ALZO AND UDINE: THEY GOT SOMETHING GOING posted by O.W.

Alzo and Udine: C'mon and Join Us
Something Going
From C'mon and Join Us (Mercury, 1968)

Alzo & Udine were Alzo Fronte and Uddi "Udine" Alinoor, one of those "only in New York" combos of singer/songwriters who only released this one album together in the late '60s. I'm not even certain where I first heard this LP (probably at the Groove Merchant), but it's been one of the sleeper albums that I'll forget about and then rediscover how awesome it is. It's hard to classify this LP; if I mashed up all the various descriptions of it, it'd be something like "Latin soul hippy folk pop" though I find the Latin elements more subtle compared to the folksy pop touches, especially on the vocals. Basically, this is happy music; it sounds happy and should make you feel happy.

I actually flipped the order here - "C'mon and Join Us" is the LP's last song while "Something Going" is the first, but I liked how Alzo and Udine took time to introduce themselves before the beginning of the title track. The two songs are really indicative of the overall sound of the album: super-catchy rhythms with almost a flamenco sabor (at least to my ears), that shiny pop feel I just mentioned, and most of all, these killer vocal arrangements that find both singers stretching out their falsetto. Especially on the title track, there's considerable thought put into how the song unfolds and switches up along the way. My favorite part starts around the one minute mark and builds towards the chorus, as charming a hook as I can imagine. Everybody feel it? Yup, I do!

Likewise, "Something Going" starts one way but then shifts into another and really, almost all the songs on the album follow similar paths. This is a remarkably consistent album in terms of the style of the songs and given that I love that style, I'm good with it picking a lane and then driving the hell out of it.

MARCH DIMES posted by O.W.

I've had a few individual songs that I've been meaning to post up and usually, I wait for some kind of thematic opportunity but I realize this is an inefficient way to go about things and instead, I just took ten of these stragglers, whipped up a quick sequence for them and if you download them in order, you'll have yourself a half-hour mix.

Paul Kelly: Only Your Love
From 7" (Dial, 1965)

This single (backed with "Chills & Fevers") originally came out on Lloyd but turned out to be enough of a hit that Dial picked it up for distribution and, strangely, Atlantic UK also issued it (but not until the late '70s). My man Brendan first played this for me and while "Chills and Fevers" was the big hit, it was always the flipside ballad that captured my attention. I could be crazy but this definitely sounds influenced by Sam Cooke's "Change Gonna Come" - the arrangements seem remarkably similar though not a copy. But like Cooke, you have this impassioned delivery and the kind of deep, deep soul track I simply can't get enough of.

Marvin Gaye: It's Love I Need
From I Heard It Through the Grapevine (Tamla, 1968)

Confession: much as I recognize the greatness that was Marvin, I actually own very few of his albums besides a few anthologies. I basically missed out on buying a lot of classic Motown-era LPs (I'm starting to make up for it though) and it wasn't until the other month that I finally picked up one of his biggest selling albums of the '60s, I Heard It Through the Grapevine. Besides the now-ubiquitous title track though, I really liked listening to what some might call the "filler", LP-only songs because you will always find little gems tucked away. Motown knew what the f--- they were doing in that era and even the non-hits sound like potential hits. This track in particular has a nice, funky twang to it, anchored by fatback drums. Reminds me a little of this, an absolute favorite of mine from Tammi Terrell's catalog.

Great Pride: She's a Lady
From 7" (MGM, 1974)

I originally heard this back in 2003 when I got booted on a strange, one-off 12". Even then, I remember it being some really crazy stuff but I had forgotten about it for years until recently, when I grabbed an OG copy of the 7". It's such a fantastically quirky song that mashes up some funky white dude rock, lush orchestral production and crazy psychedelic vocals. Call me crazy but didn't the moment where the strings and beat come together at :15 remind you of this? Far as I can tell, this was the only release this 7-man band ever put out; pity - I would have loved to hear what an entire LP's worth of material sounded like from these guys.

The Victors: Magnificent Sanctuary Band
From 7" (Clarion, 197?)

This cover of Donny Hathaway's tune retains the opening drum break and a mostly loyal arrangement that isn't necessarily superior to the OG but it's a fun listen and nice to have on 7".

The Detroit City Limits: 98 Cents Plus Tax
From Play 98 Cents Plus Tax and Other Hits (Okeh, 1968)

Ironically, even though this album was mostly covering other people's hits, as one of the sole original compositions by this short-lived group, "98 Cents Plus Tax" was the group's biggest hit: a squawking monster of an instrumental cooker that's been a favorite of DJs for years.

Big City: Love Dance
From 7" (20th Century, 1974)

This excellent, mid-70s proto-disco jam is a real enigma. If you've ever heard "Mud Wind" by the South Side Movement, you'll notice that "Love Dance" = "Mud Wind" - a minute + vocals. Does that mean Big City is actually South Side Movement? That's my assumption only because I've never seen another Big City single but apparently, this isn't the first time a tune on Wand ended up being re-released on 20th Century (see The Groove: "Love, It's Getting Better").

Juan Diaz: Hit and Run
From Thematic Music (New World, 197?)

This comes from one of the many NY-based New World library music records. New World isn't anywhere near the level of KPM/DeWolfe library respectability but like most library series, there's good tracks to be found if you're willing to sift through. This is one of the better cuts I've found on a New World LP - a slick, disco-y instrumental that rides a nice little groove.

Willie West and High Society Brothers: The Devil Gives Me Everything
From 7" (Timmion, 2009)

Finland's finest teamed up with legendary NOLA soul man for this single that sort of flew under people's radars from last year. Whether intentional or not, there's just something slightly "off" about this deep soul recording but whatever that element is, it works for me.

Myron and E: It's a Shame
From 7" (Timmion, 2010)

And staying on the Timmion tip is the latest single from Oakland's Myron and E who made a strong splash with "Cold Game." This is their follow-up 7" and hopefully paves the way for the duo's long-awaited debut LP with the Soul Investigators. This one's real catchy (but it's not a cover of the Spinners' song in case you were wondering).

Bitty McClean: Tell Me (remix)
From 7" (Sir Peckings, 2007)

Straight up, McClean's "Tell Me" and "Walk Away From Love" are two of my favorite reggae songs that I've discovered in years. I didn't even realize "Tell Me" got a remix 7" treatment but had to cop. This doesn't change the song dramatically; it basically keeps the original rocksteady arrangement but then remakes it over with some heavy dub elements, basically stripping it down and letting McClean's vocals echo out.

UPGRADING THE DIGITIZING SYSTEM posted by O.W.

When I originally created a "how-to guide to audioblogging," it was largely reflective of my own experiences of tinkering with different audio options. Over the years though, I've upgraded that system and it made sense to talk a little about that, both to share with all ya'll as well as get a sense of what's working for you.

My man Brendan wrote a very detailed guide of his own that I'm in the process (B, really, I'm getting there!) of combining with my own experiences but here's the skinny version before that's done.

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If you're just getting started, keep in mind that digitizing requires an electrical chain that begins with the stylus and ends with a sound file. How complicated or sophisticated you want to make that chain is really up to you. The basics of a standard chain are:

Stylus/Cartridge
Turntable
Preamp
Analog/Digital Converter (ADC)
Computer

However, in some, these things are combined. For example...

When I originally began Soul Sides in 2004, my chain was this.

Stylus + Cartridge + Turntable + Preamp: Vestax Handy Trax Portable Turntable

ADC: A basic y-adapter (newer versions of the Handy Trax have built-in USB outputs but my generation was too early to come equipped like that)...and that ran straight into the line input of my Apple Powerbook G4 (PPC) where I used (and still use) Sound Studio to convert into MP3s.

Cheap, simple. Total retail cost (not including the computer): $130? Of course, the sound quality that a portable turntable is going to generate is not likely to be the best you can ask for. Anyways, in 2006, when I moved from S.F. to L.A., I had a desk wide-enough to accommodate both a turntable and mixer and so I upgraded:

Stylus/Cartridge: Shure White Label cartridge

Turntable: Technics 1200

Preamp: Rane TTM56 DJ mixer

ADC: a basic y-adapter running into my Apple PowerBook G4 (Intel).

Retail cost of this set-up...not cheap. If you went by the prices you see on Amazon, we're talking about $1500! But of course, that's sort of misleading because the turntable and mixer were part of my DJ set-up and therefore, equipment I would have owned regardless if I were digitizing or not. I would never, ever recommend someone just walk out and snap up a 1200 and Rane mixer if they just want to digitize. But the point here is that I altered the chain by adding a preamp (i.e. the DJ mixer). I also improved the cartridge/needle by buying the White Label.

I basically added another component in the chain and hopefully, improved the sound signal as a result. However, I was still running all this through a cheap y-adapter into a stock Apple soundcard. I'd say for many people, this will produce acceptable results. Many folks probably already have a digitizing chain that runs through a stock soundcard and they're happy with that.

For me though, I just wasn't loving what I was hearing. And that could totally be subjective/psychological. But whatever the case, I got restless with this and decided to upgrade again and that brings us to present. This wasn't all cobbled together at the same time, but happened over the course of the last half year and it's what will likely be the lasting chain for some time to come.

Stylus/cartridge: Ortofon Nightclub-E or Pickering XV-15

Turntable: Pioneer PL-530

Preamp: Radial J33 phono preamp

ADC: Apogee Duet, running into the Firewire port of my Powerbook G4.

A few crucial differences here from previous set-ups. First of all, I bought a dedicated, stand-alone phono preamp. That way, I could return my Rane back to my DJ set-up where it belonged and I had a smaller preamp that I could fit into my home office. The Radial got the highest marks from my peers. More importantly, I finally decided to upgrade from using that y-adapter and bought a Duet, which is a stand-alone audio converter. Essentially, it replaces my laptop's soundcard with one of the most well-respected analog/digital converters out there. The turntable switch-up wasn't an upgrade so much as an aesthetic change of tastes. I still have my two 1200s but I wanted something different for the house, just for the hell of it and I liked the look of the 530. I don't know if the sound quality, overall, is better on this or the 1200 but I doubt it's a massive difference. I did upgrade to an Ortofon Nightclub-E, which is regarded by DJs as the best "bang for the buck" in terms of sound quality for a DJ needle but most non-DJs would probably prefer the Pickering that came with the PL-530 I bought on Craigslist. It's a good quality hifi cartridge and personally, I like the built-in brush.

In this case, calculating the retail cost means I would have to include the turntable since I bought it specifically for digitizing. Assuming standard, "market rate" on all the components, we're talking about $1000 (by buying used and using credit I had, my total cost was more around $650 so you can find good savings if you're patient). Regardless, that's pretty hefty and I can imagine people thinking, "do I really need to drop a grand for a digitizing system?"

Of course not. It really depends on how far you want to take it. I'll wait to finish up that digitizing guide that Brendan and I are working on to really get into the nitty-gritty of each part of the chain but just wanted to share how "the magic happens" at Soul Sides Central these days.

RIP BOBBY ESPINOSA FROM EL CHICANO posted by O.W.

This one really bums me out. Such a pioneering guy in the history of Chicano rock/jazz/soul. Wish I had gotten the chance to talk to him before he passed at only 60.

Felix Contreras has a great memorial piece up at NPR about him.

Here's a 2009 interview with him by Jesus Velo of Los Illegals.

And here's a killer clip of El Chicano performing their big hit, "Viva Tirado" from 1971:

HELP NEEDED posted by O.W.

Hey folks - thanks for the advice sent through. It actually was easier than I thought to transfer my domain and get wordpress set up. But here's the next question (and feel free to use the comments section to leave an answer):

How the %#)(! can I export my existing comments (via echo) so that WP can reimport them?

The simplest solution would be to:
1) Export from echo to blogspot so that all the comments that used to be built in echo are now in blogspot's built-in commenting system,
2) Use the WP plugin to import the entire site - posts + comments - from blogspot.

I'm looking through various forums to see if this is possible and so far, have come up with nada.

Kind of makes me sorry I ever used haloscan to begin with back in the day.

LAMONT DOZIER + RICHIE HAVENS: BACK TO THEIR ROOTS posted by O.W.

Lamont Dozier: Going Back To My Roots
From Peddlin' Music On The Side (WB, 1977)

Richie Havens: Going Back To My Roots
From Connections (Elektra, 1980)

One of my best moments in a club came back in the '00s when I was at APT during a night that Chairman Mao was spinning. I had never heard Lamont Dozier's "Going Back To My Roots" before and I was just marveling at now just how good the song was, but that incredible change in the arrangement that drops around the 6:30 mark. It was so unexpected and sublime, one of those songs that really only could work as well as it does when you give it time to unfold on a dancefloor. Simply incredible.

Not surprisingly, it drew the attention of other artists. The best known cover is by Odyssey but...I don't know...I think I found the vocals to be too disco-cliché. Richie Havens' version however won me over with that intro piano (I'm a sucker for good piano intros) and though Havens has a rougher voice than Dozier's it works well here. The "reprise" section is missing but otherwise, I find this almost as pleasing to play out.

JUNIOR PARKER: SWEET AS HONEY posted by O.W.

Junior Parker: Lover to Friend
Your Love's All Over Me
From Honey-Drippin' Blues (Blue Rock/Mercury, 1969)

Bluesman Parker is already responsible for one of the funkiest blues tunes I know, his cover of the Beatles' "Taxman." However, I had totally forgotten about this '69 album until my recent move and I was reacquainted with two of its outstanding cuts. What I like about both of these songs, especially "Your Love's All Over Me," is how they lean more to the R&B side than being traditional blues tunes and both open with waiting-to-be-looped basslines (any producers out there looking to mess with either of these, holler and I'll send you a higher quality version. This might be a tad too simple though; your call).

FAREWELL TO RON BANKS posted by O.W.

Banks is the middle man, literally

I'd be remiss in not noting the sad passing of the Dramatics' Ron Banks. At this point, most of the original founders have all died in the last ten years and I don't think a single one of them made it 60.

I don't have a long post to write here - I can't say I really knew the Dramatics' catalog as deeply as that of other groups though obviously, I'm up on their big hits. I did find it fascinating that they were a Detroit group yet signed to the star of the South: Stax/Volt. Wonder if Gordy ever got pissed about that though by the early '70s, he probably had his hands busy with moving Motown to L.A. anyway. In any case, here's two songs I picked out in memmoriam: one being the Dramatics' first hit (and one of their most enduring), "Whatcha See Is Whatcha Get" and I decided to pair that with a killer reggae cover of one of their other songwriting gems, "In the Rain," done by the Debonaires (thanks to Hua for putting me up on that single).

RIP, Ron.

The Dramatics: Whatcha See is Whatcha Get
From Whatcha See is Whatcha Get (Volt, 1972). Also on The Best Of.

The Debonaires: In the Rain
From 7" (Tobin, 197?)

THE HOLY GHOST POSTS: RELIGIOUS SOULS posted by O.W.

Religious Souls: The Condition the World Is In
Rich Man
From Sinner Man (Artist's Recording, 197?)

Religious Souls: Jesus People
Life Is A Vapor
From Change Me Lord (JCL, 197?)

The Kingcannon Family: Jesus Is Mine
Our Father's Children
From Unity (Arroyo, 1985)

I've been meaning to write up the Religious Souls for about 4.5 years and the only reason I took this long was partially because I was hoping (now and then) to find a way to reissue their records (alas, I'm poorly equipped and a couple of the labels I initially approached took pass). But should tell you how much I think this group is fascinating. Song for song, the Religious Souls (aka the Kingcannon family) are, in my book, one of the best gospel soul groups to have ever been recorded. It's not like other gospel albums where there's one or two soul or funk songs interspersed with more traditional gospel styles; every cut on their albums is seeped in R&B/funk aesthetics, with incredibly rich arrangements and a real gift for falsetto vocals. If it wasn't for the relatively poor recording/engineering quality (and obscurity) of their first two albums, I have no doubt these would be stone-cold classics. As it is, they're barely known about as it is (though apparently, my man Lyrics Born knows about 'em).

I had the great privilege to interview Bishop Reggie Kingcannon, who was one of the core of the group and got some of the story behind the group. They began originally in the late '60s and early '70s, one of the many groups likely inspired by the success of the Jackson 5 (though they rocked seven in their clan). However, before they had a chance to record, David Kingcannon (who played guitar) had a "calling" to join the ministry, seemingly ending their record ambitions.

Though not originally from the Colorado area, they ended up Denver when patriarch Rev. Earl Kingcannon took over as pastor of the Pentecostal Faith Temple Church of God In Christ in Denver and when the family performed in concert there, they came to the attention of Brother Al, self-billed "America's #1 Gospel DJ" who broadcast on at least four stations: KBRN (Denver), WSUM (Cleveland), WHKK (Cincinnati) and WPFB (Middleton, OH) and he convinced the group to let him exec produce their debut album, Sinner Man.

9 of the 10 songs on their debut were written by members of the Kingcannon family and they recorded the LP at Music Plant Studios in Denver and I'm assuming Brother Al took it back to Cincinnati where he had it pressed at the custom plant, Artist's Recording Company. As you can hear on the two songs I picked off, the arrangements and vocals are superlative; their content might have been gospel but at their musical core, this was a soul group, through and through. According to Reggie Kingcannon, the group's drummer, it was the family's matriarch, Willa, who did much of the music, with daughter Sarah handling the female lead and sons Reggie and David handling male leads (plus sister Lavern on the bass guitar and I'm assuming the 7th family member, Betty, was on background).

Somewhere in that midst, they recorded their second album, Change Me Lord, this time for JCL (Jesus Christ is Lord) Records, in Henderson, TN, home to Clyde Beavers' Beaverwood Studios. Unfortunately, their second album suffers from two distinct problems. First of all, the engineering was terrible; you can tell from how the vocals are mic-ed and how unbalanced the mix is (if you listen hard, you can hear the organ in the back of "Life Is a Vapor" and I can't believe they intended to bury it that far back in the mix). Second, the pressing was also low, which means that in order to get the recording loud enough to listen to, you have crank the volume up and that bring its own problems, especially when digitizing from vinyl. Yet, despite all that, the same musical strengths of their first album are still all here.

Unity came out in the mid-80s, by which time, the group had decided to ditch the Religious Souls' moniker and instead just record under their own name. They had at least one album during this era, Unity, much of which is kind of schlocky '80s pop/rock but the first two songs on the album still had some of that old magic, just updated with more "modern" production.

Should have shared this with ya'll years ago but better late than never. Enjoy.

THE HOLY GHOST POSTS: EDDIE ROBINSON + ART REYNOLDS + STERLING GLASS posted by O.W.

Eddie Robinson: God's Love Song
Absolutely Beautiful
From You In My Life (Ren Unlimited, 197?)

It's not all about the funk. This Eddie Robinson LP is a stunningly smooth, mellow and soulful gospel album, filled with electric piano and Robinson's own dulcet croons (oh yeah baby, let's get down and...pray). And then there's this very simple edit I put together:

The Art Reynolds Singers: Down Here Lord/How Did It Feel?
From Tellin' It LIke It Is (Capitol, 1966)

This album - a hit on the gospel circuit in its day - is best known for "Jesus Is Just Alright" but the two songs that drew my attention were the slower, dramatic "Down Here Lord" and the more upbeat, uptempo "How Did It Feel?" both of which benefitted from that strong choral presence. However, something about the arrangement in both songs sound so much alike that I figured I'd just combine them into one and the end result, in my humble opinion, works quite well.

On a similar tip is this tune:

Sterling Glass and the Metropolitan Singers: Thank You Lord
From Jesus Never Fail (Glori, 1973)

Straight out of Waterbury, CT, Glass and the Metropolitan Singers offer up a beautifully arranged and executed song here. That pianist is straight killing it (uh, in a spiritual way). Interestingly, this album got reissued in the mid-80s on Nashboro; I wonder if it was a decent seller in its time.

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Elsewhere:

I just wrote up the 3 Titans' "College" as a Song of the Day for NPR.

And my latest blog post for Fania is on Ricardo Ray's "Lookie Lookie" and the origins of Latin boogaloo.

THE HOLY GHOST POSTS: VIOLINAIRES + CARLTON COLEMAN + THE WILLIAM SINGERS posted by O.W.

The Violinaires: Groovin' With Jesus
Put Your Hand in the Hand
From Groovin' With Jesus (197?)

One of the best known gospel funk songs out there is the appropriate titled "Groovin' With Jesus" by the venerable Violinaires. This Detroit-founded group has a long, deep history - Wilson Pickett was once a member and the Rolling Stones apparently wrote for them. This comes out of their early '70s catalog (and if you've ever perused the gospel section at a record store, you know how prolific they could be) and they're very clearly experimenting with some secular flavor. Frankly, I have yet a hear anything even remotely on this level, at least in terms of how well it kicks that '70s funk sound. Humble Pie and the Lifesavas knew the real.

I included a second song off the same album...one that you would have assumed might kick a little break based on experience but no. Yet, this is probably one of the best versions of the song I've ever heard. Despite the opening drum break on other versions, they tend to slide in campy country rock and the Violinaires keep their version quite soulful throughout.

Rev. Carlton Coleman: Rockgospeltime Pt. 2
From Rock Gospel Time (Brunswick, 1970)

Coleman is probably best known in soul circles for having worked with James Brown on the novelty cut, "The Boo Boo Song". By 1970, Coleman...no longer "King Coleman" but Rev. Carlton Coleman, was on Brunswick and recorded one of the more eclectic albums for that label (which is saying a lot). That LP was a mix of long (and I do mean long) monologues about Coleman's unique "Rock Gospel Time" philosophies with a few really funky cuts, among them "Share It" and this mostly instrumental jam, "Rockgospeltime Pt. 2"

The William Singers: He Lifted Me
From He Lifted Me (Checker, 1973)

Thought I'd finish off with another Checker release (the studio seemed to be encouraging these kind of gospel-meets-funk fusions), this one from the William Singers. I think it's safe to say this cut, in particular, borrows heavily from Chicago's dense music scene with a classic funky blues riff powering the cut.

THE HOLY GHOST POSTS posted by O.W.

For the longest time, I've been meaning to write a series of posts on gospel soul but for whatever reason, I kept putting it off. Then, a few weeks ago, I was asked to review two new gospel anthologies for NPR:

Fire In My Bones

Born Again Funk

The review ran yesterday afternoon.

With it, I figured, damn, I can't keep putting this off any longer so I'm going to use them as a prompt to finally get my stuff together and knock these posts out.

Let me start by saying that I'm a completely secular guy so gospel's appeal to me has nothing to do with theology. However, I've long respected gospel's important, formative influence on R&B ("gospel soul" almost sounds redundant) but more than that, I appreciate the depth of emotion that comes into gospel. You can't really compose a song meant to praise an entity like God and come half-assed about it. That commitment? That is the essence of soul.

My favorite song off of Numero Group's second in the Good God series is what I tried to end my review with but given the length of the piece, they had to cut it off pretty quickly:

The Inspiration Gospel Singers: The Same Thing It Took
From Good God!: Born Again Funk (Numero Group, 2010)

This song is so perfect on every level - the bassline, the lead vocalist, the back-up vocalists, the hook... It kills me that this is also insanely rare ("a handful of known copies" according to the compiler), with many copies having been destroyed in a warehouse fire. All the more reason I'm thankful it got comped here.

One song that I'm frankly amazed hasn't made a gospel soul comp is this one:

Robert Vanderbilt and the Foundations of Soul: A Message Especially From God
From 7" (Sensational, 196?)

It's an Illinois record (and I just have to think TNG thought about comping this at some point but I don't really know) and I swear to god it sounds like they're using the instrumental track from another song but I can't for the life of me remember which one. Either way, this rolls deep, especially with those guitars and the faint swirl of...(I have no idea what's creating those swirling notes except for some weird reverb off the bass). It's a pity that it came out on styrene. I have what looks like a mint stock copy but there's just the slightest, annoying touch of cue burn on it so I'm borrowing my rip here from a JBX mix. I don't know anyone who's ever heard this and not been floored.

Alright, let this be the first post of several over the next few days (or hours, if I get around to it) to highlight some of my favorite picks out of my small (but hopefully growing) gospel crates.

R&B: RIDDIMS & BLUES posted by O.W.

Sebastian: Living In Depression
From 7" (Brown Dog, 1975)

Sebastian's "Living in a Depression" highlights a different kind of "cover" (even though it's technically not): the recording of a new vocal track over a pre-existing instrumental. This happens in R&B more often than some may remember - "Light My Fire," by Young Hold Unlimited, Jackie Wilson AND Erma Franklin being one of the better known examples. However, it wasn't until last year that I even realized that "Living In a Depression" existed even if its instrumental track - Little Royal and the Swingmasters' "Razor Blade" is pretty much a common but classic funk 45.

Here's the thing: I don't think this song works well. Partly, the mix sounds way off; you can barely even hear, let alone comprehend, what Sebastian is singing. But even if the song had better engineering, Little Royal's original arrangement just doesn't sound like it was meant to have vocals on it. Trying to fit "Living in depression/what you gonna do?" over that opening horn line feels forced and awkward. Yet, I like the 7" because it is so off, as if this was some bad studio cut that was meant to be thrown out but was released by accident. (Thanks to Soul Marcosa for turning me onto this song).

I also recently got this single from Spain that seems to fall under the same category:

Charly and the Bourbon Family: Boogachi
From 7" (Poplandia, 1971)

Charly is clear riffing on "Look-a-py-py" by The Meters (uncredited as it may be). A perfectly awesome funk instrument which Charly and the Bourbon Family then proceed to get all CCR over with their vocals. Interstingly, though this appeared on a Spanish label, Charly and the Bourbon Band (aka The Diamonds, aka the Untouchables) were a German band who cut their teeth in the various American G.I. clubs throughout Europe. They also, apparently, do covers of Hugh Maekela's "Grazing in the Grass" and Cliff Nobles' "The Horse" both those are formal covers unlike this, an "unauthorized" re-versioning of "Look-a-py-py." (I have an even more bizarre European 7" out of Sweden which puts vocals over the Mohawks' "Champ" but that will have to wait until another time).

In terms of another example of this phenom that I unqualifiably enjoy, that'd have to be this:

Leon Austin: Steal Away
From 7" (King, 1970)

This is a "double" cover of sorts. For one, it's a legitimate cover of Jimmy Hughes' 1964 hit, "Steal Away" but James Brown (who produced the single) also threw the vocals over the instrumental track "Nose Job". And unlike the ill-fit with Sebastian/Little Royal, Leon Austin sounds great over the "Nose Job" riddim. (Thanks to Mao for turning me onto this song).

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P.S. Speaking of covers, here's a real one. I write up the awesome Mexican cover of the Joe Cuba Sextet's "El Pito" for Super Sonido.

LIGHT BULB: THE HOOD MIX posted by O.W.

This is like the answer back to all those folksy singer/songwriters trying to be cute by covering Dre and Snoop songs.

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A few updates.

One reason I've been slow to post here is because I had knock these out...

Sade review.

Africa Boogaloo review.

Song of the Day about "Cumbia Moderna De Soledad" from Black Man's Cry.

Upcoming:

Another Song of the Day for that Little Ann song.

A review of Freeway's Stimulus Package

Guest post for Super Sonido's 45 series.

JOE CUBA RELEASE PARTY - UPDATED posted by O.W.

I had a great time last night. The Boogaloo Assassins killed it, as usual, and impressed the hell out of the folks from Fania who had heard 'em but never seen them perform in action. I am insanely jealous of anyone in the NYC area who gets to see the band fly out to the birthplace of boogaloo and perform for the first time in their history. That's coming up on February 24 - do not sleep!

I was also very blessed to have finally met, in person, Bobby Marin after several years of picking his brain for all things boogaloo-related. It is incredible how many different projects he worked on in the '60s and '70s. I had no idea he helped get the Ghetto Brothers onto Mary Lou to record their album.

WE ARE THE WORLD, FAIL posted by O.W.

I hate to pick on something done for charity but can we just talk about how stunningly terrible this is? Four things off the top of my head (just so I don't explode in criticism):

1) It's been a quarter century since the OG "We are the World." Are you telling me no one could find a way to write a new ensemble song? Are you f----ing kidding me?

2) Bringing back video of the original artists - MJ for example - was tacky. And again, says something very poor about the current state of popular music.

3) Speaking of that current state...the train wreck of styles here was just painful. The original arrangement just was not designed to incorporate much of a hip-hop segment and then way they crammed it in here did a disservice to everyone.

4) Autotuned Lil Wayne? Really?

I could go on. But good god, next time someone asks for how the road to hell is paved with good intentions, please send them the link to this.