Various-Mojo Club Vol.2-For What It´s WorthDisc 11 For What Its Worth2 Hicky Burr3 You Cant Love Me If You Dont Respect Me4 Hagalo5 Boo-Go-Loo6 Put Your Gun Down Brother7 Gator Tail8 Mr. Clean9 Shhhhhh! (For A Little While)10 Monticello11 Swimmin Home Bab
(2016/Ace) 24 tracks 1962-1969 with 12 page booklet. St. Etienne’s Bob Stanley returns to compile a second collection of themed songs for Ace. His previous compilation ´´Songs For The Dog & Duck” (CDCHD 1244) proved popular with St. Etienne fans, who appreciate Bob’s musical taste. All the songs featured here were produced in New York – hence the reference to the Carnegie Deli, 7th Avenue’s purveyor of extremely large sandwiches. The tracks have the high production values of NYC studios and the pop and soul complement each other. Big names abound: Little Anthony, the Chiffons, Irma Thomas, Jay & The Americans and Lesley Gore. Classy obscurities come from the Tradewinds, Marva Josie, Tutti Hill and Junior Lewis. David Coleman, The Groove and Dee Dee Sharp provide retro dancefloor hits. There is one previously unissued girly soul number from Joan Moody. The sound quality is high and the CD is a sumptuous listen. Much-admired writer Bob Stanley provides an entertaining and illuminating sleevenote.
Was machte die 90er musikalisch aus, was ist geblieben? Oftmals werden leider nur Boygroups und Euro Dance thematisiert, wenn es um dieses Jahrzehnt geht, dabei gab es ihn auch in den 90ern, diesen großartigen Pop, der auch noch zwanzig Jahre später nicht angestaubt klingt. Plötzlich tauchten Bands wie die Stereo MC´s oder Brand New Heavies auf und groovten, was das Zeug hielt, Trevor Horn zeigte auch weiterhin sein ganzes Können mit einem Ausnahmekünstler namens Seal, die Dancemusik wurde in England von Bands wie Shamen oder Felix revolutioniert, während in Amerika die DJs von C&C Music Factory für frischen Wind auf dem Dancefloor sorgten. Lupenreiner Pop wurde uns von den Lightning Seeds, Saint Etienne oder Simply Red serviert, aber auch das Label ´´Brit Pop´´ wurde neben Oasis und Blur noch von Künstlern wie Pulp oder The Verve in die Welt getragen. Und es gab diese einzigartigen Nummern, bei denen mal eben komplett die Zeit stehen bleibt: Olive ist sowas gelungen mit ´´You´re Not Alone´´ oder der großartige Nightmares On Wax Remix von Bush´s ´´Letting The Cables Sleep´´: Gänsehaut pur. Aber auch ein paar unverwüstliche Bands aus den 80ern schafften den Sprung ins neue Jahrzehnt. Duran Duran lieferten mit dem ´´Wedding Album´´ etwas ganz Großes ab und ´´Ordinary World´´ ist bis heute einer ihrer besten Songs. Auch New Order waren wieder aktiv und liefen mit ´´Regret´´ sogar im Radio rauf und runter. Da der Output der einzelnen Mitglieder aber auch in den Pausen der Band weiter hoch blieb, gibt es zum Glück Songs wie ´´What Do You Want From Me?´´ von Peter Hook´s Band Monaco oder ´´Getting Away With It´´ von dem genialen Künstlermix Bernard Sumner (New Order), Johnny Marr (The Smiths) und Neil Tennant (Pet Shop Boys) alias Electronic.
It´s 1983 and Emmanuel Maggi is a worker on the assembly line of the Elka factory in Southwest Ancona, Italy. At the weekends he travels one hour in his Citroen DS to see the hottest new wave-dance bands like Tuxedomoon and Palais Schaumberg play at the famous Aleph club in Rimini. Saving his wages to buy the new Italian and imported 12´´ dance and electronic records, he survives from a meagre diet of bread and pasta. Fortunately Maggi is gifted one of the first run of Elka´s new polyphonic synthesisers- The Synthex, designed by his uncle Mario Maggi. In his small bedroom studio The Synthex is at heart of Maggi´s sound- its chords, bass and acid squleches are accompanied by minimal Yamaha RX15 drum programming. Maggi begins to craft his sound, looking both to the new wave bands he hears at the club and the dance 12´´s he spends his wages on. After writing a cache of songs sung in broken English, he builds up the courage to present them to resident DJ Achille to play out at the Aleph. Achille is impressed; his equipment is primitive but the music displays a deep, emotional inner life, ordinarily concealed by Maggi´s focussed and taciturn façade. In 1985 Emmanuel plays a handful of wild live sets as E.Bias at clubs across Italy including his beloved Aleph in Rimini, the Marabu in Reggio and the legendary Cosmic (Disco) in Verona. His music was never to reach a wider public. In the late 80´s, he loses interest in performing live and begins to immerse himself more deeply in the Catholic faith, withdrawing from the music scene and his studio, devoting his time to family life. It´s 2010 and Richard Youngs receives a letter from Maggi who is enchanted by his recent ´´Ultrahits´´ record. He sends his early E.Bias 80´s demos to Youngs as he recognises him as a kindred spirit. After reading a damming review of Youngs´ recent project with Fowler in the Wire magazine a few years later- Maggi re-connects, offering sympathies and suggesting the possibility of a future collaboration with the duo. Maggi sends lyrics and rhythm tracks from his shelved debut album. As singing in the English language was never his strong point he suggests Richard voices his words. Fowler and Youngs decide to team up with fellow traveller Thomson to realise the full dancefloor potential of the project. After completing the new demos of Maggi´s songs, the three discuss the title for the project.- feeling that the songs are so indebted to Emmanuel Maggi they decide to dedicate the record to him; hence they name of this record; The Emmanuel Bias or E.Bias for short.
(Charly) 16 tracks ´What Foes Around, Turn Around´ runs on old maxim which still holds true. In music, as in all things to do with fashion, tastes go round in full circle. What was passe last year can well be this year´s in thing. We´ve seen *the return of the mini-skirt and now it´s the turn of 1960´s soul music to get a much deserved resurgence of popularity. Maybe it´s a sign that I´m getting old but — the explosion of rock ´n´ roll onto the scene around 1955 excepted — I can think of no other era or musical style which possessed quite the same measure of excitement and delightful discovery as did ´Sixties Soul. True, there have been many great records in the years since but I can´t imagine ever again feeling confident enough to place a standing order with my local record shop for every single release on not one but half-a-dozen labels, knowing that I´ll like every one of them! Sue, London American, Stateside, President, Jay Boy, Chess. Atlantic, Stax and Tamla Motown, were the much-sought-out UK labels amongst soul fans in those heady days. Now, two decades later, the music is ´coming back strong´ (to quote a Tony Clarke classic from the era) thanks initially to the efforts of such re-issue labels as Charly and, latterly, to the renewed chart status of oldies from the likes of Sam Cooke and Marvin Gaye, thanks to the use of the songs in TV commercials. Clubs up and down the land are playing the classic songs to a whole new audience while the faithful minority (and it isn´t a small one) who have never deserted the music have taken the chance to stock up on fresh copies of their well-worn favourites. I´ve a strong conviction that both groups will find plenty to entertain them in this great album. Birdlegs And Pauline : The British version of the Sue label, run for Island Records by that colourful character, the late Guy Stevens, was *prized by ´60s soul music collectors for unearthing the real rarities from the American RUB scene. Many were great. some were abysmal, all were interesting. ´´Spring´´ was one of the most talked about UK Sue issues, and one of the most obscure in origin (indeed, it wasn´t until sitting down to pen this present sleevenote that I discovered they had an *album issued, on the Cuca label). From that LP´s sleevenote I´ve gleaned the following information! It was the idea of Chicago bluesman Shakey Jake to put the two together — Birdlegs (aka Sidney Banks) and Pauline (a good friend of Pearl Bailey). Cut originally for Cuca. the quirky ´Spring´ was picked up by Ewan Abner (later to be a Motown exec) for release nationally on Vee Jay. Bob And Ear : Men of many names, Bob and Earl first rocked the emergent British disco scene with the emminently danceable ´Harlem Shuffle´ back in 1963 but it wasn´t until re-release in 1969 that it cracked the UK top-ten. Bobby Relf also recorded as Bobby Garrett while his partner Earl Nelson also masqueraded on records — with some success — as Earl Cosby, Jackie Lee and Jay Dee. Just to further clarify things, the original Bob in the duo had been Bobby Byrd. otherwise known as Bobby Day, of ´Rockin´ Robin´ fame! * The original pairing had emerged from the Hollywood Flames. for whom Nelson sang lead on the 1957 hit ´´Buzz Buzz´´, and recorded for Class until 1959 when Relf replaced Byrd. ´Harlem Shuffle´ was originally released in the US by Marc, one of several LA based labels for which they recorded, usually under the aegis of producer Fred Smith and arranger Barry White (later to be a soul superstar) who devised a totally distinctive sound. With the Rolling Stones´ recent cover version having returned that group to its ´60s R&B roots, the time seems ripe for the original ´´Harlem Shuffle´´ to return to the nation´s dance-floors. Barbara Lewis : A product of the Ollie McLoughlin stable, which also included Deon Jackson and the Capitols, Barbara Lewis had an R&B chart-topper in 1963 with the superb ballad ´Hello Stranger´´, leased from McLoughlin´s Carla label by Atlantic, and quickly scored again with ´Baby I´m Yours´ and ´Make Me Your Baby´. Shades Of Blue: Of Shades of Blue I know nothing except that they were a white Detroit based act and that their ´Oh How Happy´ was written by Edwin Starr and was widely performed by British soul acts in the late ´60s. It was released in the UK on Sue. Brenton Wood: Born in Shreveport, Louisiana, on July 26 1941, Los Angeles´ based Brenton Wood wasn´t a one-hit wonder, he was a two-hit wonder! It was Double Shot Records who