It wasn’t mostly the voice, it was mostly the consistency–indeed, a daily operation. Guru (right) and Primo are a prime example of a rapper and producer perfectly meshing. Their output married and listeners benefited for decades. I spoke with Guru a few years back and, of all the older, revered artists I’ve interviewed, I never thought I’d be writing on him in this uneasy light. But his work lives on. RIP.
Read my 2007 interview with Guru for Wax Poetics
Read a very candid recent interview with Primo by Rob Harvilla of the Village Voice
Filed under: Real Talk,Tunes | Tags: soul-sides, o-dub, Paul Parrish, Forest Of My Mind
I’ve been so mired in projects and deadlines that I forgot to plug my guest spot on Soul-Sides!
I was asked to write about the last record that struck me and decided on Paul Parrish's Forest of My Mind, this folky psych record from ’68 that left my face on the floor. I’m aslo real stoked that O-Dub called us one of his favorite sites. Dude, many thanks!
Here’s “Something of a Love Song”, a track off the album that isn’t included in the guest post. I felt it didn’t stand out as much as the other tracks, but I don’t dig it any less. It’s a real sweet one. Peep the post too. Enjoy!
*Note: The links on the actual post are down from being over a few weeks old, so below are the tracks that I originally wrote about. Peep ‘em!
“English Sparrows”
“Tiny Alice”
“I Can’t Help Myself”
If you’re a lover of music and have seen or read about Haiti, please take note of the Heatrocks for Haiti campaign hosted by Soul Strut. All proceeds of this auction will be channeled towards relief for Haiti.
Peep O-Dub’s latest contribution for an idea of what’s available, what’s happening, and how to help. Any way of generating awareness and, obviously money, is helpful right now. Spread the link too:
*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: Real Talk,Tunes | Tags: Good God! Born Again Funk, numero group, Thomas Dorsey
Pious funk from old Chicago? I was sold from the get-go. Personally, gospel—and just religious music in general—rarely moves me, but these aren’t your typical songs about Jesus. Actually, they’re not at all hymn-like: gruff vocals, sweaty grooves and bass slaps delivered raucously sums up Good God! Born Again Funk, a new project by Numero.
Derived mostly from Thomas Dorsey, an entrepreneurial bluesman who reconfigured praise-songs, these 18 tracks replace “baby” with “Jesus” and somberness for shouts. The singers, quartets, and neighborhood folks were recruited by Dorsey who sought to exploit the small but devoted market for religious music. In fact, the title of Ada Richard’s song “I’m Drunk and Real High (In The Spirit Of The Lord)” reflects Dorsey’s whole approach.
Please visit Numero’s site to hear and buy the upcoming album (1/26/10). Like their previous divine release, Good God! Born Again Funk is a thorough listen. Check out Numero’s blog to read more on the legwork behind this and other projects. Below are excerpts from a couple choice cuts:
The Sensational Five Singing Sons’ “Share Your Love With Your Master” has such personality and all kinds of elements–dialogue, an early break, crazy guitar work, and hard vocals. This track brings the funk and is fun to boot.
TL Barrett’s “Like A Ship” opens the album and is also its most mellow. Energy-wise, it’s tepid compared to the others but the lyrics (“Just like a ship…without a sail…but I know I can make it…”) sung faintly by the choir make it overwhelmingly earnest.
These tracks are recent playlist staples I’m pretty stoked on. Both are on the mellow side: “Pearlie’s Swine” by Steve Kuhn is initially reserved before slowly building into this dreamlike, chaotic ending. And it’s barely over a minute long.
“English Sparrows” by Paul Parrish is folky, psych-rock with some real lush apexes. The Donovan-like vocals get by because the melodies and harmonies are so nice. Supposedly, Dennis Coffey did arrangments on the album. Everything about this—the strings, the flute, the guitar work—is put together real proper.
These songs come courtesy of Maurice Lee, a Bay Area collector who runs one of my favorite blogs at the moment, Out At Sea. Dig the site’s minimal, somewhat cryptic steez and the outstanding song selection.
Real talk: I wrote about The California Music Project a while back and their efforts to stop the decline of music education in schools. It’s a huge struggle to keep music alive in classrooms, especially due to California’s budget issues, NCLB and the tug-of-war for funds between athletics and the arts. Dr. Diana Hollinger, the main catalyst for the project, will be live on public radio today at 10AM (PST) to speak on this arduous process of sustaining music and art in our public schools. You can listen to it here: KPBS RADIO (streaming replays available).
To learn more about CMP, help or contact, please visit its website.
It’s hard to overstate the importance of radio DJs when hip-hop first gained popularity. Mr. Magic (pictured above, right, with Grandmaster Caz, 1981) was one of the few who lobbied to get rap music on the radio when it was new and considered an edgy, passing fad. His compilation tapes also introduced hip-hop to legions of cats outside New York. His impact is well documented in the many songs that referenced him (here’s an early example). Also called “Sir Juice”, he got Marley Marl on the radio and was an early proponent of the Juice Crew. John “Mr. Magic” Rivas passed away yesterday at 53. Here’s a nice NY Times piece on him; and another piece by Sasha Frere-Jones of The New Yorker. RIP.
Now that everything’s come full circle, I called up Mayer Hawthorne recently for URB. This interview, I think, is a proper bookend to that first piece we did. Link below:
BRAND NEW MAYER HAWTHORNE INTERVIEW FOR URB
*Link is down since URB’s site got a makeover. Will it be up again? Maybe so, maybe no…
We were one of the first (if not the first) to interview Mayer Hawthorne when his catchy single debuted last November. People know him now—especially since his full-length, A Strange Arrangement, has gotten nods from Alicia Keys, Justin Timberlake, ?uestlove, and other celebrities. It was also a top seller at itunes the week of its release and is currently becoming one of Stones Throw’s most popular albums ever. Yessss. Congrats Haircut!
Subscribe to NERDTORIOUS! Just click on Costello’s face!
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In the works:
- I recently interviewed Aja West for an upcoming Wax Poetics feature. He’s the mad genius behind Mackrosoft Records. Not only do they have a new project coming out— they have 3! We’ll be posting our conversation and some exclusive tracks from the upcoming trilogy. Expect some of the hardest jazz beats you’ll ever hear from one of the weirdest, most genuine dudes ever.
- We got a hold of Prince Paul’s promo, Confessions Of A Beat Junkie, a tape Tommy Boy provided press and media to promote the reissue of Psychoanalysis. It’s a 35-minute “Best of Prince Paul” blend that showcases his famous work, b-sides, and unreleased material. We’ll have it available for download next week! Plus, an introduction by Prince Paul himself!
- Speaking of Psychoanalysis, Stacy Gueraseva, NY writer and author of Def Jam Inc. , will be stopping by with her thoughts on the album, what it meant to her, and what it did for hip-hop as the millenium closed. It’s an exclusive she wrote for NERDTORIOUS!
- Similar upcoming contributions from DJs, writers, rappers, musicians, music nerds: Cosmo Baker, Prince Po, Brian “B+” Cross, Vivian Host, Amir (of Kon & Amir), Binky Griptite, Dam Funk and many, many more!
- We landed an exclusive interview with Pax Nicholas, teenage member of Fela Kuti’s Africa 70. Mr. Nicholas is in his 70s and lives in Berlin. This is a VERY RARE interview! His lost record, Na Teef Know De Road Of Teef, will be out soon on Daptone. He had some amazing stories to tell.
- We also have another rare feature in the works: An in-depth interview with Jamaa Fanaka, ’70s cult-filmmaker and pioneering African American movie director. This timeless interview has been in the works for awhile and shouldn’t be missed!
- An upcoming NERDTORIOUS mixtape for download, featuring rare records ranging from Psych to Soul, Funk to Garage— and other recordings we think you might dig.
- More contests and giveaways from labels we love!
- This is just the stuff we’re telling you about! STAY TUNED FOR WAY MORE!
“To all you trendy DJs asking who Roc Raida is…sell your turntables, Serato box, latop, and disappear.” – J. Rocc
Here’s Hua Hsu’s perfectly written piece on Roc Raida’s legacy. And here’s the official statement from Roc’s family.
Rest in peace Grandmaster Roc Raida.
Daptone puts out so many good projects that it’s easy to overlook their equally impressive subsidiary label, Ever-Soul. They specialize in forgotten soul and have another great project out next week—Detroit’s own Darrell Banks, a singer known for his hit “Open The Door” and who was fatally shot when he was 35. Here’s a great blog post about some fans who raised funds and bought a memorial plaque for Mr. Banks after visiting his grave and seeing that it was unmarked. You can read about Ever-Soul’s release, pre-order it, and hear snippets over at Daptone’s storefront.
One of Ever-Soul’s best releases is Eddie & Ernie’s “Bullets Don’t Have Eyes”. It’s a spirited track made in the early 1970s. This would be one of the pair’s last recordings and is one of their best. This came out a while ago, but copies are still available and are highly recommended. Hear it below.
Eddie & Ernie – “Bullets Don’t Have Eyes”
Filed under: Real Talk,Tunes | Tags: ghostdini, wizard of poetry in the emerald city
I can’t think of a rapper that has aged as well as Ghost has. Raekwon is 39 and Jay is turning 40. And while both dropped big albums recently, their best work is likely behind them. But with Ghost, who is 37, there’s still the possibility that he’ll outdo himself. He’s so natural and is sharper than ever. Like his earlier work, he still raps with vigor, except it’s more focused, more tempered and a lot funnier. Big Doe Rehab has some great songs on it and, I think, is heavily slept on.
I received the sampler for his new project, Ghostdini: Wizard Of Poetry In Emerald City, a while back. I didn’t realize how near the release date was or else I would’ve posted this sooner. A big part of why Cuban Linx 2 wasn’t a total failure was because of Ghost’s appearances. If you like Starks, peep the sampler for his new one, Ghostdini: Wizard Of Poetry In Emerald City. It leans more towards Pretty Toney than Fishscale, but I’m still looking forward to it. It comes out in a couple weeks. Hopefully that supposed Ghost/DOOM project, Swift & Changeable, will be next.
DOWNLOAD THE SAMPLER FOR GHOSTDINI: WIZARD OF POETRY IN EMERALD CITY
Filed under: Real Talk,Tunes | Tags: le mans, dusty springfield, jorge ben, mod singers & mod lads
Summer’s over and I’m bummed to see it go. No more sunsets at 8pm. No more t-shirt weather. Now comes rain and the terrible holiday season. To bid adeui, here are four tracks I intended on posting in May but never got around to it. The first three are among the sunniest songs ever; the last, not as much, but it’ll remind me of summer when I hear it during the cold, bitter winter.
1) “Let’s Have Some Fun (Pt. 1)” is a foot-stomping funk 45 by the Mod Singers & Mod Lads. It’s a bit novelty, but it’s one of the happiest songs I’ve heard and captures what it feels like when summer first starts. It’s akin to Shirley Ellis’ “The Clapping Song“, but shorter and less literal. I picked up this 45 in Chicago for two bucks.
2) These next two are Latin tracks from my friend John who was recently in South America. The first, “Menino Jesus de Praga”, is by the great Jorge Ben. It’s from his late ’70s phase, off the album A Banda Do Ze Pretinho. It kills during John’s DJ sets and certainly goes great with summer.
3) This second one is “El Rayo de Sol” by Le Mans. It caught my attention at a BBQ in early August. Sweet and totally laid back, this is a summertime joint if ever there was one.
4) This last one is Dusty Springfield’s killer cover of “Spooky”, the 1967 Mike Sharpe (AKA Mike Shapiro) recording which has been covered many times. And though it isn’t particularly rare or anything, it’s a song that aesthetically sounds like a hazy, summer evening.
Large Professor (ft. Nas)- “One Plus One” from The LP
Is this the best picture they could find? Who’s on the other end? The awkward (and hilarious) photo is from a piece I did on Large Pro and is currently one of the coverstories for Waxpoetics Japan.
On the real, Large Pro has made some classic material. Plus, he’s a revered figure— Pete Rock and DJ Premier have cited him as being influential in their own development. He also helped Nas’ career early on, recording demos that later became Illmatic. It’s fitting this article is currently out since Large Pro’s lost debut, The LP, was also recently released. Shelved since ’95 or ’96, it finally came out after years of speculation. To read my interview with Large Pro, hear more of The LP and buy it, head over to Wax Po’s storefront.
I like Jay-Z. I like how he carries himself in interviews. I like Blueprint 3 too (though it ranks lower compared to his back catalogue). Not many mainstream rappers actually rap anymore. No one cares about having different cadences or actually riding rhythms. Cats like Wayne have made it cool to be lazy, to limp over beats as if ferocity is somehow played out. Jay still switches up his flow and remains pretty charismatic, but even he doesn’t utilize (16) bars like he used to.
DJ Ayres just posted a new mix–D.O.J.- The Best Of Jay-Z– on The Rub. I seemingly like Jay’s new stuff more than Ayres does, but I also agree with his overall sentiment. The dudes over at The Rub (DJ Eleven, Cosmo Baker and DJ Ayres) are the homies so please check their site, and prolific mixtapes, if you haven’t already. For now, check Ayres’ killer mix to hear pre-retiremant Shawn Carter, when he was vicious and more wordy.
The Mumlers- “Coffin Factory”, lead single from Don’t Throw Me Away
The Mumlers‘ second album, Don’t Throw Me Away, comes out tomorrow on Galaxia Records. Like their debut, the musicianship is sharp and the songs really sound sincere. And the arrangements, though quirky at times, always compliment the vocals in an unforced way. The first album had traces of Soul, but the new record has even more. Don’t Throw Me Away contains some of their best work yet.
What’s more, these guys are from San Jose, California of all places. In the coming months, Will Sprott, lead singer/songwriter of the Mumlers will be dropping by NERDTORIOUS with thoughts on his favorite singer; American soul and blues artist, Bobby “Blue” Bland. Until then, please pick up the new record and catch them on tour where they’ll be opening for The Black Heart Procession. They’re definitely going places—check out their music to see why.
Archie Whitewater’s “Cross Country” is one of my favorite songs ever and this is blowing me away right now. From Psychadilsnik.Blogspot.Com: Apparently recorded shortly after the self- titled LP was released on Cadet Concept in 1970. This was never released due to numerous complications with Chess Records and all its sister labels, which includes Cadet Concept. The tracks were forgotten and never released. The album probably wasn’t quite finished. Also some tracks were meant to be used as radio station spots and promos. The tracks are instrumental, calmer shorter versions of the full tracks. The track names are speculation and not confirmed.
For the tracklisting and a bit more info, peruse Pschadilsnik and download these tracks. The site–and their youtube channel–feature really good stuff so look around. These unreleased tracks are killer! Many thanks!
*Update: The response has been crazy, but the contest is still active for 2 more weeks… SO PLEASE ENTER!!!
Contest is over! Results and winners announced soon!
Thanks to our readers, traffic to NERDTORIOUS is at its busiest! Our modest numbers are kinda increasing, and as a thank you, we got Stones Throw (one of our favorite labels!) to sponsor a free contest/giveaway. Click to find out how to get loads of free stuff on us… (more…)
Filed under: Real Talk,Tunes | Tags: el perro del mar, love is not pop, sarah assbring
I just got El Perro del Mar’s upcoming album in the mail which reminded me of how better her covers are than her original songs. The new one, Love Is Not Pop, is a lot like her last one, From The Valley To The Stars– not bad, but kinda forgettable. She relies way too much on cuteness (too many la-la-las) to push her songs along, and the music, normally pretty mellow, sounds thin and lacking overall. Her best work is probably her self-titled that came out in ’06. In light of a new album and tour, here’s a couple of those covers that first came to mind:
1) Her cover of The Isley Brothers’ “(At Your Best) You Are Love”, which was the b-side to Lykke Li’s “After Laughter (Comes Tears)” 45, released during Record Store Day earlier this year.
2) “Here Comes That Lonely Feeling”, a great cover of this Gaylettes’ sure-shot.
We’re big Edan fans, so we’re always stoked when he does something new. Here’s a couple radio shows he did recently. According to him, they’re “very casual”. Show 1 has been around for a while; show 2 was recorded a couple months back. Both are really good (and long, over 2 hours each!). Part 2 is flooded with some of my favorite songs ever. Supposedly, there will be more of these radio shows to come. For now, check these out!
DOWNLOAD SHOW #1
DOWNLOAD SHOW #2
Here’s an interview we did with Edan.
After one listen (while skipping songs I’ve already heard), Mayer Hawthorne’s new full length, A Strange Arrangement, is pretty enjoyable. Expectations for it were high since his first single, “Just Ain’t Gonna Work Out”, had us geeked for months. Other songs on the new one are much better than his second single, “I Wish It Would Rain“, which isn’t bad but didn’t surpass the (unfairly) high expectations I had for it.
The songs on A Strange Arrangement are varied, some are Motown-ish (“Your Easy Lovin’ Ain’t Pleasin’ Nothin’”), some are slow burners (“Shiny And New”) and others, total floor-stompers (“The Ills”). After an initial listen, “Let Me Know”, a killer track, stands out as Mayer abandons his falsetto steez for an almost Neil Diamond-esque delivery. And it works. “One Track Mind” sounds like a Marvelettes album cut and “Shiny And New”, a well-placed ballad, rounds out the album nicely. The only setback is his cover of The New Holidays’ “Maybe So, Maybe No” which, in his defense, is impossible to cover due to its delicate arrangement and insurmountable cult status; and “Prelude”, an unnecessary 20-second intro of vocals.
For a debut with immense hype, Mayer lives up to high hopes, delivering 12 self-produced songs that aren’t cheesy or overly imitative. In fact, between tracks #3-#11 lies an almost perfect EP. And while his voice isn’t the greatest, he understands soul music and knows how to write catchy songs. I’ve read about people questioning his authenticity, but being authentic doesn’t make your songs good– writing good songs do. I plan on covering this more for my various outlets as the September 8th release date nears (where it will come with 2 new songs on a free 4-inch single!).
For now, here’s an interview we did with Mayer a few months back, a new podcast he did for Stones Throw, and the youtube joint for his debut single that first turned heads.
*BONUS: Here’s Mayer’s version of the theme song from the TV show Weeds.
Filed under: Real Talk,Tunes | Tags: 24 carat black, dale warren, gone: the promises of yesterday
Later this month, Numero Group will put out Gone: The Promises Of Yesterday, the long lost followup to 24-Carat Black’s now-revered, Ghetto: Misfortune’s Wealth. NERDTORIOUS features a lot of Numero’s stuff and we’ll keep doing so as long as they keep coming correct like this. The packaging, the histories, the photos (how dope is the one above?) and the music itself, are all stellar examples of Numero’s excellence. Here is Gone: The Promises Of Yesterday‘s backstory and some song snippets from it, including a lost track that Numero left off the upcoming release… (more…)
Everyone has an opinion on MJ and that’s fine. My generation saw him at his most thrilling and a big part of my childhood is totally bummed. Remember Captain EO? Yeah, me too. Those images connect me to a much simpler time. Seeing a young Michael kill it on youtube won’t ever be the same again either. Tabloids, punchlines and ambivalence aside, Michael Jackson was one of the best to ever do it. His records are some of the finest ever made and today we celebrate our affection for them. Below are some of my favorite cuts from his Jackson 5 years. RIP, MJ. What a legacy.
*FIRST EVER JACKSON 5 SINGLE, “BIG BOY”
*MICHAEL DOING BILL WITHERS’ “AIN”T NO SUNSHINE”
*ONE OF MY ALL TIME FAVORITE JACKSON 5 SONGS (LATER SAMPLED BY PETE ROCK), “2-4-6-8″
*MJ’S VERSION OF THE ISLEY BROTHER’S “IT’S YOUR THING”
*”MAYBE TOMORROW”, A BALLAD MADE FAMOUS BY GHOSTFACE WHEN SAMPLED FOR “ALL THAT I GOT IS YOU”
*A KILLER (LIVE!) JACKSON 5 MEDLEY FROM DIANA ROSS’ SHORTLIVED TV SHOW, DIANA!
*”DOCTOR MY EYES”…….A JACKSON BROWNE COVER, THE MOST SLEPT ON JACKSON 5 TRACK OF ALL TIME!!!!!!
***AND “GOT TO BE THERE”, THE TITLE SONG TO MICHAEL’S FIRST SOLO ALBUM OF THE SAME NAME, OFF MOTOWN.
Filed under: Real Talk,Tunes | Tags: lowrider ball live, mary wells, san jose lowrider band
The back of the record reads: “Dedicated to all the beautiful brown people everywhere…our statement is heavy.”
Released in 1979, Lowrider Ball Live is an album of live events that took place in San Jose, California in the mid-to-late ‘70s. These “balls” gathered more than 100 car-clubs throughout the country, celebrating cars and music, and calling for an end to violence and drugs that plagued the community. It was held at the Santa Clara County Fairgrounds, a spot that today holds flea markets and tradeshows (and where the new 49ers’ stadium is in consideration to be built).
This record is especially meaningful for two reasons: 1) It features a rare version of the Mary Wells’ jam, “You Beat Me To The Punch”. It’s a clean live recording and totally kills. The other standout, “Brothers And Sisters Lowriding Around”, written and performed by The San Jose Lowrider Band, starts with a skit about police harassment before leaning into a huge bassline. I dig the fact that the one (known) recording by cats who called themselves “The San Jose Lowrider Band” is a straight funk song. And 2) NERDTORIOUS is based in the South Bay Area, Santa Clara/San Jose to be exact, two places that aren’t exactly synonymous with funk and soul. This right here is local history. And it’s funky. Hear the liveliness:
CLICK TO HEAR: MARY WELLS’ “YOU BEAT ME TO THE PUNCH (RARE LIVE VERSION)”
CLICK TO HEAR: “BROTHERS AND SISTERS LOWRIDING AROUND” BY THE SAN JOSE LOWRIDER BAND
By Nate LeBlanc
Chicago-based archival label The Numero Group has emerged as one of the most reliable record labels in the world in the past five years. This post will focus on their Eccentric Soul series, which is exactly what it sounds like; lovingly detailed reissues of below-the-radar soul sides that have never been widely available outside of their respective localities. My curiosity was initially piqued by their stark packaging (one picture on the front, a number, and a plain white back cover with no further info, track titles, or clues as to the contents) yet deterred by high price tags (generally $20 or so for CDs and around $25 for wax). However, now that I’ve had a taste, I feel like I’m addicted to these comps, scouring eBay for originals I can’t afford, re-reading liner notes, and finding things to like about the tracks that didn’t initially stand out. My personal history with the label goes a little something like this (hit it!):
By Nate LeBlanc
As a child, shooting hoops in my driveway, I knew every angle off the backboard, every crack in the pavement, every boundary real and imagined. Though I had a group of neighborhood kids I regularly played with, I spent a lot of time shooting, dribbling, and daydreaming out there by myself. On the days when I had a particularly good day shooting, I felt like I could play with, and maybe even beat Michael Jordan. I’d practice last-second buzzer-beaters, high-arching shots over his outstretched fingers, and I could practically hear the applause when I, a short, chubby kid with minimal skills, improbably succeeded in beating the best to ever pick up a ball. I would relish the fantasy until the streetlights came on, take a long drink from the hose, and then go inside, eat dinner, and do my homework. What I didn’t do was spend the rest of those idyllic evenings stitching a crude replica of my imagined uniform, forging elaborate scorecards of the epic one-on-one battle, and recording my own Sportscenter-style highlight tapes documenting the historic event. If I had done all of that for about fifteen or twenty years, without telling anyone, all the while diligently shooting threes from the sidewalk and waiting for the moment when a wayward NBA scout came trolling for talent down Edenwood Drive, I might have been a sort of basketball version of Mingering Mike.
The strange saga of “Imaginary Soul Superstar” Mingering Mike, familiar to readers of Soulstrut and Wax Poetics but basically unheard of in the world at large, has gotten much more interesting in the past months with the release of a definitive book-length account of his career and the 45-only release of one of his few recordings.
Conrad O. Johnson, bandleader of the Kashmere High School Stage Band from 1968-1978 and owner of Kram Records, the label that issued the Band’s legendary eight albums and three 7” singles of Texas jazz, funk and soul music, died in Houston February 3rd at 92 years of age.
World-renowned Kashmere Stage Band reunited February 1st in Houston for the first time in over 30 years and played a tribute concert for their leader, the legendary Conrad “Prof” Johnson. Below is a letter from Egon Alapatt, owner of Now Again Records, the label responsible for the release of the Kashmere Stage Band Texas Thunder Soul 1968-1974.
FROM EGON ALAPATT OF NOW AGAIN:
He received one hell of a send off. On Friday, the Kashmere Stage Band reunited for a performance at the High School’s auditorium. Filmmaker Mark Landsman, who is producing and directing a documentary on the Band, worked with Johnson’s foundation and Kashmere High School to set off the event for his crew’s cameras. But the reason that the Band’s members, many of whom left the music field after their departure from Kashmere High, reunited and rehearsed, daily, for a month prior to the concert, was to give Johnson the respect he deserved and had fought for, for so long.
The Kashmere Stage Band’s story can be found here (link to the Now Again Section of Kashmere). But in a nutshell, here it is: Johnson, known by those close to him simply as “Prof” took the reins of the Band in the late 1960s and worked with his charges to perfect the idiom that they understood most: funk. Heavy funk at that. By the time that the band recorded their third album, Thunder Soul, they were funking like a mini-JBs. And, by the time they won “Best Stage Band In The Nation” in 1972, they were funking as hard as the JBs themselves. (more…)
Filed under: Real Talk
The blog is not ready to be seen. But if you’re here (sorry…), we’re in the process of extracting material from WTTM RADIO (RIP) to lay some groundwork before NERDTORIOUS goes live!
Expect tons of original interviews, articles, and music over the next fews days. Thanks for your patience.
