Dexter Wansel is a Philadelphia-based composer, arranger, producer and keyboardist who appeared in the early to mid-70s with a series of fusion/funk/ R&B albums- with often a space-bound vibe/ focus. He may not be a household name today- but his work is still sampled and used now by the likes of Kanye West, Lil Wayne, Drake( that may be the one & only time you hear those three artists mentioned on M[m]!). As well as 80’s hip hop projects such as Eric B and Rakim, Ice-T and Ice Cube. Here from BGO is a double CD reissue bringing together his four albums from the 70s- Life On Mars, What Is The World Coming To, Voyager, and Time Is Slipping Away.

The release appears on UK’s BGO Records- who focuses on putting out reissues across a wide range of genres. The two CDs come presented in a slim and see-through jewel case- this is finished off with a colour card slip. Also featured is a twenty-four paged inlay booklet- taking in a  new lengthy write-up about Mr Wansel, and these three albums, as well as full credits/ pictures.

Dexter(Gilman) Wansel was born in Delaware in the year 1950- and from the off he was fascinated by space and sky at night.  In his youth, his family moved to North Philadelphia- where they ran a speakeasy. In high school, he learnt to play both the cello, and piano. At the age of sixteen, he got arrested for throwing a bottle at a parked police car- which he couldn’t see because it was dark. He was given a choice for the crime- either two years in a juvenile detention centre, or signing up to the US army- he took the later. In 1970, he was honourably discharged from the army- and from here he looked at becoming a professional musician.

He became one the early synthesists- when he began programming EMS VCS 3 'Putney' and  ARP 2600 for sessions at Sigma Sound Studios both credited and uncredited. He played synth with projects like Instant Funk, Yellow Sunshine, and MFSB.  He signed to Philadelphia International Records, becoming their in-house songwriter/producer/arranger, where he established a songwriting relationship with the lyricist Cynthia Biggs. During the 70’s he released three albums on International Records- 1976’s Life On Mars,  1977’s What Is The World Coming To, 1978’s Voyager, and 1979’s Time Is Slipping Away.  He released an album in the 1980’s Captured on 10 Records- which was a subsidiary of Virgin Records. Then had a long break- releasing in 2004 Digital Groove World, and in 2021 Story Of The Flight Cruise To Mars.

Each disc in the set takes in two albums. And first on CD one, we have Life On Mars- this is an eight-track album, which offered up a mix of funk, fusion, disco, and jazz-funk. It was a mainly instrumental affair though there were a few soulful vocals here and there.  The album kicks off with “A Prophet Named K.G.” which after its brief synth-out Native American atmospherics drives into upbeat, horn, and string-lined jazz funk number. We have the big band lined & pulse rising instrument funk/ disco of “Stargazer”.We have plodding vibe tones, whooshing sound effects/ subtle synth washes,  strings, and rising soulful male vocals of “One Millon Miles From The Ground” which has moments of lovely mellow horn playing, lush jiving keys, and ocean sounds. All in all, it’s a competent and accomplished debut album- highlighting both Wansel’s talent for arrangement, melody, and groove.

Next up on disc one, we have What Is The World Coming To- this was a nine-track affair. It saw Wansel aligning himself with a mix disco/ funk sound, though there was still creative & daring at times with his genre-blending going on. The album moves from the galloping keys ‘n’ swaying horn sassy-ness of “Holdin’ On” featuring male lead vocals that often goes into wavering falsetto- with the whole thing having a very early Prince vibe, but with maybe a few more keyboard chops. Onto straight funk disco of “ Disco Light” with great whack-whack bass line, and spiralling ’n’ spacy synth. Though to tacky-if- rather over-produced cod-reggae Strutt and jaunting keys of “Going Of Back To Kingston”. Onto the ornate rolling piano keys meet the romantic strings of “Prelude #1”. It’s another worthy album- though some of his ‘experiments’ into other genres like the mentioned “Going Of Back To Kingston Town”  just don’t quite gel.

Moving onto the second disc in the set, and it opens up with the seven tracks from 1978’s Voyager. We open up the dense funk ‘n’ lite rock of “All Night Long With “ with its upfront & boisterous funk bass, lo-key jiving guitar, layered organ key weaves, vamping horn rising- topped with soulful falsetto male leads, and occasional sensual female backing. We have the epic just over eight instrumental title track which moves between its opening dramatic spacy rise. Onto bound slap bass, jiving organ keys, and honking to wailing sax ‘n’ trumpet embellishments. On through to lightly rising solo guitar lines, though to snaking ‘n’ ringing percussion meets cascading electric piano keys- which are edged with synth simmer.  The tracks a sort of funk, jazz, and light prog crossbreed. With the album being topped off with rising piano, string swoon,  emotional synth texturing, and female backing soul-pop ballad of “I’m In Love”.  As an album Voyager. Is much more consistent, than the What The World… album- with each of the different types of tracks all being rewardingly realised and arranged.

Finally, at the end of disc two, we have 1979’s Time Is Slipping Away. This is an eight-track album- with the focus being more on a more approachable fusion album, with serious leanings into the disco/ soul side- though there are still touches of invention/ flare. We have the smoothly darting ‘n’ shuffling funk soul of “The Sweetest Pain” featuring rich and powerful lead female vocal, mellow horn embellishments,  swaying female backing vocals, and creative instrumental touches like harp plucks, and spacy synth texturing.  There’s “Let Me Rock You” with its upfront funk bass, disco horn pomp ‘n’ swoon, and an almost female sing-song schoolyard chorus. With the album playing out with the rolling ‘n’ bounding instrumental soul-funk of “One For The Road” featuring some great groovy synth soloing, melodic horn swoons, and tip-tapping percussion detail.  Time Is Slipping Away is another consistent enough release- though it does feel like Wansel’s was trying to break into the more commercial market. But unfortunately, it wasn’t to be- as the album charted his lowest every place on the US R&B chart at 58, and didn’t even hit the Billboard charts as his previous albums had done.

I wasn’t aware of Mr Wansel before this release, and I must say if you enjoy funk-focused fusion- with disco & soul leanings- it’s most certainly something you’ll be wanting to check out. And it’s wonderful this two-disc set brings together all four of his albums for just over a tenner.