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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TERRY CALLIER-WHAT COLOR IS LOVE.
TERRY CALLIER-WHAT COLOR IS LOVE.
Over the past thirty-five years, I must have bought and listened to, thousands of albums. Many of these albums are albums are great albums, but commercially, weren’t successful. Often it’s hard to understand why these albums weren’t successful, why they never sold in larger quantities and why the artist wasn’t a huge star. One of the people that falls into this category, is Terry Callier, someone I’ve written about before. Previously, I’ve written about two of Terry’s “comeback” albums Timepeace released in 1998 and Lifetime released in 1999. Both are great albums, but like Color of Love, the album this article is about, weren’t a huge commercial success. Instead, Terry Callier’s music is loved by a much smaller number of people than his huge talent warrants. What Color Is Love was the second of three albums Terry released on Cadet, a subsidiary of the legendary Chess records. His first album for Cadet was Occasional Rain in 1972, which was followed by What Color Is Love in 1973 and his final album for Cadet was I Just Can’t Help Myself in 1974. These three albums were all produced by Charles Stepney, who also produced albums for amongst others, Rotary Connection, Minnie Ripperton, Earth Wind and Fire, Howlin’ Wolf and Marlena Shaw. However, this masterful trio of albums he produced for Terry Callier features some of Terry’s greatest music, and are among my favorite albums. If I was forced to choose my favourite of the three albums, it would have to be What Color Is Love, a beautiful album that features Terry at his best. Having told you the background to the album, I’ll now tell what it sounds like.
What Color Is Love opens with Dancing Girl, an epic track that takes you on a journey. During the track he takes you to the jazz venues, bars and festivals where he played, out to the sprawling brownstone ghettos where poverty and deprivation is everywhere, introduces you to the various subcultures that were prominent in the seventies and that he’d come across through his work as a musician. It’s a powerful and emotional track, with wonderful lyrics, which have a strong narrative. Terry paints a picture so strong you can almost see it, smell it and sense it. The track begins with an acoustic guitar played briskly, before Terry sings, accompanied by gentle percussion. Gradually, the arrangement grows, strings sweep in, gradually filling the arrangement. Suddenly, he slows things way down, with just his guitar playing, as the strings dramatically swoop in, punctuated by a saxophone blowing. By now, the track has taken a dramatic turn, a bass, saxophone, drums and keyboards accompanying Terry, who gives a hugely emotional performance. His voice is much stronger, rising, all the while getting louder, as strings, drums, percussion, keyboards and bass combine. There’s an intensity present, as the track builds up to a powerful crescendo, with Terry scatting , while the arrangement becomes fuller, almost frantic, full of energy and emotion. As if spent after the drama and energy he’s expounded, the track becomes much gentler and quieter, as if Terry’s got the anger and frustration out of his system. For nine epic minutes, Terry has taken you on a complex yet magical, musical journey, full of emotion and passion.
Like the previous track it opens with an acoustic guitar and bass accompanying Terry who plays and sings slowly and and thoughtfully at the start of What Color Is Love. Percussion gently plays in the background, a trumpet blows, and then a harp and strings enter. Slowly, a dramatic and considered arrangement is unfolding, matching Terry’s tender vocal and beautiful lyrics. Instruments drift in and out of the arrangement, with some remaining throughout the track. One thing that makes this track so good, is the use of strings. They compliment the vocal perfectly, their sound lush and sweet. There is a strong bass line during the song, which is slow, accurate, prominent in the mix. However, the star of the track is Terry, whose vocal is among the best on the album. He sings the song slowly and tenderly, taking care with his beautiful lyrics, which consider the question of love. After the dramatic Dancing Girl, the slower tempo of What Color Is Love is a nice contrast. Like, Dancing Girl, it features a stunning performance from Terry, and has some beautiful, philosophical and powerful lyrics.
You’re Gonna Miss Your Candyman begins with acoustic guitar, bass and percussion before Terry sings. When he sings, his voice is louder and the tempo quicker. Like Dancing Girl, the arrangement slowly unfolds until it becomes much fuller. When the arrangement fills out, it’a combination of the rhythm section, percussion, guitars and later, the horn section announce their arrival. By then, the arrangement is faster, with Terry giving a much quicker and louder, but passionate vocal. During the track, his vocal drops out, and the band are left to fill the gap. This they do impressively, combining brilliantly, as they showcase their considerable talents. Another similarity to Dancing Girl is how once the arrangement has become much fuller and quicker, Terry slows things way down. Here, however, he builds things back up again. Again, it’s an epic track, sung with power, passion and drenched in emotion. It’s almost a grandiose arrangement, full of energy, thanks to producer Charles Stepney. It sounds fantastic, and allows the listener to hear a very different side of Terry Callier.
The other side of Terry is apparent on Just As Long As We’re In Love, briefly. Backing vocalists sweetly sing, accompanied by a piano, as the track opens. When Terry sings, his vocal is much quieter and gentle. However, this doesn’t last long as producer, Charles Stepney, has another dramatic and fuller arrangement planned. Drums, a horn section and piano combine to create a backdrop that’s dramatic and powerful in equal measures, but soon heads towards a much gentler and melodic part of the arrangement. That’s when the backing vocalists reappear, piano and guitars accompanying them. Quickly, the arrangement builds back up, only to return to this much more gentle, melodic part, complete with strings. Overall, it’s an arrangement of two parts, one part full of drama and passion, the other much more gentle and considered. However, this works, and when you hear the track, the two contrasts fit together perfectly, into what’s a beautiful song about love, brilliantly sung by Terry, thoughtfully and with passion.
Keyboards play slowly, their sound melodic at the start of Hso Tsing Me (A Song of the Sun), and are joined by a bass before Terry sings. When he sings his voice is quiet, yet strong as the arrangement quickly grows. Strings, the horn section, piano, guitars and rhythm section all combine to produce a full sounding arrangement, to accompany Terry’s much louder vocal, which by now, is full of frustration and anger. Behind him the arrangement sweeps along beautifully, strings sweeping, guitars chiming and the piano dramatically playing and all prominent in the mix. Like before, however, Terry’s vocal steals the show. His voice is laden with emotion, it’s full of passion, as he’s questioning why things are happening? The lyrics are spiritual, and it’s as if he’s questioning his faith, asking a higher power why are these things happening? This is yet another fantastic track, with searching and thoughtful lyrics that are laden with emotion when delivered by Terry.
An acoustic guitar and harmonica play as I’d Rather Be With You begins. Terry’s voice is much quieter and gentler as he sings some beautiful and thoughtful lyrics about love. Quickly, Terry’s voice strengthens, gets louder and the arrangement fills out. A piano, bass, strings and percussion playing behind Terry, combining to produce a beautiful lush sound and one of the best arrangements on the album. Later, a saxophone plays, and combined with Terry’s voice and the strings, this lifts the arrangement. Throughout the track, a harmonica accompanies Terry, playing quietly in the background beautifully. The longer the track progresses, the better the arrangement gets. Charles Stepney really has surpassed himself, the way he’s arranged the track. His use of strings, horns and piano especially, and where and when he’s used them, really bring the track to life. Here the lyrics are among the best on the album, and Terry cowrote the song with Jerry Butler and Larry Wade. As Terry sings them, you can imagine the scenes unfolding before your eyes. That, to me, is the sign of good lyrics, ones with a really strong narrative. I’d Rather Be With You one of my favorite tracks on the album. For me, it has everything, it sounds great, has a great vocal and lyrics, and a fantastic arrangement courtesy of Charles Stepney.
What Color Is Love closes with You Don’t Care, which is mostly an instrumental track, except when the backing vocalists occasionally sing. It’s a track with a lovely lush arrangement, that begins with piano, drums, strings and horns playing, before a lovely acoustic guitar solo is played. This lovely arrangement is made all the better by the backing vocalists sweetly interjecting. The track has a sweeping, orchestral sound, with the addition of a Spanish style acoustic guitar solo. As the track meanders beautifully, dramatic peaks emerge, while strings sweep beautifully, their sound lush, made all the better when the horn section join in. For five and a half minutes this beautiful, sweeping, lush track gracefully unfolds, and although an unusual way to end the album, it certainly is a beautiful way to do so.
This album has long been a favorite of mine, and like many people I love and treasure What Color Is Love. To me, this was the best of the three albums he recorded for Cadet, and is one of the finest albums he ever recorded. How it wasn’t a huge hit, I’ll never understand. The album features some of the best songs Terry has ever written or recorded and thanks to producer Charles Stepney, it has some wonderful arrangements on it. He was backed by a hugely talented group of musicians, and was signed to Cadet, a subsidiary of Chess who had many successful singles and albums before. However, for whatever reason, What Color Is Love wasn’t a commercial success, and neither was the album that followed it, I Just Can’t Help Myself. When he was dropped by Cadet, he signed to Elektra where he released two albums. Neither sold well, and it wasn’t long after that, that Terry took a sabbatical from music, to look after his daughter and he retrained as a computer programmer. Thankfully, he was convinced to come out of retirement, and since then, has released several albums. Sadly, he’s still not a huge commercial success, like his talent warrants. That just shows that in the music industry, sadly talent only gets you so far.
If after reading this article, you’re interested in hearing Terry’s music, I would recommend from his earlier work, the three albums he recorded for Cadet Occasional Rain, What Color Is Love and I Just Can’t Help Myself. Alternately, you could buy Essential, The Very Best of, which features the best of the his music from his three Cadet albums. From his later period, I’d recommend Timepeace and Lifetime. There is one other compilation I’d recommend and that’s About Time: The Terry Callier Story 1965-1982. Any of the albums I’ve mentioned will feature some brilliant music, and very soon, you’ll become a huge fan of Terry Callier’s music. Standout Tracks: Dancing Girl, What Color Is Love, Just As Long As We’re In Love and I’d Rather Be With You.
TERRY CALLIER-WHAT COLOR IS LOVE.
LED ZEPPELIN-IV.
LED ZEPPELIN-IV.
In a previous article I mentioned how, in the early seventies, a group or artist had to sell a huge amount of albums or singles, to achieve a top twenty placing. This was a time when multi-million selling albums was common place. When the group this article is about, released their fourth album in 1971, it reached number two in the US Billboard 200 selling twenty-three million copies, being certified platinum twenty-three times over. Led Zeppelin and their album IV, stayed on the US charts longer than any other of their albums. Back in their home country the UK, the album reached number one in the UK album charts, spending sixty-two weeks in the charts. Since then, the album is considered one of the greatest albums ever to be released. Over the years, it’s received every awards and accolades possible, and is always found in the lists of the best albums ever released. This album was the perfect way to answer their critics after the mixed reviews their previous album III had received. Before I review the album, I’ll briefly tell you the background to this album.
Led Zeppelin set about recording what would become IV in Island Record’s new recording studios in Basing Street. On the recommendation of Fleetwood Mac, they then moved to Headley Grange, an old Victorian house in Hampshire, where they used a mobile studio belonging to the Rolling Stones. After the tracks had been completed, they returned to Island Records’ studio for overdubbing, before heading to Sunset Studios, in Los Angeles, to mix the album. All this took place during 1970 and 1971. However, once they started mixing the album, they encountered some problems. The group weren’t happy with the mix, and they returned to London to redo some of the work they’d just finished in Los Angeles. This meant the album’s release date became delayed by several months, with the album not being released until 1971. Once they were happy with the album’s sound, came the job of promoting the album.
Now the group had finished the album, they could set about promoting it. First they had to decide the album’s title. Instead of giving the album a title, it featured four hand drawn symbols, on both the inner sleeve and record label. Each symbol was meant to represent a band member. Nor would there be any information on the album cover, with the band’s name being downplayed. This was almost unheard of, and many people at Atlantic, their record company feared that this would damage sales of the album. Before the album was released, Atlantic sent copies of the graphics to the press, so they could include the symbols in articles about the album. Since the album’s release, it has been referred to as IV, although that wasn’t the original title. However, the lack of a conventional title didn’t harm the album, or sales.
When the album was released, it was critically acclaimed. Critics realized that Led Zeppelin were back, having produced a brilliant new album, after a slightly disappointing previous album III. Fans loved the album too, and in the UK, the album reached number one, while in the US the album peaked at number two. Sales of the album were huge, selling twenty-three million copies, and 1.8 million copies in the UK. Since then, the album has consistently sold well, and it’s received numerous awards and accolades, and is always included in the lists of the greatest albums ever released. So Led Zeppelin’s album IV, was critically acclaimed, and a huge commercial success, but what does it sound like?
IV opens with Black Dog which has a hesitant start, before the track bursts powerfully into life with Robert Plant’s lung bursting, unaccompanied vocal giving no indication of what’s to come. What follows is a masterclass in full on rock ‘n’ roll at its very best. Jimmy Page’s screaming, lightning fast, guitar playing, John Bonham’s frantic drumming driving the song along with John Paul Jones bass guitar. The tempo is fast, the sound hugely loud, as the song drives along, complete with occasional pauses, before the track builds back up, returning to the earlier frantic pace. You can’t help but admire Plant’s vocal, it’s one part raw power, to one part sheer passion, as he almost screams and bawls his way through the track. Black Dog inspired a new generation of bands, but none of them can play full on rock ‘n’ like Led Zeppelin. A brilliant way to open the album.
How do you follow a brilliant track like Black Dog? It’s quite simple really, with one called Rock and Roll. It begins with Bonham playing a drum solo, that’s fast, full and power personified. After that, the group treat us to some old school rock ‘n’ roll. Plant’s gives his usual energetic and enthusiastic vocal, as the band turn back the years. Again, Page’s guitar playing is fantastic, it’s quick, accurate and sounds like something you’d expect Chuck Berry to play in years gone by. Behind him, Bonham punishes his drums, Jone’s bass sits at the bottom of the mix and later, Rolling Stone Ian Stewart plays a fantastic piano solo. A lengthy part of the track is just an instrumental where the group demonstrate just how good musicians they are. Together, the band produce a fantastic track that although relies on power, stays true to the spirit of rock ‘n’ roll.
After two really rocky songs, Led Zeppelin change styles with The Battle of Evermore which features Sandy Denny on vocals. It has a distant, meandering start with Jimmy Page playing mandolin, before Plant sings the lead vocal, accompanied by Sandy Denny. This is a very different track, it’s slower, with a folk feel and sound, especially with the instruments used and the way the vocal is sung. By now, it’s mandolin and acoustic guitar that are playing. There are no electric instruments used on the track, but one thing hasn’t changed and that is Robert Plant’s vocal. Sometime’s he cut’s loose, and really sings loudly, using his powerful, energetic vocal, especially towards the end of the song. Mostly, though, he resists this temptation, and it’s a much more restrained vocal from him, more in keeping with Sandy Denny’s vocal style. Although, this is a good enough song, I much prefer the much more rocky side of Led Zeppelin.
Probably the most famous song that Led Zeppelin ever recorded is next, Stairway To Heaven, an eight minute epic, masterpiece. It’s one of the band’s best known, and best loved tracks. An acoustic guitar is played slowly and gently, before a recorder plays. Robert Plant’s vocal likewise is much gentler, more restrained as the track meanders beautifully along, the lyrics among the best on the album. After just over two minutes, the song starts to fill out, the arrangement growing slowly. A bass plays, guitars too, as Plant gives one of his best vocal on IV. Things start to really take shape when John Bonham plays, his drumming much more restrained here, than on the opening tracks. Eventually, drums, guitar and bass let loose. Another excellent guitar solo from Page takes shape, Bonham’s drumming is much louder and faster and Robert Plant decides he’s had enough of the restrained vocal style, and gives another lung bursting vocal performance, just before the track ends. Overall, this was a career defining moment for Led Zeppelin, as it’s both a brilliant track, and one of the most famous and best loved songs ever recorded.
Having recorded such a great track, the problem is how do you follow it? The problem is, after Stairway To Heaven, anything else will sound second best. However, Misty Mountain Hop is the track they chose to follow Stairway To Heaven. Keyboards, guitars and drums all play, before Robert Plant sings the vocal. They combine powerfully, driving the track along, with John Bonham’s drums at the front of the mix. Plant’s vocal is huge, loud, he shows no restraint as sometimes, he screams, hollers and roars his way through the lyrics. Behind him, the rest of the band similarly, forget about subtlety, and really let loose. Page’s guitar playing and Bonham’s drumming are key to the sound, really providing a powerful and dynamic backdrop for the vocal. Jimmy Page demonstrates just how great a guitar player he was, playing a brilliant solo during the track. Robert Plant’s vocal launched a thousand wannabe impersonators, many of whom went on to form bands and have successful careers. However, there was only one Robert Plant, and here, he and the band, produce another slice of brilliant, hard, driving rock music.
Straight away, guitars and rhythm section combine to produce a loud, powerful and driven backdrop for Robert Plant’s vocal on Four Sticks. Although his vocal is forceful and loud, he’s somewhat struggling against the magnificent hard rocking arrangement. It’s loud, repetitive, full of power and energy, an example of what Led Zeppelin do best. John Bonham’s drumming is among his best on the album, it’s loud, fast, accurate and powerful. Meanwhile, Jimmy Page’s guitar playing chugs along, it’s dynamic and dramatic with riffs aplenty, while Robert Plant shrieks, screams and wails, as he really forces the vocal. By the end of the track, you can’t help but admire the sheer power displayed by the band during the track. What they produce is like a powerful and dramatic wall of sound, which Robert Plant copes admirably with, producing a dramatic and energetic vocal.
It’s an acoustic guitar, then mandolin that plays when Going To California begins. Straight away, you realize that this is a very different type of song. Here it’s just acoustic instruments that accompany Robert Plant’s vocal. His vocal is much softer, gentler and is much more restrained. Here he doesn’t indulge in any theatricals, no howls, wails or hollers, just a thoughtful vocal, sung beautifully, against a backdrop of acoustic guitar and mandolin. This is a very different Led Zeppelin, one that I enjoyed much more than The Battle of Evermore, the other acoustic based track.
IV ends with When the Levee Breaks, which like Stairway To Heaven, is a much longer track, just over seven minutes in length. It begins with John Bonham’s slow booming drums, a bluesy harmonica solo plays, joining a screaming guitar, which solos brilliantly. It’s an arrangement that builds and builds, and as it does just gets better. After a dramatic pause, Robert Plant’s vocal enters, seemingly, much more restrained. This doesn’t last, he soon breaks free of his shackles, and is roaring, giving a powerful, energetic and passionate vocal for the last time on IV. It seems Led Zeppelin have kept one of the album’s best tracks for last. This is a track with everything. Great guitar solos, that screech, scream and howl, pounding, booming drums and a frenetic bluesy harmonica solo. Over seven minutes, the band really let loose, showcasing their talents as musicians, and demonstrating just why they were the greatest rock band of their era. When the Levee Breaks is the perfect track to end the album, it shows Led Zeppelin at their best, power personified, thanks to four hugely talented musicians, at the top of their game, with Robert Plant reserving a fantastic vocal for the album’s final track. Excellent.
I’ve been a huge fan of Led Zeppelin for more years that I care to remember, and my favorite album has always been IV. This album saw the band recover from a somewhat disappointing response from critics to their previous album III. It also saw the eschew traditional marketing methods by not giving the album a “traditional” title. The album also came at a time when the band hadn’t toured for a while, so their profile wasn’t as high as it had been. IV was the perfect response from the band, not only was it critically acclaimed, but it was a huge commercial success, becoming their biggest selling album. When you listen to the album, you can hear why it was such a huge success. Here was a band at the top of their game, who had produced an album with eight great songs, played with power and passion, by four hugely talented musicians. Personally, by the time this album was released, I think the band were in their prime. They were by now seasoned musicians, with plenty of experience in the studio and as a live band. The scene was almost set for Led Zeppelin to produce a classic album. On IV’s release, it was obvious that they’d succeeded in doing so, and in the process, released one of the best albums ever recorded. It’s hard to believe that this year, in November 2011, IV will celebrate its fortieth birthday. It’s an album that’s aged well, and has that timeless quality that all good music has. If you’ve never heard the album before, it’s well worth buying, as you’ll hear Led Zeppelin in their prime, playing eight great songs, which make up their classic album IV. Standout Tracks: Black Dog, Rock and Roll. Stairway To Heaven and When the Levee Breaks.
LED ZEPPELIN-IV.
SYL JOHNSON-DIAMOND IN THE ROUGH.
SYL JOHNSON-DIAMOND IN THE ROUGH.
In previous articles I’ve written about Southern Soul, I’ve focused on one particular label, Hi Records. Previously, I’ve written about three of their most famous artists, the legendary Al Green, O.V. Wright and Otis Clay. These three artists produced some of the most successful and critically acclaimed albums on the label. However, these three artists weren’t the only artists to record for Hi Records, Ann Peebles, Don Bryant and the artist this article is about Syl Johnson, all recorded successful albums for the label. Like the other artists I’ve previously written about, they were guided by Willie Mitchell, who produced all the albums on Hi Records during its most successful period during the seventies. To create the sound he wanted, he used Hi Records house band, the Memphis Horns, The Memphis Strings and backing vocalists Rhodes, Chalmers and Rhodes. By adding all these ingredients to the albums he produced on Hi Records, Willie Mitchell produced one great album, after another. This included the four albums Syl Johnson recorded for Hi between 1973 and 1978. In this article, I’ll write about the second album he recorded for Hi, Diamond In the Rough. His first album on Hi was Back For A Taste of Your Love released in 1973. After that, he released Diamond In the Rough in 1974, Total Explosion in 1975 and Uptown Shakedown in 1978. Before I review Diamond In the Rough, I’ll tell you about Syl Johnson’s career.
Syl Johnson was born Sylvester Thompson in July 1936, in Holy Springs, Mississippi, the youngest of seven children. Two of his brothers like Syl, would go on to have careers as musicians. Mac Thompson and Jimmy Johnson would go on to have successful careers, with Jimmy becoming a famous blues guitarist. Later in life, Syl and Jimmy would record an album together, entitled Two Johnsons Are Better Than One, which was released in 2002.
By the 1950s’ Syl, Mac and Jimmy were based in Chicago, and Syl was working with people like Junior Wells, Magic Sam and Eddie Boyd. His first recording session was playing guitar for Billy Boy Arnold in 1956 which was released on the famous Vee Jay label. During this period, Syl worked with the great and good of Chicago’s blues players, including Jimmy Reed,
His first solo record contract was with King Records, and he recorded six singles on their Federal label between 1959 and 1962. These singles were a mixture of blues, soul and much more pop oriented material. However, none of the singles sol particularly well, despite being well promoted by his label. It was after recording with one of the best known producers of the day Sonny Thompson, that Syl decided to produce his own material. This he did for the two singles he recorded for the Zachron label. Like his singles on Federal, but apart from selling well locally, they too, failed commercially. After that, he recorded for TMP-Ting and Tag Ltd, and still he couldn’t make a commercial breakthrough.
It would be 1967 before Syl issued a successful single, entitled Come On Sock It To Me, on the new Twilight label based in Chicago. He followed this up with Different Strokes and I’ll Take These Skinny Legs. In 1969 Syl’s released his most successful single and album both entitled Is It Because I’m Black? This was a a single and album that was socially aware and tapped into the social problems of the era. Suddenly, after years of trying, Syl had a first a hit single, and then a hit album. By now Syl was a star, and was also head of A&R at Twilight, which had now been named Twinight. As if this wasn’t enough, he started setting up Shama, his own label in 1968. Shama signed acts that Twinight decided not to sign, and to record sessions for his new label, Syl enlisted the musicians that played on all the Twinight recordings.
In 1969 Syl decided to head south to Memphis to record sessions for his Shana label. The reason for the trips to Memphis was Syl wanted to change the label’s musical style, and admired the sound coming out of Memphis. Some of the sessions took place in the Hi Records studios. Once there, he realized that Willie Mitchell had put in place one of the best studio bands in music. When Shama and Twinight experienced financial problems, Syl decided it was now time to sign to Hi Records. This was the summer of 1971, and in the next seven years he’d release four albums for his new label.
The first album Syl released for Hi Records was Back For A Taste of Your Love released in 1973 reached number nineteen in the R&B charts. After that, he released Diamond In the Rough in 1974 which failed to chart, Total Explosion in 1975 reached number fifty-six in the R&B charts and Uptown Shakedown in 1978 failed to chart. However, by 1977 when Syl was recording his final album, Uptown Shakedown, disco was by now, hugely popular, and Memphis soul records like the ones Syl was recording weren’t selling well. By then, Hi Records had been taken over by Cream and they decided that the album should be recorded on the West Coast, instead of in the Hi Studios. Uptown Shakedown was recorded with some of the West Coast’s best session players. Sadly, the album was the weakest Syl recorded for Hi and as a result, failed to trouble the charts.
By then, Syl had set up his Shama label and released a number of singles and the album Ms. Fine Brown fame in 1982. His next album was 1984’s Back In the Game. It was at this time that Syl started a fast-food fish restaurant and was now semi-retired, only making occasional appearances at local blues clubs.
In 1992 Syl discovered that his music was being sampled by a number of hip-hop and rap artists, including the Wu-Tang Clan and Public Enemy. This spurred Syl to make a comeback. His comeback album was Back In the Game which featured the Hi rhythm section and his daughter Syleena. The following year 1995, he recorded an album with his daughter Syleena entitled This Time Together By Father and Daughter. Further albums would follow including Bridge To A Legacy in 1995, Talkin’ About Chicago in 1999 and Hands of Time in 2000. In 2002 Syl released an album with his brother Jimmy Johnson entitled Two Johnsons Are Better Than One. Last year, 2010, a box set retrospective of his early work was released entitled Syl Johnson: Complete Mythology. It’s nearly fifty years since Syl signed his first recording contract. He has been a musician and singer since the 1950’ and has recorded for a number of labels over these five decades. However, it’s one of the albums he recorded for Hi Records, Diamond In the Rough, that I’ll now review. This was an album that failed to chart, so what I’ll now tell you, is whether this is a good album or not.
Diamond In the Rough begins with Let Yourself Go which begins with a piano playing slowly and spaciously, before the rhythm section and organ enter, transforming the track into a brighter, more melodic one. After that, Syl’s charismatic tenor voice makes an appearance. He’s accompanied by Rhodes, Chalmers and Rhodes on backing vocals and The Memphis Horns who both occasionally punctuate the track in short, sharp bursts. Syl meanwhile, is giving a powerful and passionate rendition of what’s one of the slower songs on the album. Occasionally, he kicks loose, his voice strengthening, getting louder and even more passionate. As ever, Willie Mitchell’s arrangement is perfect for the track. The rhythm section and Memphis Horns driving the song along, never once overpowering Syl’s charismatic vocal.
Guitars play at the start of Don’t Do It, before The Memphis Horns interject, announcing Syl’s introduction. When Syl sings, he’s got some explaining to do in the song, he’s having to talk his girlfriend out of leaving him. It’s a song about love and relationships which Syl sings brilliantly, bringing the lyrics to life. He sings the song with passion, almost pleading, while the backing vocalists, The Memphis Strings and The Memphis Horns accompany him. As usual, the rhythm section play brilliantly, providing the perfect backdrop for Syl’s tale of woe. It’s the horns especially, that add to the songs drama. However, the star of the track is Sly, and his pleading, passionate delivery of the song.
I Don’t Want To Take You Home (To See Mama) has a very different sound to the two preceding tracks. It bursts into life with The Memphis Horns playing brightly, before Syl sings. When he does, his voice sounds nearly joyous. Throughout the track he’s accompanied by the backing vocalists whose contributions really lift this song. Their voices rejoice sweetly and joyously, the perfect accompaniment to Syl’s vocal. Like the backing vocalists, The Memphis Horns contribution is huge, with them accompanying Sly throughout the track, drenching his voice with their beauty. Here, Syl gives one of his best performances on the album, and together with the backing vocalists and horn section’s contribution, Willie Mitchell has produced one of the album’s best tracks.
An organ plays, giving the song a really sad, melancholy sound and is accompanied by drums, guitar and keyboards as Could Be Falling In Love With You begins. As Sly sings, it’s apparent straight away, that this is another fantastic song that’s unfolding. Syl gives the most heart achingly beautiful rendition of the slowest song on the album. It’s made all the better with the subtle use of the backing vocalists and the band playing really slowly behind him. They allow Sly to take centre-stage, and do what he does best, deliver songs with emotion and passion. What makes the track just so good, is Syl’s vocal and the arrangement which, for the most part meanders along beautifully. The only time the horns play, is towards the end, where they make their presence felt and add to an already sad, emotive arrangement. Like the previous track, this is one of the album’s highlights.
The tempo increases with Stuck In Chicago, a track that begins with guitar and The Memphis Horns playing, before the rhythm section enter. When Syl sings, his voice is much stronger, and is accompanied by strings playing in the background and the horns interjecting adding to what is a much fuller arrangement, laden with sadness, drama and atmosphere. An organ adds to the already sad and dramatic arrangement. In the song, Syl is down out of money and out of luck, having been stood up by his girlfriend. Like on other tracks, Syl brings the lyrics to life, and you end up feeling sorry for him. His delivery is emotional and dramatic, and the arrangement adds to the sense of drama, especially through the use of the horn section on the track. Overall, it’s a great track thanks to Syl’s vocal, The Memphis Horns and producer Willie Mitchell.
The title track Diamond In the Rough is another dramatic sounding track, that begins with drums crashing, keyboards and the horn section combining before Syl sings. When he sings, his tenor voice is strong and loud, while behind him, the rhythm section and The Memphis Horns especially, concentrate on producing a dramatic sounding arrangement. Later, strings sweep in, their sound lush, in contrast to the brash sounding horns. Together, the rhythm section, horns and strings succeed in producing one of the best, most dramatic sounding arrangements on the album. Syl meanwhile, matches their efforts, producing a vocal that’s emotional and drenched in drama.
Keepin’ Down Confusion has a lovely introduction, with drums and organ playing, with the backing vocalists singing sweetly. After that, Syl sings, his voice strong, clear and loud. Like before, his vocal is charismatic, bringing meaning to the song, through emotion and passion. While he sings, an organ and The Memphis Horns inject further emotion and drama, with the help of Rhodes, Chalmers and Rhodes, Hi’s legendary backing singers. The arrangement is slower than on the previous two tracks, and this seems to add to the dramatic sound and feel of the track. Here, the success of the track is down to the tempo and arrangement, and of course, a vocal laden in charisma and feeling, courtesy of Syl Johnson.
It’s an organ and The Memphis Horns that dramatically, accompany an almost pleading, Syl at the start of Please Don’t Give Up On Me. Backing singers add to the drama when they accompany Syl. Between the interjection of the horn section and the contribution of the backing singers, it’s an already dramatic arrangement that’s unfolding. The rhythm section’s contribution heightens this sense of drama, as does Syl’s vocal. Here, he really lets loose his emotions, as he pleads and begs for his girlfriend not to give up on him. This is an outstanding vocal from him, made all the better by Rhodes, Chalmers and Rhodes backing vocals. What shouldn’t be underestimated is the contribution of all the musicians that play on the track. Without their contribution, the track wouldn’t be half as good. Their playing combined with Syl’s desperate vocal make this a great track, one that’ll pull on you heartstrings.
A piano plays at the start of Music To My Ears, but doesn’t give you any indication of what’s to come. What follows is the rhythm section and The Memphis Horns combining before Syl sings joyously. Behind him lush sounding strings sweep in, horns punctuate the track and the backing vocalists compliment Syl’s voice perfectly. It’s a track with a quicker tempo, one that sweeps along, and in the process, sweeps you along in its wake. Quickly, you’re caught up in Syl’s joyful, sounding vocal, complete with a catchy, melodic, arrangement where hooks are plentiful. This track demonstrates the versatility of Syl’s voice. He’s equally at home singing uptempo, joyous songs like this, as he is singing the sad songs, drenched in emotion and drama. After the sadness of the previous song, this is the perfect contrast.
Diamond In the Rough closes with I Hear the Love Chimes which has a subtle introduction with keyboards, drums and guitar playing, before a short burst of the horn section announces Syl’s entrance. Here, his vocal is much more restrained, quieter, relying less on power during this track. Behind him, the rhythm section and Memphis Horns combine to produce a lovely, dramatic, slice of Southern Soul. It’s punctuated by horns, with an organ, atmospherically playing, adding to what’s already a lovely slow arrangement. Backing singers occasionally interject, singing sweetly in unison. This is a lovely, melodic, track to end the album, Syl’s vocal is much more subtle, while the arrangement is slow and dramatic, thanks to The Memphis Horns and the rhythm section.
I’ve always wondered why Diamond In the Rough didn’t build on Syl Johnson’s debut album Back For A Taste of Your Love which reached number nineteen in 1973. Diamond In the Rough has ten great songs on the album, all sung brilliantly by Syl. On the album, Syl demonstrates his versatility as a vocalist. He’s equally comfortable singing slow and fast songs alike, and delivering dramatic and sad songs just as comfortably as he does the faster tracks. Throughout the album, he adjusts his voice to suit each song, delivering them beautifully. Like his first album for Hi, Willie Mitchell produced it, and it featured The Memphis Horns, The Memphis Strings, the famous Hi rhythm section and Rhodes, Chalmers and Rhodes. It had everything going for it, but for some reason, the record buying public overlooked this excellent album. However, since its release, many soul fans have discovered this album, albeit belatedly, and they like me, love the music on it. Thankfully, it was released on CD in 2000 by the Demon Music Group as part of The Complete Syl Johnson On Hi Records which features the four albums Syl recorded for Hi. On that two-disc set you can hear everything that Syl ever recorded for Hi, complete with bonus tracks. For me, it’s the perfect introduction to the marvelous music of Syl Johnson. So if you’ve never heard his music, why not treat yourself, you won’t regret it. Standout Tracks: I Don’t Want To Take You Home (To See Mama), Could Be Falling In Love With You, Please Don’t Give Up On Me and I Hear the Love Chimes.
SYL JOHNSON-DIAMOND IN THE ROUGH.
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THE HACIENDA AND ITS MUSIC-THE HACIENDA COMPILATIONS.
THE HACIENDA AND ITS MUSIC-THE HACIENDA COMPILATIONS.
Recently, I’ve been reading Peter Hook’s book The Hacienda How Not To Run A Club Properly, which tells of the trials and tribulations of being part-owner of one of the most innovative, important and successful clubs ever. For anyone considering launching a club, or even club night, it’s vital reading. It tells of every pitfall that lurk round every corner for the budding nightclub owner. Over a fifteen year period, The Hacienda went from primarily a venue for bands, with discos at the weekend, to the most successful club in the world. During that period, Hooky tells of some of the biggest bands of the time playing the club, the Acid House era, constant financial problems, gangsters infiltrating the club and ultimately, insolvency and the clubs closure. However during the problems and sometimes chaos, the club played host to some wonderful nights, where some of the biggest bands and later, DJs played. What really put the club on the map was Acid House. That’s what most people remember the club for, and since the clubs closure, three compilations have documented the music played at The Hacienda during this time. After I’ve told you about the club’s history, I’ll review these compilations.
The Hacienda was launched in 1982, the result of a partnership between New Order, Hooky’s band and Factory Records run by Tony Wilson. The club was situated at 11-13 Whitworth Street West, Manchester, a former yacht showroom, that was transformed by architect Ben Kelly, into one of the most innovative clubs ever. When the club was finished in 1981, it cost £344,000. However, it’s design was unlike anything ever seen before. Ben Kelly turned the former yacht showroom into what would become the most famous club in the world during the Acid House years.
When the club opened in 1982, it was oven seven days a week, to give the young people of Manchester somewhere to go throughout the day. It was somewhere you could go for a drink, a meal, meet friends, see a band or go to dance. However, at the start there was a problem, a lack of customers. For the first five years, the club wasn’t the busiest club in Manchester. Little did the owners know that five years later, things would change, and The Hacienda would find fame worldwide.
Between 1982 and 1997, The Hacienda played host to some of the biggest bands of the time. Groups like The Smiths, Primal Scream, Oasis, The Stone Roses and Hooky’s own band New Order all played at The Hacienda. Madonna even played her first UK concert there, lip synching to on The Tube, a popular music program from that time. During the period, from 1982-1987, The Hacienda was hardly the busiest club in the UK, even though it was easily the most innovative.
It was only when Acid House burst onto the scene during 1987, that the club at last, became a huge success. The Hacienda was responsible for introducing the North West of England to Acid House, which launched the popularity of dance music. Clubbers at The Hacienda had been introduced to house music in 1986 by DJs Graeme Park and Mike Pickering. This was as a result of policy that saw all kinds of music played by DJs at the club. Gradually, they “educated” clubbers to the new music that was arriving from Chicago. Park and Pickering played house music during their legendary Nude club nights held on Fridays. This night help to transform the club’s fortunes, and suddenly, the club was packed every Friday night.
The success of Nude led to a number of other club nights at the club. Hot, hosted by Mike Pickering and John De Silva was The Hacienda’s Ibiza night which started in July 1988. Other nights included The Temperance Club hosted by Dave Haslam, which like Nude, would become one of the most successful and longest running club nights. During these nights, DJ’s would play a variety of different types of music. It was almost an anything goes policy. If the record fitted in with previous one, and kept people dancing, that was fine. This meant that DJs would play house, soul, funk hip-hop and disco all on the one night. Nowadays, that’s almost unheard of, with many DJs just resorting to playing the same genre of music during their sets.
During these club nights, people came from far and wide. The Hacienda was known worldwide, with Newsweek featuring the club on its front cover and calling it the world’s most famous club. People came in their thousands, not just from all over the UK, but worldwide. Once in the club, they could stand next to, and dance beside some of Manchester’s most famous faces. This was because the club chose not to have a VIP area. Everyone was equal once inside, everyone there to enjoy the cutting edge music and legendary atmosphere. One problem with the nights is that people didn’t consume huge amounts of alcohol. This meant the club weren’t making any money from the bar. All most people wanted to drink was bottled water, and the club didn’t sell bottled water. As a result, most of the money the club made, was people paying to enter the club. Much of the money made inside the club was going to other people namely drug dealers, selling ecstasy, which for many people helped fuel their night’s dancing.
With Acid House came a problem, drugs. Ecstasy was the dancers drug of choice, and in July 1989, tragedy occurred at the club when a sixteen year old girl died from an allergic reaction to a tablet she’d taken before entering the club. During the Acid House years, and after them, the amount of drugs being consumed inside the club grew. This lead to the police taking an interest into what was going on in The Hacienda after new legislation was introduced. The owners tried to regulate things, and ensure that drugs were confiscated. However, by now the drugs problem had grown and it was getting worse each year. By now, local gangsters had discovered the popularity and profitability of clubbing. When they moved in things changed, for the worst.
After the local gangs infiltrated The Hacienda, things took a turn for the worse. Gradually, the violence increased, the gangsters beating up and robbing drug dealers, and eventually, taking over the drug dealing within the clubs. Sometimes, there would be inter-gang violence taking place within the club, with gangsters settling scores. Occasionally, members of the public would be in the wrong place at the wrong time, and be subjected to violence. As all this took place, the security staff struggled to cope with the situation. The owners resorted to hiring people who had the respect of those causing the trouble. However, eventually, on 30th January 1991, the club closed its doors temporarily due to the violence. Although it reopened on 10th May 1991, the problem would continue to be a problem until the club closed.
On 28th June 1997, Dave Haslam was DJ for what would be the last ever night at The Hacienda. Unknown to those who were there, that would be the final night of The Hacienda. Sadly, in June 1997, the club closed due to financial problems. These financial problems had been a recurring problem since the club opened and had resulted in Factory Records and New Order constantly having to provide finance to keep the club solvent. However, after Factory Records became insolvent in 1992, New Order, were responsible for financing the club. Gradually, the various members of New Order lost faith in the club, and latterly, Peter Hook was the only member of the band who provided finance to club. Together with New Order’s manager Rob Gretton, the pair tried to keep the club open. By June 1997 Hooky realized that he couldn’t go on pouring money into what Joy Division and New Order producer Martin Hannett had called “a hole in the ground called The Hacienda.” However, for fifteen years, The Hacienda played host to some of the biggest bands of that era, and was responsible for introducing Acid House to the North West of England. During the Acid House years, The Hacienda became the most famous club in the world, attracting clubbers from not just all over the UK, but worldwide. From far and wide, clubbers made what were almost pilgrimages to The Hacienda, to enjoy the club’s legendary atmosphere. Having told you about the club’s eventful history, and the important part in played in the history of dance music, I’ll now review the three Hacienda compilations.
THE HACIENDA CLASSICS.
The Hacienda Classics was the first of the three Hacienda compilations. Ironically, it was launched in May 1997 as the club celebrated its fifteenth birthday with a party. It features a wide range of music, which celebrates the different genres of music played at the various club nights. There are forty-seven tracks on the triple cd, which when it was released retailed at £27. Now the album is a valuable collectors item, changing hands for quite large sums of money. It was released on EMI and features some of the biggest hits of the Acid House era. I’ll now pick four of my favorite tracks from the album, and in keeping with The Hacienda’s music policy pick different types of tracks.
Voodoo Ray 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 dancefloor. 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, it has stood the test of time well and still sounds great today.
Ride On Time by Black Box was a track that wasn’t just huge in the clubs, but was a huge chart hit. Drums, synths, handclaps can be heard before the hugely powerful vocal enters. When it enters accompanied by a really quick accurate bass line, you can’t help but be impressed by the power and passion of the vocal. It’s accompanied by backing vocalists, who provide a contrast to the power and passion of the lead vocal. Later in the track, there’s a breakdown where drums pound powerfully, and the vocal builds back up, before dropping out again. As the track ends, applause greets the track, and it’s richly deserved. It’s a fantastic track, especially the vocal, which mixes passion and power wonderfully.
Love Can’t Turn Around by Farley “Jackmaster” Funk and Jesse Saunders was one of the tracks that came out of Chicago during the early days of Chicago house. A vocal reverberates accompanied by echoey drums and the trademark synth line at the start of the track. It’s a dark, powerful sound, until the vocal enters. That changes things, so does the piano playing, which reminds me of Italian piano house. Synths growl, and squelch, emitting a series of beeps as drums pound. Whistles are blown, as the arrangement fills out, growing to a magical, melodic, combination of synths, drums, piano and vocals, complete with samples, percussion and handclaps. By the end you realize that this is one of the tracks that defines what Chicago house was all about in its formative years.
Let the Music Play (Original 12” Mix) by Shannon is my final choice from this album. For me, it epitomizes the anything goes music policy of The Hacienda and 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 a dancefloor.
I’ve always loved The Hacienda Classics CDs as they remind me of the music of the Acid House era. What I particularly like about the music on the three discs, is how wide ranging it is. There’s everything from indie rock, disco and Acid House over three discs and features music from Primal Scream, 808 State, Orbital , K-Klass and Candi Staton. It’s an album that’s well worth buying if you’re either someone who went to The Hacienda or loved Acid House music. It’ll bring the memories flooding back, it certainly does for me. My only minor quibble with the album is that as the first track on each album plays, an introduction from either Rob Gretton, Tony Wilson, Mike Pickering or Martin Hannett can be heard over the music. It would have been better if this had been a separate short track, rather than over the tracks. As I say minor quibble, but don’t let that spoil your enjoyment. Standout Tracks: Voodoo Ray by A Guy Called Gerald, Ride On Time by Black Box, Love Can’t Turn Around by Farley “Jackmaster” Funk and Jesse Saunders and Let the Music Play (Original 12” Mix) by Shannon.
THE HACIENDA CLASSICS.
VOLUME 1 THE HACIENDA.
Volume 1 The Hacienda was released in 2006 by Gut Records and is a two-disc set featuring twenty-three tracks. There are a couple of tracks that feature on The Hacienda Classics compilation, but the rest of the tracks are different. The choice of music isn’t as wide ranging on this compilation. Unlike The Hacienda Classics, there are no hands in the air disco classics from Candi Staton, Shannon or Loleatta Holloway. Instead, there are numerous Acid House classics and a sprinkling of hip-hop and Latin influences. Overall, it’s a good overview of the music from that time. I’ll now pick my favorite tracks from the compilation.
Dirty Talk by Klein and MBO is my first choice from this album. It’s a track that had a huge influence of New Order when they first heard it in New York, and provided the inspiration for their classic dance track Blue Monday. Bass, drums and synths combine at the start of the track, with a guitar playing at the top of the track. After the introduction a loud synth solo plays, accompanied by a myriad of drums, bass and keyboards. Mainly, it’s the synth that you’re aware of, with everything else playing in the background. Later, Percussion and handclaps appear, and several times there are mini-breakdowns during the track, after which, keyboards and synths play. They produce, a melodic, catchy and almost hypnotic mixture of space age and futuristic sounds. For six and a half minutes brilliant minutes, Klein and MBO produce one of the best dance tracks in the past thirty years. Regardless of how many times you hear it, subtle nuances and hidden musical secrets reveal themselves to you.
Pacific State by 808 State sweeps into being with keyboards and a wailing horn sample, before crisp, drums pound to a backdrop of sound effects. Then a keyboard plays, it’s sound melodic, as it produces a much lighter sound. Together with the bass, drums and that horn sample that started the track it’s a potent combination. It’s a hugely catchy track, so catchy it’s almost infectious. Much of this is down to the combination of drums and repeated introduction of the “horn” sound. Here, the bass part is used as a melodic part of the song in its own right, with the horn sound the counterpoint. As the track progresses, various sound effects and samples emerge from the arrangement, introducing variety and the element of surprise. For the most part drums and synths combine, and unlike Dirty Talk, Pacific State is a much slower track. Since its release, it has become something of a classic, featuring on numerous compilations, including various chill out compilations.
Beach (Original 12’ Mix) by New Order opens with a combination of an echoey sound and vocals uniting, singing and holding one note. Thereafter, it’s a mixture of drums and synth complete with Bernard’s vocal sung through a vocoder. The tempo is quick, the sound brilliantly repetitive, complete with a fantastic bass line courtesy of Hooky. Sound effects reverberate, crashes of thunder appear as the track progresses, handclaps, bass, synths and drums combining masterfully. Throughout the track, so much happens, it’s almost impossible to hear everything. Sometimes, you hear something, only for it to disappear, to be replaced by something else. There are so many musical textures here, layer upon layer of magnificent music unfolds over seven and a half minutes. Although this isn’t the original version of the track, it’s the Original 12’ Mix, which was made specifically for the dancefloor, it’s a great mix, one that transforms the track, and one that used to sound great in any club.
Where Love Live (Original 12” Classic Club Mix) Alison Limerick starts with a lengthy piano solo before crisp, crunchy drums and bass combine. The tempo is quick, the bass pounding, drums reverberate and then Alison Limerick slowly sings the vocal. Her vocal is strong and clear, as she’s then accompanied by the piano. Quickly, here voice strengthens and gets louder. A synth and combine when her vocal drops out. Backing vocalists accompany her, singing call and response occasionally. Alison has a fantastic voice and has sung on a number of house tracks. Here, she produces a great performance, matched by an equally good arrangement. It’s full of squelchy and sweeping synths, a pounding bass, crisp, crunchy drums and some great piano playing. Overall, it’s a powerful, impressive and melodic vocal house track thanks to Alison Limerick.
Although Volume 1 The Hacienda doesn’t feature the same wide range of tracks that he Hacienda Classics featured, it does feature some fantastic tracks. All of these tracks are the full length versions, unlike some compilations which feature shortened versions. Many of the tracks will be familiar to veterans of the Acid House years, but you may not have heard some of the mixes. The good thing about this compilation is that apart from a couple of tracks, there all different to the ones on he Hacienda Classics. Even the ones that are duplicated are so good that they couldn’t be omitted. After all, could you have a Hacienda compilation without Voodoo Ray by A Guy Called Gerald? This album is still available, and is well worth buying. It’s an inexpensive way to buy twenty-three great tracks, including some of the best Acid House tracks you’ll ever hear. Standout Tracks: Dirty Talk by Klein and MBO, Pacific State by 808 State, Beach (Original 12’ Mix) by New Order and here Love Live (Original 12” Classic Club Mix) Alison Limerick.
VOLUME 1 THE HACIENDA.
THE HACIENDA ACID HOUSE CLASSICS.
The Hacienda Acid House Classics was released in 2009 on New State Entertainment. It’s the third and final of the Hacienda compilations. Unlike the other two albums, this one is mixed by Peter Hook former New Order bassist, now a celebrity DJ. His mixing on the album is good, it’s tight and their are no major DJ-ing faux passes. What makes the album, is the selection of music. Over two discs, Hooky mixes together twenty-six Acid House classics. Again, there are some tracks that are on the other albums, but don’t let that put you off because there are some brilliant tracks on the two discs. I’ll now pick my personal favorites from the two discs.
Baby Wants To Ride by Frankie Knuckles is my first choice from this compilation. It begins with synths and drums combining before the vocal enters. The sound is full as two vocalists combine to sing the vocal. Synths are squelchy, drums crisp pound, as a really atmospheric, almost sensual vocal is sung. Throughout the track, it reverberates, wave upon wave of synths accompanying the by now, sleazy vocal. Although this is only a shorter version of the track, it still delivers the impact of the sensual, later sleazy vocal and the combination of synths and drums provides a powerful and full backdrop. Frankie Knuckles was one of Chicago house’s pioneers and innovators, and this track gives a taster of what his music sounds like.
Washing Machine by Mr Fingers is a track that relies heavily on ultra squelchy synths and drums. This is apparent when the track bursts into life. This is followed by a muted vocal that sits atop the mix. Later, strings sweep in, introducing another atmospheric spoken world sample. This too, is accompanied by synths and drums, and as the sample ends, so too, does the track. Although just over two minutes long, it’s two brilliant minutes that demonstrate what can be achieved with synths, drums and samples.
Two the Max by Jack Frost and The Circle Jerks bursts into life a myriad of beep and strange sounds courtesy of Mr Roland’s finest synths. The tempo is quick, as synths and drums combine, various beeps and sound effects being emitted from the arrangement. Sounds sweep out from an arrangement that is both brilliantly repetitive and really catchy. After you’ve heard it several times you just can’t get it out of your head. Later in the track, the drum sound becomes stronger, more prominent in the mix. However, the sound is merely a variation on a theme, albeit one that’s ultra catchy, strangely melodic and absolutely brilliant. Very definitely, proof that less is more.
Rock To the Beat by Reese and Antonio is a track that drives powerfully along from the opening bars. Drum and synths, combine to drive the track along, with the sound muted at the start, just a few beeps and sound effects emerging from the arrangement until a vocal appears. Quickly it drops out, to be replaced by another otherworldly synth made sound. When the vocal reappears, the sound fills out, becomes much fuller, more melodic. Drums move to the front of the mix, accompanying the vocal, filter being used on the track, cutting out the vocal and drums, towards the end of the track. Like the Mr Fingers’ track, this is another short track, and like the Jack Frost and The Circle Jerks track it relies heavily upon repetition. This doesn’t matter, as it’s a track that’s catchy, has a good vocal and is the perfect tempo for the dancefloor.
Like the two other compilations, The Hacienda Acid House Classics is full of some great tracks from the Acid House years. The only difference here, is that this is a mix CD. However, Peter Hook’s mixing is good, the choice of music good, including some really well known tracks, as well as having two surprises for you. At the start of each CD Hooky has recorded his own Acid House track, and they open each disc. together with Phil Murphy, they’ve released as Manray, Ways of Making Music and We’re On it. Both are just short tracks, but are true to the spirit of Acid House, and an interesting way to begin each disc. Overall, this album is well worth buying, two discs full of twenty-six great tracks, that will bring back memories of the glorious days of Acid House. Standout Tracks: Baby Wants To Ride by Frankie Knuckles, Washing Machine by Mr Fingers, Two the Max by Jack Frost and The Circle Jerks and Rock To the Beat by Reese and Antonio.
THE HACIENDA ACID HOUSE CLASSICS.
Although it’s fourteen years since The Hacienda closed, people are still interested in it. Three compilation albums featuring the music played in the club have been released, a book by Peter Hook The Hacienda How Not To Run A Club Properly has been released and everything from t-shirts and trainers carry The Hacienda name. Hacienda club nights take place worldwide, such is the interest in The Hacienda still. Memorabilia from the club is highly prized by collectors, and change hands for huge amounts of money. For people of my age, this is all about recapturing their youth, remembering a time when the 9-5, Monday to Friday, grind was made all worthwhile thanks to a few hours dancing the night away in The Hacienda. The three CDs that i’ve reviewed in this article The Hacienda Classics, Volume 1 The Hacienda and The Hacienda Acid House Classics, all bring back memories of that magical time. For less than the price of entry to a club that will never be in the same league as The Hacienda, you can recapture your youth and have them as a permanent reminder of the Acid House years. However, one man deserves a thank you for financing The Hacienda for much of its lifetime, Peter Hook. Without his generosity and subsidizing of the club, it wouldn’t have lasted until June 1997, instead it would’ve closed much sooner. So if you went to The Hacienda and meet him in Manchester, shake the man’s hand, and thank him for the good times that were had during the Acid House years.
LEONARD COHEN-I’M YOUR MAN.
LEONARD COHEN-I’M YOUR MAN.
Today I’m going to write about an artist and his music who is much misunderstood. On many an occasion I’ve been talking about music to people, and when Leonard Cohen’s name comes up, everyone immediately says the same thing, “oh, his music’s depressing and miserable.” It seems to be that he’s the most misunderstood man in music. To his huge legion of fans, his music is neither depressing nor miserable. Leonard Cohen is a writer, poet, artist and maybe, a reluctant singer. For five decades, he’s been recording music which I’d say is realistic, exploring moods, feelings and situations most people will have experienced. His music is almost like poetry set to music, exploring and articulating problems many people face. Perviously, he’s written about wider issues, including politics and religion. I’m Your Man was released in February 1988, nearly twenty-one years after his debut album The Songs of Leonard Cohen in December 1967. Two of the songs on I’m Your, First We Take Manhattan and Ain’t No Cure For Love were first heard on Jennifer Warnes 1987 album Famous Blue Raincoat, an album that paid homage to her friend Leonard Cohen’s music and which I’ve written about before. She’s been one of his backing singers on several albums, was his vocal arranger and guest singer on various albums, including I’m Your Man. However, it was a very different sounding album Leonard Cohen album, Jennifer Warnes found herself singing on.
This album saw Leonard Cohen introduce a more modern sound to his music, with synths used on several tracks. The production sound has been described as synthpop, where the synth is the dominant sounding instrument on the track. Although the synth does feature heavily on the album, this shouldn’t put people of. It was Leonard’s attempt to modernize the sound of his music, and although quite different to previous albums, he should be praised for experimenting, allowing his music to evolve, instead of sticking to a tried and tested formula like many artists of his generation. However, how would critics and fans like his new sound?
I’m Your Man was Leonard’s eight album and was recorded between August and November of 1987. It was released in February 1988, and well received by the critics. Fans too, liked the album, especially in the UK, Canada and Norway. The album was certified silver in the UK, gold in Canada where he was born and spent sixteen weeks at number one in Norway. It seemed that Leonard Cohen’s new sound was well received by critics and fans, but the big question is, what does it sound like?
I’m Your Man opens with First We Take Manhattan which opens with electronic drums and synth, the sound very different to anything Leonard’s recorded before. The sound is certainly moderne, and could only have been recorded during the eighties. This isn’t is a criticism, merely an observation. His voice, when it enters, seems stronger, as he half-speaks, half-sings the lyrics with a voice drenched in character, and a certain amount of cynicism. As usual, his lyrics are complex, but here they seem to be about the difficulties facing a musician trying to break through, after twenty years. As he sings, backing vocalists joyously sweep in, their voices a total contrast to his. The song has almost a minimalist arrangement. Although the synths and drums combine to produce quite a full sound, they’re the only instruments used on the track. However, the sound they produced has aged well, and combined with a charismatic vocal from Leonard, assisted by his backing singers, it’s a great track to open the album.
A lush dramatic saxophone solo drenches the introduction to There Ain’t No Cure For Love. It combines with keyboards and drums before Leonard sings, his voice even better than the opening track. Here, he sounds in emotional pain, lovesick, as if he’s experiencing the lyrics he’s singing about. In the lyrics, he’s singing about being in love, longing for his partner, about how nothing can cure the feeling and how hard it is to get over this feeling. He sees her everywhere, in everything he does and everywhere he goes. These lyrics are some of the best on the album. They’re like some of the best poetry you’ll ever read. When Leonard sings, accompanied by the backing vocalists they bring them to life. You can hear the pain and hurt in his voice. The arrangement is perfect for the track. It’s a combination of keyboards, rhythm section and guitar, producing an arrangement that is sympathetic to the lyrics and Leonard’s deliver. Overall, it’s a brilliant track, thanks to Leonard’s lyrics and vocal, combined with a sympathetic arrangement, which is a synth free zone.
Although the synths were missing from the previous track, they make a return during the introduction to Everybody Knows. They chug and sweep along, as Leonard’s sings, his voice deeper and richer. A guitar plays in the background, as he pessimistically sings about how the rights and wrongs of various situations, how good guys lots and how he’s been betrayed by someone he lost. His worldview is pessimistic, maybe even cynical. Throughout the track, his backing singers subtly accompany him, adding to the song’s beauty. This song was one of his first collaborations with Sharon Robinson, who he would cowrote much more after this. She cowrote each song on his 2001 album Ten New Songs. Here, the arrangement just features, synths, drums, bass and acoustic guitar which combine to produce a full sounding arrangement. Two of the best parts of the arrangement are a lovely acoustic guitar solo, and a throbbing, constant bass line. However, what makes the track is Leonard’s vocal, made all the better by a great contribution from backing vocalist, Jennifer Warnes.
Drums then keyboards open the title track, I’m Your Man, a song that has a continental sound, and feel, reminding me of France. When Leonard sings, his voice has a gravelly sound, as he slowly sings the lyrics. It’s a track that meanders, beautifully along, full of character and charisma, due to Leonard’s lyrics. In them he sounds infatuated, willing to do anything for a woman he’s fallen madly in love with. As usual, his lyrics have a strong narrative, painting a picture that comes to life as he sings. The arrangement mostly features the keyboards, with occasional contributions from the drums. Again this almost minimalistic arrangement is perfect for the song, allowing Leonard’s charismatic vocal and brilliant lyrics to take centre-stage.
Take This Waltz begins with keyboards and a violin playing, before Leonard sings. His vocal is stronger, beginning higher then getting much deeper. This song is based on a poem byFredrico Gracia Lorca, entitled Little Viennese Waltz, and the arrangement reminds me of a waltz. The arrangement has a classical feel sometimes. Mainly, it’s just keyboards and violin that play. Such is the versatility of the keyboards, that they replicate a number of sounds. Later in the track, a trumpet plays, adding to the lovely, old-fashioned feel of the song. What makes the track is Leonard’s vocal, and the interplay between his backing singers. They play a huge part in the track’s success, sweeping sweetly and melodically, in and out. Together with a much stronger vocal from Leonard, it’s a potent combination, producing a very different sounding track.
It’s an almost frantic, discordant short burst of sound that you hear before Leonard sings the introduction of Jazz Police. Here, the synths return, playing a big part in the track. It’s just the synth and vocal, accompanied by backing vocalists. They also play a big part in the track, at one point singing some of the songs’s lyrics to the Star Trek theme. Leonard’s vocal is quick, he half-sings, half speaks the lyrics, with usual gravelly sound. Here, the sound is much fuller, almost grandiose sometimes. Later, a piano solo is accompanied by a bass, then electronic drums and synths accompanying the vocal. Occasionally, the track almost comes to a halt, allowing the backing singers to give a sweeping, almost grandiose performance. Jazz Police is quite different to previous songs. This is because of the way the song is arranged and the lyrics. When you listen to the lyrics, he sings “they’ll never understand our culture,” is this a reference to the way his music is perceived by people? Although very different in sound, I like this track, especially the fuller arrangement, his vocal and the way the backing singers are given more freedom to express themselves.
Drums, percussion and keyboards combine at the start of I Can’t Forget, which has a lovely melodic sound. After that, comes Leonard’s rich deep and gravelly vocal, which as usual, has a story to tell. In the song he realizes he’s growing old, hardly recognizes himself and thinks back to a happier time. He then decides to go and find someone he once loved, as that’s how he wants to end his life. As usual, his lyrics are excellent, you find yourself empathising and sympathizing with him, sense his frustration and admire his courage in seeking happiness. Leonard delivers the lyrics brilliantly, accompanied by his backing vocalists, whose voices are soft and thoughtful as they sing. Here, it’s a much subtler arrangement. Keyboards and drums are the mainstay of the sound, and together with the backing vocalists, they help Leonard create a wonderful song.
I’m Your Man ends with Tower of Song, a track that begins with percussion and bass, and Leonard whispery, charismatic vocal accompanied by some melodic backing vocals courtesy of Jennifer Warnes. The track has a minimalist sound, as it meanders slowly and thoughtfully along. As he sings the lyrics, he’s thoughtful, not letting his anger and bitterness show as he sings about growing old and death, how people perceive him and about a woman who really dislikes him, Jennifer Warnes backing vocals are a perfect foil for his vocal, and her contribution is subtle, beautifully understated. Between great lyrics, and Leonard and Jennifer’s vocals, this is a perfect way to end the album.
Since the release of I’m Your Man in 1988, I’ve always loved this album. Whilst listening again to the album several times, it’s apparent it’s an album that like a good bottle of wine, has aged well. Not every album from this time that featured keyboards and synths, has aged well. However, they didn’t feature Leonard Cohen’s vocal and lyrics. This to me, is one of his finest albums, and I’m not alone. Tom Waits counts says this is one of his favorite albums, which is high praise coming from an artists of his stature. Several times I’ve let people who claimed not to like Leonard Cohen’s music, and each time, they’ve quickly changed their opinion of his music. For anyone who hasn’t heard Leonard Cohen’s music, this is a good place to start. I think this is one of his most accessible albums, and would recommend it to anyone. It features eight great songs, some of Leonard’s best lyrics and some great contributions from Jennifer Warnes. If you just want to hear his earlier music, his Greatest Hits album is a good starting point. Standout Tracks: First We Take Manhattan, There Ain’t No Cure For Love, I Can’t Forget and Tower of Song.
LEONARD COHEN-I’M YOUR MAN.
BOBBY WOMACK-THE POET.
BOBBY WOMACK-THE POET.
In a previous article I wrote about Bobby Womack, I mentioned how The Poet was a comeback album for him. Things had started to go wrong for him in 1976, when he was dropped by his record label United Artists. His music was no longer is popular, it had failed to keep up with the quick changing musical times. By now disco was popular, and Bobby’s unique brand of soul music wasn’t as popular. Even his loyal fans seemed to desert him. After being dropped by United Artists, his next two albums never even made the US Billboard 200. Pieces, released in 1977 stalled at number 205, and 1979’s Roads of Life at number 206. However, his luck would change in 1981. Recorded during 1980 and 1981, The Poet was released on Beverley Glen Records, and was produced by Bobby himself. When it was released, Bobby Womack was back in favor. His old fans loved the album, and a new generation of fans suddenly discovered one of the legends of soul music. The Poet reached number twenty-nine in the Billboard 200 and number one in the R&B charts. It was quite a change from 1976, when he was dropped by United Artists. Now previously, I wrote about the follow-up to The Poet, The Poet II, which is a great album, but today, I’m going to tell you about the album that relaunched a soul legend’s career, The Poet.
The Poet begins with So Many Sides of You which bursts into life with rhythm section, percussion and guitar combining quickly before Bobby sings. When he sings, his voice is loud, strong and at times, joyous. He’s accompanied by backing vocalists, who combine soulfully in unison. Later, a piano plays, while an electric guitar plays a solo, as Bobby hollers and roars his way through the track. It’s a passionate, charismatic performance from one of soul music’s survivors, made all the better by the addition of the backing vocalists and a really full, quick arrangement. This was a perfect track to open his comeback album.
Lay Your Lovin’ On Me is another quicker track, which begins with drums playing, then backing vocalists sing, accompanied by a piano which is played beautifully throughout the track. Then, Bobby enters, and goes on to produce one of his best vocals on the album. Strong yet melodic and joyous, but full of character and charisma he sings, often accompanied by the backing vocalists and handclaps. Behind him, there’s a really quick, funky and accurate bass line, guitars and drums combine. The arrangement is quick, full it’s is a great sounding track. Everyone sounds as if they’re having a great time. Bobby’s vocal is joyous and powerful vocal, and he’s accompanied by brilliant backing vocalists who help make this sound like one soulful party you wish you’d been at.
Bobby decides to slow things down with Secrets. It opens with the backing vocalists singing melodically, almost sweetly, accompanied by guitars, rhythm section and keyboards playing. After a lengthy introduction, Bobby sings, his voice soaring high, while behind him the bass plays some funky licks, accompanied by drums. Like the previous tracks, Bobby’s accompanied by the backing vocalists throughout the track. Later in the track, his voice veers between a stronger, growling style, to a looser, high soaring vocal. Regardless which style he uses, his voice is laden in emotion and feeling. Here the arrangement, is slower, a sprinkling of funk courtesy of the rhythm section, sweet, melodic backing vocals thanks to various Womacks, namely Friendly, Curtis, Cecil and Bobby Womack, assisted by The Waters. Together, with a powerful, charismatic vocal from Bobby, Secrets is another great sounding track.
Bobby wrote or cowrote nine of the songs on this album. One he wrote himself is Just My Imagination, which he sings much slower, yet with power and feeling. Drums, rhythm section, keyboards and a harp courtesy of jazz legend Dorothy Ashby opens the track. When Bobby sings, his voice is clear, strong and laden in emotion. Here, the lyrics seem to mean something to Bobby as he sings them. He’s looking back, thinking about his life, things that have happened, people he’s met, one lady in particular. While he’s singing, one of the best arrangements on The Poet emerges. This is thanks to a bass producing a tight funky sound, keyboards sweeping in and out of the track , drums keeping the time and some great guitar playing. It’s a great arrangement that’s melodic, full of rhythms, melodies and hooks. Combined with Bobby’s strong emotional vocal, Just My Imagination is easily one of album’s best tracks.
Stand Up is a very different sounding track, to anything that precedes it. It’s sounds as if Bobby Womack has decided to cross funk and disco, and this is the result. What emerges is a catchy and funky track. Drums, keyboards and bass, accompanied by handclaps open the track. After that, Bobby sings, his voice is higher, the tempo quicker. Meanwhile the arrangement, is funky, keyboards, drums and bass leading the track. Percussion and guitars then join in. This track sees the return of the backing vocalists as Bobby gives a charismatic, funky rendition of the lyrics complete with moans, howls and hollers. In the end it’s good track, very different to others on the album. However, as they say, “variety is the spice of life,” and here Bobby proves that perfectly.
After an excursion into nearly disco territory, Bobby decides to slow things way down, and do what he does best, give an emotional, dramtaic and soulful performance on Games. The track begins dramatically, with a piano playing and Bobby ad-libbing. After that, it’s a half-spoken introduction before he sings, and when he does, his voice is full of emotion, backed by a chiming guitar, drums and piano. His voice starts soft and slow, accompanied by the backing vocalists, who harmonize, sing beautifully, soulfully and melodically. Quickly, Bobby’s vocal strengthens, increases in power, and so does the emotion. His vocal soars high, occasionally turning into a growl, but sometimes he whoops and hollers. A saxophone accompanies him briefly, a piano then plays and the backing vocalists too, all adding to the already dramatic and emotionally charged arrangement. By the end of the track, it’s been like a masterclass in soul singing courtesy of Bobby. During the track, his vocal has been a mixture of emotional and powerful, charismatic and soulful, producing one of The Poet’s best track.
If You Think You’re Lonely Now sees Bobby “dedicate this song to all the lovers tonight,” before he goes on to sing about love and loneliness. Here, he doing something he does so well, singing a love song. Behind him guitars chime brightly, drums play dramatically and a piano plays. Bobby meanwhile, goes through his repertoire of vocal styles. One minute he sings softly, the next his voice is a mixture of strength and power, growls, grunts and hollers. He brings the lyrics to life, accompanied throughout, by backing vocalists who sing tight vocal harmonies, sweetly and melodically. The arrangement is a mixture of subtlety and drama, made all the better by some lovely, bright lovely guitar solo playing throughout the track. What makes this such a great track is Bobby’s beguiling and brilliant vocal and the performance of his baking vocalists.
The Poet closes with Where Do We Go From Here? This is another slower track, one with a good arrangement and brilliant performance from Bobby and his backing vocalists. It begins with a funky bass line, chiming guitars, drums and keyboards and a slow, dramatic and charismatic vocal from Bobby. His vocal is accompanied by the arrangement with a piano and guitars playing important parts. The backing vocalists play a huge part in the track’s success, uniting to sing sweet, tight harmonies that rise and fall beautifully. Bobby’s vocal then get stronger, and accompanied by funky bass, he lets loose his trademark growl, before returning to a much softer, restrained vocal style. He then veers between the two styles, all the while accompanied by soulful backing vocalists, whose voices unite in a gospel style. Meanwhile, Bobby slows things down, as if to get his point across, before heading to the finish dramatically, a mixture of soulfulness and rasping growls. As the track ends, you can only admire the passion, and emotion Bobby puts into the song. This was another great song, one brim full of passion and emotion, complete with a sympathetic arrangement and production courtesy of one of soul music’s survivors and legends, Bobby Womack.
In my article on Bobby Womack’s album The Poet II, I mentioned how good an album The Poet is, and having spent some time listening to it, I feel I must change my opinion. The Poet isn’t just a good album, it’s a great album, up there with some of Bobby’s best albums. It’s no wonder that this album was so successful, it features eight great songs, all sung by one of the legends of soul music with boundless amounts of passion and emotion. Each of these songs see Bobby singing as if his career depended upon it. In a way it did, because he’d been dropped by a major label, released two albums that didn’t even trouble the charts and his fans had deserted him. Thankfully, when The Poet was released, it was a huge success, and in the process, relaunched his career. His next album The Poet II saw him build on this success, and the return of Bobby Womack was complete. Both The Poet and The Poet II are great albums from the later period of Bobby’s career. If you’ve never heard them, or are unfamiliar with Bobby’s music, these are two great albums. Should you want to hear his earlier music, Midnight Mover, The Bobby Womack Collection, is a two disc set which features much of his early music. It features some fantastic music, and allows you to hear songs from many of his albums. Standout Tracks Lay Your Lovin’ On Me, Secrets, Just My Imagination and If You Think You’re Lonely Now.
BOBBY WOMACK-THE POET.
DR JOHN-THE SUN, MOON AND HERBS.
DR JOHN-THE SUN, MOON AND HERBS.
There are two reasons that I’ve decided to write about Dr John’s 1971 album The Sun, Moon and Herbs. The first reason is that in a previous article about his 1998 album Anutha Zone, an album which was to some extent, a comeback album, and welcome return to form for him, I mentioned that this album was among the best of his early albums. Between 1968 and 1974, Dr John released a number of classic albums for the Atco record label. This included his 1968 debut album Gris-Gris, Babylon in 1969, Remedies in 1970 and The Sun, The Moon and The Herbs in 1971, Gumbo in 1972, In the Right Place in 1973 and 1974s’ Desitively Bonnaroo. These albums are among the best music Dr John has ever recorded, and saw him record one great album after another. It was difficult to choose which of these albums to write about, but after listening to each album, I decided to write about The Sun, The Moon and The Herbs. When I was listening to these albums, it brought memories flooding back of seeing Dr John in concert. Both concerts took place in Glasgow, and Dr John put on a great show. It’s no exaggeration to say that he’s one of the best live performers you’ll ever see. He played a mixture of old and new songs, and is one of the best pianists you’ll ever hear. Combined with his gravely, worldweary, voice, it’s a potent combination. On both occasions, the audience were in awe of him, and for two hours, he played one great song after another, backed by a tight and polished backing band. Even though these concerts were many years ago, every time I hear his music, the memories come flooding back. Now I’m going to revisit an album that was released forty years ago, and featured guest appearances from Eric Clapton on guitar, Mick Jagger on backing vocals and Graham Bond on alto saxophone, The Sun, The Moon and The Herbs, Dr John’s 1971 album.
The Sun, The Moon and The Herbs opens with Black John The Conqueror which opens with Dr John playing a dramatic jangly piano solo before he sings. His voice has that lived in, worldweary sound, as behind him a bass throbs, drums play loosely and some hugely soulful backing vocalists unite, accompanying him. Their sweet soulful voices provide the perfect contrast to Dr John’s voice. The brass section enter, punctuating the track. By now, the arrangement has grown. It’s quite a full arrangement, drenched in a dramatic mixture of soul with a generous slice of New Orleans funk thrown in for good measure. Here, the band provide the perfect backing track for Dr John and his backing vocalists to sing call and response. Together Dr John, the backing vocalists and the band produce a brilliant track to open the album. It’s dramatic, atmospheric and features some great lyrics, which Dr John brings to life with the help of his band and backing singers.
Short repeated bursts from the brass section announce the arrival of Where Ya At Mule. After that, Dr John gently plays the piano, and backing vocalists joyously unite before he sings. His voice is strong, full of character, as he sings the lyrics, before the brass section and guitar combine. The tempo is slow, the sound a laid back mix of jazz and New Orleans funk. Like the previous track, Dr John uses his backing vocalists to sing call and response, and they’re voices are a perfect foil to his. Suddenly, the track changes, as Dr John adds some drama to the proceedings. Both he and his backing vocalists decide to slow things down, leaving more space in the arrangement. This is really effective, with drums, guitar and bass section accompanying them subtly. Both his vocal and piano playing are excellent, laden in drama. What makes this track so good is the arrangement, a combination of Dr John, his backing vocalists and the subtle accompaniment of his band.
Craney Crow has a slow hesitant start, with the sound atmospheric, almost eery but quite wonderul. It’s a mixture of drums, guitar and brass section with backing vocalists and voices in the background. Eventually, Dr John’s growling vocal enters, accompanied by his faithful backing vocalists. Their soulful voices are quite a contrast to Dr John’s raspy, growl. Behind him, drums are spacious, atmospheric, while guitars and bass play occasionally. Mostly, it’s call and response between Dr John and the backing vocalists. When Dr John sings, the lyrics are atmospheric, telling of the colorful side of New Orleans. Throughout the track, it’s minimalistic, just a few instruments playing, with Dr John and his backing vocalists taking centre-stage. However, it’s highly effective, hugely atmospheric and sounds brilliant.
After a very different previous track from the preceding ones, Dr John ups the tempo on Familiar Reality-Opening. It opens with drums playing, the brass section enter, gradually filling the sound out before it bursts into life when Dr John enters. His voice is loud and strong, his piano playing among the best on the album. Behind him, the brass section drench him in their glorious sound, while the rhythm section and guitars play. It’s another full arrangement that’s unfolding, one that combines jazz and funk. Dr John’s vocal sits at the top of the arrangement, which builds and builds, getting better as the track progresses. The brass section, piano and guitars especially bring the arrangement to life. Later, Dr John slows things way down, adding drama as he almost speaks the vocal, accompanied by percussion and brass section. It then heads towards the end an impressive and melodic combination of Dr John’s charismatic vocal and a standout performance from his band.
It’s a gentle melodic sound that opens Pots On Fiyo (File Gumbo/Who I Got To Fall On (If the Pot Gets Heavy)). After the meandering, melodic opening, Dr John whispers the vocal as he plays his piano. Quickly his vocal get stronger. Backing vocalists accompany him, their voices high, slightly shrill. Congas play, accompanying the piano as the arrangement starts to fill out, the tempo getting slightly quicker. Drums and saxophone combine. Joyous backing vocalists join in, as the arrangement becomes somewhat crowded. The backing vocalists, sing and holler, they’re loud, repeating the same line, singing quickly, as guitars and brass section play. Then the track begins to take a discordant turn and sound. Suddenly, things have gotten chaotic. It’s as if the track got out of control briefly. Overall, the track is a good one, slightly spoiled by the ending. It isn’t as good as the other tracks, but is still a charismatic and atmospheric track.
At the start of Zu Zu Mamou a tuba plays slowly, short spacious bursts. After what is an unusual opening, the drums, guitar and vibes combine, helping to create an atmospheric arrangement. This increases when Dr John’s whispery vocal enters, accompanied by backing vocalists who do their best to add to the overwhelmingly, atmospheric arrangement. By now, the arrangement has taken on almost an eery, sinister feel and sound. The track meanders, various sounds emerging from behind Dr John’s vocal. Drums rumble, backing vocalists and percussion adds to the almost pedestrian paced arrangement. Occasionally a piano or guitar play, but everything just enters and disappears, and at one point it’s just Dr John and a backing vocalists whispering the lyrics eerily. Once the arrangement starts back up, it’s just him, the backing vocalists, rumbling drums, a meandering guitar and wailing trumpet. By the end, you can only marvel at what has been eight of the eeriest and most atmospheric minutes of music brought to you courtesy of Dr John.
The Sun, The Moon and The Herbs, ends with Familiar Reality-(Reprise), a short track, which begins with a tuba playing, and Dr John’s whispery vocal, almost rapping, against a backdrop of slow, spacious drums. Then, suddenly, out of nowhere, the track burst joyously and fabulously into life. Backing vocalists sing, their voices joyous, happy, as if giving thanks. A guitar and piano play, drums filling out the sound, as they combine to bring the track to a close. Sadly, this only lasts for under a minute. If this had lasted five minutes, it would still wouldn’t have been long enough. However, it was great while it lasted and a good way to end the album.
The albums Dr John recorded for Atco were among his best work. I was spoiled for choice when I decided to write this article. There were seven albums I could’ve chosen and each of them contain some wonderful music. However, in the end I chose The Sun, The Moon and The Herbs, having mentioned in a previous article how good an album it is. Having spent time listening to the album I must revise my earlier appraisal, as it’s a great album, one of Dr John’s best. It’s an album that’s atmospheric, and takes you on a journey through Dr John’s world where he fuses soul, funk, jazz, and psychedelia. This combination is masterful, and at times, is joyous, uplifting and spiritual, at other times eery, verging on sinister and sends a shiver down your spine. In a word, brilliant. Quite simply, if you want to hear some music that brings to life the sights and sounds of New Orleans this is for you. It’s classic Dr John, from a time when he produced one great album after another. This album is one the five issued in the Classic Album Series box set, which also features Gris-Gris, Babylon Gumbo and In the Right Place. Five great albums for the price of one, what more could you wish for. I just wish it was around when I first started buying Dr John’s music, I’d have saved a fortune. Standout Tracks: Black John The Conqueror, Where Ya At Mule, Craney Crow and Zu Zu Mamou.
DR JOHN-THE SUN, MOON AND HERBS.
CHAKA KHAN-CHAKA.
CHAKA KHAN-CHAKA.
By the time the singer this article is about had released their debut solo album, she’s been a member of one of the most successful American funk bands Rufus, between 1973 and 1978. During that period Rufus had released six albums, of which four had been certified gold and one platinum. As if that wasn’t enough, Chaka Khan had won a Grammy Award in 1974 for the Best R &B Performance by a Duo or Group for the single Tell Me Something Good. When she decided in 1978, to release her debut solo album, Chaka Khan was a hugely successful artist. However, by then, relations between Chaka and other members of the band weren’t as good as they had been, and tensions between her and members of the group resulted in several members leaving the group. Her decision to become a solo artist was to prove a wise one, because after their 1978 album Street Player, reached number fourteen in the US, only one other album by Rufus would prove commercially successful. That was their 1979 album Masterjam, which also reached number fourteen in the US. After that, the group’s popularity declined. Chaka Khan’s solo career however, took off, with Chaka, her debut album reaching number twelve in the US and being certified platinum. For a debut album, it was both critically acclaimed and commercially successful. It was against this backdrop, that Chaka launched a solo career that saw her release a further eleven solo albums, five compilation albums and become one of the best selling, most successful and charismatic female vocalists.
Chaka opens with probably her most famous track, the feminist anthem I’m Every Woman. This reminds me of seeing Chaka in Glasgow many years ago, and when she started singing this track, the place erupted, and it seemed that every woman in Glasgow was helping Chaka sing the song. Mind you, I don’t know what she thought when she was encouraged by one particularly vociferous woman screaming, “gone yersel Chaka,” in a broad Glaswegian accent. Strings sweep in at the start of the track, joined by bass, guitars and drums, before Chaka joyously sings the vocal. Her voice is strong as it soars high, full of charisma, proudly singing each word of this anthemic track. Behind her, a brilliant arrangement is unfolding. A piano interjects, as the rhythm section play an important role and dual guitars complete the sound. Backing vocalists accompany and compliment Chaka, as she gives probably, a career defining vocal, that quickly, became an anthem for women worldwide. Quite simply, a stunning track, featuring a brilliant vocal from Chaka.
Love Has Fallen On Me is very different from the opening track. It’s a piano lead track, which mixes, jazz, soul and gospel. As piano and drums slowly and atmospherically open the track, Chaka proceeds to give a jazzy vocal, complete with backing singers who accompany her in a gospel style. Like before, her voice soars powerfully, full of character. The arrangement veers between a fuller style complete with guitars, rhythm section and piano, to a lovely subtle understated piano lead track. Later in the track, a brass section play, as the Chaka really lets loose and sings a brilliant solo ably assisted by the backing vocalists who revisit their earlier gospel style. Together they produce a hugely impressive, passionate and melodic sound. The addition of strings towards the end is a masterstroke. It adds the finishing touches to a track that’s laden in passion courtesy of Chaka and her backing vocalists.
After two really rousing tracks, Chaka decides to drop the tempo with Roll me Through the Rushes. This is a track with religious and spiritual themes throughout the lyrics. Moses, sin, death, hate and asking for guidance are all mentioned. A guitar chimes and drums play slowly and atmospherically. Chaka, meanwhile, sings the lyrics slowly, and here, she controls her voice much more. There are no vocal theatricals, just a really heartfelt rendition of the lyrics, accompanied by her backing vocalists. She still sings with passion, still lets her voice soar high, but it’s a much more thoughtful, almost respectful vocal. The arrangement is quite full, piano, rhythm section and guitars combining, and later, French horns and a harp play. It may be a very different track to the previous ones, but it shows another side of Chaka, one she carries of well, producing another excellent vocal, ably assisted by a really good, tight band.
Sleep On It begins with drums, French horns before the Anthony Jackson’s vocal enters. He’s singing the male part of the lyrics, which are about a turbulent relationship. By the time Chaka enters, the arrangement has filled out, with bass, guitars and synth joining the mix. However, what makes the track are Chaka and Anthony’s vocals, especially Chaka’s. Both bring the lyrics to life. Like all the tracks on the album, the standard of playing is excellent. It’s no different here, and midway through the track, a really good guitar solo emerges. That, and the addition of French horns, add character to the track, the way the they’re played, and when they’re played. On this track, the arrangement is really melodic, with hooks aplenty, and combined with the vocal and lyrics Sleep On It is a great track.
Another of the better known tracks is Life Is A Dance, a funk based track which has a loose feel at the start. Background chat accompanied by bass and guitar opens the track before it opens up. When it does, backing vocalists sing before Chaka, and meanwhile, a really funky arrangement is coming to life. It’s lead by the best bass playing on the album, ably assisted by some great guitar playing and drumming. Chaka meanwhile is having a ball, her vocal is joyous, as she whoops accompanied by a myriad of handclaps and backing vocals. The brass section punctuate the arrangement with layers of their funk laden brass playing. Overall, it’s a joyous, upbeat track, with a feelgood factor that has brings upon the urge to dance, and give thanks to the musical gods for Chaka Khan.
George Benson wrote We Got the Love and shares the lead vocal with Chaka. Together, they combine perfectly, their voices a perfect match, with George a perfect foil for Chaka. It’s George that opens the track, accompanied by the rhythm section, and then piano. When Chaka sings, she’s accompanied by flutes and the track flows brightly along, complete with strings. Like the last track, this track has a strong bass line, that’s prominent in the mix. Overall, the arrangement sweeps along brightly, punctuated by flutes and strings, as well as the rest of the band. It’s a mixture of soul and funk, complete with two great singers, Chaka and George Benson. Combined with a George’s lyrics, a good arrangement and passionate and soulful performances from Chaka and George, it’s a potent mixture.
It’s a really quick, accurate and funky bass that opens Some Love. Accompanying it is a guitar that’s equally funky, almost heading into wah-wah territory and strings. When Chaka sings, a funky arrangement is unfolding, complete with brass section, strings and piano. They all produce an impressive and powerful sound, that’s funky with a capital F. Chaka too, gives a strong, powerful vocal her voice soaring heavenwards, yet always in control. As she sings, the arrangement just gets better and better. Much of this is down to the addition of a full brass section, combined with some really lush, sweeping strings, that funk laden bass and Chaka’s brilliant vocal. Together, they combine masterfully, producing one of the album’s arrangements and thanks to Chaka’s passionate, soaring vocal one of the best tracks.
A Woman In A Man’s World is quite different from the two previous tracks. Here,the arrangement isn’t as full and the tempo slightly slower. It begins with guitar and drums playing before Chaka sings. For much of this track, her vocal is much more straightforward. She just sings the lyrics with no frills, no vocal gyrations. It’s only later on, that she really lets loose. At the start, her voice isn’t as loud or powerful, but it’s still passionate and soulful. Behind her, her band play really well, bringing the lyrics to life. Guitars, rhythm section, congas and synth combine, and later they’re joined by strings and the brass section. The addition of the brass section really lifts the track. They combine perfectly with the synth and strings, while the rhythm section helps drive the song along. Towards the end, Chaka’s voice is much more powerful, gone is the restraint she showed earlier, and the diva in her comes out, as she produces a vocal that’s impressive due to it’s power, passion and control. Together with her band, they produce a track that combines a fantastic vocal and equally good arrangement.
It’s funky time again, at the start of The Message In the Middle of the Bottom. It begins a really funky bass playing, accompanied by drums and horns interjecting. As Chaka sings, she decides to get into the funky vibe that’s unfolding. Her delivery is staccato, as she sings the lyrics. Strong and deliberate is the way she sings. Meanwhile, space is left in the arrangement, until the brass section enter. When they play, the space is gone, and the arrangement gets more crowded. Still, the funky arrangement unfolds, the rhythm section and brass section playing important roles, with lovely melodic guitar solos suddenly emerging. Still, Chaka’s vocal is strong, her delivery still deliberate, as she delivers the lyrics thoughtfully, and with feeling. By the end of the track, Chaka and her band have delivered a good funk track. However, although it’s a good track, it isn’t as good as the other tracks on the album. It just doesn’t come up to the high standard Chaka has set on the album.
Chaka closes with a cover of a song made famous by Stevie Wonder I Was Made To Love Her, although here, Chaka changes it to I Was Made To Love Him. When the song bursts joyously into life a mixture, of piano, guitars and rhythm section you immediately realize Chaka has found her A-game. She proceeds to sing the song beautifully, full of emotion, passion and power. Accompanying her, are backing vocalists whose voices rise in unison perfectly. The arrangement features a great guitar solo from Tony Maiden, and Richard Tee on piano and clavinet, as usual, plays brilliantly. However, the star of the song is Chaka, her vocal is stunning, a joyous combination of emotion, power and control, and it’s a perfect way to end a great album.
Although Chaka was Chaka Khan’s first solo album, she was already an experienced and successful artist. However, there’s a big difference from being part of a band to becoming a solo artist. Here, it was Chaka that was in the spotlight, nobody else, just her. It was quite a big step, and quite a brave thing to do, leave a successful band and become a solo artist. The gamble paid off, and this was the start of long and illustrious solo career. Back in 1978, not many artists have a debut album that sold over 500,000 copies and is certified gold, reaching number twelve in the US charts. Chaka Khan did, after producing one of the best debut solo albums of that time. Today, the album still sounds just as good, as it did back them. Much of the success is said to be due to the success of I’m Every Woman. That to me is unfair. Although it’s a brilliant anthemic track, there are many more great tracks on the album. The album’s success to me, is down to some wonderful music, sung with soulfully, passionately and powerful by one of the most charismatic female vocalists of the past forty years. Thankfully, after this album, Chaka would release another elven studio albums and tour regularly. If you ever get the chance to see her live, she puts on a great show, and her voice is just as good live, as it is on this album. Standout Tracks: I’m Every Woman, Sleep On It, Life Is A Dance and I Was Made To Love Him.
CHAKA KHAN-CHAKA.
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