Mandrill Composite Truth
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Out of Print: Future availability is unknown
sku: COL 6005
- by Charles Wright / Watts 103rd Street Rhythm Band ~ Express Yourself ~ $8.48
- Released: August 4, 1998
- Originally Released: 1998
- Label: Collectables Records
Description by OLDIES.com:
Mandrill created a tasty blend of Soul, Blues, Rock, Afro-Latin elements, and Jazz. It was an extremely danceable sound, filled with complex rhythms and lengthy solos. Their albums will give you a true picture of how great their music was at their prime. "Fencewalk" and "Hang Loose", both Top 30 R&B singles, were Mandrill's biggest single hits, and are the centerpiece of this, their biggest selling album.
- 1.Hang Loose
- 4.Don't Mess With People
- 5.Polk Street Carnival
- 6.Golden Stone
- 7.Out With The Boys
- 8.Moroccan Nights
Mandrill: Louis Wilson, Richard Wilson, Carlos Wilson, Omar Mesa, Claude "Coffee" Cave, Fudgie Kaem, Neftali Santiago.
Recorded at Electric Ladyland Studios and The Hit Factory, New York, New York in December 1972. Includes liner notes by Mark Marymont.
Personnel: Carlos Wilson (vocals, saxophone); Lou Wilson (vocals, trumpet, percussion); Claude Cave (vocals, keyboards); Ric Wilson (saxophone).
Liner Note Author: Mark Marymont.
Recording information: Electric Lady Studios, New York, NY (1972); Hit Factory, New York, NY (1972); the Hit Factory, NY (1972).
Composite Truth is Mandrill's most successful album, commercially as well as artistically. Although the band's sense of freewheeling experimentation had been tempered, its gradual transition to a straight-ahead funk band was made perfect with two of the biggest hits of its career: "Hang Loose" and "Fencewalk." "Hang Loose" is all over the place (in a good way), moving from a grooving funk jam to mid-tempo guitar skronk and back, all part of an impassioned call to peace. "Fencewalk" also had several transitions, with a crooning chorus and an extended middle section powered by heavy brass and a screaming guitar solo. Elsewhere, Mandrill turns in a very convincing impression of a salsa band ("H galo"), breaks into killer loose-groove funk ("Don't Mess With People," with a splendidly undecipherable vocal), and stumbles only with the long, rasta-fied San Francisco tribute "Polk Street Carnival," featuring a bass part that would make even a student smirk. (For such a strong band, Mandrill's basslines were often uncharacteristically weak.) In the main, the songs on Composite Truth were catchier than on its first two albums, and the band never appeared subservient to the sense of experimentation that had troubled it before. Even if on Composite Truth Mandrill sounded more like other funk bands of the time, no one could argue with the fact that the results were more exciting and consistent. ~ John Bush
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