| | Dr Lonnie Smith Too Damn Hot CD Dr Lonnie Smith Discography of CDs
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Personnel: Dr. Lonnie Smith (organ); Rodney Jones (guitar); Fukushi Tainaka, Fukushi Tainaka (drums); Peter Bernstein (guitar); Gregory Hutchinson (drums).
Recording information: Maggie's Farm, Buck's County, PA (01/05/2004/01/06/2004).
Hammond B-3 boss Dr. Lonnie Smith ends up on yet another new label with Too Damn Hot!, the follow-up to his thoroughly enjoyable -- if curious -- Boogaloo to Beck outing from 2003. This studio set places the organist in the company of two fine guitarists -- Peter Bernstein (lead) and Rodney Jones (rhythm), and alternating drummers Greg Hutchinson and Fukushi Tainaka. The two-guitar format is lovely in that it presents a wide array of colors and harmonic textures to the proceedings. The material is a compendium of new soul-jazz originals like the title track, which is a sultry slow burner with killer chorded solos by Smith, and "The Whip," a slippery funky hard bopper that recalls Johnny Patton's sessions with Grant Green. There are two covers present here as well, a fine version of Horace Silver's ballad "Silver Serenade" and a whimsical read of "Someday My Prince Will Come." The album's final cut, "Evil Turn," cooks like mad in stunning bop fashion. This is a keeper and Smith's best record of the decade so far. ~ Thom JurekJazzTimes (p.112) - "[Featuring] solos full of meat and grease, all driven along by some extremely fat bass-pedal lines." Dr Lonnie Smith Too Damn Hot Songs Too Damn Hot Music Review Average Rating: (5 out of 5 stars)  Make an appointment with the Doctor!
Dr. Lonne Smith is burnin' these days, both as a soloist and sideman (Lou Donaldson, Bobby Broom, Ronnie Cuber etc). After the excellent album "Boogaloo To Beck", I had great expectation to his first Plametto album and the Doctor has given us the right organ medicine! Funky polyrhytms, standards and straight 4/4's, ballads and even rappish vocal from the Doctor (track 9), gives this album a variety of master B3 playing. Peter Bernstein and Furoshi Taikaka is a perfect co-workers at the Doctor's office. Whatch out, the trio is on a European tour this summer, so make an appointment with the Doctor!
Submitted by HammondFreak (Oslo, Norway)
Was This Review Helpful? Yes No 1 of 1 found this helpful. The Doctor Is In
Doctor Lonnie Smith is back. I don’t know what he’s a doctor for, but he’s definitely got a Doctorate of Groove. His latest is “Too Damn Hot!” He’s so hot he’s cool. Another great set with a band finely tuned to his mood. An album destined for many plays.
Submitted by tonym (Brisbane, Australia) 
Was This Review Helpful? Yes No 1 of 2 found this helpful. | Have you heard this album? |  |
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With its stylish, sonically detailed production, Dr. Dre's 1992 solo debut, The Chronic, transformed the entire sound of West Coast rap. Here Dre established his patented G-funk sound: fat, blunted Parliament-Funkadelic beats, soulful backing vocals, and live instruments in the rolling basslines and whiny synths. What's impressive is that Dre crafts tighter singles than his inspiration, George Clinton -- he's just as effortlessly funky, and he has a better feel for a hook, a knack that improbably landed gangsta rap on the pop charts. But none of The Chronic's legions of imitators were as rich in personality, and that's due in large part to Dre's monumental discovery, Snoop Doggy Dogg. Snoop livens up every track he touches, sometimes just by joining in the chorus -- and if The Chronic has a flaw, it's that his relative absence from the second half slows the momentum. There was nothing in rap quite like Snoop's singsong, lazy drawl (as it's invariably described), and since Dre's true forte is the producer's chair, Snoop is the signature voice. He sounds utterly unaffected by anything, no matter how extreme, which sets the tone for the album's misogyny, homophobia, and violence. The Rodney King riots are unequivocally celebrated, but the war wasn't just on the streets; Dre enlists his numerous guests in ...
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After colliding at a favorite neighborhood watering hole in Madison, Wisconsin one summer evening, guitarist Dan Hicks and vocalist Courtney Collins instantly bonded over their mutual love of old-school power pop. They closed the evening with a pact to start a band that would pay homage to the bands that inspired them during their formative years, and yet shed new light upon their favorite genre of modern music. The duo started writing together and then set about finding the rhythm section that would complement their music, which they dub "arena pop." Drummer Dave Ross entered the scene and wholeheartedly agreed to join the expedition. The lineup was completed with the addition of Arena Venus's newest member, bassist Andrew Yonda. Hicks' roaring power chords and classic arrangements are augmented by Yonda's melodic and insistent bass lines. Yonda's knack for pop is only complemented by Ross' precise but big beat, which provides the foundation for the playground that is Arena Venus. Collins ties it together with her protean contralto, bright melodies, and multi-entendre ...
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