Al Green - Beware (extended mix)
Warning - large file! (17 MB)
I had mentioned yesterday that I hoped to have the show online today, but that didn't come to pass due to some other events happening last night. Bear with me; I hope to have it up tonight or tomorrow.
"Beware" was an album track on from Living For You, and is pretty long there (8 minutes or so). Basically, it's a jam session between Al and the Hi Rhythm Section, who as usual provide a churchy yet driving backdrop framed by a cautionary tale in the lyrics. I think it's a great jam and is good to see just how hot the Hi band was at the time. When I listen to it I allow myself to be enveloped by the velvet soul they lay down. This further-extended mix (15 minutes!) of the tune appeared on the 1988 rarities CD Love Ritual. Just put it on and get on down with Al Green. The Stepfather of Soul just isn't ready yet!
Wednesday, November 30, 2005
Tuesday, November 29, 2005
Professor, What's Another Word For "Pirate Treasure"?
Willie Henderson - Loose Booty
Willie Henderson was a producer/arranger/conductor for the Chicago soul powerhouse Brunswick/Dakar in the late '60s and early '70s, producing Tyrone Davis' first hits and working on many other songs for other artists. On a few occasions, Henderson and the Brunswick house band recorded funky instrumentals and novelties, hitting the R&B charts initially with 1970's "Funky Chicken." He recorded two albums for Brunswick, "Funky Chicken" (under the name "Willie Henderson and The Soul Explosions") and 1974's "The Dance Master." The latter album had several tasty tracks, including the title track (of which I am not sure if it is the same tune that would be a hit for Henderson on the Playboy label) and today's selection.
Henderson was no great singer, to be sure, but on "Loose Booty" the good-time dance lyrics are met with his enthusiastic singing and some very good chick chorus work. Any deficiencies in the vocals are overcome by the song's great chugging groove. The Beastie Boys made use of the humorous intro, the beginning of which is the subject line of this post.
Willie Henderson was a producer/arranger/conductor for the Chicago soul powerhouse Brunswick/Dakar in the late '60s and early '70s, producing Tyrone Davis' first hits and working on many other songs for other artists. On a few occasions, Henderson and the Brunswick house band recorded funky instrumentals and novelties, hitting the R&B charts initially with 1970's "Funky Chicken." He recorded two albums for Brunswick, "Funky Chicken" (under the name "Willie Henderson and The Soul Explosions") and 1974's "The Dance Master." The latter album had several tasty tracks, including the title track (of which I am not sure if it is the same tune that would be a hit for Henderson on the Playboy label) and today's selection.
Henderson was no great singer, to be sure, but on "Loose Booty" the good-time dance lyrics are met with his enthusiastic singing and some very good chick chorus work. Any deficiencies in the vocals are overcome by the song's great chugging groove. The Beastie Boys made use of the humorous intro, the beginning of which is the subject line of this post.
Monday, November 28, 2005
Chicago Soul Fill-In
I had hoped to get the show up today but didn't get around to it ... so as a late submission here's the great Chicago soul classic "I Can't Please You" by Jimmy Robins. I'll forego my usual write-ups for this, save to say this song is my theme song, especially when me and the Missus have had a quarrel!
Jimmy Robins - I Can't Please You
Jimmy Robins - I Can't Please You
Sunday, November 27, 2005
Sweet Gospel Sunday
Spirit of Memphis Quartet - Lost in Sin
The influence of gospel on soul music is well-documented, but it is always a treasure to me to find songs that so strongly demonstrate the connections between the two. Today's selection features the Spirit of Memphis, whose most famous lead was Wilmer "Little Axe" Broadnax, who in death revealed a dramatic secret: the sweetest-singing gospel male lead was actually a cross-dressing woman! The lead on this recording, however, belongs to Joe Hinton, who later had a major R&B hit with "Funny." "Lost in Sin" features a strong doo-wop sound and some tasty guitar work.
The influence of gospel on soul music is well-documented, but it is always a treasure to me to find songs that so strongly demonstrate the connections between the two. Today's selection features the Spirit of Memphis, whose most famous lead was Wilmer "Little Axe" Broadnax, who in death revealed a dramatic secret: the sweetest-singing gospel male lead was actually a cross-dressing woman! The lead on this recording, however, belongs to Joe Hinton, who later had a major R&B hit with "Funny." "Lost in Sin" features a strong doo-wop sound and some tasty guitar work.
Saturday, November 26, 2005
Jimmy Reed's Gone Funky
Jimmy Reed - Over The Hump
Blues legend Jimmy Reed's simple yet infectious boogie rhythm, tooting harmonica and lazy drawl propelled him into immense crossover success with his Vee Jay recordings (1953-1965). After Vee Jay folded, Reed recorded for other labels, including ABC's BluesWay imprint, with significantly diminished success. One reason for Reed's decline was his own alcoholism - even on Reed's hits he sounded pretty drunk - and the other was a pretty poor choice of material, as the latter recordings found the labels experimenting with different styles or production styles (some producers would stack as many as six guitars in the mix).
From all of the post-1965 mess, however, Reed cut several funky blues under the direction of Al Smith. Although Reed's delivery was often sloppy and his harmonica playing somewhat slobbery, the tunes are, at the least, interesting. "Over the Hump" features a groove derived from Sly & The Family Stone's "Thank You (Falettinme Be Mice Elf Agin)" and pretty sharp lyrics.
Blues legend Jimmy Reed's simple yet infectious boogie rhythm, tooting harmonica and lazy drawl propelled him into immense crossover success with his Vee Jay recordings (1953-1965). After Vee Jay folded, Reed recorded for other labels, including ABC's BluesWay imprint, with significantly diminished success. One reason for Reed's decline was his own alcoholism - even on Reed's hits he sounded pretty drunk - and the other was a pretty poor choice of material, as the latter recordings found the labels experimenting with different styles or production styles (some producers would stack as many as six guitars in the mix).
From all of the post-1965 mess, however, Reed cut several funky blues under the direction of Al Smith. Although Reed's delivery was often sloppy and his harmonica playing somewhat slobbery, the tunes are, at the least, interesting. "Over the Hump" features a groove derived from Sly & The Family Stone's "Thank You (Falettinme Be Mice Elf Agin)" and pretty sharp lyrics.
Friday, November 25, 2005
So Sexy 70s
Sylvia - Pillow Talk
Of all the great sexy hit soul records of the 1970s, probably today's selection and Donna Summers' disco debut "Love to Love You Baby" were the two most orgiastic. Sylvia Robinson (nee Vanderpool) was half of the R&B duet Mickey & Sylvia in the '50s ("Love Is Strange") and by 1973 had spent five years at the helm of All Platinum records, which she owned with her husband Joe. All Plantinum's low-fi East Coast sound brought them hits by the Moments and Linda Jones, and Sylvia herself scored a #1 R&B hit with "Pillow Talk." The song has a nice galloping groove, but the bedroom strings and Sylvia's come-ons and cooing were pretty heavy stuff for 1973!
Sylvia would continue to have hits on All Platinum for herself and others, and would start the '80s as one of the first rap label owners with Sugar Hill Records. A recent Vanity Fair article covered that part of her story and is worth seeking out.
Of all the great sexy hit soul records of the 1970s, probably today's selection and Donna Summers' disco debut "Love to Love You Baby" were the two most orgiastic. Sylvia Robinson (nee Vanderpool) was half of the R&B duet Mickey & Sylvia in the '50s ("Love Is Strange") and by 1973 had spent five years at the helm of All Platinum records, which she owned with her husband Joe. All Plantinum's low-fi East Coast sound brought them hits by the Moments and Linda Jones, and Sylvia herself scored a #1 R&B hit with "Pillow Talk." The song has a nice galloping groove, but the bedroom strings and Sylvia's come-ons and cooing were pretty heavy stuff for 1973!
Sylvia would continue to have hits on All Platinum for herself and others, and would start the '80s as one of the first rap label owners with Sugar Hill Records. A recent Vanity Fair article covered that part of her story and is worth seeking out.
Thursday, November 24, 2005
Happy Thanksgiving!
Mary Lou Williams - Praise the Lord
I wish all of you a Happy Thanksgiving! Today's post is from Mary Lou Williams, one of the greatest women in jazz history. From her days as the pianist in Andy Kirk's Twelve Clouds of Joy to her later career as a lecturer on jazz, Williams was a groundbreaker and innovator. This stomping piece features a great use of the "Killer Joe"-type groove. Enjoy!
By the way - the playlist for the second show is now complete. In a few days look out for it here!
I wish all of you a Happy Thanksgiving! Today's post is from Mary Lou Williams, one of the greatest women in jazz history. From her days as the pianist in Andy Kirk's Twelve Clouds of Joy to her later career as a lecturer on jazz, Williams was a groundbreaker and innovator. This stomping piece features a great use of the "Killer Joe"-type groove. Enjoy!
By the way - the playlist for the second show is now complete. In a few days look out for it here!
Wednesday, November 23, 2005
Funky Funky Pigmeat
Pigmeat Markham & The B.Y. - Who Got The Number
African-American comedian Dewey "Pigmeat" Markham's vaudeville sketches in "chitlin' circuit" venues were legendary among black people by the time Markham shot into the mainstream on "Rowan and Martin's Laugh-In" with his "Here Come The Judge" routine. Chess Records had been putting out albums of his material since the early '60s, but the sudden surge in Markham's popularity pushed the label to take a new approach with him.
A cottage industry of "Judge"-themed soul 45s popped up after the routine became popular. Motown's Shorty Long was first out of the gate with "Here Comes The Judge" in 1968. Chess Records, not one to miss out on a chance for a hit, recorded Pigmeat on a funky 45 of the same name, scoring a hit in the process. Although Larry Grogan's article on the "Judge" 45s rightly describes Markham's delivery as sounding "like a dumptruck rolling down the side of a rock quarry," it worked, and Chess released several 45s featuring Pigmeat delivering lines in a proto-rap style over hot grooves from the Chess house band. All of them are worth hearing, and today's selection, a sketch about a numbers game, is my favorite of them all.
African-American comedian Dewey "Pigmeat" Markham's vaudeville sketches in "chitlin' circuit" venues were legendary among black people by the time Markham shot into the mainstream on "Rowan and Martin's Laugh-In" with his "Here Come The Judge" routine. Chess Records had been putting out albums of his material since the early '60s, but the sudden surge in Markham's popularity pushed the label to take a new approach with him.
A cottage industry of "Judge"-themed soul 45s popped up after the routine became popular. Motown's Shorty Long was first out of the gate with "Here Comes The Judge" in 1968. Chess Records, not one to miss out on a chance for a hit, recorded Pigmeat on a funky 45 of the same name, scoring a hit in the process. Although Larry Grogan's article on the "Judge" 45s rightly describes Markham's delivery as sounding "like a dumptruck rolling down the side of a rock quarry," it worked, and Chess released several 45s featuring Pigmeat delivering lines in a proto-rap style over hot grooves from the Chess house band. All of them are worth hearing, and today's selection, a sketch about a numbers game, is my favorite of them all.
Tuesday, November 22, 2005
TCB, Dave Hamilton Style
Dave Hamilton - The Deacons
In the immense shadow of Motown Records and its large talent pool labored smaller-scale record companies and other artists. As noted at Soulful Detroit.com, at one point there were as many as 400 labels operating in Detroit.
Dave Hamilton, like quite a few other figures in the Detroit soul story, had a connection to the Motown behemoth. Hamilton, a multi-instrumentalist, had been a session guitarist at Motown in its early days, where he also recorded a highly-prized LP for the label's short-lived Workshop Jazz subsidiary. In the mid-to-late '60s and into the '70s Hamilton ran several small labels (Topper, Temple, TCB, Demoristic), writing and producing for O.C. Tolbert, Northern Soul legends Tobi Lark and Little Ann, and others. He also recorded several instrumentals, including the unreleased "Soul Suite" album, which has just been released on the Kent CD "Detroit City Grooves." Today's selection was released as a TCB single in 1970. It's one of my favorite soul instrumentals. Enjoy!
In the immense shadow of Motown Records and its large talent pool labored smaller-scale record companies and other artists. As noted at Soulful Detroit.com, at one point there were as many as 400 labels operating in Detroit.
Dave Hamilton, like quite a few other figures in the Detroit soul story, had a connection to the Motown behemoth. Hamilton, a multi-instrumentalist, had been a session guitarist at Motown in its early days, where he also recorded a highly-prized LP for the label's short-lived Workshop Jazz subsidiary. In the mid-to-late '60s and into the '70s Hamilton ran several small labels (Topper, Temple, TCB, Demoristic), writing and producing for O.C. Tolbert, Northern Soul legends Tobi Lark and Little Ann, and others. He also recorded several instrumentals, including the unreleased "Soul Suite" album, which has just been released on the Kent CD "Detroit City Grooves." Today's selection was released as a TCB single in 1970. It's one of my favorite soul instrumentals. Enjoy!
Monday, November 21, 2005
The Challenge Still Exists!
The Staple Singers - The Challenge
The Staple Singers' hit period at Stax began, according to label honcho Al Bell, with Bell's visit to a hospitalized Jesse Jackson. Jackson and Bell had known the Staples family from their gospel days and Bell had signed them to the label in 1968 with little commercial success. Jackson admonished Bell to stop focusing so much on "that bald-headed rascal" (Isaac Hayes, whose mega-hit albums were pouring lots of money into Stax's coffers) and to pay more attention to "Mavis 'n 'em." Bell began producing the Staple Singers himself, started recording them in Muscle Shoals and, from 1970 to 1974 the Staple Singers and their "message music" racked up an impressive string of pop and R&B hits, including two #1 R&B hits, "I'll Take You There" and "If You're Ready (Come Go With Me)," the former hitting #1 on the pop charts as well.
The Staples' success during that period unfairly overshadows their 1968 to 1970 Stax recordings. Steve Cropper produced them at the time, and the selection of songs they recorded maintained the "protest song" vein the group had been in since their mid-'60s recordings. The Randy Stewart-composed "The Challenge" finds the group throwing down the gauntlet to a technology-obsessed world: if you are so good at fixing things and healing people, why not heal the hatred? The message still rings true today.
The Staple Singers' hit period at Stax began, according to label honcho Al Bell, with Bell's visit to a hospitalized Jesse Jackson. Jackson and Bell had known the Staples family from their gospel days and Bell had signed them to the label in 1968 with little commercial success. Jackson admonished Bell to stop focusing so much on "that bald-headed rascal" (Isaac Hayes, whose mega-hit albums were pouring lots of money into Stax's coffers) and to pay more attention to "Mavis 'n 'em." Bell began producing the Staple Singers himself, started recording them in Muscle Shoals and, from 1970 to 1974 the Staple Singers and their "message music" racked up an impressive string of pop and R&B hits, including two #1 R&B hits, "I'll Take You There" and "If You're Ready (Come Go With Me)," the former hitting #1 on the pop charts as well.
The Staples' success during that period unfairly overshadows their 1968 to 1970 Stax recordings. Steve Cropper produced them at the time, and the selection of songs they recorded maintained the "protest song" vein the group had been in since their mid-'60s recordings. The Randy Stewart-composed "The Challenge" finds the group throwing down the gauntlet to a technology-obsessed world: if you are so good at fixing things and healing people, why not heal the hatred? The message still rings true today.
Sunday, November 20, 2005
The Gospel According to James Carr
James Carr & The Jubilee Hummingbirds - My Soul Is Satisfied
I don't think the name James Carr is unknown to readers of this blog so I won't go into much detail about him. The latest Ace/Kent CD "My Soul Is Satisfied: The Rest of James Carr" features just about everything in their holdings for the legendary deep soul singer, including some gospel recordings he made in the '80s, of which today's selection is one. Carr's wonderful baritone caresses the pretty-standard gospel lyrics on this uptempo number.
I don't think the name James Carr is unknown to readers of this blog so I won't go into much detail about him. The latest Ace/Kent CD "My Soul Is Satisfied: The Rest of James Carr" features just about everything in their holdings for the legendary deep soul singer, including some gospel recordings he made in the '80s, of which today's selection is one. Carr's wonderful baritone caresses the pretty-standard gospel lyrics on this uptempo number.
Saturday, November 19, 2005
The Whispers In Philadelphia
The Whispers - A Mother For My Children
The Whispers are probably best known nowadays for their early '80s hits, such as "And The Beat Goes On"; the group, however, started out in 1964 and started their commercial ascent in the mid-1970s, when they plugged into with the burgeoning '70s Philly soul scene on the Janus LP "Bingo" (1974), from which today's selection comes. The Bunny Sigler/Norman Harris/Allen Felder tune kicks off with a great groove not dissimilar to the ones coming out of the Philadelphia International stable at the time (I have learned that Gamble and Huff were involved with the album, so no wonder!), and the lyrics put a twist on the broken home story often told in soul songs: here the male protagonist is stuck with the children when his woman leaves. All in all, though, the sadness of the lyrics are overcome by the chugging groove and the great group singing.
(For more info about the Whispers' work in the early '70s check out the three great posts on Soul Shower.)
The Whispers are probably best known nowadays for their early '80s hits, such as "And The Beat Goes On"; the group, however, started out in 1964 and started their commercial ascent in the mid-1970s, when they plugged into with the burgeoning '70s Philly soul scene on the Janus LP "Bingo" (1974), from which today's selection comes. The Bunny Sigler/Norman Harris/Allen Felder tune kicks off with a great groove not dissimilar to the ones coming out of the Philadelphia International stable at the time (I have learned that Gamble and Huff were involved with the album, so no wonder!), and the lyrics put a twist on the broken home story often told in soul songs: here the male protagonist is stuck with the children when his woman leaves. All in all, though, the sadness of the lyrics are overcome by the chugging groove and the great group singing.
(For more info about the Whispers' work in the early '70s check out the three great posts on Soul Shower.)
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