Tag Archives: Amazon.com

Givin’ It Back: Remembering The First Isley Brothers Album Showcasing The 3+3 Lineup

Marvin Isley, the youngest of the Isley brothers, may have passed away eight years ago. But the Cinninati born bassist graduated from the C.W Post College with a degree in music. By that time, he’d already co-wrote a major hit with the Isley’s in “Fight The Power”. Of course, the first time he and Chris Jasper actually played with Marvin’s elder brothers Kelly,Rudy and Ron came six years earlier. It was on a 1971 album where the Isley’s covered many pop and rock hits of the late 60’s and the then present day. It was called Givin’ It Back. And here’s a review of I wrote shortly before Marvin’s passing.


The late 60’s began the Isley’s funk period,circa 1968-1970 when their tune “It’s Your Thing” was enormous and every album seemed to leap them forward somehow musically. Than came this album. It’s 1971 at this point and the optimism of and defiance of the late 60’s had turned to more cautious,inward reflection. This effect musicians of all colors and back rounds and it had it’s effect on the Isley’s too. This album presents elongated cover versions of different pop tunes associated with that era,most of which had some cultural or political bent.

The sepia toned album covers features the three Isley’s with acoustic guitars and you do here those to a degree on this album but despite the way this was actually presented to me this is NOT an acoustic album by any stretch of the imagination. More accurately I would describe it as a mildly more psychedelic funk take on the folk/soul movement that was gaining some popularity at the time of artists such as Bill Withers.

The one thing you can guarantee from the Isley’s is that whatever they do you’ll find some of the most impassioned,soulful and intelligent interpretive vocalizing one is likely to ever hear and this album has it coming out the wazoo! The album starts off with a very Ike Hayes-like ten minute take on “Ohio” and Hendrix’s “Machine Gun”,both a good choice for a medley yes but the unique thing is it’s cinematic soul presented with some acoustic instrumentation so you get two flavors merging into one,yet again.

The most impressive thing about their versions of “Fire And Rain”,”Lay Lady Lay” and especially “Spill The Wine”,with that song’s originally rapped lyric element actually sung this time is how fully Ron Isley in particularly re-harmonizes the vocal arrangements and even if the music is on the same groove somewhat as the originals (melodically anyway) all of these songs sound heavily re invented as opposed to merely covered. The albums closes with the liked minded “Love The One Your With” and with that there’s a tone set not just for this particular album but the Isley’s future in general.

In the years to come after this they would continue refining different combinations of the flavors of this and the previous three albums prior to it to with their famous 3+3 format so even if this music literally reaches into it’s very recent past for song ideas it’s conceptualization also look forward to where the brothers were going musically.


At the time of writing this review, I actually had no idea that this particular album was both Marvin Isley and cousin Chris Jasper’s first time appearing with their elder brothers and brother Ernie,who’d started playing with the Isley’s just a year before. The Isley’s  would go through some amazing changes during the earlier part of the 70s-from a psychedelic tinged funk/soul sound to the folk/soul singer-songwriter stylings of Givin’ It Back. They were playing many styles of music that went with what’s called the funk process. And as a bass player, Marvin was a major part of this transition.

Leave a comment

Filed under Isley Brothers

Yo! Bum Rush The Show At 30: Public Enemy #1!

Public Enemy have been this largely funk/soul/disco/jazz themed blog’s main reference point when it comes to hip-hop. Of course, that’s largely because of my long history with the band. Not to mention them being one of a handful of key topics between myself and blog consultant Henrique Hopkins. As much as black American music is always a forward thinking and moving creative endeavor, its might be fitting seven months after its official anniversary to explore three decades of American music dealing with the presence of Public Enemy’s debut album Yo! Bum Rush The Show.


Being someone born very directly into the 80’s? My perception of hip-hop (or rap as I’d be inclined to call it at the time) is that there were at least two evolutionary stages in the music before the middle of the decade. There was the late 70’s funk/disco oriented of Sugarhill Gang and Kurtis Blow. And than you had the synth-electro oriented approach of Afrikka Bambaatta’s & The Soul Sonic Force. While Grandmaster Flash and the Furious Five straddled both approaches.

Than along came Russell Simmons and Rick Rubin’s Def Jam. And the world was introduced to the likes of Run DMC, LL Cool J and The Beastie Boys. Somewhere in that mix? Rap that was overtly sociopolitical hadn’t been greatly represented since the Furious Five’s The Message. Than out of NYC and onto Def Jam came Public Enemy,a hip-hop collective led by turntablist Terminator X and MC’s Flava Flav and group leader Chuck D.

“You’re Gonna Get Yours” starts out the album with a grooving,bass/guitar riff led jam. The song I find most fascinating here is “Sophisticated Bitch”. It is a slow burning groove telling the story of a lady unknowingly prostituting herself-set to the funky rock-guitar riffing solos of Defunkt’s/Black Rock Coalition’s Vernon Reid re-creating the bass riff from Heatwave’s hit “The Groove Line”. “Timebomb” is another extremely hard grooving number.

Interestingly enough,numbers such as “Miuzi Weighs A Ton”,”Too Much Posse”, “Rightstarter”,”Public Enemy#1″,”MPE”,the title song,”Raise The Roof”,”Megablast” and “Terminator X Speaks With His Hands” are all much more in the stripped down,808 drum machine led hip-hop vein Def Jam was championing at the time. What really bought Public Enemy out into the fore was their authoritative rap delivery on the part of everyone,as well as the more aggressive stance of the sound. Which brings me to the main distinctive quality PE had right from the start.

Throughout this album? Chuck D and company were beginning to take a sociopolitical stance that was a bit more direct and specific than anyone in hip-hop had so far. These raps are less narrative stories to illustrate a certain theme. But are more declarations of their motivations. Very much a thematic disciple of Black Power icons such as Malcolm X,Huey Newton and especially musical icon James Brown,Chuck D makes it clear he wants to bring that sense of black empowerment into his type of hip-hop.

On this album? It came off as somewhat implied message wise because PE hadn’t fully developed their distinct musical sound when they were making this album. In a sense because of that? It might be the most important album they made,because it showcased the embryo of a sound that,without the public being fully aware of it coming perhaps,was about to be unleashed by Public Enemy onto the world of hip-hop and music in general.


One of the major points brought up after this Amazon.com review I did four years ago, again with Henrique, was Yo! Bum Rush The Show‘s relationship with the intentions of the Def Jam label’s founders. This occurred in the mid 1980’s, when American pop music charts and MTV were really pushing white rock artists/bands over any music that came from black American culture. That means that, especially with rap/rock crossover’s such as the Beastie Boys and Run DMC’s duet with Aerosmith on “Walk This Way”, that Russell and Rick desired Def Jam’s style of hip-hop to appeal to a young rock audience.

Public Enemy really changed that perception of Def Jam releases. As with any artist in any genre, their debut did the need for more growth. And as most PE admirers would know, this growth occurred very quickly. The group were at this time a five piece band that included live bass/guitar as well as DJ Terminator X. And also a strong rebirth of the black American political consciousness of the 1960’s that asked black people to take care of themselves as people. This pro black,anti self destruction message illustrated everything that has come to represent Public Enemy in the last 30 years.

Leave a comment

Filed under Public Enemy

After Dark At 30: Ray Parker’s Fourth Official Solo Album Gets Some Love From Going Back To The Past

After Dark image.jpg

After the very Minneapolis dance/funk influenced Sex And The Single Man Ray Parker Jr was very well aware of the changing tide in the R&B world during the latter half of the 80’s. The success of Anita Baker and Gregory Abbot was showcasing urban music’s move again back into the relm of a more adult jazz-pop frame of mind. At the same time this was mixed with some of the live/electronic rhythmic elements of boogie funk as well.

This late 80’s urban sound was great news for Ray Parker Jr. Sometimes thought of as the purveyor of almost novelty funk for teenagers,as a lyricist Ray did possess that Smokey Robinson sense of wordplay and a refreshingly witty plain spokenness. Not to mention the man was one serious guitar player. On this album,he delivered on one of his most significant and vital musical statements of a very successful decade for him.

“I Don’t Think That Man Should Sleep Alone” is a wonderful hit,an honest lyric on male vulnerability with some thickly layered keyboards playing some mood and complex jazzy chords that are also melodic. It’s definitely a highlight of Ray’s career. The ballads here “Over You” with Natalie Cole and “The Past” are unlike any of Ray’s earlier ballads;fully fleshed out and arranged numbers with very well done orchestrations. The uptempo numbers are some of the most funky and varied of his career.

“Lovin’ You” and “You Make My Nature Dance” are both thick grooves with a lot of bottom and some excellent electronic percussion effects. “Perfect Lovers” makes even better use of that as the groove kind of rolls right along with similar rhythmic patterns. “After Midnight”,harmonically similar to Janet Jackson’s “Funny How Time Flies” is an instrumental with a beautiful soul jazz solo from Parker.

On “You Shoulda Kept A Spare” he lets his inner Anita Baker shine with powerful sax from Gerald Albright and another example of his wit and worldly lyrics.  “I Love Your Daughter” is a somewhat more conversational number reference that..certain little hook that I noticed Ray has present on every album at least once since it first appeared on 1980’s “For Those Who Like To Groove”. The title track that concludes the album is a perfect summation of everything on here.

It’s got a hard funk groove,a mean mean bass/guitar line and great wordplay likening a hidden affair to mechanical repair work. Without any bias this is musically one of Ray Parker’s finest and most consistent solo album. Because it was released during the 1980,it might not be a bad full length album for anyone only aware of Ray Parker Jr’s singles. In terms of full lengths,this might actually be his very best release.

*This is take from my Amazon.com review of this album posted there on July 8th,2012

 

Leave a comment

Filed under Ray Parker Jr.

Kate Bush & 35 Years Of ‘The Dreaming’

Kate Bush’s 1982 album The Dreaming will be coming up to its 35th anniversary this coming September 13th. For years,I personally knew her only for her collaboration with Peter Gabriel. But none of her own music. It was from a YouTube anthology series Oddity Archive,hosted and created by my Facebook friend Ben Minnotte,did he process his love of the music of Kate Bush. So I sought out an album mentioned in one of his videos called Never For Ever. Interestingly enough, obtained The Dreaming for free in a CD grab bag I purchased earlier. Here is an Amazon.com review I wrote about it four years ago.


During a period where many of the record companies were desperately pleading with musical artists not to release any non commercial material? The age old plea from the artists themselves came into play: how to be creative and commercial at the same time. That wasn’t really a concern for Kate Bush.

Her first three albums tended to be singer-songwriter oriented as their core was focused on the material. With each release however her arrangements become far broader and more dynamic. So for her fourth album in 1982? She just flew with her own creative heart. “Sat On Your Lap”,”Pull The Pin”,”Leave It Open” and the title song, interestingly enough a single,are all built around percussively gated drumming and a number of digitally derived,synthesized effects creating vast seas of different tonal melodies.

Often times Aboriginal Australian and African rhythms come into play on the refrains of these songs as well. “There Goes A Tenner” and “Suspended In A Gaffe” are far closer to the piano based musical hall oriented uptempo 60’s type Brit-pop sound similar to her earlier music. “Night Of The Swallow”,”All Of Love” and “Houdini” all start out slower,piano based ballads before building into more stripped down rhythm intensity. “Get Out Of My House” is full of emotional fire-with an extremely percussive set of poly-rhythms.

It would seem that when this album first came out? It wasn’t exactly very well received. On the other hand later Bjork,an artist who is very clearly influenced by Kate Bush’s musical approach from even my under-trained ears,cited this as a favorite of her albums for her. Of course OutKast’s Big Boi also cited this album as a favorite. And listening to this album its easy to see how that interest is far from merely generational.

With today’s emphasis on pan ethnic rhythm oriented trip/trance-hop and different cinematic electronica/hip-hop hybrids? All of a sudden music such as what Kate Bush did,and wasn’t fully understood for in it’s time,suddenly made a lot of sense. Yet another example of how artists are often a bit creatively ahead of the listener.

So perhaps the pop/rock audience of the early 80’s weren’t sure what to make of these rhythmically and harmonically complex songs that populate the majority of this album. But another generation of musicians,as somewhat disconnected from the side of musical culture to which Kate Bush might’ve come from,heard something in what she did here that they could swing their own way. And in the end,that only makes this album all the more wonderful in terms of standing on its own merits.


With The Dreaming, Kate Bush brought in the then very new Fairlight CMI synthesizer computer to help her with this self produced album. One that took her original musical approach into the expansive world of world fusion. As well as accompanying musical tribalism. With one of its songs “Sat In Your Lap” originally inspired by Bush having attending a Stevie Wonder concert, The Dreaming stands as an example of an album that was (to some degree) an unexplored direction for early electronic sampling on a rhythmic level in what could be described as an early 80’s proto alternative album.

Leave a comment

Filed under Kate Bush, Uncategorized

Look To The Rainbow At 40: Al Jarreau Remembered For This Milestone Live Album Of 70’s The Jazz-Fusion Era

Image result

Al Jarreau’s passing on February 12th of this past year has really brought to mind the many conceptions and misconceptions of his artistry from within my own personal lifetime. There really was no reasonable way to ignore the mans unique and astounding vocal artistry. But the songs he wrote and interpreted were just as musically busy and complex as his singing was. When exploring him in an album context, his 1977 live recording Look To The Rainbow was name dropped as superb example of his performance ability. Here’s an Amazon.com review I did of it six years ago.


Speaking for myself this may very well be destined to be one of the premier live jazz fusion albums of it’s era. One of the qualities that makes it so significant is the lack of the direct visual element. True Al Jarreau is,for better or worse depending on your tastes one of the most theatrical performers in jazz this side of Jon Hendricks,his most obvious influence and of course the incomparable Cab Calloway. Al put’s his entire body into the performance like a contortionist. You can see some of that in the photographs of this album.

After the release of his first two albums,1975’s We Got By and the following year’s Glow,he found that both these albums had become enormous critical successes stateside but (stereotypically) wound up enormous COMMERCIAL successes across Europe. Even winning German Grammy’s. It would take some retooling of his approach before he’d get the same treatment in his home country. But Al’s vocal and songwriting talents made such a massive wave during the following European tour that he made this album based on his performances there. The results capture more than great music. But an artist in an important place and time as well.

Recorded with a small group fusion quartet of keyboardist Tom Canning,drummer Joe Correro,bass player Abraham Laboriel and vibraphone player Lynn Blessing this album doesn’t have an enormous instrumental sound.The idea is to focus on Al’s well renowned pipes. Even Al himself said at some times the vocalist side of him got in the way of the singer. Although strongly emphasizing his own excellent compositions the interpretive element of his talent gets the perfect showcase here.

Of course there’s the live rendition of Leon Russell’s “Rainbow In Your Eyes” which here is given the extra vocalese treatment from Jarreau. On “Better Than Anything” and the title song you get much the same quality. His take on the Paul Desmond/Dave Brubeck standard “Take Five” however is the heart and soul of this album to me,with Al improvising along with the songs already unexpected time changes and charging by songs end into this…well display of sheer vocal improvisation you’d just have to hear to believe. I

t’s intelligent and exciting and the audience can’t help but applaud midway through. I know I’d have been. On “Burst In With The Dawn” and “One Good Turn” he turns up the soulful/gospel flavor in his sound. And is equally at his sophistifunk best with “You Don’t See Me” and the “new” number “Loving You”,concluding everything with a show stopping rendition of the title song of his debut album.

One of the things that makes this such a special album is that is showcases everything that was positive and musically enriching about what Al Jarreau had to offer in the beginning of his professional recording career. You get the vocalese drama and distinctive timbre that’s got him attention then and ever since. You get a good sampling of the best of his songwriting he’d done thus far. You also get his abilities as an interpretive vocalist-from the worlds of pop,jazz and funk.

It’s once been said of the great American composer Duke Ellington that he often seemed to create kind of an all encompassing music that borrowed from many sources but maintain his distinctive sound,in his case referred to as “Ellingtonia”. I tend to think of Al Jarreau that way too. He integrates many of the influences that are meaningful to him into a one sound that you somehow know is very much his own.

And his producers and musicians working close to him are also able to find ways to bring this quality out on record in many different ways. This particular album shows that unique flavor translated just as easily from the album,onto the stage and in this case back onto an album again. Just goes to show how Al Jarreau,especially early in his career could work on so many levels.


Look To The Rainbow represents Al Jarreau as a shining example that the artistry of Jon Hendrix,Johnny Mathis,Duke Ellington and Dave Brubeck were not truly lost when jazz went electric,as was the commonly held wisdom for some time. Much as with George Benson, the perception that Al Jarreau made his sound more commercial is misinterpreted. Jarreau began his major label recording career as a funk/soul/pop artist who had a jazzy vocal and writing approach. And took on jazz standards with the same vigor. This album brought out that quality in a significant way.

 

Leave a comment

Filed under Al Jarreau

Introducing The Hard Line At 30: Terence Trent D’Arby Pointing The Way To Something Different

Terence Trent D’Arby first entered my life at the age of 8. One day while listening to the radio,this new song was played. Something about it (perhaps the melody) had me thinking it was a Stevie Wonder song. The voice was different however. It was a couple of weeks later that the video for the song premiered on Friday Night Videos. That’s when it was announced to me who had done this song. D’Arby goes by the name Sananda Francesco Maitreya today. But his debut as a whole inspired this review from me on Amazon.com several years ago.


Honestly for a number of reasons I don’t feel Terence Trent D’Arby ever fully got the due he deserved as a distinctive talent. Even from his own mouth,from the very beginning too many comparisons were made and as we all know that can make or break an artist with something new and vital to say. The most obvious of these were Prince,being the one similarity they had in common was the fact that they were both difficult to classify. But the fact is,TTD’s heavy self promotion at the time of this album he did in fact have a very unique of his own.

At the same time comparisons don’t even apply. His sound,at least on this album isn’t as instrumentally quirky or irreverent as anything that would come out of Prince. The music on this album actually very slickly produced late 80’s…..trans continental soul I suppose. Either way you look at it there’s a lot more gloss to this than anything Prince released during this era. Now when it comes to the songwriting and arranging that’s a very different matter. Most of the songs on this album concentrate heavy on arrangements that change in the blink of an eye.

“Wishing Well”,”If You Let Me Stay” and “Rain” are all songs that make the most of this kind of modern slick psychedelic funk stew only with the rock element being either absent or not that obvious. This is also definitely an album lovers album that’s not a hit parade as much as it is a musical concept extended over many separate songs. That being said there are a lot of highlights nonetheless. “I’ll Never Turn My Back On You” explores the father/sun dynamic in a very reflective manner where “Dance Little Sister” pulls off something very close to James Brown styled funk,one place where he and Prince have a lot in common musically.

“As Yet Untitled” has TTD working his way through a very strong acapella number showing much awareness of the narrative history of his back round. Now in 1969 Michael Jackson obviously whipped the floor with the original version of Smokey Robinson’s “Who’s Lovin’ You” and TTD again reinvented it for the this new era as well,giving even a gruffer rendering than Mike did. Of course Columbia made the best possible choice when selecting singles for this album by choosing “Sign Your Name”,by all measures a uniquely arranged blend of 80’s funk and classic doo-wop.

In every measurable sense the song is a complete for bearer of the retro soul style and in many ways betters a lot of what’s done with it by reveling in,what was at the time,the present. If one enjoys a uniquely diverse collection of music within the R&B/funk style,itself already diverse in and of itself with a strong 80’s twist this album will more than suit that need.


Introducing The Hardline is an album that I came to when it was about 25 years old. The most significant thing about the album is how different it was perceived than as it might be now. With the emergence of neo/retro soul, this album seems like a beginning of a musical movement today. When it came out, it felt somewhat different than a lot of the electronic based soul and funk of the era. It was part of a more diverse array of funk/soul approaches in the late 1980’s. Now,it seems more like part of a movement. Whatever the case may be, its an album that really contributed to the soul/funk reboot of 1987.

 

1 Comment

Filed under Terence Trent D'Arby

In Full Bloom Approaches 40: Rose Royce Do Their Dance On This Sophomore Success

 

Rose Royce had a massive hit right out of the box with their 1976 soundtrack to the motion picture Car Wash. In fact, it marked the beginning of funk functioning for the disco scene. And Rose Royce retained their crown for the rest of the 70’s as part of the funkiest royalty of the disco era funk bands. Between Norman Whitfield’s productions on them and the very strong caliber of the band themselves, it all made it possible for their second album, 1977’s In Full Bloom to retain the hit status of its predecessor. Here’s an Amazon.com review I did about the album seven years ago.


Rose Royce made it clear on this album that not only was their life after Car Wash for them and producer Norman Whitfield but that they fully intended to forge ahead with their sound. By the time the 70’s was at it’s midpoint synthesizers and electronics had become an enormous part of funk music,especially in the hands of people such as Stevie Wonder and Billy Preston.

While that had come into play to a certain degree on previously,the fact that Rose Royce were one of the few bands ever to debut on a soundtrack recording meant that they were going to save certain types of experimentation for their next album,if any. Turns out they were so big from the start a sophomore set was almost guaranteed. So it was basically on this album that Rose Royce…well basically became Rose Royce as it were.

While very even keel in terms of fast and slow songs,this album is primarily devoted to funk. It showcased that this was what they intended to base their sound in. But right away the bands unique sense of reinventing their influences within their groove became apparent when they unconventionally opened this album with the ballad “Wishing On A Star”. It’s one of the finest crafted slow numbers they ever did and deservedly one of their classic songs. “Ooh Boy” and “You’re My World,Girl” are the two other ballads here.

And the most soulful of them too,very much in the spirit of Chicago and Philly styles of 70’s soul balladry. On the funk numbers,needless to say it really comes to a head. On “Do Your Dance” and “It Makes You Feel Like Dancin” represent Rose Royce’s signature funk sounds where every part of the band became a purely rhythmic element-chugging like a freight train with the percussion,synthesizers,bass,guitar and cosmic vocal harmonies. It’s very much a futurist concept to how modern hip-hop producers such as Timbaland and The Neptunes approach their style of funk as well.

“You Can’t Please Everybody”,”Love,More Love” and “Funk Factory” are potent reminders of their more straight ahead,horn based danced funk sound they already showcased on their debut. Weather on cosmic electronic/space harmony based funk to chunky,hardcore brassy grooves and ballads this outfit proved to be one that had it all,could do it all and did it all when it came down to it. Gwen Dickey proved the master of funky femininity,wrapping her very girlish but very confident voice.

Even though she would come to represent some interpersonal issues within the band in the coming years,at this point she was very much part of the “funk factory” the band were starting to become. One wonders,if things had been different if Whitefield records could have had Rose Royce be part of a movement that would do for funk what Motown had done for R&B. They were very innovative and experimental in their genre of music. But also were very commercially viable. In many ways that style seemed to end with them rather than begin with it as Ricky Vincent’s “united funk” era was coming to an end with albums such as this. But still,the deed was done.


In Full Bloom represented something very important for the all important 1976-77 period of disco era funk. Just as much as it represented that potential unexplored direction at Motown (through Norman Whitfield while he was still there) as well. One element is the bands combination of thick slap bass lines combined with heavily rounded Moog bass. That gave the grooves an enormous and up front bottom to work with-along with the wah wah guitars,strings and the sweet voice of Gwen Dickey. As such, it might very well be one of the most important disco era funk albums of its day.

Leave a comment

Filed under Rose Royce

Exodus At 40: Remembering The Year Bob Marley & The Wailers Really Got People Jammin’

Bob Marley is a figure whom I’ve never covered on Andresmusictalk. Reggae is a musical genre that grew out of ska,an Afrocentric style of rock n roll, as well as from Marley’s own interest in funky soul artists such as Curtis Mayfield. And the idea that Afrocentric music could carry strong political and spiritual messages. By the mid 70’s, Marley & The Wailer’s had already more or less defined reggae with standards such as “Get Up,Stand Up” and “No Woman,No Cry”. During my life time, Marley and reggae in general was embraced by what seemed to be stoner rock fans. There’s another way to look at it too.

After seeing the 2012 documentary Marley, it became clear how important reggae and the music made by Marley and the Wailers made was to the black community around the world, and not just to punk musicians or other rock people. Marley had nearly been assassinated for advocating a specific political candidate in his own country not too long before the Exodus album came out. And with his pan Africanism-being inspired in his “Redemption Song” by a speech given by Jamaican pro black activist Marcus Garvey, Marley made total sense to me upon reviewing Exodus on Amazon.com.


One could never say Bob Marley wasn’t charismatic. By the time the 70’s was drawing to it’s concluding years,the music he was making with the Wailers were not only a rallying cry and inspiration to every from Stevie Wonder to The Clash. But his devotion to his cause was even beginning to have the power to affect political change in his native country.

However badly needed that was Marley’s position as a cultural icon began to have an effect on his life,as violence and death threats loomed on a man whose stance was primarily about peace. So he did what he always did-reached out with his music to bring in a yet larger audience in some surprising ways.

In many ways this album found it’s huge commercial success by representing reggae achieving it’s most fullest flower. If that’s what one is looking for “Natural Mystic”,”So Much Things To Say”,”Guiltiness” and “The Heathen” sure have a lot of that. Bob’s recent experiencing with the continual political corruption in Jamaica were spoken very loudly here.

And by the time we get to the monstrously churning,funky title song he’s yearning yet more for Rastafarian redemption yet again. On the next half there are concessions towards the more commercial.”Jamming” might be Bob’s most popular and one of the poppiest reggae numbers but a great one. And one of my favorite Bob Marley tunes.

“Turn The Lights Down Low” add some light electronics to the sensual flavor of the tune and the albums ends with two more unforgettable Marley anthems in “Three Little Birds” (another of my favorites by Marley) and a medley of “One Love/People Get Ready”. This self produced effort had the strong effect of both remaining true to the music Bob Marley popularized but also using some contemporary production and musical elements to add extra musical seasoning to his sound.

I’ve heard some hardcore Bob Marley fans say that they feel this album is a little too commercial for their tastes. From what I’ve heard I don’t think Marley had anything to do with being commercial. Popular?For sure. But commercial no. And because of his willingness to expand musically to get his message across,I think albums like this actually play a good part in helping the audience understand that difference.


The musical legacy of Bob Marley was already carved in stone long before Exodus came out. But when the album did come out 40 years ago last month, it helped break reggae into the mainstream just as the same thing was happening to the concurrent musical movements of punk and disco. Viewing the contents of albums such as this as having a basis in soul and funk also makes sense. Since much of disco had the same origin points as well. So this strong example of strong and unique “people music” coming from a strong pro black stance makes Exodus a vital part of the late 70’s musical landscape.

 

Leave a comment

Filed under Bob Marley

Let Me Know You: Stanley Clarke’s Unsung Second Solo Album Of The 1980’s

Let Me Know You

Stanley Clarke was a musician whose solo albums of the 1970’s were always talked about. Yet there was one album that hardly ever did-only occasionally as a mentioned titled in some discographies of his music. It was his 1982 album Let Me Know You. First I found the album on vinyl,then picked it up on CD. Then realized why it might’ve been left out. This is basically a full on post disco/boogie album from Clarke-featuring the likes of Greg Phillinganes and Paulinho Da Costa among the musicians. Here’s an Amazon.com review I wrote just over a decade ago that goes more deeply into its musicality.


Right after the release of the first Clarke/Duke Project LP Stanley Clarke and George Duke both decided to take a musical break from each other and do a pair of solo albums without the participation of the other.Duke produced ‘Dream On’ while Clarke produced this album ‘Let Me Know You’,both in 1982.Both albums are very much funky pop/R&B vocal albums with some curious differences.’Let Me Know You’ is the slightly more jazz oriented of the two and as always,Clarke is not quite as experienced (or communicative) as Duke.

The songwriting is extremely strong and three “Straight From The Heart”,”I Just Want To Be Your Brother”,”The Force Of Love” and the pounding “New York City” find Clarke moving away from hardcore jazz-rock fusion and into the world of tighter,more carefully crafted and arranged R&B,funk and pop.The sexy title song is actually the only instrumental on the album and is the only representation of the ‘old’ Stanley Clarke.

My favorite cut is the Linn drum/Leslie Amp powered “Play The Bass” the more or less trails off before it get’s a chance to get going-it’s funny how many R&B and funk artists elect to showcase some of their most creative music as brief interludes (read:Earth Wind & Fire).Nevertheless ‘Let Me Know You’ is a wonderful pop/funk album and actually one of Clarke’s most consistently enjoyable of the early 80’s.

Trouble is it’s also his only record never to have been released on CD up until now.And while I am sure that many like myself who have enjoyed listening to the vinyl record of this album the new CD is a treat.But I really hope fans of Clarke or the Clarke/Duke Project will revisit this if they’ve never heard it-fans of both artist’s music from the 1980’s will feel right at home.


Let Me Know You comes from a time where Stanley Clarke was looking to condense his music to a degree. He actually managed to solo many times on these songs. That being said,, this album had him striving ever more to look towards gaining momentum as a composer as opposed to mainly an instrumental soloist. He even got a bit of a dance hit with the album with the song “Straight To The Top”. Once heard Clarke himself refer to his music at this time as “pretty commercial”. But its still by no means a Stanley Clarke album to avoid. Especially if you enjoy funk that where’s its jazziest flavors proudly.

 

Leave a comment

Filed under Stanley Clarke

A Blow For Me,A Happy 40 Years For You: The Album Where Fred, Maceo And P-Funk Officially Met At Their Crossroads

The clean transition from James Brown to George Clinton’s P-Funk all comes down to Fred Wesley and Maceo Parker. These were two totally different approaches to funk. JB laid down the groundwork. P-Funk, while more psychedelic in the beginning, took over where Sly Stone left off by the mid 70’s in terms of embellishing JB’s basic structure for the music. It was the horns that really did a lot of this of course. And George Clinton knew that. And in 1977 he gave that end of P-Funk its own identity with A Blow For Me,A Toot For You. Here’s my Amazon.com review that goes further into what it was musically.


As probably the most significant horn section in all of funk? The band that Maceo Parker and Fred Wesley led had a lot of different names. They were the JB’s,they were All The King’s Men,they were The Macks and eventually a part of the funky heartbeat in the nervous system of George Clinton’s P-Funk during the mid 70’s. After working as part of Bootsy’s Rubber Band,George decided that the already iconic Maceo and Fred needed a P-Funk era album of their own. And in 1977 they got their chance.

“Up From The Downstroke” is presented here as an extended stripped down variation of Parliament’s original where the collective horn charts interact call and response style to the horn solos. The title song slows the tempo right into the groove with the horns responding directly to Bernie Worrell’s orchestral synthesizer. “When In Doubt,Vamp” finds the horns all playing rhythmically in classic James Brown style.

“Between The Sheets” finds the horns intertwined into a thick mixture of reverbed, liquefied bounding bass and rhythm guitar/keyboard interaction while “Four Play” begins with a singled out funky drum before going into a jazzy rhythm guitar led jam. “Peace Fugue” ends the album with the electric piano tinged ballad that closes it all out with a more melodic style of trumpet solo.

During the time I first listened to this on vinyl? Something about the album lacked some of the rhythmic sauciness and vigor that I was used to hearing out of P-Funk at that particular time. Listening to the vinyl again over a decade later? I realize just how important this album had been in showcasing how musically clean,spit and polished the P-Funk sound actually was during the peak of it’s powers.

Maceo and Fred’s expert horn solos and interactions are explored in ultra sleek productions where time was taken in the studio rather than the often hit and run recording sessions James Brown had often done. This became a model for some of the later studio works of these musicians after they departed from P-Funk. And is a superb example of George Clinton and Bootsy Collins’ prowess as studio producers.


Back when I was first getting into P-Funk,it was during a crate digging experience that I located this album on vinyl In all honesty, it is not as powerfully innovative as Mothership Connection or Ahh The Name Is Bootsy Baby. In a way, that was kind of the point. P-Funk began as a somewhat instrumentally undisciplined psychedelic rock and soul outfit. And the discipline that JB alumni such as Fred,Maceo and Bootsy (mainstays of the Horny Horns) brought their blend of controlled chaos to make sense of P-Funk’s intent. On that level, this album is a crucial stepping stone for P-Funk’s late 70’s peak.

 

2 Comments

Filed under P-Funk