From Robinsongs, Cherry Red’s funk/ soul/ R&B reissuing label, here is a two-CD/ four album reissue from New York’s Cameo.  The albums featured date from between 1981 and 1984, and show the band polishing & defining their trademark sleek-yet-playful funk ‘n’ soul sound.

The CDs come presented in a clear double jewel case- this takes in a glossy twelve-page inlay booklet, which features a new six-page write-up about the albums/ band from Mojo/ Record Collectors Charles Waring. As well as full album credits, as well as a few pictures.

Cameo were formed in New York in the year 1974 by lead singer/percussionist/ songwriter Larry Blackmore. At first, the project was known as  New York City Players- but this soon switched to Cameo. Initially, the band's sound was focused on more horn-focused funk band, in the mould of Parliament-Funkadelic.  But into the 80’s this shifted with a larger use of keyboards and drum machines in their sound, as well as sleeker-yet- playful feel to their material which brought in elements of pop, hip-hop, rock and upbeat soul- which would see huge selling mid 80’s singles like Word-Up and Candy. The albums here really highlight that switch/ progression.

First up on disc number one, we have Knights Of The Soundtable- this was the band's sixth album and it appeared in the year 1981.  This is an eight-track affair which moves heroic piping horn work and rapid electro-funk of the title track, onto smooth ‘n’ swooning funk-soul ballad of “I Never Knew”. Though the detailed percussive, light horn vamping, twinkling sound tones, and vocal bah-bahs of “The Sound Table”, onto the cheeky funk of “I Like It” with its taut bass twang, rapid guitar chug-a-chug, and snaping ‘n’ hissing electro beats.

Next on the first disc, we have 1982’s Alligator Woman. This eight-track album stripped most of the horn work- for a more keyboard, drum machine, bass, guitar and vocal-led affair. It feels way more sleek & at points sexy, with influences from both Prince & Michael Jackson material from this period- but still with its own playful identity.  We go from the hand clapping ‘n’ marching percussion, sampled horn trumpeting, twanging bass work, and shifting gang to solo vocalising of “Soul Army”. Onto swinging electro soul-funk blend of “Enjoy Your Life”, though to funk-pop rock of “I Owe You It All To You” which certainly shows the influence of both the Purple One and The King Of Pop.

Moving onto the second disc, we have 1983’s Style up first. This ten-track album sees the band moving more into their trademark sound, with its sleek-yet-playful blend funk, soul, and light rock- with all horn work stripped out. We open up with “Aphrodisiac” with its tight slamming funk bass ‘n’ guitar tones, hissing/ darting percussion, and blend of low, mid, and high male vocals including Blackmore’s trademark ohs and wails. We have the funk-blues strut and slam of the title track, and there’s the deep synth bass chug meets jaunting keys of “Slow Movin’”.

Finally, we have 1984’s She's Strange-which is a seven-track affair. And we’re at what people think of as that distinctive mid/ late 80s cameo sound. The title track blends snapping electro beats, sleek funk bass lines, moody key & guitar swoons, rapid almost rap-like vocals on the verse, and joint soulful chorus vocals.  We have the pop-rock funk grind ‘n’ swing of “Taking Out The Side Of Your Neck”, there is the sleek funk soul swoon ‘n’ stretch of “Hangin’ Downtown”, or rocking guitars ‘n’ bassy bound of the final track “Lé Ve Toi!”.

Over these four albums, you can truly hear and clearly chart Cameo’s shifting sound. So, it’s great to have them all here together in one place. For fans of early 80’s funk ‘n’ soul.