Lost in the night

Photo: Nona Hendryx by Nick Sangiamo, 1984

Posting a little overdue mix for the start of summer...

Some years back I had made a little tradition of putting a mix up for Pride season, so am coming back to that partial sort of way. At the same time, this particular mix isn't exactly the straight-on celebratory disco that I'd usually have on tap for the occasion. Decided instead to go in a few different directions this time, using various selections of post-disco, and/or disco-adjacent material this time. Still, quite heavy on female singers, as is my tendency. Most of the songs on here are just under or just over 100 BPM, so I suppose this one's perhaps more for walking than dancing.

Most of the records I used for this mix were also ones that I brought the last time my partner Andrew and I played our INTERGEN night in May. As it turns out, we'll be doing another INTERGEN night this coming Wednesday June 28th, a kind of post-pride recovery through records, if you will. Starting at 9PM at The Little Jerry in Toronto. If you're in the area, do come by!

Lost In The Night (Download)

Tracklist and track notes below... Enjoy!

Tracklist:

Terry Crawford - Chocolate Candy
Hot - Just ‘Cause I’m Guilty
Lucio Battisti - Un uomo che ti ama
Maxine Nightingale - Get It Up For Love
Alfie Silas - Put The Freeze On
Nona Hendryx - Soft Targets
Costas Charitodiplomenos - Lost In The Night (12" Version)
Barbara Fowler - Come and Get My Lovin’
First Love - It’s A Mystery To Me
Linda Clifford - I Want To Get Away With You
First Choice - Pressure Point
Dalida - Helwa ya baladi
Martha Velez - There You Are
Paula Moore - On The Edge
Liza Minnelli - If There Was Love

All the records used in this mix

Track Notes:

Terry Crawford - Chocolate Candy: A favourite of mine from Canadian singer Terry Crawford (sometimes called Terri Crawford) and one that I had happened upon quite by accident. Back in 2006, when I was living in Calgary, my favourite record shop had a back store room full of records. The owner noted how much disco I was buying, so let me into his store room, telling me that anything I found in there was $2 bucks a pop. I didn't have a portable record player with me, nor did they have a preview station, so I was going largely on instinct. While this wasn't exactly the disco I was perhaps half-expecting, I consider it one of the gems I found in that particular expedition. Written and originally recorded by American singer-songwriter Cheryl Dilcher in 1973 (who herself has a little disco connection), there's something about the bass in the groove here, and Terry's vocal approach that cinches this as my preferred version. Some years later, I figured out this was a fairly sought after record when someone from Europe messaged me on Discogs offering to pay me an amount of my choice for a .wav file of this song. As of this writing, the promo-only 12" is still going for upwards of $200 USD on Discogs, though I will say, for the intrepid diggers out there, copies still show up once in a while in Canadian dollar bins.

Hot - Just ‘Cause I’m Guilty: This group, comprised of Gwen Owens, Cathy Carson and Juanita Curiel put out three albums, all of which were helmed by the Muscle Shoals production duo of Clayton Ivey & Terry Woodford. I first heard Ivey & Woodford's work on The Supremes 1975 self-titled album. Not long after their time on Motown, they had one of their biggest hits on this group with the song "Angel In Your Arms," later covered by Millie Jackson, Barbara Mandrell and Reba McIntyre, to name a few. While that was the hit, the funkier sass and swing of "Just 'Cause I'm Guilty," the last track on Hot's self-titled album, remains my favourite. In any case, both songs summarize that intersection of soul, funk, and country that Ivey & Woodford covered so well.

Lucio Battisti - Un uomo che ti ama: First heard of Lucio Battisti through the Italian diva, Mina, who sang many of his songs. One of his many successful collaborations with the lyricist Mogol, his 1976 album (which this song is from) is among my favourites. Called Lucio Battisti, La batteria, Il contrabbasso, eccetera (The drums, the double bass, etcetera) it's one I had discovered from my partner, Andrew's collection, and shows Battisti incorporating ever more elements of American funk and disco into his sound. Recently, Sony Music Italy reissued the album on vinyl with a bonus CD which included the Spanish version of the record. This song, (which in English means, "A Man Who Loves You") and the entire record remain a wonderful listen in either language.

Maxine Nightingale - Get It Up For Love: I don't think I've heard a bad version of this song, which is a good thing, because there seem to be quite a few out there. I first heard this song when Táta Vega covered it as a disco song on her Try My Love album in 1979, which I had written about on this blog some years back - see Disco Delivery #41: Táta Vega - Try My Love (1979, Motown). This version, from 1977 on Maxine Nightingale's second album Night Life (sometimes titled Love Hit Me after its lead single) cuts closer to Ned Doheny's original. Though Táta's version will always be tops for me, I'd rank this up there as a favourite also.

Alfie Silas - Put The Freeze On: Alfie Silas-Durio has a long list of credits to her name as a session singer, as well as three albums of her own from the early 80s. This one's from her first, Alfie on RCA in 1982, which had a number of good tracks (I've found 1982-83 to be particularly good years for post-disco R&B/Boogie records). Ended up buying the album largely on the appeal of this song. Its melancholy synths conjure up spacey themes and metaphors, as do the lyrics. From that description one would think the whole thing could fall into gimmicky and/or cheesy territory, but it all comes together in quite a sincere, soulful and innovative way. Pitched down slightly for a little extra depth.

Nona Hendryx - Soft Targets: One of my favourite songs from her underrated 1984 LP, The Art Of Defense, the lyrics conjure up thoughts and images of vulnerability and uncertainty with a groove that's minimal but powerful. Pitched this one down also for beatmatching purposes and to impart a little extra power. In my opinion, a highlight of the work she did with Material/Bill Laswell in the early 80s.

Costas Charitodiplomenos - Lost In The Night (12" Version): Italo-Disco from Greek singer/songwriter Costas Charitodiplomenos. I had discovered Costas' songs on YouTube, and was intrigued at the Italo sound some of his work had. The connection clearly wasn't lost on the Italians either, as this ended up on the Many Records label in Italy, remixed by Mario Flores and Romano Bais (who put out a number of Italo records as R. Bais). Lyrically and melodically solid, I thought it worked well with the theme and feeling of the previous Nona Hendryx track and many of the other selections here.

Barbara Fowler - Come and Get My Lovin’: Stellar boogie from the Radar label and singer Barbara Fowler, who had been a vocalist in the disco/boogie projects Sinnamon and Sparkle. Don't always get to play this one, but am glad to find a place here for it. From the extended dubby synth effects to a killer soulful vocal, this has so many of the things I love about early 80's boogie. Produced by Eric Matthew (AKA Joe Tucci), the man who brought you Gary's Gang, Sure Shot by Tracy Weber and many of Sharon Redd's hits.

First Love - It’s A Mystery To Me: I've covered this group here before, when I posted their 1980 disco single Don't Say Goodnight/Love Me Today. Until recently, their sole album, Love At First Sight, on their producer, Donald Burnside's label, Chycago International Music, remained elusive for me. When I finally picked it up at a recent record fair, this song was one of the standouts for me. From 1982, one of those golden years of boogie, much like the previous selection - a funky groove, with lovely synths together with charming, soulful harmonies.

Linda Clifford - I Want To Get Away With You: One of my favourite disco divas, and a highlight from one of my favourite albums of hers, I'm Yours from 1980. That album was mostly produced by Isaac Hayes, and this song in particular has his stamp all over it. Personally, I think it's too bad this wasn't a single. I love hearing Linda sing in her lower register here, and all of the little classy touches on the production, from the elegant pauses to the guitar hook that gets you right from the top.

First Choice - Pressure Point: Another one I've covered here before - see Disco Delivery #29: First Choice - Breakaway (1980, Gold Mind/Salsoul). This was from the group's last album, and while this song wasn't among their hits, it's definitely among my personal favourites of theirs. Produced by the ever reliable Norman Harris and mixed by Tee Scott, from those strings at the intro, to all of the sharp, teasing breaks and edits, am glad to finally place this one in a mix!

Dalida - Helwa ya baladi: Changing gears into a signature song from the late icon of French pop, Dalida. I picked up a Canadian pressing of the album this was from, Dédié À Toi/Monday Tuesday some years back. However it wasn't really the disco tracks that captured me but this one, the last song on Side A. Sung in her native Egyptian Arabic, the title evidently translates to "Oh Sweet, My Homeland." Something of an evergreen patriotic song in Egypt these days, it's easy to hear why this became one of Dalida's most beloved songs in Egypt and across the Arab world.

Martha Velez - There You Are: I had bought Martha Velez' album Escape From Babylon at my favourite Calgary record store back in 2005. At the time, I didn't really have a great deal of knowledge of all the great names involved, but it intrigued me nonetheless. Between that and the fact that it was sealed and had a song called "Disco Night" on it, how could one go wrong? Beginning her recording career as a folk singer, she recorded this reggae album in 1975 with Bob Marley and Lee "Scratch" Perry in Jamaica. While this album still seems to get mixed reviews, it's one I personally love and go back to again and again, with a much fuller appreciation these days. This song, written by Marley, is to my ears, one of its high points.

Paula Moore - On The Edge: One of the big record fairs here in Toronto had room of $5 records that I used to love going to. It's a frenzy, but one never knows what one will find there. This particular album, titled High and Low in most territories, retitled Valparaiso in Canada after its hit single, is one case in point. Produced by super-producer and Daft Punk dad Daniel Vangarde, it's not quite like the hits he made for Ottawan and The Gibson Brothers, opting instead for a more subdued synth-centred sound here. While the album is perhaps not consistent enough in my ears to to be a classic, there are nevertheless, several remarkable songs on it, this being one of them. Combining the synth sound of much of the album with a reggae beat on this track, the result actually sounds much more interesting than it seems on paper.

Liza Minnelli - If There Was Love: From Liza's 1989 Results album, produced by the Pet Shop Boys. I probably needn't say much more, but to my mind, one of the great producer-artist pairings of that moment. I remember as a young gayling, Results being presented to me as a key part of my education in queer culture. The drama and resonance of Liza's voice in this song and the Pet Shop Boys' production and notably Neil Tennant's sharp personal lyricism here summarizes, to my ears, why that partnership worked so well. One of the song's key verses: "Men of affairs, women with power, satellites talking, to clutter our lives. Banks of predictions, policies made, prophecies broken, violence deranged..." Words which feel perhaps truer now than they did then. Culminating with a recitation of Shakespeare's Sonnet 94, while there are a number of great songs on the album, this is perhaps the one I go back to the most.


CATEGORIES: DISCO DELIVERY MIXES, DISCO DELIVERY EVENTS, CAN-CON DISCO

Disco Delivery #43: Wardell Piper (1979, Midsong International)

Wardell Piper - Super Sweet
Wardell Piper - Super Sweet (12'' Version)
Wardell Piper - Win Your Lovin'
Wardell Piper - Captain Boogie
Wardell Piper - Captain Boogie (12'' Version)
Wardell Piper - Don't Turn Away From Me Baby
Wardell Piper - If You Want To Make Love To Me

When I took a little trip to Vancouver back in March, among the other goodies that I got, I had finally managed to get a copy of Wardell Piper's awesome (and only) album along with one of the 12'' singles from it. Although there was writing on the cover and a cut-corner (thanks to DungeonDJ for the retouched photo!), luckily the record itself was in mint condition and the sleeve even included an original fold-out poster of the cover... I had wanted to have a copy of the album (the local record stores here never had any decent ones) ever since I had heard the two singles off of it some five years back. Couldn't get enough of them then, and I still love 'em now.

Wardell, like many of her contemporaries, would get her start singing in church at the tender age of five. Years later, right out of high school, she would become one of the early members of First Choice appearing on some of their first singles like "This Is The House Where Love Died" and "Armed And Extremely Dangerous." Although online sources are somewhat unclear about exactly when she left the fold, (unfortunately my Japanese First Choice 2 CD compilation, with incorrect liner notes, is no help either), it seems she most likely left the group shortly after those few initial singles.

While on her own album, the singles "Super Sweet" and "Captain Boogie" were the major attractions, the rest of the record doesn't doesn't disappoint either. Definitely one of the funkiest, rawest disco albums I've heard from a female disco artist of the time. Along with those tight grooves - that that glam 'eve and the serpent' shot has got to be one of the most outrageously stunning disco cover shots I've ever seen. Quite honestly, one of the best things about collecting disco, (right along with the music, of course) has got to be admiring the album covers that they got away with..

Recorded in her native Philadelphia at Alpha International Studios and produced by John H. Fitch (AKA John H. Fitch, Jr., John Fitch) and Reuben Cross (who had also produced some tracks for Carol Douglas at the time as well written Evelyn 'Champagne' King's break out signature hit "Shame"), the daring glamour of the cover photo on the outside seemed perfectly matched to the grooves inside. The album, to me, is like one of those ultimate combinations of disco and funk. Those prominent horns, guitars and bass giving a bit of a heavy funk feeling, yet at the same time topped off with a great string/horn harmony on much of the album, giving things a bit of that disco finesse. It's one of those albums that doesn't sound overly polished, yet still managed to achieve a full, meaty sound, with no shortage of elements in the mix. There's just a certain uncomplicated, uncluttered and (although I hate using this description) organic sound to the record, with the finished product bursting with an undiluted energy and spontenaity.

Aside from the the musical backing, Wardell's voice is undoubtedly one of the big spectacles of this album. Her vocals only adding and highlighting the record's funk factor. I haven't heard too many of her later singles, but judging from what I've heard so far, they didn't seem to come close to approaching the type of vocal dynamism she had on this record. By that, I don't necessarily mean histrionics like Patti LaBelle or sheer power like Loleatta, but in how she seems comes across gutsy, smooth and straight-forward one minute, then coming practically unhinged the next, letting loose these sudden, wild, wails, moans and feline screams; that voice making itself one of the boldest, funkiest things on the record.

The first track "Super Sweet" practically sets the template, with it's steady groove opening with an infectious guitar line, propelled by a fat bassline and handclaps. The horns and strings (courtesy of Philly's Don Renaldo and his Strings and Horns) come in a little bit later kicking things up considerably. If you thought strings couldn't be funky, they make 'em on here. Undaunted, even by a funny line like "I'm stuck on you, like glue on a shoe," or by that cute K.C. & The Sunshine Band reference in the chorus/refrain, Wardell really gives it on this track. Her vocals seem to climb along with the record, getting wilder and wilder by the minute until she completely turns it loose at the five minute mark. The second half of the song (which, in all, goes on for some 11 minutes on the album) is marked by a mean break at the 7.50 mark, which would last for another three to four minutes, giving prime exposure to that big, bad-ass bassline.

The 12'' version mixed by Jimmy Simpson (brother of Valerie and Ray) is slightly shorter at 8 minutes, replacing the funky guitars in the with a steady percussion lead-in, which later brought those light synths in the background right up front. Overall, not quite as punchy as the album version, though it cuts a cleaner, more straightforward groove; keeping Wardell's wild vocal runs and the basic dynamic, but cutting out the multi-layered breaks and coda at the end, instead focusing solely on the bass and percussion, particularly towards the close.. That said, in my opinion, both the album and 12'' versions of this track are equally effective and complimentary takes, neither straying too far rom one another, yet still highlighting different elements in the track.

Side one ends with a slower track, "Win Your Lovin'," which I wouldn't call a ballad, but perhaps the closest thing to one on this album. Despite the tempo, this track has the same meaty backing as the opening track, especially with the bass hitting it real hard right up front, keeping an extra tight groove going along with the horns, percussion (especially at that 6 minute mark) and strings which all together keep the proceedings consistently interesting and engaging. Of course, Wardell's vocals also deserve some credit for that as well. Although slightly more subdued on here, she manages to sound assertive and gutsy, yet perpetually on the verge of letting out that signature wail of hers..

The side two opener, "Captain Boogie," is yet another one of the big tracks on this album, certainly one of my instant favourites. One of those "he's the greatest dancer" type of tracks, about admiring a super-cool dude at the disco, who "does his steps, smooth as silk, cool as he can be," the ladies getting "satisfaction.. watching him in action" calling him "the baddest cat, I've ever seen." With those horns punching through right at the start, it cuts an infectiously fun, ferocious groove that never lets up - gets right in up your face and kicks you in the ass. With Wardell going wild, horns blazing right up front, guitars, galloping percussion and everything else it seems out in full-force, even a few synthesized elements in the mix, this track packs a punch like none of the others on the record.

The 12'' version remixed by Eddie O' Loughlin (producer, executive and founder of the Midsong and Next Plateau labels) and New York DJ Tony Gioe takes the track from around 6 minutes to around 8, starting off with a steadier, simple 4/4 beat and hi-hat instead of the horns. Overall, it ends up toning down some of the dynamics of the album version, with the horns much less prominent in the mix and the 4/4 beat on the bass drum, practically buried on the album version, but right up front on the 12''. Although slightly shorter; for me, the punchy, practically ass-kicking album version feels so much more satisfying. It sounds like they took a similar approach to the "Super Sweet" mix on this 12'', but perhaps in an effort to give a more staightforward groove, it's as if they ended up knocking the wind out of it's sails instead, so to speak; taking away and trimming down some of the tracks' most infectious elements.. One of those exceptional instances where the 12'' version is inferior to the LP version.

The next track on the record, "Don't Turn Away From Me Baby" is yet another strong selection on here. The tempo is a bit slower, but Wardell still scorches through this one, helped along by an especially fired up band behind her. I absolutely love the sexy, steaming almost desperate tension on this track, with the horns and strings making an especially explosive combination on here, building things to a fever pitch, at which point an awesome sax comes in towards the end, taking things even higher..

The album comes to a close with "If You Want To Make Love To Me," which is an improbable, though in a way, fitting album closer revealing Wardell as less of the disco temptress or the uninhibited party girl but as a deftly clever tease instead; engaging you, surprising you, and charming you - giving you just enough to leave you wanting more than you can have.. Just when you thought the album had no surprises left, the chorus pretty much says it all: "if you want to make love to me, you're gonna have to marry me." With all the connotations attached to disco, and all the suggestions the daring cover shot and her wild vocal ways might have made, it's the last sort of sentiment ("that free love stuff, boy it's not enough") one would expect at the end of such an album - a disco album, no less. It's an almost absurdly surprising, if not playfully subversive, way to end one. I guess her inner church lady was never far behind - snakes and disco be damned...

That last track, in particular, reminded me of a couple of articles that I found about her on the 'Souvenirs' section of Victor Simonelli's excellent website vjsproductionsinc.com (one of the few sites out there with actual disco magazine articles from the time). There's one, in particular, where she seems to express mixed feelings about her image and disco in general. Some choice excerpts and quotes from that article (entitled "Disco's Other Bad Girls"):

And what, you ask, is Wardell Piper? Backed by a troop of near-naked male dancers/or by a cageful of live tigers, Midsong's Wardell from Philadelphia wails, moans and disco-funks....outrageously mixing disco technology and ballsiness. Even those who do not own stereos have been known to buy Piper's album for the photographic update of Eve and the serpent depicted on the cover. Within tongue-shot of a python's head, Piper's frameable fantasy suggests that she does to a snake what Donna Summer does to a microphone.

Despite her claim as a goddess of disco-funk, in real life, Piper appears in a conservative business suit. No pythons, "I don't want people to label me a snake lady," she says. When I finish on stage, I don't wrap snakes around my neck. I go home to forget about that scene. After a while, disco gets on my nerves."

"Everybody associates me with sex and that just takes me out" pipes Piper....

.....As [an] uninhibited fan performed an impromptu bump and grind, Piper bumped right back. "I consider it an honor to inspire reaction like that," Piper commented later. And what did she do after the show? "I left the stage and prayed."

Lord knows, if I was sharing a stage with live tigers and near-naked men, I'd probably be saying a few prayers, myself..

In any case, there's another great interview with her reproduced on the same site from August 1979, originally from a trade magazine called Disco DJ, where she talks in more depth about her background, influences and her views on disco..

From what I've found, evidently there was one B-side culled from these sessions called "How Long," which is, of course, not on the record, but which seems to have found it's way on to the flip side of some versions of the "Captain Boogie" 12'' single, mostly on some of the European pressings on coloured vinyl. From what I gathered, she'd release only one more single on Midsong in 1980, entitled "Gimme Something Real." She would then go on to record and release singles for the Prelude and Sam labels in the early 80's, among them "Come On Back To Mama" (1983, Sam) and the ice-cool groove of "Nobody (Can Take You From Me)" for Prelude in 1984 before completely fading into obscurity thereafter.

Although I presume she would have been largely inactive in the music business since then, surprisingly in 2004 I'd come across a 12'' single, a house track with her on vocals entitled "Good Lovin'. " Apparently a re-release of a track from 1999, credited to The David Banks Project featuring Wardell Piper on David Banks' AKA DJ Disciple's own label Catch 22 Recordings. Sure enough, the voice was unmistakable.

Since then, there doesn't appear to have been anything more, but then again, who knows if or when she may resurface on record next. Regardless of that, so far this album remains, for me, one of the more distinctive disco records released by a female disco singer. With the raw, funky edge of the grooves, her voice cutting through the mix, often with wild abandon, and of course, that unforgettable cover - it made for a stunning, memorable and fully satisfying (if not, slightly surprising) package all the way through.

Note: In the late '90s, "Super Sweet" and "Captain Boogie" off this album were released on a CD, in what appear to have been their 12'' versions, called "12x12 Original 12'' Disco Mixes" on a small label called Prophecy Entertainment. Not sure how good the sound quality was, however the CD was mostly made up of tracks from the Midsong catalogue (which seems to be one of the more underrated disco labels out there), and is so far probably the only CD to focus on their output. The label (Prophecy Entertainment) that put it out once had a website, which has long since closed (much like the label itself). Although there don't seem to be many traces of the CD out there anymore, evidently Amazon still lists it on their website (albeit with no new or used copies available as of this writing).

PREVIOUS RELATED LINKS:
DISCO DELIVERY #13: MOVE YOUR BODY ALL AROUND.. (FRIDAY MARCH 31, 2006)

LINKS:
WARDELL PIPER - S/T LP @ DISCOGS
WARDELL PIPER - SUPER SWEET 12'' @ DISCOGS
WARDELL PIPER - CAPTAIN BOOGIE 12'' @ DISCOGS
WARDELL PIPER IN DISCO DJ (AUGUST 1979) @ VJSPRODUCTIONSINC.COM
JOHN H. FITCH @ ALL MUSIC GUIDE
JOHN H. FITCH @ DISCOGS
REUBEN CROSS @ ALL MUSIC GUIDE
REUBEN CROSS @ DISCOGS
JIMMY SIMPSON @ DISCOGS
EDDIE O'LOUGHLIN @ DISCOGS
TONY GIOE @ DISCOGS

DISCO ARTICLES: 'SOUVENIRS" @ VJSPRODUCTIONSINC.COM

CATEGORIES: DISCO DELIVERIES

Disco Delivery #29: First Choice - Breakaway (1980, Gold Mind/Salsoul)

Listen on Spotify:
First Choice - Pressure Point
First Choice - Can't Take It With You
First Choice - Breakaway (12'' Version)
First Choice - I Can Show You (Better Than I Can Tell You) (Extended Version)
First Choice - Sittin' Pretty

I apologize for repeating myself somewhat, this is the second time I've posted a First Choice LP, but it's one that I've been listening to quite a bit lately. I first got this LP back in 2002, the first LP of theirs that I ever got. I remember at the time playing the hell out of "Pressure Point," but believe it or not, it's only recently that I've managed to really listen to the whole LP continuously. On the whole, my impressions are that it's perhaps not their best album, but nonetheless one with some overlooked gems on it.. For one thing, I think "Pressure Point" is one of their most infectious records; those tense, exquisite strings at the opening, great horn section and those drums, which are just plain bumpin'. It seems unfortunate that this doesn't seem to have been released as a 12'' single.. Produced by Norman Harris, but mixed by Tee Scott, Scott's mix teases you with series of brief breaks which, if anything, just hint at the potential greatness that an extended 12'' mix could have been..

One of the tracks that I sort of 'discovered' while revisiting this album was "Can't Take It With You." Not a strictly 'disco' song, but probably one of the best songs they did. To me it seems to recall some of the storytelling style of some of their earlier material.. A great lyric delivered with extra feeling by Rochelle Fleming herself; it's really the chorus though that brings it home, with the other two ladies, Annette Guest and Debbie Martin carrying it like a mantra when they sing "...can't take it with you, no you can't, when you're gone..gone..gone...". Let me just say, for the record, Rochelle and Loleatta Holloway (I really need to do an entry on her sometime) were two ladies that put the 'soul' in 'Salsoul.' Seriously, these women could sing the phone book, the dictionary even, and make make it sound genuine and soulful. Rochelle, particularly, just seemed to have a certain comforting warmth in her voice, which I think this song captures particularly well.

The single off the LP was the title track, "Breakaway," backed with "I Can Show You (Better Than I Can Tell You)". The former, written and produced by their long time producer Norman Harris along with Love Committee member and future Temptation Ron Tyson, has an overall sound that probably comes closest to that of their biggest hits. The understated break half-way through is probably my favourite part of that song, along with those straight-outta-Philly rhythm arrangements.. "I Can Show You.." was one of a couple of tracks on the album written and produced by the team of T.G. Conway, Allan Felder and Cary Gilbert. For this one particularly, it seems like the overall production style was perhaps somewhat dated by 1980, recalling a more earlier disco sound than anything that was to come in the 1980's, although that can probably be said for most of the album as well. Also, I've always thought the title was a little too wordy, since for one thing, the ladies barely manage to enunciate it in the chorus. That said, I've actually really grown to like this one, especially towards the second half when those accented horns are given a little more room to shine..

All of the tracks posted above were mixed by the late Tee Scott, a DJ pioneer who got his big start as a DJ in 1972 at the New York club Better Days. By the late '70s and into the early '80s Scott was starting to gain recognition as a mixer, his first mix was First Choice's own "Love Thang" from their previous album, "Hold Your Horses" (1979, Gold Mind/Salsoul). These days, Scott seems to be one of the more underrepresented DJ's/mixers of the time.. With the recognition given to Tom Moulton, Larry Levan and Walter Gibbons in recent years, maybe like the others, Scott will be one of the next to have his work anthologized.

As for the album, while "Breakaway" was a decent LP overall, they seemed to have played it fairly safe with it, opting to stick with familiar collaborators and a tried and true sound. It would have been nice to see how or if they would have branched out with their sound in the early 1980s if they would have continued on. Although it doesn't seem to have been intended as such, unfortunately this would be the last First Choice LP. In a 1987 interview (paraphrased from discomuseum.com), Rochelle mentioned that the early 1980's had seen the group mired in legal disputes with management (the nature of which I'm not completely sure of) that, to quote Rochelle, "knocked the spirit out of the group". According to the same interview, the group broke up amicably after that point, with Rochelle continuing on her own, releasing singles sporadically throughout the years, most notably "Love Itch" (1985, Prelude), "Danger!" (1994, Cutting Records), "Suffer (The Consequences)" (1995, Cutting Records) and most recently "Get It On (Summer Love) (2002, Equal) and "Are You Ready For Me" (2006, D:vision). She still performs occasionally, and apparently had an album in the works with Cutting Records at one point, though I'm sure that project has long been shelved. In any case, Rochelle's timeless voice has fronted many a disco classic and it's my hope at least, that we'll hear her grace some fresh, new grooves once again in the near future...

Note: "Breakaway" and "I Can Show You.." were both taken from CD, the other files were taken from vinyl.. Also, the "Breakaway" album was recently released on CD by Unidisc as part of their Salsoul reissues series, which has been spottily distributed, for whatever reason (territorial issues with other Salsoul licencees perhaps?).. Nevertheless, it is available and in print (see the purchase links below..). I haven't bought it yet, so unfortunately I can't speak for it's quality..

PURCHASE:
FIRST CHOICE - BREAKAWAY CD | AMAZON.COM | AMAZON.CA | AMAZON.CO.UK | AMAZON.DE | AMAZON.FR
FIRST CHOICE - ANTHOLOGY (2 CD) | CDUNIVERSE.COM | AMAZON.COM | AMAZON.CA | AMAZON.CO.UK | AMAZON.DE | AMAZON.FR

LINKS:
FIRST CHOICE - BREAKAWAY @ DISCOGS
FIRST CHOICE @ DISCOGS
FIRST CHOICE @ ALL MUSIC GUIDE
FIRST CHOICE @ DISCO MUSEUM.COM
FIRST CHOICE @ JAHSONIC
FIRST CHOICE @ EVERYTHING2
ROCHELLE FLEMING @ JAHSONIC
ROCHELLE FLEMING @ WINTER MUSIC CONFERENCE 2000
TEE SCOTT @ JAHSONIC
TEE SCOTT @ DISCOMUSEUM.COM
TEE SCOTT @ DISCOMUSIC.COM

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #6: FIRST CHOICE - THE PLAYER (1974, PHILLY GROOVE/BELL)

CATEGORIES: DISCO DELIVERIES, PAST REISSUES

Disco Delivery #6: First Choice - The Player (1974, Philly Groove/Bell)

"..cold blooded son-of-a-gun, that's what he is.."

First Choice - The Player (LP Version) | LINK TWO
First Choice - Guilty | LINK TWO
First Choice - Hustler Bill | LINK TWO
First Choice - Imagination | LINK TWO

I hadn't pulled out these ladies' early stuff in a little while, until last week when I heard "The Player" on Mac Daddy's latest mix, and it's been running through my head ever since.. In case anyone's not familiar with these ladies - First Choice (Rochelle Fleming, Annette Guest and Ursula Herring) were one of the premier female groups to emerge from disco. While not strictly disco (they had just as many excellent, straight-up Soul/R&B records) they had some of their biggest and most consistent success among disco audiences, from their early hits like "Armed & Extremely Dangerous" in the early '70s to their records on Salsoul towards the late '70s like "Doctor Love," "Double Cross," "Love Thang" and "Let No Man Put Asunder" among others (the latter most recently covered by Mary J. Blige)..

The first three tracks that I put up are off their second album, "The Player" produced by Stan Watson and Norman Harris. Mind you, I'll buy almost anything with Norman Harris' name on the credits, he's got to be one of my favourite producers, almost always a guarantee of quality Philly disco.. The first selection, the album's title track is a great slice of early disco. James Brown, Isaac Hayes and Norman Whitfield aside, I'm guessing this might have been one of the first songs with it's tempo (and with it's disco appeal) that went up to 7 minutes in length (7.10 to be exact) and with a large, prominent instrumental break. The structure of the extended track with the instrumental break would really catch on in a few years and become the prototype for future disco mixes. Just love those catchy refrains in there "...he's a player, he'll get next to you.. he's a player, this is what he'll do...he'll shoot you down..right down to the ground.." right along side those punchy horns; not to mention the extended break with that superb, percolating percussion. The whole thing sounds like it could been a theme for one of those many "Blaxploitation" films from the period, which is probably what inspired this song in the first place.. Recently Philly Groove Records put out a Tom Moulton mix of this song, extending it even further to 10 minutes, which is something I'd like to hear. Seems like the kind of mix that would have been done, had the 12" single been invented at the time..

The next two probably aren't as disco friendly as the first one, but are probably uptempo enough to be considered "early disco," so I'll include them here anyway.. The second song, "Guilty" is another favourite of mine with that great melody and those bright, wonderful string and horn sections.. The next one, "Hustler Bill" follows in a similar vein to "The Player," though not quite as heavy, but with another catchy refrain "...Hustler Bill... give me a thrill.. ridin' around in your automobile.." and a great vocal from Ms. Fleming..

For the last one I decided to use one of their non-album (and possibly unissued) tracks; a cover of "I've Got To Use My Imagination" originally by Gladys Knight & The Pips from their 1973 "Imagination" album. Aside from shortening the title, their version has a faster tempo and a busier arrangement; an early disco cover version, if you will..

A little bit about the sources of these tracks.. I actually took them from a great 2-CD compilation called "First Choice: Love & Happiness - Greatest Hits" from 1994 on the Japanese P-Vine label (not Unidisc like the allmusic review says). Perhaps "Greatest Hits" is a bit of a misnomer; aside from the bonuses, it only covers the material from their first two albums: "Armed & Extremely Dangerous" (Philly Groove/Bell, 1973) and "The Player." Regardless of that, it's still an excellent compilation. Tom Moulton was involved in the production and mastering of the collection and the sound quality is excellent (all selections from the original masters). My only gripe is with the liner notes, which are extensive but completely inaccurate, giving recording and release info for their Salsoul singles, when the material on the collection predates their Salsoul period by several years.. Unfortunately this set is out of print now, but it's the best collection of their early material that I've found so far..

** note: I apologise for being a little bit late with this update.. To potential users of File Lodge, I've just had the most aggravating, time consuming uploading experience ever.. grrr!!.. Just so you can be warned about them..

LINKS/PURCHASE:
FIRST CHOICE - THE PLAYER LP @ DISCOMUSIC.COM
FIRST CHOICE - GREATEST HITS (2 CD) @ AMAZON.COM
FIRST CHOICE LPs & CDs @ DUSTY GROOVE

CATEGORIES: DISCO DELIVERIES, PAST REISSUES