I'm sure many of you have heard the news by now.. James Brown, Soul Brother Number One, The Godfather of Soul, The Hardest Working Man In Show Business and truly the Original Disco Man had passed away early this morning of Pneumonia.. If it weren't for James, there would be no disco, there would be no hip-hop and no funk. Simply put, there is no overestimating the man's influence on popular music today. As naive as it may seem, I never thought I'd see the death of James Brown. One of those legendary figures who, despite whatever setbacks he experienced, seemed nearly as robust and indestructible as his own legacy. Towards the end of 2004, when I heard that James was taking his "Funkin' Canada" tour through Calgary, I snapped up a ticket for myself as soon as I could. After the death of Rick James a few months before, I wasn't about to pass up the opportunity to see a legend like James perform live and in person. I had the money, the show was right at my school, at the University of Calgary's MacEwan Hall; essentially, I had absolutely no excuse. I remember the date, December 8, 2004, one of the tightest shows I ever had the priviledge of going to. The show was standing room only, thankfully I had come early enough to get my ass right up front. From that vantage point, you couldn't help but see, feel and hear the discipline he commanded, not only of his band, but of himself to pull off a show like that. I remember the best part of the show, towards the end with his blistering, extended jam of "Sex Machine." For the most part I have a tendency to be fairly restrained, even at concerts, but he even managed to get my stiff-ass self chanting "git on up!".. He was no longer able to do his famous splits, yet there was no diminishing his powerful, albeit diminutive presence; every little hot stepping dance move and gutteral yelp commanding the approval of a crowd full of students, kids, parents - of all ages, spanning at least several generations.
Personal shortcomings notwithstanding, that's the way I'll always remember James Brown. Rest in peace J.B.
One last thing: In case anyone's interested, I'll no doubt be sure to have some disco J.B. up on the blog in the coming days..
Some of you might be wondering why the hell haven't I put up any Christmas disco, after all there was so much of it, I mean how could I not at least have put up the ol' Salsoul Orchestra Christmas album for chrissakes!?
Well, to be completely honest, my collection of Christmas disco is, to put it lightly, rather lacking.. I've never really been much for holiday music and when looking for disco, let's just say the Christmas stuff was way down on the list.. In my mind I always equated it with those K-Tel compilations; quick cash-ins by little budget labels in order to snag the desperate or indiscriminate holiday buyer.. In other words, just plain cheesy and plentiful, with little that could start me off and satisfy my budding disco fixation. I don't want to call it snobbery, but whatever, let's call it that.. At the time, I was looking for the sort of records that would open me up to the elusive world of the disco underground, the stuff that Joey Negro and Sean P. were digging up for their "Disco Spectrums," which I was all over at the time; the stuff that Larry Levan was said to have played at the Paradise Garage; the records that fans on the online forums and websites were all over and which I, as of yet, had no clue of.. I wanted to rediscover and relive the sort of things that had captured me as a kid, "Le Freak," "In The Bush," "Sunset People," "Think It Over" and the like.. Besides, I would always see tons of listings on eBay for the CD of the Salsoul Orchestra's first "Christmas Jollies" album, which is possibly (and I'm only guessing here) the only Salsoul album that has never gone out of print since it's release.. Needless to say, I didn't see anything in any of those cheesy, plentiful Christmas disco records that could take me there or anywhere near that underground disco world of beats and grooves that collectors, seasoned dancers and clubgoers (that actually were there) had laid claim to. In other words, it was less Paradise Garage and Studio 54 and more like an old Grandma and Grandpa at their weekly disco dancing class.
I'd like to think that I've moved beyond that. I quickly realized that I was never going to find anything worthwhile for myself unless I opened my mind; besides, most of the enjoyment from crate-digging came from following your own instincts and picking up things that looked different and interesting much more than it was about looking for those things that everyone else was looking for.. As well, many of those same fans and collectors were quick to hold things like the venerable "Christmas Jollies" album in high esteem, which more or less contradicted my whole theory that Christmas disco albums were completely insubstantial.. Recently I got a suggestion for the "Disco Noël" album by Mirror Image (which is apparently available on CD), a studio group that were also known as the Mistletoe Disco Band (thanks Chris!) who released a couple of Christmas disco albums on the budget Pickwick label. Their "Disco Noël" was one album I had seen many times, but had never bothered to pick up. I went to the store expecting to find me a good copy, but lo and behold, all the copies of that and other disco Christmas albums that I had remembered were down to a select few copies with worn, ripped covers and scratched, beat-up vinyl. I suppose it goes without saying, I didn't end up buying any of them.
In the mean time, I did have this one twelve-inch single that I had picked up in the summer. An early 12" single from 1976 on the P.I.P. (Pickwick International Productions) label (a "legit" arm of the budget Pickwick label, I assume), the A-side was a pleasant version of "The Little Drummer Boy" by an anonymous studio outfit called Moonlion. Produced by Rick Bleiweiss and Bill Stahl, who were most notably the same guys who had produced another P.I.P. act, The Gary Toms Empire, their Moonlion version is a bouncing, swinging take on the venerable christmas standard. Completely instrumental with jaunty, lilting strings and snares complimented by those noble sounding trumpets, it's perhaps a tad overwrought, but then again, so is this whole Christmas season thing. I suppose in that way, it captures it pretty well.
Anyway, that's my rather lengthy excuse. I do hope to have a better selection of Christmas disco classics next year. Rest assured, I'll be planning in advance. So whether this puts you into the Christmas spirit or not, Merry Christmas and Happy Holidays to everyone out there.
Isaac Hayes Movement - Disco Connection Isaac Hayes Movement - Disco Shuffle Isaac Hayes Movement - The First Day Of Forever Isaac Hayes Movement - St. Thomas Square
Finally it's here!
I hadn't pulled out this album in a little while, until a reader recently asked me if I had the title track, which he had recently heard on the TV show "So You Think You Can Dance?" .. Despite the fact that I hadn't listened to it in a little while, it remains probably one of my all-time favourite instrumental disco albums, if anything one of my favourite Isaac Hayes disco efforts..
Isaac, who's contribution to the Stax label and the Memphis Sound has been well documented, was certainly no stranger to the disco either. From his seminal proto-disco, proto-rap "Theme from Shaft" all the way to "Moonlight Lovin' (Ménage á Trois)," "Don't Let Go," and "Shoot Your Best Shot," the latter produced for Linda Clifford, he was one of the most prominent R&B legends to make a serious transition to disco.. Although his mid-late '70's disco efforts were not often seen in the same light as his earlier efforts, there were some definite classics among them, some quite well known, others, like this one, that were rather overlooked..
An instrumental album released under the name of his backing band, the 'Isaac Hayes Movement,' "Disco Connection" was also to be one of the first Isaac Hayes albums that seemed to be aimed specifically towards a disco audience. Overall, it seems 1976 was Ike's "disco year." In 1976 alone, he would release a total of three albums; "Juicy Fruit (Disco Freak)," this LP and "Groove-A-Thon," all of them with something aimed towards the disco.
Apparently both this LP, along with the "Groove-A-Thon" album were released just weeks apart from each other, and just before the advent of the commercial 12" single, no less. By this time he had already left Stax and was on ABC under his own imprint, HBS (Hot Blooded Soul). Despite the hectic pace and his new and seemingly improved label situation, neither of the three LPs from that year would do as well on the charts as any of his previous. It seemed to signal the end of an impressive run on the Billboard charts where pretty much all, if not most of his albums ended up topping the R&B charts as well as reaching the top 20 of the pop charts. Although the charts on at allmusic.com don't indicate much action, the title track did however do a little something on the disco charts. According to the 1976 Billboard Disco Charts posted on the discomusic.com forums, the title track would stay on the disco charts for a total of five weeks and peak at #26 in January of that year. That said, the liner notes of the "Groove-A-Thon" reissue seem to suggest that perhaps both "Groove-A-Thon" and "Disco Connection" could have done better had they been promoted with 12" singles, so perhaps there were limitations there on the label's part. Regardless of all that though, in my opinion "Disco Connection" is perhaps a prime example of not only Hayes' genius, but of early disco at it's best; a mix of sophisticated funk combined with layered, rich arrangements and orchestration. In other words, an excellent example of that time where disco wasn't quite at full-throttle; where there hadn't yet been too many stylistic formulas applied to it. In my estimation at least, it was a combination that seems to have made that year a particualrly rich one in the disco era, creatively speaking.
The title track and "Disco Shuffle" are probably the funkiest and most disco-oriented of all the tracks on the album, with both selections anchored by dynamic horn sections and particularly in the latter, a heavy beat to go with it. One other notable attribute in "Disco Shuffle" are those meaty guitar licks, which are particularly engaging. Certainly one of the most effective uses (that I've heard at least) of this almost bluesy guitar sound in anything even remotely disco.. As far as the title track goes, one of my favourite elements of "Disco Connection" are those couple of great, ample wah-wah sections towards the middle and the end, giving the track a kind of signature Shaft-esque disco-funk edge. One could point out other distinctive attribute to "Disco Connection," which is in the fact that it is not held down, as one might expect, by any significant degree of bass, whether drum or guitar. It's beat is anchored by a much lighter, and much sharper (for lack of a better term) crashing beat. I'm not sure how exactly they got that kind of metallic, crashing sound; whatever the case, despite the absence of those bass elements, it's probably that same thing which sets it free in a way. It seems to give the track a certain lightness and dynamic edge, if you will. There's still that generous dose of funk, particularly in those wah-wahs and horns, yet there is also a lighter, faster, almost elegant dancefloor freedom about it that is uniquely disco.
"St. Thomas Square" and "The First Day Of Forever," are probably the two that showcase Hayes' melodic sensibility to the fullest, with both steeped in blissful, dreamy layered orchestration. "..First Day Of Forever" in particular showcases a particularly harmonious blend and interplay between the string and horn sections. As well, there is that beautiful flute in "St. Thomas Square," which progresses into an engaging, almost jazzy solo towards the end of the track. That said, neither of the two tracks would likely be considered a club stomper in any way, yet I for one just can't deny their engaging, melodic qualities. As much as they differ from the heavier, faster selections, they fit and compliment them perfectly. Taking the pace down slightly but not too much, still maintaining an engaging tempo, while giving some more room for those melodic, and orchestral (particularly in "..First Day of Forever") arrangements to shine through and work their magic.
From what I've come across, Hayes' brief association with ABC Records apparently came to an end with his filing for bankruptcy and a seemingly slow-selling duet album with Dionne Warwick. He would resurface in 1977 on Polydor with his excellent "New Horizon" LP which would yield classics like "Stranger In Paradise," "Moonlight Lovin' (Ménage á Trois)" and "Out Of The Ghetto" among others. His Polydor years, while not reaching the commercial heights of his Stax era, would yield more disco classics like "Zeke The Freak" and "Don't Let Go" to name just a couple. More recently Hayes has been one of the more prominent celebrity adherents of Scientology and not to mention his part as the voice of Chef on South Park. It seems 2006 has been, if anything, a full year for Hayes, with a mild stroke in January and subsequent pulling out if South Park, over being apparently offended by their lampooning of Scientology. His leaving the show was not without it's controversy, with reports and allegations that his leaving (largely reported by FOX gossip columnist Roger Friedman), coinciding with his recuperation from his stroke, were not so much of his own free will, but engineered by the Church of Scientology. Whatever the case, he has stood by his departure, saying "I just decided it was time to leave. For a time it was fun.. The fun ran out."
In addition to the controversy, 2006 also saw Isaac and his wife give birth to a new son and most recently saw the singing of a new record deal. Concord Music Group, who bought out the Fantasy label (which owned the Stax catalogue) in 2004, announced just a few days ago that it would be relaunching the Stax label in 2007 for it's 50th anniversary. Isaac Hayes and Angie Stone were announced as the first two signings to the relaunched label, so hopefully 2007 will see some new music from Ike himself. His last original album,"Branded" (1995, Pointblank/Virgin) was released over ten years ago now, so if anything, it's a return that's long overdue.
For a little something extra.. I just found a rare video of "Disco Connection" on dailymotion with Ike as conductor, or as Millie Jackson would say; "directin' the shit".. Even though the video is most likely staged, I always get a kick out of studio session videos like this. Helps one imagine all the more vividly just how the different musicians and sections work together, not to mention the sheer level of musicianship and coordination that it must have taken to put a track like this together..
I figure it's about time I update people on what's happened since I last posted about this company back in March.. This past July, I finally and thankfully received the CD of Debbie Jacobs' "High On Your Love" that I ordered back in November of 2005. Someone at the company had apparently seen my blog entry, tracked down a record of my order and proceeded to fill it. Although the sound quality of the CD is, in my opinion, less than stellar (for one thing the tracks on the second half of the album sound muddier than the first half); either way, I sincerely thank them for addressing my concerns and filling my order.
*Judging from the emails I recieved from them back in July, it seemed like they sincerely wanted to rectify any of the unfilled orders that they have. However disorganized they may have been, I really don't think they were out to deceive anyone. Since I originally posted this update, I've had a couple of people contact me through here about their unfilled orders and they've since been contacted, or attempted to be contacted by GetDisconnected. If anyone still has outstanding issues with them, don't hesitate to email them at either music@getdisconnected.com or info@getdisconnected.com or leave a comment below and they should get back to you.. If anyone is uncomfortable ordering directly from their webshop, GetDisconnected's reissues should be available at retailers such as Amazon.com, Perfect Beat or Dusty Groove. No doubt, you'll pay a bit more, but you'll have greater security..
I know I said I'd update yesterday. Once again I'm late (as usual), I wanted to get the Disco Delivery done yesterday, but let's just say my Saturday night went on a little longer than I anticipated (not that I'm complaining or anything)..
I'm hoping to work on the upcoming Disco Delivery entry some more tonight, in the mean time here's one of my favourite El Coco records, hell, probably one of my all time favourite disco records.. "Dancing In Paradise" is to me, one of the best things Rinder & Lewis ever did. Starts off with some of the most exquisite strings, then goes into that equally exquisite synth driven melody... It all comes together in what is truly one of the most sublime, escapist disco records I've ever heard..
I remember I first heard this track, not on it's own, but sampled on Ultra Naté's "Dear John," a great song off her excellent "Stranger Than Fiction" (2001, Strictly Rhythm) album. One of the best uses of a disco sample that I've heard so far.
Anyway, Rinder and Lewis are one duo whose productions I've really been taking a shine to in the last while or so. Most recently, I got their excellent "Seven Deadly Sins" LP in the mail, but unfortunately, decent copies of the "Dancing In Paradise" LP always seem to elude me. So until I get that, here's a rip of the 12'' I got a couple of months ago..
Hope this'll tie you all over until then, as for the next Disco Delivery, here's a hint: think "connection" and "movement."
I apologise for the lack of updates this week, but unfortunately I'm in the middle of a spree of finals and term papers.. My next update will be sometime this coming Sunday the 17th, when I should be done with most of it.. Again, my apologies.
In the mean time, for those of you who haven't heard it yet, check out Barry Walters' new Disco internet radio station at RadioioDisco.. And in case some of you were wondering, Barry is not only a huge disco fan, but is in fact the same guy who has written for the likes of Rolling Stone, Village Voice, Out Magazine and Blender among others.. Definitely one of the most diverse, eclectic disco playlists out there, so check it out if you can..
Oh, and just a lil' hint: even though the link takes you directly to the disco station's page, you still have to select the disco channel from the drop-down menu when the pop-up window comes up..
Also, I just added a couple of new links as well, Terry's Musical Life and Slap Upside The Head (for anyone out there looking for a playful, witty take on gay issues up here in Canadaland), check 'em out as well..
I apologize for repeating myself somewhat, this is the second time I've posted a First Choice LP, but it's one that I've been listening to quite a bit lately. I first got this LP back in 2002, the first LP of theirs that I ever got. I remember at the time playing the hell out of "Pressure Point," but believe it or not, it's only recently that I've managed to really listen to the whole LP continuously. On the whole, my impressions are that it's perhaps not their best album, but nonetheless one with some overlooked gems on it.. For one thing, I think "Pressure Point" is one of their most infectious records; those tense, exquisite strings at the opening, great horn section and those drums, which are just plain bumpin'. It seems unfortunate that this doesn't seem to have been released as a 12'' single.. Produced by Norman Harris, but mixed by Tee Scott, Scott's mix teases you with series of brief breaks which, if anything, just hint at the potential greatness that an extended 12'' mix could have been..
One of the tracks that I sort of 'discovered' while revisiting this album was "Can't Take It With You." Not a strictly 'disco' song, but probably one of the best songs they did. To me it seems to recall some of the storytelling style of some of their earlier material.. A great lyric delivered with extra feeling by Rochelle Fleming herself; it's really the chorus though that brings it home, with the other two ladies, Annette Guest and Debbie Martin carrying it like a mantra when they sing "...can't take it with you, no you can't, when you're gone..gone..gone...". Let me just say, for the record, Rochelle and Loleatta Holloway (I really need to do an entry on her sometime) were two ladies that put the 'soul' in 'Salsoul.' Seriously, these women could sing the phone book, the dictionary even, and make make it sound genuine and soulful. Rochelle, particularly, just seemed to have a certain comforting warmth in her voice, which I think this song captures particularly well.
The single off the LP was the title track, "Breakaway," backed with "I Can Show You (Better Than I Can Tell You)". The former, written and produced by their long time producer Norman Harris along with Love Committee member and future TemptationRon Tyson, has an overall sound that probably comes closest to that of their biggest hits. The understated break half-way through is probably my favourite part of that song, along with those straight-outta-Philly rhythm arrangements.. "I Can Show You.." was one of a couple of tracks on the album written and produced by the team of T.G. Conway, Allan Felder and Cary Gilbert. For this one particularly, it seems like the overall production style was perhaps somewhat dated by 1980, recalling a more earlier disco sound than anything that was to come in the 1980's, although that can probably be said for most of the album as well. Also, I've always thought the title was a little too wordy, since for one thing, the ladies barely manage to enunciate it in the chorus. That said, I've actually really grown to like this one, especially towards the second half when those accented horns are given a little more room to shine..
All of the tracks posted above were mixed by the late Tee Scott, a DJ pioneer who got his big start as a DJ in 1972 at the New York club Better Days. By the late '70s and into the early '80s Scott was starting to gain recognition as a mixer, his first mix was First Choice's own "Love Thang" from their previous album, "Hold Your Horses" (1979, Gold Mind/Salsoul). These days, Scott seems to be one of the more underrepresented DJ's/mixers of the time.. With the recognition given to Tom Moulton, Larry Levan and Walter Gibbons in recent years, maybe like the others, Scott will be one of the next to have his work anthologized.
As for the album, while "Breakaway" was a decent LP overall, they seemed to have played it fairly safe with it, opting to stick with familiar collaborators and a tried and true sound. It would have been nice to see how or if they would have branched out with their sound in the early 1980s if they would have continued on. Although it doesn't seem to have been intended as such, unfortunately this would be the last First Choice LP. In a 1987 interview (paraphrased from discomuseum.com), Rochelle mentioned that the early 1980's had seen the group mired in legal disputes with management (the nature of which I'm not completely sure of) that, to quote Rochelle, "knocked the spirit out of the group". According to the same interview, the group broke up amicably after that point, with Rochelle continuing on her own, releasing singles sporadically throughout the years, most notably "Love Itch" (1985, Prelude), "Danger!" (1994, Cutting Records), "Suffer (The Consequences)" (1995, Cutting Records) and most recently "Get It On (Summer Love) (2002, Equal) and "Are You Ready For Me" (2006, D:vision). She still performs occasionally, and apparently had an album in the works with Cutting Records at one point, though I'm sure that project has long been shelved. In any case, Rochelle's timeless voice has fronted many a disco classic and it's my hope at least, that we'll hear her grace some fresh, new grooves once again in the near future...
Note: "Breakaway" and "I Can Show You.." were both taken from CD, the other files were taken from vinyl.. Also, the "Breakaway" album was recently released on CD by Unidisc as part of their Salsoul reissues series, which has been spottily distributed, for whatever reason (territorial issues with other Salsoul licencees perhaps?).. Nevertheless, it is available and in print (see the purchase links below..). I haven't bought it yet, so unfortunately I can't speak for it's quality..
I've had my sound card for some ten months now, and believe it or not, it was only few days ago that I finally learned to rip my vinyl properly.. Some of you may have noticed, but whenever I'd rip from vinyl there would be this incessant crackling that went way beyond the usual vinyl surface noise. I'd try to remove the crackling manually with a noise reduction program, but the results were decidedly mixed since removing the noise often ended up distorting the music itself.. Anyway, with a little fiddling on some of the hardware profiles, I've finally managed to solve that problem, so my new rips should sound a little less muddy than before..
On to the music..
This is one of the many 12" singles I acquired during my little vinyl shopping spree at the beginning of October. Definitely one of my best finds, "Mutual Physical Attraction" is one delightful disco sleeper from 1980; a sort of sexy, slightly sleazy euro-style hybrid of a pulsing electronic beat and an infectious horn arrangement.. To be sure singer Eve John has a voice that, while seemingly limited (with the background singers handling most of the heavy lifting), completely belies her anglo stage-name (she also recorded under the slightly more Francophone sounding moniker, Evelyne John largely, but not exclusively in French). In this case, her French-Canadian/Quebecois accent is really half of the charm of this record. As far as the production goes, the best part, in my opinion, is that amazing horn arrangement - the backbone of the song and the most obvious hook on the record.
Update (February 2012): Not sure which came first, however thanks to YouTube, I just found out Eve John had recorded a French version of this song - "Obsessions," also from 1980.
The B-side "Good Love, Bad Love," is a more conventional disco production.. The lyrics are hokey at best "whether it's a good love, a bad love, I need your love" and her vocal limitations are even more apparent; still, it's a pleasant tune saved by a string arrangement which is, quite appropriately, right up front in the mix.
The production on both sides is credited to Blue Jeans Records, but I'm assuming that's just a guise for Carlyle Miller, who both wrote and arranged the song (and is fully credited on the French version).. I guess it's no surprise that the horn arrangements are so great on the A-side, since Miller was known primarily as a horn player and arranger on some prominent disco records from Canada, most notably Gino Soccio's "Outline" (1979, Célébration), Karen Silver's "Hold On I'm Comin' " (1979, Quality/Arista) and Patsy Gallant's "Are You Ready For Love" (1976, Attic) and "Besoin d' amour" (1976, Attic) albums. He was also a Juno award nominee in 1976 for best songwriter on Patsy Gallant's hit "Sugar Daddy." Despite all that, I haven't yet found anything else he's been involved in on the production side, and according to the All Music Guide, his credits pretty much fall off after 1984 or so..
A full Can-Con production, it's kind of ironic that the record was released on the Foreign Exchange label, who true to their name, seem best known for licensing foreign productions for Canadian distribution, most prominently Santa Esmeralda's albums. Though, I have to say, their distributors, London Records (one of the most prominent purveyors of disco in Canada), had one of my favourite company disco sleeves
Update (January 2009): At the time of the original post, while doing a bit of research, I had actually come across a pressing with the original picture sleeve on eBay. The seller was from Italy, so I thought maybe the single got an Italian release with the pic sleeve. It was only recently that I realized that pic sleeve should have been for the Canadian release. I only found this out while diving through some records at my favourite record haunt (the same place I got this one), where I had found the original sleeve with the wrong record inside. I guess someone had shuffled it out at some point.. Nonetheless, I'm happy to finally have the proper sleeve (pictured above) in all it's big haired, over-painted, tiger printed glory..
