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Donna Summer’s ‘I Remember Yesterday’ LP at 40: So Good,So Good To Feel The Love

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Donna Summer was someone whose full musical impact didn’t hit me at all until I was a grown adult. The discovery of her music recorded with Giorgio Moroder in the mid to late 70’s also helped me to alter my perception of disco. It wasn’t merely a medium of elongated singles meant for dancers of one particular generation. It was also utilized in different album length concepts reflecting the mainstream social revolutions of the 60’s and 70s-both real and fantasy based. Summer’s late 70’s with Moroder were among the most prominent disco albums reflecting this particular ethic.

I Remember Yesterday is an album of Summer’s with Moroder that interested me because it ended with “I Feel Love”,a song I first heard at the exact same time I was just starting to listen to Kraftwerk. Wanted to know what concept Summer,Moroder and Pete Bellote came up with together for an album with ended with what still often sounds like a totally futuristic song in 2017. A few years ago,I wrote a review on Amazon.com that goes deeper into how each individual song on the album. And how it all comes together into its overall concept.


Representing the final installment of what turned out to be a trilogy of concept albums released by Donna Summer on Casablanca records in 1976 and 1977,this album took a slight different approach to it’s music. Generally speaking musical concept tend to work on a floating timeline. Dream sequences,memories of the future,etc all work their way into lyrics at different times.

Well it doesn’t work that way here. Donna and Giorgio both were aware their musical interests worked on a timeline,even extending a bit before they were born. So the concept of this album wasn’t as much lyrical as it was cultural and moreover musical. It’s a journey from music’s past to an anticipated future. And as a musical timeline?I’m sure no one knew how spot on it would turn out to be.

The title song starts out the entire album…well in the best possible place: the big band swing era. As seen through the filter of the 4/4 beat,this brassiness (similar in flavor to Dr.Buzzard’s Original Savannah Band) showcases the origins of what they call Broadway disco. On the very catchy “Love’s Unkind” we’ve entered what sounds like some girl group/brill building type wall of sound.

And on “Back In Love Again” it’s total Holland/Dozier/Holland style Motown memories for Donna in a Supremes state of mind. By “Black Lady” there’s some fuzzed keyboards and we’re more into the 70’s blacksploitation funk era. “Take Me”,with it’s mix of dance rhythms and bass moog synthesizer and the lush ballad “Can’t We Just Sit Down (And Talk It Over)” are very much at present tense.

Of course the most talked about song here is “I Feel Love”,the closer representing the future. And especially now one realizes this is probably the birth of the electropop genre. Pulsing electronics inspired by the German dance music scene along with the repetitive vocal lines from Donna and flavor of an almost robotic orgiastic atmosphere,it’s the direction the parade was headed especially with new wave and even people as recent as Lady Gaga.

If Donna Summer never goes down in history for anything else it’ll be singing that one song. It’s also important to note this album also kind of takes you on an entertaining history through the eyes of the “black lady”. On the title song,she wants to dance the night away on a romantic adventure. By songs such as “Black Lady” and even “I Feel Love” she wants to experience life and sex on her own terms. And deal with the sensations on her own. It’s cultural marker,as well as musical ones are what makes this a very special album for 70’s era Donna Summer.


I Remember Yesterday remains one of my favorite full Donna Summer albums of the late 70s. One reason is how the albums takes a journey through time as an elongated musical continuum. It showcases how the 4/4 beat,an oft criticized element of the disco era, actually was part of music extending up through the different tributaries of rock n roll. This album focuses on music that has made people want to dance over the last few decades of the 20th century before it came out. And as such, I Remember Yesterday may be one of the most important musical statements of the disco era.

 

 

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Off The Record: Andre’s Review Of The 2013 Solo Release From Kraftwerk’s Karl Bartos

During his time as a member of Kraftwerk, Karl Bartos was apparently something of a musical archivist-using a number of tape machines to record different synthesizer ,computer and electric keyboard loops and snippets that were floating around as raw material as Kraftwerk were producing the music that would be so massively influential to future generations. Karl knew they would probably be of some use to him,someday.

But he didn’t know exactly when. Then came a period between 2010 and this release where,in the midst of conceptualizing his next album,he decided it was now appropriate to construct some type of form out of all the unfinished bits and pieces he had taped during Kraftwerk’s fruitful constructivist period. So he added his own new album concept into fleshing out these musical archives,and the result is this new album.

Not surprisingly this album has the flavor of a classic Kraftwerk album in their heyday. But there’s a very strong individual flavor as well. “Atomium” opens the album,a very orchestral and cinematic venture atypical of Kraftwerk’s more stripped down approach. It sounds like the opening of a feature film almost until snippets of vocoderized conversation about the rise and fall of the atomic age kick in,and one realizes it’s something else.

“Nachtfahrt”,”International Velvet” and even the largely instrumental closer “Hausmusik” are all happily melodic,minimal electronic pop firmly in the late 70’s Kraftwerk tradition of the form. “Without A Trace Of Emotion” and “The Tuning Of The World” strike more somber chords,as a longing for a grand creative subculture and,with no irony lost,a sense of humanity even in electronic music making up the lyrical form of these songs.

“The Binary Code” is a nearly two minute embodiment of “the video game sound” synthesizer composition in action,likely a taped loop unmixed from it’s approach. The almost industrial house approach of “Musica Ex Machina” as well as the far more experimental sound abstractions of “Instant Bayreuth”,”Vox Humana” and “Rhythmus”. These songs are a lot more complex rhythmically and melodically. And sound as if they come from the mid 80’s as Kraftwerk were regrouping to record as they reflect the influence of electro-funk/hip-hop to some degree.

There is a flavor to this album of a compilation of unreleased Kraftwerk material. But if one digs a little deeper there’s quite a lot more of Karl Bartos the individual as well. He has a thoughtful and reflective personality,illustrated in the in depth liner notes on this CD,that comes across loud and clear on his musical and lyrical choices. It’s an excellent recording I highly recommend to anyone who has a strong interest in Kraftwerk and the electronic music revolution in general.

Originally written as an Amazon.com customer review on March 22nd,2013

 

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Gregg Allman 1947-2017: The 70’s Allman Brothers Years & A Tribute To The Late Midnight Rider

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Gregg Allman, interestingly enough, had an interest in medicine growing up. In particular dentistry. Despite childhood rivalry with his older Duane,the Nashville native formed the Allman Brothers Band (as a keyboardist) with Duane and Dickey Betts. While years of drug abuse likely contributed to Allman’s fairly young passing at the age of 69 this past Saturday,the music he created with the Allman Brothers Band was not merely innovating Southern rock. But also allowing for long,instrumentally focused songs with jazz and funk elements helped expand the basic framework of countrified 70’s rock.

My personal chance to see Gregg Allman performed with the Allman Brothers Band was deferred. As I understand it,he was unable to appear with the band as one of the opening acts for the now deceased (and musical hero) B.B. King because of a reappearance of liver cancer with him. The concert was a bit of a fiasco in some ways. At the same time,it got my into exploring the Allman Brothers’ earlier albums. There’s much more I have to look into. But today,wanted to review my Amazon.com reviews of the Allman’s first four studio albums released from 1969 to 1973.


The Beginning (1969-70)

A few years ago when I was first getting heavily into beginning my collection of music from The Allman Brothers Band? There was an inner debate going on about how exactly to purchase their first two albums. Realizing these were considered the major cornerstone of their catalog? The two choices had an awkward wrinkle between them. Both albums were available separately on CD.

Yet so was this edition-both released unedited on a single CD. One of the reviews I read here actually mentioned the debut being remixed for this set. Still it was finding an used original CD edition of this double set at a reduced price (under $5) that decided me. After all,it’s all about the musical content in cases like this. And on that level?PHEW! What an set this is!

“Don’t Want To Bear No More” is a percussive,organ based instrumental while “It’s Not My Cross To Bear”,a cover of Muddy Water’s “Trouble No More” and “Dreams are more deeply blues oriented pieces. “Black Hearted Woman” and “Every Hungry Woman” are both riff heavy power blues/rock pieces.

“Whipping Post” blends an atmospheric jazzy rock flavor with yet more of a blues flavor. “Revival” opens the second album in this set with a rousing uptempo jam based in rhythm guitar/bass/organ interaction at it’s core. “Don’t Keep Me Wondering”,”Midnight Rider” and a version of “Hoochie Coochie Man” again deal with the shuffling blues again.

“Please Come Home” is a slowed down,classic Southern Rock ballad while “In Memory Of Elizabeth Reed” is a creamy guitar/organ led Latin jazz/rocker while “Leave My Blues Alone” ends the album with a thickly grooving power blues number. Both of these albums taken together have the effect of being part one and part two.

The powerful presence of Duane and Gregg Allman,along with drummer Jai Johanny Johanson really give this band the sort of jamming instrumental jazz/rock improvisational touch that set them in a class by themselves from many of the more pop oriented Southern rockers who came after them. Whatever way you pick these up? These are absolute essentials to build any Allman Brothers collection.

Eat A Peach/1972

The Allman Brothers Band,as led by Dicky Betts,are one of the few famous bands I’ve had the pleasure of seeing perform live. Their facility,even without an absently ill Gregg Allman on the keys,on elongated grooving jams is something worth hearing on the stage if the opportunity arises. Of course this album had a difficult place in Allman Brothers history.

It would have to be the transition from the original band led by Duane,who died in a motorcycle crash at the end of 1971 and the Dicky Betts led group that would come later. The juxtaposition of talents in this band seems to be of a sort that could have a domino effect if not handled very carefully. Luckily the way in which this album pulls that off really does the trick.

“Ain’t Wastin’ Time No More” and “Stand Back” are both hard grooving funk/rock jams that are loaded with Dicky’s Mississippi Delta blues flavor. “Melissa” and “Blue Sky” are more mellow countrified numbers filled with soulful melodies “Les Brers In A Minor” begins with Betts’ psychedelicized lead guitar before going into another of those great percussive 9+ Allman jams.

The middle core of this album was the last recordings from when Duane was alive-recorded at the Fillmore East. The highlight of this is “Mountain Jam”-an over half hour epic that is essentially several different songs: a guitar improvisation of Donovan’s “There Is A Mountain”,than a massive drum solo from Jai Johanny Johnson,a funkified electric bass solo from Berry Oakley and than a Southern Soul ballad before going back to the original theme.

Two faithful and amazingly played blues covers of Muddy Waters’ “Trouble No More” and Elmore James “One Way Out” round out the Fillmore set while the bluegrass guitar picking of “Little Martha” closes things out. Black Rock Coalition member/lead guitarist of Living Colour Vernon Reid claims this album as being a huge part of his musical education. Listening to it I can see why. It finds a band of musicians of different sorts bringing their different styles into clear focus.

The country slide guitar twang along with Dicky and Duane’s wonderful feel for the blues,along with the percussive drumming approach leads to enormous levels of instrumental improvisation here that puts the Southern Rock genre the Allman’s help pioneer into perspective between the psychedelic soul/rock and jazz fusion of Jimi Hendrix and Miles Davis respectively. One of the most fluidly musicinaly rock ‘n’ roll albums I’ve heard from the early 70’s!

Brothers & Sisters/1973

It would seem that a metaphorical specter of death was hanging over the Allman Brothers in the early 70’s When they were just hitting their very early stride as a recording entity? First band founder Duane is killed in an accident. Then during the making of their follow up without him,bassist Berry Oakley dies as well.

Dicky Betts, Gregg Allman and the remaining members made what turned out to be the very good decision of soldiering on without their two departed fellow band members and creative guiding lights. Being that they still celebrated an improvisational spirit? They actually found a functional way to adapt their sound to suit the circumstances.

“Wasted Words” starts out the album with a piano driven Stonsey blues/rocker. The electric organ fueled and more jazzy “Come And Go Blues” as well as the classic urban blues wailing of “Jelly Jelly” pretty much keep that essential core going right along with it. The bigger successes here ended up being the huge hit “Ramblin Man” with,along with the somewhat more instrumentally inclined “Jessica” showcase a sleeker and more relaxed sounding melodic variation of their Southern Rock approach.

“Southbound” brings a percussively shuffling funky soul rhythm to the affair and brings out some of the bands more jazzy improvisational instrumental spirit again “Pony Boy” closes out the album with a fast paced acoustic 12 bar blues.

Actually this is the very first Allman Brothers CD I ever saw. When I was 16,a friend of mine named Jeff gave me some things he was about to put in a yard sale and a copy of this album on CD was among them. I listened to it and intended to keep it. When he told me the CD went in the box he gave me by accident? I of course gave it back.

But I was happy to hear it a second time,after getting a copy of my own and realizing just how well the Allman’s musical broad mindedness helped them to survive as a band even when circumstances would seem to dictate otherwise. This album lacks the elongated instrumental approach they had with Duane and Berry in the band. But they were gaining another kind of ground. And even even greater commercial success while they were at it. And so they’d continue for decades to come after this!


Gregg Allman is survived by five children by from a number of his female partners and wives over the years. Most famously his now 40 year old son with Cher Elijah Blue-lead singer of the nu metal band Deadsy. Devon,four years older, is also the lead singer of a band called Honeytribe. No matter makes mark his progeny make on music in the future, what Allman did as a member of the Allman Brothers,despite personal problems between him and the group,was the most history making music he was associated with.

 

 

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The Aura Of Miles Davis: A Story About Miles’ Final Columbia Album

Miles Davis began 1985 having just received the Léonie Sonning Music Prize, which is the highest musical honor in the country of Denmark, in the last month of the previous year. Danish composer Palle Mikkelborg was so inspired by Miles’ achievement that he composed that he decided to compose a suite for him to record. The only major arranger Miles Davis had continually worked with before was Gil Evans. And even later on in their collaborations, Evans wasn’t as fully involved as he’d been when he’d helped to begin Miles’ career as a bandleader with the 1949 album Birth Of The Cool.

The album that came from Mikkelborg and Miles’ collaboration was called Aura. It was recorded early in 1985. Miles Davis was in the process of leaving Columbia for Warner Bros Records at the time. Despite the historic three decade association between Miles and Columbia, Aura wasn’t released until 1989 due to a contractual conflict of interest. It was music of many moods flowing together. It was composed based on notes corresponding to all the initials of Miles Davis’s first and last name. As for the rest of the album, I wrote an Amazon.com 9 years ago that digs deeper into what Aura was and still is.


Miles Davis,just about to leave Columbia records after a lucrative 30 year career with the label turned to Danish composer and musician Palle Mikkelborg to record a ten piece suite in Copenhagen in the late winter of 1985. After a frenetic fusion intro there are nine compositions titled after different colors of the “aura”: white,yellow, orange,red, green, blue,electric red,indigo and violet. Most of these songs,while musically very much in keeping with the early 80’s part of the “electric Miles” period showcase impressionistic “sound paintings” that not only bare a striking resemblance to Miles’ work with Gil Evans on albums like Sketches of Spain at least in terms of arrangement.

The main difference is that on these Miles plays against the melody most the time rather then with it,which while very much in the jazz improvisation tradition gives the music that sense of organized chaos common in Miles’ electric music:the idea melodies and rhythms that are completely different from each other and never coming to a resolution.In this context it could be seen as mixing different shades to make primary colors. The only really funky tune here is “Orange” which is indeed very fiery in nature. “Electric Red” and “Violet” are a slower burning kind of groove whereas “Blue” expresses a light reggae feeling for another musical “color”.

“Indigo” is the only real acoustic piece here. Some of these songs also feature the guitar of John McLaughlin who worked with Miles back in his Bitches Brew days. While the complex,almost ambient nature of ‘Aura’ might qualify elements of this album as off putting and some jazz fans might find some of these songs leaning towards the new age sound it is definitely one of the more unique and individual recordings in Miles’ vast catalog and he has many.


Aura is a true example of why albums matter a lot with instrumental jazz musicians such as Miles. When I first heard it,it was in the form of 30 second previews at a listening station when the remastered CD first came out. It sounded like dull electronic “new age” music in that context. And always avoided it. Upon purchasing the CD later and listening to it, it became clear these were songs that developed in sound and even genre as they went along. In that context,its innovative orchestrated jazz fusion. Therefore I recommend seeking out the Aura album on its own terms-to take in its brilliance.

*Listen to the funkiest song on this album called “Orange” here!

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Go For Your Guns: 40 Years Of A Funky Voyage To Atlantis With The Isley Brothers

Go For Your Guns

Go For Your Guns is an album whose 40th anniversary occurred over a month ago. And it was something that pretty much demanded to be over viewed here. My interest in the Isley’s 70’s music flowed from Rickey Vincent’s book on funk during that time. He referred to them as the epitome of funky manhood-with Chaka Khan as the female equivalent of the time. How I ended up with a CD of  Go For Your Guns is a story in and of itself. And has a good deal to do with my great appreciation of this album over the years. Its actually included in my Amazon.com review I’ll include here.


Normally I tend not to do this. But there’s a personal connection with this album in my own life surrounding this album. During the Ice Storm of 1998,power was half out and everyone everywhere in the state of Maine was snowed in and/or iced in. It was an uncomfortably claustrophobic environment. The second day out,the driveway was cleared out just enough so people could get in and out of it. So we all ended up taking a drive to the nearby Borders Books & Music where,in their music section,they’d actually open and re-package a brand new CD if you wanted to listen to it.

I was in the R&B/soul section,where I always went first and say this album. I’d never heard any 70’s era Isley Brothers. Read about them during that period in Ricky Vincent’s Funk: The Music, The People, and The Rhythm of The One but had only heard them at that time via their newest album at the time Mission to Please. So I listened to the album and,since the price was exactly right for me that’s what I took home that night. I put my headphones on and listened. Listened in a context of great risk that the power might go out again and the family would swing into instant emergency mode. That didn’t happen. Yet this album made me feel very confident that better things were coming. Now,I’ll tell you why.

“Pride” starts the album out with some high octane wah wah and electric piano as Ron declares “when you finally break it on down/it’s your pride”-the Isley’s crowning manifesto of masculine consciousness that I think of as their most self defining funk jam of that era. With it’s creamily textured guitar and keyboard lines,the complicated melodic exchanges of the ballad type funk in “Footsteps In The Dark” evoke the lyrical imagery of a mature yet tentative romantic relationship with an uncertain future.

Chris Jasper’s pulsing synthesizer seems to call out from both above and below the spongy and melodic funk of “Tell Me That You Need It Again”-with Ron’s strong minded seduction oozing out of both the music and lyrics as well as the Isley’s ever did during this era. “Climbin’ Up The Ladder” goes right for the jugular of Ernie Isley’s guitar for a furious rocker with a clean,tight bluesy melody-again with Ron in his powerfully growling lower vocal range.

“Voyage To Atlantic” is a slower rocker focusing on an elaborate romantic fantasy. “Livin’ In The Life” and the instrumental companion title song are some of the most flat out amazing music the Isley Brothers ever made. It is the probably the most effective heavy metal funk ever made. The groove is solid and tight. Yet the synthesizers and Ernie’s guitar on the title song assault the music with a heavy biting steel. So the song accomplishes everything by embodying both funk’s instrumental cleanliness and rock’s instrumental passion.

Overall the one quality that defines this album is complete and utter confidence. It isn’t all necessarily testosterone fueled male ego by any means. Ron Isley goes out of his way to try to bring the feminine characters in this song to understand where he’s coming from-tending to respect their intelligence rather than demean them. More over however,on both an instrumental and vocal level,this album comes at the listener with the fervor of a sociopolitical musical preacher.

Some of the messages are non specific enough to be appealing to just about everybody,but the message is that love of the world begins with self confidence you can bring out in others. And the Isley’s all had plenty of reason to be confident with this album. As the 70’s wore on they gained progressively more and more control over every aspect of their music-from writing,producing and arrangement. Of course it wouldn’t be long after this that this would turn into some ugly ego regarding the generational differences of how the two sets of brothers conducted creative matters.

I do think that the strong level of confidence this album projects gives the listener the most positive overall view of the funk era. It certainly affirmed my appreciation of the music during a tense time for those around me even. And even at times when my confidence in funk itself was swayed for whatever reason? This album reminded me of what I loved about the music that no one could ever mistaken the sentiments of. So in that context along with the high quality music,this is one of a handful of funk albums I recommend as downright essential.


Go For Your Guns is album that hit me the moment I heard it,had the same effect when writing this review and its likely it always will. The Isley Brothers,especially during the 3+3 era combining the two generations of brothers in the family,dominated their funk in the recording studio much the same way they dominated the stage when performing live. Their music and persona was always a smoldering,passionately poetic funky fire that burns very strongly on every song on this album. Encourage all of you reading this who haven’t yet heard the album to check it out. You might just have a similar reaction.

 

 

 

 

 

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Stevie Wonder At 67,’Characters’ Nearing Its 30th Anniversary

Characters

Stevie Wonder had entered the 1980’s in an interesting musical position. He began the decade on a political crusade with the late Gil Scott-Heron to make Martin Luther King Jr’s birthday a national holiday. Musically however,his albums began coming fewer and farther between. Since becoming an innovative musical icon after his early/mid 70’s salad days,he was still commercially successful. But the blend of organic and electronic sounds and melodies he’d pioneered was mainstream by the early 80’s. So technically,he wasn’t considered to be so much of a musical innovator anymore.

That being said, Wonder’s songwriting approach was something very few could copy. Especially with all its jazzy complexities. Thus he began developing to the artist he is today: a man whose current music was based more on collaboration and songwriting for and with other artists. Most notably Jermaine Jackson’s “Let’s Get Serious” and Gary Byrd’s “The Crown” during the early 80’s. He only had three formal studio albums during the 80’s though. And the third of them was the 1987 album Characters. It had a home in my family’s cassette collection right when it came out. And fast entered my musical core.

Characters is an album that has garnered mix opinions from everyone from writers to critics to fans. A good deal of that has to do with it being from the late 80’s. And public opinion of changes in music during that time is a complex and controversial one. On a personal level however,its one of my very favorite albums by Stevie Wonder. It came out in a year that also included Prince’s Sign O The Times and when Michael Jackson’s Bad came out. So there was a renewed interests by soul/funk artists of making creatively and commercially successful music in what started as a rather rock based musical decade.

Now Characters is also an album that did indicate the continuing distance black American artists were having with the pop charts at the time. The Top 10 of the R&B charts in American placed the album right within it. He even did an MTV special featuring a guest appearance by the late Stevie Ray Vaughn to promote the album. But it landed only within the pop Top 20. Still that was enough for many people to appreciate Stevie Wonder making a new album at that time. Five years ago,I wrote a review of this album on Amazon.com going further into the albums more musical virtues.


Stevie Wonder had recorded his previous album In Square Circle in 1983 but released it in 1985. Even though its clear based on internet knowledge that Stevie didn’t write all of the songs on this particular album at the same time. On the other hand,the production was contemporary to its release. Stevie Wonder’s musical success was in a very interesting place in the late 80’s. At only a mere 37 years old Stevie,having been a child prodigy, was already a musically iconic figure before 40. Something of a modern day popular equivalent of a George Gershwin and Duke Ellington in terms of his body of musical accomplishment by this time.

He had created an entire template for funk composition in the 70’s. He was able to show the innovations of funk were not merely instrumentally challenging dance music,but could have its own style of songwriting to accompany it as well. By the 80’s,funk was changing into a more electronic style of dance music that didn’t (and still doesn’t) suit everyone’s fancy. The pop audience had also found a new darling in Michael Jackson,an artist Stevie once helped mentor. For his part Stevie seemed to have no trouble dealing with this. The R&B community still regarded him as their main man,and that hadn’t (and still hasn’t) changed. So in terms of his commercial output,on this album he went more for quality than quantity.

“You Will Know” is a beautifully dreamy mid tempo slow groove opener,with Stevie’s classic multi layered keyboards playing his complex chord structures on a song that pleas for hope among the hopeless. “Dark ‘N’ Lovely” is an intense,uptempo dance/funk piece with some heavy bass Clavinet type synthesizer work mixed with spacier electronics that reflected a theme of darker hued African American’s as being treated differently in society.

“In Your Corner” takes this modern electronic funk instrumentation on a song that reflects more the flavor of 60’s Motown-with a tale that basically picks up where “I Wish” left off:Stevie’s possible imagined (or real for all we know) life as a young adult. “With Each Beat Of My Heart” is a mostly acapella ballad,built upon some transcendent multi tracked harmonies from Stevie and him breathing in the rhythm of a heart beat itself-providing mainly piano and harmonica as the other instrumentation.

“One Of A Kind” is a deeply funky dance number,again built on dynamic harmony and Stevie’s poetically lovelorn lyrical preoccupation. “Skeletons” is a strong funk mashup of themes between “Superstition” and “Part Time Lover”-not too far in flavor from Cameo’s Word Up only a bit warmer and gentler in instrumental flavor.

“Get It” is a heavy dance/funk number-again duetting with Michael Jackson to return the favor from “Just Good Friends” on MJ’s Bad-finding the two aggressively trading off lyrics call and response. The clavinet based funk returns on the wondrously grooving “My Eyes Don’t Cry” whereas “Come Let Me Make Your Love Come Down” marries Stevie’s electronic grooves with a heavy blues featuring a guitar solo from B.B.King playing Lucille herself.

“Crying Through The Night” is one of my own favorites here-a Latin flavored number updated from a song he recorded in the mid 70’s. The two most intriguing songs are “Galaxy Paradise”,which strongly anticipates R&B/funk’s near obsession with Arabic melodies in the 80’s funk context and “Free”,which brings to mind his Bach-styled Clavinet “classical funk” sound for some dynamic “people music”.

This album is actually one of my very favorites of Wonder’s-certainly his finest of the 1980’s for me,as well as his last release of the decade. Not only did he dip strongly into his celebration of the innovation of funk,jazz,soul and European classical that defined his blockbuster 70’s successes but also had the time to anticipate a few modern day funk/soul musical concepts along the way as well. As controversial as this might sound to some 1980’s musical naysayers,this album is easily as innovative and thrilling for its era as Songs in the Key of Life was a decade before this.


Just listening to any Stevie Wonder album,especially if someone is seriously learning about music,can be a school lesson in sound layering and composition in itself. And at the end of the day, Characters was no exception to that rule. Even myself making music on Garage Band with Apple Loops now, I find myself hearing melodic/rhythmic combinations the way Wonder might. Says a lot for Stevie Wonder’s music influencing the creativity of a non musician…sound mixer. Characters above all things showcases how no matter when he created,Stevie Wonder’s sound remained intensely vital.

 

 

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Andre’s Amazon Archive for 11/29/2014-‘We’ll Never Turn Back’ by Mavis Staples

Mavis Staples We'll Never Turn Back

I first purchased this album the day it came out and,upon listening to it on the way home decided to toss it aside and let it collect dust. It was not because I didn’t like it but it seemed like there was so much gloomy,dark sounding music coming my way during this time and because there was so much hype in the press about the “relevence” of this album it was only natural I’d be a little let down anyway-that commonly happpens. So four years later I decided to give it a listen and see how it impacted me now. First off it’s important to note that this album is firmly the domain of a fully mature Mavis Staples and not the youthful soul shouter of her classic days with the Staple Singers.

She sounds like herself vocally but her interpretations have a heavy,craggy world weariness about them that’s quite appropriate for the kind of album this is.Produced by Ry Cooder this album is mainly composed of moodily chorded,heavy reverbed hard modern blues/soul/rock style versions of civil rights era protest/spiritual songs such as “This Little Light Of Mine”,”Eyes On The Prize”,”In The Mississippi River” and “Jesus Is On The Main Line”. The fact the little to nothing is known of those who made up these traditional songs Mavis and Ry almost make it sound as if they wrote the songs together as originals. The songs are played as if they’ve been written by the musician and Mavis,as always has exactly her way with them vocally.

Most of the album follows on this slow,heavy handed level as Mavis has obviously come to the conclusion we must not be lax in our outlook on civil rights because,in particular in the era this was recorded in it seemed as if things in that regard were taking a turn back. Seeing how poorly many people behaved during the 2008 presidential election she may have in fact been onto something. Only “99 And 1/2” and “My Own Eyes” have anything close to a dance tempo here. This is not exactly a happy album but it’s not pessimistic either. It’s rather resigned and that might be why upon first listen I had little to no reaction to it. It’s an album you will have to take time to really get into if your interested. But if you take the time the rewards are very worth it,especially for your soul!

Originally Review Written On May 14th,2014

Link to original review here!*

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Filed under 2007, Amazon.com, Blues, Mavis Staples, Music Reviewing, rhythm & blues, Ry Cooder, Soul, Southern Soul, Women