IKETTES Gold & New (United Artists 74) The Ikettes were actually the second set of female backup singers for Ike & Tina Turner, replacing the Artettes. If nothing else, they had a much better name. Beginning in the early 1960s they had a string of successful singles, but they were always an afterthought for Ike. This might be their only full length LP, but I???m not sure.
There was an earlier album on Modern in the sixties (later reissued on United -not to be confused with United Artists). It was titled The Ikettes Soul The Hits.
IKETTES Gold & New (United Artists 74) The Ikettes were actually the second set of female backup singers for Ike & Tina Turner, replacing the Artettes. If nothing else, they had a much better name. Beginning in the early 1960s they had a string of successful singles, but they were always an afterthought for Ike. This might be their only full length LP, but I???m not sure.
There was an earlier album on Modern in the sixties (later reissued on United -not to be confused with United Artists). It was titled The Ikettes Soul The Hits.
Thanks for the 411 as usual. I'll amend the review.
EDDIE KENDRICKS Girl You Need A Change Of Mind (Part 1 & 2) (Tamla 72) This single comes from Eddie Kendricks??? excellent album People Hold On. This might be the best song on what is an outstanding album. The song begins with the sing along chorus and Kendricks??? smooth delivery. About half way through the first side, the tune dramatically takes off led by some congas until an extended breakdown just builds and builds and builds off the drums and percussion. After that big crescendo, it comes back down for a long instrumental jam that just lets you enjoy the rhythm and melody.
BEN E. KING Supernatural Thing ??? Part I & II (Atlantic 75) This comes from one of King???s later albums of the same name. The song Supernatural Thing is a really slick mix of King???s soulful singing and some funky guitar work. To add to the effect are female vocals singing the chorus.
FREDDIE KING Ain???t No Sunshine/I???d Rather Be Blind (Shelter 72) This 45 caught my attention because of the Bill Withers??? cover. King was a Blues guitarist who dabbled in Funk mid-career. On Ain???t No Sunshine he pretty much sticks to the original at first with a little Blues guitar until he gets to the middle bridge where he adds his own little guitar solo. I???d Rather Be Blind is an electric Blues-Soul hybrid with the guitar work of the former, and the singing style of the latter.
FREDERICK KNIGHT I???ve Been Lonely For So Long/Lean On Me (Stax 72) I???ve Been Lonely For So Long was a big hit for Frederick Knight. It has a pleading feel to it from the opening guitar line to Knight???s high falsetto voice singing about how he misses his lady. It???s a great catchy Soul number. Lean On Me is more uplifting with a Gospel inflected chorus.
BARBARA MASON Yes, I???m Ready/Keep Him (Arctic) Yes, I???m Ready was one of Baraba Mason???s greatest hits, and a stone cold classic ballad. The chorus is near perfect with the call and response between the male and female back-up singers about how they???re ready, topped off by Mason saying she???s ready to fall in love. The rich orchestration with swirling strings just adds to the mood. Keep Him is a Pop-Soul tune with plenty of keys, but it???s hard to compare with the A-side.
MIRACLES Do It Baby/I Wanna Be With You (Tamla 74) After the departure of Smokey Robinson for a solo career, the Miracles were still able to produce some quality soul sides. First up is the sensual Do It Baby with a walking bass line that gives it a little edge, tempered by the slick vocal delivery, and the big chorus. I Wanna Be With You is a sweet ballad with a falsetto lead.
MOMENTS Gotta Find A Way/Sweeter As The Days Go By (Stang 73) Gotta Find A Way starts off with some background music and a skit about a person dreaming about getting on an airplane to go see their lover. That leads into a lush ballad with a high-pitched male lead singer. Sweeter As The Days Go By is a little more upbeat with a little Gospel feel to it, especially in the back-up singing and piano work in the background.
JACKIE MOORE Precious Precious/Willpower (Atlantic) Precious Precious and Willpower have a down home Soul feel to them. Both have prominent horn arrangements, which play against the laidback delivery of Ms. Moore. The best comparison is probably to the Stax sound. Together that makes for a great pair of songs on this 45.
NAT TURNER REBELLION Tribute To A Slave/Plastic People (Delvaliant) Tribute To A Slave starts off with some blaring horns before going into a laidback and funky rhythm tempered by some soulful group vocals. Plastic People is a subdued Soul number that eventually picks up with more brass work.
NATURAL FOUR Love???s Society/Love That Really Counts (Curtom 74) The Natural Four 45s I???ve listened to over the years have always been hit or miss. This single is a perfect example. Love That Really Counts is a bit of a flop as a mid-tempo Soul number. Much better is the flip, Love???s Society with its sophisticated arrangement of strings and piano, and the lead???s slick falsetto.
FRANKIE NEWSOME My Lucky Day Part I & II (GWP) My Lucky Day is a great upbeat Soul number, best heard on the dance floor. It???s got a catchy melody, female back-ups, and horn stabs during the chorus. In Part II there???s a really funky drum breakdown as well. Together they make for a great tune.
OHIO PLAYERS Funky Worm/Paint Me (Westbound 73) I???ve had several copies of this 45 over the years, but they???ve always been of the snap, crackle, pop variety. When I found a cheap and clean version recently, I had to pick it up. If you didn???t know, the Ohio Players were originally formed in Dayton, OH in 1959 as Robert Ward & The Untouchables. After a couple line-up and name changes, they became the Ohio Players in 1967. Funky Worm basically put the group on the map because it was their first #1 hit on the charts. When it comes down to it, the song is really a novelty tune in the long tradition of such tracks such as the Funky Chicken, Funky Grasshopper, etc. The vocals consist of a dialog between a fake granny and the main singing about a funky worm. The 45 version is sought after because it has a nice little drum break intro that???s not on the Pleasure LP. The cut was also Dr. Dre???s favorite flavor for at least a year or two since he used its keyboard line in various productions. Paint Me is more of a Soul track that sounds like it could???ve come from New Orleans with its melody and bouncy rhythm.
CANDI STATON Heart On A String/I???m Just A Prisoner (Fame) Heart On A String is another great slice of Southern Soul created by the heartfelt signing of Candi Staton, the studio musicians of Alabama???s Muscle Shoals who laid down a horn heavy rhythm track, and producer Rick Hall. I???m Just A Prisoner might even be better with its subdued beginning that gets a big lift from the brass before a little breakdown featuring Staton???s singing.
JOHNNIE TAYLOR Just The One I???ve Been Looking For/I Got To Love Somebody???s Baby (Stax) Just The One I???ve Been Looking For is the kind of song that really defined the Stax sound. You have the rhythm section laying down a rich Southern Soul backing, the horns that were always a prominent part of the mix, and Taylor???s rich singing that at times reminds me of Sam Cooke. I Got To Love Somebody???s Baby on the other hand is a slow bluesy RnB number.
OLD RECORDS OUT THE CRATES:[/b]
MILT JACKSON Goodbye (CTI 73) Goodbye was recorded in December 1972 and December 1973 with Milt Jackson on vibes, featuring Hubert Laws, plus Herbie Hancock, Cedar Walton, Ron Carter, Billy Cobham, Steve Gadd, and Freddie Hubbard. It was Jackson???s second record for CTI and one of many he did when away from his main group the Modern Jazz Quartet. Together they created a very mellow MOR and light Bop Jazz album that???s heard on tunes like Detour Ahead. Even when Jackson picks up the pace it???s still results in some light Bop such as the title cut and Opus De Funk.
JONESES Keepin Up With The Joneses (Mercury 74) The Joneses were from Baltimore, but recorded their debut album, Keepin Up With The Joneses in New York. They worked with some of the leading Jazz studio musicians of the city such as Richard Tee, Cornell Dupree, Wilbur Bascome, Ralph McDonald, and others. Most of the LP is mid-tempo vocal group Soul like the opening I Can???t See What You See In Me with its catchy melody, Hey Babe (Is The Getting Still Good?), which comes in two parts, the first with singing, and the second just instrumental, Baby Don???t Do It, and Please, Let Me Stay with their nice leads. The singing and arranging on Sugar Pie Guy Pt. 1 has a strong Barry White feel to it. On Pt. 2 they just stretch out the groove. On I Promise You they take it down a notch for a nice ballad.
PURPLE IMAGE (Marching To...) A Different Drummer /Why (De-Lite) (Marching To???) A Different Drummer and Why are nice catchy tunes with a strong Rock influence to them and strong group vocals. The latter also has horns. Together, they remind me a bit of a rougher version of Sly Stone???s work.
LP REVIEWS:[/b]
TAMI LYNN Love Is Here And Now You???re Gone (Cotillion 72) Love Is Here And Now You???re Gone is divided into two parts. The first side is one long brooding meditation on love that finally takes off with the last part That???s Understanding. It has a strong Southern Soul sound to it with a bouncy rhythm and plenty of horns, plus an extended musical part at the end. The second side has a bit of a mix of styles beginning with I???m Gonna Run Away From You that sounds like something from the mid to early-60s with strings and poppy girl back-ups. Then there???s A World You Left Behind You that has some of the same elements as That???s Understanding, but much better is the funky Soul of Mo Jo Hanna with a little Blues kick to it. To finish things off is the slow and easy One Night Of Sin.
TROY RAMEY AND THE SOUL SEARCHERS Great Change (Nashboro) Troy Ramey And The Soul Searchers was a seven piece male Gospel outfit who recorded Great Change in Atlanta. Each song has a very simple rhythm with a little guitar out in the lead to highlight the Searchers??? vocals, which have a deep baritone to them. Some of the backing tracks liberally borrow from popular Soul numbers of the time such as Time Is Winding Up that has hints of Motown in it. You also get some gut wrenching singing on tunes like Jesus Paid It Al, and slow and bluesy numbers like Lord, I???ve Done What You Told Me To Do. The best song is Serve Him that has a funky little bass line to it.
VARIOUS Boy Meets Girl (Stax 69) From what I understand, Boy Meets Girl was actually released as an album before the singles. Al Bell with help from Don Davis, Isaac Hayes and Booker T. Jones oversaw the sessions, which were recorded partly at the Muscle Shoals Studio. Together they released a double album with 22 tracks by William Bell, Johnnie Taylor, Eddie Floyd, Pervis and Marvis Staples, and Carla Thomas. First up is an upbeat ensemble piece called Soul-A-Lujah featuring all the artists with some incredibly catchy vocals. That energy continues with I Ain???t Particular with William Bell and Mavis Staples. They take it down just a notch with Just Keep On Loving Me, a duet between Johnnie Taylor and Mavis Staples. There???s also a great cover of I Thank You by William Bell and Mavis Staples with so much conga work that it completely transforms the song. Two other good covers are Piece Of My Heart by Eddie Floyd and Mavis Staples, and I???m Trying by Pervis Staples and Carla Thomas. Love???s Sweet Sensation featuring William Bell and Mavis Staples, and I Need You Woman with William Bell and Carla Thomas, switch things up a little bit because they sound almost like Motown tunes with their driving drum beats and strings in the background.
OLD RECORDS OUT THE CRATES:[/b]
MILT JACKSON Olinga (CTI 74) Olinga was recorded with Cedar Walton, Ron Carter, Micky Rocker, Jimmy Heath and a full string compliment. It???s probably the best record Jackson made for CTI. It starts off with the title track that has a brief, but dramatic intro with some loud drums before going into a slow and pensive Jazz number that features Jackson on the vibes. That intro comes in and out throughout the song. Rerev and The Steel Bender are upbeat Jazz numbers. Much better are the Soul-Jazz of The Metal Melter and I???m Not So Sure with its funky beginning and drum break, both of which have catchy melodies.
TAMI LYNN Love Is Here And Now You???re Gone (Cotillion 72) Love Is Here And Now You???re Gone is divided into two parts. The first side is one long brooding meditation on love that finally takes off with the last part That???s Understanding. It has a strong Southern Soul sound to it with a bouncy rhythm and plenty of horns, plus an extended musical part at the end. The second side has a bit of a mix of styles beginning with I???m Gonna Run Away From You that sounds like something from the mid to early-60s with strings and poppy girl back-ups.
It actually was an older recording. The story goes that "Gonna Run Away" was reissued in the UK and became a hit, so it was then rereleased here in the States, even though it was quite dated by 1972 radio standards (though still good). This album was then built around it, even though "Gonna Run Away" does kinda stick out compared to the rest.
TAMI LYNN Love Is Here And Now You???re Gone (Cotillion 72) Love Is Here And Now You???re Gone is divided into two parts. The first side is one long brooding meditation on love that finally takes off with the last part That???s Understanding. It has a strong Southern Soul sound to it with a bouncy rhythm and plenty of horns, plus an extended musical part at the end. The second side has a bit of a mix of styles beginning with I???m Gonna Run Away From You that sounds like something from the mid to early-60s with strings and poppy girl back-ups.
It actually was an older recording. The story goes that "Gonna Run Away" was reissued in the UK and became a hit, so it was then rereleased here in the States, even though it was quite dated by 1972 radio standards (though still good). This album was then built around it, even though "Gonna Run Away" does kinda stick out compared to the rest.
Well that explains a lot, because when I heard that song I made a double take and asked, What is this tune doing on this album from 72?
CALVIN ARNOLD Funky Way/Snatchin Back (Venture) Funky Way is a great way to start off a 45 with its guitar led groove and slow and easy vocal delivery. Snatchin Back is more of an upbeat and energetic Soul number that would be great for the dance floor.
ESQUIRES Ain???t Gonna Give It Up/Girls In The City (Lamarr) Ain???t Gonna Give It Up is a great, moving Soul number that starts off with horns, builds up to the light chorus with plenty of ???la la las??? that are the hook. Girls In The City gets a little too cheesy and MOR for me with lyrics about how they can???t stop looking at girls in Chicago who dress in pink. I???ll gladly go back to the A-side on this 45.
FANTASTIC FOUR As Long As I Live/To Share Your Love (Ric Tic) As Long As I Live is a rich Soul number that reminds me a bit of the Temptations with its group vocals. The outfit loses me on To Share Your Love however, which comes off a bit sappy.
FANTASTIC FOUR I???ve Got To Have You/Win Or Lose (I???m Going To Love You) (Ric Tic) This is a real good Soul 45. I???ve Got To Have You is a richly orchestrated mid-tempo song with some catchy lyrics and subtle female back-ups. Win Or Lose (I???m Going To Love You) is more upbeat and has more of a groove to it.
JO ANN GARRETT Just Say When/Thousand Miles Away (Chess) Just Say When is an uplifting Soul number with strings and Garrett???s great singing. Thousand Miles Away is more of a love song with lots of strings that starts off mellow, but reaches a crescendo towards the end.
EDDIE KENDRICKS Keep On Truckin (Part 1) (Tamla 73) This 45 comes from Eddie Kendricks self-titled album. It???s a catchy dance track with hints of Stevie Wonder in the instrumentation and a sing along chorus. Half way through the first side it goes into an extended instrumental jam with a solo on the vibes before a breakdown with hand claps, congas and Kendricks??? singing. Unfortunately, this is a promo copy so I don???t get to enjoy Part 2.
JEAN KNIGHT Rudy Blue/What One Man Won???t Do Another Man Will (Open 76) Jean Knight is obviously best known for her huge hit Mr. Big Stuff. After a few follow up singles that all seemed to be based upon derivatives of her hit, she bounced around labels and ended up releasing this single on Open Records. Despite it being 1976, she still proved that she could deliver on Rudy Blue. Her vocals are rough and the music keeps your attention with its piano, horns and guitar work. Wouldn???t you know it though, but What One Man Won???t Do Another Man Will has hints of Mr. Big Stuff in its rhythms with plenty of horns and that familiar ???oh yeah??? from the back-up singers.
PAT LUNDY Another Lovin Kind Of Feeling/I???m Your Special Fool (De Luxe) Another Lovin Kind Of Feeling is a slow grooving little number with Pat Lundy???s strong soulful singing. On I???m Your Special Fool Lundy takes it up a notch with its loud horns, a walking bass line, and screaming back-up singers.
MEL AND TIM I???m The One/Put An Extra Plus To Your Love (Bamboo 69) I???m The One is a syrupy love tune that misses the mark for me. Put An Extra Plus To Your Love is the much better side, with a slick, yet funky rhythm track replete with strings, a big chorus, and some screaming vocals by the end.
ROCK (Don???t Abuse) Your Faithful Love/(Charlie, Brother) We Got To Love One Another (Scorpio) Despite the image that a name like The Rock might bring about, it turns out the group featured a female singer. (Don???t Abuse) Your Faithful Love is a sweet Soul number with some sweeping strings at the beginning before the vocals come in with a little swing to them locked to the backbeat. (Charlie, Brother) We Got To Love One Another has a Funk edge to it and group vocals on the chorus.
SAM & DAVE Soul Sister, Brown Sugar/Come On In (Atlantic) This was a 45 only release by the dynamic Stax duo of Sam & Dave. The single was produced and written by another great partnership, Isaac Hayes and David Porter. I actually first heard of the single years ago when it was sampled for M.O.P.???s big hit Ante Up. Soul Sister, Brown Sugar starts off with some blaring horns that formed the basis of the M.O.P. tune. It then goes into a fast paced rhythm with horns playing the call and response with Sam & Dave on the chorus. Come On In is more of a power ballad played at mid-tempo with more strong work by the brass section and bass.
TEMPREES If I Could Say What???s On My Mind/My Baby Love (We Produce) The Temprees were a vocal Soul group from Memphis. They had at least two albums, the Lovemen being the one this 45 comes from. If I Could Say What???s On My Mind is one of their sweet Soul ballads that the outfit was known for. My Baby Love flips the script by being a dance oriented number that again utilizes the Temprees??? strong singing talents.
OLD RECORDS OUT THE CRATES:[/b]
MILT JACKSON Sunflower (CTI 73) The image of a sunflower might best describe the music contained within this record. First there???s Someone I Love that is a light and casual Jazz piece that gets a little frantic in the middle with the Herbie Hancock???s piano playing. What Are You Doing The Rest Of Your Life? is in the same mood and range. The highlight of the album however, is a cover of People Make The World Go Round with Freddie Hubbard???s trumpet in the lead and Ron Carter and Billy Cobham locking down the rhythm into a tight groove in the middle when Jackson takes his solo on the vibes.
WILLIS JACKSON Headed And Gutted (Muse 74) Headed And Gutted is basically a one-tracker. That comes in the form of the title track that is a real nice, mid-tempo funky Jazz piece. It has a driving rhythm and Jackson???s soloing over the top. The rest of the album is more straight-ahead Jazz splitting between the sl
ow and mellow Blue Velvet and The Way We Were, and the more upbeat Miss Ann and Gator Whale.
WILLIS JACKSON Willis Jackson Recording Session (Big Chance 72) The infamous Paul Winley produced and released Willis Jackson Recording Session in 1972. The album opens up with a series of laidback, yet effective Soul-Jazz numbers in the form of Love Story and It???s Too Late. What really gets things going however is a cover of Ain???t No Sunshine with Jackson???s sax playing the lead and a nice drum break in the middle, followed by a version of What???s Going On with some real heavy percussion that gets louder in the mix as the song progresses, that gives the classic a new feel. There???s also Soul Train with its pointed guitar work, the funky and fast passed Don???t Knock My Love with horn stabs, and the bluesy Soul-Jazz of Heavy Makes You Happy (Sha-Na-Boom-Boom). After all that, they finish with I???d Like To Teach The World To Sing that was best known for being used in a Coke commercial. Of all things to end a record with, they had to pick that! To footnote the whole thing, this LP was probably the source for some of the Harlem Underground Band record that Winley also released.
KEN BOOTHE (It???s The Way) That Nature Planned It/Sad And Lonely (Trojan 74) (It???s The Way) That Nature Planned It is a great slice of Soul inspired Reggae with Boothe???s rich and deep vocals pushing along the song. The strong American influence is especially apparent on the chorus with the falsetto back-ups. Sad And Lonely has a more Reggae sound to it with its slower rhythm and delivery, but also features prominent horn work.
VIBRATIONS Love In Them There Hills/Remember The Rain (Okeh) The Vibrations teamed with the Gamble and Huff recording empire on this 45, with the duo producing and writing both sides. Love In Them There Hills is first with some heavy percussion giving it a strong Latin feel before the vocals come in turning it into a power Soul number. Remember The Rain on the other hand, is a ballad with a falsetto lead. It???s not bad, but this single is really all about the A-side.
OLD RECORDS OUT THE CRATES:[/b]
CHECKMATES LTD. Chessboard Corporation F/S/O (Rustic 74) The Checkmates Ltd. were a long-time Soul act. By the time Chessboard Corporation F/S/O came out, they???d updated their sound to release their best album. That???s heard on the slick Funk of Louie The Piper with plenty of guitar work and hints of Sly Stone. Much better is the easy going (Ain???t A) Goddamned Thang Going On with its sing-along chorus, the swirling ???moody loop??? rhythm of the love song I Must Be Dreaming, the fast, Rock-based Street Of Dreams, plus the slow and funky Sexy Ways and Might Get Betta.
EDDIE FLOYD Down To Earth (Stax 71) Down To Earth was an attempt by Steve Cropper to mix Eddie Floyd???s soulful singing with a Blues-Rock backing with mixed results. That???s heard immediately on a cover of People Get Read with plenty of Rock guitar playing that temporarily mellows out during the versus. Oddly enough, it reminds me of Elvis, which points to some of the faults with this experiment. Many of numbers are like Linda Sue Dixon where Floyd sings about how ???LSD??? is an inspiration and gets him high, with a fiddle in the background. There are a few times when Floyd and Cropper are able to pull things off. Those are found on My Mind Was Messed Around At The Time with its horn stabs and call and response vocals, the slow and powerful Salvation, and Changing Love with its hints of Psychedelica.
A nice 4 day weekend gave me plenty of time to listen to and review records this week. Enjoy.
LP REVIEWS:[/b]
SANDRA ALEXANDER Intimate Side Of (Uni) Sandra Alexander was a Californian piano player and singer with a classical training from the University of the Pacific and the San Francisco Conservatory of Music. On Intimate Side Of, she went for a mellow, subdued, and jazzy sound that reminds me a bit of Roberta Flack. That can be heard on Love Is Blue, In The Ghetto, Aquarius, and especially Yesterday, When I Was Young with its minimalist arrangement. Where she really gets a groove going is on a cover of It???s Your Thing with some conga work in the background.
INEZ ANDREWS More Church In The Home (ABC Songbird 74) Inez Andrews recorded this album with some well known Jazz and Blues session players such as Cash McCall and Richard Evans. She gets off to a good start with a Soul-Gospel tune called Songs Of Love with a big chorus. She then takes it down a notch for the balladic Lord I Love Thee with more group vocals, A Letter to God, which features some rough singing by Ms. Andrews, and You And Me. Things pick up again with Think Love that has a nice groove to it. On Headline News Inez again shows off her strong screeching vocals. She finishes things off like she started with A Brothers??? Prayer that mixes a Soul arrangement with Gospel vocals led by the guitar.
EAST ST. LOUIS GOSPELETTES Movin On Up (Nashboro 80) The East St. Louis Gospelettes were a long-standing Gospel group. First up is I???ve Got To Do It, which doesn???t really hit until half way through when they slow everything down and the female lead lets it rip. If I Had My Way is even better with its Soul arrangement and guitar work. There???s also the upbeat Carry Me Over and the slow number There Is No Seniority With God.
CLEOPHUS ROBINSON, JR. Keep On Stepping (Nashboro 77) Cleophus Robinson was a Southern Gospel singer and organist. Must of his tunes are slow and easy with the keyboard leading the rhythm such as the title cut. Where he really hits his stride is on Jesus Cares For You with its strong vamp creating a nice mix of Soul and Gospel. The second side consists of several instrumental tunes strung together into one single piece with just Robinson and his organ.
SWEET INSPIRATIONS What The World Needs Now Is Love (Atlantic 68) The Sweet Inspirations start of this album with a series of mellow numbers, none of which is anything to write home about, although they do highlight their strong group vocals. It???s not until Watch The One Who Brings You The News that things really get going with the strong horn play, some earthy singing by the lead vocalist and strong back-ups. The slow and gentle Am I Ever Gonna See My Baby Again that has a strong Gospel feel to it follows that. There???s also the upbeat Walk In My Shoes, the slow and funky I Could Leave You Alone with another Gospel chorus, and a good cover of That???s How Strong My Love Is.
OLD RECORDS OUT THE CRATES:[/b]
BOBBY BRYANT Earth Dance (World Pacific Jazz 69) On this album, Bobby Bryant plays with a big band and the songs and sound reflect that large orchestration. Most of the songs sound like they come from movie or TV soundtracks, which can be a good thing. Earth Dance is a perfect example, sounding like a theme to a detective story in its mood and big horn section. There???s also a nice hand-clap/conga break there as well. Bryant???s cover of the Beatles??? While My Guitar Gently Weeps has a nice beginning with heavy fuzz guitar, but during the versus the big band sound falters in its delivery. Since I Left Home is much better with its swinging rhythm. Happiness Is A Warm Gun, another Beatles cover, has a nice melody to it as well. Of all things, Bryant decides to end the album with a cover of I Want To Testify, one of the earliest songs written by George Clinton when his group was a singing outfit, and they went by the name of the Parliaments. The song was actually a local hit in Detroit. If you like Gerald Wilson, you???ll like this album, as they have a similar big band sound.
RON CARTER Yellow & Green (CTI 76) Most of this album is straight Jazz, but Carter manages to get down on a couple tracks. Receipt, Please and Yellow & Green sound like sped up follow-ups to Carter???s earlier song, Blues Farm. Both are driven by Carter???s walking bass play. Interesting, yet not endearing.
CHI-LITES Toby (Brunswick 74) With Toby the Chi-Lites were still cranking out their signature lush Soul sound, but they weren???t hitting the charts like they were in the past. That doesn???t mean there isn???t good music here. The title cut features Eugene Record???s trademark falsetto voice and a rich arrangement that he helped create. You Got To Be The One is even better with its funky baritone chorus backed by congas. There Will Never Be Any Peace, That???s How Long, Happiness Is Your Middle Name, I Lied, and Getin On Outta Town are all good as well. Toby is not as famous of the Chi-Lites??? other releases, but a fine Soul album nonetheless.
AHMAD JAMAL Ahmad Jamal 73 (20th Century 73) Ahmad Jamal was a Pittsburgh piano player known for his melodic style of play. By 1973 he was recording with 20th Century and released this fine Soul-Jazz Fusion album with production and arranging help by fellow Chicago artist Richard Evans. First up is a cover of The World Is A Ghetto that has a slick, yet spacey feel to it with some female vocals half way through. It reminds me a bit of some CTI recordings. What follows are mostly low-key Soul-Jazz pieces such as Children Of The Night and Sustah Sustah. Things pick up a bit with a cover of Superstition where Jamal goes off on his keys. The best however, is saved for last in the form of Peace At Last, that has a bit of Funk in its playing.
AHMAD JAMAL Awakening (Impulse 70) Awakening is a mellow Jazz album that reminds me a bit of Ramsey Lewis without the Pop influences. That can be heard on every track from the opening title cut to songs like I Love Music, which is Jamal playing solo on the piano. The record was made famous back in the day when the likes of Pete Rock, Nas and Common sampled it several times. There???s actually not that much to write home about.
AHMAD JAMAL Intervals (20th Century 80) Intervals is a bit of a throwback album. Although recorded i
n 1980, most of the sounds emanating from it could???ve come from the late-1960s/early-1970s when Ahmad Jamal was in his heyday. That???s especially true of the opening You???re Welcome, Stop On By that sounds like Sun Goddess era Ramsey Lewis with Jamal playing runs on the piano with a strong bass line and plenty of keyboards. I also like the dramatic playing on The Tube that mellows out during the middle, but than picks up again at the end. Most of the rest of the record is Jamal???s patented melodic Jazz.
AHMAD JAMAL Jamal Plays Jamal (20th Century 74) In the early-1970s Ahmad Jamal switched labels to 20th Century and released some of his most soulful work. The real star of Jamal Plays Jamal however is bassist Jamil Nasser who steals the show on every song by not only being the anchor of the rhythm section, but by laying down some extremely funky lines. That all starts off with Eclipse that perfectly matches Jamal???s melodic Jazz piano style with the bass work of Nasser. The mellow and heavily orchestrated Pastures also starts off with an open bass line. The group picks up the pace with Dialogue that???s got some nice horn accents and Spanish Interlude where Jamal busts out with the fender Rhodes. Death & Resurrection is darker, while Swahililand has a long and dramatic beginning leading into another fine mix of the bass and piano. Conga player Azzedin Weston also plays a nice role on a couple tunes backing up Nasser???s bass. Richard Evans from Cadet had a hand to play in some of the arranging on the album as well.
AHMAD JAMAL Jamalca (20th Century 74) Jamalca starts off with a cover of Thom Bell???s Ghetto Child that sounds like the best of a CTI recording, or perhaps the worst depending upon your opinion of that label???s work. Jamal is able to lay down some fine playing on the electric keys during that song, but it can???t save it from its smooth version of Soul-Jazz. That sort of sets the stage for most of the record on tunes like a version of Foster Sylver???s Misdemeanor that has a swirling beginning, only to move towards MOR afterwards. Again, Jamal tries to save the tune with his playing, but it ultimately only provides a short interval in a lost cause. The one song that Jamal is able to pull off is Theme Bahamas where he keeps things relatively simple and gets to show off his fine playing on the acoustic piano. The one CTIesque tune that works is MASH Theme with the strong bass playing of Jamil Nasser.
CAROLYN FRANKLIN Chain Reaction (RCA 70) Carolyn was Aretha???s little sister. On Chain Reaction her producers had her mostly cover Pop hits of the time. Some of those fare better than others such as Put A Little Love In Your Heart. Where Carolyn really gets down is on the title cut with its strong horn line in the background creating a power Soul tune. The following You Really Didn???t Mean It has some brooding strings and slow groove, while I Ain???t Got To Love Nobody Else harkens back to her Gospel roots with its big chorus. There???s also the power ballad I Ain???t Got To Love Nobody Else.
BEN E. KING Beginning Of It All (Mandala 72) During the 1970s Ben E. King was struggling to keep up with the changes in music just like most artists that got an early start. On Beginning Of It All he puts forth an up and down performance with the best tunes being the love songs. The opening Take Me To The Pilot is the one exception as its a Gospel number with some nice back-up singing. The good ballads begin with Travellin Women with its dramatic intro of piano and horns, and White Moon and She Does It Right. The best of that ilk however is the heart felt title track with its strong female back up.
VALERIE SIMPSON Valerie Simpson (Tamla 72) Valerie Simpson was one half of the dynamic song-writing duo of Ashford and Simpson. Along the way to writing hits, they collaborated to record Valerie on her own. Most of the tunes are nice, mellow Soul. The ones that stand out are like Fix It Alright and Drink The Wine that start off slow and easy and then take off in the second half with Simpson???s singing. She also has some sweeping vocals on Benjie. The second side isn???t as composed as well with no track really standing out.
NICKY THOMAS Tell It Like It Is (Trojan 72) Tell It Like It Is was an English release on the Trojan label and was obviously aimed at that market. By the 1970s England was going for a lush, heavily orchestrated Soul-Pop-Reggae sound, and that???s heard throughout the entire first side beginning with the title track. That makes it all the more surprising when he busts out with a cover of James Brown???s Soul Power on the second side. The song is by far the best on the album and even captures some of the horn work of the original. The following I Can???t Stand It with its hard driving beat is also good. He finishes things off with a cover of the Chambers Brothers??? Love, Peace And Happiness that???s nothing special at first, but then has a great funky breakdown and second half with some strong singing.
OLD RECORD REVIEWS:[/b]
OSCAR BROWN, JR. Movin On (Atlantic 72) William Eaton arranged and conducted this record for Oscar Brown Jr. Eaton assembled some of the usual session men of the time to back up Brown with the likes of Cornell Dupree, Richard Tee, Bill Salter, Jimmy Johnson, Ralph MacDonald, Bernard Purdie, and David Newman. Brown actually talks his way through each song in a storytelling style, covering such as issues as urban legends and social commentary. He???s like a cross between Gil Scott-Heron and Lightnin Rod???s Hustler???s Convention. The best tracks are A Dime Away From A Hotdog with its slow and funky rhythm and lyrics about tough times living on the streets, and To Stay In Good With You where Brown gets to play off the singing of Jean Pace.
GARY BURTON Throb (Atlantic 69) Gary Burton was mostly known for his vibes playing, but he does a little piano playing on this record as well, as he gets down on a couple tracks. The brooding Henniger Flats is the first cut and has something of a Rock influence to it with the distorted guitar soloing of Jerry Hanh at the beginning and end, and Burton???s vibe playing in the middle. On Prime Time and Doin The Pig Burton picks things up with two upbeat numbers that have a little 60s swing to them. Some Echoes is mellow but has a funky bass line.
LOU DONALDSON Sassy Soul Strut (Blue Note 73) Sassy Soul Strut was recorded during a transitional period in Donaldson???s career. By this time he was dropping a lot of his earlier Blues leanings and began recording some pretty commercial sounding 70s music. One song that stands out is a cover of Sanford And Some Theme. City Country City takes a while to develop, but once you get to the heart of the tune it might have the best rhythm track on the entire LP with some funky playing. On the other hand a cover of Pillow Talk is pure cheese and Inner Space sounds like a CTI song. While not bad, Sassy Soul Strut is nothing like his late-60s work on Blue Note.
JAMES GANG Rides Again (ABC 70) The James Gang was a power Rock trio featuring Joe Walsh on guitar and vocals. It???s his work on the axe that starts off the best cut Funk #49. The title says it alone, it???s a Funk tinged Rock tune with plenty of strong playing by Walsh with a catchy hook. Right in the middle there???s a little drum and cowbell breakdown as well. The rest of the album isn???t half bad Rock either with instrumentals like Asshtonpark and vocal numbers such as Woman and There I Go Again.
SCOTTY/BONGO HERMAN Skank In Bed/African Breakfast (Harry J) Skank In Bed is a little different than your typical Jamaican DJ track. On most of those they had a DJ talking over the top of a rhythm track. Here, Scotty appears to have gone in the studio and recorded a hit song of the time, Breakfast In Bed featuring a sexy and smooth female vocalist, and done his toasting at the same time. That???s show in the middle where Scotty stops the track and calls out one of the musicians for not being able to play before the groove starts up again. The B-side is the same rhythm with some very loud percussion in place of the vocals.
LP REVIEWS:[/b]
INTRUDERS Cowboys To Girls (Gamble) The Intruders were one of the originators of the lush vocal Soul that would become a trademark of Philadelphia. Of course, being signed to Gamble and Huff???s record label didn???t hurt. This record was released after the huge success of their singles. Unfortunately that means that you have some great hits like the opening Cowboys To Girls with its horn play, swirling strings and catchy lyrics, Turn The Hands Of Time, and (Love Is Like A) Baseball Game. After that the record is almost all filler, with the only other passable track is the pensive Good For Me Girl that finishes things off.
MIRACLES Renaissance (Tamla 73) Albums like Renaissance proved that the Miracles could still produce even if their leader Smokey Robinson had gone solo. In fact, Smokey was never far away as he was the executive producer of the album, and the song writing talents of Leon Ware, Willie Hutch, and Larry Mizell, amongst others helped them out. Most of the tracks are lush slow Soul numbers such as If You???re Ever In The Neighborhood, I Wanna Be With You, Wigs And Lashes, Don???t Let It End (Til You Let It Begin), and Nowhere To Go. There are a few other tunes that are slick dance numbers such as What Is A Heart Good For and I Don???t Need No Reason with its great catchy chorus. There are some funky Soul numbers as well like Mr. Cool That Ain???t Cool, but they???re really at their best singing lush ballads like Loving You Is So Easy.
TEMPREES 3 (We Produce 74) The Temprees were a three-piece vocal Soul outfit. On 3 they sound like a mix of the Isley Brother???s delivery with some of Barry White???s orchestration. Together that makes for a fine album. While they start off with a funky Soul tune in Mr. Cool That Ain???t Cool, the group???s bread and butter were the slow jams like Loving You Is So Easy and I Love, I Love. The second side is more of the same with You Make Me Feel So Good Baby and others.
TOMORROW???S CHILDREN The Going???s Great With (London) Pan Am co-sponsored this record so on the back cover you get 5 pictures of the band hanging out with a jet airliner and sitting at a bar at the airport! If that doesn???t catch your attention, the music contained on Going???s Great With certainly will. They start off with Get Together with a very deliberate beat and horns, followed by covers of the slick Soul tune It???s All In The Game and War that would give the original a run for its money. Bend Down with its call and response vocals and laidback sound finishes off the first side. The second side is just as good with You Keep Me Hanging On with a nice vocal breakdown, the melodic No Nola, and finishes off with Psychedelic Train.
OLD RECORDS OUT THE CRATES:[/b]
BOB JAMES One (CTI 74) This was one of those beginning beat digger and sample collector records that everyone used to hunt down. Most copies must still be sitting in those people???s collections because I don???t see this record out in the field like I use to. Between this and James??? other well-known record Two, this is the superior product. First up is the haunting Valley Of The Shadows that has some strong keys playing by James and blaring horns at times in between moody interludes. At the very end though if falls off the deep end. Night On Bald Mountain has some interesting parts by James, but overall is a failure as a funky Jazz Fusion number with too many cheesy parts to make up for the good. Next is actually a good piece of mellow Soul-Jazz in Feel Like Making Love. The best tune however is the ending Nautilus as it???s the most consistent from beginning to end with the keys and drum intro that leads into the syncopated main verse with the guitar, and a nice breakdown in the middle.
RICK JAMES Come Get It! (Gordy 78) After playing for years on the Rock and Soul circuit in eastern Canada, New York, and England, Rick James finally made a hit solo career in the late 1970s. Borrowing heavily from the Parliamentfunkadelic sound he released Come Get It! his first full-length album. The opening Stone City Band, Hi is a perfect example of his sound with its catchy Funk beat and sing along chorus. Even better is the funky dance classic You And I with its female back-up singers. Be My Lady is much more lighter with a Pop edge, but still very effective. My favorite track however is Mary Jane the love song to drug use with its slow groove. James finishes things off with the power ballad Hollywood, and Stone City Band, Bye! a finale to the opening cut.
Went on a little vacation to celebrate the end of school and the official start of Summer break so didn't have that much time to review stuff this week. Here's what I did do. Enjoy.
45 REVIEWS:[/b]
LOYCE COTTON Try It, You???ll Like It/Everybody Wants To Be The President (Aquarius) Loyce Cotton recorded this 45 in Houston, Texas. First up is the grooving mid-tempo Try It, You???ll Like It with Ms. Cotton???s strong vocals over a funky Soul backing, and an organ solo in the middle. The flipside is a nice power ballad with political lyrics about how the president needs to take care of the people, all the people, whether they are rich and powerful or not.
OLD RECORDS OUT THE CRATES:[/b]
RICK JAMES Street Songs (Gordy 81) It???s said that Rick James almost single handedly saved Motown from extinction in the late-1970s. In the 1980s he was still going strong with continued hits like Give It To Me Baby and Super Freak on Street Songs. Unfortunately, after those chart toppers, the album gets a little lean with the mid-tempo Ghetto Life the only other outstanding track.
AL JARREAU Ain???t No Sunshine (Astan 84) Jarreau Does Withers (Allegiance 84) Lonely Town, Lonely Street (Koala 79) Originally, I found a copy of Al Jarreau???s Jarreau Does Withers LP on the budget label Allegiance. I played it for O-Dub and he went out and topped me by not only finding the original 1979 release on Koala Lonely Town, Lonely Street, but also a picture disc released on Astan. As one can tell, this is a tribute album to Bill Withers. All together, Jarreau does 8 of Withers??? songs: Ain???t No Sunshine, Lean On Me, Use Me, Kissing My Love, Grandma???s Hands, You, Lonely Town, Lonely Street, and The Same Love That Made Me Laugh. All of them are well done, sticking to the original arrangements, and even comes with a drum breaks on Use Me and Kissing My Love.
VOICES OF WATTS God Is What You Need (Birthright 76) The Voices Of Watts was a Gospel group from Los Angeles, led by Reverend Billy Ray. God Is What You Need is a live album recorded at their church. The group was made up of a male and female lead and an all female chorus. The woman has a really strong voice, while the man???s flutters a lot trying to hold a note, which is no good for a Gospel outfit where you???re expected to put your heart and soul into every number. The group starts off with the mellow God Is What You Need that builds in intensity until half way through when they start the handclaps and things start really going. After that they can???t seem to keep it together either due to faltering vocals or bad recording until Water on the second side with its strong bass line, and the slow and powerful Changed My Way. The failure to consistently deliver, makes this a mediocre Gospel record overall.
Summer vacation = lots more time to listen & review records!
45 REVIEWS:[/b]
O.V. WRIGHT Drowning On Dry Land/I???m Gonna Forget About You (Back Beat 72) This is another strong 45 by O.V. Wright. He starts off with the slow and moody Drowning On Dry Land with some loud horn play at the beginning before Wright???s powerful singing comes in. I???m Gonna Forget About You sounds more like an earlier RnB tune.
LP REVIEWS:[/b]
ARCHIE BELL & THE DRELLS I Can???t Stop Dancing (Atlantic 68) I guess when you have a successful formula you stick with it until it flops. That appears to be the strategy that Archie Bell & The Drells took on I Can???t Stop Dancing. It was the follow up to their huge hit Tighten Up. Instead of coming up with something new, they instead tried to remake that song in different ways. Thus you get the title cut and Do The Choo Choo, written and produced by Gamble and Huff, that sound like take offs of their first chart topper. They???re actually not that bad, and those upbeat dance tunes are what dominate the album like Monkey Time, Do You Feel it? and Jammin In Houston, the last two being the best on the LP due to the frantic drumming laid down. The ballads I???ve Been Trying and Love Will Rain On You are also worth a listen.
WILLIAM BELL Relating (Stax 73) William Bell was one of Stax???s male crooners. That style is heard immediately on Lovin On Borrowed Time. Unfortunately, Bell stays in that mode for almost the entire album. One exception is the Southern Soul of I???ve Got To Go On Without You with its slow groove and patented Stax horns, and the power ballad You Don???t Want A Man, by far the best song with its opening melody and Bell???s singing.
MARGIE JOSEPH Makes A New Impression (Volt 71) This was Margie Joseph???s debut album with the Stax/Volt family. The recording sessions were split between the Memphis studios where she was backed by the Bar-Kays and Alabama where she recorded at Muscle Shoals. Makes A New Impression begins with a long spoken intro called Monologue: Women Talk that leads into a cover of Stop In The Name Of Love that???s re-arranged with a fast chorus, but slow versus that shows off Joseph???s singing. Half way through she breaks it down even more for a long dark and funky guitar led refrain. It might be one of the best songs she ever recorded over the course of her career. That leads well into the moody Punish Me, as well as the funky Soul of Sweeter Tomorrow and Temptation???s About to Take Your Love with more sharp guitar playing tempered by Joseph???s vocals.
FREDDIE KING Texas Cannonball (Shelter 72) Freddie King was a Blues guitarist that got a little funky late in his career. On Texas Cannonball however, he mostly stuck to electric Blues, which was his forte. He starts adding just the slightest hint of Funk on Big Legged Woman with its swinging backbeat, and the slow groove of You Was Wrong with its funky drum fills during a breakdown in the middle. The highlight of the album however is a cover of Ain???t No Sunshine with some nice guitar soloing added to the beginning and middle.
ASHFORD SIMPSON Exposed (Tamla 71) Ashford Simpson was one part of the dynamic song-writing duo of Ashford and Simpson. Along the way she recorded a few solo albums beginning with Motown and this record Exposed. The couple wrote all the songs on the album and the musicians were the label???s mainstays like James Jamerson, Dennis Coffey, etc. Ms. Simpson starts off Exposed with a Gospel influenced song called I Don???t Need No Help that is just her on the piano showing off her vocals skills. There???s also the funky Soul of Sinner Man (Don???t Let Him Catch You) and Can???t It Wait Until Tomorrow that starts off with Simpson shouting out demands before it mellows out just a little during the versus and then brings up it back up during a big Gospel like chorus. Plus there???s the nice mellow Soul of Now That There???s You, the Gospel number There Is A God, and the uplifting I Just Wanna Be There.
JOHNNIE TAYLOR Super Taylor (Stax 74) Johnnie Taylor had a long career as one of Stax???s top male singers. He gets off to a great start with the bass driven It???s September, and the mid tempo groove of Try Me Tonight. Unfortunately those are the best tunes on Super Taylor.
OLD RECORDS OUT THE CRATES:[/b]
JAZZ CRUSADERS Give Peace A Chance (Liberty 69) This is the second to last record that the band recorded under as the Jazz Crusaders before dumping both their Jazz moniker and their label, World Pacific Jazz/Liberty Records. The record captures all the groups??? best features such as great covers like the Beatles??? Give Peace A Chance and Black Bird, an interesting Soul-Jazz rendition of B.B. King???s classic The Thrill Is Gone with a little Funk to it, and smooth originals like I Think It Was A Dream and Anita???s New Dance both of which begin with the strong bass work of Buster Williams. The rest of the album is Bop like the long and expansive Space Settlement.
JAZZ CRUSADERS Lighthouse 68 (Pacific Jazz 68) The Jazz Crusaders released two consecutive live albums from the famous Lighthouse Jazz club in southern California. This was the earlier of the two. Like the later Lighthouse 69 album, this features the band???s move towards Soul-Jazz. The opening Ooga-Boo-Ga-Loo is a good example with its light and catchy melody and drumming. Up next is a jazzy cover of the Beatles??? Eleanor Rigby. Never Had It So Good is another soulful number. Most of the songs, however, are light Bop and a little too mellow for my liking.
JAZZ CRUSADERS Lighthouse 69 (World Pacific Jazz 69) This was the second of two consecutive live albums recorded by the Jazz Crusaders at the famous Lighthouse Club in California. Half of Lighthouse 69 is light Bop such as Ruby P???Gonia, the other half however, is a mix of Soul, Jazz and Funk. That can be heard immediately on the opening Get Back. The two highlights are Willie & Laura Mae Jones with its strong rhythm, and a funky cover of It???s Your Thing with a nicely re-arranged introduction.
JAZZ CRUSADERS Old Socks New Shoes (Chisa 70) After recording several records for World Pacific Jazz/Liberty, the Jazz Crusaders released one record on Chisa, a subsidiary of Motown before becoming j
ust the Crusaders. While the band started out playing Bop, by the 1970s they were a full-fledged Soul-Jazz outfit covering popular hits of the time, while also recording original material as well. Even when they do other people???s music, they often times re-arrange parts of it to give it their own personal spin, such as on Sly Stone???s Thank You that takes off in a completely different direction half way through. The following tracks are a mix of the upbeat and grooving like Funny Shuffle and Jackson! that closes with a refrain from Sly Stone???s Everyday People, Hard Times, and the slower and soulful Why Do You Laugh At Me? the Beatles??? Golden Slumbers, and their original classic Way Back Home.
JAZZ CRUSADERS Powerhouse (World Pacific Jazz 68) Powerhouse was recorded right after the very successful Live At The Lighthouse 68 album. Most of Powerhouse is straight, melodic Jazz, half of which are covers like Promises, Promises and Hey Jude and originals such as Sting Ray and Cookie that has a drum break to it, that are light Soul-Jazz, making this album okay, but not great.
JAZZ CRUSADERS Talk That Talk (World Pacific Jazz 66) Talk That Talk was released right around when the Jazz Crusaders began moving towards more soulful compositions. For example, you get tunes like the melodic Walkin My Cat Named Dog, a cover of Uptight (Everything???s Alright), and finally Shadow Do, which is a solid Soul-Jazz piece. The rest is light Bop and Big Band tunes.
ASFHORD & SIMPSON Gimme Something Real (Warner Brothers 73) Ashford and Simpson went from hit making song writers, to Ashford???s solo singing career, to finally performing as a duet. Gimme Something Real was their first full-length album where they would sing together. The problem with their collaboration was that while Valerie Simpson had a strong, soaring voice, Nickolas Simpson???s was completely forgettable. That???s shown on the best cut Bend Me where Ashford starts off and is just blown away when Simpson joins in. The lack of a strong compliment to Simpson ruins the rest of the record for me.
SUPREMES & THE FOUR TOPS Magnificent 7 (Motown 70) Motown had a series of albums where they put together some of their biggest vocal groups together. On The Magnificent 7 they had the Four Tops and the Supremes collaborate. The two work well together trading off versus, and doing the chorus together as one such as on the grooving Knock On My Door, the fast paced A Taste Of Honey, and a slightly re-arranged version of Without The One You Love with plenty of extra percussion, even though Ms. Ross puts in an underwhelming performance. The major drawback of the rest of the record is that they soften up the songs for a wider audience. That destroys what could???ve been interesting tracks like Everyday People and River Deep, Mountain High.
YOUNGHEARTS A Taste Of (20th Century 74) The Younghearts were a three-piece vocal Soul outfit from Los Angeles. They got some pretty slick yet effective production on A Taste Of. Those are heard on the upbeat Wake Up And Start Standing, You???re Not Here With Me, We???ve Got Love (You Better Believe It), and a cover of Jr. Walker???s What Does It Take, all of which have a dance beat behind them. There are also the slow grooves and ballads like sweet sounding For The Rest Of My Life with its falsetto lead and We???re All God???s Children.
OLD RECORDS OUT THE CRATES:[/b]
ANTONIO CARLOS JOBIM Adventurers OST (Symbolic 70) The Adventurers soundtrack was the result of a large collaboration. Antonio Carlos Jobim got top billing for writing 7 of the 9 tracks, while Quincy Jones did production. Ray Brown and his orchestra conducted the songs and penned one as well. Jones, Brown, J.J. Johnson, Jimmy Jones and Tom Scott did the arranging. Eumir Deodato also got writing credit for one track. Jobim???s compositions are a mix of fast paced tunes like Polo Pony with plenty of percussion, and mood pieces such as Go Down Dying with the guitar in the lead and a flute and drum breakdown to end out the track, and the stripped down Fat Cat Strut. Coming And Going is a laidback Funk piece that has a woman making sexy groans and grunts throughout. It???s by far the best overall tune. People should also be aware that there are two versions of this soundtrack, and that this is the one that they should be looking for.
HAROLD JOHNSON Wide Open (Revue) Harold Johnson was a Jazz pianist. He begins with the mood piece Validiction that fluctuates between a mellow bass line and a more upbeat refrain with Johnson and the entire rhythm section. On Love Is Blue he enters into Soul-Jazz territory with a nice upbeat groove led by his impressive piano soloing. A bass heavy cover of Spinning Wheel that???s able to build on the original follows that. Just as good are Right On, Wide Open, Green Sleeves, and Soul Perception with more sharp playing by Johnson on the keys, plus the latter two have plenty of percussion to push them along. Everything is finished off with a rendition of Get Back.
ALVIN & RICKEY Shortnin Bread/Part II (Stang) Alvin & Rickey were some kind of child Soul duo. Rickey is the lead and has a really high falsetto voice, while Alvin has a little more base to his teenage voice. The result isn???t half bad as they???re backed by a catchy Pop-oriented rhythm, and they sing a chorus that???s an adaptation of a nursery rhyme. Comparisons to the early Jackson 5 are easy to make. Part II is an instrumental version of the song.
MAXINE BROWN I.O.U./Treat Me Like A Lady (AVCO 72) I.O.U. is a big uplifting Soul tune with some Funk underpinnings that smoothes out during the versus to highlight Brown???s soaring voice. Treat Me Like A Lady moves more towards the funkier side of things, and again provides the perfect backdrop for Ms. Brown.
JOHN EDWARDS Claim Jumpin/Messing Up A Good Thing (Aware 73) John Edwards was an Atlanta singer. Claim Jumpin is a power Soul tune with a strong funky rhythm and female back-ups. Messing Up A Good Thing is a ballad.
ESQUIRES And Get Away/Everybody???s Laughing (Bunky) And Get Away is a great catchy Soul dance tune. I love the interplay between the singers on the chorus, and their harmony during the versus. The group finishes off with a power ballad.
RICHARD ???DIMPLES??? FIELDS Ain???t That What You Said/You???re Sweeter Than Sweet (Dat Richfield Kat) Both sides of this 45 are ballads, but while Ain???t That What You Said is a bit forgettable and too syrupy, You???re Sweeter Than Sweet is pretty good at creating a mood and delivering the goods, although I could???ve done without the talk over in the middle.
ETTA JAMES Fire/You Got It (Cadet) This single starts off with Fire, which was a Willie Dixon tune. The song has some strong horns at the beginning before James??? stronger vocals take over. You Got It was written by Don Covay and has a nice groove to it, again backed by horns and James??? excellent singing. Together this makes for a great double-sided 45.
DENISE LA SALLE Making A Good Things Better/What It Takes To Get A Good Woman (That???s What It???s Gonna Take To Keep Her) (Westbound 73) Making A Good Thing Better is a nice slow groove with some Blues in the rhythm track, and finds La Salle backed by a large chorus. What It Takes To Get A Good Woman is more of the same, but has a little more oomph to it.
DOROTHY MORRISON John The Rabbit/Rain (Elektra) Dorothy Morrison was a Pop and Gospel singer. John The Rabbit is a slow bluesy Soul number that has a nice backbeat to it that slowly builds in intensity in the middle before slowing down for the conclusion. Rain is a great upbeat Gospel number with a large chorus and some percussion to give it a more contemporary sound.
OLLIE NIGHTINGALE It???s A Sad Thing/Standing On Your Promise (Memphis) It???s A Sad Thing finds the perfect balance between Ms. Nightingale???s down home delivery and a funky Southern sounding rhythm track. Standing On Your Promise is a power ballad.
RALFI PAGAN Make It With You/Stray Woman (Fania) Besides producing hot Salsa dance tracks, many New York Latin groups also released some sweet Soul tunes as well. This 45 by Ralfi Pagan is a perfect example of the latter. Make It With You begins with a sweet harmony contrasted with some sharp distorted guitar playing before giving way to Pagan???s vocals on this ballad. Stray Woman is another ballad, but a little more upbeat.
BRENDA PATTERSON Keep On Keepin On/West Window Song (Epic 70) Keep On Keepin On was from an album of the same name. Ms. Patterson has a deep and rough voice backed by some funky rhythms on both tunes. Surprisingly, she appears to be a white rocker chick. This 45 perks my interest in what the rest of the record sounds like.
SOUL CHILDREN Come Back Kind Of Love/I???ll Be The Other Woman (Stax 73) Soul Children were a mixed male-female Southern Soul vocal outfit that recorded with Stax. Their talent is shown on Come Back Kind Of Love with its horn bursts and keys playing that lead the rhythm, and strong singing. I???ll Be The Other Woman is a nice power ballad.
SOUL CHILDREN Love Is A Hurtin Thing/Poem On The School House Door??? (Stax 73) Love Is A Hurtin Thing is a down home southern Soul tune with some string flourishes in the beginning before a husky female lead takes over. The flipside is a power ballad with a strong Gospel feel to it, especially with the big chorus backing up the lead.
MARY WELLS Keep Me In Suspense/Such A Sweet Thing (ATCO) Mary Wells is best known for her Motown recordings, but after her star fell there she continued to record for other labels, this being an example. Keep Me In Suspense has a really catchy, sing along chorus. Such A Sweet Thing sounds like a Motown track with its light and airy rhythm backed by strings.
OLD RECORDS OUT THE CRATES:[/b]
J.J. JOHNSON FEATURING JOE SIMON & MILLIE JACKSON Cleopatra Jones OST (Spring 73) Cleopatra Jones was another 70s blaxploitation soundtrack starring Tamara Dobson and Bernie Casey. The music was composed and conducted by the famed J.J. Johnson. Joe Simon sang the Theme song and Millie Jackson also made two appearances. Simon???s song is actually a pretty good funky Soul number with a grooving rhythm with a strong bass line and wah wah guitar, while Jackson is a little underwhelming. Johnson???s instrumental numbers provide good moody pieces to set up scenes like Wrecking Yard and Desert Sunrise/Main Title Instrumental that have nice build ups, and Emdee with its light and mellow mood set by the keys playing, while also providing more fast paced numbers such as
Airport Flight with its loud horns and more use of the wah wah pedal. Go Chase Cleo, Wrap Up, and Theme From Cleopatra Jones/Instrumental are more of the same.
This marks the 6 year anniversary of doing reviews. Back in 2001 Oliver/O-Dub suggested that I write reviews for what was then the Crates e-mail list. Ever since then I've been posting up reviews almost every week. Thanks to Raj for setting up the reviews section as well. You can post your own comments and reviews there as well now and I think that's criminally under used.
45 REVIEWS:[/b]
PARLIAMENT Little Ole Country Boy/Red Hot Mama (Invictus 71) For whatever reason Invictus decided to release Little Ole Country Boy on two separate 45s by Parliament. The song can also be heard on the group???s Osmium album, while the B-side was only released on this single. Ruth Copeland, who was working with the band at that time, wrote Country Boy. It???s a crazy mix that starts off with some yodeling before going into some Country inflected twang. Red Hot Mama is heavy Rock with some growling vocals countered by the soulful and playful group vocals the lead into the chorus.
LP REVIEWS:[/b]
DELLS Freedom Means (Cadet 71) Charles Stepney and the Dells collaborated on many fine releases for Cadet. Unfortunately Freedom Means is not one of them. Too many of the songs go nowhere and are aimed at a MOR audience. Listening to the album makes me wonder what happened to the Dells that I know and love? This sounds like they got taken over by 5th Dimension or someone. The only time they capture some of their earlier glory is on the slow grooves of Melody Man and Freedom Theme with their rich melodies and singing, and the closing Freedom Theme.
IMPRESSIONS It???s All Right (ABC-Paramount) It???s All Right starts off with the great title cut with its horns leading into the perfect harmony of the Impressions singing the chorus. Two light numbers, Gypsy Woman with its sweet lead and Grow Closer Together, follow. Also good are Minstrel And Queen that has a little Doo Wop element to the vocal arrangements, I???m The One Who Loves You, and Sad, Sad Girl And Boy
GLADYS KNIGHT & THE PIPS Feelin Bluesy (Soul 68) Gladys Knight & The Pips had a great run with Motown, and Feelin Bluesy is a good example of that time. They start off with the upbeat End Of Our Road. That style and Ms. Knight???s earthy delivery sets the stage for the following numbers like That???s The Way Love Is and Don???t You Miss Me A Little Bit Baby. The group also slows it down a bit for Don???t Let Her Take Your Love From Me, It Should Have Been Me, and Don???t Turn Me Away.
MARTHA REEVES & THE VANDELLAS Ridin High (Gordy 68) 1968 was a difficult year for Martha Reeves & The Vandellas. That year Ms. Reeves got seriously sick and they weren???t making the charts like in previous years. They were still able to release Ridin High. It starts off with the hard hitting I Promise To Wait My Love. That???s followed by Honey Chile that has the strings and uplifting sound, which was a signature of Motown???s hits. Also good are the dance tracks Leave It In The Hands Of Love and Show Me The Way, and the moody Love Bug Leave My Heart Alone. After that however, the rest of the album is all filler, leaning heavily towards Pop covers like To Sir, With Love, and I Say A Little Prayer.
TRINIDAD TRIPOLI STEEL BAND Hits Of The (American Variety) Hits Of The Trinidad Tripoli Steel Band was released on American Variety out of Hollywood. Apparently the band was trying to break into the U.S. market as the liner notes on the back say that they had just finished touring with Liberace, and were in the middle of an 11 month tour of the States when the record was released. It???s actually a live recording with very good sound quality. They open up with Spinning Wheel that???s not half bad. The star moment however is a cover of Sissy Strut that catches the groove of the original. Besides that, the band plays a bunch of MOR standards like Raindrops Keep Fallin On My Head that are completely forgettable.
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J.J. JOHNSON Willie Dynamite OST (MCA 74) Getting this record should go down in eBay folklore. I bought this from an eBay dealer who didn???t really sell records. One day I got a small package in the mail from the seller and inside I found a burned CD copy of the Willie Dynamite OST, and a little note saying that people don???t like to use vintage records anymore so the seller did me the favor of sending me a copy of the record on CD. Nothing else was said on the note, and I???d gotten no other notices via e-mail. I thought the seller had lost a nut and sent me a CD instead of the actual record. After a series of heated e-mails the guy got back to me and informed me that this was all a mix up. He had sent me the LP via UPS, and just wanted to send the CD to me as a complimentary item. Still, I thought to myself, why didn???t he tell me he was doing this and why send it in a separate package, one that was going to show up before the actual record? Anyway, despite all the drama I finally got my hands on the actual vinyl copy of the Willie Dynamite OST, which I???d been looking for quite some time. The soundtrack was composed and conducted by J.J. Johnson who worked on other similar movies like Cleopatra Jones. Like that release, Johnson did a great job capturing the mood of blaxploitation movies with tracks like the soulful Willie D featuring Martha Reeves on vocals that begins and ends the record. Reeves also appears on the mid-tempo Keep On Movin On, which is okay, but not as good. Johnson is also able to get funky on instrumentals such as Willie Chase that starts off very minimalist with plenty of percussion before the horns and big band step in. Willie Escapes is very similar, sans the big band though. Passion???s Dilemma, is more on a Soul-Jazz tip with plenty of keys playing. Parade Strut starts off with some open drums before some brass joins in that gives it a marching band type feel. It eventually turns into another funky Jazz number.
LAMONT JOHNSON Sun, Moon and Stars (Mainstream 72) This record has so much potential with the solid rhythms backed by percussion on many tracks. That foundation however, is ruined by LaMont Johnson???s choice of keyboard tones that sound like a little kid???s toy. For some reason he actually thought this was a good look as the liner notes point out his ingenuity and ???realism.??? Those ???innovations??? destroy what would otherwise be some very good Soul-Jazz. It???s only when other musicians such as during the horn and guitar solos on M???Baasa, that the songs can be enjoyed. Amazingly enough, Johnson actually pulls of a few songs where he doesn???t go crazy with the sounds, such as on Signifyin Gemini, a funky Jazz piece led by the guitar and bass. There???s also Medusa???s Meanderings, which is a good upbeat Jazz tune with a little Latin flavor to it thanks
to the conga playing. After those cuts, Sun, Moon and Stars gets into some much more traditional light Jazz.
LAURIE JOHNSON Avengers OST (Starlog/Varese Sarabande 82) When I was a kid my mom was a bit of an Anglophile thanks to PBS. One of the British shows she used to watch was the Avengers. This is a collection of songs by Laurie Johnson who did that show, plus The Professionals. While Emma Peel and John Steed bless the front and back cover, the songs are actually from the New Avengers. It turns out the music from The Professionals is better. While most of the songs from the New Avengers are orchestra pieces, the ones from The Professionals lean more towards funky Soul-Jazz. For example there are Sleuthing, On The Scent and In Pursuit, which are dark soundtrack pieces with the first developing very slowly with conga and horns. On The Scent is even better with its slick wah wah guitar playing. On Target ends the LP and sounds like something for a chase scene.
RUDOLPH JOHNSON Second Coming (Black Jazz 73) Black Jazz was known for its spiritual Jazz releases. Sax player Rudolph Johnson seemed to take that idea literally on the cover of Second Coming. On the front he???s sitting cross-legged with nothing on but a wrap around his waist, playing flute on some grass with clouds in the background. The music is actually pretty straight-forward Bop. Johnson gets down a bit on The Highest Pleasure with some strong drum playing by Douglas Sides matched by the piano work of Kirk Lightsey.
RUDOLPH JOHNSON Spring Rain (Black Jazz 71) Spring Rain is a pretty straight-forward Bop album with plenty of soloing by Johnson on his sax. One exception is the grooving Diswa with its head bobbing beat. There???s also Devon Jean, an upbeat RnB influenced Jazz song with some nice open drum fills
BYRON LEE AND THE DRAGONAIRES Reggae Round The World (Dragon 73) Bryon Lee And The Dragonaires were a longstanding Jamaican act led by their Chinese-Jamaican band leader. For most of Reggae Around The World, Lee goes for a Pop-Reggae sound that???s not that appealing, but at other moments he comes through. For instance there???s Breakfast In Bed with a female chorus that was a Jamaican favorite having been recorded several times by different artists. There???s also the light and upbeat instrumental Black On with Lee???s guitar in the lead, the melodic In The Mood and Your Love Is Amazing, and a cover of Back Stabbers.
LULU New Routes (ATCO 70) Lulu is best known as the singer who acted in and sang the title track to To Sir With Love. She had a Pop career before and after that, and on New Routes she traveled to America to record with the famed Muscle Shoals studio musicians in Alabama, and be produced by the power trio of Jerry Wexler, Tom Dowd and Arif Mardin. The southern influences are heard immediately with her delivery on Marley Purt Drive that???s a Country-Rock tune with some horns. Where she really finds her stride however is on a cover of Feelin Alright where her raspy vocals providing the perfect compliment to the strong horn arrangement. She also does a good job on the Southern Soul of Dirty Old Man with more brass.
MIRACLES Do It Baby (Motown 74) Do It Baby is a good example of the fine work that the Miracles did after Smokey Robinson left the act. They open up with the slick title cut with its walking bass line. Many of the following tracks have that same mellow yet sophisticated groove to them such as Up Again, Where Are You Going To My Love, What Is A Heart Good For, and You Are Love. With such a strong array of songs it appeared that the Miracles were talented enough to survive the departure of Robinson.
OSCAR PERRY I Think They???d Sell The Sunshine (Crazy Cajun 78) Oscar Perry was a Blues-Soul singer and musician from Houston, Texas. In the 1970s he hooked up with Huey Meaux and released a series of singles and albums on his Crazy Cajun label. Although most of I Think They???d Sell The Sunshine consists of laidback pieces, Perry is still able to get down on numbers like the hard driving Watergate with a spoken chorus that plays off his light and high pitched singing during the versus. Even better is the Soul tune Right Here At Home that starts off with a drum break before going into Perry???s rich singing, backed by some female back-ups on the chorus. There???s also the slick sounding title cut with a little Funk to it, and the closing Why Do I Always Hurt The One I Love, a brooding love song with some great bass fills.
TEMPTATIONS Meet The Temptations (Gordy 64) Meet The Temptations was the group???s debut album produced by Barry Gordy and Smokey Robinson. Being so early in their career, the LP provides only a few hints at what they would become. The big hit off the record was The Way You Do The Things You Do that shows off all the singing skills of the group. After that the rest is almost all filler. The exceptions are the Pop-Soul of I Want A Love I Can See, and Just Let Me Know that has some of the vocal flourishes of their later work.
OLD RECORDS OUT THE CRATES:[/b]
SYL JOHNSON Back For A Taste Of Your Love (Hi 73) Willie Mitchell created one of the most recognizable sounds in Soul with his label Hi Records. Amazingly enough, Mitchell used his engineering and producing magic to make Syl Johnson sound just like Al Green. You can hear that change right off the bat with the opening title cut. The rhythm tracks for that and I???m Yours are pretty upbeat. On I Let A Good Girl Go, Anyway The Wind Blows, and I Hate I Walked Away, Johnson gets into that slow groove which the Hi sound was best suited for, with its looping string arrangements highlighting the mood. He???s then picks it up just a little on the mid-tempo Feelin Frisky with some strong back-up singers and a driving bass line. Mitchell is even able to produce a funky track for Johnson on the closing The Love You Left Behind.
SYL JOHNSON Diamond In The Rough (Hi 74) Diamond In The Rough was the second album Syl Johnson recorded with Willie Mitchell???s Hi label. Like their first collaboration together, Mitchell made Johnson sound just like Al Green. That showed the power producers had over their artists, but it was not a bad turn of events for Johnson. He was able to record some fine tracks with Mitchell. On Diamond In The Rough those are separated between the fast ones like Stuck In Chicago, the slower Could I Be Falling In Love, and the mid-tempo Let Yourself Go, Don???t Do It, and Keeping Down Confusion. All of those have the trademark Hi sound with their rich rhythm tracks, horns and strings. The height of the collaboration between Johnson and Mitchell however, can be heard on the dark and moody I Hear The Love Chimes, by far the best track on the record.
SYL JOHNSON Total Explosion (Hi 75) Despite the late recording date, Chicago???s Syl Johnson and Memphis??? Willie Mitchell were still cranking out quality Soul in 1975. There???s the Grooving I Only Have Love and Take Me To The River with the horns providing just the right push to the rhythm. Bustin Up Or Bustin Out is a slow and bluesy number that features Syl on the harmonica, while on Steppin Out, Syl sings about confronting his woman about where she went. It Ain???t Easy and Bout To Make Me Leave Home are also good listens.
JONES, BOOGALOO JOE No Way! (Prestige 71) Ivan ???Boogaloo??? Joe Joones was a Jazz guitarist that worked with Grover Washington, Sonny Phillips, Butch Cornell, Jimmy Lewis and Bernard Purdie to record No Way! It gets off to a great start with the fast paced Soul-Jazz of the title cut with Jones playing some funky riffs on his Gibson followed by plenty of fine soloing. Sunshine Alley has a nice grooving rhythm to it, and the slightly Pop sounding If You Were Mine isn???t half bad either.
AL GREENE Back Up Train/Don???t Leave Me (Hot Line Music Journal) Listening to this 45 reminds one of the power of producers over their artists. This was Al Green???s 1st 45 released on the Hot Line label. They would both later appear on an album entitled Back Up Train. It has none of the sound that Green would become famous for when he hooked up with Willie Mitchell???s Hi label. Even the singing style doesn???t really appear to be the same. Back Up Train is a good slow grooving Soul tune however with strings highlighting the hurt that Green sings about. The flipside is more of an upbeat dance track, but I prefer the power ballad A-side more.
GLADYS KNIGHT & THE PIPS I Wish It Would Rain/It???s Summer (Soul 68) Motown had many of their artists record songs multiple times as shown on this 7??? by Gladys Knight & The Pips. The A-side is a cover of the Temptations??? hit I Wish It Would Rain. Knight and the Pips are able to do it with style with a more powerful beat giving it a different groove from the original. It???s Summer is a power ballad with more fine singing by Ms. Knight.
OTIS & CARLA Knock On Wood/Let Me Be Good To You (Stax) Otis Redding was one of the greatest Soul singers of all time. Paired with Carla Thomas, the duo was unstoppable. Their power together is amply shown on a cover of Knock On Wood. It???s got the trademark Stax horns and a driving beat along with Redding???s and Thomas??? rough vocals that make this version even better than the original. Let Me Be Good To You is more of a laidback and melodic Soul number. This 45 comes from their album King & Queen
WILSON PICKETT Engine Number 9/International Playboy (Atlantic) Engine Number 9 was one of the funkiest pieces Wilson Pickett ever recorded. It starts off with a distinctive cowbell, drum and bass intro followed by some distorted Rock guitar before Pickett joins the fray. International Playboy is also a good power Soul tune with the brass section in the lead.
ALVIN ROBINSON I???m Gonna Put Some Hurt On You/How Can I Get Over You (Blue Cat) Alvin Robinson was a New Orleans Soul singer. He sounds very similar to other artists from the city of the time such as Lee Dorsey on I???m Gonna Put Some Hurt On You with its bouncy, piano led rhythm, and big sing along chorus. How Can I Get Over You is a screaming, bluesy ballad.
JOHNNIE TAYLOR Free/Try Me Tonight (Stax 74) This 45 comes from Johnnie Taylor???s Super Taylor album. Free is a slow grooving Soul tune with horns and the guitar playing a prominent part in the rhythm, but it???s really all about Taylor???s singing and some sexy female singers doing back-ups. Try Me Tonight is in a similar mode, but is more of a power ballad.
LP REVIEWS:[/b]
JIMMY CLIFF Wonderful World, Beautiful People (A&M) Jimmy Cliff had one of the sweetest voices in Reggae. He also benefited from working with Leslie Kong who created a rich backing usually with strings such as on Time Will Tell. An even better example of that sound is Many Rivers To Cross, which was made famous by its inclusion on the Harder They Come soundtrack. It highlights Cliff???s slow and soulful singing with an organ melody that reminds one of Gospel music. Cliff wasn???t afraid of politics either with Viet Nam where he tells the story of several letters home from the war that include one soldier telling his friends and family don???t worry he???d be home soon to a mother being told her son had been killed. I???m Gonna Use What I Got To Get What I Need starts off with some nice horn work and has a very strong drum track, while Hard Road Travel is carried by Cliff???s singing and his back-ups. The light and melodic Reggae continues with the title track.
FRIENDS OF DISTINCTION Highly Distinct (RCA 69) Friends Of Distinction and the 5th Dimension were the MOR Soul heavyweights of their time. On Highly you could hardly tell the two apart with the Pop arrangements and vocal style on songs like It???s Just A Game Love and covers such as Light My Fire that sound just like the 5th Dimension. I much prefer the group???s Grazin and Whatever albums to this one.
EDWIN STARR Soul Master (Gordy 68) Soul Master was Edwin Starr???s debut album for Motown. Before his song War, he hit the charts with the opening cut, Agent Double O Soul with its heavy bass line and simulated finger snaps. Unlike many Motown records, Soul Master isn???t all about the hits either. There???s some other quality Soul tunes like the heavy hitting I Am The Man For You Baby, Way Over There, and Time Is Passin By, as well as some conventional Motown sounding cuts like (S.O.S.) Stop Her On Sight and My Weakness Is You with that distinctive Motown beat to them. The slow grooving title cut is also good.
OLD RECORDS OUT THE CRATES:[/b]
GRAHAM CENTRAL STATION Graham Central Station (Warner Brothers 74) Larry Graham started the Graham Central Station after he was kicked out of the Family Stone. Unfortunately he never achieved the heights he reached working with Sly. There???s only one really good track on their self-titled debut and it???s a vocal only cut called We???ve Been Waiting. It shows off the group???s amazing vocal harmonies that were obviously influenced by the Family Stone. After that however, the songs are a bit of a disappointment. The rest are mid-tempo with plenty of Graham???s famous slap bass, but they don???t really go anywhere. It???s not until the second side that Graham is able to pen some catchy numbers beginning with Can You Handle It? with a big and bouncy rhythm track. The laidback People isn???t bad either and again shows the strong harmonizing of the group???s singers.
BOOGALOO JOE JONES Right On Brother (Prestige 70) Ivan ???Boogaloo??? Joe Jones recorded several albums for the Prestige label. On Right On Brother he was joined by Rusty Bryant, Charlie Earland, Jimmy Lewis, and Bernard Purdie. They start off with the melodic Right On that has a little funkiness to the rhythm. Then there???s the bluesy Things Ain???t What They Used To Be and then the fast Jazz of Poppin. On the second side there???s a decent cover of Someday We???ll Be Together followed by the upbeat Soul-Jazz of Brown Bag that has some James Brown to it.
IVAN ???BOOGALOO JOE??? JONES Snake Rhythm Rock (Prestige 73) Snake Rhythm Rock was another record that Ivan Jones did with Prestige. This time he was helped by Rusty Bryant, Butch Cornell, Jimmy Lewis, and Grady Tate. Like his other albums, this one mixes Jazz, Blues, Funk and Soul. It begins with the funky stuff of Hoochie Coo Chicken. Next is the more laidback title cut, that???s still got a driving beat to it.
BOOGALOO JOE JONES What It Is (Prestige) What It Is was another in a series of records that guitarist Ivan Jones recorded with Prestige in the 1970s. Making up the rest of the band for the session were Butch Cornell, Grover Washington, Jimmy Lewis, Buddy Caldwell and Bernard Purdie. They start off with a nice cover of Ain???t No Sunshine that captures the slow and moody feel of the original. The other good track is the title cut with a little bounce to its rhythm and conga work by Caldwell in the background.
GRAHAM CENTRAL STATION Graham Central Station (Warner Brothers 74) Larry Graham started the Graham Central Station after he was kicked out of the Family Stone. Unfortunately he never achieved the heights he reached working with Sly. There???s only one really good track on their self-titled debut and it???s a vocal only cut called We???ve Been Waiting. It shows off the group???s amazing vocal harmonies that were obviously influenced by the Family Stone. After that however, the songs are a bit of a disappointment. The rest are mid-tempo with plenty of Graham???s famous slap bass, but they don???t really go anywhere. It???s not until the second side that Graham is able to pen some catchy numbers beginning with Can You Handle It? with a big and bouncy rhythm track. The laidback People isn???t bad either and again shows the strong harmonizing of the group???s singers.
Thanks as always for the reviews Motown. Kinda surprised you didn't like this album more - admittedly it's nowhere near the genius of the Family Stone at their peak but thought there were a couple of decent tracks on there - actually rather like their cover of It Ain't No Fun To Me - particularly the second half of the track.
GRAHAM CENTRAL STATION Graham Central Station (Warner Brothers 74) Larry Graham started the Graham Central Station after he was kicked out of the Family Stone. Unfortunately he never achieved the heights he reached working with Sly. There???s only one really good track on their self-titled debut and it???s a vocal only cut called We???ve Been Waiting. It shows off the group???s amazing vocal harmonies that were obviously influenced by the Family Stone. After that however, the songs are a bit of a disappointment. The rest are mid-tempo with plenty of Graham???s famous slap bass, but they don???t really go anywhere. It???s not until the second side that Graham is able to pen some catchy numbers beginning with Can You Handle It? with a big and bouncy rhythm track. The laidback People isn???t bad either and again shows the strong harmonizing of the group???s singers.
Thanks as always for the reviews Motown. Kinda surprised you didn't like this album more - admittedly it's nowhere near the genius of the Family Stone at their peak but thought there were a couple of decent tracks on there - actually rather like their cover of It Ain't No Fun To Me - particularly the second half of the track.
The opening cut is amazing. The second side however is much better than the first, but really, if I'm thinking about a Larry Graham album to play it wouldn't be this one. It'd be
GRAHAM CENTRAL STATION Graham Central Station (Warner Brothers 74) Larry Graham started the Graham Central Station after he was kicked out of the Family Stone. Unfortunately he never achieved the heights he reached working with Sly. There???s only one really good track on their self-titled debut and it???s a vocal only cut called We???ve Been Waiting. It shows off the group???s amazing vocal harmonies that were obviously influenced by the Family Stone. After that however, the songs are a bit of a disappointment. The rest are mid-tempo with plenty of Graham???s famous slap bass, but they don???t really go anywhere. It???s not until the second side that Graham is able to pen some catchy numbers beginning with Can You Handle It? with a big and bouncy rhythm track. The laidback People isn???t bad either and again shows the strong harmonizing of the group???s singers.
Thanks as always for the reviews Motown. Kinda surprised you didn't like this album more - admittedly it's nowhere near the genius of the Family Stone at their peak but thought there were a couple of decent tracks on there - actually rather like their cover of It Ain't No Fun To Me - particularly the second half of the track.
The opening cut is amazing. The second side however is much better than the first, but really, if I'm thinking about a Larry Graham album to play it wouldn't be this one. It'd be
Ha ha yeah, can't really argue with The Jam. Hadn't noticed that you'd already reviewed that one.
GRAHAM CENTRAL STATION Graham Central Station (Warner Brothers 74) Larry Graham started the Graham Central Station after he was kicked out of the Family Stone. Unfortunately he never achieved the heights he reached working with Sly. There???s only one really good track on their self-titled debut and it???s a vocal only cut called We???ve Been Waiting. It shows off the group???s amazing vocal harmonies that were obviously influenced by the Family Stone. After that however, the songs are a bit of a disappointment. The rest are mid-tempo with plenty of Graham???s famous slap bass, but they don???t really go anywhere. It???s not until the second side that Graham is able to pen some catchy numbers beginning with Can You Handle It? with a big and bouncy rhythm track. The laidback People isn???t bad either and again shows the strong harmonizing of the group???s singers.
Thanks as always for the reviews Motown. Kinda surprised you didn't like this album more - admittedly it's nowhere near the genius of the Family Stone at their peak but thought there were a couple of decent tracks on there - actually rather like their cover of It Ain't No Fun To Me - particularly the second half of the track.
The opening cut is amazing. The second side however is much better than the first, but really, if I'm thinking about a Larry Graham album to play it wouldn't be this one. It'd be
Ha ha yeah, can't really argue with The Jam. Hadn't noticed that you'd already reviewed that one.
That's by far the best song Graham ever recorded as a solo artist.
Some of these records I got 3-4 years ago and am just now listening to. Isn't that kinda pathetic? Record collecting makes you do crazy things. Speaking of which, a couple days ago in the morning I was in my living room watching TV, heard a creaking sound and BOOM! One of my record shelves cracked and fell over sideways. Could've killed someone! Enjoy.
45 REVIEWS:[/b]
LORRAINE ELLISON Don???t Let It Go To Your Head/I Dig You Baby (Mercury) Both songs on this 45 are light and airy Soul tunes with some sweeping strings on the A-side. Neither is bad, not great either.
LP REVIEWS:[/b]
INTRUDERS When We Get Married (Gamble 70) When We Get Married takes a couple tracks to get going, but eventually the musical genius of Gamble and Huff come through. The group finally catches a groove with the Pop-Soul of Hocus Pocus. Even better is the power ballad Guess Who Loves You and Wonder What Kind Of Bag She???s In, which are much harder hitting and show off the group???s vocal abilities. Let Me In Your Mind is more of that upbeat sound that Philly and the Intruders were known for.
BEN E. KING Rough Edges (Maxwell 70) Rough Edges was another attempt by Ben E. King, who had already been in the music business for 20 years, to keep up with the times. Most of the tracks are covers of tunes by Bob Dylan, the Beatles, etc. To his credit King is able to pull off some good music beginning with She Let Her Hair Down with its brooding bass and drum intro and some funky Rock influences. That flows right into probably one of the best versions of Little Green Apples I???ve heard. The light and upbeat Wishing For Tomorrow follows with some nice breakdowns. King then goes full throttle for the Rock sound with Come Together/If You???ve Gotta Make A Fool Of Somebody with a distorted guitar line throughout. Finally, there???s the slow and pleading Don???t Let Me Down that starts off with a drum break, and a rockish cover of Dylan???s Tonight I???ll Be Staying Here With You.
GLADYS KNIGHT AND THE PIPS All In A Knight???s Work (Soul 70) All In A Knight???s Work was a live album by Gladys Knight And The Pips. They get off to an inauspicious start with the show tune Cabaret, which I???m sure was the work of Barry Gordy, who always had a hard-on for getting it on with the white dinner club crowd. They quickly make up for it with The End Of Our Road, one of the group???s signature songs, with its catchy groove. A cover of Fever starts off at a feverish pace with a jazzy arrangement, and then in the middle it slows down for a funky little breakdown, before picking up the pace again. Just as fast, but on the Soul tip is Ain???t No Sun Since You???ve Been Gone. I like the less hectic songs better such as the slow and dramatic sounding Giving Up and Dr. Feelgood. Everybody Needs Love has one of those classic Motown rhythms, and there???s also their classic cover of I Heard It Through The Grapevine with an extended jam at the end where Knight tries to get the crowd to sing along with her. A fine performance if it wasn???t for the show tunes that are interspersed throughout the recording.
WANDA ROBINSON Me And A Friend (Perception 73) Wanda Robinson was a poetress backed by Julius Brockington and his United Chair band. They provide a great soundtrack for Ms. Robinson???s spoken word pieces that are full of black pride and awareness, as well as some self-reflective pieces. For example, there???s the super funky A Possibility (Back Home) that starts off with a little dream break and the Soul-Jazz of Carnal Was The Word with its horns and organ, and Nobody In His Right Mind. On Because They Envy Us they slow everything down. The second side is full of longer more stripped down Jazz arrangements like Odyssey and Paranoia.
VARIOUS San Francisco (San Francisco 70) The San Francisco label was a local Bay Area outfit that released some Folk, Rock and Soul acts during the late-60s/early-70s. Their most well known bands were the Tower of Power and Cold Blood. This compilation contains tunes from their albums as well as ones by Hammer, Victoria and David Lannan. Both of Hammer???s numbers are good, especially the organ led instrumental Tuane that features some scat singing. Cold Blood comes with the funky Shop Talk which also happens to be an instrumental that features two great little breakdowns in the middle, one of which ends with a drum break. Their other track Too Many People is just as good with Lydia Pense???s strong singing. Both are from the group???s Sisyphus album. Out of Tower of Power???s offerings, Social Lubrication is the better of the two with its soulful group singing and strong horn play. Victoria and David Lannan are both Folk artists.
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GRAHAM CENTRAL STATION Release Yourself (Warner Brothers 74) Release Yourself was Graham Central Station???s second album. The opening G.C.S., which is suppose to be an introduction to the band, starts off sound just like a Sly Stone song, but when the full band joins in, it has its own flavor. Still, it???s not that remarkable, and it seems Graham was still living the shadow of Sly as there???s some obvious borrowing going on in other tunes as well. Still, the songs just don???t hold my attention for the most part. Especially the fast paced ones, which just sound like slap bass fests. The one exception is Feel The Need with its catchy melody and radio friendly sound.
QUINCY JONES $ OST (Reprise 72) Before working with Michael Jackson, Quincy Jones was probably best known for his Jazz arranging and soundtrack productions. The movie $ was an example of the latter featuring Warren Beatty and Goldie Hawn. It also happens to be one of his funkier and soulful works featuring Little Richard singing the opening cut Money Is with plenty of wah wah guitar and his usual energetic delivery. There are also a number of dark and moody pieces that all sound like a variation of the same theme with a heavy bass line that includes Snow Creatures, Candy Man and Kitty With The Bent Frame. On the second side Jones gets a little abstract with a deconstructed version of Money Is called Passin The Buck, along with plenty of musical play on Brooks??? 50?? Tour (Main Title Collage), which goes through several phases of sound experimentation before ending with a more traditional female Jazz bit.
DAVID RUFFIN My Whole World Ended (Motown 69) David Ruffin was one of the lead singers for the Temptations. In 1968 however he was kicked out of the band. That didn???t stop his career as he went on to become a solo performer, with this being his first album by himself. The mix of Ruffin???s rich voice and Motown prod
uction is heard on tracks like the hit title cut that moseys along with strings in the background for a beautiful mix. That sound is repeated on I???ve Lost Everything I???ve Ever Loved. We???ll Have A Good Thing Going On proves that even with a rough voice Ruffin could perform love songs just like when he was with the Temptations. There are some other fine Soul tunes like Pieces Of A Man and I???ve Lost Everything I???ve Ever Loved as well.
EDWIN STARR 25 Miles (Gordy 69) Edwin Starr was able to put out some really hard-hitting Soul while he was with Motown. Case in point the title cut Twenty-Five Miles mixes the catchiness of a Motown song with a real powerful rhythm and Starr???s rough signing for one hot tune. That groove continues with I???m Still A Struggling Man that???s tempered a bit by the bridge. He Who Picks A Rose and Soul City (Open Your Arms To Me) are in a similar vein. Amazingly enough, on the second side Starr goes through a transformation and comes out sounding just like every other Motown act. Only Mighty Good Lovin??? approaches what was created on the A-side.
Probably the last big number of record reviews for a while because I gotta go back to work today and grading papers will soon be running my life.
45 REVIEWS:[/b]
BLINKY I Wouldn???t Change The Man He Is/I???ll Always Love You (Motown 68) I Wouldn???t Change The Man He Is has the same sound and feel to it as Aretha???s Do Right Woman ??? Do Right Man. It???s mainly Blinky backed by a piano and later strings with her pleading and soulful singing with a good dose of Gospel to it as well. I???ll Always Love You is a power ballad that just misses the mark.
CHI-LITES 24 Hours Of Sadness/You???re No Longer Part Of My Heart (Brunswick 69) Despite the title, 24 Hours Of Sadness is actually a poppy Soul number with loud horns that contrast with the melancholy lyrics about losing a girlfriend. You???re No Longer Part Of My Heart is more of the same with a strong bass line. This 45 comes from the group???s Give It Away album.
ETTA JAMES Security/I???m Gonna take What He???s Got (Cadet 67) This 45 sees Etta James covering Otis Redding???s great tune Security. She does a good job with the song. Of course, her delivery is much rougher than Otis??? giving it a little different look, and the female back-ups towards the end are a nice touch. I like the flipside, penned by Don Covay, better with its slow groove and bluesy delivery. This comes from James??? Tell Mama album.
EDDIE KENDRICKS Can I (Tamla 71) I found this 45 on a little trip to Chicago during the summer and it turned out to be green colored vinyl, which I thought was a nice added bonus. Can I is a mood piece with an almost Jazz arrangement with heavy strings and brushes on the drums. It comes from Kendricks??? debut album, but was a poor choice for a single. He???d just left the Temptations, one of the hottest vocal groups of their time, and needed to make a hit to separate himself from his past. This song really didn???t do that all.
EDDIE KENDRICKS One Tear/The Thin Man (Tamla 73) Eddie Kendricks was one of the lead singers in the Temptations before disputes forced him to leave the group and go solo. Afterwards he proved that he was a great performer all by himself. This 45, that comes from two separate albums is proof positive of his talents. One Tear is one his trademark sophisticated Soul numbers with strings, but a dance floor friendly groove to it. The Thin Man tries to follow in the same footsteps but isn???t as successful.
LAURA LEE It???s How You Make It Good /Hang It Up (Chess) Laura Lee recorded quite a few singles for Chicago???s Chess. Hang It Up is a slow and bluesy power ballad about not giving up on love. It???s How You Make It Good picks things up while maintaining a down home feel to it with plenty of horns, that would stand up to the finest of Southern Soul from the same period.
ORIGINALS I???m Someone Who Cares (Soul 71) The Originals were one of the lesser-known groups signed to Motown. They released a couple albums for the Detroit label that you should check out if you like vocal group Soul. I???m Someone Who Cares is a good example of what they were capable of with its catchy beat and strong singing.
SPINNERS Message From A Blackman (V.I.P. 70) V.I.P. was another subsidiary of Motown. The Spinners spent a short period of time with the label and released this 45 written by Whitfield and Strong. It???s lyrics were obviously inspired by the Black Power movement with lines about how just because people are white, doesn???t mean they???re always right. The music is also nice and dark sounding with some congas and echoed voiceovers.
BOBBY TAYLOR & THE VANCOUVERS Does Your Mama Know About Me/Fading Away (Gordy 68) Bobby Taylor and the Vancouvers might be as well known for the fact that Tommy Chong was a member as their music. Besides that bit of trivial, they were a very good Soul group with the ballad Does Your Mama Know About Me being their shining moment, and a big hit on the charts as well. It???s a sophisticated tune with strings playing the major role in the rhythm and Taylor and his back-ups coming to a high note with the chorus. Fading Away is just as good with an easy-going groove that would be good for slow dancing with your girl or guy.
GLORIA TAYLOR Grounded Part I & II (Silver Fox) Grounded is a high powered Funk number with Taylor???s blaring voice, horn bursts, and some fast guitar work. Part II just extends the jam to a hyperactive level that reminds me of some of those grooves that James Brown and his band would get into.
LP REVIEWS:[/b]
BIG BROTHER & THE HOLDING COMPANY Cheap Thrills (Columbia 68) I never really gave Janis Joplin much thought. About a year ago however, I watched a documentary about 60s Rock and got to listening to some of her work and thought I???d give her a shot and picked up one of her earlier releases with the Bay Area???s own Big Brother & The Holding Company. The record has been sitting on the shelf since then, but I guess it???s better late than never. The first thing to mention is the 60s iconography with the R. Crumb cartoon cover with a Hell???s Angeles logo at the bottom corner. The gatefold cover shows the band playing with a huge psychedelic lightshow going on in the background. The album was their second and the one that put them on the charts. They start off with a Combination Of The Two with some searing guitar work that contrasts with the male and female vocals that have a little Soul to them. I Need A Man To Love is a slowed down Rock-Blues-Soul number with call and response vocals between Joplin and the rest of the band. Of course the big hit tune was Piece Of My Heart that starts off with Joplin screaming ???Come on!??? before mellowing out for the versus only to build up again for the chorus. The second side is some uninspired guitar heavy Blues-Rock that goes nowhere.
INDEPENDENTS First Time We Met (Wand 72) The Independets were a three piece vocal Soul outfit from Chicago that featured Chuck Jackson, Jesse Jackson???s younger brother, who would later go on to be a prominent song writer for others. The First Time We Met was the group???s debut album after some successful singles. The
opening I Just Want To Be There introduces the group???s rich style of crooning Soul with a talking beginning by Helen Curry. The groove continues with Out Love Has to Come Together and the slowed down Leaving Me and Couldn???t Hear Nobody Say (I Love You Like You Do)
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QUINCY JONES Body Heat (A&M 74) Body Heat saw Quincy Jones venture into the Soul-Jazz-Funk Fusion that was so poplar at the time by the likes of Roy Ayers and others. That mix is heard on the title cut with its male singing and plenty of work on the keys for a pretty catchy Soul number that sounds Modern Soul before there was such a thing. Jones does the same thing on the slower Soul Song (Songs Of the Buffalo Soldier) that tries to incorporate a neo-Native American beat to it given the fact that the Buffalo Soldiers were known as Indian fighters and some strong group vocals. On Boogie Joe The Grinder, Jones is able to produce a funky proto-Disco number. The album ends with the slick If I Ever Lose This Heaven that again sounds like pre-Modern Soul.
QUINCY JONES Gula Matari (A&M 70) On Gula Matari was basically a CTI session recorded with Quincy Jones. The cast of musicians reads like a who???s who of those times such as Hubert Laws, Don Elliott, Jimmy Johnson, Freddie Hubbard, Ray Brown, Ron Carter, Richard Davis, Eric Gale, Herbie Hancock, Bob James, Grady Tate, and Milt Jackson to record four songs that are a mix of Soul and Jazz with some Big Band arranging. A cover of Bridge Over Troubled Water is in this mode with a slow and easy beginning before a big Gospel like female chorus takes over. The title cut on the other hand sounds like it should???ve come from one of Jones??? many soundtracks as it would sound perfect as a background mood piece featuring Hubert Laws??? flute playing and Milt Jackon???s vibes. Half way through it picks up the pace, which would go perfectly with a chase scene. Walkin is the jazziest of the four-numbers with a Big Band and Jazz rhythm. The best track by far is Hummin, written by Nat Adderley with its infectious beat that grows in intensity with a female chorus humming along with the melody and horn stabs. It only gets better as it progresses.
GEORGE MARTIN Live And Let Die OST (United Artists 73) Live And Let Die was notable because it featured James Bond entering into a Blaxploitation movie at the beginning when he tracks the bad guys through Harlem. It???s also known for the title cut by Paul and Linda McCartney, which starts off with Paul and his piano before a dramatic bridge that speeds up the pace, only to be brought down again during the versus. After that there some interesting mood pieces such as New Second Line that mixes the familiar James Bond Theme with some wah wah guitar and strings for a tune fitting a spy movie. Also good is San Monique with its heavy percussion and horn work that gives it a slick feel to it, Fillet Of Soul ??? New Orleans with its sharp guitar line and funky groove that segues into another version of the title cut, this time done by BJ Arnau that gives it a new spin, Trespassers Will Be Eaten that???s another spy themed tune
100 PROOF AGED IN SOUL 90 Days Freeze (On Her Love)/Not Enough Love To Satisfy (Hot Wax) 100 Proof Aged In Soul later became the 8th Day. Under either moniker, the group was a strong vocal Soul outfit. 90 Days Freeze shows off their talents with its swirling beginning before the horns call out the vocals on this catchy number. Not Enough Love To Satisfy has some rich orchestration at the beginning before turning to the group???s strong singing and a nice groove.
JOHNNY ADAMS If I Could See You One More Time/Reconsider Me (SSS International) The star of this 45 is If I Could See You One More Time, a pleading slow number with plenty of organ and a subtle guitar line. Reconsider Me is not half as interesting.
ETTA JAMES Two Sides (To Every Story)/I Worry Bout You (Argo) This is an early 45 by Etta James. Two Sides is an upbeat, early 60s RnB dance tune that highlights Ms. James??? strong singing. I Worry Bout You is a slow love tune with lots of strings.
GUS JENKINS Chittlins/You???ll Be the One (Tower) Chittlins is an instrumental built around a slow and easy Blues progression with a guitar and piano that take turns soloing. You???ll Be The One is more of the Blues with Jenkins singing that gets a little more upbeat especially when the horns start coming in loud and strong.
DENISE LA SALLE Deeper I Go (The Better It Gets)/Now Run And Tell That (Westbound) Denise La Salle dropped some fine Soul sides while on Westbound. This one has the added benefit of having Willie Mitchell helping on the arrangements. First up is The Deeper I Go (The Better it Gets) with a little guitar intro before the horns come in and Ms. La Salle lays some down home-style singing over the top. Now Run And Tell That is more of the same with more fine singing by Denise.
ORIGINALS Baby I???m For Real/Moment of Truth (Soul 69) Baby I???m For Rea is a sweet Soul ballad with lush and sweeping strings to add to the emotions. Moment of Truth is kind of forgettable and makes me just want to flip it back to the other side.
ORIGINALS So Near (And Yet So Far)/You???re My Only World (Soul 74) The Originals were a really good vocal Soul group, but you wouldn???t know it form this 45. Both sides are mediocre. For example, on You???re My Only World the group tries doing too much. It???s an attempt at a big dramatic number with lots of orchestration, but it basically goes nowhere. So Near fares no better. There are a lot better singles by the group than this one.
FREDA PAYNE Bring The Boys Home/I Shall Not Be Moved (Invictus) Bring The Boys Home is about the Vietnam War, as Ms. Payne sings about soldiers fighting in a senseless war leaving their families behind. The chorus calls to, ???Bring the boys home, bring them back alive??? over a mid-tempo beat. I Shall Not Be Moved is more upbeat with some congas while retaining a very light and poppy air to it. Both tunes are good, but not great overall.
FREDA PAYNE I???m Not Getting Any Better/The Road WE Didn???t Take (Invictus) Both of these tunes were written by the dynamic duo of Holland and Dozier, but both are very MOR sounding. Perhaps they needed the other Holland for a tri-fecta to save this 45.
EDWIN STARR Take Me Clear From here (Soul 70) Edwin Starr was always one of the rougher sounding acts that Motown signed and that???s true of this 45. It???s got a chugging rhythm with a little Blues in it and some nice female back ups. At the same time its has a little classiness to it with strings half way through.
GLORIA TAYLOR Loving You And Being Loved By You/You Got To Pay The Price (Silver Fox) Loving You And Being Loved By You is a swinging Soul number with a little funky bottom to its bass playing and horn stabs. You Got To Pay The Price is a mellow number, and not as interesting.
IKE & TINA TURNER The Cash Box Blues or (Ooops, We Printed The Wrong Story Again)/I???ll Never Need More Than This (Philles Records) Both sides of this 45 were written and produced by Phil Spector and released on his own label, Philles records. You would never know that from Cash Box Blues, which is an upbeat RnB instrumental with a very loud piano in the mix. As soon as you hear I???ll Never Need More Than This, you can tell it???s a Specter track however, because it???s got that ???wall of sound??? that he was famous for. You also would never know it???s a Tina Turner cut as there???s none of that rough edge that she was known for. It sounds more like a Pop tune from one of Spector???s other acts, but with no hook.
CHARLIE WHITEHEAD Love Being Your Fool/Now That I Can Dance (Island 74) Charlie Whitehead was a singer that worked with Jerry Williams, aka the Swamp Dogg. Both sides of this 45 sound very similar, that being very light Soul with a little Country twang to them at times. Neither really appeals to me however.
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QUINCY JONES Hot Rock OST (Prophecy 72) The Hot Rock was a heist movie set in New York City starring Robert Redford and George Segal. Quincy Jones was in charge of the music. It gets off to a funky little start with the intro to Listen To The Melody before turning into a Soul tune featuring the singing of a woman named simply Tata. The rest are background music and mood pieces that you would expect on a soundtrack. The only one that stands out is Listen To The Melody/Dixie Tag, which is just a continuation of the opening cut.
QUINCY JONES Lost Man OST (Uni 68) The Lost Man was a movie featuring Sidney Poitier. As usual, Quincy Jones came with the moody Jazz pieces for the soundtrack such as The Lost Man (Main Title) with some percussion, whistling, and a child???s rhyme, but in a dark and creepy format. The instrumental Slum Creeper that features some stabs and off kilter so
und effects in the background is also good, but even better is Main Squeeze with its shouting horns and funky rhythm. The best tracks however are the more straight-forward Soul tunes like Sweet Soul Sister and Try, Try, Try that featuring the singing of Nate Turner, Venetta Fields, and the Mirettes, with the standout being Rap, Run It On Down which is a duet between the two with some funky horn work. There???s also a big Gospel number by the Church Choir called He???ll Wash You Whiter Than Snow.
MADELINE BELL I???m Gonna Make You Love Me/Picture Me Gone (Mod) Madeline Bell does a nice job with a cover of I???m Gonna Make You Love Me. Picture Me Gone is a sophisticated Soul number with plenty of orchestration, but with an early 60s Soul sound to it.
REUBEN BELL Action Speaks Louder Than Words (Silver Fox) Reuben Bell???s Action Speaks Louder Than Words should not be confused with the later song by the same title by Chocolate Milk. This one is a light and upbeat mid-60s Soul dance tune with an easy going beat
CHI-LITES I Won???t Care About You/You Did That To Me (O???Retta) When I saw a Chi-Lites 45 not on Brunswick I had to pick it up. This early single by the group features a strong Doo-Wop sound on I Won???t Care About You. I like the flip You Did That To Me a little more because of the richer vocal melody. Both songs remind me a bit of the Coasters.
JIMMY CLIFF Wonderful World, Beautiful People/Waterfall (A&M) Wonderful World, Beautiful People comes from an album of the same name. The song highlights Cliff???s Pop sensibilities with its sing along chorus and string arrangement. Waterfall is an attempt to record a straight Soul number with a driving drum beat, but it???s not that effective. When I listen to Jimmy Cliff I want to hear that rich and soulful Jamaican voice, not him trying to sound like an American.
GLASS HOUSE If It Ain???t Love It Don???t Matter/Stealing Moments From Another Woman???s Life (Invictus) Glass House were a mixed male-female vocal Soul outfit signed to Holland-Dozier-Holand???s Invictus label. If It Ain???t Love It Don???t Matter has a nice groove to it as the different singers trade off. Invictus also released If It Ain???t love on another Glass House 45, but with a different flipside. Stealing Moments From Another Woman???s Life is just as good if not better with its distorted guitar line.
JERRY-O Karate-Boo-Ga-Loo/The Pearl (Shout) Karate-Boo-Ga-Loo is an mid-60s instrumental with short stabs on the sax pushing the rhythm along and Jerry-O toasting over the top backed by some high-pitched female back-ups. Despite the different name, The Pearl is just a continuation of the A-side.
LINDA JONES Hypnotized/I Can???t Stop Lovin My Baby (Loma) Hypnotized is a slow, yet powerful ballad with a rich sound full of male back-ups, horns and strings. I Can???t Stop Lovin My Baby is a grooving Soul dance number with a catchy beat and Ms. Jones??? strong singing propelling it along.
LOWRELL Mellow, Mellow Right On/Overdose (AVI 79) Mellow, Mellow Right On is a great laidback dance number. It???s got an infections beat highlighted during the intro before the horns, strings and singing come in. Overdose is more of a funky Dance track with a lot of slap base and a delivery and sound that borrows heavily from Barry White, but doesn???t come off as successfully.
BOB MARLEY & THE WAILERS Buffalo Soldier/Buffalo Dub (Rita Marley Music 83) I couldn???t pass up on this 45, especially when it was pressed upon red vinyl. It was released on Rita Marley???s own label. Buffalo Soldier has a strong horn and vocal track to motor it along and a catchiness to it that probably got it a lot of radio play back in the day. The flip is an instrumental version of the song, with only a hint of Dub production at the very end.
JACKIE MOORE Darling Baby (Atlantic 72) Darling Baby is a laid back Soul number by Jackie Moore with a strong Blues influence to the guitar playing. The song gets richer as it progresses with the addition of a sax and some back-up singing.
JACKIE MOORE If/Sweet Darling Baby (Atlantic 73) If is an easy-going number with a bit of a melancholy air to it as Moore sings about all the problems in the world that need to be overcome to achieve happiness. Sweet Darling Baby is a more upbeat Soul number with a little Pop edge to it and some percussion hidden in the mix.
OLLIE NIGHTINGALE How Far I Am From New York City/May The Best Man Win (Pride) Jerry Butler???s production company was responsible for this 45 by Ollie Nightingale. How Far I Am From New York City starts off slow and brooding before building up to becp,ea powerful Soul number with a breakdown in the middle where she brings it all the way down before taking it to another level for the end. May The Best Man Win is more of a slowed down power ballad with a lot of Blues to it.
FREDA PAYNE Unhooked Generation/Deeper & Deeper (Invictus 70) Unhooked Generation was one of Freda Payne???s hits off her album Band Of Gold. It was given a rough edge with a distorted guitar intro before taking off into an upbeat Soul number. Deeper & Deeper sounds just like a Supremes??? tune with some strings, a thick rhythm, and one of those Motownesque sounding drum beats.
RAMP Everybody Loves The Sunshine/American Promise (ABC Blue Thumb 77) RAMP was a project put together by Roy Ayers and brought back to life for many by its being sampled by various Hip Hop artists. On this 45 they play Ayers??? classic Everybody Loves The Sunshine. It has a slower and bit more melancholy feel to it than the original. Ayers??? version makes it sound like the tune is about an uplifting experience, but the RAMP rendition could be the soundtrack for getting high. Despite the change it???s still effective. American Promise is an attempt at a funky dance track, a little akin to B.T. Express??? Do It Til You???re Satisfied, but not as good. The song doesn???t really go anywhere despite its potential.
FOSTER SYLVERS Misdemeanor/So Close (MGM 72) Foster Sylvers was part of the Sylers singing family group. Probably to cash in on the Michael Jack
son craze, they decided that Foster would go solo and release a couple albums on his own. Misdemeanor was one of his big hits and later made famous by multiple samplings by Hip Hop artists. The song is a really good and catchy number mixing Foster???s high-pitched pre-teen Pop vocals with a rather funky rhythm that features the bass and drums tightly locked into each other. So Close on the other hand sounds like a lounge tune, that was probably the misguided attempt by Sylvers??? patriarch Leon Sylvers to catch that white dinner club audience Berry Gordy always had a hard on for.
JOHNNIE TAYLOR Doing My Own Thing (Part I & II) (Stax 72) Doing My Own Thing is a slow and meandering number with a heavy Blues influence in its rhythm and Taylor???s delivery. Part II is a bit more upbeat with some female back-ups at the beginning and a more prominent guitar line.
WHISPERS Needle In A Haystack/Seems Like I Gotta Do Wrong (Soul Clock) The Whispers were a great vocal Soul outfit. Their light and upbeat sound is highlighted on Needle In A Haystack with its piano led harmony and some great back-up singing. The B-side Seems Like I Gotta Do Wrong is a love tune and isn???t half as interesting.
LP REVIEWS:[/b]
SWEET SMOKE How Sweet It Is (Crazy Cajun 78) Sweet Smoke were a funky Rock group signed to the Houston, TX Crazy Cajun label. There sound is best heard on cuts like the laid back Lady Luck with some good bass playing and especially I Can Hear You Callin with its multiple drum breaks. There are also covers of Boogie On Reggae Woman and Nothing For Nothing that are pretty straightforward, but not standouts. Less successful is a version of the Ohio Players??? Fire that doesn???t capture the energy of the original.
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QUINCY JONES Man And Boy OST (Sussex 71) Man And Boy was a Western about black homesteaders starring Bill Cosby. The music was done by Quincy Jones and J.J. Johnson. The first song is Theme from ???Man and Boy??? (???Better Days???) that features Bill Withers. It???s a slow number with a little Country feel to the guitar and harmonica. It???s nothing to write home about however until half way through when the beat picks up and gets a little jazzy as well as orchestrated with strings that it really catches your attention. Slo-Mo is an interesting mood number that starts off with some percussion on a triangle before going into a little groovy Soul-Jazz instrumental. Man and Boy (Main Title) takes a long time to develop with a western harmonica beginning, leading to a background piece, before finally becoming a mellow Soul-Jazz number. Theme From ???Man and Boy??? (???Better Days???) is more upbeat. The best cut however is Pull, Jubal, Pull with its funky stabs and think rhythm.
QUINCY JONES Mellow Madness (A&M 75) Mellow Madness was one of Quincy Jones??? Soul albums. He recorded it with some Jazz stalwarts like Ralph McDonald, Harvey Mason, Hubert laws, Dave Grusin, and Chuck Rainey, as well as some up and comers like the Brothers Johnson. The opening Is It Love That We???re Missin??? with its slick production is a good example of what the album is like. It actually sounds a lot like the albums Jones would produce for the Brothers Johnson. I like the mellow and spaced out title cut better featuring Paulette McWilliams on vocals that slowly but surely builds up towards the end. There???s also the percussion propelled Beautiful Black Girl with vocals by The Watts Prophets that is akin to other Black Power spoken word groups of the time such as the Last Poets. The laidback and easy Just A Little Taste Of Me and the funk instrumental Tryin To Find Out About You are also good.
APOLLAS ??? All Sold Out/Mr. Creator (Warner Brothers) The team of Ashford and Simpson wrote both of these tunes. All Sold Out is a heavily orchestrated and slow Soul number that???s a bit too sophisticated for its own good. Mr. Creator is the better of the two, sounding like a Motown song with a dance beat and some horns that???s sort of a mix of Martha Reeves??? singing with a Supremes??? rhythm track.
SYL JOHNSON Don???t Give It Away/Going To The Shack (Twinight) Don???t Give It Away is a great Soul number by Syl Johnson. It features a funky rhythm track with short horn stabs and Johnson???s ever so slight raspy vocals giving it a light and soulful edge. Gong To The Shack is just as good with a similar vibe.
LOST GENERATION The Sly, Slick, and The Wicked/You???re So Young But You???re So True (Brunswick) The Sly, Slick and The Wicked is the title track from a great, great sweet Soul album by the Lost Generation. The tune is near perfect with its combination of strings, horns, pounding drums, and the groups??? singing. You???re So Young But You???re So True is an easy going and upbeat love song with an eye towards the dance floor.
MAURICE & MAC You Left The Water Running/You???re The One (Checker) You Left The Water Running starts off nonchalantly, but eventually builds up as Maurice and Mac pick up their singing from the subdued beginning to some blaring vocals by the end. The sound reminds me a lot of Sam & Dave???s antics. You???re The One is a slow power ballad.
MONCLAIRS Happy Feet Time/Wait For Me (Sunburst) Happy Feet Time is a nice mid-tempo Sixties Soul instrumental with the sax in the lead and some handclaps on the beat. Wait For Me is the vocal side with some Doo Wop to the back-ups that the group was known for.
MONTCLAIRS Dreaming Out Of Season/I Just Can???t Get Away (Paula) Oliver Sain had a hand in producing both sides of this 45. Dreaming Out Of Season has a nice guitar led intro that leads into a sweet Soul number that highlights the Montclair???s strong group vocals. The flipside is an upbeat Pop-Soul number. I like the first side better.
NOTATIONS It Only Hurts For A Little While/Superpeople (Gemigo 74) It Only Hurts For A Little While is a slow and steady ballad with some sweeping strings in the background that support the group???s vocals well. Superpeople is the star of the show however, with its easy going beat, lightly tinged Funk, and falsetto vocals that sound very similar to Curtis Mayfield.
NOTATIONS Just You And Me/I???ve Been Tryin (Twinight) The Notations were a very strong vocal Soul group that were known for their sweet offerings. Just You And Me is a perfect example with its strings raising the song up and the group???s rich singing. I???ve Been Tryin is more of the same.
OTIS & CARLA Tramp/Tell it Like It Is (Stax) Tramp was probably the greatest product to come out of the collaboration of Otis Redding and Carla Thomas. They and the Stax band were able to create a brand new groove with the Lowell Fulsom hit. The tune is near perfect from the opening drum beat, to the back and forth banter between Otis and Carla as they try to one up each other, to the soaring horns. The flipside is a cover of the standard Tell It Like It Is that starts off with Otis??? trademark gut wrenching singing on the first verse before Thomas takes the next.
EDDY SENAY Ain???t No Sunshine/Hot Thang (Sussex) Guitarist Eddy Senay was able to give the classic Ain???t No Sunshine his own funky groove on this 45. It has a re-arranged beginning based around his guitar playing before going into an instrumental rendition that goes beyond the original. Hot Thang isn???t half as interesting. It???s a mid-tempo instrumental that features Senay???s soloing over an average and non-descript rhythm track.
SISTERS??? LOVE I Know You Love Me/This Time Tomorrow (Man-Child) Both sides of this 45 were arranged, conducted and produced by Monk Higgins, and what a fine job he did. I Know You Love Me is a rich Soul number with the ladies providing some great singing. This Time Tomorrow is more of a sophisticated number with some strings to give it a nice groove. Both are beautiful and uplifting songs.
SOUND EXPERIENCE Don???t Fight The Feeling/You Don???t Know What You???re Doing (Soulville) Don???t Fight The Feeling is a bit of a generic Funk number with loud horns and a fast beat made for the dance floor, but it doesn???t really keep my attention. You Don???t Know What You???re Doing is a slow love tune. I think the Sound Experience did a better job on some of their other 45s.
IRMA THOMAS Good To Me/We Got Something Good (Chess) Irma Thomas was one of the many fine products to come out of New Orleans. Both sides of this 45 were recorded with Rick Hall of Muscle Shaols??? Fame Studios. Good To Me is a nice cover of an Otis Redding tune. It???s a slow power ballad with a little bluesy feel to it. We Got Something Good has some blaring horns and strong back-ups to kick things off for this mid-tempo Soul groover.
VIBRATIONS Hello Happiness/Keep On Keeping On (Okeh) Hello Happiness is a nice and meandering Soul number featuring the strong vocals of the Vibrations. The flip is an upbeat dance number that doesn???t really work for me as much as the other side.
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QUINCY JONES Smackwater Jack (A&M 72) Smackwater Jack was an attempt by Quincy Jones to take some studio musicians and create a Soul-Jazz record. He starts off with the title cut that???s a pretty straightforward Soul number with a male lead singer. Better though is the laidback instrumental Cast
Your Fate To The Wind with a little guitar solo in the middle. That???s followed by the theme song to the Ironside detective show from TV with its distinctive horn intro. He finishes off the first side with a nice version of What???s Going On? that stays pretty close to the original until half way through when Jones takes it into his own jazzy world. Theme From ???The Anderson Tapes??? is a nice Soul-Jazz piece that turns into a Big Band number by the end, and Guitar Blues Odyssey: From Roots To Fruits is an adventure through the roots of black music starting off with some Ragtime, going into some modern guitar Jazz, then getting down with the Funk, before transforming in a hard Rock guitar solo performance. That leads into a bridge before ending with a nice Blues and harmonica flourish. Far and away the best tune however is the funky Hikky-Burr that was co-written with Bill Cosby.
Likewise with the record reviews, what better day to post them than record day!
45 REVIEWS:[/b]
FONTELLA BASS Leave It In The Hands Of Love/Recovery (Checker) Leave It In The Hands Of Love is an easy-going Soul number with a little percussion and some nice female back-ups at the beginning before Ms. Bass joins in. Recovery is just as good with a light airy feel to it and even stronger back-up singing by some ladies.
WILLIAM BELL I Forgot To Be Your Lover/My Whole World Is Falling Down (Stax 84) This is a 1984 repress but I don???t care because I consider I Forgot To Be Your Lover one of the greatest Soul tunes I???ve ever heard. It starts off with just the guitar before Bell comes in with his perfectly toned voice for this melancholy love tune backed by some sweeping strings. My Whole World Is Falling Down is more uplifting beginning with its female chorus and light rhythm track.
BRANDING IRON Right, Tight And Out Of Sight/Slave For Love (Volt) Branding Iron featured a male duo on vocals. Right, Tight And Out Of Sight was written by Willie Dixon, and in the hands of the band comes off like a less frantic version of Sam & Dave, and that???s a good thing. Slave For Love is more of the same.
GIRLS Mark My Word/The Hurt???s Still Here (Memphis 70) First up is Mark My Word that has a nice little mid-tempo groove to it with some percussion in the beginning although at times the singing gets just a little shaky. The Hurt???s Still Here is a forgettable MOR tune with a little Jazz and Lounge feel to it.
ETTA JAMES I Found A Love/Nothing From Nothing Leaves Nothing (Chess 72) I Found A Love is a power ballad that builds in intensity and shows off Ms. James??? singing prowess. Nothing For Nothing Leaves Nothing is another slow number with a bit of bluesy edge to it.
SYL JOHNSON Could I Be Falling In Love/Take Me To The River (Hi 74) When Willie Mitchell got his hands on Syl Johnson he transformed him into the second coming of Al Green. That???s highlighted on this 45, with one tune written by Green. First up is the slow Could I Be Falling In Love where the dark rhythm track and orchestration is just as much a star as Johnson???s singing. Next is the upbeat Take Me To The River that features a strong horn line and more good singing by Syl.
LAURA LEE Dirty Man/It???s Mighty Hard (Chess) Both sides of this 45 are slow and bluesy numbers. Rick Hall from the Fame Studio produced Dirty Man, while Charles Stepney arranged It???s Might Hard. Both tunes highlight Ms. Lee???s strong vocals.
NOTATIONS I Can???t Stop/I???m Still Here (Twinight) This is a great 45 by the vocal group the Notations. I Can???t Stop is a light and upbeat Soul tune that fits well with the group???s singing style. I???m Still Here is a sweet ballad led by the lead???s wispy voice.
ORIGINALS There???s A Chance When You Love You???ll Lose (Soul 73) There???s A Chance When You Love You???ll Lose is a brooding love tune with a piano guiding the rhythm track that comes to a crescendo in the middle.
BOBBY PATTERSON How Do You Spell Love/She Don???t Have To See You (To See Through You) (Paula) How Do You Spell Love is a bouncy Funk number with a nice sing-along chorus where he spells out love and an effects heavy scream filled bridge in the middle. The flipside is a nice power ballad with some strong horn play.
RASPUTIN???S STASH What???s On Your Mind/Your Love Is Certified (Cotillion) Rasputin???s Stash released two albums. This 45 comes from the first one released on Cotillion. What???s On Your Mind is a fast paced and frantic Funk tune led by some sharp horn tones. Your Love Is Certified is a bit more toned down with a little soulful edge to it.
BETTY WRIGHT Baby Sitter/Outside Woman (Alston 72) Baby Sitter starts off with the guitarist playing the melody from the nursery rhyme Hush A By Baby. That leads into a mid-tempo number that???s got a light airy mood. Outside Woman is at the same pace, but is more of a power ballad with a strong southern feel to it as Ms. Wright dishes out advice to women about how they can get the love and attention of their men.
BETTY WRIGHT I???m Getting Tired Baby/If You Love Me Like You Say You Love Me (Alston 72) The sound of I???m Getting Tired Baby fits the title well. There???s a little bit of weariness in Wright???s delivery that picks up half way through during the chorus. The strings and guitar play just add to the mood. If You Love Me Like You Say You Love Me is more of a dance tune with a driving beat.
OLD RECORDS OUT THE CRATES:[/b]
QUINCY JONES They Call Me Mister Tibbs OST (United Artists 70) They Call Me Mister Tibbs starred Sidney Poitier and had one of those classic film moments in it when he slapped a white man. The music was by Quincy Jones and he did his usual high quality work. There???s the fast paced funky big band sound of the title cut with plenty of organ. Unlike most soundtracks after that great start most of the following tunes aren???t your run of the mill background and mood pieces. Case in point ???Rev??? Logan (Organ solo) is a nice and short organ piece right out of church followed by the slow and bluesy Blues For Mister Tibbs and the faster Rock-tinged Fat Poppadaddy with some distorted guitar and organ throughout. There???s also the mellow Soul-Jazz piece Soul Flower with a haunting beginning, and the title cut gets repeated a couple more times as well.
QUINCY JONES You???ve Got It Bad Girl (A&M 73) This was the first Quincy Jones album I bought. Back then the reason was sample hunting, but the record really stands on its own. First is the ever so me
llow Summer In The City with its distinctive organ and electric piano line by Dave Grusin and Eddie Louis. Valerie Simpson eventually joins in on vocals. Next they go into some smoothed out Jazz-Soul fusion with covers of Daydreaming and First Time Ever I Saw Your Face. Those are okay, but where it actually works is on the title cut with Jones singing and George Duke on the electric keys. Jones also comes with a strong big band rendition of Dizy Gillespie???s Soul-Jazz-Latin hit Manteca. He finishes things off with a little bit of Funk with Sanford & Son Theme and Chump Change, which was co-written by Bill Cosby, that features plenty of brass.
ROBERTA AND THE SISTERS OF RIGHTEOUS Hold On To What You Got/My Man Is Gone (King) Sisters Of Righteous were one of the lesser-known James Brown productions. Hold On To What You Got has a heavy Gospel feel to it from the opening piano line to the vocal styling of Roberta and he group. My Man Is Gone starts off as a mellow ballad, but after a very nice vocal harmony the drummer starts bashing away and the horns soar upwards for a crescendo before bringing it back down to that opening vibe again.
WHISPERS Somebody Loves You/ Can We Love Forever (Janus 72) This 45 comes from the Whispers??? Life And Breath album. First up is Somebody Loves You that begins with a solo piano. It takes a while to develop, but eventually becomes a rather non-descript mid-tempo Soul tune. Can We Love Forever is the better side, that also features a piano in the lead, but the singing and overall mood are more uplifting.
LP REVIEWS:[/b]
DEMON FUZZ Afreaka! (Janus) Demon Fuzz was a group out of England. Organist Ray Rhoden and guitarist Raphael Joseph wrote almost all of their material. They sound amazingly like Cymande. That takes a little while to develop on the instrumental Past, Present and Future that has a loud, distorted guitar that could???ve been the opening for any number of Heavy Metal songs back in the day. When the horns and the rest of the band join in however, that British mix of styles is heard immediately. There???s some jazzy organ and horn play, that Rock guitar that gets a little wah wah during a middle bridge, and a repetitive bass line that has slight hints of Reggae. Mercy (Variation No. 1) and Another Country have much the same groove, minus the Rock guitar, but with the addition of vocals. The second side starts off with the slow and brooding Disillusioned Man that has a flute and bass led intro followed by some singing. Half way through after a bridge it gets a little funky with some percussion. The last song is another instrumental with Hymn To Mother Earth that has lots of horn play.
OLD RECORDS OUT THE CRATES[/b]
RUBY JONES Ruby Jones (Curtom 71) Ruby Jones might be the only Rock record released on Curtis Mayfield???s Curtom label. The five-piece group had a Hard Rock sound with plenty of power chords, blasting horns, organ and Jones??? belting vocals. Those can best be heard on tracks like 99,000 Times that features a drum break, and a cover of Tightrope that let???s the bass player get down while the horns blast away.
TOM JONES The Body And Soul Of Tom Jones (Parrot/London 73) Tom Jones has become a caricature of himself these days. You always expect him to do the same act whenever he appears. In his prime however, he had his blue-eyed Soul days such as on The Body And Soul Of Tom Jones. The standout track is a cover of Ain???t No Sunshine that blesses the first side. The sound and production on the version is top notch with some strings and Jones??? delivery is strong. A decent cover of If Loving You Is Wrong (I Don???t Wanna Be Right) with a Rock guitar intro is next. On other tunes like Lean On Me he utterly fails, and on the second side he gets a little Country.
SOUL ANGELS Ladies Choice/It???s All In Your Mind (Josie) Ladies Choice is an excellent Funk instrumental with sharp horns, a bumping bass and strong guitar playing that proves to be a deadly combination. You thought was good enough from the band, but on It???s All In Your Mind the ladies get to sing over this hot, hot rhythm track.
LP REVIEWS:[/b]
PILGRIM OUTLETS Do You Know Him (ABC Songbird 74) Pilgrim Outlets was a six-piece Gospel outfit. They had a large dose of Soul in their mix as heard on the title cut with a nice array of singing between the different members. That Soul influence gets even more apparent when the group covers the Parliaments??? hit I Want To Testify with some extra drum fills added to the original. The slow jam A Letter is also good with a heavy Blues feel to it. That???s followed by the upbeat Get On Up that has a nice groove.
TOOTS & THE MAYTALS Pass The Pipe (Tuff Gong) Toots Hibbert was always one of my favorite Reggae singers because of his enthusiasm and soulful delivery. That???s heard on Pass The Pipe beginning with Famine, a mid tempo number with some horns in the background. The record then follows in a pattern of slowed down, then more upbeat numbers with many having that same rich sound such as on Inside, Outside, Feel Free, No Difference Here, and My Love Is So Strong. Get Up, Stand Up has a steady rhythm where the interplay between Hibbert and the Maytals??? vocals really carries the tune.
OLD RECORDS OUT THE CRATES:[/b]
TOM JONES Live In Las Vegas (Decca 69) As the title makes obvious, this is a live album of Tom Jones in Las Vegas from the Flamingo Hotel. He starts off on the Soul tip with a fast paced Turn On Your Love Light with some nice horn work. The real star of the show however is a cover of Hard To Handle. The problem is that the songs are so short because they???re usually part of a medley. Other than that he does a variety of other mainstream covers like Yesterday, Twist And Shout, plus his trademark It???s Not Unusual.
CLIFFORD JORDAN Soul Fountain (Vortex 70) Soul Fountain gets going with T.N.T. It has a swinging little beginning before fluctuating back and forth between a 60s Soul rhythm and some big band arranging, heavy on the horns. Jordan???s sax is out in the lead. I???ve Got A Feeling For You and H.N.I.C. are more straight Soul-Jazz pieces with the former featuring the organ play of Frank Owens, while the latter has a nice slow groove. There???s also a cover of I Got You (I Feel Good), but the arrangement looses the funkiness of the original. Senor Blue has a little Latin edge to it thanks to the percussion work of Ray Barretto and Joe Wohletz that almost supersede Jordan???s sax as the driving force behind the tune.
Comments
There was an earlier album on Modern in the sixties (later reissued on United -not to be confused with United Artists). It was titled The Ikettes Soul The Hits.
Thanks for the 411 as usual. I'll amend the review.
EDDIE KENDRICKS
Girl You Need A Change Of Mind (Part 1 & 2) (Tamla 72)
This single comes from Eddie Kendricks??? excellent album People Hold On. This might be the best song on what is an outstanding album. The song begins with the sing along chorus and Kendricks??? smooth delivery. About half way through the first side, the tune dramatically takes off led by some congas until an extended breakdown just builds and builds and builds off the drums and percussion. After that big crescendo, it comes back down for a long instrumental jam that just lets you enjoy the rhythm and melody.
BEN E. KING
Supernatural Thing ??? Part I & II (Atlantic 75)
This comes from one of King???s later albums of the same name. The song Supernatural Thing is a really slick mix of King???s soulful singing and some funky guitar work. To add to the effect are female vocals singing the chorus.
FREDDIE KING
Ain???t No Sunshine/I???d Rather Be Blind (Shelter 72)
This 45 caught my attention because of the Bill Withers??? cover. King was a Blues guitarist who dabbled in Funk mid-career. On Ain???t No Sunshine he pretty much sticks to the original at first with a little Blues guitar until he gets to the middle bridge where he adds his own little guitar solo. I???d Rather Be Blind is an electric Blues-Soul hybrid with the guitar work of the former, and the singing style of the latter.
FREDERICK KNIGHT
I???ve Been Lonely For So Long/Lean On Me (Stax 72)
I???ve Been Lonely For So Long was a big hit for Frederick Knight. It has a pleading feel to it from the opening guitar line to Knight???s high falsetto voice singing about how he misses his lady. It???s a great catchy Soul number. Lean On Me is more uplifting with a Gospel inflected chorus.
BARBARA MASON
Yes, I???m Ready/Keep Him (Arctic)
Yes, I???m Ready was one of Baraba Mason???s greatest hits, and a stone cold classic ballad. The chorus is near perfect with the call and response between the male and female back-up singers about how they???re ready, topped off by Mason saying she???s ready to fall in love. The rich orchestration with swirling strings just adds to the mood. Keep Him is a Pop-Soul tune with plenty of keys, but it???s hard to compare with the A-side.
MIRACLES
Do It Baby/I Wanna Be With You (Tamla 74)
After the departure of Smokey Robinson for a solo career, the Miracles were still able to produce some quality soul sides. First up is the sensual Do It Baby with a walking bass line that gives it a little edge, tempered by the slick vocal delivery, and the big chorus. I Wanna Be With You is a sweet ballad with a falsetto lead.
MOMENTS
Gotta Find A Way/Sweeter As The Days Go By (Stang 73)
Gotta Find A Way starts off with some background music and a skit about a person dreaming about getting on an airplane to go see their lover. That leads into a lush ballad with a high-pitched male lead singer. Sweeter As The Days Go By is a little more upbeat with a little Gospel feel to it, especially in the back-up singing and piano work in the background.
JACKIE MOORE
Precious Precious/Willpower (Atlantic)
Precious Precious and Willpower have a down home Soul feel to them. Both have prominent horn arrangements, which play against the laidback delivery of Ms. Moore. The best comparison is probably to the Stax sound. Together that makes for a great pair of songs on this 45.
NAT TURNER REBELLION
Tribute To A Slave/Plastic People (Delvaliant)
Tribute To A Slave starts off with some blaring horns before going into a laidback and funky rhythm tempered by some soulful group vocals. Plastic People is a subdued Soul number that eventually picks up with more brass work.
NATURAL FOUR
Love???s Society/Love That Really Counts (Curtom 74)
The Natural Four 45s I???ve listened to over the years have always been hit or miss. This single is a perfect example. Love That Really Counts is a bit of a flop as a mid-tempo Soul number. Much better is the flip, Love???s Society with its sophisticated arrangement of strings and piano, and the lead???s slick falsetto.
FRANKIE NEWSOME
My Lucky Day Part I & II (GWP)
My Lucky Day is a great upbeat Soul number, best heard on the dance floor. It???s got a catchy melody, female back-ups, and horn stabs during the chorus. In Part II there???s a really funky drum breakdown as well. Together they make for a great tune.
OHIO PLAYERS
Funky Worm/Paint Me (Westbound 73)
I???ve had several copies of this 45 over the years, but they???ve always been of the snap, crackle, pop variety. When I found a cheap and clean version recently, I had to pick it up. If you didn???t know, the Ohio Players were originally formed in Dayton, OH in 1959 as Robert Ward & The Untouchables. After a couple line-up and name changes, they became the Ohio Players in 1967. Funky Worm basically put the group on the map because it was their first #1 hit on the charts. When it comes down to it, the song is really a novelty tune in the long tradition of such tracks such as the Funky Chicken, Funky Grasshopper, etc. The vocals consist of a dialog between a fake granny and the main singing about a funky worm. The 45 version is sought after because it has a nice little drum break intro that???s not on the Pleasure LP. The cut was also Dr. Dre???s favorite flavor for at least a year or two since he used its keyboard line in various productions. Paint Me is more of a Soul track that sounds like it could???ve come from New Orleans with its melody and bouncy rhythm.
CANDI STATON
Heart On A String/I???m Just A Prisoner (Fame)
Heart On A String is another great slice of Southern Soul created by the heartfelt signing of Candi Staton, the studio musicians of Alabama???s Muscle Shoals who laid down a horn heavy rhythm track, and producer Rick Hall. I???m Just A Prisoner might even be better with its subdued beginning that gets a big lift from the brass before a little breakdown featuring Staton???s singing.
JOHNNIE TAYLOR
Just The One I???ve Been Looking For/I Got To Love Somebody???s Baby (Stax)
Just The One I???ve Been Looking For is the kind of song that really defined the Stax sound. You have the rhythm section laying down a rich Southern Soul backing, the horns that were always a prominent part of the mix, and Taylor???s rich singing that at times reminds me of Sam Cooke. I Got To Love Somebody???s Baby on the other hand is a slow bluesy RnB number.
OLD RECORDS OUT THE CRATES:[/b]
MILT JACKSON
Goodbye (CTI 73)
Goodbye was recorded in December 1972 and December 1973 with Milt Jackson on vibes, featuring Hubert Laws, plus Herbie Hancock, Cedar Walton, Ron Carter, Billy Cobham, Steve Gadd, and Freddie Hubbard. It was Jackson???s second record for CTI and one of many he did when away from his main group the Modern Jazz Quartet. Together they created a very mellow MOR and light Bop Jazz album that???s heard on tunes like Detour Ahead. Even when Jackson picks up the pace it???s still results in some light Bop such as the title cut and Opus De Funk.
JONESES
Keepin Up With The Joneses (Mercury 74)
The Joneses were from Baltimore, but recorded their debut album, Keepin Up With The Joneses in New York. They worked with some of the leading Jazz studio musicians of the city such as Richard Tee, Cornell Dupree, Wilbur Bascome, Ralph McDonald, and others. Most of the LP is mid-tempo vocal group Soul like the opening I Can???t See What You See In Me with its catchy melody, Hey Babe (Is The Getting Still Good?), which comes in two parts, the first with singing, and the second just instrumental, Baby Don???t Do It, and Please, Let Me Stay with their nice leads. The singing and arranging on Sugar Pie Guy Pt. 1 has a strong Barry White feel to it. On Pt. 2 they just stretch out the groove. On I Promise You they take it down a notch for a nice ballad.
PURPLE IMAGE
(Marching To...) A Different Drummer /Why (De-Lite)
(Marching To???) A Different Drummer and Why are nice catchy tunes with a strong Rock influence to them and strong group vocals. The latter also has horns. Together, they remind me a bit of a rougher version of Sly Stone???s work.
LP REVIEWS:[/b]
TAMI LYNN
Love Is Here And Now You???re Gone (Cotillion 72)
Love Is Here And Now You???re Gone is divided into two parts. The first side is one long brooding meditation on love that finally takes off with the last part That???s Understanding. It has a strong Southern Soul sound to it with a bouncy rhythm and plenty of horns, plus an extended musical part at the end. The second side has a bit of a mix of styles beginning with I???m Gonna Run Away From You that sounds like something from the mid to early-60s with strings and poppy girl back-ups. Then there???s A World You Left Behind You that has some of the same elements as That???s Understanding, but much better is the funky Soul of Mo Jo Hanna with a little Blues kick to it. To finish things off is the slow and easy One Night Of Sin.
TROY RAMEY AND THE SOUL SEARCHERS
Great Change (Nashboro)
Troy Ramey And The Soul Searchers was a seven piece male Gospel outfit who recorded Great Change in Atlanta. Each song has a very simple rhythm with a little guitar out in the lead to highlight the Searchers??? vocals, which have a deep baritone to them. Some of the backing tracks liberally borrow from popular Soul numbers of the time such as Time Is Winding Up that has hints of Motown in it. You also get some gut wrenching singing on tunes like Jesus Paid It Al, and slow and bluesy numbers like Lord, I???ve Done What You Told Me To Do. The best song is Serve Him that has a funky little bass line to it.
VARIOUS
Boy Meets Girl (Stax 69)
From what I understand, Boy Meets Girl was actually released as an album before the singles. Al Bell with help from Don Davis, Isaac Hayes and Booker T. Jones oversaw the sessions, which were recorded partly at the Muscle Shoals Studio. Together they released a double album with 22 tracks by William Bell, Johnnie Taylor, Eddie Floyd, Pervis and Marvis Staples, and Carla Thomas. First up is an upbeat ensemble piece called Soul-A-Lujah featuring all the artists with some incredibly catchy vocals. That energy continues with I Ain???t Particular with William Bell and Mavis Staples. They take it down just a notch with Just Keep On Loving Me, a duet between Johnnie Taylor and Mavis Staples. There???s also a great cover of I Thank You by William Bell and Mavis Staples with so much conga work that it completely transforms the song. Two other good covers are Piece Of My Heart by Eddie Floyd and Mavis Staples, and I???m Trying by Pervis Staples and Carla Thomas. Love???s Sweet Sensation featuring William Bell and Mavis Staples, and I Need You Woman with William Bell and Carla Thomas, switch things up a little bit because they sound almost like Motown tunes with their driving drum beats and strings in the background.
OLD RECORDS OUT THE CRATES:[/b]
MILT JACKSON
Olinga (CTI 74)
Olinga was recorded with Cedar Walton, Ron Carter, Micky Rocker, Jimmy Heath and a full string compliment. It???s probably the best record Jackson made for CTI. It starts off with the title track that has a brief, but dramatic intro with some loud drums before going into a slow and pensive Jazz number that features Jackson on the vibes. That intro comes in and out throughout the song. Rerev and The Steel Bender are upbeat Jazz numbers. Much better are the Soul-Jazz of The Metal Melter and I???m Not So Sure with its funky beginning and drum break, both of which have catchy melodies.
It actually was an older recording. The story goes that "Gonna Run Away" was reissued in the UK and became a hit, so it was then rereleased here in the States, even though it was quite dated by 1972 radio standards (though still good). This album was then built around it, even though "Gonna Run Away" does kinda stick out compared to the rest.
Well that explains a lot, because when I heard that song I made a double take and asked, What is this tune doing on this album from 72?
CALVIN ARNOLD
Funky Way/Snatchin Back (Venture)
Funky Way is a great way to start off a 45 with its guitar led groove and slow and easy vocal delivery. Snatchin Back is more of an upbeat and energetic Soul number that would be great for the dance floor.
ESQUIRES
Ain???t Gonna Give It Up/Girls In The City (Lamarr)
Ain???t Gonna Give It Up is a great, moving Soul number that starts off with horns, builds up to the light chorus with plenty of ???la la las??? that are the hook. Girls In The City gets a little too cheesy and MOR for me with lyrics about how they can???t stop looking at girls in Chicago who dress in pink. I???ll gladly go back to the A-side on this 45.
FANTASTIC FOUR
As Long As I Live/To Share Your Love (Ric Tic)
As Long As I Live is a rich Soul number that reminds me a bit of the Temptations with its group vocals. The outfit loses me on To Share Your Love however, which comes off a bit sappy.
FANTASTIC FOUR
I???ve Got To Have You/Win Or Lose (I???m Going To Love You) (Ric Tic)
This is a real good Soul 45. I???ve Got To Have You is a richly orchestrated mid-tempo song with some catchy lyrics and subtle female back-ups. Win Or Lose (I???m Going To Love You) is more upbeat and has more of a groove to it.
JO ANN GARRETT
Just Say When/Thousand Miles Away (Chess)
Just Say When is an uplifting Soul number with strings and Garrett???s great singing. Thousand Miles Away is more of a love song with lots of strings that starts off mellow, but reaches a crescendo towards the end.
EDDIE KENDRICKS
Keep On Truckin (Part 1) (Tamla 73)
This 45 comes from Eddie Kendricks self-titled album. It???s a catchy dance track with hints of Stevie Wonder in the instrumentation and a sing along chorus. Half way through the first side it goes into an extended instrumental jam with a solo on the vibes before a breakdown with hand claps, congas and Kendricks??? singing. Unfortunately, this is a promo copy so I don???t get to enjoy Part 2.
JEAN KNIGHT
Rudy Blue/What One Man Won???t Do Another Man Will (Open 76)
Jean Knight is obviously best known for her huge hit Mr. Big Stuff. After a few follow up singles that all seemed to be based upon derivatives of her hit, she bounced around labels and ended up releasing this single on Open Records. Despite it being 1976, she still proved that she could deliver on Rudy Blue. Her vocals are rough and the music keeps your attention with its piano, horns and guitar work. Wouldn???t you know it though, but What One Man Won???t Do Another Man Will has hints of Mr. Big Stuff in its rhythms with plenty of horns and that familiar ???oh yeah??? from the back-up singers.
PAT LUNDY
Another Lovin Kind Of Feeling/I???m Your Special Fool (De Luxe)
Another Lovin Kind Of Feeling is a slow grooving little number with Pat Lundy???s strong soulful singing. On I???m Your Special Fool Lundy takes it up a notch with its loud horns, a walking bass line, and screaming back-up singers.
MEL AND TIM
I???m The One/Put An Extra Plus To Your Love (Bamboo 69)
I???m The One is a syrupy love tune that misses the mark for me. Put An Extra Plus To Your Love is the much better side, with a slick, yet funky rhythm track replete with strings, a big chorus, and some screaming vocals by the end.
ROCK
(Don???t Abuse) Your Faithful Love/(Charlie, Brother) We Got To Love One Another (Scorpio)
Despite the image that a name like The Rock might bring about, it turns out the group featured a female singer. (Don???t Abuse) Your Faithful Love is a sweet Soul number with some sweeping strings at the beginning before the vocals come in with a little swing to them locked to the backbeat. (Charlie, Brother) We Got To Love One Another has a Funk edge to it and group vocals on the chorus.
SAM & DAVE
Soul Sister, Brown Sugar/Come On In (Atlantic)
This was a 45 only release by the dynamic Stax duo of Sam & Dave. The single was produced and written by another great partnership, Isaac Hayes and David Porter. I actually first heard of the single years ago when it was sampled for M.O.P.???s big hit Ante Up. Soul Sister, Brown Sugar starts off with some blaring horns that formed the basis of the M.O.P. tune. It then goes into a fast paced rhythm with horns playing the call and response with Sam & Dave on the chorus. Come On In is more of a power ballad played at mid-tempo with more strong work by the brass section and bass.
TEMPREES
If I Could Say What???s On My Mind/My Baby Love (We Produce)
The Temprees were a vocal Soul group from Memphis. They had at least two albums, the Lovemen being the one this 45 comes from. If I Could Say What???s On My Mind is one of their sweet Soul ballads that the outfit was known for. My Baby Love flips the script by being a dance oriented number that again utilizes the Temprees??? strong singing talents.
OLD RECORDS OUT THE CRATES:[/b]
MILT JACKSON
Sunflower (CTI 73)
The image of a sunflower might best describe the music contained within this record. First there???s Someone I Love that is a light and casual Jazz piece that gets a little frantic in the middle with the Herbie Hancock???s piano playing. What Are You Doing The Rest Of Your Life? is in the same mood and range. The highlight of the album however, is a cover of People Make The World Go Round with Freddie Hubbard???s trumpet in the lead and Ron Carter and Billy Cobham locking down the rhythm into a tight groove in the middle when Jackson takes his solo on the vibes.
WILLIS JACKSON
Headed And Gutted (Muse 74)
Headed And Gutted is basically a one-tracker. That comes in the form of the title track that is a real nice, mid-tempo funky Jazz piece. It has a driving rhythm and Jackson???s soloing over the top. The rest of the album is more straight-ahead Jazz splitting between the sl ow and mellow Blue Velvet and The Way We Were, and the more upbeat Miss Ann and Gator Whale.
WILLIS JACKSON
Willis Jackson Recording Session (Big Chance 72)
The infamous Paul Winley produced and released Willis Jackson Recording Session in 1972. The album opens up with a series of laidback, yet effective Soul-Jazz numbers in the form of Love Story and It???s Too Late. What really gets things going however is a cover of Ain???t No Sunshine with Jackson???s sax playing the lead and a nice drum break in the middle, followed by a version of What???s Going On with some real heavy percussion that gets louder in the mix as the song progresses, that gives the classic a new feel. There???s also Soul Train with its pointed guitar work, the funky and fast passed Don???t Knock My Love with horn stabs, and the bluesy Soul-Jazz of Heavy Makes You Happy (Sha-Na-Boom-Boom). After all that, they finish with I???d Like To Teach The World To Sing that was best known for being used in a Coke commercial. Of all things to end a record with, they had to pick that! To footnote the whole thing, this LP was probably the source for some of the Harlem Underground Band record that Winley also released.
KEN BOOTHE
(It???s The Way) That Nature Planned It/Sad And Lonely (Trojan 74)
(It???s The Way) That Nature Planned It is a great slice of Soul inspired Reggae with Boothe???s rich and deep vocals pushing along the song. The strong American influence is especially apparent on the chorus with the falsetto back-ups. Sad And Lonely has a more Reggae sound to it with its slower rhythm and delivery, but also features prominent horn work.
VIBRATIONS
Love In Them There Hills/Remember The Rain (Okeh)
The Vibrations teamed with the Gamble and Huff recording empire on this 45, with the duo producing and writing both sides. Love In Them There Hills is first with some heavy percussion giving it a strong Latin feel before the vocals come in turning it into a power Soul number. Remember The Rain on the other hand, is a ballad with a falsetto lead. It???s not bad, but this single is really all about the A-side.
OLD RECORDS OUT THE CRATES:[/b]
CHECKMATES LTD.
Chessboard Corporation F/S/O (Rustic 74)
The Checkmates Ltd. were a long-time Soul act. By the time Chessboard Corporation F/S/O came out, they???d updated their sound to release their best album. That???s heard on the slick Funk of Louie The Piper with plenty of guitar work and hints of Sly Stone. Much better is the easy going (Ain???t A) Goddamned Thang Going On with its sing-along chorus, the swirling ???moody loop??? rhythm of the love song I Must Be Dreaming, the fast, Rock-based Street Of Dreams, plus the slow and funky Sexy Ways and Might Get Betta.
EDDIE FLOYD
Down To Earth (Stax 71)
Down To Earth was an attempt by Steve Cropper to mix Eddie Floyd???s soulful singing with a Blues-Rock backing with mixed results. That???s heard immediately on a cover of People Get Read with plenty of Rock guitar playing that temporarily mellows out during the versus. Oddly enough, it reminds me of Elvis, which points to some of the faults with this experiment. Many of numbers are like Linda Sue Dixon where Floyd sings about how ???LSD??? is an inspiration and gets him high, with a fiddle in the background. There are a few times when Floyd and Cropper are able to pull things off. Those are found on My Mind Was Messed Around At The Time with its horn stabs and call and response vocals, the slow and powerful Salvation, and Changing Love with its hints of Psychedelica.
LP REVIEWS:[/b]
SANDRA ALEXANDER
Intimate Side Of (Uni)
Sandra Alexander was a Californian piano player and singer with a classical training from the University of the Pacific and the San Francisco Conservatory of Music. On Intimate Side Of, she went for a mellow, subdued, and jazzy sound that reminds me a bit of Roberta Flack. That can be heard on Love Is Blue, In The Ghetto, Aquarius, and especially Yesterday, When I Was Young with its minimalist arrangement. Where she really gets a groove going is on a cover of It???s Your Thing with some conga work in the background.
INEZ ANDREWS
More Church In The Home (ABC Songbird 74)
Inez Andrews recorded this album with some well known Jazz and Blues session players such as Cash McCall and Richard Evans. She gets off to a good start with a Soul-Gospel tune called Songs Of Love with a big chorus. She then takes it down a notch for the balladic Lord I Love Thee with more group vocals, A Letter to God, which features some rough singing by Ms. Andrews, and You And Me. Things pick up again with Think Love that has a nice groove to it. On Headline News Inez again shows off her strong screeching vocals. She finishes things off like she started with A Brothers??? Prayer that mixes a Soul arrangement with Gospel vocals led by the guitar.
EAST ST. LOUIS GOSPELETTES
Movin On Up (Nashboro 80)
The East St. Louis Gospelettes were a long-standing Gospel group. First up is I???ve Got To Do It, which doesn???t really hit until half way through when they slow everything down and the female lead lets it rip. If I Had My Way is even better with its Soul arrangement and guitar work. There???s also the upbeat Carry Me Over and the slow number There Is No Seniority With God.
CLEOPHUS ROBINSON, JR.
Keep On Stepping (Nashboro 77)
Cleophus Robinson was a Southern Gospel singer and organist. Must of his tunes are slow and easy with the keyboard leading the rhythm such as the title cut. Where he really hits his stride is on Jesus Cares For You with its strong vamp creating a nice mix of Soul and Gospel. The second side consists of several instrumental tunes strung together into one single piece with just Robinson and his organ.
SWEET INSPIRATIONS
What The World Needs Now Is Love (Atlantic 68)
The Sweet Inspirations start of this album with a series of mellow numbers, none of which is anything to write home about, although they do highlight their strong group vocals. It???s not until Watch The One Who Brings You The News that things really get going with the strong horn play, some earthy singing by the lead vocalist and strong back-ups. The slow and gentle Am I Ever Gonna See My Baby Again that has a strong Gospel feel to it follows that. There???s also the upbeat Walk In My Shoes, the slow and funky I Could Leave You Alone with another Gospel chorus, and a good cover of That???s How Strong My Love Is.
OLD RECORDS OUT THE CRATES:[/b]
BOBBY BRYANT
Earth Dance (World Pacific Jazz 69)
On this album, Bobby Bryant plays with a big band and the songs and sound reflect that large orchestration. Most of the songs sound like they come from movie or TV soundtracks, which can be a good thing. Earth Dance is a perfect example, sounding like a theme to a detective story in its mood and big horn section. There???s also a nice hand-clap/conga break there as well. Bryant???s cover of the Beatles??? While My Guitar Gently Weeps has a nice beginning with heavy fuzz guitar, but during the versus the big band sound falters in its delivery. Since I Left Home is much better with its swinging rhythm. Happiness Is A Warm Gun, another Beatles cover, has a nice melody to it as well. Of all things, Bryant decides to end the album with a cover of I Want To Testify, one of the earliest songs written by George Clinton when his group was a singing outfit, and they went by the name of the Parliaments. The song was actually a local hit in Detroit. If you like Gerald Wilson, you???ll like this album, as they have a similar big band sound.
RON CARTER
Yellow & Green (CTI 76)
Most of this album is straight Jazz, but Carter manages to get down on a couple tracks. Receipt, Please and Yellow & Green sound like sped up follow-ups to Carter???s earlier song, Blues Farm. Both are driven by Carter???s walking bass play. Interesting, yet not endearing.
CHI-LITES
Toby (Brunswick 74)
With Toby the Chi-Lites were still cranking out their signature lush Soul sound, but they weren???t hitting the charts like they were in the past. That doesn???t mean there isn???t good music here. The title cut features Eugene Record???s trademark falsetto voice and a rich arrangement that he helped create. You Got To Be The One is even better with its funky baritone chorus backed by congas. There Will Never Be Any Peace, That???s How Long, Happiness Is Your Middle Name, I Lied, and Getin On Outta Town are all good as well. Toby is not as famous of the Chi-Lites??? other releases, but a fine Soul album nonetheless.
AHMAD JAMAL
Ahmad Jamal 73 (20th Century 73)
Ahmad Jamal was a Pittsburgh piano player known for his melodic style of play. By 1973 he was recording with 20th Century and released this fine Soul-Jazz Fusion album with production and arranging help by fellow Chicago artist Richard Evans. First up is a cover of The World Is A Ghetto that has a slick, yet spacey feel to it with some female vocals half way through. It reminds me a bit of some CTI recordings. What follows are mostly low-key Soul-Jazz pieces such as Children Of The Night and Sustah Sustah. Things pick up a bit with a cover of Superstition where Jamal goes off on his keys. The best however, is saved for last in the form of Peace At Last, that has a bit of Funk in its playing.
AHMAD JAMAL
Awakening (Impulse 70)
Awakening is a mellow Jazz album that reminds me a bit of Ramsey Lewis without the Pop influences. That can be heard on every track from the opening title cut to songs like I Love Music, which is Jamal playing solo on the piano. The record was made famous back in the day when the likes of Pete Rock, Nas and Common sampled it several times. There???s actually not that much to write home about.
AHMAD JAMAL
Intervals (20th Century 80)
Intervals is a bit of a throwback album. Although recorded i n 1980, most of the sounds emanating from it could???ve come from the late-1960s/early-1970s when Ahmad Jamal was in his heyday. That???s especially true of the opening You???re Welcome, Stop On By that sounds like Sun Goddess era Ramsey Lewis with Jamal playing runs on the piano with a strong bass line and plenty of keyboards. I also like the dramatic playing on The Tube that mellows out during the middle, but than picks up again at the end. Most of the rest of the record is Jamal???s patented melodic Jazz.
AHMAD JAMAL
Jamal Plays Jamal (20th Century 74)
In the early-1970s Ahmad Jamal switched labels to 20th Century and released some of his most soulful work. The real star of Jamal Plays Jamal however is bassist Jamil Nasser who steals the show on every song by not only being the anchor of the rhythm section, but by laying down some extremely funky lines. That all starts off with Eclipse that perfectly matches Jamal???s melodic Jazz piano style with the bass work of Nasser. The mellow and heavily orchestrated Pastures also starts off with an open bass line. The group picks up the pace with Dialogue that???s got some nice horn accents and Spanish Interlude where Jamal busts out with the fender Rhodes. Death & Resurrection is darker, while Swahililand has a long and dramatic beginning leading into another fine mix of the bass and piano. Conga player Azzedin Weston also plays a nice role on a couple tunes backing up Nasser???s bass. Richard Evans from Cadet had a hand to play in some of the arranging on the album as well.
AHMAD JAMAL
Jamalca (20th Century 74)
Jamalca starts off with a cover of Thom Bell???s Ghetto Child that sounds like the best of a CTI recording, or perhaps the worst depending upon your opinion of that label???s work. Jamal is able to lay down some fine playing on the electric keys during that song, but it can???t save it from its smooth version of Soul-Jazz. That sort of sets the stage for most of the record on tunes like a version of Foster Sylver???s Misdemeanor that has a swirling beginning, only to move towards MOR afterwards. Again, Jamal tries to save the tune with his playing, but it ultimately only provides a short interval in a lost cause. The one song that Jamal is able to pull off is Theme Bahamas where he keeps things relatively simple and gets to show off his fine playing on the acoustic piano. The one CTIesque tune that works is MASH Theme with the strong bass playing of Jamil Nasser.
CAROLYN FRANKLIN
Chain Reaction (RCA 70)
Carolyn was Aretha???s little sister. On Chain Reaction her producers had her mostly cover Pop hits of the time. Some of those fare better than others such as Put A Little Love In Your Heart. Where Carolyn really gets down is on the title cut with its strong horn line in the background creating a power Soul tune. The following You Really Didn???t Mean It has some brooding strings and slow groove, while I Ain???t Got To Love Nobody Else harkens back to her Gospel roots with its big chorus. There???s also the power ballad I Ain???t Got To Love Nobody Else.
BEN E. KING
Beginning Of It All (Mandala 72)
During the 1970s Ben E. King was struggling to keep up with the changes in music just like most artists that got an early start. On Beginning Of It All he puts forth an up and down performance with the best tunes being the love songs. The opening Take Me To The Pilot is the one exception as its a Gospel number with some nice back-up singing. The good ballads begin with Travellin Women with its dramatic intro of piano and horns, and White Moon and She Does It Right. The best of that ilk however is the heart felt title track with its strong female back up.
VALERIE SIMPSON
Valerie Simpson (Tamla 72)
Valerie Simpson was one half of the dynamic song-writing duo of Ashford and Simpson. Along the way to writing hits, they collaborated to record Valerie on her own. Most of the tunes are nice, mellow Soul. The ones that stand out are like Fix It Alright and Drink The Wine that start off slow and easy and then take off in the second half with Simpson???s singing. She also has some sweeping vocals on Benjie. The second side isn???t as composed as well with no track really standing out.
NICKY THOMAS
Tell It Like It Is (Trojan 72)
Tell It Like It Is was an English release on the Trojan label and was obviously aimed at that market. By the 1970s England was going for a lush, heavily orchestrated Soul-Pop-Reggae sound, and that???s heard throughout the entire first side beginning with the title track. That makes it all the more surprising when he busts out with a cover of James Brown???s Soul Power on the second side. The song is by far the best on the album and even captures some of the horn work of the original. The following I Can???t Stand It with its hard driving beat is also good. He finishes things off with a cover of the Chambers Brothers??? Love, Peace And Happiness that???s nothing special at first, but then has a great funky breakdown and second half with some strong singing.
OLD RECORD REVIEWS:[/b]
OSCAR BROWN, JR.
Movin On (Atlantic 72)
William Eaton arranged and conducted this record for Oscar Brown Jr. Eaton assembled some of the usual session men of the time to back up Brown with the likes of Cornell Dupree, Richard Tee, Bill Salter, Jimmy Johnson, Ralph MacDonald, Bernard Purdie, and David Newman. Brown actually talks his way through each song in a storytelling style, covering such as issues as urban legends and social commentary. He???s like a cross between Gil Scott-Heron and Lightnin Rod???s Hustler???s Convention. The best tracks are A Dime Away From A Hotdog with its slow and funky rhythm and lyrics about tough times living on the streets, and To Stay In Good With You where Brown gets to play off the singing of Jean Pace.
GARY BURTON
Throb (Atlantic 69)
Gary Burton was mostly known for his vibes playing, but he does a little piano playing on this record as well, as he gets down on a couple tracks. The brooding Henniger Flats is the first cut and has something of a Rock influence to it with the distorted guitar soloing of Jerry Hanh at the beginning and end, and Burton???s vibe playing in the middle. On Prime Time and Doin The Pig Burton picks things up with two upbeat numbers that have a little 60s swing to them. Some Echoes is mellow but has a funky bass line.
LOU DONALDSON
Sassy Soul Strut (Blue Note 73)
Sassy Soul Strut was recorded during a transitional period in Donaldson???s career. By this time he was dropping a lot of his earlier Blues leanings and began recording some pretty commercial sounding 70s music. One song that stands out is a cover of Sanford And Some Theme. City Country City takes a while to develop, but once you get to the heart of the tune it might have the best rhythm track on the entire LP with some funky playing. On the other hand a cover of Pillow Talk is pure cheese and Inner Space sounds like a CTI song. While not bad, Sassy Soul Strut is nothing like his late-60s work on Blue Note.
JAMES GANG
Rides Again (ABC 70)
The James Gang was a power Rock trio featuring Joe Walsh on guitar and vocals. It???s his work on the axe that starts off the best cut Funk #49. The title says it alone, it???s a Funk tinged Rock tune with plenty of strong playing by Walsh with a catchy hook. Right in the middle there???s a little drum and cowbell breakdown as well. The rest of the album isn???t half bad Rock either with instrumentals like Asshtonpark and vocal numbers such as Woman and There I Go Again.
SCOTTY/BONGO HERMAN
Skank In Bed/African Breakfast (Harry J)
Skank In Bed is a little different than your typical Jamaican DJ track. On most of those they had a DJ talking over the top of a rhythm track. Here, Scotty appears to have gone in the studio and recorded a hit song of the time, Breakfast In Bed featuring a sexy and smooth female vocalist, and done his toasting at the same time. That???s show in the middle where Scotty stops the track and calls out one of the musicians for not being able to play before the groove starts up again. The B-side is the same rhythm with some very loud percussion in place of the vocals.
LP REVIEWS:[/b]
INTRUDERS
Cowboys To Girls (Gamble)
The Intruders were one of the originators of the lush vocal Soul that would become a trademark of Philadelphia. Of course, being signed to Gamble and Huff???s record label didn???t hurt. This record was released after the huge success of their singles. Unfortunately that means that you have some great hits like the opening Cowboys To Girls with its horn play, swirling strings and catchy lyrics, Turn The Hands Of Time, and (Love Is Like A) Baseball Game. After that the record is almost all filler, with the only other passable track is the pensive Good For Me Girl that finishes things off.
MIRACLES
Renaissance (Tamla 73)
Albums like Renaissance proved that the Miracles could still produce even if their leader Smokey Robinson had gone solo. In fact, Smokey was never far away as he was the executive producer of the album, and the song writing talents of Leon Ware, Willie Hutch, and Larry Mizell, amongst others helped them out. Most of the tracks are lush slow Soul numbers such as If You???re Ever In The Neighborhood, I Wanna Be With You, Wigs And Lashes, Don???t Let It End (Til You Let It Begin), and Nowhere To Go. There are a few other tunes that are slick dance numbers such as What Is A Heart Good For and I Don???t Need No Reason with its great catchy chorus. There are some funky Soul numbers as well like Mr. Cool That Ain???t Cool, but they???re really at their best singing lush ballads like Loving You Is So Easy.
TEMPREES
3 (We Produce 74)
The Temprees were a three-piece vocal Soul outfit. On 3 they sound like a mix of the Isley Brother???s delivery with some of Barry White???s orchestration. Together that makes for a fine album. While they start off with a funky Soul tune in Mr. Cool That Ain???t Cool, the group???s bread and butter were the slow jams like Loving You Is So Easy and I Love, I Love. The second side is more of the same with You Make Me Feel So Good Baby and others.
TOMORROW???S CHILDREN
The Going???s Great With (London)
Pan Am co-sponsored this record so on the back cover you get 5 pictures of the band hanging out with a jet airliner and sitting at a bar at the airport! If that doesn???t catch your attention, the music contained on Going???s Great With certainly will. They start off with Get Together with a very deliberate beat and horns, followed by covers of the slick Soul tune It???s All In The Game and War that would give the original a run for its money. Bend Down with its call and response vocals and laidback sound finishes off the first side. The second side is just as good with You Keep Me Hanging On with a nice vocal breakdown, the melodic No Nola, and finishes off with Psychedelic Train.
OLD RECORDS OUT THE CRATES:[/b]
BOB JAMES
One (CTI 74)
This was one of those beginning beat digger and sample collector records that everyone used to hunt down. Most copies must still be sitting in those people???s collections because I don???t see this record out in the field like I use to. Between this and James??? other well-known record Two, this is the superior product. First up is the haunting Valley Of The Shadows that has some strong keys playing by James and blaring horns at times in between moody interludes. At the very end though if falls off the deep end. Night On Bald Mountain has some interesting parts by James, but overall is a failure as a funky Jazz Fusion number with too many cheesy parts to make up for the good. Next is actually a good piece of mellow Soul-Jazz in Feel Like Making Love. The best tune however is the ending Nautilus as it???s the most consistent from beginning to end with the keys and drum intro that leads into the syncopated main verse with the guitar, and a nice breakdown in the middle.
RICK JAMES
Come Get It! (Gordy 78)
After playing for years on the Rock and Soul circuit in eastern Canada, New York, and England, Rick James finally made a hit solo career in the late 1970s. Borrowing heavily from the Parliamentfunkadelic sound he released Come Get It! his first full-length album. The opening Stone City Band, Hi is a perfect example of his sound with its catchy Funk beat and sing along chorus. Even better is the funky dance classic You And I with its female back-up singers. Be My Lady is much more lighter with a Pop edge, but still very effective. My favorite track however is Mary Jane the love song to drug use with its slow groove. James finishes things off with the power ballad Hollywood, and Stone City Band, Bye! a finale to the opening cut.
45 REVIEWS:[/b]
LOYCE COTTON
Try It, You???ll Like It/Everybody Wants To Be The President (Aquarius)
Loyce Cotton recorded this 45 in Houston, Texas. First up is the grooving mid-tempo Try It, You???ll Like It with Ms. Cotton???s strong vocals over a funky Soul backing, and an organ solo in the middle. The flipside is a nice power ballad with political lyrics about how the president needs to take care of the people, all the people, whether they are rich and powerful or not.
OLD RECORDS OUT THE CRATES:[/b]
RICK JAMES
Street Songs (Gordy 81)
It???s said that Rick James almost single handedly saved Motown from extinction in the late-1970s. In the 1980s he was still going strong with continued hits like Give It To Me Baby and Super Freak on Street Songs. Unfortunately, after those chart toppers, the album gets a little lean with the mid-tempo Ghetto Life the only other outstanding track.
AL JARREAU
Ain???t No Sunshine (Astan 84)
Jarreau Does Withers (Allegiance 84)
Lonely Town, Lonely Street (Koala 79)
Originally, I found a copy of Al Jarreau???s Jarreau Does Withers LP on the budget label Allegiance. I played it for O-Dub and he went out and topped me by not only finding the original 1979 release on Koala Lonely Town, Lonely Street, but also a picture disc released on Astan. As one can tell, this is a tribute album to Bill Withers. All together, Jarreau does 8 of Withers??? songs: Ain???t No Sunshine, Lean On Me, Use Me, Kissing My Love, Grandma???s Hands, You, Lonely Town, Lonely Street, and The Same Love That Made Me Laugh. All of them are well done, sticking to the original arrangements, and even comes with a drum breaks on Use Me and Kissing My Love.
VOICES OF WATTS
God Is What You Need (Birthright 76)
The Voices Of Watts was a Gospel group from Los Angeles, led by Reverend Billy Ray. God Is What You Need is a live album recorded at their church. The group was made up of a male and female lead and an all female chorus. The woman has a really strong voice, while the man???s flutters a lot trying to hold a note, which is no good for a Gospel outfit where you???re expected to put your heart and soul into every number. The group starts off with the mellow God Is What You Need that builds in intensity until half way through when they start the handclaps and things start really going. After that they can???t seem to keep it together either due to faltering vocals or bad recording until Water on the second side with its strong bass line, and the slow and powerful Changed My Way. The failure to consistently deliver, makes this a mediocre Gospel record overall.
45 REVIEWS:[/b]
O.V. WRIGHT
Drowning On Dry Land/I???m Gonna Forget About You (Back Beat 72)
This is another strong 45 by O.V. Wright. He starts off with the slow and moody Drowning On Dry Land with some loud horn play at the beginning before Wright???s powerful singing comes in. I???m Gonna Forget About You sounds more like an earlier RnB tune.
LP REVIEWS:[/b]
ARCHIE BELL & THE DRELLS
I Can???t Stop Dancing (Atlantic 68)
I guess when you have a successful formula you stick with it until it flops. That appears to be the strategy that Archie Bell & The Drells took on I Can???t Stop Dancing. It was the follow up to their huge hit Tighten Up. Instead of coming up with something new, they instead tried to remake that song in different ways. Thus you get the title cut and Do The Choo Choo, written and produced by Gamble and Huff, that sound like take offs of their first chart topper. They???re actually not that bad, and those upbeat dance tunes are what dominate the album like Monkey Time, Do You Feel it? and Jammin In Houston, the last two being the best on the LP due to the frantic drumming laid down. The ballads I???ve Been Trying and Love Will Rain On You are also worth a listen.
WILLIAM BELL
Relating (Stax 73)
William Bell was one of Stax???s male crooners. That style is heard immediately on Lovin On Borrowed Time. Unfortunately, Bell stays in that mode for almost the entire album. One exception is the Southern Soul of I???ve Got To Go On Without You with its slow groove and patented Stax horns, and the power ballad You Don???t Want A Man, by far the best song with its opening melody and Bell???s singing.
MARGIE JOSEPH
Makes A New Impression (Volt 71)
This was Margie Joseph???s debut album with the Stax/Volt family. The recording sessions were split between the Memphis studios where she was backed by the Bar-Kays and Alabama where she recorded at Muscle Shoals. Makes A New Impression begins with a long spoken intro called Monologue: Women Talk that leads into a cover of Stop In The Name Of Love that???s re-arranged with a fast chorus, but slow versus that shows off Joseph???s singing. Half way through she breaks it down even more for a long dark and funky guitar led refrain. It might be one of the best songs she ever recorded over the course of her career. That leads well into the moody Punish Me, as well as the funky Soul of Sweeter Tomorrow and Temptation???s About to Take Your Love with more sharp guitar playing tempered by Joseph???s vocals.
FREDDIE KING
Texas Cannonball (Shelter 72)
Freddie King was a Blues guitarist that got a little funky late in his career. On Texas Cannonball however, he mostly stuck to electric Blues, which was his forte. He starts adding just the slightest hint of Funk on Big Legged Woman with its swinging backbeat, and the slow groove of You Was Wrong with its funky drum fills during a breakdown in the middle. The highlight of the album however is a cover of Ain???t No Sunshine with some nice guitar soloing added to the beginning and middle.
ASHFORD SIMPSON
Exposed (Tamla 71)
Ashford Simpson was one part of the dynamic song-writing duo of Ashford and Simpson. Along the way she recorded a few solo albums beginning with Motown and this record Exposed. The couple wrote all the songs on the album and the musicians were the label???s mainstays like James Jamerson, Dennis Coffey, etc. Ms. Simpson starts off Exposed with a Gospel influenced song called I Don???t Need No Help that is just her on the piano showing off her vocals skills. There???s also the funky Soul of Sinner Man (Don???t Let Him Catch You) and Can???t It Wait Until Tomorrow that starts off with Simpson shouting out demands before it mellows out just a little during the versus and then brings up it back up during a big Gospel like chorus. Plus there???s the nice mellow Soul of Now That There???s You, the Gospel number There Is A God, and the uplifting I Just Wanna Be There.
JOHNNIE TAYLOR
Super Taylor (Stax 74)
Johnnie Taylor had a long career as one of Stax???s top male singers. He gets off to a great start with the bass driven It???s September, and the mid tempo groove of Try Me Tonight. Unfortunately those are the best tunes on Super Taylor.
OLD RECORDS OUT THE CRATES:[/b]
JAZZ CRUSADERS
Give Peace A Chance (Liberty 69)
This is the second to last record that the band recorded under as the Jazz Crusaders before dumping both their Jazz moniker and their label, World Pacific Jazz/Liberty Records. The record captures all the groups??? best features such as great covers like the Beatles??? Give Peace A Chance and Black Bird, an interesting Soul-Jazz rendition of B.B. King???s classic The Thrill Is Gone with a little Funk to it, and smooth originals like I Think It Was A Dream and Anita???s New Dance both of which begin with the strong bass work of Buster Williams. The rest of the album is Bop like the long and expansive Space Settlement.
JAZZ CRUSADERS
Lighthouse 68 (Pacific Jazz 68)
The Jazz Crusaders released two consecutive live albums from the famous Lighthouse Jazz club in southern California. This was the earlier of the two. Like the later Lighthouse 69 album, this features the band???s move towards Soul-Jazz. The opening Ooga-Boo-Ga-Loo is a good example with its light and catchy melody and drumming. Up next is a jazzy cover of the Beatles??? Eleanor Rigby. Never Had It So Good is another soulful number. Most of the songs, however, are light Bop and a little too mellow for my liking.
JAZZ CRUSADERS
Lighthouse 69 (World Pacific Jazz 69)
This was the second of two consecutive live albums recorded by the Jazz Crusaders at the famous Lighthouse Club in California. Half of Lighthouse 69 is light Bop such as Ruby P???Gonia, the other half however, is a mix of Soul, Jazz and Funk. That can be heard immediately on the opening Get Back. The two highlights are Willie & Laura Mae Jones with its strong rhythm, and a funky cover of It???s Your Thing with a nicely re-arranged introduction.
JAZZ CRUSADERS
Old Socks New Shoes (Chisa 70)
After recording several records for World Pacific Jazz/Liberty, the Jazz Crusaders released one record on Chisa, a subsidiary of Motown before becoming j ust the Crusaders. While the band started out playing Bop, by the 1970s they were a full-fledged Soul-Jazz outfit covering popular hits of the time, while also recording original material as well. Even when they do other people???s music, they often times re-arrange parts of it to give it their own personal spin, such as on Sly Stone???s Thank You that takes off in a completely different direction half way through. The following tracks are a mix of the upbeat and grooving like Funny Shuffle and Jackson! that closes with a refrain from Sly Stone???s Everyday People, Hard Times, and the slower and soulful Why Do You Laugh At Me? the Beatles??? Golden Slumbers, and their original classic Way Back Home.
JAZZ CRUSADERS
Powerhouse (World Pacific Jazz 68)
Powerhouse was recorded right after the very successful Live At The Lighthouse 68 album. Most of Powerhouse is straight, melodic Jazz, half of which are covers like Promises, Promises and Hey Jude and originals such as Sting Ray and Cookie that has a drum break to it, that are light Soul-Jazz, making this album okay, but not great.
JAZZ CRUSADERS
Talk That Talk (World Pacific Jazz 66)
Talk That Talk was released right around when the Jazz Crusaders began moving towards more soulful compositions. For example, you get tunes like the melodic Walkin My Cat Named Dog, a cover of Uptight (Everything???s Alright), and finally Shadow Do, which is a solid Soul-Jazz piece. The rest is light Bop and Big Band tunes.
ASFHORD & SIMPSON
Gimme Something Real (Warner Brothers 73)
Ashford and Simpson went from hit making song writers, to Ashford???s solo singing career, to finally performing as a duet. Gimme Something Real was their first full-length album where they would sing together. The problem with their collaboration was that while Valerie Simpson had a strong, soaring voice, Nickolas Simpson???s was completely forgettable. That???s shown on the best cut Bend Me where Ashford starts off and is just blown away when Simpson joins in. The lack of a strong compliment to Simpson ruins the rest of the record for me.
SUPREMES & THE FOUR TOPS
Magnificent 7 (Motown 70)
Motown had a series of albums where they put together some of their biggest vocal groups together. On The Magnificent 7 they had the Four Tops and the Supremes collaborate. The two work well together trading off versus, and doing the chorus together as one such as on the grooving Knock On My Door, the fast paced A Taste Of Honey, and a slightly re-arranged version of Without The One You Love with plenty of extra percussion, even though Ms. Ross puts in an underwhelming performance. The major drawback of the rest of the record is that they soften up the songs for a wider audience. That destroys what could???ve been interesting tracks like Everyday People and River Deep, Mountain High.
YOUNGHEARTS
A Taste Of (20th Century 74)
The Younghearts were a three-piece vocal Soul outfit from Los Angeles. They got some pretty slick yet effective production on A Taste Of. Those are heard on the upbeat Wake Up And Start Standing, You???re Not Here With Me, We???ve Got Love (You Better Believe It), and a cover of Jr. Walker???s What Does It Take, all of which have a dance beat behind them. There are also the slow grooves and ballads like sweet sounding For The Rest Of My Life with its falsetto lead and We???re All God???s Children.
OLD RECORDS OUT THE CRATES:[/b]
ANTONIO CARLOS JOBIM
Adventurers OST (Symbolic 70)
The Adventurers soundtrack was the result of a large collaboration. Antonio Carlos Jobim got top billing for writing 7 of the 9 tracks, while Quincy Jones did production. Ray Brown and his orchestra conducted the songs and penned one as well. Jones, Brown, J.J. Johnson, Jimmy Jones and Tom Scott did the arranging. Eumir Deodato also got writing credit for one track. Jobim???s compositions are a mix of fast paced tunes like Polo Pony with plenty of percussion, and mood pieces such as Go Down Dying with the guitar in the lead and a flute and drum breakdown to end out the track, and the stripped down Fat Cat Strut. Coming And Going is a laidback Funk piece that has a woman making sexy groans and grunts throughout. It???s by far the best overall tune. People should also be aware that there are two versions of this soundtrack, and that this is the one that they should be looking for.
HAROLD JOHNSON
Wide Open (Revue)
Harold Johnson was a Jazz pianist. He begins with the mood piece Validiction that fluctuates between a mellow bass line and a more upbeat refrain with Johnson and the entire rhythm section. On Love Is Blue he enters into Soul-Jazz territory with a nice upbeat groove led by his impressive piano soloing. A bass heavy cover of Spinning Wheel that???s able to build on the original follows that. Just as good are Right On, Wide Open, Green Sleeves, and Soul Perception with more sharp playing by Johnson on the keys, plus the latter two have plenty of percussion to push them along. Everything is finished off with a rendition of Get Back.
45 REVIEWS:[/b]
ALVIN & RICKEY
Shortnin Bread/Part II (Stang)
Alvin & Rickey were some kind of child Soul duo. Rickey is the lead and has a really high falsetto voice, while Alvin has a little more base to his teenage voice. The result isn???t half bad as they???re backed by a catchy Pop-oriented rhythm, and they sing a chorus that???s an adaptation of a nursery rhyme. Comparisons to the early Jackson 5 are easy to make. Part II is an instrumental version of the song.
MAXINE BROWN
I.O.U./Treat Me Like A Lady (AVCO 72)
I.O.U. is a big uplifting Soul tune with some Funk underpinnings that smoothes out during the versus to highlight Brown???s soaring voice. Treat Me Like A Lady moves more towards the funkier side of things, and again provides the perfect backdrop for Ms. Brown.
JOHN EDWARDS
Claim Jumpin/Messing Up A Good Thing (Aware 73)
John Edwards was an Atlanta singer. Claim Jumpin is a power Soul tune with a strong funky rhythm and female back-ups. Messing Up A Good Thing is a ballad.
ESQUIRES
And Get Away/Everybody???s Laughing (Bunky)
And Get Away is a great catchy Soul dance tune. I love the interplay between the singers on the chorus, and their harmony during the versus. The group finishes off with a power ballad.
RICHARD ???DIMPLES??? FIELDS
Ain???t That What You Said/You???re Sweeter Than Sweet (Dat Richfield Kat)
Both sides of this 45 are ballads, but while Ain???t That What You Said is a bit forgettable and too syrupy, You???re Sweeter Than Sweet is pretty good at creating a mood and delivering the goods, although I could???ve done without the talk over in the middle.
ETTA JAMES
Fire/You Got It (Cadet)
This single starts off with Fire, which was a Willie Dixon tune. The song has some strong horns at the beginning before James??? stronger vocals take over. You Got It was written by Don Covay and has a nice groove to it, again backed by horns and James??? excellent singing. Together this makes for a great double-sided 45.
DENISE LA SALLE
Making A Good Things Better/What It Takes To Get A Good Woman (That???s What It???s Gonna Take To Keep Her) (Westbound 73)
Making A Good Thing Better is a nice slow groove with some Blues in the rhythm track, and finds La Salle backed by a large chorus. What It Takes To Get A Good Woman is more of the same, but has a little more oomph to it.
DOROTHY MORRISON
John The Rabbit/Rain (Elektra)
Dorothy Morrison was a Pop and Gospel singer. John The Rabbit is a slow bluesy Soul number that has a nice backbeat to it that slowly builds in intensity in the middle before slowing down for the conclusion. Rain is a great upbeat Gospel number with a large chorus and some percussion to give it a more contemporary sound.
OLLIE NIGHTINGALE
It???s A Sad Thing/Standing On Your Promise (Memphis)
It???s A Sad Thing finds the perfect balance between Ms. Nightingale???s down home delivery and a funky Southern sounding rhythm track. Standing On Your Promise is a power ballad.
RALFI PAGAN
Make It With You/Stray Woman (Fania)
Besides producing hot Salsa dance tracks, many New York Latin groups also released some sweet Soul tunes as well. This 45 by Ralfi Pagan is a perfect example of the latter. Make It With You begins with a sweet harmony contrasted with some sharp distorted guitar playing before giving way to Pagan???s vocals on this ballad. Stray Woman is another ballad, but a little more upbeat.
BRENDA PATTERSON
Keep On Keepin On/West Window Song (Epic 70)
Keep On Keepin On was from an album of the same name. Ms. Patterson has a deep and rough voice backed by some funky rhythms on both tunes. Surprisingly, she appears to be a white rocker chick. This 45 perks my interest in what the rest of the record sounds like.
SOUL CHILDREN
Come Back Kind Of Love/I???ll Be The Other Woman (Stax 73)
Soul Children were a mixed male-female Southern Soul vocal outfit that recorded with Stax. Their talent is shown on Come Back Kind Of Love with its horn bursts and keys playing that lead the rhythm, and strong singing. I???ll Be The Other Woman is a nice power ballad.
SOUL CHILDREN
Love Is A Hurtin Thing/Poem On The School House Door??? (Stax 73)
Love Is A Hurtin Thing is a down home southern Soul tune with some string flourishes in the beginning before a husky female lead takes over. The flipside is a power ballad with a strong Gospel feel to it, especially with the big chorus backing up the lead.
MARY WELLS
Keep Me In Suspense/Such A Sweet Thing (ATCO)
Mary Wells is best known for her Motown recordings, but after her star fell there she continued to record for other labels, this being an example. Keep Me In Suspense has a really catchy, sing along chorus. Such A Sweet Thing sounds like a Motown track with its light and airy rhythm backed by strings.
OLD RECORDS OUT THE CRATES:[/b]
J.J. JOHNSON FEATURING JOE SIMON & MILLIE JACKSON
Cleopatra Jones OST (Spring 73)
Cleopatra Jones was another 70s blaxploitation soundtrack starring Tamara Dobson and Bernie Casey. The music was composed and conducted by the famed J.J. Johnson. Joe Simon sang the Theme song and Millie Jackson also made two appearances. Simon???s song is actually a pretty good funky Soul number with a grooving rhythm with a strong bass line and wah wah guitar, while Jackson is a little underwhelming. Johnson???s instrumental numbers provide good moody pieces to set up scenes like Wrecking Yard and Desert Sunrise/Main Title Instrumental that have nice build ups, and Emdee with its light and mellow mood set by the keys playing, while also providing more fast paced numbers such as Airport Flight with its loud horns and more use of the wah wah pedal. Go Chase Cleo, Wrap Up, and Theme From Cleopatra Jones/Instrumental are more of the same.
45 REVIEWS:[/b]
PARLIAMENT
Little Ole Country Boy/Red Hot Mama (Invictus 71)
For whatever reason Invictus decided to release Little Ole Country Boy on two separate 45s by Parliament. The song can also be heard on the group???s Osmium album, while the B-side was only released on this single. Ruth Copeland, who was working with the band at that time, wrote Country Boy. It???s a crazy mix that starts off with some yodeling before going into some Country inflected twang. Red Hot Mama is heavy Rock with some growling vocals countered by the soulful and playful group vocals the lead into the chorus.
LP REVIEWS:[/b]
DELLS
Freedom Means (Cadet 71)
Charles Stepney and the Dells collaborated on many fine releases for Cadet. Unfortunately Freedom Means is not one of them. Too many of the songs go nowhere and are aimed at a MOR audience. Listening to the album makes me wonder what happened to the Dells that I know and love? This sounds like they got taken over by 5th Dimension or someone. The only time they capture some of their earlier glory is on the slow grooves of Melody Man and Freedom Theme with their rich melodies and singing, and the closing Freedom Theme.
IMPRESSIONS
It???s All Right (ABC-Paramount)
It???s All Right starts off with the great title cut with its horns leading into the perfect harmony of the Impressions singing the chorus. Two light numbers, Gypsy Woman with its sweet lead and Grow Closer Together, follow. Also good are Minstrel And Queen that has a little Doo Wop element to the vocal arrangements, I???m The One Who Loves You, and Sad, Sad Girl And Boy
GLADYS KNIGHT & THE PIPS
Feelin Bluesy (Soul 68)
Gladys Knight & The Pips had a great run with Motown, and Feelin Bluesy is a good example of that time. They start off with the upbeat End Of Our Road. That style and Ms. Knight???s earthy delivery sets the stage for the following numbers like That???s The Way Love Is and Don???t You Miss Me A Little Bit Baby. The group also slows it down a bit for Don???t Let Her Take Your Love From Me, It Should Have Been Me, and Don???t Turn Me Away.
MARTHA REEVES & THE VANDELLAS
Ridin High (Gordy 68)
1968 was a difficult year for Martha Reeves & The Vandellas. That year Ms. Reeves got seriously sick and they weren???t making the charts like in previous years. They were still able to release Ridin High. It starts off with the hard hitting I Promise To Wait My Love. That???s followed by Honey Chile that has the strings and uplifting sound, which was a signature of Motown???s hits. Also good are the dance tracks Leave It In The Hands Of Love and Show Me The Way, and the moody Love Bug Leave My Heart Alone. After that however, the rest of the album is all filler, leaning heavily towards Pop covers like To Sir, With Love, and I Say A Little Prayer.
TRINIDAD TRIPOLI STEEL BAND
Hits Of The (American Variety)
Hits Of The Trinidad Tripoli Steel Band was released on American Variety out of Hollywood. Apparently the band was trying to break into the U.S. market as the liner notes on the back say that they had just finished touring with Liberace, and were in the middle of an 11 month tour of the States when the record was released. It???s actually a live recording with very good sound quality. They open up with Spinning Wheel that???s not half bad. The star moment however is a cover of Sissy Strut that catches the groove of the original. Besides that, the band plays a bunch of MOR standards like Raindrops Keep Fallin On My Head that are completely forgettable.
OLD RECORDS OUT THE CRATES:[/b]
J.J. JOHNSON
Willie Dynamite OST (MCA 74)
Getting this record should go down in eBay folklore. I bought this from an eBay dealer who didn???t really sell records. One day I got a small package in the mail from the seller and inside I found a burned CD copy of the Willie Dynamite OST, and a little note saying that people don???t like to use vintage records anymore so the seller did me the favor of sending me a copy of the record on CD. Nothing else was said on the note, and I???d gotten no other notices via e-mail. I thought the seller had lost a nut and sent me a CD instead of the actual record. After a series of heated e-mails the guy got back to me and informed me that this was all a mix up. He had sent me the LP via UPS, and just wanted to send the CD to me as a complimentary item. Still, I thought to myself, why didn???t he tell me he was doing this and why send it in a separate package, one that was going to show up before the actual record? Anyway, despite all the drama I finally got my hands on the actual vinyl copy of the Willie Dynamite OST, which I???d been looking for quite some time. The soundtrack was composed and conducted by J.J. Johnson who worked on other similar movies like Cleopatra Jones. Like that release, Johnson did a great job capturing the mood of blaxploitation movies with tracks like the soulful Willie D featuring Martha Reeves on vocals that begins and ends the record. Reeves also appears on the mid-tempo Keep On Movin On, which is okay, but not as good. Johnson is also able to get funky on instrumentals such as Willie Chase that starts off very minimalist with plenty of percussion before the horns and big band step in. Willie Escapes is very similar, sans the big band though. Passion???s Dilemma, is more on a Soul-Jazz tip with plenty of keys playing. Parade Strut starts off with some open drums before some brass joins in that gives it a marching band type feel. It eventually turns into another funky Jazz number.
LAMONT JOHNSON
Sun, Moon and Stars (Mainstream 72)
This record has so much potential with the solid rhythms backed by percussion on many tracks. That foundation however, is ruined by LaMont Johnson???s choice of keyboard tones that sound like a little kid???s toy. For some reason he actually thought this was a good look as the liner notes point out his ingenuity and ???realism.??? Those ???innovations??? destroy what would otherwise be some very good Soul-Jazz. It???s only when other musicians such as during the horn and guitar solos on M???Baasa, that the songs can be enjoyed. Amazingly enough, Johnson actually pulls of a few songs where he doesn???t go crazy with the sounds, such as on Signifyin Gemini, a funky Jazz piece led by the guitar and bass. There???s also Medusa???s Meanderings, which is a good upbeat Jazz tune with a little Latin flavor to it thanks to the conga playing. After those cuts, Sun, Moon and Stars gets into some much more traditional light Jazz.
LAURIE JOHNSON
Avengers OST (Starlog/Varese Sarabande 82)
When I was a kid my mom was a bit of an Anglophile thanks to PBS. One of the British shows she used to watch was the Avengers. This is a collection of songs by Laurie Johnson who did that show, plus The Professionals. While Emma Peel and John Steed bless the front and back cover, the songs are actually from the New Avengers. It turns out the music from The Professionals is better. While most of the songs from the New Avengers are orchestra pieces, the ones from The Professionals lean more towards funky Soul-Jazz. For example there are Sleuthing, On The Scent and In Pursuit, which are dark soundtrack pieces with the first developing very slowly with conga and horns. On The Scent is even better with its slick wah wah guitar playing. On Target ends the LP and sounds like something for a chase scene.
RUDOLPH JOHNSON
Second Coming (Black Jazz 73)
Black Jazz was known for its spiritual Jazz releases. Sax player Rudolph Johnson seemed to take that idea literally on the cover of Second Coming. On the front he???s sitting cross-legged with nothing on but a wrap around his waist, playing flute on some grass with clouds in the background. The music is actually pretty straight-forward Bop. Johnson gets down a bit on The Highest Pleasure with some strong drum playing by Douglas Sides matched by the piano work of Kirk Lightsey.
RUDOLPH JOHNSON
Spring Rain (Black Jazz 71)
Spring Rain is a pretty straight-forward Bop album with plenty of soloing by Johnson on his sax. One exception is the grooving Diswa with its head bobbing beat. There???s also Devon Jean, an upbeat RnB influenced Jazz song with some nice open drum fills
BYRON LEE AND THE DRAGONAIRES
Reggae Round The World (Dragon 73)
Bryon Lee And The Dragonaires were a longstanding Jamaican act led by their Chinese-Jamaican band leader. For most of Reggae Around The World, Lee goes for a Pop-Reggae sound that???s not that appealing, but at other moments he comes through. For instance there???s Breakfast In Bed with a female chorus that was a Jamaican favorite having been recorded several times by different artists. There???s also the light and upbeat instrumental Black On with Lee???s guitar in the lead, the melodic In The Mood and Your Love Is Amazing, and a cover of Back Stabbers.
LULU
New Routes (ATCO 70)
Lulu is best known as the singer who acted in and sang the title track to To Sir With Love. She had a Pop career before and after that, and on New Routes she traveled to America to record with the famed Muscle Shoals studio musicians in Alabama, and be produced by the power trio of Jerry Wexler, Tom Dowd and Arif Mardin. The southern influences are heard immediately with her delivery on Marley Purt Drive that???s a Country-Rock tune with some horns. Where she really finds her stride however is on a cover of Feelin Alright where her raspy vocals providing the perfect compliment to the strong horn arrangement. She also does a good job on the Southern Soul of Dirty Old Man with more brass.
MIRACLES
Do It Baby (Motown 74)
Do It Baby is a good example of the fine work that the Miracles did after Smokey Robinson left the act. They open up with the slick title cut with its walking bass line. Many of the following tracks have that same mellow yet sophisticated groove to them such as Up Again, Where Are You Going To My Love, What Is A Heart Good For, and You Are Love. With such a strong array of songs it appeared that the Miracles were talented enough to survive the departure of Robinson.
OSCAR PERRY
I Think They???d Sell The Sunshine (Crazy Cajun 78)
Oscar Perry was a Blues-Soul singer and musician from Houston, Texas. In the 1970s he hooked up with Huey Meaux and released a series of singles and albums on his Crazy Cajun label. Although most of I Think They???d Sell The Sunshine consists of laidback pieces, Perry is still able to get down on numbers like the hard driving Watergate with a spoken chorus that plays off his light and high pitched singing during the versus. Even better is the Soul tune Right Here At Home that starts off with a drum break before going into Perry???s rich singing, backed by some female back-ups on the chorus. There???s also the slick sounding title cut with a little Funk to it, and the closing Why Do I Always Hurt The One I Love, a brooding love song with some great bass fills.
TEMPTATIONS
Meet The Temptations (Gordy 64)
Meet The Temptations was the group???s debut album produced by Barry Gordy and Smokey Robinson. Being so early in their career, the LP provides only a few hints at what they would become. The big hit off the record was The Way You Do The Things You Do that shows off all the singing skills of the group. After that the rest is almost all filler. The exceptions are the Pop-Soul of I Want A Love I Can See, and Just Let Me Know that has some of the vocal flourishes of their later work.
OLD RECORDS OUT THE CRATES:[/b]
SYL JOHNSON
Back For A Taste Of Your Love (Hi 73)
Willie Mitchell created one of the most recognizable sounds in Soul with his label Hi Records. Amazingly enough, Mitchell used his engineering and producing magic to make Syl Johnson sound just like Al Green. You can hear that change right off the bat with the opening title cut. The rhythm tracks for that and I???m Yours are pretty upbeat. On I Let A Good Girl Go, Anyway The Wind Blows, and I Hate I Walked Away, Johnson gets into that slow groove which the Hi sound was best suited for, with its looping string arrangements highlighting the mood. He???s then picks it up just a little on the mid-tempo Feelin Frisky with some strong back-up singers and a driving bass line. Mitchell is even able to produce a funky track for Johnson on the closing The Love You Left Behind.
SYL JOHNSON
Diamond In The Rough (Hi 74)
Diamond In The Rough was the second album Syl Johnson recorded with Willie Mitchell???s Hi label. Like their first collaboration together, Mitchell made Johnson sound just like Al Green. That showed the power producers had over their artists, but it was not a bad turn of events for Johnson. He was able to record some fine tracks with Mitchell. On Diamond In The Rough those are separated between the fast ones like Stuck In Chicago, the slower Could I Be Falling In Love, and the mid-tempo Let Yourself Go, Don???t Do It, and Keeping Down Confusion. All of those have the trademark Hi sound with their rich rhythm tracks, horns and strings. The height of the collaboration between Johnson and Mitchell however, can be heard on the dark and moody I Hear The Love Chimes, by far the best track on the record.
SYL JOHNSON
Total Explosion (Hi 75)
Despite the late recording date, Chicago???s Syl Johnson and Memphis??? Willie Mitchell were still cranking out quality Soul in 1975. There???s the Grooving I Only Have Love and Take Me To The River with the horns providing just the right push to the rhythm. Bustin Up Or Bustin Out is a slow and bluesy number that features Syl on the harmonica, while on Steppin Out, Syl sings about confronting his woman about where she went. It Ain???t Easy and Bout To Make Me Leave Home are also good listens.
JONES, BOOGALOO JOE
No Way! (Prestige 71)
Ivan ???Boogaloo??? Joe Joones was a Jazz guitarist that worked with Grover Washington, Sonny Phillips, Butch Cornell, Jimmy Lewis and Bernard Purdie to record No Way! It gets off to a great start with the fast paced Soul-Jazz of the title cut with Jones playing some funky riffs on his Gibson followed by plenty of fine soloing. Sunshine Alley has a nice grooving rhythm to it, and the slightly Pop sounding If You Were Mine isn???t half bad either.
AL GREENE
Back Up Train/Don???t Leave Me (Hot Line Music Journal)
Listening to this 45 reminds one of the power of producers over their artists. This was Al Green???s 1st 45 released on the Hot Line label. They would both later appear on an album entitled Back Up Train. It has none of the sound that Green would become famous for when he hooked up with Willie Mitchell???s Hi label. Even the singing style doesn???t really appear to be the same. Back Up Train is a good slow grooving Soul tune however with strings highlighting the hurt that Green sings about. The flipside is more of an upbeat dance track, but I prefer the power ballad A-side more.
GLADYS KNIGHT & THE PIPS
I Wish It Would Rain/It???s Summer (Soul 68)
Motown had many of their artists record songs multiple times as shown on this 7??? by Gladys Knight & The Pips. The A-side is a cover of the Temptations??? hit I Wish It Would Rain. Knight and the Pips are able to do it with style with a more powerful beat giving it a different groove from the original. It???s Summer is a power ballad with more fine singing by Ms. Knight.
OTIS & CARLA
Knock On Wood/Let Me Be Good To You (Stax)
Otis Redding was one of the greatest Soul singers of all time. Paired with Carla Thomas, the duo was unstoppable. Their power together is amply shown on a cover of Knock On Wood. It???s got the trademark Stax horns and a driving beat along with Redding???s and Thomas??? rough vocals that make this version even better than the original. Let Me Be Good To You is more of a laidback and melodic Soul number. This 45 comes from their album King & Queen
WILSON PICKETT
Engine Number 9/International Playboy (Atlantic)
Engine Number 9 was one of the funkiest pieces Wilson Pickett ever recorded. It starts off with a distinctive cowbell, drum and bass intro followed by some distorted Rock guitar before Pickett joins the fray. International Playboy is also a good power Soul tune with the brass section in the lead.
ALVIN ROBINSON
I???m Gonna Put Some Hurt On You/How Can I Get Over You (Blue Cat)
Alvin Robinson was a New Orleans Soul singer. He sounds very similar to other artists from the city of the time such as Lee Dorsey on I???m Gonna Put Some Hurt On You with its bouncy, piano led rhythm, and big sing along chorus. How Can I Get Over You is a screaming, bluesy ballad.
JOHNNIE TAYLOR
Free/Try Me Tonight (Stax 74)
This 45 comes from Johnnie Taylor???s Super Taylor album. Free is a slow grooving Soul tune with horns and the guitar playing a prominent part in the rhythm, but it???s really all about Taylor???s singing and some sexy female singers doing back-ups. Try Me Tonight is in a similar mode, but is more of a power ballad.
LP REVIEWS:[/b]
JIMMY CLIFF
Wonderful World, Beautiful People (A&M)
Jimmy Cliff had one of the sweetest voices in Reggae. He also benefited from working with Leslie Kong who created a rich backing usually with strings such as on Time Will Tell. An even better example of that sound is Many Rivers To Cross, which was made famous by its inclusion on the Harder They Come soundtrack. It highlights Cliff???s slow and soulful singing with an organ melody that reminds one of Gospel music. Cliff wasn???t afraid of politics either with Viet Nam where he tells the story of several letters home from the war that include one soldier telling his friends and family don???t worry he???d be home soon to a mother being told her son had been killed. I???m Gonna Use What I Got To Get What I Need starts off with some nice horn work and has a very strong drum track, while Hard Road Travel is carried by Cliff???s singing and his back-ups. The light and melodic Reggae continues with the title track.
FRIENDS OF DISTINCTION
Highly Distinct (RCA 69)
Friends Of Distinction and the 5th Dimension were the MOR Soul heavyweights of their time. On Highly you could hardly tell the two apart with the Pop arrangements and vocal style on songs like It???s Just A Game Love and covers such as Light My Fire that sound just like the 5th Dimension. I much prefer the group???s Grazin and Whatever albums to this one.
EDWIN STARR
Soul Master (Gordy 68)
Soul Master was Edwin Starr???s debut album for Motown. Before his song War, he hit the charts with the opening cut, Agent Double O Soul with its heavy bass line and simulated finger snaps. Unlike many Motown records, Soul Master isn???t all about the hits either. There???s some other quality Soul tunes like the heavy hitting I Am The Man For You Baby, Way Over There, and Time Is Passin By, as well as some conventional Motown sounding cuts like (S.O.S.) Stop Her On Sight and My Weakness Is You with that distinctive Motown beat to them. The slow grooving title cut is also good.
OLD RECORDS OUT THE CRATES:[/b]
GRAHAM CENTRAL STATION
Graham Central Station (Warner Brothers 74)
Larry Graham started the Graham Central Station after he was kicked out of the Family Stone. Unfortunately he never achieved the heights he reached working with Sly. There???s only one really good track on their self-titled debut and it???s a vocal only cut called We???ve Been Waiting. It shows off the group???s amazing vocal harmonies that were obviously influenced by the Family Stone. After that however, the songs are a bit of a disappointment. The rest are mid-tempo with plenty of Graham???s famous slap bass, but they don???t really go anywhere. It???s not until the second side that Graham is able to pen some catchy numbers beginning with Can You Handle It? with a big and bouncy rhythm track. The laidback People isn???t bad either and again shows the strong harmonizing of the group???s singers.
BOOGALOO JOE JONES
Right On Brother (Prestige 70)
Ivan ???Boogaloo??? Joe Jones recorded several albums for the Prestige label. On Right On Brother he was joined by Rusty Bryant, Charlie Earland, Jimmy Lewis, and Bernard Purdie. They start off with the melodic Right On that has a little funkiness to the rhythm. Then there???s the bluesy Things Ain???t What They Used To Be and then the fast Jazz of Poppin. On the second side there???s a decent cover of Someday We???ll Be Together followed by the upbeat Soul-Jazz of Brown Bag that has some James Brown to it.
IVAN ???BOOGALOO JOE??? JONES
Snake Rhythm Rock (Prestige 73)
Snake Rhythm Rock was another record that Ivan Jones did with Prestige. This time he was helped by Rusty Bryant, Butch Cornell, Jimmy Lewis, and Grady Tate. Like his other albums, this one mixes Jazz, Blues, Funk and Soul. It begins with the funky stuff of Hoochie Coo Chicken. Next is the more laidback title cut, that???s still got a driving beat to it.
BOOGALOO JOE JONES
What It Is (Prestige)
What It Is was another in a series of records that guitarist Ivan Jones recorded with Prestige in the 1970s. Making up the rest of the band for the session were Butch Cornell, Grover Washington, Jimmy Lewis, Buddy Caldwell and Bernard Purdie. They start off with a nice cover of Ain???t No Sunshine that captures the slow and moody feel of the original. The other good track is the title cut with a little bounce to its rhythm and conga work by Caldwell in the background.
Thanks as always for the reviews Motown. Kinda surprised you didn't like this album more - admittedly it's nowhere near the genius of the Family Stone at their peak but thought there were a couple of decent tracks on there - actually rather like their cover of It Ain't No Fun To Me - particularly the second half of the track.
The opening cut is amazing. The second side however is much better than the first, but really, if I'm thinking about a Larry Graham album to play it wouldn't be this one. It'd be
Ha ha yeah, can't really argue with The Jam. Hadn't noticed that you'd already reviewed that one.
That's by far the best song Graham ever recorded as a solo artist.
45 REVIEWS:[/b]
LORRAINE ELLISON
Don???t Let It Go To Your Head/I Dig You Baby (Mercury)
Both songs on this 45 are light and airy Soul tunes with some sweeping strings on the A-side. Neither is bad, not great either.
LP REVIEWS:[/b]
INTRUDERS
When We Get Married (Gamble 70)
When We Get Married takes a couple tracks to get going, but eventually the musical genius of Gamble and Huff come through. The group finally catches a groove with the Pop-Soul of Hocus Pocus. Even better is the power ballad Guess Who Loves You and Wonder What Kind Of Bag She???s In, which are much harder hitting and show off the group???s vocal abilities. Let Me In Your Mind is more of that upbeat sound that Philly and the Intruders were known for.
BEN E. KING
Rough Edges (Maxwell 70)
Rough Edges was another attempt by Ben E. King, who had already been in the music business for 20 years, to keep up with the times. Most of the tracks are covers of tunes by Bob Dylan, the Beatles, etc. To his credit King is able to pull off some good music beginning with She Let Her Hair Down with its brooding bass and drum intro and some funky Rock influences. That flows right into probably one of the best versions of Little Green Apples I???ve heard. The light and upbeat Wishing For Tomorrow follows with some nice breakdowns. King then goes full throttle for the Rock sound with Come Together/If You???ve Gotta Make A Fool Of Somebody with a distorted guitar line throughout. Finally, there???s the slow and pleading Don???t Let Me Down that starts off with a drum break, and a rockish cover of Dylan???s Tonight I???ll Be Staying Here With You.
GLADYS KNIGHT AND THE PIPS
All In A Knight???s Work (Soul 70)
All In A Knight???s Work was a live album by Gladys Knight And The Pips. They get off to an inauspicious start with the show tune Cabaret, which I???m sure was the work of Barry Gordy, who always had a hard-on for getting it on with the white dinner club crowd. They quickly make up for it with The End Of Our Road, one of the group???s signature songs, with its catchy groove. A cover of Fever starts off at a feverish pace with a jazzy arrangement, and then in the middle it slows down for a funky little breakdown, before picking up the pace again. Just as fast, but on the Soul tip is Ain???t No Sun Since You???ve Been Gone. I like the less hectic songs better such as the slow and dramatic sounding Giving Up and Dr. Feelgood. Everybody Needs Love has one of those classic Motown rhythms, and there???s also their classic cover of I Heard It Through The Grapevine with an extended jam at the end where Knight tries to get the crowd to sing along with her. A fine performance if it wasn???t for the show tunes that are interspersed throughout the recording.
WANDA ROBINSON
Me And A Friend (Perception 73)
Wanda Robinson was a poetress backed by Julius Brockington and his United Chair band. They provide a great soundtrack for Ms. Robinson???s spoken word pieces that are full of black pride and awareness, as well as some self-reflective pieces. For example, there???s the super funky A Possibility (Back Home) that starts off with a little dream break and the Soul-Jazz of Carnal Was The Word with its horns and organ, and Nobody In His Right Mind. On Because They Envy Us they slow everything down. The second side is full of longer more stripped down Jazz arrangements like Odyssey and Paranoia.
VARIOUS
San Francisco (San Francisco 70)
The San Francisco label was a local Bay Area outfit that released some Folk, Rock and Soul acts during the late-60s/early-70s. Their most well known bands were the Tower of Power and Cold Blood. This compilation contains tunes from their albums as well as ones by Hammer, Victoria and David Lannan. Both of Hammer???s numbers are good, especially the organ led instrumental Tuane that features some scat singing. Cold Blood comes with the funky Shop Talk which also happens to be an instrumental that features two great little breakdowns in the middle, one of which ends with a drum break. Their other track Too Many People is just as good with Lydia Pense???s strong singing. Both are from the group???s Sisyphus album. Out of Tower of Power???s offerings, Social Lubrication is the better of the two with its soulful group singing and strong horn play. Victoria and David Lannan are both Folk artists.
OLD RECORDS OUT THE CRATES:[/b]
GRAHAM CENTRAL STATION
Release Yourself (Warner Brothers 74)
Release Yourself was Graham Central Station???s second album. The opening G.C.S., which is suppose to be an introduction to the band, starts off sound just like a Sly Stone song, but when the full band joins in, it has its own flavor. Still, it???s not that remarkable, and it seems Graham was still living the shadow of Sly as there???s some obvious borrowing going on in other tunes as well. Still, the songs just don???t hold my attention for the most part. Especially the fast paced ones, which just sound like slap bass fests. The one exception is Feel The Need with its catchy melody and radio friendly sound.
QUINCY JONES
$ OST (Reprise 72)
Before working with Michael Jackson, Quincy Jones was probably best known for his Jazz arranging and soundtrack productions. The movie $ was an example of the latter featuring Warren Beatty and Goldie Hawn. It also happens to be one of his funkier and soulful works featuring Little Richard singing the opening cut Money Is with plenty of wah wah guitar and his usual energetic delivery. There are also a number of dark and moody pieces that all sound like a variation of the same theme with a heavy bass line that includes Snow Creatures, Candy Man and Kitty With The Bent Frame. On the second side Jones gets a little abstract with a deconstructed version of Money Is called Passin The Buck, along with plenty of musical play on Brooks??? 50?? Tour (Main Title Collage), which goes through several phases of sound experimentation before ending with a more traditional female Jazz bit.
DAVID RUFFIN
My Whole World Ended (Motown 69)
David Ruffin was one of the lead singers for the Temptations. In 1968 however he was kicked out of the band. That didn???t stop his career as he went on to become a solo performer, with this being his first album by himself. The mix of Ruffin???s rich voice and Motown prod uction is heard on tracks like the hit title cut that moseys along with strings in the background for a beautiful mix. That sound is repeated on I???ve Lost Everything I???ve Ever Loved. We???ll Have A Good Thing Going On proves that even with a rough voice Ruffin could perform love songs just like when he was with the Temptations. There are some other fine Soul tunes like Pieces Of A Man and I???ve Lost Everything I???ve Ever Loved as well.
EDWIN STARR
25 Miles (Gordy 69)
Edwin Starr was able to put out some really hard-hitting Soul while he was with Motown. Case in point the title cut Twenty-Five Miles mixes the catchiness of a Motown song with a real powerful rhythm and Starr???s rough signing for one hot tune. That groove continues with I???m Still A Struggling Man that???s tempered a bit by the bridge. He Who Picks A Rose and Soul City (Open Your Arms To Me) are in a similar vein. Amazingly enough, on the second side Starr goes through a transformation and comes out sounding just like every other Motown act. Only Mighty Good Lovin??? approaches what was created on the A-side.
45 REVIEWS:[/b]
BLINKY
I Wouldn???t Change The Man He Is/I???ll Always Love You (Motown 68)
I Wouldn???t Change The Man He Is has the same sound and feel to it as Aretha???s Do Right Woman ??? Do Right Man. It???s mainly Blinky backed by a piano and later strings with her pleading and soulful singing with a good dose of Gospel to it as well. I???ll Always Love You is a power ballad that just misses the mark.
CHI-LITES
24 Hours Of Sadness/You???re No Longer Part Of My Heart (Brunswick 69)
Despite the title, 24 Hours Of Sadness is actually a poppy Soul number with loud horns that contrast with the melancholy lyrics about losing a girlfriend. You???re No Longer Part Of My Heart is more of the same with a strong bass line. This 45 comes from the group???s Give It Away album.
ETTA JAMES
Security/I???m Gonna take What He???s Got (Cadet 67)
This 45 sees Etta James covering Otis Redding???s great tune Security. She does a good job with the song. Of course, her delivery is much rougher than Otis??? giving it a little different look, and the female back-ups towards the end are a nice touch. I like the flipside, penned by Don Covay, better with its slow groove and bluesy delivery. This comes from James??? Tell Mama album.
EDDIE KENDRICKS
Can I (Tamla 71)
I found this 45 on a little trip to Chicago during the summer and it turned out to be green colored vinyl, which I thought was a nice added bonus. Can I is a mood piece with an almost Jazz arrangement with heavy strings and brushes on the drums. It comes from Kendricks??? debut album, but was a poor choice for a single. He???d just left the Temptations, one of the hottest vocal groups of their time, and needed to make a hit to separate himself from his past. This song really didn???t do that all.
EDDIE KENDRICKS
One Tear/The Thin Man (Tamla 73)
Eddie Kendricks was one of the lead singers in the Temptations before disputes forced him to leave the group and go solo. Afterwards he proved that he was a great performer all by himself. This 45, that comes from two separate albums is proof positive of his talents. One Tear is one his trademark sophisticated Soul numbers with strings, but a dance floor friendly groove to it. The Thin Man tries to follow in the same footsteps but isn???t as successful.
LAURA LEE
It???s How You Make It Good /Hang It Up (Chess)
Laura Lee recorded quite a few singles for Chicago???s Chess. Hang It Up is a slow and bluesy power ballad about not giving up on love. It???s How You Make It Good picks things up while maintaining a down home feel to it with plenty of horns, that would stand up to the finest of Southern Soul from the same period.
ORIGINALS
I???m Someone Who Cares (Soul 71)
The Originals were one of the lesser-known groups signed to Motown. They released a couple albums for the Detroit label that you should check out if you like vocal group Soul. I???m Someone Who Cares is a good example of what they were capable of with its catchy beat and strong singing.
SPINNERS
Message From A Blackman (V.I.P. 70)
V.I.P. was another subsidiary of Motown. The Spinners spent a short period of time with the label and released this 45 written by Whitfield and Strong. It???s lyrics were obviously inspired by the Black Power movement with lines about how just because people are white, doesn???t mean they???re always right. The music is also nice and dark sounding with some congas and echoed voiceovers.
BOBBY TAYLOR & THE VANCOUVERS
Does Your Mama Know About Me/Fading Away (Gordy 68)
Bobby Taylor and the Vancouvers might be as well known for the fact that Tommy Chong was a member as their music. Besides that bit of trivial, they were a very good Soul group with the ballad Does Your Mama Know About Me being their shining moment, and a big hit on the charts as well. It???s a sophisticated tune with strings playing the major role in the rhythm and Taylor and his back-ups coming to a high note with the chorus. Fading Away is just as good with an easy-going groove that would be good for slow dancing with your girl or guy.
GLORIA TAYLOR
Grounded Part I & II (Silver Fox)
Grounded is a high powered Funk number with Taylor???s blaring voice, horn bursts, and some fast guitar work. Part II just extends the jam to a hyperactive level that reminds me of some of those grooves that James Brown and his band would get into.
LP REVIEWS:[/b]
BIG BROTHER & THE HOLDING COMPANY
Cheap Thrills (Columbia 68)
I never really gave Janis Joplin much thought. About a year ago however, I watched a documentary about 60s Rock and got to listening to some of her work and thought I???d give her a shot and picked up one of her earlier releases with the Bay Area???s own Big Brother & The Holding Company. The record has been sitting on the shelf since then, but I guess it???s better late than never. The first thing to mention is the 60s iconography with the R. Crumb cartoon cover with a Hell???s Angeles logo at the bottom corner. The gatefold cover shows the band playing with a huge psychedelic lightshow going on in the background. The album was their second and the one that put them on the charts. They start off with a Combination Of The Two with some searing guitar work that contrasts with the male and female vocals that have a little Soul to them. I Need A Man To Love is a slowed down Rock-Blues-Soul number with call and response vocals between Joplin and the rest of the band. Of course the big hit tune was Piece Of My Heart that starts off with Joplin screaming ???Come on!??? before mellowing out for the versus only to build up again for the chorus. The second side is some uninspired guitar heavy Blues-Rock that goes nowhere.
INDEPENDENTS
First Time We Met (Wand 72)
The Independets were a three piece vocal Soul outfit from Chicago that featured Chuck Jackson, Jesse Jackson???s younger brother, who would later go on to be a prominent song writer for others. The First Time We Met was the group???s debut album after some successful singles. The opening I Just Want To Be There introduces the group???s rich style of crooning Soul with a talking beginning by Helen Curry. The groove continues with Out Love Has to Come Together and the slowed down Leaving Me and Couldn???t Hear Nobody Say (I Love You Like You Do)
OLD RECORDS OUT THE CRATES:[/b]
QUINCY JONES
Body Heat (A&M 74)
Body Heat saw Quincy Jones venture into the Soul-Jazz-Funk Fusion that was so poplar at the time by the likes of Roy Ayers and others. That mix is heard on the title cut with its male singing and plenty of work on the keys for a pretty catchy Soul number that sounds Modern Soul before there was such a thing. Jones does the same thing on the slower Soul Song (Songs Of the Buffalo Soldier) that tries to incorporate a neo-Native American beat to it given the fact that the Buffalo Soldiers were known as Indian fighters and some strong group vocals. On Boogie Joe The Grinder, Jones is able to produce a funky proto-Disco number. The album ends with the slick If I Ever Lose This Heaven that again sounds like pre-Modern Soul.
QUINCY JONES
Gula Matari (A&M 70)
On Gula Matari was basically a CTI session recorded with Quincy Jones. The cast of musicians reads like a who???s who of those times such as Hubert Laws, Don Elliott, Jimmy Johnson, Freddie Hubbard, Ray Brown, Ron Carter, Richard Davis, Eric Gale, Herbie Hancock, Bob James, Grady Tate, and Milt Jackson to record four songs that are a mix of Soul and Jazz with some Big Band arranging. A cover of Bridge Over Troubled Water is in this mode with a slow and easy beginning before a big Gospel like female chorus takes over. The title cut on the other hand sounds like it should???ve come from one of Jones??? many soundtracks as it would sound perfect as a background mood piece featuring Hubert Laws??? flute playing and Milt Jackon???s vibes. Half way through it picks up the pace, which would go perfectly with a chase scene. Walkin is the jazziest of the four-numbers with a Big Band and Jazz rhythm. The best track by far is Hummin, written by Nat Adderley with its infectious beat that grows in intensity with a female chorus humming along with the melody and horn stabs. It only gets better as it progresses.
GEORGE MARTIN
Live And Let Die OST (United Artists 73)
Live And Let Die was notable because it featured James Bond entering into a Blaxploitation movie at the beginning when he tracks the bad guys through Harlem. It???s also known for the title cut by Paul and Linda McCartney, which starts off with Paul and his piano before a dramatic bridge that speeds up the pace, only to be brought down again during the versus. After that there some interesting mood pieces such as New Second Line that mixes the familiar James Bond Theme with some wah wah guitar and strings for a tune fitting a spy movie. Also good is San Monique with its heavy percussion and horn work that gives it a slick feel to it, Fillet Of Soul ??? New Orleans with its sharp guitar line and funky groove that segues into another version of the title cut, this time done by BJ Arnau that gives it a new spin, Trespassers Will Be Eaten that???s another spy themed tune
100 PROOF AGED IN SOUL
90 Days Freeze (On Her Love)/Not Enough Love To Satisfy (Hot Wax)
100 Proof Aged In Soul later became the 8th Day. Under either moniker, the group was a strong vocal Soul outfit. 90 Days Freeze shows off their talents with its swirling beginning before the horns call out the vocals on this catchy number. Not Enough Love To Satisfy has some rich orchestration at the beginning before turning to the group???s strong singing and a nice groove.
JOHNNY ADAMS
If I Could See You One More Time/Reconsider Me (SSS International)
The star of this 45 is If I Could See You One More Time, a pleading slow number with plenty of organ and a subtle guitar line. Reconsider Me is not half as interesting.
ETTA JAMES
Two Sides (To Every Story)/I Worry Bout You (Argo)
This is an early 45 by Etta James. Two Sides is an upbeat, early 60s RnB dance tune that highlights Ms. James??? strong singing. I Worry Bout You is a slow love tune with lots of strings.
GUS JENKINS
Chittlins/You???ll Be the One (Tower)
Chittlins is an instrumental built around a slow and easy Blues progression with a guitar and piano that take turns soloing. You???ll Be The One is more of the Blues with Jenkins singing that gets a little more upbeat especially when the horns start coming in loud and strong.
DENISE LA SALLE
Deeper I Go (The Better It Gets)/Now Run And Tell That (Westbound)
Denise La Salle dropped some fine Soul sides while on Westbound. This one has the added benefit of having Willie Mitchell helping on the arrangements. First up is The Deeper I Go (The Better it Gets) with a little guitar intro before the horns come in and Ms. La Salle lays some down home-style singing over the top. Now Run And Tell That is more of the same with more fine singing by Denise.
ORIGINALS
Baby I???m For Real/Moment of Truth (Soul 69)
Baby I???m For Rea is a sweet Soul ballad with lush and sweeping strings to add to the emotions. Moment of Truth is kind of forgettable and makes me just want to flip it back to the other side.
ORIGINALS
So Near (And Yet So Far)/You???re My Only World (Soul 74)
The Originals were a really good vocal Soul group, but you wouldn???t know it form this 45. Both sides are mediocre. For example, on You???re My Only World the group tries doing too much. It???s an attempt at a big dramatic number with lots of orchestration, but it basically goes nowhere. So Near fares no better. There are a lot better singles by the group than this one.
FREDA PAYNE
Bring The Boys Home/I Shall Not Be Moved (Invictus)
Bring The Boys Home is about the Vietnam War, as Ms. Payne sings about soldiers fighting in a senseless war leaving their families behind. The chorus calls to, ???Bring the boys home, bring them back alive??? over a mid-tempo beat. I Shall Not Be Moved is more upbeat with some congas while retaining a very light and poppy air to it. Both tunes are good, but not great overall.
FREDA PAYNE
I???m Not Getting Any Better/The Road WE Didn???t Take (Invictus)
Both of these tunes were written by the dynamic duo of Holland and Dozier, but both are very MOR sounding. Perhaps they needed the other Holland for a tri-fecta to save this 45.
EDWIN STARR
Take Me Clear From here (Soul 70)
Edwin Starr was always one of the rougher sounding acts that Motown signed and that???s true of this 45. It???s got a chugging rhythm with a little Blues in it and some nice female back ups. At the same time its has a little classiness to it with strings half way through.
GLORIA TAYLOR
Loving You And Being Loved By You/You Got To Pay The Price (Silver Fox)
Loving You And Being Loved By You is a swinging Soul number with a little funky bottom to its bass playing and horn stabs. You Got To Pay The Price is a mellow number, and not as interesting.
IKE & TINA TURNER
The Cash Box Blues or (Ooops, We Printed The Wrong Story Again)/I???ll Never Need More Than This (Philles Records)
Both sides of this 45 were written and produced by Phil Spector and released on his own label, Philles records. You would never know that from Cash Box Blues, which is an upbeat RnB instrumental with a very loud piano in the mix. As soon as you hear I???ll Never Need More Than This, you can tell it???s a Specter track however, because it???s got that ???wall of sound??? that he was famous for. You also would never know it???s a Tina Turner cut as there???s none of that rough edge that she was known for. It sounds more like a Pop tune from one of Spector???s other acts, but with no hook.
CHARLIE WHITEHEAD
Love Being Your Fool/Now That I Can Dance (Island 74)
Charlie Whitehead was a singer that worked with Jerry Williams, aka the Swamp Dogg. Both sides of this 45 sound very similar, that being very light Soul with a little Country twang to them at times. Neither really appeals to me however.
OLD RECORDS OUT THE CRATES:[/b]
QUINCY JONES
Hot Rock OST (Prophecy 72)
The Hot Rock was a heist movie set in New York City starring Robert Redford and George Segal. Quincy Jones was in charge of the music. It gets off to a funky little start with the intro to Listen To The Melody before turning into a Soul tune featuring the singing of a woman named simply Tata. The rest are background music and mood pieces that you would expect on a soundtrack. The only one that stands out is Listen To The Melody/Dixie Tag, which is just a continuation of the opening cut.
QUINCY JONES
Lost Man OST (Uni 68)
The Lost Man was a movie featuring Sidney Poitier. As usual, Quincy Jones came with the moody Jazz pieces for the soundtrack such as The Lost Man (Main Title) with some percussion, whistling, and a child???s rhyme, but in a dark and creepy format. The instrumental Slum Creeper that features some stabs and off kilter so und effects in the background is also good, but even better is Main Squeeze with its shouting horns and funky rhythm. The best tracks however are the more straight-forward Soul tunes like Sweet Soul Sister and Try, Try, Try that featuring the singing of Nate Turner, Venetta Fields, and the Mirettes, with the standout being Rap, Run It On Down which is a duet between the two with some funky horn work. There???s also a big Gospel number by the Church Choir called He???ll Wash You Whiter Than Snow.
MADELINE BELL
I???m Gonna Make You Love Me/Picture Me Gone (Mod)
Madeline Bell does a nice job with a cover of I???m Gonna Make You Love Me. Picture Me Gone is a sophisticated Soul number with plenty of orchestration, but with an early 60s Soul sound to it.
REUBEN BELL
Action Speaks Louder Than Words (Silver Fox)
Reuben Bell???s Action Speaks Louder Than Words should not be confused with the later song by the same title by Chocolate Milk. This one is a light and upbeat mid-60s Soul dance tune with an easy going beat
CHI-LITES
I Won???t Care About You/You Did That To Me (O???Retta)
When I saw a Chi-Lites 45 not on Brunswick I had to pick it up. This early single by the group features a strong Doo-Wop sound on I Won???t Care About You. I like the flip You Did That To Me a little more because of the richer vocal melody. Both songs remind me a bit of the Coasters.
JIMMY CLIFF
Wonderful World, Beautiful People/Waterfall (A&M)
Wonderful World, Beautiful People comes from an album of the same name. The song highlights Cliff???s Pop sensibilities with its sing along chorus and string arrangement. Waterfall is an attempt to record a straight Soul number with a driving drum beat, but it???s not that effective. When I listen to Jimmy Cliff I want to hear that rich and soulful Jamaican voice, not him trying to sound like an American.
GLASS HOUSE
If It Ain???t Love It Don???t Matter/Stealing Moments From Another Woman???s Life (Invictus)
Glass House were a mixed male-female vocal Soul outfit signed to Holland-Dozier-Holand???s Invictus label. If It Ain???t Love It Don???t Matter has a nice groove to it as the different singers trade off. Invictus also released If It Ain???t love on another Glass House 45, but with a different flipside. Stealing Moments From Another Woman???s Life is just as good if not better with its distorted guitar line.
JERRY-O
Karate-Boo-Ga-Loo/The Pearl (Shout)
Karate-Boo-Ga-Loo is an mid-60s instrumental with short stabs on the sax pushing the rhythm along and Jerry-O toasting over the top backed by some high-pitched female back-ups. Despite the different name, The Pearl is just a continuation of the A-side.
LINDA JONES
Hypnotized/I Can???t Stop Lovin My Baby (Loma)
Hypnotized is a slow, yet powerful ballad with a rich sound full of male back-ups, horns and strings. I Can???t Stop Lovin My Baby is a grooving Soul dance number with a catchy beat and Ms. Jones??? strong singing propelling it along.
LOWRELL
Mellow, Mellow Right On/Overdose (AVI 79)
Mellow, Mellow Right On is a great laidback dance number. It???s got an infections beat highlighted during the intro before the horns, strings and singing come in. Overdose is more of a funky Dance track with a lot of slap base and a delivery and sound that borrows heavily from Barry White, but doesn???t come off as successfully.
BOB MARLEY & THE WAILERS
Buffalo Soldier/Buffalo Dub (Rita Marley Music 83)
I couldn???t pass up on this 45, especially when it was pressed upon red vinyl. It was released on Rita Marley???s own label. Buffalo Soldier has a strong horn and vocal track to motor it along and a catchiness to it that probably got it a lot of radio play back in the day. The flip is an instrumental version of the song, with only a hint of Dub production at the very end.
JACKIE MOORE
Darling Baby (Atlantic 72)
Darling Baby is a laid back Soul number by Jackie Moore with a strong Blues influence to the guitar playing. The song gets richer as it progresses with the addition of a sax and some back-up singing.
JACKIE MOORE
If/Sweet Darling Baby (Atlantic 73)
If is an easy-going number with a bit of a melancholy air to it as Moore sings about all the problems in the world that need to be overcome to achieve happiness. Sweet Darling Baby is a more upbeat Soul number with a little Pop edge to it and some percussion hidden in the mix.
OLLIE NIGHTINGALE
How Far I Am From New York City/May The Best Man Win (Pride)
Jerry Butler???s production company was responsible for this 45 by Ollie Nightingale. How Far I Am From New York City starts off slow and brooding before building up to becp,ea powerful Soul number with a breakdown in the middle where she brings it all the way down before taking it to another level for the end. May The Best Man Win is more of a slowed down power ballad with a lot of Blues to it.
FREDA PAYNE
Unhooked Generation/Deeper & Deeper (Invictus 70)
Unhooked Generation was one of Freda Payne???s hits off her album Band Of Gold. It was given a rough edge with a distorted guitar intro before taking off into an upbeat Soul number. Deeper & Deeper sounds just like a Supremes??? tune with some strings, a thick rhythm, and one of those Motownesque sounding drum beats.
RAMP
Everybody Loves The Sunshine/American Promise (ABC Blue Thumb 77)
RAMP was a project put together by Roy Ayers and brought back to life for many by its being sampled by various Hip Hop artists. On this 45 they play Ayers??? classic Everybody Loves The Sunshine. It has a slower and bit more melancholy feel to it than the original. Ayers??? version makes it sound like the tune is about an uplifting experience, but the RAMP rendition could be the soundtrack for getting high. Despite the change it???s still effective. American Promise is an attempt at a funky dance track, a little akin to B.T. Express??? Do It Til You???re Satisfied, but not as good. The song doesn???t really go anywhere despite its potential.
FOSTER SYLVERS
Misdemeanor/So Close (MGM 72)
Foster Sylvers was part of the Sylers singing family group. Probably to cash in on the Michael Jack son craze, they decided that Foster would go solo and release a couple albums on his own. Misdemeanor was one of his big hits and later made famous by multiple samplings by Hip Hop artists. The song is a really good and catchy number mixing Foster???s high-pitched pre-teen Pop vocals with a rather funky rhythm that features the bass and drums tightly locked into each other. So Close on the other hand sounds like a lounge tune, that was probably the misguided attempt by Sylvers??? patriarch Leon Sylvers to catch that white dinner club audience Berry Gordy always had a hard on for.
JOHNNIE TAYLOR
Doing My Own Thing (Part I & II) (Stax 72)
Doing My Own Thing is a slow and meandering number with a heavy Blues influence in its rhythm and Taylor???s delivery. Part II is a bit more upbeat with some female back-ups at the beginning and a more prominent guitar line.
WHISPERS
Needle In A Haystack/Seems Like I Gotta Do Wrong (Soul Clock)
The Whispers were a great vocal Soul outfit. Their light and upbeat sound is highlighted on Needle In A Haystack with its piano led harmony and some great back-up singing. The B-side Seems Like I Gotta Do Wrong is a love tune and isn???t half as interesting.
LP REVIEWS:[/b]
SWEET SMOKE
How Sweet It Is (Crazy Cajun 78)
Sweet Smoke were a funky Rock group signed to the Houston, TX Crazy Cajun label. There sound is best heard on cuts like the laid back Lady Luck with some good bass playing and especially I Can Hear You Callin with its multiple drum breaks. There are also covers of Boogie On Reggae Woman and Nothing For Nothing that are pretty straightforward, but not standouts. Less successful is a version of the Ohio Players??? Fire that doesn???t capture the energy of the original.
OLD RECORDS OUT THE CRATES:[/b]
QUINCY JONES
Man And Boy OST (Sussex 71)
Man And Boy was a Western about black homesteaders starring Bill Cosby. The music was done by Quincy Jones and J.J. Johnson. The first song is Theme from ???Man and Boy??? (???Better Days???) that features Bill Withers. It???s a slow number with a little Country feel to the guitar and harmonica. It???s nothing to write home about however until half way through when the beat picks up and gets a little jazzy as well as orchestrated with strings that it really catches your attention. Slo-Mo is an interesting mood number that starts off with some percussion on a triangle before going into a little groovy Soul-Jazz instrumental. Man and Boy (Main Title) takes a long time to develop with a western harmonica beginning, leading to a background piece, before finally becoming a mellow Soul-Jazz number. Theme From ???Man and Boy??? (???Better Days???) is more upbeat. The best cut however is Pull, Jubal, Pull with its funky stabs and think rhythm.
QUINCY JONES
Mellow Madness (A&M 75)
Mellow Madness was one of Quincy Jones??? Soul albums. He recorded it with some Jazz stalwarts like Ralph McDonald, Harvey Mason, Hubert laws, Dave Grusin, and Chuck Rainey, as well as some up and comers like the Brothers Johnson. The opening Is It Love That We???re Missin??? with its slick production is a good example of what the album is like. It actually sounds a lot like the albums Jones would produce for the Brothers Johnson. I like the mellow and spaced out title cut better featuring Paulette McWilliams on vocals that slowly but surely builds up towards the end. There???s also the percussion propelled Beautiful Black Girl with vocals by The Watts Prophets that is akin to other Black Power spoken word groups of the time such as the Last Poets. The laidback and easy Just A Little Taste Of Me and the funk instrumental Tryin To Find Out About You are also good.
APOLLAS ??? All Sold Out/Mr. Creator (Warner Brothers)
The team of Ashford and Simpson wrote both of these tunes. All Sold Out is a heavily orchestrated and slow Soul number that???s a bit too sophisticated for its own good. Mr. Creator is the better of the two, sounding like a Motown song with a dance beat and some horns that???s sort of a mix of Martha Reeves??? singing with a Supremes??? rhythm track.
SYL JOHNSON
Don???t Give It Away/Going To The Shack (Twinight)
Don???t Give It Away is a great Soul number by Syl Johnson. It features a funky rhythm track with short horn stabs and Johnson???s ever so slight raspy vocals giving it a light and soulful edge. Gong To The Shack is just as good with a similar vibe.
LOST GENERATION
The Sly, Slick, and The Wicked/You???re So Young But You???re So True (Brunswick)
The Sly, Slick and The Wicked is the title track from a great, great sweet Soul album by the Lost Generation. The tune is near perfect with its combination of strings, horns, pounding drums, and the groups??? singing. You???re So Young But You???re So True is an easy going and upbeat love song with an eye towards the dance floor.
MAURICE & MAC
You Left The Water Running/You???re The One (Checker)
You Left The Water Running starts off nonchalantly, but eventually builds up as Maurice and Mac pick up their singing from the subdued beginning to some blaring vocals by the end. The sound reminds me a lot of Sam & Dave???s antics. You???re The One is a slow power ballad.
MONCLAIRS
Happy Feet Time/Wait For Me (Sunburst)
Happy Feet Time is a nice mid-tempo Sixties Soul instrumental with the sax in the lead and some handclaps on the beat. Wait For Me is the vocal side with some Doo Wop to the back-ups that the group was known for.
MONTCLAIRS
Dreaming Out Of Season/I Just Can???t Get Away (Paula)
Oliver Sain had a hand in producing both sides of this 45. Dreaming Out Of Season has a nice guitar led intro that leads into a sweet Soul number that highlights the Montclair???s strong group vocals. The flipside is an upbeat Pop-Soul number. I like the first side better.
NOTATIONS
It Only Hurts For A Little While/Superpeople (Gemigo 74)
It Only Hurts For A Little While is a slow and steady ballad with some sweeping strings in the background that support the group???s vocals well. Superpeople is the star of the show however, with its easy going beat, lightly tinged Funk, and falsetto vocals that sound very similar to Curtis Mayfield.
NOTATIONS
Just You And Me/I???ve Been Tryin (Twinight)
The Notations were a very strong vocal Soul group that were known for their sweet offerings. Just You And Me is a perfect example with its strings raising the song up and the group???s rich singing. I???ve Been Tryin is more of the same.
OTIS & CARLA
Tramp/Tell it Like It Is (Stax)
Tramp was probably the greatest product to come out of the collaboration of Otis Redding and Carla Thomas. They and the Stax band were able to create a brand new groove with the Lowell Fulsom hit. The tune is near perfect from the opening drum beat, to the back and forth banter between Otis and Carla as they try to one up each other, to the soaring horns. The flipside is a cover of the standard Tell It Like It Is that starts off with Otis??? trademark gut wrenching singing on the first verse before Thomas takes the next.
EDDY SENAY
Ain???t No Sunshine/Hot Thang (Sussex)
Guitarist Eddy Senay was able to give the classic Ain???t No Sunshine his own funky groove on this 45. It has a re-arranged beginning based around his guitar playing before going into an instrumental rendition that goes beyond the original. Hot Thang isn???t half as interesting. It???s a mid-tempo instrumental that features Senay???s soloing over an average and non-descript rhythm track.
SISTERS??? LOVE
I Know You Love Me/This Time Tomorrow (Man-Child)
Both sides of this 45 were arranged, conducted and produced by Monk Higgins, and what a fine job he did. I Know You Love Me is a rich Soul number with the ladies providing some great singing. This Time Tomorrow is more of a sophisticated number with some strings to give it a nice groove. Both are beautiful and uplifting songs.
SOUND EXPERIENCE
Don???t Fight The Feeling/You Don???t Know What You???re Doing (Soulville)
Don???t Fight The Feeling is a bit of a generic Funk number with loud horns and a fast beat made for the dance floor, but it doesn???t really keep my attention. You Don???t Know What You???re Doing is a slow love tune. I think the Sound Experience did a better job on some of their other 45s.
IRMA THOMAS
Good To Me/We Got Something Good (Chess)
Irma Thomas was one of the many fine products to come out of New Orleans. Both sides of this 45 were recorded with Rick Hall of Muscle Shaols??? Fame Studios. Good To Me is a nice cover of an Otis Redding tune. It???s a slow power ballad with a little bluesy feel to it. We Got Something Good has some blaring horns and strong back-ups to kick things off for this mid-tempo Soul groover.
VIBRATIONS
Hello Happiness/Keep On Keeping On (Okeh)
Hello Happiness is a nice and meandering Soul number featuring the strong vocals of the Vibrations. The flip is an upbeat dance number that doesn???t really work for me as much as the other side.
OLD RECORDS OUT THE CRATES:[/b]
QUINCY JONES
Smackwater Jack (A&M 72)
Smackwater Jack was an attempt by Quincy Jones to take some studio musicians and create a Soul-Jazz record. He starts off with the title cut that???s a pretty straightforward Soul number with a male lead singer. Better though is the laidback instrumental Cast Your Fate To The Wind with a little guitar solo in the middle. That???s followed by the theme song to the Ironside detective show from TV with its distinctive horn intro. He finishes off the first side with a nice version of What???s Going On? that stays pretty close to the original until half way through when Jones takes it into his own jazzy world. Theme From ???The Anderson Tapes??? is a nice Soul-Jazz piece that turns into a Big Band number by the end, and Guitar Blues Odyssey: From Roots To Fruits is an adventure through the roots of black music starting off with some Ragtime, going into some modern guitar Jazz, then getting down with the Funk, before transforming in a hard Rock guitar solo performance. That leads into a bridge before ending with a nice Blues and harmonica flourish. Far and away the best tune however is the funky Hikky-Burr that was co-written with Bill Cosby.
45 REVIEWS:[/b]
FONTELLA BASS
Leave It In The Hands Of Love/Recovery (Checker)
Leave It In The Hands Of Love is an easy-going Soul number with a little percussion and some nice female back-ups at the beginning before Ms. Bass joins in. Recovery is just as good with a light airy feel to it and even stronger back-up singing by some ladies.
WILLIAM BELL
I Forgot To Be Your Lover/My Whole World Is Falling Down (Stax 84)
This is a 1984 repress but I don???t care because I consider I Forgot To Be Your Lover one of the greatest Soul tunes I???ve ever heard. It starts off with just the guitar before Bell comes in with his perfectly toned voice for this melancholy love tune backed by some sweeping strings. My Whole World Is Falling Down is more uplifting beginning with its female chorus and light rhythm track.
BRANDING IRON
Right, Tight And Out Of Sight/Slave For Love (Volt)
Branding Iron featured a male duo on vocals. Right, Tight And Out Of Sight was written by Willie Dixon, and in the hands of the band comes off like a less frantic version of Sam & Dave, and that???s a good thing. Slave For Love is more of the same.
GIRLS
Mark My Word/The Hurt???s Still Here (Memphis 70)
First up is Mark My Word that has a nice little mid-tempo groove to it with some percussion in the beginning although at times the singing gets just a little shaky. The Hurt???s Still Here is a forgettable MOR tune with a little Jazz and Lounge feel to it.
ETTA JAMES
I Found A Love/Nothing From Nothing Leaves Nothing (Chess 72)
I Found A Love is a power ballad that builds in intensity and shows off Ms. James??? singing prowess. Nothing For Nothing Leaves Nothing is another slow number with a bit of bluesy edge to it.
SYL JOHNSON
Could I Be Falling In Love/Take Me To The River (Hi 74)
When Willie Mitchell got his hands on Syl Johnson he transformed him into the second coming of Al Green. That???s highlighted on this 45, with one tune written by Green. First up is the slow Could I Be Falling In Love where the dark rhythm track and orchestration is just as much a star as Johnson???s singing. Next is the upbeat Take Me To The River that features a strong horn line and more good singing by Syl.
LAURA LEE
Dirty Man/It???s Mighty Hard (Chess)
Both sides of this 45 are slow and bluesy numbers. Rick Hall from the Fame Studio produced Dirty Man, while Charles Stepney arranged It???s Might Hard. Both tunes highlight Ms. Lee???s strong vocals.
NOTATIONS
I Can???t Stop/I???m Still Here (Twinight)
This is a great 45 by the vocal group the Notations. I Can???t Stop is a light and upbeat Soul tune that fits well with the group???s singing style. I???m Still Here is a sweet ballad led by the lead???s wispy voice.
ORIGINALS
There???s A Chance When You Love You???ll Lose (Soul 73)
There???s A Chance When You Love You???ll Lose is a brooding love tune with a piano guiding the rhythm track that comes to a crescendo in the middle.
BOBBY PATTERSON
How Do You Spell Love/She Don???t Have To See You (To See Through You) (Paula)
How Do You Spell Love is a bouncy Funk number with a nice sing-along chorus where he spells out love and an effects heavy scream filled bridge in the middle. The flipside is a nice power ballad with some strong horn play.
RASPUTIN???S STASH
What???s On Your Mind/Your Love Is Certified (Cotillion)
Rasputin???s Stash released two albums. This 45 comes from the first one released on Cotillion. What???s On Your Mind is a fast paced and frantic Funk tune led by some sharp horn tones. Your Love Is Certified is a bit more toned down with a little soulful edge to it.
BETTY WRIGHT
Baby Sitter/Outside Woman (Alston 72)
Baby Sitter starts off with the guitarist playing the melody from the nursery rhyme Hush A By Baby. That leads into a mid-tempo number that???s got a light airy mood. Outside Woman is at the same pace, but is more of a power ballad with a strong southern feel to it as Ms. Wright dishes out advice to women about how they can get the love and attention of their men.
BETTY WRIGHT
I???m Getting Tired Baby/If You Love Me Like You Say You Love Me (Alston 72)
The sound of I???m Getting Tired Baby fits the title well. There???s a little bit of weariness in Wright???s delivery that picks up half way through during the chorus. The strings and guitar play just add to the mood. If You Love Me Like You Say You Love Me is more of a dance tune with a driving beat.
OLD RECORDS OUT THE CRATES:[/b]
QUINCY JONES
They Call Me Mister Tibbs OST (United Artists 70)
They Call Me Mister Tibbs starred Sidney Poitier and had one of those classic film moments in it when he slapped a white man. The music was by Quincy Jones and he did his usual high quality work. There???s the fast paced funky big band sound of the title cut with plenty of organ. Unlike most soundtracks after that great start most of the following tunes aren???t your run of the mill background and mood pieces. Case in point ???Rev??? Logan (Organ solo) is a nice and short organ piece right out of church followed by the slow and bluesy Blues For Mister Tibbs and the faster Rock-tinged Fat Poppadaddy with some distorted guitar and organ throughout. There???s also the mellow Soul-Jazz piece Soul Flower with a haunting beginning, and the title cut gets repeated a couple more times as well.
QUINCY JONES
You???ve Got It Bad Girl (A&M 73)
This was the first Quincy Jones album I bought. Back then the reason was sample hunting, but the record really stands on its own. First is the ever so me llow Summer In The City with its distinctive organ and electric piano line by Dave Grusin and Eddie Louis. Valerie Simpson eventually joins in on vocals. Next they go into some smoothed out Jazz-Soul fusion with covers of Daydreaming and First Time Ever I Saw Your Face. Those are okay, but where it actually works is on the title cut with Jones singing and George Duke on the electric keys. Jones also comes with a strong big band rendition of Dizy Gillespie???s Soul-Jazz-Latin hit Manteca. He finishes things off with a little bit of Funk with Sanford & Son Theme and Chump Change, which was co-written by Bill Cosby, that features plenty of brass.
ROBERTA AND THE SISTERS OF RIGHTEOUS
Hold On To What You Got/My Man Is Gone (King)
Sisters Of Righteous were one of the lesser-known James Brown productions. Hold On To What You Got has a heavy Gospel feel to it from the opening piano line to the vocal styling of Roberta and he group. My Man Is Gone starts off as a mellow ballad, but after a very nice vocal harmony the drummer starts bashing away and the horns soar upwards for a crescendo before bringing it back down to that opening vibe again.
WHISPERS
Somebody Loves You/ Can We Love Forever (Janus 72)
This 45 comes from the Whispers??? Life And Breath album. First up is Somebody Loves You that begins with a solo piano. It takes a while to develop, but eventually becomes a rather non-descript mid-tempo Soul tune. Can We Love Forever is the better side, that also features a piano in the lead, but the singing and overall mood are more uplifting.
LP REVIEWS:[/b]
DEMON FUZZ
Afreaka! (Janus)
Demon Fuzz was a group out of England. Organist Ray Rhoden and guitarist Raphael Joseph wrote almost all of their material. They sound amazingly like Cymande. That takes a little while to develop on the instrumental Past, Present and Future that has a loud, distorted guitar that could???ve been the opening for any number of Heavy Metal songs back in the day. When the horns and the rest of the band join in however, that British mix of styles is heard immediately. There???s some jazzy organ and horn play, that Rock guitar that gets a little wah wah during a middle bridge, and a repetitive bass line that has slight hints of Reggae. Mercy (Variation No. 1) and Another Country have much the same groove, minus the Rock guitar, but with the addition of vocals. The second side starts off with the slow and brooding Disillusioned Man that has a flute and bass led intro followed by some singing. Half way through after a bridge it gets a little funky with some percussion. The last song is another instrumental with Hymn To Mother Earth that has lots of horn play.
OLD RECORDS OUT THE CRATES[/b]
RUBY JONES
Ruby Jones (Curtom 71)
Ruby Jones might be the only Rock record released on Curtis Mayfield???s Curtom label. The five-piece group had a Hard Rock sound with plenty of power chords, blasting horns, organ and Jones??? belting vocals. Those can best be heard on tracks like 99,000 Times that features a drum break, and a cover of Tightrope that let???s the bass player get down while the horns blast away.
TOM JONES
The Body And Soul Of Tom Jones (Parrot/London 73)
Tom Jones has become a caricature of himself these days. You always expect him to do the same act whenever he appears. In his prime however, he had his blue-eyed Soul days such as on The Body And Soul Of Tom Jones. The standout track is a cover of Ain???t No Sunshine that blesses the first side. The sound and production on the version is top notch with some strings and Jones??? delivery is strong. A decent cover of If Loving You Is Wrong (I Don???t Wanna Be Right) with a Rock guitar intro is next. On other tunes like Lean On Me he utterly fails, and on the second side he gets a little Country.
SOUL ANGELS
Ladies Choice/It???s All In Your Mind (Josie)
Ladies Choice is an excellent Funk instrumental with sharp horns, a bumping bass and strong guitar playing that proves to be a deadly combination. You thought was good enough from the band, but on It???s All In Your Mind the ladies get to sing over this hot, hot rhythm track.
LP REVIEWS:[/b]
PILGRIM OUTLETS
Do You Know Him (ABC Songbird 74)
Pilgrim Outlets was a six-piece Gospel outfit. They had a large dose of Soul in their mix as heard on the title cut with a nice array of singing between the different members. That Soul influence gets even more apparent when the group covers the Parliaments??? hit I Want To Testify with some extra drum fills added to the original. The slow jam A Letter is also good with a heavy Blues feel to it. That???s followed by the upbeat Get On Up that has a nice groove.
TOOTS & THE MAYTALS
Pass The Pipe (Tuff Gong)
Toots Hibbert was always one of my favorite Reggae singers because of his enthusiasm and soulful delivery. That???s heard on Pass The Pipe beginning with Famine, a mid tempo number with some horns in the background. The record then follows in a pattern of slowed down, then more upbeat numbers with many having that same rich sound such as on Inside, Outside, Feel Free, No Difference Here, and My Love Is So Strong. Get Up, Stand Up has a steady rhythm where the interplay between Hibbert and the Maytals??? vocals really carries the tune.
OLD RECORDS OUT THE CRATES:[/b]
TOM JONES
Live In Las Vegas (Decca 69)
As the title makes obvious, this is a live album of Tom Jones in Las Vegas from the Flamingo Hotel. He starts off on the Soul tip with a fast paced Turn On Your Love Light with some nice horn work. The real star of the show however is a cover of Hard To Handle. The problem is that the songs are so short because they???re usually part of a medley. Other than that he does a variety of other mainstream covers like Yesterday, Twist And Shout, plus his trademark It???s Not Unusual.
CLIFFORD JORDAN
Soul Fountain (Vortex 70)
Soul Fountain gets going with T.N.T. It has a swinging little beginning before fluctuating back and forth between a 60s Soul rhythm and some big band arranging, heavy on the horns. Jordan???s sax is out in the lead. I???ve Got A Feeling For You and H.N.I.C. are more straight Soul-Jazz pieces with the former featuring the organ play of Frank Owens, while the latter has a nice slow groove. There???s also a cover of I Got You (I Feel Good), but the arrangement looses the funkiness of the original. Senor Blue has a little Latin edge to it thanks to the percussion work of Ray Barretto and Joe Wohletz that almost supersede Jordan???s sax as the driving force behind the tune.