http://www.theworldofgracejones.com
https://www.myspace.com/gracejonesofficial

Origine du Groupe : Jamaica
Style : Alternative ,  Dub , Trip hop , Electronic , Soul

Tracklist :
01 – This is Life
02 – William’s Blood
03 – Corporate Cannibal
04 – I’m Crying (Mother’s Tears)
05 – Well Well Well
06 – Hurricane
07 – Love You to Life
08 - Sunset Surprise
09 – Devil in My Life

https://en.wikipedia.org/wiki/Ronnie_Foster





Origine du Groupe : North America

Style : Jazz Funk Soul , Instrumental

Sortie : 1972

Par FUNKYTOWN  pour http://funkytownsoul.blogspot.fr



Ronnie Foster est un un organiste de jazz Soul Funk et un producteur . Il travaillait souvent avec le guitariste George Benson, en incluant le jeu du piano électrique, mini-moog et de la
composition du titre "Lady" sur l'album de 1976 de Benson Breezin'. Il a aussi joué avec Chet Atkins, Grant Green, Grover Washington Jr., Stanley Turrentine, Roberta Flack, Earl Klugh, Harvey
Mason, Jimmy Smith et Stevie Wonder.





Tracklist :

01 - Chunky

02 - Drowning In The Sea Of Love

03 - The Two-Headed Freap

04 - Summer Song

05 - Let's Stay Together

06 - Don't Knock My Love

07 - Mystic Brew

08 - Kentucky Fried Chicken

http://michaelkiwanuka.com

https://www.myspace.com/mikeksongs





Origine du Groupe : U.K

Style : Soul

Sortie : 2012

By Kitty Empire  from
http://www.guardian.co.uk



Home Again, the debut album by Michael Kiwanuka, is a curious debut for the winner of the BBC Sound of 2012 poll. It may be available as a download but it desperately wants to be a 33rpm vinyl
record with a faded sleeve that first entered the second-hand record market around 1973, rather than a 21st-century artefact.



It begins gorgeously, with little flurries of flute on the minor-key "Tell Me a Tale". The producer is Paul Butler, whose day band, the Bees, specialise in this sort of expertly turned period
shading. Throughout, Butler is revealed as a key factor in making Kiwanuka something greater than just the next soul man on the UK's retro-pop conveyor belt, something akin to a hipper James
Morrison. Unfortunately, the early promise of this lush, jazzy slice of yearning isn't quite kept by the rest of the album.



Raised in north London by Ugandan parents, the young Kiwanuka tussled with his identity as a guitar-loving black kid. Until, that is, he discovered first Jimi Hendrix and then Otis Redding and
eventually found his spiritual home: a vintage Venn overlap in which soul artists, folkies and the late 60s, early 70s singer-songwriters conjoin harmoniously. Embraced by Communion Records, home
of the Mumfords, Kiwanuka was able to quit his session-musician day job (reluctantly abetting pop-grime hotshots such as Labrinth and Chipmunk) and strum more meaningfully. He is now signed to
Polydor.



Having spent so long as a fish out of water, Kiwanuka knows a thing or two about longing ("I'm Getting Ready," avers one song) and about the pleasures of finally coming home. The title track
starts out like prime Later With Jools Holland fodder, the sort of "quality" nodding, strumming guff that has afflicted the nation since David Gray. Then something unexpected happens: Butler
double-tracks Kiwanuka's vocal, adds a shuffling drum beat and suddenly we're in Bon Iver territory – hazy and magical.



It doesn't last. Charm exudes from songs such as "Bones", with its brushed drums, doo-wop call and response, and churchy expressions of love. But there are not quite enough of these moments on
Home Again, a record that settles into a nicely crafted, twinkly retro rut without really grabbing you by anything more vital than your lapels; tweedy, bespoke, second-hand. "I Won't Lie" has all
the trappings of a thoughtful gem in the vein of Marvin Gaye. But trappings are all they are – Butler's rumbling drums and ebb-and-flow arrangement expose Kiwanuka's contribution: his voice never
catches, his vulnerability is never underscored; he merely sings his words nicely.



Like his co-star of 2012, the Brits-anointed Emeli Sandé, Kiwanuka is undoubtedly gifted and, like her, seems preternaturally middle-aged, an old soul in a 25-year-old body whose need to appear
mature at all costs is troubling. Home Again is in no way an unpleasant record, but its unity of sound, tempo, era and purpose is less Aristotelian than it is just a little ho-hum. Unlike the
work of Kiwanuka's forebears – Bill Withers, Terry Callier et al – you don't come away from Home Again changed by its insights. Instead, you have just filled the air with some nice sounds.





Tracklist :

01 – Tell Me A Tale

02 – I’m Getting Ready

03 – I’ll Get Along

04 – Rest

05 – Home Again

06 – Bones

07 – Always Waiting

08 – I Won’t Lie

09 – Any Day Will Do Fine

10 – Worry Walks Beside Me

http://www.myspace.com/leefields

http://leefieldsandtheexpressions.tumblr.com





Origine du Groupe : North America

Style : Soul

Sortie : 2012





By Agent J  from http://www.groovement.co.uk

Whether you’re a recent classic soul sound convert (lulled by the sounds of Hawthorne and Blacc, perhaps) or you’ve been with it all the way, throw your dollar Lee Fields‘ direction. Recording
since 1969 and now firmly ensconced in Leon Michel‘s Truth & Soul stable, Fields is rapidly gaining a new generation of respect from those eager for more Dap style soul.



Take a little time out from the blips and bass of 2012, and re-engage with your Shitty is Pretty soul.





Tracklist :

01 – Faithful Man

02 – I Still Got It

03 – You’re The Right Kind Of Girl

04 – Still Hanging On

05 – Intermission

06 – Wish You Were Here

07 – Who Do You Love

08 – Moonlight Mile

09 – It’s All Over (But The Crying)

10 – Walk On Thru That Door

http://www.thepepperpots.com

http://www.myspace.com/thepepperpots





Origine du Groupe : Spain

Style : Soul

Sortie : 2011



From Official Site :



With the wheels well-oiled and on full steam The Pepper Pots train arrives with its fourth album “Train to your lover”, a new step forward in a career in constant evolution, yet continuing within
the same parameters - those of finding that “Old School” sound of the best albums of the mid-60´s.



To find this sound The Pepper Pots have recorded the album in their own recording studio “Black Pepper Studio”,  using an entirely analogical setup and using similar instruments to those
used in the golden era of Soul. Each band member has collaborated in each of the tasks involved in the recording: the composition, arrangements, production, mixing…..and the final mastering touch
comes from the hands of the legendary Bob Ohlsson, Motown sound engineer during the classic period of the label -between 1965 and 1972, working with leading artists including Stevie Wonder,
Marvin Gaye, The Four Tops, The Temptations, Smokie Robinson & the Miracles, The Spinners or Gladys Knight & the Pips.



The result is 12 own tracks that stretch from the best of the Supremes to early Jackson 5, from deep soul ballads of Doris Duke to ground-breaking northern soul; classic sounds and influences The
Pepper Pots have sprinkled with new life with some of their best songs to date.



With 300 appearances and counting, The Pepper Pots have moved audiences in concerts around the globe: Tokyo, Osaka, San Francisco, Los Angeles, Berlin, Paris, London, Moscow, Helsinki, Vienna,
Verona, Prague, Bern, Barcelona, Madrid… as well as featuring at major festivals such as South by Southwest (Austin-Texas), Summer Jam Reggae Festival (Cologne-Germany), Rock for People (Hradec
Králové – Czech Republic), BAM Festival (Barcelona-Catalonia), Black Music Festival (Girona-Catalonia) and many others.





Liner Notes



"I worked as a recording and mastering engineer at Motown Records in Detroit between 1965 and 1972. People often ask me “What is the secret of the Motown Sound.” Berry Gordy, Motown’s founder,
has frequently answered with just the word “LOVE!” I really couldn’t agree more.

 

We loved what we were doing and we loved each other. It was something I could feel the first time I walked in the studio door and something that was just as unusual as it was remarkable. We were
amazed that our recordings had actually broken down cultural barriers and brought people together by expanding their sense of who they were. I can’t say anybody intended this outcome or deserves
any particular credit for it however I’m immensely proud to have played my tiny role.

 

What I love about the Pepper Pots is the fact that I can feel the love that they have poured into their songs and performances. What more could one possibly ask for?"





Tracklist :

01. Can't Let Him Go

02. I Need To Hold Your Hand

03. Wanna Blindly Trust You

04. Fated Heart

05. Let's Go Dance

06. Dreams of Coming Back

07. Train To Your Lover

08. I Can't Choose

09. It's Not Easy

10. You Are the Best Song

11. You Hurt Me Really Bad

12. Gladden Your Soul

http://www.andy-bey.com

http://www.myspace.com/andybey





Origine du Groupe : North America

Style : Jazz , Soul

Sortie : 1974



By Flabbergast from http://flabbergasted-vibes.blogspot.com



Yes, this is one ugly album cover. But what's inside is as beautiful a record as you're likely to come across.



A long long time ago I promised a flood of music from Gary Bartz. I didn't deliver on that promise. What can I say, my life is a morass of unfulfilled potential and broken promises. At least,
that's how it seems some of the time.



Until I put on this and then everything is suddenly fine. Andy Bey is easily one of the most underrated figures in music. His work with Horace Silver and Gary Bartz especially is phenomenal. And
this album is, well, eternal. It's largely a laid-back affair, brimming with the echoes of cosmic soul in ways that aren't too different from a lot of other contemporary albums, but this one has
a certain fire and heart that just isn't very common. It begins with a slowed down take on his 'Celestial Blues' that he had already recorded with Bartz' NTU Troop. First time I heard this
version I didn't know how to react. I felt like a fly suspended in sweet funky amber. Followed by 'Experience', the most frantic and uptempo tune on the record, full of lyrics that would be
difficult for anybody but Andy to sing and make sound this cool in elongated melodic gospel shouts from the lotus seat. "Judgment", the other side of the coin, is slowly and heavier on the funk
with some wickedly-recorded wah-guitar sounding like the microphone was in the hallway during the session. Andy deserves more credit as a pianist than he usually gets but it must be said that
keys man Bill Fischer steals the show here. Acting as producer and also composer on some of the tunes, he definitely has a 'mark' of production here - but with his exquisite taste in analog synth
tones and the absolutely perfect mix, you won't hear me complaining about his production. His synth work and electric piano weave in and out of the music faster than an arcade old-school
centipede, there and gone halfway before your awareness has caught up. In trying to find some more info on this album on the All-Knowing Interwebs, I have seen this album compared to Gil
Scott-Heron in a few places. Which really makes no sense in terms of Gil's vision and gestalt.. Where there IS a similarity is between this album and Brian Jackson, Gil's co-conspirator. Now,
THAT makes sense to me.



Really really I mean it, not a bad song here. The scaled-down funk poetry of 'Hibiscus' hits all my buttons in the right place, perfect in every way of composition, lyric, execution, tonalities,
textures, production. A heavily spiritual mind-expanding vibration just billows forth from your stereo speakers (or, um, iPod earbuds, I guess) to envelop you. "You Should've Have Seen The Way"
is easily the funniest song about meditation I've ever come across. Granted, that makes it kind of a big fish in a small pool, but still... Story of guy taking a friend's advice by trying to
clear his mind and find his way through meditation, but he just can't stop thinking about making love to a woman. Deep, metaphysical, sensual as hell. For all the buddhist vibe on this album it's
good to know Bey and company can keep it real. "Tune Up" is a more serious tune on a similar wavelength, one of my friend TY's favorite tracks on this. More lyrics that would sound weird from
anyone but Andy Bey, "like hypnotizing yourself up to a certain point," it just kind of works on you and achieves in the listener an analog of what he's singing about.



So far there is nothing remotely commercial about whats been presented here (jazz purists be damned, this stuff is too obscure and deep to be selling out to anyone). Then we should be all the
more surprised by the next tune, a ballad lifted from Neil Sedaka. That's right - Neil fucking Sedaka! And he just kills us with it. It becomes a love sonnet sung from across the veil of
mortality, sung from a dead man to his widow. Granted all that was already in the lyrics but goddamn if Andy Bey doesn't make it all come together and work on this album. By now we are 3/4
through the album and the remainder is pretty low-key and mellow. Nothing to grab you like what's already come before but just enough going on to keep you engaged, going out on a wonderfully
optimistic and sensual mindsex epic of "The Power of My Mind".



It's always weird to stop and think about how friends are brought together out of seemingly random occurrences, some drifting apart, some always there, some coming back like cycles of the moon.
And when I ask myself why it took me so long to post this record, because it had been on my 'short list' for about a year now, I think it must have to do with that elusive ephemeral thing called
friendship. I remembered it, suddenly, and sent it to someone who I think may have needed it right then. And a few days later we were having an intense conversation that ostensibly had nothing to
do with this album but yet also had everything to do with this album. And that is one of the great qualities of "Experience and Judgment" - although you can call it 'soul jazz' or 'spiritual
jazz', it is of an earthly sort of cosmic consciousness, one imbued with the substance of day to day living and struggle, that keeps its lyrics even at their most abstract from flying untethered
into the blinding light of oneness, instead staying in the air for a while to light our way as we listen. I can't recommend this album enough.



p.s. the HDCD mastering is a nice touch. Several digital players can recognize the coding and provide the up-sampling, leave a note if you want to know more.





Recorded at Regent Studios, NY



Andy Bey - Vocals, Acoustic Piano

Buddy Williams, Jimmy Young - drums

Wilbur Bascomb - Bass

William Fischer - Electric Piano, Organ, Harpsichord, Synthesizer, Percussion

Electric Bass - Wilbur Bascomb

George Davis - guitar (Track 2 only)

Richard Resnicoff - guitar

Engineer - Bob Liftin

Guitar - George Davis (2) , Richard Resnicoff (tracks: 2, 3, 8, 9)

Selwart Clarke - Violen, viola



Produced by by William Fischer





Tracklist :

1 Celestial Blues 3:24

2 Experience 2:57

3 Judgment 2:58

4 I Know This Love Can't Be Wrong 4:22

5 Hibiscus 4:39

6 You Should've Seen The Way 2:31

7 Tune Up 4:11

8 Rosemary Blue 3:24

9 Being Uptight 3:05

10 A Place Where Love Is 4:38

11 Trust Us To Find The Way 2:39

12 The Power Of My Mind 2:55

http://fr.wikipedia.org/wiki/Buddy_Miles

Origine du Groupe : North America

Style : Soul Blues Rock

Sortie : 1970

Par Ayler pour http://american-music.forum-actif.eu



"Them Changes" est le grand classique de Buddy Miles - à défaut d'être devenu un classique tout court, ce que cet album mériterait pourtant. Les huit titres du disque sont tous remarquables, dans
des styles différents, toujours efficaces.



Buddy propose une version plus Noire de son "Them Changes", avec section de cuivres et Billy Cox à la basse. Sa reprise du "Down By The River" de Neil Young est magnifique (Buddy se fend d'un
solo de guitre), de même que celle de l'Allman Brothers Band ("Dreams").

Buddy rend un nouvel hommage à Otis Redding, son idole, avec une courte relecture de "Your Feeling Is Mine".



"Memphis Train", produit par Steve Cropper, est en fait un inédit du Buddy Miles Express, sans doute enregistré après les deux premiers albums du groupe (écarter un tel titre serait
surprenant).



Sur "Paul B. Allen, Omaha, Nebraska", Buddy joue avec un organiste et un guitariste un jazz dans l'esprit de Jimmy Smith & Wes Montgomery, qui rappelera le "Rainy Day Shuffle" aux amateurs de
Jimi - en plus abouti.



"I Still Love You, Anyway", est une composition de Charlie Karp, son nouveau guitariste alors âgé de seulement 15 ans, dont voici le témoignage de sa rencontre avec Buddy (et de la première
partie du concert de Jimi au LA Forum en 1970) :

http://www.charliekarp.com/karpix/Catching%20Karp.pdf

Plus folk, sans batterie, elle montre à quel point Buddy pouvait être un superbe chanteur, même là où on l'attendait pas forcément.



"Them Changes" ? Un grand disque.

Tracklist :

1. Them Changes - 3:19

2. I Still Love You, Anyway - 4:12

3. Heart's Delight - 4:07

4. Dreams - 4:51

5. Down By The River - 6:20

6. Memphis Train - 2:55

7. Paul B. Allen, Omaha, Nebraska - 5:31

8. Your Feeling Is Mine - 2:13

http://en.wikipedia.org/wiki/Garnet_Mimms

Origine du Groupe : North America

Style : Soul Blues

Sortie : 1958-1967

From http://avaxhome.ws



Garnet Mimms & The Enchanters



During the Kennedy era, the pop charts accommodated the occasional piece of early soul, but pretty much all of them were recordings that fit snugly into the realm of mainstream pop. (Don Gardner
& Dee Dee Ford’s "I Need Your Lovin’" in 1962 was a notable exception.) However, in July of 1963, a song came out that was so gritty, emotional and gospel-like, its pop chart peak of #4 was
nothing short of a miracle. That song was "Cry Baby" by Garnet Mimms & The Enchanters.

Garnet Mimms was born Garrett Mimms in Ashton, West Virginia, on November 26, 1933, one of seven children. When he was a young man, the Mimmses moved to Philadelphia. Like so many other deep soul
singers, Garnet (as he liked to be called) received his earliest musical experience in the church. His mother was an accomplished pianist who also sang in the choir and nurtured her son’s
interest in singing.

Mimms attended Gratz High School, after which he began working at a laundry. That did not last long, however, as he followed his real calling by joining gospel quartets. All his associations were
brief and he never recorded with any group. He was, however, with two Philadelphia groups, the Norfolk Four and the Evening Star Quartet, and later sang with the Harmonizing Four and the
Sensational Nightingales. Garnet’s time on the gospel road put him in touch with two other singers, Sam Bell and Charles Boyer, who both would play a role in the Enchanters.

During a two-year stint with the Army, Mimms formed an R&B group called the Deltones. Upon his discharge in 1958, he sought out his old friend Sam Bell, and started a group called the
Gainors, whose line-up also included Howard Tate (q.v.). In July of 1958, the Gainors made their first record, for the Red Top label in Philadelphia, who leased the master to Cameo. The Gainors
got a regional hit out of "The Secret." Subsequent affiliations with the Mercury (1959-60) and Tally-Ho (1961) labels produced no further success.

In 1961, Mimms and Bell disbanded the Gainors and built a new ensemble by teaming up with their old friend Chares Boyer and a distaff member, Zola Pearnell, who had considerable choir experience.
They called themselves Garnet Mimms & The Enchanters to emphasize what they felt was the strength of the group, namely Mimms’ incredible voice. The new group auditioned for the
Philadelphia-born record producer Jerry Ragovoy, who by this time had relocated to New York City. Ragovoy was impressed enough to work with them.

Although the first recordings were billed as "Garnet Mimms & The Enchanters," Ragovoy actually used the Sweet Inspirations as the background singers. In 1963, they went into Bell Sound and
created "Cry Baby." Ragovoy took it to a number of record companies, but because the record was so unusual for its time, they all turned it down. Finally, United Artists picked up the single and
released it in July. "Cry Baby" debuted on the Billboard Hot 100 on August 17, 1963, and made the R&B chart on September 7th. By October, it had reached #4 pop and #1 R&B—and the soul
era, thank god, was finally upon us. (Janis Joplin, by the way, covered "Cry Baby" on her album Pearl.)

Mimms’ follow-up single, "Baby Don’t You Weep," was essentially a rewrite of "Cry Baby" that reached #30 pop. (By this time, Billboard had temporarily ceased publication of its R&B chart.)
The flip, a remake of Jerry Butler’s "For Your Precious Love," did even better, peaking at #26. That fall, United Artists also released the album Cry Baby and 11 Other Hits, a genuinely good LP
with little filler that reached #91 in Billboard. (The Who covered "Baby Don’t You Weep" in 1965.)

By 1964, Beatlemania was upon us, and deep soul would have to wait a couple of years to reach the pop top ten again, with Percy Sledge’s "When A Man Loves A Woman." Garnet Mimms & The
Enchanters felt the sting of the British Invasion, and only made the pop top forty once more, with "I’ll Take Good Care Of You" (#30, 1966). From 1968-70, Mimms (now sans the Enchanters) and
Jerry Ragovoy recorded without success on Verve.

In the meantime, Garnet Mimms had achieved a cult following in England, where he made eleven tours, one of which (in 1967) saw him opening for the Jimi Hendrix Experience. Mimms left Ragovoy
1970, and subsequently recorded for Lloyd Price’s GSP label in 1972, but again without success. In 1977, Mimms returned briefly to the charts with a funk tune called "What It Is?"





Tracklist :

01. there goes my baby

02. tell me, baby

03. lookin' for you

04. prove it to me

05. a little bit of soap

06. that goes to show you

07. a quiet place

08. look away

09. every time

10. as long as i have you

11. it was easier to hurt her

12. stop, and think it over

13. thinkin'

14. keep on smilin'

15. nobody but you

16. so close

17. cry to me

18. angel on the doorstep (unavailable)

19. one woman man

20. cry baby

21. for your precious love

22. baby, don't you weep

23. one girl

24. i'll take good care of you

25. welcome home

26. until you were gone

27. the truth hurts

28. wanting you

29. it's just a matter of time

http://www.discogs.com

Origine du Groupe : North America

Style : Soul

Sortie : 1975

By Joe Tangari from http://pitchfork.com



Buried somewhere down in the footnotes of the story of Stax Records is 24-Carat Black, one of the final acts to record for the label before it crumpled under the weight of debt and ceased to be
in 1975. Their lone album, Ghetto: Misfortune's Wealth, is a soul obscurity revered by DJs and a certain stripe of crate digger. It was an expensive record to make, and it's safe to say it didn't
recoup, flopping big time on its release in 1973. One wonders if anyone, including the band's leader, Dale Warren, expected it to succeed. It's a desolate, bleak concept record about ghetto life
with virtually no pop moves and plenty of sermonizing about socio-economics. Not a recipe for chart-busting.



There's something very of its time about 24-Carat Black. They were a kind of loose collective in the early 1970s, a moment when the Civil Rights movement had achieved most of its tangible goals
and had to contend with harder things than laws, like ingrained prejudice and systemic inequality. Ghetto: Misfortune's Wealth was a record that spoke to the moment, but unfortunately spoke to
almost no one. Even as Stax foundered and his record disappeared without a trace, Warren kept the band going, recording with two different lineups (one with 13 members, the second with 14
members) for the next couple of years in an attempt to craft a suitable follow-up. He made about 20 recordings, of which only six survive today-- the Numero Group guys found them by accident,
cleaned them up and sequenced them like a 24-Carat Black sophomore album that never was.



From the 37 minutes of music here, Warren seems unperturbed by the first LP's commercial demise. He's moved on from the ghetto narratives and songs of struggle on Misfortune's Wealth, dipping
back to reinvent a few songs he'd written for other Stax acts in the 60s and moving forward with new ones built around romantic relationships. Here he's exploring desire and heartbreak with the
same ear for lonely desperation, fluid arrangements and restraint that he showed on the band's album. It grooves, but not in a dancefloor sense-- "I Don't Love You" has a funk-spiked jazz
underpinning, with lots of lead sax to back Princess Hearn's chilly soul wail. He brings the easy soul groove of "I'll Never Let You Go" to a simmering climax, only to drop the rhythm for the
cooing, oohing, aahing breakdown, supplying what could have been a gooey sex jam with a cold, minimal backing. It's totally counterintuitive, but it works. The singer is sultry and desirous, but
also possessive and demanding-- a valediction of the fact that love gone bad can still feel uncannily good.



Love's just gone bad on "I Want to Make Up", a desolate duet of sorts that finds the female singer sparring with a spoken male vocalist who coldly dismisses her, walking out as the song ends,
leaving her with just a few spectral harmonies for company. "The Best of Good Love Gone" is nearly a straightforward 70s soul song, with Jamerson-style bass and great, subtle drumming, but it
cops a lot from jazz and psychedelia, taking on a character of its own that's clearly 70s, but has aged quite well. The epic closer, "I Begin to Weep", opens with funky choral grandeur, but
collapses in a heap seven minutes in, leaving vocalist Robert Dunson to wander through a landscape of droning organ, whispering and mumbling to himself as drums call out into the emptiness with
repeated patterns.



Warren's music could be high-concept, but unlike 24-Carat Black's one true album, this stuff is approachable on a purely emotional level. In some senses, Gone: The Promises of Yesterday bests
Ghetto: Misfortune's Wealth, but the two records are ultimately too dissimilar for a direct comparison to be of much use, especially considering how few people have actually heard Misfortune's
Wealth. As a sort of long-delayed follow-up, this disc delivers easily, and it's bound to please fans of early-70s conscious soul-- think Isaac Hayes, Boscoe, the Pharaohs, Black Renaissance, and
even the Temptations to get your bearings. Then dive into the singular musical world of Dale Warren. It's an interesting place, even after all those years of moldering in the basement.

 

Tracklist :

01. Best of Good Love Gone 5:40

02. I Want to Make Up 6:39

03. I Don't Love You 2:17

04. I'll Never Let You Go 5:11

05. Gone the Promises of Yesterday 5:57

06. I Begin to Weep 11:49

http://www.myspace.com/flosmedicineshow

Origine du Groupe : U.K

Style : Jazz , Bebop , Blues Soul

Sortie : 2011

By Ian Johnston from http://louderthanwar.com



Quick, call the fire brigade. Having caused a succession of sizable tremors on the London gig circuit, consistently confounding expectations and drawing an ever-wider audience, the superb
Florence Joelle’s Kiss of Fire combo finally release their eponymous red-hot debut LP. Drawing upon classic whacked-out America roots music and injecting it with her own je ne sais quoi, Florence
Joelle and her highly distinguished ensemble (featuring the notorious leftfield occultist filmmaker Arthur I Walked With A Surrealist Lager on spooked voodoo drums and Flaming Star stalwart Huck
Whitney playing mercurial lead guitar) have fashioned a sound that is simultaneously timeless and yet entirely current. A neat trick if you can pull it off, and Florence Joelle’s Kiss of Fire
have done it with acres of style to spare.



Whether on the inspired covers (early jazz/swing drummer Chick Webb’s Mary Jane suffused ‘When I Get Low I Get High’ and the benchmark 1950s rhythm & blues opus ‘Unchain My Heart’) or
Joelle’s highly evocative original compositions (the opening propulsive statement of intent – with Lager freely channelling Sandy Nelson and the zombie beat of Nick Knox – ‘Hell Be Damned And
Look Out (You May Only Live Once)’, Latin flavoured ‘Watermelon Gin’, the rockabilly empowered ‘Never Thought I’d See The Day’, the licentious rhumba influenced ‘Gypsy Boy’ and the yearning
‘Stardust Merchant’), Florence Joelle’s Kiss of Fire ignite passion, drama and dancing feet. Florence Joelle’s Kiss of Fire act as an intoxicating conduit between such vital contemporary figures
such as Marc Ribot’s Los Cubanos Postizos, John Zorn, Chuck E. Weiss and Tom Waits with French chanson, vintage rock ‘n’ roll, loungecore and enduring jazz standards. In short, Florence Joelle’s
Kiss of Fire is one hell of a heady brew that should be imbibed in one sitting.



Perhaps even more importantly, Joelle’s wonderfully fractured and totally unaffected emotive voice speaks of experience and of a life lived to the hilt. The highs, the lows, the agony, the
ecstasy – its all here, unadorned, unfettered and cut loose by a committed bon viveur. Florence Joelle is a very welcome antidote to the bland and airbrushed female vocals that currently infect
popular music of every shade. As a girl growing up in Paris, Florence obviously collected and listened to early blues, doo-wop and 50s rock ‘n’ roll. She has distilled these influences, together
with the Parisian street music of bal musette and North African rai, into her own potent form of musical expression, powered by Lager’s bad juju percussion and Whitney’s angular guitar lines. If
you dig Gemma Ray or Richard Hawley, you should definitely find Florence Joelle’s Kiss of Fire dramatic widescreen sounds highly combustible stuff. Vive la difference!

Tracklist :

1. He'll Be Damned And Look Out (You May Only Live Once)

2. Stardust Merchant

3. When I Get Low I Get High

4. I'll Come Running

5. Gypsy Boy

6. True To Myself

7. Watermelon Gin

8. Unchain My Heart

9. Never Thought I'd See The Day

10. The Look In His Eyes