Mr. Moo's What Da Funk

The Players Association : Born To Dance (1977)

Mr. Moo — Sat, 25 Feb 2012 13:47:40 +0000

Artist: The Players Association

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Led by drummer/arranger Chris Hills, the Players Association was an obscure late-’70s, early-’80s outfit that specialized in a jazz-influenced style of disco-funk. Major jazz musicians like Michael Brecker, David Sanborn, Joe Farrell, and Tom Harrell appeared on its albums, but the New York band never catered to jazz’s hardcore; its main focus was disco-funk with jazz overtones, although the Association occasionally detoured into instrumental jazz-pop and quiet storm/NAC music. The Association never became well known, and its recordings received very little radio airplay; however, it did enjoy a small underground following among danceclub DJs. The Players Association signed with Vanguard in 1977, and the band recorded five albums before calling it quits in 1981: 1977′s The Players Association, 1978′s Born to Dance, 1979′s Turn the Music Up! 1980′s We Got the Groove, and 1981′s Let Your Body Go. Alex Henderson, All Music Guide

The list of jazz improvisers who appear on the Players Association’s second album, Born to Dance, is impressive; tenor saxman Michael Brecker, alto saxman David Sanborn, trumpeter Jon Faddis, and guitarist Steve Khan are among the participants. And percussionist James Mtume, who has jazz credentials but is best known for producing, writing, and performing R&B, is also on board. But despite boasting an impressive lineup, Born to Dance is only a slight improvement over the Players Association’s self-titled debut album. This isn’t a bad album; “How Do You Like It,” “Everything’s Gonna Be O.K.,” “Make It Last All Night,” and other tunes that were written or co-written by leader/drummer/arranger Chris Hills are catchy but unremarkable. The band was capable of a lot more, and it wouldn’t live up to its potential until its third album, Turn the Music Up! Alex Henderson, All Music Guide

Classic funky disco from Chris Hills and the Players Association of tight jazzy performers – and what an incredible group of players! The Players Association includes Leon Pendarvis, Wilbur Bascomb, Mtume, Mike Mandel, David Sanborn, Michael Brecker and Jon Faddis – and the overall groove is mostly instrumental, although Lorraine Moore and Ed Zant each sing on one song apiece. They phenomenal ensemble bring a jazz steeped dexterity to a batch of tunes geared perfectly for a funky dancefloor – and it sounds great to this day! Tracks include “Goin To The Disco”, Everything’s Gonna Be OK”. “Footsteps”, “Make It Last all Night”, and “How Do You Like It”.

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Album: Born To Dance

Release date: 1977

Tracklist:

1. Goin’ To The Disco
2. Make It Last All Night
3. Disco Inferno
4. We Were Born To Dance
5. Everything’s Gonna Be O.K.
6. Footsteps
7. How Do You Like It

‘We Were Born To Dance’ On YouTube

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The Reddings : The Awakening (1980)

Mr. Moo — Sat, 18 Feb 2012 08:33:11 +0000

Artist: The Reddings

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This Macon, Georgia group was the brainchild of the sons of Otis Redding, plus cousin Mark Locket on keyboards and drums. Vocalist/bassist Dexter and guitar-ist Otis Redding II teamed with Locket on 1980′s The Awakening for Believe In A Dream Record/Columbia, then did two more LPs for Polydor, If Looks Could Kill in 1985 and The Reddings in 1988. Their biggest hit was “Remote Control,” a number six R&B single in 1980. Ron Wynn, All Music Guide

A great dawn of the 80s set from The Reddings! It’s steeped in bouncing bass, snapping rhythms, and plenty of full on groovers from the Reddings trio – a set that has their vocals tightly wrapped around rhythms that are heavy on the boogie and mainstream funk modes of the time! Bass is handled by Dexter Red-ding, and is pretty upfront in the mix on most numbers – guiding the groove, and cutting things up strongly – except on a few of the mellower ballads. Titles include “Come In Out The Rain”, “It’s Friday Night”, “Remote Control”, “Doin It”, “I Want It”, “The Awakening”, and “Lady Be My Lovesong”.

Of the core group–Otis III on guitar, brother Dexter on bass, and cousin Mark Lockett on keyboards–only Lockett does much writing, and he had nothing to do with the hit, “Remote Control,” as apt a radio song as Elvis C. or Van M. has ever come up with (well, almost). But it’s 1980, and this ain’t no soul group, and for better or worse, writing (not to mention singing) isn’t what funk groups are about, as three slow ones that would have stymied even Otis III’s dad demonstrate. Playing is what funk groups are about, and if you don’t believe me, listen to Otis III on “Doin’ It” and “Funkin’ on the One” or Dexter anywhere.

If you decide to follow in the footsteps of soul legend Otis Redding, you know you’ll have some big shoes to fill.
But The Reddings, consisting of his sons Otis and Dexter and nephew Mark Locket, prove that the Redding magic didn’t disappear with Otis’ tragic passing.
Their 1980 debut album ‘The Awakening’, recorded when they were in or just out of their teens, is a diverse and relatable album marked by chunky dance music, romantic ballads and even a fusion instrumental track.
Hit song ‘Remote Control’, the album’s opener, is a funky party song with an energetic bass line, while ballads such as ‘Come In Out Of The Rain’ are reminiscent of Otis Sr. in his heyday.

The Awakening is a diverse album marked by romantic ballads, chunky dance tracks and even a fusion instrumental. The single, “Remote Control,” is a vibrant piece of dance music with Otis Jr. ‘s steady rhythm guitar, catchy ensemble vocals and Mark’s smooth tenor gliding over a powerful rhythm track. “Remote Control” sets the tone for The Reddings’ other strong party songs “Funkin’ On The One,” “It’s Friday Night,” and “Doin’ It.” On everyone of these songs Dexter’s energetic lead bass lines and the trio’s graceful harmonies again and again show the Reddings’ great innate musical talent in action.
The ballads are just as impressive, especially “Come In Out The Rain,” a truly romantic love song written by Dexter and Mark. It makes one remember that when Otis Sr. was just in his mid-twenties when he wrote love classics such as “I’ve Been Loving You Too Long” and “My Lover’s Prayer.” This parallel is even stronger when Dexter’s low tenor voice fondles the lyric in a style close to his father’s. Dexter’s handling of “Lady Be My Love Song” is also quite moving, while Mark’s smooth tenor softly caresses a tale of unrequited love on “I Want It.”
Both are examples of an emotional maturity that marks all the music of this gifted young trio. “The Awakening” features Dexter’s bass and Mark’s drums (his only drum performance on the album) on an instrumental that calls to mind Billy Cobham and Stanley Clarke. Mark proves himself to be a quick, propulsive player while Dexter incorporates Larry Graham progressions into his agile approach. A short piece of “The Awakening” is reprised at album’s end. In Otis Jr.’s words, “We are proud of our heritage, but we want our own identity too. In everything we do The Reddings intend to maintain the high standard of quality our name represents. We’re aware of what came before and we are looking ahead. That’s what our music is all about. The Awakening shows that so very well.

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Album: The Awakening

Release date: 1980

Tracklist:

1. Remote Control
2. Funkin’ On The One
3. Come In Out The Rain
4. It’s Friday Night
5. The Awakening Pt.1
6. I Want It
7. Doin’ It
8. Lady Be My Lovesong
9. The Awakening Pt.2

‘The Awakening Pt. 1′ On YouTube

‘The Awakening Pt. 1 Live Belgium 1982′ On YouTube

If you wish to listen to the full 1982 concert

The Reddings Live (BRT Funkytown 1982)

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Dorothy Moore : Misty Blue (1976)

Mr. Moo — Fri, 17 Feb 2012 07:55:54 +0000

Artist: Dorothy Moore

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Dorothy Moore had two huge hits in 1976 for Malaco with “Misty Blue” and “Funny How Time Slips Away.” “Misty Blue” was a number two R&B and number three pop single and a sizzling piece of heartache soul, while “Funny How Time Slips Away” wasn’t as definitive a soul recasting of Willie Nelson’s composition as Joe Hinton’s version, but it did better on the charts, reaching number seven R&B. Moore continued on Malaco through the ’80s, landing one more Top Ten R&B hit in 1977 with “I Believe You.” She signed with the reactivated Volt label in the late ’80s and recorded two LPs for them, Time Out for Me and Winner, before returning to Malaco for the rest of her ’90s work. Farish Street released her holiday album, Please Come Home for Christmas, in 2002. Ron Wynn, All Music Guide

A pivotal moment in the development of southern soul – as the album was one of the first really big hits to come out of the growing Malaco scene in Jackson, Mississippi. The style of the record is a mix of older female southern soul styles, plus some of the warmer mellow production that was coming out of the Alston/Miami scene at the same time. And although Malaco mostly moved into cheesy blues during the early 80s, this one’s very much in a popular crossover soul style. Features the title hit “Misty Blue”, plus “It’s So Good”, “Too Much Love”, “Ain’t That A Mother’s Luck”, “Enough Woman Left (To Be Your Lady)”, and “The Only Time You Ever Say You Love Me”.

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Album: Misty Blue

Release date: 1976

Tracklist:

01. The Only Time You Ever Say You Love Me
02. Dark End Of The Street
03. Funny How Time Slips Away
04. Laugh It Off
05. Misty Blue
06. Enough Woman Left (To Be Your Lady)
07. I Don’t Want To Be With Nobody But You
08. Ain’t That A Mother’s Luck
09. Too Much Love
10. It’s So Good

‘Misty Blue’ On YouTube

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Leon Haywood : Back To Stay (1973)

Mr. Moo — Sat, 11 Feb 2012 09:20:06 +0000

Artist: Leon Haywood

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Soul/funk journeyman Leon Haywood periodically dented the charts in the 1970s with hits that tapped into the grooves and musical hooks of the day’s trends. An accomplished songwriter and arranger, Haywood never pretended to be an innovator, and his hits are cheerful derivations of ’70s midtempo funk and romantic ballads, usually embellished by smooth string charts. His best material recalled the late-’60s/early-’70s Motown sound; on the slower material in particular, his vocals bore a resemblance to those of Marvin Gaye.
Haywood’s roots extend way further back than the ’70s; he toured and recorded with R&B saxophonist Big Jay McNeely’s band (which also backed Sam Cooke on the road) in the early ’60s. In the mid-’60s, he had his first chart entry with “She’s with Her Other Love” on Imperial. In 1967, he had a solid R&B hit (and small pop one) with “It’s Got to Be Mellow,” whose commercial soul sound betrayed his Motown influence.
He didn’t come into his own as a solo artist until the mid-’70s, when he had big R&B hits with “Strokin’,” “Come and Get Yourself Some,” and “Keep It in the Family.” His biggest single, “I Want’A Do Something Freaky to You” (with orgasmic female gasps and moans that made it pretty clear what “freaky” really meant), crossed over to the Top Twenty pop listings. The discoish “Don’t Push It Don’t Force It” was his biggest splash, making #2 R&B in 1980. After the mid-’80s, he eased out of the record business into business ventures; in the 1990s, he produced blues albums by Jimmy McCracklin and others on his own EveJim label. Richie Unterberger, All Music Guide

Back To Stay is Leon’s first record for 20th Century, and a record that has a smoother soul feel than some of his 60s recordings. The album shows Leon emerging more as a straight soul singer – instead of the singer/instrumentalist he’d appeared as on some of his other albums – and the sound of the tracks is in a sweet LA pop soul mode, similar to some of the other 20th Century albums coming out at the time. Leon arranged and produced – and titles include “La La Song”, “One Way Ticket To Loveland”, “Make me Yours”, and “Long As There’s You (I Got Love)”.

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Album: Back To Stay

Release date: 1973

Tracklist:

1. La La Song
2. Sweet Loving Pair
3. Show Me That You Care
4. Let Them Talk
5. Fair Warnin’
6. One Way Ticket To Loveland
7. Make Me Yours
8. Long As There’s You (I Got Love)
9. There Ain’t Enough Hate Around (To Make Me Turn Around)

‘Let Them Talk’ On YouTube

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The Futures : Past, Present And The Futures (1978)

Mr. Moo — Sat, 11 Feb 2012 08:48:44 +0000

Artist: The Futures

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One of Philadelphia’s finest groups, the Futures made good music, but Lady Luck refused to work her magic on them. Frank Washington, Kenny Crew, James King, John King, and Henry McGilberry emulated the Temptations. Amjo Records released their first single in 1970, “Breaking Up” b/w “Our Thing.” Richard Wright (deceased) sang lead on the Amjo side along with other members that, with one or two exceptions, differed from the previously mentioned names. Avalanche Records reissued the Amjo single the following year. The next single, “Love Is Here,” appeared on Kenny Gamble and Leon Huff’s Gamble label. It was a lovely Gamble and Huff song featuring a searing falsetto, McGilberry’s deep bass, and weaving harmonies that only got spot play in a few cities; the Dramatics recorded an inferior version on their 10 1/2 album.

The Futures made a terrible career move when Gamble Records ended by signing with Buddah Records and missing a golden opportunity with Philadelphia International Records. Their first Buddah release, “(That’s) The Way of a Woman in Love” b/w “Grade A Woman,” dropped in January 1974 to a deafening silence. The second single, “No One Could Compare” b/w “You Better Be Careful,” also failed to register. As they wallowed in obscurity, the O’Jays and Harold Melvin & the Bluenotes bloomed on Philadelphia International and the Spinners and the Stylistics reaped the benefits of their productions.

Buddah released the Futures’ third single, “Castles,” June 1975, which continued the string of flops. They issued the Futures’ first album, Castles in the Sky, in 1975, which didn’t include the first two singles and its promotion was almost nonexistent. Barbara Mason wrote their final Buddah single, “We Got Love,” prompting a poorly promoted tour with Philly’s First Lady of Soul.

They reunited with Gamble and Huff in 1978 at Philadelphia International Records, but the company’s glory days were over. The first release, “Part Time Party Time Man,” an energetic dancer with a terrific vocal, never charted high, yet was their most successful single. Its delightful successor, “Ain’t No Time for Nothing,” was succeeded by three more singles, including “Mr. Bojangles.” Philadelphia International released two albums by the Futures: Past Present & the Futures and the obscure Greetings of Peace.

Warped Records issued the final Futures’ recordings in 1982: “Let’s Get to It” b/w “Young & Tender” and “Angel in Disguise” b/w “Betcha Come Back.” McGilberry joined the Temptations in 1996, replacing Ray Davies, who replaced Melvin Franklin. Andrew Hamilton, All Music Guide

Another of a seemingly endless string of quality soul groups to come out of Philadelphia in the late 60s and early 70s, the Futures never rose to the upper echelon of Soul Music artists, but nonetheless created a number of fine releases. Consisting of Kenny Crew, James King, John King, Harry McGilberry and Frank Washington, the Futures formed in Philly in the late 60s and hooked up with hitmakers Kenny Gamble and Leon Huff, signing with Gamble Records in 1971. They first hit the charts in 1973 with “Love Is Here,” a wonderful soul ballad that made it halfway up the charts (the song was later remade in fine fashion by the Dramatics). However, trouble at Gamble Records led the Futures to an ill-fated stay at Buddah before returning to Gamble’s Philadelphia International Records in 1978.
The group’s 1979 PIR debut, Past Present and the Futures, was a prototypical Gamble and Huff project, filled with excellent arrangements and generally strong material. While one song from the disc, “Party Time Man,” hit the charts, their smooth remake of the 50′s classic “Silhouettes” was the album’s gem and a sought-after cut for years thereafter. The group then released The Greetings of Peace in 1980, but it failed to draw attention.

While the Futures broke up in the early 80s, two of their members went on to more notable positions. McGilberry became the bass singer for the Temptations in 1996, leaving a half-decade later due to health problems. Washington joined the Delfonics, and remained in that group for several years before becoming the lead singer for the Spinners in 2002, following the illness of John Edwards. Chris Rizik, SoulTracks

Kudos to the producers, musicians, writers, and the Futures for this effort. The record business has problems when an invigorating dancer like “Part-Time Party Time Man,” fails to bust the Top 40. It was a minor hit in the Philly/New York area but ignored virtually everywhere else. Felix Hernandez played it at his Rhythm Revue Dance in New York recently and had to add it to permanent rotation. The storyline is about a guy who works hard all week, then transforms into a party animal on the weekends. “Ain’t No Time Fa Nothing,” is an excellent dancer with a killer intro and hearty vocals. Their five-man lineup resembles the Temptations’ voices, from falsetto to the uncannily low bass of Henry McGilberry, who joined the Temptations in 1996. “Deep Inside Me” features the same excellent falsetto that led to their first Gamble & Huff recording “Love Is Here” (not included here), on Gamble Records in 1972. They romance that special lady on “Sunshine and You” and “Someone Special,” two warm floaters. Also included is “I Wanna Know: Is It Over,” a hurtin’ tune with a spoken intro and refined harmonies. Andrew Hamilton, All Music Guide

Pure brilliance from The Futures – a group who were already a standout on the east coast vocal scene, but one who really took off once they met with the talents of Philadelphia International! The Gamble & Huff approach really opens up the sound of the group – taking their warm harmonies, and really letting them soar on waves of righteous sound – some of the Philly grooving that was already hitting the charts and the dancefloors – and some sublime, mellow moments that almost point the way towards the new sophistication Philly International would hit in their second wave of greatness. Titles include the massive stepper “Ain’t Got Time Fa Nothing”, plus “Come To Me”, “Sunshine & You”, “Party Time Man”, “You Got It”, and “I Wanna Know Is It Over”.

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Album: Past, Present And The Futures

Release date: 1978

Tracklist:

1. Party Time Man
2. Ain’t No Time Fa Nothing
3. Deep Inside Of Me
4. Sunshine And You
5. Come To Me (When Your Love Is Down)
6. You Got It (The Love That I Need)
7. (You’re The One) Someone Special
8. I Wanna Know, Is It Over?

‘Deep Inside Of Me’ On YouTube

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The Moments : My Thing (1972)

Mr. Moo — Sat, 11 Feb 2012 08:33:47 +0000

Artist: The Moments

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One of the most consistent R&B aggregations of the ’70s, the Moments enjoyed a string of major hits throughout the decade. The Hackensack, NJ, trio introduced themselves and the Stang label with “Not on the Outside” in 1968, and topped the R&B charts in 1970 with the gold-plated “Love on a Two-Way Street,” produced by Sylvia Robinson (one half of Mickey & Sylvia). Other major soul smashes by the Moments included “If I Didn’t Care” and “All I Have” in 1970, “Sexy Mama” in 1973, and another number one R&B item, “Look at Me (I’m in Love),” in 1975. Members Harry Ray, Al Goodman, and William Brown changed their billing to Ray, Goodman & Brown in 1978 and topped the soul lists the next year with the slickly harmonized “Special Lady” on Polydor. The renamed trio remained potent soul hitmakers through the ’80s. Bill Dahl, All Music Guide

The smooth voices of Harry Ray, Billy Brown, and Al Goodman ring true on ten hit and miss sides. The misses are the filler that comprise half the ten songs; they aren’t irritating or ingratiating, just bland tunes with apathetic arrangements. Every artist at All Platinum/Stang Records must have recorded “My Thing”; there are versions by Sylvia, the Whatnauts, and the Moments, at the very least. The song is all right, but did it merit the countless remakes? It flopped as a single, but the flip “Girl I’m Gonna Miss You” is much better — a sad ballad sung in clear falsetto by Billy Brown. Surprisingly, it gets omitted from the many Moments compilation CDs, though it’s one compelling number. Harry Ray’s reading of “Baby I’m a-Want You” is magical, his light falsetto sparkling on David Gates’ classic. Complete with airport ambience, “I Gotta Find a Way” is a charmer; Harry waits and contemplates at the airport about getting his baby back as a female announcer announces flights over a loudspeaker. I like the close, syncopated harmonies on “Look What You’ve Done,” another tasty ballad. Eight of the ten songs are ballads except for “My Thing” and the twee-sounding “Life and Breath.” Andrew Hamilton, All Music Guide

Tremendous early work by The Moments – recorded here at a point when they were shaking off the roughness of their initial years, yet still singing with that heartfelt, cracklingly personal style that set a whole new tone for harmony soul! The group have a wonderful way of sounding fragile, but never weak – and they bring their voices together beautifully in a mellow, moody exploration of themes of love and loss that still sends chills down our spine after many many years! Production is slightly smoother than before, but never slick – and the real focus of the album is on the harmonies of Ray, Goodman, and Brown, with only just a bit of instrumentation to back them up! Titles include “Girl Don’t Go”, “I Think So”, “My Thing”, “Look What You’ve Done”, “When I Get There”, “Girl, I’m Gonna Miss You”, and “Life & Breath”.

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Album: My Thing

Release date: 1972

Tracklist:

01. Girl I’m Gonna Miss You
02. Girl Don’t Go
03. Life And Breath
04. Baby I’m A Want You
05. Gotta Find A Way
06. My Thing
07. Look What You’ve Done
08. When I Get There
09. I Believe In You
10. I Think So

‘My Thing’ On YouTube

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Leon Haywood : Keep It In The Family (1974)

Mr. Moo — Sat, 11 Feb 2012 08:25:16 +0000

Artist: Leon Haywood

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On Keep It In The Family, Leon’s moving from the rawer soul of his earlier days, but he still hasn’t hit the sly LA funk sound of his “Freaky To You” years. The record’s a good batch of tracks that show the LA sound of the 60s turning into the smooth slinky one of the 70s – and Gene Page is at hand to handle the arrangements and musical backing for Leon, who produced the record himself. Tracks include “Keep It In The Family”, “Long As There’s You (I Got Love)”, “BMF Beautiful”, and “When It Comes Down On You In The Middle Of The Night”.

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Album: Keep It In The Family

Release date: 1974

Tracklist:

1. Keep It In The Family
2. Sugar Lump
3. That Sweet Woman Of Mine
4. The Day I Laid Eyes On You
5. When It Comes Down On You In The Middle Of The Night
6. A Hundred Pounds Of Clay
7. Long As There’s You (I Got Love)
8. B.M.F. Beautiful
9. You’ll Never Walk Alone

‘A Hundred Pounds Of Clay’ On YouTube

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The Futures : The Greetings Of Peace (1980)

Mr. Moo — Sat, 11 Feb 2012 08:18:42 +0000

Artist: The Futures

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The Futures’ vocal blend ranged from deafening bass to piercing falsetto, giving them a musical quilt effect. But they lacked luck, timing, and adequate promotional budgets — the ingredients necessary for hit recordings — and they never achieved much acceptance. This LP was released cloak and dagger style; many don’t know it exists. There’s an update of “Mr. Bojangles,” a rousing “We’re Gonna Make It Somehow,” an exquisite remake of “Silhouettes,” “Peace,” and the romance specials “Feels Just Like the First Time” and “I’m So Proud of You Woman.” ~ Andrew Hamilton, All Music Guide

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Album: The Greetings Of Peace

Release date: 1980

Tracklist:

1. Victory
2. I’m So Proud Of You Woman
3. Peace
4. Why Must It End?
5. Silhouettes
6. We’re Gonna Make It Somehow
7. Mr. Bojangles
8. Feels Just Like The First Time

‘Silhouettes’ On YouTube

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GQ : Two (1980)

Mr. Moo — Fri, 10 Feb 2012 19:13:05 +0000

Artist: GQ

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A Bronx group that effectively mixed East Coast disco and Chicago soul covers in the late ’70s and early ’80s, GQ began as Sabu & the Survivors in 1968. Lead vocalist Emmanuel Rahiem LeBlanc, Keith Crier, Herb Lane, and Paul Service were original members, but by 1980 GQ were a trio following Service’s departure. They had two Top Ten R&B and Top 20 pop hits, as well as a number one R&B single in 1979, with “Disco Nights (Rock-Freak)” also peaking at number 12 pop; the single also won GQ an American Music Award. Their remakes of the Billy Stewart classics “I Do Love You” and “Sitting in the Park” were number five and number nine R&B singles in 1979 and 1980, respectively, with “I Do Love You” also reaching number 20 pop. They enjoyed one other Top 30 R&B single in 1981, “Shake.” All their hits were on Arista from 1979 to 1982. Ron Wynn, All Music Guide

After the success of “Disco Nights” taken from their debut album, GQ’s follow-up album, Two, led off with another upbeat number, “Standing Ovation.” Not as groovin’ as its predecessor, it nonetheless managed to stand in at number 12 after 15 weeks on the Billboard R&B charts. The quartet followed with a remake of a song that Billy Stewart made popular among R&B lovers, “Sitting in the Park.” The patient rhythms of the track provide a humble foundation for Emmanuel Rahiem LeBlanc to display his appealing vocals. Along with these two songs, another standout track is “Don’t Stop This Feeling.” With a combination of R&B and smooth jazz, this composition maintains a steady rhythm seasoned with LeBlanc’s placid articulation of each lyric and improvising guitar solo. These tracks, plus the rest of the solid numbers that round out the album, made it a fine second album from one of disco’s finest. Craig Lytle, All Music Guide

With huge disco hits in the late 1970s, G.Q. were expected to deliver the goods yet again, yet at a time when disco was very much frowned upon if not a hot potato. This album, however, delivers in every respect you can think of. Much more substantial that its predecessor and of a higher standard than its follow-up set, “Face To Face”, I believe that “Two” represents the very, very best of what G.Q. had to offer. Both dancers and ballads work incredibly well and have more than stood the test of time.
The boogie sound of 1980 still remains true today and what we have here is a set that is as much a part of today’s fabric of soul music as it was back then. The likes of Joey Negro and so on are more than able to refashion these glorious sounds into boogie tunes / house cuts today and automatically breathes more life into classic late 70s / early 80s uptempo tunes.
“Standing Ovation” and “Is It Cool?” are incredibly fresh, especially the latter and the funky bass line is one that we can still expect to hear in many a new house tune today. The relentless dance floor flavour pounds us again with “Someday (In Your Life)” and if funky bass lines and scratchy guitar are your bag then the brassy “Lies” will really and truly satisfy. What satisfies me more are top-notch ballads, and early 80s ballads at that. If you don’t know “Don’t Stop This Feeling” then you may listen to the first few moments and pass on it… it begins in a rather twee fashion but soon builds up and changes to a gorgeous ballad with bass lines and strings aplenty. I’d buy this for this and this track alone!
The lone ballad, this is what I would like to have heard more of, but tracks such as “It’s Like that” are still great uptempo numbers and definitely part of the best that G.Q. ever created. Yet again the number of CD reissues from the 1980s grows, and I am a great supporter of this… now let’s get more and more out because once my appetite is wet, it needs sustenance! Barry Towler, The Vibe Scribe

Completely sublime grooves from GQ – a second set that’s almost even better than their first – thanks to perfect production, and wicked rhythms that are right on the money, track after track! The group start the set with a flurry of upbeat grooves that really show the full potential of ensemble funk at the end of the 70s – tight cuts that steer far from any disco or dancefloor cliches, and which have a bass-heavy sound that’s completely infectious! Then, they flip things over with an equally great batch of ballads – mellow cuts that show that the group can handled the slower side of the tempo scale too – a perfect balance that really earns them the class you’d guess from a name like GQ. The set features a killer remake of Billy Stewart’s “Sitting In The Park”, plus the cuts “Standing Ovation”, “Is It Cool”, “Someday In Your Life”, “Lies”, “GQ Down”, “Don’t Stop This Feeling”, and “Reason For The Season”.

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Album: Two

Release date: 1980

Tracklist:

1. Standing Ovation
2. Is It Cool
3. Someday (In Your Life)
4. Lies
5. GQ Down
6. Don’t Stop This Feeling
7. Reason For The Season
8. Sitting In The Park
9. It’s Like That

‘GQ Down’ On YouTube

Vinyl Covers & Labels

People’s Choice : People’s Choice (1980)

Mr. Moo — Fri, 10 Feb 2012 18:50:16 +0000

Artist: People’s Choice

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Vocalist/keyboardist Frank Brunson formed People’s Choice in Philadelphia in the early ’70s. Drummer/percussionist David Thompson, vocalists Valerie Brown and Marc Reed, guitarists Darnell Jordan and Johnnie Hightower, keyboardists Clifton Gamble and Bill Rodgers, and bassist/vocalist Stanley Thomas were in the original lineup. Despite the vocalists, the group’s biggest hits were instrumentals. They were signed to Philadelphia International and worked with Leon Huff on the funk and disco gem “Do It Any Way You Wanna,” among the great pieces of ’70s Philly dance music. It was their lone R&B chart-topper, and it peaked at number 11 on the pop charts in 1975. They previously recorded for Phil-L.A., and “I Likes to Do It” had reached number nine in 1971. They remained on Philadelphia International until 1982, when they recorded for TPC. They also issued one LP on Mercury, Strikin’, in 1984. Ron Wynn, All Music Guide

The album is an extra clubby effort from the group – one that has them moving over to Casablanca after their albums for Philly International, but still staying strongly in their groove, thanks to production from Tom Moulton at Sigma Sound Studios! Tracks are upbeat, but funky – mixing the lead vocals and keyboards of Frank Brunson with some even more soulful female backing voices, and an overall groove that’s in the tight Sigma mode that was starting to show up strongly at Salsoul. Tracks are long, but less disco than funky club – and the mix of male and female vocals together often creates a slightly righteous feel that you don’t always get on this sort of record. Titles include “Warm Nights Soft Lights”, “Bad Dancin Rita”, “My Feet Won’t Move But My Shoes Did The Boogie”, “Special Things For You”, “If I Knew Then What I Know Now”, “You Out To Be Dancin”, and “Sweeter Than Honey”.

In demand Club soul from 1980. Produced by Philadelphia s now legendary Tom Moulton and recorded at Sigma Sound Studios. Amid the array of Philly floaters from the City of Brotherly Love gracing the charts in the mid-70s, People’s Choice provided a style contrast with their thudding funky groove and the gritty, bluesy vocals of Frankie Brunson.The group moved on to Casablanca Records in 1980, maintaining their distinctive style to chart with My Feet Won’t Move But My Shoes Did the Boogie, followed by an album combining a selection of great dance music with some fine Brunson balladry.

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Review By RDTEN1:

I’m not too proud to admit that on occasion I can feel an itch to hear some mindless disco. If you ever feel yourself in the same mood, may I suggest spinning 1980′s “People’s Choice” …

Based In Philadelphia and formed in the early-1970s, People’s Choice were built on the talents of the late singer/keyboard player Fred Brunson. With various line-ups the band had a pretty good chart run, but by the time this set was released both disco and People’s Choice had already peaked in terms of creativity and popularity. As you could probably guess from the Paul Gross designed cover art, the result found the Brunson and company struggling to sound contemporary, relevant, let alone fun. Teaming the band with producer Tom Moulton should have generated some results, but the majority of this set was pretty formulaic dance material, burdened by dull songs and equally bland performances (‘Bad Dancin’ Rita’). The exceptions to the rule came when Brunson stepped to the forefront. With a recording career that stretched back to the mid-1950s Brunson was blessed with a classic soul voice and when he deployed the instrument the results were amazing, usually overcoming even the most mundane material – check out his performance on the otherwise forgettable ‘My Feet Won’t Move, but My Shoes Did the Boogie’. Shame Brunson never got around to record a true soul LP.

- In terms of dance tracks the opener ‘You Ought To Be Dancin” was about as cookie-cutter as you could get. From the mindless lyrics, bland rhythm track, to the pathetic party sounds, there simply wasn’t a single note of originality on this one. Imagine a dance song recorded for zombies … Naturally this was the track Casablanca decided to tap as a single. Needless to say it did little on the charts. rating: * stars
- Most folks probably didn’t realize that Brunson had been recording since the mid-1950s and had spent most of that type working as a soul artist. If you didn’t know that, then ‘If I Knew Then What I Know Now’ probably came as a total surprise. Yes, the song was topped with patented disco-fied production effects, but the heart of the performance was an old-fashioned soul song. Even better was hearing Brunson’s old school voice largely stripped of the normal disco mindlessness. Great track and simply ashamed it was lost amidst the rest of these crowd pandering tracks. rating: **** stars
- No idea who the featured female singer was (Juarita Johnson ?), but she added a nice change of pace to the band’s sound. As for ‘Special Things for You’, well it was a decent disco-tinged ballad, though the real highlights came in the form of the jittery lead guitar solos and Dexter Wansel’s cheesy synthesizers. rating: ** stars
- Yeah, the song itself was goofy, but Brunson’s gruff soul-soaked vocal made all the difference. Casablanca tapped this one as a single, though it did nothing commercially. rating: **** stars
- Back to mindless dance fodder, ‘Bad Dancin’ Rita’ had about as much energy as an insurance commercial. rating: ** stars
- An old school ballad, ‘Sweeter than Honey’ suffered from some of the dumbest lyrics you’ve heard in a long time (“… I like Tastycakes …”) , but survived thanks to the Brunson lead vocal. rating: *** stars
- Okay, the adult contemporary ballad ‘Warm Nights, Soft Lights’ was so lame not even Brunson’s performance could save it … yech ! Was it just me, or did he sound a bit like a bland Larry Graham on this one ? rating: ** stars

- As mentioned above the album was tapped for a single in the form of:

7″ format
- 1981′s ‘My Feet Won’t Move, but My Shoes Did the Boogie’ b/w ‘You Ought To Be Dancin” (Casablanca catalog number NB 2322)
12″ format
- 1981′s ‘My Feet Won’t Move, but My Shoes Did the Boogie’ b/w ‘You Ought To Be Dancin” (Casablanca catalog number NBD 20228)

Hardly essential …

“People’s Choice” track listing:
(side 1)
1.) You Ought To Be Dancin’ (Frank Brunson – David Thompson) – 6:00
2.) If I Knew Then What I Know Now (Jimmy Helms – T. Ziperelli) – 5:25
3.) Special Things for You (Frank Brunson – David Thompson) – 5:58

(side 2)
1.) My Feet Won’t Move, but My Shoes Did the Boogie (Frank Brunson – David Thompson) – 4:24
2.) Bad Dancin’ Rita (Frank Brunson – David Thompson) – 4:42
3.) Sweeter than Honey (Frank Brunson – David Thompson) – 4:09
4.) Warm Nights, Soft Lights (Frank Brunson – David Thompson) – 4:49

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Album: People’s Choice

Release date: 1980

Tracklist:

1. You Ought To Be Dancin’
2. If I Knew Then What I Know Now
3. Special Things For You
4. My Feet Won’t Move, But My Shoes Did The Boogie
5. Bad Dancin’ Rita
6. Sweeter Than Honey
7. Warm Nights, Soft Lights

‘Bad Dancin’ Rita’ On YouTube

Vinyl Covers