Showing posts with label Diana Ross. Show all posts
Showing posts with label Diana Ross. Show all posts

Monday, 2 December 2024

Nile Rodgers at the Barrowland Ballroom

I'm still basking in the afterglow of seeing Nile Rodgers and CHIC at the Barrowland Ballroom! A phrase and tantalising thought that will bring smiles to the faces of anyone fortunate enough to have been there for years to come.

My wife, friends and I snapped up tickets immediately upon release, super excited by the prospect of this legendary hit maker and his crack band playing the best venue in the world.

We were not disappointed!

What an honour it was to see a master of songwriting, arrangements, guitar playing and production up close and personal. 

I should also name Nile's current line-up of CHIC; Jerry Barnes on bass who delighted the crowd with his exceptional and energetic style, Ralph Rolle on drums - he brought the funk, Kimberly Davis and Audrey Martells on exquisite and sublime vocals, Russell Graham and Richard Hiltons on keyboards and Brandon Wright, Steve Jankowski and Ken Gioffre on horns.

These are good times

Leave your cares behind

This was 105-minutes of pure escapism, much needed from a world troubled by climate change, wars and conflict and right wing politics, with the cost of living crisis and housing emergencies impacting many.

Nile and CHIC lifted the crowd from the off with an outrageous opening medley of Le Freak, Everybody Dance and Dance, Dance, Dance (Yowsah, Yowsah, Yowsah). They were just getting started! Band and audience were definitely warmed up and raring to go.

More hits? Nile's got 'em!

I Want You Love was dreamy, beautiful and seductive. Kimberly Davis treated us to some truly sensational vocals afterwards, Nile looked on with a beam. What a gorgeous smile this guy has! 

With so many songs to get through, Nile and CHIC merged some together. We had I'm Coming Out and Upside Down by Diana Ross from her 1980 album Diana, written and produced by Nile and Bernard Edwards, the friends who co-founded CHIC. Two slices of impeccable pop; hooks, grooves and super cool.

More?

We then had He's The Greatest Dancer and We Are Family from the Sister Sledge album of the same name that Nile and Bernard wrote and produced in 1989. Utterly brilliant disco pop. 

What else did Nile get up to?

Oh yeah, he produced Madonna's Like A Virgin album in 1984. Nile told us how he wanted Material Girl to be the lead single as he could imagine everyone calling Madonna 'the material girl'. Madonna told him it was going to be Like A Virgin. So Nile played both! The crowd went nuts.

The year before, Nile produced a Bowie album and so we had a joyful blast through Modern Love. Nile then brought us into present times with CUFF IT by Beyonce and Get Lucky and Lose Yourself to Dance by Daft Punk. A career overview was being played out before our eyes.

Lost In Music was outstanding. Everyone in the Barrowland was lost in music, the structure, arrangement and feeling of that Sister Sledge song is utterly perfect. Notorious by Duran Duran was very popular with girls and women around me, then we had the sublime Thinking Of You - sheer perfection.

Phew, Nile and CHIC kept going, Jerry Barnes on bass was co-frontman with Nile, delighting the crowd with his facial expressions and incredible riffs. Meanwhile Kimberley and Audrey on lead vocals were absolutely exquisite. Their voices were like angels.

Drummer Ralf Rolle then led the band through an extended jam called Maximum Funkocity which was superb, great fun. There was a call and response section with the crowd, hand were in the air, hand were waved ... amazing.

My Feet Dancing, Chic Cheer/Love Like This, My Forbidden Lover was a glorious run of CHIC songs before the place went truly nuts for Bowie's Let's Dance.

We were all having a good time, so there was only one way to end it. And that was with the monumental hit Good Times, with a nice segue into Rapper's Delight. 

The Barrowland roar of appreciation was as loud as I have ever heard, so there was an encore of the full length Le Freak to send everyone home deliriously happy. What a night!




Saturday, 5 November 2022

Ain't No Mountain High Enough

Cover version of the month #81

Diana Ross covers Marvin Gaye & Tammi Terrell


What can you say about Marvin Gaye and Tammi Terrell's impeccable Ain't No Mountain High Enough?

Well, it's one of those songs where I tend to say that music really doesn't get much better. It's absolutely perfect in every single way. The emotion, the imagery, the soul and love that pours out of the song.

Written by Nickolas Ashford and Valerie Simpson, Gaye and Terrell released the song in April 1967, perfect timing for it to be played through the Summer of Love.

Apparently Dusty Springfield wanted to record the song, but Ashford & Simpson were dead set on it being a Motown record. They were right to hold it back.

I find out a lot of surprising things when researching for blog articles. My biggest surprise here is that Terrell recorded her vocals first and Marvin added his at a later date! They sound so perfectly entwined that I have always imagined them singing together in a booth. I'll hold on to that image though.

Ashford & Simpson wrote more gems for the duo, including You're All I Need To Get By and Ain't Nothing Like The Real Thing. Wow! What a trio of songs.

When I really fell in love with music at the age of 15 and got my first Hi-Fi with a turntable, I remember raiding my parents rather small record collection. I still have a Marvin & Tammi's compilation, complete with my Mum's name written in pencil. I devoured it. 

God those innocent days seem so long ago. You treasured exploring records, stuck with them, poured over sleeve notes, showed off when friends came round; 'hey listen to this'. Friends would have to come round to listen, unless you made them a mixtape.

Nowadays I'm guilty as charged. Friends and I will exchange songs on WhatsApp by posting Spotify or YouTube links. Sometimes I'll take days to check a link, sometimes the chat will go on and I'll forget. 

The teenage me would be appalled. But sometimes (all of the time) it's just too easy to access music. You can check out songs, albums or entire back catalogues on a whim. And I do ... if in the mood. But I also miss the days of saving for albums, or going to HMV every Monday, or Missing Records before catching the train back to Carluke, or having friends round and playing CD's or records. I miss taking a chance on an album because of a cover.

Anyway, back to Ain't No Mountain High Enough.

It's precisely 2.5-minutes of Motown pop perfection. Gaye & Terrell backed by The Funk Brothers and the Detroit Symphony Orchestra. 

Beginning with a rumbling bass and Marvin Gaye's passionate vocal, Tammi Terrell and strings come in, before everything takes off at 30-seconds as they hit the chorus together. Terrell's voice soaring, Gaye's just sitting under it beautifully.

And what a chorus! 

Gaye & Terrell are so in love that nothing will keep them from each other; mountain, valley or river.

Then we have Terrell singing over pounding drums; No wind, no rain, or winters cold, can't stop me baby

Things are really flying now as Gaye ad libs a no, no, baby before coming in at 100 mph if you're ever in trouble, I'll be there on the double, just send for me.

Marvin Gaye sounds like he is really in the zone, enjoying himself, letting out a little haah and wooo as the duo keep flying through the song. Terrell singing possibly my favourite line - my love is alive, way down in my heart, even though we're miles apart.

The Motown beat is pounding furiously, beautifully, like the sound of Gaye & Terrell's hearts as they sing for all their worth. The bass keeps grooving and the strings sound majestic.

What a song! Utterly brilliant.

Diana Ross originally recorded a version with The Supremes & The Temptations in 1968, remaining true to the original. Ross, at the bequest of Ashford & Simpson, revisited the song in 1970 as a solo artist, working with the songwriters and others to completely rework the song.

The single version is 3 minutes 32 seconds long, but it is the album version, stretched to a glorious 6 minutes and 18 seconds, that really floors me.

A slow, teasing classical intro leads to Ross singing the melody over Motown beats, strings and piano. At 1 minute 20 seconds Diana speaks directly to her love, seductively, openly and true for 40-seconds until the melody from the chorus and stronger beats kick in again.

Ross' version cleverly adds new lyrics to the original and interestingly takes an age to actually get to the words Ain't No Mountain High Enough. It's at 4-minutes 18 seconds that it kicks in, Ross is squealing with delight as her backing singers (very much at the fore for a while) sing in unison. 

Then at 4-minutes 36 seconds the song builds to another level. At 4 mins 55 it reaches for the stars, strings, horns, beats and stunning piano, then the vocals again. This is simply divine. Heavenly. 

The 6-minute version is incredible, but it still leaves you wanting more, we get that in Martin Martorell 8.5 minute version. There are more delightful squeals, Ross' voice is incredible as she urges one more time and pushes herself even further. 

This is incredible. Music really doesn't get much better.

Marvin & Tammi official video

Diana Ross - single edit

Diana Ross - 6-minute version

Diana Ross - extended 8.5 minute version

All previous cover version of the month blogs are listed below. To listen, search for Everything Flows Cool Cover Versions playlist, featuring all of the songs below, on Spotify or CLICK HERE

Previous covers of the month

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola