Funk Yeah! Soul and Disco

A TUNE

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LCD Soundsystem was the project of James Murphy, the head of the always awesome DFA Records. Despite breaking up, they will remain massively important to dance-able indie music loosely classified, along with other luminaries like !!!, as Dancepunk. The influence of post-punk is definitely felt and Pat Mahoney’s drumming sounds even better than a 80s new-wave drum machine. “No Love Lost” is off a tour 7” single, and the B-side features the Arcade Fire’s “Poupee de Cire/Poupee de Son”. 2007.

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elekwentfolk:

Timothy McNealy - Sagittarius Black

…my song for the day… play it LOUD.

Some more Texas funk! Enjoy it!

Reblogged from Another Blog for Elekwent Folk(s)

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Brenton Woods topped the Charts with this gem from 1967, “Gimme Little Sign”. While undoubtedly the title is a bit confusing (I mean he says “just gimme some kind of sign girl”), the track features some great vocal work as well as that trippy 60s organ that sounds like it was pulled from ? and the Mysterian’s band. Double Shot 1967.

A TUNE

[Flash 9 is required to listen to audio.]

The main theme from Thank God It’s Friday. Love and Kisses, who “perform” the song was actually a project put together by Alec Constandinos, legendary european disco producer. He wrote and recorded a lot of the track using studio musicians, making Love and Kisses basically a studio band with specific singers. Casablanca 1978. (NOTE: I had to really compress it to fit the 12” single version on tumblr)

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Great little tune by Curtis Lee called “Pretty Little Angel Eyes” which was recorded by Phil Spector. It’s got some doowop in there as well as striding falsetto. Dunes Records 1961.

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The first Stax record to become a hit, back when the label was called Satellite, was “Fool in Love” by The Veltones. The song is a great doowop/R&B song with a mindblowing guitar tone in the intro and outro. Satellite/Stax 1959.

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This Donna Summer track from the soundtrack I Remember Yesterday was, according to Brian Eno, “the sound of the future! This is it, look no further. This single is going to change the sound of club music for the next fifteen years”. Props to the producer Giorgio Moroder because it did!

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This Groove Is Bad. Bad-ass. This late disco track was by the band Skyy from their Self Titled album released in 1979. It was also released as a shortened double A side single. Salsoul 1979.

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I’ve been reading “A House On Fire: The Rise and Fall of Philadelphia Soul” by John A Jackson lately and it provides some interesting insight into Gamble and Huff’s Philly Sound. Billy Paul was initially a jazz singer until he join Philadelphia International Records. Gamble and Huff gave him more R&B material including “Me and Mr. Jones” and “Am I Black Enough For You?”. The former went on to be a huge hit, while the follow up single, the latter, alienated audiences and “fumbled away any chance Billy Paul had of sustaining his momentary crossover appeal” (Jackson). The song is super funky with piercing horns, wild clavinet and socially-conscious lyrics. Philadelphia International 1972.

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This was the first hit for The O’Jays after years in a slump. In the late 60s they got picked up by producers Gamble and Huff for a career revival and over the next 4 years they would become an international sensation. “One Night Affair” was originally issued as a single, and it was later included on The O’Jay’s album In Philadelphia which was originally released on Gamble and Huff’s early record label, Neptune Records, in 1969.

Funk Yeah! Soul and Disco

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