Lost in the night

Photo: Nona Hendryx by Nick Sangiamo, 1984

Posting a little overdue mix for the start of summer...

Some years back I had made a little tradition of putting a mix up for Pride season, so am coming back to that partial sort of way. At the same time, this particular mix isn't exactly the straight-on celebratory disco that I'd usually have on tap for the occasion. Decided instead to go in a few different directions this time, using various selections of post-disco, and/or disco-adjacent material this time. Still, quite heavy on female singers, as is my tendency. Most of the songs on here are just under or just over 100 BPM, so I suppose this one's perhaps more for walking than dancing.

Most of the records I used for this mix were also ones that I brought the last time my partner Andrew and I played our INTERGEN night in May. As it turns out, we'll be doing another INTERGEN night this coming Wednesday June 28th, a kind of post-pride recovery through records, if you will. Starting at 9PM at The Little Jerry in Toronto. If you're in the area, do come by!

Lost In The Night (Download)

Tracklist and track notes below... Enjoy!

Tracklist:

Terry Crawford - Chocolate Candy
Hot - Just ‘Cause I’m Guilty
Lucio Battisti - Un uomo che ti ama
Maxine Nightingale - Get It Up For Love
Alfie Silas - Put The Freeze On
Nona Hendryx - Soft Targets
Costas Charitodiplomenos - Lost In The Night (12" Version)
Barbara Fowler - Come and Get My Lovin’
First Love - It’s A Mystery To Me
Linda Clifford - I Want To Get Away With You
First Choice - Pressure Point
Dalida - Helwa ya baladi
Martha Velez - There You Are
Paula Moore - On The Edge
Liza Minnelli - If There Was Love

All the records used in this mix

Track Notes:

Terry Crawford - Chocolate Candy: A favourite of mine from Canadian singer Terry Crawford (sometimes called Terri Crawford) and one that I had happened upon quite by accident. Back in 2006, when I was living in Calgary, my favourite record shop had a back store room full of records. The owner noted how much disco I was buying, so let me into his store room, telling me that anything I found in there was $2 bucks a pop. I didn't have a portable record player with me, nor did they have a preview station, so I was going largely on instinct. While this wasn't exactly the disco I was perhaps half-expecting, I consider it one of the gems I found in that particular expedition. Written and originally recorded by American singer-songwriter Cheryl Dilcher in 1973 (who herself has a little disco connection), there's something about the bass in the groove here, and Terry's vocal approach that cinches this as my preferred version. Some years later, I figured out this was a fairly sought after record when someone from Europe messaged me on Discogs offering to pay me an amount of my choice for a .wav file of this song. As of this writing, the promo-only 12" is still going for upwards of $200 USD on Discogs, though I will say, for the intrepid diggers out there, copies still show up once in a while in Canadian dollar bins.

Hot - Just ‘Cause I’m Guilty: This group, comprised of Gwen Owens, Cathy Carson and Juanita Curiel put out three albums, all of which were helmed by the Muscle Shoals production duo of Clayton Ivey & Terry Woodford. I first heard Ivey & Woodford's work on The Supremes 1975 self-titled album. Not long after their time on Motown, they had one of their biggest hits on this group with the song "Angel In Your Arms," later covered by Millie Jackson, Barbara Mandrell and Reba McIntyre, to name a few. While that was the hit, the funkier sass and swing of "Just 'Cause I'm Guilty," the last track on Hot's self-titled album, remains my favourite. In any case, both songs summarize that intersection of soul, funk, and country that Ivey & Woodford covered so well.

Lucio Battisti - Un uomo che ti ama: First heard of Lucio Battisti through the Italian diva, Mina, who sang many of his songs. One of his many successful collaborations with the lyricist Mogol, his 1976 album (which this song is from) is among my favourites. Called Lucio Battisti, La batteria, Il contrabbasso, eccetera (The drums, the double bass, etcetera) it's one I had discovered from my partner, Andrew's collection, and shows Battisti incorporating ever more elements of American funk and disco into his sound. Recently, Sony Music Italy reissued the album on vinyl with a bonus CD which included the Spanish version of the record. This song, (which in English means, "A Man Who Loves You") and the entire record remain a wonderful listen in either language.

Maxine Nightingale - Get It Up For Love: I don't think I've heard a bad version of this song, which is a good thing, because there seem to be quite a few out there. I first heard this song when Táta Vega covered it as a disco song on her Try My Love album in 1979, which I had written about on this blog some years back - see Disco Delivery #41: Táta Vega - Try My Love (1979, Motown). This version, from 1977 on Maxine Nightingale's second album Night Life (sometimes titled Love Hit Me after its lead single) cuts closer to Ned Doheny's original. Though Táta's version will always be tops for me, I'd rank this up there as a favourite also.

Alfie Silas - Put The Freeze On: Alfie Silas-Durio has a long list of credits to her name as a session singer, as well as three albums of her own from the early 80s. This one's from her first, Alfie on RCA in 1982, which had a number of good tracks (I've found 1982-83 to be particularly good years for post-disco R&B/Boogie records). Ended up buying the album largely on the appeal of this song. Its melancholy synths conjure up spacey themes and metaphors, as do the lyrics. From that description one would think the whole thing could fall into gimmicky and/or cheesy territory, but it all comes together in quite a sincere, soulful and innovative way. Pitched down slightly for a little extra depth.

Nona Hendryx - Soft Targets: One of my favourite songs from her underrated 1984 LP, The Art Of Defense, the lyrics conjure up thoughts and images of vulnerability and uncertainty with a groove that's minimal but powerful. Pitched this one down also for beatmatching purposes and to impart a little extra power. In my opinion, a highlight of the work she did with Material/Bill Laswell in the early 80s.

Costas Charitodiplomenos - Lost In The Night (12" Version): Italo-Disco from Greek singer/songwriter Costas Charitodiplomenos. I had discovered Costas' songs on YouTube, and was intrigued at the Italo sound some of his work had. The connection clearly wasn't lost on the Italians either, as this ended up on the Many Records label in Italy, remixed by Mario Flores and Romano Bais (who put out a number of Italo records as R. Bais). Lyrically and melodically solid, I thought it worked well with the theme and feeling of the previous Nona Hendryx track and many of the other selections here.

Barbara Fowler - Come and Get My Lovin’: Stellar boogie from the Radar label and singer Barbara Fowler, who had been a vocalist in the disco/boogie projects Sinnamon and Sparkle. Don't always get to play this one, but am glad to find a place here for it. From the extended dubby synth effects to a killer soulful vocal, this has so many of the things I love about early 80's boogie. Produced by Eric Matthew (AKA Joe Tucci), the man who brought you Gary's Gang, Sure Shot by Tracy Weber and many of Sharon Redd's hits.

First Love - It’s A Mystery To Me: I've covered this group here before, when I posted their 1980 disco single Don't Say Goodnight/Love Me Today. Until recently, their sole album, Love At First Sight, on their producer, Donald Burnside's label, Chycago International Music, remained elusive for me. When I finally picked it up at a recent record fair, this song was one of the standouts for me. From 1982, one of those golden years of boogie, much like the previous selection - a funky groove, with lovely synths together with charming, soulful harmonies.

Linda Clifford - I Want To Get Away With You: One of my favourite disco divas, and a highlight from one of my favourite albums of hers, I'm Yours from 1980. That album was mostly produced by Isaac Hayes, and this song in particular has his stamp all over it. Personally, I think it's too bad this wasn't a single. I love hearing Linda sing in her lower register here, and all of the little classy touches on the production, from the elegant pauses to the guitar hook that gets you right from the top.

First Choice - Pressure Point: Another one I've covered here before - see Disco Delivery #29: First Choice - Breakaway (1980, Gold Mind/Salsoul). This was from the group's last album, and while this song wasn't among their hits, it's definitely among my personal favourites of theirs. Produced by the ever reliable Norman Harris and mixed by Tee Scott, from those strings at the intro, to all of the sharp, teasing breaks and edits, am glad to finally place this one in a mix!

Dalida - Helwa ya baladi: Changing gears into a signature song from the late icon of French pop, Dalida. I picked up a Canadian pressing of the album this was from, Dédié À Toi/Monday Tuesday some years back. However it wasn't really the disco tracks that captured me but this one, the last song on Side A. Sung in her native Egyptian Arabic, the title evidently translates to "Oh Sweet, My Homeland." Something of an evergreen patriotic song in Egypt these days, it's easy to hear why this became one of Dalida's most beloved songs in Egypt and across the Arab world.

Martha Velez - There You Are: I had bought Martha Velez' album Escape From Babylon at my favourite Calgary record store back in 2005. At the time, I didn't really have a great deal of knowledge of all the great names involved, but it intrigued me nonetheless. Between that and the fact that it was sealed and had a song called "Disco Night" on it, how could one go wrong? Beginning her recording career as a folk singer, she recorded this reggae album in 1975 with Bob Marley and Lee "Scratch" Perry in Jamaica. While this album still seems to get mixed reviews, it's one I personally love and go back to again and again, with a much fuller appreciation these days. This song, written by Marley, is to my ears, one of its high points.

Paula Moore - On The Edge: One of the big record fairs here in Toronto had room of $5 records that I used to love going to. It's a frenzy, but one never knows what one will find there. This particular album, titled High and Low in most territories, retitled Valparaiso in Canada after its hit single, is one case in point. Produced by super-producer and Daft Punk dad Daniel Vangarde, it's not quite like the hits he made for Ottawan and The Gibson Brothers, opting instead for a more subdued synth-centred sound here. While the album is perhaps not consistent enough in my ears to to be a classic, there are nevertheless, several remarkable songs on it, this being one of them. Combining the synth sound of much of the album with a reggae beat on this track, the result actually sounds much more interesting than it seems on paper.

Liza Minnelli - If There Was Love: From Liza's 1989 Results album, produced by the Pet Shop Boys. I probably needn't say much more, but to my mind, one of the great producer-artist pairings of that moment. I remember as a young gayling, Results being presented to me as a key part of my education in queer culture. The drama and resonance of Liza's voice in this song and the Pet Shop Boys' production and notably Neil Tennant's sharp personal lyricism here summarizes, to my ears, why that partnership worked so well. One of the song's key verses: "Men of affairs, women with power, satellites talking, to clutter our lives. Banks of predictions, policies made, prophecies broken, violence deranged..." Words which feel perhaps truer now than they did then. Culminating with a recitation of Shakespeare's Sonnet 94, while there are a number of great songs on the album, this is perhaps the one I go back to the most.


CATEGORIES: DISCO DELIVERY MIXES, DISCO DELIVERY EVENTS, CAN-CON DISCO

Disco Delivery #41: Táta Vega - Try My Love (1978, Tamla/Motown)

Listen on Spotify:
Táta Vega - Get It Up For Love (LP Version)
Táta Vega - Get It Up For Love (12'' Version)
Táta Vega - Come On And Try My Love
Táta Vega - I Just Keep Thinking About You Baby (LP Version)
Táta Vega - I Just Keep Thinking About You Baby (12'' Version)
Táta Vega - Whopper Bopper Show Stopper
Táta Vega - I Need You Now

Carmen Rose AKA 'Táta' Vega (sometimes with the á, sometimes not) was, in my opinion, one of the more unique voices at Motown in the late '70s.. Prior to her Motown days, Tata got her start as part of a group called Pollution, which featured her and Dobie Gray on vocals, and according to at least one source (I wish I had the albums to confirm), future members of Sylvester and The Hot Band, no less. Just to add another dimension of colourful intrigue, Pollution was managed by none other than Max Baer, Jr. of the Beverly Hillbillies fame..

After two albums as part of Pollution, Tata would eventually end up on Motown as part of another group called Earthquire, who had released one album on Motown's Natural Resources imprint. Needless to say, she wasn't exactly a newcomer to the label or to the industry upon the release of her debut album "Full Speed Ahead" (1976, Tamla/Motown). Though despite releasing four albums as a soloist on Motown's Tamla imprint, apparently she wouldn't rack up any real massive hits with them, yet she still put out some excellent material during her time at the label. Judging from the chart positions on the All Music Guide, this album, "Try My Love" would have likely been her most commercially successful record and, in my opinion, right along with "Totally Tata," (1977, Tamla/Motown) perhaps the best out of her Motown albums..

Before really getting to the album, however, I can't go any further without paying some special attention to Tata's voice.. This was the first album of hers that I ever got and I have to say, there was just a certain something about her voice.. Something that managed to be both endearing and captivating, yet also somewhat odd at the same time. Initially, my first impression was that it reminded me of a higher, slightly nasal Chaka Khan.. I'm likely not the first to make the Chaka Khan comparison, but just to take that a little further, another way to look at it would probably be like a cross between Chaka and then Motown labelmate Teena Marie. A voice with the soulful warmth and commanding power of a Chaka Khan, combined with the spunkiness of Teena Marie, among other things. My own lazy comparisons aside though, beyond all other things, there was just a certain charming, soulful sweetness to Tata's voice that was truly all her own. It's one of the things which made this album particularly satisfying, with the material on here showcasing it beautifully, from the cover shots and into the grooves, perfectly zeroing in on that soulful, powerful sweetness..

Taking on uptempo, soulful R&B, sublime balladry, a touch of playful funk along with some great uplifting and sexy disco; with it's diverse, high-quality, accessible material, it seemed like one of those albums that was specially engineered to garner a hit or two. Yet even if it didn't break her through like Motown execs might have expected, it's an album which remains thoroughly enjoyable, not so much because of any unifying concept, but because all the songs were of such a high quality and with Tata bringing so much personality to them, they all end up sounding excellent.. Like all her other Motown records, this album was primarily produced by Winston Monseque, although I believe this is the only one largely co-produced and arranged by former Rufus drummer (Chaka connection number two!) and future Mr. Natalie Cole, André Fischer, whose credited on much of the album. On that note, this album, along with Brenda Russell's first album, are both notable for being among Fischer's first production credits..

The two major standouts on the album, especially from a disco perspective would have to be, without a doubt, "Get It Up For Love" and "Just Keep Thinking About You Baby." Both tracks were evidently released in the US on a double A-side 12'' single, with both recieving special disco mixes. To me, both tracks are not only some of Tata's best, but definitely among some of the best disco Motown was putting out at this time. "..Just Keep Thinking About You Baby," is just simply one of those immediately infectious, dare you-not-to-hum-along kind of songs. One of those grooves which is practically bursting with such pure, unadulterated happiness and joy, one can't help but feel free and happy inside just listening to it.. The rich, layered production with the strings, horns and piano in the mix and that awesome drum track right up front make this an energetic, soulful, veritable disco tour-de-force, especially when the strings punctuate the mix and start to take part of the melody towards the end.. Topping it all off, Tata herself is outstanding on this track, with her lively, dynamic performance, especially with some of those 'how'd-she-do-that?' vocal ad-libs both matching and enhancing the fullness and energy of the song, note-for-note..

The 12'' version extends the track by around a minute and a half giving it a slightly longer intro and a nice instrumental break two-thirds of the way through, with the whole thing punctuated by a bigger, fatter bass drum. Just for maximum dancefloor impact, the bass drum is even further augmented at one point with some deep, overlayed synth effects (which are on the LP version as well, just louder on here), making the beat practically bounce out of the mix.. Overall though, it's still a rather conservative remix, yet it ably does the job enhancing just a few key elements to give things a bit of extra presence..

Years later, in 2001, Gloria Gaynor would do a cover version of this, which was released as a single and included on her last album, "I Wish You Love" (2002, Logic/BMG). She would end up having a #1 Billboard club hit with it, but with all due respect to Gloria, her version, although good in it's own right, can't touch Tata's spirited rendition here..

The other big disco track on the album, Ned Doheny's "Get It Up For Love," was one that had made the rounds somewhat during the late 70's.. Prior to this release, versions had also been done by the likes of Doheny himself, David Cassidy, Ben E. King and the Average White Band among others, yet out of all of the others I've heard so far, in my opinion, Tata's has got to be one of the best. Produced by Monseque and Fischer, Tata's version is propelled by an instantly catchy synth refrain and further augmented by those sublime arrangements featuring those airy synth sounds; richly textured, galloping percussion and a dynamic, supple bassline. Overall, there's a definite sexiness and sensuality to this version which, combined with it's energetic, irresistable danceablilty, turns it into an absolute disco scorcher..

One of my favourite parts of the album version is that part in the middle when it plays a little trick on the listener with that surprise fade-out.. Just when you think it's all over, it fades right back into a tasty synth break giving prime exposure to that hypnotic synth refrain and frenzied synth solo. Another absolutely killer moment in this song which also deserves some appreciation is when Tata sings the line: "you can flee in terror, you can stay and fight, you can stand in line and scream it's.. just..not..right, baby.." With that perfect, gritty emphasis on "scream", her vocals are just so absolutely on-point here..

Interestingly, the 12'' version, at around 5.49, is actually shorter than the album version, which is just over six minutes. Again, a fairly conservative remix with the main difference being that the 12'' mix takes out that little surprise fadeout in the middle, giving it a much more steady, focused danceable dynamic..

Just to make another Chaka Khan connection, the writer, Ned Doheny had also co-written (along with the Average White Band's Hamish Stuart) one of my favourite Chaka singles: "What Cha' Gonna Do For Me," from her '81 album of the same name..

Aside from the two big disco tracks, I also had to include some of the other uptempo tracks as well, namely the bright album opener "Come On And Try My Love" which, quite appropriately, makes the perfect showcase for the sweet warmth of her vocals; as well as a little funky moment from side two, "Whopper Bopper Show Stopper." The latter track is easily one of the funkiest, quirkiest, most enjoyable things she's ever put her name to. Given that "Whopper Bopper Show Stopper" is also the title to Motown labelmate Junior Walker's 1976 Motown album and given, as well, the penchant for Motown artists to cover each other's material from time to time, I'm guessing Tata's version is perhaps not the only one.. Either way, hell if I actually know what the damn song's about anyway, but as usual, Tata totally turns this one out with a fun, spunky vocal..

Lastly, I also had to include a great R&B track off side one, "I Need You Now," written by legendary classic Motown writers Brian and Eddie Holland. Driven by that great piano and Tata's powerful, heartfelt vocals; melodically speaking, it's beautiful and brilliant in it's own humble way and is, at least to me, one of the hidden gems off this album..

After this, Tata would end up doing only one more album for Motown, "Givin' All My Love" (1981, Tamla/Motown). According to her: "...after about nine years with Motown, a Motown executive told me I was too old, too fat, and that my career as a recording artist for the label was washed up.." and with that, evidently her career as a Motown artist came to an end. Although her Motown period would remain the most prolific for her as a soloist, one of her biggest moments was yet to come.. Even if her name isn't instantly recognizable to many people, her voice would be featured quite prominently on the Quincy Jones-produced soundtrack to "The Color Purple," where Tata provided the singing voice for Margaret Avery's character. It's been so long since I've seen the movie, I can barely remember it, but hearing her on a tracks like "Miss Celie's Blues (Sister)" and "Maybe God Is Trying To Tell You Something," her performances on the soundtrack are easily one of the high points in her career, showcasing her voice and abilities like nothing else before..

Although she had dabbled in Christian music on her Motown albums (ie. "Try God," "Come In Heaven, Earth Is Calling"), later into the 80's after her departure from the label, she would start collaborating with contemporary gospel pioneer Andraé Crouch who, in her words "took me in when I had no place to go".. After battling a crack addiction in the mid 80's, Tata would end up committing herself even more fully to Christian music and faith..

In a very revealing interview with Today's Christian Woman magazine in 2000, Tata chronicled some of her life experiences and how she, to quote the article, "..had found hope and healing from her painful past." If anything, after reading about her struggles with, among other things, rape, self-esteem and drug addiction, the woman's certainly led one hell of a life.. Although I'm hardly a religious person, and despite my own reservations about elements of Christianity, one can't help but empathize with her after reading her story; that in spite of everything she's gone through, she finally seems to have found healing and a sense of peace in her life..

Since leaving Motown, Tata's only recorded a couple of albums to her name, "Time's So Right" in 1988 and most recently, a gospel album in the late '90s on Quincy Jones' Qwest label called "Now I See" (1998, Qwest/Warner Bros.).. Aside from her own albums, since the 1980's and even into more recent years, she's also become a pretty prolific background/session vocalist, appearing on albums by the likes of Pat Benatar, Melissa Manchester, Patti Austin, Patti LaBelle, and Elton John, just to name a few.

Unfortunately, Motown/Universal have yet to release any compilations or album reissues of Tata's recordings. Given some of her excellent material at Motown, hopefully that omission will be rectified in the near future.. On the bright side, "Totally Tata" was recently reissued on CD in 2005 by the P-Vine label in Japan, where they seem to get all the good stuff..

Despite being relatively under-represented on CD, the full 12" versions of Tata's "Get It Up For Love" and "..Just Keep Thinking About You.." have both found their way to CD at different times.. "I Just Keep Thinking About You Baby" appeared on the now out-of-print compilation "Funkology, Volume Three: Dance Divas" (1996, Motown/PolyGram) and "Get It Up For Love" currently appears on the excellent (and highly recommended) double-disc set, "Motown Disco" (2005, Motown/Universal), which was exceptionally compiled by the very cool people over at Six Million Steps..

These days, Tata has apparently signed with a label called Do Rite Records, so it seems there's a possibility of some new material on the way. If anyone's interested, you can hear and read more about Tata on her official Myspace page.

To sum things up, no matter what the woman sings, be it R&B, disco, gospel or whatever, there's a quality in Tata's voice which never fails to capture and convey a certain uplifting joy. Even on a track like "I Need You Now," there's this twinge of endearing optimism and sweetness to her voice which ultimately always shines through. It's a quality which is well showcased on the album and a perfect fit for the kind of uptempo, uplifting disco which it featured.. Anyway, until next time, enjoy these tracks..

LINKS:
TÁTA VEGA - TRY MY LOVE LP @ DISCOGS
TÁTA VEGA - I JUST KEEP THINKING ABOUT YOU BABY/GET IT UP FOR LOVE 12'' @ DISCOGS
TÁTA VEGA - I JUST KEEP THINKING ABOUT YOU BABY/GET IT UP FOR LOVE 12'' @ DISCOMUSIC.COM
TÁTA VEGA @ ALL MUSIC GUIDE
TÁTA VEGA @ SOULWALKING
TÁTA VEGA'S OFFICIAL MYSPACE
TODAY'S CHRISTIAN WOMAN: AMAZING GRACE - AN INTERVIEW WITH TÁTA VEGA (BY GINGER E. MACFARLAND) (JULY/AUGUST 2000)
LOS ANGELES BUSINESS JOURNAL: PURCHASE OF APARTMENTS HAS SWEET SOUND FOR PERFORMERS (TÁTA VEGA INTERVIEW QUOTES) (OCTOBER 23, 2000)
WINSTON MONSEQUE @ DISCOGS
ANDRÉ FISCHER @ DISCOGS
ANDRÉ FISCHER @ ALL MUSIC GUIDE
ANDRÉ FISCHER @ STUDIOEXPRESSO
ANDRÉ FISCHER VIDEO INTERVIEW @ RECORDPRODUCTION.COM

PURCHASE:

VA - MOTOWN DISCO (2 CD)
AMAZON.CO.UK | DUSTY GROOVE | CD UNIVERSE | AMAZON.COM

CATEGORIES: DISCO DELIVERIES, WHAT EVER HAPPENED TO..