Category Archives: Vinyl

The 8 Records I’m Most Excited about Not Buying for Record Store Day 2017

wreckastowday

I tried Record Store Day for the first time last year, and was woefully unprepared for the task; by the time I made it to my local wrecka stow, everything I was remotely interested in had already been snatched up by more enterprising/experienced shoppers. This year, I won’t be making the festivities at all: my family plans for the morning of April 22, unfortunately, do not involve any crate-digging. But that doesn’t mean I can’t look at the list of special releases and sigh wistfully at what might have been. Here are a few highlights:

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“All Together Now” by André 3000 (7″, ltd. to 5000)

I did not know the most delightfully weird member of OutKast covered one of the most delightfully goofy songs by the Beatles. Now I do know, but there’s no way this thing is gonna stay in stock past the ten-minute mark. At least I can listen to it on YouTube.

beatles

“Strawberry Fields Forever”/”Penny Lane” by the Beatles (7″, ltd. to 7000)

Speaking of the Beatles, there’s no rational reason for me to own this. I don’t even particularly love 7″ singles: if I’m gonna buy a piece of plastic with two songs on it, it’d better be at least 10″ in diameter. But I was a Beatles fanatic as a preteen, and seeing that 1967-era picture on the sleeve hits me straight in the nostalgia zone.

bowpromocrackedactor
BOWPROMO (box set, ltd. to 5000) and
Cracked Actor (Live Los Angeles ’74) (3-LP set, ltd. to 5000)
by David Bowie

Now these I do actually want, but to be frank, I doubt I could afford them: new pressing, multi-LP sets are a little rich for my blood, especially in limited editions. But come on: raw mixes of Hunky Dory-era Bowie? A live set I haven’t heard from the Diamond Dogs tour, one of his most fascinating and underrated periods? If I was even slightly more comfortably middle-class than I am, I’d be all over these. But I can take comfort in knowing that all 10,000 of these records will be hoovered up within minutes anyway.

groove

“Groove is in the Heart” by Deee-Lite (12″, ltd. to 3000)

If you catch me in the right kind of mood, I might make a wildeyed claim that “Groove is in the Heart” by Deee-Lite is the greatest song of all time. And while I probably wouldn’t be right, I also know I wouldn’t be wrong. I would love to own this on vinyl and hear that slide whistle hook in superior fidelity. Alas, this April, it’s not meant to be.

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“Little Red Corvette”/”1999” by Prince (7″ picture disc, ltd. to 5000)

Does anybody actually like picture discs–listening to them, I mean? I don’t especially care for them–I like playing records more than I like looking at them–but god damn if I don’t want this one. Sadly, I might as well just print out the inner sleeve pic from 1999 and découpage it over a regular 7″ single, because with Record Store Day falling the day after the one-year anniversary of His Purple Majesty’s passing, there is approximately no way in hell 5000 copies will survive a single day’s demand.

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RSD 2017 Tote Bag by Run the Jewels (ltd. to 2500)

This isn’t even a record, but the artwork is dope and it would go great with the T-shirt I picked up from Run the Jewels’ Run the World tour back in January. But now I just have to hold back my jealous tears when I see some lucky asshole walking around with it.

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What Time is It? by the Time (LP, ltd. to 2500)

Are you kidding me? The motherfucking Time?! This actually pisses me off for two reasons, because an album like this deserves a full-fledged re-release, not a limited-run one-off for Record Store Day. But I can’t promise that if I saw a brand new pressing on April 22, I wouldn’t be doing “The Walk” out of the store with it in hand. Fortunately–or unfortunately–that won’t be an option for me.

In all seriousness, though, missing RSD this year isn’t that big a deal: after all, there are approximately 364 other equally good days in the year to patronize our local record stores. If you’d like to see a few of my favorites, from Northern Virginia to Reykjavík, Iceland, check out my Wrecka Stow video series on Dystopian Dance Party. And if you make it to the stores on the 22nd, buy yourself something nice in my honor.

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Filed under 2017, Andre 3000, David Bowie, Deee-Lite, OutKast, Prince, Record Store Day, Record Stores, The Beatles, The Time, Vinyl

Crate Digging in Reykjavik, Iceland

For the last several days, I’ve been on vacation in Iceland. Mostly, that means the usual things: visiting hot springs and gorges, eating overpriced (but delicious!) food, traipsing around landscapes that look straight out of Game of Thrones. But for a remote island nation with a relatively small population, Iceland also has a surprising amount to offer for the travelling pop music fan: including several record stores as good as any I’ve seen anywhere in the world. Here are my thoughts about two of them.

We visited the aptly-named Reykjavik Record Shop on our first day in the city, and it was a highlight of that (admittedly dreary, jet-lagged) day. Located downtown near the main restaurant strip, it belongs to the “small but curated” school of record stores, with a selection of new and used vinyl that is much more diverse than one would expect from a shop of its size. We picked up a very nice pressing of Parliament’s Chocolate City, complete with a misprint of Bootsy Collins’ name (“Bootsie”) that I initially assumed was European in origin, but upon further research seems to be a worldwide error:

It’s probably worth noting at this point that records (among other things) are expensive in Iceland, owing in large part to the fact that pretty much everything in the country is an import. New records seem to cost upwards of 5000 kroner (approximately $50), which is steep even by 2016 vinyl standards. But even in Iceland, it’s possible to score some sweet deals–like this German Colonel Abrams 12″ we picked up for less than the equivalent of a fiver:

There were even more finds to be had at the following day’s stop, Lucky Records on Rauðarárstígur. If Reykjavik Record Shop belongs to the “small but curated” school, then Lucky is the opposite: it’s a sprawling beast of a store, which I have to admit is slightly more to my taste (it’s also heavier on used than new–another completely subjective preference of mine). Honestly, Lucky Records might be my favorite record store I’ve ever visited. It’s the only record store I’ve seen where the soul section is as large or larger than the pop/rock section–plus there’s a whole separate room devoted to 12″ singles, where I found this beauty:

We also picked up some very reasonably-priced copies of Hotter Than July by Stevie Wonder and Don’t Be Cruel by Bobby Brown; and despite leaving with a bag full of eight records, I still felt like I’d barely even scratched the surface.

My personal preferences notwithstanding, both Lucky Records and Reykjavik Record Shop are world-class stores, and I’d love to visit them again if I’m ever back in Iceland. If anyone out there is considering a visit, consider both shops highly recommended. And for more on vinyl shopping in Iceland, look out next month on Dystopian Dance Party for new entries of my “Wrecka Stow” video series.

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Filed under 12 inch singles, Bootsy Collins, Parliament, record collecting, Record Stores, Stevie Wonder, Uncategorized, Vinyl

Grooves On Wax: 1-9-8-4 Albums And 12″ Inch Singles

Ghetto Blaster

1984 was far from the Orwellian dawn of “big brother” in reality. As a matter of fact,artistic expression was such a diverse blend of older and newer influences. Music was feeling this most heavily. Synthesized new wave and electro styles had taken over in a major way. Yet there were still many live instrumental post disco/boogie funk offerings where electronics were mainly there as an accompanying sweetener. As much as many seem to dislike it,the Crusaders Ghetto Blaster is a superb example of this. It has both their strong live camaraderie and many of the newer synth funk elements as part of their brew.

Key Jams: “Dead End”,”Gotta Lotta Shakalada”,”Night Ladies” and “Zalal’e Mini”

Junie

This solo album by Walter Junie Morrison is one I’ve had since I started crate digging heavily in the late 90’s. And knew his name only because of his involvement with P-Funk. In keeping with mid 80’s recorded P-Funk,this album has a very pronounced electronic flavor-especially considering P-Funk helped pioneer electro funk to start with.

Key Jams: “Stick It In” and “Techno-Freqs”

Shalamar

Post disco veterans Shalamar went totally Minneapolis on their first album following the departure of Jeffrey Daniels and Jody Watley. Keyboardist/songwriter/singer Delisa Davis and guitarist/songwriter Micki Free (later referenced as part of a gag on the Dave Chappelle show about Prince and Charlie Murphy) give the album a more thoroughly electronic sound,yet filled with Shalamar’s customary melodicism.

Key Jams: “Dancing In The Streets” and “Melody ( A Melodic Affair)”

Human League

Human League are an excellent example to me of how many synth pop/new wave bands of the early/mid 80’s made very funk/soul structured music. Especially with the advent of the equally new wave/synth pop oriented funk of the Minneapolis sound during this same time. This was certainly their most danceable,funky and pop oriented record they had yet made. And with the production of Jam & Lewis right around the corner,it would only get even more so from here.

Key Jams: “Rock Me Again (Six Times)” and “The Sign”

Patti Austin

Patti Austin’s sophomore album for QWest  is a very different musical affair than her first from 1981. This album featured writing from Narada Michael Walden,and many of his musicians along with Quincy Jones. Overall the album generally has a more synthesized new wave rock flavor to it,especially on the first half. On the flip side however,Austin’s soulfulness and jazziness is given much more musical space to work with.

Key Jams: “Hot! In The Flames Of Love”,”Shoot The Moon” and “Fine Fine Fella (Got To Have You)”

One Step Closer

The Dells were a group I was first exposed to through…well my first exposure to vinyl collecting in 1994 when the local college radio station WMEB was giving away all their vinyl for free-seeing no future in the format (little did they know). From what I know of them now,this mildly jazzy boogie funk album is not the sound that The Dells are generally known for. But its still an excellent mid 80’s comeback for this classic Chicago soul group.

Key Jams: “Love On”,”Come Back To Me”,”Don’t Want Nobody” and “Jody”

Bonnie Pointer

Bonnie Pointer’s third (and until 2011 final) solo album was revealed to me as being a main cause of her retirement from music. Considering her personal situation,that is likely untrue. And its an unsung album at that since it very much mirrors the strong focus on electro funk and soul that her other three sisters were doing at the time. Of course in this case,with more of Bonnie’s own flavors added to the mix.

Key Jams: “Your Touch”,”Johnny” and “Tight Blue Jeans”

Windjammer II

Windjammer are a fairly obscure post disco band,who recorded three albums on MCA records between 1982 and 1985. This is their second album. This New Orleans based band had a musical approach similar to  Earth Wind & Fire,Con Funk Shun and Heatwave. That is in the sense that they emphasized a blend of strong vocals,melody,arrangement and top shelf musicianship in their mixture of funk and soul ballads. Makes me wonder what forces didn’t allow this very commercially viable group to take off they way they deserved to.

Key Jams: “Call Me Up”,”You’re Out The Box” and “Sneak Attack”

Shannon

Shannon’s “Let The Music Play” has become something of a classic in what is referred to as the Latin freestyle genre of techno dance music. That is blending synthesizers and drum machines with percussive Afro-Latin rhythms and melodies. And there’s no way I’ll disagree with that. Still this album isn’t one that generally lets up on the party atmosphere either-adding only the occasional slow ballad to change things up.

Key Jams: “Let The Music Play” and “Give Me Tonight”

1984 were a tremendous year for 12″ inch singles. One that I recently got a hold of was the one for the Jacksons’ 1984 song “Torture” from their  Victory album. The extended remix really brings out that funky synth bass pulse on the intro,which is also prominent on the instrumental version on the flip side.

Interestingly enough,one of these singles is just a 7 inch 45. And its for Sade’s ‘Hang Onto Your Love”. For me anyway,that particular song needs no introduction for its stripped down sophistifunk vibe. I brought this because it had a non album flip side called “Should I Love You”,which turned out to be a melodically sunny pop/funk uptempo number of the highest order.

Herbie Hancock really got the “electric Afro-pop” sound flowing on his 1984 album Sound System. And this 12″ incher for its song “Metal Beat”,given to me for my birthday one year by Nigel Hall,really emphasizes this aspect with the very tribalistic aspects Hancock and Bill Laswell bring to this extended dance mix.

“The War Song” is one of my favorite Culture Club songs. It blends their Caribbean soul/funk sound with a social message that sounds silly on the chorus,but during the refrain becomes quite dramatically poetic. This single is very interesting is that each extended mix it has,from vocal to instrumental,bring in an strong sense of Afrocentric tribalism as each progresses.

The first time I heard The Police’s Andy Summer’s remake of “Also Sparch Zarathustra” was on a local cable access music video program hosted by local DJ Chuck Foster in the late 90’s. The video to this song was once used on the closing credits for that show. Being a lover of science fiction and the two films in Arthur C Clarke’s “space odyssey” series,Summer’s dance/funk remix really caught my ear. The flip is the brittle new wave rock of “To Hal And Back”,which a very strong jazzy melody to it.

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Filed under 12 inch singles, 1984, 45 records, Also Sparch Zarathustra, Andy Summers, Bonnie Pointer, Culture Club, electro funk, Herbie Hancock, Human League, Human Leagye, Let The Music Play, Patti Austin, Sade, Shalamar, Shannon, The Crusaders, The Dells, The Jacksons, Vinyl, Walter Junie Morrison, Windjammer

Grooves On Wax: 1988 Albums,1987 12″ Inch Singles

Siedda Garret

She was the songwriter who bought us Michael Jackson’s “Man In The Mirror”,and was also his duet partner on “I Just Can’t Stop Loving You”. One year after all this,Siedah Garrett released her very first solo album. It featured the majority of Quincy Jones’ Westlake studio crew on board. Along with one heavily re-worked Thriller era Rod Temperton  composed MJ outtake “Got The Hots” on the ultra funkified “Baby’s Got It Bad”.

Key Jams: “Kiss Of Life”,”Groove Of Midnight”,”The Legend Of Ruby Diamond” and “Baby’s Got It Bad”

Brown Mark

The reason this didn’t wind up listed with the Prince alumni article I did was because this album has nothing at all to do with Prince,or Paisley Park. Former Revolution guitarist Mark Brown (rechristened Brownmark by Prince) released this album for Motown. As with Prince,Brown plays most of the instruments. His approach as a multi instrumentalist is closer to the harder kick of a Teddy Riley, however. And this is not an album that compromises on the funky uptempo material at all.

Key Jams: “Next Time”,”She Don’t Care” and “Stakeout”

Clyde Criner

Clyde Criner is a fairly obscure figure. The reason I picked up this album was because of how much it flaunted its personnel. Mainly MY MAIN BASS MAN Marcus Miller. His slap bass soloing is all over this album,right along with Criner’s melodic block chords on different electric pianos and synthesizers. This album is a potent combination of synth funk and electronic jazz fusion licks.

Key Jams: “Just Might Be That Way”,”Spider” and “Kinesis”

Henrique and myself have a constant conversational theme about how 1987 in particular showcased a time period where heavier funk again became the main basis for dance oriented pop records of the era. And that year was a MAJOR year for 12″ mixes. I don’t have a all of them yet. But this was the first year that brand new music really made a significant impact on me at 6-7 years old. So its a good place to speak for early firsthand experience.

It was Henrique who turned me onto Barry White’s 1987 comeback single “Sho You Right”. This song mixes the synthesized Freestyle dance sound of that era with the strong Latin samba funk attitude White used to get with his Love Unlimited Orchestra. This 8+ minute extended 12″ mix really brings out the sauntering rhythm of it all by emphasizing the drums. The instrumental B-side focuses on the Santana-like Latin rock guitar solo.

The history behind the Alexander O’Neal song “Fake” is amazing in Minneapolis funk circles. It was written by AND for alumni’s of The Time. Jam & Lewis really bumped out the percussive,bass heavy funk for this number. The best part of these 12″ inch mixes is how they thoroughly explore the song. You’ve got an extended mix,a vocal remix-the “patty mix”,an a cappella mix featuring O’Neal,percussion and light synths only PLUS an instrumental with an amazing electric piano walk down. Amazing exploration of the groove and therefore one of the strongest 12″ inch funk singles I’ve heard this far.

Ray Parker Jr. is one of the most underrated guitarist/multi instrumentalists I know of. After a string of funky pop hits in the early 80’s as a solo artist,Parker emerged in 1987 with the single “I Don’t Think That Man Should Sleep Alone”. That,along with the guitar solo oriented instrumental “After Midnight” (title song of his album that year) showcase the urban contemporary jazzy funk side of his nature from his earlier session work with Herbie Hancock and Rufus. This 12″ mix of the song really showcases that.

Lisa Lisa And Cult Jam really brought the new jack swing pioneers Full Force into the limelight. Their Latin freestyle/dance club hits of the late 80’s were not only ultra catchy,but ultra funky as well. with Full Force being there to re-cut and remix  their hits “Head To Toe” and “You’ll Never Change” showcased just how deeply these songs grooves.

M/A/R/R/S’s “Pump Up The Volume” was my first exposure to both House music and sampling,though I didn’t know what either were at the time of hearing it. This is an awesomely funky house/scratch/hip-hop number out of the UK. When I heard the Bar Kays “Holy Ghost” a decade or so later,it created a flashback to the “put the needle on the record” segment of this song. Another group member AR Kane provided the B-side “Anitina”,a brittle,Bill Laswell like funk rocker that I always enjoyed.  Wanted to say a quick RIP to M/A/R/S member Steve Young,who passed away last month.

 

 

 

 

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Filed under 12 inch singles, 1987, 1988, Alexander O'Neal, Barry White, Brownmark, Clyde Criner, Full Force, House Music, Jam & Lewis, Latin Freestyle, Lisa Lisa And Cult Jam, M/A/R/R/S, Marcus Miller, Pump Up The Volume, Ray Parker Jr., Sampling, scratching, Siadah Garrett, Vinyl

Grooves On Wax: 1985-Albums & 12″ Inch Jheri Curl Funk

High Priority

1985 best epitomizes the presence of what my newest blogging partner Zach Morris of Dystopian Dance Party refers to as “Jheri Curl Funk”. True,there was a lot of flat synth pop on the same landscape. Still the electro funk and soul that came out during this year was some of the toughest and most daring of the sub genre. This album by Charrelle on the Tabu label is a great example. It’s a thematic/musical romantic concept album-utilizing Jam & Lewis’s cinematic synth funk touches on this gospel drenched,Deniece Williams like soulstress.

Key Jams: “You Look Good To Me”,”New Love” and “High Priority”

Samurai Samba

The Yellowjackets were an 80’s band who,like soloists such as Herbie Hancock and Paul Hardcastle,were able to great a strong electro funk/dance context for their jazz/funk fusion approach. This album is one of the best examples of this that I’ve heard so far, particularly when the heavy Afro-Brazilian percussion comes in.

Key Jams: “Homecoming”,”Dead Beat” and “Samurai Samba”

Mary Jane Girls

The second release for Rick James’ Mary Jane Girls was not only another in a pair of two very strong albums for them,but brought them the major smash hit “In My House” which,as my friend Henrique pointed out,has some of the thickest layers of deep rhythm guitar Rick had done during this period. The album maintains itself strong with one hard funk and brittle new wave number after another.

Key Jams: “In My House”,”Break It Up” and “Wild & Crazy Lover”

Masterpiece

Ron,Rudy and the late Kelly Isley re-emerged as a trio after over a decade in the groups 3+3 singer/instrumentalists sextet with their two younger brothers and Chris Jasper. Employing session aces such as Paulinho Da Costa,Paul Jackson and John Robinson,this album employs a sleeker version of their early 80’s sound,with a strong tendency towards rhythmically heavy mid tempo ballads. Still the original Isley’s trio still love their uptempo songs too.

Key Jams: “Colder Are My Nights” and “Release Your Love”

Life

Gladys Knight & The Pips recorded their next to last album together-continuing to work with Larkin Arnold as they had on their phenomenally successful previous album Visions. Leon Sylvers did a lot of the producing for an album that blends a charged up hard electro sound with the groups classic uptempo gospel/soul shuffles and cinematic ballads all given the mid 80’s sonic update.

Key Jams: “Strivin” and “Do You Wanna Have Some Fun”

It was Henrique who pointed out that,while on the way to work listening to it,that the lyrics to James Brown’s “Living In America” are from the viewpoint of a trucker. This was exciting for me as this was the first JB song I ever heard. Remember thinking he was a magician based on his pose for the cover. The “12 inch mixes includes a more industrial intro from producer Dan Hartman along with a great funkified instrumental.

Hearing Stanley Clarke do “Born In The U.S.A” in a Kurtis Blow style rap version gave no doubt as to the songs powerful anti war/pro working class sentiments than Bruce Springsteen’s original did when Ronald Reagan campaigned with the song. This 12″ inch expands on the songs re-sampled synthesized voices and bass lines on the extended mix.

Jermaine Jackson’s solo career during the early/mid 80’s in general is pretty underrated. He took a lot of musical chances that didn’t always get very noticed. This particular song has an industrial world funk sound,composed mostly in the pentatonic scale,similar to Ryuichi Sakamoto’s “neo geo” sound from the same era. The instrumental mix of this shows this off very well-just as much as the vocal versions shows off Jermaine’s flexible vocal range.

 

 

 

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Filed under 12 inch singles, 1985, Cherrelle, electro funk, Gladys Knight & The Pips, Isley Brothers, Jam & Lewis, James Brown, Jermaine Jackson, Mary Jane Girls, Rick James, Stanley Clarke, Uncategorized, Vinyl, Yellowjackets

Grooves On Wax: Post Disco Boogie (1979-1982)

Kleer

Kleer were a band whom I’d heard about for years,but never really explored their music. This 1979 sophomore album from this New York band showcases some of the ideal elements of the post disco sound. All of the songs,even the mid tempo ballads,have a heavy funk stop to them. Still the orchestrated strings and vocal harmonies from the height of the disco era are still a big part of these very well constructed,produced and played on funk jams.

Key Jams: “Winners”,”Rollin’ On” and “Open Your Mind”

Switch II

Switch were musically speaking Motown’s closest equivalent to Earth Wind & Fire in terms of sound: big melodic sound that was filled with personality. Featuring the two elder DeBarge brothers in Tommy and the the late Bobby,as well as James Ingram’s brother Phillip,this band had the talent of being able to switch off instruments while playing. Hence their name. Everything from the ballads,funk and disco oriented numbers  on this 1979 sophomore album of their’s were full of class and talent. Including the moments group mentor Jermaine Jackson stepped in to help out.

Key Jams: “Next To You” and “Go On Doin’ What You Feel”

Dazz Band

As the 1980 Motown debut for the group formerly known as Philip Bailey’s pet project Kinsman Dazz, this really showcased horn players/singer/songwriter’s  Bobby Harris and Skip Martin’s talents at blending a strong post disco pop funk sound with plenty of instrumentally jazzy touches.  On this and it’s follow up Let The Music Play,the Dazz Band were not yet the electro funk juggernaut of the middle of the decade. Still their sound as evolving in another way.

Key Jams: “Shake It Up” and “Beyond The Horizon”

Invisable Mans Band

This 1981 album is actually the sophomore one of two albums released by this Five Stairstep’s spin off act. The album is full of some very saucy P-Funk influences-especially when it comes to Keni Burke’s thick,up front bass lines and the flamboyant vocals and arrangements.

Key Jams: “Really Wanna See Ya”,”Party Time” and “Same Thang”

Blow

Bobby Militello played sax with Maynard Ferguson during the height of his fusion period in the late 70’s. Apparently at the strong suggestion of Rick James,the newly rechristened Bobby M signed to Motown to record this 1982 album. Not only did it feature powerful vocals from Jean Carn on a version of Al Green’s “Let’s Stay Together”,but the writing and production of Jamaica,Queens musical icons Lenny White and Bernard Wright were the icing on the cake.

Key Jams: “Alto Man”,”Blow” and “Rome Tones”

 

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Filed under 1970's, 1980's, Bobby Militello, Boogie Funk, Dazz Band, Invisible Man's Band, Keni Burke, Kleer, Motown, post disco, Switch, Vinyl

Grooves On Wax: 12″ inch Singles On The One!

Upon starting this new feature on Andresmusictalk, the subject of 12″ inch singles was something that was always intending to be covered. With their extended,often remixed versions of the original album versions,the 12″ inch single is a format that derived from the disco era. And actually started in it with DJ’s playing the records for dancers as opposed to live bands. It was about a year or so ago that I started collecting these 12″ inch extended/remix singles again. So here is the first ones of this semi regular aspect of this feature. And it actually starts out just as the disco era had peaked.


On Your Knees (1979) is a very funky Eurodisco number,whose single featured  eye catching cover art by Bronx born art/fashion photographer Richard Bernstein. The B-side “Don’t Mes With The Messer” deals more with the Broadway musical style of theatrical disco Grace was so known for in her 70’s era music. So you hear two sides of Tom Moulton’s late 70’s disco productions for Grace.

Listening to Edgar Winter’s Frankenstein 84 remixes from…1984,it becomes clear just how much this early 70’s glam rock classic makes a lot more sense in a mid 80’s electro funk setting. With the used of sequencers and Vocorders,Winter creates a break beat/hip-hop friendly variation on himself. Especially when his very strong,often outright growling,rap comes in on the “Monster Rap” mix.

1987’s Characters  album is my favorite Stevie Wonder album of the 1980’s. On his 12″ inch single for “Get It”,his duet with Michael Jackson from that album,the drums shuffle more than on the album. And the break beats are re-sampled heavier. This gives it a flavor closer to the then emerging new jack swing variety of funk coming out of people such as Teddy Riley and Chuckii Booker.

The 12″ inch single for “Skeletons” from the same Stevie Wonder album is it’s own matter entirely. The DX-7 synthesizer on the intro is replaced with a thick,funky rhythm guitar for one. Also on the drum and synth bass interludes,Stevie’s call and responses of “hmm hmm hmm” and “oh wow” are set to samples of Ronald Reagan speeches. It really showcases what Stevie means singing”somebody done snitched on the news crew/it’s gettin’ ready to break”.

It was somewhat surprising to find a 12″ inch vinyl single from 1999. But on this set of remixes of Destiny’s Child’s “Say My Name”,you get Rodney Jerkin’s original hip-hop/pop version,a Daddy D remix that has an Afrika Bambaataa style electro funk groove while Maurice’s Last Days Of Disco has a late 70’s dance/early 90’s house flavor. It showcases how the song might’ve sounded in three different eras of time.


One thing about 12″ inch singles that I’ve forgotten about is how much they bring out that punchy,analog sound that vinyl is so renowned for. Some of these were actually 33 RPM,but the majority were 45 RM so that probably helped out a big in that regard. It also lasted far longer than I knew-about up to the advent of the MP3 and today they are making a comeback with the big vinyl revival. Creatively speaking,they allow remix producers, sometimes even the artists themselves,re-imagining their own work in new,unexpected ways. And this makes the 12″ inch vinyl single a format worth expanding on.

 

 

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Filed under 12 inch singles, 1970's, 1980's, 1990s, Destiny's Child, Disco, Edgar Winter, elecro funk, extended mixes, Grace Jones, remixes, Rodney Jerkins, Stevie Wonder, Tom Moulton, Vinyl

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”

out-of-our-heads-us-600x600

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”

Horizon_(Carpenters_Album)

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

Grooves On Wax: Funk On The 4th Of July

Soul Survivors

These Philly one hit wonders made a big splash with “Expressway To Your Heart” from this 1967 album. It always reminded me of the Young Rascals. And most of this album does too. They do have some amazing Hammond B-3 organ work here,especially on a version of James Brown’s “Please Please Please”. Where the album gets most interesting is when the Indian classical and psychedelic soul influences come in.

Key Jams “Expressway (To Your Heart” and “Taboo-India”

Jackie Wilson

Jackie Wilson’s 1968 album reminds me of how close the musical flavors were between windy city soul and the Motown sound. Jackie was the link between the two as Berry Gordy wrote a lot of his big hits of the 1950’s. This represents his most uptempo soul oriented album (with only two show tune styled ballads) of his late 60’s comeback. And the Motown connection even begins the album with a version of “You Keep Me Hanging On”.

Key Jams: “I Get The Sweetest Feeling”,“You Brought About A Change In Me” and “Nothing But Blue Skies”

Rainbow Bridge

Hendrix was near the end of his tragically short life and career when he appeared in this film. I actually liked the story of a young woman’s journey to Hendrix’s music through a political awakening. The soundtrack showcases how he and the Band Of Gypsies (Billy Cox and Buddy Miles) were about to change the game on the funk/rock sound the same way Hendrix and the Experience had a couple years earlier with psychedelia.

Key Jams: “Dolly Dagger”,”Earth Blues” and “Star Spangled Banner”

Supremes_1970s_Touch

This beautifully arranged 1971 album by the post Diana Ross Supremes has some very loving liner notes from the now Sir Elton John. It actually showcases the revived trio’s sound as focusing their mid tempo cinematic soul sound more towards an album than a singles focus as well.

Key Jams: “Nathan Jones” and “Happy (Is A Bumpy Road)”

Ahmad Jamal

This Ahmad Jamal 2 LP collection came borrowed from my father,who loaned it to me. It’s a rare 1973 collection of Jamal’s not entirely common three Impulse albums such as 1968’s Tranquility and 1972’s Outertimeinnerspace. A lot of these songs have an Afro Cuban/ Caribbean vibe with a does of soul jazz thrown in with Jamal’s trademark cool,light piano touch. He even pulls out the electric piano on one occasion with amazing results.

Key Jam: “Bogota”

Bar Kays Coldblooded

The Bar-Kays third and final album for Stax in 1974 was probably their most funkified overall thus far. They still had a lot of the psychedelic soul/rock touches that had them freaking out hard on their earlier albums. Yet the wah wah continued to let go big time on the title song,and the influence of Sly Stone and their penchant for funky impersonation started to show up on “Fightin’ Fire With Fire” as well.

Key Jams: “Coldblooded”,“Smiling,Styling And Profiling” and “Be Yourself”

Bell & James

Leroy Bell’s career arc from success to obscurity and back reads almost like fiction,as it turns out. In partnership with Casey James,the multi instrumentalist duo served up this 1979 album that didn’t provide as big a commercial as they did on the hit “Livin’ It Up (Friday Night)”,but did really get down with some sleek Westlake studio sounding disco/pop/funk/soul straight out of the Off The Wall vibe. And with a lot of the same musicians playing on it as well.

Key Jams: “Shakedown”,“Laughing In The Face Of Love” and “Fare Thee Well”

stephaniemills-stephanie(1)

Stephanie Mills 1981 album is one of those boogie funk classics where every song,especially the uptempo ones,stand on just about equal footing in terms of success potential. Reggie Lucus and James Mtume’s writing and production help a lot in this degree. Even though it has it’s predictable aspects,the strong sound and Mills’ gospel/soul vocal chops really give this album quite a workout.

Key Jams: “Two Hearts” and “Top Of My List”

spinners-labor_of_love

One thing I really admire about The Spinners is that they kept up with uptempo boogie and electro funk sounds even after the disco era-rather than focusing solely on slow ballads.  This 1981 album,one of records very funky albums they put out that year,has perhaps even more harder driving funk material than their 70’s hit period with Thom Bell. One of it’s few ballads,”A Man Just Don’t Know What A Woman Goes Through” even focuses on male sensitivity to the opposite sex when it comes to aging. Not to even mention closing with a good attempt at an early rap/funk hybrid.

Key Jams: “Long Live Soul Music” and “The Deacon”Let There Be Sun

Sun were among the handful of iconic Dayton,Ohio funk bands who came out of the late 70’s. Each of these bands had their special qualities. This 1982 release being their next to last albums is actually the first Sun I’ve ever heard thus far. And want to hear more considering their own distinct approach to the P-Funk vibe they seem to have here.

Key Jams: “Slam Dunk The Funk” and “Super Duper Super Star”

Tyka Nelson

Yes,this 1988 album was presented to me on the selling point that Tyka Nelson was Prince’s sister. I knew all about Tyka before this,but not that she ever had a musical career. The overall vibe of this album is very much of a mid-tempo dance and ballad urban contemporary album of it’s day. Tyka’s soft,melodic voice actually carries these sleek numbers quite well.

Key Jams: “No Promises” and “Marc Anthony’s Tune”

 

 

 

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Filed under 1960's, 1970's, 1980's, Ahmad Jamal, Bell & James, Boogie Funk, Chicago, Funk, funk rock, Jackie Wilson, Jazz, Soul, Soul Survivors, Stephanie Mills, Sun, The Bar Kays, The Spinners, The Supremes, Tyka Nelson, Vinyl

Grooves On Wax: Black Wax In Black Music Month

James Brown Showtime

James Brown’s albums up to the beginning of the mid 60’s seem to be helpful in showcasing what was influential on the future Godfather Of Soul. This 1964 album,his debut for Smash,is an excellent example of this. JB starts out with a spirited cover of the R&B classic “Caledonia”,originally by Louie Jordan & The Timpani Five. As a studio album overdubbed with applause,these songs find JB singing the blues on a number of rhythm & blues shuffles-removed for the most part from his typical live show of the era.

Key Jams: “Evil” and “Ain’t Nobody Here But Us Chickens”

Mirium Makeba

Miriam Makeba is an artist I’ve always interesting in hearing more from. This is an excellent album from 1967 for her. It really does a lot to bring out the sound of African soul-with a lot of elements that would eventually go into the world fusion sound in the future. Especially with the songs not all being sung in English. She even adds a folk song called “A Piece Of Ground”-which runs down the horrid inequity of apartheid in South Africa.

Key Jam: “Pata Pata”

Odyssey Of Iska

Wayne Shorter made this 1971 avant garde jazz album as he was transitioning from Miles Davis’s second quintet of the mid/late 60’s onto fusion pioneers Weather Report. And it really shows as Gene Bertoncini’s guitar-with it’s rhythmic overdrive along with former quintet made Ron Carter’s bass and Alphonse Mouzan’s drumming give this album the kind of Afro-Brazilian jazz/funk process sound Miles himself was already diving headlong into.

Key Jams: “Storm”,“De Pois Do Amor,O Vazio” and “Joy”osibisa-woyaya(16)

Osibisa are a  British,mostly Ghanan Afro pop group who were first described to me as being called “Obsidica”,and sounding like the Isley Brothers. Neither of those things being true of course,this 1971 album is in the Afro-Latin funk/rock/soul collection jamming much in the style of Mandrill and Santana.

Key Jams: “Beautiful Seven” and “Move On.

robertaflack-quietfire-cover

Roberta Flack is someone who today could almost be considered the godmother of neo-soul. Her understated vocal approach and naturally based instrumental style was a precurser of that. Especially on her earlier albums.  On these records though,they caught some heavily funky fire on a song or two. This 1971 release actually has a bit more than others-especially her ultra gospel drenched version of the Bee Gee’s “To Love Somebody”.

Key Jams: “Go Up Moses” and “Sunday And Sister Jones”

Edwin Birdsong

Edwin Birdsong,keyboardist and songwriter for the Roy Ayers Ubiquity who later worked with Stevie Wonder,really put himself out on this ultra funky 1972 debut album. He was a heavy purveyor of sociopolitical “people music” message songs as well. Even the lone ballad “It Ain’t No Fun Being a Welfare Recipient” tells the kind of story you generally don’t hear on too many slow jams. Birdsong’s holds-no-barred approach to humanitarian lyricism really inspires my personal funky emotions.

Key Jams:”The Uncle Tom Game” and “When A Newborn Baby Is Born,The Gets One More Chance” 

Open Sesame

Kool & The Gang totally reinvent the chemistry of their groove on this 1976 album,in their positions as The Scientists Of Sound. The jacket folds in half on the front to find portraits of the band members in the garb of Morrish royalty. From the casting of the “genie of sound” on the title song onward,this album finds their sound in direct transition from the heavy jazz/funk based sound of their earlier music to the disco era soul/funk melodicism of their under appreciated late 70’s pre JT Taylor period.

Key Jams: “Open Sesame”,“All Night Long” and “Super Band”

brick------_goodhigh-_101b

Brick’s sophomore album was where I discovered this heavily jazz based disco funk band. This 1976 debut album for them really helped put together their “disco jazz” type of music very well-with songs that featured more instrumental oriented jamming on many of the songs rather than the more heavily constructed pop type songs they would be known for on their following recordings.

Key Jams: “Dazz” and “Brick City”

Melba Moore

Melba Moore’s Broadway experience really helped her theatrical variety of heavily orchestrated soul balladry and disco/dance records she recorded during the 70’s. This 1978 album from her,produced by the Philly team of McFadden & Whitehead,contains one of my very favorite songs by her in the funkified “You Stepped Into My Life”.

Key Jams: “You Stepped Into My Life” and “It’s Hard Not To Like You”

Ohio Players - Jass-Ay-Lay-Dee -

The Ohio Players final album for Mercury from 1978 has gotten very mixed views from fans of this classic funk band. Yet from the very beginning,they make it more than clear that the then burgeoning disco sound was not yet effecting their heavy funkiness. As a matter of fact,this particular album is home to some of the hardest hitting funk the band ever made.

Key Jams: “Funk-O-Nots”,“Jass-Ay-Lay-Dee” and “Dance (If You Wanta)”

Pleasure

Pleasure’s jazz-funk sound out of Portland,Oregon is one that I am just beginning to explore. This 1980 album of theirs has become something of a big deal in recent years. With their sophistifunk production and jazzy instrumental solos,the band seem to have made their mark in the annals of funk as it transitioned from the 70’s onto the 80’s.

Key Jams: “Now You Choose Me” and “Yearnin’ Burnin'”

brass-construction-attitudes-20120328040716

Brass Construction’s title song for this 1982 album was one I thought came from Cameo due to a mislabeled MP3 sometime ago. It led me to the vinyl album,which is now recognizable as the bands transition to the stripped down,electro/naked/boogie funk sound of the early 80’s. It’s almost completely uptempo funk based saved for the jazzy mid tempo ballad “ETC”.

Key Jams: “Can You See The Light”,“Forever Love” and “Attitude”

slave-bad-enuff-1089025-1437603644

Slave were the last and youngest of the classic Dayton,Ohio funk bands,and were some of the architects of the boogie funk sound. That’s very prominent on this 1983 album,their first album of the 80’s without Steve Arrington. Actually,it’s a strong transition from their original live band approach to their more electro funk oriented sound that was about to come.

Key Jams: “Steppin’ Out” , “Turn You Out (In & Out)” and “Show Down”

isley-jasper-isley-broadways-closer-to-sunset-blvd-bonus-track-version-5954759-1448546073

Ernie and Marvin Isley along with Chris Jasper struck out as their own trio in 1984. This debut album from the same year is actually one of the strongest boogie funk albums of its era. That’s because the brittle drum machines are accented by the same powerful percussion the 3+3 Isley Brothers were known for.  That rhythmic approach mixed with layers of synthesizers,bass and guitar make this an superb extension  of the Isley sound as heard on the Between The Sheets from a year earlier.

Key Jams: “Serve You Right” and “Break This Chain

 

 

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Filed under 1960's, 1970's, 1980's, Afro Funk, avant-garde, Blues, Brass Construction, Brick, Edwin Birdsong, electro funk, Funk, funk albums, Isley-Jasper-Isley, James Brown, Kool & The Gang, Melba Moore, Miriam Makeba, Ohio Players, Osibisa, Pleasure, rhythm & blues, Roberta Flack, Slave, Uncategorized, Vinyl, Wayne Shorter