The once-dominant disco group Change enjoyed its final hit with this 1985 album.
The lineup had changed radically from the days when Luther Vandross or James Robinson were providing exciting, soulful leads. The leads throughout this session, even on the lone successful single, "Let's Go Together," were more efficient than distinctive. The group's founder, Jacques Fred Petrus, returned to the production helm and recycled the arrangements that once made the group a major act.
This second collection of early, otherwise unavailable EPs, demos, and compilation cuts from F.Y.P. is not a favorite of the band, but fans apparently demanded that this early stuff be available again, so the band threw together this 43-song CD. But after the first few numbers from the Idiocy 7", like "Jerkoff" and "Toss My Cookies," which are F.Y.P.
standards, the record veers back to when F.Y.P. had yet to hone its skills. Some of these songs are a bit derivative of any typical hardcore band that's been banging around in a garage for a few months, while others sound like practice sessions. They're all recorded as raw as can be, while some sound like they were written on the spot. Also, it's hard to get through the whole record. This one is only for voracious fans of the band who want to check out what they were doing in their infancy from the late '80s to early '90s.
This volume of Mingus material brings together three sessions from 1952 and 1953, all of which emphasize vocal material. The first set of arrangements leans towards a cooler side of Mingus, with careful brushwork from Al Levitt, airy alto lines from Lee Konitz, and the inclusion of a cellist. Max Roach handles the drums on the second session.
While there is no record of how the musicians felt about working with lyrics like "If you make believe with all the fine chicks/Then you're sure to get some crazy way-out kicks," presumably everyone was more enthused about "Paris in Blue," which features a relaxed and spare Jackie Paris vocal in a more distinctly Mingus-like setting. The third session runs straight down the middle, 1950s-style, neither overly cool nor anywhere near avant. Honey Gordon holds forth in a husky, Sarah Vaughan-influenced alto. She is joined by the rest of her singing family on "You and Me" and "Bebopper," a de rigeur vocal tribute to jazz hipster style.