RECENT REISSUE REVIEWS - May 2018

RECENT REISSUE REVIEWS – May 2018

THE POINTER SISTERS: THE POINTER SISTERS/THAT’S A PLENTY  (SOULMUSIC RECORDS)

Oh yeah! This is wonderful and it feels good to hear both these albums again.  Released in 1973 on Blue Note, the Sisters’ first album has always been a huge favourite in my collection. Cleverly packaged and marketed, it shot to the top of the US R&B chart, passed gold status, proving they were here to stay and this debut was testament to that. The imaginative use of vocals from Bonnie, June, Ruth and Anita which are often combined, sometimes scat and jazz-tinged, but always with an edge.  They drive and wail, pitch and touch their voices in and around tracks that are excitingly divine.

With the album cover showing them in 40s’ styled clothes, we knew we were in for a treat, starting with their take of “Yes We Can Can”, both sassy and cool.  The quirky full-spirited, energetic “Wang Dang Doodle” and the amusing “Old Songs” with its pounding rhythm steering their voices reminded me of Bette Midler.  Hell.  Should I have written that? With the ability to mix R&B with a fresh approach, and with cover versions rubbing grooves with a couple of Pointers’ compositions – “Jada”  and “Sugar” – this was a brilliantly conceived launching pad for them. Check out too “That’s How I Feel”;  rather zany, with improvised vocals and nonsense lyrics, with their voices used as instruments.

Ragtime starts “That’s A Plenty” with “Bangin’ On The Pipes/Steam Heat”.  Both fast and furious, totally impulsive and crazy because how can a song about a radiator be so deliriously lovely?  With lyrics that mean nothing but rather highlight a scat/bebop vocal which they do so well, “Salt Peanuts” races along like a speeding train over its tracks, taking no prisoners on the way.  Change of style with the country-flavoured “Fairytale” which gave them their second top forty hit, crossing over into the C&W chart enabling them to become the first African-American vocal group to star at the Grand Ole Opry in Nashville.  The song also won them their first Grammy Award for Best Country Performance.  Glorious tight vocals shine across “Grinning In Your Face” against a steady, unhurried beat, while a young Bonnie Raitt plays slide guitar.

The Pointers’ self penned “Shaky Flat Blues” is followed by “That’s A Plenty/Surfeit USA” crammed with surprises as it shifts from one genre to another in quick succession, and from the sounds of it, great fun and laughter resonated around the studio.  Meanwhile, “Black Coffee” instantly stills the mood with low key, heartfelt Blues, sedately presented.  So cool.  The “That’s A Plenty” album sleeve, while not colourful, does strike an impressive pose in stark black and white, silhouetting the four ladies dancing.  There’s absolutely nothing to fault across these two albums; they’re both steeped in originality whether from a soul, jazz or Blues songbook, and the Pointer Sisters (while probably out of breath most of the time!) are incredible.   Absolutely priceless!

Rating: 10

SHALAMAR: UPTOWN FESTIVAL/DISCO GARDENS/BIG FUN  (CHERRY RED RECORDS)

It was the five bonus tracks on this double CD package that excited me the most.  These single versions of the biggest disco tracks around in the late seventies/early eighties, had my blood pressure rising, adrenalin bubbling and voice singing at full pelt. Let me remind you – “Uptown Festival”, “Take That To The Bank”, “Right In The Socket”, “The Second Time Around” and “I Owe You One”. Know what I mean? Hard driving dance that never lets up, with building chorus and hooklines, they’re so totally addictive and so epitomise the best in disco.  Formed in 1978 by the producer and host of the innovative US music show “Soul Train” and featuring Jeffrey Daniel, Jody Watley and Gary Mumford, the trio couldn’t sing a bum note as their string of UK hits proved.  OK, so the line-up changed slightly but so long as Jeffrey and Jody were there, we knew we were onto a winner.

On offer here are Shalamar’s first three albums, “Uptown Festival”, “Disco Gardens” and “Big Fun”, and on the first we’re treated to ten Motown tracks sung non-stop over a seventies disco beat.  Two further company songs are given the Shalamar treatment, namely, “Ooo Baby Baby” and “Forever Came Today”.  For “Disco Gardens”, with the membership of Jeffrey, Jody and Gerald Brown, the highlight hinges on the hit “Take That To The Bank”, with occasional inspiring musical moments via “Shalamar Disco Gardens” and “Leave It All Up To Love”.  It’s one long dance party although listening to it now, am sad it hasn’t travelled well.  The third, “Big Fun”, however, boasts the classic membership of the two Js and Howard Hewitt, and is just what it says on the album cover.  Fun!  It also way outsold its predecessor thanks to the included hits, like their biggest seller “The Second Time Around”.   Shalamar have such an instantly distinctive sound, said to be the very heart of Solar Records, and it is true to say their singles are immediately recognisable from the opening vocals, despite some of the cuts falling short of the excellence we came to expect from them.  Nonetheless, a worthy compilation for disco fans.

Rating: 8

MARLENA SHAW: GO AWAY LITTLE BOY:THE COLUMBIA ANTHOLOGY  (SOULMUSIC RECORDS)

Being the gal I am, I immediately headed for Marlena’s version of “Touch Me In The Morning” – and what a wow! track it is!  Taken at a dance pace, the song dips and rises through this remix, grabbing attention as the Diana Ross ballad is transformed into a disco classic.  Fabulous! So, now calm and my curiosity stemmed, here we have another in SoulMusic Records’ much loved anthology series from Ms Shaw, revisiting her Columbia Records tenure between 1977 – 1980.  Not being too familiar with her musical heritage I researched her background and rise to fame while listening to this diverse collection of music which earned her the title of soul/jazz legend.  Her uncle and jazz trumpet player, Jimmy Burgess, introduced her on stage during one of his performances at Harlem’s Apollo Theatre, and from here she studied music.  She dropped out of the course to get married and sang in jazz clubs as and when.  During 1963 she auditioned unsuccessfully for Columbia, before signing to Chess Records to release a pair of albums on their Cadet imprint, followed by five albums for Blue Note.

“Yu-Ma/Go Away Little Boy” from her Columbia debut “Sweet Beginnings” in 1977 is obviously a highlight on this anthology, soaring into the US R&B chart where it stayed for 11 weeks.  Love her spoken rap here which, by all accounts, she perfected while performing in an upstate New York club. Van McCoy’s beautifully styled ballad “Walk Softly” mixes easily with “Look At Me, Look At You (I’m Flying)”, a lustrous cool jazz item.  Her acapella introduction on “You Bring Out The Best In Me” leads into a compelling song, while the mood changes for “Mamma Tried” with its gospel feel, where Marlena accompanies herself on keyboards. Her first three charting singles for Columbia are here – the lively “The Writing’s On The Wall”, “Pictures And Memories”, upbeat and catchy, and “No Deposit, No Return”, her own composition.  Then the beautifully haunting “Theme From ‘Looking For Mr Goodbar’ (Don’t Ask To Stay Until Tomorrow)” from the 1977 film is quite outstanding.  I may not have known too much about Miss Shaw before hearing this, but now, after listening to this 2-CD package, I feel like we’re old friends.

Rating: 9

April Reissue & Recent CD Reviews

April Reissue & Recent CD Reviews

CROWN HEIGHTS AFFAIR DANCE LADY DANCE-SURE SHOT-THINK POSITIVE (ROBINSONGS)

So here’s the deal: three albums across two CDs crammed with dance, funk and ballads. Some have full blown group vocals while others the lead singer with sympathetic support voices, but all melting together in the style so significant in the late seventies/early eighties when competition was fierce. Founded by Donnie Linton in 1967, the group from New York City had a sketchy start until their “Dreaming A Dream” in 1975 registered them as crossover US hit makers. The opening cut on this set, “Dance Lady Dance” shot into the US top twenty and hit the UK top fifty, marking their third chart entry. The guys bought to the table their own brand of disco; a rich, all-inclusive sound, almost on the verge of overflowing with horns, percussion and keyboards. Amidst the dance, the occasional ray of eloquent soul shines through. “Empty Soul Of Mine” is a good example. A strongly flavoured ballad of emotional moments that gently tug at the heart. “Heart Upside Down” is another, with its impassioned vocals against a warm, comforting musical backdrop.

To be fair, the uptempo cuts are on the ball, of the minute, bringing home a healthy blend of decisive beats and attractive hook lines that often are quite inspiring. Check out “Think Positive”, a hard hitting rap track where the repetitious, grinding pace is highlighted by vocal breaks, while “You’ve Been Gone” jogs along like a train travelling over railway tracks. Then there’s the tempo change in “I See The Light” which reminded me of Earth Wind & Fire, and “Use Your Body & Soul”, with a rap section midway through, interrupting blistering vocals over a clipped disco beat. And last but certainly not least, classic Crown Heights Affair with “You Gave Me Love”, their biggest selling UK title, hitting the top ten. Heavy, meaty dance where the high spots are the repetitive ‘whoo hoo, whoo hoo’, and I can just imagine a dancefloor crammed with jumping dancers imitating this chorus. Think I’ll join them.
Rating: 8

M.F.S.B.: THE DEFINITIVE COLLECTION (ROBINSONGS)

I can’t tell you how excited I was to finally receive this Collection because my love for this orchestra is on the same level as my feelings for the Salsoul Orchestra, which, of course, is totally reasonable. Why? Well, when M.F.S.B. fractured due to financial disagreements with Gamble & Huff, several musicians actually switched to the Salsoul Orchestra, spearheaded by Vince Montana Jr. Anyway, back to this review. A pool of thirty-plus hand-picked studio musicians who worked with Gamble & Huff in the Philadelphia Sigma Sound Studios, M.F.S.B. (an acronym of Mother, Father, Sister, Brother, in line with the spiritual views of Gamble & Huff, although another meaning was given to the initials by musicians when complimenting another’s musical expertise) were legendary in providing lush and sumptuous music for artists like Harold Melvin and the Blue Notes, The Stylistics and The Spinners. Comprising a mixture of multi-talented musicians of all ages, some self-taught or classically trained – like Norman Harris, Bob Babbitt, Earl Young, Vince Montana Jr and Bobby Eli – who became household names, unlike, say, Berry Gordy’s inhouse unit because he insisted they remained nameless, despite them being responsible for the very foundation of what is known as ‘The Motown Sound’. Then, in the early seventies, M.F.S.B. thankfully became recordings artists in their own right when their second single, the theme to the US groundbreaking music show “Soul Train” was released under the title “T.S.O.P. (The Sound of Philadelphia)” with the added attraction of The Three Degrees. This timeless slice of sophisticated dance tore the international charts apart, selling over one million copies in America alone. The same combination was used again on “Love Is The Message”, another beautifully orchestrated piece, perfect in every respect, and a true legacy of the Philadelphia sound which would grow into a musical giant across the world. The song became one of the first to be inducted into the newly formed Dance Music Hall Of Fame in 2004.

So, this first “Double Definitive Collection” includes full-length versions of their biggest tracks, including “Let’s Clean Up The Ghetto” featuring the Philadelphia International All Stars. This was a project initiated by Gamble & Huff to support a five-year inner city programme, with all profits earmarked for this cause. What else? There’s “K-Jee” featured in the film and soundtrack of “Saturday Night Fever”; a semi-funk “Backstabbers”; an earthy delivery on “Family Affair”; a spiced up “Philadelphia Freedom” which go hand-in-hand with a mellow “South Philly” and a powerful disco based “Get Down With The Philly Sound”. The entire 2-CD package overflows with a musical elegance, enhanced with a dusting of classy melodies and hook lines that extend far and beyond the confines of session musicians. Whether the track is dance orientated, pulsating up tempo or dreamy ballad, the unique orchestral styling of M.F.S.B. is immediately recognisable, and it’s faultless in presentation. They are the very soul of Philadelphia. OK, I realise I’m biased but can’t help myself.
Rating: 10

HAYWOODE: ROSES: REMIXES & RARITIES (CHERRY RED RECORDS)
The gal with the crazy hairstyle and floppy straw hat! Hey, but that was the eighties. One of our precious homegrown singers, Sid remained the girl-next-door, a fab friend and a great talker, and this never changed when her star began rising with crossover hits. We met regularly, and her CBS press agent discovered it was best for our interviews to be at the close of the day because Sid and I like to party afterwards. Anyway, that aside. Released as the companion to the top selling “Arrival” reissue, Sid’s music on this double CD package has been re-mastered from original CBS tapes, and bring together a selection of her most sought after re-mixes. All from the eighties, these cover some rare sides and previously unreleased titles spanning her stay at the record company. It’s wall-to-wall dance music – pop, hi- energy, hard funk meets classic eighties disco – re-mixed by a host of influential names of the decade, like Mike Barbiero and Steve Thompson, who would later work with Whitney Houston and Aretha Franklin, among others. And their mix of “Roses”, her third single, starts this sometimes frenetic journey. “It’s funky pop and the lyric of not having a man mess me around resonated with me” she said. Her debut single “A Time Like This” here mixed by Nick Martinelli (both 7” and 12”) is quite amazing. Recorded in Philadelphia for her debut US market outing, the track was canned in preference to “Roses”. Bypassing, her second single “Single Handed”, a Detroit extended mix of “I Can’t Let You Go” – which I’ve always loved – has an amazing driving beat. “…totally re-recorded in Detroit with Bruce Nazarian and Duane Bradley it gives the song a more ‘live’ jazzy band feel” said Sid. “(Together with) the sax and piano flavoured pop-soul-funk elements that I was personally vibe with.” Interestingly, there’s a couple of groovy instrumentals here too, “You’d Better Not Fool Around” and “I Can’t Let You Go”, a pleasant diversion for sure.

Talking about “I’m Your Puppet”, Sid’s take on the James and Bobby Purify classic, she explained it was her father’s favourite tune which inspired her to record it. “Music was like food in our house…I was uber-delighted when I found out I was to record it in the home of Philly Soul and work with Nick. These memories of that trip stand out for me.” All credit to her, the song is beautifully constructed and delivered. Sid co-wrote “My Kind Of Hero”, a welcoming ballad sung with a certain commitment – “It does have a Tina Turner feel to the backing track which wasn’t intentional on my part, although she is an inspirational stage goddess for me.” Stock, Aitken and Waterman were the power behind “You’d Better Not Fool Around” which was partly re-recorded and re-mixed before hitting the public as a single. “I like the vocal melody and ‘man, get ya act together’ lyric.” It’s another full-on slice of dance, with a scorching feel and atmosphere. Then, as if that wasn’t enough, the CD, in its eye-catching packaging, closes with The Haywoode Mega-Mix comprising five belting tracks that take no prisoners. Summing up, this package is overflowing with energy, youthful enthusiasm and Sid’s total commitment to her music. And there’s more to come as a new album is in the planning stages for release this year, with a promise of UK dates. What more could we want? “Thank you from the bottom of my heart for your interest and support of my music over the years. It truly means the world to me.”
Rating: 9

NORMAN BEAKER BAND: WE SEE US LATER (WEINERWORLD)

Inducted into the Blues Hall of Fame during 2017 as a legendary blues artist, Norman Beaker wrote and produced this studio album, which I believe has previously been available digitally, and features sixteen tracks covering different styles – but all with a deep rooted blues feel. I’ve seen the Norman Beaker Band perform at my local theatre several times, both as support to Chris Farlowe and as a separate unit, where their music bounces from the stage into the standing room only audience. They really are party nights. Although Norman is deadly serious about his music, he performs with a sense of humour which he believes is a good balance between the music and old comedy, like that delivered by Tony Hancock, whom he also loves. This is openly apparent when the group perform with Chris Farlowe because they’re for ever scoring points off each other. Seriously though, Norman and the guys have toured extensively with the likes of Graham Bond, Chuck Berry and Van Morrison, and worked as session musicians for James Booker and Jack Bruce, among others. The opening track here, “Only I Got What The Other Guys Want”, sets the pace, and the journey into the world of the blues according to Norman begins. Particular highlights are “Time And Tide” featuring Steve Ellis on vocals, and “I Don’t Want A Lover” with Larry Garner supporting on vocals and guitar. Also highly recommended – the earthy “Hard To Be Somebody” and the tormented “Cheating Love”. Norman Beaker has been at the forefront of British blues for over four decades, and although the genre isn’t a particular favourite of mine, I’m grateful to him for educating me through his visits to my town.
Rating: 7

 

 

 

March Reissue & New CD Reviews

March Reissue & New CD Reviews

MICHAEL HENDERSON: TAKE ME I’M YOURS: THE BUDDAH YEARS ANTHOLOGY  (SOULMUSIC RECORDS)

Compiled by SoulMusic Records’ founder David Nathan, this is another in the celebrated anthology series, so respected by serious collectors of soul music. Here we enjoy Michigan-born Michael Henderson, talented bass guitarist of both the fusion and jazz/soul eras who – citing Motown’s James Jamerson and Bob Babbitt as his prime influences – has a history steeped in varying musical achievements.  Briefly, he paid his dues working with The Detroit Emeralds and a young Stevie Wonder after meeting the latter at Chicago’s Regal Theatre, before contributing to recording sessions at Motown with Marvin Gaye, the Four Tops and David Ruffin, among others.  Probably best known for working with the renowned jazz artist Miles Davis during the early seventies, after a chance hook up at New York’s Copacabana, Michael and Miles spent seven years together before Michael embarked upon a solo career at Buddah Records.  So, with the first track and hit “You Are My Starship”, featuring jazz drummer Norman Connors, the adventure began in establishing Michael as a bankable artist in his own right.  We’re then introduced to tracks spotlighting major singers, Phyllis Hyman, Roberta Flack and Jean Carn, which are, of course, an absolute delight. On the other hand, the pace changes as Michael hits the funk/dance market with “Wide Receiver”, with its passing reference to smoking dope, while he pulled on his working with Marvin Gaye to record “In The Night-Time”, and paid tribute to Jackie Wilson with “To Be Loved”, penned by Berry Gordy, and featuring Philadelphia International’s wonderful MFSB.  This release offers all fifteen of Michael’s US hit singles – the top five R&B charter “Take Me I’m Yours”, and crossover titles including “Be My Girl” and “I Can’t Help It” – and represents a compelling retrospective of this multi-talented guy during his tenure at Buddah Records between 1976 – 1983, where the music ranges from blistering rhythms, graceful melodies and mellow, sympathetic vocals, and all from the man who learnt to play the bass guitar because he loved James Jamerson.
Rating: 9

JONATHAN BUTLER: SARAH, SARAH: THE ANTHOLOGY (SOULMUSIC RECORDS)

Put on your pjs and settle down for a relaxing couple of hours with this highly acclaimed South African singer/composer and this anthology of his work that divides itself from scorching upbeat to deep soul ballads. And, of course, it’s the latter that instantly grabbed my attention, so with that in mind, I wrapped myself around the second CD’s music. Easing in with “One More Dance”, brimming over with undiluted soul that’s both gentle and persuasive, followed by “Say We’ll Be Together” offering a simple yet strong melody, I was basking in a glorious world of make believe. Both songs are intensely satisfying to this lady’s soul. A crass slice of synthesised funk, “There’s One Born Every Minute (I’m A Sucker For You)” interrupted my love train, but then, bam, in comes the biggie “True Love Never Fails” featuring Vanessa Bell Armstrong. Strong, intoxicating, with a vibrant blending of voices, bring home most dramatically the power of love. Draining, of course, but in a bewitching way. Thankfully, the following tracks “Melodie”, an instrumental, and “It’s So Hard To Let You Go” with its sumptuous sax break, soothe away all the previous drama and passion. Soft calypso flows through “All Grow’d Up” where the climax is a welcomed burst of support voices, and this mood follows into the little busier “Heal Our Land”; a potent statement song. Let’s not forget either the emotionally charged “Sarah, Sarah”, one of Jonathan’s biggest hits. Turning to the first CD now, where a highlight is his duet with Ruby Turner “If You’re Ready (Come Go With Me)”, their take on the Staple Singers’ classic, although the emotionally charged “Love Hurts So Bad” is my personal favourite here. With a tempo change in “I’ll Be Waiting For Your Love”, and the atmospheric and compelling “Afrika” and “7th Avenue South”, this is a well-rounded CD. The Anthology covers Jonathan’s best between 1985 – 1990 released via Jive Records, a company he joined in 1977. Combining instrumentals, with sweet soul ballads to die for, and a handful of fast hitting movers across thirty-plus tracks, this is the most satisfying afternoon I’ve spent in a long while.
Rating: 9

KAY-GEES: KEEP ON BUMPIN’ & MASTERPLAN/FIND A FRIEND/KILOWATT (ROBINSONGS)

Being protégés of Kool & the Gang, these guys were a spin-off group that forged a place for themselves in the funk/R&B singles chart. Although not nearly as successful as their mentors, the Kay-Gees did make respectable strides to generate excitement and sales in this somewhat exclusive market. Until now, my knowledge of them was next to little, so was pleasantly surprised to be treated to acceptable, occasionally outstanding music. The driving force behind the Kay-Gees was Kevin Bell, younger brother of Robert and Ronald who co-founded Kool & the Gang, so similarity between the two groups is to be expected. This double CD package covers their first trio of albums plus bonus tracks including two 12” mixes of “Kilowatt”, a mighty, powerful cannon of sound. The US R&B hits are all here, starting with their first, the party-themed “You’ve Got To Keep On Bumpin’”, the part-title of their debut album issued on the Gang label, set up by Kool and the guys to cater for their side projects, under the mother company De-Lite. The second hit, with its chanting vocals, “Master Plan” peaked in the top sixty, much lower than their first placing, while “Get Down” returned the group to the top forty, earning them their biggest selling item. The theme from the US television show “Party” was next – “Hustle Wit Every Muscle”, while the catchy, hypnotic “Waiting At The Bus Stop” was, ironically, one of their poorest sellers. Yet its striding, stimulating beat is so immediate thanks to the repetitive chorus, just begging to be bought and played over. However, it’s not all dance floor material with relentless funk beats because the semi-paced “On The Money”, preceded by a peaceful “Find A Friend (Prelude)” breaks the mood. Likewise, “Be Real”, an upbeat soul injection of sound, while “Thank You Dear Lord” has pure, layered harmonies from the band, Tomorrow’s Edition and Something Sweet. Obviously, Kool & the Gang’s influence is noticeable throughout: masses of brass, synthesiser interludes, tight harmonies, choppy guitars and mountains of likeability. It’s the group’s razor sharp approach to funk that enabled them to make a huge footprint on the dance floor, without dropping the rawness that launched them. So, if Kool & the Gang are for you, then this release will sit easily in your record collection. Me? I’m funked out!
Rating: 7

DIANE SHAW: SECOND CHANCE (MECCA RECORDS)

It’s been a long three year wait but Diane’s second album wasn’t simply released – it exploded like cannon fire into the public domain. Such was the anticipation for this album that her management was badgered for sneak previews from the day she announced she was in the studio recording it. Me included! Tell me, can there be a soul fan who hasn’t heard of Diane Shaw – our very own, home grown soul stylist who, modestly, has eclipsed many boasting the same title? I doubt it. So, how do you follow “Love, Life And Strings”, easily one of the best releases of 2015? Well, you don’t do you. You move gracefully forward with sights set upon delivering another landmark album, and by all things emotional, Diane has cracked it again. Already dominating most respected soul charts across the country, this collection of material is high octane – from the choice of songs, the music arrangements bringing out the very best from tight, sympathetic and well-honed musicians, and of course the obligatory support vocalists. The opening track “Remember Me” is cleverly paced as it strums along side stepping a deep unobtrusive rhythm, while “Through The Rain” gently weaves itself around sweeping melodies and plaintive voices; the calm feeling is almost contagious with its familiar sound. Cherry picking songs from the American soul songbook, Diane’s faultless presentation in voice and lyric interpretation is unique to her individual persona and the recognisable timbre of her voice, as she switches from ballad to uptempo with ease. Already lifted as a single, “The Day I Found Myself” gave a little insight into the pending album while not preparing us for “Shall I Wait For You” as it slowly manifested itself into a top rate soul track, nor the sultry, yet gracious “All Or Nothing”, with its impeccable sax work. This made way for a meaty, funky “I’ve Got To Feel It” complete with that recognisable rhythm which Diane loves so much, leaving the full, upbeat and brassy “Love Has No Right” – complete with hot blooded vocals – to deliver the punchiest of hook lines. With its relentless beat, the album’s title “Second Chance” easily becomes addictive, while…..Hah, I’m thinking now there’s little point in highlighting individual tracks because, quite simply, they’re all flawless – and that’s rare for someone like me with an inbuilt cynical system to admit. So, has Diane Shaw successfully followed her 2015 album? Hell yes – and then some!
Rating: 10

VARIOUS ARTISTS: THE VERY BEST OF TAPPAN ZEE RECORDS (ROBINSONGS)

Founded by keyboardist Bob James, the Tappan Zee label was named after the bridge he regularly drove over spanning the Hudson River, connecting Westchester County with the Metropolitan New York area. That aside, disc one is a welcoming mixture of blistering passion and sedate, easy listening with each track holding committed hook lines and melodies. Yet I felt the music failed to reach that ‘wow’ factor we’ve come to expect from such an articulately talented man. However, Richard Tee’s cool and soulful “Tell It Like It Is” brought a smile, likewise Mark Colby’s “On And On”. The second disc is a tad more adventurous, where mellow hits upbeat more aggressively, like Mr Tee’s funky “Jesus Children Of America” which perfectly flatters his gospel-tinged vocal cut “Every Day”. Mark Colby hits the funk edged road again with “Skat Talk, leaving “Peace Of Mind” to quieten the pace. Of Bob James himself, there’s six titles, including the somewhat reflective “Angela”, the theme from the television series “Taxi”, for which he provided all the music; “Brighton By The Sea” featuring Grover Washington Jr’s sax work, and “Westchester Lady” from his much acclaimed “Bob James 3” album. Wilbert Longmire’s “Black Is The Color” is the full length version, and his “Love’s Holiday” is a very convincing version of the Earth Wind & Fire track. Mr James is, of course, steeped in music history, from being discovered by Quincy Jones, who signed him to Mercury Records to release his first tentative step into jazz with the album “Bold Conceptions” in 1963. From here, he worked with Sarah Vaughan, Creed Taylor, and later Stanley Turrentine, among others. Cutting a long and productive story short, Bob James opened his own label, Tappan Zee, to produce some incredibly classy music, which, I’m afraid, failed to capture my interest.
Rating: 6

 

 

 

February 2018: Reissue Reviews

February 2018: Reissue Reviews

THE MAIN INGREDIENT: BROTHERLY LOVE:THE RCA ANTHOLOGY (SOULMUSIC RECORDS)
Here’s the next anthology in this much respected series from SoulMusic Records and instantly I zoned into a pair of major titles which elevated the group onto the international platform. The first, of course, is the beautifully crafted “Everybody Plays The Fool”, nominated for a Grammy award in the Best R&B category, shifting sales exceeding gold status, and their biggest selling single. With sweet, cool vocals, the song is high in melody and chorus: just beautiful. And the second, “Just Don’t Want To Be Lonely”, in much the same stylish vein. Originally recorded by Ronnie Dyson, this single marked their only UK chart entry, peaking in the top thirty. Previously recording under the name The Poets – a trio comprising Tony Silvester, Donald McPherson and Luther Simmons – for Leiber and Stoller’s Red Bird label, and later as The Insiders for RCA Records, the group underwent a further name change to The Main Ingredient, having seen the phrase on the side of a Coco Cola bottle. The opening track here, “You’ve Been My Inspiration” was the first to hit the US R&B top thirty, and a year later “I’m So Proud” (the group’s take on The Impressions’ song) and “Spinning Around (I Must Be Falling In Love)” hit the top ten.

During 1971, Donald McPherson died from leukemia, to be replaced by Cuba Gooding Snr who, incidentally, already performed with the group when Donald was too ill to appear. With Cuba in the membership, the guys enjoyed their first serious hit with “Everybody Plays The Fool”. When, in 1973, the group felt they were ignoring their R&B audience, their fifth album “Afrodisiac” was deliberately aimed at the funk/soul music market. To further push home their intention, they recorded a trio of Stevie Wonder compositions, “Superwoman”, “Where Were You When I Needed You” and “Something About Love”, and with Syreeta Wright, “I Am Yours”, “Girl Blue” and “Something Lovely”. This current release from a group that was probably overlooked in the grand scheme of musical things, is a welcome reminder of just how talented they were.
Rating: 8

OHIO PLAYERS: DEFINITIVE COLLECTION (ROBINSONGS)
According to the accompanying blurb, this is the very first time fans can purchase such a comprehensive collection of songs from the Ohio Players, taking in as it does, releases spanning their first company, Capitol, through to Arista and Boardwalk. In other words, an entire overview of this funk band who, for a time, secured a successful niche in this particular market, which later haemorrhaged groups playing this musical genre. Anyway, this is a three CD package, where the first, “Early Years” visits their Capitol stay, before moving to Westbound and the group’s first R&B charttopper “Funky Worm” was released. With its blending of early hip hop and synthesiser solos, it was hard to ignore. “Pleasure”, “Pain” and “Ecstasy” likewise carry this company’s logo. The last two titles were lifted from their debut Mercury album “Skin Tight”, namely, the album’s title and “Jive Turkey”, which indicated their future musical path.

Onto the second CD, “The Golden Years” where the highlight “Fire” was considered to be the group’s signature song, with the catchy “Love Rollercoaster” following. The former track, liked by Stevie Wonder, includes an authentic fire engine siren and a guitar solo that’s been ‘borrowed’ numerous times over the years, while the latter, uses the fairground attraction to describe the yo-yo effect of relationships, with the sliding guitar funk riff neatly sewing up the song. A wah wah guitar (bring on Shaft!) leads into the jumpy “Body Vibes”, until tight vocals take over, then the beat changes level, making the voices looser. Hah, caught out with “Happy Holidays”, a seasonal ditty, complete with spoken words to enhance the Christmas message. OK: why not. “Who’d She Coo?”, naturally, is the highlight, representing as it does, the Ohio Player’s only UK hit at number 43 in July 1976.

Finally, the third CD, “The Later & Solo Years” covers the group’s Arista and Broadwalk Records period. Stand out tracks here include “Everybody Up” in its full length version, together with Junie Morrison solo outings, like “Love Has Taken Me Over (Be My Baby)”, and Sugerfoot’s 1985 take on “Fire”. The Ohio Players weren’t a group I’d taken much notice of at the time, and while I enjoyed a fair percentage of this trio of CDs, cannot say I was overwhelmed.
Rating: 6

THE BAR-KAYS: AS ONE/NIGHTCRUISING/PROPOSITONS & DANGEROUS
(ROBINSONGS)
I didn’t know how I was going to cope with this – four CDs crammed with heavy funk. How wrong I was. Sure there’s a lot of the weighty hitting sounds, but, hey, there’s also some compelling ballads to break the beat – like a welcome oasis in a blistering hot desert. A little background first though. Formed during 1966, the Bar-Kays were a studio session group, supporting Stax acts, until Otis Redding grabbed them as his own. As an independent musical unit, their first single “Soul Finger” in 1967 was a crossover US hit. The success was shortlived when, tragically, Otis and two thirds of the group died in December 1967 when their plane crashed into Lake Monona, near Madison, Wisconsin. In time, the band reformed to play on sessions with several Stax artists including Isaac Hayes’ “Hot Buttered Soul” album, and when the Stax/Volt label folded during 1975, the Bar-Kays joined Mercury Records to forge a different, and this time more successful, career playing their own brand of funk music. Now, this heavyweight package of four CDs span 1980 and 1984 while under Mercury’s umbrella.

Starting with “As One”, a top ten US R&B title, it holds the pattern used in all four albums here with a mixture of dance and smooch; the latter being typified by “Take The Time To Love Somebody” which is both powerful and gentle. For dancing, the opening track “Boogie Body Land” fits the bill, with its mellow funk positive beat. I can’t move on without mentioning the final cut “Deliver Us” with its climaxing lush chorus of voices. Quite exceptional, and surprisingly exciting. A year following the release of “As One”, “Nightcruising” hit the shops in 1981 to earn the accolade as their best album yet. Not only did it also peak in the R&B top ten but passed gold status, thanks in part to their changing musical approach into a more current funk styling with the prolific use of synthesisers, so loved by artists like Stevie Wonder. Here the outstanding track for me was the unexpected “Feels Like I’m Falling In Love”, a gentle mover, so engaging with a full vocalled styling. Does it for me every time!

The third (and first on the second CD) “Propositions” from 1982, featured three hits, namely, the stomping funker “Do It (Let Me See You Shake)”, “She Talks To Me With Her Body” with its techno-funk feeling, and the gloriously touching, late night grooved ballad, “Anticipation”. However, one track irritated me beyond words – “(Busted)”, far too busy and cluttered – so moved on to the last CD in this package, “Dangerous” released in 1984, and my least liked. Having said that, “Freakshow On The Dance Floor” with its fast driving beat interrupted by splashes of sweet funk, rightly deserved its top two placing in the R&B chart, and top eighty crossover hit. Or, it could be that being featured in the 1984 movie “Breakdance:The Movie” (“Breakin’” – its American title) gave it a massive heave up. Calming down the pace, a pair of credible cuts ease and weave through the music, “Lovers Should Never Fall In Love” and “Make Believe Lover”. This is a fabulously priced package from a group that rose from the ashes of tragedy to keep their music alive.
Rating: 7

December 2017: Reissue Reviews

December 2017: Reissue Reviews

PHYLLIS HYMAN: DELIVER THE LOVE: THE ANTHOLOGY (SoulMusic Records)

Following on from a trio of her re-issued albums on SoulMusic Records, here’s the next, focusing on the Pittsburgh-born Ms Hyman’s Buddah and Arista Records era, a rich period in her recording career, lovingly encompassing two CDs. It’s a totally biased review this time because there’s very little not to like here from a lady who was taken from us far too early, yet whose voice and music continues to make her presence felt in our lives, and through compilations like this, new audiences will be attracted to rejoice in her sophisticated vocal styling that elevated her well above others.

From the opening track “Baby (I’m Gonna Love You)”, you realise you’re in for a very special musical journey.  The title track from her third album, “You Know How To Love Me”, a dancer with a Quiet Storm feel, was one of her several hits, likewise her version of Exile’s “Kiss You All Over” – a cheeky little number from a sensual woman with love in her voice. A song I never tire of listening to since its original outing, having the wow! factor tenfold.  The same feeling envelopes the epic “Loving You, Losing You” featured here in its full 12” single format.  Another that’s never far from my turntable – yup, still playing the vinyl when I can – and, of course, the dynamic,  commanding “Riding The Tiger”, with the final track on the compilation, a take on The Spinners’ “I Don’t Want To Lose You” which is pure magic to these ears.

Alongside the solo hits, there’s a selection of stunning duets and pairings, like the awesome “Can’t We Fall In Love Again” and “We Both Need Each Other” with Michael Henderson;  the utterly irrepressible “Betcha By Golly Wow” with Norman Connors, and their often overlooked “Just Imagine”.  From the Broadway musical “Duke Ellington’s Sophisticated Ladies”, the standard “In A Sentimental Mood” which earned Phyllis a Tony nomination during 1981, stands tall next to the dance hits.  What more can I say?  Pure perfection from start to finish.

Rating: 10

RUBY TURNER: LIVIN’ A LIFE OF LOVE – THE JIVE ANTHOLOGY 1986-1991  (SOULMUSIC RECORDS)

Released alongside Phyllis Hyman’s magnificent “Deliver The Love:The Anthology” comes this compilation from Ruby Turner, one of the UK’s most celebrated of soul stylists. Focusing on her stay with Jive Records, where her debut album, “Women Hold Up Half The Sky” in 1986, here’s the sultry, smooth duet with Jonathan Butler, a take on the Staples’ “If You’re Ready (Come Go With Me)”, her first UK top thirty entrant.  Among the three extracted singles from this album was her amazing interpretation of “I’d Rather Go Blind”, a resounding highlight in her live performances.  Both are included here, likewise six tracks from her second album from 1988, “The Motown Songbook” which, upon its original release, I treated quite warily yet grew to enjoy. A brave move by anyone, but recruiting the help of the Four Tops on “Baby I Need Your Loving” was a stroke of genius.  Their warm support voices just naturally melted with the lady’s soulful delivery.  Then the blissful unions of The Temptations with her on “Just My Imagination”, and Jimmy Ruffin for “What Becomes Of The Brokenhearted”, were inspiring.  This latter title and Stevie Wonder’s “Signed, Sealed, Delivered (I’m Yours)” both dented the chart, while the mother album shot into the top thirty, once again re-affirming Ruby’s selling power as an A-line artist. Born in Montego Bay, as a child she moved with her family to Birmingham during 1967. Raised on music, she secured her Jive recording contract after a stint as a backing vocalist for Culture Club – and never looked back.  Her third album, “Paradise” launched in 1989, is also represented here via seven tracks including the stylish “It’s Gonna Be Alright” which, incidentally, hit the top of the American R&B listing, making her one of the few British acts to do so.  Four other titles followed, with the album’s title from the “Dancin’ Thru The Dark” movie, being one.  And finally, half a dozen songs have been liberated from Ruby’s last Jive album “The Other Side” to round off this extremely compelling compilation.  On a personal note, more so than usual,  I absolutely love her version of “Only Women Bleed” – the song itself is awesome, thought provoking, and, oh my,  those lyrics….

As well as singing, Ruby’s unique talents have been recognised on television and in films, like “Hotel Babylon” and “Love Actually” respectively.  She’s also trod the boards in London’s West End, being nominated for a Laurence Olivier Award for her role in “Simply Heaven”.  Musically speaking though, she’s found the perfect niche by working with Jools Holland and his Rhythm & Blues Orchestra – a job for life I’d have thought.  Having said that, I’ve a feeling this Anthology may surprise some folks who, perhaps only associate Ruby with Mr Holland, not realising she has per own catalogue behind her.  My, aren’t they in for a satisfying, exciting musical adventure!

Rating: 9

DUSTY SPRINGFIELD: A BRAND NEW ME:THE COMPLETE PHILADELPHIA SESSIONS  (REAL GONE MUSIC)

A very late review here as somehow the CD got lost in the pile of paperwork on my desk.  But, hey, better late than never, as they say: whoever ‘they’ are. Knowing the bulk of the songs inside out from listening to the original versions back in the day on vinyl release, one now wonders why tamper with perfection?  Anyway, when I first played “ A Brand New Me” , one track always skipped over was the album’s actual title because I loathed it, and even Dusty couldn’t change my mind.  So how sad is that.  However,  the remaining lazy paced material, with her warm, soulful vocals easily followed her groundbreaking “Dusty In Memphis”. Not to out do it, of course, as that was an impossibility, but rather to show that teaming up with Kenneth Gamble, Leon Huff and Thom Bell, who would later mastermind the Sound of Philadelphia, was a brilliant move.  The first ten tracks here epitomise the best of that coupling, while the seven extra titles, destined for a second album which Dusty couldn’t fulfil due to other commitments, appeared to have been abandoned at birth until the CD era began in earnest. From “Never Love Again” and “Bad Case Of The Blues” we’re transported back to the day when Dusty was at her very finest, as she effortlessly and emotionally sang her way through sweeping, sympathetic melodies, leaving a slight change of tempo to take over with the upbeat “Lost” and its compelling chorus. With “Joe” she meanders into a mellowness that is almost poignant to listen to, leaving “Let’s Get Together Soon” – which originally closed side one of the vinyl release and included Dusty coughing (and in tune) – to show a buoyant singer, despite her feeling ‘she could have done better’.

Tracks not featured on the 1970 release, are confusing.  “I Wanna Be A Free Girl”, where Thom Bell partnered Linda Creed for the first time to write, the mood changes to a more biting sound against positive lyrics of being free to see the world. The complex “Something For Nothing” would worry any singer, but Dusty did it, against a backdrop of swirling orchestra, later lending itself as an instrumental for MFSB.  It’s clear why Dusty intended to re-cut her vocals on “Summer Love” but perhaps even that wouldn’t have saved this mundane track, likewise “Cherished” and “The Richest Girl Alive”. The former being rather jumpy with chord changes and, of course, high notes don’t become her, while the latter skips along and is far too twee for the likes of this fan.  The closing track here, the previously unreleased “Sweet Charlie” is softly presented, haunting even, lacking that midas touch associated with the recording sessions for “A Brand New Me”.  I’m sure Dusty would have preferred it to remain unissued. Anyhow, as the song was never finished, it appears the backing track was later utilised on Jackie Moore’s version.

Although not of the same high calibre as “Dusty In Memphis” from a song viewpoint, “A Brand New Me” easily stands on its own merit, showing as it does, her ability, albeit initially rather shakily, to be ranked alongside others in the exclusive soul market. A position she always felt she didn’t deserve. Thom Bell remembered her as “…a very sensitive girl…an angel”.  Kenny Gamble agreed, adding, ”I’m so proud that I was able to work with her…I loved her.”   They should know!

Rating: 8

RAY PARKER JR AND RAYDIO: FOR THOSE WHO LIKE TO GROOVE  (BIG BREAK RECORDS)

Apart from being one of the grooviest guys on this planet, I can’t believe Ray Parker Jr is celebrating 40 years in the business.  My, it seems only like yesterday….

Before enjoying the public spotlight as an artist, Ray was an in-demand guitarist, and was mentored by Stevie Wonder, who invited him to join his band on The Rolling Stones 1972 American tour. (And still the live album hasn’t been commercially released) Writing for Rufus and Chaka Khan, later Barry White, led to Clive Davis offering Ray a contract with Arista Records to record in his own right. He  formed the group Raydio, whereupon  “Jack And Jill” was the first single, followed by “Is This A Love Thing” and “You Can’t Change That” – a trio of gold plated sounds, with dynamic harmonies, solid driving grooves, all wrapped up in a full sophisticated production. Didn’t get much better than this, but, of course, it did when, with a name change to Ray Parker Jr with Raydio during 1980, the hits intensified with “Two Places At The Same Time”, and the R&B chart topper “A Woman Needs Love (Just Like You Do)”, among the titles.

Two years after forming Raydio, Ray took the solo trail to release one of the best selling pop singles ever – “Ghostbusters” from the movie of the same name, and debuting here in the rare 12” “Searchin’ For The Spirit” remix.  The song was instantly catchy, memorable and carried a chugging hypnotic beat that wouldn’t let up, elevating Mr Parker Jr into the stratosphere. Even today, once the opening bars are heard, people sing out loud and dance the silly steps; what incredible staying power!  However, soul fans knew there was more to the man than ‘spiritual’ gimmicks because they basked in the soulful glory of his catalogue and his last hits under the Arista umbrella –  “Jamie” and the endearing “Girls Are More Fun”.  Switching to  Geffen, the hits continued, first with “I Don’t Think That Man Should Sleep Alone” in 1987 (a top twenty UK hit), followed by his duet with Natalie Cole “Over You”.  As this CD’s title indicates, this is the essential collection for any fan. Covering 35 tracks and an interview with the man himself, the many aspects of Ray’s talent spanning dance, soul and funk, have been given a new lease of life.  And what a joy it is!

Rating: 9

JACKIE MOORE: I’M ON MY WAY  (BBR)

Produced by Philly main man Bobby Eli, this debut set by Southern Soul songstress Jackie Moore, for Columbia Records kicks off with the top fifty 1979 UK hit “This Time Baby”.  Sadly, it was her only one, but the driving dance floor favourite is crammed with hit ingredients and for a time introduced Jackie to the British mainstream record market.  The album, also issued during 1979, also housed another couple of memorable disco titles, “How’s Your Love Life Baby” and “Wrapped Up In Your Lovin’”. The former pulsates a strong dance delivery, while the latter adds some cheeky funk into the mix, with each holding a catchy chorus.  The only version of “Joe” I’ve heard is Dusty Springfield’s poignant take, but here’s the original with a different, more plush feel. However, both hold that certain magic. Upon its first release, this album charted in the R&B top fifty, and as such would surely qualify for a worthy re-issue as it stood. But no, the BBR guys have gone the extra mile to include six bonus tracks including a 12” remix, single version and instrumental of “This Time Baby” to attract buyers.  It has to be said that Jackie’s warm, soulful voice is so very easy to listen to, adapting as it does effortlessly through disco and ballad – the harder edged tracks and the smooth stylings – which, of course, makes it all the more annoying that her British success was so limited.

Rating: 8

VARIOUS ARTISTS: NORTHERN SOUL’S CLASSIEST RARITIES:VOLUME 6 (KENT)

It’s incredible to believe that songs adopted by a particular market are still relevant today some forty-plus years later. And this record label is a forerunner in the field, dedicated to keeping the sound alive, delivering as it does now a mix of beat and ballad. It’s nearly three years since the last volume in this series, so this 24 track package will, undoubtedly, be welcomed by Northern Soul fans. Kicking in with Peggy Woods’ “Love Is Gonna Get You” (being, I’m told, the correct brass-filled version),  into “You Won’t Say Nothing” from Tamala Lewis, co-penned by George Clinton, and also recorded by The Parlettes, the mood is set.  There’s also a few previously unissued items here, like, the Gene Page arranged “I Only Cry Once A Day Now” from The Fidels, and an alternate version of Maxine Brown’s “One In A Million”. I won’t go into too much detail about the tracks here as this is excellently covered in Ady Croasdell’s accompanying notes.  Although some of the time I’m out of my depth, not having heard of the artists (shame on me) so it’s quite a relief to hear early tracks from later established names like The Detroit Emeralds, J.J. Barnes and, of course, Carla Thomas, who closes the set with “Little Boy” which she remembered was her third single – but was canned.  These compilations are an education for me and, although I may not like all I hear, it’s musical history and as such should be respected.  Or, as Ady noted – “it’s a collection of treasures”.

Rating: 8

JAMES CARR: THE BEST OF JAMES CARR  (GOLDWAX RECORDS – ACE RECORDS)

This twenty tracked CD houses all James’ charting singles, with one in particular at the top of the pile.  His original version of “The Dark End Of The Street”, recorded during 1966,  and later much covered, introduces this collection of songs.  Often revered as one of the greatest vocalists the Southern Soul scene produced, James Carr struggled to enjoy the success of his contemporaries like Otis Redding, yet his limited material recorded for Goldwax is considered to be the musical blue print for the label. Son of a Baptist preacher, James was born in Mississippi, then moved with his family to Memphis.  As a six year old, he sang solos in church, and three years later became a member of the gospel group, The Harmony Echoes.  From here, he branched out as a solo artist, later hooking up with Goldwax Records in 1965.  “You’ve Got My Mind Messed Up” was his debut R&B hit, followed by “Love Attack” and “Pouring Water On A Drowning Man”.  However, it’s said James was difficult to work with due to health issues which reflected on his complacent attitude towards his career, perhaps sabotaging his rise to stardom. Another thing, this year marks the 50th anniversary of the release of the somewhat iconic “The Dark End Of The Street”, so what better way to celebrate than with this selection from the underrated, yet pivotal, soul man in the development of Southern Soul.

Rating: 7

Book Review: FLORIDA SOUL: From Ray Charles To KC and The Sunshine Band by JOHN CAPOUYA

Book Review: FLORIDA SOUL: From Ray Charles To KC and The Sunshine Band by JOHN CAPOUYA

While a number of US cities have long been associated with soul music – think Memphis, Detroit, Philadelphia, Chicago, New York, New Orleans and Los Angeles – Miami isn’t an automatic add to that list. Not that the city hasn’t produced its fair share of hitmakers: for most soul music lovers, Miami and other cities in the ‘sunshine’ state of Florida figure in there somewhere – but likely no one major label was based there in the ‘60s and ‘70s (other than Henry Stone’s T.K. Records and its subsidiaries and imprints) in quite the same way that Memphis was home to Stax, Detroit to Motown and Chicago to Chess and Brunswick.

John Capouya’s recent tome, “Florida Soul” begins to set the record straight in regards Florida’s place as the birthplace of a number of key performers (think Ray Charles, Sam Moore among others) as well as site for some of the greatest recordings ever cut in the world of soul music. Think any number of Betty Wright recordings, classics by James & Bobby Purify (“I’m Your Puppet”), Timmy Thomas (“Why Can’t We Live Together”), Jackie Moore (“Precious, Precious”), Latimore (“Let’s Straighten It Out”) and a string of international hits by K.C. & The Sunshine Band.
There are naturally chapters devoted to Charles and Sam Moore but perhaps of more interest to keen followers of R&B and soul music, the likes of Jackie Moore, blue-eyed songstress Linda Lyndell, Willie Clarke, Helene Smith and others who never achieved consistent mainstream success have the opportunity to have their stories thoroughly documented and in particular, make fascinating reading for soul connoisseurs.

Henry Stone and the TK family of artists are given a couple of chapters that are essential to the history of soul music in the state which – via Miami’s Criteria Studios and producers like Dave Crawford and Brad Shapiro – became a hive of activity in the late ‘60s and early ‘70s, hosting sessions for the likes of Aretha Franklin, Brook Benton, Esther Phillips, Dee Dee Warwick and many others. As a historical account of the importance of Florida in the history of soul music, John Capouya’s book is essential reading.

David Nathan
Founder, www.soulmusic.com

August 2017: Soul Music Reissue Reviews

August 2017: Soul Music Reissue Reviews

WILSON PICKETT: WILSON PICKETT SINGS BOBBY WOMACK (KENT)
Now this is interesting, for me anyway, because I just love Wilson’s voice. It’s so rasping, almost on the raw side, and, my, can he turn a song into something else. And this CD is a fine example of his immense talent that perhaps is overlooked sometimes. From the blurb, the material here covers 1966 – 1968 when he recorded 17 songs by Mr Womack, then a rising composer/singer. Of course, he was destined to bask in his own public spotlight but that would take a while yet. So, it could be argued, that Wilson Pickett helped Bobby on his way. Anyway, I’m bouncing across the tracks, loving as I do the high octane ballad “People Make The World (What It Is)”, followed by a chunky “I’m A Midnight Mover”, saturated in brass, interrupted by shrill support vocals, portraying the man at his finest. Wilson’s ability to whip up a whirlpool of R&B emotion, whether tackling a fast mover or sweeping ballad is, to be honest, rather special. “It’s A Groove” and “I’m Sorry About That” fit the latter. However, “I’ve Come A Long Way” ups the anti to beat both mentioned ballads hands down! He wails and moans, telling the story against a full background of musicians and vocalists. Extremely inspiring. A song that’s high on my list of all time greats is “Bring It On Home To Me”, and here Wilson pays respect to its creator, Sam Cooke. It’s an easy and relaxing version too. Also included, as a bonus, are both sides of Bobby Womack’s solitary Atlantic single “Find Me Somebody”/”How Does It Feel”. This CD has been a long time in the making. Cliff White conceived the project in 1984, and the journey took in record company rejections and…..well, it is all explained in the accompanying booklet by consultant Bob Fisher. To hell with it; there’s absolutely nothing to dislike here. It is the perfect combination of the voice and the writer. Resist at your peril!
Rating: 10

VARIOUS ARTISTS: MAINSTREAM MODERN SOUL 2 1969 – 1976 (KENT)
Seventies soul from Mainstream’s family of labels, headed up by Bob Shad, a jazz producer but a man who knew how to cash in on the growing R&B market. Vocal groups were his preference, where Terry Huff and Special Delivery were the most profitable. To introduce the CD is the rather low-keyed funk sounding “Grass Ain’t Greener”, the first single from Charles Beverly. Its solid beat and robust vocals sustain the regular dance rhythm. Nia Johnson’s “You Are The Spice Of My Life” is a top shelf ballad that drifts along with plenty of back up vocals. Its instant hook is hard to shake. On the other hand, a clipping beat that drops a key, forms the basis of Ellerine Harding’s “I Know Something You Don’t Know”. A little on the busy side for me. An extremely laidback, part singing/talking track “I’ve Got To Tell You” from the flamboyantly named Count Willie with LRL & The Dukes, left me cold. However, love the cute and quaint “Everyone Has Someone”, where Linda Perry has swiped all the ingredients from a fifties’ songbook of also-rans. Yet it has a compelling charm nonetheless. Marking the final single release from Terry Huff, “Where There’s A Will (There’s A Way)”, the song holds a lively rhythm that’s perfect for dancing. Likewise, the pounding Chocolate Syrup’s “You’ve Got A Lot To Give” and Chapter Three’s “I’ll Never Be The Same Pt 1” – a slice of early disco from a female trio who should have done better. Meanwhile, the all male quartet, McArthur, take their “I’ll Never Trust Love Again” to another level, with smooth vocals backing an angst-ridden lead vocalist. Poor love. All the tracks are important in their own way in contributing to the growth of soul music, although there are some that fall below the high standard this specialist market dictated. Nonetheless, for historians, this compilation is a must.
Rating: 7

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VARIOUS ARTISTS: NOTHING BUT A HOUSE PARTY: THE BIRTH OF THE PHILLY SOUND 1967 -71 (KENT)
What a way to kick off this exciting compilation with The Showstoppers taking the CD’s title into their vocal grasp, as the introduction to classic music from the City of Brotherly Love, recorded before the Philly Sound stretched across the world. It’s a sweetshop of multi coloured sounds waiting to be tasted. Executive Suite’s “Christine” holds the promise of a worthy ballad against a chugging beat. Falsetto lead blends easily into a full vocal chorus. Plenty of luscious brass introduces “Love Is All Right” from Alabama-born Cliff Nobles, a soft hitting dancer that allows the drummer plenty of skin time, while Honey & the Bees’ “Help Me (Get Over My Used To Be Lover)” – what a mouthful! – falls directly into the sound category of a seventies girl group. A powerful slice of Archie Bell & the Drells’ magic with “My Balloon’s Going Up” (another strange title) offers a sound that doesn’t let up. Against an intermittent beat, Brenda & the Tabulations saunter through the slow moving “That’s The Price You Have To Pay”. Instantly attractive: Peaches & Herb’s “Let’s Make A Promise”, with its positive melody, is held together by a tight percussion. Then there’s a strong, yet plaintive vocal from Barbara Mason on “You Better Stop It” (a song she also composed) which, in all honesty, is one of the better slower tracks on this set. A familiar, tried and tested, highly danceable “Standing In The Darkness” courtesy of The Ethics, closes the musical journey. It’s fair to say this compilation features some of the earliest recordings from the fledgling Philly company of labels which would, in time, become Motown’s most aggressive competitor. Yet, as was proven, there was plenty of room for both, with space to spare.
Rating: 9

 

 

 

March 2017: Reissues and New Music Reviews

March 2017: Reissues and New Music Reviews

a-woman417ROZETTA JOHNSON: A WOMAN’S WAY – THE COMPLETE ROZETTA JOHNSON 1963 – 1975 (KENT)

This compilation seems to have slipped through the net and for that my apologies. However, as they say – better late than never. The lady from Tuscaloosa, Alabama, who carved a place for herself in music history through her slices of southern soul, is more than amply represented here with her releases from the sixties and seventies. I was surprisingly impressed at the way Rozetta effortlessly wanders through the hopelessness of unreturned love, stirring up a gamut of emotions, while, on the other hand, ruthlessly persuades her listeners that she’s not to be messed with. Or, perhaps she’s a blank canvass that can be coloured in from track to track. Anyway, it seems her first documented single “I Understand My Man” b/w “Willow Weep For Me” was released under the name Rosetta Johnson and the Organettes on NRC, before she switched to the Jessica imprint with “That Hurts”, a more mainstream sound, and “It’s Nice To Know You”. She then left the recording scene behind her to concentrate on live dates until signing with Moonsong/Clintone to score a pair of top three R&B hits with her first two releases, namely “A Woman’s Way” and “Who Are You Gonna Love (Your Woman Or Your Wife)”, written by Sam Dees, with whom she recorded her best work. Alongside regular releases, there’s the extended version of “I’ve Come Too Far With You” complete with alternate vocals, plus previously unheard support and lead vocals on “I Can Feel My Love Comin’ Down”. The fact that Ms Johnson is no longer with us, makes this compilation more vital to her fans, and connoisseurs of authentic soul music.
Rating: 8

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pied-piper419 VARIOUS ARTISTS: PIED PIPER FINALE  (KENT RECORDS)

This is the last in the trilogy of this Pied Piper series, and we have Jack Ashford to thank because the titles come from his  personal collection. Among the gems here is the previously undocumented Lorraine Chandler song “Ease My Mind”, co-penned by the aforementioned Funk Brother and the singer. And it’s quite something too. Jack recruited members of the Funk Brothers to play on these sessions, and, I believe, many of the Pied Piper releases.  Wonder what Berry Gordy made of this!  However, their involvement does make this compilation that more interesting.  I instantly zoned in on the tracks by the Pied Piper Players, notably “The Bari Sax”, with its total funky groove, which kick starts this compilation. The Hesitations’ “Soul Superman”, a much-needed R&B top fifty hit, is equally compelling, plus the couple from The Metros, namely “No Baby” and “Sweetest One”.  Add into the mix Reggie Alexander’s “It’s Better” and Freddie Butler’s “Deserted”; both are prime exponents of a kindred soul spirit.  Then there’s “Gambler’s Blues”, another diamond in the mine. Although this song by Nancy Wilcox was included in the first of this series, the ungraded version here was discovered on master tape in Mr Ashford’s collection.  Ady Croasdell wrote in his excellent CD notes – “The rare soul world is indebted to Jack Ashford, Shelley Haims and the Pied Piper singers, musicians, arrangers, producers and songwriters for making such enthralling and inspiring soul music.”  And so say all of us!
Rating: 8

manhattansoul3416VARIOUS ARTISTS: MANHATTAN SOUL 3 (KENT)

This compilation is the ninth of Scepter/Wand and Musicor/Dynamo recordings issued by Kent, and the standard never slips. The two New York labels were linked by Luther Dixon who put Scepter on the success path with the likes of The Shirelles and Dionne Warwick, before switching to Musicor to work with Tommy Hunt and The Platters, among others. So, the resulting compilation covers most musical genres, for instance I’m listening to Johnny Moore’s “Haven’t I Been Good To You” which, for the world, sounds like The Temptations’ “I Know I’m Losing You”. The CD opens generic of klonopin with Dan and The Cleancuts’ “Open Up Your Heart (And Let Me In)”, a super smooth, intense soul sound, while the previous unreleased Shirelles’ “Two Stupid Feet” is so cute – and two twee for the ladies who made such a huge name for themselves on the R&B scene. Still smiling! Van McCoy’s “What’s The Matter Baby” is also heard here for the first time. Yet again, it’s a strange one. Lots of galloping music and a piano break. Thankfully, Melba Moore returns to normality with a traditional ballad formula in the shape of “Does Love Believe In Me”. Add these to tracks from Big Maybelle, which sounds a little off key but hey; Billy Adams, Tommy Hunt and Brook Benton, it’s an extremely credible compilation and one that I’ve enjoyed playing, although when I first started out I had a few reservations. Persistence is the key!
Rating: 8

random418RETROSPECTIVE FOR LOVE: RANDOM ACTIVITIES OF A HEART (WORMFOOD RECORDS)
Um, wasn’t quite sure what to expect when this CD arrived as I reckoned it could well be outside my comfort zone. However, there’s something about this new sound that’s captured me, and wanting more. Hailing from Sicily, Davide Shorty (vocalist, musical director and producer) wanted to bring back the love, and to do this gathered around him a family of similarly soul-centric musicians from his homeland, together with others including Parisian co-vocalist Leslie Phillips. The group is now based in London, the obvious place to be seen and heard, and this, their debut release embraces a wide range of genres, from smooth smouldering soul, into a little jazz and slices of hip-hop. I also spotted a smattering of Coldplay melodies in the mix too. Honest. The pace is set with the opening track “The Picture You Show Me”, an easy, almost moody sound, then it goes a little haywire into “Water N Dust” and “Wanna Get To Know Ya”. What follows though is a mass of changing music, covering love lost and found, with some of the music stripped down only to be built up again. The promise of better things to come is so relevant as the listener is lifted into another musical world that’s so easy to get lost in, while enjoying the isolation. No doubt about it, the music is unique, often raw yet crafted with considerable thought, with the sole aim of pushing home a pot pourie of sounds. Well done to all concerned, and this debut is certainly one I’d highly recommend.
Rating: 8

northernsoulreimagined415PAUL STUART DAVIES: NORTHERN SOUL REIMAGINED (PSD)

With support vocals from Annette and Rosalind, the original Vandellas, and the Voice of Africa, Paul Stuart Davies revisits the very heart of the music heaven lovingly tagged by Dave Godin as Northern Soul, with the release of his “Northern Soul Reimagined”. With his interpretations of “Long After Tonight Is All Over” and “Wherever I Lay My Hat (That’s My Home)”, a couple of high ranking soul slices, Paul adds a positive, clear attitude as his voice takes command of these classics. Recording live is, I’ve discovered, a rather dicey procedure, but he’s got this covered as well with resulting excitement and atmosphere. Check out “You Don’t Love Me” and, of course, that almighty NS favourite “Do I Love You (Indeed I Do)” which, of course, is the title of the charity record spearheaded by Paul and featuring, among others, Chris Clark and Tommy Hunt. Recently released, their aim is to raise much needed funds for the Jon Bates appeal. Anyway, back to the subject in hand, “Northern Soul Reimagined” is a brief – yeh, too short Paul! – but, my, did fond memories of my too-rare visits up North return. Am still smiling! (Available from Paul Stuart Davies)
Rating: 7

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MELBA MOORE: STANDING RIGHT HERE: THE ANTHOLOGY – THE BUDDAH & EPIC YEARS (SOULMUSIC RECORDS)

A fabulous musical trip in two halves. Firstly, we’re invited to remember Melba’s Buddah years in 1975 when she began her journey into stardom. Here we are heavyweight in hits via the international smash “This Is It”, hotly followed by the equally compulsive and mesmerising dance hits “So Many Mountains” and “The Greatest Feeling”. All are disco classics, with a driving beat that can’t be ignored. The hooklines in all are instant, vital and stay in the mind for hours afterwards (particularly “So Many Mountains” for me – just can’t shake it, but no bad thing!) However, there’s others here that spring out, and “Natural Part Of Everything”, with its fascinating melody, is one. There’s so much Van McCoy here – he was responsible for several of the songs – and it’s wonderful: his sound is so recognisable. Singer and producer are a perfect match. With a gospel feel, Melba changes pace with “Lean On Me”, although the musical backdrop is too low keyed for me. A more full blooded presentation would have heightened the dramatic approach that the song lacks. Mind you, when the lady sings, my, she really lets rip. Into the Epic CD now from 1978, where one of the decade’s biggest disco hits roars from the speakers – “Pick Me Up, I’ll Dance”. With “You Stepped Into My Life” a close second. This side highlights tracks from Melba’s three Epic albums, with producers ranging from McFadden & Whitehead and Pete Bellotte. Of the ballads, there’s the delicious “There’s No Other Like You”, very plush; while “Where Did You Ever Go” is a little on the dark side. A touch of disco funk with “Miss Thing”, which surprised me as it seemed out of place here, but, hey, it’s interesting. This is a first-of-its-kind package, covering Melba’s career between 1975 – 1980, reminding us of the Moore excitement that contributed to the changing music scene of that period. And, it was during this time that I met and interviewed the lady. Instantly smitten was I. Highly recommended.
Rating: 9

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DUSTY SPRINGFIELD: A VERY FINE LOVE: EXPANDED COLLECTOR’S EDITION (SFE)
Little did anyone know when this album was first issued in 1995 that it would be Dusty’s last. Having bought it the first time round, I feel I know it inside out, yet when I received this latest CD, it was like hearing it for the first time. Strange? Well, kind of. Recorded a year earlier than its release date, and originally intended to be titled “Dusty In Nashville” as a tie in with the 25th anniversary of “Dusty In Memphis” masterpiece, it was re-named because her record company feared the public would think it a country and western release. While recording it, the lady suffered from laryngitis and other undiagnosed illnesses, and when she returned to the UK, she faced her worst nightmare, her cancer had returned. With the immediate future being devoted to further http://www.ourhealthissues.com treatment, the album was delayed to enable Dusty to promote it, which she did, with great courage. With Tom Shapiro as producer, the album is true to her. From the opening track “Roll Away”, into the CD’s title, the scene is set. Distinctive melodies, wistful vocals, as she meticulously adapts her voice to blend in with the music, with material provided by some of her much loved composers, like Diane Warren who penned the single buy klonopin paypal “Wherever Would I Be”, her duet with Daryl Hall. Both powerful and feisty. With its haunting, melancholy feel, “Go Easy On Me”, typifies all that’s great about Dusty, while with “You Are The Storm” she delivers an epic whirlwind that wraps itself around you. With a commitment, that’s almost chilling, Dusty’s intenseness shows in “All I Have To Offer You Is Love”, leaving the uptempo, almost chirpy, “Lovin’ Proof” to change the mood. “Where Is A Woman To Go” is magnificent on every level, leaving the listener dry mouthed. It oozes with the Springfield magic from its winding melody to her compassionate, soulful delivery, which is sometimes cautious, or is it defiant? However, there are two things I must mention which aren’t musically related: the sound of her spoken voice at the close of the CD which almost caused me heart failure, and the visuals in the booklet. While I appreciate why they’ve been included, they show a desperately ill singer. Just look at Dusty’s eyes because no matter now upbeat she seems, the battle she fought against this dreadful disease is all too apparent. Like so many cancer stricken ladies, Dusty put on a hugely brave fight to beat the monster, but tragically lost it in 1999. If I have to say anything more to close this review, it’ll be this. “A Very Fine Love” is the ideal, or perfect, finale to a career that spanned decades, from our very own, homegrown soul singer who defied all the rules throughout her lifetime and stood up for what she believed in. A legend in more than one way – and I miss her still.
Rating: 10

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NEW YORK CITY BAND WITH LUTHER VANDROSS: NEW YORK CITY BAND (WIENERWORLD)

One of the seventies top session singers, Luther went on – following his first album “Never Too Much” – to carve a huge niche for himself in music as a top R&B singer on a global basis. His voice was warm, welcoming and oh so, seductive. Anyway, back to the plot, here his vocals front the New York City Band on the soundtrack for the 1979 film “Sunnyside” which I’d not heard of until now, so it must have slipped off the radar somehow. Sadly, there’s only one commercial highlight here, namely, “Got To Have Your Body”, a hot dance inspired song that demands attention. With this title being so vital, the others seem uninviting by comparison. Having said that, the fact that this CD is now available, only adds credence to the foundation of a career that soared into the sky, thanks to Luther’s innate ability to turn a song into a masterpiece. His personal stylish presentations are legendary. And Luther’s multi-million selling albums, said to be 35 million-plus, during the eighties and nineties, are indicative of his unmistakable talent, with the Grammy awards he won during his career recognising that. You don’t need me to tell you that Mr Vandross was also an brilliant commercial composer and producer, working with the likes of David Bowie (he worked on David’s “Young Americans” album), Whitney Houston, Anita Baker, Diana Ross, and the list goes on. I’m sure we all have our favourite Luther track but for me it’s, um, “Dance With My Father” – what a song! Sadly, he’s no longer with us, but thank goodness we have a vast, rich catalogue to remember him by, and as for this CD, its historical value will delight Mr V’s fans.
Rating: 6

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GLADYS KNIGHT: THE SOLO COLLECTION EXPANDED EDITIONS (SOULMUSIC.COM RECORDS)

Oh my – how I remember these albums on their first outing, where the elegance of the lady is matched only by her warm, soulful deliveries that cover all emotions, with a defining edge that has often been imitated but never replaced. Gladys’ voice is one of the most recognisable in the business; her personal stylish presentations manifest themselves across most music genres, whether it’s ballad, funk, dance and in between. With the Pips, her Motown history of success and failures is well documented, so let’s get straight to the point with tracks from her two solo albums – “Miss Gladys Knight” released by Buddah in 1978, and “Gladys Knight” from Columbia a year later. “You Bring Out The Best In Me” is a hi-octane dancer which she effortlessly deals with, while the opening track “I’m Coming Home Again” is unpretentious, yet powerful. Against rolling strings that weave across the melody, her sumptuous vocal expressions are softly determined. At the other end of the spectrum, she hits the dancefloor, blasting across the speakers with the brassy “It’s A Better Than Good Time”. Then, hitting you between the eyes, “We Don’t Make Each Other Laugh Anymore” hugs relentlessly at the heart strings. The mournful orchestra tries to placate an almost tortured singer, with the overall effect of a masterpiece. “I Just Want To Be With You” follows along the same lines, except there’s full blooded support vocalists uplifting the chorus: musically mesmerising. There’s little to dislike here, and is a credit to the lady because when she originally recorded this she was locked in legal hassles with record companies, and fielding off multi million dollar law suits. Into the second CD, and a step further into mainstream music. Check out “For All We Know” for instance, it has a free and commercial feel to it. Likewise the two versions of “You Bring Out The Best In Me” and the extended single mix of “It’s The Same Old Song”. “Maybe, Maybe Baby” is an updated take on the B-side of their 1964 Maxx single “Giving Up”. Nice touch. And before that, with its spoken introduction, “Am I Losing You” , a gentle, mid-pacer that is so typically Gladys. Lovely. Informative accompanying booklet with notes penned by the highly respected Charles Waring, rounds off this wonderful re-issue just nicely. Full marks for sure!

Rating: 10

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TEDDY PENDERGRASS: TEDDY EXPANDED EDITION (BBR)
What a satisfying time I’ve had playing this re-issue over and over. “Teddy”, his third album, followed a pair of platinum releases, and has been called a collection of ‘bedroom ballads’ akin to Marvin’s “Midnight Love” set. Don’t know about that, but can see why the connection was made and will leave it at that. Mr Pendergrass was Philadelphia Records’ biggest star, and this release proves the statement wasn’t misguided. Kicking off with “Come Go With Me”, we’re in for a passionate, emotional ride where his vocal performances can, on occasion, reduce listeners to jelly. Oh my, “Turn Off The Lights” does it for me every time, as he seduces and cajoles against a sweeping melody. Both are flawless examples of the man’s distinctive voice that has graced so many titles. “I’ll Never See Heaven Again” and “All I Need Is You” are further testament of his persuasive ways with their melting lyrics. With its mellow introduction, moving along at an easy pace as the melody takes hold, giving way as the main beat hits the groove, “Set Me Free” is launched. Perhaps the big build up is a little excessive but, I suppose, it does set the scene. The tempo is lifted to a light disco with “If You Knew Like I Do”, while “Do Me” is rather sexy on the funky side. So we’ve got get-down smoothies hand-in-hand with touches of funk/dance, accompanied by the best musicians the record company has to offer, all under the production control of Gamble and Huff, except where indicated on the inlay notes. What more could we ask for?

Rating: 9

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GROVER WASHINGTON JR.: GROVER LIVE (WIENERWORLD)
To my shame, although in my defence jazz isn’t my first love, I initially came across Grover’s music with “Reed Seed” released via Motown in 1978. Unfortunately, it was a music genre the company was incapable to promoting to its fullest buy real klonopin online extent although jazz fans supported this and his subsequent Motown releases. So, here we have one of his last live performances recorded at the Paramount Centre For The Arts in New York during 1997, and it’s thanks to his wife Christine and Jason Miles (who restored the DAT tapes of the show) that we’re able to hear this highly influential jazz player at work. Kicking off with “Winelight” into “Take Five” and “Soulful Strut”, this has a calming effect as there’s nothing rushed; even Grover introducing his group is laid back. This 80-minute set is a showcase to Grover at his career peak; he was one of the most popular saxophonists of our time and considered by many to be a forerunner in bringing jazz into the commercial arena. An interesting eight-song medley is included here that includes “Black Forest”, “Inner City Blues” and “Jamaica”. I’m not a great lover of ‘live’ CDs but have to say, the sound here is excellent; almost up to studio standard. This is a wonderful tribute to this late musician accompanied by an informative booklet, with notes penned by a certain Mr N!

Rating: 8
Sharon Davis

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VARIOUS ARTISTS: SUPER DUPER LOVE (KENT)
Kent Records once again introduce the Mainstream label, following their well-received first compilation. This New York indie made inroads during the seventies embracing R&B names like Freddie Scott, Little Richard and Sugar Billy whose driving “Super Duper Love (Are You Diggin’ On Me)” starts this musical visit. Afrique follow with a beaty “Soul Makossa”, the label’s first major hit swiped from the original by Manu Dibango, while Special Delivery featuring Terry Huff calm the somewhat maddening beat with “The Lonely One”. A haunting, sweeping ballad “I Need Someone” via Linda Perry drifts slowly along, allowing Eleventh Commandment’s “Then I Reach Satisfaction” to raise the mood and rhythm into a mid-paced dancer. Lenny Welch’s “Eyewitness News” is twangy and semi-funky, with Chocolate Syrup’s “Just In The Nick Of Time” simmering away on the back burner with liberal splashes of brass adding a dramatic touch. Little Richard’s “Try To Help Your Brother” is passion personified until the driving beat takes a hold. The smooth delivery of The Dramatics on “Feel It” easily slips into this outstanding compilation. Likewise, the final track, “I Need You Back Home” from Sandra Phillips who’s on the phone talking/whispering to her lover, leaving little to the imagination (my, Millie J would be sooo proud!) and making this ol’ lady blush!

Rating: 8

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FIVE SPECIAL: FIVE SPECIAL EXPANDED EDITION (BBR)
I wasn’t quite sure what to expect here as knew little about these guys. My, what a wonderful musical trip I was destined to take. First released in 1979, this is the first of three albums credited to the group. Hailing from Detroit, they were raised on traditional R&B which they turned into commercial music for the disco market. With Greg Finlay, Steve Harris, Steve Boyd, Mike Petillo and Bryan Banks in the line-up, they tucked in nicely, forging a place for themselves in this lucrative genre. Bryan was, by the way, younger brother of Ron Banks (The Dramatics) who, during the mid-seventies, took them under his wing, by producing their early material. Signing to Elektra Records, and armed with a few of the A-team including Banks and Wayne Henderson, this album was conceived and released. Enter the mix master Rick Gianatos, fresh from huge success with Gene Chandler’s “Get Down” and Edwin’s “Contact”, to steer the group into the dance groove. Check out their first single “Why Leave Us Alone” which wraps itself around the nightclub scene, compelling the body to move with the beat. A change of tempo came with their follow-up single “You’re Something Special”, the only ballad on the album. Not only do the harmonies cleanse the soul, but it treats listeners to a full orchestra weaving its way through the voices. Just smashing! The driving dance/funk with a mid-tempo feel comes alive with “Do It Baby”, while the smooth “It’s A Wonderful Day” and the disco slanted “Rock Dancin’” are heaven sent. Throughout, the standard is high, with strong choruses climaxing the tracks, all delivered with warm, silky harmonies that melt in your mouth. A couple of hiccups but, hey, who’s counting. Recommended for sure.

Rating: 9