Jive Time Turntable

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

Nicky Hopkins/Ry Cooder/Mick Jagger/Bill Wyman/Charlie Watts “Jamming With Edward!” (Rolling Stones, 1972)

I’m not gonna pretend this is an essential album. However! As far as Rolling Stones-affiliated curios go, Jamming With Edward! is an interesting side hustle featuring three members of the then-world’s greatest rock band. Even if they were just messing around, Mick Jagger, Charlie Watts, and Bill Wyman couldn’t help making compelling music—especially with hugely talented session dudes such as Nicky Hopkins (a frequent accomplice on keys/piano for the Stones ca. 1967-1975) and guitarist Ry Cooder (ex-Captain Beefheart, ex-Ceyleib People) in tow.

Jamming is the operative word for this record—which is usually priced just above bargain-bin prices at most shops. (For those wondering, “Edward” was Hopkins’ nickname.) The back story is, the Stones were waiting for Keith Richards to show up in the studio in the momentous year of 1969 (always a dicey proposition back then), and figuring it not prudent to waste valuable time, they jammed their skinny asses off. The results are occasionally phenomenal—certainly more engrossing than side 6 of George Harrison’s All Things Must Pass—and Jamming somehow reached #33 on the US album chart.

Jagger dismissed Jamming in the original edition’s liner notes as “a nice piece of bullshit… which we cut one night in London, England while waiting for our guitar player to get out of bed. It was promptly forgotten (which may have been for the better)… I hope you spend longer listening to this record than we did recording it.” Yo, Mick—this is still way better than She’s The Boss.

First track “The Boudoir Stomp” is a blues-rock shit-kicker that rollicks at the same pace as the superior “Midnight Rambler.” It’s a spicy, hypnotic opening salvo, though, and you’d probably win some friends if you put it on at a bar’s jukebox. (They still have those, right?) The reverent version of Elmore James’ “It Hurts Me Too” thwarts the momentum, but it’s always nice to pay tribute to a blues hero and throw him some change, too.

“Edwards Thrump Up” (written by Hopkins, Cooder, and Watts) works up a swift head of steam and mesmerizes like some Delta blues mutation of krautrock. Seriously, Cooder’s guitar sometimes sounds like Neu!’s Michael Rother on the motorik klassik “Hallogallo.” Jagger drops in some spare harmonica and yells here and there while Wyman is the low-key, low-frequency hero with his thrusting thrums. Another ripper is the 11-minute “Blow With Ry,” the LP’s funkiest nugget. Got damn, Charlie is in the pocket here, almost like the Meters’ Zigaboo Modeliste, and Cooder is in lethal, slashing blues-rock mode. Mick convincingly declaims like the bluesman he sometimes pretends to be, albeit sounding as if he’s in the next room and wearing a balaclava.

Following those peaks, though, Jamming descends into inconsequential messing about with “Interlude à la El Hopo” before resuming to burn with the lean, fleet blues-rock of “Highland Fling.” Hopkins’ piano runs are truly stunning.

So, yeah, while the three Stones involved with Jamming probably forgot they even made this sporadically brilliant lark, you would do well to ignore Jagger’s belittling of it and cop a copy for some above-average cheap thrills. -Buckley Mayfield

Emil Richards & The Microtonal Blues Band “Journey To Bliss” (Impulse!/ABC, 1968)

Sometimes you can judge a record by its cover. Check out Journey To Bliss by Emil Richards & The Microtonal Blues Band. Dig the Sanskrit font on the front cover, as well as the hypnotic patterns in the painting, and Richards wearing a beatific grin and a top native to India. The back cover features a Van Gogh-esque painting of a swami. And though it’s a Bob Thiele production bearing the Impulse! imprint, Journey To Bliss ain’t your father’s typical jazz record… unless your pop is Timothy Leary. This is a venerable jazz label trying to cash in with a psychsploitation elpee. It didn’t quite win over the kids, but heard over 50 years later, Journey To Bliss still has the power to charm.

Impulse! helpfully provides a list of all the instruments used by the Microtonal Blues Band (who include Wrecking Crew guitarist Tommy Tedesco; Richards was a well-connected LA session muso). It runs to 57 items. Some of the more obscure ones include flapamba, tumbeg, crotales, dharma bells, temple blocks, surrogate Kithara (a variation of a Harry Partch invention), and boobams. So there you go. Buckle up for a strange ride the likes of which you likely have never experienced, unless you’re familiar with the catalog of the aforementioned Partch.

“Maharimba” instantly launches into a jaunty jazz-exotica gait in 7/4, piquant percussion timbres flying everywhere; big ups to those tuned wastebaskets. This song could segue nicely out of Dave Brubeck’s “Take Five,” even though it’s in a different time signature. “Bliss” proves that 11/4 is a very good time. It tumbles headlong into the titular state with an array of sublimely slapstick percussion timbres (22 tone xylophone and who knows what else). The peppy and peripatetic “Mantra” (in 5/4) unsurprisingly comes across like Brubeck meeting Partch at the cantina. “Enjoy, Enjoy” is a strangely undulating tune just rippling with extranjero percussion. Periodically you’ll hear Hagan Beggs narrating some mystical mumbo jumbo that was in vogue during the late ’60s over the music. This may be a deal-breaker for some, but I like the dude’s sense of wonder and sonorous delivery.

Side two is dominated by the 18-minute “Journey To Bliss,” and what an oneiric odyssey through intriguing paths of Eastern music it is. “There is a river running through me and sometimes I let it pull me in/it cradles me in its ever-so-gently rocking current and carries me along to bliss,” Beggs intones in a hypnotist’s cadence, not too different from Timothy Leary’s on Tune In, Turn On, Drop Out. It works well over the faux-gamelan ritual procession.

The final two parts of the six-part suite build to a tumultuous climax, with scorching sitar riffs and Rashied Ali-esque drum splatter—and loads of dissonant bell tones. If this is bliss, it’s a particularly hectic strain of it. Beggs proclaims, “My heart is the sun/My body is the universe/My soul iiiiiisssssssss” [cacophony engulfs everything] “Jai guru dev.” (Translation: Victory to the Greatness in you.) And scene.

Goodness gracious. It’s all too much… thankfully. -Buckley Mayfield

The Chambers Brothers “The Time Has Come” (Columbia, 1967)

The Chambers Brothers—who included four actual African-American brothers and, oddly, a white drummer named Brian Keenan who lived in England and Ireland as a child—are best known for their hit single “Time Has Come Today.” And rightly so. Recorded in 1966, released a year later, and covered many times since by artists as diverse as Joan Jett, Me’shell Ndegoecello, Smashing Pumpkins, Bootsy Collins, Pearl Jam, and Ramones, “Time Has Come Today” is a landmark in psychedelic rock—especially the full 11-minute version. But more about that later. The Time Has Come has many other great songs on it besides that monster tune.

The Chambers Brothers’ debut LP busts out of the gate fantastically with “All Strung Out Over You.” With its bobbing bass line worthy of Motown session immortal Bob Babbitt, a barrage of cowbell, handclaps, and rough soul belting, this is a full-tilt expression of romantic expression—certified dance-floor dynamite. It’s followed by “People Get Ready,” a faithful cover of the Impressions’ Curtis Mayfield’s gospelized ballad of political resistance, which was deemed by Martin Luther King as the unofficial anthem of Civil Rights movement. But coming right after “All Strung Out Over You” makes it a momentum-killer. Because it’s more moving than a mover, it would’ve fit better at side’s end.

With “I Can’t Stand It,” the Chambers Brothers fling us back into uptempo heart-/groin-throb action, a potent slice of Northern soul slathered with of harmonica and elevated by possessed backing vocals. Dozens of acts have covered Steve Cropper and Wilson Pickett’s Stax soul classic, “In The Midnight Hour,” and unfortunately the Chambers Brothers’ attempt is merely functional. Another cover that doesn’t play to the Chambers Brothers’ strengths is “What The World Needs Now Is Love,” Burt Bacharach and Hal David’s popular 1965 sanguine ditty. I could easily live without this stodgy rendition. The album’s best cover is “Uptown,” which was written by Betty Mabry (aka funk goddess Betty Davis). This is a sleek, slithering soul gem full of diamond-hard guitar jabs and boisterous vocal interplay. It’s one of Betty’s greatest compositions.

The Chambers Brothers definitely saved the best for last: the aforementioned “Time Has Come Today.” Joseph and Willie Chambers wrote this masterpiece, which must have made Lester and George mad jealous. Everything about this track is fire: the tick-tocking cowbell, the rambling main guitar riff, the massed shouts of “TIME,” the lead vocal’s righteous sagacity, the bizarre bridge during which time slows and dilates to nightmarish dimensions, the delayed “TIME”s, the serpentine guitar solo, the build up to the first climax, the most audacious “OOOHHHH” in rock history, the line “my soul’s been psychedelicized,” the conclusive warped-guitar explosion. I could go on, but your eyes are already glazing over.

This song has special personal meaning, as it opened my ears to psychedelic music when I heard it on the radio as a 6 year old. I’ve been chasing that dragon ever since. Eternal gratitude to whichever radio programmer decided the country was ready for such an outré specimen of rock—and to the Chambers Brothers, too, of course. -Buckley Mayfield

Mandré “Mandré” (Motown, 1977)

Michael Andre Lewis, formerly of soul band Maxayn, reinvented himself in the mid ’70s as Mandré, a helmeted and masked synthesizer savant (Roland TB-808, among others) to whom Daft Punk paid homage (or “ripped off,” if we’re being honest) with their look and, to a degree, sound. His first album in this guise is a cult classic among smart club DJs. Bolstered by excellent musicians such as James Gadson (drums), Johnny “Guitar” Watson, and former Maxayn saxophonist Hank Redd, Mandré has become one of Motown Records’ greatest anomalies—and an influential blueprint for a lot of quality electro-funk and Detroit techno in the decades hence.

“Keep Tryin’” kicks off the album with brash, horn-ballasted space-funk made for seduction and gliding travel. Mandré’s not a very distinctive vocalist, but that’s not really an issue when the music’s this transportive… plus, he gets some women singers behind him to add luster. The LP reaches an early peak with “Solar Flight (Opus I).” A classy club classic that makes Barry White’s lush opuses sound modest, this pell-mell jam fools you into thinking you’re about 73 percent more sophisticated than you are. It’s a silver-dusted whirlwind of interstellar funk, geared to inspire roller-skaters on Neptune to move faster. Play it in a DJ set and watch the crowd go elegantly wild. (Interestingly, it briefly appeared as the theme for ABC’s Wide World Of Sports.)

Almost as great is “Third World Calling (Opus II),” whose ominous electro-funk features wonderfully squelching synth, flanged chikki-wah guitar, clavinet, and dreamily soulful vocals. Most importantly, Mandré’s trademark solarized synth vapors that make you feel as if you’re getting a spray tan in outer space. I get the sense that Prince loved the hell out of this track and tried to emulate it, but couldn’t quite master its menace. Thus ends a killer side 1.

Side 2 skews goofier and not as sublime as 1, but it definitely has its charms. Co-written by Watson, “Masked Music Man” is a snaky, slow-burning funk cut full of his eloquent ax action. Oddly, it recalls Dr. John’s voodoo-haunted classic Gris-Gris. As a show of gratitude to his label boss, Mandré interprets Berry Gordy’s “Money (That’s What I Want).” This paean to greed has been covered often, but not quite like how Mandré does it. He blows it out to an elastic, P-Funk jam that would make Bootsy Collins’ sunglasses levitate.

“Wonder What I’d Do,” aptly enough, is a languid love ballad not too different from Stevie Wonder’s ’70s work in the same vein. The LP’s shocker is “Dirty Love,” a cover of Frank Zappa’s lascivious funk-rock goof. Mandré is surprisingly well-suited for this snide lewdness. “Masked Marauder”—another Watson co-composition—flexes some broad, winking funk that ends the LP on a somewhat flat note. But what comes before is so damn good and ambitious, we can cut Mandré some slack. -Buckley Mayfield

Tangerine Dream “Phaedra” (Virgin, 1974)

A lot of smart people—and yours truly, too—think Phaedra represents peak Tangerine Dream. With a catalog as vast as this German electronic group’s, you’ll never get a consensus on said peak, but for this blog’s purpose, let’s go with Phaedra.

While I dig the four preceding Tangerine Dream opuses, it always seems like I need stronger drugs to truly understand what the hell’s going on with albums such as Electronic Meditation, Zeit, Atem, and Alpha Centauri. Not so with Phaedra. It’s as if Edgar Froese, Christopher Franke, and Peter Baumann clarified what the group does best and then magnified it to infinity.

The opening sidelong title track is a case in point. It’s a 17-minute masterstroke of oscillations, arpeggios, fibrillations, whooshes, woobs, whistles, and phantom choirs criss-crossing and intertwining across the firmament in dramatic arcs. Ever so subtly, Tangerine Dream’s three VCS 3 synth and Mellotron maestros modulate the sounds to optimize tension and release. I once played “Phaedra” in a large club where I was DJing, and it might’ve been the closest I’ve ever come to feeling like a god.

Side 2—which reputedly was accidentally mastered backward—isn’t quite as momentous, but it is great. The Froese composition “Mysterious Semblance At The Strand Of Nightmares” exudes an enigmatic orchestral grandeur—which explains why it was used in the 2018 film Black Mirror: Bandersnatch. Sounding like a harsh meteorological event transpiring in an aviary by the sea, “Mysterious Semblance” is pretty dang disorienting. “Movements Of A Visionary” offers a menagerie of tantalizing tones and timbres—icicle-tinkling, motorized twittering, Doppler effect arpeggios and drones, etc.—to which any sensible person would want to dose. Finally, Baumann’s piece “Sequent ‘C’” closes the record on an elegiac, haunting note.

Tangerine Dream would go on to do a lot more good work—Rubycon, Sorcerer, Thief, Exit, etc.—but none as stunning as Phaedra. -Buckley Mayfield

Land Of The Loops “Bundle Of Joy” (Up, 1996)

Seattle-based indie label Up Records put out some overlooked gems during its 1994-2008 run. One of the finest and quirkiest is Bundle Of Joy by Land Of The Loops (aka East Coast musician/producer Alan Sutherland). Deploying beats, bass lines, and synthy FX as well as guest singers and an array of samples, Land Of The Loops created a wonderful hybrid of bedroom indie-pop and hip-hop. Bundle Of Joy is probably Sutherland’s peak.

The aptly titled “Welcome” starts as a kooky collage, before some of the fattest, funkiest beats ever to appear on an Up release (is that Billy Squier’s “The Big Beat”?) enter the fray. These beats engage the delayed, dulcet vocals of Simone Ashby in a cagey duel in a cut as minimal as early Run-D.M.C. Ashby resurfaces on the phantasmal, disorienting “Burning Clutch (five-speed dub),” her vocals recalling the dreamy tenor of Dorothy Moskowitz of the United States Of America. What a heady trip.

Speaking of guest vocalists, Beat Happening’s Heather Lewis appears on “Growing Concern,” delivering her trademark child-like vocals over an easygoing funk charmer, bestowing a distinctly PNW innocence to the album. She also adds darling singing to the sparkling, stuttering funk of “My Head (leaks)” and to “Cruisin’ For Sentient Beings,” which is powered by a classic, urgent break (close to Skull Snaps’ “It’s A New Day,” but not it) that you’ve heard on at least a dozen hip-hop tracks. Nevertheless, the results are fresh.

More evidence of Sutherland’s kaleidoscopic vocal sampling trickery occurs on “Mass Ave. And Beyond,” on which he sprinkles enchanting bleeps and bloops over a starkly funky foundation, and “I Dream Of Ghosts,” which evokes the eerie, spacey dub of early Seefeel, thanks to the sampled angelic sighs. Perhaps LOTL’s best-known track, “Multi-Family Garage Sale (bargain-bin mix),” presents ludicrously bubbly and loping suburban funk with a staccato female vocal sample, snippets of children talking (“Don’t leave me”; Where are we anyway?” etc.), and beats not unlike those in George Clinton’s “Atomic Dog.” No wonder Miller licensed the track for a beer commercial. I bet Sutherland significantly upgraded his studio after this transaction.

Other highlights include “Help For Your Aching Back,” a swirling, psychedelic workout that might should be playing in hipper chiropractors’ offices, and “Day Late & A Dollar Short,” a fantastic sampladelic agglomeration of Buddhist monk chants, children jauntily singing, twangy guitar from the James Bond theme, archetypal sci-fi analog synth emissions, and very rugged, funky beats. Play this in a DJ set and watch people lose their shit—while looking befuddled.

Discogs prices for Bundle Of Joy have jumped up in recent years. It seems odd that no label’s reissued this wonky wonder since its first issue 23 years ago, but perhaps this review will nudge somebody into doing that. (Gotta dream big!) -Buckley Mayfield

Marva Whitney “It’s My Thing” (King, 1969)

It’s My Thing is the closest thing we’re ever going to get to a female-fronted James Brown album. The fact that it was cut in 1969 when the Godfather Of Soul and his crack band the JBs were absolutely on fire during one of their creative peaks means that It’s My Thing is an essential document of hard-hitting soul and funk and the occasional bravura ballad.

The album kicks off with a cover of the Isley Brothers’ über-funky and precise “It’s Your Thing,” buttressed by Whitney’s brazen vocal sass and the JBs’ ultra-tight funk churn and roaring horn surges. There’s a good reason this song’s been sampled over 70 times, including by Public Enemy, N.W.A., Ice Cube, and EPMD. “It’s My Thing” is so good, it needed a second part on this record. Speaking of oft-sampled tracks, “Unwind Yourself” has had its opening break sampled by the 45 King for the club smash “The 900 Number” and by Aphex Twin for “Taking Control,” among many others. This dance-floor heater struts with a massive swagger.

On the tight, punchy, and greasy R&B of “Things Got To Get Better (Get Together),” Whitney proves she’s an overwhelmingly passionate diva to whom you’d better bring your A+ game if you want a chance of getting together with her. In a similar vein, “What Kind Of Man” flexes classic, boisterous soul on which Whitney shows she’s the epitome of the assertive soul diva. “You Got To Have A Job (If You Don’t Work, You Can’t Eat)” is a paean to productivity and industriousness, with numerous extravagant shout-outs to Maceo Parker and it foreshadows the killer groove from Brown’s “Talkin’ Loud And Sayin’ Nothing.”

Some anomalies include “In The Middle,” an extremely cool funk instrumental written by saxophonist Pee Wee Ellis and Bud Hobgood that you wish were at least twice as long as it’s 2:45 and the heart-on-sleeve ballad “If You Love Me,” which is the only time I’ve heard a sitar on a James Brown production. The fleet and nimble “I’m Tired, I’m Tired, I’m Tired” is one of Brown’s most moving and eloquent compositions, a soulful condemnation of racism and a plea for racial justice. On the sentimental, strings-enhanced ballad “I’ll Work It Out,” Marva sings her huge heart out. She just lays it all out there, demonstrating that she’s damn near the equal of her mentor.

(It’s My Thing has been reissued several times over the decades, with the last legit-looking one coming from the UK label Soul Brother in 2015.) -Buckley Mayfield

Joe Walsh “The Smoker You Drink, The Player You Get” (ABC-Dunhill, 1973)

After he left James Gang (great band!) and before he joined the Eagles (hugely popular band who are not my bag, though I like a few of their songs!), Joe Walsh cut a few albums with Barnstorm, including The Smoker You Drink, The Player You Get, perhaps the guitarist/vocalist/keyboardist’s peak with that band—and the title that most resembles a line from a Firesign Theater routine.

The LP is distinguished by its opening track, “Rocky Mountain Way,” which reached #23 on the US singles chart in 1973. One of the most iconic guitar riffs of the ’70s—nay, of all time—kicks off this spaced-out, blues-rockin’ party tune. Yes, you’ve heard it 9 billion times, but its widescreen grandeur, crystalline crunch, and wonky, wah-wah-heavy solo refuse to pall, even after all that exposure. It’s a tough act to follow, but the rest of The Smoker… bears some low-key treasures.

“Wolf” is a spare, bleak ballad in the vein of Aerosmith’s “Season Of Wither” and some of Robin Trower’s ’70s output, generating some chilly melancholy. Written by keyboardist Rocke Grace, “Midnight Moodies” surprises with its elegant jazz-rock vibe, bolstered with piano, cowbell, and flute by drummer Joe Vitale. Another shockingly pleasant tangent comes courtesy of bassist Kenny Passarelli’s Caribbean-spiced rock cut “Happy Ways,” with its sprung rhythm and killer bass line. The song really blossoms into a rousing rocker during the choruses, bursting with “la la la”s and “na na na”s. It’s the feel-good non-hit of the record.

The second side of The Smoker… is more subdued and less interesting than the first side, but it has its moments. “Meadows” is tender, melodious rock with beefy-riffed power surges, while “Days Go By” (another Vitale composition) brings the sort of flute-augmented baroque rock that, oddly enough, sounds more like the Left Banke than anything else.

The Smoker You Drink, The Player You Get is the sort of wildly popular major-label album that litters nearly every bargain bin in the country, but don’t underestimate it. It reveals Walsh and company’s instrumental depth and aptitude for emotionally resonant songwriting beyond of the radio staples for which they were known and loved by classic-rock radio programmers and the people mesmerized by them. -Buckley Mayfield