Just saw this week's listing - I was planning on doing Rose Royce III, I love that album!
― seandalai, Wednesday, 26 May 2010 11:05 (sixteen years ago)
FRIDAY P-FUNK SPIN-OFF BONUS 3
#1Sweat Band- Sweat Bandhttp://www.dustygroove.com/images/products/s/sweatband~~_sweatband_101b.jpg
Comments:TK: This was the first release on the Uncle Jam label.RC: This was a fantastic project, mostly masterminded by Bootsy, that involved a number of P.Funkers. It was like a Bootsy album with almost no vocals from Bootsy; a Parliament album with two instrumentals; a Funkadelic album that was light in theme; a Brides or Parlet album that emphasized the musicians. In other words, it was a whole lot of good things rolled up into one."Hyper Space" is an excellent instrumental that spotlights Razor and Michael Hampton. "Freak To Freak" is an outstanding dance tune that is driven by great percussion, a fine guitar riff, a heavy bottom, and let-it-all-hang-loose singing. "Love Munch" is an amazing spotlight for Maceo, with the background of a light, Latin-sounding beat. He just goes off in solo after solo, then joins in with the rest of the band. The percussion here is also extremely sharp. "We Do It All Day Long" is interesting, with the short intro that emphasizes lyrics and the beat, and then later the longer version that gives each musician a turn. Great singing from the Brides/Parlet, too. "Jamaica" has Bootsy doing some very funky thangs with the space bass, interesting grooves from Razor, great drumming, weird chants and outbursts, and finally some singing from Bootsy. "Body Shop" is a more standard funk number that features good backup vocals from Garry Shider. The highlight is an incredible guitar solo.The album is out of print, but is available as an import on CD. It'll cost you something like $25-35 to get it, but it's certainly worth it to any fan of Bootsy or Maceo. The cover shows a man's head getting water splashed on it. Lyrics are included with the CD version.
TK: This was the first release on the Uncle Jam label.
RC: This was a fantastic project, mostly masterminded by Bootsy, that involved a number of P.Funkers. It was like a Bootsy album with almost no vocals from Bootsy; a Parliament album with two instrumentals; a Funkadelic album that was light in theme; a Brides or Parlet album that emphasized the musicians. In other words, it was a whole lot of good things rolled up into one.
"Hyper Space" is an excellent instrumental that spotlights Razor and Michael Hampton. "Freak To Freak" is an outstanding dance tune that is driven by great percussion, a fine guitar riff, a heavy bottom, and let-it-all-hang-loose singing. "Love Munch" is an amazing spotlight for Maceo, with the background of a light, Latin-sounding beat. He just goes off in solo after solo, then joins in with the rest of the band. The percussion here is also extremely sharp. "We Do It All Day Long" is interesting, with the short intro that emphasizes lyrics and the beat, and then later the longer version that gives each musician a turn. Great singing from the Brides/Parlet, too. "Jamaica" has Bootsy doing some very funky thangs with the space bass, interesting grooves from Razor, great drumming, weird chants and outbursts, and finally some singing from Bootsy. "Body Shop" is a more standard funk number that features good backup vocals from Garry Shider. The highlight is an incredible guitar solo.
The album is out of print, but is available as an import on CD. It'll cost you something like $25-35 to get it, but it's certainly worth it to any fan of Bootsy or Maceo. The cover shows a man's head getting water splashed on it. Lyrics are included with the CD version.
Not A Spotify
#2Quazar - Quazarhttp://www.thefunkstore.com/CurrentCDs/StartUp/LP-QuazarQuazar.jpg
Comments:RC: This was to be Glenn Goins' first major project away from the P.Funk Mob after he quit, but he passed on before he was able to complete it. But his brother Kevin went on to finish it, and many of Glenn's original vocal and musical parts were left on. Glenn also wrote and produced many of the songs, along with Jerome Brailey, who had also quit by this point. We'll never know how good it might have been had he lived, but what we have is a brilliant, unique funk album. Glenn's abilities as a vocalist, musician, producer and arranger were only hinted at in his brief-but-potent stay with the Funk Mob; but the classics he left behind with Parliament ("Bop Gun" and "Mothership Connection" being only two examples) and his role as lead singer in live performances show how important he really was.His only real weakness was as a concept artist, which made him a perfect fit with Clinton but limit the ideas on this album. While everything is perfectly sung and played, the lyrics are very basic and the musical ideas not exactly being revolutionary. Given that, the album is excellent: there's a side of kick-ass, shake-booty funkers that would make Sir Nose dance. Then there's a side of skillfully produced ballads carefully designed for a romantic evening. It's a commercial album with perfect integrity, with a sound somewhere between Bootsy's Rubber Band and Mutiny. It's a cross between funk and rock influences that also acknowledges a heavy debt to 60's soul.The quality of the music is excellent, led by Kevin on guitar, with Greg Fitz (now of Bootsy's New Rubber Band) also coming up with some creative keyboard melodies. The drumming and bass playing are also superb across the board."Funk With A Big Foot" is super heavy and funky, with excellent use of pauses and stops, making it very danceable. Jerome Brailey is excellent here, and the keyboards provide the proper flavor. The chant, "Stop! Get down! That's what it's all about" is infectious. "Funk With A Capital G" is another hot funk tune that commands you to wiggle, with doubled up bass and guitar. "Funk N Roll" has a hot guitar riff, deep rolling bass and effective, funky handclaps. It recalls other P.Funk, making "Cholly" references and having band members doing Bootsy impersonations. This song sounds a lot like Mutiny later would. "Working On The Building" is a brilliant fast funker with torrid bass playing and scorching sax (from Daryl Dixon, who did the sax solo on "Flash Light"). More doubled up guitar/bass arrangements, with hot wah-wah guitar and slap bass stylings make me agree: 'And Quazar make you dance'. "Your Lovin' Is Easy" is a Bootsy-ish ballad, also recalling Rick James a bit. The guitar and bass recall some Ike Hayes songs. "Love Me Baby" features the excellent voice of Lady Peachena; the music is pretty commercial, as though this was calculated to be a crossover hit. "Savin' My Love..." is a discoish/ Barry White fast ballad, and as such, it's very corny. Good bass playing, though. "Starlight Circus" is a dreamy, ethereal soul tune. "Shades Of Quaze" is a mellow instrumental, dominated by horns and then wah-wah guitar.The album is out of print, and very rare. A CD version is available, though only as an import. You may expect to pay a lot of money for this one, but it's worth it. The album is a black and white design with the word 'Quazar' exploding like the Big Bang. Photos of all band members are included.
RC: This was to be Glenn Goins' first major project away from the P.Funk Mob after he quit, but he passed on before he was able to complete it. But his brother Kevin went on to finish it, and many of Glenn's original vocal and musical parts were left on. Glenn also wrote and produced many of the songs, along with Jerome Brailey, who had also quit by this point. We'll never know how good it might have been had he lived, but what we have is a brilliant, unique funk album. Glenn's abilities as a vocalist, musician, producer and arranger were only hinted at in his brief-but-potent stay with the Funk Mob; but the classics he left behind with Parliament ("Bop Gun" and "Mothership Connection" being only two examples) and his role as lead singer in live performances show how important he really was.
His only real weakness was as a concept artist, which made him a perfect fit with Clinton but limit the ideas on this album. While everything is perfectly sung and played, the lyrics are very basic and the musical ideas not exactly being revolutionary. Given that, the album is excellent: there's a side of kick-ass, shake-booty funkers that would make Sir Nose dance. Then there's a side of skillfully produced ballads carefully designed for a romantic evening. It's a commercial album with perfect integrity, with a sound somewhere between Bootsy's Rubber Band and Mutiny. It's a cross between funk and rock influences that also acknowledges a heavy debt to 60's soul.
The quality of the music is excellent, led by Kevin on guitar, with Greg Fitz (now of Bootsy's New Rubber Band) also coming up with some creative keyboard melodies. The drumming and bass playing are also superb across the board.
"Funk With A Big Foot" is super heavy and funky, with excellent use of pauses and stops, making it very danceable. Jerome Brailey is excellent here, and the keyboards provide the proper flavor. The chant, "Stop! Get down! That's what it's all about" is infectious. "Funk With A Capital G" is another hot funk tune that commands you to wiggle, with doubled up bass and guitar. "Funk N Roll" has a hot guitar riff, deep rolling bass and effective, funky handclaps. It recalls other P.Funk, making "Cholly" references and having band members doing Bootsy impersonations. This song sounds a lot like Mutiny later would. "Working On The Building" is a brilliant fast funker with torrid bass playing and scorching sax (from Daryl Dixon, who did the sax solo on "Flash Light"). More doubled up guitar/bass arrangements, with hot wah-wah guitar and slap bass stylings make me agree: 'And Quazar make you dance'. "Your Lovin' Is Easy" is a Bootsy-ish ballad, also recalling Rick James a bit. The guitar and bass recall some Ike Hayes songs. "Love Me Baby" features the excellent voice of Lady Peachena; the music is pretty commercial, as though this was calculated to be a crossover hit. "Savin' My Love..." is a discoish/ Barry White fast ballad, and as such, it's very corny. Good bass playing, though. "Starlight Circus" is a dreamy, ethereal soul tune. "Shades Of Quaze" is a mellow instrumental, dominated by horns and then wah-wah guitar.
The album is out of print, and very rare. A CD version is available, though only as an import. You may expect to pay a lot of money for this one, but it's worth it. The album is a black and white design with the word 'Quazar' exploding like the Big Bang. Photos of all band members are included.
Not A Spotify Link
#3Mutiny - Mutiny On The Mamashiphttp://3.bp.blogspot.com/_9f5c8lXo1U0/SH7Pr-jjp4I/AAAAAAAAAS8/9SGmVEEGeU4/s400/Mutiny%2B-%2B09.%2BFrontcover.jpg
Comment:RC: This was the first album from the Jerome Brailey-led group. The name of the band was a reaction how Brailey perceived the George Clinton-run P.Funk camp, and he slams him throughout the album. He had hoped to recruit more members from P.Funk for this album (especially Bernie Worrell, who had less and less input at that time), but the only former player he got was sax man Darryl Dixon. Despite that, Jerome and Co. produced three excellent funk albums. His rock influence is apparent here, with the album having a heavy sound. But he also understands the use of the 'one', with the dance songs being super funky in the mold of Bootsy. The album's only weakness is lyrical, but there are enough interesting concepts to hold up the album. But the lyrics aren't the focus here, the excellent music is. Any fan of Jerome (who was onboard the P.Funk train from 1975-77, producing many classics, including his signature "Give Up The Funk") or super heavy funk in general should seek out these albums. The most remarkable thing about this album is how good Jerome Brailey's vocals are and how funky his arrangements. Despite the barrage of insults, Clinton said in later years that he would have been happy to have this album on his own Uncle Jam label!"Go Away From Here" is a mid-tempo song that is immediately noticable for its funky bass and distorted vocals. There's a nice dramatic buildup with the addition of a clever horn arrangement and a muted but wailing guitar. The song talks about faking the funk and such. "What More Can I Say" is another mid-tempo song in much the same mold, with the same muted guitar, great singing and another excellent horn arrangement. "Lump" is a hot dance-funk song. Jerome uses his funny, higher-pitched voice to dis Clinton ('Lump, lump can you cut the funk?' and 'Thinking you did something, realizing you ain't done a lot') and the Brides in a humorous fashion. The great slap bass keeps things moving. "Funk N Bop" is another fast funker, also amusing in the same vein. This one has a lot of great lyrical hooks, like 'The longer the stroke, the deeper the fill' and 'Sworn to fun, loyal to none'. The band absolutely locks in on this one, it's just a rock-hard funker. "Burning Up" is a mid-tempo funk ballad with more good vocal arrangements. "Voyage To..." is a more guitar-oriented song with whispered lyrics and crisp drumming. "Everytime You..." is a straightforward ballad with a strong guitar presence that highlights Jerome's singing. "Romeo" is a weird mid-tempo song with a funny chant and a more subdued lead vocal. The synth is the focus here, creating a strange tension. The beat is steady and holds the whole thing together.This album is out of print and somewhat rare, but it's available as an import from P-Vine. The cover shows Jerome on a beach, dressed as a pirate, recovering a treasure chest. An inside sleeve illustration has Jerome making Clinton (whom he calls 'Lump') walk the plank. The whole thing is pretty funny. Ace Records also apparently plans to reissue this album soon as well.
RC: This was the first album from the Jerome Brailey-led group. The name of the band was a reaction how Brailey perceived the George Clinton-run P.Funk camp, and he slams him throughout the album. He had hoped to recruit more members from P.Funk for this album (especially Bernie Worrell, who had less and less input at that time), but the only former player he got was sax man Darryl Dixon. Despite that, Jerome and Co. produced three excellent funk albums. His rock influence is apparent here, with the album having a heavy sound. But he also understands the use of the 'one', with the dance songs being super funky in the mold of Bootsy. The album's only weakness is lyrical, but there are enough interesting concepts to hold up the album. But the lyrics aren't the focus here, the excellent music is. Any fan of Jerome (who was onboard the P.Funk train from 1975-77, producing many classics, including his signature "Give Up The Funk") or super heavy funk in general should seek out these albums. The most remarkable thing about this album is how good Jerome Brailey's vocals are and how funky his arrangements. Despite the barrage of insults, Clinton said in later years that he would have been happy to have this album on his own Uncle Jam label!
"Go Away From Here" is a mid-tempo song that is immediately noticable for its funky bass and distorted vocals. There's a nice dramatic buildup with the addition of a clever horn arrangement and a muted but wailing guitar. The song talks about faking the funk and such. "What More Can I Say" is another mid-tempo song in much the same mold, with the same muted guitar, great singing and another excellent horn arrangement. "Lump" is a hot dance-funk song. Jerome uses his funny, higher-pitched voice to dis Clinton ('Lump, lump can you cut the funk?' and 'Thinking you did something, realizing you ain't done a lot') and the Brides in a humorous fashion. The great slap bass keeps things moving. "Funk N Bop" is another fast funker, also amusing in the same vein. This one has a lot of great lyrical hooks, like 'The longer the stroke, the deeper the fill' and 'Sworn to fun, loyal to none'. The band absolutely locks in on this one, it's just a rock-hard funker. "Burning Up" is a mid-tempo funk ballad with more good vocal arrangements. "Voyage To..." is a more guitar-oriented song with whispered lyrics and crisp drumming. "Everytime You..." is a straightforward ballad with a strong guitar presence that highlights Jerome's singing. "Romeo" is a weird mid-tempo song with a funny chant and a more subdued lead vocal. The synth is the focus here, creating a strange tension. The beat is steady and holds the whole thing together.
This album is out of print and somewhat rare, but it's available as an import from P-Vine. The cover shows Jerome on a beach, dressed as a pirate, recovering a treasure chest. An inside sleeve illustration has Jerome making Clinton (whom he calls 'Lump') walk the plank. The whole thing is pretty funny. Ace Records also apparently plans to reissue this album soon as well.
3 of the best spin-off albums from the pfunk mob. Please all listen and enjoy, you will NOT be disappointed!
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 11:28 (sixteen years ago)
Aha, good stuff. What's this bonus stuff all about, is that just an excuse for you stick a few more of your albums in?
― Wenlock & Mandelson (Tom D.), Friday, 28 May 2010 11:31 (sixteen years ago)
aye
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 11:34 (sixteen years ago)
Can we all do bonuses then?
― Wenlock & Mandelson (Tom D.), Friday, 28 May 2010 11:34 (sixteen years ago)
Maybe, i traded a week with tannenbaum so i could get a jazz bonus. what can you trade? ;)31/5 - funksclovetu7/6 - Seandalai Funkify14/6 - moka Funka21/6 - Abbott The Bricklayer28/6 - The Rev Funkenstein5/7 - pfunkboy12/7 - Turangalila Funkapus19/7 - mbison the texan funkateer26/7 - Shakey Mo Funkier2/8 - Tom "Funkybutt" D9/8 - Von Bootee!
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 11:37 (sixteen years ago)
Some World Cup 82 Panini stickers
― Wenlock & Mandelson (Tom D.), Friday, 28 May 2010 11:38 (sixteen years ago)
You needed 3 months to give you time to select albums!
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 11:43 (sixteen years ago)
Not here I didn't
― Wenlock & Mandelson (Tom D.), Friday, 28 May 2010 11:47 (sixteen years ago)
You can have a bonus album next week if you give us your thoughts on the 3 i just posted
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 11:51 (sixteen years ago)
Haven't I done that before?
― Wenlock & Mandelson (Tom D.), Friday, 28 May 2010 11:53 (sixteen years ago)
FunKlata will join the back of the queue and take a week in August, please. Just need to decide which three Jamiroquai albums to pick first.
Any thoughts yet on Small Club?
― Ismael Klata, Friday, 28 May 2010 11:54 (sixteen years ago)
31/5 - funksclovetu7/6 - Seandalai Funkify14/6 - moka Funka21/6 - Abbott The Bricklayer28/6 - The Rev Funkenstein5/7 - pfunkboy12/7 - Turangalila Funkapus19/7 - mbison the texan funkateer26/7 - Shakey Mo Funkier2/8 - Tom "Funkybutt" D9/8 - Von Bootee!16/8 - Polomint City FunKlata23/8 - pfunkboy
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 11:56 (sixteen years ago)
Tom do you have these albums?
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 12:22 (sixteen years ago)
You shared them with us before, Watercooler, don't you remember?
― Wenlock & Mandelson (Tom D.), Friday, 28 May 2010 12:24 (sixteen years ago)
oh that was years ago. How am I meant to remember that. You got any comments on them? To tempt readers here into checking them out?
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 13:13 (sixteen years ago)
I sent them to shakey at the same time iirc
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 14:46 (sixteen years ago)
I think they're all definitely worth grabbing! No doubt about that! Haven't heard them in a a while, Mutiny one my favourite I think.
― Wenlock & Mandelson (Tom D.), Friday, 28 May 2010 14:49 (sixteen years ago)
Mutiny is a high point of pfunk in general. Even george says he wished he could have released it and the whole thing is dissing him! Quazar is very good but one can only imagine how great it could have been if Glenn Goin's hadn't died before it was finished. Sweat Band is one of the best things Bootsy did and it deserves to be better known.
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 14:51 (sixteen years ago)
And I got all 3 of these on vinyl in the late 90s. Bloody hard to find.
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 14:52 (sixteen years ago)
yeah think I prefer Sweat Band out of all of these - its got one or two duds but otherwise its prime late period P-Funk, everything is very rubbery and plastic and bouncy
― emotionally abusive jowls (Shakey Mo Collier), Friday, 28 May 2010 15:43 (sixteen years ago)
and bootsy
― pfunkboy (Herman G. Neuname), Friday, 28 May 2010 15:50 (sixteen years ago)
― pfunkboy (Herman G. Neuname), Saturday, 29 May 2010 01:40 (sixteen years ago)
forks ready to post your picks?31/5 - funksclovetu7/6 - Seandalai Funkify14/6 - moka Funka21/6 - Abbott The Bricklayer28/6 - The Rev Funkenstein5/7 - pfunkboy12/7 - Turangalila Funkapus19/7 - mbison the texan funkateer26/7 - Shakey Mo Funkier2/8 - Tom "Funkybutt" D9/8 - Von Bootee!16/8 - Polomint City FunKlata23/8 - pfunkboy
― pfunkboy (Herman G. Neuname), Sunday, 30 May 2010 22:31 (sixteen years ago)
forgot!Let me see here...
― forksclovetofu, Sunday, 30 May 2010 22:50 (sixteen years ago)
hehe, that's why I posted the reminder a bit early cuz a lot of people have been forgetting on some of the clubs.
― pfunkboy (Herman G. Neuname), Sunday, 30 May 2010 22:54 (sixteen years ago)
I'm posting now then. Hope this isn't too rudimentary for folks.
#1: Infectious Grooves - The Plague That Makes Your Booty Move... It's the Infectious Grooves (1991)http://upload.wikimedia.org/wikipedia/en/f/fc/Infectious_the_plague.jpgAMG review: Mike Muir's Infectious Grooves side project allowed him to relax and display his fun, non-political side, and also provided Suicidal Tendencies bassist Robert Trujillo an opportunity to turn loose his formidable funk chops. The resulting debut album, The Plague That Makes Your Booty Move...It's the Infectious Grooves, mixes hyperactive Chili Pepper funk with traditional metal (including an appearance by Ozzy Osbourne on "Therapy") and Suicidal's skatepunk thrash. The Plague That Makes Your Booty Move was an unabashed good-time party record, with songs like "You Lie...And Yo Breath Stank" and between-song sketches featuring a jive-talking, funk-singing reptile named Sarsippius. Not as schizophrenically eclectic as Faith No More, nor as arty as Jane's Addiction, the Grooves' funk-metal is good-humored and full of attitude, without seeming smug or macho; their output was fairly consistent and similar, although this album contains mild MTV hits like "Punk It Up" and is therefore the best first purchase. Recommended Tracks: You Lie and Yo Breath Stank, Stop Funk'n With My Head, Punk It Up, Monster Skank
#2: George Clinton and P-Funk All Stars: The Awesome Power of A Fully Operational Mothership (1996)http://upload.wikimedia.org/wikipedia/en/a/a0/MP_Clinton-TAPOAFOM.jpgAMG review:The Awesome Power of a Fully Operational Mothership is the first George Clinton album to show signs of a Dr. Dre G-funk influence. Where his previous album, Hey Man, Smell My Finger, was pretty much nothing but standard P-funk, Awesome Power slows the beat down just like Dre does on The Chronic. The difference is, Dre actually works those grooves into songs where Clinton just lets the funk meander. He doesn't even try to write songs -- he operates under the belief that ceaseless jamming and randomly interjected vocals constitues a good groove. And it does, when given the right source material and musicians. On Awesome Power, Clinton has neither. The musicians may have all played with various incarnations of Parliament, but they sound tired and bored on the album -- there isn't a single instant when they latch on to a good groove. And what that means is this: On Awesome Power, George Clinton sounds more out of touch with contemporary funk and R&B than he ever has. Recommended Tracks: Hard as Steel, Underground Angel, If Anybody Gets Funked Up (It's Gonna Be You), Sloppy Seconds
#3: Cameo - Cardiac Arrest (1977)http://upload.wikimedia.org/wikipedia/en/4/48/Cameo-ca.jpgAMG review: In 1977, one of funk's most promising debuts came from Cameo, whose first album, Cardiac Arrest, made it crystal clear that Larry Blackmon's outfit was a force to be reckoned with. If you were into hard, tough funk in 1977, it was impossible not to be excited by Cameo's debut. This excellent LP contains a romantic soul ballad ("Stay By My Side") as well as the original version of "Find My Way," which is the sort of smooth yet funky disco-soul that groups like the Trammps and Double Exposure were known for in the late '70s. But for the most part, this is an album of aggressive, unapologetically gritty funk. On classics like "Rigor Mortis," "Funk, Funk," and "Post Mortem," one can pinpoint Cameo's influences -- namely, Parliament/Funkadelic, the Ohio Players, and the Bar-Kays. But at the same time, these gems demonstrate that even in 1977, Cameo had a recognizable sound of its own. And ultimately, Cameo would become quite influential itself. For funk lovers, Cardiac Arrest is essential listening. Period.Recommended Tracks: Post Mortem, Funk Funk, Rigor Mortis
― forksclovetofu, Sunday, 30 May 2010 23:06 (sixteen years ago)
FWIW, I think that review of TAPOAFOM is horseshit; this album has some serious jams on it.
― forksclovetofu, Sunday, 30 May 2010 23:07 (sixteen years ago)
Cameo album is awesome.The Awesome Power of A Fully Operational Mothership was clintons last great album, dunno what that amg review is on about, lol. It's like a lost Funkadelic album (im guessing the reviewer prefers Parliament). Not heard the infectious grooves album, though I may have seen a vid or too from it back then.hah xpost
― pfunkboy (Herman G. Neuname), Sunday, 30 May 2010 23:10 (sixteen years ago)
the clinton album is very popular amongst the fans. I can rip the cd if it cant be found.
― pfunkboy (Herman G. Neuname), Sunday, 30 May 2010 23:11 (sixteen years ago)
god, i'm so far behind all these listening clubs. only managed to hear Junie this week (really great!) and now pfunk posts 3 more on friday and its monday already!
― De que estas hablando? (Tannenbaum Schmidt), Sunday, 30 May 2010 23:12 (sixteen years ago)
Some truly great one-liners on TAPOAFOM"no itsy bitsy pee wee penis type of pecker poker pusher evah penetratin' the puss-AY""unh unh funky let your nuts hang low sweet stereo society's couch wreck quit trippin cuz you ain't even dippin your head to the funk but you wanna get high?"
― forksclovetofu, Sunday, 30 May 2010 23:14 (sixteen years ago)
cardiac arrest appears to be the only Cameo album not on Spotify, but please look for it elsewhere, you wont be disappointed.
None of these albums are on Spotify it seems
― pfunkboy (Herman G. Neuname), Sunday, 30 May 2010 23:16 (sixteen years ago)
i'm a knock that down tear it up / i'm a knock that down tear it up/ i'm a gonna get with it / i know you know just what I mean I'm a knock that down tear it up/ gonna knock it down trash it up / and when i do it / Ahma stick to it like hot grits on al green
― forksclovetofu, Sunday, 30 May 2010 23:17 (sixteen years ago)
So many albums - I haven't even gotten to last Friday's bonuses yet!
― seandalai, Monday, 31 May 2010 01:24 (sixteen years ago)
just think of the fun that awaits you!
― pfunkboy (Herman G. Neuname), Monday, 31 May 2010 11:22 (sixteen years ago)
man I haven't listened to that Infectious Grooves album since it came out, honestly have some trepidation about relistening to it - what can I say, at the time it seemed like funk-metal (a la Jane's, RATM, Anthrax, etc.) seemed like it might be a good idea. but that isn't how it turned out...
also gotta express some reservations about TAPOAFOM, which was a disappointment to me after Dope Dogs. the production's thinner than I like, and the hooks just aren't there. there's maybe a smattering of worthwhile moments, but the sprawl is just too much, it's unfocused.
― in my day we had to walk 10 miles in the snow for VU bootleg (Shakey Mo Collier), Tuesday, 1 June 2010 23:45 (sixteen years ago)
That Cameo album is an absolute classic, probably my second favourite album of theirs after Word up.
If anyone really gets into it it's actually being re-released as a double with their second album on 21st June. Most of their album from 77-83 are almost impossible to get on CD.
― Kitchen Person, Wednesday, 2 June 2010 12:58 (sixteen years ago)
Oh will need to look out for that, cheers!
― pfunkboy (Herman G. Neuname), Thursday, 3 June 2010 13:29 (sixteen years ago)
no funk bonus until theres more chat on those albums! Did the infectious grooves put everyone off or is it because of a lack of spotify/links?
― pfunkboy (Herman G. Neuname), Friday, 4 June 2010 01:00 (sixteen years ago)
Lack of time in my case, matey - I'm forever playing catch-up. Yesterday was for James Brown's Hell. Wonderful stuff, even if it's pretty much The Payback with gongs. The more I listen, the less I understand those who equate JB with all evil - this stuff seems plenty tuneful to me.
― Ismael Klata, Friday, 4 June 2010 06:42 (sixteen years ago)
Spotify links definitely help me get through everything - means I can listen at work too.
― seandalai, Friday, 4 June 2010 10:51 (sixteen years ago)
@pfunkboy: I may not be online on Monday, so can I send you my picks beforehand?
― seandalai, Friday, 4 June 2010 23:59 (sixteen years ago)
you can post them now if you like, or anytime sat or sunday, no worries, whatever suits you
― pfunkboy (Herman G. Neuname), Saturday, 5 June 2010 00:02 (sixteen years ago)
Are you posting them today?
― pfunkboy (Herman G. Neuname), Sunday, 6 June 2010 11:03 (sixteen years ago)
Here we go...
1. Fatback - Hot Box
http://ecx.images-amazon.com/images/I/61UxFLcixSL._SL500_AA300_.jpg
Spotify
AMG review (which I think undersells the album, if only because the best tracks are serious jams):
In 1980, the carefully studio-crafted combination of funk and disco Fatback had been developing on their last few albums paid off with Hot Box, an album that spawned some serious R&B chart hits. The big hit from this long-player was "Gotta Get My Hands on Some (Money)," a song driven by a rock-solid synthesizer bassline and a freewheeling, Parliament-like rap about the singer's need to score some cash to keep his head above water. It further spices up its funky stew with an array of vocal-harmony hooks and squiggly, ear-catching synthesizer flourishes to create one of Fatback's finest hits. The album's other notable success was "Backstrokin'," a tune that layered plenty of saucy double entendres over a combination of elongated synthesizer lines and staccato horns. Sadly, the rest of the album never quite captures the infectious yet carefully controlled energy of these hits: the title track works hard but never builds up the head of steam that would make it come to life and "Come and Get the Love" sports a lovely group harmony hook but suffers from humdrum lyrics that lack a fresh take on its very traditional subject. The song that gets closest to the arresting quality of the singles is "Love Spell," which triumphs over its uninteresting rap-styled lead vocal thanks to a doubled group vocal/synthesizer hook that digs deep into the listener's consciousness and takes hold. Overall, Hot Box is a solid listen for Fatback fans but those interested in the album's hits would probably be better off picking up a copy of The Fattest of Fatback.
2. Bobbi Humphrey - Blacks and Blues
http://ecx.images-amazon.com/images/I/4152CRY3QKL._SL500_AA300_.jpg
AMG review:
Bobbi Humphrey scored her biggest hit with her third album Blacks and Blues, an utterly delightful jazz-funk classic that helped make her a sensation at Montreux. If it sounds a lot like Donald Byrd's post-Black Byrd output, it's no accident; brothers Larry and Fonce Mizell have their fingerprints all over the album, and as on their work with Byrd, Larry handles all the composing and most of the arranging and production duties. It certainly helps that the Mizells were hitting on all cylinders at this point in their careers, but Humphrey is the true star of the show; she actually grabs a good deal more solo space than Byrd did on his Mizell collaborations, and she claims a good deal of responsibility for the album's light, airy charm. Her playing is indebted to Herbie Mann and, especially, Hubert Laws, but she has a more exclusive affinity for R&B and pop than even those two fusion-minded players, which is why she excels in this setting. Mizell is at the peak of his arranging powers, constructing dense grooves with lots of vintage synths, wah-wah guitars, and rhythmic interplay. Whether the funk runs hot or cool, Humphrey floats over the top with a near-inexhaustible supply of melodic ideas. She also makes her vocal debut on the album's two ballads, "Just a Love Child" and "Baby's Gone"; her voice is girlish but stronger than the genre standard, even the backing vocals by the Mizells and keyboardist Fred Perren. Overall, the album's cumulative effect is like a soft summer breeze, perfect for beaches, barbecues, and cruising with the top down.
3. Orchestre Poly-Rythmo de Cotonou - Echos Hypnotiques
http://ecx.images-amazon.com/images/I/51uNtaYXDGL._SL500_AA300_.jpg
Disclaimer: Ok, this isn't a pure 100% or even 50% funk album, but I figure it shakes things up a bit more than if I posted a Bootsy album or something. And it's unarguably 100% funky.
Condensed blurb from Analog Africa:
Four years in the making, Analog Africa finally presents the second volume of Africa's funkiest band, the mythicalOrchestre Poly-Rythmo de Cotonou.What had started as a children entertainment group became one of the greatest bands of their era. Volume One was a collection of amazing LO-Fi recordings produced for various labels around Benin. Volume Two showcases superbly recorded tracks, courtesy of the EMI studios in Lagos, one of the best studios in the region. All tracks here were recorded for the mighty Albarika Store label and its enigmatic producer, Adissa Seidou.During the period presented here - 1969 to 1979 - the mighty Orchestra was without any doubt one of Africa's most innovative group. Capable of playing any style of music, the band moved from Traditional Vodoun Rhythms to Funk, Salsa or Afro-beat seamlessly and quickly became the powerhouse of Benin's music scene, backing most of Africa's stars touring the country such as Manu Dibango, Ernesto Djedje, Bella Bellow as well as supporting an array of local composers such as Honore Avolonto, Antoine Dougbé and Danialou Sagbohan.
What had started as a children entertainment group became one of the greatest bands of their era. Volume One was a collection of amazing LO-Fi recordings produced for various labels around Benin. Volume Two showcases superbly recorded tracks, courtesy of the EMI studios in Lagos, one of the best studios in the region. All tracks here were recorded for the mighty Albarika Store label and its enigmatic producer, Adissa Seidou.
During the period presented here - 1969 to 1979 - the mighty Orchestra was without any doubt one of Africa's most innovative group. Capable of playing any style of music, the band moved from Traditional Vodoun Rhythms to Funk, Salsa or Afro-beat seamlessly and quickly became the powerhouse of Benin's music scene, backing most of Africa's stars touring the country such as Manu Dibango, Ernesto Djedje, Bella Bellow as well as supporting an array of local composers such as Honore Avolonto, Antoine Dougbé and Danialou Sagbohan.
Enjoy!
― seandalai, Sunday, 6 June 2010 21:18 (sixteen years ago)
I dont know this fatback album, but i have several fatback band/fatback cds from before that album, one of which shall be my bonus pick this week!
― pfunkboy (Herman G. Neuname), Sunday, 6 June 2010 21:19 (sixteen years ago)
Oh and the bobbi humpfrey album is pretty good too. dunno this last album!
― pfunkboy (Herman G. Neuname), Sunday, 6 June 2010 21:20 (sixteen years ago)
lol at the typoBobbi Humphrey
its monday and time to listen to these new picks
― pfunkboy (Herman G. Neuname), Monday, 7 June 2010 11:06 (sixteen years ago)