Johnny Bristol - Bristol's Creme - 1977 - Atlantic

Johnny Bristol is, in my mind, very much an unsung hero when his name should be a household name. Many people, many households own music from the pen of this great, great man yet do not know he existed. I suppose where quality 'black' artists go that's no surprise. 'Twas always thus, sadly. Following a glittering writing career with Motown in the 60s and early 70s, Bristol sided with MGM, Polydor then Atlantic in the mid 70s and created a whole series of quality albums that are, at least, cherished by the connoisseurs of the soul world. He's another artists that a "Best Of" compilation, however valiant the attempt, could in no way represent the man's work. To get a taste of Johnny Bristol, we got to have it all. Thankfully, Universal Japan along with P-Vine have covered the man's 1970s solo albums for Polydor and Atlantic, and Hip-O have compiled his complete MGM work so between them all you can acquire a huge slice of one of the greatest all-round artists ever to grace our beloved music scene.

As you will soon gather from the great tune below, "Do It To My Mind" is inescapably brilliant. This cool midtempo number is one that should already have won a place in your heart and it's great to own this on CD. This remains one of my favourites from the 1970s. Simply magic. "I Sure Like Groovin' With Ya" is also a fantastic track which should be appreciated at the same level. Play this loud. The strings, almost Barry White in orientation are simply superb on this two-step monster. I NEVER tire of tracks like these two. The rest of the album is on an equal footing, I assure you, although much more downtempo. The smooth, sax-drenched plodder "I Love Talking About Baby" borrows a lighter Barry White style, especially with regard to the strings and the gentle, yet sturdily pounding rhythm recounts an erotic liaison between Johnny and his Lady. Lucky whatsit! LOL. Young RnB artists please take note how subtle, poetic and erudite this is handled. Think you can match this? No, me neither. That aside, the superb "She Came Into My Life" is very fresh indeed, and could have been recorded at the turn on the 1980s. This is the best thing about timeless music - it ALWAYS sounds new, so the relevance of these tracks will never escape us.

Barry Towler
The Vibe Scribe

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Michael Henderson - Goin' Places - 1977 - Buddah

'He's brilliant - A tasteful, inventive musical genius with a voice that's a unique instrument'. If Roberta Flack had made this comment about me I would be very happy indeed. Michael Henderson is one of my idols and I make no apology for loving this man's soulful vocal work. He is a complete artist: a virtuoso bass player, a refreshing writer and as the L.A. Times accurately pained, 'as remarkable a singer and showman as he is an instrumentalist. The biggest names in the music business also look up to this towering man. He's worked with the likes of Norman Connors, Phyllis Hyman, The Dramatics, Aretha Franklin, Stevie Wonder, Mick Jagger and - of course - Miles Davis. This sublime piece of sultry 70s soul has always been close to my heart, and my only wish is that they would be re-issued on CD. The Right Stuff brought them out back in 1994 but with less than inspiring artwork. This man and these albums deserve a serious reissue project which is crafted out of love and respect.

Of the album itslef, I really feel the balladry more than the uptempo material. Tracks such as "Whip It" were good in their day, but I believe the following choices have, without question, outlasted them. Take the title track as an example. Vocally, Michael is at the top of his smooth game and the use of a string arp, acoustic piano and Fender Rhodes seal this as a well-crefted and delivered slice of 70s soul. My favourite is the smoocer "Let Me Love You", complete with Herbie Hancock on Fender Rhodes, Ray Parker, Jr on guitar and Ollie Brown on percussion. Michael himself adopts his powerful Bass skills and the result is humbling. I wish he would get back to the studio to record material like this today. "I Can't Help It" is another smash for me, Michael utilising a serious vocal scale, dropping from a rich, resonant bass one minute to a sweet tenor the second. The stars also come out to shine on "At The Concert" - Roberta Flack, Gwen Guthrie sand Ullanda McCullough boosting Michaels soul power by real magnitude on this deliciously jazzy number. If ever you need to remember how great the 70s was, aside from the Disco nonsense, then dig this album out and give it a spin.

Barry Towler
The Vibe Scribe

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Syreeta - One To One - 1977 - Motown

Motown was going through a very disorientating patch in the 1970s - as was the music scene generally, but they managed to slip out some real soulful nugget aside the throwaway Disco / skater grooves that were so prevalent at the time. Syreeta was but one of those quality releases and along with Motown staff writer and solo artist Leon ware, and husband Stevie Wonder gave us this solid, solid album. I highly rate every single track on here - even "Harmour Love" which I simply love for the sheer simplicity, joy and fun of it. I know many may cringe at this song but it's actually a great Stevie Wonder song and it appeals to a wide range of people - my 2 young children LOVE this song and there is almost a childish approach to it that makes it, I guess, so approachable and likable. The rest of the album though is very much what you would expect from the Master of sensuality, Leon Ware. On the opening track which immediately sounds like a Spinners track, Syreeta's voice is nothing short of Angelic. I wish I had met the woman as the feeling I get from her voice is gentleness, an abundance of joy and compassion. As I said, Angelic. Leon Ware's credentials are strong and his additional backing vocal adds more esteem. This track is given a chunkier reprise too, and I have to say that though these tracks are good, they are not the highlights!

I recently reviewed "Leon Ware And Friends", the latest Expansion release, and on there you will find the stylish "I Don't Know". More laid back is the gentle canter of "Rest Yourself", vocals projecting effortlessly yet unrestrained in only the way Syreeta knew how. If you like FUNKY then the luscious and tribal groove of "Tiki Tiki Donga" should be funky enough for you, with an arsenal of reverberating percussion, a full string section and Leon Ware throwing in various vocal effects this track is simply a monster, and different to boot. Highlighting how perfect a match Leon was for this Lady as well as Minnie Riperton, "Don't Cry" fits both singer and producer like a velvet glove. Nothing, though can stand you in stead for the album highlight, "I Too Am Wanting". I have heard this track called 'mournful' but in no way can it be called that. It is sheer soulful beauty and perfection. I rate this as one of Leon Ware's finest delicacies, along with other gems such as "Deeper Than Love" this man is at his best when entering the deepest, most sensual and personal parts of out soul. This man connects at such a deep, quantum / spiritual level. Syreeta is the only vocalist who could ever have pulled this master stroke off. I don't think that even dear old Minnie could have done this. There is a sensitivity, a deep aching urgency so restrained that only a gentle Angel of Syreeta's disposition could pull it off. The genius of Ware knew this, and if you check out the sample below you should feel cold all over by the end of the track. If that's not a great record I really don't know what is!

Barry Towler
The Vibe Scribe

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Ramp - Come Into Knowledge - 1977 - ABC

RAMP, or Roy Ayers Musical Production, released this rare LP on ABC Records in 1977, and rare it remained until Verve reissued this album on CD a few years ago. The album was highly sought after for the song "Daylight" which was a favourite of the Hip-Hoppers in the late 80s / early 90s. My favourite usages were A Tribe Called Quest in 1990 on their fun "Bonita Applebum" and later Shades in 1996 with "What Would You Do". Not at all surprising that there was a rush in interest for this song, and sadly the breakbeat hunters pushed the price of the LP up and up. Still, it's on superior CD now and a LOT cheaper! RAMP were comprised of John Manuel on drums and percussion, lead vocalists Sharon Matthews and Sibel Thrasher, bassist Nate White and Landy Shores on guitar. And all these under the wings of Roy Ayers, William Allen and the mighty funky Edwin Birdsong.

"Daylight" aside, we have a strong album with a strong Roy Ayers flavour though Roy is noticeably absent from the music. No vocals, no vibes yet we know who's hand is at the tiller. Roy has a certain mode of singing, almost deadpan in places, and the fine Ladies here certainly stick to this formula very well. They harmonise in the same scale as Roy sings, and this is clear with all of Roy's work through the decades. "I Just Love You" is great and would appeal to fans of 80s Ladies, the reworking of "Everyone Loves The Sunshine" is good, but not as good as Roy's original. However I love the eerie synths used at this period of time and this track certainly makes use of one or two of those. I am totally in love with the title track of this album, the vibe is similar to "Daylight" so cannot fail to lose. "Daylight" Itself makes me feel like I'm floating on a warm, comfy cloud. The quirky keys and haunting synths on here, along with the funky guitar take this track to a completely different dimension. One of Roy Ayers most memorable and desirable tracks. This album is a dream.

Barry Towler
The Vibe Scribe

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Greg Perry - Smokin' - 1977 - RCA

If you love Ben. E. King's "Let Me Live In Your Life" album then you will automatically love this album. The set was chiefly best known for the wonderful "How's Your Love Life Baby", quickly covered by Eddie Kendricks on his "Vintage '78" album a year later. I love both versions of the song, and both are worth owning. I really like this album, and prefer it to his earlier album, "One For The Road". I wish Soul Brother or Expansion would release this gem as I am sure the demand is there for it. For lovers of a funky beat with plenty of horns then "Where's There's Smoke (There's Fire)" would be an obvious choice, and "(I Can See The) Handwriting On The Wall" has Greg sounding very much like his brother, Jeff Perry. This is a really great track with a great chorus, but that said they pale in comparison to the KILLER tracks I'm about to shed light on.

"I'll Always Be In Love With You" will knock you for six. Trust me - play the sound sample below and listen to the whole darn track. Seventies soul rarely comes stronger than this morsel, and Perry really has a ball on this midtempo effort. There is a brilliant spaced out funky synth break over which Greg vocalises alongside a flute. Oh yes!!!!! This is what makes our music so wonderful! Let's get moving and get this on CD ASAP! Skipping a track we arrive at the soaring "Come Fly With Me"...don't let this one escape you. It's a real dream of a track and when it segues into "Let's Get Away From It All" with THAT spacey synth again and a very sexy femme adding he moans and groans you are in for a real treat! The cantering beat and flute swirl with keyboard effects is a sensual, soulful vibe. I always reserve songs like these for chilling out at the beach on a hot summer's day. The perfect setting for such music. I also think that if you love Marvin Gaye's "I Want You" set then these tracks will definitely appeal. OK, this is not a dirt cheap album but where tracks like this are concerned it is only money!

Barry Towler
The Vibe Scribe

Buy Rare Greg Perry CDs and LPs at MusicStack