From 1972, please dig the funky and spunky creepy sounds of Over Night Low, once called the Ohio Majestics, and featuring both Chet Willis and "Diamond" Williams of the Ohio Players. Like yesterday's deep soul dive, I first heard this on a 2000 U.K. compilation titled "King Funk." Unfortunately, I don't have that CD any more, so I can't share more than this track at the moment.
I have a vivid snapshot from the personal slideshow in my head of listening to this comp on a busy Saturday at NYCD, and watching a number of happy shoppers dancing in the aisle while "The Witch Doctor" played. We only had two or three copies of "King Funk" in stock, but we sold them all during the three minutes this song was on.
Please enjoy, from 1966, three minutes of badass. This is Jesse Osborne recording as Oz & The Sperlings and an original tune with a familiar title.
I first heard this on a 2004 U.K. compilation titled "Moanin', Groanin', Cryin': A Galaxy Of Soul & R&B." There are a number of winners on that CD, but this one stayed with me, and it should put a much needed pep in your step.
I have had a strange relationship with the band Strawbs for many years now. I came into them late, around 1977, and the first song I heard and liked a bit, sounded nothing like anything before it. Over the years, there always seemed to be Strawbs records in the collections I'd purchase and I'd usually pull out the "Nomadness" album since it was the record that introduced me to the band. And while I didn't mind it, I never loved it enough to dig deeper. That song I liked, "Little Sleepy," does nothing for me now.
As time went on, more collections came through with more Strawbs records, and it was the earlier folkier stuff that intrigued me. I especially loved the album with Sandy Denny, "All Our Own Work," as well as "Hero & Heroine" and "From The Witchwood." The Sandy Denny record is pure British folk, but then the band started to dip their toes into the prog world and the fact that they didn't go all in, at least to my ears, kept their records far more interesting than say a full blown prog epic from bands like E.L.P. or P.F.M..
Yesterday, I read a short tribute written by Rick Wakeman for his friend David Cousins, the leader of Strawbs who had just passed away. It was time for me to pull out those Strawbs records again. Both "All Our Own Work" and "From The Witchwood" hit the spot.
I don't have a serious attachment to the band or to Cousins, the way I do with other artists, so I won't attempt to write a heartfelt obit, or one of those social media bandwagon tributes that always begin with "I was lucky enough to..." and have an accompanying blurry pic of the writer and the recently deceased standing outside a concert hall holding an album cover and a Sharpie. I will simply say that the first five or six Strawbs records are filled with some truly lovely music and most of it was courtesy of Dave Cousins.
When exactly did the term "sophomore slump" originate? I ask because I was leading today's post with "it's rare when a smash debut is followed by an even better record," until I started thinking about it. The Beatles, The Rolling Stones, Bob Dylan, Elvis Costello, Led Zeppelin, The Beach Boys, David Bowie, The Kinks, Prince, Lou Reed, Roxy Music & Simon & Garfunkel all made better second records, and that's just off the top of my head.
That said, Wet Leg's debut was huge and many loved it. Listeners who don't usually go for this brand of offbeat rock and roll fell hard as well. It pushed a lot of buttons people didn't know they had. Now after three years of what seemed like relentless touring, Wet Leg is back with "moisturizer" and it's not just better, it feels like a different band. There's more singing, more music, different instrumentation, so much so that to my ears, that debut sounds like a collection of demos in comparison.
The leap isn't as jarring as say, Elvis Costello going from "Trust" to "Almost Blue," but "moisturizer" sounds more like a band on their fourth or fifth record. Maybe that's because I just expected the "sophomore slump" and this is far from it.
Am I wrong in thinking that Hester Chambers is singing more on this than on the first? I don't recall her taking the lead on the debut. If memory serves, it was all Rhian Teasdale. I'll have to pay attention next time I give it a spin.
I'm three plays into "moisturizer" and I still want to hear more. That's always a good sign. Songs like "CPR," "mangetout," "jennifer's body" and "pokemon" kept me on my toes. The album is more musical than the first and the band did not skimp on the hooks. "moisturizer" is a very happy surprise.
Little Bit of Love- Free Down Home Girl- Alvin Robinson I'm Into Something Good- Sugar 'N' Dandy The Wheel- Jerry Garcia Brother Louie (Instrumental)- Matumbi Cannonball- The Darkness Endlessly Jealous- Lou Reed
Little Bit of Love- Free (Great single that feels like the template for Bad Company's "Good Lovin' Gone Bad.")
Down Home Girl- Alvin Robinson (I first heard this on a Rolling Stones' record. I bet many of you did, too. Good cover, but Robinson's is greasier.)
I'm Into Something Good- Sugar 'N' Dandy (The first of two new favorite reggae covers I discovered this week.)
The Wheel- Jerry Garcia (Dead haters don't be afraid. I think you might dig this track.) Brother Louie (Instrumental)- Matumbi (Here's my second new fave reggae cover.)
Cannonball- The Darkness (Just read a story of Justin Hawkins asking Ian Anderson to play an extended flute solo on this track and Anderson agreed! Then, no one else in the band wanted it on the "Hot Cakes" album, so it was relegated to bonus track status, leaving Dale Hawkins to wonder if Ian would ever talk to them again.)
Endlessly Jealous- Lou Reed ("New Sensations" has really aged well. I play this album more now than I did then. Actually, my friend Tim Vega hated "I Love You Suzanne" because his sister was convinced Lou had written it for her. We'll never know.)
I hadn't anything prepared for today. Then I put on Marvin Gaye's "You're The Man," just because I felt like hearing it. It's a solid record for mostly vault material. But the song "Where Are We Going" is truly a gem. I had first heard it as a bonus track on the deluxe CD edition of "What's Going On" about 25 years ago. It killed me then and it just killed me now. So here it is.
I purchased a small collection yesterday, which is always a good thing. If the records sell, it's a better thing. Still I do enjoy the process of cleaning, pricing and spinning. There was a copy of Mike Heron's "Smiling Men With Bad Reputations" in the haul. Heron was one half of the Incredible String Band and while I wasn't a huge fan of their twisted, English psych/folk, I do enjoy a few of their records, and I especially like Heron's solo record.
The one track I love sharing is "Warm Heart Pastry" which features Heron backed by Tommy &
The Bijoux, a band consisting of Pete Townshend, Ronnie Lane, Duncan
Browne and Keith Moon. John Cale is here too. He is billed as John Cale.
I happened upon a compilation while blog hopping last week that featured original recordings of songs that became hits for others. The title of the set is "1st Recordings of World Hit Pops Made Famous By American Artists." And no, that is not a typo, as you can see here:
Most of the tracks are inferior to the hits that we all know so well. And I was surprised by how many I hadn't realized came before the hits, like Sammy Ambrose's version of "This Diamond Ring" or Helen Shapiro's "It's My Party."
This collection is obviously sketchy. But there were enough tracks I hadn't heard before to keep me interested. The other thing I noticed while listening was how little the arrangements changed once covered. Check out The Monkees "Valleri" and the first recording of that "world hit pop" by The Pineapple Heard. It's identical, right down to the "oh yeah, come on."
I also dug the verey garage-y first go of The Grass Roots smash "Midnight Confessions" by The Ever-Green Blues.
Gettin' Tighter- Deep Purple This Old World Is Going Down- Modulations Always Accused- Willie Tee Suspect My Tears- Elvis Costello & The Imposters Gee Baby- Joe & Ann Leave My Girl Alone- The Everly Brothers Sonic Reducer- Dead Boys
Gettin' Tighter- Deep Purple (I always thought the one Deep Purple record with Tommy Bolin got a bad rap.)
This Old World Is Going Down- Modulations (It sure is. And it's taking me with it.)
Always Accused- Willie Tee (One of two in this mix that I read about in John Broven's book "Rhythm & Blues In New Orleans." I've finished the book, so most likely finished sharing tracks from it.)
Suspect My Tears- Elvis Costello & The Imposters (E.C. was playing this live for years before it appeared on "Look Now." I loved it then and I love it now.)
Gee Baby- Joe & Ann (Here's the other NOLA cut.)
Leave My Girl Alone- The Everly Brothers (Phil & Don getting very "girl group" on this one.)
Sonic Reducer- Dead Boys (Turn it up loud. It'll do you good.)
I've got to give it up for the universe. I woke up, though not very eager to get out of bed, and checked my phone to find this clip "recommended" for me.
In 1964, as The British Invasion started to take over the U.S.A., the New Orleans music scene was starting struggle. According to New Orleans legend Deacon John Moore, no one wanted rhythm and blues, or horn players. "Everybody had big amps and guitars, and long hair like sissies." So, many of the great session men were looking for work. Moore, Leo Nocentelli, Jo Jones, Johnny Adams, Smokey Johnson, Earl King, Reggie Hall, George French, and Eskew Reeder, aka Esquerita, accepted an offer from Berry Gordy to go to Detroit and cut some sides, as Motown wanted to add some New Orleans flavor to their roster. Allen Toussaint was asked, as well, but was still in the Army.
If you believe the story that Esquerita told Billy Miller of Kicks Magazine, these musicians went into Gordy's studio and recorded from 9AM to 9PM everyday for weeks, while Diana Ross and Smokey Robinson hung around and watched.
And then, nothing was ever released. Esquerita claims, Gordy simply wanted all of this music to study and steal for his artists. If you notice, this is the year Motown's sound changed, from the cha-cha of Smokey Robinson's "Shop Around" and Mary Wells' "Two Lovers" to the heavy beat and driving rhythms of "Heat Wave" and "Nowhere To Run."
There was no music to prove any of this until 1996 when three Earl King sides appeared on a Motown compilation called "Blue Evolution."
These Earl King tracks sound like classic King recordings that might have appeared while he was signed to Imperial Records, as opposed to anything on the Motown label. But knowing that these New Orleans legends laid down hours and hours of music in the Motor City kinda blows my mind.
I know some of you, like me, love The Roches, while some of you just don't get them. I understand. But I woke up this morning thinking of this song and so here it is.
Before I go any further, I need to say this. $270 for seven CDs and $335 for nine slabs of new vinyl is a damn scam.
As for the music inside the new Bruce Springsteen box, here's what I think after one very focused pass through the entire set.
L.A. Garage Sessions '83-****
I was familiar with a bunch of these tracks from various bootlegs. But
together in one place in excellent quality is a revelation. Loved
this.
Streets Of Philadelphia Sessions-***1/2
I
wasn't a fan of the Oscar winning song, so an entire album of synths
and drum loops didn't sound appealing. I am surprised at how much I
enjoyed this. At least five great tracks.
Bruce Springsteen- Faithless- **1/2
Record Three from the box did little for me. Any one of these songs might have been more
effective on an E Street Band album. But ten similar sounding, moody
spirituals was quite frankly, a bore.
Bruce Springsteen- Somewhere North Of Nashville-***
Record Four has a lot of twang but not much originality. It doesn't
feel like a country record that came naturally to Bruce. It has a few
moments, but just adding pedal steel to standard rock and roll tracks
doesn't make a very convincing country album. The sweeping drama of the
Laurel Canyon sound on "Western Stars" is a much better record.
Bruce Springsteen- Inyo-***1/2
Record Five from Tracks II, "Inyo,"
has a wonderful sound throughout. It's not all mariachi, but Bruce
sounds more comfortable here than he does singing on that "Nashville"
record. My one complaint is his over-affected vocals. He lays on the
Okie so hard on some tracks, I can't follow the stories he's telling, which I imagine
would make some of these tracks more powerful to my ears. Still, I
enjoyed "Inyo." Nice surprise.
Bruce Springsteen- Twilight Hours-***
The sixth LP in the box is the most frustrating. I can't help but think this material
and some of the arrangements would have made a great Scott Walker
record. But sadly, the only chance Bruce takes here is recording an
album out of his wheelhouse. Otherwise, most of these songs go nowhere. Like the
"Nashville" record in this box, he just doesn't sound comfortable with
this Bacharach-esque material. It doesn't suit him. It's not all bad,
though "September Kisses" might be one of the worst songs in his entire
catalogue. Awful, trite lyrics sung to the melody of Don Ho's "Tiny
Bubbles." I am keeping it at three stars because I think a number of
songs could be pulled and enjoyed on their own, specifically "Sunday Love," "Lonely Town" and "Follow The Sun."
Bruce Springsteen- Perfect World- ****
The final installment of lost
albums wasn't actually lost at all. This is a collection of stray
tracks put together by Bruce specifically for this boxed set. Some
tracks were recorded for but left off of "Wrecking Ball." It also includes a
trio of Joe Grushecky co-writes that appear on Grushecky albums, as well as being performed live by both. It's a hodgepodge for sure, but it's also the closest entry to sound
like a Bruce/E Street record. More than a few really solid tracks,
including "The Great Depression" which sounds like Bruce trying his best
to write a Dylan song. Overall, a satisfying spin, though again, it
makes sense why these songs remained in the vault.
