Get on Down With the Stepbrothers of Soul!

After quite a hiatus, the "Get on Down ..." podcast is back, and joining the Stepfather of Soul is the Electro-Phonic Brian Phillips. The show was fun to do, despite having to address the recent passing of Koko Taylor and Michael Jackson. Here is the playlist:

1. Eloise Laws - You Made Me an Offer I Can't Refuse
2. Jimmy Hughes - Which Side of the Door
3. Mitty Collier - I Can't Lose
4. Tender Joe Richardson - The Choo Choo
5. Sir Arthur - Louie, Louie
6. Carla Thomas - Sweet Sensation
7. Darrow Fletcher - My Young Misery
8. Vernon & Jewell - Just To Hold My Hand
9. Koko Taylor - Egg or the Hen
10. Top Hat & Little Jeff - Mississippi Bump
11. The O'Jays - That's Alright
12. The Olympics - Girl, You're My Kind of People
13. Jean Battle - When a Woman Loves a Man
14. The Ovations - Mr. River
15. Little Johnny Taylor & Ted Taylor - Cry It Out Baby
16. Theron & Darrell - I Was Made To Love Her
17. Ricky Allen - Can I Come Back Home
18. Van Preston & The Night Rockers - Who Done It
19. Otis Redding - Scratch My Back
20. The Jackson 5 - Big Boy

RIP Michael Jackson

The Jacksons - Enjoy Yourself


Wow ... where does one begin in writing a post eulogizing the King of Pop, Michael Jackson? I suppose I should take a page from my James Brown posts from a couple of years ago. With that in mind, let me talk a moment about MJ and then I'll talk about the first Michael Jackson-related record I ever heard.

As a child of the '70s and '80s, Michael Jackson was iconic. We had a copy of Thriller, and the title track was such a favorite that my brother and I would "perform" the song, with my brother singing and me doing the Vincent Price part at the end. (I was dared at a work social to do it, but I can't remember all of it now.) So many of his songs were favorites of mine, and to watch him perform was completely electrifying. Of course, like everyone else I was aware of all the scandal that surrounded him, and joined many "Lord help that man" conversations that put more emphasis on his man-child eccentricities than his talent. But to say I was shocked to hear that Michael was dead is an understatement. As soon as I heard the news I called my wife, and I told her that his passing was our generation's version of Elvis' passing (my mother can tell you exactly where she was and who she was with when she learned that Presley was dead). I know the blogosphere will have plenty of memorials to Jackson in due time, and they will all be truly deserved.

Now, on to some music. My mother's copy of the 45 of "Enjoy Yourself" by The Jacksons got a lot of spins when I was growing up. The funky groover from 1976 kicked off the post-Motown era for Michael and his family members (the Jackson Five had left Motown - and brother Jermaine, who was married to Berry Gordy's daughter - in the middle of the '70s, and Gordy retained the rights to the group's name; they added a few of the younger siblings and kept on going). "Enjoy Yourself" was a Gamble-Huff composition and production that was released on a joint Epic/Philadelphia International label, and it rocketed up the charts upon release. It's easy to see why, because from the funky guitar intro to the bumping groove to Michael's invitation to the girl "sitting over there, staring into space" to get up and boogie, it's a solid record. Of course, Michael would stay with Epic for nearly two decades, and would turn the music world upside down in the '80s. What a way to start, though!

RIP Michael Jackson. Although the last two decades weren't the kindest to you, your singing, dancing, music videos and overall talent will forever enshrine you as part of the legacy of total entertainers like Sammy Davis, Jr. and James Brown. Thank you for making the world a better place with your music.

A Motown Moment With Chuck Jackson

Chuck Jackson - Pet Names

Chuck Jackson's legacy in the annals of R&B history are linked to his great records for Wand, where uptown arrangements and Chuck's fiery baritone made for fine alchemy. When Jackson and Wand boss Florence Greenberg fell out by the end of the '60s, he moved over to Motown and recorded for a few years. Although Chuck's recordings on Motown and then V.I.P. (can you say, "demotion"?) are not bad at all, the Motown sound just didn't create the same kind of magic that he'd enjoyed earlier. Today's selection was Jackson's final V.I.P. 45 from 1971. Smokey Robinson wrote and produced "Pet Names," which joined Jackson's string of non-hits for the label. Probably the song was too sweet and maybe even somewhat corny at a time when the Temptations, Marvin Gaye and Stevie Wonder were laying down substantially heavier material (maybe this would've been a better Jackson Five side). There's something about it, though, that I do like, so I invite you to listen and to judge for yourself.

We're Not Through With Sir Lattimore Brown!

The excitement behind the Sir Lattimore Brown story never seems to abate. Film maker Chase Thompson, whose Roy C Forever, featuring "Sex & Soul" artist Roy C. Hammond, is forthcoming, has also begun the task of documenting the rediscovery and triumphant New Orleans stage return of Sir Lattimore Brown in I'm Not Through, a Soul Detective production from my main man, Red Kelly. Here's the fantastic trailer!



We're not through with Sir Lattimore Brown!

A New Soul Commitment From Ireland!

Laura Izibor - From My Heart to Yours

A few weeks ago I was introduced to the new R&B singer Laura Izibor, whose "From My Heart to Yours," today's selection, is making quite a bit of news in R&B circles. This past Friday I had the pleasure of attending a concert by Izibor in Atlanta in anticipation of her album, Let the Truth Be Told (Atlantic), which will be released this Tuesday. Vintage soul fans, look out - Laura's got the goods to join Mmes. Winehouse, Duffy, and Stone in the pantheon of newer singers who appreciate the sounds of classic R&B and bring refreshment to the wrecked shoals of contemporary R&B - no Autotune here!

Izibor is a native of Ireland, a fact that she joked about at the show ("Do you guys know where I'm from? Did you know there are black people in Ireland?" she playfully asked), and I'm glad to say that not only "The Commitments" bring the sounds of soul from the Emerald Isle. Laura, backed by a top-notch band, ran through her album, which in parts summons forth the sounds of '70s soul and funk with just a few touches to give it a modern R&B flavor. I've pre-ordered the album and I'm already deeming it a classic. (It doesn't hurt matters that the album art is redolent of the Atlantic LPs of the '60s!) If you'd like to sample the album, you can go to VH-1's website, where the whole thing is steamable! Check this out right away!

"From My Heart to Yours" features a nice bouncy groove and Izibor's fine vocals and piano playing. When she performed it in Atlanta the crowd ate it up, and I think you will too. There are tunes on the album that I think will please the discerning soul fan even more. I recommend it heartily! Get on down, Laura!

(EDITOR'S NOTE - I'm hoping to get a new podcast up one of these days; please bear with me!)

RIP Koko Taylor

Koko Taylor - That's Why I'm Crying

I have learned that the "Queen of the Blues," Cora "Koko" Taylor, has passed away at the age of 80. Throughout her long career, Taylor was a fixture in Chicago, recording for Checker and Alligator and at one point owning a blues club. It was at this club, the Celebrity Lounge, that I had the pleasure of meeting Taylor back in 1999. My wife and I dropped in one Saturday night to see Roy Hytower perform. While Hytower put on his goodtimey show, Taylor came in donning a glittering jacket and sat quietly at the bar. When Hytower finished singing he announced her presence and she received a hearty round of applause from the crowd. When my wife and I got up to go home later in the evening, Taylor took our hands and sincerely thanked us for coming to the club. I will never forget the warmth and kindness she showed us that night.

Although I'm partial to Taylor's Checker sides, especially sock soul-slanted tunes like "Fire" and "Separate or Integrate," her Alligator material is of high quality and today's selection comes from her first Alligator LP. "That's Why I'm Crying" finds Taylor toning down the shouting style from some of my favorite Checker sides, instead laying down some smoldering vocals while the band, featuring Mighty Joe Young on guitar, lays down a slinky minor-key blues.

RIP Koko. There is no one who will be able to "pitch a wang dang doodle" like you.

Bellson, Nelson and Brown

James Brown - The Man in the Glass (Pt. 1)

I was inspired to do a James Brown post today after having seen a set of great JB videos on YouTube this weekend. One contributor has added some great stuff, including a medley of "Get Up, Get Into It, Get Involved" and "Soul Power," performed by James (in an awesome outfit, I must add) and Bobby Byrd on a soundstage, and a guest spot by James on "Dinah's Place," where James, backed by the show's house band (led by Fred Wesley), tears through "Get on the Good Foot." Get over to YouTube and do a search for this stuff; you'll be glad you did.

Today's selection was the fruit of the Soul on Top sessions, in which JB recorded a mix of standards, show tunes, a few new songs and remakes of some of his hits backed by jazz drummer Louis Bellson's big band, conducted by Oliver Nelson. Although the concept sounds somewhat baffling on paper, and the 1970 LP did not sell well at the time, the truth is that the material is actually very good. James' vocals are powerful, the song selection is strong and the band actually grooves nicely. Fortunately for soul fans, the LP has had a CD reissue on Verve. "The Man in the Glass," credited to Brown's long-time associate Bud Hobgood, was part of the album and a portion of an alternate version, which is featured here, was also included on Brown's 1970 LP It's a New Day So Let a Man Come In. "Man in the Glass" fits right in with tunes like "World" and "I'm Not Demanding" (which was also included on It's a New Day and was scheduled for two 45 releases, both of which were scrapped). On all three songs, Brown does some serious emoting about serious topics in dramatic arrangements that were unlike a lot of what JB was doing at the time. The "man in the mirror" lyrics of today's selection are powerful and even thought-provoking. Dig them!

And Now ... The Rest of the Story(?)

Lattimore Brown - Little Bag of Tricks

My man Red Kelly has posted his chronicles of Sir Lattimore Brown's return to the stage and related events over at The B-Side. I wanted to wait until Red had told his tale, because I knew he would have some awesome stuff to share. He's got the story, great pics, outstanding video and more, so go check it out. But come on back to read my account, okay? Okay.

[Awaiting your return.]

When Red informed me that he had managed to put together Lattimore's performance at the Banks Street Bar in New Orleans, I knew I just had to be there. Since the Jazz Fest was also going on, and since neither me nor my wife had ever been to New Orleans, we decided to make a mini-vacation of the trip.

We went to the Jazz Fest on Sunday, April 26, and after a long, exasperating walk from the final streetcar stop to the fairgrounds, we encamped at the Blues Tent, arriving just in time for the New Orleans R&B Revue. Eddie Bo was supposed to be part of the Revue, had he lived, and his absence was noted by Deacon John Moore, who did a set and served as the bandleader and emcee of the program. I won't go into a full concert review here, but the show was quite enjoyable. Wanda Rouzan (of the Rouzan Sisters, of "Men of War" fame) lit up the stage with a good-timey set of songs, including a version of "Mama (He Treats Your Daughter Mean)." Al Johnson, who was profiled in the Times-Picayune that weekend as the recipient of a home in "Musicians Village," a development designed to provide housing for New Orleans msusicians affected by Hurricane Katrina, did a quick set capped off with his Mardi Gras perennial, "Carnival Time." (I didn't get any pictures of the crowd, but once "Carnival Time" started out came the umbrellas and handkerchiefs among the crowd!) Robert Parker, who I had been most interested in seeing, came out and did a perfunctory, if not exactly electrifying, set of blues and his classics "Where the Action Is" and "Barefootin'." Allen Toussaint was the headliner, and he did a fine set which featured "Here Comes the Girls" (which was slightly marred by the inability of Deacon John's drummer to accurately combine the military and funk elements of the tune) and a great extended take on "Yes We Can."

After the Revue, Sharon Jones & The Dap-Kings took to the stage and gave up the funk as only they know how. The crowd was full of people who were not familiar with the high-octane show, but Sharon made converts of them all. (Their set also kept the Jazz Fest security busy, as they had to continually shoo dancing people out of the aisles!

After the festivities ended, it was time to get to the mission at hand: Red had invited us to join him and Lattimore for dinner at Mother's, a no-frills New Orleans landmark known for its po' boys. Joining us for dinner was filmmaker Chase Thompson, who has documented the entire Lattimore Brown story, WWOZ personality Allan "Alski" Laskey, and graphic designer Paul Pollman and his wife, Honey. Lattimore was a bit tired, so he stayed fairly quiet, but the conversation buzzing around the table was as good as Mother's food!



Lattimore, Red, Chase and me; Alski and Paul.



The next day, my wife and I decided to do some sightseeing, but we managed to hear Lattimore's appearance on WWOZ. Although, as Red noted, Lattimore's singing of "It's a Sad Sad World" didn't exactly "click," I was very excited by Lattimore's storytelling and promotion of his show ("we're gonna do like Koko Taylor and pitch a wang dang doodle," he proclaimed several times), and when he sang "I Know I'm Gonna Miss You" (Red, who sang the Roscoe Shelton part?) it was very nice. After sightseeing and a trip to Louisiana Music Factory for some record digging, I hustled over to the Banks Street Bar for the rehearsal.

Red has chronicled the rehearsal, so I won't go into a lot of detail. In addition to meeting Wraquel and Wanda, I got to meet Cies from the Just Moving On gospel website and blog, and we had a great conversation. When Lattimore took to the stage at around five-thirty, I saw a fire in his eyes that thrilled my soul. Although the Banks Street Bar stage at that time of day is not exactly the most thrilling sight, to watch Lattimore work the stage made the place feel like the Apollo Theater! (I put up a video a few days ago from the rehearsal.) I left for dinner knowing that the evening was going to be special.


Red has adequately described what went down that night at the actual show. Like Red, I did not get to take any pictures, since I was working the door. Yes, the show had moments that were great, some not-so-great, and some that were somewhat cringeworthy, but all in all it was clear that Lattimore Brown had made a triumphant return, and everyone from Jazz Fest visitors to WFMU deejays to music journalists had witnessed it.

I didn't have time to stay in New Orleans for the Ponderosa Stomp and the second weekend of the Jazz Fest, although I would've loved to, so I was as upset as I was pleased to get a text message from Red the next say saying that Lattimore was going to be appearing at the Stomp with Wiley & The Checkmates, and then to get a text message two days later saying that Lattimore had "tore it up"! Wow!

When the Lattimore Brown story first appeared on Red's blog and on mine, the phrase "this ain't nothing but God" captured the spirit of what had happened. I am glad to report that the phrase is equally meaningful after the New Orleans weekend: Lattimore met his daughter after nearly forty-one years (and to think that she found out about him via the internet, just like the kind nurse did when she contacted me so long ago); Lattimore made a triumphant return to the stage (and a debut in the New York Times); Red, Cies and I, brothers-in-arms online, got to meet each other in person for the first time, and we got along as if we hung out regularly; and I got the see how my relatively insignificant act of writing about Lattimore on my blog served as a catalyst for all of this. I am still on a "high" from it all.


I must take a moment to give major "props" to Red Kelly, whose hard work in finding Lattimore, chronicling his story and getting Lattimore back on stage proves that God is truly with him. I have a feeling that, although the New Orleans weekend makes for a great closing to a "movie-ready" story, that more is yet to come - the Man Upstairs has a "bag of tricks" of His own!

The "Price" Is Right!

Gloria Taylor - You Got to Pay the Price

Al Kent's Detroit soul instrumental "You Got to Pay the Price" is a staple record among the Northern Soul crowd, and is one of the easier 45s to acquire out of the "Northern Soul Top 500." The Ric-Tic single is a sho' 'nuff floater good for winding down an all-nighter, with Dennis Coffey's guitar riffs pleasantly riding the shuffling groove. Although I had figured that the track was intended to back a vocalist, I didn't hear vocal versions of the song until many years after I had heard the Kent record. Diana Ross &
The Supremes did a version of the song that I suppose came about after Berry Gordy bought out Ed Wingate and acquired the Golden World/Ric-Tic/Wingate labels. Their fine reading of the song, however, went unreleased until it was included in one of the Cellarful of Motown compilations. Gloria Taylor, known among soul fans for her reading of J.J. Barnes' "Poor Unfortunate Me" and for the two-parter "Grounded," among others, did a version of the song that was released on Glo-Whiz and on Leland Rogers' Silver Fox concern that did merit release, although it didn't go anywhere. Taylors' vocals show a fine melody that really works with the famous groove.

More Lattimore on YouTube!

Paul Pollman managed to capture Lattimore Brown's performance with Wiley & The Checkmates at the Ponderosa Stomp and has put it up on YouTube! Are you ready for Star Time?

Sweet and Rough, Smart Brothers Style

The Lattimore Brown story is forthcoming, but in the meantime ...


Theron & Darrell - I Was Made to Love Her


Once again the fine folks at Numero have hit one out of the park with their Eccentric Soul series. The newest disc, Eccentric Soul: Smart's Palace features the soul sounds of Wichita, Kansas, as recorded by Dick Smart, whose Solo and other labels augmented his entertainment empire, whose roots lay in the Smart's Palace club, where he and his brothers had a high-powered act (the comp's striking cover art is a picture of one of the Smarts doing a handstand while performing). The CD features a variety of great tracks from the Smart Brothers and others, and quite a few sides have a delightful roughness about them that really lends atmosphere to the material.

Today's selection is a good example of this. Theron Gafford and Darrell Buckner had a band that filled in at Smart's Palace whenever the Smart Brothers were away, and the duo's 1970 Solo 45 "I Was Made to Love Her" did very well locally, but like so many other artists featured in the Eccentric Soul series, not much else followed. That's a shame, though, because despite the roughness of the production, Theron and Darrell really bring home the bacon with this strutting piece of sweet soul. The duo alternate between trading off lines and singing harmony parts, and the whole thing really works. I particularly love the "to be mine" part later in the song, especially near the end, where they drop off to give the band a rough but funky vamp. The whole CD is outstanding, but this tune alone makes the price worthwhile.

(EDITOR'S NOTE - I did not know until today that Numero has a blog; it's very entertaining, and some great stories about the development of the CD are there. I will add it, along with several other fine blogs I've been introduced to lately, to the blogroll pretty soon.)

Get on Down With Lattimore Brown on YouTube!

Here's a short vid of Sir Lattimore Brown rehearsing for his show, with help from Wiley & The Checkmates.



I'm waiting to coordinate posting with Red before I do the full account of the Lattimore Brown weekend, so bear with me. I'll do some regular posts in the meantime!