soul music
Matthew Wright
At least you always get something different from José James. Originally sprung to fame for blending jazz and hip-hop, this album has little of either, but according to his blurb, touches on R&B, soul, pop, electronica, folk, gospel and funk. Quite an achievement for 11 four-minute songs. What stands out, though, is less the ticking of genre boxes than the imaginative way he uses electronic sound a little like an acoustic instrument, with exceptional sensitivity to its diverse effects. His journey of chameleonic experimentation started with jazz, but like many musicians who’ve Read more ...
Matthew Wright
It’s an extraordinary story about a ordinary-seeming guy. No one can accuse the industry of promoting pretty blond teens this time. Rory Graham, the emerging blues-tinged soul star from the deep south – Sussex, of course, or the Uck Delta, perhaps – has built his reputation from the ground up, working as a carer, initially, as he developed the Rag’n’Bone Man persona.He’s now 32, but even before Rag’n’Bone Man, he learned music by doing it: rapping, MCing in jungle clubs, and singing at blues festivals his dad (who has a big collection of Muddy Waters and BB King) took him to. With a Read more ...
Kieron Tyler
In the last week of September 1973, Guy Darrell peaked at number 12 on the British single’s chart with the catchy blue-eyed soul pounder “I’ve Been Hurt” and performed on Top of the Pops. His was a grassroots-driven success. “I’ve Been Hurt” was popular on the northern soul scene and initial sales were to fans hearing the song in clubs as it packed dance floors rather than on the radio.Despite then-hot popsters David Essex, Sweet and Wizzard being lodged in the Top Ten when Darrell’s single was selling at its fastest, this was not a week when pop was looking forward. A reissue of David Bowie’ Read more ...
Kieron Tyler
In 1970, The Who opened their Live at Leeds album with “Young Man Blues”, a hefty version of a song its composer Mose Allison recorded as “Blues” in 1957. Back then, it was the only vocal track on Back Country Suite, an otherwise instrumental blues-jazz album, the Mississippi-born pianist's debut long player. Allison had moved to New York in 1956 and a string of releases followed. The Who weren’t the only British band cocking an ear: in March 1965 The Yardbirds first recorded Allison's “I’m Not Talking”, plucked by them from 1964’s The Word From Mose.Mose Allison’s music was integral to the Read more ...
Kieron Tyler
Chicago’s Chess Records first made waves in the Fifties with a raft of records which included future classics integral to defining the urban slant on blues music. Early in the decade, the label issued singles by John Lee Hooker, Memphis Slim, Muddy Waters and Howlin' Wolf. They also issued Jackie Brenston’s “Rocket 88”, one of the building blocks of rock ‘n’ roll and brought Bo Diddley to a wide audience. The pioneering label issued different styles of music, but blues defined its early days. It moved with the times though and embraced soul in the Sixties.Little Richard is also easily Read more ...
Kieron Tyler
Despite their different paths in the Seventies, the final years of the Sixties saw parallels between Betty Davis and Jeanette Jones. Both soul singers had significant backing from music business insiders. Late in the decade, each had a discography limited to one unsuccessful single. They worked as models.Davis is acclaimed for the trio of albums she released over 1973 to 1975 which captured a self-penned, sexually up-front feminist funk that was hard for a male-dominated industry to market. A fourth album was recorded in 1976 but shelved and first issued in 2009. The North Carolina-born Davis Read more ...
Kieron Tyler
A two-bar flurry of guitar lays the table for a skip-along beat, handclaps, and an arrangement and melody akin to Martha and the Vandellas’ March 1964 single “In my Lonely Room”. This though was not a Motown production and did not tell the story of a girl so distraught at her boyfriend’s dalliances that all she could do was take to her lonely room and cry. On “The 81”, Candy & the Kisses sang of a dance craze for anyone “tired of doing the monkey, tired of doing the swing.”Despite being a knock-off of the Detroit sound, the irresistible “The 81” did not sound like a Motown record. It Read more ...
Sebastian Scotney
Sixty-five thousand people came to Wonder. The final night of British Summer Time in Hyde Park was a sell-out. With a performance lasting four hours including an intermission, the Detroit-born legend and his band – and also the weather, which stayed fine all evening - can have left nobody disappointed. The show, based on the album Songs in the Key of Life, with some extra off-piste excursions, was thoroughly convincing live. It just works very well, and on several levels. First there's the sheer quality and compositional versatility of the original album. The appeal of just about all of Read more ...
Andrew Cartmel
The year 1987 was a notable one in music history. In February, Burt Bacharach won the Grammy for best song with “That’s What Friends Are For”, and two months later Joss Stone was born in England. At the age of 17 Stone would be nominated for three Grammies of her own, and at 19 would become a winner. She remains a platinum-selling singer and songwriter at the top of her game.But it’s Bacharach who has made the most astonishing mark as a writer and recording artist. One could cite his nine number ones and 66 top-40 hits, three Oscars and eight Grammies, but bare facts and figures can’t begin Read more ...
joe.muggs
If last night made anything clear it's that some things are still some way beyond the reach of hipster reappropriation. The audience in Hyde Park for Carole King was 99% white and middle-aged, with the very few younger people scattered about appearing to be teenagers there with their parents. Within that, though, there was a broad spread of class, and – reflecting the appeal of King's Tapestry album at the time of its release – everyone from grizzled old hippies to a whole legion of straight-as-a-die mums and dads of the kind who have probably only bought half a dozen other albums since the Read more ...
Kieron Tyler
It begins with “Never Never Let Me Down” by Formulars Dance Band. “You’re the only good thing I’ve got,” declares the singer of a garage-band answer to The Impressions over a rough-and-ready backing where a shuffling mid-tempo groove is driven along by wheezy organ and scratchy lead guitar. When the band unites to sing harmonies, the massed vocal is distorted: a sure sign of an overloaded microphone. If this were America, “Never Never Let Me Down” would have been an obscure independent soul release issued around 1966. But this was Nigeria and Formulars Dance Band – whose personnel are unknown Read more ...
Thomas H. Green
It’s a foolish game to wonder who might fill the musical void left by Amy Winehouse’s passing. She was a one-off, after all. However, it’s natural to occasionally look about and ponder where there might be talent of a similar ilk. Not all the doomed druggy stuff, just a female singer who does it from the gut rather than X Factor-flavoured fluffing. Ariana Grande, Demi Lovato, Zara Larsson et al seem unlikely to even get their round in; of Winehouse’s immediate peers, Duffy’s disappeared and Adele’s become a theatrical torch singer (albeit a very likeable one), and all those Kate Bushy kooks, Read more ...