By late 1969, Phillips Recording Studios in the UK offered the band a six-month tour of Europe and a recording contract. By 1970, the band, whose members where then part time musicians, decided to call it quits. [wiki]
A mover and shaker behind the New Orleans music scene, Eddie Bo had regional success in the late ’50s with piano stroll-era novelties like “Check Mr. Popeye,” but hit his stride a decade later with a brand of funk and soul that could only have originated in his hometown. “The Hook & Sling” was an R&B hit in 1969, propelled by Bo’s good-natured exhortations and the undeniable groove from drummer James Black. The follow-up single, “(If It’s Good to You) It’s Good for You,” did not achieve the same kind of chart success but is just as tough. The Hook and Sling collects Bo’s output for a number of small New Orleans labels, as well as tracks previously unreleased. Primarily heavy funk instrumentals, with plenty of wah wah guitars and drum breaks, there are connections to Bo’s musical past, including “Love Has Been Good” and “Come to Me”,” two blues-based ballads that lean hard on Bo’s piano. Despite the contrasting styles, Hook & Sling’s material is impressively strong throughout, including good advice on love (“Check Your Bucket” and dance crazes “The Thang”). [AllMusic Review by Kurt Edwards]
Eddie Bo’s Funky Funky New Orleans brings more rare & unreleased New Orleans funk action from 1968-1971.
In the Pocket with Eddie Bo!, Vampi Soul collection is arguably the most representative audio portrait of the New Orleans songwriting and performing kingpin, Edwin Bocage. Covering 60 years of music making, its whopping 28 tracks highlight his songs, singles, and productions for other artists. Like all of the best New Orleans music, this baby is sweaty, raw, greasy, and super funky. Some of the classics here include Bo’s stellar bit of proto-soul-funk in “I Found a Little Girl” (while it may borrow from Ray Charles’ gospel-soul inspiration, it gives back in its prefiguring of the bridge style James Brown used to great success later on), “We Like Mambo” (the Afro-Caribbean style welded hard to NOLA second line), and the great break-driven duet “Lover & Friend” with Inez Cheatham. There are an equal number of highlights in his productions and arrangements including — but not limited to — “Horse with a Freeze, Pt. 1” by Roy Ward, the Explosions’ “Garden of Our Trees,” with its burning bassline and tight horn charts, and Curley Moore & Cool Ones’ “Funky Yeah” (which is just damn nasty in the way it uses Bo Diddley’s “Who Do You Love” rhythm). Then there’s the elastic wah-wah guitar and keys in “The Rubber Band” by Bo with the Soul Finders and the straight-up employment of a Motown-style string chart on his 2007 single “Chained.” Anyway you want to listen to this slab, chronologically, on shuffle, or one track played over and over until you gotta move to the next, is just fine because In the Pocket with Eddie Bo is the bomb. [AllMusic Review by Thom Jurek]
If funk is your thing, ya gotta dig!!!
“Great follow up to Curtis masterpiece Superfly. He really shows off his incredible musical compositions on this album with some of the most breathtaking instrumentals i’ve ever heard. Curtis was the complete package, great songwriter, singer, arranager and producer. This album is a kind of a “concept” album of sorts. It still has powerful and timely lyrical content mainly dealing with life in the U.S. after the vietnam war which had just ended as the last troops were finally on their way back home.
The title track and 1st song on the album is told from the viewpoint of a soldier whose made it back home only to be told that A) The war had not been won and B) Nothing really had changed for the better since he’d left and in many ways was now worse. It’s a very descriptive and chilling realization that now the soldier was in the midst of a another war for freedom of thought and expression “Back In The World”. The second track, “Future Shock” is just as moving and powerful.
It details the actual war the soldier and his family are experiencing right here at “home” “Back In The World” that is the U.S. and paints the very real picture of how their was a just as much a struggle for survival here as in Vietnam. Then comes the Crown Jewel of this album, “Right On For The Darkness”, which is such a beautiful example of a play on words. He tells of the blindness of the people and all the injustices going on all around and salutes the ignorance with a “Right On For The Darkness” almost as if to say, you’re blind and asleep so continue on in your delusions.
It’s at this point, after detailing all the “wrongs” of society, that the poet begins to tell us how to deal with the issues of the day. The following track, “Future Song (Love A Good Woman, Love A Good Man)”, is a prayer that the family unit, which is were stability in any society truly lies, will not allow their ego, fears and illusions to break down that unit and it will instead be made strong so the following generations will know true love and the stability it brings. One of my personal favorite tracks follows, “If I Were Only A Child Again”, this song reminds us of the innocence of seeing the world through the eyes of a child and how that simplicity and pure love can truly make the necessary changes needed in society very much possible.
The next song, “Can’t Say Nothing” is mostly an instrumental jam that allows Curtis and his band to truly show off their skills. The horns and drums on this song are AWESOME and some of Curtis’ best guitar work is found here! And the beautiful album closer, “Keep On Trippin” is a song about one whose lost his love but is hoping that the “trip” she’s on will lead her back to his arms. I’ve said it before and stand by it, Curtis Mayfield is the single most underrated and underappreciate artist of the 20th century. His name should immediately come up when the discussion of greatest artists comes up and this album is another fine example of that fact.
As difficult as it is to follow up a masterpiece such as Superfly, I believe Curtis was able to pull it off with this LP and it’s another fine example of his tremendous skills and the gift he shared with the world at large, his incredible music.”
This is my favorite Curtis slab, great concept funk album featuring cool songs as “Future Shock”, “If I Were Only A Child Again”, “Keep On Trippin'” and opening title tune. Super-Funk vinyl rip by Surfadelic, Dig!!!
Rhino’s Funkify Your Life: The Meters Anthology was the first truly comprehensive and widely available retrospective of the groundbreaking New Orleans funk band’s work. These two chronologically arranged discs run down virtually every important track the band recorded under its own name, finally allowing a more general audience to hear why the Meters had earned such a stellar reputation among die-hard funk collectors and sample-minded hip-hoppers. Disc one, subtitled “The Josie Years,” traces the group’s 1969-1971 beginnings as a Booker T. & the MG’s-like outfit, cutting brief instrumentals with a similar guitar/organ/bass/drums lineup. There were important differences, though; the Meters’ arrangements usually carried the melody in single-note guitar lines, which gave them a distinctive calling card, and their rhythms were notably funkier. In fact, drummer Joseph “Ziggy” Modeliste pretty much establishes himself as a monster groove machine right from the beginning; his is a dominating rhythmic presence. This is the lean, earthy Meters sound most often imitated by latter-day funk revivalists like the Soul Fire label. Group vocals and wah-wah guitars start to pop up over the second half of the disc, setting the stage for their more ambitious major-label sound, which is documented on the second disc (“The Reprise/Warner Bros. Years”). Nearly all of these tracks are vocal numbers, “songs” in the more traditional sense, but the group also opens its sound up, allowing the members to show off their individual chops as soloists. There’s more flash in this music, including plenty of nimble-fingered unison passages demonstrating that the band can be as tight as they are loose. It’s more proof that the Meters were the most telepathic funk ensemble this side of the J.B.’s. Those with a casual interest can safely content themselves with the fine single-disc Very Best of the Meters, but for devoted funk fans, Funkify Your Life should be considered essential listening. [AllMusic Review by Steve Huey]
UK 60’s freakbeat group with one of those records issued only in Italy. So, it’s more rare and expensive than it’s great but anyways has some solid stuff. Mostly fine cover version of Marvin Gay, Bo Diddley, Major Lance, Otis Blackwell, The Who, The Kinks and other classic tunes. Comes with 4 bonus trax. Check it out!
Hey man, I mean peoples, what is Freak-Beat? Is it a beat music for freaks?
… But wait, there’s more! More dynamite, more savagery, more killer sounds from the Mod 60’s. Wasn’t so sure if I was going to make another compilation with my freakbeat & mod favorites but it turned out there were enough of them for at least one more Surfadelic volume. Again, there are mostly UK bands with a little help from few garage rockers from Australia, Scandinavia, Canada… 60’s Mod rockers as The Who, Small Faces, The Artwoods, John’s Children, The Loot, The Birds, The Attack mixed with raw R&B/Beat punkers like The Pretty Things, The Sorrows, The King Bees, The Talismen, The Master’s Apprentices, Downliners Sect, The Ugly Ducklings, The Outsiders… Wow just WoooW!!! And yes, Freakbeat is a beat music with wicked, harder rocking sound and touches of early psych, that’s my definition. Don’t believe me?, well try it yourself. Get the picture? Dig!!!
60’s Mod story continues in the new volume of ‘Surfadelic presents’ collection with title inspired by this 60’s chick body painting and song ”Colour Of My Mind” by my favorite mod/psych gang The Attack. Here I’ve managed to gather some of my alltime mod psychedelic tunes mostly by UK bands as The Action, John’s Children, The Creation, The Open Mind, The Smoke, The Electric Banana (Pretty Things), The Factory, The Longboatmen, you could find on legendary comps as Chocolate Soup for Diabetics, Rubble series or Electric Sugarcube Flashbacks and others. Also there are trax by classic acts as The Troggs, The Who or The Yardbirds and some lesser known losers. This stuff is more on psychedelic side of mod genre than on previous freakbeat collection. And yeah, attention! There’s one real cool tune not from the 60’s but by an modern band, so you could guess who it is and you can win my respect. The cover model is famous 60’s boobastic chick Michelle Angelo. Take Her Any Time, Dig!
Whatcha say ’bout spiral cover art, ha? Do ya feel kinda dizzy miss Lizzy? Ok, here we go! This is brand new Surfadelic comp dedicated to 60’s Mod & Freakbeat rock action, as you could see already. I’ve borrowed the title from an real cool Dave Clark Five song, they won’t mind I quess. Here I’ve gathered some of my favorite tunes mostly by UK bands and few by others like Dutch, Scandinavian, German & Italian groups. There are couple of trax by unknown authors or bands, so maybe you can help to solve that mystery. All I can say is, it’s a 100% killer collection you have dreamed of. Non stop raw, fuzzed-out & sexy rockin’ action by yesterday’s savage youth. There are many 60’s comps out there but hey, this one is Surfadelic, alright! You gotta deserve it, you have to concentrate! Look at those spirals… you gotta dig!!!
“At the end of 1965, four members of The Hagues popular Jumping Jewels dumped their manager and struck out on their own as the Jay-Jays. With the name change came a new musical direction, a pent-up beat music sound inspired by the Beatles, the Who and, especially, the Kinks. Their first single, Bald Headed Woman, was a Top 10 smash. The Jay-Jays most impressive recordings were all released within the span of one tumultuous, action-packed year: 1966. Their self-titled album included such Dutch beat gems as Come Back If You Dare, I Keep Tryin, Today Im Gay and the fuzz-packed instrumental Cruncher. Every one of those jumping 66 jewels can be heard on this twelve-inch platter, remastered in dynamic mono sound, each sounding louder, more vibrant, and more crunch-filled than ever before.”
Vinyl rip of this 60’s garage/beat band from Holland fine ’66 LP. Already have posted their stuff before but hey, ya gotta git it anyway. Keep on tryin’, Dig!!!
This Pebbles volume is dedicated to raw 60’s Brit rhythm & blues rather than Mod as it’s stated on the cover. It features cool garage/r&b by The Fairies [Twink pre Pink Fairies band], The First Gear, The Betterdays, The Wild Ones, David John & The Mood, The Wheels, Bill & Will “Goin’ To The River” (later covered by The Gories), covers of Bo Diddley, Howlin’ Wolf, John Lee Hooker, Jimmy Reed. One of my favs is “Singing The Blues” by Jason Eddie And The Centremen, a neurotically played tune produced by legendary Joe Meek! [apparently he added the wild guitar afterwards without the band knowing and they weren’t happy]. Last track on this comp is a pop tune by Bo & Peep and the band is mainly The Rolling Stones plus others that might have included Gene Pitney and Phil Spector.
As with other “Revisited” volumes the sound quality is quite improved with trax from the best possible sources. There is also cool bonus cut by Jimmy P. just for your listening pleasure, don’t miss it! Dig!!!