A DIFFERENT KIND OF SWAP

You've heard of swap meets. As a twist on that notion, Record Racks and the aptly-named Funky 16 Corners will be doing a blog post swap in the very near future. If you follow that blog (which you should, as there are always some great nuggets if you're into soul/funk 45s), you know that we're in for a real treat.

A LITTLE BREAK FOR A LITTLE BREAKESTRA

Unfortunately, I've never gotten to see these guys throw down live, but if I did I'd hope it would be half as much fun as this video shows. This song is perhaps my favorite on their latest album, From Dusk Till Dawn.

SONG OF THE DAY: MARCH 28, 2010

SONG OF THE DAY: MARCH 28, 2010



Miguel Atwood-Ferguson feat. Dwele: A.N.G.E.L.
From VA: Timeless Box Set (Mochilla, 2010)

Lovely track led by Miguel Atwood-Ferguson and produced by Carlos Nino that was part of a tribute to the late Dilla but was not included on the Suite For Ma Dukes EP. Atwood-Ferguson is joined by one of Dilla's friends and collaborators (and fellow Detroit native) Dwele. The arrangement is much more orchestrated and has expanded lyrical content, which is mostly just Dwele freestyling.

The original had a jazzy, organic feel with its heavy dose of Fender Rhodes and those crisp drums. Lyrically, it's about as simple as it gets, but it's really much more reliant on mood than it is on message.

Dwele: A.N.G.E.L.
From Subject (Virgin, 2003)

Meanwhile, Soul-Sides.com is having a contest where you can win the DVD box set where this track comes from.

UNIVERSAL TO DROP CD PRICES

Found this Billboard article interesting. Universal Music Group will be testing a lower price scheme for physical CDs to try to help sales and prolong the life of the physical format.

From the article:

"Beginning in the second quarter and continuing through most of the year, the company's Velocity program will test lower CD prices. Single CDs will have the suggested list prices of $10, $9, $8, $7 and $6."

Will it help? Will any of the other Bigs follow the same path?

IN LIFE WE ALL HAVE TO MAKE OUR OWN +'JUSTMENTS

Bill Withers: Stories
From +'Justments (Reissue) (Sussex/Reel Music, 2010)

Previously unissued on CD, +'Justments was recently remastered and released by Reel Music. The music is excellent, as you'd expect from Withers, and the clarity is stunning thanks to the careful transfers done by Vic Anesini and the remastering work by Bill Lacey.

And if the music isn't enough to make you buy this CD, aside from the fact it hasn't been on CD... ever, the 12-page essay inside by A. Scott Galloway makes it well worth the purchase price. It's an excellent companion piece to the Still Bill documentary that yields little down-home nuggets like this one from Withers, “A song is like a hamburger. Either you like it or you don't.”

That quote is in reference to “Can We Pretend,” a song penned by his then-wife Denise Nicholas, who he would soon be divorced from. The song is a poetic ode to a couple saying goodbye to one another. Given that they had been having marital troubles, many assumed that the album opener “You” was some kind of diss towards her, with its scathing lyrical assault. That notion is discussed in detail in the liner notes. Further wisdom is passed along in “Green Grass,” which talks about the illusion of how things appear to be better on the other side of the tracks.

+'Justments, a play on the word “adjustments,” completes the trilogy of studio albums Bill Withers released on Sussex (in addition to the excellent live set from Carnegie Hall). While generally not given as high of praise as “Still Bill” or his debut “Just As I Am,” perhaps because of a relative lack of instantly recognizable “classic” tracks, it's a continuation of his storytelling prowess and backed by the organic and acoustic sound that would change for the most part once he left for Columbia, his new label.

To that end, “Stories,” a little-known track from his canon, perhaps sums up best what Withers' focus and strength was throughout his career.

Who will buy a glad story
That a young man has to tell?
Come into my house of glory
And I will treat you well

Who will buy a sad story
That a widow has to tell?
Come into my house of lonely
And I will treat you well

Young and old we all have stories
That we all must try to sell
Tales of how you get to Heaven
And how we've been through Hell

Who will buy a perfumed story
That a young girl has to tell?
Sleep with me on satin pillows
And I will treat you well

(Side note: For a further explanation of the album's title, Withers can be seen on the album cover writing a paragraph which you can read here.)

THIS RECORD WILL MAKE YOUR @$$ MOVE

Nick Curran And The Lowlifes: Baby You Crazy
From Reform School Girl (Eclecto Groove, 2010)

A couple weeks ago I was passed this new Nick Curran And The Lowlifes' album out of the blue. After a busy few weeks, I finally got a chance to listen to it tonight. Straight out the gate they cover Etta James' “Tough Lover,” which you can hear over on their MySpace page. It takes some stones to cover Etta as she has more than her fair share of sass. Curran and his band more than fill the shoes, though, right down to the '50s howl that Little Richard popularized. They don't really flip it much from the original, but it's well done.

The album is a '50s party from beginning to end even as they give a sock hop feel to AC/DC's “Rocker” to close out the album. Curran has some blazing solos showing off his guitar skills on this one. The drummer's foot had to be about ready to fall off after this minute-and-a-half of scorched wax. Having recorded the album on old analog equipment gives the album authenticity as it sounds like it could have been from some old 78 you found at a neighborhood garage sale.

“Reform School Girl,” with its rhythm n roll and jump blues roots, brings back to life a genre that doesn't get covered often these days. With retro soul all over the place, it's nice to see that a group hasn't forgotten this exciting early rock sound. What's more is that they do it with such pizzazz that they don't just go through the motions, they stand tall with their rock forefathers and might very well have been legends today had they been doing this 50 years ago.

AFRO ROCK AND AFROBEAT ABOUND

Steele Beautttah: Africa
From VA: Afro Rock, Vol. 1 (Strut, 2010)

March 16th will see the reissue of a previously out-of-print compilation (originally issued by indie Kona) highlighting African funk and soul. Its original issue helped to spark a surge to mine music from the Motherland. One song by Jingo (“Fever”) will at least sound familiar if you've seen “The Last King Of Scotland.”

Steele Beautttah's “Africa” provides an excellent example of the general feel of the album. In an ode to his home continent, Beautttah takes pride in singing praise to Africa. A funky flute loop accompanies the singer in the chorus. Three-fourths into the song a guitar solo pops up before we're lead to the song's exit through the chorus once again.

The album bounces around to different countries – Zaire, Kenya, and Nigeria – to provide a crash course in Africa's brand of soul. While these countries each have their own distinct culture, they are linked together by a similar course in rhythm and tempo. Get a bonus track by the Latapaza Band that isn't featured on the album from Strut. Act now, before it's taken down!



Dan Satch And His Atomic 8 Dance Band: Woman Pin Down
From VA: Black Man's Cry: The Inspiration Of Fela Kuti (Now Again, 2010)

To be clear, this CD/LP is not a collection of work by famed Nigerian Fela Kuti (as I thought it would be when I first saw that it was being issued). What it is, however, is a collection of songs of artists who were inspired by his work and message. Guess I should have taken the “inspiration of” part of the title a little more to heart.

The latter fifth of the album collects a few recent pieces that pay tribute to Fela. Two have been released within the last 18 months and feature Jay Whitefield through 2 musical projects he's been involved with: The Whitefield Brothers and Karl Hector & The Malcouns.

Throughout the rest of the album is older material from the likes of Bola Johnson, Jerry Hansen, and Dan Satch & His Atomic 8 Dance Band. The Satch track is classic Afrobeat with its conga-laden background. The lead vocals are geared more toward message than to wow you with range. The same can be said for Johnson's “Hot Pants,” in which he sings in both English and Yoruba. It's almost a patois, of sorts, of African language. “Hot Pants” tempo is similar to the Satch number, which could explain their order back-to-backon the disc.

The overall design of the packaging is quite nice (I have the CD copy) with its book-like cover and binding. My only complaint is that the disc was hard to get out from the tight sleeve. I didn't want to stretch the sleeve, but at the same time I nearly had to just to get the disc out. It's a small misfire in an otherwise exemplary showcase for music and knowledge as afforded us by the extensive liner notes contained within.

JACK JOHNSON AND FRIENDS HELP SAVE THE WORLD?

There's a new compilation called 1% For The Planet featuring numerous indie artists (Josh Ritter, Angelique Kidjo) as well as household names like Jackson Browne, Jack Johnson, and G. Love And Special Sauce. 41 tracks in all.

You can see more videos about the movement and the music over on their YouTube page. Aside from helping to create more awareness about environmental consciousness and supporting non-profits dedicated to improving our environment, you get tons of great music for under $10.

Note: It's a digital release only, available at all major digital outlets including Amazon and iTunes. Select independent B&M stores have a recyclable download card that you can use to obtain the album via download.

RECORD STORE DAY 2010 COMING...

The annual Record Store Day to celebrate indie record shops is coming this April 17. The only special release I've heard of so far is a Paolo Nutini Live EP (4 songs), although there is sure to be more to come.

Get ready to support your local (and web) indies! For more info, check out the official Record Store Day website.

DETROIT SOUL IS MORE THAN JUST MOTOWN

The New Holidays: My Baby Ain't No Plaything
From VA: Westbound Detroit Northern Soul (Ace/Kent, 2010)

To some, Motown was Detroit. To others, it was the home of some – but not all – of Detroit's great soul music heritage. Ace/Kent recently released a compilation highlighting some of the lesser known, but not lesser quality, soul songs to come out of Detroit. Instead of the more pop-oriented soul that Berry Gordy saw fit to unleash upon the world, Westbound released more traditional sounding soul. In later years, much of this style of soul was classified as Northern soul.

Much of the material falls within the first few years of the '70s, although a few songs were cut at the tail end of 1969. The set starts off with a stomper in Denise Lasalle's “Do Me Right.” With a rhythm section that keeps your foot tapping, horns accent the mixture to keep the momentum going. Denise appears a few songs later in a duet with Abe Tilmon, the lead singer of the Detroit Emeralds (who also appear on the disc), in “Ain't That Lovin',” a track that was previously unissued.

Both Denise and the Emeralds had taken a sabbatical down to Memphis to record some music with Willie Mitchell. Apparently, that influence was carried back as there is more than one song on the compilation that has a bit of that fat backbeat sound. Take Damon Shawn's “Feel The Need,” itself a remake of a previous album cut belonging to the Detroit Emeralds, whose intro cries of the the late Mitchell's handiwork, albeit slightly sped up. Mitchell would've slowed it down a touch to give it more breathing room, but in its faster-paced presentation it also works well. In other Memphis inspired material, Caesar Frazier does his best Al Green vocal interpretation. The music doesn't necessarily remind you of the Hi sound, especially the chorus, but Frazier's inflections along with his enunciation and cadence lean heavily on Green.

The compilation fares its best with songs that do have a distinct Detroit sound to them. The New Holidays, whose music has been brought back to awareness as Mayer Hawthorne covered “Maybe So, Maybe No” last year, with their doo-wop inspired “My Baby Ain't No Plaything” is pure soul goodness. It's happy-go-lucky in sound, although the lyrics are a warning to potential competition encroaching upon the lead's girlfriend.

It's quite an accomplishment when a compilation features a song by Funkadelic (in tamer form from the psychedelic trip they'd wander off for a couple years later) that gets nary a mention and names like Denise LaSalle and Damon Shawn attract the focus. Compilations don't have to feature eight #1 hits that have been beaten to death to be a pleasure to listen to throughout. It's nice to be introduced to new-to-you music, even if it is 40 years old, as this set proves through its 26 tracks.

THE T.A.M.I. SHOW ON PBS

Billed as "the first concert movie of the rock era," many PBS stations will be airing this show which hasn't been seen in decades this weekend! It features huge names from the '60s (it was filmed in 1964) such as The Beach Boys, Chuck Berry, Jan and Dean, Smokey Robinson and the Miracles, James Brown, The Rolling Stones, and Marvin Gaye just to name a few.

Check your local listings for it to air this weekend, most likely on Saturday in most markets.

If you do happen to miss the PBS airing, you'll be able to purchase it at your local music stores or favorite online outlets on March 23.

SONG OF THE DAY: MARCH 5, 2010

Donovan's "Atlantis" from 1968. There was a guy named Paul McCartney who provided some background vocals on this track. Not sure if anything else ever came of Mr. McCartney, but his presence on this one is surely felt. If only someone else had believed in him, I think he definitely could have cracked the top 10 at least once.

On a serious note, I dig the spoken word intro that lasts nearly 2 minutes. It really helps to build the song before its release. It's certainly a different approach, and one you don't hear in pop music today.

SONG OF THE DAY: MARCH 3, 2010

Came across this song today by B.o.B called "Put Me On." With his cadence and voice, he sounds a bit like Phife from A Tribe Called Quest on this particular song. I checked his MySpace page, and he does have more to him than just trying to fit in with a backpack crowd. "Put Me On" certainly appealed to me the most, however.

-Familiar sample - check (definitely paying homage to ATCQ without overly biting)
-Sing-songy hook - check
-Radio friendly - check. (When was the last time you heard a hip hop song that didn't have to be majorly altered or have suggestive lyrics littered throughout?)

If you like the song, you can also vote for the video on mtvU's The Freshmen.

TAKEN ON A VISUAL JOURNEY

From Celestial Navigations (Numero, 2010)

The Numero brand has been expanding beyond just music in their quest to become the new Folkways, as Numero's Ken Shipley has compared Numero to in the past. Aside from the collectible trading cards of the music acts they've released, they've started to branch out in other directions of the creative world. Late last year, they released “Light: On The South Side,” a book following Chicago nightlife throughout several clubs (a book that was rivaled only by the music that accompanied it) and now they've gone in a completely different direction: film.

In true Numero fashion, they haven't unearthed some lost project of a big name movie director like Roman Polanski. Instead, they've compiled 45 (a curious/coincidental number?) of pieces by Al Jarnow. With their previous releases, the music is so localized that unless you grew up in Columbus, Ohio, or had done a case study on regional arts, you had probably never heard the material. However, some of these Jarnow films most likely are part of the fabric of your childhood if you grew up watching Sesame Street or 3-2-1 Contact in the '70s and '80s, even if you don't remember them by his name prior to watching this collection.

Recently, I got a chance to rap with Michael Slaboch from Numero about this project, which he spent countless hours researching and compiling. What I came away with from our conversation was how inspired and in awe of Jarnow's work he was the deeper he got into it. That's quite a compliment considering Mr. Slaboch went to film school.

It all started when Al Jarnow's son, Jesse, sent Slaboch a YouTube clip of his father's Cosmic Clock. Intrigued, Slaboch asked to see more. After discussing with the rest of the Numero collective, they added it to their board of potential projects to pursue. He knew this project was going to be incomplete without the Sesame Street material. After numerous cold calls, he finally linked up with someone from the legal department of the Children's Television Workshop who was very accommodating. Once that connection was made, Celestial Navigations started to fully take shape.

Many of the films have a heavy science base where Jarnow deconstructs the world, according to Slaboch. It's quite amazing to watch many of these films that employ techniques like stop motion as they unfold. Take Cubits, for instance. A piece like that took thousands of photos and hundreds of individually hand-drawn index cards, which doesn't even take into account the ordering and planning after the shoot. It's truly mindboggling to think about.

Aside from the work put in by the Numero team, they got an assist from Alexander Maxwell, who happened to work at one of the leading color correction companies in the world. Maxwell, a Numero subscriber, lent his expertise in return for being a part of what he called “The Numero Experience.” One of his main duties was to transfer 16mm film prints, an arduous task. The results speak for themselves as this DVD is an artifact to be treasured with Jarnow's independent filmmaking.

For a humble man who never wanted to be a star, the spotlight is certainly on Jarnow now. Numero is even taking the film on tour (their second tour in as many years). Catch them in your city if you can. If you aren't fortunate enough to see it on the big screen, it's just as enjoyable watching over and over in the comfort of your own home.

Jarnow has since turned to computer art and software design over the last couple of decades. Some of his early work such as Computer Test may take you back to early LOGO computer programming on the Apple IIe. His work has been showcased in Exploratorium in San Francisco and The National Gallery Of Art. Artists such as Van Gogh and Picasso get many of the accolades by painting memorable and pretty pictures, but artists like Escher and Jarnow can really grab your attention with not only their visual astuteness but their keen eye to draw you into their world. The results are truly inspiring.