Category Archives: Gamble & Huff

The O’Jays: My Favorite Jams From On Board The Philly Foursome’s Love Train

O'Jays Painting

The O’Jays have always been a part of my musical core. And so much personal understanding of the Philly sound came by way of this vocal trio. From the first time hearing “Back Stabbers” on the radio and singing along with my mom all the way to ringing in the new millennium to the tune of their song “The Year 2000”. When looking upon a single song or album to break down,it didn’t quite feel right. So with Eddie Levert turning 74,and so many his generations music peers dying off this year,I decided to break down my favorite O’Jays uptempo grooves-song by song. So here come the Philly jams!


“Back Stabbers”/1972

Henrique Hopkins and I once discussed this and the Undisputed Truth’s “Smiling Faces Sometimes” as being Watergate era cinematic soul anthems of paranoia. With the sauntering,theatrical proto disco Philly soul “Back Stabbers” made the darker social climate of the early 70’s wiggle and wobble with a type of excitement and joy.

“For The Love Of Money”/1973

The first time I heard this song,it reminded me of the song “Poppy Girls” from Quincy Jones’s production of The Wiz.  Turns out that was an instrumental recasting of this song’s classic bass line. The original hear is a whole different thing-a frank bit of people funk declaring “some people gotta have it/some people really need it”. No irony is lost that the group performed this song one time on Donald Trump’s reality show The Apprentice.

“I Love Music”/1975

Always loved this fast paced slice of ultra fast tempo’d Philly dance music. It’s an anthem to the disco era of funk as representative of the love of music for both dancing to and playing it as well as for singing. The most humorous part is the first did I heard it-as part of a VH1 bumper featuring a stereotypical female librarian listening to it on an MP3 player on a subway. Really showcased the funky power of this groove.

“Travelin’ At The Speed Of Thought”/1977

The sheer drama of this Afro Cuban percussion/disco bass driven jam made an immediate impact on my ear holes. Hearing the trio sing to the tune of some serious space funk synthesizer’s  lyrics like “Come with me/unsolve the mystery/the mystery of you and  me” alone made my hairs stand up on end with funky emotion.

“Strokety Stroke”/1978

So Full Of Love was an album that was always available brand new from Borders Books & Music since they opened in 1995. That very same copy was still there when I finally picked it up on closeout when the Borders chain closed 15 years later. It was a big surprise to hear this hardcore rocking funk on the same album that delivered the sleek Philly jump of “She Used Ta Be My Girl” and the harmony drenched ballad “Brandy”. One of my favorites in a funk context on this wonderful 1978 album.

“Out Here In The Real World”/1981

This song probably has the most personal resonance in my personal life. Musically,it’s light shuffle isn’t too big a deal for me. Vocally it has some of Eddie’s strongest vocals and the trios fine harmonies. Lyrically,this was a song my own mother often referenced to me (via my own record collection-this song turned into a favorite of hers at the time) when I was facing the difficulties of employment and a future on my own. Long story short,it’s an ongoing journey of many unexpected challenges. Still it’s sometimes good to hear Eddie Levert’s opening line of “oh man,I’ve got to get myself together” for perspective.

“Can’t Slow Down”/1985

The only reason I found out about the O’Jays 1985 album Love Fever was because I found it in the $5.99 bin,again at Borders. Much to my surprise it showcased the O’Jays doing a style of music I’d never have expected to hear from them at that time: brittle synth/electro funk. The opener “Can’t Slow Down” was my favorite. Showcases how some of soul finest harmony singers can bring out at the best in vocal samplers and other mid 80’s technology.


There are many O’Jay’s albums that are not represented with songs on this particular list. That’s because the O’Jays discography is so large,I have yet to hear all of their studio albums. These are just some of the ones that stuck out to for me. What the O’Jays have always represented to me is Gamble & Huff parlaying their talent for writing message songs. Than utilizing their most powerful vocal trio to preach the gospel of humanism. And on Eddie Levert’s birthday this year,that is what I want to celebrate most about them.

 

 

 

 

 

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Filed under 1970's, 1980's, cinematic funk, disco jazz, Eddie Levert, Funk Bass, Gamble & Huff, message songs, Philly Soul, The O'Jays

Anatomy of THE Groove: “Enjoy Yourself” by The Jacksons

The Jacksons self titled label debut on Epic is a very nostalgic one for me. For one thing, it’s the very first CD I purchased with my own money-if I remember sometime in the autumn of 1994. The history of the brothers breaking their contract with Motown,the record company who made them famous for the sake of gaining more creative control fascinated my burgeoning artistic ethic at the time. I was very interested to hear what the Jackson brothers sounded like having experienced their first tastes of artistic freedom. Even understanding they only wrote two of the ten songs on this album was still an exciting understanding to have as a teenager growing up near the turn of the millennium.

During the final years at Motown,the Jackson brothers had become fascinated by the Philly sound coming out of the PIR studios. Especially under the tutelage of Kenny Gamble,Leon Huff and Dexter Wansel. These were record producers who thought like artists-in the case of the latter two they made records under their own name. So they always approached the record from a quality control rather than a commercially geared manner. Because this was quite a different approach to the assembly line hit factory approach of Motown,it did allow for the brothers to gain a stronger uniqueness to their sound. And the result was the lead off song and single from their 1976 debut as The Jacksons on “Enjoy Yourself”.

A nasal bass pitched rhythm guitar opens with the main melody of the song. It’s accompanied with the medium tempo beat with a bouncing conga drums-perhaps from the Jacksons youngest brother Randy. The harmony’s of the brothers trading off with the leads of Michael are themselves harmonizing with a short chordal burst of electric piano and big band style horns. Those horns play more sustained phrases on the refrains. The bridge of the song is sung by elder Jackson brother Jackie in his gravely lower register along a jazzy funk electric piano part and horns that keep building in intensity up until the song fades out on an even more powerful variation of the chorus.

Conversing with my main musical inspiration right now Henrique about this song has bought me to a significant musical understanding. He describe this song, especially it’s opening rhythm guitar part as having a country sound. My drummer had me on the beat that in musical terms “country” was short hand for country/western music. In fact it referred to a very rural approach to playing an instrument-such as at a family reunion or county fair live band. Considering these brothers were taught old blues and country songs by their mom Katherine,it’s probably no surprise that Gamble & Huff would tailor an uptempo funk/soul tune for them with that strong down home instrumental flavor.

In any event this song was a wonderful way to begin the Jackson brothers adult career. The song really emphasizes them strongly as a group-with their deep,gospel drenched five part harmonies taking presidents on the choruses. The focus of the family was not yet focused so heavily as a dry run for the upcoming solo career of brother Michael. And as I listen to it as an adult with all these new musical understandings, the fact that Gamble & Huff put that country styled soul flavor into their new funk really gave the brothers more musical distinction than the production line approach Motown often used with them. In a lot of ways,it’s a song that says a lot about the Jacksons more personal musical interests.

Thematically the song also has it’s place in the creative liberation of the Jackson brothers. Basically Mike is singing about being at a party with a very insecure date whose “sittin’ over there starring into space” while everyone else is “dancing all over the place”. He’s advising this person to not obsess over what they can’t change. Finally he asks them flat out to have a good time instead of “sittin’ there with your mouth poked out just sweet as you can be”. It was recorded during the bicentennial year. Seems to have been the idea at the time of moving ahead from where the 60’s attitudes left off. And this song simply advises to live the life they’ve got and to enjoy themselves.

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Filed under 1970's, country/soul, Dexter Wansel, electric piano, Epic Records, Funk, Gamble & Huff, horns, Jackie Jackson, Katherine Jackson, Michael Jackson, Philly Soul, Randy Jackson, The Jacksons, Uncategorized

Andre’s Amazon Archive for 6/6/2015: ‘Big Love’ by Simply Red

simply red

Looks as if I’m going to have to add Mick Hucknall/Simply Red to my list of groups and artists with the “fine wine” syndrome-of just having a musical sound that just gets better with time. Since the group first implanted their ear worm of “Holding Back The Years’ from their debut Picture Book? Their music has always keenly interested me. The question I’m always asking myself is…why do I tend to ignore their new releases when they come out every 5-8 years or so? The answer is I didn’t know then,don’t know now. After 2008? I vowed that the next new Simply Red album I’d pick up because of my own negligence of this group I really enjoy and appreciate. Finally I made the right decision with this album all the way!

“Shine On”,opening with album with a big arrangement,”Daydreaming” as well as the more hyper-kinetic grooves of “Tight Tones” and “WORU” are all rhythm guitar heavy disco/funk dance numbers with creamy wah wah’s and uptown melodies all the way. The title song is a piano/guitar driven mid tempo soul ballad,with the sound and flavor that had me falling in love with the music of Simply Red from the get go. “The Ghost Of Love” and “Love Gave Me More” are lusciously orchestrated funky/soul numbers while “Love Wonders” and “Coming Home” are more atmospheric,cinematic numbers while “The Old Man And The Beer” is a ,slow swinging soul jazz style number. The album is rounded out with the more pop/rock style mid tempo melody of “Dad” and the more baroque pop ballad of “Each Day”.

From beginning to end? This album distills what makes this groups music flow as well as it does. For sure they have a well oiled sound that is distinctive and instantly recognizable. Yet it’s a style that can adapt itself to different variations very easily. The focus of this particular album is very much on orchestration. In this particular case in the Barry White/Marvin Gaye/Gamble & Huff mode. Happily Hucknall’s highly melodic and well constructed songwriting is of course very well suited to this. And everything from the rhythm section to the arrangements are extremely strong and well done. This is superb and mildly lyrically nostalgic/reflective adult funky soul from 2015 at it’s finest. And one I very highly recommend you give a try to!

Originally posted June 2nd,2015

Link to original review here*

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Filed under 2015, Amazon.com, Barry White, cinematic soul, disco funk, Gamble & Huff, Marvin Gaye, Mick Hucknall, Music Reviewing, Simply Red, Soul, soul jazz