New Record Reviews Thread

[motown67]

Starting a new record reviews thread because I changed by photobucket page and all the old jpegs are now dead. Anyways, have a mix of old and the new reviewed this week. Feedback is always appreciated. Here's this week's batch:LP REVIEWS:[/b]

DYKE & THE BLAZERSDyke???s Greatest Hits (Original Sound 68)If James Brown is the Godfather, than Dyke & The Blazers are the Great-Uncles of Funk. While Brown gets all the credit, and deservedly so, for originating the Funk sound, Dyke & The Blazers were creating a very similar sound of their own. Dyke???s Greatest Hits seems like it???s just a collection of the Blazers??? 45s, but a closer examination shows that there are several songs on here previously unreleased. Dyke and company get right down to business with the funkiness of We Got More Soul with its stripped down rhythm and sharp horn stabs. They take it to the next level however, with their own rendition of It???s Your Thing. Hands down, THE best version I have ever heard. It???s such a powerful arrangement that it could be mistaken for another song. Wow. The amazing thing, is that the band doesn???t give the listener a moment to catch its breath, because right after that comes the soulful singing of My Sisters And My Brothers over another powerful rhythm track. That???s followed by Funky Walk Parts 1 & 2, the classic Funky Broadway, Let A Woman Be A Woman (Let A Man Be A Man), You Are My Sunshine, The Wobble, and finally, Uhh. This collection truly highlights what originators Dyke & The Blazers were.

WINSTON GROOVY/R. ZEE JACKSONHit After Hit After Hit ??? Vol. 4 (Pioneer International)Pioneer International was a Reggae label out of Toronto, Canada that released a series of Hit After Hit LPs that featured a number of artists. This one has Winston Groovy laying down 4 songs on the B-Side and R. Zee Jackson performing a medley on the A. First up is R. Zee Jackson with a light mix of hits such as Life Could Be A Dream and Sugar Sugar, plus some Reggae ones such as Bob Marley and the Wailers??? Put It On and Justin Hinds Push Up ??? Rub Up ??? Love Up all song over the same rhythm. Groovy, on the flipside, starts off with a cover of the Pioneers??? Mama Look Deh, followed by three of his older songs like Dancing Mood and Bad Minded People. The main problem with both sides is that it sounds like Reggae lite. There???s hardly any bass and the drumming isn???t that strong either. It might as well be some American group covering Reggae numbers with that kind of sound.

MICHAEL LONGO900 Shares Of The Blues (Groove Merchant 74)Michael Longo is known for two releases on Groove Merchant. I think this might be the lesser recognized, but better one however. Joe Farrell, Ron Carter, Randy Brecker, Mickey Roker, George Davis, and Ralph MacDonald accompany Longo. They get right down to business with three fine Soul-Jazz numbers. First is the slow and grooving title track with plenty of horns, followed by the faster paced Like A Thief In The Night led by Carter???s bass. That???s finished off with another mid-tempo groover called Ocean Of His Might. The flipside is a mix of Bop, light piano Jazz, and some Latin influenced Jazz with El Moodo Grande.

MATRIXMatrix (Rare Earth 72)Matrix were one of the white Rock groups Motown signed to their Rare Earth subsidiary in the 70s. Most of the album is non-descript melodic Rock like Fire And Rain. The thing is none of those tunes really stand out from one another. Probably the best track is In Bed, a mid-tempo number with a little Soul to it. OLD RECORDS OUT THE CRATES:[/b]

COUNTSWhat???s Up Front That ??? Counts (Westbound 71)What???s Up Front is by far the best Counts??? album. It???s better than the other two Counts LPs and even better than their earlier manifestation as the Fabulous Counts. There really is not a bad cut on here. First up is the long and sprawling instrumental title track with plenty of organ and a little Latin influence to it. Rhythm Changes matches a similar rhythm track with some minimalist singing. Things keep on going in that direction with Thinking Single and Why Not Start All Over Again. They then get really into the Funk with the instrumental Pack Of Lies. The one song that doesn???t quite work is the last, Bills, where the vocals don???t hold up to the music.

JIMI HENDRIXBand Of Gypsys (Capitol 70)When The Experience broke up Hendrix formed a new group The Band Of Gypsys that performed with him at Woodstock, but that fell apart. Later he trimmed it down to just Buddy Miles on drums and Billy Cox on bass. Still, their time together was very brief, but it saw a branching out in Hendrix???s sound. The album itself is a live recording from Fillmore East in New York City. Hendrix had signed a contract saying he had to make a release for Capitol records, and this was the result. The record contains just six songs beginning with the bass heavy Rock-Funk of Who Knows with its call and response vocals. That???s followed by the slow and powerful Machine Gun. Then there???s Miles??? upbeat Changes with his singing. Towards the end of the song they bring it own down low and let the crowd clap along. The last tunes are Power Of Soul with a nice bass and drum line with Hendrix soloing over the top at the beginning, the light Message To Love, and another Miles creation, We Gotta Live Together. This is a really incredible live performance. At the time, it stood out because Hendrix stood still for most of the performance and just concentrated on his playing and the music rather than jumping around and throwing his guitar around, which were what he was known for.

JOE HICKSMighty Joe Hicks (Enterprise 73)Joe Hicks was a California artist that was known for recording some 45s with Sly Stone. Mighty Joe Hicks was his first full-length release. The reason to check for the record is the opening tune, The Team, which starts off with a very nice drum break that leads into a funky Blues number. There???s plenty of electric guitar and Hicks??? rough singing. The rest of the LP isn???t half as interesting consisting of Blues and RnB originals. On Water Water though, he shows that Sly Stone influence with a moody, minimalist number with plenty of organ that sounds a bit like something from Sly???s drugged out solo recordings after he???d fired the Family Stone. Overall though, the record is really only as good as the opening song.

IMPRESSIONS???Winners??? (Up Front)Up Front was one of a number of budget labels run out of New Jersey, this one connected to Springboard. They usually repackaged old material in new albums for sale after a group had made it big. This is no exception with a collection of very early recordings by the Impressions. The sound is late-50s/early-60s Doo Wop. Think Blue Moon and Earth Angel rather than People Get Ready. My favorite cut is At The Country Fair with a little
percussion work in the background and a light dance beat.

CHUCK JACKSONArrives! (Motown 68)Chuck Jackson had a brief stint at Motown in the late 1960s. Arrives! Was his first LP for the label. Jackson combined a rough delivery with some great song writing, something akin to the Temptations or Four Tops of the period. That style can be heard throughout the LP such as on (You Can???t Let The Boy Overpower) The Man In You and Ain???t No Sun Since You???ve Been Gone, both featuring a little conga work in the background, Forgive My Jealousy, and Lonely, Lonely Man Am I with its nice horn melody. The slow grooving I Like Everything About You also starts off with a drum break. It???s actually pretty surprising how many solid tracks can be found on this LP because Motown was still a singles oriented label at the time.

SYL JOHNSON Diamond In The Rough (Hi 74)Willie Mitchell created one of the most recognizable sounds in Soul with his label Hi Records. Amazingly enough, Mitchell used his engineering and producing magic to make Syl Johnson sound just like Al Green. The rhythms and melodies of course, are going to be trademark Hi, but even the singing here sounds like Green. The album is actually great from beginning to end. Most of the tunes have that classic mid-tempo slow and easy groove to them that the label was famous for such as Let Yourself Go, Diamond In The Rough, Keeping Down Confusion, Music To My Ears, and I Hear The Love Chimes. There are also slow and moody ballads like Could I Be Falling In Love and Please, Don???t Give Up On Me, as well as one upbeat number, Stuck In Chicago. Overall Diamond In The Rough is a great Soul LP to find.

DEXTER WANSELLife On Mars (Philadelphia International 76)As the title would imply, Life On Mars has a space theme to it. That translates to a lot of keyboards to go along with the Philly International mainstays of the MFSB horns and strings, plus dance beats. The most famous song is Theme From The Planets with its nice drums, which have been sampled several times. The song overall though sounds like smooth Jazz. There???s another break in the middle of You Can Be What You Wanna Be. Overall, the record is just not that impressive as either Soul or Disco.

DEXTER WANSELTime Is Slipping Away (Philadelphia International 79)This is a pretty non-descript Philly International release, with some Disco, some late-70s Soul with female vocals, and others that sound like Parliamentfunkadelic on here. The most interesting part is the strong beginning to New Beginning with strings, but then the singing just kills the mood. The closing instrumental One For The Road with plenty of keyboard might be the best track.

 

[motown67]

45 REVIEWS:

JAY DEE
Strange Funky Games And Things (Warner Brothers 74)
Jay Dee is one of the lesser-known artists to work with Barry White. He released this 45 as well as a full-length album. Strange Funky Games And Things is a perfect match of Barry White???s arranging, with Soul and Funk. First there are the strings and big build up that is typical of a Barry White composition. Then there???s Jay Dee???s soulful vocals, and a nice funky edge as well, to make a great tune.

FLIRTATIONS
Nothing But A Heartache/How Can You Tell Me? (Deram 69)
The Flirtations were a three-piece female vocal Soul outfit consisting of Viola Billups from Alabama, and Earnestine and Shirley Pierce from South Carolina. The Pierce sisters first recorded as the Gypsies before Billups joined and they became the Flirtations in 1965. In England they met up with Wayne Bickerton who became their manager, songwriter, etc. He penned Nothing But A Heart, which was a big hit with its upbeat Soul sound, powerful horn line at the beginning, and rich orchestration. How Can You Tell Me? is less dynamic, but still a good listen, especially with its prominent bass line.

TOUCH
Pick And Shovel/Blue On Green (Lecasver 69)
Pick And Shovel is a great funky instrumental with a bit of an offbeat feel to it care of the organ. It???s the keys player that really makes this song go. Blue On Green is another instrumental, but with a more slow and groovy feel to it with of course, a Blues influence to the organ playing.

LP REVIEWS:

CHOCOLATE MILK
Action Speaks Louder Than Words (RCA 75)
This record has only been sitting on my shelf for the past 3 years. In fact, it might even be a little longer. Chocolate Milk hailed from New Orleans and got their start under Allen Toussaint???s tutelage. The title track to Action Speaks Louder Than Words was one of the group???s biggest hits with its slow, keyboard fueled rhythm and catchy chorus. The group was obviously feeling the influence of Parliamentfunkadelic mixed with their own Southern twist. The laidback groove of the title track is the dominant mood of the entire album with cuts like Time Machine and My Mind Is Hazy. The problem is most of these songs fail to capture your attention that much. The closest to coming to that opening vibe is Chocolate Pleasure. Ain???t Nothing But A Thing comes nearest to showing the group???s New Orleans??? roots with its lyrics about Soulfly and bouncy rhythm.

CLIFFORD COULTER
Do It Now! (Impulse/ABC 72)
Do It Now! has to have one of the greatest covers of all time. On the front there are three pictures diagramming how to kick a cop in the ass for giving your ride a ticket. The back has a picture of a man ready for execution in an electric chair with a cop looking on. The music is as good as the cover with the loud horn work and upbeat mood of Ridin On Empty. That???s followed by the instrumentals Yodelin In The Whatchamaname Thang with some light percussion and a lot of organ play by Coulter interspersed with some airy vocals, and the funkier Soul-Jazz of Do It Now that flows right into the slow groove of Worry About It Later after a drum break. The second side is just as good with the Funky-Blues sounding Mr. Peabody with a talk over, and the organ heavy VJC.

CZERWONE GITARY
Rytm Ziemi (Muza)
Czerwone Gitary was a four-piece Polish band made up of Bernard Dornowski, Seweryn Krajewski, Ryszard Kaczmarek, and Jerzy Skrzypczyk. The group is still together and performs to this day. Most of the record is unimpressive Rock with some obvious Polish influences. However there is Bylas Mej Pamieci Wierszem, a nice Rock tune with an edge to it, care of the guitar plus, plus it has a very, very long drum break, and the instrumental Coda, heavy on the organ and again containing a drum break. The title track though, is the best one with its funky rhythm and a drum break intro as well.

FREDDIE HUBBARD
A Soul Experiment (Atlantic 69)
This is one of those records that I always use to see, but never picked up. When I finally did buy a copy it sat on my shelf for about 3 years. I guess it???s time to actually listen to it. Trumpeter Freddie Hubbard recorded A Soul Experiment with many of the usual cast of New York City session musicians such as Carlos Garnett, Billy Butler, Kenny Baron, Eric Gale, and Bernard Purdie. Together they made one hell of a record that can be listened to almost from beginning to end. There are upbeat Soul-Jazz tunes that feature the horns with occasional solos like Clap Your Hands, No Time To Lose, Hang Em Up, Soul Turn Around, and A Soul Experiment. Others like the grooving South Street Stroll are simple platforms for Hubbard to solo over, or in Good Humor Man???s case, the organ player???s. There???s also the slow and moody Lonely Soul.


OLD RECORDS OUT THE CRATES:

JIMI HENDRIX
Before London (Accord 80)
I found this great early Hendrix song called Gangster Of Love on an album of the same name, but it only played half the song. Then I came to find Before London, which I think is not only the first time it appeared on vinyl, but also has the complete tune. The track has a great horn and drum beginning before going into an upbeat Funk-Blues number with I think Curtis Knight singing. There???s even a little breakdown towards the end. The rest of Before London is the standard badly recorded Hendrix knock-off material such as the slow and bluesy instrumental Git Down with a prominent bass line. That doesn???t mean everything else is bad however, as there is the grooving She???s So Fine, which is actually a cover of From This Day On, with a little conga work in the background, and the rough RnB instrumental Groove.

JIMI HENDRIX
Birth Of Success (MFP 70)
Birth Of Success was one of the earliest releases of the Ed Chalpin tapes that featured Jimi Hendrix playing with Kurtis Knight???s band the Squires. These recordings would be used again and again and again after Hendrix???s death with even the song titles being changed from record to record. The recordings are known for their bad sound and mostly covers of hit songs such as Bo Diddley???s I???m A Man, Marvin Gaye???s Ain???t That Peculiar, the Four Tops??? Sugar Pie, Honey Bunch, and others. All the songs are played competently, but nothing really stands out, especially because many sound like they???re recorded in a cave. The best tracks of the lot may be Get Out Of My Life Woman with its usual drum break intro and (I Can???t Get No) Satisfaction.

http://smg.photobucket.com/albums/v215/motown67/Soul-Jazz-Funk-Rock-LP%20Covers/H-K/th_Hendrix

-Jimi---Cosmic-Feel.gif

JIMI HENDRIX
Cosmic Feeling (Accord 81)
Cosmic Feeling consists of more practice tapes of Hendrix???s. The song credits however show that most of these are Hendrix compositions, so I???m not sure which sessions they come from. Most are unremarkable instrumentals that sound like they were recorded in a small room with plenty of echo. Amidst all the mediocrity however, comes the funky Blues composition You Gave Me Love with the Hendrix???s playing off the harmonica. Jimi???s singing comes in half way through. The last track, Young Generation has, I think, Lonnie Youngblood singing over an upbeat RnB number with female back-ups. It???s too bad that the music is far in the background in the mix.

JIMI HENDRIX
Crash Landing (Reprise 75)
Crash Landing is a hodge-podge collection of Hendrix recordings released after his death to cash in on his fame. It???s still one of the better LPs because of the quality of the songs and recording. Hendrix and the Band Of Gypsys gets right down to business with the fast paced Message To Love. That???s followed by the slow acid-Rock of Somewhere Over The Rainbow, the soulful Crash Landing, the instrumental Peace In Mississippi with its piercing guitar solo, and the effects laden Captain Coconut.

JAZZ CRUSADERS
Lighthouse 68 (Pacific Jazz 68)
The Jazz Crusaders released two consecutive live albums from the famous Lighthouse Jazz club in southern California. This was the earlier of the two. Like the later Lighthouse 69 album, this features the band???s move towards Soul-Jazz. The opening Ooga-Boo-Ga-Loo is a good example with its light and catchy melody and drumming. Up next is a jazzy cover of the Beatles??? Eleanor Rigby. Never Had It So Good is another Soul-Jazz number. Most of the songs, however, are light Bop and a little too mellow for my liking.

JAZZ CRUSADERS
Powerhouse (World Pacific Jazz 68)
Powerhouse was recorded right after the very successful Live At The Lighthouse 68 album. Most of Powerhouse is straight, melodic Jazz, half of which are covers like Promises, Promises and Hey Jude and originals such as Sting Ray and Cookie that has a drum break to it, that are light Soul-Jazz.

 

[motown67]

45 REVIEWS:

DAVE BARKER/U-ROY
Shocks All Mighty (Upsetter)
Shocks All Mighty is a nice soulful Reggae song featuring Dave Barker???s silky delivery. Both sides were produced by Lee Perry and released on his own Upsetter label. The B-side is a DJ version with U-Roy toasting over the top of the rhythm.

LP REVIEWS:

CHAMBERS BROTHERS
Love, Peace And Happiness (Columbia 69)
Love, Peace And Happiness is a double album with half recorded in a studio, and the other half recorded live at the Fillmore East in New York. The studio side starts off on the Gospel tip with Have A Little Faith. That???s followed by three good power Soul tunes in Let???s Do It, If You Want Me To, and the sprawling Love, Peace And Happiness that takes up an entire side and includes a percussion break in the middle. The live part is much better because the songs have a lot more energy to them, beginning with a version of Wade In The Water that???s half instrumental, and contains a big crescendo at the end with the drums. That???s topped off with rousing renditions of Can???t Turn You Loose and Bang, Bang. I like it when they bring it down a notch however with People Get Ready. For an encore they bust out with a Doo Wop medley of Undecided and Love! Love! Love!

FOUR TOPS
Meeting Of The Minds (ABC-Dunhill 74)
Everyone knows that the Four Tops got their start with Motown. When Berry Gordy decided to move the label to Los Angeles in the 1970s, the Tops decided to stay put in their hometown Detroit. They quickly signed to ABC-Dunhill and released their next 8 albums for them. Meeting Of The Minds isn???t quite up to the standards that they set with Motown, but it???s still a very nice Soul LP. I like the slow and easy Midnight Flowers, Love Ain???t Easy To Come By, and No Sad Songs. Unfortunately the second side isn???t half as interesting. Paul Humphrey, Wilton Felder, Larry Carlton, Ray Parker, King Errisson, among others were the studio musicians.


OLD RECORDS OUT THE CRATES

JIMI HENDRIX
Cosmic Turnaround (Nutmeg 81)
Cosmic Turnaround has songs from various periods in Hendrix???s career from his work in New York with Curtis Knight and Lonnie Youngblood to the Experience. The first two songs, No Such Animal Part 1 recorded with Knight in NYC, and Tomorrow featuring the Experience, have drum breaks, but only the latter instrumental is interesting by itself because of Hendrix???s interplay with the drummer. By the end of the song he???s playing a Cream riff. The best song by far is the laid back and grooving instrumental I Love My Baby, that also includes a drum break.

JIMI HENDRIX
Cry Of Love (Reprise 71)
Cry Of Love was the first posthumous record released after Hendrix???s death. It???s also one of the best because of the sound quality and selection. All of the tracks were recorded in a studio and were either already completed before Hendrix died or just about. From the line-ups, it appears that most of the songs come from the Band Of Gypsys period. The best tracks are the up-tempo ones like Freedom, with some catchy back-up vocals on the chorus, Ezy Ryder, the melodic Night Bird Flying, and Straight Ahead with its sharp guitar riffs. There???s also the ballad Angel with some nice soulful vocals, and the power jam In From The Storm, which picks up the pace half way through.

 

[Flomotion]

Excellent stuff Motown. Been reading these for four years or so and still devour them.

 

[motown67]

LP REVIEWS:

BOB ANDY AND MARCIA GRIFFITHS
Young, Gifted And Black (Trojan 70)
Bob Andy and Marcia Griffiths were both known for their group and solo work. Bob Andy got his start with the Paragons in the 1960s, one of Jamaica???s greatest vocal groups, and later went solo, while Marcia Griffiths started off as a solo artist before joining Andy, and then becoming part of the I Threes, Bob Marley???s female back-up singers. Bob and Marcia was a short lived, yet highly successful duo put together by Jamaican producer Harry Johnson (Harry J.). They had two massive hits in England with Young, Gifted and Black being the first. The song is a cover of the Nina Simone classic, but sped up, with strings and some back-up vocals. It???s a great Pop-Reggae version, and I especially like Marcia???s singing. Also worth a listen are It???s A Rocking Good Way with a hint of Funk, and the covers of Ain???t Nothing But The Real Thing and Put A Little Love In Your Heart.

FEVER TREE
Fever Tree (Uni 68)
Fever Tree was a Psych group out of Houston, TX. The most remarkable thing about them was that Scott and Vivian Holtzman wrote and produced most of their songs. Before that, the duo was probably best known for writing material for the Mary Poppins??? soundtrack. That background didn???t seem to stop them from writing some fine Rock tunes. The album opens up with Imitation Situation 1/Where Do You Go? that has a gothic opening before letting loose with a sharp guitar break that segues into a grooving Rock rhythm and Dennis Keller???s rough vocals. Next is the band???s big hit San Francisco Girls, but the song doesn???t really do anything for me. The real treat is Ninety-Nine And One Half with its heavy riffing intro and rocking versus. The second side, unfortunately, isn???t half as interesting.

JOHN HOLT
A Love I Can Feel (Studio One 70)
I bought a copy of this record sometime in the late-1980s and then sold it. I subsequently regretted that move, but have now made up for it by finding a nice original Jamaican press. John Holt was one of Jamaica???s most successful crooning Reggae singers. He got started with the vocal group the Paragons, and went solo after they broke up. He eventually moved to England where he met more success in the crossover market with a nice and slick Reggae sound that was popular at the time. A Love I Can Feel was Holt???s first solo album after the Paragons. The title cut was a big hit and one of his best songs with its early Reggae rhythm and Holt???s singing over the top. It???s very catchy, and an instant classic. He then comes with a hint of what he would do later in the U.K. with Do You Want Me that???s got a lot of strings, which doesn???t really work for me. The more upbeat Tonight and If It Don???t Work Out do better with their orchestration. Make Up, where Holt laments about how women will rob and cheat their men, the more traditional love song Love Divine and Stranger In Love are also good.

LOTHAR AND THE HAND PEOPLE
Space Hymn (Capitol 69)
Lothar And The Hand People was originally formed in Denver in 1965, before moving to New York. They released two albums, Space Hymn being the second. Half the album is Prog Rock with lots of Moog and Theremin such as Yes, I Love You and Today Is Only Yesterday???s Tomorrow. The other half sounds more like a traditional 60s Rock group. The reason to check for the album is Sister Lonely with its strong bass and drum work played in between some light vocals and acoustic guitar.

SMOKEY ROBINSON
Where There???s Smoke (Tamla 79)
I got Where There???s Smoke for one reason. My girlfriend was listening to D???Angelo???s first LP over and over, especially Cruisin and it made me realize I didn???t have the Smokey Robinson original so I went out and got it. Of course, that was about 2 years ago, but everything has its time. Most of the record is actually pretty forgettable ballads and dance tunes. Only the love jam Cruisin stands out with Robinson???s smooth vocal delivery, sing along chorus, and light guitar work.


OLD RECORDS OUT THE CRATES:

5 STAIRSTEPS
Stairsteps (Buddah 70)
This record has a strange feel to it. The first song is a pretty straight cover of the Beatles??? Getting Better, and the second song, Dear Prudence, sounds like a Beatles song as well. Actually, that???s the sound of most of the album, placing the 5 Stairsteps in the MOR-line of groups like 5th Dimension. The group delves into the Funk and Soul on one track, Vice The Lights, with the bass player doing his best Larry Graham/Sly & The Family Stone impression with the distortion and slap bass. The second side has the Pop-Soul tune Who Do You Belong To that???s a nice listen. The only real reason to get this album however, remains the group???s top-10 hit, O-O-H Child, a pure classic if ever there was one.

8TH DAY
8th Day (Invictus 71)
8th Day were three singers from Detroit who were put together by the super-writing group, Holland-Dozier-Holland after they???d left Motown Records and created their own labels, Invictus and Hot Wax. The band was actually first released as 100 Proof Aged In Soul and released two records on Hot Wax. For whatever reason, the same group was repackaged as the 8th Day and released on the Invictus label. The album cover features a devil, which must have been quite a sensation in black communities when the record first came out. The sound is down home Soul, more akin to the South, then their Detroit roots, as heard on She???s Not Just Another Woman, You???ve Got To Crawl Before You Walk, Too Many Cooks (Spoil The Soup), and Enny-Meeny-Miny-Mo (Three???s a Crowd), all on the first side. The second side gets a little too mellow, but finishes well with the power ballad I???ve Come To Save You.

RANCE ALLEN
Brothers (Truth 73)
The Rance Allen Group was a power-Gospel outfit from the South. I???ve only listened to a couple of their albums, but Brothers might be their best one. Released on the Truth label, a subsidiary of Stax, they have that trademark Southern Soul sound with Gospel lyrics. The best songs are the light but funky Time For Playing, We???re The Salt Of The Earth, For Once In My Life, Get Your Lives Together with its falsetto back-ups, the slow groove of Hot Line To Jesus, and the power ballad He Will See You Through.

JERRY BUTLER
Sweet Sixteen (Mercury 74)
Sweet Sixteen was recorded in Chicago like most of Butler???s albums and saw him work with some of the city???s top studio musicians like Phil Upchurch, Billy Butler, Richard Evans, and others. Cadet studio whiz Richard Evans did the arranging as well. The album sees Butler move towards the dark

moody side of Soul with tracks like Take This Time To Tell Her, Playing On You, Heavy Without You, and You???ve Been Around Too Long, which make for a great first side. The second isn???t as strong, but still contains the mellow, yet sophisticated Mechanical Man with a nice break.

JIMI HENDRIX
Electric Ladyland (Polydor 68)
It???s been said that when Hendrix returned from England and dissolved the Experience he was upset that he didn???t have that many black fans of his music. It was then that he formed the Band Of Gypsys and tried to include more Funk and Soul influences into his music. However, listening to Electric Ladyland, you hear these early influences everywhere already on this, his last record with the Experience. For example, Hendrix opens with the very soulful Have You Ever Been (To Electric Laydland) that sounds like the Impressions before blowing the doors off with Crosstown Traffic. Hendrix then gets bluesy with Voodoo Chile before coming to a crescendo at the end. Long Hot Summer Night is a nice Soul-Rock song. The hard rocking Gypsy Eyes has a drum break, while Burning Of The Midnight Lamp has a nice opening refrain that gets repeated. During the middle of the album I think Hendrix lost his direction going off into a number of influences and stages, none of which really stand out enough for my ears. He didn???t get back on track until All Along The Watchtower and Voodoo Child (Slight Return), which is a blazing inferno of guitar soloing.

JIMI HENDRIX
Genius Of Jimi Hendrix (Trip 72)
Trip was owned by Springboard, one of the better-known budget labels originating from Linden, NJ. Genius Of is actually a pretty good collection of Hendrix material. There???s a variety of styles from the guitar heavy Red House with Hendrix singing and two drum breaks, to Sweet Thang, which has some grunting vocals by I think Curtis Knight over a fast paced rhythm and some nice horns at the beginning. Groovemaker seems to be a variation of that song with singing throughout and the music pushed back in the mix. There are also Fox and Gonna Take A Lot, which are RnB ballads with group vocals. Even the fast paced Blue Blues and Lime Lime, which are more guitar solos than anything else, have their moments. The later has a drum break as well.

JIMI HENDRIX
Guitar Giants Vol. I (Babylon Budget)
Jimi Hendrix had a bad habit of signing just about any music papers put in front of him. One of those contracts was with Ed Chalpin who had a whole slew of early tapes from 1965-67 from his studio in New York when Hendrix was with Curtis Knight. This allowed Chalpin to release all of this material to cash in on Hendrix???s fame. These became the basis of almost every single budget label and early Hendrix LP released. Guitar Giants was a three-volume set put out by the German label Babylon that collected all of these recordings together. The liner notes talk about how the compilers thought these tracks were important because they mark Hendrix at his earliest, but really, like a lot of these compilations, the music isn???t that good. Almost every song is a cover such as Sugar Pie Honey Bunch or the bluesy Not This Time, Knight???s singing isn???t exceptional, and Hendrix isn???t doing anything spectacular on guitar that would distinguish himself from any other guitar player of the time. On a positive note, you can get all of these recordings in just three volumes so you could save yourself from getting all the other knock off albums that are based upon this period in Hendrix???s career. Out of the 2 albums and 17 tracks only one really stand out, that being the dark sprawling Rock of Second Time Around that clocks in at over 9 minutes. The song also has a drum break and there???s another one on Hard Night.

 

[motown67]

45 REVIEWS:

MARTINIS
Hung Over/Late Late Party (Bar)
I originally heard this 45 through a CD swap via the Vinyl Vulture site. I marked down the song and eventually found a copy off eBay. Hung Over was the reason I got it. It???s a nice, laidback instrumental featuring the guitar and some grunts and groans to go along with the feeling of waking up with a hang over. Late Late Party is another guitar led instrumental in a similar vein and groove making for a very nice 2-sider.

LP REVIEWS:

ROY AYERS
Coffy OST (Polydor 73)
This is a really, really long time want crossed off my list. The few times I saw it in the field I always passed on it as being too pricey, but thanks to Soulstrut, I now have my very own copy FINALLY. Roy Ayers made the soundtrack to Coffy, a story about Pam Grier done wrong and her ultimate revenge. The music is as good as the movie with a nice mix of jazzy bits, Funk and Soul, instrumentals and vocal numbers. First there???s the upbeat, yet light Coffy Is The Color with Ayers??? singing that has his trademark Funk-Fusion sound. Next is the mellow instrumental Prcilla???s Theme that starts off on the Jazz tip before picking up the pace and turning towards Funk led by the bass and Ayers??? vibes playing. Also good is the slow groove of King George, the theme music to the pimp character in the movie, and Exotic Dance, the funky instrumental Aragon, the jazzy Brawling Broads, Escape, which sounds more like a conventional cop TV/movie soundtrack piece with its rhythm and sharp horn stabs,

ANTONIO CARLOS E JOCAFI
Primeiro Amor (Som Livre 72)
From my understanding this is a soundtrack to a Brazilian TV show. I bought it because I???d heard the energetic and rousing title track with a little funky flare to it. Hell, I feel like singing along to it, even though I don???t speak Portuguese. Just as good is the other upbeat number Saque Saque. I also like the opening Hey Shazam that has a nice balance between Pop and Dance, and the bass heavy yet poppy Podes Crer.

SMOKEY ROBINSON & THE MIRACLES
Four in Blue (Tamla 69)
There are so many Motown records I???ve never bothered to pick up because you just take them for granted. Well it???s about time I start making up for some lost time. Smokey and the Miracles come with their usual lush Soul sound beginning with the catchy You Send Me (With Your Good Lovin). That???s followed by the more upbeat dance tune Dreams, Dreams. After that, the main songs are all covers like Hey Jude, and You???ve Lost That Lovin Feelin, with the only one standing out being California Soul. Things don???t get back on track until When Nobody Cares with some dark sounding horn work and the fast paced Don???t Say You Love Me


OLD RECORDS OUT THE CRATES:

JIMI HENDRIX
Guitar Hero (K&S 79)
Guitar Hero consists of 15 tracks Hendrix and the Experience recorded live at a session on the BBC in 1967. About half of the songs would later be released as the Radio One LP by RYKO in 1988. Hendrix and company begin with their own ode to the radio station with Radio One Theme. The first side is actually almost all covers with tracks like Dylan???s Can You Please Crawl Out Your Window, I???m Your Hoochie Coochie Man, and Day Tripper. Hendrix doesn???t really get rolling until he concentrates on his own material, such as a sloppy version of Spanish Castle Magic, Wait Until Tomorrow with its high-pitched back-up vocals, Stone Free, the fast paced Foxy Lady and Little Miss Lover with its drum break intro, that contrast with the slow balladic Burning Of The Midnight Lamp, and the laid back Hey Joe.

JIMI HENDRIX
In Concert (Springboard 72)
Despite the title, few of the tracks on In Concert are actually live recordings. As usual, most of the cuts are from the same set of NYC sessions as the rest of the budget Hendrix LPs. The ubiquitous cover of From This Day On with congas can be found here. One of the few live tracks is Whoa Eeh from a jam session at a Greenwich Village club. A very drunk Jim Morrison is on vocals that consist mostly of incoherent mumblings and shouted profanities, the best of which is when he yells, ???Fuck her in her ass!??? The other highlights of the album are the noisy Rock of Lime Lime with the drummer going crazy and a swinging drum break to boot, and Sweet Thang with the singer shouting encouragements to the band, some blaring horns, a breakdown in the middle. These tracks can be found on other LPs as well.

 

[motown67]

45 REVIEWS:

DON JULIAN AND THE LARKS
Shorty The Pimp ??? Part 1 & 2 (Money 73)
Shorty The Pimp is a very nice funky slow jam that begins with a guitar line before a deep, baritone voice over about Mr. Pimp and his game joins in. The song gets better as the real singing starts, plus Dru Down used the chorus for Pimp Of The Year.

LP REVIEWS:

CRYSTAL MANSION
Crystal Mansion (Capitol 69)
I took a circuitous route in getting this record. Originally O-Dub played this for me about a year ago. Then I found a copy at the Groove Merchant in San Francisco, but passed it up. My friend visiting from Finland bought it the same day, put it on a mix CD that I heard about a year later and that convinced me that I should???ve bought the record in the first place. Everything worked out in the end, when I got my own copy. Crystal Mansion released three records, this being their first. It didn???t really do well, and they later signed with Rare Earth and released a new record, but with the same name. Most of this LP is Pop like I Used To Be A Boy, or light Rock with lots of orchestration such as For The First Time and Everything???s In Love Today. Neither style is that effective. The band finally comes with something interesting on the 2nd side with And It Takes My Breath Away where they add some Blues to the mix, backed by a bouncy beat and acoustic piano to come up with a pretty catchy Rock number.

JOHN EDWARDS
John Edwards (Aware 73)
John Edwards recorded his self-titled album in Atlanta, Georgia for the local Aware label. He was originally from St. Louis and started singing while he was in the Army. Later in his career he would join the Spinners as their lead singer. Edwards gets off to a good start with the power Soul number Stop This Merry-Go-Round with a little Funk in the arrangement care of the guitar. Claim Jumpin has a similar feel to it with some female back-up singers. The rest of the album isn???t as interesting unfortunately.

FOUR TOPS
The Show Must Go On (ABC 77)
After a very shaky start with the dance oriented title cut, the Four Tops return to their Soul roots with I Can???t Live Without You. The song is a nice uplifting number with some strings. It???s also the sample source of MC Lyte???s Cha Cha Cha. That???s the only track that???s any good however.

FOURTH WAY
Fourth Way (Capitol 69)
Fourth Way was a four-piece Jazz outfit led by pianist Mike Nock who wrote most of the material. The opening Everyman???s Your Brother is a nice laidback Soul-Jazz piece that builds in intensity with a very cool drum break intro. Bucklehuggin that features Michael White on lead violin no less is in a similar vein, and the more jazzy Openings is also a good listen. At other times the group gets avant-garde such as on Dance Of The Mechanical Man or plays more mellow straight-ahead Jazz like on Clouds. That opening track alone, however, is reason enough to find this record.

RAHSAAN ROLAND KIRK
Blacknuss (Atlantic 72)
Rahsaan Roland Kirk was known for his experimentation with the Jazz idiom, as well as his eccentricities. For whatever reason, he decided to delve into the Soul side of Jazz with Blacknuss. That???s heard immediately with the opening cover of Ain???t No Sunshine. Kirk is both playing the flute and skating through his instrument throughout the song akin to Harold Alexander, and there are plenty of strings as well. A searing beginning follows that to What???s Going On that immediately mellows out when it segues into Mercy Mercy Me (The Ecology). After that nice beginning however, his song selection goes all over the place with the MOR I Love You Yes I Do to the poppy Take Me Girl, I???m Ready. He doesn???t right the ship until a cover of My Girl where he does the flute playing, skating, singing thing again, and One Nation with singing by Princess Patience Burton that sounds a bit like a wigged out Afro-Pop song. He also does a decent job with Never Can Say Goodbye

OLD RECORDS OUT THE CRATES:

JIMI HENDRIX
Free Spirit (Thunderbird 80)
There are two budget label releases of Hendrix???s material called Free Spirit, this one and one on Accord. This was the first of the two. The record contains tracks from a recording session in New York City in 1966 when Hendrix was the guitarist for Lonnie Youngblood. As usual the sound is pretty bad, and the songs are nothing to write home about. There are nice long drum breaks at the beginnings of Something You Got and Let The God Sing, which are otherwise mediocre tunes. The best moments actually comes at the end with a very nice Soul tune called She???s A Fox with group vocals. A pretty surprising inclusion since most of the album tends towards noisy instrumentals. The exact same songs and sequence are included on the Shout release In The Beginning from 1972. For whatever reason it seems like this has worse sound however.

JIMI HENDRIX
In The Beginning (Shout 72)
In The Beginning is another repackaging of Hendrix???s 1966 tracks from New York City. The sound is actually a bit cleaned up on this record. There are six songs, all of which are covers. He begins with Jimmy Castor???s Hey LeRoy, which isn???t half bad. After that there are some forgettable guitar laden cuts. On the second side there are drum breaks on Something You Got and Let The God Sing. The best song by far is the Sweet Soul of She???s A Fox included at the very end.

JIMI HENDRIX
Jimi Hendrix (Springboard 72)
Like the other budget LPs released by Springboard and their subsidiary Trip, Jimi Hendrix is a collection of mid-1960s recordings of Hendrix from his days as a sideman with Curtis Knight and Lonnie Youngblood. The sound is generally bad, the song selection is mediocre, and for the most part Hendrix???s playing is unrefined. The only highlights are a swinging drum break on Bring My Baby Back, and the grungy Rock of Wipe The Sweat. All of these songs can be found on other budget records, with different names often! Just another way labels like Springboard were trying to make a buck off of Hendrix after he passed.

JIMI HENDRIX
Kaleidoscope (Nutmeg 82)
Kaleidoscope is a hodge-podge of Hendrix recordings, but nonetheless interesting. For example, the record begins with Everything, a bluesy number with Hendrix singing, that is probably from one of the 1966 New York City sessions he made. That???s followed by You Got It that features heavy guitar effects and slap bass that make it sound like a Fusion piece. Then there???s Nobody Can Change Me featuring a full band with o

rgan and horns, and Night Life, which comes off as a dance tune with its bass line and drumming, very un-Hendrix sounding. There is a nice drum break in the middle however. Out of all the cuts, Everything You Get with its horns and conga playing, and the 60s sounding instrumental Be My Baby might be the best. Whatever the source of the recordings, the sound quality is pretty bad throughout, consisting of muddy, distorted sounds. One song, Edda Mae, has really loud feedback going on in the background for the entire track. If the quality was any better Nutmeg might???ve had something with Kaleidoscope, but with the shitty recordings, this would only be of interest to real Hendrix fans, or someone looking for a drum break.

JIMI HENDRIX
La Grande Storia Del Rock (Armando Curcio Editore)
La Grande Storia Del Rock is an Italian collection, consisting mostly of the same NYC recording sessions as all the American budget albums. It gets off to a good start however with the long drum break intros to Something You Got and Let The God Sing, which is the better of the two songs. There???s also the infamous live recording from a small club in NYC with a very drunk Jim Morrison rambling on about ???fucking her in the ass??? on a track this time called F.H.I.T.A., at other times labeled Whoa Eeh on American budget labels. By far the best cuts are the upbeat instrumental From This Day On with its clean sound, conga playing and horns, and the sweet vocal Soul numbers Gonna Take A Lot and She???s A Fox.

JIMI HENDRIX
Last Night (Astan)
Astan was a German label that got a hold of Hendrix???s 1966 New York City recordings with producer Ed Chalpin that had been used for years by American budget labels and began releasing them in Europe. The songs are almost all covers like Money and Hang On Sloopy. Unfortunately, none of the songs stand out at all.

JIMI HENDRIX
Mr. Pitiful (Astan)
Here???s another rather uninspired collection of early New York City recordings by Hendrix in the Ed Chalpin studios for the European market. Hendrix is playing with Curtis Knight and Lonnie Youngblood during practice sessions doing mostly Pop covers like Wooly Bully or Blues like the title track. The best song is a cover of Have Mercy, but even that doesn???t save this LP.

JIMI HENDRIX
Rare Hendrix (Trip 72)
Rare Hendrix contains another selection of Hendrix???s 1966 NYC recordings with actually a not that bad mix. There are the upbeat instrumentals Good Feeling, Good Times and Bring My Baby Back where Hendrix gets to solo almost none stop through both. The real treat is the slow and moody Blues based Suspicious. There are also drum breaks in those last two.

JIMI HENDRIX
Roots Of Hendrix (Trip 72)
The novelty of Roots Of Hendrix is that the cover folds out into a four-part poster of Hendrix. The nine songs on Roots of Hendrix come from a session recorded back in 1966 in New York City at John Brantley???s studio when Hendrix was part of Lonnie Youngblood???s band. The music is actually a little more refined than Hendrix???s work with Curtis Knight recorded at Ed Chalpin???s place later on. The album starts off with three takes of Wipe The Sweat, an instrumental where Hendrix gets to let loose with some well aimed guitar playing. On Wipe The Sweat Segue II there???s a funky set of drum breaks but Youngblood is talking over them. All I Want has a reoccurring open bass line that drives the song along, and the addition of congas are a nice touch.

 

[motown67]

45 REVIEWS:

BROTHERS OF HOPE
I???m Gonna Make You Love Me/Nikol Nikol (Gamble)
Larry on his excellent funky16corners blog has revealed that the Brothers Of Hope were one of the many aliases used by the Philadelphia based MFSB rhythm section. The a-side is an instrumental version of I???m Gonna Make You Love Me, that comes off a bit MOR. The real treat is the flip, Nikol Nikol a mid-tempo Funk number that starts off with the guitar and some drum hits leading into the meat and potatoes of the tune, a nice haunting number with interplay between that guitar and the organ.

LARRY HOUSTON
I Need Love/I Know We Can Make It (Ambassador)
I Need Love is the funky A-side to this 45. It???s got Houston singing about his need for women backed by some horns and a very James Brownish breakdown in the middle. I Know We Can Make It is in a similar vein as I Need Love, but has a little more Soul to it. It turns out to be not quite as effective as the A-side, but that doesn???t make it a bad tune.

MR. D. & THE HIGHLIGHTS
Every Now And Then/Nose Full Of White (Jas)
Every Now And Then is a nice bluesy power Soul number with a rough delivery by the male lead singer. Nose Full Of White on the other hand, is an upbeat Soul-Funk instrumental with some sharp guitar licks and a strong organ presence. I actually like the A-side better.

PACE-SETTERS
Push On Jessie Jackson/Freedom And Justice (Kent 72)
Push On Jessie Jackson has a nice build-up at the beginning with just the guitar and drums, later joined by the organ before a gospel chorus comes in that mixes the secular music with the religious singing. Then everything starts going as the song pushes along for a very nice Funk tune. The flipside is just as good as it???s an instrumental version of the A-side.

LP REVIEWS:

CAN
Ege Bamyasi (United Artists 73)
Can was one of Germany???s most legendary Rock groups. The singing of Japanese transplant Kenji ???Damo??? Suzuki and drummer Jaki Liebezeit anchored their sound. My favorite cut from Ege Bamyasi is Vitamin C, which starts off the second side. It???s got a minimalist, rhythm heavy sound that chugs along. That???s followed by Soup that starts off with the barley audible talking of Suzuki with the band playing just as low before turning into a catchy Rock number that eventually goes off the proverbial, experimental Rock deep end half way through and never recovers. By the time they get to the last part of the tune it sounds like a noisy Free Jazz session. I???m So Green is much better at keeping the groove going. Finally there???s the jam Pinch on the first side.

JIMI HENDRIX
Second Time Around (Astan)
You would think that I would have my fill of Hendrix budget albums by now, but I???m still not done. I bought this probably two years ago and am just now getting around to listening to it. This was the last Astan record of Jimi that I was looking for, and it might be the best one of the lot. Like the other Astan releases, this one features tracks from the 1966 recording session in New York City at Ed Chalpin???s studio. The sound is surprisingly good and so are the selections. First up are the two long guitar solo instrumental jams Torture Me Honey and the more upbeat Mercy Lady Day. There???s also a nice and long drum break towards the end of the title cut. The extremely funky bass and drum routine of Got To Have It rounds everything off.

JIMMY MCGRIFF AND JUNIOR PARKER
Dudes Doin Business (Capitol 71)
Jazz organist Jimmy McGriff and Blues vocalist Junior Parker worked on a couple albums together in the early 1970s. Dudes Doin Business was one of them, and was also released on Groove Merchant under the title Good Things Happen Every Day. Together, the two laid down a strong selection of Blues, Soul-Jazz and a little Funk as well. That???s heard immediately on Drownin On Dry Land with Parker???s bluesy delivery over a funky rhythm. There are also power ballads like Good Things Don???t Happen Every Day with some rich orchestration, a groovy re-arrangement of Ain???t That A Shame, and slow jams like It Ain???t What???cha Got and Workin.

TERMINAL BARBERSHOP
Hair Styles (ATCO 69)
I picked up this Hair LP while on vacation in Vegas a while back. Looking at the personnel on the back, it appears that Terminal Barbershop were a collection of studio musicians put together to cash in on the Hair craze. Among those in on the session were brass players Joe Farrell and Jimmy Owens. Basically, they took the Hair soundtrack and re-arranged almost every number. For example, you have a brass heavy and orchestrated version of Let The Sunshine In, a jazzy Where Do I Go, a slow and groovy version of Aquarius, and upbeat takes on Hair and Walking In Space. If you???re a fan of the soundtrack I would recommend this, otherwise it???s nothing that special.

PHIL UPCHURCH
Darkness, Darkness (Blue Thumb 72)
This was one of those records that I always saw, but never took the time to give it a listen. I finally picked it up, but that was two years ago. 25 months later I am finally laying the needle to vinyl. Phil Upchurch was one of the leading Jazz session musicians in Chicago. He did a lot of work for the local Cadet label as well as releasing solo albums. Darkness, Darkness was a double LP recorded with Arthur Adams, Chuck Rainey, Joe Sample. Harvey Mason, Ben Sidran, and Donny Hathaway amongst others. First up is the laidback title track that has a little bit of a dark mood to it. There are also covers of Sweet Chariot, which has an arrangement that reminds me of Lee Dorsey???s Yes We Can Can, Cold Sweat, that while not bad, doesn???t really deliver the Funk, and Inner City Blues that is more on target.


OLD RECORDS OUT THE CRATES:

JIMI HENDRIX
Isle Of Wight (Polydor 71)
Isle Of Wight is a live album recorded at the Isle Of Wight Festival in 1970 and officially released by Polydor in England. The sound is pretty good for a live album and there???s a good mix of songs as well. Hendrix opens with Midnight Lightning, a long and bluesy number before picking it up with Foxy Lady that features a nice breakdown in the middle not heard on the album version. The grooving Freedom and All Along The Watchtower start off the second side, which ends with In From The Storm that has a long drum solo beginning.

JIMI H

ENDRIX
Jimi Hendrix Concerts (CBS 82)
Jimi Hendrix Concerts is a double album set containing 11 live tracks from shows in San Francisco, London, San Diego, Berkeley and New York from the years 1968 to 1970. The record covers his hits such as Fire and I Don???t Live Today with their big drum lines, Are You Experienced, the mellow Little Wing and Hey Joe, Voodoo Chile (Slight Return), and Wild Thing. The sound quality is quite good compared to all those really badly recorded budget label releases that you see everywhere.

JIMI HENDRIX
Jimi Hendrix Vol 2 (Polydor 76)
Jimi Hendrix Vol 2 was part of a two-volume compilation released by Polydor in England. As you would expect the records collected together hits from each one of his full-length albums. The selections are evenly divided between the fast-paced rockers Freedom, Gypsy Eyes, Stone Free, I Don???t Live Today, Crosstown Traffic, Spanish Castle Magic, and the slower numbers like Remember, Castles Made Of Sand, Straight Ahead, Are You Experienced? Long Hot Summer Night, and Bold As Love.

JIMI HENDRIX
Johnny B. Goode (Capitol 86)
Johnny B. Goode is the soundtrack to a video released of live footage of Hendrix playing with Billy Cox and Mitch Mitchell in Atlanta and Berkeley. The sound quality is pretty good and the album contains some of his hits such as the opening Voodoo Child, All Along The Watchtower, and a very long and slow version of Machine Gun that actually lacks the power of the original recording.

HIROSHIMA
Odori (Arista 80)
I was clearing out my stacks and came across this record. Hiroshima was famous as much for who they were as for what they played. They were an Asian-led Jazz-Fusion group created out of the Asian American movement in California. I always remembered them for their light, MOR Jazz mixed with some traditional Japanese instruments, but on Odori they open up with Cruisin J-Town that sounds like 80s Prince. The slower title cut with flute playing is more what I remember them sounding like. The album turns out to be evenly split between that type of tune and the funkier Fusion numbers. It???s still nothing to get excited about. I originally bought this when I was sample spotting since DJ Premier used a cut on here for a Gangstarr track.

 

[motown67]

45 REVIEWS:

DORANDO
Listen To My Music/Didn???t I (Music City)
2006 has been very good for finding some of my all time wants. I originally heard of Dorando about 2 years ago or so from a mix-CD by fellow Strutter Drewn. I???d almost forgotten about it until my girlfriend fished out the mix and started playing it non-stop. Needless to say, Dorando???s Didn???t I was the standout track. Then all the buzz started about him and I thought I???d never find this 45 for a decent price. All of that is over now. For those that don???t know, Dorando was a homegrown product of the East Bay, who played guitar and possessed a sweet, sweet voice, something akin to Al Green???s silky delivery, but a little rougher on the edges. That???s heard on both of these cuts. Each begins with Dorando???s guitar playing before his vocals come in. Listen To My Music has him talking through the beginning before strings join in on this love song. After that you could logically think that things couldn???t get better, but they do. Didn???t I has to be the closest thing to perfection in a song. Sing along lyrics, a beautiful melody, strings, an organ line hovering just in the background, and of course, Dorando???s singing. I???m ecstatic over finally having a copy of this single.


LP REVIEWS:

FOUR TOPS
Live! (Motown 66)
I???ve skipped over so many Motown records in the past I thought it was about time to start picking some up. Live! was the Four Tops??? fourth record for Motown. The album does a great job capturing the high energy Soul the group was famous for such as It???s The Same Old Song, Baby I Need Your Loving where the group gets the audience to sing along with them, and Reach Out I???ll Be There. That doesn???t mean there isn???t cheese on here as well as Barry Gordy was always trying to cross over to the white dinner club crowd. With that in mind there are also covers of It???s Not Unusual and I Left My Heart In San Francisco that you can just skip over. In fact, most of the second side is in this style. That side is only saved by the closing cover of If I Had A Hammer and I Can???t Help Myself.

FOURTH WAY
Werwolf (Harvest 70)
I was just reviewing Fourth Way???s self-titled LP when I came across their second, Werwolf, in a store. This record was recorded live in 1970 at the famed Montreaux Jazz Festival in Switzerland. Like their debut, the band opens up with a nice laidback Soul-Jazz piece called Brown Rice. The band then delves into some Free Jazz on Colours before getting back into the Soul with Werwolf that has plenty of lead violin by Michael White, a signature of the group???s sound. On the second side the closing Spacefunk is also a good listen, although it too gets a little noisy and experimental half way through.

J.J. JACKSON
The Great J. J. Jackson (Warner Brothers 66)
J.J. Jackson was a big man. On the liner notes it says that he weighed in at 285 pounds. He originally got his start in New York City as an arranger for Jack McDuff and Jimmy Witherspoon before he made a move to England where he burst onto the Soul scene with a huge hit called But It???s Alright. That song became the basis for this LP, his first. But It???s Alright starts off with a distinctive guitar line and Jackson???s sing along lyrics to create a great Soul tune. The goodness continues with It Seems Like I???ve Been Here Before where Jackson lays down some pleading vocals with some power horn lines behind him. Too Late has a bit of a Motown dance beat to it, while a cover of A Change Is Gonna Come shows off Jackson???s powerful singing again. The second side opens up with Four Walls, which is basically a slowed down take off of But It???s Alright, but still good, followed by I Don???t Want To Live My Life Alone and Try Me, both of which build up into real power Soul belters. There???s also the upbeat Down But Not Out, and the dance tune I Dig Girls to finish things off.

FELA RANSOME-KUTI AND THE AFRICA 70 WITH GINGER BAKER
Live! (Signpost 71)
Live was one of Fela Kuti???s early American and European releases. It featured him and his Africa 70 group performing with Ginger Baker. The album consists of just four tunes, Let???s Start, Black Man???s Cry, Ye Ye De Smell, and Egbe Mi O (Carry Me I Want To Die). All four are extended Afro-Beat-Funk workouts with Kuti just giving shouts and groans and vocal encouragements to the band over the top. Together this makes for a great LP.

OLD RECORDS OUT THE CRATES:

JIMI HENDRIX
Midnight Lightning (Reprise 75)
Midnight Lightning was released by producer Alan Douglas on Reprise, and consists of Hendrix jamming along with some studio musicians. What sparks controversy about these sessions is that Douglas supposedly added some extra playing to the tapes after they were initially recorded. Despite that, what you have here is Hendrix playing in the style that everyone associates him with. Great big guitar lines tempered by Hendrix???s soulful singing. Trash Man is one of Hendrix???s guitar manifestos and has a short drum break at the end. Midnight Lightning has some great female back-up vocals on the choruses. Midnight Train is a Bluesy Rock tune with a breakdown at the very end. The slow grooves of Gypsy Boy might be best of all with its catchiness.

JIMI HENDRIX
My Best Friend (Astan)
Astan might have been from Germany, but that didn???t mean they didn???t use the same NYC sessions as everyone else. Like most of these LPs, My Best Friend is a hodgepodge of Hendrix songs. Oddball is a bit of a rambling song with a big distorted walking bass line and a drum break. Day Tripper is a Beatles cover that starts off with a short drum break, but then busts out with a really nice and long break towards the end. Hush Now and Happy Birthday are two songs with vocals by Curtis Knight and are by far the best tracks.

JIMI HENDRIX
Nine To The Universe (Reprise 80)
Nine To The Universe consists of five songs recorded in 1969 in New York City when Hendrix was trying to expand his sound from the hard psychedelic Rock that he helped to create. The first song, Nine To The Universe was recorded with Hendrix???s new band consisting of Billy Cox and Buddy Miles, while the other four tracks consist of a mix of musicians. All of the songs are long jams highlighting Hendrix???s guitar playing and his soulful and bluesy side, and even hints of Jazz. The title track has a funky bass line and a couple of drum breaks to it, while Young/Hendrix is a jam session with plenty of organ by Larry Young.

JIMI HENDRIX
Radio One (RYKO 88)
Radio One is a double LP of recordings Jimi Hendrix made at the BBC in 1967 just as he was blowing up. Yo

u get some of his classics like Hey Jude, Purple Haze, Foxy Lady, Fire, Burning Of The Midnight Lamp, and the lesser known Wait Until Tomorrow, which are the best parts of the album, along with a lot of Blues covers, the best being a sped up version of Killing Floor. For some very, very odd reason, there is nothing on the fourth side of the LP.

JIMI HENDIX
Rainbow Bridge (Reprise 71)
This LP was a soundtrack to a psychedelic-Hippie movie of the same name. The record starts off light and melodic such as the catchy Dollar Dagger and Earth Blues, plus the instrumental Pali Gap. Then it turns more hard rocking with numbers like Room Full Of Mirrors and the guitar jam Hear My Train A Comin.

JIMI HENDRIX
Superpak (Trip 72)
Superpak is a compilation of Trip???s Rare Hendrix and Roots of Hendrix LPs. All of the songs are from sessions recorded when Hendrix was in the Lonnie Youngblood band. The sound is actually pretty good, while the music is mostly straight RnB and Blues. Good Feeling, Good Times, and three versions of Wipe The Sweat are nice instrumentals, while Bring My Baby Back and Suspicious have drum breaks. Go Go Shoes, Part 1 is the best song with singing.

CHARLES WRIGHT & THE WATTS 103RD STREET RHYTHM BAND
Express Yourself (Warner Brothers 70)
Charles Wright was the leader of the Watts 103rd Street Rhythm Band. The group got it start as the Soul Runners before Wright came along. The band was actually always changing members, but that didn???t stop them from having a string of hits in the early 1970s. Express Yourself was probably the biggest. Everyone should know the tune with its catchy rhythm track, short horn bursts and chorus. Besides that, there???s also I Got Love that has the same elements, and High As Apple Pie ??? Slice I that starts off as a jam session, but becomes a sing along Soul tune by the end. On the second side, that Soul leaning continues with I???m Aware and the power ballad Tell Me What You Want Me To Do. Everything is finished off with High As Apple Pie ??? Part II that continues on with the group vocals that Part I left off with, and then turns into a jam session again.

 

[drewnice]

 

[Fatback]

These are all great, but we really need to know what kinds of clothes are worn by people who listen these records.

 

[motown67]

LP REVIEWS:

CALIFORNIA EARTHQUAKE
Reformation (United Artists 71)
California Earthquake was a Christian Rock group from California that included some LA studio musicians such as drummer John Guerin who worked with Frank Zappa. All of the songs obviously revolve around God with well-known cuts like Put Your Hand In The Hand, as well as originals. On tracks such as Let There Be Light they were able to get down a bit with a strong bass line and some singing that reminds me of Blood, Sweat & Tears. The Bible Salesman and Sally Go Down are in a similar vein. There???s also a drum break at the beginning of Prelude To Suzanne, which is a jazzy instrumental with plenty of organ. Overall, Reformation is an OK, but not great record.

EAST COAST
East Coast (Encounter 73)
East Coast was a 7-piece Soul outfit led by drummer Larry Blackmon and featuring the singing of Gwen Guthrie. Their sound can be best heard on the opening I Found You, which is a seven minutes plus monster of a Soul tune with plenty of Rock tinged guitar work. Even better is the instrumental Miss Gigi with plenty of horns. There???s also the upbeat Any Thing You Have In Mind and the closing You Can???t Let It Get You Down, another seven-minute plus song featuring a dark and moody feel with plenty more Rock guitar.

PARAGONS
On The Beach (Treasure Isle 67)
For a time in the mid-1960s the Paragons were one of Jamaica???s hottest vocal groups. They were originally a four-piece, but by the time On The Beach was released they were just down to three, consisting of John Holt, Howard Barret, and Tyrone Evans. Coxsone Dodd signed them to his label, but it was really Duke Reid who had the biggest influence on their success. Like a lot of Jamaican acts of the time, their sound was based upon American Soul groups with tight vocal harmonies. That can be heard on the title track with a pretty straightforward Soul introduction and the moody When The Lights Are Low, but the best are really Wear You To The Ball and the famous Tide Is High, which Blondie covered, when the group really finds its own. Only A Smile and Happy Go Lucky Girl are also worth a spin.

REUBEN WILSON
Blue Mode (Blue Note 69)
Blue Mode was the last of Reuben Wilson???s LPs that I had on my want list. It has a similar sound to Lou Donaldson???s records from the same period, basically a soulful, yet Blues based Jazz sound. That???s heard on tunes like Bambu with Wilson???s organ playing out front and featuring a sax solo by John Manning, followed by Wilson???s own. Next is a cover of Knock On Wood. During the middle of the song, it has an original arrangement that moves the song from being MOR to quite good. The original Bus Ride gets things back on track with its Funk underpinnings. Orange Peel is by far the funkiest of the tracks however with a Cold Sweat-like rhythm to it. A good version of Twenty-Five Miles is next. The record ends like it begins with the title cut with that Soul-Jazz-Blues mix.


OLD RECORDS OUT THE CRATES:

JIMI HENDRIX
War Heroes (Reprise 72)
War Heroes is a major label offering of unreleased Hendrix material. This sets it apart from the many budget label releases because these are actual studio recordings rather than the ever present and over used practice sessions from 1966 that sound like crap. That doesn???t mean War Heroes is any more consistent than those budget LPs however. Many of the tunes are simply jam sessions such as Stepping Stone and Midnight, or actual practices like Catastrophe. The three tracks that stand out above all these are the melodic 3 Little Bears with Hendrix???s singing, the guitar jam instrumental Beginning, and the catchy Izabella with its call and response chorus.

JIMI HENDRIX
What???d I Say (MFP 70)
MFP was a European company that used the same Ed Chalpin recordings from the mid-1960s when Hendrix was playing with Curtis Knight as the American budget and German Astan labels did. What???d I Say consists of six songs recorded at a live show in Hackensack, NJ the day after Christmas in 1965, all of which can be found on other records. Things get started with Knight announcing that the show that night would be recorded. He then asks Jimi what he wants to do for the people, with Jimi replying ???Driving South.??? The recording is nice and dirty with the bass and drums out front in the mix as they go into a really funky and bluesy workout with Hendrix soloing in the background. Knight eventually comes in to sing a few versus, but he quickly turns things back over to Hendrix. Knight even shouts out that Hendrix is playing with his teeth! I guess he could get down like that as early as 65. By the end there???s even a little guitar and drum breakdown as the song moves towards a more RnB vibe. There are five other songs like the Blues of California Night, the upbeat RnB of On The Killin Floor (Kill Em Slow), and the title track that???s a cover of the Ray Charles classic, but none of them catch the groove of that opening number.

STEVE MILLER
Fly Like An Eagle (Capitol 76)
I think this might have been the very first record I bought when I started looking for samples. Fly Like An Eagle was a childhood favorite of mine, but then they re-used it in the 90s for a U.S. Post Office commercial. At the time, Biz???s Nobody Beats The Biz was being played a lot in the local clubs and I put two and two together and found Miller???s LP in the dollar bins and started the hunt for beats. The title cut with its keyboard intro and light singing still sounds good to me today. The record also contains Miller???s other big hits like Take The Money And Run that starts off with a drum break and Rock N Me. Other good listens are the spaced out Wild Mountain Honey, and a cover of You Send Me.

SONNY & CHER
Live (Kapp 71)
I can remember watching the Sonny & Cher show on TV when I was a kid, so hearing this live album brings back some memories. The record contains many of the duo???s hits like The Beat Goes On and I Got You Babe, along with plenty of covers such as Gotta Get You Into My Life. Plus there???s the usual banter, jokes and put downs that they were known for in between the songs. The original reason why I got this record was a drum break in the middle of Hey Jude. I think I might have heard about this from Soulman???s World Of Beats way back when.

 

[motown67]

LP REVIEWS:

RAY CHARLES
At Newport (Atlantic 58)
This record was recorded at the famous Newport Jazz Festival. It contains some of my favorite Ray Charles??? tunes in a live setting. That includes the opening The Right Time with the call and response vocals between Charles and his female back-ups the Raylettes. Even better is when Marjorie Hendricks comes in for her little scorching vocal bit in the middle. There???s also an extended version of I Got A Woman, the jazzy instrumental Blues Waltz, and the upbeat RnB of Talkin Bout You.

RAY CHARLES
What???d I Say (Atlantic 59)
What???d I Say was one of Ray Charles??? greatest hits and for good reason. Not only is it a stone cold jam, but it was ground breaking RnB when it first came out. That sound would reverberate for years afterwards in groups like Booker T. & The MG???s and others. Appropriately enough the record starts off with the title track that everyone should know with its organ play and call and response vocals between Charles and the Raylettes. There are also the upbeat and catchy You Be My Baby, Tell Me How Do You Feel, Tell All The World About You, and My Bonnie. Then Charles slows it down for What Kind Of Man Are You with Mary Fisher holding down the lead vocals, and the cool and jazzy Roll With My Baby

JOHN HOLT
1000 Volts Of Holt (Chaguaramas)
John Holt got his start with the Paragons. After he went solo he was always known as a bit of crooner and you can hear that immediately on 1000 Volts of Holt. When this record was recorded, Reggae was really crossing over on the English charts. Many artists, like Holt, would record their material in Jamaica then ship it to England, where Trojan, one of the main Reggae distributors in the country, would overdub parts, usually lush string arrangements, for the British public. That crossover sound, along with Holt???s sweet vocals make up this entire LP with tunes like Never, Never, never, a cover of the Chi-Lites??? Stoned Out Of My Mind and Killing Me Softly With her Song. To me though, this form of Reggae-lite doesn???t quite appeal to my tastes, although it was a huge hit for Holt when it was released in the U.K. I???d much rather hear Holt???s earlier material than this album.

BYRON LEE AND THE DRAGONAIRES
Reggay Hot Cool & Easy (Dynamic)
Reggay Hot Cool & Easy consists mostly of covers of American hits from the 70s. First up is a very nice Reggae arrangement of Shaft that allows Lee to give it his own little twist. Then there???s Hot Reggay, a JB???s cover. Other tunes aren???t as convincing such as Sweet City Woman, Have You Seen Her and For Your Precious Love. Those opening cuts happen to be the best of the best as the second side is a bit of a let down.

OLD RECORDS OUT THE CRATES

AZTECA
Azteca (Columbia 72)
Azteca was a local Bay Area group formed by the brothers Coke and Pete Escovedo at the height of Latin Rock craze with artists like El Chicano and Malo. Most of the songs are Rock-Salsa Fusion numbers with plenty of percussion such as Mamita Linda and Ain???t Got No Special Woman. There are also Can???t Take The Funk Out Of Me and Peace Everybody that sound like Tower Of Power. Good, but not great overall.

JIMI HENDRIX & CURTIS KNIGHT
Flashing (Capitol 68)
Hendrix got his start playing for RnB and Blues with acts like Curtis Knight???s. Flashing is a badly recorded set of numbers from this time period that were booted over and over after Hendrix???s death by a number of budget labels. This was one of the few times they got a major release and distribution however thanks to Capitol. The record gets off to a bit of an unexpected start with Gloomy Monday and Hornet Nest, which are basically a 60s Rock tune followed by a fuzzed out, almost Garage Rock sounding instrumental with plenty of organ, and a drum and bass breakdown in the middle. Fool For You Baby is more of that 60s Rock sound with a little Blues thrown in as well. The real treat doesn???t come until Happy Birthday with a fat and funky bass line. The title cut is fast paced, and starts off with a drum break before the bass player again takes over the tune, which becomes a noisy instrumental. Odd Ball is a pretty non-descript instrumental until half way through when the bass player again shows his chops with a solo and the drummer steps up his work. There???s also the raw black Rock of Love Love.

JIMI HENDRIX & CURTIS KNIGHT
Get That Feeling (Capitol 68)
Capitol released Get That Feeling and Flashing the same year while Hendrix was still alive to cash in on his fame. Both featured Hendrix???s early work alongside Curtis Knight, and both were based upon the now famous Ed Chalpin recordings from New York that constitute over a dozen foreign and domestic budget label Hendrix albums. First up is the Rock tune How Would You Feel that???s a take off of Bob Dylan???s Like A Rolling Stone. Get That Feeling has a deep and grooving bass line, but one that goes on for just over 10 minutes. A bit of an overkill if you ask me. Much better is Hush Now, which gives a slight hint at the Psychedelic direction Hendrix would take in his future career. There???s also a drum break on Simon Says, which is otherwise unremarkable. That could actually be said about most of the other songs.

HEPTONES
Heptones (Studio One)
The Heptones were another one of Jamaica???s famed Rock Steady vocal groups. They consisted of Leroy Sibbles, Barry Llewell, and Earl Morgan, and really got their break when they signed to Coxsone Dodd???s Studio One label. This LP features some of their top singles from the time, the biggest of which is the opening Fattie Fattie about what else, fat women! The song shows off the Heptones??? sweet falsetto voices and catchy Rock Steady rhythms. That???s followed by Why Must I, a cover of Only Sixteen, Land Of Love, Best Things In Life, Gee Wee, I???ve Got A Feeling, Tripe Girl, Let???s Fall In Love, and Take A Tip From that are all in the same vein with Baby being the stand out.

 

[motown67]

45 REVIEWS:

SENATOR JONES
Miniskirt Dance/Sweet Thing (Bell)
I think I first heard about Senator Jones through a mix-CD ages ago. The 45 is a good two-sider with both songs being catchy Soul numbers with strong female back-up singers doing call and response during the choruses. In fact, on Sweet Thing, with a Tramp-like rhythm, the ladies get an entire bridge to floss. That tune also starts off with a drum break.

LP REVIEWS:

BLOODSTONE
Unreal (London 73)
Bloodstone had a long and storied career as a five-piece Soul outfit. They originally started as a Doo Wop group in High School in Kansas City. They then went on the road, landing in Las Vegas before going to LA. There they learned how to play instruments and became an actual band. That wasn???t the end of their journey however. Still not finding any interest by record companies, in 1971 they moved to London where they finally got a record deal and found success. The band shows off their Soul roots with the opening power ballad Outside Woman that sounds a bit like the Chi-Lites. Then there???s the more upbeat What Did You Do To Me? Part 1. Part 2 of the song is a slow grooving, let???s get down and dirty follow up. There???s also the funky Everybody Needs Love that starts off with a drum break. Bloodstone is much better at sticking to their lush Sweet Soul sound however on tracks like Keep Your Own Thing Together and Unreal.

CLARENCE REID
Dancin With Nobody But You Babe (ATCO 69)
Clarence Reid was better known as his alter ego Blowfly, but he had a long career before, during and after that as a solo artist, writer and producer. Outside of his own work, he???s probably best known for helping to writing hits like Betty Wright???s Clean Up Woman and Gwen McCrae???s Rockin Chair. Reid starts off with Nobody But You Babe that???s a take off of the Isley???s It???s Your Thing. In fact, almost all of the songs are either covers or adaptations of other songs. For example, there???s Twenty Five Miles, Doggone It that???s a take off of Vicki Anderson, and Curtis Mayfield???s I???ve Been Trying. Those actually constitute some of the best moments on the album. One of the few originals that shines through is the mellow Soul of Part Time Lover.

WAYNE TALBERT
Lord Have Mercy On My Funky Soul (Pulsar)
Wayne Talbert was a white Blues player originally from Texas. Lord Have Mercy On My Funky Soul appears to be his second album on the Pulsar label. He opens up with a great moody rendition of Screamin Jay Hawkins I Put A Spell On You. In a similar mellow vein are Trouble and Take Another Look. These tunes make Lord Have Mercy On My Funky Soul a nice mellow album to chill out to.

OLD RECORDS OUT THE CRATES:

BALLIN JACK
Special Pride (Mercury 73)
Ballin Jack had a Rock-Soul sound over the breadth of their three albums. Special Pride was their third record. The best examples of that sound are the funky Come Up Front, Big Dealer, the slow and soulful Good Feeling that sounds a bit like War, Try To Relax, and Special Pride.

WOODY HERMAN
Heavy Exposure (Cadet 69)
Woody Herman was a long time Big Band Jazz leader. Like many other artists of the time, by the late-60s he was trying to make more commercialized music to sell records. Hence Herman released a series of records on Cadet for that purpose, with Heavy Exposure being one of them. Along with Bossa Nova numbers like Flying Easy, he also does a series of Soul-Jazz numbers. Sometimes that formula works like on the funky and guitar heavy The Hut and a cover of It???s Your Thing. At other times its too MOR like on I Can???t Get Next To You. If you can handle Big Band Soul-Jazz than this might be for you.

WOODY HERMAN
Raven Speaks (Fantasy 72)
Out of Woddy Herman???s various attempts to record Soul-Jazz The Raven Speaks is by far his best effort. That begins immediately with a cover of Herbie Hancock???s Fat Mama where the Big Band is held in check a bit, meaning the rhythm section gets to shine, and the Rhodes play of Harold Danko holds the lead. The title track, with a more prominent part played by the brass, is in a similar vein. Sandia Chicano is a more straight-ahead Big Band Soul-Jazz effort with a funky little breakdown in the middle and a melody taken from Watermelon Man. A cover of It???s Too Late Isn???t half bad as well with its mellow groove and more Rhodes play by Danko.

 

[motown67]

More record reviews for the week. Enjoy.

45 REVIEWS:

FABULOUS SHALIMARS
Funky Line ??? Part I & II (Rack 66)
On Funky Line The Fabulous Shalimars were able to show off their high energy Funk sound. The song is basically an instrumental with horns hitting the accents and the singer giving words of encouragement to the dancing audience over the top. The drummer gets some on the B-side Part II.

LP REVIEWS:

BLOODSTONE
Natural High (London 72)
Natural High was one of Bloodstone???s early hit records. The album is best known for its Sweet Soul ballads such as Who Has The Last Laugh Now and Ran It In The Ground with falsetto leads. The band also switches it up on tracks like Peter???s Jones that has a slight Psychedelic feel to its otherwise Funky-Soul roots and back-up vocals throughout, the vocal Soul group sound of That???s The Way We Make Our Music, the Black Rock of Bo Diddley/Diddley Daddy, and the funky Tell It To My Face that sounds like the Temptations??? from the same time period. The best track by far though is the title cut that can still be heard on oldies stations to this day. It???s another Sweet Soul ballad showing off the group???s vocals with some light orchestration backing them up.

BLOWFLY
Weird World Of Blow Fly (Weird World)
Blowfly was Clarence Reid???s famous foul-mouthed, pimped out alter-ego. He released several records under that moniker on the Weird World label. The Weird World Of is two live sets by Blowfly. Like Reid???s solo work, most of the songs are actually take offs of hit songs with his own original dirty lyrics. Thus his first tune My Baby Keep Farting In My Face has the music of Raindrops Keep Falling On My Head, and the second, Hold On Its Running is based upon Sam & Dave???s Hold On. All the songs are strung together into one long medley with an original bridge in between each where Blowfly/Reid talks about the next track. Some nice open drums often punctuate these asides. The music is often strong given its sources with some standouts being a take off of I???m A Soul Man called I???m A Ho Man, I Don???t Want No Woman, a James Brown spin off, and the closing rhythm at the end of both sides that was used by Jurassic 5.

MILLIE JACKSON
Caught Up (Spring 74)
Caught Up is a concept album about being caught in a love triangle. That message is shown on the front cover with two women and a man stuck in a spider???s web. Ms. Jackson delves into the subject musically beginning with If Loving You Is Wrong I Don???t Want To Be Right that leads into The Rap where Millie talks through the scenario of being in love with a married man. There???s some sly witticism mixed in such as when she says that one good thing about being with a married man is that she doesn???t have to wash his clothes. She gives the impression that she???s in charge of the relationship, but when her rap flows right back into If Loving You Is Wrong, it???s apparent that she???s the one in love. Millie then confronts the wife in All I Want Is A Fighting Chance. Her frustration comes out on the slow jam I???m Tired Of Hiding. On the second side the story has progressed a few years with the married man threatening a break up, leaving Millie with a child and a whole lot of anger on the fast paced It???s All Over But The Shouting. She???s the one who???s going to do all the shouting by the way. The lovers come to something of an understanding during the ballad It???s Easy Going. Things are finally over between them when Millie finds another man on the following ballad I???m Through Trying To Prove My Love To You. The closing Summer has her reflecting on her past and hopefully moving on with her life.

CLARENCE WHEELER AND THE ENFORCERS
Love I???ve Been Looking For (Atlantic 71)
This is one of the records that you see about a lot, but never take the time to give it a listen. Well I finally did. Wheeler opens up with Mighty Burner, a bluesy Soul-Jazz piece led by the organ play of Sonny Burke that sounds a lot like contemporary organ Jazz players of the time like Jimmy McGriff and Groove Holmes. Much better is another Soul-Jazz tunes called Broasted Or Fried, that???s much more upbeat with the horns playing the melody and the organ in the background. There???s also a cover of We???ve Only Just Begun that starts and ends with its usual mellow vibe, but has a grooving little middle section added on where Wheeler gets to solo on his sax. Wheeler does a similar job with Hey Western Union Man.


OLD RECORDS OUT THE CRATES:

HIDDEN STRENGTH
Hidden Strength (United Artists 75)
Can a record with a song called Hustle On Up (Do The Bump) from 1975 be any good? Actually the song is a great dance floor tune and there???s even an instrumental version on the B-side. Hidden Strength actually give you a couple different looks like the jazzy Funk of It Didn???t Have To Be This Way, the driving bass line of Happy Song, the slow Funk of I Wanna Be Your Main Man with some nice horn work, and All We Need Is Time. Together, these tracks made Hidden Strength???s LP a very nice surprise.

MONK HIGGINS
Dance To The Disco Sax Of (Buddah 74)
Saxophonist, organist, and arranger Monk Higgins worked with Joe Sample, Wilton Felder, Paul Humphrey, Freddy Robinson, Jim Horn and Sidney Sharp on this record. Unfortunately it is not a highlight in his career. As the title implies, Dance To The Disco Sax was aimed at the Pop market. With that goal in mind Higgins recorded a series of dance and smooth Jazz numbers like Showdown, I Believe In Music and Soul Train Theme. There are only two songs that really stand out. First is the funky Soul of Me And Baby Brother featuring the female duo of Elain Cole and Deborah Lindsey on vocals. Then there???s a cover of One Man Band, again with the female duet and a long drum break in the middle by Humphrey that???s been sampled many times. You???d be much better off picking up Higgins??? earlier work.

MONK HIGGINS
Extra Soul Perception (Solid State 69)
Extra Soul Perception is one of Monk Higgins??? better pieces of work. He starts off with a moody build up with the title track that has strings hovering in the background while the sax and guitar play a little bit over the top. That leads right into the excellent Soul-jazz piece called The Look Of Slim with a nice drum and bass intro before the head nodding rhythm comes in. It???s by far the best tune. Then there???s the light and upbeat A Good Thing, a nice re-arrangement of Watermelon Man, the slow groove of Straight Ahead, the 60s sound of Collision In Black, and Poker Chips that sounds a bit like a Prestige Soul-Jazz number.

HUBERT LAWSA Hero Ain???t Nothin But A Sandwich OST (Columbia 78)
A Hero Ain???t Nothin But A Sandwich was a famous black coming of age book that was turned into a movie. Hubert Laws recorded the soundtrack, most of which is mellow Jazz. The one exception is the 1st track, School???s Out (Benji???s Theme), which is some good funky Fusion. Laws??? flute is out in the lead with a strong bass line as the underpinning. It sounds a bit like the Mizell Bros. sound that was popular at the time. After that the soundtrack takes a dive into some light Jazz such as Drop and Pop, but more often, MOR Jazz drivel.

 

[motown67]

LP REVIEWS:

JERRY BUTLER
Offering The Spice Of Life (Mercury 72)
After listening to Jerry Butler???s Sweet Sixteen and Ice Man Cometh albums, I went looking for more of his releases from the same time period. That led me to the double LP Offering The Spice Of Life. The opening cut What???s So Good About It (You???re My Baby) presents the lush Soul sound that Butler was producing at this time. There???s some light orchestration, and Butler???s smooth delivery is supported by a group of female back-ups. The more upbeat One Night Affair and A Prayer with heavier horn sections, and the power ballad So Far Away that builds in intensity as it progresses, are in a similar vein. Butler changes things up a bit on Get On The Case, a little funkier number with wah wah guitar, the slow and melodic You Can???t Always Tell, and the catchy Don???t Rip Me Off.

OLD RECORDS OUT THE CRATES:

MONK HIGGINS
Heavyweight (United Artists 72)
Heavyweight might be my favorite Monk Higgins??? LP. It begins with the sublime light groove of Libra???s Way, and then proceeds to lay down a full array of fine Soul-Jazz pieces. This really is a nice laidback record to listen to from beginning to end. There are cuts such as Treat Her Like A Lady and Feeling You Feeling Me with Higgins??? sax in the lead and a females singing the choruses, the funky Big Water Bed and Last Night To Dallas, the slower Up On The Hill, all topped off with the best track Gotta Be Funky that lives up to its name.

MONK HIGGINS
Little Mama (United Artists 72)
Little Mama was released the same year as Higgins??? Heavyweight album. Almost all of the songs are original compositions, and Higgins does his usual arranging job on them. Thus you have the Soul-Jazz pieces Little Mama and Highway Number 101 (Pacific Coast Highway) with female vocals by the Specialites Unlimited, the funkier Walking In My Sleep and Can???t Stop featuring Higgins??? sax playing, and the slower Black Fox that sounds a bit like Ain???t No Sunshine.

 

[motown67]

LP REVIEWS:

FOUR TOPS
Main Street People (ABC/Dunhill 73)
The Four Tops are most famous for their work with Motown but many of their recordings afterwards were just as good. Unfortunately the beginning of Main Street People is not a good example. Most of the opening songs are MOR Pop-Soul tunes that aren???t very interesting at all. It???s not until the last song on the first side, Are You Man Enough that came from the film ???Shaft In Africa???, that the group lays down some forceful Soul music. They do a much better job with things on the second side with the heavily orchestrated Whenever There???s Blues, and the lightly funky Peace of Mind. Still I???d prefer some of the group???s other releases on ABC/Dunhill to this one.

MIRETTES
Whirlpool (Uni 69)
The Mirettes got their start as the back-up singers for the Ike & Tina Turner Show, better known as the Ikettes. In the late 1960s they left and renamed themselves the Mirettes. Under their new name they recorded two records, In The Midnight Hour, their first, and this, their second entitled Whirlpool. They have a fine mix of funky Soul numbers like Sister Watch Yourself, Whirlpool, the midtempo Heart Full Of Gladness, and more traditional Soul cuts such as Something???s Wrong, At Last (I Found A Love) with a nice repeating breakdown, and a stripped down cover of Stand By Your Man. The ladies also break out with the Gospel influenced If Everybody???d Help Somebody. No matter what the style, the three singers deliver some fine group vocals always backed by a strong horn section.

TEMPTATIONS
Temptin Temptations (Motown 65)
This is another oldie but goodie from Motown that I always passed by, but finally decided to pick up. Temptin Temptations was one of the group???s earlier records and provides some of their biggest hits from 1965. For example, there???s Since I Lost My Baby, The Girl???s Alright With Me, and Girl (Why You Wanna Make Be Blue) all of which show off the Temptations??? sing along lyrics and Motown???s slick orchestration and catchy hooks. My favorite is the slow jam Don???t Look Back. There???s also My Baby, which was a hit at the time but has since fallen off many people???s minds. Even less known, but in that solid Motown sound are You???ve Got To Earn It, Everybody Needs Love, and I???ll Be In Trouble. The record really shows how the Temps got off to a great start with their relationship with Detroit???s premier label.

IKE & TINA TURNER REVUE
Please, Please, Please (Kent 63)
Ike & Tina Turner have always been one of my all time favorite duos. Please, Please, Please is a live show from the early 1960s in St. Louis that features all of the acts on the Turner Revue including Jerry Thomas, Vanetta Fields, Bobby John, Stacy Johnson, Bobbi Montgomery, Vernon Guy, and of course, Ike & Tina. The Turners open up with a cover of James Brown???s Please, Please, Please. The song immediately shows off Tina???s screeching vocals that were the highlight of their sound. That???s followed by two upbeat RnB tunes by Jerry Thomas and Bobby John entitled Feel So Good and Think. In between is a power ballad called The Love Of My Man by Vanetta Fields. Out of the Revue material, the fast paced I Love The Way You Love by Bobbie Montgomery, and a cover of Your Precious Love by Vernon Guy are the ones that stand out most. The best Ike & Turner track is I Can???t Believe What You Say with its catchy sing along back-up vocals by the Ikettes.

OLD RECORDS OUT THE CRATES:

BILL BLACK???S COMBO
Basic Black (Columbia 70)
Bill Black got his start as the bassist for Elvis Presley. He later started a solo career and released a slew of instrumental albums on Memphis??? Hi label. Almost all of his LPS consist of covers with a few originals thrown in here and there. Basic Black was one of his later albums released on Columbia. I picked it up because of the song Free And Funky. It turned out to be muzak like most of the album. The record is actually the least enjoyable Black recording that I have.

BILL BLACK???S COMBO
Bill Black???s Beat Goes On (Hi 68)
Bill Black???s Beat Goes On consists all of instrumental covers of hit songs of the time. He starts off with Sonny & Cher???s The Beat Goes On, which isn???t half bad. Black does an even better job with Ode To Billy Joe with the organ nice and loud in the mix, and there???s also an OK version of Funky Broadway that just misses the mark.

BILL BLACK???S COMBO
Black With Sugar (Columbia 69)
Black With Sugar was the first album Black released on Columbia after a long relationship with Hi Records. The best songs are the cover of But It???s Alright, the slick Soulfully Yours with a little breakdown in the middle, and the slow, but funky All Cows No Bull.

BILL BLACK???S COMBO
Turn On Your Love Light (Hi 68)
Turn On Your Love Light is another instrumental RnB album by Bill Black. The highlight is the title track that features three short drum breaks that lead into a nice and easy Soul tune with a catchy groove to it and plenty of organ work. Also worth listening to are the covers of In The Midnight Hour, Shoo-Bee-Doo-Be-Doo-Da-Day, and the upbeat Horse.

STANLEY BLACK
Black Magic (London 76)
For a while there I was picking up all the covers of Shaft that I could find. That led me to purchase Stanley Black???s Black Magic. The opening cut is said cover, done quite well actually. I actually kinda like the Lounge-Bossa Nova piece All It Takes Is Two (Like Me And You) because it???s catchy in a kitschy kind of way, but after that the rest of the record is some very forgettable material.

MONK HIGGINS
MacArthur Park (Dunhill 68)
MacArthur Park was the last significant Monk Higgins record that I needed to finish off my collection. The album highlights Higgins??? RnB/Soul-Jazz roots with a number of lush arrangements with an eye to the commercial charts. The title track is a perfect example of this as it switches back and forth between a hard edge, beginning refrain, and the versus that are decidedly MOR. T???Aint Nothing To Me and the originals Hey Mother and Vee Pea are a little more consistent, with the latter featuring a very nice string section and guitar interplay. There???s also the silky smoothness of Jo-Ju-Ja with more strings, a cover of Ray Charles??? I Believe To My Soul with those classic female vocals singing the chorus, and the funky Who Cares.

http://smg.photobucket.com/albums/v215/motown67/Soul-Jazz-Funk-Rock-LP%20Covers/

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Sheba Baby OST (Buddah 75)
The first thing that catches your attention about this album is the voluptuous Pam Grier looking sexy as ever on the front and back covers. Musically Monk Higgins and Alex Brown arranged the soundtrack. The slick dance number Sheba Baby, the love song I???m In Love With You, A Good Man Is Gone, and the electro Funk-Dance of She Did It have vocals by Barbara Mason. The rest are instrumentals with the funky BBD, Three Hoods, Get Down Sheba, Who The Hell Is That, Heavyshot, and the moody Railroad, standing out on the first side. The flip is more on the mellow and Jazz tip with the best tracks being Sheba, the Shark, and Breast Stroke.

 

[motown67]

Missed a week because I was out of town, but now I'm back with another set of reviews. Enjoy.

LP REVIEWS:

CHAMBERS BROTHERS
A New Time ??? A New Day (Columbia 68)
A New Time ??? A New Day emphasizes the Chambers Brothers Soul leanings. That???s heard on covers of I Can???t Turn You Loose and I Wish It Would Rain, the ballad Guess Who with strong Doo Wop overtones, and the upbeat Do Your Thing with a long breakdown and soul clap in the middle. There???s also the Blues-Funk of You Got The Power ??? To Turn Me On. A very easy and very good record to find.

DESMOND DEKKER
Israelites (Uni 69)
Desmond Dekker was one of the very first Jamaican Ska artists I ever heard. When he passed away it reminded me of what an amazing singer he was. Israelites was his big American releases after the international success of the single of the same name in Jamaican, the U.K. and the U.S. Dekker opens up with that tune that has its bouncing rhythm, Dekker???s light voice backed by a baritone. Desmond doesn???t give you a let down after that amazing start. There???s the Rock Steady/early Reggae of It Is Not Easy, the sing along Intensified and It Mek, the upbeat Too Much To Soon, Problems, and Rudy Boy Train, and the love song Nincompoop. Together this makes for a stone cold classic from a classic early Jamaican artist.

HAMBONE
Big Fat Juicy Fun (Salsoul 81)
You see the cover to this record, see the copyright date 1981, and wonder to yourself, can this be any good? Rather than Modern Soul, Hambone turns out to be 70s sounding Soul and Disco. Hey Music Man has a chunky Funk rhythm, group female vocals, and harmonica. That surprising start is followed by the slow jam instrumentals This Masquerade and One For Jo Jo. There???s also the mid-tempo instrumental Hambone led by the harmonica. Overall, this was quite a surprise.

SMOKEY ROBINSON & THE MIRACLES
What Love Has Joined Together (Tamla 70)
Smokey Robinson was not only one of Motown???s smoothest producers, but also had one of the silkiest voices as well. His group the Miracles put out some great releases on the label with What Love Has Joined Together being one of them. It opens up with the sweet title track. All of the following songs have a similar lush mood and tempo such as My Cherie Amour, You???ve Made Me So Very Happy, If This World Were Mine, and And I Love Her.

IKE & TINA TURNER
Soul Of (United)
Soul Of is another early release by the Turners. Ike & Tina provide their usual fare of fast paced, hard hitting tunes like Good By So Long, I Wish My Dream Would Come True, Hard Times, and Gonna Have Fun, and slowed down power R&B tunes such as If I Can???t Be The First, I Don???t Need, and Am I A Fool In Love. On It???s Crazy Baby and Something Came Over Me the duo show that they could give a slick delivery as well. All of the songs feature Tina???s growling voice backed up by the excellent Ikettes.

OLD RECORDS OUT THE CRATES:

THOM BELL
Fish That Saved Pittsburgh OST (Lorimar 79)
I???ve never seen The Fish That Saved Pittsburgh all the way through. The only thing I really remember about it was that it starred Dr. J and Meadowlark Lemon from the Harlem Globetrotters. The soundtrack is actually pretty good with the slow buildup of A Theme For L.A.???s Team by Doc Severinsen???s band that has plenty of wah wah guitar until the song picks up and the horns take over. Even the light Disco tunes like Mighty Mighty Pisces by the Sylvers and The Fish That Saved Pittsburgh aren???t half bad. There???s also the slow Soul of (Do it, Do It) No One Does It Better by the Spinners, the richly orchestrated Moses Theme with some swirling swings at the beginning, and the ballad Follow Every Dream, which sounds just like the Delfonics with a falsetto lead by Thom Bell.

AL HIRT
Soul In The Horn (RCA 67)
Al Hirt was a long time trumpet player known for his Easy Listening and Lounge sound. On Soul In The Horn however, Hirt tries to find that Soul buried somewhere deep down inside of him. Despite his pedigree, the record is surprisingly good. The first cut, a cover of Booker T. & The MG???s Honey Pot captures the swing of the original with its funky guitar work, and Mess Around is a good, upbeat Soul Jazz piece. There???s also Girl in a similar mode, and the slower and bluesier Sweetlips. On the second side there???s the funky slow jam Love Ya??? Baby with some percussion and Harlem Hindo, that???s famous because Tribe Called Quest sampled it.

 

[motown67]

LP REVIEWS:

CHAMBERS BROTHES
Time Has Come (Columbia 67)
Time Has Come features the Chambers Brothers??? eclectic mix of styles. There are some good Soul tunes such as All Strung Out Over You that has a little church feel to it with the clapping and rough singing, I Can???t Stand It with its high pitched back-up vocals, a decent cover of In The Midnight Hour, and Uptown who???s swing reminds me a bit of Funky Broadway. Romeo And Juliet is a slower R&B tune. The two most outstanding cuts are a near perfect cover of People Get Read, which I cannot get enough of, and their big hit, the Soul-Rock number Time Has Come Today with the cowbell that turns into a huge jam session about a quarter of a way in.

J. MARKS AND SHIPEN LEBZELTER
Rock And Other Four Letter Words (Columbia 68)
Rock And Other Four Letter Words was a concept album put together by the duo of J. Marks and Shipen Lebzelter. The songs consist of various voiceovers and strange noises to create meandering soundscapes, mixed in with the occasional blaring Rock guitar obviously aimed at the Psychedelic-drug crowd of the 60s. The best songs are Other Four Letter Words that begins with a little orchestration, and then an effects laden conversation that eventually gives way to a loud guitar Rock cut with a banging fuzz heavy rhythm and a drum break. There???s also the slow groover It???s True with some females singing, the jazzy Rock of Trouble with female back-ups and more of that guitar work, and Poop For Sopranos And Orchestra that switches between some swinging versus with two female lead singers and more abstract and spaced-out interludes.

MONITORS
Greetings! We???re The Monitors (Soul 68)
The Monitors were one of the lesser-known Motown acts. The group was a four piece (three men and one woman) vocal Soul outfit from Detroit. They lay down some nice strong Soul on tracks like Bring Back The Love, more church based numbers such as Step By Step (Hand In Hand) with its hand claps and big group chorus at the end, and your typical dance based Motown track like Time Is Passin By. A nice LP to pick up if you come across it in a store.

RIOT
Welcome To The World Of Riot (Motown 74)
A Latin Rock group signed to Motown? That???s what Riot was, fronted by Hungria Carmelo Garcia and Hector Andrades on timbales, congas, and vocals. They put their percussive talents to work on the instrumental Welcome To The World with its foreboding intro before picking up the pace along with the congas, timbales, tympanis, claves, etc. I like the darker sounding Just Beyond, followed by the moody Mother Nature, and the Funk-Rock of Put Your Gun Down Brother. The second side however is not that good.

SMOKEY ROBINSON & THE MIRACLES
One Dozen Roses (Tamla 71)
One Dozen Roses was one of the last records featuring Smokey Robinson as the lead singer of the Miracles. Shortly afterwards he would go solo and the Miracles would continue on as well. As was typical of their style, the group lays down some lush vocals backed by some mellow grooves such as on When Sundown Comes that starts off very low key before picking up a little bit half way through, the sweet sounding Satisfaction, the more upbeat Crazy About The La La La, and That Girl. The record also contains one of the group???s biggest and most well known hits, Tears Of A Clown.

OLD RECORDS OUT THE CRATES:

RICHARD ???GROOVE??? HOLMES
Comin On Home (Blue Note/United Artists 71)
Comin On Home is one of Richard Holmes??? strongest pieces. There???s a great mix of upbeat and slower Soul-Jazz pieces that features Holmes??? play on the organ and Weldon Irvine on the electric piano. First there???s the hustling Groovin For Mr. G anchored by a strong bass and drum combo by Jerry Jemmott and Darryh Washington. Don???t Mess With Me is in a similar mode. Down Home Funk has an appropriate title as it???s a slow and groovy James Brownesque song. The best tune is Mr. Clean where Irvine plays a little off kilter on his piano giving the song a dissonance not heard on your usual Soul-Jazz faire.

RICHARD ???GROOVE??? HOLMES
New Groove (Groove Merchant 74)
New Groove features three of Richard ???Groove??? Holmes fine Soul-Jazz numbers. First is the opening Red Onion with its chunky rhythm that???s sure to get your head nodding with the powerful bass line played by Holmes on the organ, and the subtle horn play. No Trouble On The Mountain has is a nice Jazz dance number with an unnamed male singer. There???s also an effective cover of You???ve Got It Bad and How Insensitive that show off Holmes??? chops once again.

RICHARD ???GROOVE??? HOLMES
Night Glider (Groove Merchant 73)
Night Glider gets off to an energetic start with some heavy percussion leading into the title cut with its driving rhythm. There???s a big conga and bass breakdown in the middle followed by a nice trombone and bass interlude before things get going again. Flyjack is funkier number held down by the bass playing of Paul Martinez. There are three more upbeat Soul-Jazz pieces that might be worthwhile to listeners, It???s Going To Take Some Time, Pure Can Sugar and One Mint Julep.

RICHARD ???GROOVE??? HOLMES
Onsaya Joy (Flying Dutchman 75)
For a mid-1970s release when many Jazz players were playing Fusion, Onsaya Joy is surprisingly good. The album was recorded with a simple trio keeping things to the basics, which was good. The album is split between organ Jazz numbers like the fast paced Sweet Georgia Brown, Song For My Father featuring the guitar work of Orville Saunders, and Misty. Then there are the sprawling Soul-Jazz pieces Onsaya Joy that goes on for over fifteen minutes, but never fails to keep your attention, and a cover of Song For My Father with its grooving rhythm.

 

[motown67]

Another week, another addition. Comments, questions and corrections always welcolmed. Enjoy.

LP REVIEWS:

MILLIE JACKSON
Get It Outcha System (Spring 78)
Get It Outcha System perfectly captures Millie Jackson???s style. You have a series of mid-tempo Soul tunes with plenty of breakdowns where Ms. Jackson shares her knowledge and opinions. Examples of this are Keep The Home Fire Burning and Logs And Thangs. The one track that really stands out for me is the bluesy Go Out And Get Some (Get It Out???cha System) with a very nice brass heavy intro.

SMOKEY ROBINSON & THE MIRACLES
Special Occasion (Tamla 68)
My descent into the Motown library continues with another fine production by Smokey Robinson & The Miracles. On Special Occasion they can???t seem to miss with Yester Love, If You Can Want, Special Occasion, and a cover of I Heard It Through The Grapevine with those familiar Motown dance rhythms, plus the lush slow groove of You Only Build Me Up To Tear Me Down.

TEMPREES
Love Maze (We Produce 73)
The Temprees were a three-piece vocal soul group from Memphis. The outfit specialized in lush sweet Soul tracks such as the slow jams Love???s Maze, Let Me Be The One, Something So Right, and You Make The Sunshine. There are also some more upbeat tracks like Wrap Me In Love obviously aimed at the dance floor, and a turn towards the Funk on Come On Y???all and People Make The World Go Round with a slight re-arrangement and some nice vocal harmonies. Overall this is a very nice Soul album.

UNIFICS
Sittin In At The Court Of Love (Kapp 68)
The Unifics got their start as students at Washington D.C.???s Howard University. They had their biggest hit with Court Of Love that starts off the album. It mixes their sweet soul vocalizations with some mock court sounds and talk over. Tables Turned has a similar sound, while It???s All Over has a little Funk to its backbeat mixed with strings and some fine Soul singing, and there???s also a swinging cover of People Got To Be Free.

OLD RECORDS OUT THE CRATES:

RICHARD ???GROOVE??? HOLMES
Six Million Dollar Man is probably Richard Holmes??? last really consistent album appearing at the late date of 1975 when most of his contemporaries were heading towards Fusion. Holmes cuts a number of funky Jazz tunes like Disc-O-Mite with a nice breakdown featuring the conga work of Mailto Correa that Groove co-wrote with Oliver Nelson. There???s a drum break at the beginning of Dumpy Mama but I???m a bit ambivalent about the rest of the song even though its up tempo Soul-Jazz. ???Six Million Dollar Man??? Theme takes me back to my childhood, and it???s a good cover to boot featuring the likes of Tom Scott, Bud Shank, Bobby Byrant and Shelly Manne. Double Scale and 125th St. And 7th Ave. and Mama???s Groove are much better. Chuck Rainey and David Walker also performed on the album.

RICHARD GROOVE HOLMES AND ERNIE WATTS
Come Together (World Pacific Jazz Records)
This was another one of those tuff calls. Should I buy a jazz organist LP or not? A cover of Come Together, which was circled by the previous owner, swayed my decision into the positive. Organist Richard Groove Holmes and saxophonist Ernie Watts are the mar-key names on this album, but they also get help from Robert Norris on drums and King Errison on congas. Their version of Come Together did turn out to be pretty good. Boo has the light feel of a Jazz tune mixed with the funky underpinnings of Wilton Felder???s bass playing. The band???s cover of Evil Ways follows in a similar vein mixing the swing of Jazz with some Funk. Hell, the band even turns Can???t Take My Eyes Off You into a jam, thanks to a massive re-arrangement and Errison???s banging congas to make it almost unrecognizable from the original. The closing song, Beer Can Alley, written by Watts, is another groover based upon an interpretation of the Isley Brother???s It???s My Thing riff. Some might like the soulful Wedding Bell Blues as well. As it turns out, this was a pretty good purchase.