Sylvester Onyejiaka is Sly 5th Ave. He’s from Austin, TX, a multi-instrumentalist, producer, arranger, session musician and this release is what put him on the map. He toured a a session musician for Prince in his 20’s, and “had the privilege of directing Bernie Worrell before he passed. The last thing Worrell said to Sly after the show was “Beautiful, you’ve got it man. Now… it’s on you.” Essentially he made orchestral arrangements of Dr. Dre’s work. I hear a bit of Herbie Hancock, a bit of Funkadelic, some beats, some jazz. It’s orchestral hip hop. I have to mention that it’s on the Tru Thoughts label which is always a plus for me. The album is dedicated to all the marginalized people in America. AArbor
Deep Street Soul are a soul/funk band from Melbourne, Australia. This is their first release from 2009. They are known for their delivery of hard-hitting gritty funk. Formed in 2006 as a Hammond-led instrumental four piece, they honed their sound in the Melbourne soul scene paying homage to their heroes from the late 60’s, in particular the sounds of the Meters and Booker T & the MGs. AArbor
Ego (pronounced eh-go) Ella May’ is a South London based singer and songwriter. She started writing in her early adolescence and got more serious with singing, guitar playing, and producing by her late teenage years. ‘So Far’ is an anthology of her recorded songs, compiled and re-released on Tru Thoughts in 2019. She considers the album to be a final farewell and shedding of her old self. Despite this departure, the tracks here represent an important passage in her evolution as an artist. Her balmy, incandescent vocals meld with compositions and beats cooked up by a number of contributing producers. Together they create a delectable fusion of neo soul, jazz, and alternative hip hop flavors. Her lyrics give you a little peak into what’s going on inside her head as she tells stories about love, music…the things that make the world go round.
A collection of child bands that sought to follow on the success of the Jackson 5. Check out the liner notes of this double LP gatefold for an interesting history of the recordings. A collection of adult promoters who in some instances are altruistic and others exploitive taking advantage of commercial opportunity. Musically if you’re a fan of RL Burnside, The Jon Spencer Blues Explosion, early Jackson 5, and Motown recordings you will be enthralled by this collection. Tight rhythm sections. Delicious wah guitar and twisty vocals by young unknown vocalists. Not one but two dynamic LP’s.
“Black Velvet” was the name Charles Bradley used when he worked as a James Brown impersonator early in his career. Other names he used were “The Screaming Eagle of Soul” and even “James Brown, Jr.” Gabe Roth (a/k/a Bosco Mann) co-founder of Brooklyn’s Daptone Records discovered Bradley. His debut album was released (on Daptone) in 2011 (he was 62) and he spent the last years of his life recording and touring with Daptone. He died in 2017. This album (his last) was released posthumously in 2018. The Menahan Street Band, with which Bradley recorded for many of his releases, is outstanding here. Some have described this album as a “love letter to his fans”, others as a collection of B-sides. It encapsulates the funky heart and soul of Charles Bradley and has great instrumentals. AArbor
Recorded in Moscow, Russia in 2021 this debut album is mostly instrumental funk from the Diasonics – a tight knit 5-piece funk band that calls its music “Hussar Funk”. They blend cinematic instrumentals with Eastern European melodies and boom-bap rhythms, with a touch of lingering psychedelia. They are fans of the recording techniques of the late ’60s and early ’70s. The album was recorded at the Diasonics’ own Magnetone Studio in Moscow and was mixed by Henry Jenkins in Melbourne. Enjoy! AArbor
This was Ben E. King’s first solo album after his success as the lead singer of the Drifters. A big production with orchestra accompaniment, it features his huge hit Spanish Harlem. The other tracks are well known Latin American standards, sort of a unique choice for a soul album. The lyrics in Sweet and Gentle concern his cha-cha compulsion. King’s gorgeous voice carries it all.
Shirley Goodman and Leonard Lee were teenagers in New Orleans who were pioneers of the boy/girl R&B duo style in the early 1950s. Their biggest hit was “Let the Good Times Roll” [Disc 1 track 23]. They hardly ever harmonized. Instead they sang separate verses and choruses using a call-and-response style, mostly because Shirley’s voice was piercing, sat in a narrow range, and she often sang a bit sharp or flat – hard to harmonize with. They recorded at the important Cosimo Matassa’s J&M Studios which created the New Orleans R & B sound. Shirley and Lee were dubbed “The Sweethearts of the Blues” although the relationship they supposedly sang about in their songs (on CD1) may not have been real. I preferred CD2 for the better arrangements and more interesting songs. AArbor
This album is a complement to the 50th anniversary release of Live at Home With His Bad Self (which itself is an expansion of a 1969 live show that was heavily edited into the LP ‘Sex Machine’), this Record Store Day Black Friday exclusive is the after-show set, featuring extended versions of rare cuts, new mixes, a duet with Marva Whitney and some revealing stage patter.
GWP = Gerard “Jerry” W. Purcell a [white] “colorful New York music business man who used the best back music talent to produce fabulous soul sounds for his GWP label”. In addition to his record label, he was a TV, concert and music producer, songwriter and artist manager (he managed Al Hirt, Nancy Wilcox, Eddy Arnold and Hugo Montenegro). These 24 tracks were recorded between 1969 and 1970 for one of these 3 labels: GWP, NYC or TCB. Some of these artists did a number of recordings but none became big stars. AArbor
In 1959 Alan Lomax visited Como, Mississippi and recorded some “porch sessions” with Miles Pratcher and his friends. In 2005 3 guys returned to Como on a trip to the South to film a documentary about local musicians. They discovered the angelic voices of Miles Pratcher’s granddaughters Della Daniels and Angela Taylor who with their friend Ester Mae Smith became The Como Mamas. This live recording was made on June 4, 2005 at their church. The stories of these 3 women are classic: poverty, hunger, clothing from flour sacks, ruined dreams… their singing helps them deal with the trials in their lives. They sing like angels. AArbor
George Clinton et. al. Live at Montreux in 2004 playing some of their standards, but not all of these tracks are in our collection. The tracks here that are new to our collection are: Flashlight/Get Low (definitely worth a play), Yank My Doodle, Not Just Knee Deep (in which they get the audience to scat along with them), and a cover of Sentimental Journey. Of course some tracks are for late night listening. Enjoy! AArbor
This is Roger Troutman’s first solo album from 1981. Before going solo he and some of his brothers started the band Zapp in 1979 and was signed by George Clinton. Zapp influenced West Coast hip hop because its music was sampled a lot. Later he collaborated with Bootsy Collins. Later in his career Roger was best known for his use of a specialized “Talkbox” to create interesting vocal effects. Apparently the cover of I Heard it Through the Grapevine and the song So Ruff, So Tuff on this album were very well received. Most of the tracks are funky and the last track is Blues. AArbor
From 1979, this album is upbeat, funky and danceable. The last 2 tracks are notably slower than the earlier ones. Castor is vocalist and alto sax player here. He is best known for several songs (none of which appear on this album: Hey Leroy Your Mama’s Callin’ You (1967), the Bertha Butt Boogie (1975), It’s Just Begun (1972) and Troglodyte (Cave man). He also recorded a soprano saxophone cover of A Whiter Shade of Pale (1973). AArbor
Bernie Worrell (who died in 2016) was a founding member of Parliament/Funkadelic, also known for his work with Talking Heads. This is his first solo album, originally released in 1978. Featured artists include: P-Funk alums like George Clinton, Bootsy Collins, Maceo Parker, Fred Wesley and Eddie Hazel. One reviewer described it as “so funky you can smell it through the dust jacket.” This beautiful slab of orange vinyl has much of what you’d expect from Funkadelic: layered sounds, amazing horns, toe-tapping midtempo beat – a classic platter of cosmic slop. AArbor
This is a 2015 re-release of an early 1960’s album by James Brown and the Famous Flames when they’d had a few hits, but hadn’t quite made the big time. James has gone beyond just being a “blues singer” or a gospel singer and is singing ballads and covers here as well. What I love is the energy and intensity of his singing here – a star on the way to super stardom. AArbor
Originally called The Lovejoys, The Apollas were considered the Warner Brothers equivalent of the Supremes. Beginning in the early 60s as a quartet from The Bay Area, including one male singer, Ronnie Brown, they eventually ended as a trio anchored by the powerful growl of Leola Jiles. By her side was Ella Jamerson, and a rotating 3rd member (Originally 17-year-old Joann Forks, then Dorothy Ramsey, Billie Barnum, and briefly Blondell Breed). WB released their music on their short-lived LOMA soul imprint, before converting them back the main label for the remainder of their contract. During that time, they opened for Barbra Streisand and the Monkees, and performed on many nationally syndicated TV shows. Towards the end of the 1960s they toured extensively in Asia. The group called it quits in the early 70s due to a failure to break through commercially. Dick Glasser, who signed Jiles to a solo contract (stop me if you’ve heard this one) then promptly refused to let her audition under fair terms as the new lead singer of the Supremes, dashing her hopes for a mainstream career. However, the group singles found a new and enthusiastic audience in London’s Northern Soul scene. Since disbanding, all members have continued to perform as professional back- up singers, along with occasional solo tours, and most recently a reunion in UK in 2007. This is wonderful. A nice mix of upbeat RnB rockers, soulful strings, and melancholy heartbreak. Leola Jiles spectacular lead vocals burn hot and are very distinctive and memorable in my book. I’m glad we have the opportunity to share this collection, which includes some of Jiles solo cuts, with our listeners.
From 1972 when George McGovern ran against Nixon in the presidential race and a lost year in the life of Marvin Gaye. The title track like its predecessor “What’s Going On” is clearly political but nowhere near as powerful. The issues may be different today but the message is still relevant. I liked the B sides of both of the records. Apparently Stevie Wonder gave Marvin Gaye a brand new Moog (which had just come out) it appears on the instrumental Christmas in the City and is cool. AArbor
Fun, smooth, sweet as a toothache, and impossibly catchy, these ladies make me want to find some friends to dress in matching outfits, tease my hair to the sky, and choreograph synchronized dance moves. Their harmonies are tight, the hand claps and doo-wahs are on point, and there is a confidence to these tunes that make it way more about finding personal strength through teenage heartbreak than just chasing stupid boys. A product of the Carole King / Gerry Goffin hit machine. Masterfully produced early 60s girl group sound. The trio, who started out as backup singers for Little Eva on her King/Goffin smash, “Locomotion” featured Earl–Jean McCrea, Dorothy Jones, and Margaret Ross. They had worked on other various songs in 1962, but working after working with King, they moved from background to foreground. In a bit of scandal, Earl-Jean ended up giving birth to a baby girl in 1964 fathered by Gerry Goffin, who was married to Carole King at the time. She ended up retiring from music, and by 1967, The Cookies had disbanded. Dorothy Jones has since passed away, but Margaret Ross still tours as The Cookies on occasion with two other new backup singers.
Groovy neo-soul from a multi-cultural quartet of 2 singer/songwriters from South Africa, and 2 German multi-instrumentalists, equally contributing to the intriguing sound tapestry presented. There is piano, synth, drums, guitar, and strings. This is lovely and mellow, shimmering with positivity and upbeat in a very relaxing way. The lyrics never get too preachy, just contemplative in an existential way that can make even the most cynical of listeners stop and consider getting out of your own head for a while. Take a look at the world around you to consider others, their existence, and how you can relate and connect.
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