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The Reflections-Shes My Summer Breeze (1975) Biography SoulwalkingUK: The Reflections were: Herman Edwards, Josh Pridgen, Edmund 'Butch' Simmons and John Simmons They were a New York City vocal group formed in 1971. They also served as Melba Moore's background vocalists during a 1972 tour. In 1971, Melba was preparing for a tour and required some singers for a Gospel section of her act. What began as a two and a half week run, developed into a three and a half year tour. They recorded for Capitol in the mid-'70's, and made one chart number, 'Three Steps from True Love,' in 1975. It was their lone Top Ten R & B hit. The track was taken from their album 'Love On Delivery', which was produced by J.R.Bailey. The Executive Producer was Larkin Arnold. Also contained, on that album, is the track 'She's My Summer Breeze', popular on the UK rare groove scene. Tags: r&b soul pop melba moore capitol records

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The Main Ingredient-Happiness Is Just Around the Bend (1974) Review by Andrew Hamilton While nothing soared as high as "Everybody Plays a Fool" from the Bitter Sweet LP, Euphrates River is tighter and has more zap than the previous year's beautiful but hitless Afrodisiac. They nailed Seals & Croft's "Summer Breeze" — the New Yorkers almost surpassed the Isley Brothers' soulful version. Cuba Gooding sings the upbeat and funky "California My Way" from the heart (the soul singer moved his family to L.A. — the only Main Ingredient to do so). The trio gives Stevie Wonder's "Don't You Worry About a Thing" all they can muster; this is an excellent rendition that should have done better on the charts. Their version of "Just Don't Want to Be Lonely" helped sell this LP; it was previously done by Blue Magic and Ronnie Dyson, but the Main Ingredient's version reigns supreme. Rolling, midtempo beaters make up the bulk of the tunes with "Euphrates" and "Happiness Is Just Around the Bend" as prime examples. Tags: r&b soul pop cuba gooding Sr. Euphrates

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The New Birth--Got to Get a Knutt (1973) Review by Craig Lytle Under the banner The New Birth, from which they would later drop "the", this was the first album from the self-contained band; they came charging out of the starting gate with the gritty track "I Can Understand It." With vocals comparable to Bobby Womack, who also penned the number for himself, Leslie Wilson stepped into the lyric with total conviction. His vibrancy is augmented by a funky backing track, primarily a rumbling bass and soulful backing vocals. The single peaked at number four on the Billboard R&B charts after 12 weeks. The follow-up release was "Until It's Time for You to Go." Far from its predecessor, its arrangement is geared more toward a crossover audience, as it was previously a #40 hit for Elvis Presley in 1972. It peaked at #21 inside of ten weeks on the R&B charts for the New Birth. Nothing else made any chart noise from this album, but that does not represent the quality of this project. "Got to Get a Knutt" has a rather racy title, and rightly so. But the song takes on different themes within its mostly musical journey, including animated remarks taken from commercial jingles, riddles and the like. In addition to the urban-flavored "Theme from Buck & the Preacher" included on this album, the group gives its own rendition of the classic "Stop, Look, Listen (To Your Heart)," which does not live up to the original by the Stylistics and is the only marginal track. Tags: r&b pop soul funk harvey fugua leslie wilson tony chyrchill melvin

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Betty Harris-Ride Your Pony (1969) Biography-- by Jason Ankeny Renowned in deep soul circles for the devastating ballad "Cry to Me," singer Betty Harris was born in Orlando, FL, in 1941 and raised primarily in Alabama. The child of preachers, her deep church roots conflicted with her desire to sing secular soul music, and at 17 she left home to pursue a performing career, briefly apprenticing under R&B star Big Maybelle before eventually landing in California, cutting the 1960 single "Taking Care of Business" for the Douglas label. Record promoter Babe Chivian recommended that Harris relocate to New York City, promising her an audition with Brill Building producer and songwriter Bert Berns — there she performed a slow, gospel-inspired rendition of "Cry to Me," an uptempo Berns-produced hit for Chivian's client Solomon Burke. Berns immediately dispatched Harris to the recording studio, and in just three takes she wrapped "Cry to Me," issued on Jubilee in 1963 — after the record became a New York radio smash, it broke nationally, cracking the R&B Top Ten and the pop Top 40 in the process of surpassing Burke's original. Soon Harris headlined the legendary Apollo Theater, mounting a national tour after recording her Jubilee follow-up, "His Kiss" — the single stiffed, however, and when "Mo Jo Hannah" met a similar fate, Berns opted to cut his losses. During a 1965 tour, Harris met New Orleans composer and producer Allen Toussaint, and with the superbly slinky "I'm Evil Tonight" became the first artist to record for his fledgling Sansu label. With Toussaint at the helm, the bluesy balladry of Harris' Jubilee sides gave way to a funky, sensual dynamic that heralded a new era of New Orleans R&B. The 1966 ballad "Sometime" was backed by the brilliant "I Don't Want to Hear It," Toussaint's edgiest and most aggressive production to date. The subsequent "12 Red Roses" further refined the approach, and with 1967's "Nearer to You" Harris finally returned to the R&B Top 20, delivering another sublimely emotional performance. "Love Lots of Lovin'," a duet with fellow Toussaint charge Lee Dorsey, closed out the year — Harris planned to support the record on tour with Otis Redding, but on December 10, the soul giant lost his life in a plane crash. Harris forged on, with 1968's "Mean Man" delivering her grittiest effort to date; backed by a session group that would soon evolve into the Meters, she then ended her Sansu tenure with the fierce "Trouble with My Lover," reuniting with Toussaint for one final collaboration, the 1969 funk cult classic "There's a Break in the Road" (licensed to the SSS International label). With her career at an impasse, Harris abruptly retired from performing in 1970. From there her legend grew, and rumors spread that she served as James Carr's road manager and even drove a tractor-trailer to make ends meet. In reality, Harris simply focused on raising her family, and while she shunned the music industry she continued singing in her church choir — after settling in Hartford, CT, in 1997, she even began offering vocal lessons. Still, Harris remained oblivious to the growing awe afforded her '60s output by soul aficionados, respect generated largely by the U.K. release of the Soul Perfection Plus retrospective. Then in 2001, her daughter found several Betty Harris fan sites on the Web, prompting the singer to join a soul mailing list to an nounce her present whereabouts — her re-emergence caused a stir in deep soul circles, and soon Boston-based guitarist and producer Chris Stovall Brown offered to helm Harris' first recording session in 35 years. On April 17, 2005, she also headlined her first live appearance in over three decades, performing at a benefit for her daughter's Hartford alma mater; weeks later, Harris also performed at New Orleans' annual Ponderosa Stomp. In 2007 she released what was, amazingly, her first real studio album, the Jon Tiven-produced Intuition. Tags: r&b soul Jubilee records Allen Toussaint

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Sheree Brown--It's A Pleasure (1981) Los Angeles-based Sheree recorded two albums, in the early Eighties, both for the Capitol imprint. 'Straight Ahead' was released in 1981 and included the songs 'You'll Be Dancing All Night' and 'It's A Pleasure'. 'The Music' followed in 1982 and included 'Happy Music', 'Got To Get Away' and 'On My Way Home' (featuring Stevie Wonder on harmonica). Both albums were showcases for her songwriting abilities, with 'It's A Pleasure' recognized as her finest moment, and later re-recorded by Frances Nero. She has also worked closely with long time friend Patrice Rushen (co-writing both 'Haven't You Heard' in 1979 and 'Watch Out' in 1986). Sheree has also been a backing singer with Fire Fox and Marilyn Scott. Her Capitol albums featured the artists Patrice Rushen, Syreeta, Paulinho Da Costa, Steve Khan, Larry Williams, Stevie Wonder, Paul Jackson Jnr and Abraham Laboriel. Through the nineties Sheree Brown continued to work and is considered as being one of the finest session musicians within the industry. Sheree co-wrote (with Patrice Rushen and Naughty By Nature) the 1994 gold-selling single, 'Groove Thang', performed by Zhané on their album of the same name. She also co-wrote 'Not Just One In A Million' and 'Closer To You' with Patrice Rushen, both songs taken from the 'Hollywood Shuffle' film soundtrack. In the year 2001, Sheree and Patrice Rushen began work alongside some young, new musicians calling themselves SBPR (Sisters Being Positively Real a.k.a. Sheree Brown Patrice Rushen). The project was entitled 'Beautiful Woman, The Album'. The album came out on Sheree's own Brown Baby Entertainment Group Records. Sheree has performed a One-Woman USO Tour in Germany, Egypt, Israel and Italy, as well as performances at Hollywood's famed House of Blues, The Conga Room and Santa Monica Civic Auditorium. She has sung background vocals on albums by Patrice Rushen and Syreeta Wright, and on soundtrack albums for the films 'Congo' and 'The Air Up There'. She has also hosted the House of Blues popular weekly 'Gospel Brunch'. In the wake of the September 11th tragedy of 2001, Sheree produced a music video for the SBPR song, 'Wish I Could Fly Away', for the Police Activities League (PAL), to honour those officers who lost their lives during that disaster She is also a music educator at the elementary school level (1st through 5 th grade), along with her current work teaching songwriting and choral performance to sixth through tenth grade students at Community Harvest Charter School in Los Angeles, California. Sheree has also collaborated with her husband, minister and educator, Douglass Johnson, Sr., and artist Pixote Hunt, in co-writing the children's book series, 'Zhakanaka', and the accompanying music CD. The first book of the series, titled 'Zhakanaka-The Word', was released in February 2004. A new solo project entitled '83 was released in 2004, along with the re-issue of the SBPR set from 2001. The album containing new bonus tracks. Tags: jazz soul patrice rushen Marilyn Scott Capitol records SBPR (Sisters Being Positively Real)

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Alphonse Mouzon-- Sunflower (aka Sunshower) (1972) Biography by Greg Prato Several different drummers helped put jazz fusion on the map in the '70s. The one who seems to get most of the credit is Billy Cobham, but others, such as Alphonse Mouzon, contributed quite a bit to the cause as well. Born on November 21, 1948, in Charleston, SC, Mouzon got serious with his drumming in high school, where he studied with both a saxophonist and a drummer. Relocating to New York City in the late '60s to attend college, Mouzon had a hard time deciding between a career in music, drama, or medicine. Music wound up getting the nod by the dawn of the '70s, when Mouzon served as a session drummer on recordings by Tim Hardin (Bird on a Wire), Gil Evans (Gil Evans), Weather Report (Weather Report), Norman Connors (Dance of Magic), John Klemmer (Magic and Movement), and Teruo Nakamura (Unicorn). Mouzon also began issuing solo albums around this time, including such early releases as 1972's The Essence of Mystery and 1973's Funky Snakefoot. But Mouzon decided to take a momentary break from session work to concentrate on being a full-time member of Larry Coryell's Eleventh House, with whom he appeared on several releases with from 1974 through 1975 (Introducing Larry Coryell & the Eleventh House, At Montreux, Level One, etc.). Throughout it all though, Mouzon never stopped issuing solo albums on a regular basis, including arguably his finest solo release, 1974's Mind Transplant, which would have undoubtedly garnered more attention if it wasn't issued so close to Cobham's 1973 classic Spectrum. Mouzon has also collaborated with others from time to time (such as the release Trilogue Live!, credited to Albert Mangelsdorff, Jaco Pastorius, and Mouzon) as well as teamed up from time to time with his old friend Coryell (1977's Back Together Again and also a full Eleventh House reunion during the late '90s). Mouzon isn't limited to just fusion however, as he's proven his versatility by either recording with or performing alongside the likes of Stevie Wonder, Eric Clapton, Jeff Beck, Carlos Santana, Patrick Moraz, Tommy Bolin, and Chubby Checker. Additionally, Mouzon has returned sporadically to his other love, acting, including a part alongside Tom Hanks in the 1996 film, That Thing You Do!, and also serves as chairman/CEO for his own record label, Tenacious Records. Mouzon continues to issue albums, and also tours Europe and the U.S. on a regular basis — leading his own trio, quartet, or quintet. Tags: jazz drummer jazzfusion alphonse mouzon

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Zingara---Love's Calling (1980) Motown alumnus Lamont Dozier produced Zingara's R&B ballad single "Love's Calling," which featured lead vocals by James Ingram. The Los Angeles-based quartet included guitarist/singer Wali Ali, violinist Karen Coleman, drummer Minor Williams, and bassist Rick Jones (who also played on Carl Carlton's 1981 gold LP Carl Carlton, which listed the million-selling single "She's a Bad Mama Jama"). Released on the independently distributed Wheel label, "Love's Calling" went to number 29 on the R&B chart in late 1980. Dozier produced the group's self-titled LP, which was issued in June 1981. ~ Ed Hogan, All Music GuideJames Ingram (Vocals), Lady Bianca (Musician), Quintin Denard (Musician), Lamont Dozier (Producer), Lamont Dozier (Vocal Arrangement), Lamont Dozier (Rhythm Arrangements), Lamont Dozier (Musician), Reginald Dozier (Engineer), Reginald Dozier (Mixing), Nathan East (Musician), Clydene Jackson (Musician), Bruce Miller (Musician), Anthony Patler (Rhythm Arrangements), Anthony Patler (Musician), Hense Powell (Musician), Wali Ali (Guitar), Wali Ali (Vocals), Karen Coleman (Percussion), Karen Coleman (Keyboards), Karen Coleman (Vocals), Karen Coleman (Electric Violin), Minor Williams (Drums), Minor Williams (Vocals), Zingara (Main Performer), Aubrey Powell (Cover Design), Chris Wells (Liner Notes), Chris (Mastering) Tags: r&b soul pop james ingram lamont dozier

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The Fascinations-I Can't Stay Away From You (1967) Biography by Bruce Eder The Fascinations were a girl group with a dazzling family tree, a distinctive sound, and a hook-up with one of the great artist-producers of the 1960s — yet, in one of the great mysteries of the soul music boom of the mid-decade, they never made it in America, but sold lots of records in England. Detroit in the late '50s was a city seething with musical activity — Robert West's LuPine label, Berry Gordy's embryonic Motown, and the immensely successful VeeJay label were just the tip of a pop culture iceberg. One of the groups trying to get a foothold on success in those days was an all-girl outfit called the Sabre-ettes, who were in the market for some new members. Two co-founders, Shirley Walker and Martha Reeves, were doing the auditions, and they brought gospel singers Joanne and Bernadine Boswell into the line-up, which quickly expanded by one more slot with the addition of Fern Bledsoe. The resulting quintet was rechristened the Fascinations. Martha Reeves left the group in 1960 for her own path to stardom, and the Fascinations were permanently a quartet. Two years later, they made the acquaintance of Fred Cash and Sam Gooden, two members of the Impressions. They, in turn, introduced the Fascinations to Curtis Mayfield, who got the group signed to ABC-Paramount, where they released a trio of singles (written and/or produced by Mayfield) over the next year that failed to sell in significant numbers. ABC-Paramount lost interes t in the Fascinations, but Mayfield never did-his success in 1966 with the Windy C label enabled him to start the Mayfield label, and to sign the Fascinations. The group's first Mayfield release, "Say It Isn't So," only got to number 47 on the R&B charts, but their second, "Girls Are out to Get You," did crack the lower reaches of the pop charts, while ascending to number 13 as an R&B hit. It also became the group's first release in England, on EMI's Stateside label (ironically, also the company's outlet for Motown). The quartet never scored very high in America, despite a switch to ballads, with which they were far more comfortable — it seemed as though they were never there with the right song at the right time. By 1969, they'd decided to call it quits as far as recording, and their history on vinyl came to an end. The irony was that, in England, their records continued to sell. "Girls Are out to Get You" became immensely popular in British dance clubs, and was reissued by the Sue Records label, for which it sold steadily. In 1971, the song charted in the UK when it was reissued yet again, this time on the Mojo imprint of British Polydor — the number 32 placement, with heavy airplay, even led to a reunion and a British tour by the quartet — it was a brief, welcomed moment in the spotlight, before thousands of adoring fans from one corner of the globe, even if it wasn't their20corner, and made the nine or ten years of work seem sweeter. Unfortunately, Mojo's efforts to coax similar sales out of their other Mayfield releases came to nothing, and the members soon returned to their post-career activities. The Fascinations weren't much more than an odd footnote in the history of Detroit-based R&B, in terms of their sales impact and their early history as Martha Reeves' first group. They never recorded steadily or successfully enough to justify an album release during the time they were together, but they turned in some delightful and intensely passionate (and playful, in the case of "Girls Are out to Get You") soul performances. They deserved (and, for a moment in England, got) the kind of recognition and treatment that seemed to come easily to a lot of Motown-signed girl groups of the period. Tags: r&b soul pop curtis mayfield martha reeves

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Rick Braun--Fat Jack & Domino (1994) Review by Steven McDonald This good-natured release is a very enjoyable compilation of funk-inflected light jazz that fits Rick Braun's trumpet and flugelhorn around some excellent guitar playing (with lots of wah-wahs on show), steady bass and drums, and supportive keyboards (Braun also contributes the keyboard beds, but this aspect of his production tends not to be showy). Braun and his assorted players (who include Boney James, Jeff Golub and Peter White) have crafted some entertaining melodies that are often built on swaying, sneaky rhythms — "Cadillac Slim" for one, and the devious "Papa Dee" for another. Braun's liner notes mention War (the band) more than once, and you can certainly pick up that influence this time around. In terms of approach, Braun kept things loose and improvisational for the recording — no charts, no formalities, just a few ideas and a collaborative impulse that's paid off in the way the album flows together. Nice warm work that sneaks in under the guards. Tags: jazz Boney James Jeff Golub Peter White rick braun

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Gene Harris--Theme for Relana (1976) Biography by Scott Yanow One of the most accessible of all jazz pianists, Gene Harris' soulful style (influenced by Oscar Peterson and containing the blues-iness of a Junior Mance) was immediately likable and predictably excellent. After playing in an Army band (1951-1954), he formed a trio with bassist Andy Simpkins and drummer Bill Dowdy which was, by 1956, known as the Three Sounds. The group was quite popular, and recorded regularly during 1956-1970 for Blue Note and Verve. Although the personnel changed and the music became more R&B-oriented in the early '70s, Harris retained the Three Sounds name for his later Blue Note sets. He retired to Boise, ID, in 1977, and was largely forgotten when Ray Brown persuaded him to return to the spotlight in the early '80s. Harris worked for a time with the Ray Brown Trio and led his own quartets in the years to follow, recording regularly for Concord and heading the Phillip Morris Superband on a few tours; 1998's Tribute to Count Basie even earned a Grammy nomination. While awaiting a kidney transplant, he died on January 16, 2000, at the age of 66. Tags: jazz gene harris three sounds phillip bailet lee ritenour

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Stratavarious--NIghtfall (1977) Biography from Dusty Grooves: A great album of jazzy club tracks -- put together by John Usry Jr, who'd done some work with other 70s club acts like Three Degrees, Love Committee, and First Choice. Most of the tracks on the record feature female backing vocals -- in the style of work by those other groups -- but the real standout aspect is a jazzy harp, played in a manner that makes us think of Dorothy Ashby going disco. The best cut on the album is the 8 minute "Nightfall", which has some great trumpet work by Guido Basso -- and other nice moments include the mellow "Touching", and the cuts "I Got Your Love" and "Love Me", which both have some nice guitar. Recorded in Canada, and very typical of that baroque Canadian approach to disco. Tags: jazz Stratavarious john usry capitol records Guido Basso

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Mutiny-Peanut Butter & Jam (Funky Thang) (1983) Biography by Steve Huey George Clinton's funk empire was not without its disagreements over money and control, and drummer Jerome "Bigfoot" Brailey's Mutiny project was a direct result of just such a disagreement, as well as one of the more notable offshoots of the P-Funk axis. Brailey had come to P-Funk from gigs with the Five Stairsteps and the Chambers Brothers, joining in 1975 and playing on classic albums like Mothership Connection and One Nation Under a Groove. In 1977, he and guitarist Glen Goins abruptly left P-Funk after a dispute over money; Goins re-formed his previous group, Quazar, and invited Brailey to help out. Unfortunately, Goins passed away while the group was recording its debut album, and after it was completed and released in 1978, Brailey concentrated on his own group, Mutiny. Besides Brailey on drums and, usually, lead vocals, Mutiny also featured guitarists Lenny Holmes and Skitch Lovett, bassist Raymond "Bro" Carter, keyboardist Nat Lee, onetime P-Funk saxophonist Darryl Dixon, and hornmen Melvin El and Marvin Daniels (attempts to lure other P-Funk sidemen, especially Bernie Wor rell, were unsuccessful). Mutiny's debut album, Mutiny on the Mamaship, was released by CBS in 1979 and featured several pointed satires of Clinton, even as the music mostly replicated his style (though it did so quite effectively). After a bit of personnel turnover, Funk Plus the One followed in 1980, but failed to provide a commercial breakthrough, and Mutiny found itself without a contract not long after. Brailey formed his own J. Romeo imprint and recorded a mostly instrumental album, Black Hat Daddy & the Silver Comb Gang, but scrapped it in favor of A Night Out With the Boys, another mostly instrumental effort released in 1983. Brailey subsequently became a session drummer, working with the likes of Keith Richards, Buddy Miles, Herbie Hancock, and Buckethead. He move d back home to Richmond, VA, in 1990, and in 1993, he briefly rejoined Clinton's P-Funk All-Stars for a tour. Brailey next formed a new version of Mutiny and issued the comeback album Aftershock 2005 in 1995 (the U.S. release was on Rykodisc). In 1999, Brailey finally released the Black Hat Daddy album on his own Rome Dog label. Tags: r&b funk jerome bigfoot brailey george clinton parliament funkadelic pfunk

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Avenue Blue/Jeff Golub--Funky Is as Funky Does (1994) Biography-- John Bush Rooted in jazz, blues, and rock, guitarist Jeff Golub spent time with Rod Stewart and other stars before his first solo album, 1988's Unspoken Words. He formed Avenue Blue a few years later to explore the softer side of blues and jazz. Tags: jazz funkyjazz avenue blue jeff golub

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Dayton--Cutie Pie (1981) Dayton was a funk band formed in Dayton, Ohio, USA by Chris Jones (trumpet/keyboards/vocals) of the band Sun and Shawn Sandridge (guitar/vocals) from Over Night Low. Derrick Armstrong (vocals), Kevin Hurt (drums/percussion), Jennifer Matthews (vocals) and Rachel Beavers (vocals) completed the line up. Former Sun member Dean Hummons played the keyboards on the first two Dayton alThe group signed to Liberty Records in 1980 and soon released their self-titled debut album which included the memorable track Eyes On You. Dayton was highly respected and also toured with such musicians as Ashford & Simpson, Quincy Jones and Stephanie Mills. They recorded a second Liberty album, Cutie Pi e, in 1981. Guest musicians included James "Diamond" Williams , Keith Harrison , Clarence "Chet" Willis , Billy Beck, Wes Boatman , and Vincent Andrews. Dayton introduced Rahni Harris as vocalist/keyboard player on their third album Feel The Music in 1982 which included the dancefloor classic The Sound Of Music. The song Love You Anyway was produced by Zapps Roger Troutman. Rahni did most of the songwriting and production chores. The group switched to Capitol Records in 1983 and delivered the album Hot Fun . This record included "Krackity-Krack" with a guest appearance by Bootsy Collins and their hit remake of Sly Stone's "Hot Fun in the Summertime." They released their last album This Time in 1985, also produced by Rahni Harris. It didnt match to their previous efforts and effectively marked the end of Dayton. Tags: r&b soul funk sun roger troutman bootsy collins capitol records

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Sun--Slamm Dunk The Funk (1982) Biography by Ron Wynn Another of the many Dayton funk bands that emerged in the '70s, Sun didn't enjoy as much success as their counterparts. The band recorded prolifically for Capitol from 1976 to 1984, but just couldn't score a major hit. The closest they came was "Sun Is Here," which made it to number 18 on the R&B charts in 1978. This is a piece of tasty funk from the group... Tags: r&b soul funk sun dayton midwest capitol records

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George Clinton--Cool Joe (1986) Review by Alex Henderson A definite improvement over the uneven Some of My Best Jokes Are Friends, the considerably more focused and confident R&B Skeletons in the Closet is one of George Clinton's strongest solo efforts. The P-Funkster continues using technology extensively, but this time, his blend of technology and "real instruments" sounds much more natural. Though not quite in a class with Parliament classics like Mothership Connection or Funkentelechy Vs. the Placebo Syndrome or Funkadelic treasures ranging from Cosmic Slop to Uncle Jam Wants You, Skeletons is a superb collection that's well worth acquiring. The CD kicks into high gear with the wildly infectious "Hey Good Lookin'" and maintains that high level of excitement on such driving, sweaty funk treasures as "Do Fries Go With That Shake?" and the appropriately title d "Intense" and the title song. Clinton's eccentricity and outrageous sense of humor serve him well on "Electric Pygmies" and "Mix-Master Suite," an unorthodox, quirky, and cinematic ode to hip-hop drawing on everything from jazz to classical music to Western movies. Many of Clinton's longtime associates are on hand to help make this album the artistic success it is, including saxman Maceo Parker, trombonist Fred Wesley, and the ever-amusing Bootsy Collins. by Alex Henderson George Clinton's solo output of the 1980s and 1990s wasn't as consistent as his work with Parliament/Funkadelic in the 1970s — nonetheless, the P-Funk innovator has had his share of inspired moments as a solo artist, and some of his best solo recordings are united on this collection. Released in 2000, Greatest Hits spans 1976-1986 and draws on such solo albums as Computer Games, You Shouldn't-Nuf Bit Fish, Some of My Best Jokes Are Friends, and R&B Skeletons in the Closet. The oldest recording is the bonus track, a live Parliament/Funkadelic medley of "Let's Take It to the Stage" and "Do That Stuff" from a 1976 Houston show; most of the selections, however, come from Clinton's Capitol solo albums of 1982-1986. Not surprisingly, the CD opens with "Atomic Dog," Clinton's best-known and most essential solo hit. And The Right Stuff's other choices are also wise ones, including "Do Fries Go With That Shake?," "Cool Joe," "Loopzilla," "Hey Good Lookin'," and the quirky rap item "Nubian Nut." Greatest Hits isn't the last word on George Clinton's solo career, but if you need a concise introduction to the funkmeister's Capitol efforts of the 1980s, it's the logical place to go Tags: r&b soul rock alternative funk parliament funkadelic

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Allison Crockett-When I Think Of You (2004) I love her cover of Janet Jackson's classic! From her cd "On Becoming A Woman" Biography by Chris Rizik: Pianist/vocalist Alison Crockett has spent much of the last decade working with a number of progressive soul and jazz artists such as Us3 and King Britt (of Digible Planets). Her professional career began after receiving her masters degree at the Manhattan School of Music, with her performing regularly at clubs in Philadelphia, D.C. and New York. She hooked up with King Britt in Philadelphia and sang on the underground hit "Season's Change" for Ovum/Sony Music. This led to an invitation to serve as the lead singer for the influential UK acid-jazz group Us3, with whom she cut the 1994 hit "Get Out." Crockett continued to write and perform on the side during her period with Us3, and cut an EP in 2001 under the name Diva Blue. It took two more years before she would begin to work on her first full album, 2004's On Becoming A Woman. On Becoming A Woman is a nice showcase of Alison Crockett's talents, and moves seamlessly from 70s grooves to smooth jazz to neo soul. Tags: hip-hop soul pop r&b alternative neosoul nusoul king britt US3

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Ann Peebles -Im Gonna Tear Your Playhouse Down (1974) If Al Green was the King of Hi, then Ann Peebles was the undoubted Queen. Hailing from East St. Louis, Ann was discovered singing in Memphis's Rosewood Club by George Miller, a close friend of the legendary Willie Mitchell. Married to Hi label mate Don Bryant, Ann's "Playhouse" has all the famous Hi trademarks. Here, you'll hear that true soul and passion doesn't need histrionics. Less is more and you're in no doubt that Ms. P will win out in the end. Maybe you won't be surprised that after her time with Mitchell and Hi Ms. Peebles turned to gospel work. Tags: r&b soul pop funk hi-fi willie mitchell al green ann peebles

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The Jimmy Castor Bunch-It's Just Begun (1972) Biography: In the late 1950s, he worked with the doo-wop group Frankie Lymon and the Teenagers. As leader of The Jimmy Castor Bunch in the 1970s, and also as a solo artist, he has released several successful albums and singles. The group reached the peak of their commercial success in 1972 with the release of their album, It's Just Begun, which featured two hit singles: the title track and "Troglodyte (Cave Man)," which was a large hit in the U.S., peaking at #6. Many of the group's tunes have been heavily sampled in films and in hip-hop. In particular, the saxophone hook and groove from "It's Just Begun" and the spoken word intro and groove from "Troglodyte" (namely, "What we're gonna do right now is go back...") have been sampled extensively. Tags: r&b soul funk sampled music Troglodyte (Cave Man

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Brenda Jones & Richard "Groove" Holmes-This Is the Me Me Full title: This Is the Me Me (Not the You You). Seriously funky old school duet!! Tags: r&b soul funk duets brenda jones jazz

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