1 of 8 in a series of Arthur King Presents records, The prolific Bill Baird brings us spacey mellow psychedelic eltctro krautrock. Mostly instrumental— guitars, bass, drums, and analog synth, and a few saturated vocals drop in here and there. This is both light and dark, heavy and mellow. He was inspired by his son’s obsession with Owls. Neat-O!
Their 1969 LP + demos and a few bonus tracks from the early 1970s.
The Flirtations (Sisters Ernestine and Shirley Pearce, along with friend Vie Billups, who also performs under the moniker of Pearly Gates) began as a 4 piece with their other sister Betty and Lestine Johnson in NYC in 1960. After recording a few singles and mild success domestically, they were convinced to relocate to the UK where Northern Soul was still very popular. They hooked up with producer Wayne Bickerton and writer Tony Waddington, and released their debt full length album on Decca. They have recorded and performed ever since, working with several different labels.
Lovely full sound! Lots of clear and well-rounded vocals, plucky horns, dramatic strings, and upbeat percussion.
FAST FACT: Their big single (Track 1) was used in a KFC advertisement campaign in 2007.
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 surf/tiki trio from Los Angeles is here at their spookiest, zaniest best. Great instrumentals and arrangements with all the scary touches such a howling, chimes, birds, cats, whistling wind, horses neighing, gunshots, squealing tires, growling and moans. Good fun with the horror, but good music even without it.
A compilation of “Deep Soul”* (soul from America that never found a wide audience in America) selected by the late Dave Godin, a UK Record shop owner and soul music enthusiast who coined the phrase*. There are a few familiar names on here…Irma Thomas, Ruby Andrews…other than that, mostly artists new to me, including some artists that there is little to no info on. Love and pain, both political and personal can be found on these recordings spanning the years of 1966-1973, which as we know was a time of turmoil and big change in this country. My personal standouts: A3, A4, and the first three tracks on side B, which cook!!
A trippy reworking of Solange Knowles 2016 critically acclaimed album, A Seat At The Table, by KO (aka LA based Producer/DJ/ Rapper, Dominique Purdy). These side-long mixes could technically be played as one really long mix with actual cuts from the album it was drawn from spliced in…or you can just drop the needle. You hear bits of Knowles vocals, spoken dialogue from the original album celebrating black pride & culture– while highlighting history & racism, and plenty of delicious looped beats. He has even taken her original cover art and added the signature wolf mask that he wears when promoting and performing as KO. He considers this work homage to an album that, while on the periphery of the mainstream, (she is the younger sister of “Queen Bey”) has been celebrated as Avant & an alternative deep modern soul masterpiece. If this grabs you, definitely check out Solange’s full album and subsequent work….This album sends that message.
A brooding murderer’s long-form psychedelic foray into spooky spirituality on this, his less than poignant and most recent contribution to society. Sultry dated white-man blues/riff-rock in the key of Dad with the kind instrumentation you’d expect from someone who has spent the bulk of his life trying to conjure mentally the Santana concerts he would never be able to witness in person with a heavy emphasis on guitars, bass, synthesizer, simulated (counterfeit) traditional Indian music, and his own smokey convict voice. This double l.p. is dressed to kill in a fancy jacket to commemorate the end of any kind of shame or remorse one might hope to find from a former drug fueled sex-cult member serving a life sentence within the Californian and Oregon prison systems. Former Manson “family” member Bobby BeauSoleil was given the death sentence for stabbing his friend and fellow “family” associate Greg Hinman to death at which time, according to Manson, had initiated “Helter Skelter,” his borrowed title for his prophecy of an apocalyptic race-war in which his followers would survive (and ultimately reign over humanity) by finding a hidden golden city buried in the desert of Death Valley. However, that didn’t happen and the lot of them were collected, incarcerated, and after the media circus left town mostly ignored. What did happen was his sentence was commuted to life in prison and after getting stabbed a bit he would eventually sever ties with the “family.” Then, with the help of a small splattering of celebrity and a collaboration with outsider film-maker Kenneth Anger, he would be able to continue recording his own trippy brand of Jim Morrison inspired (though considerably less talented [at least towards the beginning of Morrison’s career] and inebriated. Say what you will about Morrison, J.M. had massive gobs of whatever B.BS. dreams of having]) brand of introspective grooves utilizing musicians hand-selected from a cadre of his fellow inmates with impunity and often the support of prison officials. But Bobby won’t ever give up on the dream maaan! Nothing was going to stop BeauSoleil from his destiny of attempting to slay some sweet riffs on his guitar and pontificating rather tastelessly on his pseudo-spiritual journey. While wanky, trite, self-absorbed, and certainly morally questionable, Voodoo Shivaya still has a few descent hooks, and some “killer”(coughs in hand) jams. It is also a kind of time-capsule, like if a spooky hippy-biker with nothing but time (and blood) on his hands recorded himself in the late seventies with modern mics, computers, and instrument modelling(?) but without originality, virtuosity, or much if any tact.
Mention “vaporwave” in a lobbyful of KFJC DJs and you’ll likely hear a chorus of groans. So how is that this cassette from Nonlocal Forecast – which deals in many of the 90s-obsessed sounds associated with the particularly obnoxious millennial microgenre – totally rips? It’s because we’re in the capable hands of Angel Marcloid, the creative genius behind the blazingly great project Fire-Toolz.
Those upbeat smooth-jazz jams that played during the Weather Channel’s local forecast segments throughout the 90s to this day fill me with a strange and primal sense of comfort, and reading some other reviews of Bubble Universe!, it seems I’m not alone. For me, the corny tunes eased my fears during what seemed like the impending end of the world, the chipper soundtrack to a repeating SuperDoppler radar animation of a hurricane on a direct path towards my hometown. Marcloid’s intricate compositions completely capture the sound and feel of those songs: the tinny rhythms, the cheezy synths, and – most dated of all – the unabashed optimism. Just as you let down your guard and begin to get into the intricate grooves, she’ll lay down some seriously smooth guitar stylings (T1, T4). As the tape plays on, it concerns itself with more than atmospheric conditions, blasting off into the cosmos. It’s impossible not to get down during “Classical Information” (T7) and don’t miss the sparkling mind-blower “Triangular Format (Feat. Fire-Toolz)” (T5), but it’s all brilliant – hit it.
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Public Inspection File