ISAAC HAYES
Instrumentals (Stax; CD)
All the lovin', none of the words. This 13 track compilation features a number of tracks
from Hayes' soundtrack albums recorded for Stax's Enterprise label
(Shaft, Three Tough Guys and Truck Turner), the incendiary 'Ike's Mood Pt. 1' (from his third album), single 'Let's Stay Together', a recently discovered version of Ewan MacColl's 'The First Time I Ever Saw Your Face' and the previously unreleased instrumental version of the
Shaft track 'Your Thang'. Sweeping strings, wah-wah, piping horns, incredible guitar solos and brilliant arrangements mark every track. A joy from start to finish, and yet another reminder of Hayes' genius!
Jon 'Mojo' Mills
BOBBY PATTERSON
Soul Is My Music: The Best Of Bobby Patterson (Sundazed; 2-CD)
From Dallas Texas, Bobby Patterson has been a firm favourite with Soul lovers since the 1960s. A songwriter, producer, performer and now a radio DJ, he's never really achieved stardom in any one field, but has continued recording high quality music for
forty years. This reissue from Sundazed collects 40 of his earliest recordings for the Abnak and Jetsar labels. Bobby Patterson's band The Mustangs were a tight, hardworking band and its members included guitarist Andrew 'Junior Boy' Jones who would later become a Blues recording artist in his own right and keyboard player Timothy McNealy (not McNeeley, as shown in the notes) whose 'Sagittarius Black' and 'Funky Movement #2' are dancefloor classics (and big money items) on the Deep Funk scene.
Many of the songs are 'answers' to hits of the day like Dyke And The Blazers' 'Funky Broadway' ('Broadway Ain't Funky No More') The Isleys' 'It's Your Thing' ('My Thing Is Your Thing [Come And Get it]') and 'I'm Leroy - I'll Take Her' is a reply to Joe Tex's 'Skinny Legs And All'. In fact, Joe Tex (another Lone Star native) seems to have been quite an influence on Bobby on these recordings, with many songs using Tex's downhome 'country preacher' approach as well as his trademark chuckle. This double CD really has something for every soul fan with beaty Motown-styled stompers to downtempo country-soul ballads and includes previously unissued recordings or takes. Although several of these recordings were included on Ace's 1995 CD 'Taking Care Of Business', the more commited will want this release (a fine compliment to Westside's compilation of his 1971-73 Jewel/Paula recordings 'How Do You Spell Love' from last year).
Big Joe Louis
VARIOUS ARTISTS
All The Ladies Need Funk: All Girl Funk And Soul Riot (Parlour; CD)
'Parlour Records, Tokyo - New York - Paris' says the blurb optimistically on the back of this CD. Hmmm, more like someone's back bedroom in Hamburg me thinks! With no liners or other info of any kind, the purveyors of this collection presumably prefer the music to speak for itself and it does that very well indeed. Any would-be funkster needs to have this on their shelf. Twenty funky soul 45s by largely unknown female artists clearly from the late 60s and early 70s (the only names that I recognised were Jean Wells and Kim Tolliver). These sassy ladies strut their stuff across 54 minutes during which they alternately praise or diss their men.
Although dubbed from vinyl (there are some label pics) the sound quality is very good throughout. And if none of these numbers hit on the JB 'one', they do all groove with a vengeance! You know what you're in for with tracks like The Genies' 'Know What To Do When You Get It', Martha Turner's 'Dirty Old Man', Kim Tolliver's 'Cop My Stuff' and Gloria Taylor's 'Born A Woman'. Other grooviliceous confections include Rene Faye & The Teddy Bear Company's slinky 'Thank You Baby' and Jenny's Daughters 'Dirty Feet' (as in fishing in more than one pond or any number of other soul metaphors for cheating on your partner) and one of my faves Thelma Jones's Mr Fix It, guaranteed to make you ride your pony! Oddly (or not perhaps) this set seems readily available in Germany (check Soundflat and Crypt mail order sites) and the USA (Bomp) but scarce elsewhere for some reason. A sure fire party in your pocket if you can track one down, go for it!
Paul Martin
VARIOUS ARTISTS
Everybody Come Clap Your Hands: The Daisy/Tiger Story (Sundazed; CD)
Another nice one, this time from Sundazed. Cataloguing the complete output of Leiber & Stoller's Daisy & Tiger labels between 1962 and 1964, it's a fine mix of commercial pop, fuzzy surf guitar, r&b, southern chugging soul, and full on stompers. Most importantly for anyone who doesn't have it, the inclusion of Bessie Banks' heartbreaking aching gospel-fuelled original take on 'Go Now' is essential (a gut-wrenching performance that kicks Denny Laine & cohorts vapid flaccid half-arsed excuse for an offering into the golden skip of musical paraplegia where it always belonged and regrettably ever dribbled out of). Talk about injustice. At least her husband had a writer credit, so maybe they at least got some money out of it! Also from Banks we have the smokey late night feel of the flip side 'It Sounds Like My Baby' and an alternate take to boot. Regrettably Banks' output is very limited, but there's a small albums worth if anyone can get the rights to put one out. Let's hope so. Elsewhere we have Alvin Robinson's gritty southern-tinged R&B on 'Searchin'' and 'Something You've Got', some fine bossa nova group vocals from Tippie & The Clovers, deep gospel-soul from The Lovejoys on 'It's Mighty Nice', ultra commercial pop from Vic Donna on 'I Won't Be Me Any More' and soulful doo-wop on The Tams' 'My Baby Loves You'. Almost bizarrely we have a pair of quite dirty surf/r&b instrumentals from Bob Moore And The Temps that wouldn't sound out of place at your nearest frat-shack. But it's the soul here that counts: Dee Dee Warwick's really classy torch performances on Van McCoy's 'Standing By' and 'Don't Think My Baby's Coming Back' equal Bessie Banks in the heartbreak stakes. Moody And The Deltas provide the stomping title track and there's some great girl group sounds from Leola And The Angels and Cathy Saint. By the middle of 1964 Daisy & Tiger had all been wound up and there beginneth the much issued legends of the Red Bird and Blue Cat years. So lets offer many thanks to Sundazed for capturing the glories of a lesser-celebrated period in the legends of Leiber & Stoller.
Graeme 'Snowy Avalanche' Smith
VARIOUS ARTISTS
Shrine Vol. 2 (Kent; CD)
Now this is nice. Shrine Records (for those not already in the know) was the Washington-based brainchild of noted songwriter and producer Eddie Singleton and his business/romantic partner Raynoma Gordy, (whose surname may give you an early clue to the later misfortune that would dog the label). Set up in 1964 and christened in tribute to the assassinated JFK, Shrine's output in its all too brief incarnation produced some of the most exciting, dynamic and heartfelt music ever to cross a heart or a dancefloor. It's
most celebrated child, Eddie Daye & The Four Bars' 'Guess Who Loves You' (included on Shrine #1) epitomised it's approach; ten thousand ideas a second, vocal harmonies that sent you soaring and left you astonished at the level of it's production and invention. This second offering collects the rest of it's output. We kick off with The Prophet's 'If I Had One Gold Piece', a mid tempo corker that launches you into outer space with it's opening guitar break and vast vocal harmonies, as the lead singer's longing falsetto glides effortlessly in, out and heartbreakingly over...a heavenly gem. Bobby Reed's previously unreleased 'Caldonia Brown' and 'Baby Don't Leave Me' keep the pace gliding smoothly mid-tempo,while The Caution's 'No Other Way' is a killer stomper,another everything-but-the-kitchen-sink-production, all exuberant harmonies and breathless pace. The great Ray Pollard kicks up a storm with 'This Time (I'm Gonna Be True)', The Epsilons are 'Mad At The World' after another romantic disappointment (top line :'one by one / you would see/how politely my friends shun me'), while The Cautions score again with the previously unreleased 'Take A Look At Your Baby' (plenty here for embittered talc-sliders),and also dare to out-Smokey the Robinson on 'Poor Loser'. Shirley Edwards' 'It's Your Love' is a fine companion to her exquisite 'Dream My Heart' (featured on the previous collection). The Count's 'Peaches Baby', Les Chansonettes 'Deeper' and Sidney Hall's mighty end-of-the-nighter 'I'm A Lover' are other highlights.
As with any label compilation there is a mixture of the great and the merely generic, but it's the exuberance of the performances and productions that makes much of this compilation not only essential for Northern Soulers but great for pop fans in general. Within a couple of years Shrine would find themselves effectively frozen out of the picture. With airplay and distribution scuppered by the shady hand of Raynoma's ex-husband, they reluctantly wound up business in 1967. It was a huge personal blow for those involved and a sad loss for pop and soul music, especially given the superiority of much of their output to the Detroit mogul's production line pap. Sharks out there, all of them.
Graeme 'Snowy Avalanche' Smith
VARIOUS ARTISTS
Where The Girls Are 5: A Decade Of Columbia Femme Pop (Ace; CD)
Okay, okay, okay so it's not all strictly 'soul' -- but then again, is it not? These 26 cuts of girl and girl group pop and soul are all sung from the heart, and if some ladies (usually the young white ones) larynxs aren't quite as sugar coated as others, everything included here is passionate, pretty groovy and fun. The Brill Building is well represented with Ellie Greenwich and associates turning in some hefty numbers:
the excellent soulful 'Harlem Tango' by The Ikettes-like The Orchids, and Gerry Goffin and Carole King's 'Takin' That Long Walk Home' by ex-Cookie Dorothy Jones are among the best. Then there's a menagerie of soulful sounds from the Pre-Atlantic Aretha Franklin, her younger sister Erma's fabulous 'Right To Cry' (from 1968, one of the later cuts on offer), The Supremes-flavoured 'Wonderful World Of Love' by The Poppies, The Glories danceable 'Sing Me A Love Song', the Curtis Mayfield penned 'You Can't Hurt Me No More' by The Opals, and the Spectoresque / Bacharrachian 'You're My Lovin' Baby' by The Sweet Things. On the other hand, garage punkers alike will revel in the snotty femme fatale pop of The Pussycats' 'I Want Your Love', which sounds like a sexually charged Shangri-Las, resplendent with purred vocals,
Batman guitars and a dose of crypt-kicking fuzz! Tracey Dey was the first star of Bob Crew's talent stable, and her 1966 'Marching Home' (her final solo disc) is a rhythmic treat, and sweet-teen Bernadette Peters' Brute Force penned 'Will You Care What's Hap'nin' To Me, Baby' is an excellent vibrant disc carried by her 'Betty Boop' like voice and a splendid orchestrated production. To end, a batch of late numbers: Chicago's The Little Foxes 1968 recording blends soul, jazz and harmony pop in a manner not unlike Minnie Riperton's debut album on the brilliant 'Love Made To Order', sultry beauty Peggy Lipton (later to appear in Twin Peaks) turns in an astounding effort equal parts Cher, Beach Boys and James Bondian film score. 'Wasn't It You' is without doubt a classic! Finally the highly talent Lauro Nyro (with Labelle) closes this excellent set with a heart wrenching version of 'Spanish Harlem'.
Jon 'Mojo' Mills
CHUCK WILLIS
Chuck Willis Wails!: The Complete Recordings 1951-56 (Sundazed; 2-CD)
These days, Chuck Willis is one of the almost-forgotten figures of vintage rhythm & blues, but during the 1950s, he was one of the genre's biggest stars, enjoying 14 top 30 R&B hits during his short seven year recording career before to his premature death in 1958, aged 30. These hits
included 'C C Rider', 'Don't Deceive Me', 'What Am I Living For', 'Hang Up My Rock & Roll Shoes' and 'I Feel So Bad' - many living on as R&B standards. He began his recording career with OKeh/Columbia before switching to Atlantic in 1956 and it's these earlier recordings which are reissued here. His repertoire consisted of a mixture of jumping R&B cuts and emotional ballads with backing from some of the finest musicians of the day (often from his home town of Atlanta, Georgia).
Chuck Willis has not been well served by reissue companies over the years so this fine double CD is a very welcome release, comprising 51 tracks (including several previously unissued recordings) all presented in stunning sound. Bill Dahl's notes are, as usual, interesting and well-researched and provide an excellent overview of Willis's life and career.
Big Joe Louis