Aloe Blacc – I Need a Dollar

From: I Need a Dollar single Good Things LP (Stones Throw, 2010)

quick note:  the single on Itunes as it comes with an instrumental and 2 more tracks for 2 bucks.

So you may have remembered Aloe Blacc from his debut a few years back on Stones Throw.  Called Shine Through it had some interesting cuts but was a little scattershot.  It still held some promise.  His new album is supposed to feature the help of a few members of El Michels affair amongst some other Truth and Soul artists.  This definately is shaping up to be a great 2nd album.

The one thing I never realized on his first album was how great his voice was.  After hearing this track which is now the theme song on How to Make It In America, HBO’s new entourage like show, I was a little mesmerized.  The backing insrumentation is fantastic with the piano stabs, solid snare back drop and the backup singers, but his croon is outright amazing.

Right now I’ve been doing a little updating of our look.  We’re still sticking with the Yellow, but I thought I might try to change the background colors and make it pop a little better.  I’ve also been mocking up various new headers over the past month.  Tell us what you think, diggin it?

Ike White: Love & Affection and Changin’ Times

From: Changin’ Times [LA International, 1976]

Back with the rare today and Ike White’s 1976 LP, Changin’ Times. This post will be of the mercifully short type due to my knowledge of Ike being limited to that he recorded this album while in prison, it was at least partially produced by Jerry Goldstein, the man behind War’s sound, and that it was endorsed enough by Mr Stevie Wonder for him to page the liner notes that accompany the great music. I can certainly see why Stevie felt drawn to this artist, the combination of beautifully produced jazz/soul is right up his alley as White ventures into many a noodling territory before always bringing the track back into the funk lane.

While the entire album is of a high quality there’s no doubting that the reason why it regularly goes for over 100 dollars is due to the inclusion of the much comped, much loved, Love & Affection. I couldn’t really feature this album without including this track just in case you haven’t been witness to its majesty before. A combination of great horns, cow bell, an irresistible groove and a more than slightly Sly approach to tune structure and vocals result in a true funk classic and one that never gets old. Absolute belter.

I was torn between throwing up Antoinette, a 9 minute jam that ventures from deep groove to cheesy jazz funk to beautiful groove and Changin’ Times, another nine minute track that is more of the mellow soul variety. In the end I had to plump for the title track, its mixture of soul and jazz too much to resist. Very much a slow burner, the track really takes off around the two minute mark as the strings enter the mix and, to my ears at least, the guitar work takes on an extra intricacy as the percussion also steps up a gear. Very smooth but never dull, and, in its own way, rather beautiful.

Sadly this album still appears to be far from being reissued though as we so many of these, we live in hope. Nice heavy vinyl pressing please.

Gil Scott Heron:

Did You Hear What They Said
From: Free Will [Flying Dutchman, 1972]
We Almost Lost Detroit
From: Bridges [Arista, 1977]
Angel Dust
From: Secrets [Arista, 1978]
Willing
From: 1980 [Arista, 1980]

Better late than never, it only seems appropriate that a site as immersed in soul and funk as Ear Fuzz should take a minute to appreciate that Mr Gil Scott Heron has released a new album. I’ve admittedly only given it a quick listen through so far but have to say that I’m impressed, the combination of Gil’s always powerful vocals and the updated accompaniment works extremely well. However, today I’m more interested in looking back to Gil’s past and highlighting a few tracks that may not be on everyone’s radar but certainly should be.
Not that long ago there was a pure record geekery discussion about who had the better discography, Curtis Mayfield of Gil Scott Heron. Without hesitation I plumped for Curtis as I expect most people would do. It was only when I had a moment to think about it that I decided to go back and revisit Gil’s albums and I must say that it’s perhaps not as clear cut as you’d automatically assume.
I’m skipping over Pieces Of A Man as this is unarguably Gil’s masterpiece album and, if you don’t have a copy already, please go out and buy it right now and immerse yourself in one of the great albums of the seventies. Instead we’ll take a look at the ten year period after Pieces Of Man and see what you think.

I’ve always thought Scott Heron’s voice is an underrated tool. It may not have the soaring highs and lows of the great soul singers but what it does possess is an unwavering emotional richness which makes you believe every single line, every single word, that Gil sings. The singing from the heart combined with the often evocative, always interesting, lyrics means that it’s rare, even with his uneven later output, that I’m not drawn into a song that Scott Heron is singing. Each song is like a little world that he builds round you for its duration.

Did You Hear What They Said is, to me at least, a perfect example of the power of his voice. One of those tracks that removes me almost entirely from my surroundings while it plays, it’s such a simple mixture of understated accompaniment by the underappreciated Brian Jackson and Scott Heron’s heart ripping vocals. Very beautiful, very powerful, this is an absolutely outstanding piece of songwriting and performance that ends abruptly leaving the taste in your mouth. And yes, it’s got a classic sample in there as well.

We Almost Lost Detroit is right up there with my favourite of all Scott Heron tracks. Rather than taking the usual stripped down approach to production, the track see’s Scott Heron’s vocals layered among blankets of lush synths and strings and, you know what? It actually adds to the power of the piece. An absolute total and utter favourite of mine, it’s a song that I could loop over and over without ever getting tired. It’s unnerving that a song so obviously produced can have such a raw emotional impact but there you go.

Angel Dust, off the 1978 Secrets again features ahead of it’s time production work by Brian Jackson and the added bonus of Harvey Mason on drums. A classic example of the combination of a powerful and extremely downbeat message from Scott Heron that is offset against decidedly upbeat production from Jackson resulting in a rare groove classic that you could happily get down and groove to without ever noticing the far from celebratory tone of the lyrics.

Willing seems as appropriate a place as any to wrap this up as 1980 marked the end of his first ten years in the music recording industry with him still battling the same social and government issues that he first brought to attention on Small Talk At 125th And Lenox. Considering the well documented personal problem’s he’s had in the thirty years since it seems both a miracle and a blessing that he’s still with us and recording new music. Here’s to him.

Tommy Mcgee: Come On and We Ought To Be Together

From: Positive Negative [MTMG, 197?]

In our typical understated and in no way unorganised manner, Ear Fuzz actually passed the five year anniversary over the past week. It seems like only yesterday when I closed down my own blog and moved here but over that period we’ve had numerous site breakdowns, been taken offline for a month, made lots of friends, had some harmless ebeef, changed colour and style about thirty times and also, with any luck, shared some great music with you all.

I don’t want to go all Gwyneth on here but I do feel that the following people have to be acknowledged as without them the site wouldn’t be where it is today. So shouts out to those who have since moved on including the originator DJ Maru (who has his own site now in case you haven’t checked), Killermike, dtglass, MattW, floodwatch and G10947. Also thanks as always to those who are still contributing, btieman, chuckdafonk, dane, Independent J, Kevin and of course Still Life who has been here since day one and is still going strong.

Damn it, I promised myself I wouldn’t cry.

Anyway, I don’t want to waste any more of your time reminiscing so how about some music to reward you for sitting patiently through my ramblings? Kind of appropriate that I won’t even try and pretend that I have ever even been in the same county as the record I posted today but I just feel like I have to share its brilliance with you.

Tommy McGee is a total enigma to me regarding where he came from, what he did before this release, what he did afterwards, and where he is now. I’ve been unable to find out anything about the guy beyond this one album and can only think that if you were told you had just eight tracks to leave an impression on the msuical world you’d be hard pushed to top this.

As readers of the site will know (and my lastfm profile will confirm) I’m a big sucker for falsetto soul especially when it’s entwined with lush string led southern soul production that wraps you in aural silk.

Come On is a fantastic slow burner with Tommy delivering a lyrical seduction over a hi-records style mixture of strings and slightly urgent percussion. One of those true growers where you only realise quite how good it is when it ends and you click play again, and again, and again.

We Ought To Be Together is even more southern with a lovely descending bass line and great use of hand claps. As with Come On and, in fact, the whole album, I love love love the understated nature of these tracks. There’s no in your face look at how great I am showboating, Tommy’s vocals down this is all abouty the art of seduction in the sweetest style imaginable.

All the above helps explain why this album goes for such serious loot, last check had it going for well over $1000.

Shout out and eternal gratitude to DJ Supreme for sharing this album from his personal crates.

Oscar Brown, Jr.: A Dime Away from A Hotdog
From:Movin on [Atlantic, 1972]

Chuck Brown & The Soul Searchers: Bustin’ Loose
From:Bustin’ Loose [Source Records, 1979]

Phirpo Y Sus Caribes: Comencemos
From: Parilla Caliente [Phillips, 1973]

Bobby Pauneto: El Senor Sid
From: El Sonido Morderno [Mardi Gras, 196?]

Bobby Hutcherson feat. Harold Land : Goin’ Down South
From: San Francisco [Blue Note, 1970]

Max Roach: January V
From: M’Boom [Columbia, 1979]

Back with an odds and sods post today though be assured that this has been handpicked for that EarFuzz seal of quality and all tracks are suitably fantastic.

I’ve been thinking about putting together a post on Gil Scott Heron to mark the release of his new album next month and, while flicking through the collection, suddenly remembered about Mr Oscar Brown, Jr. , an artist who could be said to have covered some of the similar ground as Scott Heron in his own work, particularly his early compositions which had a serious focus on what it was to be an African-American. Movin’ On, released just over ten years after his debut solo LP, Sin & Soul (well worth checking out in itself) may not be Brown’s most political work but is an undeniably enjoyable listen with some great tracks, the pick being A Dime Away From A Hotdog. Both funky and a message song, this has Brown delivering his tale over some wah wah bass and chorusing trumpets. Good stuff.

Moving on (see what I did there?) we have Godfather of Go-go Chuck Brown’s Bustin’ Loose off the 1979 album of the same name. Nothing complicated going on here, just a great groove, a rhythm and brass section dripping in funk and Chuck proclaiming his need to bust loose over the top. Perfect. Just seen that it’s the Washington National’s baseball team’s home run tune so no doubt widely known.  Oh well, I’ll post it anyway for us non Americans/fans of baseball. Can’t imagine anything quite that funky playing at a premiership football match anytime soon.

Next up is a Latin track by Phirpo Y Sus Caribes. I can’t claim to know diddly squat about the Latin music scene but the album was posted in a recent music exchange and this particular track, Comencemos, is so damn good I couldn’t resist posting it. One of the catchiest horn and basslines I’ve heard in ages the track just rolls and rolls and rolls and would probably make me do things I would later regret on a dancefloor. Just noticed that this has been reissued as a 7″ on Soundway. Will be picking up shortly.

Wait what? More Latin? Yep, my knowledge may be lacking but picking out tracks like this is like shooting fish in a barrel. El Senor Sid by Bobby Paureto starts off in the most unassuming way before you get what is almost an amen breakbeat which sets the scene for the pure salsa fever that follows. The kind of track that makes me pity myself for not knowing more about the scene.

Next up, we’re entering Jazz territory with the stunning collaboration between Bobby Hutcherson and Harold Land, Goin’ Down South, off their San Francisco LP. Little more than a rolling hook the undeniable groove sets the scene for Land’s laid back accompaniment and Hutcherson’s insane soloing. I’ve loved this track for so long it almost feels a bit strange having to explain it. Just listen and judge for yourself but this absolutely does it for me.

Last up we have January V by Max Roach’s M’Boom. No bassline hook here, no face melting open break, just a sublimely beautiful piece of jazz which seems to drift across the senses slowing everything to a standstill for the three and a half minute duration. Featuring such names as Joe Chambers among the players this is truly music that sounds like it’s been touched by angels.

Kings Go Forth: One Day

From: The Outsiders Are Back [Luaka Bop, 2010]

Holy hell. This just dropped into my inbox and shook every single January cobweb out of my head. From the upcoming Kings Go Forth’s debut album, The Outsiders Are Back, this is an absolutely fantastic slice of soulful funk. Like something transported right out of my private mind garden the track has it all -  from the relentlessly driving rhythm section, to the horns, to the soaring vocals, to the breakdown, everything clicks. Excuse the gushing but this is something a bit special indeed.

Co-founded by Lotus Land record shop owner Andy Noble and veteran singer Black Wolf the album is also going to feature artwork by Ear Fuzz favourite Mingering Mike. Talk about ticking all the right boxes.

You can find out more about the artists and their release date here.

What a way to start the weekend.

Lou Ragland: Understand Each Other and The Next World

From: Is Conveyor [SMH, 1977]

So, been a while since I popped up with a music post but my fellow fuzzers? Fuzzists? have put up some sterling posts. Please do not sleep on the treasures on offer on the site, some stunning music in the last month alone.
On a positive note we now appear to be over the worst of the move from blogger to wordpress though drop me a line if you think something is still not right. One issue I am aware of is that the response/comment box link on the post is currently very small which I can only assume is the reason why people aren’t leaving comments left right and centre. Don’t be shy, mi casa es su casa and all that. Another plus point is that we’re now leaving songs up longer for you to get your mitts on because we’re that wonderful. Really, we are.

Anyway, on to the music and another shamefully hard to grab release, Lou Ragland Is Conveyor. An artist whose recording career started in the mid sixties, Ragland was already an old hand of the industry by the end of the decade, having been both a vice president of a record label (SARU Records) and a producer of the acts. Ragland then went on to form the first of his record labels and release his Hot Chocolate LP with the band of the same name. Not to be confused with the Errol Brown group of the same name, Ragland’s work was decidedly more funky.

Never stopping still Ragland then moved on and created a whole new label, SMH which is where he released the subject of today’s post, Is Conveyor. An album put together with the confidence and skill of someone who has earnt their place in the recording studio, it offers up a mixture of late seventies funk and smoother grooves which is just, for want of a better word, fantastic.

Understand Each Other starts off with a great descending guitar and organ line over drums before settling into six plus minutes of absolute top drawer soul music. The strangest thing about a track like this is that it’s so spot on, so polished, so obviously a classic of the genre that it boggles the mind to think that it’s rare as hell to get a hold off.

The Next World is more of that good shit. The funkier side of Ragland including organ stabs and semi psychedelic lyrics, it’s another great example of (a) what a talent this man has and (b) the absolute insanity that this hasn’t be reissued for the wider public’s consumption.

Don’t delay, listen today and respect the architect that is Ragland. Fantastic front cover too.

Willie Mitchell 1928-2010 Teddy Pendergrass 1950-2010

It seems I only pop up on here at the moment to mark the sad passing of another legend but while I had held off as long as possible I felt I had to post something to reflect the passing of both Willie Mitchell and Teddy Pendergrass.

Two extremely different artists, both men have soundtracked some of the most romantic and downright dirty moments of my life. This isn’t in anyway trying to cheapen their music, Teddy’s solo work was well versed on the art of seduction and heartbreak (that voice!) and Mitchell’s instantly recognisable sound was the perfect accompaniment to Green’s sexual growls and Peeble’s strident voice amog many others.

There’s been some great tributes to Mitchell on our blog list over the last week and I expect something similar for Pendergrass so I’ll leave you for now with a couple of youtube clips after the jump that sums up their talent. Back with some hopefully happier posts shortly.

Willie Mitchell

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Teddy Pendergrass

Click here to view the embedded video.

Click here to view the embedded video.

Anyone else psyched about the return of the lovely Sade? [new album drops: 2.8.2010]

Sade: Soldier of Love
From: Soldier of Love [Epic, 2010]

I’m a long-time fan, and, the new single doesn’t disappoint. It retains her patented smooth and adds some nice trip hop elements. Pure class. Aging gracefully. Hard to believe she’s 50!

On a semi-related note: I’d like to devote some Earfuzz time this year to exploring our favorite women on the mic. To narrow the focus a bit, I’m thinking MC’s: Da Brat. Missy. Trina. MC Lyte. MIA. etc.

Readers, any votes/suggestions? I’d really like to get into this a bit.

Continental IV: Day By Day (Every Minute Of The Hour) and Running Away (From Love)
Featured on: Dream World [Collectables, 1991]

Astute followers of the Fuzz may have picked up that I’m British and therefore more than mildly obsessed with the weather on any given day of the week. Because the summer season tends to last approximately 3 days I always rush to fit in as much sweet soul music as possible into the time frame before sadly packing it away again along with the shorts and my dreams.

This music for moods tradition makes it even more astonishing to me that I haven’t previously featured anything by the Continental IV. Sweet, soulful, and also very very good, I’ve been a big fan of them ever since I first got hipped by London Lee back in 2004.

Led by the haunting falsetto of Freddie Kelly and produced by Bobby Martin, the band seemed to have all the right ingredients and timing to hit the big league but, for whatever reason, it never quite came together for them. Despite obviously having depth to their sound, as far as I can tell they only ever released a number of 7″ singles in the early seventies and it’s from a compilation of these that I bring you the two tracks featured today.

Day By Day (Every Minute Of The Hour) was the group’s first single and a great example of why the band should have been so much bigger than they were. Strings, Kelly’s falsetto and perfect harmonies over the heartbreak lyrics just make this a gorgeous listening experience. It’s ironic that, for music that is so sweet, I find it really hits home when blared out as loud as you can get it.

As well as being further proof of the group’s preference for including further details in brackets (five out of the ten songs on offer here follows this trend), Running Away (From Love) is a fine fine fine example of sweet soul.
A song that manages to be both effortless and yet pushes all the right buttons, it features horns, beautiful falsetto vocals, a change up in tempo for the rousing chorus and even a switch to double time drumming leading to the big finale. The real deal, this is magnificent soul music.

Here’s hoping the hot weather continues so I can keep on playing these out for a few weeks yet. No excuses for why it’s taken me so long to feature them on them on the site, it won’t happen again.