100 Essential CDs – Number 25- Native New Yorker: Disco Classics

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Native New Yorker: Disco Classics (Camden 1997)

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This twenty track CD appeared on the budget Camden label in 1997 and according to the sleeve notes written by one Michael Dunnington references a time “when Jason King ruled the TV air-waves and men’s trousers “flared” like no tomorrow.”  For a one disc collection of 70’s music it is spot on and there is no overlap with any of the tracks featured on the other compilation CDs I have so far considered to be essential.  What it isn’t really, despite its subtitle, is an album of “disco classics” unless we are counting a school disco where tracks by artists such as Sweet and Barry Blue would have got played.  That disco would have also had to have a closing “slow dance” section to incorporate ballad tracks from the Delfonics and the country-tinged soul of the Pointer Sisters doing Bruce Springsteen, but okay, I’ll let it go because this is a CD which gets the memories flowing and brings me a lot of pleasure.  True, some of that pleasure might be guilty as the majority of the tracks are from the more poppy side of dance than those that appear on the “Disco Classics”, “Chilled Disco” and “Funk Soul Anthems” sets with its mix of American tracks, Eurodisco and British pop soul.  There are three UK number 1s and 1 US chart-topper and 13 out of the 20 tracks performed better in the UK and Europe than they did in the USA.

 With these essential compilation CDs it is important to know what tracks can be found on them so here you will find them listed with their highest chart position (UK/US) if released as a single and links if I have more information on the artist elsewhere on the blog. I’ll pick out a handful of tracks to give a flavour of what makes these CDs essential.

Track Listings

CD 1

1.Native New Yorker – Odyssey (1977) (UK#5, US#21)

What a track to open with, important enough to give the whole compilation its name and one of my all time favourites.  Odyssey’s later UK chart-topper featured on “Funk Soul Anthems” but this is their debut hit which was their only success in the US.  It’s a beautifully performed song by the Lopez sisters with Tony Reynolds which drips with sophistication and a classy glamour which makes it stand out as a song compared to so much repetitive disco. It sounds like something from the Great American Songbook (it for me is reminiscent of the Rodgers and Hart song “Manhattan” as made famous by Ella Fitzgerald).  The writers of this 70’s gem are Sandy Linzer and Denny Randall who wrote it as a track for a Frankie Valli solo album.  These two had been responsible for some classy pop songs prior to this such as “A Lover’s Concerto”, “Opus 17” and “Working My Way Back To You” for the Four Seasons .  Linzer  has made a previous significant appearance on my Essential CD listings for his production work on the innovative first album from “Dr Buzzard’s Original Savannah Band” one of the great disco albums of all time.  Esther Phillips also did a great version of this song but this is definitely the definitive version.

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2. Yes Sir I Can Boogie – Baccara (1977) (UK#1)

The ultimate guilty pleasure?  This surprise UK chart-topper still delights me every time I hear it. I’m not sure whether it’s the Eurodisco production with its out-of-place heavy-breathing intro giving it a touch of the Donna Summers, the English as a second language phrasing, the “boogie-voogie” or the song which turns back in on itself and contains lines such as “I  already told you in the first verse/ and in the chorus”.  Spanish female duo Baccara were certainly one of a kind.  I saw them perform at “G-A-Y” in the 1990s and they still had the audience eating out of the palm of their hands by swirling scarves as they eased through their repertoire which also contained their equally bizarrely lyrics of “Sorry I’m A Lady” and their 1978 Eurovision entry “Parlez Vous  Francais (strangely enough representing Luxembourg) where they were robbed finishing in a lowly 7th  place losing to Israel’s nonsensical “A-Ba-Ni-Bi” which lyrically made the Baccara song seem more like Bacharach.  Sophie Ellis-Bextor had a go at making this song her own but that just isn’t possible it just has to be Mayte Mateos and Maria Mendiola in their quizzical Spanglish.

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3. Disco Nights (Rock Freak) – G.Q (1979) (UK#42, US#12)

4. Ms. Grace – Tymes (1974) (UK#1)

5. Shame – Evelyn “Champagne” King (1978) (UK#39, US#9)

6. Just Don’t Want To Be Lonely – The Main Ingredient (1974) (UK#27, US#10)

7. Sunny- Boney M (1977) (UK#3)

Euro-disco’s biggest stars actually heralded from the West Indies but with this their second UK hit cemented their association with Germany’s Frank Farian on what is head and shoulders their best track.  The song is a cover version of a 1966 hit by Bobby Hebb, having much of its warmth stripped out to produce an almost icy slab of Munich  disco-funk.  It’s a near-perfect reconstruction of a song.  That said, I’m not sure what we are listening to here because the vocal arrangement sounds a tad different from my old 7 inch single.  I’m wondering whether it is a different mix or the album version.  I’m pretty sure its not a re-recording (a peril of the budget CD) as I’m sure this would have been highlighted in the info.  It’s in no way bad, just ever so slightly different and if I hadn’t listened to this song so many times over the years I probably would never have noticed.  What I have noticed also, however, is that this song is given the wrong title on the inner sleeve of the CD.  Doesn’t anybody proof read these things before they are printed?

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8. I Can’t Stand The Rain – Eruption (1978) (UK#5)

9. Jack And Jill – Raydio (1978) (UK#11, US#8)

The late 70’s group Raydio could not for long contain Ray Parker Jnr who for a time in the next decade looked like he could be one of the biggest solo acts.  A gifted guitarist, vocalist, song writer and producer with a great pop sensibility, Parker’s career was both made by his theme song to the movie “Ghostbusters” and hampered by it, as the spectre of the term “novelty artist” hung over him.  He was no novelty he just had an excellent sense of what was commercial.  This was evident on his debut hit which is one of two nursery themed tunes on this album, but this tale of the couple who went up the hill is nowhere as twee as the Moments’ “Jack In The Box” which appears later.  In fact, nursery rhyme referencing was not as out of place as it may seem in 70’s R&B, think The Gap Band’s “Oops Upside Your Head” and even Earth Wind and Fire did it on “Saturday Night” . This is a good piece of pop-flavoured mid-tempo funk made memorable by the echoing vocals of the names of the two main characters.  I’ve always had a soft spot for both this and their UK hit follow-up “Is This A Love Thing?”  Back in 1978 I won a copy of “Jack And Jill” in a competition in “Blues And Soul” magazine which for someone who relied on saving up pocket money for music purchases was quite a big thing!

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10. Givin’ Up Givin’ In – Three Degrees (1978) (UK#12)

11. Rock The Boat – Hues Corporation (1974) (UK#6, US#1)

12. La La Means I Love You – Delfonics (1971) (UK#19, US#4)

13. There Goes My First Love – Drifters (1973) (UK#3)

14. Blockbuster – Sweet (1973) (UK#1)

15. It’s In His Kiss – Linda Lewis (1975) (UK#6)

I can’t miss an opportunity to herald this singer, not until she is recognised as one of the great British female artists.  A singer who may have been too versatile for her own good is here on her biggest hit which like its follow-up “Baby I’m Yours” which I highlighted on the “After The Dance” CD is a cover version of 60’s girl pop.  (I was young enough not to know this when this first came out). Here the pace is ramped up to fever pitch and it sounds like Linda has had a blast of helium before letting rip into this song which is just brilliant in giving the innocence of girl-group pop a 70’s glam makeover.  Notes are hit that zoom off into the stratosphere.  If you want to hear a vocalist putting 100% into a recording this is a prime example .  It certainly, for me, puts Cher’s 1991 chart-topping version into the shade.  It’s not even Lewis’ best recording.  That would be a stunning version of a song based on Gilbert and Sullivan’s “The Sun Whose Rays Are All Ablaze” from “The Mikado”, “The Moon and I” which I love so much I had it played at my wedding ensuring there would not be a dry eye in the house!

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16. Fire – Pointer Sisters (1979) (UK#34, US#2)

17. Can’t Get By Without You – The Real Thing (1976) (UK#2)

18. Dancing On A Saturday Night – Barry Blue (1973) (UK#2)

19. Jack In The Box – The Moments (1977) (UK#7)

20. Get Dancin’ – Disco Tex & The Sex-O-Lettes (1974) (UK#8, US#10)

Native New Yorker: Disco Classics is currently available to buy from Amazon in the UK for £14.98 and used from £0.90.

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100 Essential CDs – Number 28- Funk Soul Anthems

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Funk Soul Anthems (Sony/BMG 2005)

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To be honest, this 44 track 2005 double CD set from the mighty Sony/BMG conglomerate is sloppily put together with errors in spelling, partial song titles, no sleeve notes, incorrect running order and one track which appears which is not even listed on the back cover. I’m not sure if they got round to putting it right on later pressings but I think it might have been the reason why I picked this up cheaply not long after its first issue and when it comes down to it it’s what in the grooves that count and here things are very impressive indeed with some real funk and soul classics. Most of the tracks date from the 80’s, five of the mainly earlier tracks do overlap with another of my essential recommendations “Disco Classics” but there’s plenty here which still sounds fresh 30+ years on. Spanning from 1972 to 1986 it contains four US chart-toppers, an impressive 25 UK Top 10 singles as well as some which have become funk/soul standards without breaking through commercially at the time.
With these essential CDs it is important to know what tracks can be found on them so here you will find them listed with their highest chart position (UK/US) if released as a single and links if I have more information on the artist elsewhere on the blog. I’ll pick out a handful of tracks to give a flavour of what makes these CDs essential.
Track Listings

CD 1

1.One Nation Under A Groove – Funkadelic (1978) (UK#9, US#28)
“So high you can’t get over it, so low you can’t get under it” is one of the many hooks in this sole hit from George Clinton’s Funkadelic. Clinton’s main group was Parliament, which went from being soul/doowop journeymen The Parliaments and by dropping that  “S” became the prime exponents of 1970’s space-age funk. They produced some great tracks (and some bonkers ones too) and were apparently incredible memorable live. There were US successes but over here they did not make the commercial breakthrough. Clinton was the mastermind behind other acts such as Parlet, The Brides Of Funkenstein and one of his proteges Bootsy Collins is also featured on this CD with a track which has become a funk classic without charting, Funkadelic were a more rock orientated, less commercial outfit than Parliament yet they were the act that made the showing in the UK Top 10 with this track. Albums such as “Maggot Brain”, “Free Your Mind And Your Ass Will Follow” and “America Eats Its Young” would not have screamed radio airplay in the 1970’s but this track proved irresistible and was the title track of an album many claim is the best all-time funk album. However, it is no surprise that album track “Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers)” did not follow it to the upper reaches of the pop charts. I always felt that if George Clinton, a maverick if ever there was one was able to rein in slightly the more hallucinogenic, cartoon and scatological elements in his output that Parliament and Funkadelic could have become absolutely massive.

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2. Can You Feel It – The Jacksons (1981) (UK#6)
3. Car Wash – Rose Royce (1976) (UK#9, US#1)

Perhaps the best use of handclaps ever in this song. The introduction made it instantly familiar and it’s no surprise that this debut hit made it to the top of the US pop charts in 1976 and began a great career for Rose Royce (a group, not a person). The title track of a small but charming film ex Motown producer Norman Whitfield proved there was life after The Temptations with his work with this group. I loved also the aching ballads which appeared on the “Carwash” soundtrack “I Wanna Get Next To You” and “I’m Goin’ Down” and although primarily a funk group Rose Royce did become known for their ballads with tracks like “Wishing On A Star” and “Love Don’t Live Here Anymore” but that was because not many funk bands at the time were blessed with a vocalist as pure as Gwen Dickey.

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4. Rockit- Herbie Hancock (1983) (UK#8)
5. Let The Music Play – Shannon (1983) (UK#14, US#8)

“He tried pretending a dance is just a dance but I see/He’s dancing his way back to me”.  Brenda Shannon Greene’s electro track, an early example of what came to be called freestyle,  sounded like a breath of fresh air in 1983 with its sinuating groove and lyrically it’s a cracker of a track.  There’s a really effective personification of love here who is resorted to for advice in a manner which would not have been out of place in a Shakespearean comedy.  Universal themes over a cooking arrangement and a good enough vocal performance looked like Shannon would be here to stay.  This was her only US hit but it did begin a run of three more UK hits in the 80’s which were not a patch on this and she had a revival in the 90’s when DJ’s looked for diva voices to front their tracks and scored chart hits with both Todd Terry and Sash!

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6. I Can Make You Feel Good – Shalamar (1982) (UK#7) – Also on “Disco Classics
7. Word Up – Cameo (1986) (UK#3, US#6)

Cameo had been around some time before they made the commercial breakthrough which had been expected from them.  Larry Blackmon was the codpiece wearing mastermind behind this group which formed in the mid 70’s with 14 members.  Obviously, it was going to prove difficult to pay the bills., there was a lot of coming and going over the years, Wikipedia lists 33 members.  They should have made their big impression with “Find My Way” a great dance track which was included on the 1978 “Thank God It’s Friday” soundtrack.  By 1986 they had shrunk down to a trio and found themselves with UK chart success with “She’s Strange”.  “Word Up” with its spaghetti western funk feel and Blackmon’s snarling vocal performance gave them their first US hit and is probably their best ever track, certainly their most successful.  Bizarrely, in 1999 Mel B covered this song and got to number 14 in the charts without matching the joyfulness in the original’s performance and production.

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8. Last Night A DJ Saved My Life – Indeep (1983) (UK#13)
9. Going Back To My Roots – Odyssey (1981) (UK#4)

In 1981 Odyssey decided to zip up their boots and score their fourth UK Top 10 hit.  This song which was written and originally recorded by Motown legend Lamont Dozier tapped into the fascination in black ancestry triggered by Alex Haley’s book and TV series “Roots” and this combined a thrilling disco track with African chants.  In the US at this time Disco had been officially declared dead which meant that many missed out on great tracks like this.  The trio which consisted of two sisters from the Virgin Islands Lillian and Louise Lopez (Lillian having a great distinct lead voice) and by this time Bill McEachern were one hit wonders in the US (but what a one hit, the sublime “Native New Yorker) but we certainly took to them in the UK.  A version of Odyssey still exists today based in the UK and led by the deceased Lillian’s son Steven Collazo and I’m sure this track would still go down a storm.

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10. T.S.O.P – MFSB ft The Three Degrees (1974) (UK #22, US#1) – Also on “Disco Classics”
11. It’s Just Begun – Jimmy Castor Bunch (1972)
12. Oops Upside Your Head – The Gap Band (1980) (UK#6) – Also on “Disco Classics”
13. Stretchin’ Out (In A Rubber Band) – Bootsy Collins (1976)
14. Walking In Rhythm – Blackbyrds (1975) (UK#20, US#6)
15. Hi, How Ya Doin’ ? – Kenny G ft Kashif (1983)
16. Lowdown – Boz Scaggs (1976) (UK#28, US#3)
17. The Groove Line – Heatwave (1978) (UK#12, US#7)
18. Zoom – Fat Larry’s Band (1982) (UK#2)
19. Let’s Groove – Earth Wind & Fire (1981) (UK#3, US#3)
20. I Found Lovin’- The Fatback Band (1984) (UK#7)
21. Get Down On It – Kool & The Gang (1981) (UK#3, US#10)
22. Theme From “Shaft”- Isaac Hayes (1971) (UK#4, US#1) – Also on “Disco Classics”

CD2

1.Love Train – O’ Jays (1973) (UK#9,US#1)
2. Somebody Else’s Guy- Jocelyn Brown (1984) (UK#13)
3. Got To Be Real – Cheryl Lynn (1979) (US#12) – Also on “Disco Classics”
4. All Night Long – Mary Jane Girls (1983)(UK#13)
5. Sexual Healing – Marvin Gaye (1982) (UK#4, US#3)
6.Give Me The Reason – Luther Vandross (1986) (UK#24)

It always seemed to me that Luther Vandross never really in life or music moved too far out of his comfort zone.  There was a tendency to play it safe unlike the great male R&B singers of the past who were prepared to take risks.  But there was no denying that what Luther did he was amongst the very best at.  He knew the right formula for the big soul ballads, the party jams and the uptempo dance numbers.  He was an acknowledged soul legend before he broke through in any consistent way commercially and it was really his 1986 album from which this was the title track which pushed him into the superstar bracket.  This was the track the Epic label did not want to give up on and it was issued three times before it made #24 in the UK.  There were bigger hits from this album but I’ve always had a fondness for this song.  My ultimate favourite of his tracks is from his time as lead vocalist for the group Change with a song which was lyrically and musically edgier than much of his material “Searching”  but it is always good to hear this one.

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7. Hold Me Tighter In The Rain – Billy Griffin (1983) (UK#17)

Billy came to prominence aged 20 when he took over lead vocals after Smokey Robinson left The Miracles and was the voice on one of their biggest hits “Love Machine”.  By 1983 he was going it alone and this was his only Top 40 hit.  It’s a great piece of pop disco with a great vocal performance.  Billy struggled to make much headway with his solo career after this, he relocated to the UK and became the first artist to be released on the Motorcity label which began a long-lasting connection with producer and songwriter Ian Levine who was instrumental in bringing ex-Motown stars back into the studio.  Griffin worked with Levine on early hits for The Pasadenas and Bad Boys Inc and was a co-producer on the first album by Take That.

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8. Running Away – Roy Ayers (1977)
9. Ain’t Nothing Going On But The Rent – Gwen Guthrie (1986) (UK#5)
10. Twilight- Maze (1985)
11.I.O.U- Freeez (1982) (UK#2)
12. Lessons In Love – Level 42 (1986) (UK#3,US#12)
13. Make My Dreams A Reality– GQ (1979)
14. Expansions – Lonnie Liston Smith (1975)
15. You Make Me Feel (Mighty Real) – Sylvester (1978) (UK#8,US#36)*

This is the track which is not even listed on the back of the CD and it is always a surprise when Sylvester makes his flamboyant entrance.  US vocalist Sylvester James was probably a decade before his time.  An openly gay, gospel-voiced, high octane diva who was a real one off and this relentless tour-de-force of an electro track was arguably his best and his biggest UK hit.  In the US they preferred the almost equally excellent “Dance (Disco Heat) which was more of an ensemble piece with his back-up duo Two Tons O’Fun who went on to become The Weather Girls.  Sylvester made another couple of visits to the UK Top 40 and was the vocalist of choice for pioneer electro/Hi NRG producer Patrick Cowley.  There hasn’t been a definitive career retrospective of Sylvester’s music which shows his ease as a gospel-drenched disco performer and a great vocal artist on less frenetic material.  He did a great version of the pop standard “I (Who Have Nothing)”

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16.Harvest For The World – Isley Brothers (1976) (UK#10)

Seventeen years after their first hit “Shout” the Isleys were back in the UK Top 10 with this message track which deals with global hunger the title track of their 4th studio album.  This is such a cool track with great vocals and real chunky use of percussion which gives this track a depth.  A higher chart placing was scored by The Christians with their cover version twelve years later but the Isleys’ original is certainly the one to seek out.

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17. Somebody’s Watching Me – Rockwell (1984)(UK#6, US#2)

If you’re the son of Motown supremo Berry Gordy surely chart success would seem inevitable, especially if you sign to your father’s record label.  But how about if you do this without your father even knowing, changing your name from Kenneth to Rockwell.  At least there would be no charges of nepotism there but how are you going to get a hit?  Well, Rockwell’s answer was to enlist Michael Jackson to help out with the vocals on this tale of 80’s paranoia, the lyrics of which seem very appropriate coming out of Jackson’s mouth.  That way you can score a Top 10 hit on both sides of the Atlantic and much publicity when the ruse is uncovered.  But can you get a long-lasting career out of that? In Rockwell’s answer it was no.  He obviously liked dark themes as his only further Top 40 appearance in his homeland was with the #36 follow-up “Obscene Phone Caller” which I can say I’ve never heard.  This debut was made memorable by Jackson’s contribution as it his hook-lines which stay in the mind.
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18. Solid- Ashford & Simpson (1985) (UK#3, US#12)
19. Mama Used To Say – Junior (1982) (UK#7, US#30)
20. Love Come Down – Evelyn “Champagne” King (1982) (UK#7, US#17)
21. Forget Me Nots – Patrice Rushen (1982) (UK#8, US#23)
22. What A Fool Believes – Aretha Franklin (1980) (UK#46)

The majority of these tracks certainly do deserve the anthemic status given to them by this release.  25 of them were bigger hits in the UK than in the US, which is unusual for an album which features predominantly American artists.  The UK never had that backlash against club music which happened in the US following the much publicised Death of Disco (Peter Shapiro is good on this) but by the early 80’s there were so many great radio-friendly club orientated tracks being produced that the US could no longer ignore its artists who were recording them.  Even British R&B influenced acts like Junior, Heatwave and Level 42 were making waves on the US charts.  This double CD is always a joy to listen to and even within the field of Soul and Funk showed what great variety of sounds was available to the listener.

Funk Soul Anthems is currently available from Amazon in the UK used from £2.72

100 Essential CDs – Number 36- After The Dance

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After The Dance (Telstar 1991)

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This 32 track double CD which came out on the TV promoted Telstar label in 1991 puts together a collection of some of the best sweet soul tunes from the 70’s and 80’s.  It is a sophisticated listen with quality performers and a good mixture of the well and lesser known, of hits and tracks that did not make it. There’s a smattering of Motown, Philadelphia International releases alongside Stax and Atlantic with the soul groups who were popular in the early 70’s alongside a few more mid-tempo offerings from artists associated with disco and a few R&B influenced tracks from the 80’s.  The earliest dates from a slab of pure soul from Aretha in 1967  and spans to a debut minor 1987 hit for British soulster Paul Johnson of whom big things would have still been hoped for when this album was released in 1991.  Once you get by the disturbing cover art there are a lot of gems to be found within.

With these essential CDs it is important to know what tracks can be found on them so here you will find them listed with their highest chart position (UK/US) if released as a single and links if I have more information on the artist elsewhere on the blog.  I’ll pick out a handful of tracks to give a flavour of what makes these CDs essential.

Track Listings

CD 1

1.Me And Mrs Jones – Billy Paul (1972) (UK#12, US#1)

What a gem of a track to kick things off with.  A song about adultery written by Kenny Gamble and Leon Huff with Cary Gilbert would not have seemed an obvious pick for a debut number 1 pop hit but Billy Paul’s superb, tender performance won over audiences worldwide and introduced us all to one of the most unique voices in soul music with his jazz style phrasing .  Amazingly, Paul only scored one more US Pop Top 40 hit, the sublime uptempo “Thanks For Saving My Life”.  Like most artists who relied on the songwriting talents of Gamble & Huff his material alternated between out and out romance of tracks such as “When Love Is New” and the mawkish “Let’s Make A Baby” and social commentary such as “Am I Black Enough For You?” and “Bring The Family Back”.  He was also a great song-stylist as his versions of his trio of 1977 UK hits, in particular, Elton John’s “Your Song” (a UK#37 hit), but also Paul McCartney’s “Let Em In” (UK #26) and Jerry Butler’s “Only The Strong Survive” (UK#33) testify.  But it is for tale of a secret rendezvous for which he will always be remembered.  Billy Paul passed away in 2016 aged 81.

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2. Love Won’t Let Me Wait – Major Harris (1975) (UK#37, US#5)

Perhaps one of the all-time tender love songs Major Harris, is here like much of Barry White’s output concentrating on the bedroom in this soft-porn epic with heavy breathing which would have denied it much daytime radio play and might explain its lowly UK chart placing.  The Major had a member of the Delfonics in the early 70’s (but after the hit for the group which appears on this CD) and Atlantic Records had high hopes of him becoming a major solo star but this was his only US chart placing.  He continued to record on various labels until the mid 90’s with only his 1983 London label release “All My Life” attracting any attention in the UK.  Once again this great performance is what he is remembered for.

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3. I’ll Be Good To You- Brothers Johnson (1976) (US#3)
4. Peek-A-Boo- The Stylistics (1973) (UK#35)
5.Didn’t I Blow Your Mind (This Time) – The Delfonics (1970) (UK#22, US#10)
6. Homely Girl – The Chi-Lites (1974) (UK#5)
7. You Are My Starship – Norman Connors ft Michael Henderson (1976) (US#27)
8. Games People Play – Detroit Spinners (1975) (US#5)
9. Walk Away From Love – David Ruffin (1975) (UK#10, US#9)

Another of the great voices of soul music.  Ruffin’s gravelly voice blistered its way through many Temptations hit and as a solo artist did not reach the heights expected of him, although this was at least in part to his own personal demons.  For me, his greatest association was his mid 70’s teaming up with Van McCoy. This is where McCoy’s work was strongest, the albums he did with Ruffin, with Melba Moore and Faith, Hope & Charity had powerful gospel-drenched voices cutting through his Soul City Symphony lushness in a way that his work with the sweeter voiced Stylistics did not.  This is one of Motown’s great 70’s singles and a welcome comeback for the man whose only US hit had been six years previous and who in the UK was overshadowed by brother Jimmy.

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There was a lot of hat-wearing on 70’s R&B album covers!

10. Loving You, Losing You – Phyllis Hyman (1977)

And whilst we are talking about personal demons, the hugely under-rated Phyllis was plagued with them which led to her taking her own life in 1985.  Album releases on Buddah, Arista and Philadelphia showed huge potential but she may have been too sophisticated for the commercial masses.  There were business disappointments throughout her career, a James Bond theme recording never made it on to the film, collaborations with artists ranging from Barry Manilow, The Four Tops and Michael Henderson (whose “You Are My Starship” also appears here) did not pay the dividends expected  and a dependency on cocaine sealed an inevitable and tragic early demise. It’s inexplicable how this club classic from her debut album failed to make chart headway in 1977.  It opens with an epic sweep, a great introduction before Phyllis performs beautifully on this Thom Bell song.

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11. Risin’ To The Top – Keni Burke (1982)
12. Love Me – Diana Ross (1974) (UK#38) (also on Motown Chartbusters Volume 9)
13.Still Water (Love) – Four Tops (1970) (UK#10, US#11)
14. I’ll Be There – Jackson 5 (1970) (UK#4, US#1)
15. Winter Melody – Donna Summer (1976) (UK#27)

The first indication that Donna Summer would survive the disco boom was this under-stated ballad track from her themed “Four Seasons Of Love” which surprisingly became a hit in the UK over Christmas 1976.  It’s ethereal, whispy Donna and it is always a joy to hear.  Because of it’s non-success in her homeland it often does not appear on Summer compilations, for example, its not on the essential “Anthology” release nor on “Hit Singles & More” nor “I Feel Love: The Collection” but can be found here as well us on the three CD “Ultimate Collection”.  It’s a lovely track which shows a different side of Donna.

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16. Natural High- Bloodstone (1973) (UK#40, US#10)

CD 2

1.Rolling Down A Mountainside – The Main Ingredient (1975)
2.Freedom For The Stallion – The Hues Corporation (1974)
3. Shake You Down – Gregory Abbott (1986) (UK#6, US#1)

What on earth happened here?  The title track from Abbott’s debut self-written and self-produced album leapt to the top of the US charts and was a big hit worldwide introducing us all to a classy, slick piece of mid-tempo sing-along soul.  Record label Columbia must have thought they had the next big thing on their hands.  A gifted good-looking all-rounder the album went platinum and then… well, nothing to bother chart compilers although he has continued to record to the present day.  It’s one of those weird occasions when the world fell in love with a performer and then fell out of love just as quickly with this highly talented singer becoming one of the ultimate one-hit-wonders on both side of the Atlantic.  Obviously, the real strength here must be the song, which Abbott wrote, and it still sounds good.

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4. You Can’t Change That – Ray Parker Jnr (1979)
5. Let Me Make Love To You – The O’Jays (1975)
6. When Love Comes Calling – Paul Johnson (1987) (UK#52)
7. Private Number – William Bell & Judy Clay (1968) (UK#8)
8. I Surrender -Heatwave (1990)
9. Could It Be I’m Falling In Love – Detroit Spinners (1973) (UK#11, US#4)

Or the Spinners as they are known in their homeland but here we need something to differentiate them from the folk group of the same name.  Whilst at Motown they were known as The Motown Spinners and recorded some great tracks but it was after the move to Atlantic where they really came into their own.  There are two of their very best tracks included on these CDs and this is one of their best known although I’ve always been a big fan of the slightly less slick “Games People Play” which was not a UK hit but a Top 5 hit stateside.   The magic kicked in when they began working with songwriter Thom Bell and vocalist Phillippe Wynn joined the group.  Lead vocals were shared between three members which gave them longevity and yet meant their sound was not as instantly recognisable as some of the  R&B groups of the time.  They had two chart-topping singles, in the US it was with a duet with Dionne Warwick in 1974 but they had to wait until 1980 to do it in the UK with their medley of “Working My Way Back To You” and “Forgive Me Girl” which sounded a little pedestrian compared to some of the great tracks that came before.

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10. I’m Doing Fine Now – New York City (1973) (UK#20, US#17)
11. (You Make Me Feel Like) A Natural Woman – Aretha Franklin (1967) (US#8)
12. Free- Deniece Williams (1977) (UK#1, US#25)

With hindsight there wasn’t a more influential American R&B group in the 1970’s than Earth, Wind & Fire but the only UK number 1 single they were involved with came not from themselves, despite so many classic tracks, nor with The Emotions, who had one of the 70’s biggest hits in the US with “Best Of My Love” but with this subtle, sophisticated performance from Deniece Williams who had moved from working with Stevie Wonder as one of his backing singers to a debut album produced by Maurice White and Charles Stepney. This track doesn’t even feel that commercial even compared to some of the other songs on the album and feels more like a vocal performance highlighting her incredible range than a song yet it topped the charts and Deniece Williams became a much-loved artist in the UK.  Amazingly, Deniece became the first black American female solo singer to top the UK charts since Diana Ross in 1971.  Post the EWF connection she scored two US chart-toppers which were also Top 3 hits in the UK, helping Johnny Mathis to a resounding comeback with the too warbly “Too Much Too Little Too Late” and the crowning glory of the “Footloose” soundtrack “Let’s Hear It For The Boy”, but this is where it all started for her.

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13. Honey Please, Can’t Ya See – Barry White (1975)
14. Superstar/ Until You Come Back To Me – Luther Vandross (1983)
15. Baby I’m Yours – Linda Lewis (1976) (UK#33)

Another huge vocal range and a greatly under-rated performer who should be treated as a British National Treasure.  Too versatile to fit into the constraints of a 1970’s pop career Lewis touched on rock, folk, show tunes, operatics and soul music and was a highly regarded songwriter.  Here she is in disco mode which had earlier in 1976 seen her score one of her biggest UK hits with her phenomenal version of “It’s In His Kiss” where her vocals swooped and soared over a huge production.  Here she covers a Van McCoy penned song first recorded by an inspiration of hers, 60’s US soul singer Barbara Lewis from whom she took her surname.  (Linda’s real name is Fredericks yet even her sisters Shirley and Dee record under the Lewis name).  Once again it’s first class, yet did not get the chart position it deserved.  Everything is thrown into what is perhaps even a bigger production than its predecessor and even if some felt Linda was selling out in conforming to the demands of the commercial market she certainly gives it 100%.

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16. I Want Your Love – Chic (1979) (UK#4, US#7)

A great way to finish this CD is perhaps the classiest thing Nile Rodgers and Bernard Edwards ever did with Chic.  Best known for more out-there disco tracks everything is reined in a little here with a great build, superb orchestration and that familiar scratchy Chic sound.  Nile of course, is still very much influencing the music business, a favourite at festivals and it is because of tracks like this that his music has transcended the decades.

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After The Dance is currently available on Amazon in the UK for £4.97 and used for £0.62.  I think I would be hard pushed to recommend a finer compilation of 70’s/80’s soul sounds.

100 Essential CDs – Number 73- Disco Classics

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Disco Classics  (Sony 2005)

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Now, you’ve seen what has come before so it can be no surprise that there is going to be more than a little smattering of disco compilations in my Essential CD List.  The uplift I get from listening to disco music hasn’t dampened any since these tracks featured in the charts.  I’ve gone here for a double CD 34 tracker which has a mixture of the obvious and expected to the more unusual which makes it a great choice as far as I am concerned.  It’s a pretty broad collection featuring four UK and 6 US chart-toppers and chronologically spans from well before the disco era with 1968 uptempo funk by the pioneering Sly & The Family Stone to a Megamix of Earth Wind and Fire’s greatest which dated from 1989 and features a whistle-stop tour through “September”, “Let’s Groove”, “Rock That”, and a twice-featured “Boogie Wonderland” with as much conviction as a late 80’s megamix could have.  Mid 80’s sophisticated uptempo groove “Midas Touch” is hardly disco but would work well in a club setting and The Buggles UK chart-topper is an odd way to round off the selection but there are enough tracks here that fulfil the brief very nicely and can be considered “disco classics”.  This CD was released in Germany and has the look of a Hed Kandi compilation which would have been popular at the time.  I have no idea how I acquired  it but it has been played regularly since I did so.  On Amazon some reviewers have attacked this for being “live re-recordings” but it’s not, it’s the original tracks.

 Once again with these essential CDs it is important to know what tracks can be found on them so here you will find them listed with their highest chart position (UK/US) if released as a single and links if I have more information on the artist elsewhere on the blog. I’ll pick out a handful of tracks to give a flavour of what makes these CDs essential

 Track Listings

 CD1

 1.No Doubt About It – Hot Chocolate (1980) (UK#2)

 Throughout the 70’s it seemed like the voice of Errol Brown was always on the radio notching up a string of UK hits.  The RAK label they recorded on wasn’t the coolest around but was one of the most successful UK labels with Mud, Suzi Quatro, Kenny and Smokie all doing very well for label owner Mickie Most.  As a result Hot Chocolate were seen as a more pop band than they actually were and perhaps were not always given the credit they deserved.  1975 hit “Emma” was an anguished soul track about a suicide, “You Sexy Thing” gave them a Top 3 hit on both sides of the Atlantic in 1975 at the midst of Disco Fever, but best of all is this 1980 track which became their 18th Top 40 hit in 1980 which dealt with UFOs and had a great singalong chorus.

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2. Let The Music Play – Barry White (1975)  (UK#5, US#32)

3. Rock Your Baby – George McCrae (1974) (UK#1, US#1) 

And this arguably, was where the Disco Era began during the summer of 1974 when debut hitmaker George McCrae topped the charts on both sides of the Atlantic.  It’s rather sparse, almost minimalistic compared to what would come after but it introduced the shuffling Miami sound which would go on to feature in many more hits.  McCrae himself, blessed with a thrilling falsetto only had one more US Top 40 hit but we rather took to him in the UK giving him another 6 Top 40 hits over the next couple of years, my favourite of which “It’s Been So Long” made it to number 4.  George also featured his voice to great effect in 1974 in the debut hit “Queen Of Clubs” the first hit for label-mates KC & The Sunshine Band (who also features on this CD with their late in the day 1983 UK#1) who wrote and produce George’s chart-topper and who themselves would go on to have a more successful career than George.  Now aged 74, George is still going strong and in good voice.  And all this happened because his then wife, Gwen, who “Rock Your Baby” was written for was late for the recording session!

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4. Boogie Wonderland –Earth Wind & Fire with The Emotions (1979) (UK#4,US#6)

5. Pick Up The Pieces – Average White Band (1975) (UK#6, US#1)

6. Play That Funky Music – Wild Cherry (1976) (UK#7, US#1)

7. Vertigo/Relight My Fire – Dan Hartman & Loleatta Holloway (1978)

 One of the few tracks on the album that was not a hit although a cover version in 1993 topped the chart for Take That and Lulu.  This is a real epic of a track presented here, thankfully, in its 9 minute version with it’s brilliant orchestral build-up “Vertigo” into Dan’s light voice singing “Relight My Fire” then bam! it’s only Loleatta Holloway tearing into the track.  Nine minutes and not a second feels wasted (hard to say that about a lot of extended disco tracks).  Dan is also on this compilation with his better known but not as good “Instant Replay”, which with his mammoth “Countdown/This Is It” represented three classic disco tracks.  As a song-writer he penned one of James Browns’ biggest hits “Living In America” and for Loleatta, who features here, “Love Sensation” which became the blueprint for one of the biggest tracks of the 80s, “Ride On Time”.

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8.Last Train To London – Electric Light Orchestra (1979) (UK#8, US#39)

This is a track that I didn’t especially appreciate at the time.  I did quite like ELO, especially “Mr Blue Sky” and “The Diary Of Horace Wimp” which seemed to be pointing back to the 1960’s.  This, however, saw them embracing disco and at the time it felt a little like bandwagon-jumping.  However, the passing of the decades has been very good to this and it sounds like the creative tour-de-force that it is.  There’s a sense of urgency about this last train which is very appealing. 

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9. T.S.O.P (The Sound Of Philadelphia)– MFSB ft The Three Degrees (1974) (UK#22,US#1)

10. Boogie Nights- Heatwave (1977) (UK#2, US#2)

11. Blame It On The Boogie – Jacksons (1978) (UK#8)

12. Midas Touch – Midnight Star (1986) (UK#8)

13. I Can Make You Feel Good – Shalamar (1982) (UK#7)

14. Got To Be Real – Cheryl Lynn (1979) (US#12)

 Truly a disco classic and I knew it was back in 1979 when it was one of the first twelve-inch singles that I purchased.  It feels like an Earth Wind and Fire/Emotions track with its spiky touches.  This is another track which has stood the test of time, kicks off with a great intro and never lets up.  Cheryl puts in a great vocal here but she was actually an exceptional vocalist with a huge range as tracks like “Star Love”, which became a follow-up single and “Come In From The Rain” from the debut album attested.  In later years the material was not as strong and she faded from view without reaching the Top 40 again. 

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15. Give It Up – KC & The Sunshine Band (1983) (UK#1, US#18)

16. Theme From “Shaft”- Isaac Hayes (1971) (UK#4, US#1)

 

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 1.I Feel Love – Donna Summer (1977) (UK#1, US#6)

2. Nights (Feel Like Getting’ Down) – Billy Ocean (1981)

3. Heaven Must Be Missing An Angel –Tavares (1976) (UK#4, US#15)

 The five piece Tavares brothers are up there with the all-time great family groups as far as I am concerned.  They had been making inroads in the US singles chart for three years before this grandiose slab of pop disco including a US Top 10 placing for “It Only Takes A Minute” (later covered by Take That in the UK).  On single release it was split into two parts but the full album version is what is on offer here and it is great.  The lyrics may be cheesy  (but not as cheesy as they would get with “Whodunnit”) but it’s all done with such conviction from producer Freddie Perren that it turns out a gem.  Also on their album “Sky High” produced by Perren was the almost as good “Don’t Take Away The Music”.  The Tavares’ association with disco was permanently cemented by the inclusion of the Bee Gees’ song “More Than A Woman” on “Saturday Night Fever” but their music encompassed slick R&B and commercial soul music. A remixed version by Ben Liebrand took this song back to the UK charts in 1985 when it reached number 12.  

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4. Dance To The Music – Sly & The Family Stone (1968) (UK#7, US#8)

5. Best Of My Love – The Emotions (1977) (UK#4, US#1)

6. Instant Replay – Dan Hartman (1978) (UK#8, US#29)

7. Oops Upside Your Head – The Gap Band (1980) (UK#6)

8. Lady Marmalade – Labelle (1975) (UK#17, US#1)*

In 1975 futuristic space-age funk hit the mainstream.  True it was more in the visuals and image than the sound as girl group Patti Labelle & The Bluebelles made the transition on the advice of Dusty Springfield’s manager Vicki Wickham to don elaborate costumes using what looks now like vast amounts of tin foil.  The music was a kind of dirty gospel with the girls giving absolutely everything (sometimes too much!).  It worked best of all on this tale of a New Orleans prostitute encouraging men to abandon “their grey flannel life” with the song’s hook “Voulez-vous coucher avec moi”.  How our knowledge of French improved overnight in 1975!  The US were impressed as it topped the charts, as it did in Canada and the Netherlands.  The song, written by Bob Crewe (best known for his work with The Four Seasons) and Kenny Nolan has been covered many times, including a version in 2001 from “The Moulin Rogue” Soundtrack which wasn’t a patch on the original but topped both the US and UK charts for Christina Aguliera, Lil Kim, Mya and Pink.

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9. I’m On Fire – 5000 Volts (1975) (UK#4, US#26) *

 Sounding like Los Bravos’ “Black Is Black” this introduced us to the (uncredited) voice of Tina Charles, who would become one of the leading lights of the British Disco Scene with her worldwide hit and UK#1 “I Love To Love”.  Here, she was a session singer brought in to front the track whilst another girl Luan Peters was used promotionally.  Tina’s vocal is appropriately blistering and it unsurprisingly became a UK Top 5 hit and made the US Top 30.  The success of this probably led to the more explicit discofication of “Black Is Black” by French girl group La Belle Epoque which became a huge European hit in 1977 (and a UK#2) and French disco legend Cerrone including a version on his 1976 debut album.  5000 Volts carried on without Tina Charles and scored another very worthwhile hit with the slightly menacing disco track “Dr Kiss Kiss”.

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10. Can You Feel The Force – The Real Thing (1979) (UK#5)

11. Don’t Let Me Be Misunderstood – Santa Esmeralda (1977) (UK#41, US#15)

12. One For You One For Me – La Bionda (1979)

13. Megamix – Earth Wind & Fire (1989)

14. Queen Of Chinatown – Amanda Lear (1977) 

 You couldn’t make Amanda Lear up.  Statuesque blonde model of questionable age and heritage (Wikipedia places her date of birth as sometime between 1939 and 1950!), muse to Salvador Dali, girlfriend of Brian Ferry which led to her appearance on iconic Roxy Music album covers.  She ditched Ferry for David Bowie whilst rumours of her emerged that she was a vampire from Transylvania and actually a man called Alain Tap.  She posed naked in “Playboy” to dispel such stories and launched a pop career with her drawling Marlene Dietrich style vocals.  Sounds like a fame-hungry flash-in-the-pan right?  Well, her singing was an acquired taste but Europe lapped it up and to date there have been 27 albums, the last released in 2016, with her not altering her style a great deal.  No Madonna like reinvention for her- she had all the reinvention one could need at the beginning of her career.  Amanda Lear has just drawled her way sales of over 27 million.  Still a big star of European television, in the US and UK we might just wonder why.  A real-one off, in the way that Grace Jones is a one-off who lit up the discos and gossip columns.  Lear’s most critically acclaimed recording was the album “Sweet Revenge” from 1978 which Jussi Kantonen and Alan Jones in their survey of disco “Saturday Night Forever” (1999) describe as “a Faustian fable enlivened by one of the most fabulous orchestral disco productions the entire era had to offer.”  I personally have always preferred her vampire tale “Blood and Honey”.  The track here is some nonsense about a woman running an opium den which was a very big hit in Germany and like all of Amanda Lear tracks need to be heard to be believed.

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15. Love Really Hurts Without You – Billy Ocean (1976) (UK#2, US#22)

 A hugely likeable slab of pop soul which launched Billy’s career becoming his debut hit on both sides of the Atlantic.  There were a run of similar tracks including my favourite of all of his songs “Red Light Spells Danger” and then a commercially lean period of some seven years (the other Ocean track on this CD is from this era and is fairly forgettable) before hitting big and re-emerging as one of the biggest stars of the mid 80’s off the back of his Grammy award winning “Caribbean Queen”.  This track will always be a huge crowd-pleaser every time Ocean performs live.

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16. Video Killed The Radio Star – Buggles (1979) (UK#1, US#40)

Disco Classics is currently available from Amazon in the UK from £9.97 and used from £3.98.  Make sure that it is this version you are purchasing as some reviewers seem confused and seem to be reviewing a different CD.  Most of these tracks can be found on  other disco compilations.

100 Essential CDs – Number 78- Motown Chartbusters Volume 9

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Motown Chartbusters Volume 9 (Spectrum 1998)

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Motown Chartbusters was a brilliant initiative from the UK branch of Motown over at EMI Records. It began in 1967 with the first of two which were entitled “British Motown Chartbusters” giving UK fans the chance to buy an album of their favourite Motown singles which had proved themselves commercially. This was of course some years before the “Now” and “Ministry Of Sounds” compilations, even the budget sound-alike “Top Of The Pops”/”Hot Hits” albums which found their way into so many British homes had not been launched at this point so the concept felt original. They did not seem to have a regular release pattern I think the powers that be waited until there had been enough hits to fill up an album.
By 1974 they had reached Volume 9. (There would go on to be 12 releases lasting until 1982). This edition featured chart hits from 1973-74. The vinyl edition was amongst the first albums I bought and I did so because of the familiarity of so many of the tracks (when you were reliant on saved pocket money purchases you did not want to make any mistakes). This CD came out on 1998 from the budget label Spectrum who re-released the whole series. This is not the best Motown Chartbusters but it is still an essential release.
By the mid 70’s Motown had undergone changes. Most significantly they were no longer based in Detroit but had moved to LA with some rejiggling of artists on their roster. They were very aware of the power of their back catalogue and two of the tracks here were old favourites that scored chart hits the second time around due to public demand. There’s also a significant disparity between the UK and US markets with UK Motown beginning to release different tracks as singles to the US and chart placings for songs released internationally looking very different. In fact out of the 17 tracks on show here only two scored a Top 30 placing in both the UK and US markets.
Despite these changes in how the business was run the label was still very much relying on the stars from its golden sixties days to keep the Motown flag flying. Here really only The Commodores represented what could be seen as names that hadn’t been around since the previous decade. Two lead singers from hit-making groups Smokey Robinson and Eddie Kendricks also had solo tracks for consideration here, Eddie with great success at that time in his homeland but otherwise it was business as usual for artists such as Diana Ross (represented on a hefty six of tracks here), Stevie Wonder and Marvin Gaye.
Once again with these essential CDs it is important to know what tracks can be found on them so here you will find them listed with their highest chart position (UK/US) if released as a single and links if I have more information on the artist elsewhere on the blog. I’ll pick out a handful of tracks to give a flavour of what makes these CDs essential.

Track Listings

1. Diana Ross – All Of My Life (1974) (UK#9)

1974 was a great year for Diana Ross in the UK with six Top 40 hits thanks to solo tracks from her “Last Time I Saw Him” album, some shrewd marketing in pairing her with Marvin Gaye for an album and a Supremes hit from ten years before rebranded to put her name out in front. This track came from her 1973 album “Touch Me In The Morning” and was not released as a single in the US. This is one of those big sweeping pop ballads for which she became known for at this point in her career before disco kicked in for her she became once again more relevant as an R&B artist.  It’s a good track and we Brits liked it as it became her sixth UK Top 10 hit as a solo artist.

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2. Stevie Wonder – Higher Ground (1973) (UK#29, US#4)

3. Jackson 5 – Dancin’ Machine (1974) (US#2)

4. Diana Ross & Marvin Gaye – My Mistake Was To Love You (1974) (US#19)

5. Syreeta – Spinnin’ And Spinnin’ (1974) (UK#49)

An inexplicably low chart placing for this joyous song which just undulates gleefully with a lovely vocal performance.  Syreeta had certainly waited for her moment since joining the label as a receptionist in 1965, progressing to demo recordings for The Supremes and her own unsuccessful solo career as Rita Wright in the late 60s.  She was considered as a replacement for Diana Ross when she left The Supremes and was married to Stevie Wonder between 1970 and 1972.  Her ex re-launched her career in 1974 by producing an album for her and this classy composition was penned by the two of them.  It sounds like a Stevie song down to its almost fairground like ending.  Syreeta would go on to reach the upper sections of the singles chart with “Your Kiss Is Sweet” and the stately duet with Billy Preston “With You I’m Born Again” which was a translatlantic Top 5 hit in 1980.  These are three very different tracks but this is undoubtedly my favourite of hers.

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6. Eddie Kendricks – Keep On Truckin’ (1973) (UK#18, US#1)

Big things were expected when Temptations lead singer Kendricks began working on solo tracks.  Initially, not much happened but his voice was perfect for the developing disco scene and this Frank Wilson track made great use of his falsetto over a driving rhythm with a title which became a catch-phrase as the song ascended to the top of the US chart.  There’s more of the same with his US#2 follow-up “Boogie Down” on this CD but that doesn’t quite hold together as well as this track is which is dominated by that driving trucking beat and recalls some of the ground-breaking work Norman Whitfield had done with The Temptations.

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7. R. Dean Taylor – There’s A Ghost In My House (1974) (UK#3)

I always see this as a companion to The Four Tops’ “Seven Rooms Of Gloom”.  Canadian  R. Dean Taylor was a bit of an all-rounder and was signed to the label as a song-writer, producer and artist although this track recorded in 1967 has the Holland-Dozier-Holland stamp all over it.  Not at all successful on its first release this became a staple of the UK Northern Soul Scene and when re-released in 1974 gave Taylor a huge hit.  He was known to British audiences through his 1968 hit “Gotta See Jane” and three years before “Ghost” he had almost made number 1 (and a #5 US hit) with the country-flavoured “Indiana Wants Me”.  This was a very different sounding track and it has always been a big favourite of mine with a definite Four Tops feel and a theme which makes it an essential track for a Halloween party made creepy with the feel of those footsteps of the departed clumping around the house.

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There’s a ghost in his house!

8. Smokey Robinson – Just My Soul Responding (1974) (UK#35)

Another artist going it alone by 1974 was Smokey Robinson and a track from his debut album as a solo artist.  By this time Vice-President of the company Smokey has always been seen as the poet of the label through his song-writing achievements whereas Stevie Wonder is seen as the social commentator and Marvin Gaye as the visionary but all elements are combined with this odd but effective track for him which didn’t really do the business it could have been expected to do as an early solo track from one of Motown’s greats.  Beginning with a “Happy Birthday” refrain and Native American rhythms (written with Miracles band-mate Marvin Taplin) this focuses on life in the ghetto.  It’s the combination of Smokey’s wistful vocal and Indian style chants which is decidedly curious and lyrics like “too many roaches and not enough heat to keep my babies warm” makes this some distance away from “Tears Of A Clown”.

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9. Diana Ross – Last Time I Saw Him (1974) (UK#35, US#14)

10. Diana Ross & Marvin Gaye – You Are Everything (1974) (UK#5)

A fat bonus due to the person in the Motown offices who suggested this as an idea.  Marvin had previously been paired with great success with Mary Wells, Kim Weston and Tammi Terrell but an album of duets with the Queen of Motown was always going to be a huge commercial proposition.  The songs that made it bigger in the US were a little edgier but over here the big hit was a cover of the song that had been the first US Top 10 hit for the Stylistics three years before but had not charted in the UK but was a well-known song.  From its wheezy intro into Marvin’s spoken opening you just know it is going to go well and the song works perfectly as a duet.  It seems that things in the studio were not always as harmonious as they appear on vinyl and because of commitments and Diana being pregnant some tracks were recorded separately with the vocals being mixed together.  This is common practice with all those “featuring” tracks which litter the pop charts today but it seemed odd in 1974 that one of the all-time classic duet albums was recorded in this way.

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11. Stevie Wonder – He’s Misstra Know It All (1974) (UK#10)
12. Diana Ross & Supremes – Baby Love (1964) (UK#1,US#1) 1974 (UK#12)
13. Jimmy Ruffin – What Becomes Of The Brokenhearted (1966) (UK#8,US#7) 1974 (UK#4)

Both this and the preceding Supremes track show how loved the back-catalogue of Motown was in the mid 70’s with this re-release performing even better than it did the first time round.  This is not surprising as it is an all-time classic which fully deserved its Top 5 chart status.  Jimmy, older brother of Temptations lead David was always better received in the UK and this reissue became the 8th of his 11 Top 40 hits (in his homeland he scored four).  This is an exceptional song written by William Weatherspoon, Paul Riser and James Dean and Jimmy needed to do a bit of persuading to be allowed to record it as it was intended for The  (Motown/Detroit) Spinners.  Jimmy’s version flows beautifully which builds up the heartbreak.  A song which has survived many cover versions including a US hit for Paul Young and a UK one for Dave Stewart and Colin Blunstone  and inexplicably topping the charts for thespian songsters Robson and Jerome this is one of those songs that every artist tackling it should know that they are not going to surpass the original.

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14. Stevie Wonder – Living For The City (1973) (UK#15, US#8)

15. Diana Ross – Love Me (1974) (UK#38)
16. Eddie Kendricks – Boogie Down (1974) (UK#39, US#2)
17. Commodores – Machine Gun (1974) (UK#20, US#22)

A track to catch them out in pub quizzes up and down the country.  “Who recorded this song?” The debut hit from who would go on to become one of the top funk and soul acts of the 70’s with lead singer Lionel Richie going on to dominate charts in the 80s and well beyond with his brand of sophisticated pop is this zinging instrumental which did well on both sides of the Atlantic and was certainly not typical of the sound they came to be associated with.  It’s the clavinet which gives this its machine-gun feel, hence its title.  Motown were not known for its instrumental hits but rival label Philadelphia International had topped the US charts earlier in 1974 with MFSB and “TSOP” which showed the market was there.  This gave Motown the confidence to get behind the title track from the debut funk-filled album from their new signings, one of its two instrumental tracks.  It paid off as it introduced the group to the world.  In the US they followed it with a steady run of ballads and uptempo tracks although in the UK it would be take three years for them to get another Top 40 hit with “Easy” a classic track which really established the blueprint for what this group and its fledgling superstar lead singer was going to be all about.

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Motown Chartbusters Volume 9 is currently available in the UK from Amazon used from £1.95 and from $10.76 in the US.

100 Essential CDs – Number 88- Rock N Roll Love Songs

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Rock N Roll Love Songs (Dino 1990)

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The first in the series of what I believe to be two double CD sets was issued a year earlier than the equally essential “More Rock N Roll Love Songs“. Between them with their forty tracks apiece they have pretty much everything I might want to listen to in the world of rock n roll love songs with this one having the edge in terms of quality of the tracks. The follow-up had the odd track by British artists but here it is American all the way. Once again with these essential CDs it is important to know what tracks can be found on them so here you will find the tracks listed with their highest chart position (UK/US) if released as a single and links if I have more information on the artist elsewhere on the blog. I’ll pick out a handful of tracks to give a flavour for what makes these CDs essential.

Track Listings
CD1
1.Blue Velvet – Bobby Vinton (1963) (UK #2- 1990, US#1)
Kicking off this nostalgia-fest of 40 tracks is another artist who like The Righteous Brothers, Ben E King, Jackie Wilson amongst others had to wait decades before exposure on other media gave them a belated huge hit. Teen heartthrob Vinton had to wait twenty-seven years for his US chart-topper to almost do the same again in the UK. This was after being featured in a television advert and its earlier presence in the 1986 David Lynch film of the same name. The song itself heralded from a decade earlier when it was a Top 20 hit for crooner Tony Bennett. There’s a wistful, innocent approach from Vinton which still sounds good today. Vinton due to his family background became known as “The Polish Prince” and was a much bigger star than we remember today scoring 30 US Top 40 hits including three more number ones. His hit career in the US spanned from his first chart-topper “Roses Are Red” in 1962 to a cover of “Beer Barrel Polka” in 1975, having hits throughout the time UK artists were dominating the US charts. UK response to this artist was far more muted with only his first US chart-topper making the UK Top 30 until the re-release of this song.

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2. Will You Still Love Me Tomorrow- The Shirelles (1961) (UK#4, US#1)
Another group whose importance in the history of pop has been overshadowed by later acts such as The Supremes. They were highly influential to the myriad of girl groups who came after and this is perhaps the most influential girl-group track of all. Written by Gerry Goffin and Carole King this gem of a song was the second of the girls’ twelve US Top 40 hits and the first of their two number 1’s (Their second “Soldier Boy” was featured on “More Rock N Roll Love Songs“. This is their finest moment with the insecurity of teen love evident in Shirley Owens’ vocal.

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3. Only The Lonely- Roy Orbison (1960) (UK#1, US#2)
4. All I Have To Do Is Dream – Everly Brothers (1958) (UK#1, US#1)
5. Why Do Fools Fall In Love – Frankie Lymon & The Teenagers (1956) (UK#1, US #6)
This early Rock N Roll UK chart-topper was out of place in the company of fellow UK 1956 alumni Ronnie Hilton, Winifred Atwell, Doris Day and Anne Shelton. This was rare proof that music had moved on since the war years and must have been a disturbing listen for many tuning into the wireless as 13 year old Frankie’s rough-at-the-edges voice tore into this song written by himself in tandem with George Goldner. The Teenagers, an early example of a multi-racial group brought to Goldner a song called “Why Do Birds Sing So Gay?” which the producer and owner of Gee Records adapted to something he was working on. Singling out Lymon as composer led to later court action from other members of the group but it was not until 1992 after the release of this CD that they were credited, that was until a court order overturned the decision because it had taken too long to get to court. Lymon, himself of course, by this time was long dead (at the age of 25 from a heroin overdose). But back in 1956 this must have looked like a new beginning for music, the hope of a very youthful gifted and talented singer/songwriter leading a group of youngsters of African-American and Puerto Ricans. Their material after this was just not as good, despite the fabulous title of 1957’s “I’m Not A Juvenile Delinquent”. By the end of 1957 the hits had dried up.

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6. The Great Pretender – The Platters (1956) (UK#5, US#1)

7. Breaking Up Is Hard To Do– Neil Sedaka (1962) (UK#7, US#1)

8. Teenager In Love – Dion & The Belmonts (1959) (UK#28, US#5)

9. He’s So Fine – The Chiffons (1963) (UK#16, US#1)

10.Tears On My Pillow – Little Anthony & The Imperials (1958) (US#4)

11.Love Letters – Ketty Lester (1962) (UK#4, US#5)

This lady had a lovely voice, shame most people only heard it on this track which was a cover of a pop standard dating from the 1940’s.  Lack of subsequent success meant that she gave up singing professionally by the 1970’s and turned to acting, spending six years on “Little House On The Prairie” as Hester-Sue after which there was a gospel album in 1984 and nothing since then.  Still going strong at 84 this artist who was born Revoyda Frierson should have become a much bigger star.  For sophisticated pop at its best check out her 30 track “Greatest Hits” collection available on Spotify.

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12. Since I Don’t Have You – The Skyliners (1959) (US#12)

13.Raining In My Heart – Buddy Holly (1958) – Amazed to find out this was never an A-side single and so no chart positions.

14.Rhythm Of The Rain – Cascades (1963) – UK#5, US#3)

15.Venus- Frankie Avalon (1959) (UK#16, US#1)

16.It’s In His Kiss – Betty Everett (1964) (US#6, UK#34 -1968)

Also known as “The Shoop Shoop Song” this launched Mississippi born gospel vocalist Betty’s pop career.  It didn’t chart originally in the UK and a later single a duet with Jerry Butler fared one place better for her later on in 1964 in the US.  In 1964 there was little room in the UK charts for US acts and it wasn’t until Betty scored a 1968 Top 30 hit here with “Getting’ Mighty Crowded” that this song was re-released and achieved minimal chart action.  The most famous version of course is by Cher, who recorded it for her movie “Mermaids” and scored a small US Top 40 hit but topped the charts for the first time as a solo artist in the UK in 1991.  The best version remains the 1975  UK#6 hit for the hugely under-rated Linda Lewis who steams through the song with extraordinary energy and gusto and an incredible vocal performance.

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17. Hey Paul – Paul & Paula (1963) (UK#8,US#1)

18. Chapel Of Love – The Dixie Cups (1964) (UK#22, US#1)

19. Duke Of Earl – Gene Chandler (1962) (US#1)

20. Goodnight Sweetheart – The Spaniels (1954)

CD 2

1.Something’s Gotten Hold Of My Heart – Gene Pitney (1967) (UK#5)

2. Born Too Late – The Poni Tails (1958) (UK#5, US#7)

US one-hit wonders but did make the UK charts a year later with “Early To Bed”, proof that the 1950’s teenager was just growing up too soon drooling over an older boy who wouldn’t even look the way of Ohio trio Toni Cistone, Karen Topinka and Patti McCabe.  This was originally a B-side to a track called “Come On Johnny Dance With Me” which has been long forgotten.  Not this track, which regularly turns up as a perfect illustration of the adolescent experience.  To modern ears there’s something a little creepy about the whole set-up here.

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3. To Know Him Is To Love Him – The Teddy Bears (1958) (UK#2, US#1)

Talking about creepy, this must be one of the only songs based on the epitaph of a headstone in this case the father of song composer and Teddy Bear member Phil Spector, sorry if you didn’t know this because now that you do it will always make this sound a little macabre which might be a fitting opening to the Phil Spector story which has more than its fair share of disturbing moments.  There’s sweetness and darkness in this track, which is a heady combination indeed.

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Phil Spector is on the left

 

4. The Wanderer – Dion (1961) (UK#10, US#2)

By 1961 Dion had lost his Belmonts and was going it alone which gave him his only appearance in the UK Top 10 (and was also a reissued #16 hit in 1976).  In his homeland it stalled at number 2 whereas his previous hit, the inferior “Runaround Sue” had given him his only chart-topper.  An early mention of the tattoo in a pop song I’ve always liked the lines “I tear open my shirt I’ve got Rosie on my chest”.  Well, I’ve always assumed it was a tattoo, I suppose poor old Dion could have been suffering from scarlet fever!

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5. Poetry In Motion – Johnny Tillotson (1960) (UK#1,US#2)

6. Donna- Ritchie Valens (1958) (UK#29, US#2)

7. Singing The Blues – Guy Mitchell (1956) (UK#1, US#1)

8. Oh! Carol – Neil Sedaka (1959) (UK#3, US#9)

Sedaka’s second hit on both sides of the Atlantic (different songs charted for his debut chart appearance), this was really the song which established this New Yorker singer/songwriter on a track composed alongside long time collaborator Howard Greenfield. It launched a chart career in the US which lasted into the 1980’s and led to songs written for many other artists. When there were quiet times he focused on different markets, scoring an Australian number 1 after a lean period at home and for a time made his home in the UK when he signed to Elton John’s Rocket label. In 1972 a reissue of this track saw him back in the UK Top 20. Dedicated to his old high school girlfriend Carole King, this was a result of Sedaka carefully analysing what made a hit record when it looked like he was about to be dropped by his record label for not delivering hits. Now entering his 80’s he is still going strong.

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9. I’m Sorry – Brenda Lee (1960) (UK#12, US#1)

10. Sealed With A Kiss- Bryan Hyland (1962) (UK#3, US#3)

11. True Love Ways – Buddy Holly (1960) (UK#25)

12. Diana – Paul Anka (1957) (UK#1, US#1)

One of the great scene-setting opening couplets in popular music “I’m so young and you’re so old/This my darling I’ve been told”. Anka is here lusting over a cougar in this his debut hit which unsurprisingly livened up staid old 1957 by topping the charts on both sides of the Atlantic. Canadian Anka, like Sedaka, then set off on a chart career which lasted decades and as a songwriter he is versatile and impressive. He must have made a fortune by penning the English lyrics to “My Way” and was still on the charts as late as 2014 as a composition he had penned with Michael Jackson back in the 80’s “Love Never Felt So Good” became a posthumous duet hit with Justin Timberlake. Certainly not afraid to take risks (have you heard his swing version of Nirvana’s “Smells Like Teen Spirit”?) Anka is another of those artists whose importance in the history of popular music has been under-stated and this is the track which started everything off.

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13. The End Of The World – Skeeter Davis (1963) (UK#18, US#2)

14. Just Walking In The Rain – Johnny Ray (1956) (UK#1, US#2)

Ray’s highly emotive drama-laden vocal style led to a raft of nicknames my favourite of which is “The Nabob Of Sob”. Pretty much almost forgotten now but really induced mass hysteria in his early days from adoring fans and was a much bigger star in the UK than in his homeland. He made hearing aids cool decades before Morrissey. This was his first US hit but he had already notched up a massive 14 Top 20 UK hits by the time this, his second UK number 1 was released. By the dawn of the 60’s the chart career was over, rumours about his sexuality undoubtedly damaged his career in the US.

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15. It’s My Party – Lesley Gore (1963) (UK#9, US#1)

Another artist whose career probably suffered because of sexuality, Gore found it hard to live up to the jilted teenager looking for a boy to love as set out in this debut hit. A classic song which even today you can’t listen to without feeling outrage towards Johnny and Judy for doing this at Lesley’s party. There’s a sense of relief when you know that her follow-up US hit was “Judy’s Turn To Cry”- she soon got what she deserved! It started off a string of hits which went on to the mid 60’s although in the UK she only bothered the charts on one more occasion. In the 80’s she got an Oscar nomination for her song-writing work on the “Fame” movie soundtrack and after coming out as a lesbian in 2005 (not a surprise to anyone who knew her as she never hid her sexuality) she became something of an ambassador for LGBTQ issues in the US until her death in 2015 leaving behind her partner Lois who she had been with for 33 years.

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16. Only You- The Platters (1955) (UK#5, US#5) – In the UK this was a double A sided track with “The Great Pretender” also on this CD.

17. It’s All In The Game – Tommy Edwards (1958) (UK#1,US#1)

18. When Will I Be Loved – Everly Brothers (1960) (UK#4, US#8)

19. Baby It’s You – The Shirelles (1962) (US#8)

20. It’s Over – Roy Orbison (1964) (UK#1, US#9)

And as Roy hits that last dramatic note it is indeed over but here are 40 classics of the late 50’s and early 60’s. The tracks tend to be a little earlier than those on the also essential follow-up “More Rock N Roll Love Songs” and as they were the first pick of the bunch maybe just a little more predictable choices, the songs you might expect to hear on such a compilation but then that is also because so many of them are classics that have stood the test of time. A number of these tracks are over 60 years old for goodness sake! I try to put that into context sometimes, when I was a kid growing up in the 70’s it is like listening to music from the 1910’s which nobody did in those days!

Rock N Roll Love Songs is currently available on Amazon in the UK for £4.63 new and from £0.67 used. It can be downloaded for £7.99

100 Essential CDs – Number 89- Various Artists – Chilled Disco

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Chilled Disco – Various Artists (Smart 2002)

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I picked up this 16 track double CD from a bargain bin in my local Asda Supermarket not too long after its release.  It is very sparse in information about the tracks but for me it was a bit of a gem of a find and I have played it so many times over the years.  It’s not been given that many favours, the dearth of information, the anonymous labelling (I can find out nothing about the Smart record label, I’m assuming it was British but I’m not sure) and the title is certainly wrong – subtitled “16 Mellow Disco Classics” is misleading to say the least.  Luckily, at the time I recognised this for what it was, 16 tracks licensed from the Salsoul label coming from the 1970’s and early 80’s and up there amongst the most thrilling disco club hits of all time.

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Salsoul was a New York City label originally releasing Latin Music but when Disco hit big signed on a number of artists.  Central to the label was the house orchestra who provided the musical backing on many of these tracks and who rivalled MFSB from Philadelphia International Records.  In fact, a number of the key players of the Salsoul Orchestra were lifted from MFSB as they had become disillusioned by what was going on over at the Philly label at the time.  Salsoul were there from the early days of disco with the Orchestra producing with their debut album one of the all-time classics of the genre and scoring a 1976 Pop Top 20 hit with a sublime reworking of the standard “Tangerine”.  When disco went underground DJ’s were still heavily featuring tunes from this label and remixing and re-editing and given them a whole new lease of life.  Producers/DJ’s such as Walter Gibbons, Larry Levan and Tom Moulton extended and revitalised the original songs and when sampling came in, many a Salsoul sample was used on countless club tracks.  It’s not totally clear on this album what you are actually listening to, the original album or single release or a later remixed version.  I don’t think it matters too much and certainly doesn’t mar the enjoyment as far as the music is concerned.  Those of us who like to know exactly what they are listening to might get a little antsy.  In fact, a number of the remixed tracks have become the standard versions of these releases and were re-issued by Salsoul when the label had a resurgence within a couple of years after the release of this particular CD.

As always with these various artists CDs I will  list the tracks together with their highest pop chart position (UK/US) if relevant and l will pick out a handful of songs to give a flavour of what makes these CDs essential.

Track Listings

CD1

1.Hit And Run – Loleatta Holloway

2. I Got My Mind Made Up- Instant Funk (UK#46, US#20- 1979)

3. Dreaming- Loleatta Holloway

4. Let No Man Put Asunder – First Choice

5. Dr Love – First Choice – This girl group trio made it big in the very early days of disco with “Armed and Extremely Dangerous” and “Smarty Pants” on the Philly Groove Label scoring two UK Top 20 hits in 1973.  They label hopped from Gold Mine and Warner Bros making great tracks on the way before moving to Salsoul Both lead singer Rochelle Fleming and Annette Guest lasted the duration of the group with the third member tending to come an go.  At this point it was Ursula Herring. This and the above track first appeared on their 1977 Gold Mine album “Delusions” produced by Salsoul leading light Norman Harris.  In their original incarnation they lasted 5mins 17 and 4 mins 28 respectively.  These remix versions which have become associated with the Salsoul label clock in at 7min 35 and 8 min 03 so there has been some serious extending going on. I believe these first appeared as Salsoul twelve-inchers around 1983. In this format “Let No Man Put Asunder” (later covered by Mary J Blige and sampled by other artists) does go on too long and becomes annoying but this infectious girl group stormer works very well.  How can you resist a song that begins “He’s got the potions and the motions.”!salsoul2

6. Ten Percent – Double Exposure – If anything proves the title to these CDs is wrong it is this track which is about as far away as chilled disco and mellow music as you can get, a real barnstormer of a track which combines a male group vocal track with some really exhilarating orchestration which really gallops away.  You can’t help think if this was recorded by one of the higher profile male vocal groups such as Trammps, Harold Melvin and The Bluenotes or Tavares that this could have been a huge hit.  This group had been around since the early 60’s with finding much success and their stint at Salsoul should have changed that as they had at least another great track in “Every Man (Should Carry His Own Weight)” which was heavily sampled for M&S Presents The Girl Next Door’s UK#6 hit “Salsoul Nugget” in 2000. Here I’m pretty sure we’ve got the percussion-laden Walter Gibbons remix which comes in at nine minutes and its a great disco track.  And in its “10% of something is better than 100% of nothing at all” hookline there’s maths as well!
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7. This Will Be A Night To Remember – Eddie Holman – Eddie’s falsetto masterclass “Hey There Lonely Girl” reached number 2 in the US in 1970 but had to wait four years until it became a surprise #4 hit in 1974.  The novelty value of his extraordinary vocal ability consigned him to one hit wonder status but this track certainly should have done the trick for him when it was released by Salsoul in 1977.  Eddie’s voice is not the whole focus here, there’s great orchestration and really dramatic piano flourishes throughout which makes the whole thing a thrilling enterprise.

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8.Helplessly – Moment Of Truth – Another epic track with a soulful male vocal reminiscent of David Ruffin over female backing singers, a track which drives along as the lead vocal becomes increasingly anguished.  Surprisingly for such a great soul performance this was also popular as an instrumental, but here you get the 6 min 25 vocal version.

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CD 2

1.Ain’t No Mountain High Enough – Inner Life – I’m pretty sure that, despite the lack of information to confirm this what we have as the opener to this second CD is the Larry Levan remix of this song .  I’m basing this on the fact that the original 1981 twelve inch single release was 7 mins 32 in length and this is 10.28.  It starts off very stripped back with some gospel wailing from Jocelyn Brown until some big percussion (is it kettle drums?) cuts through and then its into the Ashford and Simpson song most famous for its version by Diana Ross.  Jocelyn Brown is a phenonomenal singer who became a UK chart regular in the 80’s and (especially) the 90’s when she helped Incognito, Right Said Fred, Kym Mazelle, Todd Terry and Martha Wash have Top 20 hits as well as having a run of hits as a solo artist including this track which she revived in 1998 and got to number 35.  This is an opus of orchestration, synthesizers and great vocals.

salsoul6Jocelyn Brown

 

2.Love Sensation – Loleatta Holloway- Certainly up there as the most sampled voice of all time, this is Loleatta’s third appearance on this album and it is her best.  A huge voice incredibly recognisable as almost every line she sings here was lifted and used elsewhere  in the late 80’s and early 90’s, most prominently in Italo-House classic and UK#1 single “Ride On Time” by Black Box, which I should feel outraged by but I was familiar with the Black Box track before I heard this and what they did with their reinvention of the track was nothing short of genius, one of my favourite singles which surpasses this already impressive original.  The most outrageous thing about Black Box was their passing off that wispy French model Katrin Quinol was the possessor of this incredible voice and for a short time we bought it.  Legal proceedings followed and Loleatta rightfully acknowledged as the singer.  Written and produced by Dan Hartman, this is another of his big disco epics, like “Relight My Fire”, “Countdown/This Is It” and “Instant Replay”.  This man could really do disco on a big scale and he certainly had a big vocal performance in Loleatta.  Despite limited success in the peak of the disco era Loleatta would find belated fame in the dance music revival of the early 90’s where either her, the aforementioned Jocely Brown or Martha Wash would be the go-to girl for big vocals.  She got a credited Top 20 hit with Marky Mark with “Good Vibrations”and with Cevin Fisher in “(You Got Me) Burnin’ Up” and was great on a UK#23 cover of the Style Council’s “Shout To The Top” as part of Fire Island in 1998.  She passed away in 2011 aged 64.

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3.Just As Long As I Got You – Love Committee

4. The Beat Goes On And On – Ripple

5. Jingo – Candido (UK#55- 1981) A cover of this track reached #12 UK in 1987 for Jellybean.

6. Ooh I Love It (Love Break)The Salsoul Orchestra

7. Love Is You – Carol Williams – A delightful track by a vocalist with the warmth of Gloria Gaynor amidst a striking vocal arrangement (at one point there’s a flourish which is reminiscent of the theme from “Wonder Woman”) and enough hooks to keep later samplers happy.  Most noticeably this track was used in the 2000 UK number 1 hit by Spiller “Groovejet (If This Ain’t Love)” which had a lead vocal from Sophie Ellis-Bextor.  Sophie’s latest album “The Song Diaries” (2009) features orchestral reworkings of her greatest hits and she covers this Carol Williams original to good effect.  Carol was the first female singer signed to Salsoul and even though there was only one album she is still apparently performing still.

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8. Nice And Naasty – The Salsoul Orchestra – (US#30- 1976) The mastermind behind the last three tracks and behind the whole Salsoul Orchestra project was Vince Montana Jnr, percussionist and vibraphone player, producer and composer and one of the most important figures of the Disco era.  This was the title track of the Orchestra’s second album and combines the musical sweep of their productions with a funky little bass-line reminiscent of the theme from “Peter Gunn” and sassy unison female vocals which keep it just on the right side of tacky.  There’s a spirited sax solo and although it’s not the best thing that outfit did it’s always a great listen and leaves me with a smile on my face.

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Chilled Disco is currently available from Amazon in the UK for £4.39 and used from £1.04.  It provides an excellent introduction to the Salsoul label at a bargain price.  There are many other more official, better packaged CDs available.  The thirty track Salsoul 30th Anniversary compilation would be a strong choice (currently £15.82 on Amazon).

100 Essential CDs- Number 99 – Various Artists – More Rock N Roll Love Songs

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More Rock N Roll Love Songs (Dino 1991)

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With the run down of A-Z artists complete on my 100 Essential CD lists there are still 14 spaces.  These are for the various artists compilations I play the most.  With these it is important to know what tracks can be found on the CD so here you will find them listed with their highest chart position (UK/US) if released as a single and links if I have more information on the artist elsewhere on the blog.  I’ll pick out a handful of tracks to give a flavour of what makes these CDs essential.

Sat at 99 is a double CD released in 1991 on the Dino Label with forty tracks largely by American artists.  These are the big names that dominated the charts in the late 50’s and early 60’s before the British Invasion and the Beatles ended most of their careers.  There’s a few that don’t quite fit into the category.  Title-wise its also a tad misleading as its broader than it suggests with my favourite tracks being those who fit more into the doo-wop and girl group categories.  There are some rock n roll classics in there as well.  There are many compilations which focus on this era including the very successful “Dreamboats And Petticoats” series but for me this mini-series which was preceded by Rock N Roll Love Songs has just about everything to give me a blast of nostalgia some dating  from before I was born and where the world seemed a much simpler place.

Track Listings 

CD1

1.Unchained Melody – Righteous Brothers (1965) (UK #1- 1990, US#4) – The CD kicks off with one of the most successful chart songs of all time.  Back in 1965 the “Brothers” Bill Medley and Bobby Hatfield got to a middling #14 in the UK as the follow-up to their anthemic “You’ve Lost That Loving Feeling.”.  The song had previously been a number 2 1955 hit for Al Hibbler (US#3) and had reached the UK Top spot the same year for future mum’s favourite DJ Jimmy Young.  So a familiar song choice which might have explained why it under-achieved first time round.  The quality of the vocal performance here lingered and when Al and Jimmy’s version had been long forgotten the Righteous Brothers were deemed the perfect addition to the 1990 movie “Ghost” which explains its resurgence and the number 1 UK placing 25 years after its release.  The song had originally started off in a long-forgotten movie “Unchained” (hence the title which is not referenced in the lyrics) but after its Swayze/Moore association it has eased itself into the canon of popular music standards and has since topped the UK charts two more times  for musical thespians Robson and Jerome and Pop Idol runner-up Gareth Gates.  The Righteous Brothers have the definitive version.  It’s one of their best tracks (but not their best as the bombastic “Lovin’ Feeling” and “Ebb Tide” both do more for me.)

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2. Dream Lover – Bobby Darin (1959) (UK#1, US#2)

3. Bye Bye Love – Everly Brothers (1957) (UK#4,US#2)

4. Everyday – Buddy Holly (1957)

5. Then I Kissed Her – Beach Boys (1967) (UK#4)

6. One Fine Day – The Chiffons (1963) (UK#29, US#5)- These girls were good.  Three hit singles in the UK and each one of them was a first-class representation of the girl group sound and yet they are largely forgotten today.  Here on this Gerry Goffin/Carole King composition they are probably at their very best.  There’s also great piano work from Carole King herself in evidence here.   The Chiffons were four girls from The Bronx, Judy Craig, Sylvia Peterson, Patricia Bennett and Barbara Lee and became one of the biggest acts on the Laurie label.  During their hit period the girls were plagued with the financial problems which beset many of the artists of the era.  Probably best known now as being the subject of a court case when George Harrison was found guilty of plagiarizing their US chart-topper “He’s So Fine” for “My Sweet Lord” in a bizarre sound-alike scenario (to me there are so many songs that sound far more identical than these two did to one another that got away with it).

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7. Three Steps To Heaven – Eddie Cochran  (1960) (UK#1) If taken literally this is rather a morbid choice for a UK posthumous single released less than a month after his death aged 21 killed in a car crash in a taxi coming back from a show at The Hippodrome Theatre in Bristol.  The heaven Cochran aspires to here in his self-composed song is getting a girl to love him rather than the pearly gates itself.  For someone who grew up with the number 2 1975 version from Showaddywaddy it is surprising to hear just how good the vocal performance on the Cochran original is.  Who knows what he would have gone on to achieve?  In the UK this was his fifth UK Top 30 hit.  His last singles chart appearance was in 1988 with a re-issue of another of his biggest hits “C’mon Everybody”.

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8. Under The BoardwalkThe Drifters (1964) (US#4)

9. Sweet Nothin’s – Brenda Lee (1960) (UK#4, US#4)

10. Stand By Me- Ben E King (1960) (UK#1 (1987), US#4)

11. Blue Moon – The Marcels (1961) (UK#1, US#1) – Certainly not unique in being a young doo-wop group adopting a song from a previous generation, in fact there are a few more examples of this on these CDs.  This Pittsburgh group certainly hit the big time with a version of a Rogers and Hart standard which dated from 1934, but it is impossible to hear subsequent versions without being aware of the Marcels (a group named after the hairstyle The Marcel Wave) and the thrilling doo-wop vocal arrangement from the very first notes of the bass voice Fred Johnson.  There’s a great lead vocal courtesy of Cornelius Harp which helped it top charts on both sides of the Atlantic for Colpix Records.  That familiar introduction was largely lifted from the group’s cover of “Zoom” by The Cadillacs.  In the spring of 1961 it really looked like The Marcels had arrived.  They continued to mine the hits of the past and scored one more US Top 10 hit with another song from the 1930’s “Heartaches”. In the UK only their version of Gershwin’s “Summertime” made any impression but they continued with “That Old Black Magic”, “Over The Rainbow” “My Melancholy Baby” until their original takes began to seem hackneyed and which overshadowed songs especially written for the group.  By the time the Beatles came along the Doo-wop craze had passed by.

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12. Leader Of The Pack – Shangri-Las (1964) (UK#3 (1972) US#1)

13. Smoke Gets In Your Eyes – The Platters (1958) (UK#1,US#1) – Another mining of the Great American Songbook The Platters turned Jerome Kern’s 1933 song into an absolute tour-de-force.  This was largely because of lead vocalist Tony William’s outstanding tenor.  A group unusual in its time as it featured both male vocalists and a female Zola Taylor, who was married to lead “Teenager” Frankie Lymon which resulted in court action concerning his estate following his early death.  The Platters were there at the start of the rock n roll boom as they appeared with Bill Haley in the game-changing movie “Rock Around The Clock.”  This track was their only UK and last of their four US number 1’s and perhaps only overshadowed by their “The Great Pretender”.

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14. Little Darlin’ – The Diamonds (1957) (UK#3, US#2)

15. Who’s Sorry Now – Connie Francis (1958) (UK#1, US#4)

16. I’m Gonna Be Strong – Gene Pitney (1964) (UK#2,US#9)

17. It’s Only Make Believe – Conway Twitty (1958) (UK#1,US#1)

18. Dedicated To The One I Love – The Shirelles (1961) (US#3)

19. Come Go With Me – The Del Vikings (1957) (US#4)

20. I Only Have Eyes For You – The Flamingos (1959) (US#11)

CD2

1.That’ll Be The Day – Buddy Holly (1957) (US#1)

2. Runaway – Del Shannon (1961)  (UK#1, US#1)

3. Only Sixteen – Craig Douglas (1959) (UK#1)

4. Blueberry Hill – Fats Domino (1956) (UK#6,US#2)

5. Save The Last Dance For MeThe Drifters (1960) (UK#2, US#1)

6. Crying In The Rain – Everly Brothers (1962) (UK#6, US#6)

7. My Boyfriend’s Back – The Angels (1963) (US#1) – This girl-group classic topped the American charts but only attracted lowly sales in the UK.  The song speaks to the teenager in all of us and seems almost as relevant today in the world of internet trolls.  Somebody’s been scorned and bad-mouthing and when the boyfriend returns there is going to be trouble as he aims to save his girl’s reputation.  It’s fascinating in that it’s only half the story- we are never sure if the girlfriend is completely blameless (I’ve always suspected not).  There’s great handclaps a good lead vocal from Peggy Santiglia  and a hey-la hey-la refrain which always makes this a great listen.  The Angels never bothered the UK charts but this trio from Orange, New Jersey scored four Top 40 hits in total in their homeland and disbanded in 1967.

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8. Sea Of Love – Phil Phillips & The Twilights (1959) (US#2)

9. Come Softly To Me  The Fleetwoods (1959) (UK #6, US#1)

10.When A Man Loves A Woman – Percy Sledge (1966) (UK#2 (1987) US#1) Later than most of the tracks on this collection it fits in because it was another track (like the Righteous Brothers and Ben E King) which became revitalised in the mid 80’s UK nostalgia boom.  This had done better the first time round than the other tracks as in the year of its release it topped the US charts and got to number 4 in the UK.  It was a television ad for Levi’s jeans which reignited Percy’s career over 20 years after its release.  He reached the Top 40 four more times in his homeland and once in the UK.  He continued to record and perform live and died in 2015.

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11. Halfway To Paradise – Billy Fury (1961) (UK#3)

12. ‘Til I Kissed You – Everly Brothers (1959)(UK#2, US#4)

13. Remember (Walkin’ In The Sand) – The Shangri-Las (1964) (UK#14, US#5) – Both of the Shangri-La’s UK hits are featured on “More Rock N’ Roll Love Songs” and this one is absolutely bonkers.  The emotions are cranked up to breaking point,   the anguish about the death of “The Leader Of The Pack” seems quite tame in comparison to this overblown track which never seems sure which song it wants to settle into.  The Shangri-Las sound had a street toughness which has made their reputation resonate over the decades.  Two sets of sisters The Weiss’ and identical twins The Gansers from Queens New York knew how to do melodrama.  It doesn’t end there.  If you like these two tracks “Past Present And Future” “I Can Never Go Home Anymore” and “Give Him A Great Big Kiss” are certainly on a par with what we have on show here.

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14. Twenty-Four Hours From Tulsa -Gene Pitney (1963) (UK#5,US#17) I grew up with this record.  It was one of a handful of singles we had at home until I started to use up all my pocket-money on seven inch vinyl in the mid 70s and may have even been my introduction to the work of Burt Bacharach and Hal David.  I love the story behind this song of the man who can “never go home again” due to a dalliance en-route.  Gene Pitney is never better than he is on this, even a version by the legendary Dusty Springfield which made it onto her essential “Silver Collection” pales by comparison.

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15. The Single Girl – Sandy Posey (1966) (UK#15, US#12)

16. Zing Went The Strings Of My Heart – The Coasters (1958)

17. Stupid Cupid – Connie Francis (1958) (US#14)

18. Johnny Remember Me – John Leyton (1961) (UK#1)- John Leyton was a young British heartthrob actor who someone had the good idea (and it would happen again and again over the decades) to make him a recording star.  A TV acting part as a pop singer helped as it meant that the song could be performed on the show. Mad genius producer Joe Meek was at the helm and it was written by Geoff Goddard, a regular Meek collaborator and this chilling track which combined a galloping rhythm with a haunting disembodied female voice topped the UK charts even though it was banned by the BBC at the time.  Four more Top 30 hits followed and he can be seen cropping up in films in the period.  He kept up with the music and was continuing to perform as he approached his eighties. In one of the more bizarre song combinations of all time Bronski Beat and Marc Almond teamed it with Donna Summer’s “I Feel Love” and “Love To Love You Baby” and got to number 3 in 1985.

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19. Soldier Boy – The Shirelles (1962) (UK#23, US#1)

20. I Never Loved A Man (The Way I Love You) – Aretha Franklin (1967) (US#9) – Far be it for me to question the great Aretha Franklin’s presence on any compilation but this does seem a little out of place here.  1967 seems a long way from 1957 and the tracks by The Everly Brothers and Buddy Holly.  This blistering soul performance makes it feel very much of the next generation from the one represented here on the other 39 songs.

So forty tracks eleven of which topped the charts in either the UK or the US and even though if not always to my taste there really isn’t a filler track here.  This makes it an essential CD release which I play regularly when I want to sing along to tracks from a more innocent time.

More Rock N Roll Love Songs is currently available from Amazon in the UK for £5.49 new and from £0.67 used.

100 Essential CDs – Number 58– Will Young – The Hits

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The Hits – Will Young (19 2009)
UK Chart Position – 7

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It might seem odd to those of you who have been following my Essential CD recommendations that this particular artist has three albums within the listing putting him on a par with some real Titans of popular music when he can be considered as just  a singer coming from a TV talent show who hasn’t so far achieved the worldwide success of some who followed this route and doesn’t possess the big voice, big image or formidable creative talent that those who appear more than once on my Essential CD recommendations tend to have. So, the question may very well be: Why do I like Will Young so much to feature three of his albums on my list?
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First and foremost it’s the voice which has a warmth and sincerity which makes every listen an enjoyable experience. It’s also his unwillingness to compromise in an industry full of compromises. I believe both in his music and his belief in it. He chose a route to stardom which could have placed him very much into a pop puppet role but he has managed to forge his own identity in a way in which others that have come after him have failed to consistently do. As much as his music, however, it is what Will Young stands for and his decision to come out at the height of his fame within a market which was aimed towards young girls who would consume his music with the hope that one day they could be Mrs Will Young.

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It’s easy to forget, now that the world has moved on as much as it has because of people like Will what a decision this was. It happened right at the start of his career when his debut single “Evergreen” was at the top of the charts with an interview given to the News Of The World. This kind of revelation had largely been to this point as a result of “outing” by the press who couldn’t help but resort to sniping and bringing in “gay shame” and “twilight worlds” and “double lives” From the same section of the pop industry Boyzone member Stephen Gateley had largely been coerced to come out as the story was going to be run by the tabloid press anyway, and he had the other band members as support rather than being a solo artist. Will’s response was refreshing, telling a major newspaper not known for its tolerance of alternative lifestyles; “For me it’s normal and nothing to be ashamed about. I’m gay and I’m comfortable with that. I really don’t know what the fuss is about.” And with this statement the world shifted a little bit.

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The BBC News website had a forum as to whether readers thought this announcement would affect Will’s career. It makes interesting reading 17 years on. Just a couple of snippets; Rachel from the UK said “Keep buying his records everyone; let’s keep him at number 1 because he certainly is!!” Johnny G from Leicestershire made an attempt at a prophecy “Now he’s had his number one I give him precisely three more weeks of fame before his second follow-up single fails to make the top 40 and he is forgotten forever.” Erik gave a viewpoint from South Africa “Hello people wake up! Grow up and get with it. Reading some peoples comments on issues like that makes me often wonder, with what people really concern themselves.” Julia saw herself as a representative for the “young disappointed female fans” which are mentioned frequently with her comment; “Girls buy all the records and girls don’t fancy gay men. Boy George was an exception just because we liked his makeup”. (I love that one!) There are the inevitable “I’m not homophobic but….” This was a big comment board and the gist of it was that people didn’t think it mattered one way or another which must have been an eye-opener for the popular press who certainly at that point considered it did matter and also the record industry itself who was all for keeping gay artists in the closet in case it damaged their sales. There were more voluntary revelations rather than forced outings in the years to come.  Even the more conservative America where it seemed to matter a great deal caught up when a decade after Will’s announcement Adam Lambert, best known here as some-time front-man for Queen became the first out gay artist to top the US album charts.  Now, at long last, within mainstream pop music at least, we seem to be at the point that it doesn’t matter and recording artists are free to make statements regarding their sexuality without the media furore it would have traditionally caused and I think we have Will Young in the UK to thank for this.

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Not everything has been golden for Will, he has made some decisions which were a little off, most particularly his decision to do “Strictly Come Dancing” and then pulling out after what seemed like a hissy fit over comments made by Head Judge Len Goodman, the circumstances of which as reported by the popular press did make him seem that he just wasn’t going to play if he wasn’t going to win. Not all his acting roles have made the impression anticipated, although he certainly won critical plaudits for a role which seems perfect for him in stage productions of “Cabaret” playing the part made famous in the movie by Joel Gray.

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As a vocalist he has provided me with enough joy that he deserves a greatest hits package on my Essential CD listing alongside his first two studio albums “From Now On” and “Friday’s Child”. I have gone for his first hits compilation from 2009 released after his first four studio albums and which reached number 7 in the UK charts. I probably could have just as easily gone for the later 2013 “The Essential” which reached number 15  but I don’t own that one. That was a parting of the ways compilation with his record label. “The Hits” is better for me in that it is a mid-career retrospective. It says things have been good for the past seven years but there is still good stuff to come.

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Obviously there is going to be an overlap with the first two albums which had been rich in hits so I’m largely discounting the first six tracks which I have dealt with elsewhere. That still leaves us with six tracks spread evenly between “Keep On” and 2008’s “Let It Go” together with the hit collection staple, the two new bonus tracks one of which was released as a single. That track “Hopes And Fears” became his least successful single to date and did not trouble the UK Top 40.  It isn’t exactly vintage Young written by two members of Phantom Limb who supported him on tour.  The other original track “If It Hadn’t Been For Love” which has Will in his tender, vulnerable mood and has a great opening line “Romeo would still be breathing/If it hadn’t been for love“.  Obviously it was decreed that a more uptempo single was a stronger choice to launch this album, but for me this is the better of the two tracks.

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There are some notable omissions on this album.  It seems strange that someone would put out a Hits compilation and not include songs which reached number 1, but that probably would have  given an undue bias to the earlier stages of his career so on this album there is no “Long and Winding Road” his chart-topping duet with Gareth Gates nor one side of the multi-million selling debut double A-sided single, the very likeable “Anything Is Possible” .  His 2002 number 2 double A-sided single is also represented by one track the stronger “You And I” rather than “Don’t Let Me Down”.

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Studio album number three “Keep On” kicks off with perhaps his rockiest track to date 2005’s “Switch It On” which got to number 5 which showed his willingness to diversify but it is a little one-dimensional to me, despite some good rhythm work.  I feel more at home with the other tracks chosen from this album the deliciously tender “All Time Love” which as a single got him back into the Top 3 for the last time to date.  A song rich in melody with a convincing performance could still charm the British singles buying audience in 2006.  Just as good is “Who Am I” which once again brings back the songwriting skills of Eg White who wrote his best track “Leave Right Now”.  This is written in collaboration with singer/songwriter Lucie Silvas, an under-rated performer in her own right.  As the third single release from this album it perhaps was too much to expect this to be a vast hit but it actually became the first Will Young single not to make the Top 10 when it stalled at number 11 but that is certainly not a reflection of the quality of the track.

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2008’s “Let It Go” has three tracks selected for this album the mid-tempo gem that is “Changes” which boasts a great build into the chorus and is full of a stirring optimism with a great vocal performance.  It was the hit track of the album and reached number 10 as the lead single. I really don’t know what happened with the other two single releases from this album as they both underachieved with “Grace” getting a number 33 placing and the title track missing out on the Top 40 for the first time in his career.

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Following the release of this album fans responded very positively a couple of years later when 2011’s “Echoes” gave him his third number 1 album despite not being as strong as what had gone before.  This feat was achieved again with his latest album “85 Percent Proof”  released on the Island label.

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And just this week the announcement was made that Will was back with a new single, with another of his top  quality stylish videos which have been so much a part of his career, once again not one to shy away from the controversial Will adopts a series of disguises, a sailor, a biker, a businessman which might make it sound like a twenty-first century Village People but it’s not tacky even though within each of these disguises he strips!  The single “All The Songs” will be his first release on the Cooking Vinyl label and will be followed by album number 7 “Lexicon” due in June which should I imagine see him back in the upper reaches  of the charts.  In the meantime he has been involved in an impressive podcast, which actually got me listening to podcasts, “Homosapien” which he presents with Chris Sweeney.  Not bad for a boy from a talent show who many predicted would be a five minute wonder, eh?

 

The Hits is currently available from Amazon in the UK for£2.75 and used from £0.20.  In the US Amazon have it for $11.98 and used from $1.08.  In the UK it is available to stream from Spotify.

 

 

100 Essential CDs – Number 54– Will Young – Friday’s Child

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Friday’s Child – Will Young (19 2003)

UK Chart Position – 1

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Just over a year on from his essential debut album “From Now On” Will Young was back with an album that was every bit as good.  Once again it ascended to the very summit of the charts and hung around for almost a year.  Single-wise it spawned three Top 5 tracks including his fourth (and to date his last) number 1 with perhaps his best ever recording.

 Although at this time he was still on Simon Fuller’s record label the boy had certainly grown up.  Success had given Will a voice and more independence to do what he wanted and this showed as musically this is a more coherent piece than the debut.  There was a new gang on board with Will getting writing credits on 6 of the 11 tracks.  There were a team of producers behind Stephen Lipson, a long-standing established producer who had worked alongside Trevor Horn for years at ZTT records.  Lipson worked either individually or part of a team for 8 of the 11 songs here.

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Producer Stephen Lipson at the desk

 The album kicks off with its only cover version.  To this point Will had followed the commercial popstars 90’s/00’s trajectory of recording a number of cover versions (this seems to have faded nowadays.  Who needs covers  with the originals so readily available on streaming services?)  To this point he had already covered Westlife, Bobby Darin, The Doors and The Beatles but here it is only “Love The One You’re With” a Stephen Stills song which makes the grade.  The original had just scraped the UK Top 40 in 1971 (US#14).  Nine years before the release of this album Luther Vandross had also led his album of covers “Songs” with the track and got to number 31 in the chart- the tune’s highest UK placing despite being an acknowledged radio classic.  Will’s version is pacy with a big sound and a good background arrangement and features one of his trademarks, the extended bended note (there’s probably a technical term for this).  It’s a good start to the album – probably with the tracks on display here it ends up in the middle of the pack for me somewhat but it is performed enthusiastically and both his and Luther’s version are worth a listen, with I suspect Vandross having the edge.

 

Stephen Stills and Luther Vandross also loved the one you’re with

 “Your Game” is a stronger track and up there with his best.  It reached number 3 as the second single from the album helped by a very memorable video.  Like the last track it is the interplay between Will and the Gospel Choir Metro Voices which provides a highlight.  I love the fullness of this track written by Will and co-producer Blair MacKichan with Tayo Onilo-Ere.  It gave Will a Brit Award for Best British Single of 2005.  “Stronger” is a much more understated affair written by Steve Lipson and Karen Poole, the daughter of ex-Tremeloes Brian Poole and herself one half of Alisha’s Attic who had 8 Top 40 UK hits between 1996 and 2001. 

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Alisha’s Attic

“Leave Right Now” is probably Will’s finest moment.  A track which succeeds on so many levels.  A great song written by Eg White and a convincing vocal performance with a good build and another memorable video of Will fixated on us at an art gallery which is both affecting and slightly disturbing which helped it shift a few units.  It was on this song that Will moved from successful pop talent show artist to an act who Britain should be proud of.  A number 1 single which was awarded an Ivor Novello Award.  It also topped the charts in Ireland and made inroads in European charts such as Belgium, Norway, Italy and Sweden and world markets such as New Zealand and was heavily featured on American Idol getting Will recognised Stateside.

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 “Love Is A Matter Of Distance” is a gentle convincing number, with a warm vocal performance and leads into “Dance The Night Away”, a more uptempo, urgent funkier track .  “Very Kind” was co-written and co-produced by Robin Thicke who also in 2003 launched his album recording career with “A Beautiful Mind”.  Robin of course would go on to have a massive hit a decade later with “Blurred Lines” and possesses the same white soul boy feel as Will.  Here, a sweet vocal performance is boosted by good orchestration arrangement. 

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Robin Thicke

“Free” gives a composing credit nod to Bill Withers, another obvious hero of Will’s and an artist who Will was covering back in his Pop Idol days when he won audiences over with his performance of “Ain’t No Sunshine”.  I’m not sure which Withers song is being referenced here.  “Going My Way” is not one of the strongest tracks on display.  It has a contemporary acid-jazz feel but never fully reaches its stride and here I find the interplay between Will and backing voices which has been a real strength on this album a little bit annoying.  “Out Of My Mind” is a welcome uptempo club-influenced track which has the feel of Jamiroquai, which is no bad thing.

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The album closer is another gem of a track and became the third single from the album and reached number 4 some 7 months after the album became available. In its extended play here it pushes nine minutes and every single second of it works.  Once again it had an excellent video and from his performances on the videos that accompanied this album Will was able to re-establish his credentials as an actor which led to a period where both his music and dramatic performances went hand in hand.  “Friday’s’ Child” has a chunky sound and an arrangement which recalls artists such as Soul II Soul and is a totally credible strong way to round things off.  This is a track as strong musically with extended its instrumental sections as it is vocally and up there with his best and seems miles away from karaoke classics on a Saturday night entertainment show.   

With this album anyone who considered Will would just be another Saturday night pop puppet had to reconsider.  It’s a mature album with the singer at ease with himself as an artist and the type of music he was recording.  Taken as a whole, although there are stronger high spots this time round I personally give a slight edge to the debut, but there really is not much in it and both I consider essential albums. 

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Will has to date recorded another four studio albums, two of which also ascended to the top of the charts with the other two stalling at the runner-up position.  Music seems to have currently taken a bit of a back seat in favour of other interests since his last release in 2015.  The other studio albums have been strong but not in my opinion essential.  He has become an acclaimed actor, especially in musical theatre and an advocate for gay rights.  His role in the popular culture of this country so far this century is significant.

 

Friday’s Child is currently available in the UK from Amazon from £3.21 and used from £0.01.   In the US it is currently only available used from $1.51.  In the UK it is also on Spotify streaming service.