Various Artists Nation Funk Volume III (1975-1982)

 



The third volume of Light in the Upper room's continuous study of this generally notional development puts another bend on consolidating two apparently contradictory sorts in one boisterous sound. 


One of the overlooked characteristics of Nation Funk Vol. I and Nation Funk Vol. II was their relaxed negligence for history. Archiving a scene that wasn't actually a scene and not even a very remarkable development, they followed a simple thought—hello, how about we join country twang with funk rhythms!— a few dozen tracks from the last part of the 1960s through the mid 1970s. Neither tried to put the tunes in sequential request; indeed, the two volumes themselves weren't all together, with Vol. II covering a marginally prior time span (1967-1974) than Vol. I 


(1969-1975). Those ranges didn't address especially notable mile markers; they were only the dates of the tunes the makers needed us to hear. They were more similar to mixtapes than reissues, which fit the dirty, in some cases amusing, sometimes attractive, frequently odd music completely well. 


Nearly by need, this hotly anticipated third volume is a bit more mindful of the past. It gets generally the latest relevant point of interest and follows that thought into the mid 1980s. As yet scrambling the timetable in its sequencing, the assortment can't resist the urge to follow the progressions that both nation and funk however particularly country-funk suffered as multi decade finished and the following started. Vol. III covers 1975 through 1982, a period that saw the finish of bandit country and Southern stone, the beginnings of 


yacht rock, the ascent and fall of disco, the beginning of the Reagan time, and the appearance of new sounds and advancements in popular music, all of which influenced the music gathered on this new arrangement. 


So put away your mistake that Jess Rotter didn't get back to draw the cover; this set succeeds in light of the fact that it puts a contort overall thought of joining these two classes into one wild strong. The yacht-country strains of Eddie Rabbitt's "Solitary One," with its blustery vocals, permeating cadence area, and virtuoso rhyme conspire ("Child, you'll generally be my unique… woman"), would have sounded bumping on the initial two volumes, however it fits pleasantly inside this more extensive exhibit of sounds. Jerry Reed projects limitless hick appeal on 


Cadence and Blues," and Delbert McClinton goes cattle rustler noir on "Shot From the Seat," which gets its boogie from, for goodness' sake, an alto saxophone. The craziest thing about Cart Parton's disco-nearby "Definitely" is the manner in which she sings that title, dryly drawing out the ur in sure with a wink and a poke.

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