70s Soul Grooves

A new era

2011-04-29T18:06:00.001+01:00

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On The Real Side - The Modern End of Northern Soul

2009-12-16T18:57:00.005Z

Caston And Majors - Caston And Majors - 1974 - Motown

2009-03-04T09:34:00.002Z

This is a FANTASTIC album which was sadly overlooked at the time. Mainly, I think, as it was simply different, a step to the left for many, and I think it would be fair to say that Motown did not have a clue how to promote such a ground-breaking album. For me, given the right exposure today the album could become quite a cult favourite. However, those that did did indulge their time in the album were soon to realise what genius this set was. Indeed, I have not found anyone EVER who has not loved this set when I have played it to them. My ex-sister-in-law is, I fear, a product of the R&B/Hip-Hop generation but even her ears pricked up when she heard this LP. Again, my 7 year old daughter adores it and I have to keep it playing if she is in the vicinity! This LP is essentially a Gospel set produced, arranged and sung by Leonard Caston, a multi-talented musician and producer and veteran writer, producer and musician of the great Chess label, and he is joined by his wife Carolyn as well as Syreeta, on a set of tunes that are in a class of their own. This was, after all, the time of 'Godspell' and the album fits in nicely with this genre. The most well-known of all the tracks, “Child Of Love”, was a classic then and it remains a classic now. Fans of Eddie Kendricks solo work will already appreciate Caston's unique production style. If you love songs such as “Keep On Truckin'”, “Boogie Down”, “Then Came You” and “I Want To Live My Life With You” or “I Can't Quit Your Love” (check out the killer version by the Four Tops!) then you will know what to expect from this epic LP. “Child Of Love” rates as one of my all-time favourites.

The following song, “There's Fear”, is a very dramatic, almost operatic effort and one can easily see where the likes of Meatloaf (who was on Motown's Morocco roster at the time) got their ideas from! The excellent “Satisfied Mind (Sing)” is a more straight-ahead soulful pop effort, the song in two parts segueing into a righteous stomper. The song “Let There Be Love” is very much in the spirit of the Book of Genesis – if you're into that sort of thing – and is excellent as it builds up into a soulful crescendo. You have probably heard “I'll Keep A Light In My Window” before. The Temptations covered it admirably on their awesome “Truly For You” set back in 1984 and Smokey Robinson updated it again in 1994 on the “Motown Comes Home” set. Here is the rollicking original version which is, for me, the best. Lovers of Kendricks' later Motown years will appreciate this, the definitive version. “No One Will Know”, contains a great Norman Whitfield-styled groove complete with bass line and strings; the vocals too are of the same quality as throughout the album. “Everything Is Alright Now” is a crackin' tune and more akin to the Motown sound of the very early 70s. Indeed, legendary bassist James Jamerson appears, as does a young man called Jay Graydon! If you do not know this album, then I implore you to seek it out and try it. For some it may be an acquired taste but I can assure you that it is a superb album, something different and wholly unique. Motown should be credited for releasing it at all, and I think that this is one gem in black music history that has been hidden way too long. A limited CD release, please, Motown?

Barry Towler
The Vibe Scribe

Buy Rare Caston And Majors LPs at MusicStack

Wood, Brass and Steel - Wood, Brass and Steel - 1976 - Turbo

2009-02-26T23:01:00.003Z

What a fantastic cover on this LP! Turbo records was a subsidiary of the great All-Platinum label and is, I fear, not available on CD. Such a pity as it's a great little album and would benefit from a proper reissue. Wood, Brass and Steel were a funky eight-piece outfit comprising the well-known Doug Wimbush on Bass, Otha Stokes on sax, flute and vocals, Randy Bost on trumpet and Flugel Horn, Craig Derry on congas and vocals, and Bernard "Skip" McDonald on lead guitar and backing vocals. On piano we have Hubert Powell as well as strings, clavinet and synth, Harold Sergeant on drums and percussion and Barton Campbell on lead and rhythm guitars. An accomplished and well contained outfit that deserved a greater piece of the action in the 1970s. You will be very familiar with one track in particular on here and that is the instrumental, "Funkanova".

This track hit big again during the Rare Groove scene in the late 1980s, and a cracking powerhouse of 70s synth and horn-driven jazzy funk fusion. The synth is superb and right in the bag of the Mizell Brothers or Roy Ayers. An essential track as you will hear below - a real 'get up and go' record! The track I bought this LP for was the sublime Roy Ayers-like "My Darling Baby". The synth is a dream and the percussion is excellent - the drums courtesy of Harold Sargent. This is summer captured in 4 minutes of jazzy soul heaven! The lead vocal here is Craig Derry. "Without You" is a lot more relaxed, chilled and mellow. Craig Derry vocalises and gets into the vibe, managing to hit a few Marvin Gaye cum Donny Hathaway spots to boot! For funky 70s heads "Theme Song" will raise a smile and get the flares flapping as the horn section kicks in. Very Kool and The Gang! Another vocal cut, "My Lady", should appeal to you if you like the Futures a la "Ain't Got Time Fa Nothin'". This LP has something for everyone - so well worth picking up.

Barry Towler
The Vibe Scribe

Buy Rare Wood Brass and Steel LPs at MusicStack

Seawind - Light The Light - 1979 - A+M

2009-02-24T08:45:00.006Z

Seawind have, on the quiet, turned out some phenomenal tunes throughout the 70s and 80s and never to my mind get the attention they deserve. Best known for their 1976 CTI cut, "He Loves You", they moved to Herb Alpert's brilliantly eclectic A+M label and issued this superb soulful jazz-fusion set in 1979. With horns led by Jerry Hey - who is still VERY active today, and lead vocals by the very talented Pauline Wilson, "Light The Light" should be an album that you own on CD. As far as I am concerned most of this album is essential, so when it was re-issued on CD in Japan it wasn't a case of whether I would order a copy. The Brazilian samba rhythms on "Free" are punchy and suit Pauline's voice so well. The rhythm is almost like Eddie Russ' "See The Light" and the vocals border on Angela Bofill.

"Sound Rainbow" is a very mellow funker with some subtle yet alluring synth and a funky bass line. This is great, and the piano-led "Light The Light" owes a lot to what Melissa Manchester was giving us on "Don't Cry Out Loud". Brilliant. If you like more of a jazz-0fusion flavour then "Morning Star" will definitely be your cup of tea. More soulful, however, is "Imagine" which has a Minnie Riperton / Ricard Rudolph feel and vocals reminiscent of Carole Bayer-Sager. "Enchanted Dance" has some cool flute work, reminding me of Dave Valentin's contemporaneous work such as "Pied Piper" or "We'll make Love", so if you like your jazz-fusion with a smattering of flute, Jerry Hey's trumpet and a summery vibe then this track is for you. Sadly we don't get sets like this any more. It's about time we did.

Barry Towler
The Vibe Scribe

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David Ruffin - So Soon We Change - 1979 - Warner Brothers

2009-02-24T08:14:00.004Z

Who can doubt that David Ruffin is one of THE voices of our time. He ranks with such giants as James Ingram and Peabo Bryson for possessing one of the best voices ever to grace the music scene. His troubled personal life make it a wonder in itself that he was able to record as much material as he did, and one can only wonder what he could have brought to us had he not passed away so tragically and needlessly back in 1991. It's not the Motown era we look at here, but the first of 2 albums he scored for Warner Brothers. This album, released in 1979 is possibly, by a whisker, the weaker of the two but still very much an essential album. If you take into account the opening track, "Let Your Love Rain Down" then you are not going to turn this down. The track simply oozes quality, class and dance floor sophistication. The irresistible mellow disco groove with slap bass, swirling strings and soulful sax is a fine match for David's ultra-soulful voice and along with tracks such as "Don't It Feel Good" by Booker T. Jones (see review) would make up a brilliant dance floor couplet today.

If you love quality ballads from this great era then "Break My Heart" is going to really appeal to you. Not far in style from what the likes of Michael Stokes was producing at the time. In fact, this album was produced by Detroit's very own Don Davis, and if tracks such as "Welcome Back Home" from the Dramatics are to your liking then so, too, will this be. The clomping hand clapper could work well in a modern room today. In a similar vein to the great "Caught Up In A Whirlwind" by Richard Stepp (also 1979) this could still prove a monster. The track that I really dig for it's lyrics and vocal style is "Morning Sun Looks Blue". This man really was a giant, and I miss him so much. The grand upbeat "Let's Stay Together" is a Don Davis-penned dancer and not the Al Green song. This is another candidate for a modern dancefloor. The melancholic title track is a good'un and sees the Man let rip fantastically over a horn-based downtempo number. Slightly schmatzy but still a good example of the man.

Barry Towler
The Vibe Scribe

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Johnny Bristol - Bristol's Creme - 1977 - Atlantic

2009-02-24T07:34:00.004Z

Johnny Bristol is, in my mind, very much an unsung hero when his name should be a household name. Many people, many households own music from the pen of this great, great man yet do not know he existed. I suppose where quality 'black' artists go that's no surprise. 'Twas always thus, sadly. Following a glittering writing career with Motown in the 60s and early 70s, Bristol sided with MGM, Polydor then Atlantic in the mid 70s and created a whole series of quality albums that are, at least, cherished by the connoisseurs of the soul world. He's another artists that a "Best Of" compilation, however valiant the attempt, could in no way represent the man's work. To get a taste of Johnny Bristol, we got to have it all. Thankfully, Universal Japan along with P-Vine have covered the man's 1970s solo albums for Polydor and Atlantic, and Hip-O have compiled his complete MGM work so between them all you can acquire a huge slice of one of the greatest all-round artists ever to grace our beloved music scene.

As you will soon gather from the great tune below, "Do It To My Mind" is inescapably brilliant. This cool midtempo number is one that should already have won a place in your heart and it's great to own this on CD. This remains one of my favourites from the 1970s. Simply magic. "I Sure Like Groovin' With Ya" is also a fantastic track which should be appreciated at the same level. Play this loud. The strings, almost Barry White in orientation are simply superb on this two-step monster. I NEVER tire of tracks like these two. The rest of the album is on an equal footing, I assure you, although much more downtempo. The smooth, sax-drenched plodder "I Love Talking About Baby" borrows a lighter Barry White style, especially with regard to the strings and the gentle, yet sturdily pounding rhythm recounts an erotic liaison between Johnny and his Lady. Lucky whatsit! LOL. Young RnB artists please take note how subtle, poetic and erudite this is handled. Think you can match this? No, me neither. That aside, the superb "She Came Into My Life" is very fresh indeed, and could have been recorded at the turn on the 1980s. This is the best thing about timeless music - it ALWAYS sounds new, so the relevance of these tracks will never escape us.

Barry Towler
The Vibe Scribe

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Bunny Sigler - My Music - 1976 - Philadelphia International

2009-02-23T21:54:00.005Z

This is my favourite album from Bunny Sigler, and I was absolutely over the moon when it was released on CD here in the UK courtesy of the good folks at Edsel. I have to be honest that Bunny's music either grabs me or leaves me stone cold. This album from 1976 is a mixed bag and is, I suppose, nicely representative of all of his 1970s work. I love his vocals, his writing and production from the 70s ‘til today and this album contains some of his best 70s output for Philadelphia International. Disco was really kicking in and it was a time of change. Some artists managed this well; others disappeared without trace. This album traversed the minefield of 'come fly with me' collars, hairy chests, medallions and dodgy movies with John Travolta well and managed to succeed enough for the album still to be heavily sought after today.

I can pick out four tracks that really do it for me. These commence with the anthemic "My Music" which is Philly through and through. It’s climatic, clever and descriptive. Bunny wrestles his yearning vocals over the vibrant percussion, guitar and horns and strikes a hot track in doing so. The CLASSIC "Come On And Dance, Dance, Dance" was featured on Philadelphia Uncovered a number of years ago, and rightly so too. Here it is in its original place. This is a superb dancer where the horns punch with real vigour, as Bunny gets smooth and gruff with his delivery. This is classic Philly soul at its best. My ultimate favourite is the gorgeous ballad “Somebody Loves You”. The intro is so amazing, that if the rest of the song were diabolical then it would still be worth it for this alone!!! The tinkling piano scale, the blowing wind, harp, bells, strings and flute lead us gently into an impassioned ballad of monster proportions. The Philly sound simply does not get any better than this. In the CD reissue, Tony Rounce has written an extensive essay well worth reading, but unfortunately failed to include Bunny’s recent recording with Larry Gold. I consider “Can I?” from 2003 to be the best thing that Bunny has EVER recorded and is CLASSIC Philly in every sense of the word - PLEASE check out my Y2K review of that here: http://soulchoonzreviews.blogspot.com/search/label/Larry%20Gold. This is a very welcome release, and big thanks to Edsel for this.

Barry Towler
The Vibe Scribe

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Wilson Pickett - In Philadelphia - 1970 - Atlantic

2009-02-22T08:01:00.003Z

On this 1970 album Wilson Pickett's rough, tough and wicked Southern gritty soul met the sweet soul of Philadelphia head on. The lovechild of this mighty love fest of soul was Wilson Pickett's "In Philadelphia". Not unlike Dusty Springfield's equally essential "A Brand New Me", also from 1970, this album really laid down the foundation for what was to become the golden age of Philly Soul. Prior to his untimely passing, Wilson stated "I had this reputation for being 'The Wicked" in the studio. Man, Leon Huff sat in the booth and stared at me for about three days before I found out he was just waiting for me to do something wicked!" I'm not sure what Leon Huff was expecting but what you hear on this classic album is most certainly what I would call 'wicked'.

The outset track here is a bit more than Philly. I hear the great Southern mettle of Atlantic / Stax and the psychedelic guitar sound of early 70s Music Merchant or Hot Wax. The Philly sound is there - most notably in the backing vocals which comprise of the Sweethearts. If Thom Bell is as much a God to you as he is me then you won't be disappointed with the superb string-filled "Help The Needy" which really is the prototype of many great songs from the Philadelphia International stable. Wilson Pickett is really comfortable within this setting and I wish he had hopped on the Philly bandwagon. I reckon the result would have not turned out with the disappointing "Funky Situation" LP from 1978. What he could have done with the backing of Thom Bell, Gamble, Huff and MFSB! A Joe Simon feel comes along with "Don't Let The Green Grass Fool You", quite a tricky arrangement with contrasting emotions within it. Pickett picks up the gauntlet and rises to the challenge brilliantly. My final choice features a mighty slice of early 70s psychedelia..."Get Me Back On Time, Engine No. 9" would easily have been a great Ronald Dunbar (aka Lamont Dozier) production and the screaming guitars and funky bass do not overpower this most 'Wicked Pickett'. Superb soul from 1970.

Barry Towler
The Vibe Scribe

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Ramsey Lewis - Don't It Feel Good - 1975 - Columbia

2009-02-21T09:23:00.005Z

This is my favourite 1970s album from the keyboard legend, Ramsey Lewis. Such a funky album it totally contrasts the slicker, smoother and totally 80s album that I already champion with vigour, 1984's "The Two Of Us". I would say that you are already intimately familiar with his seminal 1974 "Sun Goddess", and if you dig the vibe of that track then you will want to grab a hold of this album immediately. I'm glad to say that Wounded Bird came to our rescue and reissued it on CD back in 2008 and it sounds FANTASTIC. I cannot go a sentence further without talking about the late, great Charles Stepney. I loved his unique, trademarked style and it's obvious that he rubbed off on the likes of Maurice White and Earth, Wind and Fire. The man was a creative genius. His musical arrangements and signature vocal arrangements were second to none. I totally understand why the latest effort by Liquid Spirits included a fitting tribute to the man simply called "Stepney". They totally understand and dug the man and they encapsulate his essence of that essential, if all too brief song.

All bar one song floors me. The seriously FUNKY title track begins the album. Check that killer bassline and those funky guitars, backing vocals and, of course, Ramsey's mastery of the Fender Rhodes piano. For me the absolute deal-clincher is "Juaacklyn". Stepney weaves absolute magic on this laid-back, dreamy and heavenly song. Please check it out below. The song builds up pace and totally captivates you. Ramsey really does the business here and backing vocalists Morris Stewart, Brenda Mitchell and Derf Reklaw Raheem sound PERFECT as they reach a crescendo with the groove. A song I would gladly want to be buried with. A dreamy interlude leads into a dreamier must-have track called "Something About You". I wish Ramsey would record stuff like this now. He doffs his cap to Earth, Wind and Fire with a competent and different version of "That's the Way Of The World" and very much makes it his own. Sublime stuff, especially when the vocals appear. "I Dig You" is equally superb in an Earth, Wind and Fire fashion, and the set closes on a funky, tripped out note a la George Duke with "Can't Function". The funky electronic keys are so similar to the freestyling used on Fred Wesley's "Blow Your Head" it is amazing. Funk with a capital F. I cannot recommend this album enough so please ensure it has a home in your collection.

Barry Towler
The Vibe Scribe

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Timothy Wilson - Timothy Wilson - 1978 - H and L

2009-02-20T20:51:00.006Z

A bit of a cult item, this LP from 1978. Richard Searling’s "Modern Soul Connoisseurs" set on Spectrum back in 2001 rightfully boasted the coup of obtaining the anthemic "Its Love Baby" and the big catch was to obtain the rights to the whole darn album, which included liner notes from my old mate, David Cole of In The Basement fame, making the whole package something rather special indeed. This H and L released album contains something for everybody. "Sugarland Express" is a dancer that leans towards the, then, contemporary Salsoul style – check out the racy instrumental breaks. I can envisage, God forbid, a number of teeny chart orientated dance acts rushing to their sampling machines for this one. Co-writer is none the less one George Pettus Could this possibly be the same gentleman who produced two essential sets for MCA in the 80s and 90s? "Its Love Baby" is nothing short of a 70s classic; what our music was really and truly about at a time when the disco boom was doing more damage then good (as it is today perhaps?). Timothy’s voice is rich, passionate and reminds me of a stripped down less nasal Little Anthony – think of the man’s 1980 song "Your Love" and you’re there. A touch of Philly is utilised on "(Wear Your) Red Dress (Tight)" – trying to capture the Norman Harris feel I think, with a touch of Motown in there too. Doesn’t really do much for me, I fear, this song. What does capture me, though is the superb "Follow Me" which has elements of the late, great Garry Glenn’s vocals on it. The strings swirl, the brass stabs and the vocals are spot on. This is quality, without a doubt! "Who Babe" is very Stylistics in orientation. Not surprising considering the era and the label! This essential album, as that is what it is, is topped off by the summery "We Just Can’t Help It" which is very pleasant indeed. Do yourself a favour, get this on CD: its quality, although does come at a premium now.

Barry Towler
The Vibe Scribe

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Dee Dee Sharp - Happy Bout The Whole Thing - 1975 - Philadelphia International

2009-02-19T22:43:00.010Z

More Philadelphia magic from 1975. I was overjoyed when this was released on CD back in the 90s, and to see it deleted so soon and become rare was so sad. thankfully Amazon have the album available as an MP3 download. It's weird and wonderful what crops up these days isn't it?!The album is my favourite of Dee Dee's and the sheer beauty, finesse and timelessness of the arrangements, instrumentation, production everything in fact, will not be lost on you. The man to mainly thank here is the legendary Bobby Martin (please also check out his NEW album and in particular the Tom Moulton mix of "Funky Train"!!!) along with Gamble and Huff. This set is a real must and the change to click and download is a real boon. If you don't get swayed by the Billy Paul-ish groove of "Love Buddies" then I suggest a lie down, a few mouthfuls of soul food and some serious counselling from Mille Jackson!

A mighty fine midtempo groove with strings, organ and a brilliant rhythm section will greet you on "Touch My Life" - a blinder of a track, and I think you will also be amazed at the brilliant version of 10 CC's "I'm Not In Love". A very strong version and although it cannot better the original, it certainly compliments it. Her version of "Ooh Child" is magnificent and paves the way for the AWESOME Philly stomper "Happy Bout The Whole Thing". This really is Philly, PA at it's swirling '70s best. Norman Harris, Don Renaldo and the Sweethearts at the top of their game. The brassy "Share My Love" really is prototype Disco - but much better - and the classy "The Best Thing You Did For Me" draws down the curtain on this wonderful 1975 album. It's a pity that apart from hunting down the LP on MusicStack that you can only get this as a Download. However, this is the future so...get used to it, folks! Quality Soul is quality soul, whatever format it's on.

Barry Towler
The Vibe Scribe

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Jon Lucien - Song For My Lady - 1975 - Columbia

2009-02-19T21:53:00.005Z

"Song For My Lady" carried on the tradition of strong, unique and quintessentially Jon Lucien albums. I was fortunate enough to have been in regular contact with Jon and his lovely wife in the years prior to his passing, and if one could ever wish for a more genuine soul whose every fibre of being went into his Art, then you really need not look any further than this gentleman. For Jon Lucien was a gentleman and one of life's truly enlightened, spiritual souls. His wonderful character shone through all of his compositions and this 1975 album certainly allowed us a peek into that genius mind and most deep of souls. His upbringing on the British Virgin Islands lent him a tropical twist to his thinking and when Jon committed a song to wax you are automatically invited into his warm, tropical Island Paradise.

We cannot argue with any one track on this LP. From the racy, bass guitar tropical outing, "Soul Mate" enticing us with dreamy keys and intense percussion through to a perfect interpretation of Jobim's "Dindi" and the hushed ambiance of "Motherland" with a slinky yet understated funk undertone is perfect for the following final band on side one, a track of MAGNIFICENCE called "You Are My Love". Perfect for a summer's day, this gently flowing number provides a silky cushion for Jon to shine. Superb. The cover of Herbie Hancock's seminal "Maiden Voyage" starts Side two and even though I love this, it does not manage to beat the following three songs, "Creole Lady" and "Follow Your Heart" in particular. "Creole Lady" rates as one of my all-time favourite Jon Lucien cuts - the persistent ticking rhythm, stoic bass line and heavenly Rodes Piano does not give notice to the sublime vocal harmonies, A Capella chant that finally drown out the rhythm. I saw Jon perform this at the Jazz Café back in 1995 and the result was spectacular. The crowd went crazy. "Song For My Lady" is tender, with strings and the sound of nature - beautifully poetic and floating lyrics too, complemented by angelic harp flourishes. The final cut is a real doozy, though - fans of "Listen Love" from 1974's "Mind's Eye" set will love this. Sadly, this is NOT available on CD, so a trip to MusicStack or a good record fair is in order!

Barry Towler
The Vibe Scribe

Buy Rare Jon Lucien CDs and LPs at MusicStack

The Temptations - 1990 - 1973 - Gordy

2009-02-19T21:29:00.005Z

1990 was the last album which the Temptations liaised with the late, great Norman Whitfield. The single release, "Heavenly" deserved to be a huge smash for the guys but due to Berry Gordy not acknowledging the input of US DJ's in the support of Motown at the AMA's it was boycotted and the single stalled. One would have thought that by now the public would have known about the group and would listen for themselves...sadly this public malaise still operates today and ensures that the real talent which doesn't get promotion falls to the side and the latest TV talent show wailer gets top billing and top sales. Criminal. Still, we know wheat's what don't we and tracks such as "Heavenly" did not come under our radar screens. Whitfield, as we know, was soon to move onto a lucrative deal with Warner Brothers and his own Whitfield label, taking from Motown the Undisputed Truth and introducing us the huge Rose Royce. Incidentally, on this album the backing music comes from not only the Funk Brothers but also...Rose Royce!

I have 2 favourites on this album - the aforementioned "Heavenly" and the epic-length "Zoom". The single release, "Heavenly" is CLASSIC Temptations in a "Just My Imagination" kind of way, and on this song the lead on this item is Ex-Monitors vocalist Richard Street who gives a very competent and sweet 70s styled performance. An excellent singer, I would like to see something by way of a solo album from him. The squeezebox, strings and full orchestration combine with Richard to create a very special sound indeed. "Zoom", on the other hand is sheer magnificence! Fourteen minutes of psychedelic soul, a real piece of extravagant self-indulgence for Mr. Norman Whitfield, but so what?! I love his style and tracks like this are Epic even by today's standards. On the cut the theme are UFOs, a theme that Norman would return to a lot with the Undisputed Truth on their "Higher Than High" album. Not dissimilar in style from the classic sounds laid down on "Masterpiece" and "All Directions" this is a real treat. Bass vocalist Melvin Franklin counts down and allows Dennis Edwards to let his soulful vocal tear strips and the combined Temptations are heaven with their perfect harmonies. Add dramatic strings, wah-wah guitar, harp and funky bass line then the song is a real winner. I also like other funky efforts such as "Let Your Hair Down" and "You've Got My Soul On Fire". This is CLASSIC early 70s Temptations and thanks to Hip-O for releasing it on CD.

Barry Towler
The Vibe Scribe

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Michael Henderson - Goin' Places - 1977 - Buddah

2009-02-19T16:58:00.003Z

'He's brilliant - A tasteful, inventive musical genius with a voice that's a unique instrument'. If Roberta Flack had made this comment about me I would be very happy indeed. Michael Henderson is one of my idols and I make no apology for loving this man's soulful vocal work. He is a complete artist: a virtuoso bass player, a refreshing writer and as the L.A. Times accurately pained, 'as remarkable a singer and showman as he is an instrumentalist. The biggest names in the music business also look up to this towering man. He's worked with the likes of Norman Connors, Phyllis Hyman, The Dramatics, Aretha Franklin, Stevie Wonder, Mick Jagger and - of course - Miles Davis. This sublime piece of sultry 70s soul has always been close to my heart, and my only wish is that they would be re-issued on CD. The Right Stuff brought them out back in 1994 but with less than inspiring artwork. This man and these albums deserve a serious reissue project which is crafted out of love and respect.

Of the album itslef, I really feel the balladry more than the uptempo material. Tracks such as "Whip It" were good in their day, but I believe the following choices have, without question, outlasted them. Take the title track as an example. Vocally, Michael is at the top of his smooth game and the use of a string arp, acoustic piano and Fender Rhodes seal this as a well-crefted and delivered slice of 70s soul. My favourite is the smoocer "Let Me Love You", complete with Herbie Hancock on Fender Rhodes, Ray Parker, Jr on guitar and Ollie Brown on percussion. Michael himself adopts his powerful Bass skills and the result is humbling. I wish he would get back to the studio to record material like this today. "I Can't Help It" is another smash for me, Michael utilising a serious vocal scale, dropping from a rich, resonant bass one minute to a sweet tenor the second. The stars also come out to shine on "At The Concert" - Roberta Flack, Gwen Guthrie sand Ullanda McCullough boosting Michaels soul power by real magnitude on this deliciously jazzy number. If ever you need to remember how great the 70s was, aside from the Disco nonsense, then dig this album out and give it a spin.

Barry Towler
The Vibe Scribe

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Syreeta - One To One - 1977 - Motown

2009-02-17T17:27:00.006Z

Motown was going through a very disorientating patch in the 1970s - as was the music scene generally, but they managed to slip out some real soulful nugget aside the throwaway Disco / skater grooves that were so prevalent at the time. Syreeta was but one of those quality releases and along with Motown staff writer and solo artist Leon ware, and husband Stevie Wonder gave us this solid, solid album. I highly rate every single track on here - even "Harmour Love" which I simply love for the sheer simplicity, joy and fun of it. I know many may cringe at this song but it's actually a great Stevie Wonder song and it appeals to a wide range of people - my 2 young children LOVE this song and there is almost a childish approach to it that makes it, I guess, so approachable and likable. The rest of the album though is very much what you would expect from the Master of sensuality, Leon Ware. On the opening track which immediately sounds like a Spinners track, Syreeta's voice is nothing short of Angelic. I wish I had met the woman as the feeling I get from her voice is gentleness, an abundance of joy and compassion. As I said, Angelic. Leon Ware's credentials are strong and his additional backing vocal adds more esteem. This track is given a chunkier reprise too, and I have to say that though these tracks are good, they are not the highlights!

I recently reviewed "Leon Ware And Friends", the latest Expansion release, and on there you will find the stylish "I Don't Know". More laid back is the gentle canter of "Rest Yourself", vocals projecting effortlessly yet unrestrained in only the way Syreeta knew how. If you like FUNKY then the luscious and tribal groove of "Tiki Tiki Donga" should be funky enough for you, with an arsenal of reverberating percussion, a full string section and Leon Ware throwing in various vocal effects this track is simply a monster, and different to boot. Highlighting how perfect a match Leon was for this Lady as well as Minnie Riperton, "Don't Cry" fits both singer and producer like a velvet glove. Nothing, though can stand you in stead for the album highlight, "I Too Am Wanting". I have heard this track called 'mournful' but in no way can it be called that. It is sheer soulful beauty and perfection. I rate this as one of Leon Ware's finest delicacies, along with other gems such as "Deeper Than Love" this man is at his best when entering the deepest, most sensual and personal parts of out soul. This man connects at such a deep, quantum / spiritual level. Syreeta is the only vocalist who could ever have pulled this master stroke off. I don't think that even dear old Minnie could have done this. There is a sensitivity, a deep aching urgency so restrained that only a gentle Angel of Syreeta's disposition could pull it off. The genius of Ware knew this, and if you check out the sample below you should feel cold all over by the end of the track. If that's not a great record I really don't know what is!

Barry Towler
The Vibe Scribe

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Thelma Jones - Thelma Jones - 1976 - Columbia

2009-02-17T16:59:00.005Z

Thelma Jones career was very short-lived, with a few 1960s singles such as "Stronger" and "Souvenirs Of A Heartbreak", and this LP. Thelma promised a great deal and had more than enough to offer. Another one of those artists who were lost in action from an early stage and left us all scratching our heads. This 1976 album for the mighty Columbia label should have acted as a firm foundation for an illustrious career, yet it was not meant to be. We are left, however with this highly collectible album – now available on Japanese CD courtesy of Sony. I have to say that the album is solid and acts as a showcase for Thelma's talents, and the likes of Leon Ware, Bert De Coteaux, Brad Shipiro, Gwen Guthrie, and Ullanda McCullough also support Thelma with their writing, arranging, production and vocal talents.

This album is celebrated for 2 main songs, one being brought to the forefront by Richard Searling in the early 1990s through his excellent Soul Sauce show and Columbia's “Soul Souvenirs Vol. 1” compilation – now a rarity in itself. “How Long” has a really infectious rattling groove with flute and funky guitar paving the way for some seriously sassy and no-messin' vocals. Ex-JB Bob Babbit completes some funky bassline and Jimmy Young rattles off a few choice drum rolls, Thelma, however in total control with her quivering, barely tempered passion and pain and so amounts to one of the strongest mid 70s soul cuts you are ever likely to hear. Our second pick is Leon Ware's inclusion, “I Can Dream” with strings, percussion and tropical island flavour, and is very similar musically to what he was serving up with both Syreeta and Marlena Shaw at this period. One track that really needs elevating to such a status is the gorgeous floater that appears as a special bonus cut on the CD. It's the brilliant 1978 7" release "You're The Song I Can't Stop Singing", which was flipped by "Salty Tears". The CD is worth buying for this gem alone. You should be able to pick this up - not exactly cheap BUT...

Barry Towler
The Vibe Scribe

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J.R. Bailey - Just Me N You - 1974 - Mam

2009-02-17T13:33:00.004Z

This was a very out-of-place release on Gilbert O'Sullivan's MAM label, but I've always had a soft spot for Gilbert's 70s tunes so hold nothing against him at all for not releasing more material like this! I originally reviewed this CD when it was re-released in Japan back in the mid-1990s through Tratattoria, when I used to write for my dear, late, friend Gerry Osborne. The Japanese CD was lifted from vinyl, however good, but in 2005 Soul Brother released it here in the UK and from what I can tell with my keen ear this time it was NOT from vinyl. The quality is clean, it is crisp and exactly what we are looking for. Many will know this album and indeed love it. I have to rate it as being one of the classic soul albums of all-time. It is a strong release, fluid in every way and the tender, smooth and soulful tunes all perfectly gel together in a real amorphous mulch of soul heaven.

Similar in style if not content to the classic "What’s Going On" album, J R Bailey dedicates this epic recording to love and romance. The arrangements are spot on and are given an extra level with the emotive use of strings and horns all in the right places. Bailey himself commands his vocals masterfully on all cuts. OK, some of the lyrics are plain cheesy but that’s OK. The worst moment is when the kissing starts up on "She Called Me". If I were kissed like that I think I would be looking for another lover! LOL. Otherwise this album is perfect in every way and if you don’t own it then I suggest you make it a priority purchase ASAP. I cannot really pick out any favourites on here as it's all essential. However I can never ever resist a replay of track one, "After Hours". This is FANTASTIC 70s soul at its best. An amazing 35 years on and it is as fresh now as it ever was. Donny Hathaway gave us a heavenly rendition of "Love Love Love" one year earlier in 1973, but Bailey penned the song and gives us his own lovely version. Soul music from the heart is this, and a mandatory listen to boot. Another classy release from Soul Brother. Cheers, gents!

Barry Towler
The Vibe Scribe

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The Sons Of Robin Stone - Got To Get You Back - 1974 - Atlantic

2009-02-16T23:08:00.004Z

One of my all-time cherished 70s records, "Got To Get You Back" is an ace single, released in the UK on Atlantic in 1974. This blue-eyed soul group were fronted by lead singer, Jimmy Phillips, and he is an archetypal strong, Philly singer of the highest quality. The production of this great gem is by our old friend, and still very much in action, ally Bobby Eli. Bobby manages to create a great Thom Bell / Spinners vibe on this dancefloor stomper, complete with Philly orchestration as soulful and momentous as it comes. This group appeared briefly: once more for Epic with the rare "Let's Do It Now" and much later on the unissued re-issue (you know what I mean!) single for Goniff Records, "I'm Ready To Give Up My Love". These guys deserved a much bigger place in soul music and why they never made more music is, frankly, beyond my ken.

The flipside is equally delicious, this time a fully orchestrated ballad worthy of Thom Bell. "Love Is Just Around The Corner" would have been a worthy cut for the likes of Blue Magic, The Spinners or even Little Anthony and The Imperials. If you cannot get enough of the sound of Philadelphia then this song is for you. The A side, I believe, issued on Kent's mighty fine "So Soulful 70s" so is worth hunting down for that. You will see a number of 7" releases highlighted here as many 70s and 80s b-sides were NOT available on albums and were as essential as anything you could ever wish to hear. Keep 'em peeled!

Barry Towler
The Vibe Scribe

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Ramp - Come Into Knowledge - 1977 - ABC

2009-02-16T22:00:00.004Z

RAMP, or Roy Ayers Musical Production, released this rare LP on ABC Records in 1977, and rare it remained until Verve reissued this album on CD a few years ago. The album was highly sought after for the song "Daylight" which was a favourite of the Hip-Hoppers in the late 80s / early 90s. My favourite usages were A Tribe Called Quest in 1990 on their fun "Bonita Applebum" and later Shades in 1996 with "What Would You Do". Not at all surprising that there was a rush in interest for this song, and sadly the breakbeat hunters pushed the price of the LP up and up. Still, it's on superior CD now and a LOT cheaper! RAMP were comprised of John Manuel on drums and percussion, lead vocalists Sharon Matthews and Sibel Thrasher, bassist Nate White and Landy Shores on guitar. And all these under the wings of Roy Ayers, William Allen and the mighty funky Edwin Birdsong.

"Daylight" aside, we have a strong album with a strong Roy Ayers flavour though Roy is noticeably absent from the music. No vocals, no vibes yet we know who's hand is at the tiller. Roy has a certain mode of singing, almost deadpan in places, and the fine Ladies here certainly stick to this formula very well. They harmonise in the same scale as Roy sings, and this is clear with all of Roy's work through the decades. "I Just Love You" is great and would appeal to fans of 80s Ladies, the reworking of "Everyone Loves The Sunshine" is good, but not as good as Roy's original. However I love the eerie synths used at this period of time and this track certainly makes use of one or two of those. I am totally in love with the title track of this album, the vibe is similar to "Daylight" so cannot fail to lose. "Daylight" Itself makes me feel like I'm floating on a warm, comfy cloud. The quirky keys and haunting synths on here, along with the funky guitar take this track to a completely different dimension. One of Roy Ayers most memorable and desirable tracks. This album is a dream.

Barry Towler
The Vibe Scribe

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Johnny Mathis - I'm Coming Home - 1973 - Columbia

2009-02-15T17:49:00.006Z

Johnny Mathis is not, perhaps, a name that immediately springs to mind when quality soul music is the topic of discussion. This artist is, whatever your musical persuasion, unquestionably one of the all-time greats and unarguably master of his field. His career spanning right back to the 1950s is one that 99.9% of singers could only dream about and what I find most enduring and appealing about the man is that he is what he is - an unashamed balladeer; a crooner who states himself on this great album that “I Just Wanted To Be Me”. He does not change his style to suit current trends - and he only does what he can do best - and that is to perform 100%. Now, by your reading this you possibly think that I own all that you can by the man. Wrong! I appreciate his other so-called ‘easy-listening’ material for what it is but I own but three albums, two of which produced by Thom Bell and Linda Creed, the other being “A Special Part Of Me”, Columbia, 1984 - see review). The reason that I own these albums is simply as they're soulful and darn essential. Thom Bell is, in my opinion, a GOD, a GENIUS and someone who I sorely wish would return to the recording studio. I know the great man is happy at home and keeping out of the recording studio but I long for the day that he makes a comeback. Recent rekindled interest in 2003 with Elton John’s superb “Are You Ready For Love” here in the UK sadly did not provide us with some reissues of Thom’s past glories, but I am so grateful to own a proper reissue of this album from 1973 (it was re-issued in the UK in 1989 on Pickwick with the title “I’m Stone In Love With You”). Not many soul lovers are aware of this album, nor perhaps would have bothered with it.

I was rather amused to hear a radio DJ getting very excited about “A Baby’s Born” when covered by James Ingram back in 1993. He did not know that it was a cover til alerted, and so this is why I make some noise about this CD today. If you love the lush, orchestrated Philly sound of Thom Bell and his work with The Stylistics, Dionne Warwick, The Spinners, New York City, Deniece Williams, Dee Dee Bridgewater and so on are to your liking then you will definitely want to own this CD. Johnny’s cool pitching and phrasing are perfectly symbiotic with Bell’s lush orchestration. They fit each other hand in glove, and Johnny’s takes on the Stylistic’s classics “I’m Stone In Love With You” and “Stop, Look, Listen (To Your Heart)” are just out of this world. There is not one track here that I cannot recommend with all my heart. Frankly, this is a special, special album to me and songs such as “I’d Rather Be Here With With You”, “And I Think That’s What I’ll Do”, “Life Is A Song Worth Singing” and “A Baby’s Born” are in my list of all-time favourites. The latter song is breathtakingly written. Its lyrics are not only though provoking but are, simply put, beautiful. James Ingram covered this song magnificently, too - again at the hands of Thom Bell, but it is this song that has to be my favourite. Bell’s classical instruction and sensibilities are strongly woven into the melody; Mathis’ vocals just add the icing to the cake.

“And I Think That’s What I’ll Do” is a teasing, clever, song about being torn between two loves - teasing in the way that Johnny muses his way through the song. By the end of the song we are left completely left in the dark to whom he chooses. This is a point to think about - the lyrics on not just this lovely CD, but the beautiful soul music from that era, left a lot to the imagination; nothing was sordid or blatant. Here, in this instance we are left feeling that we are having a privileged insight into the singer’s mind. Today, so-called R&B stars will simply swear, use bad language and innuendo and leave nothing to the imagination. I daren’t even want to think about the crass videos they make. Utter garbage. Gone is subtlety. Take the well-crafted subject of onanism in Smokey Robinson’s “I’ve Made Love To You A Thousand Times”, or love-making in “Cruisin’” and gone is such storytelling, as in this tale of a divided, torn heart. “Life Is A Song Worth Singing” is a dramatic number; the most uptempo selection on offer and Johnny performs like the professional that he is. This was, of course, later covered by Teddy Pendergrass, but it is this version that I always want to come home to: the original and the best. “I’m Coming Home”, if you love the Thom Bell / Philly sound as much as I, will leave you with moist eyes and a lump in the throat. Much simpler, cleaner and less complicated times for soul music. How I miss them.

Barry Towler
The Vibe Scribe

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Blue Magic - Thirteen Blue Magic Lane - 1975 - Atlantic

2009-02-15T13:21:00.007Z

This is an album I really, really wanted to own on CD. Thanks to Collecatbles stateside this is now possible, and also thanks to iTunes where you can also download a digital copy! In my humble opinion "Thirteen Blue Magic Lane" is the best album Blue Magic released, and boy have they released some wonderful stuff over the years! I am a sucker for Philly Soul, as you've already deduced, and it is inconceivable to think that this album is anything short of an essential purchase. The late, great Norman Harris and Ron “Have Mercy” Kersey are joined by Ron Tyson, Al Felder and Richie Rome on a solid 9-tracker of classic soul. You have probably noticed from the song titles that this album (what was side one at any rate) has a definite theme. Yes, all things spooky are on order, and the cover sports an amazingly clever piece of artwork. After all these years had I noticed that the trees had faces in the branches. I was never truly an observant person, as you’ve probably gathered! The group start of in a very impressive way with their gorgeous take on the Little Anthony & The Imperials 70s number, “The Loneliest House On The Block” – they indeed make it their own with more brass than the luscious strings of Thom bell, but still retaining that wonderful Philly flavour. This is an equal to the original, and if you are not familiar with the earlier version please check out the “On A New Street” album (another that begs for CD reissue and will be reviewed here on Soulchoonz.)

Ted Mills’ vocals were always moresome, and this is the same for the light and breezy “Chasing Rainbows”. This is classic 70s group soul at its very, very best. The showstopper for me has to be the essential “Born On Halloween” – a classic in every sense of the word with sumptuous strings and rhythm guitar – complete with cackling witch! – married to the catchiest hook that your ears are likely to encounter. I dug this album out on vinyl last summer and my 3 year old daughter latched onto this song and merrily sung the chorus to herself for days on end. Yes, definitely Daddy’s little girl!!! “Haunted (By Your Love)” keeps the cauldron smouldering and continues with the cheerful and melodic “I Like You”. Fans of First Choice’s “Got To Get Away From You” and “Armed And Dangerous” will lap up the racier numbers such as “Magic Of The Blue” and –albeit clichéd – “We’re On The Right Track”. I smile when I hear these as we can see where the original Charlies’ Angels TV show got some of their incidental music ideas from! LOL. “Stop And Get A Hold Of Yourself” has an introduction that reminds me of “If You Can’t Think Of Anybody Else“ by the gorgeous Dianne Steinberg (oh, another screaming candidate for CD release, please). The rest of the song is brilliant, too. Margie Joseph is another fantastic talent who we now have more reissues from, and her work here on the lovely ballad “What’s Come Over Me” still sound as fresh as a daisy. Please seek out her Johnny Bristol-produced Atlantic set “Feeling My Way” as that really is a great album too. I hope that between Collectables, Warners and iTunes here in the UK that Blue Magic’s entire Atlantic / Atco catalogue gets another curtain call. They sure do deserve it. And while we’re at it, why not have us have a new CD from the guys too? In the meantime though, this certainly will suffice.

Barry Towler
The Vibe Scribe

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Margie Joseph - Hear The Words, Feel The Feeling - 1976 - Cotillion

2009-02-15T12:33:00.004Z

Collector's Choice are reissuing a draft of classic 70s soul and jazz at the moment, and with everything else resurfacing on CD its getting very hard to keep up! When I was scouring the Internet and discovered that Margie Joseph's 1984 set “Ready For The Night” was being reissued (only interested in “Is It Gonna Be Me And You”), I then discovered this album which I had hitherto been aware of, but had not heard. To discover it was a Lamont Dozier production was a massive boon, so I ordered one straight away, totally on the blind. Let's see...1976...Lamont Dozier...Margie Joseph...yes, well worth the risk! Lamont was firing on all cylinders at this time and was releasing a wealth of quality, timeless soul music and to receive this CD, play it for the first time and discover a wonderful set of 9 Dozier-produced gems was just the icing on the cake! If you love his contemporaneous work with Aretha Franklin, The Originals and Ben. E. King then you will definitely want this CD in your collection.

From the very first track, the meeting of Dozier and Joseph is instantly one of magic. The quality of remastering is second to none, too – so thanks to Bob Fisher for that. There are a few reissue labels at the moment churning out quality albums but shockingly embarrassing quality – check out the Woods Empire and you'll see what I mean – so its great to have properly mastered, legitimate recordings to be proud of. Anyway, I digress a little. With this in mind, savour the sheer quality of “Didn't I Tell You” with its catchy hook and swirling strings – almost a flavour of Philly in here. Fans of Ben E. King's version of “Let Me Live In Your Life” or Aretha's “Sunshine Will Never Feel The Same” will instantly feel at home with “Why'd You Lie” (not the same as the Originals' '75 waxing.) “Prophesy” is a track we all loved over the years – one of Richard Searling's favourite spins on the radio and at Southport and here is the version cut with Margie Joseph; a little less heavier and more, dare I say it, mellow disco. However, this is an excellent version but pales to Lamont's own version. That can be found, should that be a glaring omission from your collection, on Expansion's excellent 2000 compilation.

One of my favourite songs from that particular compilation was “All Cried Out”, and a version appears here – quite different in construction in a number of ways. More of a swayer, this version, and considerably more laid back – add a steel guitar and remove the strings and this could have been a '70s country hit. The arrangement almost verges on the jazzy half way through, and from here the sweetness and softness really takes control. I love this, but prefer the 'original'. My top-dog cut, though, has to be the superb “Don't Turn The Light On”. This is Lamont at full gallop; a strident beat, the hi-hat at the foreground and the strings sweetening the groove in exactly the right place. Mmm...this is delicious stuff indeed and 70s soul at its very best. Margie closes the album with 2 quality tunes called “Feeling My Way”, one which I could hear Lou Rawls equally doing justice to, and “I Get Carried Away”. Again, the strings and arrangement owes something to the work of Thom Bell. This is seriously a CD that should be taking pride of place in your collection and is very nicely priced too. Look out for all the other Margie Joseph albums, all at a nice price. Each one is worth picking up.

Barry Towler

The Vibe Scribe

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Greg Perry - Smokin' - 1977 - RCA

2009-02-15T11:23:00.004Z

If you love Ben. E. King's "Let Me Live In Your Life" album then you will automatically love this album. The set was chiefly best known for the wonderful "How's Your Love Life Baby", quickly covered by Eddie Kendricks on his "Vintage '78" album a year later. I love both versions of the song, and both are worth owning. I really like this album, and prefer it to his earlier album, "One For The Road". I wish Soul Brother or Expansion would release this gem as I am sure the demand is there for it. For lovers of a funky beat with plenty of horns then "Where's There's Smoke (There's Fire)" would be an obvious choice, and "(I Can See The) Handwriting On The Wall" has Greg sounding very much like his brother, Jeff Perry. This is a really great track with a great chorus, but that said they pale in comparison to the KILLER tracks I'm about to shed light on.

"I'll Always Be In Love With You" will knock you for six. Trust me - play the sound sample below and listen to the whole darn track. Seventies soul rarely comes stronger than this morsel, and Perry really has a ball on this midtempo effort. There is a brilliant spaced out funky synth break over which Greg vocalises alongside a flute. Oh yes!!!!! This is what makes our music so wonderful! Let's get moving and get this on CD ASAP! Skipping a track we arrive at the soaring "Come Fly With Me"...don't let this one escape you. It's a real dream of a track and when it segues into "Let's Get Away From It All" with THAT spacey synth again and a very sexy femme adding he moans and groans you are in for a real treat! The cantering beat and flute swirl with keyboard effects is a sensual, soulful vibe. I always reserve songs like these for chilling out at the beach on a hot summer's day. The perfect setting for such music. I also think that if you love Marvin Gaye's "I Want You" set then these tracks will definitely appeal. OK, this is not a dirt cheap album but where tracks like this are concerned it is only money!

Barry Towler
The Vibe Scribe

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The Originals - California Sunset - 1975 - Motown

2009-02-09T23:26:00.006Z

The Originals are one of Motown's most overlooked male vocal groups of both the 60s and 70s. Pity, as I think that Freddie Gorman was a phenomenal talent. In fact, I have always said all along that Freddie is one of my all-time favourite male vocalists. A true singer with real clout and authority. Rough, tough and equally passionate in good measure, the rest of the group work together so closely, so close in fact that Marvin Gaye thought they were related! Praise indeed. A shame that we recently lost Freddie, but what a legacy he left behind on albums such as this! If you read my review of Ben E. King's "Let Me Live In Your Life" album, then I constantly return to this album as many of the cuts on there can be found in their original form here on this sublime Motown album from 1975. I am a HUGE lover of Motown, and you'll find on here my all-time favourite Motown song!

Every track comes out trumps to be fair, some more than others though! "Why'd You Lie" with it's Wise, possibly cynical, monologue is just a perfect LP opener and the greatness of "Don't Turn The Lights Off" cannot be ignored. Lamont Dozier is on top of his game here in 1975, and proof positive can be found on the third track - and my all-time favourite - "I Could Never Happen". I can't put into words how this track makes me feel. Needless to say that Dozier has worked wonders, as usual, but surpasses himself on every level. This tale of the tables being turned on a Playa is simply excellent and the clever twist is that the song is sung from the perspective of the wounded playa. The sheer emotion intertwined in this song is simply awesome. The strings and woodwind are a killer, and as the lyrics go "it doesn't take to fool with love, not a force that strong, the suffering, the glory n' all, think twice before you do wrong". Top of the class. Dozier is a MASTER. A popular track is "Good Lovin' Is Just A Dime Away", reminiscent of Dozier's work on the Barrino Brothers in the early part of the decade. "Sweet Rhapsody", "Fifty Years" and "Let Me Live In Your Life" are blinding - as are Ben E. King's later versions. I prey that Motown or Universal Japan release this album on CD as it sure is deserving. A few of these songs are available of various "Originals" Best Of compilations and these also contain some great songs from the 60s too.

Barry Towler
The Vibe Scribe

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The Isley Brothers - Winner Takes All - 1979 - Epic

2009-02-09T22:18:00.008Z

This double album saw the Isley Brothers see out the 1970s on very fine form, perhaps less raucous that they had been, and a lot more soulful and thanks to a certain mega-talent called Chris Jasper. This album gave them a smash hit in the form of "It's A Disco Night (Rock Don't Stop)", and I have to say that back in the 80s when played alongside the dance cuts of the day tracks such as this sounded horrendously dated. Odd, is it not, with the passage of time that today in 2009 this track sounds as fresh as a daisy! I suppose the fact that most new stuff sounds old has something to do with it! Whatever the case, this track can get a new lease of life and the flares can be dusted down and allowed to flap again, unfettered, over the dancefloor! I always thought it unfair that The Isleys were always remembered for their uptempo cuts where I feel their real strengths were in the bedroom department. Don't get me wrong, I love their uptempo stompers, but their ballads are completely out of this world.

A set, primarily, of two halves, "Winner Takes All" scored highly on both levels. The title song, "It's A Disco Night" and "(Can't You See) What You Do To Me" are classic 70s Isley Brothers at their best, and still get the old blood pumping when the volume is pumped up. It's the ballads that grab my attention though...the dreamy and spaced out beats of "Let's Fall In Love" pair Ronald Isley's angelic voice with Marvin Isley's laid back guitar work and the result is that I sit back in the chair and simply melt. There is real tenderness here and in the right company could prove the right ingredient to get some real magic made. This is but one of many truly memorable ballads. Unlike my local bus service, you don't have to wait long for the next one to come along. Following this is a devastatingly simple yet deeply erotic ballad "How Lucky I Am (Parts 1 and 2)" with a rich, deep and horny bassline, distant and wistful electric guitar and Ronald doing what he does best. Simply magic. See? Who needs the ridiculous Mr. Biggs moniker when there is some real talent in the first place? The real show-stopper as far as I am concerned is the heartfelt and beautifully segued "You're The Key To My Heart" and "You're Beside Me". On both tunes the tempo is up a notch and the guitar is summery to the extreme. This is another song that makes me close my eyes involuntarily. Simply essential and as beautiful today as it ever was. The tempo ups again with two funkier tunes, "Let Me Live In Your Life (Parts 1 and 2)" and "Go For What You Know", both of which are spot on. This, too, is dirt-cheap on CD and on iTunes, so there's no excuse for harbouring dusty old vinyl that takes up space!

Barry Towler
The Vibe Scribe

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Ben E. King - Let Me Live In Your Life - 1978 - Atlantic

2009-02-09T21:29:00.007Z

Ben. E. King is a solid, dependable and quality artist, and a great artist. I think that Benn is one of the jewels in our wonderful soulful crown, and he shined his brightest when he came together with the legendary Lamont Dozier for the "Let Me Live In Your Life" album, released in 1978. Most of this LP was essential and sounds as good - if not better - today as it did back then. Four cuts are familiar, having been recorded by the Originals on their essential "California Sunset" album for Motown back in 1975. For my money, the title track is a far superior version than the Originals' original and trips along on a diet of hi-hat, strings and some tasty backing vocals from the Duncan Sisters! If you loved Lamont Dozier's "Peddling Music On The Side" album then you will simply adore this track. Such a superior version I feel.

"Family Jewels", "Sweet Rhapsody" and "Fifty Years" are also covered to great affect and are as equally great as the original cuts from Motown. The strings, courtesy of the Memphis Symphony, sound lovely on these cuts and they are at their sweetest on "Sweet Rhapsody". Beautiful - you cannot beat a string section of this calibre. Cashing in on the TV show of the same name that was popular at the time (and why not? Lynda Carter was lovely!) "Wonder Woman" playfully uses this to it's advantage and is a clever piece of writing to boot. "Fly Away To My Wonderland" is typical of Dozier's output and on songs like this we can hear a proper melody driven song with real foundation and flow. Much of today's music - however good - lacks structure and as such leave you wanting. Dozier, the genius of our time, is able to craft a song perfectly. For lovers of the boogie tune, "Spoiled" will come as a real treat with a really spacey synth and rumbling bassline and spangly guitar. If it's infectious stuff you're after then look no further. Sadly this is not on CD, but if you are like me and like retiring well-played vinyl then head off to iTunes or Amazon where you can download this album! Worth every hard-earned penny.

Barry Towler
The Vibe Scribe

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Melissa Manchester - Don't Cry Out Loud - Arista - 1978

2009-02-09T19:32:00.007Z

Leon Ware is my personal all-time favourite artist and I connect at a deep level with everything he does. Like most writers, arrangers and producers they often shine a little brighter on other artists. An artist of Melissa Manchester's caliber was a sure thing for Leon Ware. Her breakthrough was in 1975 with her hit single, "Midnight Blue", lifted from her "Melissa" album. This 1978 album has to rate as the Lady's best work ever. The album spawned a top 10 and Adult Contemporary hit stateside with the Peter Allen and Carole Bayer-Sager-penned track "Don't Cry Out Loud" and although that is a worthy cut, it is the Leon Ware cuts that I wish to focus my attention on. Starting as it means to go on, the album starts with the KILLER track "Shine Like You Should". A celebration of all that is good and great about Leon Ware, his writing, production and arranging, and of Melissa's strong, forthright performance.

"Almost Everything" could easily be lifted from a Minnie Riperton album from that period, and everything about the song is simply right and correct. The strings really do add the icing to the top of this cake, and the interjecting horn riffs add more punch than Mohammad Ali. The vocal arrangement of "Knowin' My Love's Alive", along with the interesting opening backing is almost avant-garde, yet the groove soon falls into sweet soulful territory, complete with Leon and Melissa herself on backing vocals, David T. Walker on guitar, Lee Ritenour on guitar and Greg Phillenganes on electric piano. This really is stuff for the connoisseur. I love these tracks, and I was even more happy when BMG reissued this on CD and included the brilliant cut "We Had This Time" which was the B-Side of the "Don't Cry Out Loud" single. This song, produced by Leon Ware is simply brilliant and the strings and vibes straight out of the Philly stable. This may have been an artist you may have overlooked, but please do not let this gem pass by.

Barry Towler
The Vibe Scribe

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Gino Vannelli - Brother To Brother - 1978 - A+M

2009-02-09T19:13:00.010Z

Outstanding is the only word I can use about this album. Released in 1978, Gino Vanelli serves up an ultra soulful album with enough nods to the jazz-funk community and those with any quality running through their blood will know how great this album is. I would recommend buying the album purely for the 7" single release, "I Just Wanna Stop". This is one of the classiest tracks from the era and I cannot help but well up every time I hear it - a beautifully arranged song crammed with warm synth, Fender Rhodes and exudes reminiscences of hot summers past. The sax break in the middle courtesy of Ernie Watts is superb. However, this is NOT the sole gem on here and I implore you to check the album for these gems. I know a certain Dave Lee aka Joey Negro is a fan of this album as he sampled the superb Carlos Rios guitar section and Victor Feldman's vibes from "Feel Like Flying" for his own, superb" "Fly Away" cut from the Sunburst Band "Until The End Of Time" CD. Crafty, Dave but you can't fool me!!! Lol.

This track, sampling aside, is simply knockout. The vibes and guitar are to die for and Gino's soulful vocals, and backing from The Waters and Julia Tilman are perfection itself. Lovers of an uptempo Jazz Fusion flavour a la Lee Ritenour in his Captain Fingers guise will simply lap up the wonderfully energetic "Brother To Brother". This is just blinding and no music released today can surpass quality tracks such as this. Thank God the set is still available to track down on CD! MY final choice is an epic cut. "People I Belong To" is a powerful cut and musically the vibes are so strong that it could be a highlight on any Roy Ayers Ubiquity album. The song, about Gino's family is very moving and heartfelt and as a result Gino really pours his heart and soul into the words, and brother Joe Vannelli adds the personal touch on synth. Oh, what a wonderful track - and what a wonderful album. This is quality, quality, quality.

Barry Towler
The Vibe Scribe

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Eddie Kendricks - Goin' Up In Smoke - 1976 - Tamla

2009-02-09T18:50:00.007Z

Eddie Kendricks. The sound of Philadelphia. Yes, a match made in heaven. Norman Harris and his Harris Machine was more than sympathetic to the tenors of the day and Motown were not afraid to pass many of their latest and greatest through the revolving doors at Sigma Sound Studios. This explosive collaboration in 1976 was mainly written as a collaboration with Norman Harris, Allan Felder, Ron Kersey and Phil Hurtt so you will not need a Masters Degree to know what flavour this album has. Personally, I love this album and it's simply a match made in heaven. The title track is a fantastic effort and rates as one of Eddie's best in my own humble opinion. The uptempo groove complete with strings and horns has, unsurprisingly, refrains of earlier dance rhythms of the 20s, and I defy anyone not to love this track. The dramtic nature of the album is not only set by the depressing tone of the album sleeve but by the moody orchestration, especially on melancholic and fact-facing tracks such as "The Newness Is Gone"; this being replaced by the more uplifting and lighter "Sweet Tenderoni". Didn't take him long to find someone else did it? If only it was like that in real life! Lol.

If irresistable grooves that carry you along are your cup of tea then the excellent "Born Again" will do nothing but put a smile on your face, and a spring in your step. Superb. This is positive and uplifting soul music, no more, no less. Indeed "Do You Want Light" almost meanders into Van McCoy territory, which is certainly no crime in my book. The racing and frantic "Thanks For The Memories" will also win you over, as should the gorgeously orchestrated "To You From Me". No matter how low you are feeling, the sound of Philadelphia always manages to bring me back to life. Some may brush this material aside, but that would be short sighted and wrong. It's always sounded good and with a lot of today's inspirational house music reaching back to the roots of Philly International a wwealth of tenors such as Kenny Bobien and Byron Stingley are not only creating great NEW music in a classic style, but it keeps the Philly flame burning forever strong. An essential album, as are most albums from Eddie, and available via Amazon on the superb Motown Solo Albums collections.

Barry Towler
The Vibe Scribe

The Thin Man: The Motown Solo Albums Vol. 2

Leon Ware - The Education Of Sonny Carson OST - 1973 - United Artists

2009-02-09T18:29:00.006Z

A much sought-after album, and one that EMI really should thing about adding to iTunes Plus. Fetching a tidy sum, this album is Leon Ware's second solo foray, and first and last soundtrack effort. Mostly known and loved for the beautiful "Girl, Girl, Girl" cut - of which a ropey version appeared on the recent Leon Ware and Friends compilation - it is important to know that there are many other worthwhile cuts on this album. The album consists of vocal cuts and fantastic cinematic instrumentals - better and more soulful than your parodaic run-of-the-mill blaxpoitation films of the period. I shall start of with "Where Do I Go From Here", a superb vocal track with Leon pitched against a lonesome piano at the offset, but soon matched with a phenomenal musical array that reminds me of Dexter Wansel and Todd Rundgren all in one go. This is a blinding track and one that should be equal with "Girl, Girl, Girl". That track, though with it's french horns and warm, summery bassline is simply a dream track and well worth a place on any compilation of the Great Man.

The interlude "The Robbery And The Chase" is not as hectic as you would imagine, and the percussion including some great bongo work reminds me so much of his work for Motown in the mid 70s. Brilliant. The swirling strings and funky wah-wah guitar give urgency and pace and it isn't til the horns punch in that the urgency is felt more keener. Here, tempo is used to great effect. The same can be said of "Exercise Run", an almost avant-garde jazz affair crammed with bursts of drama. "Daydreams" is a track to take you by surprise. It is a classic piece of music that could even be used for meditative purposes - check out the beautiful works of Llewellyn and this is not far removed. The flute and gentle piano is very soothing and dare I say it - almost New Age! The breathy "Please Be There" brings back Leon Ware to the forefront, and the gorgeous sax here is undeniably satisfying and sexy. A gorgeous track - with the most unlikely title - is "The Junkies". This string-laden beauty of a track allows the flute and percussion to gently cushion Leon's vocals dreamily. In reflection you can hear the roots of Marvin's "I Want You" set, and Leon's own "Musical Massage" set. And all this in 1973!

Barry Towler
The Vibe Scribe

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The Modulations - It's Rough Out Here - 1975 - Buddah

2009-02-09T17:56:00.007Z

This group had been in the business a fair few years prior to this seminal release on Buddah Records. Lovers of the Philly groove will already be acquainted with this album and should, like me, love it to bits. You would be forgiven in thinking that this album was released on Philadelphia International. On hearing it that would not be at all surprising. The strings and horns are arranged by the late, great Don Renaldo and Philly stalwarts Norman Harris and Ronald Baker step in on arranging skills. Amazingly, the album is self produced and with the backing of the Philly greats MFSB, the album cannot fail to win. Vocally we're in familiar, warm Philly territory, and some cuts could easily have been executed by the likes of Blue magic or the Stylistics. Simply superb. The album grew in popularity in the late 80s during the rare groove explosion for the killer title track "Rough Out Here". The pounding drums, strings and urgent social messages make this an evergreen classic. Dancefloor heaven if ever I heard it. How sad it is that this message is as pertinant in 2009 as it was back in 1975.

This is by no means the headliner, though. I can heartily recommend the entire album, no holes barred. "Head On Collision With Heartbreak" is a track that Bunny Sigler could have penned, yet it's down to the guys again - a cracking affair with a great "Keep On Truckin'" melody to it. Superb, and so is the Norman Harris guitar led "Love At Last". Check out those strings! This is why the 70s were so fantastic! If you love the Ebonys then this will be up your street. Strings, again, sweeten the Stylistics styled "I'll Always Love You" and the brassier "I'm Hopelessly In Love" is a track that should get some feet moving on more discerning dancefloors. This is simply a delicious slice of 70s Philly Soul and deserves a slot on The Spirit Of Philadelphia 3 - should that ever arise! Please check out "I Can't Fight Your Love" as that also deserves a revival on radio or in the clubs! And so it goes. I pick out the awesome instrumental cut "Share What You Got, Keep What You Need" to finish my overview of this set. Simply a beautiful set and one that easily holds it's own 34 years after release.

Barry Towler
The Vibe Scribe

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The Three Pieces - Vibes Of Truth - 1975 - Fantasy

2009-02-09T17:50:00.008Z

If ever there was a standard-bearing album of the 1970s then “Vibes Of Truth” is a strong candidate. Released on the mighty fantasy label in 1975, this set was produced by none other than Donald Byrd, still very much in the artistic alliance with the superb Mizell Brothers, and was co-produced by Wade Marcus. The album was reissued on vinyl by BGP a few years ago, but was sensibly also reissued for a short time properly and legally on good old CD from master tapes by Victor in Japan a few years ago. The Three Pieces are made up of André Richardson, Lincoln Ross and Jerry Wilder and together they created a MASTERPIECE of soulful jazz-fusion. With The likes of Donald Byrd on board what else should we expect? Every track is worthy of investigation, both vocals and instrumentals, and is an album that really must be in your collection. Take a listen to the first song for example; the summery spangly guitar, the darting strings and sweet 70s soul harmonies are simply delicious; add the horns and keys and we’re in seventh soulful heaven! Yes, “I Need You Girl”, works from any angle you wish to cover it. The following killer is “Backed Up Against The wall”, a funky little number and no messing with the hi hat beats and funky keys. The lonely clarinet in the background adds a lonesome wistful feeling and the lead vocals are perfectly matched to the jogging beat and bubbling bassline.

The album initially drew me for 2 reasons, the first being the dreamy and unrepentantly righteous “Vibes Of Truth”. The strings are as sweet as you like and are working on two levels betwixt warm keys and unhurried, laid back, comfortable vocals. This is the mark of a classy singer, a classy song and they do not stop there. “Self Dealin’” really hits us with a Mizell-like production style at the start, and the righteous socially conscious lyrics are enough even to make james Brown proud! This has a feel of Gil Scott-Heron as well, so if you like these styles then this song is definitely your cup of tea! “Concrete Jungle” is also superb, the strings and sax and allows the trombone to let rip a la Fred Wesley stle! My favourite of favourites, and the second draw for me, is the SUPERB “If Only I Could Prove To You”. Possibly, this summery ballad is my top song from the 1970s, and its so easy to see where many UK groups got their cue from. But who needs imitations when we can have the real thing? This gets no more real than this, and should you need any more convincing, then “Cool It” and righteous “Virtue” should not fail to impress, both being rather much in the Leroy Hutson / Curtom bag of the time. Ok, this may be an expensive purchase on CD or vinyl BUT I have to say that it is worth every penny. You don't get albums like this everyday.

Barry Towler

The Vibe Scribe

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