Singles and Chart Positions: “Now I’m A Woman” #93 (US), #41 (US R&B) Singles Certifications: N/A Other Charting Tracks: N/A Best Tracks: “Now I’m A Woman,” “Joe,” “Bridge Over Troubled Water,” “The Real Me”
After an extended period of albums with producer David Cavanaugh, Wilson did this 1970 album with Gamble-Huff productions, featuring producers/arrangers including Thom Bell, Bobby Martin, and arranger-conductor Lenny Pakula. Cavanaugh did show up as executive producer.
Around this time the Philly production team was best known for their work with artists like Jerry Butler, Billy Paul, and the Delfonics, among many others. Wilson falls right into the production style.
The title track is a customary strong outing from Kenny Gamble and Leon Huff. The beautiful "Joe" has the sound of a prime Thom Bell production, and Wilson gives an amazing performance and a particularly emotional note that might go through a listener. Wilson shines on "Lonely, Lonely" and "Let's Fall in Love Again"; both benefit from Bobby Martin's patently brassy and sweeping Philly production. “Now I'm a Woman” is an important album in Wilson's oeuvre and the Philly sound.
The release of Nancy Wilson's Now I'm a Woman album coincided with her distingué performance in an episode of Hawaii Five-O's third season ("Trouble in Mind") as the heroin-addicted jazz vocalist Eadie Jordan. In one scene, the no-nonsense Steve McGarrett confesses to being an Eadie Jordan record collector and fanboy.
The album’s only single, the title track, “Now I’m A Woman,” is a soul-stirring song that Wilson sinks her teeth into. The song about a woman reflecting on her past hurts, once as a baby, then as a lady, and now as a woman. Once again displaying their remarkable ability at song-tailoring, Kenny Gamble and Leon Huff craft a beauty for Wilson, utilizing an understated rhythm section and stately, well-spaced strings. Wilson was as comfortable and compelling in contemporary settings as she was with jazz and more elaborately arranged sessions.
Now I'm A Woman (1970)
Album highlight, “Joe,” a Kenny Gamble/Norman Harris/Allan Felder song that the Philly innovators also recorded with Dusty Springfield; Nancy Wilson's quite comfortable in this contemporary setting and demonstrates her inherent ability to sing in perfect diction, making the availability of lyrics unnecessary. Trademark Philly horns provide a familiar opening, and Wilson's exquisite, longing enhances the lush track. She misses Joe badly; check out her sorrowful, womanly cry before the chorus, it catches you by surprise.
Other album highlights “Bridge Over Troubled Water” is a soul-stirring rendition that brings an aura to the song that is as moving as any other cover of the Simon and Garfunkel classic. “The Real Me” is one of the three best songs on the album showcasing Wilson’s finesse with jazz and blues.
The following is a review of Nancy's album in the November 21, 1970 issue of Billboard Magazine:
A talent of consistent fine quality - that's Nancy Wilson. In this album, she demonstrates her versatility and professionalism with a selection of today's top hits "Bridge Over Troubled Water," "Long and Winding Road," "Close To You" and "Now I'm A Woman."
The following review showed up in the Spotlight Singles section of the October 10, 1970 issue of Billboard Magazine:
Miss Wilson is at her ballad best with this beautiful Gamble-Huff material that should prove an Easy Listening and Soul smash and carry her over to the Top 100 as well. First-rate production work.
“Jobim” is heavily orchestral and more on the easy listening side and less Bossa Nova, but not to fear the album certainly has it’s share of the Bossa Nova sound for which Antonio Carlos Jobim is famous.
“Jobim” was an experiment for Jobim putting less of an emphasis on the bass and rhythmic style of bossa nova and more priority on a bigger symphonic sound. The record lets listeners in on another side of Jobim, a classical interpretation of moody instrumental tone poems for films based on the works of Debussy and Villa Lobos. Jobim continued with his symphonic orchestrations throughout the 70s.
It is the symphonic orchestrations which brings this album to life. Jobim hired Claus Ogerman to produce the album. Ogerman had worked previously with Jobim (since 1963) on a total of five albums before this one and two more afterward. Ogerman also arranged and conducted the orchestral arrangements. Ogerman a famed German composer, conductor and arranger also worked with Frank Sinatra, Billie Holiday and in his later years with Diana Krall. Though he worked mainly with in the jazz genre arranging musicians such as Bill Evans, Wes Montgomery and Cal Tjader, Ogerman did foray into pop music and composed arrangements for several pop hits including Solomon Burke's "Cry To Me" and Leslie Gore's "It's My Party," "Judy's Turn To Cry" and "She's A Fool."
Aguas de Marco (1973)
“Aguas de Marco” has grown to become a classic for Jobim. He wrote the lyrics for the song originally in Portuguese and later in English. The inspiration for the song came from Rio De Janeiro's rainiest month. March is typically marked by sudden storms with heavy rains and strong winds.
We remember Grover Washington Jr best for his 1981 smash hit “Just The Two Of Us,” a collaboration with Bill Withers. But it is his album “Mister Magic,” Grover's fifth studio album, that gave him his first true breakthrough on both the albums and singles charts. The album made it to #10 on the US Billboard chart and the single peaked at #54 (his first single to chart).
Grover Washington Jr is considered to be one of the founders of the smooth jazz sound. Though Washington’s brand of smooth jazz has always been of the highest form remaining true to the jazz soul styles of his earliest recordings. Because of it’s accessible smooth jazz style, with the musical arrangements composed by Bob James, “Mister Magic” was able to break through in many markets including the pop charts, R&B, dance and jazz charts. “Mister Magic” was a hit on adult contemporary light rock AM radio stations across the US and helped to bring jazz to the forefront in the mid 1970s. Now the album is considered a classic and revered by Washington’s many fans.
The title track, "Mister Magic," was written by jazz music legend Ralph MacDonald. The song is one of those few songs that was able to cross territories of music as not only did jazz radio stations love it but the song was a popular choice in dance clubs throughout the US - it's not too often that a jazz tune is a hit in disco clubs. And if that is not enough even easy listening pop stations liked the tune.
"Mister Magic" (1975)
"Earth Tones," with it's complex 6/4 beat, is the most experimental track of the album featuring a great way was guitar solo by Eric Gale. Washington on the sax and Gale on guitar get ample opportunity to improvise on this 12 minute track.
Grover wrote all the songs on the album with the exception of "Passion Flower" which was written by Billy Strayhorn. The soothing ballad features Grover's dreamy sax playing in a fashion that just brings you to a point where you just melt right in your seat by the beauty of the song. Grover does some fantastic things with the saxophone with a few twists and surprises about half way through.
The guitar solos by Grover Washington Jr and Eric Gale are a major aspect of the album that initially caught the attention of radio programmers and music listeners. Each man plays his instrument to the finest degree possible with each adding their own highly recognizable chords to the arrangements.
The album is a who’s who of jazz music including the legendary Bob James (member of the band Fourplay, composer of the "Taxi" TV Theme song and has composed arrangements and orchestrations for countless musicians), Eric Gale (Legendary jazz guitarist), Ralph McDonald (singer, songwriter, arranger, producer, percussionist. Wrote the songs "Where Is The Love," "Just The Two Of Us" and "Mister Magic") and Jon Faddis (jazz trumpet player, conductor, composer).
Producer Creed Taylor also produced a wide variety of musicians in the jazz field such as Antonio Carlos Jobim, Carmen McRae, Charles Mingus, John Coltrane, Charlie Byrd, Wes Montgomery, Freddie Hubbard, George Benson, Nina Simone, Herbie Hancock and others. Taylor founded the record company CTI and later it’s sister label Kudu which focused on R&B Jazz artists such as Grover Washington Jr.
Release Date: February 1972 Produced by Alice Coltrane and Ed Michel Genre: Jazz, Free Jazz Label: Impulse Records
Chart Positions: N/A Certifications: N/A Singles: N/A Singles Certifications: N/A Other Charting Tracks: N/A Best Tracks: All five tracks are outstanding!
Alice Coltrane was the second wife of jazz legend John Coltrane. “World Galaxy” is her sixth studio album and is considered by those that have experienced the album to be a spiritual journey of enlightenment. The album was recorded in a span of two days in November 1971.
In this album Alice plays the harp and piano (as she did on her previous albums) but also extended her list of instruments to percussion, organ and tamboura becoming a multi-instrumentalist with “World Galaxy.” The harp, Alice's prime instrument, has been considered by many to be a cosmic symbol, symbolizing angels, peace and heavenly bodies. “World Galaxy” is an acquired taste and takes a few listens to understand Coltrane’s intention of where she’s taking the music.
Several critics consider “World Galaxy” to be one of the early 70s' finest moments in jazz music.
Alice wrote three of the five tracks from the album which construct the Galaxy suite. Also included is an inspirational avant-garde jazz rendition of Rogers and Hammerstein’s “My Favorite Things,” Alice completely reworked the song to the point that you almost don't recognize parts of it until you sit still and listen. It's a colossal of visions and atmospheric texturing of cosmic strings that propel this piece into a world of its own. John Coltrane did a more accessible standard rendition of the song in 1961 that has been considered one of his signature pieces.
"My Favorite Things" (1972)
The final track is a cover of John Coltrane’s classic “A Love Supreme,” Alice adds an ethereal sense to the music while progressing into a somewhat jive-bop style (yes I am creating my own new genre to describe the song) that gives the song a bit more lift than John Coltrane’s original. Alice was known for taking a song and completely turning it into a obscure avant-garde work of art, in this manner she was wholly successful with the creation of "World Galaxy."
All 'n All is the eighth studio album by the American band Earth, Wind & Fire, released in 1977 on Columbia Records. It is one of the group's best known albums and has been certified triple platinum in the United States for sales of three million copies by the RIAA, gold in Canada by Music Canada and silver in the UK by the British Phonographic Industry. All 'n All reached #3 on the Pop Album chart and stayed at #1 on the Black Album chart for nine weeks. All 'n All was also the bestselling R&B album of 1978.
The album won two Grammy Awards one for Best R&B Vocal Performance By A Duo, Group Or Chorus and the song "Runnin'" won for Best R&B Instrumental. All 'N All also garnered an American Music Award nomination for Favorite Album- Soul/Rhythm & Blues.
The funk-filled R&B track "Serpentine Fire" was the first single from the album and was the album's biggest hit in the US reaching #13 on the Billboard singles chart and seven weeks at #1 on the US R&B chart. Philip Bailey's congas drums and the full horn section give the song a slight Latin R&B jazz style. Written by EWF members Maurice White and Verdine White with Reginald Sonny Burke, the lead vocal was taken by Philip Bailey as at the time Bailey was gaining more prominence with the band in performing more lead vocals. The Serpentine Fire is a yoga concept, Maurice White explained, "The Kundalini principle has to do with the fluid in your spine. After 29 days, if used properly it can be converted into a higher consciousness of energy, which means you can step up or step down, it's your choice. It's called a serpent, because if you tipped the spine out of the body and looked at it, it would look like a serpent - and the fluid is the fire in the spine." "Serpentine Fire" was born out of Maurice and Verdine's spiritual and positive energy.
The second single from the album, "Fantasy," was a much bigger hit throughout the world than "Serpentine Fire," except in the US where it charted considerably lower at #32 on the Billboard singles chart and #12 on the R&B chart. Despite the lower chart position the song was certified Gold by the RIAA. "Fantasy" was written by Maurice and Verdine White this time with the assistance of Eddie Del Barrio. Del Barrio, a jazz and funk musician, songwriter, arranger and producer, also co-wrote the Earth Wind & Fire songs "Runnin'," and "Star." "fantasy" was described by many as Earth, Wind and Fire's transition into disco with a smooth groove to it.
"Fantasy" (1977)
The next two singles "Jupiter" and "Magic Mind," were both semi-hits in the UK charting at #41 and #54 respectively.
"Love's Holiday" and the beautiful "I'll Write A Song For You" both received radio airplay, despite not being released as a-side singles. "Love's Holiday" was used as the b-side to the single "Magic Mind."
Release Date: June 7, 1976 Produced by Kenny Gamble, Leon Huff, Bunny Sigler, Dexter Wansel, Jack Faith, Bobby Martin Genre: Philadelphia Soul, Jazz, Adult Contemporary, R&B Label: Philadelphia International Records Chart Positions: #7 (US) Certifications: Platinum (US), Gold (Canada)
Singles: “You’ll Never Find Another Love Like Mine” #1 (South Africa), #2 (US, Canada), #8 (Netherlands), #10 (UK, Belgium), #16 (New Zealand), #22 (Australia), #1 (US R&B, US Dance, US Adult Contemporary), “Groovy People” #64 (US), #19 (US R&B), #19 (US Adult Contemporary), "From Now On" #53 (UK) Other Charting Songs: "this Song Will Last Forever" #74 (US R&B) Singles Certifications: You'll Never Find Another Love Like Mine" (US Gold, Canada)
All Things in Time is an album by American R&B singer Lou Rawls, released in June 1976 on the Philadelphia International Records (PIR) label. It was his 27th studio album. Coming after a career lull in the years immediately preceding, All Things in Time was Rawls' first album for PIR; at the time he was the first artist to sign with PIR after having already enjoyed a substantial recording career and chart success with other record labels.
“All Things in Time” became an immediate success on the back of its celebrated lead single "You'll Never Find Another Love Like Mine", which gave Rawls the biggest hit of his career. The album was Rawls' third R&B chart topper (the first since 1966), and reached #7 on the pop chart. It was certified Platinum in the US by the RIAA for sales in excess of 1 million.
“All Things in Time” was highly rated by critics on its original release for the quality and variety of its material, faultless production standards and Rawls' vocal performances.
Rawls was one of the few acts on the label that could do great work with a variety of producers and arrangers. The biggest track was the bravado-filled "You'll Never Find Another Love Like Mine." With its subtle Latin rhythms and Rawls' tongue-in-cheek intonations.
"Time" written by Jack Faith and Allan Felder has Rawls doing a pitch-perfect vocal that makes the song sound like a standard. Despite not being released as a single “Time” with Rawls’ rich crooning vocal, reached #8 on the US Dance chart.
On this album, Rawls also got a chance to do work with the quixotic Bunny Sigler. Both "Need You Forever" and "From Now On" have Sigler accentuating Rawls' rougher edges. Unfortunately, all of the tracks aren't great here. All Things in Time ends on a great note, on "Let's Fall in Love All Over Again," a song previously done by Billy Paul and Nancy Wilson, Rawls' take is arguably the best version.
The lead single “You’ll Never Find Another Love Like Mine” ensured the success of this album. The legendary songwriting team of Kenny Gamble and Leon Huff wrote the song. They were the powerhouse producers behind most of the Philadelphia Sound, and they wrote this song specifically for Rawls. The track helped lure Rawls to Gamble & Huff's Philadelphia International label, as he was impressed that they took the time to understand his voice and write something to suit it. The song was not only a huge pop hit but was an even bigger crossover hit reaching #1 on the US R&B chart, US Dance chart and the US Adult Contemporary chart. The song was a popular favorite in roller skate rinks across the US during 1976 and 1977. “You’ll Never Find Another Love Like Mine” was a chart topper in South Africa and reached #2 in both the US and Canada. In the UK it charted a tad bit lower reaching #10. “You’ll Never Find Another Love Like Mine” was certified Gold in the US for sales of more than 500,000. The song was also nominated for a Grammy Award in the Best Male Pop Vocal Performance category but lost out to Stevie Wonder's "Songs In The Key Of Life."
"You'll Never Find Another Love Like Mine" (1976)
“Groovy People, with its electric guitar chord opening, was the second single from the album. Though it did receive airplay it charted low at US #64 and made it into the Top 20 on both the US R&B and Adult Contemporary charts. Fans were thrilled by the songs optimistic nature and Rawls’ carefree vocal performance. The song received a Grammy Nomination for Best Male R&B Vocal Performance but lost out to Stevie Wonder's "I Wish." The song’s b-side “This Song Will Last Forever” made it to #74 on the US R&B charts.
Album Certifications: Platinum (US), Gold (Canada), Silver (UK)
Singles: “Talking In Your Sleep” #11 (UK, Canada), #18 (US), #1 (US Country, Canada Country), #3 (US Adult Contemporary, Canada Adult Contemporary), “Why Have You Left The One You Left Me For” #1 (US Country, Canada Country), #16 (Canada Adult Contemporary), #22 (US Adult Contemporary), “When I Dream” #84 (US), #3 (US Country), #20 (US Adult Contemporary), “Heart Mender” #58 (US Country), “Hello I Love You” #4 (South Africa)
Singles Certification: “Talking In Your Sleep” (UK Silver)
Best Tracks: ALL TRACKS – Solid from start to finish
When I Dream is the fifth studio album by American country and pop music singer Crystal Gayle. It was released on June 2, 1978, at the height of her career. It was her second consecutive album to reach #2 on the US Billboard Country Music charts. Two singles from the album reached #1 on the Country Singles chart: "Talking in Your Sleep" (also a Top 20 Pop hit) and "Why Have You Left the One You Left Me For".
By now it was evident that Crystal Gayle was a powerhouse all of her own. She did not need to ride on the coattails of her sister, the legendary Loretta Lynn. Crystal had the talent and the style to make even if she did not come from country music royalty.
The album achieved a gold disc the year it was released but was certified platinum by the RIAA in 1982. It was also Gayle's second album to chart in the UK, where it reached #25, and was awarded a silver disc by the BPI. In Canada, the album was a huge hit being certified Gold and made it to #1 on Canada’s country music album chart. The album was #2 on the US country music chart.
As a result of the album’s success Crystal Gayle in January 1979 Crystal was given an American Music Award for Favorite Country Female Artist and the Top Female Vocalist Award by the Academy of Country Music. She also received two Grammy Award nominations for the song “Talking in Your Sleep” in the Best Country and Western Vocal Performance by a Female. As well she received two Country Music Association (CMA) Awards nominations for Entertainer of the Year and Female Vocalist of the Year and the song “Talking In Your Sleep” received a nomination for Song of the Year by the CMA.
The lead single “Talking In Your Sleep” was written by Bobby Woods and British songwriter Roger Cook. Roger Cook had been well known in the UK as one of the lead vocalists with the group Blue Mink who achieved four Top Ten hits in the UK. Cook also co-wrote “Hello I Love You,” “Let Your Feelings Flow,” “Hollywood,” “Livin’ In These Troubled Times” and “Tennessee” all of which were recorded by Crystal Gayle. Roger Cook was a renowned songwriter that co-wrote the million-selling hits “You Got Your Troubles” (The Fortunes), “I’d Like To Teach The World To Sing” (The Hillside Singers, The New Seekers) and “Long Cool Woman In A Black Dress (The Hollies). Songwriter Bobby Woods co-wrote hits for country music artists Billy “Crash” Craddock and Billie Jo Spears. One of his best-known compositions is “What’s Your Name, What's Your Number” which was a 1977 hit for the Andrea True Connection. Cook also co-wrote the songs “Half The Way” and “He Is Beautiful To Me” both recorded by Crystal. The teams of Bobby Woods and Roger Cook wrote the song “Keepin’ Power” which showed up on Crystal’s 1981 album “Hollywood Tennessee.”
The song “Talking In Your Sleep” was a huge hit shortly after “Don’t It Make My Brown Eyes Blue.” It was a sophisticated pop ballad sung beautifully by Crystal. It made it to #18 in the US and #11 in both the UK and Canada. On the country music charts, it was #1 in both the US and Canada and reached #3 on the Adult Contemporary charts in both the US and Canada. It was awarded a Silver certification in the UK for sales of more than 200,000 copies.
"Talking In Your Sleep" (1978)
The handclapping “Why Have You Left The One You Left Me For” was the album’s second single. The song did not make it to the pop charts but continued Crystal Gayle’s run of #1 hits on the country music charts reaching the top in the UK and Canada. The upbeat song adorned with a great session of handclaps and electric guitar chords received a fair amount of play in country and western bars across the US throughout the later 70s and 80s.
The third single “When I Dream” brought Crystal back to the lower reaches of the pop charts peaking at #84 on the US Billboard chart. It also made it to #3 on both the US and Canadian country music charts. This song is considered a classic amongst Crystal Gayle fans.
The fourth and last single “Heart Mender” made it to #58 on the US country music chart.
Crystal’s rendition of the classic torch song “Cry Me A River” (a hit in 1955 for Julie London) is an album highlight and was used as the b-side for the single “Why Have You Left The One You Left me For.” Many fans have felt the song could have been a great a-side single for Crystal.
“The Wayward Wind” a hit in 1956 for Gogi Grant (in the US) and Tex Ritter (in the UK). Crystal took the song and gave it her own twist an album highlight popular with fans.
“Paintin’ This Old Town Blue” a blues jazz-influenced tune stands out on the album.
The album closes with Crystal’s intimate recording of Johnny Cash’s “I Still Miss Someone.” Johnny first recorded this song back in 1958 with his nephew Roy Cash, Jr. Crystal Gayle’s tender rendition features a glistening doubled tracking of her lead vocals.
Crystal Gayle (When I Dream open album gatefold cover) 1978
Crystal Gayle July 1978 Billboard Magazine Article
Release Date: May 1975 Produced by Wayne Shorter, Josef Zawinul Genre: Jazz Fusion, Jazz, Jazz-Rock Label: Columbia Chart Positions: #35 (US), #3 (US Jazz), #12 (US R&B) Certifications: N/A Singles: N/A
Tale Spinnin' is the fifth album by Weather Report, recorded and released in 1975, featuring the addition of Leon "Ndugu" Chancler on the drums. Ndugu was recruited after Josef Zawinul heard him play with Carlos Santana. After the record, Ndugu was asked to join the band as a permanent member, but declined in favor of continuing to work with Carlos Santana.
“Tale Spinnin’” finds Weather Report sporting a more Latin-tinged sound with a funk undercurrent. It was the combination of Ndugu on drums and Alphonso Johnson that brought the funk rhythm to “Tale Spininn’” in a way that moved them into a “world” music sound before “world” music was even a genre. But most important in creating this “world” music style was Joe Zawinul’s increased precision in his use of synthesizer and much more pronounced than on previous albums. Zawinul experiments with an array of unusual instruments such as the melodica, which is a handheld keyboard that is played by blowing through a mouthpiece and pressing the keys. He also plays a West African talking drum, a two-headed drum whose pitch can be regulated to mimic the tone and phonics of human speech. Other instruments he introduced to the album are xylophone and cymbals. Finally we have Wayne Shorter whose masterful performance of soprano and tenor saxophone sets the mood and ambiance of the music.
"When it came time to record "Tale Spinnin'," Joe Zawinul commented, "We didn't have a band and we had to make a record." It was a drummer that the band needed. Zawinul and Wayne Shorter rehearsed all the music with a drummer but Zawinul was not happy with the results. Weather Report was in the studio rehearsing while Jean-Luc Ponty was next door recording his album "Upon The Wings of Music." Ndugu Leon Chancler, on hiatus from Santana, was playing drums for Ponty. It was during a break that Zawinul and Shorter asked Chancler if he would like to do a session with them. That session lasted a week. These recordings became "Tale Spinnin'."
Although the album is full of highlights none of the songs were released as singles. Though several did receive airplay on FM album-oriented jazz radio stations in the 70s.
“Between The Thighs” brings the funk out in an enormous way most notably within Shorter’s sax solos bringing on the brass in an urban way as never before heard on a Weather Report album accompanied by Zawinul’s funky keyboard spells and synthesized idiosyncrasies. This is one of the album’s more dramatic entries. “Freezing Fire” continues in the same vein with a more pronounced otherworldly arp synthesizer performance by Joe Zawinul.
The album closes with the mesmerizing ballad “Five Short Stories” in which each note is carefully crafted and precisely communicated with skill and emotion.
The album’s most prominent highlight is “The Man In The Green Shirt,” this song displays the complex compositions that Joe Zawinul is capable of producing. Leon Ndugu Chancler's drum patterns sweep through the album with a quick and steady tempo. Just as impressive is Alphonso Johnson’s amazing bass that rips through the song like the fluttering of a falcon’s wings yet contains a sort of pacifying effect that sends a warm feel to the soul. Driving the song again is Joe Zawinul’s smooth groovin' achievements on the synthesizer, though this time with an even more fascinating and incredible force. The song skyrockets into a stratosphere that takes you beyond the world of music and into a futuristic galaxy of human emotion and comfortable numbness.
On the original LP inner sleeve, Zawinul explained the background behind "The Man In The Green Shirt":
"I was in Saint John in the Virgin Islands on the 4th of July and there was this incredible old man, black and old, the blackest eyes you ever saw. Now everybody was dancing and nobody paid any attention to him; he was wearing a long green shirt. The music was unbelievable-they had the St. Thomas Steel Band, the original one, the best in the world. The man in the green shirt was there, out there dancing by himself, and I've never seen anyone dance like this incredible old black man in my life. It was his age, his maturity, his wisdom."
The Man In The Green Shirt (1975)
Eric Kriss wrote the following review in September 1975 for Down Beat Magazine:
“After several years of experimentation–both successful and unsuccessful–Weather Report has arrived, so to speak, at the crossroads of space conceptualization, a magical point at which all the musicians seem to feel each other without effort. The result is this brilliant album, Tale Spinnin’, a mixture of folk song and sophisticated jazz in a charming, unpretentious synthesis… Most of the compositions, even those written by Zawinul, bear the unmistakable stamp of Shorter’s thinking. Like Shorter’s recent solo release, Native Dancer, the melody lines are crystal clear and seem to be suspended over a canyon of flowing rhythms… I highly recommend this LP, especially to those who haven’t listened to Weather Report lately. My imagination has been captured, and that doesn’t happen often.”
Release Date: October 11, 1972 Produced by Carlos Santana, Mike Shrieve Chart Positions: #8 (US), #3 (Netherlands), #6 (UK), #7 (Holland), #10 (Norway), #11 (Australia), #13 (Denmark), #15 (Italy) Certifications: Platinum (US), Gold (Canada, France) Singles: “Song of the World”
Caravanserai is the fourth studio album by Santana released in October 1972. It marked a major turning point in Carlos Santana's career as it was a sharp departure from his critically acclaimed first three albums. Original bassist David Brown left the group in 1971 and was replaced by Doug Rauch and Tom Rutley, while original percussionist Michael Carabello left and was replaced by Armando Peraza. Keyboardist/vocalist Gregg Rolie, who was having a falling-out with Santana, was replaced by Tom Coster on a few songs. The album also displayed a change stylistically. While Santana maintained his Latin rock signature sound he put a broader focus on a jazz-fusion twist. Caravanserai reached #8 in the Billboard 200 chart and #6 in the R&B Albums chart in 1972.
The sound contrasted greatly with Santana's trademark fusion of salsa, rock, and jazz, and concentrated mostly on jazz-like instrumental passages. All but three tracks were instrumentals, and consequently the album yielded no hit singles. The album is the first among a series of Santana albums that were known for their increasing musical complexity, marking a move away from the popular rock format of the early Santana albums towards a more contemplative and experimental jazz sound. While Caravanserai is regarded as an artistic success, the musical changes that began on its release in 1972 marked the start of a slide in Santana's commercial popularity. This album has been mixed and released in both stereo and quadraphonic.
Caravanserai is daring even by Santana's high standards. Carlos Santana was obviously very hip to jazz fusion -- something the innovative guitarist provides a generous dose of on the largely instrumental Caravanserai. Whether its approach is jazz-rock or simply rock, this album is consistently inspired and quite adventurous. Like the type of jazz that influenced it, this pearl (which marked the beginning of keyboardist/composer Tom Coster's highly beneficial membership in the band) requires a number of listenings in order to be absorbed and fully appreciated.
It was the last Santana album to feature Gregg Rolie and Neal Schon, who went on to form Journey the following year.
“Song of the Wind” is the only single release from the album. Though the song failed to chart it displays the fine musicianship Santana came to be known for. The song is driven by Carlos Santana’s lead guitar and is an excellent example of his fluid ability on the guitar.
"Stone Flower" (1972)
Antonio Carlos Jobim wrote “Stone Flower” an album highlight with lyrics by Carlos Santana and Michael Shrieve. The Brazilian musician, Antonio Carlos Jobim, is best known for his samba and bossa nova compositions. “Stone Flower” first appeared in 1970 as an instrumental on Jobim’s album of the same name. Jobim is also known as one of the cowriters of the 1964 classic “The Girl From Ipenema.”
Release Date: November 1972 Produced by Jerry Goldstein, Lonnie Jordan, Howard E. Scott Chart Positions: #1 (US) Certifications: Gold (US) Singles: “The Cisco Kind” (#2 US), (#1 Canada), (#4 Netherlands), (#10 France), (#22 Holland)
“The World Is A Ghetto” (#7 US)
(70’s Music: Album by Album highly recommends this album for any music lover + this is a must buy)
The band's commercial high point - it topped the charts and quickly went gold. It brilliantly blends rebellious 60s experimentation with starry-eyed 70s hedonism, delivering all of their signature motifs: superbly lyrical Lee Oskar solos, inclusive group harmonies, taut Latin rhythms, wah-wah'ed guitar, and smoky jazz saxophone, all of it packaged as hard-driving funk and R&B with heavy hints of jazz. Rolling Stone Magazine music critic described the album as the black “Dark Side of the Moon.”
War has progressed far and fast since they split from Eric Burdon to develop fully as a band on their own merit. They continued and developed a full, luscious sound that's engagingly funk-filled. Their previous album, All Day Music saw the evolvement of this distinctly urban sound to a point just short of proficiency -- War could talk but hadn't yet mastered the language. With The World Is a Ghetto, they edge even closer to total mastery of their music as they attempt to use it to communicate the essence of ghetto life.
Their emphasis was to rely less on lyrical content, allowing space to develop the relaxed instrumental groove that became widely respected. In addition, their timing was perfect, as a host of African American stars such as Stevie Wonder, Marvin Gaye and Curtis Mayfield were experimenting and developing their own sounds and messages, all with increasing critical and commercial success. War’s style developed beyond soul, to loosely fuse progressive rock, jazz, R&B and a splash of calypso.
“The World Is A Ghetto” was War’s third studio album (fifth if you include the albums they did with Burdon). It has been certified Gold by the RIAA and topped the charts in the US. The album had been re-evaluated by music critics in 2012 when the 40th Anniversary Edition was released. The echoing verdict is that the album has held up extremely well through the decades and remained relevant to the social issues of the current day. With “The World Is A Ghetto” War created a visionary work of music.
The album opens with "The Cisco Kid," a song just teeming with imagery about Cisco and obese buddy Pancho. Sittin' down by the Rio Grande, drinkin' wine and "eatin' salted peanuts from the can" C.K. and Pancho are no more than a fantasy in the minds of the ghetto youth singing their praises, but an important fantasy because it allows them hope, heroes, and a temporary respite from the harsh realities of ghetto existence. “The Cisco Kid” was the second single release from the album and shot straight to the top of the charts. War guitarist Howard Scott came up with the idea for this song. Drummer Harold Brown commented, "Howard has always been a major contributor. He was in Compton, he had this apartment. I visited Howard there and he was sitting on his amp. He said, 'Harold, I got this idea. Cisco kid was a friend of mine.' That idea came about because there were no ethnic heroes at that time. Mainly, we were seeing people like Hopalong Cassidy, Gene Autry, Roy Rogers. There wasn't really anybody to relate to except Cisco Kid. He was like the total different kind of person. We wanted to give kids, people, another alternative besides the ones that were right in our face, obvious heroes. And it worked out really good, because it had the right kind of hook, it was a fun song. People at that time didn't want to be hearing about wars or anything, they just wanted fun music." “The Cisco Kid” struck a chord with the African American community but the song went well beyond striking a chord with the youth of the US. “The Cisco Kid” represented a yearning of escaping from what had become viewed as acceptable by the norms of society. The song quickly rose to #2 on the US charts for 2 weeks as well as #1 in Canada and the Top 10 in a few countries across Europe. The song received a Gold record certification from the RIAA.
The first single release was the titled track, “The World Is A Ghetto,” the song was an instant hit making it to #7 on the US chart. The song was their first post Eric Burdon top ten hit leading to another five top tens. "The World Is a Ghetto" was written by Papa Dee Allen (percussion), Harold Brown (drums), Morris "B.B." Dickerson (bass), and Leroy "Lonnie" Jordan (keyboards): together with Howard Scott (guitar), Charles Miller (sax/flute) and Lee Oskar (harmonica), they formed the band War. The song was released as a single—it entered the Billboard Top 40 the week of December 30, 1972 and stayed for 9 weeks, peaking at #7 the week of February 10, 1973. "The World Is a Ghetto" was also the name of the album—the only one they ever released that topped the pop charts, it sold over three million copies—on which the song (over 10 minutes long) was placed. The song was edited down to 3:59 for the single release. The title track is simply the most successful use of the "Groovin'" motif since the Rascals tantalized urban America with the prototype. A study in casual, laid-back musical discipline, it soothes savage passions, lulling them to sleep to be awakened only by the stark, sudden refrain, "the world is a ghetto". Charles Miller's sax solo is magnificent, as definitive a statement of emotion as can be imagined.—Gordon Fletcher, Rolling Stone, 3/1/73
The title track was a triumphant blend of great exchanges and unison vocals, plus concise and spirited musical contributions all around.—Ron Wynn, The All-Music Guide to Rock, 1995
"Walkin' down the street, smoggy-eyed / Looking at the sky, starry-eyed / Searchin' for the place, weary-eyed / Crying in the night, teary-eyed / Don't you know that it's true / That for me and for you / The world is a ghetto / Don't you know that it's true / That for me and for you / The world is a ghetto / Wonder when I'll find paradise / Somewhere there's a home sweet and nice / Wonder if I'll find happiness / Never give it up now I guess / Don't you know that it's true / That for me and for you / The world is a ghetto / Don't you know that it's true / That for me and for you / The world is a ghetto /—long instrumental break—/ There's no need to search anywhere / Happiness is here, have your share / If you know you're loved, be secure / Paradise is love to be sure / Don't you know that it's true / That for me and for you / The world is a ghetto / Don't you know that it's true / That for me and for you / The world is a ghetto / Don't you know that it's true / That for me and for you / The world is a ghetto / Don't you know that it's true / That for me and for you / The world is a ghetto"
"The World Is A Ghetto"
The album is one highlight after another. There’s not one track that misses or slows the album down. "Where Was You At," which follows, is a true delight, a soulful get-down cut from the Isley Brothers mold. The kinda funk you need to get off on the good foot! These two cuts are truly Watts and Harlem unleashed -- ghetto life at its most brazen.
"City, Country, City" is a tour de force energizer in which each band member gets the chance to show off his ability. Through a series of solos ahead of varying rhythmic percussion accompaniment, War attempts to convey the hustle and bustle of a ghetto day, sandwiched between the comparative calm of morning and night. "City, Country, City" pointed toward dance music's future with a travelogue of deep beats, each melodic theme more euphoric than the next.
"Four Cornered Room" is a Temptationesque choral ballad that introduces a darker element to War's music, one that would culminate with the title track. A slow, languid gospel/blues/jazz pattern carries the rhythm and tempo and conveys a sense of dark foreboding. A near instrumental, the vocals are only a chant in the first half of the song, eventually building to a chant of the title chorus. Soon after this, a spoken word recitation takes over, delivering a message of despair and urban dread. The street politics that the band often sang about come to a great climax here, mirroring the dark emotions of the early '70s. “Four Cornered Room” was used as the b-side to the single release of “The World Is A ghetto.” (Note this is my favorite song from the album).
Closing the album, after two downcast but brilliant songs that reflected the urban dread at the time, the rhythmic "Beetles in the Bog" is a life-affirming, almost joyous African-styled chant. Over a funk base, the group's vocal camaraderie is in full swing here, creating a feeling that is hopeful and empowering. As in many of War's songs, the percussion section almost acts as a melodic instrument, and this was one of the things that set the band aside from many of their contemporaries.
Release Date: February 1972
Produced by James Jordan
Chart Positions: N/A
Certifications: N/A
Singles: N/A
Ornette Coleman's first album for Columbia followed a stint on Blue Note that found the saxophonist in something of a holding pattern. Science Fiction was his creative rebirth, a stunningly inventive and appropriately alien-sounding blast of manic energy. Coleman pulls out all the stops, working with a variety of different lineups and cramming the record full of fresh ideas and memorable themes. Bassist Charlie Haden and drummers Billy Higgins and/or Ed Blackwell are absolutely indispensable to the overall effect, playing with a frightening, whirlwind intensity throughout.
In some respects, this is one of the last original statements of the musical approach Ornette had taken starting in the late 1950s. Many of these songs open with a “head” with two performers playing a composed line in dissonant unison. Then the songs open up with the performers playing in less coordinated ways. But that approach only accounts for a portion of the album, mostly in the middle part.
The opener “What Reason Could I Give?” is something different from the traditional Coleman song structure. Instead of a more structured head that gives way to less structured collective improvisation, the entire song is organized around unison playing. Every one of the performers, with some slight exception for the two drummers who must accept the more limited tonal palettes of drum kits in exchange for unobtrusively skittering rhythmic attacks, seems to be guided by a close and commonly structured composition that tries to balance the tone, volume and overall intensity of performance. A singer (Asha Puthli) provides an inherent focal point because of the lyrics, though really they are not “in front” of the other performers in any real way. This type of song structure seems like a more fully realized version of things Ornette had hinted at in the late 1960s, when he started working with Dewey Redman, but never really mastered. This song is fluid, engaging…convincing. And the balance never falters.
The catchiest numbers -- including two songs with Indian vocalist Asha Puthli, which sound like pop hits from an alternate universe -- have spacy, long-toned melodies that are knocked out of orbit by the rhythm section's churning chaos, which often creates a totally different pulse. Two tracks reunite Coleman's classic quartet of Haden, Higgins, and Don Cherry; "Street Woman" just wails, and "Civilization Day" is a furious, mind-blowing up-tempo burner. With “Civilization Day,” Ornette is back to a kind of bop group combo formation that opens the song with a form of unison playing that leaves specific spaces in place. After the initial statement of the songs theme, the drums drop out, and then solos are traded. The bass (Charlie Haden) is very insistent throughout. It provides the strong urging of a regular beat that undercuts what would otherwise be an oppressive intensity from the wailing of the wind instruments. The next song “Street Woman” sort of combines the approaches of the first two. The bass takes more liberal departures from a steady beat, both in a rubbery statement in the head (plus a similar closing to the song), and in a prominent mid-song solo. "Law Years" and "The Jungle Is a Skyscraper" feature a quintet with Haden, Blackwell, tenorist Dewey Redman, and trumpeter Bobby Bradford; both have racing, stop-start themes, and "Jungle"'s solos have some downright weird groaning effects. "Rock the Clock" foreshadows Coleman's '70s preoccupations, with Redman playing the musette (an Arabic double-reed instrument) and Haden amplifying his bass through a wah-wah pedal to produce sheets of distorted growls. “Rock the Clock” again opens right into a bunch of skronking from the wind instruments, but with Ornette on violin playing scratchy, abrasive and high-pitched bowed sounds, then an electric bass gives the song a touch of the sound of the jazz-rock fusion movement — very funky. Between the bass and the violin, two extremes sit together, taking opposite approaches (pulsed beats on bass, extended tones on violin) yet kind of create a meaning through their juxtaposition. This proves to be a great performance of a song that would become standard in the Coleman repertoire. The title track is a free septet blowout overlaid with David Henderson's echoed poetry recitations, plus snippets of a crying baby; it could sound awkward today, but in context it's perfectly suited to the high-octane craziness all around it.
"Street Woman"
An open secret to Ornette’s music is the way he integrates composition and improvisation. Performers are not simply cut loose to play whatever they want. Ornette was a composer above all. Yet his way of composing presented the opportunity for his compositions to seem to dissolve away amid the improvisation. Paradoxically, the only way the improvisation can structure itself to overcome the compositional elements is through the compositions themselves. Science Fiction is a meeting ground between Coleman's past and future; it combines the fire and edge of his Atlantic years with strong hints of the electrified, globally conscious experiments that were soon to come. And, it's overflowing with brilliance.
After a music career of twenty years Quincy Jones finally made it on the map as a solo musician. Previously he had enjoyed big success producing and composing arrangements for Leslie Gore, Count Basie, Ray Charles, Sarah Vaughan, Dizzy Gillespie and countless others. But it wasn’t until 1974 that he finally made it into the top ten with one of his own albums. “Body Heat,” his 24th studio album made it up to #6 on the US album charts as well as #1 on the Jazz charts and his first to reach #1 on the R&B charts. His highest charting album before that was 1969’s “Walking In Space” and 1971’s “Smackwater Jack” each reaching #56 on the US album chart.
"Boogie Joe The Grinder"
What was it that made “Body Heat” more successful than it’s preceding albums? Could it have been Quincy’s decided embrace of a more urban sound? Maybe it was the inclusion of Minnie Riperton and Al Jarreau performing “If I Ever Lose This Heaven.” Could it have been the momentum Q had been working up beginning in 1969 with his album “Walking In Space”? Whatever it was “Body Heat” struck a chord with the music listening public and rallied Q to that day when he joined with Michael Jackson to produce the super mega-hit “Thriller.”
