Review: Tramp Records has stayed close to home for this release, reissuing two killer cuts from the 1981 album "Mittwochs In Marl" album by Tyree Glenn Jr. While he is American - his father, Glenn senior, was famously Duke Ellington and Louis Armstrong's trombonist - Glenn Jr had moved to Germany (where he still resides) around the time that the album was recorded. Lead cut "Superbad" is a genuinely heavy, full-throttle funk beast, with Glenn Jr doing his best James Brown impression over an insatiable groove and rousing sax solos. "Ma(r)l Sehen", on the other hand, is a much more breezy affair - an instrumental jazz-funk outing rich in dueling sax and electric piano solos.
Review: George E Johnson's "Wake Me Up" is another of those killer funk rarities that very few people know about. It was released at some point in the dim and distant past on C.R.S Records, a deep funk imprint from Philadelphia that will soon be the subject of a Tramp Records compilation. This reissue, then, is something of a teaser for that set. "Wake Me Up" is a suitably heavy number, with George E Johnson delivering an impressively impassioned lead vocal over a fuzzy, intoxicated groove rich in distorted guitars, psychedelic-era Hammond organ licks, snaking sax lines and bustling drum-breaks. B-side "The Penn Walk" strips out Johnson's vocal, allowing the backing band's killer instrumentation to really shine.
Review: "Sweet Tea (With My Sweetie)" was originally destined for inclusion on Lucky Brown & The SG's 2018 album "Mesquite Suite", but for one reason or another ended up getting cut. Happily, Tramp Tapes has decided to make it available as a 7-inch single instead. As with previous Brown excursions, the title track sounds like it was recorded sometime in the late 1960s, with authentically fuzzy production, punchy horns, Meters style Hammond licks and sweet, eyes-closed guitar riffs riding a loose but punchy funk-soul groove. "More Sweet Tea" sees the assembled band offer up a jazzier, solo-heavy instrumental revision of the title track that's even dustier and heavier than the A-side.
Review: Tramp Records' latest vital reissue delves into the back catalogue of the Reggie Saddler Revue, a largely little known funk combo that released a handful of 45s at the start of the 1970s. This double A-side brings together two killer cuts that originally appeared on different 7" singles, both of which are now near impossible to find. A-side "Raggedy Bag" is raw, weighty and impassioned - a scorching slab of deep funk that more than lives up to its high reputation amongst collectors. Over on the flip you'll find "Love Is Just Like A Baseball Game", a sweeter and more loved-up affair blessed with superb vocal harmonies that's nevertheless impressively fuzzy.
Review: George Brown (Vocals, Bass) Johnny Prejean (Drums), Charles Conrad Greenway (Vocals, Keyboards) Cliff Faldowski (Guitar) and Henry Boatright (Sax) made for quite the ensemble under their Soul Brothers Inc moniker, a project that ran from the late 60s through to the mid 70s and one which defined the Texas soul sound thanks to countless releases through the infamous S.B.I. Records. "Put It On Him" and "Go On & Have Your Fun" featured on one of the 7" singles that the band put out in 1971, and they still sound as fresh and as funky today as they did back then. Most importantly, both tunes have a very definite 'Texan' sound running through them, nodding to a country living that could not be matched by artists from Detroit or Philadelphia. It's their city, their vibe, their sound - and it sounds damn fine.
Review: As part of the label's 15th birthday celebrations, the Tramp Records crew has decided to serve up some seriously heavy deep funk. Given that the imprint first found fame championing similarly weight, B-Boy-friendly funk jams, it's rather fitting. The two showcased tracks come courtesy of St Petersburg band the Vicious Seeds, who have slowly been picking up plaudits since making their vinyl debut in 2016. A-side "Illegal Delivery" is something of a dancefloor beast, with razor-sharp guitars riding sweaty, all-action funk drums and a booming, metronomic bassline. "Happy Lobster", on the other hand, is a little more relaxed but no less potent, with the Russian combo wrapping jazzy guitar motifs around a bustling groove.