released as a single in May 1966. This Alton Vallier penned track gave Jimmy a US R&B hit in May 1966, and like Steal Away, is one of Disc One’s highlights.
Arthur Conley is an artist whose music I’ve always loved, and the addition of I Can’t Stop (No, No, No) is a welcome one. Written by Dan Penn and Roger Hawkins, and produced by Rick Hall, this track was recorded in 1966 and is one of my favorite tracks on this disc.
One track many people will be familiar with is I’m Your Puppet, which has been recorded by many people over the years. When Dann Penn who cowrote the track with Spooner Oldham released the original version, the single failed to chart. However, when it was recorded by James and Bobby Purify and released on Bell Records, it reached number six in the US Billboard 100. This is one of the best recordings of the track, and still sounds as good forty-six years after it was released.
My final choice from Disc One is one of Wilson Pickett’s best known and most successful singles. Land of A Thousand Dances was recorded at Fame on 11 May 1966, and can be found on his The Exciting Wilson Pickett album, released on Atlantic Records. When released as a single, Land of A Thousand Dances reached number six in the Billboard 100 and number one in the US R&B Charts. This gave Wilson his biggest ever pop hit and third number one US R&B Single. With such a pedigree it’s a deserved addition to the album.
These are just a few of the twenty-five tracks on Disc One. Other tracks worth mentioning are a track written and recorded by Joe Tex’s in 1964 Hold What You’ve Got. Bobby Marcham’s Funny Style, recorded in early 1965, and was released on the Dial label. Finally, Joe Simon’s Let’s Do It Over released in 1965 on the Vee Jay label. These tracks are just some of the many highlights of Disc One, which features a total of twenty-five tracks, where well known tracks sit side-by side with hidden gems. Will Disc Two have such strength in depth?
DISC TWO-SLIPPIN’AROUND.
Like the first disc, it’s very much a case of being spoiled for choice on Disc Two. How can I just choose six or seven tracks? However, one of the best tracks on this disc in Otis Redding’s You Left the Water Running. This version is an unedited demo version from 1967, which was recorded when Arthur Conley was recording the stupendous Sweet Soul Music. What I love about the track is the spartan arrangement, with just simple percussion accompanying Otis, allowing his vocal to take centre-stage. During the track, he sings the song twice, complete with ad-libs. Quite simply, it’s a magical, spine-tingling track.
It’s thought that Otis recorded You Left the Water Running at the same time as Arthur Conley’s Sweet Soul Music. When Otis produced the track written by Arthur, Otis and Sam Cooke, he probably never realized that Arthur Conley was recording one of the biggest hits in the history of soul music. On its release on Atco, the track reached number two in the US Billboard 100 and US R&B Charts, eventually selling over one million copies, and reaching the top ten throughout Europe. Sadly, eventually, Arthur grew to really dislike this classic track, one that helped launch Fame as soul music’s centre of excellence and where some of the biggest hits were recorded.
Just before Arthur Conley recorded Sweet Soul Music, Aretha Franklin had recorded I Never Loved A Man (the Way I Loved You) and parts of Do Right Woman-Do Right Man. Included on Disc Two is I Never Loved A Man (the Way I Loved You). This gave Aretha her first US R&B number one single, and reached number nine in the US Billboard 100. Quite simply this is a stunning track from Aretha Franklin, The Queen of Soul. it would’ve been nice to have Do Right Woman-Do Right Man also on the album, which was the B-side to Never Loved A Man (the Way I Loved You).
Two other female soul singers whose music I love also feature on this disc. They are Etta James and Irma Thomas. Etta’s contribution is Tell Mama, the title track from seventh studio album Tell Mama, released in August 1968. Fame was familiar territory for Etta, having recorded there previously. It was at Fame that she recorded the seminal I’d Rather Go Blind, one of Etta’s greatest ever tracks. However, Leonard Chess’ decision to send Etta to Fame worked out, as Tell Mama became Etta’s first album since 1963 to chart, reaching number twenty-one in the US R&B Charts and number eighty-two in the US Billboard 200.
Irma Thomas contribution is Cheater Man released on Chess in 1967. Rick Hall recommended Chess sign Irma, and this was the first track for her new label. This should’ve kick-started her career, and made her as popular as Aretha, Gladys Knight and Dionne Warwick, but somehow, this wasn’t to be. After a hurricane devastated New Orleans in 1969, Irma ended up working in retail in Los Angeles until in 1973, Swamp Dogg signed her to the Fungus label and she recorded her comeback album In Between Tears. However, back in 1967, the future looked bright for Irma when she recorded the excellent Cheater Man.
Otis Clay is another Southern Soul singer whose music I’m a huge fan of. Back in 1968, Otis recorded his interpretation of Do Right Woman, Do Right Man for the Cotillion label. Produced by Rick Hall and Staff, this is one of the best version of this song, its sheer soulful sound hugely moving and quite beautiful. After recording several singles at Fame, Otis would later sign with Hi Records and release a duo of underrated albums I Can’t Take It and Trying To Live My Life Without You.
On Disc Two are a duo of previously unreleased tracks that I must mention. One is by Mitty Collier entitled Take Me As I Am. This was recorded in 1968 when Mitty was signed to Chess, Records. Four years previously, in 1964. she’d recorded I Had A Talk With My Man Last Night, the secular version of the gospel song I Had A Talk With God Last Night. However, by 1968 Mitty’s career was struggling and it was up to Rick Hall to bring out the best in Mitty. This he did, with the resulting album Shades of A Genius released later in 1968. One track that didn’t make it onto Shades of A Genius was Take Me As I Am. Remarkably, this track lay unreleased until this box set was released, and I for one am grateful that it’s at last seen light of day.
My final choice from Disc Two is another unreleased track that deserves mentioning, George Jackson’s track Search Your Heart. This was just one of the many tracks written or co-written by George. Here he co-wrote the track with Raymond Moore. It seems almost incredible that a track of such quality was never released, but thankfully, it features both here and on Don’t Count Me Out-The Fame Recordings Volume 1, which features some of his best songs.
Two other songs worth mentioning are Clyde McPhatter’s A Shot of Rhythm and Blues which he recorded for Stateside in 1966, when his career was going through a fallow period. Produced by Rick Hall and Bob Montgomery, the duo try their best to revitalize Clyde’s career. However, although the track hasn’t dated as well as other tracks, it demonstrates that Clyde McPhatter was still a talented and versatile singer. Laura Lee, like Etta James and Mitty Collier was another artist signed to Chess who’d been sent to Fame. It was here that she cut As Long As I Got You In 1968, which gave Laura a US R&B hit single. It seems that like Disc One, Disc Two is blessed with a similar quality of music. On this disc are some of the biggest names in the history of soul music, along with a few names you may not be familiar with. There are even a few previously unreleased tracks that make you wonder just why they’ve never been released. One of the best examples is George Jackson’s Search Your Heart. Can Disc Three even come close to matching the quality of its two predecessors? Here’s hoping.
DISC THREE-GET INVOLVED.
Although Lowell Fulson was a blues singer, he like other artists from the Jewel label recorded at Fame. Recorded in 1969, Lady In the Rain was one of the last recordings to feature the original Muscle Shoals Rhythm Section. This track was from Lowell’s In A Heavy Bag album, which is one of his finest albums.
One of my favorite tracks from the whole box set is Another Man’s Woman, Another Woman’s Man which is credited to Unknown Female, because the singer’s name is unknown. That’s a shame because this is a stunning, emotive track whose singer deserves credit. The first time I heard it, I just pressed replay three or four times and let the song wash over me. I reveled in the raw emotion and passion displayed by the singer and would love to know who recorded this fantastic track.
Candi Staton contributes two tracks to this disc, with I’m Just A Prisoner (Of Your Good Lovin’) from Candi’s 1969 album I’m Just A Prisoner. When released as a single, the track reached number fifty-six in the US R&B Charts. What made this such a great track was the heartache and pain in Candi’s voice, which sounded very real. The other of Candi’s is The Thanks I Get For Loving You, from her 1972 album Candi Staton. By then, Candi was Fame’s biggest artist, inheriting the mantle from Clarence Carter who’d soon become her ex-husband. Here, Candi’s vocal is full of frustration and anger, while sweet sounding backing vocalists accompany her. It’s Southern Soul at its very best.
Another Southern Soul belle to record at Fame was Bettye Swann, who recorded I Can’t Let You Break My Heart in 1971. George Barton and Capitol Records prompted Bettye to head to Fame, after her 1969 album Don’t You Ever Get Tired of Hurting Me had seen a country style creep into her music. At Fame, Rick Hall and Phil Wright produced recorded I Can’t Let You Break My Heart an emotive and moving horn heavy track. Of the seventy-five tracks on the box set, Bettye’s track is one of my favorites.
Clarence Carter contributes two tracks to this disc, Snatching It Back recorded in 1969, for Atlantic Records. It took a number of takes before the definitive version of the track was cut. However, it was well worth the wait, with the final take an uplifting, driving slice of soul. The other Clarence Carter track Put On Your Shoes and Walk is from March 1973. By then, his career was going through a fallow period, but with Rick Hall producing the track, it gave Clarence a minor chart hit. After this, he’d release two singles which would enter the top twenty, giving his career a welcome boost.
Of the other tracks on the disc, a couple of others deserve credit. One of these is a demo version of George Jackson’s entitled Double Lovin’. Like Search Your Heart, it seems incredible that this track lay unreleased for nigh on forty years. This demonstrates the quality of music that was being released by Fame during this period. The other track is Lou Rawls’ fantastic version of Sam Cooke’s Bring It On Home To Me. Produced by Rick Hall and David Axelrod, Bring It On Home was the title track from Lou’s 1970 album, and the last single of Lou’s ever to reach the top forty. On the track, Lou, who sang backing vocals on Sam Cooke’s original version, brings the song to life, throwing himself into the song, as if wanting the track to pay homage to his musical idol. These tracks are just a few of the great tracks on the album. Although most of the songs are Southern Soul, there are a few examples of artists who weren’t soul singers on the album. One example of this is One Bad Apple by the Osmonds. This may seem like a strange choice, but the Osmonds were just one of many pop singers and groups including Liza Minnelli and the Righteous Brothers who recorded at Fame in the late sixties and early seventies. It was at Fame that the Osmonds recorded their first number one single, in February 1971, where it stayed for five weeks. However, the majority of music recorded at Fame was some sumptuous Southern Soul, like many of the tracks on Disc Three and the two preceding discs.
So, having read this article, you’ll be wondering whether you should buy this box set? My answer to that is without a doubt. Although it’ll cost you about £25, $38 or €32, for that you get a lavishly illustrated, highly informative and comprehensive sleeve-notes from Tony Rounce and Dean Rudland. They take you through the seventy-five tracks on the album, telling you the story behind this wonderful music. This brings the music to life, and allows you to know more about the majestic music that can be heard on the three discs. A total of seventy-five tracks over the three discs await you, some of which you’ll have heard before, others that will be new to you. Most of them have one thing in common, they’re some scintillating slices of Southern Soul, some of the best you’ll ever hear. If you do decide to invest in this box set, then like me, The Fame Records Story 1961-1973 will never be far from your hi-fi, as you revisit The Muscle Shoals Sound, time and time again.
SHUGGIE OTIS-FREEDOM FLIGHT.
SHUGGIE OTIS-FREEDOM FLIGHT.
What’s the best way to describe Shuggie Otis? Prodigious, musical virtuoso and vastly underrated is a good start. Certainly Shuggie was something of a child prodigy, first playing the guitar aged two, and playing with his father Johnny’s band from the age of twelve. As if that wasn’t impressive enough, Shuggie released his debut solo album aged seventeen. It’s certainly no exaggeration to call Shuggie a musical virtuoso, after all, once you’ve heard him play guitar, you’ll realize that this is almost an understatement. However, it isn’t just guitar he plays, he’s a true multi-instrumentalist, who can play bass, drums, organ and piano, all with aplomb. Sadly, Shuggie’s music is vastly underrated, partly because as yet, he’s still not made a commercial breakthrough. The music he makes is best described as a fusion of R&B, soul, funk, jazz and blues, which when combined, sounds quite incredible.
Back in 1971, aged just nineteen, Shuggie released his second album, Freedom Flight, the follow-up to 1969s Here Comes Shuggie Otis. Among the musicians accompanying Shuggie on Freedom Flight are keyboard player George Duke, drummer Aynsley Dunbar, bassist Wilton Felder and Johnny Otis, Shuggie’s father. Johnny played drums, piano and tambourine, as well as singing backing vocals. Together with Shuggie and the rest of his band, seven tracks were recorded, which became Freedom Flight. Of the seven tracks on the album, Shuggie wrote four, and cowrote two others.
Probably the best known track from Freedom Flight is Strawberry Letter 23, which was later covered by The Brothers Johnson in 1977. Their version was produced by Quincy Jones and reached number five in the US Billboard 100 and number one on the US R&B Charts. This eclipsed the success of both Shuggie’s original version of Strawberry Letter 23, which entered the US Billboard 100, but didn’t scale the heights of The Brothers Johnson’s version.
On Freedom Flight’s release in September 1971, it reached number twenty-three in the US Billboard 200, becoming Shuggie’s most successful album. Sadly, this was as close as Shuggie’s music got to being a commercial success. Three years after the release of Freedom Flight, came the release of Inspiration Information in October 1974. This was the last solo album Shuggie released, reaching number 181 in the US Billboard 200 and number fifty-six in the US R&B Charts. Again, commercial success eluded Shuggie, and after this no further albums by Shuggie were release. However, by the nineties interest in his music was growing, with Shuggie gaining a cult following. This was helped by artists like Lenny Kravitz and Prince praising his music. Then in 2001, David Byrne rereleased Inspiration Information on his Luaka Bop label. Since then, all of Shuggie’s albums have been rereleased, including Freedom Flight, which I’ll now tell you about.
Freedom Flight opens with Ice Cold Daydream, one of the four tracks written by Shuggie. With wah-wah guitars and rhythm section and organ combining elements of funk with soul, R&B and blues, the track literally bursts into life. As Shuggie’s vocal enters, it’s noticeable that his voice has a soft, youthful sound, that’s a contrast to much more powerful arrangement that’s unfolding behind him. Meanwhile, behind him, the arrangement is fast, with a fuller sound. Searing, soaring, rock guitars compete with the rhythm section and organ for your attention. However, it’s Shuggie that wins the day, demonstrating his virtuoso skills as a guitarist, dominating the sound and stealing the show from a group of much more experienced and seasoned musicians. Quite simply, it’s an astonishing display of guitar playing from a nineteen year old, who plays like a veteran.
Strawberry Letter 23 is by far, the best known track on Freedom Flight. As good as The Brother Johnson’s version was, this is quite simply the definitive version of this beautiful slice of sunshine pop. It’s almost impossible not to feel uplifted after hearing this track. It’s four minutes of pop perfection, and very different from the opening track. WIth its’ psychedelic lyrics, lovely laid back vibe and beautiful arrangement, it’s easily the best track on Freedom Flight. A piano, percussion, guitar and rhythm section combine with Shuggie’s emotive, thoughtful vocal as the song meanders along beautifully. Backing vocalists accompany Shuggie’s subtle vocal, while percussion and acoustic guitar combine. After two minutes twenty seconds, the sound changes, filters used to blur the sound when guitars chime and sear, climbing and climbing, repeating same notes. They combine with understated, lilting backing vocalists and this glorious combination continues for over a minute, until the song’s dramatic climax. It really is four magical minutes, pop perfection at its very best.
Sweet Thang sees another change in sound and style. Shuggie combines with his band to create a real rootsy, bluesy sound. It’s a combination of soaring, chiming guitars, piano, wailing Hammond organ and rhythm section. During the track, there’s some stunning guitar and piano playing, with occasional haunting backing vocals. Add to this the atmospheric sound of the Hammond organ and some exotic sounding percussion and the result is a very different sounding track to Strawberry Letter 23, but one that demonstrates Shuggie’s versatility as a musician and his varied and many musical influences.
The only track on Freedom Flight not written or co-written by Shuggie is Me and My Woman, written by Gene Barge, closes side one of the album. Again, there’s a bluesy sound to the track, with Shuggie’s chiming guitar accompanied by flourishes of piano and rhythm section, before a similarly bluesy vocal from Shuggie. It’s an irresistible sounding track, one where Shuggie’s voice sounds stronger and much more mature. Driven along by the rhythm section and guitar, and augmented by the subtle piano, Shuggie’s talent shines through, contributing slick licks aplenty on this authentic sounding electric blues track.
Side two of Freedom Flight opens with Someone’s Always Singing a slow, moody sounding track, where a distant, wailing Hammond organ, slow rhythm section and searing guitar accompany Shuggie. It’s a very different sounding track from its predecessors, one with a slight gospel influence, because of the backing vocalists. Mostly though, it’s just Shuggie’s soaring, chiming guitar combining with the Hammond organ, percussion and rhythm section. The track sees Shuggie the free spirit wanting to live “from day to day,” without ties nor commitments. However, it’s a slightly disappointing track, not up to the standards of its predecessors. It almost lacks a musical direction. Throughout the track, you wonder what direction it’s heading in? This is neither a full on bluesy track nor the sunshine pop of Strawberry Letter 23. Instead, it almost has an unfinished sound, with an arrangement that’s neither as full or good as its predecessors. Similar to Shuggie’s third album Inspiration Information, there’s just the one track that disappoints from another-wise great album.
Purple sees the quality return on a slow, bluesy sounding track. Here, Shuggie’s crystalline guitar, chimes and sears, as the rhythm section combine to play a shuffling blues. Augmenting the sound are piano and atmospheric sounding Hammond organ. However, like other tracks, Shuggie’s guitar playing takes centre-stage. It has an almost mesmerizing sound, as the track chugs along. Adding to the authenticity of the bluesy sound, is a stunning harmonica solo, which almost competes with Shuggie’s guitar playing. This adds to the track’s slightly dramatic sound. Later, the Shuggie plays bass and show-cases his versatility, before returning to guitar for the rest of track’s seven brilliant, bluesy minutes.
Freedom Flight closes with the album’s epic title track Freedom Flight. It’s just Shuggie’s guitar that opens the album, his fingers nimbly meandering up and down the fretboard. After nearly two minutes, dramatic drums, crashing cymbals and a wailing saxophone combine with Shuggie. Together, they combine to create a sound that has almost a free jazz sound. Eventually, Shuggie and his band come together for a prolonged jam lasting twelve memorable minutes. The track has a much fuller yet, spacious sound. For the remainder of the track, a rasping, wailing, soaring saxophone, keyboards and percussion, combine with the rhythm section and of course, Shuggie’s masterful guitar playing. Having vied with the saxophone for prominence, Shuggie’s guitar goes on to dominate the track, chiming, searing and soaring until the end of this absolutely magical, epic track that closes the album.
Although Shuggie was just nineteen when he released Freedom Flight, it was a really mature sounding album, that combined a variety of styles. From blues to R&B and rock to jazz, funk and sunshine pop there’s a bit of everything on the album. With just seven tracks, lasting only thirty-nine minutes Shuggie takes you on a tour of musical styles and his musical influences. Not only does he play guitar, but plays bass and organ. However, it’s his guitar playing that dominates the album throughout. Too often, the word virtuoso is overused, but when applied to Shuggie Otis this title is fully deserved. He truly is a guitar virtuoso, playing every note with passion, bringing the music to brilliantly to life. Apart from Someone’s Always Singing, which is a slightly disappointing track, the other six tracks feature some wonderful music, none better than the stunning Strawberry Letter 23, a slice of sunshine pop with a twist. On this track, like the six others Shuggie and his hugely talented band play with emotion, passion and aplomb. If you’ve let to hear the wonderful music of Shuggie Otis, then you’re very definitely in for a treat. Just this week, a trio of Shuggie Otis have been rereleased by Sony as part of their Original Artists series. This includes his only three albums Here Comes Shuggie Otis, Freedom Flight and Inspiration Information. Although Shuggie only released a trio of solo albums, they feature some excellent music including Freedom Flight, which features some of Shuggie’s best music. Standout Tracks: Ice Cold Daydream, Strawberry Letter 23, Me and My Woman and Purple.
SHUGGIE OTIS-FREEDOM FLIGHT.
LOVE AND JEALOUSY AND BACK TO MY PLACE BABY.
LOVE AND JEALOUSY AND BACK TO MY PLACE BABY.
If I was to say the words Southern, Deep, Crossover, Modern and Northern what would you say? Many people would immediately say soul. They would be correct, but they’re also the themes for some of the Backbeats compilations that have been released since 2009. In total, thirty compilations have been released, all priced at under £4, $6 or €5. These compilations feature some fantastic music, but also represent great value for money. So to follow up my previous article which reviewed the two recent Philly Soul compilations, Philly Busters and Smooth Grooves, I’ll review two more of these great compilations Love and Jealousy and Back To My Place Baby.
LOVE AND JEALOUSY.
Love and Jealousy was released in 2010, and is described as featuring “The Deeper Side of Southern Soul.” Compiled by Sean Hampsey, the album features twenty-four tracks, from some of the biggest names in Southern Soul. On the album are tracks from Barbara Lynn, Al Green, Syl Johnson, Otis Clay, O.V. Wright and Don Bryant. Now the observant among you will have realized that apart from Barbara Lynn, the rest of the names I’ve mentioned, all recorded for Hi Records. Indeed, out of the twenty-four tracks, Hi provide sixteen of them. Of these sixteen tracks, you hear some stunning music from one of Southern Soul’s great labels. The non-Hi tracks are of similar quality, with Barbara Lynn, Fontella Bass, Oscar Perry, Bobby Patterson and Bobby Powell all providing quality Southern Soul.
One of my favorite tracks on the album is the opening track, the hugely emotive Do You Love Me by Quiet Elegance. They were an all-girl group signed to Hi Records by Willie Mitchell in 1972 and comprised two former members of The Glories and a former Vandella. Quiet Elegance contribute a second track Will You Be My Man (In the Morning), a powerful yet pensive, slice of Southern Soul. This trio of soul sisters provide two stunning tracks, and with talent like this, one wonders why they weren’t a much bigger success?
Another Hi Records star that provides another of the Love and Jealousy is Syl Johnson. He too contributes two track, the heart-achingly beautiful Could I Be Falling In Love with you from his 1974 album Diamond in the Rough. His other contribution is Anyway the Wind Blows is from his 1973 album Back For A Taste of Your Love. It features a downcast and almost defiant Syl, with The Memphis Horns and Memphis Rhythm Section at their very best on a track that reminds of Ann Peebles I’m Gonna Tear Your Playhouse Down. Listen to both tracks and you’ll see what I mean.
One of the artists on Love and Jealousy that many people possibly won’t have heard of is Otis Clay. He recorded two great albums for Hi, 1972s Trying To Live My Life Without You and I Can’t Take It in 1977. The Otis Clay track chosen, is I Die A Little Every Day where emotion and passion are displayed in equal measure. This track was taken from Otis’ debut album for Hi Trying To Live My Life Without You. If you’ve never heard Otis Clay’s music, then this is the perfect opportunity to hear one of his best tracks.
Like Otis Clay and Syl Johnson who I’ve written about before, O.V. Wright is another Southern Soul great. On Love and Jealousy compiler Sean Hampsey has chosen Let’s Straighten It Out, from his 1978 album The Bottom Line. This was one of a trio of albums O.V. recorded for Hi, with Into Something I Can’t Shake Loose released in 1971 and 1977s The Wright Stuff. These were three vastly underrated albums, from an artist who had a tragically short career, dying aged just forty-one in 1980. Again, this compilation will hopefully encourage people to rediscover O.V.’s wonderful music.
Ann Peebles was the biggest female star on Hi Records, releasing seven albums between 1969 and 1978. On Love and Jealousy is the slow and sultry Give Me Some Credit, from her 1969 album This Is Ann Peebles. This was Ann’s debut album from Ann and gave her a number forty-five US R&B hit.
Of the non-Hi Records tracks Barbara Lynn’s This Is the Thanks I Get is a heart-wrenching track, laden with emotion. Ronnie Lovejoy’s Until You Get Enough of Me is an excellent track, from another underrated singer and is a welcome and worthy addition. The slow, dramatic arrangement with rasping horns and female backing singers accompanying Ronnie is fantastic, and makes me want to hear more of Ronnie’s music. My final choice from Love and Jealousy is Oscar Perry’s I’ll Take Care of You. This is three and a half minutes of slow, seductive and irresistible soul from 1972 and is a track with a lovely understated arrangement, but a heartfelt vocal.
Overall, Love and Jealousy is an excellent compilation that’s is a must have for anyone who either loves Southern Soul or just soul music in general. It features a combination of tracks from well known artists and others that you may not be familiar with. This isn’t one of these compilations where there are a handful of good tracks, and the rest is filler. Quite the opposite, from the first track until the last, the quality is consistent. The album acts as both an introduction to the deeper side of Southern Soul, and an introduction to the wonderful music of Hi Records, which you can then explore. Hi was one of the best know Southern Soul labels, and there’s a multitude of majestic music waiting to be discovered.
LOVE AND JEALOUSY.
BACK TO MY PLACE BABY.
Back To My Place Baby features “70s and 80s seductive soul” and is another album of quality music from the Backbeats team. Compiled by Ian Dewhirst, and released in 2009, the album features some of the biggest names in soul music. The music of Al Green, Ann Peebles, The Chi-Lites, Teddy Pendergrass, The O’Jays, The Jones Girls, Dee Dee Sharp Gamble and Harold Melvin and The Blue Notes can all be found on the album. Tracks from labels that include Hi Records, Philadelphia International Records and Brunswick can all be found on Back To My Place Baby. Such is the strength and depth of the music on the album, that picking just a few tracks is a tough choice. However, here are a few of the album’s highlights.
Opening the album is Al Green’s I’m Still In Love With You, one of Al’s finest singles on Hi Records. It’s features a beautiful and tender vocal from Al on a track that reached number three in the US Billboard 100 and gave him US R&B his second number one hit single. This was the title track from his 1972 platinum album I’m Still In Love With You, which reached number four in the US Billboard 200 and number one in the US R&B Charts. Quite simply this is vintage Al Green.
Another Hi Records’ artist Ann Peebles, provides another of the compilation’s highlights I Can’t Stand the Rain, the title track from Ann’s 1974 album I Can’t Stand the Rain. This powerful and memorable track was Ann’s biggest hit single, reaching number six in the US R&B Charts and number thirty-eight in the US Billboard 100. Similarly, I Can’t Stand the Rain was Ann’s most successful album, reaching number twenty-five in the US R&B tracks. Of all the singles Ann Peebles recorded during her career, I Can’t Stand the Rain will forever remain synonymous with Ann Peebles.
During their career, The Chi-Lites recorded many great singles, but one of the best was Have You Seen Her, which reached number three in the US Billboard 100 and number one in the US R&B Charts. Written by Barbara Acklin and Eugene Record, this heartbreaking but beautiful track, was from their critically acclaimed 1971 album (For God’s Sake) Give More Power To the People, which reached number twelve in the US Billboard 200 and number three in the US R&B tracks. This was the first in a series of hugely successful albums the group recorded on Brunswick.
You Know How To Make Me Feel So Good is a track from Harold Melvin and The Blue Notes 1975 platinum certified album Wake Up Everybody, which reached number nine in the US Billboard 200 and number one in the US R&B Charts. This was the group’s second consecutive number one album, and most successful album. It was also the last album to feature Teddy Pendergrass’ as lead vocalist. After this, he’d leave the group to become a solo artist. On this track, Sharon Paige joins the group, her beautiful vocal adding to the seductive sound. Although it wasn’t released as a single, it’s a classic Gamble and Huff track, and demonstrates just what made the Philly Sound loved worldwide.
Having left Harold Melvin and The Blue Notes, Teddy Pendergrass continued on Philadelphia International Records, while his former group left the label. Two of his singles feature on Back To My Place Baby. His second single was The Whole Town’s Laughing At Me, which reached number 102 in the US Billboard 100 and number sixteen in the US R&B Charts. This was from Teddy’s debut solo album Teddy Pendergrass, which reached number seventeen in the US Billboard 200 and number five in the US R&B Charts. Although the single wasn’t a huge success, this emotive track has since become a firm favorite of Teddy’s many fans. The other Teddy Pendergrass track on the compilation is Close the Door, Teddy’s third single, from his second album Life Is A Song Worth Singing, which reached number eleven in the US Billboard 200 and number one in the US R&B Charts, resulting in the album being certified platinum. Not only did the album reach number one in the US R&B Charts, but this brilliant bedroom ballad, Close the Door, reached number one in the US R&B Charts, while reaching number twenty-five in the US Billboard 100.
Like Harold Melvin and The Blue Notes and Teddy Pendergrass, The O’Jays recorded for Philadelphia International Records. The O’Jays’ contribution to this compilation is Brandy, from their platinum certified album So Full of Love. It reached number six in the US Billboard 200 and number one in the US R&B Charts. Although the album sold well, when Brandy was released as a single, it only reached number seventy-nine in the US Billboard 100 and number twenty-one in the US R&B Charts. Written by Joseph B. Jefferson and Charles B. Simmons, this heartbreaking but beautiful track deserved to do so much better, and hopefully, its inclusion on this compilation will introduce this gorgeous track to a wider audience.
It wasn’t just the Philadelphia International men that provide some great tracks on this compilation, as The Jones Girls, Jean Carn and Dee Dee Sharp Gamble all contribute a trio of quality Philly Soul tracks. The Jones Girls contribution is Eternally, which features an emotive and thoughtful vocal from Shirley, while Valerie and Brenda contribute beautiful backing vocals. This track demonstrates just how talented a group The Jones Girls are.
The Jean Carn track chosen for this compilation is Don’t Let It Got To Your Head, which gave Jean a number fifty-four in the US R&B Charts. It’s a track with a big production and dramatic arrangement. Combine this with a powerful and vocal from Jean and you’ve a very welcome addition to the compilation. This track was from Jean’s 1978 album Happy To Be With You, the second of four albums Jean recorded for Philadelphia International Records.
Dee Dee Sharp Gamble is the last of the trio of Philadelphia International women to feature on Back To My Place Baby. Her contribution is Just As Long As I Know You’re Mine from the second of three albums Dee Dee recorded for Philadelphia International, 1977s What Color Is Love. On this track the arrangement and Dee Dee’s vocal grow in power and drama, resulting in a track that’s also hugely catchy, and sounds great.
If you’re considering buying Back To My Place Baby, I can thoroughly recommend the compilation. It features some excellent music from some of the biggest names in soul music. With Philadelphia International Records contributing Teddy Pendergrass, The O’Jays, The Jones Girls, Dee Dee Sharp Gamble and Harold Melvin, as well as Dexter Wansel, while Hi Records contribute Al Green and Ann Peebles and Brunswick contributing The Chi-Lites, this an album that is full of quality soul music. There’s a combination of well known artists, and a few artists that many people will be unfamiliar with. However, regardless of whether they’re household names or lesser known artists, they all provide one thing, some sumptuous slices of soul music.
BACK TO MY PLACE BABY.
BOBBY WOMACK-COMMUNICATION.
BOBBY WOMACK-COMMUNICATION.
Recently, I was reading an article about Bobby Womack collaborating with Damon Albarn for Bobby’s forthcoming album The Bravest Man In the Universe. Bobby had chosen Damon to produce his new album, which will be his first secular album since 1994s Soul Seduction Supreme, a stunning live set. Since then, Bobby hasn’t produced much in the way of music, just the occasional gospel album. Now you may be wondering how the former Blur frontman became involved with Bobby Womack, after all their music is very different. Well, that may be the case, but Damon and Bobby having previously collaborated, on Gorillaz’s 2010 album Plastic Beach. On that album Bobby provided the vocals for two of the tracks. That’s where the connection came about. Now having read that article, I decided to revisit some of Bobby’s earlier music, and what was just his third solo album 1971s Communication.
Communication was released in September 1971, and was Bobby’s third solo album. His two previous album had been 1968s Fly Me To the Moon released on Minit Records, which reached number 174 in the US Billboard 200 and number thirty-four in the US R&B Charts. Like his debut album, My Prescription was released in 1969, on Minit and reached number forty-four in the US R&B Charts.
However, by the time Bobby came to release Communication in 1971, he was now signed to a major label, United Artists. Recording of Communication took place earlier in 1971, with eight tracks being recorded with the Muscle Shoals Rhythm Section, who played on so many great albums backing Bobby. They were a combination of cover versions and three original tracks, written or co-written by Bobby. One of these was That’s the Way I Feel About Cha, co-written by Bobby with Jimmy Grisby and Joe Hicks. It was chosen as one of the two singles released from the album. The first was the title-track Communication, which reached number forty in the US R&B Charts. When That’s the Way I Feel About Cha was released, it fared much better, reaching number twenty-seven in the US Billboard 100 and number two in the US R&B Charts. On the album’s release, it reached number eighty-three in the US Billboard 200 and number seven in the US R&B Charts, much better than his two previous albums. It seemed that life on a major label suited Bobby Womack, with a top ten US R&B single and album under his belt. However, what did his major label debut Communication, sound like? Was this classic Bobby Womack? That’s what I’ll now tell you.
Communication opens with the title track Communication, one of the singles released from the album and a track written by Bobby himself. It’s a slow and dramatic opening with searing guitars, rhythm section and rasping horns giving way to Bobby’s holler, then vocal. With his backing vocalists and blazing horns, Bobby sings and roars his way through the song, almost preaching, against a backdrop of chiming guitars, punchy drums and horns. Later, a wailing Hammond organ enters, adding to the atmospheric arrangement, as Bobby delivers his lyrics with a combination of emotion and passion.
There’s a much more uptempo and uplifting sound on Come L’Amore. written by Bob Hilliard and Leon Ware. This sees Bobby accompanied by sweeping strings, rhythm section and searing guitars, while female backing vocalists gently accompany him. Later, horns punctuate the arrangement, adding just the finishing touch to a hook laden, catchy arrangement, on this beautiful track, which is one of the album’s highlights.
On Communication Bobby covers five tracks, with one of them, a lovely thoughtful cover of James Taylor’s Fire and Rain. It’s a very different version from the orginal, with guitars giving way to a short monologue from Bobby, before he thoughtfully and tenderly delivers the lyrics against a backdrop of rhythm section, organ and chiming guitars. With backing vocalists accompanying Bobby during the track, in almost a call and response style, this works well and is really effective. Later, the arrangement grows slightly, becoming slightly more dramatic, with bursts of swirling strings joining the rhythm section, guitar and organ combo. Similarly, Bobby’s style grows more powerful, and becomes a bit more dramatic as the song progresses. As the song closes, I realize that this is a quite beautiful and brilliant cover of James Taylor’s songs, adding something that was lacking….soul.
Probably one of the best known and best tracks on Communication is the final song on side one, (If You Don’t Want My Love) Give It Back. It’s only rival for than honor is That’s the Way I Feel About Cha. However, this is an irresistible slice of the finest soul from Bobby, with one of his best vocals on Communication. Set against an excellent hooky arrangement with chiming guitars, atmospheric Hammond organ and driving, punchy rhythm section, Bobby tenderly sings, then hollers his way through the track. With female backing vocalists Patrice Holloway, Pam Grier and Janice Singleton accompanying him, Bobby pleas with his lover to give his love back, “to set him free and get out of his life.” These heartfelt and emotive pleas are sung against one the best and catchiest arrangements on the album and are vintage Bobby Womack.
Side two of Communication opens with a medley where a spoken word monologue is sung against a meandering arrangement, where chiming shimmering guitars and rhythm section combine, before giving way to a version of They Long To Be Close To You, written by Bacharach and David. With strings sweeping in, their lush sound combining beautifully with Bobby’s tender vocal, chiming guitars and rasping horns. Bobby’s version of Bacharach and David’s classic is gorgeous, with the lushest of strings, combining perfectly with gently rasping horns and shimmering guitars, as he delivers the lyrics thoughtfully and carefully. His phrasing is perfect, as he adds emotion and passion, his voice growing in strength and power as the songs heads to the finish, with backing vocalists accompanying him. Although this song has been recorded by many people, how many people will have given such a gorgeous, passionate and thoughtful rendition of the track?
From Bacharach and David to a song previously recorded by Ray Charles, Everything Is Beautiful. Bobby doesn’t try to copy Ray’s seminal version, instead, delivering the song in his own unique way. With an organ, driving rhythm section, lush strings and rasping horns, augmented by backing vocalists, the track swings along beautifully, the arrangement having a real gospel feel to it. The song is suited to Bobby’s husky, rasping vocal, and he throws himself into the track, wanting to record a fitting follow-up to Ray Charles’ version. This he does, delivering the song with aplomb, combining passion and power perfectly.
That’s the Way I Feel About Cha is the track that vies for the title of Communication’s best track with (If You Don’t Want My Love) Give It Back. It’s a close call, these two great tracks running the other close. Co-written by Jimmy Grisby and Joe Hicks with Bobby, the track meanders into life, with Bobby’s half-spoken vocal accompanied by searing, soaring chiming guitars and the rhythm section. With strings sweeping in, Bobby gives a heartfelt and emotional delivery of the lyrics, while the rhythm section play thoughtfully and subtly. Almost ever-present are the chiming guitars, which add to the track’s sound. As the track progresses, Bobby’s voice becomes stronger and louder, with backing vocalists and an organ entering. By now, the arrangement has grown, and so does the emotion and drama thanks to Bobby’s heartfelt delivery of the lyrics.
Communication closes with a traditional gospel song, Yield Not To temptation. This takes Bobby back to his gospel roots, and he sings the song with a tenderness, accompanied by his trio of female backing vocalists, while the Muscle Shoals Rhythm Section and an organ combine to produce a lovely understated arrangement that’s perfect for the track. Although very different to the rest of the album, it’s still a very beautiful track and a thoughtful way to close the album.
Although this was Bobby’s third album, Communication was Bobby’s debut for a major label, United Artists. On Communication, Bobby was backed by some of the best musicians of that era, the Muscle Shoals Rhythm Section. With such talented musicians accompanying him, it’s no wonder that the album sounds so good. Of the eight songs on the album, five covers and three original tracks there’s not one weak track. Even cover versions of tracks ranging from James Taylor’s Fire and Rain, Bacharach and David’s (They Long To Be) Close To You and Everything Is Beautiful, written by Ray Stevens and made famous by Ray Charles, Bobby Womack gives each song his own unique twist, interpreting each thoughtfully and with the requisite combination of emotion, passion and if required, power. Not only did Bobby play guitar, organ and arranged the strings, but he also produced the album. This was a brave decision given it was his major label debut. However, his gamble payed off, resulting in a top ten US R&B album and single. Since then, Communication is regarded as one of Bobby’s best albums. This is just one of many great albums that Bobby Womack has recorded during his long career, which will soon see a new addition The Bravest Man In the Universe, Bobby’s forthcoming album produced by Damon Albarn. If it’s anywhere near as good as Communication, then it’ll be a welcome addition to Bobby Womack’s back catalogue, which is brimming with quality waiting to be discovered. Standout Tracks: Come L’Amore, (If You Don’t Want My Love) Give It Back, They Long To Be Close To You and That’s the Way I Feel About Cha.
BOBBY WOMACK-COMMUNICATION.
|
LOU RAWLS-UNMISTAKABLY LOU.
LOU RAWLS-UNMISTAKABLY LOU.
Unmistakably Lou was Lou Rawls second album for Philadelphia International Records. Released in May 1977, it was the follow-up to All Things In Time, released in June 1976. All Things In Time would be a hard act to follow for Lou, as it had reached number seven in the US Billboard 200 and number one in the US R&B Charts. The album also featured a number one US R&B single You’ll Never Find Another Love Like Mine, which reached number two in the US Billboard 100. With a commercially successful album and one critics loved, All Things In Time had been a memorable Philadelphia International debut album from Lou. The question was, would Unmistakably Lou match its predecessors success?
Like all the Philadelphia International albums, Unmistakably Lou was recorded at Sigma Sound Studios in Philadelphia. Recording of the album took place during 1976 and 1977 with M.F.S.B. Mk 2 backing Lou. Six of the nine songs on the album came from the Gamble and Huff partnership, who produced these six tracks, with Jack Faith, Bobby Martin and Dexter Wansel producing a track apiece, it seemed that Philadelphia International’s most creative minds were working on the album. This was the case when it came to the arrangers, with Jack Faith arranging six tracks and Bobby Martin three. Surely with such talented people working on Unmistakably Lou, the album couldn’t fail?
When Unmistakably Lou was released in May 1977, it was an album that didn’t disappoint, featuring some stunning music. Older soul fans wallowed in Lou’s balladry, his distinctive voice mellowing with age like a fine wine. The standout track wasn’t a ballad though, it was the uptempo gem See You When I Git There. When it was released as a single, reaching number sixty-six in the US Billboard 100 and number eight in the US R&B Charts. This was the only single released from Unmistakably Lou. The closing track on Unmistakably Lou was something very different, and saw Lou revisit one of Frank Sinatra’s classic tracks All the Way which Lou sang with a swing, complete with a big band arrangement. However, despite quality running through Unmistakably Lou from the opening bars to run out groove on side two, the album only reached a somewhat disappointing number forty-one in the US Billboard 200 and number fourteen in the US R&B Charts. After all, an album of such quality music deserved to do much better. What had gone wrong, was it the jazzy influence on Unmistakably Lou that put people off buying it? Whatever it was, Unmistakably Lou is undoubtedly a fine album, which I’ll now tell you about.
Unmistakably Lou opens with the first of the six Gamble and Huff penned and produced tracks, See You When I Git There, the only track released from the album. This is an uptempo track with a real feel-good sound, with an organ, drums and chiming guitars giving way to a husky spoken word introduction from Lou. After this, the track quickens up, a lovely lush sound string laden sound, combining with percussion, rasping horns, rhythm section and guitars. Lou’s vocal is full of love and emotion, with female backing vocalists accompanying him. His vocal about going home to the woman he loves in beautiful, especially when sung against Bobby Martin’s stunning arrangement. The lush strings, rhythm section and guitars combine beautifully with the keyboards, and occasional bursts of horns. When combined with Lou’s vocal and Gamble and Huff’s production, the result is the album’s best track.
Spring Again sees the Gamble and Huff partnership strike gold again, this time with Jack Faith’s mid-tempo string heavy arrangement. Lou’s vocal is strong and thoughtful, as he sings about the beauty of the coming of spring. This he does against an arrangement where slow sweeping strings provide a beautiful lush sound, while the rhythm section, chiming guitars and gentle rasping horns combine with a wailing Hammond organ. Occasional bursts of drama from the drums punctuate the arrangement, while backing vocalists augment Lou’s vocal, while this beautiful string laden arrangement gradually reveals itself, much like spring itself.
It’s a mid-tempo arrangement with gentle chiming guitars, slow strings and a thoughtful rhythm section that opens Early Morning Love. They give way to Lou’s somewhat dramatic, slow vocal. The arrangement, like Lou’s vocal is spacious, as if this space has been left for dramatic effect. This works well, as does the use of the most beautiful strings, during this romantic ballad about early morning love. Here, Lou demonstrates how well he can deliver a ballad, his phrasing and timing just perfect, combining emotion, drama and passion brilliantly. Behind him, rasping horns punctuate the arrangement, while drums add drama and guitars chime and shimmer. His voice grows in strength and passion as the track develops. Adding to the emotion and drama of the track are the slow strings, which play such an important part in Jack Faith’s spacious and dramatic arrangement. However, it’s Lou that’s central to the track’s success, proving he’s truly a master of balladry with very few equals.
The tempo increases on Some Folks Will Never Learn, the fourth track written and produced by Gamble and Huff, again with Jack Faith arranging the track. A combination of rhythm section, sweeping, swirling strings, piano and backing vocalists open the track, before Lou’s vocal enters. It’s a hugely catchy, hook laden track with a really smooth sounding production, typical of Gamble and Huff classic style. While horns rasp, strings swirl and backing vocalists unite soulfully, Lou’s voice is deep and strong, as he brings the lyrics to life, warning how some people never learn about love, and destined to be disappointed and heartbroken. By now the arrangement is full, strings, female backing vocalists and the rhythm section all playing their part in this fantastic arrangement, with horns playing a minor, but still vital role. Together, they all combine brilliantly with Lou, on a track that would’ve made a great single. With such an excellent track, this seems a fitting way to end side one of Unmistakably Lou.
There’s a real change in style on the first track on side two of Unmistakably Lou, the jazz drenched Someday You’ll Be Old. Although Gamble and Huff wrote and produced the song, this isn’t typical of their production style. Lou delivers their lyrics against a swinging, big band arrangement from Bobby Martin. Here blazing horns, sweeping strings, standup bass and chiming guitars combine with the piano and drums. Together, they produce a really swinging jazzy sound that sounds quite brilliant, and allows Lou to demonstrate his talents as a jazz vocalist. Although the horns are central to the arrangement, there are important contributions from the piano, bass and drums. The drums combine with the horns to create dramatic bursts, that punctuate this swinging slice of jazz. Regardless of how great a track this is, maybe fans of Philadelphia International didn’t want to hear swinging, big band jazz arrangements, with Lou Rawls rolling back the years to his jazz tinged past.
A solitary trumpet plays as Secret Tears reveals itself. Joining the trumpet are the rhythm section, guitars, harp and piano. When Lou’s thoughtful and considered vocal enters, the piano meanders, while horns gently rasp and strings sweep in sadly. They play an important role in this Jack Faith and Phillip Terry penned track, which is arranged and produced by Jack Faith. It has a really jazzy feel and sound when horns and strings unite powerfully, to give the track an emotive and dramatic sound. With Lou’s husky vocal slower, this suits the arrangement, which is sympathetic to his vocal style. However, again, as much as I love this style of music, maybe people used to the balladry of Billy Paul, Teddy Pendergrass and Lou’s debut album, would find this type of track very different, and not what they’d expect from an album released by Philadelphia International.
We Understand Each Other is the final song written and produced by Gamble and Huff on Unmistakably Lou. Like the previous track, it’s a really slow song, with a lovely arrangement from Jack Faith and equally stunning production from the maestros Gamble and Huff. The arrangement is slow, meandering as it reveals its beauty and drama. With female backing vocalists accompanying Lou’s heartfelt vocal, the rhythm section, lush sweeping strings and rasping horns combine with flourishes of piano as the track slowly, and gently reveals its hidden beauty as the track builds and builds. Flourishes of harp, chiming guitars and punchy drums all play their part in the track, as horns and drums add drama. However, it’s the strings, rhythm section and piano that play leading roles in making this such a stunning track, while the subtle backing vocalists add to the track’s beauty and provide a contrast to Lou’s much stronger and dramatic vocal.
Again, there’s a change of style on It’s Our Anniversary Today, a a jazz tinged track with a sad, lush sound. Strings play their part in creating this sound, while guitars chime, a piano plays and horns rasp. While Lou sings about the anniversary of the end of his relationship, asking how his children are, the band decide to take the track in a direction marked jazz. The rhythm section, horns and strings, combine with jazz guitars, to create a sound that’s both emotive, heartfelt and jazz tinged. With Jack Faith arranging the track, and Dexter Wansel producing they manage to produce a track that’s not as obviously jazzy as either Someday You’ll Be Old or Secret Tears. It’s a good enough track, but not as good as either of the two aforementioned tracks.
Unmistakably Lou closes with a swinging big band version of All the Way, made famous by Frank Sinatra. With horns blazing and and the rhythm section combining brilliantly to make the song go with a swing, this is much more like things. Lou delivers the lyrics in a swinging style, demonstrating just how talented a jazz vocalist he is. Later strings sweep in, and together with a standup bass, the track has a real authentic sound and feel. Never before, had M.F.S.B. been asked to provide a big band accompaniment, but like Lou they handled the song with aplomb, bringing the song to life and giving it a lovely old fashioned sound and feel. This seems a fitting way to end an album that sees a combination jazz and Philly Soul comfortably sit side by side.
Although Unmistakably Lou was a commercial success. it failed to match the huge success of its predecessor All Things In Time. Possibly the explanation lay in four tracks, where Lou’s jazzier side shawn through. This maybe wasn’t what fans of The Philly Sound expected to hear on a record on the Philadelphia International label. However, this was a great shame, as the music is of the highest standard. Of the album’s nine tracks, the six written by Gamble and Huff are the strongest, and even Someday You’ll Be Old is jazz tinged. Many of the other tracks are what you’d expect from Gamble and Huff, with the album’s opener See You When I Git There a stunning uptempo track. From there, Spring Again, Early Morning Love and Some Folks Will Never Learn, continue with the same quality of the opening track. On side two, things change, and the jazz influence shines through on Someday You’ll Be Old, Secret Tears and the big band sound of All the Way. Personally, it’s an album where one great track follows the previous one, but maybe my musical tastes are wider than most people. Other people may have more conservative or narrow tastes in music, but Unmistakably Lou was an album where Lou mixed the old with the new. The old was his jazz influence, the new The Philly Sound. Now thirty-five years after it was first issued, revisiting Unmistakably Lou is a pleasure. Maybe those who didn’t enjoy the album the first time around, will have seen their taste in music mature, and will decided to revisit this wonderful album again. if they do, it has been rereleased along with Lou’s previous album All Things In Time on one disc by Demon in 2005. So this allows you the privilege of hearing two great albums from one of the most versatile and talented vocalists of his generation, Lou Rawls. Standout Tracks: See You When I Git There, Spring Again, Early Morning Love and Someday You’ll Be Old.
LOU RAWLS-UNMISTAKABLY LOU.
ETTA JAMES-CALL MY NAME.
ETTA JAMES-CALL MY NAME.
During the sixties, Etta James released a number of critically acclaimed albums for the Cadet label, which was a subsidiary of Chess Records, one of which was Call My Name, released in 1967. It was Etta’s sixth album for Cadet, and was recorded at Chess’ Ter Mar Studios in Chicago. This was the first album where Etta had recorded all the tracks in one session. Previously, her albums were the result of the various sessions she’d recorded over the years, with a selection forming the basis for an album. However, Call My Name was different, and saw Etta enter the studio towards the end of 1966, with co-producers Monk Higgins and Ralph Bass. Ralph was well known to Etta, having worked for Chess since 1960, and been there when she recorded her first sessions for her new label. Monk Higgins was a veteran of the music industry, having worked with Junior Wells, Otis Clay and Betty Everett. With Monk and Ralph producing the sessions, twelve tracks were recorded, seven of which were co-written by Monk, with a variety of songwriting partners. As well as co-writing and co-producing Call My Name, Monk also played piano on the album. Now the album was recorded, it was set for release in 1967, but the question was, would it be more successful than her previous albums?
Of Etta’s five previous albums, only her debut album 1960s At Last! and 1963s Etta James Top Ten had charted. At Last! reached number sixty-eight in the US Billboard 200, while Etta James Top Ten reached number 117 in the US Billboard 200. Her other four albums all failed to chart. This included 1961s The Second Time Around, Etta James Sings For Lovers released in 1962 and 1965s The Queen of Soul. Would Call My Name prove more successful?
On Call My Names’ release in 1967 on Cadet Records, the album failed to chart. Three singles were released from the album, with I Prefer You released in February 1967, reaching number forty-two in the US R&B Charts. The other two singles Don’t Pick Me For Your Fool and the title track, Call My Name both failed to chart. This was a huge disappointment for everyone concerned, and for Etta’s next album Tell Mama, she headed to Muscle Shoals to record with Rick Hall and his legendary Muscle Shoals Rhythm Section. That, however, was still to come and I’ll now tell you about the album that preceded it Call My Name.
Call My Name opens with Happiness, co-written by Vee Pea Smith and Maurice Dollison. It’s a dramatic introduction with rasping horns, rhythm section and guitars combining, before Etta’s vocal soars powerfully in. She’s accompanied by gentle backing vocalists, a contrasts to the drums and horns that combine powerfully and dramatically, to accompany Etta as she sings about being happy to be in love. The arrangement is full, laden with drama, emotion and passion from the opening bars to the final notes, with Etta’s vocal a mixture of clarity, emotion and power.
Straight away, That’s All I Want From You swings into being with horns and the rhythm section accompanying Etta. Her vocal veers between raw power and a slightly more restrained style, but never lacks neither emotion nor passion. Throughout this faster track, rasping horns punctuate the arrangement, combining with the rhythm section. Together the horns and drums unite, to provide a swinging backdrop for the impassioned pleas from Miss Peaches.
Have Faith In Me sees moody, growling horns, piano and rhythm section combine with chiming guitars, as Etta’s vocal enters. She’s angry and frustrated at her cheating partner, whose neglecting and mistrusting her. Quickly, her vocal grows, revisiting the raw power of the two preceding tracks. With gentle backing vocalists accompanying her, while the horns blaze dramatically throughout the track, almost as if competing with Etta’s vocal. They’re augmented by the rhythm section and guitars, which help drive the track along to its impressive crescendo. However, regardless of the drama they create, they’ve nothing on Etta, with the frustration in her voice almost tangible. This demonstrates her ability to make a song her very own, with her unique interpretation.
Again, I’m So Glad I Found My Baby sees blazing horns open the track, before giving way to a grateful Etta whose found love. Together with the rhythm section, the horns drive the song along, while gospel tinged backing vocalists accompany Etta’s thankful and passionate vocal. She almost roars and hollers her way elatedly through the second Vee Pea Smith and Maurice Dollison penned track on Call My Name. With such a heartfelt and almost frenzied delivery of the lyrics, against another horn drenched backdrop, it’s no wonder this track was chosen as a single. However, on its release as a single, it failed to chart.
One of the best known tracks on Call My Name is You Are My Sunshine, which is given a very different twist. With her band and backing vocalists, Etta transforms this into a track that combines a swinging, jazzy sound with elements of blues and gospel music. Etta’s vocal is strong and powerful, as she helps the song swing, as she sings call and response with her backing vocalists. Horns play a huge and vital part in swinging jazzy element of the track, while the rhythm section and searing guitars complete the line-up. Together with one her brilliant band, a sassy vocal from Etta ensures the track goes with a swing. The result is one of the best tracks from the album, and although it may be an old song recorded many times, but never quite like this.
Side one of Call My Name closes with It Must Be Your Love, one of the seven tracks co-written by Monk Higgins. This time, his writing partners are Chuck Bernard, Maurice Dollison and Billy Foster. Foster was Etta’s then partner, and although his name was given a songwriting credit, it’s thought that Etta cowrote the song. This was allegedly a ploy to outwit the inland revenue who were chasing Etta for unpaid back-taxes. This is a slower song, with searing guitars and rasping horns opening the track, before Etta’s thoughtful vocal enters. As her vocal grows in power the horns reenter, adding to the guitar and rhythm section. Together, they add an element of drama and emotion, as Etta, almost roaring, drives the song to its emotive and dramatic conclusion.
The second side of Call My Name opens 842-3089 (Call My Name). It’s another track with an impressive introduction, where growling horns, driving rhythm section and chiming guitars combine, with a sassy vocal from Etta. Throughout the track, the horns punctuate the track, while Etta almost screams and hollers. Subtle backing vocalists provide a contrast to Etta’s frenzied vocal, as she wills her partner to “pick up the telephone and call me.” With such passion present in her voice, you can only help that her partner or suitor did “pick up the telephone” and called Etta.
Don’t Pick Me For Your Fool was another of the singles released from the album, but like Call My Name, failed to chart. It’s a track with a hugely dramatic introduction, horns almost snarling sympathetically for Etta, whose man is cheating on her and generally mistreating her. They combine with searing guitars, rhythm section and flourishes of piano as Etta angry and frustrated howls and hollers her way through the track, combining raw power with emotion masterfully.
I Prefer You was the only one of three singles that charted, reaching number forty-two in the US R&B Charts. Here, the interplay with Etta and her backing singers really makes the track. Their soaring gospel tinged tones a contrast to Etta’s much more powerful voice. Again, Etta unleashes her vocal, against a sultry backdrop of constant rasping horns, rhythm section and guitars. Repetition is key to the arrangement, with the horns locking into a great sounding groove and almost exhausting it, as they ring every last ounce of energy out of it. When this is combined with the rhythm section, backing vocalists and Etta’s vocal, this results in one of the album’s best tracks.
Guitars and rhythm section combine, before muted horns enter to accompany a lonely and loveless Etta on Nobody Cares. With her vocal full of heartache and pain, the arrangement has a sympathetic sound. Sad sounding horns combine with a soaring guitar and drama laden rhythm section, to provide the perfect backdrop for Etta’s vocal. Together, they provide an arrangement that reflects the despair and loneliness in her life, as heartbroken and lonely she emotively delivers the lyrics.
Curtis Mayfield wrote It’s All Right, another track many people will be familiar with. With horns drenching the uptempo introduction, Etta and her backing singers help the song swing along. Etta doesn’t hold back, throwing herself into one of Curtis’ most famous tracks. The backing vocalists help add the “soul” required in the lyrics. However, Etta demonstrates that she has more than enough for the track, delivering it with a confident style, against an arrangement where horns growl and rasp throughout. Not only is the song hugely catchy, but swings throughout and has more than a little of that magical ingredient…soul.
Call My Name closes with Nobody Like You a track that opens with just the rhythm section and guitars, before the horns enter. Their punchy sound punctuates the track, and accompanies Etta’s passionate vocal. With soulful backing vocalists accompanying her throughout the track, they, like the horns, play an important part in the track. Meanwhile, Etta almost screams that there’s “Nobody Like You,” the you being the man in her life, who she loves so much. As the drama and passion builds and builds, so too, does the emotion and passion in Etta’s voice, ultimately reaching a powerful and impressive crescendo, that seems a fitting way to close the album.
Having spent some time revisiting Call Me Name, and some of Etta James other Cadet era albums, I’ve thoroughly enjoyed listening to what is a very good album. On the album, Etta sings with a combination of power, passion and emotion, accompanied by a really tight backing band and some hugely soulful backing vocalists. Of the twelve songs on the album, each of the twelve songs features a horn section. Instead of using the horn section sparingly, the co-producers have chosen to drench the album in rasping, growling horns. This might not sit well with some people, although I’m a big fan of horn sections on albums. Similarly, the way Etta sings each song with a combination of power and raw emotion might not please everyone. Here, she unleashes her hugely powerful on every track on Call My Name. Although she sings with power, she combines this with emotion and passion on every track. However, as good an album as Call My Name was, the next album Etta recorded Tell Mama, was a much better album. It was recorded in Muscle Shoals, with producer Rick Hall and his legendary Muscle Shoals Rhythm Section. Rick Hall and his team of musicians brought out the very best in Etta James, and it’s just a pity that Etta never recorded more material like this. Both Call My Name and Tell Mama are great examples of the magnificent music of the Etta James, the lady whose fondly known to many people as Miss Peaches. If you’re a fan of her music, both Call My Name and Tell Mama have been rereleased by Kent Soul, along with Losers Weepers, Etta’s 1971 Cadet album. Standout Tracks: That’s All I Want From You, You Are My Sunshine, Don’t Pick Me For Your Fool and It’s All Right.
ETTA JAMES-CALL MY NAME.
THE DRAMATICS-A DRAMATIC EXPERIENCE.
THE DRAMATICS-A DRAMATIC EXPERIENCE.
Some time ago, I reviewed The Dramatics debut album Whatcha See Is Whatcha Get, which had recently been rereleased and remastered. What many people didn’t realize was that included on the album was their second album A Dramatic Experience. Their first album Whatcha See Is Whatcha Get had been a huge commercial success reaching number twenty in the US BIllboard 200 and number five in the US R&B Charts. The album had featured three top twenty US R&B singles, Whatcha See Is Whatcha Get, which reached number nine in the US Billboard 100 and number three in the US R&B Charts, while Get Up and Get Down reached just number seventy-eight in the US Billboard 100 and number sixteen in the US R&B Charts. The most successful single was In the Rain, which reached number five in the US Billboard 100 and number one in the US R&B Charts. This was quite a remarkable turn in fortune for a group who’d waited ten years before recording their debut album. However, would their second album A Dramatic Experience match the success of Whatcha See Is Whatcha Get?
By February 1973 when The Dramatics recorded their second album for Stax, Tony Hester was back producing the band. However, there had been a couple of changes in the group’s line-up, with Willie “Wee Gee” Howard and Elbert Wilkins leaving The Dramatics, to be replaced by L.J. Reynolds and Leonard “Lenny” Mayes. With the new members onboard, the pressure was on The Dramatics to record a successful follow-up album to Whatcha See Is Whatcha Get. Eight tracks in total were recorded, with Hey You! Get Off My Mountain and I Fell two of the album’s best tracks. However, as regular readers of this blog are well aware, good music doesn’t always equate to commercial success.
Sadly, as good an album as A Dramatic Experience was, it didn’t match its predecessors success. This doesn’t mean it’s a bad album, quite the opposite, It’s just The Dramatics set the bar high with Whatcha See Is Whatcha Get. For a debut album, it had been hugely successful, and it isn’t easy to either match, or better. On the release of A Dramatic Experience, it reached just number eighty-six in the US Billboard 200 and number eleven in the US R&B Charts. Two singles were released from the album, Hey You! Get Off My Mountain which reached number forty-three in the US Billboard 100 and number five in the US R&B Charts. The second single was Fell For You, which reached number forty-five in the US Billboard 100 and number twelve in the US R&B Charts. After A Dramatic Experience, The Dramatics would record just one further album for Stax/Volt And I Panicked. However, what did their second album A Dramatic Experience sound like? That’s what I’ll now tell you.
A Dramatic Experience opens with The Devil Is Dope which opens with an almost sinister spoken word vocal, accompanied by a searing guitar, swirling strings and rhythm section. It’s only then that the powerful vocal enters, with the other members of the group singing harmonies, about the evils of drugs, comparing drugs to the devil. A contrast to the passionate and powerful vocal and sinister sounding sound effects, are the lush swirling strings, that are almost ever-present throughout, this anti-drugs song, Together with the sinister spoken word vocal, sound-effects and some tight harmonies, The Dramatics finish off where they left off on Whatcha See Is Whatcha Get, with another stunning track.
When You Could Become the Heart of Me opens, you think that L.J. is going to sing the song tenderly, but you’re wrong. Quickly, his voice grows in emotion and passion,. Meanwhile, the interplay between the other Dramatics sees them play their part in the track, while the arrangement features quivering strings, chiming guitars and braying horns, as a bass meanders along. It’s a really catchy sounding track, made all the better by the inclusion of some subtle, muted horns and swirling, shimmering strings that combine perfectly, with the guitars and rhythm section. However, regardless of how good the arrangement is, it would’t count for anything without a standout vocal from L.J. that’s neither short of emotion nor passion.
Now You Got Me Loving You is a very different, much more tender track, with rasping horns, a wandering bass line and piano accompanying a beautiful, gentle vocal. With lush strings slowly sweeping in, combining with the horns that occasionally punctuate the track, the rest of the arrangement has a lovely understated sound in parts. Once the track grows, this is lost, but the beauty is omnipresent, the emotion in the vocal growing similarly, while a chiming guitar shivers across the track, and the rest of the group contribute backing vocals. This is a very different, soulful track and one that’s quite beautiful.
One of the singles was Fell For You which reached number forty-five in the US Billboard 100 and number twelve in the US R&B Charts. When Wee Gee quit the group, L.J. Reynolds had to rerecord the vocal, which was shared with Ron Banks. Their shared vocals come together perfectly, while the rest of the group song stepped harmonies. This they do against a gorgeous arrangement, where bursts of drama from the drums and horns and combined with flourishes of piano and some of the sweetest, lushest strings on the album. With new members having joined The Dramatics, this neither hindered the group, nor spoil their sound and dynamics. It could be that the addition of L.J. Reynolds’ vocals on this track helped lift this song, and transformed it into a tender and thoughtful track, with some of the best harmonies on A Dramatic Experience.
A bass line, shivering strings, piano and wah-wah guitar all enter before Jim, What’s Wrong With Him opens. The track is a combination of soul and funk, with blazing horns joining the rhythm section, chiming guitars and strings as a dramatic vocal unfolds. Again, the track is about drugs, with the character in the song Jim, a drug addict. While L.J. Reynolds passionately sings and howls the lead vocal, the other Dramatics provide harmonies, against a fast, furiously funky arrangement that builds and builds. With wah-wah guitars, funky rhythm section and horns combining with sweeping, swirling strings, this is nearly five minutes of heartfelt, passionate music, so much so, that it almost sounds personal for The Dramatics.
One of the best songs on A Dramatic Experience is Hey You! Get Off My Mountain, another of the singles from the album. It’s a track that’s drenched in drama, from the opening bars onwards. Horns gently rasp, combining with grand shivering strings and a hugely powerful, dramatic vocal, that quickly becomes tender when it changes hands. The rest of The Dramatics contribute backing vocals that veer between tender and thoughtful to passionate and powerful. As this soulful, dramatic track progress, the arrangement grows, just like the vocal, with strings and the rhythm section playing important parts in what must be the album’s best track.
Beautiful People is the title of the song, but the song is also beautiful. A combination of piano, rhythm section and chiming guitars combine with gentle, rasping horns and sad sounding strings. Add to this a heartfelt vocal and some thoughtful backing vocals, and can the track get any better? It can. After a short spoken word vocal, a gentle vocal enters, before the arrangement starts to grow again. Muted horns and drums add drama, while the strings and guitar combine to add subtly and beauty, a suitable accompaniment for such heartfelt, yet gorgeous vocals.
A Dramatic Experience closes with the last of the three anti-drugs songs, Beware of the Man (With the Candy In His Hand). This track was a reaction to the drugs problem that reeked havoc with inner city America. The man with the candy in his was the drug dealer who wrecked the lives of many young Americans. For this track, The Dramatics muster up as much drama as they can, and have reserved a fuller, drama laden arrangement. Straight away strings swirl and sweep, while wah-wah guitars and dramatic rumbling drums combine, before an otherworldly scream gives way to soul with a social conscience. L.J’s angry, frustrated vocal sits atop the arrangement as the track quickens, the arrangement growing fuller and more powerful. It’s as if this reflects the anger and frustration felt by The Dramatics, at the waste of a generation. By now, the arrangement sees the strings, drums and horns add to the track’s drama, with bursts of horns and pounding drums accompanying the roaring, hollering vocals, as The Dramatics desperately seek to get their message across. This they do, their impassioned pleas warning of the pitfalls and dangers to be found in the candy man’s hand.
Having listened to both Whatcha See Is Whatcha Get and A Dramatic Experience back to back, I’ve always thought that although A Dramatic Experience was a much better album. Each of the eight tracks on the album are of the highest quality, with the album an excellent combination of funk and soul with a social conscience. The trio or anti-drugs songs The Devil Is Dope, Jim, What’s Wrong With Him and Beware of the Man (With the Candy In His Hand) all are a reflection on the drugs problem that was sweeping inner city America, and these songs warn of the pitfalls and problems. Of the other five tracks, they’re a combination of beauty, emotion and drama, with Now You Got Me Loving You and Fell For You emotive and beautiful, while Hey You! Get Off My Mountain provides the drama. With quality like this running through the album, A Dramatic Experience deserved to do much better than number eighty-six in the US Billboard 200 and number eleven in the US R&B Charts.
After the success of Whatcha See Is Whatcha Get, this was something of a disappointment, given the standard of music on the album. In the sleeve-notes to the album, it’s quite obvious that The Dramatics and producer Tony Hester also thought the album should’ve been a bigger commercial success, talking in terms of the album being their masterpiece. Personally, A Dramatic Experience joins the list of albums that are hidden gems of funk and soul, awaiting discovery by a new generation of music fans. Maybe they’ll see what the previous generation failed to see, that A Dramatic Experience is a stunning album, one full of some incredibly powerful music, one that deserved to fare much better than it did, when released in 1973. However, now you can revisit both Whatcha See Is Whatcha Get and A Dramatic Experience. Both feature on the newly rereleased and remastered version of Whatcha See Is Whatcha Get. So not only do you get to hear Whatcha See Is Whatcha Get, but you also get to hear A Dramatic Experience. This lets you hear two great albums from The Dramatics. These are the groups the two best albums, wonderfully remastered by Joe Tarantino, allowing you to hear The Dramatics at their very best. Standout Tracks: Now You Got Me Loving You, Hey You! Get Off My Mountain, Fell For You and Beautiful People.
THE DRAMATICS-A DRAMATIC EXPERIENCE.
TEDDY PENDERGRASS-TEDDY.
TEDDY PENDERGRASS-TEDDY.
Having left Harold Melvin and The Blue Notes to become a solo singer, things had been going well for Teddy by June 1979, when his third solo album was due for release. His two previous albums Teddy Pendergrass, released in June 1977, had reached number seventeen in the US Billboard 200 and number six in the US R&B Charts, resulting in the album being certified platinum, while Life Is a Song Worth Singing reached number eleven in the US Billboard 200 and number one in the US R&B Charts. Like its predecessor, it too was certified platinum. Could Teddy, his third solo album match the success of his first two albums on its release?
Teddy had been recorded at Sigma Sound Studio, where so many of the great Philadelphia International albums had been recorded. Eight songs were on the album, with four written by Gamble and Huff, including Turn Off the Lights, the most successful single on the album. With Gamble and Huff producing four tracks, Thom Bell two tracks, with Gene McFadden and Sherman Marshall one each, then some of the most talented people at Philadelphia International were working on the album. As if that wasn’t enough, Jack Faith, John Usry Jr., and Dexter Wansel all arranged tracks on Teddy. During 1978 and 1979 the eight tracks were recorded, with M.F.S.B. Mk 2 backing Teddy. Now that the album was recorded, it was due to be released in June 1979.
On its release, it reached number five in the US Billboard 200 and number one in the US R&B Charts. Not only was this Teddy’s most successful chart placing in the US Billboard 200, but it was Teddy’s third US R&B number one album and his third album to be certified platinum. Two singles were released from the album, Turn Off the Lights which reached number forty-eight in the US Billboard 100 and number two in the US R&B Charts, while Come Go With Me reached number fourteen in the US R&B Charts. With a critically acclaimed album and two US R&B hit singles, Teddy had been another successful solo album from Teddy which I’ll now tell you about.
Teddy opens with Come Go With Me, the first of four tracks written and produced byGamble and Huff, with Jack Faith arranging this track. This was the first of two “bedroom ballads,” with Teddy pleading to “come on over to my place tonight, I don’t wanna be lonely,” against a lush backdrop where strings sweep in, flourishes of piano and a slow rhythm section combine with chiming guitars. As the song progresses slowly, horns drench Jack Faith’s beautiful arrangement, with Teddy’s desperate pleas sitting above the arrangement. Not only is it a gorgeous slice of seductive soul, one that puts Barry White and Marvin Gaye in the shade, but it’s one of the album’s finest, smoothest songs.
The same combination of Gamble and Huff writing and producing the track, while Jack Faith arranges it, combine brilliantly again with Turn Off the Lights. Teddy continues in the same vein, with another slow, seductive ballad, where strings are at the forefront of the arrangement as a Hammond wails and the rhythm section combine playing thoughtfully with bursts of drama. Meanwhile, Teddy combines emotion and passion, his vocal six minutes of sexy, sultry, seductive soul. With bursts of rasping horns, a Hammond organ adding atmosphere and drums combining slowly with the sweetest of strings while backing vocals accompanying him, Teddy’s seductive pleas are almost irresistible on this quite brilliant, beautiful bedroom ballad.
After two great songs from the masters, Gamble and Huff, resulting in two of the album’s best tracks, producer Thom Bell and arranger Anthony Bell have a lot to live up to on I’ll Never See Heaven Again. It’s a slow, gentle track shivering strings and chiming guitars combining with the rhythm section and keyboards, while Teddy gives a tender, thoughtful vocal. Here, we see a very different side to Teddy, gone are the seductive pleas and passionate vocals, replaced by a lonely Teddy, having lost the woman he loved. The arrangement combines lush, sad quivering strings combine with guitars while bursts of punchy horns, together with drums, add drama to the sadness and emotion of the track. Later, Teddy delivers a heartfelt and heartbroken vocal, against the saddest of string drenched arrangements.
Sherman Marshall and Darnell Jordan contribute another sad and emotive track All I Need Is You, that requires a powerful and emotive delivery. Accompanied by female backing vocalists who are a tender counterpoint to Teddy’s power, passion and emotion, this contrast in styles works beautifully. They combine against a slow sweeping arrangement, where strings sweep sadly, a piano plays, combining with drums and horns as the arrangement grows. Likewise, Teddy’s vocal grows in power as he desperately pleads with his girlfriend to spend the night with him, while the backing vocalists sing with a subtlety and tenderness. Meanwhile shimmering guitars and lush, strings slowly and sadly combine, providing the saddest of backdrops for an insecure and desperate Teddy.
Side two of Teddy opens with a quite different sounding track If You Know Like A Know co-written by Jerry Cohen with another legendary Philadelphia International duo McFadden and Whitehead. Similarly, Gene McFadden produces the track, and he does an excellent job here. During this really quick track, Teddy really growls and vamps his way through this track while strings swirls and sweep, horns punctuate the track and the funkiest of bass lines accompanies Teddy. With The Jones Girls sweet backing vocals accompanying Teddy, they provide the perfect contrast to Teddy’s rough, growl on this funky stomper. Later, a Hammond organ wails, while strings quiver and shiver, and punchy drums and horns add to the drama. Although very different from all the tracks on side one, this is a hook laden, funk drenched track that’s hugely catchy and sounds fantastic.
Do Me was the third of the four Gamble and Huff penned and produced tracks. It’s another really fast track with a great arrangement from John Usry Jr. Again, the bass plays an important part in the track, it’s fast and funky, with chiming guitars and drums accompanying it, before blazing horns and swirling strings enter. Atop the arrangement, sits a sassy, ballsy vocal from Teddy, full of confidence, as he vamps his way through the vocal. Behind him, strings swirl, flourishes of piano and rasping horns combine to make a brilliant sounding arrangement. What makes this such a stunning track is Teddy’s vocal, John Usry Jr. stomping arrangement Gamble and Huff’s trademark top quality production.
So far, Teddy has been devoid of any poor tracks and with two tracks left, will this continue to be the case? Set Me Free opens with gentle keyboards and a harp combining before hi-hats and slow strings gradually enter, the arrangement suddenly bursting into life into something quite unexpected and dramatic. With searing guitars blazing horns and then Teddy’s sad vocal enters. He’s full of hurt, wanting set free from a relationship gone bad. By now, horns drench the arrangement, while swirling strings and drama laden drums enter. With The Delfonics era horn sound, this could only mean Thom Bell produced the track, and this is indeed the case. Here he arranges and produces the track, and doesn’t let the side down, producing an emotive and dramatic sounding track, that’s a welcome addition to a stunning album.
Completing a run of eight great tracks on one album, no mean feat, given there’s usually one poor track on any album, is the last of the four Gamble and Huff tracks, Life Is A Circle. This track, like the three previous ones, is classic Gamble and Huff, and is a song with a message behind it. The tempo is quicker, with searing guitars, percussion and rhythm section combining with a gentle vocal from Teddy, quickly transformed into almost a roar. Here, Gamble and Huff’s lyrics contain some words of truth and things that we’d do well to remember. They tell us “you can’t respect anybody, until you respect yourself” and “you can’t love somebody until you love yourself.” Teddy almost roars these words of wisdom, against a fast, furious and funky backdrop, where strings swirl, percussion plays an important part, while soaring, searing guitars and the rhythm section combine. It’s a great sounding track, with thoughtful lyrics from Gamble and Huff and a vocal from Teddy full of passion and emotion.
Teddy is almost a track of two sides, with side one full of bedroom ballads and slow, sad songs, while the tempo increases on side two, and things get faster and just a little funky. Interestingly, two of the album’s best tracks open the album Come Go With Me and Turn Off the Lights. In fact, of the four tracks on side one of the album, all of them are very beautiful. With side two opening with another of the track’s highlights, If You Know Like I Know, co-written by Jerry Cohen with McFadden and Whitehead, then this is an equally strong start to side two. The quality keeps up on the two other tracks by Gamble and Huff and hugely sad Thom Bell produced Set Me Free. Overall, side two is quite different from side one, but in its way, just as good. This is an unusual album, with every track as good as the preceding track. There’s no filler here, just eight stupendous slices of the smooth and funky soul music from Teddy Pendergrass, one of the real superstars of soul. Like his first two albums Teddy Pendergrass and Life Is a Song Worth Singing, Teddy was both critically acclaimed and a huge commercial success. His decision to leave Harold Melvin and The Blue Notes was vindicated, and suddenly, Teddy Pendergrass was bigger than Marvin Gaye and Barry White. Indeed, Teddy Pendergrass had come a long way in the first two years of his solo career, which had resulted in two US R&B number one albums and his first three solo albums certified platinum. However, unbelievably, things would get even better in the future, with more gold and platinum discs following and Teddy Pendergrass becoming an even bigger soul superstar than he already was. Standout Tracks: Come Go With Me, Turn Off the Lights, If You Know Like I Know and Do Me.
JAMES BROWN-BLACK CAESAR.
JAMES BROWN-BLACK CAESAR.
Recently, I was listening to Isaac Hayes who recorded one of my favorite Blaxploitation albums Shaft, made me revisit some of my favorite Blaxploitation albums, including Black Caesar, written and performed by James Brown. This was a 1973 Blaxploitation film written and directed by Larry Cohen, which starred Fred Williamson and Gloria Hendry. Interestingly, it was a remake of a 1931 film Little Caesar, which proves that it isn’t just today that the film industry looks to the past for inspiration. James Brown provided the soundtrack for the film, and this was the first time James had written a film soundtrack. With this being his first soundtrack, James had to rely heavily upon his bandleader Fred Wesley. He co-wrote seven of the eleven tracks on the album, which also featured Lynn Collins. Later in 1973, a sequel was released, Hell Up In Harlem, but this time, Fonce Mizell and Freddie Perren were responsible for the music. Black Caesar was the first of a trio of Blaxploitation films James Brown where James Brown contributed the soundtrack, the others being The Payback and Slaughter’s Big Rip-off. However, before I tell you about the music, I’ll give you a short synopsis of the movie’s plot.
Tommy Gibbs is a young boy growing up in Harlem and as a child, his leg is badly broken when he’s assaulted by a racist white policeman, when a pay-off goes bad. After this brutalization, he’s drawn into a life crime. When he grows up, he performs a freelance hit to attract the attention of Mafia crime bosses. This leads to Tommy joining a New York mafia family. Eventually, he becomes the head of a black criminal gang in Harlem. His criminal syndicate gets involved in a gang war with a gang of Italian mobsters in New York, and eventually, Tommy starts to build a criminal empire. After this, Tommy falls for a gorgeous black woman, Helen, and eventually, he ends up marrying her. In the film, Tommy Gibbs is played by Fred Williamson while Helen is played by Gloria Hendry. All the action in the film is played out against a backdrop of James Brown’s funk drenched soundtrack.
The soundtrack to Black Caesar had been recorded in various American cities during a hectic schedule for James Brown, Fred Wesley and The JBs. Joining James and The JBs were joined by a woodwind and string section, which added to the difficulties in recording the album. Once recording was finished, Black Caesar was released in February 1973. Critics loved the album, with i being critically acclaimed. Two singles were released from the album, with Down and Out reacing number thirteen in the US R&B Charts and number fifty in the US Billboard 100, while Lynn Collins reached number thirty-seven in the US R&B Charts. With these two tracks and nine others, Black Caesar is thirty-six minutes of music that helped James Brown gain the title “The Godfather of Soul.”
Black Caesar opens with Down and Out In New York City, the only track which James Brown wasn’t involved in writing. Instead, it was co-written by Bodie Chandler and Barry De Vorzon. It’s a combination of percussion and funky rhythm section that combine with James’ powerful, angry vocal. Blazing horns punctuate the arrangement, and later, a flute floats above the arrangement, while an emotive and frustrated James howls and hollers his way through the track. With explosive drums adding to the drama, combining with the punchy horns that are almost ever-present, James sings of the hardship and poverty encountered by the young Tommy in the film. This angry, blazing track sees James Brown at his best, backed by the brilliant JBs, and together they produce a driving slice of funky music.
The JBs do what they do best in Blind Man Can See It, a short instrumental track, when they lock into the funky, yet laid back groove. The rhythm section and chiming guitars combine, before subtle keyboards enter. It’s an almost simplistic, but mellow groove they produce, showcasing their considerable talents, on a track that’s laid back, catch and very different from its predecessor. However, it’s still got that vital ingredient, funk.
Again, there’s an almost subtle, laid back sound, with a meandering introduction to Sportin’ Life mixing elements of jazz, soul-jazz and funk. It’s just the rhythm section and percussion that combine before gentle keyboards enter. Then, woodwind and horns braying join the arrangement, with the horns and organ combining to grow the arrangement. This moves the track from its previous jazzy sound, via soul-jazz and towards elements of funk music. By now the organ and horns are driving the track along, firmly responsible for its stunning, slightly laid back sound. This isn’t The JBs producing a dirty slice of funk, instead, its a track with its roots in jazz music, demonstrating their versatility and talents as musicians, on one of the best tracks on Black Caesar.
From one excellent track to another with Dirty Harri, written by James Brown is a dark, moody track where muted rasping horns and a wailing Hammond organ, combines with a dramatic rhythm section. For little over a minute and a half, this moody, pulsating track enters your life, leaving a brilliant musical memory. It’s a pity that the track wasn’t longer, much longer, giving the listener the chance to revel in its moody genius.
The Boss sees the return of James Brown on one of his classic tracks. Here, there’s some great interplay between himself and The JBs, with the chiming guitars, driving rhythm section and punchy, rasping horns all playing their part. Each take their turn in helping the Godfather of Funk shine, feeding off his energy, as the song develops. From there, it just gets so much better, The JBs almost daring each other, to take things higher, develop the groove they’re locked into. This they do, the result is a hook laden, hugely catchy slice of funk, with James Brown strutting and vamping his way through three minutes of fabulous funky music.
Side one of Black Caesar closes with Make It Good Yourself, a fast and furious funky track. This is easily the funkiest track on the album, with James howling, groaning and hollering his way through a track where a driving rhythm section, searing guitars and blazing, braying horns accompany him. It’s almost impossible to keep up with The JBs, and even James Brown struggles as the track quickens, Somehow he manages to keep up with relentless tempo, but only just.
Lynn Collins backed by The JBs opens side two of Black Caesar, with a song she cowrote with James Mama’s Dead, a song that gave her a number thirty-seven US R&B hit single. As the track opens it’s a gentle, but drama laden introduction that you hear, with the rhythm section, guitar and keyboards accompanying a heartbroken Lynn. Horns rasp and woodwind gently enter as the arrangement slowly unfolds. Strings lush and sad, sweep in, as Lynn gives one of the most emotive and realistic portrayals of grief you’ll ever hear. Her performance is stunning, especially when sung against the dramatic, yet understated arrangement.
After the most moving and heartfelt song on the album, comes White Lightning (I Mean Moonshine), another laid back and catchy sounding track. It’s unusual combination of instruments that the track features, but has a fairly orthodox introduction, when guitars chime and shimmer as the rhythm section play slowly. It’s only when the keyboards, rasping horns and swirling strings combine, that you begin to hear a slightly unusual sounding arrangement unfold. Add to this woodwind, then blazing horns and it’s quite a strange combination, but one that somehow works, resulting in an unusually catchy and pretty laid back track.
All that changes on Chase where the tempo is much quicker, the track literally bursting into life with blazing, howling, dramatic horns signaling the track’s opening. From there percussion, horns and the rhythm section simulate chase, albeit one with a dramatic and funky soundtrack. Mostly the track is really quick, which occasional pauses at the start. After that, at breakneck speed The JBs combine bursts of dramatic horns with chiming guitars, a driving rhythm section and percussion to brilliantly provide the soundtrack to any Chase.
Black Caesar closes with a hugely sad vocal from James on Like It Is, Like It Was. Full of regret and feeling blue he’s accompanied by a piano that plays a huge part in the track’s success, while a thoughtful rhythm section and bursts of shimmering guitars combine. This is perfect for the heartache and emotion in James’ voice, allowing his voice to take centre-stage. The piano throws in some jazzy licks, while the track meanders along, before James sings refrains from the opening track, vamping it up, and getting in on the jazz theme, as the track closes. This jazz tinged track is a lovely way to end the album, introducing and allowing the listener to hear a very different side to James Brown and his music.
Although Black Caesar is deemed a James Brown album, James only really features on four of the tracks on the album. The JBs feature on all of the tracks, with Lynn Collins giving one of the most heartfelt vocals on Mama’s Dead, one of the album’s highlights. James Brown however, played an important role in the album, co-writing ten of the tracks and producing the album. This was his first foray into writing a film soundtrack, and as such, is an excellent attempt. Much as I like Black Caesar, I’ve always thought that The Payback was a much better soundtrack, even though it wasn’t used in the film. However, Black Caesar has much to commend it, with some funky grooves sitting next to jazz licks with The Godfather of Funk howling, hollering and vamping his way through the album. With Fred Wesley his ever trusted bandleader co-writing much of the album, Black Caesar, like The Payback are two must have albums for either lovers of Blaxploitation soundtracks or fans of funk music. Standout Tracks: Sportin’ Life, The Boss, Mama’s Dead and Like It Is, Like It Was.
JAMES BROWN-BLACK CAESAR.
ISAAC HAYES-HOT BUTTERED SOUL.
ISAAC HAYES-HOT BUTTERED SOUL.
As someone who is a huge fan of the Stax record label, I’ve always loved the music of Isaac Hayes. He was one of the creative forces behind Stax, writing many of the songs for many artists on the label, many with David Porter, one of his songwriting partners. Not only was he a writer, but he played on many of the labels biggest hits and produced numerous singles and albums. His other role at Stax was that of solo artist, releasing six solo albums, of which Hot Buttered Soul was the second, released in June 1969. However, after the commercial failure of his debut solo album Presenting Isaac Hayes, released in 1968, Isaac’s career as a solo artist was very nearly short lived. Thankfully, that wasn’t the case, and from Hot Buttered Soul in 1968, until Joy in 1973, Isaac Hayes released a total of six consecutive top ten US R&B albums, the first five of which reached number one.
After Presenting Isaac Hayes failed to chart in 1967, and was a commercial failure, Isaac Hayes very nearly had one of the shortest recording careers in history. With members of Booker T and The MGs backing him, he’d recorded five songs, including two original tracks, one he wrote himself, Precious, Precious and another with David Porter You Don’t Know Like I Know. After the album’s failure, Isaac’s career looked short lived, but when Stax lost all of its back catalogue whilst trying to breakaway from Atlantic Records, this gave Isaac a chance to redeem himself. With no back catalogue to rely upon, all Stax artists were asked to record new material. This included Isaac, and what followed was one of his most successful albums, Hot Buttered Soul, the first of six hit albums.
Hot Buttered Soul was one of twenty-seven albums and thirty singles Stax released at once. Almost instantly, this gave the label a new back catalogue. The album had been recorded during the first half of 1969 at two studios, Ardent Studios in Memphis and Tera Shirma in Detroit. With The Bar-Kays backing him, Isaac recorded just four songs, two of them many people would be familiar with. One was a version of Bacharach and David’s Walk On By and the other a cover of Jimmy Webb’s By the Time I Get To Phoenix. While Isaac and The Bar Kays cut the four tracks, Isaac, Al Bell, Marvel Thomas and Allen Jones produced the album. However, this time Isaac had been granted total creative control, unlike his debut album Presenting Isaac Hayes. Al Bell agreed to this, and the four songs that were recorded demonstrated a very different side to Isaac. Not only that, but the production and engineering process was quite different, so much so, that the album influenced many other musicians, across the musical genres. From Motown, hip hop and soul, many other artists and producers were influenced by the production process on Hot Buttered Soul. This included the use of pre-delay reverberation technique which had originally been used in the late fifties at Columbia by Artie Fields. Although much of the album had been recorded in Memphis, the strings and horns were recorded in Detroit, at the United Sound Studios. Once the album was finished, it was scheduled for release in June 1969. Would it fare better than Isaac’s debut album Presenting Isaac Hayes?
When Hot Buttered Soul was released in June 1969, it was met by critical acclaim. This bode well for its release. On Hot Buttered Soul’s release, it reached number one in the US R&B Charts and number eight in the US Billboard 200. Two singles were released from the album, Walk On By with reached number thirteen in the US R&B Charts and number thirty in the US Billboard 100. This was followed by By the Time I Get To Phoenix which reached number thirty-seven in both the US R&B and US Billboard 100. However, after the success of Hot Buttered Soul, Isaac must have felt vindicated at his decision to assume creative control of his second album, and probably more than a little relieved. Little did he know this was just the start of a musical journey that saw him release five consecutive number one US R&B albums.
Isaac’s next album was the Isaac Hayes Movement released in March 1970. Like its predecessor, it reached number one in the US R&B Charts and number eight in the US Billboard 200. Later in 1970, in November, Isaac released his second album of the year To Be Continued. It too reached number one in the US R&B Charts and number eleven in the US Billboard 100. However, 1971 would see Isaac release two of his most influential and successful albums.
The first of the two album Isaac released in 1971 was the soundtrack to the classic Blaxploitation movie Shaft. This reached number one in both the US R&B and Billboard 200 charts, as well as winning four Grammy Awards and one Oscar. As if this wasn’t good enough, Black Moses was released in November 1970, reaching number one in the US R&B Charts and number ten in the US Billboard 200. However, Isaac who was a Christian, felt the title was sacrilegious, and was somewhat uncomfortable with the title. This came about when Stax executive Dino Woodward nicknamed Isaac Black Moses. Later, when writer Chester Higgins helped popularise the title, Isaac grew to like the nickname, believing it to be a badge of pride. After this hugely successful year, could Isaac keep up his run of number one albums?
Joy was released in 1973, and was the album that broke Isaac’s run of number one US R&B albums, stopping just short of top spot at number two, while reaching number sixteen in the US Billboard 200. This was also Isaac’s last album for Stax, leaving the label in September 1974. However, between 1969 and 1973, Isaac had released some of his most important and memorable work, including Hot Buttered Soul which I’ll now tell you about.
Hot Buttered Soul opens with Isaac’s cover of Bacharach and David’s Walk On By. However, when they originally wrote the song, they never expected it to be transformed like this. It’s a meandering twelve minute epic, with a Hammond organ, slow rhythm section and the lushest of strings swirling dramatically as the song opens. They give way to a searing guitar solo, before dramatically, the song is allowed to breath, a sense of spaciousness to enter. Gradually, the song builds, the searing guitar exiting before Isaac’s sad sounding rasping vocal enters, with sweet sounding backing vocalists accompany him. Again, space and drama are comfortable bedfellows, before a return of the guitar, while a flute floats high above the arrangement, and The Bar-Kays punctuate the track with bursts of drama. Later, the strings sweep in, before swirling grandly, adding to the sense of sadness and drama. Horns sit far back in the mellow sounding, meandering arrangement, as Isaac pleads “Walk On By,” accompanied by the backing vocalists. For twelve minutes this drama and emotion gradually reveals itself, growing and growing, until it reaches an impressive, dramatic crescendo, laden in emotion and sadness. With strings swirling, searing, soaring guitars and the rhythm section combining brilliantly as they lock into a groove that results in a stunning prolonged jam, where they feed off each other, you realize that this is well worth the wait. Although it’s taken over eleven minutes to get here, this makes it all worthwhile. Then, as if spent, drained of all energy and emotion, the track peaks and meanders to its fantastic finale. Wow, what a journey.
Following the stunning Walk On By, comes Hyperbolicsylabicesquedalymistic arguably one of the longest song titles ever. What follows is very different from the previous track combining deep soul and encompassing a variety of musical genres including krautrock. As a piano gently plays as the track opens, things change drastically quickly, with The Bar-Kays launching into the funkiest of grooves. Repeatedly, they play the same groove again, but never exhausting its hugely catchy sound. Meanwhile Isaac sings the lyrics, his voice sounding gruff, while the backing vocalists provide a contrast. His still soulful voice and the funk licks laid down by the band combine perfectly, as the guitars, bass and drums head into unchartered territory. With a piano accompanying Isaac’s grunts and hollers, a repetitive groove is explored thoroughly. There’s a jazz feel and influence present, combining with the soul and funk. With the constant repetition by the band, especially Isaac’s piano playing and the rhythm section, the result is almost hypnotic, giving it a real krautrock feel. However, this sounds quite wonderful and after the nine and a half minutes when the song ends, you’re almost disappointed. You find yourself wanting the song to continue, this hypnotic groove to build and build, so good it is. Sadly, like all good things, it has to end. However, this isn’t just good, it’s stunning. Amazingly, after just two songs, side one of Hot Buttered Soul is over.
Side two of Hot Buttered Soul opens with One Woman written by Charles Chalmers and Sandra Rhodes. By the standards of this album, this is just a short song, only five minutes long. This is probably the most “traditional” sounding arrangement on the album, opening with a gentle piano combining with a slow, thoughtful bass and chiming guitars that accompany Isaac’s tender, emotive vocal. Woodwind and shivering strings enter, combining beautifully with Isaac’s vocal. Behind him, his backing vocalists subtly accompany him, but later, add to the song’s emotion and drama. As the song progresses, it builds and builds, with Isaac torn between the two women in his life. Grand strings combine with sad strings, drums and piano to take the song in a dramatic direction. This results in a combination of a moving and powerful vocal from Isaac and a beautiful, yet drama laden arrangement.
Hot Buttered Soul kept its epic track for last, with Isaac’s version of Jimmy Webb’s By the Time I Get To Phoenix an eighteen minute epic, which is stripped bare and transformed by Isaac to something quite spectacular and ultimately brilliant. With a wailing Hammond organ subtly playing and combining with hi hats while Isaac Hayes launches into his “lover man’s” rap. After nearly two minutes, he announces he’ll interpret By the Time I Get To Phoenix. His half-spoken vocal is sultry, smooth as he talks about the song, the anticipation builds, you can’t wait to hear how he’ll approach the song, what twist he’ll give it. All the time, the Hammond wails sympathetically, just one note repeatedly playing, as Isaac tells the story of a besotted man and woman who used, abused and cheated on him. He gave her everything she wanted and desired, but still she cheated on him, time after time. With just the Hammond and hi hats accompanying him, Isaac has stripped the song down to the bare bones. This works really well, is really powerful and by the time the song opens out, with swirling strings entering joining the drums and Isaac’s vocal. Woodwind enters, a piano joins the arrangement, before horns blaze in the emotion and sadness building. It’s a total transformation of Jimmy Webb’s song, turned into something quite amazing and very powerful. By now the song is laden with emotion and passion, the arrangement getting even better. Horns, lush strings and a wandering piano combine with the hugely sad, wailing Hammond as the song heads to the finish. Isaac has built up the drama and emotion, as punchy drums, braying horns, swathes of strings and a screaming Hammond all combine, before the arrangement settles down, only to rebuilds as it heads to a dramatic and dynamic crescendo.
Although Hot Buttered Soul has only four songs on the album, they’re four amazing pieces of music. With Isaac Hayes assuming creative control, he was able to drive his music in the direction he chose. This was the path he chose for his music, where he combined elements of jazz, soul, funk and even rock and what became known as krautrock. It’s a melting pot of styles and influences, that when combined, by Isaac Hayes resulted in four stunning pieces of music. That he was given the opportunity to record this album, was all down to chance. If Stax had managed to win control of their back catalogue from Atlantic, then Isaac would’ve returned to his role as songwriter, musician and producer. By a twist of fate, they lost their battle, and Isaac Hayes recorded the first of six hugely successful albums, that saw him become one of the biggest names in R&B music. After this, he’d have five consecutive number one albums, with albums like To Be Continued, Shaft and Black Moses. Once he’d left Stax in September 1974, the success he continued to regularly produce quality music, although the chart success he’d enjoyed at Stax was never repeated. In some ways, the music he recorded on Stax was the best and most successful of his career. It wouldn’t be overstating things to call this “vintage” Isaac Hayes, all of which started with Hot Buttered Soul, one of the best album Isaac recorded during his long and illustrious career. If you’ve never heard Isaac Hayes music, Hot Buttered Soul is a good starting point and any of his Stax era music will allow you to hear him at his very best: Standout Tracks: Walk On By, One Woman and By the Time I Get To Phoenix.
ISAAC HAYES-HOT BUTTERED SOUL.
MARVIN GAYE-WHAT’S GOING ON.
MARVIN GAYE-WHAT’S GOING ON.
As someone who spends a lot of my time absorbed in everything related to music, I’ve recently noticed the proliferation of albums that are being repackaged and given the “deluxe” box set treatment and sold as classic albums. To say it’s stretching the truth somewhat calling these albums “classic,” is being kind to the marketing departments of record companies. Often, there’s nothing classic about the albums at all, and are the result of burnt out sixties and seventies icons with very little creativity left in their tanks. Personally, the term classic in relation to most things, not just music, is banded about to loosely. Sometimes, we allow nostalgia and emotions to cloud our judgement, looking through the proverbial “rose tinted spectacles,” when adjudging something classic. Cars that were unreliable and uncomfortable are now perceived as classics. Food that was unhealthy and often almost inedible, is now regarded by nostalgic forty-somethings is seen as classic cuisine. Buildings that previous generations inhabited and were damp, drafty and dangerous to the inhabitants health, are now seen as national treasures, classic architecture that must be cherished and saved for future generations. The same can be said of music. Average albums, albums that were commercial car crashes and music from musicians who could hardly play three chords, never mind come up with a meaningful lyric is now regarded as a classic album. Sometimes you feel the critics and tastemakers have been subjected to mass hypnosis, allowing them to be fooled into giving an unworthy album the classic tag. However, if the truth be known, very few albums actually deserve to be called classics. Many of these will be obvious to many people, and will form part of your record collection, some will be less obvious and others will provoke fierce debate. One album that truly deserves the classic album tag, and whose choice will be undisputed is Marvin Gaye’s seminal concept album What’s Going On, from one of the vintage years for music, 1971.
After the death of his singing partner, Tammi Terrell, from a brain tumor, Marvin Gaye became really depressed. Tammi’s death really affected Marvin, and he was neither willing to record any new music or perform live. He became inconsolable, even considered giving up music for a career in the National Football League. This went as far as Marvin having an unsuccessful trial for the Detroit Lions, his local football team. This however, was always doomed to failure, but not long after, Marvin would have a chance meeting that would help him out of the deep depression he was in.
This meeting in March 1970 was with two familiar faces, musician Al Cleveland and Renaldo “Obie” Benson of The Four Tops. They’d been working on a track called What’s Going On, which was a socially conscious slice of soul, with a political theme. Marvin started working on the song, which was originally meant for another Motown act The Originals. Once the song was finished, Al and Renaldo managed to convince Marvin to record the song.
Recording of What’s Going On and another song Marvin had written God Is Love, was in in June 1970. The recording of What’s Going On and God Is Love saw Marvin’s music move in a very different direction. There was a spiritual side to Marvin’s music, very different from his usual radio friendly Motown sound. This departure and change in sound didn’t please Berry Gordy Jr. the Motown CEO and also, Marvin’s brother-in-law. Not only did he object to the music, but refused to release the tracks. However, realising that there were several precedents where other Motown artists had release music with either a political or socially conscious theme. Marvin cited as precedents Edwin Starr’s War, Stevie Wonder’s Heaven Help Us All and The Temptations Ball of Confusion, Berry Gordy Jr. refused to reconsider his decision, with Marvin airing his grievance in Rolling Stone magazine. Eventually, Berry conceded defeat, deciding to release What’s Going On as a single, thinking the single would sink without trace. However, he was wrong, very wrong.
When What’s Going On was released as a single, it became the fastest selling single in Motown’s history reaching number one in the US R&B Charts and number two in the US Billboard 100. It spent five weeks at number one in the US R&B Charts, and was just a taster of what would happen when future singles and the album was released.
After the success of the single What’s Going On, Berry Gordy Jr. completed a u-turn, asking Marvin to record a whole album. Having won his battle with Berry, Marvin headed into the studio, recording the album at two studios, the United Sound Studios in Detroit, and the Sound Factory in Los Angeles. Using the Funk Brothers as his backing group, with full string, woodwind and brass sections used throughout What’s Going On, nine tracks were recorded. The recording sessions took place in June 1970, when What’s Going On and God Is Love were recorded, while the other seven tracks were recorded between March and May 1971. Having used what was a huge amount of musicians and backing singers during the recording sessions, Marvin had managed to achieve the sound he wanted. The final hurdle would be mixing the album. This took place in Detroit, without Marvin being present. However, when he heard the mix, it was scrapped, with another mix done in Los Angeles. This was the mix that can be heard on the album. Now that What’s Going On had been recorded and mixed, all that was left was for the album to be released.
On What’s Going On’s release, the critics loved Marvin Gaye’s concept album, with Rolling Stone naming it “Album of the Year,” while Billboard gave it their prestigious “Trend Setter” award. Every other critic praised Marvin Gaye’s new sound, loving the sound and the album’s theme. This was soul with a social conscience, exploring a wide range of social and political issues, some of which were personal for Marvin. The album is seen through the eyes of a Vietnam veteran, returning home from the war. All around him, all he can see the bedfellows of unfairness and injustice, while pain and suffering and conflict and hatred haunted his country, the country he’d risked his life for. This leads him to wonder what has happened, and was his sacrifice worthwhile. Bewildered, he wonders “What’s Going On?” Each of the nine songs are like a song cycle, one leading into another, with the various social and political issues explored. Having won over the critics, could Marvin win over his fans?
Released on 21 June 1971, What’s Going On was a huge success, reaching number six in the US Billboard 200 and number one in the US R&B Charts, where it spend nine weeks. Following this success, the second single from the album was released. This was Mercy Mercy Me (The Ecology), released in June 1971, which reached number four in the US Billboard 100 and number one in the US R&B Charts, spending two weeks at number one. The final single from What’s Going On was Inner City Blues (Make Me Wanna Holler), released in September 1971. Like the two previous singles, it reached number one in the US R&B Charts, where it spent two weeks, as well as reaching number nine in the US Billboard 100. With three number one US R&B singles and a number one US R&B album that was certified platinum by the end of 1972, having sold over two million copies, Marvin Gaye was about to enter one of the most successful periods of his career, which would see Trouble Man, Let’s Get It On, I Want You and Here, My Dear all recorded between 1973 and 1978. However, that was still to come, and now I’ll tell you what What’s Going On sounds like and explore the themes of this concept album.
What’s Going On opens with the title track What’s Going On, which was written after Renaldo “Obie” Benson witnessed a group of anti-war protesters being brutalized by the police. Disgusted and disturbed by the police’s actions, Renaldo was spurred to write a song dealing with police brutality and as the song says “picket lines, picket signs.” When the song was completed by Renaldo, Al Cleveland and Marvin, it was a hugely powerful and moving piece of music. With that familiar combination of background conversation and wailing, protesting saxophone that gives way to Marvin’s gentle, thoughtful vocal, the song unfolds. With the lushest of strings, combining with backing vocals, James Jamerson’s masterful bass line, prominent, punchy drums and horns, this beautiful yet powerful song sees Marvin combine passion, frustration and emotion as he asks What’s Going On. The arrangement just meanders and sweeps along, with so many subtleties and nuances revealing themselves, and the combination of instruments seemingly combining brilliantly to make what bassist James Jamerson described as a masterpiece. This was a personal song for Marvin, as his brother had fought in Vietnam, and witnessed horrific events. Seen through the eyes of a returning soldier, the scenes witnessed by Renaldo, he must have questioned what kind of freedom had he been fighting for when in his own country, free speech and peaceful protest wasn’t being allowed.
After What’s Going On, the album segues effortlessly to What’s Happening Brother, a song that deals with a soldier returning home after a three year tour of duty to discover that the world is a very different place, and the his life is very different. Marvin who cowrote the song with James Nyx based the song on his brother’s experience. With soaring backing vocals and a wandering bass line, horns briefly blaze as Marvin sings “war is hell,” and goes on to describe the problems encountered by the returning soldiers. No job, no money and traumatized, they struggle to adapt to their new life. With the rhythm section, sweeping strings and backing vocalists key to the song’s success, a bewildered sounding Marvin gives a heartfelt rendition of the lyrics, against a smooth, almost lush sounding arrangement. He uses the song and his vocal, to speak for those who having returned home, were betrayed by their country, abandoned and left to fend for themselves. Marvin acts as their voice leaves you feeling sad, angry and frustrated.
Flying High (in the Friendly Sky) deals with heroin addiction, with Marvin giving a lazy, dreamy falsetto vocal that sounds sympathetic to the subject matter. Behind him, the arrangement is quite different, lacking some of the smooth, polished sound of the preceding tracks.There’s darkness to the broody arrangement, confusion not far away. The rhythm section play an important part in the arrangement, drums adding drama, while the meandering bass combines with percussion and sad sounding strings. Horns punctuate the arrangement as cymbals crash in crescendos, while Marvin sings of the temporary escape from reality heroin brings. He sings of the pain of being hooked and without the drug, while describing the heroin high in an almost stoned sounding, lazy falsetto. You always feel the arrangement will veer towards the discordant, when the high wears off. This is what the song sounds like, a stoned Marvin on a heroin high, while behind the arrangement is dark, broody and confusing like the world itself. Sadly, whilst in Vietnam, many soldiers became addicted to the drug, and continued to become addicted once they returned home, desperate to seek an escape to the horrors they witnessed. This song tells their story, and what would become their next battle, the battle with heroin. Marvin again, tells their story, but although he graphically describes the high, he tells of the pitfalls, warns of the addiction and cravings that the addict goes through. In doing so, it becomes almost an anti-drugs song. Not for Marvin irresponsible glorification, instead graphically telling the truth, during a compelling track.
Save the Children was one of the singles released from the album, and features a moving spoken word vocal from Marvin. The song follows up the theme of What’s Going On, which was about love, whilst here, he sings about loving children. Two versions of the song were recorded, one with Marvin singing, the other with a spoken word vocal. Against a dramatic backdrop where backing vocals, strings and the rhythm section combine, Marvin speaks one line, but sings the next. This is hugely effective and beautiful, with the lyrics thoughtful and intelligent. The arrangement grows, with percussion, drums, horns and backing vocals joining piano and swirling strings to provide a fittingly beautiful, yet dramatic backdrop for Marvin’s hugely emotive and passionate vocal.
God Is Love is one of the first songs recorded for the album, being the B-side of the single What’s Going On. It was rerecorded for the album, and transformed into something very different from the string drenched original. Instead, it was turned into a joyous, uptempo track, with piano, lush strings and the rhythm section accompanying a thankful Marvin, while he’s accompanied by backing vocalists. They help Marvin transform the track into a celebratory, song of thanksgiving for God and his love. Although not even two minutes long, it’s a beautiful, joyous track that reveals Marvin’s spiritual side.
The final song on side one of What’s Going On is one of the album’s highlights Mercy Mercy Me (The Ecology), another of the singles released from the album. This became one of Marvin’s most popular songs, with the melancholy lyrics about the damage to the environment. Here, Marvin’s vocals are multi-tracked, while he plays piano and is accompanied by the lushest strings, conducted by Paul Riser. With Wild Bill Moore’s saxophone solo drifting above the gorgeous, smooth arrangement it’s easily one of the album’s highlights. Adding to the song’s beauty are flourishes of subtle chord changes on the piano, while Marvin’s whispered backing vocals accompany his lead vocal which is full of pain and hurt at the devastation and destruction he’s witnessed. Those lush, wistful, melancholy strings combining with saxophone and soprano backing vocalist add just the final touch to this hauntingly beautiful, sad song.
Side two of What’s Going On opens with Right On, a very different song to the previous one. A flute, jazz tinged piano and drama laden funky rhythm section combine to give the track a Latin flavor. With Martin’s pained vocal sitting atop the arrangement, as he almost preaches how “love can conquer hate anytime,” this percussive heavy track gradually reveals itself. As the track mixes lush strings, jazz piano and Latin flavors, Marvin goes on to advise his friend “to live where love is King.” By now the track has built and built, but quickly the momentum that’s built up gives way to a slow, sweeping break, before a blazing saxophone breaks loose. This development is hugely impressive, as swathes of sumptuous smooth, then catchy driving rhythms reveal their charms and beauty, before the track closes, giving way to the next brilliant track.
That is Wholly, Holy a slow, string laden lush track, with Marvin singing about love and Jesus, revealing Marvin’s spiritual side. As he gives a heartachingly beautiful vocal, horns howl above the arrangement, while strings sweep and the bass wanders along. Taken together, this is a beautiful and really effective combination, especially the sincerity in Marvin’s pained vocal.
What’s Going On closes with Inner City Blues (Make Me Wanna Holler), the third of the three singles released from the album, all of which made number one in the US R&B Charts. The song paints a bleak picture of the poverty and economic chaos of the American ghettos, where many former Vietnam veterans ended up living. During the song, Marvin tells us how bleak and desperate the situation was, and how it should make everyone want to “holler” at the horror and desperation faced by everyone. On this laid back funky track, Marvin plays piano, while members of the Funk Brothers collaborate. A piano opens the track, repeating the same refrain, while rhythm section and percussion accompany Marvin’s haunting vocal, as he despairingly paints a bleak picture of poverty and suffering. Swirling, grand strings enter, adding to the haunting sound. Quickly, Marvin and his band settle into a laid back, funk tinged groove, as the song wanders along, with Marvin hollering in despair. The arrangement grows to an almost imposing sound and feel, with horns rasping. You almost expect them to howl sympathetically in pain, but they never do. Just before the end of the track, the familiar yet slightly haunting strains of What’s Going On can be heard, as this powerful, yet bleak song comes to its sad conclusion. How the returning soldier at the heart of this concept album feels returning to a poverty stricken ghetto, after three years risking his life, fighting someone else’s war, remains unsaid, but I’m sure we can guess how he feels. Sad, angry and betrayed probably wouldn’t even begin to describe it.
Having spent some time listening intently to the nine hugely powerful songs on What’s Going On, I come away adoring this album even more. Since I first heard this album, I was deeply moved, with music provoking a number of emotions and reactions. One of them is the futility of war, and how ordinary men and women suffer and make the ultimate sacrifice, fighting someone else’s war. Often, they neither agree nor understand what they’re fighting for. Other emotions are anger and frustration at how badly we treat people after they’ve risked their lives for our freedom. That one album, What’s Going On, can provoke these emotions and thoughts is testament to Marvin Gaye, and everyone who there at the genesis of what became What’s Going On. This is not only a deeply sophisticated and thoughtful album, but also one that’s very beautiful. The music not only sounds stunning and has a timeless quality that you only find in classic music. Although, What’s Going On is nearly forty-one, it still sounds as fresh, and is just as relevant in 2012 than 1971. Sadly, the world suffers from the same problems war, poverty, economic problems and drug abuse. Each of these are a blight on society today, like they were in 1971. What’s Going On has aged so well, is still as relevant today, and to me, is one of only a small number of albums that truly deserve the accolade “classic album.” The album has received many awards and much praise over the years, but these plaudits are richly deserved. What’s Going On is one of the greatest albums and most powerful albums ever recorded. Little did Marvin Gaye know it, but he was just about to enter the best and most prolific period of his career. After What’s Going On, Trouble Man, Let’s Get It On, I Want You and Here, My Dear all followed, with each of these albums including some of Marvin’s greatest work. Although it was a long way from the music of his partnership with Tammi Terrell, it forms part of one of the greatest legacies any musician has left behind. That music is there for us all to enjoy and cherish. If you’ve never heard What’s Going On, then this album deserves its place in any record collection, along with the rest of the brilliant music he recorded between 1972 and 1978. Standout Tracks: What’s Going On, lying High (in the Friendly Sky), Mercy Mercy Me (The Ecology) and Inner City Blues (Make Me Wanna Holler).
MARVIN GAYE-WHAT’S GOING ON.
DISCO DISCHARGE-CLASSIC DISCO, DISCO LADIES AND DISCO FEVER USA.
DISCO DISCHARGE-CLASSIC DISCO, DISCO LADIES AND DISCO FEVER USA.
Throughout the history of popular music, various artists and types of music have managed to provoke a variety of reactions. From the release of Billy Haley and The Comets’ Rock Around the Clock in 1955, to the shock and horror that greeted Elvis Presley’s gyrations on American national television, music can provoke reactions and divide opinion. In the UK, both The Beatles and The Rolling Stones provoked controversy during the early part of their career. Some of their antics, controversies and misjudged comments shocked older generations and opinions were divided over their influence on youth culture. Fast forward to the seventies and two very different musical genres played an important role in the decade’s musical history. Punk raised its ugly head around 1976, and quickly, became the latest genre of music to provoke controversy and divide opinion. With its DIY attitude to music, and nihilistic outlook on life, this bleak music reflected an equally bleak time in the UK. Over the Atlantic, one of the most distasteful reactions to music was taking place, the Disco Sucks movement.
After disco had moved from the underground to become a musical phenomenon, sweeping the world along in it its sweet, musical wake, a backlash began. From being one of the most popular types of music, thanks to films like Saturday Night Fever, suddenly the tide turned, and disco was no longer de rigueur. This cumulated in the DIsco Demolition Night in Chicago, when the Disco Sucks movement not only tried to destroy a musical genre, but nearly destroyed the Chicago White Sox’s stadium. This event had started as a supposed “prank,” but manifested itself into something quite distasteful, which reeked of homophobia and racism. Having encouraged locals to bring along disco records to the stadium which would be blown up. The local disc jockey responsible for the event, whipped up the “good ole boys” watching into a distasteful frenzy, before blowing up the pile of discarded records. Disco however, nearly had the last laugh when the “prank” nearly backfired, just about demolishing the stadium and the “good ole boys” watching. However, despite the best efforts of all those involved, and the abandonment of disco by radio stations and the music industry, disco never died. Instead, just over thirty years later from that fateful day, disco is just as popular as ever, with many labels rereleasing some of the brilliant music from that magical time back in the seventies, when disco ruled the airwaves.
One of these labels is Harmless, who during 2009, 2010 and 2011, released the Disco Discharge series. On twelve albums, so far, they’ve revisited some of best disco music ever released. They’ve spilt the music into subsections, with one disc featuring Classic Disco, another Disco Ladies, while Euro Disco, Boogie and some of disco’s hidden gem’s are unearthed by the good people at Harmless. It seems no stone has been left unturned in the pursuit of the best disco music ever recorded. During this article, which will be the first of a series of articles on the Disco Discharge series, I’ll introduce you to some of the compilations, and tell you what awaits the listener on my first three choices from the Disco Discharge series.
DISCO DISCHARGE-CLASSIC DISCO.
Like all the Disco Discharge compilations, the Classic Disco compilation is a two-disc set and does indeed feature some classic disco tracks. Thankfully, the compilers have resisted the urge to feature the usual predictable tracks that grace supposed classic disco compilations. This compilation is something quite different, and sees the compilers dig deeper into the disco archives to find tracks that deserve the tag classic disco. Classic Disco was released in 2009, and features twenty-one full length tracks that are unmixed. Thankfully, the compilers have resisted the urge to release this as a mixed CD, allowing the listener to hear the tracks in their full glory.
Disc One features some great music, with two of my favorites including Cheryl Lynn’s classic Got To Be Real and Rose Royce’s Do Your Dance. This is from Rose Royce’s number one US R&B album Rose Royce II: In Full Bloom, which also reached number nine in the US Billboard 200. The album was produced by Norman Whitfield, and is what I’d refer to as classic Rose Royce.
Another of the highlights has to legendary drummer Idris Muhammed’s Could Heaven Be Ever Be Like This. Of all the tracks on the album, this is one of the curveballs the compilers have thrown. However, the track sits well with the other twenty tracks on the album, and has long been a track that I’ve loved.
Esther Phillips is another legend of music who features on Classic Disco. The compilers have chosen to include the title track of her 1975 album What A Difference A Day Makes, which was one of Esther’s best albums for the Kudi/CTI label, one of her most commercially successful albums, reaching number thirteen in the Us R&B Charts. Her version of What A Difference A Day Makes totally transforms the track, giving it a unique twist with her unique vocal style.
Disc two of Classic Disco sees The Players Association contribute Turn the Music Up, which to me, is one of disc two’s best track. This was the title track from their 1978 album Turn the Music Up, which reached number fifty-four in the UK charts. When the track was released as a single, it reached number eight in the UK and number fifty-nine in the US R&B Charts. How a track of this quality never fared better in America, seems strange. However, it’s given another chance to shine here on Classic Disco
The quality continues with Cerrone’s Look For Love and Glen Adams Affair Just A Groove. One track I particularly like is Don Ray’s epic track Got To Have Loving, which benefits from an excellent arrangement.
Overall, Classic Disco is an album which is packed with some excellent disco tracks. It’s very much a case of it does what it says on the tin. Classic Disco is the title, and that’s what you get. Of the twenty-one tracks on the two discs, the only one that surprised me when I originally bought the album was the inclusion of a Johnny Mathis track. However, when I listened to the track I got a welcome surprise, with the track much better than I’d originally thought. What I do like about this compilation is that the tracks are full length and original versions, not chopped down versions that you sometimes find on similar compilations. If you’re a fan of disco and haven’t discovered the Disco Discharge series, then this is a good place to start.
DISCO DISCHARGE-CLASSIC DISCO.
DISCO DISCHARGE-DISCO LADIES.
During the disco era, many a disco diva was discovered and many other female singers were unexpectedly and suddenly transformed into disco divas. Disco Ladies features some tracks that will be familiar to many people, and few that will take you be surprise. However, they will be a welcome surprise once you hear them. The album combines solo artists and groups, with twenty-one quality tracks from some of the stars of the disco era.
When you listen to disc one of Disco Ladies, you’re in for an aural treat that will soon have you trying to resist the urge to dance along to theses hook laden classics. The disc opens with Fern Kinney’s sweet sounding track Groove Me, while Sister Sledge contribute the irresistible You Fooled Around. It’s from the second album Niles Rogers and Bernard Edwards produced for Sister Sledge, Love Somebody Today, released in 1980. That is one of my favorite tracks from the this album, along with a true classic, Stacy Lattisaw’s hook heavy Jump To the Beat. Add to this diva Lucy Hawkins’ dramatic and sweeping Gotta Get Outta Here and you get an idea of the sheer quality of music on Disco Ladies. One other track that deserves a mention is A Taste of Honey’s sweet and catchy Boogie Oogie, which reached number one in the US R&B and US Billboard 100 charts in 1978. This is just the latest in a line of quality disco tracks on disc one.
Although the first disc is full of classic tracks, this isn’t one of these albums where the second disc disappoints. Often, two-discs sets are top heavy on quality on disc one, while disc two slides into mediocracy. Not here, no way. With Melba Moore’s Pick Me Up, I’ll Dance from her 1978 album Melba. This track was often played by the legendary DJ Larry Levan at the Paradise Garage. With such a pedigree, there’s no higher recommendation.
While many people in the UK will always remember Phyllis Nelson for her 1984 number one single Move Closer, it’s another of her biggest hits that features on Disco Ladies, I Like You. The version included is the excellent Sheb Pettibone Remix. I Like You gave Phyllis’ number one her biggest hit in America, reaching number one in the US Dance Charts in 1985.
Of the other tracks on disc two of Disco Ladies Silver Convention’s Get Up and Boogie (That’s Right) is a true classic, while The Richie Family’s Give Me A Break is one of my personal favourites.
Like Classic Disco, Disco Ladies is a mixture of the familiar and a few surprises. One of the surprises was the inclusion of Janis Ian’s Fly Too High. However, like the Johnny Mathis track on Classic Disco, this works and is a welcome addition. Of the twenty-one tracks, the compilers have managed to keep up the standard throughout the two discs, without letting their standards drop. As someone who has bought many similar compilations over the year, I was really impressed when I first bought the album in 2009. It allowed me to hear some tracks that have long been favourites of mine, alongside some that I wasn’t quite as familiar with. For anyone who loves good quality disco music sung by some of the divas of the seventies, then this is a compilation that’s well worth buying.
DISCO DISCHARGE-DISCO LADIES.
DISCO DISCHARGE-DISCO FEVER USA.
Disco Fever USA was one of the Disco Discharge compilations in 2011, and is absolutely chock full of some delicious disco music. Of all the compilations in the series, this is one that features some of the biggest names of the seventies. This includes Earth, Wind and Fire, Gloria Gaynor and Teddy Pendergrass. Add to this, Fern Kinney, Cissy Houston, Marlena Shaw and Linda Clifford and you’ll see not only how comprehensive and eclectic a compilation this is. In total, there are twenty-two tracks on the two discs, with just one track in particular being a surprising choice, Johnny Mathis’ Original Disco Version of Begin the Beguine seeming a strange track to include. However, apart from that one track, there’s some great music on Disco Fever USA.
Fern Kinney’s Baby sensual Let Me Kiss You opens side one of Disco Fever USA. Although best known for other disco hits Together We Are Beautiful and Groove Me, which features on Disco Ladies, this is another of the former Poppies vocalists best tracks.
Claudja Barry contributes Why Must A Girl Like, with the Tom Moulton Mix used, with its swirling strings and backing vocalists playing an important part in this joyous track.
Cissy Houston, mother of Whitney and aunt of Dee Dee and Dionne Warwick provides one of the best tracks on disc one You’re the Fire. This is very different from Cissy original music with the Sweet Inspirations, when she combined gospel and soul. Although You’re the Fire didn’t replicate the commercial success of her other disco hit Think It Over, it managed to come in second in the 1979 World Popular Song Festival, winning Cissy the Most Outstanding Performance Award.
Although there’s an Earth, Wind and Fire track on the album, Boogie Wonderland, this is an instrumental version of their hit single. The original reached number six in the US Billboard 200 and number two in the US R&B Charts, while it reached number four in the UK. Even without the vocal, the instrumental version of Boogie Wonderland deserves its place here.
Like the first disc, the second disc features some great music, with one of my favorites Teddy Pendergrass’ Life Is A Song Worth Singing. This is the title track from Teddy’s second Philadelphia International album Life Is A Song Worth Singing. It reached number eleven in the US Billboard 200 and number one in the US R&B Charts, being certified platinum having sold over one million copies. Written by the Thom Bell and Linda Creed songwriting partnership, it’s Teddy at his very best.
You could hardly have a series of disco compilations without including one of Gloria Gaynor’s tracks. The one chosen by the compilers is Love Is Just A Heartbeat Away (Nocturna’s Theme). This original disco mix was from the soundtrack to Nocturna, and is an interesting choice of track. Many compilers would choose one of Gloria’s more familiar tracks, either from her Never Can Say Goodbye or an old and tired chestnut like I Will Survive. Thankfully, we’ve been spared another outing of I Will Survive, with this a much more interesting and in my opinion, a much better track. The compilers should be thank for their inventiveness and left-field choice of track.
Another diva to feature on Disco Fever USA is Linda Clifford and her version of If Her Friends Could See Me Now. This was the title track from her 1978 album If Her Friends Could See Me Now, which reached number twenty-two in the US Billboard 200 and number nine in the US R&B Charts. When the track was released as a single, although it only reached number fifty-four in the US Billboard 100 and number sixty-eight in the US R&B Charts, it gave Linda a number one in the US Dance Charts. This was deserved, given the dramatic arrangement that builds and builds, with Linda’s soaring, joyous vocal sitting on top. Of the eleven tracks on disc two, this is one of the highlights.
My final choices from disc two are Slick’s Space Bass and Boys Town Gang’s version of Yester-Me, Yester-You Yesterday, originally recorded by Stevie Wonder on is My Cherie Amour album. Boys Town Gang’s version is quite different but has a gospel tinged sound, with a lovely thoughtful, slightly dramatic vocal. Although it isn’t as quick as some of the songs on the album, it’s quite beautiful and a very welcome addition to Disco Fever USA.
Disco Fever USA is another album crammed full of some quality disco music, with the compilers surpassing themselves yet again. Sometimes, they’ve chosen to eschew the obvious, throwing a few curve balls. Three examples of this are the instrumental version of Earth, Wind and Fire’s Boogie Wonderland, not choosing a more obvious Gloria Gaynor track and the lovely mid-tempo version of Yester-Me, Yester-You Yesterday by Boys Town Gang. Other compilers would’ve stuck to more familiar territory, including the original version of Boogie Wonderland and one of Gloria Gaynor’s better known tracks. Not Harmless, no they’ve thought outside the box, bringing us a compilation that although features some familiar tracks, has a few surprises along the way. With disco divas sitting next to soul superstars and Hi-NRG heroes, Disco Fever USA features some of the magical and majestic disco music that swept America by storm, and not long after, the rest of the world. This compilation gives you the chance to relive these glory days, and prove to the doubters that disco doesn’t suck, and never did.
DISCO DISCHARGE-DISCO FEVER USA.
PHILLY BUSTERS AND SMOOTH GROOVES.
PHILLY BUSTERS AND SMOOTH GROOVES.
Usually around the Christmas and New Year period, you don’t expect to find a series of ten, yes ten great soul compilations to be released. Usually at this time of year it’s a myriad of predictable greatest hits or best of albums from the usual suspects. Add to that the usual TV advertised albums aimed at the casual music buyer, and the pre-Christmas period is hardly inspirational for people who must have their fix of music fifty-two weeks of the years. Post-Christmas is usually the time when various record shops roll out the same “bargains” that they’ve been trying to shift for more years than I care to remember. The same mixture of supposed classic albums, greatest hits compilations and a smattering of unappealing box sets don’t seem to find someone to put them out of their misery and give them a good home. However, this year, was different, when Backbeats released the third installment of their highly successful and quite brilliant series on 26 December 2011.
The Backbeats label is a subsidiary of Harmless Records, who have been releasing quality compilations since 1996. Since then, they’ve released well over one-hundred compilations, with their Pulp Fusion series one of the most consistent and successful compilation series. With music ranging from the numerous funk, soul and breakbeat compilations to Latin and African funk compilations, Harmless dug deeper than many of their competitors, with one quality compilation following the previous one.
Back in 2010, Harmless decided to release the Backbeats series, with the first ten installments of the series being released. The music on the first ten albums ranged from New York Garage, 80s Chicago House and Northern Soul to Breakbeats, Smooth Chicago Soul and Philly Disco. Each of these ten compilations was crammed full of great music, chosen by compiler Ian Dewhirst, who was responsible for the Mastercuts series.
Earlier in 2011, the second installment of the Backbeats series was released. Again, Ian Dewhirst had chosen some wonderful music, with the series including 70s New York Disco, Southern Soul and Crossover Soul to 70s Detroit Soul, 70s Funk and more fantastic Philly Soul. Like the first ten albums, they were well received and sold well. What made the Backbeats series even more appealing was their affordability. Unlike other compilations, which are much more expensive and feature similar music, they’re available for less than £4, or $6. The only difference is that the sleeve-notes aren’t the most comprehensive. However, while other compilations feature more in-depth sleeve notes, what really matters is the music. If people want to know more about the music, there’s plenty of information available on the internet. After the second installment of the series, which not only kept up the quality of the first series, but improved upon it, I was eagerly awaiting the third installment. When I saw they were available on 26 December, I decided to treat myself, a late Christmas present. This I added to the other two batches of albums, so to do the series justice, I’m going to do a series of articles on the compilations. The first of these will focus on the two new compilations which feature The Sound of Philadelphia, Philly Busters and Smooth Grooves. This will augment a previous article on Philly Soul entitled The Philadelphia Sound-Sweet Soul Music which reviewed a number of Philly compilations, including to the two previous Backbeats Philly compilations Philly Disco and Philly Freedom.
PHILLY BUSTERS.
As someone who absolutely adores the The Sound of Philadelphia, and especially the music produced by Gamble and Huff at Philadelphia International Records and Thom Bell at both Philly Groove and Philadelphia International Records, Philly Busters was one the compilations I eagerly awaited. What would be on it? Would there be some rare hidden gems that had been lurking hidden away, in the corners of the Philadelphia International Records archives? Once I received Philly Busters and studied the music on it, I realised that what I’d describe as Philadelphia royalty featured on the album. There are songs from some of the biggest and most successful groups and solo artists that recorded for Philadelphia International. With the groups including The O’Jays, Harold Melvin and The Blue Notes, The Stylistics and The Trammps, while solo artists like Billy Paul, Teddy Pendergrass, Lou Rawls and Dee Dee Sharp Gamble all featured, this was quite simply a compilation long on quality and without any filler or poor tracks. To choose seventeen fantastic Philly tracks takes some doing, but compiler Kev Roberts manages to achieve this, and does so with aplomb. Although the casual listener will recognize many of the tracks on the album, they may not recognize The Futures, Anthony White or Don Covay. However, those of us who love the Philly Sound will remember and cherish their music. Choosing the best tracks on Philly Busters isn’t easy, with so many great tracks to choose from, but I’ll mention some of the best and some of my favorites of what are rightly referred to on the album cover as “underground Philly dancefloor gems.”
I’ve always thought that two men who sometimes don’t get the credit for their achievements in the success story that Philadelphia International became. They were Gene McFadden and John Whitehead, who most people will remember for their eight million selling hit single Ain’t No Stoppin’ Us Now. Not only were they prolific songwriters and producers, but they were successful recording artists, who recorded some wonderful and underrated music. One of their tracks features on Philly Busters, the joyous, uptempo and hugely catchy I Heard It In A Love Song, the title track of their 1980 album. This is one of my favorite tracks on this compilation. Too often, compilers predictably choose the excellent Ain’t No Stoppin’ Us Now forgetting that Mc Fadden recorded many other great tracks. So to compiler Kev Roberts, a big thank you for putting this track on the album.
Two of Philadelphia International’s biggest groups The O’Jays and Harold Melvin and The Blue Notes feature on Philly Busters. The O’Jays contribute one of the most familiar and beautiful tracks Darlin’ Darlin, Baby (Sweet Tender Love), which is a bona fide Philly Soul classic. It gave The O’Jays the second US R&B number one hit of their career, although strangely, the track only reached number seventy-two in the US Billboard 100. The track was from The O’Jays 1976 album Message In the Music, which reached number three in the US R&B Charts and number twenty in the US Billboard 200. Although this is a track many people will know, its beauty deserves to be heard and shared by as many people as possible.
Another of the biggest groups on Philadelphia International were Harold Melvin and The Blue Notes. Tell the World How I Feel About Cha Baby is from their hugely successful, 1975 album Wake Up Everybody. It gave the group a number one US R&B album, while Tell the World How I Feel About Cha Baby gave them a number seven US R&B hit single. It’s a welcome addition on Philly Busters, and makes a change from the usual Harold Melvin and The Blue Notes tracks compilers gravitate towards.
Three of the biggest solo artists on Philadelphia International feature on Philly Busters Billy Paul, Teddy Pendergrass and Lou Rawls. Billy Paul contributes two tracks, I Trust You and Let The Dollar Circulate. Of the two tracks, my favorite is Let the Dollar Circulate from his 1975 album When Love Is New, which reached number seventeen in the US R&B Charts. It’s a socially conscious slice of soul from Billy and is one of seven fantastic tracks on the When Love Is New album.
With so many great Teddy Pendergrass tracks to choose from, compiler Kev Roberts has chosen When Someone Loves You Back, from Teddy’s number one US R&B album Life Is A Song Worth Singing. Although this wasn’t one of the two singles released from the album, I’ve always thought that When Someone Loves You Back was one of the best tracks on the album and I’m glad that Kev Roberts agrees with me about this.
The third of these solo artists is Lou Rawls, with his Gamble and Huff penned track Groovy People one of the catchiest tracks on the album. It’s from Lou’s 1976 All Things In Time album and when it was released as a single, it gave Lou a number nineteen US R&B hit single. Incidentally, Leon Huff has released a new album Groovy People, which features a new version of this track.
Apart from Billy Paul, Teddy Pendergrass and Lou Rawls, Philly Busters features Jerry Butler, Dee Dee Sharp Gamble and Jean Carn, another trio of successful solo artists on Philadelphia International. The Jerry Butler track (I’m Just Thinking About) Cooling Out is from his hugely underrated 1978 album Nothing Says I Love You Like I Love You. When (I’m Just Thinking About) Cooling Out was released as a single it reached number fourteen in the US R&B Charts. While Jean Carn has two tracks on the album, (No No) You Can’t Come Back Now and Sweet and Wonderful which features Glenn Jones, the Dee Dee Sharp track Happy ‘Bout the Whole Thing is another great dance track, and a worthy successor to the classic Breaking and Entering which featured on Philly Disco.
One of the non-Philadelphia International groups to feature on Philly Busters is The Trammps. Stop and Think from their 1975 album Tammps is chosen. Again, compiler Kev Roberts has resisted the temptation to choose one of their more familiar tracks. After all, everyone has heard Disco Inferno and Hold Back the Night many times on many other compilations, so it’s good to hear something many people won’t be familiar with, unless they happen to own the original album.
Overall, Philly Busters is one of the best Philly Soul compilations I’ve come across recently, and believe you me, I’ve got a number in my collection. Although I’ve only mentioned some of the seventeen tracks, there isn’t a bad track on the compilation. This is no mean feat, considering many compilations on other labels feature just a smattering of quality tracks. That isn’t the case here, with one great track following another. With Philly royalty like Harold Melvin and The Blue Notes, The O’Jays, Billy Paul and Teddy Pendergrass just four of the fifteen artists gracing the album, it’s the perfect introduction to some of the wonderful music of The Sound of Philadelphia. Even today, each of the seventeen dance-floor friendly tracks are still guaranteed to fill a dance-floor.
PHILLY BUSTERS.
|
SMOOTH GROOVES.
Smooth Grooves is the perfect companion to Philly Busters, and is describes on the album cover as “sophisticated 80s Philly soul, although much of the music was recorded and released during the seventies.” Now connoisseurs of Philly soul may protest and say that the best music coming out of Philadelphia was recorded and released during the seventies. However, that to me, is unfair as even into the eighties, a lot of good and quite underrated music was coming out of “The City of Brotherly Love.” By this time, groups like The Stylistics and The O’Jays may not have been as popular as during their seventies heydays, but they were still producing some quality music. Both groups feature on Smooth Grooves, as do artists like Billy Paul and Lou Rawls. Other familiar faces like Dee Dee Sharp Gamble, Bunny Sigler, Jean Carn and The Jones Girls all feature on Smooth Grooves. However, there are some groups that the casual listener may not have heard of. These include Instant Funk and Silk. Overall, it’s a good combination of familiar and unfamiliar artists, all with one thing in common quality. I’ll now tell you about some of the best tracks on the album.
Three of the biggest groups on the album are The Stylistics, The O’Jays and M.F.S.B. Between them, they’ve sold many millions of albums and during their careers, recorded for Philadelphia International Records. The Stylistics track is Mine All Mine from their 1981 Closer Than Close album. It only reached number 210 in the US Billboard 200 and number forty-four in the US R&B Charts. Despite this, Closer Than Close like Hurry This Way Again and 1982, all feature some fine music, and are a trio of hugely underrated albums from The Stylistics. Sadly, when Mine All Mine was released as a single, this lovely Dexter Wansel and Cynthia Biggs track failed to chart. Regardless of this, Mine All Mine is a good addition to the album by compiler Ralph Tee.
The O’Jays track Lovin’ You on Smooth Grooves is also from one of their later albums, but in 1987, gave the group their first number one US R&B single since Used Ta Be My Girl in 1978. Written by Gamble and Huff, the track was from their 1987 album Let Me Touch You which reached number three in the US R&B Charts and number sixty-six in the US Billboard 200. Like The Stylistics, The O’Jays proved they could still produce quality music into the eighties.
M.F.S.B. were the third of the supergroups that feature on Smooth Grooves. Their track is Tell Me Why from their 1980 album Mysteries of the World. Adding the vocal is Carla Benson, who sung on some of the biggest hits on Philadelphia International, Carla’s vocal can be heard on Billy Paul’s seminal Me and Mrs Jones and McFadden and Whitehead’s Ain’t No Stoppin’ Us Now. Apart from this, Carla’s voice featured on tracks by The O’Jays, Lou Rawls and Teddy Pendergrass. The M.F.S.B. that feature on the track are the second incarnation of the group, after the original M.F.S.B. left Philadelphia International to become The Salsoul Orchestra. Although the legendary Baker, Harris and Young rhythm section had long gone by the time Tell Me Why was recorded, it’s still a track that deserves to feature on this compilation.
Of the other familiar faces to feature on Smooth Grooves, this includes a trio of male superstars in Billy Paul, Teddy Pendergrass and Lou Rawls. Billy Paul contributes You’re My Sweetness from his 1979 album First Class. This was the last studio album Billy recorded for Philadelphia International, and is an album that’s quite underrated. It’s a beautiful, lush slice of smooth soul from Billy, that to me, is one of the album’s highlights.
Like Billy Paul, Teddy Pendergrass doesn’t disappoint, with the Gene McFadden, John Whitehead and Victor Carstarphen penned Easy Easy, Got To Take It Easy. This is taken from Teddy’s debut solo album Teddy Pendergrass, released in 1977. Reaching number seventeen in the US Billboard 200 and number five in the US R& B Charts. Again, this track is an interesting choice, eschewing the three singles released from the album, including I Don’t Love You Any More and The Whole Town’s Laughing At Me. This beautiful laid back track with a sultry vocal from Teddy is one the seventeen reasons for buying this album.
Lou Rawls contribution to Smooth Grooves is one of the most familiar tracks on the album, the gorgeous Lady Love. It’s from Lou’s 1977 third Philadelphia International album When You Hear Lou, You’ve Heard It All. Lady Love was the biggest hit single from the album, reaching number twenty-four in the US Billboard 100 and number twenty-one in the US R&B Charts. This was the last of Lou’s singles to enter the top thirty in the US Billboard 100. The album fared well, reaching number forty-one in the US Billboard 200 and number thirteen in the US R&B Charts. However, of ten tracks on the album, Lady Love was the best, and is one of the best on Smooth Grooves.
The Philadelphia ladies make their contributions to Smooth Grooves with Dee Dee Sharp Gamble, Jean Carn, Phyllis Hyman and Patti LaBelle all contributing some great tracks. Dee Dee Sharp Gamble’s contribution is the Cynthia Biggs and Dexter Wansel penned track I Believe In Love. This is from Dee Dee’s What Color Is Love album released in 1977. I Believe In Love is easiest one of the most beautiful tracks on the album, and I’m sure that many people will investigate Dee Dee’s music further having heard this stunning track.
Start the Fire is the Jean Carn track on the album, and is from her 1979 album When I Find You Love. This was her third album on Philadelphia International, and like Dee Dee’s track, Jean’s doesn’t disappoint. It has a lovely meandering arrangement and stunning vocal from Jean, and is very different from some of her more dance-floor oriented tracks. Again, this is a welcome inclusion from compiler Ralph Tee.
It seems fitting that Phyllis Hyman who was born in Philadelphia, recorded for the city’s best known label Philadelphia International. She recorded four albums during the period 1986-1998. Set A Little Trap is from the Phyllis’ 1998 album Forever With You, which was released three years after her tragic death. The album only reached number sixty-six in the US R&B Charts. However, Set A Little Trap is a lovely reminder of just how talented a vocalist Phyllis Hyman was.
One of the most experienced vocalists on the album is Patti LaBelle, who contributes the title track of her 1983 album I’m In Love Again. The album reached number forty in the US Billboard 200 Charts and number four in the US R&B Charts, and was certified gold. This track a features a powerful and emotive vocal from Patti and is a contrast to the tracks from Dee Dee and Jean.
Two other artists that played an important part in the Philadelphia International story are The Jones Girls and McFadden and Whitehead. The Jones Girls had previously sang backing vocals on albums by Teddy Pendergrass and Lou Rawls on Philadelphia International before the three sisters Brenda, Valerie and Shirley signed a record contract with Philadelphia International. When I’m Gone is from The Jones Girls’ second album At Peace With Woman. It was written by the Cynthia Bigg and Dexter Wansel songwriting partnership, it’s one of the best tracks on At Peace With Woman and features a great lead vocal from Shirley. Again, it’s an interesting choice of track, as many compilers predictably choose their classic track Nights Over Egypt. By choosing this track, it allows the listener to hear something new from three really talented sisters from Detroit, The Jones Girls.
My final choice from this album is McFadden and Whitehead, who were the first artists I mentioned in my review of Philly Busters. Ralph Tee the compiler, has chosen another classic McFadden and Whitehead track I’ve Been Pushed Aside, from their 1980 debut album McFadden and Whitehead. Of all the tracks on Smooth Grooves, this is by far, my favorite, and demonstrates just how multi-talented the duo were. After all, how many other artists had the talent to write and produce their own music?
Overall, Smooth Grooves is a quality compilation featuring some great music that came out of The City of Brotherly Love. With some of the biggest names in the city’s musical history appearing on the album, this is very much a must have album, like its companion Philly Busters. With The O’Jays, The Stylistics, Billy Paul, Teddy Pendergrass, Dee Dee Sharp Gamble, The Jones Girls and McFadden and Whitehead all featuring on Smooth Grooves, it’s an album that’s too good to miss. It features a combination of tracks that you’ll be familiar with and few you won’t. Unlike many similar combinations it isn’t predictable, instead throwing a few curve balls. Like Philly Busters, I can’t recommend this album enough. It’s crammed full of great music, like the rest of the Backbeats series. if you’ve not got the Backbeats compilations in your collection, there are thirty to collect, all of which could be yours for under £120. That to me, is one the biggest bargains you’ll ever come across. That will allow you to hear some wonderful music from Chicago House, Northern Soul and Deep Soul to New York Garage, Breakbeats and Philly Disco. Hopefully, after listening to Smooth Grooves and Philly Busters, and all the other twenty-eight compilations, you too, will explore much more of the music that features on these compilations. With The Sound of Philadelphia, there’s a treasure trove of brilliant music waiting to be discovered, with many of these classic albums being reviewed on this music blog.
SMOOTH GROOVES.
|
TERRY CALLIER-TURN YOU TO LOVE.
TERRY CALLIER-TURN YOU TO LOVE.
Have you ever heard of the soul singer who gave up music for fifteen years to become a computer programmer? This isn’t a joke, this is what happened to Terry Callier back in 1983. Before this, the two albums Terry recorded for Elektra in 1977 and 1978 hadn’t been a commercial success, although they’d been well received by critics. The second of these albums Turn You To Love, had been released in 1978, and was the last album Terry released for twenty years, until Timepeace in 1998.
Before Terry Callier recorded what would become Turn You To Love, he’d released some highly regarded albums for both Cadet and Elektra. Terry’s career started at Cadet Records, a subsidiary company of the legendary Chess Records, where he released a trio of critically acclaimed albums. The first of these Charles Stepney produced albums was Occasional Rain released in 1972. What Color Is Love followed in 1973 and I Just Can’t Help Myself in 1974. Sadly, the albums weren’t a commercial success, and Terry was dropped by Cadet. Adding to Terry’s woes was the closure of the Chicago Songwriters Workshop in 1976. This had been set up by Jerry Butler and Terry had joined in 1970. However, Terry’s luck changed in 1977, when he signed for a new label, Elektra.
During his time at Elektra, Terry only recorded two albums, however, they were two great albums. The first was Fire On Ice, released in 1977 and produced by Richard Evans. On the album Terry wrote four of the nine tracks himself, and four others with songwriting partner Larry Wade. With an all-star band backing him that included Philip Upchurch, Larry Wade, George Bohannon and Eddie Harris, and with Minnie Ripperton singing backing vocals, Fire On Ice was a great sounding album. Although critics loved the album, it failed commercially, and was a disappointing start to Terry’s Elektra career. Would things improve with his next album, Turn You To Love?
Like Fire On Ice, Terry managed to assemble a hugely talented group of musicians to accompany him. Looking through the sleeve-notes, it’s like a list of the great and the good of jazz, soul and funk music. Fred Wesley, James Brown’s bandleader and trombonist features on the album, guitarist Wah-Wah Watson, bassist Keni Burke, saxophonist Ernie Watts and keyboard player Earl Van Dyke, are just a few of the names that played on the album. The album was produced, arranged and conducted by Reginald “Sonny” Burke, while Dr. Don Mizell was executive producer and Larry Wade associate producer.
Again, the Terry Callier and Larry Wade songwriting partnership contributed four tracks for Turn You To Love, one of them with producer Reginald “Sonny” Burke. Terry contributed two tracks, Occasional Rain and Ordinary Joe, both of which had featured on his debut album for Cadet, Occasional Rain. There were two covers versions on the album, one was of Steely Dan’s Do It Again. The other was Still Water (Love) co-written by Smokey Robinson and Frank Wilson. Overall, it was mixture of something new, something borrowed and something blue. However, would Turn You To Love be more successful than its predecessor Fire On Ice?
Sadly, when Turn You To Love was released in 1979, it was a familiar story for Terry, the critics loved the album, but it wasn’t a commercial success. With the benefit of hindsight, disco was king in 1979, and albums by singers like Terry Callier were almost unfashionable. Singers like Bobby Womack, O.V. Wright, Syl Johnson and Ann Peebles suffered the same fate. Like Terry would soon be, Bobby Womack was without a record label, with record labels choosing disco over quality jazz and soul. There was one crumb of comfort for Terry with Turn You To Love, when Sign of the Times provided Terry with the biggest hit single of his career. It was released as a single after DJ Frankie Crocker used it as the theme for his radio show. On its release, it reached number seventy-eight in the US R&B Charts. This sadly, was the only success from Turn You To Love. Not long after this, Terry was dropped by Elektra, and for the second time in three years, he was without a record label.
Terry continued to tour until 1983, but never made another studio album during this period. By 1983, changes were afoot in his life. He won custody of his daughter, and started taking evening classes in computer programming. This lead to him taking what would be a prolonged sabbatical from music, which lasted fifteen years. During this period, Terry gained a degree in sociology, raised his daughter, and worked at the University of Chicago. During this period Terry never recorded any music, and the only album that was released was a live album of a 1982 show in Washington, TC In DC. It wasn’t until 1998 that Terry released another album Timepeace, twenty years after the release of Turn You To Love, which I’ll now tell you about.
Turn You To Love opens with the Larry Wade and Terry Callier penned Sign of the Times, which gave Terry his biggest hit single in America, reaching number seventy-eight in the US R&B Charts. Straight away, when the track opens, you realize that this is a really catchy track, that will sweep you along. It’s quite different from Terry’s Cadet era music, with a much more contemporary sound that mixes R&B with elements of funk. This funk influence is immediately noticeable, when keyboards, guitars and the rhythm section combine to produce a funk drenched sound, before a piano enters. Then when Terry’s vocal enters, it too sounds quite different. It’s the way he sings the song that’s different, not as reserved or thoughtful, more moderne in his delivery, full of joy, accompanied by a growling, yet equally joyous backing vocalist. The mid-tempo, dance-floor friendly arrangement almost bounces along, keyboards and synths combining with the rhythm section, while Terry delivers the lyrics with a mixture of emotion, passion and joy. Although quite different to his Cadet era music, it’s hugely catchy and demonstrates a different side to Terry’s music.
Larry Wade wrote Pyramids of Love, a very different song to its predecessor. It’s a much slower track, with some lovely lyrics about love. Swathes of keyboards, rhythm section, guitars and percussion combine before Terry’s tender, gentle vocal enters. Behind him the arrangement is quite full,everything combining perfectly, with subtle backing vocalists accompanying Terry. One of these backing vocalists is Terry, and they repeat the lyrics just after his lead vocal, which has an effective call and response style. Later, strings sweep in, providing a contrast to the combination of keyboards, percussion and rhythm section. By then, Terry’s voice is increasing in power and emotion, soaring high above the beautiful, meandering arrangement, which includes flourishes of synths and backing vocalists accompany Terry. Although this is a very different track from the opening track, it’s much more what you’d expect from Terry, with his tender, thoughtful vocal delivering some beautiful lyrics against a lovely, meandering arrangement.
The title track Turn You To Love was another song written by Terry and Larry Wade. A Spanish guitar opens the track, with a slow, subtle rhythm section and piano accompanying a thoughtful, but beautiful vocal from Terry. Lush strings slowly enter, as the arrangement gradually unfolds. Later, Larry Wade adds a chiming, guitar solo, giving way to sweeping strings that are the perfect accompaniment for Terry’s tender vocal, as he delvers the lyrics about love. These lyrics are the best from the Callier-Wade songwriting partnership on the album. With Terry delivering them with a combination of tenderness and thoughtfulness, and an arrangement that’s both understated and beautiful, this is one of the best songs on the album.
If someone had said can you imagine Terry Callier covering Steely Dan I’d have struggled to imagine the scenario. To me, it was like a line out of Alan Partridge. However, when I first heard this many album years ago, that’s what I encountered. It seems a strange choice for this album, but somehow, Terry and his band make it work. A spacious combination of rhythm section give way to keyboards blazing horns and searing, soaring guitars, before Terry gives slightly strained version of Walter Beckett and Donald Fagen’s lyrics. As the song progresses, he starts to get into the song, while guitars chime and soar, punchy drums and rasping, blazing horns combine. With backing vocalists accompanying him, the song fuses elements of rock, funk and jazz music. It’s a very different version to Steely Dan’s, who seem able to play the track a with looseness and freedom, that allows the song to breath, yet still remaining technically a tight and cohesive unit. Here, the song doesn’t seem to suit Terry’s voice and he has to alter his phrasing, while the band don’t allow the song space to breath. By the end of the track, however, Terry and his band manage to make the song work, just. It’s far from the best song on the album, and surely a song that would’ve suited Terry better could’ve been found. His band are technically excellent, but the song has too rocky a sound for Terry, and I’m sure after the album was released, many people maybe even Terry, questioned the song’s inclusion on the album.
Side two of Turn You To Love opens with the return of one of Terry’s classic songs, Ordinary Joe, which was popular in Northern Soul circles. Here, the song is given a new twist, speeded up with braying horns opening the track, accompanied by the rhythm section and keyboards. When Terry’s vocal enters, it too is quicker, as the song swings beautifully along, given a jazzy twist. His voice is a combination of tenderness and sometimes power, with emotion, joy and passion ever-present. Meanwhile a jazzy bass combines with rasping horns and the rhythm section, with guitars chiming throughout. Together with Terry’s jazz tinged vocal, they transform a classic song into something new, dynamic and full of energy. However, as good as the song is, and it’s excellent, I much prefer the original, which is one of Terry’s best ever songs.
While Ordinary Joe was speeded up, Occasional Rain is slowed way down. It was the title track from Terry’s 1972 album, and like Ordinary Joe is one of his best ever songs. However, this version of Occasional Rain works well, and the slow, spartan arrangement works well, displaying a new, and very beautiful side to the track. With a gentle acoustic guitar and violin combining, Terry’s thoughtful and considered, gentle vocal enters. Later, a harp enters, with flourishes of its beauty combining with the acoustic guitars. This combination is hugely powerful and deeply moving, and with Terry giving one of his best vocals on Turn You To Love, the result is a stunning version of a classic track.
Smokey Robinson cowrote Still Water (Love) with Frank Wilson. It’s another love song, with love compared to still water, as both run deep. As the sound of waves crashing against a beach open the track, a saxophone plays, with Terry’s voice drifting in and out of the track. He’s accompanied by backing vocalists, who play an important part in the track’s success. With piano, rhythm section and guitars accompanying him, a joyful Terry, carefully delivers the lyrics. Horns rasp and backing vocalists sweep in, while the piano is ever-present. The interplay between Terry and the backing vocalists, works really well, and their united soulful voices are a welcome addition. They combine well with Terry and the arrangement resulting in a beautiful, thoughtful track.
Tender, lovely backing vocalists open You and Me (Will Always Be In Love), co-written by Terry, Larry Wade and producer Reginald “Sonny” Burke. Again, the backing vocalists play a vital role in the song, accompanying Terry during the song, while his considered and gentle vocal is sung against a slow, slightly sad arrangement. it’s just the rhythm section, guitars and piano that combine, and for most of the track, it meanders slowly and subtly along. The only time this changes is when Larry Wade unleashes a chiming solo, with flourishes of his jazz guitar, that combine with Terry. Although this sounds good, the arrangement may have sounded better without this, as it detracts from Terry’s vocal and sounds of place with the rest of the arrangement. Despite this, it’s another gorgeous love song, tenderly sung by Terry.
Turn You To Love closes with another Larry Wade and Terry Callier song A Mother’s Love. It’s about a son thanking his mother for all she did for him, all the sacrifices she made for him and how he owes everything to her. A combination of rhythm section, backing vocalists and keyboards accompany Terry. His voice has a tenderness as he expresses gratitude against an arrangement that flows along with horns rasping, and the rhythm section adding brief bursts of drama. Mostly, the arrangement has an understated sound that suits the lyrics. As the song progresses, Terry’s vocal grows in power, as the emotion and passion in his voice grows. As the song ends he’s accompanied by backing vocalists whose voices are perfectly suited to his voice, while the piano and rhythm section provide a subtle and beautiful accompaniment. When this lovely song ends, it seems a good way to end the album. With such lovely lyrics, a gentle, understated arrangement and a tender, emotive vocal full of sincerity and love from Terry, how could you follow that?
Of the two albums Terry recorded for Elektra, Turn You To Love was quite different from its predecessor Fire On Ice. With covers of Steely Dan’s Do It Again, and re-workings of classic Terry Callier songs, like Occasional Rain and Ordinary Joe this saw Terry’s music move in a new direction. Mostly this worked, with Do It Again being the only questionable track on the album. Although Terry and his band made it work, it just seemed the wrong track for Terry. The new versions of Occasional Rain and Ordinary Joe worked well, with the new version of Occasional Rain, adding something new, subtle and quite beautiful to the track. Terry’s cover of the Smokey Robinson and Frank Wilson track Still Water (Love), worked really well and is one of my favorite songs on the album. Of the four songs Terry and Larry Wade cowrote, Pyramids of Love and Turn You To Love are the best, and among the album’s highlights. Apart from the questionable Do It Again, Turn You To Love is an album with some great music on it. Like I said earlier Turn You To Love was a case of something new, something borrowed and something blue. Sadly it was the last studio album Terry recorded for twenty years, until 1998s Timepeace. This sabbatical from music meant that one of the most talented singer, songwriter and musician of his generation was lost to music for far too long. Thankfully, since his return to music in 1998, Terry has recorded some excellent music, including Timepeace and Lifetime, his two best albums since his return from musical exile. Somehow, he effortlessly recorded some stunning music twenty years after the release of Turn You To Love, an album which like its predecessors, has some great music from the hugely talented Terry Caliier. Standout Tracks: Pyramids of Love, Turn You To Love, Occasional Rain and Still Water (Love).
TERRY CALLIER-TURN YOU TO LOVE.
SYL JOHNSON-BACK FOR A TASTE OF YOUR LOVE.
SYL JOHNSON-BACK FOR A TASTE OF YOUR LOVE.
During the early to mid-seventies, Hi Records were producing some of the best Southern Soul of that time. With Willie Mitchell producing, The Memphis Rhythm Section, Memphis Horns and legendary backing vocalists Rhodes, Chalmers and Rhodes, one great record after another was recorded at the famous Royal Recording Studios and Allied Recording Studios. Back then, Hi had a roster that included some of the most talented purveyors of Southern Soul. Their best known artist was Al Green, who released some critically acclaimed and commercially successful albums, resulting in four of his albums certified gold, and one platinum. However, there was more to Hi than Al Green, with Ann Peebles, O.V. Wright, Otis Clay and Syl Johnson all producing some stunning albums for Hi. Of these artists, Syl Johnson is often overlooked when people discuss Hi. In doing so, some wonderful Southern Soul goes almost unnoticed, because Syl released four albums for Hi, all of which feature some quality Southern Soul.
Syl’s first album for Hi was Back For A Taste of Your Love, which this article is about. It was released in 1973, reaching number nineteen in the US R&B Charts. This was Syl’s most successful album for Hi. His second album, Diamond In the Rough, which I’ve previously reviewed, was released in 1974, but disappointingly, failed to chart. Total Explosion his third album, fared better, reaching number fifty-six in the US R&B Charts. By the time Syl released his final album for Hi, the music industry was a very different place and Hi was a very different label. Hi had been taken over by Cream, and they decided that what would become Uptown Shakedown should be recorded on the West Coast, with some of the top session players accompanying Syl. With no Memphis Horns or Memphis Rhythm Section, it was a different sounding album, albeit one with some fine music on it. Uptown Shakedown failed to chart, not helped by the massive popularity of disco music. This lead to albums by Southern Soul singers like Syl, Ann Peebles, Otis Clay and O.V. Wright not selling in such vast quantities. Even Al Green’s music wasn’t as popular, although his music had changed since becoming ordained as a pastor. However, this was all in the future, and after signing for Hi in 1971, Syl set about recording his debut album for his new label.
Before recording got underway for Back For A Taste of Your Love, ten songs were chosen for the album. Syl cowrote three of them, the title track Back For A Taste of Your Love, I’m Yours and Feelin’ Frisky, which he cowrote with Earl Randle, who wrote or cowrote so many of the great tracks recorded by Hi artists. On Back For A Taste of Your Love Earl wrote four tracks himself, and one with Syl. With The Memphis Rhythm Section, The Memphis Horns and Memphis Strings accompanying him, Syl entered the Royal Recording Studios. Rhodes, Chalmers and Rhodes contributed backing vocals, while Willie Mitchell engineered and produced the album. Having cut ten tracks, the album was due for release later in 1973.
On Back For A Taste of Your Love’s release towards the end of 1973, the album sold well, reaching number nineteen in the US R&B Charts, the highest chart placing of any of Syl’s Hi albums. In total, three singles were released from the album during 1973. The title track Back For A Taste of Your Love, reached number sixteen in the US R&B Charts, while We Did It reached number twenty-three in the US R&B Charts. The only disappointment was I’m Yours, which peaked at number sixty-eight in the US R&B Charts. Overall, the start of Syl’s Hi career had been a success, two hit singles and in Back For A Taste of Your Love an album that was well received and a commercial success. However, what does Back For A Taste of Your Love sound like? That’s what I’ll now tell you.
Back For A Taste of Your Love opens with the title track Back For A Taste of Your Love, which gave Syl a number sixteen US R&B hit single. With horns blazing the track swings into life, with a driving rhythm section accompanying Syl’s sultry vocal. A guitar plays the same line repeatedly, while a Hammond organ wails and horns punctuate the arrangement. The arrangement just swings along, hooks aplenty during what’s a really catchy, swinging track. With the horns and rhythm section playing leading roles in the track’s success, your swept along for just under three minutes of this horn laden, driving track. You become caught up in this uptempo and uplifting track, with Syl’s joyful vocal sitting atop Willie Mitchell’s excellent arrangement.
I’m Yours was another of the three singles released from the album, but only reached a rather disappointing number sixty-eight in the US R&B Charts. This didn’t reflect the quality of the song, which again, sees braying horns, Hammond organ and punchy rhythm section open the track, before an emotive and confident Syl’s vocal enters. With Rhodes, Chalmers and Rhodes accompanying Syl throughout the track, their sweet, soulful voices help make a good track even better, and provide a contrast to Syl’s more powerful vocal. As the track progresses, horns constantly punctuate the track, while the Hammond organ and rhythm section provide the mainstay of the arrangement, and the perfect backdrop for a besotted Syl, whose smitten by his new love, willing to do anything to please her. Together, they combine to produce a joyous and emotive sounding track, with Syl sassy and confident throughout.
The first of the four tracks written by Earl Randle himself, is I Let A Good Girl Go, a very different sounding track to the two previous tracks. It’s slower and full of sadness and regret. It has a much more understated and lush arrangement with strings sweeping sadly and slowly, while the rhythm section play carefully and thoughtfully and guitars chime. Adding to the emotion and sadness is a heartbroken Syl whose full of regret at the girl he mistreated and let go. When a Hammond organ enters, it’s the perfect addition, helping to bring out the heartache and regret in the lyrics, and a perfect accompaniment for Syl’s desperate vocal. This is easily one of the album’s highlights, a track that you’ll never tire of hearing.
With horns blazing Anyway the Wind Blows, another Earl Randle track opens. The horns are joined, chiming guitars and rhythm section, before Syl’s soliloquy enters. He’s despairing, his girlfriend threatening to leave him, and has come to the conclusion he can’t stop her, he’s done all he can to make her happy, so if she chooses to leave, so be it. Against an atmospheric and emotive backdrop of stabs of Hammond organ, rasping horns, lush sad strings and rhythm section, a despondent, but realistic Syl’s voice rises and falls, pain and frustration in his voice ever-present. Here, the addition of the Hammond organ and strings is a masterstroke, adding to an already sad and despondent sounding arrangement, and by combining horns adds to the frustration and anguish in Syl’s voice. This is a classic Willie Mitchell arrangement, providing an arrangement that suits the lyrics and Syl’s delivery of them. Willie’s arrangement and Syl’s vocal brings Earl Randle’s lyrics brilliantly to life, resulting a deeply moving and sad song, but one that’s quite beautiful and thoughtful.
Side one of Back For A Taste of Your Love closes with You Don’t Know Me. This is another slow track, where swathes of strings, rhythm section and Hammond organ combine, before a despondent and thoughtful Syl enters. He’s unhappy, having let his chance of love pass him by, his love unrequited and unnoticed. While a heartbroken Syl sings, Rhodes, Chalmers and Rhodes add subtle and tender backing vocals, as the song meanders sadly along. The strings add to the sadness, as does the Hammond organ, while a thoughtful rhythm section provide the song’s heartbeat. This is a powerful and thoughtful combination, made all the better by the slow tempo and of course, Syl’s heartbroken vocal.
Feelin’ Frisky opens side two of Back For A Taste of Your Love, and is co-written by Syl and Earl Randle. It’s a faster and much more uptempo track, with a more uplifting sound. Blazing horns, Hammond organ and rhythm section provide a swinging backdrop for another sassy vocal from Syl. As horns bray and rasp, the Hammond wails and punchy drums are occasionally joined by Rhodes, Chalmers and Rhodes. Together with Syl and the band, they combine to produce a great sounding track, albeit one where the lyrics don’t have the depth of some of the other tracks on the album.
Another of the three singles released from the album was We Did It, which reached number twenty-three in the US R&B Charts. Here, the tempo increases, with swirling, sweeping strings joining rasping horns, piano and rhythm section before Syl makes his entrance. It’s a happy, joyful Syl we meet, happy that his relationship has lasted, and that they’ve made it through the bad times. With Rhodes, Chalmers and Chalmers sweetly yet soulfully accompanying him, the arrangement sweeps along, with a Hammond organ accompanying the punchy, growling horns and swirling strings that play a key role in the arrangement. When all this is combined with the quicker tempo and Syl’s joyous vocal, the result is a much better track than the previous one, thanks to much better lyrics that have some depth.
Earl Randle wrote Wind, Blow Her Back My Way which straight away, you realise has a classic Willie Mitchell arrangement. A Hammond organ and rhythm section combine to produce heartbreaking arrangement, even before a despondent Syl or the saddest strings enter. Add to this rasping horns and you’ve one of the saddest and emotive arrangements on the albums. Stabs and flourishes of the Hammond add to the sadness, as Syl sings about who he told his girlfriend to leave, and is now desperate for her return. Willie Mitchell provides one of his stunning, trademark Southern Soul arrangements, perfect for a despondent and inconsolable Syl. Although just two and half minutes long, it’s one of the best and saddest tracks, Syl ever recorded for Hi.
I Hate I Walked Away has similarities with the previous track, with swathes of the lushest strings, a wailing Hammond organ and slow rhythm section combining before Syl’s vocal enters. He’s full of regret and despair, having left his girlfriend, and realizing his mistake wants her back. As the emotion results in his voice rising, Rhodes, Chalmers and Rhodes enter, their united vocals swoop in, sympathetically accompanying Syl. With the strings sweeping and swirling, sometimes adding drama, the Hammond adds to the atmospheric slightly bluesy sound. Full of remorse and regret, Syl pleads forgiveness, his voices soaring as he apologizes. This is hugely effective and seems so realistic, that you almost start to get caught up in the scenario, hoping that Syl will be forgiven. That’s testament to both Syl’s vocal and Willie Mitchell skills as a production.
Back For A Taste of Your Love closes with The Love You Left Behind, which Syl released as a single in 1971, reaching number forty-three in the US R&B Charts. Bursts of braying horns punctuate the arrangement, while the rhythm section add drama, before Syl’s powerful, roaring vocal enters. WIth Rhodes, Chalmers and Chalmers accompanying him, their subtle backing vocals provide a welcome contrast to the power of Syl’s vocal. Throughout the track, punchy, growling horns, Hammond organ and rhythm section combine, playing quickly, matching the passion displayed by Syl. Although it’s a track laden with drama and passion, it has a slightly different sound to the other nine tracks. Whether this is because it was recorded at a different time, or just because Syl and the band kick loose, it seems somewhat out of place. However, given the passion displayed and a punchy, blazing arrangement, it’s a good way to end the album.
As I said earlier in this review, Syl Johnson’s music is often overlooked when the music of Hi is discussed. During his career, he recorded for a variety of labels, with one of his best albums 1969s Is It Because I’m Black? A close second must come Back For A Taste of Your Love which features Syl at his very best. He was accompanied by some of the best musicians of the time in The Memphis Horns, Memphis Rhythm Section and Memphis Strings, with Rhodes, Chalmers and Rhodes adding backing vocals. Add Willie Mitchell as producer and some great material, with six songs written or co-written by Earl Randle and you’ve the recipe for a successful album. This was the case, with Back For A Taste of Your Love reaching number nineteen in the US R&B Charts, giving Syl his most successful album of his Hi career. Of the four albums he recorded for Hi, they all featured some fine music, but none of the other three were as complete. Each of the ten songs feature Syl at his best, bringing a song to life, with either heartache and despair or happiness and joy. On each song, he launched himself into it, made it come alive, so much so, that it made you believe in the characters. This is similar to a good book or film. That Syl could do this is testament to his talent and versatility as a singer. If you’ve never heard the music of Syl Johnson, I can thoroughly recommend it. A two-disc set entitled The Complete Syl Johnson On Hi Records was released back in 2000, by Demon Music Group. It features the four albums recorded by Syl for Hi Records, including the stunning Back For A Taste of Your Love. Standout Tracks: I Let A Good Girl Go, Anyway the Wind Blows, Blow Her Back My Way and I Hate I Walked Away.
SYL JOHNSON-BACK FOR A TASTE OF YOUR LOVE.
O.V. WRIGHT-WE”RE STILL TOGETHER.
O.V. WRIGHT-WE”RE STILL TOGETHER.
I’ve always thought that O.V. Wright was one of the most underrated Southern Soul singers of his generation. In some ways, his music was overshadowed by the success of Al Green, who was on the same label as O.V. Hi Records. Whereas, Al Green had numerous critically acclaimed albums, O.V. only released three studio albums for Hi. The first of these was Into Something (Can’t Shake Loose), which was released in June 1977. His second album was The Bottom Line, released in July 1978. The final album that O.V. released for Hi, and the final album of his tragically short career was We’re Still Together, released in May 1979. Tragically, just over a year later, O.V. Wright died, aged just forty-one, due to a drugs overdose. This tragedy saw Southern Soul lose one of its great talents, and a man with an unmistakable and inimitable voice.
We’re Still Together, like his two previous albums for Hi was recorded at Royal Recording Studios and Allied Recording Studios, with Willie Mitchell producing the album. It had been all change at Hi, with familiar faces leaving, being replaced by new personnel. One of the changes was the new Hi Rhythm Section and augmenting The Memphis Horns, were members of The South Memphis Horns. Another change was that backing singers Rhodes, Chalmers, Rhodes only appeared on one track, I’m Gonna Stay. Previously, they’d been a permanent fixture at Hi, their backing vocals gracing the best albums on Hi. This was just the latest change at Hi, which was undergoing a number of changes after being taken over.
What didn’t change was the standard of songs for O.V. to record, with Earl Randle contributing six of the tracks with a variety of songwriting partners. One of these was Willie Mitchell, with whom he’d written a number of great track. Their collaboration was I’m Gonna Stay, which closed side one of We’re Still Together. James Shaw collaborated with Earl on two songs, I Found Peace and The Hurt Is One. The nine songs on We’re Still Together were a combination of Southern Soul, with a sprinkling of funk. This was an intriguing and quite brilliant combination.
Sadly, regardless of the quality of music on We’re Still Together, it wasn’t a commercial success. Albums like this were no longer as popular, with many people preferring the now hugely popular disco music. Soul singers live O.V., Bobby Womack and even other artists on Hi like Otis Clay, Ann Peebles and even Al Green were no longer as popular. This was unfortunate, as many great soul albums passed almost unnoticed, including We’re Still Together, which I’ll now tell you about.
We’re Still Together opens with the title track, We’re Still Together one of six tracks co-written by Earl Randle, this time with Richie Key. With a combination of rasping horns, swirling strings, funky rhythm section and chiming guitars, the track opens.It has an uptempo joyous sound, with an appreciative O.V. grateful that he’s still together with his partner. A funky bass is a permanent fixture, as are the rasping horns, lush, swirling strings and sweet sounding female backing vocalists. They provide a contrast to O.V. raspy voice. Later, a sultry saxophone drenches the arrangement with its beauty. This addition is quite a departure from his two previous albums, with The Memphis Horns never usually playing solos. However, this really helps the track, and with a stunning arrangement from Willie Mitchell and an emotive and passionate vocal from O.V. it’s a fantastic way to open the album.
I Found Peace is a mid-tempo track that has a slight funky sound throughout. The arrangement combines elements of the M.F.S.B. rhythm section with the best of Southern Soul. Lush strings, accompany the rhythm section and chiming, shimmering guitars, before O.V.’s vocal enters. It’s a joyful O.V. we hear, at peace, ready to take on the world, because of the love of his partner. With the female backing vocalists accompanying him, and the rhythm section locking into a gentle funk based groove, the track sweeps along. Adding to the Southern Soul sound in a Hammond organ, which atmospherically wails. Keyboards also enter, as do rasping horns, and together with O.V, they combine to produce a really catchy, hook laden track, that sweeps beautifully along.
There’s a noticeable change in style and sound on It’s Cold Without Your Love, written by Jim Dotson and Earl Randle. It’s a heartbroken O.V. accompanied by a slow, thoughtful arrangement with a lovely understated sound. Here, it’s just the rhythm section, guitars and strings that combine, with female backing vocalists, accompanying a desperate and lonely O.V. The arrangement meanders along, with braying horns occasionally punctuating the sound, while O.V. emotively sings his heart out, displaying hurt and pain throughout this hugely moving track.
Sisters Aretha and Carolyn Franklin co-wrote Baby, Baby, Baby, a track that bursts into life with horns blazing, before giving way to a slow emotive sounding track, where piano, a slow rhythm section and guitars combine before a despairing and disconsolate O.V. enters. He’s desperate having lost the woman he loves, downcast and lost. With punchy sounding backing female backing vocalists accompanying him, who add to the drama of O.V.’s vocal, the track unfolds. O.V.’s The arrangement grows fuller, sad, dramatic strings combining with rasping horns, a drama laden rhythm section, piano and searing, chiming guitars. This impressive sounding, hugely sad combination combined with O.V.’s vocal is a potent and emotional combination that sounds quite brilliant.
Side one closes with a song many people will be familiar with, I’m Gonna Stay, the only track that Willie Mitchell co-wrote with Earl Randle. When you hear the first few familiar bars, it’s like meeting an old friend. There’s a real Southern Soul sound to the track, the rhythm section, guitars and Hammond organ combining with O.V.’s raspy voice. It’s a belligerent O.V. we hear, whose decided to stay with his partner, just to spite her. Horns blaze in, while the backing singers subtly sweep in. The tempo is slow, a wandering bass and slow, regular drums combine to provide the track’s heartbeat, while the horns and baking singers punctuate the track. By the end of the track, you realize that the Willie Mitchell and Earl Randle songwriting partnership have triumphed again, producing a great track, one that’s all the better for having O.V. singing it.
It’s a very different sounding track that opens side two of We’re Still Together. The funk drenched The Hurt Is On, which has wah-wah guitars, blazing horns and the funkiest of rhythm section accompanying O.V.’s angry vocal. This is a song with a social conscience, that amazingly, is even more relevant today than in 1979. O.V. sings about the problems of unemployment and poverty, against a backdrop that wouldn’t sound out place in a Blaxploitation movie. With swirling, strings joining the wah-wah guitars and growling horns, the arrangement just gets better. Providing a contrast are the some of the sweetest backing vocals on the album. Although this isn’t a slice of Southern Soul, it’s one of the album’s highlights, five magical and majestic minutes of a fusion of angry, funk and soul music.
A wailing Hammond organ, piano and rhythm section combine to provide a bluesy sounding backdrop for O.V.’s vocal on Today I Sing the Blues. Again, it’s a sad and lonely O.V. we hear, his girlfriend having left time. While chiming, searing guitars, piano and rhythm section slowly combine to produce a sad bluesy sound, horns rasp and the Hammond atmospherically wails sympathetically. Adding just the finishing touch to a really moving and great sound blues track are the lushest of strings, which accompany the desperate O.V.
After a diversion via funk and then the blues, O.V. returns to familiar territory, Southern Soul on Mirror of My Soul. A moody Hammond organ, rhythm section, guitars and rasping horns combine slowly, before sad, yet lush strings enter. After a lengthy introduction, a tender vocal from O.V. enters. His throaty vocal gently sings of his love for a woman who has transformed his life, made him happy and “brought meaning to his life.” As a slow, sad arrangement gradually reveals itself, with female backing vocalists punctuating the track, you realize that this beautiful and tender song is one of the album’s highlights. Not only that, but it’s one of O.V.’s best songs of his Hi period.
We’re Still Together closes with Sacrifice, with O.V.’s half-spoken vocal accompanied by the rhythm section, piano and guitars. Later, horns rasp, punctuating the arrangement, while strings sweep slowly and sadly. Together, they provide the perfect backdrop for a heartbroken O.V. He sings about the pain and hurt he’s suffered, his girlfriend having left him. With the strings and piano playing important parts in the arrangement, backing vocalists sweep in. Their gentle and sweet voices provide a contrast to the heartache and pain in O.V.’s voice, as the sad and melancholy arrangement flows along. By the end of this beautiful, tender yet heartbreaking song, you begin to sympathize and empathize with O.V. so real is the hurt and pain he displays. This demonstrates his talent and versatility, how he could deliver any song, and brilliantly bring the lyrics to life.
As I finished listening to We’re Still Together, it struck me that this was the last album of O.V.’s tragically short career. He was such a hugely talented singer, able to sing a variety of songs from Southern Soul, blues and even funk. On We’re Still Together, he displays this versatility, with the funk laden The Hurt Is On, followed by the bluesy Today I Sing the Blues, before returning to the familiar territory of Southern Soul on Mirror of My Soul. How many other artists could change styles with such ease, and deliver different styles of music so convincingly? O.V. Wright could, and although he only recorded three albums for Hi Records, they’re three great albums, full of the highest quality of music. On Into Something (Can’t Shake Loose and The Bottom Line, both of which I’ve previously reviewed, O.V. demonstrates his versatility and considerable talent. On We’re Still Together, there had been a number of changes at Hi Records, with many of the people who’d played on his first two albums leaving, and been replace by new personnel. Although you can tell the difference in the rhythm section, horns and backing vocalists, this doesn’t detract from the quality. If anything, it brought something new and fresh to the album, that made this subtly different from his two previous albums. Of the nine tracks that make up We’re Still Together, they’re of the highest quality, with no filler or makeweights, just great music. Remarkably, the music on We’re Still Together wasn’t affected by O.V.’s heroin habit, something that could really destroy an artists talent and creativity. It seemed that O.V. was just as good as ever, still in the groove, still making great music. Sadly, it was his addiction to drugs that cost O.V. Wright his career, dying aged just forty-one, far too young and with so much more music to produce. However, tragically, that wasn’t to be, and the legacy O.V. Wright leaves behind is something we can all share and cherish, some brilliant music, including his final album We’re Still Together. Standout Tracks: I Found Peace, Baby, Baby, Baby, The Hurt Is On and Mirror of My Soul.
O.V. WRIGHT-WE”RE STILL TOGETHER.
THE TEMPTATIONS-ALL DIRECTIONS.
THE TEMPTATIONS-ALL DIRECTIONS.
When The Temptations were recording what became All Directions, the group were determined not two songs that eventually appeared on the album. One of these songs was Papa Was A Rolling Stone, and The Temptations were absolutely determined not to record the song. They felt that the song wouldn’t provide them with a hit, and that this a backward step. After this, they felt, they’d be back singing ballads like My Girl and Ain’t To Proud To Beg. Having been persuaded to record Papa Was A Rolling Stone, the twelve minute epic proceeded to give the group one of the biggest hits of their career and resulted in three Grammy Awards for The Temptations. On its release, it reached number one in the US BIllboard 100 and number five in the US R&B Charts. The song received a Gramm for Best R&B Song, Best R&B Performance by a Group and even a Grammy for the instrumental version on the B-side of the track. Producer Norman Whitfield who incidentally co-wrote the song with Barrett Strong, must have felt vindicated, as Papa Was A Rolling Stone became one of the group’s biggest ever hits. However, as if that wasn’t good enough, the album All Directions gave The Temptations a huge hit album.
Recording for All Directions had taken place during 1972, with what was the fourth incarnation of The Temptations. With Norman Whitfield producing the album, eight tracks were laid down. The Barrett Strong and Norman Whitfield partnership contributed two songs, Papa Was A Rolling Stone and Funky Music Sho’ Nuff Turn Me On, previously recorded by Edwin Starr, which was the B-side to the first single released from All Directions, Mother Nature. It had only reached a somewhat disappointing number ninety-two in the US Billboard 100 and number twenty-seven in the US R&B Charts. However, Papa Was A Rolling Stone would more than make up for this. Of the other songs on All Direction, another prolific Motown songwriting duo, Ashford and Simpson contributed one song, Love Woke Me Up This Morning. Also on the album are covers of Isaac Hayes Do Your Thing and Ewan McColl’s beautiful The First Time Ever (I Saw Your Face). This was clearly an album long on quality, with no filler whatsoever. The record buying public realized this on the album’s release, in July 1972.
Before All Direction’s release, the album was critically acclaimed. The continuation of the fusion of soul and psychedelia appealed to critics and record buyers alike, with All direction reaching number two in the US Billboard 200 and number one in the US R&B Charts. After All Directions, The Temptations next three albums continued to sell well. 1973 saw two albums released, Masterpiece in February, which reached number seven in the US Billboard 200 and number one in the US R&B Charts, while 1990, released in December, reached number thirteen in the US Billboard 200 and number two in the US R&B Charts. Two years later, in January 1975, A Song For You reached number thirteen in the US Billboard 200 and number one in the US R&B Charts. After this album, The Temptations albums didn’t sell in such huge quantities, with them unable to replicate their earlier success. Even a brief sojourn to Atlantic Records where two albums were recorded, didn’t help. When they returned to the Gordy and then Motown labels, the commercial success of their earlier years eluded them, although they continued to make fine music. However, the music wasn’t as good as the psychedelic soul stew of All Directions, which I’ll now tell you about.
All Direction opens with a cover of the Barrett Strong and Norman Whitfield penned Funky Music Sho’ Nuff Turn Me On, a track best known for Edwin Starr’s version. After a big build up, the crowd being whipped up into fervor, resulting in raucous applause, the track opens, with each of the five Temptations sharing the lead vocal. The track sounds as if it has been recorded live, giving you an idea of just what The Temptations sounded like live. With The Funk Brothers backing them, and giving a tight, yet funky performance, Dennis Edwards, Richard Street, Damon Harris, Otis Williams and Melvin Franklin take turns of singing lead, while the other four provide harmonies. While The Funk Brothers provide a funk laden backdrop, The Temptations, combine emotion, joy and power resulting in an impressive and professional performance. However, due to the track being recorded live, the crowd noise sometimes drowns out the music, slightly spoiling the music for me.
Earlier in this review I mentioned that their were two tracks on the album The Temptations had to be persuaded to record. One was Papa Was A Rolling Stone, the other Run Charlie Run. The controversy here, was over the subject matter of the song, dealing with “white flight.” It was music with a social conscience, supportive of Black Power movement that required The Temptations to sing in a “caucasian” or “white” accent “the niggers are comin.’” Like the other Temptations, Otis wasn’t keen to record the track. However, producer Norman Whitfield persuaded them to do so, and against the track was included on the album. As the track opens, a piano, funky rhythm section and soaring, searing guitar combine with blazing horns as the vocal enters. Straight away, the controversial white flight lyrics can be heard. In them, they sing about people going to church on Sunday, but by Monday they forget what they’ve learned. Instead of togetherness and friendship, the white people became racists, rather than embrace and the black people who had entered their town and cities. Instead, the white people chose to leave these places, and make it worse, by passing their racist attitudes and beliefs to their children. When you listen to the track, it’s powerful, makes you angry and sad, that people could choose to dislike a person merely because of the color of their skin. With a reverberating, funky and dramatic arrangement accompanying them, The Temptations bring the song to life. This is helped by the constant pounding drums and blazing horns, that accompany the passion, frustration and anger of their vocals. As I said earlier, it’s a hugely powerful track, one that makes you glad to be alive in more enlightened times.
Easily the best known track on All Directions is the twelve minute epic Papa Was A Rolling Stone, which closes side one of the album. Here, Norman Whitfield’s production is stunning, the prolonged arrangement building and building, with the rhythm section, wah-wah guitars, keyboards and sweeping, swirling horns. The longer the introduction goes, the more the anticipation builds. You wonder what’ll happen next, where the track is heading? After four and a half dramatic and sweeping minutes, where the ever-present bass is a mainstay of the track, while hi-hats, horns and strings all play their part, the vocal enters. Each of The Temptations have their own part to play. Damon plays the part of the child’s mother, answering thee questions about their late father, trying to add a balance to the negative things they’ve heard about him. Meanwhile rest of the group play the part of the questioning children, with a series of questions being answered by Damon. This is already emotive and powerful, but the addition of braying horns, searing wah-wah guitars, the moody bass and the hissing hi-hats, adds to this. When you listen to the lyrics, there’s a sense of sadness present, that children would hear these things about their late father, and this is made worse by the thought of their mother having to answer them. By the end of this seminal, twelve minute epic, you realize that this is one of the defining moments not only in the career of The Temptations, but producer Norman Whitfield. Not only is the song powerful and emotive, but one of the best songs the group recorded and Norman producer. After all, when you’ve climbed the highest mountain, where do you go from there?
Over the years, Ashford and Simpson were more than just a highly successful songwriting partnership, this husband and wife duo, recorded a number of highly successful albums, like Street Opera and Solid, as well as producing acts like Gladys Knight and The Pips. A lush combination of piano and strings combine as Love Woke Me Up This Morning begins. This is followed by a tender vocal from Damon, while the rest of the group combine to sing equally tender harmonies. Behind them, the rhythm section combine, with the drums playing with an almost jaunty beat. Meanwhile, grand strings, rasping horns, piano and chiming guitars combine to produce a lovely arrangement, perfect for the Damon’s now soaring, passionate vocal which is full of emotion and sincerity. This results in a quite beautiful track, which opens the second side of All Directions.
I Ain’t Got Nothing sees Otis and Melvin share the lead vocal. As the track opens, the sound is understated, but there’s a sense that something special is about to happen. With Otis and Melvin sharing the lead, a slightly moody sounding arrangement unfolds. Key to its sound are the rhythm section who play slowly and thoughtfully, while strings add a sense of emotion and sadness. Adding to the arrangement is a piano which drops in and out of the the track. However, it’s the interplay between Melvin and Otis that adds to the moody sound, especially the contrast in their vocals. This sound is perfect for the sense of despair in the lyrics, especially when the sing “I’ve got nothing.” Here, The Temptations and producer Norman Whitfield combine brilliantly to produce a song that has a sense of bleakness and despair, befitting the song’s lyrics.
When Ewan McColl wrote The First Time Ever (I Saw Your Face), little did he know how many people would cover his song. As I said in another article, cover versions of this song can be good, bad or indifferent. Thankfully, The Temptations version falls into the first category, with Richard Street singing lead vocal. With guitar and bass combining, before the piano enters, Richard’s gorgeous vocal enters. He strikes the right note between singing the song tenderly and with an element of drama, befitting the song. This is no overblown version, thoughtful and tender, with a beautiful arrangement where lush strings sweep in, joining the guitar, bass and piano. Together with Richard’s stunning vocal, they combine to produce one of the album’s highlights.
Although Mother Nature was the B-side of Funky Music Sho’ Nuff Turn Me On, it’s a track that deserved a better fate than that. Of the two tracks, this is a much better track than the A -side. Dennis Edwards gives an emotive and moving rendition of the lyrics, while the dramatic arrangement sweeps along. A piano plays an important role, while strings sweep and swirl, guitars chime, drums pound and horns rasp gently. However, although the arrangement builds and builds, with a sense of drama omnipresent, it’s Dennis’ vocal that holds your attention. You become enthralled by it, spellbound, realizing just how talented and versatile a vocalist he is. There’s a mixture of emotion, passion and drama present, which when combined with Norman Whitfield’s arrangement, is a potent and brilliant combination.
All Directions closes with a cover of an Isaac Hayes track Do Your Thing, where Richard, Damon and Melvin share the lead vocal duties. The track bursts into life with the funkiest of guitars, a drama drenched combination of blazing horns and powerful, pounding drums. After this you’re expecting the track to explode, but it doesn’t. Instead it meanders along, with keyboards joining the arrangement which meanders along, with the vocal constantly changing hands. Throughout the track, a punchy and dramatic combination of drums, handclaps and braying horns make their presence felt, before the track returns to its previous meandering, sometimes moody sound. Although quite different from the two previous tracks, it sounds great and is a good and satisfactory way to end All Directions.
For people who were used to The Temptations singing tracks like My Girl and Ain’t Too Proud To Beg, albums like All Directions and Psychedelic Shack must have been a shock to them. The music was a mixture of soul, funk and psychedelia, all mixed together into a soulful stew that’s quite brilliant. During All Directions, The Temptations combined the frustration, power and anger of Run, Charlie Run, with the heartfelt Papa Was A Rolling Stone and the gorgeously, tender The First Time Ever (I Saw Your Face) sung by Richard Street. On Mother Nature, Dennis Edwards demonstrates his talents as a vocalist, combining emotion, passion and drama with aplomb. Credit must be given to producer Norman Whitfield. Not only is his production stunning, but he stuck by his conviction that The Temptations should record both Papa Was A Rolling Stone and Run, Charlie Run. With The Temptations not wanting to record either track, Norman managed to convince them to do so. This was fortuitous, as Papa Was A Rolling Stone gave the group a number one single and three Grammy Awards. Run, Charlie, Run was emotive music with a social conscience, full of passion and frustration. As I said earlier in this article, All Directions was long on quality and short on filler. Overall, it’s an album full of some great music, with one of the highlights of The Temptations career on it. That was the seminal Papa Was A Rolling Stone, a magical, musical masterpiece. If you’ve never heard All Directions, I can thoroughly recommend it. Now it’s possible to buy remastered versions of both All Directions and Psychedelic Shack on one album. This allows you hear some brilliant fusion of soul, funk and psychedelia from of one of Motown’s biggest groups, The Temptations. Standout Tracks: Papa Was A Rolling Stone, The First Time Ever (I Saw Your Face), Mother Nature and Do Your Thing.
THE TEMPTATIONS-ALL DIRECTIONS.
DR JOHN-IN A SENTIMENTAL MOOD.
DR JOHN-IN A SENTIMENTAL MOOD.
Anyone who collects records or CDs will tell you that one of the biggest buzzes for a collector is either finding an obscure or rare album in the most unlikeliest of places. For me this has included, many years ago finding mint editions of rare soul albums in a dark and dank junk shops that I was almost scared to enter for fear I’d never come out. The place looked like something out of a bad horror movie, but I dared enter and came out a while later grinning, carrying an armful of gorgeous, pristine vinyl. Sometimes, it’s backstreet record shops, looking in the bargain bins, and you see something interesting or unusual. Often this works well, and you come out with a box set of some brilliant electric blues, or an album of psychedelic funk. However, it’s not all plain sailing being a crate digger, after all, who would admit to an album of unlistenable free jazz or eery Byzantine chants that spooked everyone who dared listen to it. Okay, I’ll admit to both. They were cheap and looked interesting.
Another place I picked up an interesting and quite brilliant album was at a Dr. John concert, a number of years ago. I’d long been a fan of the Dr.’s work, so decided to visit his “surgery,” which that time was a concert hall in Glasgow. It was my first Dr. John concert, and he was touring what was a comeback album Anutha Zone. Having heard some of his classics, and much of his new album, everyone left the venue elated, having witnessed the Dr.’s comeback. Stopping by the merchandise stall, I noticed a couple of albums I’d missed, so bought them, without paying much attention to the content. One of these was In A Sentimental Mood, recorded during a fallow period in Dr. John’s career, and which features some great music, which demonstrates a very different side to Dr John, as far away from the psychedelic funk and R&B of his early albums as you could get.
The eighties hadn’t been kind to Dr. John, it’s best described as a fallow period in a career that spans six decades, starting in 1968 with the classic Gris Gris. This rich vein of form lasted until the mid-seventies, spanning a run of albums that included 1969s Babylon, Remedies in 1970, 197s The Sun, Moon and Herbs, Gumbo in 1972, In the Right Place in 1973 and ended with Desitively Bonnaroo in 1974. All of these album were recorded for Atco, part of Atlantic Records, and feature what I’d call vintage Dr. John.
After this, Dr. John’s music changed, tending to focus more on blues, R&B and the music of New Orleans. Another ingredient was some of the “standards,” which started to play a part in his concerts. This would be the case in the album this article is about, In A Sentimental Mood. As well as his music changing, Dr. John recorded less, spending more time as a session musician, something he’d always done even during his Atco years. However, this meant he released fewer and fewer albums, with only four albums being released during the eighties. The eighties began with Dr. John Plays Mac Refennack Volume 1 in 1981, with Dr John Plays Mac Refennack Volume 2 following in 1983. Six years passed without another Dr. John album, until 1989, when two albums were released ZuZu Man and In A Sentimental Mood.
After recording for a variety of smaller labels, In A Sentimental Mood saw Dr. John recording for a major label, Warner Bros. The sessions for the album took place in two prestigious recording studios, The Power Station in New York, and Los Angeles’ Ocean Way Studio. With a full string and horn section, and a tight band in tow, Dr. John recorded some classic songs from yesteryear, including Makin’ Whoopee, Accentuate the Positive and Don’t Let the Sun Catch You Crying. These songs, and other classics, which feature on On In A Sentimental Mood, are reinterpreted by Dr. John as he gives them his own unique twist.
In A Sentimental Mood opens with a song that will be familiar to most people, Makin’ Whoopee. It’s given the big band treatment by Dr John, slowed right down, and given a jazzy twist. Rickie Lee Jones sings the female part, as Dr John gives this old classic a new twist. With horns a blazing and drums pounding slowly, the song opens, giving way to Dr John’s tinkling piano. It’s only then that his raspy vocal enters, and you can almost imagine him singing the mildly suggestive lyrics with a big smile on his face. When Rickie Lee enters, her voice is sweet and coy, a real contrast to the Dr’s raspy, more powerful voice. Behind them, the strings sweep and horns rasp and blaze, the tempo slow, the sound powerful and swinging. Add to that the rhythm section, especially the drums, which play an important part in the track, and you’ve heard another very different of Dr. John, one that’s as far removed from the psychedelic, R&B and funk fusion of his early albums as you can possibly get. This very different and quite brilliant sound, is a welcome return to form for Dr. John, one that hints at later albums, when he’d cover classic by Duke Ellington and Johnny Mercer.
When you hear Dr. John’s version of Candy there’s only one man that springs to mind, Ray Charles. Indeed, in the sleeve notes to the album, Dr. John gives credit to Ray Charles and Charles Brown for their inspiration. This smoky sounding cover is a fitting testament and tribute to one of the giants of music. The tempo is slow, rasping horns and lush strings sweep and swirl as Dr. John gives a beautiful and heartfelt rendition of the lyrics. His piano playing is sparse and jazz tinged, and when he and the piano drop out, the strings take his place. Here, the horns play second fiddle to the strings, with the strings key to the gorgeous sound. Of course, the other key ingredient is Dr. John’s rasping vocal. Later a saxophone solo drifts above the arrangement, the rest of the horns playing with a subtly. Marty Paich’s arrangement of the strings and horns is stunning, and plays an important part in making this such a great song.
Johnny Mercer becomes the latest of the great songwriters Dr. John pays tribute to, on one of the best known songs he wrote, Accentuate the Positive. Later, Dr. John would record a whole album of Johnny Mercer’s music, Mercernary. This was just an amuse-bouche of what was to come, with high kicking horns almost marching through the track, accompanying the Dr.’s gruff, rough and rocking vocal. He really gets the song swinging, after a slow and somewhat thoughtful introduction, where a meandering piano solo gives way to his earthy vocal. It’s only after that, that the song unfolds, transforming into a swinging, rocking number with the piano at the forefront and those high kicking horns rasping and adding drama. The combination of piano, horns and Dr. John is a potent and swinging one, that gets even better when a saxophone solo blows gloriously, as the song heads towards dramatic crescendo.
One of the most beautiful songs on the album is My Buddy, co-written by Gus Kahn and Walter Donaldson. This song has a lovely, understated lush arrangement, with strings playing a major roll, while horns play a supporting roll. It’s just Dr. John with his trusty piano that opens the track, with cymbals hissing gently in the background. When the strings enter, they’ve the lushest sound, a perfect accompaniment for Dr. John’s thoughtful vocal and piano playing. Behind him a bass meanders, with the strings and later, gently rasping horns entering. Together, they produce a poignant and quite melancholy sound, one that
The songwriting credits for In A Sentimental Mood read like a who’s who of the greatest American songwriters of the first half of the twentieth century, with Duke Ellington, Irvin Mills and Manny Kurtz co-writing the title track In A Sentimental Mood. Again, Dr. John would return to Duke Ellington, recording an album of his best songs, entitled Duke Ellington. Like the previous track, it benefits from an understated arrangement, with the piano and lovely, lush strings combining as the track meanders along. It’s a song from a different age, gentle and beautiful, as it slowly reveals itself. A few jazzy flourishes from the piano accompany the swathes of strings that float above. During the song, Dr. John’s piano playing is among the best on the album, as is Marty Paich’s string arrangement. Together with producer Tommy Lipuma, they combine to produce a beautiful, piano lead track, that features swathes of the lushest strings, and is the perfect way to end side one of the album.
Side two of In A Sentimental Mood opens with Black Night, and the Dr. upping the tempo, on a song written by Jessie Mae Robinson. Dramatic flourishes of piano and braying horns combine as the song opens, with Dr. John demonstrating his talent and versatility as a pianist. When his vocal enters, it’s a downbeat and despondent Dr. we hear, as horns rasp and a beefy bass makes its presence felt. The arrangement is full, and drama laden, horns swirling grandly, while the rhythm more than section play their part in the song’s success. By now, Dr. John’s raspy voice is powerful, regret and sadness his only friends. As the arrangement reverberates, a combination of jazz players new and modern, including drummer Harvey Mason and bassist Abe Laboriel play their part in helping Dr. John give an old song a new magical new twist.
One of the saddest songs on the album is a version of Joe Greene’s Don’t Let the Sun Catch You Crying. As sad strings swirl in, flourishes of dramatic piano, give way to an equally sad vocal from the Dr. With chiming guitars, strings and piano combining, the song meanders along, flourishes of piano escaping, while a butter and rueful Dr. delivers the lyrics. The arrangement taps into perfectly into the sadness of the lyrics, which have a melancholy, and almost bittersweet quality. Again the arrangement has a somewhat understated sound, relying on the strings, instead of horns. This works well, getting across perfectly the sadness and emotion in the lyrics, especially when combined with such a great vocal as Dr. John’s.
When you talk about the greatest American songwriters of the first half of the twentieth century, then you can’t not mention Cole Porter. Similarly, Dr. John couldn’t record an album featuring some of the greats of American songwriting and not cover a Cole Porter song. The one he chose was Love For Sale, choosing to transform the track, with some of his best piano playing on the album. Here he veers between some rollicking jazzy piano playing with flourishes of drama included, while strings sweep and swirl grandly, their sound vaguely reminding me of a movie soundtrack, while horns rasp and blaze, reverberating and the rhythm section provide a light sprinkling of funk. It’s a track that absolutely swings, and has an irresistible sound. Towards the end, Dr. John almost raps over the arrangement, a brilliant track, just getting even better.
In A Sentimental Mood ends with More Than You Know, which opens with the saddest of string, which have a real retro sound, in keeping with music. They give way to an equally sad and thoughtful vocal from the Dr. with his piano meandering and tinkling along. He delivers the lyrics perfectly, with a tenderness and thoughtfulness, sadness tinging his voice. Above him, sits the strings, which float in and out of the arrangement, with Harvey Mason playing the drums with subtlety, forsaking sticks for bushes. Similarly, the bass meanders, the playing sparse, leaving flourishes of Dr. John’s piano playing and his thoughtful vocal to take centre-stage, on what was a tender, beautiful and heartfelt delivery of the lyrics. This thoughtful and somewhat poignant and melancholy song seems the perfect way to end the album.
For anyone who has only experienced the music of Dr. John’s vintage Atco years, the music on In A Sentimental Mood will come as something of a surprise when they hear it. That was how I felt when I first heard the album, but from the first song I was hooked, and since then, it remains one of my favorite Dr. John albums. If I ever meet anyone who says they don’t like Dr. John because they for some reason don’t like his early music, I win them round by playing them In A Sentimental Mood. That introduces them to a very different side of his music. Then I slowly introduce them to other albums that aren’t typical of his music, before trying the vintage Atco era Dr. John on them. Usually I win them round. On In A Sentimental Mood Dr. John demonstrates how his music was changing, and the two albums that he released in 1981 and 1983 Dr John Plays Mac Refennack Volume 1 and 2, gave us a hint the direction his music was heading in. This album of covers with string and horn section in tow, saw Dr. John brilliantly cover and sometimes, transform old standards, breathing new life and energy into them, as gives them his own unique twist. Since then, his music has continued to evolve, with recent albums rediscovering the music of Duke Ellington, Johnny Mercer and the wonderful music of New Orleans. Throughout his career, Dr. John has been an innovator, never afraid to try something new, sometimes, even becoming a contrarian. However, he’s always provided his many fans with some majestic and memorable music, which they’ll always cherish, and return to. if you’ve never heard Dr. John’s music, there’s plenty of great music available, with Rhino releasing five of his best Atco albums as part of their Original Album Series. Along with that, I’d recommend 1995s The Very Best of Dr. John which features his Atco era music, while 2005s The Best of The Parlophone Years focuses on some of his later work, from his 1998 “comeback” album Anutha Zone onwards. Add to this the brilliant In A Sentimental Mood and you’ll be the proud owner of some of the best music of Dr. John’s long and distinguished career. Standout Tracks: My Buddy, In A Sentimental Mood, Black Night and Love For Sale.
DR JOHN-IN A SENTIMENTAL MOOD.
THE CHI-LITES-TOBY.
THE CHI-LITES-TOBY.
Often an album fails to do as well as it should’ve commercially, because of a lack of promotion and advertising. This is almost becoming a recurring theme for readers of this blog. When Stax was heading towards insolvency, albums like Shirley Brown’s Woman To Woman suffered this fate, while DJ Rogers believed his three albums for RCA suffered from from a lack of advertising and promotion. Another group to suffer from this problem were The Chi-Lites, when they released their seventh studio album Toby.
By 1974 when, The Chi-Lites had recorded Toby, their record company Brunswick Records had started to experience financial problems, that would eventually see the company collapse. Having recorded Toby, with lead singer Eugene Record producing the album, it was ready for release in June 1974. The album featured ten songs, with Eugene writing the songs himself, and co-writing three other songs. Toby featured some great music, but the only thing that could derail the album’s success was Brunswick’s financial problems, and the lack of advertising and promotion. Would these problems break the group’s run of US R&B top ten albums?
On Toby’s release, it only reached number 181 in the US Billboard 200 and number twelve in the US R&B Charts. This was a disappointing result, with Toby becoming the first of The Chi-Lites albums since 1970s I Like Your Lovin’ (Do You Like Mine?), which had failed to chart. After this, the next four Chi-Lites albums had all reached US R&B top ten.
This started in July 1971 with (For God Sake) Give More Power To the People, which reached number three in the US R&B Charts and number twelve in the US Billboard 200. April 1972 saw the release of A Lonely Man, which reached number five in the US R&B Charts and number one in the US Billboard 200. Even their Greatest Hits album, released in October 1972, reached number four in the US R&B Charts and number fifty-five in the US Billboard 200. Their next studio album was A Letter To Myself in March 1973, which reached number four in the US R&B Charts and number fifty in the US Billboard 200. The album that preceded Toby was Chi-Lites, released August 1973. It kept up The Chi-Lites run of top ten US R&B albums, reaching number three in the US R&B Charts and number eighty-nine in the US Billboard 200. However, what was a remarkable run of chart success was ended with Toby, leaving the group no doubt disappointed and frustrated at what might have been.
Of the trio of singles released, only two of the trio reached the top ten in the US R&B charts. The first single was There Will Never Be Any Peace (Until God Is Seated At the Conference Table) which reached number eight in the US R&B Charts and number sixty-three in the US Billboard 100. This was followed by You Got To Be the One which only reached number fifteen in the US R&B Charts and number eighty three in the US Billboard 100. Making up for this was Toby, the third single which reached number seven in the US R&B Charts and number seventy-eight in the US Billboard 100. Although the album had been relatively successful and yielded two top ten US R&B singles, and features some fine music, which I’ll now tell you about.
Toby opens with the title track Toby, co-written by Eugene Record and Barbara Ackilin. With lush, swirling strings, a meandering bass line and rasping horns opening the track, the scene is set for Eugene’s gentle, tenor lead vocal. As Eugene tenderly and thoughtfully tells the story of a young child Toby, you wonder where the story is going. However, nothing prepares you for the ending, when with sadness and emotion, he sings about the child dying. His vocal is enveloped by harmonies from the rest of the group, swathes of slow and sad strings and subtly rasping horns. A combination of Eugene’s beautiful, tender and sympathetic delivery of the lyrics and an equally beautiful arrangement result in one of the album’s highlights.
There’s a change of style on You Got To Be the One, a much more uplifting and slightly funky track. With the other Chi-Lites singing short, sharp, backing vocals, accompanied by percussion, rhythm section, guitar and sweeping strings. They give way to Eugene’s joyful vocal, with braying horns joining him, as the track swings along. It’s a very different sounding track to it’s predecessor, catchy, full of hooks and quicker. The track sweeps and swings along, with strings, horns and a harp playing important parts in the arrangement. Similarly, the interplay between Eugene and the rest of the group, working perfectly, especially against a joyous and melodic sounding arrangement. By the end of the track, this track is guaranteed to leave a good memory and a smile on your face.
The tempo drops again on the sad sounding The Sound of Lonely, written by Eugene and Marshall Arrington. Again, there’s some clever interplay between Eugene and the other Chi-Lites, with the lead vocal changing hands several times. This contrast in styles adds to impact of the song, as well as adding to the drama of the arrangement. Lush, sad strings, blazing horns and a slow and thoughtful rhythm section provide a perfect backdrop for this sad, emotive and quite beautiful song, which has some thoughtful lyrics about loneliness.
Never before will you have heard The First Time (I Ever Saw Your Face) sung like this. Here The Chi-Lites give an old song a new twist, and the result is irresistible. When the track opens, there’s a dramatic combination of punchy rhythm section, chiming guitars and shimmering, quivering strings, that give way to tight harmonies, and Eugene’s spoken word introduction. Rasping horns signal the start of a heartfelt vocal from Eugene, accompanied by piano and harmonies. This combination is stunning, made all the better by the addition of piano, lush strings occasional horns and brief bursts of drama from the drums. Combine all this together, and the result is an irresistible and stunningly, soulful version of Ewan McColl’s song.
Side one of Toby closes with one of the trio of singles released from There Will Never Be Any Peace (Until God Is Seated At the Conference Table). Again, it features some clever interplay between Eugene and the rest of the group, their voices a perfect fit for each other. With a slow, but dramatic combination of sweeping strings, rasping horns, chiming guitars and rhythm section accompanying them, The Chi-Lites surpass themselves. With a heartfelt and sincere pleading lead vocal accompanied by sweet, yet dramatic soaring vocals combining with Eugene’s drama drenched arrangement, it’s no wonder the song reached number eight in the US R&B Charts. Adding just the finishing touch is a saxophone drifting above the arrangement, adding to the beauty, emotion and sincerity of the track.
Side two of Toby opens with That’s How Long that’s laden with drama and features a hugely emotive and powerful vocal from Eugene. It’s accompanied by a full arrangement, and some equally emotive, soaring harmonies from the other Chi-Lites. With a powerful and combination of rhythm section, guitars and blazing horns opening the track, before swirling, shivering strings enter. As if on cue, Eugene’s emotive and heartfelt vocal enters, as he swears to love his partner “until the end of time.” The lead vocal changes hands, before returning to Eugene. Behind him, the a sympathetic, yet powerful and dramatic arrangement has unfolded, with flourishes of strings adding to the combination of strings, horns and rhythm section. Together, they provide the perfect backdrop for The Chi-Lites heartfelt and dramatic deliver of the lyrics.
Eugene Record wrote three of the songs on Toby himself, including Happiness Is Your Middle Name. Again, a dramatic and powerful combination that includes lush, swirling strings, chiming guitars and rhythm section open the track. After this, the arrangement levels out, as Eugene’s tender, gentle vocal enters. With blazing horns and swirling strings combining, the rest of the group provide bassy sounding backing vocals, a total contrast to Eugene’s vocal. The drama grows, when backing female vocalists join The Chi-Lites, as swathes of vocals, join the pounding drums, swirling strings and braying horns. Somehow, this neither overpowers, nor overwhelms the tenderness of Eugene’s vocal as he delivers the lyrics about love, towards the woman he loves.
I Lied is the second Eugene Record penned track in a row. After an impressive, drama laden introduction where Eugene’s vocal is enveloped by harmonies, strings and rhythm section, a pensive and desperate vocal from Eugene follows. Bereft at his partner leaving him, over the lies he told, he’s helpless and lonely, which you can hear in his delivery. The sympathetic, yet dramatic arrangement is perfect for this slow ballad, adding to the sense of emotion, loss and despair in the vocal. As Eugene delivers the lead, the rest of the group add harmonies, which is just the finishing touch to a song full of sadness, despair and regret.
On I Like To Live That Love (I Sing About), Marshall Thompson takes over the lead vocal duties. He even adds a similar spoken word introduction to Eugene’s on The First Time (I Ever Saw Your Face), against a backdrop of keyboards, rhythm section, sweeping strings and blazing horns. Marshall even name-checks BB King during his his introduction, who had previously recorded the song. Once his vocal enters, you realize how talented a vocalist Marshall was, his vocal slightly throaty, but full of emotion and feeling. Behind him, the other Chi-Lites contribute lush harmonies, which combine well with the strings which are at the heart of the arrangement. Horns blaze, while punchy drums occasionally punctuate the track as it swings along, catchy and full of hooks.
Toby closes with Gettin’ Outtta Town, another mid-tempo track, with Eugene singing the lead vocal. With rasping horns, sweeping strings and punchy rhythm section combining, they provide the perfect backdrop for Eugene’s vocal. The rest of the group sing occasional lush harmonies, not playing as big a part in this track as on other tracks. However, when required, their contribution adds to the track, just like the strings, horns and drums which are key to the track’s success. Like the previous track, it’s, really catchy and isn’t short of hooks. Part of the track’s beauty is the way it sweeps along with the strings and vocal at the heart of its uplifting sound, lifting your spirits, and ending the album on high.
Although Toby suffered from a lack of advertising and promotion, because of Bruswick’s financial woes, it was a really good album from The Chi-Lites that deserved to do much better than number 181 in the US Billboard 200 and number twelve in the US R&B Charts. One wonders how the album would have fared on another label, maybe Philadelphia International, who were entering their most productive and commercially successful time. Toby deserved to do much better commercially, as it’s an album full of some majestic music, from one of the most talented soul groups of the seventies. Of the ten tracks, there isn’t a poor track. The album flows along, with one great song following its predecessor. Whether it’s the saddest of ballads or faster, uptempo joyous tracks, The Chi-Lites delivered each with aplomb. Sadly, after Toby, The Chi-Lites never found the same commercial success of the early seventies. Amongst changes in personnel, they continued to make music, but eventually split-up around 1976. They reformed in 1980, but sadly, their music was never as successful. Toby was the last of the great Chi-Lites albums, and is a fitting testament to one of the best and most successful, soul groups of the seventies. Between 1971s (For God Sake) Give More Power To the People and Toby in 1976, The Chi-Lites were at the top of the game, with one stunning album following the other. With Eugene Record at the helm, singing lead vocal, writing and producing the albums, they produced some hugely memorable albums including (For God Sake) Give More Power To the People and A Lonely Man. Like these classic albums, Toby is full of some great music, from one of the greatest soul groups of the seventies, The Chi-Lites. Standout Tracks: Toby, The First Time (I Ever Saw Your Face), There Will Never Be Any Peace (Until God Is Seated At the Conference Table) and I Lied.
THE CHI-LITES-TOBY.
dereksmusicblog
dereksmusicblog 