A young magician who fell under the spell of Scientology, fusion, funk and a certain four-stringed instrument known as the bass guitar. From the 70s onward, there probably hasn’t been a moment in time when someone, somewhere wasn’t emphatically advancing the notion that Stanley Clarke is the greatest bass guitarist in the world. He is…
Stanley’s second album features funky fusion with a mini-supergroup of Jan Hammer, Tony Williams and Bill Connors.
This is a lesson in how musicians should approach making a solo album: mix it up and give 110% on every track.
Souther may have feathered his nest with the song royalties from Eagles, but his second solo flight stands on its own.
Between searchingness and reachingness, there is this perfect slice of dukeyness.
The followup to School Days continues to explore a variety of different styles including rock, funk, fusion and a few songs with vocals.
Appice, Beck and Clarke give a master class on how to rock, proving we all need to brush up on our ABCs.
Not a McLaughlin matter worth overanalyzing, simply a septet of songs in various permutations. The idea here seems to be to show off the guitarist’s range, from Mahavishnu to Santavishnu to contentious energy-lord of the avant garde. Interesting but rarely arresting, Johnny McLaughlin, Electric Guitarist doesn’t belong at the top of John’s resume. I’ll concede…
Jazz/rock, funk and soul are the main ingredients for Stanley’s seventh solo foray.
The song that inspired Amazon. I’m only kidding.