Italians certainty do it better… Disco so cold and spacious you won’t know when one track ends and the other begins. Bass bloops, bass lines, high hat, hand claps… All sterile, airtight and sealed in grooves ready for play.
Gino was the producer behind this listenable longplayer and he actually came by way of Canada… Montreal. Apparently the disco backlash that occurred in the States didn’t echo up North and they welcomed changes in the dance form, like most of Europe. Opener “Dancer” is a classic that would be played out often in America’s remaining discotheque strongholds, with folks like Larry Levan playing two copies of the track in excess of twenty minutes. That’s a groove that can hold a crowd.
“So Lonely” is a piano/seagull/tone generator sketch, then we get to the other dance floor heavy hitters, “The Visitors” (Donna Summer/Kraftwerk) and “Dance To Dance” (Philly-esque). Five tracks in total, three long players that show icy kinship with Italo, the future of dance music production, and the hidden years of North American disco. Throw it on the table! -Wade
In the shifting world between Chicago and Acid, House was changing. Classics like “On and On,” “Your Love” and “Acid Tracks” seemed to come from other worlds and were made in totally different ways, but they all culminated into Warehouse music. Recognizable names to those merely interested in House may have heard of Jackmaster Farley, Marshall Jefferson, Mr. Lee, Mr. Fingers (“Washing Machine”), Phuture… Across the water the early converts were 808 State, A Guy Called Gerald, Sweet Exorcist.
But when it comes to a true original hailed by House Heads and the first wave of House pioneers alike, Armando was the one true treasure. While acting as a coveted resident DJ in Chicago, Armando Gallup also operated as a producer, prolifically creating singles that would eventually be collected by TRAX for many posthumous compilations… he passed after a battle with leukemia in the mid-nineties.
While many interviews with larger House artists show fanaticism over his work, the only official album release by Armando is “One World One Future.” This double LP shows the square-root of House: an infectious beat that keeps pumping, stark soundscapes, trippy loops. Not every track is a classic in the home listening sense, but each shows what you can be done on the floor with minimum/maximum production. Dancefloor optimal. -Wade
It’s soul, it’s disco, but “Ten Percent” wasn’t on the radio for more than a blip in ’76. It was in clubs where Double Exposure, a quartet with a soulful Philly sound by way of New York, would find success. What made the record a hit in the clubs, though, was the ever-present high-hat cast over extended grooves…
Early DJs in New York like Nicky Siano were really playing longer cuts of soul records, sometimes going between two copies to hold the rhythms longer, and the featured single of “My Love Is Free” is a perfect example of what was pumping through the P.A. around The Loft or The Gallery. Plinking guitar notes, walking bass lines and subtle metronomic drumming backed with lush strings isn’t a bad thing to have playing with beautiful people dancing all around you.
This is really one of the first record releases to define Salsoul as dance label. Double Exposure released their first 12” dance single on Salsoul as well, the first of it’s kind. It was so successful, in clubs and financially, that other labels soon took notice, and that was the birth of the commercial remix. Dance culture now had a format. -Wade
Actually a soundtrack accompanying the film of the same name, “That’s The Way Of The World” set the scene for the world of hit music and record executives. In this perfect world, Harvey Keitel is a successful high-level businessman working with Earth, Wind And Fire as well as The Pages, a newly signed band that represents pastiche and conformity in popular music. Obviously his ties are with the group known later for “Shining Star.”
That single opens up the album and alone is worth the price of admission really, but many other numbers produce the feel-good-get-down hits that Keitel’s character cares about so deeply in the industry… “Happy Feelin” and “Africano” are huge funk grooves with beautiful production.
No matter who you are, the warmth and care from Earth Wind and Fire is infectious. If only for a minute, you can leave your troubles behind and “See The Light.” -Wade
If you are into mid-Eighties Prince, Gap Band or their closest kin, Midnight Star, then the electro-funk of Dazz Band may be for you. Right out of the gate, super crisp drum machines and thick synth lines wreck dance-floor havoc on “To The Roof” and hardly let up for the next thirty some minutes.
Inclusion of the self-titled single “Joystick” is a no brainer, but it’s also a strange one, making full use of vocoder and sequencers that must have been pretty foreign to folks being blasted with it over the air across the country. While the album does have some old-school slow-jams attached (“Until You,” “Now That I Have You”), Dazz Band mostly encapsulates what was the future of funk and a whole lot of Motown right here.
Swoop, I’m Yours! – Wade
A change of attack was needed for Scritti Politti when pop form went back into vogue. Green Gartside ditched the first version of his group to work with session musicians, crafting perfect pop on top-of-the-line equipment. No longer presenting the jumble of styles heard on earlier singles, Scritti 2.0 would be crisp, clean, and pristine beyond recognition.
Green’s own living habits changed to reflect his new music as well. Originally a squat-dwelling punk with circles under his eyes, Green had kicked speed, started a workout routine and took much better care of his hair. He made the switch from ripped up blazers to sweaters and track suits. He still waxed lyrical of far-left ideals, but these statements are much more esoteric in this new pop format… It’s easier to focus on his vocal ability now, all saccharine-sweet in the mix next to sleek and dizzying sequencer beats.
All across the country, the U.S.A. played “Perfect Way” and “Wood Beez” on the air? It’s strange messages were pressed overseas by someone who once thought of himself as a Marxist, but the singles pressed beforehand with his first group were much harder for the average listener to swallow. Half listening, Scritti here sound like a rather innocuous pop act… but what were they subjecting us too beneath this shiny new surface? Hearing the contrast between the Rough Trade material and this monolith of a hit album is startling, but it’s similarities even more so. -Wade
Along with The Who pulling an “Eminence Front,” the Stones made some undeniably catchy tracks for more straight-ahead dancing. “Emotional Rescue” is the most blatant album example of this, and if you aren’t such a rock purist, it’ll sound pretty good to hear them put four on the floor in their opening tracks.
It’s all still The Stones though, even with their great chicken scratch rhythms and drum patterns squared off for tracks like “Dance” and “Send It To Me.” With less solos and almost no psychedelic intrusion, they still come off as an organic group, not sterile studio sessioners making a few bucks from Studio 54. Not all of the numbers are for the dance floor obviously, but then again “Indian Girl” doesn’t really scream for repeated listens the way their tackling of dance tunes do.
For Stones devotees, “Emotional Rescue” isn’t too bad to see them moving further sideways after the “Some Girls” punk reaction, into dance territory… and they avoid rubbing shoulders too much (ahem, title track) with white-soul New Wave, which is a blessing here. “Down In The Hole” helps confirm that they were exploring, and not drifting too far from their roots. -Wade
Tim Buckley’s seventh album effort left quite an impression on me after I heard it’s centerpiece “Sweet Surrender” on the Johnny Rotten Capital Radio show from 1977. The whole show was great, mixing Celtic folk songs into Dub into Soul into Progressive Rock, Velvet Underground-affiliated solo projects, Beefheart, Can even… What a way to get hip quick!
But “Sweet Surrender” was the opener for his show as well, and it was the track that lingered longest in my head. So before exploring Buckley’s complete discography I jumped straight into “Greetings From L.A.” and I still think it’s his personal best. After albums of straight folk gave way to albums of avant-garde instrumentation and aural experiments using his impressive vocal range, he did an about face and moved back into a more conventional form; this time closer to Funk, Rock and Soul.
Buckley’s band is groove oriented whether quiet or busy, and in places they employ lush strings that fly as high as his voice can carry. He was not a limited singer. Actually, all that time making avant-recordings helped develop his voice as instrument approach, and when he belts out numbers like “Move With Me” or “Devil Eyes” he can really imitate those dirty bedroom yelps perfectly… No one saw this coming in his career arc, Buckley party music, but then again by the time he made it to this album he may have figured his audience wasn’t getting any bigger. Might as well have some fun, and it’s the most fun you’ll have listening to Tim. Try this one first. -Wade
Defining a sound… just like he did at the beginning of Motown. Now here he his, just like Marvin Gaye and Stevie Wonder, going beyond the pop success for a new sound, new direction, new motivations. Marvin & Stevie went their way; and “Quiet Storm” was Smokey’s way.
His way was smoother, more gentler, never one to ruffle feathers like Marvin or Stevie did with their songs. That’s why Smokey is the genius he is; he didn’t try to do anyone else’s style but his own.
The album is quintessential Smokey…his same songwriting formula he has used for decades. You can imagine that if this were the mid 60s, these tracks would sound something like “Track of My Tears” or “Ooh Baby Baby”. The melodies and rhythms simply reflect what the 70s were about, using “non-native” instruments (latin percussions/rhythms), funkier beats and bass lines, and non-standard rhythms and times. Smokey is a master songwriter, always keeping his ear to what’s hip, and that what “Baby That’s Back Atcha” is; hip, funky, and totally Smokey. “The Agony and the Ecstasy” is old-school Smokey and those from all the ‘hoods and barrios include this in their Oldies mixes (how ’bout that opening line? Vintage Smokey hooking you into the song). And the title track itself started a whole new sub-genre of R&B music…can you think of another song that has done that? Nothing more need be said. – MCB2
After releasing his solo work “Are You Glad To Be In America?” through Rough Trade instead of say, ECM, the direction of his work grew more technical but remained engaging after his jump to Columbia. And he didn’t lose what he had going on with the post-punk label: innovation and a feeling of warmth throughout despite his unique brand of guitar flaying.
If you see live clips of Chick Corea in 1986 with his “Elektric” band, or other fusion bands of that time headed by Miles, and your only major turn off is the electric keyboards sounding like the audio equivalent of stale cheese, then “Free Lancing” will work for you. Ulmer’s band is electric, but it operates how a crack jazz/funk/rock outfit should. The heavy bass pops and acts as the main rhythmic component, James sings over his precise scratching and scrambling, and the drums embellish when they don’t drive the most memorable track, “High Time,” to the conclusion of the first side.
Loved by Ornette, post-punk art schoolers, rock enthusiasts and fans of Hendrix’s cross-town traffic music in general… well let’s put it this way, the material you hear on “Free Lancing” was the same stuff they would flaunt in front of Captain Beefheart and PiL. You can consider it a treasure of the era that occupies it’s own space. -Wade
A modest album after some initial direct hits, Minnie was one of those up and coming R&B divas set to rival Aretha Franklin. After losing Stevie Wonder as super-producer however, this ’75 release instead opted for an even softer and smoother production, bringing it into the fold of Quiet Storm, the pristine music reflecting the promise of Black middle-class quality of life that was expected to stick around.
The entirety of the album isn’t made up of slow-jams, however… “When It Comes Down To It” has some popping bass lines and sharp instrumental work, while “Minnie’s Lament” showcases real signs of life vocally on top of, what seems to me, like a Xenakis “Rebonds A” sort of drum loop. Really! It’s no wonder Quiet Storm and sophisticated R&B are the next forms up for assimilation by our current musical underground. On one level, the hippest kids are more empathic than ever before and are less likely to dismiss it for classy connotations, and on another, the form is still ripe for mining outside of Hip Hop. It seems only natural that people like Sade and Minnie are new points of reference for genre-appropriating youth. This stuff is reactionary socially and at times, it’s otherworldly sounding.
But how about at the time of release? Of course this was an important album to those whose young lives were being enriched by hopes of a better home and life, an opportunity to raise a family, more cosmopolitan integration. That’s what makes this release so beautiful. It’s an album about love on deeper levels. The most recognizable track drifting through Adult Contemporary stations could be “Inside My Love,” which should be noted, isn’t about sex…“will you come inside me / do you wanna ride inside my love?” But to get back to Black upward mobility, Minnie’s popular album track for radio play, “Love and it’s Glory,” was never released as a single. Yet it had massive air play and it’s message bounded out:
It’s a lonely world my children
You’ve got to do the best you can
If you’ve found a chance to love
You’d better grab it any way you can -Wade
Funny how the “Press Color” album changes with each new pressing… Whenever New York’s infinitely hip ZE label put out a fresh one it seemed to have a rearranged track list and changes in song lengths. With a new Light In The Attic reissue on the way, this tradition continues, and they even expand the LP into a double gatefold that includes Lizzy’s early material from the art-group Rosa Yemen, so keep an eye peeled.
So many reissues and it still warrants a listen again; Lizzy Mercier Descloux was a definite talent from the post-punk / No Wave axis and “Press Color,” with tracks in any arrangement, still impresses. Lizzy was a Lower East Side scenester with ties to Patti Smith and Richard Hell. The cutely impish French gal was also a self-taught guitarist with unique chops that worked in a noise or dance context. Catfish Collins or Arto Lindsay? Somewhere in between that spindly rhythm matrix…
Whatever side of whatever version you get of “Press Color,” the discofied Arthur Brown cover of “Fire” still remains it’s most exciting ride. The convergence of New York styles at the time of this recording places this track at ground zero in dance-punk fun. More confrontational numbers include the lurching “Torso Corso” and the dizzying “Wawa.” With No Wave and post-punk revivals come and gone, “Press Color” still stands as an excitingly fresh mess of styles. -Wade