Heilung (the German word for ‘healing’) is a 3-member Danish band. Its sound is metal and folk and electronic and noise; instruments include those made with bones, animal skins and swords, as well as relics and temple bells, nature sounds and other items. The lyrics of Futha, Heilung’s second album, are based on Icelandic poetry. Vocalist/lyricist Kae Uwe Faust growls, snarls and throat-singing are impressive, but more impressive are the high clear tones of Maria Franz’s vocals. Instrumentalist/producer Christopher Juul ties it all together sonically. Some tracks include pieces that sound like war chants – “Vapnatak” sounds like a battle re-enactment with a narration at the end. “Futha’s” overall sounds are pagan, tribal and occult, with an emphasis on percussive rhythms – the lyrics are Old Norse, German (modern and Old High) and maybe a bit in Icelandic. Heilung call their genre “Amplified History,” while others tie it to neo-folk. “Futha” was conceived as a feminine contrast to their first album, “Ofnir.” According to the label’s webpage for the album, there’s speculation that a variant of ‘futha’ means a four-letter word for female genitalia. Much of that ‘big yonic energy’ is carried through is mostly on the strength of Franz’s vocals, particularly on tracks 2-4. But the whole album avoids sounding like either just another folk album or just another metal album. There’s something to scare and/or beguile all sorts of listeners on “Futha”.
Medusa of Troy
The Crossing is the artist, in this case, a professional choir that specializes in performing new classical music. Donald Nally is the conductor. Voyages is the title of the album, the two works that make up this album, and the underlying 6-cycle poem, composed in 1921–1926, as a paean by the poet Hart Crane to his lover, a Danish sailor. Robert Convery is the composer of the album’s first half, the choir singing his 1994 arrangement of Crane’s words a cappella, poems intact. Benjamin C.S. Boyle composed the second half of the album as a cantata, where stanzas are plucked from the underlying poem and the choir is accompanied by its in-house string ensemble, with soloists emphasizing particular passages. The first six songs, Convery’s a cappella arrangement, are sweet and melancholy and faint enough that you may want to pay close attention and have the poem in front of you to make out the words. In Boyle’s half, the strings tend to be dramatic, undergirding the emotion in the words and forcing the soloists to be more emphatic.
But which, if any, should you play? Convery’s “Voyages” is good for quiet but deep listening. Boyle’s “Voyages: Cantana No. 2, Opus 41” provides more obvious peaks and valleys for the listener. Neither quite reach the delirious, dizzying sweep of words and feeling as an out and proud statement of queer desire from a time where such a thing was punished by law and society. However, both compositions, and the album as a whole, are lovely.
Taboo And Exile is part 2 of Zorn’s 3-part Music Romance series, released by his Tzadik label in 1999. For those new to Zorn’s wide swath of compositions, the album functions as an introduction and a sampler of Zorn’s many musical styles: jazz (Track 10), punk (2, 5), surf (9), Jewish music (3, 6, 8), experimental (7), exotica (1, 4, 11, 12). Track 10 (“The Possessed”), a free jazz tune full of skronky, screeching, screaming sax, is the only song where Zorn plays. Musicians on various tracks include: Marc Ribot, Fred Frith & Robert Quine [guitar], Bill Laswell & Greg Cohen [bass], Joey Baron, Dave Lombardo and Cyro Baptista [percussion], the Masada String Trio [strings] and vocalists Mike Patton and Miho Hatori. No apparent FCCs on the 2 vocal tracks. From grinding, fuzzy guitars to tribal rhythmic drums to lush, sweet strings, I love almost everything about this album – except the cover. I find the cover abhorrent. YMMV. But play this album.
Beans, AKA Robert Stewart, is a New York rapper and producer who’s a founding member of Antipop Consortium. As part of Thirsty Ear’s Blue Series of jazz collaborations, Beans worked with jazz bassist William Parker and percussionist Hamid Drake on this 2006 album. Beans contributes vocals on half of the 10 tracks, and electronic samples and mixes on all of them. It is an interesting but not mind-blowing, mix of electronic, hip-hop and jazz, The electronic music is by turns spacey, glitchy & droney. Parker’s and Drake’s contributions are solid. Many of the vocal tracks (“4” & “198” FCCs) tend to stand alone as hip-hop (“20” being an exception). Even where styles merge, there isn’t a lot of mingling and it becomes all too easy to tune out after the first two tracks (“5” and “1”). Perfectly fine, but not arresting.
Over six decades of recording, Brown touched on jazz in a variety of projects – first, as an organist with his own hard swinging group; then a couple of vocal albums, one with a cocktail trio, another with Louis Bellson’s big band. There’s also JB’s tribute to fellow King Records artist Little Willie John that fired up his jazz influences. Despite being an influential funk band ever, JB’s band also introduced trumpeter Waymon Reed, trombonist Fred Wesley and saxophonists Alfred “Pee Wee” Ellis and Maceo Parker, all of whom had enviable jazz credentials. (Parker’s rousing performance on “There” is thought to be his first recorded solo.) There are some highlights — a number of tracks are rare versions or previously unreleased — including “That’s My Desire (alt. mix)”, “After You’re Through (extended version)”, “Tengo Tango”, “Home At Last (alt. mix)”, “There (unreleased version)”, “What Do You Like (stereo single edit)”, “Go On Now (alt. mix.)”, “For Once In My Life (alt. mix)” and “Cottage for Sale (alt. mix)”. The material is from the 1960s and ’70s, and features a number of alternate mixes and singles edits, some of which have never been released.
This album really doesn’t belong in the Soul Library, even is JB is the “Godfather of Soul”. There’s more Jazz than Soul here. – Reviewed by Ann Arbor, April 8, 2009.
No one (except maybe Kevin O’Dante or the Reverend Dah) is a bigger JB fan than me, but just the same, I was prepared to hate this. Guess what? It’s not half bad. Not every tune is brilliant (they range from some smokin’ funk to some too-slick ballads) but there’s way more than enough to justify its existence, as well as some damn fine moments. Well done, JB! – Reviewed by Johnny P, September 21, 1994.
The condensed version of ‘Star Time’ – not a loser herein. Excellent remastering job (good God!). Think PE’ll sound this good 30 years hence? – Reviewed by Teddy Bloat, November 6, 1991.
This double Bootsy-blast dates from way back in 1994, but it hasn’t aged a bit. The Boots takes all the lessons he learned from he sojourn with James Brown and Funkadelic and distills them down to two hours of solid boogie! The tracks on Disc 2 are extra-funkified version of Disc 1 tracks, without the banter. Any of the tracks will boil water but go for CD2 if you really want to blow your speakers. Reviewed by Goodwrench, January 14, 2015.
Just the usual here. Which is to say fabulous, sophisticated, funky, stripped-down, skeletal, sublime R&B. By this time (1968), the MGs were puttin’ it down like single malt scotch. Nice. Very nice. Reviewed by Johnny P., September 2, 1992.
A collection of cuts recorded at various times during ’62, ’63 and ’64, some with Lewis Steinberg on bass and the rest with his replacement, the legendary Duck Dunn. The music itself is the Stax sound stripped to its essentials and sinew. Glorious, glorious stuff. Reviewed by Johnny P., January 8, 1992.
The first Booker T. & the MG’s album (1962) and this provided the blueprint for it all. Not just this band but the entire Stax/Volt sound and aesthetic. Stripped down, no-bullshit ensemble playing. Pre-Duck Dunn with Lewis Steinberg on bass. – Reviewed by Johnny P., February 12, 1992.
While many Johnny-come-latelys having been using the foul word as a career (2 Live Crew, etc.), the man called Blowfly has been doing it for more than thirty years. He’s like a R’n’B Redd Foxx. This is all old material, but new versions helped out by members of Fishbone and The Red Hot Chili Peppers. Some are lame, but most aren’t. Reviewed by Lucifer, July 3, 1991.
This group has been around for 7 decades! Since forming their group at the Alabama Institute for the Negro Blind in 1939, they have kept alive the spirit and energy of pure soul gospel music. The Blind Boys’ music has not only endured, but thrived, helping both to define the sound of the American south and to push it forward through the 20th century and well on into the 21st. This is one of their best known albums (a Grammy winner) from 2002. The sound is fresh and often more gutsy than traditional gospel music. The best known tracks on this album are: “People Get Ready” and “I Shall Not Walk Alone”. I especially like  and . Reviewed by Ann Arbor, May 23, 2018.
Spoken word with forays into minimal song structures, like Ginsberg meets Last Poets. Homeboys of Wanda Coleman. Dropping science on Columbus, colonialism and other historical matters. Not as boring as that sounds, cheeze. – Reviewed by Bloat, April 8, 1992.
Nigerian psych rock. Re-issue of 1979 album. This was the band’s third album, Vol. 3: Aviation Grand Father, is soul, funk, jazz and a little bit of early synth. In the mid-sevens Nigeria, everybody loved the Black Children Sledge Funk Co. Band. Blasting out of the bustling river port of Onitsha, their infectious, feel-good grooves were the perfect antidote to the dark economic clouds gathering over the country. Everyone in the band changed their last name to Black. Last track is an instrumental. – Reviewed by Carson Street, January 31, 2018.
The Sunlights are a dynamic young a cappella gospel group. They hail from Jefferson County, Alabama, where gospel music has flourished since the turn of the century. The Sunlights have received priceless instruction from groups like the Four Eagles and the Sterling Jubilees, and have taken that technical know-how and combined it with unusual syncopation for a fresh sound. This is lively, fervent, joyous stuff. Please enjoy.
P.S. Note there are 5 singers in this quartet — a fifth voice was added so the lead singer can “step out front” for long solo passages without sacrificing the groups 4-part harmony. – Reviewed by Peggy O, August 26, 1992
Multi-instrumentalist, martial artist, and magician Travis Biggs recorded and self-released this debut album in the mid-70s, then went on to work with higher-profile artists including The Supremes and Isaac Hayes. The current reissue comes to us in conjunction with Soul Jazz’s NEW THING! compilation, which featured the very best track here, “Tibetan Serenity.” While Travis plays several instruments on the album, his most obvious (and unique) contributions are the acoustic and electric violins, which make him sound like a funkier version of Jean-Luc Ponty. Check his Stevie Wonder cover, “I Wish,” or the instrumental track “Solar Funk for more highlights. – Reviewed by Rococo, January 11, 2006.
UP is …
… the title of this album distributed by Six Degree Records, with vocals in English & Hindi, with no obvious FCCs.
… the beats by Karsh Kale (pronounced “Kursh Kah-lay“), a British-Indian New York resident who plays drums, guitar, piano.
… the tempo of most of the songs on this release, which mixes Indian and Western instruments: traditional tabla & drum machines, guitar & sitar, flute & strings & piano.
… the unspoken command to rise up and dance to these tunes. Faves are 4 & 7, the rhythms going beyond energetic to nearly ecstatic.
William Bell was the best-kept secret on the entire Stax/Volt roster. He was there from the very beginning, and continued recording with the label ’till the end. A versatile musician, he was both a writer and a singer. As a singer, he could hang with anybody – as his gutsy cover of Otis’ “Loving You Too Long” attests – and he possessed a sweet, understated voice. The first half of this is ballads, the other half more up. Both are sublime. Do yourself and your listeners a favor and play this … a lot (especially the ballads). – Reviewed by Johnny P., October 9, 1991.
Inventive Washington D.C. duo that uses mostly live instrumentation mixed with imaginative samples. Languid, clever stories of a lovelorn individual over slow non-cliche mixes. A whole new approach here: had a good one. – Reviewed by Lucifer, January 29, 1992.
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