About five years ago,I got seriously into the whole Daptone label music scene. The whole theme they had was very authentically retro. It wasn’t just the instrumental style of the music that came out of it. It was the sound of the recordings,even the old school film based photographic style of cover art. Charles Bradley is their key male solo artist. And his chief musical influence was James Brown-even working part time impersonating the man. As for me I have his first two albums. And was very excited to pick up his third when it came out. Again,there’s no disappointment.
The album opens with a partially spoken word,organ/piano based version of “God Bless America” where Bradly discussed the pros and cons of being black in this country. “Good To Be Back Home” is stomping,bluesy funk with phat electric guitar and horn accents throughout. “Nobody But You”,the title song,”Crazy For Your Love” and the closer “Slow Love” are all reverbed guitar heavy ballads.
“Ain’t Gonna Give You Up” is a thick,slow deep funk groove with a bee like synthesizer buzzing. “Things We Do For Love” is a brightly melodic uptempo gospel/soul number filled with multiple backup singers and “You Think I Don’t Know (But I Know” has the same vibe about it. “Change For The World” is an brief late 60’s/early 70’s Ike Hayes like psychedelic funk message song warning about the revival of segregationist racial behavior.
In a lot of ways,this might just be the very best album Charles Bradley has made thus far. The backup instrumentation of instrumentals such as the Budos Band provide a sound that is squarely in both the deep Southern soul and psychedelic funk sound of the late 60’s. The vocals and arrangements are full of enormous drama as well. Bradley’s voice,especially on his impassioned howls,are echoed intensely throughout nearly every song here. With a large focus on uptempo songs,this really brings out the full power of what this artist has had to offer up musically from his very outset.
Originally posted on April 8th,2016
Link to original review here!
“Welcome to a new weekly segment of my own here on Andresmusictalk! For the first posting of this particular segment, I wanted to offer some clarification on why this exists. My blogging partner Henrique Hopkins suggested to me that because my music reviews on Amazon.com give such a well rounded and detailed take on different musical albums,it would be a good idea to post them here in a blog format to bring extra attention to them. Not only did I feel this is a good idea to help inspire other Amazon reviewers to give themselves permission to give more well rounded discourse in their reviews,but will also give me a chance to showcase new music in that funk,soul and jazz vein that is making significant contributions to creative and cultural futurism. This blog will generally appear every Saturday-perhaps a New Music Tuesday edition might appear on Wednesday’s on occasion. Anyhow enjoy this new feature. Thank you!”
It was only a couple of weeks ago that I discovered Aloe Blacc’s previous album to this Good Things on sale at Bull Moose,the local record store in my neck of the woods. Wondered why an album already several years old would’ve been on sale at this particular point. When I looked up the Orange County native with the apparently Panamanian back round,I discovered an unusually multi talented artist. Unusual in the sense that,aside from being a singer/songwriter and pianist but also a trumpet player. Quite unusual to hear of anyone today in the soul/funk spectrum who would be able to recognize that two seemingly disparate sounding musical instruments would both contribute nicely to a one-man band rhythm section. Not only that but before his current signing to Interscope Records,Blacc was involved in a musical collective strongly pushing pro immigration causes. That humanistic element really got my ears braced for what I’d hear when I listened to this album.
“The Man” starts out the album,a wonderfully dynamic wall of sound type soul type anthem of empowerment that brings to mind a contemporary black man’s interpretation of the E-Street Band style arena rock ‘n soul sound-filled with gospel infused spirit and energy. This musical concept returns with even stronger results on “Here Today”. The Pharrell Williams produced “Love Is The Answer” is my personal favorite here-a cleanly played and lean bass/guitar driven dance/funk arrangement that pleads eloquently for caring over cynicism in today’s world with Blacc’s deep and bluesy Gil Scott-Heron like vocal style and phrasing. Though not produced by Pharrell “Can You Do This” evokes a Dap-Tone-like 60’s soul/funk tone similar to what Pharrell is currently doing on some of his songs. A version of his older song “Wake Me Up” is presented here in an acoustic country/folk style. “Chasing” evokes the reverb heavy uptempo gospel inspired Sam Cooke style late 50’s soul while the cinematic “The Hand Is Quicker” and to even more effect “The Hand Is Quicker” have a very deep Southern blues inflected gospel attitude. The album closes with the Memphis style country soul ballad of “Red Velvet Seat” and the almost Philly/Chicago style “sweet funk” groove of the grateful and passionate “Owe It All”.
Overall this is one of the most unconventional and far reaching albums I’ve heard made by a young black man in the new millennium. None of the music here is at all devoted to patronizing anything at all involving contemporary electronic hip-hop/dance style productions that dominates the soul/funk/R&B world of today still. Therefore it is not neo soul either. Nor is it a purely nostalgic retro project of any kind. This is a powerful and diverse album that manages to utilize completely modern musical production techniques and digital sound as a means of communicating what,for all intents and purposes,is something based entirely of the music of the deep Southern funk,soul and especially hard acoustic folksy blues flavors. Most importantly,he utilizes this soulfully rooted instrumental platform as a means to express a number of important lyrical messages-ranging from empowerment to the every changing moods within the ongoing battle of the sexes. His lyrical and melodic construction of his songwriting is strongly indicative of someone who realizes that a modern black male artist can possibly begin to innovate in the soul/funk spectrum without totally embracing the most juvenile elements of the mass market variant of hip-hop. And if this album is any indication,this is definitely an artist that admirers of rootsy soul/funk/blues/jazz will want to keep an eye on in the future!
-Originally written on March 11th,2014