STEVIE WONDER-FULFILLINGNESS’ FIRST FINALE.
STEVIE WONDER-FULFILLINGNESS’ FIRST FINALE.
Sometime, I revisit artists I’ve previously written about before, because of the amount of great albums they’ve released. One such person who deserves more than one article written about them, is Stevie Wonder. Between 1972 and 1976, he released five great albums, starting with Music of My Mind and Talking Book in 1973, Innervisions in 1973, Fulfillingness’ First Finale which this article is about in 1974 and Songs In the Key of Life in 1976. During this period, the quality of his music was outstanding, which was reflected in both the critical reception and commercial success of his music. Each of the albums provided Stevie with number one US R&B hits, while Fulfillingness’ First Finale and Songs In the Key of Life both reached number one in the US Billboard 200.
By 1974, Stevie Wonder was in a rich vein of musical form, and it seemed like he could do no wrong. He was producing some of the best music of his career, music with a message and a social conscience. However, on Fulfillingness’ First Finale only You Have’t Done Nothin’ saw Stevie comment on the state of the world, his target being the ongoing saga of ex-President Richard Nixon and his administration. Apart from that, most of the songs on the album were free from social comment, with the tone somewhat sombre, the arrangements much more sparse, less fulsome, than on previous album. This slightly different sound was hugely successful, winning Stevie three Grammy Awards, for Best Male Pop Vocal, Best Male R&B Vocal, for Boogie On Reggae Woman and Album of the Year. Quite simply, Stevie Wonder, it seemed could no wrong, with Fulfillingness’ First Finale just the latest classic album from one of the most talented, singer-songwriter and multi-instrumentalist ever. However, just what makes this such a great album? That’s what I’ll now tell you.
Fulfillingness’ First Finale opens with Smile Please a track that has a lovely melodic sound thanks to the combination Fender Rhodes, rhythm section, guitar, congas and bongos that feature during this track. Together with Stevie’s gentle and tender lead vocal, it’s the way that the instruments combine, and their collective sound that give the track such a melodic sound. There’s a subtlety about the way some of the instruments are played that’s important too. During the track, Stevie’s accompanied by some similarly tender and gentle backing vocalists including. Jim Gilstrap and Deniece Williams. She was already a star in her own right, but became famous for her hit single Free in 1976. This tender vocal from Stevie and melodic arrangement suits the lyrics, which have a lovely sentiment, about happiness, friendship and love. During the track, Stevie resorts to scatting, and this improvisational style won’t please everyone. I’ve always felt that this style suits the lyrics, and are done in such a way that reflects the joyfulness of the song. Overall, it’s a lovely melodic track to open the album, one that features a tender vocal from Stevie and catchy, melodic arrangement.
The style changes quite considerably on Heaven Is 10 Zillion Years Away, a track that has both spiritual sound and feel, featuring some backing vocals that have their roots in gospel music. Like much of Stevie’s music, his lyrics are strong, intelligent and if you listen carefully, have something interesting and worthwhile to say. Here, he sings about God and heaven, but also race, love and hate. In the song he’s questioning, uncertain, looking for answers, maybe even angry. There’s so sign of anger or hate as the song opens, with a Hohner Clavinet, Moog bass and drums combining to accompany Stevie. Here the arrangement is quite spartan, stripped down to just keyboards and rhythm section. The song doesn’t suffer for this, and if anything, helps Stevie’s vocal to shine. His vocal is quiet and thoughtful, as he ponders a serious of important questions. Meanwhile, backing vocalists produce some stunning backing vocals. Two of the people responsible for these joyous, almost spiritual backing vocals are Paul Anka and Syreeta Wright. Together with Stevie’s vocal which by them is laden in passion and joy, surrounded by joyful whoops and hollers. Combine his vocal with some intelligent and questioning lyrics, and a somewhat pared down arrangement and some joyous backing vocals, and you’ve the recipe for an excellent song, easily one of the album’s highlights.
To Shy To Say is slow piano led track which sees Stevie accompanied by Sneaky Pete Kleinow on pedal steel guitar James Jamerson on acoustic bass. The song features a beautiful tender and thoughtful vocal from Stevie about being in love and loving someone. Making the track even better, is the pedal steel guitar, which reverberates, drenching the track in a sound that’s full of pathos and hugely atmospheric. What is quite a simple arrangement really works, especially when fused with such a tender, emotive vocal as Stevie gives on this track. Quite simply, it’s a beautiful song.
One of the singles taken from the album was Boogie On Reggae Woman. It reached number three in the US pop charts and number one in the US R&B Singles Charts. Another feature of this track is that Stevie plays nearly instrument on the track himself, playing Moog bass, Fender Rhodes, piano, harmonica and drums. The only instrument he doesn’t play, are the congas. When the track opens, a loud, buzzing Mood bass opens the track, with its unmistakable sound. Meanwhile drums, piano and Fender Rhodes combine before Stevie sings, his voice louder and stronger. During the track, there’s some lovely jazz influenced piano solos, and later, Stevie plays a great solo on his harmonica. It’s quick and soulful, and yet another contrasting sound on this track. That’s one of the things that make this such an irresistible track, the contrasting sounds that make up the layers and textures of music.
What was the final track on the first side of the album was Creepin’ another lovely ballad, with some subtle backing vocals. The track opens gently and slowly with synths, rhythm section and Fender Rhodes combining with Stevie’s vocal which is a mixture of tenderness and joyfulness. He’s accompanied on backing vocals by another soul legend, Minnie Riperton. Her vocal is a perfect accompaniment for Stevie, as he sings about his dreams of love and loving. During the track, the arrangement meanders melodically and beautifully, with a wistfulness in Steve’s vocal as he sings some lovely, tender lyrics.
The only track on the album that saw Stevie make any social comment on the world around him, was You Have’t Done Nothin’, where he strongly criticised the administration of ex-President Richard Nixon. Here, the lyrics are quite pointed, cynical even, with Stevie fed-up, dismayed, maybe even disgusted at what went on. It was a song the public loved and related to because when it became the first single to be released from the album, it reached number one in the US pop and R&B Charts. It’s a dramatic sound that opens the track, reminding me in some ways to the opening of Superstition. A funk laden Hohner Clavinet, percussion, bass and drum machine open the track, combining with a yelp from Stevie before he emotively sings the lyrics. Horns blaze, as if disgusted at the goings on, while later, The Jackson 5 sing backing vocals sweetly. Together with a loud buzzing bass and subtle percussion, this fuller, arrangement is outstanding. No wonder this track was such a huge hit, featuring everything you could possibly want from a slice of soul with a social conscience.
It Ain’t No Use is very different from the previous track, and is almost the polar opposite. This a tender and gentle ballad, with a much more subtle sound and stripped down arrangement. It’s just a combination of Fender Rhodes, drum machine, Moog bass and backing vocals that accompanies Stevie. As the track opens, the Fender Rhodes and gentle backing vocalists unite before Stevie sings about a relationship gone wrong, where there’s no going back, it’s over. His vocal is slow, but his voice is fuller, stronger. When the backing vocalists interject, their voices range strong and loud, to soft and subtle. Regardless, like Stevie, their voices are always soulful in the extreme, especially Minnie Riperton and Deniece Williams, two hugely talented singers. By the end of the track, you can’t help but be seduced by this beautiful sounding, and sometimes, subtle song, with many people being able to empathize with the lyrics about love gone wrong.
A piano plays slowly and dramatically, as They Won’t Go When I Go, a track that sees Stevie play every instrument and sing lead and backing vocals. Straight away, the tone is sombre, a sadness apparent even before he sings the lyrics about deceitful friends, friends who lie, pretending to be something they aren’t, pretending to care and to miss someone when they die. These people Stevie sings, will never be pure, always be sinners and will never go when he goes. Although there is plenty of truth in the lyrics, about deceitful friends, I don’t particularly like the way he portrays himself above everyone else. He perceives himself as pure, while others are portrayed as sinners, almost unclean, less worthy than him. This faux spirituality isn’t for me, and neither is the sombre, thoughtful sound and mood of the track, which is a combination of piano and T.O.N.T.O synth. I just can’t quite take to the near arrogance of the faux spiritual lyrics and the arrangement. So far, it’s the only poor track on the album.
Thankfully, Bird of Beauty has a brighter, uptempo sound and things seem much more promising than the previous poor track. It opens with Fender Rhodes, cuica and rhythm section combining, while Stevie sings, his voice joyful and bright, the tempo quicker. Accompanying him are a triumphant trio of backing vocalists including Lani Grove, Minnie Riperton and Deniece Williams. They soulfully interject and serenade Stevie’s vocal, their contribution huge, their voices a lovely contrast to Stevie’s vocal. Meanwhile, the arrangement has a bright, feel-good sound, thanks to the way the Fender Rhodes and cuica combine, while the Moog bass and drums drive the track along. The lyrics are about taking flight, going on holiday, recharging your mind, while you experience what life has to offer. After the disappointment of the previous track, Stevie has found his form again, on an upbeat track that mixes soul and Latin music to produce a track that has a joyous, feel-good sound.
Fulfillingness’ First Finale closes with Please Don’t Go, a song about love and love gone wrong. Here, Stevie pleads for his lover not to go, as he couldn’t stand the sadness and pain he foresees. A piano and Moog bass combine with percussion, drums and Fender Rhodes as the track opens. The song has a bright sound, as Stevie promises to change, to do whatever it takes to make his lover happy. Later, backing vocalists subtly sing soulfully, while later on Stevie plays harmonica. This seems out of kilter with the lyrics, and doesn’t quite work. It seems the wrong instrument, at the wrong time. When what sounds like a choir of joyous, gospel influenced backing singers combine beautifully, with a sound that’s almost spiritual, the song moves up a gear. Meanwhile, Stevie’s voice is laden with passion, as if feeding off the energy of the backing vocalists, producing an outstanding vocal. By the end of the track, I’m hooked due to Stevie’s passionate performance, some joyous backing vocals, and apart from the harmonica, an otherwise faultless arrangement. This is the perfect track to close a great album, one with an uplifting and upbeat sound.
During his career, Stevie Wonder has produced a number of classic albums. Between 1972 and 1976, it seemed he could do no wrong, producing a total of five great albums. Fulfillingness’ First Finale was the fourth of these albums, and features some wonderful music. One change on this album, was the sparse, stripped back sound on some of the tracks. This wasn’t the case on all the tracks, with some having much fuller and grander arrangements. Unsurprisingly, two of the best tracks were the two songs that were released as singles. These were the irresistible sounding Boogie On Reggae Woman and You Have’t Done Nothin’, Stevie’s cutting comment on the Nixon administration. Other great tracks were Heaven Is 10 Zillion Years Away, one of the tracks with a spartan and pared back arrangement. The song didn’t suffer for this and had a joyous and passion laden sound thanks to Stevie and his backing vocalists including Syreeta Wright. On the album, Stevie was joined by a number of guests who contributed backing vocalists. This included some legends of soul music, including Minnie Riperton, Deniece Williams, Syreeta Wright and The Jackson 5. All of these musical legends helped Stevie Wonder make what is, quite simply an outstanding album. It’s among the best of the albums he released during his classic period. If you’ve never heard this album, it’s one that’s well worth buying, as are all of the albums he released between 1972 and 1976, a time when Stevie Wonder was truly was at his creative peak. Standout Tracks: 10 Zillion Years Away, Boogie On Reggae Woman, You Have’t Done Nothin’ and Please Don’t Go.
STEVIE WONDER-FULFILLINGNESS’ FIRST FINALE.
RUFUS FEATURING CHAKA KHAN-RUFUSIZED.
RUFUS FEATURING CHAKA KHAN-RUFUSIZED.
By 1974, Rufus had come a long way from their humble beginnings as a Chicago bar band. The previous year 1973, Rufus had released their eponymous debut album Rufus, which only reached number 175 in the US Billboard 200. It was hardly the most successful debut album in music history, but things would change dramatically with the released of Rags To Rufus, later in 1973. When the album was released, it reached number four in the US Billboard 200, and was certified gold. Suddenly, Rufus were one of the biggest bands in America, with their combination of soul, funk and rock music. So, when they released their third album for ABC Records, Rufusized, great things were expected from this album. Critics and fans weren’t disappointed, with the album being critically acclaimed, reaching number seven in the US Billboard 200 and number two in the US R&B Charts. Rufusized was the album that broke the group in the UK, reaching number forty-eight in the UK album charts. After that, Rufus, and later Chaka Khan as a solo artist, were hugely popular in the UK.
Having just released two hugely successful albums, the band’s profile was high. Helping lift their profile even further, was touring with soul legend Marvin Gaye and the Rolling Stones and appearances on two famous US television programs American Bandstand and Soul Train. Much of the attention was focused on Chaka Khan thanks to her fantastic, powerful vocals, strong personality and unique dress sense. This however, had previously caused resentment among other band members. By 1974, and the release of Rufusized, things had settled down, with Nate Morgan having just joined the group before the albums release. Tony Maiden who had only joined the group towards the end of the recording of Rags To Rufus, was beginning to contribute much more to the groups music. He often sang vocals on the albums, sometimes duetting with Chaka. Chaka too, started to become more involved in the songwriting process, and contributing more vocals on the group’s albums. On Rufusized, Chaka’s contribution is huge, co-writing four songs, and singing lead vocals on the two singles released from the album, Once You Get Started which reached number four in the US R&B Charts while Please Pardon Me (You Remind Me of A Friend) reached number six in the US R&B Charts. So not only was Rufusized a hugely successful album, but featured two successful hit singles. However, what was it that made Rufusized such a hugely successful album? That’s what I’ll now tell you.
Rufusized opens with Once You Get Started, a track that bursts into life with a joyous combination of funk and soul. A funk laden rhythm section, chiming guitars and the brass section joyfully serenade the arrival of Chaka’s vocal. It’s a combination of controlled power, emotion and soulfulness. Straight away, the unbridled joy and passion that Chaka delivers the lyrics with has an infectiousness, with the rest of the band raising their game. Sometimes, Chaka duets, other times the rest of the band contribute backing vocalists, but neither can match Chaka’s emotive, powerful deliver. As the track progresses, a melange of rhythms and melodies, thanks to the rhythm and brass sections, guitars and keyboards, the track heads into funk overdrive. By the end of this funk drenched workout, both Chaka and the rest of the band have delivered an outstanding track to open the album.
When Somebody’s Watching You opens, the funk influence of the previous track continues, with a funky, chiming guitar opening the track, and the rhythm section and Chaka quickly getting in on the act. When Chaka, accompanied by a combination funky guitars, bass and keyboards, with metronomic drums, her voice starts of quite restrained, and even when her vocal soars heavenwards, it’s a much more subtle performance that the opening track. Still, though, her vocal is loaded with feeling and drama. If anything, this arrangement has a much more infectiously funky sound, and Chaka’s much more considered vocal, make this just as good a track as the opening one, one that’s melodic, catchy with hooks aplenty.
A slow, dramatic piano opens Pack’d My Bags, the sound veering from a dark, dramatic sound, to a bright melodic one. After a lengthy introduction, that points towards a track that should be impressive and dramatic Chaka gently harmonizes against an arrangement that has an understated sound, guitars, keyboards and rhythm section combining. They continue the slow tempo, building up the atmosphere, with strings sweeping in, as Chaka thoughtfully sings about a relationship breaking up, and a woman and her child having to pack their bags, and how they’ll miss their partner and father. Here, both Chaka and the band combine to produce a vocal and arrangement that’s suits the sadness and emotion of the lyrics. Chaka uses her powerful vocal to get across the emotion and sadness of the lyrics, while the band use the arrangement to get across the drama of such a situation. Waves of dramatic music unfold, with drums and string injecting drama, that matches Chaka’s vocal. As if unable to resist a trip into funky territory, the rhythm section and guitars enjoy a funk laden workout, which Chaka joins. Much as it’s hugely enjoyable, it doesn’t quite sit with the earlier emotion and sadness. However, overall, it’s a good track, albeit the track might have been better without the diversion into territory marked funk.
Similarly to the previous track, Your Smile is a track that begins slowly, with guitars, strings, keyboards and subtle drums accompanying Chaka. Her voice is quieter, much more gentle, as the track opens. Here, the arrangement unfolds, peaks of music building up, with strings sweeping grandly in, while the rhythm section, guitars and keyboards combine subtly, producing an arrangement that although understated, is melodic. Chaka’s vocal has a similar subtlety, with her vocal full of emotion and feeling, as she delivers the lyrics, without resorting to unleashing her hugely powerful voice. This allows the listener to see a more thoughtful and subtle side of both Chaka and the band, one the demonstrates that in among the funk, there’s a hugely soulful band waiting to break out.
Having had a break from their funky sound on Your Smile, they revisit on the title track Rufusized. Straight away, the track heads brightly into funk territory supreme, with a combination of keyboards, interjections from a joyous brass section and the funkiest of rhythm sections. They combine a quick beefy bass line, with bouncy drums, while rock influenced guitars soar, scream and chime. A vocal is briefly sung via a vocoder, and later, the brass section blaze, uniting in leading the track to its funky conclusion. Although the track doesn’t feature Chaka, it’s an excellent slice of funk, even with the brief inclusion of the vocoder.
I’m A Woman (I’m A Backbone) has a dramatic, funk laden track, with slow, moody, yet funk laden rhythm section combining with soaring, loud guitars that chime, while Chaka sings about the importance of a woman, her roles and her strengths. Here, Chaka certainly is the backbone of the band, at the heart of everything good, her vocal passionate, full of power and emotion. As she sings, deep backing vocals accompany her and again, the vocoder makes its presence felt, albeit relatively briefly. Meanwhile, the band provide an arrangement that’s sometimes, dark and moody, but always full of funk. Combined with Chaka’s vocal, it’s an intriguing combination, resulting in a track full of emotion, passion and atmosphere.
Straight away, from the opening bars of Right Is Right, the track bursts into life, the tempo quick, with the rhythm section, guitars and keyboards combining to mix soul, funk and rock while Chaka delivers another passionate and powerful vocals. Her vocal soars high soulfully, accompanied by a buzzing bass, wah-wah guitars, that combine with rock influenced guitar solos. Meanwhile drums that have a bouncy sound, pound, and keyboards add an authentic early seventies sound that wouldn’t sound out of place on a Blaxploitation soundtrack. This combination of three genres of music combines perfectly, producing a great track that epitomises just what made Rufus featuring Chaka Khan such a great band. Their ability to combine elements of various musical genres is demonstrated brilliantly here.
Keyboards and the rhythm section combine, producing a quick, fulsome, funky sounding introduction to Half Moon, before Chaka’s vocal enters. It’s similarly quick, with her using her vocal range powerfully, delivering the lyrics with her usual emotion and passion. Behind her, a funk masterclass is unfolding, with an organ, driving rhythm section and a mixture of chiming and soaring, screaming guitars combining masterfully. It’s a combination of uniting as a band, and improvisation, which sometimes, take the track towards a destination marked jazz. Again, there’s a rock influence present thanks to the guitar sound, but mostly funk is the order of the day. Together with Chaka’s emotive, power laden vocal, the band combine to produce a funk masterclass.
One of the tracks that was released as a single, was Please Pardon Me (You Remind Me of A Friend) which reached number six in the US R&B Charts. Once you’ve heard the track, you’ll realise just why this was such a big hit. String and brass sections, combine before piano, guitars and rhythm section combine to accompany Chaka. While the arrangement has an upbeat and bright sound, thanks to the string and brass sections, guitars and rhythm section play gently, with a subtlety. Chaka’s vocal is full of feeling, as she delivers the lyrics, constantly questioning and probing, always laden in emotion, with passion not far away. The arrangement sweeps dramatically along, with Chaka, the piano, strings and brass sections responsible for much of the drama. By the end of the track, it’s obvious that this is, by far, the best track on the album, if not one of the best the band ever recorded.
Rufusized closes with a track soul legend Bobby Womack cowrote with Pete Thomas. This version is very different from the original, with Chaka singing the song as a duet, with strings sweeping grandly in the background. The song has been slowed down, the arrangement full of drama, thanks to a combination of the funky rhythm section, grand, sweeping string sections, shimmering and chiming guitars and atmospheric keyboards. However, Chaka’s vocal is both hugely dramatic and powerful, laden in emotion, allowing her to demonstrate her considerable talent as a vocalist. As the track ends, much as I’ve enjoyed this version of the track, and enjoyed the slower tempo and arrangement full of drama and passion, I can’t help but prefer Bobby Womack’s version. However, that doesn’t mean this is a bad track, quite the opposite, it’s really good, and a fitting way to end this album.
In a previous article, I reviewed Rufus Featuring Chaka Khan, a critically acclaimed and hugely successful album from the band. This was one of the band’s later album. Although Rufusized was just the group’s third album, they’d quickly matured into a really tight band, capable of producing and combining musical styles and influences. On this album, the three main influences are funk, soul and rock, which the group combine brilliantly. These aren’t the only influences and styles. Listen carefully to the album, and especially tracks like Half Moon, and you’ll hear a jazz influence. Sometimes, three genres of music combine during one track, with elements of funk, soul and rock being apparent. This was one of the things that made the group so hugely popular. The other thing was Chaka Khan. Without her brilliant vocals, this wouldn’t have been as good an album. Her contribution and influence are huge, and it was no wonder she received the plaudits that she did. Chaka’s vocals mix power and passion, with emotion and drama. Together with some brilliant musicians who made up Rufus, they produced yet another great album, one that was certified gold, and helped make Rufus Featuring Chaka Khan one of the biggest and most popular bands of the seventies. if you’ve never heard Rufusized, I can thoroughly recommend it. It features some wonderful music, from a band at the top of their game. Standout Tracks: Once You Get Started, Pack’d My Bags, Half Moon and Please Pardon Me (You Remind Me of A Friend).
RUFUS FEATURING CHAKA KHAN-RUFUSIZED.
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CURTIS MAYFIELD-CURTIS.
CURTIS MAYFIELD-CURTIS.
By 1970, Curtis Mayfield had left The Impressions, and decided to become a solo artists. This wasn’t the only major change in his life at this time. The other change was his founding of Curtom Records, an independent record label. Curtom Records released albums by Leroy Hutson, The Impressions, Donny Hathaway and The staple singers. In September 1970, Curtom released Curtis Mayfield’s debut album Curtis. On the album was music very different to the pop-soul sound of his former group The Impressions. Instead, the music on Curtis was a combination of soul, funk and psychedelia that featured music with a social conscience, music about the politic and social problems of that time. Although the album was very different to his previous music, the album was both critically acclaimed and a huge commercial success, reaching number one on the Billboard Black Charts, where it spent five weeks at number one and number nineteen in the US Billboard 200. Two of the tracks on the album (Don’t Worry) if There’s A Hell Below, We’re All Going To Go and Move On Up, are among the most memorable songs Curtis recorded as a solo artist. Much of the music on the album reflected the problems that black America was facing politically and socially, and how they united to help deal with these problems. This was a new direction for Curtis, one he’d wanted to move his music towards, for some time. So between May and July 1970, Curtis entered the studio, producing what’s quite simply, it’s a hugely powerful album, full of social comment, that sees Curtis combine soul, funk and psychedelia.
Curtis opens with (Don’t Worry) if There’s A Hell Below, We’re All Going To Go a track that showcases Curtis’ new funk based sound. It’s an epic track, nearly eight minutes long, that opens with muted conversation, a woman talking about religion accompanied by a buzzing bass, before Curtis, like a prophet of boom forecasts our collective descent into hell. This announcement is all encompassing, regardless of race or religion. Thankfully, after this somewhat depressing opening, the sound becomes brighter, with Curtis’ voice retaining that hugely soulful sound. The arrangement is quick, sounding like something from a Blaxploitation soundtrack, with funk laden rhythm section, bursts of bright, blazing repetitive horns, lush sweeping strings, chiming guitars and keyboards. It’s a fulsome and dramatic funk laden sound, the perfect accompaniment to Curtis’ lyrics, which have a bleakness, as he forecasts the demise of us all, and our decent into the pits of hell. As the track progresses, and the arrangement grows, it’s obvious that this is a hugely powerful, dramatic almost prophetic track. Here, the lyrics are full of social comment, about the problems of the time, which Curtis’ lyrics and vocal brings to life. By the end of this compelling track, you realize that this is indeed funk laden masterpiece, full of drama, anger with Curtis acting as a nation’s social conscience.
When The Other Side of Town opens, the sound is grandiose and dramatic, sounding like something from a film soundtrack. The track opens with a sweeping piano, combining with booming dramatic drums, lush strings, blazing horns and guitars combining before Curtis’ tender vocal enters. Behind him, the powerful and dramatic arrangement provides a total contrast to his vocal. It’s humble and thoughtful, full of sadness and regret as he sings about poverty, and all the things he missed out on, never knew and never learnt about. Horns as if angry interject, blazing, while strings sweep grandly, as rhythm section, guitars and keyboards produce an arrangement that dramatically helps brings home the abject poverty, and is sympathetic to the bitterness, anger and regret that Curtis must feel. This is another hugely powerful track, one makes you angry and annoyed at the poverty some people experience and the opportunities that they miss out on.
There’s a slightly theatrical, yet dramatic sound to The Makings of You, with piano, harp, rhythm section then dramatic blazing interjections of horns make their presence felt. This seems a fitting introduction to Curtis’ hugely tender, gentle and thoughtful vocal, as he sings a song about love, against a sweeping backdrop of strings, horns, rhythm section, harp and chiming guitars. Together, they produce an arrangement that one minute has a gentle and understated strings and a harp central to the sweeping sound, the next it’s loud and powerful with horns blazing and interjecting. However, together, they produce a beautiful and fitting backdrop for an equally beautiful and gentle vocal from Curtis, on one of the album’s best tracks.
On We Are the People Who Are Darker Than Blue, Curtis addresses the problems of racism and who best to deal with it. In the song, he says that what people say, mustn’t become a self fulfilling prophecy. As the track opens, brass, strings and rhythm sections combine with piano and guitars to produce a slow arrangement, that’s full of emotion and drama. This is perfect for Curtis’ thoughtful and intelligent lyrics. Here, his voice is full emotion, rising as if anger and annoyance is just below the surface. The arrangement reflects this, with horns and drums injecting anger and drama. Later in the track, the head veers off into funk territory, after the track slows down, with drums and percussion starting this frantic, funk workout. Curtis joins in, his voice almost an early rap, as he gets across the problems and his feelings about them. After this, the track slows down, to its former tempo and sound. Like other tracks, it’s deeply moving and hugely powerful, with Curtis again, using his music to become spokesman for those effected by these problems. Here, he uses a masterful combination of soul and funk to get an important message across, and does so brilliantly and powerfully.
Earlier in this review, I said that one of Curtis’ best known tracks was Move On Up. This track has almost become synonymous with Curtis, and is one of the album’s highlights. It’s a joyous explosion of uptempo, feelgood music, that features an outstanding vocal from Curtis. Opening with Drums, horns, strings, bass and guitars, accompanying a joyful Curtis Mayfield. Horns joyous, drench the track, as they interject, while frantic drums and percussion combine and strings sweep in and out of the track. A piano plays subtly in the background, but is hardly audible. However, it’s Curtis vocal that steals the show. Together with the arrangement, it’s a joyous, celebration nearly nine minutes long, that combines elements of soul, funk and even jazz. Here, his band demonstrate just how talented and tight a band they were, heading into a funk workout, where they can each showcase their individual and collective talents. It almost becomes like a track of two parts, the first that you usually hear as a single, and the second equally good part, which is partly a funk workout. By the end of the track, you’ve been swept along by some brilliant, joyous music, that’s so catchy it’s almost infectious and laden with hooks.
Miss Black America opens with a slow piano solo, accompanied by gentle drums and percussion provides the backdrop for a telephone conversation between a father and his young daughter, who wishes to become Miss Black America when she grows up. When the conversation ends, the arrangement changes drastically, bright, blazing horns, piano, rhythm section and guitars combining to accompany Curtis, who is accompanied by backing vocalists. They soulfully unite, providing a perfect accompaniment to Curtis vocal that celebrates Miss Black America, her beauty, talent, and intelligence. The arrangement has an equally, joyous, celebratory sound, full of grand, bright horns, driving rhythm section and sweet, soulful backing vocals. Together with Curtis’ tender, yet joyful vocal, they combine to produce a hugely melodic and dramatic track, that celebrates the accomplishment of Miss Black America.
Wild and Free dramatically bursts into life, a blaze of horns, quick, driving rhythm section, harp and guitars, accompanying a powerful, emotive vocal from Curtis. Later strings sweep, grandly in, adding even more drama to this fulsome arrangement, which unfolds into waves of dramatic, powerful music. It’s a combination of interjections from horns and strings, which are at the heart of the arrangement and a rhythm section that power the track along, providing the track’s heartbeat. Guitars chime, while a harp melodically contributes. All of these instruments contribute to one of the best arrangements on Curtis. Speaking of the man, Curtis’ delivers lyrics about one of nature’s free spirits with combination of emotion and power, demonstrating his talent and versatility as a vocalist, on this great track.
Curtis closes with Give It Up, another track that’s laden in drama, with waves of emotive music revealing itself on a track that’s hugely soulful. Brass, string and rhythm sections combine with chiming guitars and keyboards, as Curtis delivers a tender, thoughtful and sometimes, powerful vocal. During the track, his voice is full of emotion, sadness and regret, as horns, strings and guitars provide an arrangement that veers between subtle and melodic and dramatic and powerful. This matches the emotion of Curtis’ lyrics, and his delivery of them, on a track that show Curtis doing what he does best, singing soul music. For some reason, this seems a fitting end to his debut album, with a track that features great vocal from one of soul and now funk music’s legends Curtis Mayfield.
As someone who has previously listened to a lot of The Impressions music, which features Curtis Mayfield, Curtis was quite a contrast when I first heard it. The music was totally different, but hugely powerful Curtis’ music dealt with the political and social problems of 1970, and he became the spokesman and social conscience of a generation of people. His music spoke for, and represented people who didn’t have a voice, and couldn’t make their feelings, protests or presence felt. In a way, Curtis’s music was like a conduit for them. Through him and his music, their worries, fears and anger was heard, not just in America, but worldwide. This demonstrates the power and potency of music, and how music can cause debate and even, cause change. On Curtis, the music may have a message, but it’s among the best music Curtis ever recorded. Together with a crack band of musicians, and over a three month period, they recorded eight great tracks. Each of these tracks is of the highest standard, featuring powerful and intelligent lyrics, great vocals from Curtis and some great arrangements. Not only did Curtis sing vocals, write each song and produce the album, but he also played several instruments, including guitar, bass, drums, piano and saxophone. He was truly a hugely talented musician, and during the seventies and eighties, he released some great albums. Sadly in August 1990, he was paralyzed from the waist down, when a lighting rig fell on top of him. Nine years later, in December 1999, Curtis died, aged just fifty-seven. Although he died far too young, the legacy he leaves behind, is some brilliant music, including his stunning and powerful debut solo album Curtis. Standout Tracks: (Don’t Worry) if There’s A Hell Below, We’re All Going To Go, The Makings of You, We Are the People Who Are Darker Than Blue and Move On Up.
CURTIS MAYFIELD-CURTIS.
SLY AND ROBBIE-SYNCOPATION.
SLY AND ROBBIE-SYNCOPATION.
A while ago, I was crate digging when I came across an album by one of the most famous rhythm sections in reggae music, Sly and Robbie. The album was Syncopation, released in 1982, and was produced by one of the most famous producers Joe Gibbs with Errol Thompson engineering the album. Having long been a fan of their music, and already owning a number of their albums, I decided to take the plunge and invest some money in an album I wasn’t familiar with. Having bougt the album, I looked forward to hearing some of their trademark rhythms on an album that is a mixture of dancehall and dub music. Safe in the knowledge that with Sly and Robbie providing the rhythms, Joe Gibbs producing the album and Errol Thompson on engineering duties, I hoped for a musical feast. Before I tell you whether this is what I enjoyed, or whether it was more famine than feast, I’ll tell you about Sly and Robbie
Over the years, Sly and Robbie had been the go to rhythm section, for various producers who wanted some great rhythms on their productions. Their work, either as musicians or producers, features on an estimated 200, 000 recordings. This is an astounding number of recordings and demonstrates how talented the duo are. Drummer Sly Dunbar first met Robbie Shakespear in the mid-seventies. Before this, Sly was the drummer for Skin, Flesh and Bones, while Robbie was the bassist for the legendary band The Aggrovators. When they met, they realized that this was indeed a meeting of minds, with both men having similar tastes in music and theories in music. This duo would go on to transform reggae music, and later, work with some of the biggest names in music.
One of the first ways they changed reggae was the introduction of a style of music with a harder beat called Rockers. This style of reggae replaced the popular one drop style of music. In the early eighties, the duo were involved in two things that helped change reggae. The first was the introduction of the rub a dub sound, and the second the introduction of computers and technology in the music making process. Island Records founder Chris Blackwell made the duo the heartbeat of the Compass Point All Stars, based in Nassau, Bahamas. It was there that they produced records for divas Grace Jones and Gwen Guthrie, as well as Joe Cocker. By the nineties and into a new century, they continued to innovate, combining genres, like dancehall and Latin music, while they collaborated with hip hop, electro and pop stars alike. Like the eighties, they were still producing and playing on a multitude of tracks, with their collaborations ranging from reggae royalty including Peter Tosh, Black Uhuru and Dennis Brown to artists ranging from Bob Dylan, Serge Gainsbourg and Carlos Santana. Even until recently, Sly and Robbie continue to record, produce and tour, and are still at the cutting edge of music working with a wide rage of artists on singles and albums alike. One of the albums Sly and Robbie recorded was Syncopation, their 1982 album, which having discovered crate digging, I put on expecting a musical feast. However, was it a musical feast or famine I discovered when I played the album?
Syncopation opens with the title track Syncopation which opens with a jarring almost discordant blast of a synth. Thankfully, after that, things improve, with the sound heading in a much more melodic direction, driven along by song subtle rhythms from the hardest working rhythm section in reggae, Sly and Robbie. They’re assisted by a brass section, who subtly punctuate the track while guitars and synths augment the sound. Throughout the track, the synths squelches and reverberates, not really adding anything to the track. If anything, it’s presence draws your attention from the rest of the track, which is pretty good, albeit it’s not the sound you’d expect to hear on a reggae album. There’s an experimental sound to the track, thanks to the duo’s fascination with the synths, and the rawness I prefer isn’t present. Having said that, it’s a good, but not great start to the album, with Sly and Robbie subtle rhythms and the brass sections contribution, being the best thing about the track.
Free Ticket To Ride sees Sly and Robbie pay homage to The Beatles, reinterpreting Ticket To Ride. The track begins with synths, bright chiming guitars, metronomic crisp drums and a strong bass line. When the vocal briefly enters, only to disappear, but reappear, it’s slightly weak, but melodic. During the track, the guitar playing is excellent, soaring and chiming, with some quick crisp solos filling out the sound. Meanwhile, the rhythms stronger than on the opening track, what I’d expect from Sly and Robbie. However, for me, the track doesn’t quite work. Part of the problem is the vocal, which is slightly weak, and doesn’t suit the arrangement, and the track itself. Here, the vocal almost seems an afterthought, and would’ve been better left of the track, with this being an instrumental. As for the song itself, I don’t think that the track works as a reggae track, it just doesn’t sound right. That’s a pity, as there are some decent rhythms and great guitar playing on the album.
After two somewhat disappointing tracks, I’m beginning to hope that the album will improve, with Earthscan the next track. Immediately, when the track opens, things are looking promising. Crisp, drum beats, percussion and a deep, booming bass line are accompanied by the brass section who create a joyous upbeat, feelgood sound. Synths make their presence felt, but don’t dominate the sound, occasionally squelching and slithering over the top of the arrangement. Effects are subtly used, delay being Joe Gibbs weapon of choice. Thankfully, this is a much better track, the rhythms are far better, the quicker tempo has a joyous, upbeat sound which has an infectiousness. Earthscan it seems, is Sly and Robbie atoning for the two previous mediocre tracks. Hopefully, the rest of Syncopation will be more like this.
Flirting In Space has a similar upbeat, bright and joyful sound to the previous track. if anything, the rhythms are stronger, crisper and much more powerful. Drums crisp, crack, reverberating, while the bass is prominent, slow and moody. Accompanying them, are bright, chiming guitars, which produce a melodic sound. It’s assisted by an organ which contributes a light, bright sound, while percussion is sparsely interjected. No effects are deployed, which is no bad thing, allowing the listener to luxuriate in some excellent rhythms, and an arrangement that’s bright, melodic, and hugely enjoyable. After two great tracks in a row, I’m almost willing to forgive Sly and Robbie for the two unsatisfactory tracks that opened the album.
Listening to Space Invaders takes me back to 1982, the year this album was produced, and when games like space invaders were the cutting edge of technology, the latest thing. Looking back, games like that haven’t aged well, but has this track? A soaring, screaming guitar is accompanied by squelchy, synths that reverberate, the brass section and some strong rhythms. The drums are still crisp, cracking powerfully, while the bass is dark and quick, producing a heavy sound. Space Invaders chugs along, a melange of guitar solos that wouldn’t sound out of place in Guitar Hero, joyful interjections from the brass section and a rhythm section that provide the track’s heartbeat. Even the synths sit well in the arrangement, with a less is more attitude taken by Joe Gibbs. Here, Joe doesn’t deploy his effects box much, but still produces another great track, which features some amazing guitar playing.
After a less than promising start to Syncopation, things have taken a turn for the better. However, always in the back of my mind is the thought that, lurking round the corner, is a car crash track. Hopefully, that’s just the pessimist in me, and that Nighthawk will be another good track. As the track opens, a piano, powerful rhythm section and multitude of beep and squeaks from a synth make their presence felt. It’s an intriguing combination, with a deep, quaking bass and metronomic drumbeats, supplemented by various sound effects, crackles, beeps and squelches thanks to they synth. This is a very different sounding track, with the power of the rhythm section sitting well with what were space age sounds in 1982. Unlike other albums which feature similar synths, this track has aged well. It doesn’t sound dated, or of its time. Instead, it’s like an acid house track, with the resulting squelches, squeaks and beeps having a sound that’s endearing and stood the test of time well. Add in some subtle effects and I’m hooked by Nighthawk. By the end of the track, I’ve come to the conclusion that this quite different sounding track, is one of the album’s highlights.
A melodic piano, squeaky synth and rhythm section open Laser Eyes, a track that sees just a modicum of delay used to transform the sound. Here, Robbie’s bass playing is excellent, slow, dark and moody, while Sly’s drumming is slow, crisp and powerful, augmented by percussion. Delay and echo are used carefully, with care being taken not to destroy the sound, just transform it slightly. Meanwhile, a piano drops in and out of the arrangement, its sound bright and melodic, a contrast to drums cracking like pistols. Here, the rhythm are strong and powerful, while guitars chime and a keyboard interjects. Its sound is a mixture of light and darkness, with the darkness tending to dominate. Having said that, it isn’t a gloomy sound, there is a melodic side to the track, in among some pulsating and sharp rhythms. However, what makes the track for me is Sly and Robbie, one of the greatest rhythm sections in reggae music, their contributions make this another great slice of dub reggae.
Syncopation closes with Flight To Nowhere which opens with bouncy drums, a joyous brass section and Robbie’s bass sometimes slow and dark, other times quick, fast and weighty. Always, his playing is accurate and sparse. Effects are used quite heavily here, echo and delay being Joe Gibbs choice of weapon. It’s a track of contrasts with the bass providing a dark, moody sound and the drum sound dulled by effects. Percussion and brass section deliver a brighter, upbeat sound. During the track, an organ plays, with effects stifling its contribution, and its beauty not shining through. When effects are deployed, it dulls the arrangement down, giving it a lovely dubby sound. My only quibble with the track is the ending. One minute the track is meandering along, the next, it grinds to a sudden halt, and Flight To Nowhere, is going nowhere indeed. However, that only detracts slightly from what is otherwise, a wholly satisfactory slice of dub.
SInce I bought Syncopation some years ago, my opinion of it hasn’t changed. It’s an album that gets of to a really mediocre start, with the opening two tracks just not up to the standard I’d expect of either Sly and Robbie or Joe Gibbs. Somewhere along the line, the quality control has gone awry. After, the first two tracks, I was beginning to think that Syncopation was going to be a pretty poor album. Thankfully, Sly and Robbie quickly got things back on track after that, with the other six tracks on the album being much better. The album was produced at a time that Sly and Robbie were incorporating computers into the music making process, and it seems that synths were very much flavor of the month. During the album, they used synths, but thankfully, didn’t overuse them, because after a while, that would begin to grate. Like most of Sly and Robbie’s music, the rhythms are strong, as you’d expect from one of the best rhythm sections in reggae music. Joining them on the album, were some talented musicians, and of course Joe Gibbs, one of reggae music’s best know producers. Together, they helped make this a good album. It isn’t a great album, merely a good album. Sly and Robbie have produced many great albums during their long career, but this isn’t vintage Sly and Robbie. Having said that, if you’re a fan of Sly and Robbie, you may enjoy the album. Should you decide to buy this album, it’s available as part of The Evolution of Dub Volume 4 box set on Greensleeves Records, along with three albums by Joe Gibbs. This is a cheap way to buy four dub albums, and will allow you to make your mind up about how good an album this is. Standout Tracks: Earthscan, Flirting In Space, Nighthawk and Laser Eyes.
SLY AND ROBBIE-SYNCOPATION.
CANDI STATON-STAND BY YOUR MAN.
CANDI STATON-STAND BY YOUR MAN.
Many people who regularly read this music blog will have realized that I’m a great lover of Southern Soul music. Two labels in particular, were the home to some of my favorite artists who during the sixties and seventies, released some of the greatest Southern Soul music ever recorded. These were Hi Records, home to Al Green, Otis Clay, O.V. Wright and Ann Peebles, all produced by the man with the midas touch, Willie Mitchell. Meanwhile, Rick Hall’s Fame Studio had Arthur Alexander, Arthur Conley, Wilson Pickett and the lady who gained the title the First Lady of Southern Soul, Candi Staton, recorded some brilliant Southern Soul music. Between 1969 and 1972, Candi released three albums and had sixteen R&B hit singles. During that period, Candi established her reputation as one of the greatest female soul singers. Her debut album was I’m Just A Prisoner released in 1969, and an album I’ve reviewed before. The album this article is about is her 1971 album, Stand By Your Man, an album that saw Candi nominated for a Grammy Award. She was nominated for her version of the title track, Stand By Your Man, which in my opinion is the definitive version. Forget Tammy Wynette’s version, Candi’s version is just so much better. Her third album entitled Candi Staton, released in 1972, was her final album for Fame. Like her previous album, one of the tracks was nominated for a Grammy Awards. In the Ghetto, a track recorded by, and synonymous with Elvis Pressley, was nominated for a Grammy. Each of the three albums feature some great music, and are a must have for anyone who loves Southern Soul music. Of the three albums, my favorite has always been Stand By Your Man, and I’ll now tell you why.
Stand By Your Man opens with the Grammy Award nominated title track, Stand By Your Man. Although Tammy Wynette’s version may be better known, this version to me, is the definitive version. The track opens with guitars, rhythm and string sections and piano combining, as Candi’s vocal enters, accompanied by backing vocalists. When Candi sings, she brings the song to life, injecting her heart and soul into the lyrics, giving a heartfelt and emotive delivery of them. Accompanying her, are backing vocalists who subtly, and soulfully unite, providing the perfect accompaniment for Candi’s stunning vocal. Behind her, the arrangement is a combination of lush, sweeping strings, piano, steady rhythm section and chiming guitars. They provide the perfect backdrop for Candi, allowing her vocal to take centre-stage, as she produces one of her best performances on the album. This is a stunning track to open a classic album. No wonder it was nominated for a Grammy Award, but how it never won, I’ll never understand
Having opened the album with such a stunning track, Candi has set the bar high. Following Stand By Your Man is no easy task. How Can I Put Out the Flame is the track that’s next, and when it opens, you immediately realize that this is another great slice of Southern Soul, albeit one that sounds as if it has its roots in gospel music. Straight away, the mood is one of sadness, when guitars, rhythm and brass sections combine with piano and organ. When Candi sings, her voice is laden in sadness, and full of drama. Her vocal is strong and powerful, sitting atop an arrangement that has set the sombre mood from the opening bars. It’s a song about love, and the difficulty of a relationship breaking up, and trying moving forward in life afterwards. Candi’s delivery of the lyrics matches the sadness of the lyrics, as if she can empathize with the lyrics she’s singing. This is what she does so well, interprets the lyrics in such a way that she almost lives them. Like the previous track, the arrangement is perfect for the song. It’s slow, melancholy, getting across the heartbreak and sadness of the lyrics. Together with Candi’s heartfelt and moving vocal, How Can I Put Out the Flame, is a worthy successor to Stand By Your Man, demonstrating just how talented a vocalist Candi Staton really is.
When I hear the slow, steady drumbeat that opens I’m Just A Prisoner (Of Your Good Lovin’), I immediately hear similarities with the drum sound on certain Phil Spector tracks. However, that’s where the comparisons end. This is very different to anything Phil Spector ever produced. Here, the track starts slowly, with the drums dominating the sound, before percussion, guitars and bass combine. After that, the tempo increases, and arrangement fills out, with chiming guitars and the rhythm and brass sections dominating the sound. Meanwhile, Candi delivers the lyrics about being hopelessly in love with a combination of power and passion. You can fail to be impressed by the way her vocal soars, as she almost screams and roars the lyrics, but not once losing control of her voice. Like the two previous tracks, it’s Candi’s vocal that steals the show. Here, she gives one of her most powerful and passionate vocals on the album, and in the process, brings this song to the life.
Me and Mrs Untrue has a much slower and melodic opening, with a Hammond organ, accompanied by the rhythm section and guitars before a trumpet plays, as if announcing the arrival of Candi. Her vocal starts of much gentler, before gradually growing in strength and power, as she sings about a secret extramarital assignation at a hotel. As her vocal grows, so does the arrangement, with grand, stirring strings sweeping, accompanied by a piano, while the brass section drench the track with sadness and atmosphere, at the almost seedy scenario Candi sings about. Candi’s delivery of the lyrics is so realistic, that you can almost imagine the scenes unfolding before your eyes. You can picture the awkwardness, the fear of being discovered and the sense of danger that the duo would be aware of. Candi allows you experience this scenario over three and a half minutes, with the help of another great arrangement from Rick Hall. Quite simply, this is easily one of the best tracks on the album, and is by far, the best version of this song that I’ve ever heard.
On the original album, the final track on the first side was Too Hurt To Cry, another song about falling out of love, and a man leaving his partner for another woman. In the song, the woman is heartbroken, having devoted her life to her man, and is so bereft, she’s too hurt to cry. This track features another outstanding vocal from Candi, full of emotion, hurt and sadness, while the arrangement has a bright, sweeping sound that’s full of dramatic peaks and troughs. A piano brightly plays, while the brass and string section combine with guitars and rhythm section as the track opens. Thereafter, the band combine lush strings, short, bright, bursts of brass, with chiming guitars and a driven rhythm section, to produce an arrangement that’s dramatic yet, melodic and catchy. Meanwhile, Candi’s vocal is dynamic, laden emotion, and delivered with power and passion, bringing home the misery and sadness of a relationship that’s gone wrong. Too Hurt To Cry is an example of the type of song Candi sung best during her years on Fame Records. It’s a gut wrenchingly sad tale of love gone awry, delivered with passion and drama, and made all the better by Rick Hall’s outstanding arrangement.
What was the second side of the album, opens with He Called Me Baby. It opens slowly and subtly, guitars chiming, while the rhythm and string sections combine before Candi sings. Her voice is quieter, understated even. This suits the lyrics, with her quieter delivery meaning you tend to focus on her voice, listening intently to the lyrics about love and loving. Having said that, she still deploys some of her immense power later on in the track, but does so sparingly. Behind her, a similarly subtle arrangement unfolds. Strings, guitars and the rhythm section demonstrate that just a few instruments can produce an arrangement full of drama and emotion. By the end of the track, Candi has given a subtle and emotional performance, that demonstrates her versatility as a vocalist. Here, she shows that whether fast or slow, loud and laden power and passion, or quiet, subtle and tender, she can deliver a song just as well.
Sweet Feeling has similarities with He Called Me Baby if you listen carefully to the drums and guitars on each track. It’s the drums and guitars that open the track, playing slowly and thoughtfully, as Candi gives a performance laden in passion and emotion, while a piano and brass section add drama to the track. As the track progresses, it just keeps getting better and better. Not only does Candi’s soaring, passionate and dramatic vocal just keep improving, but so does the arrangement. The longer it goes on, the more its drama tugs at your heartstrings. It matches the passion and drama of the vocal, and is melodic, and laden with hooks. There is an irresistibility to the track, thanks to the arrangement, and of course Candi’s vocal. This is just a hugely emotive track, and one that you just can’t get out of your head. Absolutely stunning and one of the tracks that make this a must have album in any record collection.
It’s a slow and melodic opening to To Hear You Say Your Mine, a track that has its roots in gospel music. When you hear the track, there’s only one place it could’ve been recorded, Memphis. The track opens with a flute, piano and atmospheric Hammond organ accompanying Candi’s slow, thoughtful vocal. Like every track on the album, she gives everything she has as she sings the lyrics about love and longing for someone to be yours. Behind her, Rick Hall’s arrangement is slow, atmospheric and typical of the Southern Soul sound. Guitars, rhythm and brass sections, combine with organ and piano, producing an arrangement laden with drama and emotion. Here, both Candi and the arrangement are at one, combining masterfully to produce a track that can’t fail to move even the stoniest heart.
What Would Become of Me sees piano and Hammond organ combine, before guitars and the rhythm section enter along with Candi. Her voice has an inherent sadness as she considers whether she can live without her man. As her voice rises, soaring full of sadness and emotion, the arrangement sympathetically grows. The brass section interjects, short, sad bursts, accompanied by shimmering, chiming guitars, piano and steady rhythm section. However, they’re just a conduit for Candi’s powerful, vocal laden in drama and passion. Again, she lives the lyrics, bringing home the reality of the lyrics, making the sense of loss and hopelessness almost tangible. This is something that not many vocalists can do. They can sing about it, but can’t bring the lyrics to life. That takes someone special, someone like Candi Staton. Along with Rick Hall’s sympathetic arrangement, this is a potent, powerful combination.
Stand By Your Man closes with Freedom Is Just Behind the Door. A combination of guitars, funky bass and atmospheric Hammond organ combine with drums as Candi delivers a vocal that’s full of pride, pride at her independent spirit and bravery at leaving a relationship gone wrong. Horns serenade her, wisdom and bravery, while backing vocalists soulfully interject. The Hammond organ is at the heart of a joyous arrangement, full of blazing horns and bright, chiming guitars, with drums dramatically punctuating the sound. By the end of this joyous track, you feel like shaking Candi’s hand, and saluting her bravery at casting off the shackles of her mean, mistreating man. This celebratory track is the perfect way to end Candi’s second album Stand By Your Man.
At the start of this review, I said that this was my favorite album of the three that Candi recorded for Rick Hall’s Fame Records, and said that I would tell you why. Well, the reasons are quite simple and straightforward. On the album are ten great songs, which Candi brings to life with performances laden in emotion and passion. She delivers many of the songs powerfully, others thoughtfully. During each track, she delivers the lyrics with everything she has, giving something of herself during each performance. She is by far, one of the greatest soul singers ever, able to bring a song to life, injecting feeling and emotion, and delivering the song thoughtfully or passionately. As I said earlier, Candi lives each song, and this is demonstrated perfectly on tracks like Stand By Your Man, Too Hurt To Cry and To Hear You Say Your Mine. Someone who played a big part in Candi’s success was producer Rick Hall. His production is almost flawless, and he seemed to be able to bring out the best in Candi Staton, resulting in three great albums and sixteen R&B hit singles. One group of people who we mustn’t forget, are all the musicians who played on this album. At Muscle Shoals, she worked with some of the best musicians in America, veterans of soul music who seemed to have an innate ability to play just the right notes, at just the right time. Together with Rick Hall, they helped Candi produce some of the best Southern Soul music that you’ll ever be privileged to hear. The music on Candi’s three albums for Fame is timeless, with Stand By Your Man being the best of the three. So, if you’re one of the many people who when Candi Staton is mentioned, think of her later disco classics like Young Hearts Run Free, why not discover the real Candi Staton, the woman once crowned the “first lady of Southern Soul.” Standout Tracks: Stand By Your Man, Me and Mrs Untrue, Too Hurt To Cry and To Hear You Say Your Mine.
CANDI STATON-STAND BY YOUR MAN.
DR JOHN-GRIS GRIS.
DR JOHN-GRIS GRIS.
Imagine the scenario that I’m going to describe, because it really happened, and it demonstrates that even the most experienced people in the music industry get things wrong. In January 1968, Dr John had completed his debut album Gris Gris, but when Ahmet Erteghun at Atlantic Records heard the record, he disliked the album so much, that he was reluctant to even release the album. On hearing the record, his response was “how can we market this boogaloo crap?” However, the album was released, and as Ahmet Erteghun forecasted, the album wasn’t a commercial success, failing to chart. However, since then, critics have changed their initial opinions of the album, with most modern-day reviewers recognizing the importance of Dr John’s debut album, which is a combination of psychedelia, R&B and the authentic music of the melting pot that is New Orleans. Nowadays, Gris Gris is recognized as one of the most important albums ever released, and is included in Rolling Stone magazine’s list of the 500 most important albums of all time. Since the release of Gris Gris, Dr John has released over twenty studio albums, proving that even Ahmet Erteghun sometimes got things wrong.
Before Dr John recorded his debut album, he was still Mac Rebennack, an experienced session musician, songwriter and producer, who played both rock and R&B music. In 1965, he’d relocated to Los Angeles from New Orleans because of drug problems and problems with the feds. It was there that he met a group of new Orleans session musicians, with whom he joined, playing various sessions, assisted by Harold Battiste, an arranger from New Orleans. However, Dr John wanted to make an album, but an album with a difference.
Dr John’s concept for the album was intriguing. The album was to combine the different styles of New Orleans music via a front man and lead singer called Dr John Montaine, who said he was an African potentate. He chose the name because his sister knew about Dr John Montaine. Originally, it was Ronnie Barron, a New Orleans singer, who Mac Rebennack wanted to be lead singer and take on the persona of Dr John. His manager Don Costa felt this wasn’t right for Barron’s career, so Mac Rebennack decided to don the persona of Dr John.
This was the lineup that headed into the Gold Star Studios in Los Angeles to record what would become Gris Gris. It wasn’t the best start for the band with a singer who was unprepared, and about to record their debut album. When they arrived at the recording studios, even they didn’t go smoothly. When Dr John arrived at the studio in LA, there wasn’t a studio available for him to record in, until a studio that was reserved for Sonny and Cher became free. Seizing the opportunity that came their way, seven songs were recorded, including Mama Roux and I Walk On Guilded Splinters. Once the album was completed, Dr John sent the album to his record company Atco, a subsidiary of Atlantic, where Ahmet Erteghun dismissed the album. However, since then, Gris Gris has been recognized as a hugely important, classic album, which I’ll now tell you about.
Gris Gris opens with Gris-Gris, Gumbo Ya Ya a song that epitomises Dr John’s new persona perfectly. The sound is dark, really dark, bringing to mind an atmosphere where Dr John’s candles and incense, help set the scene for Dr John, resplendent in his costume of feathers, surrounded by the paraphernalia and trinkets of his grandiose new identity, before he makes his debut as newly crowned musical potentate. A guitar soars, before a husky, whispery vocal from Dr John enters, accompanied by a multitude of otherworldly sounds, percussion and backing vocalists. It’s a mixture of psychedelia and R&B, with rhythm section, percussion and horns combining to produce a sound that is spooky, eery and just a bit unsettling. You wonder what the good Dr is hoping to achieve in this nocturnal sounding journey? Is he trying to contact long forgotten spirits, or raise the dead? Whatever, he hope to achieve, he has produced an intense, atmospheric and quite brilliant track, that’s best listened to late at night, in the dark, with someone to hold your hand when these unsettling sounds emerge from your speakers.
The unsettling, eery atmosphere continues with Danse Kalinda Ba Boom, which opens with a melange of chanted vocals, dark, booming drums, and an intense combination of prominent percussion and frenzied, repetitive vocals. Together, with mandolins, flutes and whistles, congas and guitars, Dr John takes you a walk on the dark side of New Orleans. Goodness knows what rituals are being performed in the studio given the darkness, intensity and ferocity of the music. What makes the experience even more edgy, and even dangerous, is the way the music has been separated, and different instruments and sounds can be heard from different speakers. By the end of this fascinating combination of chants, rhythms and percussive diversions, you’re hooked, in love with the music, and in awe of Dr John’s vision and bravery at releasing such and ambitious and inspirational music.
After the two previous authentic slices of the dark side of New Orleans, things change quite drastically with Mama Roux, a track that has a brighter, more traditional sound. As the track opens it’s a combination of rhythm section, guitars and percussion accompanying backing vocalists, before Dr John regales us with the tale of Mama Roux. Here, he takes on the persona of the fast talking, pseudo mythical potentate. His vocal is atmospheric, whispery, and husky, with the backing vocalists a complete contrast, their voices sweet and melodic. Behind them, a jumble of percussion, drums and guitars provide a backdrop that’s very different to previous tracks. Gone are the edgy, eery sounds and in, is a much more melodic sound. Here, Dr John demonstrates his skill as a vocalist, on a track that has a much more subtle arrangement. It’s quite simply one of the best tracks on Gris Gris, and even today, is one of Dr John’s legion of fans favorite tracks.
Danse Fambeaux begins with a mandolin playing, before some slick guitars licks join a melange of whistles, percussion and rhythm section, as if announcing the imminent arrival of backing vocalists and the newly appointed potentate Dr John. The backing vocalists unite against soulfully and spiritually before Dr John gives one of his most haunting, otherworldly vocals, seemingly embracing his new identity. His vocal one part, haunting and otherworldly, the other part theatrical and grandiose. It seems as if his new mysterious alter ego, is perfect for the mysterious concoction of psychedelia and R&B. Like the arrangement, which is a mixture of exotic and sometimes moody, percussion, haunting voodoo drums, bringing to mind visions of mystery, faux spirituality and darkness. Together, they combine magically, creating a song that’s a masterful concoction of haunting and otherworldly sounds and vocals.
When Croker Courtbullion opens, immediately, your dark gothic journey through the sights and sounds of New Orleans underbelly continues. Quickly, drums rumble and reverberate, more of those slick guitar licks, which soar and chime as a harpsichord melodically plays while percussion, and a dark moody bass combine. The tempo is quick, nearly frantic, with the track drifting towards a discordant destination, only to be rescued at the last minute. Vocals, haunting, chant, as an eery flute plays, congas quick and sharp play, as somewhere in the distance, sounds that are almost indescribable can he heard. You can hear Screaming and shrieking, dogs barking, and that’s just some of the things that you hear. Quite simply it’s an intriguing piece of music, where although you find yourself at the edge of your seat, you just must hear what happens next. Although very different, totally unorthodox, and out of step with the music of 1968, it’s unique, original and strangely, totally riveting and hugely listenable.
Distant percussion, opens the track before backing singers unite, soulfully interjecting as a banjo plays a melodic, catchy solo before Dr John sings the lyrics to Jump Sturdy. Here, if you listen carefully, there’s a hesitancy to his vocal, with him singing his lyrics either to soon, or at the wrong time. He has to stop himself, then after regaining his composure, goes again. It’s a very much warts and all version of this track, complete with percussion and dark, moody bass. Having said that, he gives a great vocal, laden in charisma and emotion, his voice loud and confident. The track lasts just under two and a half minutes, and I’ve always felt that this track could’ve been extended, made into something even better, an epic track, like the previous track. However, it’s still a great track, one of the best tracks on Gris Gris.
Gris Gris ends with another track that has long been a favorite of mine I Walk On Gilded Splinters, a track that when Dr John performs live, brings to life, injecting the sheer force of his personality and charisma into. It’s a dark, moody sound that opens the track, congas, percussion accompanied by a choir of finger-clicks that accompany Dr John’s equally mood, atmospheric vocal. When the backing vocalists enter, their voices have a distant, haunting sound, matched by a swampy, eery otherworldly arrangement. A clarinet plays, its sound haunting, while congas and percussion combine in producing one of the eeriest and moodiest arrangements on the album. However, the man that makes this the best track on the album is the former Mac Rebennack, newly anointed potentate Dr John. Quite simply, his performance is stunning, charismatic, eery and atmospheric. This is a great track to end the album, one with a great arrangement and stunning vocal.
Listening to Gris Gris, it’s a debut album like no other. One can only the look on Ahmet Erteghun at Atlantic Records when he played the album. He must have wondered what on earth was going on. However, he wasn’t the person who never saw the potential and brilliance in Gris Gris. It was only many years later, that a new generation of reviewers revisited Gris Gris with an open mind, and realized just how good an album it really is. Granted, it’s not the easiest album to listen to. Many people just don’t understand the album. I’ve loved the album since I first heard it many years ago, but many people can’t seem to “get” Gris Gris. If however, you listen to this album with an open mind, and persist with it, you’ll soon find and see the beauty of the album. The music on the album is excellent, a cosmic combination of psychedelia and R&B, which brings to live the other side of downtown New Orleans. After Gris Gris, Dr John released Babylon in 1969, Remedies in 1970 and The Sun, The Moon and The Herbs in 1971. Along with Gris Gris, these are some of the best albums Dr John released. in fact, the albums he recorded on Atco, contain some fantastic music, and if you have never heard Dr John’s music, these are a good place to start. Standout Tracks: Gris-Gris, Gumbo Ya Ya, Mama Roux, Jump Sturdy and I Walk On Gilded Splinters.
DR JOHN-GRIS GRIS.
BILLY PAUL-LET ‘EM IN.
BILLY PAUL-LET ‘EM IN.
Mention the name Billy Paul to most people, and the response is to say the least predictable, with most of them saying oh yes, he recorded Me and Mrs Jones. This is true, and provided Billy with best known hit single, from his critically acclaimed and commercially successful second album on Philadelphia International Records, 360 Degrees of Billy Paul, released in 1972. It was this album that helped make Billy Philadelphia International’s first male superstar, helping him cross into the mainstream. However, there is much more to Billy Paul than Me and Mrs Jones. During a career that started in 1968, with his debut album, Feelin’ Good At the Cadillac Club, through to the eight albums he recorded for Philadelphia International, with the help of legendary production duo Gamble and Huff, Billy Paul’s music combined elements of jazz, R&B, funk and pop.
Let ‘Em In, was Billy’s sixth album for Philadelphia International, released in 1976. The album takes its title from Billy reworking of a track made famous by Wings and written by Paul McCartney. However, Billy takes what was a somewhat average track by Wings, and rewrites the lyrics paying homage to some of the people who inspired him. Suddenly, a decidedly average, insipid song is transformed thanks to Billy’s rewritten lyrics and dynamic performance. This wasn’t the only well known song on the album which Billy would cover. Without You, written by Pete Ham and Tom Evans, and made famous by the late Harry Nilsson is also covered by Billy. Again, the original isn’t to everyone’s liking, but Billy does his best to inject some passion and emotion into a song that put the S in saccharine. When Let ‘Em In was released, it was on the back of three singles that hadn’t been a huge success, the album faired slightly better. It reached number twenty-seven in the US R&B Charts, spending seventeen weeks on the charts. Many people may think this album wasn’t a huge commercial success, but things must be taken in context. Back then, there were many great soul vocalists, even on Philadelphia International. These include Lou Rawls and Teddy Pendergrass, the latter having left Harold Melvin and The Blue Notes to pursue a solo career. Another factor was the emergence in popularity of disco, which affected sales of previously successful soul artists. Even Bobby Womack, another soul superstar, had been released by his record label. So maybe, the performance of Let “Em In wasn’t so bad after all. Thirty-five years after the album’s release, I’m going to revisit Let “Em in, and decide whether it was an album that deserved to do much better than it did.
The album opens with the title track, Let ‘Em In, with the lyrics rewritten by Billy. This version breathes new life into a track that originally, was insipid at best when performed by Wings. Straight away, the track bursts into life with pounding drums and joyous horns, before guitars and powerful bass announce the arrival of Billy Paul. When his vocal enters, it’s loud, joyful and full of emotion as he brings the song to life, with the help of a crack band of musicians. Samples are used during the track, the Reverend Martin Luther King’s inspirational words flitting in and out the track several times. During the track, horns punctuate the track, while strings sweep in the background as guitars chime and a piano plays. Together with the addition of the samples, this provides the perfect backdrop for Billy’s brilliant vocal, one that’s powerful and laden with passion and joy. It’s an outstanding track, totally different and much better than Wings’ original version.
We All Got A Mission is a track that was written by Kenneth Gamble, Leon Huff and Carl Gamble. Like many of Gamble and Huff’s tracks, it’s a song with a positive message, about changing the world, turning it around and how everyone must play their part. Matching the message is an upbeat, past-paced arrangement that combines funk and soul. Blazing horns, funky bass and drums, combine with lush, sweeping strings before Billy, accompanied by backing vocalists, delivers this message of positivity. The arrangement is dramatic and sweeping, with powerful waves of music unfolding. Billy’s rendition of the lyrics is powerful and emotive, surrounded by dramatic bursts of horns and keyboards, while the rhythm section drive the track along in a funky direction. Both the arrangement and vocal are drenched in drama, with the arrangement a dynamic mixture of elements of funk and soul.
After two tracks where the tempo has been quick, the arrangements fulsome, Billy drops the tempo just a bit, on How Good Is Your Game. Here bass and acoustic guitar open the track before drums, horns and chiming electric guitars join in, accompanying Billy and his hugely soulful backing vocalists. Throughout the track, their sweet interjections are a perfect accompaniment for his deep, charismatic voice. Strings appear, disappear and reappear, while horns briefly, blaze, as the arrangement begins to sound both lush and melodic. This is partly due to the addition of the backing vocalists, and the careful and sparing use of the strings and horns, combined with the rhythm section and chiming guitars. Since I first heard this album, this track has been one of my favorites. What makes this such a good track is the interplay between Billy and the backing vocalists, and Dexter Wansel’s arrangement of the track.
Dexter Wansel played an important part on this album, producing and arranging five songs, with two songs he’d written featuring on the album. The first is Love Won ‘t Come Easy, which he arranged and produced. As someone who has been familiar with Dexter’s music for some time, straight away, I can hear his influence on this song, which combines soul, funk and disco. When the track opens keyboards, a funk laden bass and bouncy drums, are accompanied by horns, before Billy enters, his voice higher, as he quickly sings the lyrics. Here, the arrangement sweeps along quickly, with a disco sound and feel apparent. It’s a track that you can immediately date to circa 1976, because of the arrangement. Much of this is to do with the tempo, and the way the drums, keyboards and strings sweep quickly along. Funk also makes its presence felt, via the rhythm section’s contribution, but mostly disco is the influence. Billy however, delivers the lyrics well, injecting some much needed soul into the track. By the track’s end, you wonder how we got from Let ‘Em In to Love Won’t Come Easy in just four tracks. There is a huge difference in style and quality in them. To many people, who are traditionalists, and prefer Billy’s music circa 1972, this will be an anathema to them. Personally, this is a track that I like, as I’m a fan of seventies disco music, and like Dexter’s arrangement of the track, and Billy’s very different vocal style.
Without You is a track that brings to mind numerous made for television compilations that are usually released at Christmas or Valentine’s Day. They tend to feature emotional ballads, like Nilsson’s Without You, which is the next track on the album. I’ve always thought that those type of records are only ever played by people when a relationship has broken up. I can imagine people sobbing their heart’s out, while finishing off a cheap bottle of wine, while listening to saccharine sounding songs like Without you and its ilk. When I first bought this album, and realized that Billy had covered Without You, my first reaction was why? After all, there are many songs that are much better than this. So it was with a wry smile on my face that I first listened to this track. A piano accompanies Billy as he sings the lyrics, his voice has a husky sound, as he injects emotion and sadness into the track. Quickly, the drama builds up, thanks to drums and piano, before some suitably lush strings sweep in. By now, the arrangement is drenched in sadness and emotion, Billy giving a heartfelt delivery of the track, accompanied by subtle backing vocalists. Over and over, the arrangement builds up the drama, hoping to hit a home run in the emotional stakes. This it succeeds in doing, and giving a fair assessment of the track, the arrangement is good, Billy delivers the song well, but sadly, this is just the wrong song for him. Billy needs something less saccharine, more ballsy, something that will allow him to demonstrate his considerable talents much better.
After nearly overdosing on the saccharine of Without You, Word Sure Gets Around is a much better song, a sad, melancholic ballad, that’s much more suited to Billy’s considerable talents. Here, he really demonstrates just what made him a huge star, giving a performance full of emotion and regret. A piano accompanied by horns, rhythm and string sections combine, before Billy’s vocal enters. By then, the arrangement has built up, becoming hugely dramatic, with the sound wistful and melancholic. Billy puts everything he has into the track, as if desperate to make amends for the saccharine Without You. His voice is at its soulful best, bringing the lyrics to life, as if he has lived them several times over. Dexter Wansel’s arrangement is perfect for the song, full of drama, emotive and at times, beautifully lush. Together, this is quite a potent combination, that results in one of the album’s best songs.
Trust You opens with chiming guitars and the rhythm section giving a subtle performance before a tender and gentle vocal from Billy enters. Straight away, it’s apparent this is a beautiful song, one written by two musical geniuses Gamble and Huff. Their lyrics are about being love and the way you trust your partner. They’re easily, some of the best on the album. They entrust Bobby Martin to arrange and produce the song, and he doesn’t let them down. The arrangement features some of the lushest strings on the album, some subtly soulful backing vocals with the band giving a thoughtful, understated and melodic performance that allows Billy’s vocal to shine. He gives one of his best vocals on Let ‘Em In, delivering the song thoughtfully, with a tenderness. This absolutely beautiful track makes up for Without You, and for anyone who likes loves songs, this is an example of what a love song should sound like.
Let ‘Em In closes with I Think I’ll Stay Home Today, the second song written by Dexter Wansel. This is the best of his two tracks, and like the previous track, is a song about love. The similarities don’t end there. Here, the tempo is slow, the arrangement has a beautiful sound, lush, melodic and almost sweet. Again, Billy gets an opportunity to demonstrate just how good a voice he has. He sings the lyrics with feeling, and again, with a tenderness. His vocal is accompanied by more lush, sweeping strings, bright bursts of horns, chiming guitars and a rhythm section that’s at the heart of everything good during this track. It’s a track of two parts almost, with the first four minutes the tempo slow, the arrangement sweeping along beautifully, the arrangement both lush and melodic. However, after four minutes, the track heads off in a funky direction, driven along by the rhythm section, ably assisted by strings and horns, giving the track a grand, sweeping sound. This change in direction and style, provides quite a contrast, transforming the track, and to me, makes the track even better. By the end of the track, you realize that Billy has kept one of the best tracks until last. To me, it bookmarks the album well. It started with Let ‘Em in, an outstanding, memorable track, and closes with another track that allowed Billy to display his considerable talents as vocalist.
Although when it was released in 1976, Let ‘Em In only reached number twenty-seven in the US R&B Charts, that didn’t make it a bad album. Quite the opposite. Most of the tracks on the album are really good, with Without You being the only one that I just don’t like. Yes, Billy delivers it well, and the song has a good arrangement, but to me, it’s just the wrong song for Billy. Apart from that, it’s a good album. One track, however, that may divide opinion is Love Won ‘t Come Easy, the disco influenced track produced by Dexter Wansel. Personally, it’s a track that I like, but then, I do like seventies disco music. Purists, who prefer the much more traditional Philadelphia International sound may not like the track, but it all depends on your taste. Of the other six tracks on the album, Let ‘Em In is obviously the best track. How Billy transformed what was an insipid, almost turgid track, into something dynamic and powerful is quite amazing. He was able to breath new life into a tired track, by rewriting the lyrics and with Jack Faith’s excellent arrangement. My other favorite tracks from the album are two tracks penned by Gamble and Huff We All Got A Mission and Trust You, which are both great tracks, and demonstrate that Gamble and Huff, as well as being brilliant arrangers and producers, were hugely talented songwriters. Another man who had a huge influence on the album was Dexter Wansel. His contribution was considerable, and of the five tracks he produced, four worked, the exception being Without You. I Think I’ll Stay Home Today the second track he wrote on the album was a fitting track to close the album. It featured a great vocal from Billy and good arrangement from Dexter. Overall, Let ‘Em In is an album I really enjoyed, featuring some great music from one of the most talented soul singers, Mr Billy Paul. Standout Tracks: Let ‘Em In, We All Got A Mission and I Think I’ll Stay Home Today.
BILLY PAUL-LET ‘EM IN.
THE TEMPTATIONS-PSYCHEDELIC SHACK.
THE TEMPTATIONS-PSYCHEDELIC SHACK.
When people think of The Temptations music, they think of singles like My Girl, People Get Ready and Ain’t To Proud To Beg, their early songs, released on the Motown label. This was among some of the greatest music Motown ever released, it truly was sweet soul music. However, there was much more to The Temptations music than this. By autumn 1968, and inspired by Sly and the Family Stone, The Temptations entered their psychedelic period. Many people are unaware of this period in the group’s career, and are astounded that over a two year period, and four albums, The Temptations mixed Motown with rock and psychedelia, resulting in albums where the sound was harder, and very different to their traditional sound. On the album, are hard, rocky guitars and multi-tracked drums, with sampled sound effects courtesy of synthesizers. Even the vocals, which you’d have thought sacrosanct, were transformed, via stereo-shifting.
Psychedelic Shack was the final album, by what was, the third version of the group. Whilst the album was being recorded, Paul Williams was suffering from sickle-cell disease and problems caused by addiction to alcohol over a a five year period. This meant that sometimes, he wouldn’t be able to record his vocals with Richard Street, lead singer with The Monitors, a friend of Otis Williams taking his place. As if this wasn’t bad enough, Eddie Kedricks was becoming annoyed at the way their label Motown were treating them, and there was some bad feeling between Eddie and Melvin Franklin and Paul Williams. This contributed to Eddie leaving the group in early 1971. Another thing frustrating Eddie was how little creative control the group had over their music. The only thing Norman Whitfield allowed the band creative control over, was Eddie being allowed to arrange some of the vocal harmonies on the album. Everything else was Norman Whitfield’s responsibility. He had total creative control on Psychedelic Shack. For four months, between November 1969 and February 1970, Whitfield and The Temptations worked hard, recording eight tracks. The big question however, was how would The Temptations’ fans respond to the album.
March 1970, saw Psychedelic Shack released, with the album reaching number one in the US R&B Charts, where it stayed for four weeks. Meanwhile, the album reached number nine in the US Billboard Pop Charts. Unlike today, only one single was released from the album. This was Psychedelic Shack, which reached number two in the US R&B Charts and number seven in the US R&B Charts. Psychedelic Shack marked the end of The Temptations’ psychedelic period. It was a huge commercial success, and critically acclaimed album, but just how good an album is it? Has it stood the test of time well? That’s what I’ll now tell you.
Psychedelic Shack opens with the title track, which has an unusual opening, with a door being knocked, the footsteps of someone who has strayed into unfamiliar territory, finds a record player, and upon putting the needle on the record, is greeted with the familiar strains of The Temptations number one single, I Can’t Get Next To You. Quickly, this segues into the opening bars of Psychedelic Shack, when straight away, you realise that this is very different to their previous work. From the start, guitars, rhythm section and vocals pan backwards and forwards. One minute the music moves from left to right, the next, right to left. Guitars are hard and rocky, but sometimes funky with a wah-wah sound, while drums and percussion are loud and prominent. During the track, each of The Temptations get an opportunity to sing lead vocal. The range in styles from Dennis Edwards’ tenor, Eddie Kendrick tenor/ falsetto, Paul and Otis Williams’ tenor baritone to Melvin Franklin’s bass, make this an intriguing, but still soulful, mixture of styles and sounds. Combined with an arrangement that’s a fast-paced and amazing combination, of rock, psychedelia, funk and soul, that demonstrate a very different side to The Temptations, where they create one of the earliest examples of sampling used on a track.
You Make Your Own Heaven and Hell Right Here On Earth sounds like something you’d read in a book full of cod psychology, that tells you that with positive thinking, you can change your life. However, it’s not, it’s the second track on the album, and is a song with a message. The Temptations’ message is that everyone is responsible for their own fate, and when they do right or wrong, it’s their choice. As if trying to grab the listener’s attention, dramatic, stirring strings sweep in as the track opens, creating an impressive sound. That’s even before everyone except Otis Williams, gets a chance to sing the lead vocal. The rhythm section and guitars, combine with synths, adding to an already dramatic sound, while the vocals are full of emotion and passion, as they deliver their message. This they do brilliantly, and together with an arrangement that’s a pacey combination of string laden funk and soul, and is an excellent track. Incidentally, in 1971, the track was covered by The Undisputed Truth, group Norman Whitfield had mentored.
Unlike the two previous tracks, Hum Along and Dance is a track without lyrics. It’s a track that demonstrates Norman Whitfield’s move towards the instrumentation, arrangement and production, instead of the previous reliance on vocalists. This however, didn’t go down well with The Temptations. At the start of the track, the listener is told that there “ain’t no words to the song, you just dance and hum along,” while guitars and the rhythm section combine. Thereafter, it’s a track where the group scat and improvise while an arrangement full of dramatic peaks unfolds. There’s a dynamism about the track, with drums, bass and guitars a mixture of shrieking and soulful, passionate and powerful vocals combining in dramatic bursts. After that, things slow down, becoming quieter, before again, heading towards a dramatic explosion of funk drenched music. Here, there are similarities with Sly and the Family Stone’s music, which was hugely influential to The Temptations new sound. This is a track of highs and lows. Among the highs are an arrangement full of drama, funky rhythms and a variety of vocals styles. The low is that producer Norman Whitfield never utilized the group’s skill much more on this track, or used them in a different way.
Take A Stroll Thru Your Mind sees the group sing about a subject that has long been a favorite of songwriters, marijuana. The track is almost joined to the previous track, but unlike the previous track, we see The Temptations display their vocal talents more fully, on a track that mixes psychedelia with blues. Here, The Temptations sing an ode to marijuana usage, which back then, was seen as a way to open up your mind, with the attendant dangers not yet having been discovered. An epic track, eight and a half minute long, begins with a dark and moody bass line accompanying an atmospheric vocal, which pans left to right, before drums enter the track. The arrangement has a suitably subtle arrangement backing the vocal. Later, the rest of the group sing tight vocal harmonies, with just a touch of echo affecting them. It’s only after four minutes does a screaming, soaring, guitar solo enter, accompanying some oddball vocal. Keyboards and rhythm section, join the guitars in a bluesy jam, tinged with funk. Still, the bass is at the front of the track, while behind it, blues and funk combine. By the end of the track, it has grown on me. The phrase slow burner, seems designed for this track. It takes a few listens to get into it, with the track taking a while to get going. Like several tracks on the album, it grows on you, and after a while, like me, you’ll grow to really like this track.
It’s Summer was the only ballad on Psychedelic Shack, and is a song about the beauty and positivity of summer, the things that are still to happen, the beauty and wonderment that’s still to unfold. Here, Melvin Franklin recites the lyrics while one of the best arrangement reveals itself. Strings, lush and gentle, sweep behind guitars, rhythm section and percussion, providing a backdrop for Melvin’s recital of the lyrics. Meanwhile, the rest of the group sing gentle, tight vocal harmonies. This track is one of contrasts. The deep bass of Melvin’s spoken vocal, contrasts with the lush arrangement and beautiful, sweet backing vocals. This works here, and is a good track. Personally, the track would’ve sounded better if it had been sung by the group, or another member of the band. Later, on their Solid Rock album, the group rerecorded the album, releasing it as a single.
One of the tracks that will be familiar to most people is War, a track made famous by Edwin Star. Here Paul Williams and Dennis Edwards, sing the anti-Vietnam war song. What I’ve always loved about this track is how they tackle the futility of war head on, with the line “war, what is it good for, absolutely nothing.” The track starts dramatically, with drums playing, and the group adding backing vocals, before the lead vocal enters. Soaring, chiming and screaming guitars, loud dynamic drums and a fast paced bass, drive the track along. Throughout the track, arrangement rises and falls, waves of drama unfolding against the backdrop of marching. From start to finish, the vocal is delivered emotively, a mixture of anger and passion. Anger at the lives wasted, passion that this waste of lives must stop. Both the vocal and the arrangement bring the track to life, easily making this the best track on the album. As anti-war songs go, this is one of the best, although I much prefer Edwin Starr’s version. It to me, is the definitive version of War.
The final two songs on Psychedelic Shack, You Need To Love Like I Do (Don’t You) and Friendship Train are songs that people would normally associate with Gladys Night and the Pips. Both groups recorded their versions of You Need To Love Like I Do (Don’t You) at the same time, with Gladys Night and the Pips’ version being released as a single. Eddie Kedricks sings the lead vocal on a track that opens with rhythm section, percussion, synths, guitars and horns combining, to produce an arrangement that’s dramatic and laden in funk. Here, the tempo is quick, the sound funky, with a driving rhythm section, chiming guitars, blazing horns and tight soulful vocals backing Eddie’s brilliant vocal. He delivers the lyrics with passion and emotion, accompanied by soaring, screaming guitars, while the rhythm section up their game, driving the song along ably assisted by horns. Together, they make this another of the album’s highlights. This is thanks to one of the best arrangements on the album, accompanying an outstanding vocal.
Psychedelic Shack closes with Friendship Train a track that opens with bursts of dark dramatic horns, moody bass and percussion before Dennis Edwards vocal enters. It’s a mixture of drama and joyousness, made all the better by the soulful backing vocals contributed by the rest of the group. Dennis’ message is one of positivity, to make friends, get along and get onboard the Friendship Train. Matching his vocal is an arrangement that’s, fast and funky, a melting pot of sounds and styles. This comprises hard rocky guitars, that head into funky territory, a lovely wah-wah sound emerging, accompanied by blazing, dramatic horns, fast pounding drums, funk laden bass and plentiful percussion. Together, it’s a potent and dramatic, yet funky combination, that’s the perfect way to end the album. It’s a song with an important message, one that’s still important and relevant today, as it was in 1970. Dennis Edwards’ rendition of the lyrics is thoughtful, full of emotion and drama. Combined with an arrangement that’s a fusion of funk, soul and rock, it’s one of the best tracks on the album. It seemed that The Temptations kept two great songs to end the this album, ones that you normally associate with Gladys Night and the Pips.
It’s many years since I first heard Psychedelic Shack, and it was an album that I had to listen to a few times before I really started to enjoy the album. It was so different to The Temptations earlier work, and on the album so much was going on. Since then, I’ve heard the album many times and always enjoy listening to it. If I put this on and the person hasn’t heard the album before, they usually don’t believe it’s The Temptations. Only when you show them the album cover are they convinced. On this album, The Temptations had drawn inspiration from Sly and the Family Stone, who was the master at fusing rock, soul, funk and psychedelia. With Norman Whitfield’s production skills, The Temptations reinvented themselves, and in the process, had an album that was a huge commercial success. Of the eight tracks, most are really good, with Hum Along and Dance a track where the group’s talents weren’t utilized fully and It’s Summer a good enough track, but the spoken recital of the lyrics not quite working for me. It was later rerecorded on the Solid Rock album, and released as a single. These two criticisms are just minor points, and a matter of taste. Apart from that, it’s a fine album, one that demonstrates a very different side of The Temptations, which showed just how far they’d come in just five years. Psychedelic Shack was a long way from their first three hits My Girl, Get Ready and Ain’t Too Proud To Beg. Standout Tracks: You Make Your Own Heaven and Hell Right Here On Earth, War, You Need To Love Like I Do (Don’t You) and Friendship Train.
THE TEMPTATIONS-PSYCHEDELIC SHACK.
LEON WARE-ROCKIN’ YOU ETERNALLY.
LEON WARE-ROCKIN’ YOU ETERNALLY.
Some time ago I was researching an article on Marvin Gaye and his seminal album Let’s Get It On, when I read about how Leon Ware had collaborated with Marvin on his 1976 album I Want You. This was something I’d forgotten, as it was a long time since I’d either listened to I Want You or any of Leon Ware’s music. For many years, I’ve been a fan of Leon’s music, and lurking in a dark corner of my record collection were his albums. Before I listened to them, I put on I Want You. Straight away, I realized what I’d been missing as the familiar strains of Marvin’s music washed over me, and for me, it’s an album that’s hugely underrated. However, what many people don’t realize however, is how close to releasing the album Leon was. Originally, he had planned to release I Want You as his second album, on the Motown label, but when Betty Gordy heard the demos, decided it would be a good fit for Marvin Gaye. After that, Marvin and Leon collaborated, with Marvin co-writing four songs on the album, and Leon co-producing the album. Having listened to I Want You, i turned to Leon’s music. I was spoiled for choice, as I own most of his albums. Once I’d listened to each album, it was decision time. Which of his albums would I review? It was a hard choice, but after a while, I decided to write about Rocking You Eternally, his fourth album, released on Elektra in 1981. This is one of his best albums, and features some great music. Before I tell you about the album, I’ll briefly, tell you about Leon’s career.
Leon was born in Detroit, Michigan, in 1940, and started his career in 1967 as a songwriter. During his career, he was written songs for a number of artists, including Donny Hathaway, The Miracles, The Jackson Five and The Average White Band. He also wrote I Wanna Be Where You Are for Michael Jackson in 1972 and two songs for Quincy Jones’ jazz-funk 1974 album Body Heat. However, one of his most famous tracks is one he cowrote with Minnie Riperton and Richard Rudolph, Inside My Love. This was one of two songs he cowrote on Minnie’s Adventures In Paradise album, the other being Baby, This Love I Have. Previously, I’ve written about Minnie’s career, including Adventures In Paradise, one of her best albums.
Apart from writing songs, he has produced and co-produced albums, as well as releasing eleven solo albums between 1972 and 2008. His debut solo album was entitled Leon Ware, and released in 1972. There was a gap of four years, before he released the follow-up album, Musical Massage, on Motown in 1976. That was one of his best albums, featuring some wonderful music. Leon’s only album that charted was Inside My Love released in 1979, which reached number sixty-two in the R&B Charts. The album this article is about, Rockin’ You Eternally, was released in 1981, on Elektra. After that, the gaps between Leon’s albums became greater, with him busy writing and collaborating with other artists, including Maxwell. Another seven albums followed with 2008’s Moon Ride being released on Stax. However, I like many people, prefer the music on his first four albums. To me this was his “classic” period, when the music he was releasing was of the highest quality. This includes Rockin’ You Eternally, which I’ll now tell you about.
Rockin’ You Eternally opens A Little Boogie (Hurt No One), a fast paced, uptempo track, complete with Leon singing the introduction through a vocoder, surrounded by keyboards, synths, driving rhythm section rhythm and guitars. The track progresses at breakneck speed with Leon’s joyous, but powerful vocal, sounding like the inspiration for Jamiroquai’s later music. Anyone who likes JK will love this. It’s a track that moves melodically along, with a joyful combination of synths, keyboards, funky bass, fast, pounding drums and chiming guitars, that soar. Later, strings sweep quickly in, their sound lush and sweet. During the track, Leon unleashes a vocoder made popular by groups like Kraftwerk. Unlike other tracks I’ve heard, the sound doesn’t grate with Leon deploying it subtly. By the end of what is a hook laden track, sung with power and passion, and featuring an arrangement that’s perfect for any dance-floor, you can’t help but be swept along with this joyous sounding and excellent track.
There’s no let up in the tempo as Baby Don’t Stop Me begins. Although slightly slower, it’s still a quick track, one with a full arrangement. The rhythm section, keyboards and synths open the track, their sound upbeat, a combination of soul and funk. When Leon sings, his voice is just as strong, full of character and emotion, accompanied by backing vocalists how soulfully and subtly interject. Meanwhile, a combination of funk laden bass, punchy drums, guitars and keyboards combine to produce an arrangement where space is at a premium. Like Leon, the arrangement is energetic and upbeat, made all the better by the interaction between Leon and his backing vocalists. While his vocal is loud, joyful and energetic, their interjections provide a contrast, being much gentler, melodic and much more subtle. Together with an arrangement that’s full energy, melodies and rhythms, it’s an irresistible combination. My only quibble however, is that some of the keyboards have a slightly dated eighties sound. Apart from that, it’s a great track.
It’s a lovely lush string lead sound that opens Sure Do Want You Now, with drums, synths and bass combining before Leon enters. When he does, his voice is much gentler, backed by backing vocalists. Here, we’re seeing a glimpse of another side of him, complete with a lovely lush and sweet arrangement. Although his voice is gentle, there’s a slight roughness, almost husky sound that’s can be heard. He delivers the lyrics thoughtfully and carefully, as he sings about his regrets and what he should’ve said before his girlfriend left him. Behind him, the arrangement is still string lead, with the rhythm section and synths combining with them to produce a very different arrangement to the previous tracks. Personally, this track has always been a favorite side of mine. Here, Leon demonstrates just how good a vocalist he is, delivering the lyrics with tenderly and thoughtfully. The addition of backing vocalists and the lush string lead arrangement, helps to make this track, one of the album’s highlights.
After what was a lovely gentle track, the tempo quickens with Our Time, the quickest song on the album. It’s the rhythm section, strings, percussion and keyboards that open the track, producing a sound that’s both bright and dramatic. Again, Leon’s vocal is gentler at the start, but quickly it become much louder, full of power and emotion. The arrangement seems to build, with a bass prominent in the mix, while guitars chime, and strings that wouldn’t sound out of place on a classic disco track, lushly and quickly sweep. Like previous tracks, Leon’s vocal is supplemented by backing vocalists, as an arrangement grand, and full of drama has unfolded. By now, a combination, of some hugely funky bass and chiming guitars, take the track on funk lead diversion, before it returns to grander, soulful territory, with Leon at the helm singing emotively and passionately. This a track that combines funk, soul and disco ends, and does so masterfully, thanks to a great vocal and fulsome, fast paced arrangement.
The title track, Rockin’ You Eternally, is a song that Leon cowrote with Marcus Valle, and is the slowest song on the album. It opens with a combination of bass and piano that combine to create a dark and dramatic sound, before things change when strings, keyboards and a flute combine, before Leon and his backing vocalists enter. Thankfully, the earlier dark sound has been replaced by a much brighter, melodic sound. Already, the arrangement has grown, with strings keyboards, rhythm section and horns combining to produce one of the best arrangements on the album. It’s a combination of a light, melodic, uplifting sound, with sudden bursts of drama. Here, waves of beautiful music unfold, so much so, that it’s hard to focus on particular parts of the arrangement. Much better is to consider it as a whole. Supplementing Leon’s vocal are breathy backing vocals, which seem to gasp in wonder at the beauty of the music. I’m sure that when you hear this gorgeous track, it’ll take your breath away.
Richard Rudolph, Minnie Riperton’s husband, cowrote Got To Be Loved with Marcus Valle and Leon. It’s another of the slower tracks on the album. The track opens with a Rhodes piano playing, creating that unmistakable sound. It’s joined by horns and strings, before quickly, the arrangement grows, with the rhythm section and guitars joining in. Like the arrangement, Leon’s voice grows in power, his voice strengthening, becoming louder, but thoughtful, and laden in emotion. Behind him, yet another beautiful arrangement has unfolded. It has lush, sometimes grand, sweeping sound, that although melodic, features some funky bass playing thanks to Chet Willis. As Leon sings there’s an insecurity in his voice, which matches the lyrics and the longing to be loved. When Leon’s delivery of Richard Rudolph’s lyrics is combined with the arrangement, this is a potent combination, which to me, results in one of the album’s highlights.
Don’t Stay In Our Garden is a very different sounding track, one that’s mostly instrumental. It opens with a huge variety of instruments making their presence felt. Strings, percussion, keyboards, rhythm section and guitars combining to produce a track that has a quick tempo, and a sound that’s a mixture of funk and disco. Occasionally, brief bursts of vocals sweep in, but mostly, disco strings combine with funk laden bass, quick pounding drums, and dramatic interjections from percussion and keyboards. It’s a track that wouldn’t sound out of place on a compilation of classic disco tracks. The is sweet and lush, the tempo about 122 beats per minute, perfect for any dance-floor that needs a retro sound to liven it up.
Rockin’ You Eternally closes with In Our Garden, a much slower song than the previous track. It’s a dramatic sweeping string lead track, with chiming, shimmery guitars, percussion and woodwind combining with the rhythm section before Leon’s breathy vocal enters. He sings the lyrics thoughtfully, with feeling, as the tempo quicken slightly, the same lovely lush and dramatic sound still present. By then, the drama is building, with waves of hugely beautiful music rising and falling, like waves on the sea. Leon meanwhile, gives a heartfelt rendition of the lyrics, while the rhythm section, strings, keyboards and guitars, produce the perfect backdrop for his vocal. My only concern is the inclusion of a sample, which sounds like a radio playing. It to me, slightly spoils the flow of the track. That however, is only a minor point, but after the third time, it begins to grate. Personally, this would’ve been a far better track without its inclusion. Having said that, it’s a good track, although one that could’ve been a great track, to end the album. Leon produced one of his best vocals, absolutely heartfelt, and apart from that sample, the arrangement is really good.
Although many people won’t have heard of Leon Ware, or heard any of his solo material, they may have heard some of the songs he has written for other people. If you own albums by Martin Gaye, Bobby Womack, The Jackson 5, The Miracle or The Average White Band, you may have heard one of his songs. His fourth album, Rockin’ You Eternally features some great music and demonstrated his talent singer songwriter and producer. This album features a combination of slow and fast songs, songs combine soul, funk, R&B and disco. There’s something on the album for everyone. On this album, Leon wrote or cowrote each of the songs on the album, as well as producing the album. As if that’s not enough, he contributed backing vocals on the album. Leon is truly a hugely talented man, and to me, his first four albums are among the best he has ever recorded. If you’ve never heard Leon’s music, this is a good starting point. It demonstrates his versatility as a vocalist, and his talent as a songwriter and producer. Standout Tracks: A Little Boogie (Hurt No One), Sure Do Want You Now, Rockin’ You Eternally and Got To Be Loved.
LEON WARE-ROCKIN’ YOU ETERNALLY.
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HAROLD MELVIN AND THE BLUE NOTES-WAKE UP EVERYBODY.
HAROLD MELVIN AND THE BLUE NOTES-WAKE UP EVERYBODY.
Recently, I mentioned how I was going to review a few of my favorite albums on the Philadelphia International Records label, with my first review being The O’Jays album Ship Ahoy. This got me thinking about which of the many great albums released on that label would be next. Rooting through me record collection, I came across another of the great albums released on that label, again by one of the groups synonymous with the Philadelphia Sound Harold Melvin and The Blue Notes. This was their fourth and final album for Philadelphia International, and provided the group with their most successful ever album. Released in November 1975, it reached number nine in the US Billboard 100, and gave the group their second number one R&B album. Featuring the voice of the late, great Teddy Pendergrass, this to me, is one of the groups greatest albums, coming close to rivaling their second album the brilliant, Black and Blue.
Wake Up Everybody, features one of the group’s best known songs, Don’t Leave Me This Way, which remarkably, when it was released in 1976, failed to chart in the US, but reached number five in the UK singles’ charts. It was the third of three singles released from the album, with Wake Up Everybody (Part 1) giving the group a number one single in the R&B Singles’ Charts and Tell the World How I Feel About Cha Baby reaching number seven in the R&B Singles’ Charts. With the group at the height of their success, the group changed labels, joining ABC Records. After that, they never seemed to hit the same heights. On ABC, they didn’t have access to Gamble and Huff, the two men behind the success of Philadelphia International Records, who not only produced but cowrote much of their material. Together with changes in the group’s personnel, it seemed that the four albums Harold Melvin and The Blue Notes recorded for Philadelphia International were the greatest years of the group’s career. However, since then, this music has continued to be hugely popular, with many of the groups songs being covered by numerous other artists. Having told you the background to Wake Up Everybody, I’ll now tell you just why this is such a great album.
The title track, Wake Up Everybody opens the album. It’s a song with a positive message, in the face of troubled times, with the message being that if teachers and doctors change the way they tell people things, then maybe the young people, the next generation, will listen and respond positively. Like the songs on The O’Jays album Ship Ahoy, this is music with a message, music as a force for good, music that can change and shape opinions. Waves of melodic keyboards and gentle percussion combine, before Teddy’s husky voice enters, singing the lyrics. Strings sweep, lushly in enveloping his voice, as the tempo quickens, with the music melodic, and beautiful. Behind Teddy, the rest of the band sing tight vocal harmonies, while the rhythm, brass and string sections combine with guitars and keyboards. Teddy’s charismatic and soulful voice, later strengthens, with him almost shouting, instructing the people to wake up and listen. He’s almost preaching, his voice a force for good and change. A combination of an outstanding vocal, and an arrangement that sweeps along, beautifully, melodically and lushly, make this a great track to open the album.
It’s a dramatic and powerful combination of rhythm, string and brass section, combining with guitars and keyboards that open Keep On Loving You, and greet the arrival of Teddy. When he sings, this love song, his voice is powerful, full of emotion and passion, accompanied by the rest of the group who sing the sweetest, tight vocal harmonies. Helping make this track even better, is another great arrangement form Bobby Martin. Lush strings sweep grandly, chiming guitars, and bright blazing horns accompany The Blue Notes, while drums, dramatically punctuate the track. It’s an arrangement that’s grand and powerful, but at the same time, hugely melodic and soulful. Like the previous track, Teddy’s vocal combines power and passion, with him using his full vocal range to deliver some beautiful lyrics. Overall, it’s a fantastic track, melodic, catchy, laden with passion and hooks.
Gamble and Huff cowrote You Know How To Make Me Feel So Good, one of the singles from the album. It’s a much slower track, which opens with the rhythm and string sections combining, while gentle, backing vocals soar gracefully heavenwards in unison. The track is just meandering melodically along, with the arrangement’s beauty gradually revealing itself. When Teddy’s vocal enters, it’s much more tender, and here, he’s accompanied by Sharon Paige who had joined the group. Her voice is equally, gentle and tender, and with the addition of the backing vocals, a gorgeous track is unfolding. Like previous tracks, strings play a large part in the arrangement. They drop in and out of the track, their sound sweet and even tender. There is a subtlety in the playing during the track, with chiming guitars and keyboards making their presence felt gently, while the rhythm section give an understated performance. This allows the vocal to take centre-stage, during what’s another song about love and loving. Both Teddy and Sharon Paige’s voices combine well, and are a perfect match for each other, as they deliver the lyrics. Although quite different in style to the preceding tracks, it’s a beautiful track, thanks to Teddy and Sharon’s vocal, and a lovely arrangement.
Probably the best known track on the album, and by far, my favorite track, is Don’t Leave Me This Way. This, is among the best songs the group ever recorded, and thirty-seven years later, it’s a timeless classic. Those familiar drums and keyboards opens the track, before bright, chiming guitars and sweeping strings combine with Teddy’s voice, harmonizing, before he sings the lyrics. The arrangement, is bright, grand with waves of music unfolding. Quickly, the track takes a dramatic turn, with the arrangement and Teddy’s voice building, accompanied by the rhythm, string and brass section. The Blue Notes supplement his lead vocal, which is laden with sadness and regret, as he pleads with his girlfriend not to go. There’s a desperation in his voice as he sings some of the best lyrics on the album. When it’s combined with an arrangement that’s powerful, and drenched in drama, it’s an irresistible combination. Here Teddy demonstrates just why, after leaving the group, he became a huge superstar in his own right. With a voice that’s capable of delivering a song so emotively and passionately, he was bound to succeed. However, as this classic track demonstrates, the group needed the magic touch of Gamble and Huff, to produce such brilliant music.
Another of the singles from the album was Tell the World How I Feel About Cha Baby which reached number seven in the R&B Singles’ Charts. When the track opens, it’s obvious why this track was such a huge hit. Loud pounding drums, and quick, short bursts of horns are joined by lush, sweeping strings, before Teddy becomes soul man number one, instructing everyone to join in. Quickly a joyous, feel-good track unfolds. It’s a hugely melodic, drama laden track which features a fulsome and uptempo arrangement. Strings lush and sweet sweep quickly, horns blaze in short burst, while the rhythm section drive the track along. A quick, neo-funk bass line, and those loud pounding drums sit at the front of the track, while Teddy give’s a joyful, emotive and passionate rendition of lyrics about being in love and wanting to tell the world about it, accompanied by some sweet and uplifting backing vocals. Here, Teddy surpasses himself, as do the rest of the group. They put aside their differences, and for nearly sing minutes, demonstrate just what made the Philadelphia Sound so great. This is a combination of a great performance from the Teddy and the group, Bobby Martin’s joyous yet dramatic string and rhythm section lead arrangement and of course Gamble and Huff’s magic touch when producing the track.
Like the opening track, Wake Up Everybody, To Be Free To Be What We Are, is another track with a positive message. Here the message is that, who you are and wherever you are, you can achieve anything, and be who and what you want to. For me, that was part of the attraction of the music on Philadelphia International. Not only did the music include stunning, beautiful love songs, but music with a social conscience and music with a message. A slow dark bass line opens the track, before chiming guitars, piano and strings combine, producing a bright, melodic sound that matches Teddy’s message. When Teddy’s vocal enters, it’s half-spoken, half-sung before he goes on to produce yet another vocal masterclass. His voice, has a huskiness, and when he delivers the lyrics powerfully, his voice is full of emotion, as if he really believes the message. Behind him, tight, bright and deeply soulful backing vocals accompany him. Matching both their and Teddy’s performance is a joyous and melodic, yet dramatic and almost grandiose arrangement. That’s quite acceptable, given Teddy’s brilliant performance and the important message he was delivering.
Wake Up Everybody closes with I’m Searching For A Love, which opens with drums, percussion, flute and strings combining brightly and melodically, before the brass section help the track take a dramatic turn. After that, Sharon Paige makes her second appearance on the album. Her voice is gentle, and has a sweetness, as she thoughtfully sings the lyrics. As if recognizing this, the arrangement returns to its earlier bright and melodic sound. Guitars chime, while percussion strings, keyboards and the rhythm section provide a lovely subtle backdrop for her vocal. The rest of the group sing some of the best backing vocals on the album. Their tight vocal harmonies are the perfect accompaniment for Sharon’s vocal. Later in the song, she demonstrates that her voice is strong and that like Teddy, she can deliver a song with emotion and passion. By now the arrangement has grown, with the brass section dramatically interjecting. However, still it has a lovely lush sound, beautiful and melodic. Sharon’s vocal is perfect for the lyrics about trying to find someone to love. She seem to put everything she has into her delivery. This makes this the perfect track to close what has been a great album. Like so many of the tracks on the album, it’s a combination of a great vocal delivering good lyrics and backed by an equally good arrangement, that make this such a good track.
When I listen to Wake Up Everybody, I’m immediately struck by the sheer quality of music on the album. So good are the seven songs, that any one of them could’ve been released from the album. This is easily, one of the best albums that Harold Melvin and The Blue Notes released, and having spent some time listening to the album, I can honestly say that album is as good as Black and Blue. On the album, Teddy’s voice is outstanding, and his delivery of the songs laden in passion, emotion and drama. Let’s not forget, however, that Harold Melvin and The Blue Notes wasn’t just Teddy Pendergrass. Without the other members of the group, this wouldn’t have been the same album. Yes, Teddy sung lead vocal and his contribution was huge, but the tight, vocal harmonies were part of what made the group famous and hugely popular. Sadly, after this album, they left Philadelphia International Records, and there career was never the same. Their albums weren’t as popular, and eventually, Teddy left the group, becoming a hugely successful solo artist. However, we still have the four albums they recorded between 1972 and 1975 for Philadelphia International to remember them by. Thanks to Gamble and Huff, Harold Melvin and The Blue Notes recorded some brilliant music, including what is an outstanding album Wake Up Everybody.
HAROLD MELVIN AND THE BLUE NOTES-WAKE UP EVERYBODY.
http://www.youtube.com/watch?v=L33LTxTjaho
ARETHA FRANKLIN-LADY SOUL.
ARETHA FRANKLIN-LADY SOUL.
If you were ask anyone who loves soul music to name some of the greatest female vocalists, the name Aretha Franklin wouldn’t be far from their lips. Over a recording career that has spanned fifty-five years, starting back in 1956, when aged fourteen, she released her debut album Songs of Faith, a gospel album, until her most recent album, 2011‘s Aretha: A Woman Falling Out of Love, Aretha has been one of the biggest names in soul music. During her career, she has won eighteen Grammy Awards, had twenty R&B number one singles, with ten of her albums topping the R&B Charts. During her career, she has recorded many memorable and important albums, with the albums she recorded for Atlantic Records between 1967 and 1972, among her best work. This includes I Never Loved A Man Like I Loved You, Aretha Now, Soul ’69, Young Gifted and Black and the album this article is about, Lady Soul. These album feature some of the best music Aretha ever recorded, and each of these albums were produced by Jerry Wexler, the legendary producer. Wexler also produced Ray Charles, Led Zeppelin, Bob Dylan and Dusty Springfield during his long and illustrious career.
However, when Aretha entered the Atlantic recording studios in New York, in January 1967, Jerry Wexler had assembled a band that featured some of the most talented musicians in America. On Lady Soul, Spooner Oldham played organ, Bobby Womack guitar and King Curtis tenor saxophone while the Sweet Inspirations sang backing vocals. It truly was an all-star line up, and as if that wasn’t enough, songs by Ray Charles, Don Covay, Curtis Mayfield and James Brown all can be found on the album. One of the best known and hugely successful songs, (You Make Me Feel Like) A Natural Woman, was written by Gerry Goffin, Carol King and Jerry Wexler and gave Aretha a huge hit, reaching number eight in the Pop charts. When the album was released in January 1968, it reached number one in the Black Albums Charts, number two in the Pop Charts and number three in the Jazz Albums’ Charts. Since the album was released, it has been recognized as one of the most important albums in the history of popular music. Rolling Stone magazine put Lady Soul at number eighty-four in their list of the 500 most important albums of all time. Why I hear you ask, is this such an important album? That’s what I’ll now tell you.
Lady Soul opens with Chain of Fools, which was released as a single, reaching number two in the pop charts. Since this track was recorded, it’s been a track that’s been synonymous with Aretha, becoming one of her best known, and best loved tracks. It has that familiar opening with a brief burst of guitar, before Aretha, accompanied by The Sweet Inspirations sings. Her voice is hugely powerful, laden in emotion, as she sings about a woman who has been mistreated by her partner. As Aretha sings the vocal, the backing vocalists sweetly and soulfully accompany her. Meanwhile, her band produce an equally memorable arrangement, with the rhythm section and guitars driving the song along. Drums sit at the front of the mix, and along with Tommy Cogbill on bass provide the track’s heartbeat, while guitars chime. However, it’s Aretha her outstanding and emotion ridden and soulful vocal that steals the show. Little did she know when she recorded this track, that it would become one of her most famous tracks, a true timeless classic.
James Brown and Nat Jones cowrote Money Won’t Change You, a track which opens dramatically with guitars and drums combining before Aretha’s vocal bursts powerfully into life. Like on Chain of Fools, her vocal is a mixture of controlled power and emotion.The tempo is quick, and the arrangement grows to include the rhythm and brass sections and guitars who together, create a relentless driving sound. Horns blaze, drums pound while guitars soar and chime. Backing vocalists accompany Aretha, their soulful interjections a contrast to Aretha’s powerful, emotive, soaring vocal. Here, she demonstrates how dynamic a vocalist she is, one with a good vocal range and great control over her voice. A combination of a powerful, driving arrangement and a passionate vocal, full of sincerity and emotion as she sings that money won’t change her, make this another great track from Aretha.
When you mention the song People Get Ready to most people, they associate Curtis Mayfield with the song, either as a solo artist or with The Impressions. Over the years, it has been covered by many artists, with some great covers, while other are merely good or indifferent. However, when Aretha recorded the track for her album Lady Soul, she recorded one of the best versions you’ll ever hear. Her version is soulful with a capital S. It’s a track ridden with emotion, thoughtfully and beautifully delivered by her. As the track opens, Aretha accompanied by The Sweet Inspirations, brass section and piano delivers those familiar, beautiful lyrics. When the rhythm section and guitars enter, the track gets even better, with Aretha giving the track a gorgeous gospel sound and feel. Her delivery of the track is just stunning, made all the better by the backing vocalists accompanying her. Here, Jerry Wexler’s crack band of musicians produce one of their best performances on the album. They play brilliantly, bringing the song to life, and in the process, bringing out the meaning in the almost spiritual lyrics. By the end of the track, you feel privileged to have heard such a beautiful song, such with such emotion and feeling. Truly, this is one of the best versions of the song I’ve heard, stunning.
After such a beautiful, almost spiritual song as People Get Ready, Niki Hoeky is a very different track. It opens with horns blazing, a fast accurate bass , pounding drums and soaring, chiming guitars. The track is driven along by the rhythm section before Aretha sings, giving an atmospheric and dramatic rendition of the lyrics, accompanied by The Sweet Inspirations. Their short, soulful interjections provide a contrast to Aretha’s vocal, which is high, and quick. Her voice soars heavenwards as she brings life into the lyrics about a woman whose partner is in prison. This is a very different track the previous ones. Although the tempo is really quick, the arrangement fulsome and as usual, Aretha’s vocal dramatic and emotive, the lyrics aren’t quite as good as the previous tracks. They’re good but not great. However, given that they’re having to follow truly great songs like Chain of Fools and People Get Ready, maybe that’s understandable.
Probably the most famous track from Lady Soul is (You Make Me Feel Like) A Natural Woman, another track that Aretha made her own. Regardless of whoever else has covered this track, the definitive version of the song was recorded by Aretha. This to me, is one of her finest ever recordings. As the track opens, Spooner Oldham plays piano, before Aretha starts to sing what was, a career defining song. Her voice is strong, laden in emotion and feeling, as she delivers the lyrics. The Sweet Inspirations, short soulful interjections, punctuate the track, while strings sweep grandly, and a strong, slow bass line plays. Throughout the track, the piano accompanies Aretha, who seems to be giving the performance of a lifetime. It’s a delivery that’s a mixture of passion and emotion that results in one of the most heart-achingly beautiful songs in the history of soul music. Whether she or Jerry Wexler realized the importance of the song in 1967, when it was recorded, we’ll never know. What we do know, is it’s a timeless, classic.
Since You’ve Been Gone (Sweet Sweet Baby) was the first track on side two of the original album. This was the first of two songs Aretha cowrote with Ted White, the other being the next track, Good To Me As I Am To You. What I’ve always thought strange about Lady Soul, is that side one had three of the best songs on the album. To me, it seemed side one was almost front loaded with top quality songs. Having said that, side two features some great music too. This track opens quickly, drums crashing and guitars soaring, before Aretha’s vocal enters, with bass, piano and horns accompanying her. Quickly, an arrangement that has a fulsome, sometimes joyous sound unfolds. Aretha gives a performance that’s powerful, her vocal soaring emotively, while The Sweet Inspirations backing vocals are gospel influenced. This adds a joyousness to the arrangement, albeit the lyrics are sad, a woman singing about her man leaving her. Meanwhile, the band give a performance that’s the equal of Aretha’s, a sterling combination of raw power combined with emotion and passion.
The previous track, Since You’ve Been Gone (Sweet Sweet Baby) demonstrated that Aretha, as well as being a talented singer and pianist, was also a talented songwriter. Along with Ted White, she cowrote Good To Me As I Am To You, a track that has a much subtler and quiet opening than the previous track. It’s just piano and guitar that combine before Aretha sings. This subtle backdrop suits the song, with Aretha’s voice taking centre-stage. Quickly, the arrangement grows, with the rhythm and brass sections joining, as Aretha’s vocal increases in drama, power and emotion. Likewise, the horns, drums and piano add drama to the track, attempting to match a hugely powerful, yet controlled vocal from Aretha. As she sings, he voice is passionate, but she’s almost warning her man, you’d better be good to me. By now, she’s almost bawling the lyrics, accompanied by soaring, screaming guitars and throwing in the odd whoop and holler for good measure. As the track ends, you can only admire Aretha’s controlled power, and almost aggressive vocal. She can bring a song to life, inject meaning and feeling, that other vocalists fail to do. During the track, her vocal, like the arrangement, is laden in drama, as she sings some excellent lyrics. Like I said earlier, side two has some great music on it, including this track.
Blazing horns open Come Back Baby track that has a really quick tempo, driven along by a melange of rhythm section, guitars and organ. The Sweet Inspirations live up to their name, with their sweet and soulful interjections helping inspire Aretha to deliver another stupendous slice of Southern Soul. Her voice is quick, soulful, rising and falling, a combination of restrained power and joyous emotion. Likewise, the arrangement has a joyous sound, with horns blazing, chiming and soaring, guitars played by Jimmy Johnson and Bobby Womack and a powerful rhythm section, that drive the song along. They seem to take their lead from Aretha’s quick, emotive and joyful vocal, matching her every step of the way. Between them, they do Ray Charles, who wrote this song proud. He would’ve been proud of this fantastic interpretation of one of his best known songs.
Groovin’ is a song made by the Young Rascals, who for me, recorded the definitive version of this song. However, here Aretha gives her own interpretation of the track. It begins with the rhythm section, organ and guitars combining brightly and melodically as Aretha sings. The song is slowed down, given a Southern Soul sound, with Spooner Oldham atmospherically playing organ, and The Sweet Inspirations adding gentle, subtle backing vocals. Aretha gives a much more gentle, restrained, but still hugely soulful vocal. Behind her, a beautiful arrangement is unfolding, with Spooner Oldham playing a huge part, while chiming guitars and a more restrained contribution from the rhythm section combine masterfully. Together with Aretha’s thoughtful and soulful vocal, this is one of the best versions of this song I’ve ever heard. Although not quite as good as the Young Rascals version, it’s not far off it.
Lady Soul closes with Ain’t No Way, a song written by Carolyn Franklin. It opens with piano, slow sultry horns and drums playing, before Aretha’s vocal enters. It’s hugely emotional, thoughtful and drenched in horns, with Cissy Houston contributing vocal obbligato. The Sweet Inspirations gently sing backing vocals, while rasping horns punctuate the track, and strings sweep lushly. By now the arrangement has a grand but soulful sound, with Aretha’s voice soaring emotionally and powerfully heavenwards. Behind her, one of the best arrangements on the album unfolds, one that contributes elements of a big band sound with the best soul music has to offer. This is potent and beautiful mixture, made all the better by Aretha’s brilliant vocal and a stunning contribution from Cissy Houston. It’s the perfect way to end what has been one of the best albums Aretha Franklin ever recorded.
I’ve long been a fan of Aretha Franklin and her music, and nowadays, when people draw comparisons with the younger, modern singers of today, I find this quite simply ridiculous. Their music is neither a match for Aretha’s, nor that of Candi Staton, Ann Peebles, or the older jazz singers like Billie Holliday and Nina Simone. The nearest they come to the greats, is singing about them. During Aretha’s long and illustrious career she has recored many great albums. However, like many people, it’s the music that she recorded between 1967 and 1972, for Atlantic Records that I like the most. Lady Soul was one of these albums, and featured two songs that Aretha made her own, Chain of Fools and (You Make Me Feel Like) A Natural Woman. Both songs are synonymous with Aretha, becoming two of her best known, and best loved tracks. She recorded the definitive version of both tracks, and on Lady Soul gave great interpretations of People Get Ready and Come Back Baby, tracks by Curtis Mayfield and Ray Charles. On Lady Soul, Aretha demonstrated her talents as a songwriter, co-writing two tracks with Ted White, Since You’ve Been Gone (Sweet Sweet Baby) and Good To Me As I Am To You, both of which are well written, and beautifully delivered by Aretha. If you’ve never heard Lady Soul, it’s an album that belongs in every record collection. It features Aretha Franklin at her very best. To me, it’s the perfect introduction to the career of one of the greatest female soul singers of all time. Standout Tracks: Chain of Fools, People Get Ready, (You Make Me Feel Like) A Natural Woman and Ain’t No Way.
ARETHA FRANKLIN-LADY SOUL.
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AL STEWART-YEAR OF THE CAT.
AL STEWART-YEAR OF THE CAT.
In July 1975, Al Stewart released what was his seventh studio album Year of the Cat, which was recorded at the famous Abbey Road studios in London. Like his previous album, Modern Times released in 1975, it was produced by Alan Parsons. However, unlike Modern Times. Year of the Cat was an album that would raise his profile, transforming his career, and in the process, giving him a number five album in the US Billboard 100. This was the album that helped to break Al in the US, and since its release, is considered the finest album he has released. What makes the success of the album so remarkable, is that before Al thought of titles for each of the songs on Year of the Cat, he had written and recorded all the music and orchestrations for the album. It was only then, that he thought about titles for the songs. Remarkably, he even confessed in a radio interview that sometimes, he has up to four sets of lyrics for each song. Thankfully, he chose the lyrics wisely on this album, and in doing so, produced what’s easily the best album he ever recorded. I can remember the album being released, and the next year, the title track, Year of the Cat being a hit single. It was one of these songs that was constantly on the radio, hugely catchy and totally memorable. Back in 1976 and 1977, music was changing, and changing fast. Punk was on its way, and artists like Al were perceived as yesterday’s men, by the angry young men of punk. However, thirty-five years after Al released Year of the Cat, it’s still a hugely popular album. Of all the albums Al has released, Year of the Cat remains my favorite. Although there are just nine songs on the album, they’re nine great songs, which I’ll now tell you about.
Year of the Cat opens with Lord Grenville, a track Al wrote about Sir Richard Grenville, an Elizabethan sailor and explorer. History is a subject that Al has often written about in his songs, during his long career. Acoustic guitars accompany Al’s soft voice before drums, electric guitars and bass enter. A piano and strings enter and by now, Al’s delivery of some atmospheric lyrics, which have such a strong narrative that you can almost imagine the scenes unfolding before your eyes. His lyrics paint pictures, pictures that come alive. Meanwhile, the arrangement has grown as strings, guitars, piano and the rhythm section combine masterfully to produce a beautiful slow and atmospheric arrangement. Later in the track, the arrangement builds, getting fuller and tinged with drama. It’s almost reminiscent of sea voyage across waters still and troubled. Together with Al’s lyrics which he delivers beautifully, it’s an outstanding track to open the album.
On the Border is a track that conjurs up images of smuggling, secret assignations and doubling crossing. Al admits that the song is about the rise and fall of the British Empire, with references to the Spanish Civil War. A piano plays quickly and dramatically as the track opens, before a bass quick and prominent plays and percussion enters. As Al sings, he’s accompanied by an acoustic guitar and drums, which join an arrangement that quickly builds, becoming much fuller and laden in drama and intrigue. Here, the tempo is quicker, Al’s voice is louder and stronger, the lyrics again, painting a picture and telling a story, really vividly. My only criticism of the track is that it seems to end rather quickly and suddenly. I’ve always thought that the song should be longer, as the “story” remains almost unfinished. Apart from that, this is a track that demonstrates both Al’s talent as a songwriter and vocalist.
On Midas Shadow, Al deals with the subject of money, and how business people seem to make money intuitively, and naturally. Someone who can do this, has what he calls the Midas Shadow. The track opens brightly and melodically with keyboards playing, before guitars and the rhythm section enter accompanied by subtle percussion. When Al sings, his voice is soft and gentle, as he sings about business people with the Midas Shadow traveling the world, living in hotels as they consider their next monetary conquest. Behind him, one of the most melodic arrangements on the album unfolds. Keyboards are at the heart of the arrangement, with guitars, rhythm section and percussion helping drive the track along, the arrangement rising and falling, waves of beautiful lush music emerging from your speakers. What makes this such a great track are the lyrics and Al’s delivery of them. They’re full of social comment which more than ever, are still relevant today. Al’s delivery of them bring them to life, so much so, you can visualise the scenes of greed and avarice taking place.
Sand In Your Shoes was Al’s attempt to write a radio friendly hit. The song was meant to sound like something Dylan would’ve written circa 1966, however, this isn’t quite the case. An organ, rhythm section and guitars combine, while Al’s voice is loud and full of charisma as he sings the lyrics to a catchy and melodic song. The arrangement although not quite Dylan circa 1966, has a retro sound and feel. It’s a full arrangement complete with soaring and chiming guitars, an organ that sounds like it belongs on a track from 1966, as it atmospherically plays and a driving rhythm section. Here Al attempted to replicate Bob Dylan circa 1966, but in the end, managed to create Al Stewart 1976. The arrangement although it has a retro sound, it’s both melodic and catchy, is much softer than Dylan’s sound, and Al’s voice is the total opposite of Bob’s gruff and raspy voice. In the end, he created a song that was radio friendly, and although it wasn’t released as a single, it’s one that’s melodic and really catchy.
When Al was writing the lyrics to Year of the Cat, he was struggling to come up with anything, when out of nowhere, came up with “nothing that’s forced can ever be right. If it doesn’t come naturally, leave it.” Suddenly, he felt, this was the genesis for a song. Once the song was finished, it would become one of his most popular songs. It’s a quick track, that opens with piano, guitars, rhythm section and organ combining before Al’s soft and gentle voice enters. Here, the lyrics are literate and descriptive, delivered quickly with emotion and passion. Behind him, one of the best arrangements on the album is unfolding. The tempo is quick, the sound fulsome, with guitars soloing, soaring and chiming, with a piano and organ combining brilliantly, while drums pounding, helping to drive the track along at breakneck pace. Throughout the track, there’s so much going on, all of it good. This is thanks to some hugely talented musicians. Together with Al, they all contribute towards making this easily, one of the album’s highlights.
Flying Sorcery sees Al return to his folk roots, with a track that’s what I’d associate with English folk-rock. This song sees Al sing about flying and the pioneers of aviation. The track opens with Al gently playing his acoustic guitar, ably assisted by Peter White who has long been at Al’s side playing both acoustic guitar and keyboards. After that, the arrangement opens up with organ and rhythm section joining as Al pays homage to the early aviators, conjurring up romantic images, images so strong they play like a film before your eyes. Later in the track, a harmonica adds atmosphere, as Al’s voice soars. Throughout this track, there are some beautiful guitar solos, and the band play thoughtfully, and at times, with subtlety. Other times, the arrangement is fuller, rockier, making this a track of contrasts. However, it’s Al’s lyrics and delivery of them, that make this such a great track, demonstrating Al’s talents as a songwriter supreme.
If like me, you’ve spent any time living in a hotel, during your life, Broadway Hotel is a track that you’ll be able to relate to. Al wrote the song about people who are wealthy enough to spend their lives living in hotels. Correctly, Al says that in some ways, this is like living without a past, with nothing real or tangible to show for life. The track opens slowly with Al singing accompanied by guitars, piano and rhythm section, as he sings about what must be a transient, almost surreal way to live. Quickly, the arrangement fills out, with keyboards and strings joining the arrangement, giving the track a grand sound and feel. Strings soar, while the piano plays and guitars and the rhythm section accompany them, providing a contrast. At that point, folk, rock and elements of classical music combine. The arrangement rises and falls, the tempo changing and the arrangement takes a dramatic turn as Al sings. He too, delivers the lyrics in a dramatic fashion, during what is a very different sounding track. Here, the way the strings and keyboards combine, give the track an almost grandiose sound, and together with subtle changes in tempo, it’s a track laden in drama and suspense.
Part of Al’s inspiration for One Stage Before, a song about reincarnation, was Kurt Vonnegut’s book Cat’s Cradle. When the track opens, an acoustic guitar and percussion combine, before Al sings. Immediately, it’s apparent his vocal isn’t as clear as on previous tracks, it sounds distant. Maybe this is to bring home the lyrics, especially given the subject matter. It just seems that the vocal would be just as effective without being as blurred. The arrangement meanwhile, is fast and full, even slightly dark, with guitars, rhythm section, keyboards and percussion combining with sweeping strings. Al’s vocal is thoughtful, his lyrics thought provoking and literate, and together with this slightly dark arrangement, the track moves along quickly and dramatically, with Guitars soaring, chiming and screaming, while drums pound and an organ adds atmosphere, However, by the end, I remain unconvinced about the way the vocal sounds, it’s distant and blurred. To me, it slightly spoils what would’ve been a perfectly good track. Apart from that, it’s a good track, with a dark and dramatic arrangement and intelligent, thoughtful lyrics.
The final track on the album is the best known one, Year of the Cat, a track about a man who buys a one-way bus ticket to North Africa. During his trip, he meets a girl in Casablanca, who constantly talks about years of cats. He falls asleep at her flat, misses the bus, and now stranded, decides to stay in town. Although it wasn’t his original plan, he decides to make the most of the situation. That’s the story behind what’s probably Al’s best known song. When the piano plays that familiar introduction, it’s like meeting an old friend. Guitars and rhythm section join the piano, before Al sings some of the best lyrics on the album. They’re hugely evocative, painting a picture of mysterious, almost, exotic woman, in the town Humphrey Bogart made famous. Meanwhile, the arrangement meanders magically, a mixture of piano, strings guitars and rhythm section, adding atmosphere and drama to Al’s lyrics. After four minutes an outstanding guitar solo is joined by a sultry saxophone and sweeping strings, as the track just gets better and better. As the track ends, you can see why this track was so hugely popular, and in a way, helped make Al Stewart a huge star. It’s a brilliant track, melodic, catchy and hook laden.
When Al Stewart released Year of the Cat, this was his seventh album, and although he was popular in both the UK and US, this album really transformed his career. It was a far cry from his early albums when he was a folk singer, struggling to make his way in the music industry. Although he wasn’t an overnight star, hardly anyone ever is, his career received a huge boost. The album reached number five in the US, and the single Year of the Cat, number eight. This was a huge improvement on his previous album Modern Times, which only reached number 133 in the US. Suddenly, it seemed, everyone was aware of his music, with Year of the Cat one of the most memorable songs of 1977. Al’s next album, Time Passages, released in 1978, built in the success of Year of the Cat, reaching number eight in the US Billboard 100. Since then, Al has released sixteen successful albums and continues to tour the world.However, Year of the Cat is considered his best album, and when lists of the most important albums in the history of popular music are compiled, Year of the Cat is on them. Now aged sixty-six, the dreamer with a corduroy jacket has come a long way. Standout Tracks: Lord Grenville, On the Border, Midas Shadow and Year of the Cat.
AL STEWART-YEAR OF THE CAT.
THE O’JAYS-SHIP AHOY.
THE O’JAYS-SHIP AHOY.
Recently, I wrote an article Sweet Soul Music, reviewing some of the best compilation albums which feature Philadelphia Soul. After writing that article, I decided to write some articles about my favorite albums on Philadelphia International Records, the label founded by Kenny Gamble and Leon Huff, which released so many great albums. However, I was spoiled for choice, so many great albums were there to choose from. Delving into my record collection, I decided to spend some time listening to some of my favorite albums on that great label. Having spent a considerable time listening to many great albums, my first choice is the second album that The O’Jays released, back in October 1973, Ship Ahoy. When the album was released, it was critically acclaimed, with critics loving the combination of love songs and socially aware songs. Critics thought this was one of the best albums that Gamble and Huff had produced. While The O’Jays may have sung sweetly about love, but they weren’t afraid to be the conscience of a nation, using their music to shame those who they thought were bringing their country to its knees, by their actions. Through the medium of music, politicians, corporate America and race, were all subjects that they dealt with in their music. It wasn’t just the critics that loved the album, so too did the record buying public. On Ship Ahoy’s release, it reached number one in the Black Albums’ Chart and number eleven in the Pop Albums’ Charts. By October 1974, the album was certified gold, and in August 1992, nineteen years after its release, the album was certified platinum. So popular has the album been, that it has been rereleased numerous times, with new generations clamoring to discover the powerful music that can be found on Ship Ahoy. Even today, The O’Jays music is just as relevant, as it was in 1973, and I’ll now tell you just why that’s the case.
Ship Ahoy opens with Put Your Hands Together, one of the tracks that was released as a single. It reached number two in the Black Singles Charts and number ten in the Pop Singles Charts. The song is a paean to cooperation and better days, optimism in the face of hard times. Today, in such troubled times, economically, politically and socially, The O’Jays message is just as relevant. Unlike politicians however, The O’Jays delivery is much more sweet and hugely soulful. When the track opens, the sound is dramatic, the rhythm section, guitars and keyboards combining before the vocal enters, accompanied by strings. During the track, drums pound, Anthony Jackson’s funky bass is accompanied by a wah-wah guitar, while The O’Jays spread their message of optimism, in the face of adversity. While the lead vocal soars soulfully, laden in passion and emotion, sweet, tight vocal harmonies accompany it. Throughout the track, the tempo is quick, the arrangement tight and driven along by the rhythm section, percussion, strings and guitars. However, what make this such an outstanding track is the vocals. They’re full of optimism, delivered emotionally and passionately, and hugely soulful.
The title track, Ship Ahoy is next, and it’s a song that deals with a shameful subject, slavery. Here the theme track is African people being taken captive, and being on transported on a ship as part of what was the Middle Passage of Atlantic slave trade. Originally, Gamble and Huff had hoped the track would be part of the soundtrack for the film Shaft In Africa, but this never materialised. Instead, The O’Jays recorded the track, complete with the sound of crashing waves and whips cracking to give a sense of authenticity to the hugely powerful lyrics. It’s the sound of waves crashing and whips cracking that opens the track, together with keyboards, a slow plodding bass and eventually a guitar plays with strings and drums playing. However, by then, your almost disturbed at the sounds you’ve heard and can’t help but think what it must have been like on those ships, being kidnapped and brutalized in the name of commerce. It’s a barbaric , and when the vocal enters, the group sing tight harmonies, their voices loud, tinged in anger at what happened. Then, when the lead vocal enters, the arrangement takes a hugely dramatic turn. Stirring, dramatic and pounding drums, strings sweep in loud and grand, while horns punctuate the track, adding further drama and emotion. Later, guitars soar, screaming and screeching, as if empathizing with the pain suffered. It’s impossible not to be moved by the lyrics, and the way they’re delivered. Like the arrangement, they bring the lyrics to life, and such is the power of the music, that by the end, you feel hugely moved, angry and ultimately ashamed. To be able to achieve these emotions through the power of soul music, is testament to the talent of The O’Jays and Gamble and Huff.
The Air That I Breathe has a slightly Latin sound and feel as percussion, horns, rhythm section and guitars open the track. This is a much brighter, uplifting song, after the hugely thoughtful and moving Ship Ahoy. When the vocal enters, it has a joyous quality, soaring heavenwards, punctuated by horns, drums and piano. However, there’s a message behind the track again, this time about pollution and the poor quality of the air they were breathing. Somehow, The O’Jays were able to get their message across in a way that the song has an uplifting and joyous sound. This is tinged in drama thanks to the drums and horns interjecting throughout the track. As usual, the vocal is hugely soulful, full of emotion and passion, with the lead vocal being accompanied by some beautiful tight vocal harmonies. However, just below the surface, is anger and resentment, at such a basic thing as air being unclean. Like the opening track, Put Your Hands Together, their message is one of optimism, hoping things will improve. By the end of the track, you can only salute The O’Jays for managing to get their message across in such a deeply soulful and melodic way, via such a great song.
Bunny Sigler cowrote the previous track with Kenny Gamble, and he also wrote You Got the Hooks In Me, which was the track that closed side one of the original album. A piano slowly and gently plays, before the vocal enters, accompanied by drums and short sharp bursts of organ. The tempo is slow, the playing subtle, before quickly, the track unfolds. When it does, the lead vocal soars, accompanied by some lovely vocal harmonies. They’re surrounded by horns, piano and the rhythm and string section. Together, they create an arrangement that’s both lush and dramatic. Meanwhile, a hugely emotional vocal appears. However, who or what has their in hooks in the character in the song? Given the emotion, passion and sadness, it’s obviously a song about love, and a relationship that’s gone south. Like the previous tracks, the arrangement and vocals are of the highest quality. Here, a mixture of a fulsome arrangement and vocal laden in drama, emotion and passion make this just the latest great song on Ship Ahoy.
For the Love of Money was the other single released from Ship Ahoy, and it reached number three in the Black Singles’ Charts and number nine in the Pop Singles’ Charts. The track is another protest song, this time against the materialism that was blighting the US and other countries. During the track, Anthony Jackson contributes one of the most famous bass lines in popular music. It’s truly outstanding, funktastic, and since then, that bass line can be found on numerous tracks by rap and hip hop artists. Originally, the track was written around the bass line, and if you like good bass lines, then this a track you must hear. Straight away, that bass line can be heard, it’s fast and funky, surrounded by crisp crashing cymbals, pounding drums, horns and backing vocals, yelling “money” over and over. When the lead vocal enters, it’s strong, loud and angry, at people’s love of money. Meanwhile, a masterclass in funky bass playing is taking place, while the arrangement mixes elements of soul and fink masterfully. A combination of soaring guitars solos, loud, angry, drums, percussion and horns accompany a vocal that’s one part passion and one part restrained anger. Together, they create an arrangement where waves of music rise and fall. Three things make this such a powerful track, the lyrics, which are still relevant today, that outstanding bass line and a vocal laden in emotion and frustration at people’s greed.
After such a powerful track, Now That We’ve Found Love allows the listen to literally draw breath. It’s a beautiful, lush love song, with another great arrangement by Gamble and Huff, and one of the best vocals on the album. This is what many people think of when The O’Jays are mentioned, beautiful love songs. They aren’t aware of their socially aware protest songs. Keyboards, percussion and drums melodically play, before tight and sweet vocal harmonies enter. The lead vocal then takes centre-stage, with a heartfelt delivery of the lyrics, which preach forgiveness, and are swathed in lush strings and horns. Like previous tracks, the arrangement is a mixture of lush and dramatic, and together with those sweet vocal harmonies, this is a potent mixture, producing one of the most beautiful love songs The O’Jays ever recorded.
Don’t Call Me Brother is another protest song, and finds The O’Jays at their angriest, when they sing about the false claims of racial harmony from people who would just as soon stab you in the back. When the track opens, it’s a lovely gentle and melodic sound that greets you, an example of how to play subtly, with drums, guitars, keyboards and horns combining with lush strings. Then when loud drums, dramatically, punctuate the track, the group sings tight vocal harmonies bringing to mind both gospel and doo wop. Against a by now, much more subtle and melodic backdrop, the lead vocal angrily delivers the lyrics, singing about the hypocrites and falsities of politicians and leaders. The arrangement, like the anger and frustration, builds up, reaching a dramatic musical crescendo where drums, horns, strings and guitars punctuate the sound, before as if spent, it returns to a much more gentle and melodic sound. For nearly nine minutes, The O’Jays vent their anger and frustration brilliantly, using their brilliant soulful and melodic voices to get an important message across. Their voices soar, laden in passion, full of anger and frustration, at man’s inhumanity to man. By the end of the track, it’s impossible to not be touched and moved by their message, and in the process, they’ve produced a brilliant track, easily one of the album’s best.
The final track on Ship Ahoy is People Keep Tellin’ Me, a track that is an upbeat and uplifting track, very different from the preceding track, Don’t Call Me Brother. Strings, rhythm section, guitar and keyboards combine brightly and melodically as the track opens. Straight away, you can sense this song is something special, and that’s even before the sweet vocal harmonies enter. After that, the lead vocal takes over, giving a joyous and emotional delivery of the lyrics. This is made even better by some lovely tight harmonies accompanying it. Behind them, strings sweep, as a really fast and funky bass line sits at the bottom of the mix, and together with drums and chiming guitars drive the track along. A combination of a sweet, soulful vocals and an arrangement that’s catchy, melodic and hook laden make this an irresistible song. Just as Put Your Hands Together was the perfect way to open the album, this is the perfect way to close the album. It closes the album with a song that’s uplifting, melodic and totally memorable.
Ship Ahoy may only have been The O’Jays second album, but by then, they were seasoned performers, the group having been formed in 1963. Over the previous ten years, they’d refined their sound, with those sweet, tight vocal harmonies becoming huge polished and deeply soulful. On this album, The O’Jays mixed some beautiful love songs with songs that were full of social comment, protests and restrained anger. There were songs about slavery, racial discrimination materialism and greed and even the poor quality of air. However, they were also preaching a message of optimism and togetherness, and like the other subjects, these subjects and messages are just as relevant in 2011 as they were in 1973. Still people are seduced by materialism, greedy for money and willing to do anything to gain even more. Sadly, racial discrimination, like many other forms of discrimination is prevalent, and the backstabbers mentioned in Don’t Call Me Brother, are still around, still causing trouble, when they claim to be a force for good and harmony. During the album, The O’Jays sing emotionally and passionately, but just below the surface, tension, frustration and anger is palpable, at the various problems that faced society. Thankfully, when they sing the love songs on the album, we hear the side of The O’Jays that most people are aware of. This is the side that sing the most beautiful love songs, with tight vocal harmonies and soaring lead vocal, laden with emotion and passion. There are several such songs on Ship Ahoy, and together with the more socially aware songs, this is an album that deserves a place in every record collection. It’s one of the best soul albums of the seventies, featuring one of the best bands in soul music The O’Jays. Standout Tracks: Put Your Hands Together, Ship Ahoy, Now That We’ve Found Love and Don’t Call Me Brother.
THE O’JAYS-SHIP AHOY.
BACK TO LOVE- THE HED KANDI YEARS 1999-2005.
BACK TO LOVE- THE HED KANDI YEARS 1999-2005.
Back in 1999, it seemed that there were numerous high quality compilations vying for your attention, and ultimately your money when you entered your local record shop. One of the compilations that I happened to chance upon, was the Back To Love series. Compiled by Mark Doyle, Back To Love was named after his successful club night. It looked back to the late eighties and early nineties, and over two discs, delivered some old school dance-floor classics. Prior to “discovering” the Back To Love compilations, I’d been aware of the Hed Kandi label, which was founded by Jazz FM in 1997 releasing their first compilation Nu Cool in 1999. That year, 1999, was a huge year for Hed Kandi, with three of their most popular and successful compilations being launched. These three compilations were Back To Love, Serve Chilled and Winter Chill. In a previous article on downtempo music, I’ve written about Serve Chilled and Winter Chill, both great compilations, which featured some of the best downtempo music of the time.
However, Back To Love was a compilation series that struck a nerve with many people. It brought back a sense of nostalgia, for people who remembered with fondness, the heady days of Acid House, and the eclectic music policy of the time. Back To Love and the subsequent compilations, recreated this eclectic music policy, with a mixture of musical genres happily, sitting side by side. Acid House, disco soul, funk and house music featured on the albums, and for many people, it brought back hedonistic nights of frenzied dancing until dawn in warehouses. After the success of the first volume, each year brought a new installment, with people awaiting eagerly, to here what hidden gems Mark Doyle would earth. Sometimes hidden gems sat next to familiar tracks, the only thing they had in common being their quality. I for one, loved this series, and will now review my favorite albums in the series, and my three favourite tracks from each of the volumes between 1999 and 2005, which to me, were the greatest years in the Back To Love series.
BACK TO LOVE.
The first installment in the Back To Love series was released in 1999. It wasn’t just the quality of the music that made the album stand out for me, it was the artwork. Like many of the covers, it was designed by Jason Brooks, who subsequently, would design most of the Hed Kandi album covers. Volume one featured twenty-two tracks over the two discs, with tracks by Rufus and Chaka Khan, Frankie Knuckles, Alison Limerick and Gwen McRae sitting side by side. This was a really eclectic selection of dance-floor classics which Mark Doyle had compiled, of which I’ll choose my favorite three tracks.
Ain’t Nobody by Rufus and Chaka Khan is my first choice, a classic funk track from the hugely successful seventies band which made Chaka Khan a household name. Being able to license such a huge track, showed how determined Mark and Hed Kandi were about making the series a success. Keyboards gradually get louder, building up, the volume and drama increasing play, before the rhythm section and guitars join in. When Chaka sings, her voice is strong and charismatic, a mixture of power, passion and soulfulness. Behind her, the arrangement has grown, and is a mixture of soaring and chiming guitars, funky bass and pounding drums, ably assisted by keyboards. Meanwhile Chaka gives a vocal masterclass, her voice powerfully and soulfully delivering the lyrics, her voice soaring heavenwards, full of passion and drama. For me, this is easily one of the highlights of the album, a track that features an arrangement that fuses funk and soul, with an outstanding vocal from a true diva.
Tears (Classic Vocal) by Frankie Knuckles presents Satoshi Tomiie, is a Chicago House track from one of the men who helped create and popularise the genre. It’s also a track that was hugely popular in the Acid House years. Drums crisp and quick pound, while a crisp cymbal accompanies them. They’re joined by the atmospheric vocal, while squelchy synths briefly interject. Keyboards, percussion and backing vocalists join, and by now, the tempo is perfect for the dance-floor, 120 beats per minute. As the track progresses, the lead vocal is joined by a powerful, roaring backing vocal, which gives way to whispery, then hugely atmospheric vocal. A mixture of great vocal, sitting atop fast beats, accompanied by synths and strings, combine to make a true dance-floor classic. It’s a track that has everything you could possibly want, made by a true pioneer and innovator Mr Frankie Knuckles.
Musical Freedom by Paul Simpson featuring Adeva and Carmen Marie is my final choice from this volume, and is a track that brings to mind piano house. Like the previous track from Adeva and Carmen Marie. It’s a vocal that has its roots in soul and gospel, that opens the track, accompanied by piano, quick crisp beats, guitar and a strong bass line. Strings sweep in later, and percussion helps fill out the sound, giving the track a really joyous sound. A sample of Martin Luther King interjects briefly, and later further vocal samples appear and disappear. Throughout the track, samples, instruments and vocals appear, disappear and reappear, helping create a fantastic arrangement that’s fast, full and impossible to second guess what’ll happen next. However, what makes the track is the vocal, it’s loud and powerful, but hugely soulful and joyous, full of emotion and passion.
Listening to this volume of Back To Love it’s hard to believe that it was twelve years ago, when it was first released. It’s an album that’s full of an eclectic selection of music. All of them are of the highest quality, and all bring back good memories. Mark Doyle managed to compile an album that mixed familiar tracks with ones that weren’t so well known. On the album are tracks from some big names, Rufus and Chaka Khan, Frankie Knuckles and Jamiroquai which was quite a coup for both him and Hed Kandi. However, after such a good selection of tracks, would Volume 2 be as good? Standout Tracks: Ain’t Nobody by Rufus and Chaka Khan, Tears (Classic Vocal) by Frankie Knuckles presents Satoshi Tomiie and Musical Freedom by Paul Simpson featuring Adeva and Carmen Marie.
BACK TO LOVE.
BACK TO LOVE 2.
Back To Love 2 was released in 2000, and after such a successful and well received first volume, many people thought it was going to be difficult to produce as good an album. However, they were wrong. Volume 2 saw even more big names on the album, with De La Soul, Soul II Soul, Lil’ Louis, Archie Bell and the Drells and The Source featuring Candi Staton. Unlike many similar compilations, Back To Love actually got better on Volume 2, with twenty-five wonderful eclectic tracks. Mark Doyle it seemed, had the midas touch, with Back To Love, Serve Chilled and Winter Chill all releasing second volumes, and each compilation keeping up the same high standards they set on Volume 1. Choosing three tracks from this volume is difficult, such is the quality, but here are my selections.
You’ve Got the Love by The Source featuring Candi Staton revitalized Candi’s career, introducing her music to another generation of music fans. Previously, I’ve written about I’m Just A Prisoner, one of her early Southern Soul albums, and little did she know back then, that she’d record a million selling dance hit. A synth quickly plays, before Candi sings, her voice still as good, still as soulful, as she’s accompanied by drumbeats, synths and fingers clicking. Behind the lead synth, drumbeats and vocal, further synths sweep in, as the tempo is fast, the sound gloriously repetitive and steeped in drama. Candi however, steals the show, giving a vocal that’s both thoughtful and emotional, yet soulful and passionate. Although very different to her previous work, The Source helped revitalize her career and in the process, produced a brilliant track.
Let No Man Put Asunder by First Choice is a classic Salsoul track, which bursts into life with the rhythm section, keyboards, strings combining before the vocal enters. Its entrance is signaled by a dramatic burst of drums and strings. The vocal is loud, strong and hugely soulful. Straight away, you realize that something special is about to unfold. You aren’t disappointed. Here, the vocal is brilliant, laden with emotion and drama, it’s accompanied by handclaps, rhythm section, strings and backing vocalists. They provide the perfect backdrop for the vocal. From there on, the track flows beautifully along, strings lush, sweeping, while the rhythm section, guitars, percussion and handclaps drive the song along, the track combining elements of soul, funk and Latin to create a dance-floor classic.
French Kiss (Original Mix) by Lil’ Louis is another track that was hugely popular in the heady days of Acid House. A squelchy synth and fast, pounding drumbeats reverberate, before percussion and more squelchy, echoey synths and handclaps join the fray. By now the tempo is fast, the arrangement repetitive, perfect for dancing to in a dark and hot warehouse along with thousands of other strangers. Eventually, the tempo slows slightly as an erotic sounding vocal enters. This changes the track totally, with the tempo gradually building up the synths become fast and frantic, accompanied by a multitude of faux erotic groans and moans. In some ways, the track has taken a comedic turn, due to the “vocal” and its propensity to make you smile and laugh at its falsity. Meanwhile the synths and beats drive the track along as the “vocal” exits stage left. However, Lil’ Louis produced a memorable track, one that if you put it on, will either bring a smile or a look of shock to the people who are listening to it. One thing, don’t play it to anyone over seventy, the shock might kill them!
The follow up to Back To Love, if anything, was even better than the original It featured an eclectic range of music, ranging from Chicago House to funk, and Salsoul to hip-hop. Mark Doyle replicated the eclectic music policy of a classic Acid House night, where anything goes, as long as you can dance to it. It was always going to be difficult to follow up such a good compilation as Back To Love, however, one year later, Mark Doyle managed to do so. Personally, my fear was that having produced two good compilations that maybe, he would quickly rush out a third volume, like other labels had done with previously successful compilations. This proved fatal, with quality suffering, and in the process, alienating loyal fans. Thankfully, Mark resisted the temptation to do so, and it was another year until the next volume hit the shops: Standout Tracks: You’ve Got the Love by The Source featuring Candi Staton, Let No Man Put Asunder by First Choice and French Kiss (Original Mix) by Lil’ Louis.
BACK TO LOVE 2.
BACK TO LOVE 3.
Back To Love 3 arrived in record shops in 2001, a year that was to prove busy for Hed Kandi. Although they weren’t launching new compilations, they had numerous successful compilations that were releasing new volumes. This included Beach House, Disco Heaven, Serve Chilled and Winter Chill. All of these compilations were the brainchild of Mark Doyle, Hed Kandi supremo. The worry for me, was whether the ever increasing quantity of compilations, would affect the quality of previously successful ones, including Serve Chilled, Winter Chill and Back To Love. However, I needn’t have worried, as Back To Love 3 had an eclectic range of music, from some big names. Incognito, Frankie Knuckles, Dan Hartman, Shannon and Grandmaster Flash were some of the names on the compilation. Thankfully, there was no dip in quality, and again, choosing just three tracks is difficult.
Voodoo Ray (Rham On Acid Remix) by A Guy Called Gerald is my first choice and it begins with a female vocal ad-libbing, accompanied by pounding, electronic sounding drums, before a squelchy synth line appears. It has a slight echoey sound, as the vocal sits above the drums and synth. Later, a male vocal cuts in, repeating Voodoo Ray over the female vocal. The arrangement gets fuller, various samples accompanying the synths, drums and vocals. Sounds and samples flit in and out of the track, which is perfectly suited for the dance-floor. Its tempo is 120 beats per minute, the sound nicely repetitive, with a lovely hypnotic and catchy sound. Although Voodoo Ray was one of the early Acid House tracks, made at home using just a synth and samples. Rumor has it when it was first played at The Hacienda, the DJ announced the track as by “a guy called Gerald” and after that, the name stuck, and the track and future tracks, were released using this name. However, Voodoo Ray has stood the test of time well and although over twenty years old, still sounds great today.
Vertigo/Relight My Fire (Original 12” Version) by Dan Hartman is a track that combines elements of disco with Acid House. Here, when the track opens, keyboards gradually play, accompanied by crisp, pounding beats, with squelchy synths sweeping over the arrangement. Although made well before Acid House, the drumbeats and synths wouldn’t sound out of place on an eighties Acid House track. Later, strings sweep in, their sound lush and sweet. Gradually, the track builds dramatically up with drumbeats, strings and keyboards combining with percussion before Dan sings the vocal, his voice high and emotional. He’s joined by backing vocalists, as the dramatic and lush sounding arrangement plays behind him. A female backing vocalist takes over the lead vocal, her voice drenched in passion and emotion, sounding totally joyous. When Dan rejoins, they shows aging boy bands how the song should sound. The sound is utterly joyous, nearly ten minutes of brilliant music which just can’t fail lift your spirits. Absolutely brilliant.
Let the Music Play (Original 12” Mix) by Shannon is my final choice from this volume. For me, this track epitomizes the anything goes music policy of Acid House. It’s keyboards and drums that opens the track, producing a sound that’s melodic, catchy and full of hooks, but reminiscent of the eighties electronic sound with Acid House sounding synths. When Shannon sings, her voice is high and clear and she sings the lyrics well. This version isn’t the original single, it’s a remix for the 12 inch version. Although the arrangement sounds slightly dated, it’s still a great track that features a good vocal from Shannon, and can still fill any dance-floor.
So, Back To Love 3 kept up the high standard set on the two previous volumes. When the album was released, I thought that this volume of was the best so far. I haven’t changed my find in the intervening ten years. Looking at the standard of music on the album, it’s full of great tracks, from some huge names. They’re a mixture of artists from different eras and genres. Shannon and Dan Hartman contributed disco, Grandmaster Flash classic hip-hop, Frankie Knuckles Chicago house and A Guy Called Gerald an Acid House gem. Overall, the album was a huge success, and it seemed that the series was going from strength to strength. Mark Doyle it seemed, was a man who could do no wrong. However, could that last? Standout Tracks: Voodoo Ray (Rham On Acid Remix) by A Guy Called Gerald, Vertigo/Relight My Fire (Original 12” Version) by Dan Hartman and Let the Music Play (Original 12” Mix) by Shannon.
BACK TO LOVE 3.
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BACK TO LOVE 03.03.
My next choice from the Back To Love series is the volume that was released back in 2003, Back To Love 03.03. Over two discs were tracks from Frankie Knuckles, Greg Diamond and Bionic Boogie, Mount Rushmore and Mantronix. This was the fifth volume of the series, and again, it featured a wide range of artists and across the musical genres. The quality was still high, but by now, Hed Kandi were releasing a huge amount of compilations. I for one, feared that from now on, this would begin to impact on quality, as it seemed every time you went into a record shop, another new release from Hed Kandi was there. However, still, the quality was there, and as usual, picking just three tracks, wasn’t easy.
Gypsy Woman (She’s Homeless) (Basement Boy Strip To the Bone Mix) by Crystal Waters is my first choice and was a huge hit when it was originally released, hugely popular in clubs and on radio. A keyboard plays the introduction before the vocal enters, and immediately, you’re transported back years, by this familiar track. The vocal is charismatic, accompanied by loud drumbeats, while the keyboards play the melody. Percussion plays as the tempo is quick, the beats, loud and the vocal a mixture of ad-libbing and traditional vocal. It’s a track with a feel-good sound, that’s melodic and hook laden. It’s one of those tracks that once you’ve heard it, you can’t get in out of your head. Although this is a remix, it adds something to the original, turning it into a hugely fast track, about 158 beats per minute, where the beats are loud and pounding, with percussion and keyboards accompanying a charismatic vocal. Overall, it’s a great track, melodic and hook laden.
Hot Butterfly by Gregg Diamond and Bionic Boogie is a classic disco track, one that features a lovely lush, sweeping arrangement and strong vocal. Dramatic drums, sweeping strings and keyboards accompanies Gregg’s strong and emotional vocal. Backing vocalists, a quick prominent bass, percussion and horns join Gregg in producing an arrangement that’s dramatic, almost grandiose, as it unfolds. It’s a track that just keeps on getting better, with wave upon wave of lush and sweet music emerging. A mixture of strings, percussion horns and rhythm section accompanied by sweet and soulful backing vocalists all contribute to the track’s success. Together with Gregg Diamond’s strong and emotion laden vocal, this is easily one of the highlights of the album. An absolute classic track, one with a timeless quality.
Funkin’ For Jamaica (1991 extended Remix) by Tom Brown is my final choice from this album. A trumpet blows, accompanied by crisp, crunchy beats and a multitude of voices whooping and hollering, before piano, keyboard, funky bass and horns enter. The vocal when it enters, is laden with emotion and passion, and deeply soulful. Here, genres collide, with jazz funk, reggae and house all making their presence felt. Rhythms, melodies and beats accompany a hugely soulful vocal. The rhythm section produce a funk masterclass, one that reminds me of many jazz funk tracks. Their rhythms are funky with a capital F, with bass, drums and percussion all contribute to this masterclass. Meanwhile the beats are loud and crisp, with elements of house being heard in the drums and percussion. The track is melodic, catchy and not short of hooks. Again, this is a remix which adds something to the original, and if anything improves on an already excellent track.
Like previous volumes of Back To Love, this volume didn’t disappoint. It was an eclectic selection of music, one that crossed the musical genres several times. Chicago House, big beat, hip-hop, soul and disco all sat side by side. Even though Mark Doyle was responsible for numerous Hed Kandi compilations, he still ensured that the music on this volume remained of the highest quality. Neither the quality, nor the eclectic, anything goes music policy suffered. Although five volumes had been released, unlike other previously successful compilations Back To Love still was consistently releasing albums full of great music. However, now that Hed Kandi were releasing about a dozen compilations each year, how much longer would that be the case? Standout Tracks: Gypsy Woman (She’s Homeless) (Basement Boy Strip To the Bone Mix) by Crystal Waters, Hot Butterfly by Gregg Diamond and Bionic Boogie and Funkin’ For Jamaica (1991 extended Remix) by Tom Brown .
BACK TO LOVE 03.03.
BACK TO LOVE 03.04.
When I bought Back To Love 03.04, back in 2004, two things immediately struck me. One was that the music was still just as good, with the eclectic selection of music I’d come to expect present, and the other was that the album cover featured a picture of an old Chopper bike, which I’d always wanted as a child. Once I got the album home and played it, I was hugely impressed. Tracks by Primal Scream, Ce Ce Peniston, Jamiroquai and A Tribe Called Quest were on the album. Here was an album where, hip-hop, Acid House, Chicago House and Acid Jazz all featured. Even though Mark Doyle was even busier compiling a multitude of other compilations for Hed Kandi, he ensured that Back To Love went from strength to strength. As always, choosing three tracks was still hard, but this time, it was slightly easier, with Primal Scream’s Loaded a huge favorite of mine always going to be chosen. So, it was Loaded and two others.
Loaded (Terry Farley Mix) by Primal Scream is my first choice from this volume. I’d have preferred the original version found on Screamadelica, Primal Scream’s seminal 1991 album, where they combined rock and dance music brilliantly. Strings play, sounding grand and lush, before they’re joined by horns, drumbeats, loud and dark bass, handclaps and later, piano. The introduction is lengthy, before an atmospheric, whispery vocal from Bobby Gillespie enters. A slide guitar plays, while others screech and soar, accompanied by blazing horns and gospel tinged backing vocals. Vocal samples enter, a by now, full arrangement, with Bobby’s vocal appearing, disappearing and reappearing, accompanied by guitar, slide and rhythm. The arrangement by now is brilliant, with wave upon wave of music unfolding. It’s impossible to second guess what’ll happen next, as over six minutes, the Scream take you on a magical, musical equivalent of Alice In Wonderland. Absolutely outstanding, and worth buying the album for this track alone.
Blow Your Mind (Parts 1 & 2) by Jamiroquai opens with keyboards, quietly and melodically playing, before crisp beats and percussion accompany the vocal. The track gradually and gently unfolds, with horns interjecting brightly, producing a contrast to the everything that’s gone before. Together, JK accompanied by the rhythm and brass sections and his trusty keyboards produce a joyous uplifting track. It’s deeply melodic, catchy with hooks aplenty. JK’s vocal is a mixture of scatting and a more traditional style, and sitting atop an arrangement that combines elements of funk, soul and even jazz, is just the finishing touch to what is a great track.
We Got A Love Thang (Silky House Thang) by Ce Ce Peniston opens with piano and crisp crunchy drumbeats and keyboards combining, before her vocal enters. Her vocal is soulful and joyous, full of power and passion, as horns, strings and backing vocalists accompany her. This is a track reminds me of early piano house tracks, because of the way the piano and drums combine. The longer the track progresses, the better it gets. Both the vocal and arrangement are outstanding, with the vocal laden with emotion and passion, while the arrangement is just what a really good house track should sound like. Crisp, quick and pounding drums, combine with keyboards, piano and percussion to produce an arrangement that’s joyous, melodic and uplifting. Together with the vocal, which is supplemented by some sweet, joyful backing vocals, it’s a brilliant, classic house track, and one of the best tracks on the compilation.
Back To Love 03.04 was the sixth volume of the series, and still, the quality remained. Many similar compilations had either declined in quality, or crashed and burned, now no longer existing. That Back To Love was still going, and still releasing compilations crammed full of great music, was testament to Mark Doyle, the driving force behind Hed Kandi. Against the odds, and in a crowded market full of compilations vying for people’s attention and money, you could still rely on both Mark Doyle and Back To Love. Although the label was now releasing well over a dozen different compilations, together with Serve Chilled and Winter Chill, these three series’ could be relied upon. However, having reached their sixth anniversary, would the next installment of Back To Love be as good? Standout Tracks: Loaded (Terry Farley Mix) by Primal Scream, Blow Your Mind (Parts 1 & 2) by Jamiroqua and We Got A Love Thang (Silky House Thang) by Ce Ce Peniston.
BACK TO LOVE 03.04.
BACK TO LOVE 03.05.
The final volume of Back To Love that I’ll review is Back To Love 03.05, the seventh volume, released in 2005. To me, this was the last really good instalment of the series. After that, things weren’t quite as good. However, having produced seven volumes of top quality and eclectic music was pretty good. This volume didn’t disappoint, featuring tracks from Sister Sledge, Frankie Knuckles, N.W.A., Neneh Cherry and A Tribe Called Quest. Overall, this was an eclectic selection of music which comprised some old school Chicago House, classic disco, hip-hop, rap and some great house music. Twenty-five great tracks, with something for everyone, choosing just three isn’t easy.
I’ll Be Your Friend (Original Def Mix) by Robert Owens sees drums loud and crisp, combine with repetitive slightly squelchy synths, before percussion and horns interject. After that, the vocal enters, with delay used on the vocal, which is both atmospheric and charismatic. Owens’ voice is loud and strong, and has graced numerous memorable house tracks over the years. Here, he doesn’t disappoint, and together with a pulsating and full arrangement, another great house track unfolds. A melange of squelchy and effectively repetitive, thundering synths, crisp and fast, beats and blazing horns provide the perfect backdrop for his vocal. Together, they make this an excellent, atmospheric and slightly haunting sounding track, which will still fill any dance-floor today.
Thinking of You (Original album track) by Sister Sledge, opens with Niles Rodger’s guitar playing, and after a combination of guitar, subtle percussion, rhythm and string sections Kathy’s vocal enters. Her voice is slightly deeper, with a huskiness present, as her sisters accompany her. When the track progresses, her voice takes on a joyous sound, all the time backed by an arrangement that mixes soul, funk and disco. Wave upon wave of strings, lush and sweet, enter, with Niles and Bernard adding some funk to Kathy’s soulful vocal. Later, a piano plays adding the finishing touches, to yet another brilliant track that’s perfect for any dance-floor.
So Much Love (12” Choice Mix) by The Brand New Heavies is my final choice from this album. It’s a funky sound that opens the track, with the rhythm section and guitars combining before a sweet and melodic vocal enters. It’s accompanied by lush, sweet strings, which are joined by short and subtle bursts of horns. This provides the perfect accompaniment to what is an outstanding vocal. It’s full of emotion, delivered with passion, while a lovely melodic and funky arrangement accompanies it. Together, the rhythm, string and brass sections combine with guitars and percussion to produce one of the best tracks on the album.
So, Back To Love 03.05 was the seventh volume of the series, and still Mark Doyle and Hed Kandi were delivering the goods. There had been no blips or drops in quality. The quality of music still as good, and just as eclectic, as it had been in 1999, on the first volume. Like you’d have heard during the Acid House days, the music was wide ranging, with Chicago House, classic disco and hip-hop all featuring on the album, and all sitting comfortably next to each other. By 2005, many other compilations were focusing on one particular genre of music, whether it be house, disco or hip hop, and it was hard to find such an eclectic compilation of music. This to me, was part of the success story that was Back To Love, and what made it one of most eagerly awaited and most successful compilations available. Standout Tracks: I’ll Be Your Friend (Original Def Mix) by Robert Owens, Thinking of You (Original album track) by Sister Sledge and So Much Love (12” Choice Mix) by The Brand New Heavies.
BACK TO LOVE 03.05.
Between 1999 and 2005, Back To Love was one of my favorite compilation series’. The music on the album was a wide ranging and eclectic selection of music. On the albums there was everything from Chicago House to hip-hop and Acid House to classic disco. There was something for everyone, with each volume featuring some great music, with well known tracks and hidden gems sitting side by side. Like many people, I awaited each new volume eagerly, and until 2005, this was one of the best compilations around. Together with Mushroom Jazz, Cafe Del Mar, Sounds of OM and OM Lounge, Back To Love was one of the best compilation series of the past twenty years. If you’ve never heard any of the Back To Love compilations, they’re well worth buying, especially if you’re someone who enjoyed clubbing during the glory days of Acid House. If so, then these compilations will bring the memories flooding back, and transport you back to nights spent dancing in warehouses to some of the best music your ears will ever hear.
VAN MORRISON-INTO THE MUSIC.
VAN MORRISON-INTO THE MUSIC.
Back in August 1979, when Van Morrison released Into the Music, this was seen as almost a comeback album for him. His two previous albums Period of Transition in 1977 and Wavelength in 1978, hadn’t been particularly well received, and Into the Music was seen as a much better album. Since then, Into the Music is perceived as one of Van’s best ever album. On the album, are a wide variety of styles of music. There is everything from R&B to Celtic music and even elements of Philadelphia Soul. The album was recorded at the Record Plant in Sausalito, California, during the early part of 1979. A number of guest artists featured on the album, including Ry Cooder, who played slide guitar on Full Force Gale. Mark Isham who played trumpet on the album, told Van about tenor saxophone player Pee Wee Ellis, who lived nearby. Van was able to recruit Pee Wee to play horn on Troubadours. Robin Williamson, formerly of the Incredible String Band, was another high profile guest on the album, playing penny whistle on Troubadours and Rolling Hills. When the album was released, it reached number twenty-one in the UK album charts, while it reached number forty-three in the US Billboard 100. Critics however, loved the album, hailing it a return to form for Van Morrison. Rolling Stone magazine saw the album as a resurrection of Van’s career, while Dave Marsh thought the suite of ballads on the second side of the album, as Morrison’s best side of music since Astral Weeks. This was high praise indeed, but is Into the Music as good an album as the critics said?
Into the Music opens with probably the best known track on the album, Bright Side of the Road, which was released as a single, reaching number sixty-three in the UK singles charts. The track opens with the familiar combination of piano, rhythm section harmonica, guitars and horns before Van sings. Here, his voice is loud with that familiar timbre present. Behind him, the arrangement is full and uplifting, moving quickly along, a glorious melange of instruments driving the track along. Horns, piano and harmonica play important parts, while the rhythm section, guitars, fiddles and even tablas, supplement the sound. Van meanwhile, is accompanied by backing vocalists, their sweet voices, a perfect accompaniment to his charismatic, gruff and rasping voice. By the end of the track, this joyous, feel-good track, which features both a great vocal from vocal and one of the best arrangements on the album. If the remainder of the album is this good, it’ll truly be a return to form for Van.
Drums, guitars and fiddles combine before Van sings, his voice sounding strained and laden in character as it soars high as Full Force Gale opens. Quickly, the arrangement unfolds, the tempo quick with horns brightly punctuating the sound, as the track drives along with a fulsome combination of rhythm section, fiddles, piano and guitars. Together, with joyful sounding backing vocalists, they provide the perfect backdrop for Van’s vocal, which is a mixture of passion and power. He seems determined to deliver some really literate, and deeply spiritual lyrics, with everything he has. It seems that they’re important to him, and he wants his delivery which is both heartfelt and sincere to reflect this. During this track, there are elements of traditional Celtic music and R&B present, because of the mixture of instruments that feature. This reflects the importance of both genres of music in Van’s life. What makes this such a good song are the lyrics and Van’s heartfelt and passionate delivery of them, with the band providing a similarly passionate arrangement.
The theme that runs through Into the Music, is a celebration of love and life. Steppin’ Out Queen is one of the love songs on the album. It begins with piano, drums and the horn and string sections, combining to produce a dramatic arrangement. Gradually, the drama builds and when Van enters, he too, adds to the already dramatic arrangement. His voice is strong, full of passion, while the arrangement builds and builds, horns, strings and rhythm section combining with guitars, piano and backing vocalists. As the song progresses, Van’s voice strengthens, he almost roars and snarls, his voice soaring. Then, when it falls, a softer, more thoughtful vocal emerges. However, throughout the track, his delivery is a combination of drama, emotion and passion, all the time, accompanied by another lavish arrangement, which is awash with sweeping strings, blazing horns and a driving rhythm section. Together, they produce one of the album’s best tracks, one that’s melodic and hook laden.
Troubadours is another love song, which has lyrics about the time when troubadours travelled around, singing their love songs to women. Here the arrangement has a lovely old fashioned sound and feel, with fiddles, penny whistle, trumpet, saxophone and drums combining beautifully. Van’s vocal and the arrangement are both atmospheric, made all the better by subtle backing vocalists. Throughout the track, Mark Isham’s trumpet and Pee Wee Ellis tenor saxophone interject beautifully, while Robin Williamson’s penny whistle adds authenticity to the track. Overall, it’s a lovely lush sounding track, featuring a much more understated, yet beautiful vocal from Van. Although very different to the rest of the album, this has always been one of my favorite tracks from Into the Music.
After such a beautiful previous track, Rolling Hills is a very different song, one that has a real Celtic feel and sound, with penny whistle, fiddles and piano, combining with guitars and rhythm section. It’s a track about Van’s Christianity, how he reads The Bible and lives his life in a Christian way. Personally, this has always been a track that I’ve disliked, mostly because the track seems totally out of place on the album. I feel it spoils the flow of the album, and seems out of place. It seems that after four tracks that flow beautifully, this track seems on the wrong album. It certainly doesn’t belong here. The sentiments of the song may be admirable, but the arrangement just grates. Maybe it’s just me, but I’ve always felt it stuck out like a sore thumb. Thankfully with a CD, I can program the machine to miss out this track. Overall, it’s easily the worst track on the album.
Thankfully, what was the first track on the second side of my old vinyl album, You Make Me Feel So Free, is a much better track than the one closed side one, Rolling Hills. This however, is so much better. Horns, rhythm section, piano and guitars accompany a joyful sounding Van as the track bursts into life. It’s a track that has a beautiful uplifting, feel-good sound, with horns sweet and bright punctuating the sound, and the piano adding to what’s already a joyful sound thanks to Van and his backing vocalists. Here, Van gives one of his best vocals on the album, he sounds really happy, joyous even, as he sings the lyrics of what’s another beautiful love song. The addition of the backing vocalists to accompany him, really helps life the track. Their voices are the perfect contrast to Van’s voice. Together with a stunning arrangement, one that’s quick, with an uplifting, melodic, feel-good sound, Van and his band start what was side two brilliantly.
Many years ago, someone I knew was talking about a song that Deacon Blue had released on one of their albums called Angelou. They thought this was a track that Deacon Blue had written, until I explained that it was originally written and recorded by Van Morrison. They hadn’t heard of Van, so I said why not buy this album and hear the original. The next day, all they could talk about was Van Morrison, not just Angelou, but the whole album. After that, they became a huge fan of Van, buying every album he’d ever recorded. Since then I’ve heard Deacon Blue’s version, but nothing comes close to the original. Guitars, piano and violin combine as the track opens, before Van sings, his voice powerful but hugely soulful, as he delivers some beautiful lyrics, about falling in love with a stranger in Paris. Meanwhile, guitars, rhythm section and horns help augment the sound, which takes a dramatic turn with Van half-singing, half speaking the lyrics, with a whispery and sometimes raspy vocal, until he powerfully roars the lyrics, emotionally and passionately. Behind him, strings, piano, horns and rhythm section, supplemented by guitars and sweet backing vocals help complete the sound. Together, they help Van produce an emotion laden vocal, delivered passionately and powerfully. Quite simply, this is a beautiful and stunning track, one you’ll immediately be smitten by.
Guitars, rhythm and string section, combine with piano and guitar before Van sings the lyrics to And the Healing Has Begun, a song about the healing power of music, a recurring theme in his music. This is another track with a fuller arrangement, one that has a variety of contrasting sounds and influences. Here, elements of R&B and Celtic music can be heard during the track. Although the various instruments contrast, somehow they combine melodically, to provide a perfect backdrop for Van. During the track, Van’s voice is hugely powerful, as he roars, whoops and hollers the lyrics. Later, he half-sings, half speaks the lyrics, while the band slow the tempo down, with organ, keyboards and guitars combining with the string and rhythm sections. After that, Van uses a mixture of passion and power, and helped by some hugely talented musicians, this emotional song drives quickly to a close.
It’s All In the Game is an epic ballad, lasting just over eight beautiful minutes. It’s a cover version of a fifties pop single, which is totally different to the original. Here, Van totally reinvents the song, transforms it into something new and very different. The tempo is slow, with piano, string and rhythm section combining before Van sings. When his vocal enters, his voice is strong, but with a tenderness, as he takes great care delivering the lyrics. Behind him, the arrangement has an understated quality at the start, which continues throughout much of the track. Sometimes, horns interject, brightly drenching the arrangement. Mostly, the piano and strings are the mainstay of the arrangement, with Van’s voice sitting atop the arrangement. During the track, his vocal changes, from a raspy whisper, to a much louder, powerful and passionate style. Like the arrangement, it’s a mixture of styles, one minute understated and beautiful, the next much fuller and grander. Earlier, I said Van totally reinvented this track, and over eight minutes, he breathes new life into it, reinvigorates it, reinventing it and in the process, producing a beautiful track, with an arrangement that’s perfect for the track, slow and subtle, but sometimes, laden with horns, who inject life and drama, brilliantly.
Into the Music ends with You Know What They’re Writing About which begins with piano, strings and rhythm section playing as Van delivers a vocal that’s laden in drama and atmospheric. His vocal has a raspy, whispery quality, but quickly, it becomes much louder, as he almost bawls out the lyrics. Behind him, the arrangement has grown, with the piano, rhythm and string sections, accompanied by guitars, combining to create the perfect backdrop for Van, as the arrangement unfolds. The tempo is slow, with wave upon wave of beautiful music unfolding, with a saxophone blowing, its sound sweet and melodic. It accompanies Van’s dramatic and powerful vocal, which is full of emotion and passion. The longer the track goes on, the better the arrangement gets, building and building, until Van decides to drop the tempo way down. Then, it’s just subtle piano, strings and drums playing quietly as Van sings, his voice much quieter, almost whispering and ad-libbing until the track ends. This is the perfect track to close the album, like Bright Side of the Road was the perfect song to open it. Both tracks are like musical bookends, with a great song opening the album and one closing it. In between, are seven other great tracks. Van it seemed, had kept one of his best tracks to close the album with. Like the other four tracks on what was side two of the original album, it’s a track of the highest quality, one that’s slow, yet full of emotion and passion.
Having spent some time listening to Into the Music recently, I can say without a doubt, that this is just as good an album as critics said when the album was released in August 1979. On the album are ten songs, and apart from Rolling Hills, each song is of the highest quality. What was the second side of the original vinyl album, from You Make Me Feel So Free to You Know What They’re Writing About, are five great songs, and it’s true to say that this was the best side of music Van had released since his masterpiece Astral Weeks. What surprises me however, is that it wasn’t a much bigger commercial success. In 1979, it only reached number twenty-one in the UK and number forty-three in the US. Granted, an artist had to sell many more albums back then to get an album into the top ten, but surely such a good album should’ve been a bigger success. Of course, punk and post-punk were the flavor of the month in 1979, so artists like Van were unfashionable. Thankfully, while many of the punk and post-punk artists sunk without trace, Into the Music has since be reappraised, with critics realizing just how good an album it really is. After two albums that weren’t well received, Van was back, back with one of his best ever albums. It’s an album that’ a celebration of love and life, and sees Van’s songwriting and voice back to its very best. He was backed by a hugely talented group of musicians and backing vocalists, all of whom contributed towards making this such an outstanding album. Standout Tracks: Steppin’ Out Queen, Troubadours, You Make Me Feel So Free and Angelou.
VAN MORRISON-INTO THE MUSIC.
WOMACK AND WOMACK-CONSCIENCE.
WOMACK AND WOMACK-CONSCIENCE.
Back in 1988, one of my favorite tracks was Teardrops by Womack and Womack. It reached number three in August 1988 in the UK singles charts. It seemed that back then, it was never off the radio. Every time I put the radio on, went into a shop or a car passed, Teardrops was on the radio. Since then, I’ve always loved that song. A couple of weeks ago, I was listening to a compilation album, and on it was Teardrops. That made me look for my old copy of Conscience, the album Teardrops was taken from. I hadn’t listened to it for ages, and decided to put it on. That was fatal, because since then, I’ve listened to the album countless times. Conscience was released in June 1988, and was the fourth album from Cecil and Linda Womack. Not only did they write the nine songs, under the name of Dr Rue and The Gypsy Wave Banner, but they co-produced the album with Island Records founder Chris Blackwell. To me, it was their best album so far, featuring some great music, music that even, twenty-three years later, still sounds just as good. I’ll now tell why that’s the case.
Conscience opens with Conscious of My Conscience, which begins with guitars and rhythm section combining before the vocal enters, with Cecil singing the lead, and Linda singing backing vocal. The arrangement is gradually unfolding, with the tempo reasonably quick and the arrangement melodic and bright. It’s mainly guitars and rhythm section that can be heard, with the bass line deep and funky. Later on, the track takes a dramatic turn, thanks to bass and drums. Overall, the track has a restrained quality, that you think will eventually turn into a funk workout. That never happens, although several times you think it will, with the funk being turned up slightly. Overall, it’s a good opening track, featuring a good vocal from Cecil and Linda, and an arrangement where, although the funk doesn’t arrive, the anticipation of it, makes it all worthwhile.
The tempo drops on M.P.B (Missing Person’s Bureau) which opens with rhythm section and guitars, with handclaps accompanying the vocal, with Cecil giving a gentle and thoughtful vocal. His voice is tender as he sings about a lover who’s missing. Meanwhile, the arrangement is slower, a mixture of soul and subtle funk. There’s a great guitar solo, which replaces the vocal. It’s accompanied by the rhythm section contributing elements of gentle funk, before Cecil and Linda combine wonderfully. Their vocals are perfect, gentle and thoughtful, delivering the lyrics brilliantly. Together with a slower, subtle arrangement, which never overpowers the tender and thoughtful vocal, this is a potent combination, resulting in one of the album’s best tracks.
Friends (So Called) opens with guitar and piano playing, and Linda’s vocal, before the rhythm section lift the tempo. Cecil takes over the vocal, his voice loud and clear, accompanied by crisp drums and percussion, a booming bass and guitars. Behind him, backing vocalists joyously accompany him, Linda’s voice prominent, while the rhythm section and guitars drive the song along. As the song progresses, it becomes really melodic, keyboards playing, while the backing vocalists and handclaps accompany Cecil. The lyrics, are realistic and many people will be able to relate to them, how friends desert you. However, what I’ve always liked about the track are Cecil’s vocal, the contribution of the backing vocalists and how the rhythm section and guitars drive the track along. Together, they make this a really good, melodic song.
On Slave (Just For Love), you hear a very different side to Womack and Womack, with a song that has lyrics that have a spiritual quality. Guitar and rhythm section open the track, with the tempo slow and Cecil’s vocal tender and thoughtful as he emotionally, and with feeling sings the lyrics. Linda’s voice soars briefly in the background, as an acoustic guitar and the rhythm section play subtly, in a way that suits both Cecil’s vocal and the lyrics. Behind him, Linda sings gentle backing vocals, which are perfect for the song. This lovely understated arrangement is perfect for the track, as is Cecil’s vocal, which delivers the lyrics thoughtfully. A combination of subtle arrangement and vocal, together with some really strong lyrics, make this an intriguing, compelling and wonderful track.
The best track on the album is next, Teardrops, just under eight minutes of brilliant music. Linda sings lead vocal here, and when the track opens, it’s crisp fast drums, gentle, backing vocals, bass, guitars and handclaps, that create what can only be described as a melodic and hook laden dance-floor classic. Throughout the track, that’s what you hear, and the tempo is quick, Linda’s vocal is loud and melodic and the arrangement is fast and catchy. Throughout the track, the rhythm section and guitars, are at the heart of the track, driving it along. It’s the type of track that’s uplifting and has a feel-good factor, and makes you want to dance. From the opening bars until the end, it’s just brilliant music. Catchy, melodic and hook laden, is the best way of describing the track. Both the arrangement and vocal from Linda, make this the best track on the album, and the best track Womack and Womack ever recorded.
Good Man Monologue opens with rhythm section, guitars and percussion accompany Cecil’s vocal, which is powerful, soaring heavenwards during the track. Linda takes over the lead, her voice loud and strong, full of passionate, as the arrangement combines soul with funk. Guitars chime brightly, as the rhythm section add funk, while Cecil unleashes a vocal that’s a mixture of power and emotion. Both Cecil and Linda give outstanding vocals, demonstrating how hugely talented they are. By the end, you can’t fail to admire the passion and emotion of both Cecil and Linda’s vocal. Both produce stunning vocals, among the best on the album.
Guitars, rhythm section and percussion accompany Cecil as he brightly sings the introduction to Life’s Just A Ball Game accompanied by Linda. Together, they combine perfectly, feeding off each other, while the arrangement brightly unfolds behind them. There are elements of both soul, funk and Latin music present. The vocals provide the soul, while the arrangement has elements of soul, funk and Latin present, especially during a breakdown that features the rhythm section, guitars and percussion showcasing their talents. There’s a joyousness in the vocals and arrangement, with the rhythm section contributing their fair share, and in the process, helping make this one of Conscience’s best tracks.
Drums, chiming guitars and quick, accurate, bass accompany Linda’s bright joyful vocal on I Am Love. She’s accompanied by backing vocalists, whose voice are a perfect accompaniment to Linda’s voice. Her voice soars high and sweetly, always in control, while the rhythm section and guitars combine to create a similarly beautiful and joyous arrangement. They succeed perfectly, and although this is only a short track, it’s a beautiful one, thanks to Linda’s vocal and some lovely lyrics.
Conscience closes with Celebrate the World, a which is an uptempo and uplifting, joyous celebratory track, with Cecil and Linda sharing the vocals, and accompanied by driving rhythm section, chiming guitars and handclaps. It’s the fastest track on the album, and one that’s perfect for any dance-floor. Both Cecil and Linda sing the lyrics with joy, demonstrating just how talented they are. Like Teardrops, it’s a track that’s melodic, infectiously catchy and absolutely laden with hooks. I guarantee that if you put this track on, you’ll be immediately smitten by this driving, feel-good and uplifting track. Resistance is impossible, you won’t be able to resist this track, as it just makes you feel good, makes you want to dance and generally makes you happy. Over nearly seven minutes, Womack and Womack produce some of the most joyous and uplifting music ever to grace your ears. Quite simply, a stunning track.
Having rediscovered Conscience after a short absence, I just can’t stop listening to the album. There may only be nine songs on the album, but they’re nine great songs, a mixture of joyous and uplifting songs like Teardrops and Celebrate the World and much more thoughtful tracks like On Slave (Just For Love). On each track, Cecil and Linda give some great vocals, a mixture of tender and thoughtful and uptempo and joyous. This demonstrates both their versatility and talent, and together with a hugely talented band, and backing vocalists, they produce an album to be proud of. Although just over twenty-three years old, Conscience has aged really well, and still sounds just as good as when I first bought it in June 1988. Over the years when I’ve mentioned this album, people have always confused it with Bobby Womack, and when I’ve explained who Cecil and Linda are, they may only have heard of Teardrops and Love Wars, two of their best known tracks. When they hear the music, they realize that they’ve missed out on not only a great album, but two hugely talented artists. If you are like these people, Conscience is an album that’s well worth buying. It features some great music, and is the perfect introduction to the brilliant music of Womack and Womack. Standout Tracks: M.P.B (Missing Person’s Bureau), On Slave (Just For Love), Teardrops and Celebrate the World.
WOMACK AND WOMACK-CONSCIENCE.
JON LUCIEN-MIND’S EYE.
JON LUCIEN-MIND’S EYE.
When Jon Lucien released his debut album Mind’s Eye in 1970, his smooth baritone voice immediately drew comparisons with two legendary singers, Nat King Cole and Lou Rawls. Jon was best known for two songs, a cover of Dindi, written by Brazilian composer Antonio Carlos Jobim and Rashida, the title track to his second album, Rashida. Released in 1973, Rashida was his second album, and was the follow-up to his debut album I Am Now, released in 1970. Two of two songs from Rashida, which I’ve previously written about, were nominated for a Grammy Award. This was the second of three albums he released for RCA, the third one being Mind’s Eye, which this article is about. Mind’s Eye was released in 1974, and saw Jon work with Dave Grusin, who orchestrated and conducted the band on the album. Although Jon wrote all the songs on the album, Larry Rosen co-produced the album. Like his two previous albums, Mind’s Eye wasn’t a huge commercial success, although his music was popular on traditional jazz radio stations in the US. However, in the past ten years, there was been a resurgence of interest in Jon’s music, with his first three albums being rereleased and compilations of his music being released. At last, it seems, the music of one of the most underrated soul singers of the past forty years, Jon Lucien, is finding a wider audience. Having told you about Jon’s early years, I’ll now review Mind’s Eye.
Mind’s Eye begins with A Sunny Day, which opens quickly, with the rhythm section, percussion, guitars and strings combining as Jon sings. His voice is gentle and thoughtful, as he sings about losing his love. Behind him, the arrangement unfolds, with a keyboards joining subtle, sweeping strings, chiming guitars, rhythm section and percussion to create a slight Latin sound. Later, Jon’s voice strengthens and he scats, ad-libbing his way towards the track’s end. During this track, Jon demonstrates not only his versatility as a vocalist, but his talent as a songwriter, writing some sad and thoughtful lyrics. Not only that, but he co-produced, what is a great opening track.
An acoustic guitar plays crisply and brightly, and is joined by piano and Jon scatting before the rhythm section and percussion join Jon and backing vocalists. What follows is a brilliant combination of almost spiritual interplay between Jon and his backing vocalists. Accompanied by piano his deep baritone voice and soaring, backing vocalists sing call and response during Prayer For Peace, a plea for peace. This combination and a much more subtle arrangement make this a stunning song, with Jon and scatting and the backing vocalists uniting joyously. Quite simply, it’s a beautiful, spiritual song, easily one of the highlights of the album.
As Adoration opens, Jon scats, accompanied by a gentle acoustic guitars, flute and keyboards combining, as Jon sings about love, and his love for his partner. The arrangement has a lovely understated quality, with the arrangement meandering along behind Jon. Strings sweep in, their sound sweet and lush, as the acoustic guitars and keyboards combine. Meanwhile, Jon’s vocal has a restrained quality, as he serenades his new found love. His vocal is a mixture of a traditional soul vocal with elements of jazz, with the scatting. Together, it’s an intriguing combination, with his vocal lilting beautifully and subtly during the track, as waves of strings, guitars and keyboards combine behind him beautifully. This combination works brilliantly, to produce a beautiful love song, where Jon gives thanks to his new found love.
So Little Time has a quicker tempo than the previous track, and sees Jon’s vocal strengthen and get louder. Guitars, rhythm and brass sections combine to accompany a stronger and louder vocal from Jon. Subtle backing vocalists accompany him, their voices gently uniting, providing a perfect contrast to Jon’s vocal. They sing soulfully, while brass and rhythm sections combine with guitars, to produce a much fuller and bright, joyous arrangement. During the track, one of the backing vocalists almost duets with Jon. Their voices are a perfect contrast, with Jon’s strong and loud, the backing vocalists much quieter, with a lovely sweet, melodic sound. The combination of a much fuller and brighter arrangement, with the interplay between Jon and the backing vocalists, make this a track that’s both uplifting and joyous.
When Listen Love begins, it’s a track that gradually and dramatically emerges. Starting slowly and hesitantly, with guitars and keyboards combining as Jon’s deep voice slowly sings, there’s no indication of what will soon follow. Quickly, the track changes totally, with the tempo increasing and a much fuller arrangement unfolding. Keyboards, rhythm section, percussion and guitars combine, producing an arrangement that combines elements of jazz, soul and Latin music. Meanwhile, Jon’s vocal is much faster, his voice still deep and loud, as he clearly sings the lyrics. His voice soars, while the tempo really quickens, with drums and percussion contributing a Latin sound and feel. Jon scats, his vocal quick, taking his lead from the arrangement, his tempo matching its. Listen Love is an epic track, one that’s very different from the previous tracks. Here, Jon really demonstrates his talent and versatility as a vocalist, his voice loud, deep and the tempo quick, as his vocal takes on a jazz style, improvisation being the style used. He roars, yelps and shrieks as he scats, while behind him, the arrangement is similarly fast and furious. By the end, both Jon and his band have given a dramatic and passionate track, one very different from previous ones, but one that demonstrates his talent and versatility as a vocalist brilliantly.
It’s a Latin feel and sound that opens The Pleasure of Your Garden, which opens with whistling, percussion and a flute combining before Jon sings another love song. His voice is much more restrained, gentle, but with a lovely warm sound. He’s accompanied by strings, percussion and keyboards. The tempo is quick, the arrangement quick, catchy and melodic, as Jon gives a vocal that’s a paean to love, his voice soulful, full of warmth yet gentle. It’s similarly quick, and suited to the almost exotic, Latin influenced arrangement. Although just a short track, it’s a beautiful one, one that’s melodic and hook laden and made all the better by Jon’s beautiful vocal.
World of Joy has a slow, melodic start, a combination of strings, keyboards, rhythm section and keyboards playing behind Jon’s soothing vocal. His vocal is quiet, restrained as he sings some beautiful lyrics. A harp plays, just another component of one of the most beautiful songs on Mind’s Eye. Wave upon wave of lush, gentle and beautiful music, emerge, with Jon’s gentle lilting vocal, sitting atop the arrangement, providing the finishing touch to the track. Strings sweep, beautifully and melodically, while keyboards and percussion gently play. Overall, it’s a beautiful arrangement, with Jon producing one of his most gentle, thoughtful and beautiful vocals, as he sings some wonderful romantic lyrics.
After a beautiful, gentle track, Ghetto Song is a very different sounding track. Here, the arrangement is much fuller and louder, with Jon’s vocal much more forceful. The track begins with backing vocalists, rhythm section, wah wah guitar and blazing horns, providing a funky and dramatic backdrop for Jon’s vocal. He rises to the challenge, singing much louder and stronger, giving a vocal that’s both charismatic and dramatic. Backing vocalists, like the blazing horns, interject dramatically. His vocal is full of social comment, and the problems people were suffering from. However, the combination of vocal and arrangement produce a track that wouldn’t be out of place on a Blaxploitation soundtrack. Although very different from the preceding tracks, it’s a dynamic and dramatic, funk laden track, which features a fantastically funky arrangement and a much more forceful and dramatic vocal from Jon.
After the near Blaxploitation sound of Ghetto song, Soul Chant opens with Jon scatting, accompanied by an acoustic guitar and backing vocalists. They produce a sound that has a spiritual quality. Although it’s just vocals and guitar, this works well, as does the improvisational style, which is quick and veers between a gentle and slightly louder style. Although this style of music might not appeal to everyone, I really enjoy hearing this side of Jon Lucien. Again, it demonstrates his versatility and talent as a vocalist.
Mind’s Eye ends with When the Morning Comes, which has a lovely gentle and meandering introduction, with guitars, keyboards and percussion playing before Jon sings. His vocal is back to a much more gentle, restrained style, which has a lovely lilting and melodic sound. Behind him, strings sweep, while keyboards, guitars, guitars and rhythm section all combine, producing an arrangement that has a gentle, lush, ye melodic sound, perfect for Jon’s vocal. Jon scats, while the arrangement meanders, sweeping gently to the tracks end. By the end, it’s impossible to resist the subtle charms of this beautiful song. It’s a love way to end the album, thanks to the arrangement and Jon’s subtle, lilting vocal.
I’ve long been a fan of Jon Lucien’s music and Mind’s Eye has always been one of my favourite of his albums. Between 1970 and 1973, he released three great albums for RCA, I Am Now, Rashida and Mind’s Eye, which although not a huge commercial success, were full of wonderful music. During his career, he continued to release albums full of similarly wonderful music, on a variety of labels. However, my favorite period of Jon Lucien’s music, has always been the music he released on RCA. His debut album I Am Now, saw him covering a number of songs, but on Rashida and Mind’s Eye, the material was mostly original material. On Mind’s Eye, he wrote every song himself, and this album features some brilliant songs. There isn’t a bad song on the album, and there are a number of different styles of music on the album. Slow and fast, ballads and love songs, even a song which sounds as if it belongs on a Blaxploitation soundtrack. Throughout the album his vocal style veers between a traditional soul vocal to a jazz influenced scat. This combination creates a sound that’s unmistakably Jon Lucien. If you’ve yet to hear his music, you can buy various compilations, or even better, a two-disc set that features the three albums he released for RCA entitled I Am Now, Rashida and Mind’s Eye. It’s the perfect introduction to the brilliant and beautiful music of Jon Lucien. Standout Tracks: Prayer For Peace, Listen Love, Ghetto Song and When Morning Comes.
JON LUCIEN-MIND’S EYE.
AL GREEN-THE BELLE ALBUM.
AL GREEN-THE BELLE ALBUM.
When Al Green released The Belle Album, it was a very different album to those that preceded it for several reasons. Belle reflected the changes that were happening in Al’s personal life. For several years, religion had played an important part in his life, and he’s struggled to come to terms with its influence. It was difficult for him to reconcile his professional life with his newfound spirituality. His problem was, how could he sing about love and the pleasure of love, when deep down, he felt he should be singing about God. By 1977, when Belle was released he’d managed to resolve these problems, and Belle was the first album from the new Al Green, and was a celebration of something new, his feelings about religion and God. The Belle Album was also the first album Al recorded without Willie Mitchell and the Hi house band. Al’s split with Willie Mitchell wasn’t acrimonious, because Willie felt he wasn’t qualified to work on what would be a contemporary gospel influenced album. So without Willie Mitchell, Al became songwriter, bandleader, producer and even lead guitarist of his own band. The album was recorded at the American Recording Studio. Using musicians he’d previously worked with at Hi Records, eight songs were recorded, and once the album was completed, it was released in December 1977. Although the album was well received, with critics praising Al’s vocals, the album didn’t sell well. Like his last few albums, sales weren’t anything like his early albums. However, it wasn’t just Al’s albums that weren’t selling well, many formerly successful soul singers were experiencing the same problems, with disco now the most popular musical genre. Since the release of Belle, the album is now seen as one of Al best, and most important albums. This was one of the last secular albums Al recorded, after this, he recorded gospel albums. Thirty-four years since the album’s release, the big question is, how good an album was The Belle Album?
The opening song on The Belle Album is the title track Belle, probably the best know song from the album. Belle has a lovely gentle and melodic introduction, with piano, keyboards, rhythm section and guitar combining before Al sings. Like his band, Al sings gently, but with passion, his delivery of the lyrics heartfelt and sincere. As the song progresses, his voice strengthens, laden in passion and sincerity as he gives thanks to God. Behind him, the arrangement is beautiful, with strings lushly sweeping, keyboards and piano combining melodically, while drums provide the track’s heartbeat. Although Willie Mitchell wasn’t around to arrange and produce the album, the arrangement is still outstanding. It has an understated quality, with Al’s vocal and the lyrics taking centre-stage. When you listen to the lyrics, Al’s spiritual awakening is apparent, and you can’t help admire his heartfelt and sincere delivery of some deeply spiritual, yet beautiful lyrics. Quite simply, it’s the best track on the album.
Loving You opens with Al’s vocal loud and clear, accompanied by the rhythm section, piano and guitars. Straight away, Al gives thanks to God for what he has done for him. Quickly, the track mixes elements of Southern Soul, gospel and even funk. Horns soulful and funky, punctuate the track, backing vocalists sing, almost rejoicing, take their influence from gospel music, and strings with the Hi sound sweep tenderly in the background. Al meanwhile, is delivering a joyful vocal, one that sees him use his full vocal range brilliantly. Although his music was moving away from secular music, it’s still sung with passion and feeling. The backing singers contribution is huge, really lifting the song, when they joyfully unite. By the end of the track, Al has given an outstanding vocal, rolling back the years. Together with a really soulful, joyous arrangement, it’s another fantastic track.
When Feels Like Summer begins, it has a very different sound and feel to the previous track. The arrangement is much subtler than the previous track, with the a strong bas line opening the track, accompanied by drums, piano and guitar. Al’s vocal is much more restrained as the track begins, but still his delivery is loud, clear and heartfelt. Throughout the track, the bass is prominent, at the front of the mix, while strings, piano, guitars and drums combine. As the track progresses, Al’s vocal gets stronger and passionate, as hollers, shrieks and roars his way through the track, clapping his hands and laughing. Listening to the track, it seems Al was at last happy, after years of torment while reconciling his music to his religion. The lyrics and the happiness he sings of, reflects this. Although different to the two previous tracks, the happiness and joyousness rendition of the lyrics by Al is almost infectious.
Georgia Boy is a track that combines a funk laden introduction by the rhythm section, with gospel infused backing vocals before Al sings. When he sings, there is a slight roughness in his voice, which when mixed with a whooping joyful delivery of the lyrics demonstrates that on Belle, Al’s vocals were some of his best. During the track, the rhythm section, guitars and piano combine to produce a masterful mixture of funk and country soul. Meanwhile, Al’s vocal has a loose sound, as he sometimes ad-libs and scats his way through the lyrics, constantly accompanied by handclaps, whoops and hollers. Throughout the track, Rueben Fairfax Jr on bass and John Toney on drums provide the funkiest of backdrops for Al, who responds to this brilliantly. He seems to really loosen up, and let himself go, and in the process, shows a very different side to Al Green, which is excellent.
After what was a very different sounding track, Al has another surprise up his sleeve on I Feel Good. It opens with blazing horns, the rhythm section, synths and guitars driving the song along, mixing funk, soul and even disco. This track is very different, and it’s as if it’s Al response to disco’s popularity. It’s funk with a capital F, thanks to the rhythm section, horns and guitar, but the additional of sweeping synths, brings to mind the disco sound that was really popular back then. Al gives a really passion laden vocal, delivering the lyrics using his full range, sounding just as joyous as he did on previous track. Here, backing vocalists play a huge part in the track, accompanying Al throughout the track, with their vocals helping the track to stray into disco territory. The first time I heard this track, many years ago, I couldn’t believe it was Al Green. It came as a shock to my system, having been used to his work with Willie Mitchell. However, since then, I’ve grown to really like the track, as it demonstrates another side of Al, and his versatility as an artist. Mind you, I wonder what Willie Mitchell said when he first heard the track?
All ‘N All sees Al return to a much more traditional sound, one that takes elements of soul, funk and gospel. It’s another track about his spiritual awakening and opens with the rhythm section playing quietly, but gradually the tempo and sound grows. The arrangement is tinged in funk, thanks to the rhythm section, but Al’s vocal is a mixture of soul and gospel as he sings about asking God for help with his problems. When the backing vocalists enter, they unite sweetly, giving thanks, taking gospel music as their influence. Later horns rejoice brightly, as Al gives thanks, clapping his hands, whooping and shrieking joyously. During the track, it’s a joyous feel-good sound that emerges, with Al, his band and backing singers combining brilliantly, to produce a track, that’s not just spiritual, but joyous and so catchy it’s almost infectious
It’s a dramatic and somewhat hectic mixture of the rhythm section, guitars and piano that opens Chariots of Fire. However, Al’s just messing, and on the count of four, the track starts for real. What follows is one of the most passionate vocals and funky laden arrangements on Belle. Al’s vocal is power personified, roaring and nearly screaming, but with a heartfelt joyousness as he sings the lyrics. Behind him, his band match his passion, with horns blazing, the rhythm section turning up the funk, guitars chime and soar while keyboards play. Together with Al’s vocal, it’s a mixture some of the funkiest music you’ll hear on an Al Green album, combined with Al’s celebratory and euphoric vocal. In the end, it’s a potent and brilliant combination, from one of Southern Soul’s most famous voices.
The Belle Album closes with Dream, a lovely tender song, where Al sings accompanied by guitars, piano and rhythm section. Here, his voice is much quieter and thoughtful, as he sings some lovely lyrics. Backing vocalists and strings, sweep in, with the backing vocalists complimenting his voice beautifully. Meanwhile, strings lush sounding, sit at the back of the arrangement, as drums slowly veer between slowly providing the track’s heartbeat and adding drama and guitars play some lovely solos. Dream is an epic track, lasting seven and half minutes, and is easily one of the best tracks on the album. During the track, Al and the backing vocalists combine perfectly. Al’s vocal is gentle and tender, and they feed off one another, taking the other to new heights of greatness. Towards the end, the arrangement builds and builds, getting even better, reaching a brilliant crescendo. Quite simply, it’s a fantastic song, and the perfect way to end Belle.
Although The Belle Album wasn’t a huge commercial success, it’s an album that features some wonderful music from Al Green. This was his first album without Willie Mitchell arranging and producing the album, and the Hi house band backing him. Al produced the album, with Fred Jordan and Reuben Fairfax Jr associate producers. Together they produced an album that was quite different to previous albums. Here, the music reflected his newfound spiritual awakening, with various songs celebrating this. Another difference was the style of music on the album. It wasn’t just an album of Southern Soul, it features soul, funk, gospel and even disco. On this album, these influences can be heard. Throughout the album, one thing is constant, and that’s Al Green’s passionate delivery of each song. He delivers each song with passion, his delivery ranging from heartfelt and sincere, to soulful and funky. During the album, Al demonstrated all this and more, singing songs he’d co-written with Fred Jordan and Reuben Fairfax Jr. This was the first time he’d recorded an album of his own material. These songs were perfect for his voice, and where he was in his life back then. They were a mixture of secular and spiritual, and demonstrated Al’s talent as a songwriter. In my two previous articles about Al, I’ve written about Let’s Stay Together and Is Love, both great albums. The Belle Album was no different, it was a great album, featuring great songs, from one of Southern Soul’s greatest singers, Al Green. Standout Tracks: Belle, Feels Like Summer, All ‘N All and Dream.
AL GREEN-THE BELLE ALBUM.
HORSE MEAT DISCO VOLUMES 1-3.
HORSE MEAT DISCO VOLUMES 1-3.
Over the years, I must have bought many hundreds of compilation albums. Some have been brilliant, some good, others average at best, with some being absolutely dreadful, and never should’ve been released. Just now, there are various labels releasing good quality compilations. These include Strut, BBE, Harmless and BGP. Some of these compilations look at music from a specific genre or label, while others just feature a mixture of great music. One of the compilation series that I’ve been hugely impressed with, are the Horse Meat Disco compilations, which are the brainchild of DJ collective Horse Meat Disco. Since 2003, the DJ collective behind Horse Meat Disco, which includes Jim Stanton, James Hillard, Severino and Filthy Luka, have been putting on some legendary club nights in London. They’re now based in The Eagle in Islington, but take their club nights around the world, allowing other people to experience the now famous Horse Meat Disco club nights. To allow everyone to experience what their club nights sound like, they decided to release their first compilation album in 2009. Since then, they’ve released two further volumes. Each features a wide selection of music, everything from classic disco, Salsoul, electro and eighties boogie. Quickly, these compilations found a niche in the marketplace, with people wanting to hear just what made the Horse Meat Disco club nights just so legendary. Once you’ve heard the music, you’ll realize straight away, that the people behind Horse Music Disco have discerning tastes in music and are crate diggers extraordinary, who’ll go to great lengths to find the rarest music. These three volumes, feature some wonderful music, and I’ll now pick my three favorite tracks from each volume.
HORSE MEAT DISCO.
Horse Meat Disco is a double album that was released in 2009 on the Republic of Music label. It’s a selection of music that you’d expect to hear during the peak time in one of their club nights. The first disc was mixed by the four members of the Horse Meat Disco DJ collective, and features eleven tracks, whereas the second unmixed disc, only features ten tracks. First Love’s Don’t Say Goodnight is omitted from the unmixed disc. However, this volume features some classic dance-floor tracks that are guaranteed to get anyone dancing, and give you the Horse Meat Disco experience. Although it’s difficult to do, I’ll pick my three favorite tracks from the album.
You Can Get Over by Stephanie Mills is my first choice, and opens with an electro sound courtesy of a synth, with crisp drums and handclaps, accompanied by percussion. The tempo is fast, the sound dark and sleazy. Suddenly, it’s transformed when lush sounding strings sweep in, and the darkness lifts. When Stephanie’s vocal enters, she’s every bit the diva, with her voice loud, joyous and steeped in drama. She’s accompanied by backing vocalists, crisp drumbeats, handclaps, percussion and full orchestra. It’s an impressive, dramatic and soulful sound, one perfect for any dance-floor. Later in the track, the dark electro sound returns, providing yet another contrast in what’s an epic track lasting nine brilliant minutes. Throughout the track, it’s drama aplenty from Stephanie and the arrangement, which incidentally, is absolutely outstanding. This is easily one of the album’s highlights, and almost worth the price of the album for this one track.
Do You Like the Way It Feels by The Tempest Trio begins with drums dull and pounding accompanied by squelchy acid house influenced synths before an atmospheric, drama laden vocal enters, soaring heavenwards. Behind the vocal, the tempo isn’t as quick as the previous track, but if anything, the sound is even more joyous and emotional, in what’s clearly a paean to pleasure, and the pursuit of it. Vocalists unite, while the arrangement electro influenced, reverberates, a combination of drums and synths, which has a slight shrill sound. It gives way to an old school synth sound, which seems to pay homage the early acid house sound. The track pumps and squelches, drums and handclaps the perfect accompaniment to synths and percussion. Together, a marriage of fast paced fulsome arrangement that sees synths, beats, percussion and handclaps combine with a hedonistic and joyous vocal produce a fantastic track, that’s so infectious, it’s almost contagious.
Don’t Say Goodnight by First Love is my final choice from this volume, and it opens with crisp pounding drumbeats and percussion, before the vocal enters. Once it gives way, the arrangement quickly grows, becoming dramatic and almost grandiose. An orchestra, strings, drumbeats and handclaps accompany a soaring, hugely powerful vocal. Horns enter blazing, drenching the arrangement and vocal. By now the track really is an uplifting, totally joyous with a huge feel-good factor. Midway through the track, there’s a really funky breakdown, which is led by bass, drums and rhythm section. After that, the track builds back up and the vocal reenters still sounding sweet and joyful, as it sits atop the arrangement. Quite simply, Don’t Say Goodnight is a track that will fill any dance-floor, and like the Stephanie Mills track, this track alone makes the album well worth buying.
Although this was just the first volume of Horse Meat Disco, they’d hit the ground running, delivering a selection of dance-floor classics. Each of the eleven tracks are of the highest quality, and although you might not have heard some of them, you’ll soon grow to enjoy and love them. The mixed disc is well mixed, by the four members of Horse Meat Disco and if that is what their club nights are like, it must one of the best club nights around. Standout Tracks: You Can Get Over by Stephanie Mills, Do You Like the Way It Feels by The Tempest Trio and Don’t Say Goodnight by First Love.
HORSE MEAT DISCO.
HORSE MEAT DISCO VOLUME 2.
After the success of the first volume of Horse Meat Disco, Volume 2 was released in 2010. This volume was released by the Strut label, a label which over the years, has released many great compilations. Again, it was a double album, with sixteen tracks on the mixed disc and only twelve on the unmixed disc. Like before, there were some great tracks on the album, all perfect for the dance-floor, and representing a night at the Horse Meat Disco club night. However, would Volume 2 be as good as the first volume, or would Horse Meat Disco prove to be a one trick pony?
Detour (Party Mix) by Karen Young is my first choice from Volume 2. It begins with synths reverberating before gradually, drums get louder, and enter the mix, accompanied by bass and guitar, mixing electro, funk and disco. When Karen’s vocal enters, it’s high and clear, surrounded by a melange of synths, percussion, drumbeats, with guitars and bass providing a funky backdrop. Here the tempo is perfect for gradually building a set up, about 104 beats per minutes. Later, keyboards and bass, both get the chance to showcase their talents, with the guitar trying to get in on the act, too. During the track, the arrangement is “busy,” with lots going on, instruments appearing, disappearing and reappearing. Likewise, the vocal drops in and out of the track, but Karen has a good voice. This version is eight minutes long, but I really like this version, it totally transforms the original track, and makes this a great track that will liven up any dance-floor.
I Depend On You by The Two Tons, begins with bass and synths before the vocal enters. The vocal is loud and strong, as it soars heavenwards, with a joyous sound, all the while surrounded by synths, bass and drums. Like the vocal, the arrangement is loud, with synths and the rhythm section driving the track along quickly. Both the vocalists have great voices, powerful yet soulful. Later in the track, there’s a great bass solo, which is both funky and dramatic. Again, it’s surrounded by synths, which become prominent in the mix, taking over from the bass. The track is a dichotomy, with the vocal combining elements of soul and even gospel, with the arrangement a mixture of funk and electro. However, somehow this works, and in the end, the combination of powerful, dramatic and soulful vocal and synth and bass lead arrangement combines perfectly, to produce a great track that crosses the musical genres several times.
Manhattan by Laura Greene is my final choice from Volume 2, and is a track that has a dramatic opening. Drums and percussion open the track, before horns, bass and guitars enter. After that, Laura’s vocal enters. It’s as dramatic as the arrangement, her voice strong, loud as it soars, high, as she describes the delights of Manhattan. When you listen to her voice, she reminds me of a mixture of Marlena Shaw and Esther Phillips. Behind her, the arrangement is a mixture of funk and soul, and sometimes, even something I’d expect to hear on a Blaxploitation soundtrack. Strings sweet and lush sweep, horns blaze, while the rhythm section and guitars combine. Together with Laura’s passionate, powerful and dramatic vocal, a fantastic track emerges, easily one that’s among the album’s highlights.
After listening again to Volume 2, Horse Meat Disco weren’t a one trick pony. Again they produced another selection of great music, perfect for any dance-floor. On the album were a mixture of tracks that were well known and not so well known. If anything, Volume 2 was even better than the first volume. The selection of music was slightly more eclectic, and proved that the four members of the Horse Meat Disco collective, had searched far and wide in their pursuit of the finest music. Like the first volume, the mixing is of the highest standard, and again, giving a flavour of what of their club nights. However, previously, with other successful compilation series’, the standard of music started to fall after three or four volumes, so would Horse Meat Disco suffer the same fate? Standout Tracks: Detour (Party Mix) by Karen Young, I Depend On You by The Two Tons and Manhattan by Laura Greene.
HORSE MEAT DISCO VOLUME 2.
HORSE MEAT DISCO VOLUME 3.
Earlier in 2011, Horse Meat Disco Volume 3 was released. Like the two previous volumes, it was a double album. However, this time, both discs were mixed. The first was mixed by Jim Stanton and Severino, the second by James Hillard and Luke Howard. This was an interesting development and allowed the listener to compare the mixing style of the two sets of DJs. Some people may have been disappointed, preferring one of the discs to be unmixed. There were thirteen tracks on disc one, twelve on disc two. As usual, the musical selection was wide ranging, but the inclusion of a Wham track, albeit reedited, seemed to be pushing the definition of eclectic to its limits. However, now onto Volume three, would the quality still be as good, or like previously successful compilations, would the standard of music start to slip?
For Your Love (Disco Mix) by Idris Muhammad is my first pick from Volume 3. It opens with a piano gently playing, slowly building up the drama, ably assisted by strings and horns. However, what follows, is well worth such a dramatic build up. The rhythm section, guitars, keyboards and strings accompany the Idris’ vocal as the track sweeps along beautifully. Backing vocalists accompany him, as the arrangement combines elements of soul and funk, to produce a dance-floor classic extraordinary. Lush sweeping strings, funk courtesy of the rhythm section and guitars, accompany keyboards and a lovely tender vocal. As the track progresses and builds, it just gets better and better. There is an impressive, almost grandiose, sound thanks to the strings which sweep beautifully along. Towards the end, Idris’ voice gets stronger and louder, much different from his earlier tender and gentle vocal. A combination of an outstanding arrangement and great vocal, make this easily one of the album’s best tracks.
Just Us by Two Tons of Fun is a track that features both a great arrangement and stunning vocal. The track opens with strong, soaring, vocals uniting against a backdrop of sweeping strings, rhythm section and guitars. This is a potent combination, with the two voices rejoicing soulfully as they sing the lyrics, against the backdrop of strings, drums and rhythm section. The track, sweeps along, before a funky breakdown, where bass and guitars take over, before the vocal reenters, to be joined by piano. Taking their lead from the rhythm section, they ad-lib, before building the track back up, to a euphoric and joyous conclusion. Like Volume 2, Two Tons of Fun are one of the stars of this volume. Their music is a joyful and uplifting celebration that combines soul, funk and disco masterfully.
Stars by Sylvester is my final choice from Volume 3, and is an epic track lasting nearly ten minutes. It’s a dramatic opening, with drums, synth, bass and guitars combining before horns announce Sylvester’s arrival. From the start, the tempo is really quick, perfect for Sylvester’s high soaring voice. Synths sweep, as the rhythm section and guitars drive the song along. However, Sylvester is very much, the star of the track, delivering a vocal that’s charismatic and dramatic, and made all the better by the addition of backing vocalists. The arrangement flows along, instruments appearing, disappearing only to reappear, including synths, piano and strings. Throughout the song, the tempo relentless, the arrangement building and building until it reaches a dramatic crescendo. When it does, it’s been a magical, musical journey thanks to Sylvester and a brilliant arrangement.
Thankfully, Volume 3 saw the quality of music just as good, if not better, than on the two previous volumes. Horse Meat Disco hadn’t suffered the same fate as previously successful compilations. Both discs are well mixed by some hugely talented DJs, and if anything the music was better than the first two volumes, In fact, it’s so good, that I’m willing to forgive the inclusion of the track by Wham. After three volumes, Horse Meat Disco, like their by now legendary club nights, was going from strength to strength. Their eclectic selection of music was paying off, and although only three volumes old, people who bought the compilation are eagerly awaiting Volume 4. People can only wonder what delights will be on that album, but if it’s as good as the three previous volumes, then I for one will be delighted. Standout Tracks: For Your Love (Disco Mix) by Idris Muhammad, Just Us by Two Tons of Fun and Stars by Sylvester.
HORSE MEAT DISCO VOLUME 3.
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If you’ve never heard any of the three volumes, of Horse Meat disco but enjoy dance music, and disco in particular, then these albums are a must have. They feature some brilliant music that lets you experience what a Horse Meat Disco club night is like. Included in the three volumes are some of the finest dance music you’ll ever hear. It’s an eclectic selection of music, brought to you buy some of the most discerning DJs’ in the UK. They’ve searched far and wide to find this music, spending countless hours crate digging, unearthing hidden gems, that they’re willing to share with everyone. So the next time you pass your friendly local record shop, why not ask if they’ve got Horse Meat Disco in stock, you won’t regret it, and very soon, you’ll be eagerly awaiting Volume 4.
DAVID BOWIE-LET’S DANCE.
DAVID BOWIE-LET’S DANCE.
In a recent article about Scary Monsters (and Super Creeps), David Bowie’s 1980 album, I mentioned how this was the start of a really successful period for him. His next album was Let’s Dance, released in April 1983, and co-produced by NIles Rodgers of Chic. This was Bowie’s fifteenth album, in a career that started in 1967 with his eponymous album David Bowie. However, this album, which saw him combine post-disco, with dance and rock, would be a huge success, giving Bowie both a hugely successful album and several hit singles. When it was released, it reached number one in the UK album charts, number four in US and reached number one in various countries, including Australia and Norway. Four singles were released from the album, with the title track Let’s Dance, proving the most popular giving Bowie number one hits in both the UK and US. Various guest artists played on the album. This included co-producer Niles Rodgers and his bass player from Chic Bernard Edwards and blues guitarist Stevie Ray Vaughan. Together, they helped produce one of Bowie’s most successful commercially successful albums. Coming four years after the critically acclaimed Scary Monsters (and Super Creeps), the question was, would this be as good an album?
Let’s Dance opens with Modern Love, one of the singles from the album, which reached number two in the UK singles charts. The track begins with Niles Rodgers crisp guitar playing before booming drums enter, and Bowie, in a faux cockney accent speaks, before the tempo quickens hugely. Immediately, the tempo is quick, with rhythm section, horns and piano accompanying Bowie, who is by now, really forcing the vocal, almost shouting. However, his vocal is full of passion, as the horns drench his vocal, while the piano is a constant throughout the track and the drums are loud at the front of the mix. Throughout the track the arrangement is full, the tempo quick and the addition of horns and piano really add to the arrangement, improving the track. It transforms the track adds a funky feel and sound to a track, that mixes rock and dance music really well. Together with Bowie’s passionate vocal, it’s the perfect track to open the album.
China Girl was another single taken from the album, and like Modern Love, reached number two in the UK singles charts. That’s where the similarities end, as this has a very different sound and style. It begins with a guitar chiming brightly, and backing vocalists gently singing before Bowie, accompanied by guitars and rhythm and section enter. Here, his vocal is much more restrained, his style much more thoughtful as the arrangement sits powerfully and dramatically behind him. The lyrics are about love and longing, and the problems of living with and without his “China Girl.” As Bowie gives a really thoughtful and emotional vocal, the arrangement has grown, with drums pounding, the beat regular and dramatic. They’re accompanied by a strong bass line and a fantastic guitar solo from Niles’ Rodgers later in the track. Like Modern Love, the track benefits from both a really good arrangement and vocal. While Bowies vocal is thoughtful and sometimes dramatic, the arrangement drives along dramatically and melodically, full of hooks and helping make this one of the album’s highlights.
Like the two previous tracks, Let’s Dance was released as a single, and was the most successful single taken from the album, reaching number one in the US and UK. When you hear the track, you realize just why. It has an atmospheric yet dramatic opening with backing vocalists soaring accompanied by the rhythm section and some ultra funky guitar playing from Niles. A horn howls, as if in pain, while Bowie sings the vocal, and by now the arrangement has built up to a hugely atmospheric and dramatic point. It seems impossible that the track can improve, but it does. Pounding drums, funk laden bass and guitar are accompanied by interjections from the horns. Bowie meanwhile, is giving a hugely soulful vocal on the album, fittingly, accompanied by the best arrangement on Let’s Dance. It’s a combination of funk, dance, jazz and rock that’s unfolding. Here, Niles’ plays a huge part, contributing some brilliant guitar playing and solos, arranging the horns and co-producing the track. For seven and half minutes, Bowie and his band produce the best track on the album. He allows his band to showcase their talents. Guitar, horns and bass all get their chance to shine, demonstrating their talents. Although Bowie is the star of the track, with another great vocal, the track wouldn’t have as good without such talented musicians. Together, they made this, one of Bowie’s biggest selling singles, and the album’s best track.
It was always going to be hard to find a track to follow three really good tracks, like Modern Love, China Girl and Let’s Dance. Without You was the track that closed side one of the original album, which I originally had on vinyl. The track begins with guitar and rhythm section combining, producing a track that has a bright sound. When Bowie sings, his vocal is high, atmospheric and dramatic, while an arrangement that chimes brightly behind him, in a lovely repetitive way, accompanies him. As he sings the lyrics, Bowie sounds defeated contemplating life on his own, without his partner. Here, the arrangement was much simpler, just guitars, rhythm section and later, a keyboard playing. However, this much simpler arrangement, suits Bowie’s vocal, with is much more subtle and thoughtful. It’s a good song, although very different to the three that preceded it.
Ricochet was the first song on the second side of the album, and is one that sees Bowie comment on the troubled times facing the world in the lyrics. Poverty, conflict, heavy industry and crime are all mentioned in the lyrics. The track begins dramatically, with drums and keyboards playing, before Bowie accompanied by backing vocalists and horns enters. Behind him, someone speaks over a loudspeaker, adding to the drama of the track. Bowie’s voice is loud and clear, as if anger and frustration are just waiting to make their presence felt. Drums are used to add to the drama, while Bowie and his backing vocalists sing, the arrangement taking a theatrical turn. Horns interject, the latest in the long line of instruments adding drama to the track. However, even with all these additions, the track just doesn’t work. There’s an artificiality about the whole track, it seems too deliberate, as if he’s trying too hard. In the end, the track comes across as pompous, sounding like something you’d expect from a sixth form musical. This is easily the worst track on the album, and a huge letdown.
After such a poor track, hopefully Criminal World will be an improvement. Niles Rodgers guitar and keyboards open the track, before the rhythm section enter and Bowie sings. His vocal is much gentler, softer, against a full sounding and loud arrangement. Here, the drums pound, while Niles’ guitar solo is outstanding, keyboards punctuate the track, while the bass is quick and funky. The arrangement seems to slightly overpower Bowie’s lovely gentle vocal. It’s an arrangement that’s laden with drama and tinged with funk, but overall, it’s rock music that’s the biggest influence here. Although the arrangement is good, it dwarfs Bowie’s vocal, which is gentle and thoughtful. It would’ve been a better track, if his vocal hadn’t been so overpowered by the arrangement.
When Cat People (Putting Out the Fire) opens, it’s guitars and keyboards which open the track, before the rhythm section enter with Bowie. Unlike the last track, his voice is much louder, and isn’t overpowered by a similarly full arrangement. The arrangement has a rocky feel and sound, with a slight funk influence making itself known via the bass and guitars. Here the track is driven along by soaring and chiming guitars and the rhythm section. Bowie is accompanied by backing vocalists during the track, and here, his vocal is much better, loud and passionate, perfect for the arrangement that’s unfolding behind him. Giorgio Moroder wrote the music for this track, and with his help, the album is back on track after the two previous tracks. This is a vast improvement on them, with Bowie finding form again, with a loud and passionate vocal, and a great arrangement, that combines elements of rock and with a pinch of funk.
Let’s Dance closes with Shake It, which opens with synths and rhythm section, before backing vocalists unite to sing. When Bowie enters, the track is heading towards a funk workout, albeit one where synths are one of the main components. The funk influence is thanks to Niles on guitar and the rhythm section. Again, Bowie’s vocal is much better, it’s dramatic and charismatic, as he’s accompanied by the backing vocalists. His vocal sounds similar to the one on Let’s Dance. During the track, the tempo is quick, the sound funky, and a perfect track for the dance-floor. This is easily the best track of what was the second side of the original album. Both Bowie’s vocal and the arrangement are fantastic, and this funk laden track is melodic and hook laden, and a perfect way to end the album.
Although Let’s Dance was a much bigger commercial success than his previous album Scary Monsters (and Super Creeps), I much prefer Scary Monsters (and Super Creeps) to Let’s Dance. When the album was originally released, I always thought the first side of Let’s Dance was streets ahead of the second side. Side one had Modern Love, China Girl and Lets Dance on it, three outstanding tracks, whereas the best track on side two was Shake It. Of the three other tracks on side two, Ricochet was easily the worst track on the album, and on Criminal World, his vocal was dwarfed by the arrangement. In my opinion, of the eight songs on Let’s Dance, there are five good songs, two average ones and one dreadful song, Ricochet. When its was released, the album was a huge commercial success, spawning four hit singles, and reaching number one in both the UK and US, but I’ve always thought that Scary Monsters (and Super Creeps), was a much better album. On that album, the songwriting was much better, with the album as a whole more melodic and featured songs like Fashion, Ashes To Ashes, Scary Monsters (and Super Creeps) and When You’re Young. Tony Visconti who co-produced the album, seemed to bring out the best in Bowie, and helped him make this one of his best albums. Since its release, it’s the album other Bowie albums have been measured against. Let’s Dance however, is still a very good album, featuring some great songs, and is still an album I enjoy listening to. If you’ve never heard the album, it’s well worth buying and so is the album that preceded it Scary Monsters (and Super Creeps). Standout Tracks: Modern Love, China Girl, Let’s Dance and Shake It.
DAVID BOWIE-LET’S DANCE.
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