100 Essential CDs – Number 74 – Lionel Richie – Back To Front


Back To Front – Lionel Richie (Motown 1992)

UK Chart Position – 1
US Chart Position –19


The Commodores were signed to the Motown label in 1972 and built up a following as a support act for the Jackson 5. Pretty much a funk band in the early days the group member initially playing the saxophone was one Lionel Richie from Tuskagee, Alabama. The group’s first hit “Machine Gun” (1974 UK#20 US# 22) was actually an instrumental where Lionel’s sax work can be heard. As the group diversified into ballads alongside the funk Lionel’s vocals began to be heard in hits such as “Sweet Love” (1976 UK#32, US#5) and the all-time classic “Easy” (1977 UK#9, US#4) and a song penned for his wife “Three Times A Lady” became the group’s first chart-topper on both sides of the Atlantic and opened doors for Richie. Asked to write and produce a hit for country singer Kenny Rogers, “Lady” saw Richie crossing into new markets and scored his biggest hit to date, his first US #1 in 1980. The following year saw Richie pen a song from the throwaway Brooke Shields movie “Endless Love” and record it as a duet with Diana Ross. In the US that became Motown’s biggest selling single to date with a nine week run at number 1. (In the UK it stalled at number 7). A solo career inevitably beckoned.

From “Machine Gun” to “Natural High” the Commodores became one of Motown’s biggest groups.

By 1992, after three huge selling albums Richie had experienced a five year career hiatus and to remove the pressure of having to come up with a whole new album Motown green-lighted “Back To Front” which would feature three new recordings alongside 13 of his biggest hits, predominantly from the solo career. The title explains the format- the new material was not tucked in at the end but led the recording. It brought Richie back into the limelight and topped the charts in the UK. It’s a great one- album introduction to what Richie was all about.

The format, does mean, however that the CD opens with the weakest track on display. “Do It To Me” like the rest of the new material was written by Richie and produced by Stewart Levine. All three were released as singles in the UK. This came out about a month before the album was released and is a pleasant enough early 90’s laid-back ballad with plenty of saxophone. It is a long way from the classic Richie songs and feels the most like album filler of the three tracks. It gave Richie his first UK Top 40 hit for over five years when it reached number 33. In the US it did better and became the highest placed track of the new material, scoring him his fifth solo R&B chart-topper and making 21 in the pop charts. In the UK we favoured the second release, “My Destiny” which is, as far as I am concerned, his last great single release. Its number 7 placing was his highest since 1986’s “Dancing On The Ceiling”. It also topped the charts in the Netherlands. It feels the most contemporary of the three, a slinky mid-tempo number which felt like just what Richie should have been releasing in 1992. It’s a great little sing along track

Major anthem status was sought out for the third of the three tracks, “Love Oh Love” which has the feel of “We Are The World” the all-star USA for Africa song written by Richie with Michael Jackson as part of Live Aid. This tracks hovers very close to the cheesy with its chorus of children, “Little Drummer Boy” rhythm and big themes of world peace and eradicating sorrow but rather like Mr Jackson’s “Earth Song” I personally think Richie gets away with it and it’s all rather charming. At the end of 1992 I thought this could garner the Xmas single market and be a big hit but it didn’t happen, falling short of the Top 40. Once again it had its strongest approval in the Netherlands where it was a Top 20 hit.

I don’t feel that these new tracks let the album down in any way but it is more likely that people purchased it for the remaining thirteen tracks, probably to replace on CD what was already owned on vinyl. There’s no chronological approach as suggested by the title, we just get a mixture of tracks from the back catalogue. As a solo artist Richie released three solo albums on Motown and here we get the cream of those tracks – just one from the first album, five of the original eight tracks from the second and two from the third. As well as this there is the non-album duet and four of his biggest Commodores hits to make up the 16 tracks. It made better sense to buy this on CD to replace a vinyl copy of “Can’t Slow Down”, that second Motown album, as you got the best tracks from that and much more besides. I don’t think it totally encompasses the cream of the Commodores output – for that I would recommend the 2005 double CD “Gold”.

The thing that slightly overshadows Richie’s career as far as I am concerned is that with both his solo hits and works with the Commodores, the biggest hits, the ones that have come to define the artist are some distance from his best. “Three Times A Lady” with its quite traditional waltz feel and ever so cheesy lyrics sounded alright at the time of release and certainly broadened the group’s appeal with an older generation above their usual market falling for this schmalty track and it gave the group their first Pop #1 on both sides of the Atlantic. Solo Richie’s pretty-enough ballad from his second album “Hello” was the third single release off a very big release so something was needed to bring it to record buyers who had not gone for the album. A cheesy video, which at the time seemed more like a movie with a blind girl fashioning the head of Richie out of clay was fine for the first few viewings but then its out and out cheesiness became indelibly linked with the song in my head and is often the first thing people remember about Richie. This track also topped the Charts in the USA and became his only solo number one in the UK. I tolerate both these tracks on the CD but don’t exactly look forward to either of them, but probably for many people, these may have been what decided them to part with their cash for “Back To Front”.

So, that’s the negatives done with. Let’s look at what is really special about this album. Firstly, that’s all the rest of the Commodores tracks, particularly “Easy”. How great a track is this? Penned by Richie and produced alongside James Anthony Carmichael, it is real laid-back sophisticated soul, stopped being totally as “easy as a Sunday morning” by one of the great guitar solos in a pop hit. There’s a great echoey feel to the whole thing. It’s one of the best not-out-of-Detroit Motown singles of all time. “Still” is also excellent and became their second US chart-topper in 1979 (in the UK#4) a real piece of calm amidst all the Disco that was released that year and sounding pretty much like a deep soul ballad with an orchestral backing. “Sail On” (1979 US#4 UK#8) perhaps underlines more than any of the others how close this group could go towards country music, and may have been behind the idea to have Richie work with country legend Kenny Rogers, this kind of musical boundary blurring quite unusual in the days of genre-specific radio play in the US. There’s a lovely build to this track.

To launch his solo career Richie took producer James Anthony Carmichael with him and with him now penning much of the Commodres material it was really the smoothest of transitions to solo stardom as first solo hit “Truly” fits in perfectly with The Commodores ballad sound. Another calm ballad very much in the feel of “Still” with the build of “Sail On”. It was an unsurprising US Pop #1 and reached 6 in the UK in 1982.

The album “Can’t Slow Down” was a clear statement at propelling Richie towards super-stardom. It fused musical styles ending up really as one of the early classic black pop albums and won the Grammy for the Album of The Year in 1985 and topped charts all around the world. The infectious “All Night Long (All Night)” proved that Richie wasn’t just a ballad singer but was also no longer the funk singer who snarled his way through “Brick House”. This was bright and breezy and intended for the masses and they loved it as it topped the US chats and got to number 2 in the UK. Its carnival feel ensured its worldwide success. Less showy but successful tracks from the album here included are “Penny Lover” (1984 US#8, UK#18), Stuck On You (US#3,UK#12) and the rock-lite of “Running With The Night” (US#7, UK#9) where a rock guitar which made “Easy” holds this track back .

The third Richie solo album, “Dancing On The Ceiling” didn’t impress me nearly as much. The tracks included here, the title track, (1986 US#2, US#7) and “Say You Say Me” (US#1, UK#8) actually sound better now than they did at the time of release when I found one cheesy and one a little dull. Other single releases from the album, especially “Ballerina Girl” and “Sela” seemed to suggest Richie had lost his way somewhat as far as this record buyer was concerned. They are not included on “Back To Front” and led to a burnt out Richie beginning his extended break from recording and the public arena.

Lionel Richie was not able to build on the success of this album and it was not until 1996, four years after this compilation and ten years after his last studio album that he re-emerged on the Mercury label with “Louder Than Words”. Over the years his subsequent albums have seen him toying with R&B and hip-hop influenced tracks with varying success. Nothing he has recorded since I would consider essential, although there was a triumphant return to form in 2012 when a back-to-his-country roots album “Tuskagee” topped the US charts marking his first Number 1 hit in 26 years. This revisited his hits alongside collaborations with country music stars including Shania Twain, Willie Nelson and with Kenny Rogers on a new version of “Lady” which helped catapult him into solo fame. This was too much country for me, but it was great to have him back in the limelight.

Richie has sold over 100 million albums worldwide and features on lists of the biggest selling stars of all time. This album reminds us why.


Back To Front is currently available from Amazon in the UK for £3.85 and used from £0.05.  It can be downloaded for $7.89 .In the US it is available new from $12.11, Used from $0.08 and can be downloaded for $6.99.used for $3.00.  It is also available to stream from Spotify in the UK.


100 Essential CDs – Number 95 – Martha Reeves & Vandellas – Compact Command Performances


Compact Command Performances: 24 Greatest Hits –

Martha Reeves and The Vandellas (Motown 1986)


The Compact Command Performance series was an early compilation CD series which put out the best of an artist’s back catalogue some for the first time on CD.  The tracks were made from masters from Motown’s studios although this CD claims it was made in Germany.  It is pretty much a no-frills release with nothing in the way of notes and just basic information on the writers and producers on each track.  Others in the series included Diana Ross, Marvin Gaye, Four Tops, Temptations.  Many of these acts had vinyl “Anthology” releases which had appeared on Double CD’s but this series offered a single CD overview.  I didn’t purchase any of the other releases but this 24 tracker offering the best of the under-rated Martha Reeves gets played regularly.

The tracks here span the years 1963-1971 taking Reeves from Motown secretary who was in the right place at the right time and ready to make an impression when other artists were not available to the star unwilling to make a move from her Detroit home when the label uprooted to Los Angeles and so departing from the label which had given her 12 US Top 40 hits over 4 years and 8 UK Top 40 hits over an eight year period.  Reeves was often in conflict with label bosses, especially Berry Gordy, over what she saw as favouritism towards The Supremes, and particularly Diana Ross as well as unfair treatment over royalties and was prepared to speak out publicly whilst others kept quiet.  In the scheme of things this probably wasn’t the best for her career as it saw her slipping down the pecking order as hits were being dished out and although she made some great music, she felt under-promoted and disgruntled by Motown.  It took a while for her to manage to break free from the label but her post Motown years were without commercial success.


She’s still going strong.  There have been periods of ill health and a large number of Vandellas as Martha has switched from a solo career to reigniting the group.  She has become a valuable figure in politics in the Detroit home she wouldn’t give up on when Berry Gordy saw bigger fish to fry in Hollywood.  I saw her perform in our local theatre a year or so back in a show which was disarmingly charming.  The voice wasn’t what it was and the heels of her shoes were a little high to make much movement possible but she won an audience over by the strength of the back catalogue and her warm stage personality.  When you consider the career trajectories of Diana Ross and Martha Reeves there’s a huge difference.  At one time the two women were directly challenging one another to be the Queen Of Motown.  Reeves lost that particular power struggle but the battle has left us with some great music.  These 24 tracks provide a great introduction to that music.

martha10Martha Reeves -still performing

Martha had early ambitions to be a solo jazz singer but also was part of a group who became the Del-Phis where she was not the lead singer.  Invited to a Motown audition the group was rejected but Martha found herself with a clerical job as assistant to A&R man and producer Mickey Stevenson.  The communal atmosphere of the early days at the label meant everyone tended to chip in and when backing singers were needed for some Marvin Gaye tracks Martha got her group back and “Stubborn Kind Of Fellow” was a hit single taking those backing vocals to a large audience.  When Mary Wells failed to turn up for a recording, Martha, now lead vocalist got the girls Rosalind Ashford and Annette Beard back in which led to their first recordings as Martha and The Vandellas (not because they were female vandals as often suggested but because Martha lived in Van Dyke Street and was a big fan of  singer Della Reese).


There are four words which explain the early success of Motown’s newest signing.  Those words are Holland, Dozier and Holland, the production team which turned  the label into Hitsville USA.  The female vocal trio were the first girl group to work with the male production trio – predating The Supremes who were still looking for that first hit when Martha’s recordings began to ascend up the charts.  This hit was “Come And Get These Memories” a teen-heartbreak song of returning love tokens once the relationship had soured.  In her autobiography (written with Mark Bego) “Dancing In The Street: Confessions Of A Motown Diva” (1994) Martha had this to say about the song:

“According to Berry’s eldest sister, Esther Gordy, when Berry heard our recording of “Come And Get These Memories” he exclaimed, “that’s the sound I’ve been looking for.  That’s ‘the Motown Sound.” The song had a steady beat, great background harmony parts, horns, catchy lyrics, and a story line that everyone could identify with.  I knew instantly that it would be a hit.  I’ve always thought that the song really shows off the great harmonies  that Rosalind and Annette and I had in the very beginning.”

The opening track on this CD is a very catchy tune that worms its way into the subconscious but it is fairly standard girl-group fare and doesn’t sound to me the revolutionary game-changer that Berry Gordy was reputed to acknowledge.  It’s very much in the Shirelles mode but gave the girls a US #29 pop hit in May 1963 and nationwide attention.


It the early Motown sound was to be defined then it is in their follow-up track the tremendous “Heatwave” which is exciting, driving, a little raw around the edges, ever so slightly off-key and with everything thrown into the production it raced up the charts to number 4, helped by the girls’ hard work in the touring Motown revues which was steadily growing them a fan base.  A big hit single demanded an album which was recorded in one night and despite this hastiness, the covers of other girl group hits and standards and the odd H-D-H original is always worth a listen and one of the most durable of the early Motown album releases.


Barely contained on that album was the next hit “Quicksand” which could be said to resemble “Heatwave Part 2” but the whole pop industry of the day was built on repeating winning formulas.  This track is far more, however, than a throw-away sound-alike.  The girls “Whoo-hooing” the intro gives it an identity of its own and it deservedly became their second US Pop Top 10 hit in a row reaching number 8.  The frantic pace was kept up for next release “Live Wire” but perhaps that was HDH mining this particular seam a little too much as it missed out on the pop charts.  From its dramatic flourish of an intro this is a real Northern soul stomper and if by a more obscure act would have traded for big sums of money on the British Northern Soul scene.  Amongst the high-energy there are a couple of calmer tracks included from this period. “A Love Like Yours (Don’t Come Knocking Everyday) began life as the B-Side to “Come and Get These Memories”.  Too good to remain a B-Side the song has been covered many times and is considered a soul classic with most notable versions from fellow Motown artist Kim Weston and a 1966 Top 20 UK hit for Ike and Tina Turner.  Also dropping the tempo just a little was the next single the delightful, hand-clap heavy “In My Lonely Room” which sounds like it should have been a massive hit but wasn’t.

They did not have to wait that long for their biggest hit, however and it was a move from the then too busy Holland-Dozier- Holland to Martha’s old boss, Mickey Stevenson who produced and co-wrote with Marvin Gaye and Ivy Jo Hunter one of the label’s most iconic songs.  “Dancing In The Street” commences with a brassy call to arms into heavy tambourine crashes to get us out and dancing.  Of this song Martha, in her autobiography states that she first heard Marvin Gaye singing it and didn’t really like the song;

“but when I put myself into it and made it my own it became the anthem of the decade.  From the very beginning, no matter where it was played, everyone seemed to get up and dance to it…….I’ve always said that “Dancing In The Street” is Mickey Stevenson’s greatest gift to me.”

This particular gift got to number 2 in the US in 1964 and in the British Beat group dominated UK charts of the time became their first Top 30 hit stalling at a lowly number 28.  Five years later a re-issue climbed to number 4 and reactivated British interest in the group.  A Live-Aid inspired pairing of David Bowie and Mick Jagger gave the song a British number 1 placing in a version which is luke-warm compared to the original.


The Stevenson and Ivy Jo Hunter combination was used to produce more singles for the group.  On this CD we get “Wild One” and “Motoring”, neither of which had the magic of the big hit.  There were also personnel changes with Betty Kelly replacing Annette who retired from the music business at this time.  The career cranked up another gear with the return of Brian Holland and Lamont Dozier in production duties with another H-D-H original “Nowhere To Run”.  It sounds like this could have been another big hit for The Supremes but Martha and the girls were given the chance with this.  Martha’s grittier, more gospel-influenced voice gives this a greater edge than Diana would have done.  It feels a chilling, cold song, which HDH proved they could do well, as in tracks like “Seven Rooms Of Gloom” by The Four Tops, a hit a couple of years later for them which has the feel of this particular track. “Nowhere To Run” reached number 8 in the US and 26 in the UK.


Martha claims that one of her most favourite recordings is the gentle “My Baby Loves Me” which gives her a chance to hark back to her jazz roots over a pretty ballad produced by Stevenson and Hunter. It gave her a US#22 hit.

1966 and 1967 were another two great years for the group as they put out a string of great tracks.  As far as US pop chart success was concerned it was the last hurrah.  “I’m Ready For Love” (1966- US#9, UK#22) is not only up there amongst Motown’s best it is one of my all-time favourite singles.  The whole thing reeks with anticipation from the nervous, jiggly, driving rhythms, the plaintive vocals and great lyrics – The message Martha is conveying is “Bring it on!” She’s ready.  This is followed by the tale of the rogue Jimmy Mack (1967 UK#10, UK#21) who may or may not be coming back.  It’s single release B-Side is also included on this CD as it has always been a favourite in the UK.  “Third Finger Left Hand” is an ideal wedding fodder song, but for its singalong charm and as a mantra to remember what finger to put the ring on.  It’s a song that I felt going through my head on my wedding day!  These are all great Holland-Dozier-Holland productions.

hollanddozierLamont Dozier & the Holland brothers at the piano

From 1967 serious cracks were showing.  The hit production team were in dispute with Motown, Mickey Stevenson had left the label, relations in the group were not good, there were clashes over the label’s promotion of Diana Ross and Martha, driven by a heavy work load and touring schedule, became addicted to prescription drugs.  Around this time original member Rosalind Ashford was sacked  and Sandra Tilley recruited.  Martha’s view at this time was that the Vandellas had became just a support for touring and that other girls could be used on recording sessions.  Motown bowed a little to Reeves’ pressure and added her surname to the group which had largely been known to this point as Martha & The Vandellas.  With new production and songwriting units the hits continued with “Love Bug (Leave Me Heart Alone)” (US#25) and “Honey Chile” (US#11, UK#30) but neither of these threaten their best material.  “I Can’t Dance To That Music You’re Playing” did not meet with Martha’s approval and she abandoned it during the recording.  Motown drafted in Syreeta Wright to finish it and released it under Martha’s name, showing the label’s heavy- handed attitude towards the brand rather than the people. A nervous breakdown followed for Martha soon afterwards, the group was disbanded in 1969 and that ended their US hit career.

Martha and the Vandellas

A revitalised Reeve returned with sister Lois and Sandra Tilley and had a couple of UK hits with “Forget Me Not” (UK#11-1971), which for some reason is not included on this CD and “Bless You” (UK#33- 1972) which is a great little track and was written and produced by The Corporation, which was in itself a response to production teams getting too big for the label and also did great work with early Jackson Five, later revealed to be Berry Gordy alongside Motown staffers Frank Mizell, Freddie Perren and Deke Richards (the latter also having produced “I Can’t Dance”).

Martha Reeves’ solo career did not amount to much commercial success, which might explain why she is still touring small theatres in the UK in her 70’s singing these Motown hits.  I was certainly pleased about that when I saw her but you cannot help feeling that this under-rated star has good reason to feel a little despondent about the music industry, considering the volume of records she sold in her early career.


This single CD of 24 tracks seems to me to be the perfect introduction to these Motown legends.  Anyone wanting a little more could look at the 2006 double CD “Gold” and the three disc “50th Anniversary – Singles Collection” from 2013.  There’s also much pleasure to be had from the re-released studio albums. Whatever you choose Martha will soon have you “Dancing In The Street.”

Compact Command Performances is currently available from Amazon in the UK for £2.99 and used from £0.95. In the US it is available used for $3.00.   

100 Essential CDs – Number 93 –Harold Melvin & The Bluenotes – The Very Best Of


The Very Best Of Harold Melvin & The Bluenotes (Sony 2014)

harold melvin.jpg

It was back in 1954 that Philadelphian Harold Melvin formed a doo-wop group.  They had a good reputation, were a popular live band and recorded on a number of small record labels.  Commercial success eluded them.  The best of the early tracks is a song called “Get Out (And Let Me Cry)” which became popular in the UK Northern Soul Scene.  (It reached number 35 in the UK Pop Charts in 1975 when re-released on the Route label).  Fifteen years into their existence a drummer joined their touring band.  His name was Teddy Pendergrass and when lead singer John Atkins left in the early 70’s Teddy took over the role of lead vocalist.


In 1971, 17 years after their formation, this struggling group got a break and were signed by the very up and coming Philadelphia International Records by the two men behind the label Kenny Gamble and Leon Huff who saw the raspiness of the Pendergrass voice as an excellent foil to the lush orchestration which was to become the selling point of this new Philadelphia sound.

At long last success came, but they are still very much an under-rated group and should have been bigger commercially.  The hit single tally is 4 US Pop Top 2o hits and five UK Top 40 hits for the Philadelphia International label, all of which are included on this seventeen track album.


When fame came there was always going to be an issue and that was the group’s name.  By the early 70’s we were used to performers in groups being pushed to the front – Frankie Valli and The Four Seasons, Diana Ross and The Supremes, Smokey Robinson and The Miracles the list goes on.  But here the problem was Harold Melvin was not the lead singer, even though the casual listener would have assumed he was.  Harold Melvin and The Bluenotes featuring Theodore Pendergrass was tried but just didn’t exactly slip off the tongue.  It was going to cause tensions.  There were four albums before the group were faced with Pendergrass’ departure.  Even within these Melvin was experimenting with other voices on the tracks, including female singer Sharon Paige. The record label, seeing where the unique selling point of this group was kept Pendergrass on as a solo artist, where he became an R&B legend.  The group found a new lead singer in David Ebo and moved to ABC records and a return to relative obscurity.


These seventeen tracks are taken from the golden four year period and have stood the test of time.  They are a combination of classic soul ballads and uptempo numbers which due to the lushness of the Philly orchestration are early disco classics.  For a long time this group was not best served by compilations.  I favoured the ten track “Super Hits” (Epic Legacy 2000) but there are obvious omissions and a couple of the tracks in their full-length version are a little over-realised.   This compilation adds seven more tracks, generally in their single length or Part 1 versions and is therefore my choice as an Essential CD.


Some of the other hits compilations that have been available over the years

The album kicks off with a bang and one of those early disco classics which is here presented in its full-length six and a half-minute form.  “Bad Luck” became the group’s third US hit in 1975 when it reached number 15 but never became a UK hit.  The opening funky bass-line would have perhaps been more recognisable to us Brits as it was used by The Ritchie Family in their hit disco-medley “The Best Disco In Town”.  From this it explodes into a sing-a-long stormer from the group- not their best uptempo track but close to it.  The standard is maintained for the O-Jays-ish “Satisfaction Guaranteed (Or Take Your Love Back) which is archetypal uptempo Philly Soul and reached number 32 in the UK when issued as a single in 1974.  This track is inexplicably absent on the “Super Hits” compilation so it is great to hear it here.  It was one of the stand-out tracks on their second “Black And Blue” album.  It features one of the great in-intro grunts on record, sounding  like a bear being awoken from its slumbers.


“Wake Up Everybody” was very much a swan-song for the group, their last US Pop hit reaching number 12 and number 23 in the UK in 1976.  Philadelphia were quite hot on political message songs with songs such as “Love Train”, “Let’s Clean Up The Ghetto”, and “Let Em In” doing well for the label.  In fact, the output of the label was very much either love songs, message songs or have a good time dance tunes.  “Wake Up Everybody” is the Blue Notes’ most significant message song, intended to stir us out of our mid 70’s lethargy and self-centeredness.  (Things haven’t really changed).  Headed off by a lovely piece of piano glissando this is a great tune.  Message songs can come across as naive but there’s something about Teddy’s call to get motivated to help out the community which I’ve always found appealing.


The big hit is next which really kick-started the Philadelphia International career for them.  “If You Don’t Know Me By Now” is a true soul classic and one of Gamble & Huff’s best songs and productions.  It seems like Teddy, in a ten year relationship, is not going to change so it’s a bit of a like it or lump it situation.  In late 72/early 73 this reached #3 in the US and #9 in the UK.  The chart honours for this particular track, however, go to Mick Hucknell of Simply Red who took it to the very top of the US charts and number 2 in the UK in 1989.  I’m sure even he would admit that the original version is the best.

There’s still a couple of disco anthems to be enjoyed beginning with “The Love I Lost” (US#7, UK#21 in 1974).  This benefits from being shortened from the album version where the “I lost you, sorry I lost you” refrain goes on too long.  As a three and a half minute single it is perfection. This song also had a new lease of life in 1993 when West End featuring Sybil took it to number 3 in the UK.  And talking of a song with an extended lease of life…

“Don’t Leave Me This Way,” a Gamble and Huff song written with Cary Gilbert began life as an album track on the “Wake Up Everybody” album.  A slow moody start, with tom-tom intro it ripples into an impassioned disco track.  Over at Motown they decided to give it a Hal Davis “Love Hangover” treatment for Thelma Houston which just exploded causing the Blue Notes version to race up the charts in the UK alongside Thelma.  In the US it gave Thelma her only US number 1 single, the biggest hit of her career.  In the UK it became Harold Melvin’s biggest chart success peaking at number 5 where Thelma had to make do with a number 13 placing.  I love both versions of this song.  To complex matters there was a third even bigger excellent version nine years later when The Communards topped the UK charts in 1987.  I’d be hard pushed to pick my favourite of the three versions of this song.  By 1977 when the group were in the UK Top 5 there was no chance of them capitalising with new material as by this time they were Teddy Pendergrass-less and recording for ABC.  The impetus caused by this re-release did see their ABC debut “Reaching For The World” getting a limited amount of UK action, reaching 48, but that is beyond the scope of this album.

Don’t Leave Them This Way – The Blue Notes, Thelma Houston & Communards

The writing on the wall can be heard on the track “To Be True” which comes from their 1975 album of the same name as the vocalist here is none other than Harold Melvin himself.  It’s a nice enough track but I find myself willing Teddy to make an appearance.  It is certainly still Harold Melvin and The Blue Notes but it’s not Harold Melvin and The Blue Notes as we knew them and that shows why this group was unlikely to do that much after Pendergrass’ departure.  To a certain extent I feel this way about the two tracks which feature Sharon Paige, “Hope That We Can Be Together Soon” is very much a Paige/Pendergrass duet and did in fact top the US R&B charts.  Sharon is given a bigger bite of the cherry with “You Know How To Make Me Feel So Good” and my reservations here apply.  It looks like I’m pushing Teddy into his solo career here, but I’m actually not.  What I really like is the juxtaposition between the group’s vocals and the lead.  You can tell their roots are in doowop and really like Gladys Knight and The Pips it is this interplay which make this group great.  This works so well on the bluesy “Yesterday I Had The Blues” and in the magnificent disco treat of “Tell The World How I Feel About Cha Baby”.  Here they are certainly not relegated to backing singers as they have the song’s hooks  but the group sound and the Teddy lead just work really so well.


Elsewhere on the CD, away from the hits, you get the excellent “Where Are All My Friends” a time-old tale of friends vanishing when you hit on bad times, “Be For Real” which is a musical lecture from Theodore to his lady who looks down on people and “I Miss You” one of the great soul songs about loss which is almost animalistic in its howling passion, which can make it a little difficult to listen to.

The song that really feels out of place is the one minute 45 section snatch of the show-tune “Cabaret” sung in harmony very much in the same style as Motown would occasionally employ with The Four Tops (with “Mame”) and The Temptations (with “That’s Life” and “Hello Young Lovers”).  Was this an attempt at broadening the appeal of the group?  Berry Gordy over at Motown would at one point deliberately record tracks like these for his acts in order to chase the lucrative older white album-buying market which would lead to lucrative supper-club bookings but it feels a little late in the day (1973) to be doing this.  Was it just a way to show that this group were every bit as good singers of more traditional fare as the Tops and the Temps?  I’m not sure but it is less than two minutes out of an hour-plus of super-soulful sounds.

Harold Melvin and Teddy Pendergrass

Harold Melvin continued to plug away with various incarnations of The Blue Notes and died in 1997.  Teddy recorded two of the best singles of all time in his long solo career, his debut release “The Whole Town’s Laughing At Me” which promised so much and even better than that is “Can’t We Try?” which contains one of the most heart-felt male R&B vocals ever.  I preferred him more as a loser of love than the Barry White-esque Love God he was sometimes made out to be in tracks such as “Turn Off The Lights” and “Close The Door”.  In his homeland he recorded a run of big selling albums and was an essential live performer.  In 1982 things changed overnight when a horrific car accident left him paraplegic.  There were years of health issues over the years with musical comebacks and much charity work.  He died in 2010 at the age of 59.

These are the glory days of these Philadelphia International’s superstars career.  Listening to this album shows what a great ballad group and also what a great group of uptempo material they were.

The Very Best Of Harold Melvin & The Blue Notes  is currently available from Amazon in the UK for £3.99 and used from £2.72. It can be downloaded for £6.99. In the US this CD is harder to come by but other compilations are available.  In the UK it is also available to stream on Spotify.

100 Essential CDs – Number 46 –Patti Labelle & The Bluebelles – Over The Rainbow


Over The Rainbow – Patti Labelle & The Bluebelles (Spy 2002)


There are four distinct phases in the recording career of this legendary R&B girl group.  The first phase was their earliest recordings which appeared on labels such as Newtown and Parkway, singles releases backed up by a growing reputation as a blistering live act.  There were two Top 40 US pop singles during this time “Down The Aisle”(#37 in 1963) and a drama laden version of the standard from the musical “Carousel”, “You’ll Never Walk Alone” (#34 in 1964).  In fact there was an earlier, even bigger hit credited to the group, the Bluebelles when the marvellously titled “I Sold My Heart To The Junkman” reached #15 in 1962.  In true exploitative 60’s girl-group fashion this was reputedly recorded by a group called The Starlets, who also recorded for the Newtown label.  The Bluebelles added this song to their repertoire and actually re-recorded it, but apparently it was not them on the hit single, whatever it said on the label.


The second phase is launched by this particular CD when the quartet of Patricia Holt (later Patti Labelle), Cindy Birdsong, Nona Hendryx and Sarah Dash signed to Atlantic amongst a very strong feeling that this label would be a perfect match for the group and would lead to great commercial success.  It didn’t.  Despite some great recordings of which this is a representation the hits didn’t come and the ascendancy of the Motown girl groups made the group fade into the background- recording wise, but certainly not in live performances where Patti and the girls could still blow most other groups off the stage.  In fact, to add salt to the wounds the group lost Cindy Birdsong when she hurried off to  become a Supreme when original member Florence Ballard was sacked.  This was something which was always seen as unforgiveable theft by Patti Labelle.


The unrealised potential had to wait for the third phase when Dusty Springfield’s manager Vicki Wickham took control and re-imagined the group as a space-age, futuristic funk/rock group with theatrical tin-foil influenced costumes and feathers and furs and the group became Labelle, scoring a worldwide hit and all-time classic early on with “Lady Marmalade” (US#1, UK#17 1975).  It looked like Labelle were going to become superstars with their strong image and even stronger vocals but continued commercial success eluded them and they were never as big as they should have been.  Solo careers eventually beckoned .  The fourth stage was when Patti, Nona and Sarah reunited for 2008’s worthwhile “Back To Now” album.  This contained their greatest ever recording as a bonus track.  Originally recorded in London in 1970 and produced by Kit Lambert some years before their “Nightbirds” reincarnation their version of  Cole Porter’s “Miss Otis Regrets” is perhaps one of the greatest soul tracks recorded in the UK.

Labelle in 1975 and 2008


But we rewind back five years to 1965 and this debut Atlantic album, full of promise and potential hits.  Detractors say it was clear from this point that Atlantic did not really know what to do with them.  The tracks that had attracted most attention in their pre-Atlantic days were cover versions of standards  such as the aforementioned “You’ll Never Walk Alone” and the schmaltzy “Danny Boy”.  In Labelle’s hands these songs were “Patti-fied” to turn them into big, dramatic sounds dominated by the extraordinary Labelle voice.  Although the songs chosen for “Over The Rainbow” would have felt slightly more relevant to the contemporary audience cover versions dominated.


This was fairly standard practice in the mid 60’s, to put a couple of originals which would be the tracks chosen as singles amongst cover versions.  Atlantic was certainly doing this around the same time with another of their signings, the greatly talented Esther Phillips.  Although neither Phillips nor Labelle got the commercial acclaim due to them at the time the classic nature of these songs means that we can still value them as great song stylists and the tracks have lasted longer than the original songs produced for them.  After a couple of years of trying to break both Labelle and Phillips into the pop charts Atlantic legendary producer and executive , Jerry Wexler decided to approach a different tactic with his later signing, Aretha Franklin.  She had been on Columbia records where the same approach was being used as she was recording tracks such as “Rock A Bye Your Baby (With A Dixie Melody)” and “Ac-Cent-tchu-ate The Positive”.  By the time Wexler began recording with Franklin the mood of America had changed and these recordings began to embrace this and the civil rights movement with classic effect.  I may be in the minority here but I actually prefer Patti Labelle’s voice to Aretha Franklin’s.

The twelve tracks that make up this album were produced by experienced Atlantic producer Bert Berns and the album first saw the light of day in 1966.  An attempt to crack the singles charts had been made with “All Or Nothing” an original song co-written by Pam Sawyer, born in Romford, Essex,  who as a Motown staffer would go on to write such classic songs as “Love Child” for The Supremes and “Love Hangover” for Diana Ross.  Wexler had high hopes for this track which is a good commercial girl group sound made that little bit more special by Patti’s vocal performance but it did not chart.  It did make it onto the album.  The second single was another original, but probably most people hearing this today would put it down as a cover.  Carole Bayer Sager alongside Toni Wine wrote “Groovy Kind Of Love” which is a strong, melodic, playful track which has hit written all over it.  It wasn’t.  With the British Invasion of UK music stars dominating charts the world over it was covered by Wayne Fontana & The Mindbenders who took it to number 2 in the UK in early 1966 and was the number 2 US follow-up to their American chart-topper “Game Of Love”.  Phil Collins, of course, went one place better on both sides of the Atlantic some 22 years later, but make no mistake, the original and best version is by Patti Labelle & The Bluebelles.


This 2002 issue of the 1966 album kicks off with a song which has been associated with the act through all of its incarnations.  “Over The Rainbow” was always a staple of live shows and here in this early version Patti is dragging every ounce of emotion from it, ably backed by the other three.  As a solo artist it became compulsory for Labelle to finish shows with it and it was a track she re-recorded.  Her best version is from a live performance.  I found it on the soundtrack of the film “Too Wong Foo” and it is an absolute showstopper.  I remember seeing Patti doing this as an encore for a concert on TV and it was one of the most extraordinary things I’ve ever seen as the vocals soared, she rolled around on the floor and produced one of the ultimate musically dramatic performances.  Another great version of this song was performed on X Factor in 2005 by eventual winner Shayne Ward, whose arrangement is certainly inspired by Patti’s.  This 1965 version is a great opener to the album.

Other tracks which are Patti-fied here include “Ebb Tide”, “More” (I think the best version of this song is by Martha Reeves & Vandellas), the Beatles’ “Yesterday” and the Anthony Newley and Leslie Bricusse show-tune “Who Can I Turn To (When Nobody Needs Me)”.  Patti-fying a song means upping the drama level and wringing every ounce of emotion from it, there’s an almost drenching of gospel but the song doesn’t lose its original meaning.  The phrasing is unique as Patti bends and soars with the lyrics in a way which is totally unpredictable.  Every time I listen I’m amazed as to where Patti decides to pitch or hold a note, you think she’s going to do something and she does something else entirely which is probably more extraordinary and technically difficult than what you had imagined.  A track like “People” is evidence of this.  The song would be well known for introducing another technically gifted singer, Barbra Streisand, so could be considered a brave move.  This seems almost like a challenge Patti relishes, she holds notes where Barbra breathes and seems so accomplished with her version.  At the time of this release Patti was 21 years old and yet seems like a vocal veteran.  Her influence on other performers cannot be understated.  In fact, around this time the Patti Labelle and the Bluebelles Fan Club was set up by a superfan who was so enamoured of what Patti could do.  This young lad was called Luther Vandross, who was certainly no slouch in the vocal department and no doubt learned a lot by listening to Patti.

Another original track “Patti’s Prayer” confirms the gospel expertise of this group as does a version of the song “He” which has been a mid 50’s hit for Al Hibbler.  Another track associated with Hibbler is “Unchained Melody” and the group give this a good go too.  This isn’t one of the stand-out tracks.  At the start Patti sounds quite far back in the mix, rather than steaming out of the blocks from her first note, which makes it seem a little understated compared to some of the other tracks available here.  We round things off with a lovely version of “Try To Remember”.


The girls as postage stamps

So, commercially unsuccessful but a real treat and the one Labelle the group CD I listen to the most often and it was a great move for Spy records to lease the original master recording as part of their Ambassador Soul Classics releases from Atlantic who would have probably left it languishing in a vault.  Anyone keen on the girl group sound, on blistering versions of familiar songs or on the powerhouse vocal of Patti Labelle should certainly seek this out.  For me, it’s an Essential CD.

Over The Rainbow is currently available from Amazon in the UK for £6.95, and used from £3.30 and as a download for £5.95.  An album which features these tracks alongside those from the follow-up album was released in 2014 and would be a worthwhile, if considerably more expensive choice. In the US it is currently $13.74 new $4.98 used and downloadable for $8.99.

100 Essential CDs – Number 11 –Gladys Knight & The Pips – Gold

Gold – Gladys Knight & The Pips (Disky 1993)


Gladys Knight, born in 1944 in Atlanta, Georgia, was a child phenomenon scooping first prize as an eight year old on the nationally televised “Ted Mack Amateur Hour”.  By the age of 10 she was working as part of her family group- alongside her brother and sister and two cousins.  This three girls, two boys incarnation of the Pips lasted until 1958 when Gladys became the only girl left in the group and two more male cousins joined.  By 1961 they had scored their first US hit as The Pips when “Every Beat Of My Heart” reached number 6.


There were a couple of other appearances in the US charts in the early 60’s by which time Gladys had become the powerhouse in front of the group and this was acknowledged by pushing her name to the front.  In 1967 Gladys Knight and the Pips signed to Motown where great things were expected of them.  For the next six years they were regular visitors to the pop charts with tracks such as “I Heard It Through The Grapevine” (#2 in 1967), “If I Were Your Woman” (#9 in 1971) and “Neither One Of Us” (#2 in 1973).  In the UK a couple of tracks that hadn’t exactly hit set the charts alight in their homeland became big hits, “Take Me In Your Arms And Love Me” (#13 in 1967) and “Help Me Make It Through The Night” (UK#11, US#33).  The group felt increasingly confined by the Motown sound and Gladys, quite rightly assumed that they were not top priority on the label.  By 1973 after 13 US Top 40 pop hits and a reputation of being amongst the very best in the business the group left Motown and moved to Buddah records.


This is where this 19 track, budget compilation kicks in.  The Buddah recordings upped the sophisticated gloss of the later Motown tracks and by using top producers and great songs continued the run of hits for another few years, during which time the group were really at their commercial peak.  On this CD you get all 7 of their Top 40 hits of this period, including their only US Pop #1 hit.  In the UK the Buddah years were perhaps even more cherished than in their homeland as they scored 11 Top 40 hits between 1975-78, with a run of songs with which they are most closely associated over here.  They are probably one of the greatest groups never to score a UK #1.

Contained within these 19 tracks are three of my all-time favourites singles as well as a resoundingly strong collection of performances which shows how good Gladys Knight and The Pips were.  It kicks off with the biggest and the best, the all-time soul classic which is “Midnight Train To Georgia”.  This Jim Weatherly song started off life as another form of transport where “plane” took the place of “train”.  After the name change it was recorded by Cissy Houston, Whitney’s mum, whose version is very good but it is the vocal interplay between Gladys and The Pips which really took this song to another level.  Released as a single it topped the US charts in 1973 but was not a hit in the UK until 1976, by which time it was already an established soul classic when it reached #10. Gospel roots are very much in evidence as the Pips confirm, question and comment on the proceedings and even get to sound like the train with their “wooh-woohs”.  This is a track I never get tired of hearing and each time I marvel over the quality of the song and the performance.  This is a great way to start the CD.


“I’ve Got To Use My Imagination” is a funky little track with driving drum and brass work.  There is this perception of Gladys Knight and Pips as a ballads-only supper-club type group but they could excel on the uptempo funk of tracks such as this as well as disco.  This was taken from their debut Buddah album “Imagination” and written by master songwriter Gerry Goffin alongside Barry Goldberg.  The US liked their Gladys Knight & Pips tracks a little funkier and more rhythm and blues based  than we did over here (further proof of this is the lack of pop chart success for the disco tracks that became some of their biggest and best hits over in Europe) and it reached number 4 in the US pop charts as a follow-up to “Midnight Train.”

Two more Jim Weatherly songs follow and first off is their second all-time classic track, one I love so much that I actually had as a wedding song (couldn’t run to Gladys performing it, however).  “The Best Thing That Ever Happened To Me” is such a well-written song, which could have been sugary in anyone else’s hands but with Gladys’ voice cutting through the whole thing is a sublime treat.  There’s a few lines in here that remain as almost a mantra in my head, one of my ultimate ear-worms as Gladys sings;

“If anyone should ever write my life story

For whatever reason there might be

You’ll be there

Between each line of pain and glory

‘Cos you’re the best thing that ever happened to me.”

Gladys very appropriately named her autobiography “Between Each Line  Of Pain And Glory” (what else could she call it really?) On the best tracks the Pips’ contribution is vital, they operate far more than as backing singers and this is the case here.   It had previously been a chart-topper on the US country charts by Ray Price.  Gladys’ version topped the Soul Charts, went to number 3 in the US  pop charts and became another belated hit for her in the UK two years later when it reached #7 in 1975.


The third Jim Weatherly song was chosen as the debut single from the Buddah association.  “Where Peaceful Waters Flow” (US#28 1973) puts the Pips in a prominent position.  It’s a gentle, graceful track which is unlikely to be anyone’s favourite Gladys moment but always sounds good and fits in beautifully with this compilation.  This moves into the Pips led version of Johnny Nash’s “I Can See Clearly Now” which demonstrates clearly the group’s gospel roots.  The vocals are somewhat far back in the mix of this which is strangely effective but I think here Nash’s original version is the stronger track.

For a time Gladys looked as if she might follow Diana Ross into the world of Hollywood movies.  She starred in the film “Pipe Dreams” but the only thing that is now remembered about that is the title song written by Tony Camillo which makes its appearance next and is a very good example of a Gladys ballad.  Camillo continues the writing honours with Mary Sawyer on “I Feel A Song (In My Heart)” a track which just oozes with class.  It was the lead single from their third Buddah album.  Once again it is the driving quality of the performances that takes this to another level.  As a single, it perhaps wasn’t the best commercial option as its number 21 placing in 1974 ended their run of four consecutive US Top 5 pop hits.  It was, however, another R&B chart-topper for them.

If Gladys is associated with schmaltz it is probably because of the next track.  The song was a bit of a game-changer for them in the UK which saw them begin a run of consecutive hits and established them on radio playlists was a live version of the Barbra Streisand weepie “The Way We Were” teamed up with a hint of “Try To Remember” which Gladys largely speaks through.  It is a sentimental track but the live performance and Gladys’ voice when she gets into singing mode stop it from going over the edge.  In the UK it became the group’s biggest hit to date getting to number 4 and prompting re-issues of earlier tracks which hadn’t made the grade first time round. In the US it hovered just outside the Top 10.

From this point on Gladys’ chart performances were more consistent in the UK as we really took her to heart.  An association with disco supremo Van McCoy brought forth three top 40 singles and includes what I would consider to be the third all-time classic by this group.  I love the work that was done with McCoy, who died in 1979 at the tragically young age of 39.  Where he worked best is with gutsy vocalists who could cut through the lushness of his arrangements which combined together beautifully –so here I’m thinking of  David Ruffin, Melba Moore, Faith Hope and Charity and especially Gladys Knight & The Pips. The driving “Come Back And Finish What You Started (UK#15 1978) the disco bounce of “Home Is Where The Heart Is” (UK#35 1977) are great tracks but eclipsed by “Baby, Don’t Change Your Mind” (UK#4, 1977) which effectively conveys the paranoia towards a partner’s commitment once his “ex is back in town”.  This track also marvellously rhymes “mind” with “genuine” and all to a disco beat.  I know that many soul artists struggled during the disco years and didn’t hold the music they were being asked to do then in high esteem but Gladys is just great at this and these tracks show why.


Van McCoy – The Disco Kid

Elsewhere we get Gladys re-exploring “The Way We Were” feel with a version of “Georgia On My Mind”; one of the most sensitive vocal performances ever on David Gates’ “Part Time Love” (US#22, UK#30 1975) and a couple of Curtis Mayfield penned and produced tracks which came off the soundtrack for a movie “Claudine” which starred Diahann Carroll.  “On and On” (US#9 1974) is a track which has grown on me over the years and “Make Yours A Happy Home” (UK#35, 1977) has an irresistibly infectious warmth.


The Buddah association came to an end in 1980 when they signed to Columbia Records.  Towards the end of the stay Gladys and the Pips began to explore solo projects.  The Pips could never be great without Gladys despite good vocals and excellent stage presence but Gladys without the Pips recorded one of the great James Bond Themes in a “Licence To Kill” and topped the US charts as part of the Dionne Warwick led AIDS fund-raiser “That’s What Friends Are For”.  The post Buddah years threw up a few good tracks for the group including the Ashford-Simpson penned “Bourgie Bourgie”.  In 1988, 27 years after their first chart hit the group disbanded and Gladys embarked upon her solo career.  Pips Edward Patten and William Guest are no longer with us but Gladys now aged 72 released her latest album “Where My Heart Belongs” in 2014.  Her recordings encompass R&B, standards, jazz and gospel, where she has remained incredibly active.  She is truly one of the legends of the entertainment business.

I’ve gone for this European budget compilation using tracks licensed from Buddah because it contains the Van McCoy songs which, because of their lack of commercial US success, some compilations do not feature.  There is also of course great Gladys and Pips tracks to be found from the Motown years (the double CD “Anthology”from 1990 brings out the best of these) as well as great tracks from after the Buddah years, but this is the one (although not the easiest to find and with no frill in the packaging department that I would consider to be essential.  There is a 2006 Double CD available also called “Gold” which takes in both the Motown and post- Buddah years but for a single CD compilation this one is hard to beat.

Gold is currently available from Amazon in the UK for £7.99, and used from £0.81. It does not seem to be readily available in the US.

100 Essential CDs – Number 81 –Ben E King – Stand By Me- The Ben E King Collection



Stand By Me: The Ben E King Collection (Warner Platinum 2005)

The story goes that in 1958 twenty year old Benjamin Nelson was lead singer of a group called The Five Crowns.  They had a good local following and appeared at the famed Apollo Theatre in Harlem alongside a much bigger group The Drifters.  The Drifters had come off a run of big hits but since their lead singer Clyde McPhatter had left the group had become directionless.  Something their manager George Treadwell was aware of.  He sacked the whole group and took the Five Crowns on as The Drifters, who now had a new lead singer in Nelson, who had a likeable baritone voice.  Originally not a popular move with concert-goers the new group went into the studio and began a run of all-time classic hits.  In time Nelson became Ben E King and as the lead voice of The Drifters recorded such songs as “Save The Last Dance For Me”, “This Magic Moment” “Dance With Me” and “I Count The Tears” four tremendous tracks which appear on this 20 track CD and have also been discussed in what is very much a companion Essential CD – Dance With Me- The Drifters Collection also released by Warner on its Platinum subsidiary label in 2005.


King’s tenure as lead vocalist for the Drifters was surprisingly short-lived.  After approaching the prickly Treadwell for a rise which was turned down King went solo.  Like McPhatter before him he was retained by Atlantic Records.  In 1960 he began working with Jerry Leiber and Mike Stoller – two of the greatest songwriters and producers of this era.  Working with them at the time was a young wannabe megalomaniac Phil Spector, who had come off a number 1 hit of his own as part of The Teddy Bears- whose “To Know Him Is To Love Him” is macabrely surely the only hit that is based upon the epitaph on a writer’s (Spector again) father’s gravestone.  Spector hung around studios absorbing everything and wrote alongside Leiber and Stoller (although only Leiber was credited at the time) “Spanish Harlem”.

             Leiber and Stoller working with Elvis             Phil Spector with Darlene Love

This is a lovely song which is just perfect for King’s crystal clear delivery and excellent diction.  The latin flavour gives it very much a feel of what he had been doing with The Drifters.  This became his first solo hit reaching number 10 in the US charts. In the UK a cover version by Jimmy Justice went to number 20 in 1962, the same year he also scored a top 10 hit with a version of the Drifters’ “When My Little Girl Is Smiling.”  Eleven years later Aretha Franklin did better with her version (US#2, UK#14) and whereas there is no faulting the Aretha vocal it does feel very much like a cover version.


Aretha also had success with another song on this album “Don’t Play That Song (You Lied)” written by Ahmet Ertegun and Betty Nelson (Ben E. King’s wife).  King’s original is taken at quite a leisurely pace and became his 4th US Pop Top 40 hit reaching #11 in 1962.  Aretha took it at a more urgent pace with a gospel call and response feel and in 1970 also got to #11 in the US and #13 in the UK.  I like the original version but I think in this case Aretha’s cover is the stronger track – making it one all between them.


Between these two Aretha covered single releases came the song which is an all time soul classic. I get goosebumps from the first moments of the introduction of “Stand By Me” that scraping guiro sound and guitar riff.  It is a superbly written song and one of the most significant pop songs of the 1960’s.  Written by King alongside Leiber and Stoller it was originally intended for his old group, The Drifters, who passed on it and King ended up putting his marvelous vocal to the track.  Released in 1961 after “Spanish Harlem” it reached number 4 in the US charts becoming his biggest hit.  In the UK it stalled at an inexplicable #27, matching the chart position of his previous UK hit “First Taste Of Love” (a track not on this CD).  It was a song that would not fade and artists such as John Lennon and Kenny Lynch had hits with it.  It has been a hit in many different languages and over 300 artists have recorded a version.  The music world had not finished with Ben E. King’s version, however.  In 1986 the song was central to the excellent film of the same name directed by Rob Reiner and starring River Phoenix.  It fitted the mood of the film perfectly.  It was re-released in the US where it got to number 27 and in the UK was concurrently used in a Levi 501 Jeans advert.  This, together with the exposure in the film, certainly did the business and in February 1987 it topped the UK charts for three weeks.  In 1999 it was certified as the 4th most played song of the century.  In 2015 it was entered into the US National Recording Registry because of its immense significance.  A 2012 BBC4 TV show “The World’s Richest Song” placed it as the 6th highest earning song of all time- a massive achievement when you consider “Happy Birthday” and the once a year most famous Christmas songs were on the list.  “Stand By Me” is certainly worth the price of this CD alone.


But there is more to Ben E King than “Stand By Me” although after this release in the early 60’s he was suffering from diminishing returns.  The delightfully cheesy old Bing Crosby hit “Amor” in which King is really playing around with his vocal was a follow-up single (US#18, UK#38).  For a man who penned one of the greatest hits of the century it is surprising that King became somewhat fond of the cover version and we do have quite a few on this CD.  There’s an odd version of “I Could Have Danced All Night” the “My Fair Lady” song which just doesn’t work, there’s a good “Moon River” and a passable “Dream Lover”, which doesn’t challenge the Bobby Darin original.

King also recorded the first English version of a standard pop song “I (Who Have Nothing) an Italian song with English lyrics by Leiber and Stoller and got to number 29 in the US in 1963.  This is a song which became better known by artists such as Shirley Bassey, Tom Jones and Sylvester and which for some reason does not appear on this CD.  What does appear is King’s version of another song associated with Bassey- “What Now My Love”, an English language version of a big French chart-topper by Gilbert Becaud. Bassey had reached the UK Top 5 in 1962.  King’s version, recorded two years later, shows him having a good go, without getting the chart success of later American versions by Sonny and Cher, Herb Alpert and Mitch Ryder.

The lesser known songs of this period are amongst the highlights of this CD.  “Walking In The Footsteps Of A Fool” from 1962, “Here Comes The Night” from 1961 and “It’s All Over” from 1964 are all great examples of songs which straddle the lines between pop and the developing soul sound.  By 1964 the British Invasion was dominating the UK and US charts and the huge popularity of Motown was introducing a younger R&B sound and many artists including Ben E King found their hit careers stalling.  There’s evidence in some of the later tracks of King trying a more gutsy vocal- in fact, his vocal on the 1966 track “What Is Soul?” is pushing him into the Otis Redding/Wilson Pickett bracket.  It is somewhat overdone.  It actually sounds less like Ben E King and more like the vocals of the Gibson Brothers of “Que Sera Me Vida” fame but it’s a determined effort to fit into the more Southern soul sound of the mid 60’s.



And suddenly Ben E King in the mid 70’s was relevant again.  This was a result of the closing track on this CD the space age disco-funk of “Supernatural Thing” which gave him a US #5 Pop hit in 1975- some 14 years after his first hit.  Saved from the oldies circuit he recorded an album with Scottish funksters The Average White Band, which was critically well received, especially “A Star In The Ghetto”.  Twelve years after this his fortunes would change again with the re-release of “Stand By Me”.


Ben E King died in 2015 at the age of 76.  He was survived by his wife Betty, who had penned “Don’t Play That Song”, after a marriage of over 50 years.  It is inevitable that he will most be remembered by one song but there was a lot more to his career than this and a handful of vocals for The Drifters and this CD is an excellent example of this.


Stand By Me : The Ben E King Collection  is currently available from Amazon in the UK for £13.22, and used from £11.03 and as a download for £3.49.  In the US it is currently $6.70 new and used from $0.63. 

100 Essential CDs – Number 57 –Chaka Khan – Epiphany: The Best Of Volume 1


Epiphany: The Best Of Volume 1 – Chaka Khan (Reprise 1996)


This is the third and final appearance of Chaka Khan on my Essential CD list and inevitably is a greatest hits compilation.  My previous Chaka choices had been geared towards the commercial singles buying audience and proving she was a relevant artist.  “I Feel For You” from 1989 mixed electro and hip-hop beats with the incredible Khan vocals and “Life Is A Dance: The Remix Project” was an explicit attempt (very successful in the UK) to introduce Chaka to a younger club-bound audience.  This 1999 release feels somewhat different.  It’s a much more sophisticated, adult-orientated affair which emphasises Chaka as a major recording artist who can transcend barriers of Soul, R&B, rock, pop, jazz and disco.  Released on the Warner Brothers subsidiary Reprise, this was deemed, as suggested by the title a rebirth for Chaka the artist, who, maybe partially because of her disillusionment with the Warner Brothers label, had not had an album release of new material for four years since the not terribly inspiring “The Woman I Am” release.  With the idea of rebirth in mind the label included five new tracks amongst this sixteen tracker to show the direction Chaka was going to be taking.  Although this album was tagged Volume 1 there has never been a Volume 2 and it would be another two years before Chaka returned with a new album and this would be on Prince’s NPG label.


Having noted the more mature feel of this release the big commercial hits are obviously present including the perennial club favourite “Ain’t Nobody”, the vivacious power statement of “I’m Every Woman” and a couple of tracks from “I Feel For You”- the title track, one of the great number 1 UK singles of the 80’s and the sublime “Through The Fire” and there’s also “I Know You, I Live You” familiar from the “Remix Project” – although here in its unremixed form.   So there’s a little overlap between the two previously recommended albums but there are eleven out of the 16 tracks that I have not so far discussed.


From the Rufus days we get the initial hit, the Stevie Wonder penned  “Tell Me Something Good” here in a live version from the  1983 “Stompin’ At The Savoy” album.  The Wonder influence here is strong in the structure and sound of the song with its vocoder effects underneath a snarling, sinuous funk groove and a great vocal from Chaka.  It illustrates how great a live performer Chaka can be (although this could be a little erratic at various points of her career).  When on form she is certainly amongst the best and it can all seem effortless.  I’m a huge fan of the Gregg Diamond penned track “Papillon (Hot Butterfly)” produced by Arif Marden from 1980’s “Naughty” featuring a pre-superstardom Luther Vandross on backing vocals together with Cissy Houston.  There’s a point here which shows the Khan voice as magnificent and takes away from the lightweight disco feel of the whole thing.  At one point her vocal soars and a saxophone takes over and the sound is very similar.  This is the essence of Chaka’s voice, unlike most pop stars it is a real instrument and is used as an instrument.  The comparisons to a saxophone have been made throughout her career and that is why there has always been so much said as to how great a jazz singer she can be and if she had been born in an earlier era when the legendary female jazz vocalists were recording that her voice would be up there with the Ellas, Sarahs, Dinahs and Billies. It is at moments like this on a track which is fairly fluffy that this shows up.


“Love Me Still” is a less familiar track which featured on the soundtrack of Spike Lee’s  1995 film “Clockers” and is a collaboration between Chaka and Bruce Hornsby.  Unsurprisingly, given Hornsby’s involvement this is a piano-led ballad which is performed beautifully and has the same sound as his classy “The Way It Is” hit from 1986.  Released as a single but not a hit, this is just so classy and reminds me of “Angel” the standout track from her 2007 “Funk This” release but this is perhaps Chaka at her gentlest and most tender.


The jazz influence hits home on a couple of the track selections “The End Of A Love Affair” predates the type of material she will do on 2004’s “Classickhan” album.  The song from 1988’s “CK” album is dedicated to Ella Fitzgerald is most associated with Billie Holiday and after a fairly faithful rendition launches into a George Benson guitar section with George scatting along.  This mix of Benson and Khan is a good one, both Warner Brothers artists who both could have benefited from more collaborations, especially as both worked with Quincy Jones.  The jazz becomes more be-bop in “And The Melody Still Lingers On (A Night In Tunisia) from Chaka’s 1981 release “Whatcha Gonna Do For Me” in which producer Arif Mardin uses a sample of the alto sax of jazz legend Charlie Parker and enlists the help of another jazz legend on trumpet, Dizzy Gillespie who also wrote “A Night In Tunisia” which is the basis of this developed by Khan and Mardin into a new track.  From the same album comes the title track co-written by Scottish supergroup Average White Band’s Hamish Stuart alongside Ned Doheny.  It’s a good solid song from 1981 with disco influences but is unlikely to be too many people’s favourite Chaka track.  This is the track which leads into the new material.

First off is a cover of Fleetwood Mac’s “Everywhere” given a gentle reggae flavour with the odd playing around with vocals from producers David Gamson and Andre Betts.  This feels very much like a mid 90’s track and plays it a little safe. “Never Miss The Water” was a small UK hit and sees Chaka collaborating with singer, rapper and bass guitarist Me’Shell Ndegeocello, for whom big things were predicted around the time the CD was released and whose name seems to take me forever to type correctly.  It brings the Chaka sound firmly into the mid 90’s and with Me’Shell’s rapping flirts with the Neo-Soul movement.  Two years prior to this Chaka had scored her last to date UK Top 40 hit with collaboration with Jazz-rapper Guru on “Watch What You Say” (#28) and there has always been the desire to experiment with newer sounds throughout her career.  The sinuous funk of “Something Deep” produced by Keith Crouch also has these undertones of neo-soul, hip-hop and jazz especially in the sax solo and horn arrangements by Derrick Edmondson.  Long-time producer Arif Mardin takes the helm for “Your Love Is All I Know”, a Whitney-ish R&B ballad which shows off the Khan vocals beautifully, even if the song is a little Disney-ish, but if anyone could build up to the big power chorus it is certainly Chaka.  Album closer “Every Little Thing”, another slab of contemporary sounding R&B is the third of the new tracks produced by David Gamson and once again clearly illustrates the direction the Warner Brothers group would see Chaka going in.

The studio albums which come after this are all interesting if not essential. In 1998 Chaka worked with Prince and appeared on his NPG label with “Come 2 My House”- a solid album .  A superb version of “My Funny Valentine” had appeared on the soundtrack for the 1995 Whitney Houston vehicle “Waiting To Exhale” and it was clear that this could be a direction that could reap benefits.  It was 2004  when she took on the whole of the London Symphony Orchestra for “Classickhan” a set of standards including “The Best Is Yet To Come”, “Is That All There Is” and three tracks associated with Shirley Bassey, a direct challenge if ever there was one.  The power is certainly racked up in “Goldfinger”, “Diamonds Are Forever” and “Hey Big Spender”.  2007’s “Funk This” saw a return to more earthy roots, contains the lovely track “Angel” and scooped a couple of Grammys including Best R&B album. This brought her total of Grammys to date up to 10. It also reached number 15 in the US album charts – her highest placing in this chart since her 1978 debut got to number 12.  In 2015 she took part in and was the first celebrity eliminated in “Dancing With The Stars” (the US version of “Strictly Come Dancing”) and earlier in 2016 she announced she was entering rehab as she was addicted to the same painkillers that were part of the early demise of her friend Prince.

In a career which has lasted forty-two years since the first hit with Rufus there is little doubt that we will be hearing from Chaka Khan again until we do this hits+ new tracks compilation will certainly go some way to filling the gap.  I couldn’t choose from two videos so have gone for the all-time classic “Ain’t Nobody” and because I cannot resist a 70’s Soul Train clip here is Rufus featuring Chaka Khan with their first hit from 1974


Epiphany: The Best Of Volume 1 is Life Is A Dance: The Remix Project is currently available from Amazon in the UK for £5.99, used from £1.47 and as a download for £3.49.  In the US it is currently $9.86 new,  used from $0.01 and download for $9.49.

100 Essential CDs – Number 70 –Off The Wall – Michael Jackson


Off The Wall – Michael Jackson  (Epic 1979)

UK Chart Position – 5

US Chart Position – 3


1979 and disco music is dominating the airwaves.  A little late to the party were a group who were made for the uptempo disco sound – The Jacksons.  Since leaving Motown they had dabbled with Leon Gamble and Kenny Huff who imbued them with the smooth Philadelphia International Sound.  Although “Show You The Way To Go” became the first UK number 1 for the group in 1977 the hits had tailed off, especially in the US where this UK chart-topper only reached #28.  However, things revived for them as towards the end of 1978 the group were back in the UK Top 10 with “Blame It On The Boogie”, a cover version of a song written and recorded by British songwriter Mick Jackson.  This set off one of those chart battles which saw Mick reach number 15 with the original and The Jacksons get to number 8.  The US passed on both versions, surprisingly, as over here it is one of the disco songs that the group is best known for.  Fortunes changed when they kept with the disco theme and released “Shake Your Body (Down To The Ground)” which took them back to number 7 in the US (their first Top 10 hit in three years) and to number 4 in the UK.  This funky little dancer gave a boost of confidence to the lead singer and got him thinking about more solo work.

Chart battle – Jackson v Jacksons

By 1979 Michael’s child solo star days were well behind him.  His last couple of albums for Motown had not been big sellers and the twenty-one year old had emerged from an awkward adolescence not exactly brimming with confidence about his future in the music business.  He was excited about the ascendancy of Disco music and was an occasional visitor to Studio 54.  He had never had much creative control of his music when he was with Motown and began looking for a producer who he could work with and who would be prepared to encourage and nurture him as a songwriter and performer.  He contacted Quincy Jones, who had produced him on the movie soundtrack for “The Wiz” and Quincy suggested himself.


Quincy Jones

This was a good match right from the start.  Quincy had been around for years and had won Grammy awards as a Jazz musician, producer and arranger and had scored a number of films.  From the mid 70’s his solo work (solo in that it was released in his name, but really ensemble pieces with artists who he would work with for many years) had formed into a sound that was very much his own, a blend of sophisticated funk.  This crossed over into the pop charts with his work with The Brothers Johnson, especially “I’ll Be Good To You” (US#3- 1976).  Jackson could easily be incorporated into that sound.  Michael was brimming with ideas but needed some help in bringing them alive.  In J.Randy Taraborrelli’s biography “Michael Jackson: The Magic And The Madness” (1991) he quoted Jones remembering that Michael was “very, very introverted, shy and non-assertive.  He wasn’t at all sure that he could make a name for himself on his own.  Neither was I.”

During their work together, choosing a selection of songs for the album more than a little magic obviously happened because the end result when it was released in September 1979 was a sensation. For me it remains the best solo Jackson album, even though it wasn’t his biggest seller.  Michael Jackson, the adult superstar had arrived.   The fact that something special happened was backed up by Quincy Jones who had certainly changed his tune when he prophetically said;

“We accomplish so much in a single session, it stuns me.  In my opinion, Michael Jackson is going to be the star of the eighties and nineties.”

It’s not so much of an album as a laying out of wares.  Jackson is putting out the shop stall which will see him right for the rest of his career.  The opening track, and first hit off the album was a game-changer.  Jackson mumbles his way through the intro (we hadn’t heard that before, but we’d hear it again) there’s an early showing of what becomes a trademark “Whoo!” and for the first time Jackson is singing in a falsetto voice, so very different from the hard-singing belt it out juvenile of “I Want You Back”.  We’d not heard Jackson like this before and we liked it.  The song itself, written by Jackson, has great production but is, dare I say it, a little empty and repetitive.  It was good enough in 1979, however, as it became the lead single for the album.  “Don’t Stop ‘Til You Get Enough” became his first US number 1 pop hit for 7 years and reached number 3 in the UK.


With history behind us we might think that this album would have been one of the biggest hits of the late 70’s, but it did not top the charts either in the UK or US (it did in Australia).  It did, however, hang around the charts for ever and has been a solid seller ever since of over 20 million, which is a paltry amount compared to the 65 million+ of “Thriller”.  It did become, however, very much a singles album as it was the first album ever to have four US Top 10 singles taken from it and on a ten tracker that is pretty impressive.  It’s as if Jackson needed this album as a springboard to becoming a phenomenally selling album artist from this point on.

Jackson has three compositions on “Off The Wall”, one written with Louis Johnson of The Brothers Johnson and he keeps his contributions very much geared towards the dance floor.  “Working Day And Night” is a solid dancer but for me my favourite of the three is the Jackson/Johnson track “Get On The Floor”.  However good Jackson’s own tracks are there are better on show.

The real find was British songwriter Rod Temperton who had to this point been known as a songwriting member of British band Heatwave, most famous for “Boogie Nights” which closing track “Burn This Disco Out” has the definite feel of.  Temperton is responsible for two of the stand-out tracks which both became hit singles.  “Rock With You” is a subtle little dancer, which gave Jackson his second US number 1 in a row (UK#7) and “Off The Wall” (US#10 UK#7) marries this new Jackson sound with the Quincy Jones sound perfectly.  With the backing vocals and feel of the song Quincy would incorporate this sound in later recordings both attributed to himself, and with George Benson and Patti Austin amongst others.


Rod Temperton

It may have been the lack of confidence as to how well this album would sell which would lead to song selections of two of the biggest superstars of the 70’s.  Stevie Wonder’s “I Can’t Help It” was written alongside the then-Supreme Susaye Green and with its Stevie Wonder feel is a nod back towards the Motown days as well as sounding very contemporary.  “Girlfriend” is written by Paul McCartney, starting off a musical relationship which would lead to one of the poorer tracks on “Thriller” and a reciprocal arrangement on the ex- Beatles 1983 “Pipes Of Peace” album –  “The Girl Is Mine” and “Say Say Say”.  McCartney has Jackson as something of a tell-tale in this song – a role he had certainly played before in the Jackson 5’s “I Saw Mommy Kissing Santa Claus” in which he is a right snitch and which for some reason I have to listen to every Christmas.  I think “Girlfriend” is the best of the Jackson/McCartney association.


Carol Bayer Sager and David Foster’s song “It’s The Falling In Love” had already been a US chart-topper in 1975 for Hamilton, Joe Frank and Reynolds.  It reached #33 in the UK as we were not so fond of this type of country influenced soft-rock over here and it sounded like it was by a team of solicitors! Jackson and Jones transformed this into a lovely soul ballad and drafted Jones’ musical muse of the time Patti Austin for some lead vocal lines and this ends up certainly one of the tracks that has got even better with time.

This leaves us with one track, another game-changer.  “She’s Out Of My Life” was an early example of the frail, fragile ballad that Michael and also sister Janet would return to again and again in their careers.  It really shouldn’t work – it is so full of emotion that the whole thing could come off as cloying.  The vocal purposely lacks confidence and the vulnerability of the singer shines through.  There’s even what was reputed to be real tears towards the end causing the vocal to further crack.  This is miles away from the vocal on “Got To Be There”.  It’s understated and performed with such honesty that it won the public over getting to number 10 in the US and performing better with us sentimental Brits getting to number 3.  It always feels like we are eavesdropping into something we shouldn’t be and any song which features the word “cavalier” is alright by me.  For anyone who wants a less understated version of this song written by Tom Bahler let me point you in the direction of Patti Labelle and her “Classic Moments” CD where she matches Jackson in the overwrought stakes yet typically gives it all she has got.


Michael Jackson reaffirmed his superstar status with this album.  He had hoped that sales would have been higher and he was disappointed with only winning one Grammy (Best R&B vocal performance for the first single).  He told everyone he would try harder next time.  Reuniting with Jones the pair came up with “Thriller” in which they went for a more broader appeal.  For me that album has a rockier and poppier edge (and that is even more the case with “Bad”) than the more R&B styled “Off The Wall”, which is why I prefer this first collaboration.  However, there might very well be 65 million people who disagree with me.

Off The Wall is currently available from Amazon in the UK for £3.00, used from £2.83 and as a download for £6.99.  In the US it is currently $4.99 new,  used from $1.00 and download for $9.99.  It is also available to stream on Spotify in the UK .

Postscript:  As I am doing this run-down of Essential CD’s alphabetically rather than chronologically my next 100 CD post will be the one I have put at the top of the pile.  Any ideas what that could be?  A look at those I have favoured might give you some inkling – but I don’t think I’m that predictable….Only two weeks to wait.

Motown – The History – Sharon Davis (1988) – A Real Life Review



Back in 1959 Berry Gordy Jnr,  erstwhile professional boxer and enthusiastic songwriter, on the advice of his friend, Smokey Robinson, borrowed $800 from his family and used it to open Tamla Records putting out “Come To Me” by Marv Johnson in January 1959.  From 1961 Berry was also putting out records on his new Motown label.  (In Europe Gordy’s music was released on Tamla Motown, but in the US this was two separate labels under the Motown banner).  And the rest, as they say, is history.

berry gordy

Berry Gordy

Motown, originating in Detroit, became The Sound Of Young America and the rest of the world lapped it up as over the next few decades it introduced us to some of music’s biggest stars including Stevie Wonder, Marvin Gaye, Diana Ross & The Supremes, Michael Jackson & The Jackson Five, Smokey Robinson & The Miracles, The Four Tops, The Temptations, Gladys Knight & The Pips, Lionel Richie…………………….the list goes on.

motown artists

Sharon Davis is the perfect person to write a book about Motown.  Working for Blues and Soul Magazine from the 1970s she wrote a column “Motown Tracking” which gave a regular review of news, recordings and gossip from the label forming a large body of work and making friends with the artists which would have helped her produce this book.

What this makes this book different from many books about Motown (and there are quite a few out there – it being such a fascinating success story) is that British perspective and also the thoroughness of the whole thing.  Motown completists may very well weep with joy as there is at the back of this book a comprehensive discography of all releases of Singles and Albums which sorts out the output of  Gordy’s different labels as well as a list of all British releases to the mid 80’s.  It is this more than anything that keeps this book on my shelves.

Occasionally, Davis adopts a slightly scatter-gun approach and veers all over the place, which can make it a little frustrating and perhaps demonstrates those journalistic roots and I think the whole thing could be tighter in terms of chronology.  What is also different with Davis’ account is the broader time spectrum she focuses on.  I actually would have liked to have read more about “the golden years” of Motown but Davis is keen to give us the greater picture.  In 1972 the label moved from Detroit to Los Angeles, reputedly to support Diana Ross’ film career and for many this is where the golden age ended and many in Detroit felt betrayed by the label’s departure.  However, Motown did put out some of its best music throughout the 70’s  and 80’s but as the organisation grew the family feel of the label from its younger days departed and it became another large conglomerate .  I think part of Davis’ brief was to show that the label was still relevant at the time she was writing and as a result there may be too much emphasis on the 80’s where you can detect even the author’s enthusiasm is flagging as she chronicles the myriad of artists whose stay on the label (and probably in the music business in some cases) was extremely short-lived.  Through the 90’s Motown would have another golden period due to the success of Boyz II Men – perhaps an updated version of this book would have put this into perspective and placed less emphasis on the years when the hits were harder to find.  Some of the artists from the golden years ( including music producer Frank Wilson whose “Do I Love You (Indeed I Do)” is one of the most loved Northern Soul tracks and Frances Nero who had a revival of fortunes in the 90’s when she recorded with Ian Levine) are given very scant attention.  However, I’m nitpicking because this is a solid volume, full of photos of the artists in colour and black and white and it would be highly worthwhile to search this out

Sharon Davis is also well known for her book about Dusty Springfield “A Girl Called Dusty” (2008) which I didn’t enjoy quite as much as her take on Motown.  She has written books on Marvin Gaye, Diana Ross and Stevie Wonder amongst others and a couple of books on the stories behind chart-topping singles.  Her latest book (2014) which I am adding to my Wants list is a biography of Disco Superstar Sylvester for whom she worked as a publicist.  All of Sharon Davis’ books can be found on Amazon.co.uk


Motown – The History was published in 1988 by Guinness Books

Lindsey Webster – You Change (2015) -A Music Now Review


This is the first of a new thread.  Music Now Reviews will be a fortnightly feature focusing on what I have been listening to…………….

The other day I received my ballot paper for the Soul Tracks Awards 2015.  This is something I joined a few years ago at http://www.soultracks.com/  and champions the independent soul artist and labels which are still putting out some very high standard mainstream soul music, away from the dominant sounds of Hip-Hop and Dance music which tend to be the R&B influenced music which crosses over to the Pop Charts.

As these are often American releases on small labels and tend to be ignored largely by UK radio there are usually very few nominations that I have heard of.  This year, however, due to the wonders of Spotify, a little bit of detective work found all bar one of the Best Album nominees.  So, rather than just voting for what I knew,  I have over the last few days been listening to those nominated to decide who would get my vote.  And really I am quite inspired that there is a wide range of good quality soul music being produced.  For a time there was a tunelessness and wavering vocals in R&B music as a result of the vast success of artists such as Boyz II Men and Mariah Carey which never really engaged with me.  In a world where most Pop music heard on the radio is begin to sound generic and very similar (is it my age?) it was good to hear these Best album nominations were sounding very different and even within an album release there was a much greater range of styles of tracks than would have been the case five or so years ago.

So after listening to these albums, which one got my vote? Well, there were a couple of very strong contenders but, as no doubt you will have worked out from the title of this post the one that did it for me was by Lindsey Webster, an artist who I have never heard of before receiving the nominations.  I have needed to do some research, as the downside of listening on Spotify is that you do not get the sort of information that you would have got from the CD inserts (and that is often a paltry amount and often pretty illegible compared to the old LP sleeve notes- showing my age again).


New Yorker Lindsey is a former cello player who turned to singing and whose album is released by Atlanta Records.  This is her second album following her first self-titled CD released in 2013.  The first thing that is going to grab you is the voice, a rich smokey voice which for me is reminiscent of the great Dusty Springfield, but also references many top quality female vocalists – Sade, Anita Baker, Carole King, Lisa Stansfield amongst them whilst having an individuality which is so rare in these days of so many sounding the same.

Songs are well structured and all written by Lindsey alongside Keith Slattery.  This is a woman who understands music and song-writing which suggests a lengthy career is ahead of her.  All in all, it’s a set of very good songs, beautifully sung and well produced.  What more could we ask for?  For someone who spends more time listening to old music than new music this is a revelation –the quality of the vocals of the 70’s, the well structured soul songs of the 80’s with a feel which is very 2015.  This girl could be big, and hopefully she doesn’t have to do a big club banger to get people buying.  Occasionally, an artist can break through with sheer quality – I’m thinking here of early Norah Jones and Rumer even Adele.  Given the right push this could be the sound of late 2015.


“Fool Me Once” the opening track has plenty of body, a solid verse and chorus structure and the freedom to end in a cool instrumental section, setting up a groove which might explain the Sade comparisons.  These are songs of both the joy of love (“I Found You”, “Open Up,” and “In Love)” and heartbreak (“Fool Me Once”, “Lost One”) providing a good balance .  Lindsey does not take the victim role – like the best songs on Amy Winehouse’s “Back To Black” the woman causes the problems herself.  On the lovely track “Bleed” Lindsey confesses;

Oh lord, I can’t believe
What I’ve done to his heart
I made it bleed
I’ve been, been living a lie
And I never meant to hurt
Or make him cry

I have learned the hard way
That the lesson’s harder than the pain

This piano-led track has a feel of the very best of Alicia Keys. The track “In Love” reminds me of the type of song Dusty did with The Pet Shop Boys (eg: “Nothing Can Be Proved”).  There’s also touches of Swing Out Sister and a good dance tune in “I’m Strong”.  I’m making these comparisons purely because I want fans of these artists to go and seek this CD out – because Lindsey is very much her own artist . I was delighted to opt for this album as the Best Independent Soul Album and also voted for her in her nomination as Best Newcomer . I can no longer urge you to vote as the ballot has closed (results due on Dec 7)  but she seems to me the kind of artist that we embrace here in the UK and is worthy of your attention.


 (although with repeated listens this may very well be a five star release)

The other album I really enjoyed was “Tales Of Milk And Honey” by The Foreign Exchange, a solid mix of great vocals, slick disco-funk tunes.  “Color And Sound” by Alabama Shakes was an album which certainly took risks with musical styles which veered from Soul, Funk to Rock and Heavy Metal.  I really liked some of it and applaud the concept but sometimes I did feel my fingers sneaking into my ears!  The full list of nominees were:

Alabama Shakes – “Color and Sound”

Brandon Williams – “XII”

Jeff Bradshaw – “Home”

Kenny Lattimore – “Anatomy of A Love Song”

Lindsey Webster – “You Change”

Lizz Wright – “Freedom and Surrender”

Portia Monique – “Portia Monique”

Teedra Moses – “Cognac and Conversation”

Terri Lyne Carrington – “The Mosaic Project: Love and Soul”

The Foreign Exchange – “Tales from the Land of Milk and Honey” The Internet – “Ego Death”

The Rebirth – “Being Through The Eyes of a Child”

Tyrese – “Black Rose”

Various Artists – “Bespeak Love”

I voted as mentioned above Lindsey Webster for Best Album and Best Newcomer, Foreign Exchange for Best Group, Kenny Lattimore for Best Male Artist, Lizz Wright for Best Female Artist and Alabama Shakes for Best Single “Gimme All Your Love”



“ You Change” by Lindsey Webster is currently available to download from Amazon for £6.49 and US listeners can download for $6.99.  It is also available to stream from Spotify