New e-mail address

Instead of sending out a mass e-mail, I just thought I'd let everyone know on here about my new email address (see the 'suggestions' link in the sidebar).

The old one will still be in use (at least once they reset the bandwidth at the end of the month), but from now on, my primary correspondence will be through the new Gmail address..

Lately, with all the e-mails I've been getting, I've nearly used up all of my space on the original Fastmail address and already overshot my bandwidth limits on it. So unfortunately, until they reset the bandwidth, I won't be able to send or receive any e-mails from that address..

I never expected that I'd get this much mail through this blog, so a big thanks to all the people who have and continue to give me feedback.

My apologies to anyone who has tried to e-mail me in the past couple of days, only to have it bounce back.. Hopefully this will no longer be an issue.

Thanks..

-T

CATEGORIES: MISCELLANEOUS

Have a Cocktail.. Upcoming Disco Compilations (June 2007)

It's been a little while since I've posted about upcoming disco collections and reissues. I know I've missed quite a few, but with not just one, but three intriguing, creatively compiled compilations coming up, I figure there was no better time for another one than now..

Anyway, these compilations are due to be released around the 5th of June, or at least more or less around the beginning of June, depending on where you are.. Update: Amazon.com now lists the Dimitri CD as being released on June 19th. Amazon UK still lists June 4th, however..

Update #2 (6/16/07): Added info. on the new Sheila & B. Devotion "Disco Years" compilation..
Update #3 (7/6/07): Added more info. on the new Sheila & B. Devotion "Disco Years" compilation, this time about the double-CD edition..


Dimitri From Paris Presents Cocktail Disco (2007, BBE)
buy/pre-order @ dustygroove.com | amazon.com | amazon.co.uk | cduniverse.com
It seems that suave, jet-setting disco connoisseur extraordinaire, Dimitri from Paris, has done it once again.. The amount of rarities on the tracklist is pleasantly surprising, to say the least. Not to mention the artwork, which looks absolutely stunning. Though really, one can't expect anything less from a Dimitri compilation. Rest assured, unlike one of the more disco compilations he was involved with, Super Disco Friends (with DJ Muro), this collection is not a mix, but a completely unmixed collection of either full, original versions or rare 12" mixes. Although I've only been collecting for a relatively short time, even some of the more seasoned collectors I've come across manage to get a pleasant surprise or two from a Dimitri set.. Out of all of the tracks on here, there are only two that I know of: "Frenesi" by The Ritchie Family and "It's Got To Be Love" by Darcus (which also involves The Ritchie Family's namesake, Richie Rome), and I didn't even know there was a seven minute 12" version of the Darcus track..

Evidently this double disc set can probably be described as Dimitri's take on disco's still relatively unexplored (at least as far as these sorts of compilations go) 'sleaze' subgenre. There's a thread on discomusic.com and an installment of Joe.My.God's Instant Disco History which both give a good outline of it.. For the record though, Dimitri's own background info describes his affinity for sleaze as well as his own 'cocktail disco' approach this way:

One of many such sub genres I grew up to love over the years, is a type of Disco that I could best describe as Cocktail Disco.... I believe this style was called Sleaze back in its days, from roughly 1976 to 1979. There were even DJs specialized in the Sleaze sound which was usually played after hours, in spots with a strong sex oriented drive...Cocktail Disco has that ubiquitous 4/4 beat and flying open high hat, complemented by rich orchestrations, campy over the top vocals, and an often tropical latin vibe. Something that wouldn't feel out of place in a broadway musical..

Judging from the rarity of the selections however, I'm sure this will be less of a trip down memory lane, and more of a journey through relatively unexplored territory with Dimitri's own personal take on this sub-genre..

Although whenever a set so focused on rarities comes along, there's bound to be a bit of skepticism as to whether the tracks themselves are actually quality selections and not just gratuitous collections of obscurities.. For what it's worth though, I've been told by a few people with advance copies that Cocktail Disco does indeed deliver on rarity, quality and concept.. Judging from The Determined Dillettante's tasty lil' teaser and from the tracks that I do know of, I certainly think this'll be one awesome collection!

Anyway, in case you can't tell by now, I'm pretty excited for this and hope to do a review when I finally get myself a copy... For more info, check BBE's website as well as Dimitri's own Myspace blog where both the tracklist along with Dimitri's own liner notes/annotations have been posted..
DIMITRI FROM PARIS' OFFICIAL MYSPACE
BBE - DIMITRI FROM PARIS PRESENTS COCKTAIL DISCO 2XCD
DIMITRI FROM PARIS @ DISCOGS


Disco Deutschland Disco: Disco, Funk & Philly Anthems from Germany 1975-1980 (2007, Marina)
buy/pre-order @ dustygroove.com | amazon.com | amazon.de | amazon.co.uk | cduniverse.com
Brought to you by Stefan Kassel and the people at the Marina label (who were also behind the compilation series, "The In-Kraut"), is this interesting set of euro-rarities from Germany. Given that some of the best and boldest examples of euro-disco came from Germany, it's about time someone did this.. Judging from the label's release notes, many of these tracks are on CD for the first time. Although some of these tracks might be more familiar then others, like say Amanda Lear's "Fashion Pack," Giorgio Moroder/Munich Machine's "Get On The Funk Train," Silver Convention, James Last and Supermax; others like Su Kramer, Carsen Bohn's Bandstand, Christian Anders, Ganymed and pretty much everything else is practically unknown to me. Although that probably doesn't say very much aside from the fact my knowledge of German disco doesn't go too far beyond the big names.. Nevertheless though, this sounds yet another intriguing, eclectic journey through some new disco frontiers..
MARINA RECORDS @ MYSPACE
DISCO DEUTSCHLAND DISCO CD @ DISCOMUSIC.COM
DISCO DEUTSCHLAND DISCO CD @ FUSION3


Grand 12-Inches 4 (2007, Sony)
buy/pre-order @ cduniverse.com | amazon.com | amazon.co.uk
This is the latest volume in Ben Liebrand's series of epic 4-disc collections of disco and dance classics from the 70s and beyond.. I'm sure by now I'm one of the few disco enthusiasts left out there who doesn't yet have at least one volume of Liebrand's series.. And really, with the variety and quality of selections on all of them, and not being broke these days, I really have no excuse. Given how difficult it can be to track down original (and usable) masters, especially for disco (given how many compilations often end up being mostly vinyl transfers); Liebrand's attention to tracking down original masters for the best sound quality is admirable, to say the least. Although not nearly as focused on rarities as the previous two, you just can't lose with a healthy selection of well-known winners and underground classics in their full 12'' form which one would be hard-pressed to find elsewhere, or on CD form at all for that matter.. For more info (tracklist/annotations for all four volumes), check Ben Liebrand's website.. After getting this, I'll probably have to catch up on the other volumes..
GRAND 12 INCHES (4 CD) @ DISCOGS
GRAND 12 INCHES 2 (4 CD) @ DISCOGS
GRAND 12 INCHES 3 (4 CD) @ DISCOGS


Sheila & B. Devotion - The Disco Singles (2007, Warner)
buy/pre-order single CD edition @ amazon.fr | amazon.co.uk | amazon.com
buy/pre-order double CD edition @ amazon.fr | amazon.co.uk | amazon.com
(Added 5/16/07): Apparently following up on the reissue of her excellent Chic-produced album, "King Of The World," on the 11th, Warner France put out this collection covering her disco period, including selections from her first disco album, "Singin' In The Rain" (or "Love Me Baby" as it was also known) at the beginning of the CD and, of course, some of the Chic-produced selections at the end.. In between though, there are some interesting disco singles of hers that I've never heard in full before and that apparently never appeared on any of her albums. Titles like "No No No No" "Hôtel De La Plage," "You Light My Fire" (which also appeared on Vol. 6 of Rhino's "Disco Years" series and more recently on YouTube) "Seven Lonely Days" (a cover of the country classic, recast as a rip-off of Amii Stewart's "Knock On Wood") and their respective B-sides: "Tender Silence Of The Night," "I Don't Need A Doctor," "Gimme Your Loving," and "Sheila Come Back." Although personally, the tracks I've heard from her first disco record can't compare to her Chic-produced stuff, putting them together with the visuals and choreography on YouTube though, they're quite possibly some of the most amusing, enjoyable pieces of disco cheese out there..
Update (7/6/07): I just found out that this compilation comes in both a single CD edition and a 2-CD edition. There's a new set of purchase links above that now go to the double-CD version.. This version spans 30 tracks and includes all the tracks from her Chic-produced album as well as six of the seven tracks off her earlier disco album "Singin' In The Rain"/"Love Me Baby" plus all the single-only releases included in the single CD edition..
SHEILA & B. DEVOTION @ DISCOGS
SHEILA & B. DEVOTION @ RATE YOUR MUSIC
DISCOSAVVY: THE COMPLETE DISCO GUIDE TO SHEILA & B. DEVOTION

CATEGORIES: REISSUES & RELEASES

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..

A moment or two..

Mystery - Hold On To This Moment (Instrumental) (1981, Bump)

Here's a little something that I picked up recently.. A few weeks back, I had a nice sunny day to myself and while on a mid-morning walk, felt the urge to stop into the used record shop. Let's just say that with all the disco 12'' in their new arrivals that day, my wallet was a whole lot lighter once I got home..

Anyway, despite the water damage on the cover, this is undoubtedly one of my best finds lately. Although there is no specific producer credited on this record, the arrangements are credited to none other than ubiquitous Montreal super-producer/arranger Denis LePage who, of course, was one half of the duo Lime, along with his then wife Denyse LePage.

Along with Joe LaGreca (with whom he often co-produced, especially early on), LePage was undoubtedly one of the most prolific producers/arrangers to come out of the Montreal disco scene. Whether as a producer, arranger, writer or player, he must have contributed to dozens of notable records out of the Montreal scene over the years. Aside from Lime, some of the more prominent ones like Carol Jiani and Kat Mandu's "The Break" (both of which were co-produced with Joe LaGreca) come to mind.. In some ways, I'd probably describe LePage and LaGreca's sound as the Canadian equivalent of the sort of things that came out of Patrick Adams and Peter Brown's P&P labels. Although their respective sounds were completely different, one was rooted in R&B and funk, the other in a hybrid of Euro and American sounds; both camps often put out (or contributed to) records with a similarly distinctive indie, lo-fi quality to them (see Carol Jiani's "Hit N' Run Lover" for one example)..

Although on this particular record, LePage and LaGreca aren't specifically credited as producers (the production instead credited, rather anonymously, as a "Brothers United Music Production"), they might as well have been. With the combination of synths, punchy horn arrangements, their signature flat, crashing drums; not to mention that metronomic cowbell and beautiful string section, the track has their sound all over it. Overall, the whole thing ends up sounding similar to that early Lime sound; like a lighter, breezier, more melodic companion piece to Lime's amazing "Agent 406." Despite the fact that the once ubiquitous disco string sections seemed well on their way out by this point, the sheer drama of those string and horn sections are what really make this particular record stand out. Those two elements singlehandedly take the mood and feeling of this record to elegant, dizzying heights in a way that probably wasn't heard very often by this point in the early 80's..

While the instrumental is superb, the vocal version on the other hand (which is actually on the A-side), is unfortunately one of the most awful vocal tracks I've ever heard. Seriously. I'm not exaggerating, it's absolutely wretched... If you don't believe me, go ahead and listen to it for yourself... Just don't say you weren't warned...

Although the vocal may start off relatively decent at the beginning, it only gets progressively worse towards the end. By that point, it just reminds me of really bad karaoke, albeit without the amusement factor. I almost feel bad for the joker trying to 'sing', whoever the hell he is. He not only sounds downright awful, but practically ruins an otherwise good record in the process.. Perhaps in this case, it's a good thing no one was credited for them. Although I was tempted to suggest that maybe the vocalist is Denis LePage himself, it sounds nothing like how he does on the Lime records. LePage's vocals in Lime may have been at times shaky and a little 'rough around the edges,' so to speak, but this guy makes him sound like Elvis in comparison.. In any case, I can only guess that maybe they blew their budget on the string section and couldn't afford a half-decent singer afterwards..

Evidently though, in 1982 this track still managed to get a US release/remix on the then fledgling Tommy Boy label, being what appears to be one of the earliest Tommy Boy releases that I've come across..

The original Canadian release posted here was mixed by the late New York disco DJ veteran Bobby 'DJ' Guttadaro, who also contributed to other notable Canadian disco releases such as Montreal feat. Uchenna Ikejiani and the original 12" of Sparkle Tuhran & Friends' "Handsome Man" to name just a couple. The US Tommy Boy release, however, was remixed by the prolific Mark Berry, who had gotten his start as an in-house producer, mixer and engineer on the Vanguard label on records by Poussez!, Roni Griffith and Alisha to name a few. Although I haven't heard the US remix yet, judging from the reviews on discomusic.com, both sides of the US 12'' evidently kept the vocals on the mix. According to one of those user reviews, the popularity of the Lime sound at the time still managed to get this record some limited club play.

Anyway, vocal version aside, to me, this instrumental version (although fairly brief by disco standards) nonetheless remains a hidden, sparkling (can-con) disco diamond..

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #35: MONTREAL FEATURING UCHENNA IKEJIANI (1979, SALSOUL) (FEBRUARY 21, 2007)

LINKS:
MYSTERY - HOLD ON TO THIS MOMENT (ORIGINAL 12'') @ DISCOGS
MYSTERY - HOLD ON TO THIS MOMENT (US REMIX 12'') @ DISCOMUSIC.COM
MYSTERY - HOLD ON TO THIS MOMENT (US REMIX 12'') @ DISCOGS
DENIS LEPAGE @ DISCOGS
DENIS LEPAGE @ DISCOMUSIC.COM
DENYSE LEPAGE @ DISCOGS
DARIO'S LIME PAGE
JOE LA GRECA @ DISCOGS
JOE LA GRECA @ DISCOMUSIC.COM
DENYSE LEPAGE @ DARIO'S LIME PAGE
GIORGY'S PLACE- LIME
LIME @ DISCO MUSEUM

CATEGORIES: MINI DELIVERIES, CAN-CON DISCO

Disco Delivery #40: Munich Machine - A Whiter Shade of Pale (1978, Casablanca)

Listen on Spotify:
Munich Machine - A Whiter Shade of Pale
Munich Machine - It's For You
Munich Machine - It's All Wrong (But It's Alright)
Munich Machine - La Nuit Blanche
Munich Machine - Love Fever
Munich Machine - In Love With Love

It's been a while since I've put some Giorgio Moroder up here and since this album has been a favourite of mine for a little while now and a frequent listen lately, I figure why not now?

Munich Machine was, for the most part, a moniker for the fairly regular cast of studio musicians on many of Giorgio Moroder's productions with Pete Bellotte (and others) which, at least on this album included the likes of Keith Forsey, Geoff Bastow, Mats Björklund, Dino Solera and singers Lucy Neale, Gitta Walther (AKA Jackie Robinson), and Claudia Schwarz among others. Aside from the three albums released as the Munich Machine, the "Machine" would also be anonymously credited for the "accompaniment" on a few of Donna Summer's albums, Roberta Kelly's "Trouble Maker" album and given top billing on the single Moroder produced for his sax player Dino Solera to name a few...

As well, the "Munich Machine" was not just a group of musicians, but also something of a brand for their distinct sound. In a 1978 interview with NME, Moroder branded the distinct sound of his productions and musicians as the "Munich Machine Sound" which the article characterized as their own disco-era, European equivalent of the Motown Sound. Evidently one of the common criticisms of the "Munich Machine Sound" was it's defined, formularized sound, a criticism which as the article points out, doesn't hold up quite as well when compared to the similar assembly-line, organized industrial quality of the Classic Motown sound, for example. Evidently the cover concepts on the first two Munich Machine albums with the dancing robots and the curious credit listings on this LP (musicians credited as the "Shop Floor," singers as the "Secretaries," engineer as the "Shop Steward" etc..) were, at least in part, a reply to that criticism (evidently Rinder & Lewis weren't the only disco producers with a sense of humour). Moroder himself explains it further in some key excerpts from that interview:

"Myself, I liked very much the sound of Motown in the early times, up to seven or eight years ago, but now they do not have such a recognisable feel. Mind you, the actual quality of their first recordings was not good. You know, they recorded in a little building and so on. But the music was good, so very good - and that is why they succeeded."

And quite why Moroder's work should be so disparagingly referred to in some circles as 'product' (as in production line, etc.) when Tamla (Motown) themselves formularised their songwriting - Holland, Dozier, Holland et al - and sound with similar success and without risking culpability is beyond this pair of ears. Tamla even worked out of a similarly and supposedly 'industrial' environment in Detroit.

All of which I put to Moroder, asking more specifically about the relevance of the credit listing on the 'Whiter Shade Of Pale' Munich Machine release (cf. 'shop floor, electronics foreman, mechanics foreman, shop steward, apprentice, time and motion study').

"This, you know, this is just another joke. We know people think this about what we do, so we play up to them. It is the same with the dancing robots on the covers of both Munich Machine records.

"All this talk of machines and industry make me laugh. Even if you use synthesisers and sequencers and drum machines, you have to set them up, to choose exactly what you are going to make them do. It is nonsense to say that we make all our music automatically.

"I know for myself how difficult or how easy it was to get a certain sound. Sometimes it's easy, sure, but as often as not it is at least ten times more difficult to get a good synthesiser sound than on an acoustic instrument. And of course we organise things - who does not? We have to be professional about this. There is nothing wrong with this, surely?"

Looking back today given their success and influence, the Motown comparison rings even more true. Much like Motown had been at it's height, at the time Moroder and company were at the helm of what was undoubtedly one of the most identifiable, defining sounds of the disco era.

As far as 'Munich Machine,' the recording project goes, the best known Munich Machine single would probably be the slick and sexy 15 minute disco workout "Get On The Funk Train" (which reached #7 on the Billboard Disco charts in 1977) off the first and excellent Munich Machine album. Although all three Munich Machine albums are worthwhile (the first two perhaps more so than the last, "Body Shine"), I'd say out of all three, this one has to be my personal favourite. The first album was essentially made up of sped-up, largely instrumental remakes of the so-called "soft-disco" productions from the albums he and Bellotte did for Donna Summer ("Love To Love You Baby," "Try Me I Know We Can Make It"), Roberta Kelly ("Trouble Maker"), as well as from Giorgio's own "Knights In White Satin" LP ("I Wanna Funk With You Tonite") which were all augmented with some heavy, loopy synths here and there for good measure.. This particular album, however, bears less resemblance to that earlier Munich euro-disco sound and a great deal more of the cooler, sharper and decidedly progressive electronic stamp of "I Feel Love" and "Chase" that would eventually become Moroder's most enduring trademark.

Looking back at his output, 1977 and 1978 especially seemed like banner years for Moroder and company. Between "I Feel Love," the first Donna Summer double-album "Once Upon A Time," "From Here To Eternity," the Midnight Express soundtrack and his Battlestar Galactica album which spawned the extended electro symphony that is "Evolution," Moroder seemed to be at the height of an extraordinarily fruitful period, both creatively and commercially.

In addition to all of that, last but certainly not least, I'd also include the "Whiter Shade of Pale" album in that list of notable Moroder productions from that time. Written (aside from the title track, of course) and produced by Giorgio Moroder and Pete Bellotte, this album is perhaps not as well-known as some of the other Moroder-produced works from the time, yet it's not only an excellent, cohesive album but one which seemed to perfectly bridge elements of his more conventional euro-disco/pop leanings with his more adventurous electronic ones ("Evolution," "From Here To Eternity")..

Additionally, this album also seemed like something of a springboard from which to launch vocalist and Moroder protégé, Chris Bennett, who appears beautifully and artfully photographed (along with Shusei Nagaoka's amazing dancing robot artwork, reprised from the first Munich Machine album) on both the front and back covers. Despite that and the album's subtitle ('Introducing Chris Bennett'), this wouldn't be her first release with Moroder. Prior to this, Moroder's earliest collaboration with Chris Bennett was a little-known 7'' single from 1976 called "Disco Man" produced by Giorgio & Pete and released in the UK on a label called Bradley's Records. Although this may not have been her first showcase and, in my opinion, her best vocal performances would come later on the Giorgio & Chris album and Midnight Express soundtrack; nevertheless, this album still represented the first true and full introduction to both her image and her crystal clear voice..

As far as the music goes, moreso than any of the other Munich Machine albums, this one also displayed, perhaps most boldly and beautifully, a flawless combination between that cool, forward-looking, hypnotic electro pulse and the exquisite orchestration and instrumental arrangements, which seem somewhat overlooked these days given Moroder's reputation as a pioneer in electronic music. Putting that aside for a moment, it was not just the electronics, but often the combination between the orchestral and electronic which not only set him apart as a producer, but also, generally speaking, disco as a genre.

One track which displays that combination especially well would be the second track on the album, "It's For You." The combination is evident right from the beginning, which starts off captivating the listener with a heavy robotic pulse and spacey synth, which is then quickly augmented by what sounds like a flute along with those gracefully sublime string arrangements. The beautiful juxtaposition between the two elements practically define this track, with the dreamy elegance of those strings both complimenting and contrasting the mechanical synth sounds, making this track both gentle and intense all at once.. Bennett's vocals exhibit a similar sort of juxtaposition, alternating between a calculated cool on the verses, and an almost pleading intensity on the title refrain with those echoed, multiplied vocal effects..

The title track, a cover of the Procul Harum classic "A Whiter Shade of Pale," with it's brilliant melody and elaborate lyrics (which no one really seems to understand), is perhaps the best display of Bennett's graceful vocals on the album.. Out of all the others, her vocals on this one seem to be more dynamic, expressing a greater range and seemingly hinting at things to come on future efforts.. Granted, the thought of a disco version of this track might seem a little far-fetched at first, but somehow everything seems to gel and the whole thing just seems to work (quite beautifully, I might add). Beyond their jaunty pulse on the surface, the synths, especially further down in the mix seem to have this certain airy, albeit robotic elegance to them that manages to marry elements of the original's misty ambience with the crisp energy of this electronic remake. That, combined with the classic melody of the track; Bennett's clear, unpretentious vocal affectations and the colouring from the sax and strings also give a definite warmth to this track, despite it's energetic electronic sheen. While electronic sounds are often associated with being cold and detached, the kind of electronic warmth found on this track was one especially unique quality that other excellent Moroder productions seemed to have as well (ie. Suzi Lane's "Harmony" to name one). "A Whiter Shade Of Pale" was apparently released as a single in both the US and the UK, making the lower reaches of the UK charts as well as the top 30 of the Billboard Disco Charts..

While the tracks on side one showcased a more conventional vocal style along with a more balanced electronic approach, side two on the other hand (with the exception of "Love Fever") seemed to take things to another level altogether. Opening with "La Nuit Blanche," Moroder's propulsive electronic interpretation of (part of) Richard Strauss'' "Also sprach Zarathustra" (as popularized by "2001: A Space Odyssey") and ending with "In Love With Love," which appears to have been a vinyl-era equivalent of a hidden bonus track (not listed on the back sleeve, but very much in the grooves and printed on the label), side two on the other hand seemed to be more of a showcase for Giorgio's more ambitious, electronic instrumentals.. Overall for me, "In Love With Love" with it's heavily vocodered vocals and beautiful, entrancing variety of shiny synth sounds and changes is the definite standout on side two. One of the things I love is how the track builds in the beginning with those beautiful, blissful synth textures and later seamlessly segues into this intense trance towards the end, with those darker synth sounds replacing the electro-sparkles of the first part. The sounds that they used along with the vocodered vocals on the track seemed to foreshadow (among other things) the direction he would take on both "Chase" and his own "E=mc²" (1979, Casablanca) album, not to mention a certain synth passage (at around 2.11) which bears an uncanny resemblance to something I've heard on a Eurythmics record at some point. Either way, the intricate electronics of "In Love With Love" certainly made a great ending for the album, almost like a kind of musical cliff-hanger ending things on a high point, leaving the listener with an expectation, an exciting glimpse of the future..

Despite the fact that Moroder gets a great deal of credit as an innovator these days (and rightfully so), some of his close collaborators like Pete Bellotte for example, seem to get lost in the shuffle, so to speak. Judging from interviews and the division of credits on his productions, Moroder seems to fall into that category of producers with a 'hands-off' production style, those who prefer to work with a team, leaving some of the details of their vision to an able, ensemble cast of musicians. As opposed to a hands-on producer putting their hands in practically every aspect of the recording, Moroder, judging in part from a 1996 interview with Future Music admitted: "I`ve rarely done a whole recording by myself." Despite the hands-off style, it certainly seems to speak to his ideas and his abilities as a producer that the sound of most of his productions still clearly bear his stamp more than anything else. Although as a result, it may be difficult at times to know just where Moroder's input ended and his co-producers' came in, it at least seems to explain the equal credit given to his co producers (usually Pete Bellotte or Harold Faltermeyer) on albums like this one and others.

Aside from the lyrics where Bellotte's contribution is much more clear, judging from Bellotte's style on his own solo productions (ie. Melba Moore's "Burn" LP, Marsha Hunt, Trax etc..), I can only speculate that his input also seemed to be pretty strong on the more acoustic, instrumental elements when it came to his productions with Moroder. Given that, Bellotte's stamp on this record is perhaps most evident on the two most instrumentally elaborate tracks on the album: "It's All Wrong (But It's Alright)" on side one with it's lyrical narrative and dramatic Spanish-inspired horn section, and "Love Fever" on side two. Although perhaps debatable on "It's All Wrong..," "Love Fever" seems to bear the closest resemblance to his solo productions with the quick intricacy of those background guitars and the dynamic, prominent horn arrangements, all of which seem to bear Bellotte's signature style.

This album would probably the last actual Munich Machine album that could be considered a guise for Moroder's backup band. The final Munich Machine album "Body Shine" (1979, Casablanca) seemed to move away from the original more anonymous concept of the first two albums and and into more of a conventional "band" formula. By that point, the 'band' officially consisted of Günter Moll, Stefan Wissnet along with singers Judith Jones and Yolande Howard with all four actually pictured on the back cover. With Moll and Wissnet also having production credit alongside Moroder, that record also had a significantly different sound to this one as well as to many of the other things Moroder was putting out at the time. In 1996, all the tracks from the first Munich Machine album along with this one were released on a CD compilation called "Get On The Funk Train," (1996, Oasis/Bud Music). Long out of print, it's not one which shows up often, in fact I've only ever seen the CD once on eBay. Needless to say, it was completely out of my price range at the time but I did manage to save a picture of it, in case anyone's curious about what it looks like. Luckily, I'd also acquired a CD rip of the compilation later on which is the next best thing, I suppose (and is where all the tracks up here come from)..

On future albums Chris Bennett would go on to be one of Moroder's most frequent collaborators, not only as a singer but as a songwriter, contributing lyrics and vocals for quite a few of his projects, most notably the Midnight Express soundtrack for which she'd share in it's Academy Award nomination. Another notable collaboration would be the duet album they'd do together as Giorgio & Chris, "Love's In You, Love's In Me" (1978, Casablanca), which given the romantic tone of much of it, makes me wonder if they were more than just creative collaborators at the time.. Based in Los Angeles these days, Bennett had reinvented herself as a contemporary jazz chanteuse in the 1990's, having recorded some seven albums since then in addition to her disco work. If anything, I'd say that the lady still looks and sounds great today. You can see and hear for yourself on her Myspace page and on her official website.

Given not only Moroder's legacy but the excellence of much of his disco output, hopefully this along with the other Munich Machine albums (and other out of print Moroder-produced records) will be revisited for future reissue at some point. Although like many disco producers at the time, Moroder seemed to be putting out records with such frequency, it seems inevitable that a few would have gotten lost in the shuffle, which probably explains why this one doesn't seem to be talked about or cited too often these days. While this album may not be among his more iconic productions, it was nonetheless an excellent record showing one of disco's greatest producers and production teams at the top of their game.

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #14: SUZI LANE - OOH LA LA (1979, ELEKTRA) (SATURDAY APRIL 8, 2006)
DISCO DELIVERY #5: GIORGIO MORODER - FROM HERE TO ETERNITY (1977, OASIS/CASABLANCA) (FRIDAY FEBRUARY 3, 2006)

LINKS:
MUNICH MACHINE @ DISCOGS
MUNICH MACHINE - A WHITER SHADE OF PALE LP (REVIEW) @ ALL MUSIC GUIDE
MUNICH MACHINE - A WHITER SHADE OF PALE LP @ DISCOGS
MUNICH MACHINE - A WHITER SHADE OF PALE LP @ DISCOMUSIC.COM
GIORGIO MORODER @ ALL MUSIC GUIDE
GIORGIO MORODER @ DISCOGS
GIORGIO MORODER @ WIKIPEDIA
GIORGIO MORODER @ JAHSONIC
MORODER'S MUSIC
GIORGIO MORODER: FATHER OF COMPUTER DISCO
MORODER-SUMMER TRIBUTE
GIORGIO MORODER COVER GALLERY
GIORGIO MORODER INTERVIEW WITH FUTURE MUSIC (1996)
MORODER'S MUSIC: GIORGIO MORODER INTERVIEW WITH NME (DECEMBER 9, 1978)
PETE BELLOTTE @ ALL MUSIC GUIDE
PETE BELLOTTE @ DISCOGS
BBC NEWS: IN TUNE WITH BRITAIN'S DISCO KING (PETE BELLOTTE INTERVIEW) (SEPTEMBER 19, 2004)
CHRIS BENNETT @ DISCOGS
CHRIS BENNETT @ WIKIPEDIA
CHRIS BENNETT @ ALL MUSIC GUIDE
CHRIS BENNETT'S OFFICIAL WEBSITE
CHRIS BENNETT'S OFFICIAL MYSPACE

PROCUL HARUM - BEYOND THE PALE: MEANINGS IN "A WHITER SHADE OF PALE"
PROCUL HARUM - BEYOND THE PALE: COVER VERSIONS OF "A WHITER SHADE OF PALE"
SONGFACTS: A WHITER SHADE OF PALE BY PROCUL HARUM
BBC NEWS: WHAT IS THE LIGHT FANDANGO? (NOVEMBER 14, 2006)
"A WHITER SHADE OF PALE" @ WIKIPEDIA
SHUSEI NAGAOKA GALLERY

CATEGORIES: DISCO DELIVERIES, WHAT EVER HAPPENED TO..

Codebreaker: Are You Ready 2 Love?

Codebreaker - Are You Ready 2 Love? (2007, Codebreaker)

*purchase links corrected

Just a little weekend detour here.. Lately, I've been hearing a lot new music that I've been particularly excited about and these guys are at the top of my list. Shortly after posting about Ultra Naté's new stuff, I got turned on to the up-and coming Milwaukee duo Codebreaker. About a week ago, one of the guys in Codebreaker, Steven Hawley was kind enough to send me a copy of their latest CD "Exiled!". The duo (Steven Hawley and Sage Schwarm) have been generating a lot of buzz in the blogosphere lately, and after listening to the CD, I knew I had to do my part.. These past few days, ever since getting it, I've been totally digging that unabashedly infectious electro space-disco funk-rock groove that they've got going on. Chunky guitars, infectious grooves, electronic beats, dreamy synths and their own brand of space-funk quirkiness on top of it all. It's like Nile Rodgers in his 'land of the good groove' meeting the polished electronics of Hysteria-era Cerrone. Either way, whatever frame of reference you may choose, these guys have put out some of the most original, exciting stuff that I've heard lately.

One of my personal favourites off the CD has got to be "Are You Ready 2 Love" a mostly instrumental track with those hyper electro beats, infectious guitars, Moroder-esque vocoder effects and a bit of elegant, 21st century disco-funkiness. If this doesn't get you up, you might need to get your boogie-senses checked. Other choice tracks include the outstanding "Dream Lover," "Exiled!" (which you can download from their Myspace), "Here Come Cowboys" and "Riviera On The Moon".. I could go on but to put it plainly, the whole CD is excellent. If you're curious to hear more of them, check their Myspace. Better yet, go and buy their CD* (seven tracks, all of 'em quality) at CD Baby..

Also, just for the record: their CD is almost entirely DIY, self-produced and marketed. Given that, it's quite a testament to their abilities that their record sounds as good as it does. It's hard to believe these guys haven't been snapped up by a label yet, but when you're this good, I suppose it's only a matter of time. In the mean time, God bless Myspace.

PURCHASE:

CODEBREAKER - EXILED! CD
CD BABY*

LINKS:
CODEBREAKER'S OFFICIAL MYSPACE
CODEBREAKERMUSIC.COM
BRIGHTEST YOUNG THINGS: CODEBREAKER (APRIL 18, 2007)
ONMILWAUKEE.COM: CODEBREAKER IS EXILED! (MARCH 14, 2007)
MKEONLINE.COM: CODEBREAKER DECRYPTED (NOVEMBER 24, 2005)
CODEBREAKER VIDEO INTERVIEW PART ONE | PART TWO

CATEGORIES: NUDISCO

Deep Cuts

Cut Glass - Without Your Love (1980, 20th Century Fox)
Cut Glass - Alive With Love (1980, 20th Century Fox)

Cut Glass - Without Your Love (Hot Tracks Remix)

Updated and re-uploaded 1/15/09

If there's anything that fits the bill of an 'undergound disco classic' it's got to be this single.. Although I'm sure it was popular in quite a few clubs back in the day, this single was evidently an iconic staple in the playlist of New York's legendary (some might also say infamous) gay nightclub The Saint. As a result, this record, particularly the A-Side "Without Your Love" became quite an anthem and something of a cult disco classic in quite a few disco circles. I can only go by second-hand knowledge here, but DJ, record producer and apparent 'Saint' devotee Ian Levine, in an interview with the DJ History website partially explained the hysteria:

The music at the Saint was so spot on. I can remember so many records: Souvenirs by Voyage, Sentimentally It’s You by Theo Vaness. Everywhere else went for the pounding of the beat. The Saint went for the beauty in the music. Rattling their tambourines, these guys with their shirts off with these huge fans. And it was packed. There was 4,000 people in there. I never saw it, even in the summer, with less than 2,000 there...... Just as northern soul discovered the records of the sixties and played them in the seventies, so the Saint discovered the records of the seventies and played them in the eighties. They made Gods out of the cult disco records of the seventies. Cut Glass Without Your Love. $200 a copy for the 12-inch on 20th Century. Charlie Grappone, of Vinylmania in New York, used to have them on the wall; these priceless 12-inch things. There was no bigger record in the Saint than Cut Glass.

Whether it was the biggest or just one of the biggest at The Saint (another one that comes up often is Marlena Shaw's version of "Touch Me In The Morning"), evidently the record was so popular at one point that someone even put out a bootleg 12" (on an apparently fictitious label called Earhole Records) in order to satisfy demand..

Cut Glass was essentially a guise for Detroit based producers Jeffrey Steinberg and Jeffrey Parsons, the same guys behind the excellent Hott City - Ain't Love Grand (1979, Butterfly/MCA) album. The voices behind Cut Glass were also none other than singers Ortheia Barnes and Mildred Vaney (AKA Millie Scott), both of whom had also sang on a good portion of the Hott City record (see Disco Delivery #20 for more on them and Hott City). As far as I know, Hott City and Cut Glass are the only two projects released by Steinberg and Parsons (certainly the only ones I've ever found) and this single definitely has their indelible stamp on it. Generally speaking, the sound of Cut Glass, for the most part, picks up where Hott City left off, albeit with less irony and more sincerity this time around..

As great as both tracks on the single are, the A-Side "Without Your Love" would probably be the standout here. After I first heard it, I don't know how many times I had caught myself humming that melody, singing that refrain to myself.. However, needless to say, it's not just that melody or those full, uplifting straight-to-church vocal harmonies, but the combination of those elements along with those cool, sharp and impeccable synth arrangements that make this record the ultimate combination of gospel exaltation and chemical trance. I suppose given the distinctly clean, sharp, glossy quality of the synths on this record (as well as on the Hott City LP), it's probably no wonder why this project was coined 'Cut Glass.' The crisp synth sounds and the warm, heavenly vocals of Barnes and Vaney combine to not only make this one killer record but one which exemplifes what disco did quite like nothing else.

Although these days there is much less, if hardly any gulf between R&B and elements of electronic music with the likes of Timbaland and Rodney 'Darkchild' Jerkins (among others) combining elements of both in their work (and having the lucrative hit making careers to reward them for it), yet some 20-30 years before them this single (albeit in a different context) similarly combined elements of both and perhaps went even further. Combining both a European-inspired (read: white) electronic, synthesized, melodic element with those distinctly American (read: black) soulful, gospel-inspired vocals in such uncompromising purity, this record achieved what was probably one of disco's greatest legacies: that bringing together of diverse, even disparate elements together into what was a beautifully distinctive sound and experience.

If the original 12'' version of "Without Your Love" doesn't display that contrast clearly enough, the Hot Tracks mix drives it home like a sucker-punch.. The remix by Hot Tracks founder Steve Algozino doubles the length of the original (among other things), taking it all the way up to some twelve or so minutes. I'm not too well versed on the output of remix services like Disconet, Hot Tracks etc., but so far, along with the Disconet mix of ABBA's "Lay All Your Love On Me" this has got to be one of the best mixes that I've heard from either outfit. The highlight of the Steve Algozino remix has got to be that Patrick Cowley-inspired trance-inducing, out-of-this-world, spaced out synth break right in the middle. Easily taking up half of the mix, it takes that contrast, that juxtaposition between the cool electronic sheen and warm uplifting vocals to a whole new level altogether. Once choice moment in that break would be right around the 7.30 mark; just when you wonder if things are going to come back down to earth, an additional layer of piercing, knock-out electronic hypnosis kicks in, taking things higher and farther than you expect it to.. When the melody comes in again, on that major key with those great vocals on top, it comes in at such a perfectly timed moment it becomes less of a reluctant come-down and more like a warm, affirming ray of sunshine..

To digress for a moment, looking at the elements of this record, it reminded me of an article in Seattle Weekly that I came across not too long ago. The article quoted Mel Cheren of West End Records in some choice passages from his book "Keep On Dancin': My Life And The Paradise Garage" (which I still have to get) in which he described The Saint:

"The dance floor was circular and huge, and above it rose the planetarium dome, diaphanous and semi-transparent, high overhead. When lights were projected onto it the effect was unlike anything you ever saw. Up there you were in a completely other world, a world without angles and walls and restrictions, a circular world where you could whirl like a drugged dervish and swim in sound and light and beauty.......The balcony was essentially a big orgy room.......Virtually everybody up there was looking for sex, and most were finding it. Then, after trysting up there in heaven, and smoking a dusted joint or snorting some coke, you'd come back down to the dance floor for another round."

Judging from that alone, I couldn't think of a more perfect soundtrack to that than this record, particularly the remix.. The vocals and melody with their 'light and beauty', complimenting that almost spiritual high of the communal dancefloor along with those icy synth-scapes bringing to mind those darker, more illicit pleasures. I'm not even sure whether the remix version was given any significant play there, but those contrasting elements in the mix seemed to mirror the same sort of things that might have been experienced at The Saint. If anything, it certainly seems to compliment the sheer intensity that such a place must have embodied.

While "Without Your Love" may have been the prominent track here, the B-side, "Alive With Love" is an excellent record as well.. Although "Alive With Love" may not reach the same heights that "Without Your Love" does, it also has a similarly strong, full vocal; a memorable melody and refrain and that same beautiful combination of synths (so cool, they're hot) and fiery, uplifting vocals.. The Hot Tracks remix aside, out of the two tracks on the original 12" single, I have to say this one probably has the more satisfying synth break, starting out cool and sparse coloured with those light guitars and then gradually culminating into a beautifully layered, glistening soundscape.. Both tracks on the single are listed together as peaking at #16 on the Billboard club charts, so I'm sure both got ample play regardless of which was on the A-side. With it's passionate vocal, peppered with just the right amount of grit and glory along with it's slightly slower tempo and seductive sleaze-appeal this one is perhaps less bold than the A-side, but sublime and equally satisfying nonetheless..

Just to further cement the status of these two tracks, both tracks would be covered later into the 1980s. The best of the bunch would probably be Tina Fabrique's cover, "Alive With Love (A Love Letter)" (1984, Prism). Produced by John Morales and Sergio Munzibai, Tina Fabrique's version ably updates the track to the Hi-NRG sound of the time, while putting her own stamp on it with her own excellent vocals (thanks to qdearl for offering and to DungeonDJ for letting me hear this).

In addition to that, in 1985 San Francisco Hi-NRG idol Paul Parker would also cover Cut Glass with his own decent version of "Without Your Love" produced by Ian Anthony Stephens (who had also worked with Madleen Kane and Hazell Dean). Later on in 1989, Ian Levine himself would also produce a cover of "Without Your Love" as part of his ill-fated Motorcity project with one of the original vocalists, Ortheia Barnes reprising her role. Although I'm not really a fan of the recordings that came out of his ambitious Motorcity project (which are a mixed bag to say the least), he accomplished quite a feat in getting a virtual constellation of former Motown stars back in the studio, some well known (The Marvelettes, Syreeta, Mary Wilson, Former Ladies of The Supremes) others not as much (The Sisters Love, Chris Clark, The Elgins). Although never signed to (or at least never recorded for) Motown as far as I know, Ortheia Barnes, a prominent figure in the Detroit music scene was also included in the Motorcity project. Although the 1989 remake doesn't even come close to eclipsing or standing out from the original, Ian Levine has very recently put many of the tracks and videos from his Motorcity project up on YouTube, this one included (click here to view the video).. The production values of the video are quite amateur to say the least, largely consisting of Ortheia doing her thing in the studio, nevertheless it's a treat to at least see one of the faces behind these tracks..

More recently the UK club mix factory, Almighty Records had done a remix of the song in 2003 which I haven't heard yet, although given that it's on a CD single with Evelyn Thomas' "High Energy," I'm assuming the remix is most likely based on Ian Levine's '89 remake, as opposed to the original...

Although Parsons and Steinberg were far from prolific disco producers, their few disco releases under the guises of Hott City and Cut Glass (at least the ones that I've heard so far) displayed such a distinctive sound and style that it seems rather unfortunate that they weren't more prolific. Although these tracks came fairly late in the game as far as disco is concerned, both sides are great examples of not only the diversity within disco, but as one of the best things to come out of that musically odd transition period just after it's height.. Personally, I see this single as musically notable not just on it's own terms, but with it's elegantly synthesized style replacing what would probably have been a sweeping string section on an earlier disco record, it also seems to represent a kind of bridge between the classic disco sound that preceded it and the Hi-NRG dance music that would replace it in the '80s.. That transition period at the dawn of the '80s saw some, if not many disco acts and producers experimenting and often times putting out sub-par, uninspired records to distance themselves from disco's tainted shadow. However, there were inspired moments like this that, even to this day, not only sound unusually fresh and distinctive but which also realized the best of what disco had to offer..

Parsons and Steinberg would produce one more single under the Cut Glass guise, a cover of the Grey & Hanks tune "Rising Cost Of Love." From Millie Jackson, to the Supremes' Jean Terrell, to the Tom Moulton project Loose Change and others I'm sure, "Rising Cost of Love" was one song which really seemed to make the rounds in the late '70s. Unfortunately, it's one single that I don't have yet, but certainly something I'd be curious to hear one day.

Just to note: both tracks from the original 12" were ripped from my vinyl copy, however the Hot Tracks remix was a file that I had downloaded elsewhere a while back.. I believe the Steve Algozino remix was released on the 5 CD "Hot Classics Box Set" that Hot Tracks put out in the early 90s. Long out of print and produced in limited quantities, it's pretty hard to come by but given the quantity of mixes on it, it's evidently highly sought after these days.. Although I don't have this next set either, former Saint DJ Michael Fierman included "Without Your Love" on his double-CD mix compilation "Fire Island Classics, Vol. 2" (1999, Centaur), which I believe is the only place where any of the original Cut Glass recordings have been officially put on CD..

Another side note: Given that I've invoked it quite a bit on here, for more insight on The Saint, see former Saint DJ Robbie Leslie's interview with DJ History as well as some of the others in the second section of links, below..

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #28: HOTT CITY - AIN'T LOVE GRAND (1979, BUTTERFLY/MCA) (MAY 22, 2006)

LINKS:
CUT GLASS - WITHOUT YOUR LOVE/ALIVE WITH LOVE 12'' @ DISCOGS
CUT GLASS - WITHOUT YOUR LOVE 12'' @ DISCO MUSIC.COM
JEFFREY STEINBERG @ DISCOGS
JEFFREY PARSONS @ DISCOGS
ORTHEIA BARNES & MILDRED VANEY @ DISCOMUSEUM
ORTHEIA BARNES @ ALL MUSIC GUIDE
MILLIE SCOTT (AKA MILDRED VANEY) @ ALL MUSIC GUIDE
HOT TRACKS @ DISCOGS
STEVE ALGOZINO @ WIKIPEDIA
STEVE ALGOZINO @ DISCOMUSIC.COM

SEATTLE WEEKLY - TWO EARS AND A TALE: IN PRAISE OF THE SAINT (BY KURT B. REIGHLEY) (JUNE 14, 2000)
DJ HISTORY INTERVIEWS ROBBIE LESLIE
DJ HISTORY INTERVIEWS IAN LEVINE
JOE.MY.GOD: JMG CHATS WITH DJ MICHAEL FIERMAN
ROBBIELESLIE.COM
AT THE SAINT
HISTORY OF THE SAINT - THE LAND OF MAKE BELIEVE
THE SAINT @ WIKIPEDIA

PURCHASE

DJ MICHAEL FIERMAN - FIRE ISLAND CLASSICS (2 CD MIX)
AMAZON.COM | PERFECT BEAT

CATEGORIES: MINI DELIVERIES