2 Busy Saying Yeah - Why you gotta keep bringing up old hits?

In this episode I play and talk about some of my favorite songs that got reissued in 2009. The bulk of it is soul and funk, although there's also disco, psych, gospel, rap and weird foreign hybrids of many of the aforementioned styles.

Most of the selections are from releases that are legitimately licensed and carefully assembled, with proper mastering, handsome packaging and thoughtful annotations. I have a lot of respect for those who take the time and effort to do it right. I hope you support them so that they can continue the work that they do.

2 Busy Saying Yeah 16: Why You Gotta Keep Bringing Up Old...

Matthew Africa's Podcast

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1. Man: “And In the Beginning” Revelation
2. Little Francisco Greaves: “Moving-Grooving” V/A - Panamá! 3: Calypso Panameño, Guajira Jazz & Cúmbia Típica on the Isthmus 1960-75
3. The Blue Rhythm Combo: “Take the Funky Feeling” V/A - Tropical Funk Experience
4. Kukumbas: “Respect” V/A - Psych Funk 101
5. Chocolate Snow: “Inflation” V/A - Eccentric Soul: Smart's Palace
6. Lyman Woodard Organization: “On Your Mind” Saturday Night Special
7. Nite-Liters: “Valdez In the Country” A-Nal-Y-Sis
8. Demon Fuzz: “Disillusioned” Afreaka!
9. The Pretty Things: “You Might Even Say” Philippe Debarge
10. P.E. Hewitt Jazz Ensemble: “Bada Que Bash” V/A - Spiritual Jazz - Esoteric, Modal + Deep Jazz From the Underground 1968-77
11. Lizzy Mercier Descloux: “Hard-Boiled Babe” V/A - Ze 30 - Ze Records Story 1979-2009
12. Gichy Dan's Beachwood No. 9: “On a Day Like Today” (Todd Terje's Friendly Children Edit) V/A - ZEVolution: ZE Records Re-Edited
13. Chemise: “She Can't Love You” V/A - DJ Spinna Presents the Boogie Back: Post Disco Club Jams
14. Cubie Burke: “Down For Double” [JM After-Session M&M Mix] V/A - John Morales - The M&M Mixes
15. Herman's Rocket: “Hanged in the Universe” V/A - Jean-Pierre Massiera - Psychoses Discoïd (1976-1981)
16. Chorus Reverendus: “Dans Son Euphorie” V/A - Wizzz! Psychorama Français 1966-70
17. Apostles of Music: “Wade In the Water” V/A - Local Customs: Downriver Revival
18. The Metros: “Since I Found My Baby” Sweetest One
19. Willie Hutch: “A Love That's Worth Havin'” Soul Portrait
20. Ronnie McNeir: “In Summertime” Ronnie McNeir
21. Andrew Brown: “You Made Me Suffer” V/A - Light: On the South Side
22. Sugar Pie DeSanto: “Use What You Got” V/A - Go Go Power • The Complete Chess Singles 1961-1966
23. The Daughters of Eve: “Help Me Boy” V/A - 2131 South Michigan Avenue: 60s Garage & Psychedelia From U.S.A. & Destination Records
24. Brigitte Fontaine: “Il Pleut“ V/A - Dirty French Psychedelics
25. 24-Carat Black: “I Want to Make Up” Gone: The Promises of Yesterday
26. Sensational Saints: “How Great Thou Art” V/A - Forge Your Own Chains
27. Amazing Farmer Singers of Chicago: “I Got a Telephone In My Bosom” V/A - Fire In My Bones: Raw Rare + Otherworldly African-American Gospel (1944-2007)
28. The Relatives: “Don't Let Me Fall” Don't Let Me Fall
29. John Heartsman & Circles: “Up From Down” Music of My Heart
30. Azambuja & CIA: “Tema De Azambuja” V/A - Black Rio 2: Original Samba Soul 1968-1981
31. Tafo: “Karye Pyar” feat. Nahid Akhtar V/A - The Sound of Wonder!
32. The Animated Egg: “Sock It My Way” Guitar Freakout
33. Natural Elements: “Tri-Boro” 1999
34. Sport "G" & Mastermind: “Live” V/A - Random Rap
35. Orchestre Poly-Rythmo De Cotonou: “Koutoulié” The Vodoun Effect - Funk & Sato From Benin's Obscure Labels 1972-1975

Willie Mitchell tribute mix

Willie Mitchell passed away earlier this month. He produced some of the greatest soul music ever made, so this week's show collects 45 of my favorites, including some big hits from Al Green and Ann Peebles, as well as great music from a handful of lesser-knowns.


It's tough to talk about Mitchell without talking about Al Green, the artist Mitchell worked the most with and had his greatest success with. Green's gift is so overwhelming and his vocal identity is so established that it's easy to overlook Mitchell's role in shaping it. But to hear Green's work prior to recording with Mitchell, or even to hear their early recordings before Mitchell crafted Green's signature style, and to compare it with his mature style is to understand exactly how important a producer can be.

Mitchell plucked Green from relative obscurity, brought him to Memphis and recorded him for almost two years before they hit upon Green's sound. Early singles, like "Back Up Train", "Gotta Find a New World" or "All Because", show Green to be a better than average soul singer—strong, gritty, agile—but offer no clue as to how sinuous or graceful Green's vocals could be. It took two albums and a dartboard approach to find out what worked and apparently even Hi Records didn't recognize it at first; Green's breakthrough, "Tired of Being Alone", wasn't the first single from Green's second album with Mitchell, Al Green Gets Next to You, it was the fourth.

Once Mitchell hit upon a formula for Green, he worked subtle variations on a style that paired lush strings and jazzy chords with a restrained, lightly earthy backbeat. It was a perfect setting for Green’s music and their run of albums from I'm Still in Love With You to Livin' for You is almost flawless.

Mitchell’s touch was also evident in a host of other records he cut at Hi Records’ Memphis studio, both for Hi mainstays like O.V. Wright and Ann Peebles and for out-of-towners like the Detroit Emeralds and Denise LaSalle. Mitchell was not just a producer, he was an engineer, too, and the sound he coaxed from the room and from Hi’s band is instantly identifiable. Signature elements stamp all of these productions, like the wheeze of Charlie Hodges’s organ, the full, slightly tame sound of the Memphis Horns and especially the bone-dry snap of a snare drum, whether played by Al Jackson, Jr. or Howard Grimes.

The other acts Mitchell produced may have been less successful than Al Green, but many made remarkable music. When their songs were up to snuff, O.V. Wright, Syl Johnson and Ann Peebles all regularly made music that was nearly on Green’s level. Soul journeymen like the Masqueraders and George Jackson cut some of their best material with Mitchell, too.

I’ve tried to capture some of the breadth of Mitchell’s work in my mix. It’s not really his greatest hits (that would have required too much Al Green) or a selection of songs that have been popularized by sampling (though many were) and Mitchell’s work as a trumpeter and bandleader gets really short shrift (truth be told, I really dislike the music he made under his own name). I chose my favorites and tried to shape them into a mix that would function as an introduction or a celebration of his incredible body of productions. Enjoy.

Episode 15 - Willie Mitchell tribute mix

Matthew Africa's Podcast

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1. Al Green: Love & Happiness
2. Al Green: Love Ritual (Remix)
3. Ann Peebles: Somebody's On Your Case
4. O.V. Wright: Ace of Spades
5. Syl Johnson: The Love You Left Behind
6. Ann Peebles: It's Your Thing
7. O.V. Wright: A Nickel & a Nail
8. Willie Mitchell: Groovin'
9. Al Green: So You're Leaving
10. Al Green: Tired of Being Alone
11. Al Green: Let's Stay Together
12. Ann Peebles: I'm Gonna Tear Your Playhouse Down
13. Al Green: Call Me
14. Al Green: Your Love Is the Morning Sun
15. George Jackson: Aretha, Sing One For Me
16. Jean Plum: Here I Go Again
17. Syl Johnson: Anyway the Wind Blows
18. Ann Peebles: I Can't Stand the Rain
19. The Detroit Emeralds: Baby Let Me Take You In My Arms
20. Al Green: I'm a Ram
21. O.V. Wright: Are You Going Where I'm Coming From
22. Ann Peebles: Run, Run, Run
23. O.V. Wright: I'd Rather Be Blind, Cripple & Crazy
24. Ann Peebles: Trouble, Heartaches & Sadness
25. Al Green: I'm So Lonesome I Could Cry
26. Al Green: I'm Glad You're Mine
27. Al Green: What a Wonderful Thing Love Is
28. O.V. Wright: Let's Straighten It Out
29. The Masqueraders: Let the Love Bells Ring
30. Al Green: La La For You
31. Syl Johnson: Steppin' Out
32. Syl Johnson: I Hate I Walked Away
33. Syl Johnson: Could It Be I'm Falling In Love
34. Al Green: I Wish You Were Here
35. Al Green: Simply Beautiful
36. Erma Coffee: You Made Me What I Am
37. George Jackson: Let Them Know You Care
38. Al Green: Something
39. Al Green: Strong As Death (Sweet As Love)
40. Syl Johnson: Wind Blow Her Back My Way
41. Betty Everett: Just a Matter of Time
42. Teacher's Edition: Sleepy People
43. Al Green: Jesus Is Waiting
44. Syl Johnson: It Ain't Easy
45. Ann Peebles: I Still Love You

If there's interest, I might break the mix into individual tracks and upload them as a .zip, but it's kinda a lot of work, so we'll see.

Statistical shits and giggles:

Number of songs by Al Green: 17
Number of songs by Syl Johnson: 7
Number of songs by Ann Peebles: 6
Number of songs by O.V. Wright: 5
Number of songs by George Jackson: 2
Number of songs by none of the above: 8

Lights in my window

In this season of long, cold nights, various versions of "I'll Keep My Light in My Window" have been spending a lot of time on my turntable.

"I'll Keep My Light in My Window" was co-written and first performed by Leonard Caston, who had been a member of the 60s-era Chicago soul group the Radiants before joining Motown. There, he had his greatest success working with Eddie Kendricks; Caston co-produced Kendricks's biggest hit, "Keep On Truckin'" and co-wrote and co-produced the untoppable "Girl You Need a Change of Mind", among other things. Caston and his wife, Carolyn Majors, cut one LP, a self-titled flop that included their recording of "I'll Keep My Light in My Window".

The song was co-written by Terri McFaddin, who had collaborated with Caston on some songs for Kendricks and later went on to co-write Patrice Rushen's "Forget Me Nots".

I don't know how the song became a staple; as far as I can tell, no version of the song ever charted. Nonetheless, it's been recorded many, many times, both by gospel artists (e.g., the Mighty Clouds of Joy, Shirley Caesar, etc.) and secular ones (Diana Ross, Eruption, etc.). Here are five of my favorite versions.



Caston & Majors: "I'll Keep My Light in My Window" (Motown, 1974)

This is the original version. I found the arrangement a little cluttered at first, but it's a grower.



Ben Vereen: "I'll Keep My Light in the Window" (Buddah, 1975)

This was the first version I heard, thanks to Chi Ali. I love the guitar part. This version was arranged by Tony Silvester from the Main Ingredient and the ubiquitous Bert "Super Charts" DeCoteaux.



The New York Community Choir: "I'll Keep My Light in My Window" (RCA, 1978)

The New York Community Choir was a group that included Phyllis Joubert and Benny Diggs; both made a bunch of great music that bridges the gap between the church and the disco. There are three versions of this recording: a truncated album version, a punched-up disco 12" version and this one, which is my favorite.



Free Life: "I'll Keep My Light in My Window" (Epic, 1978)

Free Life were protégés of Earth, Wind & Fire's Philip Bailey. Bailey co-produced their album and wrote or co-wrote several of their songs.



The Temptations: "I'll Keep My Light in My Window" (Gordy, 1984)

This was from of those eras where the Temptations were lacking not just in fashion sense but also in star power-- they had no Eddie Kendricks, no David Ruffin, no Dennis Edwards, not even a Damon Harris. Even so, their vocal and the arrangement are great.

Rellies

The Relatives were a Dallas, TX group that recorded some of the roughest and rawest soul music you'll ever hear.

They were led by a preacher, Reverend Gean West, and while many of their songs deal with religious themes, I can see them appealing to even those who don't appreciate religious music. Partly it's the fact that the lyrics are more concerned with suffering and personal desperation than praise or the after-life, but also the music, from heavy ballads to psychedelic funk, is just so forceful. A new reissue collecting all three of their 45s and a handful of unreleased 1971-1975 songs is available on vinyl and mp3 from the Heavy Light Records website, which has soundclips. I was sold after hearing "Don't Let Me Fall" but just about all of the others are great, too.

Here's a video clip of the Relatives performing a song that might be my least favorite track from the release but which is still pretty good:

He's the D.J., I'm the ...

Last week I was in NYC and dropped by Mr. Finewine's Wednesday party at Botanica. He had a guest DJ who was playing this:


D.J. Rogers: "Celebration" (Shelter, 1973)

D.J. Rogers's first two LPs, the self-titled one that this is drawn from and 1976's It's Good to Be Alive, both contain a lot of great moments. His arrangements and songwriting draw heavily on early-70s Sly Stone, but they're cut with a lightly religious message of uplift-- there's none of Sly's cynicism, but also none of his wit.

I wasn't gonna post two songs but this is just too timely (what up, Wall Street!):


D.J. Rogers: "Bailout" (Shelter, 1973)

Gospel week, day 7: and he rested on the seventh day from all his work which he had made

... but around here, we don't take it that easy.



Art Reynolds Singers: "Long, Dusty Road" (Capitol, 196?)

This is such a beautiful ballad, although when it gets to the line about "I've got unfinished stories to be told," I can't help thinking of Project Pat's "I Ain't Goin' Back to Jail" ("I got more dreams to tell...."). When I was poking around trying to find out which year this came out, I learned that my homeboy Jonny posted it a while ago at the site for his store, Good Records NYC. They have some cool mixes posted over there, especially the rare soul mix by the homie Justin Torres.

Gospel week, day 6: why?

The Staple Singers: "Why? (Am I Treated So Bad)" (Epic, 1966)

I think John Fogerty bit his whole guitar style from the way Pops Staples played in this era. It's a fantastic sound.

This is a great cover version that appears on a record I used to find a lot:



The Metro-Tones, Inc.: "Why Am I Treated So Bad" (Savoy, 1973)

Gospel week, day 5: he's coming (RUN!!!!!!!!!!!!!!!)

9th Creation were from Stockton, about an hour and a half east of Oakland. They never had any hits, but they were around for a decade and released some really good records, from jazzy funk to a mid-80s modern soul EP people pay insane amounts of money for. Aside from a couple gospel songs on their Reaching for the Top album, I think their whole output was secular.


9th Creation: "He's Coming" (Prelude, 1977)

The combination of the 9th Creation cover and lyric make me think of this place, which has maybe my favorite facade of any business in Oakland:







I think the wall with the third picture was painted over recently (black, natch), but the thong-wearing body builder with green laser hands is still in full effect. The photos came from here.

Gospel week, day 4: toil and trouble

Inez Andrews: "Troubled Young Man" (Songbird, 1976)

The production and arrangement are by Gene Barge, who for years was a staff producer and arranger for the Chess family of labels. If you're the type to read credits, you'll find his name on hundreds of great Chicago soul, funk and jazz releases-- along with Richard Evans, Sonny Sanders and Tom Tom Washington, it's a name that signals a record is worth a listen. I'm not sure how deep his gospel roots go but he also co-wrote the Violinaires' great "Groovin' with Jesus".

Gospel week, day 3: homework... homework... give me a break!

Jackson Southernaires: "Don't Let Him Catch You (With Your Work Undone)" (Songbird, 1973)

Somebody tell me-- did the "don't leave your homework undone" meme start in church and cross over to R&B, or did it come from all of the cheating songs of the day and then get put to use here?

Gospel week, day 2: stealin' in the name of the lord

Secular soul music often borrows pretty liberally from traditional gospel songs (e.g., "Little Walter" from "Wade in the Water", "My Babe" from "This Train", "This Little Girl of Mine" from "This Little Light of Mine", etc. etc.), but I always kind of bug when borrowing goes the other way. I mean, the 8th Commandment applies to gospel dudes, too, right?

Anyhow, these guys understood that the world needed a gospel rip-off of "Long Train Running":




World Wonders of Birmingham, Ala.: "The Cost of Living (Is Very High)" (Savoy, 1980)

As a bonus, here's their version of the aforementioned "This Little Light of Mine":


World Wonders of Birmingham, Ala.: "This Light of Mine" (Savoy, 1980)

BTW, homie on the lower left looks dead-on ?uestlove, right?

What the hell... it's gospel week!

Listening to Nick the Record's gospel mix inspired me to pull out and rip a lot of records I hadn't listened to in ages, which in turn inspired me to try a week of gospel posts.

The vast majority of gospel records I own are things I snagged for the odd funk-style track hiding here or there. I can appreciate gospel in an unadulterated form, but it's not an experience I generally seek out.

Finding funky gospel records has always been surprisingly tough-- my hit-to-miss ratio quickly taught me to avoid blind buys altogether, and even listening to stacks with a portable has seldom been rewarding. Of course, there's some great stuff out there-- as Nick's mix or the Numero Group's excellent Good God! A Gospel Funk Hymnal comp demonstrate-- just not a lot of low-hanging fruit.

To kick the week off, here's something from Columbus, Ohio's Bill Moss, who's best known for the secular message record, "Sock It to 'Em, Soul Brother" (shouting out, among others, O.J. Simpson!):


Bill Moss & the Celestials: "Keep On Using Me Jesus (Until You Use Me Up)" (Jewel, 1975)

God only knows

There's an awesome mix of soul, disco and funk-style gospel posted free here.

It was put together by Nick the Record, an English dealer who runs the very fine DJ Friendly website; if you've got pounds to spend, he's got great records.

There is no track listing for the mix, which is a shame because there's plenty of stuff that moves even a non-believer like me (the intro! the record that comes in at 19:15! rip-offs of "Dance to the Drummer's Beat" and "What Cha' Gonna Do For Me"! that record at 1:07:45 and the one after that!).

The best song on the mix is this, which comes in at about the 26:30 mark:


Celestial Choir: "Stand on the Word"

I learned of the song through DJ Eli's blog, but I guess it was a big record for several DJs on the NYC scene including David Mancuso and Larry Levan. Currently, there's a Justice-ish remix that's catching some run, but it's like 1/100th as good as the original so don't worry about it.