THE TERRI GREEN PROJECT: ‘What A Feeling’ (Euro Musik)

Sunday, 01 September 2019 12:04 Bill B E-mailPrintPDF

altThe Terri Green Project is essentially sax man/keyboardist/producer/ writer and general all round good guy, Euro muso, Toddi Reed (real name Torsten Abrolat) and Washington born soul diva Terri Green. House anoraks will know Terri from her collaborative house hits that have dominated European dance charts over the last few years. Soul heads will know and love her from the two Terri Green Project singles ('Night To Remember' and 'Giving It Up') that have been omnipresent in various mixes this year.

Now the duo treats us to their first full album... 'What A Feeling', which was recently signalled by the single 'Dance Tonight' ... a big, big tune that is a kind of hybrid of Chic and Earth Wind and Fire. Indeed the mighty EWF are just one of many top soul and dance acts name checked in the song. In it Terri also bigs up Chaka Khan, The Spinners, The O'Jays, Teddy P, Kool and the Gang and many, many more. And therein lies the (yes, obvious) clue where Terri and Toddi are coming from. They want to bring back the good times and, boy, do they succeed! Alongside those three ab fab singles, the 13 tracker is stuffed with plenty more great dance tunes – songs brimming with optimism and an atmosphere that will just make you smile!

That's all obvious from the start with the mighty 'What A Feeling'. The album title track takes the Philly sound as its reference point and if you were told that Kenny and Leon were at the controls you wouldn't doubt it. The Philly flavour's there too on the pacey 'Fight No More' complete with Larry Gold style strings. 'Never Gonna Let' is another earworm. It actually reminds me of those pop/soul classics from Liverpool's The Real Thing... not a bad thing in my book!

With one exception, all the songs are originals. The cover is a new look at Burt Bacharach's 'The Look Of Love' and it really is a "new look". Like all good covers, Toddi and Terri don't try to replicate the well-known versions. Rather, like dear old Luther used to do, they recreate it. Here they start with shifting strings and later add melancholy cello courtesy of former London Philharmonic cellist Rebecca Carrington to enhance Terri's soulful rendition. Toddi's sax solo is mighty impressive too. The duo are clearly proud of the achievement because they include the song again right at the end in mix that features Rebecca's husband, Colin in duet with Terri. It's all very grown up and sexy, and indeed, that's how Toddi describes all the music he sets out to make with his Project. He's patently succeeded... 'What A Feeling' IS "grown up and sexy" and a lot more besides!

(BB) 5/5

Last Updated on Sunday, 01 September 2019 12:13


OLA ONABULE: Point Less (Rugged Ram Records)

Friday, 30 August 2019 18:29 Bill B E-mailPrintPDF

altBritish/Nigerian singer/songwriter OLA ONABULE has been making music professionally for two decades. He's performed at prestigious soul and jazz festivals worldwide, has filled theatres and clubs, entertained at numerous high profile private events (including the Beckhams wedding) and has recorded prolifically. Proper soul fans will know and love his classic tune, 'Soul Town' while his last long player – 2105's 'It's The Peace That Deafens' garnered plenty of critical acclaim and soul chart success.

Earlier this year we were told a new album was on its way and it was heralded by the single, 'I Knew Your Father'. The song turned out to be a complex, rhythmic affair telling of the aftermath of a young man fatally shot in the presence of his partner and their infant daughter, yes – not the stuff of your "normal" soul song. We knew from that track that the parent album , 'Point Less', was going to be an intriguing, challenging and , yes, difficult affair. It's just been released... and it's all of those things and more.

You see, 'Point Less' is – for better or worse, what used to be known as a concept album. Ola tells us that he sees the 14 tracker as his 'What's Going On'. On it he expresses his views on social injustice, violence, immigration, xenophobia, betrayal, dignity and much more.

So, as we've said, 'I Knew Your Father' deals with reactions to a domestic murder; that shooting is depicted in 'Ballad Of The Star Crossed' while 'The Old Story' is written from the point of view of a man who has just taken the life of another. Yes, he has the authority to do so but nonetheless the extent of his powers does not sit easy with him. More issues? 'Throwaway Notion' deals with immigration; 'And Yet' discusses our interaction with the marginalised; 'Conceive It' looks at a dystopian future. Issues? Yes, plenty to think about. Suffice to say the title track discusses the pointlessness of violence and many of the other explored topics.

Sonically these "stories" and "ruminations" are delivered in various styles – ranging from contemporary soul, through to jazz and on to Latin and Afrobeat. There is no one sonic template here – the variety heightened by occasional surprises, like the lovely harmonica intro on 'Pas Famille'. What brings the unity is Ola's remarkable voice... warm, tender and convincing.

We were promised am ambitious project and 'Point Less' is exactly that. We won't pretend that it's an easy listen; it isn't. The messages and the music are provocative and often disturbing. 'Point Less' will challenge your preconceptions of what soul music is actually all about.

(BB) 4/5

Last Updated on Friday, 30 August 2019 18:53


HAROLD MELVIN and the BLUE NOTES Be For Real (SoulMusic Records)

Monday, 26 August 2019 18:50 Bill B E-mailPrintPDF

altHarold Melvin and the Blue Notes were in the vanguard of the upward advance of the mighty Philadelphia International Empire. Fans, though, will know that the group has a history that begins long before Kenny Gamble and Leon Huff's ascendancy. Indeed they were formed way, way back in 1954 as the Charlemagnes then, after becoming the Blue Notes, they made their recording debut in 1956. Internal group disputes led to member Harold Melvin breaking away with his own "Blue Notes" as rivals to the remaining "Original Blue Notes". It was the Melvin-led combo though that enjoyed more success, recording for labels like Landa and TK whilst making a reasonably lucrative living on the cabaret circuit. Indeed it was at a supper club show that Gamble and Huff saw the band and decided to sign them to their fledgling PIR label. Soul myth has it that the duo was mightily impressed by the group's drummer/singer, Teddy Pendergrass. Philly histories tell us that Kenny and Leon always wanted to sign the Dells to work with the mighty Marvin Junior and in Pendergrass they thought they'd found the next best thing!

Whatever... Harold Melvin and the Blue Notes signed to PIR in 1972 and there and then started a remarkable run of success... four wonderful albums and a slew of hit singles and now that entire PIR repertoire has been brought together in this wonderful 3 CD box set from SoulMusic Records.

The collection begins with one of the greatest soul group albums of all time... the seven tracker that was originally issued as 'Harold Melvin and the Blue Notes' before being hastily renamed 'I Miss You' after the epic 8 minute plus opening track which became a smash hit. If you doubt the aforementioned Dells envy – take a real good listen to 'I Miss You' and though the LP's other big tune, 'If You Don't Know Me By Now', is often cited as the group's anthem, it's 'I Miss You' that remains the Blue Note's masterpiece. Never mind remembering where you were when Kennedy was assassinated (yes, I'm that old!) every proper soul fan can remember exactly where they where when they first heard 'I Miss You' – and it will still make those neck hairs stand on end!

After that, I suppose, everything else was bound to be something of an anti-climax but Harold and the boys (soon billed as "featuring Teddy Pendergrass") recorded plenty more classics – 'The Love I Lost', 'Satisfaction Guaranteed', 'Where Are All My Friends', 'Bad Luck' , 'Wake Up Everybody' and many more. They're all here – alongside plenty of magnificent LP tracks (listen up to  'Be For Real' – almost as good as 'I Miss You') and as bonuses, the third CD in this pack offers 6 "rarities" – their version of 'Everybody's Talkin' (from the 'Clean Up The Ghetto' album), two Tom Moulton mixes and three live recordings. One of them, I need to mention, is 'I Miss You' – this time around 11 epic minutes!

(BB) 4/5

Last Updated on Monday, 26 August 2019 20:02


1968 feat RASHEED ALI: The Other Side Of Town (Digital Rain Factory)

Thursday, 22 August 2019 10:53 Bill B E-mailPrintPDF

altRasheed Ali (and his 1968 "band" – more of that later) is a New York based musician who, over the last few years, has issued a provocative and challenging trilogy of long players – all carrying powerful messages in the music. First we had '1968 Soul Power' - an exploration of issues that affected Afro-Americans in the late 60s/early 70s; then there was '1968: Black Power' on which the themes were more personal – roots, heritage and expanding your visions. The third instalment was '1968: Love Power'. Here the messages were even more personal with many of the songs highlighting the role of the women in Rasheed's life – especially his mother. The three albums were delivered with the style and sounds of late 60 soul – think James Brown, Norman Whitfield, Curtis Mayfield, Sly Stone et al.

Now the whole "concept" is back with 'The Other Side Of Town' – a 15 tracker that you'd think makes the "trilogy" a "quartet". Not so! Rasheed tells us that 'The Other Side Of Town' is the first episode in a new trilogy which he calls his "LSD" trilogy – "Love. soul and devotion" and sonically it's a little different to the three ground breakers. Rasheed's musical time machine still takes us back to the late 60s but the overall music template is looser, more percussive (lashings of Afrobeat) and even more funky. For instance try the rhythmic 'I'm Not Your Whipping Boy' – hints of War's 'Low Rider'; or the equally percussive 'I'm Comin' (interesting use of marimbas?) with late career Marvin Gaye style layered harmonies and "distant" Norman Whitfield horns.

The messages in all this music, though, are just as potent and challenging. Take for instance, 'A Badge And A Gun'. This sombre cut (previously available as a single) is Rasheed's response to the violence against Afro–Americans citizens by trigger-happy US police. The jazzy 'Stop The World' looks at the Earth from space and asks what have we created. Other cuts proffer subtle digs at Donald Trump but Mr A is clear that the man with the comb over isn't the only problem. Maybe we're all part of it. The downbeat 'Be A Man' asks us all to stand up and take a stand echoing Martin Luther King Junior's famous , "Our lives begin to end the day we become silent about things that matter. In the end, we will remember not the words of our enemies, but the silence of our friends". Dip in anywhere, though, and be challenged and maybe disturbed too.

1968 feat Rasheed Ali will be back soon with volume 2 of this new trilogy – a love album, we're told. And as for the band "1968 feat Rasheed Ali", well Rasheed plays all the instruments himself – the only "extra" is his nephew Emile Martinez on trumpet. He is, however, keen on the "band" concept... complicated, yes and every bit as complex and intriguing as his music.

(BB) 4/5

Last Updated on Thursday, 22 August 2019 11:05


IKEBE SHAKEDOWN: Kings Left Behind (Colemine)

Friday, 16 August 2019 16:11 Bill B E-mailPrintPDF

altIkebe Shakedown is a seven piece instrumental combo that came together in Brooklyn in 2008. They named themselves after a classic Nigerian long player and describe their music as "afro-soul". They debuted in 2009 with the EP 'Hard Steppin' which was followed by a full eponymous LP. Two more albums offering their signature brass-filled sound got Ikebe Shakedown work with people like Sharon Jones and Charles Bradley. And therein is another clue to the outfit's sound – they peddle that now very fashionable, tough and rough, retro brassy soul – though in their case they throw in Afro flavours, a touch of the cinematic and an undercurrent of psychedelic.

Hear all those signature flavours on this set's opener... 'Not Another Drop'. Funky, Afro percussion, psychedelic guitar and riffing brass – it's all in the mix. The album's title track offers more of the same – to recommend it I'd say it reminds me more of the classic Stax sound than that of Daptone. More big, old school flavours on 'Unqualified' - a big, big tune with a real catchy brass figure, authentic Hammond and stomping Northern soul beats. It also boasts that rough, unpolished 60s indie soul sound. I'll wager if you played this one out at a Northern soul event and claimed it as a long lost backing track from a label like Mirwood, Loma or Shrine none of the brothers (or sisters) would bat an eyelid... they'd just get on with the back flips!

Throw in a couple of more melancholic cuts – 'The Witness' for instance – and you have an intriguing, imaginative collection. In truth, 'Kings Left Behind' is never going to set the soul world alight – but if you like your sounds rough hewn and authentic, you could do worse than investigate!

(BB) 3/5

Last Updated on Friday, 16 August 2019 16:18


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