You know what, world of chaos? I can’t even be mad. Forces I can’t understand are guiding me. Let’s get it.
You know what, world of chaos? I can’t even be mad. Forces I can’t understand are guiding me. Let’s get it.
Rest well, king. 👑
Rest well, king. 👑
What else can I say that hasn’t been said? Groove king. Changed my life as a teen getting hip to his music.
Just gonna post some joints here.
Byron Miller is crushing on this shit BTW.
What else can I say that hasn’t been said? Groove king. Changed my life as a teen getting hip to his music.
Just gonna post some joints here.
Byron Miller is crushing on this shit BTW.
Now I want to pivot hard back into listening to old favorites because TBH the most enjoyment I got out of recreational listening this month was running Yes - Close to the Edge again for the millionth time in my lifetime. That album rules.
Now I want to pivot hard back into listening to old favorites because TBH the most enjoyment I got out of recreational listening this month was running Yes - Close to the Edge again for the millionth time in my lifetime. That album rules.
A compilation of various Thelonious Monk sessions from the early-mid 50s, a couple cuts of which feature Sonny Rollins.
Man. Sonny Rollins is a master of melody - a seemingly endless wellspring of ideas. I just want to say that we’re all lucky to be living at the same time as him.
A compilation of various Thelonious Monk sessions from the early-mid 50s, a couple cuts of which feature Sonny Rollins.
Man. Sonny Rollins is a master of melody - a seemingly endless wellspring of ideas. I just want to say that we’re all lucky to be living at the same time as him.
Gritty Midwestern soul meets silky Philly elegance (Gamble & Huff! Thom Bell! Vince Montana!). You can hear the emergent strains of what would become disco in a few years, but it’s really about the ballads and slow dance numbers here. They don’t make slow jams like they used to. Word.
Gritty Midwestern soul meets silky Philly elegance (Gamble & Huff! Thom Bell! Vince Montana!). You can hear the emergent strains of what would become disco in a few years, but it’s really about the ballads and slow dance numbers here. They don’t make slow jams like they used to. Word.
Generally, more of the kind of material present on the first LP with slightly better recording quality. What I said about Take One applies. “Reverend Lee” is a huge stand out- vivid storytelling with her voice contorting to match every lyric and an all-timer Chuck Rainey bassline.
Generally, more of the kind of material present on the first LP with slightly better recording quality. What I said about Take One applies. “Reverend Lee” is a huge stand out- vivid storytelling with her voice contorting to match every lyric and an all-timer Chuck Rainey bassline.
A ballad-heavy set that exemplifies Flack’s steadfast elegance. What would be saccharine in someone else’s hands is graceful in hers. My favorite moments are the more groove-oriented tunes. Ron Carter absolutely holds it DOWN on “Compared to What” and “Tryin’ Times”.
A ballad-heavy set that exemplifies Flack’s steadfast elegance. What would be saccharine in someone else’s hands is graceful in hers. My favorite moments are the more groove-oriented tunes. Ron Carter absolutely holds it DOWN on “Compared to What” and “Tryin’ Times”.
Kool & the Gang’s early brand of jazz-inflected funk speaks for itself. I just have one question:
Is “Rated X” the greatest funk Mellotron performance?
It’s kinda running unopposed unless we count the outro of “Mercy Mercy Me”. Still though, love hearing Mellotron outside of prog.
Kool & the Gang’s early brand of jazz-inflected funk speaks for itself. I just have one question:
Is “Rated X” the greatest funk Mellotron performance?
It’s kinda running unopposed unless we count the outro of “Mercy Mercy Me”. Still though, love hearing Mellotron outside of prog.