Syl and Jimmy Johnson - Oprah
Soul legend Syl Johnson's Chicago and Memphis recordings of the '60s and '70s for Twinight and Hi are well-known among soul fans. The soul and blues career of his brother Jimmy is not as well-known, but "The Bar Room Preacher," as he is known, rose from playing for The Deacons (who hit with an instrumental version of Syl's "Come On Sock It To Me") to recording strong if unheralded blues albums for Delmark and other labels. Whereas Jimmy has kept a steady presence in the music business, a somewhat-disgruntled Syl got out of the business in the early '80s to concentrate on running restaurants, choosing instead to make sporadic live appearances (I saw him in 1999 in Chicago, where he gave a great show) and occasional album releases. One such album was Two Johnsons Are Better Than One, a collaboration with Jimmy, which included today's featured selection.
"Oprah" is a fun tribute to the media phenom Oprah Winfrey. Syl handles the vocals and Jimmy provides instrumental support. The accompaniment is, to be honest, nothing special, but the background singing works with Syl's enthusiastic vocals to make a fitting tribute to Ms. Winfrey.
Saturday, September 30, 2006
Friday, September 29, 2006
Soulin' With Brother Ray
Ray Charles - Sweet Young Thing Like You
Although Ray Charles is often considered to be one of the architects of soul music, with his gospel-turned-R&B recordings of the '50s setting the template for the genre, his legacy rests very little on his actual '60s soul recordings. In all fairness, Ray didn't like to be stuck in any genre, as he was clearly enamored with interpreting interesting songs, be they country, pop, jazz, soul or otherwise, and it can be argued that every song Ray sang was filled with his soulfulness. Fortunately for us soul fans, though, Ray actually recorded great straight-up soul material, drawing from the songwriting pens of Jimmy Holiday, Jimmy Lewis, Nick Ashford and Valerie Simpson and others to provide some great 45s and, in the case of Jimmy Lewis, the great Doing His Thing LP, perhaps the only true '60s soul album in his immense discography.
Today's selection was a 1968 ABC/Tangerine single penned by "Big" Dee Irwin, who recorded some great soul stuff on his own throughout the '60s and '70s. (Ray also addressed Erwin's "Your Love Is So Doggone Good" on the flip of his hit "Feel So Bad".) "Sweet Young Thing Like You" is very stylish, featuring Ray's big band to full effect and an arrangement which makes good use of turnaround riffs. The groove is interesting, also, switching tempo and feel from a very light funk to up-tempo soul within the verses. Ray's vocals are alternately declamatory and sweet, and he effectively works the lyrics to their emotional conclusion. It's a nice groove to ride into the weekend with!
Although Ray Charles is often considered to be one of the architects of soul music, with his gospel-turned-R&B recordings of the '50s setting the template for the genre, his legacy rests very little on his actual '60s soul recordings. In all fairness, Ray didn't like to be stuck in any genre, as he was clearly enamored with interpreting interesting songs, be they country, pop, jazz, soul or otherwise, and it can be argued that every song Ray sang was filled with his soulfulness. Fortunately for us soul fans, though, Ray actually recorded great straight-up soul material, drawing from the songwriting pens of Jimmy Holiday, Jimmy Lewis, Nick Ashford and Valerie Simpson and others to provide some great 45s and, in the case of Jimmy Lewis, the great Doing His Thing LP, perhaps the only true '60s soul album in his immense discography.
Today's selection was a 1968 ABC/Tangerine single penned by "Big" Dee Irwin, who recorded some great soul stuff on his own throughout the '60s and '70s. (Ray also addressed Erwin's "Your Love Is So Doggone Good" on the flip of his hit "Feel So Bad".) "Sweet Young Thing Like You" is very stylish, featuring Ray's big band to full effect and an arrangement which makes good use of turnaround riffs. The groove is interesting, also, switching tempo and feel from a very light funk to up-tempo soul within the verses. Ray's vocals are alternately declamatory and sweet, and he effectively works the lyrics to their emotional conclusion. It's a nice groove to ride into the weekend with!
Thursday, September 28, 2006
More on FAME, or, Anyone Wanna Give The Stepfather $6,600?
Clarence Carter - Tell Daddy
This morning I was looking at my daily eBay search results and I found an interesting auction: someone in the UK is selling their collection of almost every (78 out of 80) FAME label 45. This is a pretty interesting collection, featuring everything from early soul classics like Jimmy Hughes' "Steal Away" through to Northern Soul records (most notably "Keep on Talking" by both James Barnett and Phillip Mitchell) through to Southern soul smashes and early '70s grooviness. The opening bid is around $6,600, which I'm sure somebody will make - unfortunately it won't be me! I guess I'll just have to settle for enjoying the FAME recordings I've heard and the handful of FAME 45s I own!
Clarence Carter has appeared in this blog and on the podcasts several times so I'll dispense with any storytelling. "Tell Daddy" was a pre-Atlantic FAME single, but is better known as "Tell Mama," as recorded by Etta James on Cadet during her sojourn to Muscle Shoals to work with Rick Hall, and the strength of Carter's recordings for FAME (then distributed by Atco) provided the stepping stone for Carter's records to appear on Atlantic, although Rick Hall and the FAME personnel still ran things. At the end of the record Carter entreats his subject to "tell me ... what you gotta have." Well, Daddy - I mean, Clarence - how about $6,600 to bid on records with?
This morning I was looking at my daily eBay search results and I found an interesting auction: someone in the UK is selling their collection of almost every (78 out of 80) FAME label 45. This is a pretty interesting collection, featuring everything from early soul classics like Jimmy Hughes' "Steal Away" through to Northern Soul records (most notably "Keep on Talking" by both James Barnett and Phillip Mitchell) through to Southern soul smashes and early '70s grooviness. The opening bid is around $6,600, which I'm sure somebody will make - unfortunately it won't be me! I guess I'll just have to settle for enjoying the FAME recordings I've heard and the handful of FAME 45s I own!
Clarence Carter has appeared in this blog and on the podcasts several times so I'll dispense with any storytelling. "Tell Daddy" was a pre-Atlantic FAME single, but is better known as "Tell Mama," as recorded by Etta James on Cadet during her sojourn to Muscle Shoals to work with Rick Hall, and the strength of Carter's recordings for FAME (then distributed by Atco) provided the stepping stone for Carter's records to appear on Atlantic, although Rick Hall and the FAME personnel still ran things. At the end of the record Carter entreats his subject to "tell me ... what you gotta have." Well, Daddy - I mean, Clarence - how about $6,600 to bid on records with?
Wednesday, September 27, 2006
Get on Down With The Bar-Kays!
The Bar-Kays - Don't Do That
Today I'm in one of those moods where something with a bit of a stomp to it seems appropriate. Today's selection is the flip to the Bar-Kays' single "Give Everybody Some," and it fits the bill just fine. Dig the nice bass and drum breakdown toward the end. Back to more appropriate posting tomorrow.
Today I'm in one of those moods where something with a bit of a stomp to it seems appropriate. Today's selection is the flip to the Bar-Kays' single "Give Everybody Some," and it fits the bill just fine. Dig the nice bass and drum breakdown toward the end. Back to more appropriate posting tomorrow.
Tuesday, September 26, 2006
Candi Does Mavis
Candi Staton - Do It In The Name Of Love
Southern soul and gospel legend Candi Staton recently recorded the excellent album His Hands, her first secular album in over a decade. Prompting the release of this welcomed album was the success of the Honest Jon's compilation of her best FAME sides, which is a must for any soul fan who doesn't have qualms about buying a CD whose legal status is dubious (Rick Hall has refused outside companies to do any compilations of any FAME material at this time and the status of ownership of some of the masters - due to the various distribution deals the FAME label had during its existence - is a complex situation). As is the case with any comp, there's always those songs that are not included for whatever reason, and today's selection is one of them.
"Do It In The Name Of Love" was released in 1973, near the end of the label's run. In 1974 Staton would move on to Warner Brothers, where a few more Rick Hall productions would hit the charts before 1976's disco smash "Young Hearts Run Free." It appears that Hall and the Fame musicians were looking over their shoulder at the smashes that the Staple Singers were having, as the arrangement of the song and Candi's vocal are derived from the Staples' 1971 hit "Respect Yourself" (notice the drumming during the verses and Candi's Mavis Staples-styled moaning; FAME wasn't alone in noticing the Staples - over at Hi Records, Ann Peebles' "Fill This World With Love" borrowed the drumming and vocal style from "Respect Yourself" as well). Fortunately, the song rises well above being a knockoff Staples record to be a great example of how good Southern soul was being made at a time when such a style was about to perish.
Southern soul and gospel legend Candi Staton recently recorded the excellent album His Hands, her first secular album in over a decade. Prompting the release of this welcomed album was the success of the Honest Jon's compilation of her best FAME sides, which is a must for any soul fan who doesn't have qualms about buying a CD whose legal status is dubious (Rick Hall has refused outside companies to do any compilations of any FAME material at this time and the status of ownership of some of the masters - due to the various distribution deals the FAME label had during its existence - is a complex situation). As is the case with any comp, there's always those songs that are not included for whatever reason, and today's selection is one of them.
"Do It In The Name Of Love" was released in 1973, near the end of the label's run. In 1974 Staton would move on to Warner Brothers, where a few more Rick Hall productions would hit the charts before 1976's disco smash "Young Hearts Run Free." It appears that Hall and the Fame musicians were looking over their shoulder at the smashes that the Staple Singers were having, as the arrangement of the song and Candi's vocal are derived from the Staples' 1971 hit "Respect Yourself" (notice the drumming during the verses and Candi's Mavis Staples-styled moaning; FAME wasn't alone in noticing the Staples - over at Hi Records, Ann Peebles' "Fill This World With Love" borrowed the drumming and vocal style from "Respect Yourself" as well). Fortunately, the song rises well above being a knockoff Staples record to be a great example of how good Southern soul was being made at a time when such a style was about to perish.
Monday, September 25, 2006
The Soul Antidote
The Ponderosa Twins Plus One - You Send Me
I'm in such a frazzled and rushed state at work today that I don't have time to say much except that a smooth piece of sweet soul like this is a great antidote for a rushed person. For those of you not so rushed, savor this East Coast soul classic. Back to work for me!
I'm in such a frazzled and rushed state at work today that I don't have time to say much except that a smooth piece of sweet soul like this is a great antidote for a rushed person. For those of you not so rushed, savor this East Coast soul classic. Back to work for me!
Sunday, September 24, 2006
Whydontchaletthemanleadyou?
The Mighty Clouds of Joy - Jesus Lead Us Safely
The Mighty Clouds of Joy were founded in the 1950s by Joe Ligon and Johnny Martin and made their recording debut in 1960 for Peacock Records. Their solid singing, great showmanship and willingness to take new approaches gave the group tremendous longevity and even some R&B chart action, most notably with the disco-era hit "Mighty High" (which I need to post soon!) Outside of the '70s hits the group and the R&B world didn't cross paths regularly, save for one case.
David Walker, one of the co-leads of the group, is better known to vintage soul fans as Bunker Hill, whose "Hide and Go Seek" and other recordings made with rock and roller Link Wray are great pieces of gospel-bent R&B. My understanding is that after his R&B recordings were made, he returned to the Mighty Clouds for a short while but then disappears from discographies. "Jesus Lead Us Safely" was the flip of "Ain't Got Long Here" (the group's awesome version of "Steal Away to Jesus") and features Walker on lead. Although this is a pretty straight uptempo gospel record, it really works. Walker's lead goes from simple reading of the song's single verse to motormouthing ad-libs built around the phrase "why don't you let the man lead you," which is highly reminiscent of the Bunker Hill records "Hide and Go Seek" and "You Can't Make Me Doubt My Baby." Also of note is the bass singer, whose versatile "booms" and "mooms" add to the recording.
The Mighty Clouds of Joy were founded in the 1950s by Joe Ligon and Johnny Martin and made their recording debut in 1960 for Peacock Records. Their solid singing, great showmanship and willingness to take new approaches gave the group tremendous longevity and even some R&B chart action, most notably with the disco-era hit "Mighty High" (which I need to post soon!) Outside of the '70s hits the group and the R&B world didn't cross paths regularly, save for one case.
David Walker, one of the co-leads of the group, is better known to vintage soul fans as Bunker Hill, whose "Hide and Go Seek" and other recordings made with rock and roller Link Wray are great pieces of gospel-bent R&B. My understanding is that after his R&B recordings were made, he returned to the Mighty Clouds for a short while but then disappears from discographies. "Jesus Lead Us Safely" was the flip of "Ain't Got Long Here" (the group's awesome version of "Steal Away to Jesus") and features Walker on lead. Although this is a pretty straight uptempo gospel record, it really works. Walker's lead goes from simple reading of the song's single verse to motormouthing ad-libs built around the phrase "why don't you let the man lead you," which is highly reminiscent of the Bunker Hill records "Hide and Go Seek" and "You Can't Make Me Doubt My Baby." Also of note is the bass singer, whose versatile "booms" and "mooms" add to the recording.
Saturday, September 23, 2006
Soul-Blues Saturday: Send for the King!
Solomon Burke - Send For Me
On Tuesday, Sept. 26, Solomon Burke's remarkable comeback story, which began with the awesome Don't Give Up On Me, begins a new chapter with the release of Nashville (Shout Factory), on which Solomon returns to his country soul roots with a set of country songs and duets with luminaries such as Dolly Parton and Emmylou Harris. The early reviews are very positive, and I look forward to buying it and hearing it. Solomon's website features clips from the album and on initial hearing it sounds like it's going to be a smash!
Although Don't Give Up On Me is considered to be his comeback album, Burke had been recording quality material all along. Although Burke had not received any chart action after the demise of Chess Records in the mid-'70s, he had recorded some outstanding Southern soul for Swamp Dogg in the late '70s (the song "Sidewalks, Fences and Walls" should've been a hit, but Infinity Records closed up shop not long after its release), delivered the live set "Soul Alive!" to tremendous acclaim (one monologue, "The Women of Today," which I will have to feature in another post, got some airplay in the South), recorded some good gospel albums for Savoy, and recorded lots of good soul-blues stuff on several labels. Today's selection came from The Commitment, a 2001 album focusing on love and relationships, with a theme of making the way to the altar (one track of the album was an actual wedding ceremony - performed for any couples who may be listening?) "Send For Me" is a soulful, gospel-bent ballad that shows Solomon at his romantic, roaring best. The churchy groove and background vocals give tremendous support as Solomon spins a seductive web that borrows from his early-'60s hit "Cry to Me" and features some great ad-libs. By the next year, Burke would record Don't Give Up On Me, and, well, the rest is history.
An interesting post script to The Commitment can be found on Red Kelly's "The B-Side" blog: Burke performed his wedding, albeit in an unorthodox way. Read the amazing story, and if you haven't already, check out his great blog!
On Tuesday, Sept. 26, Solomon Burke's remarkable comeback story, which began with the awesome Don't Give Up On Me, begins a new chapter with the release of Nashville (Shout Factory), on which Solomon returns to his country soul roots with a set of country songs and duets with luminaries such as Dolly Parton and Emmylou Harris. The early reviews are very positive, and I look forward to buying it and hearing it. Solomon's website features clips from the album and on initial hearing it sounds like it's going to be a smash!
Although Don't Give Up On Me is considered to be his comeback album, Burke had been recording quality material all along. Although Burke had not received any chart action after the demise of Chess Records in the mid-'70s, he had recorded some outstanding Southern soul for Swamp Dogg in the late '70s (the song "Sidewalks, Fences and Walls" should've been a hit, but Infinity Records closed up shop not long after its release), delivered the live set "Soul Alive!" to tremendous acclaim (one monologue, "The Women of Today," which I will have to feature in another post, got some airplay in the South), recorded some good gospel albums for Savoy, and recorded lots of good soul-blues stuff on several labels. Today's selection came from The Commitment, a 2001 album focusing on love and relationships, with a theme of making the way to the altar (one track of the album was an actual wedding ceremony - performed for any couples who may be listening?) "Send For Me" is a soulful, gospel-bent ballad that shows Solomon at his romantic, roaring best. The churchy groove and background vocals give tremendous support as Solomon spins a seductive web that borrows from his early-'60s hit "Cry to Me" and features some great ad-libs. By the next year, Burke would record Don't Give Up On Me, and, well, the rest is history.
An interesting post script to The Commitment can be found on Red Kelly's "The B-Side" blog: Burke performed his wedding, albeit in an unorthodox way. Read the amazing story, and if you haven't already, check out his great blog!
Friday, September 22, 2006
Limber Up and Get Down!
Simtec Simmons & Band - Limber Up
The intertwining careers of Chicago soulsters Wylie Dixon and Simtec Simmons have left behind an interesting set of singles on the artists separately and as a duo. Their work as "Simtec & Wylie," reminiscent of a funkier take on Sam & Dave, was the most prolific and successful, with releases on Toddlin' Town, Shama and Mister Chand (where they hit with "Gotta Get Over The Hump" in 1971). Prior to their recording as a duo, they had worked together as the Tea Boxes Revue, a setup where Simmons and his band, the Tea Boxes, backed Wylie and other artists. During this period Simmons recorded several instrumentals for the tiny Maurci label, starting out with "Tea Box," which may be one of the first Chicago soul records to feature a drum machine! It is conceivable that said drum machine is making an appearance on today's selection, a later single on Maurci. "Limber Up" is a nice instrumental romp that makes good use of a snippet of the "Bonanza" theme to create a surging groove that really works. After no hits followed "Gotta Get Over the Hump" (although some of the records, such as "Put Up or Shut Up" and "Bootleggin'" are popular among rare groove fans), the duo split up in 1973. Fortunately their great solo and duet recordings preserve their great Chicago groove.
The intertwining careers of Chicago soulsters Wylie Dixon and Simtec Simmons have left behind an interesting set of singles on the artists separately and as a duo. Their work as "Simtec & Wylie," reminiscent of a funkier take on Sam & Dave, was the most prolific and successful, with releases on Toddlin' Town, Shama and Mister Chand (where they hit with "Gotta Get Over The Hump" in 1971). Prior to their recording as a duo, they had worked together as the Tea Boxes Revue, a setup where Simmons and his band, the Tea Boxes, backed Wylie and other artists. During this period Simmons recorded several instrumentals for the tiny Maurci label, starting out with "Tea Box," which may be one of the first Chicago soul records to feature a drum machine! It is conceivable that said drum machine is making an appearance on today's selection, a later single on Maurci. "Limber Up" is a nice instrumental romp that makes good use of a snippet of the "Bonanza" theme to create a surging groove that really works. After no hits followed "Gotta Get Over the Hump" (although some of the records, such as "Put Up or Shut Up" and "Bootleggin'" are popular among rare groove fans), the duo split up in 1973. Fortunately their great solo and duet recordings preserve their great Chicago groove.
Thursday, September 21, 2006
Podcast Download Opinions Needed
I have learned that some listeners have had problems downloading the podcast using iTunes or direct download from the site, and I find that I have problems with it myself. I contacted GoDaddy.com (my file storage / bandwidth provider) to see if there were any problems. I was told that everything was fine on their end, and they suggested that our ISPs may be terminating the transfers in response to long download times for large files. I don't know enough about computers to argue with that, so I pose these questions to you:
1. Do you have problems downloading the podcasts?
2. Would you prefer that I break the podcasts into two files? I think that if I do that the problem will be mitigated, as most people report that they can download about half of the podcast before the download stalls out or the connection with the server is reset.
Your opinions (or for those of you more computer and internet-savvy, confirmation of GoDaddy's diagnosis of the problem) are very welcome.
1. Do you have problems downloading the podcasts?
2. Would you prefer that I break the podcasts into two files? I think that if I do that the problem will be mitigated, as most people report that they can download about half of the podcast before the download stalls out or the connection with the server is reset.
Your opinions (or for those of you more computer and internet-savvy, confirmation of GoDaddy's diagnosis of the problem) are very welcome.
More Birmingham Love!
Little Lois Barber - Specify
A couple of weeks ago I gushed forth with praise for John Ciba's excellent new Birmingham soul compilation CD, and its tracks are still getting heavy rotation on my iPod and stereo. I have come to the conclusion that today's selection, were it the only tune on the CD, would warrant the entire CD's purchase price. It is very unfortunate that nothing is known about Lois Barber (Ciba's research and interviews with key Sounds of Birmingham figures came up empty, though not for a lack of trying), because her performance of "Specify" is absolutely electrifying. With her awesome vocals, the great background singing, and the churchy piano that stands out in the arrangement, the song is breathtakingly beautiful. I strongly reiterate that if you have not purchased this fine CD yet, find a retailer where it is available and get your hands on it.
A couple of weeks ago I gushed forth with praise for John Ciba's excellent new Birmingham soul compilation CD, and its tracks are still getting heavy rotation on my iPod and stereo. I have come to the conclusion that today's selection, were it the only tune on the CD, would warrant the entire CD's purchase price. It is very unfortunate that nothing is known about Lois Barber (Ciba's research and interviews with key Sounds of Birmingham figures came up empty, though not for a lack of trying), because her performance of "Specify" is absolutely electrifying. With her awesome vocals, the great background singing, and the churchy piano that stands out in the arrangement, the song is breathtakingly beautiful. I strongly reiterate that if you have not purchased this fine CD yet, find a retailer where it is available and get your hands on it.
Wednesday, September 20, 2006
Nothing Can Stop The Toronados! (Or the Stepfather!)
The T.S.U. Toronados - Nothing Can Stop Me
Today's post is dedicated to all of you wonderful people who have commented and sent e-mails in support of the "Get on Down ..." enterprise over the last two days. You guys turned a frown upside down and rekindled the fire in my (unfortunately, ample) belly to keep on keeping on! The defiant optimism of the Curtis Mayfield composition "Nothing Can Stop Me," presented on this blog earlier in the original Gene Chandler version, seems appropriate, and I have an awesome version of the tune to post today!
The T.S.U. Toronados were a Houston band whose place in soul history was cemented by their playing the backgrounds for the 1968 Archie Bell & The Drells smash "Tighten Up." Fortunately for us soul fans, they also recorded on their own and had great releases on Ovide, Atlantic and Volt. I recommend you read Greg Tormo's article at Solid Hit Soul to get more info about the group and their recordings. We are also fortunate that the folks at Funky Delicacies have reissued their work on several CDs over the last few years. From the CD One Flight Too Many comes the group's excellent rendition of "Nothing Can Stop Me." As much as I love the Chandler original, I must say that this version smokes: the horns are fuller, the groove keeps the swinging feel of the original but gives it a more modern touch, the vocals are spot-on and the arrangement manages to interpolate Sly & The Family Stone's "Hot Fun in the Summertime" into the mix and make it work.
Today's post is dedicated to all of you wonderful people who have commented and sent e-mails in support of the "Get on Down ..." enterprise over the last two days. You guys turned a frown upside down and rekindled the fire in my (unfortunately, ample) belly to keep on keeping on! The defiant optimism of the Curtis Mayfield composition "Nothing Can Stop Me," presented on this blog earlier in the original Gene Chandler version, seems appropriate, and I have an awesome version of the tune to post today!
The T.S.U. Toronados were a Houston band whose place in soul history was cemented by their playing the backgrounds for the 1968 Archie Bell & The Drells smash "Tighten Up." Fortunately for us soul fans, they also recorded on their own and had great releases on Ovide, Atlantic and Volt. I recommend you read Greg Tormo's article at Solid Hit Soul to get more info about the group and their recordings. We are also fortunate that the folks at Funky Delicacies have reissued their work on several CDs over the last few years. From the CD One Flight Too Many comes the group's excellent rendition of "Nothing Can Stop Me." As much as I love the Chandler original, I must say that this version smokes: the horns are fuller, the groove keeps the swinging feel of the original but gives it a more modern touch, the vocals are spot-on and the arrangement manages to interpolate Sly & The Family Stone's "Hot Fun in the Summertime" into the mix and make it work.
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