Larry Graham: original member of Sly and the Family Stone, bassist for Betty Davis, collaborator and converter of Prince to Jehovah’s Witness, originator of the “slap bass” style which revolutionized funk and later, rock. Larry Graham, founder of Graham Central Station, a sort of rotating funk/soul super group. From 1974, “Release Yourself” is GCS’s second release and it works his gospel revival meets funk crossroads style that really, really works. Larry and his top notch bandmates know how to get the funk out, even when praising the Lord. If you were’t aware of the angle GCS was coming from, you’d think from the song titles that this was a classic mid 70’s funk album about, what else?, sex. “Feel the Need”, “Release Yourself”, “Got to Go Through It to Get to It”. Come on. It just screams sexy funk. But this is all about being saved AND DON’T LET THAT TURN YOU AWAY!!!! GCS takes their seven songs and funks themselves out, slapping the bass, hitting it on the one, gospel revivaling and mastering vocal interplay that takes the listener to a new place. The musicianship is the best. You know they mean it when they sing out “come on and feel it, feel it, feel it.” Just let go and let Larry. You know you want to.
“The Isaac Hayes Movement” is Isaac Hayes’ third LP, out in 1970, and continues his work with long, orchestrated soul pieces. This is a year before “Shaft” came out which would change popular music. This is almost two years before Hayes would twist the heads off of Americans when he performed “Shaft” at the Academy Awards wearing no shirt and a gold floor length chain vest, singing with a group of dancers in soul hippie garb and the most outrageous afros seen on prime time. “The Isaac Hayes Movement” is a much more subdued, yet rich album. Hayes already had a full career coming out of the Memphis sound and working with Stax Records as a musician, composer and arranger, so his knowledge was solid. This album took his skills in arrangement and orchestration as well as his interest in reinterpreting other composers songs and twisted them to make them most definitely his own. While Barry White’s deep voice and pulsing rhythms are the music you want to have sex to, Hayes’ sonorous vocals with his lush instrumentation make him the guy you want to have sex with, while listening to his music. Listen to the first five minute monologue he gives to his best friend’s fianc??, telling her how much he loves her, before he breaks into the lyrics of Jerry Butler’s “I Stand Accused”, and try and tell me you don’t want to let Isaac take you away. In four songs, two sides, Hayes turns George Harrison’s “Something”, Burt Bacharach and Hal David’s “I Don’t Know What To Do With Myself” and Chalmers and Rhodes “One Big Unhappy Family” into a new kind of soul, one rich and varied, taking time to explore with full on orchestrations that sweep and dip through and around Hayes’ vocals that melt the heart. So smooth and rich. A pure joy. And the man knows how to wear a zebra print coat, pants and matching hat. Natch.
First I thought this was rap. Then funk. Then jazz. Then I looked at the label and saw that it’s soul, which makes sense. But really, what it is, is cool rhythms and fun beats and dancey fare guaranteed to make you move. I really liked this.
There is a scene in Italian director Pier Paolo Pasolini’s notorious film “Salo” where the fascist guards force the naked teen innocents to eat from a boiling pot of human feces. Listening to “The Next Step” is the auditory equivalent of watching that scene. And like trying to watch the movie, I had the experience, when listening to this, of cringing in shock but still wanting to hear it all the way through to it’s phenomenally excessive conclusion. Could it really get more superbly excruciating? Yes and I love it for that. I like James Brown, or maybe I like the idea of James Brown 40 or more years ago. The problem with “The Next Step” is that he is still trying to use the old signature style and mix it with contemporary 2002 sounds. Even though the album sounds more like 1985.
For ten songs, Brown is up to his old tricks, groaning and hollering and screaming his way through. But like the reminiscing uncle who everyone stays away from at the family party, Brown just can’t stop going back…. and forcing us to listen.
But hold on….don’t think I can’t stand this album. No way. On the contrary, I LOVE IT!! Sincerely! And I will be playing the hell out of it. From the Bell Biv DeVoe sounding opening track of “Automatic” to the testimony to youth of “Killing is Out, School is In” (pull that gun out of your pants), Brown goes whole hog. And if things ever get a little slow throughout he’ll be sure to throw in a “Get Funky”. There are so many stand out moments. Every track has something to offer. On “Why Did This Happen To Me” he laments as to why his woman left him, because well, he’s the best thing she is every going to have and go ahead and leave because he doesn’t need her anyway and she is going to be sorry but why couldn’t she see this. On “Good and Natural” he talks about many different kinds of food, possibly with innuendo, but also because he really likes the food. Listening to “Baby, You’ve Got What It Takes”, I seriously did a double take when the uncredited female vocalist says out loud and clear “Don’t hit me.” What? No, you didn’t. He’d already been arrested several times for abuse and battery and a few more would follow, but really? That is bold.
The uncredited “musicians” and drum machine programmer go uncredited as does the female vocalist who sings on several tracks and solo on track 7. No Jimmy. This was supposedly his last album. What a way to go.
This is the re-issue of the classic late-70s novelty record and Dr. Demento fave: Larry Move Your Hand, about a backseat girl’s (or rather a male impersonation of a brazen female) struggle with her date Larry’s wandering extremities. The funniest part to me is when she guzzles the white lightning straight out the bottle, good long gurgle, ha! The classic is accompanied by its instrumental and 5 other burning and sexually insinuative 70s funk jams recorded by raw, funk-drenched session players during leftover studio time after real sessions went down. You Got The Makings Of A Real Freak (which also has an alternate remix version) could make any down-and-out disco dean into an all night groove-machine. Save your funniest moves for Penguin Feet & The Teardrop Kid, a lot of PG-13 Blowfly/Bobby Jimmy & the Critters going on here. Mann the General.
IT’S TIME TO GET FUNKED UP! And Bootsy Collins is gonna bring it to you on the low end, for those who know funk know Bootsy. Even if you don’t know the man’s name you know his bass lines. The pioneer funk bassist presents his third album with his group The Rubber Band on this overlooked funk album from ’78. Think bright horns mixed with funked out bass, tinny guitar and backbone drums. Everyone should know who the player of the year is after getting funked up by this jem.
Mary Wells, Motown’s first big superstar, continued her rise to fame with these two albums, her second and third. It’s Motown, so listeners know what to expect, especially with the classic hits. The strong backup singers, the strolling wap wap rhythm that ties the pieces together, the lyrics about lost and mixed up love: it’s all here. But Mary’s voice, just a bit lower than the typical Motown singer, a bit raspy, sounding like she sometimes may not hit the note, add a different angle to the songs. Her inflection, her tone give these stories a maturity and an edge that one would not expect from a twenty something, which was how old she was when she recorded them. She has insight into the pain of being the one not picked, of wondering why she was left alone, of suffering the lack of interest of the one that is loved. Maybe that I am older these songs hit a different cord. These are beautiful, painful treasures, filled with much more sorrow than one might expect.
The liner notes explain how The New Birth formed as an ensemble with enough team spirit to release the two albums included on this CD, yet was comprised of individuals who pursued separate musical projects at the same time. CD1 has covers galore (check out the soul version of “Fire & Rain”), and was recorded in 1971. CD2 (recorded in 1972) features the addition of vocalists Peace, Love, and Happiness, who add a distinct flavor to the music. Soul enthusiasts will enjoy this blast from the past. Fine Motown sound on here.
Tight, clean all-instro funk on the latest flight from
Colin Langenus and the CSC Funk Band. Keys and horns
spark it up, the guitar weaves in and out with the
wacka-wacka and the drums keep it all locked down.
A funk‘s secret weapon : the flute darts in and out
on a few tracks. On some tracks, the percussion and
horn/synth combo join up to bang out a secret handshake
on the break. As this is on Electric Cowbell, nice to
hear a regular cowbell twonking away on the title cut.
That also features a magic carpet solo that could connect
to Omar Souleyman. The closer, “Versace Nachos” has a
wind-whipping synth woosh and the most emphatic bassline
on the album. “Choom Gang” starts with a Fox News/Obama
potline shout-out then teases with the possiblity of a
beatboxing before unraveling more New York stately funk.
Definitely a melting melange of flavors, and true-to-your
Angel Flight jeans of yesteryear. If anything, I could
use a little more nasty in the mix. Maybe if the sax
had a drinking problem, of the flute player slept with
the drummer’s partner? “You Say” delivers a bit of a
karate chop, that hurt good. “Klip Winger” has a nice
hesitation drop, and the flute and sax get right on it.
“Make Your Mind Up” echoes reggae with the horn charts.
Funk me, just play it and dig it.
This is actually a promo copy of what I believe will be Bradley’s 2013 release titled “Strictly Reserved For You.” Very 60s/70s influenced soul, very much in tune with the revivalist aesthetic of the Daptone Records label. Chances are, if a track title has the word “love” in the title, it sounds very motown, a predominant style and theme of the album, with lyrics mostly about romantic love and heartbreak. There are a few meaner licks spicing things up, like “Hurricane” and “Confusion.” Really classic sounding soul, fresh for 2013.
James Hunter out of the UK has written and provides warm and gritty vocals for all songs on this album out on GO/ Fantasy Records. After touring for 20 years with the likes of Van Morrison (for whom he was a backup singer) Aretha Franklin, Willie Nelson, and the late Etta James, Hunter is back with his 5 piece band (now giving them name credit after many years of touring as his dedicated backup band). Channeling his pain from the 2011 loss of his wife Jacqueline to cancer, he has dedicated this great album of throwback classic R&B to her. For someone who has undergone such a huge loss, this is surprisingly upbeat with guitar, sax, drums, organ, bass, piano, vibraphone, percussion, and was produced by Gabriel Roth, co-founder of Daptone Records. They will be at Bimbos 365 on March 9th.
I challenge you to play this and not dance just a little bit… A collection of underrepresented soul and R&B tracks compiled by WFMU DJ Mr Fine Wine meant to get your groove goin and entice a party. All pulled out of the King/Federal archives, with tracks from 1955-1964, we got some familiar faces like Hank Ballard and Freddy King but a lot of lesser known cats as well, like one gem by a certain Tiny Topsy. All utterly scrumptious, from the spicy Latin instrumental opener led by drummer Cozy Cole to the whistle-response sing-along and Doo-Whomp snap-bass boogie of Mel Williams and Eugene Church; gettin dirty at the Swingset with Bill Doggett, then chick-boom-a-clackin with the percussive layering from Little Willie John, and of course some gut-wrenching harmonies and rhythmic roundabouts a la Tiny Topsy. These tracks will make you wanna grab your woman, sway your hips and throw your hands in the air. Twist, shake and boogie!
Making beautiful music together since 2007, this Brooklyn noise punk musician super-group turned funk collective formed during a jam session of Sun Ras Lanquidity. Their blend of funky baselines, clarinet, horns, rock guitar, and steady drumbeats is classic and modern at the same time. I favor side Bs A Little Planet because of its punchy intro, snake charming clarinet solo, and mellow funkiness. However, both tracks are more than worthy.
Jimmy Soul’s big hit was track 1. Here is some more old school soul from the early 1960’s with rockin’ tunes featuring yakety sax, backup singers, and falsetto. Funny lyrics and a Shakespeare quote in track 12 made me smile. Liner notes are mostly about the producer, Frank Guida, who learned to love calypso while stationed in the West Indies in WW2. Jimmy Soul was a stage name for James McCleese who was also a preacher and gospel singer.
This compilation disc is like the soundtrack to a tropical escape film–I challenge you to sample it and remain still and dour. The calypso rhythms will get you moving and the quirky lyrics will put a smile on your face. There’s a big band sound (20-piece horn and string arrangements) as well as an infusion of Afro-Cuban and Latin percussion, tied together amazingly smoothly by the captivating voice of Miss Cory Daye. Find here the famed “Cherchez La Femme/Se Si Bon” (6) and “I’ll Play the Fool” (1). Revel in the vibes of “Sugar Coated” Andy Hernandez (8). Only the most curmudgeonly will be able to resist this upbeat offering. Throw away those anti-depressants and soak up the “Sunshower” (3) and smile!
From her first song, the?? first note, through both LPs, this girl has some fucking soul. Wendy Rene, born Mary Frierson in Memphis, corralled her siblings and formed the vocal group the Drapels, who got immediately signed to Stax’s subsidiary label, Vox. Mary got signed the same day when she showed Stax cofounder Jim Stewart songs she had written. She recorded her songs with her brother Johhny, Booker T and the MGs and Otis Redding (who coined her stage name, Wendy Rene).
After three singles of her own music, two with the Drapels, and being included on a roster for a French Stax compilation, she retired to take care of her growing family. Made some royalties when WuTang Clan sampled After Laughter. She returned to do one more show in New Orleans in 2010. She currently sings in her local church choir.
Rene has such as strong?? voice, and the power in her voice in the first couple tracks really get you moving. This is all of her recordings, including all the songs recorded with the Drapels. Brilliant liner notes, amazing release. I can tell this is going to be a KFJC favorite, so hit it up before it becomes uncool…
PGM: all songs just fade out slowly
Is this half spy thriller soundtrack and half psychedelic sly and family stone disco funk? For it’s time and day this stuff is on the cuff of bleeding edge advancements achievements of music and accord with these movements in music. All originals for a one-off session in English from the Mexican Grupo Oz. I say it’s soul funk for the density of the arrangements. A1 A2 have vocals. A3 instrumental, a groove is found and they sink deep into it with solos and sustained horn work. A4 is interesting because of it’s romantic style is not far from some other groups at the time such as Camilo Sesto. I see this release as smart musicians
trying to stay out of poverty by applying themselves to a foreign style for a foreign audience to do good business, an idea that makes sense given the fledging Mexican economy, this diversifies exports. B1 instrumental. B2 vocals. B3 reminds me of the theme chosen for the movie Swingers when the whole gang drives their own cars to the club. B4 has an ebb and flow to it, and something like a tunnel rush feel. B5 is the longest track. It starts out like a British concerto for a symphony. It sounds like an Issac Hayes tune.
-Eveningly Infinitely Wipes Scrub Sonny Atoms Grizzly Adam
This edition of Eccentric Soul features radio personality Richard Pegue who wrote, arranged and produced Chicago soul records in the 60s and 70s on the Nickel and Penny labels. As with most of these collections, some tracks are deservedly obscure, some are gems. My favorite is track 19, what’s yours?
Cleveland Ohios Boddie Live Recording Material is Being Released as a Box Set by the Numero Group of Eccentric Soul Fame, and this is a promotional sampler. Womens Choruses, mostly Male Leads. 3 Minute Tune Average. Blues Funk-Soul #1. Urban Soul-Pop with French-Library Music-Soul-Bass #2. Sounds for amusement parks everywhere #3. Slow Blues Reggae-Soul #4. Cocaine and other vices, also a female lead #5. Youll recognize #6 which also has nice recording acoustics. Drive-In teen pop (ala Grease) #7. #8 Instrumental like the Sun Ra and Batman album. #9 Dual guitar Library Music-Psych-Soul. #11 Talk back and forth. #13 Clap along. #14 Jump Blues. #15 Lou Ann Bartons Stop These Teardrops. #16 Oldies. Lastly #17, a Metroid theme.
-eveningly infinitely wipes scrub sonny atoms grizzly adam
This 2-LP set contains 45’s recorded by Louisiana funk and soul artists from 1967-1979. Most sound like they have been strongly influenced by popular artists of the time, many of them by James Brown. A bit of Creole influence from Louisiana can be heard, but is not that strong. The vocals and instrumentals and recording quality are pretty good. Funky beats to make you start dancing.
PGM: side 1/track 3 and side 4/track 2 are all instrumental. My picks: Side 1/track 5, Side 2/track 4, Side 3/track 5, and side 4/track 5.
12345 S. El Monte Road Los Altos Hills, California 94022
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