Showing posts with label Funk. Show all posts
Showing posts with label Funk. Show all posts
Sunday, September 22, 2013
Frootful - The Road / Benedicts Boogaloo
In 2011, Frootful released their début album Colours on Freestyle Records to great acclaim, with everyone from Osunlade, Craig Charles and Diesler praising its modern-yet-retro blend of 60s soul, rocksteady, dance floor friendly jazz and R&B, whilst Jazz FM made it an Album Of The Week. The début single taken from it, 'Fish In The Sea' became a club hit, and also featured in Steven Soderbergh's hit movie Magic Mike.
Now Frootful return with a fantastic two track 45 taken from Heavyweight - the forthcoming long player.
The Road features UK soul vocalist Mazen Bedwei, who first featured on a Freestyle release when singing on Nick Van Gelder's 'Something's Gotta Give' on the compilation 'Sounds From The Soul Underground'.
The Road is a bright, breezy and uplifting soul groove, that has something of a late 60s feel, where shimmering horns underpin Mazen's Curtis Mayfield inspired vocals and Frootful main man Nick Radford's tasteful guitar picking locks down this sweet summer sound.
On the flip, the mood is altogether more greasy; Benedicts Boogaloo is a gritty soul-jazz work out that's been double dipped in the funk. Nick gets the chance to display his guitar chops wonderfully, the bubbling bass line is unrelenting whilst a dirty, distorted organ grooves out to a stunning climax!
Available from
Freestyle
Amazon
Junodownload
iTunes
Sunday, March 31, 2013
Cookin' On 3 Burners - This Girl feat. Kylie Auldist
Back in 2009, Freestyle released 'This Girl' by Cookin' On 3 Burners on a 45 single ahead of the full length album 'Soul Messin'.
This Girl featured renowned Aussie songstress Kylie Auldist (known for her work with The Bamboos, Polyester & Mega Bias) who joined forces with the boys and provided the focus for this mellow, beautiful and incredibly catchy song.
Shimmering horns ride over this laid back, deep soul classic, the super catchy melody found a home amongst fans of deep funk, classic 60s & Northern soul aficionados. Quickly selling out of its first, second and third vinyl pressing, the 45 went on to become one of those records that ended up going for quite 'silly money' on various rare record websites, which whilst flattering, did put the vinyl single somewhat out of reach of those not willing to part with a fat wad of cash in order to secure a copy!
So, now in 2013, Freestyle have bowed to public pressure and re-released this fantastic soul classic again on beautiful vinyl once more.
Upon its original release, everybody from Jazz FM's Peter Young through to BBC Radio 2's Mark Lamarr went just a little bit crazy about the song - and in 2013 this unforgettable touching song is getting even more people hot under the collar all over again!
For those of you whose vinyl & turntable days are a distant memory - of course - you can also grab this classic 45 from all the usual digital outlets.
Monday, November 26, 2012
The Craig Charles Funk & Soul Club
Charles, has been a dedicated soul boy from a tender age. In fact, he was raised on the sounds of sweet soul:
"My father came over from Guyana in the West Indies and he brought a load of records over with him. There was always Ray Charles playing in the house, The Platters, Aretha Franklin and Otis Redding. My Dad would play all this old stuff. In fact I was very close to getting called Otis when I was born! One of my earliest memories is my mum and dad dancing around the kitchen to Ray Charles' I've Got A Woman. I remember the look of sheer joy and exhilaration on their faces. I was hooked!"
After achieving mainstream success with his poetry, and then acting and TV presenting roles in cult sci-fi comedy Red Dwarf, Robot Wars and TV's longest running soap opera Coronation Street - as the taxi driving, soul music fanatic Lloyd Mullaney - Craig's reputation as a fun, funk loving soul boy was cemented with the public. In 2001, as the BBC prepared to launch the new digital radio station BBC 6 Music, he was asked to present a show. Over ten years on from the début broadcast, the show is now the award winning station's longest running, and has the biggest share of audience too, a very impressive result for what was originally thought of as a 'niche' programme!
It wasn't long before promoters of club nights and festivals were asking for Craig to bring his 'Trunk Of Funk' out on the road, and countless DJ slots across the UK and into Europe included; Mostly Jazz Festival, The Cheltenham Jazz Festival, Kendal Calling and The Big Chill, Vintage at Goodwood and even the world renowned Glastonbury Festival. It was only natural that Craig and Freestyle Records would join forces to bring forth this album album - the closest thing there is to having Craig come round your house and start the party off! Asked to sum up his feelings about his first DJ compilation album and the vibrant global music scene it reflects Craig said:
"This CD contains 19 rip snorting, bass drum banging, brass blaring booga-bloody-loo, big beats, bass lines and blooming brilliant vocals. From as far away as Australia with The Bamboo's ultimate party starter Amen Brother, to The Excitements coming out of Barcelona and some cover versions that have surely got to be better than the real thing, like Nostalgia 77 & Alice Russell'stake on The White Stripes '7 Nation Army'. And T Bird and the Breaks 'The Clap Hands Song', not to mention The Incredible Bongo Bands' skin shredding version of The Rolling Stones 'Satisfaction'. Bands like Smoove & Turrell from the north-east and The Haggis Horns. All these tunes are guaranteed to tear the roof off any venue festival or house party in the known universe.....
Tracklisting:
1. Amen Brother - The Bamboos
2. Wait a Minute - The Excitements
3. The Clap Hands Song - T Bird & The Breaks
4. Hard Work - Smoove & Turrell
5. Seven Nation Army - Nostalgia 77 ft Alice Russell
6. Insane In The Membrane - Prince Fatty ft Horseman
7. A Time For - Lack Of Afro ft Wayne Gidden
9. Killing - The Apples
10. Singalong - Treva Whateva
11. More Than Dancing - Federation of the Disco Pimp
16. The Snake - Al Wilson
17. Shaft In Africa - The Mighty Showstoppers
18. Dragging Me Down - Speedometer ft Martha High
Tuesday, November 20, 2012
Ripple - Sure Is Funky
Ripple were an interracial Michigan soul-funk band who are
best know for their 1973 hit 'I Don't Know What It Is but It Sure Is Funky' which peaked in the US Pop charts at #67 and the
US R&B chart at #11. It has also proved popular as a break beat
among the hip hop fraternity being sampled by the likes of Special Ed on ‘I Got It Made’, Kid ‘N’ Play’s‘Rollin’ With' and on a remixed version of ‘Everything’ by Mary J. Blige in
1997.
They were something of an eclectic bunch with an array of
influences that left their debut self titled album sounding more like a hastily
put together compilation as it drifts from kick ass funk through soulful
leanings, akin to a less distinctive variant of Stevie Wonder to pop inclined
tones, which all in all left them neither too raw nor too slick. Maybe they
would have been better to stick with funk as the other popular song from this
set ‘Funky Song’, another heavily sampled classic (Ice Cube’s 'The Death', MCLyte’s 'Funky Song' and many more), proves for when they are in this vein they
really create a groove to make ya move with a vibe that does exactly what it
says on the tin.
1 You Were Right On
Time
2 Be My Friend
3 I Don't Know What
It Is But It Sure Is Funky
4 I’ll Be Right
There Trying
5 Get Off
6 See The Light In
The Window
7 A Funky Song
8 Willie, Pass The
Water
9 Dance, Lady
Dance
10 Ripplin'
100% Dynamite Xmas Party
Soul Jazz Records is having its Xmas party on Saturday 8th December 2012
100% Dynamite returns to Electrowerkz for one glorious night only of Reggae, Funk, Soul, Dancehall, Dub and more. Soul Jazz Sound System DJs + Guest + MC Oxman.
Tickets are £5 only. Open 9pm-4am
Sunday, November 4, 2012
Martha High - Soul Overdue
Martha High's impeccable soul credentials are beyond
question. She was a member of The Jewels, who in the mid 60s were part
of The James Brown Revue, and also released two 45s produced by James
Brown. Although The Jewels eventually disbanded, Martha continued to be a part
of the live James Brown show for the next 30 years! It's Martha's
voice that graces JB classics such as 'Say It Loud - I'm Black & I'm
Proud' & 'The Big Payback' amongst many others.
Soul Overdue is an incredibly apt title for a project
that has been over 40 years in the making, and it shows that Martha's voice
remains undiminished, her youthful vocal clarity and style quite simply
dazzles, as she shows a host of young pretenders the way it should be done!
Kicking off with a high octane rendition of ‘No
More Heartaches’, Martha and Speedometer prove to be a perfect match as the
bands super tight musicianship provides a formidable backdrop to her searing,
soaring vocals. In comparison, the more subtle, tender moments on this
album, in particular the heart wrenching version of Etta James' 'I'd Rather Go
Blind' had already been proven as a show stopper live, and now that it has
been committed to tape, with The Voxettes added backing vocals, and Andy
Fairclough's masterful organ playing, it must surely be one of the finest
examples of contemporary bluesy soul around.
The entire album has garnered masses of love & support
and seems destined to be one of the most exciting & vital new soul releases
for many years.
Reviews:
"An album that
captures one of soul music’s most powerful voices. 4 Stars!" Mojo
magazine
"A beautifully
measured album full of vim and vigour" Blues & Soul magazine
"Martha was good
enough for ‘The Godfather’ – she’s good enough for me. Funky heaven!" Peter
Young, Jazz FM
Thursday, May 3, 2012
Lack Of Afro : 'One Way - Remixes & Rarities'
In a remarkably short amount of time, Adam Gibbons (Lack Of
Afro) has amassed an extensive and varied body of work. From his own
recordings, featuring his multi instrumental skills, to producing, DJ-ing and of
course, remixing tracks by a huge range of different artists. This 27 track, 2
disc collection ‘One Way - Remixes & Rarities’ brings together the cream of
Adams re-workings, some remixes of his own tracks by like minded artists, and
excitingly some previously unreleased material that sees the light of day for
the very first time on this killer collection of funk fuelled, dance floor
fodder.
‘One Way - Remixes & Rarities’ includes material from a
stunning range of highly renowned 21st century acts including: The Hot 8 Brass
Band, Flow Dynamics, Soopasoul, Mr Confuse, Eddie Roberts, Flevans, Bahama Soul
Club, The Diplomats of Solid Soul and Kraak & Smaak, The New Mastersounds and
is a comprehensive collection of sweetly soulful and fiercely funky finds!
You can get your CD copy from the Freestyle website, and the digital download via Juno Download or itunes.
Reviews/Quotes:
"If anyone is any
doubt that this man is one of the UK's finest talents then give this a listen.
First class!"
Craig Charles, BBC 6 Music
Craig Charles, BBC 6 Music
"The man without
the wild hairdo on the remix tip once again - all good!"
Andy Smith, Jam Up Twist
"Not just for
completists, this is an essential collection from one of the most exciting
artists/ remixers / producers of our time. Wicked, wicked stuff throughout and
even includes a few tracks that passed me by - bonus!!!"
Ginger Tony, Solar Radio
"Instead of
releasing the shitsack of filler which constitutes most artists idea of
'remixes and rarities' he drops some of the best stuff I've ever heard off
him!"
Tony, monkeyboxing.com
"Solid collection
of remixes and outtakes. For an avid fan some nice unreleased tracks but mostly
a collection of previously released funky beats n breaks. Very nice flow and
almost feels like a regular album, which is hard to achieve in a remix
collection" Sjoerd, Aurgasm
Friday, April 20, 2012
The (Fabulous) Counts
American soul/funk group The Counts, originally known as The Fabulous Counts formed in Detroit, Michigan in 1968. The band consisted of Mose Davis (organ), Leroy Emanuel (guitar), Demo Cates (alto sax), Andrew Gibson (drums), Jim White (tenor sax) and Raoul Keith Mangrum (percussion). In a very similar way as many reggae groups of the 60's they started out as both an instrumental headliner and backing band for visiting solo acts to the area. They won much local acclaim this way and so the group cut their first song, on local label Moira Records, "Jan, Jan" b/w "The Girl from Kenya" with producer Richard ‘Popcorn’ Wylie. The single proved a success and hit #42 on the US R&B charts in January of 1969. "Dirty Red" b/w "Scrambled Eggs", was up next, but although similar to "Jan Jan" passed without trace. Un-deterred the group recorded a full LP ‘Jan Jan’ for Cotillion, produced by Ollie McLaughlin. The LP contained their first two singles in their original form, as well as an altered version of ‘The Girl From Kenya’, two new originals, ‘The Bite’ and ‘The Other Thing’, while the rest of the LP is composed of good, bad and well.... interesting covers, including James Brown’s ‘It’s a Mans Mans Mans World’, Sly & The Family Stone’s ‘Sing a Simple Song’, Young Holt Unlimited’s ‘Soulful Strut’, Johnny Taylor’s ‘Who’s Making Love’ and ‘Hey Jude’.
The LP also contains their and biggest hit single "Get Down People" b/w"Lunar Funk". This tune peaked at #32 in the R&B chart, while staying there for 9 weeks, in early 1970. It also sneaked into US pop charts at #88.
This was the only LP the band did with Cotillion Records, and in 1971 they moved to Atlanta, Georgia, signing with Westbound Records. After a couple of personnel changes it was decided to drop the Fabulous from the name and it was here that they released ‘What’s Up Front That Counts’, before again moving , this time to Atlanta and ending up on Aware records for their last LP, ‘Funk Pump’ where they finally called it quits in 1976.

2009 saw The (Fabulous) Counts reunite back in that final line up from 1976 of Mose Davis (hammond, vocal), Leroy Emmanuel (guitar, vocal), Demo Cates (saxes, vocal), Jimmy "Junebug" Jackson (drums, vocal) and Jimmy Brown (saxes, vocal). A record, recorded in 1976, but never released because of the band's split was supposed to come out and the band was due to appear on a summer festival tour in Europe and the US, but I have found no details on either of these events coming to fruition.
Monday, February 20, 2012
Speedometer featuring Martha High 'The Shakedown'
Speedometer are one of the groups to have spearheaded the resurgence in deep, gritty funk and soul over the last decade with their strong, original material, as well as working with legends Eddie Bo, Sharon Jones, Billy Wooten, and Sir Joe Quartermain.
One of the recorded highlights of their many collaborations are the two juicy nuggets of sweet soul music sitting on either side of this fantastic single, featuring as it does the mainstay of the James Brown live shows for over 30 years, and Maceo Parkers current vocalist, Martha High.
Freestyle Records are to release these sides not only to celebrate the February 2012 UK tour Speedometer are embarking on, with Martha High leading from the front as only she can!
They are also immensely proud to announce that Martha will be releasing a new album with them this year, produced by Speedometer main man Leigh Gracie. The Shakedown (Say Yeah) is an almost criminally infectious groove with massive blasts of brass, growling organ, crisp drumming, snappy guitar and the bonus of added vocals from UK soul man Myles Sanko, providing the answer to Marthas' call to action!.
Flipside, Dragging Me Down evokes the spirit of Motown, long sweaty nights at Northern Soul venues like The Wigan Casino and The Twisted Wheel!
If you are looking for a quality download of this cracking new single they heartily recommend you grab it from Juno Download RIGHT HERE!
You can also catch the band and Martha LIVE at the following shows in
February 2012 including a headline show at the legendary Ronnie Scotts Club, London :
Tuesday, October 25, 2011
Lack Of Afro - This Time
Lack of Afro, AKA British multi instrumentalist /producer/remixer/DJ Adam Gibbons one of our favourite funkateers here at Springline, has just released his third album ‘This Time’.
The album, as with the previous two, blends funk, jazz, hip hop, soul and 60s pop to create diverse and contemporary breakbeats and cinematic back drops. There are also shows signs of a growing maturity as this has to be his most wide and ranging collection of eclectic sounds. In the past listening to Lack Of Afro was a bit like facing a military big gun bombardment at times as the beats shook right through you, but here there are softer, silky, shimmering soulful sides as well.
These softer sides are primarily shown in two vocal cuts. the first is the exquisite single ‘A Time For..’ featuring the smokey Curtis Mayfield, Marvin Gaye hybrid Wayne Giddens followed by the 60s pop-soul of ‘Fool’, with plucked orchestral strings a la Dusty Springfield and featuring Angeline Morrison who has worked recently with Frootful whose album ‘Colours’ was produced by Adam. These two vocalists also appear again on the album with Wayne on ‘What The Hell’ a more funky stax soul groove a kin to the sort of thing Raphael Saddiq has done on his latest album Stone Rollin’and Angeline on ‘The Importance Of Elsewhere’ which again rides a more funky beat, but this one leans more to a hip hop style while retaining her light soulful vocal.
The other two vocal cuts are the album opener and single in the making ‘Holding My Breath’ which features fellow Brighton dweller Jake Morley on a bounding Madchester beat and previous Afro cohorts rap duo Wax and Herbal T on ‘P.A.R.T.Y.’
the instrumentals is where the cinematic feel comes through with ‘Contusions’ having an afro-beat feel that could be the 21st century son or grandson even of ‘Shaft In Africa’ while ‘Little Fugue’ and ‘One For Bielski’ stray into beefed up Lalo Schifrinesque territory, the latter showing oriental influences, of say Enter The Dragon and Bielski is more Dirty Harry. Album closer ‘Lazy Lazarus’ sounds like a lost funked up, 60s garage band with slightly Latin leanings, you know the sort of thing you find in a Tarrentino movie.
‘This Time’ is an album of solid and diverse grooves that hints that it must surely now be only a matter of time before that big hit beckons.
Listen HERE
Buy HERE
Thursday, May 12, 2011
Raphael Saadiq - Stone Rollin’

Stone Rollin’ sees Raphael Saadiq carry on in similar vein to 2008s superb “The Way I See It” in that the ‘60s feel is still very much alive and well. This time though the Motownness is replaced by a heavier R&B feel laced with some period teenbeat pop. Take ‘Heart Attack’ that opens the set with its pounding drums and guitar riffing way reminiscent of Sly Stone, then there’s swinging single ‘Radio’ that has a bit of garage/surf band appeal while ‘Over You’ has more pounding funked up drums that almost drown out the orchestral string element of the song. The excellent title track itself is rock & roll soul that with its wailing bluesy harmonica makes it a kind of early Rolling Stones dipped in soul sounding affair.
There are still some quite soulful cuts with the lush ‘Go To Hell’ dipping into Curtis Mayfield and Marvin Gaye “What’s Going On” territory as it ascends onwards and upwards. ‘Movin’ Down The Line’ could easily be a forgotten track from his previous album as that Motown two step handclappin’ fingersnappin’ groove returns as does ‘Just Don’t’ with its touches of Motown’s late ‘60s psychedelic soul sound of sitar, and spacey keys added to a big string arrangement. ‘Good Man’ is another slice of smooth soul with a female rap that tips it towards a more 21st century sound.
Comparisons, much as I have here, are going to be made about this album with songs sounding a bit like this and a bit like that and some may say isn’t it about time he found a sound of his own, but at the end of the day so what. The melodies, as with all of Saadiq’s work are strong and he sounds like he is really enjoying himself, which in turn transfers to the you the listener, lifts you and puts a smile on your face and isn’t that something that all good music should do?
There are still some quite soulful cuts with the lush ‘Go To Hell’ dipping into Curtis Mayfield and Marvin Gaye “What’s Going On” territory as it ascends onwards and upwards. ‘Movin’ Down The Line’ could easily be a forgotten track from his previous album as that Motown two step handclappin’ fingersnappin’ groove returns as does ‘Just Don’t’ with its touches of Motown’s late ‘60s psychedelic soul sound of sitar, and spacey keys added to a big string arrangement. ‘Good Man’ is another slice of smooth soul with a female rap that tips it towards a more 21st century sound.
Comparisons, much as I have here, are going to be made about this album with songs sounding a bit like this and a bit like that and some may say isn’t it about time he found a sound of his own, but at the end of the day so what. The melodies, as with all of Saadiq’s work are strong and he sounds like he is really enjoying himself, which in turn transfers to the you the listener, lifts you and puts a smile on your face and isn’t that something that all good music should do?
Available at:
Saturday, January 22, 2011
The Menahan Street Band - 'Make The Road By Walking’

Having been recently listening to the fantastic debut album from Charles Bradley, I was left wanting to hear and find out more about his backing group the Menahan Street Band, who are the brainchild of guitarist/producer Thomas "Tommy TNT" Brenneck.
The idea for this group came while Brenneck was living in an apartment on Menahan St. in Bushwick, Brooklyn, New York and he put together a small bedroom studio (must have been some bedroom with all that brass) to use in creating this fine selection of instrumentals we have here, some of which have been utilised on the Bradley album.
The opening and title track of this 2008 album is 'Make The Road By Walking', which is named after a membership-based organization, located just around the corner from Menahan Street (on Grove Street), that promotes social and economic justice for the community through organizing, legally advising and aiding with numerous other forms of advocacy. The song itself is a steady paced tune with a slightly melancholy, jazzy vibe that wouldn’t have sounded too out of place as an interlude on Marvin Gaye’s ‘Trouble Man’. In fact 'Make The Road By Walking’ sets the tone for the whole album with emotive horns, solid basslines then a sprinkling of conga drums, vibes or flute placed on top. None of the instrumentals are also either too frenetic or too laid back in tempo; the whole ambience of it just flows along serenely and elegantly.
This is definitely an album for the hip and the cool, that has a gritty cinematic feel to it, so not surprising to learn then that triumphal sounding 'Going The Distance', was actually composed for the Stallone film 'Rocky Balboa'. It has also been endorsed by the Hip Hop community as they look for breaks, with Jay Z sampling the title track on his ‘Roc Boys (And The Winner Is)’, while 50 Cent, Kid Cudi and Royal Roach have all used ‘The Traitor’ for various projects.
I don’t know if Brenneck has more plans for the Menahan Street Band, but on the strength of this creative soulful, jazzy, afro-beat fuelled album I for one hope to one day hear more.
The idea for this group came while Brenneck was living in an apartment on Menahan St. in Bushwick, Brooklyn, New York and he put together a small bedroom studio (must have been some bedroom with all that brass) to use in creating this fine selection of instrumentals we have here, some of which have been utilised on the Bradley album.
The opening and title track of this 2008 album is 'Make The Road By Walking', which is named after a membership-based organization, located just around the corner from Menahan Street (on Grove Street), that promotes social and economic justice for the community through organizing, legally advising and aiding with numerous other forms of advocacy. The song itself is a steady paced tune with a slightly melancholy, jazzy vibe that wouldn’t have sounded too out of place as an interlude on Marvin Gaye’s ‘Trouble Man’. In fact 'Make The Road By Walking’ sets the tone for the whole album with emotive horns, solid basslines then a sprinkling of conga drums, vibes or flute placed on top. None of the instrumentals are also either too frenetic or too laid back in tempo; the whole ambience of it just flows along serenely and elegantly.
This is definitely an album for the hip and the cool, that has a gritty cinematic feel to it, so not surprising to learn then that triumphal sounding 'Going The Distance', was actually composed for the Stallone film 'Rocky Balboa'. It has also been endorsed by the Hip Hop community as they look for breaks, with Jay Z sampling the title track on his ‘Roc Boys (And The Winner Is)’, while 50 Cent, Kid Cudi and Royal Roach have all used ‘The Traitor’ for various projects.
I don’t know if Brenneck has more plans for the Menahan Street Band, but on the strength of this creative soulful, jazzy, afro-beat fuelled album I for one hope to one day hear more.
Thursday, June 3, 2010
Rasputin's Stash
Rasputin’s Stash, a '70s soul/funk ensemble from the Windy City of Chicago, were the brainchildren of session musician Martin Dumas Jr.Dumas formed the group, originally an eight-piece, out of fellow session regulars from the city during early 1970. They signed to the Cotillion label and released a self-titled album in 1971. For whatever reasons the band didn't stick together and gradually half of their members had left by the time they recorded their second album for Gemigo, a subsidiary of Curtis Mayfield's Curtom imprint. The remaining quartet of Dumas, Ernest Frank Donaldson, Bruce Butler, and Paul Coleman, shed the possessive of their band name and released another self-titled album, in 1974.
Gemigo eventually went under, and the group was shifted over to Curtom proper for a pair of singles released in the latter part of the decade: "Dance With Me" was released as r-Stash in 1977, and "Booty March" was released as Stash the following year.
In a distribution switch that saw Curtom move from Warner Bros. to RSO, the label's roster was gutted and Stash was one of the victims. After that, the group opted to quit, but not before they did plenty of shows in New York and their hometown, where they were most appreciated. Throughout the years, Rasputin's Stash and all its following incarnations endured as rare groove favourites. In 2000, the U.K.-based Sequel label issued 'The Devil Made Me Do It', a CD compilation of the group's Gemigo material, including several unreleased cuts that were intended for their third album.
Review
A friend of mine came across Rasputin’s Stash first album at a car boot sale back in the late 80's before just before 'rare groove' was about to kick off. It was brought for about a pound (UK) and only really on the strength of the cover. For the cove r despite its simplicity just oozes funk with those Afros and the name just brings visions of coolness. The cover was also a gatefold as I seem to remember despite being only a single album and when opened revealed lyrics on one side and a posed picture of the band on someone's porch emphasizing their coolness. I myself did own a copy of this but I had to pay more than a pound unfortunately and it took a few years of searching, but it was well worth the effort as this is a great slice of funk / soul / psychedelia. Opening track 'Your Love Is Certified' starts of with a bit of a hillbilly twang on a countrified slide guitar before breaking into a get down on it, shoe shufflin', funky groove, with rapid keyboard stabs. For me this is where the band works best when blazing out the funk whether it's on a brisk paced workout like "What's on Your Mind", or on the more sedate, grinding, sweaty Parliafunkadelimentish "You Better Think" or " I Want to Say You're Welcome".
Softer moments are here, as with most albums of this type, but they don't really grab you with the same zest of the others. Songs like "I'd Like to Know You Better", a more soulful outing that dips into light Jazz at one point, but still retains a funky vibe and "Take Me On Back" which despite its fluidity and soulfulness is bit a MOR, or as someone once put it to me a few years ago 'its Radio 2 music', and syrupy.
The main reason for digging this album out though is for A-side closer "Mr Cool". This is without an A+ classic. I expect some real fun was had when writing these tongue in cheek lyrics for this song about a stereotypical pimp from the early '70s, with dark shades, white suit and matching white car. They've really gone overboard with his bragging tales of 'fooling around with the president's old lady' and beating Armstrong to the moon but the soundtrack that accompanies all this is superb. The pulsing organ, big horns, tight little guitar licks and that zigzag drums and wandering bass give the funkiest beat this side of James Brown.
Certainly an album to put more glide in your stride and dip in your hip.
A1 - Your Love Is Certified
A2 - I'd Like to Know You Better
A3 - What's on Your Mind
A4 - Take Me on Back
A5 - Mr. Cool

A friend of mine came across Rasputin’s Stash first album at a car boot sale back in the late 80's before just before 'rare groove' was about to kick off. It was brought for about a pound (UK) and only really on the strength of the cover. For the cove r despite its simplicity just oozes funk with those Afros and the name just brings visions of coolness. The cover was also a gatefold as I seem to remember despite being only a single album and when opened revealed lyrics on one side and a posed picture of the band on someone's porch emphasizing their coolness. I myself did own a copy of this but I had to pay more than a pound unfortunately and it took a few years of searching, but it was well worth the effort as this is a great slice of funk / soul / psychedelia. Opening track 'Your Love Is Certified' starts of with a bit of a hillbilly twang on a countrified slide guitar before breaking into a get down on it, shoe shufflin', funky groove, with rapid keyboard stabs. For me this is where the band works best when blazing out the funk whether it's on a brisk paced workout like "What's on Your Mind", or on the more sedate, grinding, sweaty Parliafunkadelimentish "You Better Think" or " I Want to Say You're Welcome".
Softer moments are here, as with most albums of this type, but they don't really grab you with the same zest of the others. Songs like "I'd Like to Know You Better", a more soulful outing that dips into light Jazz at one point, but still retains a funky vibe and "Take Me On Back" which despite its fluidity and soulfulness is bit a MOR, or as someone once put it to me a few years ago 'its Radio 2 music', and syrupy.
The main reason for digging this album out though is for A-side closer "Mr Cool". This is without an A+ classic. I expect some real fun was had when writing these tongue in cheek lyrics for this song about a stereotypical pimp from the early '70s, with dark shades, white suit and matching white car. They've really gone overboard with his bragging tales of 'fooling around with the president's old lady' and beating Armstrong to the moon but the soundtrack that accompanies all this is superb. The pulsing organ, big horns, tight little guitar licks and that zigzag drums and wandering bass give the funkiest beat this side of James Brown.
Certainly an album to put more glide in your stride and dip in your hip.
Tracklist
A1 - Your Love Is Certified
A2 - I'd Like to Know You Better
A3 - What's on Your Mind
A4 - Take Me on Back
A5 - Mr. Cool
B1 - You Better Think
B2 - Freak's Prayer
B3 - Dookey Shoe
B4 - You Are My Flower
B5 - I Want to Say You're Welcome
B2 - Freak's Prayer
B3 - Dookey Shoe
B4 - You Are My Flower
B5 - I Want to Say You're Welcome
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Saturday, May 1, 2010
Sharon Jones & the Dap Kings - I Learned the Hard Way
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This, the fourth album from Sharon Jones & the Dap Kings, is surely their best and most consistent effort so far. The style is the same as the previous three a retro blend of Stax, Volt and Atlantic label soul, but I've got no problem with that.
It is a steady paced affair with Jones consistently hitting the highs and belting out the lows with ease and in a style that seems a little more controlled than before. The Dap Kings themselves are as tight an outfit as ever whether it is with the big dynamic brass bursts on songs like "If You Call" or gently accentuating the sorrow of emotive opener “The Game Gets Old”. The guitar work here should also not go unnoticed in its simple but very effective way with light licks here or a funkier strut there, as on "Better Things to Do". Probably the best song is "Money". It starts as a slow almost blusey affair then builds with Jones again wringing out the emotion of what we've all most likely faced recently in light of a recession money problems! Running it a close second has to be the hip-shaking tale of growing up fast "She Ain't a Child No More".
It is a steady paced affair with Jones consistently hitting the highs and belting out the lows with ease and in a style that seems a little more controlled than before. The Dap Kings themselves are as tight an outfit as ever whether it is with the big dynamic brass bursts on songs like "If You Call" or gently accentuating the sorrow of emotive opener “The Game Gets Old”. The guitar work here should also not go unnoticed in its simple but very effective way with light licks here or a funkier strut there, as on "Better Things to Do". Probably the best song is "Money". It starts as a slow almost blusey affair then builds with Jones again wringing out the emotion of what we've all most likely faced recently in light of a recession money problems! Running it a close second has to be the hip-shaking tale of growing up fast "She Ain't a Child No More".
"I Learned The Hard Way" may not be ground breaking or even hinting at a new direction for Jones & her Kings but this is a classic sound and no matter how you dress it great music is great music!
Mo' Record Kicks

MO' RECORD KICKS have brought out a new compilation full of exclusive new singles from their established as well as newly signed artists together with remixes and b-sides previously only available on 7". Almost all tracks here are seeing the light of day on CD via this compilation for the first time.
First up is Big Boss Man bass player Scott Milsom's new project The Hawk feat Little Hannah Collins "Don't Judge A Book By It's Cover". It's got a great driving Northern Soul beat which is bound to have the talcum powder boys very excited.
Next it is the sweet vocal of Gizelle Smith, the find of last year, with the sunshine bright disco soul "June" that has been remixed by TM Juke.
Ray Lugo Les Express features. Roxie Ray getting down and dirty on the brisk and funky "Get On Up", while the Soul Fantastics slow the pace but keep things chugging with their lost gem "Soul Train". Enzo Bontempi adds some humour with their "Italian Spiderman Theme" and then Privates Hammond Orchestra get that 60's Mod vibe blasting with the gritty "Battle Of Yoker". The New Mastersounds give the drummer some on "Nervous" before The Hi-Fly Orchestra go all cosmopolitan with "Latinkick". Gizelle Smith returns for her second outing "Waiting For Reforms" which shows her harder edge. Dojo Cuts "See And Don't See" gives us a blusey soulful funk tipped vibe followed by The Link Quartet's "Zebra" bringing us an acid jazz groove.
Kokolo's cover of James Brown's "Soul Power" gets The Lack of Afro treatment and is the first of three remixes from the top man. The other two are The Diplomats Of Solid Sound "Hurt Me So" and Ray Harris And Fusion Experience "Scaramunga". The first is a remix from their ‘Plenty Nasty’ LP, while "Scaramunga" has a bit of an Afro Funk swing paying respects to the James Bond baddie I assume. In between the Afo mixes are The Underbelly's wah drenched "Red Flames", the band are from Cornwall and this track features the sensational Roxie Ray on vocals, with Michigan's Third Coast Kings instrumental "Summalove" and "Crabs Corporation "Irrompibles Hi Fi" following on. The Crabs come from Buenos Aires with a classic slice of early reggae which warns about the perils of drinking too much.
As we near the end of the album Katzuma hit us with the cool early 80's Jazz Funk of "With Time" then it's of to Milano Jazz Dance Combo feat. Colonel Red and "Changes". Penultimate track from Floyd Lawson & The Harts Of Stone is another lost gem with a touch of 70's Northern Soul that has that funky twist on the eco flavoured "Air I Breath", Then Gizelle Smith pops up again and finally brings things to a close this time backed by the Hammond grinding Link Quartet.
The result of all this is an album that gives you the full spectrum of Record Kicks' sound; from deep funk and vintage soul to nu funk and big beats, from titty shakers to future disco, from early reggae to jazz-dance. A musical trip tailored expressively for forward-thinking listeners, cool dancefloors and funky feet!
Tracklist
First up is Big Boss Man bass player Scott Milsom's new project The Hawk feat Little Hannah Collins "Don't Judge A Book By It's Cover". It's got a great driving Northern Soul beat which is bound to have the talcum powder boys very excited.
Next it is the sweet vocal of Gizelle Smith, the find of last year, with the sunshine bright disco soul "June" that has been remixed by TM Juke.
Ray Lugo Les Express features. Roxie Ray getting down and dirty on the brisk and funky "Get On Up", while the Soul Fantastics slow the pace but keep things chugging with their lost gem "Soul Train". Enzo Bontempi adds some humour with their "Italian Spiderman Theme" and then Privates Hammond Orchestra get that 60's Mod vibe blasting with the gritty "Battle Of Yoker". The New Mastersounds give the drummer some on "Nervous" before The Hi-Fly Orchestra go all cosmopolitan with "Latinkick". Gizelle Smith returns for her second outing "Waiting For Reforms" which shows her harder edge. Dojo Cuts "See And Don't See" gives us a blusey soulful funk tipped vibe followed by The Link Quartet's "Zebra" bringing us an acid jazz groove.
Kokolo's cover of James Brown's "Soul Power" gets The Lack of Afro treatment and is the first of three remixes from the top man. The other two are The Diplomats Of Solid Sound "Hurt Me So" and Ray Harris And Fusion Experience "Scaramunga". The first is a remix from their ‘Plenty Nasty’ LP, while "Scaramunga" has a bit of an Afro Funk swing paying respects to the James Bond baddie I assume. In between the Afo mixes are The Underbelly's wah drenched "Red Flames", the band are from Cornwall and this track features the sensational Roxie Ray on vocals, with Michigan's Third Coast Kings instrumental "Summalove" and "Crabs Corporation "Irrompibles Hi Fi" following on. The Crabs come from Buenos Aires with a classic slice of early reggae which warns about the perils of drinking too much.
As we near the end of the album Katzuma hit us with the cool early 80's Jazz Funk of "With Time" then it's of to Milano Jazz Dance Combo feat. Colonel Red and "Changes". Penultimate track from Floyd Lawson & The Harts Of Stone is another lost gem with a touch of 70's Northern Soul that has that funky twist on the eco flavoured "Air I Breath", Then Gizelle Smith pops up again and finally brings things to a close this time backed by the Hammond grinding Link Quartet.
The result of all this is an album that gives you the full spectrum of Record Kicks' sound; from deep funk and vintage soul to nu funk and big beats, from titty shakers to future disco, from early reggae to jazz-dance. A musical trip tailored expressively for forward-thinking listeners, cool dancefloors and funky feet!
Tracklist
01. The Hawk feat. Little Hannah Collins - Don't Judge A Book By Its Cover
02. Gizelle Smith - June (Tm Juke Remix)
03. Ray Lugo Les Express feat. Roxie Ray - Get On Up
04. Soul Fantastics - Soul Train
05. Enzo Bontempi - Italian Spiderman Theme
06. Privates Hammond Orchestra - Battle Of Yoker
07. The New Mastersounds - Nervous
08. The Hi-Fly Orchestra - Latinkick
09. Gizelle Smith - Waiting For Reforms
10. Dojo Cuts - See And Don't See
11. The Link Quartet - Zebra 3
12. Kokolo - Soul Power (Lack Of Afro Mix)
13. The Underbelly - Red Flames
12. Kokolo - Soul Power (Lack Of Afro Mix)
13. The Underbelly - Red Flames
14. Third Coast Kings - Summalove
15. Crabs Corporation - Irrompibles Hi Fi
16. The Diplomats Of Solid Sound - Hurt Me So (Lack Of Afro Mix)
17. Ray Harris And Fusion Experience - Scaramunga (Lack Of Afro Remix)
18. Katzuma - With Time
19. Milano Jazz Dance Combo feat.Colonel Red - Changes (New Funk mIX)
20. Floyd Lawson & The Harts Of Stone - Air I Breath
21. The Link Quartet feat. Gizelle Smith - If You Wanna Be My Man
Raphael Saadiq - A Man of Many Talents
Raphael Saadiq was born Charlie Ray Wiggins on May 14th 1966 in Oakland, California. He has been hailed as a standard bearer for "old school" R&B since his early days as a member of the multiplatinum group Tony! Toni! Toné! And has also turned his talents to production where he has worked with such artists as Joss Stone, D'Angelo, Mary J. Blige, and John Legend.
Saadiq began his professional career as the lead vocalist and bass player in the rhythm and blues trio Tony! Toni! Toné! He used the name Raphael Wiggins while in Tony! Toni! Toné!, where he was joined by his brother Dwayne Wiggins, and his cousin Timothy Christian. The trio went on to become major R&B superstars throughout the late-1980s and 1990s. However, after the 1996 album entitled 'House of Music', which did produce several hits, they didn't quite duplicate their previous success, and decided to go their separate ways.
In 1995, Saadiq had his biggest solo hit to date, when "Ask of You", featured on the ‘Higher Learning’ Soundtrack and it peaked at a very respectable #19 on the Billboard Hot 100 while reaching #2 on the R&B chart. In 1997, Saadiq hooked up with EPMD for the tune "Da Joint". Two years later, he teamed up with Q-Tip for another minor hit, "Get Involved", which was featured on the animated TV series, ‘The PJs’.
Saadiq began his professional career as the lead vocalist and bass player in the rhythm and blues trio Tony! Toni! Toné! He used the name Raphael Wiggins while in Tony! Toni! Toné!, where he was joined by his brother Dwayne Wiggins, and his cousin Timothy Christian. The trio went on to become major R&B superstars throughout the late-1980s and 1990s. However, after the 1996 album entitled 'House of Music', which did produce several hits, they didn't quite duplicate their previous success, and decided to go their separate ways.
He adopted the name of Raphael Saadiq in the mid-1990s. His change of surname led many to speculate that he had converted to Islam at that point; in reality, Saadiq is not a Muslim, but rather just liked the way "Saadiq" sounded and changed his last name simply to distinguish himself from and avoid potential confusion with his brother, Dwayne Wiggins. As he confirmed by telling noted R&B writer Pete Lewis of the award-winning 'Blues & Soul' in May 2009, "I just wanted to have my own identity!"
In 1995, Saadiq had his biggest solo hit to date, when "Ask of You", featured on the ‘Higher Learning’ Soundtrack and it peaked at a very respectable #19 on the Billboard Hot 100 while reaching #2 on the R&B chart. In 1997, Saadiq hooked up with EPMD for the tune "Da Joint". Two years later, he teamed up with Q-Tip for another minor hit, "Get Involved", which was featured on the animated TV series, ‘The PJs’. -
In 1999, Saadiq's next big project became the R&B supergroup Lucy Pearl. The self-titled album was recorded with Dawn Robinson (En Vogue) and Ali Shaheed Muhammad (A Tribe Called Quest). The group only lasted for one album.
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2000 saw him collaborate with D'Angelo on the song "Untitled (How Does It Feel)". This song won D'Angelo a Grammy Award for Best Male R&B Vocal Performance; it was also nominated for Grammy Award for Best R&B Song. The song was ranked #4 on Rolling Stone's "End of Year Critics & Readers Poll" of the top singles of 2000. D'Angelo's album ‘Voodoo’ won a Grammy Award for Best R&B Album at the 2001 Grammy Awards.
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He released his first solo album 'Instant Vintage' in 2002 and this earned him 5 Grammy nominations. He also formed his own record label Pookie Entertainment in this year with follow up album Ray Ray released two years later along with a 2 disc live album 'All The Hits AT The House of Blues' coming out on the label. As well as these releases 2004 also found Saadiq back on production duties with a remix of the song "Crooked Nigga Too" by the late Tupac Shakur which is featured on the album ‘Loyal To The Game’.
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He released his first solo album 'Instant Vintage' in 2002 and this earned him 5 Grammy nominations. He also formed his own record label Pookie Entertainment in this year with follow up album Ray Ray released two years later along with a 2 disc live album 'All The Hits AT The House of Blues' coming out on the label. As well as these releases 2004 also found Saadiq back on production duties with a remix of the song "Crooked Nigga Too" by the late Tupac Shakur which is featured on the album ‘Loyal To The Game’. In 2007 Saadiq produced ‘Introducing Joss Stone’, the third album by much hyped British soul singer Joss Stone and also found Saadiq break into acting playing the role of Anthony Hayes in Disturbia, a film directed by D.J. Caruso and described as "a tense, subtle thriller" that's an updated version of Alfred Hitchcock's classic film Rear Window staring Shia LaBeouf.
-The critically acclaimed album, ‘The Way I See It’ was released on Columbia Records in September, 2008, featuring artists Stevie Wonder, Joss Stone and Jay-Z, and received three Grammy Award Nominations including Best R&B Performance By A Duo Or Group With Vocals (for "Never Give You Up," featuring Stevie Wonder & CJ Hilton); Best Traditional R&B Vocal Performance (for "Love That Girl") and Best R&B Album. It was also voted Best Album on iTunes of 2008. Another new label surfaced called Velma Records, with Raphael promising "people can express themselves like I did with 'The Way I See It'... where they can dream something up and just go with it".
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Not content with singing, production, record labels and acting last year Saadiq announced the creation of a video game development company called IllFonic. The first video game in development is titled Ghetto Golf, and is expected to be released late this year.
The Meters - Rejuvenation
'Rejuvenation' is probably best known, in certain circles anyway, for being the album that contains 'Just Kissed My Baby', the opening of which uses a full on lustful wah-wah guitar riff that was used to great effect by Public Enemy on 'Time Bomb', a track from their debut LP 'Yo Bumrush The Show'. This LP though is about more than just one lick and for me highlights a band at the peak of their musical career.
Hailing from New Orleans this is Southern Fried Funk and The Meters make full use of the areas rich musical heritage, incorporating Soul, Mardi Gras, Gospel, R&B and even subtle country leanings to their sound. Formed in 1967 by Art Neville, who had already been making rhythm & blues for nearly two decades, with bands such as the Hawketts, he recruited Leo Nocentelli on guitar, George Porter Jr. on bass and Joseph "Zigaboo" Modeliste on drums. They then became the house band for producer Allen Toussaint, becoming a kind of New Orleans' answer to the Stax/Volt Memphis studio band Booker T. and the MG's, and backed up the likes of Lee Dorsey and Ernie K-Doe. They also cut instrumental albums for the local Josie label, but when Reprise signed the Meters in 1971, Neville started singing again, which leads us nicely to 1974’s Rejuvenation.
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Just one look at the cover; garishly decorated room, lady in stacked heels, big afro, eating watermelon, drinking Ripple wine and surrounded by, I dare say, funky ass records, I can make out The Meters ‘Cabbage Alley’ anyway, you can almost hear what you’re gonna get. Opening track, the conscious 'People Say' is a blue print for funk, with its stunted wah guitar licks, solid bass and jumping drum. Up next is the deep, soulfully, bluesy 'Love Is For Me' and then Baby kicks in. 'What'cha Say' leads off in an almost light rock kind of way with funky breaks. It's in songs like this that you can hear what most probably made people like Paul McCartney such a big fan. Much the same can be said with 'It Ain't No Use', an 11 minute plus true psychedelic funk in which each member takes his own tangent while the pulse never falters. It sounds like something a young Eric Clapton would sing (who inspired who?...hmm). In between these two tracks is the raw, driving funk of ‘Jungle Man’ while ‘Hey Pocky A-Way’ starts with a bit of a piano rattling rag time feel, then rolls along in fine funky, foot tappin’ form, with bright blasts of brass.
The song that follows the earlier mentioned ‘Ain’t No Use’ is a complete opposite “Loving You Is On My Mind” is a loungey, free & easy, happy go lucky sounding instrumental. The album then reverts to form and finishes with the in ya face drum & bass, plus sharp keyboard accents, homage and repatriation call to the land where it all began ‘Africa’. On a side note this track was used hook line and sinker by the Red Hot Chilli Peppers for one of their early work outs titled ‘Hollywood’, and shows to some extent how far the influence of the Meters has travelled with even Mick Jagger quoted as saying “they are best mother f***ing band in the world!” .You can still catch Neville and Porter playing their mixed bag-o-funk, with various guests as the Funky Meters live occasionally, although most of the dates I’ve seen advertised are state side. So if you can’t catch ‘em live go get rejuvenated on some Meters sophisticated funk.
Hailing from New Orleans this is Southern Fried Funk and The Meters make full use of the areas rich musical heritage, incorporating Soul, Mardi Gras, Gospel, R&B and even subtle country leanings to their sound. Formed in 1967 by Art Neville, who had already been making rhythm & blues for nearly two decades, with bands such as the Hawketts, he recruited Leo Nocentelli on guitar, George Porter Jr. on bass and Joseph "Zigaboo" Modeliste on drums. They then became the house band for producer Allen Toussaint, becoming a kind of New Orleans' answer to the Stax/Volt Memphis studio band Booker T. and the MG's, and backed up the likes of Lee Dorsey and Ernie K-Doe. They also cut instrumental albums for the local Josie label, but when Reprise signed the Meters in 1971, Neville started singing again, which leads us nicely to 1974’s Rejuvenation.
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-Just one look at the cover; garishly decorated room, lady in stacked heels, big afro, eating watermelon, drinking Ripple wine and surrounded by, I dare say, funky ass records, I can make out The Meters ‘Cabbage Alley’ anyway, you can almost hear what you’re gonna get. Opening track, the conscious 'People Say' is a blue print for funk, with its stunted wah guitar licks, solid bass and jumping drum. Up next is the deep, soulfully, bluesy 'Love Is For Me' and then Baby kicks in. 'What'cha Say' leads off in an almost light rock kind of way with funky breaks. It's in songs like this that you can hear what most probably made people like Paul McCartney such a big fan. Much the same can be said with 'It Ain't No Use', an 11 minute plus true psychedelic funk in which each member takes his own tangent while the pulse never falters. It sounds like something a young Eric Clapton would sing (who inspired who?...hmm). In between these two tracks is the raw, driving funk of ‘Jungle Man’ while ‘Hey Pocky A-Way’ starts with a bit of a piano rattling rag time feel, then rolls along in fine funky, foot tappin’ form, with bright blasts of brass.
The song that follows the earlier mentioned ‘Ain’t No Use’ is a complete opposite “Loving You Is On My Mind” is a loungey, free & easy, happy go lucky sounding instrumental. The album then reverts to form and finishes with the in ya face drum & bass, plus sharp keyboard accents, homage and repatriation call to the land where it all began ‘Africa’. On a side note this track was used hook line and sinker by the Red Hot Chilli Peppers for one of their early work outs titled ‘Hollywood’, and shows to some extent how far the influence of the Meters has travelled with even Mick Jagger quoted as saying “they are best mother f***ing band in the world!” .You can still catch Neville and Porter playing their mixed bag-o-funk, with various guests as the Funky Meters live occasionally, although most of the dates I’ve seen advertised are state side. So if you can’t catch ‘em live go get rejuvenated on some Meters sophisticated funk.
Tracklist for Rejuvenation (original version)
A1. People Say
A2. Love Is For
A2. Love Is For
A3. Just Kissed My Baby
A4. What’cha Say
A5. Jungle Man
B1. Hey Pocky A-Way
B2. It Ain’t No Use
B3. Loving You Is On My Mind
B3. Loving You Is On My Mind
B4. Africa
Friday, January 1, 2010
Tower Of Power
Tower of Power are an American soul and funk based horn section and band, originating from Oakland, California. For over 40 years, with changes in personnel over the years, they have performed their own material, as well as having provided support for some of the most original and impressive acts in the world.
The band came about when in the mid-1960s, 17-year-old tenor saxophonist Emilio Castillo moved from Detroit, Michigan to Fremont, California. He started a band called 'The Gotham City Crime Fighters' which evolved into 'The Motowns', specializing in soul music covers.
During 1968, Castillo teamed up with baritone saxophonist Stephen Kupka (later dubbed 'The Funky Doctor'), bassist Francis 'Rocco' Prestia and trumpet/trombone player Mic Gillette. They moved to Oakland, and together they began writing and performing original material. One of their early influences was soul artist James Brown. They changed the band's name to 'Tower of Power' and began playing frequently in the San Francisco Bay Area.
In 1970, Tower of Power (by then including trumpeter/arranger Greg Adams, and drummer David Garibaldi) signed a recording contract with Bill Graham's San Francisco Records and released their first album, ‘East Bay Grease’. Augmented by percussionist/conga/bongo player Brent Byars, they moved to Warner Bros Records. Here they released 1972's ‘Bump City’, which included the single "You're Still a Young Man" a song co written by Emilio Castillo, and based on a true story, concerning a former girlfriend who was six years older than him, and peaked at #29 on the Billboard Hot 100 in that year, plus 1973's ‘Tower of Power’, proved to be breakout albums for the band.
Tower of Power, released in the spring of 1973, was the bands 3rd album, and, is the group's most successful album to date, peaking at #15 on the Billboard Pop Albums chart. The album was also RIAA certified as a gold record (for sales in excess of 500,000 copies). The album also spawned their most-successful single "So Very Hard To Go". Although the single peaked at #17 on the Billboard Hot 100, it landed in the Top 10 on the surveys of many West Coast Top 40 radio stations, hitting #1 on many of them. The album also charted two other singles on the Billboard Hot 100, "This Time It's Real" and "What Is Hip?" The latter is possibly their most enduring song.
1974's Back to Oakland spawned another hit, "Don't Change Horses (in the Middle of a Stream)", which reached #26 on the Billboard Hot 100, plus "Time Will Tell", which charted at #69.
On some of their releases in the mid-1970s, such as Urban Renewal (1974), the band moved more toward funk than soul; however, they continued recording ballads as well. After vocalist Lenny Williams moved on, the band's days of chart radio airplay declined. During the late 1970s they briefly tried recording disco-sounding material. Leader Emilio Castillo said in an interview that the band's brief foray into quasi-disco music was at the request of Columbia Records, who had the band under contract at the time.
Tower of Power still tour extensively today, and there have been many changes over the years. At least 60 musicians have toured or recorded with the band over its 40-plus-year existence. These include Saturday Night Live musical director/saxophonist Lenny Pickett, drummer David Garibaldi, bassist Rocco Prestia, organ master Chester Thompson, saxophonists Richard Elliot and Euge Groove, and early guitarist Bruce Conte. Conte's cousin, BALCO founder Victor Conte, also played bass guitar in the band from the late 1970s to the early 1980s. Former lead vocalist Rick Stevens was sentenced to life in prison on three counts of first-degree murder after leaving the band, while Rufus Miller performed most of the lead vocals on 'East Bay Grease'.
Bruce Conte rejoined ToP in 2006, replacing veteran guitarist Jeff Tamelier. He departed after slightly more than a year, citing personal recording projects and health issues. For this relatively short period, ToP had five of their 11 'Back-in-the-Day' members 'Back-on-the-Stage'.
Following Conte as guitarist was Charles Spikes (while auditions for a permanent player were held), then Mark Harper, who offers powerful and accurate harmony vocals.
Tower's 'So Very Hard To Go' was featured in the soundtrack of the 2002 film City of God, as well as Will Ferrell's Semi-Pro.
The TOP horns toured with Huey Lewis and The News during the mid-1980s. They joined the 'Sports' tour to support Lewis' highly successful album of the same name, and recorded on several of his albums. Lewis enjoyed the experience so much that he later hired other horn players to replicate the sound. Lewis has also collaborated on a few of the Tower of Power's songs.

Tower of Power have made guest appearances on other major recording solo artists' albums. They guested with Little Feat. In 1993 the band was featured on Luis Miguel's Aries, in a cover of "Attitude Dance" titled "Que Nivel de Mujer". Most recently, Tower of Power has been featured on Josh Groban's Awake, during an instrumental break in "Machine".
Horn section collaborations
The ToP horn section has appeared on other artists' recordings, including a live performance with Little Feat in 1977 at the Rockpalast, on the song, "Rocket in my Pocket", which helped catapult Little Feat's album that was subsequently released as one of the best live albums made. The horns from TOP also supported the Monkees, Santana, Elkie Brooks, Elton John, Linda Lewis, rad. (Rose Ann Dimalanta), John Lee Hooker, Rod Stewart, Jefferson Starship, Heart, Huey Lewis and the News, Spyro Gyra, Lyle Lovett, Poison, Phish, Toto, Pharoahe Monch, and Aerosmith. Tower's early song, 'So Very Hard To Go' was featured in the soundtrack of the 2002 film City of God, as well as Will Ferrell's Semi-Pro.
Recent work
Tower of Power has been recording and touring continuously since 1968, and the band maintains a very busy tour calendar. In 2008 they celebrated their 40th Anniversary with shows in San Mateo, California in August, and a huge show at the Fillmore in San Francisco on October 18, 2008. At that show many former band members appeared onstage, and the entire event was recorded for a DVD to be released in mid-2009.Tower of Power has released 19 albums over the years (compilations and regional variations not included), the latest being 2009's homage to classic soul songs The Great American Soulbook.
The band came about when in the mid-1960s, 17-year-old tenor saxophonist Emilio Castillo moved from Detroit, Michigan to Fremont, California. He started a band called 'The Gotham City Crime Fighters' which evolved into 'The Motowns', specializing in soul music covers.
During 1968, Castillo teamed up with baritone saxophonist Stephen Kupka (later dubbed 'The Funky Doctor'), bassist Francis 'Rocco' Prestia and trumpet/trombone player Mic Gillette. They moved to Oakland, and together they began writing and performing original material. One of their early influences was soul artist James Brown. They changed the band's name to 'Tower of Power' and began playing frequently in the San Francisco Bay Area.In 1970, Tower of Power (by then including trumpeter/arranger Greg Adams, and drummer David Garibaldi) signed a recording contract with Bill Graham's San Francisco Records and released their first album, ‘East Bay Grease’. Augmented by percussionist/conga/bongo player Brent Byars, they moved to Warner Bros Records. Here they released 1972's ‘Bump City’, which included the single "You're Still a Young Man" a song co written by Emilio Castillo, and based on a true story, concerning a former girlfriend who was six years older than him, and peaked at #29 on the Billboard Hot 100 in that year, plus 1973's ‘Tower of Power’, proved to be breakout albums for the band.
Tower of Power, released in the spring of 1973, was the bands 3rd album, and, is the group's most successful album to date, peaking at #15 on the Billboard Pop Albums chart. The album was also RIAA certified as a gold record (for sales in excess of 500,000 copies). The album also spawned their most-successful single "So Very Hard To Go". Although the single peaked at #17 on the Billboard Hot 100, it landed in the Top 10 on the surveys of many West Coast Top 40 radio stations, hitting #1 on many of them. The album also charted two other singles on the Billboard Hot 100, "This Time It's Real" and "What Is Hip?" The latter is possibly their most enduring song.
1974's Back to Oakland spawned another hit, "Don't Change Horses (in the Middle of a Stream)", which reached #26 on the Billboard Hot 100, plus "Time Will Tell", which charted at #69.
On some of their releases in the mid-1970s, such as Urban Renewal (1974), the band moved more toward funk than soul; however, they continued recording ballads as well. After vocalist Lenny Williams moved on, the band's days of chart radio airplay declined. During the late 1970s they briefly tried recording disco-sounding material. Leader Emilio Castillo said in an interview that the band's brief foray into quasi-disco music was at the request of Columbia Records, who had the band under contract at the time.
Tower of Power still tour extensively today, and there have been many changes over the years. At least 60 musicians have toured or recorded with the band over its 40-plus-year existence. These include Saturday Night Live musical director/saxophonist Lenny Pickett, drummer David Garibaldi, bassist Rocco Prestia, organ master Chester Thompson, saxophonists Richard Elliot and Euge Groove, and early guitarist Bruce Conte. Conte's cousin, BALCO founder Victor Conte, also played bass guitar in the band from the late 1970s to the early 1980s. Former lead vocalist Rick Stevens was sentenced to life in prison on three counts of first-degree murder after leaving the band, while Rufus Miller performed most of the lead vocals on 'East Bay Grease'.
Bruce Conte rejoined ToP in 2006, replacing veteran guitarist Jeff Tamelier. He departed after slightly more than a year, citing personal recording projects and health issues. For this relatively short period, ToP had five of their 11 'Back-in-the-Day' members 'Back-on-the-Stage'.
Following Conte as guitarist was Charles Spikes (while auditions for a permanent player were held), then Mark Harper, who offers powerful and accurate harmony vocals.
Tower's 'So Very Hard To Go' was featured in the soundtrack of the 2002 film City of God, as well as Will Ferrell's Semi-Pro.
The TOP horns toured with Huey Lewis and The News during the mid-1980s. They joined the 'Sports' tour to support Lewis' highly successful album of the same name, and recorded on several of his albums. Lewis enjoyed the experience so much that he later hired other horn players to replicate the sound. Lewis has also collaborated on a few of the Tower of Power's songs.

Tower of Power have made guest appearances on other major recording solo artists' albums. They guested with Little Feat. In 1993 the band was featured on Luis Miguel's Aries, in a cover of "Attitude Dance" titled "Que Nivel de Mujer". Most recently, Tower of Power has been featured on Josh Groban's Awake, during an instrumental break in "Machine".
Horn section collaborations
The ToP horn section has appeared on other artists' recordings, including a live performance with Little Feat in 1977 at the Rockpalast, on the song, "Rocket in my Pocket", which helped catapult Little Feat's album that was subsequently released as one of the best live albums made. The horns from TOP also supported the Monkees, Santana, Elkie Brooks, Elton John, Linda Lewis, rad. (Rose Ann Dimalanta), John Lee Hooker, Rod Stewart, Jefferson Starship, Heart, Huey Lewis and the News, Spyro Gyra, Lyle Lovett, Poison, Phish, Toto, Pharoahe Monch, and Aerosmith. Tower's early song, 'So Very Hard To Go' was featured in the soundtrack of the 2002 film City of God, as well as Will Ferrell's Semi-Pro.
Recent work
Tower of Power has been recording and touring continuously since 1968, and the band maintains a very busy tour calendar. In 2008 they celebrated their 40th Anniversary with shows in San Mateo, California in August, and a huge show at the Fillmore in San Francisco on October 18, 2008. At that show many former band members appeared onstage, and the entire event was recorded for a DVD to be released in mid-2009.Tower of Power has released 19 albums over the years (compilations and regional variations not included), the latest being 2009's homage to classic soul songs The Great American Soulbook.
Sunday, November 1, 2009
Lack of Afro - My Groove Your Move

Released this month on Freestyle Records is Lack of Afro’s “My Groove, Your Move”. Lack of Afro consists of or should that be is formerly of Exeter, but soon to be Brighton based Adam Gibbons, who is a very talented multi-instrumentalist. As well as playing his own instruments Adam produces, and remixes. This is his second LP under the Afro guise and what he gives us is a stunning collection of the hippest soul, jazz and funk music from the 60's and 70's with Hip Hop leanings. Just check out Mo’ Filth it has one of the dirtiest, grubbiest bass grooves I’ve heard in a long time and with its thumping beat, wah guitar, electric piano and bursts of strings sounds like it has been stolen off the eight track in Shafts car! Then just when you think you better have a bath before listening to more your cleansed by the light, bright and breeziness of ‘Beautiful Here’. Roxie Ray of Dojo Cuts fame appears on the excellent groover 'Closer To Me' and the sultry 'Tell Me What Happens’, while Youtube hip hop prodigies Wax & Herbal T get lyrical on the stormin’ 'International' and 'Suspicious Glow'. Other noted appearances are by Nick Radford (guitar) and ex Ocean Colour Scenes' Damon Minchellas' (bass)
I had not heard of Lack of Afro before this release, and I can’t recommend it highly enough. Now …..I’ll have to go track down that first LP!
Visit www.lackofafro.com/ for more info and also a free download to get a feel of what it’s all about.
My Groove, Your Move is available from Play.com and all other good record outlets
www.play.com/Music/CD/4-/11803289/My-Groove-Your-Move/Product.html
For even more Afro goodiness
The Jackson Sisters
The Jackson Sisters, not to be confused with sisters, LeToya, Janet, and Rebbie, who were the sisters of the Jackson Five, but were an American soul and disco family from Compton, California, who were based in Detroit, Michigan.The Jackson Sisters comprised of Jacqueline Jackson-Rencher, Lyn Jackson, Pat Jackson, Rae Jackson and Gennie Jackson. They recorded material for the Tiger Lily Records label, obtaining some modest success in the 1970s. However the group really came into their own nearly a decade later, following the emergence of the rare groove scene in the UK. Many of their songs were written by Johnny Bristol, with production duties from Bobby Taylor, who is most notable for discovering and helping to mentor afore mentioned Jackson 5. Taylor also helped co-write their best-known tune, the rare groove anthem, "I Believe In Miracles", in 1976. The song originally started life as a b-side to the Mums label release of pop/soul tune 'Boy You're Dynamite'. It was then re-released, in its own right, in the U.K. in 1987 on the Polydor's Urban subsidiary, where it peaked at #72 in the UK Singles Chart in June of that year.
An album was scheduled to be released from them on Tiger Lily Records in 1976, but for some reason it was withdrawn. A few promo copies did make it into circulation and they were at one point changing hands for around £500 (UK). Now however you can get this LP, with a couple of extra versions of 'Miracle' for the princely sum of just £2.99, although it doesn't have the candy pink and cartoon style cover of the original...
I like this LP, though by know means a classic, it is still a fine example of pop/soul tunes with a Motown feel. I can see why the record company maybe didn’t release it, which for me has nothing to do with the quality on show here, but when I first heard it I thought it was an LP from a 1970 – 73 sort of era, and what with the rise of disco in around 1976 this may LP could well of sounded a bit ‘dated’ for the record execs to put it out. Now though you can listen to it for what it is, some great sugar coated poppy soul with some dirty, greasy funk on top. Although as stated earlier these ladies are not related to the Jacksons there is definitely a Jackson 5 feel to some of the songs and their cover of ‘Why Do Fools Fall In Love’ is a prime example of this easy going soul, pop sound. Another cover on here is Aretha’s ‘Rock Steady’, which shows the girls down right funky side, with this bongo flailing version, not to different from the original though the pace is a bit faster. The ’76 Mums label single ‘Boy You’re Dynamite’ is another slice of up tempo sing-a-long pop soul, which perhaps recorded and released a few years earlier could maybe have propelled these girls into the limelight more. The crowning glory of this set, and most likely why the majority of people will want to pick this up is ‘Miricles’. This was a classic and instant floor filler in the clubs on the 'rare groove scene' in London circa 1987, with its distinct and instantly recognisable intro, its swift pace and uplifting feel, a song that even after all these years still makes me feel good and can even give me goose bumps. 3 minutes of pure musical feel good brilliance.
www.play.com/Music/CD/4-/918544/The-Collection/Product.html
Jackson Sisters 1976 (Tiger Lily Records)
Original Tracklist
01 Where Your Love Is Gone
02 Maybe
03 Why Do Fools Fall In Love
04 Day In The Blue
05 Rockin' On My Porch
06 Boy You're Dynamite
07 Rock Steady
08 Miracles
09 (Why Can't We Be) More Than Just Friends
10 Shake Her Loose
www.play.com/Music/CD/4-/918544/The-Collection/Product.html
Jackson Sisters 1976 (Tiger Lily Records)
Original Tracklist
01 Where Your Love Is Gone
02 Maybe
03 Why Do Fools Fall In Love
04 Day In The Blue
05 Rockin' On My Porch
06 Boy You're Dynamite
07 Rock Steady
08 Miracles
09 (Why Can't We Be) More Than Just Friends
10 Shake Her Loose

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