More mid 70’s lounge/funky sounds from Hoctor records. 12 trax of fine instro/lounge.
More mid 70’s lounge/funky sounds from Hoctor records. 12 trax of fine instro/lounge.
This ain’t no jazz but a real nice funky instro lounge lp on Hoctor Records [known for library music, dance instruction records for instructors, professionals, and students]. 12 trax instro covers played by the Hoctor Band, treatment of classics originaly by Curtis Mayfield, Barry White, Steely Dan, Carole King, D. Boone… Rare stuff, dig!!!
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]
More TV shows & film music scores produced by the British KPM company. Excellent library music from the legendary KPM label with lots of fuzz guitar and organ in addition to the famous drum breaks. Funky primo library music. Two of the best KPM albums + ’68 bonus. Say… Dig!!!
Bo Diddley not only is one of the key architects of Rock & Roll, in my eyes he’s also one of the founding fathers of Funk. No one played a guitar that percussively as Bo did back in the ’50s.
This great CD – which also features fantastic liner notes and images of LP cover art – brings together some of the funkiest tracks Bo recorded between 1970 and 1973.
From the masterpiece ‘Black Gladiator’ (1970) come “Elephant Man”, “Black Soul”, “Funky Fly”, “I Don’t Like You” and “Shut Up Woman”.
From ‘Another Dimension’ (1971) – the ill-fated ‘covers’-album – come two Creedence Clearwater Revival updates, but it’s Bo’s self-written funk gems “Pollution” and “Go for Broke” that really put the swing in that LP.
Next up is Diddley’s best-loved funk album, ‘Where It All Began’ (1972). A non-stop, no-filler, all-killer album, it’s only due to time shortage that it isn’t available in its entirety here. The hilarious “Hey Jerome” is fantastic, with another highly infectious ‘ad lib’ from Bo, as is the hardrocking funk opus “Bo Diddley-Itis”. “Infatuation” is a nice, soulful ballad, while “Take It All Off” is more straight-up boogie funk.
From ‘Big Bad Bo’ (1973), Bo’s last album for Chess, come three more sweaty workouts: “Bite You”, “Hit or Miss” and the headbobbing, horn heavy “Stop the Pusher”.
This is GOLD. [soulmakossa]
Real COOL comp. of trax taken from Bo’s four funk albums released in the early 70’s. Although you can dig entire lp’s in the Bo Diddley section of this blog, this is superfine overview of his funky stuff.
“No I don’t wanna love you
Cause I know how you are
That’s why I’ve been staying away from you
That’s why I haven’t called you
Cause I know you could possess my body
I know you could make me scrawl
I know could have me shaking
I know you could have me climbing walls
That’s why I don’t wanna love you…”
”Some of the heaviest funk you’ll ever find in one tiny package all courtesy of the mighty Betty Davis! Betty’s work of the 70s is beyond compare fuzzed-out, tripped-up, drum-heavy funk that’s been the stuff of legend for years, and which is the kind of music you could play for just about anyone, and have them say “DANG, what the hell is that!?!” This tasty little set brings together best tracks from Betty’s 3 albums of the mid 70s, Betty Davis, Nasty Gal, and They Say I’m Different, done with a focus on the hardest-hitting tracks from each set, and put together with a real ear for the kind of tunes that still burn mightily after all these years.”
”In the late ‘60’s and ‘70’s, Betty Davis strutted hard and fast – in her I. Miller shoes – through the exotic world of black rock and electric jazz. A talented, sexually assertive woman in the bigoted, male-dominated world of music, Betty gleefully recounted torrid, tempestuous tales over a funky beat, decades before the likes of Kelis, Macy Gray and Missy Elliot were doing it. Oh, and she also married Miles Davis. Go on, move it girl!”
”Defunkt is a musical group founded by trombonist/singer Joseph Bowie 1978. in New York City. They merge avant-garde aesthetics with punk rock and funk, and have produced 15 recordings on various independent labels.” [wiki]
Whoa children, ain’t it hot today? It’s perfect time for ”Thermonuclear Sweat”, one of my favorite funk slabs. This is Defunkt’s 2nd LP and probably their best, full of high energy/nuclear jazz funk tunes as Avoid The Funk, Illusion, I Tried To Live Alone, For The Love Of Mone, Believing In Love… They were connected to James Chance/White and were one of the main influences for early Red Hot Chili Peppers. Vinyl rip by Surfadelic. Ooh Baby… Dig!!!