This reissue of a classic underground Paris Latin jazz/funk album is welcome to the hundreds who have sought it out at unbelievably high prices on the collector's market. Recorded in 1970 and issued by Barclay in 1971, Paris Soul is an album that wears the test of time well. The steaming orchestral arrangements by Evaristo Nata's steaming orchestral arrangements blends some Afro-Cuban flavors (such as the Santana tribute "Salute to Santa," on which they bite a chunk from "Oye Como Va" and bend it into a near salsa jam), some Brazilian samba, Memphis soul, and post-bop jazz soloing to achieve a smoky, sexy, funky groove. There are 120 tunes here, and all of them are deep, fat, and greasy with groove. The band members, apart from their arranger, are anonymous, but it hardly matters; this isn't the kind of record you're going to put on to analyze what's happening musically. While it's complex and beautiful, you'll be throwing this on either at home or the party in order to move on the dance floor.
Funky female soul galore – a killer set of rare tunes that's one of the best sets of this type we've ever stocked! The SuperFunk crew at BGP have gone through the rich array of labels handled by the company – pulling out some massive tunes that really push our understanding of female soul – taking things way past the obvious hits and girl group numbers, into hard and heavy-stepping territory that we really love!
It was much to soul singer Spanky Wilson's surprise – she didn't realize she had had such an impact – when British multi-instrumentalist/producer Will Holland contacted her in her Los Angeles home in 2004, professing his love of her music and wondering if she'd collaborate with him. Still, she agreed to go the studio, and together they did two songs, "Don't Joke with a Hungry Man" and "When You're Through," for Holland's solo project, Quantic, on the album Mishaps Happening. That collaboration worked out so well that they decided to make an entire record together, this time with Holland's full band, the Quantic Soul Orchestra. Wilson's lovely voice is the centerpiece of I'm Thankful, and it does show a bit of its age, but only in the best of ways, deepening it and giving it an added measure of credibility and authenticity while still preserving its expressiveness and strength. Attesting to Wilson's tremendous ability is the fact that the record is very intimately and sparsely produced, making it seem as if the singer is almost in the room right with the you, the sometimes raspy and breathy line endings audible in that professional, practiced way.