Jive Time Turntable

Ohio Players “Ecstasy” (Westbound, 1973)

Throughout the ’70s, Ohio Players were the Buckeyes to Westbound label mates Funkadelic’s Wolverines. Both excellent funk bands seemed to be trying to outdo each other in a Beatles/Stones-style competition, but for black Midwestern musicians. Consequently, Ohio Players and Funkadelic had a torrid run of albums in the aforementioned decade. While consensus opinion over the last 40-plus years has given the advantage to the latter, Ohio Players definitely dropped several great platters, including their third LP, Ecstasy.

One way to gauge a group’s worth is how often hip-hop producers have sampled their tracks. By that metric, Ohio Players are hall-of-famers, with 600 samples to their name, as catalogued by Whosampled. “Funky Worm” alone has been used over 260 times in other artists’ works. Ecstasy has its share of sample-worthy moments, too. Beyond that, though, are simply some fantastic songs, exemplified by the title track. It’s one of the ultimate soulful expressions of love in extremis ever to perfume the airways and reach the US singles chart (#31). Marshall “Rock” Jones’ bass line is a tumescent tumble of desire, Walter “Junie” Morrison’s organ a swollen wail of pleasure, and vocalist Leroy “Sugarfoot” Bonner delivers one of the most extravagant examples of devotion ever waxed.

That peak is followed by “You And Me,” a carefree, summer-romance R&B jam with falsetto vocals that’s almost absurdly euphoric. Why it’s interrupted for a few seconds by martial beats and military march orders is totally inexplicable, but funny. In a similar vein is “Silly Billy,” an endearing, falsetto-laced ballad pitched somewhere between Smokey Robinson and Swamp Dogg, and “Spinning,” which groovily gyrates like Sly & The Family Stone at their most vivacious (e.g., “[You Caught Me] Smilin’”).

Most of the rest of Ecstasy captures the feeling that leads to the titular state: to paraphrase Prince, it’s a sexy motherfucker. “(I Wanna Know) Do You Feel It” is a stealthy boudoir joint that bursts into aggressive strutting in the last minute. “Black Cat” complements that song with more filthy, sophisticated funk poised between the subliminal and the flamboyant. The greasy funk instrumental “Food Stamps Y’all” will make you want to do the horizontal bop and add your DNA to the gene pool, while the grunting, grinding funk of “Sleep Talk” flaunts window-steaming potency. “Short Change” closes Ecstasy with rugged funk geared for a righteous fight scene in a high-class blaxploitation flick.

Damn, Ohio Players. I’m spent. -Buckley Mayfield

Pharoah Sanders “Karma” (Impulse!, 1969)

Karma is the Sgt. Pepper’s of spiritual jazz, in that it appeals to both the public and critics on a large scale. Dominated by the nearly 33-minute “The Creator Has A Master Plan,” the album has become a totem of transcendental music, at once approachable and challenging in a rare way. Consider it the ambitious offspring of John Coltrane’s A Love Supreme—maybe even the student who ends up surpassing his mentor.

“The Creator Has A Master Plan” starts with a glorious two-minute fanfare, putting the listener on tenterhooks. Then Reggie Workman fingers the immortal bass line that emulates Jimmy Garrison’s in Coltrane’s “Acknowledgement”; it’s like a trampoline for your soul. Add in Nathaniel Bettis’ shakers and belltrees, James Spaulding’s flute, and Sanders’ saxophone calligraphy (ranging from gently poignant to catastrophically raspy) and you have the beginnings of a momentous trip. When Leon Thomas brings in his sly “yeah yeah yeah yeah yeah”s, you sense things are going to rise to another level. They do.

With his heartfelt lyrics, Thomas outlines the Creator’s basic yet essential blueprint for peace and happiness through all the land, and then embellishes those salubrious words with a series of acrobatic scats and yodels that articulate the song’s theme even more powerfully. Leon truly has too much soul for one body.

The track attains a chaotic peak a bit before the halfway point and then again near 20 minutes; both passages sound like the painful birth of planets that are superior to Earth—and the cries of a panicking elephant herd. They truly are some of the wildest and most transcendent moments in jazz. The last few minutes return to the opening section’s see-sawing bass line, trilling flute, and shiver-inducing belltree/shaker action. Thomas lets off some of his most sublime ululations and hums. He repeats the chorus to the fadeout. You sit there stunned, your life changed forever for the better. Lord—if you’re there—have mercy.

The cumulative effect of “The Creator” is to convince even the most hardcore atheist that just maybe there’s a shred of a chance that the universe is overseen by some god-like authority who has humanity’s best interests at heart. It’s a potent sonic fantasy, for sure. Sanders, Thomas, and company possess the power to make you believe, against your rational mind.

“Colors” has a hard act to follow, but it’s a beauty, too. Undoubtedly, its air of languorous resolution surely influenced Don Cherry’s “Isla (The Sapphic Sleep)” in Alejandro Jodorowsky’s The Holy Mountain. “Colors” features Thomas’ tender paean to Mother Nature, embroidered by Lonnie Liston Smith’s cascading piano, Leon Thomas’ shower of metallic percussion, and Sanders’ swooning sax motifs. After the momentous ebbs and flows of “The Creator,” “Colors” provides a soothing comedown.

A cornucopia of tantalizing textures and heart-searing melodies, Karma is as essential as the oxygen you breathe and that Pharoah’s blowing through his instrument. -Buckley Mayfield

It’s A Beautiful Day “It’s A Beautiful Day” (Columbia, 1969)


You’ve seen this album in bargain bins a billion times. Maybe the cover intrigues you… or maybe it repels you. Its corny wholesomeness does not exactly promise a wild sonic ride. I shouldn’t have to say this, but don’t judge an album by its cover. It’s A Beautiful Day often soars far above what its packaging suggests.

The story goes that IABD’s manager, Matthew Katz (the notorious jerk who effed Moby Grape, among others), forced the band to move from the Bay Area to Seattle to record their debut album, made them endure penurious conditions during the winter in the attic of a house owned by Katz, and generally engineered a miserable experience.

Yet despite these setbacks, IABD produced an outstanding debut LP that smacks of a certain kind of ambitious hippiedom circa 1969. Orchestral psych-rock, ornate balladry, baroque folk, gritty blues rock—these sorts of things interested major-label bigwigs back then, and the album peaked at #47 in the US. Hence, the ubiquity of It’s A Beautiful Day in 21st-century cheapie bins. Columbia manufactured a ton of it, and the single “White Bird” hit fairly big, but the album just didn’t engender the devotion that some other releases from the era did.

You can understand why “White Bird” struck a chord in the late ’60s: It’s a paragon of mellifluous hippie folk with male/female vocals. However, IABD should’ve made Pattie Santos’ dulcet tones more prominent in the mix and muted David LaFlamme’s plummy croon. Still, the song takes off wonderfully thanks to LaFlamme’s sonorous, soaring violin solo and Hal Wagenet’s glistening, rococo guitar excursion.

At his best, LaFlamme can approach Scott Walker’s deep, velvety expressiveness, as he proves on “Hot Summer Day,” a laid-back reverie not unlike Jefferson Airplane’s mellower moments. By contrast, the anguished blues rock of “Wasted Union Blues”—with its gnarly guitar and violin interplay—verges on the frayed-nerve intensity James Blood Ulmer/Ornette Coleman. Again, though, Santos’ voice should be to the fore.

The tough, Eastern-leaning orchestral psych-rock of “Bombay Calling” was so enticing that Deep Purple lifted its main motif for “Child In Time.” “Bulgaria” conjures a mood similar to that of the Doors’ “Indian Summer” and the Stooges’ “We Will Fall,” but it’s not as eerie. The lines “when you’re in a dream/the time passes so slowly/open up your heart/go to sleep on the moment love was born” epitomize IABD’s infatuation with the cosmic aspects of romance.

IABD save the best for last. The album’s longest song at nearly 10 minutes, “Time Is” embarks on an adrenalized journey to the center of existentialist-rock nirvana. It’s not quite as out-there as Chambers Brothers’ “Time Has Come Today” and Val Fuentes’ drum solo isn’t as impressive as Ron Bushy’s in Iron Butterfly’s “In-A-Gadda-Da-Vida,” but it’s a splendid spectacle nonetheless.

Don’t let the cover fool you; It’s A Beautiful Day is bargain-bin gold. -Buckley Mayfield

The Fluid “Roadmouth” (Sub Pop, 1989)


Forever known as the first non-Seattle band to sign to Sub Pop, Denver’s the Fluid smashed it out of the park for this city’s best-known label with the 1989 full-length Roadmouth and its 1990 sister EP, Glue. Both records—which were release together on CD—flaunted the Fluid’s savvy blend of grunge-y girth and power-pop melodiousness. They are perfect mergers of the MC5 and Cheap Trick.

Given how great these songs are, the Fluid should have been at least one-fourth as popular as Nirvana and one-third as popular as Soundgarden. Instead, they’ve ended up more of a grunge footnote, mostly beloved by a small hardcore fan base and Sub Pop obsessives. It’s yet another music-biz miscarriage of justice, but Roadmouth deserves your undivided attention, even in the terrible year of 2020.

“Twisted & Pissed” famously begins with the lines, “he was the oldest son of a drag-queen dope dealer/he woke up this morning with a headful of nightmare” and it might be Roadmouth‘s greatest example of an indelible earworm, thanks to the rowdy choruses sung with unison vocals. Most of the album consists of supremely catchy, hell-raising rock, such as “Cop A Plea,” which wouldn’t sound out of place on Mudhoney’s self-titled album. The Fluid really nailed this rugged-rock songsmithing thing; it didn’t hurt that Jack Endino was producing.

Some sly homages appear, too. “Fools Rule” is a relatively slow and heavy bulldozer of a tune that explodes into a Billion Dollar Babies-like lighter-lifter during the choruses. “What Man” cops the strutting riff of Them’s “I Can Only Give You Everything” while “Ode To Miss Lodge” sounds like a hit single in a world in which the Troggs’ “Our Love Will Still Be Here” was as big as “You Really Got Me.” And in perhaps the most surprising move here, the Fluid cover Rare Earth’s party-starting stadium-funk bomb “Big Brother,” and acquit themselves very well.

Roadmouth is one of those LPs in which you hear a different fave song every time you listen to it. It’s much more special than its relative lack of recognition suggests. -Buckley Mayfield

Hello Friends and Neighbors. We hope you’re all safe and sound and enjoying your records while sheltered in place. We’re still closed due to COVID-19 but now offering curbside pickup from 12-5 daily (cards only), or free shipping in Washington State! Call us at 206-632-5483 or email us with your requests and we’ll reply with availability and the particulars.

Swell Maps “Jane From Occupied Europe” (Rather/Rough Trade, 1980)

I’m not sure enough people are realizing how great and distinctive Birmingham, England’s Swell Maps were. Their ramshackle, exploratory post-punk songs have influenced hundreds of musicians since their dissolution in 1980, yet they still seem under-recognized in the grand scheme of things.

On their two studio albums—1979’s A Trip To Marineville and 1980’s Jane From Occupied Europe—Swell Maps fused unschooled musique-concrète strategies with garage-rock energy, krautrock hypnosis, and the occasional poppy melody. Although they emerged from Great Britain’s fecund post-punk scene, Swell Maps often had more in common with German improvisational geniuses Can and America’s home of willfully weird unrock, Ralph Records.

Jane From Occupied Europe‘s tracks were recorded from 1977-1980 and they display the idiosyncratic aesthetics of members Nikki Sudden, Epic Soundtracks, Jowe Head, Biggles Books, Phones Sportsman, and Golden Cockrill. (Those aliases are as quirky as the music.) The album starts oddly with “Robot Factory,” which features eerie, radiant keyboard drone, wind-up toys, and rudimentary, quasi-funky beats that sometimes slip out of time. It sounds like a post-punk Joe Meek production, endearingly lo-fi and otherworldly. “Let’s Buy A Bridge” is definitive hurly-burly post-punk pop, bolstered by chaotic drum clatter and Jowe’s ultra-wonky sax solo. Sudden’s imploring, whiny vocals full of youthful discontent here became one of post-punk’s most recognizable sounds.

“Border Country”’s tight, torqued rock comes off like a sloppier, less funky Gang Of Four or early Mekons while “Cake Shop Girl”’s weirdly morose pop recalls a less refined version of Ralph acts such as Snakefinger and Renaldo & The Loaf. The mutedly euphoric “The Helicopter Spies” proved Swell Maps could write a catchy melody, even if they festooned it with janky squalls that rival Velvet Underground’s on “I Heard Her Call My Name.” The pell-mell, enigmatic jam “Big Maz In The Desert” aspires to Can’s metronomic mesmerism, but Swell Maps don’t have that German group’s skill level. Still, it’s a weird and wired epic.

On Jane From Occupied Europe, Swell Maps generated such great guitar and keyboard sounds—clangorous, radiant, cyclical—and they spilled over the raw clatter of Epic Soundtracks’ drums, finding new ways to make rock surprise, to make sloppiness a virtue, to scramble the DNA of pop melodiousness. They conclusively proved you didn’t need technical prowess to create great, enduring music—just a surplus of interesting, unconventional ideas.

[The big indie label Secretly Canadian reissued Jane on vinyl in 2012 and on CD in 2015 (with bonus tracks). Those are likely the easiest and most affordable ways to score physical copies of this classic LP.] -Buckley Mayfield

The Headhunters “Survival Of The Fittest” (Arista, 1975)

It’s baffling how certain albums of unimpeachable greatness don’t enter the canon—and even more puzzling, how they remain available for reasonable prices in used bins. One such record is Survival Of The Fittest by Herbie Hancock’s early-’70s group. Free of their leader (who co-produces the LP), the Headhunters let their funk freak flag fly ridiculously high, and the results are stunning.

You know you’re in for a scorching ride as soon opener “God Make Me Funky” starts. It boasts one of the most famous, stripped-down funky breaks ever; no wonder it’s been sampled about 300 times. When DeWayne “Blackbyrd” McKnight’s sly, warped guitar and Paul Jackson’s unstinting bass creep their way in, your libido skyrockets. After this, vocalist Bill Summers’ line, “God can give you anything want and you can do anything you want. God make me funky!” seems totally plausible. Later, Bennie Maupin’s bass clarinet solo is a wonder of economical ecstasy. Then near the end, things get hectic and chaotic, with the Pointers Sisters’ chorus of “anything you want!” culminating in a soul-jazz bacchanal. Jesus, how do you follow up such a burner?

It ain’t easy, but the Headhunters do keep the greatness flowing, if not at quite as lofty a level. With “Mugic,” they embark on an Afrocentric spiritual-jazz trip with looped flute, deeply earthy hand drums, and sonorous chants. It builds in intensity, with a monomaniacal, minimalist bass line and slamming congas igniting serious rhythmic heat. “Here And Now” offers a meditative reverie, featuring Joyce Jackson’s blissful flute sighs, but the track gradually shifts into a fleet jazz-funk charge akin to Julian Priester’s Love, Love, but in double time. Our man Maupin gets off an absolutely strafing sax solo.

We’re back to the libidinous funk on “Daffy’s Dance,” with McKnight’s lean, chikka-wah guitar, Jackson’s pimp-struttin’ bass, and Clark’s shuffling, hip-swiveling beats contrasting wonderfully with Maupin’s soaring sax and belafon tinkles. A bizarrely tuned wind instrument’s melody periodically arises from the funky turbulence like an alien mating call before the song inevitably cascades into a controlled frenzy, which is this album’s trademark. “Rima” is the most intriguing work here—a low-key fever dream of Joyce Jackson’s alto flute wisps, Paul Jackson’s suspenseful bass plunges, McKnight’s Pete Cosey-esque guitar squalls, and Maupin’s woozy bass clarinet.

Album-closer “If You’ve Got It, You’ll Get It” is a relentless avalanche of complex funk. The intro with berimbau and other exotic percussion toys builds anticipation and then WHOMP. In come the wonky bass clarinet and flanged guitar chatter, as Jackson and Clark find a pocket that’s both tight and expansive. McKnight gets off a searing, snaking guitar solo worthy of early-’70s Funkadelic (he would join Parliament-Funkadelic in 1978). “If You’ve Got It” is easily the equal of anything on Herbie Hancock’s Thrust, Man-Child, or Head Hunters. It’s a monumental conclusion to a canonical funk document. Most people just don’t realize it yet. -Buckley Mayfield

Cristina “Sleep It Off” (Mercury, 1984)

Cristina Monet-Palaci tragically passed away in early April from COVID-19 at the age of 61. She didn’t have a large discography, but what little she did release contained a high percentage of enchanting winners. Perhaps her peak was Sleep It Off, which most fully displays her flamboyant personality.

Cristina’s marriage to Michael Zilkha, co-owner of the excellent funk/No Wave label ZE Records, led to her collaborating with ZE artists August Darnell of Kid Creole & The Coconuts’, James Chance of Contortions, and Don Was of Was (Not Was). Heavy company! The latter produced Sleep It Off at his Detroit studio, and co-wrote three songs—including two of its best. Let’s talk about those first.

“What’s A Girl To Do” starts with some of the best opening lines of the ’80s: “my life is in a turmoil/my thighs are black and blue/ my sheets are stained and so is my brain/oh what’s a girl to do?” And there you have Cristina’s persona summed up from the get-go—an aristocratic hot mess who’s self-aware but making the best of a bad situation by singing over great music. “What’s A Girl To Do” barges into life with a wonderfully warped keyboard riff that telegraphs new-wave oddity and booming beats that translate to club gold. The ultra-jaunty tenor of the music contrasts with the sordid subject matter.

The album’s dramatic and rockiest peak occurs on “Don’t Mutilate My Mink,” bolstered by heroic, beefy guitar riffs by Bruce Nazarian and Barry Reynolds. Cristina’s intonations in the verses recall Johnny Rotten’s on the Sex Pistols’ “Anarchy In The UK.” “My nightdress is expensive/I don’t want to see it soiled/My heart is pretty tender/Don’t want to see it broiled/Don’t want to start my morning/With your traces on my sink/You’ll do just fine without me/Don’t mutilate my mink.” Was’ third co-written song is “Quicksand Lovers,” a femme-fatale portrait framed in a breezy, faux-tropical-electro vehicle.

Another highlight comes on “Ticket To The Tropics,” courtesy of another Detroit character: the Knack’s Doug Feiger. He and Cristina create a brash, danceable new wave with suave key changes and a synth motif worthy of the Time or Prince. Jazz magus Marcus Belgrave—another Detroiter—plays trumpet. The anomalous “Rage And Fascination” bears an ominous quasi-dub groove and stern vocal delivery; it’s the closest Cristina gets to Grace Jones.

The weakest moments on Sleep It Off are the covers. The Sonny Throckmorton composition “She Can’t Say That Anymore”—originally recorded in 1980 by country singer John Conlee—is lackluster. Kurt Weill and Bertolt Brecht’s “Ballad Of Immoral Earnings” is a duet with an annoying male singer and its quasi-reggae treatment doesn’t suit anyone well. The louche version of Van Morrison’s “Blue Money” is the best cover here. It features Chance on sax and allows Cristina to perfect her disaffected, disdainful voice while adding a sheen of sleaze to Van’s tipsy, throwback R&B.

If you want the perfect summation of Sleep It Off‘s lyrical thrust, “The Lie Of Love,” is it. In this ballad about a problematic romance, Cristina conveys regret and acceptance of hypocrisy with subdued poignancy. It’s not her best mode, but she convinces you that she’s lived through this and emerged with an alluring shred of dignity.

(Note: A fidgety cover of Prince’s classic “When You Were Mine” appears as a bonus track on the CD release.) -Buckley Mayfi

Margo Guryan “Take A Picture” (Bell, 1968)

Writing about this classic sunshine-pop album during one of the grimmest periods in world history seems perverse, but what the hell? Maybe listening to Margo Guryan’s sole full-length from 1968 will bring much needed light and joy to your quarantined existence. I’m here to help you get through this.

Take A Picture starts auspiciously with “Sunday Morning”—not a Velvet Underground cover, but rather a diaphanous orchestral-pop tune with a deceptively swaggering funkiness in its undercarriage. Guryan’s voice is sheerest bliss, a meringue-y delight. “Sun” might be the epitome of sunshine pop, right down to its on-the-nose title. Elevated by lashings of FX’d sitars and slashing, swooning strings, it makes “Eight Miles High” seem earthbound. “Sun” blows away your blues with the lightest, lavender-scented breeze. Shout out to guitarist John Hill for the arrangements on these two beauties.

“Pretty love songs always make me cry,” Guryan coos with sangfroid poise on “Love Songs,” and it should irk you with its clichéd sentiment, but the dulcet melody and sumptuous, swaying strings make your curmudgeonly feelings seem ridiculous. The understated McCartney-esque jauntiness of “Thoughts,” undercut with a lightly morose flute and oboe, is fairly slight, but still winsome as hell. “Don’t Go Away”’s waltz time baroque pop verges on breezy prog, while “Take A Picture”’s baroque pop sashays into the exalted realm of the Left Banke.

If you crave more jauntiness, “What Can I Give You?” offers much sugary corniness, but it’s offset by Guryan’s wondrously wispy whisper. The maudlin orchestral pop of “Think Of Rain” is almost too precious, but that’s balanced out by the hushed splendor of “Can You Tell” and the early-Bee Gees bravado and melodic momentousness of “Someone I Know.”

These intimate romantic vignettes are all well and good, but Guryan saves the best for last. By far Take A Picture‘s most adventurous and psychedelic moment, “Love” begins like a drug-induced dream, with drummer Buddy Saltzman busting out outrageously odd beats amid Kirk Hamilton’s gently swirling flute and Hill’s weirdly tuned guitar fibrillations, before a sinuously funky groove enters and the guitars shift into Ceyleib People-like radiation. The flute gets echoplexed to infinity, as the groove gets greasy, and then Paul Griffin’s cosmic keyboards soar into earshot. Margo doesn’t start singing until the three-minute mark, and when she does, you’ll get shivers down your backbone. The change that occurs at 4:30 lifts everything yet again to a head-spinning zenith; the rhythm starts spasming like that in the Doors’ “Peace Frog,” Guryan’s coos spiral heavenward, and Phil Bodner’s oboe foreshadows Roxy Music’s fantasias. “Love” is one of the greatest album-closing tracks ever—hell, one of the greatest tracks ever, period. It’s almost all you need. -Buckley Mayfield

Yusef Lateef “The Gentle Giant” (Atlantic, 1972)

I’m by no means an expert of Yusef Lateef’s music, having listened to only a half dozen of his 60 or so albums. But of what I’ve heard, I find The Gentle Giant to be the most satisfying from start to finish. Please allow me to explain.

Have you ever heard “Nubian Lady”? Now this is how you start an album. Lateef transforms the Kenneth Barron composition into one of the most tranquil and seductive funk jams ever to caress your erogenous zones, thanks mainly to Yusef’s mellow, mellifluous flute and the languidly groovy interplay between three bassists and drummer Albert Heath. I play this track in DJ sets when I want to help everyone in the club/bar get laid. Note: If you can’t woo somebody to “Nubian Lady,” you may want to reassess your whole approach to mating.

The rest of side 1 goes on some interesting tangents from that heady opener. “Lowland Lullabye” is a melancholy flute and cello duet that induces special feelings and “Hey Jude” is that world-historical Lennon-McCartney hit, obviously. As I’ve mentioned before, it was the law in the early ’70s for major jazz artists to cover Beatles songs, and “Hey Jude” may have been the most covered of them all. Which is cool, because it’s a splendid ballad with one of the most uplifting codas ever conceived. Here, Lateef builds it from near inaudibility to roaring climax in the space of nine minutes, beginning with oboe, guitar, and vibes to outline the main melody. As the Sweet Inspirations provide distant, soulful backing vocals (such glorious “NA NA NA NAAAAS”), the band gradually gradually accelerates and intensifies the sound into a veritable Mardi Gras of clangorous chimes, madly soaring oboe à la Roxy Music’s Andy Mackay, and an Eric Gale guitar solo of wah-wah’d majesty. Yusef and company done took a sad song and made it better. Hoo boy, did they let it out and let it in…

Starting side 2, “Jungle Plum” is the album’s dance-floor filler, a sly funk number—another classic written Barron tune—that glides with a gritty sophistication and swings like an elephant’s dick. Lateef’s scat singing and wavy flute fanfares really make this cut stand out. By contrast, “The Poor Fisherman” tempers the celebratory mood with a flute solo of utterly poignant desolation. And it’s hard to discern why Lateef titled “African Song” as he did, because it’s more of a smooth jazz piece of sweet languor and delicate beauty. Whatever the case, it’s a nice cut.

On “Below Yellow Bell,” Lateef’s scat singing verges on the goofiness of Bill Cosby’s in the Quincy Jones track “Hikky-Burr,” but the bells, In A Silent Way-like organ drones, slinky bass line, and understated funky drums and percussion balance out the quirkiness. “Below Yellow Bell” is an engrossing oddity and an unexpected way to end an album.

Yusef Lateef was a strange bird, and he soared high for decades. Pick any record of his and dig in; you likely won’t be disappointed—yes, even with his “disco” LP, Autophysiopsychic. -Buckley Mayfield

Howard Wales & Jerry Garcia “Hooteroll?” (Douglas, 1971)

If you ask Siri, “What’s the funkiest album with Jerry Garcia on it?” you’ll probably get the wrong answer—if any. But if you ask me, that would be Hooteroll? Sorry, Merl Saunders.

Garcia and Howard Wales cut Hooteroll? during a brief spell when the Grateful Dead guitarist/vocalist was jamming with the brilliant keyboardist, who had previously played with A.B. Skhy and collaborated with German electronic musician and Irmin Schmidt cohort Bruno Spoerri. The result’s one of the more interesting and DJ-friendly GD spinoff projects.

“South Side Strut” bursts out of the gate with bravado, a brassy soul-jazz effusion with a surplus of greasy, chunky funk in its trunk. (Think the Doors’ “Peace Frog” or Deep Purple’s “Hush.”) This is my go-to track from this LP when I’m DJing. Its sports-highlight-reel brashness really grabs the attention.

“A Trip To What Next” opens with John Kahn’s snaky bass line and the triumphant orange-yellow bursts of sax and trumpet by Martin Fierro and Ken Balzall, but the mid section finds Wales and Garcia going off on a Floydian psychedelic excursion before the song returns to a peppy soul-jazz riff and a final Grateful Dead-meets-early-Chicago flame-out.

“Up From The Desert” is a beautiful sundown-shimmer of a song, a piece of meditative rock that hints at the grandeur of the Electric Prunes’ Release Of An Oath. Garcia is in prime form, sounding like Wrecking Crew badass Howard Roberts. Another great cut to drop into DJ sets, “DC-502” brings frenetic, funky soul jazz that flaunts Incredible Jimmy Smith/Richard “Groove” Holmes vibes.

The spangling, ECM-ish meditation “One A.M. Approach” offers an exquisite respite while “Uncle Martin’s” foreshadows Medeski, Martin + Wood with its swaggering organ swells while Garcia coaxes articulate wah-wah punches and feints. “Da Birg Song” (sometimes rendered “Da Bird Song”) closes Hooteroll? on a lackadaisical blues note, borne aloft by Fierro’s gorgeous, tranquil flute and Wales’ florid piano. (The 2010 CD reissue contains four bonus tracks, including “Morning In Marin,” which bear a resemblance to Miles Davis’ landmark fusion album, Bitches Brew, and “Evening In Marin,” which exudes a pastoral-cosmic peacefulness akin to Popol Vuh or Ashra.)

Even if you don’t dig the music (you philistine), the cover by Abdul Mati Klarwein—who’s also done work for Santana, Miles Davis, Last Poets, and Jon Hassell—is worth the price of admission alone. -Buckley Mayfield

The Art Of Noise “Who’s Afraid Of The Art Of Noise?” (ZTT, 1984)

The Art Of Noise’s debut album has the air of a Dadaist art prank (orchestrated by NME journalist and propaganda minister Paul Morley) mixed with the savvy production of a prog-rock/synth-pop genius (Trevor Horn of Yes and Buggles fame), bolstered by the keyboard mastery of composer Anne Dudley and the studio ingenuity of programmer J.J. Jeczalik and engineer Gary Langan. Who’s Afraid Of The Art Of Noise? Is not great all the way through, but at its best, the album’s a brash exhibition of sonic collage and complex mood conjuring.

“A Time For Fear (Who’s Afraid)” establishes the Art Of Noise’s exceptional affinity for brutalist beat science, ominous synthetic orchestrations and atmospheres, and deeply poignant melodies. It’s this contrast of extremes that makes AON’s music so tantalizing. The group’s first single, “Beat Box (Diversion One),” gets reprised here, and it’s simply one of the most clever minimalist-maximalist dance tracks ever, powered by some of the smashingest beats ever conceived (samples of Yes’ Alan White) all the while keeping the funk factor Empire State Building high. It almost sounds like a novelty tune, but the few well-chosen elements cohere into club classic that’s more Kraftwerk’s “Numbers” on steroids than Laibach. Maybe best of all, it ends on a languorous soul-jazz piano motif that no one saw coming. This is an exemplary use of typically non-musical elements to build memorable sonic collage.

“Close (To The Edit)” stands as the more exciting twin of “Beat Box”; it slams even harder and grooves even funkier, if you can believe it. Seriously, this must have caused beat envy in producers worldwide. Inspired by the spirit of Dada and musique concrète (stuttering car ignition, power saw revving, etc.) and fueled by an unbelievably studly bass line, “Close (To The Edit)” might be Trevor Horn’s crowing achievement in the studio.

I’ll skip over the filler tracks, but note that the other good but lesser cuts include “Who’s Afraid (Of The Art Of Noise)” and “Snapshot.” The former is disorienting, industrial anti-disco, like Swiss electro pranksters Yello with stronger beats and less whimsy while the latter consists of a minute of perky, Buggles-like synth pop.

On “Moments In Love,” AON dispense with the junkyard/factory-floor tomfoolery and get down to the important business of creating a soft, shimmering electro-pop reverie that exquisitely evokes the title over its 10-minute duration. This is Dudley’s shining moment.. Deemed a classic by the Art Of Noise’s most ardent fans, this song’s a cross between 10cc’s “I’m Not In Love” and Laurie Anderson’s “O Superman.” It really is that special. -Buckley Mayfield