Record Racks

LEARNING THE HARD WAY NEVER SOUNDED SO EASY

noreply@blogger.com (Eric Luecking) — Thu, 15 Apr 2010 02:43:00 +0000

Sharon Jones And The Dap-Kings: I Learned The Hard Way
From I Learned The Hard Way (Daptone, 2010)

Sharon Jones And The Dap-Kings have built a reputation over the past decade of being purveyors of the classic, mostly '60s, soul sound. A lot of their previous material, in my opinion, has leaned heavily on cloning that sound, albeit in a very good way. “I Learned The Hard Way,” on the other hand, seems more fresh and contemporary in using that sound as an inspiration instead of the foundation and is a great step forward for the collective.

The album has great synergy between all parties involved. The background singers interplay with Sharon throughout, especially apparent on the title track, while teaming up to address the one who left them scorned. It's not so much a call and response as it is tag team affair.

One of my favorite moments in the entire record is the outro of “Better Things” with the harmonizing on the fadeout featuring the background singers repeating the hook, “Better things to do/Than to remember you,” over and over while Sharon Jones ad libs. It's a classy touch that brings back a slight '60s touch that last for all of about 20 seconds, but it's such a nice nuance.

The blistering “Money” (not a cover of the Barrett Strong song of the same name) is one of the most aggressive and original tracks the group has done with its socially thematic premise. It's a step away from the love theme they've covered in various ways over three previous albums. Come Record Store Day, you'll also be able to find this as a b-side as a cross promotion with the Budos Band's cover of The Beatles' “Day Tripper” on 7-inch wax.

On a different vibe is the closing track, “Mama Don't Like My Man,” which is an acoustic affair that is stylistically different from anything I've heard from the band. If you weren't paying attention, you would think you were listening to a lost Naomi Shelton And The Gospel Queens track given its churchy feeling with handclaps providing the rhythmic timing. Upon first listen, I swore Edna Johnson, Bobbie Gant, or Cynthia Langston of The Gospel Queens were providing background vocals. To my surprise, they weren't featured, however.

Many of the Dap-Kings crew get a writing credit on the set including Tommy “TNT” Brenneck, Bosco Mann, Dave Guy, and Homer Steinwess. The group has certainly developed their own style as you hear bits and pieces that make you recall the Menahan Street Band, which features many of the same players.

It wouldn't be a modern release without spreading several bonus tracks over to different retailers. It's not a practice I'm fond of, but at least you have the option to buy the tracks individually.

Bonus tracks:

Without A Trace (Amazon)
He Said I Can (iTunes)
When I Come Home (Daptone) (If the 30-second clip from the Daptone site doesn't give you all you want to hear, you can also hear the full version of this at Rolling Stone's site.)

SONG OF THE DAY: April 13, 2010

noreply@blogger.com (Eric Luecking) — Wed, 14 Apr 2010 02:22:00 +0000

Edie Brickell: A Hard Rain's Gonna Fall
From Edie Brickell And The New Bohemians: Ultimate Collection (Hip-O, 2002)

Perhaps one of my favorite covers of all time is Edie Brickell's cover of this Bob Dylan classic. It may be better than the original. At the very least, Brickell's singing voice is an easier pill to swallow. The New Bohemians do a great service by not overplaying the arrangement and simply letting it ride.

Originally, this song appeared on the soundtrack to Oliver Stone's “Born On The Fourth Of July,” which is apparently now out of print.

MINIMAL WAVE, MAXIMUM EFFECT

noreply@blogger.com (Eric Luecking) — Tue, 13 Apr 2010 02:45:00 +0000

Crash Course In Science: Flying Turns
From The Minimal Wave Tapes, Volume One (Stones Throw, 2010)

The '80s aren't my favorite period of music, which is funny considering that was the era of my formative years. Pop music just was not in a good space throughout most of that period, in my humble opinion, although to be fair there was some great music, too.

One of my beefs with the '80s is that new wave was never a big sub-genre I cared to hear. A few weeks ago I got a promo of this set and popped it in the player even though I wasn't sure it would do much for me, but what can I say? - I'm a whore for music.

My impression overall for the musical performances themselves were what I'd call historically futuristic. The vocals certainly sound dated typically, and to an end the production does, too. There's just something about the way they use some of their synths in these tracks that sounds like something that you could hear at a rave alongside some techno here in the present. I can only imagine the effects that listening to them while under the influence of your drug of choice (not that I'm promoting that lifestyle).

For example, “Flying Turns” by Crash Course In Science on first listen doesn't sound like it was created in 1981 (minus the vocals). Those computerized, fuzzy tones that blast throughout sound like something Timbaland would have cooked up for Justin Timberlake's “Futuresex/Lovesounds” sessions as some sort of bastardized version of “Sexyback” or as a second movement to the track. (Don't front, you know that shit was/is hot no matter how many times you heard it on the airwaves).

The entire compilation has its roots in the “wave” movement whether you want to call it new wave, minimal wave, whatever. These tracks earned their name with their minimalist approach to the music as well as to their original distribution, which was either vinyl or cassette (yikes!). Whether or not they have stood the test of time – and some of these tracks have done that more than others – isn't so much the issue as is the premise of collecting a capsule of the experimentation of the period, like it or not – and this set in particular was more hit than miss.

If songs like this pique your interest, there's plenty more where they came from via Minimal Wave (the label) curator Veronica Vasicka who releases them on vinyl only. She also runs her own show on East Village Radio, a station we've highlighted here previously on Record Racks.

JAZZ AT ITS ABSOLUTE FINEST

noreply@blogger.com (Eric Luecking) — Sat, 10 Apr 2010 03:28:00 +0000

PE Hewitt Jazz Ensemble: Cat House Blues
From Winter Winds – The Complete Works: 1968-1970 (Now Again, 2010)

Phil Hewitt, aka PE Hewitt, is not a well-known music figure these days even though he has performed at The White House in his lifetime, an honor not bestowed upon just anyone. Despite that, he's never acquired a great renown. Perhaps it was because he only had a paucity of his albums pressed between 1968 and 1970. We're talking a maximum of 100 copies, and that was only for the last album of three (“Winter Winds”). The first two albums were in a press of only 50. Suffice it to say, if you have an original of any of these, you have quite a collectible.

For the rest of us, though, all three have just been reissued on wax and disc. The packaging shows what a labor of love this was for Now Again, with its replica of the original artwork as the mini-LP sleeves show for the CD version.

It would all be for naught, however, if the music wasn't up to par. What is mindboggling is that this music was composed by a teenager – A TEENAGER! - back in 1968 through 1970. The first two albums, “Jawbones” and “Since Washington,” have a rootsy feel as found on the bass line and swinging rhythm on “Cat House Blues” (from “Jawbones,” the first album in the series). The liner notes label the first two albums as more inaccessible compared to the third, although I feel they're more true to what people typically think of when they think of the sounds of jazz. “Since Washington” follows in many of the same footsteps as “Jawbones” with a grooviness you might pine for from quintet at a jazz festival.

With “Winter Winds,” the album not the collection, Hewitt moved in a more Gary McFarland approach with the scat vocals that were written and then performed to perfection by vocalists Nina Scheller and Sonia Valldeparas. The sound is a bit more pop-jazz, if you can call it that, mostly which can be attributed to the vocal stylings. The material sprawls across emotional boundaries from the heartbreaking “Ill Love Song” to the bouncy Latin jazz of “Bada Que Bash.”

“Winter Winds,” again the single album, was released last year by Now Again but only as an expensive Japanese import. It was enough to whet my appetite, and after the first listen had me wanting more of Hewitt's music. Now, a year later, you can get the entire 3-disc set for nearly the same cost.

Amazingly, Hewitt turned away from music not long after this fruitful period, a shame given his talent level, to pursue careers that would be more apt to put food on the table such as aviation and photography. While he's quite pleased that the albums are getting to be heard again (or for the first time for many), we, the music consuming public, are the true benefactors of this work.

MAYER HAWTHORNE AND THE COUNTY IN CONCERT

noreply@blogger.com (Eric Luecking) — Mon, 05 Apr 2010 20:50:00 +0000

(Photo from MH's Twitter page. Check the slick red suit!)

Last week, I braved knowing I'd be out late on a work night with the double whammy of already having a cold to catch Mayer Hawthorne And The County stop through my town. After a little medicine got the sniffles under control, I headed out to catch my friend Kyle (part of DJ duo Twinpeaks) do an opening DJ duties to set the mood before the Mudkids provided some local hip hop fare to get the juices flowing, too.

After a slightly later than expected start, Mayer Hawthorne And The County stepped on stage to the famous James Brown intro commonly referred to as “Are You Ready For Star Time?” While this hasn't been Hawthorne and crew's first venture on the road, it was nice to see him bring his band (minus a horn section) to really give a live (figuratively and literally) element to the show. The easy route would have been to have a pre-recorded instrumental while he sang over top of the music. However, he took the high road, and the show was that much better for it. This also allowed him later on to go on some ad libs with the band that were quite entertaining.

The major thing that surprised me was how comfortable Mayer seemed being the front man. While I'm aware that he's been in bands prior to his breakout record, this is the first time he's had all eyes on him. I've seen numerous front men not embrace the role (Dave Matthews, anyone?) with such vigor and professionalism and look so natural at it. Hawthorne was funny and witty while providing great segues, perhaps a show of his DJ prowess of knowing how to move the crowd from song to song.

His bread and butter falsetto was largely abandoned for the show, in part my guess is to keep his voice intact for the length of the tour as well as to have a stronger vocal presence. While it did sneak in occasionally, it was more often than not in the range of songs such as “When I Said Goodbye.” The crowd didn't seem to mind much, though, as nearly everyone at the packed show sang along to every word, aside from one jackass heckler after the first song. (People, if you're at a show, don't be THAT guy. You deserve whatever embarrassment comes your way with that kind of behavior, drunk or not.)

Performing nine of the twelve songs from A Strange Arrangement as well as two b-sides took up a majority of the set list (see below), but he and the band managed to sneak in a few covers such as ELO's “Mr. Blue Sky” (of which you can view a KCRW performance here) as well as a rocked out version of NERD's “Fly Or Die,” where the band got in touch with their inner-headbangers. They also got to show off their performance chops with a few extended takes on songs such as “Green Eyed Love” that lasted well past their album length.

In addition, guitarist Topher Mohr graced us with a nice pop-funk treat in an original of his entitled “Ruthless” (check his MySpace page for a listen). The song has real potential to become a radio hit if given the push. I'm working on getting an interview set up with Topher for a separate piece at a later date.

After the show, the full band (Mayer included) stopped by the merch booth for a lengthy meet-n-greet that was well-received by the appreciative crowd. I got a chance to catch up with Mayer, Quincy (keyboards), Topher (guitar), and Joe (bass) – (Quentin, on drums, was in teardown mode) at the meet-n-greet to discuss how the tour was going. All were pleased with the energy of the crowds night to night and haven't yet hit the proverbial wall during their long tour, which only gets longer with an impending European tour starting in May.

As an aside, I did get an answer to a question I had been wondering about for a while regarding the “Love Is Alright” cover found on the bonus disc of the album. Mayer's version is patterned after the Jesse James take (who is the original writer of the song) instead of the more popular version by Cliff Nobles, whose instrumental version is more well-known as “The Horse.” He explained it was simply that he liked the James version better, in part because it's such a simple and fun song with an incredibly easy one-note bass line as much of the riff.

Set list:

Your Easy Lovin' Ain't Pleasin' Nothin'
Make Her Mine
Maybe So, Maybe No (New Holidays cover)
Shiny And New
I Wish It Would Rain
Ruthless (by Topher Mohr)
One Track Mind
Mr. Blue Sky (ELO cover)
Fly Or Die (NERD cover)
Green Eyed Love
Just A Friend (Biz Markie cover)
Just Ain't Gonna Work Out
Love Is Alright (Jesse James cover)
The Ills

Encore:
When I Said Goodbye
Work To Do (Isley Brothers cover)

STREAM THE NEW SHARON JONES AND THE DAP-KINGS NOW!

noreply@blogger.com (Eric Luecking) — Sun, 04 Apr 2010 18:30:00 +0000

If you're interested in trying before buying the upcoming Sharon Jones And The Dap-Kings album "I Learned The Hard Way," out of April 6, NPR has the full album streaming now.

Variations On A ‘Funky’ Theme…

noreply@blogger.com (Eric Luecking) — Sun, 04 Apr 2010 16:00:00 +0000

As promised, here is the guest post from Larry from The Funky 16 Corners audioblog as he takes us deep into the world of exciting library music. Be sure to check out his site regularly. For my end of the swap, I reviewed The Equatics' reissue entitled "Doin It!!!"

Greetings all.

I was honored when Eric asked me to fall by Record Racks with a ‘guest’ post.

The tracks I bring you today are not only one of the grooviest examples of the ‘library’ music genre, but also represent a peak moment of what might be described as a’micro-genre’, that being reworkings of Keith Mansfield’s ‘Funky Fanfare’.

Keith Mansfield: Funky Fanfare
From KPM 1043 Beat Incidental (KPM, 1969)

Keith Mansfield: Funky Chase
From KPM 1043 Beat Incidental (KPM, 1969)

Keith Mansfield: Funky Flight
From KPM 1043 Beat Incidental (KPM, 1969)

Mansfield as both composer and pianist - often in collaboration with Hammond master Alan Hawkshaw (the man behind the Mohawks) – recorded some truly fantastic music in the late 60s and early 70s (and beyond that), some of it for UK sound libraries like KPM, and some under his own name for a variety of labels (some of which actually saw release in the US).

These ‘libraries’ created musical themes for a variety of uses with the music appearing in the background of motion picture and television soundtracks, behind commercials and public service announcements, and sometimes as just plain old ‘music for listening’.

The selections you’re hearing today are three variations of the ‘Funky Fanfare’ theme from KPM 1043 ‘Beat Incidental’ (from 1969). Though many beat diggers (and listeners in general) may be familiar with certain library themes, until you actually get your hands on one of the albums released by services like KPM or Bruton you don’t realize how brief many of these tunes are.

‘Beat Incidental’ includes more than 20 tracks, very few of them running in excess of two minutes, several – intended as transitional or interstitial themes, running less than ten seconds. The three tracks included here, ‘Funky Fanfare’, ‘Funky Chase’ and

‘Funky Flight’ all run between a minute and a minute and a half, and are all variations on the same instrumental theme.
‘Funky Flight’ is mainly percussion and guitar, ‘Funky Chase’ repeats that, adding vibes, and ‘Funky Fanfare’ the main theme - and no doubt the most familiar - leads with the Hammond (probably Mansfield himself, since Hawkshaw is not credited).

I’ve always found it interesting – at least since I discovered library music – how many of these pieces (including those by Mansfield, Hawkshaw, Syd Dale, John Dankworth and Johnny Pearson*) transcend their utilitarian roots and jump into another dimension entirely. Perhaps it has something to do with their original creation having to do with evocation of a particular mood, or more likely that having done so, they were appropriated by other sources where they entered the public imagination in an unforeseen way. Pearson’s ‘Heavy Action’ (from KPM1136 Industrial Panorama, go check it out on iTunes) entered a huge number of American homes in the 1970s as the theme to Monday Night Football.

If ‘Funky Fanfare’ is indeed familiar, it’s because the theme was reworked more than half a dozen times over the period of a few years, in a fairly wide variety of settings. If you take a close look at the label, there’s a reference to another version (under the ‘Funky Fanfare’ title) on KPM1038. This version was recorded with a much bigger band, includes slightly funkier drums and was used in (but not included on the soundtrack for) Quentin Tarantino’s ‘Kill Bill’, where it was used as I remember it from my childhood, as the background to a coming attractions interstitial from the movies.

Mansfield himself recorded the theme – retitled as ‘Soul Thing’ – on his 1969 ‘All You Need Is Keith Mansfield’ LP (released in a few different countries) with his piano in the lead, opening with a very tasty, very crisp drum break. The tune was recorded again as ‘Soul Thing’, in an arrangement approximating the KPM1038 version of ‘Funky Fanfare’ in 1970 under the name of drummer Tony Newman, with a Hammond lead that sounds a lot like Alan Hawkshaw.

Oddly enough there’s yet another instrumental version of the tune, a progressive/psyche interpretation by a Steve Hillage project called Arzachel. They take the tune at a very slow pace, renaming it ‘Queen Street Gang’.

There was also a vocal version of the song entitled ‘House of Jack’ with lyrics by R. Chris Murphy added to Mansfield’s music. As far as I can tell the original vocal version was recorded in the UK by James Royal, then again by Paul Raven* (later known as Gary Glitter) and yet again in the US (in 1971) by a largely anonymous group called The Establishment, released on the King label (probably the easiest of the three to find).

There’s also at least one other version (which may be the same as the KPM1038 recording) under the name of the Carnaby Street Pop Orchestra, which I understand to be basically repackaged (possibly remixed) Mansfield/ KPM content.

No matter how you cut it, Mansfield’s little creation has had a remarkably fruitful life, which is probably why it’s become an ear-worm of sorts, having come to represent a palpable slice of late period Swinging London (or anywhere else for that matter).

It’s interesting to hear Mansfield play with the basic theme in the three KPM1048 tracks. There are two more ‘Funky’ tracks on that album (‘Funky Link 1’ and Funky Link 2’), but neither one of them lasts more than seven seconds.

I hope you dig the sounds.

Peace

Larry

*I’ve never heard the Paul Raven version, but I have seen the label and the lyrics are credited to ‘Raven’, so it may in fact be yet another iteration of the tune

PS Make sure to check out the ‘World of Kane’ blog where Youtube clips of a number of the versions mentioned above are posted (and a few more in the comments) here.

RECORD STORE DAY 2010 RELEASES

noreply@blogger.com (Eric Luecking) — Thu, 01 Apr 2010 22:12:00 +0000

I found this list on the Record Store Day website. Looks like a lot of goodies this year in many genres. A little something for everyone such as John Lennon, Elvis Presley, Beastie Boys, Wilco, Weezer, Sharon Jones And the Dap Kings, and more!

A DIFFERENT KIND OF SWAP

noreply@blogger.com (Eric Luecking) — Thu, 01 Apr 2010 02:43:00 +0000

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

noreply@blogger.com (Eric Luecking) — Tue, 30 Mar 2010 02:36:00 +0000

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

noreply@blogger.com (Eric Luecking) — Mon, 29 Mar 2010 02:23:00 +0000

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

noreply@blogger.com (Eric Luecking) — Fri, 26 Mar 2010 02:33:00 +0000

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

noreply@blogger.com (Eric Luecking) — Mon, 22 Mar 2010 01:53:00 +0000

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

noreply@blogger.com (Eric Luecking) — Thu, 18 Mar 2010 02:43:00 +0000

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

noreply@blogger.com (Eric Luecking) — Fri, 12 Mar 2010 18:21:00 +0000

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?

noreply@blogger.com (Eric Luecking) — Thu, 11 Mar 2010 02:44:00 +0000

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...

noreply@blogger.com (Eric Luecking) — Mon, 08 Mar 2010 11:56:00 +0000

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

noreply@blogger.com (Eric Luecking) — Sun, 07 Mar 2010 07:30:00 +0000

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

noreply@blogger.com (Eric Luecking) — Sat, 06 Mar 2010 01:22:00 +0000

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

noreply@blogger.com (Eric Luecking) — Fri, 05 Mar 2010 17:00:00 +0000

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

noreply@blogger.com (Eric Luecking) — Thu, 04 Mar 2010 03:11:00 +0000

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

noreply@blogger.com (Eric Luecking) — Wed, 03 Mar 2010 03:50:00 +0000

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.

THE RIGHT NOW AVAILABLE SOON

noreply@blogger.com (Eric Luecking) — Mon, 01 Mar 2010 01:16:00 +0000

The Right Now: Ain't Going Back
From Carry Me Home (Unsigned/Independent, 2010)

Who said pop was dead? Pop music certainly isn't in the best state, artistically speaking, these days. The Right Now are up-and-comers out of Chicago with a decidedly pop sound inflected with soul tinges here and there.

Their debut CD, which they'll be selling on their current tour, as well as other outlets such as iTunes, Amazon, their own website (linked above on the album title), and a few indie shops, officially releases March 3rd. (Side note: they're also releasing a 45 that features a non-album track called “7 To 10.”) The Right Now is a completely self-contained unit. Brendan O'Connell plays various keyboards as well as guitar and had a hand in penning/co-penning every song on the album. Lead singer Stefanie Berecz has an absolutely beautiful voice, both in tone and power. The rest of the band members are no slouches either with a sound best described as clean and polished.

“Ain't Going Back” is definitely the strongest song on the album. Over a funky intro, Berecz comes into the track singing in a sultry voice. Right before the first chorus, the song crescendos into a blaze musically and vocally as Berecz works her pipes with an authority that doesn't let up especially after the bridge.

Much of the rest is catchy, hummable pop such as “Doing Nothing” that reminds me of Rod Stewart's “The Motown Song” with its affable MOR melody that makes you swing your hips along to its poppy soulfulness. “I'll Get Down” gets back to a funkier side with the metronome cranked up as the horn section, especially the saxes, provides an energetic boost.

All in all, this record is about fun, while not sacrificing quality, as The Right Now represents musicianship to the fullest and have crafted a solid album that warrants repeated listens.

You can check out a few more of their songs as well as their tour itinerary on their MySpace page. If you're in Chicago on March 19th, be sure to check out their CD release party/show at Lincoln Hall located at 2424 N. Lincoln Ave.

JOE CUBA'S BRAND OF LATIN MUSIC

noreply@blogger.com (Eric Luecking) — Sat, 27 Feb 2010 22:21:00 +0000

Joe Cuba: Bang Bang
From El Alcalde Del Barrio (Fania, 2010)

The one thing I've always admired about Latin music is that the band and singers always sound like they're having so much fun. It's contagious, really. Case and point: the opening of “Bang Bang” by Joe Cuba with his talented crew in tow with their “beep beep” chant in unison, which Donna Summer and her producer's must have been listening to prior to recording Bad Girls.

Cuba brought his brand of boogaloo from his corner of Spanish Harlem to the masses, many through collaborations with Cheo Feliciano and Willie Torres. One such track, “Componte Cundunga,” features a sweet workout on the timbales that maintains a danceable groove throughout.

One of the main reasons Cuba was able to succeed was that he had songs in both English and Spanish. This allowed him to have crossover appeal as well as help the boogaloo scene expand to non-Latin audiences. In crossing over, though, he still was able to keep true to the sound of his music, a pitfall for many artists who try to go down that path. “Swinging Mambo” with Willie Torres is one such song in which the lyrics are in English. Their take on the mambo is less focused on lyrics than it is on rhythmic feel where it fully succeeds.

For those looking to expand the breadth of their music collections into more worldly grooves, this 2-CD set is an excellent place to start.

HENDRIX EXCLUSIVE SINGLES

noreply@blogger.com (Eric Luecking) — Sat, 27 Feb 2010 02:06:00 +0000

In advance of the upcoming album, Valleys Of Neptune of previously unreleased studio material from Jimi Hendrix, there are a couple of retailers who have singles (yes, those still exist) - one CD and one vinyl. Each include a bonus track not found on the other.

1. Wal-Mart is offering a CD single (remember that format?) featuring "Valleys Of Neptune" (the song) plus a b-side entitled "Peace In Mississippi," which if I'm not mistaken was originally released on the LP "Crash Landing" in the mid-70s ('75?). The b-side is an absolute killer rock instrumental with Hendrix showing off an almost heavy metal flare. From what I've read, this single is limited to 15,000 copies and is only available at the brick and mortar stores. Sorry online shoppers. The good news is that its pretty cheap. I picked one up at my local Wal-Mart for $1.88.

UPDATE: I completely forgot to mention that there's also a code in the Wal-Mart CD single to download a live version of Red House (played at Clark University).

2. Amazon, among other places, has a limited edition 45 also featuring "Valleys Of Neptune" as well as a b-side called "Cat Talking To Me." I haven't personally heard this version, but feel free to chime in if you have. No word on how many copies of this were pressed.

As far as bonus tracks, iTunes will have 2 bonus tracks not found on the regular physical copy of the full album: "Slow Version" and "Trash Man".

It will be interesting to see if indie shops score something completely different or any of these songs previously mentioned as a bonus giveaway.