Massive grooves from a very unique group! These guys play guitar and
percussion all at once – in a flurry of fast grooves that rip away
tremendously, but with a style that's still plenty darn earthy! There's
definitely a bit of a global influence in the music overall, but the
sound comes out as pure funk in the end – tightly focused, and very
jamming – but not in a way that's ever too overindulgent. Some tracks
feature vocals by singers Leslie Vos and Renold Shearman, and
instrumentation includes guitars, organ, timbales, and congas.
A legendary record from one of the most unique Latin groups of their
time! In an early 70s world where many Latin combos were going for
class and poise, the Ghetto Brothers moved in another direction entirely
– working here with a fair bit of electric guitar alongside more
familiar Latin rhythms – all to push along some wonderfully soulful
vocals! The record's got a very different feel than most east coast
Latin work of the time – one that's a bit like some of the Chicano soul
of the west coast, but not nearly as smooth, and with a definite nod
towards both funk and singer/songwriter work of the mainstream! The
guitar's really upfront in the mix – riffing off at the start of most
tracks – and the vocals have a slightly sweet quality, supported by
harmonies from the rest of the group at times – making for a wicked
blend of modes that's extremely compelling.
There weren't many vocal albums on the Mainstream label during the early
70s, and this rare soul side is a real overlooked gem! Alice Clark has
a rich soulful voice, with a style that sounds a bit like Esther
Marrow, mixed with some of the lead vocalists in Voices Of East Harlem –
a really right-on sort of sound that's totally great, and way hipper
than most 70s chart soul! Arrangements are by Ernie Wilkins, who brings
in a touch of jazz – but again, with a much hipper feel than most of
his other backings – and most of the tracks are quite obscure,
well-written tunes – of the sort of material you might expect to hear
sung by Gil Scott-Heron or Donny Hathaway.By Dusty
A beautiful bit of funky rocking soul – and the one and only album by
the Deirdre Wilson Tabac – a group whose name is as strange as their
grooves are funky! The group are best known for their well-compiled
track "I Can't Keep From Cryin Sometimes" – an uptempo jazzy gem that
mixes skipping Hammond with soaring vocals and some really great horns –
and the rest of this set has a very similar feel – one that blends jazz
rock with more soulful vocals, in a groove that's totally unique!
Sonny Casella wrote, arranged, and produced the record – and he's also
the drummer in the group, so there's keen attention to rhythms on all
tracks.
Taste :
The Deirdre Wilson Tabac - I Can't Keep From Cryin Sometimes
The Deirdre Wilson Tabac - Get BackThe Dierdre Wilson Tabac
Williams meets the Cannonball Adderley Septet on this rather interesting session. The expanded rhythm section (which includes keyboardist George Duke and both acoustic bassist Walter Booker and the electric bass of Carol Kaye) gives funky accompaniment to Williams, while altoist Cannonball and cornetist Nat
have some solo space. Actually, the singer easily steals the show on a
searing version of "Goin' to Chicago Blues," and his own "Who She Do,"
and a few unusual songs, including Duke Ellington's "Heritage."
One of Lou Rawls' best for Capitol – produced by David Axelrod, and
arranged by HB Barnum with a joyous, leaping, sock-soulful groove! The
drums get nice and hard on the set – especially on the classic break
version of "For What It's Worth", and the rolling righteous cut "My
Ancestors" – and Lou's vocals are deeply wonderful all the way through!
One of the trippiest albums recorded for Verve in the 60s – a unique 2LP
set by Japanese psych artist Harumi – and a record that stands proudly
next to the best by Zappa or the Velvets at the time! The double-length
space of the record really helps give it some shape – as Harumi starts
out sweet, then gets a bit wilder, and increases the sense of
experimentation as the set rolls on – so that the final track is a
side-long psychedelic jam that's topped with spoken passages by Harumi's
parents and sister! We like the poppier tunes the best, though – and
they feature a mix of orchestrations, fuzzy guitar, and vibes – all
layered with a really beautiful sense of sound, to accompany vocals by
Harumi and Rosko. There's a gentle, breezy, and sometimes slightly
funky quality to these numbers – Sunshine Pop with a trace of jazz – and
exactly the kind of psyche album you might imagine from Verve in the
60s!
A fantastic album by The Dramatics – with a harder funkier sound than
you'll find on most of their other records of the time – a gritty gem
from the group's early years, and a record that really deserves its
placement on the Stax label! The record has the group moving into a
post-Temptations style of righteous soul – grooving hard with a really
heavy bottom on funky numbers like "Get Up and Get Down" and "Whatcha
See Is Whatcha Get", and even dropping a bit of a drug reference on the
cut "Marry Don't Cha Wanna" – one of those messed-up lyric numbers we'd
expect from a Latin Soul group! But the album's also got a sweet side
too – as it features the amazing ballad cut "In The Rain", which has
some of the most amazing production you'll ever find on the Stax label –
harmony work that rivals the greatness of the east coast scene of the
time.
Essential work by Aretha Franklin – one of her best albums for Atlantic
in the late 60s, with tracks that virtually define the sound of hard
soul during the late 60s! The album's filled with excellent material –
featuring 2 killer tracks recorded in Muscle Shoals ("Do Right Woman, Do
Right Man" and "I Never Loved A Man"), plus lots of other great hard
soul groovers done with Aretha's guiding light, Arif Mardin, in
Atlantic's New York studios – including the tracks "Respect", "Baby,
Baby, Baby", "Save Me", and "Dr. Feelgood".
An incredible record from Bobby Blue Bland – and quite possibly the
greatest one he ever made! The set's got an amazing something special
that's unlike most other material of the time – a bit blues, but a lot
of soul too – still with some echoes of R&B in the jazzier charts
used for the backdrop, but presented with a rock-solid style that
definitely points the way towards many sounds and styles to come in the
60s. And although Bland recorded many of these tracks as separate
singles, there's a way they're put together here that makes the whole
thing sound completely marvelous together – a really well-conceived
track list that shows that Bobby's an even greater artist in the space
of a full record. The arrangements are perfect, and Bobby's rough
soulful voice is blended in this amazing way with killer horn
arrangements that are far more sophisticated than most stuff that ever
came after this, and which never get in the way, but only back up his
deep emotion.
A 70s New York classic – the first and best album by Eddie Drennon!
Eddie's got a unique sound that's part soul and part Latin – grooving
here in a Latin Hustle mode that brings together gliding strings,
floating chorus vocals, and a heavier funk-based set of rhythms that
really kicks up the groove! Club diva Esther Williams is one of the
singers in the group, and the mix of strings and funk is completely
sublime throughout! Great cuts include the heavily funky (and often
sampled) "Theme In Search", which has a very dark groove that we can't
get enough of, and the club classic "Do What You Gotta Do" – but there's
also loads of other nice ones, like "Let's Do It Again", "Please Stay
Please Stay", and "Get Down, Do The Latin Hustle"
Taste :
Eddie Drennon & B.B.S. Unlimited – Do What You Gotta Do
By the time Odetta Holmes recorded Southern Soul classic Odetta Sings in
1970, she'd already released a dizzying array of albums over a 13-year
career. Initially a rhythm and blues artist, she played a key role in
the American folk revival of the 1960s and became a leading figure in
the civil rights movement. While Odetta Sings included some softly spun
fusions of folk and soul (see her fabulous covers of Paul McCartney's
"Every Night" and James Taylor's bluesy "Lo and Behold") and
string-drenched ballads, for the most part it was an impassioned and
upbeat affair, containing such classics as "Mama Told Me Not To Come",
"Hit and Miss" and "Movin' It On". In hindsight, it's one of the
strongest soul albums of all time.
Curtis Mayfield's lasting classic – and an album that the world will
remember forever! Apart from being his hugely successful entry into the
blacksploitation soundtrack field, this album's also a monster set of
grooves that includes some of Curtis' funkiest work ever – a record that
works as well as a 70s soul album as it does a hip action film score!
The track list alone reads as a who's who of 70s funk – filled with gems
that include "Pusherman", "Freddie's Dead", "Little Child Runnin'
Wild", "Give Me Your Love", and "Superfly" – and the rest of the set is
equally great, essential listening throughout!
H ταινια :
Ο Πρίστ, ένας έμπορος κοκαΐνης, κυνικός και τραχύς, αναζητά μια προσωπική οφθαλμαπάτη, μέσα από την πώληση κοκαΐνης. Ακόμη και το παρατσούκλι του στην ταινία, Πρίστ(παππάς), είναι ενδεικτικό των διαθέσεων του σκηνοθέτη, να παίξει με την ειρωνεία και τους βάλτους των χαμένων ιδανικών. Διακινεί όλο και μεγαλύτερες ποσότητες, αλλά κάποια στιγμή βλέπει το αδιέξοδο όλων αυτών, όντας και εκείνος χρήστης και θα θελήσει να ανοίξει έτσι απλά την πόρτα, για να ψάξει μια αλήθεια, μακριά από το δρόμο. Θα πλησιάσει, μαζί με τον συνέταιρο του τον Έντι, έναν παλιό γνώριμο, για να αγοράσουν μια μεγάλη ποσότητα, με απώτερο σκοπό να κερδίσει μισό εκατομμύριο δολάρια ο καθένας τους και να αναζητήσουν αλλού το ταξίδι τους. Μακριά από τα ναρκωτικά. Ξεκινάει να ονειρεύεται ξανά, μέσα στα άρρωστα σενάρια των οπτασιών, που του φέρνει η εφήμερη ευδαιμονία της κοκαΐνης. Η κοπέλα του, συμφωνεί και το κόλπο ξεκινάει. Δίχως να έχει παρελθόν και παρόν, πλήρως απογοητευμένος από την σάπια σκέψη του μέλλοντος, ο Πριστ θα αρχίσει να διοχετεύει τον θάνατο στους δρόμους, προκειμένου να ζήσει εκείνος.By Magico
Γεννημένος στον αμερικανικό Νότο στις 3 Μαίου του 1933 ο James Brown
έπαιξε το σημαντικότερο ρόλο στη δημιουργία και την εξέλιξη του funk. Οι
πλήρεις ενέργειας εμφανίσεις του πήραν διαστάσεις μύθου στις δεκαετίες
του '60 και του 70. Η μουσική του πορεία ξεκίνησε στους Gospel
Starlighters του Bobby Byrd. Σύντομα το γκρουπ άλλαξε μονοπάτια από
gospel σε r&b αλλά και το όνομά του σε The Famous Flames. Τη
δεκαετία του '50 υπέγραψαν συμβόλαιο με in Federal/King και γνώρισαν
μεγάλη επιτυχία με την μπαλάντα "Please,
Please, Please". Στα χρόνια που ακολούθησαν το ύφος του έγινε πιο
σκληρό μπολιάζοντας στον ήχο του στοιχεία jazz και latin, ενώ τα ρυθμικά
του μέρη έγιναν πιο περίπλοκα.
Σύντομα η φήμη του ως του πιο συναρπαστικού ζωντανού σόου άρχισε να
εξαπλώνεται στους μουσικούς κύκλους με ορόσημο το άλμπουμ ''Live At The
Apollo" του 1963. Λόγω διαφορών με την King κυκλοφόρησε το "Out Of
Sight" (1964) στη Smash Records. To άλμπουμ, αν και δεν μπορούσε να
θεωρηθεί funk, είχε όλα τα δομικά στοιχεία που αργότερα οργανώθηκαν
συστηματικά στο "Pappa's Got A Brand New Bag" (1965), μέσω του οποίου
έγινε ευρέως γνωστός στο λευκό κοινό. To "I Got You (I Feel Good)" που
ακολούθησε γνώρισε ακόμα μεγαλύτερη επιτυχία.
Η περίοδος μέχρι τα
τέλη των 60s ήταν η πιο επιτυχημένη εμπορικά και καλλιτεχνικά. Ο ήχος
του έγινε περισσότερο funky και οι στίχοι πιο προκλητικοί. Το 1969 το
μουσικό του μονοπάτι συναντήθηκε, για σύντομο αλλά ουσιαστικό χρονικό
διάστημα, με τους Catfish και Bootsy Collins (Parliament Funkadelic),
που τον βοήθησαν να εξελίξει τον ήχο του. Στη δεκαετία του 70 ο Brown,
αν και ήταν παραγωγικός, ουσιαστικά επαναλάμβανε τους ίδιους ήχους, ενώ
παράλληλα άρχισαν και τα προβλήματά του με την εφορία. Στις αρχές του
'80 και ενώ το rap και το hip-hop άρχισαν να κερδίζουν έδαφος στη
μουσική βιομηχανία., συνεργάστηκε με τον Afrika Bambaataa στο "Unity"
και το 1986 ξαναγνώρισε μεγάλη επιτυχία με το "Living In America" από
την ταινία "Rocky III". Προβλήματα με την αστυνομία και ένας
επεισοδιακός καβγάς με τη σύζυγο του, τον οδήγησε σε καταδίκη έξι χρόνων
που τον κράτησαν μακριά απ τα μουσικά δρώμενα.Αυτος ειναι ο Godfather
of soul!
Σάββατο 22 Απριλίου, οι ανθρακωρύχοι των 60’s έρχονται στο Milk’n’Chocolate.
Με αφορμή την Record Store Day αλλά και την κυκλοφορία της συλλογής
τους με τίτλο Groovadelic σε βινύλιο, οι Coalminers σε μια εφ’όλης της
ύλης συνέντευξη στη Δώρα Βάκα πριν το πάρτι που θα ακολουθήσει στο
Underflow Record Store and Art Gallery.
Σάββατο 22 Απριλίου από τη μια το μεσημέρι, στο Underflow. Καλλιρόης 39, Στάση Συγγρού - Φιξ
One of those rare gospel albums that sounds nothing like conventional
gospel – and which instead is a wonderful criss-crossing of soul, funk,
and spirit – all guided by an artist who's as righteous as his message!
The set was recorded in Nashville, and has a nicely laidback approach –
with lead vocals from Andre Wartts, in a raspy style that almost owes a
bit to Curtis Mayfield – especially in the way that Curtis could easily
shift between the secular and spiritual, and always make the whole
thing sound incredibly personal. Yet there's also some currents of
jazz, some moments of funk, and a really collaborative approach to the
album – as the Gospel Storytellers are clearly a very close-knit,
intimate group – one who really come alive when some of the backup
vocalists join Andre's lead.By Dusty
Taste :
Andrew Wartts And The Gospel Storytellers - There Is A God Somewhere
Taking into account Nino Ferrer's personal view of his discography, the album Nino and Radiah
should be perceived as his third album (although chronologically this
was in fact number seven). It followed the prog rock approach of 1971's Métronomie and the rock & roll leanings of the Mickey Finn collaboration Nino Ferrer & Leggs from 1973. The album is partly named after Afro-American singer Radiah Frye, and her pinup presence flanking Ferrer substantially upgraded the original album cover. Accompanied by the Lafayette Afro Rock Band (aka Ice), Ferrer set out on yet another shape-shifting exercise.
Nino and Radiah is in fact up there with classics like Melody Nelson and Polnareff's.By AMG
P.s Songs "The Garden" with its lazy organ and the bongo-laden "New York" sound fairly close to what the French band Air would build an entire career on.
Όλα ξεκίνησαν το 98 φοιτητής στην Θεσσαλονίκη όταν μετά από βόλτα
πέρασα μια από γνωστό δισκάδικο. Το “Spike s Choice” ήταν κάτι εντελώς
διαφορετικό στο άκουσμα. Πρωτόγνωρος ήχος για μένα και τόσο ακατέργαστος
….Τα” Damn it’s Hot “ “Hook and Sling Meets the Funky Superfly” “You
Better Thing Twice” “I Got the Feeling (διασκευή στον James Brown)”
ήταν πάντα στα dj set μου.
2002-03 δεν θα ξεχάσω,τα βράδια που μαζί με
τον κολλητό μου και κουμπάρο μου αργότερα Θεμιστοκλής Κυριαζής
παίζαμε Soul ,Funk και Hammond Jazz μουσικές στο Στρεφταρι. Πράγματα
πρωτάκουστα για το κοινό του Βόλου. H Ms. Jones ήταν παντα μέσα.Και όλο
και κάποιος/α θα ρωτούσε : Πως λέγετε το τραγούδι που παίζει??!
Το 2005 έρχεται το δεύτερο lp της “Naturally” παρέα με τους Dap Kings. Η
διασκευή στο “This Land Is Your Land” του Woody Guthrie την
απογειώνει. Ο κόσμος μαθαίνει τι είναι soul τι είναι funk.Τα ραδιόφωνα
αρχίζουν να παίζουν απ το πρωί ως το βράδυ “This Land Is Your Land” και
μαζί με την Ms.Jones και άλλους καλλιτέχνες και μπάντες όπως, τους The
Soul Providers τους Sugarman Three , Lee Fields , Spanky Wilson.
Χαμός…..
Για μένα η Ms. Jones, αν και παλιά καραβάνα, έπαιξε σημαντικό ρόλο στην αναβίωση της soul funk σκηνής των 00’s.
Καλό ταξίδι MISS JONES και σε ευχαριστώ.
Υ.Γ Απο κάτω μια ταινία που δυστυχώς στην Ελλάδα δεν ήρθε ποτέ. Καιρός να την ανακαλύψουμε.
Possibly the greatest album ever by the legendary Chicago soul singer
Terry Callier! Terry's rich mellow voice is mixed with superb
arrangements from the Cadet studio team, with Charles Stepney at the
head, and the result is completely sublime. The songs are longer than
on earlier albums – and spun out with a complex groove that mixes equal
parts of jazz, folk, and soul with the soaring spiritual vibe that was
running through the Chicago scene at the time. The first side alone is
the stuff that legends are made of – with classic tracks like "Dancing
Girl", "What Color is Love", and "You Goin' Miss Your Candyman" all in a
row, sewn together in a wash of love, soul, and emotion that you'd be
hard pressed to find on any other album from the time.By Dusty.
Supercharge was a 1970s rock band from Liverpool, U.K., founded by
singer/saxophonist Albie Donnelly. Original members included Albie
Donnelly (bandleader, vocalist, and tenor saxophonist), Ozzie Yue
(guitar/vocals), Allen 'Gaz' Gaskell (tenor sax, guitar, harmonica, and
vocals), Alan Peters (trumpet), Bob Robertson (baritone sax), Pete
Newton (bass guitar), Tony Dunmore (bass) and Dave Irving (drums). Later
versions of the band included various other musicians.
