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Sharecropper's Son
Robert Finley
Blues - Released May 21, 2021 | Easy Eye Sound
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Listening to his first two albums, one might imagine Robert Finlay to be a son of Solomon Burke, Al Green or Otis Redding. Or their little brother at least: maybe about fifteen years younger, but with an exceptional, old-fashioned soul voice. Like many others before him (like Charles Bradley, for example), Finlay has come to the music scene late in life, releasing his first album in 2016 at the age of 62, after a whole life spent as a part-time amateur singer. Robert Finley is the son of the sharecropper referred to in the title of this third album, which recalls his rural, modest origins as eloquently as an old cowboy hat or a shirt tucked into jeans. He's a son of the old south, the south of segregation and poverty, a place whose pain stays lodged in the throat and only escapes in song. Now 67, Finley continues to sing like a chiselled old angel, accompanied by Dan Auerbach. The guitarist and singer from the Black Keys, who produced the 2017 album, Goin' Platinum!, also helped create Sharecropper's Son and brought its musicians together. This album is a solid, rooted, hearty slice of life. Like soul food, it settles the stomach and soothes away anxieties. Robert Finley sings of only two things: his story, and his hopes. The end result works and holds together: the music is made in the style of Memphis '68, with brass, bluesy guitars, bass that's as deep as the bayou and lascivious mid-tempos. Played alongside albums like Al Green's Call Me and Solomon Burke's Proud Mary, Sharecropper's Son is totally entrancing, timeless and eternal. © Stéphane Deschamps/Qobuz
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Souled Out
Tower Of Power
Jazz - Released July 31, 1995 | Epic
Tower of Power's Souled Out featured four new members, including a new lead vocalist. However, the change in membership didn't revitalize the band as they churned out the same blend of funk and mid-tempo groovers that they had for years, with only a couple of numbers making any sort of impression.© Stephen Thomas Erlewine /TiVo
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Soul Vaccination: Tower Of Power Live
Tower Of Power
Funk - Released August 3, 1999 | 550 Music - Legacy
The recordings on Soul Vaccination: Live were made during Tower of Power's 1998 tour. It wasn't a reunion tour, since ToP never really went away, but they nevertheless hauled such staples as "What Is Hip," along with selection from latter-day albums. If Soul Vaccination is to be trusted, it was an enjoyable but not particularly noteworthy jaunt through the states. Nevertheless, ToP's playing was supple and lively enough to make it an enjoyable listen for hardcore fans, even if it's not memorable enough to make its way onto the stereo that often.© Stephen Thomas Erlewine /TiVo
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Sharecropper's Son
Robert Finley
Blues - Released May 21, 2021 | Easy Eye Sound
Listening to his first two albums, one might imagine Robert Finlay to be a son of Solomon Burke, Al Green or Otis Redding. Or their little brother at least: maybe about fifteen years younger, but with an exceptional, old-fashioned soul voice. Like many others before him (like Charles Bradley, for example), Finlay has come to the music scene late in life, releasing his first album in 2016 at the age of 62, after a whole life spent as a part-time amateur singer. Robert Finley is the son of the sharecropper referred to in the title of this third album, which recalls his rural, modest origins as eloquently as an old cowboy hat or a shirt tucked into jeans. He's a son of the old south, the south of segregation and poverty, a place whose pain stays lodged in the throat and only escapes in song. Now 67, Finley continues to sing like a chiselled old angel, accompanied by Dan Auerbach. The guitarist and singer from the Black Keys, who produced the 2017 album, Goin' Platinum!, also helped create Sharecropper's Son and brought its musicians together. This album is a solid, rooted, hearty slice of life. Like soul food, it settles the stomach and soothes away anxieties. Robert Finley sings of only two things: his story, and his hopes. The end result works and holds together: the music is made in the style of Memphis '68, with brass, bluesy guitars, bass that's as deep as the bayou and lascivious mid-tempos. Played alongside albums like Al Green's Call Me and Solomon Burke's Proud Mary, Sharecropper's Son is totally entrancing, timeless and eternal. © Stéphane Deschamps/Qobuz
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All Souled Out
Pete Rock & CL Smooth
Hip-Hop/Rap - Released June 11, 1991 | Elektra Records
Popped In Souled Out
Wet Wet Wet
Pop - Released January 1, 1987 | EMI
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The new blue-eyed soul band with a sophisticated sound and two hit singles already under their belts released their debut album, Popped in Souled Out, in the autumn of 1987. All tracks were composed jointly by the bandmembers Graeme Clark, Tommy Cunningham, Neil Mitchell, and Marti Pellow except the James Taylor song "Don't Let Me Be Lonely Tonight." Most of the songs were midtempo including the debut single and album opener, "Wishing I Was Lucky" as well as the two follow-up singles, "Sweet Little Mystery" and "Angel Eyes." The fourth single, "Temptation," was a ballad in the style of Spandau Ballet's "Through the Barricades" and was the least successful of the tracks released as singles. Many of the songs, despite being filled with horns and strings reminiscent of Phil Collins' No Jacket Required era, lacked a distinctive melody, including most of the tracks not released as singles. Thus the album appeared crammed with rather too much filler, although Marti Pellow carried even a tuneless song with his lush soulful voice. Popped in Souled Out hit number two in the charts on its first week, eventually climbing to the very top at the beginning of 1988 and spending the whole of the first half of that year inside the Top Ten. During this run, they released a non-album track, "With a Little Help from My Friends," for the Childline charity, which became the band's first number one single. The album concluded with a live version of their first hit, "Wishing I Was Lucky," which was almost identical to the studio version.© Sharon Mawer /TiVo
The new blue-eyed soul band with a sophisticated sound and two hit singles already under their belts released their debut album, Popped in Souled Out, in the autumn of 1987. All tracks were composed jointly by the bandmembers Graeme Clark, Tommy Cunningham, Neil Mitchell, and Marti Pellow except the James Taylor song "Don't Let Me Be Lonely Tonight." Most of the songs were midtempo including the debut single and album opener, "Wishing I Was Lucky" as well as the two follow-up singles, "Sweet Little Mystery" and "Angel Eyes." The fourth single, "Temptation," was a ballad in the style of Spandau Ballet's "Through the Barricades" and was the least successful of the tracks released as singles. Many of the songs, despite being filled with horns and strings reminiscent of Phil Collins' No Jacket Required era, lacked a distinctive melody, including most of the tracks not released as singles. Thus the album appeared crammed with rather too much filler, although Marti Pellow carried even a tuneless song with his lush soulful voice. Popped in Souled Out hit number two in the charts on its first week, eventually climbing to the very top at the beginning of 1988 and spending the whole of the first half of that year inside the Top Ten. During this run, they released a non-album track, "With a Little Help from My Friends," for the Childline charity, which became the band's first number one single. The album concluded with a live version of their first hit, "Wishing I Was Lucky," which was almost identical to the studio version.© Sharon Mawer /TiVo
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Souled Out
Jhené Aiko
R&B - Released September 5, 2014 | Def Jam Recordings
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In the early 2000s, Jhené Aiko was a B2K associate signed to TUG, the Epic subsidiary operated by Chris Stokes. The teenage singer appeared on B2K projects and numerous compilations and soundtracks, released a solo single, and recorded an album that was shelved. She subsequently left the industry for several years, then resurfaced in 2010 like a new artist -- one with a voice and approach different than squeaky and peppy, less Yummy Bingham's "Come Get It," more Cassie's "Me & U." Featured roles on tracks by Kendrick Lamar and Schoolboy Q boosted her profile and cred, as did a 2011 mixtape that involved the likes of Lamar, Kanye West, Drake, and Miguel. Producer No I.D. signed her to his Def Jam-supported Artium, where she released a late 2013 EP led by "The Worst," a Top Ten R&B single. As that song was finishing its run, she followed up with early singles from Souled Out, her proper debut album. When the set was released, Aiko's style -- shaped in part by accommodating producers like Fisticuffs, Dot da Genius, and No I.D. -- was instantly recognizable. On Souled Out, the singer and songwriter's form of contemporary R&B continues to blur the line between seductive and sleepy, her voice among the lowest wattage in commercial music history. Just as she is wistful about "summer nights and water fights" (in "Eternal Sunshine") and "turquoise seas and ocean breezes" (in "Spotless Mind"), she often injects sharply contrasting melodrama ("Now many men/Many, many, many, many men/Wish death upon me") with only minor variations in tone. Sonically, the majority of these songs can be classified as slow jams, but Aiko deals with some form of relationship turmoil in nearly every one of them; given the amount of introspection, the album is most suited for coping with stress. Aiko can be maddeningly platitudinal and singsongy, but her one dimension is a specific balmy backdrop provided by no one else.© Andy Kellman /TiVo
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The Soul Aquarium
The Dee Schury Orchestra
Soul - Released August 10, 2022 | Acid Jazz UK
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Souled Out
Hezekiah Walker
Gospel - Released September 29, 2008 | Verity Records
Recorded in Pennsylvania at Hezekiah Walker’s Love Fellowship Tabernacle church, this 2008 concert album finds the popular pastor leading his choir through an uplifting set of gospel tunes. Highlights of the lively outing include the boisterous, horn-laden title track and the stirring “It Shall Come to Pass,” as well as the thoughtful “There’s No Way.”© TiVo
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Souled Out
Jhené Aiko
R&B - Released June 2, 2015 | Def Jam Recordings
In the early 2000s, Jhené Aiko was a B2K associate signed to TUG, the Epic subsidiary operated by Chris Stokes. The teenage singer appeared on B2K projects and numerous compilations and soundtracks, released a solo single, and recorded an album that was shelved. She subsequently left the industry for several years, then resurfaced in 2010 like a new artist -- one with a voice and approach different than squeaky and peppy, less Yummy Bingham's "Come Get It," more Cassie's "Me & U." Featured roles on tracks by Kendrick Lamar and Schoolboy Q boosted her profile and cred, as did a 2011 mixtape that involved the likes of Lamar, Kanye West, Drake, and Miguel. Producer No I.D. signed her to his Def Jam-supported Artium, where she released a late 2013 EP led by "The Worst," a Top Ten R&B single. As that song was finishing its run, she followed up with early singles from Souled Out, her proper debut album. When the set was released, Aiko's style -- shaped in part by accommodating producers like Fisticuffs, Dot da Genius, and No I.D. -- was instantly recognizable. On Souled Out, the singer and songwriter's form of contemporary R&B continues to blur the line between seductive and sleepy, her voice among the lowest wattage in commercial music history. Just as she is wistful about "summer nights and water fights" (in "Eternal Sunshine") and "turquoise seas and ocean breezes" (in "Spotless Mind"), she often injects sharply contrasting melodrama ("Now many men/Many, many, many, many men/Wish death upon me") with only minor variations in tone. Sonically, the majority of these songs can be classified as slow jams, but Aiko deals with some form of relationship turmoil in nearly every one of them; given the amount of introspection, the album is most suited for coping with stress. Aiko can be maddeningly platitudinal and singsongy, but her one dimension is a specific balmy backdrop provided by no one else.© Andy Kellman /TiVo
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Souled Out
Jhené Aiko
R&B - Released September 5, 2014 | Def Jam Recordings
In the early 2000s, Jhené Aiko was a B2K associate signed to TUG, the Epic subsidiary operated by Chris Stokes. The teenage singer appeared on B2K projects and numerous compilations and soundtracks, released a solo single, and recorded an album that was shelved. She subsequently left the industry for several years, then resurfaced in 2010 like a new artist -- one with a voice and approach different than squeaky and peppy, less Yummy Bingham's "Come Get It," more Cassie's "Me & U." Featured roles on tracks by Kendrick Lamar and Schoolboy Q boosted her profile and cred, as did a 2011 mixtape that involved the likes of Lamar, Kanye West, Drake, and Miguel. Producer No I.D. signed her to his Def Jam-supported Artium, where she released a late 2013 EP led by "The Worst," a Top Ten R&B single. As that song was finishing its run, she followed up with early singles from Souled Out, her proper debut album. When the set was released, Aiko's style -- shaped in part by accommodating producers like Fisticuffs, Dot da Genius, and No I.D. -- was instantly recognizable. On Souled Out, the singer and songwriter's form of contemporary R&B continues to blur the line between seductive and sleepy, her voice among the lowest wattage in commercial music history. Just as she is wistful about "summer nights and water fights" (in "Eternal Sunshine") and "turquoise seas and ocean breezes" (in "Spotless Mind"), she often injects sharply contrasting melodrama ("Now many men/Many, many, many, many men/Wish death upon me") with only minor variations in tone. Sonically, the majority of these songs can be classified as slow jams, but Aiko deals with some form of relationship turmoil in nearly every one of them; given the amount of introspection, the album is most suited for coping with stress. Aiko can be maddeningly platitudinal and singsongy, but her one dimension is a specific balmy backdrop provided by no one else.© Andy Kellman /TiVo
From
CD$12.09
Souled Out
Jhené Aiko
R&B - Released June 2, 2015 | Def Jam Recordings
In the early 2000s, Jhené Aiko was a B2K associate signed to TUG, the Epic subsidiary operated by Chris Stokes. The teenage singer appeared on B2K projects and numerous compilations and soundtracks, released a solo single, and recorded an album that was shelved. She subsequently left the industry for several years, then resurfaced in 2010 like a new artist -- one with a voice and approach different than squeaky and peppy, less Yummy Bingham's "Come Get It," more Cassie's "Me & U." Featured roles on tracks by Kendrick Lamar and Schoolboy Q boosted her profile and cred, as did a 2011 mixtape that involved the likes of Lamar, Kanye West, Drake, and Miguel. Producer No I.D. signed her to his Def Jam-supported Artium, where she released a late 2013 EP led by "The Worst," a Top Ten R&B single. As that song was finishing its run, she followed up with early singles from Souled Out, her proper debut album. When the set was released, Aiko's style -- shaped in part by accommodating producers like Fisticuffs, Dot da Genius, and No I.D. -- was instantly recognizable. On Souled Out, the singer and songwriter's form of contemporary R&B continues to blur the line between seductive and sleepy, her voice among the lowest wattage in commercial music history. Just as she is wistful about "summer nights and water fights" (in "Eternal Sunshine") and "turquoise seas and ocean breezes" (in "Spotless Mind"), she often injects sharply contrasting melodrama ("Now many men/Many, many, many, many men/Wish death upon me") with only minor variations in tone. Sonically, the majority of these songs can be classified as slow jams, but Aiko deals with some form of relationship turmoil in nearly every one of them; given the amount of introspection, the album is most suited for coping with stress. Aiko can be maddeningly platitudinal and singsongy, but her one dimension is a specific balmy backdrop provided by no one else.© Andy Kellman /TiVo
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CD$15.09
Souled Out
Jhené Aiko
R&B - Released June 2, 2015 | Def Jam Recordings
Hi-Res
In the early 2000s, Jhené Aiko was a B2K associate signed to TUG, the Epic subsidiary operated by Chris Stokes. The teenage singer appeared on B2K projects and numerous compilations and soundtracks, released a solo single, and recorded an album that was shelved. She subsequently left the industry for several years, then resurfaced in 2010 like a new artist -- one with a voice and approach different than squeaky and peppy, less Yummy Bingham's "Come Get It," more Cassie's "Me & U." Featured roles on tracks by Kendrick Lamar and Schoolboy Q boosted her profile and cred, as did a 2011 mixtape that involved the likes of Lamar, Kanye West, Drake, and Miguel. Producer No I.D. signed her to his Def Jam-supported Artium, where she released a late 2013 EP led by "The Worst," a Top Ten R&B single. As that song was finishing its run, she followed up with early singles from Souled Out, her proper debut album. When the set was released, Aiko's style -- shaped in part by accommodating producers like Fisticuffs, Dot da Genius, and No I.D. -- was instantly recognizable. On Souled Out, the singer and songwriter's form of contemporary R&B continues to blur the line between seductive and sleepy, her voice among the lowest wattage in commercial music history. Just as she is wistful about "summer nights and water fights" (in "Eternal Sunshine") and "turquoise seas and ocean breezes" (in "Spotless Mind"), she often injects sharply contrasting melodrama ("Now many men/Many, many, many, many men/Wish death upon me") with only minor variations in tone. Sonically, the majority of these songs can be classified as slow jams, but Aiko deals with some form of relationship turmoil in nearly every one of them; given the amount of introspection, the album is most suited for coping with stress. Aiko can be maddeningly platitudinal and singsongy, but her one dimension is a specific balmy backdrop provided by no one else.© Andy Kellman /TiVo
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Souled Out
Jhené Aiko
R&B - Released September 9, 2014 | Def Jam Recordings
Hi-Res
In the early 2000s, Jhené Aiko was a B2K associate signed to TUG, the Epic subsidiary operated by Chris Stokes. The teenage singer appeared on B2K projects and numerous compilations and soundtracks, released a solo single, and recorded an album that was shelved. She subsequently left the industry for several years, then resurfaced in 2010 like a new artist -- one with a voice and approach different than squeaky and peppy, less Yummy Bingham's "Come Get It," more Cassie's "Me & U." Featured roles on tracks by Kendrick Lamar and Schoolboy Q boosted her profile and cred, as did a 2011 mixtape that involved the likes of Lamar, Kanye West, Drake, and Miguel. Producer No I.D. signed her to his Def Jam-supported Artium, where she released a late 2013 EP led by "The Worst," a Top Ten R&B single. As that song was finishing its run, she followed up with early singles from Souled Out, her proper debut album. When the set was released, Aiko's style -- shaped in part by accommodating producers like Fisticuffs, Dot da Genius, and No I.D. -- was instantly recognizable. On Souled Out, the singer and songwriter's form of contemporary R&B continues to blur the line between seductive and sleepy, her voice among the lowest wattage in commercial music history. Just as she is wistful about "summer nights and water fights" (in "Eternal Sunshine") and "turquoise seas and ocean breezes" (in "Spotless Mind"), she often injects sharply contrasting melodrama ("Now many men/Many, many, many, many men/Wish death upon me") with only minor variations in tone. Sonically, the majority of these songs can be classified as slow jams, but Aiko deals with some form of relationship turmoil in nearly every one of them; given the amount of introspection, the album is most suited for coping with stress. Aiko can be maddeningly platitudinal and singsongy, but her one dimension is a specific balmy backdrop provided by no one else.© Andy Kellman /TiVo
From
CD$12.09
Souled Out
Jhené Aiko
R&B - Released September 9, 2014 | Def Jam Recordings
In the early 2000s, Jhené Aiko was a B2K associate signed to TUG, the Epic subsidiary operated by Chris Stokes. The teenage singer appeared on B2K projects and numerous compilations and soundtracks, released a solo single, and recorded an album that was shelved. She subsequently left the industry for several years, then resurfaced in 2010 like a new artist -- one with a voice and approach different than squeaky and peppy, less Yummy Bingham's "Come Get It," more Cassie's "Me & U." Featured roles on tracks by Kendrick Lamar and Schoolboy Q boosted her profile and cred, as did a 2011 mixtape that involved the likes of Lamar, Kanye West, Drake, and Miguel. Producer No I.D. signed her to his Def Jam-supported Artium, where she released a late 2013 EP led by "The Worst," a Top Ten R&B single. As that song was finishing its run, she followed up with early singles from Souled Out, her proper debut album. When the set was released, Aiko's style -- shaped in part by accommodating producers like Fisticuffs, Dot da Genius, and No I.D. -- was instantly recognizable. On Souled Out, the singer and songwriter's form of contemporary R&B continues to blur the line between seductive and sleepy, her voice among the lowest wattage in commercial music history. Just as she is wistful about "summer nights and water fights" (in "Eternal Sunshine") and "turquoise seas and ocean breezes" (in "Spotless Mind"), she often injects sharply contrasting melodrama ("Now many men/Many, many, many, many men/Wish death upon me") with only minor variations in tone. Sonically, the majority of these songs can be classified as slow jams, but Aiko deals with some form of relationship turmoil in nearly every one of them; given the amount of introspection, the album is most suited for coping with stress. Aiko can be maddeningly platitudinal and singsongy, but her one dimension is a specific balmy backdrop provided by no one else.© Andy Kellman /TiVo
From
HI-RES$15.79
CD$13.59
Souled Out
Jhené Aiko
R&B - Released June 2, 2015 | Def Jam Recordings
Hi-Res
In the early 2000s, Jhené Aiko was a B2K associate signed to TUG, the Epic subsidiary operated by Chris Stokes. The teenage singer appeared on B2K projects and numerous compilations and soundtracks, released a solo single, and recorded an album that was shelved. She subsequently left the industry for several years, then resurfaced in 2010 like a new artist -- one with a voice and approach different than squeaky and peppy, less Yummy Bingham's "Come Get It," more Cassie's "Me & U." Featured roles on tracks by Kendrick Lamar and Schoolboy Q boosted her profile and cred, as did a 2011 mixtape that involved the likes of Lamar, Kanye West, Drake, and Miguel. Producer No I.D. signed her to his Def Jam-supported Artium, where she released a late 2013 EP led by "The Worst," a Top Ten R&B single. As that song was finishing its run, she followed up with early singles from Souled Out, her proper debut album. When the set was released, Aiko's style -- shaped in part by accommodating producers like Fisticuffs, Dot da Genius, and No I.D. -- was instantly recognizable. On Souled Out, the singer and songwriter's form of contemporary R&B continues to blur the line between seductive and sleepy, her voice among the lowest wattage in commercial music history. Just as she is wistful about "summer nights and water fights" (in "Eternal Sunshine") and "turquoise seas and ocean breezes" (in "Spotless Mind"), she often injects sharply contrasting melodrama ("Now many men/Many, many, many, many men/Wish death upon me") with only minor variations in tone. Sonically, the majority of these songs can be classified as slow jams, but Aiko deals with some form of relationship turmoil in nearly every one of them; given the amount of introspection, the album is most suited for coping with stress. Aiko can be maddeningly platitudinal and singsongy, but her one dimension is a specific balmy backdrop provided by no one else.© Andy Kellman /TiVo
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