Here we have a four-CD boxset bringing together all of the late 70’s to early 80’s albums from eight-piece New York band Of Skyy, who blended together funk, disco, R&B, soul and boogie in a foot-tapping, finger-snapping & flare-shaking experience. In all the boxset takes in seven full albums- plus a selection of bonus tracks.

The four CDs each come in a card slips- which blends together the two covers of the album featured.  These come presented in a glossy flip-side dark to sky blue box, with the release coming with a twenty-page booklet- this features a nine-page write-up about the band, and albums presented here. Also featured are a good selection of vinyl labels, single/album covers, and band photos throughout the ’70s and ’80s.
 
Skyy where formed in 1977 in Brooklyn, New York, and between 1979 & the early 90’s they released ten albums. The original line-up consisted of vocalizing sisters Denise, Delores, and Bonny Dunning.  Guitarists Solomon Roberts and Anibal Anthony Sierra, keyboardist Larry Greenberg, bassist Gerald Lebon, and drummer Tommy McConnell. Though they were fairly quickly joined by key players/songwriters Randy Muller - flute, keyboards, percussion,  and Solomon Roberts, Jr. - drums, guitar,  and vocals. In 1978 the band signed to New York-based Salsoul Records- where they released seven albums which are all featured here.
 
The first disc kicks off with the band's 1979 self-titled debut. Its cover is very high camp sci-fi focused, with the eight-piece standing on a selection of pastel blue spacecraft suited & booted in glittery to mix fabric-based matching get-ups. The album takes in seven tracks, and these move from bounding bass, strutting-to-wailing guitar, disco tom hitting, and light string swooning groove of “First Time Around”. Onto fluttering to cascading piano, soulful male vocals, and forlorn horn work of “Stand By Me”. Thorough to jiving slight space-toned edges of “Disco Dancin’” which finds spoken French male vocals, rising male ‘n’ female chousing, and a jaunting-to-joyful blend of grooving organ, bass line throbbing, and snapping ‘n’ popping rhythmic detail. It’s a decent enough debut album- with the more pronounced guitar elements helping the band stand out from lots of other similar projects- though it does sound a little derivative in places.

Next up on the first disc we 1980’s Skyway- this took in eight tracks. It went four-on-the-floor, bounding bass, and tightly strutting beats of “Skyzoo” which featured a mix of male & female vocals, as well as a kazoo solo. Onto sassy horn work, wow-wow guitar, and blunt bass pulse of “You Got Me Up”. Though to the light rocking chug meets darting key work of “Music, Music” which featured a slight whining Bob Dylan rocks-out male lead, which is kind of bizarre. As an album, Skyway is ok- with the most interesting touches coming from the more playful instrumental touches, and the more pronounced guitar elements.
 
Moving on to the second disc. And first up we have Skyyport- this is from the year 1980, and takes in eight tracks- with the band in white jumpsuits standing in front of an aeroplane on the runway. We go from the sassy ‘n’ sexy “Superlove” with its blend of tight funking-at times rocking guitar, bass & jiving synth tones- it rather feels like a meeting between Prince & Bootsy Collins. There’s pop-funk rock meets sing-song soulful vocals of “Sun Won’t Shine”. Or the galloping rock meets rising string swoon, and whooshing sound effects of “Arrival” finishing off proceedings. This is a most enjoyable & consistent album, with some nice ‘n’ loose genre mixing going on.
 
Next, we have 1981's SkyyLine- this takes in seven tracks. These go from throbbing synth bass, funk guitar strutt, and upbeat 80’s soul pop of “Call Me”. Onto down ‘n’ dirty electro-funk groove ‘n’ snapping beats of “Jam The Box” with its blend of Bootsy Collin’s like lead vocals, and female chanted vocals. We even have a try at reggae meets funk with “Going To Get It On” with jiving keys, sax sauciness, and that cheap ‘n’ cheesy feel of the islands. This album is more fun- which is ok with me, but it depends on your tolerance for more tongue-in-cheek genre-blending and general funky playfulness.
 
 
Moving onto disc number three, and we up first have 1982’s Skyyjammer. This was an eight-track affair, and it opened up funk meets chugging rock guitar of “Movin Violation” which features a rather raucous Michael Jackson-like lead vocal- as well as neat guitar and jazz piano breakdowns. There’s the tight funk meets synth soul pop of “Miracle” with some nice soaring gospel vocals highs here ‘n’ there. With the album played out the electro-funk swing ‘n’ groove of “Freak Out” which rather brought to mind one of the peripheral projects in Prince’s universal in the early 80s. Again, Skyyjammer is another consistent album from the band.

Next on disc three, we have 1983’s Skyylight- this is another eight-track affair. And it saw the band deepening their soul-funk sound, with more pronounced electro leanings - though the guitar is still very much present. We go from snaping-hissing beats & deep synth bass throbbing buck of “Questions No Answers” with soulful male & female vocals, blended with robot vocoder vocal touches. There’s strutting funk to lightly rocking guitar meets post-disco jive of “Hey Girl”.  With the album finished off with the jaunting keyboards of “Swing Out” which sits somewhere between electro-funk, urban ‘n’ upbeat 80’s soul- through we still get touches of rocking guitar soloing here & there. Another enjoyable album.
 
Finally, on disc number four we have 1984’s  Inner City. This was a nine-track affair, and it found Skyy at their most pop bound- blending together soul,  light electro-funk, and pop R&B. As an album  I guess it’s ok- but personally, I think it’s all a bit sleek, over-produced, and at times soulless- lacking any real identity/ feeling of playfulness. By their next album 1986’s From The Left Side, they had signed to major Capitol Records. So, as a result, there are slim picking- there is the dance-pop-soul Miami Sound Machine-like vibes of “Two Hearts” is quite foot-tapping, and it features some nice production layers. And the purring & climbing electro-funk meets sassy male soul vocals of “It’s My Life” has a little fire in its belly. But otherwise, it’s sadly all a little by the numbers.  
 
This final disc is finished off with five twelve-inch versions of selected album tracks from over all seven albums. Some of these are ok/ interesting to hear- but there’s nothing too mind-blowing- but I guess it gives a nice enough little bonus for the end-of-the-boxset.
 
 
If you a have penchant for either disco and/ or 70’s to 80’s funk The Salsoul Albums is a boxset that will most certainly appeal to you. With most of the albums offering up a nice & varied selection of tracks- with only for me the final album been a major let-down. And as the set slides in just under the £30.00 mark- it’s not bad value either!