For 30 years, Osaka Monaurail has been on a global mission to preach the
gospel of the book of soul. And now Japan’s greatest little funk
orchestra is back with not just one but two brand new burners that will
put a strut in your walk and make you feel the hairs standing up on your
neck. More than a decade after their collaboration with James Brown’s
Soulsister Number One Marva Whitney, the group has once again teamed up
with a singer – L.A.’s alluring and uniquely expressive Casey Malone.Together,
Malone and the tightly-drilled 10-piece band led by singer, keyboardist
and producer Ryo Nakata breathe new life into two monster hits of 1960s
soul; “Do You Really Want To Rescue Me,” written by James Brown and his
saxophonist-collaborator Nat Jones and first recorded by back-up singer
Elsie Mae; and Fats Domino’s “Whole Lot of Lovin’.” The Monaurail’s
hard-driving interlocking rhythms, their short melodic and rhythmic
phrases, and the bluesy harmonic vocabulary help to make these two
pieces quintessential funk, complemented by Malone who, much like jazz
icon Billie Holiday, uses her voice as an expressive musical instrument,
bending and glissing notes like a horn player, commanding attention not
with forcefulness, but with reluctance.These two new singles
came about at the behest of Ubiquity’s founder Michael McFadin who had
been busy coming up with ideas on who to pair with Malone after the
release of her debut single “Hey Amerika.” He reached out to DJ Pari,
Marva Whitney’s former manager and producer, who made the connection
with the mighty Monaurail – and the rest, as they say, is history. “When
I heard about the opportunity to cut some tunes with the legendary
Osaka Monaurail I was over the moon,” Malone says. “It was truly an
honor to share sound waves with the band.”Osaka Monaurail and
Casey Malone went on a singular mission to come up with the tightest
collaboration in recent years between Japan’s top funk export and one
the genre’s new protagonists based in the funk’s homeland. Without a
doubt, here is indisputable proof of that achievement. Play these jams
to any permanent pressed squares in your cribs or dancefloors, and watch
them turn into jive dancin’ live wires!
Daptone Records is proud to present the debut 45 from the newest member
of the Daptone family stable of stars, Jalen Ngonda! Presently residing
in the UK, Jalen grew up just outside of Washington D.C.. At the tender
age of 11 Jalen's father introduced him to the joys of soul music, of
which he soaked up like a thirsty sponge, guiding him on the path to
become the remarkable artist that he is today. With this inaugural
single Jalen delivers two sides of mid-tempo magic that will make you
feel his Motown roots rather than wearing them on his sleeve. 'Just Like
You Used To' drops with groove and vibe in equal measure, providing the
perfect foundation for Jalen's vocals to soar. 'What a Difference She
Made' digs deeper with the accompaniment of a lush string arrangement
and plaintive vocal Jalen makes you feel every syllable down your bones.
A sure-shot single poised to propel Jalen to the front of the pack.
Fame collectors know how rare this 45 is to find in the wild; it hardly
ever happens. ‘Go Away With Me’ is a fabulously, catchy dance number
from 1963 when the little-known Dixon wandered into the Fame Studios in
Muscle Shoals and laid these track down. It is one of Dan Penn’s very
early compositions and the nascent talent of the writer is in evidence
here. The tuneful self-penned ‘Time Will Tell’ flip reveals another
accomplished musical bent to the singer who, though he only cut two 45s,
was revered as a major Muscle Shoals influence by the likes of Jimmy
Johnson, Donnie Fritts and David Hood.
• Darrow Fletcher’s belated success in Europe - from the 70s onwards,
but particularly in this century - has been very rewarding from him; he
has been thrilled by the interest and admiration for his past work.
These are two of his revered Jacklyn label sides; Jacklyn being owned by
his father, who named the imprint after Darrow’s sister.
• This Repro coupling will be welcomed by collectors who cannot afford
the high price of the originals – many of which are often found in poor
condition as they were played the hell out of in 1960s Chicago.