Soulchoonz 80s Soul Grooves

A new era

2011-04-29T18:05:00.000+01:00

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Fatback - Is This The Future? - 1983 - Spring

2009-03-06T13:26:00.004Z

I LOVE Fatback - especially their 1980s material. The group, already stepped in funk embraced the new electronic, programmed synth style and turned out a whole series of albums crammed with crackin' jams and ballads. their move to Cotillion in 1984 for two albums, "So Delicious" and "Phoenix" was a great move but their Y2K efforts have been far less inspiring. This album, though, rates as one of my favourite Fatback albums and contained 5 tracks which floated my boat. The title track dallied with rap and the fresh, synthy groove is one that was very much a treatise on the day rather than what was to come. Hell, that was MUCH worse, especially where music was concerned! "Double Love Affair" is another quality fun slice of uptempo Fatback fare which still gets my bass-pins in a good work-out!

"Spread Love" remains a real gem, the dirty moog bass, flute and sassy vocals courtesy of Evelyn Thomas still work a treat today. I think it's fair to say that most will err towards the more traditional outing, "Sunshine Lady" - a classic Fatback Band mellow groove if ever there was one; a really strong summertime good-times groove with a catchy guitar hook. This is up there with the best of them! My final pick is "The Girl Is Fine (So Fine)" which is another classic in the vein of "Start It Up" or "So Delicious". Such a classy piece of early 80s Fatback, aimed at the dancefloor. This is a song that still gets me moving all these years on - and I wish the guys would get back to this kind of groove and stop mucking about with rap and ragga. Thankfully, unlike "So Delicious", this has been reissued legally and from master tapes by the good people at Ace Records via their South Bound imprint. Available very reasonably from Amazon.

Barry Towler
The Vibe Scribe

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Starvue - Upward Bound - 1980 - Midwest International

2009-03-06T08:28:00.007Z

This album has always been highly sought after and in the late 80s was changing money for stupid, stupid money. The reason for this was one track, namely "Body Fusion", a track that was set free by Kiss FM on their excellent "Boogie Tunes Vol. 2" compilation. This is a killer slice of midtempo boogie and remains a killer tune to this very day, as you will gather from the sound clip below. The group only made one release on the tiny Midwest International label in 1980 before disappearing into obscurity which is a shame. the group offered much and I fear were a victim of the burgeoning electronic switchover that tripped up many traditional self contained combos. The group consisted of Keith Blake, Judy Davis, Andre Morgan, Anthony Hicks, Burton Fowler, Lester Falconer, Victor Hughes and Larry Horne. The album, too had much more to offer than said "Body Fusion" and on it's CD release in Japan scored big points with me for supplying us with a bonus, previously unreleased track!

The original 7 track LP can be purchased at a fraction of it's Rare Groove heyday asking price, and the CD can still be located if you look hard enough. Whichever format you can lay your hands on you will be very pleased with your purchase. "Body Fusion" was a popular tune amongst reggae fans, as it happens, due to the deep underpinning bassline, and one can see why. It's a monster track, enough said. The spangly guitar rhythm-led "Love Affair" weighs in at a whopping 7:08 and if you are into groups such as Splendor who were about at that time then this will be much to your liking. Vocally we're in Modulations sort of territory. "Put The BS Aside" has a telling title and is much more smooth with strings and horns - a slight late-70s Mizell Brothers edge that gives it a real edge over the other cuts. The real winner, though, appeared on the CD reissue, and that is the SUPERB "Let's Hold On To What We Got". This ballad really is the business, the bluesy Eric Gale-ish guitar, swirling strings and Beau Willaims type vocal make this a much sought after song. The backing music and vocals are very much what we would have expected from the Michael Stokes camp at this time, perhaps even Enchantment or Fatback. Not as easy to come by, but if you see it GRAB IT!

Barry Towler
The Vibe Scribe

2009-02-19T23:25:00.005Z

Having recently reviewed Bernard Edwards' excellent "Glad To Be Here" set it would be remiss of me not to alert you to this gem from fellow Chic member and all-round good egg, Nile Rodgers. Now, a word of warning. This has just been given a release on CD and can be picked up reasonably priced from various outlets BUT it is is NOT legitimate and if all other releases on that re-issue label and associates are anything to go by are very poor indeed and taken from vinyl and NOT master tapes. Don't waste your hard-earned cash on cheap imitations when you're better off with the original vinyl! This album is not one you want to own as a bootleg, so if you're like me and you don't condone your favourite artists being fleeced then stick with your original record. But what a record it is. Lots of dancers and ballads all in that great, unique Chic fashion. The title track is simply excellent and the rhythm guitar just mouth-watering.

My favourite dancer has to be "Yum Yum". An addictive track with some real power and thrust. Fonzi Thornton and Phil Ballou add backing vocals and piano is courtesy of Raymond Jones. If you are a fan of Chic's "Believer" album, also from 1983, then you won't be disappointed with this album either. This testosterone-filled dancer is one of the cream cuts here and gets a regular bashing in the car. One of those songs you can let your hair down to. Brilliant. Even if these two dancers had not existed on here, I would have gladly shelled out my hard earned cash purely and simply for the sophisticated ballad "My Love Song For You", which features the wonderful Sarah Dash sharing vocal chores. This track was not made for summer - summers were made for this kind of track. And so it goes. Fans of Chic should already have this, and if not then please make sure you check out the sound sample and head over to Music Stack where you can pick up the original LP. Until it gets a proper and legal CD release of course!

Barry Towler
The Vibe Scribe

Beau Williams - No More Tears - 1986 - Capitol

2009-02-13T23:26:00.024Z

Like Barry Towler said about Kazu Matsui's album "Is That The Way To Your Heart" being that very extra close to his heart I say the same about Beau Williams album "No more tears". Although I can only say that about two tracks, as the album is very inconsistent in quality. But on these two Beau delivers a heart aching soul from heaven totally impossible to resist. Born in a religious and musical family in Houston, TX, Williams became a part of the rich Gospel tradition laying the musical fundament of his life that after a commercial detour brought him back to his roots in 90s. The album "No more tears" is from his commercial era on Capitol and was released in 1986.

The start is just stunning. The today classic soul dance gem "All because of you" just got it all. Williams powerful and sensitive voice leaves no one untouched. Next, "Been too long", a typical 80s track that really catches the feeling from back then. Let's skip the following two and focus on "Give me up" instead, yet another dance floor aimed track. My God! To be honest I cried like a baby when I heard this one for the first time (too many memories I guess) and that say a lot of this tune, as I usually don't cry often! Once again Williams song creates the entire experience and even though the music is great it is the voice that is completely mind blowing. It's just a fantastic achievement and one of the best tracks I ever heard and the obvious highlight on the album. The rest is descent stuff but Beau Williams did not after all release an all through solid album so let's leave them behind as well. Find the two and bring them to your heart and you'll see, SOUL!

Karen Carpenter - Karen Carpenter - 1980 - A and M

2009-02-03T19:08:00.007Z

No, I am NOT joking. This contains some cracking tracks, and because it was radically different than what we would have expected from this monumental talent the project was shelved. It remained shelved until 1996 when Richard Carpenter, along with fan pressure felt that it was time that the album was reappraised. Had this been released when recorded in 1980 there would have been a definite, positive, buzz. I love it when you hear soulful tracks from the most unlikely candidates. Goodness knows, my collection boasts some real soulful gems from the likes of Julio Iglesias, Engelbert Humperdinck, Sasha Distel, Eva Cassidy and skater-boy Leif Garrett to name a few! Produced by Phil Ramone, this album had input from some very, very familiar names. Oddly enough, these names pop up on my favourite songs!

The opening song is an exercise on soulful jubilance. It's a very upbeat and positive song, with no added sugar! Written by the superb Rod Temperton, whom I consider to be one of the UK's finest exports, this midtempo breeze of a gem is so typical of his writing and arranging and this could almost be located on a Rufus album! Orchestration is by Bob James nonetheless, and a snazzy keyboard solo comes from Greg Phillenganes! If you love the horn arrangements of Seawind and Jerry Hey then look no further than "If I Had You", a sweet, summery West Coast number with a jazzy sax break courtesy of Michael Brecker and arrangements courtesy of Bob James. Rod Temperton adds a further stunning cut in the form of the warm ballad "If We Try". Vocally I have never been able to fault Karen Carpenter. She had the voice of an angel. Poor Richard must miss her like crazy. She sings like an angel on here, and the sympathetic orchestration from long-time Michael Franks associate Rob Mounsey takes her to stunning new heights. It is Rob that writes, arranges and conducts my final pick, "Guess I Just Lost My Head". Lovers of Michael Franks' early 80s work will want to snap this up. Such a lovely tune, and when all things considered this is a real must-have album.

Barry Towler
The Vibe Scribe

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Vision - Exposed - 1986 - Wilbe Records

2009-02-03T18:41:00.005Z

If any album was screaming for reissue on CD it would be this. Released in the fall of 1986, Vision comprise of Brandon McLaughlin and Leni Law. Produced by veteran Stax supremo Willam Bell and associate Albert Burroughs. For me 1986 was a classic year for soul music and was the final year that it remained unadulterated by faddish trends and brash culture. The black music scene was vibrant with a wealth of quality dance and ballad cuts all from proper artists on major labels, and if a track was to sum up all that was classy in 1986 it would, without a doubt, be "The Seduction". If not, it's surely one hell of a contender! When I first heard it I was frozen to the radio. Such a sensual, romantic, erotic, passionate and sexy song! An instrumental which acts as a melodic backdrop to a couple (I assume! Who knows, and why not!) making passionate love. Yes, the concept sounds trite, corny and whatever BUT it is none of these things. It is, in fact, so gorgeous and spine-tingling a track that it still gets me each and every time I play it today.

The guys are great vocalists too, and they also perform the instrumentation so when they lay open the gorgeous track that is "Do It Tonight" they are completely in control. Vocally, they sound remarkably like Lakeside or someone similar. In other words, excellent. The sexy and synthy "Private Passion" takes a lot of beating too, and was another strong feature on radio back when some sanity reigned. Although on a small, independent label, the quality of these songs are up there with the big boys and who can ever wonder with the likes of William Bell in the building?! Some cuts were very poppy, and the cover of "Where Did Our Love Go" easily skipped over, but the album is mandatory for the three tracks highlighted. With the right company, the lights down low (and in my case a dozen paper bags over my head) and "The Seduction" playing you cannot fail...

Barry Towler
The Vibe Scribe

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Bernard Edwards - Glad To Be Here - 1983 - Atlantic

2009-02-03T18:02:00.007Z

I make no apologies for being a massive fan of Chic. They may have been big at the time of the Disco era but no-one can deny their unique style and the fact that they possessed real soul. You can always get more of a taste of this from their ballad work, and if you love both dancers and ballads then you need to either dig out and dust off this gem from 1983, or track one down. This was made available back in 2000 on CD and may still be possible to find. If you own Chic's "Believer" album from the same year and love the later Chic style on there, that being funkier, more synthy and less strings-based, then "Glad To Be Here" will also please. I have four favourites on this album and showcase the vocal and musical talents of the late great Bernard Edwards.

I start with the opening song, "Your Love Is So Good To Me", complete with a Zapp-like clapping beat and with Luther Vandross and Phil Ballou adding their weight to the yummy female backing vocals the moog is deep and the scratchy trademark guitar punches all through this to create a perfect funky dancefloor moment. For ballads you really cannot do better than the sumptuously 80s "Don't Do Me Wrong". Vocalist Jocelyn Brown is joined by Ray Chew on Fender Rhodes and Nile Rodgers on guitar. I love this track to pieces and will guarantee that you will too. "You Don't Know Me" is another classy, classy mellow cut and is fronted by Bernard, ably supported by Fonzi Thornton and Jocelyn Brown. I'll bear this track in mind for exposure when the weather starts warming up. The legendary Carole King actually joins in the backing vocals for the out-of-this-world "Hard Loving Man"; a very, very addictive track thanks to a funky bassline and some amazing guitar. Fans of this great man need no persuading - but if you're in doubt then check it out. You'll be surprised.

Barry Towler
The Vibe Scribe

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Keni Burke - You're The Best - 1981 - RCA

2009-02-03T17:40:00.007Z

Keni's second solo set, his first for RCA, and one that remains a closely loved and revered album amongst soul fans world over. Keni Burke is a stupendous talent and one who should be more involved in the studio; his last solo effort being a decade ago via Expansion Records. This album, as well as the mighty "Changes" album have been afforded reissue on CD in Japan so the tatty old vinyl can finally be laid to rest! Three of my most cherished songs from his whole career can be found tucked away on here, and any one of these are worth a Japanese import price tag. "Never Stop Lovin' Me" is a serious dream of a track and this Curtis Mayfield penned track is one of a number of songs I would love to take over to "the other side" with me once I shuffle off this mortal coil! The warm Fender Rhodes keyboards, strings and percussion take it to astronomical heights. Wonderful, essential and timeless.

My second of three choices is the sublime "Love Is The Answer". Never have I heard anyone BETTER a Todd Rundgren song but along comes Keni and does just that. Keni makes it his own through his unique vocal pitching and phrasing, yet he manages to keep Rundgren's own unique and wonderfully haunting melodic style, and managing to funk it up a shade as well. What a wonder if these two talents could work together! Third up is "Gotta Find My Way Back In Your Heart", a track that is simply perfect. The melody is classic and the strings and flute hark back a few years to the late 70s. A simpler, more soulful and warm musical time. The dancer "Let Somebody Love You" is as fantastic a mover today as it was back then and paired with tracks such as the O'Jays "Put Our Heads Together" will really get the floor heaving. "Paintings Of Love" is classy too - and all songs together show how and why this album is still held in such esteem. An essential 80s album.

Barry Towler
The Vibe Scribe

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Bobby Glover - Bad Bobby Glover - 1984 - Columbia

2009-02-03T17:18:00.005Z

Bobby Glover is a singer in the traditional sense - undoubtedly he found his footing in the non-secular world and his firebrand style vocals are raw and cutting enough to shred ribbon. This rough, impassioned vocal style is drenched in soul and the man is met head on by a bubbly and funky Roger Troutman and Zapp who know how to wrap the funky tunes around him, deploying a fiercely funky set that will appeal to devotees of the Funk as well as classy 80s balladry. You may recall the short-lived 3-Way record label released a compilation in 1988 called "Time Is Right" which was comprised of many a Columbia gem from the 70s and 80s. Well, "It's My Turn" was the choice included on that set and an inspired choice it was too. This particular song is summery, downtempo, and so soulful that it hurts. Roger and the gang have done a great job here, and on this cut the amazing Shirley Murdock can be heard doing what she does best.

"Your Spell" is a tune that should do well on radio and dancefloors even today, the slinky, funky rhythm is not over the top, yet the clapping beat and quirky keyboards and dominant bassline should get a few feet on the move. Total class. The Zapp-like "So Mean" is quirky, freaky and funky but at no point does the famous talk-box come into play, instead some ripping synth and horns - fans of New Horizons will get to grips with this easily. There is a cut called "Happy" which really proves to be a great vehicle for Bobby's smoother side, and the Ohio Players-ish "Bright Skies, Sunny Days" has Dayton, Ohio stamped all over it - a loose, summery melody and stylish 80s keyboards are the order of the day. Those already exposed to "It's My Turn" will no doubt take a shine to the similarly smooth "I Love You" and "I Can't Stand The Pain". It's a pity we had but one album for this gentleman. Such a powerful, soulful vocalist and one that should have had a greater career. Mind you, these days who knows who will show up and when!

Barry Towler
The Vibe Scribe

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Pia Zadora - When The Lights Go Out - 1988 - Epic

2009-02-03T09:21:00.006Z

I bet you're sat there thinking that this doddery old goat has finally lost the plot? Well, in some respects that's perfectly true but as far as the old choonage goes strap yourself in and get ready for one hell of an album crammed with Jam & Lewis magic. Pia - a big star as you know - was dying to work with the Flyte Tyme gang and so commissioned them to work on this album for her. What they produced is nothing short of 80s soul heaven BUT Pia was not at all impressed and requested that the album be scrapped. So, in America, this was the case. However the album was afforded a UK release and thank God for it. If you love the best material of Cherelle, Alexander O'Neal and the SOS Band, then this album is a real must-have. One side of the album was as dodgy as hell with some questionable dance material, but the second side...well, that's a different matter entirely.

I get a feeling every time I hear this that Jam and Lewis were creating something they really and truly loved. I think this album rates as some of their best ever ballad works. Starting with the goosebump-making "Pia's Interlude" - a very short but sweet intro to the delicious and uber-quiet storm cut, "I Really Like You, Not Him". This is serious soul heaven and I defy and doubters to listen to this and not be swept up and away by it. The track ends in such a haunting and "wow!" fashion that today I have to sit here with eyes closed, soaking it all in. Beautiful. If I have to close my eyes to a song then I know it's something really special. It doesn't end here though. "Silence" is amazing and would, in hindsight, have benefited from the use of real - and not synth - strings. Dreamy and atmospheric is all I can say about this. "Since I've Been Loving You" is as good as any Cherelle ballad from the time, and the KILLER "Pia's Theme" is a longer version of the intro and based on "Silence". Instrumental and haunting, this song will blow you away. This acts as a prelude to a really spine-tingling track called "It's Always The Same". My God! 21 years on and I am reduced to a gibbering wreck at the sheer beauty of this song. Please cast doubts aside and grab a hold of this - especially on CD if you can find it. Lovers of Jam and Lewis' quiet storm cuts need to own this.

Barry Towler
The Vibe Scribe

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Patti LaBelle - I'm In Love Again - 1983 - Philadelphia International

2009-02-03T09:06:00.006Z

1983 brought forth the gorgeously soulful and orchestral "I'm In Love Again". Now, then, this is late Philly with Columbia's support, and when compared to what the Lady is doing today is more like I want to hear. The album launched a few hits, too, and that wasn't bad either! The first song could easily belong to the repertoire of The Three Degrees and MFSB should just great on this. You cannot beat orchestration of this calibre, and it can really make a excellent track something even more special. The luscious strings and piano kick into gear with the smoky, jazzy soul of "Lover Man (Oh Where Can You Be?)" and beats hands-down anything contained on either of her other PIR albums. We all know and love "Love, Need And Want You", which is collaboration between Kenneth Gamble and Bunny Sigler and, again, this sounds pristine today. Soul music like this is timeless and does never need to follow trends. A gorgeous track, enough said. This style of quality Philly soul fits Patti like a glove.

I know I keep banging on, but I wish we heard more of it's kind from her today. One of my all-time favourites, period, is the superb Cynthia Biggs / Kenneth Gamble / Dexter Wansel penned ballad "If Only You Knew". This is Patti and Philadelphia International at its very, very best, make no mistake. I still get the old goose pimples today, 26 years on, when listening to this. This is so gorgeous that if you have not heard it then I would recommend purchase of this album via the Right Stuff in the US, or on the 2 disc set released a few years' back by Edsel purely for this song alone. With Womack & Womack's "Love Bankrupt", the quality continues and is not dissimilar from material such as "Love T.K.O.", or their own set, "Love Wars", of the same year. The Joseph Jefferson funky number, "When Am I Gonna Find True Love" isn't too bad, continuing the theme of consistency. Another worthwhile album from the 1980s to enjoy...forever!

Barry Towler
The Vibe Scribe

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Mystic Merlin - Full Moon - 1982 - Capitol

2009-02-03T08:45:00.006Z

CLASSIC, CLASSIC, CLASSIC. This was a part of a healthy wave of classic soul and funk album releases that EMI in Europe and the UKwere to be applauded for. A pity then that the series started and ended with those! Like I always say...if I had some clout...lol. Again, this has been fully remastered with 24-bit digitising. AND we have been spared the dreadful digipak packaging as well. No matter how well you handle the damn things they still get worn don't they?! This superb set from 1982 was the third and final set from this eccentric and colourful ensemble, and sales-wise it did not do at all well. Being classy that doesn't surprise me at all, when you think about the hype and pomp that Electro was receiving at the time. This set by Mystic Merlin, overlooked in the early 1980s, has now attained an almost cult status for cuts such as "Mr. Magician" and "Full Moon" and rightly so. This album sees the timely introduction of Freddie Jackson as lead vocalist and needless to say I ADORE his vocals. He shines on all tracks and needless to say the sublime musical backdrop complete with funky bass, horns and real rhythm. I feel that the early 1980s was golden period for our music, and this has hitherto been an unexploited era for reissue. Crammed with steppers and midtempo numbers this is really essential soul from the Capitol vaults.

I love every track on offer here, and feel that Freddie delivers the goods on all tempos. My standouts have to be the opener and cult favourite "Mr. Magician" and the ESSENTIAL stepper, "Full Moon", complete with freaky keyboards. Atmospheric and funky to the point of pain, this funky slap-bass driven groove is just amazing. This beats any of the drivel which passes as R&B today. With a bass line straight out of the Curtis Mayfield "You're So Good To Me" groove, you know that this is a showstopper. Did Freddie ever have an inkling about the fantastic career he would later have? The sumptuous ballad, "Your Love", resplendent in fender rhodes keyboards, with hindsight, offered us a glimpse of the man we would know and love as a very successful solo artist. I cannot recommend this album enough I prey that albums like this, if not afforded a proper hard-copy reissue, are afforded a fresh lease of life via digital downloading services. I implore those dealing with this issue to release the classic albums "New Dimensions" from the Dramatics as well as the Blue Magic album, "Welcome Back", from 1981. Go on - you know it makes sense!!!

Barry Towler,
The Vibe Scribe

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The Brooklyn, Bronx and Queens Band - The Brooklyn, Bronx and Queens Band - 1981 - Capitol

2009-02-03T08:32:00.008Z

Back in 2004 this superb album was given a reissue on CD, and is still available today. This is a painstakingly remastered slice of top-drawer early 80s soul. No ripping from vinyl here and no shortcuts. Many will know this album for the excellent and popular jogger "On The Beat" which seems to have been on every Capitol compilation since I can remember when! This set is very much dance floor in orientation, as we would expect from the late, great Jacques Fred Petrus. Not unlike his other brainchild, Change, this group served up some hot, hot sides in the 80s and we have other numbers such as the sparky and summery "Time For Love" which is still an amazing stepper which still gets the feet moving on the most discerning dance floors. This song has a healthy element of Chic in the guitar work, and the catchy hook is drizzled with tight harmonies and the soaring vocals of Ike Floyd. "Starlette" is another choice groove which owes a lot to the superb sounds of the Chic Organisation than anything else.

Comparisons, some unnecessary, were made at the time about this, but all I can say is I love BB&Q and Chic and the sound is very much as fresh today as it was in the late 1970s and early 1980s. The tempo is mostly raised above toe-tapping level bar the worthy ballad, "Lovin's What We Should Do" which, again, is very Chic in essence. Although this only a seven track album (and track 7 is not a track that I would entertain) this is a showpiece of the genius and creativity of Jacques Fred Petrus and Mauro Malavasi from their base at Fondprint Studies in Bologna, Italy. From the loss of Jacques Fred Petrus in 1987 it would take 4 years to deliver any more worthwhile soulful dance from Italy in the shape of Arthur Miles. Following this song came nothing. This CD is testament to all concerned here. You can snap up this superb CD for under £5.

Barry Towler

The Vibe Scribe

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Herb Alpert - Keep Your Eye On Me - 1987 - A and M

2009-02-02T23:07:00.003Z

I have always had a soft spot for Herb Alpert - my Dad used to play a lot of his stuff, and also mores the point that "Bean Bag" was the theme tune to "It's A Knockout". The man just got a whole lot cooler! Seriously, Herb is one cool dude and has dabbled with black music on more than a few occasions - his label A and M also commands respect for the sheer amount and quality of soul and jazz that has appeared on it. This powerhouse album saw the first chart action for Herb since 1980's "Rise", and all thanks to the genius input of Jimmy Jam and Terry Lewis. These gentleman were responsible for the smash hits "Keep Your Eye On Me" and "Diamonds" and highlight yet again how strong and in control they were in the mid - late 1980s.

The unusual opening salvo of smashing glass, sawing wood, hammerings and even a barking dog catapulted me warily into "Keep Your Eye On Me" on first hearing. The chugging and bouncing beats that ensued really trembled the bass-pins and Herb's funky horn along with Lisa Keith's sexy vocals soon won me over and has remained a strong speaker rattler ever since. I'm not at all surprised that this was a hit on both sides of the Atlantic, and so too was the Janet Jackson led "Diamonds". Another goodies from the boys at Flyte-Time! As you know, I love my ballads and you will find two Jam & Lewis KILLERS on here...the beautiful "Pillow" with Herb's distinctive horn and vocals is simply to die for. Again, Jam and Lewis working their magic. The real show-stopper, though, is the Lisa Keith fronted and Janet Jackson supported ballad "Making Love In The Rain". I fell deep in love with this song immediately and remain devoted to it to this day. Songs like this will forever sound fantastic. I wish Jam and Lewis would listen back to this era and bear it in mind when they lay down new material. It will outlive any of their new stuff. This is still easily available cheaply on CD from Amazon. Go on - treat yourself!

Barry Towler,
The Vibe Scribe.

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Ashford And Simpson - Street Opera - 1982 - Capitol

2009-02-02T22:46:00.008Z

What a tremendous pleasure to see albums like this available on iTunes Plus. Once available on CD in Japan but then VERY scarce and pricey - aren't they always? - this can now be downloaded at a very reasonable price, and no twiddling thumbs waiting for Postman Pat and Jess to get around to you either. I rate this set as their best and certainly most consistent set for Capitol. Perhaps not reaching the heights of their '70s Warners output, the album is definitely one that should be in your collection. Their chemistry is such that love, tenderness and devotion simply oozes from the speakers - without any unnecessary cheesiness or too much syrup. "Street Opera" was something of a concept album and frowned upon at the time. As far as I concerned it was another set which had it's high points and low points, but the highs are certainly enough to wave flags for them on here.

Take the brassy "Love It Away" for starters - what a quality cut if ever there was one, and easily on par with anything you will find on "A Musical Affair". The string-infested ballad "I'll Take The Whole World On" contains some seriously tight harmony between Nick and Val, and this carries over into the brilliant early 80s midtempo stepper "We Can Make It Work Again". For dancers the uptempo "Street Corner" will be on the one, and I am certain it can also be found on the recent "Capitol Disco" album too. Some nice bass guitar and brass on here and warm 80s keyboards too. It is warming to the very cockles that albums like this can be found on the once-barren iTunes. But what else is lurking on there? Why don't they champion or advertise these things? Take a browse and you may find some real gems and surprises. This certainly made me smile and the more I see of this sort of material the better.

Barry Towler,
The Vibe Scribe.

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Leata Galloway - The Naked Truth - 1988 - Columbia

2009-02-02T22:16:00.006Z

The late 80s was party to some serious, classy, adult soul music which today still sounds as fresh as a daisy. Defying trends and demanding nothing but quality from all who participate, when soul is at it's peak then nothing in the world can dent or scratch it. Leata Galloway is a classicly trained singer who had previously worked with the London Philarmonic Orchestra. So you know what caliber of singer we are dealing with here. Her vocal range is simply stunning, awesome and sets her high above many female vocalists then and today. God, she certainly takes most of today's 'talents' and knocks them into a cocked hat. That is no understatement. The album, I have to say, was not given a warm reception as it was ballad orientated and - let's not beat about the bush - too classy for those who cannot see past thelatest fad. Production was handled expertley by Nick Martinelli, Preston Glass and Allan Roy Scott and I would argue that this comprises their best ever work - it really is a classy statement of what the right producer, the right singer and a label run by grown-ups can deliver!

I adore seven tracks on here - the first being the haunting and atmospheric "Fascination". The jaw-dropping opening and Leata's stellar vocal range should be enough to catapult her into the league of greats. But where is she today??? Similarly, the track ends on such a note that my chills get chills! If cold chills are your bag then the KILLER "One Of These Nights" will have yopu changing your underwear, the french horns and strings plus Randy Bowland's guitar work make this a cut to die for. "Shades Of Blue" should ring your bell if you are a fan of Regina Belle, and Ron Kerber's sax is great as are backing vocalists Cynthia Biggs and James King! "Heartache (Don't Discriminate)" is a top Preston Glass cut which, I feel, could easily be taken up by the Stylistics. Such is the melody and phrasing that Russell Thompkins, Jr could work well here. Two covers of note too - "You'll Never Get To Heaven" and "Cry Me A River", both superb and the latter favoured by DJ Andy Peebles on his Soul Train show. "I'm Scared Of You" and "The Naked Truth" are awesome slow jams courtesy of messrs Martinelli and Glass. One of the 80s hidden gems, if you are into the finest of the finest in quiet storm soul then this album is a real must.

Barry Towler,
The Vibe Scribe.

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Slave - Stone Jam - 1980 - Cotillion

2009-02-02T12:19:00.006Z

This is FUNK. The dinosaur-stomping bass lines of Mark Adams are enough to wake the dead, and the bumping beats and slashing guitar work of Mark Hicks were second to none. Steve Arrington's arrival in 1979 really added some extra funky weight to the outfit and his vocals truly make the Slave outfit rock. Vocalist Starleana Young also is thrust into the limelight here along with Curt Jones, and both sparkle, absolutely at home between the aggressive slap bass, thumping bass and party atmosphere. No prisoners are taken on this album and if you, like me, love the Funk then you were happy to offer no resistance. I only wish that groups of this standard and caliber were around today who could equally serve up soulful ballads, midtempo numbers and slam-dunking funk.

This is a solid album from start to finish. Starleana is a beautiful Lady and shines this quality throughout he vocals. take the single, "Let's Spend Some Time", and you'll hear this woman's excellent soul pedigree. The brilliant, synthy, "Feel My Love" follows on as does the excellent downtempo "Starting Over", complete with a slight Bar-Kays feel. These are great, but the jam that even gets me off my lazy backside is the blindingly good stomper, "Watching You"...check of the slap bass! Steve Arrington really crowns this track magnificently. "Dreamin'" is a funkier, spacey effort and I have to say I absolutely adore the scratchy guitar funk of "Never Get Away". The album closes on a real BIG! NOTE! with the raucous heavy funk of "Stone Jam"; a killer track weighing in at nearly 7 minutes, this is a song that definitely takes no prisoners! I LOVE this! Nearly 30 years on this is still quality! The album was reissued by Rhino and features 3 bonus singles mixes -and iTunes also hosts this and may others from their catalogue. Why not make February an extra funky one?

Barry Towler
The Vibe Scribe

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Jeff Lorber - Private Passion - 1986 - Warner Brothers

2009-02-02T12:04:00.006Z

Having just written about Ronnie Laws' superb "Mirror Town" album, this inevitably led me to reviewwing the contemporary album by Jeff Lorber, "Private Passion". Jeff was a real favourite of mine, prior to the smooth jazz implosion, and you used to be able to depend on Jeff for a quality uptempo soulful tune or ballad fronted by a seriously talented singer. This album was, for me, the last great album from this man, and both vocals and instrumentals really get equal top-billing. This set from late 1986 brough to our attention a wonderful singer - then a newcomer - called Karyn White, as well as showcasing Tower Of Power's excellent Michael Jeffries. Both singers would go on to record solo projects with Warner Brothers, Karyn having the greatest success, and it was a pity that Michael's set was particularly weak and did not bank on his excellent vocals, instead trying to cash in on the fad that was New jack Swing.

Of the vocals, the leading single release was the chuny, funky and synthy "Facts Of Love", a track that went down a real storm on Robbie Vincent's Radio 1 show, and clubs up and down the country. Thgis is exactly what I loved about the 1980s - soulful vocals married to an infectious and upbeat joyous groove. You cannot beat it. Yes, this is a choon indeed! More downtempo is the fine duet between Karyn and Michael called "Back In Love" - a blinding cut, this and one that I still dig out from time to time. For me, one of Michael's finest moments comes with the jubilant "Keep On Lovin' Her" - a truly feel-good song, yet with quite rueful lyrics. The theme is of a loveblind, used and put-down guy. Relationships, eh?! The instrumentals of note, for me at least, include the beautiful "Kristen" and the fun "Midnight Snack". Truly fine examples of Jeff in the 1980s. Hopefully Jeff will return to these styles in the near future, and if so I will be waving a banner for him! Released in the US on Warner Brothers, and in the UK on Club this has recently enjoyed a CD reissue on the excellent Wounded Bird imprint. Now you can enjoy this at a reasonable price on CD.

Barry Towler
The Vibe Scribe

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Ronnie Laws - Mirror Town - 1986 - Columbia

2009-02-02T11:38:00.005Z

This 1986 effort for Columbia is well worth seeking out. An album of distinctive halves, Side 1 was clearly the side to be given much attention, whereas the flipside seemed a whole lot weaker. Very strange. However, the four tracks I highlight here are of the highest calibre and rank amongs some of the finest work that Ronnie produced in the 1980s. Sister Debra Laws makes various appearances on vocal duties, and co-production is from the one and only Larry Dunn of Earth, Wind & Fire fame. The likes of old favourites Paulinho Da Costa and Jeff Lorber also put in a solid performance, the latter's most jaunty keyboard style ever so apparent. Some may have looked to this album and compared it with his Liberty releases and rejected it due to the very programmed nature of this particular set BUT even though that is a truism nothing can detract that this album is classy.

From the offset I was in love with this album. I was seconds into "Come To Me" and had already been won over. I sit here 23 years after release feeling exactly the same magic about it now as I did on the day of release. A magnificent track with Ronnie giving spectacular performances both vocally and on sax, and Debra Laws ghosting his vocals in a mighty fine fashion also. This is, ultimately, a cool track and worth seeking out for this alone. "Misled" has a darker, more lowdown feel and Paulinho Da Costa adds to the electronic mix with some nice percussion. Larry Dunn adds some very flavoursome synth work here. Jeff Lorber is so, so obviously at the forefront of "Tell Me" - a track that would fit in very well on his brilliant, brilliant "Private Passion" album from the same time. The vocals and sax, again, are second to none. Very distinctive in both cirles is our Ronnie! My final pick is the irresistable and quirky "Mirror Town". The tapping beats, deep moog and see-saw synth along with Ronnie's breathy vocals and Debra's sneaky refrains make this a real gem. "Mirror Town" was available for a while on CD, so keep an eye out!

Barry Towler
The Vibe Scribe

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80s Ladies - Ladies Of The Eighties - 1980 - Uno Melodic

2009-02-01T09:42:00.005Z

We all know and love this album, released on Roy Ayers' Uno Melodic label back in 1980. This had been a real rarity during the rare groove era, and was then released on CD in Japan – then the UK – and have, again, become rarities in their own right. Fear not, because if you have, like me, crossed the threshold into the digital age then you can download the album from iTunes. No crackles, no pops and no ridiculous price tags! “Ladies Of The Eighties” is a classy effort by anyone's standards and the music still stands on it's own two feet today. Roy Ayers knows a good melody and can pick a damn fine vocal for his work, too and it is no surprise that this outfit were to fit the bill so brilliantly. Not many people know that 90s recording artist Marva Hicks was part of this group! Told you Roy Ayers knew a good thing when he heard it. The album focuses on a groovier and funkier sound which Roy was more than accustomed to as he had been working this scene for a number of years by now.

I've chosen 4 tracks to showcase the album, but really, you can take your pick. This is a really strong album and nothing on here is a risk. I start my review with the spacey and ethereal “He Is Mine Forever”which is Roy Ayers through and through – what a sensual performance given by these sexy Ladies. Just what this doctor ordered! More up tempo and summery is “I Know That Love” which would not be out of place on the earlier work by Ramp. Marva Hicks really is at the fore on here and powerful she is too. Please also give a listen to the delightful “Sing Me” which has some interesting lyrics – something of a novelty these days. If any song could raise a round of applause it would be “Turned On To You”! This is one hell of a groove and still washes the floor with most tunes. The bouncy guitar and scratchy, persistent backing is nothing short of dizzying, and does this not act as a showcase for how wonderful our music can be? This is one hell of a Soulchoon. Happy downloading!

Barry Towler,

The Vibe Scribe

Mtume - You, Me And He - 1984 - Epic

2009-02-01T09:28:00.006Z

By 1984 James Mtume had parted company with Reggie Lucas for well over 12 months. Mtume had developed his unique blend of synthetic bass-driven funk and although a real departure from his earlier work – “Juicy Fruit” was his conversion – the soul still remains strong. I think that James' production skills are second to none and considering the indescribable talent of Tawatha Agee therein lies a potent chemistry for superb music making. One of my favourite years, 1984 saw the release of “You, Me & He”. If you love THAT Mtume sound then you will love this album. Thankfully this and “Juicy Fruit” are available for purchase on CD at a very reasonable price indeed. This album featured the popular “Tie Me Up” single. I've not included this song here as I much prefer the 12” version. Anyone who remembers Robbie Vincent and Chris Hill japing around to this on Soul Weekender radio will recall it with a smile!

“C.O.D. (I'll Deliver)” is classic Mtume. A clapping beat, synth, keys and a hand-clapping beat ably fronted by Tawatha and giving the fact it's now an astonishing 24 years old it still retains all the allure and power that accompanied it on my first hearing. Superb. “You Are My Sunshine” is more down tempo, brooding and melancholic but as Tawatha joins into the conversation the tempo uplifts and then things perk up a bit. I love this song. Such a classy effort. Thirdly, I spotlight the title song, “You, Me & He” which gives me chills. This man can create slamming up tempo tunes as well as hot ballads and that's what I call talent. Talking of slamming up tempo tunes, check “Prime Time” which is very Zapp-like. I can't get enough of Mtume and what a pity his 90s Philadelphia International album never arose. I'm going to email President Obama to see if he can order him into the studio...executive orders or something??? What I would do if I had power...

Barry Towler,

The Vibe Scribe

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Chaka Khan - What Cha' Gonna Do For Me - 1981 - Warner Brothers

2009-02-01T09:21:00.006Z

Possibly her most consistent set of the 1980s, “What Cha' Gonna Do For Me” is crammed so full with top-draw tunes that the melodies threaten to poor out of the grooves! Produced in 1981 by the late, great Arif Mardin, this album showcased this great, sexy Lady's voluminous talents. I love every track bar track one – a funky reading of Lennon & McCartney's “We Can Work It Out”. Doesn't work for me I fear BUT check out Lenny White's KILLER version of “Lady Madonna” - blinding! I have never tired of this album, and the title track chugs along with finesse and power. Penned by Hamish Stuart, this little monster should still get feet moving today. Brilliant, and the equally motivating “I Know You, I Live You” cannot be faulted either. Very pleasing on the ear is the lovely “Any Old Sunday” and the aggressively addictive beats of “We Got Each Other” owes its roots to a funkier Rufus style. A ripe segment for sampling I would suggest!

A special cut on here is the ground-breaking “And The World Still Lingers On (A Night In Tunisia)” - the seminal Dizzy Gillespie tune. Arif Mardin drafted up lyrics for the song, funked it up and called in the Master himself to blow his horn. We know that Chaka can turn her hands to jazz, and boy does she take no prisoners with this fantastic track. The track that gets my flesh covered in chills is “Night Moves” - the superb laid back melody and sensuous vocals are blinding enough but the warm 80s keys really do the business for this particular listener. I have to give special mention to “Fate” which was mercilessly sampled for the dance hit “Music Sounds Better With You” - that was cleverly done and won my approval, but let's give some props to the original and the best track! Still available to buy on CD, this should definitely be in your collection – the jewel in the crown of Chaka Khan's catalogue.

Barry Towler
The Vibe Scribe

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Lou Rawls - Now Is The Time - 1982 - Epic

2009-02-01T09:14:00.005Z

When, back in the 1990s, Lou was asked about his 3 albums for Epic he was quick to respond in that they were his 'hidden gems'. Lou is well known for his outstanding earlier works with David Axelrod, Capitol and Philadelphia International and rightly so, but his 3 Epic LPs released in 1982, 1984 and 1986 were also of a high quality and both “Now Is The Time” and “Close Company” should really have been on Philadelphia International. Look at the producers, arrangers and musicians – all from that wonderful musical stable. This album was the first to be released in 1982 and is the most consistent of the trio concerned. There are two reasons for this, chiefly, three if you count Lou Rawls in himself. These being Mtume and Lucas on three tracks, and Thom Bell commanding the Lion's share of the rest. Listen to the album yourself and see what I mean.

All nine tracks are essential. The opening song is very 80s Thom Bell and fits Rawls style like a glove. The strings, arranged by Dunn Pearson, are spot-on and Bobby Eli provides guitar licks. Nice. I jump quickly to the so, so sweet strings and swirling Philly magnificence of “Ain't That Love, Baby”. I can see the PIR logo going around as I type! Tawatha Agee oversees the backing vocals and refrains on the huge Mtume number, “Now Is The Time For Love” which is as good as anything committed by the likes of Marc Sadane or Sunfire at the same time. The next Mtume cut is the stupendous ballad “It's Too Late (To Say Goodbye)” and I also want to draw your attention to “Back To You” which along with the title song featured on the recent Expansion 'Best Of Mtume and Lucas.” “Watch Your Back” is a great little number co-written between Thom Bell and Deniece Williams, the two having worked together on her past 2 albums for Columbia. Closing the set is the Johnny Mathis-ish Philly ballad “This Love”. I have always cherished this album, and if you have not heard it yet I too hope that you will also take it to heart too.

Barry Towler,

The Vibe Scribe

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Galloway - Hideaway / Our Love (Rainbow In The Sky) - 1988 - Awe-Some Records

2009-02-01T00:44:00.005Z

Roy Galloway released this extremely scarce 12” just before Christmas, 1988, and it came and went without fanfare and has now become a sought after single – though it can be picked up. Released on the independent Awe-Some Records label this has a sound with really major label clout. Roy was, at time, closely associated with the lovely Patrice Rushen and both songs on this release were co-written with Patrice, and co-production comes courtesy of long-time Rushen associate, Cornelius Mims! Apart from this single, and a vocal cut on Joey Negro's excellent “Universe Of Love” CD from 1993 I am ignorant to anything else released by this man.

The A Side, “Hide Away”, is a tropical cut with plenty of percussion and is dreamy with a great Sheree Brown feel to the guitar work. Patrice Rushen's hand in this is unmistakeable and she adds her vocals in for good measure. In the right circles this should have been big and I would love to see this appear on a compilation. Maybe if I make enough noise someone will give in and shut me up?! I love this, but am always more drawn to the flip-side, “Our Love (Rainbow In The Sky)”. I was floored by this song. It's so strong, soulful and has never ever become dull or passé. The keyboard work is so much akin to Patrice's work on her “Now” album. If you used to shy away from indie soul in the 80s then please re-evaluate that by listening to this. Pure class.

Barry Towler,
The Vibe Scribe

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The Manhattans - Sweet Talk - 1989 - Valley Vue

2009-02-01T00:39:00.005Z

Valley Vue was a great little label in the late 80s and early 90s and one of the best things to be released on the little, yet mighty, label was this excellent album from the veteran Manhattans who, had, then, notched up 25 years. By 1989 Gerald had left for pastures new at Taj / Motown and for this album the lead singer came in the shape of the more than able Roger Harris. The album was available on LP and CD (still available!) and had input from some very classy names from the soul world such as Carl Sturken and Evan Rogers, Leo Graham, Michael Wycoff and Gary Taylor! All create a stunning mix of dancers and ballads which was – yet again – ignored at the time, but deserves to be in the spotlight now. Fans of quality, major label sounding late 80s soul are in for a real treat. The album teaser was the brilliantly buoyant single, “Sweet Talk” - a track I even heard played on late night TV show the Hit Man and Her! LOL. Sturken and Evans had already made their mark by 1989, and the tune they proved the gents with here was not only suitable for the group but was also very much in keeping with the times. Stylish and effective.

The deep, deep voice of William “Blue” Lovett gives us a splendidly alluring performance on the classy “Just A Matter Of Time”. His monologue borders cheesy BUT the music and sax really create some atmosphere! The two KILLERS on here really are the shining stars (no pun intended!) on this album. If Gary Taylor's most haunting ballads on “Take Control” are your bag then you will die for “Why You Wanna Love Me Like That” and “I Won't Stop”. The former was a new track on which Roger Harris sounds absolutely amazing – Gary Taylor really was, at this time, capable of no wrong and this song to this very second still kills me. The haunting synths and unique style that Taylor employs is mouth-watering. The guys are treated to a cover of Gary's own song from “Compassion”, “I Won't Stop”. I find that Gary seems to improve his own work when he gives it to someone else! This is certainly the case here and the song is heightened to astral proportions by the use of THOSE Monte Moir-styled haunting synths. Gary also joins in the backing harmonies, and as such makes the song a real killer. Timeless, these songs are as essential today as they were in the Autumn of 1989 when originally released. Amazing.

Barry Towler,

The Vibe Scribe

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Lew Kirton - Talk To Me - 1983 - Believe In A Dream

2009-02-01T00:30:00.005Z

A much celebrated and vaulted artist within soul circles for his “Heaven In The Afternoon” track, Lew Kirton remains a quality singer and performer to this day, and his recent 2005 set, “Forever” also provided us with some tasty moments. 1983 saw the release of “Talk To Me” on Epic subsidiary label, “Believe In A Dream” - the label also responsible for Tyrone Brunson and The Reddings! Lew Kirton was definitely a positive addition to the label and of the 8 tracks on this LP, I regularly play 6 of them. Lew, along with Russell Timmons, Jr and Barry J. Eastmond created a sublime set of mainly ballad and mid tempo grooves. An Al McKay type guitar rhythm greats us on the title track – a great little starter – and the strings add volume. The summery cut”I Can't Live Without You” would be a perfect vehicle for L.J. Reynolds, and Lew's gentler tones handle it perfectly.

“Don't Give Up On Your Dream (Hang On In There)” adds a more contemporary synthetic dance sound, although the soul is very much in control. Lew's voice contains complete court. My favourite track, “Just Can't Get Enough” reminds me of what Luther was up to at the time. The piano, keys and strings don't dispute this either. The more traditional outing here is the GORGEOUS “Hooked On You”. The strings and real instruments hit you like a wall of sound. Lew almost sounds like Louis Johnson in places, and the Philly sounding guitar makes this even more special. My final choice is the unabashed up tempo “Here's My Love (Come And Get It)” This sounds great on CD, too, courtesy of P-Vine records. Taken from master tape the album is a must have if you can track it down on CD. Highly recommended 80s soul.

Barry Towler,

The Vibe Scribe

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Johnny Mathis - A Special Part Of Me - 1984 - Columbia

2009-02-01T00:25:00.008Z

No tittering at the back there! I bet many soul fans don't even give this guy a second thought. That's a pity as over the years he has notched up a fair few mega-soulful gems. His 70s work with Thom Bell is exemplary, and in the 80s he released a LOT of material which would have gone down a storm if many had given it a chance. I chose this album, released in 1984, as it is a great representation of what this Legend is capable of doing with the right backing and production. 1984 was also a classy year, and if albums released at that time by Deniece Williams, George Duke, Ramsey Lewis, Stanley Clarke and Rodney Franklin are to your liking then I suggest you add this to your collection. “Simple” is our first track, and has a great Jay Graydon feeling, although produced by Denny Diante. Check out the glorious backing music.

As I say, 1984 saw some serious money thrown at quality artists and Johnny Mathis was not discounted from that particular pleasure. Johnny duets with the amazing and beautiful Angela Bofill on the title cut, and this also appeared on her “Teaser” album. My favourite song on here is the mid tempo number, “Love Never Felt So Good” which features Nathan East on bass and Seawind's own Jerry Hey arranging the horns. I love this song to pieces, as I do on the beautiful “Priceless”. This beauty of a song was written by Leon Ware and features Larry Carlton and Paulinho Da Costa. This track is so typical of the timeless work we have come to expect from Leon Ware. This album really deserves your attention, and I'll be bringing a few more soulful gems from this great vocalist to your attention. This is available – if you search hard enough! - on CD but if you are happy to download it from iTunes then it's all there for you!

Barry Towler

The Vibe Scribe

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Ben E. King - Street Tough - 1981 - Atlantic

2009-02-01T00:18:00.005Z

Following nothing short of a reinvention in the mid 1970s, Ben E. King went on to record a whole series of quality albums and this 1981 release was certainly one of the best. Ben was responsible for the production of this album along with Ray Chew and Barrie palmer and if you're after STRONG funky dancers which will get the floor heaving today then this is the album for you! For many years this was only available on vinyl and I craved the CD BUT you can now download this and all his other 70s / 80s Atlantic gems really inexpensively from iTunes! Now that's better than some crackly old slab of black plastic! Ben starts this set of with a song penned by the late, great Willie Hutch. “Street Tough” with it's funky bassline and synth acts as a nice jogger to start proceedings off on the right foot. I rate this track highly but it doesn't compare to the next track which is a real doozy!

“Made For Each Other” is a KILLER dancefloor number and one I wish was given a breath of frsh life now. I can see that this would get a fantastic reception. The funky guitar licks, the hard, driving beat and summery vibe really takes no prisoners, and when the strings dart in, Ben slaps us with his sweet vocal, and within it you can do nothing but be drawn in further and deeper. Play this one LOUD! I next hop to “Why Is The Question”, a more lively and percussion influenced beat with a strong vocal narrative and female backing vocals that sound great too. Another song which should get the floor moving is the rumbly “You Made The Difference To My Life”. Check out that bassline, it rumbles along as if Tyrone Davis should be growling atop of it! Get your dancing shoes on. To close this set I choose the much more gentle “Something To Be Loved” which is VERY Tyrone Davis in flavour. You're going to love this album and it's not an expensive rarity for those into vinyl, and even cheaper if you, like me, have embraced the digital world.

Barry Towler
The Vibe Scribe

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Garry Glenn - G.G. - 1980 - PPL Records

2009-01-31T23:57:00.005Z

This was Garry's first album and is rightly revered by soul connoisseurs, especially here in the UK. Garry Glenn is, as you will know, one of my all-time favourite artists and this album was a tasty entrée to what was his excellent and criminally underrated set for Motown in 1987, "Feels Good To Feel Good". "G.G." was released in the summer of 1980 to a rather quiet reception here in the UK. This is not unusual as most classy albums and artists are given a lukewarm reception at the time of release. Garry Glenn was a fantastic talent in his writing, production and his vocals which were unmistakeably unique. There has seen renewed interest in this great man following the beautiful release on Expansion of Byron Woods' album featuring the Glenn-penned "Fly Away" back in 2004, and so this was given a welcome release later in the year by the good folks at PPL. This wasreleased at an important time and serves to keep the memory of Garry alive, and to remind us what a talent we have lost. The majority of this album is funky and uptempo and flows with its cheerful, west coast flavour. The swirling strings, fluid arrangements and Garry's cool pitching, phrasing and backing vocal arrangements make this a candidate for summertime listening. Nothing really smacks as 'disco' as such, but fans of the Confunkshun sound of the late '70s will appreciate these tracks. "I Need You In My Life" is a horn-filled dancer and is pitched towards the type of groove that Arthur Adams would have made. I do like this very much, but much prefer the ESSENTIAL flute-based "Heaven Kind Of Love" which is seriously addictive. The string section is great and Garry just oozes class on this. The warmth that is woven into this song almost radiates as the track progresses. The synth and Rhodes keyboards lead into a great vocal refrain at the end. Just a great, great track and one of Garry's best. The west coast flavours continue with the stepper "Gonna Give You My Love" which is also spot-on, and is bettered by the mellower "Cause I Love You" which owes more to his Motown output than anything else.

"Don't Stop The Music" is perhaps my least favourite as it is a bit too disco for my liking, and I never was into the space-effect sound, but hey that's me. A bit tired, even by 1980's standard but I guess the man was only doing what the rest were doing. Interesting, though to compare this with his other works. My ears much prefer the sublime "You're The One" which does have echoes of Byron Woods' "Fly Away" to it. It would sit nicely with other material of the day from material by Ndugu & The Chocolate Jam Co and Phyllis Hyman. The samba-ish scratchy guitar groove of "Got You On My Mind" allows Garry's angelic voice to permeate and again suits the warmer weather rather than the threats of snow coming across from the continent! Using a weather analogy, if this CD opens like a lion it certainly closes like a lamb with the more falsetto, sweet-voiced, "It's Love Again", which again features the flute which I adore so much. OK, we have but 9 tracks, but this is the original album. I had hoped for some unreleased material as well, and recent conversations with PPL have highlighted the fact that unreleased tracks may well be released soon.... I am always left wanting more with Garry Glenn. Like other masters of the soul music form such as Keith Washington (NOT the MCA set, I hasten to add) or Gary Taylor, I simply cannot get tired or bored with them and am always happy to hear more. Alas, this great man was taken from us all too early back at the tail end of 1991, so it may be a case of what we hear is what we will get. Essential.

Barry Towler

2009-01-28T20:23:00.005Z

I recently reviewed a classic Blue Magic album from 1981, the same year as this release, and the Philly sound was so prevalent. Well, so too here but Philly Supremo Thom Bell was adapting the sound for the 80s with a more loose, acoustic, less brassy flavour. This was a great year for Thom Bell. Work with Dee Dee Bridgewater and the Temptations were simply awesome, and this album rates as one of his best post Philly efforts. Released on Columbia / ARC, Thom Bell's distinctive style of production and arrangement, paired with Deniece Williams' unique and immediately recognisable vocals were a match made in heaven. The title song kicks off the set, a strong, strong cut with plenty of strings, synth bongos and a scratchy guitar rhythm to die for. Lovers of Sheree Brown's contemporary set would have felt quite at ease with this album. "Silly" is a dream of a song and pulls no punches in the sweet Philly ballad stakes. This song was maimed by one of André Harrell's Motown homegirls, as I am sure you will have forgotten, back in 1997. If you know that but DON'T know this then please check out the original and the best. There's no contest.

On the uptempo front is the dramatic "Strangers", similar in feel to what the Stylistics were doing at TSOP at the time. I'm still, to this day, totally in love with "What Two Can Do". The brass is present here and goes right back to the days of the Spinners on Atlantic, but Thom adds some techy keyboard touches, as he did with the Four Tops a few years earlier. Beautiful is the only word that describes the floating ballad "You're All That Matters". Thom actually helps supply backing vocals, Bobby Eli on guitar and Don Renaldo on strings. Philly heaven. However, for my money the deal-maker is tucked away at the very end of the album. Nearly 30 years after I first fell in love with the song, it still sends my tummy into butterflies. Thom Bell is a MASTER and one can tell, simply with a cursery listen, that he is classically trained. This is a beautifully fully-orchestrated song and allows Deniece to really show us what she is, vocally, made of. My only wish is that Mr. Bell would come back to the studio and create some more magic like this. It's more than overdue.

Barry Towler
The Vibe Scribe

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Blue Magic - Welcome Back 1981 - Capitol

2009-01-28T14:50:00.007Z

This was a very odd album for the time, and to be honest I am surprised it was released at all. The album is really, really strong and rates as one of their best, most solid efforts but released in 1981 the set could easily have been recorded between 1974 and 1976. It really has that luxurious Philly feel to it from the start to the very end. Not a surprise when you see that the late, great Norman Harris, was responsible for production. Co-production comes from Then member of Love Committee, Ron Tyson. Recorded at Alpha International recording studios in Philadelphia the scene is set, and the stage is dressed with solid writing from the likes of Bobby Eli, Allan Felder, Richie Rome and Vernon Barrett. Quality assured. The dramatic opening song is worthy of any sweet Philly harmony group – the Delfonics would have been great on this! “The Oscar” thunders in with a crescendo of strings, then Ted Mills' sweet falsetto takes control over a very sweet Philly ballad.

The uptempo Thom Bell-like “Feeling The Love” cannot be beaten and the Spinners inspired “Who Could Ever Leave You” contains a beautiful rhythm and is laced with some gorgeous Philly guitar. Fans of their “13 Blue Magic Lane” set will immediately warm to the zingy “Welcome Back”, the pounding beat and darting strings and flute add extra magic. “Land Of Make Believe” has some Thom Bell overtones to it, and really sounds out of place with what many artists were creating at the same time. Today though, the set sounds fantastic. Timeless. My favourite song is the beautiful “Standin' On The Edge Of A Love Affair” which lets the guys interplay their vocal skills nicely. “Let There Be Love” and “All I Need Is You” are also must-haves. Both are ballads of the highest order. Strings, incidentally, are courtesy of Don Renaldo and backing vocals from Philly's finest – Carla Benson, Phil Hurtt and Barbara Ingram! This is, without doubt brilliant Philly soul from 1981! Do not overlook this remarkable album.

Barry Towler
The Vibe Scribe

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Patti Austin - Gettin' Away With Murder 1985 - Qwest

2009-01-28T14:24:00.009Z

Patti Austin. This Lady is a force of nature and her talent knows no bounds. Turning from jazz to pop to soul and even house music, Patti Austin is as versatile a performer you are ever likely to come across. This is a smart little album and an essential purchase if you are also a fan of Jimmy Jam and Terry Lewis. It was in the mid-late 1980s that these guys were at their peak and their productions were able to pack a dancefloor or pull back the satin sheets. The magic that these two wove in the 80s was unparalleled. If you love the work of Cherelle, Alexander O'Neal, The SOS Band and so on then you will definitely either own it or should be heading over to Amazon to snap up a copy. Thankfully, following a Japanese issue on CD in the early 90s, US label Wounded Bird have picked up the rights and have given it a fresh, new life on CD. On this 1985 album, Austin, Jam and Lewis collaborate on some real MAGIC. If you love compulsive dancers or blisteringly haunting ballads then "Gettin' Away With Murder" is for you.

You may recall the impressive single, "The Heat Of Heat", which was a superb tune - still is - and perfect for a hot summer's day. This is Jam & Lewis at their prime. This is classy soul music for grown ups, and it saddens me that to keep in the game they have lowered their appeal to a much younger, less discerning market. Add to that the masterly Tommy Lipuma crafted uptempo "Anything Can Happen Here" and Monte Moir's spine-tingling "Only A Breath Away" and you have nothing but adult R&B heaven. Monte Moir was - and still very much is - a master of the ballad and this song is one of his very best, bearing his strong production signature throughout. The crowning glory is the scintillating Jam & Lewis ballad "Summer Is The Coldest Time Of Year"...possibly the guy's finest moment. Check the quality of this gem and then look at what they do today. There is simply no comparison. This is sheer beauty and genius on many levels and 24 years on still makes the hair on the nape of my neck stand up. Oh, how I miss the 1980s.

Barry Towler
The Vibe Scribe

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The Temptations - Truly For You 1984 - Gordy

2009-01-28T13:47:00.012Z

This has to be my favourite Tempations albums of all-time - most certainly of the 1980s at any rate. This album spawned a surprise UK top 10 hit in the form of "Treat Her Like A Lady", and was written and fronted by then-rookie Ali-Ollie Woodson. Even at this early stage Ali demonstrates great raw vocal power and to my mind he has developed and matured with age. Such a classy album, and since release in October 1984 has been staple choonage in my player. The album benefitted from the production of Earth, Wind & Fire's superb Al McKay, along with co-hort Ralph Johnson, and he continues on in style from where he left of with Finis Henderson's 1983 set. Consisting of very credible dancers and string-laden ballads, "Truly For You" remains a true masterpiece within the Temptations back catalogue. This was released on CD in the US many years ago, and having been deleted become highly sought after. However it has been re-issued, along with "Magic" by Motown in Japan at a very reasonable price. Snap it up while you can as these are usually pretty limited.

I already note "Treat Her Like A Day" was a smash UK side - a pity it never took off in the US. It's a classy, uptempo 80s soul gem and was a perfect vehicle for a group that had already been around for a quarter of a century! They easily stepped up to the plate and turned in a great performance. The follow-up single was a scorching, string-laden, ballad called "My Love Is True (Truly For You)" and bar a corny monologue courtesy of Otis Williams stands up as well today in 2009 as back in the day. "Memories" is a brilliantly encouraging piece of music, chirpy, happy and totally in the Jay Graydon / Al Jarreau sort of mould. If you're down in the dumps then this sort of material can really raise your spirits. However, for me, the best track by far - possibly my all-time favourite Tempations cut - is the beautiful midtempo "Just To Keep You In My Life". I have very fond memories of this song and today I still spin it VERY regularly. Melvin Franklin's monologue adds weight to the exquistely paced dancer, "Set Your Love Right" and the set closes on a high with a very capable cover of "I'll Keep My Light In My Window", a cut written by Leonard Caston for his criminally undervalued "Caston & Majors" set back in 1974. An essential album.

Barry Towler
The Vibe Scribe

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Fifth Of Heaven - Just A Little More 1989 – Mix Out

2009-01-27T21:38:00.007Z

Classy UK Soul which was rightly HUGE at time of release during the hot summer of 1989. I believe this group were based in the Manchester area, and the style was unarguably founded on classy US styles yet had a definite classy UK feel to it too. Fifth Of Heaven released, as far as I know, 3 singles in the 80s / early 90s - “Without You” and “I Need Your Love”, as well as recording an Uber-rare single under the name of Four Fifths Of Heaven in 1988. The group consisted of Steve Williams, Andy Hickey and sexy, sultry vocalist Denise Johnson. Together they made real magic on this sumptuous groove.

I first heard this on Richard Searling's Red Rose radio show, “Soul Sauce” and instantly fell in love with it. If only he played classy new SOUL stuff like this today instead of that dreary urban R&B stuff! Considering it's almost 20 years old it has stood the ravages of time without any effect at all and therefore in my reckoning makes it one of the classiest UK soul recordings ever made. The sensual bassline, synth and sexy vocals cannot put a step wrong. I know that I will always be spinning this cut and if this is a new one on you then seek one out ASAP. Available on 12” and 7” on the small Mix Out label from the UK.

Barry Towler
The Vibe Scribe

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Tuccedo - To Touch You 1987 – Chart Sounds Ltd

2009-01-27T21:37:00.001Z

Tuccedo were an extremely soulful UK outfit that landed a fantastic 12” single back in 1987 and have since dropped off the radar. Such a shame as this song is pure class from start to end. It's a sensual beat ballad with a quality US Indie sound of the time and still sounds a million dollars today. This single was not easy to get hold of on release, and when checking on availability was surprised to see how inexpensive the single can be snapped up for – but there are, I warn you, few copies.

Recorded at London's Easy Street studios, the quality US sounds came to the UK and vocalist Jean Paul Whyte supplies lead, along with David Henriques and Peter Laville adding their talents to vocal harmonies. With live drums, keyboards, guitar and sax this was by no means a cheap back street effort. It's a shame that we heard no more from this talented trio, and that the B-side was an instrumental version, offering us no more indication of what they could do. Still, this is well worth including in your vinyl collection.

Barry Towler
The Vibe Scribe

Rick Clarke & Emma - I Really Want To Be With You (Summer Soul Mix) 1987 – RCA

2009-01-27T21:36:00.003Z

Rick Clarke is one of Britain's top UK soul acts – this was my first introduction to the man and this duet with the delicious Emma was one of the highlights of the Summer of 1987. This 12” single is now sought after and rightly so. At time of release I could not stop playing it, and there weren't many UK artists who enjoyed that privilege in my house! Not so today of course! In fact I give this a regular spin and the summery groove bolstered by a sturdy and appetite-filling bass line on a regular basis. Recorded at PWL studios no less, this single deserves to see the light of day again on radio or even a compilation.

Whatever became of Emma I have no idea but she possesses one hell of a voice and is as soulful as the best of them. The version I have chosen especially for review is the Summer Soul Mix, and it does exactly what it says on the label. Oozing class, warmth and enduring appeal. For me this is also Rick's finest hour and I would love to see Rick surface again soon with a new song or two. I would give the sound sample a listen and head over to the Net to see if a copy can be snapped up – it's the 12” you really need and that mix in particular. Classy UK Soul from 1987.

Barry Towler
The Vibe Scribe

Scott Smith - Face To Face 1984 – Light Records

2009-01-27T21:35:00.003Z

“Face To Face” is a gospel set that was released on Light Records in 1984. To say I was shocked to see it reissued on CD in Japan back in 2003 (and still available on Amazon!) is an understatement. Scott Smith is a producer, arranger and writer in the Christian music arena and has been associated with too many artists to actually list here, but to my knowledge this is his one and only solo effort. The vocals are left up to a number of the most talented vocalist from the non-secular arena that you are likely to find: Michael Ruff, Vonda Sheppard, and The Winans. Musically this is a shining example of quality soulful inspirational music that 1984 delivered. If you love songs from that time such as ""Just To Keep You In My Life" by the Temptations, "Closer Than Close" by Ramsey Lewis / Daryl Coley, "Lonely Nights" by The Valentine Brothers, "Stay Awhile" by George Duke and "Love Is The Answer" by Rodney Franklin then you really ought to have this quality CD in your collection.

My first choice is "You’re Too Late" which is simply fantastic and Michael Ruff’s blue-eyed soul voice will definitely appeal to those who are fans of Gavin Christopher, Carl Anderson and the like. This is followed by one of my all-time favourite 1980s recordings: "The Vision". This racy, synth based stepper is complete spine-chills time and describes ascendancy to the heavens. This is such a happy, rousing song that I forget what the material is about, being the non-religious sort I am. I could not tell you how many times I have played this song, both on original vinyl and now on CD. The song is a masterpiece of 80s soul / gospel and it topped off by a heavenly outro (no pun intended) that will leave goose-bumps on your skin. The Winans throw their weight behind "Set Free" and give us a superb performance that is more than reminiscent of James Ingram when the lead lets rip. I think that if you love the early 80s production sound of Jay Graydon is to your taste then this will definitely be to your liking. The final killer on this album belongs to Vonda Sheppard who warns us of "The Prince Of The Dark". I highly recommend this CD whether you follow a faith or not. The bottom line is it is great music with great singing. Enough said.

Barry Towler
The Vibe Scribe

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2009-01-27T21:31:00.003Z

Change were a force to be reckoned with through their short, but productive, recording span in the 1980s. Released on RFC / Atlantic in 1982 this album benefited, again, from the production genius of the late Jacques Fred Petrus and Mauro Malavasi. The crème of US talent were also in effect: Kashif and Barry J Eastmond on keyboards, Hiram Bullock and Ira Siegal on guitars, Vincent Henry on Sax, and on backing vocals none other than Jocelyn Brown, Fonzi Thornton, Phil Ballou, Norma Jean Wright, Leroy Burgess, Johnny Kemp, Timmy Allen and Ethel Beatty! What a star-studded line up! For my money you cannot go wrong. When you consider Norman Connors protegé James Robinson and future Craig T. Cooper Project singer Debra Cooper take the lead as far as vocals go, you should already be heading to iTunes or wherever to get a copy of this album!

I love all the group's albums – so all will appear here in time, but I'll start here as this set contains my favourite track of theirs! “The Very Best In You” is the epitome of Saturday Night Cool. Slightly Chic in feeling – as is a lot of their earlier material by design rather than chance I venture, the song ought to be pumped up big time in the quality clubs to great effect. “You're My Number 1” is another Chic-ish effort of style and grace and the ballads here really do seal the set's fate as one of the highest quality. If you want to close your eyes and imagine warm breezes, hot clear sun filled skies and sandy beaches then start with “Promise Your Love”, “Sharing Your Love” and the spine-tingling and differently melodic “You're My Girl. All these tracks are reason enough to celebrate the short career of Change as a unit, and say thank you to a great talent in Jacques Fred Petrus who was taken from us in a very cruel fashion and far too soon.

Barry Towler
The Vibe Scribe

Curtis Hairston - Curtis Hairston 1986 - Atlantic

2009-01-27T21:30:00.003Z

Oh to be back in 1986. What a great year that was! Fresh from his dancefloor hits on London records and his collaboration with BB&Q, Atlantic released this fresh, midtempo orientated album from to much critical acclaim on both sides of the pond. The same acclaim can be offered here, and it's sad to think that this gentleman passed away so young and is no longer able to give us any new music, as current trends would have fitted in perfectly with his vocal style. East-West records in Japan reissued this set on CD in the late 90s, and it disappeared as soon as it was released, so the CD is now very scarce indeed! Fans of the circular plastic need not fret though. But what of the music?

The album hits the ground running with the smooth, midtempo saxy “Chillin' Out” which is a track that perfectly encapsulates THAT gorgeous mid '80s soul / dance sound. Perfect enough, but this is also true of the eerie "Mtume"-ish ballad, “(You're My) Shining Star”...I play this particular cut to death – please spare a thought for my neighbours! Check out “Hold On (For Me)”, a funky rattler with slap guitar and quirky keyboards. Treading this very welcome path is the uplifting “Take Charge” which could easily be a BB&Q Band cut. There's the merest ghost of “ricochet” in the bassline, I feel. The absolute, hands down, no nonsense KILLER is the Solar sounding “The Morning After” which is just sublime, and could easily have been from the pen of the Calloway Brothers. Such a euphoric, soulful and attention grabbing track. This has always been a sound and firm favourite in this household. The track suffered from a dreadful remix for 12" back in '87, and a listen, however brief to this will sort the boys from the men.

Barry Towler
The Vibe Scribe

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Bryan Loren - Lollipop Luv (aka Bryan Loren) 1984 - Philly World Records

2009-01-27T21:29:00.008Z

Originally released on the Philly World record label, Hot records in Miami re-released this album, originally released back in 1984, late in 1996. Bryan's album was not given enough credit on its original release and so it's only fitting that Soulchoonz, dedicated to highlighting classic music from our past should put the record straight now. The whole album is a testimony to the vocal prowess of Bryan and the production talents of production Supremo, Nick Martinelli, who literally oversaw the whole set. It is a typically stylish mid 1980s from start to finish. With plenty of excellent mid-tempo classics and dancers, there will be something on here for everybody. If you were impressed by Eugene Wilde's hits “Personality” and “Gotta Get You Home Tonight”, Joanna Gardner's “Pick Up The Pieces”, or Terri Wells' “You Make It Heaven”, then do not delay in hunting down this album.

Vocally, Bryan has some similarities with Eugene Wilde, and not bad considering he was but 15 years old at the time! All 8 tracks are worth a mention, but let's focus on “Easier Said Than Done”, “For Tonight” and the tremendous “Falling In Love” and then realise what talent there is here. Don't be put off by the (then) tender years of the recording artist as the music is excellent and the vocal delivery is mature. “Stay With Me” should erase any doubts...my God, what a scorching ballad! The synth soul of “Take All Of Me” proves you cannot deny the maturity here. An album that was a very welcome re-release and is easily available on vinyl to this day.

Barry Towler
The Vibe Scribe

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Eric Tagg - Dream Walkin' 1982 - Canyon

2009-01-27T21:29:00.007Z

Eric Tagg is one of my all-time favourite blue-eyed fusion vocalists and many will instantly link this man to Lee Ritenour. After all, Lee Ritenour was quick to see Eric for what he was and soon had his vocals plastered all over his “Rit” and “Rit 2” albums for Elektra in 1981 and 1982 respectively. Eric released this particular album only in Japan on Canyon records in 1982, and it has recently been re-issued on CD in Japan too – and a lot cheaper than the silly prices I've see for the original vinyl. Lee Ritenour has overseen this album and fans of Heat and that warm West Coast sound (which crosses over nicely at times with adult AOR too) will find this a real treat as not only is the music soulful and jazzy but Eric's unmistakeable vocals cement this as a mouth-watering album.

Strength is audible from the very first song, and musicians such as Don Gruisin, David Foster, John Robinson, Alex Acuna, Nathan East, Tom Scott and Seawind's Jerry Hey ensure that the ingredients are just right. “No One There” cannot be faulted. The lyrics are strong, the keys l and VERY early 80s, and the moog and rhythm guitar bode well for the strong “Promises, Promises”. I have left out the title cut as it's a remake of the same song he recorded on “Rit 2” and for my money that particular version is FAR superior. The floating and gentle “Just Another Dream” gathers real pace and builds into a very warm jazzy slab of soulful fusion. This is just magnificent! Talking of magnificent, do not overlook “Marzipan” - a track that has elements of Stevie Wonder's phrasing and musically the pinnacle of quality West Coast fusion in the early 1980s. Unmissable, and best you snap up a CD copy before it is deleted!

Barry Towler
The Vibe Scribe

Willie Collins - Where You Gonna Be Tonight? 1986 - Capitol

2009-01-27T21:27:00.002Z

Willie Collins' dramatic explosion onto the soul scene back in 1986 was met with justified excitement. The single release, “Where You Gonna Be Tonight” instantly caught the imagination and attention of radio and the public alike and it was soon racing up and setting fire to a few dancefloors on both sides of the pond. This fresh talent, baptised with a righteous southern soulful base applied himself to that jam like no other. That song has to be one of the best dance tracks released in the 80s, and proves that soul and class are inseparable and could control a dancefloor. The resulting album did not fail to impress, and reviews were – for once – very positive and supportive. The year was 1986, the label was Capitol. Enough said. It also helped Willie's cause that the crème de la crème of the soul world were drafted in to steer the ship and they did a great job on a number of cuts.

The Jolyon Skinner, C. Peyton and Cliff Dawson penned hit was overseen by the legendary Beau Huggins and man, you could tell. The wonderful Womack & Womack wrote “Restless” - an immediate favourite in their own style, and fit for the likes of Willie's towering talent. I had always suspected that this was a cut penned for Teddy Pendergrass; I can imagine him doing a grand job on this. However, production of this is by Willie himself! Willie also penned “First Time Making Love” along with W. Bascombe and this is such a classy, sexy song, far removed from his latest Gospel album – which, I hasten to add, is essential. Fans of the Hush sound and in particular “Rock Me Tonight” will find great comparison in “Let's Get Started” - a track that I felt should have been pushed a little more. Could have been a hit, that! We waited in vain for a second album...but here we are in 2008 with a new set. But that's another story!

Barry Towler
The Vibe Scribe

The Isley Brothers - Masterpiece 1985 - Warner Brothers

2009-01-27T21:26:00.004Z

Masterpiece was a landmark album for the Isley Brothers. For the first time since 1973 they were back down to a trio, it was their first of many Warner Brothers albums, and, sadly, it was the final album to feature O'Kelly Isley. The album took a more comfortable and relaxed approach that their previous sets which was very much controlled by the brilliant Chris Jasper. This album is absolutely brilliant and released in the Autumn of 1985 it always reminds me of the falling leaves and colder, darker evenings. The sheer warmth of the album heralds plenty of warm feeling and I cannot commend it enough. You may be lucky enough to catch this on CD as it was released in Japan a few years ago, and in any case it's now available on iTunes! Robert Brookins is the keyboard maestro on the dramatic “May I”, filling in between his Afterbach work and his début 1987 album, “In The Night” for MCA in 1987. A stupendous track, and following it is a classy, classy effort called “My Best Was Good Enough”. Nothing these guys has recorded since has measured up to this album. Their new releases have their moments but this is quality soul music of the highest standard possible.

2009-01-27T21:18:00.002Z

Billed on the LP sticker as “The Voice of 1987” I was not going to disagree with that. Bert Robinson had but two albums for Capitol in the late 80s, and from there he seems to have fallen off the radar. I imagine that the mass lunacy that afflicted the music scene in the early 90s (continuing unabashed to this day) put paid to any further quality outings this man may have had. Of the two albums I would argue that this was more consistent from “I Promise You Love” though that album has some SERIOUS killer moments courtesy of Attala Zane Giles! It's Giles that oversees the blinding first track, “Heart Of Gold”. I remember hearing this for the first time and wanting a copy to fall through the letterbox right there and then! Good old Andy Peebles on Radio 1. Interestingly a certain Stan Sheppard produced a number of songs but these failed to impress me. How very soon things would change! It's “Just A Little Love” that next got my attention. Nick Johnson is the fine producer on this classy slice of late 80s soul music. So typical of what was fashionable at the time, this big and hearty production has Bert dropping his unique vocals expertly. Definitely one of THE voices of 1987.

A track I still give an airing to today is the Lionel Job and Preston Glass produced monster, “You Turn Me Out”. This is what I call a confident and strident groove: a meaty bass line, plenty of action and a strong, deep growling vocal that is enough to peep the clothes off many an appreciative female listener...Ne-Yo anyone? No, I thought not. See why I love the 80s so much? Classy, individuality and no-nonsense soul from a time when Major labels gave a damn. My final choice is the superb “Still Waiting” which was written and produced by One Way members Al Hudson, Dave Robertson and Irene Perkins. Their own effort for Capitol in 1988 was a major disappointment with only “U, Me And The Other Guy” doing the business. If only the set had contained gems such as this then I would have been a happier man. Released on LP and CD early in 1987, the CD comes with a bonus track - “All The Way With You” which was a feature on her own “Blu Blowin'” set which was released at the same time. I heartily recommend this album for a number of reasons. It's production and execution is of the highest possible standards, and the set simply drips soul. Those who deride the 80s for being soulless and mechanical need to check this out.

Barry Towler
The Vibe Scribe

Gladys Knight & The Pips Visions 1983 - Columbia

2009-01-27T21:14:00.002Z

If you want a musical definition of 'evergreen' then one name that springs to mind is Gladys Knight. Along with her Pips this album from 1983 remains one of their best efforts, easily on par with their must-have 1987 album “All Our Love” for MCA. This album benefited from a smash dancefloor single in the shape of “When You're Far Away” which was written and produced by Jimmy Jam & Terry Lewis, along with Monte Moir. This really is a quality stomper in the vein of “High Hopes” by the SOS Band! The pounding mid tempo of the Sam Dees-written “Save The Overtime For Me” is perfect for Gladys and paced well with her more than ample vocal ability. Not unlike Gary Taylor, I find that Sam Dees produces his best works for other people. For instance, take “Heaven Sent” for starters; the music is simply and utterly lore lush than words can express. I am seriously and deeply touched by music such as this. Tracks like this and a contemporary cut, “If I Had The Chance” by Walter Jackson floor me each and every time. I cannot get enough of this gem.

A popular producer of the day was Leon F. Sylvers III and if you are a fan of his work then I suggest that you would be drawn to “You're Number One (In My Book)”. Following the same familiar style of other artists under his guise, this song has been an established radio favourite here in the UK and was also featured on Elevate Records' superb Wind Down Zone volume 5 compilation. The pace is slower, the backing less programmed or brash and what comes across well is is the narrative of the song. Gladys Knight is one of a rare breed who sings a song in such a way that she is telling you a story. What you are hearing is from the pages of her life, and she wears her heart on her vocal chords. Sylvers has given Gladys the leeway to express herself in her own unique, inimitable fashion. This certainly displays a level of respect for Gladys' unique style, and maturity in the man himself. It's a masterpiece. Listen to this album...and ponder on why the 80s has been such a sorely neglected era. Let's set the record straight.

Barry Towler
The Vibe Scribe