I really struggled to pick a favourite mix of the year. Eventually I narrowed it down to this and Peach’s infamous ‘House Pumper’s’ Boiler Room set. Whilst each have their own unique merits, (it was refreshing to see a DJ cultivate such raw energy on a Boiler Room dance floor, where it’s depressingly rare to see people really let themselves go), after re-listening to them multiple times, I eventually plumbed for Mafalda’s soul-stirringly beautiful mix. Continue reading “Mix of 2018: Mafalda Dekmantel #172”→
It is perhaps unsurprising that a self confessed Italophile such as myself has opted for an album that is heavily steeped in the traditions of the criminally overlooked Neapolitan funk scene of the 1970s and ‘80s. Continue reading “Album of 2018 – Nu Guinea – Nuova Napoli”→
Label: Mecca Recordings (Album), Track Mode/Alleviated Records (12″) | Year: 1999 (Album), 2000 (12″)| Discogs: Larry Heard – Genesis, Larry Heard – Missing You (12″)
The standout track from the oft overlooked 1999 albumGenesis – “Missing You,” a soulful, emotive, (and of course) deep house record is quintessential Larry Heard.
Widely acclaimed as the man who proved crucial to the development of house music and for “putting the deep into deep house,” what is there left to say about Larry Heard that hasn’t already been said? As Resident Advisor’s excellent mini doc explains “from the beginning he was pushing the musical boundaries of house music forward,” incorporating musical techniques such as minor 7th chords (such as on “Can You Feel It”), that at the time broke new ground for a genre that had previously been dominated by the more basic “jacking” style of production.
“Missing You” is no exception to this. Despite appearing on an album that saw Heard slightly depart from his usual tone and experiment with a more electro sound, it is the track that most closely resembles the style that first attracted fans to Heard’s productions in the mid 80s. No surprises then that it’s also my favourite track on the album. I’ve always been attracted to soulful, emotive dance music – music that not only makes me want to boogie, but that that I also, for whatever reason, am able to connect with on a higher, more emotional level, that actually makes me feel something. That’s why I’ve never really been a fan of most euro-disco records, because with their greater emphasis on a relentless beat, the soul and emotive feeling found in tracks such as Candi Staton’s – “When You Wake Up Tomorrow” (one of my all-time favourite disco records) often gets lost, or is sufficiently diluted that they almost sound mechanical.
Anyways, whilst I am slightly digressing, there is some relevance to all this, because for me Larry Heard is the unrivalled master of imparting emotion, soul and spirituality into house music. What is so remarkable is that he’s been able to do it so consistently for over 30 years – whilst 2018’s Cerebral Hemispheres was not his most outstanding work, tracks such as “Crying Over You” and “City Streets” for example, are still deeply atmospheric.
Neither of those however, come close to the moody, haunting and bittersweet feeling of “Missing You.” The track begins ominously with thudding kicks and a dark plodding bass line, whilst the sound of waves and echoing bird calls add to the eerie atmosphere. A high pitched, bubbling synth emerges, but it is not until Heard’s ethereal vocals begin that the tone slightly brightens. Heard’s vocals are understated and calm, and whilst the lyrics appear deceptively simple, their meaning is anything but, displaying the full anguish of unrequited love. Heard’s trademark crisp percussion keeps the track ticking along, as more dreamy synths are introduced, and just as it seems as if the tone is set to decisively shift into one that is decidedly more positive, it does the reverse. The listener is jolted as the record returns to the ominous sounds of the track’s opening, as Heard strips away all but the deep, menacing bass line, the sound of waves crashing, and the eerie cries of seagulls before once again introducing a piercing, high pitched synth (a metaphor for Heard’s own piercing cries maybe?). Indeed the outro sounds much like the introduction, perhaps to emphasise the ongoing emotional strife that Heard himself continues to endure over his mystery lover (or maybe just because it sounds really good?). Either way it’s a really thought provoking way to close the track, one that leaves it without a clear sense of resolution (that’s added to by the gradual fade out).
It’s really hard to pick a favourite Larry Heard record, because quite simply there are so many amazing tracks to pick from. This one is definitely up there (as is Heard’s “Jazz Cafe” remix of it – an awesome, sparse house track driven by melancholic piano chords) as it brilliantly showcases the genius of the man, especially his ability to create soulful, deep, and down right moving house music. Long live Larry Heard.
Appearing on Jeremy Spellacey’s excellent compilation for Crown Ruler Sound, this uplifting South African boogie number is sure to put a smile on anyone’s face, no matter what day it is.
Now I must admit I know very little about this track, other than that it was written and produced by prolific South African producer and song-writer Hendrik Lebona. Lebona had a prolific career within the South African music scene, independently producing and writing for a whole host of different acts, including giants such as Paul Simon (helping to produce his epic record Graceland), Babsy Mlangeni and less well known groups such as the Soweto Soul Gospel Singers. Indeed his career is all the more remarkable considering he suffered from considerable issues with his vision throughout his life, and he founded the South African Blind Musicians Association. His contributions to South African music were recognised when he was awarded the Life Time Achievement award by the South African Music Awards. He sadly passed away in 2013.
The record itself is a thing of beauty. Laboda’s skilful production is on full display here, as he effortlessly combines the various instrumental and vocal layers so that none are allowed to dominate. Each is allowed to naturally come to the fore and then recede, creating the laidback groove on which the track’s calming and uplifting tone relies on. The percussion is firm, but never overpowering, as if the drummer was himself suffering from the very same hangover that the initial lyrics allude to. Likewise, the vocals are easy on the ears, and the vocal melodies are delightfully cheery and emphasise the lyrical message of uplift perfectly. I particularly the way the spacey synths interject between the vocal passages, injecting the track with a further layer of cosmic elevation and emotional positivity. Underneath, the bass mirrors the rising and falling melodies of the vocals, further underscoring the sense of uplift that is at the very heart of this track. Be sure to keep an ear out for the times when the walking bass line becomes more prominent within the track, because they are amongst the record’s finest moments.
It’s really hard to pick an element of this track that I like the most, because it’s a record where I believe the whole is greater than the sum of it’s parts. The credit therefore lies with Lapona, for he not only wrote, but also produced this track and ultimately crafted one of the cheeriest slabs of wax you’re ever likely to hear.
Without his trusty Salsoul Orchestra behind him, Vince Montana Jr. still manages to deliver one of the all time great disco records, living up to his reputation as “the Godfather of Disco.”
You could be mistaken for believing that the success of the Salsoul Orchestra was largely attributable to the sheer skill of musicians such as Earl Young or Norman Harris, and undoubtedly you’d make a convincing case. What this record proves however, was that it was Vince Montana Jr. who was ultimately at the heart of the Salsoul Orchestra’s iconic groove. Indeed it is perhaps no coincidence that after leaving Salsoul in 1978, there was a marked decline in the quality of the records they released. Regardless, Goody Goody was the group that Montana Jr. formed with his daughter Denise and (I believe) the Atlantic records in-house band. Together they released one album, the self titled – Goody Goody in 1978. All the tracks are penned by Montana Jr. and it is one of those rare disco records that absolutely oozes quality throughout. I’m sure most of you will be aware of It Looks Like Love, Montana Jr’s magnificent homage to Chic, with it’s iconic guitar hook and captivating introduction.
Yet it is the LP’s first track, #1 Dee Jay that I find myself constantly returning to. Killer introduction aside, it’s a classic Montana Jr. production. One can hear the influence of his earlier work with the Salsoul Orchestra (and Gamble & Huff before that) in the first half of the record, which bears hallmarks of classics such as The Salsoul Orchestra – It’s Good For The Soul, particularly in the ways in which the rumbling bass line and conga interweave and interact rhythmically. All the while however, a powerful percussive line bubbles away underneath, and after two vocal verses the intensity grows as the punchy kick suddenly comes to the fore, underpinning a lovely, piercing saxophone hook. Whilst different instruments drop in and out, the record never loses this intensity, largely down to the constant, almost galloping latin percussion, which creates a constant sense of motion and contributes towards the tracks timeless danceability.
For me this track encapsulates all that was great about Vince Montana Jr.’s music. Montana was able to combine and layer a multitude of different instrumentation, whilst all the while never losing sight of that which is so hard to define, but is ultimately crucial to any dance track – the groove. With Goody Goody, Montana shakes off much of the cheesier side of his earlier Salsoul releases (Salsoul Christmas springs to mind) and instead deliver an LP packed to the rafters with driving bass lines, thumping percussion, and gorgeous, lush instrumentation. Coming from “the Godfather of Disco,” this is an offer no legitimate disco fan could refuse.
The standout track, from a quite simply brilliant album, the quality of the gentle piano composition “Turiya And Ramakrishna” rivals any of her more illustrious husband’s work.
The second Sunday edition of my show on Melodic back in November (man that seems a long time ago!) saw me initially take a more jazzy approach to things, kickin’ off with some smooth tunes from the likes of Moodymann, Grover Washington Jr, and Gabor Szabo. After a brief foray to 1970s Brazil, I cranked things up and bit and threw on some disco and some fire Nigerian boogie and afrobeat. All in all a good days work.
It's Good For The Soul 