BLAKC IVORY WANDA ROBINSON Black Ivory Wanda Robinson (Perception) Wanda Robinson was a spoken word artist that recorded with musicians backing her up. On this album she collaborated with Black Ivory. On tracks like The Meeting Place the band is purely in the background, hovering off in the distance. On other pieces like John Harvey???s Blues there is no music at all. Suddenly Robinson and company emerge with Parting Is Such that has some rich orchestration and a little hint of Funk to it. On the Final Hour they???re able to find some Soul, again with strings and a catchy melody. The beginning of Celebration, Compromise, Read Street Festival, A Word To The Wise, The Great American Passtime starts off sounding like its going to go all out towards the Funk, but instead mellows out when Robinson joins in for her versus. It actually does touch on the Funk for a short stretch in the middle after a drum break. Instant Replay mixes some funky Soul and spoken word elements with a rhythm track taken from one of Black Ivory???s best tunes. In comparison, on The Trouble With Dreams Grooving things get spaced out and jazzy.
FANTASTIC JOHNNY C Boogaloo Down Broadway (Phil-L.A. Of Soul) Fantastic Johnny C was one of many fine talents to come out of the City of Brotherly Love. He had some great singles and that was the basis for this album. Chief among those was the rousing title cut with its easy-going dance beat and call and response vocals. He follows that up with a series of tunes with the same grooving style such as covers of Barefootin and Land Of 1000 Dances, plus The Bounce, Got What You Need, and New Love. All show Johnny C???s capability of holding a tune and keeping the dance floor moving.
JACKSON 5 Stand (Pickwick 74) What do you do in a record store where it appears you have everything that???s interesting? Pick up records from knock off labels like Pickwick that specialized in previously released material. In this case, Stand is the Jackson???s Going Back To Indiana album in its entirety. It starts off with a fake newscast by Bill Cosby who introduces the band before he runs into one of the brothers. That eventually gives way to a studio version of I Want You Back. That sets the pattern for the album, as there are brief interludes that feature interviews with stars before the band comes in with one of their hits. Of those, the most notable are a live rendition of Sly Stone???s Stand that leads into an abbreviated I Want To Take You Higher, Feeling Alright with a nice drum and vocal breakdown in the middle, and finally a Medley of Walk On By and The Love You Save.
YELLOW SUNSHINE Yellow Sunshine (Gamble 73) Yellow Sunshine was led by brothers Roland and Karl Chambers, and also included Dexter Wansel. They were products of Philadelphia???s rich musical history. I first heard of them through their title track that features the hard edge of a Rock guitar tempered by group vocals, and smoothed out versus. It reaches its climax with a guitar solo followed by a short tight drum and conga break. The following tunes are dividable between the Rock influenced instrumentals such as The Greetch, and the slow and heavy Apollo 17, the mellowed out numbers like All Along The Seashore and Happiness, and the funky Soul of Tell Me Who Can Say and Don???t Tell Me Later Girl. There really isn???t a bad cut, which makes the record pretty special compared to all the others that are mostly filler.
OLD RECORDS OUT THE CRATES:[/b]
MARGIE JOSEPH Margie Joseph (Atlantic 73) When Margie Joseph switched labels from Volt to Atlantic in the early-1970s some praised her as the next Aretha because she was working with the same team there, most notably Arif Mardin. She never reached those heights, but she did produce some solid Soul sides. There???s the Funk of You Better Know It, and its slicker cousin I Been Down, a good cover of Let???s Stay Together, and the laidback Let???s Go Somewhere And Love, How Do You Spell Love, and I???ll Take Care Of You. The best tune however is the mid-tempo groove of How Do You Spell Love where she spells out ???M-O-N-E-Y.???
JU-PAR UNIVERSAL ORCHESTRA Moods and Grooves (Ju-Par 76) Moods and Grooves couldn???t get off to a better start than with Funky Music. The tune begins with a twangy keyboard tone, like that used by Stevie Wonder at the time, before a loud female voice comes on singing the chorus supported by horns. A great tune if there ever was one. Oh no, but the funkiness doesn???t end there, the groove is continued on Beauty & The Beast with a thumping rhythm section. That???s followed by two instrumentals, the lush, yet soulful Time and the jazzy Chicago Calypso. The second side is decidedly mellower and Jazzy with tunes like Mocha Velvet that features a lot of strings, Is Anyone Listening? and the Soul-Jazz of Flute-Salad. Gotta Get A Way ends things off just like the album started.
JUNKYARD BAND Word/Sardines 12??? Single (Def Jam 86) Sardines will always be one of my all-time favorite Go-Go tracks. From the opening hits on the hi hat, to the big fat keyboard line and percussion work, the tune is an all-out jam from beginning to end. It???s only made better when the call and response chorus of ???We eat sardines, Hey! That funky beat!??? comes in. Word is more of the same with a powerful rhythm track as all Go-Go tunes have and more catchy lyrics. There???s actually two versions on the 12???, a long and a short one.
I really need to catch up on listening to some records because two of the LPs reviewed this week have been sitting on the shelf, untouched since 2003.
LP REVIEWS:[/b]
JERRY BUTLER and JERRY PETERS Melinda OST (Pride 72) Melinda was a Blaxploitation film starring Calvin Lockhart and Rosalind Cash with music by Jerry Butler and Jerry Peters. It features some very good cuts such as Speak Truth To The People (Frankie???s Theme) that pairs Butler???s soulful singing with a funky little rhythm track, and some call and response with female back-ups. Half way through however, it becomes a laidback instrumental that is completely different from the beginning. That gives way to Melinda Title Theme a mid-tempo, guitar-led instrumental that mixes Soul with some Funk. There are also the Soul-Jazz instrumentals Melinda Latino that actually has no Latin influences in it, and I Can???t Let You Go.
GLASS HOUSE Thanks I Needed That (Invictus 72) Glass House was a mixed male and female vocal Soul outfit that released two albums on Invictus. Thanks I Needed That has a strange mix of songs from the non-descript Soul of V.I.P. to a version of A House Is Not a Home that sounds like Holland Dozier Holland who ran Invictus drank some of the Kool-Aid while they were with Motown and wanted to hit that white supper club crowd that Barry Gordy had a hard-on for. The group doesn???t find a winning formula until the laidback I Don???t See Me In Your Eyes Anymore with some conga work in the background and Horse and Rider. Things don???t really hit a groove until the second side with the horn heavy Thanks I Needed That, the upbeat Giving Up The Ring and Stealing Moments From Another Woman???s Life, and the Motownesque Don???t Let It Rain on Me and Don???t Go Looking For Something (You Don???t Want to See). Basically, you can skip the entire first half of this LP and just go to the second because that side is good from beginning to end.
KIM WESTON Kim Kim Kim (Volt 70) Kim Weston was a product of Detroit, Michigan, who got her start singing Gospel. Eventually she went secular and signed to Motown where she was best known for her duets with Marvin Gaye. After that she bounced around a bit signing with Volt and releasing Kim Kim Kim in 1970. She definitely hit the ground running recording some lush and soulful moments like the power ballads You Just Don???t Know that builds up to a crescendo half way through with the strings, horns and female back-ups, The Love I???ve Been Looking For, and a stirring rendition of When Something Is Wrong With My Baby. On Love Vibrations, Soul On Fire and Brothers & Sisters (Get Together) Ms. Weston proves she can tear it up on the fast paced Soul and Funk groovers as well. She also performs well with the easy-going Buy Myself A Man.
OLD RECORDS OUT THE CRATES:[/b]
JOHN KASANDRA True Genius (Respect 72) John Kasandra was signed to the Stax subsidiary Respect where he released a couple albums. He gets off to a good start with Down Home Ups (monologue)/Good Whiskey And Bad Women where he starts off talking over an easy-going rhythm led by the guitar and horns just dragging out the last measure. In the second half the song picks up a bit and Kasandra starts singing, joined by some nice female back-ups. Unfortunately few of the following songs match that opening. The beginning of Ain???t I Good? has a series of short horn busts during the opening, but then Kasandra proves that he should stick to the voiceovers rather than singing, because he can???t hold a tune if his life depended on it. That Woman (The Masterpiece) does a better job with its guitar and drum intro and Kasandra sticking to talking. Even better is Ain???t No Sin To Have Some Fun where Kasandra is carried by his female back-ups and an upbeat rhythm.
RYO KAWASAKI Juice (RCA 76) Jazz-Fusion had a major impact on Japan. Many Japanese artists either traveled to the U.S. to record in this genre or lured American musicians over to Japan to do the work there. Ryo Kawasaki was one such artist that tried to make it in America. He gets right down to business with the bouncy Raisins with a heavy electronic feel to the rhythm. The best track however is the slow and funky Bamboo Child. The rest is your typical mix of slick Fusion that???s not very interesting.
JOEL KAYE Joel Kaye And His New York Neophonic Orchestra (Paramount 73) Over the years I???ve soured on many Big Band arrangers who tried to add a little Soul and Funk to their pieces to keep contemporary. Some have stood up to the test of time however, such as Joel Kaye And His New York Neophonic Orchestra. Kaye got his start working with some of the leading big band conductors of his time such as Tommy and Jimmy Dorsey, Woody Herman and Stan Kenton. What Kaye learned from them about conducting and arranging he mixed with a proclivity for playing funky pieces like Say with its strong beat and horn melody. Also good is Euphrates with its slow and steady rhythm and strong bass play. There???s also a decent cover of Spinning Wheel.
EDDIE FLOYD Knock On Wood (Stax 67) Knock On Wood was Eddie Floyd???s biggest hit. It???s easy to see why with its easy going beat and sing along chorus. The album isn???t a one hit wonder however. After that the laidback groove continues with Something You Go and Raise Your Hand that sounds like Floyd???s former compatriot in the Falcons, Wilson Pickett. There???s also a strong cover of JJ Jackson???s But It???s Alright with its distinctive guitar line, and the brooding If You Gotta Make A Fool Of Somebody.
MARVIN GAYE In The Groove (Tamla 68) In The Groove is a very solid album from beginning to end. It has one of his biggest hits, I Heard I Through The Grapevine, plus Loving You Is Sweeter Than Ever surrounded by lesser known, but no less well-crafted songs. For example, there???s the pensive You, the more upbeat Chained with one of those trademark Motown dance beats to it, and At Last (I Found A Love) that has a little hard edge to it that???s a little departure from Gordy???s usual output. It???s Love I Need especially stands out because of the extremely funky drumming backing up Gaye, plus the easy going You???re What???s Happening (In The World Today).
JESSIE HILL Naturally (Blue Thumb) Naturally has a rather unassuming beginning with Introducement ??? Poverty Players, an airy piece of Hill singing over a piano with some strings. That gives the listener no preparation for the following tracks like the title cut, which is a down home and dirty Funk piece with some group vocals on the chorus, or the more upbeat I Dig You. Hill also proves that he can lay down that distinct New Orleans flavored Soul on Oh Yeah that sounds a bit like Lee Dorsey. Half way through Della Temple takes over the vocals to add an extra twist to the tune. That good vibe is continued on the second side with cuts like the chunky sound of Hand Me The Key, the uplifting Soul duet I???ve Been Hurt that matches Hill and Ms. Temple again, and the hard rocking Two Of A Kind.
NINA SIMONE Pastel Blues (Philips) Pastel Blues starts off with the powerful Be My Husband that sees Simone sing in a chant like mode behind a sparse track of just drums. After that great start the record goes into Simone???s standard repertoire of Blues and Jazz numbers such as a rendition of the classic Strange Fruit.
OLD RECORDS OUT THE CRATES:[/b]
KC AND THE SUNSHINE BAND KC And The Sunshine Band (TK 75) KC And The Sunshine Band will always be remembered as being one of the seminal Disco bands of the 1970s. KC actually got his start working for Miami???s famous TK Records. Their second self-titled album is the one that really made them a household name with hits such as That???s The Way (I Like It) and Get Down Tonight, which I grew up listening to as a little kid and still think are catchy dance tracks to this day. The album contains extended versions not heard on the radio. The easy going Boogie Shoes is next with a loud horn line. KC eases up again on Ain???t Nothing Wrong. The best cut however is their version of I Get Lifted and the instrumental Let It Go (Part Two) with a drum break. The beginning and bridge of Let it Go (Part One) is also good, but the singing kills the track.
HERMAN KELLY & LIFE Dance To The Drummer???s Beat/Easy Going 12??? Single (TK Disco 78) Dance To The Drummer???s Beat is one of those classic breakbeat songs. The drums and bass anchor the tune with a light guitar and keyboard line over the top keeping the melody. Eventually the vocals join in with a simple sing-along of the title. Eventually there???s a breakdown in the middle showing off the drummer and later some percussion, which is the highlight of the entire thing. Easy Going is a forgettable dance track, so it???s best to just stick to the hit.
I'm a little late in posting this because I wanted to make it an Eddie Kendricks special. He's one of my all time favorite singers.
This week's reviews also go out to Yuichi who said that I had a 2nd rate analysis of music because I had no first hand knowledge of it. One day I hope I can be on his street, thug level of music knowledge. One day!
LP REVIEWS:[/b]
EDDIE KENDRICKS For You (Tamla 74) For You showed what Kendricks could do with a good tune. You???ve got nice laid back numbers like Please Don???t Go Away that builds up in intensity as it progresses, and the grooving One Tear and Shoeshine Boy. Unfortunately, after that strong start, the second side falls off in quality.
OLD RECORDS OUT THE CRATES:[/b]
EDDIE KENDRICKS Boogie Down! (Tamla 74) On Boogie Down! it seems like Eddie Kendricks suffered from some mediocre song writing. Things get started well with the funky Soul of The Thin Man that has just the slightest hint of late Parliament to it. After that it???s a series of dance tunes and slow jams that go nowhere. The only really special song out of the bunch is Trust Your Heart, which combines Kendricks??? great vocals with a solid rhythm.
EDDIE KENDRICKS Eddie Kendricks (Motown 73) To me, Eddie Kendricks was one of the top Soul singers of his time. From his work with the Temptations to his solo career he maintained one of the great voices of his time. That???s heard on cuts like the sophisticated slow jams Only Room For Two and Where Did You Go (Baby) that show off Kendricks??? falsetto, and Darling Come Back Home that has the same pace, but a moodier edge to it backed by some steel drums. Kendricks really hits his stride however on the equally slow Each Day I Cry A Little that has a star quality about it, and the real big single off the record, Keep On Truckin that showed that he could handle he fast-paced dance tunes as well.
EDDIE KENDRICKS He???s A Friend (Tamla 76) 1974 seemed to be a turning point in Kendricks??? career. After that the music he was given took a dive. That doesn???t mean his later releases are a total waste. He was usually still capable of coming through with at least one hit, and that???s true of He???s A Friend. That takes the form of the opening title cut with its fast pace and sing along chorus. It was obviously aimed at the Disco market with the string and horn arrangements and shuffle beat that was emblematic of the genre at the time. The sweet ballad A Part Of Me, and the upbeat I Won???t Take No are also worth a listen. The rest tend to be rather mediocre dance numbers.
EDDIE KENDRICKS People ??? Hold On (Motown 72) If you were ever to buy an Eddie Kendricks album, THIS would be the one to get. It???s by far his greatest work. There???s some easy going Soul numbers like If You Let Me, Day By Day, Eddie???s Love, I???m On The Sideline with their catchy, sing along lyrics. Those compare with the more upbeat Let Me Run Into Your Lonely Heart with its funky guitar line that has a strong Sly Stone influence to it. Of course, the most well known track might be the expansive Girl You Need A Change Of Mind that has lyrics for the first half, and then just turns into a jam session. I always thought the lyrics were really interesting as well because it seems to be a reply to the Feminist movement that they shouldn???t overlook racism and civil rights and not discriminate against all men. He even gets a little experimental with the heavy percussion and group chorus of My People ??? Hold On that???s tempered by Kendricks??? sweet singing. He finishes off with Just Memories with its dramatic horn intro before going into a ballad. In the fact the remaining tunes, Someday We???ll Have A Better World and Date With The Rain are also good making this an excellent record from beginning to end.
EDDIE KENDRICKS Slick (Tamla 77) Slick was released in 1977 and showed that Kendricks was still able to pull a couple tricks out of his hat. That begins with the opening Something Shady (Is Going On), an upbeat dance tune based around Kendricks??? soulful singing. It does however, go on too long and looses some of its luster half way through. The easy going I Want To Live (My Life With You) is also good, but the real gem is Intimate Friends, a tune that most people will now associate with Alicia Keys because she sampled it for her big hit Unbreakable. The song is one of the greatest slow jams of all time with its catchiness, and heart felt lyrics.
Nice to see you devoted a whole thing to Eddie Kendricks.
Backtracking through his discography, it's too bad he didn't do another progressive soul album like People...Hold On, but since he wasn't (known as) an instrumentalist or writer, I kinda get the impression he just went wherever the producer took him (not to downplay his talent).
Besides, disco was just starting (on an underground level), and since "Girl, You Need A Change Of Mind" was a big record in the clubs, I guess they decided to follow up on that. Hence "Keep On Truckin'".
EDDIE KENDRICKS People ??? Hold On (Motown 72) If you were ever to buy an Eddie Kendricks album, THIS would be the one to get. It???s by far his greatest work. There???s some easy going Soul numbers like If You Let Me, Day By Day, Eddie???s Love, I???m On The Sideline with their catchy, sing along lyrics. Those compare with the more upbeat Let Me Run Into Your Lonely Heart with its funky guitar line that has a strong Sly Stone influence to it. Of course, the most well known track might be the expansive Girl You Need A Change Of Mind that has lyrics for the first half, and then just turns into a jam session. I always thought the lyrics were really interesting as well because it seems to be a reply to the Feminist movement that they shouldn???t overlook racism and civil rights and not discriminate against all men. He even gets a little experimental with the heavy percussion and group chorus of My People ??? Hold On that???s tempered by Kendricks??? sweet singing. He finishes off with Just Memories with its dramatic horn intro before going into a ballad. In the fact the remaining tunes, Someday We???ll Have A Better World and Date With The Rain are also good making this an excellent record from beginning to end.
Nice review! This album gets me every time, especially Eddie's Love.
Nice to see you devoted a whole thing to Eddie Kendricks.
Backtracking through his discography, it's too bad he didn't do another progressive soul album like People...Hold On, but since he wasn't (known as) an instrumentalist or writer, I kinda get the impression he just went wherever the producer took him (not to downplay his talent).
Besides, disco was just starting (on an underground level), and since "Girl, You Need A Change Of Mind" was a big record in the clubs, I guess they decided to follow up on that. Hence "Keep On Truckin'".
He definitely was at the whim of his producers and song writers.
Nice to see you devoted a whole thing to Eddie Kendricks.
Backtracking through his discography, it's too bad he didn't do another progressive soul album like People...Hold On, but since he wasn't (known as) an instrumentalist or writer, I kinda get the impression he just went wherever the producer took him (not to downplay his talent).
Besides, disco was just starting (on an underground level), and since "Girl, You Need A Change Of Mind" was a big record in the clubs, I guess they decided to follow up on that. Hence "Keep On Truckin'".
He definitely was at the whim of his producers and song writers.
...just like most Motown singers who weren't Stevie Wonder or Marvin Gaye.
Shit, I just realized I missed Kendricks' first album. I don't even know where it is. That's bad, sign that you have too many records.
I personally thought All By Myself was a disappointment. If we ever do a thread (again?) on debut albums that aren't that great, the first Eddie Kendricks would be right in there.
EDDIE KENDRICKS People ??? Hold On (Motown 72) If you were ever to buy an Eddie Kendricks album, THIS would be the one to get. It???s by far his greatest work. There???s some easy going Soul numbers like If You Let Me, Day By Day, Eddie???s Love, I???m On The Sideline with their catchy, sing along lyrics. Those compare with the more upbeat Let Me Run Into Your Lonely Heart with its funky guitar line that has a strong Sly Stone influence to it. Of course, the most well known track might be the expansive Girl You Need A Change Of Mind that has lyrics for the first half, and then just turns into a jam session. I always thought the lyrics were really interesting as well because it seems to be a reply to the Feminist movement that they shouldn???t overlook racism and civil rights and not discriminate against all men. He even gets a little experimental with the heavy percussion and group chorus of My People ??? Hold On that???s tempered by Kendricks??? sweet singing. He finishes off with Just Memories with its dramatic horn intro before going into a ballad. In the fact the remaining tunes, Someday We???ll Have A Better World and Date With The Rain are also good making this an excellent record from beginning to end.
Nice review! This album gets me every time, especially Eddie's Love.
That's one of the records that I know ain't going nowhere.
Nice to see you devoted a whole thing to Eddie Kendricks.
Backtracking through his discography, it's too bad he didn't do another progressive soul album like People...Hold On, but since he wasn't (known as) an instrumentalist or writer, I kinda get the impression he just went wherever the producer took him (not to downplay his talent).
Besides, disco was just starting (on an underground level), and since "Girl, You Need A Change Of Mind" was a big record in the clubs, I guess they decided to follow up on that. Hence "Keep On Truckin'".
He definitely was at the whim of his producers and song writers.
...just like most Motown singers who weren't Stevie Wonder or Marvin Gaye.
So many of his records came out when the dance scene/Disco was taking off, which caused a lot of mediocre tunes to be sent his way, IMO.
ARCHIE BELL & THE DRELLS There???s Gonna Be A Showdown (Atlantic 69) One of the main problems with the Drells was that Archie Bell didn???t have the strongest voice. That???s heard on the first three points where Bell sounds rather mediocre or worse. The group doesn???t really hit a groove until Giving Up Dancing with its sharp horn stabs and funky groove. Mama Didn???t Teach Me That Way is an easy-going number, while Green Power is another decent number. Finally there???s the power ballad Just A Little Closer with some heavy strings. Basically, the record has a few noteworthy numbers, but suffers from a lack of real staying power.
DELLS There Is (Cadet 68) There Is is one of my favorite Dells albums because it shows the versatility of the group. They have some fast paced Soul numbers like the title cut with its driving beat and hint of sophistication with some strings. Others like Show Me, Higher And Higher and When I???m In Your Arms are more mid-tempo with a danceable groove, while Stay In My Corner and The Change We Go Thru (For Love) show that the group could slow it down for those trademark ballads.
OLD RECORDS OUT THE CRATES:[/b]
CHUCK JACKSON Through All Times (ABC 73) Chuck Jackson had a very long career as an RnB/Soul singer. He recorded for several labels and had his best sales earlier in his career. Through All Times doesn???t happen to be his best work however. It???s a one tracker, but that single song is a good one. That???s the title cut that???s a slow and easy with a strong Barry White groove to it containing a drum break intro, some light orchestration in the background, and a breakdown in the middle.
KENNY AND THE BEACH BOYS Jurisdiction (Elite) Kenny And The Beach Boys were from the Bahamas where they performed at the Nassau Beach Hotel for locals, but probably more for the tourists. That establishment helped fund their album Jurisdiction. The music is your typical Caribbean fare. At the very end of the LP however, you get a little treat, a cover of James Brown???s Big Payback. It???s really good too with the lead singer sounding pretty close to James. There???s also a good, straightforward cover of Booker T. & The MG???s Backside with lots of organ at the end of the first side.
JOHN HOLT 2000 Volts Of Holt (Dynamic 76) In the mid to late-1970s, John Holt released a series of 1000 Volt albums aimed mostly at the UK market. At the time, England was enjoying a very slick and overproduced version of Reggae with lots of strings and Soul leanings that was easy on the ears. The results weren???t the best. A lot of Reggae artists came off as poor imitations of their American counterparts attempting to play straight Soul numbers rather than sticking to their own indigenous music. That being said, 2000 Volts might actually be the best in the series. That begins with Doctor Love with its horn intro and Holt???s trademark smooth delivery. Next Holt pulls off decent covers of Yester-Me, Yester-You, Yesterday and Keep On Moving. Those are all on the first side. Unfortunately, the second isn???t half as interesting.
SENOR SOUL Plays Funky Favorites (Double Shot) Senor Soul hailed from Los Angeles. Despite the title of this album, they specialized in light Soul-Jazz instrumentals on this one. That???s heard throughout the album on tracks like Pata Pata and Lovey Dovey with their easy going feel with flute and vibes, and plenty of brass solos as well. They also do plenty of covers such as I Heard It Through The Grapevine, Gimme Little Sign, Get On Up, and Up Tight that turns into an extended jam session. The tracks that really stand out however are the hardest hitting that break the mold of the record such as Psychotic Reaction with its Rock guitar intro, and an unexpectedly good version of Spooky and Poquito Soul with its Latin flavor. I much prefer their second album to this one.
OLD RECORDS OUT THE CRATES:[/b]
ROBIN KENYATTA Girl From Martinique (ECM 73) Most of Girl From Martinique is experimental Jazz such as the title cut that???s an eleven-minute plus monster that starts off with some airy play by Kenyatta on the flute over various soundscapes. Where he really gets down is on the following Blues For Your Mama that features the strong and funky rhythm play of bassist Arild Andersen and drummer Fred Braceful over which Kenyatta solos-over. The song also features some of that experimentation of the rest of the album as the group hits some off kilter notes along the way. Out of the other tunes they each have their little moments, such as the mellow melody of We???ll Be So Happy, but it???s all really about Blues For Your Mama for me on this album.
ROBIN KENYATTA Stompin at the Savoy (Atlantic 73) Stompin at the Savoy and Girl From Martinique were released the same year, but couldn???t be more different in sound. Girl From is experimental Jazz that the ECM label was known for, while Stompin at the Savoy is a very commercial release exemplified by the neo-Disco of the title cut and the light big band number with the fitting title Smooth Sailing. There are hints of Kenyatta???s more Jazzy side on tracks like The Need To Smile and Two Bass Blues. The tracks that really catch my attention however are Mellow In The Park, Jessica, and River Boat. The first has a funky bass line by Chuck Rainey backed by the every-steady drum play of Winston Grennan, while the second is an upbeat Soul-Jazz piece with a light melody. Finally, River Boat is a mix of Reggae with a little Funk.
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?
Just hanging around on a Sunday night listening to this LP, and I'm really feeling the title track. Ms. Lynn takes this song to heights and depths that the Supremes only hint at. After Side 2 is over, this is going right back into the "now playing" pile so I can hear "Love Is Here..." some more.
EDDIE FLOYD I???ve Never Found A Girl (Stax) Eddie Floyd was one of the main male singers at Stax records having several big hits for the label. The title cut from this album was one of them with its easy-going rhythm, male back-ups and catchy chorus. There???s other goodness to be found on this album as well. On the first side there???s the mid-tempo yet bouncy Bring It On Home To Me that builds up as it progresses, a decent cover of Jerry Butler???s Never Give You Up with a new middle section, the upbeat Hobo, and the down home Soul of I Need You Woman with a bridge taken from Tramp. The flipside is just as good with I???ll Take Her with a very short breakdown, the more laidback Slip Away with some trademark Stax horn work, the Gospel influenced Water, and the slightly funky Sweet Things You Do. Overall this makes for an excellent album basically from beginning to end.
BYRON LEE AND THE DRAGONAIRES Introduce You To Reggay (Trans World) Like most of Byron Lee???s albums, Introduce You To Reggay is largely based around covers. He does a nice version of Soul Serenade and Can I Change My Mind, as well as some Jamaican hits like the Pioneers??? Long Shot Kick The Bucket. Other good cuts are the growing trio of ???scorcher??? instrumentals, More Scorcher, Another Scorcher and Musical Scorcher, plus the easy going Throw Me Corn with some singing.
MOTOR CITY ROLLERS Stevie Wonder Songbook (Pickwick 77) Pickwick were one of the kings of budget albums for many years, and in the 1970s they also put out some budget studio bands doing popular covers of the day. Thus in 1977 they released Stevie Wonder Songbook by a group called the Motor City Rollers. All of the songs are played straightforward and the lead singer sounds amazingly like Stevie, but without the range. The band starts off with I Wish with its trademark bass intro. That???s followed by the equally upbeat You Haven???t Done Nothing and Superstition with the drum break intro. That sides finishes off with Sunshine Of My Life. The second side is just as good with Isn???t She Lovely even including the crying baby, Living For The City, Higher Ground, Signed, Sealed, Delivered I???m Yours and finally My Cherie Amour. This of course all begs the question, why buy an album of Stevie Wonder covers when you can get all of the originals so easily? That???s something I???m still trying to answer myself.
OLD ALBUMS OUT THE CRATES:[/b]
CALVIN KEYS Proceed With Caution! (Black Jazz 74) The Black Jazz label had a very short life with only a handful of releases. Like most Jazz labels of the time, the majority of Black Jazz???s artists were rooted in Be Bop. Of course, most also dabbled in Soul-Jazz as well. On guitarist Calvin Keys??? second album for Black Jazz, Proceed With Caution! that moment arrives with Aunt Lovey that features the strong horn play of Charles Owens on sax and a swirling melody. The rest of the album is light Bop.
CALVIN KEYS Shawn-Neeq (Black Jazz 71) Shawn-Neeq was guitarist Calvin Keys??? first with Black Jazz. The album opens up with B.E., which has a little moody beginning but then picks up speed. This typifies most of the numbers on this album, which features Keys very restrained guitar style played over deep, moody backing arrangements. It reminds me a bit of some of Grant Green???s mellower tunes. The 2nd side is much more upbeat and sees Keys let loose a little more with his numbers and soloing. The best song is B.K., which has a banging beat driven by the funky bass.
MOTOR CITY ROLLERS Stevie Wonder Songbook (Pickwick 77) Pickwick were one of the kings of budget albums for many years, and in the 1970s they also put out some budget studio bands doing popular covers of the day. Thus in 1977 they released Stevie Wonder Songbook by a group called the Motor City Rollers. All of the songs are played straightforward and the lead singer sounds amazingly like Stevie, but why buy an album of Stevie Wonder covers when you can get all of the originals so easily? That???s something I???m still trying to answer myself.
This "songbook" album were a lot cheaper than Stevie's regular albums (like the mammoth 2-record Songs In The Key Of Life. And usually, the people who bought these didn't catch on to the fact that this album wasn't BY Stevie, they just saw his name in large print and didn't go any further. even though his name is in bigger print on the cover than the Motor City Rollers. So hopefully that answers your question. There was a time when the song was more important than the singer, and this Motor City Rollers album kinda caught the tail end of that.
Pickwick (and other budget labels) used to market fake Beatles albums in the same way, albeit a lot cruder...they'd just get a photo of four guys in Beatle wigs, give them some close-enough name like the Beats, and watch those things sell to people too thick to know the difference.
TYRONE DAVIS Home Wrecker (Dakar 74) Homewreckers with its light and easy going sound starts off this album by Tyrone Davis. That gives a good introduction to what many of the following tracks are like such as This Time and After All This Time. Even better is the upbeat dance tune Is It Something You???ve Got. There???s also the slow jam A Woman Needs To Be Loved.
DELLS Dells (Cadet 73) The Dells were one of those rare Soul vocal groups that were able to age well with time. Their self-titled album is one of my favorites of theirs because of the mood they are able to create with the songs. The Dells get right down to business with the opening Let The Feeling Talk To You with a deep baritone voice doing some sexy talk to his girl over a slow and easy rhythm that builds up just a little with the horns and strings before the rest of the group comes in with their singing. That kind of sophisticated Soul for grown folks is what marks the record. My Pretending Days Are Over and Let???s Make It Last are much in the same mood, while I Miss You has a little more of a groove to it, and I Hear Voices is a bit darker with its lyrics about struggling in the ghetto.
REV. CLEOPHUS ROBINSON Live From Europe (Nashboro 78) I have one other record by Reverend Cleophus Robinson already, so when I saw Live From Europe and a found a cover of Grandma???s Hands on it, it piqued by interest. This album happens to be a live one from a concert at the Montreux Festival in Switzerland. Most of the tunes are slow and easy Gospel numbers with plenty of organ and a little Blues kick to them like I Looked Down The Line And I Wondered. That suits the reverend fine when he does his version of the Bill Withers??? song on the second side. Its played straight and effectively.
JIMMY RUFFIN Ruff ???N Ready (Soul 69) Jimmy Ruffin was the older brother of the Temptations??? David Ruffin. He had his own singing career and even scored a couple hits for Motown along the way. He starts off with the nice and easy Don???t Let Him Take Your Love From Me, with some sharp hits on the snare drum. That epitomizes most of the tracks on Ruff ???N Ready. On a few others, Ruffin had some better song writing that contains a little of the Motown flare that the label was known for, although a little cut below their gold standard. That can be heard on Don???t You Miss Me A Little Bit Baby, Everybody Needs Love, Love Gives, Love Takes Away, and the best track Gonna Keep On Tryin Til I Win Your Love. Sad And Lonesome Feeling has a little bit of a different feel to the others with its conga backing.
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KID DYNAMITE Kid Dynamite (Cream 76) I love the graphics on this LP. The front has a space age/fantasy warrior wielding an axe and shield over some dead bodies while the back has the band???s mugs with shades on and light reflecting off them. The sparse liner notes are just as good as the band tries to explain why they left the Steve Miller group to form their own act. Enough of the cover, the album has one of those classic Rock songs Uphill Peace Of Mind on it, that everyone should recognize quite easily as it was included on the UBB series. The song actually sounds a bit like a Steve Miller tune with its guitar heavy rhythm, but a little heavier. The best part is the breakdown in the middle with some group vocals over a strong drum line. Other than that though, the album is pretty forgettable.
KING CURTIS Everybody???s Talkin (ATCO 72) Everybody???s Talkin was one of King Curtis??? later albums. It was mostly recorded in New York City with studio musicians such as Cornell Dupree, Jimmy Smith, Bernard Purdie, Chuck Rainey, Billy Preston, and the Memphis Horns. The first side has a cover of Groove Me with a loud horn arrangement, a pumped up chorus, and Curtis??? sax playing the lead, the funky You???re The One written by Sly Stone that features a nice breakdown in the middle alongside all the brass work, and the slow and easy If I Were A Carpenter that you can barely tell from the original. The second side isn???t as good, but does have the southern sounding Ridin Thumb with singing by Curtis and its sister Ridin Thumb ??? Jam that is an instrumental version. Some might also like Central Park that has a strong movie soundtrack feel to it with strings and a heavy Rock guitar line half way through.
INDEPENDENTS Chuck, Helen, Eric, Maurice (Wand 73) The Independents were a vocal Soul group from Chicago that featured Rev. Jesse Jackson???s brother Chuck. Chuck, Helen, Eric, Maurice shows off their talent well as they mix up a variety of styles. First up is the slow and sweet It???s All Over that has a nice build up half way through. There???s also the more upbeat No Wind, No Rain with its horn and piano work and the bluesy The Same Old Way. The second side follows a similar pattern with the pensive In The Valley Of My World, the faster-paced One Woman Do Right Man, the harder hitting Show Me How.
MARVELETTES Marvelettes (Tamla 67) The Marvelettes scored the first number one hit for Motown with their song Please Mr. Postman. That set off a wave of other chart toppers in the early 1960s. On their self-titled album they proved that they could still produce later in their career. They get off to an upbeat start with a cover of Barefootin, a classic 60s dance number. That contrasts with the slow and steady sophistication of Message To Michael. Even better is When You???re Young And In Love, with strings and a delivery that???s similar to the Supremes??? work from the same time, and the slightly harder hitting He Was Really Sayin Something. The heavy bass work on The Day You Take On (You Have To Take The Other), the easy going When I Need You, and I Need Someone are also good.
JOHNNIE TAYLOR Who???s Making Love ??? (Stax) Who???s Making Love was probably Johnnie Taylor???s biggest hit. That upbeat Soul number that was such a good representation of the Stax sound opens up the album of the same name. The record isn???t a one hit wonder either. Rather, Taylor shows off his entire repertoire from the dance track Take Care Of Your Homework, the mid tempo I???m Trying that???s one of my favorites with its horn line, the slow power ballads like I???m Not The Same Person, the grooving Hold On This Time, and the bluesy Woman Across The River and Can???t Trust Your Neighbor. It???s just a great display of Taylor???s soulful singing from almost beginning to end.
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KING CURTIS Get Ready (ATCO 70) Get Ready is missing something. It???s got the usual dose of covers like Get Ready and some originals, but most of them are played rather disappointingly MOR. Teasin??? that starts off the second side with a sharp distorted guitar line, finally shakes things up with its Rock edge. That???s not enough to save the record from being pretty disappointing overall.
INDEPENDENTS Discs Of Gold (Wand 74) Discs Of Gold was a greatest hits compilation by Chicago???s Independents. They start off with the richly orchestrated Leaving Me from the First Time We Met album. That pretty much signified their style. They were best with those slow sweet jams like It???s All Over, Just As Long As You Need Me, Baby I???ve Been Missing You, I Just Want To Be There, plus the more upbeat First Time We Met, and the moodier In The Valley Of My World.
JOHNNIE TAYLOR One Step Beyond (Stax 71) One Step Beyond features one of the few concept covers released by Stax. It has a bald black woman in a space suit mirrored several times on the front cover. The music has a more down to earth origin as the recording was split between the Stax Studios and Muscle Shoals. The album has a subtle beginning with Time After Time that picks up just a little bit in the second half during a guitar solo that is eventually joined by some back-up singers. Even better is the pleading I Don???t Wanna Lose You (Parts I & II). Taylor gets a little harder hitting with I Am Somebody (Parts I & II) that features some strings and strong back-ups, and shows that he could even get a little funky on Jody???s Got Your Girl And Gone with its short horn stabs that remind me a bit of a very subdued James Brown.
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KING CURTIS Instant Groove (ATCO 69) Instant Groove is one of King Curtis??? better albums. As usual it???s made up of a mix of covers and originals. Up first is the title track, which is a great jam with Curtis talking over the top. The best parts are the funky bass line and horn chorus. Unfortunately it???s too short and ends just as the groove begins. Next is a cover of Hey Joe with a little down home flare added to it. There???s also a decent version of Sing A Simple Song, although it lacks the frenetic energy of the original. The second side isn???t half as good with only the catchy instrumental The Weight featuring Duane Allman on guitar standing out.
KING CURTIS King Size Soul (ATCO 67) King Size Soul consists almost entirely of covers, which was King Curtis??? style. Most of those are played rather subdued and MOR such as Ode To Billie Joe and A Whiter Shade Of Pale that gets things started. The record is basically a one tracker with the funky original Memphis Soul Stew the only song to check for. It features a great walking bass line and Curtis talking over the top explaining what makes the tune go. The only other songs worth a listen are I Never Loved A Man (The Way I Love You) and I Was Made To Love Her that are played pretty much like the originals.
MURRAY MCKAY Blacks Tryin To Make It/Don???t Let The Pusher Push You (Message) This is a fine double-sided 45 by Murray McKay. He begins with the funky Blacks Tryin To Make It with its female back-ups, percussion and strong horn play. Don???t Let The Pusher Push You is more of the same with those great ladies??? helping McKay out with the vocals, and a nice conga and piano breakdown in the middle.
LP REVIEWS:[/b]
AIRMEN OF NOTE Brothers In Blue (Air Force Reserve) This was one of a number of albums put out by members of the armed forces to gain new recruits. Brothers In Blue was recorded by the Airmen Of Note who were part of the Air Force Reserve. The record has a surprising start with Chappie James Suite that features a snippets of a speech by Lt. Gen. Daniel ???Chappie??? James, a black fighter pilot, rejecting the calls for revolution by the Black Power movement by saying that he wasn???t acting or going to accept second class citizenship in America and therefore didn???t need to join their ranks. Better yet, is the funky Soul-Jazz piece that???s in the background that takes up 2/3 of the song until it gets more jazzy at the end. They give a sublime rendition of Superstition that lacks the energy of the original, but still has its catchiness. That laid back groove continues with PUSH, named after Jesse Jackson???s civil rights organization, that???s led by the guitar, and a cover of Juan Valdez In The Country.
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KING CURTIS Live At Fillmore West (ATCO 71) This is a live album from the Fillmore West in San Francisco. At the time Curtis recorded with Billy Preston, Cornell Dupree, Truman Thomas, Jerry Jemmoff, Bernard Purdie, Pancho Morales, and the Memphis Horns. Together they get right down to business with a rousing version of Memphis Soul Stew. There???s an extended bridge in the middle with some percussion by Morales, that leads into a big jam to finish things off. Curtis shows his versatility by pulling off a convincing cover of Whole Lotta Love. It???s the second part of the set that he really takes off though beginning with the upbeat Them Changes, followed by a good version of Ode To Billy Joe, then finishes off with Signed, Sealed, Delivered I???m Yours and Soul Serenade.
KING CURTIS Plays The Great Memphis Hits (ATCO 67) On Plays The Great Memphis Hits King Curtis focused on the Stax-Volt catalog. He does best on the upbeat ones like Knock On Wood, Hold On, I???m Coming that features a female chorus, and the Mar-Keys??? Last Night. Also good is Fa-Fa-Fa-Fa-Fa (Sad Song) with the horns playing the chorus in place of the singing. The slow tunes and love songs don???t really work as instrumentals, becoming too cheesy in the process.
GLORIA LYNNE Happy And In Love (Canyon) Gloria Lynne put together a fine record on Canyon. She begins with the slightly funky Whatever It Was You Just Did. That pretty much sets the stage for the first half of the record with tunes like the fast-paced How Did You Make Me Love You, and the mid-tempo groover If You Don???t Get It Yourself with some twangy guitar work. The second side is completely different, consisting mostly of power ballads and love tunes like What Else Can I Do.
WILLIE WILLIAMS Raw Unpolluted Soul (Supreme Blues 73) Willie Williams was a Blues drummer originally from Mississippi, who migrated to Chicago and joined that city???s rich musical tradition. Willie Dixon produced his album. Williams gets off to a great grooving start with Back To Mississippi that has a little Funk to it. Detroit Blues is very similar. Other tunes are slow and minimalist Blues numbers like Ruthy Baby that hearken back to the South that he came from, while still others are in that Chicago electric Blues tradition like Wine Headed Woman.
BETTY WRIGHT I Love The Way You Love (Alston 72) Clarence Reid and Little Beaver not only helped arrange this album by Betty Wright, but also performed on it. The sound they created was decidedly mellow from beginning to end. There???s the title cut with its nonchalant beginning that adds a nice edge later on, the wah wah guitar of All Your Kissing Don???t Make True Lovin, and the easy going I???m Getting Tired Baby and Pure Love. The best-known track is Clean Up Woman with its distinctive guitar line that was Wright???s biggest hit.
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KING CURTIS Sweet Soul (ATCO 68) This album by King Curtis is almost entirely covers as were many of his releases from this period. Most of them are decidedly MOR like Theme From ???Valley O The Dolls.??? The one exception is Sweet Inspiration with its minimalist arrangement and funky little drum and bass line that eventually gives way to a laid back southern Soul-Jazz sound. The rest is just filler.
KING HANNIBAL Truth (Aware 73) I originally heard about King Hannibal through a 45 and later picked up his album when I saw it in a store. The record proved to be just as good as the single starting off with the funky I Got That Will and its short horn stabs. Wake Up is very similar. The Truth Shall Make You Free is about kicking a drug habit and has a powerful rhythm section. There are also some bluesy numbers like Same ???Ole Fool Again. Hymns No. 5 starts off in a similar fashion, but then gets down and dirty with the guitar and bass, while Hannibal lays down some powerful vocals.
ALBERT KING I Wanna Get Funky (Stax 73) This record gets off to a nice start with the slow and soulful title cut that features King???s sharp guitar work. King of course was Stax???s big bluesman. Til My Back Ain???t Got No Bone is very similar. He also comes with some other nice electric Blues numbers like Playing On Me. The best songs though are Flat Tire with its mix of Funk, Blues and Soul with female back-ups, and Cross Cut Saw with its funky rhythm. King got some fine studio help as well from the Bar-Kays and the Memphis Horns.
JOHN KLEMMER Fresh Feathers (ABC 74) John Klemmer is best known for his Blowin Gold LP. Other than that his albums kinda blow. The title cut is actually okay with its female chorus singing a melody before the tune takes off and Klemmer starts soloing on his sax. The song is far too long however. Nothing else really works either like the easy listening Jazz of Make It With You or Humbling Love, the novelty numbers like Fat Alligator Snap, or the more commercial sounding Music For The People and Wizards Revenge.
JOHNSON, HAWKINS, TATUM & DURR You Can???t Blame Me/Your Love Keeps Drawing Me Closer (Capsoul 71) Johnson, Hawkins, Tatum & Durr recorded a fine two sided Soul 45 here. You Can???t Blame Me is my favorite though with its deep rhythm track and sweet vocal arrangements. Your Love Keeps Drawing Me Closer is more upbeat, but still has that catchiness and fine group singing that was apparent on the flip.
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LUCKY PETERSON Out Future (Today) I got this record exactly eight years ago and this is the very first time I???ve put needle to vinyl. That???s kinda pitiful. As you can tell from the cover, Our Future is a novelty record featuring the 5-year old Judge ???Lucky??? Peterson on keys and vocals. He actually delivers a pretty rousing title cut with a strong rhythm section and adult vocal back-ups. After that the other good songs are the instrumentals Harlem, and covers of ABC and Love The One You???re With that show of Peterson???s organ skills, although he does hit a little bump in the road during the middle of the first tune. Additionally, there???s the slow RnB number Good Old Candy that has some inane lyrics about what kind of candy Lucky likes, but in an enjoyable call and response format. At other times he proves that even little kids can be monotonous playing Jazz and Pop on an organ as adults.
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KING FLOYD King Floyd (Cotillion 71) Years and years ago I heard O-Dub play King Floyd on his radio show on UC Berkeley???s KALX. That summer I went to New York City and spent a day tracking down his 45s. Eventually I landed his self-titled album that had that great track that O played, Groove Me. It was soon afterwards that the song had a bit of a revival being used in a TV commercial. That song sounds just as good today as when I first heard it on the radio. It has a bouncy rhythm led by the bass, while Floyd???s singing and grunts are the perfect accompaniment. That???s followed by the likes of the upbeat Let Us Be, the grooving Woman Don???t Go Astray and Baby Let Me Kiss You, the slower Messing Up My Mind, all of which share the same features as Groove Me, namely a strong rhythm track and a catchy chorus. It???s not until the second side that Floyd really cools off. He does finish strong however with What Our Love Needs that returns to the winning song writing strategy of the first side.
KING FLOYD Think About It (ATCO 73) Think About It was another great album by the Soulman King Floyd. He starts off with a cover of My Girl with a completely new arrangement that takes you a bit off guard as you???re so use to the Temptations??? original, but that eventually grows on you. He really gets it going however on the next couple tracks like Here It Is and Woman Don???t Go Astray with their catchy choruses and melodies, plus Do Your Feeling, It???s Not What You Say, and Everybody Needs Somebody that have a little harder edge to them. The good stuff continues with the mellow title track and Thank You, and a great blaring version of Hard To Handle.
ALBERT KING I???ll Play The Blues For You (Stax 72) I???ll Pay The Blues For You was another soulful Blues release by guitarist Albert King. Again, like his other Stax recording he was backed in the studio by the Bar-Kays and the Memphis Horns. That combination was always able to come up with some great tunes like the title cut that has a great moody beginning with horns, King???s fine singing that???s eventually superceded by his guitar work. There???s also the easy-going Little Brother, the hard-hitting High Cost Of Loving, Breaking Up Somebody???s Home with its funky bridge, Don???t Burn Down The Bridge with its funky rhythm, and the even funkier cover of I???ll Be Doggone recorded live. In the middle of that last one King brags about how he can get as down as good as James Brown, maybe even more, and then asks the crowd if they want to go to the bridge just like the Godfather. Great stuff!
ALBERT KING King Of The Blues Guitar (Atlantic 69) In the middle of Albert King???s Stax albums he released this album on Atlantic while still recording at the Stax Studios in Memphis. Unlike the Stax albums from the same time that were known for their soulful numbers and funky edges, King Of The Blues Guitar is about just that, traditional electric Blues. He does start off with the great Cold Feet that has a sharp guitar line and laidback drum beat that was sampled quite often back in the day before finding the Blues. I Love Lucy has an even better intro with King???s guitar backed up by a loud chorus of horns, while Oh, Pretty Woman, not a cover, might be the most consistent with its steady, driving rhythm track.
Had a busy week so not much time to listen to records, but something is better than nothing.
LP REVIEWS:[/b]
MYSTIC MOODS Awakening (Warner Brothers 73) The Mystic Moods released what seemed like dozens of albums mixing easy listening, Pop, Rock, and spaced out sounds. This was one of their later releases and contains all of those elements. None really stick with me except for the last tune on side one Cosmic Sea that really puts all of those elements together. The guitar, a strong drum line, and plenty of effects all around lead the song with strings eventually joining in, and some female vocals at the very end. After that the selections get a little thin and long in the tooth except for the closing Rock instrumental The Seventh Plane that begins with the bass and builds up with piano and orchestration behind it.
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ALBERT KING Lovejoy (Stax 71) After a nonchalant beginning Albert King finally hits his stride on Lovejoy with the steady grooving Blues number For The Love Of A Woman and Going Back To Iuka. The real star of the show however is the title track that combines King???s fine guitar work with a funky backing. The rest of the album however is a bit of a letdown as most of the tracks are unremarkable.
TOM JONES Tom (London) Tom Jones was fully capable of belting out a fine Soul tune, and that???s what attracted me to Tom. He starts off with I Can???t Turn Your Loose that just misses the mark with its rhythm track that lacks the punch of the Sam & Dave original. Jones does a better job with Polk Salad Annie that has the edge that the previous tune lacked. He???s able to hold that groove on Proud Mary, Venus, and I Thank You that all have strong rhythms, horns and some fine singing. The rest of the album is forgettable.
HORACE SILVER Total Response (Blue Note 72) Horace Silver begins this album with the provocatively named Acid, Pot, Or Pills. The music is just as good with a funky bass line, and a slow grooving rhythm with singing over the top. After that Silver gets more jazzy with tunes like Won???t You Open Up Your Senses and I???ve Had A Little Talk that sound a lot like Gary Bartz???s recording from the same period. The best of these is Big Business because of its Soul-Jazz base.
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FREDDIE KING Getting Ready (Shelter) Freddie King was a long time Blues guitarist who was originally from Texas, but moved to Chicago at a young age where he got caught up in the city???s powerful music scene. Later he moved back to Texas where he continued his career. He recorded Getting Ready with the help of Leon Russell and Duck Dunn among others. Most of the album is straight electric Blues like Same Old Blues, with a couple acoustic covers like Elmore James??? Dusty My Broom. The best of those is the easy going Key To The Highway. Hands down though, the stand out tracks are the blaring Gong Down with its driving Rockish beat and searing guitar work by King, and the more soulful but no less powerful Palace Of The King.
FREDDIE KING Is A Blues Master (Cotillion 69) Is A Blues Master is a tale of two sides. The first is full of traditional electric Blues numbers with an emphasis on the slow and easy variety. The standout is a cover of Get Out Of My Life, Woman. The second side is completely different, mixing King???s guitar playing with some Funk and Soul like the instrumentals Hideaway, Funky, Hot Tomato, and Wide Open that all feature some great drumming by Norman Pride that give them that extra kick in the pants.
MAVIS STAPLES Only For The Lonely (Volt 70) Mavis Staples was part of the famous Staples Family. She released a couple solo albums later in her career with this being her second. She shows what she does best on tracks like the pleading power ballad I Have Learned To Do Without You. She continues that groove for much of the album on tracks like You???re The Fool, Since You Became A Part Of My Life, and the bluesy Since I Fell For You. The best tune however is the powerful What Happened To The Real Me that just steals the whole show with Staples??? blazing vocals and a strong backing.
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JOHN KLEMMER Blowin Gold (Cadet Concept 69) Saxophonist John Klemmer had a pretty unremarkable Jazz career. He did release this album on Cadet Concept, the experimental offshoot of Chicago???s Chess label. Klemmer certainly took advantage of the freedom that the subsidiary offered. That???s heard immediately on Exclusion #2 with some wild soloing by Klemmer over an upbeat, Rock influenced rhythm track. That???s followed by a more traditional mellow Soul-Jazz piece called My Love Has Butterfly Wings that has a little spacey feel to it. A cover of Hey Jude starts off slowly but is saved by the bass playing of Phil Upchurch and Klemmer???s sax. The best overall track is probably the Soul-Jazz number Free Soul.
NORMAN FEELS Norman Feels (Just Sunshine 73) Much of Norman Feels??? self-titled album reminds me of a mix of Marvin Gaye???s What???s Going On LP and Shuggie Otis. There???s no knock out tunes, but you can listen to the record from beginning to end, which is a rarity. It consists of long and lush Soul numbers with one seamlessly going into the next to create a unified sound from the opening to closing notes. It all starts with Don???t with its work on the keys and a long intro before Feels??? singing finally arrives. That song builds up in the middle until mellowing out and flowing into Till I Found You. That leads to the best overall cut, They Said It Couldn???t Be Done with its catchy, sing along chorus. That general mood continues with My World Is Empty Without You.
CURTIS KNIGHT Down In The Village (Paramount 70) If you didn???t see Curtis Knight on the cover of this album you could easily mistake Down In The Village as the product of a garage band from the 60s. The record is heavy with Rock influences like the opening title cut, Lena, and Give You Plenty Lovin. On other tracks like See No Evil Knight throws in some Soul elements like female back-ups during the chorus and a fast paced drum break in the middle. The best track though is the down and dirty Funk-Rock of Hi-Low with its chugging rhythm.
GLADYS KNIGHT AND THE PIPS A Little Knight Music (Soul 75) Gladys Knight And The Pips had left Motown in 1973, but that didn???t mean the label was done with them. They released A Little Knight Music in 1975 consisting of previously unreleased material that had been sitting in their vaults. The record gets off to a bit of an uneven start before hitting its stride with the uplifting All We Need Is A Miracle, and the mid tempo grooves of No One Could Love You More and Don???t Tell Me I???m Crazy. Knight and company continue on with the slower Can You Give Me Love With A Guarantee, which is the only cut that was heard by the public before on the Standing Ovation LP. They finish things off with a good cover of Put A Little Love In Your Heart with extra horns.
STREET PEOPLE Put Your Hand In The Hand (Pickwick) I originally saw a picture of this album years ago on Soulstrut. Shortly afterwards I found a copy in a store and couldn???t pass it up. I just think the cover is brilliant, a great symbol for a period of time in American history. The fact that it was put out by infamous budget label Pickwick just adds some frosting to the cake. The record was recorded by The Street People, which I???m sure were studio musicians, probably the same ones that Pickwick used to make other knock off albums of popular hits of the day. I especially like how on the back liner notes they proclaim, ???Our group, The Street People, stand on their own musical feet.??? They actually are able to pull off a few feats of musicianship, especially on Bridge Over Troubled Water with its vocal interplay at the beginning before the female lead takes over, the soulful Right On The Tip Of My Tongue with a female singer and heavy orchestration in the background, and the laid back, yet grooving instrumental Booty Butt are also good.
LORRAINE ELLISON Stay With Me (Warner Brothers 69) Lorraine Ellison was from Philadelphia and got her start singing Gospel. She released a few albums, but Stay With Me is her best. It contains the great Try (Just A Little Bit Harder) with its slow and easy groove that shows off her strong singing. The dance tracks The Hurt Came Back Again and You???re Easy On My Mind are also good. After that though there are a lot of heavily orchestrated numbers like the title cut and You Don???t Know Nothing About Love.
GLADYS KNIGHT AND THE PIPS All I Need Is Time (Soul 73) All I Need Is Time was one of Gladys Knight???s last albums for Motown. The record has an unconventional cover for the label with a sketch of Gladys and her group sitting for tea outside. The record didn???t score any hits, mostly because of unremarkable song writing. There are a couple good tunes like the slow and mellow I???ll Be Here (When You Get Home), and the mid-tempo Heaven Makes You Happy with some nice hi hat and conga interplay with horn flourishes that give it a little Latin feel to it before a familiar sounding Motown melody takes over. The rest of the album however is unremarkable slow jams like There???s A Lesson To Be Learned. With releases like this it appeared that Knight was leaving Motown with a whimper rather than a bang.
BUDDY RICH Keep The Customer Satisfied (Liberty) Buddy Rich was a long time Jazz drummer and bandleader. A couple years ago I got into his covers and picked up quite a few of his records, which was when I bought Keep The Customer Satisfied, a live recording from Las Vegas. Most of the set is the usual mix of Big Band numbers with one really rousing one called Groovin Hard. He???s able to get down a little bit in the middle of a Midnight Cowboy Medley with a tune called He Quit Me with a grooving little bass line and some strong horn work. Unfortunately it???s short and sweet and the only real highlight of the album.
JOHNNY ???HAMMOND??? SMITH What???s Going On (Prestige) What???s Going On attracted me because of the series of covers organist Johnny Hammond Smith performed. That starts off with the title track, which comes across as your typical organ based Soul-Jazz cover, meaning basically, nothing special. That pretty much sums up most of the record with the exception of L & J that has the most staying power of the five songs because it???s able to create the best groove.
SPECIALS More Specials (Chrysalis 80) More Specials was the group???s second album. When I came up listening to it people usually put it down as the weaker of the two. While it didn???t have the energetic tunes of their first release it showed a natural progression in their sound, at least for half the record. That???s heard on tracks like the upbeat Rat Race, the darker Man At C & A that???s about a nuclear apocalypse, the light Hey, Little Rich Girl and Pearl???s Caf??, and the ode to 60s Soul Sock It To Em J.B. about James Bond. There???s also a great cover of Enjoy Yourself, which opens thing sup. My personal favorite is the easy going Do Nothing with its sing-along lyrics. After that great first side however, the flip is a real let down with a mish mash of styles and duets that don???t work out.
SPECIALS Specials (Chrysalis 80) Once a year I seem to get nostalgic and bust out with all my 2-Tone records. The Specials were largely responsible for the revival of Ska music when they started the 2-Tone label and signed up a lot of the early English bands like The (English) Beat, The Selecter, and The Bodysnatchers. Their self-titled album is one of my all time favs. The record is a mix of Jamaican covers like A Message To You Rudy, Too Hot and Monkey Man and the band???s own original mix of Punk, Rock and Ska like the high energy Concrete Jungle and Nite Klub. There???s also the more laid back cuts like Doesn???t Make It Alright and It???s Up To You. You can listen to this record from beginning to end again and again. Elvis Costello produced the album as well.
HARVEY AVERNE DOZEN Viva Soul (Atlantic 68) Viva Soul is best known for the track You???re No Good with its bouncy beginning before going into a trade off between a female duo and I assume Averne on vocals. The song is so catchy it demands repeated plays. Averne continues with some equally upbeat numbers like Think It Over, Wishing And Hoping, Shake Your Money Maker, You Mess My Mind Up, and Make Out, as well as more subdued ones like an instrumental cover of Monday Monday and The Word, and Latin tunes such as The Micro Mini.
GLADYS KNIGHT & THE PIPS Claudine OST (Buddah 74) By 1974 Gladys Knight And The Pips had left Motown and signed with Buddah. One of their earliest releases for their new label was the soundtrack for Claudine, a movie starring James Earl Jones and Diahann Carroll. The song writing and production was by Curtis Mayfield. Together they got off to a great start, but then faded. On the first side there are tunes like Mr. Welfare Man that contrasts Knight???s strong singing with some rich orchestration and the slightly funky On And On. After that though, the record fades.
GLADYS KNIGHT & THE PIPS Every Beat Of My Heart (Pickwick) This Pickwick collection of Gladys Knight And The Pips tunes puts together many cuts by the group from the beginning of their career such as a slow and easy version of Every Beat Of My Heart. After that it???s a series of early 60s numbers. The only one that really stands out is Letter Full Of Tears, one of the group???s first hits and one that proved to be a mainstay as well.
SOUL PATROL Disco Dynamite! (Sunnyvale 77) Usually I wouldn???t buy a record with Disco in the title, but this was a local Bay Area production from the South Bay???s Sunnyvale. The album consists of a series of covers of popular dance tracks from the time such as You Make Me Feel Like Dancing and Play That Funky Music (White Boy). All are plaid competently and pretty much like the originals, but it???s Disco right, so who cares? I actually grew up listening to a lot of these tunes on AM radio so for some I have a soft spot. Those include Love To Love You Baby and Love Hangover.
BOBBY TAYLOR Taylor Made Soul (Gordy 69) Bobby Taylor got his start playing Soul music in the Pacific Northwest with guitarist Cheech Marin of Cheech and Chong fame. They had a number of bands before getting signed to Motown as Bobby Taylor and the Vancouvers. After one release together, Bobby Taylor went solo and released Taylor Made Soul. The album is good, but not great with some solid Soul numbers. On that tip there???s the mid tempo Oh, I???ve Been Bless???d with some strings, the sweet I Need To Belong To Someone, Little Miss Sweetness with one of those classic Motown dance beats, and My Girl Has Gone with a fuzzed out bass. That Rock influence continues on a very dark rendition of Eleanor Rigby that sounds like it could???ve come out of a horror movie. That???s by far the best song on the LP.
Comments
BLAKC IVORY WANDA ROBINSON
Black Ivory Wanda Robinson (Perception)
Wanda Robinson was a spoken word artist that recorded with musicians backing her up. On this album she collaborated with Black Ivory. On tracks like The Meeting Place the band is purely in the background, hovering off in the distance. On other pieces like John Harvey???s Blues there is no music at all. Suddenly Robinson and company emerge with Parting Is Such that has some rich orchestration and a little hint of Funk to it. On the Final Hour they???re able to find some Soul, again with strings and a catchy melody. The beginning of Celebration, Compromise, Read Street Festival, A Word To The Wise, The Great American Passtime starts off sounding like its going to go all out towards the Funk, but instead mellows out when Robinson joins in for her versus. It actually does touch on the Funk for a short stretch in the middle after a drum break. Instant Replay mixes some funky Soul and spoken word elements with a rhythm track taken from one of Black Ivory???s best tunes. In comparison, on The Trouble With Dreams Grooving things get spaced out and jazzy.
FANTASTIC JOHNNY C
Boogaloo Down Broadway (Phil-L.A. Of Soul)
Fantastic Johnny C was one of many fine talents to come out of the City of Brotherly Love. He had some great singles and that was the basis for this album. Chief among those was the rousing title cut with its easy-going dance beat and call and response vocals. He follows that up with a series of tunes with the same grooving style such as covers of Barefootin and Land Of 1000 Dances, plus The Bounce, Got What You Need, and New Love. All show Johnny C???s capability of holding a tune and keeping the dance floor moving.
JACKSON 5
Stand (Pickwick 74)
What do you do in a record store where it appears you have everything that???s interesting? Pick up records from knock off labels like Pickwick that specialized in previously released material. In this case, Stand is the Jackson???s Going Back To Indiana album in its entirety. It starts off with a fake newscast by Bill Cosby who introduces the band before he runs into one of the brothers. That eventually gives way to a studio version of I Want You Back. That sets the pattern for the album, as there are brief interludes that feature interviews with stars before the band comes in with one of their hits. Of those, the most notable are a live rendition of Sly Stone???s Stand that leads into an abbreviated I Want To Take You Higher, Feeling Alright with a nice drum and vocal breakdown in the middle, and finally a Medley of Walk On By and The Love You Save.
YELLOW SUNSHINE
Yellow Sunshine (Gamble 73)
Yellow Sunshine was led by brothers Roland and Karl Chambers, and also included Dexter Wansel. They were products of Philadelphia???s rich musical history. I first heard of them through their title track that features the hard edge of a Rock guitar tempered by group vocals, and smoothed out versus. It reaches its climax with a guitar solo followed by a short tight drum and conga break. The following tunes are dividable between the Rock influenced instrumentals such as The Greetch, and the slow and heavy Apollo 17, the mellowed out numbers like All Along The Seashore and Happiness, and the funky Soul of Tell Me Who Can Say and Don???t Tell Me Later Girl. There really isn???t a bad cut, which makes the record pretty special compared to all the others that are mostly filler.
OLD RECORDS OUT THE CRATES:[/b]
MARGIE JOSEPH
Margie Joseph (Atlantic 73)
When Margie Joseph switched labels from Volt to Atlantic in the early-1970s some praised her as the next Aretha because she was working with the same team there, most notably Arif Mardin. She never reached those heights, but she did produce some solid Soul sides. There???s the Funk of You Better Know It, and its slicker cousin I Been Down, a good cover of Let???s Stay Together, and the laidback Let???s Go Somewhere And Love, How Do You Spell Love, and I???ll Take Care Of You. The best tune however is the mid-tempo groove of How Do You Spell Love where she spells out ???M-O-N-E-Y.???
JU-PAR UNIVERSAL ORCHESTRA
Moods and Grooves (Ju-Par 76)
Moods and Grooves couldn???t get off to a better start than with Funky Music. The tune begins with a twangy keyboard tone, like that used by Stevie Wonder at the time, before a loud female voice comes on singing the chorus supported by horns. A great tune if there ever was one. Oh no, but the funkiness doesn???t end there, the groove is continued on Beauty & The Beast with a thumping rhythm section. That???s followed by two instrumentals, the lush, yet soulful Time and the jazzy Chicago Calypso. The second side is decidedly mellower and Jazzy with tunes like Mocha Velvet that features a lot of strings, Is Anyone Listening? and the Soul-Jazz of Flute-Salad. Gotta Get A Way ends things off just like the album started.
JUNKYARD BAND
Word/Sardines 12??? Single (Def Jam 86)
Sardines will always be one of my all-time favorite Go-Go tracks. From the opening hits on the hi hat, to the big fat keyboard line and percussion work, the tune is an all-out jam from beginning to end. It???s only made better when the call and response chorus of ???We eat sardines, Hey! That funky beat!??? comes in. Word is more of the same with a powerful rhythm track as all Go-Go tunes have and more catchy lyrics. There???s actually two versions on the 12???, a long and a short one.
LP REVIEWS:[/b]
JERRY BUTLER and JERRY PETERS
Melinda OST (Pride 72)
Melinda was a Blaxploitation film starring Calvin Lockhart and Rosalind Cash with music by Jerry Butler and Jerry Peters. It features some very good cuts such as Speak Truth To The People (Frankie???s Theme) that pairs Butler???s soulful singing with a funky little rhythm track, and some call and response with female back-ups. Half way through however, it becomes a laidback instrumental that is completely different from the beginning. That gives way to Melinda Title Theme a mid-tempo, guitar-led instrumental that mixes Soul with some Funk. There are also the Soul-Jazz instrumentals Melinda Latino that actually has no Latin influences in it, and I Can???t Let You Go.
GLASS HOUSE
Thanks I Needed That (Invictus 72)
Glass House was a mixed male and female vocal Soul outfit that released two albums on Invictus. Thanks I Needed That has a strange mix of songs from the non-descript Soul of V.I.P. to a version of A House Is Not a Home that sounds like Holland Dozier Holland who ran Invictus drank some of the Kool-Aid while they were with Motown and wanted to hit that white supper club crowd that Barry Gordy had a hard-on for. The group doesn???t find a winning formula until the laidback I Don???t See Me In Your Eyes Anymore with some conga work in the background and Horse and Rider. Things don???t really hit a groove until the second side with the horn heavy Thanks I Needed That, the upbeat Giving Up The Ring and Stealing Moments From Another Woman???s Life, and the Motownesque Don???t Let It Rain on Me and Don???t Go Looking For Something (You Don???t Want to See). Basically, you can skip the entire first half of this LP and just go to the second because that side is good from beginning to end.
KIM WESTON
Kim Kim Kim (Volt 70)
Kim Weston was a product of Detroit, Michigan, who got her start singing Gospel. Eventually she went secular and signed to Motown where she was best known for her duets with Marvin Gaye. After that she bounced around a bit signing with Volt and releasing Kim Kim Kim in 1970. She definitely hit the ground running recording some lush and soulful moments like the power ballads You Just Don???t Know that builds up to a crescendo half way through with the strings, horns and female back-ups, The Love I???ve Been Looking For, and a stirring rendition of When Something Is Wrong With My Baby. On Love Vibrations, Soul On Fire and Brothers & Sisters (Get Together) Ms. Weston proves she can tear it up on the fast paced Soul and Funk groovers as well. She also performs well with the easy-going Buy Myself A Man.
OLD RECORDS OUT THE CRATES:[/b]
JOHN KASANDRA
True Genius (Respect 72)
John Kasandra was signed to the Stax subsidiary Respect where he released a couple albums. He gets off to a good start with Down Home Ups (monologue)/Good Whiskey And Bad Women where he starts off talking over an easy-going rhythm led by the guitar and horns just dragging out the last measure. In the second half the song picks up a bit and Kasandra starts singing, joined by some nice female back-ups. Unfortunately few of the following songs match that opening. The beginning of Ain???t I Good? has a series of short horn busts during the opening, but then Kasandra proves that he should stick to the voiceovers rather than singing, because he can???t hold a tune if his life depended on it. That Woman (The Masterpiece) does a better job with its guitar and drum intro and Kasandra sticking to talking. Even better is Ain???t No Sin To Have Some Fun where Kasandra is carried by his female back-ups and an upbeat rhythm.
RYO KAWASAKI
Juice (RCA 76)
Jazz-Fusion had a major impact on Japan. Many Japanese artists either traveled to the U.S. to record in this genre or lured American musicians over to Japan to do the work there. Ryo Kawasaki was one such artist that tried to make it in America. He gets right down to business with the bouncy Raisins with a heavy electronic feel to the rhythm. The best track however is the slow and funky Bamboo Child. The rest is your typical mix of slick Fusion that???s not very interesting.
JOEL KAYE
Joel Kaye And His New York Neophonic Orchestra (Paramount 73)
Over the years I???ve soured on many Big Band arrangers who tried to add a little Soul and Funk to their pieces to keep contemporary. Some have stood up to the test of time however, such as Joel Kaye And His New York Neophonic Orchestra. Kaye got his start working with some of the leading big band conductors of his time such as Tommy and Jimmy Dorsey, Woody Herman and Stan Kenton. What Kaye learned from them about conducting and arranging he mixed with a proclivity for playing funky pieces like Say with its strong beat and horn melody. Also good is Euphrates with its slow and steady rhythm and strong bass play. There???s also a decent cover of Spinning Wheel.
EDDIE FLOYD
Knock On Wood (Stax 67)
Knock On Wood was Eddie Floyd???s biggest hit. It???s easy to see why with its easy going beat and sing along chorus. The album isn???t a one hit wonder however. After that the laidback groove continues with Something You Go and Raise Your Hand that sounds like Floyd???s former compatriot in the Falcons, Wilson Pickett. There???s also a strong cover of JJ Jackson???s But It???s Alright with its distinctive guitar line, and the brooding If You Gotta Make A Fool Of Somebody.
MARVIN GAYE
In The Groove (Tamla 68)
In The Groove is a very solid album from beginning to end. It has one of his biggest hits, I Heard I Through The Grapevine, plus Loving You Is Sweeter Than Ever surrounded by lesser known, but no less well-crafted songs. For example, there???s the pensive You, the more upbeat Chained with one of those trademark Motown dance beats to it, and At Last (I Found A Love) that has a little hard edge to it that???s a little departure from Gordy???s usual output. It???s Love I Need especially stands out because of the extremely funky drumming backing up Gaye, plus the easy going You???re What???s Happening (In The World Today).
JESSIE HILL
Naturally (Blue Thumb)
Naturally has a rather unassuming beginning with Introducement ??? Poverty Players, an airy piece of Hill singing over a piano with some strings. That gives the listener no preparation for the following tracks like the title cut, which is a down home and dirty Funk piece with some group vocals on the chorus, or the more upbeat I Dig You. Hill also proves that he can lay down that distinct New Orleans flavored Soul on Oh Yeah that sounds a bit like Lee Dorsey. Half way through Della Temple takes over the vocals to add an extra twist to the tune. That good vibe is continued on the second side with cuts like the chunky sound of Hand Me The Key, the uplifting Soul duet I???ve Been Hurt that matches Hill and Ms. Temple again, and the hard rocking Two Of A Kind.
NINA SIMONE
Pastel Blues (Philips)
Pastel Blues starts off with the powerful Be My Husband that sees Simone sing in a chant like mode behind a sparse track of just drums. After that great start the record goes into Simone???s standard repertoire of Blues and Jazz numbers such as a rendition of the classic Strange Fruit.
OLD RECORDS OUT THE CRATES:[/b]
KC AND THE SUNSHINE BAND
KC And The Sunshine Band (TK 75)
KC And The Sunshine Band will always be remembered as being one of the seminal Disco bands of the 1970s. KC actually got his start working for Miami???s famous TK Records. Their second self-titled album is the one that really made them a household name with hits such as That???s The Way (I Like It) and Get Down Tonight, which I grew up listening to as a little kid and still think are catchy dance tracks to this day. The album contains extended versions not heard on the radio. The easy going Boogie Shoes is next with a loud horn line. KC eases up again on Ain???t Nothing Wrong. The best cut however is their version of I Get Lifted and the instrumental Let It Go (Part Two) with a drum break. The beginning and bridge of Let it Go (Part One) is also good, but the singing kills the track.
HERMAN KELLY & LIFE
Dance To The Drummer???s Beat/Easy Going 12??? Single (TK Disco 78)
Dance To The Drummer???s Beat is one of those classic breakbeat songs. The drums and bass anchor the tune with a light guitar and keyboard line over the top keeping the melody. Eventually the vocals join in with a simple sing-along of the title. Eventually there???s a breakdown in the middle showing off the drummer and later some percussion, which is the highlight of the entire thing. Easy Going is a forgettable dance track, so it???s best to just stick to the hit.
This week's reviews also go out to Yuichi who said that I had a 2nd rate analysis of music because I had no first hand knowledge of it. One day I hope I can be on his street, thug level of music knowledge. One day!
LP REVIEWS:[/b]
EDDIE KENDRICKS
For You (Tamla 74)
For You showed what Kendricks could do with a good tune. You???ve got nice laid back numbers like Please Don???t Go Away that builds up in intensity as it progresses, and the grooving One Tear and Shoeshine Boy. Unfortunately, after that strong start, the second side falls off in quality.
OLD RECORDS OUT THE CRATES:[/b]
EDDIE KENDRICKS
Boogie Down! (Tamla 74)
On Boogie Down! it seems like Eddie Kendricks suffered from some mediocre song writing. Things get started well with the funky Soul of The Thin Man that has just the slightest hint of late Parliament to it. After that it???s a series of dance tunes and slow jams that go nowhere. The only really special song out of the bunch is Trust Your Heart, which combines Kendricks??? great vocals with a solid rhythm.
EDDIE KENDRICKS
Eddie Kendricks (Motown 73)
To me, Eddie Kendricks was one of the top Soul singers of his time. From his work with the Temptations to his solo career he maintained one of the great voices of his time. That???s heard on cuts like the sophisticated slow jams Only Room For Two and Where Did You Go (Baby) that show off Kendricks??? falsetto, and Darling Come Back Home that has the same pace, but a moodier edge to it backed by some steel drums. Kendricks really hits his stride however on the equally slow Each Day I Cry A Little that has a star quality about it, and the real big single off the record, Keep On Truckin that showed that he could handle he fast-paced dance tunes as well.
EDDIE KENDRICKS
He???s A Friend (Tamla 76)
1974 seemed to be a turning point in Kendricks??? career. After that the music he was given took a dive. That doesn???t mean his later releases are a total waste. He was usually still capable of coming through with at least one hit, and that???s true of He???s A Friend. That takes the form of the opening title cut with its fast pace and sing along chorus. It was obviously aimed at the Disco market with the string and horn arrangements and shuffle beat that was emblematic of the genre at the time. The sweet ballad A Part Of Me, and the upbeat I Won???t Take No are also worth a listen. The rest tend to be rather mediocre dance numbers.
EDDIE KENDRICKS
People ??? Hold On (Motown 72)
If you were ever to buy an Eddie Kendricks album, THIS would be the one to get. It???s by far his greatest work. There???s some easy going Soul numbers like If You Let Me, Day By Day, Eddie???s Love, I???m On The Sideline with their catchy, sing along lyrics. Those compare with the more upbeat Let Me Run Into Your Lonely Heart with its funky guitar line that has a strong Sly Stone influence to it. Of course, the most well known track might be the expansive Girl You Need A Change Of Mind that has lyrics for the first half, and then just turns into a jam session. I always thought the lyrics were really interesting as well because it seems to be a reply to the Feminist movement that they shouldn???t overlook racism and civil rights and not discriminate against all men. He even gets a little experimental with the heavy percussion and group chorus of My People ??? Hold On that???s tempered by Kendricks??? sweet singing. He finishes off with Just Memories with its dramatic horn intro before going into a ballad. In the fact the remaining tunes, Someday We???ll Have A Better World and Date With The Rain are also good making this an excellent record from beginning to end.
EDDIE KENDRICKS
Slick (Tamla 77)
Slick was released in 1977 and showed that Kendricks was still able to pull a couple tricks out of his hat. That begins with the opening Something Shady (Is Going On), an upbeat dance tune based around Kendricks??? soulful singing. It does however, go on too long and looses some of its luster half way through. The easy going I Want To Live (My Life With You) is also good, but the real gem is Intimate Friends, a tune that most people will now associate with Alicia Keys because she sampled it for her big hit Unbreakable. The song is one of the greatest slow jams of all time with its catchiness, and heart felt lyrics.
Backtracking through his discography, it's too bad he didn't do another progressive soul album like People...Hold On, but since he wasn't (known as) an instrumentalist or writer, I kinda get the impression he just went wherever the producer took him (not to downplay his talent).
Besides, disco was just starting (on an underground level), and since "Girl, You Need A Change Of Mind" was a big record in the clubs, I guess they decided to follow up on that. Hence "Keep On Truckin'".
Nice review! This album gets me every time, especially Eddie's Love.
He definitely was at the whim of his producers and song writers.
...just like most Motown singers who weren't Stevie Wonder or Marvin Gaye.
I personally thought All By Myself was a disappointment. If we ever do a thread (again?) on debut albums that aren't that great, the first Eddie Kendricks would be right in there.
That's one of the records that I know ain't going nowhere.
So many of his records came out when the dance scene/Disco was taking off, which caused a lot of mediocre tunes to be sent his way, IMO.
ARCHIE BELL & THE DRELLS
There???s Gonna Be A Showdown (Atlantic 69)
One of the main problems with the Drells was that Archie Bell didn???t have the strongest voice. That???s heard on the first three points where Bell sounds rather mediocre or worse. The group doesn???t really hit a groove until Giving Up Dancing with its sharp horn stabs and funky groove. Mama Didn???t Teach Me That Way is an easy-going number, while Green Power is another decent number. Finally there???s the power ballad Just A Little Closer with some heavy strings. Basically, the record has a few noteworthy numbers, but suffers from a lack of real staying power.
DELLS
There Is (Cadet 68)
There Is is one of my favorite Dells albums because it shows the versatility of the group. They have some fast paced Soul numbers like the title cut with its driving beat and hint of sophistication with some strings. Others like Show Me, Higher And Higher and When I???m In Your Arms are more mid-tempo with a danceable groove, while Stay In My Corner and The Change We Go Thru (For Love) show that the group could slow it down for those trademark ballads.
OLD RECORDS OUT THE CRATES:[/b]
CHUCK JACKSON
Through All Times (ABC 73)
Chuck Jackson had a very long career as an RnB/Soul singer. He recorded for several labels and had his best sales earlier in his career. Through All Times doesn???t happen to be his best work however. It???s a one tracker, but that single song is a good one. That???s the title cut that???s a slow and easy with a strong Barry White groove to it containing a drum break intro, some light orchestration in the background, and a breakdown in the middle.
KENNY AND THE BEACH BOYS
Jurisdiction (Elite)
Kenny And The Beach Boys were from the Bahamas where they performed at the Nassau Beach Hotel for locals, but probably more for the tourists. That establishment helped fund their album Jurisdiction. The music is your typical Caribbean fare. At the very end of the LP however, you get a little treat, a cover of James Brown???s Big Payback. It???s really good too with the lead singer sounding pretty close to James. There???s also a good, straightforward cover of Booker T. & The MG???s Backside with lots of organ at the end of the first side.
JOHN HOLT
2000 Volts Of Holt (Dynamic 76)
In the mid to late-1970s, John Holt released a series of 1000 Volt albums aimed mostly at the UK market. At the time, England was enjoying a very slick and overproduced version of Reggae with lots of strings and Soul leanings that was easy on the ears. The results weren???t the best. A lot of Reggae artists came off as poor imitations of their American counterparts attempting to play straight Soul numbers rather than sticking to their own indigenous music. That being said, 2000 Volts might actually be the best in the series. That begins with Doctor Love with its horn intro and Holt???s trademark smooth delivery. Next Holt pulls off decent covers of Yester-Me, Yester-You, Yesterday and Keep On Moving. Those are all on the first side. Unfortunately, the second isn???t half as interesting.
SENOR SOUL
Plays Funky Favorites (Double Shot)
Senor Soul hailed from Los Angeles. Despite the title of this album, they specialized in light Soul-Jazz instrumentals on this one. That???s heard throughout the album on tracks like Pata Pata and Lovey Dovey with their easy going feel with flute and vibes, and plenty of brass solos as well. They also do plenty of covers such as I Heard It Through The Grapevine, Gimme Little Sign, Get On Up, and Up Tight that turns into an extended jam session. The tracks that really stand out however are the hardest hitting that break the mold of the record such as Psychotic Reaction with its Rock guitar intro, and an unexpectedly good version of Spooky and Poquito Soul with its Latin flavor. I much prefer their second album to this one.
OLD RECORDS OUT THE CRATES:[/b]
ROBIN KENYATTA
Girl From Martinique (ECM 73)
Most of Girl From Martinique is experimental Jazz such as the title cut that???s an eleven-minute plus monster that starts off with some airy play by Kenyatta on the flute over various soundscapes. Where he really gets down is on the following Blues For Your Mama that features the strong and funky rhythm play of bassist Arild Andersen and drummer Fred Braceful over which Kenyatta solos-over. The song also features some of that experimentation of the rest of the album as the group hits some off kilter notes along the way. Out of the other tunes they each have their little moments, such as the mellow melody of We???ll Be So Happy, but it???s all really about Blues For Your Mama for me on this album.
ROBIN KENYATTA
Stompin at the Savoy (Atlantic 73)
Stompin at the Savoy and Girl From Martinique were released the same year, but couldn???t be more different in sound. Girl From is experimental Jazz that the ECM label was known for, while Stompin at the Savoy is a very commercial release exemplified by the neo-Disco of the title cut and the light big band number with the fitting title Smooth Sailing. There are hints of Kenyatta???s more Jazzy side on tracks like The Need To Smile and Two Bass Blues. The tracks that really catch my attention however are Mellow In The Park, Jessica, and River Boat. The first has a funky bass line by Chuck Rainey backed by the every-steady drum play of Winston Grennan, while the second is an upbeat Soul-Jazz piece with a light melody. Finally, River Boat is a mix of Reggae with a little Funk.
Just hanging around on a Sunday night listening to this LP, and I'm really feeling the title track. Ms. Lynn takes this song to heights and depths that the Supremes only hint at. After Side 2 is over, this is going right back into the "now playing" pile so I can hear "Love Is Here..." some more.
EDDIE FLOYD
I???ve Never Found A Girl (Stax)
Eddie Floyd was one of the main male singers at Stax records having several big hits for the label. The title cut from this album was one of them with its easy-going rhythm, male back-ups and catchy chorus. There???s other goodness to be found on this album as well. On the first side there???s the mid-tempo yet bouncy Bring It On Home To Me that builds up as it progresses, a decent cover of Jerry Butler???s Never Give You Up with a new middle section, the upbeat Hobo, and the down home Soul of I Need You Woman with a bridge taken from Tramp. The flipside is just as good with I???ll Take Her with a very short breakdown, the more laidback Slip Away with some trademark Stax horn work, the Gospel influenced Water, and the slightly funky Sweet Things You Do. Overall this makes for an excellent album basically from beginning to end.
BYRON LEE AND THE DRAGONAIRES
Introduce You To Reggay (Trans World)
Like most of Byron Lee???s albums, Introduce You To Reggay is largely based around covers. He does a nice version of Soul Serenade and Can I Change My Mind, as well as some Jamaican hits like the Pioneers??? Long Shot Kick The Bucket. Other good cuts are the growing trio of ???scorcher??? instrumentals, More Scorcher, Another Scorcher and Musical Scorcher, plus the easy going Throw Me Corn with some singing.
MOTOR CITY ROLLERS
Stevie Wonder Songbook (Pickwick 77)
Pickwick were one of the kings of budget albums for many years, and in the 1970s they also put out some budget studio bands doing popular covers of the day. Thus in 1977 they released Stevie Wonder Songbook by a group called the Motor City Rollers. All of the songs are played straightforward and the lead singer sounds amazingly like Stevie, but without the range. The band starts off with I Wish with its trademark bass intro. That???s followed by the equally upbeat You Haven???t Done Nothing and Superstition with the drum break intro. That sides finishes off with Sunshine Of My Life. The second side is just as good with Isn???t She Lovely even including the crying baby, Living For The City, Higher Ground, Signed, Sealed, Delivered I???m Yours and finally My Cherie Amour. This of course all begs the question, why buy an album of Stevie Wonder covers when you can get all of the originals so easily? That???s something I???m still trying to answer myself.
OLD ALBUMS OUT THE CRATES:[/b]
CALVIN KEYS
Proceed With Caution! (Black Jazz 74)
The Black Jazz label had a very short life with only a handful of releases. Like most Jazz labels of the time, the majority of Black Jazz???s artists were rooted in Be Bop. Of course, most also dabbled in Soul-Jazz as well. On guitarist Calvin Keys??? second album for Black Jazz, Proceed With Caution! that moment arrives with Aunt Lovey that features the strong horn play of Charles Owens on sax and a swirling melody. The rest of the album is light Bop.
CALVIN KEYS
Shawn-Neeq (Black Jazz 71)
Shawn-Neeq was guitarist Calvin Keys??? first with Black Jazz. The album opens up with B.E., which has a little moody beginning but then picks up speed. This typifies most of the numbers on this album, which features Keys very restrained guitar style played over deep, moody backing arrangements. It reminds me a bit of some of Grant Green???s mellower tunes. The 2nd side is much more upbeat and sees Keys let loose a little more with his numbers and soloing. The best song is B.K., which has a banging beat driven by the funky bass.
This "songbook" album were a lot cheaper than Stevie's regular albums (like the mammoth 2-record Songs In The Key Of Life. And usually, the people who bought these didn't catch on to the fact that this album wasn't BY Stevie, they just saw his name in large print and didn't go any further. even though his name is in bigger print on the cover than the Motor City Rollers. So hopefully that answers your question. There was a time when the song was more important than the singer, and this Motor City Rollers album kinda caught the tail end of that.
Pickwick (and other budget labels) used to market fake Beatles albums in the same way, albeit a lot cruder...they'd just get a photo of four guys in Beatle wigs, give them some close-enough name like the Beats, and watch those things sell to people too thick to know the difference.
TYRONE DAVIS
Home Wrecker (Dakar 74)
Homewreckers with its light and easy going sound starts off this album by Tyrone Davis. That gives a good introduction to what many of the following tracks are like such as This Time and After All This Time. Even better is the upbeat dance tune Is It Something You???ve Got. There???s also the slow jam A Woman Needs To Be Loved.
DELLS
Dells (Cadet 73)
The Dells were one of those rare Soul vocal groups that were able to age well with time. Their self-titled album is one of my favorites of theirs because of the mood they are able to create with the songs. The Dells get right down to business with the opening Let The Feeling Talk To You with a deep baritone voice doing some sexy talk to his girl over a slow and easy rhythm that builds up just a little with the horns and strings before the rest of the group comes in with their singing. That kind of sophisticated Soul for grown folks is what marks the record. My Pretending Days Are Over and Let???s Make It Last are much in the same mood, while I Miss You has a little more of a groove to it, and I Hear Voices is a bit darker with its lyrics about struggling in the ghetto.
REV. CLEOPHUS ROBINSON
Live From Europe (Nashboro 78)
I have one other record by Reverend Cleophus Robinson already, so when I saw Live From Europe and a found a cover of Grandma???s Hands on it, it piqued by interest. This album happens to be a live one from a concert at the Montreux Festival in Switzerland. Most of the tunes are slow and easy Gospel numbers with plenty of organ and a little Blues kick to them like I Looked Down The Line And I Wondered. That suits the reverend fine when he does his version of the Bill Withers??? song on the second side. Its played straight and effectively.
JIMMY RUFFIN
Ruff ???N Ready (Soul 69)
Jimmy Ruffin was the older brother of the Temptations??? David Ruffin. He had his own singing career and even scored a couple hits for Motown along the way. He starts off with the nice and easy Don???t Let Him Take Your Love From Me, with some sharp hits on the snare drum. That epitomizes most of the tracks on Ruff ???N Ready. On a few others, Ruffin had some better song writing that contains a little of the Motown flare that the label was known for, although a little cut below their gold standard. That can be heard on Don???t You Miss Me A Little Bit Baby, Everybody Needs Love, Love Gives, Love Takes Away, and the best track Gonna Keep On Tryin Til I Win Your Love. Sad And Lonesome Feeling has a little bit of a different feel to the others with its conga backing.
OLD RECORDS OUT THE CRATES:[/b]
KID DYNAMITE
Kid Dynamite (Cream 76)
I love the graphics on this LP. The front has a space age/fantasy warrior wielding an axe and shield over some dead bodies while the back has the band???s mugs with shades on and light reflecting off them. The sparse liner notes are just as good as the band tries to explain why they left the Steve Miller group to form their own act. Enough of the cover, the album has one of those classic Rock songs Uphill Peace Of Mind on it, that everyone should recognize quite easily as it was included on the UBB series. The song actually sounds a bit like a Steve Miller tune with its guitar heavy rhythm, but a little heavier. The best part is the breakdown in the middle with some group vocals over a strong drum line. Other than that though, the album is pretty forgettable.
KING CURTIS
Everybody???s Talkin (ATCO 72)
Everybody???s Talkin was one of King Curtis??? later albums. It was mostly recorded in New York City with studio musicians such as Cornell Dupree, Jimmy Smith, Bernard Purdie, Chuck Rainey, Billy Preston, and the Memphis Horns. The first side has a cover of Groove Me with a loud horn arrangement, a pumped up chorus, and Curtis??? sax playing the lead, the funky You???re The One written by Sly Stone that features a nice breakdown in the middle alongside all the brass work, and the slow and easy If I Were A Carpenter that you can barely tell from the original. The second side isn???t as good, but does have the southern sounding Ridin Thumb with singing by Curtis and its sister Ridin Thumb ??? Jam that is an instrumental version. Some might also like Central Park that has a strong movie soundtrack feel to it with strings and a heavy Rock guitar line half way through.
INDEPENDENTS
Chuck, Helen, Eric, Maurice (Wand 73)
The Independents were a vocal Soul group from Chicago that featured Rev. Jesse Jackson???s brother Chuck. Chuck, Helen, Eric, Maurice shows off their talent well as they mix up a variety of styles. First up is the slow and sweet It???s All Over that has a nice build up half way through. There???s also the more upbeat No Wind, No Rain with its horn and piano work and the bluesy The Same Old Way. The second side follows a similar pattern with the pensive In The Valley Of My World, the faster-paced One Woman Do Right Man, the harder hitting Show Me How.
MARVELETTES
Marvelettes (Tamla 67)
The Marvelettes scored the first number one hit for Motown with their song Please Mr. Postman. That set off a wave of other chart toppers in the early 1960s. On their self-titled album they proved that they could still produce later in their career. They get off to an upbeat start with a cover of Barefootin, a classic 60s dance number. That contrasts with the slow and steady sophistication of Message To Michael. Even better is When You???re Young And In Love, with strings and a delivery that???s similar to the Supremes??? work from the same time, and the slightly harder hitting He Was Really Sayin Something. The heavy bass work on The Day You Take On (You Have To Take The Other), the easy going When I Need You, and I Need Someone are also good.
JOHNNIE TAYLOR
Who???s Making Love ??? (Stax)
Who???s Making Love was probably Johnnie Taylor???s biggest hit. That upbeat Soul number that was such a good representation of the Stax sound opens up the album of the same name. The record isn???t a one hit wonder either. Rather, Taylor shows off his entire repertoire from the dance track Take Care Of Your Homework, the mid tempo I???m Trying that???s one of my favorites with its horn line, the slow power ballads like I???m Not The Same Person, the grooving Hold On This Time, and the bluesy Woman Across The River and Can???t Trust Your Neighbor. It???s just a great display of Taylor???s soulful singing from almost beginning to end.
OLD RECORDS OUT THE CRATES:[/b]
KING CURTIS
Get Ready (ATCO 70)
Get Ready is missing something. It???s got the usual dose of covers like Get Ready and some originals, but most of them are played rather disappointingly MOR. Teasin??? that starts off the second side with a sharp distorted guitar line, finally shakes things up with its Rock edge. That???s not enough to save the record from being pretty disappointing overall.
INDEPENDENTS
Discs Of Gold (Wand 74)
Discs Of Gold was a greatest hits compilation by Chicago???s Independents. They start off with the richly orchestrated Leaving Me from the First Time We Met album. That pretty much signified their style. They were best with those slow sweet jams like It???s All Over, Just As Long As You Need Me, Baby I???ve Been Missing You, I Just Want To Be There, plus the more upbeat First Time We Met, and the moodier In The Valley Of My World.
JOHNNIE TAYLOR
One Step Beyond (Stax 71)
One Step Beyond features one of the few concept covers released by Stax. It has a bald black woman in a space suit mirrored several times on the front cover. The music has a more down to earth origin as the recording was split between the Stax Studios and Muscle Shoals. The album has a subtle beginning with Time After Time that picks up just a little bit in the second half during a guitar solo that is eventually joined by some back-up singers. Even better is the pleading I Don???t Wanna Lose You (Parts I & II). Taylor gets a little harder hitting with I Am Somebody (Parts I & II) that features some strings and strong back-ups, and shows that he could even get a little funky on Jody???s Got Your Girl And Gone with its short horn stabs that remind me a bit of a very subdued James Brown.
OLD RECORDS OUT THE CRATES:[/b]
KING CURTIS
Instant Groove (ATCO 69)
Instant Groove is one of King Curtis??? better albums. As usual it???s made up of a mix of covers and originals. Up first is the title track, which is a great jam with Curtis talking over the top. The best parts are the funky bass line and horn chorus. Unfortunately it???s too short and ends just as the groove begins. Next is a cover of Hey Joe with a little down home flare added to it. There???s also a decent version of Sing A Simple Song, although it lacks the frenetic energy of the original. The second side isn???t half as good with only the catchy instrumental The Weight featuring Duane Allman on guitar standing out.
KING CURTIS
King Size Soul (ATCO 67)
King Size Soul consists almost entirely of covers, which was King Curtis??? style. Most of those are played rather subdued and MOR such as Ode To Billie Joe and A Whiter Shade Of Pale that gets things started. The record is basically a one tracker with the funky original Memphis Soul Stew the only song to check for. It features a great walking bass line and Curtis talking over the top explaining what makes the tune go. The only other songs worth a listen are I Never Loved A Man (The Way I Love You) and I Was Made To Love Her that are played pretty much like the originals.
LP REVIEWS:[/b]
45 REVIEWS:[/b]
MURRAY MCKAY
Blacks Tryin To Make It/Don???t Let The Pusher Push You (Message)
This is a fine double-sided 45 by Murray McKay. He begins with the funky Blacks Tryin To Make It with its female back-ups, percussion and strong horn play. Don???t Let The Pusher Push You is more of the same with those great ladies??? helping McKay out with the vocals, and a nice conga and piano breakdown in the middle.
LP REVIEWS:[/b]
AIRMEN OF NOTE
Brothers In Blue (Air Force Reserve)
This was one of a number of albums put out by members of the armed forces to gain new recruits. Brothers In Blue was recorded by the Airmen Of Note who were part of the Air Force Reserve. The record has a surprising start with Chappie James Suite that features a snippets of a speech by Lt. Gen. Daniel ???Chappie??? James, a black fighter pilot, rejecting the calls for revolution by the Black Power movement by saying that he wasn???t acting or going to accept second class citizenship in America and therefore didn???t need to join their ranks. Better yet, is the funky Soul-Jazz piece that???s in the background that takes up 2/3 of the song until it gets more jazzy at the end. They give a sublime rendition of Superstition that lacks the energy of the original, but still has its catchiness. That laid back groove continues with PUSH, named after Jesse Jackson???s civil rights organization, that???s led by the guitar, and a cover of Juan Valdez In The Country.
OLD RECORDS OUT THE CRATES:[/b]
KING CURTIS
Live At Fillmore West (ATCO 71)
This is a live album from the Fillmore West in San Francisco. At the time Curtis recorded with Billy Preston, Cornell Dupree, Truman Thomas, Jerry Jemmoff, Bernard Purdie, Pancho Morales, and the Memphis Horns. Together they get right down to business with a rousing version of Memphis Soul Stew. There???s an extended bridge in the middle with some percussion by Morales, that leads into a big jam to finish things off. Curtis shows his versatility by pulling off a convincing cover of Whole Lotta Love. It???s the second part of the set that he really takes off though beginning with the upbeat Them Changes, followed by a good version of Ode To Billy Joe, then finishes off with Signed, Sealed, Delivered I???m Yours and Soul Serenade.
KING CURTIS
Plays The Great Memphis Hits (ATCO 67)
On Plays The Great Memphis Hits King Curtis focused on the Stax-Volt catalog. He does best on the upbeat ones like Knock On Wood, Hold On, I???m Coming that features a female chorus, and the Mar-Keys??? Last Night. Also good is Fa-Fa-Fa-Fa-Fa (Sad Song) with the horns playing the chorus in place of the singing. The slow tunes and love songs don???t really work as instrumentals, becoming too cheesy in the process.
GLORIA LYNNE
Happy And In Love (Canyon)
Gloria Lynne put together a fine record on Canyon. She begins with the slightly funky Whatever It Was You Just Did. That pretty much sets the stage for the first half of the record with tunes like the fast-paced How Did You Make Me Love You, and the mid-tempo groover If You Don???t Get It Yourself with some twangy guitar work. The second side is completely different, consisting mostly of power ballads and love tunes like What Else Can I Do.
WILLIE WILLIAMS
Raw Unpolluted Soul (Supreme Blues 73)
Willie Williams was a Blues drummer originally from Mississippi, who migrated to Chicago and joined that city???s rich musical tradition. Willie Dixon produced his album. Williams gets off to a great grooving start with Back To Mississippi that has a little Funk to it. Detroit Blues is very similar. Other tunes are slow and minimalist Blues numbers like Ruthy Baby that hearken back to the South that he came from, while still others are in that Chicago electric Blues tradition like Wine Headed Woman.
BETTY WRIGHT
I Love The Way You Love (Alston 72)
Clarence Reid and Little Beaver not only helped arrange this album by Betty Wright, but also performed on it. The sound they created was decidedly mellow from beginning to end. There???s the title cut with its nonchalant beginning that adds a nice edge later on, the wah wah guitar of All Your Kissing Don???t Make True Lovin, and the easy going I???m Getting Tired Baby and Pure Love. The best-known track is Clean Up Woman with its distinctive guitar line that was Wright???s biggest hit.
OLD RECORDS OUT THE CRATES:[/b]
KING CURTIS
Sweet Soul (ATCO 68)
This album by King Curtis is almost entirely covers as were many of his releases from this period. Most of them are decidedly MOR like Theme From ???Valley O The Dolls.??? The one exception is Sweet Inspiration with its minimalist arrangement and funky little drum and bass line that eventually gives way to a laid back southern Soul-Jazz sound. The rest is just filler.
KING HANNIBAL
Truth (Aware 73)
I originally heard about King Hannibal through a 45 and later picked up his album when I saw it in a store. The record proved to be just as good as the single starting off with the funky I Got That Will and its short horn stabs. Wake Up is very similar. The Truth Shall Make You Free is about kicking a drug habit and has a powerful rhythm section. There are also some bluesy numbers like Same ???Ole Fool Again. Hymns No. 5 starts off in a similar fashion, but then gets down and dirty with the guitar and bass, while Hannibal lays down some powerful vocals.
ALBERT KING
I Wanna Get Funky (Stax 73)
This record gets off to a nice start with the slow and soulful title cut that features King???s sharp guitar work. King of course was Stax???s big bluesman. Til My Back Ain???t Got No Bone is very similar. He also comes with some other nice electric Blues numbers like Playing On Me. The best songs though are Flat Tire with its mix of Funk, Blues and Soul with female back-ups, and Cross Cut Saw with its funky rhythm. King got some fine studio help as well from the Bar-Kays and the Memphis Horns.
JOHN KLEMMER
Fresh Feathers (ABC 74)
John Klemmer is best known for his Blowin Gold LP. Other than that his albums kinda blow. The title cut is actually okay with its female chorus singing a melody before the tune takes off and Klemmer starts soloing on his sax. The song is far too long however. Nothing else really works either like the easy listening Jazz of Make It With You or Humbling Love, the novelty numbers like Fat Alligator Snap, or the more commercial sounding Music For The People and Wizards Revenge.
JOHNSON, HAWKINS, TATUM & DURR
You Can???t Blame Me/Your Love Keeps Drawing Me Closer (Capsoul 71)
Johnson, Hawkins, Tatum & Durr recorded a fine two sided Soul 45 here. You Can???t Blame Me is my favorite though with its deep rhythm track and sweet vocal arrangements. Your Love Keeps Drawing Me Closer is more upbeat, but still has that catchiness and fine group singing that was apparent on the flip.
LP REVIEWS:[/b]
LUCKY PETERSON
Out Future (Today)
I got this record exactly eight years ago and this is the very first time I???ve put needle to vinyl. That???s kinda pitiful. As you can tell from the cover, Our Future is a novelty record featuring the 5-year old Judge ???Lucky??? Peterson on keys and vocals. He actually delivers a pretty rousing title cut with a strong rhythm section and adult vocal back-ups. After that the other good songs are the instrumentals Harlem, and covers of ABC and Love The One You???re With that show of Peterson???s organ skills, although he does hit a little bump in the road during the middle of the first tune. Additionally, there???s the slow RnB number Good Old Candy that has some inane lyrics about what kind of candy Lucky likes, but in an enjoyable call and response format. At other times he proves that even little kids can be monotonous playing Jazz and Pop on an organ as adults.
OLD RECORDS OUT THE CRATES:[/b]
KING FLOYD
King Floyd (Cotillion 71)
Years and years ago I heard O-Dub play King Floyd on his radio show on UC Berkeley???s KALX. That summer I went to New York City and spent a day tracking down his 45s. Eventually I landed his self-titled album that had that great track that O played, Groove Me. It was soon afterwards that the song had a bit of a revival being used in a TV commercial. That song sounds just as good today as when I first heard it on the radio. It has a bouncy rhythm led by the bass, while Floyd???s singing and grunts are the perfect accompaniment. That???s followed by the likes of the upbeat Let Us Be, the grooving Woman Don???t Go Astray and Baby Let Me Kiss You, the slower Messing Up My Mind, all of which share the same features as Groove Me, namely a strong rhythm track and a catchy chorus. It???s not until the second side that Floyd really cools off. He does finish strong however with What Our Love Needs that returns to the winning song writing strategy of the first side.
KING FLOYD
Think About It (ATCO 73)
Think About It was another great album by the Soulman King Floyd. He starts off with a cover of My Girl with a completely new arrangement that takes you a bit off guard as you???re so use to the Temptations??? original, but that eventually grows on you. He really gets it going however on the next couple tracks like Here It Is and Woman Don???t Go Astray with their catchy choruses and melodies, plus Do Your Feeling, It???s Not What You Say, and Everybody Needs Somebody that have a little harder edge to them. The good stuff continues with the mellow title track and Thank You, and a great blaring version of Hard To Handle.
ALBERT KING
I???ll Play The Blues For You (Stax 72)
I???ll Pay The Blues For You was another soulful Blues release by guitarist Albert King. Again, like his other Stax recording he was backed in the studio by the Bar-Kays and the Memphis Horns. That combination was always able to come up with some great tunes like the title cut that has a great moody beginning with horns, King???s fine singing that???s eventually superceded by his guitar work. There???s also the easy-going Little Brother, the hard-hitting High Cost Of Loving, Breaking Up Somebody???s Home with its funky bridge, Don???t Burn Down The Bridge with its funky rhythm, and the even funkier cover of I???ll Be Doggone recorded live. In the middle of that last one King brags about how he can get as down as good as James Brown, maybe even more, and then asks the crowd if they want to go to the bridge just like the Godfather. Great stuff!
ALBERT KING
King Of The Blues Guitar (Atlantic 69)
In the middle of Albert King???s Stax albums he released this album on Atlantic while still recording at the Stax Studios in Memphis. Unlike the Stax albums from the same time that were known for their soulful numbers and funky edges, King Of The Blues Guitar is about just that, traditional electric Blues. He does start off with the great Cold Feet that has a sharp guitar line and laidback drum beat that was sampled quite often back in the day before finding the Blues. I Love Lucy has an even better intro with King???s guitar backed up by a loud chorus of horns, while Oh, Pretty Woman, not a cover, might be the most consistent with its steady, driving rhythm track.
LP REVIEWS:[/b]
MYSTIC MOODS
Awakening (Warner Brothers 73)
The Mystic Moods released what seemed like dozens of albums mixing easy listening, Pop, Rock, and spaced out sounds. This was one of their later releases and contains all of those elements. None really stick with me except for the last tune on side one Cosmic Sea that really puts all of those elements together. The guitar, a strong drum line, and plenty of effects all around lead the song with strings eventually joining in, and some female vocals at the very end. After that the selections get a little thin and long in the tooth except for the closing Rock instrumental The Seventh Plane that begins with the bass and builds up with piano and orchestration behind it.
OLD RECORDS OUT THE CRATES:[/b]
ALBERT KING
Lovejoy (Stax 71)
After a nonchalant beginning Albert King finally hits his stride on Lovejoy with the steady grooving Blues number For The Love Of A Woman and Going Back To Iuka. The real star of the show however is the title track that combines King???s fine guitar work with a funky backing. The rest of the album however is a bit of a letdown as most of the tracks are unremarkable.
TOM JONES
Tom (London)
Tom Jones was fully capable of belting out a fine Soul tune, and that???s what attracted me to Tom. He starts off with I Can???t Turn Your Loose that just misses the mark with its rhythm track that lacks the punch of the Sam & Dave original. Jones does a better job with Polk Salad Annie that has the edge that the previous tune lacked. He???s able to hold that groove on Proud Mary, Venus, and I Thank You that all have strong rhythms, horns and some fine singing. The rest of the album is forgettable.
HORACE SILVER
Total Response (Blue Note 72)
Horace Silver begins this album with the provocatively named Acid, Pot, Or Pills. The music is just as good with a funky bass line, and a slow grooving rhythm with singing over the top. After that Silver gets more jazzy with tunes like Won???t You Open Up Your Senses and I???ve Had A Little Talk that sound a lot like Gary Bartz???s recording from the same period. The best of these is Big Business because of its Soul-Jazz base.
OLD RECORDS OUT THE CRATES:[/b]
FREDDIE KING
Getting Ready (Shelter)
Freddie King was a long time Blues guitarist who was originally from Texas, but moved to Chicago at a young age where he got caught up in the city???s powerful music scene. Later he moved back to Texas where he continued his career. He recorded Getting Ready with the help of Leon Russell and Duck Dunn among others. Most of the album is straight electric Blues like Same Old Blues, with a couple acoustic covers like Elmore James??? Dusty My Broom. The best of those is the easy going Key To The Highway. Hands down though, the stand out tracks are the blaring Gong Down with its driving Rockish beat and searing guitar work by King, and the more soulful but no less powerful Palace Of The King.
FREDDIE KING
Is A Blues Master (Cotillion 69)
Is A Blues Master is a tale of two sides. The first is full of traditional electric Blues numbers with an emphasis on the slow and easy variety. The standout is a cover of Get Out Of My Life, Woman. The second side is completely different, mixing King???s guitar playing with some Funk and Soul like the instrumentals Hideaway, Funky, Hot Tomato, and Wide Open that all feature some great drumming by Norman Pride that give them that extra kick in the pants.
MAVIS STAPLES
Only For The Lonely (Volt 70)
Mavis Staples was part of the famous Staples Family. She released a couple solo albums later in her career with this being her second. She shows what she does best on tracks like the pleading power ballad I Have Learned To Do Without You. She continues that groove for much of the album on tracks like You???re The Fool, Since You Became A Part Of My Life, and the bluesy Since I Fell For You. The best tune however is the powerful What Happened To The Real Me that just steals the whole show with Staples??? blazing vocals and a strong backing.
OLD RECORDS OUT THE CRATES:[/b]
JOHN KLEMMER
Blowin Gold (Cadet Concept 69)
Saxophonist John Klemmer had a pretty unremarkable Jazz career. He did release this album on Cadet Concept, the experimental offshoot of Chicago???s Chess label. Klemmer certainly took advantage of the freedom that the subsidiary offered. That???s heard immediately on Exclusion #2 with some wild soloing by Klemmer over an upbeat, Rock influenced rhythm track. That???s followed by a more traditional mellow Soul-Jazz piece called My Love Has Butterfly Wings that has a little spacey feel to it. A cover of Hey Jude starts off slowly but is saved by the bass playing of Phil Upchurch and Klemmer???s sax. The best overall track is probably the Soul-Jazz number Free Soul.
NORMAN FEELS
Norman Feels (Just Sunshine 73)
Much of Norman Feels??? self-titled album reminds me of a mix of Marvin Gaye???s What???s Going On LP and Shuggie Otis. There???s no knock out tunes, but you can listen to the record from beginning to end, which is a rarity. It consists of long and lush Soul numbers with one seamlessly going into the next to create a unified sound from the opening to closing notes. It all starts with Don???t with its work on the keys and a long intro before Feels??? singing finally arrives. That song builds up in the middle until mellowing out and flowing into Till I Found You. That leads to the best overall cut, They Said It Couldn???t Be Done with its catchy, sing along chorus. That general mood continues with My World Is Empty Without You.
CURTIS KNIGHT
Down In The Village (Paramount 70)
If you didn???t see Curtis Knight on the cover of this album you could easily mistake Down In The Village as the product of a garage band from the 60s. The record is heavy with Rock influences like the opening title cut, Lena, and Give You Plenty Lovin. On other tracks like See No Evil Knight throws in some Soul elements like female back-ups during the chorus and a fast paced drum break in the middle. The best track though is the down and dirty Funk-Rock of Hi-Low with its chugging rhythm.
GLADYS KNIGHT AND THE PIPS
A Little Knight Music (Soul 75)
Gladys Knight And The Pips had left Motown in 1973, but that didn???t mean the label was done with them. They released A Little Knight Music in 1975 consisting of previously unreleased material that had been sitting in their vaults. The record gets off to a bit of an uneven start before hitting its stride with the uplifting All We Need Is A Miracle, and the mid tempo grooves of No One Could Love You More and Don???t Tell Me I???m Crazy. Knight and company continue on with the slower Can You Give Me Love With A Guarantee, which is the only cut that was heard by the public before on the Standing Ovation LP. They finish things off with a good cover of Put A Little Love In Your Heart with extra horns.
STREET PEOPLE
Put Your Hand In The Hand (Pickwick)
I originally saw a picture of this album years ago on Soulstrut. Shortly afterwards I found a copy in a store and couldn???t pass it up. I just think the cover is brilliant, a great symbol for a period of time in American history. The fact that it was put out by infamous budget label Pickwick just adds some frosting to the cake. The record was recorded by The Street People, which I???m sure were studio musicians, probably the same ones that Pickwick used to make other knock off albums of popular hits of the day. I especially like how on the back liner notes they proclaim, ???Our group, The Street People, stand on their own musical feet.??? They actually are able to pull off a few feats of musicianship, especially on Bridge Over Troubled Water with its vocal interplay at the beginning before the female lead takes over, the soulful Right On The Tip Of My Tongue with a female singer and heavy orchestration in the background, and the laid back, yet grooving instrumental Booty Butt are also good.
LORRAINE ELLISON
Stay With Me (Warner Brothers 69)
Lorraine Ellison was from Philadelphia and got her start singing Gospel. She released a few albums, but Stay With Me is her best. It contains the great Try (Just A Little Bit Harder) with its slow and easy groove that shows off her strong singing. The dance tracks The Hurt Came Back Again and You???re Easy On My Mind are also good. After that though there are a lot of heavily orchestrated numbers like the title cut and You Don???t Know Nothing About Love.
GLADYS KNIGHT AND THE PIPS
All I Need Is Time (Soul 73)
All I Need Is Time was one of Gladys Knight???s last albums for Motown. The record has an unconventional cover for the label with a sketch of Gladys and her group sitting for tea outside. The record didn???t score any hits, mostly because of unremarkable song writing. There are a couple good tunes like the slow and mellow I???ll Be Here (When You Get Home), and the mid-tempo Heaven Makes You Happy with some nice hi hat and conga interplay with horn flourishes that give it a little Latin feel to it before a familiar sounding Motown melody takes over. The rest of the album however is unremarkable slow jams like There???s A Lesson To Be Learned. With releases like this it appeared that Knight was leaving Motown with a whimper rather than a bang.
BUDDY RICH
Keep The Customer Satisfied (Liberty)
Buddy Rich was a long time Jazz drummer and bandleader. A couple years ago I got into his covers and picked up quite a few of his records, which was when I bought Keep The Customer Satisfied, a live recording from Las Vegas. Most of the set is the usual mix of Big Band numbers with one really rousing one called Groovin Hard. He???s able to get down a little bit in the middle of a Midnight Cowboy Medley with a tune called He Quit Me with a grooving little bass line and some strong horn work. Unfortunately it???s short and sweet and the only real highlight of the album.
JOHNNY ???HAMMOND??? SMITH
What???s Going On (Prestige)
What???s Going On attracted me because of the series of covers organist Johnny Hammond Smith performed. That starts off with the title track, which comes across as your typical organ based Soul-Jazz cover, meaning basically, nothing special. That pretty much sums up most of the record with the exception of L & J that has the most staying power of the five songs because it???s able to create the best groove.
SPECIALS
More Specials (Chrysalis 80)
More Specials was the group???s second album. When I came up listening to it people usually put it down as the weaker of the two. While it didn???t have the energetic tunes of their first release it showed a natural progression in their sound, at least for half the record. That???s heard on tracks like the upbeat Rat Race, the darker Man At C & A that???s about a nuclear apocalypse, the light Hey, Little Rich Girl and Pearl???s Caf??, and the ode to 60s Soul Sock It To Em J.B. about James Bond. There???s also a great cover of Enjoy Yourself, which opens thing sup. My personal favorite is the easy going Do Nothing with its sing-along lyrics. After that great first side however, the flip is a real let down with a mish mash of styles and duets that don???t work out.
SPECIALS
Specials (Chrysalis 80)
Once a year I seem to get nostalgic and bust out with all my 2-Tone records. The Specials were largely responsible for the revival of Ska music when they started the 2-Tone label and signed up a lot of the early English bands like The (English) Beat, The Selecter, and The Bodysnatchers. Their self-titled album is one of my all time favs. The record is a mix of Jamaican covers like A Message To You Rudy, Too Hot and Monkey Man and the band???s own original mix of Punk, Rock and Ska like the high energy Concrete Jungle and Nite Klub. There???s also the more laid back cuts like Doesn???t Make It Alright and It???s Up To You. You can listen to this record from beginning to end again and again. Elvis Costello produced the album as well.
HARVEY AVERNE DOZEN
Viva Soul (Atlantic 68)
Viva Soul is best known for the track You???re No Good with its bouncy beginning before going into a trade off between a female duo and I assume Averne on vocals. The song is so catchy it demands repeated plays. Averne continues with some equally upbeat numbers like Think It Over, Wishing And Hoping, Shake Your Money Maker, You Mess My Mind Up, and Make Out, as well as more subdued ones like an instrumental cover of Monday Monday and The Word, and Latin tunes such as The Micro Mini.
GLADYS KNIGHT & THE PIPS
Claudine OST (Buddah 74)
By 1974 Gladys Knight And The Pips had left Motown and signed with Buddah. One of their earliest releases for their new label was the soundtrack for Claudine, a movie starring James Earl Jones and Diahann Carroll. The song writing and production was by Curtis Mayfield. Together they got off to a great start, but then faded. On the first side there are tunes like Mr. Welfare Man that contrasts Knight???s strong singing with some rich orchestration and the slightly funky On And On. After that though, the record fades.
GLADYS KNIGHT & THE PIPS
Every Beat Of My Heart (Pickwick)
This Pickwick collection of Gladys Knight And The Pips tunes puts together many cuts by the group from the beginning of their career such as a slow and easy version of Every Beat Of My Heart. After that it???s a series of early 60s numbers. The only one that really stands out is Letter Full Of Tears, one of the group???s first hits and one that proved to be a mainstay as well.
SOUL PATROL
Disco Dynamite! (Sunnyvale 77)
Usually I wouldn???t buy a record with Disco in the title, but this was a local Bay Area production from the South Bay???s Sunnyvale. The album consists of a series of covers of popular dance tracks from the time such as You Make Me Feel Like Dancing and Play That Funky Music (White Boy). All are plaid competently and pretty much like the originals, but it???s Disco right, so who cares? I actually grew up listening to a lot of these tunes on AM radio so for some I have a soft spot. Those include Love To Love You Baby and Love Hangover.
BOBBY TAYLOR
Taylor Made Soul (Gordy 69)
Bobby Taylor got his start playing Soul music in the Pacific Northwest with guitarist Cheech Marin of Cheech and Chong fame. They had a number of bands before getting signed to Motown as Bobby Taylor and the Vancouvers. After one release together, Bobby Taylor went solo and released Taylor Made Soul. The album is good, but not great with some solid Soul numbers. On that tip there???s the mid tempo Oh, I???ve Been Bless???d with some strings, the sweet I Need To Belong To Someone, Little Miss Sweetness with one of those classic Motown dance beats, and My Girl Has Gone with a fuzzed out bass. That Rock influence continues on a very dark rendition of Eleanor Rigby that sounds like it could???ve come out of a horror movie. That???s by far the best song on the LP.