DAPTONE RETROSPECTIVE

Cynthia Langston And The Gospel Queens: I Need You To Hold My Hand
From Daptone Gold (Daptone, 2009)

This time of year everyone is looking back on the year that was, or, as the case is now that 2010 is near, the decade that was. Daptone is doing the latter with Daptone Gold, meant not so much to signify the best is in the past, as many greatest hits packages normally imply, but as a retrospective of where they've been.

Although the label hasn't been around for a full decade (at least not as Daptone, they rose from Desco Records) – Daptone's first full length was in 2002 – now seemed as appropriate time as any to reflect. The album successfully meets is goal of covering a variety of releases, some even previously unreleased, but just as successfully avoids repeating many of the selections from their digital-only compilations The Daptone 7-Inch Singles Collection Vol. 1 and Vol. 2.

Over one-third of the album features its flagship act, Sharon Jones and The Dap-Kings, in some shape or form. They've certainly been at the forefront of not only the label but of keeping a light on feel good soul music over the last decade. However, when given a chance, other acts shine just as brightly. Take the gospel number “I Need You To Hold My Hand,” which starts out with a “Having A Party”-like intro before pleading with the Lord to accompany the singer (Cynthia Langston), who didn't even get top billing on the album from which it came, through life's journey.

Three previously unreleased tracks make their way here for the first time: the instrumental backing the introduction song, “Giving Up” by Sharon Jones and The Dap-Kings – an acceptable cover of the Gladys Knight classic but in no way touching the Donny Hathaway version, and “A Lover Like Me” by Binky Griptite with The Sugarman Three.

It's a great sampler for those who have yet to fully dive in to the Daptone sound, and even for those who have, the previously unreleased songs as well as five songs formerly only available on 45s (that may now be out of print) make it a worthy album to purchase. They have done a great job of trying to play both sides of the fence making it a place where you can hang out with old friends and meet some new ones along the way.

SEASON'S GREETINGS FROM AN OLD FRIEND

Michael Jackson: Season's Greetings
From Ultimate Christmas Collection (Motown, 2009)

It's still hard to believe that MJ is gone. It was hardly even yesterday when he recorded this short little Christmas greeting. In a second half of the year, he dominated headlines – for better or for worse. Sure, the circumstances weren't ideal, but it's great to see him get some positive publicity instead of the negativity that surround him the decade prior.

This little greeting is on the reissued Christmas collection that you can either buy the CD from the link above or through Christmas Eve can get the MP3 download through Amazonof the whole album for $2.99. That's under $3!!! Take a stroll down memory lane with those crazy kids from Indiana.

It's actually a really well done compilation. Not only do you get the entire original issue of the music, but you get greetings from the all the original J5 except Marlon, a few stripped mixes of their Christmas tunes, and a nice medley.

HISTORY OF HAVE YOURSELF A MERRY LITTLE CHRISTMAS

Gavin Degraw: Have Yourself A Merry Little Christmas
From Sounds Of The Season: The NBC Collection (EMI, 2004)

I always love reading about the history of music, especially about the root origins of songs. This is especially true of standards. Songs such as “Have Yourself A Merry Little Christmas” are so ingrained into Christmas culture now that it's hard to imagine December 25th rolling by without hearing it.

This great article explains its history of how it came to be, how it almost didn't become a standard, and its numerous versions. Of particular note, it finally explains to me why the song musically sounds mismatched with its upbeat theme. Well, that was made possible by a slick rewrite in a few lines as asked for by.... well, you'll just have to read the article to find out.

This example is of pop star Gavin Degraw singing the original lyric toward the end.

Through the years we all will be together
If the fates allow
Until then we'll have to muddle through somehow

Somber indeed, but a beautiful song emerges from it.

SOUNDS FROM ALL AROUND

Whitefield Brothers featuring Mr. Lif and Edan: The Gift + Taisho
From Earthology (Now Again, 2009)

Music just wouldn't be as fun without the Whitefield Brothers around. Sure, they aren't as well-known as they should be, but they consistently provide quality and they rarely stay in one place too long musically speaking.

We heard their take on thunderous funk in the mid-90s long before it was en vogue to do so. I'm talking pre-Numero and pre-Daptone. With as much respect I have for the Dap Kings, I'd still take “Augusta Georgia” and “Practice What You Preach” by the Whitefield gang in their multitude of band names over anything I've heard from SJ + DK. That's not to say SJ + DK don't deserve the praise they get; the WB just funk out even harder.

After a short stint with a little discofied funk as Syrup, they started going in a different direction with “In The Raw” on Soul Fire by adding more of an African tinge to their music. By 2008, they had advanced that sound even further with the Karl Hector And The Malcouns project. Now, we get their most diversified sound with “Earthology,” entitled so, at my best guess, as a study of the music from around the globe. This is true World Music.

Songs with an unfamiliar time signature like “Pamukkale” make sense within the frame of the album, although you might be thrown off if just heard by itself. The Eastern sounds of “Taisho” hit you right away before going off into a menacing bass groove. “Ntu” explores a variety of percussion, though not of your standard drum kit. Rap even makes its way on to the record by underground sensations Edan and Mr. Lif on “The Gift” over one of the more straightforward rhythms on the album.

It was interesting to note the copyright date on the back of my promo copy as 2008. While I don't know why it has set on shelf for so long (unless it the year was a misprint), it works well for continuing their legacy as well as that of Stones Throw/Now Again. The front cover calls it a World-Psych Masterpiece, a fitting description for an album that pulls its influences from all over. Left to lesser talent, both by the band and co-executive producer Egon, it might sound disjointed. Under their careful watch, though, we're treated to an exquisite album of sounds and textures. It's available digitally now from Stone's Throw online web store, and hits the racks in January everywhere else.

IN THE CHRISTMAS SPIRIT

Electric Jungle: Funky Funky Christmas
From In The Christmas Groove (Strut, 2009)

It's that time of the year again where we get to hear yuletide songs everywhere. Where I live there's a radio station that gets flipped every year (starting in late October/early November) to play only Christmas music. It can take its toll on your nerves as you hear standard after standard or (bad) cover after (bad) cover.

Don't get me wrong, Christmas music can be great, but it has about a one week shelf life year in and year out. The one exception for me is Donny Hathaway's “This Christmas,” which I could listen to on a hot July day (and have).

So if you need some new (or new to you) Christmas tunes to listen to, Strut has just released a great compilation that gathers some odds and ends from mostly unknowns, aside from Jimmy Reed and the Harvey Averne Band. Songs range from Reed's soul-blues “Christmas Present Blues” (wow, what a harmonica!!) to a sleigh bell-infused instrumental jam in Milly & Silly's “Gettin Down For Xmas” to an almost melancholy “Black Christmas” by the Harlem Children's Choir.

Electric Jungle takes you on a “Funky Funky Christmas” journey – not to be confused with this. Instead, they jam like they've OD'd on egg nog and are hyper from eating the plate of cookies left for Santa.

These are the kind of gifts you hope for as a stocking stuffer. Speaking of which, Daptone has a new 45 out of Sharon Jones & The Dap Kings on the A-Side with Binky Griptite spitting a holiday message on the flip that you can either 1) buy, 2) get free with the purchase of $30 from their online store, or 3) get a free digital copy of just by signing up for their online newsletter. You can preview the A-side here.

Now that's some Christmas spirit!

THEN AND NOW: CHARLES WALKER

Charles Walker And The Daffodils: No Fool No More
From Night Train To Nashville, Vol. 2: Music City Rhythm & Blues 1945-1970 (Lost Highway, 2005)

Then...

Charles Walker with The Daffodils singing a 1950's style doo wop (1959 to be exact) with a tune written by Ted Jarett (who passed in March of 2009). Making an appearance is Johnny Jones on guitar, who I read recently had also passed in October. Jones was part of the house band on The !!!! Beat TV show from 1966. You can buy the entire series on DVD, which is expensive but worth every penny.

The Dynamites Featuring Charles Walker: Burn It Down
From Burn It Down (Outta Sight/Thirty Tigers, 2009)

Now...

Making a career revival of sorts with fellow Music City band The Dynamites, Walker is throwing down harder soul Dap-Kings style. If you're in ATL around New Year's Eve, you can catch them at The Tabernacle for a 2-night stint.

OCOTE SOUL SOUNDS SHOW US HOW A COCONUT CAN ROCK

Ocote Soul Sounds: The Revolt Of The Cockroach People + Cara de Yo No Fui (Ancient Astronauts Remix)
From Coconut Rocks (Deluxe Edition) (ESL Music, 2009)

Antibalas founder Martin Perna and Adriana Quesada of Grupo Fantasma have once again come together as Ocote Soul Sounds. Their latest album “Coconut Rock,” most recently released today in a digital-only deluxe form (the standard version can still be found at your local music store), finds their blend of various stylings really turning up the heat. Tacked on to the end of the standard album are 5 remixes of the standard version's original mixes.

From the opening baritone sax lines that repeat its catchy riff in “The Revolt Of The Cockroach People,” your ears have been prepared for the next hour or so. Fans of the El Michels Affair or the Menahan Street Band will immediately put this track on repeat as it has a spunk about it that resonates well after its all-too-short 3 minutes is up.

The reggae rhythm of “Cara de Yo No Fui” gets the remix treatment courtesy of Ancient Astronauts, another member of the ESL Music family. The remix starts with a spaced-out feel as you're given a sense of stepping out of the spin cycle before the drums kick in and set you straight. Those drums, which are not in the original version, give the track a real sense of urgency that complements the reggae stabs very well.

The album is a great blend of instrumental prowess that, even aside from its accompanied vocals, more than stands on its own as an accomplished work. There's a fuzzed-out electric guitar on “Return Of The Freak,” the aforementioned baritone sax riff, and even a light flute that permeates throughout that show Perna and Quesada, along with their other 5 bandmates, aren't going to be restricted to one style or sound. We, the listeners, are the greatest benefactors of their gifts and hard work.

DANGER IN THE WATER: MIGHT BE OVERTAKEN BY THE FUNK

Funk St Workshop: Water
From Unreleased (700 West, 197?)

Over the past couple of years I've been doing some research for Egon at Stones Throw/Now Again for a yet-to-be-released compilation on Indiana funk. During one of the interviews with Romeo Glenn, formerly of Little Murray And The Mantics, we discussed briefly another band he was in called Funk St. Workshop. According to Indiana45s.com they released two 45s as Funk St. Workshop on 700 West, although Romeo didn't remember the one called Errol Flynn (Pts. 1 and 2).

What was interesting to find on 700 West's website was this little cover of Graham Central Station's “Water” that went unreleased for some unknown reason (maybe the clearance to release it?). Thankfully they put it up for the world to hear. While no indication is given as to what year it was recorded, it was at least 1975 since that is when the OG was done.

You get the Larry Graham slap bass technique, but they have a tighter grasp on the rest of the song. The horns on this song absolutely wail as the band does a faster-paced version, which suits the groove better. Folks, this thing smokes. Is it better than the original? In a word, yes.

MUCHO MAMBO

Tito Rodriguez: Cara de Payaso
From A Man And His Music: El Inolvidable (Fania, 2009)

I'm the first to admit that I'm not a leading expert on Latin music – not even close. But the Fania label, I do know. Fellow blogger/journalist Oliver Wang has hepped me to some great tunes Latin tunes over at Soul-Sides over the last couple of years, and my appetite has certainly been whet from some of his selections.

Over the Thanksgiving weekend, I was reading about Pucho and His Latin Soul Brothers as I've been catching up on some old Waxpoetics issues (in this case, issue 9.) Pucho was well known for his mambos, as was Tito.

This particular comp, which was released a couple of weeks ago, is a 2-CD introduction to the uninformed (me), a greatest hits, if you will. Interspersed among the studio tracks are a few live tracks like the hip swayer “Si Te Contara.” If I spoke Spanish, I'd be able to speak with a more educated sense of what's transpiring. Maybe he's wooing a lady on the dancefloor with some sensuous speak, or maybe he's talking about running weekend errands. I honestly couldn't tell you the difference. What I can say is that his voice is assured and confident; sweet, with a lilt. He knows his strengths and plays to them, never trying to do more than is needed, itself a lost artform. This all lends to a certain sensuality in the song, all the more enhanced with its musical counterpart – also confident and succinct. It is steady and effectively utilizes dynamics. Throughout the verses, the dynamics lay low like a prowler in the bushes just waiting for the opportunity to attack. That moment comes midway in a bridge, of sorts, where the brass really breaks through.

“Cara de Payaso” has a faster tempo. The dynamics are again in play here, playing more understated during the verse and breaking out during the bridge and chorus. Percussion is one of the strongest elements of Latin music, and again midway through the track you get a nice break with a little cowbell... and who doesn't love a little more bell?

This compilation proves that you don't have to know much about a genre of music to enjoy it. You don't even have to know the language. You can listen to the sounds of a well-trained, fully capable band and to the singer's passion for his artform and somehow the message still gets through. After all, passion, the last time I checked, still counts for something and is the reason music like this lives on even after its creator has passed.