The return of Grace Jones?

Although there have been sporadic leaks of information about her upcoming album "Corporate Cannibal" for several years now, after some of the false-starts of the past, I wasn't going to about to get too excited until something definite showed up. To be completely honest, I've long been meaning to write something about Grace on this blog, but for me Grace is just one of those artists whom I've so admired and cherished, that I've often felt too intimidated to even start. Her voice, her sensibility and her outrageousness - that mix of charm and utter recklessness in her persona has always fascinated me.

As far the latest comeback goes, I suppose there's less and less reason now to doubt it's imminence. Having performed yesterday at London's Meltdown Festival (curated this year by Massive Attack), and with the widespead press coverage and glowing reviews that she has recieved, I can only assume that this really is for real this time. She apparently performed four new songs and showed a new video for "Corporate Cannibal."

Apparently this is one of the new tracks.



Grace Jones - This Is Life
Uploaded by ImpatraZ
A video of the video for "Corporate Cannibal." Directed by Nick Hooker.



Grace Jones - Corporate Cannibal video
Uploaded by boris99gj
This is my voice, my weapon of choice.. More on Grace to come..

CATEGORIES: DISCO NEWS

Disco Delivery #55: Cissy Houston - Step Aside For A Lady (1980, Columbia)

Cissy Houston - You're The Fire
Cissy Houston - It Doesn't Only Happen At Night
Cissy Houston - Step Aside For A Lady
Cissy Houston - What I Miss
Cissy Houston - Gonna Take The Easy Way Out
Cissy Houston - Break It To Me Gently
Cissy Houston - Just One Man

File links updated 10/26/08

Although I've opined about Cissy Houston here before, to me, hers is one of those voices which beautifully and superbly united the worlds of disco and soul. A voice with depth, passion and power, never sliding into needless histrionics, there was also a gentleness and a genuiness there underscoring the power of her voice.. Although her own contributions have been overshadowed by the fame of her daughter, her vocals have left their mark on many a classic, having racked up a number of credits as a backup vocalist, particularly with many disco producers and disco albums of the time..

Looking past the absolutely garish, hideous cover art (which looks more like a really badly executed Christmas ad), musically, on this, her second disco record (released on Columbia in the US, EMI in the UK) and third with noted producer Michael Zager; Houston, Zager and Company pretty much pick up here where "Think It Over" (1978, Private Stock) left off. Although they seem to fine-tune and streamline their approach somewhat into a more consistent groove, especially with the disco tracks, they nevertheless stay largely within the same formula. While she doesn't attack anything with quite the same soulful vigour and drama as "Think It Over," the disco songs on the album are all especially and equally solid, building on the good points of the previous album, making what amounts to a record that's just as strong, if not even better.

Notably, the album's first side begins and ends with ballads. An interesting move, given that much of the album was loaded with disco tracks. Perhaps it was a sign of the times; an attempt, with disco's waning currency, to de-emphasize the 'disco' and give a different first impression. Certainly not the first time I've seen such a thing done.. Whether or not that was the case, somehow I suspect if the album had been released a year earlier, it would have most likely been the reverse. Whatever the circumstances though, the opening track nevertheless makes for a positive impression. A version of "Break It To Me Gently" (no relation to the Brenda Lee song, though not sure if Cissy's is the original of this one or not), later covered by Angela Bofill, it's placement at the start of the album probably takes away from some of it's effect, yet the performance itself is flawless. While the ballad-weary might find her dramatic, edge-of-tears reading to be a tad cloying; from her gentle reticence, to those desperate climaxes, Houston makes truly makes most of the moment. It seems reminiscent in some way of the approach that she took on much of her sublimely soulful 1977 self-titled record, where this song wouldn't have been out of place..

After the brief ballad intro, the album goes into disco mode with "You're The Fire," which would have perhaps been a more representative opening track. With prominent horns and bass, string embellishments; dramatic, towering vocals, even a plonky synth break, it's a trademark Michael Zager track of the time. As much as that works in it's favour, with it's endless lyrical with references to 'fire,''flames' and 'burning,' it's perhaps the most formulaic of the disco tracks on the album, with parts of the song sounding oddly similar to The Spinners' "Disco Ride" (listen to the bass and synth parts), yet another Zager production.

The following track however, "It Doesn't Only Happen At Night," one of the singles and perhaps the best remembered song off the album, would undoubtedly have to be one of the record's highlights. It's a slickly produced song, a piece of towering, infernal disco with an infectious opening bassline, swanky guitars, ornate keys, dramatic stabs of horns, strings and drums. All of it complimented with a vocal that powers through it all, unlocking the passion and release of the song's lyrics. The end of the chorus is really the killer here, with it's climax of pounding drums and blaring horns, one of those things that immediately brings to mind the the high points of her previous disco hits. Along with "You're The Fire," this song would end up peaking at a modest #24 in the Billboard Club Play charts in April 1980. The following year, Geraldine Hunt would also do a version of this song, which I haven't yet heard for myself, but which seems to be fondly remembered as well..

After ending Side One with "Just One Man," the only another ballad, the album really finds it's groove with the three disco tracks on Side Two. Opening with the title track, "Step Aside For A Lady," sporting a hooky bassline and sly guitar, it's a hot little stepper which seems as good an excuse as any for Cissy to inject a bit of bold diva attitude into the procedings. A perfect 'entrance' track, one would wonder how many drag queens would have dug this one back in the day.. Best part for me are those climactic horn stabs, a Zager trademark, at the beginning of the chorus and of course, the great break half-way through, with the bassline right up in the mix..

"What I Miss," the middle track on Side Two takes the tempo down a little bit from the other tracks, a nice respite from the other big, elaborate, string-laden disco productions that seemed to be her and Zager's calling card at the time. Cissy, who doesn't hold back with her vocals, even on this track, provides both the perfect accompaniment and balance to the groove, riding with it, yet infusing the track with enough personality and excitement to keep things from getting too plodding. With it's funkier, more laid-back bass-driven groove, this one's probably one of my personal favourites on the album..

From there, the album ends things on yet another high point with "Gonna Take The Easy Way Out," one of Zager's trademark full, rich productions - signature horn riffs and elegant strings underscored by a classy, almost Chic-esque guitar, this has to be one of her most underrated disco tracks. In fact hearing this track was what eventually convinced me to track this LP down, easily the highest point of disco drama on the album, it also has to be one of her finest vocal performances on the record, with the track's gentle buildup giving her the perfect opportunity for both vocal subtlety in the beginning and intensity, especially with those ad-libs.. Also of note on the vocals are great call-and-response interplay with the backgrounds on here, where a pre-fame Luther Vandross and his ultra smooth vocals really shine through (also notable: the wonderful, prolific Jocelyn Brown is yet another backup vocalist on the album). ".. Easy Way Out" was released on a 12", but judging from the timings listed, it seems the 12" version was pretty much identical to the LP version in this case.

Although this album, with it's unfortunate artwork and slightly awkward sequencing, is hardly flawless, the songs and the performances themselves are uniformly strong and exciting, the good points far outweigh the negative.. Even if the sound on here was a progression from her previous album; for the most part, it's still pretty much in keeping with Zager's production style at the time for acts like The Spinners, Ronnie Dyson etc... Perhaps it's both a good and a bad thing - on the one hand, the production values are excellent. However, on the other hand, by the time this album was released in 1980, Zager's richly produced, slick disco sound (not to mention disco in general) was likely considered so dated/passé by then, with all the things that had happened in the music industry, it probably wouldn't have stood much of a chance anyway. Although considering how, at the turn of the 80's, how many once vital disco acts seemed to rush out sub-par releases, either out of contractual obligation, or in an attempt to keep up with trends (or both), with this album being as strong as it is, perhaps this was still a triumph in it's own small way. Call it a victim of it's time, I guess..

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #22: SPINNERS - DANCIN' & LOVIN' (1979, ATLANTIC) (MONDAY JUNE 5, 2006)
DISCO DELIVERY #8: CISSY HOUSTON - THINK IT OVER (1978, PRIVATE STOCK) (FRIDAY FEBRUARY 24, 2006)

LINKS:
CISSY HOUSTON - STEP ASIDE FOR A LADY LP @ DISCOMUSIC.COM
CISSY HOUSTON - STEP ASIDE FOR A LADY LP @ RATEYOURMUSIC.COM
CISSY HOUSTON - GONNA TAKE THE EASY WAY OUT 12'' @ DISCOGS
CISSY HOUSTON SINGLES DISCOGRAPHY @ SOULFUL KINDA MUSIC
CISSY HOUSTON @ ALL MUSIC GUIDE
CISSY HOUSTON @ DISCO MUSEUM
CISSY HOUSTON @ WIKIPEDIA
MYCENTRALJERSEY.COM - CISSY HOUSTON LOOKS BACK ON A LIFE OF PRAISE AND SONG (BY CRISTIAN A. FARIAS) (JUNE 12, 2008)

MICHAEL ZAGER INTERVIEW @ DISCO-DISCO
MICHAEL ZAGER @ DISCOGS
MICHAEL ZAGER @ WIKIPEDIA

CATEGORIES: DISCO DELIVERIES

Real Live #10

Edwin Starr - Real Live #10 (1981, 20th Century Fox)

Gradually getting back to regular programming on here, I had recently picked up this 12" by one the late Edwin Starr, one of my favourite Motown soul shouters. One of Edwin's last singles, if not his very last for the 20th Century Fox label, and also the first of many one-off singles he would do throughout the 80's and 90's, mostly in the UK where he would record for/with the likes of Stock Aitken Waterman, the 1986 Paul Hardcastle-produced Disco Aid project and even Chaka Khan and the Utah Saints among others.

This single, produced by Edwin himself, is no "War" or even another "Contact," but a rather good attempt at a more early 80's post-disco boogie style. Although his explosive voice is rather contained on this one, it's a much better attempt at updating his sound than much of what was on his his last 20th Century Fox album from the previous year, "Stronger Than You Think I Am" (1980, 20th Century Fox) which overall, seemed a tad dated for 1980. By this point, it seemed Edwin hadn't been backed by a groove this funky in quite a while. For me, it's those jagged, meaty guitars that really make the groove of this record, especially in the break at around the 5.30 point where they get the mix all to themselves..

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

LINKS:
EDWIN STARR OFFICIAL SITE
EDWIN STARR - REAL LIVE #10 12'' @ DISCOGS
BOTH SIDES NOW - 20TH CENTURY FOX RECORDS
THEO LOYLA INTERVIEW @ DJ'S PORTAL (INFO ON 1986 DISCO AID PROJECT)
BBC NEWS - SOUL LEGEND EDWIN STARR DIES (THURSDAY APRIL 3, 2003)

CATEGORIES: MINI DELIVERIES

R.I.P. Barry Lederer

I just want to take a moment to acknowledge news of writer, DJ and all-around disco pioneer Barry Lederer's recent passing. Although I hadn't known him too well, I had briefly communicated with him via email after a nice comment he had left on one of my entries nearly a year ago. With this news, I now regret having lost touch with him since then. I remember him being friendly and surprisingly open and as far as myself, I remember being absolutely flattered that a pioneer like him, one who was as knowledgable as he was, would even be interested in talking with me.

Among other things, he was a major contributor to the disco movement as not only as a DJ, but as a writer for Billboard's "Disco Mix" column from 1976-82 and not to mention his work with the renowned Graebar Sound System, which had graced some of the greatest discos in the US. In our brief conversations, I now remember him even mentioning how he was thinking of writing a book about the disco era. While I'm not sure if that ever got off the ground, it's unfortunate that we won't have that priviledge anymore. Despite that, with the various interviews and contributions he has made to various disco websites in recent years, he nonetheless remained instrumental and generous in documenting disco music and the disco experience. Rest in peace, Barry.

Listen to an interview he did in 2006 with Morgan Geist on RBMA Radio (interview starts at the half-way mark/second hour).

UPDATE: Barry's sister recently emailed me to let me know that a tribute website has been set up at discobarry.com. There's an email address at the top of the page where one can submit their thoughts, prayers and memories, which will be published on the website.. Updates on the memorial service they will be hosting will be posted on the site as well..

(photo credit: djsportal.com)

INTERVIEW LINKS:
DISCO-DISCO.COM INTERVIEW
DISCOMUSIC.COM INTERVIEW
DJ'S PORTAL INTERVIEW
HOTDISCOMIX INTERVIEW
RBMA RADIO: PERSONAL - INTERVIEW WITH MORGAN GEIST

LINKS:
BARRY LEDERER TRIBUTE SITE
DISCOMUSIC.COM FORUMS - DISCO DJ BARRY LEDERER PASSED AWAY (MAY 31, 2008)
DJ HISTORY FORUMS - BARRY LEDERER R.I.P. (JUNE 2, 2008)
DISCO-DISCO.COM - COLUMNS BY BARRY LEDERER
MYSPACE - BARRY LEDERER
DISCOMUSIC.COM - CONTRIBUTIONS BY BARRY LEDERER

CATEGORIES: IN MEMORIAM.., DISCO NEWS

Labelle reunion album on the way..

Hot off the comeback wire (I know that's what this blog has become lately, regular programming to return soon) - the return of Labelle is evidently fully official now. While this has been in the works for some time now, and even before this, the ladies have reunited on regular occasions, a new album, their first in 32 years (although the press release says 33, either their off with their math, or maybe they just thought 33 sounded better) is now in the pipeline. Set to be released on Verve Records the record is set to feature production from Gamble & Huff and Lenny Kravitz.

Although I'm still missing some of their albums, I can definitely say that together and individually Patti, Nona & Sarah released some stellar records in their careers. Their final album, "Chameleon" (1976, Epic) is an all time favourite of mine, not to mention Sarah's disco classic "Sinner Man," Nona's "Busting Out" with Material and her excellent 1983 album ("B-Boys," "Transformation" - written by Canadian rock icons Rough Trade, no less) and Patti's career goes without saying, obviously... Although I'm not sure theyll be able to fit in to them old space suits and feathered frocks and what not (well maybe Nona can), but I've no doubt the ladies can still deliver. Vocally, the three of them together are practically explosive..

There's a great recent interview with them on Gaywired on the reunion which is worth a read.. Here's a copy of the recent press release:

Labelle Reunites on Verve Records for First Album of Original Songs in More Than Three Decades
Music's Most Revolutionary Female Trio Hits Studio With Rock Icon Lenny Kravitz and R&B Giants Gamble & Huff Producing

NEW YORK, May 27 /PRNewswire/ -- There are reunions and then there are reunions ...

Embodying one of music's most enduring one-word brand names, and boasting a genre-defying legacy that has successfully spanned three generations, our era's most influential female powerhouse is about to show a stifled music industry how to really turn it out.

Labelle is back!

Patti Labelle, Nona Hendryx, and Sarah Dash, R&B's most original and formidable trio are reuniting via Verve Records to deliver their first full-length studio album in more than 33 years.

The new recording, to be completed in June and on course for a global unveiling in the fall of 2008, is being produced by a trio of icons equally up to the task: cutting edge funk rocker Lenny Kravitz and longtime Labelle collaborators and 2008 Rock and Roll Hall Of Fame inductees, Gamble & Huff.

Transforming themselves from the classic-style 1960s girl group The Bluebelles into what one writer coined as 'the genre-bending rock supernova' of the 1970s, the innovative trio deftly combined glam rock, soul, funk, pop and gospel into a brash amalgam of breakthrough recordings such as "I Believe I've Finally Made It Home" from their pivotal second album Moonshadow (1972), and the groundbreaking "Lady Marmalade" from Nightbirds (1974)."

Labelle redefined the creative arc of the girl group, celebrating their three distinct personalities by donning outrageous costumes and addressing controversial issues in song and demeanor, shunning the cookie-cutter stereotypes that plagued most female singers of the era.

The group (which included Elton John on piano in its earliest incarnation) continually pushed gender boundaries in music of black origin, opening up for rock icons such as The Who and the Rolling Stones as they revolutionized the roles women played in R&B, rock'n'roll, and even fashion.

Often cited as a key influence for a new generation of female trailblazers such as Erykah Badu and Christina Aguilera, (the 2001 Missy Elliott-produced remake of "Lady Marmalade" featuring Aguilera, Mya, Pink and Lil' Kim snagged MTV's Video Of the Year, among other awards) the new songs crafted by Labelle also reflect the growth, wisdom and healing that exemplifies their individual storied paths after going their separate ways more than 32 years ago (though there have been several special events and live reunions since).

Braced, as always, by their trademark vocal firepower, the 2008 version of the supergroup still relies on their expansive range, show-stopping sense of theatricality, and as Nona puts it, their innate ability to "pull together as sisters and 'Labelle-ize' the music and the vibe and the spiritual side of what we do like nobody else on the planet."

Concocting an energized blend of uptempo songs and heart-wrenching ballads, the new recording includes the mesmerizing "Candlelight," the driving "System," the scorching "Superlover," and the old school/Gamble & Huff-helmed "Living Without You," resulting in an edgy but fan-pleasing album that once again finds Labelle embarking on a riveting musical narrative.

"The thread that always runs through is that we're sisters and we'll always be sisters," declares Patti. A connection between the three that may have frayed now and then over the years, but always remained unbreakable "The timing for us getting together was perfect," says Nona. "About a year and a half ago we met in the studio to record a tribute to civil rights icon Rosa Parks (the song "Dear Rosa" has yet to be released) and we just felt in our bones it was time to do this." It was Nona who tapped eclectic rocker Lenny Kravitz for initial production duty on the new disc. "We're friends and admirers of each other's work. We talked to him about the idea of us getting together and invited him to a session. He showed up that day at 5:00 and we haven't stopped working since."

Where Kravitz represents the next-generation appeal of the Labelle magic, legendary songwriters/producers Gamble & Huff were part of the Philadelphia/New Jersey nexus that helped launch the careers of the famous trio and give birth to the most popular soul sounds of the 1970s (O'Jays, Teddy Pendergrass, Harold Melvin & The Blue Notes, and others). In fact, Kenny Gamble and Patti Labelle grew up on the same street in Philadelphia, and Gamble was instrumental in helping to launch Labelle's career.

Such foundational strengths anchor the new album, eliciting the same kind of confidence that enabled Labelle to break the mold back in the 70s, with each member eventually taking flight in inspired solo careers that accentuated their respective gifts. Patti went on to sign with Gamble & Huff's Philadelphia International Records in the early '80s, releasing the seminal album I'm In Love Again that cemented her long and acclaimed solo career. Her subsequent duet with Michael McDonald, "On My Own," soared to #1 on the charts, with scores of hits and an impeccable live reputation rounding out more than two decades of acclaimed releases, television and film appearances, sold-out shows across the globe, and multiple awards, including her April 2008 Humanitarian Award presented in New York by the We Are Family Foundation chaired by Nile Rodgers.

Nona and Sarah (both hailing from Trenton, NJ) have also sustained compelling and highly successful individual careers. Sarah Dash has collaborated with such notable artists as Nile Rodgers and the Rolling Stones, (she even sang back-up on the Steel Wheels tour). Sarah also drew raves as a celebrated fixture of Keith Richards' solo outfit The Expensive Winos. She too, has written for the stage and is currently penning her autobiography, as well as staying involved in local Trenton community endeavors. Her recent appearance in San Francisco's hit interactive theatre presentation, Teatro Zinzanni, seamlessly blended her commanding performing style with European cirque, opera, and musical theatre.

Nona's songwriting and production ventures have led her to work with everyone from Dusty Springfield to the Talking Heads to Keith Richards, among dozens of other stars. A renowned tastemaker of both the rock and R&B worlds, she's contributed to the Showtime series Sleeper Cell soundtrack, working with Paul Haslinger, produced and written plays, and even launched her own label, Rhythm Bank, enjoying "sitting on the other side of the table for a change."

Labelle's long-awaited return to the studio signifies yet another chapter in the historic legacy of the group. But all three members are quick to assert it's not the final one. There will be a tour. After all, the live component of Labelle has often been cited as their most unforgettable dynamic.

"We're going to bring to the fans everything they've been asking for. We haven't lost our edge," assures Nona. "I feel we're better because of everything we've gone through," seconds Sarah. For a group whose roots indeed go all the way back to opening up for icons such as James Brown and Otis Redding, leave it to Patti to wrap it up -- true Labelle style. "I think all you gotta say is 'we're here.' We're like that caged bird. If you love it, you open the door and let it fly because you know it's going to come back stronger. Well, we're back, baby. Anyone that knows Labelle knows we don't know how to hold anything back."

http://www.vervemusicgroup.com

LINKS:
NONA HENDRYX - MYSPACE
SARAH DASH - MYSPACE
WIKIPEDIA - PATTI LABELLE
EURWEB - LABELLE REUNION ANNOUNCED (MAY 28, 2008)
GAYWIRED EXCLUSIVE - HEY SISTER SOUL: THE RETURN OF LABELLE (BY STACYE HOLTE & DUANE WELLS) (MAY 8, 2008)
BILLBOARD - HENDRYX: LABELLE REUNION IN THE WORKS (FEBRUARY 13, 2006)

CATEGORIES: DISCO NEWS

Colour it a comeback?

Unsurprisingly, "Crayons" has been one of my frequent listens this past week, and so far reviews have been about as mixed as the genres on the record. Admittedly, even despite my own initial skepticism, I've found a lot to love on this record. It's hard to believe that all of seventeen years have passed since the last time Donna Summer has released an original album (and about eight since her last aborted comeback). In the intervening years, her status as "Queen of Disco" and her classic recordings with Moroder & Bellotte seem to have only gained currency, so understandably expectations have been anything but modest. Despite that, "Crayons" comes across as less of an opportunity to affirm her title as the "Queen of Disco" and capitalize on the appreciation, or at least the spirit of her earlier work than it is an excuse to pick up where she had left off nearly 20 years ago and record what is possibly the most diverse, self consciously current, accessible pop records of her career. Depending on one's perspective, it's either a laudable move or a missed opportunity, and it seems almost every review out there seems to fall in either one category or the other..

In a time when the music industry seems to require veteran artists to release endless streams of standards/cover albums (the first suggestion her label brought to the table, not surprisingly), I'm not sure that there's an album out there now that manages to be so unabashedly trendy, yet so un-trendy at the same time. In my mind, she deserves a good deal of credit for bucking the trend and at nearly 60, putting out an original pop record, however out of place it may seem. While the likes of Madonna and Kylie Minogue, having perfected the impeccably timed pop singer reinvention, may be able to pull off something similar without the same sort of criticism someday; between her seventeen year absence from recording and her still strong association with the disco era, considerable vocal talent notwithstanding, one can hardly say the same for Ms. Summer.. Unlike a near decade ago when the likes of Cher and Tina Turner were putting out hit records with younger producers, in the last four or so years it seems, the thought of an aging diva staging a comeback with a pop record as polished and commercial as this one today, produced by a laundry list of current hitmaking producers feels almost like a critical death wish..

With songs like "Stamp Your Feet," seemingly tailor made for a Nike commercial, it's hook copping the Gwen Stefani/Fergie-inspired (or not so inspired) 'spelling bee' trend, to "Mr. Music", where she opens with a line about 'hooking up her iPod, shaking her body and being 'naughty, naughty', to "Crayons" (featuring Ziggy Marley) which sounds like K-os crossed with Rihanna, or even "The Queen Is Back" with it's Mary J. declarations backed with ABBA chords and hip-hop beats, parts of the album sound, to put it honestly, almost embarassing on paper. Admittedly, given all that, it would be extremely easy to completely dismiss the album altogether, if the results weren't as surprisingly and seriously enjoyable as they actually are.

Despite how they may come across on paper, the aforementioned first four tracks end up being some of the most infectious tracks on the record. The single, the Greg Kurstin produced "Stamp Your Feet" makes the perfect combination of dance-appeal and current pop-radio friendliness and "Crayons" (also produced by Kurstin), despite the surface similiarities to her less-than-stellar 1983 single "Unconditional Love," thankfully comes across infinitely better. Even the J.R. Rotem tracks - "Mr. Music" and "The Queen Is Back" with their slightly awkward combination of Donna and their urban styled production values, end up being some of the most memorably catchy tracks on the record.

Although not without it's low-points - namely the gimmicky, overproduced "Fame (The Game)" and "Slide Over Backwards" on which she adopts a southern alter ego whom she calls Hattie Mae Blanche Dubois, other album highlights include the latin styled "Driving Down Brazil," as well as Toby Gad produced "Science of Love" with it's memorable melody and impassioned vocal and lyric, which is, aside from the ones already released, perhaps the most obvious single on the album. As well, the more 'unplugged' tracks on the album, "Sand On My Feet" and the personal "Be Myself Again" and the socially conscious "Bring Down The Reign" are also notable moments, successfully bringing Donna and her voice into a setting in which she has rarely, if ever been heard. In so doing, they're perhaps the two tracks which most dramatically and clearly confirm the album's ambitions..

The first single and # 1 Billboard Dance hit "I'm A Fire" produced by Sebastian Arocha Morton emerges as another obvious highlight along with the international/US Circuit City bonus (also produced by Morton), "It's Only Love." Out of all the others, they are the only two tracks which seem to perfectly bridge the feeling of Donna Summer's classic disco recordings with today's contemporary dance/electronic aesthetics. It has to have been at least thirty years since a Donna Summer record has captured the sheer sensuality and sexiness in her voice as perfectly as "It's Only Love".

Although it's questionable whether this record will appeal to the same people who would buy a Fergie or Rihanna record, given how influential the work of Giorgio Moroder, particularly her work with him continues to be among newer generations of producers and listeners, there would likely be no shortage of younger, perhaps lesser known, but no less able and ambitious producers willing to return her to the forefront of contemporary electronic/dance music, if she so wishes to in the future. Anyone expecting as such with this album however, would probably be disappointed. Despite that, as a quality pop album and as a showcase of Summer's versatility, it's a roundly successful effort. Although her last original album was released seventeen years back, it's been even longer since Donna herself has sounded this engaged and exciting. So while this album may not singlehandedly untie her legacy from the past, she's at least proved that she's not about to be trapped by it, either. Hopefully the next album won't take another seventeen years.

As a side note, I've got my tickets to see her in Vancouver (well, Richmond actually) this coming August on her summer tour. It'll be my first time seeing her live, so I can't wait! I'll make sure I'll post a review and maybe some pix when I get back..

PURCHASE:
DONNA SUMMER - CRAYONS (US CD)
AMAZON.COM | CD UNIVERSE

DONNA SUMMER - CRAYONS (UK/INTERNATIONAL CD) - RELEASED JUNE 23
CD WOW | AMAZON.CO.UK | PLAY.COM

DONNA SUMMER - STAMP YOUR FEET (CD SINGLE)
PERFECT BEAT

DONNA SUMMER - I'M A FIRE (CD SINGLE - PART ONE)
PERFECT BEAT

DONNA SUMMER - I'M A FIRE (CD SINGLE - PART TWO)
PERFECT BEAT

PREVIOUS RELATED ENTRIES:
DONNA SUMMER/CYNDI LAUPER ALBUM UPDATES (THURSDAY MAY 15, 2008)
NEW DONNA SUMMER ALBUM COMING IN MAY.. (WEDNESDAY FEBRUARY 20, 2008)
BBC RADIO 2: CLASSIC SINGLES - I FEEL LOVE (SUNDAY DECEMBER 30, 2007)
TWIGGY DOES DISCO.. (WITH A LITTLE HELP FROM DONNA) (TUESDAY SEPTEMBER 18, 2007)
NEW DEAL FOR DONNA (THURSDAY AUGUST 3, 2006)
DONNA SUMMER - I GOT YOUR LOVE (MONDAY JANUARY 16, 2006)

DISCO DELIVERY #52: STAINLESS STEAL - CAN-CAN (1978, WARNER BROS.) (TUESDAY FEBRUARY 5, 2008)
DISCO DELIVERY #40: MUNICH MACHINE - A WHITER SHADE OF PALE (1978, CASABLANCA) (SUNDAY APRIL 29, 2007)
DISCO DELIVERY #14: SUZI LANE - OOH LA LA (1979, ELEKTRA) (SATURDAY APRIL 8, 2006)
DISCO DELIVERY #5: GIORGIO MORODER - FROM HERE TO ETERNITY (1977, OASIS/CASABLANCA) (FRIDAY FEBRUARY 3, 2006)

LINKS:
BILLBOARD.COM - DONNA SUMMER - CRAYONS (BY MIKAEL WOOD)
ALL MUSIC GUIDE - DONNA SUMMER - CRAYONS (BY ANDY KELLMAN)
SOULTRACKS: DONNA SUMMER - CRAYONS (ADVANCE REVIEW) (BY CHRISTIAN JOHN WIKANE)
THE DALLAS MORNING NEWS: DISC DEBUTS: "CRAYONS" BY DONNA SUMMER (MAY 27, 2008)
BLOG CRITICS MUSIC REVIEW : DONNA SUMMER - CRAYONS (BY DONALD GIBSON) (MAY 24, 2008)
SLANT MAGAZINE: DONNA SUMMER - CRAYONS (BY ERIC HENDERSON (MAY 20, 2008)
ORLANDO SENTINEL: VARIETY MARKS DIVA'S LATEST EFFORT (BY FERNANDO QUINTERO) (MAY 20, 2008)
THE WASHINGTON TIMES: VARIETY MARKS SUMMER'S RETURN (MAY 20, 2008)
NEW YORK TIMES CRITIC'S CHOICE: DONNA SUMMER - CRAYONS (BY BEN RATLIFF) (MAY 19, 2008)
BOSTON HERALD: DONNA SUMMER - CRAYONS (BY LARRY KATZ) (MAY 19, 2008)
THE MIAMI HERALD ALBUM REVIEWS - DONNA SUMMER - CRAYONS (BY HOWARD COHEN) (MAY 16, 2008)

POP TRASH ADDICTS: CRAYONS - THE POP TRASH REVIEW (MAY 24, 2008)
XO'S MIDDLE EIGHT: REVIEW - DONNA SUMMER'S CRAYONS (MAY 17, 2008)

DONNA SUMMER - OFFICIAL WEBSITE
DONNA TRIBUTE

CATEGORIES: NUDISCO, ARTICLES & RAMBLINGS

Donna Summer/Cyndi Lauper album updates..

It's less than a week before the release of Donna Summer's "Crayons" and a number of album tracks have premiered on the Australian radio station, Joy 94.9 out of Melbourne, including this one, "It's Only Love," written/produced by the same team behind her club single "I'm A Fire" (Sebastian Arocha Morton, Al Kasha etc.). With the sensual feeling of "I'm A Fire" paired with a throbbing, hypnotic energy, it's an absolutely stunning contemporary dance track; in fact, I think it's club single material. Unfortunately though this won't be appearing on the standard North American release, but as a bonus track on the international release (scheduled for June 23) and reportedly as an exclusive on editions sold at Circuit City stores in the US.. Hear it here before it's gone..

I haven't been able to access it myself, but for those of you who can't wait until the release, you can stream the album in it's entirety at VH1's The Leak. Sooner or later, I'll put up a full review of the album..

Also, for those of you who want remixes, the first CD of mixes for her latest single "Stamp Your Feet," which I quite enjoy, are available officially and exclusively through Perfect Beat.

Speaking of veteran divas, Cyndi Lauper's returning with a dance album "Bring Ya To The Brink," coming out May 27th (already out in Japan). She'll be on the road this summer with the True Colors Tour and I'm kind of bummed that I won't be able to go to see her (and the awesome Nona Hendryx) on any of the Canadian stops.. As far as her album goes though, I'm not too crazy for the first single "Same Ol' Story," but I've heard some of the other tracks and I've liked what I've heard for the most part. With collaborators like Basement Jaxx, Kleerup, Axwell and the awesome Dragonette (my favourite Canadian band at the moment), there's bound to be something good on the record.

While at work last week, I heard a fun interview with her on one of my favourite shows, Jian Ghomeshi's Q on CBC Radio One where she talks about her disco roots, her Sylvester connection and goes off on her record company for calling this 'her first original album in 12 years.' Listen to the interview here.

PURCHASE:

DONNA SUMMER - CRAYONS (US CD) - RELEASED MAY 20
AMAZON.COM | CD UNIVERSE

DONNA SUMMER - CRAYONS (UK/INTERNATIONAL CD) - RELEASED JUNE 23
CD WOW | AMAZON.CO.UK | PLAY.COM

DONNA SUMMER - STAMP YOUR FEET (CD SINGLE)
PERFECT BEAT

CYNDI LAUPER - BRING YA TO THE BRINK (STANDARD CD) - RELEASED MAY 27
AMAZON.COM | CD UNIVERSE

CYNDI LAUPER - BRING YA TO THE BRINK (JAPAN CD) - RELEASED MAY 14
JPOPHELP | HMV.CO.JP

PREVIOUS RELATED ENTRIES:
NEW DONNA SUMMER ALBUM COMING IN MAY.. (WEDNESDAY FEBRUARY 20, 2008)
BBC RADIO 2: CLASSIC SINGLES - I FEEL LOVE (SUNDAY DECEMBER 30, 2007)
TWIGGY DOES DISCO.. (WITH A LITTLE HELP FROM DONNA) (TUESDAY SEPTEMBER 18, 2007)
NEW DEAL FOR DONNA (THURSDAY AUGUST 3, 2006)
DONNA SUMMER - I GOT YOUR LOVE (MONDAY JANUARY 16, 2006)

DISCO DELIVERY #52: STAINLESS STEAL - CAN-CAN (1978, WARNER BROS.) (TUESDAY FEBRUARY 5, 2008)
DISCO DELIVERY #40: MUNICH MACHINE - A WHITER SHADE OF PALE (1978, CASABLANCA) (SUNDAY APRIL 29, 2007)
DISCO DELIVERY #14: SUZI LANE - OOH LA LA (1979, ELEKTRA) (SATURDAY APRIL 8, 2006)
DISCO DELIVERY #5: GIORGIO MORODER - FROM HERE TO ETERNITY (1977, OASIS/CASABLANCA) (FRIDAY FEBRUARY 3, 2006)

LINKS:
DONNA SUMMER'S OFFICIAL SITE
DONNA SUMMER - OFFICIAL MYSPACE
VH1 - THE LEAK: DONNA SUMMER
SOULTRACKS: DONNA SUMMER - CRAYONS (ADVANCE REVIEW)

CYNDI LAUPER'S OFFICIAL SITE
CYNDI LAUPER - OFFICIAL MYSPACE
CYNDI LAUPER'S BRING YA TO THE BRINK - THE UNOFFICIAL SITE
ROLLING STONE: CYNDI LAUPER - BRING YA TO THE BRINK (ALBUM REVIEW)
TRUE COLORS TOUR

CATEGORIES: NUDISCO, DISCO NEWS

In Defense of Disco by Richard Dyer

I had just recently come across this excellent article on the blog History Is Made At Night, completely by accident while searching for something else (something on Isaac Hayes, I believe it was). Originally published 1979 in a London Socialist journal called Gay Left, it's apparently one of the first and most important articles in the serious documentation and examination of disco.

Although the language is somewhat academic, as per these sorts of journal essays/articles, it's well worth reading for his analysis, especially on the physicality of disco (vs. rock), as well as his three characteristics of disco - eroticism, materialism, and romanticism. For me, one of the things I found especially interesting about this essay was the way the author examined disco in terms of 'capitalist music' and the hostility around it which flowed from that mode of thought.. In other words, analyzing the criticism of disco as inherently and irredeemably capitalistic while effectively deconstructing the basis of those very criticisms..

Some choice passages:

...The second kind of argument based on the fact that disco is produced by capitalism concerns music as an ideological expression. Here it is assumed that capitalism as a mode of production necessarily and simply produces ‘capitalist’ ideology....

... What all this boils down to, in terms of disco, is that the fact that disco is produced by capitalism does not mean that it is automatically, necessarily, simply supportive of capitalism. Capitalism constructs the disco experience, but it does not necessarily know what it is doing, apart from making money...

Read the full article at History Is Made At Night or as a .pdf file at the Gay Left issue archive.

There are also some other very interesting articles at History Is Made At Night relating to disco (see "The House the Kids Built: The Gay Black Imprint on American Dance Music") as well as other subjects (see "Privatized sound? - from the Walkman to the iPod") that are all well worth a read..

LINKS:
HISTORY IS MADE AT NIGHT
WIKIPEDIA - GAY LEFT
GAY LEFT - A SOCIALIST JOURNAL PRODUCED BY GAY MEN 1975-1980

CATEGORIES: ARTICLES & RAMBLINGS

Bedroom Disco

'Professor' Eddy - Bedroom Disco | LINK TWO

After the great response to "Starlight Disco," Professor Eddy is back with another stellar mix.. True to the title, goes from the hard, hot and heavy to the slow and sensual. To think that I had damn near forgotten all about Donna Summer's amazing version of "Je t'aime... moi non plus" (it's edited here, but the full original version is available on the "Thank God It's Friday" 2 CD soundtrack)..

Eddy also has a new internet radio show entitled "Soul Searching," which you can find at Laid Back. Also at Laid Back, check out his excellent "Slow Disco, Vol. 2" mix..

Le Pamplemousse – Back Street City Lights (1979)

Stacy Lattisaw – Don’t You Want To Feel It (1980)

Herbie Mann – Jisco Dazz (1978)

Mac Davis – I’m Just In Love (1976)

Marvin Gaye – Funk Me (1979)

The Salsoul Invention – Nice And Slow (1979)

John Gibbs with the Jam Band – J’Ouvert (1979)

Risco Connection with Lorna Brooks – I’m Caught Up (1980)

Silver Convention – Spend The Night With Me (1978)

MFSB – Sexy (1975)

Asphalt Jungle – Freakin’ Time Pt.1 (1979)

Sarr Band – Magic Mandrake (1978)

Johnny Bristol – Love No Longer Has A Hold On Me (12”) (1980)

The O’Jays – Let Life Flow (1976)

Teddy Pendergrass – Come Go With Me (1979)

Donna Summer – Je T’Aime (Moi Non Plus) (Eddy’s Interrupted Edit) (1978)

PREVIOUS RELATED ENTRIES:
STARLIGHT DISCO (THURSDAY MARCH 13, 2008)

LINKS:
LAID BACK SHOW - PROFESSOR EDDY: SLOW DISCO, VOL. 1
LAID BACK SHOW - PROFESSOR EDDY: SLOW DISCO, VOL. 2

CATEGORIES: SIDE DELIVERIES

Linda Clifford interview tonight on Strictly Confidential Radio

This'll be a quick one, but I just got this in my Inbox and thought I'd pass this on.. One of the great disco divas, Linda Clifford will be live tonight on Peter Godbold's internet show, Strictly Confidential Radio at 9pm EDT/6pm PDT. This will be a call in show, so they'll have their toll free number ready for those who want to speak with the lady herself. I had a fun chat on Strictly Confidential with Peter back in January, and I'll definitely be tuning in for this..

To listen, or join in their chat room, go to the Strictly Confidential website and follow the links on the left..

Update: For those who weren't able to tune in, the show is available as a podcast here. For the record, on the program Linda sounded like one of the nicest, most charming ladies one could hope to meet..

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY ON STRICTLY CONFIDENTIAL RADIO (MONDAY JANUARY 21, 2008)
DISCO DELIVERY #10: LINDA CLIFFORD - IF MY FRIENDS COULD SEE ME NOW (1978, CURTOM/WARNER BROS.) (FRIDAY MARCH 10, 2006)

LINKS:
LINDA CLIFFORD OFFICIAL WEBSITE
LINDA CLIFFORD OFFICIAL MYSPACE
LINDA CLIFFORD @ DISCOMUSEUM
STRICTLY CONFIDENTIAL RADIO @ THE HEAD-ON RADIO NETWORK

CATEGORIES: INTERVIEWS, DISCO NEWS

Róisín Murphy and some other newer shit that gets me all excited..

For some reason, in the last little while, I've felt the urge to immerse myself in some of the pop music that I've completely missed out on lately, so these things are most likely well covered elsewhere, but given the disco influence in some of these songs, I suppose it'll still fit in with the format of things on here.. Note: this was the post that I was actually intending to put up in place of the last one.

First off, I can't help but feel extremely excited about a lot of the great music that has come out recently. Despite (or perhaps because of) the fact that the industry seems to be recovering from the onslaught of file sharing, I don't think music has been this exciting in quite a while. Although I have to admit a certain fondness for the Cher-popularized Metro-produced/Thunderpuss remixed dance resurgence of the late 90's, 8-10 years ago, with the prevalence of boardroom pop music - the onslaught of boy-bands, Britney and assorted clones thereof, I definitely don't remember things being nearly as interesting... Personally speaking, this really doesn't have anything much to do with chart positions, commercial music TV/radio (which I had completely given up on at least 8-9 years ago) or big record labels, but with how much the internet has evolved in only the last little while (call it the effect of Web 2.0 maybe?) as a means of disseminating music and information and the levelling effect that it seems to have. Not so much with file sharing alone, but with blogs, message boards, and the evolution of other websites like Discogs and Myspace, YouTube etc.., it seems easier than ever to hear and find out about music and artists that I would have never gotten to hear on commercial radio or any other traditional outlet. The biggest manifestation of that, for me at least, has been in exploring disco music/artists. Even if the 'net weren't around, I would still most likely be looking for disco at used record shops, however I doubt that the exploration (and the appreciation) of it would be nearly as interesting and enjoyable.

I guess much of this comes down to the fact that, for the first time, on a more personal level, even without listening to commercial radio, subscribing to any popular magazines or watching cable TV, it feels like there's more music out there that I'm interested to hear than I can actually really listen to or at least really take in like I once did.. If someone would have told me ten/eleven years ago when I first logged on to the good old interweb that years later some of the latest musical acts would be signed on the strength of a social networking site like Myspace, I would have had a hard time imagining it. It would be interesting to see what people will say ten or twenty years from now at the music of today, the industry and the effect of technology and all of the changes taking place.. For me, at least, the web has definitely become the new radio..

Anyway, while these things have been covered many times earlier and elsewhere, I figure this would be a good post for this, lest anyone think this blog and my appreciation of disco is my way of completely rejecting anything new and contemporary, musically speaking.

I can't say that I'm familiar with a great deal of Moloko's records, nor of Róisín Murphy's first solo album, but lately, having spent the last few months luxuriating in her latest album "Overpowered" (2007, EMI), her boldest bid for pop stardom thus far, I don't think there's a pop singer out there today (sorry Kylie, sorry Madonna) who has the incredible sense of style - physically and musically, and who conveys as much personality as she does. Quite honestly, the last time an artist has captured me with their style and music in this way was some nine or ten years ago when I'd discovered Grace Jones (which is another post, for another time). Not surprisingly, Róisín's a fan, too.. Although chart-wise the results have been somewhat modest by pop standards, they've managed to crank out three singles (with a fourth on the way). At the very least, reading the reviews and reactions to her album, appearances and concerts, she certainly seems to have built up an even stronger image and following as the penultimate fashion-forward pop star of the day. As far as the disco connection goes, Róisín herself has said in the album's press release and in an interview with Anthem Magazine (among other places) that much of the album was based around disco influences, and nowhere is that more obvious than on one of my favourite tracks on the album, "Let Me Know," produced by Groove Armada's Andy Cato.



Definitely my favourite video of hers. The greasy spoon-turned-disco, the outfit, the whimsical dancing and oblivious patrons - love the colours and thematic contrast.. At first listen, the chord progressions stuck out like a sore thumb, not quite a sample, but obviously based on something familiar that I couldn't quite put my finger on. My first thought was of some early 80's Leroy Burgess boogie track (like Fonda Rae's "Over Like A Fat Rat", maybe), but it appears the closest similarity is to the chords of Tracy Weber's Larry Levan mixed disco hit, "Sure Shot" (which, it seems, goes uncredited on the album). Someone posted a side-by-side comparison on YouTube, which seems to have been taken down recently..

More Róisín fabulosity: "Overpowered" and her latest - "You Know Me Better"



For some reason, her more avant-garde solo debut, "Ruby Blue" (2005, Echo) was released in North America, but unfortunately this one hasn't so far. If EMI can give Kylie Minogue a US release, surely they can put something behind this..



I'm not a vegan PETA supporter or anything, but I think the video for Moby's latest single, "Disco Lies" is pretty hilarious and clever, albeit in a bloody and twisted sort of way, that is.. Throw in some disco references, and I'm completely hooked..



Two different videos of the latest single, "Black & Gold" from the Australian-born LA-based singer Sam Sparro, currently riding high (#2 as of this writing) on the UK Charts. Easy on the ears and the eyes - the next gay pop star, perhaps? Definitely looking forward to this album..



If you haven't caught this on Pop Justice or Joe.My.God or anywhere else, "Longing For Lullabies," the latest single from Andreas Kleerup (who did Robyn's UK #1 last year, "With Every Heartbeat") is yet another one that I've been obsessed with lately. I must have had it on repeat all night after seeing it on Joe.My.God. Featuring Neneh Cherry's underrated (at least on these shores) sister, Titiyo, whose last album "Come Along" (2002, Lava/Atlantic) had a low-key US release, which I was surprised to find at an HMV here several years back. I remember enjoying that album quite a bit at the time (note to self: must find my copy). Here is the video along with a recent unplugged live performance from Swedish TV. Leave it to the Swedes to create something this simple and beautiful...



Must also give a hat-tip to Terry Miller of T.M.L. for introducing me to the neo-disco greatness that is Escort as well as the sweet and wonderful Sally Shapiro. Her album, "Disco Romance" (2007, Paper Bag) is/was one of my winter soundtracks this year and definitely among my favourite releases of 2007..

For those who are interested, Terry recently put together an excellent two part disco mix for cosmicdisco.co.uk.. Click over there and take a listen!

LINKS:
ROISIN MURPHY FAN BLOG
MOBY @ MYSPACE
SAM SPARRO @ MYSPACE
SALLY SHAPIRO @ MYSPACE
PITCHFORK FORKCAST - KLEERUP (FEAT. TITIYO) - LONGING FOR LULLABIES

CATEGORIES: NUDISCO, VISUAL DISCO

An update..

This is a bit overdue, but I have to apologize to the readers/listeners out there for my latest absence in posting. Admittedly, I'm far from the most regular blog poster out there, but I've had a month to take a little break from the disco to catch up and take stock of some of the other things going on in my life which badly needed some attention. Before I turn into a drama queen here, I'll spare everyone the personal details. Just to explain things, back when I had started this blog, life was quite a bit different for me. I was going to school on somewhat of a full time basis, between jobs, living with the parents deep in the Calgary suburbs - there wasn't a lot around, except the abundance (at least compared to now) of spare time on my hands. All of those things had changed quite drastically towards the end of that year (2006), and I'm quite honestly surprised that I've kept this thing going for as long as I have. I'd still like to continue this blog, but for those who haven't gauged the pattern, the frequency of my postings tend to ebb and flow more than most. By that I mean, irregular and slow in such a way that seems incompatible with the very nature of blogging. It seems, despite what I've been constantly telling myself and hoping for, I just don't see my commitment to this blog changing anywhere back to what it once was. I'm starting to wonder whether I can or should keep doing this all by myself.

While there are people who keep their blogs and websites active with much more going on in their lives, with my own all-or-nothing, control-freakish nature, there are times when keeping this active is more of a challenge than it should be. Not trying to fish for compliments here, I've had many wonderful people give me some very kind words over the past two years, but being completely honest with myself, I've never really been a good or original writer, my technical proficiency in music is limited at best (the things that I once learned in Preliminary Rudiments have long since gone out the window) and as much as I love Disco music, it's getting harder to find original things to say and ways to say it. I've tried to do the best that I could with what I do have, but it's just getting harder for me to hold myself to certain standards.

So point being, even if I don't see myself doing this indefinitely, I'm not closing or quitting the blog just now, there are still things that I still wish to write about, but if anyone wishes to contribute to the blog, any reviews, essays, perspectives, etc.. feel free to drop me an email at the address on the left (see the suggestions link). Eventually, I'd like to somehow pass this blog project on to a group, or even just one other like-minded disco fan(s) who will keep things active on here, and hopefully compensate for my own inactivity.

- T.

CATEGORIES: MISCELLANEOUS

Disco Delivery #54: Willie Hutch - Midnight Dancer (1979, Whitfield/Warner Bros.)

Willie Hutch - Disco Thang
Willie Hutch - Midnight Dancer
Willie Hutch - Kelly Green
Willie Hutch - Never Let You Be Without Love
Willie Hutch - Everyday Love
Willie Hutch - Deep In Your Love
Willie Hutch - Everybody Needs Money
Willie Hutch - Down Here On Disco Street

A gifted songwriter, guitar player and a great singer as well, the late Willie Hutch was, in my opinion, one of the greatest talents at post-Detroit Motown. Not counting all the albums he has released, songs he had written and produced; his classic scores for blaxploitation flicks like "The Mack" and "Foxy Brown" have, alone, ensured his legacy with old and new generations alike. Much like Norman Whitfield, albeit without the same sort of grandiose style, Willie Hutch's work had a gritty elegance that seemed to stand out in the Motown pack.. Combining blistering funk, with a wonderful melodic sensibility and a warm, passionate, soulful touch, his style was unmistakable.

I had first discovered Willie Hutch some seven years back, while skipping class one Friday afternoon. Heading straight for the HMV, I'd picked up a cheap VHS copy of "Foxy Brown," just for the hell of it.. Between Pam Grier, Willie's soundtrack, the pimps, prostitutes, drug pushers, gratuitous titillation and clumsy fight scenes, I don't think I could have asked for a better introduction to the wierd, wonderful world of Blaxploitation. Having loved not only the movie but Willie Hutch's awesome score, I had gone from there and picked up a copy of "The Very Best of Willie Hutch" (1998, Motown) shortly after. Between the Foxy Brown Theme and his brilliant covers of "Stormy Weather" and "The Way We Were," along with hard hitters like "In & Out," I'd become a fan from then on..

Although certainly not among the first names that comes to mind when one thinks of disco, one would be hard-pressed to argue with the influence of danceable funk like "Slick," "Brothers Gonna Work It Out," and "Get Ready For The Get Down" on the genre. Although like many of his contemporaries, he'd seem to have a harder time getting noticed during the disco era, he nonetheless continued to make some strong records during this time. After his last LP for Motown, "Havin' A House Party" (1977, Motown), he'd make the jump to super-producer and former Motown colleague, Norman Whitfield's own Warner-affiliated Whitfield label for a couple of albums. His first album for Whitfield "In Tune" (1978, Whitfield), was produced largely by both Whitfield and Hutch, apparently being the first of Hutch's LPs to credit an outside producer. Although he hadn't garnered any big hits on Whitfield, I'd consider the two albums for the label to be excellent records. Contrary to what I had expected, this particular album, "Midnight Dancer," his second and final for Whitfield was written and produced entirely by Hutch himself. I'm not sure if it's the only Whitfield LP release to not have Norman involved as producer in some capacity, but it has to be one of the few.

Despite some of the disco overtures in the artwork and songs, the material on this record actually seems closer to his righteously soulful, well established style than the previous album for Whitfield. For me though, the first two tracks are probably the most sonically stunning. "Disco Thang" with it's opening combination of strutting bass riding the top along with Wah-Wah Watson's lush guitar work and swelling strings (arranged by Gene Page) makes a perfect opener. Rooted in funk, driven by a heavy, greasy bassline and a stunning horn arrangement; it's probably the anthesis of the main disco trend of the time of higher energy and higher tempos, but whatever it's disco credentials, it's a nice six minute piece of luxurious dancable funk..

The title tune and second track, "Midnight Dancer," one of my favourites on the album, definitely takes the cake for sheer sonic awesomeness.. If it weren't for the credits, I would have sworn Norman Whitfield had a major hand in this. While Norman's name is largely absent from the official credits (aside from a general thank you for 'creative input'), Willie definitely seemed to take a few cues from Whitfield's style, especially with those killer, space-trippin' sci-fi synth stabs (used to great effect when paired with those swirling, swelling strings).

Although Hutch also seemed to try a little of Whitfield's 'mama said, papa said' storytelling style in the lyrics, for all of his talents, he just didn't seem to have quite the same knack for it (at least if this song is any indication). For example, around the four minute mark, ostensibly, we're led to believe this is a song about a young man who "learns all about groove that he can" and grows up to become the "Midnight Dancer," spreading his "boogie, boogie" all over the land. Then the break comes in, which is awesome by the way - synth-stabs front and centre; lyrically speaking however, it all falls apart when our Midnight Dancer decides to go into funk preacher mode:

"In the beginning, the Creator gave song and dance, he gave the heart, the horn and the drums.."

"And the thundering of the drums motivated the spirits of all men women and children"

So far, so good.

"And now with song, we bring you the drums of the midnight dancer, to release the energy of your soul."

Which evidently translates as..

"and I mean Dance! Dance! Dance!"

And if anyone didn't get that:

"and I mean.... SHAKE YOUR DONKEY!!!"

I've never heard anyone tell me or anyone else to shake their 'donkey' before, much less make it a clarion call. Anyway, I suppose that's one donkey that has long since rode off the lexicon..

If the title track was lyrically awkward, he more than redeems himself however with three of the tracks which lie at the heart of this album. "Kelly Green," "Never Let You Be Without Love" at the end of Side One and "Deep In Your Love" on Side Two are three songs which have some of the most genuine, heartfelt lyrics and performances on the album. While those averse to love ballads might remain unmoved, the lyrics of these songs (which thankfully avoid much of the maudlin cliche's of the genre) epitomize the sort of uncompromising poetic, sentimental beauty that I've always associated with some of the finest classic R&B balladry. With wonderful melodies, genuine and unpretentious lyrics sung soulfully and passionately, all the while complimented with Gene Page's arrangements and Wah-Wah Watson's unmistakably luxurious guitar work, these songs have to be among some of Willie Hutch's most underrated work.

Towards the end of the album, things go back into more uptempo material, first with "Everybody Needs Money," a little piece of funkdified social commentary. To quote one verse: "...some say that money's the root of all evil, but I.. disagree with that..," he later goes on to lament the price of gas, rising cost of living etc... My, how times have changed..

The album closer, "Down Here On Disco Street" quite appropriately makes the most bold overture to disco on the album. Opening with a deep, delicious bass, much like the title implies, as a funky disco ode to the escapism of the disco scene, it carries on with a nice groove that goes full circle with the album opener.

One of Willie Hutch's lesser known albums, "Midnight Dancer" probably doesn't top some of his Motown work, particularly excellent albums like "Mark Of The Beast" (1974, Motown) or any of his soundtracks for example, but it nevertheless remains a solid, enjoyable album in it's own right. While it's not typical of the straight-ahead, higher energy disco that was popular in 1979, nor of much of the disco that I've covered here in the past, it nonetheless stands up well, both as a solid, enjoyable album as well as an example of the more funk oriented disco that probably didn't get as much attention in the genre's waning years.

After his stint at Whitfield, Hutch would go on to write one of Gwen McCrae's most enduring dance hits, "Keep The Fire Burning." Around the same time in 1982, he would also have his biggest club hit with "In & Out", a single which gave him a second coming of sorts at Motown, where he would end producing for acts like The Four Tops, Junior Walker and Carrie McDowell (see "Uh Uh, No No Casual Sex"). Although he wasn't quite as prolific the second time around, he would contribute a couple of songs to "Berry Gordy's The Last Dragon" as well as release one last album for the label "Making A Game Out Of Love" (1985, Motown). Sadly, Hutch passed away at the age of 60 in September 2005, he had continued making and releasing new music right up until his later years, his last album being "Sexalicious" (GGIT) in 2002, released on his own independent label.. From The Jackson 5's "I'll Be There" and "Brothers Gonna Work It Out" to later hits like Gwen McCrae's "Keep The Fire Burning," and his own "In & Out" and "The Glow" he had undoubtedly left behind a stunning, enduring musical legacy.

In 1998, evidently to promote his then recently released best-of CD, The Dallas Observer did an excellent article on him, entitled "He'll Be There," which is thankfully still available online in it's entirety. Well worth reading for a look into the man's life and music. Shortly before his death, he also recorded an interview along with some live performances which have been put on to a DVD entitled "The Willie Hutch Story," released by the Expansion label in the UK, which I'm certainly curious to see ..

LINKS:
WILLIE HUTCH - MIDNIGHT DANCER LP @ DISCOGS
WILLIE HUTCH - MIDNIGHT DANCER LP @ DISCOMUSIC.COM
WILLIE HUTCH @ ALL MUSIC GUIDE
SOULWALKING - WILLIE HUTCH PAGE
THE GUARDIAN - OBITUARY: WILLIE HUTCH (BY GARTH CARTWRIGHT) (TUESDAY OCTOBER 4, 2005)
EURWEB - WE REMEMBER SOUL SINGER WILLIE HUTCH (SEPTEMBER 21, 2005)
THE DALLAS OBSERVER - HE'LL BE THERE (BY ROBERT WILONSKY) (OCTOBER 29, 1998)

CATEGORIES: DISCO DELIVERIES, IN MEMORIAM..