Out July 19 on vinyl, CD, and digital, Bad Education Vol. 1: Soul Hits of Timmion Records delivers many things at once: Foremost, it documents the high quality found in the recordings issued by the Timmion label of Helsinki, Finland. It’s also testament to the good taste of Daptone enterprises, who compiled and are co-releasing the LP, and additionally emphasizes the soul scene camaraderie in the association. Furthermore, with Carlton Jumel Smith, Nicole Willis, Wanda Felicia, Bobby Oroza and others on board, it underscores that soul singing is far from a lost art. Just as importantly, the instrumental contributions are consistently sharp.
In short, Timmion Records offers the whole package in soul terms, with Bad Education serving as a fine primer into their discography. For those already hip to Timmion’s wares, all but one track is previously released, either on 45 or LP. However, everything here unwinds with such well-considered verve that folks who already own most (or even all) of these selections might end up springing for a copy anyway.
It kicks off with one of the highlights from Carlton Jumel Smith’s 1634 Lexington Avenue, a recent release (just a smidge over two months old, in fact) that establishes the label’s foothold on soul quality hasn’t loosened. Upbeat, brightly hued and oozing positivity, “This Is What Love Looks Like!” is tangibly early ’70s in its soulfulness. The guitar line is fleet, the saxophones hearty, and Smith is in firm command.
It’s followed by El-Paso, TX-born, San Diego, CA-raised Jonny Benavidez’s falsetto showcase “Tell Me that You Love Me,” culled from a 2017 45 where he’s backed by Timmion house band Cold Diamond & Mink, who lend plenty of warmth and enough rhythmic kick to insure things don’t go full-on velvety (Benavidez’s vocal panache could’ve carried this into straight-up lovey-dovey mode).
It sets up a fine segue into Pratt & Moody’s “Lost Lost Lost,” also from 2017 and also featuring members of Cold Diamond & Mink. It’s this consistency of backing that really elevates Bad Education far above the label comp standard, with the cohesiveness a natural extension of the desire to do classic soul the right way. Another reason for the smooth transition relates to the vocals in “Lost Lost Lost,” which a blurb in Daptone’s PR likens to Smokey Robinson & the Miracles. The comparison was made by some unnamed person at WNYC; whoever said it deserves a promotion.
“Paint Me in a Corner” brings an adjustment in backing but with nary a glitch in the flow, as the cut is pulled from Nicole Willis & the Soul Investigators’ Happiness in Every Style album. In 2015 I gave that set a rave review, in large part for how Willis confidently deepened the lady soul field and additionally expanded its range (that is, Willis will not be mistaken as a mere Sharon Jones imitator).
Notably, there are instances of personnel overlap between Cold Diamond & Mink and the Soul Investigators. The latter existed first and backed Helsinki flautist Ernie Hawks on his 2018 effort Scorpio Man. “Scorpio Walk” represents that LP here (it was also released as a single) and manages to avoid the over-busy trilling that is regularly funky fluting’s downfall.
Instead, “Scorpio Walk” strikes the ear like potential soundtrack work for a ’70s Euro action flick, hopefully one directed by Fernando Di Leo. That’s much better, but even sweeter is side two’s opener, that sole exclusive selection, Wanda Felicia’s “Until You’re Mine.” The instrumental richness (Cold Diamond & Mink are back on board) should easily satisfy Stax and Hi Records fans, but sealing the deal is Felicia’s sturdy yearning ache and how she interacts with her backing singers.
“Until You’re Mine” is followed by Bobby Oroza’s “This Love, Part 1,” which spans back to a 2016 Timmion 45, though the man’s debut LP (also titled This Love) came out earlier this year via Big Crown. The track serves up vocal group flair with just the right amount of echo enhanced by Timmion’s (and Daptone’s, and Big Crown’s) not so secret weapon, specifically a rhythmic foundation of substance (the cut opens with a beat that’ll make ’90s hip-hop lovers swoon). Note: “This Love, Part 1” is only on Bad Education’s vinyl pressing.
Next is the comp’s title track from Bobby Martinez and the Soul Investigators, from a 2017 single that momentarily shifts the album’s thrust toward social commentary, as the member of Chicano Batman calls out the inadequacies and questionable intentions of the educational system. The aura of psychedelic soul is substantial, Ernie Hawks’ flute is prevalent, and the cut is an effective diversifier with conviction.
But I can’t deny I dig Emilia Sisco’s “Don’t Believe You Like That” even more, essentially because it’s a perfect union of unstrained vocal heft (again, with backing singers) and instrumental fortitude; listening on headphones, the intimacy is appealingly enveloping. Another comp highpoint, it sets up veteran (as in debuting on record in 1959) Willie West’s “I’m Still a Man” for the close.
The finale succinctly illuminates Timmion’s method of success; nothing is too polished, the singing and playing are in expert balance, and the songs connect like unearthed nuggets. Nearly all comps have lesser moments or even a few duds, but Bad Education is a grand experience from start to finish.
GRADED ON A CURVE:
A
