In addition to being blessed with an uncanny and seemingly supernatural ability to reflect the times during which he lived, Curtis Mayfield's awe-inspiring music has also extended a wealthy inheritance to the soul children of the new millenium. While it may be difficult for younger listening audiences to fully empathize with the spirit of the turbulent era in which Mayfield rendered the majority of his dynamic compositions, the essence of these recordings effortlessly establishes common ground through such enduring themes as solidarity, empowerment, and love. Although he frequently addressed grave social injustices and bravely challenged the consciousness of the people, his lyrics were rarely cynical or nihilistic. On the contrary, his spirituality and deep love for humanity translated into uplifting songs that encouraged peacefulness, dignity, and pride.
As the leader and chief songwriter for The Impressions, Mayfield's poetic lyricism and musical eccentricities formed the foundation of the group's highly influential and distinctive style. Firmly rooted in the gospel tradition, Mayfield and The Impressions introduced the secular airwaves to three-part vocal trade-offs and a divinely inspired sense of moral authority which markedly distinguished them from many of their contemporaries. Additionally, they were unique in their reluctance to exemplify the typical trappings of pop superstardom. The Impressions were able to command the attention of music listening audiences without leaning on slick choreography, flamboyant outfits, or grandiose gestures to generate enthusiasm from the crowd. Rather, the cornerstone of their legacy has always been their brilliant craftsmanship and subdued eloquence.
Although my favorite Impressions record varies with some frequency, my needle is currently stuck in the groove of The Young Mod's Forgotten Story (Curtom, 1969). Although some music critics have argued that the album lacks a cohesive theme (apparently the title led some to believe that a definitive concept was at work), few would disagree that the majority of the songs themselves are of an extraordinary caliber. In exchange for a strong sense of continuity, The Young Mod's Forgotten Story offers a fairly balanced interplay between socially-conscious anthems and songs that explore love from many different angles. Furthermore, Johnny Pate and Donny Hathaway blessed the album with beautifully harmonious arrangements, which greatly impacted the impeccably smooth vibe of these recordings.
"Choice Of Colors" is the most well-known track on the album, having climbed to #1 on the R&B charts and #21 on the pop charts. Despite its popularity, the song was met with a degree of controversy. Mayfield's thought-provoking masterpiece posed some unsettling questions of the collective conscience, causing some to become so incensed that they pushed for the song to be banned on the radio. Also, when The Impressions were slated to appear on "The Joey Bishop Show" in 1969, one of the producers forbade them to perform the song, but Bishop himself stepped in and granted them permission to play it. Nearly 40 years have passed, but many of the questions that Mayfield asked on "Choice Of Colors" remain unanswered and continue to resonate.
From the love side comes "My Deceiving Heart", one of those deeply emotive soul ballads which would characterize much of Mayfield's work with The Impressions, in addition to being a staple of his solo material. Fans of his more strident, politically-charged fare may carelessly cast some of these tracks aside, but to do so would be to overlook a core component of Mayfield's essence as a human being, songwriter and musician. From the very beginning, when his lovely falsetto laments, "Oh I could die, so hard I've cried", he ushers the listener into a flurry of anguished emotion so heartfelt that it could literally evoke tears from a stone. Such is the substance of the most provocative soul music, and Curtis Mayfield pulled at the strings of the heart every bit as masterfully as he played his guitar.
If you find yourself checkin' for more from the quintessential soul group from Chicago, the Curtis Mayfield & Impressions: Movin' On Up: The Music & Message DVD features interviews and 22 classic performances. Highly recommended not just for those who love soul...but for just about anyone who has a soul.
Meanwhile, digdeeper to peep their discography and learn more about the group's formation and history...
I'm convinced that one day I'm going to stumble across this holy grail of deep soul on vinyl during one of my crate-digging expeditions. Buying the Sony reissue or purchasing the original for upwards of $100 on the internet somehow takes the joy out of the experience. At any rate, I'm grateful that one of my readers (thanks scizzorhandz) sent me a digital copy. I just want to hear it crackle and snap on my turntable at least once before...you know...I die.
Robinson was born in Tuskagee, Alabama in 1939, another artist who started out performing gospel before gravitating towards secular music. He recorded a few stellar singles for Okeh, but his collaboration with Willie Mitchell produced his sole full-length LP.
Willie Mitchell is, of course, the man who guided Hi Records through its most commercially successful period. In addition to Papa Willie's own solo offerings, the label boasted Memphis soul artists such as Al Green, O.V. Wright, and Ann Peebles on its phenomenal roster.
Mitchell's arrangements perfectly complement the raw emotive power of Robinson's highly impassioned vocals. Robinson clearly wrestled with a few inner demons, and he evidently was unafraid to purge the contents of his psyche and memorialize his despair on wax. "Don't Take It So Hard" is a prime example of this. Robinson seemingly had no fear of exposing his vulnerabilities, which in this case is related to being jilted by someone he describes as "the only woman I ever loved". When he speaks...and at times wails...at his friends for their lack of understanding, the bottomless depths of his pain and desperation are palpable to say the very least.
For anyone who loves gut-wrenching soul, this record deserves a truly enthusiastic nod.
Dig deeper...to hear "It's All Over", one of the sides Robinson cut for Strike Records.
Dirty Elegance's Finding Beauty In The Wretched LP was released in '07, but honestly, I wasn't feelin' it all that much in the beginning. A couple of months ago, I realized that I just hadn't been listening to it at the right time of day. It isn't a soundtrack for mornings when you're trying to motivate yourself to get through the drudgery of another day at your 9 to 5. It's not well-suited to parties or celebrations...not something you can sing to in the shower. This is a CD for nicotine-stained evenings, when you've had far too much to drink, and neither your head nor your bed wants to stop spinning.
Although Finding Beauty defies precise categorization to some extent, it's reminiscent of moodier material by RJD2, Massive Attack, Blockhead, and Portishead. The beats provide a heavy and gritty underbelly, rounded out by layers of speeches and vocalizations, sound effects, and beautiful melodies. Much of the music is haunting and dysphoric, making it a prime choice of material for the Zoloft generation. Strange as it may sound, I mean that as a compliment. As one introspective fan describes it, "Listen only when you are ready to see your soul staring back at you!"
The man behind Dirty Elegance is somewhat of an elusive figure (the only way to be, snitches). He resides in New York, but outside of that minor detail, he doesn't offer much in the way of a biography. Here is a quote from the DE website: "Dirty Elegance is not music. Dirty Elegance is not art or pictures or clothing, though the emotions which comprise the movement may be reflected through these creative mediums. Dirty Elegance is an idea. An idea that beneath the soot filled superficiality lies a classic greatness. A reinstating of something that once was valued but has since been forgotten. An idea that it is still beautiful, despite is nicks, cracks, and tears. That it may be resurrected if it is truly seen. And truly loved." Ummm...so yeah...interpret that as you will.
Finding Beauty In The Wretched is best listened to from beginning to end, because it sounds as if the artist idea intended for the project to unfold sequentially. "Angelic Remedy" comes towards the end of the CD, as the sonic journey begins to wind to a close. Its melancholic, downtempo beat is accompanied by the repetition of a sampled clip from a Malcolm X speech: "We love everybody who loves us. But we don't love anybody who doesn't love us." Whether that sounds appealing to you right now or not...I promise...at 3 am, it will all make perfect sense.
Candi Staton is yet another vocalist whose musical origins can be traced back to the gospel circuit. Blessed with the first name Canzetta at birth, she and her sister Maggie (along with Naomi Harrison) formed the Jewel Gospel Trio in 1953 when Staton was still a young teenager. The righteous threesome quickly gained popularity in the South, and were eventually granted the opportunity to tour with the likes of The Soul Stirrers, Mahalia Jackson, and The Staple Singers. In fact, it was Mavis Staples who originally gave her "Candy" as a nickname, telling her that she was too sweet to have a name that no one could pronounce.
Several years later, Staton left the group and got married. The marriage turned abusive and ended in divorce, however, and she once again turned to music for her livelihood. People have told slightly discrepant tales to explain exactly how Staton met Clarence Carter (who she also later married), but it's certain that he heard her perform in Birmingham, Alabama and asked her to join him on the road.More importantly, he introduced her to Rick Hall, owner of the Fame record label and studios in Muscle Shoals, Alabama. Hall was equally impressed by her stunning vocals, and brought her in for her first recording sessions in 1968.
Staton's first four chart singles at Fame became the foundation for her I'm Just A Prisoner LP, easily one of the nicest soul records of all time. "You Don't Want Me No More" explores the heartache of a good love gone bad, and Staton's intense delivery will keep you hangin' on every note of her despair. She expresses her grief with such authencity that you almost wanna go shake down her dude and ask him what the fuck his problem is...or maybe that's just me.
In all, Staton garnered 16 R&B hits during her tenure at Fame. However, her commercial viability didn't truly peak until she became a beloved disco queen, releasing popular tracks such as "Young Hearts Run Free" and "Victim". Dance records and glitter aren't exactly my areas of expertise, so the bus stops here, soul children. There's whole lot more to Candi's enduring legacy, though, so by all means...dig deeper.
As much as I stay stuck in like...1969 (it's always the summer of love in my world, son)...I do occasionally find myself highly anticipating a new release. At the moment, what I want more than your mama's two front teeth is Menahan Street Band's long-awaited debut album.
Many of you will remember them as the group sampled on Jay-Z's "Roc Boys". As legend has it, their song "Make The Road By Walking" was discovered by Diddy's production team at some point in between their presumably lengthy cheesecake runs. Tommy Brenneck, the founder of the band, has been quoted as saying that Hov laughed at him when he asked if MSB could get a well-deserved shout-out on the joint. If that's true Jigga, you know Gloria Carter raised your ass better than that...
Anyway, MSB is what I consider a supergroup (such an idiotic fuckin' word), consisting of members from Sharon Jones & The Dap-Kings, Antibalas, the Budos Band, and El Michels Affair. All of their tracks are recorded in Brenneck's apartment in Bushwick, Brooklyn on...drumroll, please...Menahan Street. Their Make The Road By Walking LP will be released on Daptone/Dunham on October 21st, and it will be available on vinyl for those who actually enjoy getting a little wax inside their ears. If "Home Again!" is any indication, this one's goin' down in music history as one of the best instrumental albums to be heard in the new millenium.
"Telephone Song" is a mindblowing joint that MSB recorded with the almighty Charles Bradley. It will be released later this month as a 7" (b/w "Tired Of Fighting"), and hands down, it's one of the best tracks I've heard all year.
As a final unsolicited pitch for the album, I'd ask you to be mindful of the fact that supporting the handful of artists who are still crafting authentic soul compositions is as crucial as saving any other endangered species on the planet. For every mediocre offering you've purchased because it was tauted as neo-soul, try spending your hard-earned dollars on these guys instead. That should help Brenneck make his rent on Menahan Street for at least the next few thousand years or so...
Note: These tracks are now only available in streaming audio format as per the request of Daptone's marketing team. They were kind enough to offer me free tickets to one of MSB's shows, but as a small label, they can't afford for this material to be leaked on the internets. I understood their position, and I hope you do as well.
Dig deeper... (Dunham's MySpace page, including a link to buy the album. Listen to all the amazing joints while you're there and thank me later)
Dammit Metal Face! Just as I was beginning to give up on you...this started leaking all over the internet.
After pissing off your fans with an assload of imposters and incurring the indignant wrath of your friend in Jesus, I was starting to wonder if you'd spend the rest of your life in windowless seclusion...fuck merely hiding behind a mask. Also, I don't know if it's just the quality of the weed on my block or what, but I couldn't get all that excited about that Unicron EP you did with Trunks earlier this year. Unless you're smoking high-quality special herbs, the whole thing just sounds borderline a'ight, cousin.
Now there are talks that you've dropped the initials from your moniker (Diddy style), and will be releasing a DOOM LP called Born To This on Lex Records in October. The LP allegedly features production by Dilla (2Pac style) and DangerMouse, while Ghostface and Raekwon are slated to appear as guest MCs, but apparently that might just be another figment of the imagination.
I'm on your side, Daniel Dumile. I think you might be in need of some hardcore psychotropic medication to help you reconcile that stupid superhero/masked madman image, but I won't front on your skills as a producer and MC. I'll be listening if Born To This becomes a reality, however you're insane in the membrane if you think I'm going to pay $16.99 for it. Your loyal fan base deserves a free drop or two, especially since you tricked them into paying to see your talentless henchmen make a mockery of their admiration. Retribution's a sumbitch, Danny boy.
In the meantime, I will be purchasing the Jake One LP that spawned this killer collaboration. For the unfamiliar, Jake One is a truly gifted Seattle producer who's worked with a wide spectrum of artists, including 50 Cent/G-Unit, Planet Asia, De La Soul,and Nas. His debut album, White Van Music, will be released on Rhymesayers Entertainment on October 7th. Featuring MCs such as Busta Rhymes, Slug (of Atmosphere), Black Milk, Prodigy (of Mobb Deep), Little Brother, Brother Ali, and Freeway, the album promises to generate some fourth quarter excitement at the tail end of a shamefully lackluster year in hip hop.
Daniel Edlen creates some truly phenomenal vinyl art. His pieces are handpainted acrylic on wax, so anything you purchase from him will be unique and original. He has a wide selection already available in his collection, but he will do other pieces upon request. He only charges $100 for each portrait; $175 if you want it framed. A discounted price is available if you ship him your own record of choice. Visit Edlen's amazing online galleries here and here. You can also catch his work on display in San Diego, Austin, Phoenix, Santa Monica, Pacific Palisades, or Tempe.
POLITRICKS:
Salon.com analyzes exactly what separates Sarah Palin from the "radical Muslim extremists" that she and John McCain promise to protect America from if they're elected. The answer: Lipstick.
Additionally, some hilarious (yet insightful) satirical pieces about the GOP's VP nominee are available via Welcome To The PalinDrome, SarahPalin's fictitious blog.
It goes without saying that the topic of health care is of the utmost importance in the upcoming election. HealthDecision ’08 offers an unbiased, side-by-side comparison of Obama’s and McCain’s healthcare positions and proposals. It's an interactive site, so once again you have an opportunity to vote for the candidate whose positions most closely resemble your own ideals. I don't care who you vote for (well actually I do, but...); I'm just hoping you'll make an educated and informed decision. We can't afford anymore fuck-ups in the White House, children...
LIFE:
Mekka Don's inspirational tribute to Bernie Mac, Isaac Hayes and lots of other heroes we've lost throughout the years. "Death Is Life" came to my attention via word from the homie Travis. Check out Mekka Don on MySpace:
None of us like paying taxes, but few of us can claim the sort of crazed ingenuity that Richard Mellor employed to attempt getting back all the money he's ever paid to the IRS. Mellor claims that the U.S. is a "fictional entity" and that he's not subject to their jurisdiction because he's a "citizen of heaven". No...seriously.
If you've never had an opportunity to see Before The Music Dies, you can currently watch it via Milk and Cookies. Narrated by Forest Whitaker, this incredible documentary features artists such as Questlove, Erykah Badu, Branford Marsalis and a host of other artists. Offering a fairly unbiased commentary on the state of the recording industry, this is a must for anyone whose happiness is contingent upon music's continued prosperity.
Word From Your Moms:
"It is not light that we need, but fire; it is not the gentle shower, but thunder. We need the storm, the whirlwind, and the earthquake."---Frederick Douglass
You have no idea what a momentous occasion this is, soul kids. My homie Scheme and I have been discussing the possibility of a collaboration for over a year now, and I'll be damned...we finally made it happen.
For those of you who need to be formally introduced, Scheme is the mastermind behind Attorney Street, easily one of my favorite destinations on the internets. Additionally, he's part of the phenomenal Old Money Crew with Cambridge and Konrad. Perhaps you caught their show with The Cool Kids earlier this year, or heard about them via Discobelle, The Fast Life, the culture of me, or any of the other spots who are righteously pimpin' their sounds.
Apparently the hype hasn't gone to his head, because Scheme was good enough to send me this fly Old Money mix to drop as a Souled On exclusive. I couldn't possibly describe the content and flava any better than the man himself: "Now it's def not filled with the kind of rare gems you post on the reg (you'll find the joints to be quite familiar) but it's definitely an enjoyable feel good mix you can play for ya momma'nems and it'll be on and crackin."
All props due to these guys...you crazy kids will have somethin' fresh to serve up next to the ribs and potato salad at the last backyard BBQ you host in '08. Even if your people are crazy and drunk as hell, we all know that when the needle drops, the bullshit stops...
Back soon. Play nice, children...Scholar
Playlist:
Chaka Khan - "Ain't Nobody" Meli'sa Morgan - "Fool's Paradise" Nu Shooz - "I Can't Wait" Loose Ends - "Hangin' On A String" Cheryl Lynn - "Encore" Bernard Wright - "Who Do You Love" Janet Jackson - "When I Think Of You" Vanity 6 - "Nasty Girl" Rick James - "Cold Blooded" Cameo - "Single Life" Prince - "Erotic City" The Whispers - "Rock Steady" Stevie Wonder - "She's A Bad Mamma Jamma" Queen - "Another One Bites The Dust" The Dazz Band - "Roll, Bounce and Skate" Zapp & Roger - "More Bounce to the Ounce" Parliament/Funkadelic - "Atomic Dog" Indeep - "Last Night a DJ Saved My Life" Alicia Myers - "I Want To Thank You" Stevie Wonder - "All I Do" Chaka Khan - "I Know You, I Live You" First Choice - "Love Thang" Kurtis Blow - "The Breaks" Gwen Guthrie - "Ain't Nothin' Goin' On But the Rent" Cameo - "Candy"
'Sup, soul babies? Apologies for leaving so much time on your hands to contemplate why I'm such an insufferably lazy bastard. No worries, though...as soon as the temperature drops below 60 degrees, my ass will be staying indoors a lot more often and we can fall in love all over again. Word.
I'm almost finished with a lengthy post that will drag you snitches back to school for a dose of higher learning, and there's a phenomenal guest mix comin' up from one of my long-term affiliates as well.
Until then---easy does it, children. Do it easy...
Still haven't decided exactly how I wanna work out my own tribute to Black Moses, but in the meantime, I thought a lot of you would enjoy DJ Wonder's mix from Shade45's morning show. It blends Hayes' original material with tracks by hip hop artists who've sampled his work...a perfect set for sample seekers and crate diggers worldwide:
Black Merda performing "Cynthy-Ruth"...still doing the damn thing decades later:
Word From Your Moms:
"My fear was not of death itself, but a death without meaning."
"There's no reason for the establishment to fear me. But it has every right to fear the people collectively - I am one with the people."
"If you stop struggling, then you stop life."
All above quotes courtesy of Dr. Huey P. Newton, who was fatally shot by Tyrone Robinson in the Acorn Projects neighborhood in Oakland on this day in 1989. His dying words were "You can kill my body, but you can't kill my soul. My soul will live forever!"
Hello World...how we feelin' out there? I know your meters must be runnin' dangerously low since it's been a long minute between posts, but no worries. I'm comin' through like Supafly with some high voltage soul power to rejuvenate that ass.
Okay then...enough grandiose superhero nonsense. Let's get easy and take it back to the essence...
I'm startin' this session off properly with a seriously infectious funk groove that will make you want to shake and break joints and body parts you never knew existed. Mister Boogie is a fly-ass dude, posturing himself with unabashed confidence and bragadaccio: cats out there tryin' to use my name, but the way I get down puts all y'all to shame/cuz I'm Mr. Boogie...Mr Boogie's my name. Furthermore, if you want to get done, baby...he'll do you. Ummm...guess you can't argue with that.
"Wild"---Shad (zShare) "Wild"---Shad (savefile) *From When This Is Over
American hip hop enthusiasts are still snoozin' on Shad (aka Shadrach Kabango) for the most part, an oversight which ultimately seems to our detriment. Many of us are bored to death with stereotypical crap rappers, having finally gotten our fill of the bling and bang that the recording industry keeps trying to cram down our collective throat.
Shad's name is scrawled in bold letters on my list of reasons why it's myopic and misguided to proclaim the death of hip hop. The Canadian rhymesayer seems just as concerned as many of us are that the genre is becoming a parody of its former self, and his artistic struggle against this disheartening trend is truly evident in his work. Shad is unafraid to explore the depths of serious social issues such as genocide in Rwanda, but unlike most of the so-called political MCs you can name, his tracks don't sound like a speech with music playing incidentally in the background. Always lyrical, with an iceberg flow, Shad carries his listeners through the shadows of his mindstate and imagination with the greatest of ease.
I chose a couple of more accessible joints from his two LPs so that you snitches can get your feet wet at the shallow end of the pool. Check for all things Shad via his MySpace page.
Although it was overshadowed by the immense popularity of the title track on the Across110th Street soundtrack, I still have the utmost admiration for the understated beauty of this particular track. If you love soul music, it's nearly impossible to front on the song's profound vulnerability...although your inner thug might wonder why Bobby didn't just man up and steal his shit back, instead of asking for it so...politely. Whatever. The next time you make a mixtape for an unrequited love, this joint right here should easily make the tracklist.
One of the many reasons why I prefer to post tracks instead of full albums is because there are very few albums that I enjoy listening to from beginning to end. Even on records that I truly love, there are usually one or two songs that resonate with me more than the rest of the material on the LP.
Fontella Bass' Free album (1972) is one of those rare gems that I often play from front to back. That said, when the needle hits "I Want Everyone To Know", the world stops spinning on its axis for precisely 3 minutes and 4 seconds. Need I say more?
After hearing no less than a hundred mixes of "Hope" since Nas dropped Hip Hop Is Dead, I would have bet my auntie's gold-plated front tooth that I wouldn't have the heart to listen to another one anytime soon. Well...damn if I wasn't dead wrong. Taka asked me to check out his take on the joint and as it turns out, he crafted one of the dopest remixes of the track I've heard yet...and that's sayin' somethin'.
If you're feelin' these mixes like I do, stop by Beats by Taka 4 Heads to Rock 2 and show some love and support for the man's hustle. He's got quite a few remixes up for free download and y'all been warned...this kid's one to keep an eye on for the future.
The Loading Zone was formed in Oakland, CA in 1967 by singer/keyboardist Paul Fauerso, shortly after his jazz outfit (the Tom Paul Trio) had dissolved. He enlisted an ensemble of musicians to create an R&B combo that would fuse elements of psychedelia, funk, jazz, rock, and the blues into their mystical brew of cosmic noise.
The group managed to garner a somewhat cultish regional following on the strength of their live performances, which led them to seek out a lead singer (Linda Tillery) and record their self-titled debut album. From what I've read, their live sets (opening for Janis Joplin, Cream, and The Grateful Dead) were far more enthralling than their recorded material, and most critics of the day felt that their sound didn't translate all that well on wax. The album's integrity was undoubtedly compromised by a few borderline crappy Motown covers, and some listeners thought that Tillery's histrionic vocal style was more grating than great. The group disbanded shortly after the record failed to gain popularity, although Tillery and Fauerso tried to revive the group in 1970 with new members, releasing their One For All LP. The following year, they permanently went their separate ways.
I can personally get down with Tillery's vocals if I'm in the right mood, but understanding that they're problematic for many, I chose to salvage their instrumental groove "Can I Dedicate" from the dustbin for your listening pleasure. If nothin' else, ya gotta have love for those horns, kids...
Along with the likes of Marva Whitney, Lyn Collins, Sugar Pie DeSanto, Vicki Anderson and Yvonne Fair, Anna King was just one of many female vocalists featured in the James Brown Revue. While the Godfather of Soul often included these women on his live albums and/or offered them solo contracts on his label, the only one he produced an entire LP for was Anna King. The result was a deeply soulful album that, despite its moderate sales, is in keeping with the quality and mindblowing style of JB's early '60s recordings. Originally released in 1964, the Back To Soul LP was relatively difficult to find until it was reissued on Shout in 2006. Doesn't matter how you get it...just get it if you can.
A'ight...so you might reasonably argue that Kanye blessed this track lovely in the first place, so why would someone even attempt to switch up his beat? I don't think this mix trumps the original by any means, but I definitely appreciate the laidback jazz groove that the Soul Children put behind these rhymes. Besides, how could they possibly have laid claim to an iller name? This joint can be found on their Start A Fresh LP, released in 2006.
You know why I have so much reverence for Labelle? When they're fully in their element, they not only take you to church...they become the church.
I mean...whoa...can I get a witness?
VIDEO LOVE:
I'm sure that quite a few of you are already familiar with "Caldonia", but these two videos are a must if you've never had the opportunity to see them. First off, Louis Jordan's classic performance of the tune, showcasing what a phenomenal musician and entertainer he was:
Nextly, Frank "Sugar Chile" Robinson's rendition of the song from the 1946 film "No Leave, No Love". This infant boogie virtuoso was nothing short of amazing (no puns):
Finally, my man Wrekonize recently sent me a link to the video for "The Right", his new track with DJ I-Dee and Jean Grae. No bias whatsoever, kids...this joint is ill. Be sure to check out I-Dee's Solitude LP, set to drop later this month:
ART:
From Shirin Neshat's Women Of Allah
Thompson-Bryant photography
Stencil by asboluv
Chuck D painting created live in Montreal by Gene Pendon and DSTRBO for HVW8
POLITRICKS:
*I'm Voting Republican: a satirical take on the potentially catastrophic consequences of four more years...
LIFE:
*My friend Sa'id has been talkin' about starting a culture blog for quite some time, and I'm happy to announce that Blame The Critic is finally here. Let me preface this introduction by saying that everything this man touches is sheer brilliance, which is precisely how he earned my respect in the first place. Some of the topics he's tackled so far are geek revisionism (a term he coined himself), foxes of the '70s (pics only, but who else pays homage to the beauty of Tamara Dobson?), and movies going the way of Shakespeare (probably not what you think).
I'm planning to honor his request that I do some writing over there as well, so make sure you tune in and turn on, children...
*In the blazing summer heat we all scream for ice cream, right? If you couldn't make it to Japan for the Yokohama Ice Cream Expo, here's the scoop (no puns this time either) on what you missed. Despite the inclusion of beloved taste sensations such as eel, potato, crab, and raw horse, apparently beef tongue flavor was the hands down favorite. Hmmm...I just threw up a little.
Fundamental Supplementalz:
While I was working on this post yesterday afternoon, I received word that Isaac Hayes had left the earth. I can't begin to articulate how greatly his work impacted my life and contributed to my passion for soul music, especially because the loss is so unexpected and profound. Not to mention, I hadn't even wrapped my head around the death of Bernie Mac yet...
My personal tribute and retrospective on Hayes' rich legacy will surely follow at some point, but for now I'll just share the first song I spun on my turntable after hearing the news.
"Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time."
"I love America more than any other country in the world and, exactly for this reason, I insist on the right to criticize her perpetually."
"Love takes off masks that we fear we cannot live without and know we cannot live within."
"No one can possibly know what is about to happen: it is happening, each time, for the first time, for the only time."
"You know, it's not the world that was my oppressor, because what the world does to you, if the world does it to you long enough and effectively enough, you begin to do to yourself."
...and I've been dyin' to speak to my people through some sounds.
Hope that all's well with the soul kids in the place to be. Time's been straight kickin' my ass lately, but instead of cussin', cryin', and carryin' on, here's some love from the crates as my penance and peace offering.
One of my ultimate jams when I was a kid was Hot Chocolate's "You Sexy Thing", which inspired me to believe in miracles and make up some unforgivably crazy-ass impromptu dance moves. Some of that silliness wasn't necessarily a good look for me, but what can I say? I was high as fuck on heavy doses of Soul Train, cherry kool-aid and boundless youthful exuberance...
At any rate, it took me a ridiculously lengthy period of time to discover that Hot Chocolate was worth diggin' for beyond that one scratchy 45 record I had in my collection. This oversight was due in part to the fact that I spent many of my formative years living in the musical abyss of a city that, for inexplicable reasons, didn't boast a single R&B radio station. As a result, the version of "Brother Louie" I'd heard on repeat was the one by Stories, and I was well into my teen years before I happened to stumble upon "Every 1's A Winner".
One of the things I eventually came to realize was that this interracial UK funk/soul outfit had often put forth material that was far more serious-minded and somber than the lighthearted, unpretentious vibe of "You Sexy Thing" may have immediately suggested. Tackling issues such as racism, suicide, the nuclear arms race, the Jonestown Massacre and other socio-political subject matter, much of Hot Chocolate's output defied categorization as "mindless boogie" or trite disco trash. Despite their apparent efforts to produce a relatively significant and meaningful body of work, the group was (and still is) widely ignored or harshly criticized by the record-buying public outside of their devoted following in the UK.
"Cicero Park" is the title and opening track on their 1974 debut album, and it provides an excellent example of what makes Hot Chocolate an intriguing and essential listen for music enthusiasts. With the repetition of foreboding lyrics such as "don't let it happen in your world" and "life is dying out", the song paints a vividly descriptive portrait of a decaying world, utterly bereft of love and hope. After hearing all of their records, I've drawn the conclusion that Hot Chocolate's lead singer and chief songwriter Errol Brown was equal parts Superfly, disco king, and unhappy bastard. "Cicero Park" is undoubtedly reflective of the latter. It's "mood music" to be sure, but the heaviness will surely resonate with those who are dysphoric, pissed off and/or completely out of Prozac.
There is much more to the group's history and legacy (such as how their career jumped off with a reggae version of "Give Peace A Chance"), so educate thyselves, children.
Hopefully it's not necessary for me to introduce you to the undisputed Soul Queen of New Orleans, especially since her music's been featured here several times over the past few years. My enthusiasm for her tremendous artistry was revitalized recently when one of my readers sent me a vinyl rip of In Between Tears, an album that I'd never been fortunate enough to come across in any of my digging expeditions. It's available online, but my Visa's already on the verge of a serious meltdown (thank you, George W. Bush).
Anyway, my interest in the LP has been twofold: I want to collect every Irma joint on wax at some point before I depart from Earth and this particular record was produced by Swamp Dogg (aka Jerry Williams, Jr.). Swamp and Irma (that should be a comic strip) worked together briefly early in 1970 while she was on Canyon Records, cutting the single "I'd Do It All Over You" (b/w "We Won't Be In Your Way Anymore"). What happened after that, like so much of soul music history, gets a bit murky.
According to most accounts I've read, Thomas resumed her work with Mr. Dogg in 1973, releasing a few sides and the In Between Tears LP on the newly-formed and terribly-named Fungus Records. However, in double-checking my facts, I came across some conflicting information at Deep Soul Column, which quotes Thomas as saying that she and the Dogg were only in the studio together on one occasion, and that the material for the album was actually recorded during their sessions for Canyon.
Reading the account at Deep Soul Column, it sounds as if Thomas was slightly bitter with Swamp about the fact that he took credit for the "Coming From Behind" monologue, which was paired with a remake of her timeless classic "Wish Someone Would Care". Quoting from the information at DSC, Irma allegedly stated the following: "Jerry wanted to fill in the album, and I suggested that we do `Wish Someone Would Care' with the monologue, and he said `fine'. Jerry took credit for the monologue, but that's my monologue, and I was doing it long before I recorded it for him, since 1964." If this is true, I'm as troubled by this as I was when Nas and Jay had beef. I mean...damn y'all...can't we all just get along?
However it came to be, this medley is nothing short of phenomenal. Thomas manages to be feisty, cynical, wise, sarcastic, intense, and gut-wrenching all at the same time. It's a fantastic journey that she ushers the listener through, climaxing in what one might describe as complete and utter vocal frenzy. Some might call it screaming, others will call it soul...
Last year, Swamp Dogg released Two Phases Of Irma Thomas, which contains the original recordings from In Between Tears, as well as his 1993 reissue of the LP, released as Turn My World Around . I haven't bothered to check this out yet, but from what I've heard, the revised version was somewhat lacking as far as many soul fans were concerned. Dogg removed a couple of songs, switched up the order, synthesized sounds, and generally modernized the recordings in a way that was evidently offensive to some purists. Can't review something I haven't heard, but I will tell you that it should be worth buying for the originals if nothing else.
The origins of S.O.U.L. (aka Sounds of Unity and Love)can be traced back to a battle of the bands contest that was held in Cleveland, OH in 1970. The funky combo triumphed over the competition, winning $1000 and a recording contract with Musicor Records. They headed to NYC the following year, recording a single called "Down In The Ghetto Parts I and II". The song made some noise on a regional level, so Musicor invited them back to New York to record a second side. Shortly thereafter, the group headed into the studio and unleashed their raw funk energy on a wonderful little record called What Is It.
What's memorable about these guys isn't their songwriting, or even their musicianship...it's the unbridled passion and contagious energy of the grooves that they created and performed. Despite the fact that much of the album consists of covered material, S.O.U.L. managed to pay homage to their musical predecessors without sounding like a counterfeit version of (insert the name of a legendary figure such as James Brown or Charles Wright here). The LP didn't produce any hit singles for the group, but it certainly aided them in amassing a loyal and enthusiastic cult following.
S.O.U.L. released a few more albums after What Is It (including Can You Feel It, which remained on the soul charts for five months), but for whatever reason, I've always preferred the somewhat unpolished, choppy and occasionally improvisational sound of their debut. Over time, they undoubtedly became more seasoned and refined, but by that time they were quite obviously taking notes from more mainstream groups such as The Temptations and The Spinners. What Is It possesses a certain charm for me...a true soul gem in the rough.
The whole album is worth listening to if you've never had the pleasure, but "Soul" has always been one of my favorite joints on the record. Lee Lovett's monologue may seem on the surface to be some fairly basic "let me rap to you" type shit, but it's kinda smooth the way he articulates the essence of soul in words that just about anyone can understand. With all your money, you can't buy it. Even if I wanted to, I couldn't give or lend you any...
S.O.U.L. was more of a phenomenon in Europe than in the United States, a truly unfortunate oversight on the part of American listening audiences. Whether you're seeking good music, phenomenal breakbeats, or just a groove to help you make it through the day, the Sounds of Unity and Love may be just what the funk doctor ordered...
While we're on the subject of artists outta Cleveland, I have to take a moment to acknowledge one of the latest upstarts from The Land, KiD CuDi.
First off, I have to say this in case you didn't hear me the first time---I have a potentially unfair bias against anyone who uses "lil", "young" (especially if it's spelled without the "o", for shit's sake), "kid", "boy", "or "girl" as part of their moniker. I know that there are exceptions to this somewhat arbitrary rule, so please save your stories about how Lil' Bow Wow helped you negotiate the difficulties of life in the fifth grade. However, I'm exposed to so much music that I need to have some guidelines for discernment, and so far, this one has worked pretty well for me. That said, I'm willing to eat my words as it pertains to (cough, sputter) CuDi.
CuDi's humble beginnings saw him recording his first track on a karaoke machine in his friend's basement at the age of 15 (it was a freestyle over the beat to Wu-Tang's "It's Yourz", by the way). Since then, he's relocated to Brooklyn, signed with A-Trak's Fools Gold label, toured the U.S. and Canada, and been the subject of much hype on the internets and in hipster magazines. What's particularly amazing about the buzz surrounding CuDi is that until last week, he hadn't even dropped an official mixtape, let alone a CD.
When A Kid Named KuDi dropped on July 17th, there was quite a bit of fanfare to say the least. The release party was sponsored by the likes of 10.DEEP, Heineken, Red Bull, and Belvedere Vodka. Plain Pat, Nick Catchdubs, and 88 Keys provided the music, and Kanye West stopped by to show his support. Damn, ya'll...am I the only one who remembers when mixtapes made their debut by appearing in the back of a hustler's broke-ass station wagon?
Anyway, despite the fact that A Kid... is being shamelessly pimped in the real world and all over cyberspace, I still had to give it a listen because I've been diggin' KuDi since I first heard “Day N Night” quite some time ago. There are a lot of recycled beats in the mix that threaten to make the tracks come across as a bit stale, but KuDi's gifted enough on the mic to resuscitate these sounds by blessing them with a fresh perspective. KuDi boasts a wide range of influences that includes artists such as A Tribe Called Quest, Red Hot Chili Peppers, The Roots, Queen, Run DMC, Biggie, Coldplay, 2Pac, My Chemical Romance, Al Green, and Ratatat. This varied combination of styles and sounds has given the MC a diverse palette to draw inspiration from, and his eclecticism and artistic flexibility are already quite evident despite his lack of a proper release. One of the lines from "Cleveland Is The Reason" that resonates with me for obvious reasons is "I play The O'Jays while I'm turnin' lanes". So do I, KuDi...so do I.
If you haven't copped the mixtape yet and you wanna, you can download the whole damn thing via Fools Gold.
At a place and time in hip hop when the lion's share of producers lack creativity, originality and/or complexity, it seems more vital than ever to be knowledgeable about those who continue to push the boundaries of the art form in innovative and exciting ways. Consequently, I felt it was imperative to do something to spread the word about Reanimator's music in the likely event that major media outlets such as MTV and XXL continue neglecting to acknowledge his existence.
I became familiar with Reanimator via his solo offering, Music To Slit Wrists By, as well as the production he's done on Sage Francis' LPs. Of the many qualities I've come to appreciate about him, two seem especially worthy of mention: his consummate crate digging skills and the virtually unparalleled time and effort he puts into crafting his beats. Not only does he have a knack for discovering a variety of unique and frequently untraceable records to sample on his productions, he also spends ridiculously lengthy periods of time perfecting his output before it sees the light of day. Word to all the producers who brag about crafting beats in under an hour: usually that shit sounds simplistic and underdeveloped. Not so with Reanimator, who often lives with his creations for two or three years before reaching the point of satisfaction.
In May of this year, Reanimator dropped his first effort with MC Prolyphic, an album called The Ugly Truth. Prolyphic is an immensely talented rhymesayer, but I was immediately drawn to the brooding, yet terribly lovely beats I heard on the LP.
I had a difficult time deciding which one to share with all of you, but I eventually decided on "Flashlight". It's not necessarily my favorite beat on the album, but it was the only one I listened to and immediately recognized the main sample. I won't reveal the source to be on the safe side, but suffice it to say that RZA flipped the same song in one of his escapades as Bobby Digital. I'm a longtime fan of RZA's production style, so don't get this twisted...but using his flip as a comparison point gave me all that much more respect for Reanimator's production abilities. The way he meticulously layers elements of sound to create incredibly lush sonic landscapes is nothing short of amazing.
You'll find Reanimator's releases by way of Strange Famous Records and you can also dig deeper by checking out his MySpace page.
I sort of take it for granted that most soul aficionados are already aware of Jerry Butler's extraordinary legacy and unquestionable impact on soul, gospel, doo-wop, and R&B, so there's no pressing reason to reinvent the wheel in that regard. This particular song has just taken on a new significance in my life as of late, so I decided to include it in this post as somewhat of a last minute decision.
"Beside You" is from Butler's 1969 Mercury release, Ice On Ice. This album and its predecessor, (The Iceman Cometh) are two of my favorites from his canon of works, due in part to the smooth soul style that he cultivated with the invaluable production and co-writing assistance of Gamble and Huff.
Last year, these two seminal LPs were combined on a single Collector's Choice CD, so if you have no other means of acquiring this material, be sure to keep an eye out for the re-issue.
