Though I’m ambivalent about using the pet name “Sugar toe” for a lover in my own life, this track really expresses the intended sentiment well. His vocal performance is really great. Good tune. SUGAR TOOOOOOEEEEEEE
The Rotations - (Put Another Dime On) D-9 (Frantic, 1965)
Someone mentioned the darker thematic and musical leanings of this blog, so in an effort to “cheer it up,” I present to you this infectious groove by The Rotations. A really well-written and arranged song, in my opinion.
Also, if you missed it, a little weekend gift. Taking down Monday.
Della Humphrey - Don’t Make The Good Girls Go Bad (Arctic Record Company, 1968)
I fell in love with this song tonight, it’s just gorgeous. Della recorded it when she was in the 8th grade! Long Play Miami wrote a fantastic biography about Humphrey that really makes you think about the scope of a singer whose contributions are largely overlooked by mainstream soul music history. Her style reminds me of another great Miami soulstress Helene Smith, whom I adore.
James Carr - What The World Needs Now Is Love (1968, Goldwax [Previously Unreleased])
Recorded shortly after the assassination of Martin Luther King, Jr., this version of the popular Burt Bacharach tune offers a solemn but steady interpretation by my personal favorite soul singer of all time James Carr.
Bill Brandon - I Am Free From Your Love (Moonsong, 1972)
A followup to yesterday’s post from this great soul singer. We’re talking about freedom today people, as tomorrow is our Independence Day here in the USA. Have a good one and if you live in California, for the love freedom don’t start a fire, we’re in a crazy drought and you wouldn’t want to be responsible for that.
Since leaving the music business in 1987 Brandon has earnt a living as a long distance truck driver, and has no regrets over his career choices. My only regret is that the only people who hear him sing these days are the other members of the congregation of his church in Harvest, Alabama.
Aaron Neville - How Could I Help But Love You (Minit, 1963)
A really hip piece by a youthful Neville. It took a while for his unique voice-break melismata to grow on me, but I think it really did, oddly enough, when I heard his version of the George Jones’ classic country heartbreaker The Grand Tour.
Who played the skin off those drums on dee dee warwick foolish?
I really don’t know. The players on this song came up previously regarding this track, but the research of myself and others who follow the blog returned nothing. The LP doesn’t list the names of the players so they were most likely hired guns. If you figure it out, I’d like to know as well!
Nancy Dupree was an exuberant educator whose career in education was cut prematurely short because of her radical methods. She was also a poet, an outspoken activist, a playwright, an actress, a musician, an insomniac, a Christian-to-Muslim convert, a Black Panther and a loving mother. She lived in Rochester, NY for the last 16 years of her life and left an indelible stamp on the community. The impression she left was so deep that now, 28 years after her death, many of her friends and students still remember her character with crystalline clarity. READ THE FULL STORY.
This track appears on the album “Ghetto Reality,” a record that’s really endearing and poignant. It’s as essential as it gets; Dupree, a piano, and some children singing. Spotify link.Link to liner notes.
Chuck Bernard - Everything Is Alright Now (Zodiac, 1970)
Bernard had a short string of 45s across several labels from the mid-60’s to mid-70’s. This cut was recorded on Ric William’s Zodaic records, a great Chicago label that featured one of my favorites Ruby Andrews. Really like this track, I’ll post a couple more by him.
To that person's question about the album with the egg: I believe he/she was asking about "Birth Day" by New Birth. That album has the song "You Are What I'm All About," the song sampled by Junior M.A.F.I.A. for "Player's Anthem."
Hi, I'm looking for a Soul band of 70s. The only thing I can remember is the album's cover. It was a double cover all black with a broken egg outside, inside, I think, it was a kitchen in black and white, maybe gray too, showing the sequence of the egg falling until it is brken on the floor. I loved those songs and would like to hear them again. Could You help me to find it? Thanks. Luancat from Brasil.
I apologize, I can’t think of what that might be. Any other clues you can give? Anyone else have an idea? Drop a line.
California has been in the worst drought in recorded history and though we’ve had an extremely pleasant, sunny and at times even hot Winter, we really need the rain. Yesterday it finally did and it was pretty good, though a drop in the bucket for what we really need. Thought of this great Gwen McCrae tune. Also thought of the great Irma Thomas classic "It’s Raining".
My friend asked my about those hits at the beginning of the song and how they offer that particular intense feel. She thought it was the baritone sax on beats 1,2,3,and 4, but actually it was the swung hit from the tom of the drumset right before those strong downbeats, and then the singers response to the downbeat. ||: Bah (tom) - DUM (bari fart) - “Set Back!” (singers) :||
To all followers of Old Soul Music and soul music lovers worldwide, I’d like to wish you a safe and joyous Christmas day. As Sledge says, “This is my Christmas wish for you: the precious blessing of each other.” I adore this song and I’ve been waiting weeks to post it.
Millie Jackson - (If loving you is wrong) I don’t want to be right (Spring, 1974)
I have a theory about this song. Or, rather, I have a theory about Lee Fields’ “It’s all over (but the crying)”. I’d be willing to wager that Fields definitely had Jackson’s 1974 release “Caught Up" in mind while writing that song as well as the rest of the material on his 2012 release "Faithful Man”. Lee was active in 1974, known for his raw, screeching tenor. Caught Up had several charting hits and is well-liked by soul fans, so it’s very possible that Lee knew this record. Definitely the song, it had been done by so many great singers.
The reason why I’m so compelled to suggest ties between the two records is for two primary reasons. First, Fields’ “It’s all over…” has several melodic, harmonic and rhythmic components that are similar to Millie’s “If loving you..”. Follow the form and development of each song. Listen to the delivery of her gritty alto. They’re in the same key. Those string parts. In true 4/4 soul ballad form they play a lot on the plagal (i-iv) chord progression, as well as the passing bassline (1-b7-b6-4).
Still not convinced?
How about this: Track 06 on the record is entitled “It’s all over but the shouting”. Granted, the roots of that song likely go back to the 40s with Patty Andrews singing the torch song “It’s all over but the memories,” and many nonrelated versions have been written across many genres with similar sentiment but different lyrics. Still though, it’s convincing to me and I like to think about the relationships between artists, listeners, and artists as listeners.
NOTE: This track ends abruptly because it’s a part of a 3-track epic medley. I highly recommend listening to both albums, they’re heartbreaking, intense, and exceptionally well-written. You can find them on spotify.
What an unrelenting onslaught of a piece. Will someone please soothe her? Tender introduction, short development section then this endlessly building passing chord progression cascading onto itself; featuring violin solos, flamenco guitar, a support vocal track en espanol, a small choir. Pretty nuts.
I’ve been thinking a lot about what the nature of “good” work is. The Numero Group does good work. There’s a word artists use for what happens to your body when you listen to music and it gives you chills, makes your arm hair stand on end, or you well up with sudden sadness or joy. Frisson. This is that emotion.
Johnson, Hawkins, Tatum & Durr - A World without You (Capsoul, 1972)
The most unremarkable band name ever. A brilliant song nonetheless. I’ll tell you musically what’s happening. The bass line is essentially the bass line to the Four Tops song "Burnadette". The bass line can be described as a ground bass, or ostinato. That same 1-b7-b6-5 bass line has been used literally since the beginning of Western music in the Medieval age. But this song has so much spirit and is so short-lived. I don’t know who is who but it’s super fun and heartbreaking. Cheers.
Mr. Bland was one of the reasons why I got into soul music. His record “Two Steps From The Blues” had a really big impact on me. I view it, in a historical sense, as a true pivot album; perfectly bridging Blues, R&B, and soul. In 1960, no less. A time when soul music was in its very early stages. He had all of the elements of a true soul singer: melismata that would utterly defeat you. Melismata that singers, for generations, tried to emulate. A scream that would send chills up your spine and make your hair stand on end. Ballads that would leave you in a pool on the ground. I stood over his gold star embedded in the sidewalk on Beale Street in Memphis and silently had a moment to myself, giving respect and thanks. You will be missed, sir.
Not a question, but a response to the Dee Dee Warwick mystery. I happen to have a copy of Foolish Fool, but there is no mention of a specific guitarist (unless I'm not recognizing anyone) in the liner notes. Here's the details from the back cover... Arranged by Rene Hall/Technical Advisor: Buddy Smith/Produced by: Ed Townsend. Doubt that helped at all. Cheers!
Thanks, square-wax. As I suspected, and is often the case, the musicians are noncredited session players. Such is the way the industry goes. Thanks!
Hi I asked the question about the guitarist on the Foolish Fool record. I have been looking too and read something about Keith Richards. I don't think that could be him, do you?
I think you may be referencing this article, which describes the guitarist’s style as “Keith Richards-esque”. I think it’s unlikely that in 1969 Keith was doing anything but being a rock & roll superstar. It’s funny to me that the writer would say that the Foolish Fool guitarist was doing something like Keith Richards, when all Keith Richards ever did was emulate Blues, R&B and Soul guitarists.
who played the guitar on dee dee warwick's foolish fool single
Did some digging around, and unfortunately I could not determine who played guitar on that excellentDee Dee Warwick track. What I do know is that it was written and produced by the venerable Ed Townsend at Mercury records in 1969, and if it’s the house band vetted by Townsend, that could point you in the right direction. Tried to find a high res photo of the LP hoping they’d list the performers, but I didn’t find one. Anyone have the LP and wanna help out on this?
Also if you like the writing and production style of that song, check out this Thelma Jones track called “Gotta Find A Way”. Kills me!
The Ambassadors - Ain’t Got The Love (Arctic, 1969)
Can’t get enough of this groove and those backup parts. Also, this song’s kind of about being a dick. But while sounding so good.
On second thought, perhaps he’s simply being brutally honest with himself - that he’s a jerk and a player and he’s telling the listener exactly his romantic habits, however harsh they may seem. Though the lines are delivered confidently, almost with pride, I can’t help but indulge a certain self-hatred with himself. Maybe this is the confession that makes him turn around and be a better man. I dunno. Maybe he’s just an asshole.
A striking and unusual piece here. It’s kind of eerie, kind of sweet, kind of dirty. From the great and unsung Detroit producer, composer and musician Dave Hamilton. It appears this is the house band and singers getting down and getting weird.
Debbie Taylor and The Hesitations – All That I Have (GWP, 1969)
One common and very essential intuitive skill while playing soul/funk/R&B is the ability, especially for the rhythm section, to play “behind the beat”. It’s not as simple as rushing or lagging, speeding up or slowing down. It’s a stylistic and expressive mode of playing that can drive the listener to beg for the next note, or sock you in the gut when it finally arrives.
Imagine a point in time that represents the ultimate, precise beat on say 1,2,3 or 4. Then, imagine a circle around that point that dynamically represents the surrounding non-metered time. We’re talking milliseconds before or after said beat. A “perfect” landing of say a bass note would be right on that point. Right on time and sounds perfectly normal. A landing of that bass note slightly before or “ahead” that point would give a different feeling, often a rushed sense of urgency. A landing of that bass note slightly after or “behind” that point also gives a different feeling, which could be described as a feeling of deprivation-then-relief. Or as we’d say in my band, “sitting back on it”.
Psychoacoustically, I believe it’s one of the most fundamentally individuating features of soul/funk/R&B music. This, of course, happens in many styles of music, especially jazz. But this is a soul blog. A 4/4 mid-tempo polka and a 4/4 mid-tempo soul tune feel very different, even though they’re made up of the same essential elements of music, and I think that playing behind the beat is one of the most distinctive reasons why.
This song, sung by Debbie Taylor (a total ace), is one of the more obvious examples of playing behind the beat, ESPECIALLY when the song arrives at the triplet hits on “To give you back” and then moves to the subsequent arrival back to the steady beat ( right after “All that I have”). It almost sounds like they’re on ‘ludes. Listen for the interplay between the drummer and the bass player and then how they interact with the rest of the group. Beyond all of that, it’s just a really great song and performance.
There are a handful of really great songs and performances on this Clay Hammond/ZZ Hill comp. This song has been floating in and out of my head for the better part of two weeks. Note some of the melodic and referential elements that may have been derived from OV Wright’s “That’s How Strong My Love Is”
I love this recording. It’s got so much grit and weight behind it. I love how the bass and drums interact. Syl’s the man. This is from the Numero Group boxset. Note: I’m unsure why the title on the 45 is inaccurate.