Collecting 1972's Life, Love and Faith, 1975's Southern Nights and 1978's Motion, as well as a bonus disc of a complete 1975 concert, The Complete Warner Recordings is the rare compilation that serves as both highlight reel and in-depth tutorial. To call Allen Toussaint "underrated" is both fitting and a slight understatement, as though his recorded output over the past 50 years has been incredible (for those who've been keeping track), he's best known as the writer of other people's hits. Glenn Campbell made "Southern Nights" his own in his 1977 album of the same name, Bonnie Raitt used "What is Success" as the centerpiece to her 1974 Streetlights LP and just about everyone has their own version of "Working in the Coal Mine." Looking back on his string of LPs for Warner/Reprise in the mid 70s though, it's amazing Toussaint didn't hit it big in his own right. The first of the bunch, Live, Love and Faith, overflows with hits, touches on tripped out funk and, though bordering on genre exercise, manages to hold together quite nicely, but his second LP for the label, Southern Nights, is the true masterpiece. Held together by the title track, sections of which weave in and out of the LP in ghostly apparitions, Southern Nights is a classic fusion of southern soul and tasteful psychedelia in the hands of a true master - impeccably arranged from end to end and fascinating through a set of headphones. Its follow up, Motion, doesn't quite move me as do its predecessors, but I'm sure it will eventually, so it's great to have on deck. Highlights of the live set include "Last Train" and "Southern Nights," but really, it's incredible all the way through to Toussaint's closing statements.
Showing posts with label Funk. Show all posts
Showing posts with label Funk. Show all posts
Friday
Allen Toussaint
The Complete Warner Recordings - 1972-1978
Collecting 1972's Life, Love and Faith, 1975's Southern Nights and 1978's Motion, as well as a bonus disc of a complete 1975 concert, The Complete Warner Recordings is the rare compilation that serves as both highlight reel and in-depth tutorial. To call Allen Toussaint "underrated" is both fitting and a slight understatement, as though his recorded output over the past 50 years has been incredible (for those who've been keeping track), he's best known as the writer of other people's hits. Glenn Campbell made "Southern Nights" his own in his 1977 album of the same name, Bonnie Raitt used "What is Success" as the centerpiece to her 1974 Streetlights LP and just about everyone has their own version of "Working in the Coal Mine." Looking back on his string of LPs for Warner/Reprise in the mid 70s though, it's amazing Toussaint didn't hit it big in his own right. The first of the bunch, Live, Love and Faith, overflows with hits, touches on tripped out funk and, though bordering on genre exercise, manages to hold together quite nicely, but his second LP for the label, Southern Nights, is the true masterpiece. Held together by the title track, sections of which weave in and out of the LP in ghostly apparitions, Southern Nights is a classic fusion of southern soul and tasteful psychedelia in the hands of a true master - impeccably arranged from end to end and fascinating through a set of headphones. Its follow up, Motion, doesn't quite move me as do its predecessors, but I'm sure it will eventually, so it's great to have on deck. Highlights of the live set include "Last Train" and "Southern Nights," but really, it's incredible all the way through to Toussaint's closing statements.
Collecting 1972's Life, Love and Faith, 1975's Southern Nights and 1978's Motion, as well as a bonus disc of a complete 1975 concert, The Complete Warner Recordings is the rare compilation that serves as both highlight reel and in-depth tutorial. To call Allen Toussaint "underrated" is both fitting and a slight understatement, as though his recorded output over the past 50 years has been incredible (for those who've been keeping track), he's best known as the writer of other people's hits. Glenn Campbell made "Southern Nights" his own in his 1977 album of the same name, Bonnie Raitt used "What is Success" as the centerpiece to her 1974 Streetlights LP and just about everyone has their own version of "Working in the Coal Mine." Looking back on his string of LPs for Warner/Reprise in the mid 70s though, it's amazing Toussaint didn't hit it big in his own right. The first of the bunch, Live, Love and Faith, overflows with hits, touches on tripped out funk and, though bordering on genre exercise, manages to hold together quite nicely, but his second LP for the label, Southern Nights, is the true masterpiece. Held together by the title track, sections of which weave in and out of the LP in ghostly apparitions, Southern Nights is a classic fusion of southern soul and tasteful psychedelia in the hands of a true master - impeccably arranged from end to end and fascinating through a set of headphones. Its follow up, Motion, doesn't quite move me as do its predecessors, but I'm sure it will eventually, so it's great to have on deck. Highlights of the live set include "Last Train" and "Southern Nights," but really, it's incredible all the way through to Toussaint's closing statements.
Thursday
Numero 33: Light: On The South Side
Friends, the inimitable Numero Group has done it again. Set for release this month, the heroes of lost and found treasures are taking pre-orders for Light: On the South Side, a massive 2 LP set of mid seventies Chicago south side soul/funk bundled with a 132 page book of B&W photos of the era. Considering this sweet hometown homage looks to be the most impressive entry in the Numero catalog - yes, even better than Belize City Boil Up and Don't Stop: Recording Tap, stone classics around the House of Heat Warp - my pre-order's already in the stack. What's more, it means I got to wrap my ears around an instant download of the whole affair while I bide my time for the box and book to arrive in a couple of weeks. This is how you run a label, folks. Check out the preview below.
Herbie Hancock
Man-Child - 1975
If you've been following the goings on down here at The Heat Warps for any length of time, you've no doubt caught a whiff of our serious love of Herbie Hancock's 70s output. The man was simply unstoppable from 1969 on, dropping in on an occasional session with Miles, forming the backbone of what was essentially the house band for CTI in the early part of the decade and, of course, releasing a string of deep funk and daringly experimental LPs with not one, but two legendary combos. Whew. Just thinking about the man's schedule is taxing. And while 1973's Head Hunters was (and maybe still is) the greatest selling jazz LP of all time, to mark the year as any sort of creative peak is a serious misstep. Thrust, the immediate successor to Head Hunters, grooved even harder and tighter, while 1975's Man-Child piled on the guitars (3 to be exact) and went heavy on synths to merge heavy funk with Mwandishi-style headiness. Hell, even Stevie Wonder drops in to blow some harmonica on "Steppin' In It." It could be argued that, despite being overlooked in favor of its more popular an instantly accesable predecessors, Man-Child is the culmination of everything that made Hancock's 70s LPs so impressive. Intelligent songwriting, deep grooves, tasteful instrumentation and an unmatched cast of characters. There definitely a reason it's always finding its way back to the turntable.
If you've been following the goings on down here at The Heat Warps for any length of time, you've no doubt caught a whiff of our serious love of Herbie Hancock's 70s output. The man was simply unstoppable from 1969 on, dropping in on an occasional session with Miles, forming the backbone of what was essentially the house band for CTI in the early part of the decade and, of course, releasing a string of deep funk and daringly experimental LPs with not one, but two legendary combos. Whew. Just thinking about the man's schedule is taxing. And while 1973's Head Hunters was (and maybe still is) the greatest selling jazz LP of all time, to mark the year as any sort of creative peak is a serious misstep. Thrust, the immediate successor to Head Hunters, grooved even harder and tighter, while 1975's Man-Child piled on the guitars (3 to be exact) and went heavy on synths to merge heavy funk with Mwandishi-style headiness. Hell, even Stevie Wonder drops in to blow some harmonica on "Steppin' In It." It could be argued that, despite being overlooked in favor of its more popular an instantly accesable predecessors, Man-Child is the culmination of everything that made Hancock's 70s LPs so impressive. Intelligent songwriting, deep grooves, tasteful instrumentation and an unmatched cast of characters. There definitely a reason it's always finding its way back to the turntable.Tuesday
Baby Huey
The Baby Huey Story: the Living Legegnd - 1971
God only knows why I passed up this record for so long. I urge you to not make the same mistake. James Ramey, or oddly "Baby Huey", was a giant at over 400 pounds. He was a young (26 at the time of this recording) heroin addict, a disciple of Curtis Mayfield and was dead before his only LP could be completed. Inspired by Sly Stone's psych-soul, Huey and the aptly-named Babysitters, forged a similar path in the late 60s Chicago club scene. But where Sly's pre-Riot funk could be uplifting, friendly even, Huey and the Babysitters' brew was a tad darker, more heady and without a doubt, some of the heaviest funk of the era. The band's live set grabbed the attention of Curtis Mayfield, who produced their debut and donated a few tracks of his own, "Mighty Mighty", "Runnin'" and the magnificent "Hard Times". At some point during the sessions, Huey suffered a fatal heart attack in a Chicago hotel, and though Mayfield and the band trudged on and finished the record, it failed to chart and was resigned to obscurity. Nearly 40 years on, The Living Legend remains an intensely vivid snapshot of a band and a singer with no rivals, flawlessly produced and tastefully dated. It's easy to dream how far out Huey and the band could've gone from here, but its hard to imagine they'd could ever top this.
God only knows why I passed up this record for so long. I urge you to not make the same mistake. James Ramey, or oddly "Baby Huey", was a giant at over 400 pounds. He was a young (26 at the time of this recording) heroin addict, a disciple of Curtis Mayfield and was dead before his only LP could be completed. Inspired by Sly Stone's psych-soul, Huey and the aptly-named Babysitters, forged a similar path in the late 60s Chicago club scene. But where Sly's pre-Riot funk could be uplifting, friendly even, Huey and the Babysitters' brew was a tad darker, more heady and without a doubt, some of the heaviest funk of the era. The band's live set grabbed the attention of Curtis Mayfield, who produced their debut and donated a few tracks of his own, "Mighty Mighty", "Runnin'" and the magnificent "Hard Times". At some point during the sessions, Huey suffered a fatal heart attack in a Chicago hotel, and though Mayfield and the band trudged on and finished the record, it failed to chart and was resigned to obscurity. Nearly 40 years on, The Living Legend remains an intensely vivid snapshot of a band and a singer with no rivals, flawlessly produced and tastefully dated. It's easy to dream how far out Huey and the band could've gone from here, but its hard to imagine they'd could ever top this.Wednesday
Allen Toussaint
What is Success: The Scepter and Bell Recordings - 1968-70
It's hard to fathom the meager success of Allen Toussaint when considering the incredible impact he's had on music over the past 40+ years. In fact, the title of this compilation might be more fitting with a question mark at the end, but that's just getting picky. Jokes aside, this collection of tracks from Toussaint's second LP (the first under his own name) and a few singles from his days on the Bell label is a stunning example of the man's ability to crank out classic after classic tune and one of the greatest single documents of Crescent City R&B every produced. And though he's looked upon fondly for his songwriting chops, Toussaint's fingerprints are all over records by Dr. John, the Meters, Lee Dorsey and famously, the Band's Rock of Ages LP, for which he arranged the horns. Just take a peek at the liner notes - he's everywhere. So hearing Toussaint's own records is like filling in a giant void, connecting the dots on your record collection and realizing there's a giant hole in it where his LPs should be sitting.
It's hard to fathom the meager success of Allen Toussaint when considering the incredible impact he's had on music over the past 40+ years. In fact, the title of this compilation might be more fitting with a question mark at the end, but that's just getting picky. Jokes aside, this collection of tracks from Toussaint's second LP (the first under his own name) and a few singles from his days on the Bell label is a stunning example of the man's ability to crank out classic after classic tune and one of the greatest single documents of Crescent City R&B every produced. And though he's looked upon fondly for his songwriting chops, Toussaint's fingerprints are all over records by Dr. John, the Meters, Lee Dorsey and famously, the Band's Rock of Ages LP, for which he arranged the horns. Just take a peek at the liner notes - he's everywhere. So hearing Toussaint's own records is like filling in a giant void, connecting the dots on your record collection and realizing there's a giant hole in it where his LPs should be sitting.Thursday
Herbie Hancock
Flood (Live) - 1975
Herbie Hancock was all but unstoppable at the midway point of the 1970s. Following his tenure in Miles' great quintet through the latter half of the 1960s, working with the trumpeter to lay the groundwork for jazz-fusion at the turn of the decade, spacing out and stretching the groove beyond recognition with Mwandishi and pumping out some of the most refined, sophisticated funk of all time with Headhunters, Hancock was the master. It was all his turf. On Flood, the 1975 live album he recorded with the Headhunters lineup in (of all places) the Tokyo Sun Plaza, Hancock doesn't necessarily bring anything that he hasn't brought to record before, but featuring cuts from each of his previous three LPs - all of which are stone classics - the album serves as a Headhunters-era greatest hits that proves, yes, this band really was as good as it sounds on record. Chamelion and Watermelon Man, while great, lack the fire that only comes from having performed them a few too many times, so it's the tunes from Man Child and Thrust that really smoke here. Actual proof, indeed. This two-disc set runs a shade over 74 minutes, so burn it to a single, put it in the dash and enjoy those last few days of summer.
Herbie Hancock was all but unstoppable at the midway point of the 1970s. Following his tenure in Miles' great quintet through the latter half of the 1960s, working with the trumpeter to lay the groundwork for jazz-fusion at the turn of the decade, spacing out and stretching the groove beyond recognition with Mwandishi and pumping out some of the most refined, sophisticated funk of all time with Headhunters, Hancock was the master. It was all his turf. On Flood, the 1975 live album he recorded with the Headhunters lineup in (of all places) the Tokyo Sun Plaza, Hancock doesn't necessarily bring anything that he hasn't brought to record before, but featuring cuts from each of his previous three LPs - all of which are stone classics - the album serves as a Headhunters-era greatest hits that proves, yes, this band really was as good as it sounds on record. Chamelion and Watermelon Man, while great, lack the fire that only comes from having performed them a few too many times, so it's the tunes from Man Child and Thrust that really smoke here. Actual proof, indeed. This two-disc set runs a shade over 74 minutes, so burn it to a single, put it in the dash and enjoy those last few days of summer.Talking Heads
Live at the Tokyo Sun Plaza, February 27, 1981
In celebration of the upcoming release of Everything that Happens Will Happen Today, and David Byrne's subsequent and sure to be mind-blowing supporting tour, now's the ideal time to revisit some live Talking Heads at the peak of their powers. Fans of The Name of This Band Is Talking Heads will recognize a lot of the material here, as that double disc set included a number of tracks from this remarkable FM broadcast. Still, it's amazing to hear the spectacle as it unfolded on this particular night. The lineup featured here is nearly identical to the one from the Stop Making Sense concert film, but thanks in large part to the wild lead guitar of Adrian Belew, this incarnation is slithery, less muscular and far more psychedelic than the one that would appear on screen a few years later. My favorites from this show are the selections from the then-recently released Remain In Light, but the reinterpretations of the band's earlier material are all pretty incredible as well. If there's been a better band in the past 30 years, it's certainly not on my radar.
In celebration of the upcoming release of Everything that Happens Will Happen Today, and David Byrne's subsequent and sure to be mind-blowing supporting tour, now's the ideal time to revisit some live Talking Heads at the peak of their powers. Fans of The Name of This Band Is Talking Heads will recognize a lot of the material here, as that double disc set included a number of tracks from this remarkable FM broadcast. Still, it's amazing to hear the spectacle as it unfolded on this particular night. The lineup featured here is nearly identical to the one from the Stop Making Sense concert film, but thanks in large part to the wild lead guitar of Adrian Belew, this incarnation is slithery, less muscular and far more psychedelic than the one that would appear on screen a few years later. My favorites from this show are the selections from the then-recently released Remain In Light, but the reinterpretations of the band's earlier material are all pretty incredible as well. If there's been a better band in the past 30 years, it's certainly not on my radar.
Wednesday
Charles Wright and the Watts 103rd Street Rhythm Band
You're So Beautiful - 1971
Following the massive one-two punch of 1969's In the Jungle Babe and Express Yourself the following year, Charles Wright and his Watts 103rd Street Rhythm Band understandably began to run out of gas when it came to constructing tight, heavily orchestrated mini funk masterpieces. By the time You're So Beautiful was released in 1971, the band was frayed and loose; their uplifting soul anthems replaced by slow loping jams that bordered on despair and a general unease that drifted in an out of the grooves like an instrument in itself. If the band wasn't in tatters, it was damn close, with a number of members jumping ship throughout 1969 and 70, making the band that recorded You're So Beautiful and altogether different animal than the one that cut its two predecessors. Its easy to draw parallels to what was going on at the same time with Sly and the Family Stone, and though it doesn't quite mirror the hauntingly stark funk that became There's a Riot Goin' On, You're So Beautiful is an album that benefits heavily from a band falling apart at the seams. Loose, wearily funky and at times directionless to the point of amusement, the charm of the LP is in how good the music sounds despite it all, and how far out Charles Wright took himself and his band in just a year's time. This was to be the Watts 103rd's final album, thought Wright would continue to record solo records throughout the early part of the decade.
Following the massive one-two punch of 1969's In the Jungle Babe and Express Yourself the following year, Charles Wright and his Watts 103rd Street Rhythm Band understandably began to run out of gas when it came to constructing tight, heavily orchestrated mini funk masterpieces. By the time You're So Beautiful was released in 1971, the band was frayed and loose; their uplifting soul anthems replaced by slow loping jams that bordered on despair and a general unease that drifted in an out of the grooves like an instrument in itself. If the band wasn't in tatters, it was damn close, with a number of members jumping ship throughout 1969 and 70, making the band that recorded You're So Beautiful and altogether different animal than the one that cut its two predecessors. Its easy to draw parallels to what was going on at the same time with Sly and the Family Stone, and though it doesn't quite mirror the hauntingly stark funk that became There's a Riot Goin' On, You're So Beautiful is an album that benefits heavily from a band falling apart at the seams. Loose, wearily funky and at times directionless to the point of amusement, the charm of the LP is in how good the music sounds despite it all, and how far out Charles Wright took himself and his band in just a year's time. This was to be the Watts 103rd's final album, thought Wright would continue to record solo records throughout the early part of the decade.David Byrne
The Catherine Wheel - 1981
With his career as a solo artist nearing a third decade, it's incredible to hear David Byrne's first fully fledged solo effort sounding remarkably fresh and massively influential. Commissioned as the aural accompaniment to a Twyla Tharp Broadway production of the same name, The Catherine Wheel was recorded with a number of musicians from the Talking Heads' then-current touring band (Adrian Belew, Bernie Worrell, Steve Scales), features contributions from Eno, Jerry Harrison and percussionist Yogi Horton, and serves as a bridge between the brooding churn of Remain in Light and the dense funk of Speaking in Tongues. The Catherine Wheel isn't a light affair by any means, but the focus is less reliant on Byrne's lyrical prowess and directed more so on minimalist funk, spacious polyrhythms and creating an atmosphere of dark tension and general unease. The Talking Heads worked a few of the songs here into their live repertoire, including the magnificent "What a Day That Was" and "Big Business", which was often worked into a medley with "I Zimbra," and could've counted The Catherine Wheel as one of the finest additions to their catalog, had it bore their name along the top. The fact that it's a Byrne solo affair only heightens its impact. The version here includes the complete score.
With his career as a solo artist nearing a third decade, it's incredible to hear David Byrne's first fully fledged solo effort sounding remarkably fresh and massively influential. Commissioned as the aural accompaniment to a Twyla Tharp Broadway production of the same name, The Catherine Wheel was recorded with a number of musicians from the Talking Heads' then-current touring band (Adrian Belew, Bernie Worrell, Steve Scales), features contributions from Eno, Jerry Harrison and percussionist Yogi Horton, and serves as a bridge between the brooding churn of Remain in Light and the dense funk of Speaking in Tongues. The Catherine Wheel isn't a light affair by any means, but the focus is less reliant on Byrne's lyrical prowess and directed more so on minimalist funk, spacious polyrhythms and creating an atmosphere of dark tension and general unease. The Talking Heads worked a few of the songs here into their live repertoire, including the magnificent "What a Day That Was" and "Big Business", which was often worked into a medley with "I Zimbra," and could've counted The Catherine Wheel as one of the finest additions to their catalog, had it bore their name along the top. The fact that it's a Byrne solo affair only heightens its impact. The version here includes the complete score.Tony Allen & the Afro Messengers
No Discrimination - 1980
By 1980 Tony Allen had not only vacated the role he'd held as Fela Kuti's band leader and drummer for well over a decade, but had begun taking afrobeat off in his own unique direction. Much like Allen's previous two solo LPs, 1975's Jealousy and '77's Progress, the results aren't completely removed from what Fela was up to around the same time, but the gap between the two masters was undoubtedly widened with No Discrimination. Comprised of many members of Fela's Africa 70, Allen's Afro Messengers forged ahead with a deconstructed, almost dub-like approach to afrobeat paired with a subtle underpinning of greasy synths and gentle polyrhythms - a genre Allen himself would appropriately term afrofunk. As the decade wore on, Allen began incorporating period electronics, rap and R&B into the mix, but No Discrimination captures the brief moment when his music was still firmly rooted in West African traditions, but his desire of a more expansive palette first started to emerge. There's not a tune under 8 minutes here, and while all four are outstanding, the delicately trippy "Ariya" is my personal favorite. The Evolver label re-released this album paired with 1979's No Accomodation for Lagos a few years back, so pick that one up if No Discrimination piques your interest.
By 1980 Tony Allen had not only vacated the role he'd held as Fela Kuti's band leader and drummer for well over a decade, but had begun taking afrobeat off in his own unique direction. Much like Allen's previous two solo LPs, 1975's Jealousy and '77's Progress, the results aren't completely removed from what Fela was up to around the same time, but the gap between the two masters was undoubtedly widened with No Discrimination. Comprised of many members of Fela's Africa 70, Allen's Afro Messengers forged ahead with a deconstructed, almost dub-like approach to afrobeat paired with a subtle underpinning of greasy synths and gentle polyrhythms - a genre Allen himself would appropriately term afrofunk. As the decade wore on, Allen began incorporating period electronics, rap and R&B into the mix, but No Discrimination captures the brief moment when his music was still firmly rooted in West African traditions, but his desire of a more expansive palette first started to emerge. There's not a tune under 8 minutes here, and while all four are outstanding, the delicately trippy "Ariya" is my personal favorite. The Evolver label re-released this album paired with 1979's No Accomodation for Lagos a few years back, so pick that one up if No Discrimination piques your interest.Thursday
James Brown
Live In Zaire - 1974
In the half-century career of James Brown there are multiple highlights, of which this 1974 show in Zaire as part of the buildup for the Rumble in the Jungle is unquestionably among the top few. Rightly christening himself The Minister of the New Super Heavy Funk somewhere around the recording of 1973's The Payback or Hell the following year, JB had pushed his grooves to the outer reaches and his cultural relevance to the brink. Frankly, with an output as overwhelming as his was around this time, releasing 45s and double LPs of new material on a seemingly weekly basis, JB was arguably spreading himself pretty thin. Professionally recorded (though never officially released) and arguably superior to any of his live LPs aside from Live at the Apollo (1963), this concert captures it all at its frothy peak just as the wave was about to break and the Godfather's career began its slow decline. This was a man on a mission to bring it all back to the Motherland at the peak of the Black Power movement, and he did not disappoint. Despite tremendous sound quality, the widely bootlegged version that appears here contains a mildly annoying gap between tracks and a few questionable edits that break the overall flow of the show. Other than that, this is the document of the master of funk at the peak of his powers.
In the half-century career of James Brown there are multiple highlights, of which this 1974 show in Zaire as part of the buildup for the Rumble in the Jungle is unquestionably among the top few. Rightly christening himself The Minister of the New Super Heavy Funk somewhere around the recording of 1973's The Payback or Hell the following year, JB had pushed his grooves to the outer reaches and his cultural relevance to the brink. Frankly, with an output as overwhelming as his was around this time, releasing 45s and double LPs of new material on a seemingly weekly basis, JB was arguably spreading himself pretty thin. Professionally recorded (though never officially released) and arguably superior to any of his live LPs aside from Live at the Apollo (1963), this concert captures it all at its frothy peak just as the wave was about to break and the Godfather's career began its slow decline. This was a man on a mission to bring it all back to the Motherland at the peak of the Black Power movement, and he did not disappoint. Despite tremendous sound quality, the widely bootlegged version that appears here contains a mildly annoying gap between tracks and a few questionable edits that break the overall flow of the show. Other than that, this is the document of the master of funk at the peak of his powers.
Tuesday
Little Richard
Southern Child - 1972 (unreleased)
Though looked upon fondly under 30 years of hindsight, Little Richard's string of albums for the Reprise label in the early 70s sold so poorly that his fourth and final album, 1972's Southern Child, never saw the light of day. And what a shame, since this final LP was the most diverse and arguably the finest of the lot he recorded for the label. Paired with a campy, albeit very fitting cover photo of Richard milking a cow in the backyard of his own home, Southern Child was a collection that successfully fused the gospel rock of his early days with the gentle country ballads and spacious funk he'd been experimenting with throughout his Reprise series. The result is a triumph - a stylistic breakthrough that had been hinted at across a string of three LPs, and finally rises to the top here. The songs, all originals, are performed elegantly throughout, and find Richard at last freeing his voice from the constraints of self parody to deliver some of the most gentle and emotive performances of his long career. So different is his delivery, that throughout much of the album his vocals are hardly recognizable as his own. All of the tracks here are tremendous and the continuity of Southern Child is supreme, but its brilliance is illustrated most effectively by the second track "If You Pick Her Too Hard (She Comes Out of Tune)". If this LP had seen a proper release it would be the one Little Richard album in everyone's collection, but even with Rhino having included it as part of its King of Rock n' Roll: The Complete Reprise Recordings, the set's limited run of 2500 ensures this LP will stay off the radar for the foreseeable future. If you dug The Rill Thing, this one might just blow your mind.
Though looked upon fondly under 30 years of hindsight, Little Richard's string of albums for the Reprise label in the early 70s sold so poorly that his fourth and final album, 1972's Southern Child, never saw the light of day. And what a shame, since this final LP was the most diverse and arguably the finest of the lot he recorded for the label. Paired with a campy, albeit very fitting cover photo of Richard milking a cow in the backyard of his own home, Southern Child was a collection that successfully fused the gospel rock of his early days with the gentle country ballads and spacious funk he'd been experimenting with throughout his Reprise series. The result is a triumph - a stylistic breakthrough that had been hinted at across a string of three LPs, and finally rises to the top here. The songs, all originals, are performed elegantly throughout, and find Richard at last freeing his voice from the constraints of self parody to deliver some of the most gentle and emotive performances of his long career. So different is his delivery, that throughout much of the album his vocals are hardly recognizable as his own. All of the tracks here are tremendous and the continuity of Southern Child is supreme, but its brilliance is illustrated most effectively by the second track "If You Pick Her Too Hard (She Comes Out of Tune)". If this LP had seen a proper release it would be the one Little Richard album in everyone's collection, but even with Rhino having included it as part of its King of Rock n' Roll: The Complete Reprise Recordings, the set's limited run of 2500 ensures this LP will stay off the radar for the foreseeable future. If you dug The Rill Thing, this one might just blow your mind.Thursday
Tony Allen
Jealousy/Progress - 1975/77
Unofficial band director and drummer extraordinaire for Fela Kuti 's groups from 1968 through the late 70s, Tony Allen is arguably as important in the development of Afrobeat as Fela himself. A master of subtle precision and a purveyor of deep, classic funk, Allen released this pair of LPs in the mid 70s to step out of the shadow of his boss and pull his own contributions to the forefront. And while this is certainly the Tony Allen show, it's by no means a one man affair. It is, however, a massive attack of percussion. With Africa 70 providing backing and Fela contributing heavily on keys and saxophone on both albums, the sound isn't that different from any of the classic Fela LPs from this era - the drums are understandably pushed up in the mix, but the chant vocals, percussive guitars and plunky electric pianos pull everything toward a familiar core - but much like He Miss Road, the sound is less immediate, more atmospheric and spacious. All told, a magnificent pair of LPs that shed some long overdue sunshine on one the all-time greats. There's no way not to love this collection.
Unofficial band director and drummer extraordinaire for Fela Kuti 's groups from 1968 through the late 70s, Tony Allen is arguably as important in the development of Afrobeat as Fela himself. A master of subtle precision and a purveyor of deep, classic funk, Allen released this pair of LPs in the mid 70s to step out of the shadow of his boss and pull his own contributions to the forefront. And while this is certainly the Tony Allen show, it's by no means a one man affair. It is, however, a massive attack of percussion. With Africa 70 providing backing and Fela contributing heavily on keys and saxophone on both albums, the sound isn't that different from any of the classic Fela LPs from this era - the drums are understandably pushed up in the mix, but the chant vocals, percussive guitars and plunky electric pianos pull everything toward a familiar core - but much like He Miss Road, the sound is less immediate, more atmospheric and spacious. All told, a magnificent pair of LPs that shed some long overdue sunshine on one the all-time greats. There's no way not to love this collection.Monday
Nucleus
Elastic Rock - 1970
By 1970, the influence of Miles Davis' electric directions ran as deep as could be imagined. Cannonball Adderley fused deep R&B grooves into his repertoire, Carlos Santana stretched into the realm of ambient jazz, and Weather Report built the entirety of their early career around the understated sonic explorations that
Wednesday
Talking Heads
The Name of This Band is Talking Heads - 1982
Often overlooked in favor of the live concert film soundtrack Stop Making Sense, The Name of This Band is Talking Heads is a tremendous document that captures the band throughout the most interesting stages of an extremely varied career. Titled in response to the constant incorrect reference to the band as "The" Talking Heads, as well as a play on the way in which David Byrne would introduce the songs in the band's set "The name of this song is 'New Feeling'..." The Name of this Band... was released in 1982 as a stopgap leading up to 1983's Speaking in Tongues. The first disc features the familiar lineup of Byrne, Harrison, Weymouth
Tuesday
Herbie Hancock
Thrust - 1974
Following a period of intense exploration throughout the early 1970s, Herbie Hancock felt it was time to cut the fuss and drop the funk. And drop it, he did. With his massively successful 1973 Headhunters LP all but solidifying the genre of jazz-funk, it's truly amazing how its follow up has been left in the shadows for so long - especially when considering that Thrust may be the better album! The most notable difference from its predecessor is in the tighter, more complex drumming of Mike Clark, who had recently replaced Harvey Mason in the band's lineup. If you've heard anything from Thrust, it's likely to be Clark's frequently-copped groove that opens the album. And with that, the tone is set. Hancock's keyboard work is typically incredible - taking the wah'd clavinet and the ARP synth to greater depths than on any of his early 70s LPs - while Bennie Maupin fills out the low end with the bass clarinet that is a cornerstone of fusion in its own right (just check out the man's discography for heaven's sake!). While Headhunters may contain "Chameleon", Thrust lays claim to everything else. A magnificent LP from end to end.
Following a period of intense exploration throughout the early 1970s, Herbie Hancock felt it was time to cut the fuss and drop the funk. And drop it, he did. With his massively successful 1973 Headhunters LP all but solidifying the genre of jazz-funk, it's truly amazing how its follow up has been left in the shadows for so long - especially when considering that Thrust may be the better album! The most notable difference from its predecessor is in the tighter, more complex drumming of Mike Clark, who had recently replaced Harvey Mason in the band's lineup. If you've heard anything from Thrust, it's likely to be Clark's frequently-copped groove that opens the album. And with that, the tone is set. Hancock's keyboard work is typically incredible - taking the wah'd clavinet and the ARP synth to greater depths than on any of his early 70s LPs - while Bennie Maupin fills out the low end with the bass clarinet that is a cornerstone of fusion in its own right (just check out the man's discography for heaven's sake!). While Headhunters may contain "Chameleon", Thrust lays claim to everything else. A magnificent LP from end to end.Jimmy Smith
Root Down - 1972
As an undeniable master of the Hammond Los Angeles
As an undeniable master of the Miles Davis
At Fillmore - 1971
The result of a four-night stand at the Fillmore East running from June 17-20, 1970, At Fillmore is among the finest, and undoubtedly the most controversial live album in Miles' official catalogue. In order to fit Miles' Wednesday-Saturday residency into a double LP package, producer Teo Macero pulled some of the finer moments from each night and stitched them together to form a medley that took up a single side of vinyl. Initially, some listeners derided Macero's efforts on the basis that several tunes were repeated throughout the album, while others bellyached that editing the songs in such a fashion removed the groove that propelled each night's set. More savvy listeners however, heard the album as a brilliant distillation of Miles' live performance and a compelling record of the band's ability to so drastically reinterpret the same material night after night. Aside from the addition of Keith Jarrett on a wah-wah'd combo organ, At Fillmore features the same personnel that produced the live Black Beauty LP only two months previous - yet the two albums are so different that they could have been recorded years apart. Whereas Black Beauty was loose, mean document, ferocious to the point of frightening, At Fillmore is ambient, funky, tightly wound and extremely focused. On Black Beauty, the music was in complete control. Here, the ensemble holds the reins. Listen close. The results are absolutely incredible.
The result of a four-night stand at the Fillmore East running from June 17-20, 1970, At Fillmore is among the finest, and undoubtedly the most controversial live album in Miles' official catalogue. In order to fit Miles' Wednesday-Saturday residency into a double LP package, producer Teo Macero pulled some of the finer moments from each night and stitched them together to form a medley that took up a single side of vinyl. Initially, some listeners derided Macero's efforts on the basis that several tunes were repeated throughout the album, while others bellyached that editing the songs in such a fashion removed the groove that propelled each night's set. More savvy listeners however, heard the album as a brilliant distillation of Miles' live performance and a compelling record of the band's ability to so drastically reinterpret the same material night after night. Aside from the addition of Keith Jarrett on a wah-wah'd combo organ, At Fillmore features the same personnel that produced the live Black Beauty LP only two months previous - yet the two albums are so different that they could have been recorded years apart. Whereas Black Beauty was loose, mean document, ferocious to the point of frightening, At Fillmore is ambient, funky, tightly wound and extremely focused. On Black Beauty, the music was in complete control. Here, the ensemble holds the reins. Listen close. The results are absolutely incredible.Little Richard
The Rill Thing - 1971
Among the multiple "comebacks" of his long career, Little Richard's early 1970s recordings are far and away the most interesting and stylistically adventurous of the lot. His first in a series of records for the Reprise label, The Rill Thing, casually shifts from deeply southern swamp rock, country standards, a Beatles cover and even a ten-minute mild funk jam, features Little Richard on both electric and acoustic pianos and typifies the funky reckless abandon that makes this LP such a thrill. With The Rill Thing, he wasn't aiming to break new ground or retread on his golden period, only prove his validity to an audience that had all but forgotten about him. The fact that he went so far beyond that is truly remarkable. His trio of LPs from this era included The Rill Thing, The King of Rock n' Roll and The Second Coming, while a fourth, Southern Child remained unissued until Rhino released a limited edition set on their Handmade label that collected all of the material from the Reprise sessions. Enjoy the king in all his splendor, whooooo!!!
Among the multiple "comebacks" of his long career, Little Richard's early 1970s recordings are far and away the most interesting and stylistically adventurous of the lot. His first in a series of records for the Reprise label, The Rill Thing, casually shifts from deeply southern swamp rock, country standards, a Beatles cover and even a ten-minute mild funk jam, features Little Richard on both electric and acoustic pianos and typifies the funky reckless abandon that makes this LP such a thrill. With The Rill Thing, he wasn't aiming to break new ground or retread on his golden period, only prove his validity to an audience that had all but forgotten about him. The fact that he went so far beyond that is truly remarkable. His trio of LPs from this era included The Rill Thing, The King of Rock n' Roll and The Second Coming, while a fourth, Southern Child remained unissued until Rhino released a limited edition set on their Handmade label that collected all of the material from the Reprise sessions. Enjoy the king in all his splendor, whooooo!!!Pharoah Sanders
Deaf Dumb Blind - 1970
Preceded by a string of LPs that included Jewels of Thought and Karma (both from 1969), Deaf Dumb Blind (Summing Bukmun Umyun) combined the deeply spiritual tone of his previous LPs with tastefully funky R&B. And while Pharoah didn't necessarily morph into Sly Stone on this LP, the first of the album's two sides is a glorious landslide of polyrhythms African and Latin, pinned together by the piano of Lonnie Liston Smith (not to be confused with Hammond master, Dr. Lonnie Smith) and a massive five-piece horn section which included Gary Bartz (whose sax was all over Miles' Live-Evil and Cellar Door Sessions). An all-organic, funky affair. The second half of the LP is an entirely different animal. Inspired exercises in melodic phrasing and droning emotional climaxes, "Let Us Go Into the House of the Lord" is much more than a soothing comedown from the album's first half. From AllMusic:
This piece, and this album, is a joyful noise made in the direction of the divine, and we can feel it through the speakers, down in the place that scares us.
Amen.
Preceded by a string of LPs that included Jewels of Thought and Karma (both from 1969), Deaf Dumb Blind (Summing Bukmun Umyun) combined the deeply spiritual tone of his previous LPs with tastefully funky R&B. And while Pharoah didn't necessarily morph into Sly Stone on this LP, the first of the album's two sides is a glorious landslide of polyrhythms African and Latin, pinned together by the piano of Lonnie Liston Smith (not to be confused with Hammond master, Dr. Lonnie Smith) and a massive five-piece horn section which included Gary Bartz (whose sax was all over Miles' Live-Evil and Cellar Door Sessions). An all-organic, funky affair. The second half of the LP is an entirely different animal. Inspired exercises in melodic phrasing and droning emotional climaxes, "Let Us Go Into the House of the Lord" is much more than a soothing comedown from the album's first half. From AllMusic:This piece, and this album, is a joyful noise made in the direction of the divine, and we can feel it through the speakers, down in the place that scares us.
Amen.
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