soul sides

TEARS ON YOUR PILLOW

2009-02-14T08:19:00.001-08:00

(originally written for Side Dishes)

Don't say I'm not romantic or anything but as we're about to get buried underneath an avalanche of saccharin lovey-dovey-ness because of Valentine's Day, I thought it was fair to point out that, really, the best love songs are about falling out of love, not into it. New love is great and blah blah blah but nothing says passion and desperation like heartache does. That's why, for V-Day, I threw together a special Tears On Your Pillow set of songs for those who know that no love is so sweet as that which you no longer have.

William Bell: I Forgot To Be Your Lover
From Bound to Happen (Stax, 1968).

I don't know if you can properly call this single "unsung" considering that it appeared on two different William Bell albums and was covered by Jaheim a few years back but to me, it's always a bit of a sleeper song, certainly nowhere near as well-known as Bell's early hit, "You Don't Miss Your Water." Regardless, it has one of the most memorable opening guitar lines I've ever heard, ringing with a melancholy that suffuses the entire song as Bell bemoans his lack of attention and affection.

Darondo: Didn't I
From Let My People Go (Ubiquity, 2006)

An erstwhile singer turned pimp turned talk show host, the Bay Area's Darondo was an enigma until recently, when aficionados of his early '70s sweet soul and funk singles rediscovered him living in Sacramento and helped to resurrect his career. "Didn't I" is the crown jewel of the handful of singles he recorded back in the day, a super-stripped down yet incredibly powerful ballad of wistfulness with just a hint of desperation. Makes you wonder how anyone could have left someone who could sing with that kind of intimacy and intensity.

Lezli Valentine: Love on a Two Way Street
From 7" single (All Platinum, 1968).

Long before Sylvia Robinson put together "Rapper's Delight" in the late 1970s, she was a successful singer and songwriter in the '60s, creating a massive R&B empire in New Jersey. She helped pen "Love on a Two Way Street," a memorable ballad which makes good use of its transportation metaphors (how often does one get to say that?). It was a decent hit for the Moments but originally recorded by Lezli Valentine, a little-known singer signed to Robinson's All Platinum imprint. The two versions are very similar, musically, but while the Moments' falsetto approach works well enough, it's different hearing an actual woman's voice tackle it, especially one as rich and nuanced as Valentine's.

Binky Griptite: You're Gonna Cry
From 7" single (Daptone, 2008)

Just to show you that soul artists today can still knock out a good tearjerker in the tradition of the classic R&B troubadours, the Dap-Kings' guitarist, announcer and emerging vocalist Binky Griptite turns in a beautiful, slow burner of a break-up tune. Make sure to listen to the end as Griptite delivers a coup de grace of a line. Brrrr...it's chilly!

The Kaldirons: To Love Someone (That Don't Love You)
From Twinight's Lunar Rotation (Numero Group, 2007)

One of the rarest singles ever released on Chicago's incredible R&B label Twinight, "To Love Someone" is one of those songs that deserved to have gotten much more shine that it did in its day. It's a masterful, midtempo arrangement of strings and hints of piano, meshing perfectly with the soaring, falsetto voices of the Kaldirons who lament the impossibility of unrequited love. I have to admit - the song feels surprisingly uplifting despite its dour subject matter and it's one of the few "love lost" songs that I can honestly describe as "feel good."

Nancy Holloway: Hurts So Bad
From Hello Dolly (Concert Hall, 1967)

To close out, I went with the hammer blow that French singer Nancy Holloway delivers on her cover of Little Anthony and the Imperials' 1965 hit, "Hurts So Bad." Producer Daniel Janin gives the tune a slight funk makeover with those dramatic basslines and brass section but it's Holloway who is the undeniable force of nature here, pouring what feels like a lifetime of desperation into a little less than four minutes.

OH, THAT VOICE!

2009-02-12T19:34:00.000-08:00

Caroline Peyton: Donkey Blues
From Intuition (Asterisk, 2009)

Numero and its subsidiary Asterisk always seem to dig up some fun bits. While primarily known for soul comp reissues, they have also put out several intriguing folk comps. Caroline Peyton made her Numero debut on the Wayfaring Strangers compilation but sees a more expansive treatment on these full lengths, albums originally released in 1972 and 1977, respectively. Fall Out had reissued Intuition in 2007, but Asterisk one ups them with a release that features 7 bonus tracks.

Whereas Mock Up is more in the traditional folk vein, Intuition has more variegated tones. While the latter has a fleck of country here and a smidgen of blues there – and even a hint of disco, the voice is still the star of the show. The prime example shows up on the bonus video on Mock Up where she sings “Call Of The Wild,” a track that appears on Intuition, at a small nightclub . The album version is a nice piece, but after hearing the live acoustic version, you keep going back to it for more. She's so vocally diverse that she can pull off guttural soul sister sass on “Donkey Blues” while the harmonica wails and not sound like she's overstretching her bounds.

I was reminded of Carole King (especially on Mock Up), Laura Nyro, and Linda Ronstadt while listening to these albums. Caroline's voice has so many rich, warm tones that can bend to whatever the arrangement calls for, and she sings with such unassuming confidence. It's no wonder that she's remained in the industry, albeit in a place you wouldn't expect – singing for Disney movies.

Edd Hurt has written excellent liner notes detailing the backstory featuring her roots in the Bloomington, Indiana, scene with musical writing partner Mark Bingham. While she never hit it in the bigs, she shouldn't be relegated to obscurity. Unheralded doesn't have to go hand-in-hand with unappreciated; it just means that we have to dig a little deeper.

JUST IN TIME FOR VALENTINE'S DAY

2009-02-11T14:15:00.000-08:00

My man Beto puts together a small V-Day Latin mix: 8 Canciones Del Amor (songs of love).

THIS THURSDAY NIGHT

2009-02-10T21:50:00.000-08:00

SUITE FOR MA DUKES: 2/22/09

2009-02-09T18:24:00.000-08:00

Next in the Timeless series, following on Mulatu Astake's performance from the other week, is "Suite for Ma Dukes," a four-part suite celebrating the career and life of J-Dilla (whose birthday would have been tomorrow) by Carlos Niño & Miguel Atwood-Ferguson.

I admit, I was a bit skeptical as to what this would sound like - the idea of having a 36 piece orchestra playing compositions inspired by J-Dilla felt like it could be an aesthetic mish-mash, like when bands try to recreate hip-hop beats. But I was very pleasantly moved by the songs I heard from the EP which, far from trying to work in a hip-hop vein, are fully fleshed out jazz compositions that borrow aspects of Dilla's tracks without being strictly beholden to them (or their original samples).

Here's some streaming audio of one of the Suite's best songs:

The EP itself is currently available on iTunes and will be released on LP/CD in April (pre-order here).

The performance will be on February 22nd (Sunday night) at the Luckman Center (Cal State LA campus). I should have some tickets to give away for it as we get closer to the date.

CAROLYN FRANKLIN: DYNAMITE, BABY

2009-02-08T22:42:00.001-08:00

Carolyn Franklin: I Don't Want to Lose You
From Baby Dynamite (RCA, 1968)

Carolyn Franklin: You Really Didn't Mean It
From Chain Reaction (RCA, 1970)

Both on Sister Soul: The Best of the RCA Years.

Carolyn Franklin: Deal With It
From If You Want It (RCA, 1976)

(Originally written for Side Dishes)

The fates of the Franklin sisters - Aretha, Erma and Carolyn - comprise a classic American tragedy. One, Aretha, would go onto spectacular fame and worldwide acclaim (big bow and all) while her sisters, Erma and Carolyn, had brief careers as recording artists but never enjoyed anywhere near the same success. Far worse though, both succumbed to cancer - Erma survived into her 60s, but Carolyn passed away at only 43.

The youngest of the three, Carolyn may have been in her sisters' shadows but she also contributed to both their careers as a songwriter. Especially for Aretha, Carolyn helped co-write her enormously successful "Save Me" and was also behind the mesmerizing torch song, "Ain't No Way." This video (alas, the quality is quite degraded) shows Aretha and Carolyn rehearsing an early version of the song and Aretha makes a special point to big up her little sis.

Carolyn released a handful of singles in the mid-1960s but it wasn't until 1968, when she signed with RCA, that she had her first major opportunity to make it on her own. What is readily obvious from any of her recordings in that era is that she was not trying to follow Aretha's footsteps in either singing or sound. Carolyn wasn't blessed with the singular voice that her older sister had but she shows the influence of good training and natural ability to project herself with power and clarity.

"I Don't Want to Lose You" was one of her first singles for RCA and the very beginning reflects Carolyn's deep gospel roots with a slow-building opening of multi-part choral harmonies that then shifts into a slinky mid-tempo funk tune that allows her to demonstrate why her debut LP was called Baby Dynamite.

"You Didn't Really Mean It" comes from Carolyn's second album, Chain Reaction and this power ballad shows some of the creative production and arrangement details her collaborators Wade Marcus, Jimmy Radcliffe and Buzz Willis (amongst others) put into the effort. Listen to the force of the brass section which is used sparingly but wisely and Carolyn flows into the song with passion and intensity.

I end with a song off of Carolyn's 1976 album, If You Want Me. With a feel reminiscent of Aretha's "Rocksteady," Carolyn lays down a slice of funky soul that's become a favorite amongst connoisseurs. Alas, this would be one of her last albums; she stopped recording on her own after this point and within 10 years, she was gone, undersung but not unaccomplished.

BLOSSOM DEARIE: FAREWELL

2009-02-08T20:32:00.001-08:00

Blossom Dearie: I Like London In the Rain (edit)
From That's Just the Way I Want To Be (Fontana, 1970)

Blossom Dearie: Sunday Afternoon
From Blossom Dearie Sings (Daffodil, 1973)

Undoubtedly, one of the most unique voices in jazz history - you wouldn't think something so seemingly delicate and girly could hold a tune but year after year, Dearie proved us otherwise. She'll always form an indelible part of my youth thanks to this classic from the Schoolhouse Rock series:

Rest in peace, Dearie.

SISTER ROSETTA THARPE: MAKING THE GUITAR TALK

2009-02-08T00:18:00.000-08:00

Sister Rosetta Tharpe: Beams of Heaven + Ain't No Grave Hold My Body Down
Both available on The Original Soul Sister.

For your reading pleasure: Shout, Sister, Shout: The Untold Story of Rock-And-Roll Trailblazer Sister Rosetta Tharpe

Update 2/8/09: Tharpe has a grave marker now! Long overdue but better late than....

I came from a talk at USC on Friday given by one of my favorite music scholars, Gayle Wald of George Washington Univ. Wald was there to talk about her new book, a biography of gospel/blues/rock n' roll/R&B great Sister Rosetta Tharpe.

A gospel powerhouse (overshadowed by Mahalia Jackson) and rock n' roll pioneer ("borrowed from" by Elvis Presley and Chuck Berry), Tharpe transcended easy genre categorizations; perhaps one reason why her legacy hasn't been as widely recognized or cherished as other contemporaries. I think she's a fascinating icon of cultural liminality - someone who never fit cleanly in any one category and as a result, was often too ahead of their time to earn the recognition that, in hindsight, we pay people like her, Betty Davis, Joe Bataan, etc. During the talk, Eric Weisbard suggested during the Q&A that perhaps Tharpe could be better understood as a pioneering pop star - not in terms of her musical sound but because she was so literate in different musical styles and this helped propel her to superstardom in both the U.S. and Europe. (Wald talked about Tharpe's third wedding, a huge public event in Washington D.C., held at a baseball stadium. She was doing arena rock before the term became known!)

There were some interesting parallels between her life and that of blues giant Bessie Smith: both were these larger-than-life musical figures, Black women (and bisexual) who ended up being buried in Philadelphia, in an unmarked grave. ~~Wald is starting to organize a campaign to buy a gravestone for Tharpe; if you're interested in contributing, go here.~~ (See above)

Of the two songs I included, both are available on one of the recent boxsets that have been devoted to Tharpe. One of the songs is "Beams of Heaven," a song that also features Tharpe's long-time musical partner Marie Knight (and Wald selected this as as one of her two favorite Tharpe songs). As for the other...I figure the title is self-explanatory, a statement on the power of Tharpe's presence and legacy. Can't stop, won't stop.

For a great bonus, check out this 1960s video of Tharpe performing "Up Above My Head" on a gospel t.v. show. It's one of the few surviving films of her performing. Dig that guitar solo in the middle! You can see how striking a performer she was, especially in an era where most Black women were seen as torch singers or maybe pianists...here stands Tharpe with an electric guitar, with a raspy, piercing voice, perfectly comfortable seizing center stage.

NEED A TURNTABLE? $50 ON WOOT TODAY

2009-02-05T09:20:00.001-08:00

I've never tried out the Ion turntable before so I can't speak from direct experience but I'm assuming it's probably a decent, usable portable player. Obviously, not some high-end, audiophile model but if you've been thinking of getting a basic turntable, here's a good opportunity.

On Woot but only for today.

BY REQUEST: HUEY LEWIS AND THE NEWS

2009-02-03T19:41:00.001-08:00

Huey Lewis and the News: Power of Love (unreleased alternative recording)

This one's for the guy who keeps requesting Huey Lewis!

BY REQUEST: SALSA WITH A SIDE OF FRUKO

2009-02-02T14:02:00.000-08:00

Wayne Gorbea Y Su Conjunto Salsa: Dejame Un Lado
Fruko Y Sus Tesos: Fruko A Lo Compadre
From The Rough Guide to Salsa Gold (World Music Network, 2008)

Fruko Y Sus Tesos: Fruko Que Banda Tiene Usted
From Fruko El Bueno (Fuentes, 1975)

Another two-requests-with-one-post...post. We had someone asking for "salsa songs for beginners" and someone else wanted "more Fruko!" and I'm happy to oblige both ways. I should include the disclaimer: given that I've had about one or two salsa lessons, max, in my lifetime, I'm not actually sure what songs are good for beginners but I took my best swing.

As it happens, I recently received a copy of the Rough Guide to Salsa Gold which is part of the Rough Guide's larger series of salsa-related comps (including decent ones on Salsa Dura and Salsa Colombia)) and the idea behind the Salsa Gold series was songs and artists off the beaten path - in other words, don't expect the Fania All-Stars.

I picked two cuts to highlight. The first is "Dejame Un Lado" (leave me aside? My Spanish is terrible) by Wayne Gorbea Y Su Conjunto Salsa. Gorbea was one of the many post-war Nuyorican musicians to come of age in New York, coming of age right around the birth of the salsa movement. "Dejame Un Lado" originally came out in 1978 and what I liked about this cut is the dark but slick feel of the piano and horns and a relatively easy rhythm to fall into.

And since someone wanted to Fruko, this comp actually includes one of this songs, "Fruko A Lo Compadre" (Fruko the Godfather?), which has that classic Fruko/Latin Brothers/Fuentes sound - think prominent piano montunos, a heavy brass section and those shattering timbales. I decided to pair that with another song - coincidentally - off the same original Fuentes LP, Fruko El Bueno - which has an even more infectious piano riff, not to mention those handclaps (which you wish they kept longer into the song). I got to say too - a lot of these Fruko LPs have had songs off of them comped like crazy but strangely, the albums themselves are rarely reissued. Track for track, I'd put El Bueno up there with El Grande in terms of the most consistent of Fruko's 1970s Fuentes albums.

BY REQUEST: SWEET SOUL JAMS

2009-01-30T20:17:00.000-08:00

Soul Children: Move Over
From S/T (Stax, 1969)

Bob and Gene: You Gave Me Love
From If This World Were Mine (Daptone, 2007)

Chuito and the Latin Uniques: Wish I Could
From From the Street (Speed, 1968)

Someone asked for more sweet soul in the vein of Eddie Holman's "This Can't Be True" AND someone else asked for more Soul Children so I figured I'd knock down two requests with one post. I originally was going to do a whole post on the Soul Children but when Isaac Hayes passed, I used that as an excuse to put up a song he penned for them, "The Sweeter He Is" but that left "Move Over," the other song I was going to pair it with, languishing.

First off, yeah, it's been sampled.

Second, man, that piano really is great isn't it? Just the drama of the chord and then how it blends into the incoming horns. I'm assuming that Norman West on the vocals, pouring his heart out before one of his brothers come in to take the reigns (listen to how Norman even tells him, "sing it brother!!!!" around 1:18).

The thing is though: this doesn't really sound like Holman's brand of sweet soul, which is less produced and more haunting - a lonely voice piercing the silence. And if that's the gold standard, then we got to bring back Bob and Gene's "You Gave Me Love," which Daptone Records released in 2007. I mentioned it back then since I wrote about the song for NPR but never did a formal post on Soul Sides for it so...hey, here you go! The backstory of the group is well-worth reading and I won't repeat it at length (it's in that NPR link) but I'll quote this much (from myself): ""You Gave Me Love" conveys all the innocence and yearning of a high-school love letter, and whatever it lacks in gloss, it makes up for in heart."

Both of these songs are also tunes I'd pick to end a gig with which made me look through my "slow jams" section to see what else I could pull out to complete a trio and I went with the song that I ended this past Boogaloo[la] with: "Wish I Could" by Chuito and the Latin Uniques. I have to write a post on Chuito at some point - it's really one of the best Latin soul albums ever recorded, definitely up there with anything from Joe Bataan or Ralfi Pagan's work (in the meantime, read up on it here). The vocalist on this particular song (the album had several English vocalists, including Tony Middleton) is Danny Agosta, who croons with a longing quaking with teenage innocence and earnestness.

By the way, you will have noticed that I've switched using direct links to the songs; I'm doing so because I'm anticipating the forthcoming transfer of Soul Sides from one host to another and it made sense to start putting new songs someplace where they will be "safe" during that transition. Hopefully, it's not an inconvenience for ya'll.

JAY-Z'S SOUL MAKEOVER

2009-01-30T19:02:00.001-08:00

Jay's Soul Connection: Frank's Party Life
From Amsterdam Gangster (MPM, 2009)

Jay-Z: 99 Problems (Prince of Ballard Remix)
From armedsnobbery.blogspot.com (Sep. 2007)

(Originally written for Side Dishes)

I like Jay-Z as much as the next dude but even I was surprised that Netherlands' producer Umatic took it upon himself to remix the six songs off the American Gangster album (now over a year old) with tracks by the Lefties Soul Connection, a deep funk/retro soul band (also Dutch). The result: Amsterdam Gangster by Jay's Soul Connection. I gotta say, I wasn't the biggest fan of American Gangster originally; a lot of the songs felt underinspired but the beauty of these remix projects is that they sometimes encourage you to listen to the songs with new ears. Case in point - I didn't pay "Party Life" too much attention the first time around - it was a cool enough tune but just didn't leave a major impression. Yet, I found myself appreciating the word play better with this flip - something about the change in production put the lyrics in a new light.

There's also something serendipitous about the idea of mashing these groups together. After all, Jay-Z's "Roc Boys" was built around a retro-soul song, the Menahan Street Band's "Make the Road by Walking," while "Success" (another song that Umatic remixes for the Amsterdam Gangster project) is pretty much built straight from Larry Ellis and the Black Hammer's obscure funk 45, "Funky Thing". Coming from the other side, one of the Lefties Soul Connection's first songs that came to my attention was their remake of DJ Shadow's "Organ Donor."

Given the mesh between funky band tracks and Jay-Z acapellas, I also thought about another mash-up project - a blog-only remix of "99 Problems" done by The Prince of Ballard (a Seattle neighborhood) back in 9/07. He took a loop from a Sharon Jones and the Dap-Kings studio performance and threw Jay-Z's verses on top and it totally works. Interestingly enough, that same loop got worked over by Mark Ronson for Solange Knowles' song, "6 O'Clock Blues."

THE SPINNERS: SPIN WITH ME

2009-01-30T18:22:00.001-08:00

The Spinners: It's a Shame
The Spinners: I've Got To Find Myself a Brand New Baby
From 2nd Time Around (V.I.P., 1971)

(Originally written for Side Dishes)

I've been thinking of the Spinners a lot lately, especially since writing about the Philly Int'l boxset which includes a few of the group's big hits with Thom Bell such as "I'll Be Around" and "Could It Be I'm Falling In Love." The group, originally formed in Detroit all the way back in the mid-1950s, charted an interesting course through the R&B world. Considering that their first #1 hit ("I'll Be Around") didn't come until 18 years (and 3 personnel changes) later, you have to admire their perseverance - one that, unlike other groups who never succeeded despite years of struggle, paid off handsomely for the group by the mid-1970s when they rattled off a string of major chart-toppers, especially their duet with Dionne Warwick, "Then Came You."

However, my first introduction to the Spinners came right before their "golden era." They found their biggest success with Atlantic Records (home to Aretha Franklin, Donny Hathaway and many other soul legends at the time) but previous to that, were part of the Motown family. True, they didn't flourish as much during their stint with Motown (signed to the subsidiary V.I.P. label) but they did produce one magnificent hit which remains, by far, my favorite Spinners song of all time: "It's a Shame."

To be honest, I first heard "It's a Shame" thanks to the Monie Love rap song by the same name which samples it. And once you hear the original, you can see why it was such an enticing thing to sample - that guitar melody is so indelible but beyond such a powerful hook, the complete composition is bursting with all kinds of musical magic, including the multi-part harmonies and sophisticated arrangement. I didn't know this at the time - but looking back, shouldn't have been surprised - that Stevie Wonder wrote the song, which perhaps explains part of what made it so damn good. (Note: Stevie's contributions to other artists' is just one of the many things that make him one of the greatest talents of the last 50 years).

"It's a Shame" appeared on the Spinners' very last album for V.I.P. before jumping ship to Atlantic: 2nd Time Around. It's interesting to think what might have happened had they stayed with the Motown family (not that Atlantic gave them a massively different sound) since the direction the group was moving in on this album could have put them in line with other groups like the Four Tops or Temptations who were also evolving at a rapid pace in the early '70s with Motown. One could imagine what a producer like Norman Whitfield might have done with the group or the sweet sound of The Corporation who helped make the Jackson 5 so successful.

Just to give listeners a sense of how Motown was shaping the group in that moment, I also included "I've Got To Find Myself a Brand New Baby" from the same album; it wasn't one of their better known songs off the LP but I've always liked its snap and you can definitely hear the Motown influence resounding through this particular song.

IF YOU LIVE IN L.A.

2009-01-29T09:45:00.001-08:00

...and you're NOT going to one of these, you need to ask yourself: what's wrong with me?

More info here.

UPDATE: As it turns out, we have three pairs of tickets to giveaway for this Sunday. Short notice but better late than never!

To win a pair of tickets:

Listen to this song:

...and answer this question: Which Mulatu Astatke song is being sampled and what album is it from?

Send your answers in an email, subject titled "Mulatu contest", to me. Three random winners will be chosen from all correct answers by noontime tomorrow.

Good luck!

FOLLOW-UPS

2009-01-27T20:47:00.001-08:00

(Pure) Essence: Third Rock
From WEBN Album Project #2 (Circle Communications, 1977). Also on the Pure Essence 12".

Four Tops: Still Water (Love)
From Still Waters Run Deep (Motown, 1970)

Los Fabulosos Festivals: Can I Change My Mind?
From 7" (?, 1970)

Hot off on the tail of the Pure Essence post, I just got in the only other song that Cincinnati group ever recorded: "Third Rock." You can hear how similar the vibe is between the two songs; pity they never recorded more given how great their funk sound was. This appears on the second volume in WEBN's very successful Album Project series - a charity LP project that brought together many then-unknown Cincinnati acts together on each compilation. Back in 2005, I actually posted up a song by Roger Troutman (then in the band Roger and the Human Body) that appeared on the inaugural WEBN album.

And Tim Wallen, aka the Bay Area's DJ Tim, recently hepped me to the Four Tops' "Still Water (Love)" which I probably should have been up on years ago but upon hearing it, I suddenly realized why it sounded so familiar: Raphael Saadiq uses the song's rhythm track behind his bonus song, "Seven." While I applaud Saadiq's excellent taste in early '70s Motown, I was a bit surprised "Seven" wasn't an original composition. Either way, listening to "Still Water" makes me appreciate just how interesting Motown was getting in those transition years between the decades. I slept and am still awakening to those new styles.

Last but not least, Beto let me know that Los Fabulosos Festivals' cover of "Can I Change My Mind?" is not, in fact, coming out on the next Panama! comp and he gave me his blessing to share it. I have to say, I really love how this cover manages to stay true to the original but is different enough to grab your attention. For example, the opening is fantastic, with the two bar guitar line plucking its way into the wall of horns that come bursting force. And the Festivals' singer, Ernie King, is great on vocals here (Beto reminded me that King, now named Kabir, appears on the Quantic Soul Orchestra's Tropidelico, singing a cover of Marion Black's "Who Knows?"

SHARON JONES AND THE DAP-KINGS @ CLUB NOKIA

2009-01-26T00:59:00.001-08:00

Just got back from seeing Sharon Jones and the Dap-Kings at Club Nokia in downtown Los Angeles. Decent crowd for a Sunday night - about 2000 in attendance - including ?uestlove who was down in the main bar area, eating Rice Krispies treats.

This is the third time I've seen them perform in a little over a year (last two times were at the El Rey and Hollywood Bowl) and even though their stage show is fairly consistent, tonight was especially cool because they debuted at least three new songs from whenever their upcoming new album (not sure on when that's dropping but one would assume later this year). Sharon also added "A Change Is Gonna Come" to her set list which I thought was awesome given 1) the obvious timing of it and 2) the fact that she pulls it off competently[1].

Speaking of which, I have to say that the single best song in her live repertoire is "Let Them Knock." I don't know why I never paid that much attention to it on the album itself, but in concert, the song is amazing. See/hear for yourself:

After this LA gig, she's headed up to the Warfield in S.F., then Portland, Seattle and back home to New York for two shows at the Nokia in Manhattan. After that, it looks like they're probably hunkering down to finish the album since they don't have any more tour dates (aside festivals) listed.

By the way, I was just thinking about this tonight but for all the built-up drama of Amy vs. Sharon back in 2007, that all has more or less petered out to be nada given that Amy is now milkbox material while Sharon's still out there, doing her thing, and paving a way that, in 2008, saw artists like Raphael Saadiq, Solange Knowles and several others following closely behind. Notch a few wins there for the Dap-Kings.

Before I forget - new Daptone's 45 (on their Ever-Soul subsidiary) is available soon: Eddie and Ernie's "Bullets Don't Have Eyes." I'll blog about this eventually but you can sample it here in the meantime.

Also, while I have your attention. If you're into hip-hop, in the LA area and are looking for something to do on a Monday night, come out to Claremont McKenna tonight for a panel discussion that includes my friend Jeff Chang and colleague Ebony Utley.

And while we're on the topic of upcoming shows, if you're not already up on the Timeless Series (which kicks off next weekend), don't waste time, getting tickets. Mulatu! J-Dilla tribute! Verocai! Axelrod! All backed by orchestras! Holy sh--!

[1] I regret to inform that I was excited to see that Lorraine Ellison does the song on her Heart and Soul LP (which is where "Stay With Me debuted) but it's a pretty terrible version - the arrangement is ill-fitting which forces Ellison to sound somewhat shrill in the process.

BY REQUEST: TYRONE DAVIS

2009-01-25T20:47:00.000-08:00

Tyrone Davis: Can I Change My Mind?
From Can I Change My Mind? (Dakar, 1969)

Alton Ellis: Can I Change My Mind
From 7" (Studio One, 1970). Also on I'm Still In Love With You

Tyrone Davis: Let Me Back In
From Turn Back the Hands of Time (Dakar, 1970)

Jesse Anderson: Let Me Back In
From 7" (Curtom, 1970). Also on The Curtom Story.

Tyrone Davis: A Woman Needs To Be Loved
From Can I Change My Mind? (Dakar, 1969)

I'm definitely not that well-versed in Tyrone Davis' career - most of what I knew about him for a long time was what he recorded in the mid to late 1970s rather than - as requested - his Brunswick/Dakar output. On paper, I would have thought I'd really be into that era of his career; I've generally found Brunswick very reliable in the early 1970s, especially when you have producers like Carl Davis and Willie Henderson in the mix. But overall, Davis' years at Brunswick didn't knock me off my feet - he was certainly a good enough singer but song-for-song, there's a lot there I never really got into.

I would certainly make an exception for one of his first big hits for Brunswick: "Can I Change My Mind" which is, by far, my favorite Davis song (thus far): the horns are fantastic here and there's such a great "boogie on down" swing to both the vocal and musical arrangements. One way in which you can see how far Davis got with it is by looking at the number of covers that followed. One of the best I've probably heard is out of Panama and should be coming out on a forthcoming compilation (props to Beto for sharing) but on the reggae soul tip, you could do a lot worse than Alton Ellis' cover, once again proving that Ellis wasn't only a brilliant songwriter and musician in his own right...he had impeccable taste in music writ-large.

What's interesting about Davis' original, thematically, is how similar it is to one of his other songs from the same era: "Let Me Back In." Of course, there's probably a billion songs about boy-meets-girl, boy-loses-girl, boy-wants-girl-back, etc. but given that these singles came very close to one another and even sound alike, you do have to wonder a bit.

Hope I'm not blasphemous in saying this too but I think Jesse Anderson's version pretty much destroys Tyrone's original - a better arrangement, stronger rhythm section and Anderson manages to out-Davis in a Davis-esque singing style. I may simply be biased because I heard Anderson's version before I heard the original but I still think Jesse's got the jam with this one.

I'll end with Davis' deep soul single "A Woman Needs To Be Loved." Doesn't this one have "power ballad" written all over it? Davis is swinging for the fences with that growling, shouting performance and the music keeps in step with its dramatic force and bluesy intensity. Mercy!

AND THERE IT IS

2009-01-25T17:07:00.001-08:00

(Tweeted by SFJ)

REQUEST LINES ARE OPEN

2009-01-24T08:27:00.000-08:00

Even though it's my normal policy not to take requests, I'm changing that for at least a couple of posts. I'm willing to entertain requests for specific posts on artists, labels, songs, genres, etc.

The only exception: no requests for reposts of previous songs. Other than that, suggest away!

SOUL SIDES SET SALE: LATIN

2009-01-23T16:29:00.001-08:00

This time around, it's more Latin albums for sale; much of these are priced quite affordably except for the heavyweight LPs at the top.

See what's for sale after the jump:

Orquesta Dee Jay: Pa 'Alante (MGM, LAT 10,002)

Highly sought-after, 1970s salsa dura album on MGM (this is a yellow label promo). It has some strong guaguanco ("Campesino" "Camaguela" "Te Traigo") but also surprising inclusions like the slow burning Latin jazz song "Black Shadow", plus a few montunos. An impressively superior Latin album in excellent condition.

Cover: VG+ (front is great but back has some sticker damage). Vinyl: plays NM

$75

Lucho Macedo: Esto Es Lo Mejor De Vol. 1 (MAG 2635)

Excellent, in-demand Latin album by one of my favorite Peruvian artists - pianist Lucho Macedo. There's a strong mix of different Latin rhythms on here, most of them killer for dancefloor use. My favorite include the mambos "Humo" and "Moliendo Cafe" but also check for the guaracha "Ave Maria Lola" and "El Negro Bembom." These Peruvian LPs don't turn up in the States so this is a good opportunity to check one out without the heavy shipping charge. Highly recommended, especially for those looking to hear Latin outside of just the NY scene. (That's how I got into it!)

Cover: VG+ (some ring wear and dirt) Vinyl: Plays NM-

$30 (ON HOLD)

René Touzet: From Broadway to Havana (GNP-22)

Groundbreaking cha-cha-cha LP from Touzet, featuring "El Loco Cha Cha," the inspiration behind "Louie Louie". Also has a smokin' descarga-like mambo, "Leo's Mambo" and some very nice Latin jazz boleros ("Midnight Sun," "Manhattan" etc.) Works as both Saturday night dance kicks and Sunday afternoon music.

Cover: VG+ (light writing on cover, faded back). Vinyl: VG++. Light marks but sound is strong.

$10

Francis Santana: S/T (Montilla, FM 260)

Obscure New York salsa album from the early '70s with two great guarachas "Huachinanga," and "Adela" plus a pair of fast merengues, "Aguardiente Ven," and "Te Digo Ahorita."

Cover: NM (still in shrink) Vinyl: plays NM

$15

REISSUES BLOWOUT!

I have a slew of reissues to sell, all in NM or better condition:

Monguito Santamaria: Hey Sister $6 (ON HOLD)
The Latinaires: Camel Walk $8 (ON HOLD)
Lou Donaldson: Mr. Shing-A-Ling $5 (ON HOLD)
Candi Staton: S/T (on Fame) $7 (ON HOLD)
Hector Rivera: Charanga and Pachanga $6 (ON HOLD)
Louie Rodriguez: Ali Baba $8

Discounts for any orders of 3 or more reissues (seriously, I just want to unload 'em!).

To order: email me and reserve which records you want. Make sure to include your addres and I'll send back shipping info with that.

BOOGALOO[LA] THIS AND NEXT WEEK

2009-01-21T23:26:00.000-08:00

Since Murphy's Law has been gone this month, I've been holding down our weekly Boogaloo[la] party with special guests artists every week.

This week, it's Mayer Hawthorne from Stonesthrow Records, who'll be putting together some tasty soul sets.

Next Thursday, it's my old friend my KALX in Berkeley: Michael Barnes, now one of the rising stars at KCRW.

For those in LA, come through - Boogaloo[la] has been poppin' and we're nearing our one year anniversary!

Thursday, 10pm - 2am
The Shortstop
1455 Sunset Blvd. (Echo Park)
Free!

SONG OF THE MOMENT

2009-01-20T14:05:00.001-08:00

Jay-Z: My President Is Black (Remix)

Overpriced... but pretty!

2009-01-16T16:12:00.000-08:00

For the high-end consumer, Angelis Labor is offering a 4-armed turntable for $64,000. It was displayed at last week's Consumer Electronics Show. The arms are made at the same factory as some Ferrari parts.

How well it actually plays is the true $64,000 question.  You can read more here.

PURE ESSENCE: DON'T SLEEP

2009-01-14T21:50:00.001-08:00

Pure Essence: Wake Up (Edit)
From 7" (Mantra, 1976). Also available on 12".

Long before L.A. Reid became, well, L.A. Reid, he was one of the countless aspiring musicians to come out of Cincinnati, arguably one of the most talent-rich cities in America. Back then, he was a drummer and ended up claiming one of his first recordings with the band Pure Essence, lead by Steve Tucker. Short-lived (they only ever recorded two songs), Pure Essence still has made quite the splash when their "Wake Up" 7" was "discovered" a couple years back and for quite a while, the single held down holy grail status, with only a literal handful in circulation.[1]

Stonesthrow decided that this song - a masterful example of mid-70s funk with a modern soul touch - was worth reissuing and they went the extra distance, first by combining parts 1 and 2 into one single mix (my edit does the same thing but cuts it off much sooner). They also add the group's other recording, "Third Rock" on the B-side, basically giving you the group's entire output on a single 12".

I don't have much in my collection in this same vein but I can see why this style of funk has become so big amongst DJs - that bubbling bassline, Reid's chattering drums, and (Tucker's?) sweetly smooth vocals, plus that change-up towards the end of Part 1 where the song goes into that infectious chorus: perfection.

[1] I'd like to say I found this after spending 13 hours in a basement outside of Toledo but the truth is...I got it off eBay. Bless you, Buy-It-Now!