(This one on Rob Swift of the X-ecutioners comes to us from Kyle Eustice, a music journalist from Omaha, Nebraska whose work appears in IQ Magazine, Thrasher Skateboarding Magazine, and Kansas City Pitch. She also contributed an article on the new Killer Mike / EL-P collab, R.A.P. Music, for the upcoming Wax Poetics’s Hip-Hop Issue. On the birthday of Roc Raida (RIP), here’s a quick q&a with DJ extraordinaire, Rob Swift. Thanks Kyle! – DM)
“Raida’s Theme (snippet)” by X-ecutioners, 12″ [Asphodel, 1997]
By Kyle Eustice
In the realm of DJ crews, it doesn’t get better (or bigger) than the legendary X-ecutioners from New York City. Originally comprised of 11 turntablists, the X-ecutioners were whittled down to four integral members including the late Roc Raida, Rob Swift, Total Eclipse and Mista Sinista. Their beat juggling was unprecedented and style, supreme. After leaving the X-ecutioners in 2005 to pursue more personal endeavors, Swift remained close to his former crewmates, especially Roc Raida. Following a freak Mixed Martial Arts accident, sadly, Raida passed away on September 19th 2009. Since then, Swift has made it his mission to honor his fallen crewmember’s memory. Here, on Roc Raida’s birthday, Swift takes a minute to talk about Raida, the art of turntablism and his Scion radio show, “Dope On Plastic.”
What have you been working on since your 2010 groundbreaking album, The Architect?
I’ve dropped a follow-up EP called Sketches Of The Architect. I’ve also been collaborating with Large Professor on material for his new album, which drops this June and of course, my Roc For Raida project is my latest work.
Filed under: Guest Spots | Tags: Groove Merchant, Hi-Way Que C's, Maceo Smith, Perilhettes
(Ed. note: I did a recent piece on ‘Cool’ Chris Veltri for Wax Poetics Issue #47, touching on the shop and having Chris list rare, top shelf records from his collection. It was in part to celebrate Groove Merchant's 20 years in business but also meant to hype its coinciding release, Groove Merchant Turns 20. Besides operating the shop and keeping it afloat through rigid times, Chris is one of the most tempered–and knowledgable–dudes around. Here’s a few more goodies from his stacks– including a strange (and admittedly “guilty pleasure”) acapella version of the Go Gos’ “Our Lips Are Sealed”. Haha. Thanks Chris!)
1) Maceo Smith Concert Jazz Band 1983-84 “A Very Good Year” (Century Private)
Hands down one of the best high school records that has ever passed through my hands. This is a Texas high school lab record with a Bay Area connection; The band leader is none other than Willie Hoskins, the man behind the coveted Boola Boola record label and producer of heaps of classic Bay soul and funk. The music is bananas, with covers of “Thriller”, Dennis Edwards “Don’t look any further”, an off the chart version of “Another One Bites The Dust” called “Let’s Do It” and loads more. I wonder if these kids ever went head to head with the Kashmere Stage band? Thanks to Will from Rehash for this one.
“Let’s Do It (Another One Bite’s The Dust cover)”
“AMS”
“Don’t Look Any Further”
2) Perilhettes 1982 “Our Lips Are Sealed” (Mark)
Guilty pleasures. We all got ‘em. Without hesitation, the Go Go’s definitely rate in my cannon of fave ’80s pop. The Go Gos’ classic “Our Lips Are Sealed” was co-written by Terry Hall of The Specials and Jane Wiedlin, and went on to hit the top 20 on the American pop charts. This version was done acapella style by a group of Connecticut boarding school sisters called the Perilhettes. Released on the Mark label custom press 1982. Super Fresh.
3) Hi-Way Que C’s “The Lord is Sweet” (Peacock)
Beautiful record by the legendary 5 piece vocal group on the equally legendary Peacock gospel imprint. This records sounds like the church you could only wish you would discover on an early morning Sunday stroll. Deeply spiritual and highly soulful, this is a really good introduction to gospel for the soul fan.
(Collector Allen Johnson aka Overflo is a Chicago native who produced for Rhymesayers, EV Productions, and Chocolate Industries and he’ll be bringing us funky contributions of rare, random tracks from his crates. Though he leans towards old funk, hip-hop and electro, he also mingles with Jazz, garage, soul, Latin and boogaloo. He also founded and manages Birthwrite Records; get at him and his storefront at overflojenkins@aol.com. Below are some 45s from his stacks. – DM)
Frank Armstrong & the Stingers “I Feel Like I Want to Holler” on Modern. I dug this out of a garage in San Jose this past year, and I don’t know much about it. I skipped by it at first, but when I listened I knew I had to have it. It starts with a swanky guitar riff joined by some drums and a fast-paced bassline. It’s got some swing but stays funky. The rhythm section is arranged perfectly, and Armstrongs’ scruffy vocals make the entire song an enjoyable seemless tablespoon of how it’s done! As a bonus, the flipside “Humpin’” is a pretty groovy instrumental track.
Bill Coday “I Got A Thing” on Galaxy, year unknown. This is by no means Coday’s biggest hit, for me it’s an obvious pick! Coday worked with producer, Willie Mitchell (Hi Records) for years recording for Denise LaSalle’s Crajon label. LaSalle also wrote the song, which could just as easily have been composed by Fred Wesley & Maceo Parker. Many were funky but came off as imitators. Codays’ screams are the real thing.
The Leaves “Get Out My Life Woman” on Mira 1966. The Leaves were a southern Cali based garage rock outfit who successfully interpreted this Toussaint classic! I remember being introduced to this break years back (the Lee Dorsey version) and instantly I was drawn to the drums; always the drums. To top it off the whole song is killer. The vocals bring a psychedelic vibe with nice harmonies. The song develops well with a slammin’ horn arrangement at the end. Ah, the ’60s rarely did they disappoint.
Z.Z. Hill “What More” Kent. Okay, of course when I think of Z.Z. Hill immediately the blues comes to mind. He didn’t have much success until the ’70s & ’80s recording the blues. However, he started recording in the ’50s and this hard to come by ’60s ballad on the legendary Kent label is smooth and downright soulful! The back-up singers lay some nice harmonies on the chorus as well! If you see this floating around somewhere grab it.
Filed under: Guest Spots | Tags: Aja West, Allman Bros., Joe Cocker, Stephen Still, Wood Bros.
(Shouts to Aja West for this great post; a look at the Allman Brothers’ “Midnight Rider” and its many incarnations. Joe Cocker’s take especially kills but all versions highlight different traits of the original. Really, they’re all great. Word Aja! -DM)
By Aja West
The Allman Brothers Band: “Midnight Rider” off Idlewild South [1970]
I love these blue-eyed soul men for their harmonizing voices on this escape and chase caper. The simple guitar pattern that grows in strength with the low end throughout this country funk song works well as hell. For all those riding dirty this ones for you!
Stephen Stills: Thoroughfare Gap [1978]
Still’s guitar lick led version rolls “smooth as strawberry ice cream” down the side of a waffle cone. Stephen loads his falsetto crossbow carefully palming his high-pitched “ace in the hole” arrows, guarding the audience against how he’s about to funk them up.
Joe Cocker: Classics Vol. 4 [1987]
Smoking. A slow opening with Cocker testifying then: congas, bass, drums and a mean Bruce Lee cymbal pattern. The Female backline rocks the Kasbah. I have subtle memories of a “Doobie Brothers” style break beat on this track but I was riding dirty at the time so who knows?
The Wood Brothers: Up Above My Head [2009]
The Wood Brothers version carries a unique jazzy arrangement. I especially like the upright bass changing the whole groove significantly and not just the low end. This is the poorest recording of the pile, at times verging on distortion and I simply don’t want these fools to fix it.
Gregg Allman: Laid Back [1973]
The original inspired voice renders a rock version featuring beautiful Rhodes electric piano work that keeps with the deep good old boys root feeling of the original track.
Classics and Obscure versions for the whole family (more…)
(Here’s another great find by one of the hardest working dudes I know, DJ Platurn . Check some newer work of his available at Turntable Lab. And if you’re in the Austin area, peep his outrageous schedule at this year’s SXSW. Stay tuned for future installments of our ‘Breaking The Ice’ series which, as far as I know, is the only venue for Icelandic gems such as this.– DM)
Wuddup beat nerds, back once again with another from the cold Icelandic crates of Sveimhugi and DJ Platurn. If you read the last installment then you’re somewhat familiar with this series– basically these tracks were songs myself and my cousin unearthed in the motherland years ago; joints off Icelandic LPs and 45s that lie on the groovy side of things. We put them all on an unreleased comp called ‘Breaking The Ice V.1′ that never saw the light of day, until now.
‘Syrpa II’ Leikur Vinsæl Islensk Lög [SG Hljómplötur, 1970]
So ‘Syrpa II’ translates to ‘Medley Two’, a track off of an LP that literally means ‘Plays Popular Icelandic Songs’ by recording artist, producer, arranger and groovy Hammond player Þórir Baldursson. This LP is composed entirely of medleys of relatively well known Icelandic songs, none that would sound familiar to anyone outside of the indigenous population and primarily the generations before the last two or so. (more…)
(Writer/editor of Wax Poetics, AOL Boombox, Rolling Stone.com and Stones Throw copywriter Ronnie Reese hit us with this synthy gem. Dude knows his stuff and we’re glad he’s in a sharing mood; peep his take on this jheri curl jam, “Covergirl” by Network. Ronnie’s fine work can be found in the many publications he contributes to. Thanks Double R. Looking forward to more smooth random joints -DM)
“Cover Girl” by Network [Ram’s Horn, 1984]
One of the homeboys put this on a mix for me, but wouldn’t tell me who the artist was—he can be an ass sometimes—so I had to do some digging.
I love the vocals, especially on the bridge (“Cover giiiirl, a picture-perfect face that a thousand words or more could never explain…”). I’m a sucker for those velvety Steve Arrington/Melvin Riley voices. The kind you hear and think, “This dude probably has a jheri curl,” because they usually do. In fact, producer Jake One once told me that’s exactly how he refers to this sound, as “jheri curl music…that feel-good, uptempo, clap-type shit.”
“Cover Girl” has all the right elements—blocks, swirly synths, stabby synths, stretchy synths. It’s just a delicious track, all around, and the beauty is that there are countless songs like this out there if you know where to look. -Ronnie Reese
(Editor’s Intro: DJ Monk One, Wax Poetics’ writer, mixtape specialist, collector, and all around nice dude, hit us with Milt Matthews’ ‘It Ain’t Your Fault’, comparing it to Thai food for its tempered approach. Read more on Monk to see how consistent and tasteful his output is. Thanks Mr. Mason!– DM)
Milt Matthews Inc. – ‘It Ain’t Your Fault’ (Commonwealth United, 1970)
The curious genre of Folk Funk is sort of like Thai food. If the delicate balance of disparate flavors isn’t correct, you’re left with an unpalatable mess. ‘It Ain’t Your Fault’ gets the ingredients just right, combining strummy guitar, honky-tonk piano and organ that could’ve come straight off a Band-era Dylan record with a hard hitting rhythm and a Otis Redding worthy vocal. A little sweet, a little sour, and addictively tasty.
Milt Matthews Inc. was a DC-area band who put out two LPs in 1970 and ’71. Though psych and rock collectors pay big money for their second record, I find the concoction a little heavy on the fuzz guitar and prefer the understated flavor of their first, from which this song is taken. – Andrew Mason
(Alex LaRotta who runs the audioblog I’m Shakin’ gave us this to share. It’s been in queue for a while but there’s never a bad time for something so timeless. Hats off to Alex for the nice contribution. -DM)
‘Black Gal’ by Roy Gaines
Houston native Roy Gaines and his take on the classic Americana folk dirge, ‘Black Gal’, features a spread of sweet organ soul with a country blues foundation. ‘Black Gal’, also known as ‘In The Pines’ and ‘Where Did You Sleep Last Night?’ in various renditions, was made popular in the early ’90s by Seattle’s most well-known crusty grunge trio, Nirvana, on their lauded MTV Unplugged series. Though largely credited in origin to the various recordings by blues folk pioneer Lead Belly, this song dates back to the late 19th century and has since gone through an evolution of genres and interpretations. (more…)
Filed under: Guest Spots, Tunes | Tags: Connie Price, Dan Ubick, Little Willie John
(Dan Ubick, serious musician from Rhythm Roots All Stars, Connie Price and the Keystones and The Lions, has played with Ghostface and Slick Rick among so many others, recording for Blue Note, Ubiquity, Tru Thoughts, and Stones Throw along the way. In his spare time he also writes (I worked with him on this Richard Evans piece) but he’s a music head above all things. A guitarist who transitions between different genres, he’s apparently, at heart, a bluesman. Here’s his thoughts on Little Willie John’s ‘I Need Your Love So Bad’. – DM)
‘I Need Your Love So Bad’ by Little Willie John
“I Need Your Love So Bad” by Little Willie John is to my ears absolutely the most perfect song ever (a huge claim I realize… but true.). This recording contains the most heart wrenching and captivating vocal take I personally have ever heard committed to tape (and I’ve listened to a couple records at this point like most of you reading I’m sure!).
The lyrics, apparently written by Willie John’s brother Mertis John Jr, (their sister was Stax and Motown artist Mable John) are the kind of lyrics that you never forget. Willie John’s well-worn and perfectly loose delivery draw you in like a good friend sharing his troubles with you personally. A voice of wisdom, longing and truth we can all relate to.
“I need someone’s hand to lead me through the night, I need someone’s arms to hold and squeeze me tight. When the night begins and until it ends…I need your love so bad.” (more…)
Filed under: Guest Spots, Interviews | Tags: Adrian Young, Black Dynamite Orchestra, jeff brummett
(Editor’s Note: Adrian Younge, film editor and musician currently touring as Adrian Younge and The Black Dynamite Sound Orchestra recenly gave us details on his creative processes. Jeff Brummett, musician and now occasional contributor, interviewed Adrian a few months back. Stay tuned for his extensive, upcoming interview with Soul Cinema icon, Jamaa Fanaka. -DM)
By Jeff Brummett
Adrian Younge is the composer, producer and songwriter for the amazingly righteous Black Dynamite soundtrack. An homage to classic blaxploitation films, the movie and especially the soundtrack are pitch perfect. He went to severe lengths to perfect and duplicate the analog sounds of classic era Soul Cinema creating a very distinct flavor mirroring the original intentions and grooves of those groundbreaking works. The attention to detail and painstaking long hours really bring this project an authenticity that is tremendously impressive. Adrian was also the editor for the film Black Dynamite, so this was very much a passion project for him. We look forward to hearing more from this multi-talented artist.
Were you given the freedom to completely create the tracks or were you and the director working together to come up with the sound?
The producers and the director gave me the freedom to do anything for the score; we collaborated ideas on most of the songs and this was a very joyous experience. The director, Scott Sanders, actually wrote the lyrics to “Cleaning up the Streets.”
How did the tracking aspect go? Was it usually starting a groove with the drummer, then overdubs?
I rarely wrote any of the music with drums first. On the song, “Black they Back,” my drummer, Jack Waterson, composed a drum sequence and I just basically followed his progressions; other than that, songs were either written on organ, bass, or guitar; I would record my instruments into my mpc 2000 for arrangement purposes; after the song was arranged, the band and I would play every instrument onto tape sequentially (do a youtube search for the black dynamite score documentary, it shows the entire process). (more…)
(Editor’s note: Recently, I stopped by Soul-Sides to talk about one of my favorite summer jams which you can peep here– as did Adam del Alma. Adam’s on a summer song rampage and we’re glad given his past record. Here are choice cuts he sent us for this late June 2010 (peep the Beto Villeno joint!). Finally, summer’s here. Let the sunshine in. –DM)
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** READ / HEAR SUMMER SONGS DEL ALMA… (more…)
I don’t know much about Ramona Gonzalez, the woman behind the sort of solo act/sort of band called Nite Jewel, and I kind of like it that way. The most appealing thing about her music is the mystery of it. Nite Jewel songs are kind of like looking into a foggy window: There’s clearly something worth seeing but, as an outsider, you’re never privy to the full picture, thanks to a seductively muffled sound which keeps the listener at a distance even as it reels you in with catchy grooves and gorgeous singing. Gonzalez is not coy or secretive in this interview — she’s not too cool for school — but she doesn’t give too much away, either. Perfect.
Where are you from? Introduce yourself to our readers.
I’m Nite Jewel. I was born in Oakland, CA.
You make your own beats mostly on keyboards, right?
My music making process has changed drastically over the past two years. For my first album I recorded everything on 8-track cassette and shared beat making duties with Cole M. Greif-Neill, though most everything was written and recorded on my own. On that album, I used old drum machines, samples, one microphone, a few old synths, and an SP404. It sounds pretty degraded because I also shared production duties with Cole. Now I have more equipment and am recording in a professional yet unconventional studio in Berkeley, CA on 2-inch tape. On the current recordings, Cole and I are writing and performing in tandem. (more…)
“Please Don’t Stop The Music” by Jorge Darden is the B-side to a record currently posted on over at Soul-Sides. Head over there to hear and read more; below is the equally nice flip O-Dub graciously sent us:
Darden’s “Please Don’t Stop the Music” is the B-side to an equally good (though more uptempo track “All Alone” ) and the first I heard it, it reminded me of something J.R. Bailey might have recorded if he was fronting a lounge act. There’s something just ever-so-slightly unpolished here but that’s precisely what holds your attention, the subtle “off”-ness of his vocals, the ways in which he’s trying just a little too hard to nail that intimate “breathy” style. Yet, like the song says, once he starts, you don’t want to stop listening. -Oliver Wang
(Editor’s note: I recently reached out to some of my favorite music enthusiasts to see if they’d add their expertise to the site. Through the years, it’s been a delight to meet and work with these cats and, through their generosity, I’ll be rolling out some great music in the coming months. The concept was straightforward: Have a great song or record you’d want to share? The responses quickly came and the selections, as expected, are top-notch. First up is one of my favorites, Matthew Africa, whose blog is effortlessly great, as is most of his output. Here’s his contribution. –DM)
A quick listen to the Identities’ “Hey Brother” shows it’s a thinly-masked rewrite of the Billy Roberts composition “Hey Joe”. Although Jimi Hendrix’s recording of “Hey Joe” is perhaps justifiably the best-known version, it seems to be one of those rare tunes that’s impossible to mess up– of the dozens of versions I’ve heard, I have yet to hear a bad one. The lyrics here get recast as a peace and brotherhood bromide so vague Hendrix himself might have winced.
As far as I can tell this is the only record credited to the Identities. The vocal is almost certainly by producer Walter Whisenhunt’s wife, Gloria Taylor. The duo recorded far and wide throughout the seventies before a split which, according to legend, drove a vengeful Whisenhunt to wild out on her masters, giving birth to this left-field disco grail:
Filed under: Guest Spots, Interviews | Tags: Binky Griptite, daptone, Mellomatics, sharon jones
(Editor’s note: The voice of the Dap-Kings, Binky Griptite, graciously gave us the scoop on I Learned The Hard Way, the fourth studio album by Sharon Jones and the Dap-Kings. For this this interview, we got miss Sharon herself to introduce Binky, which is somewhat of a role reversal, as he explains his duty as a King of Dap. Thanks Sharon. Big ups Binky! –DM)
Intro by Sharon Jones
I first met Binky at a session for Lee Fields, it was on 42nd Street in Manhattan. He still had on big dreads he’d wear under a beanie that looked liked a turban. I think he was still playing with Antibalas at the time. I remember thinking how so laid back he was. The Dap Kings hadn’t really formed yet, and Binky would just show up and do his thing. At the time, I was actually real afraid he’d leave our band and just stick with Antibalas full-time!
For the new one, he’s been working so hard. Some nights he’d come to the studio late and just lay down his parts; other times he’s playing the guitar half asleep with his eyes closed. He’s a stubborn perfectionist, really. He had me re-record a song over and over again because he said it ‘wasn’t soulful’ enough. It ended up taking four days! And I don’t take four days to record anything.
Really, I love what Binky does with the Dap Kings and his own Mellomatic stuff is great too. As an announcer, his voice gets people hyped. He’s like Bobby Bland. He’s a master. I really notice when he’s not at one of our performances. He’s that good.
You’re essentially the master of ceremonies at all the shows. Where do you draw your influences from?
BG: Well of course there’s Danny Ray, James Brown’s longtime emcee, as well as some gospel preacher. I come from a family of preachers so it’s not that much of a stretch. There’s also a real strong circus ringmaster influence there too. You know why people call the Ringling Bros. Circus the “Greatest Show on Earth”? Because the emcee told them to, that’s why.
My job is to prepare the audience for what they are about to see and hear, and to let them know what’s expected of them. We are not a ‘sit down and pay attention’ show, we’re a ‘get up and dance’ show. You’d be amazed at how many audiences still need to be told that they are a part of the show and that it is not meant to be a passive experience. (more…)
Filed under: Guest Spots | Tags: Calenturas De, Latinfunk.org, Leonello y sus Palos Nuevos, Musica del Alma
(Editor’s note: Adam D. who runs Musica del Alma, an audio blog that explores rare Latin funk, soul, and rock, kindly contributed this quick guest post. He’s been a constant source for Latin grooves and we’re glad to have him finally on board. Gracias por el calor!)
Leonello y sus Palos Nuevos
“Soul Makossa”
“Paso Al Gigolo”
From Calenturas De LP (Caliente, Colombia, 1973)
Mega props go to David Ma and the wonderful thing that is NERDTORIOUS! Thought I’d discuss an excellent LP from Colombia that features two funk tracks for my guest post.
Don’t know much about Leonello except that he was a Colombian guitarist who played cumbia and porro. On his Calenturas De LP, he branches out, covering the Manu Dibango classic “Soul Makossa” in a hot Afro Latin way. Also on the album, a strange funk track called “Paso Al Gigolo” has fat horns and a blazing keyboard. This may be the one and only Colombian funk track with a slide guitar (a haunting one at that!). It almost sounds like one of those musical saws.
Thanks, Jet Blue. Not only for your extra leg room and getting me home alive during that one emergency landing, but for introducing me to Neon Indian. The in-flight playlist of a budget airline can be a good place to discover cutting-edge, new music. Who knew?
It was late summer of ’09, and by then, the buzz around this enigmatic Austin/Brooklyn duo had reached fever pitch. Though just a few months old, Neon Indian was already being touted by bloggers as the next big indie thing (many called them the “new MGMT”), their then-undisclosed identities igniting rabid curiosity. Somehow, the buzz had passed right by me, and unaware of their rep, I listened to these enchanting, synthy soundscapes while descending over the hyperactive night glow of my destination city, Las Vegas. The effect of the music, set against the backdrop, was deeply cerebral.
Psychic Chasms, Neon Indian’s debut album, is like a gadget that was taken apart by the nimble hands of a tech nerd and then reassembled—with a few pieces pleasantly out of place. Or like a random ‘70s movie on a dusty VHS tape that you dug out of a storage box in your parents’ basement and then ran through the latest editing software, preserving some of the vintage quality while adding modern bells and whistles. It sounds like the future—the kind of future imagined in a decidedly ’80s film like Blade Runner. It’s upbeat, it’s mellow; introspective and carefree.
It all came from the mind of Alan Palomo, a 21-year-old Mexico native who grew up in Denton, Texas and moved to Austin in 2007. It was there that Palomo, during a kind of self-imposed creative isolation sometime around the winter of 2008, pumped out a series of short tracks in his bedroom, using a small yet sufficient set of tools. When he found that they didn’t fit the style of his other outfit, the more poppier-sounding band Vega, he filed them under a new project with collaborator Leanne Macomber, the project now known as Neon Indian.
Recently back from a worldwide tour—including three sold-out shows in New York City—Palomo shared the story behind the buzz with NERDTORIOUS.
What was it like for you, moving to the States from Mexico at age six?
Definite culture shock. It was a complete immersion process. I have these vivid memories of being in all-English classrooms and having these really specific moments where I didn’t know how to say a certain word. I remember this kid had accidentally spit on me and I was trying to tell the teacher, and all I could come up with was, “His mouth water was on me!” Because I didn’t know how to say saliva. At the same time, as a result of that, I got assimilated pretty quickly. I think I learned English in maybe 8 months to a year. It’s nuts how, when you’re little, you pick up a language like it’s a video game or something. (more…)
*Studio musician Todd Simon (of Antibalas, Breakestra, The Dap Kings, and El Michels Affair fame) wrote this on Willie Mitchell’s recent passing. Willie was a big influence on Todd, and studio musicians like him, so here are some of his thoughts. RIP Mr. Mitchell.
To find out one of your biggest heroes has passed away via Twitter is not fun. Five days into a brand-spanking new decade, I stumble upon a tweet from the east coast vinyl-digging monster DJ Small Change: “RIP Willie Mitchell. Can’t fuck with Hi Records real schitt.” My heart sank 20 floors.
Willie Mitchell is solely responsible for creating one of the most unique sounds from the R&B Soul movement of the ’60s and ’70s. Mitchell, who died at the age of 81 due to a heart-attack on January 5th, 2010, developed something fresh in R&B while Soul radio stations were flooded with James Brown, the Motown sound of Detroit, Philly Soul, and of course, his neighbors over at Stax in Memphis.
As in-house producer for Hi Records, “Papa Willie” produced and arranged hit after hit with Soul legends Al Green, Ann Peebles, Syl Johnson, O.V. Wright, and Bobby Bland. Mitchell also led his own band as a trumpeter and released many hits under his own name, including “Soul Serenade” and “30-60-90“. Eventually, he gained ownership of Hi Records in 1970 and continued the label’s legacy until the late ’70s.
The first time I heard Willie’s sound was on Al Green’s “Love and Happiness” on an oldies radio station around the age of nine. I had already started studying the trumpet and was blown away by the powerful and intense horns throughout the entire song. Soon to find out, my mother had two Al Green LP’s in her wonderful vinyl collection: I’m Still In Love With You and Let’s Stay Together. Little did I know that these records would go on to shape my musical life for years to come. It’s these recordings that served as reference for my first ever horn arrangements in addition to the majority of albums I’ve worked on since.
(more…)
Filed under: Guest Spots | Tags: Breaking The Ice, DJ Platurn, Eik, Funk Fillets From Iceland’s Groovy Side
*This is the first of our “Breaking The Ice” series featuring friend and fellow music nerd, DJ Platurn. In addition to his mixtapes and ongoing DJ work, dude’s a collector who has made efforts to gather and document (funky) records from his country of Iceland. “Breaking The Ice” will feature the music and stories from these experiences. All vinyl rips from ultra-rare, Icelandic funk and boogie records from the ’70s. Peep the post (and others to come!) courtesy of Platurn.
By DJ Platurn
Way back in the year 2006 in my motherland, Iceland, my cousin Sveimhugi and I began compiling what we considered some of the best groove-based music from the annals of our little island’s rich musical history. We had no idea what we would come across. The following is a breakdown of one of the bands and one of their songs (note: all vinyl rips).
I am making a fairly safe assumption that this will be the first that time that all you digger nerds will hear some Icelandic funk. So for now, enjoy! (more…)
“Never Let Your Love Grow Cold” by The Vontastics
By Derek See of Derek’s Daily 45
Perhaps it’s all the winters and blazing hot summers that I spent near the windy city throughout my life that makes me feel such a strong bond with the sound of Chicago soul. Traits that records from the city by the lake have in common are grit, incredible voices, lyrics that are deep direct and heartfelt, and music that always rhythmically compels (no matter the tempo).
This record epitomizes everything I love about Chicago soul, and with its’ unusual chord progression, takes a hint from the psychedelic music that was also in full bloom at this time. From the incredible guitar and horn hooks on the intro followed by the powerful drum fill, it’s obvious from the first few seconds that this record is full of confidence, swagger and emotion. Lead singer (and songwriter) Bobby Newsome comes out swinging with his vocal which frames the record to keep shooting higher until the declaration of undying love in the chorus.
Things let up a little bit in the bridge (there was nowhere else to go but take it down a bit), exploding once again for a final chorus. And when that final chorus ends, all I wanna do is hear this song again. And again. The beauty of a perfect 45 RPM record. From 1967.
*Derek See is a DJ, musician, and writer who runs one of my favorite audio-blogs, Derek’s Daily 45. Please visit his band’s website for more info on him, his music, and whereabouts. Subscribe to his blog and dude will email you a track from his collection (almost) EVERY SINGLE DAY!
Filed under: Guest Spots | Tags: def jam inc, prince paul, psychoanalysis, stacy gueraseva
I was sitting in the Soho offices of Interview Magazine on a hot July day in 1996, working on one of the most challenging album reviews of my life, MC Lyte’s Bad As I Wanna Be. Its sheer mediocrity was giving me a bad case of writer’s block. A dose of inspiration was required, so I began rummaging through the piles of unopened jiffy envelopes with various promo CDs that were strewn all over the tiny office of my boss, the Music Editor. I was his intern.
I tore one open and out fell a regular 60-minute TDK cassette tape. Hand-written on one side was: “copyright Wordsound Recordings” and on the other: “Prince Paul, Psychoanalysis.” (more…)
I’ve been asked a few times how I “got into” dancehall. It’s pretty simple: I’m from New York. (Anyone asking me this is usually not from here). Jamaican music has been a familiar soundtrack for nearly as long as I can remember. I think it was around 1990, when I was 11, that it first left an impression. New York’s twin Black radio stations WRKS (“KISS FM”) and WBLS were playing records by Shabba Ranks and Mad Cobra. Chaka Demus & Pliers’ “Murder She Wrote” first came out around then, beginning its steady rise to Bar Mitzvah/White Folk Wedding-level ubiquity.
Truthfully, I didn’t like the stuff at first. Not knowing too many Caribbean folk at the time, the lyrics, particularly from gruff deejays like Shabba, were initially tough to decipher. And the rhythms, made more for the dancefloor than passive consumption, didn’t grab me the way hip-hop beats did then. My gateway drug came in the form of Shabba Ranks’ “The Jam,” a collaboration with the reggae-absorbent KRS-ONE, and Bobby Konders and Mikey Jarrett’s “Mack Daddy.” This was dancehall, but with a hip-hop beat, and I was hooked. I’d heard rappers like KRS toss around patois in their own songs, but the sound of Shabba and Jarrett’s full-throttle toasting over the familiar thrust of a hard-hitting breakbeat grabbed me in a way I can’t quite explain so many years later. (more…)
Curtis Mayfield’s SuperFly is an album that moved me when I was a teenager and excites me as a grown ass man. The arrangements are complex, the rhythms thick, the melodies infectious, the lyrics streetwise, sexy & sad, and Mayfield projects a wide range of emotion from a rather limited vocal range. Prior to SuperFly Mayfield has been best known as a singer-songwriter of heartfelf civil rights anthems for The Impressions and himself. With SuperFly he joined the ranks of soul producer-writers like Isaac Hayes, Willie Hutch and Marvin Gaye, who used blaxploitation soundtracks to expand the range of their work.
I saw this movie in Times Square back when it was still down & dirty, and this tale of a New York coke dealer Priest was influential in storytelling, style and score. Listening to it recently, years after hip-hop has used SuperFly‘s themes and sampled it liberally, Mayfield’s masterpiece holds up.
“Give Me Your Love” still makes me wanna get with a girl in a bathtub. The hook on “No Thing On Me (Cocaine Song)” is as addictive as doing lines in a nightclub restroom. The title song has one of the great intros and rhythm arrangements in black pop history. With the legendary Johhny Pate helping with arrangements and a all-star team of Chicago session cats holding Mayfield down, SuperFly stands up next to Shaft and What’s Going On? as one of the greatest albums of the early ’70s, a period which was a high point in soul/funk.- Nelson George
Nelson George is an author and filmmaker. His memoir, City Kid (Viking Press), was just published, and his directorial debut, Life Support with Queen Latifah, is available on dvd. His short films can be seen via www.vimeo.com/nelsongeorge. You can also contact him at www.nelsondgeorge.net. He wrote this exclusively for NERDTORIOUS.
