BO'S BREAKS posted by O.W.

Bo Diddley: Go For Broke
Bo Diddley: Bad Side of the Moon
From Another Dimension (Chess, 1971).

Bo Diddley: I've Had It Hard
From Where It All Began (Chess, 1972)

All three also on Drive By Bo Diddley, Tales From the Funk Dimension, 1970-1973.

I was cleaning out one of my folders and realized that I had digitized a few Bo Diddley songs for a post meant to commemorate his life after his passing this year...but then forgot to put them up. Oops. Please file under "better late than never."

The first two come off of DIddley's Another Dimension, an album he recorded for Chess in the early '70s. I have no idea how these went over with Diddley's older fans but for funk heads, it's always been one of his best albums, largely thanks to the drum work by John Birganti who just nails a few ace breaks on this album. Birganti (I've also seen his name spelled Briganti) is a curious figure; he only appears on a few albums, including a Ben E. King LP, but he actually helped write "Go For Broke" and certainly adds a defining touch to many of the songs on this album.

"Bad Side of the Moon," I was surprised to learn, was originally an Elton John song; you would have sworn it was some Dr. John tune given that its swamp funk feel. Once again, Birganti laces this song with a beaut of an opening break, especially as it drops in from that echo effect at the intro.

"I've Had It Hard" is one of the many Bo songs to use his much vaunted, clave-influenced "Bo Diddley beat." It's so much a part of his musical signature that once you hear that little "bam-bam-bam...bam-bam" shuffle come in, you instantly think of Diddley. This one's from Where It All Began (always loved the cover art for it), another one in his early '70s catalog, though this one leans back towards his blues material compared to Another Dimension.

TIME TRAVELING WITH TAJ posted by Captain Planet

Taj Mahal :Cakewalk Into Town
taken from the album "Recycling The Blues & Other Related Stuff"
on Columbia (1972)

Taj Mahal :Farther On Down The Road
taken from the album "Giant Step" on Columbia (1969)

Taj Mahal :Queen Bee & Salsa de Laventille
taken from the album "Evolution" on Warner Bros (1978)

Taj Mahal :Why Did You Have To Desert Me?
& Clara (St. Kitts Woman)
taken from the album "Mo' Roots" on Columbia (1974)

Taj Mahal :Satisfied 'N Tickled Too, Easy To Love &Misty Morning Ride
taken from the album "Satisfied 'N Tickled Too" on Columbia (1976)

When you fall in love with a song, you mark yourself for life. You can forget about the song, but you won't forget the song. You'll hear it again and experience the type of space-time warping that string theory scientists are still struggling to define. And when you really need a particular piece of music from your past, when a hungry hole of nostalgia or pain rings in your chest like an empty hallway, you have the innate ability to diagnose yourself with the perfect musical prescription. Turning up the volume and traveling on memories is a magic luxury that has carried our ancestors through struggle since the dawn of the lullaby. This week I was in need of comfort, and from some unknown inner dimension, my memory played a melody that collapsed the past into the present and future. I felt my 16 year-old self hearing "Cakewalk Into Town" for the very first time (endless thanks to Chattanooga Hammy Hamilton for that introduction), I could feel the me now, lying on the floor with a little ball of fur named Rosco purring between my fingertips, and I could also see the brightness yet to come. After playing that first Taj LP, I pulled out one after another and continued tripping through past loves. There's so many good tunes, and somehow I'd gone all these years without a single one on MP3!?! Now I've been listening to Taj almost exclusively for a week and I figured I should share my little personal "best of" collection - even though there's lots more to check for.

The music of Taj Mahal is roots and soul. Part Cymande, part Muddy Waters, part (dare I say it) Grateful Dead- entirely it's own entity which fits within no genre. Call me cheesy, call me a hippy, your words will fall flat against the might of what I feel when I listen to his songs. Where else does steel drum and harmonica mix with banjo and flute so naturally? And his voice alone carries some songs- raw and warm like milk out the utter. It hath been taken there. I'm still a country boy at heart and every once in a while I have to let it show. Truth be told, my lil baby brother was even named "Taj" after senor blues himself.

DEVIL WITH A BLUE(S) DRESS ON posted by Eric Luecking

Etta James: Something's Got A Hold On Me + Baby What You Want Me To Do
From Rocks The House (Argo, 1964)

Jimmy Reed: Baby What You Want Me To Do
From 7” (VJ, 1960). Also on The Very Best Of

If sound could create fire, then this is the album to have handy during a cold night's camping trip. Part blues, part soul and all in your face, Etta James tapped another dimension in late September 1963 in Nashville. Chess producer/A&R man Ralph Bass, frustrated with trying to reach the soul summit with Etta in the studio, wanted to tap into her fiery side and decided to record a live album at the legendary New Era Club. What he got was unadulterated and unfiltered feeling.
CONTINUE READING...

Much like a James Brown live show, the MC announced it was Star Time. After a short intro, Etta growls, “Ohhhhhh sometimes I get a feeling, yeah!!!” and launches into her 1962 hit, “Something's Got A Hold On Me.” Two-and-a-half wrenching minutes later, the jam begins. With vocals that knock you on your ass, it's the band's duty to keep the groove movin' and get you on your feet. To hear her talk in between songs makes you do a double take as her speaking voice is thin and almost aw-shucks quiet. During song, she morphs into a beast in command of its territory. The crowd is obviously in a zone with Etta as evidenced by their frantic whoopin', hollerin', and whistling. Call and response is the theme of the night as virtually each and every song has the audience singing along with her.

The only 45 to be released from this set (Argo 5459) was the Jimmy Reed cover “Baby What You Want Me To Do” with the flipside being Ray Charles' “What'd I Say.” Guitarist David Walker leads the band into a slow blues burner on the Reed cover while Marion Wright keeps it true on the low end on bass. To hear what a matchstick she was, just listen to the original Jimmy Reed version.

No artist was too big to cover during this two-night extravaganza as she flipped B.B. King, Chess labelmate Muddy Waters, Barrett Strong, and even Brother Ray. While only three songs on this set weren't covers (per the CD – the original LP was only eight cuts deep), she made every song her own - just check out the scatting in “Woke Up This Morning.”

If you want to get a glimpse of what it would have been like to see Etta tow the line of the devil's blues and raising the Holy Spirit, then pick up Bear Family's The !!!! Beat, Vol. 1 on DVD. Episode #2 features her performing “Something's Got A Hold On Me” while Episode #3 shows her singing with numerous others on Ray Charles “What'd I Say.” If all you need are a few audible embers to light your fire, Rock The House can certainly do the trick.

William Bell/Mavis Staples, James Brown/Marva Whitney, Arlean Brown/Lee Williams: Boys Meet Girls posted by O.W.

William Bell + Mavis Staples: Strung Out
From 7" + Boy Meets Girl (Stax, 1969)

James Brown + Marva Whitney: Sunny
From Gettin' Down To It (King, 1969)

Arlean Brown + Lee Williams: Impeach Me Baby
From 7" (LaNoRmAyA, 197?)

First of all, no one's gonna make a run at the David Axelrod contest? Really? C'mon, just give it a shot.

Onto the real post:

I'm not an automatic fan of duet songs - it's always risky trying to put two people together on a song and still make it work; not everyone's lucky enough to be Roberta and Donny or Marvin and Tammi. When this William Bell and Mavis Staples song crossed my path though, it had it, whatever that elusive quality is to make two singers find the right vibe together.

On a separate note, I realize, more and more, that I seriously need to beef up my '70s Stax knowledge. I've had, for many years, their first boxset that covers up through the late '60s but I'm constantly being surprised and pleased by what lay into the '70s. This track, in particular, is fantastic (just ask Kanye!), especially the musical arrangement. Plus William and Mavis together? On point.

Same goes for James Brown and Marva Whitney in their duet for Gettin' Down To It, one of my favorite Brown LPs, even though it's off the beaten path compared to his funkier fare. They just sound good singing "Sunny" together and it reminds one that Brown's first hits were as a vocalist, with that distinctive, rich and impassioned delivery of his.

Last, but not least, one of my favorite funky blues cuts - "Impeach Me Baby" by Arlean Brown, featuring an uncredited Lee Williams, playing Otis to Arlean's Carla except that this is far dirtier and grimier than "Tramp." This song is one of those where I forget it's one of my favorites until I hear it again and remember, "oh yeah, this sh-- rocks!"