Tag Archives: Soul

The Friends of Distinction: Grazin’

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The easy soul album behind the stellar funky hit

The Friends of Distinction were a Los Angeles vocal quartet, two men and two women, whose funky hit single, “Grazing in the Grass,” belied the smoother, easy soul of this debut album. Produced by John Florez, the group picked a lead vocalist from among the four to match each track, and then surrounded them with fetching harmonies. Their material ranged from Hugh Masekela’s title song (to which group founder/vocalist Harry Elston added lyrics) to a slow and sensual cover of Lennon & McCartney’s “And I Love Her.” They created a vocal jazz arrangement of Cole Porter’s “Lonesome Mood” that suggests Lambert, Hendricks & Ross, as does the waltz time “Baby I Could Be So Good at Loving You.” The parallel with the Fifth Dimension is reinforced by the group’s stellar cover of Laura Nyro’s “Eli’s Coming,” featuring a supercharged falsetto lead by Jessica Cleaves against intricate backing vocals and an arrangement that alternates between slow soul and fervent revival. The album’s second single “Going in Circles” charted into the Top 20 with a superb arrangement that combines strings, horns and woodwinds behind a feeling lead vocal and soulful harmonies. It’s a shame that the group’s follow-up album Highly Distinct was rushed out by the label, as given time to create, this debut shows how brilliantly they could select and sing light soul. [©2010 hyperbolium dot com]

Dick Dale: King of the Surf Guitar

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Dale’s second album dilutes the guitar sting of his debut

Dick Dale’s second album was his first to be issued on the Capitol label, and though his guitar playing is solid (as is his saxophonist’s), the song selection isn’t as inspiring as his debut, Surfer’s Choice. The Blossoms, featuring Darlene Love, back Dale on the title track and the guitarist sings lead on “Kansas City,” “Dick Dale Stomp,” and several other tracks. The covers include R&B, Soul, Folk, Country and International tunes that aren’t always the best showcase for Dale’s immense instrumental talent. Or at least they’re not always arranged to leave space for his guitar. The second half of the album offers more charms, with staccato flat-picked shredding on “Hava Nagela” and “Riders in the Sky,” fancy picking on “Mexico” and a low twangy groove on “Break Time.” Sundazed’s CD reissue adds two bonus tracks, both instrumentals that offer up samplings of Dale’s six-string craft, but on balance there’s more singing and sax than belongs on an album titled “King of the Surf Guitar.” This album leaves you wanting more of Dale’s picking, which just might have been the idea at the time. [©2010 hyperbolium dot com]

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Various Artists: Radio Hits of the 60s

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Terrific collection of AM radio’s highly varied legacy

Rather than picking an artist or label or scene or sound, Legacy’s pulled together thirteen original hit recordings that show the range of music that AM radio brought to its listeners. Collected here is New Orleans R&B (“Ya Ya,” 1961 and “Working in the Coal Mine,” 1966), Dixieland Jazz (“Washington Square,” 1963), Easy Listening (“A Fool Never Learns,” 1964), Folk Pop and Rock (“We’ll Sing in the Sunshine,” 1964 and “In the Year 2525,” 1969), Garage Punk (“Little Girl,” 1966), Soul (“I’m Your Puppet,” 1966 and “Cherry Hill Park,” 1969), Bubblegum (“Simon Says,” 1968), Trad Jazz Vocal (“The Ballad of Bonnie and Clyde,” 1968), and Vocal Pop (“Worst That Could Happen,” 1969).

Even within these individual songs you can often hear more than one genre exerting its influence, such as the steel guitar and horns that provide accents to the superb pop production of Merrilee Rush’s “Angel of the Morning.” In this day of highly balkanized music channels and individually programmed MP3 playlists, it’s hard to imagine such variety inhabiting a single mass-market playlist, but that was part of AM radio’s power to attract and keep a broad swath of listeners. Playing this collection will remind you how good record and radio people were at picking and making hits – the winnowing process disenfranchised many, but what got through the sieves, particularly what got to the top of the charts, was often highly memorable.

Legacy’s disc clocks in at a slim 35 minutes, but what’s here is a terrifically nostalgic spin whose songs stand up to repeated listening forty-plus years later. True, Andy Williams’ “A Fool Never Learns” might wear out its welcome before the other tracks, but it’s part and parcel of the ebb and flow of 1960s AM radio. This set isn’t meant to be an all-inclusive compilation of any one thing in particular, but a reminder of the breadth that once graced individual radio stations across the land. There was a unity to AM radio’s audience that’s been replace by the free choice of the empowered individual. That personalization carries with it many benefits, but the range of this set may remind you of what’s also been lost. [©2010 hyperbolium dot com]

Elvis Presley: Elvis 75- Good Rockin’ Tonight

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4-CD anthology shines as brightly as a King’s crown

Elvis was not only the king of Rock ‘n’ Roll (Little Richard’s claim on the crown notwithstanding), but in his afterlife he has also become the undisputed king of reissues and anthologies. RCA’s four-CD set, spanning from his earliest self-funded acetates through late home recordings and live sides, his last major studio works and a post-mortem remix, offers no new tracks for Presley’s legions of collectors, but provides a superb introduction and deep overview for anyone who’s heard about, rather than heard, the King. Those who know a few hits or have sat through an Elvis movie or two will find the greatness of his musical catalog measures up to the hype and explains the dedication of his most ardent fans.

Collected here are one hundred tracks, beginning with Presley’s very first recording, “My Happiness,” waxed on his own dime as a gift for his mother. His earliest commercial sides show how he forged hillbilly, blues and country roots into his personal strand of rock ‘n’ roll, first for Sun with Scotty Moore and Bill Black, and then, with the addition of D.J. Fontana on drums and A-list guests like Floyd Cramer and Chet Atkins, for RCA. These early works aren’t so much primitive as they are elemental – the lack of production pomp or circumstance presents Elvis as an unadorned and raw rock ‘n’ roll spirit. The addition of a backing vocal trio, as can first be heard on 1956’s “I Was the One,” showed a crooning side of Elvis that would continue to reappear even as he continued to explore rockabilly and blues.

From the 50s through the 70s Elvis moved through a variety of producer’s hands and a number of different studios, and got something different from each. His studio recordings took him from Memphis to Nashville, north to New York, west to Hollywood, back to Nashville where he worked in RCA’s legendary Studio B and back to Memphis for his legendary late-60s sessions at Chip Moman’s American Studios. By the early ‘70s, on the heels of his televised comeback special, Elvis once again became a live draw, and selected sides find him in Las Vegas, Honolulu and on the road in Ann Arbor, Michigan. Elvis waxed his share of clunkers, but with each new direction and in each new setting he seemed to record something worthwhile, and producer Ernst Mikael Jorgensen has done a masterful job of picking highlights.

More importantly, Jorgensen has intermixed iconic hits with lesser known singles and album tracks, showing the depth of Elvis’ artistry and the catalog he created. Elvis often overwhelmed the charts with hit singles, leaving terrific performances such as the energized “One-Sided Love Affair,” a bluesy cover of Lloyd Price’s “Lawdy Miss Clawdy” and the gospel “Thrill of Your Love” to languish as album tracks. Even more surprising is a 1962 version of “Suspicion” that pre-dates Terry Stafford’s hit by two years. Elvis’ soundtracks included their share of dregs, particularly as the ‘60s wore on, but they also included hits and great album tracks like a scorching version of “Trouble” from King Creole and bluesy covers of Dylan’s “Tomorrow is a Long Time” from Spinout and Jimmy Reed’s “Big Boss Man” from Clambake.

While other artists reinvented themselves to fit the times, Elvis bent the times around himself (excepting “Yoga is as Yoga Does,” thankfully not included here), staying true to his voice as everything around him changed. His producers, songwriters, and musicians kept turning over, but in the center of it all Elvis sang a surprisingly straight line from ’53 to ‘77. Even as his voice matured and the productions were influenced by his Vegas stage show, the fire in his delivery remained. Whether singing rock, blues, country, soul, pop or gospel, his performances found a true line stretched from the Sun sessions through RCA studios in Nashville, New York and Hollywood, a stint in the army, a catalog of often mediocre films, his 1968 resurrection, a triumphant return to Memphis, and country sessions that brought him back to his roots.

For many listeners, disc four will be the least familiar. Covering 1970 through 1977, these selections find Elvis’ singles charting lower, but still delivering the goods. Only “Burning Love” made the top-5, and his other top-10 from that stretch, “The Wonder of You,” is not included. “An American Trilogy,” is at once bombastic and utterly show-stopping, his version of “Always on My Mind” made the country charts but should have found cross-over success before Willie Nelson ten years later, and his last single, “Way Down,” though given to ‘70s production sounds, finds his gospel fervor undimmed. The beat heavy remix of “A Little Less Conversation” that closes the set shows just how easily Elvis’ voice could slide into new contexts (the original film performance from Live a Little, Love a Little is worth searching out on DVD, by the way). These hundred tracks aren’t a complete run through every Elvis highlight, but they tell the entire arc of his musical career in a compelling and thorough way.

The box includes an 80-page booklet that features a biographical essay by Billy Altman, numerous photos, reproductions of original record labels, covers and picture sleeves, movie posters, master tape boxes, and detailed recording, chart and personnel data. RCA/Legacy is releasing a companion 26-track single disc that cherry-picks this box, and though it may prove useful as a guide to further Elvis purchases, it doesn’t provide the compelling, detailed portrait of this four-disc set. With more Elvis 75th-birthday anniversary reissues on the way (and a terrific 2-CD version of From Elvis in Memphis already out) you may be tempted to put together your own collection, but you’d have a hard time assembling a more compelling introduction than this box. [©2009 hyperbolium dot com]

Isaac Hayes: Sings for Lovers

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Stax soul man sings songs for sexy lovers

Concord’s “For Lovers” series features catalog selections from vocalists and instrumentalists that exploring the joys and heartbreaks of love. Singer, songwriter, instrumentalist and producer Isaac Hayes proves himself a natural fit for this series with this hand-picked set of soulful originals and drastically reinterpreted covers. The latter includes a dramatic reading of Bacharach and David’s “The Look of Love,” pared from the album’s original 11-minute production to the single’s lyrically-focused 3’19; even more impressive is Hayes’ reconstruction of David Gates’ soft-rock hit “Baby I’m-a-Want You” into a Stax-styled mid-tempo soul tune.

Hayes works a similar magic on The Carpenters’ “(They Long to Be) Close to You,” reproduced here at its full nine-minute album length with lyrics stretched across romantic orchestrations, and a duet with David Porter gives a Sam and Dave spin to Johnnie Taylor’s hit, “Ain’t That Lovin’ You (For More Reasons Than One).” Highlights of Hayes’ originals include the string introduction and carnal vocal of “Joy (Part 1),” the light funk “I Can’t Turn Around,” and the thoughtful “Let’s Don’t Ever Blow Our Thing.” With only eleven tracks clocking in at fifty-eight minutes, there was room here for a few more items, such as the hit singles “Walk on By” and “Never Can Say Goodbye.”

Those only familiar with Hayes’ early classics, Hot Buttered Soul and Black Moses, will discover some new sides here. Several of these tracks are cherry-picked from post-Shaft albums of the mid-70s, including Juicy Fruit (Disco Freak) and Chocolate Chip, giving listeners a taste of Hayes’ post-peak work without having to pick through entire albums. Four other tracks are selected from the 2006 collection Wonderful, which anthologized earlier non-LP singles and compilation cuts. None of these provide a full substitute for the early full-length LPs, but the selections provide a good helping of soulful love without having to wade past through the mid-70s disco inflections. [©2009 hyperbolium dot com]

Ray Charles: Sings for Lovers

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Brother Ray sings the highs and lows of love

Concord’s “For Lovers” series features catalog selections from vocalists and instrumentalists exploring the joys and heartaches of love. Singer-pianist Ray Charles is a natural fit for this series, with his soulful vocal delivery, emotional playing, sophisticated arrangements and broad appetite for material. These sixteen tracks are drawn from his post-Atlantic pop recordings, with nearly half dating back to his first few years on ABC. The rest are drawn from the late-60s through the mid-70s, and skipping over his late-70s return to Atlantic there’s a 1993 cover of Leon Russell’s “A Song for You” and a 2006 re-orchestration of his 1970s cover of the Gershwins’ “How Long Has This Been Going On.”

Producer Nick Phillips mixes iconic hit singles “I Can’t Stop Loving You,” “You Don’t Know Me,” “Ruby,” and “Here We Go Again” with lower charting entries, the seasonal favorite “Baby, It’s Cold Outside (sung in duet with Betty Carter) and intelligently selected album tracks. It’s the latter – the lesser-known picks – that make this collection unique. Highlights include a version of Meredith Wilson’s “Till There Was You” that’s so soulful, it’s hard to match it with Paul McCartney’s sugar sweet rendition on With the Beatles, and his intimate reading of the Gershwin’s “Love is Here to Stay” features a terrific piano solo within Sid Feller’s restrained arrangement.

The broad range of Charles’ musicality is represented in selections from jazz player Don Redman, country artists Don Gibson, Red Steagall, and Eddy Arnold, tin-pan alley scribes Irving Berlin, Cole Porter, Mitchell Parish, and George and Ira Gershwin, pop writers Leon Russell, George Harrison, and Felice and Boudleaux Bryant, and theater and film composers Meredith Wilson, Victor Young, Ned Washington and Heinz Roemheld. The latter’s “Ruby,” which riginally appeared in the 1952 film Ruby Gentry, was recorded by Coleman Hawkins and Oscar Peterson, and brought to its greatest prominence with this yearning, hopeful-yet-wary 1961 recording. Across these selections, Charles is variously backed by orchestra and chorus, strings, horns, and piano and organ-led jazz combos.

With more of Charles’ catalog appearing on download services, you might opt to put together your own collection of his love-related songs. But unless you’re deeply familiar with his catalog you’d miss some of the selections Phillips includes here. Charles won a Grammy® for his cover of Leon Russell’s “A Song For You,” but sixteen-years later you might have forgotten how poignant it sounds in Charles experienced, 63-year-old hands, and the album track “Ev’ry Time We Say Goodbye” shows a delicate jazz chemistry between Charles and Betty Carter that’s buried by the annual revival of “Baby, It’s Cold Outside.” This is finely programmed set that’s a nice spin for those who want to hear a side of Ray Charles beyond the hits. [©2009 hyperbolium dot com]

The Husky Team: Christmas in Memphis

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HuskyTeam_ChristmasInMemphisSmithereens drummer offers up Christmas classics, Stax style

Here’s a fun Christmas album from 2002 on which organist/inventor/WFMU DJ Dave Amels and Smithereens drummer Dennis Diken give a Stax-styled instrumental spin to a slate of holiday classics. From the opening of the Beach Boys’ “He’s the Man with All the Toys,” you get plenty of smooth organ, deep bass, twangy guitar, punchy drums and the funky vibe Stax created in their Memphis studio. A few numbers roll in iconic MG riffs, such as the organ and guitar of “Green Onions” behind the Husky Team’s version of “Auld Lang Syne,” but for the most part the players just revel in the Stax sound and groove. For the real thing, check out Stax’s Christmas in Soulville, but as a fine instrumental tribute, these super soul Christmas classics will warm you as if you’d thrown another log onto your holiday music fire. [©2009 hyperbolium dot com]

Soulhat: Live at the Black Cat Lounge

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Soulhat_LiveAtTheBlackCatLoungeFriendly and energetic 1991 live set from Austin favorites

In this live album’s liner notes, Rob Patterson remarks that a locale – a scene, or in this case a club – can have a large impact on the music created within it. The Black Cat Lounge, a “ramshackle, no frills dive music bar” that lived on Austin’s famed Sixth Street, made its impact both in a lack of pretension and in the owner’s demand that artists fill an entire evening, often up to four hours, with music. The result, as heard in these 1991 live tracks, is a friendly and open vibe to the songs, sets and performances. It’s not languor, but comfort and confidence. Artists didn’t rush on, play a concise forty-five minutes and rush off. They edged into their songs with instrumental introductions that set a lyric’s mood, and they made room for vocal and musical jams that gave dancers time to spin around the floor.

Fans of Soulhat will particularly relish hearing these early live performances, recorded only a year into the band’s history, a year during which they’d been gigging regularly at the Black Cat. Their mix of rock, blues, country, funk, soul and jazz was well formed by this point, and with hours of time to fill, they allowed themselves to “get lost in the music,” stretching a few of these songs past the seven- and eight-minute marks. But with an intimate club audience that needed to be entertained (as opposed to an arena audience that could feel more abstract from the stage), the jams never lose their way; you can hear the musicians conversing with their instruments, but they keep touch with the audience. The close-in dynamic of a club makes these live tracks a good listen at home.

Eleven of these recordings were previously issued on a limited-edition cassette, but it quickly became hard to find. Recorded on a two-track and mixed to what sounds like mono, the sound is crisp and balances the band and their enthusiastic audience. The group proves itself comfortable with country- and funk-inflected rock, funk- and jazz-inflected soul, folk-inflected pop, and more. That’s a lot of inflection, which may have been the root of the group’s inability to sustain a presence on radio or the charts (their biggest single, “Bonecrusher,” peaked at #25). With the Black Cat having burned down in 2002, these live tracks now stand as a striking artifact of the club’s atmosphere and its impact on the artists who played and developed there. [©2009 hyperbolium dot com]

MP3 | Alone
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Star & Micey: Star & Micey

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StarAndMicey_StarAndMiceyBroken-hearted folk, power pop and soul

Ardent Studios, famed both for their original productions by Big Star and the raft of overflow sessions hosted for Stax, is still a working concern. Recent visitors have included Robyn Hitchcock, Klaus Voorman, Jack White and many more local, national and international luminaries. Less well-known is that the Ardent Music record label provides a modern day parallel to the original Ardent Records upon which Big Star’s albums and singles were released. The label’s latest is the debut by Star & Micey, a trio whose music is built on a uniquely Memphisian blend of rock, folk, blues, country, pop and soul.

Vocalist Joshua Cosby sings in a voice reminiscent of Robert Plant’s gentler blue-folk tone applied to Gordon Gano’s angst. When surrounded by harmonies, such as on the broken hearted “Carly,” a power-pop winsomeness emerges from the quivering edge of his voice. Guitarist (and Ardent staffer) Nick Redmond finger-picks chiming country-folk and slides buzzing southern-blues, layering them into a cross between Chet Atkins, Mungo Jerry and the Allman Brothers. Some productions are given a light soul sheen (“I Am the One She Needs”), others built up with ornate and powerful strings (“On Your Own”), left to shamble (“Late at Night”) or stripped down to a lullaby (“Quicksand”).

Cosby’s lyrics are like pages taken from a lovelorn writer’s diary. There are songs of being held at arm’s length, getting dumped, simmering in anger, rediscovering one’s independence, and letting oneself fall back in love. The lyrics are laced with romantic torment, but the nervous wobble of Cosby’s voice suggests drama that’s poured into tears that are cried alone. It’s the extrovert-introvert pivot of great power pop: emotional needs that struggle to be heard outside the songwriter’s head. The blend of musical flavors of adds a winning Memphis twist that sets this apart from the guitar jangle that typically accompanies such romantic strife. [©2009 hyperbolium dot com]

MP3 | So Much Pain
MP3 | Carly
MP3 | On Your Own
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Thee Midniters: Thee Complete Midniters- Songs of Love, Rhythm and Psychedelia

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TheeMidniters_Complete1960s East L.A. rock ‘n’ soul giants get their due

Thee Midniters were hands-down the cream of the rock ‘n’ soul scene that sprouted in mid-60s East Los Angeles. Contemporaries like the Premiers and Cannibal & The Headhunters each made indelible marks, but the Midniters’ talent filled four full albums, numerous non-LP singles and ranged across a unique mix of ‘50s doo-wop and R&B, ‘60s rock, soul and jazz. Their chart success was minor (a 1965 version of “Land of a Thousand Dances” that was covered by the Headhunters and then completely overshadowed by Wilson Pickett), but their originals and covers resound to this day with the unfettered release of a Saturday night rave-up and the slow heat of the night’s last dance.

The band’s guitar, organ and horns sat atop propulsive bass lines and potent back beats, and moved easily from the soulful croon of Jerry Butler’s “Giving Up on Love” to a wicked, organ- and guitar-led cover Barrett Strong’s “Money.” The ballads are warm and comforting, and the up-tempo tunes are scorching. The band’s debut album Whittier Blvd., originally released in 1965, is constructed from a dozen covers, the title track being a hotted-up reworking of the Stones “2120 South Michigan Avenue.” The song list is drafted from then-popular regional and national hits by Marvin Gaye, Lenny Welch, Chris Kenner, and Roddie Joy, and spiked with a pair of rock ‘n’ roll classics from Larry Williams (“Slow Down”) and Chuck Berry (“Johnny B. Goode”). Bonus tracks included with the first album are highlighted by a playful cover of Tom Jones’ “It’s Not Unusual” and a shriek-lined live version of “Land of a Thousand Dances.”

The Midniters’ second album, Bring You Love Special Delivery, was released in 1966 and though it continued the rock ‘n’ soul sounds of their debut, it added a psychedelic vibe and included four originals, including the rhythm-heavy rock ‘n’ soul title track. Jimmy Espinosa’s running bass lines and Danny LaMont’s snare grab you by the lapels as the horn section slaps you in the face; if you ever wondered what influenced Jeff Conolly’s (of The Lyres) organ style, check out Ronny Figueroa’s playing. The covers are drawn once again from popular songs of the day by Martha & The Vandellas, the Righteous Brothers, the Young Rascals, Percy Sledge and Deon Jackson. Thee Midniters really proved themselves the epitome of a great covers band, able to evoke the essence of a hit single while stamping the performance with their own unique sound.

The breadth of the band’s influences is readily heard in the contrast between their down-and-dirty cover of Them’s British Invasion classic “Gloria” and a relatively straight take on Frank Sinatra’s then-current easy listening hit “Strangers in the Night.” The band’s originals include the tough rocker “I Found a Peanut” and the soul ballad “Are You Angry.” Bonus tracks expanding the second album include a smoldering cover of Baby Washington’s “It’ll Never Be Over For Me,” a stomping take on Richard Lewis’ “Hey Little Girl” and the searing garage rock instrumental original “Thee Midnight Feeling.”

The group’s third album, Unlimited, was released in 1967 and opens with a rough, Stones-y cover of Solomon Burke’s “Everybody Needs Somebody to Love.” The horns that start “Cheatin’ Woman” suggest a moment of soothing soul, but vocalist Little Willie G is in no mood to forgive and forget as he croons his goodbye to an unfaithful mate. Originals finally dominate the song list with a variety of torchy ballads, garage rockers, easy swinging soul, and summery pop. The instrumental “Chile Con Soul” finds the band branching into jazz, and “Welcome Home Darling” is a fine upbeat blues-rocker. The set list winds down for a cover of the Beatles’ “Yesterday” and heats back up for Mitch Ryder’s medley of “Devil With a Blue Dress” and “Good Golly, Miss Molly.” Eight bonus tracks include the wild mariachi-rock “The Big Ranch,” a superb mid-tempo soul original, “You’re Gonna Make Me Cry,” plenty of heavy, psych-tinged blues, and both the English and Spanish sides of the honorific, “The Ballad of Cesar Chavez.”

By 1969 vocalist Little Willie G had departed, and the group’s fourth and final album, Giants, falls back on some familiar cuts (“Whittier Blvd,” “Land of a Thousand Dances” and “Love Special Delivery”) and sticks almost entirely to covers, many of which are themselves repeats. The album sounds more like the group’s debut than the progression of Unlimited. Highlights include a jazzy, five-minute instrumental arrangement of “Walk on By,” a moving take on Oscar Brown’s “Brother Where Are You,” and a stereo mix of “That’s All.” Three bonus tracks include the celebratory chant “Chicano Power,” a thick concoction of Gamble & Huff’s “Never Gonna Give You Up,” and a Latinized arrangement of Hubert Laws’ “Cinderella.” By this point you could hear the Midniters laying into the same roots that Carlos Santana was exploring, and which would be more fully fleshed out by War, EW&F, AWB and others in the early 1970s. The band played with more restraint in 1969 than 1966, but also with more polish and sophistication.

These CDs were mastered from vinyl records, and there are a few sound problems, including small skips, transitory distortion, and varying fidelity. The audio artifacts aren’t persistent and do not greatly diminish the pleasure of having these tracks available on CD; still, it’s a shame Micro Werks didn’t search more deeply for better vinyl sources. Each CD is screened with the green, white and pink label of Whittier Records and packaged in a three-panel cardboard slip-case that reproduces the front and back album cover. The four discs are housed in a box that includes a fold-out poster with liner notes by Richie Unterberger. Discs 1-3 are mono, disc 4 mixes mono and stereo. [©2009 hyperbolium dot com]

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