Category Archives: Rolling Stones

Grooves On Wax: Summer Madness ’16

Ray Charles

Ray Charle’s early 50’s sides,recorded before his Atlantic years, were reissued by the Coronet label in 1963. They find the future Genius Of Soul finding his own voice through his earlier influences. These song sound a lot closer to Charles Brown and earlier jump blues/R&B songs than the gospel and country influenced soul sound Ray would become an icon with. It’s still wonderful to hear a very youthful Ray croon some blues here though.

Key Jam: “Misery In My Heart”

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My father gave me his vinyl copies of several of his mid 60’s Rolling Stones albums. This one is a classic album of spicy,bluesy rock ‘n’ soul that showcased the Stones really reaching their commercial and creative peak. Mick Jagger’s vocal personality,Keith Richard’s down ‘n dirty guitar and Charlie Watts’ righteous rhythm make the punchy sound of the original Mono mix of this 1965 album something not to be missed out on!

Key Jams: “Mercy Mercy”,“Hitch Hike” and “Satisfaction”

Love Child

Berry Gordy himself was part of a writing team he called The Clan,who came up with much of this matter following the iconic Holland/Dozier/Holland team left Motown. The title song of this album felt very different for the Supremes alone-it had a grittier cinematic funky/soul flavor. Even if most of the album,especially the second side followed the groups iconic Motown girl group sound,this 1968 release sure began with a bang.

Key Jams: “Love Child” and “Keep An Eye”

Spiral Starecase

Always enjoyed the horn heavy,soulful shuffle for the title song of this 1968 album whenever it came on oldies radio. I eventually found their full length debut album. With the reliance on interpretations, they do sound very much like an R&B/soul cover band from the time period. One thing they do with them,especially when the source material was a ballad,is add their uptempo horn based approach to it. That makes this a very satisfying listen overall.

Key Jams: “More Today Than Yesterday”,“Our Day Will Come” and “No One For Me To Turn To”

Come Back Charleston Blue

Donny Hathaway and Quincy Jones coming together to record a film score/soundtrack was a masterstroke for its time. It was musician Nigel Hall who recommended this albumf or me to seek out over a decade ago. It definitely has Quincy exploring his long of jazz history-from dixieland through modal on the scoring elements. Hathaway on the other hand delivers some of his most expansive funky soul on this album as well.

Key Jam: “Little Ghetto Boy”

Nuff Said

This 1971 album found Ike & Tina Turner in their prime period of creativity. Ike Turner had an approach similar to James Brown where earlier songs spun off into new ones-with at least one of these songs baring a strong resemblance to the then recent hit “Proud Mary”. Even though they duo were seeming to tire a bit creatively at this point,they could still rock up some heavy funky soul with their guitar and vocal might.

Key Jams: “What You Don’t See (Is Better Yet) and “Moving Into Hip Style-A Trip Child”

I Wrote A Simple Song

Billy Preston really came into his own on this 1971 debut album for A&M. It brought out the versitility across soul,blues,rock and hard funk that this organ virtuoso and vocalist brought to his music. Especially when adding the guitar like effects of the Clavinet electric piano to his renowned organ work as he did here-not to mention his abilities to deliver message music that could really stick. Billy Preston albums used to be pretty easy to come by in used vinyl crates in my late teens/early 20’s. Saw this over and over before finally picking it up. And wondered why I didn’t sooner.

Key Jams: “The Bus” and “Outta Space”

Nightbirds

In 1974,the song “Lady Marmalade” from this record really helped to bring the talents of Patti LaBelle and future new wave funk/Talking Head member Nona Hendryx firmly into the public eye. Producer/musician/songwriter Allen Toussaint really helped bring the high stepping and stomping New Orleans funky soul sound and gospel soul drenched ballads to this revived Philly trio on this album.

Key Jams: “Lady Marmalade” and “Don’t Bring Me Down”

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Perhaps it was due to personal problems that made this Carpenters album from 1975 so depressing in parts. Richard and Karen Carpenter both came out of a jazz back-round. So on this album of finely crafted balladry as they did best,there’s a reality based soulfulness that would begin to influence their more complex later work together. Even though this has it’s flaws,notably in the cover material,at least one of it’s two uptempo numbers has it’s moments. Again as it points to it’s Brazilian flavored jazz orientation of some of their later 70’s faster songs.

Key Jam: “Happy”

T-Connection-On-Fire-524801

T-Connection reveal themselves to be a highly underrated band. This 1978 found the groups stylistic versatility keeping up the soul and funk through journey’s into disco,West Coast pop,some scorching rockers and even a couple country inflected numbers.

Key Jams: “Lady Of The Night”,“Groove To Get Down” and “Playing Games”

I Love My Music

Even in 1979 when this album came out,this Pittsburgh band were known for their 1976 hit “Play That Funky Music,White Boy”. And during the height of the disco era,the bands focus was still on hefty funk grooves and harmony driven soul ballads. So this album was more than a pleasant surprise for me.

Key Jams: “Lana” and “If You Want My Love”

Off The Wall

Michael Jackson and Quincy Jones’ work on this 1979 masterpiece resulted in so many strong musical performance,listening to this vinyl passed down to me from my parents turned me onto the instrumentalists here. People such as Greg Phillinganes,Jerry Hey,Louis Johnson and Paulinho Da Costa. Which…in turn led me to starting this blog really. Bringing out this old vinyl to check out was mainly based on nostalgia. But also brought out that with songs such as “Rock With You” and “Get On The Floor”,very different mixed were used on the mid 90’s CD reissue I have. So it was fascinating to hear those differences come alive again through vinyl on this iconic album classic from the late MJ.

Key Jams: ALL of the first side. Plus “I Can’t Help It” on the flip side.

Sweat Band

Bootsy Collins came out of the lawsuit that barred him from using the Rubber Band name on George Clinton’s Uncle Jam label with this 1980 album of 100% P-Funk power! Having some of the bands finest players such as Mike Hampton,Garry Shider and Maceo Parker aboard allowed Bootsy’s iconic funksmanship to shine through in a way that…well actually impacted heavier on me by the second listen.

Key Jams: “Body Shop” and “Hyper Space”

Hiroshima Odori

Hiroshima are among the most fascinating jazz fusion groups to emerge from the late 70’s. This sophomore album of theirs from 1980 showcases their Sansei Japanese founder/woodwind player Dan Kuramoto,along with his Koto virtuoso wife June,creating a pan ethnic jazz/rock sound that blended many Japanese instrumental approaches into that fusion framework. And while their 1979 was extremely strong,this second album made an even bigger musical statement.

Key Jams: “Crusin J-Town” and “Echoes”

Pieces Of A Dream

Pieces Of A Dream’s early albums extend very well on the late 70’s/early 80’s proto smooth jazz and latter day jazz/funk scene of Philadelphia. Grover Washington Jr. did a lot of work with this trio on this 1983 album. It even adds in a hip-hop styled turntable scratching synth effect on one of it’s songs as well.

Key Jams: “For The Fun Of It”,“It’s Getting Hot In Here” and “Fo Fi Fo”

1-style-cameo-album

Cameo didn’t have just one transitional album-they had a whole transitional period. This underrated 1983 album is a major part of it. As the mid 80’s came in,Cameo’s lineup seemed to get smaller and smaller. On this album,it was a stripped down quartet. But through the many scratches on my vinyl copy,it was clear that Cameo knew how to hit the groove loud and hard during their stripped down,early 80’s new wave funk period

Key Jams: “This Life Is Not For Me” and “Cameo’s Dance”

 

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Filed under 1960's, 1970's, 1980's, Billy Preston, Bootsy Collins, Cameo, Dan Kuramoto, Donny Hathaway, Funk, Fusion, Hiroshima, Ike & Tina Turner, Labelle, Michael Jackson, Pieces Of A Dream, Quincy Jones, Ray Charles, record collecting, rock 'n' roll, Rolling Stones, Soul, Spiral Starcase, Sweat Band, T-Connection, The Carpenters, The Supremes, Vinyl, Wild Cherry

Anatomy Of THE Groove: “Hot Stuff” by The Rolling Stones

The Rolling Stones have often been called the greatest rock ‘n roll band ever. That level of hype might seem typical. Still what makes them such a great band is that they understand the importance of evolution in the black American music they love. This took Mick,Keith,Bill and Charlie on a journey from the blues all the way to trip hop. Always in between was a lot of soul and plenty of funk. It wasn’t until my mid 20s that I began exploring their music outside the context of the hits played on oldies radios. And  it was that sense of evolution with their creative influences is what came through most during this more in depth exploration of their musicality.

One album that had me the most curious out of all their work was the 1976 release of Black And Blue. The band had already toured along with Stevie Wonder four years earlier. And likely from that recognized that the direct,three minute soul style of the mid 60’s was transitioning into longer,more percussion driven jamming that people like Mick Jagger saw in James Brown as well when they both performed on the Tami Show over a decade earlier. With the replacement of guitarist Mick Taylor with Ron Wood for this album, an internal change within the band fully cemented their next musical transition. And the new album literally started out with some “Hot Stuff”.

Keith Richards starts off with a relatively high up on the neck lead guitar solo with a brittle Crescent City groove, before Charlie Watts kicks in with a potent 4/4 beat. Billy Preston’s stomping,bassy piano chimes in with the percussion of Ollie Brown and Ian Stewart coming in as a strong rhythmic element. Meanwhile Bill Wyman keeps up a high pitched mid 70’s P-Funk style bass line throughout the musical affair. With the chorus of the song preceding the the more atonal refrains, the bridge of the song features Keith playing a more rocking blues guitar solo in his classic style. On the final chorus, Mick Jagger basically raps in a reverbed Lee Perry reggae style until the song comes to a cold stop.

While many rockers in the mid to late 70’s  made some incredibly funky music, this song stands out as a straight up funk groove in the context of a band. Since these players have just as firm an understanding of the blues as an Eric Clapton and John Mayall, they came to also understand what they both did. That by adding cleanly production and playing would evolve the music strongly. In the Stones case? They evolved into the funk sound. And everyone in the band and the accompanying session musicians understand why each riff,each solo worked so well within the song. And that’s what makes “Hot Stuff” likely the most fully formed funk the Rolling Stones ever threw down.

 

 

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Filed under 1970's, Billy Preston, Funk, James Brown, Keith Richards, Mick Jagger, P-Funk, percussion, reggae, rock 'n' roll, Rolling Stones, Tami Show, Uncategorized

Anatomy Of THE Groove For The Brothers And Sisters Who Aren’t Here: “Golden Years” by David Bowie

Just before bed last night, I learned that David Bowie had passed away earlier in the day at age 69. It would seem he was dealing with terminal cancer for the last 18 months. He recorded a final album entitled Blackstar, a darkly jazzy exploration he recorded while ill and released on what turned out to be his final birthday. During  his near half century as a recording artist? He was extremely prolific and musically challenging. So while I just dealt with Bowie last week? Wanted to extend on the tribute since he’s completed a cycle from birthday to grave.

With Bowie’s mid/late 70’s change in persona from Ziggy Stardust and Aladdin Sane to the Thin White Duke, musical transitions were happening with him even thicker and faster. For the most part? Bowie’s 1976 album  Station To Station reflected his burgeoning interest in an ambient type of electronic Kraut rock. But still there was a lot of the Philly influence still left in his sound at that point. With Carlos Alomar really at the peak of his powers with Bowie? A new hit and tremendous creative triumph emerged from this groove entitled “Golden Years”.

A brushing percussion and hand clap powered rhythm provides the intro to the jam-accompanied by Alomar’s thick and phat rhythm guitar chug and a bluesy harmonica. This segues right into the percussive,marching main rhythm of the song itself. Alomar’s guitar on the rest of the song is a densely mixed polyphony of bass and higher pitched phased tones. The refrains of the song are more brightly melodic-with a ringing bell like percussion bringing in the joy even more. The song basically outro’s on the main chorus that maintains itself throughout.

What “Golden Years” does is showcase how Bowie was able to do within the black music spectrum what the Rolling Stones did: evolve with the changes of the music. So this finds Bowie’s funk transitioning into the disco era with a lean toward the four on the floor beat. It all makes sense with change being the key fixture in Bowie’s musical career as well. It’s also a great lyric with him encouraging a young,attractive lady to believe in herself because “nothin’s gonna touch you in your golden years”. For this and many dozens of musical reasons? David Bowie will be missed.

 

 

 

 

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Filed under 1970's, cancer, Carlos Alomar, classic funk, David Bowie, Funk, percussion, Philly Soul, Rolling Stones, Uncategorized

Andre’s Amazon Archive for 11/1/2014: ‘Dirty Work’ by The Rolling Stones

Dirty Work

I’ve never heard a Rolling Stones album receive more overall flack than this album over the years. It always seemed that whenever they tried something that went beyond their “classic rock” style after the mid 1970’s the rock critics had their red pens at the ready to check mark any culturally disagreeable elements,by their standards anyway. And the mid 80’s was an enormous battlefield for that. The rawness of classic rock was being replaced by slicker production due mainly to technological progress and as with all things some didn’t get into that change. But for all the internal discord (including Keith Richards sporting “Who The $&#! Is Mick Jagger?” t-shirts in public) it’s a credit to this band that they were able to keep up with all the changes in the rock scene with a lot more dignity than one would give them credit for.
Luckily for any Stones fan whose eased past this with caution over the years this album contains primarily one type of music: ROCK,ROCK AND MORE ROCK! “One Hit”,”Fight”,”Hold Back”,the title track and “Had It With You” are all gritty,riff heavy rockers of a similar type that the Stones had started to run into the ground only a few years before but the hot production and yes a few of the loud mid 80’s drum effects give them a new flavor slightly different from the older Stones rockers. Many complain that Mick’s voice is nothing but abrasive on this album but it’s a style he often used so his constant growling of the vocals works here. A few additional highlights are the poppy shuffle of “Winning Ugly” and of course “Harlem Shuffle”,a retro Memphis/Wilson Picket Pickett type soul send up that comes off as a bit of a revved up version of Steve Winwood’s later Roll With It. There’s also “Back To Zero”,a NASTY funk jam with some heavy JB style rhythm guitar and sound pointed use of bass synth as accents.

The album includes another dub type tune in “Too Rude” and includes with the Keith’s heartland rock-style ballad “Sleep Tonight,which actually revvs it up quite a lot towards the middle and includes some wonderfully subtle moments. Believe it or not this album is actually comparatively light on mid 80’s production cliches such as gated drums and excessively loud guitars and synthesizers. It is a cconsistentlymore modern style in terms of the overall production of sound than earlier albums that had a garagier flavor on that end of things. All the same it was something you could here coming (in certain places) on their previous album Undercover. But it certainly isn’t as aggressively contemporary as Mick Jagger’s (in my opinion) equally underrated solo debut She’s the Boss and when it rocks it rocks hard and when it’s funky it’s some of the tightest,nastiest grooves they ever put on record!

Originally posted on April 30th,2011

Link to original review here*

 

 

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Filed under 1980's, Funk, Keith Richards, Mick Jagger, rock 'n' roll, Rolling Stones, Soul, Steve Winwood