Back To Oakland

I should have written this a long time ago. This album (CD) changed the way I looked at music, at groups, at the meaning of life . . . well, maybe not that drastically. But this album started a huge love affair between me and the Tower of Power. I'd never heard anything even approaching their level of musicianship, professionalism or tightness as a horn-based group. I'd heard a ton of groups up to this point in time: Blood, Sweat & Tears, Chicago and that group that made VEHICLE being the most prominent. Even Buddy Miles on his BUDDY MILES LIVE album (OOP) had a tremendous horn section But none of them highlighted the horn sections consistently. None of them could come close to this group of musical prodigies.

Every cut was a joy to listen to. Even the split-up version of OAKLAND STROKE was just a fun jam. My impressions of the group: Aside from Jimmy Smith, I hadn't heard a Hammond B3 sound so funky till I heard Chester Thompson. Aside from Jr. Walker, I hadn't experienced anyone who had such masterful control of their altissimo range till I heard Lenny Pickett. The supporting horns (Kupka, Castillo, Adams and Gillette) had their own vibe and despite a lack of solo time, managed to make a significant impact on every song. And for bass work, nobody was touching Rocco Prestia. In his true prime, Rocco's style was totally individual. David Garibaldi was what I considered a phenomenal drummer. All his rhythms were crisp and unique . . . playing off the sycopation of the bass, organ and guitar. He had a serious ear for rhythms. Bruce Conte was one of the most underrated of the crew, but his guitar work was ahead of its time. There were traces of jazz and some island influences that I hear very plainly.

Lenny Williams' vocals really set a definitive tone for this group. They were distinctive, fluid and heartfelt. His voice made the puzzle complete; put the icing on the cake; lit the cigarette after some mind-blowing sex.

My favorite selections: Without a doubt, JUST WHEN WE START MAKIN' IT ranks as one of my all-time favorite tunes. It exemplifies what the group is all about. It's jazzy, it's laid back, but it drives relentlessly, fills you with emotional fire and thrills your music sense to its fullest. Lenny's vocals are soaring and urging, Pickett's sax solos are powerful and sensual, the staccato background horns are poignant and dynamic, the organ break not only resets tempo, but turns into a thing of genius. CT creating a series of rippling, bubbling organ lines against the crescendo of the entire horn contingent and the incomparable Garibaldi drums - cymbals crashing, bass tom rolling, the incredible beat he lays down was too innovative. I was overwhelmed the first time I heard this. I must have worn out the vinyl from overplaying it. Actually, I have owned this album/CD around 12 times since 1973, from having to repurchase it after having it stolen or borrowed out indefinitely.

Other favorites: TIME WILL TELL, CAN'T YOU SEE, CITY LIGHTS. And no instrumental rocked my soul for a long time like SQUIB CAKES. Chester wrote a lot of songs in some other albums, but they all sounded like mutated versions of SQUIB CAKES . . . like distant cousins or wannabe next door neighbors.

In all, I really love this album. It's been part of my life for over 30 years. And it just sounds better everytime I put it on.

Back to Oakland represents Tower of Power at the top of their 1970's form. 'Don't Change Horses' peaked out in the Top 30 (only their 1973 'So Very Hard To Go' was more popular as a single), and there are several other cuts worth listening to over and over again. The classic 'Squib Cakes' is found on this CD, the defacto standard for a jammin' instrumental that the band--still going strong after 30 years--performs at virtually every show. Other strong cuts include 'Just When We Start Making It' and 'Man From The Past.' This CD will grow on you with each hearing. It is a collection of music that must be played loudly on your stereo--turn it up and listen to the horn section wail. If you listen critically to this CD, you will want to add their other CD's to your collection--some 17 of them over 30 years. The beauty of this band is in its mixture of soul, funk, jazz, rock, easy listening, disco, big band, social awareness, and even rap--all with that wonderful horn section underlying each production. There are some well-known horns bands like Chicago or Blood, Sweat & Tears, but once you've heard this CD, you will become aware of a noticeable difference. The horn section is *SO* tight and there is a great feeling of power in their music, definitely justifying the group's name. You can visit their Web site for more information. What a great group of talented musicians!

If you're just getting into TOP, this probably would be the one album I'd recommend...
The year is 1974 and it's the follow up to their gold selling self titled album - - the one that gave the world WHAT IS HIP.

Aside from featuring the "classic" Warner Brother's era TOP line-up that most fans go ga ga over, high points of the album include its immaculately blistering opening and closer - - the ultra-sticky Oakland Stroke (What? Only a minute and a half???) - - also included, the tight and hooky yet extended jam that would become an instrumental soul anthem "Squib Cakes", and the TOP fan fave DON'T CHANGE HORSES (also featuring great organ work from Chester Thompson.)... Other tunes on the album are great, and even though don't think the tunes are as catchy as the ones on some of their other albums, they still represented the TOP rhythm section at its stickiest... with Garibaldi's drums recorded and mixed in a way that's really crisp, clear and upfront. - - His ability to take the simplest soul backbeat and turn it into something no other drummer could possibly have ever imagined and delivered with such imaginative drive and percision as him are amply demonstrated through the album - - his drumming on CAN'T YOU SEE being very high up on my list - - Tower of Power's ability to take moderately mellow song tunes and turn them into over the top bump fests also is apparent on Man From The Past. - - As for the horns... at times the horns arrangements seem a bit more laid back even "better orchestrated" than on some of their other albums (i.e. slick but at times a little less raw) - - within the overall concept of the album which is really a great vehicle for the band overall, it works... and on tunes like I GOT THE CHOP they still get to lay out their trademark vamps and grooves.

Overall, if you like this album URBAN RENEWAL and IN THE SLOT should probably be next on your MUST GET list...
Though if you want to hear a rawer even more blistery TOP, their early pre-Lenny Williams/Chester Thompson albums such as EAST BAY GREASE and BUMP CITY might also be on your list...