Living Colour – Shade

Posted on September 1, 2017 by aaamc

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

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

Posted on August 1, 2017 by aaamc

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

Jay-Z – 4:44

Posted on July 7, 2017 by aaamc

Title: 4:44

Artist: Jay-Z

Label: ROC Nation

Formats: CD, MP3

Release date: June 30, 2017

A few weeks back, prior to the announcement of a new record, I had a convo with the homie Langston Wilkins (@StreetfolkLCW) and the topic of Jay-Z came up. I must admit I was wondering essentially “What more does Jay-Z have to say at this point? Unless he was going to focus on, say, a skills-based album, it would almost be a lost cause.” My question was answered in spades with the release of 4:44.

As you may have seen from my review of Tribe’s We Got It From Here, Thank You 4 Your Service, I struggle with the whole “Rap music is a young man’s game” motif. To be honest, I largely believe that to be the case. I cannot tell you how annoyed I get hearing folks from my generation or prior hounding young people about how “horrible” their music is. I don’t quite get how people from my generation don’t recognize the cycle at this point. It’s my belief that Migos’ music is simply not made for my generation of rap fans, much the same as it was for rap fans of the generation before me. Do you really feel like hardcore Whodini fans were really feeling Bone Thugs-N-Harmony like that? My guess is no, and that’s okay.

Jay-Z’s new album comes into the conversation on a platform of an artist who has achieved “God” status in the game, but hasn’t made “relevant” music in a bit. While Magna Carta Holy Grail, was definitely better than Kingdom Come, it still did not have the impact of The Black Album. But this is typical of the rap game, as up to this point we have not seen many rappers age and remain relevant on the level of Jay-Z fame. Married to the one of the biggest pop stars of his generation and regularly appearing on the entertainer’s Forbes list, Jay-Z is in a different category as a celebrity. In his case, it almost seems like a risk to put out material that might be seen as lukewarm and/or “safe” in terms of legacy. Luckily for us and Jay-Z, nothing about 4:44 seems “safe” and it thankfully yields impressive results.

4:44 is set off excellently with “Kill Jay-Z,” a track that according to the artist himself was meant to kill his own ego in order to be open on the record: “Cry Jay-Z/we know the pain is real/but you can’t heal/what you never reveal.” This is an artist that recognizes the role he plays as a leader among hip hop fans and does not plan on wasting the platform. This track is followed by “The Story of OJ,” which has garnered a lot of attention due to its music video containing images of animated black caricatures comparable to those made infamous in pre-1960s America. Using a Nina Simone sample as a backdrop, the track details how Jay-Z’s thoughts on wealth have changed over the years. In particular, he takes a minute to detail a real estate deal he wishes he’d taken years ago. These moments illustrate a major focus on the album—Jay-Z is grappling with how to teach the black community at large the lessons he’s learned. You also hear elements of this in the album’s closing track, “Legacy,” which begins with his daughter Blue Ivy asking “Daddy what’s a will?” and Jay-Z discussing what he truly wants his legacy to entail for his children.

A large amount of buzz surrounding the album has centered on the title track “4:44.” The track is Jay-Z’s response to the implication of his affair revealed on Beyoncé’s magnum opus, Lemonade. Jay-Z confirms the suspicions and apologizes for his indiscretions: “I apologize/often womanized/took for my child to be born/to see through a woman’s eyes.” Producer NoID laces Jay properly here with an excellently flipped sample of Hannah Williams & The Affirmations “Late Nights and Heartbreak,” a track dealing with the difficulties of relationships. I’m not sure if there has been a tit for tat on the perspective of active artists detailing their relationship on this level since Stevie Nicks and Lindsey Buckingham during Fleetwood Mac’s Rumors period.

My favorite track of the album has to be “Smile.” On the production side, it is my favorite beat on the record. It excellently flips a sample of Stevie Wonder’s “Love’s In Need of Love Today” to amazing effect, accenting Stevie’s clavinet and choir vocals with 808 snares and bass drum hits. This creates a moody setting in which Jigga lets loose on a variety of topics. Speaking to his feelings about his mother’s struggle with her own choices, Jay-Z closes the track with a guest appearance from her that is about as real as it gets. He also addresses his own struggles with public acceptance: “Oh y’all thought I was washed/I’m at the cleaners/laundering dirty money/like the teamsters.” This line felt like a direct response to doubters like myself and trust me, it was heard.

4:44 finds Jay-Z at his most vulnerable on wax in years, yet still with a swagger that is becoming of an elder statesman. The production duties on the album were handled with aplomb by NoID, who after this release will hopefully receive some of the recognition he’s deserved for years.

For all of my “young man’s game” rambling, this is an example of what a “grown man” can do with the artform. Jay-Z’s status allows him to speak and be heard. In return, he uses the platform to not only make great art, but also pass down lessons on the importance of wealth and support of other black people and businesses. 4:44 puts to rest any of my concerns about what over-40 rap artists are capable of.

Reviewed by Levon Williams

Various 60’s R&B artists – More From the Other Side of the Trax: 45rpm Rarities 1960-1968

Posted on July 7, 2017 by aaamc

Artist: Various 60’s R&B artists

Label: Kent Soul/Ace Records

Formats: CD

Release date: April 14, 2017

More From The Other Side Of The Trax: Stax-Volt 45rpm rarities is the second volume of its kind from the Kent Soul imprint. This new compilation offers entry points for both the novice and hardcore collector, bringing together selections that have not been together in any capacity on CD up until this time.

For the novice, this is a mix of great tracks from early ‘60s rhythm and blues vein, as beginners may be familiar with artists such as Rufus Thomas and the Mar-Keys, both featured in multiple tracks. For dedicated fans, the collection offers numerous B-sides from the Stax “Blue” period (so named for the color of the label on the 45s during this period) that surprisingly were not present on the Complete Stax Volt Singles volume released in the 1990s.

Highlights of the arrangement include Rufus Thomas’ cover of Billie Holiday’s “Fine and Mellow,” which illustrates Thomas’ proficiency as a jack of all trades. This track finds the artist, better known for his funky workouts, clearly in a blues mode but still giving a fantastic performance. The Mar-Keys, best known for their instrumental hit, “Last Night,” appear with a great set of tracks including “Grab This Thing Part 2”, which is as funky as they come.

William Bell, who is currently experiencing a renaissance in popularity, appears with a few tracks, as well. “Whatcha Gonna Do” hints at where Stax would go during its “Yellow” period with a funky soul orientation. Carla Thomas’ “Puppet” shows that contrary to popular belief, Stax was very much interested in pop appeal, as its string arrangement adds drama and “sweetening” to a great vocal performance by Ms. Thomas. Lesser-known early Stax acts such as Barbara and the Browns appear the tracks “I Don’t Want Trouble” and “You Make a Strong Girl Weak,” respectively sounding more like traditional rhythm and blues than the soul sound for which Stax would become known. On “Never Let You Go” by Carla & Rufus Thomas, you can almost hear the fun the father/daugher duo had performing together.

Rounded out with liner notes for each group written by Tony Rounce, More From The Other Side Of The Trax sheds some light on some great singles that have remained unavailable outside of their original vinyl release until now.

Reviewed by Levon Williams

Stokley – Introducing Stokley

Posted on June 2, 2017 by aaamc

Title: Introducing Stokley

Artist: Stokley

Label: Concord

Formats: CD, MP3

Release date: June 23, 2017

Introducing Stokley by Stokley Williams is an interesting record, and I mean that in most complimentary way possible. Williams, well known to R&B fans for the past twenty plus years as the lead singer of the band Mint Condition, steps out on Introducing Stokley to chart his own course. It would have been very easy for Williams to tread the tried and true path of Mint Condition (who are one of the best bands to come out of the 1990s along with Tony! Toni! Toné!), but instead Williams brings forth an offering which is simultaneously approachable and eclectic.

The album’s opener and lead single “Level” finds Williams embracing a modern R&B feel with hip-hop leanings. The track is rhythmic and bangs with hard 808 drums that compliment Williams’ always excellent singing surprisingly well.

On “Think of U” Stokley’s voice, which sounds somewhat reminiscent of Stevie Wonder, is on full display. Williams has always been a strong vocalist and he doesn’t hold back on his solo debut. “Art In Motion” serves as kind of a bridge between electronic and acoustic music, with an appearance by Robert Glasper on keyboards. The song’s breakdown is especially interesting as all the elements mix together.

“Victoria” is probably the most “experimental” track on the album, playing into Williams’ flair for drama as a man pleading for a woman’s presence. The musical backing for the song includes elements of jazz, R&B and African influences, all held together by Stokley’s vocals which he enjoys playing around with throughout the track. “U&I” is a duet with Estelle which works very well as a modern adaptation of the great male/female duos like Donny Hathaway & Roberta Flack or Jerry Butler & Thelma Houston. “Forecast” sees Williams’ incorporating an ever so slight hard rock element as he laments the difficult outlook on a not-so-good relationship. The album’s closer, “Wheels Up,” is an uplifting (pun intended) track about not letting others rain on your parade. Williams, who is also a talented percussionist, lends some steel drum to this track.

With Introducing Stokley, the artist achieves the difficult task of engaging fans of his work with Mint Condition while making this solo effort truly his own.

Reviewed by Levon Williams

The New Respects – Here Comes Trouble

Posted on June 2, 2017 by aaamc

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

Fuzzy Haskins – I Got My Thang Together

Posted on June 1, 2017 by aaamc

Title: I Got My Thang Together: The Westbound Years

Artist: Fuzzy Haskins

Label: Westbound/Ace

Formats: CD, MP3

Release date: April 7, 2017

Ace Records has released the compilation I Got My Thang Together: The Westbound Years celebrating the music of one Clarence “Fuzzy” Haskins. Who’s Fuzzy Haskins, you ask? Well, if you are even a casual fan of Parliament-Funkadelic, chances are you are already familiar with his brand of earthy, heavyweight funk (“Put Up Your Dukes”). Although amongst most popular culture George Clinton and Bootsy Collins are seen as the brand ambassadors for the P-Funk Mob, there were many, many players who made both bands what they were. Some of these players were even given their own chance to shine on various side projects that sprung up during the height of their popularity.

After growing up on Parliament (my Dad’s record collection is the core of my own collection), I was still amazed at how much material was out there to be discovered. During my personal “deep dive” into the Parliament-Funkadelic catalog, I came across A Whole Nother Thang and Radio Active, the aforementioned Fuzzy Haskins albums from 1976 and 1978 respectively. As with many of the side releases from P-Funk, Haskins is backed by other members of the band including Billy “Bass” Nelson, Tiki Fulwood, Bootsy Collins, Cordell “Boogie” Mosson and Bernie Worrell. Since the lion’s share of this compilation was pulled from these two albums, it definitely has a very familiar feel.

Haskins’ history with Parliament goes back to its very origins as part of the doo wop group known as “The Parliaments”—the original group that would later birth Funkadelic and Parliament. Haskins is credited with writing several songs on the early P-Funk records, but by the mid-1970s he was feeling a little disconnected (pun intended) from the Mothership and began stashing songs away for what would become his debut solo album: A Whole Nother Thang on Westbound Records (the label behind the first few Funkadelic releases). The most famous track from this first outing was “Cookie Jar.” The song has a great groove and was later covered with great results by P-Funk’s female group, Parlet. The version included on this compilation is not from the album, but an alternate that’s arguably better based solely off the hilarious conversational intro by Haskins. Another highlight is “Mr. Junk Man,” a funky lament for those addicted to drugs, and “The Fuz and Da Boog” which features Haskins on drums and Cordell Masson on bass.

This compilation also features tracks from Haskins’ second Westbound release, Radio Active, including the tracks “Sinderella” and “Not Yet,” which feature Haskins basking in his carnal desires. It is tracks like these that eventually stalled Radio Active from getting a solid push from the label. By this time Haskins had become disenfranchised with the P-Funk Mob and turned his life over to religion. Not wanting to sing “nasty” songs he was equally unenthusiastic about the record upon its completion. In the years since, Haskins has reunited with Parliament-Funkadelic on several occasions and was inducted with them into the Rock and Roll Hall of Fame in 1997.

I Got My Thang Together serves as a great introduction to Fuzzy Haskins’ solo work and fits right in with many of the other great P-Funk side projects. If you are a hardcore Funkateer, this one’s for you.

Reviewed by Levon Williams

JC Brooks – The Neon Jungle

Posted on May 2, 2017 by aaamc

Title: The Neon Jungle

Artist: JC Brooks

Label: Rock Ridge Music

Formats: CD, Digital

Release date: April 7, 2017

JC Brooks’ Neon Jungle seeks to take the listener on a journey through the nightlife. In fact, Brooks had a specific image in mind: “It’s ‘87, you’re going out on a Friday night and you’re ready to lose yourself in the city…” The album really succeeds in building on this scenario with songs like “Drive” and “Stumble in the Dark,” both of which have a very danceable feel that bubbles with the excitement of an evening where opportunity abounds. However, the album also features more contemplative tracks like the opener “Jungle” and the ballad “Playing With Fire,” both evoking the vocal stylings of Donald Fagen of Steely Dan who Brooks cites as an influence.

While “JC Brooks” headlines, his backing band also contributes to the very cohesive feel of the record. They complement each other and Brooks on songs like the very funky “O.N.O.” Brooks takes on a Prince influenced falsetto while his band tightens up, making this one of the liveliest and most enjoyable tracks on the record. On “One For Someone,” Brooks slows things down again for an inspired song that showcases his vocals and songwriting, with the added bonus of a great guitar solo by Alec Lehrman.

The album’s closer, “Watch Me,” blends a great story with great music. Brooks spikes the bridge with the message, “We are all currently losing this game of love / because we are searching out something brand new / when slightly used will most certainly do,” leaving those who are not too caught up in dancing to really think about what message Brooks is trying to send.

All in all, Neon Jungle succeeds in creating the feeling of a night out that’s full of both exciting and intimate moments.

Reviewed by Levon Williams

The Soul of John Black – Early in the Moanin’

Posted on May 2, 2017 by aaamc

Title: Early in the Moanin’

Artist: The Soul of John Black

Label: Big Slamm Music/dist. CD Baby

Formats: CD, Digital

Release date: May 6, 2016

The Soul of John Black is a project centered around guitarist John Bigham. Best known for his time as a member of Fishbone, Bigham uses The Soul of John Black as a love letter to the blues. His latest release, Early in the Moanin’, infuses elements of both Delta and Chicago blues with soul and funk sensibilities. The album finds “JB,” as he a known, running through songs filled with an earthy-southern feel.

Bigham puts his sense of humor at the center of many of the tracks, including the album opener “Can’t Be Helped,” where he playfully pleads for help from his partner for his ailment: “Doctor says I can’t be helped / by nobody but thee / now lay some hands on me.”

Early In Moanin’ is reminiscent of soul-blues greats like Little Milton or Z.Z. Hill, but with a 2017 sensibility. It conjures up visions of people dancing away the troubles of the day at the local watering hole. Bigham’s vocals and guitar work are both superb throughout the album. Despite the fact that blues is not his most oft-played genre, he feels completely at home in the setting. His comfort at weaving between genres—blues, soul, funk, R&B—speaks to the interconnectedness of these genres at large. Blues in many ways is the root and Bigham taps into it in spectacular fashion on this album. Early In Moanin’ is highly recommended for lovers of the soul-blues of Bobby “Blue” Bland, Denise LaSalle and Clarence Carter.

Reviewed by Levon Williams

Hot 8 Brass Band – On the Spot

Posted on April 4, 2017 by aaamc

Title: On the Spot

Artist: Hot 8 Brass Band

Label: Tru Thoughts

Formats: CD, LP, MP3

Release date: March 31, 2017

The Hot 8 Brass Band uses their new release, On the Spot, to keep on doing what they do best. The album is filled with the kind of up-tempo lively party music that one might expect from a top tier New Orleans brass band. The Hot 8 is just that and they do not disappoint.

The album begins in spectacular fashion with “8 Kickin It Live” which is jam packed with energy via those great New Orleans syncopated rhythms which definitely had me dancing in my seat as I listened. Following are more original pieces, including “Working Together,” “Get It How You Live,” and “Bottom of the Bucket,” which is funky as all get out and features an infectious horn line with great feeling.

According to the Hot 8 Brass Band, “On the Spot” refers to the “glorious, rare moment in a New Orleans parade when the band stops to take a break but keeps playing for the crowd. Vibing and keeping the energy up, when they sync up and the magic happens—a new tune is created.” You can almost hear this happening as the band lays into the title track.

The album features a few notable covers including “St. James Infirmary,” which sees the band dipping into classic New Orleans jazz and incorporating woodwind instruments into the track. Also covered is Sade’s “Sweetest Taboo,” reworked into a slightly more up-tempo jam, and Stevie Wonder’s “That Girl” which the Hot 8 mold in a rhythmic party anthem. The album closes out on a few more originals, most notably “Can’t Nobody Get Down” featuring a horn line reminiscent of Isaac Hayes’ “Do Your Thing.”

With On The Spot, the Hot 8 Brass Band truly does a great job at packaging as much of the live energy they bring to their performance as possible. I can only imagine what heights are reached when experiencing the band in real time.

Editor’s Note: the Hot 8 Brass Band’s U.S. tour in support of the album begins May 27, 2017 in Denver.

Review by Levon Williams

Curtis Knight featuring Jimi Hendrix – Live at George’s Club 20

Posted on April 4, 2017 by aaamc

Title: Live at George’s Club 20

Artist: Curtis Knight featuring Jimi Hendrix

Label: Dagger

Format: CD, LP

Release date: April 21, 2017

Just in time for Record Store Day on April 21st, Dagger Records has released Curtis Knight featuring Jimi Hendrix – Live At George’s Club 20. This compilation includes tracks that up to this point have mostly been available as bootlegs for the Jimi Hendrix completist. Dagger’s official release features fully remastered audio and a 10 page liner note booklet with rare photos and insight into Hendrix’s career during this period.

Live At George’s Club 20 includes tracks recorded in 1965 and 1966, which find Hendrix in his rhythm and blues era, then known as Jimmy James—a member of Curtis Knight’s pre-Squire’s band the Lovelites. The songs included here are primarily covers including Howlin’ Wolf’s “Killing Floor,” Marvin Gaye’s “Ain’t That Peculiar” and Ray Charles’ “What’d I Say.”

Many of the tracks feature Jimi on vocals as well guitar, and it easy to hear hints of the artist he would become just a few years later. Still in his early twenties, Hendrix’s chops were as impressive as you might expect for one of America’s greatest guitar heroes. On “Driving South” he flexes his guitar skills in fantastic fashion as Knight shouts out the names of cities. It’s not hard to imagine a smoky club of dancers responding ecstatically to the storm the band (including bassist Ace Hall, drummer Ditto Edwards, and saxophonist Lonnie Youngblood) had brewed up. Hendrix even includes the playing guitar with his teeth routine that would wow the crowd at the Monterey Pop Festival just a few years later. Many of the recordings also showcase Hendrix’s humor and showmanship as well. For example, “I’m a Man” features Hendrix’s playful singing and lyric swapping during a rendition of the Muddy Waters standard.

While Live At George’s Club 20 is a collection for Hendrix completists, it is still a worthwhile listen for anyone who is interested in deconstructing the notion that Jimi Hendrix “came out of nowhere.” It was places like Club 20 where he honed his chops on his way to super stardom and this compilation is a great listen.

Reviewed by Levon Williams

Robert Randolph & the Family Band – Got Soul

Posted on February 1, 2017 by aaamc

Title: Got Soul

Artist: Robert Randolph & the Family Band

Label: Sony Masterworks

Formats: CD, LP, MP3

Release date: February 17, 2017

So in the interest of full disclosure, I’ll let it be known that I am a longtime fan of Robert Randolph & the Family Band. I became aware of the band sometime around the early 2000s when they performed at the Grammy Awards as part of an all-star funk jam with members of Parliament-Funkadelic, Earth, Wind & Fire, and Outkast, among others. The band had just released their debut studio album Unclassified, which showed great potential for where the band could go with their recorded material. Of course, albums are just one metric by which to judge a band; the other (and arguably more accurate) metric is their live performances. Masters of the jam band aesthetic, Robert Randolph & the Family Band have toured steadily for the last 15+ years. I’ve had the pleasure of seeing them multiple times, and love seeing the band live, in their element.

I bring up these two specific metrics because the dynamic between the two can at times be difficult to reconcile. How does the band take the kinetic energy of their live show and “bottle it” in a studio environment without losing some of what makes them so great? Robert Randolph & the Family Band has grappled with this challenge on their four previous studio albums, with various degrees of success. In my opinion, Unclassified best captured their live aesthetic, while We Walk This Road (2010) best captured their “focused studio album” potential. The band’s fifth album, Got Soul, finds them seeking that oft elusive balance once again.

The album opens with the title track which sets the tone for the album, with an upbeat and lively groove and Randolph’s signature pedal steel guitar front and center. This track is all but guaranteed to go over well live. Near the end of the track the band goes into a gospel breakdown that leads into the next song, “She’s Got Soul,” which really, really is a peek at the band at their best. “She’s Got Soul” also features Anthony Hamilton, who adds his signature vocals to the track, while Randolph contributes an excellent pedal steel solo. Darius Rucker appears on “Love Do What It Do,” and he is a great match for the group on this song:

The album also includes a cover of the Isaac Hayes & David Porter penned “I Thank You,” originally performed by Sam & Dave. I’m a complete sucker for the song in general (the Bar-Kays do a great funky rocked version), and Robert Randolph & the Family Band do not disappoint with their version. The track “Be the Change” unfortunately highlights one of the weaknesses of the band’s material. Randolph himself is credited with writing several of the tracks, and while the music is typically strong, it is somewhat bogged down by the lyrical content. I would love to see Randolph partner with more experienced songwriters like he does on “Lovesick,” which does a better job at matching their great instrumentals with well written lyrics.

One standout track is “I Want It,” which finds the band, including the excellent Lenesha Randolph, sharing vocals ala Sly & The Family Stone; however, at this point I realized I hadn’t yet heard former bassist/vocalist Danyel Morgan. Adding his falsetto to the mix was the only thing that could’ve made the track better for me. Robert Randolph has a killer pedal steel solo at the peak of this track.

Also included are a couple of the band’s signature instrumental tracks—“Heaven’s Calling” and “Travelin Cheeba Man”—the former would have fit perfectly with Randolph’s side project The Word and the latter would feel at home on Unclassified. Both are very enjoyable.

All in all, Got Soul does not completely overcome the challenge of balancing the energy of live performance with the focus of a studio album, but like many of the band’s prior studio releases, there are moments spread throughout where that balance can be heard. I look forward to hearing these new tracks in a live performance if I can catch Robert Randolph & the Family Band on tour this summer.

Reviewed by Levon Williams

Jefferson St. Parade Band – Viral

Posted on February 1, 2017 by aaamc

Title: Viral

Artist: Jefferson St. Parade Band

Label: Self-released

Formats: CD, Digital

Release date: November 4, 2016

On Viral the Bloomington, Indiana based Jefferson St. Parade Band continues to hone their unique mix of musical styles, reaching for a sound that is their own. This new release is one step closer on that journey. JSPB operates as a mobile street/party band complete with horns, a drumline, and backpack amplifiers for their bassist and guitarist. As the band prepares to play their third Mardi Gras set this February, Viral serves a great primer for the uninitiated.

The album begins with “Austin City Unlimited,” which provides a great groove over which the horn section of the band shines. Not to be outdone, the syncopated rhythms of the JSPB drumline are also on display on this great opener. Despite its tongue-in-cheek title, “Most Annoying Song Ever, Gone Viral,” while “different,” is far from annoying. Perhaps the title is referencing a synthesized wind instrument that sounds like a melodica? Regardless, as the track continues, it shifts into an almost prog rock space which was a surprising but a welcome addition to the other genre influences that can be heard on the album—including funk, crunk, soul, and world music.

“Easy Dub,” which is a King Tubby cover, allows JSPB’s drumline to shine and comes across very well, with almost a jammy, zoned out vibe. That track is followed by the standout, “Jazz Bastard,” which sees the band really blending as a unit in a fashion that I would imagine translates well to their live performances. This track, in particular, features some great guitar work.

Viral finds the Jefferson St. Parade band still growing and finding new ways to incorporate their wide musical influences while continuing to hone in on what may eventually be known as “their” sound.

Reviewed by Levon Williams

Washington Phillips and His Manzarene Dreams

Posted on December 1, 2016 by aaamc

Title: Washington Phillips and His Manzarene Dreams

Artist: Washington Phillips

Label: Dust-to-Digital

Format: Hardcover book bound with CD

Release date: November 11, 2016

Reissue label Dust-to-Digital made a big splash with their inaugural release Goodbye, Babylon in 2003. The wonderfully packaged multidisc box set explored many long forgotten and unreleased songs by gospel artists and sermons from preachers recorded in the early 20th century.

One of the standouts from that collection was the work of one Washington Phillips (1880-1954). On his two tracks included on Goodbye, Babylon, Phillips’ singing is backed by a mysterious instrument of his own creation called a Manzarene. Those two tracks sparked a renewed interest in Phillips, leading to a search for more recordings. Washington Phillips and His Manzarene Dreams is a newly remastered and expanded edition of Phillips’ worked pulled from original 78-rpm discs recorded between 1927-1929.

As with many high quality box set releases, an excellent complement to the music itself is the pristine 76 page hardcover book/liner notes included with this collection (the CD is slipped inside the front cover). The book traces the legend of Washington Phillips from birth to death, debunking oft retold misinformation that may have been circulated in prior collections of his work. Tapping people that knew the man himself, as well as his own meticulous research, writer Michael Corcoran explores the history of Phillips dating back to his grandfather, born into slavery in 1801, and up to Phillips’ death in 1954. Along the way Corcoran details stories about Phillips’ home life, career, the creation of the aforementioned manzarene and even a cousin with the same name whose life journey ended much differently than Phillips’ own. The book also includes photos and reproductions that help bring Phillips’ story to life, contextualizing his musical contributions. His work has since been covered by artists such as Arizona Dranes, Mavis Staples and Phish. This deep dive into Phillips’ gospel blues has unearthed gems that are sure to make more converts of artists and fans alike.

Reviewed by Levon Williams

Isley Brothers – Go For Your Guns

Posted on December 1, 2016 by aaamc

Title: Go For Your Guns

Artist: Isley Brothers

Label: Iconoclassic

Format: CD (expanded ed.)

Release date: July 29, 2016

Look let’s be honest, most Isley Brothers fans know the 1977 album Go For Your Guns for its big hits “Footsteps In The Dark” and “Voyage To Atlantis.” Also, these two particular songs are usually included on most Isley Brothers Greatest Hits compilations, so why might a reissue of Go For Your Guns be worth a spin? Well, there are a couple of reasons. The first is to reintroduce the record as whole. The entire album. This is a powerful piece of work that really illustrates that the Isley Brothers are, in a lot of ways, still underrated considering their contribution to modern popular music. Beyond the hits, also included are tracks such as “The Pride”—which sets the album in righteous fashion with an exploration of one of life’s major motivations—and “Tell Me When You Need It Again” complete with a fat, funky bassline courtesy of Marvin Isley, plus one of my favorites, “Climbing Up the Ladder.” The latter is as funky and rock-edged a workout as any early Funkadelic side. Ernie Isley really leans into guitar, demonstrating his prowess with a biting guitar solo which illustrates how powerful the brothers became as a unit with their 3+3 lineup. This lineup had begun a few albums prior, adding brothers Ernie and Marvin on guitar and bass respectively, as well as brother-in-law Chris Jasper on keyboards, to the vocal trio of Ron, Rudolph, and O’Kelly. Ernie also flexes on the album’s title track, which is essentially an extension of the funk groove from “Livin’ the Life.” This edition, digitally remastered from the master tapes, also includes three bonus tracks including the disco versions of “The Pride” and “Livin’ in the Life/Go for Your Guns.”

The second reason to pick up this re-release, as most lovers of reissues might tell you, is for the stories included in the liner notes. This reissue does not disappoint. Written by A. Scott Galloway, who is clearly both a funk and Isley Brothers aficionado, the notes are chock full of great stories. I won’t spoil too much here, but for those who are fans of shows like VH1’s Behind The Music and TV One’s Unsung, there are some gems here. For example, the Isleys were tapped to contribute one of the songs from Go For Your Guns to the soundtrack that became Saturday Night Fever. Interested in which song it was and why in God’s name they decided not to do it? That question and more are answered in Galloway’s engaging liner notes.

And yes, I’ve purposely circumvented making this review all about the big hits, but I must say, the bridge on “Voyage To Atlantis” is still as ethereal (and lit) as it ever was. (On a side note, I did a quick cursory search and “Voyage” has been sampled over 40 times and only one producer has flipped the bridge groove as opposed to the main groove. How is that possible??) Anyway, great record + great notes = great reissue.

Reviewed by Levon Williams

After 7 – Timeless

Posted on November 1, 2016 by aaamc

Title: Timeless

Artist: After 7

Label: Entertainment One

Formats: CD, MP3

Release date: October 14, 2016

Vocal group After 7 returns after an eleven year hiatus with their album Timeless. On this new outing the core members of the group, Kevon & Melvin Edmonds and Keith Mitchell, are joined by Melvin’s son Jason Edmonds. As with their previous offerings, the group’s smooth vocal harmonies are front and center and Jason fits right in without missing a beat.

Timeless begins with arguably its strongest track, “Running Out,” which would be right at home with the best “Quiet Storm” grooves of the 1980s. Despite the fact that they use various sound effects, the strength of the vocalists shine through and the music is fantastic. The track definitely has a few Atlantic Starr vibes. “Running Out” is one of the many songs on the album written by Kenneth “Babyface” Edmonds. It is clear from this jam that Babyface has in no way lost his touch and might very well be the producer heir apparent to Quincy Jones, should he ever decide to go that route.

Another highlight on the album is “I Want You,” which has been making the rounds as a single. On this Babyface penned track the fellas creatively share lead, switching between vocalists on each line. After 7 sounds exceptionally energized here and the track is all the better for it. Following is another single from the album, “Let Me Know”:

The themes throughout the album are, as you’d expect, love, relationships, and desire. This is stanchly “grown folks music,” with perspectives on these themes that are more in tune with the “Grown and Sexy” than their younger counterparts. The production volleys between the aforementioned Quiet Storm and soft rock elements. A couple of the tracks definitely put me in a “Human Nature”/”Africa” (Toto references) space and that is not at all a bad thing.

The album concludes with two covers. After 7 definitely does a good job with The Stylistics’ “Bet You By Golly Wow,” although it does not reach the heights of their “Baby I’m For Real/Natural High” cover from years back. “Home” is a strong closer and ends the album with a bit of a meditative tone.

Black Grooves has a special connection to the group After 7. Members Kevon and Keith both attended Indiana University in the late ‘70s and were members of the IU Soul Revue, a live performance ensemble that tours around the country performing songs from the Black American Songbook, past and present. Both Keith and Kevon cite their time with the IU Soul Revue as a major influence on their respective careers in music. Furthermore, both the IU Soul Revue and Archives of African American Music and Culture were founded by Dr. Portia K. Maultsby, who mentored countless students over the years.

Overall it is great to have After 7 back doing their thing. The smooth sounds of Timeless also reinforce the fact that Babyface has not lost a step in his production work.

Reviewed by Levon Williams

Unlocking the Truth – Chaos

Posted on November 1, 2016 by aaamc

Title: Chaos

Artist: Unlocking the Truth

Label: self-release

Formats: CD, MP3

Release date: June 17, 2016

Over the past few years the punk band Unlocking the Truth has gone from YouTube sensations to performing at major festivals and landing a nearly unprecedented recording contract with Sony (later rejected), all while just entering their teens. While a knee jerk reaction might be to dismiss them as a “kiddie act,” their first official release, Chaos, aims to dispel all those doubts and for the most part succeeds.

Jarad Dawkins (drums) and Malcolm Brickhouse (guitar/vocals) have been friends since early childhood and have been playing together since middle school. Alec Atkins (bass) joined the band during the period in which they made quite a bit of noise on YouTube, once the word got out about their impromptu shows in Times Square. Chaos is the first foray into what the fellas have been cooking up since they made the jump to the Vans Warped Tour and Coachella.

The album is very well-produced with a sound that feels tailor made for radio airplay. Each track feels crafted as a potential single, which though understandable—given how music is consumed in 2016—takes away from a cohesive whole. However, if you can look past this issue and take Chaos as a first step on a career that will hopefully include a respectable artistic growth arc, what they’ve produced is a very respectable start. Unlocking the Truth’s sound is decidedly steeped in the Nu-Metal tradition of bands like Slipknot and System Of A Down. And while these might be big shoes to fill, Chaos hints that the teenage power trio may be mentioned in the same breath as these bands down the line.

Of particular note is the level of the playing the band has mastered. Tracks like “Monster”, “A Tide” and “Other Side” really do a great job in showcasing how well the group plays together and gives glimpses of what may come as they continues to mature. Thematically the album leans heavily on imagery about outsiders (perhaps due to being three young African-American males participating in a genre that is dominated by bands that do not look them); relationships (usually difficult or outright bad ones, which begs the question how much of these songs sprang from personal experience?); and general human connections (which serves as a bookend to the outsiders theme, as the band embraces a new community built around freedom to be one’s self).

The album’s lead single, “Take Control,” utilizes these themes in its music video and in the lyrics which speak to taking control of your own destiny. It will very interesting to hear Brickhouse’s voice as it matures—he is clearly coming into his own vocally, which is best heard on “Escape.” This track also features some great drum work by Dawkins and bass work by Atkins.

All in all, Chaos feels like a preview of great things to come. It is my hope that Unlocking the Truth beats the odds of becoming pigeonholed as a novelty act and continues honing their craft both live and in the studio.

Reviewed by Levon Williams

The Meters – A Message From the Meters

Posted on October 3, 2016 by aaamc

Title: A Message From the Meters

Artist: The Meters

Label: Real Gone Music

Format: 2-CD set

Release date: September 2, 2016

The Meters cast a broad shadow. Even if you haven’t heard of them by name (which would be unfortunate), you’ve probably heard them in some capacity and without realizing it. If you’ve ever heard the thick funk laid down in LaBelle’s version of “Lady Marmalade,” you’re at the very least tangentially familiar with their music. While their work on LaBelle’s Nightbirds album and Dr. John’s Right Place Wrong Time is famous, their own recorded work is less so despite its long history of being sampled in rap records. Primarily an instrumental unit, the Meters’ rhythmic contributions put them in a class of their own.

A Message From the Meters: The Complete Josie, Reprise & Warner Bros. Singles 1968-1977, as the title suggests, pulls together all of the singles released during the band’s most prolific era. Several of the versions included on this 2-disc set are slightly different from their album counterparts; for example, some are longer than the album versions. Core band members Art Neville, Leo Nocentelli, George Porter and Zigaboo Modeliste are highlighted on Disc 1, which features signature songs from the Meters catalog such as “Cissy Strut,” “Look-Ka Py Py,” and “Chicken Strut.”

For this reviewer’s money, it is Disc 2 that has better selections since it highlights the addition of Art Neville’s younger brother Cyril’s time with the band. There are excellent instrumentals includes on this disc as well, but the tracks with vocals (which in my opinion never get the respect they deserve in the Meters’ catalog) get time to shine as well. Tracks like the funky as hell “Do The Dirt,” “Hey Pocky A-Way,” and “Chug-Chug-Chug-Chug-A-Lug (Push ‘N’ Shove) Parts I & II” showcase the “heavyweight funk” these fellas were putting down. The band’s cover of Professor (“Fess”) Longhair’s “Hey Now Baby,” mysteriously titled here “Cabbage Alley,” is particularly wonderful. Art and Cyril trade verses (well, more of a repeated refrain) back and forth in harmony over Art’s piano (reminiscent of Fess’s own) and the band’s rhythmic workout.

The collection also includes later Meters sides that show them struggling a bit with the mainstream’s transition from funk to disco. The Meters themselves, however, never lose their stride, which would carry over into the music of the Neville Brothers, formed by Art and Cyril after they left the Meters in 1977.

While A Message From the Meters might tread fairly well-worn territory for the hardcore Meters fan, it serves as an excellent introduction for the uninitiated and anyone else who may not have all the group’s singles in one collection.

Reviewed by Levon Williams