After debuting with 1973's excellent but neglected Show Your Hand (later reissued as Put It Where You Want It), the Average White Band switched from MCA to Atlantic and hit big with this self-titled gem. Upon first hearing gutsy, Tower of Power-influenced funk like "Person to Person" and the instrumental "Pick Up the Pieces" (a number one R&B hit), many soul fans were shocked to learn that not only were the bandmembers white – they were whites from Scotland. Like Teena Marie five years later, AWB embraced soul and funk with so much conviction that it was clear this was anything but an "average" white band. This album is full of treasures that weren't big hits but should have been – including the addictive "You Got It," the ominous "There's Always Someone Waiting," and a gutsy remake of the Isley Brothers' "Work to Do." [When Rhino reissued AWB on CD in 1995, an edited live version of "Pick Up the Pieces" recorded at the 1977 Montreux Jazz Festival was added. (The full-length version had been included on Rhino's 1994 reissue of Warmer Communications.)[/quote]
With a unique sound drawing from early funk and Motown sounds, Average White Band might be one of the most inaccurately named bands in history (especially considering both their percussionists are black). Hailing from Scotland, Average White Band's fast songs sound like the Funky Meters and their slow songs sound like old Motown. While they wear their inspirations on their sleeves, they still managed to develope a very unique sound, laying down some really great funk grooves. This performance at the Montreux Jazz festival in 1977 comes shortly after their best known albums, and contains quite a few of their biggest hits. Admittedly, Average White Band isn't the most poetic of songwriting teams, even in the soul and funk genres.
Long after the Average White Band disappeared from the charts, its impact was being felt. Hip-hop, urban contemporary and new jack swing artists sampled AWB's '70s classics to death in the late 1980s and early to mid-1990s, and such retro acts as the Brand New Heavies wore AWB's influence like a badge of honor. When Soul Tattoo was released in mid-1997, AWB was a quintet.Longtime AWB fans will be glad to hear how well Gorrie's voice has held up, and they'll definitely find Soul Tattoo to be inspired and satisfying.
Party season has arrived. So it's time to get into the groove and make it a night to remember with the original club classics compilation! Yes. Get funked up with Ministry of Sound and sixty funk fuelled dance floor disco anthems. Get down on it and shake your groove thing to the biggest sounds from The Jacksons, James Brown, Earth, Wind & Fire, Marvin Gaye, Aretha Franklin, Chaka Khan, Kool & The Gang, Diana Ross, Luther Vandross, Cameo, Shalamar, Cheryl Lynn, Lipps Inc, Peaches & Herb, Anita Ward. And the beat goes on!
39 Track compilation featuring artists from Universal & associated labels.
Bonnie Bramlett is the name of one of the single most revered female Blues/Soul/Rock vocalists in music history. Bonnie began her career with the Iketttes, backing Ike & Tina Turner, before gaining international fame with her husband as half of Delaney and Bonnie, the first white group to be signed to the legendary Stax label. Her later solo work included fine recordings with The Average White Band as well as acclaimed acting work in major Hollywood movies. Today the voice that has been called "the greatest white female R&B voice to emerge from rock music" is still piping through vocal chords that have transcended musical styles and genres. With the release of I Can Laugh About It Now, Bonnie reclaims the spotlight. The album features a fine collection of selected covers such as Stephen Stills' 'Love The One You're With' and the Sam Cooke classic A Change Is Gonna Come, a tear-jerkin'-heart-breakin' version of Love Hurts as well as Bramlett originals like the album title track (co-written with daughter Bekka) and 'Gotcha'.
For his second album for the Israeli label Jazzis, Eyran Katsenelenbogen continues his explorations of the solo piano, shortening the link between his classical training and his jazz leanings. This album was issued under his Eyran Kacenelenbogen moniker before he changed it to Katsenelenbogen. The play list is headed by "Piano Improvisation No. 10," a follow-up to the nine piano improvisations on his maiden album, Jazzonettes. This is the longest of this series, running just three seconds shy of 14 minutes, and might be characterized as a summing up of the ideas expressed in the first nine pieces. It is constructed like a classical piano piece, with movements easily identified by changes in tempo. It certainly is a dazzling display of digital dexterity combined with dreamy sequences.