quinta-feira, 8 de novembro de 2018

Letta Mbulu - Naturally 1972

With her performance at the Unity Festival Apartheid in 1991, Letta Mbulu returned triumphantly to her homeland of South Africa. Having been exiled, due to Apartheid, for more than a quarter century, Mbuluhad gone from a teenager in the groundbreaking South African musical production King Kong of 1960 to one of the most influential singers to ever come out South Africa. In addition to recording such South African hits as "I Need Your Love," "Buza," and "Everybody Sing Along," Mbulu added her soulful vocals to recordings and/or concerts with late jazz saxophonist Cannonball AdderlyMichael Jackson, and Harry BelafonteMbulu, whose screen credits include, A Warm December and The Color Purple, performed the opening title track and most of the African music for the historical 1970s miniseries Roots, part one and part two. According to Quincy Jones who produced her collaboration with Michael Jackson, "Liberian Girl," and co-produced The Colour Purple, "Mbulu is the roots lady, projecting a sophistication and warmth which stirs hope for attaining pure love, beauty, and unity in the world."
During her lengthy exile, Mbulu remained committed to the music of her birth land. She helped to form South African Artists United (SAAU) in 1986, basing the group on the Union of South African Artists that grew from the African Jazz and Variety for whom she made her early debut. Mbulu's husband, Caiphus Semenya, who she met while touring with King Kong, plays an essential role in her music. AMG.

listen here

Marian McPartland - Piano Cocktail 1970

Marian McPartland became famous for hosting her Piano Jazz radio program beginning in 1978, but she was a well-respected pianist decades before. She played in a four-piano vaudeville act in England and performed on the European continent for the troops during World War II. In Belgium in 1944, she met cornetist Jimmy McPartland and they soon married. Marian moved with her husband to the United States in 1946, where she sometimes played with him even though her style was more modern than his Dixieland-oriented groups. McPartland eventually had her own trio at the Embers (1950) and the Hickory House (1952-1960), which until 1957 included drummer Joe Morello. She recorded regularly for Savoy and Capitol during the 1950s and also made sessions for Argo (1958), Time (1960 and 1963), Sesac, and Dot. Although eventually divorced from Jimmy, they remained close friends, sometimes played together, and even remarried just weeks before his death. She formed her own Halcyon label and recorded several fine albums between 1969-1977. McPartland also made three albums for Tony Bennett's Improv label during 1976-1977 before signing with Concord, where she remained after 1978. The Jazz Alliance label has made available over 30 CDs' worth of material from Marian McPartland's Piano Jazz show, some of which are quite fascinating and significant. McPartland died in August 2013 at her home in Port Washington, New York; she was 95 years old. AMG.

listen here

Little Milton - Sings Big Blues 1966

ilton was born James Milton Campbell Jr., in the Mississippi Delta town of Inverness and raised in Greenville by a farmer and local blues musician. By age twelve he was a street musician, chiefly influenced by T-Bone Walker and his blues and rock and rollcontemporaries. He joined the Rhythm Aces in the early part of the 1950s, a three piece band who played throughout the Mississippi Delta area. One of the group was Eddie Cusic who taught Milton to play the guitar. In 1952, while still a teenager playing in local bars, he caught the attention of Ike Turner, who was at that time a talent scout for Sam PhillipsSun Records. He signed a contract with the label and recorded a number of singles. None of them broke through onto radio or sold well at record stores, however, and Milton left the Sun label by 1955.After trying several labels without notable success, including Trumpet Records, Milton set up the St. Louis based Bobbin Records label, which ultimately scored a distribution deal with Leonard ChessChess Records. As a record producer, Milton helped bring artists such as Albert King and Fontella Bass to fame, while experiencing his own success for the first time. After a number of small format and regional hits, his 1962 single, "So Mean to Me," broke onto the Billboard R&B chart, eventually peaking at #14.Following a short break to tour, managing other acts, and spending time recording new material, he returned to music in 1965 with a more polished sound, similar to that of B.B. King. After the ill-received "Blind Man" (R&B: #86), he released back-to-back hit singles. The first, "We're Gonna Make It," a blues-infused soul song, topped the R&B chart and broke through onto Top 40 radio, a format then dominated largely by white artists. He followed the song with #4 R&B hit "Who's Cheating Who?" All three songs were featured on his album, We're Gonna Make It, released that summer.Throughout the late 1960s Milton released a number of moderately successful singles, but did not issue a further album until 1969, with Grits Ain't Groceries featuring his hit of the same name, as well as "Just a Little Bit" and "Baby, I Love You". With the death of Leonard Chess the same year, Milton's distributor, Checker Records fell into disarray, and Milton joined the Stax label two years later. Adding complex orchestration to his works, Milton scored hits with "That's What Love Will Make You Do" and "What It Is" from his live album, What It Is: Live at Montreux. He appeared in the documentary filmWattstax, which was released in 1973. Stax, however, had been losing money since late in the previous decade and was forced into bankruptcy in 1975.After leaving Stax, Milton struggled to maintain a career, moving first to Evidence, then the MCA imprint Mobile Fidelity Records, before finding a home at the independent record label, Malaco Records, where he remained for much of the remainder of his career. His last hit single, "Age Ain't Nothin' But a Number," was released in 1983 from the album of the same name. In 1988, Little Milton was inducted into the Blues Hall of Fame and won a W.C. Handy Award. His final album, Think of Me, was released in May 2005 on the Telarc imprint, and included writing and guitar on three songs by Peter Shoulder of the UK-based blues-rock trio Winterville.Milton’s song "Let Me Down Easy" was recorded by the Spencer Davis Group on The Second Album (1965), but his authorship was not acknowledged on the record. He released a single of it himself in 1968 on Checker. It was also chosen by Etta James as the final track in her final album The Dreamer in 2011.Milton died on August 4, 2005 from complications following a stroke. He was 70.


listen here

Lobby Loyde - Plays With George Guitar 1971

Australia's first guitar hero, Lobby Loyde helped shape the sound of classic local bands such as Billy Thorpe and the Aztecs and Rose Tattoo, as well as have a successful solo career.
In 1963, then known as Barry Lyde, he joined the Stilettos, a Shadows-inspired outfit, and by 1964, had joined the R&B band the Impacts. A name change to the Purple Hearts saw their career take off and the band solidified a reputation as one of Australia's best R&B bands. Barry Lyde changed his name to Lobby Loyde in 1967 and joined the Wild Cherries, whom he transformed into an experimental psychedelic group. He left the Wild Cherries at the end of 1968 and joined Billy Thorpe and the AztecsLoyde's guitar work helped Billy Thorpe to become the leader of Australia's rock scene during the early '70s.
Loyde left the Aztecs in October 1970 and released the classic solo album Plays With George Guitar in September 1971. He formed a backing band called the Wild Cherries, comprised of Teddy Toi on bass and Johnny Dick on drums, which lasted until February 1972. He then formed a new band, Coloured Balls, which broke up at the end of 1974. He then released a solo single, "Do You Believe in Magic?"/"Love Lost on Dream Tides," in December 1975.
Loyde issued his second solo album, Obsecration, in May 1976, another impressive collection of heavy rock guitar work. He moved to the U.K. where Virgin showed interest in releasing the album, but with England in the throes of punk music, a deal was never sealed. He returned to Australia in 1979 and formed a new lineup with Gil Matthews (drums), Gavin Carroll (bass), and Mándu, known as Southern Electric. They recorded the album Live with Dubs, later released in October 1980.
In 1979, Loyde contributed the track "John's Song" to the various artists disc Australian Guitar Album and then joined Rose Tattoo as a bass player. They recorded an album in Los Angeles that was never released, nonetheless Loyde toured with the band from October 1979 to September 1980. Loyde then turned his attention to producing other bands, working with the SunnyboysMachinations, X, and Painters and Dockers. In 1990 he played bass in a short-lived band called Dirt, and in 1997 he formed a new band called Fish Tree Mother. After battling lung cancer, Lobby Loyde died in Melbourne on April 21, 2007; he was 65 years old. AMG.

listen here

Laurel Aitken - Woppi King 1969

Lorenzo Aitken (22 April 1927 – 17 July 2005), better known by the stage name Laurel Aitken, was an influential Caribbean singer and one of the pioneers of Jamaican ska music. He is often referred to as the "Godfather of Ska". 
Born in Cuba of mixed Cuban and Jamaican descent, Aitken and his family settled in Jamaica in 1938. After an early career working for the Jamaican Tourist Board singing mento songs for visitors arriving at Kingston Harbour, he became a popular nightclub entertainer. His first recordings in the late 1950s were mento tunes such as "Nebuchnezer", "Sweet Chariot" (aka the gospel classic "Swing Low, Sweet Chariot") and "Baba Kill Me Goat". Aitken's 1958 single "Boogie in My Bones"/"Little Sheila" was one of the first records produced by Chris Blackwell and the first Jamaican popular music record to be released in the United Kingdom. Other more Jamaican rhythm and blues orientated singles from this period include "Low Down Dirty Girl" and "More Whisky" both produced by Duke Reid.
Aitken moved to Brixton, London, in 1960 and recorded for the Blue Beat label, releasing fifteen singles before returning to Jamaica in 1963. He recorded for Duke Reid, with backing from the Skatalites on tracks such as "Zion" and "Weary Wanderer", before returning to the UK, where he began working with Pama Records. He recorded hits such as "Fire in Mi Wire" and "Landlord and Tenants", which led to a wider recognition outside of Jamaica and the UK. This cemented his position as one of ska's leading artists and earned him the nicknames The Godfather of Ska, and later Boss Skinhead. He gained a loyal following not only among the West Indian community, but also among mods, skinheads and other ska fans. He had hit records in the United Kingdom and other countries in the 1950s through to the 1970s on labels such as Blue Beat, Pama, Trojan, Rio, Dr. Bird, Nu-Beat, Ska-Beat, Hot Lead and Dice. Some of his singles featured B-sides credited to his brother, guitarist Bobby Aitken. Aitken also recorded a few talk-over/deejay tracks under the guise of 'King Horror', such as "Loch Ness Monster", "Dracula, Prince of Darkness" and "The Hole". Aitken settled in Leicester with his wife in 1970. His output slowed in the 1970s and during this period he worked as an entertainer in nightclubs and restaurants in the area including the popular 'Costa Brava Restaurant' in Leicester under his real name Lorenzo. In 1980, with ska enjoying a resurgence in the wake of the 2 Tone movement, Aitken had his only success in the UK Singles Chart with "Rudi Got Married" (#60) released on I-Spy Records (the label created and managed by Secret Affair. Aitken's career took in mento/calypso, R&B, ska, rocksteady, and reggae, and in the 1990s he even turned his talents to dancehall. He performed occasional concerts almost until his death from a heart attack in 2005. After a long campaign, a blue plaque in his honour was put up at his Leicester home in 2007. Punk band Rancid cover's Aitken's "Everybody Suffering" on their 2014 LP Honor Is All We Know.

listen here

sexta-feira, 2 de novembro de 2018

Friar Tuck - Friar Tuck and his Psychedelic Guitar 1967

It would be all too easy to simply write this off as a mere exploitation knock-off designed to catch naive hippies. It certainly is that, but it also has the hand (and voice) of Curt Boettcher all over it, and it features Mike Deasy, heavy L.A. session cat and sometime-member of Phil Spector's Wrecking Crew on guitar, musical arrangements and producing. Consisting of about half covers and half originals, the album could hardly be considered truly psychedelic (mostly thanks to the Boettcher vocals) but it is quite interesting in its own way. Deasy's arrangements are strange and wonderful with some hot guitar playing and liberal use of the echoplex. He gives "Louie Louie," the quintessential simple rock & roll tune, a wildly elaborate arrangement, virtually re-creating the tune entirely. He gives Nat Adderly and Oscar Brown, Jr.'s "Work Song" an echoplex and guitar intro, inserts a bit of twang then goes into a classical sounding passage and back. Oddly enough, it also sounds reminiscent of the Count Five's "Psychotic Reaction"! Deasy's ultra-stoned sounding vocals on "Alley Oop" are hilarious. The originals can't be called instrumentals due to Boettcher and company's ever present wordless vocals, which get really bizarre on "Fendabenda Ha Ha Ha" and "Where Did Your Mind Go?." [These tracks are a really odd combination of gonzo guitar soloing and the Living Voices on acid. The bonus tracks by the Flower Pot have actual lyrics and are less elaborately arranged than the Friar Tuck album, and have quite a different feel to them. "Black Moto" and "Wantin' Ain't Gettin" even have some sitar. Originally issued as 45 rpms, they're a nice addition and it makes sense to gather Deasy's originals all in one place. All in all, Friar Tuck & His Psychedelic Guitar is a thoroughly entertaining curiosity. [This album was reissued in 2007 with four bonus tracks from the Flower Pot.] AMG.

listen here

Chris Braun Band - Both Sides 1972

Krautrock group based in Dortmund, Nordrhein-Westfalen, Germany who disappeared from the scene after 2 album releases. In 1972 "Both Sides" featured Bill Bakine on drums, percussion, Jochen Bernstein on bass, Chris Braun on lead vocals, Elmar Krohn on guitars, flute, percussion, vocals, and Horst Schreiber on guitars, percussion, and vocals. In 1973 the heavy rock, jazz and psych album "Foreign Lady" featured again Chris Braun on vocals, joined by Bernstein's bass, Krohn's drums, and newcomers to the group Bernd Adamkewitz on guitar, and saxophone, and Klaus Melchers on piano, moog, and mellotron. The guest musicians on the album include Linda Fields on backing vocals, choir, Peter Hast on percussion and Jiggs Wigham on trombone.

listen here

Jimmy Cliff - The Harder They Come 1972

In 1973, when the movie The Harder They Come was released, reggae was not on the radar screen of American pop culture. The soundtrack went a ways toward changing that situation. It is a collection of consistently excellent early reggae songs by artists who went on to thrive with reggae's increased popularity, and others for whom this is the most well-known vehicle. Jimmy Cliff is both the star of the movie and the headliner on the soundtrack. He contributes three excellent songs: the hymnal "Many Rivers to Cross," "You Can Get It If You Really Want," and "The Harder They Come" (the latter two are repeated at the end of the album, but you probably wanted to hear them again anyway). Interestingly, the better production values of his songs actually seems to detract from them when compared to the rougher, but less sanitized, mixes of the other tracks. All the songs on this collection are excellent, but some truly stand out. Toots & the Maytals deliver two high-energy songs with "Sweet and Dandy" and "Pressure Drop" (covered by the Clash among others). Scotty develops a mellow, loping groove on "Stop That Train" (not the same as the Wailers' song by the same name) and the Slickers prove on "Johnny Too Bad" that you don't have to spout profanity or graphic violence to convey danger. The Harder They Come is strongly recommended both for the casual listener interested in getting a sense of reggae music and the more serious enthusiast. Collections don't come much better than this. AMG.

listen here

Baby Washington & Don Gardner - Lay A Little Lovin' On Me 1973

Her sultry delivery earned Justine "Baby" Washington R&B chart bows in four different decades, most notably on the delectable uptown soul classic "That's How Heartaches Are Made" for Sue Records in 1963. Born in South Carolina but raised in Harlem, Washington was a member of the Hearts in 1956 before tallying her first R&B hit in 1959 with "The Time" for Neptune. Billed occasionally as Jeanette or Justine Washington, she scaled the soul charts into the mid-'70s with hits still hot from the '60s, such as her nugget "Only Those in Love." AMG

listen here

Big Brother & The Holding Company - Cheap Thrills 1968

Cheap Thrills, the major-label debut of Janis Joplin, was one of the most eagerly anticipated, and one of the most successful, albums of 1968. Joplin and her band Big Brother & the Holding Company had earned extensive press notice ever since they played the Monterey Pop Festival in June 1967, but for a year after that their only recorded work was a poorly produced, self-titled album that they'd done early in their history for Mainstream Records; and it took the band and the best legal minds at Columbia Records seven months to extricate them from their Mainstream contract, so that they could sign with Columbia. All the while, demand continued to build, and they still faced the problem of actually delivering something worthy of the press they'd been getting -- Columbia even tried to record them live on-stage on the tour they were in the midst of when the new contract was signed, but somehow the concert tapes from early March of 1968 didn't capture the full depth of their work. So they spent March, April, and May in the studio with producer John Simon and, miraculously, emerged with something that was as exciting as anything they'd done on-stage. When Cheap Thrills appeared in August 1968 -- sporting a Robert Crumb cover on its gatefold jacket that constituted the most elaborate album design ever lavished on a rock album from Columbia Records, as well as a pop-art classic rivaling the BeatlesSgt. Pepper'sjacket -- it shot into the charts, reaching number one and going gold within a couple of months, and "Piece of My Heart" became a Top 40 hit and helped to propel the LP to over a million sales. Joplin, with her ear- (and vocal cord-) shredding voice, was the obvious standout. Nobody had ever heard singing as emotional, as desperate, as determined, or as loud as Joplin's, and Cheap Thrills was her greatest moment. Not that everything was done full out -- there were relatively quiet moments on the album that were as compelling as the high-wattage showcases; her rendition of George Gershwin's "Summertime" was the finest rock reinterpretation of a standard done by anybody up to that time (though, in an incident recalled in his autobiography Clive, when Columbia Records president Clive Davis played it to Richard Rodgers to give him an example of some of the sounds that younger audiences of the late '60s were listening to, the 66-year-old Rodgers stomped out of the Columbia corporate offices in fury, vowing never to write another song); and Joplin's own "Turtle Blues" showed that she and the band could turn down and do credible acoustic blues, in something like an authentic period Bessie Smith (or, more properly, Memphis Minnie) sound. Big Brother's backup, typical of the guitar-dominated sound of San Francisco psychedelia, made up in enthusiasm what it lacked in precision. But everybody knew who the real star was, and Joplin played her last gig with Big Brother while the album was still on top of the charts. Neither she nor the band would ever equal it. Heard today, Cheap Thrills is a musical time capsule and remains a showcase for one of rock's most distinctive singers. AMG.

listen here

Bronco - Smoking mixture 1973

Formed August 1969 by Jess Roden following his split from The Alan Bown Set, Bronco were signed to Island Records and released two albums 'Country Home' and 'Ace of Sunlight'. Roden left the band mid 1972 to start a solo career, guitarist Robbie Blunt soon followed, the remaining members drafted in Paul Lockey on vocals (who both Kevyn Gammond and Pete Robinson knew form various incarnations of The Band of Joy) and Dan Fone on guitar, they released one last album this time with Polydor records 'Smoking Mixture'. Bronco's bass player John Pasternak died of a heart attack in September 1986. Led Zeppelin's Robert Plant fronted a tribute event for Pasternak in December of that year. Two Bronco tracks are featured on Island records compilation albums: "Love" appears on Bumpers released in 1970 and "Sudden Street" appears on El Pea (1971).
More recently the Bronco track 'Time Slips Away' has been included on the Island Records compilation 'Meet On The Ledge', released as part of Island's 50th anniversary in 2009. 

listen here

Dead Boys - Young Loud And Snotty 1977

Fellow Cleveland types Pere Ubu may have won the artistic kudos for their adventurous, surprising work, but if the goal was just to rock and rock again, the Dead Boys had them totally trumped. As both title phrase and capsule description, Young, Loud & Snotty accurately defines the predominating aesthetic so well that one could just leave it at that, but there's a lot more going on here than on the face of it. With perhaps surprising great production from demi-famous '70s rocket Genya Ravan, the five-some found something sonically smack in-between the US garage/punk heritage of the past and the more modern thrashings from overseas. Bators sneers, gobs, gasps, and whines with the best of them, but he knows his rock history, as does his bandmates. Zero and Chrome aren't guitar virtuosos, but they do know what makes a song great and aren't afraid to concentrate on that, while the Magnum/Blitz rhythm section keeps things moving as it does. In some ways songs like "All This and More" and "I Need Lunch" simply emerge from an alternate '50s, with admittedly much more feedback and stereo sound. Stone cold rock classic "Sonic Reducer" starts things off -- amusingly -- with all sorts of phased drums and other fripperies that later generations wouldn't consider punk at all. That said, it's still blunt, brilliantly sung by Bators and kicks out the jams with messy energy. Other all-time greats include the perfect bored-and-needing-kicks anthem "Ain't Nothin' to Do" and the thoroughly wrong "Caught With the Meat In Your Mouth." There's even a rock oldie -- a cover of "Hey Little Girl" live onstage at spiritual home CBGB's. And why not? With great punk rock and great rock, Young, Loud and Snotty still packs a punch. AMG.

listen here

Graham Collier Music - Songs For My Father 1970

Bassist, composer, and bandleader Graham Collier may have gotten the short shrift early in his career for not taking the same iconoclastic position Evan Parker and Derek Bailey did: "Forget American jazz, let's forge something uniquely British" (their pretensions were European though they weren't). His contributions to the jazz canon are finally being seen in light of what they actually are: very forward-looking works that extend the jazz boundary into new chromatic and harmonic regions and have an identity that is distinctly non-American. Collier's modalism is so far outside the norms as to speak an entirely different architectural language. Songs for My Father featured a Collier septet with Harry Beckett on trumpet, pianist John Taylor, saxophonists Alan Wakeman and Bob Sydor, and drummer John Webb. This unique look at shaping traditional jazz narratives in new modal and chromatic lights brings into consideration all of the developments of Coltrane's sonic inclusiveness (which Parker and Bailey did too, though they tried to minimize that aspect) and a dramatic range that leapt off from Gil Evans. The album's opener, "Song One," in elastic 7/4, is a case in point, where front lines collapse a hard bop figure into thirds and then extend the back of the line, where the horns become harmonic planks and Taylor moves around the time signature in counterpoint to the rhythm section. Wakeman's soprano solo is just breathtaking. The moving Spanish motif at the opening of "Song Two (Ballad)" is part of Collier's envisioning of a music he would later revisit with Day of the Dead. The shimmering angularity of "Song Five (Rubato)" is one of Collier's benchmarks as a jazz composer; his utilization of the interval as a way to stretch time in order to allow a melody to impose itself on the frame is remarkable. In sum, Songs for My Father is the first evidence listeners have of the maturing Collier, moving jazz aesthetics around in order to more fully articulate his sophisticated palette. AMG.

listen here

Keef Hartley Band - Overdog 1970

After the subtleties and suppleness of 1970's The Time Is Near...the Keef Hartley Band's third full-length, the group returned the following year with Overdog, a set that kicks them into overdrive. Opening with a dramatic flourish of wah-wah guitar, the anthemic "You Can Choose" instantly wipes all memories of the intricate design of the preceding album off the board. Big and brash, "Choose" pounds rock into funk with savage delight. In contrast, "Plain Talkin'" is all grit and glory, strutting its Stax-y antecedents center-stage, and smugly smirking at their hard-rocking ex-Brit beat contemporaries, who lost the blues in their rush to rock. Elsewhere, "Overdog" puts paid to prog rock pretentiousness, as the band slyly slide from haunting wah-wah guitar and spacy effects straight into funk, and back out again through coursing, driving instrumental sections. It's a spliced styling that's reiterated to even more dramatic effect on "Theme Song." Keef Hartley's drums keeps those segments pulsing, but it's "Roundabout" that's his true showcase, as his skins rumble away under layers of dramatic brass passages and crash around the guitar solos. His drumming reaches an apotheosis on the song's 7" version, a blistering attack of swing-styled beats that prods the brass to even greater heights, while his crack drumming on the flip side of the single pushes the guitarist into hyper-speed and the horns into rousing solos of speed jazz, only to collapse into slower passages of big rock that slams straight into Detroit. After that, the gentler, jazzy excursions of "Imitations from Home" are a well-deserved breather, although not for Hartley, whose intricate patterns keep him on his toes. Only the Beatlesque "We Are All the Same" provides any concession to contemporary pop audiences, but KHB cared little for them, so intent were they on proving to rock fans that there was no need to desert R&B, soul, and funk in their search for more experimental music and/or harder sounds. On their last set, they delicately pointed out the possibilities; here they hammer it home. aMG.

listen here

quarta-feira, 10 de outubro de 2018

Robert Palmer - Some People Can Do What They Like 1976

Robert Palmer's third album is a blue-eyed soul disc that sits comfortably alongside Sneakin' Sally Through the Alley and Pressure Drop. This time, Palmer drops the orchestrations that tarted up portions of Pressure Drop in favor of a stripped-down yet stylish sound that shows off his ability to create a romantic, soulful mood. Highlights include "One Last Look," a lush breakup ballad that features a catchy, harmony-drenched chorus, and "Keep in Touch," a romantic tune that highlights Palmer's vocal style at its seductive height over a jazzy yet mellow melody built on a complex background vocal arrangement. Another standout track is "Man Smart, Woman Smarter," a tongue-in-cheek look at the battle between the sexes that deftly blends pop melodicism with reggae rhythms. The downside of Some People Can Do What They Like is that it often favors mood over hooks and this leads to music that is listenable yet falls short of being truly compelling: funky mood pieces like "What Can You Bring Me" and "Hard Head" successfully evoke a sultry mood but never take that mood in an interesting melodic direction. Another problem track is "Off the Bone," an effects-drenched instrumental snippet that serves no purpose other than to fill up two minutes of the album's running time. Despite these occasional lapses, Some People Can Do What They Like remains a solid and likable outing with enough memorable moments to please anyone who enjoys blue-eyed soul at its most silky and elegant. AMG.

listen here