Posts Tagged ‘Soul’

NRBQ: All Hopped Up

Monday, December 10th, 2018

1977 debut of the classic NRBQ lineup, with bonus tracks

Originally released in 1977, NRBQ’s fifth album marked the first appearance of drummer Tom Ardolino, and the debut of the band’s Red Rooster label. Having spent time on Columbia and Kama Sutra, the responsibility of producing and recording for their own imprint seems to have brought both freedom and focus to their music. To be sure, all the NRBQ trademarks are here, including oddball originals like Terry Adams “Call Him Off, Rogers,” lovingly selected covers of “Cecillia,” “I Got a Rocket in My Pocket” and “Honey Hush,” a ragged, minor key send-up of the theme to Bonanza, and generous helpings of the Whole Wheat Horns.

As usual, the band mashed up a wide array of pop, rock, soul, blues and jazz influences, but the original material from Adams, Al Anderson and Joey Spampinato includes some especially fine pop songs. Anderson’s nostalgic lead-off, “Ridin’ in My Car” has a double-tracked vocal and sunshine backing harmonies, and Terry Adams’ “It Feels Good” mixes ‘50s romanticism with, in true NRBQ fashion, a Japanese koto solo. Adams also offers an echo of Pet Sounds-era Beach Boys with “Things to You,” and Joey Spampinato’s “Still in School” and “That’s Alright” have harmonies that sound like Dave Edmunds and Nick Lowe channeling the Everlys.

This reissue adds four bonus tracks recorded during the album’s two years worth of sessions. A cover of Bill Justis’ “Chicken Hearted” offers a heavier dose of chicken-pickin’ than Roy Orbison’s original, while the originals include the jazz-country hybrid “She’s Got to Know,” rockabilly “Start It Over,” and low-key New Orleans funk “Do the Bump.” The latter was originally issued as a B-side, while the other three were woven into Rounder’s Ridin’ in My Car sort-of reissue of All Hopped Up. Omnivore’s tri-fold slipcase augments one of NRBQ’s best albums with new liners by John DeAngelis and vintage photos. [©2018 Hyperbolium]

NRBQ’s Home Page

Jim Ford: Harlan County

Tuesday, October 30th, 2018

Your favorite’s favorite country-soul singer-songwriter

You may have never heard country-soul singer-songwriter Jim Ford, but you’ve likely heard his songs, and you’ve certainly heard his fans. Ford co-wrote P.J. Proby’s hit single “Niki Hoeky,” an album for the Temptations, and songs recorded by Bobby Womack, Aretha Franklin, Bobbie Gentry, Dave Edmunds and Nick Lowe. The latter named Ford as his biggest musical influence, and recorded Ford’s songs with his pub rock group Brinsley Schwarz and as a solo act. This 1969 debut was the only full-length release of Ford’s lifetime, which also included singles, unreleased albums for Capitol and Paramount, and a wealth of session tracks that slowly found their way out of the tape vault.

Recorded in Los Angeles with support from James Burton, Dr. John, Jim Keltner and Pat and Lolly Vegas, Ford laid down an unusual mix of funk, soul, country and swamp pop. Burton’s guitar figures combine with soulful backing vocals, horns and strings, to create an album that sounds as if it could have just as easily been recorded in Memphis as in Southern California. The title track looks back at the poverty and back breaking work from which Ford ran away as a teenager. The song’s breakdowns into hymn contrast with full throated pleas for relief, as Ford recounts the sort of living that wears a man down by his early twenties. His early years inform his recording of Delaney & Bonnie’s “Long Road Ahead,” and his move from New Orleans to California is essayed in the autobiographical “Working My Way To LA.”

Oddly, for an album by a songwriter, half the selections are covers, including Stevie Wonder’s “I Wanna Make Her Love Me,” a swamp-boogie take on Willie Dixon’s “Spoonful,” and a vocally strained rendition of Alex Harvey’s “To Make My Life Beautiful.” Ford’s originals include the broken hearted road metaphors of “Under Construction,” the emotionally satisfied “Love on My Brain” and the not-too-subtle drug references of “Dr. Handy’s Dandy Candy.” None of this made an impression on radio programmers or record buyers, and the album quickly disappeared. Ford eventually made his way to England where sessions with Brinsley Schwarz and the Grease Band failed to generate releases, and additional masters recorded for Paramount were shelved.

Ford drifted into partying and out of the music industry, eventually ending up in Northern California’s Mendocino County, where he passed away in 2007. Bill Dahl’s liner notes tell the story of Ford’s career leading up to, through and following this album, and the booklet reproduces the album’s front and back cover art. The original ten tracks have been reissued several times on vinyl and CD, including a 2014 release by Varese, and an expanded 2013 edition by Bear Family. Additional volumes [1 2 3 4] of previously unreleased material have also been issued, but if you’re new to Ford as a performer, this 1969 debut is the place to start. [©2018 Hyperbolium]

Bob Seger: Heavy Music- The Complete Cameo Recordings 1966-1967

Wednesday, October 24th, 2018

The pre-fame Cameo sides of a Detroit rock ‘n’ roll legend

When Bob Seger broke out commercially with 1976’s Live Bullet and Night Moves, he seemed to those outside the Motor City to spring fully-formed out of nowhere. But Seger had been paying his dues with a string of albums for Capitol that dated back to 1969’s Ramblin’ Gamblin’ Man, and before that, a string of singles for the Philadelphia-based Cameo label. In the wake of his 1976 breakthrough, Capitol reissued several of Seger’s earlier albums, but what remained obscure were his earlier singles. As half of the Cameo-Parkway equation, Cameo was best known for the hits of Bobby Rydell, Dee Dee Sharp and the Orlons, but by 1966, the label, briefly reinvigorated by Neil Bogart, had signed ? and the Mysterians, and a young Bob Seger.

Cameo released five Seger singles over ten months of 1966-67, but the label’s failing fortunes kept all but the last from breaking nationally. The fifth single, “Heavy Music,” scraped the bottom of the Billboard chart at #103, but it failed to represent the commotion that Seger was generating in his native Detroit. That local success begat a contract with Capitol, which provided a moment of fame with 1968’s “Ramblin’ Gamblin’ Man,” but it would be eight more years of slogging away before international fame came calling. Cameo-Parkway withered away in the shadow of American Bandstand’s relocation from Philadelphia to Los Angeles, and the labels’ catalogs went dormant for many years. Select reissues of Chubby Checker and others have been released over the past few years, and now, finally, Seger’s singles.

Seger’s first recording was a demo with his group the Decibels, but his first released record was Doug Brown and the Omens frat-rock R&B single “T.G.I.F. (That Goodness It’s Friday),” on the Punch label. The group’s second single, a Beach Boys pastiche titled “Florida Time,” was released on a subsidiary of Punch (as the Beach Bums), and backed with an anti-draft dodger parody of Barry Sadler’s “The Ballad of the Green Beret.” Seger had begun writing and producing for the Hideout label, and in 1966 he recorded the gritty, socially trenchant “East Side Story” as the first single to be released under his own name. The success of the single’s local issue caught the attention of Cameo, which reissued the title later in the year. Seger’s second Cameo single, “Sock it to Me Santa,” shows off James Brown’s influence on the young Seger, suggesting the sort of rocking soul with which Mitch Ryder stormed the charts.

Seger’s third single, “Persecution Smith,” has a distinctly Dylan (or perhaps Mouse & The Traps) vibe as the lyrics lampoon half-hearted protestors. His fourth, “Vagrant Winter” has a poetic lyric and a melody that leans to psychedelia, and Seger’s last single for Cameo, “Heavy Music,” had a Detroit groove that helped fuel Seger’s breakthrough with an eight-minute workout on 1976’s Live Bullet. The B-sides include the catchy R&B of “Chain Smokin’,” the soul ballad “Very Few” and a replay of the Beach Bums’ “Florida Time.” The variety packed into the five singles is impressive, and it’s hard to imagine how Seger’s rock ‘n’ soul grooves could take so many years to catch on. Jim Allen’s liner notes, a sessionography, label reproductions and period photos round out a must-have package for Seger fans. For chronological play, program 2, 10, 8, 7, 4, 3, 5, 6, 1, 9. [©2018 Hyperbolium]

Bob Seger’s Home Page

The Jack Cades: Music for Children

Friday, August 3rd, 2018

Garage rock ‘n’ soul from the UK scene

This four-piece brings together experience from such UK garage, soul and freakbeat bands as the Embrooks, Mystreated, Baron Four, Thee Vicars, and Masonics. Their debut is an eight-song mini-album stuffed with snotty vocals and guitar solos from Mike Whittaker, catchy rhythm guitar riffs from Elsa Whittaker, and a solid bottom end from bassist John Gibbs and drummer Mole. Their eight originals suggest early Stones, the Pretty Things, Faces and Standells, and the album closes with the surf-tinged psychedelic sounds of “Don’t Let Them Bring You Down.” Eight tasty morsels for garage dwellers. [©2018 Hyperbolium]

The Jack Cades’ Bandcamp Page

Dennis Coffey: One Night at Morey’s – 1968

Monday, July 2nd, 2018

Second set of hot Detroit soul instrumentals from Motown funk brother

Following closely on the heels of last year’s exquisite Hot Coffey in the Big D – Burnin’ at Morey Baker’s Showplace Lounge, Omnivore delivers a second set from Motown guitarist Dennis Coffey’s 1968 residence at Morey Baker’s Detroit club. As with the previous release, Coffey plays guitar in a trio led by organist Lyman Woodard, and backed by drummer Melvin Davis. And as with the previous collection, the trio cooks with three burners on full blast. The set list mixes up originals (“Mindbender,” “Big City Lights” and “Union Station”) with covers selected from the catalogs of Wilson Pickett, the Beatles, the Meters, the Young Rascals, the Soulful Strings, the Isley Brothers and Charlie Parker.

The inclusion of then-contemporary hit songs provides an entry point for the audience, but like a jazz outfit, the themes are mostly launching points for improvisation, including a fiery guitar-and-organ jam on “Eleanor Rigby” and extended riffing on the Meters’ “Cissy Strut.” Richard Evans’ “Burning Spear,” released by the Soulful Strings in 1967, is turned into a thirteen-minute inferno with a lengthy solo slot for Davis, and “It’s Your Thing” finds Coffey playing fuzz guitar, as he did two years later on “Ball of Confusion,” but with a harder fuzz tone in front of the combo. Coffey and Woodard are outstanding throughout, and Davis’ funky rolls, fills, backbeats and cymbals give the trio a deep rhythmic groove.

Coffey’s originals are worthy complements to the better-known cover material, with the rocking “Mindbender” suggesting the guitarist kept his ears open while opening for the MC5 at the Grande Ballroom, and “Big City Lights” offering Memphis-tinged funk. It’s been fifty years since the trio laid down these jams for the audiences that flocked to Morey’s, but they remain as propulsive and innovative as they were in 1968. Taken together with last year’s Hot Coffee in the Big D, these tracks fill out a picture of the trio’s wide-ranging set list, and more importantly, the original music of a guitarist whose day job garnered commercial hits, but whose evenings let explored his musical soul. [©2018 Hyperbolium]

Dennis Coffey’s Home Page
Dennis Coffey’s weekly gig at the Northern Lights Lounge

Barry Goldberg: In the Groove

Tuesday, June 26th, 2018

Deep in the soul pocket

Barry Goldberg has magic in his fingers. Early on, the Chicago-born keyboardist developed that magic in sessions with Muddy Waters, Otis Rush and Howlin’ Wolf; he backed Dylan in his first electric gig at Newport, played on the infamous Super Session with Mike Bloomfield, Al Kooper and Stephen Stills, and co-founded the Electric Flag. He carved out a career as a studio player, and recorded a solo catalog that began with 1966’s Blowing My Mind. He’s remained active as a producer and musician ever since, and now, nearly twenty years after his last solo release, he’s recorded a collection of blues, soul and rock that show off both his early musical influences, and the seemingly infinite reservoir of magic that still resides in his fingers.

Mixing five new compositions and seven covers, Goldberg pays deep tribute to the music that primed his musical dreams. His mastery of piano, Wurlitzer piano and Hammond B-3 is matched by a musical sensibility weaned on the African-American programming of legendary Chicago radio stations WGES in the 1950s, and the Chess-owned WVON in the 1960s. The album opens with its lone vocal track, a co-write with vocalist Les McCann, “Guess I Had Enough of You.” Don Heffington and Tony Marsico lay down a heavy bottom end here, as Rob Stone’s harmonica and Goldberg’s organ add flourishes to McCann’s vocal riffing. It’s a solid opener to an album that is all about the groove.

Goldberg’s originals include the hard-swinging Hammond workout, “The Mighty Mezz,” the low blues “Ghosts in My Basement,” the jazz jam “Westside Girl,” and the relaxed funk of the title track. The covers are just as varied, including Milt Buckner’s late-night “Mighty Low,” Joe Sublett’s growling sax on Doc Bagby’s “Dumplin’s,” Goldberg’s boogie piano on the Cyclones’ “Bullwhip Rock,” a tough stroll through Sil Austin’s “Slow Walk,” titles from Johnny and the Hurricanes and the original northwest Wailers, and a rolling piano solo of Lead Belly’s “Alberta.” Goldberg selected his musicians as thoughtfully as his songs, and their expert touch is captured by Carla Olsen’s production and Johnny Lee Schell’s engineering, as they all venture together deep into the groove. [©2018 Hyperbolium]

Barry Goldberg’s Home Page

Malo: Latin Boogaloo – The Warner Bros. Singles

Tuesday, June 12th, 2018

The single edits of a 1970s Latin-rock jam band

Omnivore takes a fresh look at the San Francisco-based Latin-rock group Malo through the lens of their singles. The band’s original run of 1970s albums (Malo, Dos, Evolution and Ascención) can be found in reissue, alongside live albums and best ofs, but the original single edits (courtesy of Malo’s producer, David Rubinson) have been harder to come by. The interest in these sides lays in the resonance they will have for those who first met Malo on the radio. The group’s first single, “Suavecito,” is presented here in the shortened 3:29 version that climbed to #18 on the Billboard Top 100. The longer album version, from the group’s self-titled debut, is certainly worth having, but may seem oddly long to those weaned on the single.

The band’s mix of rock, soul, funk and Latin flavors were powered by a punchy rhythm section, tight horn charts, and the guitar playing of Jorge Santana and Abel Zarate. The tightly edited singles presented here elide intros, instrumental passages and lengthy jams that gave the albums flavor. That said, the highly-charged arrangements of guitar, percussion and horns were the band’s calling card, and though not heard at album length on the singles, are still the focal point of many of these sides. Some of the tunes, such as “Cafe,” feel as if they were cut off just as the band was taking flight, while others were more artfully edited into shorter form.

Omnivore has gathered Malo’s six singles for Warner Bros. – A’s and B’s – plus a single that was prepared (“Just Say Goodbye” b/w “Pana”) but only released in Turkey. Given that the band’s first single was the only one to chart, it’s likely that many listeners will be unfamiliar with terrific sides that include a soulful cover of “I Don’t Know,” the funky B-side “Think About Love” and the instrumental “Just Say Goodbye.” To hear the band in full flight, you’ll need the albums, but those looking for an intro, or deep fans wanting to hear how the band’s jams were tamed for radio will enjoy this volume. All stereo, except #4. [©2018 Hyperbolium]

Charles Wright and the Watts 103rd Street Rhythm Band: The Best Of

Tuesday, May 1st, 2018

Turn-of-the-70s funk and soul grooves w/2 new tracks

With Warner Archives’ Express Yourself no longer in print on CD, Varsese fills the vacancy with this sixteen track set. Included are the Los Angeles group’s three crossover hits (“Do Your Thing,” “Love Land” and “Express Yourself”), an additional selection of period material, and two new tracks (“Happiness” and “Remember That Thing”) that anticipate an upcoming album. The Mississippi-born Wright moved to Los Angeles as a pre-teen, where he performed in a number of doo-wop bands before founding and growing what would become the Watts 103rd Street Rhythm Band. Wright was equally at home with hypnotic James Brown-styled riffing as with soul vocals, and the interlocking rhythm section of bassist Melvin Dunlop, drummer James Gadson and guitarist Al McKay, was equally adept with percussive funk riffs as they were with melodic tunes.

In addition to the crossover hits, the set includes three singles that charted R&B – “Till You Get Enough,” “Must Be Your Thing” and “Your Love (Means Everything to Me).” Those who already own the Warner Archives release will find four more vintage titles here, including the funky “I Got Love,” but six from the previous volume, including the instrumentals “The Joker (On a Trip Through the Jungle)” and “65 Bars and a Taste of Soul” are dropped. Also note that “Spreadin’ Honey” seems to have a shorter drum intro here than on the previously anthologized recording. Fans will want to track down the expanded reissues of the original albums (and look forward to the new album), but those just looking for a taste of this band’s funk and soul will find this a good place to start. [©2018 Hyperbolium]

Charles Wright’s Home Page

NRBQ: NRBQ

Monday, April 23rd, 2018

The 1969 debut of a polyglot music legend

Originally released in 1969, this debut outlined the wide musical grasp and irreverent sensibility that would grow the band’s legend over the next 49 years. 49 years in which this initial explosion of creativity sat in the vault unreissued. 49 years in which either the group’s continuing activity diverted their attention from a reissue, or in which lawyers intermittently haggled over muddy contractual rights. Either way, Omnivore has finally liberated the album from its resting place and reissued the fourteen songs in a tri-fold slipcase with original front and back cover art, Donn Adams period liner notes, and contemporary notes by Jay Berman. Berman characterizes the band’s repertoire, even at this early point in their career, as including “nearly anything,” and the eclectic mix of covers and originals bears that out.

This first studio lineup included long-time members Terry Adams and Joey Spampinato (the latter then credited as Jody St. Nicholas), along with vocalist Frank Gadler, guitarist Steve Ferguson and drummer Tom Staley. The group stakes out the audacious corners of their musical omniverance with covers of Eddie Cochran’s rockabilly “C’mon Everybody,” Sun Ra’s avant garde jazz “Rocket Number 9,” Sonny Terry and Brownie McGhee’s folk blues “C’mon If You’re Comin’” (which the group revisited on 1972’s Workshop), and a country soul arrangement of Bruce Channel’s 1962 chart topper, “Hey! Baby.” Few bands at the time would have even known this range of material, let alone find a way to make it fit together on an album.

The original material from Adams, Spaminato and Ferguson is equally ambitious. Adams mashes up trad jazz and rock ‘n’ roll for “Kentucky Slop,” boogies hard on “Mama Get Down Those Rock And Roll Shoes,” captures the melancholy of Carla Bley’s 1964 jazz instrumental “Ida Lupino” with original lyrics, and closes the album with the piano-led “Stay With Me.” Ferguson’s trio of originals include the pop and soul influences of “I Didn’t Know Myself,” the gospel rocker “Stomp” and the country, folk and gospel flavored “Fergie’s Prayer.” Spampinato offers the album’s most ebullient moment with “You Can’t Hide,” a title the band would revisit ten years later on Tiddlywinks.

The album’s collection of first takes (including the previously unreleased first take of “Stomp” substituting for the re-recorded version that appeared on the original vinyl) provides a snapshot of the band as they played live. The set list reflects the confluence of musical interests, knowledge and talent the band members brought to the group, and the performances have an all-in quality that made second takes superfluous. Whether or not the renditions were note-perfect (and they pretty much are), they were perfect expressions of the musical ethos that sustains the band to this day. It’s a shame that the originally released second take of “Stomp” wasn’t included as part of this reissue, but that’s a nit, given the historical and artistic riches that have been sprung from the vault. [©2018 Hyperbolium]

NRBQ’s Home Page

The Oak Ridge Boys: When I Sing For Him – The Complete Columbia Recordings & RCA Singles

Monday, April 16th, 2018

The pre- and post-MCA sides of the Oak Ridge Boys

Those who know the Oak Ridge Boys from the hit singles that began with 1977’s “Y’all Come Back Saloon” and ran through crossover icons “Elvira” and “Bobbie Sue,” may be surprised to find the group’s Southern gospel roots stretch back to the 1940s. Starting out as Wally Fowler and the Georgia Clodhoppers, they became the Oak Ridge Quartet, and then in the early ‘60s, the Oak Ridge Boys. The group’s best-known lineup came together in the early ‘70s when bass singer Richard Sterban and tenor Joe Bonsall joined mid-60s arrivals Duane Allen and William Lee Golden. It was this quartet that charted with Johnny Cash on the 1973 single “Praise the Lord and Pass the Soup” and eventually expanded from gospel to country hit making.

By 1974 the group had moved from the Heart Warming gospel label to the secular Columbia where they recorded the trio of albums anthologized here: The Oak Ridge Boys, Sky High, and Old Fashioned, Down Home, Hand Clappin’, Foot Stompin’, Southern Style, Gospel Quartet Music. The self-titled Columbia debut cracked the top 40, but the remaining two albums, despite quality material and performances, failed to chart. The group’s Columbia singles fared no better, with the first six failing to chart, and the seventh, “Family Reunion,” barely scraping onto the charts at #83. A large part of the group’s problem seems to have been Columbia’s lack of service to gospel radio, but their stylistic range, which included gospel harmony, MOR ballads, country and soul diluted their identity as gospel singers without providing a ready hook for secular radio.

Which is a shame, because the singles and albums deserved an audience. The group’s debut single for Columbia, the Grammy-winning “The Baptism of Jesse Taylor,” could easily have fit country radio in 1973, but it was a year or two late to mingle with the God Rock pop hits of 1971-2. Kris Kristofferson’s “Why Me” hasn’t the wasted soul of the original, but it was a canny pick for a cover, as was their non-charting take on Paul Simon’s “Loves Me Like a Rock.” The group turned soulful with Allen Toussaint’s widely covered “Freedom for the Stallion,” and the debut album’s “Give Me a Star” provides a powerful close to the debut Columbia album. Their sophomore effort opens with the album’s non-charting single “Rhythm Guitar,” featuring honky-tonk piano and a terrific bass vocal.

The opening verse of “Nobody Special” briefly shows off the quartet’s vocal blend in an a cappella arrangement that could have supported the entire track (or an album!). Porter Wagoner’s “When I Sing For Him” gave lead vocalist Duane Allen an opportunity to really soar, a performance so moving that Wagoner asked him to sing the song at his funeral, which he did in 2007. Beyond the album’s songs of praise, the group offers Christian life principles in “We Gotta Love One Another” and “Plant a Seed,” essaying the pitfalls of part-time faith. The closing “Mighty Fine” would have made a catchy second single, had Columbia been more interested in promoting the group. Disc one is filled out with six bonus tracks that include a pair of vault tracks from All Our Favorite Songs, the singles “Heaven Bound.” and “Praise the Lord and Pass the Soup,” and the B-side “Look Away Mama.”

Disc two opens with the ten tracks of the group’s third Columbia album, and features a second collaboration with Johnny Cash on his original “No Earthly Good.” The non-charting single “Where the Soul Never Dies” and “Jesus Knows Who I Am” offer revival tent zest, but the album’s split between old-timey gospel, country-flavored numbers and middle-of-the-road ballads doesn’t quite live up to the collection’s home-spun title. As with the previous two albums, the breadth is admirable, but it plays more like a variety show than a group’s album. The final two Columbia singles, David Allan Coe’s “Family Reunion” and George Jones’ “All Our Favorite Songs” are included along with their B-sides.

The group moved from Columbia to Dot in 1977, then to Dot’s parent, ABC, and then to ABC’s parent MCA, minted the biggest hit albums and singles of their career. In 1990, with Steve Sanders having replaced William Lee Golden as the group’s baritone, the group signed with RCA and released Unstoppable and The Long Haul. Disc 2 is filled out with four RCA singles from this period, including a grandiose cover of Mann & Weil’s Brill Building classic “(You’re My) Soul And Inspiration,” the country hit “Lucky Moon,” its bluesy B-side take on “Walking After Midnight” and the fine, but low-charting “Fall.” The set closes with a funky cover of “Go Tell it on the Mountain,” drawn from Sounds of the Season.

The Columbia sides show the group branching out from their gospel roots, but not yet fully committing themselves to the country market. As Joe Bonsall opines in Joe Marchese’s detailed liner notes, “Those were the days when we rode the fence musically trying to appease everyone… Although some of the songs were really cool, we just couldn’t seem to gain any real traction.” This set provides bookends for the group’s hit years on MCA, showing how they expanded their material and style from gospel to pop, rock, country and soul without ever dropping the thread of faith. Their Columbia material didn’t produced the mainstream fame they’d find on MCA, but it opened their ears to the opportunity that lay just ahead. [©2018 Hyperbolium]

The Oak Ridge Boys’ Home Page