James Hamilton's Disco Page

American Singles

Pick of the week

DONNY & MARIE OSMOND: I’m Leaving It (All) Up To You; Umbrella Song (MGM 2006446).
Originally a late ‘50s Soul duet by its writers, Don (Sugarcane Harris) and Dewey (Terry), and then a November ’63 US Chart-topper/minor UK hit by Baton Rouge-recorded cutsies, Dale and Grace, this heartstrings-tugging slowie now leans more towards the slightly Country feel of the latter. Marie’s keening tones are mainly responsible, as they nearly obliterate Donny’s deeper support – in fact, he only manages to come out on top of his sister for an exact total of six words! Dressed up with noisy strings and things, the abrupt pauses in the plodding beat lose some of their emotional impact but nevertheless are still quite effective. Oh, and girls . . . Donny gets the upper hand, vocally, on the lower-pitched slow and pretty flip!

THE HUES CORPORATION: Rock The Boat; All Goin’ Down Together (RCA ABP0 0232).
From one “Rock” to another: before George McCrae’s “Rock Your Baby” replaced it, this tastefully produced sophisticated Soul bouncer was top of the US Charts . . . and now Andy Kim’s “Rock Me Gently” is fast approaching that position! (But “Rock And Roll Heaven” may get there first!) Anyway, the Hues Corp’s girl and blokes sung happy romper is catchy and Pop enough to do well here too, where it’s already much programmed by certain radio stations. Mildly moody slow flip. POP PICK.

KING CURTIS, DELANEY BRAMLETT & FRIENDS: Teasin’; Soulin’ (Atlantic K 10464).
. . . not the least of the Friends being ERIC “Slowhand” CLAPTON, guitar star of this parish, whose amazing quaking wah-wah work provides the basis for the late Curtis Ousley’s soaring soprano sax spurts. Relatively and oddly ignored when first out a few years ago (though modest me did my best to alert you at the time), this shrilly lurching instrumental has gone on to become something of a truly “underground” classic – so catch it now while you can. More straightforward flip. MUSIC PICK. Continue reading “July 27, 1974: Donny & Marie Osmond, The Hues Corporation, King Curtis/Delaney Bramlett, Ronnie Dyson, Quincy Jones”

Stateside Newies

MILLIE JACKSON: In The Wash (Spring SPR 147).
I was so unenthused when reviewing the A-side of this last week (“How Do You Feel The Morning After”, now at 12 R&B), that I didn’t even check out this flipside dancer. While short of being another “My Man”, it’s a handclapping beater with a catchy offbeat rhythm pattern that should endear it to certain types of dance fans, and it generates a fair amount of energy in a somewhat subtle way. Millie weaves her voice in and out of the different rhythmic elements, and the whole thing gets pretty compulsive with a “hey, gotta play that AGAIN!” appeal . . . uh, in fact, I now reckon that it’s actually even better than “My Man”! Mmmm, I’ll just play that one . . . more . . . time!

PERRY COMO: Weave Me The Sunshine (RCA ABP0 0274).
Huh? Wot’s he doing in this column? Oh well, if any Perry Como fans read it, or even the RRM, they might like to know that while here in Britain we get one slushy ballad after another from Mr. C, in America this happily lilting Dawn-tempo Peter (Paul and Mary) Yarrow-penned is currently Top 10 in the Easy Listening Chart  – although admittedly it has yet to hit the Pop Hot 100 sellers – and it would like as not be a monster smasheroo in this country. How about it, RCA? (There’s crusading journalism for you!)

JOHN DENVER: Annie’s Song (RCA ABP0 0295).
Yeah, boredom personified, but we might just as well check on some of the white Pop hits along with the R&B things in this column. Gulp! Having to listen to this unadulterated dross – even if it is at number two Pop and is from an album that sold ten billion before even being recorded – I’m not sure if that’s such a bright idea though! Quick, back to the Blues! Continue reading “July 20, 1974: Millie Jackson, Perry Como, John Denver, Bobby Womack, The Temptations”

Stateside Newies

THE MAIN INGREDIENT: Happiness Is Just Around The Bend (RCA ABP0 0305).
From their new “Euphrates River” album and penned by Britain’s expatriate keyboards wizard, Brian Auger (whose last two “New Soul-Jazz” albums are both high in the US Jazz Charts, where they deserve to be, while he himself is ignored here), the Ingredients’ latest hit – at 29 R&B, 71 Pop – is a coolly clopping, woolly sounding amorphous Marvin Gaye-type exercise in effortless perpetual motion, punched along by a well-tried Jazz-Funk bass line over which the echoing vocals muzz and fuzz between moody shimmering strings and chiming wah-wah brass effects. Impressive, it’s a really masterful (and commercial) amalgamation of Soul with easily enjoyed Jazz elements. And, above all else, it’s got a killer rhythm!

APRIL: Wake Up And Love Me (A&M AMS 1528-S).
Sadly now just dropped out of the Hot 100’s bottom reaches, this is April Stevens singing a Sylvia-style slinky slowie penned by herself with her past partner Nino Tempo and Jeff Barry (the latter two of whom produced/arranged as well). What sets it apart from Sylvia’s amusing but less than honest erotic efforts is its lyrical link with the tortured outpourings of Dory Previn – April admits right off, after some initial breathy endearments to her deserving lover, that “You’re 21 and I’m 34” . . . and it’s never been better for her. Can it last?? “They” say that it’s not right, just like in countless anguished teen laments, but – for the glorious moment, at least – April’s saying, what the hell. “You’re part boy  . . . but ALL Man!” she purrs with self-satisfaction. Yeah!

SYLVIA: Easy Evil (Vibration VI 530).
As a contrast, Sylvia herself has gotten away from her sexy simperings and turned in a stylistically similar breathy yet lyric-following reading of Alan O’Day’s much recorded lightly Latin pulsator (probably best known as by the Friends Of Distinction), here done slower than usual to accommodate the lady’s sucking and hissing style. In common with all pressings on Vibration, the playback quality is full of frying egg crackles and Rice Crispy noises. Continue reading “July 13, 1974: The Main Ingredient, April, Sylvia, Joshie Jo Armstead, Millie Jackson”

American Singles

Pick of the week

TRAMMPS: Where Do We Go From Here; Shout (Philadelphia Int PIR 2382).
Almost a quintessential Philly Sound “matt” drum thonker with an oh-so-sexy deep bass recitation intro (right on!), the Golden Fleece gang’s current US Soul hit is right in the British disco groove of the moment . . . possibly even more so than the Intruders’ resurrected “Win, Place Or Show (She’s A Winner)”, I fear. Dig the impassioned yet cool singing too, helped along by either the Three Degrees or – could it be? – the First Choice. Unlike on the US 45, we get a cumbersome reworking of the Isley Brothers’ classic raver on the flip.

SOLOMON BURKE: Midnight And You; I Have A Dream (ABC 4002).
Now ABC have their own label here instead of putting everything on their other British outlet, Probe – and Bishop Burke kicks off both it and the latest phase in his recently ailing career with a real winner. There are so many names in the credits that it’s hard to know who did what on the production, but one thing is clear: it says: “Inspired by Barry White for Solomon Burke” . . . and indeed the White style is much in evidence. Over a gorgeous slinky backing, Solly double-tracks first a masculine yet wailing vocal in the voice which Tom Jones copied, and then some deep bass sexy comments. Amongst other goodies, the shimmering slowie contains the line of the week – “undress your mind!” With a sad irony in the light of recent events, the sanctified slow flip includes the sound of Martin Luther King making his famous speech. SOUL PICK.

DIANA ROSS & MARVIN GAYE: Stop, Look, Listen (To Your Heart); Love Twins (Tamla Motown TMG 906).
Still raiding the catalogue of Thom Bell and Linda Creed-penned Stylistics hits for material, the “Love Twins” give us another sweet slowie but – and I wish I didn’t have to say this – it throws the vocal spotlight more on Marv than Di and may suffer here as a consequence, being that much less “Pop”. The gently funky slow flip’s a real groin-grinder for those more intimate moments, and it’s also possibly a better, more commercial, bet. SOUL PICK. Continue reading “July 6, 1974: Trammps, Solomon Burke, Diana Ross & Marvin Gaye, R. Dean Taylor, Jackie Moore”

Stateside Newies

JOE COCKER: Put Out The Light (A&M 1539).
Up 10 to 72 on its second week on the Hot 100, Joe’s first single in quite a while (it’s actually culled from his new “I Can Stand A Little Rain” album) finds him still stumbling about amidst tempo-changing brass and chanting chix in his old style. Possibly as horn-playing Jim Price produced, there’s almost more brass than Joe.

ERIC CLAPTON: I Shot The Sheriff (RSO 409).
Without having heard it myself, I can’t do better than repeat Billboard’s great interest-arousing review: There’s no guitar solo in Eric Clapton’s return single after a recording layoff of some two years. But “Sheriff” is such a catchy goof of a winner that it’s easy to see why RSO felt they had to go with it. Song has a lot of the Latino percussiveness and broad outlaw storyline of “Cisco Kid”. On Billboard reviewer found himself humming it 11 hours straight.

WET WILLIE: Keep On Smilin’ (Capricorn CPR 0043).
The five one-time and probably still would-be Punk-Rockers from Mobile, Alabama, have surprisingly scored their first single hit (at 44 with a bullet) by harnessing what amounts to their version of the old “Malaco Sound” to an identity-crisis ditty of optimistic bent. Thus, the Van Morrison-ish vocals and cooing chix get held up by that “Groove Me”-type lurching rhythm pattern created by the Reggae-style bass. It works OK, too, without being anything terribly exciting. Continue reading “June 29, 1974: Joe Cocker, Eric Clapton, Wet Willie, Ozark Mountain Daredevils, Johnnie Taylor”

Stateside Newies

BOWIE: Rebel Rebel (RCA ABP0 0287).
Although the label credits its source as “Diamond Dogs” (which, coincidentally, at 19 in just two weeks, seems set to be Darling David’s US best yet), this is neither the British single nor album version!!! Totally different, it starts with a bang straight into “Hot tramp, I love you so” before the much altered backing becomes heavily phased and a reverse-running tape (which seems to be playing “la-la-la-la-la” backwards) confuses the sound even more. Whether by intent or otherwise, when run in reverse the “rebel rebel” parts also seem to come out with undertones of “woman woman”!! Heavy! Is this one of those cryptic Beatles-like “hidden messages”?? When played in the right direction, the whole effect is indeed much more exciting than the original Stones-styled sound to which we have become accustomed here, and the single – following this (exclusive?) revelation – is obviously destined to become a much imported collector’s item overnight. But, what’s it all about, Bowie? And is the American album the same as the British?

BROWNSVILLE STATION: I’m The Leader Of The Gang (Big Tree BT 15005).
Here’s something else that’s different: instead of Gary Glitter’s motorbikes, this US hit cover-version (at 52) by the “Boy’s Room” guys starts out with the pounding beat and some power chords before stomping raucously along at a faster lick than Gary’s. Without the gimmicks and flash, it becomes just another noisy rocker.

KISS: Kissin’ Time (Casablanca NEB 0011).
The subject of a massive publicity campaign, this rather ugly updating of the Bobby Rydell oldie is still moving awfully slowly (83 after five weeks) for the Neil Bogart-owned label, which specialised only in easy-to-promote products . . . and to which Marc Bolan and T. Rex are now signed for the US! However, Kiss are still the leaders of America’s own mini Rock Revival trend, as they’re above FANNY’s updating of the Bellnotes’ “I’ve Had It” (also on Casablanca, NEB 0009), JOHNNY T. ANGEL’s of Ray Peterson’s “Tell Laura I Love Her” (Bell 45,472) and WEDNESDAY’s of Mark Dinning’s “Teen Angel”. The guys who you might expect to be leading the Rock Revival movement, FLASH CADILLAC & THE CONTINENTAL KIDS, have in fact (and quite sensibly) done a cover-version of Barry Blue’s old-style yet new “Dancin’ On A Saturday Night” (Epic 5-11102). Continue reading “June 22, 1974: David Bowie, Brownsville Station, Kiss, Razzy, The Commodores”

Stateside Newies

VICTOR TRUMPER: The President Song (MCA 40260).
Remember all the fuss (and the big sales) caused by “The Americans”, earlier this year? It was an ultra right-wing commentary written and narrated by Canadian broadcaster Gordon Sinclair, and taken to platinum status on the Hot 100 by Byron MacGregor, which got played quite a bit on Capital Radio’s “You Don’t Know What You’ve Got” show but which never came out here. Well, wily Victor Trumper remembers it well, and with splendid self-sacrifice has laid aside his trusty willow to enter the political arena in the hopes of making big sales (and big bux) with HIS tribute to some particular Americans. Beginning at the beginning with George Washington and ending at the end with Richard Nixon, Victor intones the names of all thirty-seven American Presidents, pausing momentarily after the assassinated ones, and interspersing each bit of the list with an enigmatic little chorus along the lines of “They all made you what you are today, please don’t throw it all away”. After the last chorus, he gets to Lyndon Johnson and Richard Nixon, and then the record just stops. Now, although ultra-patriotic in intent, already the record is causing wildfire controversy in America, where some radio stations are banning it from their airwaves with the argument that it is an incitement to assassinate Nixon too! Currently big in Boston and banned in New York (a switch from the usual order), yet with many more radio stations uncommitted in the latter city, it’s obviously the sort of single that’ll either sell a million overnight or else die a rapid death. It’s actually good enough to deserve the former fate, which ought to please Victor (whose identity might surprise some: despite the American patriotism, he is in fact British and a broadcaster himself). Now ain’t that nice?

LAMONT DOZIER: Fish Ain’t Bitin’ (ABC 11438).
It seems strange that Lamont Dozier (currently up 11 to 14 with a bullet on the R&B Chart), who after all was one of Motown’s legendary producers along with Holland brothers, is scoring a hit himself with which he has no connection other than as singer. Produced, co-arranged and co-penned (but not with Lamont) by McKinley Jackson, and culled from the “Out Here On My Own” album, it’s an effectively lurching medium-slow rhythm jiggler that’s sung with the Levi Stubbs type of strangulatedly hoarse urgency.

TAVARES: Too Late (Capitol 3882).
Just one place behind Lamont Dozier R&B but 14 above him above him at 77 Pop, the Tavares brothers’ latest is a slick and smooth creamy chugger with slightly Latin rhythms during the gradually building intro and Spinners-style professionally good vocal work behind the coolly impassioned lead singer. Penned and produced by prolific hitmakers Dennis Lambert and Brian Potter, it gets credited as a Haven Records Production yet is not actually on that duo’s new Capitol-distributed Haven label. Continue reading “June 15, 1974: Victor Trumper, Lamont Dozier, Tavares, The Dells, Smokey Robinson”

Stateside Newies

BUNNY SIGLER: Love Train, Pts. 1/2 (Philadelphia Int. ZST 3545).
Pulled from Bunny’s “That’s How Long I’ll Be Loving You” album and cut in two for singles release, here’s his ultra-soulful slowing-up of the O’Jays’ international smash. There’s still plenty of rhythm, but this time it’s a ponderous slow lurching thump ‘n thud to which you can actually grasp the one you love while you sway on board the love train with a groin-grinding action! (And if you can’t be near the one you love, love the one you’re near!) Anyway, back on the track, Bunny (a bloke, y’know, of mighty disco fame in the past) gets a gospelly feel going as he wails and rants away over a loosely chanting group, who actually start the record off with some formless background chatter over the strongly-featured organ’s sanctified chording and the churchy piano’s ditto plonking. On Part 2, the music drops away, and Bunny preaches to the accompaniment of this by now humming group, members of whom chip in with righteous “yeah, yeahs”, before the music comes back in and the beat returns. A really good concept, done well, and obviously destined to be extremely popular amongst the Soulful folk.

LITTLE MILTON: Behind Closed Doors (Stax STA 0210).
So now Milton Campbell wraps his bluesy throat around the Charlie Rich smash, substituting a frantic passion for Charlie’s quiet conviction. The result is actually less personal than the quieter approach, and summons up – in my mind, at least – mental images of a far sweatier and more wham-bam set of behaviour patterns behind those closed doors than does the more refined boasting of sensitive yet burly Rich. Still, different strokes for different folks, and different tricks for different chicks. (Phew, keep it up! – Assistant Ed).

TYRONE DAVIS: What Goes Up (Must Come Down) (Dakar DK 4532).
Speaking of keeping it up, Pete, Tyrone here has the oh-so-truthful answer! It’s always hard to describe Ty’s discs, because as with those of such as Al Green they do tend to have the same formula, but vary considerably in the detail which makes up their overall similarity of sound. This new one, which is doing extremely well R&B (at 20 this week), is another bouncy whomper with rhythm-riding phrasing and all sorts of subtleties. Continue reading “June 8, 1974: Bunny Sigler, Little Milton, Tyrone Davis, Gladys Knight & The Pips, Maria Muldaur”

Stateside Newies

GENE REDDING: This Heart (Haven 7000).
Penned/produced by winning team Dennis Lambert and Brian Potter, and the first single on the new Capitol-distributed Haven label (which has the comforting logo of a red-roofed idealised house nestling snugly amongst some green trees), “This Heart” is a bit like a re-tread of “I’m Gonna Make You Love Me” and several other well tried changes, given the Thom Bell-derived but more likely Al Wilson-aping Pop-Soul treatment of cooing chix, lush arrangement and “matt” drums drily pumping away. Gene (no relation) hits all the notes with his inoffensive voice, and is still climbing Pop while hanging fire a bit in the middle of the R&B Chart.

THE (NON-LIVERPOOL) SPINNERS: I’m Coming Home (Atlantic 45-3027).
Talking of Thom Bell, here’s his latest creation (co-penned with Linda Creed but otherwise all his own work) for the Spinners, whose style it is that has influenced the new Al Wilson/Gene Redding Pop-Soul sound. To an ambiguous beat which never does decide what it wants you to do to it, the lead voice wails away and the group (or are they all chix?) make docile noises in the background. Given a more definite rhythm this would be more satisfying listening – still, it’s rapidly climbing Pop/R&B.

WAR: Ballero (UA UA-XW432-W).
Already available to you on their new “War Live” LP, the guys’ latest US single is a great pulsating treatment of their old Latin groover. If you’re as much of a sucker as I am over them crazy Latin rhythms, this lazy yet energetic percussive groove will be your meal . . . although doubtless it’s longer in the LP version. Continue reading “June 1, 1974: Gene Redding, The Spinners, War, Trammps, George McCrae”

American Singles

Pick of the week

STEELY DAN: Rikki Don’t Lose That Number; Any Major Dude Will Tell You (Probe PRO 622).
Lead-off number on their great “Pretzel Logic” album, which is pure listening pleasure from beginning to end and really should be bought instead, this gradually unfurling mellow Latin lilter is too subtle for a single yet makes an ideal introduction to the group for the impecunious. Their harmony sound is just a killer on the slow flip. Dare I claim that “Pretzel Logic” is as complete and indefinably “right” as was “The Band”? MUSIC PICK.

THE MONKEES: I’m A Believer; Monkee’s Theme (Bell 1354).
Now that it’s hip to dig the Monkees, this could be a timely revival of their first and still biggest British smash from ’67. The Neil Diamond-penned hit side is surely familiar to all but the very youngest, while Boyce & Hart’s telly “Theme” – with its “Hey, hey, we’re the Monkees!” – makes a strong and welcome alternate title . . . no, I’m sorry, I mean alternate A-side. NOSTALGIA PICK.

LITTLE BO PETE & THE 1974 ROCK & ROLL JANITORS: Good Golly Miss Molly; Lucille (Surrey International SIT 5005).
Get over the jokey group name and you’ll find that these two old Little Richard rockers have been given powerhouse treatments about which anyone should feel proud. The beat don’t quit, nor does the excitement. Phew, once more round the room, James! DISCO PICK.

FLESH GORDON AND THE NUDE HOLLYWOOD ARGYLES: Superstreaker; Naked (Paramount PARA 3049).
With a group name like that you’d be right to expect a revamped version of “Alley Oop”: what you might NOT expect, though, is for it to be as good as it is. With lines like “Look up in the tree, it’s a sugar-cured ham!” – “No, it’s Superstreaker!”, it’s a veritable laffarama. Arranged by White Tornado, the whole thing smacks of Gary Paxton. It certainly cuts the Ray Stevens newie, to my mind. FUN PICK. Continue reading “May 25, 1974: Steely Dan, The Monkees, Little Bo Pete & The 1974 Rock & Roll Janitors, Flesh Gordon And The Nude Hollywood Argyles, Ray Stevens”