Sometimes, less is more. Sometimes, a skeletal backbeat, some whisper-thin organ and a barely audible moan can trump a mighty wail over lush, swelling orchestration. If you were to put any of the tracks off of Call Me on a soul compilation next to Aretha Franklin or, say, Wilson Pickett, they’re going to sound out of place. Compared to most soul or R&B artists, there is no muscle, not in the music or the vocals. It isn’t that Al Green doesn’t have a voice to shatter mountains (he does), it’s just that he chooses not to deploy it here. And while you might be able to resist his spell for 3 1/2 minutes at a time, the effect of all of these tracks taken together is delirious and intoxicating. Instead of coming to you, Al never raises his voice. He makes you lean close, really pay attention. He teases and seduces and withholds gratification until even the slightest breath is devastating. “Have You Been Making Out O.K.” is aimed at an ex-lover, and designed to buckle her knees by the end of the first verse. The two country standards lose none of the heartache of the originals, but are completely re-conceptualized in a soul setting so that they’re sexy and barely recognizable. Even “Jesus Is Waiting” is a sultry come-on to examine your faith. Bottom line, this is a classic. You need this album. –Lucas
You’ll rarely hear music this magical. Borrowing from soul, orchestral pop and psychedelia in equal measures and seemingly unscathed by commercial considerations, on “Come To My Garden” Minnie follows a more organic, pastoral and ultimately more genre-busting path than during her later, more commercially successful period with Capitol Records. Also, her voice seems more in tune with the arrangements and is generally less affected, putting her often multi-tracked whistle register to chilling use as what sounds like a human woodwind instrument, which is best exemplified on “Completeness”. On the evidence of this utterly delicious recording, Riperton clearly has been a major influence on vocalists such as Kate Bush and Alison Goldfrapp. I’m spellbound and speechless. Listen here. —Michael
In the sixties there were thousands of soul sides produced, however, the market was singles driven, so finding a period soul album playable start to finish is tough. I know you might reckon, “What about Motown?”! If you own enough sixties era Motown albums you know exactly what I mean. Being the biggest soul label during the sixties they were VERY guilty of using “filler” tracks to pad the albums, often reusing backing tracks or having their artists sing standards. Well, fortunately, the genius of Mr. Larry Williams and Johnny ‘Guitar’ Watson defies the cliche’! Two For The Price Of One is a wide open, pedal to the metal…SOUL album…it’s exactly what you’d expect from this infamous pair…nothing but DANCERS! In fact, TftPoO is so danceable half the albums tracks are Northern Soul classics (biggest being “Too Late” and A “Quitter Never Wins”). This is what an album of soul oughta be…you ain’t heard NOTHING till you’ve heard this! –Nipper
Niles Rodgers said that he formed Chic as a kind of black disco version of Roxy Music. And, in turn, the slick syncopated grooves with those art-deco grand piano splashes wound up influencing everything from early rap (the riff from “Rapper’s Delight” is taken straight from “Good Times”) to Madonna. Perhaps it’s their use of minor keys but Chic’s tunes all have this melancholy air about them – a bittersweet portrait of the swinging, hedonistic 70s and all that followed in its wake. It’s beautiful music — none more than the sensual “Warm Summer Night” with its circular structure punctuated by “Papi!” — from a gritty decade. –Singer Saints
A trashy, kitschy, collage-like soul album in which Clinton begins to lay the ground of the P-funk sound. Those expecting the heavy psyched-out guitar rock of early Funkadelic will find this a little “poppy.” Those expecting the streamlined dancefloor grooves of Parliament will find this a little “rocky.” But this is no middle-ground record: they gospelize Pachelbel, dick around with country twang, and feature some bagpipes and harps in an ethereal soul workout about getting to the other side. It’s unlike anything else you’ve ever heard, though doubtless you’ve heard just about all of it: in the sampling of some rappist or another. –Will
I was a bit reluctant with this at first, mainly because this album is like 80% George Harrison, but GH was the true talent of the Beatles, so I guess if you’re gonna cover songs of one of the fab four, his make the most sense. God forbid she chose Ringo…. Somehow, I feel a 20 minute version of “Octopus’s Garden” wouldn’t hold the same potency as the belting gospel driven take on “My Sweet Lord”. For me though, it’s her take on “Isn’t It a Pity” that does it for me. This song is Nina Simone at the absolute height of her soul powers. Beautiful subtle vamping, super subtle bass for the melody to glide along, and her sublime warm and heartfelt, half spoken, half sung vocals. You really won’t find many tunes that melt the heart like her take on this one. –Ben
The posthumously released “The Living Legend” is solid, melodic, slightly psychedelic, catchy funk from top to bottom. In fact, it rocks surprisingly hard, with more than a little Sly Stone influence. Curtis Mayfield gets the production credit here, and this has got to be the most rocking thing he was ever involved in. Now, Baby Huey is no great singer, but he is “400 pounds of soul.” What he lacks in technical ability, he more than makes up for in delivery and personality. His sermon during “A Change is Going to Come” doesn’t make a hell of a lot of sense, but it sure sounds good. Ditto for his ramblings on Mayfield’s “Mighty Mighty,” which didn’t fair too well on the singles charts, but may be one of the most chaotic, fun sounding recordings ever released as such – sorta like the Beach Boys “Barbara Ann” on acid. It, along with the rest of the album, really give you the sense that these guys must have been a ton of fun (literally) in concert. The standout tracks are most likely “Hard Times,” with its instantly recognizable, oft-sampled intro; and “Running,” which could be the most exciting, hardest rocking track on the whole album. –DL
Let’s Take it to the Stage is easily a top-3 Funkadelic album, maybe even the best. It opens with the rocking one-two punch of “Good to Your Earhole” and “Better by the Pound”. I’ve always considered Funkadelic a rock band that is extremely funky, not vice versa, and these two tracks add credence to that way of thinking. Next is “Be My Beach” which is one of the most unique, trippy songs they have ever made. Bootsy’s vocals are fantastic. Fourth is Clinton’s updated take on Sly and the Family Stone’s “Jane is a Groupie”. “No Head, No Backstage Pass” is hilarious, sleazy, biting and to the point. It’s also on the verge of heavy metal, a concept that was being invented by Black Sabbath. Next is the title track which is the biggest “hit” off of the album. Memorable for the funk mob’s playful skewering of their contemporaries, this statement of dominance doesn’t hold up as well, to me, as the wonderfully crafted tunes that surround it. One track that holds up exceedingly well, however, is “Get Off You’re Ass and Jam”. Fueled by Michael Hampton’s frenzied guitar solos, this live staple practically assaults you when you listen to it. Hampton (along with his predecessor and inspiration, Eddie Hazel) still ranks among rock’s greatest guitarists, and his performance on this album is one of the reasons why.
While Let’s Take it to the Stage doesn’t get the recognition of Maggot Brain or One Nation Under a Groove, it is every bit as essential. Clinton and company were at a song-writing apex, giving us several 2-5 minute blasts of brilliance. The assertion that Funkadelic is the “black Beatles” is not far off base. Strip away the psychedelia, the dark humor, the monstrous bass of Bootsy and the general Funkadelic craziness, and you’ve got a perfectly crafted pop album. Of course, strip all of that away, and you don’t have Funkadelic. –Lucas
Lordy, I’m a sucker for Deep Soul. You know the weepy, hollering gospel driven soul, which reaches through you and twists and pulls and pulls and twists on your heart till every last drop of feeling bad and blue, even if you have nothing feel bad about…spills over and drips down your face. Yeah…it is that feeling which Oscar nails! That said, Toney’s “Precious Love” LP is a solid chin wiggling and tear jerking event, but…there’s a song or two which crosses over into “classy pop”. But please don’t be afraid of strings, Toney is not given to schmaltzy “Warwick” pop/soul…oh, and there’s even, at least, one Northern mover…thankfully, which gives me time between weepers to dance over to a fresh box of tissues. –Nipper
A monument of 70’s soul music that totally eclipsed the film it scores and for good reason as an average film continues to get a lot of attention on the back of this record. While the film seemed to glamorize drug dealing in the black community Curtis told the real and much less appealing truth about his communities struggle against its evils. In doing so he produced a record of real power and one with a bittersweet feel as serious and depressing subject matter is delivered by the delicate almost angelic falsetto. It is up there with the great soul concept LP’s like Marvin Gaye’s “What’s Going On” and Donny Hathaway’s “Extension of a Man” that signaled a major shift in the power of soul and black music in general. –Jon
Likely my favorite of the “Abbey Road” concept cover albums, this is a crisp, tight and funky interpretation of all the classics we know and love, with perfect bubbly organ and bright guitar tone. Booker T and the band actually seem to hold back a bit on most of the numbers, arranging nearly all of the “Abbey Road” songs into three medleys, and one version of Harrison’s “Something”, really only breaking out the dirty soul for moments of “The End” and “Come Together”. And being that this was recorded in 1970, they had to test out some of the new technology and record a Moog for the intro of “Here Comes The Sun”. So what makes this any better than the glut of Beatles covers that ran rampant then and now? Well, for one thing, Booker T & the MG’s are one of America’s most famous “backing bands”, and this time, since there’s no vocalist to feature, the songs can really stand on their own. No wankery solos or bombast are needed to create attention, this is a soulful and understated interpretation. Steve Cropper can say more with three notes than most can with thirty, and on songs like those found on “Abbey Road”, he can say what he means effortlessly, and engagingly. There’s a lot of space in between the notes, and when you’re as tight as these guys, you get to hear it and appreciate it all. –Cameron
While this artist and LP have a definate P-Funk influence, Roger Troutman is no less a brilliant musician himself. The same way James Brown took the African-American experience (like Hendrix, Sly Stone & others) to a different level, so did Roger & Zapp with “More Bounce To The Ounce.” It was, and is, like nothing ever heard before. Just like Larry Graham’s bass changed the face of R/B and funk, so did “More Bounce.” The whole nine minutes of the song is irresistable. It opened the door for street funk, which gave way to another type of “funk”: Hip-Hop and Rap. This LP is a defining moment in Black music. Not only is Roger a master at the “talk box,” his deep blues committments come shining through. Per groove, Zapp offers the most bounce to the ounce!