Category Archives: Al Green

Anatomy Of THE Groove for 12/9/2015: “Wait Here” by Al Green

Al Green’s music has been a very key reference point on two musical levels for me. One is in my conversations with Henrique. The other is as one of the finest examples of funky soul or “sweet funk”-coming out of producer Willie Mitchell’s Hi studios in Memphis during the 1970’s. Green’s couple of handful’s worth of excellent albums during that decade are a ripe grapevine of these types of grooves. As consistent as his sound was? It seemed like the right time to showcase just how diversely funky this man’s music actually was.

Because it’s well known that Al Green focused mainly on the religious side of his music after the late 70’s? Curiosity drew me to the final album of his classic run-1978’s  Truth N’ Time. That name alone said a lot about Green’s spiritual changes a the time. By this point? He was producing himself without the aid of Willie Mitchell-choosing instead to work with different associate producers. The result was music that often took different stylistic detours from his more personal stamp. “Wait Here”,from that aforementioned album,is just one such example.

The song begins with a heavy funky drummer with a powerful wah-wah guitar interacting with a low Clavinet playing the bass line. At the end of each chorus,there’s a musical break that features the chugging wah wah. On the bridge the guitar plays a countrified soul line with hot melodic horns that blast away throughout the remainder of the song-punctuating Green’s vocals as they go. On the final chorus of the song? Green himself plays a wailing and weeping guitar solo of  the main vocal line that he used for  rest of the song.

The musical genesis of this song is really compelling. It blends the basic melodic/rhythmic line from Sly & The Family Stone’s “Thank For Falettinme Be Mice Elf” with the keyboard harmonies of Stevie Wonder’s “Superstition”. Not only is Al Green blending two key elements of the early 70’s funk era during the disco era? But he adds his own spin to it. The melody,and in particular his closing guitar riff, dripping with the Southern fried 12 bar electric blues.  Though it’s probably a somewhat forgotten groove? It’s one of his most compelling.

 

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Filed under 1970's, Al Green, classic funk, clavinet, Funk, funk guitar, Memphis Soul, Sly Stone, Southern Soul, Stevie Wonder

Funky Firsts: Andre’s Look Back On Key Moments Of Putting The Grooves On His Record Racks

Reading the autobiography of Amir Questlove Thompson entitled Mo Meta Blues has been very inspirational to the way in which I present my blog. Especially in the fact the book presents interstitial chapters between the main ones. These shorter chapters illustrate classic funk and soul albums Questlove heard growing up. As well as how they intertwined with different events in his personal life. This has long had me brainstorming about a similar concept as to how this music has been involved with my own life story.

There’s no particular rhythm or reason here. This isn’t a list of all of my first exposures to specific artists. Nor is it just musical events that personally impacted me. It includes both,yet what I’m focusing on here is all about the synergy of life and this particular art form and how it effected my outlook on music. All the way up to this blog here. There’s going to be a mixture of different stories and emotions here. And of course some important things might not get covered-possibly to be done as they come back to mind on another,similar post. But for now? Enjoy these stories!

First Album I Purchased On Cassette Tape

Music Of My Mind

I’d been listening to Stevie Wonder for many years before this. But I was deep into a literary research through the All Music Guide and read a description of this album as being Wonder’s first artistic breakthrough but that compared to what came after quote on quote “it paled just slightly”. Often times writing can cloud a music’s listener’s judgement on the auditory musical experience. At the time however? That’s exactly how I felt about this album. Musically my tastes and understanding had to grow into this album,rather than the album accommodate me.

First Album I Purchased On CD

The Jacksons

Actually this is by no means the first CD I ever owned. But it was the first one I purchased with my own money. 1994-1995 was ‘the year of the Jackson’s’ as it were for my life. The story of how the brothers signed to Epic Records to gain creative control was really fascinating me,something I was feeling inwardly as an artistic adolescent. So one day I was browsing the old Strawberries Records with my friend Joseph Stone and came across this album for $9.99. That’s just what I had in my wallet. For the next few weeks? Felt like “Think Happy”,”Show You The Way To Go”,”Enjoy Yourself”,”Living Together” and “Style Of Life” were the only songs I wanted to hear. And all were (and still are) very positively effecting on my day to day life.

First New Music I Purchased Through A Record Club

Isley Brothers Mission To Please

Turns out in writing this? I discovered several important musical firsts for me in the year 1996. While an active member of the BMG Record Club? They offered a featured selection that,if purchased at full price,would allow you to get a number of free CD’s.  This was one of them. I was reading a lot about the Isley Brother’s in Rickey Vincent’s book Funk at the time. And his description of the Isley’s as “the epitome of funky manhood” made this an easy choice. At the time? I was not keen on contemporary R&B at all. But something about the vibe R.Kelly created for this album is still appealing to me.

First Album Recommended To Me

Travelling Without Moving

Technically it was my mother who ended up purchasing this album. But I remember she and I had taken a rather long bike ride to Strawberries. And ran into a friendly young sales associate named Jeb. We got into a conversation about P-Funk and George Clinton. He mentioned in the conversation that a new band who were in a similar funk vein were Jamiroquai. And this was their newest album out. At the time I didn’t see how this had any resemblance to P-Funk at all. Of course I had yet to hear The Electric Spanking Of War Babies. Still as a channeling of psychedelia with the live instrumental boogie funk sound began a continuing interest in newly recorded funk music.

First Multi Album Set I Ever Had

Emancipation

1996-1997 was when I was seeking out any and all things Prince related. From his own music to his famous (and infamous) protegee’s. Seeing Prince and than wife Mayte on Oprah performing songs from this album,talking about his art and life,went right along with the appeal of this album. It is such a sprawling 3 CD set that,to this very day,I have yet to have heard the entire album. Something that I intend to change in the very near future.

First Piece Of Used Vinyl I Remember Purchasing

Earth, Wind & Fire - Faces

When Dr. Records was still in it’s original basement location in the college town of Orono,Maine? I remember having $5 dollars in my pocket and seeing this album on vinyl-yet again at just the right price. Had been collecting EWF’s 70’s classic on cassette tape already and was at this point upgrading to CD’s. This one was a bit expensive for me at the time. But the vinyl of this album was a different story. On the way home from the store? I remember feeling the raised gold letters of the bands name on the cover,and staring at the random photographs of people on the inner sleeve-not to mention the members of the band members and the Phenix Horns,which were proudly stated on the vinyl sleeves. The happiest surprise was to get home to find the album also contained the original poster of the band in full EWF regalia. Still have the poster,later picked up the CD but none of it eclipses the excitement of that 15 minute car ride home from picking this up as a vinyl album. Almost a brief history in how a classic funk band presents itself.

First CD I Purchased After The New Millennia

Alicia Keys

After the arrival of the year 2000,in those 500 or so days between then and 9/11? I kept feeling like the world of futurism was just about ready to happen. Flying electric cars,sustainable ergonomic homes,all of it. Another exciting event during the winter and spring of 2001 was seeing the face of this 19 year old singer/songwriter/musician from NYC who was about to break out almost exactly the same manner as Whitney Houston had, with Clive Davis and the whole deal. In all honesty? The albums contents were so far removed from my musical journey at that time,it didn’t quite live up it’s hype for me. In a lot of ways it still doesn’t.  But it succeeded in whetting my musical appetite for a promising new and popular musician. Something that was extremely rare in an era saturated with performers.

First CD I Purchased Online

Imagination Body Talk

Even at the time,the years 2002-2003 were weary and sad times with the dashed hopes of the immediate post 9/11 era. Interestingly enough,this was a time when I began exploring psychedelic 60’s classic rock and fusion more as well. The roots of this discovery was when I heard the song “Flashback” on a compilation belonging to my families late friend Janie Galvin called Pure Disco. It was by a British trio called Imagination. Loved the songs stripped down electronic groove. But it was when I’d just gotten online for the first time at the local public library computer.  Discovered that this album was kind of famous in post disco circles. My quest to order a CD copy led me to sign up for my first checking account so I could get a used copy off of Amazon. Body Talk turned out to be an excellent album. And was also the beginning of the end of my days as a member of the already fading mail order record clubs.

Biggest Surprise I Discovered In A Used Vinyl Record Store

Ghetto Blaster

It was on a ride home with my father after purchasing our first Toyota that I first heard the Crusaders. It was actually my first exposure to a complete jazz-funk band. One day I was crate digging at a now defunct record shop in Camden Maine called Wild Rufus. And there was this album for a dollar. On the back,it had a photo of Leon Ndugu Chancler with the band rather than Stix Hooper. Was deep into Ndugu at the time with my involvement with DJ/musician Nigel Hall,and our mutual interest in 70’s George Duke. So that actually peaked my interest as well. I had no idea the Crusaders were making records in the mid 80’s. So hearing them with a more synthesizer driven electro funk style was a very happy surprise for me,and probably my turntable as well.

First CD I Reviewed Online

Parliament (1978) - Motor Booty Affair (A)

For reasons that I don’t fully understand? Amazon.com forced me to create a totally new account with them when I couldn’t remember the password to my first one. So the reviews on that first profile are still floating around out there. So this is only my first Amazon review on this new account,the one I continue to use up to this very day. I remember posting the review on December 3rd,2004. That was also around the same time my family got it’s first PC,a Toshiba laptop to be specific. So this was also my first time dealing with that computers joint Windows account system

Link to original Motor Booty Affair review here*

First Time Hearing Questlove As A Producer

Al Green Lay It Down

Now the main reason I’m talking about this is because Questlove’s writing directly inspired this blog post. Prior to 2008? I knew of Amir not by name,or nickname. Only as the guy with the pick in his fro who drummed for The Roots. And I felt a lot of their music was rather bland for my personal tastes at the time. When my friend Henrique told me this man,named Questlove,was producing a comeback album for Al Green? I was skeptical. What I didn’t know was that Questlove was a session drummer at heart. And rather then make his own record here? He produced a total Al Green record-directly in the Willie Mitchell mold.  This significantly broadened my admiration and respect for Questlove. And for that matter other hip-hop live instrumentalists/producers who could tailor make records for iconic artists they respected and admired.

First Funny Music Buying Twist Of Fate

Rufus Stompin At The Savvoy

This could be a very long story. But it still makes me laugh at the absurdity of it all so will endeavor to condense it. 18 or so years ago when I was first getting into Rufus & Chaka Khan? I kept noticing this double CD on sale at Borders Books & Music in Bangor. With it’s $30 dollar price tag? I never gave it any thought,knowing only it was essentially a live album from the early 80’s. While that store always shuffled stock? This CD remained there at this same price into the new millennium. Finally in 2011 Borders closed down shop nationally. And all their stock,including CD’s,went on drastic mark down. I went there and bought a lot. Even saw other double CD sets marked down to $15 or less. Sure enough? Still this particular album seemed like the only one that never went on sale even at the bitter end.

Flash forward to about five years later. I’d noticed that this album was commanding prices well upwards in the double digits on Amazon and ebay.  And used no less. So one day a month or so ago while checking the website of my local record store Bullmoose? I noticed one of the stores had a used copy of this CD for under $10. So I picked it up. And as of today it’s one of my very favorite Rufus albums-with powerful live performances and great funk and jazz based studio tracks. So for an album that for almost two decades an album whose pretense in my life seemed to engender either reluctance or regret? A very happy musical experience came out of it in the end.

 


You might notice that the firsts indicated in this blog come primarily out of one spectrum of music. This wasn’t deliberate exactly. During my time online? I noticed many nostalgia based Top 10,20,50 music lists. With all kinds of subtexts. Still most people’s important experiences with music came from awkward moments with their peer group in terms of context. And the music that tends to be part of their journey is invariably punk or alternative rock of some variety. Occasionally even soul,jazz and blues too. And there’s absolutely nothing to be condemned about that. Any way that brings one to the joy of music has great meaning.

This blog actually extends into the very root of this blog. One can browse for info on the funk genre  and it’s offshoot musical children (such as disco and fusion) online. And they will album reviews,songs posted,downloads and a good deal of nostalgic comedy. But both Henrique and myself observed a void. One where there was litttle to no serious,well rounded online journalism on funk to the degree writers such as Rickey Vincent had done in the literary world. My aim with posts such as this is to help give the funk music spectrum the level of analyzation  and respect rock and jazz have received on the internet. And hopefully these personal stories will do so in an enlightening and amusing manner!

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Filed under 1980's, 1990s, 2008, 2015, Al Green, Alicia Keys, Amazon.com, Chaka Khan, classic funk, crate digging, Crusaders, Disco, Earth Wind & Fire, Funk, Fusion, George Clinton, George Duke, Imagination, Isley Brothers, Jamiroquai, Joe Sample, Late 70's Funk, Music Reviewing, Neo Soul, Nigel Hall, Prince, Psychedelia, psychedelic soul, Questlove, R.Kelly, The Roots

Andre’s Amazon Archive Special Presentation for Record Store Monday: ‘Black Messiah’ by D’Angelo

Black Messiah

For the last 16 years? D’Angelo has been missing in action as far as studio albums are concerned. While an enormous live revue in 2000 featuring his band the Soultronics-including people such as ?uestlove among the other members were hailed as some of the most promising new bands of it’s time. Of course so much as gone down in the music world since D’Angelo’s most recent and lengthy absences from recording. The call he and the Soultronics made about musicians taking the musical creative process back for themselves as really started to show itself during the latest recession-particularly within the last year or so. And with the reality of the need to free ourselves from racial hatred and privilege has all come together to create just the right atmosphere for D’Angelo and his new band the Vanguard-including former Time member in guitarist Jesse Johnson along with ?uestlove still on skins. And musically the man has a whole lot to say.

The album starts out with a deep,steely,thumping rock/funk number-both the guitar and bass lines possessed of massive funky bottoms and D’Angelo himself delivering his broad ranging,multi tracked Southern soul drawl of a voice. “1000 Deaths” samples a preacher talking about the idea of a nappy headed Jesus as the “new black messiah” over heavy funky drumming and slap bass thrusts with “D’Angelo’s heavily processed vocals accompanied closely by a staticky,revved up keyboard. “Sugar Daddy” gives a sitar led forwards/backwards looped drum oriented psychedelic soul rocker with a very probing melody. “Sugah Daddy” has this clapping,tickling percussion and this bluesy jazz/juke joint style piano commonly heard on many mid/late 70’s P-Funk records with some very scatting vocals-both solo and multi tracked. “Really Love” is a mixture of a hip-hop beat with a beautifully sensual Brazilian jazz melody.

“Back To The Future” is a two part number here-both of which take a strong countrified jazz-funk bounce with a melody that comes right from “The Charleston”,the iconic stride pianist James P.Johnson’s famous song that originated the famous dance. The second part coming near the closing of the album adds more of a bouncing Southern danceable funk rhythm to the outro. “Till It’s Done (Tutu)” is full of heavy bluesy guitar reverb and a very melodic slap bass line sharing the musical space with D’Angelo’s elaborate vocal turns. “Prayer” is a slow,dragging wah wah powered groove with a spacy synthesizer melody floating over the top. “Betray My Heart” is a swinging dyno’d up electric piano powered jazz-funk number with tons of liquid groove from top to bottom. “The Door” is a whistling powered instrumental slice of sweetly melodic sunshine pop/soul. “Another Life” closes the album with a beautiful orchestrated,thick soul ballad with D’Angelo’s high falsetto vocal calls and the ascending melody the perfect accent to the piano/sitar/drum/string swirls of the song.

One thing to say about this album is that it’s simply an amazing total musical experience! Yes that in a sentence does some it up! In fact I had to listen to much of it twice before this review to absorb just what comes out of it. If D’Angelo never recorded another album the rest of his life? This could easily be his defining swan song. Why is that? Well it just channels all the threads of D’Angelo’s musical influences. It has Stevie Wonder’s love of creating instrumentally new melodic sounds. Duke Ellington’s sense of swing and rhythmic dissonance. Al Green,Sly Stone and OutKast’s Andre 3000’s drawling vocal hiccups and stutters. Prince’s psychedelic mixtures of funk,rock and soul. Ron Isley’s high vocal cries and wails. And it doesn’t leave out the jazz age with it’s love of modern time and stride piano. And in the end? It’s all D’Angelo and all funky! Not to mention awe inspiring melodies with the power to connect to the people. And even if some of the lyrics are difficult to make out? The music says all it needs to say: differences should always be different,and lay comfortably side by side-not far apart. A grand comeback for D’Angelo linking the sociological and musical chains that made contemporary black America so special TO America!

Link To Amazon Review Here*

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Filed under 2014, Afro-Futurism, Afro-Latin jazz, Al Green, alternative rock, Amazon.com, Blues, Brazil, D'Angelo, drums, Funk, Funk Bass, George Clinton, Hip-Hop, Jazz-Funk, Jesse Johnson, Marvin Gaye, Memphis Soul, Minneapolis, Music Reviewing, Neo Soul, Nu Funk, P-Funk, Prince, rhythm & blues, rock 'n' roll, Sly Stone, Southern Soul, Stevie Wonder

Anatomy of THE Groove 11/28/2014 Andre’s Pick: “Happy People” by R.Kelly

For the sake of the serious musicians and even serious funk/soul/jazz devotees? The fact that R.Kelly bought in 80’s era George Benson guitar understudy Bobby Broom to play on his 1993 solo debut 12 Play speaks volumes about the breadth of Kelly’s musical vision and talent. Though always acknowledging the man as a top notch composer? It was my blogging partner here,Rique,who hipped me to explore deeper into the joyous grooves of R. Kelly’s more recent work. One that stood out strongly in my mind was the title song from Kelly’s 2004 album entitled Happy People. Again,it has a way of projected two simple words that speak volumes more as well.

Beginning with a scratchy vinyl from Kelly’s MC,DJ Wayne Williams a spirited gospel/soul piano ushers in the song which Kelly himself announces as being “another one for the steppers”. Following this a scaling,high up on the neck Southern Soul guitar and horn fan fare starts up a slow paced funky soul groove. The rhythm is very similar to that slow Afro Latin type percussion that provided an important link between both the grooving Philly ballads of Thom Bell,the slow grooving sophisticated Southern Soul of Willie Mitchell’s Hi studio sound and the hardcore funk coming out of the early/mid 1970’s. Which in turn marked the beginning of the disco era.

The melodicism of the song also comes from a number of different places. There’s a clear,crisp and wavering high synthesizer line-as well an adjunct of the high on the neck Southern Soul guitar from the intro of the song. There’s also slap bass accents which provide the deeper end of this melody,as well as being rhythmically supportive as it is by nature in funky music. There’s also an string (or at least string type) orchestra that introduces the vocal chorus-before the bridge where Kelly directs the stepping dance affair he’s singing about to mainly the percussive beat,one keyboard line and that slap bass. All before returning back to the full arrangement as it closes out.

Considering R.Kelly came out of the more vocal and performance oriented soul/R&B attitude of the early 1990’s? He had by the turn of the millennium evolved into an artist who appreciated the art of  melodic arrangement and the rhythmic process in his music. Even if he was often more in the position of utilizing the more hip-hop techniques of turntablists and samples to do so. He knows how to make modern musical methods and technology present a soulfully organic groove. And more over? He understands the art producing this down to a rich,creamy sheen.

In terms of concept,R.Kelly injects a huge amount of musical history into this one song. Vocally he’s evoking the smokey falsetto coos and calls of both Ron Isley and Al Green. He also utilizes the rich,gospel vibrato that was actually a carry over from Stevie Wonder’s enormous impact on the stereotypical new jack swing era male vocalist of Kelly’s generation as well. The fact that Kelly is able to project everything with great vocal clarity also adds to this. Everything from vocal soul to the melodic end of funk is strongly referenced by all of this. And it plays strongly to the basic lyrical content of the song as well.

The music video presents a soulful,cool and funky dance party in an ornate golden cathedral-covered in Renaissance art yet also featuring a live band and horn section. As well as a crowd dressed in funky urban hats,suits and dresses-many literally stepping in time. Stepping,which to me seems to be an extension on the hustle and the electric slide,is referenced along with the warm lyrical content of this song. It basically asks the listener to relieve their stresses by taking enjoyment in an elegant party atmosphere and dancing to the rhythm of the music in their life. It’s the basic link in that chain of the blues,jazz,soul up through today. And this is one of those songs that just puts it all together so well.

 

 

 

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Filed under 1990s, Al Green, dancing, Disco, Funk, Funk Bass, Neo Soul, R.Kelly, Southern Soul

Anatomy of THE Groove 8-1-2014: “The Little Things Of Love” by Jackie Lomax

One thing to be said about the late Jackie Lomax is how interconnected he is to the career trajectory of the Beatles. His band The Undertakers followed them through Hamburg and he was the first artist signed to their Apple Records. One other important element of Jackie Lomax was,as with the Fab Four came at his element of the Merseybeat sound from more of a soul standpoint than an out and out pop or blues one. During the 70’s,this quality was an important part of his solo work as well. After over 35 years without releasing any new music? Lomax’s final and posthumous album Against All Odds was released,including a song entitled “The Little Things Of Love”.

This is one of those songs that starts out complete-with an ascending organ swirl opening into (and remaining steadily part of) a slow,lightly galloping drum with a high pitched,dancing bassline and a subtle lead rhythm guitar. Up against this easy going instrumental backup Lomax’s gravelly,Frankie Beverley-like soulful croon sings a set of lyrics that draw on the age old soul/funk/R&B theme that,as the song title suggests,romantic effection can show its true flower in the subtleties. When Lomax’s lyrics become a bit more emphatic,a brightly melodic horn section joins him on the refrains-with a yearning,forward looking instrumental sax solo on the bridge.

One of the first things that came to mind when I heard this song was the sound of Al Green’s Hi Records era music of the early/mid 70s-when he was produced by Willie Mitchell. And there’s something else I can appreciate about Lomax and the wonderful band he has playing with him on this song. They seem to understand something that only a select view musicians working in the rock ‘n roll genre seem to: that musical energy can be reflected sometimes even more so when your keeping the sound of your playing clean,rather than looking to “dirty up” the rhythm elements. This production and arrangement is slick,clean,spare and soulful all at the same time. Its a pity Jackie Lomax is no longer with us to provide more of this wonderful music. But if this is what he left to be remembered for? Its a worthy closing musical statement.

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Filed under Al Green, Jackie Lomax, Neo Soul, rhythm & blues, The Beatles