Sun. Aug. 25, 2019

Loose Ends – Love’s Got Me (Morales Mix)

Classics: Loose Ends – Love’s Got Me (Morales Mix) (10 Records)

No matter what, nor when… I guess I’ll never come to understand why House Music and a vaste majority of its protagonists never managed to get a significant recognition. And even more during at the beginning of the 90’s by the time of its heydays. And by that, I mean something comparable to say Hip-Hop…

A quick reminder suffices to understand my interrogation though. This under the form of countless gems that got under the remixing treatment of reputedly House producers at the time. From Tony Humphries‘ retouch of The O’Jays‘Don’t Let Me Down’. To Frankie Knuckles‘ rework of Lisa Stansfield‘s ‘Change’ to name but a very few. With Loose Ends‘ ‘Love’s Got Me’ as retouched by David Morales makin’ no exception…

As a matter of fact, a quick listen to this version of ‘Love’s Got Me’ suffices as well to realize how Morales remained true to its original Brit-Soul spirit. If not even enhanced it. And by that, the vocal performance of Carl McIntosh somehow reminding of Marvin Gaye. But also, its overall smooth jazzy/phonk feel…

Love’s got me listening to this, and it really has. How about you?

What’s the value of your vinyl record?

Overview
– I guess it will just be payin’ justice to Loose Ends when sayin’ they opened the path for the Brit-Soul to see the light back at the ends of the 80’s. The group emerged by the beginning of the decade. This from the reunion between keyboardist/trumpet player Steve Nichols and singer Jane Eugene. Two long time friends who first met at the London Guidhall School of Music and Drama. With top sesion bass player Carl McIntosh soon after joining them.

The threesome made their debut back in 1981 with ‘In The Sky’. A cut which Chris Amoo and his late brother Eddie of The Real Thing fame wrote for them. Meanwhile George Hardgreaves wrote and produced its follow-up, ‘We’re Arrived’ the year after. Then they released ‘Don’t Hold Back Your Love’ which they wrote by themselves in 1983. Eventually turning their name from Loose End to Loose Ends for the occasion. This before starting a fruitful relationship with Philadelphia-based in-demand producer Nick Martinelli.

Loose Ends dropped their debut-album – ‘A Little Spice’ – in 1984. Establishing themselves in Soul/Dance circles with ‘Tell Me What You Want’, but also ‘Emergency Dial 999’ and ‘Choose Me’. The year after seeing them scoring their biggest classic. This by the likes of ‘Hangin’ On A String (Contemplating)’. One of the highlights from their ‘So Where Are You?’ album along with ‘Magic Touch’. Further gems comin’ up in 1986 as a part of their ‘Zagora’ album. Beginning with ‘Slow Down’ but also ‘Ooh You Make Me Feel’. Meanwhile finding the time to collaborate with other artists. From Juliet Roberts (‘Ain’t You Had Enough Love’). To Five Star, writing the memorable ‘All Fall Down’ and ‘Let Me Be The One’ for them.

‘The Real Chuckeeboo’ would be their last album with their original line-up, as with producer Nick Martinelli. With both Nichols and Eugene soon after leavin’ upon artistic disagreements with McIntosh. It eventually spanned extra goodies such as ‘Watching You’ and ‘Mr Bachelor’. Although the latter was not included on the British pressing of the album for some reason.

McIntosh then on his own recruited new members Linda Carriere and Sunay Suleyman. And together they released ‘Look How Long’ back in 1990. But despite the presence of other delights such as its title track,’Love’s Got Me’ and ‘Don’t Be A Fool’, it would be the very last Loose Ends studio album. 10 Records releasing ‘Tighten It Up Vol. 1’ two years after. A Remix package featuring ‘Hangin’ On A String’ as remixed by Frankie Knuckles. But also ‘Slow Down’ by Andrew Komis and ‘Love’s Got Me’ by David Morales among others…

Sadly enough nothing new has ever seen the light from them anymore. This to the exception of a brief reunion of the band on a single by the likes of Pete Rock – ‘Take Your Time’ – back in 1996. And one could eventually hear the rumors of a new album to be released back in 2010. But that remained unheeded at the end.

– A quick typing – ‘David Morales’ – in the search box of our site should give you a certain idea of his legacy. And, by that, of the consideration we have for him. Standing among the most prolific but first and foremost talented producers/remixers of his generation. With his name firmly associated to a signature – the Def Mix Sound – and an alter ego – Frankie Knuckles. Themselves synonyms with some of the most brilliant episodes in the maturation of the contemporary groove.

A native New Yorker of Puerto Rican ancestry, David Morales grew up during Dance Music’s most influential era. Thus, unsurprisingly frequenting its legendary clubs such as The Loft and The Paradise Garage.

As a result, it wasn’t long before he started his own nightclub – the Ozone Layer – in Brooklyn, by the beginning of the 80’s. His residency which lasted until 1986 eventually leading him to spin at The Paradise Garage in 1983. The 80’s seeing him DJing later at Newark, NJ’s famous The Zanzibar. With the latter standing as the craddle of the famous Jersey Sound also known as Garage. But also joining forces with Frankie Knuckles and For The Record DJ Pool founder Judy Weinstein under the Def Mix Productions banner to help manage remix requests and handle artist business affairs.

All in all, on his own or along with Frankie Knuckles, David Morales has remixed and produced over 500 releases. With the list of those he happened to rework the music of givin’ a better idea of the impact he generated. And this way above the strict spheres of House Music. Eventually bringin’ fragments of his universe on ‘Mine To Give’ by the likes of British Junglist Photek along with Robert Owens. But also working along Brit-Soul / Acid Jazz activists. From James Taylor Quartet feat. Noel McCoy‘s ‘I Love The Life’. To the Brand New Heavies‘Never Stop’, Loose Ends‘ ‘Love’s Got Me’ and Imagination‘s ‘Instinctual’. Not to mention Lisa Stansfield‘s ‘8.3.1.’. And how to not think of Alison Limerick‘s ‘Where Love Lives’ or Incognito‘s ‘Always There’ among others?!?

Of course, David Morales made some noise in the House scene. Responsible for seminal tracks such as ‘I’ll Be Your Friend’, ‘Finally’ and ‘My Piece Of Heaven’, respectively for Robert Owens, CeCe Peniston and Ten City. This in addition to Ce Ce Rogers‘ ‘All Join Hands’, Inner City‘s ‘Whatcha Gonna Do With My Lovin” and Richard Rogers‘Can’t Stop Loving You’. If not Doug Lazy‘s ‘H.O.U.S.E.’.

But, just like Frankie Knuckles, he also created serious bridges with R&B names. Beginning with Mariah Carey (‘Fly Away (Butterfly Reprise)’) with whom he established a long term working relationship. But also Luther Vandross (‘The Rush’) and Alexander O’Neal (‘What Is This Thing Called Love’). This in addition to Miles Jaye (‘Heaven’) and Whitney Houston (‘Love Will Save The Day’).

Meanwhile, under his own banner, Morales also made quite an impression. Beginning with his debut-album and single of the likes – ‘The Program’ – as David Morales & The Bad Yard Club back in 1993. But also ‘Needin’ U’ as The Face, five years later. And how to not remember ‘Golden Era’ along with Róisín Murphy? A cut which stood among the essential tracks of the year 2012… Or, more recently, ‘Lovin” as The Face feat. Kym Mazelle. And ‘There Must Be Love’ as fronted by Janice Robinson. This with remix courtesy of Nigel Lowis, which we welcomed as our Single Of The Week back then…

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