Come put out the fire..

Laura Lee - Sat-is-fac-tion (1979, Fantasy/GRT) | LINK TWO
Laura Lee - Your Song (1979, Fantasy/GRT) | LINK TWO

The A-side on here is one seductive, sexy little sleeper from 1979 courtesy of Detroit soulstress Laura Lee. Born Laura Lee Newton in Chicago, as a child she would relocate to Detroit where she was adopted by the Rev. E. Allan Rundless and his wife Ernestine. The Rundlesses had also led a gospel group - The Meditation Singers, whose early lineup included none other than Della Reese, whom Lee would later replace.. By the mid 60's, she would make the move to secular music, recording for the Detroit indie and Motown rival, Golden World Records and later on with the legendary Chess label where she would record at the legendary Fame Studios.

Although a prominent Detroit vocalist, she would never actually record for the mighty Motown label, even though she would audition for them at one point, only to be turned down. Most likely her gritty, soulful style just didn't fit with the label's pop/cross-over aims at the time.. However, despite that, it wouldn't be a complete loss. Brian Holland of Motown's famed Holland-Dozier-Holland production team and an excellent producer in his own right (see Disco Delivery #1: The Supremes - Mary, Scherrie & Susaye) evidently took notice in those auditions, and would later sign her to their own Hot Wax label after Holland-Dozier-Holland's acrimonious split with Motown. It would be there where, in 1971, she would have what would be her biggest US chart success with her signature hit "Women's Love Rights."

Although gospel trained and nurtured, listening to her on "Sat-is-fac-tion," you probably wouldn't know it.. Kicked off by that hot, steamy sax; hypnotic, robotic synths shadowing the bouncing hi-hat and Laura's vampish vocals. With those sighs and whispers; regularly alternating between a tamed, simmering tension and an all-out steaming boil, Lady Laura's voice is pure sex on here. In other words: sleazy, sultry and just down-right hot in all the right places. Although slightly more stylized and subdued than usual, her vocals still bear that signature edge, providing the perfect compliment to the slick, shiny production. Along with the vocals and the overall production; just before the four-minute mark, right when the wailing sax kicks in with those great handclaps, that breakdown on here is yet another thing which totally seals this one for me. Granted, overall, it may not the most instant of disco singles, but just like that bassline in the back, it's a groove that sneaks up on you and has you hooked before you even know it..

I'm not sure how much club play this single would have gotten back in the day; nevertheless, for me, it's one elegantly striking, seductive piece of disco pleasure which remains perhaps one of her most intriguing performances on record..

The flip side, "Your Song," on the other hand, certainly lives up to it's designation, completely changing gears from the A-side.. A pleasant, though much more conventional R&B/disco-lite kind of track, parts of the melody remind me of Thelma Houston's version of "Don't Leave Me This Way," albeit without the same sense of emotional drama..

Aside from those understated string arrangements on this track, I also enjoy this one for the simple reason that much like the A-side showed a sexier side to her, this track showcased the earthy, soulful timbre of Laura's voice so well; with a rawness and a tenderness so simple and straightforward, you can't help but be engaged by it. It's that mix of grit and warmth, as this and much of her best material shows, which is undoubtedly one of her best assets..

Aside from Laura herself, this single also featured some other notable names. For one thing, both tracks on the single were produced by Don Davis, a somewhat enigmatic, yet highly prolific figure in the Detroit soul scene. Much of the material he produced and recorded on his Detroit indie labels like Groovesville and Revilot has become quite revered and collectible among soul aficionados over the years. Aside from his more obscure work on the Detroit labels, he had also produced some prominent acts over the years, including Mavis Staples, David Ruffin and The Dramatics among others as well as the late Johnnie Taylor, with whom he'd have some of his biggest success. Personally speaking, a couple of my favourite Don Davis productions that I've heard so far were for the late Jeannie Reynolds on her two highly underrated albums for the Casablanca label in the late 70s. Both excellent albums featuring yet another similarly raw, soulful voice....

Along with the producer, the arrangers on this single also had some notable credits to their name. Rudy Robinson was a prolific arranger, producer and musician in his own right as well as a regular Don Davis collaborator. Robinson had contributed to numerous albums by numerous artists, including the likes of The Temptations, Bobby Womack, Barbara Mason, Dennis Coffey as well as some excellent Detroit disco productions like C.J. & Co. and The Mike Theodore Orchestra. Until his death in 2002, he remained a prominent figure in the Detroit music scene as well as a keyboard player and longtime musical director for another Detroit soul legend, Bettye LaVette.

Additionally, Robinson's co-arranger on this single was none other than Disco wizard and super-producer Patrick Adams, whose prolific contributions to disco on the production side with projects like Musique, Phreek and many others (not to mention his work on the P&P labels) need no further introduction (see Disco Delivery #38: Patrick Adams Presents Phreek for more on Adams)..

Along with producer Don Davis, the A-side "Sat-is-fac-tion" was also written by none other than Motown legend Mary Wells and her (by this time, anyway) ex-husband Cecil Womack (later of Womack & Womack). Just as a gossipy sidebar; interestingly (although I might have my dates mixed up), by the time this single was released, Mary Wells had divorced husband and co-writer Cecil Womack and apparently re-married to Cecil and Bobby Womack's brother Curtis Womack. Talk about keeping it in the family...

The B-side, "Your Song" was however solely credited to Womack and Davis and later recorded by The Dells on their 1980 album, "I Touched A Dream" (1980, 20th Century), as well as The Four Tops, later into the 1980's..

During the same year that this single was released, Lee would go through a major setback after being diagnosed with cancer, from which she wouldn't fully recover until 1990. Given that, it's probably no wonder why this single only ended up being a relatively obscure one-off for her. While the 1980's had her battling cancer and essentially putting her singing career on hold, the early 80's saw Lee returning to her gospel roots, cutting two gospel albums in 1983, one of them with former flame, soul legend Al Green called "Jesus Is The Light Of My Life" (1983, Myrrh). From the late '80s and into the 1990's, she would end up would devoting more time to ministry and missionary work, performing only on occasion..

On her officially endorsed fansite/blog (a great resource, by the way; with the most comprehensive, detailed bio of her life and career out there), when asked about this single, she mentioned, somewhat dismissively, that this single was nothing more than her attempt at "going with the times". Understandably, like many artists at the time, she too had felt the need to maintain her career and jump on the disco bandwagon, yet in spite of that, this single still remains an engaging piece of disco, and along with the names attached to it, a notable meeting of figures in the R&B and disco worlds..

These days Laura maintains an active web presence through Colin Dilnot's excellent fansite/blog as well as her own Myspace site, where you can hear some of her music and see some recent photos of the lady herself (who, at the age of 62, still looks remarkable!)..

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #38: PATRICK ADAMS PRESENTS PHREEK (1978, ATLANTIC) (THURSDAY MARCH 29, 2007)
DISCO DELIVERY #19: THE MIKE THEODORE ORCHESTRA - HIGH ON MAD MOUNTAIN (1979, WESTBOUND/ATLANTIC) (SUNDAY MAY 14, 2006)

LINKS:
LAURA LEE - SAT-IS-FAC-TION/YOUR SONG 12'' @ DISCOGS
MS. LAURA LEE - DEDICATED TO THE LADY OF SOUL MUSIC
LAURA LEE'S OFFICIAL MYSPACE
SOULFUL DETROIT FORUM - LAURA LEE
LAURA LEE @ ALL MUSIC GUIDE
LAURA LEE @ WIKIPEDIA
LAURA LEE ALBUM REVIEWS @ ROBERTCHRISTGAU.COM
DON DAVIS @ ALL MUSIC GUIDE
SOULWALKING - RESPECT 2002: RUDY ROBINSON
SOULFUL DETROIT FORUM - RUDY ROBINSON

CATEGORIES: MINI DELIVERIES

Noel - Is There More To Life Than Dancing? (reprise)

As the Disco Delivery archives continue to grow, so too have the feedback and the re-upload requests. Lately, out of all of the Disco Deliveries, this particular album has been one of my most requested re-uploads.. Not counting all the requests I've gotten over the last several months, just last week I got two emails from two different people, both requesting this.. Given that the Noel entry is one of the entries which I'm most proud of, I figure there's no better time to do this than now...

Since the original posting, I've recently tweaked some of the text in the entry, as well as re-ripped all the tracks from the album, so hopefully if you downloaded it when I originally posted it, the sound will be slightly improved on these new rips. If you missed it the first time around, I hope you'll enjoy them. This album would definitely be a treat for those who enjoy the electronic Moroder-esque style of disco..

Anyway, by popular demand, here it is:

Disco Delivery #27: Noel - Is There More To Life Than Dancing? (1979, Virgin/Polygram)
Unfortunately, I haven't found any significant info on the enigmatic Noel since the original posting, but I must give kudos once again to the writers and producers - Ron and Russell Mael AKA Sparks for this awesome album!

CATEGORIES: RE-DELIVERIES

Keep It Coming..

Keep It Coming featuring Lorna - K.I.C. (Keep It Coming) (1979, Unidisc)
Keep It Coming featuring Lorna - K.I.C. (Keep It Coming) (Instrumental) (1979, Unidisc)

Some more Can-Con for everyone..

This single is another little something I picked up a few months back.. This record is really nothing more and nothing less that a totally fun slice of Montreal disco curiously credited to an act named after the song itself. Although for whatever reason the 12'' single doesn't list any production credits, I'm assuming though that this is actually the first Canadian release of the act Hydro featuring Lorna (full name: Lorna Di Fiore, according to Discogs), given that this is the same version as on the Hydro featuring Lorna (1979, Prism) LP. According to the production credits on that album and on subsequent releases of this single under the Hydro name, this record is yet another one co-produced with the ubiquitous Joe LaGreca along with Joe Marandola. Marandola and LaGreca had also produced the studio act Kat Mandu as well as singer Melody Stewart, to name a couple. Given all that, not surprisingly, this record undoubtedly has that trademark Montreal sound: a little rough around the edges, but delivered with a real infectious energy along with a healthy portion of percussion..

One thing which I absolutely dig about this track is the horn section with that killer hook/refrain they've got going on. As far as the vocals go, well, not quite as much... Honestly though, it's really all about the horns on this one. With the way they totally work them into the groove on here, they coulda sang any ole thing and it really wouldn't have mattered.. Anyway, just in case someone out there thinks I'm dissing the vocals, really, I'm not.. Even though they aren't exactly the stuff disco divadom is made of, there is a certain, shall we say, imperfect perfection to them that totally works for this. A track like this one really needed no more than a uncomplicated vocal and lyric, and the singer is more than capable of that, at least. In spite whatever limitations she may have had (or that the song itself may have), her sound has a certain unpretentious, exuberant girlish charm about it that compliments things perfectly, even if she sounds a tad 'green' and fogged up in the mix.. It's as if somebody who was making a record knew a friend of a friend who knew another friend who knew someone that could possibly carry a tune and would be free for a quick session after work, say, Thursday night at six.. Or maybe I'm totally off-base and she was a much more accomplished singer then it seemed, who knows? Either way, whatever their shortcomings, the vocals are absolutely perfect for this, adding a good deal of energy and life to the whole thing.. That said, in case anyone wants to hear this track without the vocals, hopefully the instrumental version here will do it for you..

I also have to say that this record reminds me somewhat of Empress' "Dyin' To Be Dancin'" from '81 on the Prelude label. Although one's a template Montreal disco groove and the other has that early 80's New York post-disco boogie thing going on, both records have those unpretentious, girlish, and slightly off-centre vocals mixed with a fun, infectious party-down kinda vibe..

Strangely, despite being recorded in Montreal by Montreal producers and musicians, I have yet to actually find a Canadian release of the Hydro featuring Lorna LP. I haven't actually found one in person and all of the copies still available on the 'net are US releases on the Prism label, which evidently released a great deal of Unidisc product Stateside back in the day.. If anyone can confirm the existence (or non-existence) of a Canadian release of the Hydro LP, I'd love to know about it.. Update: A kind reader, Kris David just confirmed the existence of a Canadian pressing of the Hydro featuring Lorna album on the Unidisc label.. Thanks Kris! Evidently and ironically, Canadian pressings of the Hydro LP seem to be rarer than the US ones (at least in my experience, both online and offline)..

PREVIOUS RELATED ENTRIES:
A MOMENT OR TWO.. (TUESDAY MAY 8, 2007)
DISCO DELIVERY #35: MONTREAL FEATURING UCHENNA IKEJIANI (1979, SALSOUL) (WEDNESDAY FEBRUARY 21, 2007)

LINKS:
KEEP IT COMING FEATURING LORNA - K.I.C. (KEEP IT COMING) 12'' SINGLE @ DISCOGS
HYDRO FEATURING LORNA LP @ DISCOMUSIC.COM
HYDRO FEATURING LORNA @ DISCOGS
HYDRO FEATURING LORNA @ DISCOMUSEUM
LORNA DI FIORE @ DISCOGS
JOE LA GRECA @ DISCOGS
JOE LA GRECA @ DISCOMUSIC.COM
JOE MARANDOLA @ DISCOGS

CATEGORIES: SIDE DELIVERIES, CAN-CON DISCO

Strange Passion

Strange Passion - Desire (1976, RCA)

It's been just a little over two weeks since my last posting, and quite frankly I've been so exhausted from work that lately I haven't had the energy to write about disco records or really do much of anything else, to be honest. With the Stampede fast approaching here, things have gotten insanely busy at work in the past couple of weeks, it's got me pretty much all used up.. In past years, I've had the luxury of passing it all by for the most part, but since they're the ones paying me again this year, I don't exactly have that choice anymore.. Last year this was the time when I took a bit of a hiatus for pretty much the same reasons, but so far this year hasn't been nearly as stressful as last so I'll try to keep up with the postings as much as I can in the coming weeks..

Anyway, with that out of the way, I figure since today, July 1st, is (or perhaps was, by the time anyone reads this) Canada Day, I might as well put on some Can-Con disco on here.. This particular single is a little something I picked up back in October when I went on something of a 12'' shopping spree at a local used record shop.. I remember I bought it based on, first of all: the fact that it was cheap, and second: the fact that it was produced by Montreal disco producer Tony Green, best known for his success with France Joli and her biggest disco hits. Also, aside from all that I was somewhat intrigued by the Side B label which had the name and address of a long defunct local discotheque called 'Bianca's Disco' stamped on it, making it something of a local historical artifact as well..

After listening to it and looking for some info on it (and finding next to nothing), I can only say that track, "Desire" under the guise Strange Passion is another one of Tony Green's many disco obscurities. For every one of his well, or better known productions for the likes of France Joli, Carolyne Bernier, Cindy Valentine, Geraldine Hunt and her son Freddie James, along with the act Kebekelektrik; it appears there were also a good number of obscure efforts like this one and others from the 70s and into the 1980s under guises such as Colorblind, Metal Weeds, U.N., Black Star and for artists like Goldie Alexander, Sharon etc. in his discography. Although there doesn't seem to be a whole lot of information out there about Green himself, with the number of things he's been associated with, both well and not so well known, he's definitely another one to add to the list of highly prolific, exceptional Canadian disco producers based out of Montreal..

Overall, while this particular single may not be his very best work, it's still got a pleasant, mid-tempo, sexy little groove to it. As well, it's also one of the earliest Tony Green disco productions I've come across. Entirely instrumental, the track starts off with a sly, sensual bassline backed with some great percussion which is complimented further with some wonderful gliding, elegant orchestration. The strings eventually move into a nice melodic climax after going through a few rounds of engaging instrumental tension/interplay..

Although Green himself wrote and produced this single, interestingly enough the record was also mixed by Michel Daigle (the only other name on this record), who along with Dominic Sciscente would later produce some great disco records under guises such as Space Project, The Black Light Orchestra and for Montreal singer Alma-Faye Brooks, to name a few..

As a producer, Tony Green evidently remained active well into the late 90's and even into the early part of this decade. Although it doesn't seem to have been updated in a while, the website for his own record company, Tony Green Organization, is still up and running. Although aside from some of the more well-known ones, there isn't really much info there on his disco projects, although there is quite a bit on his later projects.

Hopefully later on in the week, I'll be able to make some much needed updates on some past postings (ie. Midnight Rhythm) and maybe post a re-upload as well..

LINKS:
TONY GREEN @ DISCOGS
TONY GREEN @ DISCOMUSIC.COM
TONY GREEN ORGANIZATION/TGO RECORDS
MICHEL DAIGLE @ DISCOGS

CATEGORIES: MINI DELIVERIES, CAN-CON DISCO

The Godfather of Disco

Edit: official site URL corrected (6/15/07)

The buzz has really started to build (see some of my fellow bloggers) on this new doc by Gene Graham on co-founder of legendary disco independent West End Records, philanthropist, Paradise Garage backer and all-around disco pioneer, Mel Cheren.. In more recent years, the publishing of his autobiography "Keep On Dancin': My Life And The Paradise Garage," the relaunching of West End as an active label and his ongoing philanthropic efforts have done a great deal to solidify his legacy and contributions to disco and beyond.. Although I haven't actually posted any West End material yet, I'm a big fan of their output. Being one of the few disco independents still at it today; out of respect for them, so far I've taken their personal appeals for listeners not to file-share to heart, and besides, they offer much of their classic and current catalogue as digital downloads on their site anyway. So needless to say, in light of all that, I've been a little hesitant to post any of their material on here.

As a child, one of my earliest and fondest disco memories was dancing my lil' butt off to Karen Young's "Hot Shot" and trying (badly) to imitate those explosive, kick-ass ad-libs of hers.. I absolutely couldn't get enough of that song! Later on, I'd become familiar with much more of their excellent output, especially through their Larry Levan releases: "Classic West End Records Remixes" (1999, West End) and "Live At The Paradise Garage" (2000, West End/Strut). Those two sets in particular, were and still are very special to me, having played a huge part in my serious introduction to disco.. Perhaps one of these days I'll do a much more in-depth appreciation post about West End. As far as the documentary itself goes, here's an excerpt from one of the press releases out there:

The Godfather of Disco is a feature-length documentary based on Mel Cheren's powerful autobiography, My Life and the Paradise Garage: Keep On Dancin'.

Through a series of interviews with a who's who of the dance music community, The Godfather of Disco (G.O.D.) follows the arc of Mel's life to examine the early 70s musical and cultural currents that gave birth to disco; West End Records' contribution to that scene; and the rise of the Paradise Garage.

From that cultural heyday, the film then charts the onslaught of HIV/AIDS, its impact on New York City, and Mel's heroic efforts in the face of an epidemic through his work for Gay Men's Health Crisis and 24hrs for Life/LIFEbeat.

Mel has been there, done that, and lived to tell the tale. And, rest assured, he still does it all today. The Godfather of Disco makes a compelling case for how one's man's musical vision and AIDS activism helped push gay sensibilities into the greater culture--and how our world is better for it.

Pioneer. Activist. Survivor. Mel Cheren is The Godfather of Disco.

I'm not sure if this'll come up here to Canada anytime soon (or anywhere near me, for that matter), but so far it seems to have gotten some high praise from audiences and critics alike since it's premiere at the 2007 Minneapolis/St. Paul International Film Festival, where Gene Graham won the Emerging Filmmakers Award and more recently at NewFest, the New York LGBT Film Festival.. Currently making the rounds on the festival circuit, the doc includes interviews from figures like Vince Montana, Jr.; Louie Vega, Louis Benedetti, Barbara Tucker, Kevin Hedge, Ultra Naté, Randy Jones and Junior Vasquez, just to name-drop a few of them..

Anyway, this is definitely one documentary that I've got to see sometime.. Hopefully "Godfather of Disco" will be making it to a festival near you. Either way, even if it doesn't, there should be a DVD release to follow..

In the mean time, check out the trailer below for a little preview:


Godfather of Disco Trailer
Uploaded by pepsounds

If you still want to see more, check out the official website www.thegodfatherofdiscodoc.com (link corrected) for further video previews, press reviews and screening information..

For further info on Mel Cheren, check out his bio at the West End Records website..

PREVIOUS RELATED ENTRIES:
DEEP CUTS (APRIL 18, 2007)

LINKS:
NEWSWIRE: "GODFATHER OF DISCO" PRESS-RELEASE
SFWEEKLY.COM: LIFE AFTER DARK - MEL CHEREN'S ETERNAL DANCEFLOOR (BY TAMARA PALMER) (WEDNESDAY JUNE 13, 2007)
GODFATHER OF DISCO @ FRAMELINE31 (SAN FRANCISCO INTERNATIONAL LGBT FILM FESTIVAL)
GODFATHER OF DISCO OFFICIAL SITE
WEST END RECORDS/MEL CHEREN INTERVIEW @ DISCO-DISCO.COM
MEL CHEREN INTERVIEW @ UNDAGROUND ARCHIVES
WEST END RECORDS
NEWFEST 2007 BLOG: FILMMAKER INTERVIEWS - GENE GRAHAM
GENE GRAHAM ONLINE

CATEGORIES: DISCO NEWS, VISUAL DISCO

Cocktails at the disco lounge..

Dimitri from Paris Presents Cocktail Disco (A Review)

First of all, I have to thank a kind reader, Miss Tanya Love and the good people at BBE for being kind enough to send me an advance copy. For the past week or so, I've been practically luxuriating in these deep, divine disco grooves; so I figure it's about time I put up a full review..

I remember some months back, at the beginning of the year, I was checking some message boards where people were asking something along the lines of "what's happened to Dimitri?" Just when people were wondering whether he'd gone on a hiatus or something, he comes out with this wonderful collection, which has probably been one of my most anticipated disco compilations this year. Although I had heard nothing but positive reviews from readers who had already heard it, I've always had a certain caution go along with the excitement of disco rarities compilations. Usually for every rare, uncovered gem, there are usually a couple of "what are they doing here?" duds.. Overall though, I'm happy to report that I haven't been let down this time.. Last summer, Soul Jazz's "A Tom Moulton Mix" compilation was a mainstay in my stereo; by the looks of things, "Cocktail Disco" is bound to be this year's replacement.

It's been about six years since I was introduced to Dimitri's work through his best selling mix/compilation "A Night At The Playboy Mansion" (2000, Astralwerks), which got almost endless spins on my Discman (anyone out there still use one of those?) back then. As someone who had only started seriously collecting disco at the time, hearing tracks La Pregunta's "Shangri-La" and The Originals' "Down To Love Town" alongside more current house and disco-influenced tracks was a sweet treat for this newbie.. After getting some of his other compilations, like "Disco Forever" (2000, BBE) and "Kings of Disco" (compiled with Joey Negro) (2004, BBE), I'd come to admire his dedication to digging deep into the depths of disco for little known album tracks and 12'' singles..

Unlike most others or any of Dimitri's previous comps, "Cocktail Disco" is described as his take on Disco's sleaze subgenre. There were DJ's such as Bobby Viteritti (who mixed the excellent Ray Martinez & Friends track on this compilation) whose sleaze sets have become somewhat legendary among circles of disco enthusiasts.. Although the term 'sleaze' maybe somewhat misleading (and I'm only loosely familiar with it, myself) it was not so much music that was literally sleazy, but a general term to describe the lower-tempo music played in the late/early morning hours. Often characterized as "pretty music" with bright, sweeping string sections, emotional lyrics ranging from the exhilariating joy of love found, to the pain of love lost; it was a subgenre with relatively loose parameters, and from what I've gathered, often allowed an opportunity for DJs to really stretch out creatively within their sets.. Although there aren't any Jean Carn/Phyllis Hyman sleaze mainstays on here; the string n' hi-hat heaviness and, at times, broadway-inspired, uplifting grooves seem to fit the sleaze quotient rather nicely, making this both a unique take on an intriguing subgenre and a trip through some long-forgotten, unexplored corners of the disco universe.

From the soulfully smooth cover of Gershwin's "Summertime" by The Blue Velvets, the refreshing love-struck highs of Darcus' "It's Got To Be Love," the elegant, supple vocal stylings of Ms. Victoria Barnes, to the Savannah Band leanings of Ray Martinez & Friends' "Lady of The Night" (mp3 link), the mind-flying trippiness of Terry Jacks' little known Can-Con disco nugget "Little High Thing" and the no-nonsense Philly groove of The Ritchie Family's "Frenesi" (perhaps the best known track here), there is really no shortage of disco revelations on here..

Aside from all those, one of the big revelations for me would have to be J. Elliot Group's "Disco Village" (mp3 link), produced by Jeffrey Parsons and Jeffrey Steinberg, the dynamic duo behind disco treasures Hott City and Cut Glass. Just when I thought those were the only two guises for this underrated production duo, this track shows up. Aside from this being a cover of Les Baxter's "Quiet Village" (thanks Enrique), there's practically little to no information about his track on the web (like who J. Elliot might be perhaps), yet this lost groove, with it's sublime synth colouring and heavenly female vocals fits in nicely with the lush and sharp yet smooth style of their better known works..

Another notable selection is Brazilian chanteuse and Queen of Bossa Nova, Astrud Gilberto's disco remake of her hit "The Girl From Ipanema" produced by none other than Mr. Salsoul Orchestra himself, Vince Montana, Jr.. Apparently Montana did an entire album with her, "That Girl From Ipanema" (1977, Audio Fidelity), which I haven't been able to find, but apparently much if it has been reissued on various budget compilations in recent years..

Moses' "Something About You" is also another choice cut; produced by Tommy Stewart, a great producer/arranger who, among other things, put out a great self-titled album that remains one of my favourite funky disco classics. Essentially, it's an album on which this track wouldn't have been out of place..

Another high point which deserves mention is the floating dreaminess and elegant hi-hats of Charlie's Roots' "Show You The Way To Go" a light n' breezy cover of The Jacksons' Gamble & Huff classic. And on a related note, "Again" by The Night People is yet another notable Philly connection, featuring a smooth vocal by none other than legendary Philly drummer and Trammps member, Earl Young himself..

Usually whenever a compilation like this - chock-full of rarities comes along, there are bound to be tracks that have the shine of long-lost treasure, and others that perhaps should have stayed buried.. Although there are definitely tracks that I like more than others; I have to say, surprisingly, that this is one of the more consistent sets of disco rarities (Elisabeth, you were right!) that I've heard so far. It's one of the few since perhaps Disco Spectrum 2 where I can honestly say that I can listen to the whole thing and not feel the need to skip a good few (or several, for that matter)..

Furthermore, the release of this set couldn't have been more well-timed.. The laid-back, breezy disco grooves on here make the perfect disco soundtrack for the summer. Whether these would have been club hits back in the day is perhaps besides the point. The quality of the songs in their own right along with the context and the concept in which they are woven into makes this set one of the more unique, satisfying ones out there. Those particular disco freaks who enjoy digging through the forgotten and undiscovered will likely find a lot, or at least something to like on here. Not to mention, while you're enjoying the music, you can enjoy the stunning artwork in that fold-out digipak along with it, too..

Simply put, not just another collection of rarities, but a trip through new frontiers in disco. As far as Dimitri's disco compilations go; in my opinion, this is perhaps the best one yet.

So put this on, pour yourself a drink, open the windows and enjoy..

Cocktail Disco is currently available on double CD, vinyl and digital download. There are also some Dimitri re-edits/remixes of some of the Cocktail Disco tracks, which appear exclusively on the Vinyl and Digital editions..

PREVIOUS RELATED ENTRIES:
HAVE A COCKTAIL.. UPCOMING DISCO COMPILATIONS (JUNE 2007) (THURSDAY MAY 24, 2007)

LINKS:
DIMITRI FROM PARIS PRESENTS COCKTAIL DISCO @ BBE
DIMITRI FROM PARIS PRESENTS COCKTAIL DISCO @ DISCOMUSIC.COM
DIMITRI FROM PARIS' OFFICIAL MYSPACE
DIMITRI FROM PARIS @ ALL MUSIC GUIDE
DIMITRI FROM PARIS @ DISCOGS
THE DETERMINED DILLETTANTE: CIVILIZATION AND IT'S DISCOTHEQUES (MAY 22, 2007)
NEWCITY CHICAGO: COCKTAILS AND DREAMS (JUNE 5, 2007)
BLUES AND SOUL MAGAZINE - REVIEW: DIMITRI FROM PARIS PRESENTS COCKTAIL DISCO (JUNE 6, 2007)
TIME OUT NEW YORK: INTOXICATING RHYTHM (JUNE 7, 2007)

PURCHASE:

DIMITRI FROM PARIS PRESENTS COCKTAIL DISCO (2 CD)
DUSTY GROOVE | AMAZON.COM | AMAZON.CO.UK | CD UNIVERSE

DIMITRI FROM PARIS PRESENTS COCKTAIL DISCO (DIGITAL DOWNLOAD)
iTUNES | eMUSIC

DIMITRI FROM PARIS PRESENTS COCKTAIL DISCO (VINYL - PART ONE)
JUNO RECORDS | AMAZON.CO.UK | DUSTY GROOVE

DIMITRI FROM PARIS PRESENTS COCKTAIL DISCO (VINYL - PART TWO)
JUNO RECORDS | AMAZON.CO.UK | DUSTY GROOVE

CATEGORIES: REISSUES & RELEASES, DISCO NEWS

Disco Delivery #42: Southern Exposure - Headin' South (1979, RCA)

Southern Exposure - Love Is
Southern Exposure - On Our Way
Southern Exposure - Headin' South
Southern Exposure - Tight Pants

I got this album a little over a year ago now, and if that cheesy, porny (of the cheap vintage variety, judging from that lighting) cover shot with that Amanda LePore-esque model and peeping-tom in the background didn't make me buy it, the producers behind this record - namely Toronto-based production team Three Hats Productions/THP (producers Ian Guenther, Willi Morrison and arranger Pete Pedersen) and DJ/Disco Mixer and "production associate" John Luongo certainly did. From the THP Orchestra epic "Two Hot For Love," to other productions like Grand Tour, Sticky Fingers, the Duncan Sisters (which I had covered around a year ago.. see Disco Delivery #23) and the more rock-oriented Skatt Bros.; Guenther, Morrison and Pedersen were behind some of my favourite Can-Con disco productions and really, some of my favourite disco, period. Although this project doesn't seem to come up quite as often as, say, THP Orchestra, Sticky Fingers or Grand Tour; this record, at least in my opinion, is one of their best.. From lush, orchestral disco manoeuvres to sublime sleaze and cheeky titillation, it manages to cover a good amount of ground despite being only four tracks long..

Although the album is excellent from start to finish, the one track which really stood out at the beginning was the Side Two opener, "Love Is".. Like a sister composition to "Two Hot For Love," it has a lighter touch, yet has those same trademark THP arrangements and that same epic orchestral feeling.. At around eleven minutes, it's also the longest track on the album, but with that layered production and brilliant melody, none of those eleven minutes goes to waste.. With a mix so rich and so dynamic, it's another one of those tracks where there's always something going on to engage the listeners' attention. If those strings don't grab hold of you, that airy floating synth refrain, the hard-hitting horn/percussion solo, or those bold basslines likely will. Put that together with the effect of the soft, yet minimal vocals of Jimmie Jamison and Elvin Bishop backup singer Debbie Cathey, which don't get in the way of the musical backing, yet perfectly colour the track's smooth airy sensuality; it's nothing short of a grand disco-style groove seduction.

One of my favourite things about this track is how those strings coupled with that gentle, airy synth carry the melody. The harmony of the two sounds, the synth and the floating elegance of those beautiful string arrangements; they way they gently weave through the all the changes and layers, emerging and re-emerging throughout the track; like subtle waves of discofied pleasure.. While melodically magnificent, there are also all the great breaks and dramatic changes throughout the track, namely those glorious buildups and climactic releases which keep an engaging, sort of dramatic tension throughout the whole thing. That intense guitar at 3.54 and the wonderful instrumental bridge at the five minute mark with the drums punctuating every blast of the horn section being a couple of my favourite peak points. The moment which tops it all off for me, however, is right at that final breakdown towards the end; right when that spare synth solo suddenly gives way to this grand, full orchestral sweep. It's a fairly subtle section, yet the result is absolutely brilliant.

That said, if anyone has heard this as well as THP Orchestra's "Two Hot For Love," the similarities between the two become almost inescapable. In fact, "Love Is" is practically a retread, not just stylistically, but musically speaking with some of same melodies in the string section and a very similar drum/horn driven instrumental bridge at the five minute mark. Still, however closely it may follow, with it's better vocals and dramatic changes, I actually tend to like this track just as much, if not more so sometimes than the 17 minute version of "Two Hot.." It's almost as if in doing this track, they were attempting a kind of new and improved interpretation of the same theme.. Either way, similarities notwithstanding, I'd still put this right up there as one of the grandest, most sublime THP compositions ever..

Another major standout on the record would be track two, "On Our Way." With that rich, glistening musical track, peppered with a bit of wah-wah, a sexy synth coloured with a full, though not overpowering harmonica (courtesy of arranger Pete Pedersen) and, of course, Debbie Cathey's superb vocal; this has to rank as another one of my favourite THP compositions.. With a brilliant opening verse: "dancing makes strangers friends..but what happens when the night ends.. " the song is further complimented by some truly excellent disco lyrics: "bodies can say so much.. language lies in a touch.. dancing uncovers two lovers by chance.. wanna dance?"

For me, the seductive, almost poignant elegance of this track with those great vocals, arrangements and lyrics make this not only one of their best efforts, but one of the best things they ever did in this slower style.. With it's easier pace; the romantic, slightly emotional lyric and delivery and overall seductive disco groove, it can probably be described as a great example of sleaze/morning music, that ever so intriguing of disco subgenres..

"On Our Way" and "Love Is" would appear on the lone 12" single off this record ("On Our Way" on the A-side and "Love Is" on the flip). As far as I know, neither got special mixes for the promo 12'', with both tracks appearing in their album versions..

As far as the rest of the album goes, one characteristic that ran through the other two album tracks as well as a lot (though by no means all) of Guenther/Morrison's other productions was this big, epic, almost bombastic Spector-esque pop sound to them, which was often paired with a definite orchestral and even big band influence. At least to me, it was those elements, often combined in a single track, which made many THP productions stand out so boldly. It's almost impossible to ignore a track like the Duncan Sisters' "Boys WIll Be Boys," or Sticky Fingers' "Wastin' My Love" calling out with those signature arrangements: horns blasting, propulsive percussion and just overall bigness bouncing out of the grooves. This album's title track, "Headin' South," opening with what I'm guessing is a multi-tracked guitar kicking into that gigantic, multi-layered hi-hat and orchestral intro, seemed to fit that stylistic element perfectly.. Not to mention those lyrics, well sung by Jamison and Cathey and laden with all sorts of coy double entendres, which just added another dimension of playful friskiness to the whole thing.

The other track in that same mould would be the album closer, "Hot Pants," which, as the title might suggest, is much less coy about it's subject matter. With verses like: "you starved to death and held your breath so you could dance in tight pants," it's definitely one of their more delightfully cheeky tracks. Although perhaps slightly cheesy as well, it's hard to resist a track as fun and playful as this one especially when complimented with such a full, irresistable arrangement to it, with that dynamite horn section and those quick syncopated drums giving the whole thing a bit of extra punch..

Despite their prolific output during the disco era and judging from the albums and singles I've heard so far, the quality and quantity of their releases (with a few notable exceptions) seemed to trail off somewhat towards the end and after the disco era.. One such example would be their foray further into the rock arena with a rather mediocre rock project entitled Emigré (1979, Attic). The following year in 1980, they would even produce an album for Toronto punk band The Diodes entitled "Action/Reaction" (1980, Orient/RCA), which I haven't heard yet but which certainly sounds intriguing, to say the least. Aside from that, they evidently still kept their stock in the dance music field, with some notable records like "The Ultimate Warlord" by The Immortals as well as some other notable 12'' singles on the UK Proto label, like one for Hi-NRG queen Hazell Dean and another for a project/group entitled American Fade, to name a couple. Both of those were also, interestingly enough, a couple of early productions for pop impresario Pete Waterman's PWL production company.

As far as their post-disco output is concerned, I'm guessing those singles might just be the tip of the iceberg, as there are probably others that either went unnoticed or have yet to be rediscovered, since new ones seem to resurface quite regluarly in my searches these days.. For one thing, a recent Discogs entry lists an obscure 12'' they produced for an Arlene Duncan entitled "I Wanna Groove" from 1982 released on what appears to be their own Toronto-based label, Wee Records, listed on the record as a division of their production company, Three Hats Productions, Inc.. No word on any other releases on that label or if Arlene bears any relation to The Duncan Sisters-Phyllis and Helen, or if perhaps she and Arlene Duncan the singer/actress (as seen on the CBC sitcom "Little Mosque on the Prairie," as Fatima) are one in the same..

Judging from his Discogs entry, later into the 1980's Morrison would eventually do more production work in the UK minus Ian Guenther, working with the likes of O'chi Brown and Lana Pellay to name a couple.. These days, based in the UK, Morrison is apparently still active in the music business, albeit in the more corporate side of things as Senior Creative Manager at Universal Music Publishing. Meanwhile, Ian Guenther is currently a faculty member at the Linden School, a private girls school in Toronto. Their affectionate reference to him in their faculty profile as "The King of Disco" practically gives it away.. According to another bio on their site, Guenther has apparently been a music instructor for both the private Linden School and the Toronto Public School Board for over ten years now.. The Linden School's Fall 2003 newsletter has a brief profile of Guenther and his more recent activities, in case anyone's interested..

Sadly, in 2002 THP arranger Pete Pedersen passed away in Memphis, Tennessee where he had been living since the 1980's. Pedersen was widely renowned in his own right not only as an arranger but evidently as one of the modern masters of the harmonica.. His partner and lyricist Jaine Rodack, with whom he wrote all the songs on this very record, recently wrote a book about his life entitled "Be of Good Cheer: Memories of Harmonica Legend Pete Pedersen." There are a couple of official tribute sites out there with some info on his bio and his musical history..

Unfortunately none of the tracks off this album, or even much of Guenther/Morrison's excellent disco output for that matter, have made it to CD yet. Regardless of that, out of their many productions and guises, this album certainly remains one of my favourites of theirs; from the covers, right down to the grooves...

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #23: DUNCAN SISTERS (1979, RCA) (JUNE 25, 2006)

LINKS:
SOUTHERN EXPOSURE - HEADIN' SOUTH LP @ DISCOMUSIC.COM
SOUTHERN EXPOSURE - HEADIN' SOUTH LP @ DISCOGS
SOUTHERN EXPOSURE - ON OUR WAY/LOVE IS (PROMO 12") @ DISCOMUSIC.COM
SOUTHERN EXPOSURE - ON OUR WAY/LOVE IS (PROMO 12") @ DISCOGS
SOUTHERN EXPOSURE @ THE CANADIAN POP ENCYCLOPEDIA
WILLI MORRISON @ DISCOGS
IAN GUENTHER @ DISCOGS
PETE PEDERSEN @ DISCOGS
WILLI MORRISON @ SOUTH WEST SOUND 2007
IAN GUENTHER: PROFILE OF A FOUNDING TEACHER (LINDEN SCHOOL FALL 2003 NEWSLETTER)
PETE PEDERSEN - A MAN AND HIS HARMONICA
PETEPEDERSEN.COM
PETE PEDERSEN @ THE HARP-L MAILING LIST ARCHIVE (JANUARY 1995) (THREAD ONE | THREAD TWO)

CATEGORIES: DISCO DELIVERIES, CAN-CON DISCO, WHAT EVER HAPPENED TO..

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..