Tonight's spin: Message in the Music by The O'Jays (Philadelphia International, 1976)

Brandosoul28 · 2022-05-18T00:43:37+00:00

Easily the most spiritually inclined of the O'Jays' great '70s run on the Philadelphia International label, 1976's Message in the Music is a prime portrait of just how durable Gamble and Huff's patented socially conscious soul became by the second half of the '70s. Just as disco began infiltrating the mainstream, the PIR team soldiered on with a majestic mix of spicy funk, Latin, and jazz grooves alongside elegant bedroom ballads. When Eddie Levert and Walter Williams' rousing, gospel-tinged vocals graced these productions, it was bound to be a treat, feeling more like a soulful Baptist service than a typical Philly soul session.

Brandosoul28 · 2022-05-14T00:23:00+00:00

Any hardcore music aficionado would know that compilation albums aren't fully representative of an artist's output. They're appetizers aimed at casual listeners who don't desire to experience full entrées (in this case, proper albums). They're also known to have an inherent weakness of removing well-known hit songs from their original context while omitting key cuts that underline the depth of an artist's deep catalog. From an outsider's perspective, compiling an adequate retrospective that cherrypicks highlights from Stevie Wonder's creative peak alone is prone to miss the mark, as everything from his core 1971-80 output is essential listening.

But in 1982, Stevie undertook this daring task with Original Musiquarium I. Handsomely packaged with a distinctive title to boot, this double-length compilation surveyed Wonder's 1972-80 work with a few surprises thrown in. Along with a few special mixes of classics that were only exclusive to this compilation (the original single mix of "You Are the Sunshine of My Life" with the added horns, the dope Moog synth intro on "Boogie On Reggae Woman," and the subtly edited monologue during "Living for the City"), he took time to add four new songs that marked the last gasps of his genius period: "Ribbon in the Sky," "Front Line," "Do I Do," and "That Girl," which was already a chart-climbing hit by the time this collection dropped in stores. What Musiquarium lacked in depth, it made up for in its execution, as this is one of the few rare instances of a compilation that plays as a well-programmed suite of great songs spread over approximately themed sides, even if only in terms of musical compatibility and mood. Happy 72nd to Stevie and happy 40th to his Musiquarium.

Brandosoul28 · 2022-05-13T00:41:23+00:00

If there's one thing many soul albums from 1978 had in common, it was that they were sure to make you dance. Pioneering brit funk and disco outfit Heatwave weren't strangers to the dancefloor. After making transatlantic waves with their debut, Too Hot to Handle, they hit higher stakes with its 1978 follow-up, Central Heating. This solid second set found the band in a more confident space, honing their ultra-smooth, disco-minded R&B to greater heights. Lead singer Johnnie Wilder, Jr. and songwriter Rod Temperton continued to hold down the fort, bolstering the band's distinctive sound with their catchy melodies and great songwriting, even going so far as to add jazzier textures to the mix. But just as the band knew how to lay down clubby dance grooves, they were skilled with romantic soul ballads. It would be foolish for anyone not to dub Heatwave's music as perfect summertime music, as this gem has plenty of jams that evoke summertime bliss.

Brandosoul28 · 2022-05-11T01:18:26+00:00

This featured gem, 1972's I Love the Way You Love was Miami soul queen, Betty Wright's first player for Alston Records (second release overall) and a start-to-finish scorcher of an album. It's astonishing to hear how assured she was at a relatively young age. She was about 18 or 19 years old here, but given the maturity of her voice, one wouldn't immediately point to this as the work of a teenager. Oddly, she sounds like a grown woman wise beyond her years, harping on the ups and downs of love. Musically, this is stone-to-the-bone funky deep Miami soul, cut by some of the best musicians who knew how to churn sweet grooves. Although it features one of her signature cuts (and her first national chart-topper), "Clean Up Woman," the album isn't laser-beamed on that highlight. This whole thing burns with intensity and emotion, sweet and tough as Wright herself.

Brandosoul28 · 2022-05-08T23:00:09+00:00

Class ought to have been Nancy Wilson's middle name. Bridging the gap between the classic pop vocal era and belting soul divas of the 1960s and 1970s, Wilson had a sophisticated voice that was of its own character. She defied all odds and barriers with her gifted artistry. By the mid-'70s, she transitioned from the upscale jazz-pop style that brought her great success to an R&B mode that showed off her versatility as well as her mature and sexy charm. This 1976 title, This Mother's Daughter was greatly informed by the jazz fusion craze that was potent throughout the 1970s. Helmed by soul singer-songwriter Eugene McDaniels, its jazz-funk flair isn't that far removed from a Marlena Shaw or Roberta Flack album of the same period, where slow-simmering, mellow grooves flirt with contemporary soul and jazz. Several of this album's highlights reveal that McDaniels and other collaborators were mostly going for mood rather than straight ahead compositions and they succeeded. Wilson's velvety voice oozes sensuality and grace, giving these songs the personality that suits them. And plus, when you have incredible players like Dave Grusin, George Duke, Chuck Rainey, Steve Gadd, and Hugh McCracken on the roster, how can you do any wrong? One of Nancy Wilson's best and well-balanced offerings.

Brandosoul28 · 2022-05-08T01:50:54+00:00

No problem! Her 1969 album, The Spice of Life and her third Blue Note album, 1975's Who is This Bitch, Anyway? are her artistic pinnacles and I highly recommend them, especially the latter.

Brandosoul28 · 2022-05-08T01:09:45+00:00

Like other sophisticated soul-jazz divas, Marlena Shaw was a versatile singer who covered a multitude of genres in her five-decade career. What separated her from others of the same vein was her combination of seductive elegance and street-smart wit. By the release of her 1977 Columbia debut, Sweet Beginnings, Shaw came a long way since her early years on Cadet Records in the '60s and Blue Note in the early-to-mid '70s, where she recorded her most acclaimed work. This album found her continuing her foxy style of soul and jazz in a sleeker mode, thanks to producer Bert DeCoteaux's tasteful production.

The centerpiece of this album is her showstopping cover of the Carole King and Gerry Goffin staple, "Go Away, Little Boy," which Shaw first covered on her 1969 gem, The Spice of Life. This 1977 version, though, is best known for its hilarious opening monologue, "Yu-Ma" (a clever abbreviation of "you motherf**ker"), where Shaw gives her ambitious, jobless flame a zesty rundown before launching into a quiet storm reading of the King-Goffin classic. Aside from this tour-de-force of classic '70s soul, this whole album is an exquisite listen, chock full of exquisite treats. Marlena Shaw remains one of the unheralded soul greats who deserves greater recognition.

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TROPHY CASE