MIDNITE BRIGHT: THEE MIDNITERS posted by O.W.

Thee Midniters: Jump, Jive and Harmonize + Hey Little Girl
From In Thee Midnite Hour (Norton, 2006)

Thee Midniters: That's All
From Giants (Whittier, 1967). Also available on their Greatest Hits.

Since I've been in L.A., I've tried to start learning about the bands with local roots down here and one name that kept popping up was Thee Midniters. I quickly learned why: they were the Chicano rock n' roll band of the 1960s - not just locally in their hometown of East L.A. but nationally too, with hits like "Whittier Blvd." and a version of Chris Kenner's "Land of 1000 Dances." Their exploits are well-chronicled in David Reyes and Tom Waldman's history of Chicano rock, also entitled Land of 1000 Dances.

Silly me though...I'm so used to lowrider-type soul that I just assumed that an East L.A. band would be some suavecito tip but while the group certainly had their share of ballads, such as the mellow "That's All", they also had an impressive catalog built off of some beautifully rough, rollickin' garage rock singles. I'm talking about some of the hardest sides I've heard in a while - fuzzed out, crunchy, but packing a wallop. Just listen to "Jump, Jive and Harmonize" and how vicious those opening guitar lines are from George Dominguez. Then you throw in George Salazar (or was it Danny Lamont?) attacking the drums while Little Willy G screams down the vocals.

If you dig that sound, the entire In the Midnite Hour disc collects those songs (no slow jams, just the ruff stuff) and what really impresses me isn't just the energy of the singles but also how sophisticated many of the rhythm arrangements are. Especially with a song like "Hey Little Girl" (a previously unreleased single), I can hear all kinds of similarities to some of the ideas James Brown was working out on his songs like "Night Train." These are just my initial impressions - I'll have to dig deeper, maybe take myself to the aforementioned Whittier Blvd.

Here's a bonus video of Little Willie G singing "That's All""

FUZZ NUGGETS posted by Captain Planet

Mikis Theodorakis : Cafe Rock
taken from the soundtrack album "Z" on Columbia (1969)

Sum Sum : Mountain Beauty
taken from the album "Midnight Guitar" on Regal/EMI (196?)

Los Yaki : Las Estatuas De Marfil
taken from the album "Vol. II" on Pickwick/33 (196?)

Los Blue Caps : Tu Mujer, Yo Yaron & Solo Vivo Por Tu Amor
taken from the album "Cuando Te Miro" on Parnaso (1970)

Imagine the immense awe that must have splintered into the core of the first fuzz guitarist when, upon strumming his coiled strings, he heard not the sweet melodious ring of a clean plucked note, but instead was met with the scream of electrical feedback that will forever voice the raw agitation of youthful rebellion. Did this forgotten string-strummer catch any glimpse at the vast impact of his forever raging bastard child? Was it done on purpose? Did he finally achieve the sound of his burning inner torment after exhaustive hours of experimentation, or was it an accidental buzz that stabbed him in the back when he innocently left the volume knob turned up too high? Whatever the case may be, today I'd like to celebrate a few obscure shrapnel nuggets that were flung in different directions across our planet in the aftermath of this explosive auditory revelation.

Mikis Theodorakis is perhaps one of the all-time greatest and most widely recognized Greek composers. I addition to scoring virtually all the major Greek theater productions of the 60's, he achieved international renown for his film score to "Zorba The Greek" and then, "Z" (looks like he also did Serpico, which is such a badass film). Mikis has always had a serious lean to the left, and for this he was imprisoned and then exiled (before making Z). Included on the soundtrack (I still haven't seen the film, but it looks like a winner) are several bootleg-sounding recordings of just Mikis singing and playing piano "in secret circumstances" (according to the liner notes). A true rebel indeed, and this short little fuzz bomb stands as proof.
Sum Sum is a mystery to me, but I really dig this record she made. Found it in a bargain bin recently and have put it on whenever I felt the need for a bit of Austin Power groovy-kitch.

Los Yaki are also pretty far off my radar, but they appear to be from Mexico. This album features them covering "Yellow Submarine", "Good Love", "secret Agent Man", & "Sunny" (which they turned into "Sonia") among others. The whole album isn't the best listen, but I'll ride for "Estatuas" any day. Hand claps, screechy vocals, B3 organ, and yes... gritty guitar full of fuzz.
Los Blue Caps (not to be confused with Renato E Seus Blue Caps) are another Mexican garage group that I know nil about. But this record is chock-full of pounding drums (yes breaks) and fuzz, fuzz, fuzzzzz. The vocals are a bit hit or miss (lil more on the miss side) but this is the birth of punk we're talking about, so just roll with it.

*Last note: it happens to be my birthday today, so if anyone feels like sending a record my way (hint hint), hit me up with an e-mail. hehe.

REMEMBERING JOEL DORN posted by O.W.

Editor's Note: Ben Newman, aka Benge, has been a Soul Sides reader for years and constantly heps me to good music not to mention plays SS downloads on his WRUV show, Sex Fly. He recently did a tribute show to Atlantic Records producer Joel Dorn, the under-sung mastermind behind dozens of astounding albums for over four decades. I certainly learned something in the process and invited Benge to write-up a tribute post for us. Enjoy! --O.W.


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Written by Benjamin Newman:

I decided to do a tribute show to Joel Dorn this past week on Sex Fly (the radio show I've been for the past 18 years on WRUV-FM in Burlington, VT) only to open up Rolling Stone a few days later and find that this was the week when "Killing Me Softly with His Song," which Dorn produced, was number one in Billboard in 1974. I had to smile, because it was a serendipitous moment which felt like part of the magic that seems to have surrounded this man.

For those who don't know the story, which sadly is way too many, Joel Dorn began his career at 19 as a jazz DJ on WHAT-FM in Philly and doggedly pursued Neshui Ertegun at Atlantic Records until Ertegun was convinced to allow Dorn to produce Hubert Laws's debut in '64. Dorn quickly rose to v.p. of the label and went on to produce an absurd number of great records at Atlantic for the likes of Max Roach, Rahsaan Roland Kirk, Les McCann, Eddie Harris, Joe Zawinul, Roberta Flack, Mongo Santamaria, and Yusef Lateef to name a few.

I urge you to Google him, because there's a whole lot more delightful info about the man, including him starting up a number of independent labels (check Hyena, which is still putting out marvelous stuff); unearthing and re-releasing rare recording of greats he loved; writing wickedly entertaining liner notes; giving extremely funny and insightful interviews; and going on to produce folks as diverse as the Neville Brothers, Bette Midler, Black Heat, and Leon Redbone.

This past December 17th he died at the much-too-young age of 65.

I don't know if Dorn had more soul than any other white man who ever lived, but his jazz, r&b, funk, and pop work of the late-'60s and early-'70s brought such a sweet grooviness and joy to the music of those he collaborated with, he fits right at the top of the list.

There's no way to do his career justice with just a few tunes; he continued to produce great stuff through last year (I especially like Leon Parker's The Simple Life (Label M, 2001)). Here are five that make me swoon:

Roberta Flack: Reverend Lee
From Chapter Two (Atlantic, 1970)

I'm not sure what does it for me on this one. Maybe it's the keyboards. Maybe it's the bass playing. Maybe it's the horns. Maybe it's the tale of facing down the devil. Maybe it's simply the way Roberta pauses after she says the word "black" at the beginning.

Eugene McDaniels: Headless Heroes
From Headless Heroes of the Apocalypse (Atlantic 1971/Label M 2001)

From a record that reportedly prompted Spiro Agnew to call up Atlantic Records and yell, "What the hell is going on here"; a subversive political tune that featured Alphonse Mouzon on drums and provided the Beastie Boys with sample fodder.

Sonny Stitt: Blues Up and Down
From Sonny Stitt & His Electric Saxophone: Just the Way it Was, "Live" at the Left Bank (Label M 2000)

A jazz burner with Don Patterson on organ. Recorded by Dorn in 1971 and never released until he put it out on one of his own labels. Dorn's music not only provided samples for diggers, he was something of one himself, starting record labels solely for the purpose of putting out old recordings he discovered of music he loved.

Les McCann: Harlem Buck Dance Strut
From Layers (Atlantic 1973/32 Groove 1999)

Dorn had a gift to create truly great soul-jazz, a genre that more often that not combines the weakest aspects of both and that in the '70s had good musicians creating crap in the pursuit of a payday. McCann used the newly-created ARP synthesizer on this, the first-ever 32-track recording (Dorn and engineer Bob Liftin tied two 16-track machines together). It was re-released on Dorn's label under the direction of his son, Adam (who makes some pretty groovy records himself as Mocean Worker).

The Allman Brothers Band: Midnight Rider
From Idlewild South (Atco 1970)

A guilty pleasure of mine which I've never quite understood why I like so much, not being a big Allman fan. Then, just a few hours before I did the show on Dorn, I discovered that he had produced it and I realized why the groove and the vocals sound so sweet.

GROOVIN ON posted by O.W.

The Rascals: Groovin'
From Groovin' (Atlantic, 1967)

Editor's Note: This guest post comes from Scott Homewood who wanted to muse on the magic of the (Young) Rascals, one of more prominent blue-eyed soul groups that emerged during the mid/late 1960s. --O.W.

Written by Scott Homewood:

When someone brings up the word "soul" pertaining to music, I immediately flash back to the first time I heard "Groovin'" by The (Young) Rascals. Let me tell you a little something: if you have not heard their stuff, you are missing out on some of the most soulful music you will ever hear. Some of you might remember the band from the mid-'60's when they still had the word "Young" as part of their name (as they did when "Groovin'" became a hit) before they shed it in defiance of their record company like a snake shedding it's old skin to become shiny and new again, just as they later shed their "pop band" persona to pursue some more esoteric groove-based music. But, sadly, if you remember the band at all you probably remember the band most as an "oldies" station staple thanks to their hits "You Better Run" (yeah, they did it way before Pat Benatar and way better, too, I might add), "It's a Beautiful Morning", the aforementioned "Groovin'", "People Got To Be Free" and many, many others. Based around the swirling keyboards and soul-drenched vocals of Felix Cavaliere, the remaining members (vocalist/percussionist Eddie Brigati, guitarist Gene Cornish and drummer Dino Danelli) more than held their own.
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While I find most people consider their music as part of the "rock" genre, I have always considered their some of the deepest soul music I have ever heard. Even before they started making concept albums towards the end of their career, their music was steeped in it, though in their early days it was more R&B based. Later on though, after they said screw off to pandering for hits, they could've given the Average White Band some lessons in cutting the cake. In fact, to my ears, their last two or three albums compete with classics like Stevie Wonder's Innervisions and Marvin Gaye's Hear, My Dear as latter-day soul masterpieces. But then, I have always heard the soul in their sound, right back to the day where their hit "Groovin'" dug its' groove down deep into my soul. To listen as the band evolves from their R&B roots to their later sound is aurally mesmerizing and well worth whatever it takes to by their albums, especially since they have all recently been reissued.

But, back to "Groovin'".

I first heard the song about ten years after it was first released when sitting around the dining room table at my brother Robert's new house as he and his wife Marie unpacked their belongings and started to settle into their new environment. This was in January of 1977 and they had moved from their duplex apartment across town to a new place just across the street from where our parents lived. I was overjoyed as I idolized my older brother. He was a music freak and he had turned me into one as well. All my musical heroes like James Brown, Chuck Berry, Solomon Burke, Jimmy Reed and The Rolling Stones were recommended by my brother, who thankfully knew quality when he heard it. He once got me started on a major blues kick when he casually remarked one day that he liked B. B. King and Muddy Waters. Weird names to me, I started saving my allowance to buy any of their albums I could get my hands on. Muddy Waters? Is that near where the Howlin' Wolves hang out?

Anyway, as I watched them set up their new house (and helped a little), eventually the record player was removed from the cardboard box used for the move and watched as it was set up on their silver-shiny metal entertainment center. Soon the albums were also unpacked as well as a large stack of 45's I had given to my brother as a Christmas present a year before. I had acquired the vinyl booty at a garage sale from an older couple who noticed me salivating over all them and said I could have them for nothing. Of course, before I gave them to my brother I had made sure to take out the James Brown and Rolling Stones singles I wanted for myself. As my brother's wife sat the box of singles on the table, he noticed them and thought it would be cool to play some. He asked his wife and I to pick whichever ones we wanted to hear. I had already taken out all the ones I knew and liked before giving them to him so I had no idea what any of them sounded like and, thus, deferred to his wife, who excitedly picked out The (Young) Rascals' "Groovin'". Not knowing the song or the band, I said to myself "whatever" and prepared to get back to helping my brother unpack.

The gentle sound of the bongos beating and the birds chirping immediately caught my ear as if someone had grabbed my head and twisted it Exorcist-like towards the speakers. Up to that point I could not remember a song with an introduction anywhere near as compelling. Then, as the song flowed, I knew I was hearing something special. Something that was about to change my life. It was nothing like any of the Top 40 hits I was used to hearing on the AM stations. It wasn't a throwaway novelty or glammy, pop rock - it was pure soul, but not like the teen-pop Motown songs everyone else liked but that I felt were too obvious and dumbed-down. This shit was DEEP. This was a song filled with passion, love and heart - it seemed more mature and meaningful than most of the rock songs of the time that I was used to hearing. And I've later gone back and listened extensively to the music around when the song was a hit, and there's not too much that can compare. It was a slice of life, made by those who seemed to have lived a little of one, unlike myself who was still in school and hoping to experience some of the things The Rascal's lead singer Felix Cavaliere was singing in his song.

Though the song's lyrical thrust was simple on the surface - being about the lead character spending a leisurely Sunday with his girlfriend - what the song implied was ten times more powerful than what it said outright. The song's lead character and his girlfriend were deeply in love, led busy lives during the week and looked forward to their special time on Sunday afternoons when they could relax and be together. When you're a kid and still trying to figure out where you belong, how and how much to love someone else, and how to act in a relationship - this was powerful stuff. Stuff that spoke volumes about what it was like to be an adult in a relationship. The song's simplicity yet earnestness is the charm, its sense of giving so unalloyed. At it's core the song is just a slice of life - but it implies much and says volumes to those just starting to really live. To me, this shows deep, deep soulfulness. Sure, the bass doesn't make your booty feel like shaking and there ain't a funky horn section led by Fred Wesley, but to me, this song and this band, epitomize what soul is about - deep relationships. Sure, later on I figured out "groovin'" could stand for "fucking" - I mean, check this lyric: "life could be ecstasy, you and me endlessly...groovin'" - but at that point what I thought it meant was just as important to me. Everything the Rascals were and what they became is forever captured in this song. The early innocense and the later explorations of soul and jazz. Though my other favorite part of The Rascal's sound, Gene Cornish's grinding rhythm guitar breaks, was absent in favor of a softer tone, everything you ever wanted to know about The Rascals is contained in this song.

Everyone and their brother should know this song. Thankfully, mine did, thanks to his wife, who I found out had been the one to turn him on to The Rascals.

The Rascals would eventually get out of the pop song business and explore full-on soul and jazz with their later albums. Rambling masterworks, these way experimental albums would embrace far-reaching concepts and themes far more mature than most "pop" acts, with the music always based on Cavaliere's soulful keyboard work and husky vocals. Though the band broke up by 1974, the Rascals' music still resonates today and provides many cool grooves to dance to, grooves I can listen to over and over now that the band's long-neglected back catalog is available again.

BUDDY MILES: R.I.P. posted by O.W.

Buddy Miles dies at age 60.

Apart from his excellent cover of Neil Young's "Down By the River" (above), Miles was responsible for "Them Changes," a song that in all its permutations, I've always found to be excellent. Here's a version done by Bernard Purdie which I featured on Deep Covers:

SOULFUL DISTRACTIONS PART 1 posted by O.W.

(Editor's Note: So...the other day, I get an email, out of the blue, from someone who wanted to share an Irma Thoams song with me. I look at the sender and it's John Cameron Mitchell, aka actor/filmmaker/writer/et. al., best known for his 2001 film, Hedwig and the Angry Inch, which, amongst its finer qualities, introduced me to the German way of pronouncing "Gummi Bears" (like goo-may, instead of gummy) which I have since adopted, much to the amusement and/or annoyance of my friends.

It stands to reason that someone who made a film about a fallen glam rock star would actually, you know, be into music but I also assume that actor/filmmaker/writer types usually have enough on their hands (unlike, I suppose, professor/writer/blogger types) to get that into it but lo and behold, JCM is a music nut. So much so that when I casually asked if he'd want to do a guest post, he not only jumped at the opportunity but turned around a post in about 24 hours, which is probably the fastest I've ever gotten writing in from anyone, including my students. He racked up over a dozen songs so I decided to split things in half and post half today, half later but I am very flattered and honored to share with you some of John's fave songs for all the Soul Siders out there. --O.W.)

JCM's Note: I was so excited when Oliver asked me to do a guest post (which i've never done!) that i spent all day looking through all my damn music (i finally got the 1500 cds on hard drive, forget the vinyl). I was getting carried away so i thought i'd limit it to an album-sized sampler. Call it "Soulful Distractions Vol. 1". - jcm

High School Dance - The Sylvers
from their album New Horizons (1977). Also on Best Of.

This was one of the 45's I spun at my 14th birthday party in 1977 at Fort Riley, KS. My first girlfriend, a gorgeous black cheerleader named Yvonne Quinton, turned me on to it. I was very interested in her hair ("Blow it out for me, Yvonne!") but I was really more interested in Steve DePew. I still dj with this song and usually follow it with a slow jam that Yvonne and I used to grind to like Teddy Pendergrass' Turn off the Lights or Close the Door or Pour Some Hot Oil On Me. (By the way, the rumors about him were true. I met his chauffeur.)

Theme From 'Which Way Is Up' - Stargard
from Stargard (1978)

I used to love to dance to this one too. It made my mangina itch. It's from a 1977 film starring Richard Pryor which I think I saw back then. Stargard had crazy space-age headgear. They had another fun song called What You Waitin' For?

Your Kiss Is Sweet - Syreeta (featuring Stevie Wonder)
from Stevie Wonder Presents Syreeta (1974)

They were married then and you can still feel the love. Thanks to Luis for playing it for me last year on our road trip to see Stevie in Baltimore. What a show! He's funny as shit. Like Dean-Martin-Roast funny.

I Gave You Everything - Irma Thomas
from her album Something Good - Muscle Shoals (1990)

Irma recorded this at Muscle Shoals studios for Chess in 1967 after a long tour. She said she was tired and the tracks were judged unreleasable til 1990. This is my favorite one cuz she gave it everything.

He Called Me Baby - Candi Staton
from Candi Staton (2004) [originally from Stand By Your Man (1970)]

Another supercreamy song recorded at Muscle Shoals. Sounds like some of the same players.

Shaggy Daddy - Lightnin' Hopkins
from King of the Texas Blues (2003) [recorded 1965]

This song makes me think proto-Muscle Shoals plus trombone. My favorite lyric from another of his songs: "Give me back that wig I bought you, black woman. Let your doggone head go bald."

Something You Got - Alvin Robinson
from The Daisy/Tiger Records Story: Everybody Come Clap Your Hands! (2003) [recorded 1965]

This is a great cover. I had it on an unlabelled cassette someone gave me in 1989. Couldn't find the artist or the recording til the internet. I love the internet sometimes. I also love the Chuck Jackson/Maxine Brown version.

You're Gonna Make Me Cry - Staple Singers
from Staple Swingers (1971)

Probably my favorite soul group of all time. Mavis Staples was going to cover our song Wig in a Box as the title song of our Hedwig charity album but then she didn't have time! Then Dolly Parton was gonna do it but then...didn't have time! So Polyphonic Spree did it...real good, but still....

(Part 2 coming soon!)

3 QUEENS posted by O.W.

Candi Staton: Too Hurt To Cry
From Stand By Your Man (Fame, 1971). Also on Candi Staton: The Fame Years.

Holly Golightly: My Love Is
From Slowly But Surely (Damaged Goods/Revolver, 2004)

Amy Winehouse: Love Is A Losing Game (Truth and Soul Remix)
From 12" (Universal, 2007)

*This is my first post that will be cross-posted over at Captain's Crate as part of our Soul Crates experiment in content sharing.

I talked about Candi Staton's Fame output the other month and that got me back into listening more of her songs and came upon this great one from her Stand By Your Man album. Love the tinkle of piano that begins this and really, Rick Hall produces this beautiful, with such a rich, soulful quality that Staton plays against wonderfully.

With the Holly Golightly...I was trying to find the original version of "My Love Is," done by Little Willie John, after watching Lonestar again for the upteenth time but alas, it's a hard song to track down digitally speaking. But lo and behold, I found this cover by Golightly and despite my initial reservations, she's actually rather perfect for the song. Her light, almost ethereal voice goes with the song's dreamy, haunting qualities; this is what you'd want to hear playing on the cheap jukebox in some coffee and pie diner off a decaying highway.

Speaking of decaying - snap! - Amy Winehouse might be the biggest pop train wreck not named Britney of the last year or so but we're still enamored with her musically. Plus, when the folks at Truth and Soul get the nod to remix "Love is a Losing Game" (one of our favorite songs off the last album), then we perk up and listen. And smile. Great remix, really strips this ballad down and remakes it with a minimalist but mesmerizing melody (I didn't plan that alliteration, seriously). We likee.

2007 IN MUSIC posted by O.W.

Part 1: New Albums

Part 2: Reissues and Singles

BACK TO THE GM posted by O.W.

Aaron Neville: She Took You For a Ride
From Tell It Like It Is (Par-lo, 1966)

Quantic Soul Orchestra: Tropidelico
From Tropidelico (Tru Thoughts, 2007)

The B.U.M.S.: West Coast Smack
From Lyfe N' Tyme (1995)

DJ Shadow: Best of the KMEL Mixes Part 1 (snippet)
From The 4-Track Era (DJ Shadow, 2007)

Crystal Mansion: And It Will Take Your Breath Away
From S/T (Rare Earth, 1972)

It's been a while since I've done one of these GM posts but I was recently in the Bay Area on a short holiday/family trip and, of course, had to make my pilgrimage. As I've written before, the joy in going there is simply the vastness of music I can get acquainted with. Especially in L.A., where the geography isn't conducive to a similar arrangement, I miss having someplace to just kick back and chew the fat about records. That is, of course, partially why I do this blog.

This time around, I was hanging around when DJ B.Cause slipped on the Aaron Neville LP. You wouldn't think this album would be such a pricey piece - "Tell It Like It Is" is one of Neville's biggest hits ever, but the original album is quite the collector's item but luckily, the excellence of the music helped defray the sticker shock. "She Took You For a Ride" is a magnificent track, with a different soulful feel from "Tell It Like It Is," especially with the background vocals. I was initially struck by that element since I don't normally associate it with Neville but it gives this song an added dynamic in this case.

Joining me at the GM was my man Beto, who I last wrote about in July. This was the first time the two of us actually got to sit down and build for a minute...I was bouncing a ton of Latin music (especially boogaloo-related) questions off me and it is downright scary how much knowledge he's been soaking up for his research on the music scene in the Afro-Antilles. I'm going to say this now: when his book comes out, it has the potential to be a major game-changer. Remember the name: Roberto Gyemant.

In any case, while we were hanging, he hit me off with the new QSO CD - something I had been meaning to check out but still hadn't gotten around to yet. It's a great concept: Will Holland (Mr. Quantic himself) decided to record a series of songs inspired by music of the Latin American tropics, basically covering ground throughout the Greater Caribbean Basin; he recorded on location in Panama City, for example.

Beto helped turn Will Holland onto some of the artists that he works with on the Tropidelico CD, including (I presume) the incredible Peruvian pianist Alfredo Linares (I have an upcoming post about Linares and other Peruvian Latin players). That's Linares you hear at the beginning of "Tropidelico"; he has such a distinct touch on the piano with his chords and tempos. I love that Linares was killing it back in the '60s and is still holding it down in the '00s. (Rappers should be so lucky).

Speaking of which, I quietly threw on the B.U.M.S. album at the store, just for kicks, and took the assemblage on a reminisce trip back to the mid-'90s Bay Area hip-hop scene. The B.U.M.S. always makes me nostalgic, partially because I've always wondered why the didn't do better than they did, partially because the album itself was produced by one of my favorite, slept-on producers from that era, Joe Quixxx. B.Cause mentioned he'd actually been giving "West Coast Smack" some spin at his gigs and though my fave cut remains the title cut, it was worth giving some shine to one of the other tracks, especially with this CD long, long out of print.

Sticking to the Bay Area hip-hop tip, the GM had a copy of DJ Shadow's 4-Track Era CD for sale and I scooped that with a quickness. I actually had some of this on an ancient dub tape I got from the old Solesides crew but it's great that it's been compiled onto CD. The back story is this: Shadow first came to prominence on the strength of these crazy mega-mixes he did for KMEL back in the early '90s (this is back when KMEL was arguably the greatest hip-hop station on FM, west of the Hudson). You young'uns, raised on Pro Tools off your Mac Books, probably can't even remember the era of Tascam 4-Tracks and what not but sheeyit, I grew up on listening to radio DJs create these insane, multi-layered mixes off them and created most of my early mixtapes (back when they were actually tapes) off analog 4-tracks myself ('tis true: check for Head Warmers on the Private Press inset), following their inspiration. To make a long story short: even in 2007, these kind of mixes are incredible to listen to, without even factoring in the technological acumen that it would have required (f--- a mash-up, back then, we called 'em "remixes"). Damn, how old do I sound right now? I need to get out of this "back in the day" mode! Too late.

For real though, I'm still trying to figure out how he remixed that De La song at the end...was there an acapella to "Afro Connections" I didn't know about?

I'm ending with a song I've been meaning to blog about for, oh, at least a few years now but just never got around to it: "And It Will Take Your Breath Away" by Crystal Mansion. I copped this from the GM years ago and I still don't know a ton about them, apart from the fact they were a blue-eyed funk group, in the vein of Rare Earth, who never hit it crazy big but managed to stick together for about half a decade. I've always loved, loved, loved how this song opens, especially with those soulful piano melodies and then the drum drops. If this sounds familiar to anyone, there's a reason why.

HOW SUITE IT IS posted by O.W.

The Peddlers: This Strange Affair + I Have Seen
From Suite London (Phillips/Odeon, 1972)

If you've noticed, my posting rate's picked up of late - god bless winter break. We'll see how long I can keep this up but personally, it's been fun knocking out these posts because it means revisiting a slew of songs that have been in queue and are just now getting some shine.

Case in point: I've had this Suite London album since before I moved to L.A. but it's taken me this long to get around to it despite it being one of those albums that I'm constantly amazed by. It is, by any accounts, a very special performance, pairing the UK's '60s rock group, The Peddlers, with the London Philharmonic. You might think that's yawn-worthy but think of it like the best jazz-meets-rock-meets-funk-meets-symphonic collaboration David Axelrod never sat in on. It's a completely mesmerizing album, filled with these strikingly beautiful vocal and musical passages with unexpectedly sophisticated polyrhythmic passages. Way ahead of its time and an album you can pretty much needle-drop onto, leave alone and enjoy. The two tracks I pulled out are both slow burners - let them build and you can watch how masterfully they come together.

The original vinyl versions of this album - on either label - are scarce but luckily, the group has enough of a fanbase that they've been able to reissue this on CD (which is probably an easier way to enjoy the whole thing as a suite.

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.

Grand Puba/MC Lyte vs. Diamond D: Who Flipped It Better? posted by O.W.

Three Dog Night: I Can Hear You Calling
From Naturally (MCA, 1970)

MC Lyte: I Am the Lyte
From Eyes On This (First Priority, 1989)

Diamond D and the Psychotic Neurotics: Best Kept Secret
From Stunts, Blunts, and Hip-Hop (Chemistry, 1992)

First of all, I'm glad folks are feeling this new series. It's funny - I'm assuming most folks have heard most of these songs already, thus making downloads irrelevant. Meanwhile, posts featuring actually songs folks are less likely to have are getting nary a comment. I'm not complaining mind you - I just think it's funny.

Anyways, I remember Diamond telling me how he decided to tackle this same sample on his album even though Lyte had just dropped it a few years prior...keep in mind, this was at a time where someone like Diamond probably was going to be very careful about what samples he was using and trying not to look like he's biting (diggin' in the crates and all that, y'know) so he must really have thought he could do something different with his flip. Does it really improve on what Puba did for Lyte?

I'll leave up to the peanut gallery to argue. I will say this - and no disrespect to Diamond at all - but Lyte just rips this track. Lyrically, advantage: Ms. Moorer. Also, in general, I think it's worth noting that if you don't own a copy of Eyes On This, you don't like hip-hop. Yeah, I went there. Deal.

Hey Joe vs. Down By The River: Showdown! posted by O.W.

I'm in another period where I'm intensely busy at work so I may not get too many posts out this week. I wanted to try to get at least one thing out there for public consumption before the week passes though...

When I was listening to "Hey Joe" by Lee Moses, I was struck at how much it reminded me "Down By the River" (Neil Young but I've always been partial to Buddy Miles' cover)...it's almost as if "Hey Joe" precedes "Down By The River," - the former where the cuckold decides to murder his lover...the latter finds him after he's done the deed, deep in his thoughts. Both songs are heavy in mood and feel; sonic anchors that plummet in the murk. You decide which is better:

Lee Moses: Hey Joe
From Time and Place (Maple, 1970s)


Buddy Miles: Down By the River
From Them Changes (Mercury, 1970)



Meanwhile, congrats to the winners of the Tyrone Ashely giveaway: Sal E., David J., Adil K., Courtland F., Indie J.

Random Tunes posted by O.W.

Bobby Byrd: I'm Not To Blame
From 7", B-side of "It's I Who Love You" (King, 1970)

Billy Preston: The Same Thing Again
From Encouraging Words (Apple, 1970)

It's always been a personal philosophy that the risk in getting paid to do the things you would otherwise do for free out of love isn't as win-win as it sounds. Turning a labor of love into work is a good way to lose that love.

I don't make money off of Soul-Sides.com directly (but it is nice when ya'll buy my mixtapes) yet, the last few weeks, I've felt like blogging has been more like "work" insofar as I'm trying to keep up with covering reissues and comps that are out. And on some level, that makes good sense - it's always nice to have something to write about that's timely and given my professional alter ego life as a music writer, it's also nice to write about things you want to help support.

But it can make posting feel more like "work" than I want it to and it's an odd feeling when I feel compelled to apologize for writing - gasp - a personal post that's not necessarily tied to a new release (though, doubt not, there's an avalanche of those too). Note: I'm not writing any of this to fish for sympathy or be validated. I just like to kvetch once in a while and what better space to be so navel-gazingly self-indulgent than a blog? But yeah, here's some random stuff I'm listening to and want to write about.

The Bobby Byrd song is something that I had forgotten about until I was reading Just Blaze's tribute to the late star and was reminded, "oh yeah, Blaze looped this track up lovely for 'U Don't Know.'" And so I took a few minutes to really listen to Byrd here rather than sample-spotting and I was struck by how great a ballad it is - so dramatic and passionate. (I didn't want to hotlink it back to Just's site so I'm essentially reposting it from his site).

The Billy Preston...I thought I posted this song a year ago when Mark Anthony Neal wrote a memorial for Preston after he passed last June. As it turns out, I had forgotten: I've never posted this song and in fact, made mention of that very fact in my year end post. Funny too since this song has stayed on constant rotation in that intervening year, all the while I was trying to track down a copy of the original album (thank you Record Surplus).

Did I mention "The Same Thing Again" is one of the best things ever? Yup, I took it there.

Titans Rock posted by O.W.

Mezzanine Owls: Lightbulb
From Slingshot Echoes (2006)
This is a somewhat autobiographical post, off the typical Soul Sides track but indulge me for a sec...

As I've gotten older, I've grown increasingly curious about what my high school classmates are up to. (I graduated class of 1990). One reason for this is that I attended a very affluent, very competitive public high school (San Marino, if you must ask) in Southern California and one byproduct of both its affluence and competitiveness is that most of my classmates were aspiring professionals. I might be painting with a very broad brush but I've always gotten the impression that most of my classmates ended up as mid-level professionals - one big mass of corporate attorneys, dentists, ophthalmologists and junior VPs.

As a result, it's been far, far harder to locate classmates who went into artistic/creative work. I'm hardly a bohemian as a professor and music writer but from what I can tell, that's rather "black sheep" for my alma mater. In any case, in the last few years, I've taken to randomly Google-ing classmates to see if I could find anyone who was NOT a corporate attorney, dentist, ophthalmologist or junior VP.

It is, to be sure, a very short list. Of course, I didn't methodically go through 250 names (the size of my graduating class) since I barely remember even a third of that but for the most part, I only turned up a teeny handful of creative types, including Phat Phuong (awesome name), a digital artist who works for Pixar and more recently, I discovered that the drummer from my junior high school marching band (Huntington Foxes, holla!) is now the drummer for the Mezzanine Owls - a group of some renown in the L.A. indie rock scene. (That's their photo above. Pauline is on the far right).

I checked out their music - it's definitely more along the lines of something Music For Robots or Stereogum would plug (and that's meant in a complimentary way).

I wasn't close friends with Pauline growing up, though in hindsight, I did always think it was cool that she, as both female and Chinese American, was into the drums so it's really nice to see that she stuck with it and was lauded, in some place I read, as the best female drummer since Sleater-Kinney's Janet Weiss retired (sniff). And hey, it could be that she's actually an ophthalmologist by day and just rocks Silverlake clubs at night but as one of the first practicing musicians I've found from SMHS' "mighty class of '90" - I'll take it.

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Speaking of high school...like a lot of Asian American kids growing up in the suburbs of L.A. in the 1980s, I listened to a lot of modern rock (before I discovered hip-hop) and as any of my flock will tell you, New Order's "Bizarre Love Triangle" was the anthem for Asian Americans in that generation. I still can't completely explain why though my friends Todd and Hua both have had their theories, likely connected to AZN anomie in suburbia or something like that. So it's with a heavy heart that I learned that Tony Wilson, founder of Factory Records which was the original home to New Order/Joy Division, just passed today, at only 57.

The movie, 24 Hour Party People was a semi-fictionalized bio-pic of his life and times (a thoroughly enjoyable film, especially if you know the music). Here's a favorite scene from it, which seems appropriately titled: Tony Wilson meets God. RIP!

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And on a similar note: I had meant to mention this earlier, though folks had posted in the comments section...but guitarist Eddie Fisher, a favorite of this site, passed away last month. I had the privilege of meeting his son in San Francisco when he dropped off a copy of Fisher's amazing Next 100 Years CD reissue and his father will be sorely missed. RIP as well.

David Axelrod: Live In L.A. posted by O.W.

Had a most excellent time at this event last night. Apart from running into some of my favorite people in Los Angeles, it was just amazing to see David Axelrod, live and in color, out. He's a notorious recluse (not the 1000 cats kind but he's not exactly a club rat, dig?) so the fact that he'd be out in public is rare at best and you could tell from the swarm of folks around him, people in LA were definitely taking advantage.

On that note, I wanted to take another opportunity to plug the David Axelrod: Live at Royal Festival Hall DVD/CD since this was what the event was focusing on and it's a really remarkable document of Axelrod's legacy and importance to multiple generation of music lovers.

Second, during the Q&A, Axelrod let it drop that this compilation is now available - a compilation of his key recordings for the studio bands Electric Prunes and Pride plus instrumentals to many of those songs, itself a pretty smart packaging move. (We'll try to bring out a profile post soon).

Lastly, wanted to plug the silk-screening fiends running Hit and Run who were creating custom t-shirts for the event outside the Egyptian. Great concept, well-executed (and you know I'm gonna rock my shirt this Friday at the Mandrake). Their next event is at the LACMA on Thursday night.

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 Spears' "Toxic" on here by Ol Dirty Bastard and Tiggers...uh, um...eh...let's just that one alone. Very, very alone.

RADIOHEAD CON CUBANO SABOR posted by O.W.

El Lele de Los Van Van and Radiohead: High and Dry
From Rhythms Del Mundo (Hip-O, 2006)

(Note: This review was originally written for NPR.org's "Song of the Day." It appeared on NPR's website on November 21, 2006).

The idea behind Rhythms Del Mundo: Cuba is high-concept simplicity: Alt-rock meets the Buena Vista Social Club. Assorted '80s and ‘90s rock songs and pop standards are remade within a Cuban aesthetic, though some songs are more like remixes -- think Arctic Monkeys' vigorous "Dancing Shoes," done up with a descarga groove. Others are complete makeovers, such as the late legend Ibrahim Ferrer covering "As Time Goes By" in a classical son ballad style.

Given the conceit, it's not surprising when the album leans toward artifice -- imagine Coldplay's "Clocks," but with Chris Martin's plaintive melody replaced by an upbeat but poorly fit muntono piano riff. However, at the other end of the spectrum is the album's best song, El Lele de Los Van Van's re-imagining of "High and Dry," Radiohead's hit song from The Bends.

It helps that the Radiohead original is a brilliant pop ballad to begin with, but the song also boasts a sparse arrangement that can be easily tinkered with without the result sounding forced or gimmicky. The Cuban remake remains tastefully minimalist, with a slowly paced Afro-Latin rhythm, a soft trumpet chorus and an acoustic piano, which replaces the guitar on the original. In contrast to the fragile falsetto that Thom Yorke brought to bear, El Lele approaches the vocals with a rich, throaty tenor, as sweet and dark as caramel. Though the vocal arrangement hews closely to Yorke's, El Lele's performance sounds so captivating on its own that until he reaches the distinctive climb of the chorus, it's easy to forget this is a cover. Beautifully serene and affecting, El Lele de Los Van Van's take on "High and Dry" achieves the best intentions behind the compilation: to create songs that sound both familiar and unique.

Speaking of NPR, I also reviewed Jay-Z new album for Morning Edition, which ran the same morning as the "Song of the Day" post.

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Small correction: In the NPR review, it says that Jay retired two years ago when in fact, it was three. Man, time flies!

TOMORROW'S YESTERDAY




Jefferson Airplane: Today
From Surrealstic Pillow (RCA, 1967)

Tom Scott: Today
From Honeysuckle Breeze (Impulse, 1968)

The original "Today," appeared on Jefferson Airplane's second album and you can hear the crunchy, feel-good, Summer of Love vibe to the ballad - incense and peppermints for real. Clearly, it had an effect on saxophonist Tom Scott who recorded a cover of the song not long after for his debut album. What's interesting about his version is that it manages to sound quite similar to the original in some parts - especially the opening - but Scott's sax wails take the song in directions that the Airplane's vocals don't.

People tend to be divided over Scott's "Today": some think it's a little cheesball and musically daft. Others find it a great listen, especially as it bridges psych, pop and jazz together. I fall in the latter troupe.

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This is freaky but I was planning on putting up Blackrock's monster of funky rock tunes: "Yeah, Yeah" but as it turns out, Fluxblog beat me too it. Seriously, "Yeah, Yeah" is incredible: visit our esteemed peer and peep that science.