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

Disco Delivery #20: Hott City - Ain't Love Grand (1979, Butterfly/MCA)

Hott City - Feelin' Love
Hott City - If All We're Gonna Do Is Dance
Hott City - Ain't Love Grand
Hott City - I Took His Money
Hott City - Peaks And Valleys

Another slab of disco from the Motor City this week.. Produced by the production team of Jeffrey Parsons and Jeffrey Steinberg and released on the LA-based Butterfly label, this album is probably one of my favourite disco gems. So far, the more I hear from the Butterfly label, the more interested I get in their output. For sure, one of the ultimate disco boutique labels. Some of you who have been following this blog since January probably remember me posting "Feelin' Love" for my third or fourth post back then. It was only this week that I finally obtained the full album, so forgive me for repeating myself a little bit. Ever since I received it, I've been listening to it like crazy, so I just had to put it up..

Four of the five tracks on the album (all except "Peaks and Valleys") were released on 12" singles. From what I gather though, the 12" versions were the same length as the album versions. All of the tracks were stellar, but the opening track "Feelin' Love" is probably the crème de la crème of this album. An exquisite blend of sexy, slow-burning, synth arrangements shooting, pulsing and surrounding those smooth, soaring vocals courtesy of Detroit singer Sherry Fox. It's probably the most atmospheric track on the album, the others being a little more forward lyrically and otherwise.

Speaking of forward, the next song on side A, also sung by Sherry Fox, "If All We're Gonna Do Is Dance" is probably one of the more ironic tracks on the album. In fact much of the album is almost dripping in a kind of defiant ironic, even sarcastic tone to it. With the same exquisite arrangement, although more melodic than synthesized, it's a song about a woman who's tired of dancing while waiting for her man to make his move. After being convinced that her man is finally going to "make it right," she goes to his place only to find more of the same.. To which she says "..If all we're gonna go is dance.. I'm going home.." I guess I don't have to have to point out the irony in this one. For me, it's really all in the juxtaposition between the theme and the delivery. It's not often you hear a woman sing so elegantly and beautifully yet so forwardly about her making the moves on her man. Even beyond that, it could even be a little *nudge nudge*, *wink wink* to the listener. Gotta wonder, if her man won't make a move, won't respond to hers and can't seem to stop dancing, perhaps he may not be all that into women.. Just a thought. In a way, it's all very Vanity 6 meets Karen Carpenter, if you know what I mean..

Opening side B is the title track, "Ain't Love Grand." This one has a more aggressive synth arrangement, faster tempo and colder vocals (by Bluejay, whoever she is). All of that, along with those lyrics, none of which seem to have anything loving in them.. "Hey.. Ain't love grand, one night stands, no demands.. Date me, rape me, crape(?) me, ain't love grand.. Bait me, mate me, hate me, ain't love grand.. Blind me, bind me, don't re-mind me, ain't love grand.."

Continuing in the same vein is "I Took His Money," this time with vocals by Ortheia Barnes and Mildred Vaney. A song that seems to be about a couple of women dabbling in and justifying a little bit desperate prostitution.. "I.. took his money.. he.. took my love... I needed money, he needed love.. " After which, one of the singers admits, "..sometimes you have to be dishonest, to make it through this life.." which seems put the ladies' whole idea of "love" under question. Kind of ironic, since really, exchanging money for sex pretty much cancels out any possibility or idea of "love". Which is perhaps one reason why the song wasn't called "He Took My Love" instead..

The next song, "Peaks and Valleys," is one that's slightly more positive and less sarcastic/ironic than the last few. Also with Ortheia and Mildred on vocals, the ladies document the ups and downs of their week, with the ever reliable relief of a Saturday night at the disco.. "Monday I got fired, Tuesday I got lucky, Wednesday someone broke in my car.. Thursday I got a new job, Friday I got evicted, Saturday night I dance like a star.." This song quite a fitting album closer and, in a way, sums up the ethos of disco quite nicely in the next lines: "..As long as I can dance, the valleys aren't so bad.. and when I'm old and grey there'll be good times, good times ahead..." Much like the Saturday nights at the end of a hard week, there's always the hope and the reminder of those good times to keep us going. That one day it'll all pay off and there'll be something better to look forward to.. "Up here.. down there.. peaks and valleys.. life is never smooth"..

One other thing that I love about this album is that decadent album cover, which looks glamorous, despite being shot either in someone's kitchen or greasy spoon cafe.. What looks like two lipstick lesbians, one standing up, the other up on the table, both sharing a drink. Right next to them, an elegantly dressed woman nonchalantly showing off her ring to what seems to be a bartender.. I wonder what, if anything, it's all supposed to say about the concept of the LP.

For whatever reason, this project was originally called Graffiti, with the first singles being released under that name. I guess the name change was done so as not to be confused with another group of the same name. The only other Parsons/Steinberg disco production that I know of were a couple of 12" singles they did (which I have yet to hear) for the 20th Century label under the moniker Cut Glass. The most well known of which was "Without Your Love" peaking in the top 20 of the disco charts in 1980. Overall, Hott City and Cut Glass aside, the two Jeffreys are something of an obscure duo. There's very little record of anything they did together or individually before (or at least in Parsons' case) after these two disco ventures. Although I have come across some information on a Jeff Steinberg who once worked for the Detroit Symphony Orchestra. Not sure if it is the same person as the one on this record, but his bio mentions that he has been in the industry for some thirty plus years and has worked in a variety of different genres. Unfortunately though, his official site (www.jeffsteinberg.com) says nothing of this record, so again, not 100% sure if it's the same guy.

One of the vocalists on the album, Sherry Fox seems to have been a fairly well known Detroit singer, most notably a part of the group RJ Fox. Fox would also appear as a backing vocalist on Aretha Franklin's rather dire 1991 album "What You See Is What You Sweat" among other things. Two of the other vocalists on this album, Ortheia Barnes and Mildred Vaney were also the vocalists on the Cut Glass project as well. Ortheia Barnes (now known as Ortheia Barnes-Kennedy), sister of soul singer J.J. Barnes is also a very well known singer in the Detroit area, having even been called one of the city's most beloved singers. Barnes would also appear as a vocalist on a few Aretha albums, namely "One Lord, One Faith, One Baptism" (1987, Arista) and her self-titled 1980 album. In 1985 she would release her one and only LP titled "Person to Person," (1985, Michigan Sattelite) with the single "Green-Eyed Monster." Later Barnes would establish her own non-denominational, non-traditional ministry in Detroit to help the homeless and those recovering from addiction. More recently in 2005 she would even make a run for Detroit City Council.

Prior to recording as Hott City and Cut Glass, Mildred Vaney, was most notably a member of a group called Quiet Elegance along with Lois Reeves (sister of Martha Reeves) and Yvonne Gearing. Quiet Elegance were quite an interesting group, recording for the Memphis Hi label and having been managed by The Temptations. Despite that though, their careers as recording artists never really took off like their performing careers. While they were active, they would tour with the likes of The Temptations, Al Green, and Tom Jones among others.. In the '80s after her disco work, Mildred Vaney would record as Millie Scott (sometimes credited as Mildred Scott) and would even do a couple of albums for the 4th & Broadway/Island label. Her first album, "Love Me Right" (1987, 4th & Broadway/Island) contained the top 20 R&B hit "Every Little Bit," which would be followed up three years later by a second LP "I Can Make It Good For You" (1990, Island). More recently she has also been one of Aretha Franklin's regular backup singers, both live and on her most recent record "So Damn Happy" (2003, Arista) as well as on some of the Four Tops' recent recordings.

Anyway, round of applause for you if you've still reading this.. In other things, I added three new music blog links: la Fin del Mundo, Plasticmusic and Rockcritics daily. Ender at la Fin del Mundo recently put up the Spanish version of Tantra's "Hills of Katmandu," which I hadn't heard until then.. So to any of you who liked the original and who haven't heard the Spanish version, go get it while it's hot!..

PREVIOUS RELATED ENTRIES:
FROM 1979, WITH LOVE... (JANUARY 11, 2006)

LINKS:
HOTT CITY - AIN'T LOVE GRAND LP @ DISCOMUSIC.COM
HOTT CITY - FEELIN' LOVE 12" @ DISCOMUSIC.COM
HOTT CITY - I TOOK HIS MONEY 12" @ DISCOMUSIC.COM
HOTT CITY @ DISCOGS
CUT GLASS (MILDRED VANEY & ORTHEIA BARNES) @ DISCOMUSEUM.COM
ORTHEIA BARNES: DETROIT'S OTHER DIVA DETROIT FREE PRESS (APRIL 19, 1987)

CATEGORIES: DISCO DELIVERIES

Disco Delivery #19: The Mike Theodore Orchestra - High On Mad Mountain (1979, Westbound/Atlantic)

The Mike Theodore Orchestra - High On Mad Mountain
The Mike Theodore Orchestra - Disco People
The Mike Theodore Orchestra - Dragons Of Midnight

Truth be told, I was planning to put up the Patrick Adams Presents Phreek album today, but when I played it, I realised my album was way too dirty and noisy to rip.. I really hope to put that one up some other time, just not until I find a way to give the record a good cleaning though..

With that little dilemma, I had to find something else that grabbed me enough to replace it, and this was it. So far this is my first orchestra posting and of all the disco orchestras I've come across, this one of my favourites. The Salsoul Orchestra was probably the most prominent and well known disco orchestra, but aside from them, studio groups calling themselves "orchestras" were a dime a dozen. Naming yourself an "orchestra" was at times an easy way to give an anonymous assemblage of studio musicians a level of grandeur, but there many during the disco era who were quite true to the term. While, in all cases, these "orchestras" were basically ensembles of studio musicians that rarely toured, many often had that characteristic "big" sound with large numbers of musicians (and specialized musicians) involved in the recording. This one in particular had at least fifty musicians involved, including a large string, horn and wind sections, not to mention the vocal chorus, percussion players and so on..

The producer behind this project, Mike Theodore was a Detroit-based producer/arranger who had worked quite frequently with another prominent Detroit musician, Dennis Coffey (best known for his classic track "Scorpio"). Together they would become one of the most prolific production teams out of Detroit during this time. Starting their partnership in the late '60s they would, among others, produce various acts largely for the Sussex and later the Westbound labels in the 70s. One of their biggest successes during the disco era was "Devil's Gun," (1978, Westbound) a classic disco hit for the group C.J. & Co. (of whom a couple of members appear on this record). Aside from that they would also produce records for the likes of King Errisson and the Tempest Trio during this time. In the late '70s, along with their work together they would branch out into their own solo productions. Coffey would release his own Dennis Coffey Band LP called "A Sweet Taste of Sin," (1978, Westbound) and Theodore would do two albums as The Mike Theodore Orchestra, the first being "Cosmic Wind" (1977, Westbound) spawning the disco hit "The Bull" and this album, "High On Mad Mountain" following in 1979.

True to the "orchestra" moniker, the album has that big, grand sound throughout. Full of funky, meaty guitars along with sweeping, graceful strings and punctuated drums and percussion. There are even some light synths in places to add that little bit of atmosphere. The incredible arrangements and musicianship involved in a record like this one is one of the things which astounds me about the disco era. Never again (or at least not since), at least in dance music, would there be productions with this level of careful detail and diversity. While there's something to be said for the emergence of electronic disco and some of the more laid-back, minimal productions from the likes of Chic, you can't help but admire the effort that went into orchestra-style productions such as this one. Alec R. Costandinos was one of those who championed the art of orchestral disco. While the European sensibility and conceptual works of Costandinos were completely different to the more American, rhythmic, even funk influenced sound of this album; his sound and that of this album could, in some ways, be put in a similar category. Both had high levels of musicianship for starters as well as grand, powerful, intricate orchestral production values/arrangements. In other words, both great examples, albeit in different ways, of an orchestral disco sound.

Aside from "Disco People," "Dragons of Midnight" and the title track both had a dark, ominous even aggressive sound to them, with deep punctuated horns and clouded, distorted vocal effects.. "High On Mad Mountain" is a particularly escapist track, with lyrics about "..freaky scenes of pure delight" and flying into "..a night of fantasy.." complete with blissful buildups and wild synth workouts. "Disco People" is slightly less dark than the other two, with somewhat livelier vocals and a somewhat playful arrangement to it. "Disco People" later segues into the album closer "Dragons of Midnight" with goes back into darker territory with those aggressive horns and a chanting, growling vocal chorus (which may either be menacing or somewhat hilarious, or both). All of the cuts on the album would end up peaking at #23 on the Billboard disco chart..

After the disco era, Mike Theodore would continue as a producer and also as an engineer on records such as Freeez's "Gonna Get You" LP (1983, Beggars Banquet) and the group Unlimited Touch as well as some other records like "Jungle Love" by Westside and "Hellfire" under his own name - both tracks mixed by Morales/Munzibai. This album along with the first Mike Theodore Orchestra album were put on a 2 LPs on 1 CD set by Ace Records (Westbound's UK licencees) in the '90s, which so far is still in print. I don't have that one quite yet, but I hope to soon. I'll probably review it on here when I do get it.

PURCHASE:
THE MIKE THEODORE ORCHESTRA - COSMIC WIND/HIGH ON MAD MOUNTAIN CD @ CDUNIVERSE.COM
THE MIKE THEODORE ORCHESTRA - COSMIC WIND/HIGH ON MAD MOUNTAIN CD @ AMAZON.COM

LINKS:
THE MIKE THEODORE ORCHESTRA - COSMIC WIND/HIGH ON MAD MOUNTAIN CD @ DISCOMUSIC.COM
THE MIKE THEODORE ORCHESTRA - HIGH ON MAD MOUNTAIN LP @ DISCOMUSIC.COM
THE MIKE THEODORE ORCHESTRA - HIGH ON MAD MOUNTAIN/DISCO PEOPLE 12" @ DISCOMUSIC.COM
THE MIKE THEODORE & DENNIS COFFEY @ DISCOMUSEUM.COM
THE MIKE THEODORE ORCHESTRA @ DISCOGS
MIKE THEODORE @ DISCOGS

CATEGORIES: DISCO DELIVERIES, PAST REISSUES