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Andre Williams - Aphrodisiac
Pravda Records
Recorded with The Diplomats of Solid Sound as his
backing band, Williams manages to create one of the most sleazy,
greasy R&B/Soul records of the past decade. There is no big
career revival/concept bullshit going on with this album, just a
great soul album from an artist who has been slogging it out for
years without the proper respect, though people are now starting
to be turned on to him thanks to his string of great records
starting in the '90's that continues to this day.
A true R&B legend, Williams was born in 1936 and hit
his first musical stride in the '50's when he became a noted
songwriter and producer, with his most notable cut at that time
being his production of "Shake a Tailfeather" by the Five
Dutones. Simultaneously building a name for himself as an
artist, Williams recorded a plethora of singles for the Fortune
label which didn't really make the national charts but sold
quite well regionally, allowing Williams to keep working and
building his name so he could grow the production and
songwriting aspects of his career. It is during this time that
he recorded his signature song "Bacon Fat," which featured
Williams talking over the music instead of singing. Sensing a
good gimmick, Williams has kept this style for the most part and
has picked up a lot of acclaim as being a pioneer of rap music.
Jumping to Motown Records for awhile in the early '60's,
Williams' career stalled and he wrote a few B-sides and got a
few singles released but, for the most part, was locked in limbo
for the better part of five years. He next jumped to Chess where
he released a bunch of singles and kept up his production work
for other artists at other labels. Eventually deciding to join
Ike Turner's band, by the time Williams left Turner some 18
months later Williams was a near-helpless junkie with a derailed
music career. Sadly, he stayed on the fringe of the music
business for years until he got back into music full-time in the
'90's, having finally shaken off his self-destructive habits and
dedicating himself anew to his musical pursuits.
Releasing more albums in the past fifteen years then
he did during the previous forty, Williams shows no signs of
ever slowing down, using his street pimp/hustler persona as an
endless fount of song grist. Nothing proves that more than the
groovy funk Williams lays down masterfully on this CD. More
soulful than raucous, Williams returns to the Good Foot, leaving
his recent garage rock excursions behind. Though this record
displays less of the sex-crazed Williams than his last few
albums, that dynamic allows this record to become the most
accessible disc Williams has released since his comeback. The
organ-groove combo Diplomats of Solid Sould do not disappoint
either, giving Williams' slightly frayed vocals a confortable
bed of deep, deep soul to lay on as they work their hoodoo. The
only negative aspect of the album is its' mere twenty-nine
minute running time. Though it's always better to have an album
leaving you wanting instead of overstaying its' welcome, when
you hear soul music this good you never want it to end.
This album is going to be adored most by fans of
gutbucket, raw soul who don't mind having a great rock band in
the background making it a little bit edgier. Don't think Curtis
Mayfield, Marvin Gaye or D'Angelo. Think instead of James Brown
or Don Covay with the Funk Brothers backing them back in the
late '60's when all were at the very height of their powers.
This is a delightful soul album with which you should become
very well acquainted. Pick it up. - Scott Homewood
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