Eddie Bo - Hook and Sling
I'm working on the new episode of the "Get on Down With the Stepfather of Soul!" podcast, so I'm late posting this. Eddie Bo's funk masterpieces are a perfect fit for today's Mardi Gras celebrations, and here is his biggest hit, from 1969. Get on down!
Watch for the new podcast tonight!
Tuesday, February 28, 2006
Monday, February 27, 2006
Get On Down With The Cos!
Bill Cosby - Hooray For The Salvation Army Band
Most people do not know about Bill Cosby's various forays into music. Larry Grogan's "Funky Funky Bill Cosby" article tells the story best, and I'll defer to that article. I agree with all who write about Cos' singing in saying that it's good that he kept his day job and that his music, generally, should be taken in smaller doses. Despite his vocal limitations, however, his funk and soul recordings of the '60s and '70s feature high-caliber musicians and some very engaging and interesting tunes.
Today's selection was the title track of his second musical album for Warner Brothers. "Hooray" is basically a rip-off of Jimi Hendrix's "Purple Haze," but it features solid accompaniment by the Watts 103rd Street Rhythm Band (whose career Cosby helped get off the ground) - note the sassy reading of "Bringing In The Sheaves" the band lays down in the midst of the song - and Cos attempting to give the humorous lyrics a psyched-out treatment. The Hooray For The Salvation Army Band LP is worth hearing in its entirety, as it does features some funky, funny stuff and the rare groove lovers' favorite, "Ursalena." It is my understanding that this album is about to be reissued on CD. It'll be a worthwhile purchase!
Most people do not know about Bill Cosby's various forays into music. Larry Grogan's "Funky Funky Bill Cosby" article tells the story best, and I'll defer to that article. I agree with all who write about Cos' singing in saying that it's good that he kept his day job and that his music, generally, should be taken in smaller doses. Despite his vocal limitations, however, his funk and soul recordings of the '60s and '70s feature high-caliber musicians and some very engaging and interesting tunes.
Today's selection was the title track of his second musical album for Warner Brothers. "Hooray" is basically a rip-off of Jimi Hendrix's "Purple Haze," but it features solid accompaniment by the Watts 103rd Street Rhythm Band (whose career Cosby helped get off the ground) - note the sassy reading of "Bringing In The Sheaves" the band lays down in the midst of the song - and Cos attempting to give the humorous lyrics a psyched-out treatment. The Hooray For The Salvation Army Band LP is worth hearing in its entirety, as it does features some funky, funny stuff and the rare groove lovers' favorite, "Ursalena." It is my understanding that this album is about to be reissued on CD. It'll be a worthwhile purchase!
Sunday, February 26, 2006
The Gospel Soul of Motown
The Golden Harmoneers - I Am Bound
Most R&B independent labels had some sort of gospel catalogue. Although labels such as Atlantic and King did not delve into gospel music as much as others, labels such as Chess and Specialty had very strong catalogues and labels such as Peacock and Nashboro made gospel the specialty of their main labels and relegated R&B to subsidiary labels: by the end of the '50s, Peacock put out most of its R&B on Duke; Nashboro, which was founded in 1950, spun off the blues and R&B label Excello in 1951.
Like most other R&B independents, Motown released some gospel records, but Berry Gordy got out of the gospel business fairly early, as his empire became known for "The Sound of Young America." Today's selection is one of the smattering of great Motown gospel recordings that appears on the massive Hip-O Select reissue series The Complete Motown Singles, and it features a great driving rhythm and the rare bass lead vocal.
Most R&B independent labels had some sort of gospel catalogue. Although labels such as Atlantic and King did not delve into gospel music as much as others, labels such as Chess and Specialty had very strong catalogues and labels such as Peacock and Nashboro made gospel the specialty of their main labels and relegated R&B to subsidiary labels: by the end of the '50s, Peacock put out most of its R&B on Duke; Nashboro, which was founded in 1950, spun off the blues and R&B label Excello in 1951.
Like most other R&B independents, Motown released some gospel records, but Berry Gordy got out of the gospel business fairly early, as his empire became known for "The Sound of Young America." Today's selection is one of the smattering of great Motown gospel recordings that appears on the massive Hip-O Select reissue series The Complete Motown Singles, and it features a great driving rhythm and the rare bass lead vocal.
Saturday, February 25, 2006
Sweet Treats
The Sweet Inspirations - (Gotta Find) A Brand New Lover
The Sweet Inspirations, Cissy (mother of Whitney) Houston, Estelle Brown, Sylvia Shemwell and Myrna Smith, were equally as (if not more) well-known for singing backup on hits such as Elvis Presley's "Suspicious Minds" than for their solo recordings. "Sweet Inspiration" would end up being their biggest hit, but my favorite of theirs is today's selection, which was released as a two-part Atlantic single in 1969. This Gamble-Huff composition starts very similarly to many of their other Philly productions, but then settles into a very Southern-styled groove as the group "takes it to church" with the refrain "somebody who's gonna care about me" ... it's good soulful stuff. Although Cissy Houston left the group in 1970, they would go on to record more good music into the '70s, most notably with several recordings for Stax. Their recordings are surely worth checking out.
The Sweet Inspirations, Cissy (mother of Whitney) Houston, Estelle Brown, Sylvia Shemwell and Myrna Smith, were equally as (if not more) well-known for singing backup on hits such as Elvis Presley's "Suspicious Minds" than for their solo recordings. "Sweet Inspiration" would end up being their biggest hit, but my favorite of theirs is today's selection, which was released as a two-part Atlantic single in 1969. This Gamble-Huff composition starts very similarly to many of their other Philly productions, but then settles into a very Southern-styled groove as the group "takes it to church" with the refrain "somebody who's gonna care about me" ... it's good soulful stuff. Although Cissy Houston left the group in 1970, they would go on to record more good music into the '70s, most notably with several recordings for Stax. Their recordings are surely worth checking out.
Friday, February 24, 2006
The Soul of the Movement: The Time Is Now!
Bobby Womack - Love, The Time Is Now
Bobby Womack's late-'60s sides for Minit, although not as well-known as his blockbuster hits of the '70s for United Artists, are very good and show Womack's development as a writer and an artist. "Love, The Time Is Now" is a great ballad, with Womack pleading for the change of heart that is necessary for true social equality to occur. The lyrics show a strong belief that things are on the move but also an impatience: "hurry up change, if you're ever gonna come" takes the uplifting message of his mentor, Sam Cooke, and turned it into a demand. It's a powerful recording, and still very timely.
As I close this series of posts, let me say that indeed the time is NOW for this nation and the world to truly live up to its promise and for all people to be free. Our hearts must be in the right place for it to happen. Let's get our hearts right. The time is now.
Bobby Womack's late-'60s sides for Minit, although not as well-known as his blockbuster hits of the '70s for United Artists, are very good and show Womack's development as a writer and an artist. "Love, The Time Is Now" is a great ballad, with Womack pleading for the change of heart that is necessary for true social equality to occur. The lyrics show a strong belief that things are on the move but also an impatience: "hurry up change, if you're ever gonna come" takes the uplifting message of his mentor, Sam Cooke, and turned it into a demand. It's a powerful recording, and still very timely.
As I close this series of posts, let me say that indeed the time is NOW for this nation and the world to truly live up to its promise and for all people to be free. Our hearts must be in the right place for it to happen. Let's get our hearts right. The time is now.
Thursday, February 23, 2006
The Soul of the Movement: Pardon Me, Brother
Curtis Mayfield - We the People Who Are Darker Than Blue
Today and tomorrow will wrap up this series; it's been a lot of fun and I hope you've enjoyed the range of material presented. Today's selection was one of Mayfield's earlier solo recordings, and in it Mayfield challenges the early '70s black audience to keep on pushing: "We people who are darker than blue / will we hang around this town and let what others say come true?"
Today and tomorrow will wrap up this series; it's been a lot of fun and I hope you've enjoyed the range of material presented. Today's selection was one of Mayfield's earlier solo recordings, and in it Mayfield challenges the early '70s black audience to keep on pushing: "We people who are darker than blue / will we hang around this town and let what others say come true?"
Wednesday, February 22, 2006
The Soul of the Movement: Another Opposite View
Gil Scott-Heron - The Revolution Will Not Be Televised
"You will not be able to stay home, brothers.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and skip out for beer during commercials,
Because the revolution will not be televised."
With that call to arms, writer/singer Gil Scott-Heron's funky masterpiece "The Revolution Will Not Be Televised" leapt from the opposite direction of many soul and funk tunes of its era. Although the bass, drum and flute weave a funky web that leaves one's head nodding, the criticisms of race and pop culture cut sharply and by the time he says "women will not care if Dick finally got down with Jane on 'Search for Tomorrow' because black people will be in the streets looking for a brighter day" the militant message is clear. Along with the works by the Last Poets, Gil Scott-Heron's recordings of the early '70s provides strong glimpses of the darker themes that would eventually inform hip hop.
"You will not be able to stay home, brothers.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and skip out for beer during commercials,
Because the revolution will not be televised."
With that call to arms, writer/singer Gil Scott-Heron's funky masterpiece "The Revolution Will Not Be Televised" leapt from the opposite direction of many soul and funk tunes of its era. Although the bass, drum and flute weave a funky web that leaves one's head nodding, the criticisms of race and pop culture cut sharply and by the time he says "women will not care if Dick finally got down with Jane on 'Search for Tomorrow' because black people will be in the streets looking for a brighter day" the militant message is clear. Along with the works by the Last Poets, Gil Scott-Heron's recordings of the early '70s provides strong glimpses of the darker themes that would eventually inform hip hop.
Tuesday, February 21, 2006
The Soul of the Movement: We're Gonna Make It!
Little Milton - We're Gonna Make It
Today's selection inadvertently made its way into the soundtrack of the movement. "We're Gonna Make It" was intended to be a song about love and fidelity in a romantic sense ("I got your love and you know you've got mine"), but the song's message of optimism in the face of adversity struck a chord with the larger struggle that was going on. With a lyric like "togetherness brings peace of mind / we can't stay down all the time," how could it not reach out to the movement?
Today's selection inadvertently made its way into the soundtrack of the movement. "We're Gonna Make It" was intended to be a song about love and fidelity in a romantic sense ("I got your love and you know you've got mine"), but the song's message of optimism in the face of adversity struck a chord with the larger struggle that was going on. With a lyric like "togetherness brings peace of mind / we can't stay down all the time," how could it not reach out to the movement?
Monday, February 20, 2006
The Soul of the Movement: Everybody Over There - Get on Up!
James Brown - Get Up, Get Into It, Get Involved
Today's oh-so-funky selection was one of three message songs James Brown recorded during the "Afro" period. "Get Up, Get Into It, Get Involved" capitalized on the "get on up" call-and-response from "Sex Machine" (even Bobby Byrd is back to lend support) to challenge its listeners to be part of the solution rather than do nothing but still expect recognition. Lyrics aside, though, this tune storms along and the awesome breakdown mid-song is, in my opinion, the greatest JB breakbeat of all time. Fellas! I wan't y'all to hit me! Fellas! Don't miss me!
Today's oh-so-funky selection was one of three message songs James Brown recorded during the "Afro" period. "Get Up, Get Into It, Get Involved" capitalized on the "get on up" call-and-response from "Sex Machine" (even Bobby Byrd is back to lend support) to challenge its listeners to be part of the solution rather than do nothing but still expect recognition. Lyrics aside, though, this tune storms along and the awesome breakdown mid-song is, in my opinion, the greatest JB breakbeat of all time. Fellas! I wan't y'all to hit me! Fellas! Don't miss me!
Sunday, February 19, 2006
The Soul (Gospel) of the Movement: The Gospel According to Kay Robinson
Kay Robinson - This Old World
Gospel singer Kay Robinson hooked up with James Brown at the end of the '60s and the resulting album ("We Need Time") and 45s from that era, particularly her incendiary funk reading of "The Lord Will Make a Way Somehow," are highly prized among collectors. Today's selection was one of her Brown-produced recordings. This swinging tune features this thought-provoking lyric: "When He made us all in His own image, why should there be / Those who say they worship and adore Him - still they don't like me?"
Gospel singer Kay Robinson hooked up with James Brown at the end of the '60s and the resulting album ("We Need Time") and 45s from that era, particularly her incendiary funk reading of "The Lord Will Make a Way Somehow," are highly prized among collectors. Today's selection was one of her Brown-produced recordings. This swinging tune features this thought-provoking lyric: "When He made us all in His own image, why should there be / Those who say they worship and adore Him - still they don't like me?"
Saturday, February 18, 2006
The Soul of the Movement: Why?
The Staple Singers - Why (Am I Treated So Bad)
The Staple Singers are back on "Get on Down With the Stepfather of Soul" with today's selection. By the time the group recorded the Pops Staples-penned classic, the group had just signed to Epic and decided to expand beyond the gospel highway via "message songs," a move that would pay massive dividends in the early '70s with their recordings for Stax. "Why" features a very attractive groove, great lead vocals from Pops and strong group singing on the choruses. The chorus reflects both the sadness that segregation created but also the faith and optimism that change would come.
The Staple Singers are back on "Get on Down With the Stepfather of Soul" with today's selection. By the time the group recorded the Pops Staples-penned classic, the group had just signed to Epic and decided to expand beyond the gospel highway via "message songs," a move that would pay massive dividends in the early '70s with their recordings for Stax. "Why" features a very attractive groove, great lead vocals from Pops and strong group singing on the choruses. The chorus reflects both the sadness that segregation created but also the faith and optimism that change would come.
Friday, February 17, 2006
The Soul of the Movement: The Opposite Side
EDITOR'S NOTE - Today's selection includes adult language. Listener discretion is advised.
The Johnny Otis Show - It's Good to Be Free
An avenue that has so far gone unexplored in this month's series has been that of songs displaying criticism/cynicism/disappointment in the progress of the fight for change. By the end of 1968 the civil rights era was entering its final stages: Martin Luther King was killed in April; riots were erupting in urban America; the election of Richard Nixon (aided in part by the successful Southern campaign of George Wallace) established the political might of the "silent majority"; and the non-violence message in the struggle was being challenged by militants. Not surprisingly, the message of soul music began to change all the same.
Today's selection came from the multi-racial Johnny Otis Show, whose black-in-all-ways-but-skin-color leader had been involved in the R&B business since the 1940s. Otis and his group, featuring black vocalist Delmer Evans, jazz saxophonist Preston Love and Otis' guitar prodigy son, Shuggie, were by this time recording for the Kent label. Two colorful albums, "Cold Shot" and "Snatch and the Poontangs" were released on Kent and today's track, unissued at the time, appeared on the reissue of these two albums by Ace Records. In the blues-based "It's Good to Be Free," Delmer contemplates how despite all of the positive things that had happened for black people, there was still so much left to do.
The Johnny Otis Show - It's Good to Be Free
An avenue that has so far gone unexplored in this month's series has been that of songs displaying criticism/cynicism/disappointment in the progress of the fight for change. By the end of 1968 the civil rights era was entering its final stages: Martin Luther King was killed in April; riots were erupting in urban America; the election of Richard Nixon (aided in part by the successful Southern campaign of George Wallace) established the political might of the "silent majority"; and the non-violence message in the struggle was being challenged by militants. Not surprisingly, the message of soul music began to change all the same.
Today's selection came from the multi-racial Johnny Otis Show, whose black-in-all-ways-but-skin-color leader had been involved in the R&B business since the 1940s. Otis and his group, featuring black vocalist Delmer Evans, jazz saxophonist Preston Love and Otis' guitar prodigy son, Shuggie, were by this time recording for the Kent label. Two colorful albums, "Cold Shot" and "Snatch and the Poontangs" were released on Kent and today's track, unissued at the time, appeared on the reissue of these two albums by Ace Records. In the blues-based "It's Good to Be Free," Delmer contemplates how despite all of the positive things that had happened for black people, there was still so much left to do.
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