Liner Notes: Patrick Adams Presents Phreek (1978, Atlantic / 2014, BBR/Cherry Red)

 I'm sure many of the disco heads reading this were aware of the great RBMA Larry Levan street party in New York that happened nearly a month ago now, right outside the former Paradise Garage (in conjunction with the Larry Levan Way initiative). Covered heavily not only by Red Bull Music Academy themselves, but by Rolling Stone, the New York Times and the Wall Street Journal, it promised to be a landmark event not just for that weekend, but for the legacy of Larry and the Garage itself. Unfortunately, I wasn't able to be there, but watching the amazing livestream on their website (which unfortunately is not archived - though at least now the audio is), I have to say for those of us, like myself, who weren't around to experience it in its day, or for those who may not have completely understood the draw of the Garage, it was a chance to really witness the power of its legacy and what it meant to the people who were a part of it (and to those who weren't). To see not just the Garage veterans, but generations of people - gay, straight, black, white (and beyond) - dancing together in that kind of joy (under clear sunny skies, no less) it was a truly beautiful thing to witness. Even if it did have to end earlier than planned (on account of crowd concerns from the police - some 20 thousand people in attendance, a number of them stuck in the lineups to get in), from most accounts, RBMA managed to pull off a truly special event that everyone could be proud of..

With all that happening, I suppose it was kind of timely that my promo copies of this reissue (which had come out in February) arrived in the mail just a few days before. Perhaps best known for "Weekend," which by many accounts, had been one of the biggest Paradise Garage anthems (and which of course was played at the recent street party), Patrick Adams Presents Phreek had long been one of my favourite disco albums and when the opportunity presented itself, I pretty much jumped at the chance to write the liner notes for this release..

On a personal note, I remember this being one of the first albums I'd sought out when I first became aware of Patrick Adams' productions. I had already bought the Musique albums, as well as the first Disco Juice compilation (which included some of his Cloud One material). Not long after, in 2001 (some 13 years ago now - yikes!), at my local record haunt at the time - I had found a lone sealed, but unfortunately water damaged copy of this album. Checking it over carefully, debating with myself whether it was worth the dust and mould, I'd ultimately decide to leave it behind that time. I'd go back and repeat that exact scanario several more times before one day deciding that enough was enough - I had to have it, in whatever condition it came in. After all, it was the music that counted and since it was still sealed, any water damage could probably just be cleaned off anyway, right? Sure enough, the day I make a point of going there to buy it, I go to find that somebody had beat me to it! Couldn't believe it at the time, that someone else - in Calgary, Alberta no less (not exactly somewhere where you'd think you'd have been in competition for disco albums, certainly not back in 2001) would have been after this record and after it enough to buy one in that condition. Goes to show perhaps, as anecdotal as that impression may be, a sign of the cult following that this album probably already had at the time. Luckily, not too long after, a much nicer copy would find its way into their bins, which I quickly bought and which I still have and treasure today.



Phreek - May My Love Be With You (Vocals: Donna McGhee)
Uploaded by DJ Amine Bebito

Several years after, in 2007, I had written a Disco Delivery entry for this album and I pretty much jumped off some of what I had written then when I began the liner essay for this. One thing about this album that has always stood out for me is that I've always found it to be the bridge between Patrick Adams' experimental side on his productions on the P&P label, like Cloud One and the more slick, sophisticated arrangements that he was also known for, especially on his major label work. You've got a light string arrangement on "Weekend," you have the heavy moogy freakiness, the sweet, sublime and soulful sides ("May My Love Be With You") and of course, the lascvisious side as well ('I'm A Big Freak (R U 1 2)"). It's like a summary of the many angles of Patrick's musical approach at the time and in the credits, a gathering of many of his closest associates.

Disco Delivery #38: Patrick Adams Presents Phreek (1978, Atlantic)
It had actually taken a little while to do so, but last summer I was fortunate enough to get in contact with this two of the album's leading figures - Patrick Adams himself and Leroy Burgess (who co-wrote "Weekend" and "Much Too Much" with James Calloway and co-produced both tracks with Patrick) and interview them over the phone for this. Prior to doing so, I was expecting to rely a great deal on both of their RBMA lecture sessions, which both Patrick and Leroy had done some nearly 10 years apart. As informative as those conversations are, it was no replacement for speaking to them personally about the album, their working relationship and how certain songs on the record came to be. Still, both of their RBMA lectures are highly recommended viewing for anyone even halfway interested in their work..



Lecture: Patrick Adams (New York, 2013)
Uploaded by Red Bull Music Academy on Vimeo.



Lecture: Leroy Burgess (Rome, 2004)
Uploaded by Red Bull Music Academy on Vimeo.

From there, I dug a little deeper and also managed to contact Issy Sanchez, who was Atlantic Records' Director of Disco Promotion and A&R at the time and who had also done the highly sought-after 12" remix of "Weekend." Issy was not only able to give insight into that 12" mix and some of workings within the label, but given that he was fairly tight with Larry Levan and the Paradise Garage organization, was able to give some insight into how well "Weekend" had been received there and just how much of a classic it had become for Larry and the Garage crowd.



Phreek - Weekend (12" Disco Mix by Issy Sanchez, Vocal: Christie Shire)
Uploaded by tmontyb10011

Another key player I contacted for this was Christine Wiltshire, the lead vocalist on "Weekend," on both this and the Class Action cover version that came later. Credited as both Christine Wiltshire and Christie Shire on the album credits, Christine was not only one of Patrick's main backing vocalists and his vocal contractor but also his girlfriend at the time (they have a daughter and were together - personally and professionally for over a decade). I'd have to say that finding Christine was one of the greatest revelations in this process. The now Oscar winning documentary 20 Feet From Stardom had just come out at the time, and hearing her story, she could have very easily been one of the film's subjects. Given how prolific she was as a background vocalist (and not just on Patrick's material), I was surprised to hear that she hadn't really been interviewed in depth about her work before our conversation. Her beginnings in the music business go back well before her disco work, when she sang in a trio called Something Different, with two childhood friends - Angel Coakley along with a certain Jocelyn Brown, who'd become a prominent and prolific vocalist in her own right (and who also appears here on Phreek and on quite a few of Patrick's major productions).. As a trio, Something Different had sang with Zulema, Bill Withers and even John and Yoko (getting a featured billing on Yoko Ono and The Plastic Ono Band's "Feeling The Space" album, no less). Apart from the trio, Christine herself would sing with Lou Reed and with Luther Vandross' group on his very first album, as well. While I was only able to use a small part of our interview for the liner notes, it was without a doubt one of the most valuable conversations I'd have in this whole process..

A Correction:

At one point I quote Leroy Burgess talking about "Much Too Much" being the "first suggestion of the boogie sound" which it definitely is, especially if you listen to his later work as Convertion and Logg (he is widely crowned the king of boogie, after all). However he also goes on to say in doing it he wanted something with "a dance feel, but not as fast as what traditional disco is." Well, checking the BPM, it's not exactly slower than the rest of the record or even standard disco, but given that its got a funkier, more spacious arrangement than some of the others on the album, I think most people can see what he was getting at anyway. Still, something I should have caught earlier on.

Earlier Japanese reissue:

Although Phreek had been out of print physically for some time, it had been legitimately available on iTunes for a few years before. Just as I came into this project however, Warner had evidently released this in Japan as a basic, low-priced CD reissue some months before this UK reissue could came out. Given that it was released as part of a budget-priced series (which also included another release BBR had licensed - Gwen McCrae's 1982 album), it was also a lot cheaper than your usual Japanese reissue (selling in some places for just over $10 US - and that's as an import). Whether that was intentional or not,(in pricing it in order to appeal to international buyers), it certainly ended up stealing some thunder from this release. That being said, (aside from the liner notes, of course) the UK BBR reissue includes two bonus tracks - Issy Sanchez's original 12" mix of "Weekend" and its B-side - a longer version of "Have A Good Day" which aren't included on the Japanese reissue.

A note about "Weekend" and chart positions:

Patrick once posted on his Facebook about how some of his records have only become more and more popular as time has gone on. I believe he'd been referring to one of his P&P productions at the time, but I think this applies just as well to Phreek and "Weekend" too.. Right on the heels of "In The Bush," and right around the same time as a couple of other albums he'd produced on Atlantic - for Narada Michael Walden and Herbie Mann, even though this didn't chart quite as well as either of them, it seems out of his work for Atlantic,"Weekend" and the Phreek album have been the ones that discophiles today consistenly cite as one of his essential records. While I'm sure subsequent covers, remixes and samples along with its attachment to the Larry Levan/Paradise Garage legacy have played a significant part in that, it should also be noted that at the time of its release, despite positive reviews from Vince Aletti in Record World (see the December 9, 1978 entry - pg. 448 in the The Disco Files) and Stereo Review, this didn't chart anywhere on Billboard, including their disco chart. That said, I should also note that at the time of this album's release, Billboard's National Disco Action chart only went up to #40. It was only several months later in April 1979, that it would expand to 60 positions, (then 80 and eventually 100), so whether "Weekend" would have actually charted had that expansion come several months earlier is perhaps anyone's guess, but also goes to show whether or not a record is remembered years later, sometimes has little or nothing to do with its initial chart positions.

Covers and remixes:

Although "Weekend" has been covered and remixed, most famously covered by Class Action and later Todd Terry(which was a #1 Billboard dance record, nearly ten years after the original's release), remixed by Tommy Musto in the late 1990s and also covered recently by the current edition of Odyssey, have to give a shout out to Joey Negro's recent remix of "May My Love Be With You." Although not a part of this reissue, it was included on his Remixed With Love compilation and is undoubtedly one of my favourite songs from this album. True to its claim, done lovingly and faithfully in that old school style (ie. no added bells and whistles here, aside from what was already on the master), it only makes me love it even more.


PURCHASE:
patrick adams presents phreek (remastered cd) (1978, atlantic / 2014, big break records)
dusty groove | juno.co.uk | amazon.co.uk | big break records

PREVIOUS RELATED ENTRIES:
come put out the fire.. (tuesday july 24, 2007)
disco delivery #38: patrick adams presents phreek (1978, atlantic) (thursday march 29, 2007)

LINKS:
facebook: big break records
facebook: patrick adams producer (fan page)
big break records: patrick adams presents phreek
patrick adams productions
leroy burgess - official website
discogs: phreek
discogs: patrick adams presents phreek
discomusic.com: phreek - weekend/have a good day (12" single)
discogs: phreek - weekend/have a good day (12" single)
discogs: phreek - weekend (gonna find someone) (7" single)
discogs: patrick adams
discogs: leroy burgess
red bull music academy - new york 2013: patrick adams lecture
red bull music academy - rome 2004: leroy burgess lecture
the second disc: big break's round up: label "phreeks" out with patti labelle, isaac hayes, gwen mccrae, more (by joe marchese) (april 11, 2014)

CATEGORIES: LINER NOTES

Disco Delivery #62: Back In Time (1978, Cotillion/Atlantic)

Back In Time - El Condor Pasa (If I Could) (Original Version)
Back In Time - The Sound Of Silence (U.S. Remix)
Back In Time - El Condor Pasa (If I Could) (U.S. Remix)
Back In Time - All I Wanna Love Is Love (U.S. Remix)
Back In Time - Love Is What We Need
Back In Time - The Sound Of Silence (Original Version)
Back In Time - All I Wanna Love Is Love (Original Version)
Back In Time - Back In Time
Back In Time - Proposition
Back In Time - Love Is A Game


This was one of those albums which I had come across, and eventually passed by many times in the record shop before actually buying it. Somehow, the prospect of an album helmed by Simon & Garfunkel disco covers wasn't exactly an enticing one; the sort of thing that gave the impression of being completely and irredeemably cringeworthy.


Produced by Francois Bernheim, Jean-Louis Detry and arranged by the prolific Roger Loubet (AKA R. Black-Moog on the French release), all had been behind some notable recordings, namely Loubet (the only one of the three credited on the French release) who was one of the principals behind the amazing Baciotti 12'' "Black Jack" as well as the classic French cosmic disco LP "Disco Cosmix" (1979, Philips) by The Z.A.C.K., on which all three had been involved. Originally released in France on the Carrere label as "El Condor Pasa," Atlantic's Cotillion imprint evidently picked it up for U.S. release, retitling it as a self-titled LP with a slightly different "group" photo, enlisting Issy Sanchez (a regular mixer on Atlantic disco releases), Neil Dorfsman and Ray Wilhard (both of whom are also on the Z.A.C.K. LP and are perhaps uncredited on the original album) to remix three of the tracks into an extended medley on Side A.

In other notable personnel, all the vocals on the album were courtesy of French singer, composer and stage performer Roddy Julienne. Unfortunately, the opening track on the North American version of the album, a cover of "The Sound of Silence" wasn't exactly the most flattering showcase for Julienne's vocals. Admittedly, upon first listen, Julienne's vocals on "Silence" with his at-times nasal, abrasive, forceful phrasing didn't exactly do much to diminish my initial suspicions. It was only after further listens (to this song and the rest of the LP) that the brilliance of the album's dense, exquisite production started to reveal itself.

One of the things which ended up affirming that was the second track on the US version, the album's cover of "El Condor Pasa (If I Could)." With its deft, swirling strings, and deep supple basslines beneath a relentless electronic pulse, soaring Andean flutes, all emboldened by Roddy Julienne's forceful vocals which in this case provided the perfect aural companion to the heavy, lavish production. Ultimately the centrepiece of the album, in both of its versions, all the elements here end up turning what could have been another piece of curious, disposable euro-kitsch into something of epic disco elegance, capturing the soaring, anthemic quality of the original Peruvian standard.

Though both versions are approximately the same length, the US version, which is actually better overall with its much denser mix and great extended break towards the end, complete with extra emphasis on bass and strings; none of it diminishes the impact of the original version. With its coolly spare opening - a solitary synthesized pulse, drawn in by a sequence of strings and flutes, combined particularly with a much better placement right at the beginning of the record, the original still remains perhaps the most striking of the two versions. Notably, aside from the two different album versions, this song was included in a Tom Savarese mix on Disconet Volume 1, Number 12 (which I haven't heard yet).

The Side A medley on the US Version ends with "All I Wanna Love Is Love," which is possibly the strangest track on the album. Continuing the intense, driving pulse of "El Condor Pasa," the track opens with an initially incomprehensible monologue:

"she's cruel... just like a snake... she never stops... she scratches my back... she's a woman... a nice woman.. and she loves it..."

Which is followed by yet another stunning soliloquy:

"I'm strong.. just like a tiger.. I always want, you know... I'm proud of it.. but I'm a man!.. Only a man!.. and I'm tired!..."

Not sure that I get it.

Perhaps this is one of those instances where the intended impact was lost in translation, I'm guessing it's supposed to be a desperate man being chased by a gaggle of relentless, cooing nymphomaniacs. In between the stunning poetry, with the ladies screaming out "love! all i wanna love is love! Love! all I wanna love... is love," things don't go much further than that, with the man still ends up fighting them off with desperate NO's and declarations of his tiredness towards the end. Strange, but still worth it entirely, if not for its intriguing wierdness, but also for the awesome production, filled with some deep rich and detailed bass and percussion.

Side B continues the disco momentum with the opener, "Love Is What We Need". Originally the second track on the original French release, Roddy Julienne's vocals are back in full force here with lavish drums, deep layered guitars and cascading synths all around. Much better placed as the Side B opener on the US release, it makes for yet another one of the album's high points.

For the rest of the album, the intensity of the proceedings goes down a couple of notches, starting with the title track, "Back In Time." Despite being a withdrawal from the heavy disco of the previous tracks, and a more earnest return to the Andean feel of "El Condor Pasa," with its drum and guitar driven production, it ends up working much better and being much more memorable than I had expected. Same can mostly be said for the track that follows it, "Proposition," which, minus Roddy Julienne's (lightly processed) vocals sounds like it could have easily come out of one of those many French space disco LPs (much like the producers' own Z.A.C.K project).

Although "Love Is A Game," barring a decent melody and some nice strings, is a bit of a limp closer, this album, in both of its versions ends up being one of my more rewarding purchases in the last while. Though not without its moments of strange euro-cheese, even that is almost always redeemable. The lavish intensity of the album's production more than makes up the difference. Even if there was nothing else of note on the record, the album's stunning interpretation of Paul Simon's reading of the Peruvian standard "El Condor Pasa," is epic enough to be worth the price of admission, by itself. Even Roddy Julienne's vocals, which I'm willing to admit are formidable, if nothing else; in spite of their initial abrasiveness, end up making the most of the forceful production and often intense feel of the album's most distinctive disco tracks. At their best, his vocals made an ideal compliment to the production and tempo, with a gritty forcefulness that at times seemed to recall Tina Turner, that is, if Tina were a man, with a vaguely French accent and a penchant for the occasional jazzy scat.. That being said, I haven't been buying too many records lately, but I'm glad I gave in and made room for this one..

PREVIOUS RELATED ENTRIES:
INTERSTELLAR MESSAGES (SUNDAY FEBRUARY 22, 2009)
DISCO DELIVERY #50: BRENDA MITCHELL - DON'T YOU KNOW (1978, BARCLAY/POLYGRAM) (SATURDAY JANUARY 12, 2008)
DISCO DELIVERY #48: ASHA (PUTHLI) - L'INDIANA (1979, DASH/TK) (TUESDAY NOVEMBER 20, 2007)
DISCO DELIVERY #37: MIDNIGHT RHYTHM (1978, ATLANTIC) (WEDNESDAY MARCH 14, 2007)
TIMING, FORGET THE TIMING (WEDNESDAY JANUARY 31, 2007)

LINKS:
DISCOGS: BACK IN TIME - S/T LP (US VERSION)
BACK IN TIME - EL CONDOR PASA LP (FRENCH VERSION)
DISCOGS: DISCONET VOLUME 1, NUMBER 12 12'' (INCLUDES MIX OF 'EL CONDOR PASA')
HOTDISCOMIX: DISCONET VOLUME 1, NUMBER 12
DISCOGS: FRANCOIS BERNHEIM
DISCOGS: JEAN-LOUIS DETRY
WIKIPÉDIA: RODDY JULIENNE (IN FRENCH)
MYSPACE MUSIC: RODDY JULIENNE
WIKIPEDIA - EL CÓNDOR PASA (SONG)
WIKIPEDIA - THE SOUNDS OF SILENCE (SONG)
DISCOGS: ISSY SANCHEZ
DISCOGS: NEIL DORFSMAN
DISCOGS: RAYMOND WILLARD

CATEGORIES: DISCO DELIVERIES

Disco Delivery #38: Patrick Adams Presents Phreek (1978, Atlantic)

Phreek - Weekend
Phreek - Weekend (Promo 12" Version)
Phreek - Everybody Loves A Good Thing
Phreek - May My Love Be With You
Phreek - Much Too Much
Phreek - I'm A Big Freak (R U 1 2)
Phreek - Have A Good Day

I know I'm long overdue for a Patrick Adams entry, I'm not sure why it took me this long since Patrick Adams was one of the first producers I got into when I started collecting disco.. Even before that, Musique's "In The Bush" was one of my first favourite disco records as heard on one of my parents' cheapo K-tel 8 tracks. I remember when I finally got it, I played the hell out of that first Musique album, first on LP and then on CD..

Anyway, Patrick Adams hardly needs an introduction since he is already widely recognized as one of the most brilliant and prolific producers to ever come out of disco. The word 'genius' has often been used to describe him and given his prodigious talent, prolific output, distinct sound and of course the great material that has resulted, it's no wonder why. Granted someone who was as prolific as he was (and I'm not yet even close to hearing even a significant fraction of his output), is bound to have some duds to his name, yet when he was good, he could be downright brilliant. For that alone, I'd certainly consider him a disco auteur of the highest order. Like his other top-flight disco production peers (Costandinos, Chic Organization, Norman Harris, Moroder, etc..) and contrary to the typical rockist categorization of disco, there was never anything anonymous about a Patrick Adams production. If it wasn't the intricate, propulsive percussion style or the effortlessly brilliant, airy melodic sensibility, or that dash of quintessential Patrick Adams-style super-freakiness, something about the vibe, the arrangements and the overall style always let you know exactly who was behind it.

Interestingly and somewhat ironically, his independent, experimental and rarer lo-fi efforts on the P&P labels with Peter Brown seem to be getting more attention in recent years than some of his bigger-budget, more polished efforts like this one. While his P&P material seem to be getting rather regular reissues on CD these days (see the recent "Master of the Masterpiece" CD for one example), if there is any Patrick Adams project out there that's practically crying out for a CD reissue, it's this one. In my opinion "..Phreek" is right up there with the first Musique album; although perhaps less commercial overall than the first Musique LP, this album combines everything I love about Patrick's work. Aside from putting together a bunch of his protégés, associates and regular collaborators (Christine Wiltshire, Leroy Burgess, Venus Dodson etc.. Patrick Adams and Friends, if you will) on one album, the sound on the LP combines the moogy experimental touches of some his earlier material (see Cloud One) with the polish of his later efforts (see Musique and Herbie Mann) along with his overall melodic brilliance and trademark rhythmic sensibility all in one LP..

The album starts off with "Weekend," the big single off the LP. Co-produced and co-written (along with James Calloway) and co-arranged by Leroy Burgess (who, it probably goes without saying, is quite a prolific writer and producer in his own right), "Weekend" is perhaps more of a Leroy Burgess track than anything else. That said, "Weekend" is a feisty track of celebratory independence, like "Runaway Love" with extra funk and tempo, if you will. One of the highlights of the track, aside from the great string arrangement and bass backbone is Christine Wiltshire (credited on the album as both Christie Shire and Christine Wiltshire) and her great vocal which has both a sassiness and vulnerability to it that fits this track perfectly. Wiltshire, in my estimation seems to be one of the more underrated vocalists in disco. Despite (or perhaps because of) being a rather busy session singer on projects by Patrick Adams and others (Candido, Lou Reed, Poussez to name a few), she apparently never released an album or any singles under her own name. I guess because of that there doesn't seem to be a whole lot known about her either, but according to her entry on Jahsonic (that is, if I understood it right), Wiltshire was also Patrick's partner/girlfriend at the time, which along with her obvious talent probably explains her frequent working relationship with Adams at this time.

The Promo 12" version of "Weekend" mixed by Issy Sanchez, who was behind many of the mixes in Atlantic's DSKO series of 12" promo singles, gives more prominence to the bass and vocal and some piano touches at the end. Overall though, this is one of those instances where the album version actually outshines the 12" Version. For me, the LP mix is generally tighter and packs more of a punch than the 12" mix which just as an aside, was recently put on CD on the compilation "Journey Into Paradise - The Larry Levan Story" (2006, Rhino). Burgess (without Adams) would produce another version in 1981 on Sleeping Bag Records under the guise Class Action, with Christine Wiltshire reprising her role as vocalist, adding a little extra sass to her vocals that time around. The Class Action version was a great cover, and is almost (and I really mean almost, just by a hair) as good as the original. There was also the Todd Terry version in 1988 (remixed again in 1995), which I'm not quite as fond of, but which gave this track new life all over again, cementing "Weekend" as a classic of both disco and house..

The second track "Everybody Loves A Good Thing," written by Adams and Burgess is a wonderful joyful uptempo duet between Venus Dodson and Burgess himself featuring some great syncopation and a catchy, infectious melody. Though Dodson doesn't seem nearly as polished a singer as say, Christine Wiltshire, her vocals along with Burgess have a certain charming chemistry to them. Dodson, who seems to have been something of a Patrick Adams protégé would release the awesome single "Night Rider" (1979, RFC/Warner Bros.) the following year which has got to be another one of my all time favourite Patrick Adams productions.

That said however, the last track on Side One is undeniably one of the high points of this album. "May My Love Be With You," written by Adams and Richard Weeks (of The Jammers, Weeks & Co.) has got to be one of the most sublimely sweet grooves that I've ever heard and perhaps the most memorable melody on the album. With a great spoken-word monologue vocal performed by Donna McGhee (who I'm guessing also performed those glorious vocal adlibs as well), it's probably one of the most soulfully sweet things Adams has ever put to record. With those contemplative spoken-word vocals, soaring ad-libs, chirpy synth touches and absolutely killer basslines (courtesy of Norbert Sloley who Adams used quite regularly), this track just has a certain floating, dreamy quality to it.. Though the lyrics are slightly contemplative, about a man from her past that has departed her life and the good times they had, they're hardly depressing. Her reflections are like wonderful, misty, romantic memories flowing back sending out nothing but warm thoughts and good wishes to him, wherever he is. And so it has the same effect on the listener with those ad-libs perfectly complimenting the warmth of the spoken vocals, sending out nothing but good vibes of joy, happiness and warmth. Definitely one of the best tracks on an album already full of great moments and certainly one on my personal "Best of Patrick Adams" list... As a side note: the vocalist, Donna McGhee's lone LP "Make It Last Forever" (1978, Red Greg) produced by regular Adams collaborator (and fellow hero of the disco underground) Greg Carmichael, has become highly sought-after over the years. Though it was reissued on CD recently, original copies of her LP (last time I checked) still seem to command a hefty pricetag on eBay and elsewhere.

Side Two, opening with "Much Too Much," which like "Weekend" was written by Burgess and Calloway and produced by both Adams and Burgess, is yet another high point. This track in particular, seems to have Leroy Burgess' stamp all over it. With that devastating bass right up front, that percussion ringing in the background and Burgess taking full lead vocals this time, it vaguely reminds me of Burgess' Logg project for Salsoul, albeit much more slickly produced. Given that, I guess it's no wonder why this one also sounds more like a Leroy Burgess track (an excellent one at that) than a typical Patrick Adams track.. Gotta love the catchy refrain on this one and that break as well, with the horns, bass and synth given extra exposure in there.. That said, as good as this track is, one of the biggest highlights on the album has got to be the next one..

The fifth track on the album, "I'm A Big Freak (R U 1 2)" has got to be right up there as one of the most blatantly sexy, hedonistic tracks Patrick Adams has ever done. Tapping into the same vibe that made "In The Bush" such a delicious pleasure (check that great horn arrangement) and completely outdoing himself in the process, "..Big Freak," with all the moaning, crashing whips, hard chanting, loopy synths and relentless tribal percussion is nothing less than ten minutes of throbbing sexual intensity. Later into the track the whole thing descends into some seriously mesmerizing moogy freakiness, with the whole moog/moaning interplay making it sound at certain parts like the woman was literally being pleasured by those relentlessly penetrating synths. If anything at all, certainly not your regular vanilla, between-the-sheets sort of thing, if the title didn't make that obvious enough.. On top of it all, with the backup vocalists sounding like they were having a party in the background, it makes the whole thing sound like something out of a Studio 54 VIP room orgy session.. In other words: pure unadulterated disco style sexual hedonism. Like other musical examples of that disco era hedonism and unlike what often passes for it today, there are no elaborately over-the top lyrical confessions, none of the innuendo so obvious it cancels itself out; it's all in the atmosphere. The interplay of the different elements: the whips, the moans, the freaks in the background, the atmosphere it all creates says and suggests more than any elaborate lyrical dirty-talk ever could. For me it's definitely the boldest, and certainly one of the most memorable tracks on the album.

It would be hard to top "..Big Freak," but the album manages to end on a pleasant note with the appropriately titled "Have A Good Day." Largely consisting of the lyrics: "everybody.. be happy and gay.. put a smile on.. and have a good day" and Patrick's trademark loopy synth-scapes in the background, it's a perfectly fitting 'goodbye' track for the album.

Overall the Phreek LP is, to me, one of the high points in Adams' illustrious discography, not only because it combines some of the best elements of both his early and later disco work, but manages to combine all those elements into an album that completely satisfies from start to finish. In other words, a prime example of "all killer, no filler" like quite a few great records (Herbie Mann's Super Mann, to name just one) Patrick Adams had produced in the late '70s.. Certainly one of those albums that examplifies why Adams was not only prolific but one of the more distinctive producers to come out of disco..

Aside from his disco work, Adams also played a part in hip-hop into the 80s as an engineer on albums like Eric B. & Rakim's landmark "Paid In Full" (1987, 4th and Broadway) album and Salt N' Pepa's "Hot, Cool and Vicious" (1986, Next Plateau) among others. In recent years, Adams has been one of the most forthcoming producers from the disco era. He's one of the few who gives interviews fairly regularly and who maintains an active presence on the web. His website, while somewhat primitive, is full of info from the man himself about his beginnings, the genesis of "In The Bush" and some of his own personal thoughts among other things .. Aside from that, Patrick also has a Myspace profile where he posts a regular blog and regular podcast on Podomatic as well. Out of the interviews with him that I've come across, the best ones to me are the interviews on disco-disco.com and the more recent one with In Da Mix Worldwide.. I've found his interviews to be pleasantly insightful reads, so check 'em out if you haven't already..

Just a note about the audio source, I had originally wanted to do a post on this last year, but my vinyl copy was a bit too dirty to rip properly. I recently bought another copy of this LP on eBay, which as luck would have it, also needed a good cleaning. So these rips are not mine, but ones that I've found elsewhere. Also, while the others were ripped from vinyl, the 12" version of "Weekend" was taken from a CD source. While both the both the 12" and album versions of "Weekend" as well as "Everybody Loves A Good Thing" have found their way to CD, the album still remains woefully out of print. Hopefully someone out there does a CD reissue of this in the not too distant future.. As I said earlier, if there's any Patrick Adams LP that's practically crying out for one, it's got to be this one..

LINKS:
PATRICK ADAMS PRESENTS PHREEK LP @ DISCOGS
PHREEK - WEEKEND (PROMO 12") @ DISCOGS
PHREEK - WEEKEND (PROMO 12") @ DISCOMUSIC.COM
PATRICK ADAMS @ ALL MUSIC GUIDE
PATRICK ADAMS @ DISCOGS
PHREEK @ DISCOGS
PATRICK ADAMS INTERVIEW @ DISCO-DISCO.COM
PATRICK ADAMS INTERVIEW @ IN DA MIX WORLDWIDE
PATRICK ADAMS OFFICIAL WEBSITE
PATRICK ADAMS @ MYSPACE
PATRICK ADAMS PODCAST @ PODOMATIC
PATRICK ADAMS @ JAHSONIC
LEROY BURGESS @ DISCOGS
LEROY BURGESS' OFFICIAL SITE

PURCHASE:

DISCO CONNECTION CD (INCLUDES "WEEKEND" - ALBUM VERSION)
CD UNIVERSE | AMAZON.CO.UK | AMAZON.COM | DUSTY GROOVE

DISCO CONNECTION, VOLUME II CD (INCLUDES "EVERYBODY LOVES A GOOD THING")
CD UNIVERSE | AMAZON.CO.UK | AMAZON.COM | DUSTY GROOVE

JOURNEY INTO PARADISE - THE LARRY LEVAN STORY (2 CD) (INCLUDES "WEEKEND" - PROMO 12" VERSION)
CD UNIVERSE | AMAZON.COM | AMAZON.CO.UK

THE MASTER OF THE MASTERPIECE: THE VERY BEST OF PATRICK ADAMS (2 CD) (INCLUDES "WEEKEND")
CD UNIVERSE | AMAZON.COM | AMAZON.CO.UK | DUSTY GROOVE

CATEGORIES: DISCO DELIVERIES