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.
BOB MARLEY AND THE WAILERS-NATTY DREAD.
BOB MARLEY AND THE WAILERS-NATTY DREAD.
In a previous article about Bob Marley and The Wailers I mentioned how Natty Dread was the album that provided Bob Marley with his first hit single, No Woman, No Cry in the US. I also mentioned in that article, how it was the first album he released as Bob Marly and The Wailers, instead of as The Wailers. By the time Natty Dread was being recorded, his two former bandmates Peter Tosh and Bunny Wailer had left the band. They’d tired of struggling to achieve success, and decided to leave the band, becoming solo artists. Another change was the addition of The I-Threes, three female vocalists, who included Bob’s wife Rita, Marcia Griffiths and Judy Mowatt. Their addition was a masterstroke, as they provided backing vocals on many of the band’s tracks, bringing a beautiful soulful sound to the music. When the album was released in October 1974, it reached number ninety-two in the US Billboard 200, which was the highest chart placing for any of Bob Marley album so far. The album was both political and spiritual, and since its release, has been recognized as one of the most important albums Bob Marley ever recorded, and is included in Rolling Stone magazine’s list of the 500 greatest albums of all time. However, what makes Natty Dread such a great album? That’s what I’ll now tell you.
Natty Dread opens with Lively Up Yourself, a track that celebrates skanking, a form of dancing, reggae and sex. It opens with a bass booming loudly, accompanied by organ and percussion, before Bob sings. When his vocal enters, it’s a joyous celebration of good time living, accompanied by chiming guitars and drums. The arrangement isn’t that full, but gets over the joyous times that Bob has been having. During the track, the bass line is prominent, guitars chime brightly and later, the brass section help fill out the arrangement, with blazing horns and a sultry saxophone. A combination of Bob’s joyous vocal, and an arrangement made all the better by strong rhythm and brass sections, make this a good track to open the album.
The single that gave Bob Marley his first hit single in the US, No Woman, No Cry is next. It begins with an organ playing atmospherically, accompanied by bass before Bob gives a heartfelt vocal, as he nostalgically looks back at growing up among the poverty in Trenchtown. Guitars, rhythm section and organ combine to accompany Bob, whose vocal gets slightly quicker, and is accompanied by backing vocalists. This version is very different to later versions by Bob, and for me, is the definitive version. This is because of Bob’s heartfelt vocal, and the accent he uses as he sings it. He sings it as if back in Trenchtown, and the arrangement is both sympathetic to the vocal and never overpowers it. To me, it’s a track laden in atmosphere and nostalgia, that give the listener an opportunity to discover what life was like for Bob before he found fame and fortune.
Them Belly Full (But We Hungry) sees Bob fire a warning shot across the bows of the nation’s leaders, as he warns of leaving the poor hungry. He warns “that a hungry mob is an angry mob.” It’s a track that shows Bob at his most political and in the process, he produces a hugely melodic track. Much of this is thanks to the addition of the I-Threes, the female vocalists who open the track singing sweetly and soulfully accompanied by the rhythm section and guitars. The tempo is slow, and Bob’s vocal is slow, clear and spiritual accompanied throughout by the I-Threes. Behind him, one of the best arrangement unfolds. It chugs slowly along, with the rhythm section at its heart, with guitars interjecting throughout. However, by the end of the track it’s Bob and the I-Threes who make this such a good track, together with some hugely powerful and political lyrics, which are as true today as back in 1974.
Bob wrote Rebel Music (3 O’Clock Roadblock) after being stopped by the police late one night, and again, he foresaw the problems that this type of “stop and search” tactics could have. They could lead to people turning against the police and authorities and have a revolution. The rhythm section, I-Threes and harmonica open the track, which has an atmospheric sound, thanks to the rhythm section and harmonica. The I-Threes provide a contrast, with their soulful vocals. When Bob’s vocal enters, he’s angry and upset at his treatment by the police. He portrays this anger well, and forecasts what might happen. Meanwhile, the band play slowly, producing an arrangement that’s the perfect backdrop for Bob’s lyrics. There’s a darkness and broody atmosphere throughout, thanks to the bass and harmonica. Here, Bob’s vocal and lyrics speak for those who were mistreated by the authorities in Jamaica at this time. He sings passionately, with anger, annoyed and upset at the treatment he received, and becomes a spokesman for the oppressed and poor. This is one of the best songs on the album because of his vocal and lyrics, which are outstanding.
So Jah Seh is one of the spiritual songs on the album, and at this time Bob was becoming increasingly interested in the Rastafarian religion. It begins with percussion, brass and rhythm sections and organ combining. The tempo is slow, there is a broodiness in the arrangement. Bob’s vocal has a warmth and spiritual sound as he sings the lyrics, although his vocal is slightly overpowered by the arrangement, especially the brass section. Here the arrangement is much fuller, with the rhythm and brass sections, guitar, percussion and organ all contributing towards an arrangement that is transformed from a broody sound at the start, to a much brighter almost joyous celebration of spirituality. Combined with Bob’s vocal and lyrics, this is a potent combination, and a track that demonstrated and celebrated the newfound spirituality of Bob Marley.
The title track Natty Dread is another reference to the Rastafarian religion, and is an idealized embodiment of the Rastafarian movement. It’s the rhythm and brass sections that open the track. Horns blaze, before Bob’s vocal, accompanied by the I-Threes enter. Horns play throughout the track, while a bass sits low in the mix, as the track drives along. Again, Bob’s vocal has a strength and spiritual sound and feel, while horns rasp and blaze and the I-Threes soulfully accompany him, with short sharp bursts of vocal. During the track, the arrangement is much fuller and has a bright and melodic sound, with the horns, rhythm section and the I-Threes at the heart of the arrangement. Here, the arrangement was perfect for Bob’s vocal, allowing his vocal and lyrics to shine, on another track that reflects the importance of religion in his life.
Bend Down Low is a track that shows the romantic side of Bob. It begins with the rhythm section, guitars and organ playing. The sound is a mixture of dull and bright, with the bass and organ producing the dullness and percussion and guitars contributing light. When Bob sings, his voice has a joyous sound. As he sings, one of the lyrics is “you reap what you sow” a quotation from The Bible, again demonstrating his spiritual side. The track moves along reasonably quickly, and sees the I-Threes sing backing vocals, and the arrangement is much fuller. This is a very different track to previous ones, which are either political or spiritual, and are a taste of things to come on later albums. It demonstrates Bob’s versatility as both a singer and songwriter, and features a joyous vocal from Bob.
When Talkin’ Blues begins it’s drums and guitars that open the track, combining to produce a lovely bright sound. Quickly, drums and bass combine, when Bob sings, accompanied by the I-Threes. Bob’s vocal is atmospheric and heartfelt and made all the better by the I-Threes singing backing vocals. A harmonica plays, as the arrangement chugs slowly along, with horns subtly playing. Here, Bob is back to his political best, providing a voice for the poor and oppressed. It’s a lovely slow song, with a great vocal and soulful backing vocals from the I-Threes. Combined with some great lyrics from Leco Cogil and Carlton Barrett, this is a great track with a slow, atmospheric arrangement.
Natty Dread closes with Revolution, another political song written by Bob. It begins with drums and blazing horns setting the scene for Bob’s passionate vocal, which is accompanied by the I-Threes, who play a big part in the track. Bob, when he sings, sounds as if he’s suppressing anger and frustration as he sings about wanting people to be free. Here, he vents his anger and frustration at his country’s leaders, backed by a driving rhythm, blazing horns and soulful backing vocalists. Here, you can’t fail to be inspired by his vocal, and empathize with his anger and frustration at the way people were oppressed and mistreated. To me, this is easily one of the outstanding tracks on the album, as Bob’s vocal is laden in passion, anger and frustration. He spoke up for the poor and oppressed, gave them a voice through the medium of music, and made the world aware of his country’s problems. Revolution features, a great vocal and lyrics, and one of the albums best arrangements. It’s an outstanding track to end a great album.
Having spent some time listening to Natty Dread and researching the background to the album, this was an important album for Bob Marley for several reasons. Obviously, it gave him his first hit in the US with No Woman, No Cry, and helped him to break him in the US and thereafter, he became hugely popular there. However, it showed both the political and spiritual side of Bob. On this album, he sings of the problems facing people in his home country, and the poverty and oppression they were suffering from. By then, he was politically active and both angry and frustrated at what was happening in Jamaica. This album allowed him to tell the world about these problems. At this time, he was also becoming much more involved in the Rastafarian religion, which was playing an important role in his life. Several songs on Natty Dread saw Bob celebrate his spirituality which as his career progressed, became even more important to him. Natty Dread was the album that helped make Bob Marley a huge star, and it featured ten great songs, where he and The Wailers sing and play brilliantly. This is an outstanding album, easily one of the best Bob Marley and The Wailers albums. if you’ve never heard it, I can thoroughly recommend it, as it features ten great songs, played and sung with passion by Bob Marley and The Wailers. Standout Tracks: No Woman, No Cry, Them Belly Full (But We Hungry), Rebel Music (3 O’Clock Roadblock and Revolution.
BOB MARLEY AND THE WAILERS-NATTY DREAD.
ANN PEEBLES-I CAN’T STAND THE RAIN.
ANN PEEBLES-I CAN’T STAND THE RAIN.
For many years, I’ve loved Southern Soul music, and during that time, discovered a number of great artists and labels. Two of my favorite labels are Stax and Hi Records. Previously, I’ve written about some of the great artists who recorded on Hi Records, including the legendary Al Green, O.V. Wright, Otis Clay and Syl Johnson. However, there is one artist who released seven albums on Hi and nearly twenty singles, and is one of the best female vocalists in the history of Southern Soul, that until now, I’ve not written about, and that is Ann Peebles. After I’ve told you about Ann’s career, I’ll review her 1973 album I Can’t Stand the Rain, which reached number twenty-five in the US R&B Charts.
Ann Peebles was born in April 1947 in St Louis, Missouri, and discovered by bandleader, Gene “Bowlegs” Miller, in 1968, when Ann was singing in a Memphis nightclub. Gene had helped other musicians and artists get started in the music business, including many of the famous Hi Records rhythm section. Ann became the latest of Gene’s discoveries, and very soon, Ann began writing songs with Don Bryant, who was the Hi Records staff songwriter, who she eventually married in 1974.
By 1969, Ann had released her debut single and album. Walk Away was her debut single and This Is Ann Peebles, was her debut album. Although her debut album failed to chart, Walk Away reached number twenty-two in the US R&B Charts. Her second album Part Time Love, released in 1971 was a commercial success, reaching number forty in the US R&B Charts. Part Time Love was released as a single, reaching number seven in the US R&B Charts and forty-five in the US Billboard 100. Straight From the Heart was Ann’s third album, released in 1972, and it reached number forty-two in the US R&B Charts. However, her next album I Can’t Stand the Rain, released in 1973, provided Ann with her biggest selling album and single. The album reached number twenty-five in the US R&B Charts, while the single reached number six in the R&B Charts and number thirty-eight in the US Billboard 100. Tellin’ It, released in 1975, was the last album Ann released that entered the charts, reaching number forty-one in the US R&B Charts. Her next two albums, If This Is Heaven released in 1977, the year Hi was sold, and The Writing’s On the Wall, released in 1978, both failed to chart. It wasn’t that they were poor albums, quite the opposite, the problem was, musical tastes had changed, with disco now hugely popular.
In 1989, Ann and Willie Mitchell reunited, with Willie producing Ann’s 1989 album Call Me. Like her previous two albums, it too failed to chart. So too, did the other albums she released. Full Time Love was released in 1992, Fill This World With Love released in 1996 and Brand New Classics in 2006. However, Ann’s music is still hugely popular and the music she recorded while on Hi contains some wonderful music, including the album this article is about I Can’t Stand the Rain, which I’ll now review.
I Can’t Stand the Rain opens with the title track, I Can’t Stand the Rain, which Ann wrote with future husband Don Bryant, and gave her, her biggest hit single. It’s a song that’s been covered by various artists, including Tina Turner on her 1984 album Private Dance album. However, none of the cover versions come close to Ann’s seminal original. It has an atmospheric opening with percussion and drums combining, before an equally atmospheric yet thoughtful, vocal from Ann enters. She’s then accompanied by guitar, rhythm section and the blazing sound of the Memphis Horns. Together, they combine to produce the perfect backdrop for Ann to sing lyrics laden in sadness, about the loss of her lover. Throughout the track, The Memphis Horns dramatically, interject providing the perfect contrast to Ann thoughtful and soulful vocal. Quite simply, it’s one of Ann’s best ever tracks, and a great track to open the album.
Do I Need You opens with a guitar chiming brightly, before the rhythm section enter. When Ann sings, her voice is loud, clear and full of pride, as she sings, trying to decide whether she needs her lover in her life. Behind her the Memphis Horns and rhythm section combine with guitars and organ, producing an arrangement that laden in drama and atmosphere. When the horns and drums punctuate the track they provide the drama, a total contrast to the thoughtful and calm vocal from Ann. Charles Hodges’ organ playing, provides atmosphere and together with the horns and Teenie Hodges’ guitar playing, the other highlights of the arrangement. However, it’s Ann’s vocal that takes centre-stage, and is the highlight of the track. At times it’s calm and thoughtful, sometimes louder, stronger, but constantly questioning whether she needs him in her life.
When Ann starts singing the vocal on Until You Came Into My Life, it’s instantly noticeable that her voice is much softer and tender. Likewise, the arrangement has a much more subdued feel and sound, with backing vocalists accompanying Ann. As the track opens, strings and rhythm section combine with guitars and organ to produce a lovely understated and almost lush arrangement. Ann gives one of her best vocals on the album, as she give thanks for the love of her life. The addition of Rhodes, Chalmers and Rhodes on backing vocals, really helps, with their voices the perfect accompaniment to Ann’s tender vocal. Later, the horns enter, briefly punctuating the track, their addition the perfect finishing touch, to quite simply, one of the most beautiful and best tracks on the album. What makes this such a good track is Ann’s lovely tender vocal and Willie Mitchell’s fantastic arrangement, which has a beauty and subtlety.
A guitar slowly plays as (You Keep Me) Hanging On begins, before Ann sings, accompanied by the rhythm and string sections. Her vocal although restrained, quiet and tender is full of drama and passion. Again, the backing vocalists accompany her, their voices similarly tender as they unite. An organ plays subtly, as the strings sweep lushly, and drums sit at the front of the mix, providing the track’s heartbeat. The arrangement like Ann’s vocal, is restrained and subtle, and here, horns aren’t used, so as not to overpower Ann’s beautiful vocal. Like the previous track, Ann demonstrates how good she is at singing songs which require a tender and thoughtful vocal.
Horns loud and blazing open Run Run Run, a track that’s the polar opposite of the previous track. Here, Ann’s vocal is much louder and stronger, but is drenched in emotion and passion. Similarly, the arrangement is much fuller, with the rhythm and brass section combining to produce an arrangement that has Southern Soul written all over it. Horns interject throughout the track, and the drums are loud, sitting at the heart of the mix. In the background, an organ and percussion play, while guitars chime. Matching the fullness and volume of the arrangement isn’t a problem for Ann, as her voice is loud and powerful, but laden with passion and emotion. This allows her to demonstrate that she’s just as good, singing tracks that require a much stronger and louder vocal as she is singing songs that require a quiet and tender vocal. Similarly, the much louder and fuller arrangement suits the song, and features some of Memphis’ best musicians playing brilliantly.
If We Can’t Trust Each Other is a much quicker track, that sees guitars, rhythm, strings and brass section combining as the track begins. The brass section play loud and bright short bursts, as if announcing Ann’s arrival. It’s a vocal that deserves heralded in, as she sings emotionally, and with passion and pain, lyrics about mistrust within a relationship. This great vocal has just as good an arrangement, with the brass section peppering the song with short and bright bursts, as if in tune with Ann’s passion and pain. Meanwhile, the strings sweep along brightly and quickly, as the rhythm section contribute yet more drama to this arrangement that mixes emotion and drama masterfully. Combined with Ann’s emotion laden vocal, this is one of the most evocative and dramatic tracks on the album.
The rhythm and string section combine with Charles Hodges’ organ playing to produce an introduction that’s both atmospheric and dramatic as A Love Vibration unfolds. When Ann’s vocal enters, it matches the arrangement that’s unfolding. It’s a mixture of sadness and regret, as she sings about missing the opportunity for love and happiness. Here, the organ and later the horns, are responsible for helping to create such an emotional, dramatic and sad backdrop for Ann’s vocal. Sensing that this is one of the best arrangements on the album, Ann rises to the occasion, producing a fantastic performance, one that’s drenched in emotion, regret and sadness. Quite simply, it’s both a fantastic arrangement and vocal, and one of the album’s best tracks.
A guitar and organ combine to produce a quick, bright and emotional sounding introduction to You Got To Feed the Fire, another song about love lost. When Ann sings, her voice is loud yet bright and evocative, as she remembers the past. Behind her, the arrangement says “Made In Memphis,” and is a stunning slice of emotion ridden, Southern Soul. Horns interject, brightly and theatrically, drums provide drama and a Hammond organ provides atmosphere, while lushly, strings sweep in and out. Completing the sound are the backing vocalists, who sing emotionally, but sweetly, complimenting Ann’s vocal perfectly. Together the arrangement and vocal combine to produce a brilliant track, which demonstrates what Southern Soul is about.
Another of Ann’s best known singles was I’m Gonna Tear Your Playhouse Down, which reached number thirty-one in the US R&B Charts. Like I Can’t Stand the Rain, it has been covered by many artists, including British singer Paul Young in 1984. However, the definitive version is Ann Peebles’, nothing else comes even close. Strings and an evocative Hammond organ open the track before Ann sings, accompanied by horns. When her vocal enters, it starts of gentle, almost thoughtful, but later is a combination of emotion, power and passion. As she sings, the horns punctuate the track, while strings beautifully lush sounding, sweep, percussion plays and the rhythm section provide the track’s heartbeat. At the heart of the track, is Ann’s vocal, by now a combination of power and passion, as she forecasts the downfall of an unfaithful playboy. Like, I Can’t Stand the Rain, this was one of Ann’s finest songs, and easily, one of the album’s highlights. What makes this such a great track is the arrangement, especially the Hammond organ, horns and string sections’ contributions and Ann’s fantastic vocal.
I Can’t Stand the Rain closes with One Way Street that opens with strings and rhythm section combining with piano and percussion, before Ann sings. When she sings, there is a gospel feel to the song and her delivery. Backing vocalists provide gospel drenched backing vocals as Ann sings in a way that reminds me of Aretha Franklin and Candi Staton. It’s almost call and response that Ann and backing vocalists sings, as the arrangement of piano, strings and rhythm section combine beautifully. Although very different from the other songs on the album, in that it’s a track that has its roots in the church, I find it incredibly moving and beautiful. Personally, this style of song suits Ann’s voice, and the arrangement is perfect for the song. Willie Mitchell’s use of the strings, piano and backing vocalists was a masterstroke, and combined with Ann’s vocal, is a song Aretha would be proud of.
The seven albums Ann Peebles recorded with Willie Mitchell for Hi Records contain some wonderful music, I Can’t Stand the Rain my favorite of these albums. By 1974, she was co-writing some great songs with Don Bryant and Bernard Miller. Of the ten songs on the album, she cowrote eight of them, with (You Keep Me) Hanging On and I’m Gonna Tear Your Playhouse Down, the only two cover versions on the album. What surprises me, is that with the ability to write such great songs, and such a stunning voice, Ann wasn’t a much bigger star. That to me, seems strange, as she’d everything going for her. Whether if she’d been on a major label, she’d have been a much bigger success, we’ll never know. However, if that had been the case, she’d neither have had Willie Mitchell nor all the brilliant musicians at Hi to accompany her on her seven albums. Ann won’t be the first artist whose work hasn’t found a much wider audience, sadly this is a familiar story. Talent doesn’t equate to success is just as true now as it was then. Today, people with little talent seem to find huge commercial success, while hugely talented artists struggle to get their music heard. Hype and marketing seem to be the order of the day, and this sadly, has will only get worse. This means that hugely talented artists like Ann Peebles, will remain loved by people who are familiar with her music, but largely unknown to most people, who may only have heard her two best known tracks I Can’t Stand the Rain and I’m Gonna Tear Your Playhouse Down, or cover versions of these songs. If you’re one of those people, and want to discover Ann’s music, then her first four albums are available on The Complete Ann Peebles On Hi Records Volume 1 1969-1973. Her other three albums for Hi can be found on The Complete Ann Peebles On Hi Records Volume 2 1974-1981. Both albums contain some wonderful music, from one of Southern Soul’s best female vocalists. Standout Tracks: I Can’t Stand the Rain, A Love Vibration, I’m Gonna Tear Your Playhouse Down and One Way Street.
ANN PEEBLES-I CAN’T STAND THE RAIN.
SISTER SLEDGE-WE ARE FAMILY.
SISTER SLEDGE-WE ARE FAMILY.
In a recent article about, Chic’s second album C’est Chic, I mentioned how Niles Rodgers and Bernard Edwards had written, arranged and produced We Are Family, Sister Sledge’s third album. This was released in January 1979 in the US and April 1979 in the UK and became the group’s most successful ever album. It reached number three in the US Billboard 200, and number one in the US R&B Charts and was certified platinum. Meanwhile, in the UK, the album reached number seven in the album charts. Before We Are Family was released, sales of their first two albums were moderate. Neither of their first two albums, Circle of One released in 1975 nor Together in 1977, had entered the US Billboard 200. The extent of their chart success was Circle of One reaching number fifty-six in the US R&B Charts. That was the extent of their chart success, until of course they met Niles Rodgers and Bernard Edwards. At last, success came the way of Sister Sledge, who had been formed in 1972, featuring four sisters, Kim, Debbie, Joni and Kathy Sledge. They were discovered by Charles Simmons in Philadelphia, where the sisters had grown up. Like many singers, their first exposure to music had been singing in their local church. However in 1979, when We Are Family was released, their worlds were turned upside down, with the success of the album We Are Family and the three singles taken from it. Having told you the background to the album, I’ll now tell you what it sounds like.
We Are Family opens with the first single taken from the album, He’s the Greatest Dancer, which reached number nine in the US Billboard 100 and number one in the R&B Charts. The track begins with the rhythm section and guitar combining, before piano and strings enter. For nearly one minute, bassist Bernard Edwards and guitarist Niles Rodgers are at the heart of the arrangement, with Niles’ guitar playing outstanding, and Bernard’s bass playing almost as good. Together with Tony Thompson on drums, and The Chic Strings, Chic have provided the perfect backdrop for Kathy Sledge’s vocal. When she sings, she certainly doesn’t disappoint. There is a confidence in her voice, which sounds really natural, as she sings the lead vocal, backed by her three sisters who sing tight vocal harmonies. Behind the vocals, The Chic Strings sweep in and out of the track, their sound really lush. While the strings play, Niles on guitar, gives a masterclass, playing quick, funky licks, ably assisted by the rhythm section and piano. For just over six minutes, Sister Sledge, with the help of Chic produce one of the classic songs of the disco era. It’s track that has everything, a fantastic vocal and outstanding arrangement, thanks to the skills of Bernard and Niles. Thirty-two years later, He’s the Greatest Dancer, sounds just as good as it did the first time I heard it in 1979.
Lost In Music, which was the third single from the album. Remarkably, it failed to trouble the US Billboard 100 and only reached number thirty-five in the R&B Charts. That to me, seems strange given how good a track it is. It opens with the rhythm section, guitars and piano combining before the strings subtly sweep in. As the arrangement builds up, like the previous track, it’s Niles on guitar and Bernard on bass who are at the heart of the arrangement, driving it along, ably assisted by Tony on drums. When the vocal enters, the sisters vocal sits right atop the arrangement. Later, Joni sings the lead, her voice confident, with a lightness in the vocal, as she brightly sings the lyrics, with her voice sometimes, soaring high. Her sisters almost sing call and response with Joni, and then, when her vocal drops out they take centre-stage. Meanwhile, the arrangement is what you’d expect from Bernard and Niles. It mixes, lush strings, with funky guitar, bass and drums, with dramatic interjections from the piano. The combination of another great arrangement and confident, bright sounding vocal from Joni and her sisters, result in another dancefloor classic from Sister Sledge.
After two quick tracks, Sister Sledge change the style and tempo with Somebody Loves Me, a much slower ballad, where Kathy gives a thoughtful, and sometimes dramatic vocal. It begins with piano and drums combining, with strings subtly playing in the background, before Kathy’s vocal appears. Here, she demonstrates her versatility as a vocalist, singing the lyrics with a tenderness, accompanied by her sisters who similarly, sing with a lovely gentleness. The lyrics are about love, and in the song, Kathy has to question whether the love she’s experiencing is real. As she sings, strings subtly play while the piano takes the lead, with the rhythm section and guitars not playing as prominent a role. Instead, they leave the piano and vocal to take centre-stage. This combination, plus the slower tempo, works really well. However, to me, it’s the tenderness and beauty of the vocal that makes this such a beautiful track.
Niles’ guitar playing opens Thinking of You, a track that was released as a single in 1984. However, by then, Sister Sledge weren’t as popular as they had been, when this album was released. As a result it failed to chart in the US, but reached number four in the UK. 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 dancefloor.
The title track, We Are Family reached number two in the US Billboard 100 and number one in the R&B Charts, selling over a million copies. In the UK, it reached number seven in singles’ charts. Since then, it has been covered by a number of artists and featured in various films and television programs. Like other Sister Sledge tracks, it’s a track that’s perfect for the dancefloor. Guitars, piano, rhythm and string sections and handclaps combine to produce an utterly joyous feelgood sound as the track opens. When Kathy sings the vocal, she and her sisters sound similarly joyous. Behind them, strings sweep dramatically in and out of the track, as a piano continually adds to what’s already a track laden in drama. Niles and Bernard meanwhile, add their magic touch to the track. Bernard’s bass especially, is funk personified, and is prominent in the mix, helping drive the song along. By the time he plays his brilliant solo, Kathy’s vocal is hugely powerful, full of joy and character, while behind her, her three sisters sound as if they too, are having a great time. For nearly eight and a half minutes, Sister Sledge take you on a joyous journey, courtesy of one of the most uplifting, feelgood tracks of the disco era. Brilliant.
After such a rousing, anthemic track as We Are Family, Sister Sledge give the listener a rest, with a much slower track Easier To Love. Like other tracks on the album, it features a lovely lush and full arrangement. Strings and rhythm section and guitars play before Joni takes over the vocal duties. She has a voice that that’s strong, confident and laden in soul, as she sings lyrics with a message. In the lyrics she encourages people to love each other, instead of hating one another. Behind her, a lovely arrangement sweeps along, with strings at the heart of the arrangement. Everything else, it seems plays a supporting role. However, Bernard and Niles playing is still just as good, it’s quick, intricate and just a bit funky. Here, her sisters backing vocals are louder and more forceful, in keeping with Joni’s much stronger and forceful vocal style during parts of the track. By the end of the track, a combination of a lovely lush arrangement, Joni’s soulful yet strong vocal and some really good lyrics, make this another great track from the sisters, albeit one that’s very different from many of the other tracks on the album.
Debbie sings the lead on You’re A Friend To Me which begins dramatically, with rhythm and string sections, percussion and guitar before the sisters sing. After that, Debbie takes the lead. Her voice is clear, her control excellent as her voice rises and falls, when she sings the lyrics about love and relationships. Behind her, the arrangement is much more subtle, with piano and guitar playing important parts, before the rhythm and string sections rejoin. As the song progresses, the arrangement builds, becoming fuller, but never overpowering Debbie’s vocal. Like Kathy and Joni, Debbie has an excellent voice, and this was the perfect track for her voice.
We Are Family closes with One More Time, a much more uptempo track, with a fuller arrangement. It begins with the rhythm and string section, guitar and piano playing before the four sisters unite, singing tight vocal harmonies. This demonstrates how soulful their combined vocals are. Kim gets the chance to sings the lead on this track, and her voice is quite high, with a good vocal range, as she sings the lyrics. It’s a track that’s perfectly suited to the dancefloor, and benefits from having a fuller arrangement. The arrangement sweeps along, with rhythm section helping to drive the song along, while strings, piano and guitar play. Waves of music rise and fall, dramatically, with the arrangement sounding almost grandiose in parts. By the end, you can’t help but be swept along by the beautiful lush sounding music, which features a good vocal by Kim, who at last, gets her chance to shine.
Seven years after the group were formed, and having released two previous albums, Sister Sledge at last, found the success their talent deserved. We Are Family was their most successful album, reaching number three in the US Billboard 200 and number seven in UK album charts. Sadly, after that, their albums never sold as well. Even the follow-up to We Are Family, Love Somebody Today, released in 1980 and produced by Niles Rodgers and Bernard Edwards, only reached number thirty-one in the US Billboard 200. However, in 1979 they were one of the most successful groups in the US and produced some of the best tracks of the disco era, including He’s the Greatest Dancer and We Are Family. Although these tracks were released in 1979, they sound just as good today, and that’s thanks to four hugely talented sisters from Philadelphia Kim, Debbie, Joni and Kathy Sledge. During a recording career, that spanned twenty-eight years, they recorded ten albums. My favorite of these albums is We Are Family, and if you’re a fan of either Sister Sledge, Chic or disco music, this is an album that belongs in your collection. Once you’ve heard it, you’ll fall in love with this infectious music, that’s melodic and full of hooks. Standout Tracks: He’s the Greatest Dancer, Lost In Music, Thinking of You and We Are Family.
SISTER SLEDGE-WE ARE FAMILY.
MUSHROOM JAZZ VOLUMES 1-6 THE OM RECORDS’ YEARS.
MUSHROOM JAZZ VOLUMES 1-6 THE OM RECORDS’ YEARS.
In an article I wrote a few months ago, I featured one of my favorite record labels OM Records, which over the years, has released a huge amount of great albums since the label was founded in 1995. Since I wrote that article, I’ve been planning to write another article, featuring more of the great compilations released by OM. However, while I was looking through the various albums OM have released, I came across one of my favorite series of compilations they’ve released, the Mushroom Jazz series, compiled by Mark Farina. Between 1996 and 2008, Mark released six volumes of the Mushroom Jazz compilations, before releasing a seventh volume on the Mri-Red label. In this article, I’ll just focus on Volumes 1-6 released on OM. Over the years, they were one of the most popular series OM released, featuring a mixture of laid-back downtempo grooves, which mix hip hop, trip hop and nu-jazz. Before I tell you about the music on each album, I’ll briefly tell you about Mark Farina, the mastermind behind the Mushroom Jazz series.
Mark Farina was born in Chicago, inMarch 1969. He is now musician and DJ, and is best known for playing house, acid jazz and downtempo music. In 1988, his world changed when he met Derrick Carter, another legendary DJ at a record shop in his hometown. After that meeting, the music he was playing changed totally. Suddenly, his focus changed to a style of music that wasn’t usually heard in the main rooms in the bigger clubs. Instead, it was played mostly in the smaller rooms, away from the main room. He began playing music that was away from the mainstream, music which would later be heard on his Mushroom Jazz series. This was acid jazz, hip hop, urban beats, jazzy West Coast music that had an organic sound and downtempo music. Quickly, what became the Mushroom Jazz club night, took off, becoming hugely popular. Later, when the club Mark held the club nights closed, he hooked up with OM Records, and began releasing the Mushroom Jazz compilations. Volume 1 was released in 1996, and after that, five further volumes followed, with Mushroom Jazz quickly becoming a hugely popular series. However, there is much more to Mark Farina than Mushroom Jazz.
Apart from releasing the Mushroom Jazz series, Mark has released a number of other albums for OM and other labels. He produces his own tracks, and is quite a prolific producer, releasing many tracks over the years. This music ranges in style, from house, hip hop and downtempo and demonstrates his versatility as a musician and producer. However, as well as being a musician and producer, Mark DJ’s around the world. Like his work as a musician and producer, he is a prolific DJ, traversing the globe every year, playing hundreds of sets. His sets are legendary, and can last up to eight hours, and sometimes, he has been known to play two different rooms at one club, on the same night. Quite simply, Mark Farina is one of the hardest working people in dance music. Having told you about Mark’s background. I’ll now pick three tracks from each of the Mushroom Jazz compilations.
MUSHROOM JAZZ VOLUME 1.
Mushroom Jazz Volume 1 was released by OM in 1996. It features a wide ranging mix of jazz inspired beats which are a mixture of laid-back downtempo tracks and ones that are perfect for the dance-floor. In a way, they’re representative of one of Mark’s Mushroom Jazz club nights. Mark recorded and produced one of the tracks, Midnight Calling (Fly Amanita Remix). There are twelve tracks on the album, which range from 80 to 148 beats per minute, and I’ll now choose my three favorite tracks.
Get This by Groove Nation is my first choice and features a sample from a Marlena Shaw track playing in the background, as a warm, jazzy guitar solo is accompanied by the rhythm and brass section augmented by percussion. Drumbeats complete what is a mixture of jazz music and urban beats, that are perfect for the dance-floor. Later, a flute solo plays, accompanied by trumpet, guitar, scratches and samples. Together, with a lovely jazz inspired arrangement, the addition of scratches and samples give the track a slight urban sound and feel, on what is one of compilation’s highlights.
Midnight Calling by Naked Funk featuring Valerie Etienne is a quite different track to my first choice, with a house sound and feel. It begins with drums, crisp and loud accompanied by keyboards, with filter used to change the sound, and a few scratches before Valerie’s vocal. Her powerful and evocative vocal sits at the front of the mix, and reminds me of a vocal from an old Soul II Soul album. Meanwhile, crisp beats, scratches and percussion accompany her. Later, a funky bass, wah-wah guitar and effects and scratches combine with keyboards, when the vocal drops out. The track has a feel-good sound, and throughout the track, filter slightly mutes the arrangement. Valerie’s gives a great rendition of some lovely lyrics, and a combination of her great vocal, and an arrangement that mixes the best of funk, hip hop and urban beats make this a fantastic track.
Magic Use It by Lahomie Washburn is my final choice from the compilation, and it’s another track that features a great vocal. The track opens with bass and slow, crisp and regular drumbeats accompanying the vocal, which although loud and clear, has a warmth. Behind the vocal, the arrangement has more space than previous tracks, with the bass, spacey drumbeats and occasional contributions from guitar and brass section. Later in the track, occasional scratches feature, as do synths. They all drop in and out of the track, leaving the bass, drumbeats and the vocal to take centre-stage. As the track progresses, the vocal grows, becoming loud and powerful, with scratches and the brass section playing a larger part. What makes this such a good track is the combination of the vocal, funky bass and spacey drumbeats, augmented by scratches, guitar and brass section. Together, they make a track that’s brilliantly repetitive, hugely catchy, and combines a soulful vocal with elements of jazz and hip hop.
Having spent some time listening what was the first volume of Mushroom Jazz, what struck me was the sheer quality of the tracks. There isn’t a bad track on the compilation. This is unusual in compilations, as usually there are a couple of poorer tracks. Not here, Mark has selected some great tracks, and mixed them together really smoothly. Picking my favorite tracks was difficult, as I could’ve picked just about any of them. However, the question is, will Mark continue to select as good tracks on Volume 2? Standout Tracks: Get This by Groove Nation, Midnight Calling by Naked Funk featuring Valerie Etienne and Magic Use It by Lahomie Washburn.
MUSHROOM JAZZ VOLUME 1.
MUSHROOM JAZZ VOLUME 2.
It was another two years before Mark released Mushroom Jazz Volume 2 in 1998. This compilation saw Mark change the musical style slightly, picking what were, a collection of mid-tempo tracks, which have an organic feel. Here, the tempo ranged from 92 to 152 beats per minute, and were perfectly suited to either a club environment or just chilling at home. However, the question was, could Mark produce as good a compilation as Volume 1? After, I’ve picked my three favorites, I’ll tell you if he succeeded.
Sandworms by Andy Caldwell vs Darkhorse is my first choice. Andy Caldwell is someone who has played a huge part in the success of OM Records, compiling and producing a number of tracks and albums for both OM and Naked Music. This includes an installment of House of OM. His track begins with crisp drumbeats, scratches and a sample repeating, before an effect sweeps in. It’s a track that takes hip hop as its basis, and combines a mixture of beats, samples and scratches with guitar, bass and drums. Here, effects feature heavily, giving the track a space age sound, as if belonging in some as yet, unmade sci-fi film. During the track squelchy synths sweep in, accompanying the scratches, samples and beats brilliantly. Although just three minutes long, it’s intriguing and melodic, and you can’t second guess Andy, never knowing where the track is heading.
Piano Grand by Tony D is a track that is similar to the Andy Caldwell track. Again, it has a hip hop influence, and shares the same tempo to his track. This is why it follows Andy’s track, as it seamlessly mixes into it. It opens with a crackly, repetitive sample and scratches, while waves of echoey synths sweep in, introducing a lovely melodic piano led track, which features strings, lush and sweet. Atop that melody, sits a spoken word sample, and they’re accompanied by crisp, crunchy beats. The combination of the piano led melody and beats has almost a hypnotic effect, mainly because of what’s a beautiful contrast. Strings and piano courtesy of the melody and crisp, crunchy urban beats, together, they produce a track that mixes the old and new perfectly, made all the better, by a beautiful melodic piano and lush strings.
If I Fall (Jay’s Urban Dub) by Naked Music NYC is a track that may be familiar to people like me, who are fans of the Naked Music label. Various versions of this track have featured on several of the Naked Music albums, and although quite an old track now, it’s still as good. The tempo is slightly quicker than the two previous tracks, but has a more “soulful house” sound, in among the hip hop. Drums and synth combine as the track opens, and straight away, the lush vocal kicks in. It sits in the background, and is surrounded by various scratches, samples, synth lines, backing vocals and crisp crunchy beats. Effects are used to transform the sound, echo, delay and filter. This mix is quite different mix, one with a much more hip hop influence. However, this doesn’t stop the track’s brilliance from shining through. Personally, this version transforms the track, almost deconstructs and then reconstructs it. In doing so, it produces another great version of what is a classic track from Naked Music, and one of my personal favorites from that label.
Earlier I asked whether Mark could keep up the quality of Volume 1 on Volume 2, and my answer is a resounding yes. Not only did he manage this, but he produced a compilation that moved the music in a different direction, with slightly quicker tracks. In doing so, he kept up the quality and introduced many more artists to the people who bought this series. The compilation features tracks by many well known artists, and like Volume 1, features music that will appeal to a large number of people. However, what direction would Volume 3 take, and would it be as good as the first two volumes? Standout Tracks: Sandworms by Andy Caldwell vs Darkhorse, Piano Grand by Tony D and If I Fall (Jay’s Urban Dub) by Naked Music NYC.
MUSHROOM JAZZ VOLUME 2.
MUSHROOM JAZZ VOLUME 3.
Unlike Volume 2, there was a three year interval between the next volume being released. Mushroom Jazz Volume 3 wasn’t released until 2001. Mark wasn’t one of those compilers who rushed out a new volume every year. Instead, it was about quality, and licensing the tracks he wanted, rather than just release what was available. He should be admired for this, and in doing so, was making sure that the quality of music on the compilation wouldn’t be compromised. On Volume 3, he decided to return to the downtempo music of the first compilation, with the tempo ranging from 94 to 170 beats per minute. However, would the music on it compare favorably to either Volumes 1 or 2?
De La Bass Mousse T. Def Mix) by Raw Instinct is my first choice from the album, and is a track that mixes elements of jazz and hip hop. It begins with a guitar brightly chiming, in a jazz style with crisp, crunchy drumbeats and a lovely crackly sound that sounds like old and worn vinyl. After that, a loud, confident vocal that’s half-spoken, half-sung enters. Accompanying it, are a mixture of old and new, jazz and hip hop. Old and jazz is represented by an organ, guitar and trumpet, while hip is represented by scratches, samples and the crunchiest of drumbeats. Together they combine masterfully, producing a downtempo track par excellence, which is a fusion of two musical genres, albeit ones that are distant relations.
Relax Your Mind by DJ Presto is a track that’s just slightly quicker than the previous track, and like the previous track, relies heavily upon scratches and samples. Again it’s a fusion of styles, with a melodic sweeping sound opening the track. It’s a mixture, of scratches, vocal samples and drumbeats, which are accompanied by keyboards and brass section which produce a dramatic arrangement. A combination of vocals and vocal samples are used, making an intriguing track where you never know what will happen next. One thing that really makes this track, is that when a hook appears, it’s repeated constantly, but you never tire of it. By the end it’s as familiar as an old friend. Together with a lovely warm sound, and an intriguing combination of samples, scratches and instruments, it’s one of this volume’s highlights.
Jazz Cop (LP Mix Version) by Gripper, is my final track from this compilation. It’s a track that opens with scratches, samples and drumbeats combining with occasional snatches of brass, synths and a range of vocals. Samples and instruments appear, disappear and reappear during the track. A myriad of samples, scratches effects and crisp and sharp beats, accompany an almost grandiose sweeping string and led arrangement. It quickly disappears and reappears, giving way to a guitar and flute, and yet more samples. So much is going on, that you’re constantly trying to keep track, with vocal echoey, shooting high into the arrangement. Although it isn’t a quick track, the echoey vocals and spacey sound, make it seem quicker. However, by the end, Gripper has created a fascinating and melodic track, one that fuses, hip hop, trip hop with jazz magnificently.
Mushroom Jazz Volume 3 saw Mark return to the downtempo sound of Volume 1. In doing so, it was a triumph, picking a brilliant selection of tracks. Each of the nineteen tracks on the compilation are of the highest standard, and like Volume 1, there isn’t one bad track. This compilation of downtempo tracks, was totally different from most of the other so-called downtempo compilations. Instead, this was innovative, offered something new and fresh. Like the first volume, Mark’s mixing is seamless and he knits the tracks together brilliantly demonstrating his skill as a DJ. After three great volumes of Mushroom Jazz, where did the series go from here. Standout Tracks: De La Bass Mousse T. Def Mix) by Raw Instinct, Relax Your Mind by DJ Presto and Jazz Cop (LP Mix Version) by Gripper.
MUSHROOM JAZZ VOLUME 3.
MUSHROOM JAZZ VOLUME 4.
Mushroom Jazz Volume 4 arrived in 2002, a year after the previous volume. Again, Mark decided to change the musical direction of the series, using his home city of Chicago as his inspiration. This volume featured hip hop, and deeper yet groovier rhythms. Although, trip hop, hip hop and downtempo music all can be found on the compilation, what people wondered, was after four volumes, was the series still as good?
Truth In Position by Maspyke is my first choice from Volume 4, and it’s a track that fuses hip hop with elements of jazz. It opens with a double bass playing, accompanied by crunching drumbeats, vocal samples and keyboards adding a dramatic atmosphere. There’s a darkness present, an eeriness caused by the way the keyboards, samples and beats combine with the bass and percussion. The track sweeps along, various spoken word samples appearing, and together with the keyboards, bass and percussion they combine perfectly, producing a track that’s dark and eery, and belongs in a modern horror film. Play this, and I for one, won’t dare look behind the sofa.
Keep Your Head Up by Laurnea is the complete opposite to the previous track. It features a light and melodic female vocal, accompanied by drumbeats that are crisp and loud, scratches, keyboards and a myriad of effects. Here, the arrangement is quite loud at the start, compared to the vocal, and sometimes, the vocal is slightly dwarfed. During the track, the vocal is accompanied by crackles, scratches and samples, with backing vocals, bass and beats completing the line-up. During the track, filter is used on the vocal, meaning it’s masked. This is only briefly and doesn’t spoil what is a beautiful, melodic and sweet vocal. The arrangement is perfect for the vocal, with elements of hip hop providing the perfect contrast. Overall, it’s easily one of the album’s highlights, and quite different from many of the tracks on Volume 4.
Original Beats by DJ Slave begins with beats that’s are slightly muted, accompanied by snatches of synth and brass, before a spoken word sample enters. It’s surrounded by sound effects, handclaps and is joined by more spoken word samples, synths and beats. Filter is used again, this time muting the synths and samples. Here, the choice of samples is perfect. They vary from space age, eery to humorous. Combined with sweeping synths, drumbeats and sound effects, DJ Slave produces a track that’s flows along gently, always keeping your interest and foot tapping and occasionally, making you smile.
Mushroom Jazz Volume 4 kept up the quality of the three previous volumes. Here, Mark has focused on hip hop for many of the tracks, but in doing so, has managed to select some of the best tracks around. There is more to this track than hip hop though, and other tracks vary in style and tempo, ensuring that there is something to suit all musical tastes. What’s remarkable about this series, is that after four volumes, the quality is just as high, and unlike other compilations that were around at this time, it showed no sign of becoming stale or complacent. However, could Mark keep this up when Volume 5 was released? Standout Tracks: Truth In Position by Maspyke, Keep Your Head Up by Laurnea and Original Beats by DJ Slave.
MUSHROOM JAZZ VOLUME 4.
MUSHROOM JAZZ VOLUME 5.
There was a gap of three years before Mushroom Jazz Volume 5 was released by Mark Farina in 2005. Like Volume 3, he was neither willing to rush, nor compromise quality when it came to the series. On this volume, Mark combined hip hop, trip hop and downtempo music, choosing twenty-one of the best tracks he could find. However, after waiting three years for Volume 5, would it be worth the wait?
The Tribute by Colossus is my first choice from Volume 5, and begins with a saxophone repeatedly playing, accompanying by scratches, drumbeats, samples and rap over the arrangement. It’s a track, that mixes elements of jazz with hip hop in a track, that is brilliantly repetitive, melodic and totally intriguing. Like similar tracks, you’ve no idea what will happen next. It could be a snatch of a jazz piano playing, a scratch, sample or synth that you hear. The rap name-checks some of the greats of jazz, and during the track, elements of it pay homage to giants like Cab Calloway. A number of samples are used, accompanied by the jazz piano, and each one has been well chosen, fitting together brilliantly like jigsaw pieces. Overall, it’s a great track, that mixes jazz and hip hop brilliantly.
Cali Spaces by Mark Farina is a track that combines house beats with hip hop. It begins with a vocal accompanied by drum beats and a melodic keyboard line. Handclaps and percussion can be heard, as the arrangement builds up, but mostly, it’s beats and keyboards that feature. Scratches are thrown in, later, and as applause can be heard, it’s a good time, party atmosphere that’s being enjoyed while the track’s recorded. On this track, the beats are much more rounded, neither crisp nor booming, and together with a melodic arrangement and almost hypnotic, repetitive but joyous vocal, it’s a potent and brilliant combination. It’s fitting that one of the best tracks on the album is supplied by Mark Farina, the mastermind behind the Mushroom Jazz series.
Hollywood by DJ Dez is one of the shortest tracks on the album, but what it lacks in time, it makes up in quality. Crisp drums and joyous female vocal open the track, with filter used on the vocal, as the drums get louder, with synths interjecting. Even through the filter, the joyous vocal shines through. What’s different on this track is how few instruments feature. Mostly it’s just the drums and vocal, with occasional and sometimes brief contributions from keyboards and synths. However, the track doesn’t suffer for that, and although just a short track, it’s one where the joyousness shines through brilliantly.
Although Mushroom Jazz was five volumes old, the quality of the music and mixing hadn’t suffered. As usual, Mark had chosen some of the best tracks he could lay his hands on. Twenty-one tracks featured on this album, and they featured a variety of music that crossed the musical genres. Hip hop, trip hop and downtempo grooves all sat side by side, with elements of house, jazz, soul and funk present within the tracks. So after five volumes, Mark still had the midas touch, and the three year wait was worth it, to hear such a great compilation. However, after five volumes of Mushroom Jazz, where would the series go from here, and would releasing another volume be one too many? Standout Tracks: The Tribute by Colossus, Cali Spaces by Mark Farina and Hollywood by DJ Dez.
MUSHROOM JAZZ VOLUME 5.
MUSHROOM JAZZ VOLUME 6.
Mark delivered what would be his last volume of Mushroom Jazz for OM Records in 2008. After Mushroom Jazz Volume 6, the next volume would be released on the Mri-Red label. On Volume 6, he combined hip hop, trip hop downtempo beats and jazz influenced tracks. This is an intriguing and wide ranging mixture of music, and Mark picked another of the best twenty tracks he could find. However, would his final volume of Mushroom Jazz Volume 6, be as good as the five previous volumes?
Fool’s Competition by Smooth Current opens with what sounds like a party going on in the studio. It’s an uptempo track, one that mixes jazz and hip hop. A guitar, brightly chiming, and dull, but quick, bass play, while crisp beats accompany it. Samples can be heard, with the occasional scratch accompanying, the quick jazz laden arrangement. This combination of hip hop and jazz works really well, and the addition of the samples, which drift in and out of the arrangement, combine to make this a fantastic track, easily one of the album’s highlights.
Groovin’ by Kero One is another track that features a bass and guitar accompanying drumbeats, and like the previous track, sees a fusion of jazz and hip hop. As the track progresses, another bright guitar solo plays, accompanied by bass, keyboards and organ. Jazz drums can be heard briefly, while the drumbeats, crispy and fast provide a contemporary accompaniment. The beauty of this track is that it marries together one of the oldest styles of music jazz, with one of the newer ones hip hop, and in doing so creates a track that sounds modern and contemporary. Not only that, but it’s also a track that sounds great, and is quick and catchy.
Wasn’t Really Worth My Time by Flash opens with a melodic, sweet vocal, crisp sounding, quick beats combining with snatches of brass, synths and even a flute. The vocal sits proudly at the front of the mix, while behind it a myriad of instruments and samples contribute to the arrangement. Each instrument or sample seems to be introduced at the right time and together, they help make this easily one of the most melodic tracks on the album. However, what really lifts this track to the next level, is the vocal. It’s outstanding, sweet and melodic, yet loud and clear, making this such a fantastic track.
Like the previous five volumes, Mark kept up the quality on what was his final installments of his Mushroom Jazz series for OM Records. Volume 6 was a fitting end to his time with OM, and featured twenty great tracks. What was so good about this compilation, was the variety of music on the album. There was everything from hip hop to trip hop, and downtempo beats to jazz influenced tracks. This wide range of music, mixed brilliantly by Mark ensured that he kept up the high quality of the five previous volumes. Standout Tracks: Fool’s Competition by Smooth Current, Groovin’ by Kero One and Wasn’t Really Worth My Time by Flash.
MUSHROOM JAZZ VOLUME 6.
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Between 1996 and 2008, Mark Farina released six volumes of Mushroom Jazz. Over these six volumes, Mark kept up the quality, with Volume 6 as good as Volume 1. During the twelve year period, he never once let his standards slip. The Mushroom Jazz series outlasted and outsold many of his competitors. Much of the success of this series was Mark constantly changing the musical style. He wasn’t willing to just release album after album of the same type of music. No, he wanted to remain innovative, always freshening up the musical style. Unlike other compilations, Mushroom Jazz never became stale, because of Mark’s willingness and decision to change the music policy. Since Volume 1 was released, I’ve always loved this compilation series. One of the attractions is the eclectic choice of music on each album. Hip hop, trip hop, downtempo and jazz influenced music sit side by side, on these six volumes. If you’ve never heard any of the Mushroom Jazz compilations, and like any of the aforementioned musical styles, then these albums are a must-have for you. Should you be a fan of OM Records, but not heard these albums, I would throughly recommend them. Mushroom Jazz, like all the albums released by OM Records, are full of quality music, compiled by Mark Farina, one of the hardest workingmen in dance music.
PRIMAL SCREAM-BEAUTIFUL FUTURE.
PRIMAL SCREAM-BEAUTIFUL FUTURE.
Recently, I had the misfortune to read the misinformed rant of musical wannabe online, who dismissed out of hand, one of the most popular genres of music, indie music. To this poor misguided soul, this genre of music is all rubbish, whiney boring music. To them, Keisha and Katy Perry are the saviors of music. So it’s good that the future of music is in the safe hands. Although I’d suggest it isn’t safe to let someone as musically blinkered and uneducated near a computer keyboard. By dismissing indie music, this person, dismisses some of the most successful bands of the past thirty years, all of whom started life as indie bands. The Smiths, R.E.M., New Order, U2, Oasis and the band this article is about, Primal Scream. All these bands, originally, were indie bands. Obviously, some outgrew their “indie” statues, and U2 and R.E.M. can no longer be called indie bands. Primal Scream however, are a band that have crossed the musical genres, producing a wide range of albums. In the early days, they were an indie band with a penchant for rock ‘n’ roll music. By the time of 1991’s seminal album Screamadelica, they’d fused indie and dance music. Later on Echo Dek saw them release a dub album and in 2006 they returned to their rock ‘n’ roll roots with Riot City Blues. The album that followed, Beautiful Future, released in July 2008, saw the band fuse rock ‘n’ roll, electro, pop and soul music. Produced by Bjorn Yttling, with several tracks recorded in Sweden, the album saw a number of guest artists join Primal Scream. This included Lovefoxxx, Josh Homme and Linda Thompson. Beautiful Future was the last album the band recorded, and fans eagerly await their next album. Until then, I’ll revisit Beautiful Future and tell you just what the album sounds like.
Beautiful Future opens with the title track, which I always thought should’ve been released as a single. When the band were promoting the album, it was a track that always went down well with audiences. It bursts powerfully and brightly into life, with drums and percussion, Mani’s bass, guitars and synths driving, the track along, before Bobby’s vocal enters. When it does, he gives a dramatic rendition of the lyrics. His voice is much quieter, not as strong as on other tracks, but perfect for the lyrics which promise everything material. Meanwhile, the arrangement has the power of a juggernaut, albeit one that combines power, melodies and rhythms. It’s a brilliant combination hugely powerful drums, driving guitars, synths and not forgetting Mani’s masterful bass playing. During the track, hooks are plentiful, on probably, the catchiest, most melodic, track on the album. Wave upon wave of music rises and falls during a track that mixes the best of rock ‘n’ roll, pop and even some dirty electro sounds. Here, Bobby and the band do what they do brilliantly, producing some brilliant good time rock ‘n’ roll music.
Can’t Go Back begins with a frantic mixture of rhythm section, guitars and synths combining to give Bobby a backdrop that is both lightning fast and power personified. It’s an arrangement that picks you up, and sweeps you along in its wake. While Bobby sings, the rest of the band provide equally fast whooping backing vocalists. Like the opening track, it’s an arrangement that’s powerful, but here it’s driven along by the whole band playing at breakneck speed. Guitars, rhythm section and keyboards all contribute to both the sound and the power, with the rhythm section providing the track’s heartbeat, and Andrew Innes’ guitar playing a crucial factor. Bobby meanwhile, manages to keep up with the band and gives an energetic vocal performance that matches the energy created by the rest of the band. Together, they create an energetic, powerful track that drives furiously along, bringing to mind Iggy Pop and The Stooges and MC5, two of the band’s heroes.
Drums and percussion play at the start of Uptown, before Mani’s bass enters, and Bobby’s bright and joyous vocal appears. The track lacks the power of the previous track, replacing it with a spartan, yet lush, soulful, sound. This is thanks to Bobby’s vocal, which is multi-tracked and provides backing vocals. As the track progresses, the arrangement fills out, strings sweeping in and almost a house beat accompanying his vocal. Occasionally, various sound effects enter, with handclaps a constant presence. Throughout the track, Mani’s bass playing is fantastic, providing the track’s heartbeat. However, what makes this such a fantastic track, are the lush, sweeping strings reminiscent of Gamble and Huff’s Philadelphia sound and Bobby’s atmospheric, almost whispery vocal, as he sings some great lyrics.
The Glory of Love opens with percussion and dark, dirty synths combining with Mani’s bass and guitar before Bobby sings. His vocal is similarly dark, as synths squelchy explode, while handclaps and backing vocalists accompany his vocal. Like previous tracks, it’s a much fuller arrangement, but here it’s a mixture of old school synths, electro and driving rhythm section that provide the backdrop for Bobby’s vocal. However, the combination of bright percussion that sits above the rest of the arrangement, provides a contrast for the darkness of the rest of arrangement. Overall, this track reminds me of some of Lou Reed’s earlier material, given an intriguing, modern, makeover by Primal Scream.
Synths broody and dark, reverberate and are then joined by dramatic, booming drums, screaming guitars and a driving bass as Suicide Bomb opens. Together, they combine to produce a looming, dark almost threatening backdrop to accompany Bobby. Once he sings, it’s apparent, that he’s picked up on the atmosphere, and decides to give a broody, enigmatic vocal. This he does well, maybe remembering his days with the Jesus and Mary Chain and using this as a reference point for his vocal. Behind him, the arrangement moodily chugs along, the tempo slow, the drums still booming as the guitars and bass combine powerfully. For nearly six minutes, a melange of screaming, screeching guitars, pounding and booming drums, helped along by synths and bass help Bobby to produce some dark, moody and atmospheric music, that fuses some old style rock ‘n’ roll licks with indie and garage music masterfully.
After a couple of songs with a darker sound, Primal Scream return to what they do best, and produce some good time rock ‘n’ roll music on Zombie Man. It bursts into life with the band singing, before the guitars and rhythm section are unleashed. The guitars are bright, with almost a country feel and sound to some of the licks, while the drums pound and Mani’s bass is fast and accurate, as it sits at the bottom of the mix. Bobby Gillespie sounds as if he’s having a ball on this track. It’s as if he’s been rejuvenated after the darkness of two previous tracks. Likewise, the rest of the band are similarly joyous, producing some really uplifting backing vocals. Together with a great arrangement, Primal Scream produce a similar good time rock ‘n’ roll sound to The Faces in their pomp, albeit with a different style of music. On this track, the band unite brilliantly producing one of album’s highlights.
Beautiful Summer opens with a sound that manages to sound both dark and bright at the same time. However, quickly, the track decides in true rock ‘n’ roll fashion, to follow the path of darkness. The drums are quick and sharp, almost a military tempo, as guitars and bass combine to produce a moody sound that’s the polar opposite to the previous track. Bobby’s vocal is a mixture of drama and darkness, as he sings the lyrics. The lyrics however, are some of the best on the album, about an old lover, whose now gone, and the summer they spent together. Later in the track, the guitars chime brightly, trying to lighten the sadness caused by Bobby’s lyrics. They manage this briefly, but overall, it’s a track that’s drenched in sadness, with the drama and darkness of Bobby’s vocal and the arrangement perfect for the lyrics.
Lovefoxxx join the band on I Love To Hurt (You Love To Be Hurt), a track that begins with dark, sleazy sounding synths and percussion playing before Bobby sings. The lyrics are gritty, referencing the pain that can be caused by love or in the name of love, and Bobby duets with Lovefoxxx. Waves of music sweep in, with synths at the heart of everything, various sound effects making their presence felt. As this electro influenced track progresses, driven along by synths, ably assisted by Mani’s bass. As the track ends, it’s a totally different track to anything else on the album. Most people who haven’t heard the track wouldn’t recognize this as one by Primal Scream. However, as a band, they’ve never been afraid to be innovative and throughout their career, changed musical directions many times. This track was very much a leap into the unknown, and although very different from the other tracks, works really well.
Linda Thompson assists Bobby with the vocals to Over and Over, which sees Bobby give a really tender vocal, accompanied by atmospheric guitar and keyboards. The tempo is slow, the arrangement subtle, and when Linda sings, her voice is equally tender as they sing the lyrics which are about love. There’s a spacey sound to this track, it seems to gently float along, with the guitars echoing and chiming in the background. Likewise, the drums are played subtly, and nothing is allowed to overpower a really beautiful, gentle and tender vocal from Bobby and Linda.
Beautiful Future closes with Necro Hex Blues, which features Josh Homme. It’s a track that’s the diametric opposite to the lovely, gentle, Over and Over, and energetically bursts into life with guitars, synths and rhythm section combining powerfully, to drive the track along. The tempo is lightning fast, the arrangement loud as Bobby sings, his vocal almost dwarfed by the power of the arrangement. Josh Homme accompanies Bobby, while glorious guitar solos, scream and screech soaring high, while the bass rumbles and drums powerfully, pound. The synths help fill the sound out even more, as if that was needed. Here, Primal Scream show that they’re one of the last great rock bands, as they produce an arrangement that’s a marriage of speed, power and really good musicians. It’s the perfect track to close the album, and a perfect reminder of just how good a rock ‘n’ band Primal Scream are.
On Beautiful Future, Primal Scream resisted the temptation to stick to what they do best, and release an album of good time rock ‘n’ roll music like they could’ve done and many bands would be tempted to do. Instead, they decided to be innovative and take their music in new directions. This worked really well, and on the album, a mixture of styles and influences are apparent. There is everything from good time rock ‘n’ roll music, to sleazy electro, pop and soul. This demonstrates their musical versatility and a drive to reinvent their music. It was also quite brave to be as innovative and release an album of such diverse songs. Since Beautiful Future, Primal Scream have remastered and rereleased their masterpiece, the seminal Screamadelica, which celebrated its twentieth birthday this year, and the band have been touring that album. However, there is no sign of a new studio album from them, and one can only wonder, that when it’s released, what musical direction the band will take next. If it’s as good an album as Beautiful Future, they’ll have done well, and if it’s anywhere near as good as Screamadelica they’ll be hailed as the real saviors of music. Whichever it is, it’s not bad for what once were an indie band? Standout Tracks: Beautiful Future, Uptown, Zombie Man and Necro Hex Blues.
PRIMAL SCREAM-BEAUTIFUL FUTURE.
THE REVOLUTIONAIRES-GOLD MINE DUB.
THE REVOLUTIONAIRES-GOLD MINE DUB.
The Revolutionaires were the house band at the famous Channel One Studios and included some of the most famous reggae musicians of all time. Sly and Robbie made up the rhythm section, Tommy McCook played saxophone and Bertram McLean played guitar. Looking back at the past members of the band, it reads like a list of Jamaica’s most famous musicians. Over the years, they were one of the most prolific reggae bands releasing a huge amount of singles and albums. As if this wasn’t enough, they worked with some of the biggest names in reggae. Black Uhuru, I-Roy, Gregory Isaacs and Tapper Zukie are just a few of the names they worked with. Previously, I wrote about their album Crueshal Dub one of my favorite albums by The Revolutionaires, and in this article, I’ll revisit Gold Mine Dub, one of the albums they released in 1979.
Gold Mine Dub opens with Calico Jack a track that opens with booming and loud echoey drums, before bass and guitar enter. Steel drums play in the background as effects lightly transform the sound. The track meanders slowly, with the rhythm section driving the track along, guitars and organ providing a contrast to the darkness courtesy of the rhythm section. Overall, it’s a track of dark and light, provided by different parts of the band, with effects used sparingly throughout the track. However, producer and arranger, Jah Lloyd, and King Tubby, the mixing engineer, combine well, producing a track that combines the best of reggae and dub perfectly.
Big Foot is a quicker, brighter track, one that’s organ led, with drums both sharp and drenched in echo providing a backdrop to a pedestrian bass line. This track is much more what you’d expect a dub track to sound like. The effects are used much more here, twisting and transforming the drums, with echo and delay used effectively. Meanwhile, the bass and organ are mostly, allowed to go about their business without being given the dub treatment. Occasionally, they’re subjected to the dub treatment, but not too much. This provides quite a contrasts, as does the way the drums boom and crack, before they’re laden in effects. Rumbling, booming sounds are emitted from your speakers as King Tubby goes to work. Personally, this track is much more what I’d expect on a dub track, as here King Tubby gets to work, turning up the echo and delay and in the process, punishes your speakers. Excellent.
An organ, echoey, booming drums, bass and flute combine as Goldmine begins. The flute takes the lead, with vocals subtly, sitting towards the back of the mix as the track chugs along. Echo laden drums crack and boom, exploding, as the flute leads the way, ably assisted be a consistent bass and bright and atmospheric organ and chiming guitars proving the backdrop. Here, the use of the flute is a masterstroke, providing something very different, after all have you ever heard a dub track where a flute takes the lead? Meanwhile, effects are used much more subtly, echo just taking the edge of the drum sound, and filter cutting out the organ and flute during the track. Although the effects are used much more effectively, this is highly effective, as King Tubby seems to find just the right place to use them, and always chooses the right effect.
Straight away as Bitter Blood begins, the drums and percussion are subjected to a huge amount of echo, and they rumble, reverberate due to King Tubby’s plentiful supply of echo. The organ escapes this treatment, and play brightly, accompanied by a lightning fast, repetitive bass line and gently chiming guitar. As the track progresses, everything is subjected to echo, except the bass and stabs of atmospheric organ that punctuate the track. Later, a piano is briefly heard, and the organ plays a bigger part again. However, the drums boom, reverberating sharply as the echo twists their sound. Instruments appear, disappear and reappear, as if trying to escape being subjected to King Tubby’s effects, which he uses brilliantly, throughout a track that has a lovely bright, summery sound when it can escape King Tubby’s effects box.
Red River Dub has a really melodic introduction, with an organ an organ playing brightly, bringing to mind long summer days spent under the hot Jamaican sun. However, all that quickly changes, when the drums enter, crackling, rattling and reverberating thanks to some deft use of effects. Here, it’s echo and delay that are used. Accompanying the drums and organ are a dark, booming bass line, that’s slow and spacey. Percussion makes its presence felt, as the organ rejoins, still playing that lovely bright melody, as it drops into and out of the track. Again, it provides a contrast to the dark, booming sounds produced by the rhythm section. Thankfully, the contrast it provides works well, and if the organ provided brilliant, bright sunshine, the rhythm section produce an impressive, powerful thunderstorm. Together, they combine magnificently, and in the process, produce another great slice of dub.
It’s organ, rhythm section and flute that open Musketeer Dub, one of the quicker tracks on the album. Again, the flute is prominent in the mix, with organ providing a bright accompaniment. Drums are loud, cracking and reverberating as the bass is fast and accurate, booming at the bottom of the mix booming. King Tubby uses the effects quite heavily here, especially on the drums, transforming their sound so they crack, booming with just the right amount of echo. Sometimes you think that he’s going to give his effects a rest, but suddenly, he decides to transform the sound totally. This however, adds to the track, and the mixture of bright, sun-drenched melodies and effect laden rhythm combines perfectly, producing a track that’s both uplifting and one your speakers will fear.
Jamintel opens with some dramatic, quick, drumming and a short burst of an organ plays before King Tubby gets to work on the track. He unleashes his effects box, echo and delay his weapon of choice, before a broody, bass line, dark and repetitive takes over. An organ then takes the lead, changing and transforming the sound and atmosphere. After that, effects are used heavily, but to good affect. They’re used throughout the track, together with percussion and sound effects. Together, the transform the track, as it becomes echoey, reverberating, delay is used heavily and various items of percussion enter and disappear. The result is brilliant. Dub-tastic, this is what you want to hear on a dub track, and King Tubby provides it brilliantly.
One thing I love about this album apart from the music, is the titles. Big Foot, Sore Mouth, Pepper Dub and the next track Heartburn. It makes me wonder what was going on in the studio when this album was recorded. Heartburn begins with the rhythm section, organ and percussion combining. Straight away, the effects are unleashed the organ, then drums being laden in echo. Sharp percussive sounds accompany the melodic sound of the organ, and the broody bass, which again, is lightning fast. A guitar appears, chiming brightly, to be transformed by echo. Here, the effects are used much more heavily, as the rhythm section drive the track along, the bass being the most prominent instrument in the mix. Overall, it’s a much more heavy duty dub track, where effects are used to good effect, but not so heavily that they totally mangle the music rendering it just a mass of effects where the music can’t shine through. Here, King Tubby uses his experience well, finding a happy medium, and in doing so, produces one of the album’s best tracks.
When Sore Mouth begins, it’s a combination of drums, steel drums, organ and bass that opens the track. Quickly, effects are used, transforming the sound into a mixture of sharp cracks and booming, reverberating drums, which are joined by percussion. They and the effects produce a multitude of noises, some which have an almost otherworldly sound. While this is taking place, the organ plays a beautiful melody, which is a total contrast to the rhythm section who drive the track along. Here, the bass line sits right at the front of the mix, accompanying the drums, which throughout the track, crack, boom and reverberate thanks to King Tubby’s box of effects. Like the previous track, the effects are used much more here, but still some lovely melodies and great rhythms shine through in what is an excellent dub track.
Gold Mine closes with Pepper Dub, which opens brightly with drum rolls and an organ playing, before percussion and bass join the track. The track meanders along, with a mixture of a melodic organ playing and loud, sharp and crisp drums and percussion accompanying it. A bass loud, dark and quick, plays, providing another layer and texture of music. Effects are used subtly at the start of the track, but as the track progresses, the subtlety is gone. Effects transform the drums, twisting their sound. Drums crash, cracking and reverberating as the percussion is sharp sound. The bass is quick, booming and reverberating, but the organ and guitar provide a contrast. They both provide a lighter, brighter, much more, melodic sound. It’s the difference between night and day, light and shade. However, it’s a potent, intriguing combination, and together with some great work from King Tubby, provides the perfect track to close Gold Mine.
Since I’ve been interested in reggae music, and dub especially, King Tubby has been one of my favorite mixers and producers. During his career, he produced many brilliant albums, and worked with the biggest names in reggae music. On this album, he does a great job in producing it. He finds a happy medium in the use of effects, neither underusing nor overusing them. Sometimes, on dub albums, too little or too much effects are used. If they’re overused, this mangles and destroys the sound, and in some cases, renders the music almost unlistenable. Here he worked with some hugely talented musicians, and the way he uses the effects, allows the listener to hear their work. Throughout the album are some lovely melodies, especially courtesy of the organ. Thankfully, they’re spared the effects, but the drums are twisted and transformed so that they crash, boom and reverberate brilliantly over ten great tracks. On Gold Mine, King Tubby, and his trusty box of effects, demonstrate just what a good dub album should sound like. if after reading this article you want to hear this album, the good news is that I’ve discovered that it comes as part of a four disc box set entitled The Evolution of Dub Volume 3 The Descent Version, which was released by Greensleeves Records. They’ve released six box sets, each including four dub great albums. This allows someone who is interested in dub to quickly build up a collection of some great dub music. Standout Tracks: Big Foot, Musketeer Dub, Heartburn and Sore Mouth.
THE REVOLUTIONAIRES-GOLD MINE DUB.
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CHIC-RISQUE.
CHIC-RISQUE.
Recently I’ve going through my music collection and listening to a some of my favorite older music. This has included some old soul and funk from the sixties and seventies, especially, Southern Soul, early acid house and some of the best disco music from the seventies. This is something I do a lot, and sometimes, you find an album that you’ve either forgotten about, or forgotten how good it is. This was the case when I rediscovered Chic’s third album Risque, released in 1979. Risque was a huge success for Chic, reaching number five in the US Billboard 200 and number two in the US R&B Charts. Previously, I’ve written an article on their second album C’est Chic, which they released in 1978. That was one of their finest albums, and since buying that album, it’s one that I’ve constantly revisited. The same can be said of Risque, but because I spend so much of my time listening to music, sometimes, I forget about certain albums. It was only when I started listening to some old stuff, that I came across Risque. Since then, I’ve been smitten by it again, with it being one of the albums I’ve played the most. To me, Chic were one of the best bands of the disco era, releasing some hugely dance-floor friendly tracks. Who can forget Good Times, Dance, Dance, Dance (Yowsah, Yowsah, Yowsah), Le Freak and Everybody Keep Dancing? However, there was more to Chic than disco. They were also a great funk band, who released some really soulful music. Much of their success was due to the combination of a brilliant rhythm section, in bassist Bernard Rodgers and drummer Tony Thompson, plus Nile Rodgers fantastic guitar playing. Add in some lush, sweeping strings, brass section and sweet, soulful vocals, and you’ve the recipe for some incredible music, which I’ll now tell you about.
Risque opens with Good Times which became one of the most influential and important songs of that time. It was released as a single, and reached number one in the US Billboard 100. The track was used by Grandmaster Flash as the basis for their track Adventures On the Wheels of Steel and was sampled by the Sugarhill Gang on their hit single Rapper’s Delight. It also inspired Queen’s Another One Bites the Dust and much later, the bass line was used by Daft Punk in their track All Around the World. Since the track’s release, it’s one of the most sampled tracks in music. Good Times opens with a flourish of synth, before Bernard Rodgers quick, accurate and hugely funky bass line enters, followed by piano, and guitars before the vocal enters. When it does, it’s a joyous, uplifting and feel-good sound, backed by rhythm section, guitars, piano, strings and handclaps. As the track progresses, it just gets better and better. Bernard gives a career defining performance on bass, producing one of the most influential and famous bass lines in music, Niles’ guitar playing is among the best on the album and Tony’s drumming dynamic and funky. Lush strings sweep in, stabs of piano and of course, the dual vocals, sweet, joyous and melodic. The track has everything and more, and over eight minutes, Chic produce one of their ever tracks, one that’s funky yet soulful, has hooks in abundance and to me, is one of the best tracks of the disco era.
Although A Warm Summer Night is the polar opposite of Good Times. Whereas Good Times was faster track, this is a really slow song, that shows another side of Chic. Guitar, piano and percussion combine to produce a lovely subtle, lush sound as the track opens. When the vocal enters, it’s quiet and tender, with an almost breathlessness present. Between the vocal and the arrangement, a really beautiful track is unfolding. Behind the vocal, the rhythm section, piano, guitar and percussion combine masterfully, producing a beautiful meandering arrangement that matches the vocal. The tenderness of the vocal matches the beautiful lyrics about love. This track is a complete contrast to Good Times, and that’s no bad thing. If this had been a faster track, it would’ve drawn comparison with Good Times, whereas being totally different in style and tempo, comparisons can’t be drawn. However, it’s a beautiful, lush, track, thanks to Niles and Bernard’s arrangement and some tender and subtle vocals. Personally, this very different style of track is one that I really like, and would like to see much more of.
Normal service is resumed with My Feet Keep Dancing another faster track, and one that was released as a single. Unlike Good Times, this wasn’t a hugely successful single, only reaching number 101 in the US Billboard charts and forty-two in the R&B Charts. This I find strange, as it’s another great track, melodic, full of hooks and dancefloor friendly. It begins with the rhythm section, guitars piano and strings sweeping in. Straight away, the track grabs your attention, with some playing from the rhythm section. Both Bernard on bass and Tony on drums provide the tracks heartbeat, while the strings lushly sweep behind them, accompanied by occasional subtle piano playing The vocal is wonderfully repetitive, and is much stronger and louder than the previous track. Later while Bernard gives a virtuoso performance on bass, he’s accompanied by a myriad of handclaps, and the strings dramatically take over, helping drive the track along. By the end of the track, you can’t help but be seduced by this infectious, sweeping and dramatic track, that demonstrates just what Chic did best, make music to dance to.
Like the previous track, My Forbidden Lover was also a single. It was more successful though, reaching number forty-three in the US Billboard 100 and thirty-three in the US R&B Charts. Again, why it wasn’t a more successful track baffles me, given that it’s one of the best tracks Chic released. Guitars, rhythm section, strings and piano combine before the vocal enters. Of that combination, it’s Bernard on bass and Niles on guitar that produce the sound that makes this such a catchy track. Throughout the track, both play brilliantly, with Bernard’s bass playing lightning fast and intricate, as Niles’ guitars chimes brightly, as his playing is similarly fast andintricate. The vocals meanwhile, are joyous as the sing the lyrics, with the dual vocalists uniting perfectly. Behind them the strings sweep confidently, accompanied by piano, rhythm section and guitars. Together with vocal they combine to produce another classic slice of disco music, that’s melodic, full of intricate rhythms and hooks plentiful.
Niles’ guitars soars and screams when he plays a solo as Can’t Stand To Love You. He’s accompanied by the rhythm section and piano before the vocal enters. It’s a very different sounding introduction to the track, with more of a “rocky” sound apparent. Quickly, things are back on track, when Bernard’s bass takes the track into more familiar yet funky, territory, and the rest of the band join in with what becomes a great funk track. Piano, guitar, rhythm section and even the vocalists take the track further into the land of funk. Alfa and Luci play their part, singing the lyrics clearly, yet dramatically and as usual, give a great performance. However, it’s the rhythm section that are responsible for driving the track along, producing a slice of funk par excellence.
Will You Cry (When You Hear This Song) sees Chic drop the tempo again, in a track that’s slow, yet laden with emotion and drama. The rhythm and string sections are responsible for setting the scene, one that’s dramatic and atmospheric. When the Alfa and Luci sing, the drama increases, thanks to their tender and impressively dramatic vocal. Behind them, waves of string rise and fall, punctuated by the rhythm section, guitars and piano. However, it’s a combination of the vocals and waves of strings that are responsible for making this such an impressive, dramatic yet heartfelt and tender song. The strings provide the dramatic backdrop for Alfa and Luci’s vocal. Their delivery is perfect, they bring out the emotion and tenderness in the lyrics. This much slower tempo works really well, and like I said before, this is a side of Chic I wanted to see more of. Here they demonstrate again, that there was more to Chic than great dance tracks, by producing a song that mixes drama and emotion brilliantly,
Risque closes with What About Me, a track that burst brightly into life a combination of guitars, piano rhythm and strings sections combining to produce an arrangement that’s much fuller, and mixes funk and soul. Bernard’s funky bass, Niles’ bright, chiming guitar and sweeping strings provide the backdrop for Alfa and Luci’s vocal. Here, their vocal is quick, singing in short burst, but sounding happy, joyous even. Like the previous track, dramatic waves of lush strings sweep in, while piano, guitars and rhythm section brightly punctuate the track, this time producing an infectious, uptempo arrangement with a joyous, feel-good sound. Again, it’s a perfect track for the dance-floor, one that possesses a melodic and timeless sound. What About Me sounds as good in 2011, as it did when I first heard it in 1979, and is the perfect way to end one of Chic’s greatest albums.
When I reviewed C’est Chic, I said that it was one of their best albums. Now that I’ve reacquainted myself with Risque, I can confidently say that this was the best album the released, with C’est Chic coming a close second. On this album, it seemed that Chic were in their prime and they could do no wrong. There are seven songs on the album, four that are perfect for the dance-floor, and wouldn’t be out of place in any club today, one was a funk track and the other two were lovely slow tracks. One thing they had in common was quality. Each song is of the highest standard, the standard on songwriting, musicianship and vocals fantastic, and made all the better by Niles and Bernard’s production. It seemed that on this album, they were able to write and record hugely, melodic songs where hooks were plentiful, and this resulted in some infectiously, catchy music. Nowhere is that better demonstrated than on Good Times, easily one of the greatest and most influential dance records ever recorded. If you’ve never heard any of Chic’s album Risque, like C’est Chic is a great album to start with. It features seven fantastic songs that demonstrate what a great group Chic were. Standout Tracks: Good Times, A Warm Summer Night, My Feet Keep Dancing and My Forbidden Lover.
CHIC-RISQUE.
RUFUS FEATURING CHAKA KHAN-RUFUS FEATURING CHAKA KHAN.
RUFUS FEATURING CHAKA KHAN-RUFUS FEATURING CHAKA KHAN.
In a previous article on Chaka Khan and her album Chaka, I mentioned how, originally, she was the vocalist with the legendary funk band Rufus. This gave Chaka her big break into the music business, and by their second album, Rags To Rufus, released in 1973, the band quickly, found fame and fortune. Over a period of ten years, Rufus released ten studio album, plus their legendary live album, Stompin’ At the Savoy released in 1983. During this ten year period, Rufus had three top ten albums in the US Billboard 200, saw five of their albums certified gold and one platinum. As if this wasn’t enough, the group were nominated for three Grammy Awards, winning two, one in 1974, the other in 1983. Rufus featuring Chaka Khan was the group’s fourth album, released in 1975. It reached number seven in the US Billboard 200, and number one in the US R&B Charts, and was certified gold. Unlike previous Rufus albums, there was only one cover version on the album, Jive Talkin’ a cover of a Bee Gees song. On the album’s release, it was critically acclaimed and commercially successful, becoming one of the band’s most successful albums. However, by then Chaka Khan was attracting much of the attention, especially in the media, and this didn’t please other band members. By the time the group had finished publicizing and promoting the album, tensions had arisen between Chaka and drummer, Andre Fischer. After the next album Ask Rufus was released, Andre Fischer left the group and Chaka signed a contract with Warners as a solo artist. However, all of that was still to come, and in 1975, Rufus were one of the biggest bands in the music, having just released another hugely successful album, Rufus Featuring Chaka Khan. The big question is, what does the album sound like?
Rufus Featuring Chaka Khan opens with Fool’s Paradise, which opens with keyboards slowly playing and gentle percussion, before Chaka’s vocal soars powerfully above the arrangement. The rhythm and string section and guitars combine, backing Chaka’s vocal. Occasionally, the brass section punctuate the arrangement as it sweeps along, a mixture of subtle funk and soul. Chaka, meanwhile, gives an outstanding vocal where she uses both her wide vocal range and power, to deliver some really good lyrics about people’s desire for materialism. As the arrangement unfolds, it’s a mixture of lush, sweeping strings, an atmospheric horn solo and a mixture of subtle and dramatic playing from the rhythm section. Together with Chaka’s dynamic, emotional and powerful vocal, Fool’s Paradise is a fantastic mixture of understated funk and sweeping soul.
Have A Good Time is very different from the opening track, as it’s a much more full on, slice of funk music. A funky bass line, chiming guitars and Chaka’s hugely energetic vocal, guitars drums and dramatic, blazing, pumping horns open the track. However, it’s Chaka’s vocal that you focus, you just can’t avoid it. She really lets loose with her vocal, almost screaming, soaring, power personified, yet always in control. The arrangement has everything you want from a funk track, some really quick funky, bass licks courtesy of Bobby Watson and Tower of Power interjecting throughout the track with horns that blaze and rasp, while Andre Fischer’s drumming is dynamic. This track is what you expect to hear on a Rufus album, three and a half minutes of glorious, good time funk music, from one of the tightest funk bands of the seventies, made all the better by Chaka’s incredibly, energetic and dramatic vocal.
Drums slowly play at the start of Ooh I Like Your Loving, before bass, keyboards, guitars and a much more restrained vocal from Chaka enters. The arrangement builds up, with waves of music emerging from your speakers. Gradually, the track unfolds, with keyboards, rhythm section and guitars playing producing a track that’s more in common with Fool’s Paradise than Have A Good Time. It’s still a slice of funk, but one that’s much more restrained than the previous track. Instead, it’s a slower track, with more space within the arrangement and a jazz influence present. Here, keyboards help the rhythm section drive the track along, producing waves of music, that feature brief albeit, noticeable dramatic pauses. During the track, the band get the opportunity to demonstrate just how talented they are. Even Chaka produces a much more restrained vocal. Gone are the dramatic soaring vocals, and here, she demonstrates that she’s capable of singing a variety of different styles of song. Although quite different from the previous track, I like this track, it shows just how talented a band Rufus were, and Chaka’s versatility as a vocalist.
Everybody Has An Aura begins with rhythm and string sections combining with keyboards and guitars before Chaka sings. When her much softer vocal enters, it’s greeted by the horn section. Quickly, Chaka’s voice strengthens and gets louder, and is drenched by the horn section’s interjections. Meanwhile, the arrangement has filled out, sweeping along to feature the rhythm and string sections, guitars and keyboards. Throughout the track, it’s punctuated with short, rasping, bursts from the brass section. This is a much funkier track than the previous track, and sees Chaka return to her previous energetic and powerful vocal style. Likewise, the arrangement is much fuller than the previous track, which didn’t feature either the brass or string sections. Although still not as full on a slice of funk as Have A Good Time, this is still a great track, it’s melodic, isn’t short of hooks and features a soulful arrangement and dynamic and energetic vocal from Chaka.
Bass and guitars, combine with short bursts of strings and backing vocalists, before Chaka sings the lyrics to Circles. Listening to the introduction, it teases you into thinking that a really funky track might reveal itself. When Chaka sings, her vocal is strong and clear, while behind her the arrangement fuses elements of funk disco, soul and Latin music. The bass section and guitars contribute elements of funk via the bass and guitars, while the drums have a Latin influence. Here, the strings bring to mind numerous disco tracks of the time. Chaka’s vocal is soulful, she doesn’t force her vocal, doesn’t unleash the power and drama of previous tracks, and instead, concentrates on giving a vocal that uses soul music as its basis. Overall, it’s a fascinating track that fuses various styles of music brilliantly, and in doing so, demonstrates the versatility and influences of Rufus and Chaka Khan.
Chaka cowrote the single Sweet Thing with guitarist and vocalist Tony Maiden. On it’s release, it reached number one in the R&B singles charts and number six in the Billboard 100. It was Rufus’ fourth single to sell one million copies and be certified gold. That’s a huge amount of singles to reach the Billboard 100 top ten, compared to what it takes now. Sweet Thing was one of two songs Chaka cowrote, and it begins with a lovely sweet and sound, when keyboards, rhythm section and guitar combine before Chaka sings. Her vocal is slow, full of emotion and character, as behind her, guitars brightly chime and the rhythm section play slowly, while keyboards meander brightly. Later in the track, the drums are louder, as if announcing Chaka’s powerful, soaring vocal’s entrance. Behind her backing vocalists unite, singing sweetly. By the time the track ends, it’s obvious why this was such a such a huge hit. It’s a combination of a lovely lush and melodic arrangement, where hooks are plentiful and features Chaka’s emotional, charismatic and powerful vocal.
The previous track Sweet Thing was a successful single from the album, and so was Dance Wit’ Me, which reached number five in the R&B singles charts and number thirty-nine in the Billboard 100. It has a totally different sound to Sweet Thing and is much funkier, and dance floor friendly. Fast, funky drums and crisp cymbals open the track, before an equally fast, funky bass line enters, accompanied by backing vocals courtesy of the rest of the band before Chaka enters. Her vocal is fast, though not as strong or loud as on previous track. The backing vocalists are louder than Chaka, and she has to draw on her power to keep up with her. This she does, her vocal becoming much stronger and louder. Sometimes she really has to force her vocal, while behind her, one of the funkiest arrangements on the album is unfolding. It’s success is down to the rhythm section, with Bobby Watson’s bass playing fast, accurate and brilliantly funky. Andre Fischer’s drumming is fast and equally funky, and the addition of the backing vocals to supplement Chaka’s vocal is a masterstroke, taking the track into funk overdrive. For four minutes Rufus and Chaka Khan transport you to the planet funk, demonstrating what a great funk track should sound like.
After the fantastic funk of Dance Wit’ Me, the tempo and style changes with Little Boy Blue, a much slower, but hugely soulful track. It begins with keyboards, rhythm section and a soaring guitar solo, before Chaka’s dramatic, joyous and powerful vocal soars heavenwards. Behind her strings sweep, their sound lush, while guitars chime, then scream briefly, as the solos soar high, as the rhythm section provide the track’s heartbeat. Gradually, the arrangement fills out, becoming much fuller, almost dramatic, thanks to the guitar playing and strings. This matches Chaka’s brilliant vocal which is a mixture of emotion, drama and power. Like the arrangement, the longer it goes on, the more the emotion and drama builds. By the track dramatic and dynamic crescendo, it’s almost impossible not to be swept away by a track that combines joyousness and emotion with drama and power masterfully.
On Time begins with a funk masterclass from Rufus, the funkiest of bass lines, drums, keyboards and guitar all combining brilliantly as the track opens. As they play, I’m reminded of parts David Bowie’s hit single Fame by the combination of rhythm section and guitar. This is the only instrumental on the album and it works well. It gives the other members of the band the opportunity to shine, and shine they do. The rhythm section especially, surpass themselves, playing brilliantly, sometimes mixing funk with jazz. Mainly though, it’s just some sweet funk music with a capital F. Credit must be given to bassist Bobby Watson, Andre Fischer on drums and guitarist Tony Maiden. Together, they’ve produced one of best slices of funk on the album.
Rufus featuring Chaka Khan closes with a cover of the Bee Gees hit Jive Talkin’, but is very different from the original. Here, it’s a much slower version of the song, minus the falsetto vocals. Instead, it begins with guitar, the rhythm section and keyboards combining before Chaka’s vocal enters. When it does, she really slows the song down, giving an atmospheric and energetic rendition of the lyrics. She really brings new meaning to the lyrics the way she sings them. Behind her, it’s a lovely full arrangement that mixes soul and funk. Chaka’s accompanied by soaring guitars, and atmospheric keyboards and a funky rhythm section. Although very different from the original version, I really like this version, especially the atmospheric and energetic vocal from Chaka, that breathes new life into a familiar song. Combined with the slower arrangement it’s a great version of this track, and a perfect way to end the album.
Rufus Featuring Chaka Khan was just the latest in a run of hugely successful albums for Rufus and Chaka Khan. Although it was released in 1975, the album still sounds as good today, as it did when it was released. The music has a timeless quality, and features both Rufus and Chaka Khan at the top of their game. On this album, the band combine soul, funk and jazz music, and occasionally Latin music. Two of the songs Sweet Thing and Dance Wit’ Me, were successful hit singles, the former Chaka cowrote with Tony Maiden and gave the band their fourth million selling single. When the album was released, there were tensions within the band due to Chaka’s increasingly high profile, however, she was very much, the star of the band, certainly on this album. Without her brilliant vocals, neither Rufus, nor this album would be as good. To me, this was one of the finest albums Rufus released. It’s a shame that when people talk about the best funk bands, that people seem to forget about Rufus, because for ten years, they produced some highly acclaimed and hugely commercially successful albums. After all, how many other funk bands had three top ten albums, five of which were certified gold and one platinum and won two Grammy Awards? Standout Tracks: Have A Good Time, Sweet Thing, On Time and Jive Talkin’.
RUFUS FEATURING CHAKA KHAN-RUFUS FEATURING CHAKA KHAN.
ESTHER PHILLIPS-ALL ABOUT ESTHER PHILLIPS.
ESTHER PHILLIPS-ALL ABOUT ESTHER PHILLIPS.
If I was to ask most people, have they ever heard of Esther Phillips or her music, I’m pretty sure that most people would say no, who is she? That to me is a huge shame, because they’re as yet, unaware of one of the most talented, versatile and underrated female vocalists, who possessed a totally unique, voice. During a career that spanned four decades, she sang blues, country, jazz, pop and soul music. Her recording career started in 1950, when aged just fifteen, she released her debut single Double Crossing Blues, which reached number one in the US R&B Charts. After that, she released a number of successful singles, and over a period that spanned four decades, released twenty albums. Sadly, the story of Esther Phillips doesn’t have a happy ending, because in 1984, aged just forty-eight, she died from liver and kidney failure, caused by drug use. However, during her recording career, Esther released many great albums, and today I’ll review All About Esther Phillips, after I’ve told you about the artist that started her career as Little Esther Phillips.
Esther Phillips was born Esther Mae Jones, in Galveston, Texas in December 1935. When she was growing up, her parents divorced, and she had to divide her time between her parents. As she grew up, she sung in her local church, and quickly, gained a reputation as a talented singer. Aged fourteen, her sister made her encouraged her to enter a talent contest at Johnny Otis’ Barrelhouse Club. Reluctantly, Esther agreed. That night in 1949, Johnny Otis was so impressed, he signed her to Modern Records, and she became a member of his California Rhythm and Blue Caravan, where she became Little Esther Phillips.
Quickly, her career took off, and in 1950, her debut single Double Crossing Blues, reached number one in the US R&B Charts. The follow-up, Mistrusting Blues, gave her another number one single in the US R&B Charts. Between 1950 and 1952, Little Esther had eight top ten R&B hits. By the mid-fifties, Little Esther had become addicted to drugs and having to spend time in hospital recovering. This lead to her being short of money, and she moved back into her father’s house. To make ends meet, she sang in small nightclubs around the southern states of the US. It was in 1962, in Houston, that country singer, Kenny Rogers, saw Esther singing. So impressed was Rogers, that he helped her get a contract with his brother Lelan’s Lenox Record label.
By 1962, Esther had overcome her problems, and her career was relaunched as Esther Phillips. Her comeback single Release Me, produced by Bob Gans, reached number one in the R&B Charts and reached number eight in the US Billboard 100. A number of other singles were released on Lenox, before Esther signed to Atlantic Records.
Now that she’d signed to one of the most famous record labels, this was a huge opportunity for Esther. One of the songs she released was a cover of The Beatles song And I Love Him. It reached number eleven in the R&B Charts, and this resulted in The Beatles bringing Esther over to the UK, which were she gave her first overseas concerts. Esther continued to release singles and albums for Atlantic, but the singles weren’t as successful as earlier ones. There were no further top ten R&B singles after And I Love Him, with mainstream success eluding her. This was the case with her albums, which all failed to chart. As the 1960’s progressed, Esther’s earlier drug problem resurfaced, and she’d to enter rehab again. Whilst in rehab, she met Sam Fletcher which would later prove fortunate.
As she was recovering from her drug addiction, she released some singles for the Roulette label in 1969. After that, she re-signed to Atlantic, and released the album Burnin’ which was a recording of a 1969 concert at Freddie Jett’s Pied Piper Club. The following year 1970, the man who originally discovered Esther, Johnny Otis, entered her life. Esther performed with The Johnny Otis Show at the 1970 Monterey Jazz Festival.
During the seventies, Esther recorded for Kudu/CTI and recorded a number of successful albums, which all entered the Billboard 200 album chart. From A Whisper To A Scream her debut album for her new label, was a both critically acclaimed and commercially successful, reaching number sixteen. The album was nominated for a Grammy Award, but Aretha Franklin won the award. Aretha too, thought Esther deserved to win and presented Esther with the award. Between 1972 and 1976, Esther released a further seven album on Kudu/CTI with the 1975 album Esther Phillips and Joe Beck the most successful, reaching number three. This was the most successful part of Esther’s career since the 1950‘s. However, that was about to change, when Esther changed labels.
In 1977 Esther left Kudu/CTI and singed to Mercury Records, where she released four really good albums. The first was 1977’s You’ve Come A Long Way, Baby, which was followed by the album this article is about All About Esther Phillips in 1978. Her next album was Here’s Esther, Are You Ready in 1979. The final album released in Esther’s lifetime was A Good Black Is Hard To Crack in 1981. Just before Esther’s death in 1984, she’d just completed recording A Good Way To Sat Goodbye which was released in 1986.
Sadly, Esther Phillips died in August 1984 from liver and kidney failure, caused by drug use. Johnny Otis, the man who discovered Esther, conducted her funeral service, which was held in Los Angeles. Since Esther’s death, a number of her albums have been released, including All About Esther Phillips, which I’ll now tell you all about.
All About Esther Phillips begins with The Man Ain’t Ready. It starts quickly and brightly with guitars, rhythm and brass section combining, before Esther sings. Her voice as loud and clear, as she sings the lyrics slowly and emotionally. When she sings, it’s apparent she’s about to produce a stunning vocal, one laden with emotion and drama, where she uses her powerful, charismatic voice really well. Behind her, the band match Esther’s performance producing an equally brilliant performance, that mixes jazz, soul and funk. Both rhythm and brass sections help steer the arrangement in a funky direction, but throughout the track, the brass section don’t forget that Esther is a soul singer. They drench her vocal with their beautiful soulful sound, and throughout the track, backing vocalists joyously unite, accompanying Esther. However, as good as the arrangement is, it’s Esther’s vocal that steals the show. It mixes power and passion, and is full of emotion and charisma, as she demonstrates her ability and versatility as a vocalist, using that unique voice brilliantly during this track.
Native New Yorker is a track originally made famous by Odyssey in 1977, during the disco era, but here Esther sings the track in almost a jazz style, complete with a really full, dramatic arrangement that swings along. It opens with drums pounding, before brass and string section enter, accompanied by guitars and bass. After such a dramatic opening, Esther enters, slowing the song down as she seems to be really taking care with her delivery and diction. Quickly, she unleashes her powerful vocal, really letting her voice soar heavenwards. As she does this, backing vocalists accompany her, as do the brass section, who help to make this one of the best arrangements on the album. Together with the string and rhythm sections, they make it an arrangement that’s dramatic and powerful, yet sometimes lush. Guitars chime brightly, backing vocalists sing sweetly, the brass section interject powerfully, while the strings produce a lovely sweeping lush sound. Together with Esther’s vocal, which veers between dramatic and thoughtful, this is a very different version to Odysseys original. However, although I love the original version, Esther’s version is really good, she manages to almost reinvent the song, bringing new life and drama to the song, and in the process, produces one of the album’s best tracks.
It’s a lovely gentle, lush sound that opens You Think of Her, a track that sweeps into life strings and percussion combining with a bass, before Esther sings. When she sings, she really slows things down, giving a very different type of performance to the previous tracks. Here vocal is much gentler at the start, much more restrained, but still, she demonstrates her power and vocal range, her voice soaring high, powerfully, with backing singers complimenting her voice. Similarly, the arrangement is very different, it’s much more subtle, at the start, with strings playing a big part. Later, like Esther’s vocal, it grows gets much more fuller, heading of into funk territory, with guitars, bass and percussion fulling out the arrangement. Mostly though, it’s a lush, sweeping sound with strings plentiful. This lovely song shows a very different side of Esther, one that’s much more gentle and thoughtful.
There are similarities with the previous track and Pie In the Sky. Both are slower tracks, with lovely gentle introductions, and both contain much gentler vocals from Esther. It’s keyboards, flutes, harp and strings that combine to produce a beautiful, lush sound as the track opens. Then, when Esther sings, her vocal is quieter, gentler and sounds reflective. Behind her, the arrangement meanders along, with keyboards, guitars, brass, string and rhythm sections combining masterfully. Backing vocalists accompany Esther, as flutes, bass and brass sections punctuate the sound, while strings sweep in the background. Later in the track, both the arrangement and Esther’s vocal get stronger and louder. By the end of the track, I realize that this is one of Esther’s best performances on the album, a mixture of restraint, passion and power, which, combined with a fantastic arrangement thanks to producer Wayne Henderson, make this a brilliant track.
After two much slower, thoughtful, tracks, Esther decided to up the tempo and the track bursts into life with brass and rhythm sections and guitars playing. Esther when she sings, gives a much faster and charismatic vocal, that rises and falls, soaring a mixture of power and passion. Throughout the track, the brass section punctuate the track, playing brightly, while a really quick, accurate and funky bass line is played. Harvey Mason’s, drumming as usual, is great, as it is throughout the album. This backdrop of blazing horns, funky bass and chiming guitars is perfect for Esther’s enthusiastic, charismatic vocal, delivered with her unique powerful, rasping vocal. Tracks like this, are a total contrast to the two previous tracks, and demonstrate perfectly, what a versatile vocalist Esther was. She was just as home singing quicker, funkier, tracks as she was singing slower, more thoughtful tracks.
There You Go Again (There She Goes/Stormy Weather) sees Esther deliver a medley of songs, which the first time I heard them, made me wonder just why, was this album not a bigger commercial success, when it featured tracks as good as this. Here, she gets the opportunity to slow things down, and reacquaint the listener with the soulful side of Esther. When the medley begins, Esther just slowly half-sings, half-speaks the vocal to There She Goes, before starts singing the lyrics to Stormy Weather. Here, the tempo is slow, the arrangement subtle and lush, strings, piano and bass accompanying Ester, who is accompanied by backing vocalists, who gently accompany her. When she sings, it’s a heartfelt, emotional outpouring of the lyrics that the listener is privileged to hear. Later, the brass section interject, their contribution subtle, somehow managing to improve the arrangement even further. Strings sweep, their sound lush, as her vocal drops out, while Harvey Mason keeps time, and the horns interject. Then, There You Go Again reenters, flute string, brass and rhythm section playing behind Esther. Together, they produce the perfect backdrop for her vocal. She doesn’t disappoint, keeping up the same emotional, heartfelt and drama laden vocal as before, with the backing vocalists uniting beautifully, the perfect foil for Esther’s vocal. Music has the power to move people. It changes your emotions and moods. Once you hear this track, you too, will be moved, by Esther Phillips’ stunning performance, during the album’s best track.
After such a fantastic track, the problem is, how do you follow it? Here, Esther follows it with Ms., where Esther sings about never having to depend on any man, how she’s independent, not a Mrs or Miss, but a Ms. It begins with guitars, string, rhythm and brass section combining, before a flute plays. When Esther sings, her voice is loud and strong, as she proudly and charismatically, sings the lyrics. Behind her another beautiful arrangement emerges, one which mixes soul and funk. Again, backing singers accompany her, as guitars chime and soar, horns enter, disappear and reappear, as strings sweep, lushly in the background. During the track, Esther almost growls as she sings, her voice veering from a a subdued and gentle, to a proud, loud and powerful vocal. It was always going to be difficult following such a fantastic track as There You Go Again (There She Goes/Stormy Weather), but Ms. was a good attempt. Although it doesn’t quite reach the heights of the previous track, it features both a confident and charismatic vocal from Esther, and a beautiful arrangement.
All About Esther Phillips closes with If I Fall In Love By Morning which begins with guitar, rhythm and brass sections and a hugely powerful and emotional vocal from Esther. It’s a track that is reminiscent of Southern Soul because of the arrangement and vocal. The arrangement is slow, atmospheric and drenched in some beautiful brass playing. Combined with a vocal from Esther that’s heartfelt, emotional and passionate, it brings to mind some of the great Southern Soul that emerged from Memphis in the sixties and seventies. One thing that shouldn’t be underestimated are the lyrics and music, which are written by Otis Blackwell and Jonah Ellis. They’ve written some wonderful lyrics, and Esther sings them brilliantly. In the lyrics she sings about love from a woman’s point of view, and asks whether her partner will respect her in the morning, as they’ve only just met. Personally, this is the perfect song to end the album. It’s a slow song with thoughtful lyrics, that are delivered emotionally and passionately by Esther, and producer Wayne Henderson ensured that the arrangement was sympathetic to Esther’s brilliant vocal.
Over the years, I’ve let a huge number of people hear Esther’s music, and every one of them has loved it, and became a fan of her music. Thankfully, since then, it’s much easier to buy her albums as they’re gradually being reissued. This has stimulated interest in her music. Sadly, a music press that are fixated on rock bands from the sixties and seventies, continue to ignore her music, together with much of soul, funk and jazz music. Even when her albums were reissued recently, the review wasn’t much more than one hundred words. That to me is not only unfair, but makes me wonder what certain music magazines have against certain types of music? However, hopefully having read this article, you’ll know much more about one of soul music’s greatest, yet hugely underrated female vocalists. Esther Phillips recorded about twenty albums, and All About Esther Phillips, was one of her later albums. However, on this album, she sings eight songs brilliantly, and is fortunate to have Wayne Henderson, formerly of The Jazz Crusaders, producing the album. Together with an experienced and hugely talented band, which included drummer Harvey Mason, Henderson brought out the best in Esther, and helped her to recapture former glories. Sadly, the album wasn’t a huge commercial success. It has now been rereleased by soulmusic.com with both You’ve Come A Long Way, Baby and All About Esther Phillips on the same disc. Two other of Esther’s albums Here’s Esther, Are You Ready and Good Black Is Hard To Crack have been released on one disc. If you just want to hear some of her best music from this time, Anthology released by Soul Brother Records is a good introduction to Esther Phillips’ wonderful music. Standout Tracks: Native New Yorker, Pie In the Sky, There You Go Again (There She Goes/Stormy Weather) and If I Fall In Love By Morning.
ESTHER PHILLIPS-ALL ABOUT ESTHER PHILLIPS.
CANDI STATON-I’M JUST A PRISONER.
CANDI STATON-I’M JUST A PRISONER.
Sometimes, an artist or group records one single, and forevermore, they become known for that song. It doesn’t matter how many great singles or albums they’ve recorded before, or after, that’s the song they’re always known for. This is the case with many of the artists I’ve previously written about. Recently, I wrote about Chaka Khan, who recorded the huge hit I’m Every Woman, which became a feminist anthem. Since then, that’s the song she’s best known for. People forget the material she recorded with legendary funk band Rufus before that, or the many other memorable tracks she recorded as a solo artist. The same can be said of the artist this article is about, Candi Staton. In 1976, Candi released one of the greatest tracks of the disco era, Young Hearts Run Free, and since then, that has become the track that’s synonymous with Candi. People forget that long before that track was released, Candi released several hugely successful and critically acclaimed R&B singles and albums, quickly becoming known as the First Lady of Southern Soul. Her recording career started in 1953, and since then, has released over twenty albums, ranging from R&B, country soul, Southern Soul to her later gospel albums. However, this article is about her 1969 debut album, I’m Just A Prisoner. Before that, I’ll tell you about Candi’s long and successful musical career.
Candi Staton was born Canzetta Maria Staton, in Hanceville, Alabama in March 1940. When she was eleven or twelve, she and her sister Maggie were sent to the Jewell Christian Academy, in Nashville, Tennessee, where her talent as a vocalist was soon spotted. She was a far superior singer to the majority of other students, and Candi and Maggie, plus a third student became the Jewell Gospel Trio, at the suggestion of the school’s pastor. While the trio were still teenagers, they toured the gospel circuit, with some of gospel music’s biggest names. This included Mahalia Jackson, The Soul Stirrers and C.L. Franklin. Between 1953 and 1963, they recorded a number of tracks for Apollo, Nashro and Savoy Records. Little did Candi know it, but this would just be the start of a long and successful career.
By 1968, Candi Staton had now launched her solo career, and recorded sixteen R&B hit singles for Rick Hall’s Fame Studios. This was when Candi gained the title the First Lady of Southern Soul. She released her debut album I’m Just A Prisoner in 1969, the album this article is about. Two years later, in 1971, her second album, Stand By Your Man was released, and Candi’s version of the title track, saw her nominated for a Grammy Award. When her eponymous album Candi Staton was released in 1972, it featured In the Ghetto, a track also recorded by Elvis Presley, and her version was nominated for a Grammy Award. The three albums Candi released between 1969 and 1972, contain some wonderful music and are among the best album she has ever released.
Candi’s next album was entitled Candi Staton, and was the last album she released before her music moved in a very different direction. By 1975, Candi had started working with producer David Crawford on a number of disco tracks. One of these tracks, Young Hearts Run Free, would become the track that Candi is best known for, by most people. When the track was released, it was a huge hit in the UK and elsewhere. In the UK, the song reached number two in the singles charts. This was just the first in a series of hit singles for Candi.
1977 saw her version of Nights On Broadway, reach the top ten in the UK singles charts. The previous year, it had been a hit Bee Gees. During the next few years, Candi had further hit singles in the UK. Honest I Do I Love You and Suspicious Minds were two of her biggest singles. Her music was successful within the UK club scene, tracks like Victim and When You Wake Up Tomorrow proving hugely successful among DJs’ and club goers.
By 1982, Candi decided to return to gospel music. She founded her own ministry and since then, has recorded eight gospel albums, two of which, were nominated for Grammy Awards.
In 1991, Candi made a return to mainstream music, singing the vocal on You Got the Love, by The Source. This club track, went on to sell over two million copies, and since then, is now seen as a classic club track. Such is its popularity that it has been remixed numerous times, with various artists releasing cover versions. After that, Candi signed a new recording contract with Intersound Records, and in 2000, released a new album entitled Here’s A Blessing. Since then, she’s recorded a number of albums both secular and gospel. This includes her 2006 secular album His Hands, which was produced by Mark Nevers of Lambshop. The title track was written by Will Oldham and the album released on Honest Jon’s record label. It was followed up in 2009 by Who’s Hurting Now? That was the last album that Candi released, and aged seventy-one, she’s still busy with her church and music. Who knows, maybe another album will be released by the woman once known as the First Lady of Southern Soul?
I’m Just A Prisoner which was Candi’s debut album, released in 1969, and opens with Someone You Use. It’s a track that begins slowly with backing singers, piano and brass section playing before Candi sings, accompanied by a Hammond organ. Straight away, Candi’s voice is laden with emotion, as she gives a heartfelt rendition of the track, complete with backing singers accompanying her. Behind her a dramatic, soulful and melodic arrangement unfolds. During the track, the brass section punctuate the track with a sound drenched in sadness and emotion, a piano adds character to the sound and guitars and Hammond organ help complete what’s a dramatic and soulful arrangement. Mind you, on this album, she’d some of the best session musicians accompanying her. Overall, it’s a raw, emotional and deeply soulful track, one that demonstrates just why she was known as the First Lady of Southern Soul.
After a slow and thoughtful opening track, Candi ups the tempo with I’d Rather Be An Old Man Sweetheart (Rather Than A Young Man’s Fool). It’s a very different sounding track that bursts into life with organ, brass section and then Candi’s energetic, powerful and quick vocal. Here, her voice is hugely powerful as she sings lyrics that are both tinged with unintentional humor, realism and cynicism. As she sings, the band match Candi’s energy and power, playing brilliantly creating the perfect backdrop for her vocal. Both rhythm and brass sections provide the mainstay of the arrangement, infecting the energy required to drive the track along. The brass section especially, fill out the sound, dramatically and melodically interjecting at just the right time. Candi, however, is the star of the track. It’s her vocal that makes this such a great track. She combines passion, energy and power singing some great lyrics quickly, using her full vocal range brilliantly.
It’s a hugely dramatic and sad sound that opens You Don’t Love Me No More. Straight away, it’s apparent this is going to be a song drenched in sadness and emotion, that starts with drums and brass section playing, setting the scene and atmosphere. When Candi sings, there’s a rawness to her voice, that’s full of emotion and sadness. As she sings, the lyrics about someone no longer loving her, it’s as if they’re personal, as if she’s experienced the emotions and sadness involved. Behind her, the band are surpassing themselves, producing the perfect arrangement. The brass section play a huge part in the track’s success. They play slowly and thoughtfully, drums steadily set the tempo, a piano plays slowly and sadly and a guitar drifts in and out of the track. Combined with Candi’s emotion laden vocal, You Don’t Love Me No More is one of the album’s best tracks.
Drums, organ and brass section combine as Evidence begins. Like the previous track, it’s much slower, but full of drama and atmosphere, created by the brass and rhythm sections. Candi’s voice is loud and strong, full of power, as she vents her frustration and anger singing lyrics about a cheating man, who has betrayed her. Backing singers accompany her, their voices, like Candi’s, full of emotion. Meanwhile, the arrangement grows. A Hammond organ plays, as drums and the brass section punctuate the track, accompanying and complimenting Candi’s vocal perfectly. What makes this such a great track, is Candi’s vocal, made all the better by the interaction between her and the backing singers, and an arrangement that’s laden with emotion and atmosphere.
Sweet Feeling begins with just organ and drums playing slowly, spaciously and thoughtfully before Candi’s strong and passionate vocal enters. Although the arrangement starts subtly, it eventually opens out to include guitars, rhythm and brass sections, piano and organ playing. However, this arrangement doesn’t sound crowded, quite the opposite. Plenty space exists within the arrangement which meanders along, with Candi singing above it powerfully. She gives an emotional and heartfelt vocal, and really lets go towards the end of the track, her vocal power personified, as it soars heavenwards. Here, she combines power, passion and emotion to give a heartfelt rendition of some great lyrics.
Piano, rhythm and brass section combine at the start of Do Your Duty. The tempo is quicker than previous tracks, with Candi’s vocal a bit more restrained here. She doesn’t let loose like she did on the previous track, but it’s just as good, full of emotion, as the track swings along. Throughout the track, she’s accompanied by backing vocalists, with whom she sings call and response with. They unite sweetly, yet dramatically, the perfect accompaniment for Candi’s vocal. Behind Candi, the arrangement drives along. The brass section punctuate the track, while piano, guitars and rhythm section all combine to help Candi produce a dramatic, emotional and deeply soulful track.
That’s How Strong My Love Is has a lovely, sad sounding introduction where backing vocalists combine with the brass and rhythm sections, piano and organ to produce a heart achingly beautiful arrangement. It gets even better, as Candi sings, her voice is emotional, thoughtful and sometimes, hugely powerful, as it soars high. During the track the backing vocalists accompany her, their voices soft and soulful, playing a huge part in the track’s success. Likewise, the band’s contribution is huge, as they play slowly, carefully and thoughtfully. The brass section drenches Candi’s vocal with their beautiful sound, as drums slowly keep the beat, and an organ, piano and guitars all drift into, and out of, the track. A combination of outstanding vocal from Candi, ably assisted by her backing vocalists and a great arrangement, make this one of the best tracks on the album.
Drums hesitantly and slowly play, as I’m Just A Prisoner (of Your Good Lovin’) begins. Candi’s voice is a mixture of emotion and strength as she slowly sings the vocal, joined by rhythm section and guitars. Later, the brass section, percussion and backing vocalists join Candi. By now, her voice is laden with character, drama and even more emotion. There’s a rawness to her vocal, as she really gives one of her strongest vocals on the album. Like the previous track, the addition of the backing vocalists really compliment her vocal. Here, the tempo of the arrangement is quick, quicker than Candi’s vocal. It’s a full sounding arrangement that has Southern Soul written all over it, and is very similar to the arrangements Willie Mitchell used on albums on Hi Records. Overall, you can’t help but admire the rawness, passion and emotion in Candi’s vocal, which is made all the better by the addition of the backing vocalists and an arrangement that’s fuller, mixing soul with funk perfectly.
Another Man’s Woman, Another Woman’s Man begins with drums, flute and piano playing, and a slow, heartfelt and emotional vocal from Candi. Like previous tracks, she’s accompanied by backing vocalists, who add to the hugely dramatic and sad arrangement that’s unfolding. As Candi sings about being the “other woman,” she puts everything she has into her delivery. It’s almost an understatement to say that her delivery is heartfelt and laden with emotion and drama, because it’s so much more than that. Here, she surpasses herself, giving an outstanding vocal performance. Maybe this is because of the backing singers, who like Candi, sing emotionally and dramatically, or because the arrangement which is subtle yet dramatic. A piano plays a huge part in the dramatic arrangement, as do the drums and brass section. Personally, the tracks success, is down to a combination the three things I’ve mentioned, Candi, her backing singers and the arrangement.
I’m Just A Prisoner closes with Get While I Want It, which begins with guitars, piano rhythm and brass section and is a much quicker track. Here, Candi’s vocal is loud, strong and full of emotion and sits above the arrangement. Likewise, the arrangement is quicker and fuller, and there’s even a hint of the Motown sound in the arrangement. As usual, the brass section punctuate the track, with drums, bass and guitars driving the track along. Together with the backing vocalists, they produce has a melodic, joyous sound. Although it’s a very different kind of track to the others on the album, because of the style of song and the much quicker tempo, it’s a great track to end the album. It has a feel-good factor, joyous sound and as usual, a great performance from Candi Staton, her band and backing vocalists.
When Candi recorded I’m Just A Prisoner, she’s been a recording artist since 1953, and this experience is apparent throughout the album. She delivers each track with feeling and passion, giving performances that range from a much slower, heartfelt delivery laden in emotion, to powerful and uptempo deliveries where she uses her full vocal range. Regardless of the type of song, she gives everything she has each time she sings. Behind her, were a fantastic band, made up of some of the greatest session musicians of the time, played their part in the album’s success. Another thing that really helped make this such a good album, was the addition of the backing vocalists. They compliment Candi’s voice perfectly, sometimes lifting a track to the next level. Whilst I’ve researched this article, I’ve immersed myself in the music of Candi Staton, and to me, this is one of her best albums. Since then, she’s recorded over twenty further albums ranging from soul, disco and gospel. Candi has one of the best voices in the history of soul music, and I hope that this article proves that there’s much more to her music than the wonderful, Young Hearts Run Free. Personally, Candi Staton to me will forever be the First Lady of Southern Soul. Standout Tracks: You Don’t Love Me No More, Sweet Feeling, That’s How Strong My Love Is and Another Man’s Woman, Another Woman’s Man.
CANDI STATON-I’M JUST A PRISONER.
KRAFTWERK-TRANS-EUROPE EXPRESS.
KRAFTWERK-TRANS-EUROPE EXPRESS.
In the history of electronic music, one of the most important and influential, groups are Kraftwerk. From their formative years, and their eponymous debut album Kraftwerk, released in 1970, they’ve constantly reinvented their music, using the latest technology. In the early years, they were one of first groups to realize the potential of synthesizers, sequencers and drum machines, utilizing them in their music. Later, they’d be one of the first groups to introduce computers into their own recording studio, Kling Klang, where they recorded many of their albums. Throughout their career, Kraftwerk, were ahead of their time, pioneers who were unafraid to experiment musically. Their music has influenced much of the electronic and dance music that would be released during the next four decades. Kraftwerk’s music has influenced several generations of musicians. This includes electronic groups during the eighties including Depeche Mode, Orchestral Manoeuvres In the Dark and Gary Numan. Post-punk and indie groups like Joy Division and New Order have said that Kraftwerk were a major influence on their music. Later, they influenced new genres of music like hip-hop, electro, house music and drum and bass. It isn’t an exaggeration to say that Krafwerk are one of the most important, influential and innovative groups in the history of music. When they released their 1977 album, Trans-Europe Express, they were determined to continue to be innovative and utilize the potential of the new equipment that they had just acquired, and in the process, they recorded one of the greatest and most influential albums of the 1970s’. Before I tell you what the album sounds like, I’ll tell you the background to the album.
When Kraftwerk set about recording Trans-Europe Express they had just received one of the most sophisticated pieces of technology available then. This was the Synthanorma Sequencer which was custom made by the manufacturers for the band. It was a 32-step, 16 channel, analogue synthesizer, custom built by the manufacturers Matten and Wiechers. This allowed them to introduce even more complicated synthesiser lines into their music, that wouldn’t have been possible before. On the album, this synthesizer is used on several of the tracks, including Europe Endless, Frans Schubert and Endless Endless.
Like their previous albums, the music on the album was much more melodic than their earlier material. Gone was improvisational styles, of their earlier albums, which sounded as if it been influenced by free jazz. Similarly, Trans-Europe Express like earlier albums, has several themes. Friends of Kraftwerk had suggested they write songs about a journey on the Trans-Europe Express Railway. Other themes include a celebration of Europe, and the differences and inconsistencies between the reality and image of countries within Europe. So, Trans-Europe Express was an important album, not only musically, but because of the themes that ran through it.
Trans-Europe Express was released in March 1977, to critical acclaim. Critics loved the album, immediately, realized that this was a hugely important album. Since then, critics have reappraised the album, and now, realize how important it has been on the development of both electronic and dance music. However, when the album was released, it wasn’t the huge commercial success it should’ve been. In the US, it only reached number 117 in the US Billboard 200. The two singles from the album fared better. Two singles were released Trans-Europe Express and Showroom Dummies. Only Trans-Europe Express entered the US Billboard Hot 100, reaching number sixty-seven. In the UK, both singles charted, and reentered the charts during the eighties, when electronic music became much more popular. Once again, this another example of a hugely important and influential album failing to be the huge commercial success it should’ve been. Although the album sold well, it should’ve been a much bigger success. Now Trans-Europe Express was both an important and influential album, but what does it sound like?
Trans-Europe Express opens with Europe Endless which opens with a repetitive melody, played on a keyboard, the sound slightly sharp. It’s followed momentarily, by a dark broody synth, which gives way to a brighter, glistening sound, which is higher, and cascades high in the mix. Straight away, it seems like Kraftwerk are taking you on a journey through the medium of music, one that sees layer upon layer, of music unfold, and a multitude musical textures reveal themselves to you. The sound is moderne, still contemporary, even though thirty-four years old. Even when the inexpressive vocal enters, occasionally transformed by a vocoder, with vocals echoing behind it, the sound remains contemporary. The track chugs along, the rhythm reminding me of a train journey, albeit one with a space age, sonic, soundtrack. Constantly, melodies are repeated, the same themes, appear, disappear and reappear. This repetition leads to familiarity, and when the melodies reappear, it’s like meeting an old friend. Here though, that old friend is courtesy of Kraftwerk’s bank of synths, sequencers and drums machines. Europe Endless is a magnificent, epic track, nine and a half minutes long, gloriously repetitive, melodic music.
The Hall of Mirrors opens with synths echoing and reverberating, loud footsteps gradually getting nearer, before a tinkling, crystalline synth plays. The echoey synth sounds like a spaceship circling overhead. Meanwhile a keyboards plays thoughtfully, notes gradually revealing themselves. In the lyrics, Kraftwerk effectively deal with the subject of famous people perceive themselves. Here, the lyrics are cutting, uncomplimentary and wonderfully, delivered with a voice drained of emotion and almost life itself. Between such a great vocal and the arrangement which features the constant space-age reverberation thanks to a synth, with a tinkling, metallic keyboard interjecting occasionally, it’s a potent combination. By now, the arrangement is dark, almost morose sounding, drenched in atmosphere, and thanks to clever repetition of melodies, continues until the track’s end. As the track ends, you can’t help but admire the combination of eery, atmospheric, soundtrack and emotionless lyrics that are a cutting indictment on fame, and how those who achieve it perceive themselves.
When Showroom Dummies begins, it’s immediately apparent how different this track is to the previous one. It opens with a spoken word vocal, then a slow, bright and spacious keyboard plays, before synths sweep in, their sound almost crystalline or ethereal vocals. Later, a window smashes, the lyrics sound somewhat paranoid, as the sound takes a sharper turn. Quickly, normality returns, and the same lovely repetitive melody reappears, complete with that crystalline sound. This is one important feature of the music on Trans-Europe Express, how melodies are constantly, repeated throughout a track. Some people may think this constant repetition will grate after a while, but this isn’t the case, it has an almost hypnotic effect. It’s as if they’ve decided that having discovered a really good melody, that they’ll exploit it fully. Here they do this brilliantly, with the constant repetition being broken by the interjection of various rhythms, effects and of course the vocal, pokerfaced vocal.
The title track Trans-Europe Express begins with what sounds like a train chugging along a track. Here, it’s as if we’re going on a journey, and Kraftwerk will provide the soundtrack. Vocals are manipulated, drum beats become the sound of the train and synths sweep in. Their sound varies, one minute sharp, the next bigger, louder, fatter and much more melodic. A vocoder is used to manipulate the vocal, and the lyrics are half-spoken, half-sung, as the destinations for the journey become apparent. During the track, synths, sequencers and drum machines are used to good effect, recreating quite realistically, a journey through the capitals of Europe. It’s a combination of drum beats, sweeping and sometimes, grandiose synth lines, plus a combination of manipulated and expressionless vocals that take us on this masterful and magical musical journey.
Metal On Metal has a similar feel to the previous track. It still seems like we’re on a journey, a train sweeping along. However, it’s a very different journey, one where it’s booming and metallic, like a trip through Europe’s industrial heartland. Drums boom, synths sound metallic and sharp and overall, the sound is much more overpowering. As the song progresses, the similarity between a train journey increases, with Kraftwerk using synths, sequencers and drum machines to recreate the landscape that you’d have experienced in1977. Again, melodies emerge, and like before, they’re constantly repeated, but in doing so, they recreate the environment you’d have experienced on that journey. Later, a vocal is sung through a vocoder, constantly repeating the “route” Trans-Europe Express. This melts into what is like the sound of the train that’s previously been recreated. Overall, it’s a highly effective track, that succeeds in taking you further on your trip through seventies’ Europe thanks to Kraftwerk.
Franz Schubert is a track that ebbs and flows, waves of music rising and falling, while a melody is constantly played. The track begins with a melody playing on a keyboard, and soon, synths sweep in, and thereafter, they rise and fall. Here the peaks and troughs are neither high, nor deep, but the repetition and variety created is both intriguing and hypnotic. Although the arrangement is nether as full nor complex as previous tracks, it has always been a favorite track of mine from this album, because of the constant repetition of the melody, and variety provided by the rise and fall, of the sweeping synths.
Trans-Europe Express closes with a short reprise from the central theme to Europe Endless, entitled Endless, Endless. It’s a mixture of vocals sung through a vocoder accompanied by a synth that produce a sound that’s both dark and bright. Darkness is provided by the vocal sung through the vocoder and the light by the meandering, repetitive synths. Although, it’s just a short reprise of the theme it’s an effective reminder of the melodic beauty and glorious repetition of the album’s opening track.
This is the second article that I’ve written about Kraftwerk’s music. Previously, I’ve written about Autobahn, their 1974 album, which, like Trans-Europe Express, is a hugely important, innovative and influential album. Both albums demonstrate Kratwerk’s willingness to become musical pioneers, willing to reinvent their music, and use technology to improve, and make even more, complicated music. Like Autobahn, Trans-Europe Express has a theme behind it. In some ways, they’re both like concept albums. Here, they take us on musical a journey on the Trans-Europe Express Railway. During that journey, they celebrate Europe, examining the differences and inconsistencies between the reality and image of European countries. This was a major challenge for any artist or group, but attempting to do so with synthesizers, sequencers and drum machines was especially brave. When you listen to the album, you go on a very realistic journey, and while on that musical journey, I found myself thinking about the themes on the album. This demonstrates the power of the album, and the music on it. Not only was the album important as a concept, it was hugely important in the development of electronic and dance music. Kraftwerk’s music was hugely influential in the development of hip-hop, electro, techno and house music. So if you enjoy any of these musical genres, you should give thanks to Kraftwerk, for their music and influence on future generations of musicians. Standout Tracks: Europe Endless, The Hall of Mirrors, Showroom Dummies and Trans-Europe Express.
KRAFTWERK-TRANS-EUROPE EXPRESS.
DJ ROGERS-IT’S GOOD TO BE ALIVE.
DJ ROGERS-IT’S GOOD TO BE ALIVE.
Over the years I’ve been interested in music, and buying albums, many things have led me to buy an album. It can be obvious things like reading a good review, hearing the album in a friends house or in a record shop. Other times it can be less obvious. Maybe I’ve been crate digging in a record shop and discovered an album in a bargain pile and decided to take a chance on it. Another way I’ve discovered some really good albums over the years, is by seeing an unusual, striking or downright weird album cover. This has led to some really good finds including the album I’m going to write about today, DJ Rogers album It’s Good To Be Alive. On the album cover DJ looking as my friends little boy would say, “a real cool dude,” complete with a cigarette in his mouth. Now I’d bought this album years ago, and really enjoyed it, but since then, hundreds upon hundreds of albums have passed through my hands, and to tell the truth, I’d forgotten about it. That was until I picked up the latest copy of one of the music magazines, and there was a feature about Aloe Blacc, and how DJ Rogers album It’s Good To Be Alive, had changed his life musically. This led me to dig out my trusty copy of the album, and have another listen. I’d almost forgotten how good an album it was, and because of that, decided to write an article on another one of music’s nearly men.
DJ Rogers was born DeWayne Julius Roger Snr in Los Angeles in 1950. He was the son of a minister, and brought up in a heavily religious household. Aged three, he started singing in the church choir, and for the next decade, DJ was heavily involved in gospel music. During school, he studied both voice and music theory, and later became a professional gospel singer. Although still a teenager, he was the conductor and vocalist with Watts Community Choir, and during that period, the choir recorded five albums for the Savoy record label. After that, he embarked on nationwide tours with some of the biggest names in gospel music, including the Rev. James Cleveland.
By the time he was nineteen, DJ had gained a reputation as a talented multi-instrumentalist, and was a highly proficient keyboard player and arranger. This led to him working with various musicians including Billy Preston, Bobby Womack and Leon Russell. Russell was so taken with DJ that he signed him to his Shelter record label. In 1970, DJ released his eponymous album DJ Rogers. Sadly, there were problems regarding the marketing and distribution of the album, and it failed to chart. As well as, continuing to work on honing his talent as a musician and singer, DJ wrote and produced material for Freddie King and Mary McCreary. He also, toured with Leon Russell, and this meant his music and huge talent, were heard by a far wider audience.
After leaving Shelter, he was busy working as a session musician, when he received an offer to sign to CBS Records. For some reason, DJ turned down the offer, and instead, signed to RCA records. While he was with RCA, he released three albums. The first was It’s Good To Be Alive, released in 1975, which reached number thirty-six in the R&B charts. This was followed by On the Road Again, released in 1976, which reached number forty-nine in the R&B charts. His final album for RCA was 1977’s Love, Music and Life, which failed to chart.
After leaving RCA, he signed to Columbia, where he released Love Brought Me Back, in 1978, which reached number fifty-four in the R&B charts. Once again, DJ changed label, signing to ARC Records, releasing one album, Trust Me in 1979. The album failed to chart, and since then, DJ hasn’t released any further albums. This, to me, seems a huge waste of a talent. Like many other artists before him, his music has failed to find a wider audience, and the commercial success it richly deserves. His abundance of talent as a musician and vocalist is apparent on It’s Good To Be Alive, which I’ll now review.
It’s Good To Be Alive opens with Hold On, Be Strong, a track that burst brightly into life with keyboards, horns and rhythm section combining, before DJ sings, accompanied by joyous sounding backing vocalists. DJ’s voice is strong, soulful and equally joyous, as his vocal is drenched by the backing vocalists. Behind him, the arrangement is quick, full and funky. A quick bass line, horn section drums and guitar combining beautifully, to produce an arrangement that’s both soulful and funky. However, it’s DJ and the backing vocalists that steal the show. During the track his vocal is quick, strong, yet really soulful. It’s made all the better by the constant, tight vocal harmonies courtesy of his backing singers. Hold On, Be Strong has everything going for it, a great vocal and equally good arrangement, thanks to some hugely talented musicians.
The title track, It’s Good To Be Alive, is a similar sounding track to the opening one. It has an uptempo, feelgood sound, complete with DJ’s great vocal and an arrangement that mixes, soul, funk and even gospel. Horns, guitar and rhythm section open the track, producing a horn laden funky sound, that reminds me of Shuggie Otis. Here, DJ sounds as if he’s having a ball, as he growls, hollers and whoops his way through the track. Behind him, one of the best arrangement on the album unfolds. What makes it so good, is the combination of wah-wah guitar, organ, rhythm section and horns, which both punctuate and drench the arrangement. Backing vocalists interject, but much less than on the opening track. Overall, it’s four minutes of joyous, feelgood, music, that sounds as if DJ is having a whale of a time as he recorded this track. Quite simply, a stunning track, one of the album’s best tracks.
A piano plays, backing singers unite, singing tight vocal harmonies, before percussion and horns announce the arrival of DJ on Faithful To the End. Here, his vocal is much more gentle, much more thoughtful, all the while accompanied by backing vocalists, on a track that has its roots in gospel music. There is a spiritual feel to the music, that comes from the interaction between DJ and the backing singers. The arrangement is much slower, just piano, horns, guitar and rhythm section. Together with DJ’s gorgeous, gospel tinged and soulful vocal, accompanied by backing singers, this track shows a very different side to DJ, one I’d like to hear much, more of.
Drums play at the start of Love Will See Me Through, before DJ sings, accompanied by keyboards, rhythm section and guitars. Straight away, DJ’s vocal is much quicker, full of passion and charisma, while behind, him his band provide a much faster, fuller backing track. It’s a funk laden arrangement, full of lightning fast, funky, bass, horn section, keyboards, drums and guitar. As usual, this is supplemented by backing vocalists, who joyously back DJ, as he roars and hollers his way through the track. Like It’s Good To Be Alive, it’s uptempo, good-time music, with a feelgood sound, sung and played brilliantly by DJ and his band.
DJ decides to drop the tempo way down low, on Say You Love Me, a lovely, lush, song where he’s accompanied by piano, drums and percussion. This is a song that’s perfectly suited to his voice, and allows the romantic side of DJ to shine through. As the arrangement fills out, DJ’s accompanied by backing vocalists, whose voices sweetly and lushly unite, a lovely contrast to DJ’s much fuller voice. An organ joins the arrangement, adding atmosphere to the arrangement, as DJ lets loose, his voice soaring high, full of power and passion. Again, there’s a spiritual feel to the music, and to some extent, the lyrics. Towards the end, he almost growls, as he sings, demonstrating the versatility of his voice. By the end of the track, I find myself wondering why this album wasn’t a much bigger success. This is yet another, great track on this album, one full of emotion and passion, sung beautifully by DJ Rogers.
Rhythm section, keyboards, guitars and horns combine at the start of (It’s Alright Now) I Think I’ll Make It. Together, they produce a full sounding arrangement, before DJ sings. When he sings, his vocal is strong, full of character and sometimes, drenched by backing vocalists. Here, horns play throughout this much slower track, a funky sounding bass line is a constant, as are drums and keyboards. During the track, DJ is accompanied by his trusty backing vocalists who joyfully unite, as he roars, hollers and snarls his way through the track. Both DJ’s vocal and the arrangement, combine to make this a track that combines funk, soul and even gospel beautifully.
When DJ sings the vocal on If You Didn’t Love Me (Don’t Go Away), the similarity to Shuggie Otis is even more noticeable. I’ve thought this on several occasions, but here both the vocal and arrangement are very similar. So of you like Shuggie, you’ll love DJ. Here, it’s a much slower track, which begins with the rhythm section, guitar and keyboards playing before DJ sings. His vocal is much more restrained, the arrangement subtle, beautifully, repetitive and the lyrics some of the most tender on the album. Much later in the track, backing vocalists join in, some of whom sound like a choir of angels singing. By then, the tempo starts to quicken, and DJ’s voice grows in strength, his voice soars, laden with emotion, while the backing vocalists supplement the sound. It’s an impressive track, one that starts gently, and as the track progresses, DJ’s voice strengthens, and the arrangement grows fuller. Combined with some lovely lyrics, an emotional vocal and good arrangement, it’s a potent combination.
It’s a funky sounding introduction to Living Is All That Matters that greets the listener. This is down to a combination of bass and guitars combining, before DJ sings. When DJ sings, he sings call and response with the backing vocalists. His voice is loud and strong, as he roars the lyrics, while the backing vocalists joyously unite in response. Horns punctuate the track, the bass and guitars are funk personified. Together with DJ and the backing vocalists, the sound is complete, and they combine to produce a track that’s a melting pot where soul, funk and gospel have been mixed together, to produce three minutes of the most joyous music your ears will ever hear.
Backing vocalists combine beautifully with the rhythm section and guitars at the start of Love You Forever. Then, when DJ enters is voice is clear and emotional as he sings the lyrics. Behind him, it’s the rhythm section, guitars and backing vocalists that play the biggest part in the arrangement. Together, the combine to produce a much more subtle arrangement than previous tracks. Without the backing vocalists, the arrangement would be really sparse, and they fill the sound out. DJ meanwhile, is giving an emotional vocal, as if the lyrics are personal, mean something to him. Although the arrangement isn’t as full as previous tracks, it’s just as good, thanks to the efforts of the backing vocalists and DJ’s emotional and heartfelt vocal.
It’s Good To Be Alive closes with Bula Jean where DJ combines the best of soul and gospel, producing his best vocal on the album. Here he testifies, and it’s brilliant. It opens with drums and piano accompanying DJ, whose singing slowly and soulfully, a Hammond organ playing in the background. Here, you can only sit back and admire his vocal, which is punctuated by horns and accompanied by backing vocalists. Later, his voice strengthens, gets louder and is drenched in passion, as he returns to his gospel roots to sing the vocal. His voice soars, power and passion combining, as the arrangement builds, piano and Hammond organ adding atmosphere. The backing vocalists by now, sound like a gospel choir as DJ snarls, growls and roars as he testifies, all whoops and hollers. It seems that DJ kept one of the album’s best tracks until last, he certainly kept his vocal performance until last. Together with an arrangement that’s a fusion of soul and gospel, it’s a brilliant track to end the album.
Since I decided to write this article, I’ve spent some time revisiting DJ Rogers’ music, and during that time, I’ve asked myself the same questions time and time again. Why wasn’t this album a much more successful album, and why wasn’t DJ Rogers a huge star? After all, he has a great voice, is a talented multi-instrumentalist, writes, arranges and produces music. Sadly, he remains one of the nearly men of music. Most people are unaware of his music, and that’s is a shame, as they’re missing out on some brilliant music. It’s Good To Be Alive features ten great songs, which are a mixture of styles and influences. On the album there are slow and fast tracks, and the music fuses soul, funk and gospel brilliantly. On the album, DJ plays five instruments, wrote nine songs and cowrote the other, and produced the album. He truly is a hugely talented man, who should’ve been a much bigger star. If you’ve never heard his music, the three albums he recorded for RCA including It’s Good To Be Alive are available as part of a two disc set on the BMG label. This is a good way to introduce yourself to one of the most talented, yet underrated artists ever. Standout Tracks: Hold On, Be Strong, It’s Good To Be Alive, Living Is All That Matters and Bula Jean.
DJ ROGERS-IT’S GOOD TO BE ALIVE.
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