This reissue of a classic underground Paris Latin jazz/funk album is welcome to the hundreds who have sought it out at unbelievably high prices on the collector's market. Recorded in 1970 and issued by Barclay in 1971, Paris Soul is an album that wears the test of time well. The steaming orchestral arrangements by Evaristo Nata's steaming orchestral arrangements blends some Afro-Cuban flavors (such as the Santana tribute "Salute to Santa," on which they bite a chunk from "Oye Como Va" and bend it into a near salsa jam), some Brazilian samba, Memphis soul, and post-bop jazz soloing to achieve a smoky, sexy, funky groove. There are 120 tunes here, and all of them are deep, fat, and greasy with groove. The band members, apart from their arranger, are anonymous, but it hardly matters; this isn't the kind of record you're going to put on to analyze what's happening musically. While it's complex and beautiful, you'll be throwing this on either at home or the party in order to move on the dance floor.
When Malaco Records started out in the late 1960s, the label that small Southern R&B companies looked up to was Stax. The Jackson, MS-based Malaco, like the Memphis-based Stax, focused mainly on deep-fried Southern soul in the beginning – only in 1968 and 1969, Malaco was a struggling young operation that was fighting to stay afloat. But ironically, Malaco would still be in business long after Stax's 1975 demise, and it would continue to favor classic soul long after most labels had moved away from it. When other black-oriented independents were putting out urban contemporary, rap and house music in the 1980s and 1990s.
Subtitled "Recorded Live at the Apollo, Vol. 3," Revolution of the Mind presents a 1971 James Brown concert performance, which means the set list is given over largely to the singles Brown had released over the previous couple of years, including "Give It Up or Turnit a Loose," "Super Bad," and "Make It Funky."
It's hard to imagine what would prompt someone to suggest the band that recorded Vincebus Eruptum should get in touch with their pastoral side, but for their sixth album in only four years, Blue Cheer decided to explore something close to folk-rock and they sounded a lot more comfortable with the stuff than anyone had a right to expect…
Like a vintage wine, Sir Lord Baltimore's first album, Kingdom Come, was deemed to be nothing special when it was unleashed in 1970, but after aging for years in the dusty cellars of musical memory, its groundbreaking sonic maelstrom spun of savage volume and distortion would ultimately be vindicated for presaging the rise of heavy metal (Kingdom Come indeed)…
For the compilers of Time-Life Music's Singers & Songwriters series, which – more or less – chronicles the 1970s singer/songwriter movement, the 24-month period 1970-1971 marked the real birth of that trend, with the popular emergence of such defining figures as James Taylor, Carole King, Carly Simon, John Denver, and Cat Stevens, all of whom had their first big hits in the style included here.
John Lee Hooker developed a “talking blues” style that became his trademark. Though similar to the early Delta tradition, his metrically free approach and unique sound would make him a staple of Detroit blues. Often called the “King of the Boogie,” Hooker's driving, rhythmic approach to guitar playing has become an integral part of the blues. This quintessential release includes two albums from the beginning of his career: Sings the Blues (Crown 1961) and Sings Blues (King 1960). Although the two records share nearly identical titles, each contains a different and excellent track list. The former LP features great electric numbers such as “Hug and Squeeze (You),” “Good Rockin' Mama,” and “The Syndicate,” while the latter contains Hooker's solo recordings originally issued on the Modern label. Both albums have been remastered and packaged together in this very special collector's edition, which also includes 5 bonus tracks from the same period.