SOUL SIDES UPDATE, SEP. 2 posted by O.W.

While you're waiting for the next post on Soul SIdes, don't miss:

Captain Planet waxing on more summer madness for his official Summer Songs post.

Two new Side Dishes posts, one on the new Calypsoul compilation and one on one of my favorite albums this year, the awesome Brotherman soundtrack (there will be a post on this album for Soul Sides proper soon, complete with giveaway!).

Last but not least, my June set for Dublab - "Under Covers" - is now available on their Dubstream and should soon be posted to their archives. More covers!

ISAAC HAYES: COVER HIM! posted by O.W.

Mighty Voices of Wonder: I Thank the Lord
From Good God! A Gospel Funk Hymnal (Numero Group, 2006)

JoAnn Garrett: Walk On By
From Just a Taste (Chess, 1969)

Joe Bataan: Shaft
From Saint Latin's Day Massacre (Fania, 1972)

Lyn Collins: Do Your Thing
From James Brown's Funky People Pt. 2 (Polydor, 1988)

El Michels Affair: Hung Up On My Baby
From Sounding Out the City (Truth and Soul, 2006)

As promised, a few cover songs of Isaac Hayes tunes and compositions in honor of the late master's catalog. To be honest, it's not quite as easy as you'd think. True, there's a gazillion "Shaft" covers but remember that in Hayes' post-Hot Buttered Soul career, most of his groundbreaking songs were reinterpretations of other people's songs rather than original compositions. That said, in the case of JoAnn Garrett's "Walk On By," it's clear that she's working off of Hayes' epic version rather than playing with the Bacharach/Warwick versions.

We start though with a Hayes/Porter composition, a very striking gospel funk cover of Sam and Dave's "I Thank You" renamed into "I Thank the Lord" by the Mighty Voices of Wonder. The gospel group takes a more lo-fi approach which only makes the opening drums that much rougher. Good god, indeed.

I generally am not a huge fan of the "Shaft" theme regardless of who is performing it but hey, if my man Joe Bataan is going to cover it, I might as well let it shine. This was a surprising hit for him, so much so that Fania came out with a second run of his Sweet Soul LP and put it on there and then released it, again, on Joe's last album for Fania, Saint Latin's Day Massacre. Caliente!

Lyn Collins' incredible cover of "Do Your Thing" (probably the best thing to come off the Shaft soundtrack) actually never was released back in the '70s when it was first recorded. Instead, it found exposure finally in 1988 as part of Polydor's hugely successful James Brown's Funky People series. How successful? Enough so that Collins' long-delayed version found instant fans amongst rap producers, including Dr. Dre who hooked it up lovely for Above the Law's "Another Execution" circa 1990.

"Hung Up On My Baby," from the Tough Guys soundtrack was another hip-hop favorite back in the '90s which no doubt influenced Brooklyn's El Michels Affair to cover the song on their excellent, slept-on 2006 debut (they also did a nice job with "Walk On By" as fans of Soul Sides Vol. 2 already know). I like their take on "Hung Up," - it's cooler, a bit chiller in the cut but still has that classic melody that's so haunting.

Feel free to add your own favorite Hayes covers in the comments.

DEEP COVERS 2: MAS PROFUNDO! (NOW ON CD!) posted by O.W.

I'm proud to announce the official CD launch of Deep Covers 2: Mas Profundo. It's already been available as a digital download from the good folks at East Bay Digital* but is now finally available on CD.

CONTINUE READING...


Orders taken now!

Description: Deep Covers 2: Mas Profundo follows up on two previous covers-related projects: Deep Covers and Soul Sides Vol. 2: The Covers. This time though, I take it international, with 20 songs, all recorded overseas. I tried to balance things by region (otherwise, hell, I could have done an entire CD of reggae covers) but still kept the vibe oriented around soul and funk covers. It's really astounding what one can find out there - this merely scratches the surface! Overall, I was pleased with how this mix turned out, both in terms of song selection as well as sequencing. There will definitely be a DC3 somewhere down the road but for now, enjoy this in all its global glory.



Tracklisting: (by song title, original artist and country of cover)



1. How Deep? Intro/The Message (Cymande, El Salvador)

2. Rainmaker (Sweden, Nilsson)

3. Use Me (Poland, Bill Withers)

4. Breakthrough (Nigeria, Atomic Rooster)

5. Slipping Into Darkness (Sweden, WAR)

6. Tanga Goo Bonk (Philippines, Niteliters)7. I’m Gonna Love You Just a Little More (Jamaica, Barry White)

8. Be My Baby (Jamaica, The Ronettes)

9. Pick Up The Pieces (Brazil, Average White Band)

10. Wicky Wacky (Colombia, The Fatback Band)

11. Different Strokes (Argentina, Syl Johnson)

12. Buzzsaw/In Gadda Da Vida (Malaysia, The Turtles/Iron Butterfly)

13. Found a Child (Peru, Ballinjack)

14. Cardova (Trinidad, The Meters)

15. Never Can Say Goodbye (France, Jackson 5)

16. Groovy Situation (Jamaica, Gene Chandler)

17. Cold Sweat (Brazil, James Brown)

18. Angel of the Morning (Mexico, Evie Sands)

19. I Who Have Nothing (Panama, Ben E. King)

20. Sweet Caroline (Guyana, Neil Diamond)



Bonus:

21. Signed, Sealed, Delivered

22. Hit Or Miss

23. September Song



Order now!



*LAME encoded at 320.

CHICAGO BOOGALOO posted by O.W.

Lewise Bethune: Chitown Boogaloo
A.C. Reed: Boogaloo Tramp
From Chitown Boogaloo (Goldmine Soul Supply, 2006)

For all the time I've spent researching Latin boogaloo, I realized I wasn't focusing enough on the original boogaloo craze - the one born out of Tom and Jerrio's "Boo-Ga-Loo" in 1965, spreading quickly throughout the R&B world and lasting for the next few years. From what I can tell, the R&B boogaloo trend didn't have the same kind of focused intensity as Latin boogaloo but it does seem to have shared some parallels, especially in being focused around the Chicago/Detroit corridor. My research is all preliminary but I am glad to have come across the Chitown Boogaloo comp which offers a tantalizing glimpse into a collection of tracks from that Midwest boogaloo craze. Suffice to say, more research is needed but you gotta start somewhere.

The Lewise Bethune was very interesting, not the least of which was because it's basically Don Gardner's "My Baby Likes to Boogaloo" with new vocals thrown on top (but clearly nodding to Gardner's original). It doesn't outdo Gardner's but this is a pretty fun cut regardless and I think it's interesting how Bethune's version actually lifts the "ooh" "aah" from Tom and Jerrio's original "Boo-Ga-Loo" single that sparked this whole movement. The A.C. Reed is another 7" I've owned for years but only recently came back to in the midst of my boogaloo curiosities: this one actually mashes up two different fads - the boogaloo and "Tramp," the bluesy/funky classic by Lowell Fulsom. I like how terse and focused the rhythm section is here - the song sheds a lot of heat but keeps things close in and tight.

If anyone out there has more knowledge of the R&B boogaloo movement, holler. I need to get to reading this, no doubt.

HOP TO THIS: RABBITS & CARROTS posted by O.W.

Rabbits & Carrots: Las 4 Culturas + Romeo Y Julieta
From Soul Latino (Musart, 1969). Also available on LP.

Bonus: Rabbits & Carrots: Express Yourself (snippet)
From We Got More Soul EP (Musart, 1971). Also on Soul Latino (CD but not LP)

File Soul Latino under those albums seemingly too good to be true - a group of Mexican rock/jazz musicians with a trio of brothers and nephews at core - sitting down in 1968 to record a series of instrumentals, most of them with a hard, funk edge. Frankly, if someone had told me this was some retro-soul band, masquerading as a vintage group with that backstory - I'd sooner believe the hoax. Not that Mexico City would lack the necessary musicians to put something like this together but it's like stumbling across an album such as that by Chile's infamous Xingu. Given how rare this purports to be, it's a genuine treat that the folks at Vampisoul got Musart's permission to reissue it.

Yes indeed: Rabbits & Carrots were real, as was their Soul Latino album and subsequent EP. That album constitutes one of the holy grails of Mexican funk albums and it's not just because of rarity or its unusualness - it's damn well put together and recorded well. Check out how they take on Don Randi's "Theme From Romeo and Juliet" - all dissonant whines and moody loops, beautifully accented by Luis Agúero's guitar and a brass section lead by Ramón Flores and Ramón Negrete and I'm assuming its bad leader and percussionist Salvador Agüero on those tinkling chimes.

"Las 4 Culturas," according to the liner notes, is the album's sole "original" song, a song about the Tlateloco Massacre. That may very well be true that the song is meant to inspire awareness around the murder of potentially 200-300 people before the Mexico City Olympics but musically speaking, most people would probably note: "uh, isn't this 'Get Up, Get Into It, Get Involved' by James Brown?" And you'd be right - it is. In fact, that's how it's billed on this 12" from a year or so ago. Not that I'm complaining - it would make sense to take a song with a title as politically charged as Brown's and reapply it to the happenings in Mexico City.

For a bonus cut, I threw on a tease of the group's 1971 cover of "Express Yourself." This came after Salvador Agüero (nickname "Rabito," hence the group's name) left the band and a vocalist named Max (Max what?) joined. This isn't necessarily my favorite cover of the Watts 103rd's immortal classic but I dig its Spanish-language remake and given the timing with the Watts 103rd Week, it seemed only apropos (plus, that ridiculous drum-break toward the end doesn't hurt either). Just be aware: this song, along with covers of "Sex Machine," "We Got More Soul" and "Spill the Wine" are available on the CD of the album, as well as a separate EP, but it's not on the vinyl LP version of the Soul Latino album.

TRAVELOGUE posted by O.W.

Sorry to have been away for a while - my thanks to the Captain's Crates crew for holding it down.

I've been on award tour, starting last week at Duke University where I gave a pair of talks in conjunction with their Transcultural Humanities project. It was a great opportunity to talk about my work but the real enjoyment was spending some time, rapping with Mark Anthony Neal who brought me out there. He put me up on this stunning Max Roach/JC White Singers song but I'm still trying to track it down so that'll have to wait.

CONTINUE READING...

I did catch an equally compelling exhibit at the Nasher, an impressive, first-ever retrospective of Barkely Hendricks' paintings. Hendricks has flown under the radar for decades but hopefully, this show - which will travel to the Studio Museum in Harlem and then the Santa Monica Museum of Art - will rectify that situation. His works from the '60s, in particular, are such beautiful snapshots of the time, both in terms of the cultural signifiers and the personalities that he captures in them. Here's a personal favorite, "Tuff Tony":

Folks might be more familiar with this more recent painting of Fela:

If you're in Durham...or New York in the fall (or Santa Monica next spring, or Philly after that), I highly recommend you see his work. Soul inspired, for real. Shout out to Trevor Schoonmaker for having the foresight and resources to put this retrospective together. Here's a video preview he helped put together for the Nasher:

After Duke, I came home for all of 12 hours then had to fly out again for the EMP Pop Conference in Seattle. I. Love. This. Conference. Which is probably something only an academic would ever say, but f--- it. I have no shame in my appreciation for the conf (as noted in the past). I'm not going to do a complete run-down but I'll say this much: the conf does much to both inspire me intellectually as well as turn me onto new music/ideas/people. Here's a quick scattering, perhaps a follow-up post later.

1) Jeffrey Govan: This bassist in the LA ska scene is also now a grad student at USC's American Ethnic Studies program. He gave on paper on the Latin influence on ska back in the 1960s (and influence that has been remarkably cataloged here. Apart from introducing me to the Skatalites' "Latin Goes Ska" (a flip on Perez Prado), I was most thankful for Govan putting all of us onto this:

Tommy McCook and the Skatalites: Sauvitt
From 7" (Dodd, 1964). Also available on Tribute to Tommy.

It's a cover of a Mongo Santamaria song ("Sauvito") and the subtle intertwining of ska and Latin rhythms here are simply delicious. I love how the song opens with that piano, how the horns come in and layer themselves, and my favorite moment comes right before the two bridges with the four note horn hits - wish they had made that into an entire chorus. Great song - a new favorite.

2) Lauren Onkey: This professor at Ball State Univ. is doing fascinating research on the undersung Black rock and doo-wop bands who were part of the Mersey Beat scene in Liverpool circa the 1950s/60s. Onkey was drawn to this research given how, in most of the literature she had seen on Liverpool's music scene and the Beatles, rarely were any of the city's numerous Black bands ever acknowledged even though groups like the Fab 4 played with them and, according to some rumors, learned their R&B-styled chops from them. Onkey also makes the very provocative argument that Liverpool's historical Black population (dating back centuries to the city's prominence as the slaving port in Great Britian) is one reason why the blues fetishism that hit other British bands like the Rolling Stones or Cream bypassed Liverpool groups - they had grown up with Black people and thus, weren't as likely to romanticize/nostalgize them through the blues.

In any case, during her talk, she played this clip by the Liverpool doo-wop group, The Chants, who worked with the Beatles early on before they really became "The Beatles." Here they are, covering the jazz standard, "I Could Write a Book."


3) Gayle Wald: I last mentioned Gayle a year ago, in connection to her book on Sister Rosetta Tharpe. Gayle's now working on researching the life and times of the late Ellis Haizlip, a remarkable artistic force in New York, who, among other things, hosted the PBS show, Soul!. It's hard to quite capture how remarkable a show this was - in the late '60s through early '70s, it was an incredible meeting point of different Black artists, musicians, politicians, etc. in ways that have never really been duplicated since (no, not even by Arsenio).

The problem is that this show will likely never, ever be released to the public on DVD or any other format - the release contracts signed at the time make such a occurrence logistically impossible for all practical purposes. It's a damn shame - the clips that Gayle brought included a mind-melting interview between Haizlip and Farrakhan talking about gay sex, Ashford and Simpson performing on one of the last Soul! shows and - coincidentally enough - Max Roach w/ the JC White Singers.

Luckily (however illegally), clips have snuck out, including this 1973 performance by the Spinners on the show.


4) Last but not least, one of the other people on my panel (besides Gayle) was EMP organizer and fellow L.A. partner-in-culinary-crime Eric Weisbard who did a paper on Elton John's "Benny and the Jets" - a song that most everyone (I presume) has heard but may not remember being a big hit on not just the pop charts, but also the R&B charts. Don't believe it? Just ask Mary. Or the Diabolical:

Biz Markie: Sounds of Silence (by the Beastie Boys) (Capitol, 1999)

For real though, listening to that version isn't half as fun as watching it:

AY AY AY! MICAELA X QUATRO posted by O.W.

Pete Rodriguez: Micaela
From I Like It Like That (Alegre, 1967)

Pedrito Ramirez y su Combo: Micaela
From 7" (Popo, 196?)

Los Cinco De Oro: Micaela
From 7" (Philips, 196?)

Tone Done's Hollywood Quintent: Micaela
From 7" (Vance, 196?)

As promised, here's the first in hopefully many boogaloo-themed posts in honor of the new Soul Sides Boxset #2.

In general, I've found that Latin soul/boogaloo songs are not always given to covers very well. I'm still not sure why this is - whether it's a failing on the groups covering or something inherent to the genre but, for example, covers of Joe Cuba's "Bang Bang" never sound as good as the original (in contrast, "El Pito" seems to go over better). However, it dawned on me recently that there's another boogaloo classic that might disprove my casual theory: Pete Rodriguez's "Micaela." Not only is the song well-covered - possibly the most of his several hits - but many of the other versions are done competently, often on par with the original. I think that says something important about said original: that it's one of those magical songs that lends itself to multiple permutations, all of which excel simply be referencing back to the original (for another example, see variations on Tito Puente's "Oye Como Va" - a song that can be covered any which way and still sound great).

I genuinely love this song and how it sounds and have made it a pet project to track down other versions of "Micaela" in hopes of finding yet another charmer. I have to admit though, until very recently, I barely understood it since my Spanish lexicon is limited to, um, counting 1-10 and ordering from taco trucks. That great if I ever need to order "dos tacos, carne asada," not so good for deciphering even basic songwriting en español.

CONTINUE READING...

Luckily, I had some friends help me out and what they came up with is a translation that suggests that Rodriguez was singing about how Micaela blew him away on the dancefloor, which seems apropos for a boogaloo song. If someone has a more elaborate translation, feel free to share in the comments.

In any case, I start with Rodriguez's original, featured on his best-selling I Like It Like That LP for Alegre. The "ooh aah" intro is just a touch too forced but it's all about that piano montuno. Hands-down, one of the best riffs of its kind in Latin. (I'm curious if it has an antecedent...songwriters borrowed from each other all the time in this era). And then there's the hook, "ay ay ay, Micaela se boto" - so catchy.

The Pedrito Ramirez y su Combo version is out of the Bay Area of all places, making it one of the rare West Coast Latin boogaloo cuts I know of (see below). I really like this version - it's livelier and brighter, especially with the addition of the piccolo and greater use of coro-pregón (call-and-response). You can also hear the obvious Joe Cuba influence with the "ah ha, beep beep" chorus that opens. A great party cut and one that I play out at Boogaloo[L.A.] with much pleasure. If you like it, the one dealer I know who has copies is selling one now.

The Los Cinco De Oro version comes from PeruColombia and is notable for at least two reasons: one, it feels much faster than the original. Had I not known better, I would have thought it was a 33 record that I accidentally put in 45 but nope, it's supposed to be that fast. Second, it's a very stripped down version: all piano and hand-claps and that's practically it (save for a lil flute)! I made the mistake of playing this out at the club only to remember: oh yeah, there's no low end to this at all. Can't say this is my favorite but even sped-up, stripped down, with no bass...the song is still catchy.

Lastly, we come to what may be my favorite version and - damn - wouldn't you know, it's also the rarest of the batch? Let's give credit where it's due: I first read/heard this at Office Naps, which included it as part of their West Coast boogaloo series. It's an L.A. record in fact, but one that is uber-obscure and thus, this sound file is likely the closest I'm going to come to it.

What I like about it is how it's also stripped down but not as sparsely as the Los Cinco version - instead, Done's Quintet keeps it to piano and some percussion and really, the song doesn't need any more than that essence. The Ramirez is more lively but Done's just nails what I think is the essence of the song.

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By the way, congrats to Asid and Dan who won the Truth and Soul/Fallin' Off the Reel Vol. 2 contest.

The correct answer to the mini-mix selection was: Tom Scott ("Today"), Sylvia Striplin ("You Can't Turn Me Away"), Wild Sugar ("Bring It Here") and the one that caught most folks: S.O.U.L. ("Peace of Mind"). Get familiar!

WE ARE THE WORLD REDUX posted by O.W.

All I can say is...wow.

TRANSFORMING A SONG posted by Captain Planet

Mel Williams : With A Little Help From My Friends
taken from the album "Stranger In Paradise" on Wampus (197?)

Eugene Paul : Chain Gang
taken from the 12" on Third World (198?)

I don't know a nickel's worth about either of these artists, so I won't front like I do. But both of them offered me a much appreciated respite in a time of need. I love how Mel has completely changed the tempo and swing of the whole song. Despite the poor recording quality, he really strikes a nerve when (right around 1:35) he lays behind on the beat and then jumps right back on top of it. The Eugene Paul cut, produced by Winston Curtis, has some serious gall to even dare take on a classic of such epic proportions. And while the production quality here might also distract some listeners, by the arrival of the first verse, I was entirely sold. When else has Sam Cooke received the raggae version? I'm running a blank. The 12" also contains a nice rendition of "Wonderful World" and a not so nice B-side called "Rock Me".

SUNNY STRUT posted by O.W.

Sunny and the Sunliners: Soul Pride + Cissy Strut
From The Missing Link (Key-Loc, 197?)

I wanted to thank everyone for their support in picking up one our CDs. As a gesture of my gratitude, I decided to slip out another of the "top shelf" records (though not from a fire crate record[1]) with two cuts off this Sunny and the Sunliners LP. The group was based around San Antonio and had a long, healthy career, releasing singles and albums on the Key-Loc label. (Later, group member Rudy Guerra would go onto found a similar band, The Latin Breed, who are equal legends in the Texas funk scene, especially with their releases on GCP.

Like most of Sunny and the Sunliners albums from this era, Missing Link is a mix of Tex-Mex ranchera songs with a few odd soul and funk tunes mixed in. Apart from the two songs included above, there's also a slower, instrumental cut, "Boo Boo" and a midtempo funk tune, "Pressure Cooker" (good name). I appreciate that diversity and seeming eclecticism though I know, for the group, there likely was no contradiction in them playing a Norteño track one minute and a soul one the next.

Their cover of "Soul Pride" is pretty loyal - a good funk slammer, no doubt - but their version of "Cissy Strut" is something fierce, especially with their addition of the "Sing a Simple Song" horn bridge (nice). Is it my favorite cover of this Meters classic? Tough call - I do dig the new elements they throw in but I might have to stick with the Hoctor cover (and don't sleep on the Trinidad Steel Drum Band's either).

[1] Fire crate records = some DJs joke about keeping a crate of records that they'll grab in case of a fire. It's a good idea for a future post, no?

SEXY JAMS posted by O.W.

Lloyd Charmers: Let's Get It On
From Trojan Motor City Reggae (Trojan, 2006)

Little Beaver: Let the Good Times Roll
From Party Down (Cat, 1974)

Betty Wright: Tonight Is the Night
From Danger - High Voltage (Alston, 1974)

My sister-in-law is starting a dance class and is looking for suggestions for suitable music. To be more specific, she's looking for: ""songs that make you feel like getting your groove on. Sexy slow uptempo or mid tempo, it's all good we're just asking for some ideas of what makes you feel sexy." I've thrown some suggestions her way but I figured I could gather a few from the Soul Sides crowd.

Here are two songs that came to mind for me:

"Let's Get It On" is practically de rigeur under these conditions but I thought I'd offer up the song with a twist - a really nice reggae cover by Lloyd Charmers that does a nice job of working off the original without straying too far. It's not better than Gaye's original - nothing ever could be - but it's a cool twist on a familiar classic.

The Little Beaver song is something I've been meaning to post for a long time but as part of a Little Beaver post...I still haven't gotten around to that (obviously) but this seemed like a good opportunity to pull out this, one of my favorite songs by one of Miami's finest. I love how the song hits this perfect balance as a soulful funk tune (or funky soul tune) with an irresistible rhythm that, for me at least, always seems to inspire a scrunched scowl that says, "oh yeah baby." You know what I mean.

Last song is the original version of Betty Wright's hit "Tonight Is the Night." Most folks are familiar with her live version and strangely, it's very hard to find her first version on CD. I can see why the live version is more celebrated but I've always liked this studio take too - it's more mellow, a bit more slick (vs. the rawness of the live one) but still has that familiar melody and hook that people know so well. That plus, c'mon - it's just about the best song ever written about losing one's virginity (albeit, no one's first time likely goes this groovy).

What sexy jams would you suggest for my sister-in-law's class?

THE EXCITERS AND MARGIE JOSEPH: DEEPER AND DEEPER posted by O.W.

The Exciters: Yo, Que Nada Tengo + Let Your Self Go
From S/T (Tamayo, late '60s?)

Margie Joseph: I Can't Move No Mountains + The Same Love That Made Me Laugh
From Margie (Atlantic, 1975)

I was thinking of something Murphy's Law wrote a few weeks back: "THE DEEPER YOU GET, THE DEEPER THE MUSIC GET. There is more ill music out there than you and I can wrap our sorry little heads around."

To me, the second statement actually refutes the former because really, there's an incredibly, unfathomable amount of "ill music out there" on the surface that you don't always need to "go deep" in order to find it.

That isn't to say that "going deep" doesn't have its own rewards. But rarity and quality are not commensurate. The relative quality of my best $10 albums probably kick the ass of other records I own that go from 10-20 times that. The main difference is that Al Green and James Brown albums were pressed in the millions. West Coast Revival...not so much.

Ultimately, it's about searching for the sublime and to a certain extent, whether that manifests in the form of a $1 bin cut-out record or a $300 private press LP off Atomic's wall, if you have the means, either is worth acquiring. Of course, rarity is a quality in and of itself...not because it's better but often it is...quirkier. I'm generalizing of course but for those who don't believe that popularity is determined by marketing alone, songs/albums that catch fire usually do so because they appeal to a wide swath of people. The albums that end up with runs smaller than batting averages - those are the ones that never caught on with anyone. Maybe they were ahead of their time. Maybe they were just too weird. Maybe someone was broke. Regardless, the higher up the record chain (or deeper if you prefer), it's more likely you're going to find something that's just a bit "off." And that may not always equate to sublime in the way, say, Willie Mitchell's production is sublime. But it can equal "something you haven't heard before." (Secret translation: "interesting enough that you just mortgaged your daughter's college fund for it.")[1]

This post mixes it up both ways. I start with The Exciters' self-titled album on the Panamaian imprint Tamayo. Like most, I learned about the group through the excellent Panama comp that my man Beto worked on and luckily, when he had a copy for sale, I decided to take the plunge on it. It is, to be sure, a very quirky album, which befits the unique Panamanian geography of sound.

You can literally throw a dart at the tracklisting (preferably not however) and each song will come from a vastly different genre. My favorite song is actually the "Exciters Theme" (but you'll have to cop the CD to enjoy it in full) but there's also a nice merengue tipico track, "Ese Muerto No Lo Cargo Yo," for the dancefloor. There's also several American covers, none more mesmerizing than the Spanish language cover of "I, Who Have Nothing", "Yo, Que Nada Tengo." I don't know how they're processing those guitars at the beginning, but it almost sounds like a steel guitar...played underwater.

No less surprising is the cover of James Brown's "Let Yourself Go" - a modest 1967 hit. The version doesn't hold up against the original (though the Exciters' guitarist should do Jimmy Nolen proud) but I do always love hearing Brown covered outside of the U.S.

Ok - so that's the money record. Here's the bargain bin gem: I first heard "I Can't Move No Mountains" when Hua and I did our Redwood gig and he dropped this Joseph track on 45. It sounded amazing played out loud - the kind of disco cut you wish people would think of when they hear of the word "disco" instead of crap like this. (For starters, it all but annihilates the original. I seriously can't get enough of this song and best of all - it's off an album that rarely goes for very much at all (at least on vinyl. The only CD version that's been readily avail was on Japanese import but it looks like it's finally getting a domestic release next month). It's a proverbial steal.

Plus, besides that song, you also get a very nice cover of Bill Withers' "The Same Love That Made Me Laugh." Sweet.

The moral is that there's so much great music out there to discover and whether it costs you $1 or $100 or even $1000, the experience of hearing a great song for the first time is [wait for it]...priceless.

[1] Here's a little secret: I almost never share songs from the latter, "top shelf" albums or 45s. This is likely a generational thing - I'm young enough to enjoy - really enjoy - blogging about music but I'm still part of an older school of collecting that keeps certain cards close to the chest. I know other bloggers/collectors don't feel the same way (hence the rash of album-oriented audioblogs that post up stuff like, well, like that West Coast Revival album that I spent a pretty penny on only to see it posted up two weeks later. %*#)@!) and I respect their generosity, especially since it helps expose me to other records. That said, my holy grails and white whales tend only to get shared at the club or on a mixtape but I never felt Soul Sides suffered for it since, as noted, the amount of great - common - records out there is unbelievably deep that it's not like anyone's lacking because they haven't heard that Filipino version of "Tango Goo Bonk" I keep squirreled away.

ICEWATER AND THE POSSE THROW IT BACK posted by O.W.

DJ Icewater feat. Chioke and Sizwe: Throwback Vol. 1 (snippet)
From Throwback Vol. 1 (2007)

Uh, ok...late pass. Apparently, this came out last April but I only got familiar recently and alas, it's not even avail through Icewater's mixtape site anymore :(

Just some quick history: I've known Icewater since the '90s, when he was interning for Solesides/Quannum in Berkeley. He's always been one of my favorite DJs and frankly, dude is just a funny, good-natured guy. He's also handled my mixtapes for several years now, both CD and digital form so I got nothing but love for all his support and help.

This Throwback mix is for the geeks and fanboys (I mean this in a good way) since it's wall-to-wall covers of rap songs. Note: hip-hop is arguably the only major American music genre in which cover songs don't exist in any meaningful way (remixes, I suggest, are a different beast and therefore, don't count) and it's not that hard to explain why (hint: authenticity claims). There are a few examples, such as that recent Beyond a Reasonable Doubt mixtape that was out there and of course, Snoop's "Lodi Dodi." Well, Throwback Vol. 1 is like that...only with a lot more songs to enjoy, spanning the classic '90s era but trying to give love to the different coasts, plus a balance between major label and smaller imprints. Chioke (The Dime) and Sizwe (Lunar Heights) may not outdo the original artists (and that's not the ambition anyway) but it is a rollicking good time hearing them flip on these classics. The four song snippet I put together includes my favorite span on the tape, beginning with Group Home's "Supastar" (note: Malachi's verses were vastly improved upon), then into Ed O.G.'s "I Gotta Have It," and back to Cali with Erule's "Listen Up" and ending with a most welcome surprise: a cover of the Nonce's "Who Falls Apart?" I'm getting all misty for '98 now...

EIGHT IS ENOUGH posted by O.W.

Ben Westbeech: So Good Today
From Welcome to the Best Days Of Your Life (Brownswood, 2007)

Candi Staton: I'm Just a Prisoner
From I'm Just a Prisoner (Fame, 1970). Also on Candi Staton: The Early Years.

Timmy NcNealy: I Am So Glad You're Mine (snippet)
From 7" (Shawn/Truth and Soul, 1972/2007)

Hank Ballard: With Your Sweet, Lovin' Self
From 7" (King, 1969)

Bronx River Parkway and Candela All-Stars: Aqua Con Sal (snippet)
From 7" (From Truth and Soul, 2007)

The Three Souls: Herby's Tune
From 7" (All-Indy, 196?)

Donny Hathaway: Lord Help Me
From 7" (ATCO, 1972) Also on Extension of a Man.

UGK: One Day
From Ridin' Dirty (Jive, 199)
Here's an irony for you: I switched to audioblogging after doing 10 years of radio because, frankly, I found radio a bit exhausting. But nowadays, with teaching and family, blogging (at times mind you, only at times) feels like the burden. So instead of doing a few mini-posts, I'm back to cooking up mini-sets. I'd appreciate any feedback people have, namely over whether or not these 20+ minute mixes are more to their liking than single-song files. Personally, I like it better since I think music should be listened to in a sequence rather than bits of free-floating atomic units (I'm old school like that).

Anyway - here's the latest mega-post.

I have to thank Soul Sides reader, Ronnie Reese, who put me up on my current heavy-rotation player - "So Good Today" by the UK's Ben Westbeech. I'm a little surprised I didn't catch wind of this sooner, only because Westbeech is signed to Gilles Peterson's Brownswood label and I tend to follow Peterson's music. In any case, Reese was trying to put me up on the Dap-Kings mix of the song but I have to say: I rather prefer the original version. Sure, it's sugary sweet and probably only a touch less hippy-happy than, say, "Young Folks ," but to me, this is the perfect "start-your-day" song. Much better than waking up to that "ENH! ENH! ENH! ENH!" of the typical clock-radio. Dig the video too.

The Candi Staton is very, very overdue. I should have blogged about this a couple years ago, when Astralwerks put out that amazing Candi Staton: The Early Years anthology, featuring some of her best songs with Rick Hall's famous Fame studio in Muscle Shoals. I was reminded of this, pulling out songs for that recent Sharon Jones gig, and reminded about how insanely awesome "I'm Just a Prisoner" is. Seriously, it's G.O.A.T. status and I don't mean Capra aegagrus hircus. You gotta love how the song builds in intensity; it's not far past 3 minutes yet it sounds absolutely epic.

I follow that with one of the best reissues I've heard in a while; a cover of Al Green's "I'm So Glad You're Mine" done by the great Timothy McNealy, and re-released by our valued colleagues over at Truth and South in Brooklyn. This one is mega-mega rare, originally appearing on Shawn and what I appreciate about it is how McNealy strips down an already stripped-down song...it's lo-fi but in this affecting, acoustic, intimate way. I only hooked up a snippet: cop the entire thing (hopefully, T&S will get a digital sales system set up soon).

The Hank Ballard side comes from a stack of 45s my man Justin Torres broke me off with a few years back but I had misfiled a bunch of them and only recently rediscovered them. This was part of a batch of James Brown-produced singles and the deeper I get with that catalog, the more impressed you get at just how many songs from the '60s, including a song like this Ballard cut, managed to carry that signature JB sound without having to smash you ever the head with it, ala "Think" or "More Peas" (so we're clear: I like being smashed in the head by JB-production). Sweet funk like this makes my day.

Back to Truth and Soul, just wanted to hit ya'll with a quick blast of Latin funk from their Bronx River Parkway recordings (I believe a full-length is imminent). As usual, a solid dancefloor cooker that's a good transition song for the Latin newcomers but doesn't dumb it down for the real heads either.

The Three Souls jazz tune is off another 45 I re-discovered from Torres' batch. This is an interesting single out of Indianapolis, given that the A-side, recorded with a vocalist named Aretta is a soul cut whereas this, the flipside, is obviously a straight-ahead jazz track and my, my, my...what a nice one at that. Much as I appreciate the soul jazz era of the late '60s/early '70s, it's "soulful" straight-ahead jazz like this which I never get tired of listening to. If anyone else has recommendations for albums in a similar sounding vein, let me know.

The Donny Hathaway is something I originally posted back in February and I was under the mistaken impression that it had been a previously unreleased cut, put onto the Extension of a Man CD. As it turns out, it had come out...but only on 45. Given that I just reacquired the single, I wanted to put it up again especially since it is, hands-down, one of my favorite Hathaway songs (which is saying a lot). So sublime and socially conscious to boot.

Lastly, I end with a song that was suggested to me by Soul Sides reader Laughlin Siceloff as part as a two-song, Pimp C dedication. I thought it'd actually work nicely as a coda here, in the memory of a rapper who passed far, far before his time. R.I.P.

DOG PILE! posted by O.W.

Jim James and Calexico: Goin' To Acapulco
From I'm Not There (Sony, 2007)

The Flying Burrito Bros: Wild Horses
From Burrito Deluxe (A&M, 1970)

Cam'ron: Just Us
From Public Enemy #1 (2007)

Cyril Neville: Tell Me What's On Your Mind
From 7" (B-side of "Gossip") (Josie, 1970). Also on New Orleans Funk.

Freeway: When They Remember
From Free At Last (Roc-A-Fella, 2007)

Kanye West + Jay-Z: Never Let Me Down (9th Wonder Remix)
From The Graduate (2007)

Phoebe Snow: Poetry Man
From S/T (Shelter, 1974)

This isn't the most elegant way to go about things but with the end-of-the-semester crunch in full e.f.f.e.c.t., a mondo-posting, written while I'm vegging to college football, is about as good as things are going to get right now. Besides, these days, a playlist like what you see above is par for the course. Genres? Bah, where we're going, we don't need genres.

To start with...

I went to go see the new Todd Haynes film, "inspired" by Bob Dylan, I'm Not There and one of the musical moments that lingered most with me came during the Richard Gere/Billy the Kid thread, where Jim James and Calexico eerily performed Dylan's "Goin' To Acapulco" (from the Basement Tapes originally) as part of a funeral. Covering Dylan is not an easy task; in most cases, it's really not worth trying (see the rest of the I'm Not There soundtrack for other examples) but I thought James does a fine job here putting his own spin on a tune most folks (save hardcore Dylan-ites) probably don't even associate with Dylan. Think of it as a more erudite "Margaritaville."

Speaking of covers...my friend Hua recently hit me with this cover of the Rolling Stones' "Wild Horses," sung by the late Gram Parsons when he was with the Flying Burrito Bros (one of the worst names in rock, evah). Parsons, to me, just nails this. It's a cover but it sounds like it should be the original given that Parsons' heroined-out voice and affect makes the song even more melancholy. I wonder if Mick heard this and thought, "damn, I just got sonned."

Just to switch up gears really abruptly, now we get to Cam'ron. His new double-CD mixtape is a bounty for any Cam fan, especially since it's been a minute since he's had an album out. His signature rhyme scheme has become even more playful and intricate of late though I picked this song more b/c I'm down to listen to any rap song that loops Journey (Steve Perry, represent). I wonder if anyone could actually get this cleared in real life...

The Cyril Neville is a song I've been playing out more of late. Neville's backed by The Meters (he was a member, of course) and this appears on the B-side of his first solo single, "Gossip." Personally, I'd put it up there with the best of any Meters-related song I've ever heard. The band is on fire in backing Cyril and along with Neville's vocals, they lend the song a marvelous energy.

No less energetic is Freeway. I admit...I wasn't always into him given his voice but with time, I've really appreciated the intensity he brings. The new album, Free At Last is incredibly good. It's definitely one of the best rap albums I've heard in a long time; Free may complain that Just Blaze didn't "chirp back" but you'd hardly miss the Megatron Don here given that much of the production is already indebted to his style. It's hard to pick any one song off this album; the whole thing is so good and I was tempted to go with "Roc-A-Fella Billionaires) but in the end, "When They Remember" comes out ahead for sheer power. The song is so loud and grand, it's cinematic.

The Kanye remix comes off The Graduate mix-CD, put together by Mick Boogie and Terry Urban. The original was on College Dropout and I was never that crazy about the O.G., production-wise, but I really like what 9th Wonder does here (I'm sure it has something to do with its nod to Primo's remix of Show and AG's "Next Level"Das Efx's "Real Hip Hop"); it strips the sound down and gives the verses an added poignancy by being so sparse.

Laslty, I recently went to go see Queen Latifah in concert at Royce Hall and she has her own version of Snow's classic "Poetry Man" on her new Trav'lin' Light CD. Much as I'd like to back Latifah here...her voice just can't quite cut it and ultimately, though a loyal cover, it's not as satisfying as enjoying Snow's original (Zap Mama has a decent cover of it too). "Poetry Man" has a distinct Joni Mitchell quality to it (which might be why I like it so much) and it's one of those songs that go down so easy on a weekend afternoon.

Ease Back: Covering the Meters Pt. 2 posted by O.W.

Grant Green: Ease Back
From Carryin' On (Blue Note, 1969)

King Herbert and the Knights With Jack Harden: Chicken Strut
From S/T (Paragon, 1970). Also on Canada's Message To The Meters

The Invaders: Look A Py Py
From Spacing Out (Duane, 196/7?)

Bacao Rhythm and Steel Band: Ease Back (snippet)
From 7" (Melting Pot Music, 2007)

In the second part in this series, I look at other covers of Meters' tunes. As noted: their sound got around, especially in the late '60s and early '70s.

This era of Grant Green's career produced many of his most celebrated soul-jazz (the genre formerly known as *hack hack* acid jazz) tunes, especially with albums like Alive! and Carryin' On. His cover of "Ease Back," backed by the indomitable Idris Muhammed on drums, is a slick interpretation of The Meters' original - it's not as raw (or brief) but it takes the core riff and puts it to good use with Green's more fluid and breezy sound.

The King Herbert flip on "Chicken Strut" is one of several Meters and funk-related covers done by a series of Canadian artists in the 1970s, all signed to the Paragon label. The original LPs by all these folks - Frank Motley being the other big name in this circle - are $200+ pieces and that high demand is no doubt influenced by the presence of covers like this (Herbert also pulls out a wicked "Hook and Sling" cover. What's the NOLA --> Canada connection about?). If you feel like parting for it, check out that anthology I linked to - good stuff all around.

The Invaders have an even Grail-ier Grail amongst funk collectors. Like the famed Xingu album from Peru, this particular LP (by a Caribbean band) draws from a range of funk influences of the era, including covers of "It's Your Thing" and "Can't Get Next To You." Their flip on "Look A Py Py" is rather outstanding, especially for that unexpected drum breakdown at the end.

Lastly, my timing for this series happened to coincide with the release of a new 7" by the folks at Melting Pot Music. The Bacao Rhythm and Steel Band's new 45 has Look A Py Py" on the A-side and a cover of "Ease Back" on the other. Just shows you: The Meters never go out of style.

Cissies Unite!: Covering The Meters Pt. 1 posted by O.W.

Trinidad Steel Band: Sissy Strut
From Super Album (Cherry Hill, 197?)

Pete Eye Trio: Sissy Strut
From S/T (Cavern, 197?)

Big Band Katowice: Madrox
From Music For My Friends (Muza, 1977)

One of the recurring songs that I'm always finding covers of is "Cissy Strut," by the Meters. Arguably the first big hit, coming on their debut Josie album, the song has found incredible resonance with artists - not just across America but across the globe. Dare I say, outside of James Brown's catalog, "Cissy Strut" might be up there with "It's Your Thing" as a funk tune from the late '60s that seemingly ends up on albums from Toronto to Tokyo; it's really quite remarkable. Just input "Cissy Strut" in iTunes and see how many covers pop up.

I've thought that part of the appeal is that The Meters really stripped funk down to its bare essence: their sound is gritty as hell, but also stark and clean - there's nothing wasted, nothing frilly about how the four group members executed their songs.

With "Cissy Strut" in particular, you have a series of great, simple riffs, beginning with George Porter's signature bass riff and then answered back by Leo Nocentelli's guitar. Underneath it all, Zigaboo Modeliste dredges those heavy drums. It's not a hard song to cover (though it's very hard to do anything that approaches the intensity of the original).

As I said - there are literally dozens upon dozens of "Cissy Strut" covers. I'm merely pulling out a few samples but this only scratches the surface. To begin with, the Trinidad Steel Band cover was probably one of the first "int'l" covers I ever heard. What's remarkable here is that steel drum bands often lack a conventional drum kit but it's clear that this group had someone on the sticks to accompany and that makes a huge difference in giving the song a more solid percussive ground to stand on. The fidelity is lo-fo but I'm patient with that, especially given how much fun this cover is to listen to as an island-funk take on the Meters.

The Pete Eye Trio version comes from a private press album out of Kansas City (there's also a fairly good cover of "Dem Changes" on there too). This time, the Trio replaces the bassline with the same riff played on on electric piano which is a slick little touch. I also like the liberties they take with the arrangement, especially in playing with that core riff. The song does get a bit noodly at times (hey, it's a private press jazz album) but I like the bass solo in the middle. But what? No drum solo? Booo.

Lastly, we have "Madrox," a late '70s jazz-funk tune out of Poland (purveyors of many a good jazz-funk tune). Even though its not credited as such, it's very clear that the first part of the song (which returns at the end) is bitten straight from "Cissy Strut." But first, sit through those wicked Latin drums, playing at double-speed. In contrast to the previous song, this song isn't lacking for drums at all - they're bleeding out the ears in percussion.

By the way, one of my favorite, favorite "Cissy Strut" covers is on a Hoctor 45 (see my previous "Jazz Instruction Records" posts). Sizzlin'!

In the second installment, we'll look at some other Meters covers (besides "Cissy Strut!)"

Renee Geyer: Soul Down Under posted by O.W.

Renee Geyer: Do Right Man
From Renee Geyer (RCA, 1973)

Renee Geyer: Do Your Thing
From It's a Man's, Man's World (RCA, 1974)

I first came upon Geyer through her 1976 live album, Really Really Love You. I was taken by how this Australian chanteuse would not only cover a lesser-known Johnny "Guitar" Watson song, but would do it convincingly as a blue-eyed soul singer somewhere between the light touch of Dusty Springfield and heavy edge of Janis Joplin. Maybe it's something in the water but Geyer clearly had an affinity for Black soul of the era as she covered any number of R&B songs in her first few albums for RCA. I pulled out a couple for your listening pleasure.

On "Do Right Man," Geyer takes on the Queen of Soul herself, Aretha Franklin, by covering one of Aretha's first big Atlantic hits, "Do Right Man" and what I like here is how she gives it more of a country feel rather than attempting a straight cover. But regardless of the genre-switching, Geyer's voice proves itself to be an admirable instrument, able to convey a lot of grit and warmth at once.

Word of caution: there's two, eponymous albums by Geyer but for whatever reason, the self-titled album I have is not listed in her discography and even more strange: most of the songs on this album (which includes versions of "Moon Dance," "Lean On Me," and "Them Changes" do not appear anywhere in her own discography (though a couple of songs are on that other self-titled album). Not sure how to explain that though I'm guessing it's some weird RCA thing).

Geyer's version of Isaac Hayes' "Do Your Thing" appears on It's a Man's Man's World (one of the few of the early RCA albums to get reissued, though this comp covers some of that ground. Again, is it better than Hayes? No. Is it a cool cover? Absolutely. (I'm trying to think if any other women have covered this song...I'm only familiar with male versions of it).

At some point, someone really needs to compile Geyer's "best of" soul collection. (Ahem, RCA Victor - holla me!)

Nicole Willis + Marc Broussard: More Shades of Soul posted by O.W.

Nicole Willis: Sunday Nite + You Better Change
From Be It (Sahko/Puu, 2004)

Marc Broussard: Kissing My Love + Come In From the Cold
From S.O.S.: Save Our Soul (Vanguard, 2007)

Given that I'm such a fan of the last Nicole Willis album, I was curious as to what her album before that, released in 2004, sounded like. Those expecting a more proto-version of Keep Reachin' Up will find instead that Be It is far less retro-soul and far more neo-soul. I wouldn't say these two songs from Be It will clarify that difference though "Sunday Nite" certainly fits into this kind of throwback disco vibe that I always associated with folks like the Brand New Heavies and Dee-Lite whereas "You Better Change," the lone cut off this LP recorded with the Soul Investigators definitely has that retro-funk groove going for it, ala Sharon Jones.

At the very least, Be It is an interesting peek into Willis' evolution between the two styles. Personally, while her voice is solid in whatever sub-genre, I definitely think her and the Soul Investigators really made it happen on Keep Reachin' Up in a way merely hinted at on Be It.

As for Broussard, this Louisana singer/songwriter (and son of guitarist Ted Broussard) is now on his third album and though he's always dabbled in R&B/soul influences before, S.O.S. is his most obviously soul-influenced recording to date. I'll say this much, dude looks like a young Dr. John and has some of the best vocals I've heard on a blue-eyed soul artist. As with my chit-chatter regarding Amy Winehouse, I do find it fascinating that it seems like the vanguard of those keeping classic Black soul and funk in rotation are White these days. With Broussard, I'm not familiar with his older albums but in listening to S.O.S., I feel like this is a well-intenioned homage that doesn't quite gel for me. Most of the album are covers - "Yes We Can" by Allen Toussaint/Pointer Sisters, Marvin Gaye's "Inner City Blues," the Staple Singers' "Respect Yourself," etc. and most of them are too loyal to the original that comparisons are impossible to avoid and Broussard and his producers simply don't bring enough to the table to compete.

To rip off American Idol-speak - if you're going to cut a cover, you better find a way to make it your own; fail that and the best you can have is a well-executed revue band tune. It's for that reason, I couldn't really get into "Inner City Blues" or especially Al Green's "Love and Happiness." Both are such signature songs that really, they're best left alone unless you're going to invent them and Broussard doesn't do enough with either to approach that level.

I did like his cover of Bill Withers' "Kissing My Love," but then again, I like almost every cover of "Kissing My Love" I've heard. There's something to Withers' songs that make them easier to remake, probably partially because his voice - while beautiful in its own way - lacked the distinctive, gospel-tinged nuance of other soul vocalists like Green or Retting.

However, I really liked Broussard's "Come In From the Cold" which I initially thought might have been a Joni Mitchell-cover but is, I think, his own composition and it's here, where Broussard isn't trying to live up to anyone else's potential but his own, that he sounds great. So good in fact that John Legend is probably wondering why he didn't cut this song. It's a lovely, lovely ballad.

Dyke and the Blazers + Frank Roberts Four: Sockin' It To You posted by O.W.

Dyke and the Blazers: It's Your Thing
From Greatest Hits (Original Sound, 1968). Also on We Got More Soul.

Frank Roberts Four: It's Your Thing
From In Canada (Westmount, 196?)

There are some songs where I never, ever, need to hear a cover of (starting with "Eleanor Rigby"). There are other songs where I'll always lend an ear for - "Ain't No Sunshine," "Cissy Strut," and today's selection, the Isley Bros.' "It's Your Thing." It's no secret I'm a huge fan of the song: I put Ann Peebles' version on an older mixtape, Adventures in Rhythm; Deep Covers has a Lyman Woodard version, and now SSV2 rocks the Cold Grits' version. Here's two more:

Dyke and the Blazers' is a tough one to beat - what I like about it is how it tweaks that familiar, signature bassline from the Isleys by flipping it almost double-time, basically making a funky riff even funkier. All praises due the Blazers on this one, aka the Watts 103rd St. Rhythm Band.

The Frank Roberts Four version comes from a Canadian private press soul album and their take on the classic is with an interesting blend of harmonized vocals and B3 Hammond organ front and center. Random to be sure but that's the beauty in cuts like "It's Your Thing." I'm sure, somewhere out there, some killer Polish or Maori or Vietnamese version lurks.

Like Whoa... posted by O.W.

That's just the starting point.

(By the way, if you're looking at the image and "don't get it"...you probably shouldn't be listening to music at all).

Mark Ronson: Gettin' It Covered posted by O.W.

Mark Ronson: Valerie (feat. Amy Winehouse) + Just (feat. Phantom Planet)
From Version (Columbia, 2007)

Version is already available in the UK (as of last week) but won't be coming state-side for a couple of months. The conceit of the album is very simple: take a smattering of mostly UK (and a few American) alt-rock songs and give it Ronson's customized retro-funk/soul twist. As someone who's all into covers (obviously), I take special interest in a project like this since it's both all about covers and moreover, an interesting experiment in pop music making for someone with Ronson's current cache amongst the musically hip (*cough cough* soulful and soulless alike).

I'll be writing a formal review of the album down the road so I'll spare the same approach here except to say, for an album of covers, the source material is hardly obvious to anyone outside the world of UK/US alt-rock. This doesn't inherently hurt the album - the songs can stand on their own, especially as "Valerie" attests too - without one knowing what the O.G. sounds like but it does raise a question of who the intended audience is here. Do Radiohead or Kaiser Chief fans want to hear familiar songs remade as if by Fred Wesley and the Horny Horns? Or likewise, do QSO/Daptone fans want to hear that sound applied to the Smiths with Daniel Merryweather singing? (To answer the latter - probably not. The song is pretty horrid on both levels).

For what works, I have to say - Winehouse's version of "Valerie" is an instant winner. She's already performed this during her recent mini-tour and there's an acoustic version that folks have been circulating. The song's genealogy is under some dispute - the song is mostly associated with the Zutons (if you just asked, "who are the Zutons?" you're not alone) but others claim the song originally was on a demo by the Jam but not got released. As my wife said, "it sounds very Paul Weller," (upon which my friend quipped, "except bad." Ouch). History aside, it's a very catchy song and if you already like Amy (as clearly, many of my readers do), you'll like this and if you don't know her, it's not a bad introduction to Ms. Winehouse's style.

"Just" appeared earlier on an album of all Radiohead covers and I can't say I'm mad at this at all (same goes for that Cuban remake of "High and Dry" from last year). The production is a bit overcooked here for my tastes - it's fun but could have stood to be stripped down more - but I can't say I'm resistant to its charms.

As for the cover of Britney Spear