To me, nothing says "Sunday vibe" like some easy groovin' soul singles.
One of the coolest radio traditions of my lifetime (and one which
educated me about many records in my formative years) are the oldies
Sundays programs that have been popular in many major cities since the
80's (I've listened to them growing up in L.A, the Chicago area and here
at my home in the bay area). Taking a cue from these shows, I'll pop in
every now and then on a Sunday to lay out some tracks that you probably
won't hear on the radio, but certainly should.
Get Yourself TogetherToday's first entry is from The Caesers; This
gorgeous record (from 1966)
seems to be a companion to "I've Got Myself Together"
by The La Niers; released on River City Records (with the exact same
label design as this, and both are arranged by jazzman Hugh Whalum).
I
tried to get more info about this disc, and all roads lead to Rome, in
this case and unfortunately I didn't learn anymore about this record
than when I started out (it's a favorite in the Lowrider community, The
Caesers had a few more highly regarded and collectable sides, and it was
cut St Louis). I did find a New York City radio playlist for March '67
that listed it as a record "on the move". Should have been a massive
hit.
Sheryl Swope's small output of records are added to the category of
Chicago/ Detroit soul summit meeting. Sheryl herself was from Chicago,
and for this (and subsequent) releases she traveled to Detroit to work
with Detroit producer Mike Terry on a song written by the Detroit Brothers Of Soul
(Fred Bridges/ Ben Knight/ Robert Eaton, who are probably singing the
excellent backing vocals here as well) for magical results.
Sheryl shows off a gorgeous, clear voice that exudes the smooth Chicago
sound, backed by that cracking Detroit rhythm and a horn section that
has a very Chicago-like sound as well. This track is also a great
example of Terry's use of congas that just sound so damn bubbling away
on this track. I know I say this often, but one of
the joys I get when I'm writing these posts is that I typically listen
to the track a few times in a row while writing and scanning the sleeve.
This one just gets better upon each repeated listening. In a world
that's full of too much negativity, a record like this just brings it
all home and erases all of the ill wills of the world for 2;19, and
luckily for us we can enter that world as often as we like.
Paul Johnson (Guitar Red) is a lifelong Chicago resident who began his
recording career in 1960. He has spent most of his life performing since
then (both at blues joints and supper clubs).
This record (from 1962) has the dreamier aspects of doo wop incorporated into
then-developing Chicago soul for a downright magical 2:10. I'm assuming
the B. Davis listed as co-writer is Chicago soul raconteur/ A&R man/
producer/ arranger Billy Davis. I especially dig the instrumentation on this track; specifically, the combination and hypnotic interplay of acoustic piano and organ.
This record is gorgeous, plain and simple. Should have been a massive hit...
I can think of no records that posess more charm than Brenda Holloway's debut disc (1962), "Echo". In fact, Donna records liked it so much, they issued it on ALL THREE of her releases for the label (as 'Echo', 'More Echo', and 'Echo Echo Echo'; all three are the same master take). Brenda was all of 16 years old here, and her sister Patrice (the "echo" and harmony voice on the track) was 13! However, these young ladies were not treated as children with either the material or their vocal stylings here which, while they contain a very innocent, naive sound, are also shockingly mature in their delivery. The Holloway sisters were born to sing, and their harmonies on this track level me to a jar of jelly. Brenda's contract with Motown (as the first west coast artist) was two years away, yet she came out of the gate as a fully realized artiste. At :32 in, Brenda phrases her vocals in a way that was COMPLETELY new for the time, and (in a far more bombastic style) became a signature trick used by Mariah Carey and all those who followed in her wake.
OK, so last time around we covered the majority of the noteworthy pre-Monkees singles; however, there's one remaining from NEZ that needs to be featured. Coming nearly two years before Country Joe And The Fish's "Feel Like I'm Fixin' To Die" is this incredibly direct anti-war statement. This was controversial material (to say the least) in 1965, and it's a wonder that producer Bob Krasnow was even ABLE to get something like this released through a pop label such as Colpix. NO commercial potential whatsoever, but it certainly had the potential to be an underground favorite. Unfortunately, underground FM radio was still off in the future by a year and a half or so, by which time The Monkees were looked at with disdain by a big chunk of the "hip" cognoscenti (although a surprising supporter of the group was Jerry Garcia, who famously spoke positively of the group in a '67 interview, not to mention those fans they had in the UK named John, Paul, George and Ringo).
By 1971, The Monkees name was finished. Reduced to the duo of Davy & Micky and a final flop LP (Changes ), the duo walked away licking their wounds. Michael Nesmith (who departed in late '69) had launched his amazing First National Band for a series of superb LP's (calling them country rock is only telling part of the story), and peter Tork had fallen into total obscurity as his group Release never saw any of their music GET released. There was one final tombstone for the group, in the form of a duo single from Davy and (mis-spelled on the label) Micky. With production once again from bubblegum maestro Jeff Barry (he produced the much maligned Changes), this single ends the group on a high note. Although they couldn't use the name The Monkees, this superb bubblegum-soul track (which was also covered by Candi Staton) is the *true* spirit of the group, condensed to a perfect single side. Too bad it was a complete commercial failure.
Speaking of commercial failures, the 1973 remake of "Son of Dracula" was one of the biggest turkeys of the '70's. The film was essentially pulled after a disastrous first run, and has never been issued on VHS or DVD. Several of the legendary party crew "Hollywood Vampires" were involved; namely, Harry Nilsson, Ringo Starr and Micky Dolenz. One bright spot was the soundtrack LP, which featured a great Nilsson composition called "Daybreak". Micky Dolenz cut a version of the track that was issued as a single and also used in the film (although it was not included on the soundtrack LP). These hard partyin' dudes knew the heartache of daybreak all too well, and Micky gleefully tells the tale of the party starting in LA and waking up several days later in a massage parlour in Phoenix (oft told, but relayed visually in the excellent Who is Harry Nilsson documentary).This track shows off just how great a vocalist the Great Dolenzio is!
In addition to a small handful of other solo releases, Micky and Davy embarked on a highly succesful touring quartet with Tommy Boyce and Bobby Hart, which also saw the release of a really great, highly overlooked LP. By the end of the decade though, Micky was ready to move away from music (for the time being, at least) Micky's final single before embarking on a highly succesful second life as a film/ TV director in the UK was a nice effort in the quasi-disco "Love Light". Back when Monkee mania mark two hit in the '80's, I first heard these songs as traded on cassettes as the records were all out of print and VERY hard to find in those pre-ebay years. The one song that always stuck with me from the late '70's era was the flip side to "Love Light", Micky's self-penned "Alicia". Micky's lyrics are fantastic here, and as someone who had experienced the ups and downs of success first hand, turns in an excellent vocal performance (no surprise there).
Bonus: I don't think there's any Nez involvement with "A Journey With Michael Blessing" (the b-side to "The New Recruit") but it's a freaky slice of an L.A musical freakout, 1965 style.
The SF bay area is home Hot Lunch; purveyors of one of the finest brands of HEAVY-osity currently in operation. Taking cues from the likes of Lemmy-era Hawkwind, Blue Cheer, Crushed Butler, The Groundhogs, skateboarding and Black Sabbath (at 78RPM), Hot Lunch plays the type of music that can easily cross over to those in which heavy isn't quite their cup of sludge. Specifically, the unstoppable GROOVE and song composition sets them apart from the pack.
Once again, my instructions are to BUY this groups' amazing debut LP NOW. I don't think you'll regret it one bit, as it has "modern classic" stamped all over it.
Luckily for us 7" fanatics, HL has released two; their debut slab from 2010 contains "She Wants More", a track that was re-recorded for their debut LP (slightly slower, but just as good- personally I'm stoked that there are two versions of this jam). Sure, the riff has a little bit in common with Sabbath's 'Paranoid", but if that doesn't put a smile on your face, I'm sorry for ya. The band states their intention IMMEDIATELY on this record; it's the musical equivalent of getting buckled into a '68 SS 396 Chevelle with your deranged uncle behind the wheel driving way too fucking fast on some country road, where you kinda fear for your life, but on the same hand don't really want it to stop.
"Killer Smile" is one of the HIGHlights of HL's debut LP, and it was also released as a 45 as an advance appetizer for the LP. Guitarist Aaron Nudelman gets to show off all his amazing abilities and taste here; I especially love his use of heavy reverb which lends excellent shade and vibe to the playing. Vocalist (and heavy duty skateboarder) Eric Shea shows off his melodic scream to perfection, not to mention the rhythm section devastation offered by Rob Alper on double kick drum and flailing arms.Charlie Karr keeps it rooted on bass, and the band can change time and tempo in a way that doesn't seem odd or forced. The flip side is non LP; a version of the track "You're Alright", a poppy track from the 1980 film Skateboard Madness that gets sticky and full of resin after bubbling through the Hot Lunch machine. You can buy a copy of your very own here.
Once again, I'll preface this post by saying if you like what you hear from Little Barrie, I suggest you buy their entire catalog and (definitely) go to a live gig if you have a chance. Their most recent release (King Of The Waves) is one of the great LP's of recent years, hands down!
We left off around the mid-'00's, and in 2005, Little Barrie's excellent debut full length (We Are Little Barrie) was released, containing a few tracks that had previously been released on 7" and a whole lot more. "Free Salute" was the single drawn from the LP, and the b-side is a SMOKING hot BBC version of "Didn't Mean A Thing", which itself was previously issued on the 'Memories Well" 45. This live version finds the band in top form. Just dig the tone, fire and taste of Barrie's guitar playing; it's the type of thing that seperates true talent from reheated, unispired blues licks.
One of the most definitive jams from Little Barrie is "Love You", a standout track from their second album (2007's Stand Your Ground). As great as the studio track is, the band takes it to a whole other galaxy during live perormance, as the groove, lyrics, and (once again) Barrie's massive guitar playing are the type of thing that's as essential as oxygen.Thankfully, this single was cut to wax, as the album was not (maybe someday we'll get a double vinyl issue of the first two Little Barrie albums...Now THAT would be a great thing.
As I mentioned previously, Little Barrie's 2011 LP release King Of The Waves is one of the best albums of recent years. The band is locked in to a (hopefully permanent) lineup of Barrie, Lewis Wharton (bass), and the 2008 addition of the amazing Virgil Howe (son of Yes' Steve Howe) on drums. Not only was King the first barrie LP to come out on vinyl (in a gorgeous gatefold sleeve) but also two really nice 45's were released from the album. While they are the same versions as the LP, they sound GREAT, are pressed on super thick wax and showcase some of the best tunes from the album, of which 'Precious Pressure" is probably my favorite, with its nice tip of the hat to The Parliaments' 1967 hit "(I Wanna) Testify".
"Burned Out" was an early (2002) single that made its way onto the Little Barrie debut LP, and DAMN is that track funky! DJ Nu Mark remixed it, and it takes the track into new terrain in the way that only an exceptional remix can (and adds a downright funny drum break section as well). Genuine Records released a cool white label promo 7" of the remix.
Other than the tragic passing of Davy Jones, the last few years have been what us Monkee-maniacs have wished for; not only has Michael nesmith rejoined the group for TWO tours, but also the group is finally getting some respect from rock critics. A certain magazine started in San Francisco in 1967 has shown pure disdain for the group for years, and even THEY gave the 2012 tour a rave review. As for me, I've been a fan ever since I was a little kid and the TV show went back into syndication in 1980; watching the group hang out, crack wise, chase beautiful girls, mock authority and make music, who WOULDN'T want to devote their life to being a musician?
Too much has been said about who played on their records, and to me it's irrelevent as all that matters is the music that has proven its staying power (although my favorite LP of theirs is Headquarters, where each member plays on every track and the group spirit is one of pure joy). Too much emphasis is placed on the deception, and not enough people know, for example, that Davy Jones learned how to play bass for the 1967 tour so Peter Tork could play organ on a few tracks. Unlike so many teenybopper fads that have come since, there was no lack of talent among this group. In fact, each member (other than Peter, who cut his teeth performing in Greenwich Village) recorded music before the inception of The Monkees in 1966.
Michael Nesmith is often singled out (unfairly) as the one with talent, and while there is no denying the power of Nez' songwriting, production and southern fried soulful vocals, to make such a statement discounts the incredible vocal skills of Micky Dolenz, the showmanship of Davy Jones, and the dedicated musicianship of Peter Tork. Nez was the first to release a record, however, and his 1963 single 'Just A Little Love' was released in 1963 credited to Mike, John And Bill. The record was re-released in 1966, and Michael's talent is shown in full effect here. While the recording and performance is a tad restrained and lacking confidence, this song wouldn't sound out of place on his First National Band LP's; his voice was practically as mature as it became with a little bit of experience and seasoning, and the track is also an early example of folk rock.
Of the early recordings, a record that Micky Dolenz recorded with his group The Missing Links (no joke) probably had the most commerical potential; in fact, when it was eventually released in early 1967 as an obvious cash-in, it *did* make the charts. It's a typical 1965 party-rock dancer, and the track was cut just before Micky was signed by Screen Gems to play Micky Dolenz, Monkee.
Already a break out star of Broadway (he played the Artful Dodger in Oliver!, which also landed him a spot on the same Ed Sullivan show as the Beatles debut), Davy's early recorded output emphasizes his teen idol potential and the schmaltzy music is typically not my cup of English Breakfast. However, as Davy was signed to Colpix records (a division of Screen Gems, producer of The Monkees TV show), the label was able to continue releasing records from Davy while The Monkees were already in swing. His final single ("The Girl From Chelsea") is quite good; it's a strong Goffin-King song, with excellent production from future Bread-man David Gates (check out the groovy tremolo-laden guitar). Sorry for the groove-damage distortion on my copy, but this is a very difficult record to find and I've never snagged an upgrade.
Just as The Monkees were starting to happen, Nesmith was in Hollywood, and struggling to survive (with a wife and child), while signed to Colpix Records (coincidentally) as Michael Blessing; in fact, during his screen test that's how Michael introduces himself. Michael cut two folk-rock records for Colpix, and this b-side lifts Eric Von Schmidt's arrangement of "Baby Let Me Follow You Down' as heard on Bob Dylan's debut LP. It's a shame to see producer Bob Krasnow chose to credit himself and Nesmith as the songwriters, but Nez' legendary dry humor is in full stop on this recording making it a real gem. From the opening line to the sly, daring pot reference at the end (STRICTLY taboo in 1965), Nez pokes fun at the folk scene with his very special brand of cynicism. Yes, my copy is signed by the man himself! Within a year, a fully arrived, fully formed Nez would be in the studio producing brilliant records such as "Papa Gene's Blues".
Bonus: the a-side was the (overproduced but still very good) "Until It's Time For You To Go"; watch a young Nez on the Lloyd Thaxton Show promote the song, JUST before the beginning of The Monkees:
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