I've got love on my mind..

Held down by the most basic of disco basslines, this little number from 1979 comes courtesy of Marilyn McLeod, sister of the late Alice Coltrane, grandmother of Flying Lotus (who records for the über-hip Stones Throw and Warp labels), and also more importantly, one of Motown's most prolific staff songwriters of the 1970s. Alongside Pam Sawyer (with whom she also co-wrote this song), she had written classics like Diana Ross' "Love Hangover," and High Inergy's "You Can't Turn Me Off (In The Middle of Turning Me On) " (said to be originally intended for Ross). Outside of Motown, McLeod would also co-write one of Anita Baker's hits, "Same Ole Love" from her breakthrough "Rapture" (1986, Elektra) album, just to name a few.

Listen: (I Don't Wanna Dance Tonight) I Got Love On My Mind (1979, Fantasy)
Listen: (I Don't Wanna Dance Tonight) I Got Love On My Mind (Instrumental) (1979, Fantasy)

Produced by McLeod, Sawyer and Mel Bolton (also a Motown alumni and frequent collaborator), this song seems to recall elements of both of those earlier Diana Ross and High Inergy songs, (albeit with some added late disco tempo and thrust), with its sexy string-laden groove and tender vocal touch. Combining that unstoppable bassline, a delicate string arrangement and Marilyn's engaging, unaffected vocal style; this is possibly one of the most danceable songs about not wanting to dance that had ever been released. Call it a bit of before-the-bedroom boogie, if you will.

On a disco related tip; around this time, McLeod and Sawyer would contribute heavily to co-writer/producer Mel Bolton's group Flakes, who are probably best known for their disco singles "Miss Fine Lover" and "Sugar Frosted Lover" from 1979 and 1980, respectively. Both Bolton and McLeod would produce both of the Flakes albums, the last of which was released on the Salsoul label in 1981.

Despite McLeod being one of the more high profile Motown staff writers of the 70s, this single would remain one of McLeod's few releases under her own name. Among those few releases though was a notable 1978 promo album, borne out of a Motown campaign aimed at promoting some of their staff songwriters, for which McLeod and Sawyer were the first to be chosen, entitled "Pure Magic: The Songs of Pam Sawyer and Marilyn McLeod" with McLeod providing vocals on the bulk of the record. In a Billboard article promoting the Pure Magic release, it was mentioned that McLeod would be doing more recording of her own for Motown, under the name Supercloud, which apparently never materialized. More recently however, McLeod has been getting some attention for her work again, having released an album of her own in 2010, and with one of her earliest efforts at Motown - "A Heart is a House" with The Nu Page (a group which also included Mel Bolton) getting some positive notices via the recently released compilation "Our Lives Are Shaped By What We Love: Motown's MoWest Story 1971-1973" released last year on noted reissue label Light In The Attic, chronicling some of the long-forgotten singles from Motown's short-lived west coast imprint.

This particular song has also been gaining some notice on its own, too; with the vocal version having been included on one of the most recent installments of Harmless' Disco Discharge series, on their "American Hot" compilation (released this past March). In 2010, primo disco editor/producer Jacques Renault also got his hands on it, releasing a crafty edit/mashup entitled "Marilyn's Gold," combining this song's instrumental track with a break which (i believe) comes from First Choice's "The Player."



While on the subject, given the similar song titles, one can't help but draw a possible connection to one of Natalie Cole's greatest hits of the 70's, "I've Got Love On My Mind." Two very different songs to be sure, but both close enough in both title and essential feeling, that even if this wasn't inspired by it, it sure makes a nice disco response to it (at least in my mind, anyway).. Whatever the case is, if you're not going out and don't wanna get lost in a crowd, here's one way to enjoy some disco love tonight..

PURCHASE:
VA - DISCO DISCHARGE: AMERICAN HOT (2 CD)
AMAZON.CO.UK

PREVIOUS RELATED ENTRIES:
DISCO DISCHARGE AND OTHER RECENT/UPCOMING DISCO RELEASES & REISSUES (FRIDAY SEPTEMBER 18, 2009)
COME PUT OUT THE FIRE.. (TUESDAY JULY 24, 2007)
DISCO DELIVERY #6: FIRST CHOICE - THE PLAYER (1984, PHILLY GROOVE/BELL) (FRIDAY FEBRUARY 10, 2006)

LINKS:
DISCOGS: MARILYN MCLEOD - (I DON'T WANNA DANCE TONIGHT) I GOT LOVE ON MY MIND 12"
DISCOGS: VARIOUS - DISCO DISCHARGE: AMERICAN HOT (2 CD)
DISCOGS: PAM SAWYER
DISCOGS: MEL BOLTON
GOOGLE BOOKS: BILLBOARD MAGAZINE (SEPTEMBER 2, 1978) - JOBETE WRITERS SING ON LPS (BY JEAN WILLIAMS)
MOTOWN 50 PODCAST - THE ANATOMY OF A HIT: LOVE HANGOVER (PART 1)
PHOENIX NEW TIMES: MARILYN MCLEOD OF THE NU PAGE ON MOTOWN, MOWEST, ALICE COLTRANE AND FLYING LOTUS (BY JASON WOODBURY) (TUESDAY JULY 19, 2011)
JAZZ CORNER: MARILYN MCLEOD: A HIT MOTOWN SONGWRITER WITH A COLTRANE CONNECTION
JAZZ CORNER: NEW CD FROM MARILYN MCLEOD, AN ARTIST WITH A MOTOWN LEGACY AND COLTRANE CONNECTION
TWINN RECORDS

CATEGORIES: MINI DELIVERIES, NUDISCO

lady midnight, she wants you tonight..

Picked this one up in Toronto a few weeks ago. Credited to a group calling itself Halloween, I don't think anyone could expect anything other than a throwaway disco novelty, yet this turned out to be surprisingly solid..

Written and produced by one-time Motown staff producer Jerry Marcellino, who with Mel Larson had worked on The Jackson Five's later albums and most of Michael Jackson's early solo records; aside from the name, the Halloween novelty here is actually fairly subtle. With verses littered with lines about "midnight ladies dressed in black," "partying under the full moon," and "spinning magic spells," that's about as close as it gets on here..


Listen: Halloween - Lady Midnight (1979, Mercury/PolyGram)
Listen: Halloween - Come See What It's All About (1979, Mercury/PolyGram)


That being said, the solid grooves and production on here more than made up for the obvious lack of laughing vampires and screaming disco chicks. The A-side "Lady Midnight," opening with the sort of synthy disco pulses that always win me over and plenty of guitar action all over the breaks would have to be the choice track for me here. The bass-heavy, mid-tempo disco groove of "Come See What It's All About" is no less worthy though.

As stated on the single cover, both tracks here came off of the album "Come See What It's All About" (1979, Mercury/PolyGram), which at the time of this writing, has yet to be listed on Discogs. One that I'll be on the lookout for though..


PREVIOUS RELATED ENTRIES:
R.I.P. MICHAEL JACKSON (FRIDAY JUNE 26, 2009)
DISCO DELIVERY #57: NOCTURNA (ORIGINAL MOTION PICTURE SOUNDTRACK) (1979, MCA) (FRIDAY OCTOBER 31, 2008)
DISCO DELIVERY #47: HOT BLOOD - DISCO DRACULA (1977, DYNAMO) (WEDNESDAY OCTOBER 31, 2007)
I WANNA SUCK YOUR.. OOOOH! (TUESDAY OCTOBER 31, 2006)

LINKS:
DISCOGS: HALLOWEEN
ALL MUSIC GUIDE: HALLOWEEN - COME SEE WHAT IT'S ALL ABOUT LP
ALL MUSIC GUIDE: JERRY MARCELLINO
DISCOGS: JERRY MARCELLINO
VEGAS COMMUNITY ONLINE - JERRY MARCELLINO

CATEGORIES: MINI DELIVERIES

Get up on it and ride..

The Temptations - Bare Back (1978, Atlantic)

The Temptations - Mystic Woman (Love Me Over) (1978, Atlantic)
The Temptations - Touch Me Again (1978, Atlantic)
❚

For the record, while I'm definitely not endorsing any of the practices supposedly suggested or implied in this song, I do heartily endorse it's groove.

The title track from The Temptations' "Bare Back" (1978, Atlantic) album, their second and last during their brief, unsuccessful period on the Atlantic label in the late 70's, this was a single, but like all of their other Atlantic material, never went anywhere commercially. Supple basslines, spirited vocals (largely courtesy of lead vocalist Richard Street), and propulsive bass-heavy groove aside, perhaps it was better that it didn't, in retrospect. I suppose using the expression "riding bareback" as a metaphor for life and living may have been acceptable in 1978 pre-AIDS; to say that it's an expression which hasn't held up too well over the years would probably be an understatement. Then again, I suppose that depends entirely on one's perspective..

However, with the great production and the admittedly out-of-context naughtiness one can't help but read into it today, I personally can't get enough of it. With this track and practically the entire album produced and co-written by Motown veteran Brian Holland alongside brother Eddie Holland and their main writing partner at this time, Harold Beatty (essentially Lamont Dozier's replacement), this is just one of the many excellent, underrated productions that the Holland Brothers were involved with at the time. While there's no topping the legacy of Holland-Dozier-Holland as pop songwriters, Eddie Holland's bright, funk-bottomed, disco flavoured productions in the late 70's for acts like The Supremes (covered on here before), The Jackson 5, Eloise Laws and others like the short-lived group, New York Port Authority are top quality, in my opinion..

As far as the album goes, In spite of having pulled together a top-flight team of Philadelphia's finest (which included Norman Harris and future group member Ron Tyson) on their first Atlantic LP, "Hear To Tempt You" (1977, Atlantic), out of their two Atlantic albums, I'd consider this to be the best of them. While not as ambitious as their Norman Whitfield material, or their last big Motown record, the Jeffrey Bowen-produced "A Song For You" (1975, Gordy/Motown), the other disco-flavoured tracks on the record like "Mystic Woman (Love Me Over)" and "Touch Me Again," the sublime balladry in "Ever Ready Love" (also a single), and "I See My Child" (the only track not written by Holland, Beatty and Holland) make it solid and satisfying, nonetheless.

While I can't imagine any of the current Tempts revues get too many requests in their shows for the song in question, thankfully You Tube has video. One from a 1979 live performance on the Chicago TV show Soundstage, and another from the ever-reliable Soul Train. Also from the same Soul Train appearance, is a performance of one of the album's ballad tracks "Ever Ready Love," which, if I'm not mistaken, might have been their final single release for Atlantic.


The Temptations - Bare Back (1978)
Uploaded by 2007wiifit


Temptations - Bare Back (Soundstage Chicago 1979)
Uploaded by whatiship73


The Temptations - Ever Ready Love (1978)
Uploaded by 2007wiifit

PREVIOUS RELATED ENTRIES:
WHITNEY DOES LOLEATTA.. (FRIDAY AUGUST 7, 2009)
R.I.P. MICHAEL JACKSON (FRIDAY JUNE 26, 2009)
DISCO DELIVERY #51: THE SUPREMES - HIGH ENERGY (1976, MOTOWN) (SATURDAY JANUARY 26, 2008)
DISCO DELIVERY #41: TÁTA VEGA - TRY MY LOVE (1978, MOTOWN) (SATURDAY MAY 19, 2007)
THE SUPREMES - MARY, SCHERRIE & SUSAYE (REPRISE) (THURSDAY MARCH 8, 2007)
DISCO DELIVERY #12: DAMON HARRIS - SILK (1978, WMOT/FANTASY) (FRIDAY MARCH 24, 2006)
ALL I NEED'S A LITTLE POWER.. (WEDNESDAY FEBRUARY 22, 2006)
DISCO DELIVERY #1 - THE SUPREMES - MARY, SCHERRIE & SUSAYE (1976, MOTOWN) (TUESDAY JANUARY 10, 2006)

LINKS:
DISCOGS: THE TEMPTATIONS - BARE BACK LP
ALL MUSIC GUIDE: THE TEMPTATIONS - BARE BACK (REVIEW)
DISCOGS: BRIAN HOLLAND
ALL MUSIC GUIDE: BRIAN HOLLAND
WARR.ORG: THE TEMPTATIONS - BARE BACK (REVIEW)
ROBERT CHRISTGAU REVIEWS: THE TEMPTATIONS

CATEGORIES: MINI DELIVERIES, VISUAL DISCO

R.I.P. Michael Jackson

It's still hard to believe. I was actually planning on posting something else today, but after hearing the news today, almost everything else had been put aside for the moment. I was at work, listening to the news on the radio, when I'd heard someone mention how for many of this generation, this is like Elvis or John Lennon dying. One of those moments where people, years from now, will remember where they were, what they were doing and what they did when they heard the news.. In the last several hours, seeing the sudden, massive outpouring of emotion, easily beyond anything that I've ever witnessed, has been surreal, to say the least. Hearing and seeing everyone who is anyone releasing statements, calling into Larry King Live with their tributes; I suppose the closest comparison I have in my lifetime was perhaps the passing of Princess Diana, but with the speed and scale of media coverage today, even that is no comparison. Given how almost everything he's ever done seems to have been on such a massive scale, it seems fitting that the public outpouring upon his passing would match.

I remember being 7/8 years old, just before sliding into what ended up becoming over a decade of damage to his reputation, watching him on television, seeing videos like "Bad," with the infamous crotch grab, "Smooth Criminal," "Remember The Time," with him spinning into a cloud of dust, the morphing faces in "Black Or White," there was nothing like seeing a Michael Jackson video at the time. As a kid, like many others, I was transfixed. I had never seen anyone who could dance and sing or create a production quite like he had done. Looking back, I have to admit that as I got older, I'd end up seeing some of those same moments in a less positive light; overdone and self-indulgent as opposed to truly inspiring, the same way one would half-cringe at the things which once entertained oneself as a child. Undenably too, the backlash that ended up surrounding him for the better part of the last decade certainly played it's part as well.. That being said, while one could still call a lot of those moments over-the-top, self-indulgent; at the same time, there's absolutely no denying the sheer awe that they had inspired at the time, and still do, and the level of excellence that he continuously reached for and more often than not actually achieved in his work.

In the coming years, I'd become fascinated by the spectacle as much as the music, if not more so. The surrounding circus; a massive, bizarre, fascinating phenomenon in its own right, not to mention the side show of his family: the camp (and troubled in its own way) spectacle of LaToya, the admirable success of Janet, Jermaine's once notorious jealousy, the shared spouses, their Father's abusive tendencies and extramarital child among other things. Scouring libraries and used book stores and indulging in every scrap of every trashy Jackson tell-all that I could find was practically a pasttime at one point. I guess it all stemmed from a fascination, a curiosity about how the Jackson family and Michael himself dealt with an immense success that for all the millions sold, hearts touched, seemed as much a badge of glory as it was an albatross around his neck, not to mention an impossible shadow for his family. For someone who seemed to be constantly trying to top himself, even until the end, it was starting to look like an excercise in destruction and sheer futility. It was the key to his greatness, perhaps, yet his tragic flaw, at the same time. With that kind of pressure from within, perhaps moreso than from without; at some point one had to realize how unsustainable it all was. The statement from his former publicist seems to reveal as much.

If there's one thing about the ongoing tributes lately, they seem to show how ultimately durable his legacy is. Rich at Four Four, as always, nails it on this point. Not too long ago, I remember hearing writer Steve Knopper on the radio talking about how Michael Jackson, in the early 80's, had practically saved a music industry still reeling from the disco backlash. It's easy to forget, especially before today, in a time when people waited and expected his next spectacular unraveling, the same way they once waited for his next record or video. I think it's safe to say, even though his final concerts will now no longer be possible, that the comeback that was supposed to follow has gone off, perhaps not as planned, but even beyond what probably could have been.

I suspect that like many celebrity deaths, the tinted tributes will eventually give way to all manner of potentially myth shattering, personally damaging revelations, even though I can't think of anyone whose had more myths shattered, and shattered again in life than Michael Jackson, in his last years. For the time being however, it has actually been nice to not just remember but live again, even in a slightly twisted, confused cloud of mixed emotions, a time when Michael Jackson was the penultimate, untouchable entertainer he once was, when calling him the 'King of Pop' was once again done in tribute, instead of in parody. Though it may have been a largely self-proclaimed title, no one could say that it wasn't entirely fitting as well. RIP.

Some videos from YouTube, capturing Michael in the disco era. In ways that I'm sure many would prefer to remember him:





Updates:

On Friday (while at work), I had caught As It Happens on CBC Radio One where they talked to Deepak Chopra, dancer/choreographer & musician Jeffrey Daniel of Shalamar, who taught Michael the Moonwalk, as well as Motown songwriter/producer Deke Richards a member of "The Corporation," the team which wrote and produced the Jackson Five's earliest hits. Listen below:



...and the saga continues (or is just beginning). The Nanny speaks.

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #54: WILLIE HUTCH - MIDNIGHT DANCER (1979, WHITFIELD/WARNER BROS.) (FRIDAY APRIL 11, 2008)
STARLIGHT DISCO (THURSDAY MARCH 13, 2008)
DISCO DELIVERY #33: JAMES BROWN - THE ORIGINAL DISCO MAN (1979, POLYDOR) (SATURDAY JANUARY 27, 2007)
UPCOMING REISSUES & RELEASES (APRIL 25 - MAY 30) (FRIDAY APRIL 21, 2006)

LINKS:
TIMES OF LONDON: WHAT NANNY WHO WORKED FOR MICHAEL JACKSON SAW (BY DAPHNE BARAK) (JUNE 28, 2009)
NEW YORK TIMES: AFTER MICHAEL JACKSON, FAME MAY NEVER BE THE SAME (BY DAVID SEGAL) (JUNE 27, 2009)
CBC NEWS: JACKSON FANS MOURN AROUND THE WORLD (FRIDAY JUNE 26, 2009)
LA TIMES OBITUARY: MICHAEL JACKSON'S LIFE INFUSED WITH FANTASY AND TRAGEDY (BY GEOFF BOUCHER & ELAINE WOO) (JUNE 26, 2009)
MYSPACE: LISA MARIE PRESLEY (BLOG) - HE KNEW (FRIDAY JUNE 26, 2009)
HUFFINGTON POST: MICHAEL JACKSON (INDEX)
TMZ: MICHAEL JACKSON (CATEGORY INDEX)
THE GUARDIAN: MICHAEL JACKSON (INDEX)

CATEGORIES: IN MEMORIAM..

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

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..

Disco Delivery #12: Damon Harris - Damon (1978, WMOT/Fantasy)

Damon Harris - It's Music
Damon Harris - Silk

Let me just say, before last week's Disco Delivery, I never knew just how (apparently) popular Phylicia Rashad is.. Not sure that I can top that this week, but for what it's worth, I figured it was time for a little break from the divas..

Damon Harris was a member of The Temptations from 1971 to 1975, as original member Eddie Kendricks' replacement. At the time he joined the group, he was 20 and by far their youngest member. He had been such a big fan of the group even before joining that he had previously been a part of another group called The Young Tempts who had released a few singles on former Motown group The Isley Brothers' T-Neck label. Not surprisingly, Motown filed suit and they changed their name to The Young Vandals. Fast-forward to 1975, after a four year tenure Harris was ousted from the Temptations, apparently because of issues with group leader Otis Williams. After leaving the fold, he reformed the Young Tempts/Vandals under the name 'Impact.' They would end up releasing only a couple of albums and neither were big sellers, but both have become quite highly regarded today.

After the breakup of Impact, he did this one solo album in 1978 on the WMOT (We Men Of Talent) label, which at the time was California based Fantasy Records' Philly outpost. The album was produced by the late James "Budd" Ellison, who until his recent passing this past October 2005 was Patti LaBelle's longtime musical director.. While the album was quite good; commercially speaking, it didn't exactly fare any better than any of Impact's albums, yet did yield at least two notable songs..

The lead off track, "It's Music" was one song that I had loved even before tracking down this album. I had originally heard it on the Larry Levan Live at the Paradise Garage set. It worked so perfectly on his mix, with Damon's vocal drawing you in, gently urging you to "feel the music.." Such a great way to build up the mood, I thought. Needless to say, I was so glad to find that full 7.40 album version when I did. The best way I can describe the sound of this record is just as a straight ahead, percolating, sexy, and polished sound.. Those funky guitars and horn section are (as usual) some of my favourite parts about this record, along with Damon's gentle, yet assertive vocal and the strong backgrounds which really build this one up.

The rest of the album was quite good as well; some really classy, melodic R&B especially on "Funday," "Actresses," "I Fell In Love," and "My Love For You," but the only other notable disco track on the album was the title track "Silk." A song about a lady "who got her name from the way she plays the game," who is "every inch a lady, ain't no man can call her 'baby'." After seeing her with her "lady friends," he realizes that "there's no lover and there's no man," hmm... In any case, it's one of my favourites on the album; the lyrics, though simple, are paired with a wonderful melody, anchored by the those great horn and string sections. It's the type of tune you can have running through your head for days on end, at least in my experience anyway..

As far as I know, Damon Harris hasn't released any other solo albums. These days though Harris is involved with his own Damon Harris Cancer Foundation (remove exclamation point in new window) which he started after his successful battle with prostate cancer. He also still performs as "The Temptations Revue featuring Damon Harris," one of several former Temptations members with their own 'revues' of Temptations hits..

A note about the cover photo on the top.. No, I did not make that thing myself. I'm not an expert, but I'm sure even I could do a better job. That cover is the hack-job of the original that they used on the now out-of-print 1995 Hot Productions CD reissue of the album (mastered from the original vinyl no less!). Unfortunately I couldn't find a pic of the original cover, so that had to do for now..

Some trivia: Patti LaBelle is credited for 'Background Vocal Arrangements' on the album, which were performed by the ubiquitous Sweethearts of Sigma: Barbara Ingram, Carla Benson and Evette Benton.

Also, if anyone plans to buy this CD at Amazon.com, beware of sellers who are selling CD-R copies of out-of-print Hot Productions CD's like this one. I haven't bought any from there, but I've heard this from others who have..

LINKS:
DAMON HARRIS' OFFICIAL WEBSITE
DAMON HARRIS - SILK LP (REVIEW) @ ALLMUSIC.COM
JAMES 'BUDD' ELLISON @ SOULFUL DETROIT FORUM
JAMES 'BUDD' ELLISON HOMEGOING SERVICE @ SOULFUL DETROIT FORUM

PURCHASE:
DAMON HARRIS - SILK CD @ AMAZON.COM

CATEGORIES: DISCO DELIVERIES, CONSUMER ADVISORY, PAST REISSUES

Disco Delivery #10: Linda Clifford - If My Friends Could See Me Now (1978, Curtom/Warner Bros.)

Linda Clifford - If My Friends Could See Me Now (LP Version)
Linda Clifford - Runaway Love (12" Version)
Linda Clifford - You Are, You Are
Linda Clifford - Gypsy Lady

Chicago's own Linda Clifford had her breakout disco hit with a cover of "If My Friends Could See Me Now," originally from the musical Sweet Charity. I know for some (myself included) the thought of bringing musical theatre to the dancefloor just screams "CAMP." So perhaps this song might be a bit campy for some, but in my opinion it's nothing short of a disco tour-de-force. Excellent, layered production with strings, soft synths, lively vocals and just a tremendous buildup. In a way this song couldn't have been more appropriate for Ms. Clifford; the singles off this album pretty much cemented a prominent place for her in dance music and paved the way for several more disco hits. Prior to this, she had released some singles on the Polydor and Paramount labels before signing to Curtis Mayfield's Curtom label. Her initial singles on the Curtom label were classy, soulful R&B as was much of her first album (1977's "Linda") but none quite hit the way this did.

The biggest hit off this album would be "Runaway Love," which would reach not only the top of the disco charts, but the top of the R&B charts as well. "Runaway Love" was a move away from the style of the title track and into a more solid groove, highlighted by a sassy, slightly Millie Jackson-esque spoken word section towards the end. In this song Ms. Linda goes on telling off her broke, jive-talkin', cheating no-good dog of a man to run out of her life once and for all 'cause she "ain't got no heartaches to spare.".. What can I say? Once again, I just can't resist a sassy disco diva.. The Jim Burgess 12" mix brings it all the way up to 9.45 with a slightly extended spoken portion and a generally more layered mix. Some of those background instruments get brought up front a little more on the 12", particularly some of that awesome percussion two-thirds of the way through. To me this is one of those songs that really captured her voice at it's best. While Linda was never a multi-octave wailer, she seemed to make the most out of what she had. At her best, her voice was like on this track, a flawless blend of sass, soul and class all in one.

Another highlight of the album is her version of Curtis Mayfield's "You Are, You Are," produced by Mayfield himself. For sure one of my favourites by Curtis Mayfield just because it's one of those songs that seems to radiate pure love and happiness from every note and lyric. That said, for me Linda's version is the definitive one. Her interpretation just has a certain grace and sincerity to it. That's not to say that Mayfield's own version isn't sincere, but Linda's vocal just seems to resonate more strongly.

The album ends on a high note with "Gypsy Lady," another great disco track. Produced by Motown veteran Gil Askey and Curtis Mayfield, it's another song about hitting the big time and jet-setting the world like an international gypsy. Sort of a sequel, at least in theme, to "If My Friends Could See Me Now." It's not as all-out as the title track, but it's got a great prominent popping bassline and a dramatic Spanish flamenco flavour in those horns.

The bulk of the album (aside from "You Are, You Are" and "Gypsy Lady") was produced by Gil Askey, who would also go on to produce her follow-up album "Let Me Be Your Woman" (1979, Curtom), on which they would kick up the disco quotient considerably. This album though, as a whole, is just one of those excellent, cohesive records that's completely listenable from beginning to end. Personally, I don't think Linda has released a bad album, but among all of them, this has to be one of her best.

A little bit of trivia: The backup vocals on this album are by none other than The Jones Girls, who, in the following year, would have a hit of their own..

If anyone wants to have this album on CD, I'd recommend tracking down the 2-in-1 album sets that were released by Sequel Records in 1999 as opposed to the recent stand-alone reissue of this album. All of Linda's Curtom albums were released on these double-sets so they're well worth tracking down if you like her stuff. Unfortunately they've gone out of print, but copies still show up on Amazon marketplace, eBay and GEMM from time to time..

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LINKS:
LINDA CLIFFORD @ DISCOMUSEUM.COM
LINDA CLIFFORD - IF MY FRIENDS COULD SEE ME NOW LP (REVIEW) @ ALLMUSIC.COM
LINDA CLIFFORD - IF MY FRIENDS COULD SEE ME NOW LP @ DISCOMUSIC.COM
LINDA CLIFFORD - IF MY FRIENDS COULD SEE ME NOW 12" @ DISCOMUSIC.COM
LINDA CLIFFORD - RUNAWAY LOVE 12" @ DISCOMUSIC.COM

PURCHASE:
LINDA CLIFFORD - LINDA/IF MY FRIENDS COULD SEE ME NOW 2 CD @ AMAZON.COM
LINDA CLIFFORD - IF MY FRIENDS COULD SEE ME NOW CD (2005 REISSUE) @ AMAZON.CO.UK
LINDA CLIFFORD - IF MY FRIENDS COULD SEE ME NOW CD (2005 REISSUE) @ AMAZON.COM

CATEGORIES: DISCO DELIVERIES, PAST REISSUES