[rating=7.00]
Singer Charles Bradley, unfortunately, passed away in November of 2017 from stomach cancer and his final studio album Black Velvet posthumously sums up his career with outtakes recorded during his previous sessions for his three albums on Daptone Records, plus some odds and ends.
To Bradley’s, producer Thomas Brenneck and the Menahan Street Band’s credit this does not sound like a collection of random recordings but a coherent album which honors the vocalist’s legacy. “Can’t Fight the Feeling” starts things off and the retro-soul which brought Bradley fame in his later years is instantly cooking. The brilliant bass lines and hard horn hits are magical on the opening track confidently moving forward while celebrating R&B’s past sounds.
“Luv Jones” (originally released in 1990) is an easy funky grooving number, augmented by handclaps, organ, and LaRose Jackson’s backup vocals while the instrumental tribute title track and the slick guitar wah-wahs combined with understated horns on “Slip Away” highlight the Menahan Street Band’s smooth style and connection to their beloved frontman.
It is on the soul burner “I Feel a Change” where Bradley’s full force as a vocalist is felt and one spin makes it abundantly clear why this talented man was able to connect with a worldwide audience. A stunning passionate ode which was originally recorded during the sessions for his Victim of Love album the scorching tune is a shining highlight.
Less successful is the funk vamp “(I Hope You Find) The Good Life” which is one of the few tracks on the record which does feel like an outtake/B –side as Bradley quotes “The Way We Were”. There are also two covers revisited from Bradley’s killer debut release No Time for Dreaming and while his take on Neil’s Young’s “Heart of Gold” never sounds fully engaged his and the Menahan Street Band’s reworking of Nirvana’s clanging “Stay Away” into a gritty street tough bumping funk tune, completely reimagining the original in winning fashion.
Black Velvet is titled after the stage name Bradley used when he worked in Brooklyn as a James Brown impersonator and while he saw trials and tribulations during his lifetime his final album wraps with an extended take on “Victim of Love” (complete with vocals support from the Sha La Da’s) and the raw honesty, passion and soul which springs fourth touches all who get the pleasure of hearing him; his love will live on.
