New Horizons "Gonna Have Big Fun" {Originally released in 1984 on Columbia Records / Reissued for CD in 2010 for Funky Town Grooves U.S.A.}

This 1984 sophomore Columbia Records release, "Gonna Have Big Fun" is New Horizons follow up to their 1983 debut, "Something New". This Dayton, Ohio based band of brethren consisted of four brothers and a close friend, and they are :

Mark, Bart, Varges, and Art Thomas, with Tim Abrams rounding out this extremely talented quintet.

This project was solely produced by the late, and terribly missed, Roger Troutman.

New Horizons showed tremendous growth on this album as the band members themselves took on a more active role from a musicians perspective. The supporting cast of musicians and singers, are as follows. All lead vocals were handled by Mark and Bart Thomas. Background vocals were performed by ALL the band members themselves. On bass guitar duties, you have Bart and Varges Thomas, Sherman Fleetwood, in addition to Roger and Terry "Zapp" Troutman.

On Conga Drums throwing down you got Mark Thomas and Lester Troutman. On the keyboards tinkling away, you got Varges and Bart Thomas, ZAPP members Gregory Jackson and Dale DeGroat. Contributing to the 88 keys/synthezoids, you have, of course, ex-Ohio Players member Billy Beck, and Roger Troutman. Strumming and finger picking away on lead and rhythm electric geetars {That was an INTENTIONAL spelling of 'guitars'}, you got Tim Abrams, Bart Thomas, Roger Troutman, and another ex-Ohio Player legend during that band's heyday, Leroy "Sugarfoot" Bonner. Once again, as with the "Something New" album, ZAPP's own horn section, consisting of Jerome Derrickson, Eddie Barber, Michael Warren, and Carl Cowen are back on board.

Let's take a closer look at some of the highlights of this 'funky good time' album !

"Big Fun" - {Written by Ohio Players drummer James "Diamond" Williams, Ohio Players guitarist Chet Willis, with Roger and Larry Troutman} - {{SEE ACCOMPANYING YOU TUBE AUDIO ONLY TRACK BELOW}}

This album title track may conjure up thoughts of the 1982 Prince hit song, "1999", in that it's an upbeat and danceable little ditty. The bass geetar chugs nicely alongside the downbeat of the kick drum like a hand in glove. The synthesizer "Prince 1999" like horn stabs in the intro and synthesizer fills blends well with the overall rhythm section. The live horns gives "Big Fun" "the bite" it needs to have the lead and backround vocals do it's thing. A fuzzed rock 'n roll guitar solo is effortlessly played and felt, you'll break out the air guitar in a heartbeat.

"Love To Spend The Night" - {Written by Mark Thomas and Art Thomas}

This "Late 70's Classic Soul Balladesque" song has Quiet Storm radio airplay written all over it ! A soft and mellow bass guitar line, gentle rhythm guitar pickings, a steady, but not forced drum performance, and Fender Rhodes chords playing nicely in the not-too-distant background. The background vocal harmonies are tight and on pitch. I'm pretty sure Billy Beck had something to do with the background vocal arrangements, as they're very reminiscent to ones the Ohio Players used.

"Get Ready, Let's Party" - {Written by Roger and Larry Troutman}

Can we get back to Funk please ?! ... No problem ! :-) ... This track should do the trick ;-) The overall "feel" of this song may remind one of the same "feel" used on recordings from another Dayton originated band, "SLAVE". The electric piano minor chords sounds very close to the ones used in Slave's 1977 funk standar, "Slide". Throw in a killer Oberheim OB8 synthesizer solo, funky bass geetar slaps, a hard driving drum performance, a funkdafied lead vocal, and Ohio Playeresqe harmonized background vocals, and you've got a beast of a track on your hands.

"No One Ever Will" - {Written by Billy Beck and Larry Troutman}

Let's get back into the "Love Zone" with this sweet and tender ballad beautifully arranged and sung. The standout instrument you'll hear is the warm chords of the electric piano, as they will wrap it's melodic grip around your heart. The silky smoothness of the bassline, coupled with an emotive and stirring lead vocal performance, it'll be sure to set the intimate mood right. A short, but nice sax solo by Carl Cowen is added to the mix to give this track it's "wine by candlelight" appeal. Five years later, Roger's son, the late Roger Troutman, Jr., covered this song for his 1989 Capitol Records debut, "A Pinch Of Lynch". {{SEE ACCOMPANYING YOU TUBE AUDIO TRACK'S BELOW TO COMPARE THE TWO VERSIONS}}

"U Can Do {Watcha Wanna} - {Written by Bart and Varges Thomas}

Here we go again with the funky bounce ! The bass synth is back !... and with a vengeance at that ! The 'tried and true', and always reliable chicken scratched rhythm guitar performanec is more than in effect here ladies and gentlemen, too tight ! .... and how can one call a funk song without the slap bass geetar ?! Well, do not fret, it's in overdrive on this hot track ! The synthesizer fills and effects emanates a "Dazz Band Let It Whip", how should I say this, "Appeal" .... get it ?! ;-) An 8 bar synthesizer solo is thrown in the mix for good measure, and rightly so, this track is all that ! Of course, the lead and background vocal performances are nothing short of brilliant !

This particular album has been reissued for CD that include New Horizons 1983 debut Columbia Records release, "Something New". A '2 albums on one CD' if you will. You can preview, not only tracks from "Gonna Have Big Fun", but tracks from the debut release, "Something New" as well, at the Funky Town Grooves website. Below you'll find the link that'll take you directly to the page where you can preview all 14 tracks, and to purchase.

Musically Yours,

Ran Man

                                "Gonna Have Big Fun"

New Horizon's version, and the original, of "No One Ever Will"

Now, here's Roger's son, Roger, Jr. with his version of "No One Ever Will"

www.funkytowngrooves.com/MEGA-SALE-35-PERCENT-OFF-!!/86/New-Horizons-Something-New-Gonna-Have-Big-fun/3050

New Horizons "Something New" {Originally released in 1983 on Columbia Records / Reissued For CD in 2010 on Funkytown Grooves U.S.A.}

In 1983 just as the late Roger Troutman and his funky cohorts, The Zapp Band, was flying high after the Gold successes of Zapp's 1980 self titled major label debut, and one that included the worldwide smash, the STILL relevant, "More Bounce To The Ounce", Roger's 1981 solo debut,"The Many Facets Of Roger", Zapp's 1982's "II"& 1983's "III" albums, he produced a very talented Dayton, Ohio based self contained band that consisted of four brothers. They are Bart Thomas, Varges Thomas, Art Thomas, and Mark Thomas. Co-lead vocals were handled by Timothy Abrams. They called themselves, NEW HORIZONS.

For their New Horizons 1983 Columbia Records debut album, "Something New", Roger took these 'funky band of brothers', and crafted a well produced record full of funk/R&B and Smooth Soul, as one would expect from the funkmeister himself. Roger had some legendary help in the co-production of this album as well. He employed the services of ex-Ohio Players keyboardist Billy Beck, and had brother Terry "Zapp" Troutman help out on two songs. {As you can clearly see, the group ZAPP was named after Terry's childhood nickname}

The music was performed by members of the ZAPP alumi, and they are, of course, Roger Troutman on lead and rhythm guitars, Zapp Troutman on bass guitar, another brother Lester Troutman with Robert Jones on Conga Drums, and Lester again on the live Drum Kit. Yet another Troutman brother, the late Larry Troutman, whom co-wrote all the songs along with Roger, is featured on percussions. Keyboard duties were handled by Varges Thomas, Billy Beck, Gregory Jackson, and P Funk's legendary Bernie "Woo" Worrell.

Horns come blaring through courtesy of ZAPP's own horn section, consisting of Jerome Derrickson, Eddie Barber, Michael Warren, and Carl Cowen. James Brown and P Funk legendary alto saxophonist, Maceo Parker, lends his funky chops to this sizzling album as well.

The background vocals are provided by the Thomas Brothers, Timothy Abrams, Zapp Troutman, Gregory Jackson, Billy Beck, Jannetta Boyce, "Bad" Bobby Glover, and last, but certainly not least, the late great P Funk/ZAPP bass vocalist, Ray "Stingray" Davis {Stingray's famously known for his bass vocal intro in Parliament's 1975 smash, "Tear The Roof Off The Sucker". In addition, Stingray replaced the late Melvin Franklin in The Temptations after his untimely passing in February 1995 ..... R.I.P. to both Mr. Raymond "Stingray" Davis and Mr. David Melvin Franklin, simply known to the world as "Melvin Franklin"}

Let's check out an album that kept the classic ZAPP sound in full force, and one that was criminally overlooked.

"Your Thing Is Your Thing" - This funky and uptempo number opener carries all the traits of that classic Dayton sound. The aural delight you'll hear is the omnipresent bouncy bass synthesizer , Lester's heavy footed kick drum in tandem with the hard hit snare, cymbal crashes, and the loud boombastic HUMANOID hand claps, .... no drum machine used here thank you very much ! :-) ...... You'll also be moved by the funky chicken scratched "ching changs" of the rhythm guitar, and it won't be complete with the bass synths runs that's so ever present in a ZAPP recording. A tasty synthesizer solo is thrown in for good measure, and my good funky intellect tells me that's "The Woo Man", Bernie Worrell 'burning down the house' and Billy Beck throwing down on the acoustic piano solo towards the end. Occasional horn fills will move your very soul, as well as the tightly woven background vocals. Lead vocal performance is downright bluesy and funky as he instructs you to let him live his life the way he wants, and you do whatever is you do .... Just leave his thing alone ! {{SEE ACCOMPANYING YOU TUBE AUDIO CLIP BELOW}}

"I Can't Tell You" - The brothers takes the groove down real slow rather abruptly, particularly after a funk throwdown like "Your Thing Is Your Thing" .... but I'm not complaining ! It's a great song ! They took the elements of a slow Delphonics Philly Soul classic, mixed in with the mellow smoothness of a Marvin Gaye Motown tune, adding nuances of a Gap Band ballad, sprinkling the "feel" of an Ohio Players' song, "Heaven Must Be Like This", to be exact, and that's what you'll get in this song. The performance that stands out the most, to me at least, are the background vocal harmonies and the way they're executed. Picture a late Saturday night in Dayton, Ohio, 1972, and on the corner under a streetlight, you have the Thomas Brothers with full Jackson 5 Afros, standing under this light crooning beautiful 4 part harmonies, that's what I get when I hear this song. You'll just have to buy the CD to know what I'm talking about. This song will take you back to a time when a ballad was done the way it is SUPPOSE TO !

"Something New" - OK ! Here we go with "The Return of the Funk !" .... and it's in full throttle here ladies and gentlemen !! You could IMMEDIATELY tell from Lester's snare and kick drum's "One Two, One Two, One Two, One Two, One Two, One Two" count off, that something's 'bout to hit the fan !! ... Yes, you got it right, THE FUNK FAN !! The upper mid rangy bass synthesizer performed parts will get those heads bobbing upon initial impact, and those catchy rhythm guitar scratches supplements the overall "feel" of this body mover. Larry's percussion work is nothing short of spectacular, as is the synthesizer solo that's heard here. But what really stands out on this track are the Gospel choir like background vocals as they are "smack dab in your face" in which you cannot run away from, and nor would you want to either. The lead vocal performance is ever so soulful and "in the pocket" ! In addition, you cannot escape Zapp Troutman's funky bass guitar runs and plucks, as they too, are what a funk bass guitar performance should sound like !

"County Line" - This mid tempo'd funky bouncer falls in line with the first track "Your Thing Is Your Thing", but with a Sly Stone feel to it, particularly the lead vocal as it's singing style is in the vein of Sylvester Stewart's aka Sly. The standout element here is the Parliament "Flash Light" styled synthesizer bass performance as it just gives, and gives, and gives ! Those hands are still being put together to give this song it's undertoned Bluesy feel. Surprisingly, the synthesizer is utilized to replicate what the live horns should've done. I found that interesting, but nonetheless it worked.

This particular album has been reissued for CD that include New Horizons 1984 sophomore Columbia Records release, "Gonna Have Big Fun". {An album I will be reviewing shortly} A '2 albums on one CD' if you will. You can preview, not only tracks from "Something New", but tracks from the sophomore release, "Gonna Have Big Fun", as well at Funky Town Grooves website. Below you'll find the link that'll take you directly to the page where you can preview all 14 tracks, and to purchase. I highly recommed you pick this CD up if you're a longtime ZAPP & Roger fan, and even if you're not, visit the page and check it out. You may find yourself purchasing the disc afterall.

Musically Yours,

Ran Man

www.funkytowngrooves.com/MEGA-SALE-35-PERCENT-OFF-!!/86/New-Horizons-Something-New-Gonna-Have-Big-fun/3050

 

The Gyrlz "Love Me Or Leave Me" {1988 Uptown Records/Capitol Records}

In the beginning of the New Jack Swing era, or "NJS" for short, {circa 1987-88}, Keith Sweat burst loose with his ground breaking worldwide hit single, the Teddy Riley written and produced, "I Want Her". Less than a year later, Teddy, protagonater of this new and exciting sub genre of R&B, unleashed to the world, his trendsetting group, "GUY" for Andre Harrell's Uptown Records boutique record company.

BTW, noted author and screenwriter, Barry Michael Cooper, of the hit Mario Van Peebles hit 1991 movie, "New Jack City", coined the phrase 'New Jack Swing'. It's worth noting, Uptown Records Founder/CEO, Andre Harrell, had 3 production & distribution (P&D deals) for his then fledging imprint. One with the then called MCA Records (Guy, Heavy D & Boyz), one with Warner Bros. Records (Al B.Sure !) and with Capitol Records, for this record here.

During this same time period in 1988, this ground breaking NEW JILL SWING group made their critically acclaimed Uptown/ Capitol Records debut, "Love Me Or Leave Me". They consisted of (As they appear on the cover from left to right) Terri Robinson, Tare Geter-Tillman, and last, but certainly not least, Monica Payne. They were Al B. Sure's background singers during his meteoric rise to success in 1988.

Album production chores were largely handled by an extremely talented musician/producer in his own right, Kyle West, with the exception of one track. Teddy Riley produced the very danceable, "Wishing You Were Here". The Gyrlz' good friend, Al B. Sure! lent a hand on his former singer's album by co-producing a beautiful ballad with Kyle titled, "It's Over". Let's check out of the highlights of this hip hop influenced NJS classic, that strangely, never got the full recognition it deserved at the time.

The first single, "If It's Games You're Playing", is a fun, upbeat, hip hop influenced track that sets the overall tone of the entire record. The song, and most of it's instrumentation comes courtesy of Kyle West, and his saavy musical production skills. What stands out the most on this particularly track musically are the clavinet stabs, keyboard fills, and the funky bass synth bounciness. Add some drum programmed crispy snare drum, hi-hat, and tom-tom rolls in that mix, and you have an instant classic on your hands. Another aspect that brings this song home, and pretty much throughout the album, is Terri Robinson's pleaful, heartached, slight raspy, but great sounding nonetheless, lead vocal. The added background vocals of Tara and Monica, add the harmony and charm to this fantastic opener. The lyrics, as you can tell from the title alone, deals with the confusion of an unsure relationship with, well, whom else, a knucklehead :-( .... {SEE ACCOMPANYING VIDEO BELOW}

The brilliant Teddy Riley produced track, "Wishing You Were Here", is by far one of the standout tracks on what should've been a Gold album, at the least. This Monica Payne led vocal takes you on a NJS trip as she yearns the company of her "always on the go" lover. The trademarked sound of Teddy wraps your earlobes in a heavy kick drummed, percussion soundscaped rhythm pattern. The additional background vocals of the talented Tabitha Brace add the youthful appeal this song exerts. Throw in a tight snare drum, upper mid rangy bass synth, and sporadic digital orchestra sample hits, the volume on the Sony Cassette Walkman is sure to be turned up. {For those not old enough to remember, the Sony Walkman was the iPod of that time period}

"Jam Jam (If You Can)". From the very first notes to the last ones heard, you'll have NO OTHER CHOICE but to Jam Jam !! This track represents NJS to the highest degree ! Those same aforementioned orchestra hits, bass synth melodies, drum programmed sounds, James Brown samples, are what NJS was made of, and that was SHEER FUN ! Once again, the Korg M1 synthesizer solos were second to none during this time, as they are featured here in this song. Terri executed one of her most rhythmically dynamic performances on Jam Jam, as she got to flex her full vocal range. Monica, Tara, and once again, Tabitha Brace, provide those background vocals that blend in perfect harmony with Terri's lead. {SEE ACCOMPANYING VIDEO BELOW}

The Gyrlz takes the pace down a bit with the toned down, but yet "funky feeled", "Love Stories". This time around, Kyle West's droned synthesizer demands your utmost attention as it stands front and center in the mix. The "punched and bruised to your face" programmed kick drum, does exactly just that, KNOCKS YOU IN THE GRILL! The electric piano patch, synthesizer fills, and whipper snapped snare drum, keeps the groove "dead in the pocket", as you'll move than likely bob your head to this mid tempo'd ballad. Monica Payne's lead vocal is sexy cool, but yet mellow at the same time. The background vocal fills perfectly falls right in line in the choruses and vamps. Good song !

Album's title track, "Love Me Or Leave Me", we find ourselves back in the safety net of the New Jack Swing ! This track is like the Allstate Insurance Company slogan, "YOU'RE IN GOOD HANDS" ;-) .... The kick drum, though distorted, works well the tempo of the usual suspects of the bouncy bass synth, tom tom rolls, and synthesizer effects and fills. James Brown's "funky" sample. You just gotta love the way Kyle triggering a sample of Monica's lyric of 'Love Me' .... i.e."Lah Love Me Or Leave Me ..... Laaah Lah Lah Love Me Or Leave Me". You just have to hear it yourselves to get full effect .... and trust me, you'll know what I'm talking about when you hear it.

So there you have it ! A ground breaking album from the First Ladies Of New Jack ....ooops, I meant :-( ....... NEW JILL SWING ! ;-) As with anything new and fresh, many record companies thereafter sought out their own versions of The Gyrlz and spawned countless New Jill Swing groups, with various degrees of success. But it's these three ladies that laid the foundation for many of those groups to have, what seemed like, short lived careers.

But I cannot say that about Tara, Monica and Terri. Though this was the last proper"Gyrlz" recording, Terri Robinson and Monica Payne, five years later in 1993, regrouped to form yet ANOTHER ground breaking act, this time as duo, simply calling themselves, "Terri & Monica". You're probably saying to yourselves, "Well, what about Tara ?" Tara signed on to become Terri & Monica's manager during this period. So as you can see, they never truly broke up, they just reinvented themselves, as true artists should do if they want to maintain their careers.

Terri & Monica's only commercially released album on Epic Records, "Systa", gained both critical and consumer acclaim. It fell in line with the then burgeoning Neo Soul soul sound of the early '90's, and gained worldwide acceptance, but strangely did not fare well sales wise, as this album too, should have gone Gold at the least. To read my review of this now classic album, please click on the following link where you'll be directing to the other urban music website I write for, TheUrbanMusicScene.Com : http://backintheday.theurbanmusicscene.com/2010/03/23/terri--monica--systa.aspx

Throughout the '90's, Terri Robinson emerged as a powerhouse songwriter as her songs and background vocals are heard on some of that decade's biggest R&B/Hip Hop hits. There was a second Terri & Monica album entitled "Suga" in 1996 that was recorded. A single and video titled, "Sexuality" did culminate, but unfortunately, the full length album, for whatever reason, was not commercially released.

Let's take a peak at some of Terri Robinson's accomplishments, as both a writer, and performer..... a retrospective if you will.

Did you know it was Terri's and Tabitha Brace's vocals on the DJ Eddie F. produced, Heavy D & The Boyz, original opening theme song to Keenan Ivory Wayans hit '90's sketch comedy show, "In Living Color" ? Check it out and hear for yourselves :

Terri also recorded a duet with Anthony Hamilton for the soundtrack of the hit '90's police drama program, "New York Undercover". Here's the audio only track :

Now, let's go through the extremely impressive list of artists Terri either wrote songs for, and/or, recorded background vocals with. They'll either be in still picture form, or audio/video clips .... this could take a while, so set aside some time please.

But before I continue with the long list of other artists Terri's worked with, let me feature the Terri & Monica video, "Sexuality", from the unreleased Epic 1996 album, Suga.

The cover to the unreleased "Suga" album

Now back to our regularly scheduled Terri Robinson retrospective

Millie Jackson's Daughter, Keisha Jackson

You can clearly hear Terri on co - background vocals on this Heavy D & The Boyz "Truthful" track

Terri & Monica contributed a song to this Money Train soundtrack "It's Alright"

Anthony Hamilton's VERY first album "XTC"

"The Kings of Hip Hop" - Compiled and Mixed by DJ Premier & Mr. Thing

Phew ! Exhausted from reading all of that ! LOL ! :-) ..... I know that's right ! ;-) ... and Terri is STILL to this day writing songs, that'll never stop for her .... and thank goodness for that ! :-) .... It's come to my attention Monica Payne recorded a solo album for DreamWorks Records in the '90's that was never was released. They need to stop that !!!

Talented artists such as Monica Payne and Terri Robinson are a rarity in today's urban landscape. If anything, the industry in whole need to bring back the New Jack/Jill Swing sound to weed out the trite we're currently being hit with at Urban radio. That sound was fun, upbeat, not too sexually explicit, but sexy enough to NOT go overboard like it is now. One could only wish.

But let's cherish and keep alive a sound and culture that was truly the last bastion of INTEGRITY LADENED R&B mankind will ever see again. With that being said, I'd to personally thank the writers, producers, artists, even record company executives at the time, that believed in the NJS sound and made it possible to be enjoyed by the millions the world over.

I'd like to thank Ms. Vanessa Fluffy Murray-Yisrael, a former staffer at Uptown Records, for her more than kind advice and direction to help me track down those partially responsible to make the NJS sound what it is today.

I'd also like to Thank Monica Payne, Tara Geter-Tillman, and last, but certianly not least, Terri Robinson for their GOD given talents and what they were able to provide to the soundtracks of all our lives ! The New Jack Swing Movement is indebted to you ladies !

Musically Yours,

Ran Man