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Street Lady
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Street Lady
Current price: $12.99
Barnes and Noble
Street Lady
Current price: $12.99
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Size: CD
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Not so much a fusion album as an attempt at mainstream soul and R&B,
Street Lady
plays like the soundtrack to a forgotten blaxploitation film. Producer/arranger/composer
Larry Mizell
conceived
as a concept album to a spirited, independent prostitute, and while the hooker with a heart of gold concept is a little trite, the music uncannily evokes an urban landscape circa the early '70s. Borrowing heavily from
Curtis Mayfield
,
Isaac Hayes
, and
Sly Stone
Donald Byrd
and
Mizell
have created an album that is overflowing with wah-wah guitars, stuttering electric pianos, percolating percussion, soaring flutes, and charmingly anemic, tuneless vocals. It's certainly not jazz, or even fusion, but it isn't really funk or R&B, either -- the rhythms aren't elastic enough, and all of the six songs are simply jazzy vamps without clear hooks. But the appeal of
is how its polished neo-funk and pseudo-fusion sound uncannily like a jive movie or television soundtrack from the early '70s -- you can picture the Street Lady, decked out in polyester, cruising the streets surrounded by pimps with wide-brimmed hats and platform shoes. And while that may not be ideal for jazz purists, it's perfect for kitsch and funk fanatics. ~ Stephen Thomas Erlewine
Street Lady
plays like the soundtrack to a forgotten blaxploitation film. Producer/arranger/composer
Larry Mizell
conceived
as a concept album to a spirited, independent prostitute, and while the hooker with a heart of gold concept is a little trite, the music uncannily evokes an urban landscape circa the early '70s. Borrowing heavily from
Curtis Mayfield
,
Isaac Hayes
, and
Sly Stone
Donald Byrd
and
Mizell
have created an album that is overflowing with wah-wah guitars, stuttering electric pianos, percolating percussion, soaring flutes, and charmingly anemic, tuneless vocals. It's certainly not jazz, or even fusion, but it isn't really funk or R&B, either -- the rhythms aren't elastic enough, and all of the six songs are simply jazzy vamps without clear hooks. But the appeal of
is how its polished neo-funk and pseudo-fusion sound uncannily like a jive movie or television soundtrack from the early '70s -- you can picture the Street Lady, decked out in polyester, cruising the streets surrounded by pimps with wide-brimmed hats and platform shoes. And while that may not be ideal for jazz purists, it's perfect for kitsch and funk fanatics. ~ Stephen Thomas Erlewine
Not so much a fusion album as an attempt at mainstream soul and R&B,
Street Lady
plays like the soundtrack to a forgotten blaxploitation film. Producer/arranger/composer
Larry Mizell
conceived
as a concept album to a spirited, independent prostitute, and while the hooker with a heart of gold concept is a little trite, the music uncannily evokes an urban landscape circa the early '70s. Borrowing heavily from
Curtis Mayfield
,
Isaac Hayes
, and
Sly Stone
Donald Byrd
and
Mizell
have created an album that is overflowing with wah-wah guitars, stuttering electric pianos, percolating percussion, soaring flutes, and charmingly anemic, tuneless vocals. It's certainly not jazz, or even fusion, but it isn't really funk or R&B, either -- the rhythms aren't elastic enough, and all of the six songs are simply jazzy vamps without clear hooks. But the appeal of
is how its polished neo-funk and pseudo-fusion sound uncannily like a jive movie or television soundtrack from the early '70s -- you can picture the Street Lady, decked out in polyester, cruising the streets surrounded by pimps with wide-brimmed hats and platform shoes. And while that may not be ideal for jazz purists, it's perfect for kitsch and funk fanatics. ~ Stephen Thomas Erlewine
Street Lady
plays like the soundtrack to a forgotten blaxploitation film. Producer/arranger/composer
Larry Mizell
conceived
as a concept album to a spirited, independent prostitute, and while the hooker with a heart of gold concept is a little trite, the music uncannily evokes an urban landscape circa the early '70s. Borrowing heavily from
Curtis Mayfield
,
Isaac Hayes
, and
Sly Stone
Donald Byrd
and
Mizell
have created an album that is overflowing with wah-wah guitars, stuttering electric pianos, percolating percussion, soaring flutes, and charmingly anemic, tuneless vocals. It's certainly not jazz, or even fusion, but it isn't really funk or R&B, either -- the rhythms aren't elastic enough, and all of the six songs are simply jazzy vamps without clear hooks. But the appeal of
is how its polished neo-funk and pseudo-fusion sound uncannily like a jive movie or television soundtrack from the early '70s -- you can picture the Street Lady, decked out in polyester, cruising the streets surrounded by pimps with wide-brimmed hats and platform shoes. And while that may not be ideal for jazz purists, it's perfect for kitsch and funk fanatics. ~ Stephen Thomas Erlewine
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