The Soul-SIdes (Con)Temporary

DIGITIZING GUIDE

2010-03-06T20:42:00.001-08:00

The TK Digitizing Guide

Prepared by Brendan Irvine-Broque and Oliver Wang

Before you start to build a vinyl digitizing system, remember how sound signal chains work. Every sound, whether it’s coming from a singer’s voice or a groove from one of your LPs, has an origin, and passes through a number of different physical and electric stages before it becomes the 1s and 0s that reside on your hard drive.

This is the long version:

1) The physical grooves of a record
2) The turntable, which spins the record at a theoretically constant speed, and isolates it from any internal or external vibrations.
3) The tiny needle that follows the grooves
4) The cantilever system that acts as a suspension system for the needle as it is affected by the record’s grooves
5) The tonearm that stablizes the needle and keeps it in the grooves
6) The wiring inside the tonearm, and the wiring coming out of the turntable, which carries a very weak signal through unbalanced cables into the phono preamp.
7) The phono preamp, which uses the standardized RIAA equalization curve to boost bass frequencies that cannot be represented by grooves on a vinyl record at high amplitude.
8) The cables that connect the phono preamp to the Analog/Digital Converter (ADC)
9) The ADC itself – its dynamic range, accuracy, and clocking.
10) A computer software program that then saves that information into a sound file (AIFF, WAV, MP3, etc.)

This is the short(er) version:

1) The record itself
2) Stylus + cartridge (can be upgraded separately)
3) Turntable + tonearm (can be upgraded separately)
4) Phono preamp (either stand-alone or built into a stereo receiver or DJ mixer)
5) ADC (either stand-alone or your computer soundcard)
6) Computer software

For each part of this chain, your decisions will impact the quality of sound at the back end.

Let’s get the simplest things out of the way first: computer software.

BIB says: Audacity is the most popular by a long shot, though I find its user interface to be confusing and inefficient. I recommend the inexpensive, yet very worthwhile Peak Express, made by Bias Inc. It’s been around for over a decade, and the professional version is used in many mastering studios. At $29, it’s a steal, and will save you hours of time.

OW says: I’ve always liked Sound Studio 3 for the Mac. Simple, easy to use, but also powerful. $60.

Now here comes the more complicated parts...

The simplest way to digitize vinyl is to buy a generic audio cable as the link between your preamp and ADC. If you’re already a DJ, this likely means running a cheap (less than $5) cable from your DJ mixer to your computer soundcard. Assuming that mixer is connected to something like a 1200 that you already own, this will almost assuredly sound better than the Numark or Crosley USB turntables that seem to be popping up everywhere these days.

Note: It may be tempting to buy one of these cheap, plastic USB turntables since they combine #2-5 into a single machine. And frankly, if you just want to digitize records and you don’t care that much about how the final product sounds, this may be the way to go and you can stop reading now.

For those who want a higher level of sound quality, keep reading.

The basic principal of capturing sound is to ALWAYS start at the origin and work from there. There is no need to spend any extra money on a special, high-end ADC if there’s a weak link in the chain PRIOR to getting there. That’s why the kind of cartridge, turntable, and preamp you use are relevant.

To put it another way: you can’t get gold from lead; you need to start off with gold (the record you want to digitize) and hope the rest of your chain doesn’t tarnish the sound too much.

If you want to get serious, start at the beginning.

1) Are your records clean? There are all kinds of options out there, from robust vacuum designs like the VPI 16.5 to Groov Glide, to DIY designs involving ultrasonic cleaners. This may sound excessive, but remember: most of your records are at least a decade old, if not 50, and if you bought them used, who knows where they’ve been and what they’ve been exposed to? Dirty records = dirty sound. So make sure your records are as clean as you can get them before a stylus ever gets into those grooves.

2) Stylus/cartridge. These are a matter of personal choice. There may be objective quality differences between brands and models, but ultimately, it comes down to what’s pleasing to your own ears and people will have their subjective preferences.

BIB: My personal recommendation is Ortofon Concorde style cartridges – I use the Nightclubs for archiving, and have the elliptical (E) styli for LPs and the spherical (S) styli for 45s.

OW: I would second the Nightclub E but, as BIB notes, you may want to change styli (same cart, different needle) for 45s. In my experience, a “loud” 45 played with an E stylus is prone to bad distortion. I use my Nightclub to digitize LPs but often switch to a Shure White Label for 45s (I don’t own a separate S stylus for the Nightclub).

3) Turntables.

BIB: Technics 1200s are the kings. If you’re willing to spend $200 or more, it’s absurd to buy anything else. The “warmth” that audiophiles talk about getting from other turntables is nothing but resonance that reinforces midrange frequencies in a way that pleases the ear, but isn’t accurate. Like EVERYTHING record related, the Japanese have the game on lock and Technics are no exception.

OW: I think 1200s are a perfectly good choice and if you’re a DJ, you already know this. But if you’re NOT a DJ? I think there are other options, especially if you’re willing to spend time on Craigslist or eBay or browsing thrift stores and swap meets. There’s many good medium/high-end consumer turntables made in the ‘70s and ‘80s to be found under $200. This is a great research resource.

Ultimately, if you want to take the guessing game out of it? Look for a used 1200 under $250. Can’t go wrong with that. Me though? I’m fiending for one of these.

4) Preamps.

Preamps pose a unique challenge in the digitizing realm. Professional grade, stand-alone phono preamps are practically nonexistent and instead, you’re often left with either overpriced audiophile models and cheap, high-school-electronics-class designs.

There are some wonderful phono preamps built into some home stereo receivers from the 1970s, but these come with their own problems having to do with crosstalk and voltage, because there are so many other components within an analog stereo receiver (AM/FM radio, inputs, 50 watt speaker amplifiers, etc.). Current, analog DJ mixers are likely the best choice for anyone serious – particularly because they offer XLR or TRS balanced outputs, which keeps the noise floor low and dynamic range high.

BIB: I personally use an Allen & Heath Xone 02, just for the phono section, but only because it’s the best thing I’ve found so far. I’m hoping to build out a balanced Bozak (link) phono preamp sometime this year – they were the gold standard for design in DJ mixers for discos of the 70s and 80s, and are revered for their phono preamps.

I really wish that I could give a more solid recommendation for a dedicated phono pre, but the only phono pre I'm remotely interested in is a rackmount unit that the homie Thes One had custom-built by Manley.

OW: I used to use my Rane TTM56 as a preamp and from what I’ve heard, Rane builds very good preamps into their DJ mixers. But when I decided to separate my digitizing set-up from my DJ set-up, I needed to put the Rane back and look into a stand-alone preamp. The overwhelming recommendation I got was for the Radial J33 (which Thes One also uses when he’s not running sound through his custom Manley pre).

I’ve been happy with it so far and what’s nice is that you can plug headphones into it and you’re likely to get better sound from that than a stock computer soundcard (you can’t adjust volume though). I’ve had some people recommend the Rolls V29; it’s inexpensive but I’ve never test-driven one.

4.5) Cables.

Remember that your sound signal chain has to travel down wiring and the quality of wire matters as much as every other part of the chain.

BIB: My absolute highest recommendation goes to Redco Audio, who lets you design your own cables at very affordable prices, down to the length, connector style, and cable quality. I probably have over 50 cables from them, and know many studios who count on them regularly.

5) ADC.

Unlike preamp choices, the consumer options here may seem staggering but don’t be fooled. The vast majority of ADCs on the market are not worth your $200. Why? Because even though they most often have the exact same chipset that’s used in Protools HD systems, most are fraught with the exact same problems that plague your laptop’s soundcard – unstable and insufficient voltage rails, interference, and shoddy manufacturing. Avoid M-Audio, Tascam, MOTU, or others unless you plan on having it modded.

BIB: There are two companies making quality, affordable audio interfaces that sound great – Apogee Digital and Echo Audio. I personally use the Duet, and it’s wonderful, stable, and is truly the best you can find for less than a grand (at which point I’d start looking at RME, Lynx, and other Apogee products).

OW: I bought a Duet, partially on BIB’s recommendation, and have been very happy with it. The versatility is excellent - you have multiple ways to cable it (XLR, 1/4”) and the jog wheel lets you adjust both input levels and headphone volume. They’re not cheap - even used, expect to shell out around $250-350 - but if you’re serious about stepping up your ADC, it’s worth the added cost.

In conclusion:

The cost-differences here are dramatic depending on how you want to play it. An all-in-one USB turntable will run you about $100 or less. The set-ups both of us use will set you back at least $700-1000+. If you are going to trick it out, just remember: the strength of the digitizing chain is a linear process. You have to make sure your starting components are strong before worrying about the end; investing in a Duet or Echo would be one of your last purchases, not your first.

LAMONT DOZIER + RICHIE HAVENS: BACK TO THEIR ROOTS

2010-03-04T22:54:00.000-08:00

Lamont Dozier: Going Back To My Roots
From Peddlin' Music On The Side (WB, 1977)

Richie Havens: Going Back To My Roots
From Connections (Elektra, 1980)

One of my best moments in a club came back in the '00s when I was at APT during a night that Chairman Mao was spinning. I had never heard Lamont Dozier's "Going Back To My Roots" before and I was just marveling at now just how good the song was, but that incredible change in the arrangement that drops around the 6:30 mark. It was so unexpected and sublime, one of those songs that really only could work as well as it does when you give it time to unfold on a dancefloor. Simply incredible.

Not surprisingly, it drew the attention of other artists. The best known cover is by Odyssey but...I don't know...I think I found the vocals to be too disco-cliché. Richie Havens' version however won me over with that intro piano (I'm a sucker for good piano intros) and though Havens has a rougher voice than Dozier's it works well here. The "reprise" section is missing but otherwise, I find this almost as pleasing to play out.

JUNIOR PARKER: SWEET AS HONEY

2010-03-04T22:26:00.000-08:00

Junior Parker: Lover to Friend
Your Love's All Over Me
From Honey-Drippin' Blues (Blue Rock/Mercury, 1969)

Bluesman Parker is already responsible for one of the funkiest blues tunes I know, his cover of the Beatles' "Taxman." However, I had totally forgotten about this '69 album until my recent move and I was reacquainted with two of its outstanding cuts. What I like about both of these songs, especially "Your Love's All Over Me," is how they lean more to the R&B side than being traditional blues tunes and both open with waiting-to-be-looped basslines (any producers out there looking to mess with either of these, holler and I'll send you a higher quality version. This might be a tad too simple though; your call).

FAREWELL TO RON BANKS

2010-03-04T22:02:00.000-08:00

Banks is the middle man, literally

I'd be remiss in not noting the sad passing of the Dramatics' Ron Banks. At this point, most of the original founders have all died in the last ten years and I don't think a single one of them made it 60.

I don't have a long post to write here - I can't say I really knew the Dramatics' catalog as deeply as that of other groups though obviously, I'm up on their big hits. I did find it fascinating that they were a Detroit group yet signed to the star of the South: Stax/Volt. Wonder if Gordy ever got pissed about that though by the early '70s, he probably had his hands busy with moving Motown to L.A. anyway. In any case, here's two songs I picked out in memmoriam: one being the Dramatics' first hit (and one of their most enduring), "Whatcha See Is Whatcha Get" and I decided to pair that with a killer reggae cover of one of their other songwriting gems, "In the Rain," done by the Debonaires (thanks to Hua for putting me up on that single).

RIP, Ron.

The Dramatics: Whatcha See is Whatcha Get
From Whatcha See is Whatcha Get (Volt, 1972). Also on The Best Of.

The Debonaires: In the Rain
From 7" (Tobin, 197?)

THE HOLY GHOST POSTS: RELIGIOUS SOULS

2010-03-03T10:35:00.000-08:00

Religious Souls: The Condition the World Is In
Rich Man
From Sinner Man (Artist's Recording, 197?)

Religious Souls: Jesus People
Life Is A Vapor
From Change Me Lord (JCL, 197?)

The Kingcannon Family: Jesus Is Mine
Our Father's Children
From Unity (Arroyo, 1985)

I've been meaning to write up the Religious Souls for about 4.5 years and the only reason I took this long was partially because I was hoping (now and then) to find a way to reissue their records (alas, I'm poorly equipped and a couple of the labels I initially approached took pass). But should tell you how much I think this group is fascinating. Song for song, the Religious Souls (aka the Kingcannon family) are, in my book, one of the best gospel soul groups to have ever been recorded. It's not like other gospel albums where there's one or two soul or funk songs interspersed with more traditional gospel styles; every cut on their albums is seeped in R&B/funk aesthetics, with incredibly rich arrangements and a real gift for falsetto vocals. If it wasn't for the relatively poor recording/engineering quality (and obscurity) of their first two albums, I have no doubt these would be stone-cold classics. As it is, they're barely known about as it is (though apparently, my man Lyrics Born knows about 'em).

I had the great privilege to interview Bishop Reggie Kingcannon, who was one of the core of the group and got some of the story behind the group. They began originally in the late '60s and early '70s, one of the many groups likely inspired by the success of the Jackson 5 (though they rocked seven in their clan). However, before they had a chance to record, David Kingcannon (who played guitar) had a "calling" to join the ministry, seemingly ending their record ambitions.

Though not originally from the Colorado area, they ended up Denver when patriarch Rev. Earl Kingcannon took over as pastor of the Pentecostal Faith Temple Church of God In Christ in Denver and when the family performed in concert there, they came to the attention of Brother Al, self-billed "America's #1 Gospel DJ" who broadcast on at least four stations: KBRN (Denver), WSUM (Cleveland), WHKK (Cincinnati) and WPFB (Middleton, OH) and he convinced the group to let him exec produce their debut album, Sinner Man.

9 of the 10 songs on their debut were written by members of the Kingcannon family and they recorded the LP at Music Plant Studios in Denver and I'm assuming Brother Al took it back to Cincinnati where he had it pressed at the custom plant, Artist's Recording Company. As you can hear on the two songs I picked off, the arrangements and vocals are superlative; their content might have been gospel but at their musical core, this was a soul group, through and through. According to Reggie Kingcannon, the group's drummer, it was the family's matriarch, Willa, who did much of the music, with daughter Sarah handling the female lead and sons Reggie and David handling male leads (plus sister Lavern on the bass guitar and I'm assuming the 7th family member, Betty, was on background).

Somewhere in that midst, they recorded their second album, Change Me Lord, this time for JCL (Jesus Christ is Lord) Records, in Henderson, TN, home to Clyde Beavers' Beaverwood Studios. Unfortunately, their second album suffers from two distinct problems. First of all, the engineering was terrible; you can tell from how the vocals are mic-ed and how unbalanced the mix is (if you listen hard, you can hear the organ in the back of "Life Is a Vapor" and I can't believe they intended to bury it that far back in the mix). Second, the pressing was also low, which means that in order to get the recording loud enough to listen to, you have crank the volume up and that bring its own problems, especially when digitizing from vinyl. Yet, despite all that, the same musical strengths of their first album are still all here.

Unity came out in the mid-80s, by which time, the group had decided to ditch the Religious Souls' moniker and instead just record under their own name. They had at least one album during this era, Unity, much of which is kind of schlocky '80s pop/rock but the first two songs on the album still had some of that old magic, just updated with more "modern" production.

Should have shared this with ya'll years ago but better late than never. Enjoy.

THE HOLY GHOST POSTS: EDDIE ROBINSON + ART REYNOLDS + STERLING GLASS

2010-02-27T22:33:00.000-08:00

Eddie Robinson: God's Love Song
Absolutely Beautiful
From You In My Life (Ren Unlimited, 197?)

It's not all about the funk. This Eddie Robinson LP is a stunningly smooth, mellow and soulful gospel album, filled with electric piano and Robinson's own dulcet croons (oh yeah baby, let's get down and...pray). And then there's this very simple edit I put together:

The Art Reynolds Singers: Down Here Lord/How Did It Feel?
From Tellin' It LIke It Is (Capitol, 1966)

This album - a hit on the gospel circuit in its day - is best known for "Jesus Is Just Alright" but the two songs that drew my attention were the slower, dramatic "Down Here Lord" and the more upbeat, uptempo "How Did It Feel?" both of which benefitted from that strong choral presence. However, something about the arrangement in both songs sound so much alike that I figured I'd just combine them into one and the end result, in my humble opinion, works quite well.

On a similar tip is this tune:

Sterling Glass and the Metropolitan Singers: Thank You Lord
From Jesus Never Fail (Glori, 1973)

Straight out of Waterbury, CT, Glass and the Metropolitan Singers offer up a beautifully arranged and executed song here. That pianist is straight killing it (uh, in a spiritual way). Interestingly, this album got reissued in the mid-80s on Nashboro; I wonder if it was a decent seller in its time.

Elsewhere:

I just wrote up the 3 Titans' "College" as a Song of the Day for NPR.

And my latest blog post for Fania is on Ricardo Ray's "Lookie Lookie" and the origins of Latin boogaloo.

THE HOLY GHOST POSTS: VIOLINAIRES + CARLTON COLEMAN + THE WILLIAM SINGERS

2010-02-26T15:09:00.000-08:00

The Violinaires: Groovin' With Jesus
Put Your Hand in the Hand
From Groovin' With Jesus (197?)

One of the best known gospel funk songs out there is the appropriate titled "Groovin' With Jesus" by the venerable Violinaires. This Detroit-founded group has a long, deep history - Wilson Pickett was once a member and the Rolling Stones apparently wrote for them. This comes out of their early '70s catalog (and if you've ever perused the gospel section at a record store, you know how prolific they could be) and they're very clearly experimenting with some secular flavor. Frankly, I have yet a hear anything even remotely on this level, at least in terms of how well it kicks that '70s funk sound. Humble Pie and the Lifesavas knew the real.

I included a second song off the same album...one that you would have assumed might kick a little break based on experience but no. Yet, this is probably one of the best versions of the song I've ever heard. Despite the opening drum break on other versions, they tend to slide in campy country rock and the Violinaires keep their version quite soulful throughout.

Rev. Carlton Coleman: Rockgospeltime Pt. 2
From Rock Gospel Time (Brunswick, 1970)

Coleman is probably best known in soul circles for having worked with James Brown on the novelty cut, "The Boo Boo Song". By 1970, Coleman...no longer "King Coleman" but Rev. Carlton Coleman, was on Brunswick and recorded one of the more eclectic albums for that label (which is saying a lot). That LP was a mix of long (and I do mean long) monologues about Coleman's unique "Rock Gospel Time" philosophies with a few really funky cuts, among them "Share It" and this mostly instrumental jam, "Rockgospeltime Pt. 2"

The William Singers: He Lifted Me
From He Lifted Me (Checker, 1973)

Thought I'd finish off with another Checker release (the studio seemed to be encouraging these kind of gospel-meets-funk fusions), this one from the William Singers. I think it's safe to say this cut, in particular, borrows heavily from Chicago's dense music scene with a classic funky blues riff powering the cut.

THE HOLY GHOST POSTS

2010-02-26T14:33:00.000-08:00

For the longest time, I've been meaning to write a series of posts on gospel soul but for whatever reason, I kept putting it off. Then, a few weeks ago, I was asked to review two new gospel anthologies for NPR:

Fire In My Bones

Born Again Funk

The review ran yesterday afternoon.

With it, I figured, damn, I can't keep putting this off any longer so I'm going to use them as a prompt to finally get my stuff together and knock these posts out.

Let me start by saying that I'm a completely secular guy so gospel's appeal to me has nothing to do with theology. However, I've long respected gospel's important, formative influence on R&B ("gospel soul" almost sounds redundant) but more than that, I appreciate the depth of emotion that comes into gospel. You can't really compose a song meant to praise an entity like God and come half-assed about it. That commitment? That is the essence of soul.

My favorite song off of Numero Group's second in the Good God series is what I tried to end my review with but given the length of the piece, they had to cut it off pretty quickly:

The Inspiration Gospel Singers: The Same Thing It Took
From Good God!: Born Again Funk (Numero Group, 2010)

This song is so perfect on every level - the bassline, the lead vocalist, the back-up vocalists, the hook... It kills me that this is also insanely rare ("a handful of known copies" according to the compiler), with many copies having been destroyed in a warehouse fire. All the more reason I'm thankful it got comped here.

One song that I'm frankly amazed hasn't made a gospel soul comp is this one:

Robert Vanderbilt and the Foundations of Soul: A Message Especially From God
From 7" (Sensational, 196?)

It's an Illinois record (and I just have to think TNG thought about comping this at some point but I don't really know) and I swear to god it sounds like they're using the instrumental track from another song but I can't for the life of me remember which one. Either way, this rolls deep, especially with those guitars and the faint swirl of...(I have no idea what's creating those swirling notes except for some weird reverb off the bass). It's a pity that it came out on styrene. I have what looks like a mint stock copy but there's just the slightest, annoying touch of cue burn on it so I'm borrowing my rip here from a JBX mix. I don't know anyone who's ever heard this and not been floored.

Alright, let this be the first post of several over the next few days (or hours, if I get around to it) to highlight some of my favorite picks out of my small (but hopefully growing) gospel crates.

R&B: RIDDIMS & BLUES

2010-02-24T17:12:00.000-08:00

Sebastian: Living In Depression
From 7" (Brown Dog, 1975)

Sebastian's "Living in a Depression" highlights a different kind of "cover" (even though it's technically not): the recording of a new vocal track over a pre-existing instrumental. This happens in R&B more often than some may remember - "Light My Fire," by Young Hold Unlimited, Jackie Wilson AND Erma Franklin being one of the better known examples. However, it wasn't until last year that I even realized that "Living In a Depression" existed even if its instrumental track - Little Royal and the Swingmasters' "Razor Blade" is pretty much a common but classic funk 45.

Here's the thing: I don't think this song works well. Partly, the mix sounds way off; you can barely even hear, let alone comprehend, what Sebastian is singing. But even if the song had better engineering, Little Royal's original arrangement just doesn't sound like it was meant to have vocals on it. Trying to fit "Living in depression/what you gonna do?" over that opening horn line feels forced and awkward. Yet, I like the 7" because it is so off, as if this was some bad studio cut that was meant to be thrown out but was released by accident. (Thanks to Soul Marcosa for turning me onto this song).

I also recently got this single from Spain that seems to fall under the same category:

Charly and the Bourbon Family: Boogachi
From 7" (Poplandia, 1971)

Charly is clear riffing on "Look-a-py-py" by The Meters (uncredited as it may be). A perfectly awesome funk instrument which Charly and the Bourbon Family then proceed to get all CCR over with their vocals. Interstingly, though this appeared on a Spanish label, Charly and the Bourbon Band (aka The Diamonds, aka the Untouchables) were a German band who cut their teeth in the various American G.I. clubs throughout Europe. They also, apparently, do covers of Hugh Maekela's "Grazing in the Grass" and Cliff Nobles' "The Horse" both those are formal covers unlike this, an "unauthorized" re-versioning of "Look-a-py-py." (I have an even more bizarre European 7" out of Sweden which puts vocals over the Mohawks' "Champ" but that will have to wait until another time).

In terms of another example of this phenom that I unqualifiably enjoy, that'd have to be this:

Leon Austin: Steal Away
From 7" (King, 1970)

This is a "double" cover of sorts. For one, it's a legitimate cover of Jimmy Hughes' 1964 hit, "Steal Away" but James Brown (who produced the single) also threw the vocals over the instrumental track "Nose Job". And unlike the ill-fit with Sebastian/Little Royal, Leon Austin sounds great over the "Nose Job" riddim. (Thanks to Mao for turning me onto this song).

P.S. Speaking of covers, here's a real one. I write up the awesome Mexican cover of the Joe Cuba Sextet's "El Pito" for Super Sonido.

LIGHT BULB: THE HOOD MIX

2010-02-21T21:09:00.000-08:00

This is like the answer back to all those folksy singer/songwriters trying to be cute by covering Dre and Snoop songs.

A few updates.

One reason I've been slow to post here is because I had knock these out...

Sade review.

Africa Boogaloo review.

Song of the Day about "Cumbia Moderna De Soledad" from Black Man's Cry.

Upcoming:

Another Song of the Day for that Little Ann song.

A review of Freeway's Stimulus Package

Guest post for Super Sonido's 45 series.

JOE CUBA RELEASE PARTY - UPDATED

2010-02-13T11:36:00.000-08:00

I had a great time last night. The Boogaloo Assassins killed it, as usual, and impressed the hell out of the folks from Fania who had heard 'em but never seen them perform in action. I am insanely jealous of anyone in the NYC area who gets to see the band fly out to the birthplace of boogaloo and perform for the first time in their history. That's coming up on February 24 - do not sleep!

I was also very blessed to have finally met, in person, Bobby Marin after several years of picking his brain for all things boogaloo-related. It is incredible how many different projects he worked on in the '60s and '70s. I had no idea he helped get the Ghetto Brothers onto Mary Lou to record their album.

WE ARE THE WORLD, FAIL

2010-02-13T09:23:00.000-08:00

I hate to pick on something done for charity but can we just talk about how stunningly terrible this is? Four things off the top of my head (just so I don't explode in criticism):

1) It's been a quarter century since the OG "We are the World." Are you telling me no one could find a way to write a new ensemble song? Are you f----ing kidding me?

2) Bringing back video of the original artists - MJ for example - was tacky. And again, says something very poor about the current state of popular music.

3) Speaking of that current state...the train wreck of styles here was just painful. The original arrangement just was not designed to incorporate much of a hip-hop segment and then way they crammed it in here did a disservice to everyone.

4) Autotuned Lil Wayne? Really?

I could go on. But good god, next time someone asks for how the road to hell is paved with good intentions, please send them the link to this.

IN ROTATION

2010-02-10T23:51:00.000-08:00

T.R.O.Y. has Cypress Hill's demo tape. Seriously - this demo tells me that whoever A&R/exec. produced their debut deserves massive credit for improving the band's final product. The demo is cool as a curiosity but more rough than diamonds, if you follow me.

Just Matter and Roger Jao team up for a fun and impressively executed mix called Still Diggin' Disco, featuring the best in electro country house. (Ok, actually, it's all disco).

Late pass (#1) on my part but Jay Electronica's Victory mix-CD is a must-to-bump. Can I just marvel, for a moment at how good this sounds to me?
Jay Electronica feat. Talib Kweli, Jay Cole and Mos Def: Just Begun

I've read elsewhere this is actually a Reflection Eternal cut feat. Jay E, Jay Cole and Mos. That's less relevant than just appreciating how this is a real flash back to the turn of the 90s/00s, when people still presumably carried about a bunch of "dope" MCs "dropping" "hot lines" over a "cool beat." F--- if you can't feel this.

Weiss still has the mix.

Speaking of the Passion of Weiss site, DJ Sach has put together a Winter Mixtape, a concept I've been wanting to create for a long time but thankfully, someone got around to doing it first. Everyone needs a Winter mixtape.

Late pass (#2): DJ Numark live at the Do Over. This dude stays mad underrated but is still one of the most party rockin' DJs out there. And not just because he plays mooged out covers of the Mohawks. (It does not hurt though).

Funky16corners brings you their Forbidden City Organs. If you can't get enough of a fiery, funky bunch of organ vamps, this is for you. B3 me!

Last but not least, I probably should write a full post about this at some point but I'm hella behind on a ton of stuff and I'd hate to overlook at least saying a lil' something...Souljazz Orchestra are a Canadian ensemble who, true to their name, have kept the soul-jazz sound of the '60s and '70s alive and well. The album is heavily Afro-beat influenced but the cut that really stood out to me is more in the vein of Black Jazz than EMI Nigeria:

Souljazz Orchestra: Lotus Flower
From Rising Sun (Strut, 2010)

Loving the smooth, cool flavor here; absolutely takes me back about a dozen years to when I was trying to grip Strata East, Black Jazz and Prestige titles with the quickness. This drops in the next couple; sleep not.

The group also has a video for another song off the album:

TO ALL THE WORKING DJS OUT THERE

2010-02-10T09:58:00.000-08:00

I'm doing research on the diffusion of digital DJ tools (CDJs, Serato, etc.) into the world of DJing. I prepared a survey (short, less than 20 questions) for working DJs to fill out.

By "working" I mean you make part of your living doing this vs. strictly bedroom spinners. You do NOT have to be a DJ that uses digital tools.

If you're down to participate, please go here.

Thanks!

GOOD MUSIC, BETTER CAUSE

2010-02-08T16:25:00.000-08:00

My man Chuck Wild has a great Haitian inspired mixtape for free with any donation of $5 or more to Partners in Health. See here for more info.

MINGERING MIKE + KINGS GO FORTH

2010-02-05T07:52:00.000-08:00

Very nice - Mingering Mike created the cover art for the upcoming, debut album for Kings Go Forth, the Milwaukee-based soul band who've gotten an incredible response for their 7"s and are finally dropping a full-length on April 20th.

(Thanks to Shore Fire Media)

FAT JOE + YOUNG JEEZY + SCOOP DEVILLE: HA HA, STICK 'EM

2010-02-04T22:55:00.000-08:00

Fat Joe feat. Young Jeezy: Slow Down (Ha Ha)
From The Darkside Vol. 1 (upcoming, 2010)

Funny; me and Hua were just rapping about the acapella mix for Soul II Soul's "Back to Life" earlier today and then I heard this new Fat Joe/Young Jeezy track that uses part of the acapella to full effect. Seriously, this beat is bonkers and both Joe and Jeezy kill sh-- over it.

Props to Scoop Deville for the beat. He's Kid Frost's son and given that he also hooked up Snoop's "I Wanna Rock," it's like he's been raiding pop's golden era hip-hop crates (how long until Mixmaster Spade gets remade into a new beat?). I can't wait to spin this out - it's the epitome of banging.

LITTLE ANN: GOING IN DEEP

2010-02-02T21:20:00.000-08:00

Little Ann: Deep Shadows
From Deep Shadows (Timmion, 2009)

Stop whatever the f--- you are doing, right now.

Play this, preferably at a loud enough volume without shattering eardrums.

Soak in it.

Get mind blown.

Sorry for the terseness of the post but in this moment, I don't have much to add except to say that (even though this is from last year), I've had my first sublime musical experience of 2010.

Currently, this is only on vinyl and if that doesn't encourage you to go right out and get a turntable, I'm not sure what will.

*Correction: you can get it on CD too, as part of Dave Hamilton's Detroit Dancers series. (But still, get a turntable anyway).

COVERS POWER PACK

2010-02-01T18:49:00.000-08:00

As my dwindling finances can attest to, snapping up records with cover songs is ~~bad habit~~ ~~sickness~~ passion that I can't/won't shake. I'm sure there will be a Deep Covers 3 in the offering at some point in the near future but in the meanwhile, here's a few highlights from the last few months.

The Power Pack: I Got You
From Soul Cure (Polydor, 1969)

Generation Gap: Family Affair
From Plays Shaft (RCA, 1972)

These both come from instrumental exploitation LPs, jacking contemporary hits of the time and giving them makeovers that, in most cases, are laughably weak. Occasionally though, you cross a few tracks that at least can hold your attention (though I would never suggest that either of these two are superior to their inspirations).

The Power Pack seems to have been a session band overseen by Nick Ingram, one of the better known UK library composers and this very much sounds in the vein of KPM or similar library labels. The UK Polydor version of this album goes for far more money than really makes sense to me but personally, I prefer the Canadian Polydor issue for having the superior cover art. In any case, their cover of James Brown's "I Got You" has some slick, Hammond flavor to it and most of all, a strong drummer holding it down (albeit a bit "squarely").

Generation Gap were American (presumably) and tackled R&B hits of the early '70s, including a few blaxploitation tracks as the title suggests, but I thought their take on Sly and the Family Stone's "Family Affair" was decent as far as instrumental flips go. Nice opening break and the sax is surprisingly uncheesy.

Byron Lee and the Dragonaires: Get Out of My Life, Woman
From People Get Ready, This Is Rock-Steady '67 (Dynamic, 1967)

Derrick Harriott: Let It Whip
From Acid Rock (Crystal, 1982)

On the reggae tip, I pulled one off one of the Byron Lee albums I only recently got around to copping - the quite excellent Rock-Steady '67 which I learned about from my man Michael Barnes. "Soul Ska" (as Michael noted) is the jam on here but it's always fun to come across yet another cover of "Get Out of My Life, Woman," especially one given a ska rhythm makeover.

Fast-forwarding about 15 years, we arrive at Derrick Harriot doing a surprisingly groovy cover of The Dazz Band's classic "Let It Whip." For real - I don't think I really ever want to hear the actual original again but this reggae remake is totally working for me.

La Lupe: Bring It On Home to Me
From The Queen Does Her Thing (Tico, 1969)

The Exciters: Bring It Home To Me
From 7" (Loyola, 196?)

I know La Lupe has quite the posse behind her and I can't say I've listened to a ton of stuff from her outside of a handful of songs but everytime her shrill, cackling voice rings through on an English-language song, I think, "for the so-called Queen of Latin Soul, she mostly sounds like a novelty act." And let me be serious for a sec here - part of why La Lupe can lay claim to the title is because there's so little competition. The Latin soul scene had very very few women singers involved (unfortunately) so I suppose someone like La Lupe had a better shot at the title than, say, Noraida or the enigmatic duo behind Dianne and Carole and the Latin Whatchamacallits.

In any case, her singing on "Bring It On Home To Me" veers close to cringe-inducement (especially on her higher notes) but the fact that the song still manages to work is a testament to how good the source material is. Not that I'd want to hear it but I bet the Chipmunks could do a version of this and it'd still sound pretty good; the original arrangement and songwriting is so good, it can easily forgive less than stellar attempts at working with it.

I couldn't close with this though and I decided instead to bust out a cover of the same song that I absolutely, unqualifiably adore - Los Exciters' cover, all the way from Panama. Sure, no one in the group is touching Sam Cooke (and that pretty much applies to everyone in the world not Sam Cooke) but I thought their take on this song was done beautifully, especially the vocal harmonies. I have a few heavyweight pieces from this group but this 7" b-side is easily the favorite thing of theirs I have.

PING PONGING

2010-01-31T08:44:00.000-08:00

I finally got around to catching up on my blog reading and noticed that Super Sonido recently wrote up Mon Rivera's "Lluvia Con Nieve." This salsa classic was introduced to me by Murphy's Law and I consider it one of my Top 3 go-to, never-fail salsa cuts to get an audience moving (Willie Colon holds down the other two with his "La Murga De Panama" and "Che Che Cole"). "Lluvia Con Nieve" fits right between those two - more aggressive and forceful than "Che Che Cole" though, for my money, nothing can ace the horn opening to "La Murga" but that "Lluvia" comes pretty damn close. Trust a trombonist to know how to use some brass to get feet to slide.

Super Sonido included Rivera's original plus a cover by Lucho Macedo on Virrey which I had never heard before (good stuff Frank!) and that made me think of this:

Carlos Pickling: Lluvia Con Nieve-El Molestoso
From Suplemento Dominical (MAG, 1970s)

Can't say I know much about this Peruvian organist except that he's, um, Peruvian and an organist. I picked this Mag LP up a while back, mostly on the strength of this medley/cover of "Lluvia Con Nieve" that segues nicely into "El Molestoso," a pachanga (Eddie Palmieri's?). The use of organ is what sells this cover for me, just adding enough of a touch of difference to stick in the ear.

Meanwhile, over at Philaflava's TROY blog, he's got the latest post in his "Who Flipped It Better" series up, focusing on samplings of Five Stairsteps' "Danger, She's a Stranger." It reminded me that I hadn't done an installment of my own, similar series in well over a year and as it was, in going back over some key Willie Mitchell productions, I forgot how many folks had flipped Al Green's "I Wish You Were Here."

Al Green: I Wish You Were Here
From Al Green Is Love (Hi, 1975)

Nas: Shootouts
From It Was Written (Columbia, 1996)

The Lootpack: Wanna Test
From Soundpieces: Da Antidote (Stones Throw, 1999)

Consequence feat. Kanye West: The Good, The Bad, the Ugly
From Don't Quit Your Day Job (Good, 2007)

Wu-Tang (Ghostface Killah + Tre Williams): I Wish You Were Here
From Chamber Music (E1, 2009)

I find it rather remarkable that this song has been such a popular sample over the years if only because it's just not what I associate with Green's core canon. Doesn't mean it isn't a great song and in particular, such a classic Willie Mitchell sound. On that note, it's rather amazing that no one in the Wu seemed to mess with this until last year given that it sounds pitch-perfect for the Wu's well-known affections for the Hi catalog.

However, it was Nas who seemed to have been the first to flip this (Poke and Tone of the Trackmasters to be more exact), back with "Shootouts" from It Was Written. Call me crazy but listening back to this, some 14 years later, doesn't one get the sense that Poke and Tone were listening to some of Rza's beats and thinking, "yo, we need to get on this steez?" In any case, I admire how they didn't opt for a straight loop but chop it up instead (Jesse "Fiyah!" West style!) Madlib's flip on the same sample for The Lootpack's "Wanna Test" doesn't cut things up as much, opting instead to filter parts of the main, opening loop to add some dissonance. Fast-forward to 2007 and it's an interesting contrast with how Kanye uses more of the original sample in its "pure" sonic form to open, but then chops it up a bit (w/ Green's vocals sped-up and attached) for the main parts of the song. Honestly, I think I gotta give it up to the Trackmasters for the best flip of this sample - it just has the most edge and appealing sound of the bunch.

Continuing my "songs I thought of while reading other people's posts" - Earfuzz has the new Kings Go Forth's single, "One Day" and that reminded me that I'm behind on posting this:

The One & Nines: Something On Your Mind
From The One & Nines EP (2009)

This soul band out of New Jersey (no Jersey Shore jokes, please) contacted me over winter break and I really dug this one song off their new EP. Reminds me of that Noisettes song I posted last year in general sound but sans the rock elements. The arrangement here is done with smart subtly - the song doesn't try to force an overly aggressive crescendo; it's content with maintaining a slow burn that sparks towards the end without ever departing too far from the core, Southern Soul aesthetics that make this such an appealing tune. (Excellent use of back-up singers too - this isn't nearly as acknowledged as it should be.)

MATTHEW AFRICA ON WILLIE MITCHELL, BREATH OF LIFE ON TEDDY PENDERGRASS

2010-01-30T08:08:00.000-08:00

Because I was in the middle of moving/unpacking/new house hell, I really missed out on being able to say something meaningful about the passing of Memphis legend Willie Mitchell or slow jam king Teddy Pendergrass.

As it turns out though, Matthew Africa said everything I could/would have about Mitchell AND followed that up with an essential mix of Mitchell's greatest moments. And Breath of Life came through with an equally great post about the life and times of Teddy.

Fabulous posts and absolutely a recommended reads/listens.

CATCHING UP WITH CUMBIA AND BEYOND

2010-01-29T17:40:00.000-08:00

Here's a quintet of stuff I've been listening to lately...

Cumbias En Moog: Cumbia Del Sol
From 7" (Peerless, 197/8?)

Cumbia, done in moog. Awesome idea, marvelously executed here by the outfit, appropriately named, Cumbias En Moog. I'm betting there's a lot more of this out there, probably collecting dust somewhere between Colombia and Mexico City. Holler at me with that! This came out of a batch of cumbia 7"s I picked up the other month; money well-spent! Really solid stuff all around (the A-side of this 7", for example, has a surprisingly good, bossa-flavored cumbia). I'll share another one:

Pedro Beltran y Orquesta: Cumbia De Lucy
From 7" (Aries, 1970s)

Killer intro; sounds like a marching band bass drum being pounded there, intercut with chattering percussion and then what sounds like an Indian flute creeps in (~~I'm assuming it's some Peruvian woodwind~~according to commenter Alejandro, it's a Colombian instrument called a "gaita".). The whole package is an incredibly mesmerizing rhythm. Lyrically, I can only assume the song is a riff on Lucille Ball given that the vocalist (Beltran?) sings "Lucy! Luck!" Ricky Ricardo style.

The Sonics: Have Love Will Travel
From Here Are the Sonics (Etiquette, 1965)

One of my favorite songs to DJ with over the last year or so has been the Lefties Soul Connection's cover of "Have Love Will Travel." The song was originally recorded by Richard Berry in 1959 but like several of Berry's influential compositions ("Louie Louie" being the most obvious), it would actually be later artists who'd record the more definitive version. In the case of "Have Love Will Travel," the version the Lefties are riffing on isn't Berry's original but the 1965 cover by the garage rockers, The Sonics. With the fuzzed out guitar and screaming intro, their version rocks in a way that Berry's never really did and it's easy to see why it's been such a compelling cover to cover since then. Check out Thee Headcoat(ees) cover for the femme makeover.

Chikaramanga feat. Droop Capone: A Life Like This (snippet)
From 12" (Tres, 2010)

Droop Capone aka Dr. Oop is one of my favorite West Coast rappers from the indie hip-hop heyday; he had such a distinctive flow and a knack for choosing good beats to rhyme over. In 2010, he hasn't slipped on that front, teaming with Japan's Chikaramanga for this upcoming single on Tres Records. Call it nostalgist in me but I like any song that a shout out to the Good Life on the chorus. Cop this.

Professor Longhair: Big Chief Pt. 2
From 7" (Watch, 19640). Part 1 + 2 version here.

This is a classic of NOLA music though I didn't get around to grabbing the OG 7" until recently. If you want to understand the roots of funk polyrhythm, you'd do well to just pay attention to what's going on this song in terms of what Smokey Johnson (second line ya'll!) is doing with the drums and how it plays off against the rest of the layers of the song. Longhair's piano work here is sparkling and I went with the lesser played Pt. 2 of the 7" because I like it makes the Royal Dukes of Rhythm horn section more prominent plus you get actual vocals (from Earl King) instead of only whistling. (Home of the Groove has an excellent primer on this single).

In other news...people may also be interested in:

Part 3 of my overview of the Latin soul label, Speed, on Fania.com

An essay for NPR.org about who usually wins the Grammy's R&B Female Performance award.

HAVE A SNACK

2010-01-29T10:43:00.000-08:00

As has become far too common, I need to apologize for the delay between posts. You'll be happy to know (at least, I hope you will) that part of why I haven't been posting as frequently is that I've been working on liner notes projects instead. I've already put to bed notes on the Joe Cuba Sextet's We Must Be Doing Something Right, am about to start notes on Kako's Live It Up and perhaps of most interest to folks here, track-by-track liners for Rhino's upcoming What It Is Vol. 2, the sequel to their massively well-regarded What It Is boxset.

As penance for my absence, I pulled this out of the archives - the full ¡Boogaloo! set from March 19, 2009. I think I might have made this available to a few folks last spring since it's probably one of my favorite overall sets of the last year (our incredible MJ tribute night notwithstanding). At nearly 4 hours (and 200MB, so just be forewarned), hopefully this'll tide ya'll over until I can compose my next regular post.

Enjoy!

DAPTONE IS FOR THE CHILDREN

2010-01-27T01:13:00.000-08:00

Kiddie raps + MSB tracks = a winning combo? You tell me.

EGO TRIP GOES TO THE MOVIES

2010-01-25T10:32:00.000-08:00

I love how, even all these years after the original magazine decided to shut down, ego trip continues to stay in the conversation of culture and always in surprising ways. Their latest has been a new documentary movie series in New York:

They kick off with a film I still need to see - 80 Blocks From Tiffany's.

Get your tickets here.

APACHE, RIP

2010-01-22T16:44:00.000-08:00

Apache: Gangsta Bitch
From Apache Ain't Shit (Tommy Boy, 1992)

This one bums me out.

Apache may not have been a major rapper - his career came and went within a few short years in the early/mid-90s - but if he's destined to be known as a one-hit wonder, I'd argue that "Gangsta Bitch" was one of the more influential of its era. Lyrically, the song roiled many, not the least of which was putting the word "bitch" out so prominently and, if I recall, it fed into concerns (read: paranoia) about girl violence in that era; Apache was accused of encouraging female delinquency and violence, blah blah blah. From what I can remember, while there were certainly female rappers boasting about their bad ass-ness (B.O.S.S. anyone?), Apache was one of the first male rappers I could remember, besides perhaps Ice Cube, to pen an anthem to hip-hop's gangstresses. Biggie hadn't come out with "Me and My Bitch" yet, let alone the Lox's Ride or Die Bitch" or any of the subsequent songs you can think of. So there's that.

But for me, Apache's verses weren't nearly as memorable as the beat - put together by Q-TIp in one of the first non-Tribe tracks I ever remember Tip's credit appearing on (this was before he gave tracks to Mobb Deep or Nas) and it was a beauty - total classic of its era. The drums come from Lonnie Smith's excellent soul-jazz-organ-puffer "Spinning Wheel" and four bars in, Tip hits you with a loop lifted from Monty Alexander's "Love and Happiness."

Butter.

This track stays as one of my all time favorites and that's kept Apache alive in my memory for all these years. I suppose it's what will continue to even after his death.

DOIN' THE YO YO + A LITTLE TOUCH OF TEDDY

2010-01-22T00:20:00.000-08:00

Richard's People: Yo Yo (O-Dub's Extended Intro Edit)
From 7" (Tuba, 1968)

When Doc Delay came through to spin the other month, he dropped this in the middle of a funk mix and trainspotter as I am, I craned my neck over to ask: "wtf is this?" It sounded like the unruly love child of a Midwestern funkateer backed by an East Harlem band and as I dug around for more info on its background, turned out I was more or less on point.

While the 7" came out of Detroit (rumor is, the vocalist was a janitor at Tuba Records), the backing track originated in New York which probably explains why the dip into the shing-a-ling has a distinctive Nuyorican sabor on it. Boogaloo fiend as I am, I love where Latin boogaloo comes back to the Midwest (where the booglaoo was born). It's very post-modern before anyone was talking about post-modernity(ok, I'm hella nerding out right now) but all you need to know is that "Yo Yo" rocks. Sure, it's a derivative track in terms of being a "new dance" that also borrows from any number of hit songs from the same era such as the "Cool Jerk" and "Here Comes the Judge." (Again, pastiche! Collage!) Plus, all that and a breakbeat intro? Oh hells yes. (Personally, I'd love to see how the "Yo Yo" is done; sounds like fun.)

(See also Funky16Corners' excellent exploration of the single's history).

This is jarring gear shift but I'd be remiss in not taking the time to mourn the passing of Teddy Pendergrass, gone far before this time (which is about 99% of the great ones, no?).

Teddy Pendergrass: Love TKO
From TP (Philly Int'l, 1980)

All-time, end of night, slow jam, red light classic (though I suppose "Close the Door" is the king seduction song even more).

King Kong: The Love I Lost
From Funky Reggae (MFP, 1970s)

Just played this out last night and cotdamn was this Harold Melvin and the Blue Notes (feat. Teddy) such an incredible jam, made all the more enticing in this reggae-fied remake.

SOUTHSIDE SHINING

2010-01-21T15:46:00.000-08:00

Shining A 'Light' On Chicago's South Side Soul : NPR

This review of Numero Group's astounding Light On the Southside release (#33.3!) should have come out a few weeks back but better late than never.

Same adage applies to those of you who haven't bought the book/compilation yet. The NPR review has three streaming songs to check out, including a personal favorite: Arlean Brown's slinky "I'm a Streaker."

NEW JOE CUBA BOXSET OFFICIALLY ANNOUNCED

2010-01-21T10:47:00.000-08:00

Si!

DONNIE AND JOE EMERSON: LIVIN' THE DREAM

2010-01-21T00:17:00.000-08:00

Donnie and Joe Emerson: Good Time
Give Me the Chance
Baby
From Dreamin' Wild (Enterprise and Co, 1979)

This is one of those LPs that helps one understand why people bother to even look for records to begin with.

The cover screams bargain bin. Actually, it screams "so bad it's good" that even bloggers show it love for being so bad.

But here's the crazy thing...the actual album sounds nothing like you'd expect it to. Had the album had two loner, folk rock types, you could better understand how the Emerson brothers put together such a heady mix of psych and soul on here but you'd be forgiven if you assumed it was some schlocky power pop instead.

"Good Time" opens the album and already you realize: "oh wait, this is going to be some crazy sh--, isn't it?" The mix of fuzzed out guitars with a unmistakably bright melody is already worth noting but then the vocals come in and everything hits some next level you would never have guessed possible.

I don't mean to overstate it; his is not an amazing voice. Donnie (I think it's Donnie?) has a tendency to swallow his lines rather than pushing them out but still, there's something simple and innocent about the performance and you can imagine the young Emersons, with their big hair, jamming this one out in the basement, visions of arena tours dancing in their heads.

Those into funky psych will no doubt gravitate to the dark, smoky "Give Me the Chance." In listening to this, I'm reminded of any number of '70s rock bands who had a similar vocal style but a little before the 1:30 mark, the song falls deep off into a crevice of crazy synthesizer effects (I imagine Edan going nuts over this kind of stuff).

But seriously: it is all about "Baby." This is easily one of the best things I've heard in a long time (I'd easily put it ahead of anything on that Sly, Slick and Wicked LP and that's a great album). I'm not even entirely sure what he's singing besides "Baby" but it doesn't matter; just the way he croons, "oooh ooooh baby/yes, oh, baby" melts me like hot butter on (what?) the popcorn. Someone on Soulstrut described this song, "as if Shuggie Otis and Roy Orbison had a baby together" and that exactly nails it. I want to get lost inside this shaggy beanbag of a song, slipping into its cushy folds and dream wild like Donnie and Joe.

ANOTHER HEATROCKS FOR HAITI AUCTION: THE NEW WILSON PICKETT BOXSET!

2010-01-20T20:55:00.000-08:00

I was meeting with Rhino's Mason Williams today and he was gracious enough to donate a copy of the brand spanking new Wilson Pickett, 6 CD boxset, Funky Midnight Mover, The Studio Records, the most comprehensive anthology of Pickett's Atlantic recordings to date. This doesn't even come out for another week or so. Here's what it comes with:

1st comprehensive compilation of Pickett's Atlantic material
Includes all originally issued recordings for the label, early pre-Atlantic sides, his 1978 album for the Atlantic-distributed Big Tree imprint plus a CD of rare and previously unreleased recordings
Elaborate 92-page, linen-wrapped book with rare and unseen photos
154 tracks

I'm holding it in my hand and it is gorgeous (as is all Rhino Handmade material).

I'm going to auction this as part of the Heatrocks for Haiti campaign that I've been trying to get people to be aware of.

How it works is: you bid on this boxset in the comments. Highest price at the end of the bidding (Sunday night) wins. You donate to a charity of my choosing (most likely either UNICEF or Doctors Without Borders) and put down my email for confirmation (that way, I know you actually donated) and after confirmation, I mail you the boxset. Voila!

Also, as a reminder, I have three other items up for auction:

1) The Dereliks: A Turn of the Wheel Is Worth More Than a Record Deal EP
2) Blackalicious: Melodica 2xEP
3) The Wire Season 4 promo poster.

While the auctions are being hosted on Soulstrut, if you don't feel like signing up to be a member, you can send your bids to me or post them in the comments.

Bidding on the Pickett boxset begins at $100 (which is what Rhino Handmade is charging for it) and moves up from there. Remember: I'm hoping most of you would have planned to donate anyway. This way, you donate AND get a killer boxset in return.
(Note: If none of my readers bid on this, I will be very very very disappointed in you).

LIVE FROM SS CENTRAL

2010-01-19T10:29:00.000-08:00

A week ago today, a friend came over, armed with power tools, to help me assemble the record shelves at my new spot. By "help me" I mean "did most of the power work while I stood around and glued vertical supports". That's not out of laziness on my part; it's more that I've never had particularly good hand skills when it comes to home improvement tasks and given that our nail gun could fire holes through solid pine without using a nail, I figured it'd be best to have the master handle the tools that might otherwise lead to one of us with a missing finger or nail in the forehead. To make a long story short, I am very grateful to Thes for this time, expertise and general generosity. He really wanted to help me with these; dude likes these construction projects so I was the beneficiary of his enthusiasm and largesse.

In the end, we built two intersecting shelves, one 8x8, the other 8x12. Put it all together and it should be enough, give or take, to house somewhere in the ballpark of 9000 records, more than enough to handle my Latin, jazz, soul and rock collection.

Alas, the sad (and astounding) thing is that even with at least 60% of these cubits still vacant, I've run the math and it's still not going to be enough to absorb my hip-hop collection.

You have to understand: when Jeff posted this the other month, I felt it like braille make from cactus spines dipped in bhut jolokia extract. I have boxes upon boxes of "essential useless" records weighing me (and my subfloor) down (45 under the loft, another 15-20 above). Back when we moved from SF to LA in 2006, I had to keep almost all of my hip-hop records boxed, in the garage because our new spot simply didn't have the room to shelve all of them. The fact that the vast majority of those boxes remained completely sealed for the last 3.5 years tells me that, well, perhaps not everything in there is very essential. And much of it is quite possibly useless (not for the world, just for me).

Now, I know many of you are no doubt thinking, "this is a good problem to have" and I don't mean to sound disingenuous in complaining about this but anyone who collects anything knows that, at a certain point, the line between "passion" and "burden" can be razor thin. My rap records, amassed mostly between 1993 - 2006, are a challenge to literally fit into one's life. Back in S.F., our two BD apartment turned into a BD because I used one of the rooms to house my records; that's a fairly significant sacrifice. Luckily, at our new place, we had an extra room big enough to accommodate all the records but currently, only because they're boxed and stacked. The reality is that I need to purge like mad, turning "essential useless" records into non-essential ones so I can let 'em go. It is, however, a daunting task and one that I've put off from doing for years now.

What much of this makes me think about is this notion of an audiobiography, a term I first heard used by friend and mentor Josh Kun. As the neologism suggests, an audiobiography is a way to think about one's autobiography via music and that can, of course, take on many different forms. For me, I think of it in terms of how different records or genres have ebbed and flowed in import during the course of my life. For a long time, my rap library was a source of pride so it is strange to think that I know view it as a burden. It's not that I've ceased to love or appreciate hip-hop but the material objects - the white label Abstract Rude 12"s I own or countless Rawkus promos for example - have ceased to be as meaningful as possessions. Like Mao's promo-only copy of the Jazzmatazz Vol. 2 instrumentals that he'll grip until the end of days, there are some records that I may never ever listen to but I'll keep out of some inexplicable sentimentality. But I sense that for many other records, I'll look at them and wonder why they've hung around with me for the better part of a decade.

This isn't a bad thing. It may not necessarily be a sad thing even. But for someone with a pack rat mentality, it is a jarring gear shift.

But enough of this handwringing over "owning too many records." I got an email from someone who runs a very well respected reissue label who was feeling my pain but only because he had 500 boxes of records to move. That put my dilemma in some perspective.

Now...someone asked for the basic design of the shelves and I'd be happy to share what we did since it's really quite simple.

STEP ONE: The way this design works depends, first and foremost, on having each shelf be a single board of wood. This isn't so much a structural thing as it is aesthetic. A single board eliminates any horizontal seams and more important, it eliminates any doubling of the vertical supports where side-by-side boards meet (imagine two boxes next to one another - the center verts where they meet are doubled up compared to each end. We wanted to avoid that).

Thes recommended unfinished, #2 pine boards and while they don't have to be pine, it's a good wood for a few reasons. First, pine boards usually come 3/4" thick (which is sufficient for load-bearing purposes) and 11 1/4" deep, which a bit short of the 12.5" you'd need to completely fit a standard LP but if you don't mind some overhang or don't mind having an open back on your bookcase (i.e. not flush with the back wall), it's not a big deal. Second, pine boards come in a variety of standard lengths from 6' up to 16' if you're looking for the single, unbroken board method, then you need to have that flexibility. For example, my shelves were 8' and 12' wide, respectively, which was perfect for the dimensions of the space (which was 9 x 12.5) and it was easy enough to find both 8' and 12' pine boards at Home Depot and other places.

Second, pine is relatively affordable as far as wood goes. Home Depot is convenient but not always as affordable as going to be dedicated lumber yard. For example, a 12' board at Home Depot runs about $1.66/foot. At the lumber yard, it was more like $1/foot and that extra 66% markup at HD is huge when you're buying 300+ feet of lumber. On the other hand, Home Depot had a sale on 8' long, #3 pine at more like .60/foot which was a great bargain. However, #3 pine is priced down because it tends to have bigger knots or cracks or rotted wood so you have to look through a lot of them to find wood that may be aesthetically marred but isn't structurally compromised.

Third, pine is easy to finish or stain and because it's naturally light in color, there's flexibility in what color it ultimately ends up being. I was in a hurry so I just did a clear, gloss wood finish using water-based acrylic but I could have done some poly stain/varnish if I wanted to get fancy.

It doesn't *need* to be pine. You could go with other wood choices, including plywood but the problem with plywood is that it's cut as a sheet, not as a board and therefore, you'd need to cut it at least twice and with each cut, you raise the risk of unevenness which is a problem since these cases are dependent on having identical pieces of wood to make everything line up right.

STEP TWO: Calculate how much wood you'll need. I admit, I totally messed up on the math so we had to make several repeat trips to HD. But just remember that you need to cut your vertical supports from the same boards. So calculate how many horizontal boards you'll need and set that number aside. The math comes in when you start to figure out, 1) how tall you want each shelf, 2) how wide you want to space your verts, 3) how many verts you can get out of a board based on those dimensions.

My verts and horizontal spacing were identical: 13". Because of that, it meant that all I needed was one extra board per shelf and that should be able to be cut into as many verts as I would need for the shelf. In other words, if I had six shelves, I'd need six extra boards for all the verts (plus one more extra board to put on top), for a total of 13 boards total.

This should have been easy math but I messed up because I was overbuying the less expensive 8' boards and using them to create verts for both walls but I lost track of how much I actually needed. It was a dumb mistake and most people likely wouldn't repeat it. The most important math is figuring out how much vertical space you actually have and then dividing that by how many shelves you want. Remember to include the stickness of the board itself (3/4").

The algebra would be like this: Shelf height (including board height itself) x # of shelves + 3/4" (for the crowning shelf) = Total record case height.

In our case, with an 8' high wall, we had just barely enough space to sneak in 7 shelves, five of which were at 13" high, the last two at 12.5". This next part is very important: don't build a shelf for records that's any less than 12 3/4"s high. Ideally, just do 'em at 13" if you can but if you need to shave off a bit, don't go under 12 3/4"s. The reason is that while a rap record with a relatively thin cover and no plastic cover sleeve will just fit in 12.5, any kind of thicker cover LP, especially a gatefold, that's also poly-bagged, will fit into 12.5 without risking dishing your vinyl.

So again, the magic minimum here is 12 3/4".

Back on wood choices: you could find something else to use as verts like a different wood, something premanufactured in the dimensions you require. Hell, you could use cinder blocks (we've all been there). We went with the same pine for aesthetic reasons but structurally, it's not required. This could become really pertinent if you don't have access to a good saw (see below) and therefore, using pre-manufactured vertical supports of whatever material might be more advisable. Just remember that you want to cut down on any kind of horizontal shearing (i.e. the verts moving laterally) and that means finding a way to secure the verst to each shelf, ideally with nail or screws.

Spacing is the other issue. Pine boards are more flexible than other woods but my old shelves - Ikea Ivars, also made from pine - were 33" across, could take the weight of 200 LPs (appx. 100lbs) and never sagged in the middle. I don't know if we could have replicated the same thing here (i.e. had verts spaced 26" apart instead of 13") but Thes had structural and aesthetic issues with anything less than a cube-design and I agreed. I'd consult a carpenter about it if you want to move off a cube design.

STEP THREE: Assemble the tools.

The three most important are 1) a saw to cut the boards into verts. We used the best possible saw for the task - a 12" sliding miter. The blade was big enough to cut the wood in a single pull and the sliding mechanism allowed for a more even and consistent cut which is crucial since you need your verts to all be identical. A non-sliding miter can also work but if the blade comes up too short, you may have to flip it to complete the cut which not only takes more time, but also increases the chance of an uneven cut. A table saw could also do the same thing but it too lacks the consistency of sliding miter. You could also hack saw it if you want to go real old school but...

2) Nail gun. This is for the sake of expediency since we wanted to attach the verts to the shelf in a way that was quick but secure. You could do the same thing with a hammer and nails but that'd take much longer and if you're going to go that route, I'd suggest, instead, that you use wood screws and not nails. That way, if you ever needed to, you could break down the bookcase and rebuild it elsewhere. Since I'm not planning to move in the long term, having everything nailed together was fine by me.

3) Cordless screwdriver/bit driver. This is more for the finishing stage, when you want to secure the case to the wall via l-brackets.

And that's really it. We also used wood glue on the verts to help prevent shearing and a pair of pliers is useful for the nails that miss and you need to yank out. Also useful - a stud finder.

STEP THREE.5: Mark your studs. Before you start filling up the wall space, use a stud finder to find where your studs are so you can easily find them later when it comes time to secure the case to the wall.

STEP FOUR: Cut your verts. Just remember, each vert has to come out the same so you want to rig your saw to produce identical cuts each time.

STEP FIVE: Begin assembling your case, shelf by shelf. What you'll need on the front end is a piece of board cut into the exact width you want your verts spaced by. This becomes your "template" which you'll lay down between each vert, ensuring consistent spacing.

Thes' approach, which sounds like the sensible one, was to build the bottom shelf first in its entirety (meaning you had two boards connected by verts, forming a box). You could do this on its side so it's easier to nail the verts to the board and then stand it up right and move it into position. I already had a subfloor of plywood and 2/4s underneath so we just screwed the bottom board into the floor but depending on what's there, you might need an extra board to put underneath.

Once that bottom shelf is in place and secured, you build each subsequent shelf by first laying down the verts (via that template) and then nailing them in from below. This is why the staggered/honeycomb design doesn't just look good, it also makes assembly so much easier. Think about it - you can't nail in a vert from below if the vert is lined up with the vert on the shelf below. The only way to do that would either by 1) using l-brackets to secure the bottom of the vert to the board or 2) drilling out spaces for wooden dowels (Ikea-style!) but BOTH would be very time consuming. A staggered design is no less stable (so long as you're consistent from shelf to shelf) but it makes assembly with a nail gun so much easier.

Once the verts are in place, you lay a new board on top and then just nail gun that into place (which goes super fast since you're gunning down).

The crowning shelf can be tricky. If you have enough ceiling clearance to still nail down, then it's not a big deal. But if you're going all the way to the top, what you need to do is construct the last shelf like you did the first one - in a box shape - then lift the box on top, then secure it from below.

STEP SIX: Secure the shelves to existing studs. This is where you'd bust out your l-brackets, long stud screws, and cordless bit driver. Ideally, would have support at the base, in the middle and at top. Extra bonus if you have a corner where you can also secure them to the side or on top, to a roof beam. Keep in mind that the main load-bearing is straight down. You don't want there to be excessive lateral pull put on your wall studs; you're securing them simply for the sake of stability but not to be load-bearing.

And that's about it!

I know I wrote a lot but the actual prep and assembly is ultimately very straightforward. So long as you have the optimal tools, the whole thing can move efficiently along and while it took us about 14 hours to get everything up from start to finish, that included 1) the run to the lumber yard, 2) three trips to Home Depot for things we forgot, 3) meals, etc. The lumber is something you can get ahead of time and store. If you went with pre-manufactured verts of some kind, that could also be bought ahead of time.

EXTRA STUFF: We were able to create a clean corner between the two shelves because the dimensions of the space were ideal. The two shelves practically met at that corner, with just a few inches of overlap so Thes made sure to line up the verts to create a flush, 90 degree angle from bottom to top. This isn't only aesthetically good; it also meant we could secure the two cases together, thus providing extra stability.

Thes' finest problem-solving moment came with figuring out how to compensate for a rafter on the roof that prevented us from putting in that crowning shelf. At first he thought he'd saw off part of the rafter to make room but then realized it'd be easier to cut a notch out of the crowning shelf that the rafter then could slide into. Brilliant.

MARTIN'S FUNERAL

2010-01-18T10:27:00.000-08:00

Perhaps not the most appropriate song to be listening to on the date of MLK's birth but I always think of this song on this day.

HEATROCKS FOR HAITI

2010-01-18T10:22:00.000-08:00

The original "heatrocks for charity" campaign came about after Katrina. The folks at Soulstrut.com, a record collecting/hip-hop/whateverelse message board I spend way too much time on got together and auctioned off all kinds of rare records, the proceeds of which went to charities doing work around the disaster.

With the Haitian earthquake, Strut has gotten together once again to help out, auctioning off what will likely be dozens of very cool, very rare pieces, all in the name of benefiting those in Haiti.

This list of LPs will surely grow over the next few days so keep it bookmarked and please bid, bid, bid.

Update: I have two records up for auction (so far), both rare Bay Area hip-hop pieces from the 1990s.

1) The Dereliks: A Turn of the Wheel Is Worth More Than a Record Deal EP
2) Blackalicious: Melodica 2xEP

While the auctions are being hosted on Soulstrut, if you don't feel like signing up to be a member, you can send your bids to me instead and I'll record them in the forum threads. Upon winning, you'll be directed to donate the money to charity (most likely either UNICEF or Doctors WIthout Borders) and once I receive confirmation, I'll ship you the record.

SAN GABRIEL VALLEY SOUL

2010-01-18T10:07:00.000-08:00

Sly, Slick and Wicked: You Got to Funkafize
Confessin' a Feeling
The World Is a Ghetto
From Get Down Live (Bad Boys, 197?)

This is my first official post-move post (finally!). Me and the fam just relocated from the Westside of L.A. to the San Gabriel Valley. I grew up out here in the 1980s but I haven't lived her in nearly 20 years. Coming back has been weirdly comfortable (or is that comfortably weird?) now that I'm an adult with my own family.

It only seems proper then that the very first album that I've found since moving out here was actually recorded in the SGV, almost 7 miles due south of where I am, at 800 Garfield, in Montebello.

It's easy to be confused when you talk about the Sly, Slick and Wicked. This local L.A. outfit is often confused with the Young Generation who had a decent sized hit in the same '60s/'70s era as SSW called "Sly, Slick and Wicked" and then there's the Ohio group also called the Sly, Slick and Wicked who recorded with James Brown (and ended up, I believe, in a bit of a copyright tussle with the L.A. group over their shared name). The original SSW (as they describe themselves) got their start out of the fertile East L.A. rock scene of the '60s (think Thee Midniters, El Chicano, etc.)

They're best known for their single "Confessin' a Feeling" b/w a personal favorite - a cover of the Persuaders' "Love's Gonna Pack Up."

The single was a local release (on the Bad Boys imprint) and evidently sold well enough that it's not a pricey single to come by (though it's not overly common either). However, as I learned from Cool Chris a few years back, the group's live album, Get Down is a far more obscure release but no less well-regarded. I've been looking for a copy of this since then but wasn't ready to pull the trigger to buy it at market-rate.

As it turns out, a local seller for mostly A/V equipment got in a stock of records that they were selling in lots and while I missed their eBay auction, I saw that the LP was included in one of the lots and no one had bid on it. On a whim, I tried calling their warehouse and to make a long story short, I drove out 10 miles to Glendale and after a few anxious minutes just assuming that someone had beat me to it, left with a stack of 10 LPs, most of them dollar bin material, but including one very well-kept copy of Get Down Live, all for $20.

These days, it's not often that I have great come-ups since I don't do enough digging in physical stores so I felt extremely fortunate to have come by this local LP having just moved back to the locale. It all seemed quite serendipitous.

But enough of "O-Dub's dusty fingers tales"... Get Down Live has everything you'd want out of a great live album - it's not only about the music, it's also about the small nuances that come through on a live recording, such as when someone accidentally bumps into a mic during one of the quieter parts of a song or listening to the band and audience interaction. The actual fidelity of the recording is quite impressive; it does have "big room" acoustics but it's not remotely lo-fi.

I decided to open "big" by starting with "You Got to Funkafize," a classically '70s funk jam which comes halfway through the A-side. That slides into the live version of "Confessin' A Feeling", offered here to provide some contrast with the original. I've been so enamored with "Love's Gonna Pack Up" that I never gave this song it's proper due but now that I'm listening to it in both versions, I can appreciate why it's such a lowrider classic for folks in So Cal. Lastly, I couldn't pass up the opportunity to include the group's cover of another Southern Californian classic - "The World is a Ghetto" by Long Beach's WAR. I like how stripped down SSW's take is on the song, distilling it down to a strong vocal performance ever-so-lightly dressed in the familiar melodic strains of the original. SSW manage to make the song sound even more melancholy than War's version.

So there it is, the first post for 2010, coming to you live from the brand-spanking new Soul Sides Central. Here's a belated shout out to the new year and hopefully more good music (and posts!) to come.

TEDDY P, RIP

2010-01-13T21:16:00.000-08:00

Again, I'm really bummed I'm not fully moved in yet because between Teddy and Willie, there's so much to say about how important these soul men are. I'm sure Mark Anthony Neal will be drop something brilliant very soon.

Meanwhile, I'm THIS close to unboxing my records. Here are my new shelves with the guy who helped me build them.

GUEST POST: DAVID MA ON PAUL PARRISH

2010-01-08T10:57:00.000-08:00

(Editor's note: I'm still in the middle of new-house-hell but David Ma - who writes one of my favorite music blogs, Nerdtorious - graciously contributed a guest post. I gave him a simple concept to go with - "what's the last album that really grabbed your attention?" Here's what he had to say. --O.W.)

Paul Parrish: English Sparrows
Tiny Alice
I Can't Help Myself
From The Forest of My Mind (MFS, 1968)

WILLIE MITCHELL: RIP

2010-01-05T17:45:00.000-08:00

It bums me out that all my soul LPs (including everything I have by Willie or produced by him) is still boxed up and not readily accessible. To be sure, we just lost one of the most important architects of American soul. Respect due. More later.

Update: Eric Luecking does a great tribute on his site, as does Funky 16 corners.

IN MY HOUSE

2010-01-04T12:59:00.000-08:00

I've been busy with moving (3 tons of records are figuratively and literally like a millstone) and haven't had time to post for the new year. Finished the move yesterday and relaxed to this oldie but goodie:

Be back soon!

2009 REWIND

2009-12-23T22:54:00.000-08:00

Besides being able to share music, the other great joy of working on Soul-Sides.com is the process of discovery for myself. I have this big crate of "songs I mean to post about" but inevitably, these get pushed out of the way based on "stuff I just discovered" and it's almost always the case that my year-end review of my favorite songs are comprised by songs that I found-along-the-way; 2009 was no different.

Irma Thomas: Hurt's All Gone
From 7" (Imperial, 1966). Also on The Jerry Ragovoy Story -- Time Is On My Side.

The path to how I heard this song actually begins with a different song written/produced by Jerry Ragavoy - "Stay With Me, Baby" by Lorraine Ellison which I first heard after watching The Boat That Rocked/Pirate Radio. I think Matthew Africa then recommended the Ragavoy anthology, on which I discovered the Irma Thoamas song and promptly fell in love.

Carlos Niño & Miguel Atwood-Ferguson: Find a Way
From Suite for Ma Dukes (Mochilla, 2009)

The more I've sat with this, the more I admire the subtle ways in which Niño and Atwood-Ferguson capture the melancholy beauty of Jay Dee's production. As I originally wrote, I was concerned this could come off as kind of corny but instead, what they compose here isn't remotely cloying but moving and magical.

Otis Redding: Papa's Got a Brand New Bag
From In Person at the Whiskey A Go-Go (ATCO, 1968)

The Emotions: As Long As I've Got You
From Songs of Innocence and Experience (Stax, unreleased from 1972)

Gotta show love to Funky Sole's Clifton; I think he's the one who played the Redding single at an early spring party and instantly turned it into a staple for me. Otis and his band just murder this cover in the best ways possible.

And I have both Hua and Mao to thank for turning me onto the Emotions song. It's hard to outdo the Charmels' original and I think the Emotions do an incredible job here of understanding what worked about their version and then found ways to put their own signature on it. The fact that this was never released in the 1970s is astounding.

Laura Nyro w/ Labelle: The Bells
From Gonna Take a Miracle (Warner Bros, 1971)

At least at this moment, if I had to pick my favorite song I heard in 2009, it'd be this one. Surprisingly, I never posted about it originally, opting instead for the livelier "Jimmy Mack," but over the course of the year, "The Bells" keep (you knew this was coming, right?) ringing in my head over and over. Sublime.

Johnny and the Expressions: Now That You're Mine
From 7" (Josie, 1966)

Mayer Hawthorne: I Wish It Would Rain
From A Strange Arrangement (Stonesthrow, 2009)

There's quite a few other similar singles that I considered plugging in here, including the Mandells' awesome "Now That I Know" (and I still need to write up the Falcons' "Standing On Guard") but this song is such a perfect mix of deep and sweet soul, it deserves to be heard again. And again. And again.

And since we're on the slow jam tip, I have to give a nod to Mayer Hawthorne's excellent "I Wish It Would Rain" - easily my favorite song by him behind "Just Ain't Gonna Work Out". I wouldn't think too many songs would want to risk confusion with the Temptations song (since Mayer's isn't a cover) but he puts down a strong claim to that name with this superlative effort.

Ohio Players: Ecstasy
From Ecstasy (Westbound, 1973)

Technically, I heard this song before but I didn't pay enough attention to it until this year. Once I did, it now makes me wanna go, "uh huh huh."

Spinnerty feat. EP and Czar Absolute: Feels Like Rain
From 7" (Trazmick, 2008)

I don't have much to add to what I said before except to re-emphasize. This is really really really good. Oh wait, I did say that before. You catch my drift though.

Bitty McLean: Walk Away From Love
From On Bond Street (Peckings, 2005)

Johnny Holiday: Nobody Loves Me But My Mama
From 7" (Bold, 196?)

I was about to sing the praises of these again (and they definitely are two of my favorite of the year) but I'd rather talk about each artist's other songs from the same releases (see the forthcoming part 2).

The Noisettes: Never Forget You
From Wild Young Hearts (2009)

I admit, I did kind of tire of this after keeping it in heavy rotation but here's what I know: I'll go a year without hearing this and then hear it again...and it will still sound incredible.

Michael Jackson: We Got a Good Thing Goin'
From Stripped Mixes (Universal, 2009)

I can't find much more to say than I already have; Michael Jackson's untimely death is one of the defining musical moments of the decade, in my opinion, in terms of how much it compelled me to reexamine his catalog and learn to appreciate his work in a whole new light. It seems apropos to offer up this deconstructed version of one song I only really discovered this year - "We Got a Good Thing Goin'" - that appeared on the suspiciously well-timed Stripped Mixes album. I didn't think all the stripped down versions worked but it was perfect on this one, especially in honing things down to all the best parts of the original's melancholy mood and charm. It's not meant to be an elegy but I can't but help but hear it as one.

The 2010 Rewind songs.

BOBBY REED FLIPPED

2009-12-23T10:29:00.000-08:00

A few weeks ago, I put forward a challenge to folks to try their hand at remixing Bobby Reed's "Time Is Right For Love" and so far, we've had three folks step up.

These are all "works in progress" so be nice with your comments/feedback but so far, I like where it's all heading.

Bobby Reed: Time Is Right (Choplogic Remix)

Bobby Reed: Time Is Right (Prince of Ballard Remix)

Bobby Reed: Time Is Right (Flip Edit)

THE END OF THE YEAR HIP-HOP POST

2009-12-20T23:52:00.000-08:00

I was on WNYC's Soundcheck again last Friday, talking about hip hop in the '00s. Part of what I was asked to do, ahead of time, was submit my 3 top hip hop albums of 2009 and I'm not going to lie: I couldn't come up with three actual albums. In fact, none of the three I submitted were, technically, albums.

To be sure, I can't remotely claim to have heard much of what was released this year and the stuff I did hear just didn't move me to really admire them as albums. Sure, I liked some of Only Built 4 Cuban Linx 2 but overall, I found the album overly long and kind of anemic for it. I admired Jay's Blueprint 3 but more for its calculated choices than anything inherently pleasurable about the CD as a listening experience. I jumped in and listened to about 50 Gucci Mane songs in a row (his Cold War mixtape series + the new album) just to see what the deal was and while I get his appeal, I'd rather re-listen to individual songs rather than trying to sit through any of the mix-CDs/albums as a whole. I'm not going to put this on hip-hop (well, not entirely). I could do a lot more to "stay current" but now that my writing has become more personally-driven (what I like) vs. professionally-driven (what I should be writing about), I just don't find much about today's hip-hop that speaks to me. People in my demographic aren't really who today's young rappers are aiming at. Either way, I've learned to catch my pleasures when I can, usually in single-servings, and I've learned to moderate my expectations as I recognize that the older I get, the distance between contemporary hip-hop and my tastes grow.

But for all that, I still ~~leave myself open to~~ crave those moments when a song will absolutely knock me on my f---ing ass, demand my attention and compel me to keep coming back to it. If you had told me that would be Jay Electronica, with a radio rip that skips, I would have laughed you out of the room but that's before I actually heard the song and once I did, all I could think was, "wait, this is that same dude who made this?" I was never checking for him before this song but after it? I'm thinking "Third Coming".

Jay Electronica: Exhibit C

So yeah, this made my Top 3 even though it wasn't an album because frankly, I found the experience of listening to this more profound than most of the albums I actually did hear this year. And who knows - maybe his album (if it ever comes out) won't live up to this moment but I actually want to hear what he has to bring and that sense of anticipation is like water to the desert of my expectations.

So what's so good here?

Begin with the fact that it's the first unqualifiably incredible Just Blaze production I've heard in at least two years. There's the loop itself of course (more on this in a moment) but listen past just the actual sample. The added string arrangements don't just play off the main melody but they're also used to build tension as a second set of strings tick upward in a crescendo effect - all in key - so that by the peak moment, everything is aflame...only to start all over again for another 10 bar cycle (the 10 bar loop is also unusual since it plays against where you'd normally expect the progression to go). Pure intensity.

And yeah, Just was brilliant in playing with this Billy Stewart song:

Billy Stewart: Cross My Heart
From 7" (Chess, 1967). Also on The Best Of...

I confess that I had never heard this before but damn, what a great Stewart song, no? It opens like "Sitting In the Park" (I mean, exactly alike) but then when you get to hook - "lord, why don't you, send her to me?" is some magic, especially when followed by, "this fat boy is gonna love her!" Not a lyric you hear every day.

And speaking of lyrics - maybe it's just the acrobatics of it, but I can easily say that Jay's "call me Jay Electronica, f--- that, call me..." verse is probably the most jaw-dropping thing I've heard all year (except maybe for that Tiger Woods' voice mail message) and what leads up to there is pretty damn good too (loved the verse that immediately precedes it - it's not often you can hear Run DMC, Marcus Garvey and Nikola Tesla name-checked within three seconds of one another and it all makes sense.

Now where's the damn album?

As for my other favorite hip-hop moments of 2009, here's a sampling of Top 10 in reverse chronological order):

Jay Electronica: Exhibit C
Edan: Echo Party
Big Boi feat. Gucci Mane: Shine Blockas
Lupe Fiasco: Fire
Lil Wayne: Death of Autotune freestyle
MOP: Bang Time
Raekwon feat. Method Man and Ghostface: New Wu
The Cool Kids: Popcorn
Bambu: 2 Dope Boyz
Young Jeezy feat. Jay-Z: My President Is Black (remix)

SOUL SIDES GIFT GUIDE 2009

2009-12-15T23:32:00.000-08:00

For the music-minded out there, a few suggestions for possible gifts for the season, regardless of what you're celebrating.

For the charitable...

Rhythm and Blues Foundation

All material objects aside, helping support musicians is a gift that gives back. Also see this.

For the musical adventurer...

Mulatu Astatke: New York Addis London -- The Story Of Ethio Jazz 1965 to 1975

There's been other Mulatu comps in the past but this is as definitive as I've seen and a wonderful primer to the master of Ethio-jazz. Once you take a taste of this, you're not going to easily let it go. (Also see this).

For the mixologists...

Edan: Echo Party

Bugged and brilliant; pretty much what we've come to expect from Edan but as his first major project in four years, Echo Party is a dizzying, 30 minute sonic slip n' slide. Once you start, you can't jump off until the end but you'll be glad you took the ride.

For the MJ fan...

Michael Jackson: Hello World (Motown Solo Collection)

There's a gazillion MJ-related gifts one could cop but this boxset - eerily timed to come out this summer, before his death - is a definitive look at Jackson's solo catalog on Motown. You couldn't call it obscure but it's part of his career that easily goes overlooked in favor of his massive Epic releases or the hit Jackson 5 years. Don't sleep on these songs/albums though; no appreciation of MJ is possible without soaking in some of the sublimeness he put out in this teen years.

For the South Sider in all of us...

V/A: Light On the South Side

Even for Numero Group, they've outdone themselves this time with their 33rd release, combining an incredible 12 x 12 photo book of shots taken around South Side Chicago in the mid 1970s plus 2xLPs filled with some of the best funky blues to ever have emerged from the Midwest.

For those in need of a soul primer...

Peter Guralnick: Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom

There's many histories of soul and you should never limit yourself to just one but if you need a starting point, I don't think you can do better than Guralnick's history of Southern soul in all its musical and social splendor.

For record nerds needing new threads...

T-shirts from 88strong.com

Your favorite record label logos + t-shirts = 88 Strong. Where else can you rock your love for De-Lite or Lizard (Paul Humphrey fans, holla)? Or, for that matter, this t-shirt, whose cartoon I may have start linking to every time someone post a superfluous "hey, this has been sampled!" comment.

For the amateur audiophile...

Grado SR-80i Headphones

For $100, this is one of the best bang-for-the-buck headphones you can buy. Yes, it's more expensive than those cheap-ass white ear buds you currently own. And no, you probably don't want to DJ with them (I recommend these instead). But for at-home listening, you're going to put these on and wonder what you've missed hearing all this time before.

For the budding producer...

Stylophone synthesizer.

A pocket-sized synthesizer that performs pretty damn good for what looks like a kid's toy. Don't front, just flow. They make a beatbox version too.

For the 7" addict...

Aluminum 45 adapters from 45central

Because you can't keep using these and because few things look cooler than spinning 45s with a dome adapter (though I find that the cone design is actually more practical). They're about $30 a pair to ship to the U.S. but c'mon, how often do you need to replace them?

For kids (and adults who act like kids) who like to bang on drums...

Mix Stix.

So genius you wonder why no one thought of this before (or maybe they did, I don't know): Wooden spoons that end in drum sticks.

GET READY, WE'RE ON OUR WAY

2009-12-15T13:28:00.000-08:00

Smokey Robinson and the Miracles: Get Ready
From Pocket Full of Miracles (Motown, 1970)

Smokey Robinson and the MIracles: Get Ready (O-Dub Edit)

Controller 7: Get Ready for the Young Folks
From 7" & 12" (Token Recluse, 2007)

Of the classic '60s Motown catalog, few songs are as guaranteed dancefloor gold as The Temptations' "Get Ready" - the horn/bassline openeing already pushes you into motion before the drum roll even comes in and once the whole thing kicks into gear, you'd have to be catatonic to resist its charms. For over the last year, I've been very fond of playing out Little Eva Harris' incredible medley/cover of the song (last written about in Nov '08). I was spinning with DJ Soul Marcosa earlier this fall when he dropped the Smokey and the Miracles version on me and I couldn't believe 1) how frickin' good it was and 2) that I had never heard it before despite it being from the Miracles (notably, Pocket Full of Miracles doesn't seem readily available on CD (if it ever was).

If Harris blended together "Get Ready' with Stevie Wonder's "Uptight," the Miracles instead choose to throw in some licks of "Sunshine Of Your Love," which goes together brilliantly here. There's also the matter of a short but sweet little breakbeat that comes in after two bars and this whole thing clearly embraces the funk aesthetics resonant at the time. Personally, I wanted to create a version of the song that was just a bit more DJ friendly and noticing that the song's breakbeat was panned in the left channel, and using some super amateur editing skills (thank you Sound Studio!), I isolated and extended that break into four bars, following by two more with the "Sunshine" riff moved underneath before cutting back into the song. I played it for a friend who thought he could imagine the strains of Can's "Vitamin C" coming in here but the more I listened to it, what I kept imagining was Kool and the Gang's "Hustlers Convention" theme popping in (intrepid re-remixers, take note).

Lastly, if I'm going to write about blends involving "Get Ready," I have to show some love to Controller 7 who, two years ago, put out this slick mash-up of the original "Get Ready" accapella over Peter, Bjorn and John's "Young Folks." It is eerie how well the arrangements line up with one another (coincidence or not?).
(BTW: If any digi-DJs out there want a higher quality version of my "Get Ready" edit, drop me an email)

XMAS COMES EARLY - THE ARETHA TRIBUTE SOULCAST

2009-12-15T00:20:00.000-08:00

As promised, my Aretha Tribute Mix is now up for download. DJ Phatrick's link already hit its limit so I just decided to host it as a podcast instead.

Here's the tracklist.

Enjoy!

To listen:

Option 1: Direct link/download
Option 2: Soulcast Feed (click here, then click on "Subscribe With iTunes" or just copy and paste this link into iTunes --> Advanced --> Subscribe to Podcast)

BENNY JOHNSON: VISIONS OF PARADISE

2009-12-10T23:28:00.000-08:00

Benny Johnson: Visions of Paradise
I Just Got To Know
Give It Up
From Visions of Paradise (Today, 1973)

Apologies for the slow down, between end-of-the-semester grading and the fact that I'm packing up to move at month's end, stuff is just a little busy right now. And heck, this post is about two years over due!

I first came upon the 7" of Benny Johnson's "Visions of Paradise" a few years back. I instantly was taken with that great horn intro on the song and when Johnson's vocals come swooping in, he comes with this powerful, "clean" tone (reminds me a lot of Jerry Butler) that wasn't like the lot of the more post-Otis soul singing I was used to. When I started digging deeper, I learned about the LP the song is named for. Like Matthew Africa, who just wrote about it the other month, I never quite understood why this LP sells for $100+ but lucked into a less expensive copy. Having sat with it, I can say that the LP is far from a one-tracker and while I'm still not sure what makes it as $ as it can be, it's certainly worth having if you can get it on the cheap.

I don't know a ton about Johnson - this is the only album I know him being connected to but looking over the credits, I realized partly why this album sounds as good as it does is thanks to Julius Brockington and his United Chair - the album's main producer. Brockington's an interesting guy; I've been up on his records for a minute (this 7" being a favorite) and I'm sure there's a longer post to be dedicated to him somewhere.

Back to Johnson though - I wanted to include "I Just Got To Know," a deceptively simple mid-tempo cut that, to me at least, grew with each passing listen. Again, Johnson really sells me on his vocals here even though I'm not inclined to love his timbre but he knows how to work it well. For contrast, I also wanted to include one of the album's slow jams (featuring some nicely used female back-up vocals) with "Give It Up." Love the deep + sweet notes layered in here.

LATIN CON ALMA: A NEW COLUMN FOR FANIA.COM

2009-12-10T11:56:00.000-08:00

I just launched a new column for Fania's revamped website called "Latin Con Alma." It's part of their regular blog (and thus doesn't have a dedicated page) but I'll update folks here when a new one goes up.

My first three posts are all about the history of Speed Records. I've been researching them for Wax Poetics and wrote these posts as a beginner's guide of sorts to this small but popular Latin soul label. The formatting at Fania is still being worked out so I decided, for this post at least, to reprint what's there:

The Speed Records Story, Part 1 of 3

Take a Trip Pussycat

“(I’ll Be a) Happy Man,”

Land of Love

“Happy Soul With a Hook,”

“Hippy Skippy Moon Strut”

“Ain’t No Other Man.”

Feeling The Pain

“The Fuzz”

Land of Love

“Monty’s Harem,”

BETTY DAVIS CONTEST OVER

2009-12-07T11:10:00.000-08:00

Congrats to:

Jeffreylmann16
Jeffreylincoln
wmccool79

for winning copies of Betty Davis' Is It Love Or Desire?

OH SNAP!

2009-12-02T15:53:00.000-08:00

Some time in either the late '90s or early '00s, I was at a De La Soul show in the Bay Area. To be honest, for whatever reason, the energy was kind of flagging throughout the whole thing (I had seen some great De La shows in the past, this just didn't happen to be among the more stellar ones).

Biz had been one of the opening DJs and during the De La's set, they brought him out and he sang the chorus to "Just a Friend."

Brought the house down. It was the most energized the crowd had been the entire night. And the thing is - I don't remotely consider Biz to be a one-hit wonder but it is frickin' amazing how powerfully that song has remained in popular culture.

I've always been curious what Freddie Scott must have thought of that phenom.

(One more from the Diabolical).

REVELATION FUNK + MIGHTY LOVERS: POWER OF THE HOOK

2009-12-02T00:18:00.000-08:00

Revelation Funk: Elastic Lover
From 7" (Gold Plate, 197?)

The Mighty Lovers: Ain't Gonna Run No More
From 7" (Soul Hawk, 196?)

As I learned from the omniscient Dante Carfanga, Revelation Funk was an Ohio outfit that, among other things, was where James Ingram got his start back in the early 1970s. "Elastic Lover," the b-side of "Bear Funk" is supposed to be their "common" 7" though let me tell you, after looking for it for over a year, it certainly doesn't show up as one might expect a common single to. This is all besides the point.

I first heard "Elastic Lover" on a now-infamous Jared Boxx mix-CD from a few years back and partially because it's early in the mix, partially because it is so striking, it went high onto my want list. Once I actually got it and listened to it, it hasn't lost its magic except that I have to say: the hook/chorus is amazing on this song but wow, the songwriting is otherwise terrible. I mean, c'mon:

"tell me why you want to be so plastic/when you know your love for me has to be made out of elastic"

I don't know if that's as bad as rhyming "crouton" with "futon" but it's somewhere in the ballpark. But, that all said, once you hit that chorus, with that multi-part harmony and the way everyone is stretching out the title...they could be singing off a cereal box and I'd forgive 'em.

I had a similar reaction listening - really listening - to the Mighty Lovers' "Ain't Gonna Run No More," which comes Soul Hawk, the same Detroit label that gave us the New Holidays (note: my daughter has gotten into singing the hook for this song too but alas, no sound file for you...yet). I first heard the ML song when Mayer Hawthorne spun a guest set at my weekly last January and it is a totally catchy song - awesome arrangement/production by Popcorn Wylie - and it has a great, great hook (hence why my 4.5 year old can rock it).

But when I actually sat with it, I realized: "wow, this song is all about how he's getting bullied around but now he's got a girlfriend and he's trying to stand up for himself..." Maybe it's just me, but as far as narratives go, it's rice paper thin. It's just hard to get all that excited for someone trying to shore up their manhood just because they're trying not to get punked in front of their girlfriend (unless your name is McFly). But the hook, the hook...the hook. "Ah ah, no no, I ain't gonna run no more." Try it. You'll like it.

HOLIDAY HEAT

2009-12-01T23:46:00.000-08:00

Harvey Averne Barrio Band: Let's Get It Together For Christmas
The Black On White Affair: Auld Lang Syne (snippets)
From In the Christmas Groove (Strut, 2009)

It's post-Thanksgiving which means that in the last few days, every time I step into a retail store, I hear %#U*()! Christmas music. Don't get me wrong; I like "Christmas Time Is Here" as much as the next Peanuts fan but if I have to wait through another rendition of "Jingle Bells," I might have to go all bull in a china shop.

Thankfully, the good folks at Strut Records have come with an excellent Xmas-themed funk comp called In The Christmas Groove which - for cover art alone - would deserve props. The tracklisting is aces, including a few rare classics like Milly and Silly's "Gettin' Down for Xmas" and J.D. McDonald's "Boogaloo Santa Claus." I picked out two songs I hadn't heard before, including one I probably should have - Harvey Averne's "Let's Get It Together For Christmas," a random, 45 only track on Fania that is vintage Averne in its funky production style. Makes me wonder if Fania ever cut a dedicated holiday album; which would have seemed like a good idea.

The other song is a really incredible version of "Auld Lang Syne" brought down from the Pacific Northwest by the Black On White Affair. I only included part of the song but it's mostly an instrumental that builds and builds, hitting a highpoint as it shifts into vocals but you really have to soak in the entire song to appreciate its majesty.

TIME IS RIGHT FOR A REMIX?

2009-11-30T23:00:00.000-08:00

Bobby Reed: Time Is Right
From 7" (Bell, 196?)

Tek and Steele: We Came Up (Crystal Stair) (feat. Talib Kweli)
From Reloaded (Duck Down, 2005)

Tek and Steele: We Came Up (Bobby Reed Section)

My man Hua hepped me to this Smif N Wessun cut from 2005 that missed my radar and the first thing I noted was, "oh schnap, they're looping up Bobby Reed's "Time Is Right For Love," aka "one of the few records I'd current break the $300 mark to cop".

I can't believe I didn't already write about Reed for the site (I got brief mention before but never a dedicated thread.) Best. Thing. Ever. Seriously. This song is one of the best two minutes you'll ever enjoy. It's so good I'm not even going to try to explain why it's so good, lest I tarnish its greatness with my descriptive inadequacies.

Now - I'm not saying, at all, that this song needs a remix. But listening to "We Came Up" made me think, "ok, this is cool but honestly - I think someone could do a better job with it." I isolated the end of the song, where it's really just Reed's OG with a beat behind it so you can get a sense of how they play with it. (And yes, yes, I know, Saint Etienne already messed with this but I'm not really feeling their take either. And if you want to truly hear an abomination, check this.)

So heck, I know a few Soul Sides readers mess with production so I thought I'd put out a high-quality copy of the Reed to see what folks might come up with if anyone is so inclined. If anyone actually messes around with this, please send me a copy to peep.

Wait, did I already mention that the Reed original is one of the best things ever? And that I cannot believe I haven't written about it until now even though it's quite possibly my favorite record of the last two years?

MUPPET RHAPSODY

2009-11-30T11:10:00.000-08:00

END OF THE YEAR PURGE

2009-11-29T10:29:00.000-08:00

I'm trying to clear out a bunch of old records, most of them priced very inexpensively to move 'em out the door. Check 'em out.

GET LOOSE NOW

2009-11-28T10:18:00.000-08:00

The 80s keep coming back!

FORGE YOUR OWN CHAINS

2009-11-28T09:35:00.000-08:00

I've been derelict in reviewing this but thankfully, Weiss hasn't.

I'll get around to my write-up soon.

MY VINYL WEIGHS 3 TONS

2009-11-26T16:23:00.000-08:00

So, I'm in the middle of planning to move and I've worked out some numbers that I thought might be useful to share.

Apologies to folks on the metric system.

1" = 6.67 LPs
1' = 80 LPs
Standard 18 x 12 x 12 book box = 115 (looser) - 120 LPs (snug)

2 LP = 1lb
1' of records = 40lbs
Book box of records = 60lbs

My Vinyl Weighs a Ton = 4000 LPs or roughly 34 boxes.

LISTENER REQUEST SOUL-CAST!

2009-11-25T20:00:00.000-08:00

You asked for it - here it is:

The Listener Request Soulcast
Funk instrumental edition (11/25/09).

1. Intro
2. B.W. Souls: Marvin's Groove (from 7")
3. Little Royal: Razor Blade (from 7")
4. Toussaint McCall: Shimmy (from 7"). Also here.
5. Host
6. Brer Soul + Earth, Wind and Fire: Sweetback's Theme (from Sweet Sweetback's Baadasssss Song)
7. Los Holys: Reunion Sicodelica (Cissy Strut) (from 7")
8. Andy Loore: Drummer Bells (from Ambiance Rhythmes Vol. 5)
9. Host
10. Ricardo Marrero: Babalonia (from 7"). Also here.
11. Afrosound: Tiro Al Blanco (from Tiro Al Blanco)
12. The Latin Breed: Marantha (from 7")
13. Host
14. Certain Lions and Tigers: El Soul Condor (from Soul Condor). Also here.
15. Artist n/a: Aquarius (from LP)
16. Host
17. Mary Lou Williams: Credo (from Mary Lou's Mass and 7")

To listen:

Option 1: Direct download (ctrl/right-click) (Note: This won't work with the automated, streaming Yahoo Media Player)
Option 2: Soulcast Feed (click here, then click on "Subscribe With iTunes" or just copy and paste this into iTunes --> Advanced --> Subscribe to Podcast)

HOUSEKEEPING + A PODCAST PROPOSAL

2009-11-18T13:23:00.000-08:00

~~First of all~~, thanks to everyone for supporting the site by buying copies of my recent mixes. I have exactly four sets left. If you're interested, email me soon; I don't plan on repressing these unless demand suddenly skyrockets.

(All gone, thanks again!)

For everyone else - I mailed out your CDs today so you should get them before week's end (except for those overseas). Hope you enjoy 'em!

As for the proposal...one of the podcasts I admire is Coverville. I don't always share their taste in music but I like the concept and more importantly, I like that they sometimes build their show around listener requests.

It's almost been a year since my last "request lines" post but that was for a physical post and I want to try putting together a podcast instead, built around 8-10 songs.

So yes, I'm asking for people to throw their ideas in the comments below and I'll try to pluck one out that meets my fancy and spend the next week or so assembling it. Remember, this should be an idea that easily lends itself to a 8-10 song playlist. Otherwise, I'm looking forward to working on this!

7 x 7 + 12

2009-11-15T23:44:00.000-08:00

Johnny Holiday: Nobody Loves Me But My Mama
From 7" (Bold, 196?)

The Combinations: Bump Ball
From 7" (RCA Victor, 196?)

Fruko: Langaruto
From 7" (Fuentes, 197?)

Orquesta Zodiac: Tremendo Problema
From 7" (Costeño, 1972)

Jimmy and Eddie: Stop and Think It Over
From 7" (One Way, 196?)

Mandells: Now I Know
From 7" (Hour Glass, 196?)

Family Affair: I Had a Friend
From 7" (Authentic, 197?)

Bonus: Frankie Nieves: True Love (English + Spanish Version)
From 12" (Disco Int'l, 1979)

A few 7" single songs to share with ya'll...

First up, I've been hunting down a copy of this Johnny Holiday single for years now. It could very well be one of the roughest things I've ever heard - sounds like a funk garage band with a flutist sitting in and Holiday just raging on the mic like he's mad at the world. Holiday has cut other singles, including for Bold, but none of them sound like this; I don't know if the studio was having recording problems that day (the flipside is also a monster but the mix is completely f---ed up, burying his vocals over a crushing, blues-influenced funk number) but whatever happened - god bless. I love grimy cuts like this. Thanks to Records L.A. who sold me their last stock copy.

The Combinations 7" is something I bought on a lark; I was already buying another 45 from the same seller and decided to take a chance on this despite minimal awareness of the group. As I dug deeper, I was surprised to learn that the group originally began as a garage band from Easton PA; mostly white save for a lone Black member. They described their sound as "a blend of white rock under black soul." What's funny is that they somehow managed to record "Bump Ball," a funky R&B boogaloo, in conjunction with the release of Milton-Bradley's Bump Ball. I'm not clear if the 7" I have was the one actually included with the game (as some sites have reported). There was also a Bump Ball album (but it's not clear if the Combinations recorded all the songs on here or just the title track, which was credited to "The Bumpers"). Interesting history but all that aside - I like the track. It, uh, bumps.

Moving into some Latin, this Fruko cut is a 7" only song as far as I know (w/ "Bang Bang" on the flip but not Joe Cuba's well-known boogaloo hit). "Langaruto" shows off the strong piano work of (I think?) Hernán Gutiérrez who really is the secret weapon for all the best Fruko y sus Tesos tracks. This song, in particular, has that massive salsa dura sound that manages to be distinctly Colombian in a way I still haven't been able to put my finger on - it opens like a guajira before switching things up to a quicker son montuno about half a minute in (again, I think. Corrections welcome!). So fierce.

Puerto Rico's Orquesta Zodiac drops the other Latin cut in this set, another strong '70s slice of salsa. I really like the use of organ on here; it's subtle but it adds that spritz of sonic lime to flavor up the rest of the track. I'm also feeling the vocal interplay between the lead and background singers - great call and response.

The Jimmy and Eddie is a strong funky soul cut I nabbed at Big City Records in NYC earlier this year; the mix sounds just a tad off here but in favor of the rhythm section and especially the bassist and drummer. Their team-up really brings this whole tune together - it pushes along nicely and the drums are mic-ed just right to lend that extra oomph.

Give the rhythm section some love on this Mandells' single too. The group perfectly blend some Chicago-style sweet soul vocals with that deep, deep bass, the chicha-chicha of the hi-hat patterns...with a string arrangement to book? Are you kidding me? Best thing - this 7" is usually found for $10 or less - an incredible value given how good the music is.

Last on the 7" tip is one of the straight up strangest 45s I've come across of late. I could have sworn I originally heard this on Matthew Africa's blog but I can't seem to find it there again. Nonetheless, it really pays to listen to this beyond just thinking, "ooooh, nice groove." I mean, it's a great groove - so soulful with what I think of as subtle disco edge. And then the sweet, falsetto vocals drop in and you're thinking, "man, this is so butter." But then you start listening and you realize, "uh, ok, this is not setting things up well, with the singer talking about, 'I had a friend who had everything'" since you always know how those stories end. I won't spoil it for you but just wait until you pass the two minute mark. I feel like there should be a sound effect inserted here, just to hammer the point home. An otherwise beautiful tune.

Bonus cut is the special bilingual disco 12" edit of Frankie Nieves' finest work for Speed, "True Love" (which, as you can figure out in one bar, interpolates "Soulful Strut.") I am super curious to know who ran Disco International; they seemed to specialize in (I'm assuming) unlicensed disco edits of many a great Latin jam, including Al Gonzalez' "El Rumbon" and this one. In the case of "True Love," Disco Int'l took the English A and Spanish B-side of Nieves' Speed 7" (which, by the way, came out 10 years prior) and then edited them together into a single, 6+ minute track (the B-side is a 6+ minute long Spanish-only edit). To be frank(ie), the edit does get a bit repetitive after a while but then again, it is one effective groove (Young Holt Unlimited knew what the f--- they were doing back in the day).

LOOKING FOR NEW SPOTS IN L.A.

2009-11-12T22:50:00.000-08:00

My nearly two-year old weekly in Echo Park, ¡Boogaloo!, is going from a weekly to a monthly (every Third Thursday) and while part of me is glad to leave the grind of having a weekly party, it would be nice to have one more monthly or at least, a cool spot where I can spin soul sides on an occasional one-off basis.

If any of my L.A. readers have suggestions of where to look, I'm all ears. The last time I put a query like this out, it actually helped net my weekly gig so I'm always appreciative of the reach of my readers!

JACKSON 5: UNRELEASED, UNLEASHED

2009-11-12T17:34:00.000-08:00

The Jackson 5: ABC (Alternate Mix)
Buttercup (snippets)
From I Want You Back!: Unreleased Masters (Motown, 2009)

As you can imagine, there's no shortage of plans to plumb the depths of the J5 and MJ catalogs. I mentioned the Stripped Mixes a while back and I just got this new unreleased masters CD in the mail today.

Let me get the negative stuff out of the way first - in a few cases, I think the fact they went unreleased was probably justified insofar as the songs are kind of lackluster ("Love Comes In Different Flavors," I'm looking at you!). However, for a J5/MJ music nerds, there's some really fascinating stuff on here, including a medley that throws together "I Want You Back/ABC/The Love You Save" which is pretty much the hat trick of early J5 hits.

There's also a cool alternate version of "Never Can Say Goodbye" which has some notable changes in the arrangement, especially a whole different passage after the second chorus, but the real stunning contrast is the alternate version of "ABC." The music may sound alike but from the first stanza of verses, you can hear MJ take an entirely different approach to the vocal arrangement and check out the differences after the first chorus with the "la la las."

The other huge song that people have been talking about is "Buttercup," a Stevie Wonder-written/produced song that 1) totally sounds like a Stevie Wonder song (note: this is a great thing) and 2) gives you a window into a compellingly different sound for J5 compared to what Motown typically sent their way. I'd almost say the album is worth it just for "Buttercup" (it's pretty damn good) but thankfully, there's other strong material on here to sweeten the pot (check out "Listen, I'll Tell You How", an early J5 song from 1969).

MY ARETHA MIX

2009-11-12T11:16:00.001-08:00

TRACKLIST:
1. “Drinking Again” – Aretha Franklin
2. “The Night Time is the Right Time” – Aretha Franklin
3. “Son of a Preacher Man” – Aretha Franklin
4. “Mr. Big” – Aretha Franklin
5. “Baby I Love You” – Aretha Franklin (sampler)
6. “Cry Like a Baby” – Aretha Franklin
7. “Until You Come Back To Me” – Stevie Wonder
8. “Until You Come Back To Me” – Aretha Franklin
9. “I Can’t Wait Until I See My Baby’s Face” – Aretha Franklin
10. “Chain of Fools” – Aretha Franklin
11. “You’re a Sweet Sweet Man” – Aretha Franklin
12. “Rocksteady” – The Marvels
13. “Rocksteady” (Alt. Mix) – Aretha Franklin
14. “Think” – Aretha Franklin
15. “Respect” – Otis Redding
16. “Respect” – Aretha Franklin
17. “Since You Been Gone” – Aretha Franklin
18. “Save Me” – Aretha Franklin
19. “Save Me” – Nina Simone
20. “Mockingbird” (45 Mix) – Aretha Franklin
21. “So Soon” – Aretha Franklin
22. “Soulville” – Aretha Franklin
23. “I Say A Little Prayer” – Aretha Franklin
24. “One Step Ahead” – Aretha Franklin
25. “I Never Loved a Man” – Aretha Franklin

Back in September, I put together a special mix of Aretha Franklin music for my man DJ Phatrick's monthly Devil's Pie party. I have to say - this was a really fun mix to work on, especially in digging deep into Aretha's catalog for both obvious and not-so joints to include. The mixing, though more on the simple end, was fun to figure out too, especially in transitions between songs that went amazingly well together, such as "Son of a Preacher Man" to "Mr. Big" to "Baby I Love You," or "Mockingbird" into "So Soon." I didn't initially think it'd be that easy to put together a solid, hour-long dance mix of Aretha songs (since so many of my personal favorites are actually ballads) but she certainly wasn't lacking for things to shake a tail-feather to.

We initially had 100 copies made (the disc looks proper though it's in a generic cardboard sleeve) and Phatrick's already liquidated his half. I plan on giving away a bunch and then selling the rest to cover my costs. At some point, probably soon, this will be available as a free download so don't feel obligated to cop the CD.

If you're interested in one, go here.

MIX MIX MIX

2009-11-12T11:15:00.000-08:00

I have three new mixes available.

I didn't mean for them all to get timed this way; I actually had the first two done months ago and was waiting for the "right moment" (translation: waiting to get off my lazy a**) but now with the Aretha mix around, it seemed ridiculous to put it off any longer. The Aretha Mix has its own post so I'm going to devote this one to talking about They Call Me Mr. Lonely and Love Me...or Love Me:

After finishing up Soul Sides Vol. 1 and Vol. 2, I began to think what a Vol. 3 might look like. The first two volumes often aimed for breadth but for a theoretical Vol. 3, I wanted to narrow in a bit and think more about mood and feel rather than style diversity.

As it turns out, Vol. 3 wasn't going to happen officially but that didn't stop me from contemplating a mix along the same veins and that's what lay behind both They Call Me Mr. Lonely and Love Me/Leave Me. Both are devoted (mostly) to heartbreak/slow jams, with Mr. Lonely featuring all male vocalists while Love Me/Leave Me is for all my XX Posse.

Here are the tracklists for both:

KEEP READING...

They Call Me Mr. Lonely
1. Labi Siffre: Saved
2. The Starlights: Going Out of My Head
3. Maurice Davis: Mr. Lonely
4. Frank Turner: All For the Kids (sampler)
5. The Impressions: The Girl I Find
6. Joe Acosta: I Need Her
7. Steve Parks: Still Thinking of You
8. Bits N Pieces: Sparkling In the Sand
9. Los Sunglows: I Want To Make It With You
10. Reuben Bell and the Casanovas: It's Not That Easy
11. Soul Majestics: I Done Told You Baby
12. Johnny and the Expressions: Now That You're Mine
13. Stevie Wonder: Hey Love
14. Mayer Hawthorne: I Wish That It Would Rain
15. Michael Jackson: We've Got a Good Thing
16. Michael Jackson: We're Almost There (DJ Spinna Remix)

Love Me, Love Me, Love Me or Leave Me, Leave Me, Leave Me
1. Asha Puthli: Let Me In Your Life
2. Laura Nyro feat. Labelle: The Bells
3. Gloria Scott: Love Me, Love Me, Love Me or Leave Me, Leave Me, Leave Me
4. Lorez Alexandria: I'm Wishin'
5. Jennifer Lara: Our Love
6. Aretha Franklin: One Step Ahead
7. Dee Dee Warwick: It's Not Fair
8. Quinn Harris feat. Lady Bianca: Stop Telling Me Lies
9. Dusty Springfield: Piece of My Heart
10. The Soul Children: The Sweeter He Is
11. Ciel Miner: Stardust (sampler)
12. Nick and Valerie: I'll Find You
13. Sharon Forrester: Don't Let Me Be Lonely
14. Candi Staton: You Don't Love Me
15. Lezli Valentine: I Found Love On a 2-Way Street
16. Honey and the Bees: You Better Go Now
17. Lynn Williams: Don't Be Surprised
18. Lorraine Ellison: Stay With Me
19. The Emotions: As Long As I've Got You

Here are the annotated playlists (i.e. descriptions of each song) for the two mixes. There's three ways to listen to all this:

1) Podcast/free DL

Love Me/Leave Me will appear as a Daptone's podcast later this month and Mr. Lonely is slated to appear as a podcast on the Galactic Fractures site.

DJ Phatrick plans to make the Aretha mix available for a download soon as well.

Cost: Free

2) Digital album

Available through The Corner Store.
Cost: $8.99 per album. (Aretha mix not available as digital album.)

These will be individually tracked and of higher quality (the podcasts are one long, 128 bit track).

Downloadable artwork here.

>3) Compact disc

Mr. Lonely + Love Me are being sold as a pair. Each album is in a slimline case with original artwork. I made 50, individually numbered sets. (I'm unlikely to do a second run on these unless

The Aretha Mix is available for free as an "add-on". I may eventually sell them separately but currently, priority goes to people ordering the Lonely/Love pair.

Cost: Mr. Lonely/Love Me pair = $25
Aretha Mix = free (add-on only)

Shipping (US): free
Shipping (Overseas): $5 flat.

To order: Email me at soulsides AT gmail.com and please include your mailing address and preferred paypal email account.
SOLD OUT!

FALL CLEANING

2009-11-08T11:26:00.000-08:00

Ten Wheel Drive with Genya Raven: How Long Before I'm Gone
Stay With Me
From Brief Replies (Polydor, 1970)

The Highlighters: You're Time Is Gonna Come
From 7" (Chess, 1970)

I save a slew of songs with the intention of "eventually posting them up" and what inevitably happens is that they just end up "hanging around" and go nowhere fast. Right now, I have at least 1.5 years worth of stuff and decided to get off the proverbial pot by finally posting some up.

The Ten Wheel Drive's "How Long" came to my attention after hearing this Black Moon cut (arguably the last good one they ever put out), "Way of the Walk." This combines at least two pet loves: 1) funky rock bands fronted by 2) female singers (in this case, Genya Raven who has a huge voice - very post-Joplin. I don't think her version of Lorraine Ellison's "Stay With Me blows the OG out of the water but it was an interesting take.

Th Highlighters were an Indiana group probably best known for their uber-rare "Funky 16 Corners" funk 45. "You're Time Is Gonna Come" (not to be confused with the Led Zep song of similar title) is a taste of the group's penchant for crafting a great little, doo-wop influenced power ballad that showcases lead singer James Bell's pipes. I also really dig the organ here - unexpected but quite welcome.

Jan Jankeje: Elsa Marie
From Sokol (Jazzpoint, 1974)

Preston Love: Kool Ade
From Omaha BBQ (Also on LP) (Kent, 1969)

Roger Saunders: Darkness
From The Roger Saunders Rush Album (Warner Bros, 1972)

I previously posted (anonymously) another song from Jan Jankeje's funky fusion LP, Sokol back in the "Breaks and Basslines" post. I'm not remotely as big on fusion stuff as I was about 10 years back but I still have a soft spot for this album by the Slovakian Jankeje which is one solid footing in funk-influenced rhythms but also healthy touches of avant garde jazz as this composition, in particular, seems to capture. File under "I can't believe I never posted this": Preston Love's Omaha BBQ was one of the earliest funky blues albums I ever became acquainted with and I still find it to be one of the most consistent efforts in the genre. "Kool Ade" especially is killer - as gritty a groove you can imagine. The drummer gets some special attention here on the two bridges where band members rap with each other over a chattering like series of breaks and fills.

Speaking of breaks, you'd be hard pressed to find too many songs with a better 8 bar opening break than this. The actual song itself is a decent, mid-tempo country-rock ballad which isn't quite what you'd expect with an intro like that but it's definitely a step up from "Put Your Hand in the Hand."

Prisoners of Watts (POW): Language of Funk
From 12" (No Busters Allowed, 1990)

Da Lench Mob: Ain't Got No Class (T-Bone Remix)
Ain't Got No Class (Beatnuts Remix)
From 12" (Street Knowledge, 1992)

King Tee: The Great (Distorted Alcoholism Mix)
From 12" ("Bust Dat Ass") (Capitol, 1992)

I picked up this 12" by L.A.'s P.O.W. (Prisoners of Watts) on a whim and while it's not exactly the unsung NWA or anything, I do digthe early '90s L.A. hip-hop production steez on here. Bonus points for having Battle Cat (back when he was mostly known as a DJ) on the cut.

Less obscure (but still staying in the Southland), we have two mixes from Da Lench Mob's "Ain't Got No Class" 12". Again, I don't really ride that hard for the song itself (there are better Lench Mob cuts out there) but I do like the contrast in production style you can here between the Beatnuts and ~~T-Ray~~. Especially because T-Ray was doing stuff for Cypress Hill and his style and Muggs' seemed so compatible, I always associate it with a Left Coast thing even though neither Muggs nor T-Ray were originally from California. T-Bone's remix (which I, embarrassingly, confused for a T-Ray remix for, uh, years now) is some classic West Coast, post-Sir Jinx/Muggs ruggedness while
The Beatnuts mix is classically 'Nuts with the filtered bassline and use of horns.

One more from the West (actually, now that I think about it, these three songs were probably from a long-forgotten "early 90s West Coast hip-hop post") - a remix of King Tee's "The Great" found on the "Bust Dat Ass" 12". King Tee = unsung and then some. I always like going back and listening again to his catalog (especially anything connected to The Triflin' Album - such a good voice and such a damn shame his Aftermath album never got official release.

Los Pakines: Hojas Verdes
Oh! Cherie
From S/T (Sono Radio, 197?)

I don't know much about Peruvian chicha but this fusion of Colombian cumbia with American surf rock makes for style that's hard to forget once you hear it. I got turned onto this Los Pakines album when I was looking for stuff by Los Diablos Rojo, another group in a similar vein. The Pakines, in particular, seemed to love that reverb and just drench every song on this album with it. "Hojas Verdes" is a slinky cumbia piece with some funk undertones while "Oh! Cherie" sounds like a cover of a '60s tune I should recognize (but don't).

EDAN: HE'S BACK

2009-11-08T08:48:00.000-08:00

Edan: Echo Party (snippet)
From Echo Party (Five Day Weekend, 2009)

Answering the question of "what's Edan been up to?" my favorite rapper/producer/DJ/collector from Boston whose name is an anagram of "Dane". No, seriously, Edan is awesome and on this new 30 minute mix, he really outdoes himself in assembling a creatively executed, sonically compelling mega-mix that's in the best traditions of cut n' paste mixes of the past (Steinski, holler) but with Edan's particular taste in echo boxes, fuzzed out effects, psych-meets-old school aesthetics and all else that make Echo Party as ambitious (and enjoyable) a project that I've ever heard from him.

Stonesthrow still has LP copies available for pre-order, sold-out of their CDs but the album doesn't actually officially drop for another week or so.

GREATEST THING. EVER.

2009-11-07T19:16:00.000-08:00

I heart Sesame Street. See more flavor here.

MR. LONELY + LOVE ME/LEAVE ME NOTES

2009-11-06T10:24:00.001-08:00

These are the annotated playlists for They Call Me Mr. Lonely and Love Me...or Leave Me.

1. Labi Siffre: Saved

For quite a while now, I've been meaning to write a mega-post about this UK artist, an artist who - and I say this with no hyperbole - I have been waiting my whole life to hear. This is from what I consider to be his best album, Crying, Laughing, Loving, Lying and when I first heard it, all I knew is that it had to open some future mix. I guess the future is now.

2. The Starlights: Going Out of My Head

A little Tex-Mex soul sabor here from the Starlight's, signed to the Tear Drop imprint (home to Sunny and the Sunliners and Little Joe and the Latinaires, among others). From their Triste-Payaso LP which I think may have been their only full-length release.

3. Maurice Davis: Mr. Lonely

I think Thes One may have turned me onto this 7"; it's on BeePee, rumored to be a Church of Scientology funded label and also home to a few releases by Amanda Ambrose. No Thetans here though, just a lovely little ballad that gives this mix its name.

4. Frank Turner: All For the Kids

My friend Hua turned me onto this 7" on Louisana's Maison De Soul label. It's apparently a cover of a Bobby Scott and Jimmy Radcliffe song and what struck me on first listen was how close that opening guitar line is to William Bell's "I Forgot To Be Your Lover". So haunting and the melancholy of it goes well with this downbeat track.

5. The Impressions: The Girl I Find

I had no shortage of songs by the Impressions I wanted to put on here and thematically, "The Girl I Find," probably wasn't as good a fit as "I'm Loving Nothing" but having finally copped the Young Mod's Forgotten Story, this song had been in heavy, private rotation and got the nod for that reason.

6. Joe Acosta: I Need Her

Arguably the best song on Joe Acosta's Power of Love LP, this may also be the best ballad ever recorded for Joe Bataan's short-lived Ghetto imprint. I didn't even realize this was on 7" until I was at Big City Records in NYC and they had a few copies.

7. Steve Parks: Still Thinking of You

Bay Area soul at its finest; this is my vote for the best ballad recorded for the heralded Reynolds imprint. This is the same Steve Parks who would go onto record the modern soul classic, Movin' In the Right Direction.

8. Bits N Pieces: Sparkling In the Sand

A beautiful cover of this Tower of Power classic done by Manila's Bits 'N' Pieces band from their mega-rare Only the Beginning LP. I bought this off of the Groove Merchant's Cool Chris right before leaving the Bay Area for LA and it remains one of my most treasured albums.

9. Los Sunglows: I Want To Make It With You

Coming from another Tex-Mex band, like the Starlight's, this comes from their Des Dimas Garza LP in Siesta. I was initially skeptical of a cover of Bread's '70s soft rock classic but the soaring arrangement with its heavy horns really won the day here.

10. Reuben Bell and the Casanovas: It's Not That Easy

Thanks to Chairman Mao who both put me up on this 7" (and sold me a copy!), an early (if not the first) 7" by this underrated Louisiana talent. This is what "deep soul" is all about.

11. Soul Majestics: I Done Told You Baby

Joshua Alston of Newsweek hepped me to this when he played it during a paper at the EMP Conference. It's by the Soul Majestics, a Chicago group with only two or so 7"s to their name. Those opening guitars and strings cold rocked my world; the moment I heard it during his talk, I scribbled down the title quickly.

12. Johnny and the Expressions: Now That You're Mine

I often forget that it wasn't just The Meters who put music out on Josie. This 7" is by Johnny ~~Wyatt~~Matthews, who, along with his band, the Expressions, put out a few singles on Josie but none (so far) that I've discovered to be as majestic as this one.

13. Stevie Wonder: Hey Love

Classic "oldie but goodie," this is one of those Stevie Wonder songs that don't come to your mind immediately when you think of his stone-cold classics but I challenge anyone to suggest that this song is anything less than perfect.

14. Mayer Hawthorne: I Wish That It Would Rain

This song, from Mayer Hawthorne's new A Strange Arrangement album is possibly my favorite slow jam for 2009 (at least in terms of new songs). You'd think the Temptations would have the patent on any heartbreak ballads using this title but I think Mayer makes a very good argument for some name-sharing.

15. Michael Jackson: We've Got a Good Thing
16. Michael Jackson: We're Almost There (DJ Spinna Remix)

Couldn't make this mix without showing MJ some love. I went with one of my favorite re-discovery songs of the summer - "We've Got a Good Thing" from Ben and paired it with DJ Spinna's excellent remix of another of MJ's great, undersung tunes - "We're Almost There", from his last Motown solo effort, Forever Michael. RIP.

1. Asha Puthli: Let Me In Your Life

It's been a lovely experience this year, meeting and spending time with Asha Puthli, one of the more enigmatic and talented artists of the 1970s. This melancholy cover of the Bill Withers' song comes from her self-titled debut, showing off a soprano that is reminiscent of the sad sweetness of Minnie Riperton.

2. Laura Nyro feat. Labelle: The Bells

I don't know how I slept on this album - Gonna Take a Miracle for so long but it's probably my favorite re-discovery of 2009 when it comes to LPs. This is a cover of a doo-wop song originally by the, uh, Originals but I have to say; I think Nyro and Labelle have the definitive version here.

3. Gloria Scott: Love Me, Love Me, Love Me or Leave Me, Leave Me, Leave Me

Produced by Barry White, this Gloria Scott LP is one of the great, tough finds on Casablanca (big up Justin Torres who sold it to me at some forgotten KUSF swap). Scott kills it from jump: "I just can't go on this way..."

4. Lorez Alexandria: I'm Wishin'

One of two jazz ballads to make this mix, I got turned onto this by Gilles Peterson's excellent Digs America 2 comp and went out to track down the original LP on the Pzazz label; alas, it's a one-tracker but it's a damn fine one at that - so dramatic.

5. Jennifer Lara: Our Love

This is one of two reggae ballads to make the mix; a selection from Jennifer Lara's 1974 debut on Studio One. There is something so inherently sad to Lara's voice here, especially with that touch of patois she brings to it.

6. Aretha Franklin: One Step Ahead

Ironically, this is probably Franklin's best-known song from her forgotten Columbia years but outside of Greatest Hits comps, it's also the hardest to come by, having been a B-side only cut that never made a formal album. Great stuff from the "queen in waiting."

7. Dee Dee Warwick: It's Not Fair

Funny - I had owned the Foolish LP this song comes off of for years but totally missed hearing this track. It wasn't until Matthew Africa posted the single up after Warwick's death that I finally was aware of its absolute greatness. Such a powerful voice given full berth here.

8. Quinn Harris feat. Lady Bianca: Stop Telling Me Lies

Along with the Steve Parks on the Mr. Lonely mix, this is my other favorite single on the Bay Area label, Reynolds - Quinn Harris and the Masterminds feat. Lady Bianca on the vocals. It's a striking, unique arrangement here, going off in several different directions and tempos.

9. Dusty Springfield: Piece of My Heart

Dusty in Memphis wasn't the only album where Dusty is covering soul songs; this slammin' cover of Erma Franklin's original comes on the album before Memphis: Definitely...Dusty.

10. The Soul Children: The Sweeter He Is

From Stax comes the Soul Children and a memorable track off the group's debut album. Unlike the group's earlier singles, which featured vocals from the male members of the group, this track is given over to Anita Louis and Shelbra Bennet.

11. Ciel Miner: Stardust

Cool Chris played this one for me at the store and I copped it soon thereafter. Like the Lorez Alexandria, it's another one tracker off a jazz album but the production here is really incredible, especially with the echo on the back-up singers. The essence of "dreamy."

12. Nick and Valerie: I'll Find You

Nick and Valerie were the less-than-cathchy early name for the group that would eventually be known as Ashford and Simpson. Hua turned me onto this 7", possibly their very first, and it's a lovely Northern track that doesn't really have too many lyrics to memorize but the hook will stick in your mind forever.

13. Sharon Forrester: Don't Let Me Be Lonely

Compared to Jennifer Lara, Sharon Forrester was lesser known - much of her work came in back-up rather than as a lead. This comes from her only full-length, purportedly recorded in the UK because of a musicians strike in Jamaica. I wouldn't have thought a James Taylor cover would go over this well but I was totally captivated by Forrester's take on it.

14. Candi Staton: You Don't Love Me

There was no question a Candi Staton song would make this mix; it was just an issue of which one. I eventually went with this smoky slow jam, which showcases both Staton's incredible vocal chops and the strong rhythm section at Fame Studios backing her. From her self-titled album on Fame.

15. Lezli Valentine: I Found Love On a 2-Way Street

The Moments hit bigger with this song but it was originally Lezli Valentine's first single (and hit). Love that dramatic opening which then slides into the unexpected sweetness of Valentine's vocals.

16. Honey and the Bees: You Better Go Now

Honey and the Bees were incredibly prolific despite not being household names. I combed through both their Arctic and Josie output to find a single to include and settled to this great ballad from their earlier, Arctic years. Philly soul at its finest.

17. Lynn Williams: Don't Be Surprised

This Miami single may well be the most overstated heartbreak tunes I've ever heard thanks to the last set of verses with Williams: "don't be surprised/if you see me/laying on a railroad track/don't be surprised/if I let a train/run up and down my back." Damn honey, slow down!

18. Lorraine Ellison: Stay With Me

The formal closer is Lorraine Ellison's devastating ballad from her Heart and Soul album. I feel like this should be playing during the end of the world; it feels that intense.

Bonus: The Emotions: As Long As I've Got You

For a bonus cut, I included this previously unreleased demo version of the Emotions' covering one of the best (and most rare) songs from the early Stax/Volt catalog, originally written by Isaac Hayes and recorded by the Charmels. Dare I say, I think I may prefer this version to its original; it's executed so flawlessly.

To order, return here.

YOU GOT QUESTIONS?

2009-11-03T15:45:00.000-08:00

Vicki Anderson: Answer to Mother Popcorn
From 7" (King, 1969). Also on Mother Popcorn

Bobo Mr. Soul: Answer to the Want Ads
From 7" (Ovide, 1971)

Joyce Jones: Help Me Make Up My Mind
From 7" (ATCO, 1969). Also on What It Is!.

Jeanne and the Darlings: Soul Girl
From 7" (Stax, 1968). Also on The Complete Stax/Volt Vol. 2.

By sheer coincidence, besides that Willie West 7", I also picked up two different "answer" singles at Records L.A. last week. As the name suggests, they are meant to follow-up on other (almost always, far more famous) songs and in that sense, they're both covers AND originals. In the case of the Vicki Anderson (I've had a crappy VG- copy for years and finally decided to upgrade), "Answer to Mother Popcorn," she's hollering back at James Brown and his big hit, "Mother Popcorn" (Brown got a lot of mileage out of the "Popcorn" dance in his music of that era), flipping Brown's leering gaze into a funky feminist anthem.

With Bobo Mr. Soul...I initially thought this was Willie Bobo under a different name but nope, that'd be Beau Williams from Houston. Here, he's answering (appropriately enough) Honey Cone's big hit "Want Ads," though unlike the relatively fresh track Vicki was grooving on, Williams tends to stay fairly close to the original arrangement.

Lastly, there's no "answer" in the title but clearly, Joyce Jones is talking back to Tyrone Davis' great "Can I Change My Mind?" I really love the musical flip here - it's reminiscent of Davis' OG but changes things up enough to put a different spin on it and make this all its own. Same goes for Jeanne and the Darlings' slept-on answer song to Sam and Dave's classic "Soul Man" - they built their arrangement off some "Soul Man" riffs but don't follow it so closely to be identical.

TULLIO DE PISCOPO: BRUTTO BATTERIA

2009-11-02T18:30:00.000-08:00

Tullio de Piscopo: Medium Rock
Dodiciottavi
From Suonando La Batteria Moderna (Vedette, 1974)

I've said this before but I'm not the most ardent collector of drum breaks since, if you're not producing, it's hard to get all that excited over a one-bar break no matter how dope it sounds once you put it through an SP or MPC. Despite that qualifier, I'm still a sucker for a good beat though and that probably explains why I spent somewhere in the ballpark of 10 or so years trying to track down an "affordable" (and I use the term loosely) copy of this Tullio De Piscopo album after first hearing Egon play it at some long-forgotten party in the Bay Area from the early '00s.

The "Tullio LP" (he has many but everyone knows which one you mean) just looks like it's bad ass - the cover art could just be a red herring but the album delivers on the promise for the most part. It's not pure funk drummage the whole way through - this is an instructional album after all so there's a variety of styles, especially two samba cuts and a host of other Latin-flavored rhythms alongside "Medium Rock" (boring name, ridiculous cut), and "Rocking Special" (the other funky cut), plus "Drum Fantasy" which doesn't sound so much instructional as it does inspirational.

Piscopo, who seems to have been a major Italian drummer in the '70s and '80s, includes notations for his tracks though I don't know how actually useful they would be to a beginning drummer. I mean, I have a basic knowledge on how to read music but I don't know if I could easily figure out how to replicate "Dodiciottavi" based on what they have there. However, the album (a gatefold) also comes with a cool history of jazz drumming, tracing it back to NOLA (and then offering the same lesson in Italian).

As for "Medium Rock," the one thing that keeps nagging me is...is there a second musician playing the tambourine and cow bell? Because unless Tulluio has a third arm, I just can't figure out how they make those elements work in the song (though, there's the more obvious explanation: over-dubbing). But good gawd, talk about a drum solo to end all others - this is three-plus minutes of pure percussive fire that's about as good as anything else I can put it up against (including strong competition from library or dance LPs). "Guns Blazing" indeed.

I included "Dodiciottavi" just to demonstrate some of the range of Piscopo's stylings; it wasn't all funky-funk stuff. I happen to like the rhythms he's putting together here, especially his use of what sounds like a timpani(?).

WILLIE WEST: FAIRCHILDREN

2009-11-02T14:24:00.000-08:00

Willie West: Fairchild (2nd version)
From What It Is! (Rhino, 2006)

Willie West: Fairchild (promo version)
I Sleep With the Blues
From 7" single (Josie, 1970)

I first became familiar with "Fairchild" off the What It Is! box-set that I helped work on; I had never heard it before but within the first bar or two, the influence of NOLA's Allen Toussaint was obvious. Strip singer West off of here and this could have been a Lee Dorsey track or something Cyril Neville put out (and indeed, it seems likely some of the Meters played on here). The version of "Fairchild" on here is pretty stripped down - a sparse bass and drum combo and not much else besides West's vocals.

I came upon a 7" promo version of the song at the brand spankin' new Records L.A. store in West Adams and in listening to it, I realize there were subtle differences (or perhaps not so subtle) between it and the version that was on What It Is!. Clearly, the two were done from two different mixes since the promo version has horns that don't exist on the other version at all, plus more prominent guitars. I did some research and I'm hardly the first to have noticed this difference. Others seem to prefer the 2nd version better but personally, I like the density of the promo version given the added elements. True, it does mask more of West's vocals as a result but I didn't have a real issue with that. I've included both for you to compare and contrast. (You can really hear the difference on the post-chorus bridge, w/ and w/o horns).

I also don't want people to, uh, sleep on the B-side, "I Sleep With the Blues" which I thought was an interesting slow jam that's even more sparse but mesmerizing for all its minimalism. You keep expecting some snares to fall in, but really, all there is are those kicks.

THIS WEEK'S HEAVY ROTATION

2009-10-30T22:35:00.000-07:00

Bitty McLean: Walk Away From Love
From On Bond Street (Peckings, 2005)

Montclairs: Hey You!
From 7" single (Arch, 1969)

Captain Planet: Fumando
From Speakin Nuyorican EP (Bastard Jazz, 2009)

Big Boi w/ Gucci Mane: Shine Blockas
From Sir Lucious Leftfoot: Son of Chico Dusty (Def Jam, forthcoming 2009/2010)

Jay Electronica: Exhibit C (radio rip)
From untitled(?) (Decon, forthcoming ?)

Lupe Fiasco: Fire
From Lasers (Atlantic, forthcoming 2009)

Clipse feat. Pharrell, Cam'ron: Popular Demand (Popeye's)
From Till the Casket Driops (Re-Up, forthcoming 2009)

I have a playlist I keep on my iPhone of all the songs that are at the top of my listening priorities but most of the time, I'll add just one or two songs to that list every week or two (if I'm lucky). In the last two weeks though, it's been like a deluge with quite a few things rolling through, including a few tracks that qualify as "today's best things ever" which mostly means I put them on single-song-repeat and just gorge on them.

Top of that list is Bitty McLean's cover of The Choice Four's "Walk Away From Love," a song most connected to David Ruffin's mid-70s recording of it. Let's first acknowledge that composer Charles Kipps penned an absolute gem here; it is such an incredibly well-written song about a someone who realizes that his relationship is fated to fail so he decides to "walk away from love/before love can break my heart." But here's what McLean does; first, he sets his song over the riddim from Alton Ellis' "Get Ready (Rocksteady)" (which is one of my favorite songs out of JA so this already looking good). Now...McLean sounds like he's 16 (he was really in his early 30s) with a very youthful tenor but Kipps' words to the work to make McLean sound more worldly and this all comes together at the chorus where McLean hits that falsetto during "breaks my heart..." Listen to the song and try NOT to sing along (even if you cause small animals sonic pain when hitting that top note) when he does this. It is magcial to me - despite being a song about heartbreak, when he gets there, I feel positively euphoric. Best thing ever. (By the way, the entire On Bond Street album is basically McLean singing over old rocksteady riddims).

The Montclairs song has also been in heavy rotation; it's a monster Northern Soul classic from the late '60s that's the best thing in this vein I've heard since first discovering Bobby Reed's "The Time Is Right For Love". I previously wrote about the Montclairs last summer but while the sweet soul on Dreaming Out of Season is lovely, "Hey You!" is on some whole other level. This has everything - great vocal performances, an irresistible uptempo track, and a general joyfulness that rings true with every snappy backbeat. Best thing ever.

Captain Planet's "Fumando" was, once upon a time, a track called "Boogaloo" which was (and still is) a favorite play-out track (and, as it were, appeared in an episode of Entourage). "Fumando" subtly upgrades the original "Boogaloo" track with some added melodic touches but at its core, it's still the same, bangin' track of guitars, horns, flutes, claps and that crisp breakbeat he's got popping off in the back. DJs - get familiar with this.

Ok, rap haters, feel free to leave now; the last four songs are all from upcoming hip-hop projects.

"Shine Blockas" comes from the long awaited Big Boi solo album that was first announced in 2007 but probably won't drop until late this year if not early 2010. Hua was the first to put me up on this, first by sending this to me on some, "this is pretty good." Then he followed up the next day with a succession of IMs: "I can't stop listening to this" and "have you listened to it yet?" and "Dude, what's your f---ng problem, this is fire, get with it already!" (ok, I'm making up the last one but I would have deserved it).

I don't know what it is but Southern flows over soul loops is a good combination - see here and here if you don't hear what I'm saying. This time around, it's not Willie Hutch (though that would have been a safe bet) but Harold Melvin and the Blue Notes with "I Miss You" (last heard(?) on Jay-Z's "This Can't Be Life" (ah, back when him and Beanie weren't beefing). I'm not clear on who produced this (google, you failed me!) but kudos on a nice flip of the Melvin that doesn't fuss around with it too much except for the drum programming. I can see why Hua put this on repeat - between the ultra-smoothness of the track and Big Boi's hopscotch flow this has "instant classic" slathered all over it. (I'm still forming an opinion of Mane's verse but I was impatient to hear Boi back so I guess that's not a ringing endorsement).

For Part 2 of "Southern dudes rapping over soul tracks," please to see NOLA's Jay Electronica (he of the "terrible name yet intriguing artist" sabor) rapping over a Just Blaze track that is just...uh, blaze. I've been wondering what the hell the Megatron Don's been up to and clearly, it's figuring out how to make a smooth ass Billy Stewart track sound like the world's end.

And here's the thing: that beat is like the least great thing about this song, which is to say, Blaze's track is aces but holy sh--, I had no idea Jay Electronica could bring it like this. Even though this is a radio rip, with drops making it hard to listen through, by the time the song hits the last verse, I can see why Tony Touch rewound it to play back again. I can't even transcribe it but *whew* cotdamn.

(By the way, this song encouraged me to go back and listen again to some of Jay E's other works, including Nas' "Queens Get the Money." I originally thought it was a track that screamed for a drum track but I now recognize the simple brilliance of keeping this to just the piano. Hypnotic power. This user-created video understands this by extending that piano passage into a long instrumental before Nasir comes in on it.

Lupe isn't Southern and Jimi Hendrix isn't soul but whatever - "Fire" is a great pairing between the Chicago rapper and a Jimi classic that burns baby burns here. I'll be amazed if they manage to actually clear this sample for use (see what happened to Fat Joe's "Hey Joe") but I hope they do. This sh-- is a Leatherface mallet to the head; feeling the distorted mic approach Lupe takes here. Seriously, between this and the last two songs, 4th Q 2009 sounds a lot like 2006 (and I mean that in the best way possible).

...and just to complete that cipher, we have a new track from the Clipse and Neptunes, with Cam'ron cameoing. Straight up - this isn't incredible or anything, just merely good but I'm willing to settle for that given how some of the Clipse's other recent material was jaw-droppingly weak plus the Neptunes and Cam have stayed MIA for a minute. Cam's turn here isn't much to write home about (surprisingly) but the one shining spot is that beat. "Sparkling" comes to mind even though it also sounds like something the Neptunes might have hooked up years ago. Good enough is good enough.

(Oh, by the way, I have three CDs - two soul mixes, one Aretha special - all about to come up for the offering. It's been a long time but I hope I've made up for the hiatus).

RECORD IMAGES

2009-10-27T15:41:00.000-07:00

Oh heck, since I'm already on this roll, here's a few more for you.

SPEAKING OF LOOKING AT LISTENING...

2009-10-27T15:33:00.000-07:00

The Boat That Rocked (UK) aka Pirate Radio (US) comes out in the States in a few weeks and while I can't say the overall movie quite worked, it has 1) a killer soundtrack (natch) and 2) some great, quick scenes of people listening to the radio in all the idealized, romantic ways you can imagine.

I couldn't help but love those bits:

The irony is that this wasn't how I grew up with radio. My folks got me a small portable in the mid-1980s but it was largely a personal device; I don't really recall when me and my friends who gather around it and listen to anything. So while I love what these scenes represent, it's not like they tap into some part of my childhood that I actually experienced. More like an "imagined nostalgia" (which is probably a redundant term).

ME AND ELI LAKE: HEADS, BLOGGIN'

2009-10-27T07:49:00.000-07:00

Eli Lake, a frequent contributor to bloggingheads.tv, had me on to talk about hip-hop, record collecting in a digital age and other topics I enjoy blathering on about.

LOOKING AT LISTENING

2009-10-23T10:53:00.000-07:00

I'm always wary of giving in too much to the forces of nostalgia. There's a dangerous comfort in thinking on or fantasizing about the past; it's all too easy to filter out all the negative history and just focus on what you idealize from it. But it's impossible for me not to look through this new set of Magnum photos dedicated to records and record shops and not be pulled in by the romance of it all.

Mostly, I like looking at people listening; there's something so intimate about it even at mass events like a concert. That's one of the beautiful things about music - it's always simultaneously public and private and some of these images, of people standing by or dancing to a record player capture that duality.

And hey, just because we're in a digital age doesn't mean listening stops.

DISCO BOOGIE

2009-10-21T21:16:00.000-07:00

Pazazz: So Hard To Find
From 7" reissue (Soulplex, 2009)

Twilight: You're In Love
From Pains of Love (Ross, 1986)

The folks at Soulflex in Germany were kind enough to hep me to this new reissue they put out of a killer Florida disco single by Pazazz called "So Hard To Find" (an apt name considering how insanely obscure it is). This is the kind of disco I never tire of: a simple but infectious groove, upbeat vocals and a general air of happiness that's like a mood-enhancing substance minus the substance. I'm sure those who hate disco would hold this up as everything wrong with the genre - its repetitiveness for example - but they're missing how amazingly awesome a song like this feels on a dancefloor where you want that repetition to keep that feel good vibe going as long as possible. The single also includes a remix by Samurai 7 though personally, I prefer the OG.

As for Twilight, this Vallejo-recorded LP was pushed on me by the Groove Merchant's Cool Chris and while I'm nowhere near someone who knows much about boogie or even bore the genre any mind until very recently, I was glad Chris encouraged me to open my ears enough to enjoy this. I'll be honest - I'm bewildered by how boogie (funk/R&B records from the early through mid '80s) have staged such an intriguing comeback as the latest style hipsters have glommed to. That's not a diss (well, not exactly) since I believe that people who like boogie actually really do like it. It's just that this used to be the kind of syrupy, fonky tunes that hip-hop heads would clown as they were getting their fingers dusty but this is all the rage with some of the elders from that crowd. Go figure.

But yeah...Twilight...of all the songs on the album, "You're In Love" grabbed my attention the most, probably because I love that little squeegee synth that runs throughout (plus that intro bassline is pretty slick).

WILD YOUNG RETRO FOREGINERS (WYRF!)

2009-10-21T09:27:00.000-07:00

The Noisettes: Never Forget You
From Wild Young Hearts (2009)

Cookin' On 3 Burners: This Girl
Dog Wash
Cars (snippet)
From Soul Messin' (Freestyle, 2009)

It's funny but I started prepping for this post a couple of days before I read Jody Rosen's "DORF" theory of NPR's Black music content (DORF = dead, old, retro or foreign) and I'm just slightly more self-conscious at the fact that I've actively put the "R" in DORF and here I am again, focusing on the R.

And you know what? So be it; this is how I roll. There's plenty of other people focusing on YACL (young, alive, contemporary, local), can I live, dorfin' it out (or, in this case, RFin' it?)

The Noisettes are foreign (UK) but neither old nor dead. They're not necessarily even that retro overall. Of course, on "Never Forget You," it's unavoidable that lead singer Shingai Shoniwa would be compared to Amy Winehouse; they have similar voices and the vibe on "Never Forget You" is clearly slathered in the same kind of '60s, girl group flavor that some of Winehouse's songs are known for. That said, I'd say this is as good as anything I've heard Winehouse (or really, anyone's) put out and it's not a pure Brill Building retread, especially with the power rock elements that enter in on the chorus.

And yeah, that hook? Where they go, "my sweet joy/always remember me"? w/ the back-up singers? Pure Ronnettes, pure butter. Love that. Really like the lyrics too - it's both rebellious and sentimental, dipped in bittersweet sprinkles. (Thanks to DJ Phatrick who put me up on the song and its video).

Cookin' on 3 Burners have been around for a few years but I've been slow in familiarizing myself with the Australian soul scene but there's clearly a burgeoning scene there too with groups like CO3B and the Bamboos in the mix. "This Girl" is another great, catchy ballad, featuring the singing talents of TKTKT, and flows with the kind of vibe that reminds me of the best of Nicole Willis or Sharon Jones. Too bad I didn't hear this earlier in the spring; it easily would have made my list of summer '09 jams but better late than never. ("This Girl" is also CO3B's latest 7" for you vinyl dudes).

"This Girl" got me interested in the group but I was happy with how it introduced me to the rest of their repertoire. "Dog Wash," in particular is on some vintage Meters' tip - that slow groovin' second line funk built on whinnying organ stabs and vamps, some smoky rhythm guitar and snappy drums. However, the song that really made me smile was an unexpected cover of Gary Numan's "Cars"...one of the more defining pop songs of the early 1980s New Wave that I think deserves to be covered more. Listening to CO3B's version makes me wonder if they were at all influenced by the noted steel drum version by the Katzenjammers. "Cars" is also available as on 12".

SPIRIT HOUSE MOVERS: NATURAL SOUL

2009-10-21T00:52:00.000-07:00

The Spirit House Movers: Beautiful Black Women
From Black & Beautiful, Soul & Madness (forthcoming on Sonboy, 1968/2009)

Sonboy Recordings resurrects this 1968 recording out of New Jersey featuring a young LeRoi Jones (now better known as poet Amiri Baraka) during the heart of the Black Power Movement. At some point in my life (early 1990s, when I was at Berkeley), something like this probably would have blown me away but at this point, having listened up on my Last Poets and Watts Prophets, it's hard to say if this is on the same level. It does have more of a DIY vibe to it, partially because it sounds like it was recorded in someone's house (which it was) and the musical fidelity is less than what you'd ideally want.

That said, I was really drawn to the first song on this album, "Beautiful Black Women," because it finds Jones/Baraka reciting his ode to Black women over their interpolation of "Ooh Baby Baby" by Smokey Robinson and the Miracles. If you're going to score the Revolution, I'm not mad at some Motown classics providing the inspiration.

Y TUS COVERS TAMBIEN

2009-10-20T22:46:00.000-07:00

Hnos. Carrion: Rosa Mi Rosita
Toño Quirazco: Aprieta Arriba
Hielo Ardiente: Mambo La Merced

(Editor's Note: Sonido Franko of Super Sonido blesses us with another guest post, this time tapping into my favorite genre: covers! --O.W.)

RECORD-RACKS.COM: OPEN FOR BUSINESS

2009-10-20T22:16:00.000-07:00

Our longtime contributor Eric Luecking did Soul Sides a blessing by helping handle a lot of new release reviews and contests but he's ready to set up shop with his own blog: Record-Racks.com. He'll still be tackling a diverse selection of soul, rock, jazz and other goodies.

Check out my man throwin' down, show him some love and be sure to add him to your blogroll!

TOO TIGHT

2009-10-20T18:58:00.000-07:00

Po-Boy-Citos: Brand New Dance
From 7" single (Superultramega, 2009)

Orchestra Harlow: Horsin' Up
From Presenta A Ismael Miranda (Fania, 1968)

Mophono: TIghten Up Remix
From 7" (CB, 2007)

One of my favorite new singles to spin out has been the appropriately named "Brand New Dance" by New Orleans' Po-Boy-Citos. I wrote about the group a year ago and they've been steadily building their name and catalog and this new 7" is a real gem (hint: they need to make it easier to buy other than their show!)

"Brand New Dance" combines two big hits from the South - mostly obviously "Tighten Up by Texas' Archie Bell and then they slide in a little "Check Your Bucket" for the hometown NOLA hero, Eddie Bo (there's also a touch of Wardell Quezergue/Jean Knight with that intro which sounds adapted from "Mr. Big Stuff"). The mash-up is a fun slice of instrumental soul that has yet to fail me in the club. (The B-side, "Trinidad" is a slick, funky guajira for the Latin heads).(The group also has their first CD avail, while this new single will likely end up on their next album.

"Brand New Dance" instantly reminded me of Orchestra Harlow's "Horsin' Up," recorded during Harlow's reluctant boogaloo days. I also posted this up around a year ago but no one seemed to have a reaction to it but I'm still feeling how it throws together Cliff Nobles' "Horse" and "Tighten Up" for a classically '60s meeting of two big, complementary hits.

Both songs just remind us how insanely massive "Tighten Up" was in its moments. Easily one of the most covered songs of its kind and one where it's hard to find a bad cover. In fact, I'd challenge anyone to send in a bad cover of this song, just to see if it actually exists. Just as some bonus flavor, I included Mophone's remix of "Tighten Up" (I previously put up the B-side of this single) which manages to both slim the song down to its most vital components, especially the drums, and then juice 'em up heavy. Rat-a-tat-tat.

WHAT MAKES A GREAT VOICE?

2009-10-19T14:55:00.000-07:00

Some of you may have caught me blathering on NPR's Talk of the Nation today, talking about NPR's 50 Great Voices campaign. For those not familiar, starting in January, NPR is going to profile, week to week, "great voices" from around the world and that list will be determined by them on the basis of 1) listener nominations and 2) a panel of folks who, to put this diplomatically, are being convened to offer an "alternative" set of opinions to balance out L.C.D. populism.

I'm honored to be on that panel but it's been challenging since, when I think of "great voices," the names that immediately pop to mind are hardly that left-of-field. I mean, I named my daughter after Ella so you know she'd be on my list, as would Aretha, Al, Otis, et. al.

However, the point of this project isn't to affirm what we already know and more importantly, it is not "50 great-est voices," merely 50 great ones. Despite appearances of canon-making/validating, that's really not the point (even though I know most people will assume it is). Part of that has meant really trying to get away from obvious choices and in this case, "obvious" means, for the most part, American or British artists.

For example, Elis Regina keeps coming up in conversations I've had with friends and colleagues and I know there's a lot of sentiment running in her favor on the submissions' site too (her Brazilian contemporary Caetano Veloso is also under consideration).

Personally, I put Fela Kuti on my list; I think his is such a distinctive, rumbling voice with seemingly no bottom - the perfect kind of voice to go with the deep, hypnotic swirls of his music. Another one of my recommendations is Alton Ellis - one of the greatest vocalists to come out of Jamaica whose blend of soul phrasings with his patois pretty much defined the sound of rocksteady and proto-reggae in my opinion.

My most left-field choice is actually American: Chuck D. I could be wrong but I'm willing to wager he's the most sampled rapper-by-other-rappers and it's obvious why: I dare anyone to find a more powerful, commanding, authoritative and memorable baritone than his in hip-hop. Besides, I'd love to see NPR include a rapper in their final 50 as a way to tweak all these annoying anti-rap crusaders who pollute the site with their small-mindedness.

So far, I've sent in 6 and am mulling over 4 more. Under consideration:
Googoosh
Kongar-Al Ondar
Freddie Mercury
Donny Hathaway

If you have other suggestions, especially for non-US/UK artists, drop your nom to NPR's website and feel free to advocate in my comments too.

MY GUEST POST FOR SUPER SONIDO

2009-10-19T13:30:00.000-07:00

I forgot to mention that I had a guest post up on the Super Sonido site from the other week. I came up with several Latin funk covers songs, none of which I've ever posted here (I don't think).

We have another guest post from Sonido that will end up on our site later this week.

MULATU ASTATKE: YOU NEED THIS

2009-10-13T12:37:00.000-07:00

Mulatu Astatke: Mulatu
I Frama Gami I Faram (w/ the Ethiopian Quartet)
From New York - Addis - London: The Story of Ethio Jazz 1965-76 (Strut, 2009)

Once you hear Mulatu's music, you don't readily forget it. And while I don't want to credit him with singlehandedly inventing Ethiojazz, he has been its main ambassador and along the way, become its most heralded apostle. Technically, most of the albums that introduced Mulatu to the rest of the world were "best ofs" - including the venerable Ethiopiques Vol. 4 and more recent Ethio Jazz Vol. 1 but this new anthology really captures a diversity in his sound in a way I hadn't heard before. Mulatu's incredible experiments ran the gamut of incorporating all kinds of funk and soul elements but blended with the unique "exotic" (notice the scare quotes) sound of Ethiopian music with its non-Western scales and you get to hear those different styles all circulating on here.

Some of this material I was familiar with but much of it I wasn't and I was marveling at how incredibly diverse the styles represented are here - I was amazed at the Latin influenced tunes here, there's some beautiful, straight ahead-style vibe-heavy jazz, and other times, some dark, slinky funky stuff. It's impossible to just pick out a few sounds to "represent" it; it's not divisible by anything less than its whole.

That said, I pulled out these two songs as a small taste of the contrast available on the whole disc. "Mulatu" is perhaps one of the most sparse, obviously funk-influenced tunes in his catalog - there's so much...space...between the notes here, with the drone of the sax filling the air between. I love the minimalism here, how this song is built with all these slim but layered textures.

As for "I Frama Gami I Faram" - I always forget that Mulatu recorded several Afro-Latin albums but it's another thing to really listen to how the Afro-Cuban styles of the Caribbean carries across the Atlantic and African continent. Except for the lyrics, if you had told me this was recorded in Havana, I would have easily believed that.

If you're feeling all this, don't forget the recent new album he put out with the Heliocentrics.

LATIN MUSIC USA (BBC) AIRING NOW

2009-10-13T08:17:00.000-07:00

Naturally, I'm most interested in the Birth of Boogaloo chapter but it's great that you can watch the whole series online.

"NEW" MJ: THIS IS IT? OR...IS THIS IT?

2009-10-12T17:05:00.000-07:00

Discuss!

BETTY DAVIS: IS IT LOVE OR DESIRE?

2009-10-07T12:20:00.000-07:00

Betty Davis: Whorey Angel
Stars Starve You Know
From Is It Love Or Desire? (Light in the Attic, 2009)

I am really honored to have been part of this project, writing the liner notes to an album that many of us feared would never come to light.

Here's an excerpt from my liners:

"Originally entitled Crashin' From Passion, Is It Love Or Desire? was recorded and completed in Bogalusa, Louisiana during the summer of 1976 before promptly vanishing into a hole for the next 33 years. Even for an artist as enigmatic as Betty Davis, Is It Love Or Desire? has been the ultimate mystery - no singles, no promos, not even so much as a bootleg. It’s as if the album never existed; a cruel fate to bestow on what was universally considered as Betty’s crowning achievement by those who worked on it.

Fate is fickle though. For years, people knew of the album’s existence; a one-of-a-kind acetate test pressing even quietly circulated in private hands. Yet all this time, the original master tapes sat forgotten - not lost - in vaults in New York and Louisiana. After the success of the Betty Davis and They Say I’m Different reissues in 2007, momentum gathered to finally give Is It Love or Desire? a proper release that’s been three decades in the making."

This scratches the proverbial surface and my liners (all 3000 words of 'em) goes much deeper into the recording and background of this album. Suffice to say though, everyone I spoke to, especially the Funkhouse musicians who played on IILOD basically said it was the best damn thing Betty ever did and I'm not about to argue that point. It's not as "sample-friendly" as her earlier albums but in terms of her artistic execution, IILOD was a clear step ahead. The fact that it would become this ill-fated album only hurt all the more but that's balanced by the excitement in the album coming back after all these years.

I picked two of my favorite songs off the album to share here and here are my respective notes on each of them:

"Arguably the most striking song in this vein is the unforgettably titled “Whorey Angel,” which seemed to sum up Betty’s recorded persona as well as any two words could - playfully dirty, yet sweet at the core. Beyond the title, the song is also notable because Betty shares her vocals with Fred Mills. Betty explained, “I would hear him kiddin’ around....he would sing, but he wouldn’t be like, ‘I’m a singer.” I thought Fred has a great sound in his voice, like a really earthy blues singer.”

Mills had to overcome his own reservations to sing on the song: “I was kind of conflicted because my mama’s a minister and I knew she wasn’t gonna dig it...but you know, that’s what mothers do, especially if they’re ministers,” he joked. Mills didn’t necessarily seem himself a full-fledged singer; he felt his purpose was, “more about the noise or about the emotional things she put in. I basically wouldn’t have to say too many words. If you listen to the song, I’m just saying one or two words, but it’s the way she wanted [me] to say it.”

"The intimacy of Is It Love Or Desire? went beyond the sound of a song or physicality of its themes; Betty never shied away from talking about her own life and on “Stars Starve, You Know,” she puts everything out on the table. It’s an answer song - a way for Betty to shout back at her critics and speak on the challenges of, well, being Betty Davis: “They said if I wanted to make some money, I’d have to clean up my act. So I called Miles Davis, he said, “It’’s ‘cause you’re a fine Black bitch, that’s all to that.” I said, “they won’t take what I’m giving, so it’s hard for me and the band to make a living.”

She had never made as autobiographical a song about her actual musical career and “Stars Starve, You Know” was as humorous as it was serious; you get the sense that Betty was having a ball penning small asides such as, “we need some money...oh hey hey Island!” or singing, “ain’t no business like show business/that’s why we stay broke!” Betty said “Stars Starve” was a reaction to her critics but not in an antagonistic way: “everybody has a job to do. They get paid for writing about you, that’s how they make their living. I just lay it down and however it’s perceived, I just have to go along with it.”

IILOD is also being released along with the reissue of Betty's third album, Nasty Gal which originally came out on Island. The exceptional John Ballon, who wrote that kick ass Wax Poetics piece on Betty, wrote the liners for this one and I highly recommend you check that album (and Ballon's notes) too. John's interviewed on the Light in the Attic site. My interview will appear tomorrow.

As a bonus, there's a very cool Betty Davis poster commissioned, limited to 100 prints. They're running a contest for one right now or you can cop it for a Jackson.

I have a few extra copies of the CD to give away but I have a trio of CD-mixes I'm about to put out so I'll include them, at random, in that batch once I announce 'em. In the meantime, if you're impatient, get IILOD from the site, direct.

SUPER SONIDO SWAPS SOME SOUL

2009-10-06T15:54:00.000-07:00

Johnny Rivera and the Tequila Brass: Johnny on the Warpath
Boogaloo Que La Traigo
From S/T (Cotique, 1967)

Johnny Rivera and the Tequila Brass: Run, Run, Run
Light My Fire
From Up, Up and Away (Cotique, 1968)

(Editor's Note: Super Sonido is one of my favorite new blogs to hit the interweb. Excellent, in-depth posts about kick ass Latin music most of you will never hear outside of a plane ticket down south. Me and Sonido Franko decided to swap a pair of posts. Here's his... -O.W.)

It isn’t any wonder that in late 1990’s I started harvesting a deep appreciation for the Latin boogaloo. I already had a good sized soul, jazz, and Latin jazz collection by then. So a cross-over music like the boogaloo, which fused these similar genres together, drove me to a fascination with hybrid music that pretty much lasts to this day.

By the mid-60’s Latin music in the US was losing its popularity that it had garnered from the mambo era onward. Rock, doo-wop, R & B, and The Beatles had pretty much taken over the Anglo youth market. And what emerged was the very short lived boogaloo craze. One the one hand you can almost look at this genre as a really good marketing ploy. However, this association doesn’t stick all the time. Musically, there are no absolute definitions for the boogaloo, since it was drawing for a myriad assortment of sounds. And it is my belief that it was just the younger Latinos of the time who were carving out something unique in 60’s urban US. Like mambo in the swing era to reggaeton in the hip-hop era. Boogaloo in essence was the music as Latin American identity of its brief epoch.

When I purchased Up, Up, and Away on Ebay in the late 90’s I was surprised to actually get an email from Johnny Rivera himself. We corresponded for a while, but I unfortunately lost his email in one of the many computers I have burned through since then. If I remember correctly his boogaloo days lasted as long as the genre itself. He indicated that he spent the rest of his days as the conductor for the Statue of Liberty Army Band or something like that. Why did Johnny Rivera contact me in the first place? He wanted to know why I would have paid so much for his record. I’ll let the music be the answer to that question.

--Sonido Franko

SWING A SIMPLE SONG

2009-10-04T00:02:00.000-07:00

Sly and the Family Stone: Sing a Simple Song
From Stand (Epic, 1969)

Ike and Tina Turner: Bold Soul Sister
From The Hunter (Blue Thumb, 1970). Also on Bold Soul Sister.

Deadeye: Silly Song
From Gathering at the Depot (Beta, 1970)

Please: Sing a Simple Song
From S/T (Telefunken, 1975)

Of all the pioneering funk tunes Sly and the Family Stone turned out, you'd be hard-pressed to find one more raucous, more alive with energy than "Sing a Simple Song." For one, the way the song opens is monstrous; it practically climaxes from jump yet rather than declining in intensity, the band keeps hammering away. While folks tend to contrast the thicker sound of Sly with the terse efficiency of the JBs, this is the closest I can think of a meeting point between the two, especially with the styles of changes the song goes through - it's hard not to hear the infamous bridge at 2:11 as comparable to any number of James Brown compositions, mostly notably Marva Whitney's "It's My Thing" or Lyn Collins' "Think."

Small aside - but on the second Digital Underground album, in the liner notes, the group jokes about the number of songs that used the "Humpty Break" which, in turn, comes from that same bridge. No doubt, many songs in the late '80s/early '90s used this same break but I was curious if DU were, indeed, the first to realize you could pan out the drums on this and just flip that? Any sample/production historians out there confirm this one way or another?

Given that this song was on the B-side of "Everyday People," it would become one of the best-known Sly songs of all time and as such, has been well, well, well covered. In choosing what songs to include in this post, I wanted to shy away from covers that were good but fairly loyal - sorry Kerrie Biddell! - and instead went with a few off the beaten path.

That has to include a song that is rather obviously a cover-yet-not-a-cover: "Bold Soul Sister" by Ike and Tina Turner who basically take the main riff from Sly but then turn it into a whole 'nother piece of funky ferocity. I'm rather curious if they ever got into a legal issue with Sly and the Family Stone around that.

Then there's Deadeye, a local Minneapolis group, with "Silly Song,"...I'm not sure if they were riffing off the fact that "Sing a Simple Song" mostly seems to consist of people going "ya ya ya" though it's hard to read "Silly Song" as anything but a bit of a diss. Despite that, it's actually a pretty good cover, and a loyal one at that despite a new, jaunty intro and some interesting contrasts in vocal harmony. What's particularly notable about their version is that on the bridge, they replace the organ from the original with the vocalizing of the band instead - do do do do do. (Thanks to Young Einstein for introducing me to this LP).

That idea gets taken to the nth degree with one of my favorite versions of this song, by the Filipino band Please (recording for Germany's Telefunken label). At 2:18, various members of the band get to "sing" a melding of the bridge's drum break but with the chorus melody. Each of four singers gets two bars to sing (some better than others) and then the entire group comes back for another few turns but what's cool is that after they're done, the familiar bridge comes back, this time played by the horn section. Righteous! (Apparently, this version was comped for one of the UBB series though I first heard it at J-Rocc's crib when I did a story on him a few years back.)

SOLO SA-RA

2009-09-30T19:32:00.000-07:00

Shafiq Husayn: Podcast (Mixed by Garth Trinidad)
From Unreleased (Promotional mix/podcast for “En A-Free-Ka” - Plug Research, 2009)

Here's a promotional mix/podcast of Sa-Ra Creative Partners member Shafiq Husayn's upcoming project “En A-Free-Ka,” available starting October 6. It follows his career from his own work, including tracks from his upcoming album, to work he's done for others such as Jurassic 5, King Tee, and Ms. Badu. 60 minutes of goodness that is highly recommended!! (Click the link above to be taken to another page to listen to the podcast.)

Tracklist:

Sa-Ra - Fantastic Vampyre (OG version) - Non Album - prod by Sa-Ra
Sa-Ra exclusive - EXCLUSIVE - Non Album - prod by Sa-Ra
Shafiq Husayn w/ Fatima - Lil' Girl - Shafiq En' A-Free Kah - Plug Research - prod by Shafiq Husayn
Shafiq Husayn - Nirvana - Shafiq En' A-Free Kah - Plug Research - prod by Shafiq Husayn
Jill Scott - Breathe - The Real Thing: Words and Sounds Vol. 3 - Hidden Beach - prod by Sa-Ra
John Legend - Maxine - Once Again - Sony Music - prod by Sa-Ra
Sa-Ra exclusive - EXCLUSIVE - Non Album - prod by Sa-Ra
King Tee - Trifflin Nigga - The Triflin' Album - Capitol Records - prod by Shafiq Husayn
Jurassic 5 - Twelve - Quality Control - Interscope Records - prod by Sa-Ra
Sa-Ra - we are Ra - EXCLUSIVE - Non Album - prod by Sa-Ra
Shafiq Husayn w/ Bilal - Cheeba - Shafiq En' A-Free Kah - Plug Research - prod by Shafiq Husayn
Sa-Ra - Drug Traffika - Nuclear Evolution: The Age of Love - Ubiquity Records - prod by Sa-Ra
Sa-Ra exclusive - EXCLUSIVE - Non Album - prod by Sa-Ra
Erykah Badu - Me - New Amerykah Part One (4th World War) - Universal Motown/Control Freaq - prod by Shafiq Husayn
Erykah Badu - Master Teacher - New Amerykah Part One (4th World War) - Universal Motown/Control Freaq - co prod by Shafiq Husayn
Sa-Ra - Bitch Baby- Nuclear Evolution: The Age of Love - Ubiquity Records - prod by Sa-Ra
Sa-Ra w/ Pharoahe Monch - Glorious - Non Album - prod by Sa-Ra
Sa-Ra - Master Teazer (Ken's revenge edit) - Non Album - prod by Sa-Ra

NEW DAPTONE 7”S

2009-09-30T19:01:00.000-07:00

Binky Griptite: The Stroll Pt 2 (Snippet)
From The Stroll 7” (Daptone, 2009)

Dap King member/leader Binky Griptite has come to the forefront with his Stroll. Where I'm typically drawn to horn stabs and vocals over instrumental affairs, the flip-side “The Stroll Part 2” reworked instrumental peaked my interest more. The “dirty ho” lyrics just didn't quite sit right with me over the funky stylings presented. As mentioned above, the instrumental version is an altered version of the backing track. The horns are gone and the bongos are buried a little more in the mix. The lead vocals are replaced with a nice guitar lead, almost in a lite Freddie King styling which complements the thick bass riff quite well.

Darrell Banks: Don't Know What To Do (Snippet)
From Don't Know What To Do 7” (Daptone, 2009)

Just released last week on Daptone's Ever-Soul imprint, Darrell Banks' 1969 cuts (which were both lifted from his “Here To Stay” LP) are some pleading soulfulness, one in which he's pondering how to go on after being left and the other in which he learned his lesson and reserved a spot for his lovely lady. On “Don't Know What To Do” Darrell goes from gruff David Ruffin vocal stylings in the opening moments to smoother sounding Marvin Gaye when he eases up on the gas pedal. The Detroit influence was there because, well, he was from the Motor City. However, instead of a Motown/Tamla release, Darrell released these pieces on Stax/Volt, although it is believed that both Memphis and Detroit players laid down the music. The background woo-woos really add flair to an already nice accompaniment. Meanwhile the chunky bass keeps things afloat in his plea to win back his lost love. Hey, for whatever it's worth Darrell, I was won over with this 45.

BASSLINES AND BREAKBEATS

2009-09-29T11:07:00.000-07:00

As I've gotten older, I've appreciated the complex brilliance of complicated arrangements and layers of melodies and rhythms. But hey, sometimes you just like getting back to the basics: a good bassline and a breakbeat. It's certainly one of the solid foundations of hip-hop beats in the vaunted Golden Era and I still can't help but gravitate towards them.

Think of Clyde Stubblefield and Bootsy Collins double-teaming the breakdown on James Brown's "Give It Up or Turn It Loose" or Afro-Latin groove on Dennis Coffey's "Scorpio." And let's not even talk about the redonkulous combo of George Porter Jr. and Zigaboo Modeliste. (I should also specify; the main criteria is not just the presence of a good bassline with a serviceable drum track behind. Ideally, you want a break that can do both well).

The following is an informal, slapping together of a few of my favorite bassline n' break moments from a number of songs, some of which you'll probably recognize, some you may not (and yeah, there's no tracklisting because I'm on that tip today, ha!)

V/A: Basslines + Breakbeats (Soul-Sides.com, 2009)

Feel free to take stabs at the tracklist PLUS add your own favorites in the comments.

VIVA AVERNE

2009-09-25T00:11:00.000-07:00

NPR.org just ran my Music List based around the tunes of Latin soul great Harvey Averne:

Harvey Averne: Viva Latin Soul : NPR

Read and enjoy!

I SEE YOUR TRU COVERS, SHINING THRU...

2009-09-25T00:07:00.000-07:00

Nostalgia 77 feat. Alice Russell: 7 Nation Army
The Hot 8 Brass Band: Sexual Healing (Re-Edit)
Both from Tru Thoughts Covers (Tru Thoughts, 2009)

My first encounter with Tru Thoughts probably came via the Nostalgia 77, back in 2004 when I first wrote about their amazing cover of The White Stripes' 7 Nation Army. What I marveled about 5 years back was how it, "switches out the cold, cold vocals of Jack White and replaces it with Alice Russell's searing soulistics. I'm not saying this is get a bunch of emo kids into the mosh pit but I'm feeling how this just rips things up a bit but keep the mood very tense and controlled." I still think this kicks major ass (even though I'm less likely to use such purple prose as "searing soulistics") - especially how it takes the main bassline from the original and then juices it up bigger than a BALCO ball player (I'm still not above hyperbole though, obviously). It's a monster.

I resurrect this song because Tru Thoughts just put it as the lead track off their new Tru Thoughts Covers compilation which seems overdue given the label's impressive track record for striking reconstructions of many kinds of songs, old and new. For example, you have the Quantic Soul Orchestra covering both 4Hero, Kylie Auldist covering Jeff Buckley, and in an example of pop eating itself, Bonobo covering Quantic.

However, besides the Nostalgia 77 song, the single best thing on here is really one of the single best things ever: the Hot 8 Brass Band remaking Marvin Gaye's "Sexual Healing." If you haven't heard this before...well, I'd be a bit astounded because it's gotten a lot of play over the years...but if you haven't, then at least you get your mind blown now. Heck, I've heard it dozens of times and this still blows me away. Brass bands + Marvin Gaye classics = a good combination.

LATIN FUNK GIVEAWAY WINNERS

2009-09-24T19:28:00.000-07:00

The winners of the Brownout album are Harry from blustery Minnesota, Bao from Washington, and Mark from Maryland.

You can still download this FREE mixtape of Brownout mixed by DJ Chicken George. And don't forget to check them out on tour. If you like what you hear, give 'em your hard-earned dollars and buy the new album.

THE ¡BOOGALOO! FB PAGE

2009-09-22T14:50:00.000-07:00

My weekly party in Los Angeles, ¡Boogaloo! now has its own Facebook and Twitter pages. Join us at both and keep up to our going-ons.

R.O.C. R.I.P.

2009-09-22T14:19:00.000-07:00

I had been meaning to write something about the death of DJ Roc Raida but my man Hua pretty much said everything I would have and more.

The only thing I would add is that Raida's passing was different for me from MJ and John Hughes, though those latter two men certainly played a role in defining my childhood. Raida was, for all intents and purposes, a peer, part of my "cohort." My transition into adulthood came concurrently with me becoming a DJ and being witness and participant in the larger world that DJs like Roc Raida were kings of. I mourn his death but celebrate his legacy.

THE IMPOSSIBLES: HOTTER THAN ROOSTER SAUCE

2009-09-22T10:19:00.000-07:00

The Impossibles: Easy to Be Hard b/w
California
From Hot Pepper (Phillips, 1975)

The Impossibles: Satin Soul
From Stage Show (SSP, 197?)

It's been over two years since I last posted about the Impossibles but that's partially because it's taken over two years for me to finally add another album of theirs to the collection. The Impossibles are pretty much the only Thai funk band that anyone outside of Thailand is familiar with and that's in large part due to the fact that they toured Europe and the U.S. and released an album on Phillips, recorded in Sweden.

However, more than just being a curiosity of 1970s cross-cultural/musical fusion, the Impossibles also cut some damn good sides. The Hot Pepper album can regularly fetch in the ballpark of $200 and up and I have to say, I think it's totally worth it in terms of the overall caliber of the album and its inclusions.

The standout is their cover of Kool and the Gang's "Give It Up"; it'd be the obvious one to post...which is precisely why I'm not posting it (you can find it on Chairman Mao and DJ Muro's excellent Run For Cover II mix-CD). I'd rather put up two other songs that I find even more intriguing. The first really blew my mind when I started listening; a cover of "Easy to Be Hard," a song from the Hair but one I associate more with Three Dog Night's version. It's clear The Impossibles do too; their cover is riffing off TDN's but they really funk it up in ways the rock band didn't - check the reverb on the guitar and the way the horns creep in. When the vocals come in, it just takes you there - so soulful, so melancholy. The ramp up to Tony Bennett-land halfway through is a bit jarring but overall, I find the song exceptionally well-executed in terms of how it builds tension and release and the interplay between the dreaminess of the vocals and the music.

As for "California" it's a more conventional funk song, opening with a basic breakbeat stomp and then sliding into a groove that wouldn't be out of place from an Average White Band album. Personally, I'm feeling how this is an ode to California and San Diego, in particular. I can't figure out if this is a cover or not - it's not exactly easy to google "California". My guess is that this is one of the few original songs on the album and based off the group's experience touring the U.S. California, represent...'sent.

I also pulled another song off the group's recorded-in-Thailand Stage Show LP. This is a cover of the Barry White production, "Satin Soul" (originally a Love Unlimited Orchestra tune). Once again, a strong breakbeat opener that then slides into some screechy guitar and a heavily vamped up organ that deliver the song's signature riff. Because this was apparently recorded live, the audio quality could stand to be better but overall, I think this bumps quite nicely.

GLORIA TAYLOR: MUCH LIKE FALLING DOWN

2009-09-21T08:33:00.000-07:00

Gloria Ann Taylor: World That's Not Real
From 7" single (Selector Sound, 197?)

Gloria Taylor: Deep Inside You
From 7" single (Columbia, 1973)

Speaking of songs that totally throw me, "World That's Not Real" is one of the more unsettling songs I've ever sat with, ever since I heard it off Matthew Africa's blog. I don't even mean lyrically, though, as you can probably guess, it's not a happy tune. Just listen to how this song unfolds - it's creepy and ominous from jump and only goes further into darker places when Taylor's piercing vocals coming in. But just wait until the song reaches :53 or so - there's that crazy chord that sounds like Death's ringtone that comes in out of nowhere and the composition shifts, inexplicably, into a slightly happier feel which is then abetted by the reverbed, over-dubbed vocals around 1:30 but then Taylor goes back into the "world that's not real" chorus and for the remainder of the song, it just teeters in this uncomfortable space, balanced above the abyss. At no point does the song ever give over to anything resembling "comfort" and as it fades, it just leaves you out there, in the twilight.

The same ambiguity also surrounds "Deep Inside You," which bears more than a loose resemblance. There's a Selector Sound 7" that has both songs on the same disc (mine has "Music") though "Deep Inside You" also appeared on a Columbia promo 7" and this holy grail private press disco EP. It's a more driving song - with a more aggressive rhythm section and Taylor's vocals are more forceful. But that distinctive reverb is still slathered everywhere here and overall, Taylor's plaintive vocals are a close cousin to what she does on "World That's Not Real."