Lil' Louis And The World - Journey With The Lonely - 1992 - Diamond Recordings

This 1992 CD from Lil' Louis has to be one of the best dance albums of it's day. Very, very soulful and definitely deserves a place on these pages as do other sets from the House genre, such as Mr. Fingers and Michael Watford amongst many others. Lil' Louis shows a deeper leaning towards soul on this album. You may well recall his huge Clubland hit on FFRR records, "French Kiss" which rode out on the Acid House fad, so if that's all you can recall I bet that you would have seen this album and passed on by. Natural really, but not always the wise thing to do as I learned! This CD contains enough quality uptempo stuff that it served me well over quite a few house parties over Christmas and New Year, 1992, and thankfully these tracks have not dated at all. The track that more conservative ears will hit upon is the KILLER ballad, tucked away near the sunset of the CD.

This track will start my critique as most of you will be interested in this one! Imagine the most emotional and heart-wrenching quiet storm number from the early 90s, fashioned with a gorgeous acoustic guitar, very much in the style of a modern day Chic. I nearly died when I heard this song, and I have to say as far as ballads go from dance artists like this, no-one has beaten him yet. No-one. This is a soul cut to die for and even if you ignore all my other choices, I bet you won't be kicking this song out of bed! Lol. "Club Lonely" is my first uptemp choice, a pulsating and quite jazzy house number with pounding bass and sexy vocals from Joi Cardwell, who is still very much active as a singer today. This really is a great 90s dance cut, and even I also love "New Dance Beat". This was written in 1992 and the lyrics are very prophetic as to the state of today's music industry. Lil Louis tries not to sound smug when he says "they used to laugh at me...but I see the future". His list of what is going to go wrong is so spot-one one may believe he engineered it all himself to prove his point! My fave dancer on here is the KILLER "Do U Luv Me" (Below you will hear a posting of this gem!), again featuring Joi Cardwell. A triumph of soulful dance which has stood the test of time! I finish with the deep and epic "Jazzmen" which has a number of tasty solos including Bashiri Johnson on percussion and Mac Gollehon and Reggie Pittman on trumpet. Lovely stuff! Do NOT overlook!

Barry Towler
The Vibe Scribe

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Vince Ebo - Love Is The Better Way - 1992 - Warner Brothers

Vince Ebo was a phenomenal talent and his unique vocals were immediately recognisable. I first learnt of this man through his work with Chuck Gentry under their guise as The Fit, who released their one and only album for A+M Records in 1988. Vince was lucky enough to turn up again on Warner Brothers a few years later in 1992 for this CD which was ignored by most at the time. Lucky, then, that you can pick it up for mere pennies - I kid you not - on Amazon. Tommy Sims, who came to prominence at the end of the decade with his "Peace And Love" set adds two songs to the mix in the form of "Make It Work" and "Why", though for me these are neither star's greatest works. There are two real killers on here and to miss these would be a real crime.

The title track is simply a wonderful example of quality real soul in the early 1990s, before the lunatics took over the asylum and everyone making a record had to be under 18, wear their trousers dangling around their naughty bits and also wear woolly hats and commando gear whilst saying "you" and "ah, yea" all the time. Oh, don't I sound bitter! Well, yeah, 'cos I am, and with damn good reason! I'm a music fan! Lol. "Love Is The Better Way" is a sublime piece of modern soul and hearing the sheer magnificence of this song brings home how sad it is that this man took his own life far too young. A crying shame, but at least we have these songs and also the wonderful "Just 2 B With U" that appeared later in the decade. My second highlight is "Love", a track that you would expect from the likes of Robert Brookins. On the first, bright, sunny, warm day of spring this is exactly the song to add as a soundtrack to that amazing feeling. The sax on here adds a real soulful edge and cannot be beaten. The rest of the CD is not at all bad, but for me these songs are simply sublime and a must-have for the 90s soul fan.

Barry Towler
The Vibe Scribe

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Vivienne McKone - Vivienne McKone - 1992 - FFRR

Vivienne is a truly magnificent artist from good old Blighty, and she is gorgeous to boot. Add to this the fact that she weaves musical magic wherever she goes, then it's one heady mixture that simply had to be incorporated into Soulchoonz' 1990s selections. It's so obvious where Vivienne's musical heart lies. It lies right in the bag of a certain Brenda Russell. Love Brenda, love Vivienne. Her vocal delivery is virtually the same, the music easily on par. I once saw the video for "Sing" on MTV's "Soul Of MTV" programme and the video was GREAT! Paulinho Da Costa - always a gent with a smile to defeat the most pessimistic - is there, bashing away on percussion and having one hell of a time! This 1992 album for London's FFRR imprint is a simple, delicious, slice of US-inspired jazzy UK soul. I cannot fault it at all and to see it on Amazon so cheap is something else worth celebrating during the credit crunch! A great soulchoon doesn't have to be an expensive one.

I start off this review with the tremendous Brenda Russell-like "Beware". Plenty of real instruments, slap bass and strings in a single track designed to get you up, moving and smiling. This is real feel-good soul and trust me, you cannot beat tracks such as this! "Move On" is so Russell-like it hurts. The track is a basic synth-based journey which is so smooth and so mellow and definitely NOT boring. Music like this is timeless, simply delightful and it goes without saying that if you frequent this site then you really ought to be ordering this if you don't already own it. Fans of Incognito will appreciate "Heading Right Back To You", almost complete with a Sounds Of Blackness type funky beat, this is a great jogger. "Don't Push Me To My Limit" is a warm, summery piece and in the style of, say, Isabelle Antena. "I Want To Get To Know You" takes Brenda Russell on at her own game and the result is definitely a tie! Truly uplifting and inspiring, this is built upon by the KILLER "Sing" which is a perfect blend of Brenda Russel vocally and lyrically, and 70s Isley Brothers musically - think "Harvest For The World" and you're not too far from the truth. If you want a great Cd at a great price to help brighten the day and uncrunch your credit, then click below. You'll be more than pleased you did.

Barry Towler
The Vibe Scribe

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Mr. Fingers - Introduction - 1992 - MCA

Mr. Fingers, or Larry Heard as he's better known, has delivered some really top-draw soulful house music over the years and this album released on MCA late in 1992 was an excellent example of how soulful Deep House music was. An eerie, haunting synth backdrop, dreamy keys and a pumping bassline. Some cuts are very much rooted in soul music and jazz, and Larry Heard is excellent at drawing all styles together, getting them into a fine blend and delivering the choicest dance cuts and seductive midtempo efforts. His follow-up set for the UK-based Black Market Records in 1994 was even more delicious - and very much a rarity now. In fact, when it was released in 1994 I phoned said Black Market Records to buy a copy...and the doophus on the phone had no idea it existed. Know your own product, that's what I say! Pmsl. Anyway, for those who love soulful, deep House then this is a CD for you. Most of you will have heard "What About This Love" - a mighty fine, cool, track that actually surfaced late in 1989 and was an instant winner for me. A track that stopped me in my tracks and had me pumping the radio up. Thanks, Jeff Young! Those were the days! 20 years on and the song has not deteriorated one modicum. Now THAT's what I call music!

"Closer" is Deep House heaven. The haunting synths are enough to get the spine tingling, and Larry's melancholic vocals exude a sense of erotic and sexual anticipation..."I want you...yet I don't know you" he says...the urgent and galloping beats pay homage to his urgency and the bassline, akin to a disco beat adds another dimension. This is a mighty fine opening cut by any standards. Einstein would not be required to describe the flavour of "A Corner Called Jazz". A midtempo track with dreamy keys, female backing and some tremendously soulful sax. Lovely stuff!If you loved "What About This Love" then the KILLER "On My Way" will be another house flavour to savour. I cannot get enough of the Deep House sound, and thankfully - if you look hard enough - it's still about. Check the upcoming release from Cortes featuring Terry Dexter, and the Deep Mix in particular. Heaven!!!! My final pick is "Alright" which contains some lovely synth work and more soulful vocals courtesy of Larry Heard. For the more conservative soul head this may be a bit too far out but I imagine that the vast majority will be able to make a connection with this. The more of this stuff the better as far as I'm concerned!

Barry Towler
The Vibe Scribe

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By All Means - It's Real - 1992 - Motown

The 1960s and early 1970s may, it could be argued, have been the golden era for Motown but let's face it, under the inspired stewardship of Jheryl Busby, Steve McKeever and the likes of the legendary Paris Eley and Clarance Avant the period 1988 - 1995 was something of a rennaisance. If not in the chart-topping scores, definitely in the quality music scores. many of Motown's 90s output will appear on here as they really do stand the test of time where a LOT of 90s material, franky, deoes not. The 1990s was a decade that in my opinion saw the decline of quality black music in favour of trashy, brashy and ephemeral MTV-aimed so-called Hip Hop R&B as pioneered by Andre Harrell, Teddy Riley and the new breed of Engineer / Programmer than swept aside the real producer and arranger. Motown had been siding up with Jimmy Varner for some years by 1992, and their work with the Tempations on their "Special" album, and Gerald Alston's "Open Invitation" album was nothing short of excellent. A natural step was to get the trio on board.

Sadly, this resulted in one set - and to date their last set. Due to poor promotion and no media excitement the project sank quicker than the Titanic and must have been galling to all concerned. The magnificence of this CD did not pass me - and I am sure you - by. I rate this as their strongest and most consistent album both vocally and musically. Production wise the standard was as high as if Patrick Moten or Michal J. Powell had been in the studio, and the sheer soulfullness is tangible. From the powerful epic "Love Lies", the Marvin and Tammi inpired "The Feeling I Get" and the sheer jubilance of "In Your Arms" this album scores the highest points that it could hope to achieve. The Leon Ware-ish "Don't Change is a real must and the sexy "Tonight" a complete killer. The fact that many supposed soul lovers in the media shot it down in flames as it wasn't Uptown or Acid Jazz, should hang their heads in shame. This set has outlasted all these fads and will remain to outlast anything else they try and hoist upon us. Quality will always be quality.

Barry Towler
The Vibe Scribe

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Charlie Wilson - You Turn My Life Around - 1992 - MCA

This is a hidden gem from 1992 – a set that was for the most part overshadowed by the tidal wave of Swingbeat and Hip Hop that had suddenly caused a seismic change of the guard as far as R&B had hitherto been concerned. MCA was a label that went all out on this New Jack trip, and as such had a LOT of venom directed at them from the likes of me! The early 90s, though, at least saw the likes of Patti LaBelle, Charlie Wilson, Gladys Knight, David Peaston and Jody Watley on the label. Charlie Wilson seized on the copycat nature of Swing, and it was so obvious some had modelled their vocal style on HIM! Hence my first choice, “Sprung On Me” which was, in it's day a massive floor-filler – a less than thinly veiled swipe at Aaron Hall. The rap from Almighty Gee, over the fast and furious beats and James Brown 'Payback' guitar riff is excellent and is still heaps of fun today – if a little passé. A song that stands the test of time a lot more is the Jeff Lorber written “Realize”. Produced by Morris Rentie from Answered Questions, this Soul-II-Soul type groove with its haunting synths really does have the Jeff Lorber touch of class – check the keyboards! Mr. Lorber again adds his sparkle to the heavenly “You Turn My Life Around” which is a slower form of jam and uses a lot of moody basslines and atmospheric synths again. This is EXACTLY the quality groove that was screaming out for attention in the 90s but was ignored by most. Such a shame.

My favourite song is the awesome “Confess Your Love”, a track that blew me away back in August 1992 and still does the same now. This is quality 90s soul music in every sense of the word. There is a style of synth that was used in the late 80s / early 90s that sends me into orbit. Gary Taylor used to use it and made special use of it on his own classic, “Take Control” as well as his work with the Manhattans. Morris Rentie, Shavoni Buster and the rest of the Gap Band gang make this a delicacy of the most treasured nature. I'd say this was one of my top 10 slow jams of the 90s, so that is something which will suggest how much I adore it! “Time” is written and produced by brothers Andre and Brian Wilson and is typical of the classier material that the Gap Band has released over the years. I have always felt that the guys excelled on their ballads, and have been known to churn out a few dance floor killers too. This ballad is definitely up there with the very best of them. Perhaps, in a way, this is a Gap Band album in all but name. This album certainly needs to be taken out of your rack, and have the dust blown off of it – or, if not known, for you to check the sound clips and to snap up a copy ASAP as it is not easy to come by any longer. Essential 90s soul music.

Barry Towler,
The Vibe Scribe

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Various Artists - BeBe's Kids OST - 1992 - Capitol

Having heard Robbie Vincent play a version of New Version Of Soul's “66 Mello” on his Jazz FM show recently, I thought it a good idea to dig out this fine, fine album for your attention. This soundtrack was released to accompany the late, great Robin Harris' Cartoon movie, BeBe's Kids in the Autumn of 1992. What was criminal about this – and like most quality releases – was it was criminally ignored or overlooked at the time. Richard Searling added a track on here for his Soul Boulevard compilation and I have noticed that a few cuts have found their way onto various bootlegs since. The CD is still available at a very reasonable price on Amazon and if you do not own a copy then what are you waiting for?! LOL. The album was not unlike the dear old beautiful game – a game of two halves. The first half was very much hard – if amusing – rap and not at all bad either, really. I recently gave King Tee's “I Got It Bad Y'all” a spin and it did raise a smile. The real gems, though are the soulful inclusions which were produced by an old favourite of mine, John Barnes and assisted by another old fave, Billy Griffin. The cream of soul certainly rose to the top on this album and the performances they give are nothing short of memorable.

I already mention “66 Mello” which features as a racier and harder version but a crackin' dancefloor number with some soulful rap and typical of the stuff coming out on the day. I already alluded to Aretha Franklin's “Standing On The Rock Of Love” is a recent Soulchoonz review for the new Evelyn “Champagne” King album and it is here where you will find the original song, and boy does Aretha sound great on here! Joey Diggs' “You Love Keeps Working On Me” was an instant classic then, and is still a monster today, 16 years on. Brilliant dance floor material and cannot be beaten. The O'Jays also cannot be beaten, and their inclusion is the John Barnes produced ballad, “Can't Say Goodbye” which has plenty of harp and Philly guitar and a certain Billy Griffin on writing and backing vocals. My top choice, though, has to be Ronald Isley's KILLER track, “Deeper”. This really is 90s soul at it's very best. The slap bass and Soul II Soul type bassline combined with John Barnes' haunting backing music is simply outstanding. Add to this Phil Perry and Renée Digg's Marcus Miller-produced “All My Love” and you have no reason NOT to head to Amazon and snap up a bargain copy. The CD closed with a rollicking outing for the Emotions with “I Want To Thank You For Your Love” - and they sound fantastic too. With the music industry going into it's quiet period as it tends to do around this time of year, why not stock up on some old – yet timeless – classics? Once a soulchoon ALWAYS a soulchoon!

Barry Towler,
The Vibe Scribe

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