Posts filed under 'Popular, Rock, and Misc.'

Various artists – Feel Good! 40 Years of Life Changing Music

Feel good!
Title: Feel Good! 40 Years of Life Changing Music

Artist: Various

Label: Tyscot

Formats: CD, MP3

Release date: April 29, 2016

 

We’re a little late to the party, but we can’t pass up an opportunity to commemorate the 40th anniversary of Tyscot Records, the nation’s oldest African American owned and operated gospel music label. Founded in 1976 by Dr. Leonard Scott and L. Craig Tyson in Indianapolis, Indiana, the label has grown into a multi-media company that produces films as well as recordings. Yet Tyscot remains a family run operation, guided by Dr. Scott as CEO, with son Bryant S. Scott continuing the legacy as President/COO. Now entering its fifth decade, the label is an industry powerhouse whose artists garnered 19 Stellar Gospel Awards nominations in 2017.

Tyscot was originally established to record the Christ Church Apostolic Radio Choir, led by Bishop James Tyson (Craig’s father). The choir’s first hit single, “Feel Good!,” is the opening track of this anniversary compilation in a contemporary version re-recorded by Dr. Scott. The remaining 14 tracks feature songs by artists whose careers were launched by Tyscot, starting with “Hold On” (1981) by The Pentecostal Ambassadors, a popular male vocal trio from Indianapolis. Following is the smooth, ballad style “Say You Believe” (1986) performed by Deliverance and co-written by none other than Indianapolis native Kenneth “Babyface” Edmonds, who at the time was a member of the R&B group The Deele.

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Other early Tyscot releases featured on this set include the classic “Jesus Is Real” by John P. Kee & the New Life Community Choir, “Holy One” featuring Kirk Franklin with the Trinity Temple Full Gospel Mass Choir, and the P.A.W. National Mass Choir’s “How Majestic,” a fantastic arrangement based on Handel’s “Hallelujah Chorus.” Sequenced in chronological order, the set concludes with contemporary gospel artists, including break-out stars Anthony Brown & group therAPy (“Do It Again”) and Casey J (“Better”) who have been topping the charts this year.

Feel Good! 40 Years of Life Changing Music showcases the talents of local and national gospel artists and cements the legacy of Tyscot Records. The company is stronger than ever, and positioned to remain an industry powerhouse in its fifth decade.

Reviewed by Brenda Nelson-Strauss

View review November 2nd, 2017

Antibalas – Where The Gods Are In Peace

Antibalas
Artist: Antibalas

Label: Daptone

Title: Where The Gods Are In Peace

Release Date: September 15, 2017

Format: CD, Vinyl, Mp3

 

 

Raise your hand up high if you know & are into the Brooklyn band, Antibalas. Not bad, not bad—I see a few hands and a fist or two. Now, for those who aren’t hip, let me explain exactly who Antibalas is. The group formed in 1998 with Martin Perna at the front. The word antibalas is Spanish for “bulletproof”, which lends credence to their long-lasting career in the afrobeat world—19 years and still going strong. Antibalas plays afrobeat music, paying homage to the king of afrobeat himself, Fela Kuti. Listen very carefully—you may hear Eddie Palmeri piano stylings and personally, I think I hear another echoes of another band hailing from Brooklyn, Mandrill.

Where The Gods Are In Peace could be considered a head scratcher because it’s so short. It showcases only five tracks, but in reality, it feels like ten, perhaps fifteen. To only have five tracks and still packing a serious blow is true testament to what this band is all about. Take the track “Goldrush”. It opens up with early 1970’s rock FM and fast as you can FELA, BAM! The mood shifts into afrobeat, advanced version. Brilliant! They have you thinking one thing, but accomplish another.

Antibalas is very well-schooled in pulling off feats such as this.  “Tombstone”, believe it or not, is the third, fourth and fifth track–a 3-part finale that will blow your mind. Zap Mama, the beauty from Belgium, lends her vocals on all three tracks. What can one say? Makes you wish more acts took risks like Antibalas, but they would be asking too much. Antibalas is one of a kind, folks.

Where The Gods Are In Peace. Enjoy it for what it is—an amazingly powerful punch in just a five step gig. Next time, I expect to see more hands raised when asked, “Who knows about Antibalas?” Don’t disappoint me.

Reviewed by Eddie Bowman

View review November 2nd, 2017

Trouble in The Streets – Electro Tribe

trouble in the streets
Title: Electro Tribe

Artist: Trouble in The Streets

Label: Orb Recording

Formats: CD, MP3

Release Date: October 6, 2017

 

 

Austin, Texas based Trouble in The Streets’ debut album is like nothing you’ve heard before; in fact, they feel that their music is so unique that they’ve given it its own name—Electro Tribe. This signature sound is a mixture of electronic music, hip-hop, rock, and R&B with an international twist. The band pulls inspiration for their unique sound from acts like Rage Against the Machine, Beats Antique, and Hiatus Kaiyote as well as their own diverse musical backgrounds.

Though it may sound complicated, Trouble in The Streets is able to blend all of these sounds and styles into four cohesive and high-energy tracks on their EP, Electro Tribe. The first track, “Pyramid Scheme,” featuring Grammy Award winning guitarist Beto Martinez, includes retro-synth chord progressions, hard-hitting bass and drum arrangements, and Nnedi Agbaroji’s mesmerizing vocals.

From the passionate “Never Doubt the Worm” to the hopeful and emotional “Sop Me Up Like a Biscuit,” each track on the album is distinct yet still retains the band’s signature electro sound that will leave you wanting more from this up-and-coming trio.

Reviewed by Chloe McCormick

 

View review November 2nd, 2017

Lloyd Price – This Is Rock and Roll

Lloyd Price
Title: This Is Rock and Roll

Artist: Lloyd Price

Label: Double L Records

Formats: CD, MP3

Release Date: September 22, 2017

 

 

Lloyd Price’s career may have launched way back in 1952 with the famous single “Lawdy Miss Clawdy,” but his newest release proves that his career is far from over. This Is Rock and Roll, Price’s first album in over a decade, includes a combination of newly penned original tracks, like the bluesy “I’m Getting Over You,” as well as a collection of covers.

The title track exemplifies the album’s balance between originals and covers, combining Jimmy Reed’s “Peepin’ & Hidin’” with Price’s celebratory call-and-response “This is rock and roll.” This song is significant to the album as a whole, as it was recorded in the New York City club where, three years ago, Price decided he still had much to offer fans and conceived this album.

For his slowed-down cover of Carole King’s “Will You Still Love Me Tomorrow,” the legendary Rock and Roll Hall of Famer turns the song into a ballad sung from a man’s point of view. Regardless of whether it’s an original or a cover, each track on This Is Rock and Roll contains the unique Lloyd Price essence that has been captivating listeners for over 60 years.

Reviewed by Chloe McCormick

View review November 2nd, 2017

October 2017 Releases of Note

Following are additional albums released during October 2017—some will be reviewed in future issues of Black Grooves.

Blues, Folk, Country

Darius Rucker: When Was the Last Time  (Capitol Records Nashville)
Du-Rites:  Greasy Listening  (Redefinition)
James Armstrong: Blues Been Good to Me (Catfood)
John Lee Hooker:  King of the Boogie  (Craft)
Kim Wilson: Blues and Boogie, Vol. 1 (Severn)
Mighty Mo Rodgers & Baba Sissoko: Griot Blues (One Root Music )
Nico Wayne Toussaint: Plays James Cotton (Dixiefrog)
Original Blues Brothers Band: Last Shade of Blue Before Black (Severn)
Supersonic Blues Machine: Californisoul (Provogue)
Various: Stax Country (Stax/Concord)

Classical, Broadway, Soundtracks
Pretty Yende:  Dreams (Sony)

Holiday
Fantasia:  Christmas After Midnight  (Concord)
Leslie Odom Jr.:  Simply Christmas  (S-Curve)
Various: Cool Blue Christmas: Mr. Santa’s Boogie (Contrast)

Funk, Rock, Pop, Electronic
Ayo: S/T  (Believe Direct Limited )
Benjamin Clementine: I Tell A Fly (Virgin)
Bootsy Collins:  World Wide Funk (Mascot)
Crowd Company:  Sun and Stone (VLM)
Ikebe Shakedown: The Way Home (Colemine)
Jimi Hendrix Experience: American Landing Live at Monterey (DVD) (Legacy)
Kele Okereke: Fatherland  (BMG)
Nubiyan Twist: S/T  (  Wormfood )
Phonk Beta: Symplex 3 (digital) (Fahrenheit)
Rock Candy Funk Party: The Groove Cubed  (J&R Adventures)
The Clubs: Funk on the Floor (digital)
Various: Funkadelic Reworked By Detroiters (Ace)

Gospel, Christian Rap, CCM
Ada: Future Now (FreeNation)
Angella Christie: Intimate Conversations (ACSM)
Chad Brawley:  WeWorship Project (digital) (CKBMusik)
Coliér McNair: Intimacy (COGEO Ent. Group)
Deanna Ransom:  The Real Me EP
Earnest Pugh:  Survive  (Black Smoke)
Felton Hodges & The Annointed Voices: Fix It   (Ecko)
Lisa Knowles-Smith & The Brown Singers: Evolution-The Legacy (EvoWorld)
Mission: All of You None of Me (RPSMG)
Optimist & Fresh Yardey: The Mission, Vol. 1 (digital)
Parxx:  Uncharted (RLVNC Music Group)
Tasha Page-Lockhart: The Beautiful Project  (RCA Inspiration)
The Porter’s Gate: Worksongs (Fuel Music)
Troy Sneed: Taking It Back  (Tyscot)
Tye Tribbett: The Bloody Win (Motown Gospel)
Visionz Of Destiny: The Works
Williams Brothers: Timeless  (Blackberry)

Jazz
Céline Rudolph & Lionel Loueke:  Obsessions
Chantae Cann: Sol Empowered (Ropeadope)
Christian Scott aTunde Adjuah:Emancipation Procrastination  (Ropeadope)
Cornell Thigpen: History (Hitman)
Ezra Collective: Juan Pablo: The Philosopher  (Enter The Jungle)
Joey Alexander:  JOEY.MONK.LIVE! (Motema)
Johnny O’Neal: In the Moment (Smoke Sessions)
Sherman Irby: Cerulean Canvas  (Black Warrior)
Sonny Emory: Love Is the Greatest (Universal )
Various:You Need This: Introduction to Black Saint & Soul Note (1975-1985) (BBE)
Virginia Ayers Dawson: Standards of Love  (Ayerplay Music)
Wadada Leo Smith:  Najwa  (TUM)
Wadada Leo Smith:  Solo: Reflections and Meditations on Monk  (TUM)
Wally Badarou:  Unnamed Trilogy, Vol. 1 (Diskotopia )
Wayne Ellington: Sings ‘Unforgettable (digital)

R&B, Soul
112: Q Mike Slim Daron  (eOne)
Bigg Robb: Born 2 Do This  (Music Access Inc.)
Bobby Byrd: Help For My Brother – Pre-Funk Singles 1963-68 (BGP/Ace)
Boyz II Men:  Under the Streetlight  (Sony Masterworks)
Brik.Liam:  The Ascension (digital) (Cre8Daily)
Chante’ Moore: Rise Of The Phoenix  (CM7)
Charlotte Dos Santos: Cleo (Fresh Selects)
Chuck Jackson: Big NY Soul – Wand Records 1961-66 (Kent/Ace)
Curtis Harding: Face Your Fear (Anti/Epitaph)
Demetria McKinney: Officially Yours (eOne)
Detroit Emeralds: I Think Of You-Westbound Singles 1969-75 (Westbound /Ace)
Deva Mahal: S/T (Motéma Music)
Devvon Terrell:  Weird Nights (digital)
dvsn: Morning After (Warner Bros.)
Eartha Kitt: I Want To Be Evil – The Wicked Eartha Kitt (Jasmine)
Eric Roberson: Fire (Blue Erro Soul)
Jackie Shane: Any Other Way (Numero)
Jamila Woods: Heavn  (Jagjaguwar)
Kelela: Take Me Apart (Warp)
Kenny Latimore: Vulnerable (Sincere Soul)
Keyshia Cole:  11:11 Reset (Epic)
Leroy Hutson: Anthology 1972-1984 (Acid Jazz )
Lyrica Anderson: Adia (Empire)
Marcus Randolph & My Peeples Peeple: Transplant (American Showplace Music)
Mic Lowry: Mood (Island)
Michael Jackson: Searching for Neverland (DVD) (Lionsgate)
Mpho Sebina:  Neo (digital)
Nicole Willis & UMO Jazz Orchestra:  My Name Is Nicole Willis (Persephone)
PP Arnold: The Turning Tide  (Kundalini Music)
Rationale: S/T (Warner Bros.)
Rhyon: Pretty Girl (Empire)
Saràyah: Feel the Vibe (Basin Street)
Tom Tripp: Red EP (Prime Sound)
Vivian Green:  VGVI  (Make Noise)

Rap, Hip Hop
Juice Aleem: Voodu Starchild (Gamma Proforma)
Aaron Alexander: Memento Mori  (Ignant Art)
Belly: Mumble Rap (Republic)
Big K.R.I.T.:  4eva Is A Mighty Long Time (BMG)
Blood Before Pride: Mimesis, Catharsis and Imitation of Art in Life (Fatbeats)
Blu & Exile: In The Beginning: Before The Heavens (Fat Beats)
Bone Thugs-N-Harmony, Outlawz: Thug Brothers 3 (Real Talk Ent)
Chief Keef & Fredo Santana: Turbo Bandana mixtape
Cunninlynguists: Rose Azura Nijano (A Piece of Strange Music)
Da Flyy Hooligan: S.C.U.M.  (Lux Ent.)
Dame D.O.L.L.A.: Confirmed (digital) (Front Page Music)
Earthgang: Robots (digital) (Spillage Village)
Edo.G: FreEDOm (5th & Union)
Future & Young Thug: Super Slimey (mixtape) (Epic)
GhostWryter:  27 Darvin (digital) (Never Basic Assoc.)
Gospel of Rufus: Alternate Path (Alternate Path Music Group)
Hex One:  Words Worth a Thousand Pictures ( Mic-Theory)
Hustle Gang: We Want Smoke (Roc Nation/Grand Hustle)
IDK: Iwasverybad (Commission Music/BMG)
J. Stalin: Gas Nation 2 (Livewire)
Krayzie Bone: E.1999: The LeathaFace Project (Real Talk Ent.)
Krept & Konan:  7 Days & 7 Nights (mixtapes)
Lil Pump: Lil Pump (digital) (Warner Bros.)
Masta Killa: Loyalty Is Royalty ( Nature Sounds)
Meyhem Lauren & DJ Muggs: Gems from the Equinox (Soul Assassins)
Moneybagg Yo: Federal 3X  (Interscope)
Playboi Carti:  S/T (Interscope)
Rob Stone: Don’t Wait For It (Grove Town)
Sivion: Dark Side of the Cocoon (Illect)
Snoop Dogg: Make America Crip Again (Empire)
Stalley: Another Level (mixtape)
Swissivory: Real Dreams 2 (NoHook!/Rough Trade)
Tech N9ne Collabos: Strange Reign (Strange Music)
TeeCee 4800: Realness Over Millions 2 (digital)
Trippie Redd: A Love Letter to You 2 (mixtape)
Ty Dolla $ign: Beach House 3 (Atlantic)
Vandalyzm: Rumors of My Demise Have Been Greatly Exaggerated (Blue Collar Initiative)
Waka Flocka Flame: Flockavelli 2
Wu-Tang: The Saga Continues (36 Chambers ALC /eOne)
Yo Gotti: I Still Am (Epic)
Young Dolph: Thinking Out Loud (digital) (Paper Route Empire)
Young Dro: Da’ Real Atlanta (Real Talk Ent)
Young RJ: Blaq Royalty (Ne’Astra Music/Slum Village)
Young Spray: Invisible Tears (RTM)

Reggae, Dancehall
Emeterians: The Magic Touch (VP)
Frightnrs: More to Say Versions (Daptone)
Jamaiel Shabaka: Land of the Rising Sun ( Roots Vibration )
Lee Perry & The Upsetters: Trojan Albums Collection, 1971-73 (Trojan)
Prodigal Son: Pure Gold  (Main Street)

World, Latin
Adriano Trindade & Los Quemados: Balançando o Jazz (Loop Publishing)
Da Cruz: Eco do Futuro  (Boom Jah)
Diron Animal: Alone  (Soundway)
Eduardo Sandoval: Caminos Abiertos (Egrem)
Elida Almeida: Kebrada (Lusafrica)
Emo Kid:  Gqomtera EP  (Gqom Oh! )
KOKOKO!: Tongos’a EP (ICI)
Leila Gobi: 2017 (Clermont Music )
Miles From Kinshasa: Limbo (Quality Time)
Orchestre Les Mangelepa:  Last Band Standing (Strut)
Professor Rhythm: Bafana Bafana (Awesome Tapes from Africa)
Thandeka: Thandanani Ma Afrika (Chocs Pro Sound)
Various: Jukebox Mambo Vol. 3 (Jazzman )

 

View review November 2nd, 2017

Wyclef Jean – Carnival III: The Fall and Rise of a Refugee

The Rise and Fall of Carnival III
Title: Carnival III: The Fall and Rise of a Refugee

Artist: Wyclef Jean

Label: Legacy

Formats: CD, Vinyl, MP3

Release date: September 15, 2017

 

Wyclef Jean released his Carnival III: The Fall and Rise of a Refugee, highlighting the 20th anniversary of his album The Carnival, and the 10th anniversary of Carnival II: Memoirs of an Immigrant. Like the other albums in the Carnival series, the third installment incorporates music from different parts of the world, offering an outstanding conglomerate of music for the listener. According to Jean, this multi-cultural “genre-bending album is outside the box . . . It’s a celebration of what I love about music: discovery, diversity and artistry for art’s sake.

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The first thing that stands out is Jean’s inspirational words, reminding us that “we shall overcome our struggles someday.” His motivational lyrics and usage of biblical references (e.g. Zion, Golden Gates, and Psalm 23) resonate with the listener as symbols of hope, while inspiring them to pursue their goals. Another aspect of this album is Jean’s blending of polyrhythms (“Fela Kuti”), reggae (“Turn Me Good”), Afro-Cuban (“Trapicabana”), hip hop and popular music, creating a multi-cultural experience. Finally, the skillfulness and musicality displayed by each guest artist (including Jazzy Amra, T-Baby, STIX, and Emeli Sandé) adds another layer to the brilliance of this album.

Carnival III: The Fall and Rise of a Refugee sustains the legacy of Wyclef Jean’s first Carnival album, spreading the message of community, hope, and love while showing the diversity of the world stage through the art within a music compilation.

Reviewed by Jamaal Baptiste

View review October 2nd, 2017

Ghostpoet – Dark Days + Canapés

Ghostpoet

Title: Dark Days + Canapés

Artist: Ghostpoet

Label: Play It Again Sam

Formats: CD, Vinyl, MP3

Release date: August 18, 2017

 

 

Ghostpoet (aka Obaro Ejimiwe) is a British vocalist and musician known for his beat-driven arrangements and meaningful lyrics, and his newest album lives up to this reputation. Dark Days + Canapés features a more alt-rock, guitar-driven sound that accompanies the artist’s most noteworthy songwriting to date.

Ghostpoet is not one to shy away from exploring tough subjects. The opening track, “Immigrant Boogie,” is a first-person account of the struggles of immigration, an all-too pertinent subject in 2017. Ghostpoet himself said that while this song is “partly intended to ask those who have questioned the arrival of refugees in recent times what they would do in the same situation,” it also aims to show that no human is truly in control of their future. The dystopian-themed video is the perfect companion to the thought-provoking content of this track:

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In addition to his head-on confrontation of important social and cultural issues, the serendipitous approach Ghostpoet took to arranging the music on this album is also noteworthy. For “Freakshow,” the laughter of a gospel choir brought in to sing on a different track was used to add to the manic nature of the song. On another track, “Blind as a Bat…,” string players were encouraged to improvise so the resulting song would be less structured, much like the protagonist’s mind.

The thought put into each track on Dark Days + Canapés shines through, and this gripping album is definitely worthy of a listen, especially in the current social and political climate.

Reviewed by Chloe McCormick

View review October 2nd, 2017

Chris Thomas King – Hotel Voodoo

Chris Thomas King
Title: Hotel Voodoo

Artist: Chris Thomas King

Label: 21st Century Blues/dist. Virtual Label

Formats: CD, Vinyl, MP3

Release date: September 14, 2017

 

 

Guitarist Chris Thomas King’s career has taken a long and winding road from Louisiana to Europe and back again. In 1979, when he was just 17, King was hailed by folklorists as “the last major folk blues discovery of the 20th Century.” He later ditched this style along with the whole notion of authenticity in the blues, embracing instead “hip hop modernity and digital aesthetics.” The backlash from (primarily white) blues audiences compelled him to move to Europe in 1993. Ironically, when he returned several years later, King was once again cast as an “authentic” Delta blues guitarist—this time on the silver screen―as “Tommy Johnson” in the Coen Brothers’ film O Brother, Where Art Thou? (2000), as Blind Willie Johnson in Martin Scorsese’s The Blues (2003), and as Lowell Fulson in the Ray Charles biopic Ray (2004).

These days King assumes total artistic control over his projects which are released on his 21st Century Blues label.  Hotel Voodoo, his first new studio album in five years, features his touring band members Jeff Mills (drums) and Danny Infante (bass guitar), along with a few additional New Orleans musicians. The bulk of the album, however, is a showcase for the multitalented King, who performs all vocals along with the majority of instruments including electric and acoustic guitars, accordion, harmonica, mandolin, banjo, bass, and piano.

With the popularity of vinyl on the rise, King conceived this album as two suites, covering side A and B of a LP, rather than the strictly linear CD sequence. Side A is the “Baron Samedi Suite,” referencing the Loa spirit (aka lord of the crossroads) in Voodoo religion, while Side B is the “Jelly Roll Suite,” linking New Orleans’ jazz and blues traditions. The styles of the nine original songs and one cover are as varied as the titles of the suites suggest.

As his alter ego Baron Samedi (wearing black top hat and tuxedo), King is the consummate blues-rocker. Opening with “American Man (In the Key of Free),” he sings about the American dream in this upbeat, retro-styled song with overdubbed background vocals adding just a touch of contemporary club vibe. Digging deeper into the Samedi theme on “Voodoo Child (On Hell’s Highway),” he whips out his Fender Stratocaster and adds enough reverb and electrifying solos to appease the spirits.  “Friday Night Bleu” and “Have You Seen My Princess?” are straight ahead blues tracks, showcasing King’s prowess as an electric blues guitarist and his ability to single handedly cover all instruments and drum programming.

As side “A” side comes to a close with “Rock and Roll Conjurer,” King’s transformation into the dark lord of the underworld is complete. This sinister track is one of the highlights of the album (think Prince’s “Darling Nikki” but with a voodoo theme and dash of harmonica). Referencing the mythical “house of the rising sun,” CTK then sings, “Baby you don’t delay / the voodoo party it won’t wait / Yeah, you know me, Chris Thomas King / I rule the streets of New Orleans / Yeah, you’ll spend the night with me / I’ll conjure your rock and roll fantasy.”

Flipping over to the piano suite “B” side, CTK conjures an entirely different atmosphere, recreating the feel of an acoustic set in a traditional NOLA jazz club. The first two tracks pay homage to the clarinet, an “essential solo instrument in New Orleans blues” 100 years ago. Owen Callahan is the featured clarinetist on the opening track, “Les Bleus Was Born in Louisiana,” while Gregory Agid takes over on “White Folks Call It Jazz,” with Nathan Lambertson on upright bass (yes, there is a not-so-subliminal message here about the true roots of the blues). The heartfelt “Tabby’s on the Bayou” is about nights at Tabby’s Blues Box, his dad’s “ramshackle juke joint, before it was razed by the city of Baton Rouge in 1999.” CTK swaps his guitar for an upright piano, with shuffling second-line rhythms adding to the ambiance.

After enjoying all of these original songs, the acoustic cover of Adele’s “Someone Like You” is somewhat incongruous (CTK previously recorded “Rolling in the Deep” in a more compelling blues rock arrangement).  Likewise, the closing track “Rainbow Lullaby” is a nice folksy tune with harmonica, mandolin, and banjo, but doesn’t reinforce the “Jelly Roll Suite” concept.

Hotel Voodoo allows Chris Thomas King to display his formidable talents and wide-ranging musical interests. The album’s overarching theme is King’s love of Louisiana, and the blues and jazz conjured from the juke joints of the bayous and streets of New Orleans.

Reviewed by Brenda Nelson-Strauss

View review October 2nd, 2017

Prophets of Rage – Prophets of Rage

Prophets of Rage
Title: Prophets of Rage

Artist: Prophets of Rage

Label: Fantasy

Formats: CD, Vinyl, MP3

Release date: September 15, 2017

 

 

Rap-rock supergroup Prophets of Rage—featuring Chuck D (vocals) and DJ Lord (turntables) of Public Enemy, Tom Morello (guitar), Tim “Timmy C” Commerford (bass) and Brad Wilk (beats) of Rage Against The Machine, and B-Real (vocals) of Cypress Hill—coalesced in 2016 around the title of the famous Public Enemy song that opens with the line, “I got a right to be hostile, man, my people are being persecuted!” During their initial “Make America Rage Again Tour,” the group staged protest performances leading up to the U.S. Presidential election. Post-election, they’ve ramped up their tours as they take their “message to the mosh pit,” countering neo-fascist rhetoric that seems to escalate on a daily basis with their own brand of anti-establishment “rage politik” music.

The 12 tracks on the group’s full-length self-titled album represent a true collaboration, written and recorded during an intensive two week studio session. All are equally powerful, exuding caustic, socially conscious lyrics on topics ranging from economic inequality and homelessness (“Living on the 110”) to the legalization of marijuana (“Legalize Me”) to the perils of government drone surveillance (“Take Me Higher”). Other songs are intended to incite protest against ongoing political, religious, and racial injustices. As Morello proclaimed, this is “the soundtrack for the resistance in 2017.”

The most recently released single, “Hail to the Chief,” is a strong indictment of President Donald Trump, but focuses more specifically on Vice President Mike Pence as the greater evil, whose Indiana politics are linked with those of Jeff Session’s Alabama. In the video Pence is cast as Trump’s puppet master as well as his heir apparent, while Chuck D spits, “All hail to the chief who came in the name of a thief to cease peace.”

Another compelling track is “Unf*ck the World” (the video is directed by Michael Moore). In a recent interview with Uproxx, Chuck D spoke about the song’s message: “Tom [Morello] coined a statement, ‘The world won’t fix itself.’ Things don’t fix itself, you gotta make it happen. If you want to see this change, you got to get up and orchestrate that happening. . .”  This message is communicated clearly in the song’s chorus:  “No hatred / F*ck racists / Blank faces / Time’s changin’/ One nation / Unification / The vibration / Unf*ck the World!”

Melding two genres—rap and heavy metal—that collide in a swirling vortex of rebellion and resistance, Prophets of Rage bring their protest music to the masses. At a time when even peaceful protests face unrelenting attacks from the Oval Office’s Twitter feed, Prophets of Rage may yet convince everyone to “Give a damn, evil can’t stand yeah, when the people take a stand” (—Unf*ck the World).

Reviewed by Brenda Nelson-Strauss

View review October 2nd, 2017

Michael Jackson – SCREAM

Michael Jackson SCREAM

Title: SCREAM

Artist: Michael Jackson

Label: Epic/Legacy Records

Formats: CD, LP, MP3

Release date: September 29, 2017

 

 

Michael Jackson fans rejoice— SCREAM, a collection of the pop icon’s 13 most electrifying tracks, is being released by Epic/Legacy Records in collaboration with The Estate of Michael Jackson. The album includes classic hits like “Thriller” and “Dirty Diana” as well as the bonus track, “Blood on the Dance Floor X Dangerous.” Created by acclaimed remixer The White Panda, the bonus track is a high-energy mashup of five of The King of Pop’s songs: “Blood on the Dance Floor,” “Dangerous,” “This Place Hotel,” “Leave Me Alone,” and “Is It Scary.”

In addition to CD format, SCREAM will be available as a glow-in-the-dark two-disc vinyl edition with collectible poster in honor of MJ’s affection for the Halloween season. If just listening to this album isn’t enough, there are also Official Michael Jackson SCREAM Album Celebrations being held this fall in six major cities around the world (Paris, London, Sydney, Berlin, Los Angeles, and Tokyo). The celebrations will include screenings of MJ’s seven short films, including the rarely-seen Michael Jackson’s Ghosts, and an after party. For those that can’t make it to one of the album celebrations, SCREAM offers a collection of Michael’s hits that are sure to get you ready for the Halloween season.

Reviewed by Chloe McCormick

View review October 2nd, 2017

Black Kids – Rookie

Rookie
Title: Rookie

Artist: Black Kids

Label: Black Kids Records via CD Baby

Formats: CD, MP3

Release date: September 15, 2017

 

 

The Jacksonville, Florida-based indie band Black Kids is back after an almost decade-long hiatus with their second studio album and it does not disappoint. Rookie combines an upbeat tempo, ‘80s-style atmospherics, and earnest lyrics to create songs that are undeniably catchy. The title track showcases this combination through its infectious mix of playful rhythms and reflective lyrics that make you want to sing along. This isn’t the only track that’s worthy of dancing to—each track delivers a unique sound that’s just as lively as the last.

The album starts off strong with the opening track, “Iffy,” that will have you spelling I-F-F-Y all day long. Don’t be fooled by the upbeat sound though—like most of the songs on Rookie, the lyrics of “Iffy” deal with serious topics (unrequited love, in this case) which are masked by a catchy beat and a mesmerizing chorus sung by siblings Reggie and Ali Youngblood.

The next track, “In A Song,” is the album’s first video single and is just as colorful and frenetic as the lyrics:

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Whether you’re a longtime fan who’s been awaiting this album or someone who’s just hearing about Black Kids for the first time, Rookie deserves a listen.

Reviewed by Chloe McCormick

View review October 2nd, 2017

Living Colour – Shade

Shade

 

Title: Shade

Artist: Living Colour

Label: MRI

Formats: CD, LP, MP3

Release date: September 8, 2017

 

After almost thirty years in the industry, Living Colour has proven time and again they are a force to be reckoned with in rock music. Since the band’s inception they’ve been an amalgamation of varied influences—funk, blues, hard rock, soul, jazz and metal—in the best possible way. Shade furthers demonstrates their musical prowess. It’s been eight years since the well-received The Chair in the Doorway album and Living Colour wastes no time reestablishing themselves.

“Freedom of Expression” sets the album off lovely with the band flexing their well- honed chemistry and skills. Vernon Reid’s main guitar riff is catchy and menacing. Doug Wimbish and Will Calhoun handle the rhythm duties, with a thumping bassline and funking drumming respectively. Lastly, Corey Glover’s vocals sound as powerful and impassioned as ever.

Issues of social justice have long been a touch point in songs by Living Colour and “Freedom of Expression” is no different. Glover sings, “The news you use has been falsified / til you use my fear against me every side / won’t let you choose for me pick a side / no left, no right, no middle, no divide.” Furthermore, on “Blak Out” the band plays with the concept of double consciousness that is salient to the lives of most Black people in America. When Corey Glover sings “Sometimes they misunderstand / Don’t know who I really am” you might call it signifying as many Black listeners know the struggle not to “blackout” all too well.

On “Preachin Blues” the band’s blues influence is on full display as they rip through Robert Johnson’s classic, adding a decidedly electrified funk flavor to the mix. Reid showcases why his name should come up in any serious discussion about rock guitarists with scorching solos on this track as well as on “Program,” which speaks on the ills of a reality TV centric existence.

Hard to say enough about how well the band channels all of their influences from song to song on the album. On “Come On” you can hear the drum and bass influence on Will Calhoun’s drumming patterns, on “Pattern In Time” the feel is very Funkadelic (George Clinton himself drops by to add background vocals to “Two Sides” later on the album), and they do a full-on rock infused cover of the Notorious B.I.G.’s “I Shot Ya” while never feeling like they are stepping outside of their wheelhouse. On the latter they use the track to shine a spotlight on events like Michael Brown’s death, giving a decidedly more political spin to Biggie Smalls’ lyrics.

Unfortunately (for this reviewer) the album is missing the band’s great cover of The Jacksons’ “This Place Hotel” (aka Heartbreak Hotel) that was included on the Who Shot Ya mixtape released by the band earlier this year.  However, we do get a great cover of Marvin Gaye’s “Inner City Blues” with spoken word poetry by Umar Bin Hassan sprinkled throughout.

Living Colour has seen a resurgence in mainstream popularity over the past few years as popular WWE wrestler CM Punk has used their signature song “Cult of Personality” as his theme music. On Shade, Living Colour has crafted songs that are just as catchy and powerful as “Cult” without sacrificing any of their artistic integrity by seeking a hit single. Shade is simultaneously accessible and uncompromising, which can be said about the lion’s share of the band’s work.

At times it’s hard to know how much you’ve missed something until you’ve had the chance to feel it again. Shade serves as a frank reminder that Living Colour is still one of the best bands doing it.

Reviewed by Levon Williams

View review September 1st, 2017

Garrett Shider – Hand Me Down Diapers

Garrett Shider
Title: Hand Me Down Diapers

Artist: Garrett Shider

Label: Everland Music Group

Formats: CD, MP3, Vinyl

Release date: July 10, 2017

 

 

The Mothership has returned to feed “funk-starved” earthlings, bringing as its main course second-generation P-funker Garret Shider, aka Starchild, Jr.  Garret, son of former Parliament-Funkadalic’s “Diaper Man” Garry Shider, serves up his own recipe of the much-needed groove, proving with this debut album that he has come into his own as an adult artist. First and second generation Clintons show up to the meal as members of Shider’s team, with George, son Tracey “Trey Lewd” Lewis and grandson Tracey “Tra’zae” Clinton providing a healthy dose of those bass/rock/horn booms indicative of the unique P-funk sound.

The set begins with “Sugar Rush,” a not-so-subtle sultry ode to all the sweetness that special person holds in our life. Shider then gets cooking with the next offering, “Bop Gun 17,” a song holding strong echoes of classic P-funk backdropped against Shider’s funky old-school falsetto. Starchild Jr.’s dose of political consciousness spills out in the form of “Hard Pill,” as Shider intonates, “When the doctor prescribes his pill it’s the side effects that’s gonna keep you ill, so go ahead and get your glass of water.” The courses just keep on coming from the center section of the funk banquet, as “Jamnastics” to “Stuck in the Middle” reinforce the concept that Shider and his bandmates have plenty of simmering soulfulness.

But it’s the final dish in the form of the title track that fully encapsulates the servings of both Shider’s. “Hand Me Down Diapers” acts as Garret’s personal tribute to his father, tracing the Shider legacy from its beginnings to current day. The song ends with a poignant guitar solo by Jr. as background to an interview conducted with the late Garry Shider, in which he explains the point of his diaper and references an upcoming album.

Showcasing P-funk’s multiple generations at their best, Hand Me Down Diapers is both a testament to Garry Shider’s legacy and a presentation of Garrett Shider’s own artistic individuality, all while holding true to the main ingredients of 1970s funk.

Reviewed by Amy Aiyegbusi

 

View review September 1st, 2017

Big Boi – Boomiverse

Boomiverse
Title: Boomiverse

Artist: Big Boi

Label: Epic

Formats: CD, MP3, Vinyl

Release date: June 16, 2017

 

 

Big Boi, best known as part of the duo Outkast, is proving he is an exploding star in the rap universe with his third release, Boomiverse. This 12 track offering from one of Atlanta’s established legends is possibly his finest yet, and judging from the heavy hitters featured, hip hop’s finest seem to agree. Blending funk sounds, pop influences and distinctive southern hip hop, Big shows how his progressive edge with diverse stylings has morphed into what he self-describes as his symbolistic “graduation record.”

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“Kill Jill” features Big along fellow Atlantians Killer Mike and Jeezy weaving their distinctively unique methods into a friendly rap battle for rhythm and rhyme bragging rights. A nostalgic reference to Andre 3000’s 1995 Source Award speech—“The South’s got something to say”—can be found within Big’s drop, reminding all of Outkast’s declaration for things to come. With the next track, “Mic Jack,” the mood changes to upbeat, dance-floor catchy that screams club vibe. But just when you get used to Levine’s smooth vocals posed against Big’s clean, deep verses, the tone returns to its slab roots with “In the South.

Having proved his multiplicity in just three songs, the remainder of Boomiverse functions as a collection of Big’s favorite goodtime rap. Snoop weighs in with classic Dogg style on “Get Wit It,” and electro-inspired Jake Troth produces the album’s deep house vibe, “Chocolate.” Boomiverse delivers exactly what one would expect from this innovative, Southern rap legend, proving once again that the South still has plenty to say about the miscellany of hip hop for years to come.

Reviewed by Amy Aiyegbusi

 

View review September 1st, 2017

August Releases of Note

Following are additional albums released during August 2017—some will be reviewed in future issues of Black Grooves.

Blues, Folk, Country
Altered Five Blues Band : Charmed & Dangerous (Blind Pig)
Big Joe Turner : San Francisco 1977 (Rockbeat)
Dan Zanes and Friends: Lead Belly, Baby! (Smithsonian Folkways)
Steve Howell & Jason Weinheimer: Hundred Years From Today (Out of the Past)

Classical, Broadway
McGill McHale Trio: Portraits – Works for Flute, Clarinet & Piano (Cedille)
Various: The View Upstairs (Original Cast Recording) (Broadway Records)

Comedy, Spoken Word
Tiffany Haddish: She Ready! From Hood to Hollywood! (Comedy Dynamics)

Funk, Rock, Pop, Electronic
Fifth Harmony:  S/T (Syco Music/Epic)
Ghostpoet: Dark Days + Canapés (Play It Again Sam)
Peter Ngqibs: Let Me Go (Ananm Ent.)
Ronettes: The Colpix Years, 1961-1963 (Cornbread)
Van Hunt: Popular (digital) (Blue Note)

Gospel, Gospel Rap, CCM
Brinson: Thornz (GodChaserz Ent.)
Chevelle Franklyn: Set Time (N.O.W.)
Clark Sisters: You Brought the Sunshine, Sound of Gospel 1976-1981 (Kent)
Cobbs Leonard, Tasha:  Heart. Passion. Pursuit. (Motown Gospel)
Deitrick Haddon & Hill City Worship Camp: S/T (eOne)
Jared Robinson & Resurrection Worship: The Repentance
Jimmy Hicks & ACOJ: Waterway (Blacksmoke Music)
Judy Bailey: Between You and Me
Melvin Williams: Where I Started From (New Day)
Poetic Lace: King of the City (digital)
Reconcile: Streets Don’t Love You (mixtape)
Terrence Cotton: Live in Atlanta (Puretonez Productions)
The Blind Boys Of Alabama: Almost Home (BBOA Records)
TNED: Geneuslife (Royal Oath Ent)
Travis Greene: Crossover: Live From Music City (RCA Inspiration)

Jazz
Andrew McCormack, ESKA: Graviton (Jazz Village)
Brenda Nicole Moorer:  Brand New Heart (CD Baby)
Darren Barrett: dB-ish
Eclectik Percussions Orchestra:  Traces De Vie – Traces Of Life (Passin’ Thru)
Harold Mabern : To Love and Be Loved (Smoke Sessions)
Jamire Williams: Effectual (Carlos Nino & Friend)
John Vanore : Stolen Moments: Celebrating Oliver Nelson (Acoustical Concepts)
Kris Johnson Group & Lulu Fall: The Unpaved Road (Artist Centric Music)
Najee:  Poetry in Motion (Shanachie)
New Vision Sax Ensemble: Musical Journey Through Time (Zaki Publishing)
Tyshawn Sorey: Verisimilitude (PI)
Ulysses Owens, Jr. :Falling Forward (Spice of Life )
Various: Soul of a Nation: Afro-Centric Visions in the Age of Black Power (Soul Jazz)
Dial & Oatts: Rediscovered Ellington

R&B, Soul
Brian McKnight : Genesis (Independent Label Services, Inc.)
D’Angelo: Brown Sugar (expanded ed.) (Virgin/Ume)
Decosta Boyce: Electrick Soul (Vintedge)
Joshua Ledet: S/T (digital) (SoNo Recording Group)
Kim Tibbs: Kim (Expansion)
R.LUM.R  : Afterimage (PRMD)
The Steoples: From the Otherside (Stones Throw)
Thelma Houston: Summer Nights
Undisputed Truth : Nothing But The Truth (Kent)
V.Lace: What Love Does
Various: Soul of the 70s (Box set) (Time-Life)
Wilson Pickett:  Sings Bobby Womack (Kent)

Rap, Hip Hop
A$AP Ferg: Still Striving  (RCA)
Akua Naru: Miner’s Canary (vinyl reissue) (Urban Era)
Andy Mineo & Wordsplayed : Magic & Bird  (Reach)
Apollo Brown & Planet Asia: Anchovies (Mello Music Group)
Berner & Young Dolph:  Tracking Numbers (Bern One Ent)
Chip: League of My Own II  (Cash Motto)
Chris $pencer: Blessed (Perpetual Rebel)
Ea$y Money: Flyer Lansky (EA$Y MONEY)
Grieves: Running Wild (Rhymesayers)
Gunplay: The Fix Tape ( X-Ray)
Illa J: Home (Jakarta)
Japhia Life: Welcome to Heartsville (Arms Out)
Joseph Chilliams: Henry Church (mixtape)
Lil B: Black Ken (BasedWorld)
MadeinTYO: True’s World (Commission)
Mozzy: 1 Up Top Ahk (Mozzy/Empire)
Pawz One: Pick Your Poison (Below System/Dope Shit)
Perceptionists (Mr. Lif & Akrobatik): Resolution (Mello Music)
Sean Price: Imperius Rex (Duck Down Music)
Slim Thug, Killa Kyleon:  Havin Thangs 2K17 (SoSouth)
Tattoo Money : Untitled EP
Too $hort: The Pimp Tape (Dangerous Music)
Wordsworth & Sam Brown: Our World Today (Fat Beats)

Reggae, Dancehall
Alborosie: Freedom in Dub (Greensleeves)
Barry Brown: Step It Up Youthman (Radiation Roots)
IamStylezMusic: Back to My Roots (Blaze Ent)
New Kingston:  A Kingston Story: Come From Far (Easy Star)
Rico Rodriguez & Friends: Unreleased Early Recordings (Dubstore)
Roy Panton & Yvonne Harrison: Studio Recordings 1961-70 (Liquidator)
Shurwayne Winchester: Shurwayne (VPAL Music)
Spacewave: Space Dub (Megawave)
Tanya Asaki: Simply Me (Treasure Chest Prod.)
U-Roy:  Dread in Babylon (Get On Down)

World
Bro. Valentino:  Stay Up Zimbabwe (Limited ed.) (Analog Africa)
Jay-U Experience: Enough is Enough (Soundways)
Sibusile Xaba: Open Letter To Adoniah (Mushroom Half Hour)
Various: Afrobeats Hot Hits: New Urban Dance Grooves from Africa (Shanachie)
Black Boy: Sa E Nan Bouda’w
Various: Sweet as Broken Dates – Lost Somali Tapes from the Horn of Africa

 

 

View review September 1st, 2017

Ayron Jones – Audio Paint Job

Avron Jones
Title: Audio Paint Job

Artist: Ayron Jones

Label: Sunyata

Formats: CD, MP3

Release date: June 2, 2017

 

 

When Seattle power rock trio Ayron Jones and The Way burst onto the scene in 2013 with their Sir Mix-a-Lot produced debut album The Dream, the band was suddenly propelled from playing Northwest dive bars to opening for B.B. King, Robert Cray, Run-DMC and Living Colour. Now, four years later, Jones has new personnel in his band as well as a new producer— ethnomusicologist and drummer Barrett Martin (Screaming Trees, Mad Season, Walking Papers).  His sophomore album, Audio Paint Job, is more of a solo project, with Jones credited as singer/songwriter across the 14 tracks mixed by Jack Endino (Nirvana, Soundgarden). As for The Way, current band members Ehssan Karimi (drums) and Bob Lovelace (bass) are featured prominently but not exclusively, while former members—bassist DeAndre Enrico and metal drummer Kai Van De Pitte—also make an appearance. Barrett Martin adds percussion to the majority of the tracks, with occasional forays on the Wurlitzer, vibraphone, piano and backing vocals.

On Jones’s latest project, the Hendrix-inspired guitarist draws upon other iconic elements of the Seattle music scene past and present, including grunge and punk, seasoned with a heavy dose of soul and a pinch of hip hop.  As for the album title, Jones explains: “Audio Paint Job . . . has multiple meanings for me. It’s a story about my mental and spiritual transformation through music.” Overcoming obstacles is a constant theme throughout, as Jones’s songs chronicle his personal struggles: life in the spotlight, a divorce, and the loss of a family member from drug and alcohol addiction.

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The album kicks off with the powerful rock ballad “Take Me Away,” which successfully incorporates a surprisingly diverse sonic palette. Opening with the percussive sound of a typewriter “performed” by Barrett Martin like a modern day Ernie Pyle, the song progresses through a guitar duel between Jones and Lovelace, scratching by DJ Indica Jones, and a lush string arrangement courtesy of Andrew Joslyn. On the edgy ballad “It’s Over When It’s Over,” Jones switches to a 12-string acoustic guitar accompanied by vibes and strings, reinforcing the melancholy mood.

An obvious favorite, the band’s theme song “Boys From the Pudget Sound” features original members Van De Pitte and Enrico. This ode to Jones’s hometown perfectly encapsulates the Seattle vibe, as he disses transplants to the city: “you say you love stormy weather, but child you can’t stand the rain.” The hard rocking track showcases Jones’s guitar chops, while soaring “opera vocals” by Johnathan Wright and percussion by Barrett Martin add to the texture.

B Anthony Nelson (People Zoo Art Works) offered to produce the video for the album’s first single, “Love is the Answer,” which Jones wrote as a message song for turbulent times: “A reminder that while we all experience and perceive different things in our daily lives, we are made of the earth, that’s made of the sun, that’s made of our galaxy, that’s made of the universe. We are the universes. If we want to see a change in our lives, or in the lives of others we must become and project what we wish to see in our world. Love is The Answer” (Paste, 2017).

Additional highlights include the powerful protest song “Stand Up (Take Your Power Back)” and “Lay Your Body Down,” the latter featuring extended guitar solos with psychedelic effects. The album concludes with the slow burner “Yesterday,” which harkens back to ‘60s soul with Joe Doria taking us to church on the B3.

Though already well-known on the West Coast, Ayron Jones will no doubt increase his fan base with his latest album. Audio Paint Job explores a wide range of styles, delivering a sound that’s steeped in the past yet acutely attuned to the present, both musically and thematically. Black rock returns to Seattle!

Reviewed by Brenda Nelson-Strauss

View review August 1st, 2017

Ronald Bruner, Jr. – Triumph

Ronald Bruner Jr Triumph
Title: Triumph

Artist: Ronald Bruner, Jr.

Label: World Galaxy / Alpha Pup Records

Formats: LP, MP3

Release date: March 3, 2017

 

 

Drummer Ronald Bruner, Jr. is a musician who readers may have heard, but haven’t necessarily “heard of.”  A member of L.A.’s groundbreaking cohort of jazz fusion musicians, the West Coast Get Down, he is the brother of bassist Thundercat (Stephen Bruner) and former keyboardist for The Internet, Jameel Bruner, both of whom worked with Ronald on his new release. While his brothers may be more well-known, Ronald’s playing is a staple of Thundercat’s groundbreaking recordings, and his debut album, Triumph, indicates that his solo output will be strong in its own right.

As one would expect from the commercial success of members of the West Coast Get Down, the music on Ronald Bruner, Jr.’s new album is simultaneously pop-oriented and musically virtuosic.  This is perhaps jazz-fusion in its truest sense, drawing elements from R&B, hip hop and contemporary jazz into a musically interesting setting that is still heavy on radio-friendly grooves.

Recorded during the sessions that spawned fellow West Coast Get Down member Kamasi Washington’s The Epic, Triumph is an album that showcases two kinds of musicianship, often on  the same track. One of these kinds of musicianship finds its expression in pop-oriented R&B and the second allows the stellar musicians in Bruner’s band to showcase their chops.  Songs like “True Story” and “She’ll Never Change” are straight-ahead neo-soul tracks, and aside from the drum break that opens the former and the more active than usual playing on the latter, they could easily be mistaken for new cuts from mainstream R&B artists. Other numbers, like “Geome Deome” and “Open the Gate,” continue in the jazz fusion idiom outlined by virtuosic jazzers. These cuts (the former features the late, great George Duke on keys) hearken to the Al Di Meola Return to Forever days, with distorted guitar wailing over a bed of electric piano and start-and-stop drum grooves that are half Questlove, half Lenny White (who gets a shoutout on the album’s final song).

A stylistic chameleon, Bruner moves between styles within songs, morphing from locking in on the club jam “To You” to putting the trap set in the trap beat “For You” on the same track.  This is followed by the album closer “Chick’s Web,” a virtuosic jazz fusion track with a title that alludes to the great big band leader while blazing new trails for fusion drumming. This cut ends with a collection of shoutouts to everyone from family members to West Coast Get Down musicians (in some cases these are one in the same) to heavy-hitter jazz musicians that Bruner has been influenced by and worked with, including Stanley Clarke and Kenny Garrett.

Drummers need to hear this record because Bruner excels at pretty much any idiom a jazz fusion, funk, or R&B drummer might want to play. Bruner’s strength is in his diversity—Triumph is a jazz album that a pop fan can enjoy and an R&B record that has enough musical interest to keep a jazz head coming back for more. However, Triumph doesn’t fall into the “too diverse to be cohesive” trap that many similarly chameleonic albums do. This is a testament to how much Ronald Bruner, Jr. has to say as a musician and how well-refined his style is. This aptly titled LP is indeed a victory for Bruner and his band.

Reviewed by Matthew Alley

 

View review August 1st, 2017

Benjamin Booker – Witness

Benjamin Booker Witness
Title: Witness

Artist: Benjamin Booker

Label: ATO Records

Formats: CD, MP3

Release date: June 2, 2017

 

 

Benjamin Booker’s appreciation for the historical social movements that helped shape the rock, gospel, and blues genres manifests in Witness, his second full album release following his self-titled debut in 2014. He calls attention to the modern day Black Lives Matter movement in his songwriting, connecting its relevance to the Civil Rights Movement.

Booker contemplates the possibility of death in his opening track “Right On,” an energetic soul rock song that feels like it could be played at an old-fashioned dance hall but with a heavier modern sound. Dramatically dropping in energy without losing its steady groove, “Motivation” juxtaposes the previous song, allowing listeners to focus their attention on reflections of a young Black man reasoning with his quotidian anxieties. From the sensuous aesthetic of “The Slow Drag Under” to the vintage blues pop of “Overtime,” Booker’s unmistakable vocal rasp takes center stage in a screaming whisper.

Perhaps the most meaningful feature that takes place on this album is Booker’s collaboration with the Civil Rights Movement’s musical icon Mavis Staples, who leads the gospel chorus on “Witness.” Booker wrote an artist statement about his attempt to escape the perpetual racism and violence he experienced at home and his process of writing this song during his retreat to Mexico:

I spent days in silence and eventually began to write again. I was almost entirely cut off from my home. Free from the news. Free from politics. Free from friends. What I felt was the temporary peace that can comes from looking away… It wasn’t until Trayvon Martin, a murder that took place about a hundred miles from where I went to college, and the subsequent increase in attention to black hate crimes over the next few years that I began to feel something else. Fear. Real fear. It was like every time I turned on the TV, there I was. DEAD ON THE NEWS… I knew then that there was no escape and I would have to confront the problem. This song, “Witness,” came out of this experience and the desire to do more than just watch.

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Opening with an intertwining of orchestral strings reminiscent of Sam Cooke’s “A Change Is Gonna Come,” Booker’s performance of “Believe” may be one of the more memorable tracks on this album. It plays as a gentle and hopeful rise out of his darker experiences and fears. His lyrics promote optimism in the face of opposition: “I’ve got dreams I can touch, I’d give them everything to keep from going under.”

Witness represents a continuation of the fight for racial equality in the United States and will surely be an important contribution to the music history of the Black Lives Matter movement.

Reviewed by Jennie Williams

View review August 1st, 2017

The Isley Brothers and Santana – The Power of Peace

Isley Brothers Sanatana The Power of Peace
Title: The Power of Peace

Artist: The Isley Brothers and Santana

Label: Sony Legacy

Formats: CD, LP, MP3

Release date: July 28, 2017

 

The Power of Peace blends the signature styles of powerhouse performers Carlos Santana and brothers Ron and Ernie Isley into a beautiful tribute to several influential artists whose musical styles range from funk to soul and jazz. Centered on the themes of peace and love, this project is sure to excite listeners as iconic songs are infused with new flavor.

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The album opens with a bang featuring a cover of the Chamber Brothers’ song “Are You Ready.” Layered percussion and drums performed by Santana and his wife Cindy Blackman Santana alongside an intoxicating electric guitar (also by Santana) create a funky and fun soundscape and prepares the listener for a stimulating musical experience. The band maintains this momentum throughout the next two tracks, Swamp Dogg’s “Total Destruction of the Mind” and Stevie Wonder’s “Higher Ground,” on which Santana performs riveting electric guitar accompaniment and solos.

The middle of the album changes pace with a group of softer, slower pieces extolling the beauty of romantic love. Cindy Santana sings her sensual new song “I Remember” with playful background support by Ron Isley. Similarly, Isley and his expert use of falsetto is utterly captivating on the ensemble’s cover of Curtis Mayfield’s “Gypsy Woman.” The male R&B “quartet” sound that shaped the original version is largely absent as the band employs a classic smooth groove, slower tempo and mixed background voices to transform this song into a mesmerizing, seductive ode to unrequited love. Santana and Isley also shine while performing Muddy Waters and Willie Dixon’s frequently covered hit “I Just Want to Make Love to You.” Santana’s energizing guitar riffs and Isley’s vocal dexterity (including growls, moans, etc.) make this a standout track on the album.

The Power of Peace concludes with songs about social justice and harmony such as Marvin Gaye’s “Mercy Mercy Me (the Ecology)” and Dionne Warwick and Jackie DeShannon’s “What the World Need Now is Love Sweet Love.” Isley sensitively delivers these musical messages while supported by Santana’s earnest and beautifully crafted instrumental accompaniment.

While the musical pairing of The Isley Brothers and Carlos Santana would seem unexpected, this project is the realization of a dream. Santana, who has numerous accolades as an artist, now desires to chart new waters and create music with his longtime favorite musicians including the “incomparable” voice of Ron Isley. Listeners will certainly be glad that some dreams do come true as they are inspired, surprised, and entertained by the fresh music of The Power of Peace.

Reviewed by Raynetta Wiggins

 

View review August 1st, 2017

Body Count – Bloodlust

Blodlust
Album: Bloodlust

Artist:  Body Count

Label: Century Media

Release date: March 31, 2017

Formats: CD, Vinyl, MP3

 

 

Anytime Ice-T is involved with an album, you can bet it’s going to make musical headlines. Bloodlust, the newest offering from the metal band Body Count, definitely does that and then some. The first single, “No Lives Matter,” generated attention for the title alone after its pre-album release on February 17th, but combined with front man Ice-T’s reputation for political music, the song literally explodes in all directions at once. Will Putney, the producer for the band’s 2014 release Manslaughter, returns to assist with this project. Commenting on the album title, Ice T explains, “Bloodlust is part of the human makeup…but we know there are consequences.” Never ones to shy away from presenting what they feel are facts, Ice-T and Body Count have been offering their commentary on modern society via the platform of heavy metal since the early 1990s.

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Much like their previous works, Body Count provides its fan base with a solid dose of the rock sound, complete with driving beats comprised of thick bass, percussion cadences and vigorous vocals. Each track offers unique juxtaposing surprises—from the abrupt silences within “Black Hoodie” to Ice-T’s explanation for the album at the front of “Raining In Blood/Postmortem 2017.” If you recognize sounds reminiscent of the ‘80s band Slayer, then you know your metal. The single “All Love is Lost” features Max Cavalera, a Brazilian singer and songwriter who has worked with Tom Araya of Slasher on past Soulfly collections. Dave Mustaine, thrash metalist currently leading Megadeath in addition to claiming status as original lead guitarist for Metallica, lends his seriously sick talents to the first song, “Civil War.” Rounding out the featured spots is Lamb of God’s D. Randall Blythe, adding a hardcore punk backdrop to Bloodlust’s “Walk With Me.”

Is Bloodlust an album that should be part of everyone’s collection? It depends on one’s musical taste, but it should be on everyone’s radar due to its social commentary. Pushing past the hype, the dark sounds and the seemingly endless abyss of emotion reveals a gritty, unflinching stare into the world we all know exists; one few of us are brave enough to address in such a public manner. Offering no real solutions but a few explanations of why it is what it is, Ice T and his band accomplish what they do best—forcing us to confront the monster from under the bed, in the hope we can all better understand exactly how to defeat it.

Reviewed by Amy Aiyegbusi

 

View review August 1st, 2017

Brownout – Over the Covers

Brownout Over the Covers
Title: Over the Covers

Artist: Brownout

Label: Fat Beats

Formats: CD, MP3

Release date: June 2, 2017

 

 

Over five years have passed since Brownout’s last official release of original music, Oozy (2012). Those familiar with the band likely remember the widespread acclaim during this period for the Brown Sabbath project, featuring Brownout’s own Latin funk twist on Black Sabbath covers. Collaborations with fellow Austin, TX musical comrades such as Black Angels vocalist Alex Maas and Ghostland Observatory vocalist Aaron Behrens resulted in two Brown Sabbath albums and multiple tours over the last four years.

While touring behind the Brown Sabbath project and moonlighting as alter ego Grammy Award-winning Latin funk orchestra Grupo Fantasma, Brownout recorded their new four-song EP Over the Covers everywhere from the Bay Area to central Texas. The songs on Over the Covers—inspired by African funk (“You Don’t Have to Fall”), ‘60s and ‘70s rock, and New Jack Swing (“Things You Say”)—are at once psychedelic and funky, embracing the experience of Brown Sabbath but melding it with the band’s hallmark sounds.

Brownout’s body of work preceding Brown Sabbath contained some of the best funk and rock to come out of Austin over the last decade, so it’s great to see them back in writing mode and focused on their own material. Over the Covers represents a shift in the band’s approach, pairing their instrumental arrangement acumen with a new lyrical direction.

Alex Marrero joins the band as lead singer and lyricist for this release.  Says Marrero, “For me it was all about the process of collaboration and starting to fit into Brownout as an actual new member vs. being the front man for Brown Sabbath. Part of that was tackling the songwriting. If there is an underlying theme in all of these songs it would be symptoms of the human condition, which anyone can relate to.”

Reviewed by William Vanden Dries

View review August 1st, 2017

Delorean – Chris Rivers

Delorean Chris Rivers
Album: Delorean

Artist:  Chris Rivers

Label: That’s Hip Hop Music

Release Date: July 14, 2017

Format: CD, MP3

 

 

For fans of a certain 80s/90s movie series, the mere mention of a DeLorean speeds up the pulse. But for all its album cover throw-back and the artist’s well-known connection to Big Pun, Delorean proves that Chris River’s music is anything but a backward glance. Well-known in hip hop’s inner circle, Rivers has toured the country with world-renowned Def Jam artist Jadakiss, headlined a European tour, and opened up for Cypress Hill, Immortal Technique, Kool G Rap, and Big Daddy Kane. From the beginning of his career in 2012, Rivers made it obvious he was out to slay all mikes with a take-no-prisoners mentality that earned him the title of Cypher King. His career accolades and successes include performing in the 2015 NBA All Star Sprite Cypher, winning the Best Freestyle of 2016 by Team Backpack, and participating in the 2016 BET Hip Hop Awards Cypher, which was later featured as a Jam of the Week on BET JAMS.

The album features a 21-track set of River’s lyrical spinnings that challenge the listener through detailed alliteration, assonance and allegory. The title track, “Delorean,” features Bronx artist Whispers, up-and-coming in the hip hop world himself. This song sets the tone for the album, as listeners are in for a ride as they experience life through the lens of deep musings and futuristic measuring. Infused between Rivers’ offerings are three unique “Time Zones”—quick bursts of thought from Rivers, Whispers and Oswin Benjamin that smell of impromptu slams and smoky stages. “Fear of my Crown” speaks to the past and hopes for the future in ways relatable to everyone, and the last track, “Brightness”, serves as a conscious reminder to value the self, not the trappings of Self. A lyrical dragon who breathes fire with his vocal artillery and technically efficient vernacular, Chris Rivers demonstrates that in the world of hip hop, he is truly on track to be King.

Reviewed by Amy Aiyegbusi

View review August 1st, 2017

Summer of ’96 – Splendid Things Gone Awry

Splendid Things
Title: Splendid Things Gone Awry

Artist: Summer of ’96

Label: Unsociable Music/RED

Format: MP3

Release date: July 21, 2017

 

 

In case you’re still searching for the perfect summer soundtrack, look no further than this new project from Atlanta based singer/songwriter Lonnee Stevens (aka Alonzo Stevenson) and Philadelphia-based composer/producer Antman Wonder, collectively performing as the Summer of ’96. Their group name references the watershed year for hip hop that produced landmark albums by Nas, The Fugees, OutKast, The Roots, 2Pac, and A Tribe Called Quest, among others.

Hearkening back to the golden era of hip hop, the duo use live instrumentation to weave a seductive blend of jazz, soul and rap to create a contemporary soundscape. Stressing that no samples were used in the making of this album, Antman created the original compositions which were then revised and expanded upon by Stevens. Standout tracks include the provocative “Not a Rich Man” featuring Royce 5’9, the harmonically complex “Mahogony Blue” featuring vocals by Lonnee and Teedra Moses, the multi-layered “All That Jazz,” and the cinematic “Wondersong” that’s awash with flute and strings.

Bowing out with the title track featuring Bill Kahler on sax, Antman and Stevens provide a satisfying conclusion to Splendid Things Gone Awry by showcasing their multitude of musical influences.

Reviewed by Brenda Nelson-Strauss

 

 

View review August 1st, 2017

Various – Sly and Robbie Present Taxi Gang in Disco Mix Style 1978-1987

Sly and Robbie
Title: Sly & Robbie Present Taxi Gang In Disco Mix Style 1978-1987

Artist: Various

Label: Cree/Bear Family

Formats: CD, LP

Release date: March 10, 2017

 

Sly & Robbie Present Taxi Gang In Disco Mix Style 1978-1987 is a relatively short compilation chronicling the late ‘70s and ‘80s work of the most famous “riddim” section in reggae music.  Sly Dunbar and Robbie Shakespeare’s work as producers was very influential in helping to create the sounds that Jamaican music would be known for during this period.  Both Sly & Robbie got their start as sessions musicians (as a drummer and bass player, respectively) before moving over to the production side of things.

The rhythm Sly and Robbie became known for featured electronic drums and vocal effects and would become commonplace in reggae under their influence.  This also went on to influence the practice of “toasting” (chanting and shouting out folks over a beat), which in turn would be one of the building blocks on which rap music is based.

With this disappointingly brief eight track compilation (but still a full 58:16), Cree Records highlights cover versions of American soul and disco hits covered by Jamaican artists, produced by Sly & Robbie. Included are covers of songs made famous by Marvin Gaye, The Spinners, The Impressions and others. Both the CD and LP offer great liner notes by reggae expert Noel Hawks that set the scene for Sly & Robbie coming together and creating their unique production style.

The compilation begins with Tinga Stewart’s cover of Tony Joe White’s “Rainy Night In Georgia” (more famously covered by Brook Benton). With Sly & Robbie’s help, Stewart’s version takes what in Benton’s hands was a melancholy song of lament and turns it into a fun, danceable romp. Despite the bit of cognitive dissonance in the song, it is quite enjoyable nonetheless.

The lone female vocalist (really wish there were more) on the compilation is Marcia Griffiths of the I-Threes (backing vocalists for Bob Marley along with Rita Marley and Judy Mowatt), who covers Little Willie John’s “Fever.” Sly and Robbie’s sonic accompaniment is as sparse as the original, highlighting Griffiths’ vocals (if you enjoy this, definitely check out Griffith’s Play Me Sweet and Nice).

Two Marvin Gaye covers appear here with great results. Let’s be real for a second—nobody’s going to touch Gaye’s vocals on the original version. However, accepting this fact allows you to enjoy these covers for what they are, and both truly highlight Sly and Robbie’s production work.  “Sexual Healing” adds additional rhythm to the original’s yearning groove, creating a vibe that is uniquely Jamaican. “Inner City Blues” crackles with the same urgency as Gaye’s original and sports a great reggae-fying of the bassline.

Overall, the sound quality on the compilation is fantastic as it sounds like all of the selections have been digitally remastered.  Each one is presented in its full length form, including extended jams perfect for dancing and/or “toasting,” creating the vibe of a warm night in a dancehall.  If you are a Sly & Robbie aficionado or you want an introduction to the influential production duo, this compilation communicates why Sly & Robbie have been so influential around the world.

Reviewed by Levon Williams

 

View review August 1st, 2017

Billy Ocean – Here You Are: The Music of My Life

Billy Ocean

Album: Here You Are: The Music of My Life

Artist:  Billy Ocean

Label: Legacy Recordings

Formats: CD, MP3

Release date: July 21, 2017

 

 

Riding on the success of the 2016 European 2-disc compilation, Here You Are: The Best of Billy Ocean, Legacy Recordings has just issued a stateside version of Billy Ocean’s self-reflective collection, Here You Are: The Music of My Life. Featuring 10 new performances and 5 long-standing favorites, Ocean provides an audio window through which listeners can view his musical inspirations during his 45+ years as a Grammy award winning R&B artist. Ocean’s current 15-track release coincides with his first set of US tour dates in over 20 years—as one of the featured headliners on the 2017 Replay America Festival.

The title track of the album, “Here You Are,” written by Billy Ocean and Barry Eastmond, is a testament to the various musical influences that have stirred Ocean’s creativity over the decades. The song is captivating—a steady, rhythmical rocking ballad back-dropped against the classic sound of Ocean’s signature croon—and is sure to become a strong staple for his fans. True to the album’s subtitle, Ocean provides covers of the music that has most affected his development as an artist followed by five of his biggest chart-toppers. The iconic “A Change is Gonna Come” by Sam Cooke and Mike Pinder’s “A Simple Game” resonate with, as Ocean states, “everyone waiting for a change…every generation transcending the barriers of colour,” such as himself, who have “lost the concept of life as a spiritual thing, like who we are, what we are, and what we were meant to be.” Bob Marley’s influence is noted as well, through covers of his single “Judge Not” and the well-known “No Woman, No Cry” recorded by Bob Marley and the Wailers.

Ocean’s rendition of “It Was a Very Good Year,” written by Ervin Drake, is easily the most resonant song on the album. As he lulls, “But now the days are short, I’m in the autumn of my years, and I think of my life like vintage wine,” one can’t help but toast Ocean’s own impact upon the music industry through his mega-hits that conclude the disc: “Caribbean Queen 9 (No More Love on the Run),” “Get Outta My Dreams, Get Into My Car,” “When the Going Gets Tough, the Tough Get Going,” “ Suddenly,” and “There Will be Sad Songs (to Make You Cry).”

It was—and is—a very good career for Billy Ocean. Here You Are: The Music of my Life bestows proof of just that.

Reviewed by Amy Aiyegbusi

 

 

 

 

 

 

View review August 1st, 2017

Phil Perry – Breathless

Phil Perry Breathless
Album: Breathless

Artist:  Phil Perry

Label: Shanachie

Formats: CD, MP3

Release date: February 24, 2017

 

 

Phil Perry is back with his latest album Breathless, a ten-track CD of R&B and smooth jazz. Joined on the album by his producer and pianist Chris Davis, Perry has this to say about the musical partnership: “Chris and I respect the music the same way we respect each other. It’s a unique and rare thing and it’s easy because we speak the same language.”  It’s obvious that Davis and Perry trust one another and have something special going, and the album reflects their successful combination. Phil Perry, you see, is a voice one must listen to—a dynamic singer with the uncanny ability to make you a believer with a single note. I would put Perry in the Will Downing category, flying under the radar to where the solid R&B fans are, but Perry’s true music listeners know the real deal when they hear it.

Perry includes his own covers of three songs previously performed by other artists, which are “Love In Need Of Love” by Stevie Wonder, “Is It You” by Lee Rittenour and “One Less Bell To Answer” by the Fifth Dimension. He takes a different approach on the Stevie Wonder classic by slowing the pace down—way down. On “Is It You,” Perry stays with Rittenhour’s original sound, and on the Fifth Dimension classic he adds a fresh perspective by singing it from a male point of view. “Do Whatcha Gotta Do,” written by Chris Davis, is a cute piece. It showcases the combined talents of both artists, giving fans a true dose of the magic that is Perry’s rich smooth tenor.

Providing the soundtracks for over four generations of fans, Phil Perry has done it once again. In a class by itself, Breathless is smooth, and Phil Perry’s vocals will leave you feeling just that.

Reviewed by Eddie Bowman

View review August 1st, 2017

Chuck Berry – Chuck

Chuck Barry
Title: Chuck

Artist: Chuck Berry

Label: Dualtone Music

Formats: CD, Vinyl, MP3

Release date: June 9, 2017

 

Chuck Berry is, without question, the Father of Rock and Roll, and perhaps the most influential guitarist of the 20th century.  After 40 years without a new release, he announced his new album, Chuck, on his 90th birthday.  Unfortunately, he passed in March of 2017 before he could see the project come to fruition.  Clocking in at a short 34 minutes, the album nevertheless packs a punch.  The first pair of songs, “Wonderful Woman” and “Big Boys,” are arguably the best.  They’re rock and roll to the core, and Berry shows from the start that he’s still got it.  This energy is steady throughout the album, even on slower tracks like “You Go to My Head” and “Eyes of Man.”

Chuck is a family affair, featuring his children Charles Berry Jr. and Ingrid Berry as part of his backing band.  His grandson, Chuck Berry III, is also featured as a guest on “Lady B. Goode,” which is a sequel to the 1958 hit “Johnny B. Goode.” Compared to the original, this version is a bit slower, but no less fun.  Perhaps the most tender track on the album is the bluesy father-daughter duet “Darlin,” the video for which was released in time for Father’s Day:

YouTube Preview Image

Also featured on the album are guitarists Gary Clark Jr. (“Wonderful Woman”), Tom Morello, and Nathaniel Rateliff (“Big Boys”).  These guest appearances are a testament to the influence that Berry has had not only on rock and roll, but on popular music more broadly.  With his musicianship, signature guitar riffs, and his stance, Berry has influenced countless musicians.  On this final album, Berry cements his legacy as musician, storyteller, and one of the greatest to ever do it.

Reviewed by Allie Martin

View review July 7th, 2017

The New Respects – Here Comes Trouble

New Respects
Title: Here Comes Trouble

Artist: The New Respects

Label: Credential

Formats: LP, MP3

Release date: May 5, 2017

 
 

“Fresh.”  That’s the first word that comes to mind when describing The New Respects and their debut EP Here Comes Trouble.  Their sound is crisp and clean, while simultaneously soulful and rock infused.  The group is a family unit from Tennessee with twin sisters Zandy and Alexis Fitzgerald on guitar and bass respectively, brother Darius on drums and cousin Jasmine Mullen (daughter of gospel singer Nicole C. Mullen) on vocals.  On their 5 song EP the band gives a glimpse at what they are all about with a strong showing on the musical front as well as the topics their songs cover.

 

The EP begins with the track “Money,” which serves as an excellent album opener and plays with the impact of wealth.  The band sounds particularly tight here and Mullen’s vocals are quite impressive.  On “Frightening Lightning” the rhythm section really shines, making the rocked out track still sound quite danceable.  “Come As You Are” serves as the EP’s lone ballad and sounds vaguely reminiscent of something you might hear from the Alabama Shakes or The Black Keys.  The theme for the track centers around inclusion in a way that makes a point without seeming overtly political.  “Trouble” wraps up the EP with lyrics that question if the straight and narrow is the right path, “I’ve tried livin life right, don’t know if I wanna do it anymore / ‘cause I’ve lived a pretty good life / but trouble keeps on knocking at my door.”  Mullen’s soulful voice authentically sells this as a thought she is actually pondering, so it is not just a song about youthful angst.

Here Comes Trouble is a fantastic debut from a band I am sure we will be hearing more from in the coming years, which is a very, very good thing.

Reviewed by Levon Williams

 

View review June 2nd, 2017

Bobby Saint – Unholy

Bobby Saint
Title: Unholy

Artist: Bobby Saint

Label: Shoot to Kill Music

Format: MP3

Release date: May 19, 2017

 

 

Born in Barbados where he’s still known as Hal Linton, the producer, singer, and multi-instrumentalist relocated to the U.S. over ten years ago and rebranded himself as Bobby Saint. The young artist is finally starting to rise to the top. In addition to collabs with electronic duo Penthouse Penthouse on the hit song “69 Camaro,” he also scored with a guest appearance on the single “Black Bamboo” by With You and provided music for the Lego movie, among other productions.

Saint explains that his new solo release, Unholy,is about freedom, growth, spirituality, views of self, city nights and love. It’s about keeping the fires lit, raising consciousness, while bowing down to the greats: Bob Marley, Curtis Mayfield, Marvin Gaye. This is me going forward with only love and the funk in my heart.” The five track EP delivers a broad range of music. “Big Shoes” is a sexy, soulful ballad that showcases Saints powerful vocals and extensive range. The sultriness continues on “Sexy,” which is sure to be a summer of ’17 anthem, while the title track is a ‘60s throwback power guitar trio that will send chills down your spine.

With this short but extremely satisfying EP, Saint leaves us wanting more – much more.

Reviewed by Brenda Nelson-Strauss

View review June 2nd, 2017

Garland Jeffreys – 14 Steps to Harlem

Garland
Title: 14 Steps to Harlem

Artist: Garland Jeffreys

Label: Luna Park

Formats: CD, LP, MP3

Release date: April 18, 2017

 

 

“I’m a dreamer, and I wanna tell the world about my dreams” sings Garland Jeffreys on his fifteenth album, 14 Steps to Harlem. It’s unfair to say that Garland Jeffreys is enjoying a late career boost, as in a sense he never went away, releasing in every decade since the 1960s while still taking enough of a break to raise a family. Partly crowdfunded and released on his own label, Luna Park, 14 Steps to Harlem is an exceptionally strong outing, connecting with the varied touchstones of style and genre that he employs but never in a way that can be called scattered or diffuse. Here, one finds Jeffreys exploring elements of straight up pop, grungy rock, up-tempo blues, reggae, blue-eyed soul, hip-hop beats – what have you – and any one of these tracks might be shot through with country-styled lap steel, a sound he clearly loves. Jeffreys is not comfortable with genre being the boss, and he likes to live in different musical apartments. However, the overall effect of 14 Steps to Harlem is one of cohesion; the warmth of Jeffreys’ personality and the cogent spark of inspired enthusiasm behind each of these twelve selections is what pull them together.

One space in which Garland Jeffreys lived was in a dorm room at Syracuse University with the young Lou Reed. Reed’s impact and spirit is keenly felt in Jeffreys’ energetic cover of “I’m Waiting for the Man” which he’s been performing for some time; I caught it during a live show he did in Northern Kentucky in November 2014 and it was a mighty intense experience which comes through here. Lou’s vestige also turns up a little in the title track, with its simple progression, laconic narration and the panoramic view taken of its subject, treated with love, not derision. Reed’s widow Laurie Anderson contributes electric violin to the album’s closing track, the classically styled “Luna Park Love Theme.” This is arguably 14 Steps to Harlem’s most touching moment; for most of this disc you cannot tell that this is a singer in his seventies, but Jeffreys sings this one softly and allows the innocence which carries the album up to that point to give way to experience in its last moments.

Garland Jeffreys’ positive messages of peace and friendship are life-affirming and refreshing to hear in a climate and time such as this one we’re all in. Although I was not too sold on “Reggae on Broadway,” which seemed a mildly amusing parody – produced by Dennis Bovell, nonetheless, and therefore fully legit – 14 Steps to Harlem is a delight to behold for even the weariest of ears.

Reviewed by David N. “Uncle Dave” Lewis

View review June 2nd, 2017

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