Disco Delivery #44: Cook County - Pinball Playboy (Playboy Theme) (1979, Motown)

Cook County - Pinball Playboy (Playboy Theme)
Cook County - Comin' To Getcha
Cook County - Olympiad '84
Cook County - Funky Get It
Cook County - State Street Samba
Cook County - Little Girls & Ladies

First of all, I have to thank Disco Delivery reader Enrique (Happy Birthday!) for tipping me off on to this record.. I found it a few months ago on eBay, and finally received it last month. It took a little bit of prodding on my part to get the seller to send it to me, but thankfully it's finally here. Anyway, eBay issues notwithstanding; so far, this is one of the more odd and obscure Motown releases that I've found. Looking at the credits, it's quite possibly the only record to thank both Berry Gordy and Hugh Hefner in the same sentence. With the album credited to an anonymous studio group complete with blatant promotional-tie in; on the surface, it might come across as a fairly insubstantial disco novelty. Getting down to the grooves, however, the record doesn't disappoint. If anything, certainly more musically satisfying than it's appearances might suggest..

Vic Caesar, the producer behind Cook County was himself a rather unlikely Motown alumnus. A singer, actor, music producer, and it seems, all-around renaissance man, Caesar was something of a lounge legend.. A friend of Hugh Hefner's (which perhaps partly explains this project), he had apparently lived in the Playboy Mansion at one point (staying for some ten years) and had also, among other things, wrote the theme to Richard Nixon's 1968 presidential campaign, "Nixon's The One." Although there isn't a whole lot on him on the internet, from what I have read, Vic Caesar sounded like one of those interesting old Hollywood characters who, despite not achieving the same sort recognition that many of his contemporaries did, apparently had a million entertaining "done it all," "seen it all" stories to tell from all the notables he rubbed elbows with. A 1997 article from the Phoenix New Times has a brief tribute:

How about Mr. Vic Caesar, king of the lounge singers? Vic had stories about every celebrity that has walked the face of the Earth since talkies were introduced. I'll refresh your memory: Vic played piano for Marilyn Monroe. Vic said he smoked dope with Bobby Kennedy and Sammy Davis Jr. Vic lived at the Playboy Mansion. Vic hugged Dick Nixon. Vic! My man! Phoenix doesn't deserve you, baby!

Peter Gilstrap, the same writer who wrote the above quote wrote an affectionate bio/tribute article on Caesar the year before entitled "Hail, Caesar," which not only traces his life story but also many of his interesting, entertaining encounters.. Well worth reading if you want to know more..

In a nutshell though, Vic Caesar, born Vittorio Cesario in Chicago would have a childhood immersed in music. During the Korean War, Caesar would end up serving with the US Army as a Dental Technologist. While in the army, his musical abilities would lead to a chance encounter with Marilyn Monroe, who while performing for the troops, needed someone to back her up. Coming home, the encounter would leave enough of an impression that he ended up leaving his Army profession behind to continue in music. Playing drums and piano professionally, another chance encounter with Frank Sinatra in Las Vegas would eventually led him into singing:

"He says, 'Are you Italian?' I said, 'Yes, sir.' He says, 'You don't have to call me sir. You sing good; get the fuck off the drums, and get yourself a little group, and get out there.'"

Caesar would go on to release at least one or two albums under his name, one of them called "Vic Caesar Sings." Along with that, he would also be involved in a club in Phoenix, Arizona; an apparently swinging joint in it's time called "Caesar's Forum." Around that time, in 1968, Caesar would be approached to perform at an event for Richard Nixon. Although as time went on, he, like many others, would sour on the Nixon Administration, that gig nonetheless led to one of his best remembered works:

"Setting aside his staunch Democratic loyalties, Vic wrote the simple, seven-word tune in 20 minutes, and when Nixon heard it at the rally (after some idiot came on before Vic and sang "The Impossible Dream"), he loved it. Life went on, Nixon won, and just days before the Inaugural, Vic got a telegram demanding his performing presence at an Inaugural ball. A Nehru-jacketed Vic and band made the scene, drove the crowd wild with "Nixon's The One."

Caesar's Nixon theme was most recently used in one of Lasse Hallstrom's latest films, "The Hoax." About his encounter with Nixon, Caesar would later say this:

"When you become president," the composer urged, "please do for the young men in Vietnam what you and the General did for me in Korea, end it!" You'll never guess how Nixon answered. "He looked me straight in the eyes," Caesar remembers, "and without as much as one blink said in a flash, 'I will do the very best I can to end it Vic, I believe it to be an unjust war.'" Unfortunately, that didn't happen any time soon after that -- and history records that public opposition soon spread far beyond Arizona bandleaders.

Politics aside, in the 1970's, he had also tried his hand at acting. One of the films he appeared in was the cult Godfather-esque grindhouse film "Massacre, Mafia Style" (AKA "The Executioner") which has been described as a "ragged, low budget exercise in vanity" with "ludicrous excesses," among other things (see the trailer on YouTube). In addition to his acting roles, he would also score a few of them, including a 1974 sex comedy "Gosh" (AKA "Alice Goodbody") (which he also had acting role in) and perhaps most notably a 1977 blaxploitation film called "Bare Knuckles" to name just a couple. The disco-funk soundtrack for "Bare Knuckles" (like many films of it's genre, I suppose), has evidently held up much better than the picture itself, having become highly regarded and sought after over the years. These days, original pressings are pretty hard to come by, athough bootleg "reissues" are practically everywhere..

As far as this project is concerned, how it came up and how it ended up on Motown, no less, is probably another story in itself. Unfortunately, none of sources that I've found on Vic Caesar go into any depth about this record, much less even mention it. Peter Gilstrap's "Hail, Caesar" article does mention some of the work he would do for the Playboy enterprise while resident in Hef's mansion, like directing the Singing Playmates, for example. Perhaps this was yet another one of those.

The title-track and selling-point of this record is basically a disco remake of Cy Coleman ("Hey, Big Spender") & Carolyn Leigh's classic "Playboy's Theme." Originally written for Hugh Hefner's "Playboy's Penthouse TV Party" (clearly, before Guccione came along) it's re-worked here as a kind of discofied promo vehicle for Bally's then new Playboy pinball machines, complete with additional quirky game machine sound-effects and some choice jingle-y double-entendres: "pinball playboy, light the night.. pinball playboy, tonight is the night, pinball playboy, make my number rise, let this bunny know she's gonna fly..." Of course, the album's cover shot pretty much makes the intent obvious, with the pinball machine sharing centre stage with February '79 Playmate, Lee Ann Michelle - face to the camera, legs spread out over the machine... That said though, as far as the track itself is concerned, it's not surprisingly the standout on the album. A brilliantly swinging, lounge-meets-disco concoction that's ultimately and totally irresistible. Even those crazy sound effects which might come across as silly and gimmicky at the beginning, end up becoming a major part of it's charm. Generously used as to be catchy, yet not overdone as to be annoying..

Complete with a breathless chorus of cooing females (courtesy of Jody, Amy & Lauri Taylor), those awesome strings, and of course, that great sax - a major part of the jazzy, swinging vibe on the track, "Pinball Playboy" is perhaps the most enjoyable disco novelty track I've yet to hear. It's so well done, it feels almost unjust to call it a mere novelty, yet evidently the label probably didn't see it as anything more. For one thing, the track clocks in at a relatively modest (at least in disco standards) 5.44 on the album. Usually, the standout track on an anonymous disco production album such as this one would cover most, if not all of an entire side. In hindsight, it's too bad nobody did an extended 12'' mix of the track, since the funky swinging groove of the track practically cries out for it. They could have possibly done two mixes, a regular extended version and a kind of instrumental mix, taking out the sound-effects and pinball references, for those who might not have cared for the novelty stuff.. Perhaps it wasn't the sort of sound that was burning up dancefloors at the time, yet one still can't help but feel more could have been done with it.

Regardless of that, thankfully the rest of the album doesn't disappoint. The rest of the record is made up of six more Vic Caesar originals, who, to his credit, instead of making the rest of the record into a glorified 12'' single, used the it as a kind of creative playground of sorts, going from lite disco funk, grandiose theme music, MOR balladry, soft jazz mood music, and even a samba, of sorts.. Despite there not being any sort of unifying concept between the rest of the record, the songs (aside, maybe from the MOR ballad - "Reach Out For Love") are all quality. The more disco flavoured tracks, "Comin' To Getcha" and "Funky Get It" have become particular favourites of mine.. The latter track, "Comin' To Getcha," basically continues in the sort of swinging disco mode as the title track. Anchored by a great horn section and those airy female vocals (courtesy of Trish Turner and Terri Fischer) which make the most of the minimal lyrics, culminating in a hypnotic harmony with the refrain: "comin' to getcha, getcha, getcha." The vocals and horns are used to especially great effect on here, particularly at the three minute mark, when the vocals are punctuated by those deep horn stabs.

The other swingin' disco track on side two, "Funky Get It," opens with an unexpected, luxuriously dark, moody intro; the sort of thing one might have expected in a 70's blaxploitation films or as a opening TV theme or something (perhaps not surprising given his movie scoring background). The track later settles into a faster, harder disco groove carried by some heavy, rattling percussion and the ubiquitous chorus of females (once again courtesy of Turner and Fischer) that, with the help of those handclaps towards the end, practically drill that refrain into your head: "funky groove..funky get it.."

The side two opener, "Olympiad '84" continues with a bit of a disco vibe, albeit in a different way than the other tracks. If the title didn't make it obvious, this one fills in the "grandiose theme music" section of the album. The last sort of thing one might have expected on an album like this, it sounded as if Caesar had been inspired by John Williams and/or Meco when he did this. Seemingly referencing both, yet not quite reaching the heights of either, it's the sort of thing that sounds grand and pleasant enough to get one's attention, but perhaps becuase of it's brief duration, never quite goes beyond pleasant background music..

"State Street Samba" later brings the album to a close with a pleasantly classy groove, bringing back some of the swinging disco along with a bit of a latin flavour and some nice jazzy riffs towards the end. The song and album end rather nicely with a fittingly classy piano solo.

One other track I just had to include here as well is the soft, atmospheric instrumental "Little Girls & Ladies." Written by Vic Caesar and beloved poet, musician and author Shel Silverstein, the mood of this particular track is especially beautiful, carried by an outstanding tenor sax solo (courtesy of Sly and the Family Stone's Pat Rizzo). It's soothing, uplifting and engaging all at the same time. Though not disco in any way, it's undoubtedly one of the best tracks on the album and ultimately, one of the hidden surprises on this record.

That being said, while this album likely won't be on too many disco essentials lists, it nonetheless remains an intriguing release, musically and otherwise. At it's best, the album flawlessly combines a disco sensibility with a slightly jazz-influenced lounge style. In other words, a quintessential "Playboy disco" record.. Also, given Caesar's background, the length of much of the album's tracks, and the mood and vibe that runs through it, it's almost as if some of the tracks on the record might have possibly been created for a soundtrack that never was. Although not a perfect record, and probably not the sort of thing that might have been hitting the discos hard in 1979, the soundtrack aesthetic is perhaps one of those things which gives this record it's listenable quality, along with it's share of irresistible charms and pleasant surprises. That being said, while the album itself may not be anyone's disco essential, "Pinball Playboy" would, in my opinion, be one of the ultimate disco novelty records. A little bit cheesy, perhaps, yet not to the point where the fromage overshadows the excellent musicality of the record. It's the type of thing that's charming, well-executed and musically solid enough to keep one coming back for more..

Sadly, the man behind the music, Vic Caesar, passed away in 2000 of a stroke. He spent his last years in Phoenix, Arizona, where he was involved in the local jazz scene, was on local radio for a time and still dabbled in music and recording, cutting an album with pianist Jessica Williams (no relation to the Simon Soussan-produced disco diva of the same name) among other things. Vibist Monty Stark's website has some more info on that record as well as a lot of great background on Vic Caesar himself. Despite being relegated to the minor leagues of fame, no one could ever say the man didn't have a full, exciting life and career. Here's to you, Vic!

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #39: PENTHOUSE PRESENTS THE LOVE SYMPHONY ORCHESTRA (1978, TALPRO) (TUESDAY APRIL 10, 2007)

LINKS:
COOK COUNTY - PINBALL PLAYBOY (PLAYBOY THEME) LP @ DISCOGS
THE PHOENIX NEW TIMES - HAIL, CAESAR! (BY PETER GILSTRAP) (SEPTEMBER 5, 1996)
VIC CAESAR @ ALL MUSIC GUIDE
VIC CAESAR @ IMDB
VIC CAESAR @ DISCOGS
CY COLEMAN OBITUARY @ PLAYBILL (NOVEMBER 19, 2004)
PLAYBOY PLAYMATE DIRECTORY - LEE ANN MICHELLE (MISS FEBRUARY 1979)
REC.GAMES.PINBALL - PINBALL PLAYBOY BY COOK COUNTY (NOVEMBER 17, 1995)
INTERNET PINBALL DATABASE PRESENTS - PLAYBOY PINBALL
PINBALL REBEL - PLAYBOY PINBALL BY BALLY

CATEGORIES: DISCO DELIVERIES, WHAT EVER HAPPENED TO.., IN MEMORIAM..

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

Midnight Rhythm Redux

After playing my usual procrastination game, at long last, I've finally got around to this..

A couple of months ago, I got an unexpected email from Robby Adcock, one of the producers of Midnight Rhythm (which I had originally posted this past March), who not only offered to correct and clarify some of the factual errors and questions that I had in the original post, but also offered to give me some detailed background on the making of Midnight Rhythm itself. As excellent as the record is, I was genuinely surprised at the rich background that this fairly obscure disco project had. I suppose, in some ways, it goes to show that with the convenience of music, mp3s and of all things generally today, often times the sheer energy and effort that goes into making music, especially records employing teams of actual musicians such as this one, can be so easily taken for granted..

Needless to say, I finally got around to updating the original entry with all the info from Robby's emails. For those of you who missed the original posting several months back, the mp3 files are still available for downloading..

Disco Delivery #37: Midnight Rhythm (1978, Atlantic)
Hopefully those of you who enjoyed this album when I posted it the first time (as well as those of you who are new to it) will find the additional info as interesting and informative as I did.. I had to reformat the usual 'mini essay', making it into what I suppose would be the first actual 'interview' that I've ever done.. I've tried to pack as much information as I could in there, so my apologies if it comes across a bit too long winded, or rather - even more so than usual.

When I first bought the Midnight Rhythm album some four years ago, I remember at the time being somewhat frustrated at the lack on information available on this project.. I never expected that I would end up communicating with one of the producers several years later to fill in all the blanks... Quite honestly, when I post about a record, I never expect for it to bring me in contact with any of the producers, writers or musicians behind it, much less have one of them give me a detailed history of the project.. So a major, major thanks to Robby Adcock for his generous contributions and for giving me permission to reprint the content of his emails on here..

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #37: MIDNIGHT RHYTHM (1978, ATLANTIC) (WEDNESDAY MARCH 14, 2007)

CATEGORIES: RE-DELIVERIES

Upcoming Sister Sledge Reissues

On September 18th, all of Sister Sledge's out of print albums for the Atlantic label (which is pretty much all of them except "We Are Family") will finally be reissued on CD by Wounded Bird Records. Wounded Bird (I've always found that the stangest name for a record label) seem to have been carving out a bit of a niche lately in no-frills, quality CD reissues, mostly from the Warner labels (see the last batch of Chic album reissues, among others)..

Aside from "Love Somebody Today," "All American Girls" (both of which had been previously released on CD by Rhino in the mid-90's) and of course "We Are Family," this will also mark the CD debut of all of the other Sister Sledge albums in their entirety.. No word on the tracklists yet, if there will be any bonus tracks included with any of the reissues. Wounded Bird aren't exactly known for adding extras, so for now, I'm assuming these will be straight reissues with just the original tracklists..

Considering the gap between Wounded Bird's Chic reissues (Real People/Tongue In Chic in 2003, the rest only last year), the simultaneous release of seven of the sisters' albums comes as a rather pleasant surprise. Given how closely Sister Sledge is associated with the Chic sound, I'm assuming their Chic reissues from late last year have done pretty well for these to have gotten the go-ahead...

So far, there are no details yet on Wounded Bird's website, but most of the major online retailers already have these listed for pre-order..
Update: Pictures and prices now available on the Wounded Bird website..


Circle Of Love (1975, Atco/Atlantic / 2007, Wounded Bird)
buy/pre-order @ cduniverse.com | amazon.com | amazon.co.uk | dustygroove.com
The first album - produced by Bert DeCoteaux and Tony Silvester. Much of the album was written by Gwen Guthrie and Patrick Grant aside from "Give In To Love" written by Thom Bell/Linda Creed and the title track co-written by none other than Patrick Adams and Faye Hauser. Overall, I don't exactly consider this among their best albums, though the title track and the single "Love, Don't You Go Through No Changes On Me" are both standouts..
SISTER SLEDGE - CIRCLE OF LOVE LP (REVIEW) @ ALL MUSIC GUIDE
SISTER SLEDGE - CIRCLE OF LOVE LP @ DISCOGS


Together (1977, Cotillion/Atlantic / 2007, Wounded Bird)
buy/pre-order @ cduniverse.com | amazon.com | dustygroove.com
Before striking gold with Chic and "We Are Family," they had hooked up with German producers Michael Kunze and Sylvester Levay (the production team behind Silver Convention) for this album. Unfortunately, I don't even have this album yet, but it certainly sounds like an interesting and promising 'Philly meets Munich' type of collaboration. So far, at least for now, this also appears to be the hardest to find out of all their LPs (at least in my experience). Some of the notable tracks on here include a couple of Stevie Wonder covers: "As" and "I Was Made to Love Her (Him)" along with "Blockbuster Boy," which was included on their early '90s "Best Of Sister Sledge (1973-1985)" (1992, Rhino) CD.. In any case, I can't wait to finally hear this one..
SISTER SLEDGE - TOGETHER LP @ DISCOGS


Love Somebody Today (1980, Cotillion/Atlantic / 2007, Wounded Bird)
buy/pre-order @ cduniverse.com | amazon.com | amazon.co.uk | dustygroove.com
Their second and last album with producers Nile Rodgers and Bernard Edwards AKA The Chic Organization. This one may not reach the heights of "We Are Family," nevertheless Chic's magic touch doesn't fail them on this one either. As a whole, it's one of my favourite Sister Sledge albums containing some great uptempos like "Got To Love Somebody," along with some of Chic's best balladry as well ("Let's Go On Vacation", "I'm A Good Girl"). Also a rather timely reissue considering the high prices Rhino's out-of-print 1995 reissue have commanded in the recent past.
SISTER SLEDGE - LOVE SOMEBODY TODAY LP (REVIEW) @ ALL MUSIC GUIDE
SISTER SLEDGE - LOVE SOMEBODY TODAY LP (REVIEW) @ ROBERTCHRISTGAU.COM
SISTER SLEDGE - LOVE SOMEBODY TODAY LP (REVIEW) @ WARR.ORG
SISTER SLEDGE - LOVE SOMEBODY TODAY LP @ DISCOGS
SISTER SLEDGE - LOVE SOMEBODY TODAY (1995 CD REISSUE) @ AMAZON.COM


All American Girls (1981, Cotillion/Atlantic / 2007, Wounded Bird)
buy/pre-order @ cduniverse.com | amazon.com | amazon.co.uk | dustygroove.com
This album was also reissued on CD by Rhino in 1995 (complete with butchered cover art) and if it weren't for me checking just now, I could have sworn that it was out of print as well.. I suppose Rhino must have only recently put theirs back in print - just in time for this release, no less.. Although that probably makes this reissue a tad redundant, as far as the album goes: despite this being their break from the Chic Organization, producer Narada Michael Walden and the sisters (who also contribute to the production as well as a great deal of the songwriting) manage to deliver a great record here. Kicking things off on a high with the Chic-inspired title track and the original, energetic, rock-influenced album version of "He's Just a Runaway" (a million miles better than the lackluster "Bob Marley tribute" version that became the single) and "If You Really Want Me," this record has a much livelier, assertive approach than their previous. One of their most underrated and enjoyable, in my opinion..
SISTER SLEDGE - ALL AMERICAN GIRLS LP (REVIEW) @ ALL MUSIC GUIDE
SISTER SLEDGE - ALL AMERICAN GIRLS LP @ DISCOGS
SISTER SLEDGE - ALL AMERICAN GIRLS (1995 CD REISSUE) @ AMAZON.COM


The Sisters (1982, Cotillion/Atlantic / 2007, Wounded Bird)
buy/pre-order @ cduniverse.com | amazon.com | amazon.co.uk | dustygroove.com
Notable for being the only album entirely produced by the Sisters themselves (hence, the title). I actually find this album to be somewhat better than the singles off of it indicated it to be (lukewarm cover of Mary Wells' "My Guy," to name one). Aside from the ballads (like their version of "All The Man That I Need" - originally by Linda Clifford, later made famous by Ms. Nippy), there was also a slight sleek, urban edge on some of the album tracks, like "Super Bad Sisters" which included a little rap section and the awesome "Il Mácquillage Lady," which has become one of my all-time favourite Sister Sledge tunes. It wasn't a single, but notable nonetheless for being the basis of Daft Punk's 2001 single "Aerodynamic" (which I only found out recently). Overall not quite as good as The Sisters' previous three records, but still a relatively decent album in it's own right.
SISTER SLEDGE - THE SISTERS LP (REVIEW) @ ALL MUSIC GUIDE


Bet Cha Say That To All The Girls (1983, Cotillion/Atlantic / 2007, Wounded Bird)
buy/pre-order @ cduniverse.com | amazon.com | amazon.co.uk | dustygroove.com
Produced by George Duke, this is another one that I don't have yet, so I can't speak for the entire record.. The songs that I have heard so far: "B.Y.O.B. (Bring Your Own Baby)" and "Get Back To Love" off their '92 Best of CD are good, but nothing really special..
SISTER SLEDGE - BET CHA SAY THAT TO ALL THE GIRLS LP (REVIEW) @ ALL MUSIC GUIDE
SISTER SLEDGE - BET CHA SAY THAT TO ALL THE GIRLS LP @ DISCOGS


When The Boys Meet The Girls (1985, Atlantic / 2007, Wounded Bird)
buy/pre-order @ cduniverse.com | amazon.com | dustygroove.com
Their last really major album and a reunion of sorts with Nile Rodgers, right around the time when he was probably one of the hottest producers around.. Again, this is yet another one that I don't have yet. Out of the tracks I've heard so far, I don't really care for "Frankie" too much, "Dancing On The Jagged Edge" however, is one of my all-time favourites by the sisters..
SISTER SLEDGE - WHEN THE BOYS MEET THE GIRLS LP (REVIEW) @ ALL MUSIC GUIDE

PREVIOUS RELATED ENTRIES:
BBC RADIO 2 - THE RECORD PRODUCERS: NILE RODGERS (SATURDAY JANUARY 6, 2007)
UPCOMING REISSUES & RELEASES (CHIC AND MORE!): (DECEMBER 1, 2006 - JANUARY 22, 2007) (SATURDAY NOVEMBER 25, 2006)
UPCOMING REISSUES & RELEASES (APRIL 25 - MAY 30) (FRIDAY APRIL 21, 2006)
DISCO DELIVERY #2: NORMA JEAN WRIGHT - NORMA JEAN (1978, BEARSVILLE) (SATURDAY JANUARY 14, 2006)

CATEGORIES: REISSUES & RELEASES

It just might take all night..

James Bradley - I Can't Get Enough Of Your Love (1979, Malaco/Attic) | LINK TWO

Not a cover of the Barry White classic, but a great, understated soulful disco groove by what appears to be a little known soul singer named James Bradley. Apparently this track was off his self-titled and only(?) album for the venerable Malaco label (at the time distributed by T.K. Records in the US), which has what is possibly one of the most stereotypical, kitschy disco cover shots ever (afro: check!, no-nonsense moustache: check! shiny, glittery discotheque in the background: check! open shirt exposing thick tufts of chest hair: check!). Disco-fabulous on a budget, as I'd like to call it..

This particular song, released on a 12'' single, but tucked away on the B-side, is one of those classic instances where the B-side is so obviously a superior record to the A-side, you wonder what the label was thinking putting it out like that. Being 1979, perhaps they thought even an extended, albeit mediocre disco single would do better than a stellar, more R&B styled track? Whatever the case, in my opinion, the inferior A-side, "I'm In Too Deep," has got to be one of the more tedious, gimmicky, uninspired disco workouts that I've heard in a while. It manages to go on for some 8 or so minutes, yet seems to have little to show for it aside from a flat arrangement and some interesting, albeit clichéd synth touches..

Flipping it over however, after the overwhelming tedium of the A-side, hearing the the soft, elegant hi-hat, and those oh-so-beautiful introductory guitar notes of "I Can't Get Enough of Your Love" is, quite appropriately, music to the ears. Relegated to the B-side probably because it wasn't the sort of straight-ahead, energetic disco typical of the time, but instead, one that straddled the boundary between R&B and disco; it can probably be described as something of a throwback to the earlier days of 'disco as danceable R&B'. Effortlessly easing into it's mellow groove, with it's instantly catchy beat and melody, Bradley's vocals riding on top of it all; that combination of melodic beauty, captivating rhythm and all-out soul would have likely made this an excellent 5 A.M. disco sleaze staple back in it's day..

While James Bradley may not have been the most well known name out there, the writer and producer of this record, Frederick Knight, would probably be much moreso. For those who might not be familiar, Knight was the producer behind none other than Anita Ward's damn-it-if-you-just-can't-resist-it disco mega-hit "Ring My Bell." In addition to that, Knight also had some success as an artist in his own right, recording an album for the Stax label, which included a 1972 top-10 US R&B hit "I've Been Lonely For So Long." Although not quite as successful; In 1981, Knight would also release an 'answer' to "Ring My Bell" under his own name entitled "Let Me Ring Your Bell Again," along with at least two other albums under his own name in the late 70s and early 80s ("Let The Sunshine In" and "Knight Time," respectively)..

Not sure what ever became of James Bradley, but evidently Frederick Knight is still around, having racked up production credits right up into this decade (at least, according to the All Music Guide). As well, Knight's Juana label, distributed by T.K. in the late 70's and once home to artists like Anita Ward and The Controllers, is still operating, albeit as a largely Gospel-focused label these days..

Aside from a few signature production touches: those little cowbell hooks, for instance; this record may not instantly resemble the bouncy, addictive "Ring My Bell," although it's yet another, albeit much less acknowledged (and perhaps less gimmicky), moment of brilliance on his part.. With Bradley's full and soulful vocals conveying just the right amount of romantic passion and vulnerability, put together with a breezy, sensual call-and-response with the female back-up, those rhythmic hooks, great guitar work and sax; it all makes for four minutes and thirty seconds of easy, groove-riding ecstasy. It's almost too good to be on the same disc as the A-side. Just one of those things that makes it all worthwhile..

PREVIOUS RELATED ENTRIES:
COCKTAILS AT THE DISCO LOUNGE.. (MONDAY JUNE 11, 2007)

LINKS:
JAMES BRADLEY - I'M IN TOO DEEP/I CAN'T GET ENOUGH OF YOUR LOVE 12'' @ DISCOGS
FREDERICK KNIGHT 1971 BIO @ CONCORD MUSIC GROUP
FREDERICK KNIGHT @ DISCOGS
FREDERICK KNIGHT @ ALL MUSIC GUIDE

CATEGORIES: MINI DELIVERIES

Come put out the fire..

Laura Lee - Sat-is-fac-tion (1979, Fantasy/GRT) | LINK TWO
Laura Lee - Your Song (1979, Fantasy/GRT) | LINK TWO

The A-side on here is one seductive, sexy little sleeper from 1979 courtesy of Detroit soulstress Laura Lee. Born Laura Lee Newton in Chicago, as a child she would relocate to Detroit where she was adopted by the Rev. E. Allan Rundless and his wife Ernestine. The Rundlesses had also led a gospel group - The Meditation Singers, whose early lineup included none other than Della Reese, whom Lee would later replace.. By the mid 60's, she would make the move to secular music, recording for the Detroit indie and Motown rival, Golden World Records and later on with the legendary Chess label where she would record at the legendary Fame Studios.

Although a prominent Detroit vocalist, she would never actually record for the mighty Motown label, even though she would audition for them at one point, only to be turned down. Most likely her gritty, soulful style just didn't fit with the label's pop/cross-over aims at the time.. However, despite that, it wouldn't be a complete loss. Brian Holland of Motown's famed Holland-Dozier-Holland production team and an excellent producer in his own right (see Disco Delivery #1: The Supremes - Mary, Scherrie & Susaye) evidently took notice in those auditions, and would later sign her to their own Hot Wax label after Holland-Dozier-Holland's acrimonious split with Motown. It would be there where, in 1971, she would have what would be her biggest US chart success with her signature hit "Women's Love Rights."

Although gospel trained and nurtured, listening to her on "Sat-is-fac-tion," you probably wouldn't know it.. Kicked off by that hot, steamy sax; hypnotic, robotic synths shadowing the bouncing hi-hat and Laura's vampish vocals. With those sighs and whispers; regularly alternating between a tamed, simmering tension and an all-out steaming boil, Lady Laura's voice is pure sex on here. In other words: sleazy, sultry and just down-right hot in all the right places. Although slightly more stylized and subdued than usual, her vocals still bear that signature edge, providing the perfect compliment to the slick, shiny production. Along with the vocals and the overall production; just before the four-minute mark, right when the wailing sax kicks in with those great handclaps, that breakdown on here is yet another thing which totally seals this one for me. Granted, overall, it may not the most instant of disco singles, but just like that bassline in the back, it's a groove that sneaks up on you and has you hooked before you even know it..

I'm not sure how much club play this single would have gotten back in the day; nevertheless, for me, it's one elegantly striking, seductive piece of disco pleasure which remains perhaps one of her most intriguing performances on record..

The flip side, "Your Song," on the other hand, certainly lives up to it's designation, completely changing gears from the A-side.. A pleasant, though much more conventional R&B/disco-lite kind of track, parts of the melody remind me of Thelma Houston's version of "Don't Leave Me This Way," albeit without the same sense of emotional drama..

Aside from those understated string arrangements on this track, I also enjoy this one for the simple reason that much like the A-side showed a sexier side to her, this track showcased the earthy, soulful timbre of Laura's voice so well; with a rawness and a tenderness so simple and straightforward, you can't help but be engaged by it. It's that mix of grit and warmth, as this and much of her best material shows, which is undoubtedly one of her best assets..

Aside from Laura herself, this single also featured some other notable names. For one thing, both tracks on the single were produced by Don Davis, a somewhat enigmatic, yet highly prolific figure in the Detroit soul scene. Much of the material he produced and recorded on his Detroit indie labels like Groovesville and Revilot has become quite revered and collectible among soul aficionados over the years. Aside from his more obscure work on the Detroit labels, he had also produced some prominent acts over the years, including Mavis Staples, David Ruffin and The Dramatics among others as well as the late Johnnie Taylor, with whom he'd have some of his biggest success. Personally speaking, a couple of my favourite Don Davis productions that I've heard so far were for the late Jeannie Reynolds on her two highly underrated albums for the Casablanca label in the late 70s. Both excellent albums featuring yet another similarly raw, soulful voice....

Along with the producer, the arrangers on this single also had some notable credits to their name. Rudy Robinson was a prolific arranger, producer and musician in his own right as well as a regular Don Davis collaborator. Robinson had contributed to numerous albums by numerous artists, including the likes of The Temptations, Bobby Womack, Barbara Mason, Dennis Coffey as well as some excellent Detroit disco productions like C.J. & Co. and The Mike Theodore Orchestra. Until his death in 2002, he remained a prominent figure in the Detroit music scene as well as a keyboard player and longtime musical director for another Detroit soul legend, Bettye LaVette.

Additionally, Robinson's co-arranger on this single was none other than Disco wizard and super-producer Patrick Adams, whose prolific contributions to disco on the production side with projects like Musique, Phreek and many others (not to mention his work on the P&P labels) need no further introduction (see Disco Delivery #38: Patrick Adams Presents Phreek for more on Adams)..

Along with producer Don Davis, the A-side "Sat-is-fac-tion" was also written by none other than Motown legend Mary Wells and her (by this time, anyway) ex-husband Cecil Womack (later of Womack & Womack). Just as a gossipy sidebar; interestingly (although I might have my dates mixed up), by the time this single was released, Mary Wells had divorced husband and co-writer Cecil Womack and apparently re-married to Cecil and Bobby Womack's brother Curtis Womack. Talk about keeping it in the family...

The B-side, "Your Song" was however solely credited to Womack and Davis and later recorded by The Dells on their 1980 album, "I Touched A Dream" (1980, 20th Century), as well as The Four Tops, later into the 1980's..

During the same year that this single was released, Lee would go through a major setback after being diagnosed with cancer, from which she wouldn't fully recover until 1990. Given that, it's probably no wonder why this single only ended up being a relatively obscure one-off for her. While the 1980's had her battling cancer and essentially putting her singing career on hold, the early 80's saw Lee returning to her gospel roots, cutting two gospel albums in 1983, one of them with former flame, soul legend Al Green called "Jesus Is The Light Of My Life" (1983, Myrrh). From the late '80s and into the 1990's, she would end up would devoting more time to ministry and missionary work, performing only on occasion..

On her officially endorsed fansite/blog (a great resource, by the way; with the most comprehensive, detailed bio of her life and career out there), when asked about this single, she mentioned, somewhat dismissively, that this single was nothing more than her attempt at "going with the times". Understandably, like many artists at the time, she too had felt the need to maintain her career and jump on the disco bandwagon, yet in spite of that, this single still remains an engaging piece of disco, and along with the names attached to it, a notable meeting of figures in the R&B and disco worlds..

These days Laura maintains an active web presence through Colin Dilnot's excellent fansite/blog as well as her own Myspace site, where you can hear some of her music and see some recent photos of the lady herself (who, at the age of 62, still looks remarkable!)..

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #38: PATRICK ADAMS PRESENTS PHREEK (1978, ATLANTIC) (THURSDAY MARCH 29, 2007)
DISCO DELIVERY #19: THE MIKE THEODORE ORCHESTRA - HIGH ON MAD MOUNTAIN (1979, WESTBOUND/ATLANTIC) (SUNDAY MAY 14, 2006)

LINKS:
LAURA LEE - SAT-IS-FAC-TION/YOUR SONG 12'' @ DISCOGS
MS. LAURA LEE - DEDICATED TO THE LADY OF SOUL MUSIC
LAURA LEE'S OFFICIAL MYSPACE
SOULFUL DETROIT FORUM - LAURA LEE
LAURA LEE @ ALL MUSIC GUIDE
LAURA LEE @ WIKIPEDIA
LAURA LEE ALBUM REVIEWS @ ROBERTCHRISTGAU.COM
DON DAVIS @ ALL MUSIC GUIDE
SOULWALKING - RESPECT 2002: RUDY ROBINSON
SOULFUL DETROIT FORUM - RUDY ROBINSON

CATEGORIES: MINI DELIVERIES

Noel - Is There More To Life Than Dancing? (reprise)

As the Disco Delivery archives continue to grow, so too have the feedback and the re-upload requests. Lately, out of all of the Disco Deliveries, this particular album has been one of my most requested re-uploads.. Not counting all the requests I've gotten over the last several months, just last week I got two emails from two different people, both requesting this.. Given that the Noel entry is one of the entries which I'm most proud of, I figure there's no better time to do this than now...

Since the original posting, I've recently tweaked some of the text in the entry, as well as re-ripped all the tracks from the album, so hopefully if you downloaded it when I originally posted it, the sound will be slightly improved on these new rips. If you missed it the first time around, I hope you'll enjoy them. This album would definitely be a treat for those who enjoy the electronic Moroder-esque style of disco..

Anyway, by popular demand, here it is:

Disco Delivery #27: Noel - Is There More To Life Than Dancing? (1979, Virgin/Polygram)
Unfortunately, I haven't found any significant info on the enigmatic Noel since the original posting, but I must give kudos once again to the writers and producers - Ron and Russell Mael AKA Sparks for this awesome album!

CATEGORIES: RE-DELIVERIES

Keep It Coming..

Keep It Coming featuring Lorna - K.I.C. (Keep It Coming) (1979, Unidisc)
Keep It Coming featuring Lorna - K.I.C. (Keep It Coming) (Instrumental) (1979, Unidisc)

Some more Can-Con for everyone..

This single is another little something I picked up a few months back.. This record is really nothing more and nothing less that a totally fun slice of Montreal disco curiously credited to an act named after the song itself. Although for whatever reason the 12'' single doesn't list any production credits, I'm assuming though that this is actually the first Canadian release of the act Hydro featuring Lorna (full name: Lorna Di Fiore, according to Discogs), given that this is the same version as on the Hydro featuring Lorna (1979, Prism) LP. According to the production credits on that album and on subsequent releases of this single under the Hydro name, this record is yet another one co-produced with the ubiquitous Joe LaGreca along with Joe Marandola. Marandola and LaGreca had also produced the studio act Kat Mandu as well as singer Melody Stewart, to name a couple. Given all that, not surprisingly, this record undoubtedly has that trademark Montreal sound: a little rough around the edges, but delivered with a real infectious energy along with a healthy portion of percussion..

One thing which I absolutely dig about this track is the horn section with that killer hook/refrain they've got going on. As far as the vocals go, well, not quite as much... Honestly though, it's really all about the horns on this one. With the way they totally work them into the groove on here, they coulda sang any ole thing and it really wouldn't have mattered.. Anyway, just in case someone out there thinks I'm dissing the vocals, really, I'm not.. Even though they aren't exactly the stuff disco divadom is made of, there is a certain, shall we say, imperfect perfection to them that totally works for this. A track like this one really needed no more than a uncomplicated vocal and lyric, and the singer is more than capable of that, at least. In spite whatever limitations she may have had (or that the song itself may have), her sound has a certain unpretentious, exuberant girlish charm about it that compliments things perfectly, even if she sounds a tad 'green' and fogged up in the mix.. It's as if somebody who was making a record knew a friend of a friend who knew another friend who knew someone that could possibly carry a tune and would be free for a quick session after work, say, Thursday night at six.. Or maybe I'm totally off-base and she was a much more accomplished singer then it seemed, who knows? Either way, whatever their shortcomings, the vocals are absolutely perfect for this, adding a good deal of energy and life to the whole thing.. That said, in case anyone wants to hear this track without the vocals, hopefully the instrumental version here will do it for you..

I also have to say that this record reminds me somewhat of Empress' "Dyin' To Be Dancin'" from '81 on the Prelude label. Although one's a template Montreal disco groove and the other has that early 80's New York post-disco boogie thing going on, both records have those unpretentious, girlish, and slightly off-centre vocals mixed with a fun, infectious party-down kinda vibe..

Strangely, despite being recorded in Montreal by Montreal producers and musicians, I have yet to actually find a Canadian release of the Hydro featuring Lorna LP. I haven't actually found one in person and all of the copies still available on the 'net are US releases on the Prism label, which evidently released a great deal of Unidisc product Stateside back in the day.. If anyone can confirm the existence (or non-existence) of a Canadian release of the Hydro LP, I'd love to know about it.. Update: A kind reader, Kris David just confirmed the existence of a Canadian pressing of the Hydro featuring Lorna album on the Unidisc label.. Thanks Kris! Evidently and ironically, Canadian pressings of the Hydro LP seem to be rarer than the US ones (at least in my experience, both online and offline)..

PREVIOUS RELATED ENTRIES:
A MOMENT OR TWO.. (TUESDAY MAY 8, 2007)
DISCO DELIVERY #35: MONTREAL FEATURING UCHENNA IKEJIANI (1979, SALSOUL) (WEDNESDAY FEBRUARY 21, 2007)

LINKS:
KEEP IT COMING FEATURING LORNA - K.I.C. (KEEP IT COMING) 12'' SINGLE @ DISCOGS
HYDRO FEATURING LORNA LP @ DISCOMUSIC.COM
HYDRO FEATURING LORNA @ DISCOGS
HYDRO FEATURING LORNA @ DISCOMUSEUM
LORNA DI FIORE @ DISCOGS
JOE LA GRECA @ DISCOGS
JOE LA GRECA @ DISCOMUSIC.COM
JOE MARANDOLA @ DISCOGS

CATEGORIES: SIDE DELIVERIES, CAN-CON DISCO

Strange Passion

Strange Passion - Desire (1976, RCA)

It's been just a little over two weeks since my last posting, and quite frankly I've been so exhausted from work that lately I haven't had the energy to write about disco records or really do much of anything else, to be honest. With the Stampede fast approaching here, things have gotten insanely busy at work in the past couple of weeks, it's got me pretty much all used up.. In past years, I've had the luxury of passing it all by for the most part, but since they're the ones paying me again this year, I don't exactly have that choice anymore.. Last year this was the time when I took a bit of a hiatus for pretty much the same reasons, but so far this year hasn't been nearly as stressful as last so I'll try to keep up with the postings as much as I can in the coming weeks..

Anyway, with that out of the way, I figure since today, July 1st, is (or perhaps was, by the time anyone reads this) Canada Day, I might as well put on some Can-Con disco on here.. This particular single is a little something I picked up back in October when I went on something of a 12'' shopping spree at a local used record shop.. I remember I bought it based on, first of all: the fact that it was cheap, and second: the fact that it was produced by Montreal disco producer Tony Green, best known for his success with France Joli and her biggest disco hits. Also, aside from all that I was somewhat intrigued by the Side B label which had the name and address of a long defunct local discotheque called 'Bianca's Disco' stamped on it, making it something of a local historical artifact as well..

After listening to it and looking for some info on it (and finding next to nothing), I can only say that track, "Desire" under the guise Strange Passion is another one of Tony Green's many disco obscurities. For every one of his well, or better known productions for the likes of France Joli, Carolyne Bernier, Cindy Valentine, Geraldine Hunt and her son Freddie James, along with the act Kebekelektrik; it appears there were also a good number of obscure efforts like this one and others from the 70s and into the 1980s under guises such as Colorblind, Metal Weeds, U.N., Black Star and for artists like Goldie Alexander, Sharon etc. in his discography. Although there doesn't seem to be a whole lot of information out there about Green himself, with the number of things he's been associated with, both well and not so well known, he's definitely another one to add to the list of highly prolific, exceptional Canadian disco producers based out of Montreal..

Overall, while this particular single may not be his very best work, it's still got a pleasant, mid-tempo, sexy little groove to it. As well, it's also one of the earliest Tony Green disco productions I've come across. Entirely instrumental, the track starts off with a sly, sensual bassline backed with some great percussion which is complimented further with some wonderful gliding, elegant orchestration. The strings eventually move into a nice melodic climax after going through a few rounds of engaging instrumental tension/interplay..

Although Green himself wrote and produced this single, interestingly enough the record was also mixed by Michel Daigle (the only other name on this record), who along with Dominic Sciscente would later produce some great disco records under guises such as Space Project, The Black Light Orchestra and for Montreal singer Alma-Faye Brooks, to name a few..

As a producer, Tony Green evidently remained active well into the late 90's and even into the early part of this decade. Although it doesn't seem to have been updated in a while, the website for his own record company, Tony Green Organization, is still up and running. Although aside from some of the more well-known ones, there isn't really much info there on his disco projects, although there is quite a bit on his later projects.

Hopefully later on in the week, I'll be able to make some much needed updates on some past postings (ie. Midnight Rhythm) and maybe post a re-upload as well..

LINKS:
TONY GREEN @ DISCOGS
TONY GREEN @ DISCOMUSIC.COM
TONY GREEN ORGANIZATION/TGO RECORDS
MICHEL DAIGLE @ DISCOGS

CATEGORIES: MINI DELIVERIES, CAN-CON DISCO