Souled On Samples: The Word Is Bond Edition...

What's good, soul babies? I hope you're ready for me...cuz I. am. back.

I've been wanting to do a Souled On Samples post for quite a while now, but it's always somewhat of a painstaking process for me. I give mad props to the dudes who put together entire sample sets 3 weeks before a hip hop album officially drops, but for better or worse, that's really not my style.

I started this series years ago in the hopes of illustrating how much the hip hop generation owes to its musical predecessors and vice versa. At the time, I was mad frustrated by the lack of respect I saw on both sides of the fence...a lot of hip hop heads don't give proper acknowledgement to the genre's foundation, while many soul/funk/jazz/classic rock enthusiasts dismiss rap music as throwaway, low brow entertainment.

In order to cultivate an environment where we all can get along, I try to put a degree of forethought into the selections I make. Taste in music is always subjective, but if I share anything that you're really not feelin', you can trust that I did so with the best intentions. I'm doing my (unpaid) job when you leave here with not only an appreciation for some classic records, but also for the reincarnated afterlife that talented producers can afford them.

Consider this the anti-Babylon, kids~ we congregate here because on some level we speak the same language. Music has the power to transcend any differences we might identify, so let's hug it out and do this damn thing...


"Cross My Heart"---Billy Stewart (LimeLinx)
"Cross My Heart"---Billy Stewart (YSI)

Dig deeper...

Sampled On:

"Exhibit C"---Jay Electronica (Limelinx)
"Exhibit C"---Jay Electronica (YSI)

*Produced by Just Blaze

*This joint has had the internets goin' bananas for the past couple of weeks, but unlike most phenomena that incite a panoply of exaggerated exclamations, the hype and high praise in this particular instance is actually somewhat warranted.

While those of us who get all religious about Jay Electronica have known about his collabo with Just Blaze for quite a while, it seemed likely that the end result would be lesser than the sum of its parts. As a devoted hip hop enthusiast, I increasingly deem it necessary to employ a defensive stance in the interests of safeguarding myself from disappointment.

Call it a lesson learned, but I shoulda worn a helmet with Viking horns, a diaper and a bulletproof vest the day I first listened to Blueprint 3~ then I could have protected my ass, cerebral cortex, and cardiovascular system from the disillusionment and false hope that understandably ensued. Not only would I have been more fully prepared for the wackness, but the aforementioned attire tends to make for a sexy look in general...

Not long after one Jay fumbled, another one swiftly caught the mic~ a quick save that explains why we can't help but love "Exhibit C" for exceeding our rapidly diminishing expectations. When Blaze aired this track on Tony Touch’s Shade45 show, the response wasn't just overwhelmingly positive~it was...a relief.

Electronica's "God hop" may tend to be a little too pretentious and/or abstract for some, but "Exhibit C" goes a long way towards silencing the man's critics. Lyrically it's more accessible than many of his other tracks, but the rhymes are still clever and insightful enough to keep the thinkers, backpackers, and weirdos like me solidly in his camp. The ability to build a crossover audience is perhaps the most important distinction between the gods and the forgettables, and for the first time I have faith that Electronica possesses the wisdom and foresight to bridge the divide between the streets and the elites.

As for the beat, Just Blaze killed it~ sampling and chopping soul songs is undoubtedly his forte, and this joint is no exception. The Billy Stewart song he mined is definitely dope and his technique is admirable~ but if I can be honest, I think Exile put this record to bed on "It's Coming Down". J Cole recently flipped this Stewart joint too, which is either mad coincidental or further evidence that originality and self-styling are endangered concepts in the current hip hop aesthetic.

You can decide for yourselves if the glass is half full or half empty~ all three producers put a fairly unique spin on the source material, but is this epidemic really necessary in light of the infinite sonic possibilities the universe has to offer? As a very wise man once quipped, "I dunno"...

BONUS MP3s:

"It's Coming Down"---Exile (LimeLinx)
"It's Coming Down"---Exile (YSI)

"Get Away"---J Cole (LimeLinx)
"Get Away"---J Cole (YSI)


"Stay"---Yvonne Fair (LimeLinx)
"Stay"---Yvonne Fair (YSI)

Dig deeper...

Sampled On:

"Stay"---Ghostface Killah (LimeLinx)
"Stay"---Ghostface Killah (YSI)

*Produced by Skymark

*Ghostdini: Wizard of Poetry in Emerald City is quite possibly my least favorite offering from the veteran MC, but I can't help it~ I still kinda dig when Tony Starks throws down his signature ad libbing over a classic soul track. The playground of unrestrained pleasure and immorality that only Ghost can cultivate is still a uniquely entertaining place to be.


"Love On A Two Way Street"---The Moments (LimeLinx)
"Love On A Two Way Street"---The Moments (YSI)

Dig deeper...

Sampled On:

*Produced by Al Shux

But does anyone remember this, because...ahem...


"Supa Dynamite"---Asamov w/ Mr. Lif (LimeLinx)
"Supa Dynamite"---Asamov w/ Mr. Lif (YSI)

*Produced by Willie Evans Jr.

...the similarities are undeniable. "Supa Dynamite" was supposed to be Asamov's golden ticket to fame, but instead...they got fucked. Don't gasp at me, children...you know I'm right.

Interestingly, Kanye sampled the same Moments track for a Consequence joint a few years ago. The source material is more difficult to detect in this case, but trust...it's definitely "Love On A Two Way Street" as well.

"So Soulful"---Consequence/Kanye West/Khayree/John Legend
"So Soulful"---Consequence/Kanye West/Khayree/John Legend

More Souled On Samples:

"Didn't We"---Thelma Houston (LimeLinx)
"Didn't We"---Thelma Houston (YSI)

Sampled On:

"Comeback (Instrumental)"---Skyzoo/9th Wonder (LimeLinx)
"Comeback (Instrumental)"---Skyzoo/9th Wonder (YSI)

*This is one of my favorite 9th Wonder beats of all time~ check the last 30 seconds of the Thelma Houston song for the sampled portion.


"Deliver the Word"---War (LimeLinx)
"Deliver the Word"---War (YSI)

Dig deeper...

Sampled On:

"Betrayal"---Gang Starr w/ Scarface (LimeLinx)
"Betrayal"---Gang Starr w/ Scarface (YSI)

*Produced by DJ Premier/Guru


"I Can't See Nobody"---Nina Simone (LimeLinx)
"I Can't See Nobody"---Nina Simone (YSI)

Dig deeper...

Sampled On:

"The Ecology"---Fashawn (LimeLinx)
"The Ecology"---Fashawn (YSI)

*Produced by Exile


"Baby! You Oughta Think It Over"---Bobby Womack (LimeLinx)
"Baby! You Oughta Think It Over"---Bobby Womack (YSI)

Dig deeper...

Sampled/Interpolated On:

"Think It Over"---Dynas (LimeLinx)
"Think It Over"---Dynas (YSI)

*Produced by Illastrate


"Olé"---John Coltrane (LimeLinx)
"Olé"---John Coltrane (YSI)

Dig deeper...

Sampled On:

"The Hunt"---Aceyalone (LimeLinx)
"The Hunt"---Aceyalone (YSI)

*Produced by Mumbles


"Got To Be There"---Michael Jackson (LimeLinx)
"Got To Be There"---Michael Jackson (YSI)

Dig deeper...

"Hello"---14KT (LimeLinx)
"Hello"---14KT (YSI)


"I've Changed"---The Magictones (LimeLinx)
"I've Changed"---The Magictones (YSI)

Dig deeper...

Sampled On:

*Produced by RZA

In many ways "New Wu" was a return to form for the clansmen, but as for the visual element...uhhhhhhh...this video is dumber than dog piss, children.


"All Because Of You"---Leroy Hutson (LimeLinx)
"All Because Of You"---Leroy Hutson (YSI)

Dig deeper...

Sampled On:

"The F Word (RJD2 Mix)"---Cannibal Ox (LimeLinx)
"The F Word (RJD2 Mix)"---Cannibal Ox (YSI)

Word From Your Moms:

“To be a musician is really something. It goes very, very deep. My music is the spiritual expression of what I am - my faith, my knowledge, my being.”

“I never even thought about whether or not they understand what I'm doing . . . the emotional reaction is all that matters as long as there's some feeling of communication, it isn't necessary that it be understood.”

“Change is inevitable in music - things change.”

“All a musician can do is to get closer to the sources of nature, and so feel that he is in communion with the natural laws.”

“I’ve found you’ve got to look back at the old things and see them in a new light.”

---John Coltrane

...As If The Heart Were Not Enough...

Wassup, soul kids? How we feeling out there?

I know that I've probably been left for dead, or maybe plastered on the side of the milk carton you use to float your Cinnamon Toast Crunch, but there's no need to call Nancy Grace just yet. Despite all reports to the contrary, yours truly is alive and back to raise some long-awaited hell.

It's cold and rainy today, which reminds me that before long, I'll be spending the majority of my time in hibernation. That likely means trouble for all of you, since I'll have plenty of time to dream up stream-of-consciousness absurdities and any other nonsensical shit that happens to send an impulse across my synapses.

In the meantime, kindly enjoy these triple phat jams for your boomboxes.

Rock with me, snitches...


"Black and White"---Brittany Bosco (LimeLinx)
"Black and White"---Brittany Bosco (YSI)

If you haven't heard Brittany Bosco yet, you're going to be pissed for being late to the party, sun...

It's been well-documented in these pages that I'm relatively unforgiving about most contemporary R&B, and even neo-soul has morphed into a bastardized term to describe an ill-defined industry concept. However, this isn't a rant against the music biz, so much as a prelude to bestowing praise on Bosco for being such a bold exception to the laws of being average. Not only are her solo efforts beyond phenomenal, but Bosco can also claim partial credit for making Tanya Morgan's Brooklynati one of the nicest albums to drop so far this year.

It was challenging to decide which song of hers to post~ the fare on her Spectrum 2.0 EP ranges from the plaintive honesty of this particular track, to cleverly innovative homages to her musical predecessors, to fuzzy space funk and beyond. Bosco counts her influences as everyone from Sarah Vaughn to Radiohead, but credits life itself as her primary source of inspiration. The fusion of these multifarious elements yields an explosively refreshing sound, courtesy of an artist who's adventurous enough to cultivate her style from a garden variety of musical roots. Those who seek comfort with artists easily confined to a particular genre will likely find that there isn't a suitable box to accommodate the magnitude of Bosco's brilliance. Thank you, God.

You can download Spectrum 2.0 for free here. Also, check Bosco's MySpace page for upcoming shows, videos, interviews, etc.




"Oh Yeah"---Floyd Da Locsmif (LimeLinx)
"Oh Yeah"---Floyd Da Locsmif (YSI)

As a lifelong fan of both soul and hip hop, I'm never more satisfied than when a producer deftly marries the two genres to create some ill noise. On the other hand, I have a tendency to get pissy when they're blended haphazardly...just because I can. Seriously, though...if you can't flip interesting source material OR lace it properly, I'm falling asleep two or three tracks into your CD. Maybe sooner.

Enter Floyd Da Locsmif, who caught my ear a long while back with the dope beats he dropped for a few of my favorite MCs, as well as his killer mixtape, Outskirts: The Unofficial Lost Outkast Remixes. It's unfortunate, but since I'm constantly being bombarded with new music, I accidentally lost sight of Da Locsmif until he came back on my radar again just recently with Divine Dezignz #2. Suffice it to say that I fell so deep into this album that I'm now calling Floyd one of my favorite producers, while checkin' for every last jawn I may have missed.

People have asked me to pimp everything from Avon to astroturf, and I always refuse because I want Souled On to remain ad-free~ but really, children...you should buy this. Get out your credit card and melt some plastic, ask your daddy to take you to the mall, whatever...just do it (no promo).


"This Is The Lost Generation"---Lost Generation (LimeLinx)
"This Is The Lost Generation"---Lost Generation (YSI)

The Love Generation is best known for their song "The Sly, Slick and the Wicked", a successful single that reportedly earned Brunswick Records enough loot to afford a divorce from their parent company, Decca. Unfortunately, that was the only time that the Chicago-based group made a dent on the pop charts, although they did crank out several tracks that landed them a spot on the US Black Singles chart. Despite being blessed with songwriting assistance from Eugene Record of The Chi-Lites, the group hit a dead end and disbanded in 1974 after releasing only two albums. .

While their first album, The Sly, Slick and the Wicked (Brunswick, 1970), obviously sold more units, I've always liked Young, Tough and Terrible (Brunswick 1972) at least as well. First and foremost, it's hard not to love the fact that the album has this incredibly menacing title, but the cover depicts four unassuming dudes in vests and dress shirts hanging out on a hill. Definitely a what-the-fuck moment, but I'm sure these guys thought they were badasses, so whatever...

If you look past the irony and actually delve into their material, you'll find that there are a fair amount of good tracks on this record. I can dig their vibe even though I'm more of a southern soul fan, but "This Is The Lost Generation" gets played with much greater frequency than the rest of the album. Something about the harmonious politicking bears elements of the gods and the greats, like Bill Withers or even "What's Goin' On"-era Marvin Gaye. Beautiful stuff, kids~ listen up...


"Twice The First Time"---Saul Williams (LimeLinx)
"Twice The First Time"---Saul Williams (YSI)

I don't have too many heroes who are dead, and I'll be damned if I'm going to idolize someone who's still alive and has time to fuck up my good opinion. My friends and I joke about what a Jay-Z stan I am, but really...Saul Williams is the only man walking who is on some personal Jesus bizness in my world.

I'm sure I'm not the only one who lets their favorite music cool off for a while before picking it back up to enjoy that initial rush all over again. Lately I've been re-listening to Saul's Amethyst Rock Star LP, as well as a bunch of miscellaneous B-sides and compilation joints I've collected over the years...and the whole experience has been getting me hyped. I've always loved "Twice the First Time", but if it spoke to me before, now it's screaming. If this is your first time hearing this, hold your hand over your heart, sun.


"Living Thing"---Freebass 808 & Christian Rich (LimeLinx)
"Living Thing"---Freebass 808 & Christian Rich (YSI)

Mick Boogie has been in his zone for quite some time now, so I find myself checkin' his website frequently to see what the man's coming with next. Boogie currently holds the title of mixtape curator~ which means that he expertly warehouses...or Andy Warhols, if you will... some of the nicest producers and rhymesayers he can manage to assemble. His latest venture is Re-Living Thing, a collection of Peter Bjorn & John remixes, and it's certainly no exception. Resident beatsmiths 6th Sense, Remot, Cookin' Soul and a host of other talented producers keep the project tight musically, while lyricists such as Talib Kweli and GZA spit fire on the lyrical front. This is Boogie's most star-studded affair to date (Bun B, Black Milk, 88 Keys, Buckshot, Marco Polo, Wale...what???), so it'll be interesting to see how he approaches outdoing himself on future projects.

I've only managed to listen to this 2 or 3 times all the way through, so it's way too early to call an absolute favorite. I've been fuckin' with "Living Thing" since the first time around though, so posting it was sort of a given. In case you don't know, Freebass 808 is Geechi Suede from Camp Lo + producer The Apple Juice Kid, while Christian Rich is a twin Chicago duo who are just now getting some shine after years of producing hits for other A-list artists. Both of these acts are a little bit out of left field...which is all the more reason to turn the volume up, kid.

Dig deeper... (Download Re-Living Thing in its entirety)


"White Elephant Coat"---School Of Seven Bells (LimeLinx)
"White Elephant Coat"---School Of Seven Bells (YSI)

Bitchfork describes School Of Seven Bells' Alpinisms LP thusly:

Despite the band's modernist approach to emotions and sensations, their abstruse lyrics and spiritual overtones most directly recall John Lennon's late-1960s, post-India assimilation of the mundane with the mystical.

Children, I've been called pretentious and generally full of myself since the day after my mama's immaculate conception transpired, but if I ever start pretending to write record reviews or use phrases like "modernist approach to emotions", please seek out my government name and come shoot me in my fat head. Ugh.

True to form, I digress...

Alpinisms came out last year, but I am forever sleeping on good music because I spend 99% of my life listening to stupid shit that marketing fucks want me to hear (oops...some of you are very nice, and the bands you represent are actually quite good, etc.). As it turns out, this was a near fatal miss because I like most of this album quite a bit. However, I'm not going to attempt the fool's errand of trying to approximate their sound with words, and not only because I can't do so as haughtily as Bitchfork.

Opinions about music are always subjective, but especially so as it pertains to a group like this. Much like The Cocteau Twins and a bevy of others who loosely fall into the same category, I can't understand what the fuck Alejandra and/or Claudia Deheza are singing about most of the time. No matter~ I swore that Liz Fraser was saying "peanut butter, peanut butter" on one of my favorite Cocteau songs, and only retracted my position after no less than ten of my friends told me I was batshit crazy. Albums like this are best interpreted as a tapestry of textures and sounds, as opposed to being dissected by some half-witted jackass with a dizzyingly circular approach to language and reasoning. On that confounded note, your self-proclaimed scholar is shutting up now...


"Warning (Dave Wrangler Remix)"---Notorious B.I.G. (LimeLinx)
"Warning (Dave Wrangler Remix)"---Notorious B.I.G. (YSI)

Dave Wrangler regularly drops remixes in my inbox, but due to the aforementioned bulk of material I'm asked to listen to, I usually don't have an opportunity to play them more than once or twice. I happened to put this Biggie redux on my iPod though, and lo and behold...I fooled around and fell in love. It's more clubby than most of the music I gravitate towards...and I still ain't gonna rock no bright colors or skinny jeans...but honestly kids, this mix is downright ill.

*The lyric that just won't leave your head: Damn/ N words wanna stick me for my paper...haha...political correctness can be so silly sometimes...

Since Biggie should require no introduction (or are you in the wrong place again?), I'd implore you to dig deeper, and gain some knowledge on the homie Dave Wrangler.

MORE SOULED ON CERTIFIED CLASSICS:


"Protest 2"---The ARE (LimeLinx)
"Protest 2"---The ARE (YSI)

Dig deeper...


"Ololufe Mi (Messengers Remix)"---Fela Kuti/J.Period & K'NAAN (LimeLinx)
"Ololufe Mi (Messengers Remix)"---Fela Kuti/J.Period & K'NAAN (YSI)


"My Country / Small Axe (Messengers Remix)"---Bob Marley/J.Period & K'NAAN (LimeLinx)
"My Country / Small Axe (Messengers Remix)"---Bob Marley/J.Period & K'NAAN (YSI)


"Don't Think Twice"---Bob Dylan/J.Period & K'NAAN (LimeLinx)
"Don't Think Twice"---Bob Dylan/J.Period & K'NAAN (YSI)

"It's Alright, Ma"---Bob Dylan/J.Period & K'NAAN (LimeLinx)
"It's Alright, Ma"---Bob Dylan/J.Period & K'NAAN (YSI)

*All of the above from J.Period's unparalleled Messengers trilogy. Collect all three..


"Dear Daisy"---Alex Goose (LimeLinx)
"Dear Daisy"---Alex Goose (YSI)

*From the Blueprint 3 Outtakes: a collection of tracks submitted to Hova for BP3

Dig deeper...


"Road To Somewhere"---Ghost (LimeLinx)
"Road To Somewhere"---Ghost (YSI)

Dig deeper...


"Five String Serenade"---Mazzy Star (LimeLinx)
"Five String Serenade"---Mazzy Star (YSI)

*A dedication to my love, who has given me more than my fair share of papercuts. Ti amo.

Word From Your Moms:

"I'll tell you, my friends: it's all in the nerves. The nerves that tense and relax as you approach the edges of companionship and love. The razor-sharp edges of companionship and love."~Roberto Bolaño

Earth Sounds And Other Stories From The Granite Planet...

*Smoke Whisper by David Choe

What's good, family? Hope that all the people who make my world go 'round have been fat and happy since last we met...

All apologies (word to the homie Kurt Cobain)~ I haven't had much time or inclination to kick around verbs and nouns these past few weeks. Even so, I thought it necessary to spread some love by way of these infectious grooves~ several joints you might hear rattling the windows at the ill-reputed house of Scholar.

Enjoy the muzak...and be easy, kids...

MUSIC:


"You've Got Me"---King Floyd (LimeLinx)
"You've Got Me"---King Floyd (YSI)

Dig deeper...


"The Name Game"---14KT
"The Name Game"---14 KT (yousendit)

*Before you bust my chops because this track cuts off, please be advised that it hails from a mixtape, sun~ accordingly, the joints overlap. This is all the more reason to cop Nowalataz in its entirety...a free and legal download is available via illRoots. I have the utmost confidence that you won't be sorry~ the Dilla-inspired beatsmith is one of the most promising producers on the horizon...period.

Dig deeper...


"Bananas Foster"---The Misled Children/Odean Pope (LimeLinx)
"Bananas Foster"---The Misled Children/Odean Pope (YSI)

Dig deeper... (Misled Children aka Clutchy Hopkins)

Dig deeper... (Odean Pope)


"Under My Sensi"---Boozoo Bajou (LimeLinx)
"Under My Sensi"---Boozoo Bajou (YSI)

Dig deeper...


"Oh Happy Gabe"---Charles Wright & the 103rd St. Rhythm Band (LimeLinx)
"Oh Happy Gabe"---Charles Wright & the 103rd St. Rhythm Band (YSI)

Dig deeper...


"Manana"---Souleance (LimeLinx)
"Manana"---Souleance (YSI)

Dig deeper...


"Lord Don't Let It"---Bilal (LimeLinx)
"Lord Don't Let It"---Bilal (YSI)

Dig deeper...


"The Blues"---Mojoe (LimeLinx)
"The Blues"---Mojoe (YSI)

*Anyone who namechecks Nikki Giovanni can't be all bad...

Dig deeper...


*My favorite piece by artist David Choe

"Little Wing"---Jimi Hendrix (LimeLinx)
"Little Wing"---Jimi Hendrix (YSI)

Dig deeper...


"It's Alright Ma (I'm Only Bleeding)"---Bob Dylan (LimeLinx)
"It's Alright Ma (I'm Only Bleeding)"---Bob Dylan (YSI)

*Lyrically, one of the illest songs of all time~ any genre, any time, any place...

Dig deeper...


"Tangle In Your Lifeline"---Esther Phillips (LimeLinx)
"Tangle In Your Lifeline"---Esther Phillips (YSI)

Dig deeper...

Word From Your Moms:

"she had eyes
like two turntables
mix(h)er
in between
my dreams and reality
blend in ancient themes
the bas(e)is of isis
cross-faded to ankh
the beat drops
like a cliff
over looking my heart"

~Saul Williams

On Second Thought: The Shaken Up And Spun Out Over You Edition (Part II)

"Rebel To The Grain"---Blue Sky Black Death (LimeLinx)
"Rebel To The Grain"---Blue Sky Black Death (YSI)

*This track features original source material previously sampled on classic joints by the almighty Wu-Tang Clan . "The Way We Were/Try To Remember" by Gladys Knight & The Pips, Wendy Rene's "After Laughter (Comes Tears)", and "Is It Because I'm Black?" by Syl Johnson are a few examples of what's in the mix.

*Blue Sky Black Death, a Cali-based production duo consisting of Kingston and Young God, initially leaked "Rebel To The Grain" and "Slapbox With Jesus" in June 2007. Both tracks are firmly rooted in the early Wu-Tang aesthetic, but the Bay Area beatsmiths were remarkably innovative in their approach to revisiting the contents of RZA's bottomless crates.

*Currently, the joints are still pending official release as a limited 7" on Mush Records

*Blue Sky Black Death has a history of dropping beats for several Wu affiliates, including Holocaust, Sunz Of Man, Hell Razah, Shabazz the Disciple, and Prodigal Sunn.

Outside of the Clan circle, the duo has also worked (both independently and collectively) with many other stalwarts of the hip hop underground, such as Jean Grae, Jus Allah, Ill Bill, Ras Kass, Pep Love, Sabac Red, Chief Kamachi, Crooked I, Wise Intelligent, Awol One, A-Plus, and Mikah 9.

*Critically acclaimed for their masterful blending of samples with live instrumentation, the duo has received an enthusiastic nod from the likes of XLR8R, RapReviews.com, Allmusic, and PopMatters, in addition to earning a spot on URB's 'Next 100' list.

*Stay tuned to BSBD via MySpace


"Heart"---Cool Calm Pete (LimeLinx)
"Heart"---Cool Calm Pete (YSI)

*Released on the internets at the end of May, "Heart" was offered as a free and legal download courtesy of Def Jux Records. CCP fans remain hopeful that this digital-only single could trumpet the imminent release of the MC's long-awaited sophomore LP, Leonard Z.

*Once again, this joint was up for consideration as part of a Souled On Samples segment, but the fact that Pete engages and interacts with Nina Simone's vocals on the cut marginally qualifies it as a call and response/half-baked remake thing that's a little fuzzy in terms of categorization.

At any rate, I just mentioned several weeks ago that I'm skeptical about artists interpolating/sampling/chopping/emulating/shitting all over Nina Simone's work. Although CCP's hypnotically lazy wordplay doesn't match the caliber of Ohene's Nina Simone project on an intellectual level, I'm still thoroughly diggin' the rhymesayer's idiosyncratic approach to her material~ in.a.weird.way.

*If you aren't up on this crazy gifted MC/producer from Queens, NY, you should definitely check out Lost and the Loosies EP, as well as his work with the underground outfit Babbletron. Extra credit granted to my fellow geeks who elect to dig even deeper...

Souled On Sample:
*Stencil by Sinero

"Peace Of Mind"---Nina Simone (LimeLinx)
"Peace Of Mind"---Nina Simone (YSI)

*Sampled on "Heart" by Cool Calm Pete

*Written by Nick Woods and arranged by Horace Ott, Nina's rendition of this song first appeared on her 'Nuff Said! LP. It was also released as a B-side to the "Do What You Gotta Do" single in 1968 (RCA Victor 47-9602) and appears on several miscellaneous anthologies of her material.

*"Peace Of Mind", as well as the majority of the other tracks on Nuff Said!, was recorded at the Westbury Music Fair on April 7, 1968. From both a personal and historical perspective, this was undoubtedly one of Nina's most poignant and essential performances of all time. The show was held three days after the assassination of Martin Luther King, Jr., and her entire program that night was dedicated to his memory.

A very vocal and active participant in the civil rights movement, Simone made the following observation in her memoirs (I Put A Spell On You: The Autobiography Of Nina Simone):

"For a while people walked around in a kind of daze and I wept along with them, but I couldn't understand why they were surprised by Martin's assassination: we'd already lost Malcolm, Medgar Evers, Emmett Till, and hundreds, thousands of others down through our history. What happened on the 4th of April was no freak tragedy, it was the traditional white American tactic for getting rid of the black leaders it couldn't suppress in any other way. A desperate act by a country with nowhere to hide anymore. Stupid, too, because the thing that died along with Martin in Memphis that day was non-violence, we all knew that. It was a time for bitterness- almost funny if it hadn't been so sad."

*Three Dog Night also released a partial cover, "Intro Poem: Mistakes And Illusions/Peace Of Mind" on their 1971 Harmony LP.

The verdict? A valiant effort on the part of the popular American rock band, but you know...nothing surpasses Nina.


"A Change Is Going To Come"---Baby Huey (LimeLinx)
"A Change Is Going To Come"---Baby Huey (YSI)

(I initially posted this track in 2006, but the link is fucked and it definitely bears repeating)

*Written by Sam Cooke; first recorded by Cooke in December of 1963 at RCA's studio in Los Angeles. The song was released the following year, both as a single and on the Ain't That Good News LP.

*Cooke's inspiration for penning the classic tune was derived from a confluence of internal struggles and trying life experiences. As an artist and entertainer with broad commercial appeal, Cooke was perpetually tormented by the difficulty of balancing his personal convictions with the probability that taking a firm stance on racial issues would alienate his white audience. He aspired to writing more meaningful material than the light-hearted, bleached out, radio-friendly fare that sustained his popularity~ he became fully enthralled with the potency of protest songs such as Bob Dylan's "Blowin' In The Wind" (which Cooke honored with an outstanding cover).


The year that he wrote "A Change Is Gonna Come", Cooke and his bandmates made an attempt to register at a motel in Shreveport, Louisiana. Unbeknownst to them, they had entered a whites-only establishment, and the entourage was peremptorily arrested on a bullshit charge of disturbing the peace. This brush with the law was a particularly dehumanizing experience for Cooke, but it was certainly not an isolated incident. The singer suffered endless racial indignities throughout his lifetime and career, including being assaulted by police in Birmingham for drinking from a whites-only water fountain.

Cooke's impassioned lyrics bear a burdened sense of hopefulness that is undeniably rooted in the culmination of these painful and cataclysmic events. Having also endured the loss of his 18-month-old son earlier that same year, the strain and wearied optimism he struggled with is perfectly encapsulated in the lamentation/reconciliation of the final verse: "There have been times that I thought I couldn't last for long/but now I think I'm able to carry on/It's been a long time coming, but I know a change is gonna come."

*Nearly a year after Cooke recorded the track, he was fatally shot at a hotel in Los Angeles. "A Change Is Gonna Come" was released as a single two weeks later, rapidly climbing the charts and gaining historical significance as the soul man's distinctly memorable farewell.

*An enlightening interview with Peter Guralnick, author of Dream Boogie: The Triumph of Sam Cooke, is posted at Jerry Jazz Musician for those who wish to dig deeper.

*"A Change Is Gonna Come" was ranked at #12 on Rolling Stone's list of the 500 Greatest Songs Of All Time.

*The song has inspired an absolutely insane number of cover versions~ the most thorough list I know of can be found here. I'm only familiar with about half of the remakes cited, but Baby Huey's rendition is easily my favorite interpretation amongst those I've heard.

To briefly run down the history, I'll quote...ahem...myself:

Baby Huey's version appeared on his only album, The Baby Huey Story: The Living Legend. The LP was released on Curtis Mayfield's Curtom label in 1971, but unfortunately, Huey had passed away months prior to this, following a drug-related heart attack in a Chicago hotel room. Afterwards, The Baby Sitters briefly attempted to continue their career by replacing Huey with a teenage girl named Chaka Khan. The rest, of course, is soul history...

*The moral of the story is this: if you ever decide to record a version of this song, you should probably stay the fuck outta Holiday Inn for a long minute, son...


"I'm Through Trying To Prove My Love To You"---Millie Jackson (LimeLinx)
"I'm Through Trying To Prove My Love To You"---Millie Jackson (YSI)

*Written by Bobby Womack; originally appeared on his 1973 Facts Of Life LP

*Millie Jackson's exceptional cover appeared on her 1974 LP, Caught Up.

*Concept albums have always been somewhat of a rarity amongst soul/R&B artists, which is part of what makes Caught Up such a thoroughly engaging and essential masterpiece of the genre. Jackson's signature mistress schtick and occasionally bizarre album covers often led to her being misunderstood, underappreciated...laughable even...but if you fail to see any artistic value in her work, chances are you've missed the the boat.

The 'other woman' is perhaps one of the least respected and most reviled archetypes in all of modern society, and yet, most of us have slept with her or been her at some point in our heavily veiled, secret past. Truth be told, love triangles are every bit as essential to the story of human relationships as monogamy could ever hope to be. The problem with approaching this subject with a degree of honesty is that it somehow disrupts our fairy tale projection of love's imaginary ideal, and we simply can't live happily ever after if some other bitch is standing in the way. Right???

The genius of Millie is that she sort of had this all figured out before many of us were ready to hear it~ perhaps that's why she so often comes across as callous and unapologetic when singing or rapping about her scandalous little trysts. Society's outward indignance towards outside relationships and extramarital affairs clearly fails to apply when we're gettin' our own freaky on behind closed doors.

Caught Up is a dichotomous soul opera that explores the mistress' viewpoint on the A-side, and the wife's perspective on the flip. "I'm Through Trying To Prove My Love To You" is, for me, the indisputable centerpiece of the latter. Jackson's trademark ad libs reconstruct the Womack original, depicting a married woman who's grown tired of her husband's lyin', cheatin' ways. Not only has she finally gathered the strength to get the fuck outta Dodge, we discover that she has her own little piece of ass on the side. Niiiiccceee. While it still doesn't qualify as a feminist anthem, it certainly has more backbone than all those "i'mma stand by my man, even if he feeds me ALPO" songs that many of her female contemporaries were releasing at the time.

*If you can dig where Millie's comin' from, go deeper


"Wichita Lineman"---New Apocalypse (LimeLinx)
"Wichita Lineman"---New Apocalypse (YSI)

*Written by Jimmy Webb in 1968 for Glen Campbell, who released the song that same year. Campbells' version peaked at #3 on the pop charts, managing to hang out in the Billboard Top 100 for a total of 15 weeks. The single also made waves on the country and adult contemporary charts, and was certified gold in January of 1969.

*Not only did Rolling Stone rank it at #192 on its list of the 500 Greatest Songs Of All Time, but Blender magazine gave it a nod as one of the best songs ever as well. Their well-researched feature on the track details quite a bit of the backstory behind the song.

*Other covers of the song have been rendered by Young-Holt Unlimited, R.E.M., Dennis Brown, Ray Charles, The Fatback Band, Charlie Byrd, Cassandra Wilson, O.C. Smith, Johnny Cash, The Meters, Kool & The Gang, Sammy Davis Jr., and more. The worst rendition of all time? That dubious distinction likely belongs to Jim Nabors, aka Gomer Pyle. I mean...arrrgghhhh...what the fuck was he thinking?

*New Apocalyse's funky/jazzy remake of the track was released in 1967 on their Stainless Soul LP. A tight instrumental outfit that's often compared to The Meters, New Apocalypse had a short-lived contract with MTA Records. Famed recording engineer George Massenburg worked with the musicians to achieve their impeccable sound, but their material was regrettably overlooked.

Michael Meros, who played piano/organ with the group, went on to have a relatively successful career in music. Although he worked with well-known artists such as Leon Russell and Ringo Starr, his most memorable stint was as the Beach Boys' touring keyboardist from 1979 through 2000.

I've always hoped to come across this obscure album on one of my digging expeditions, but the stars haven't aligned themselves in my favor yet. Nevertheless, one of the soul children recently came through with a digital copy, and for the moment, just having it in my iPod will suffice (gracias David).

Stainless Soul is a rarity to begin with, but it's become increasingly elusive as DJs and collectors spread the word about how truly break-tastic it is. Their cover of "Get Out Of My Life Woman" has been sampled at least a zillion times, and the album is frequently sought after on the strength of that track alone. While I'm clearly not against digging specifically for original source material, anyone who's fortunate enough to cop this LP should definitely hang on every note that the rest of the album has to offer.

My favorite track on Stainless Soul is frequently interchangeable, but their take on "Wichita Lineman" has become an essential staple of my 3am insomniac grooves. This is no small feat considering that I'm not a huge fan of the original, nor most of the other interpretations I've heard (however, Smokey Robinson's graceful rendition is another noteworthy exception).

New Apocalypse's take starts out leaning a bit towards the sluggish side, but the excitement progressively builds until it has you by the throat, and you're caught up in the rapture, Anita Baker style (minus the charismatic vocal "calisthenics", of course). Good stuff, kids...good stuff.


"Dakari (Nicolay Remix)"---The Last Poets feat. Keith Murray (LimeLinx)
"Dakari (Nicolay Remix)"---The Last Poets feat. Keith Murray (YSI)

*The second installment in producer Nicolay's Off The Shelf series speaks volumes as to why I'm so hyped about the master beatsmith's recent decision to clear out his vault. His incredible "Dakari" remix dropped right on time as far as I'm concerned...nevermind that it spent the better part of five years accumulating dust.

It's always somewhat baffling when material of this magnitude gets held in reserve, but Nicolay posted a relatively straightforward breakdown on the delay:

Things don't always work out as you would hope, and the reasons why usually have little to do with music, and all the more with the people "behind the scenes", as the following example illustrates. Of course, not everyone in the music industry is a shark, but it certainly is my personal experience that the good people are exceptions that prove the rule.

At the end of 2004, I was contacted by a fairly well-known indie hip-hop label's A&R (Artist & Repertoire) director (who shall remain anonymous). The guy was working on a new project with legendary group The Last Poets, and he wanted to see if I could remix a song called "Dakari" track that also featured Keith Murray. The remix was intended for a 12" single to promote the album, and would potentially even be included on the album as they were not too thrilled about the beat that was used for the original track. Eager to expand both my range and my resume, I thought it would be a good opportunity for me to reach a new audience, and we came to an agreement that worked for all parties involved. I finished the remix in January of 2005.

To make a long story short, the A&R guy never held up his end of the agreement, and never made good on the agreed compensation, using every excuse known to man before falling off the map and abandoning the entire project. And so the remix never came out. Until today! Big up to The Last Poets (Umar Bin Hassan + Abiodun Oyewole) and Keith Murray. Enjoy, and thanks for listening, Nicolay

Be sure to catch up on any episodes of Off The Shelf you may have missed (especially his tribute to Bob James), and stay tuned for future installments at nicolaymusic.com.


"My Adidas (Nomadic Remix)"---Run-DMC (LimeLinx)
"My Adidas (Nomadic Remix)"---Run-DMC (YSI)

*"My Adidas" was the first single from Run-DMC's 1986 Raising Hell LP (b/w "Peter Piper"). It was written by Joseph Simmons and Darryl McDaniels; produced by Russell Simmons and Rick Rubin.

*While it didn't achieve the crossover appeal of "Walk This Way", anyone who knows shit about hip hop can explain why "My Adidas" is not only a classic, but a phenomenon. Not to be inhospitable, but you may not belong here if you've never heard this joint.

*DMC elucidates the song's origins:

*In the pre-NWA days, Ice Cube and Dr Dre had a regional hit with a parody of this song called "My Penis". It's crazy to ponder how the evolution of gangsta rap may have been altered if these guys had become the Weird Al Yankovics of hip hop...

*Please don't ask what prompted me to throw this in the mix today~ just feelin' this again for some reason. Nomadic's remix of "My Adidas" is from his 2006 Back To The Beat project...which makes it a throwback inside of a throwback, or something equally confounding that my brain can't quite decipher.

Anyway, I liked the majority of Nomadic's spins on old school hip hop classics, in part because he didn't aim to upstage the originals~ that's treacherous ground when you're remixing the likes of Run-DMC, Audio Two, Eric B and Rakim, The Beastie Boys, Grandmaster Flash, etc. His concept was grounded in simply paying a respectful homage to the music of his youth, and I can definitely get down with the laidback, soulful vibe he bestowed upon most of these tracks. The beat on his "My Adidas" remix samples "Give Me One Good Reason Why" by the Soul Children, and...what the hell...here you go:

FUNDAMENTAL SUPPLEMENTAL/SOULED ON SAMPLE:

"Give Me One Good Reason Why"---Soul Children (LimeLinx)
"Give Me One Good Reason Why"---Soul Children (YSI)

*More free Nomadic tracks and info via MySpace and Latchkey Recordings


"Shook Hands In Brooklyn"---Minty Fresh Beats (LimeLinx)
"Shook Hands In Brooklyn"---Minty Fresh Beats (YSI)

"Reckoner Encore (Instrumental)"---Jaydiohead (LimeLinx)
"Reckoner Encore (Instrumental)"---Jaydiohead (YSI)

*"Shook Hands In Brooklyn" is a mix containing lyrical elements from "My Downfall" by Notorious B.I.G. ; The "Reckoner Encore" instrumental samples "Reckoner" from Radiohead's In Rainbows LP.

*DJ/producer Max Tannone has as many aliases as Madlib or Doom, but I promise you that he's entirely worth the trouble. Many of his earliest tracks were credited to Minty Fresh Beats, but apparently he had to surrender that moniker for legal reasons. His most celebrated project to date was Jaydiohead, a highly acclaimed collection of Jay-Z vs. Radiohead mash-ups.

As you know, I try to incorporate Jay and Radiohead into a lot of my posts...sideways if necessary. Remarkably, I never did a feature on the project because I included a couple of the tracks in my Insomniac's Tribute To Radiohead mix. Despite the fact that I employed a rather subtle approach to giving Jaydiohead a shout, I was essentially on the same page with every hipster fuck on the interwebs who thought this could be the Second Coming of The Grey Album, or whatever...

Not long ago, I received 5 more tracks from Max called Jaydiohead: The Encore. To be honest, I wondered if this addendum was really necessary~ either too much of a good thing or grasping at straws to elongate the proverbial 15 minutes of fame. While I'm still not as in love with these as the first set he released, I've been listening to the instrumental versions on repeat. I never thought the day would come, but I'm...at least temporarily...a bit bored by hearing Jay's lyrics mashed and rehashed into infinity. The beats, however, are all kinds of lovely.

I went back and downloaded all of Tannone's work, and "Shook Hands In Brooklyn" emerged as a paragon of his abilities. Arguably, I could be just as fatigued by hearing Biggie mashed and rehashed once again, but dammit...this is dope.

*Stay up on the artist formerly known as Minty Fresh Beats via MySpace and Jaydiohead.com. Free downloads, hotdogs, kittens, party hats, and yeah...pretty much whatever you want.

Word From Your Moms:

"In order to rise from its own ashes, a phoenix first must burn."

"The only lasting truth is change."

~Both quotes by Octavia Butler; all due respect to esg

On Second Thought: The Shaken Up And Spun Out Over You Edition (Part I)

Heeeeeyyyy soul kids~ how ya feelin' out there?

Been a long time

I shouldn't have left you

without a dope beat to step to...

However, let's not waste time dwelling on my lackadaisical fuckery...

Instead, please allow me to serve you with another outstanding volume of covers, remixes, mashes, and interpolations. As usual, I chose an eclectic variety of selections, so I have faith that most of you will discover something that causes a little commotion in your soul. I decided to split this edition into two parts because I wanted to share too many tracks for them all to fit within a single post. If all goes as planned, you shouldn't have to wait an eternity between updates this time around~ part two is already in the making.

Several people have asked me why I didn't post a tribute to Michael Jackson, perhaps because I'm one of the few writers/music lovers who hasn't entered the conversation on his untimely passing. With very few exceptions, I prefer to cover music, artists, and subject matter that's been forgotten or overlooked by popular culture and mainstream media outlets. Television, radio, and the internets have been saturated with coverage of MJ's life and death, and as a result, I found it somewhat impossible to add anything relevant to the incessant conversation that has been taking place across the global grapevine.

In the interests of reluctantly throwing in my depreciated two cents, I will tell you that I grew up listening to the Jackson 5, and every solo album that Michael released into the late '80s stays on heavy rotation in my household. However...no disrespect whatsoever...but I began to grieve the loss of my childhood hero long before June 25th. There's a vaguely discernable point at which I honestly lost my feeling of connection to him as an artist~ however this wasn't abandonment so much as a concerted effort to protect and preserve the man's iconic status in my memory bank. For those of you who are fixated on the Michael who was little more than a tabloid freak show, I would suggest that you press rewind and concentrate on celebrating his immense contributions to the past, present, and future of music history. (This strategy may also prevent you from ruminating on why Invincible was such a shitty album...)

We've reached a point in time when many of soul music's most legendary artists are rapidly departing from Earth, but rather than cultivating a virtual graveyard, my energy remains focused on emphasizing their greatness and sustaining the immortality of their monumental creations. May all of our beloved superstars continue to prosper and harvest in the imaginations of the living...

Towards that end, I decided to kick this session off with a cover of a song that MJ made famous~ an inspired take on "I Wanna Be Where You Are" rendered by The Roots and Erykah Badu.

Put ya lighters up, kids...Scholar


"I Wanna Be Where You Are"---Erykah Badu/The Roots (LimeLinx)
"I Wanna Be Where You Are"---Erykah Badu/The Roots (YSI)

*Written by Leon Ware and Arthur "T-Boy" Ross, Diana Ross' younger brother. The song marked the duo's first songwriting collaboration, and was written specifically for Michael Jackson. The track was released on MJ's Got To Be There LP and was issued as a Motown 45 on May 2, 1972.

*MJ's original version was recorded at Hitsville West In Los Angeles, and featured production by Hal Davis. Ross and Ware provided the background hollers, while the instrumentation is credited to an assortment of local musicians.

*This was Jackson's third Top 40 hit of his early solo career. The track reached #16 on the Billboard charts and #2 on the R&B charts.

*A video of Jackson performing the song on American Bandstand in July 1972:


*The song has been covered by Marvin Gaye, Willie Hutch, Leon Thomas, Zulema, O'Donel Levy, Ronnie Dyson, and more. Although Leon Ware co-wrote the track, he delayed releasing his own take on the song until 2001.

*Erykah Badu and The Roots appeared on Jimmy Fallon's show to pay tribute to MJ, but most of the good stuff happened before the taping began and during the commercial breaks. Erykah takes ownership of the track despite remaining somewhat true to the original, and the legendary Roots crew tears it up as usual.

**FUNDAMENTAL SUPPLEMENTAL


"Wanna Be"---The Fugees (LimeLinx)
"Wanna Be"---The Fugees (YSI)

The Fugees leaked their own interpolation of the track a few years back~ easily one of the illest interpretations I've ever heard. Damn Lauryn~ can you please come back from batshit crazy??? We really miss you...


"I Put A Spell On You"---Demon Fuzz (LimeLinx)
"I Put A Spell On You"---Demon Fuzz (YSI)

*Written and originally recorded by Screamin' Jay Hawkins (w/ the Leroy Kirkland Orchestra); the track was issued as a 7" on Okeh Records and appeared on the At Home With Screamin' Jay Hawkins LP in 1958.


*While "I Put A Spell On You" was reportedly intended to be a refined blues ballad lamenting a lost love, the final product was anything but subdued. Hawkins screams, groans, and gurgles on the track like an unrestrained wild man whose heartache is both palpable and primitive. He later accounted for this dramatic change in tone by explaining that the producer "brought in ribs and chicken and got everybody drunk, and we came out with this weird version. I don't even remember making the record."

Although some sources state that Hawkins had actually recorded a more sedate rendition several years prior, there doesn't appear to be any definitive evidence to justify that claim. What is certain, however, is that the Okeh original was edited to override the song's initial ban from the airwaves. The alternate version allowed the song to sell over a million copies and crack the Top 40; no small feat for a track that had once been shunned due to its "cannibalistic sounds" and overtly sexual grunting noises.

Hawkins' newly found success ultimately led to his professional affiliation with famed DJ and radio personality Alan Freed. Hawkins had always been somewhat more flamboyant and ostentatious than the prototypical bluesman, but Freed soon had a bugged-out brainstorm that would forever alter the course of Jay's career. He imagined that if Hawkins developed an outlandish persona to match the eerie vibe of his popular recording, his live act was destined to garner quite a bit of attention. Freed had such confidence in the potential of this idea that he offered Jay a $300 bonus to pop out of a coffin at the beginning of one of his performances. The gimmick paid off, and Hawkins' outrageous onstage antics would come to include a number of voodoo stage props, including rubber snakes and a cigarette-smoking skull named "Henry".


The whole madman schtick was brilliant to the extent that it profoundly influenced later purveyors of "shock rock"such as Alice Cooper, Warren Zevon, Ted Nugent, Black Sabbath, Marilyn Manson, and even George Clinton. The downside of Hawkins' grossly exaggerated peculiarities and wildly theatrical live performances was that the emphasis predictably shifted away from the purity of his artistic potential. Like it or not, most snobby music elitists are reluctant to admit their fondness for the kooky guy in witch doctor regalia who sang his deranged heart out on jams like "Constipation Blues".

*In addition to the indelible mark he made on music history, Hawkins fortified his notoriety by fathering a whole shitload of unclaimed children. The deadbeat dad estimated that he had approximately 57 children in various parts of the world, although he only remained in close contact with one~ a puppeteer from Cleveland named Irene. At one point there was actually a website that sought to unite anyone who thought he might be their daddy. In 2001, the year following Hawkins' death, a fraction of his offspring gathered in Los Angeles for an event that was tauted as Screamin' Jay's Illegitimate Family Reunion. Accordingly, there's little doubt that the man's legacy will live on...and on...and on...

*Nina Simone was the first major recording artist to cover "I Put A Spell On You", although her interpretation was decidedly less maniacal than the original. Artists as diverse as Creedence Clearwater Revival, Arthur Brown, Bryan Ferry, Marilyn Manson, Bonnie Tyler, Nick Cave, Manfred Mann, The Animals, Joe Cocker, Fever Tree, Queen Latifah, and The Eels have subsequently put their own spin on the classic tune.

*Demon Fuzz has never been given their proper due in popular culture, but they certainly amassed a substantial cult following during and in the aftermath of their all-too-brief, 18-month musical career. The past decade has certainly seen a marked rise in their popularity, as record collectors, DJs and producers have become increasingly enamored with their material.

The group's inception is generally traced back to Paddy Corea, who reportedly conceived of the idea to blend a multi-genre mélange of musical styles while on an extended sojourn in Africa. Due in part to Corea's panoramic worldview, Demon Fuzz's sound is a large-scale synthesis of latin grooves, soul, funk, jazz, reggae, rock, calypso, highlife, the blues, Ethiopian church music, ska, etc. You name it and they likely experimented or were in some way influenced by it.


The London-based collective's music has been likened to Cymande, Sly & The Family Stone, Mandrill, Santana, and Funkadelic, but a simplistic comparative analysis is no substitute for actually listening to their material. Many writers are quick to describe recording artists as "unique", but these guys were legitimately innovative, if for no other reason than their deviation from many of the usual trappings of guitar-oriented popular music. Demon Fuzz were far more focused on exploring the infinite possibilities of rhythm and percussion, and their unorthodox time signatures and elaborate arrangements further added to the progressive vibe of their recordings.

The group's stirring rendition of "I Put A Spell On You" was originally issued as one of three bonus joints on an EP released alongside their five-song Afreaka LP (Janus 1970). The EP has long been somewhat of an obscurity, but those who are primarily seeking convenience should check out the remastered version (Castle 2005), which includes all 8 tracks. Diehard fans will also want to seek out the Roots & Offshoots collection, which has also been reissued on CD (Paco Media Inc 2006).


"Impossible"---Diz Gibran (LimeLinx)
"Impossible"---Diz Gibran (YSI)

*Contains an interpolation of Feist's "Intuition" (written by Leslie Feist) from her 2007 LP, The Reminder.

*"Impossible" by Diz Gibran appears on Crooks & Castles Presents: Soon You'll Understand, an ill collaboration between the Los Angeles-based MC and Moonshine, a producer hailing from Queens, New York.

*Some of you may be questioning why I didn't save this for the Souled On Samples series. Essentially it's because "Impossible" can't even be accurately described as sample-heavy~ Moonshine wisely allowed the Feist song to breathe and play out for a minute at the beginning of the track with very little technical interference. This approach is effective in that the plaintive mood of the original song is fully preserved, while Gibran's reflective lyricism graciously complements the track's already engaging atmosphere.

*Several months ago, Gibran told Vibe Magazine that he intends to work diligently towards "reshaping the perception of the West Coast". The up-and-coming MC views this transformation as being far bigger than hip hop~ he is of the mindset that this "renaissance" encompasses multiple aspects of style, culture, and creativity. Striving to modify the generic gangsta stereotype that's long plagued the Left Coast, Gibran is steadily making good on his promise to be a positive force in the expansion of the New West.


"Going In Circles"---Wayne McGhie & The Sounds Of Joy (LimeLinx)
"Going In Circles"---Wayne McGhie & The Sounds Of Joy (YSI)

*Written by Jerry Peters and Anita Poree; the song originally appeared on The Friends Of Distinction's 1969 Grazin′ LP. It peaked at #15 on the U.S. Pop chart, and #3 on the R&B chart.

*While Isaac Hayes released what I consider to be the definitive version on his Black Moses LP, the song has also been covered by artists such as Esther Phillips, Luther Vandross, and The Gap Band.

*Wayne McGhie & The Sounds Of Joy's self-titled debut is widely regarded as the first Canadian funk album, although the group expertly infused elements of soul, jazz, reggae, and R&B into their sound as well.

Shortly after the Kingston-born Jo Jo Bennett relocated to Toronto in 1967, he began performing regularly at the West Indian Federation Club. When asked to assemble a house band, Bennett requested that several Jamaican musicians join him, and Wayne McGhie left his home in Montego Bay to answer his call. The WIF club eventually became a popular hotspot, and McGhie triumphantly emerged as a highly sought-after singer/songwriter. During this time McGhie became acquainted with the legendary Jackie Mittoo, as well as many other artists who were affiliated with the "Motown of reggae", otherwise known as the famed Studio One label.

In the winter of 1969, McGhie assembled many of his affiliates and friends to begin work on the Sounds Of Joy album. The collective of musicians worked on their material during off-hours at Art Snider's Sound Canada Recording Centre, and McGhie forged a seemingly solid distribution deal with the Birchmount label.

The record was released the following year, but it fared rather poorly in terms of sales, due in large part to the fact that Birchmount neglected to promote the album. Months later, a fire at the label's pressing plant destroyed the remaining copies of the LP, and somewhat predictably, the record was never reprinted.

McGhie continued recording one-off projects for Studio One and his friend Jackie Mittoo, but by the end of the decade he had literally disappeared from the music scene. Evidently, the talented musician suffered from a severe chemical imbalance that resulted in him being homeless and out-of-touch with all of his friends and previous industry contacts.

In the mid-90s, a record dealer stumbled across the Sounds Of Joy album and sold it to Prince Be (of PM Dawn) for $300. Word spread quickly amongst crate diggers, and original copies of the record began raking in as much as $500. Pete Rock, Q-Tip, Buck 65, Mr. Supreme, and DJ Sureshot were amongst the bevy of hip hop producers who would eventually come to champion the long lost LP.

Light In The Attic Records embarked on a mission to contact the elusive McGhie, and in 2004 they discovered that he was living with his sister in Toronto. Their meeting ultimately led to the LP being reissued, both on compact disc and 180 gram vinyl.

While the funky drum breaks are worth the price of admission alone, the covers and original material on the album qualify this as one of the nicest LPs you've probably never heard.


"Just Ain't Gonna Work Out (Astronote Remix)"---Mayer Hawthorne (LimeLinx)
"Just Ain't Gonna Work Out (Astronote Remix)"---Mayer Hawthorne (YSI)

Mayer Hawthorne may look like that dude you want to do your taxes, but there's a reason why conventional wisdom preaches that appearances can be deceiving. I don't know how well the man flips digits, but I'm certain that his ultimate strength lies in his extraordinarily soulful falsetto...

*This lovely joint (described as Smokey meets J Dilla) was Mayer Hawthorne and The County's debut single. Released by Stones Throw as a heart-shaped 7-inch (STH7028), the 2008 track premiered on Gilles Peterson's show on BBC Radio 1. The 45, backed with "When I Said Goodbye”, was limited to a mere 1000 copies. Hawthorne wrote, recorded, sang and played on both tracks.

*Peanut Butter Wolf says that Hawthorne is the only artist he's signed on the strength of only two songs.

*Although he's since relocated to Cali, Hawthorne grew up in Ann Arbor, Michigan, just outside of Detroit. He reports being heavily influenced by the Motown sound, while drawing additional inspiration from Curtis Mayfield, Barry White, Smokey Robinson, Leroy Hutson, and Isaac Hayes.

*The crooner's debut full-length, A Strange Arrangement, is slated to hit the streets on October 6, 2009.

*Astronote is a DJ/producer/remixologist from Paris, France who has steadily been building his resume since 2004. His first drop was his killer spin on The Black Album, and he's been holding steady ever since. His most renowned project to date is Bigger & Better : The Notorious Remixes, hosted by Talib Kweli.


"All For The Best"---Thom Yorke (LimeLinx)
"All For The Best"---Thom Yorke (YSI)

*Written by Marc Mulcahy, ex-frontman for Miracle Legion; "All For The Best" appears on the group's Surprise, Surprise, Surprise LP (Rough Trade, 2000).

*This cover just hit the internets a few days ago (shout out to 2Dopeboyz)~ it's one of 21 tracks that will appear on the upcoming LP, Ciao My Shining Star: The Songs of Mark Mulcahy. Ciao is a tribute album being released to provide support for Mulcahy, whose wife's sudden death last year has left the musician to raise their three-year-old twins alone.

Clearly there's a charitable intention behind the project, but even if you're an evil-hearted bastard, the stellar line-up should persuade you to consider purchasing the LP when it's released in September. Yorke's fellow contributors include The National, Dinosaur Jr., Frank Black, Michael Stipe, Mercury Rev, Vic Chesnutt, and many more.

FUNDAMENTAL SUPPLEMENTAL:


"Ceremony"---Radiohead (LimeLinx)
"Ceremony"---Radiohead (YSI)

*Written by Joy Division's Ian Curtis (alongside Bernard Sumner, Peter Hook, and Stephen Forest), "Ceremony" was penned while the band was still called Joy Division. Following Curtis' suicide, the group reincarnated itself, and "Ceremony" (b/w "In A Lonely Place") was released as the first single under the New Order moniker. For the revamped NO version, guitarist Bernard Sumner took over the lead vocals, allegedly using a graphic equalizer to transcribe Curtis' lyrics from their rehearsal tapes.

Later that same year, New Order went back into the studio to record a second take, featuring Gillian Gilbert on guitar just before she formally joined the band. There are numerous differences between the two renditions New Order released, but to simplify the discrepancies, the earlier take was far more heavily influenced by Joy Division's signature bleak soundscapes than the latter.

There are also two known Joy Division versions of the song~ one is a live recording that appears on Still, while the other was included on their Heart and Soul four-disc box set. Unfortunately, in both cases, Curtis' lyrics are only partially comprehensible/audible.

*Xiu Xiu, The Morning Benders, The Echoing Green, and Galaxie 500 are amongst the many bands who have taken turns reinventing the track.

*Radiohead performed their stellar cover for their Thumbs Down webcast on November 9, 2007:


Word From Your Moms:

“The theme is the theme of humiliation, which is the square root of sin, as opposed to the freedom from humiliation, and love, which is the square root of wonderful.”

“The mind is like a richly woven tapestry in which the colors are distilled from the experiences of the senses, and the design drawn from the convolutions of the intellect.”

“It is a curious emotion, this certain homesickness I have in mind. With Americans, it is a national trait, as native to us as the roller-coaster or the jukebox. It is no simple longing for the home town or country of our birth. The emotion is Janus-faced: we are torn between a nostalgia for the familiar and an urge for the foreign and strange. As often as not, we are homesick most for the places we have never known.”

~Above quotes by Carson McCullers

It Ain't No Use In Jivin'; Some Souls Need Revivin'...

"A Song For You"---Merry Clayton (LimeLinx)
"A Song For You"---Merry Clayton (YSI)

~Appears on the Merry Clayton LP (Ode 1971)

Although "A Song For You" was written and originally recorded by singer/songwriter/musician Leon Russell, most soul fans tend to enthusiastically agree that the definitive version was rendered by none other than the late, great Donny Hathaway. While the lyrics themselves are undoubtedly imbued with a degree of poignancy, it was Hathaway's deeply affecting take on the song that arguably blessed it with such a palpable sense of sincerity and longing. His impassioned delivery epitomizes the very essence of what makes soul music so moving and evocative~ unless you have sociopathic tendencies, it's virtually impossible not to absorb and fully empathize with his pain.

Now that I've lavished Hathaway's rendition with such high praise, you may rightfully be wondering what in hell would possess me to post an alternative cover of the song. For one thing, of the 30+ versions of this song I've heard, Merry Clayton's take is easily amongst my favorites once you control for the daunting Hathaway Effect. I sincerely dig the way Aretha, The Temptations, and Ray Charles interpreted the song, but Clayton's enormous vocal talent is too often criminally overlooked, which keeps me perpetually inspired to champion her sound. I featured her stellar rendition of Neil Young's "Southern Man" quite some time ago, and while it arguably surpasses "A Song For You" in terms of overall quality, she has the chops to transform nearly everything she touches into a quasi-religious experience.

It also may be of interest that Clayton was actually the first artist to release a cover of "A Song For You". She and Hathaway both released their versions in 1971, a year that also saw covers issued by Bill Medley, Helen Reddy, and Andy Williams. Oddly enough, only Williams garnered any measurable commercial success with the tune, peaking at #82 on the Billboard charts. I've never been a big fan of the popular crooner's work, but evidently that makes me uncivilized~ old people think he's dope and Ronald Reagan once declared his voice a national treasure. I'm certain there has to be a Time-Life retrospective of his material floating around on eBay, so...you know...get busy, son.

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"D.O.A. (Death Of Auto-Tune)"---Jay-Z (LimeLinx)
"D.O.A. (Death Of Auto-Tune)"---Jay-Z (YSI)

Souled On Sample:

"In The Space"---Janko Nilovic & Dave Sucky (LimeLinx)
"In The Space"---Janko Nilovic & Dave Sucky (YSI)

Only in the rapidly cycling age of the internets would a track that leaked 2 1/2 weeks ago be considered old school, but for all intents and purposes, "D.O.A." has already been thoroughly vetted. Not only has it already undergone intense scrutiny by the armchair army, it's also spawned an impassioned response from the community of artists who utilize Auto-Tune. I'm sure that most of you have heard this already, but it's all good. You probably missed this if...say...you just recently escaped the clutches of an extremist cult that forced you to marry your cousin, punished you for refusing to drink the kool-aid, and banned access to all forms of media (with the possible exception of Channel 18).

Jay declaring a moratorium on Auto-Tune doesn't particularly bother me, because I would bet my meager life savings on the fact that "T-Painin'" (formerly known as the Cher Effect) will go down in history as one of the tackiest trends to ever infiltrate popular music. There's no doubt that a handful of artists have used it imaginatively and effectively, but for the most part, the novelty has progressively worn off with every irritating instance of creative abuse. Perhaps my bitterness is biased because I'm positive that I deserve credit for inventing this shit in the early '80s~ I nearly ripped my face off once while singing an MC Hammer song into the back of my Auntie Peaches' metal blade 12 volt fan.

Much as I'm down with Hov , I gave up hoping a long time ago that he would drop something as lyrically impressive as his rhymes on Reasonable Doubt, or even The Black Album. That said, he flips some clever lines on this joint, and I don't think I'll be mad if the final version of Blueprint 3 contains material of this caliber.

I also included the song that producer No I.D. sampled on the cut~ a track from a dusty library record called Psyc Impressions. I'm kinda scratching my head at all the people who are going bananas over the production on this song. Don't kill me~ I'm a No I.D. fan from way back, and I give him an A+ for being an industrious crate digger. The entire record is full of creative possibilities that heretofore have been overlooked and I give him mad props for having the foresight to unearth it. My only issue is that it's so faithful to the original that it comes across as more derivative than imaginative.

All in all, this is a pretty good look for Hov, with the added bonus that wifey isn't all up in the cut singing some of that oh oh ooh oh oh ooh oh oh ooh oh oh oh shit...


"Can't Buy Soul"---Hebrew Rogers (LimeLinx)
"Can't Buy Soul"---Hebrew Rogers (YSI)

Funky Music Machine is one of the illest funk compilations ever released on the Soul Patrol label. I know that many purists prefer to search for the original 45s, but since that's not always probable or practical, I'm never ashamed to cop a set of killer funk and soul grooves.

One of the obvious standouts on this particular collection is "Can't Buy Soul" by Hebrew Rogers. First released on the Original Sound label in 1973, the track was penned by the multi-talented Preston Epps. While Rogers remains a bit of an enigma, Epps is an accomplished percussionist who settled in Southern California after his tour of duty during the Korean War. While stationed in Okinawa he learned to play a number of different instruments, most notably the bongos. After being signed to Original Sounds Epps released "Bongo Rock" in 1959~ a hit single that climbed to #14 on the Billboard charts and was later covered by The Incredible Bongo Band. Epps subsequently released a full-length LP, and tried to mirror this early success with other bongo-themed joints such as "Bongo Bongo Bongo", "Bootlace Bongo", "Flamenco Bongo", "Bongo Boogie", "Mr. Bongo", "Bongo Shuffle", "Bongo in the Congo", "Bongo Rocket", etc. Perhaps it was bongo overkill, because none of these records touched the popularity or impact made by his first single, but Epps continued to work as a session musician and was a fixture on the SoCal club scene well into the 1990s. At any rate, I was impressed to learn that Epps wrote this extraordinary deep funk classic, and I'm also quite grateful that he avoided lacing the title with any of his standard bongoisms.

The Funky Music Machine compilation is becoming increasingly difficult to find through major retailers, but this particular gem is still available as the B-side to Deloris Ealy & The Roadrunners Band's "It's About Time I Made A Change" on Deep Groove Sounds, and was also compiled on BGP Records' SuperFunk Is Back- Rare And Classic Funk 1968-1977 LP in 2007. The latter has a bit more filler material than Funky Music Machine in my opinion, but it boasts a number of hard-to-find and previously unissued recordings that unquestionably inflate its overall worth.


"Words Of Wisdom (They Don't Know)"---Sam Sever and the Raiders of the Lost Art (LimeLinx)
"Words Of Wisdom (They Don't Know)"---Sam Sever and the Raiders of the Lost Art (YSI)

Although relatively few heads recognize Sam Sever's name these days, the NY-based producer has worked with a myriad of artists, including The Beastie Boys, Tricky Tee, Run-DMC, Oran 'Juice' Jones, Tashan, Ms. Melodie, Nikki D, Sham & The Professor, and A.D.O.R.

Although many hip hop elders still highly regard his early 90's hip-hop group with Bosco Money, Downtown Science, Sever (aka Sam Citrin) is perhaps most widely recognized for his affiliation with 3rd Bass. Having worked with both MC Serch and Pete Nice on their respective demos, he suggested that the two rival MCs work together, which ultimately lead to the group's formation. 3rd Bass scored a contract with Def Jam, and Sever stayed on board to produce a great deal of their material.

"Words Of Wisdom (They Don't Know)" was released by Sever on a Mo Wax 12" in 1995. What's That Sound? featured an ill side and a chill side, and this dope little throwback joint was one of three tracks featured on the latter. According to Can I Bring My Gat?, the spoken word on the track is courtesy of one of The Last Poets. This joint may be 14 years old, but its commentary on the recording industry couldn't be more relevant: “Record company is the pimp, artist is the ho, the stage is the corner, and the audience is the trick.” Word.

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"The Truth Shall Make You Free"---King Hannibal (LimeLinx)
"The Truth Shall Make You Free"---King Hannibal (YSI)

*From the Truth LP (Aware, 1973)

King Hannibal starts off "The Truth Shall Make You Free" with a big wailing echo: "I wanna talk to all you addicts out there...that's got yourself a great big jones...and you done tried...the methadone...and you just can't leave that herion alone...I wonder...have you tried Jeeeee-zussssss." Those few lines speak volumes about a man who is perhaps one of the most interesting characters in all of soul music's history.

Born James Shaw, Hannibal started singing doo-wop in his hometown of Atlanta, GA. By 1954 he was singing with the Overalls, a group that included two future members of the Pips, Edward Patten and Merald "Bubba" Knight. He soon moved to LA and stepped out as a solo artist, releasing material on various labels as Jimmy Shaw, Hannibal, and the Mighty Hannibal.

By the mid-60s, Hannibal was beginning to fully realize his artistic potential. His vocal abilities were progessively more impressive, and he had developed a distinctive persona that involved his trademark turbans and an indescribably hypnotic stage presence. Upon returning to Atlanta, he signed with Shurfine Records and released two sides that were amongst the finest of his musical career, "Jerkin' The Dog" and "Hymn No. 5". Originally issued in 1966, "Hymn No. 5" became Hannibal's most commercially successful single, peaking at #21 on the R&B charts. Vividly depicting the horrors of the Vietnam War, the anti-establishment anthem was both radical and visionary in the sense that it preceded most of the protest music that would later be released. Despite the fact that many radio stations refused to play it, the record sold more than 3,000 copies in Columbus, Georgia alone, presumably because many of the soldiers stationed at Fort Benning could relate to the song's powerful sentiments.

Although this defining moment could have launched Hannibal into superstardom, the charismatic vocalist was spending more of his time pimping than performing, in addition to being consumed by a crippling heroin addiction. His gradual descent into hell-on-earth would be further punctuated by a stint a jail for tax evasion.

These trials and tribulations ultimately lead to Hannibal's re-emergence in the '70s as a reformed man with a newly signed contract with Aware Records. King Hannibal, as he was now calling himself, had officially traded heroin for Jesus, and he was enthusiastic about sharing the recipe for his triumphance with anyone who would listen. Understanding a bit of the backstory makes "The Truth Shall Set You Free" more than an in-your-face anti-drug anthem; it's the tale of a man whose life crumbled under his excesses until he found the strength to rise above his struggles and put himself back in the game. I'm not much for hyper-religiosity, but I can certainly appreciate the man's resilience, and besides...it's a funky-ass cut. (If you dig this, you might wanna check out his slight variation on this same theme, aptly titled "God's The Only Cure For The Crack". Seriously, cousin...)

Hannibal languished in obscurity for much of the '80s and '90s, but his career was jump-started when some of his music was featured in the film Velvet Goldmine. The artist is now blind and living in the Bronx, but he's still hustlin' CDs out of his apartment, and returned to Atlanta in 2007 for the proclamation of Mighty Hannibal Day.

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"Fly Crow"---Tha Connection (LimeLinx)
"Fly Crow"---Tha Connection (YSI)

I think I may have mentioned this before, but Tha Connection's Trapeze was one of my favorite hip hop releases last year. Although 2009 is far from over, I feel confident in saying that their latest LP, The Love Royale, is likely to achieve the same elevated status this year when all is said and done.

Critical analysis/deconstruction isn't really my forte~ if I like something I like it, and I usually don't feel like bustin' out my thesaurus to justify whatever wild claims I'm making about a song or album on any given day (how fuckin' gangsta and anti-blogger of me). Consequently, I'll keep this relatively simple...What makes these guys so ill is their instinct for blending the soulful and the gritty. Their press release for The Love Royale vividly depicts their style as "pure nostalgic soul sounding vibes as sharp as blade winds".

If you had asked me in '93 what soulful hip hop sounded like, I would have probably referenced Gang Starr, Wu-Tang or Mobb Deep. RZA, Premier and Havoc were masterful at flipping some lovely old records, but those guys also knew how to keep it grimy. It would be ludicrous to blame the regression exclusively on Kanye's "chimpmunk soul" period, but that's roughly the straw that broke the proverbial camel's back. Soulful hip hop got saddled with an oversized pink backpack and it hasn't quite managed to regain its integrity, composure, or credibility ever since.

In any case, I have much respect for Tha Connection in the sense that their music is an authentic throwback to the raw soul and jazz-infused bleakness of the golden era's east coast vibe. Don't jump on this expecting the caliber of The Infamous or 36 Chambers, but appreciate what is undoubtedly a positive step towards reclaiming a long lost art. MCs SmooVth and Hus don't spit the wittiest rhymes I've ever heard, but they're ingenious at creating the sort of moody atmosphere that characterized a grip of venerable hip hop classics. .

I've been listening to this album for a couple of months now, and I keep getting stuck on different tracks that I'll play on repeat until I step to the next one. I just started diggin' "Fly Crow", but you'll wanna cop the whole album so you can check out other dope joints such as "Royale", "Dum Dum Dum", "Let's Go", "Fool In Love", "Get Live", and the revamped version of "Take It Higher".

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"When It's Over"---Don Varner (LimeLinx)
"When It's Over"---Don Varner (YSI)

Although I'm guessing that many of you haven't heard of Don Varner, the raspy-voiced soul vocalist performed or shared the stage with the likes of Ray Charles, Billy Preston, Sam Cooke, and Jackie Wilson, just to name a few. Primarily issuing his singles on a string of obscure labels during the '60s and '70s, Varner recorded most of his material at Quin Ivy's studio in Muscle Shoals.

While the singer became somewhat legendary on the Northern Soul scene, his records enjoyed considerably less success in the States as compared to the UK. It's nearly impossible to justify why his talents were so underappreciated, but Varner is one of many accomplished artists who simply didn't receive the proper marketing and distribution to garner significant acclaim. In addition to his impressive baritone voice, Varner was also a prolific songwriter who stockpiled an abundance of original material in his vault.

The first proper collection of the artist's works, including previously unissued tracks, was released by RPM Records in the UK in 2005. Sadly, Varner passed away in 2002 and wasn't able to fully enjoy the rekindled interest in his material that was sparked at the turn of the millenium. His widow is fully committed to keeping the spirit of his music alive, and she was instrumental in laying the groundwork that led to the posthumous release of Finally Got Over!

Varner's tracks have appeared on various compilations, but I'd definitely recommend purchasing this excellent CD reissue of his recordings. "When It's Over" (an R&B twist on the same basic theme Cat Stevens explored on "Wild World" IMO) is merely one of 23 solid cuts from a man who epitomized the very heart of Southern soul music.

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"See It All"---Fink (LimeLinx)
"See It All"---Fink (YSI)

*Appears on Sort Of A Revolution (Ninja Tune, 2009)

I'm thoroughly bored with writing in paragraph format, but I do want to share this one last song from Fink's captivating Sort Of A Revolution LP. A few random and potentially poorly organized facts:

*Born Fin Greenall, Fink was raised in Bristol in a musical household~ his father was a folk artist and his mother was a music manager. He started off his own career in the industry as a DJ and club promoter.

*Fink was the first traditional singer/songwriter to be on Ninja Tune's roster.

*He has worked in various capacities with artists such as Amy Winehouse, Nitin Sawhney, Zero 7, and Bonobo. His Sort Of A Revolution LP contains material he collaborated on with John Legend.

*Fink has drawn comparisons to artist such as Massive Attack, JJ Cale, Nick Drake, Nick Cave, Jeff Buckley, and John Martyn.

*His Sort Of A Revolution LP was preceded by Fresh Produce, Biscuits For Breakfast, and Distance And Time

*I didn't listen to Sort Of A Revolution very much at first, but one day not too long ago its brilliance just sort of crept up on me. In my experience it's often the albums that finally dawn on me after repeated listens that ultimately have the greatest replay value. "See It All" was the track that was coming out of the speakers when I experienced my little "holy fuck" moment...

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Word From Your Moms:

"I am gonna write poems til i die and when i have gotten outta this body i am gonna hang round in the wind and knock over everybody who got their feet on the ground."---Ntozake Shange

How We Ever Gonna Get Up If That's How We Get Down?

How ya feelin' out there, soul children?

Hopefully things are starting to heat up in your part of the world, and there's nothing more potent than some scorching hot music to fan the flames. Whatever it is that may be ailing you, don't let it keep you down~ just sweat it out, kids. Like my grandmama used to always say, sometimes you gotta blaze up if you wanna stay lifted.

Be easy, fam...Scholar

"Funky Hi-Life"---CK Mann & Carousel 7 (LimeLinx)
"Funky Hi-Life"---CK Mann & Carousel 7 (YSI)

CK Mann (aka Charles Kofi Amankwaa Mann) is a renowned Ghanaian musician whose profound impact on the evolution of highlife music has made him a beloved and highly influential artist not only in West Africa, but in many other parts of the world as well.

A self-taught guitarist, Mann's illustrious career began in the 1960s, when he joined Moses Kweku Oppong's band Kakaiku. Once he had fully established himself as an artist, he struck out on his own to form the Carousel 7 , swiftly garnering success with a mega-hit called "Edina Brenya".

I won't torture you by rambling on about the complex history of highlife~ I'm pretty sure that a good many of you snitches are content in believing that the Black Eyed Peas constitute "world music" (although seriously, having an appreciation for "lovely lady lumps" doesn't necessarily make you sophisticated, playa). It's still important to note, however, that highlife music's relevance and viability was greatly threatened in the early '70s by the increasing popularity of the funk and disco movement. It was at this critical juncture that Mann began to innovatively fuse core elements of osode (a music sung by Ghanaian fishermen in the west of the country) and highlife with heavy, funkdafied basslines, effectively saving the genre from extinction.

One of the best records to emerge from this stylistic fusion was undoubtedly "Funky Hi-Life". Originally dubbed "Asafo Beson", this irresistible groove first appeared as the intro to a 1975 album-long party LP. The handclaps, footstomps, and vocals harmonies are reminiscent of highlife's origins, while the thunderous bass and whirling organs gave the track a more contemporary vibe that was favored by the younger generation.

This has long been one of my favorite summer records. Hopefully it will have a similar effect on all of you and get you hoppin' around on your feet and shit. If you've been sprawled out on your couch all winter, it's probably a good time to burn off some of that excess baby fat anyway, children...


"On And On (Deep Focus Remix)"---Erykah Badu (LimeLinx)
"On And On (Deep Focus Remix)"---Erykah Badu (YSI)

Deep Focus (aka Robin Andrews) is an unsigned producer from the UK who is extraordinarily masterful at creating lush electronic soundscapes. In addition to reworking tracks from a variety of genres, he's also dropped quite a few of his own beats on MySpace and his YouTube channel (be sure to check out his joint "Heavy Metal"). While his music is loosely categorized as drum & bass, the majority of his compositions bear a chilled out, relaxed vibe that you won't need copious amounts of amphetamines to appreciate. This reworking of Erykah's classic should serve as a proper introduction...


"Strange Fruit"---Ohene ft. Greg Soundz (LimeLinx)
"Strange Fruit"---Ohene ft. Greg Soundz (YSI)

As strongly as I believe that reinventing, remixing, and reimagining soul music is crucial in maintaining its relevance to coming generations, I get more than a little nervous when anyone tries to fuck around with Nina Simone. My reverence for her artistry runs deeper than I could possibly explain with words, and hacking away at her material to produce lame rap joints or shitty dance tracks is nothing short of blasphemy in my opinion. Consequently, the odds were greatly stacked against me appreciating...let alone endorsing...Ohene's magnificent tribute to the High Priestess of Soul.

What makes this project so outstanding is that Ohene is capable of channeling the same revolutionary spirit that made Nina one of the most impassioned, engaging, and socially conscious artists of all time. Dividing time between his homes in Philadelphia and Ghana, West Africa, this young griot's insightful storytelling and uncanny wisdom are undoubtedly rooted in his unique global perspective. Almost every line he utters is worthy of quotation, introspection and profound meditation, which has led to his work being analyzed and deconstructed in several university classrooms around the United States.

Although it may be challenging for Ohene to survive a climate where meaningful lyricism is progressively falling from grace, his music and message will undoubtedly have a strong and lasting impact on anyone who's willing to openly listen. His tribute to Nina Simone scratches the surface of his capabilities, but he's got several other releases you may want to look into as well. Be sure to cop his new free mixtape, The O Files, via Hip Hop Linguistics.

Dig deeper... (Ohene's MySpace)


"My Love Will Never Die"---Johnny Jenkins (LimeLinx)
"My Love Will Never Die"---Johnny Jenkins (YSI)

Johnny Edward Jenkins was born in 1939 in a rural area east of Macon called Swift Creek. His love for music was nurtured by the country and R&B music he heard playing on the radio, and at age 9, the self-taught guitarist built himself a crude version of the instrument with a cigar box and rubber bands that he played left-handed and upside down. His first performances were held at a gas station nearby, where he honed his skills while attempting to hustle the locals for tip money. After his sister bought him a real six-string, Jenkins grew to be quite a flashy guitar player, and his ostentatious and acrobatic antics had a seminal influence on a young Jimi Hendrix, who was profoundly affected when he saw him perform.

Despite Jenkins' own prodigious talents, the musician is perhaps best known for his somewhat rocky relationship with Otis Redding. After seeing Redding perform at a talent show, Jenkins invited the vocalist to join forces with his blues group, The Pinetoppers. By most accounts, Redding was primarily cast in the uneviable role of running errands and acting as the group's chauffeur.

However, the tides began to turn in Redding's favor when The Pinetoppers were invited to record an album in 1962 for Stax Records in Memphis. The sessions were reportedly disastrous and ended sooner than expected, but history was made when Otis asked if he could use the remainder of their studio time to sing some of his own selections. "These Arms Of Mine" was one of the tracks Redding recorded at that time, featuring Jenkins on guitar and Steve Cropper on piano. The song would, of course, become Otis' breakthrough single, and he alone was subsequently offered a recording contract.

It's often said that Jenkins was invited to join Redding's band, but declined the offer due to an intense fear of flying. However, Jenkins was known to occasionally make unkind remarks about the soul singer, including that he was "hell to get along with" and a bully.

Jenkins recorded a solo LP called Ton-Ton Macoute in 1970, accompanied by Duane Allman and other members of The Allman Brothers Band. Although the album was well received by critics, Jenkins grew weary of the trappings of the music industry and didn't release another solo record until Blessed Blues in 1996. He released two subsequent LPs in the new millenium, Handle With Care and All in Good Time, before dying of a stroke in the summer of 2006.

To be honest, I never checked out any of Jenkins' releases from the second phase of his career, but Ton-Ton Macoute remains a permanent staple at the core of my music collection. His cover of Dr. John's "Walk On Gilded Splinters" is easily the album's masterpiece, and the only reason I didn't offer it at this juncture is because I'm planning to feature it for an episode of a themed post in the near future. "My Love Will Never Die" more than holds its own, however, as a soulful, bluesy ballad that strikes right at the heart of Jenkin's inimitable flamboyance and enviable musical dexterity.

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"Days Of Fire"---Nitin Sawhney ft. Natty (LimeLinx)
"Days Of Fire"---Nitin Sawhney ft. Natty (YSI)

Soul children in the UK are likely already well-versed in the versatile and creative talents of Nitin Sawhney, but for my peoples in the U.S., the genre-bending artist is still far from being a household name. It's difficult to observe an economy of expression when describing Sawhney's numerous achievements, but suffice it to say that this award-winning musician has garnered much worldwide acclaim as a multi-instrumentalist, DJ, songwriter, composer, and producer. Having worked with artists such as Paul McCartney, Sting, Jeff Beck, Brian Eno, and Sinead O’Connor, Sawhney has managed to not only establish himself with his growing fanbase, but also with many of the music industry's most high profile celebrities.

His most recent offering, the 2008 London Undersound LP, has largely met with praise and commendation, although the album has also been panned by a handful of the armchair critic elite. Inspired by the bombings of 7/7 and eventual shooting of Jean Charles de Menezes, the recounting of these tragic events understandably resonates rather deeply with many listeners. The undertaking of this stirring subject matter has, in fact, sparked a bit of controversy that's led to a array of unyielding opinions. Perhaps nowhere is this divergence of sentiment more evident than on the album's opening track "Days Of Fire", sung by Natty, who witnessed the 7/7 bus bombing and was in the Stockwell tube station at the time of the De Menezes killing. Here are a few examples that illustrate the dissenting public viewpoint on the track:

"Opening with hip-hop vocals by DJ Natty over folksy guitars and background samples that mimic half-heard train announcements, 'Days Of Fire' is the kind of first track that makes you both want to smack Sawhney for being so clever and bow down before the fact that he is, as he deftly mixes English and international influences in achingly modern protest songs for the 21st century."~ Music OMH

"Sadly, I can think of no worse start to an album than 'Days of Fire'. Featuring reggae-soulster, Natty, the track describes how Natty got caught up in events on the day Charles de Menezes was fatally shot in Stockwell. Where to begin? Perhaps the general inaccuracies of the story, or maybe just the plain, abhorrent insensitivity of using a tragic murder and miscarriage of justice to bolster your personal point-of-view. The plainest thing that comes to light is the complete selfishness of Londoners; there is no art in a smug exploitation of art masquerading as moral explanation."~ Drowned In Sound

"Natty's opening commentary on the shooting is impassioned but his Marley-lite voice can't convey the true horror."~ the BBC

"Starting with 'Days of Fire', reggae singer Natty speaks of somber realizations about how the citizens of the capital, and himself personally, have been affected by 7/7 and other disasters. The lyrics of the songs describes how things changed after the terror attacks. Natty sounds honest as he progresses with his description - one of the best on the album."~ Radioandmusic.com

"Natty’s gravelly delivery is strained in places, hinting desperation, to a deeper, lower approach, sounding somewhat detached and desensitised. In other places, he jaunts along as he talks us through his actions and his frame of mind throughout. Instrumentally simplistic and repetitive in its acoustic arrangement with only Natty traversing verbally, it only serves to effectively heighten his emotional state in his vocal tonal changes thus being extremely lyrically aware."~ DIY

There you have it, kids. Since there's a fair amount of geographic distance between myself and these dreadful events, I couldn't possibly weigh in on the intricacies of the song's merits in any meaningful way~ my goal, as always, is merely to provoke thought and emotion on the part of my readers. As a fan of Sawhney's work, I would implore you to explore his discography, but as far as how you receive it...well, that part's up to you.

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"Love Is Pretty"---The Lovelites (LimeLinx)
"Love Is Pretty"---The Lovelites (YSI)

The Chicago-based Lovelites' foray into music began when three high school girls~ Patti Hamilton, her sister Rozena Petty, and Barbara Peterman~ joined forces in the 1960s. In 1968 Peterman left and was replaced by Ardell McDaniel, a year before the group scored a fairly impressive hit with "How Can I Tell My Mom & Dad". The song's lyrics seem to imply the theme of teenage pregnancy, a subject still widely considered as taboo at the time of the record's release.

On the strength of this one single, the vocalists were afforded the opportunity to found their own label, Lovelite Records, in 1970. The group endured further line-up changes and enjoyed success on the R&B charts with "My Conscience" in 1971, but by 1973 their label had folded and the members had gone their separate ways.

The Lovelite Years compilation passes over a few gems from their canon of works, but for the most part, it's a fairly solid retrospective. "Love Is Pretty" is so endearing, you can't help but embrace its syrupy optimism. Released as the flip side of the "Bumpy Road Ahead" single, the song's sentimental flavor is bound to satisfy your cravings for something sweet with absolutely no worries about tooth decay.

Dig deeper...


"Where Is My Boy?"---Faultline ft. Chris Martin (LimeLinx)
"Where Is My Boy?"---Faultline ft. Chris Martin (YSI)

Faultline is the moniker for DJ/producer David Kosten, an electronic musician whose affinity for synthesizers was cultivated after he burst a lung while playing clarinet for the National Youth Orchestra. This experimentation with new sounds ultimately led to the release of his Closer Colder LP in 1999, followed by Your Love Means Everything in 2002. The latter album was re-issued a couple of years later by Capitol/EMI, bearing a slightly revamped tracklisting.

Your Love Means Everything is a magnetically charming LP, imbued with a quiet melodrama and fragile ambience that allows for a thoroughly intimate listening experience. While the album boasts a number of accomplished guest vocalists, the main selling point is undoubtedly its spellbinding synthesis of gripping emotion and musical innovation.

I only find myself skipping through a couple of tracks on the album, but only one stays on repeat~ Chris Martin's profoundly haunting tale of lost innocence known as "Where Is My Boy?". This song, as well as the title track, were recorded by Martin before Coldplay became the worldwide juggernaut that it is today, and perhaps that's part of why it sounds so plaintive and honest. It must become exceedingly difficult to convey heartbreak and desperation when you're filthy rich, playing at packed arenas, and choosing baby names from the fruits and vegetables category...but what the fuck do I know?

Kosten apparently has nothing but positive regard for the Coldplay frontman: "With Chris, it wasn't a huge leap to imagine major success happening. So it feels good to be right, but more to the point I’m really happy with what he did on the record – it still stands up."

Martin apparently doesn't share these same warm and fuzzy sentiments about the collaboration. He's been quoted as saying that he's doesn't like "Where Is My Boy?" and is embarrassed by his performance on it. He obviously has a right to his opinion, but then I'm also entitled to think he sounded far better before he plummeted into such shameless douchebaggery. Just joking, kids...settle down.


"Shook (Sigur Rós vs. Mobb Deep)"---Emancipator (LimeLinx)
"Shook (Sigur Rós vs. Mobb Deep)"---Emancipator (YSI)

This mash-up was first released about 100 years ago (okay...maybe more like three), but for some inexplicable reason, it's been spreading across the internets like wildfire for the past couple of months. Which really makes me wonder, kinda like swine flu~ what's the pig deal all of a sudden? (Awwwwwww snap...that was cheap)

I first came across this bizarre phenomenon while checkin' to see if Emancipator had dropped any new projects or remixes lately. My query elicited an extraordinary abundance of search results for blogs and websites that were featuring this timeworn mix, and since I was at work (the only respectable place on Earth to kill time), I was actually bored enough to count how many times this track had been featured since April. I think I stopped at about 253, when I finally buckled under the glare of my boss' freaky evil eye.

What made this whole exercise in monkey-see monkey-do especially weird was that a large number of these posts were prefaced by a desperate-to-be-the-popular-kid disclaimer, such as: I know I'm late to the party, but I hope that you still believe in the weak-ass powers of my uber-geek hipsterdom and blahhh blahhh gurgle boo hoo blahhh.

Ugh.

Accordingly, there are a few life lessons to be learned here, children:

1) 99.9% of people are actually just sheeple in disguise.

2) Never apologize for being late to a party. If you have the right swagger, you can pimp limp into that bitch 40 years after it's over, and still look mad fly doin' it. Those jive turkies who had their mommies drop them off early might be supermad that you're superbad, but screw it...

3) Emancipator truly is an amazing talent~ it's not his fault that 253 of his fans are silly fucks. 254 if you rightfully include me in the mix...

Dig deeper... (Emancipator's MySpace)


"Get Down (Nick James Remix)"---Nas (LimeLinx)
"Get Down (Nick James Remix)"---Nas (YSI)

One of my most highly anticipated upcoming releases won't get any of the fanfare showered on mediocre major label artists, but it's destined to be one of the hottest efforts to drop this summer. Oakland producer Nick James is in the process of wrapping up his John Coltrane Project, a collection of instrumentals featuring samples of the jazz legend's finest material. Himself the son of an avant-garde jazz musician, James' production is heavily influenced by many of the genre's most accomplished artists, including Miles Davis, Archie Shepp, Ahmad Jamal, and McCoy Tyner. Combine those sensibilities with a penchant for Prince, Outkast, Talib Kweli, Jimi Hendrix, Madlib, Nina Simone, Pete Rock, Al Green, and J Dilla, and you have a production wizard who's drawing from the best possible pool of musical influences to craft his supreme beats.

This Nas redux is just one example of James' limitless artistic capabilities. Keep up with him via MySpace and The Free Experience: A Subsidiary of Nick James Music where you can freely download his remix projects, as well as some of the original material he's sampled on them.

Word From Your Moms:

"If there is a transmigration of souls then I am not yet on the bottom rung. My life is a hesitation before birth."

"Anyone who cannot come to terms with his life while he is alive needs one hand to ward off a little his despair over his fate... but with his other hand he can note down what he sees among the ruins."

"We all have wings, but they have not been of any avail to us and if we could tear them off, we would do so."

~All above quotes by Franz Kafka

One Had A Gift From Beyond; The Other Had Brought The Funk

What's happenin', soul children? I hope that the moon and stars are perfectly aligned in your universes, and all kinds of other ecstatically happy shit...

I'm actually feeling pretty euphoric myself today (and that's with no drugs involved, son), because I've been looking forward to doing this exclusive with Batsauce and Lady Daisey for quite a while now. I first became aware of their brilliant funkitude when cousin Travis emphatically urged me to give The Smile Rays a spin. Very few people understand the complexities of my musical leanings as well as he does, so his recommendations tend to hold considerable weight in comparison to...say...my grandmother.

Anyway, to make a long story pygmy-sized, I instantly dug their soulful sound and decided to feature their "Lonely Room" joint in this post from December '07. Bat was gracious enough to drop me a line thanking me for giving them some shine, and has occasionally blessed me with some of his ill beat selections from that point forward. His wife Daisey is every bit as genuine and down-to-earth, and when she and I started corresponding a few months ago, the idea for a collaboration was conceived (immaculately, of course).

To their credit, I had very little input in this process (except for the post title, which I shamelessly jacked from the name of a Steven López painting)~ I asked the dynamic duo to be unique and make all the important decisions in terms of what the content of the feature would be. As a result, the almighty Bat put together a 60 minute funk workout for you, while Daisey was good enough to share some of her artwork and a track from her upcoming solo project.

Don't worry~ it's nearly time for me to shut the hell up, but not before I elaborate just a little more on why I think these two are so AMAZING and worthy of this spot. Most of you know that I prefer classic records over just about anything that's being currently released. I never hold my tongue when it comes to preaching about the shameless lack of authenticity and lowering of standards that's plaguing today's music industry~ and 99.9% of the time, I politely pass on requests to spotlight artists because I've never wanted SO to be an infomercial peddling mediocrity. *takes deep breath*


Daisey and Bat are amongst the precious few who have the chops to rejuvenate my faith in post-millenial music, as they effortlessly rise above the sea of sound-alikes with their unparalleled ingenuity and uncompromisingly original sound. While they undoubtedly pay homage to music's rich tapestry by incorporating the finest elements of funk, soul, jazz and hip hop's history into their eclectic sound, they blend these ingredients with such original flavor and consummate artistry that the result is a supreme collage of all that was and will be.

Much propers and gratitude to Daisey and Batsauce for sharing their gifts with all of us, and to all the soul kids for once again patiently suffering through my verbosity before gettin' down with the music.

Peace be with you all...Scholar

A Brief History:

Batsauce and Lady Daisey literally met on stage! He was slinging beats at an open mic jam and she jumped up and grabbed the mic. At the end of the night he told her "Let's get up and make a Heavenly Noise!" (which later became the name of their first group) Ironically, when they DID get together, Daisey completely lost her voice for a few weeks - so they spent a little time chillin' and vibin' - 3 years later, they were married. It was around that time they hooked up with Paten Locke (aka Therapy of the ABs) and formed the old skool funky hiphop group - The Smile Rays . Things started moving at a lovely pace with tours, festivals, vinyl/cd releases in Japan, Germany, the U.S. and digitally through Rawkus. With their music now reaching its arms around the globe, it was time to bounce to the other side of the pond and see what's up. The Smile Rays did a '08 European tour opening for Akrobatik and Mr.Lif, rocked a 20,000+ hip hop festival in Czech, and made madd contacts - opening the door for both Batsauce (making beats for Mr.Lif and Surreal) and Lady Daisey (wrapping up her solo album, also produced by Batsauce). Since then, they've been chillin' in Berlin, rocking shows wherever they can, and currently lining up a Fall '09 US tour - coming soon to a city near you!

A Few Words From Lady Daisey:

So, I was told to "put something unique together" to send to Souled On. In addition to our music (Lady Daisey debut solo album coming this summer, yo!) I'm also a graphic designer, computer programmer and illustrator. It works out perfect, we're both in our respective studios until the sun comes up- Batsauce bangin' out those beats and Daisey slingin' pixels, shapes and colors.

And on that note, I'd like to introduce you to my friend, Phonobot.

He's on a galactic quest to find... the Funk! Enjoy!

Plant Some Funky Flowers In Your Soul...

....with an infectiously groovy joint from Daisey's upcoming LP (produced by Batsauce):

"Hometown"---Lady Daisey (LimeLinx)
"Hometown"---Lady Daisey (YSI)

And Now, A Ride In The Funky Batmobile...


A SOULED ON WORLDWIDE DEBUT:


Download the entire mix via Megaupload, or as four individual installments...

Booger Nose Part 1 Preview/Download via LimeLinx

01>
wilford's gone
didn't i fool you
supermarket blues
that beat keeps disturbing my sleep
in the land of milk & honey
all your goodies are gone
bare knuckles
disillusioned man
hercules
then yebthayet

Booger Nose Part 2 Preview/Download via LimeLinx

02>
satisfied
hard times
something right
i'm coming
the smile on your face
ain't no sunshine
if there's a hell below
dookey shoe
ain't there something money can't buy
hook & sling pt.2
bbd
90% of me is you
i'm talkin' bout freedom

Booger Nose Part 3 Preview/Download via LimeLinx

03>
i idolize you
i'll never sail the sea again
mushroom
funky skull pt.1
the way they do my life
deal with it
i'm a ram
funky cat
james brown
the boss
mother misery's favorite child
death wish (main title)
gimme shelter
funky dollar bill
no no yes yes

Booger Nose Part 4 Preview/Download via LimeLinx

04>
soul ecstasy
gator tail
who's gonna take the weight pt.1&2
blowout
things got to get better
super funk
message from man
right on
legs
miss funky fox
loving you

Also, be sure to check out Spy vs. Spy, Bat's latest collection of original beats (recently premiered @ WYDU):


Spy Vs. Spy Download via RapidShare

Missed The "Magical" Video Last Time It Was Posted?


Finally, some tasty links...

Batsauce's website

Lady Daisey's website

Batsauce on MySpace

Lady Daisey on MySpace

The Smile Rays on MySpace

Heavenly Noise on MySpace

Phonobot

Word From Bat & Daisey's Moms:

*"Make everything as simple as possible, but not simpler"- Albert Einstein

*"Keep it simple, stupid."- Anonymous

**"Those who dance are laughed at by those who cannot hear the music."- Anonymous

**"When the road you're on becomes too narrow... widen your mind."- Lady Daisey

*Universal truths according to Batsauce
**The philosophical wisdom of Lady Daisey

On Second Thought: The Mixed Up And Permanently Set Edition

What's crackin', soul kids?

I was inspired to deliver an especially fat post today, if for no other reason than to dispel the myth that I kevorked the On Second Thought/Cover Your Ass chronicles. I may be incorrigible...and lazy...but did you really think I'd be insensitive enough to hijack a series rivaled only by Souled On Samples in terms of overall popularity and...ummm...sex appeal???

Anyway, I genuinely hope that you will....uhhhh...shake your booty down to these fine selections, but...you know...I'm kinda relieved at the same time that I don't have to watch.

Forever spinnin' out of control,
Scholar


"California Dreaming"---Lee Moses (LimeLinx)
"California Dreaming"---Lee Moses (YSI)

*Written by John & Michelle Phillips; originally recorded by Barry McGuire for his This Precious Time LP. The Mamas & The Papas sang backing vocals on his rendition, subsequently releasing their own version as a 7" in November 1965.

McGuire was responsible for the group's first major break, as he connected them with Lou Adler, the producer and head of Dunhill Records. Adler likened his initial reaction to how George Martin must have felt upon discovering The Beatles, although he admits that the foursome were "very dirty and funky and had probably been in those clothes for quite a while." Ultimately, the group offered "California Dreamin'" to McGuire as gratitude for the opportune hook-up with Adler.

*The song did not achieve instantaneous success for The Mamas & The Papas. It was erroneously assumed that the song would be a hit in Los Angeles, but it actually was blessed with its breakthrough moment via a radio station in Boston. By early 1966 the song had peaked at #4, remaining on the pop charts for a total of 17 weeks.

*According to John Phillips, the song came to him as a dream in 1963 and he woke Michelle up to help him write it. The couple was living in New York at the time, and were members of the folk group The New Journeymen.

There's a longstanding rumor that Phillips wrote the song during his tenure at the United States Naval Academy, dreaming of warmer climates while enduring a harsh winter with short daylight hours. There doesn't appear to be any veracity to this claim whatsoever.

*The Mamas & The Papas broke up in 1968 due to what might be dubbed the Fleetwood Mac effect: drug abuse and complex interpersonal relationship issues. All four members released solo efforts, but none of their individual offerings fared nearly as well as "California Dreaming".

After disbanding, the group occasionally reunited until "Mama" Cass Elliot passed away. Elliot died, not of choking on a ham sandwich (as rumored), but of heart failure. She was staying in Harry Nilsson's flat in Mayfair, London at the time of her death. Strangely enough, Keith Moon (drummer for The Who) passed away four years later in Nilsson's flat as well. Apparently, Nilsson rented the property out to his friends during his sometimes lengthy absences. After Moon's death transpired in the same exact room as Elliot's, Nilsson was understandably spooked and immediately sold the flat to Keith's former bandmate, Pete Townsend.

*While the song has been covered by a wide range of artists (The Beach Boys, The Carpenters, Bobby Womack, The Four Tops, José Feliciano, George Benson, and more), Lee Moses recorded the only version as far as I'm concerned. I posted this track a long time ago, but I'm pretty sure the link is dead and it's supreme excellence makes it more than worthy of revisitation.


"That's How Strong My Love Is"---Laura Lee (LimeLinx)
"That's How Strong My Love Is"---Laura Lee (YSI)

*Written by Roosevelt Jamison; originally recorded by O.V. Wright and released as a 7" b/w "There Goes My Used To Be" (Goldwax, 1964)

*Although his rendition wasn't exactly a chartbuster (peaking at a modest #74), Otis Redding released what many consider to be the definitive version of the tune in 1965.

*The Rolling Stones also covered the track later that same year on their Out Of Our Heads LP. Redding reciprocated by recording a version of one of The Stones' most beloved songs, "(I Can't Get No) Satisfaction."

*Other takes on the song have been rendered by Percy Sledge, The Hollies, The Sweet Inspirations, Bryan Ferry, Humble Pie, Iggy Pop, Taj Mahal, and more.

*Laura Lee released her phenomenal rendition of "That's How Strong My Love Is" on her Women's Love Rights LP in 1972 (Hotwax, HA 708). Her unique style, gritty vocals, and willingness to tackle women's issues in a frank and uncontrite manner set her apart from many of her female contemporaries in the '60s and '70s. Without a doubt, the most enthralling and educational exploration of her legacy comes by way of my friend Colin's blog, Ms. Laura Lee: Dedicated to the Lady of Soul Music.


"Let Me Down Easy"---Cold Blood (LimeLinx)
"Let Me Down Easy"---Cold Blood (YSI)

*Written by Wreich-Holloway, an alias for Dee Dee Ford; originally recorded by Bettye LaVette and released as a 7" b/w "What I Don't Know (Won't Hurt Me)" in 1965 (Calla 102).

*"Let Me Down Easy" became LaVette's signature song (climbing to #20 on the Billboard charts), and has long been revered by Northern soul enthusiasts as one of the finest records of all time.

*LaVette has spoken rather candidly about what inspired her to lay down such stirring vocals on the track:

"When I was recording the vocal, the guy I was thinking about came into the control room, so I was singing the song to him. When we finished recording, everyone in the control room was in tears: except him."

*LaVette re-recorded the song in Detroit in 1990 and she was captured on film in the studio. It always fascinates me how effortlessly she belts out songs~ she inexplicably stays cooler than a fan, showing no visible sign of strain even when hitting her high notes. Not to mention the fact that she's seriously workin' those stunna shades...


*It's pretty much a soul commandment that thou shalt not place any covers of "Let Me Down Easy" before LaVette's stunning original. I can get down with that...I mean, I'm not hatin' on Steve Winwood, but I wish he hadn't gone there. That said, I'm unashamed to admit that I adore Cold Blood's rendition of the song. Lead singer Lydia Pense has always gotten the same dismissive once-over that many soul enthusiasts give Janis Joplin, but it's difficult to deny that Lydia has a whole lot of heart. I would gladly give away my mother-in-law to have seen the show Cold Blood did with the Ike & Tina Review, but then again~ I'm not sure that's much of a sacrifice.


"The Rip (Hidden Cat Remix)"---Portishead (LimeLinx)
"The Rip (Hidden Cat Remix)"---Portishead (YSI)

*Written by Geoff Barrow, Beth Gibbons and Adrian Utley; released both as a single and on Portishead's Third LP. The song was originally called "Mystic".

*The animated promotional video for "The Rip" (created by Nick Uff) is pretty fuckin' strange. I can assure you that even if you happened to...ahem...drop a ridiculous amount of acid in the '90s, you may still not possess the expansiveness of imagination to fully comprehend what's going on here:


*Jonny Greenwood and Thom Yorke performed an acoustic cover of the track backstage in St. Louis last year. In addition to exorcising his everyday demons, Thom Yorke may also be lamenting the fact that his hair stylist obviously doesn't love him anymore:


*Hidden Cat (aka Madison Bullard) hails from Raleigh, NC. His redux of "The Rip" is easily one of the illest remixes I've heard so far this year. More about Hidden Cat here.


"Heaven and Hell"---El Michels Affair (LimeLinx)
"Heaven and Hell"---El Michels Affair (YSI)

*Written by Corey Woods (aka Raekwon) and Dennis Coles (aka Ghostface Killah); the track was originally produced by RZA and contains a sample of Syl Johnson's "Could I Be Falling In Love?"; Blue Raspberry performed the backing vocals

*"Heaven and Hell" was Raekwon's solo debut single, released in October 1994. The joint later appeared on his Only Built For Cuban Linx LP, an album that's highly exalted by hip hop heads worldwide.

*El Michels Affair, a collective of ridiculously talented musicians based in New York, were approached by Scion in 2005 with the possibility of performing with Raekwon for their Metro concert series. The collaboration made for such a perfect synthesis that the group went on tour with the MC, as well as doing several live performances with other members of the Wu-Tang Clan. In 2006, El Michels headed into the studio to begin recording their instrumental interpolations of classic Wu beats, ultimately releasing singles as part of the Shaolin Soul series on Truth & Soul Records.

I've been trying to draw attention to these guys for years, and the release of their complete album of Wu covers on Fat Beats provides yet another opportunity to give these guys a well-deserved shout. So far, this is my favorite release of 2009~ hands down. Resist the temptation to grab a bootleg version...it's more than worth the purchase price. There are so few artists producing authentic soul music these days that we need to support those who are struggling to keep the art form alive and prosperous.


"Cash Run (The White Stripes + Notorious B.I.G. & 2Pac)"---Adrian Champion (LimeLinx)
"Cash Run (The White Stripes + Notorious B.I.G. & 2Pac)"---Adrian Champion (YSI)

*"Runnin' (Dying to Live)" by 2Pac and Biggie was the first single issued from the posthumous soundtrack album Tupac: Resurrection in 2003. The track was produced by Eminem, and featured a sample of Edgar Winters' "Dying To Live".

Pac and B.I.G. originally recorded the track in 1994, but it was produced by Easy Mo Bee and was called "Runnin' (From The Police)".

*"Cash Grab Complications" by The White Stripes appears as the B-side to the acoustic mariachi version of "Conquest".

*Adrian Champion was born and raised in Flint, Michigan, but relocated to California shortly after high school to pursue his creative aspirations. His many talents include rapping, producing, composing, singing, playing guitar, and songwriting. Although he's been a lifelong fan of hip hop, he's fully committed to pushing the boundaries of his creativity by continuously switching up his style and experimenting with fresh ideas.

Stars & Stripes: The White Stripes Reimagined, a dope collection of mashup mixes, can be downloaded for free here. Learn more about the making of the project and stay up on Champion's latest endeavors via his website.


"Happiness Is A Warm Gun"---Bobby Bryant (LimeLinx)
"Happiness Is A Warm Gun"---Bobby Bryant (YSI)

"Happiness Is A Warm Gun"---The Breeders (LimeLinx)
"Happiness Is A Warm Gun"---The Breeders (YSI)

*Written by Lennon/McCartney ; it was originally recorded by The Beatles at Abbey Road Studios in September 1968. The song was released on The Beatles LP, also known as The White Album in November 1968.

*The working title of the song was "Happiness Is a Warm Gun in Your Hand".

*The track is Paul McCartney's favorite on the album.

*In describing what inspired him, Lennon claims to have seen a magazine cover bearing the song title in the form of a phrase. He was quoted as saying "it was a gun magazine. I just thought it was a fantastic, insane thing to say. A warm gun means you just shot something."

*As is the case with most Beatles songs, there are plenty of rumors that have circulated to explain the song's underlying meaning. One tale asserts that the track was a metaphor for Lennon's sexual desire for Yoko One, to which I say...puke. Others seem to believe that the song references Lennon's heroin usage, which is seemingly substantiated by the repetition of the line "I need a fix cuz I'm goin' down". This theory may not hold much weight because muthafuckas claim that every Beatles song ever written contained a subliminal drug reference. Also, if Lennon's assertions are to be believed, his preference was to snort smack, not shoot it. The loaded gun reference seems to more likely imply the use of a syringe.

*Donating to the National Trust (a memorable phrase in the song) means pooping in a toilet.

*The song's multiple sections allegedly inspired Radiohead to break "Paranoid Android" on OK Computer into three distinct parts. After struggling significantly with perfecting the song's complicated arrangement, the Beatles finally fused the first half of one take with the second half of another to complete the full song. It apparently took around 100 takes to record the track to their liking.

*The BBC banned the song on the grounds of sexual symbloism, concluding that the gun must be some sort of phallic symbol.

*Artists who've recorded or performed this song live include Guns N' Roses, Tori Amos, U2, World Party and Phish.

*Happiness Is A Warm Gun" appears on Bobby Bryant's Earth Dance LP (World Pacific Jazz, 1968). The Breeders' version was released 22 years later on their Pod LP (4AD, 1990).

Obviously these two interpretations are very different in terms of their stylistic approach, but I love them both equally, depending on my mood.


"Foxy Lady (Rob Tex Remix)"---Jimi Hendrix (LimeLinx)
"Foxy Lady (Rob Tex Remix)"---Jimi Hendrix (YSI)

*Written and originally recorded by Jimi Hendrix; first released on his Are You Experienced LP in 1967.

*The US/Canadian version of Are You Experienced had a typo on the track listing~ the song name was erroneously printed as "Foxey Lady". To this day, fans in North America still recognize the song by its misprinted title.

*Hendrix was quoted as saying this was the only happy song he had ever written.

*Rolling Stone magazine placed the track at #152 on their list of the 500 greatest songs of all time.

*"Foxy Lady" has been covered by a wide array of artists including Cee-Lo Green, Booker T & the MGs, The Cure, James Taylor & The New Mastersounds, Giant Sand, and Paul Rodgers and Company.

*Does anyone know who the hell Rob Tex is? This man, vegetable, or mineral (whichever the case may be) has done some interesting re-edits and mashes of material by Marvin Gaye and Michael Jackson, too. He keeps a lower profile than I do though, and that's just wrong. He could be a fugitive, a masked phantom, or another one of Madlib's undercover aliases---who knows? Guess it doesn't really matter...this mix is pretty tight no matter what.


"Thriller (Instrumental)"---Speak Low (LimeLinx)
"Thriller (Instrumental)"---Speak Low (YSI)

*Written by Rod Temperton; originally recorded by Michael Jackson and released on his Thriller LP.

Temperton, once a member of the group Heatwave, also penned "Off The Wall" and "Rock With You" for Jackson.

*The track was produced by Quincy Jones and features a soliloquy from Vincent Price. The special edition version of the song released in 2001 features additional verses by Vincent Price that were cut from the final edit of the original.

Price was apparently given the option of taking $20,000 outright for his ghoulish rap or receiving royalties based on a percentage of the record's sales. Price opted for the $20,000, a decision which effectively cost him millions in lost revenue.

*Two working titles for the song were "Starlight Love" and "Starlight Sun".

*The track peaked at #4 on the US charts, and climbed to #10 in the UK.

*The 14-minute video for the track is considered by many to be the greatest of all time.

*The song has been sampled by numerous hip hop artists, such as Kool Moe Dee, Large Professor, Quasimoto, Public Enemy, NWA, DJ Jazzy Jeff & the Fresh Prince, and Biz Markie just to name a few.

*"Thriller" has also been covered by Ten Masked Men, Aerogramme, and Joe Dolce.

*Speak Low's jazz-funk homage to the MJ classic is a killer Hammond-driven remake that your dancin' feet can't help but appreciate.


"I'm Gonna Love You Just A Little More, Baby"---Kellee Patterson (LimeLinx)
"I'm Gonna Love You Just A Little More, Baby"---Kellee Patterson (YSI)

*Written, recorded and originally performed by Barry White; the song appeared on his 1973 debut album I've Got So Much to Give

*In the early parts of his musical career, White showed very little interest in being a recording artist. Producing, arranging, and writing songs for Felice Taylor, Viola Wills, and Love Unlimited, White had already established a viable career for himself behind the scenes.

One fateful night, however, he recorded himself singing a tune that would later be known as "I'm Gonna Love You Just A Little More, Baby". It crossed his mind that it might be plausible for him to record the song as an artist, but he was initially somewhat skeptical. After some time passed, White played it for Larry Nunes, his business partner, who subsequently spent the better part of two months encouraging him to record the track.

White eventually relented, and as the fairy tale ending goes, the song became a blockbuster hit. Selling more than a million copies, "I'm Gonna Love You Just A Little More, Baby" rose to #3 on the Billboard pop charts and occupied the top position on the R&B charts for two weeks in a row.

*The immensely popular track has been sampled on joints by De La Soul, Big Daddy Kane, Ghostface Killah, Mos Def, NWA, Eric B & Rakim, LL Cool J, Too Short, etc.

*Cookie Monster once parodied this on Sesame Street, calling his version "Me Going to Munch You, Munch You, Munch You". He was, of course, expertly backed by The Crumbs Unlimited Orchestra:


*Kellee Patterson's take on the track is pretty damn impressive as far as I'm concerned. My amigo DJ Prestige did a thorough write-up about her cover over at Flea Market Funk, so head over there to check out the interesting backstory.


"Stop, Look, Listen (To Your Heart)"---New Birth (LimeLinx)
"Stop, Look, Listen (To Your Heart)"---New Birth (YSI)

*Written by Thom Bell and Linda Creed; originally released by The Stylistics as a single and appeared on their 1971 self-titled LP.

*The song peaked at #39 on the pop charts and #6 on the R&B charts in the US.

*Many consider the definitive version of this song to be the rendition by Marvin Gaye and Diana Ross which appeared on their 1973 duet album (Diana & Marvin). They also covered "You Are Everything" on the LP, another track that was originally recorded by The Stylistics.

The duo actually recorded this particular song, as well as many of the others from the LP, in separate studios. During the first sessions, Ross reportedly got pissed off at Gaye for refusing to stop smoking in the studio, so Berry Gordy arranged for them to record in different locations.

*Other renditions of the song have been rendered by Barbara Acklin, Lionel Hampton, Johnny Mathis, and Michael MacDonald. New Birth's 1973 remake is my hands down favorite, appearing on their stupendous Birth Day LP.


"Whiter Shade Of Pale (Live)"---King Curtis (LimeLinx)
"Whiter Shade Of Pale (Live)"---King Curtis (YSI)

*Written by Keith Reid and Gary Brooker; originally recorded by Procol Harum and released on their 1967 self-titled debut.

The group's organist, Matthew Fisher, claims to have co-authored the song despite the fact that he was not listed in the songwriting credits. There has been a lengthy court battle over the matter for the past few years. There seems to be some validity to Fisher's claims of co-authorship, yet his right to royalties has been ruled against on the grounds that it took him 38 years to seek compensation. In November 2008, Fisher was granted permission to appeal this decision in the House of Lords~ as far as I know, the matter is still pending.

*The music in the song was heavily inspired by J.S. Bach (check "Sleepers, Wake!" and "Air on a G String" if you don't believe me).

*When the song was released, it hit the top of the charts in several countries around the globe. Rolling Stone magazine placed it at #57 on their list of the 500 greatest songs of all time.

*The curious lyrics were penned by Keith Reid, who has often scoffed at the idea that the song carries an overwhelming amount of literary baggage. Critics have mentally masturbated over the subject matter for decades, but in all reality, most of the stoned hippies who purchased this record probably didn't give a fuck if the lyrics referenced Chaucer, Milton, and/or Roman mythology. I mean, hey~ "sixteen vestal virgins" sound pretty groovy either way, right?

*There have been nearly a thousand known covers of this song, but few hold weight against King Curtis' sublime take on the track which appeared on his Live at Fillmore West LP. The album brilliantly showcases the saxophonist's prodigious talent, but regretfully, it was released only a week before the musician was stabbed to death outside his apartment on New York's Upper West Side.

Fundamental Supplementals:


In case ya ain't heard, my homeskillet Has-Lo dropped his remix project, You Can Live Thru Anything If Magic Made It, a few weeks ago at WYDU. I've pimped, exposed, and shamelessly endorsed Lo's music enough times that you should know by now how highly I think of his skills. If you want to cop some ill remixes at the amazingly low price of...free...stop by Trav's spot (at the link above) to get your download on...

Word From Your Moms:

"He reproduced himself with so much humble objectivity, with the unquestioning, matter of fact interest of a dog who sees himself in a mirror and thinks: there's another dog."

"It is a tremendous act of violence to begin anything. I am not able to begin. I simply skip what should be the beginning."

"Truly to sing, that is a different breath."

"All the soarings of my mind begin in my blood."

~all above quotes by Rainer Maria Rilke

Souled On Samples: The Cooler Kind Of Mild Edition

"The Pusher"---Final Decisions (LimeLinx)
"The Pusher"---Final Decisions (YSI)

From 7" b/w "I Feel What You Feel" LOVE 162 (1973)

Sampled On:

"Gangsta Boy (Instrumental)"---Jake One ft. M.O.P. (LimeLinx)
"Gangsta Boy (Instrumental)"---Jake One ft. M.O.P. (YSI)

Produced by Jake One
From the White Van Music LP (2008)


"Here I Am"---The Blue Notes (LimeLinx)
"Here I Am"---The Blue Notes (YSI)

From The Truth Has Come To Light LP (1977)

Sampled On:

"Mrs. International"---Method Man & Redman (LimeLinx)
"Mrs. International"---Method Man & Redman (YSI)

Produced by Buckwild
From the upcoming Blackout 2 LP


"Manhattan Island Serenade"---Leon Russell (LimeLinx)
"Manhattan Island Serenade"---Leon Russell (YSI)

From the Carney LP (1972)

Sampled On:

"Broken Van (Instrumental)"---Cunninlyguists (LimeLinx)
"Broken Van (Instrumental)"---Cunninlyguists (YSI)

Produced by Kno
From the upcoming Strange Journey Volume One LP


"You & I"---Black Ivory (LimeLinx)
"You & I"---Black Ivory (YSI)

From the Don't Turn Around LP (1972)

"The Real"---Tha Connection (LimeLinx)
"The Real"---Tha Connection (YSI)

Produced by 12bit
From the Trapeze LP (2008) (one of the most solid releases last year IMO)


"Groove City"---Chocolate Milk (LimeLinx)
"Groove City"---Chocolate Milk (YSI)

From the Milky Way LP (1979)

Sampled On:

"Let Your Hair Down"---Kidz In The Hall ft. Skyzoo & Lil Eddie (LimeLinx)
"Let Your Hair Down"---Kidz In The Hall ft. Skyzoo & Lil Eddie (YSI)

Produced by Double-O
From The In Crowd LP (2008)

"Look Up, Look Down"---Soft Touch (LimeLinx)
"Look Up, Look Down"---Soft Touch (YSI)

From 7" b/w "Plenty Action" Sundance 1976

Sampled On:

"Unstoppable Threats"---DJ Muggs/GZA/Prodigal Sunn/Masta Killa (LimeLinx)
"Unstoppable Threats"---DJ Muggs/GZA/Prodigal Sunn/Masta Killa (YSI)

Produced by DJ Muggs
From the Grandmasters LP (2005)


"Diamond Studded Eyes"---Bit 'A Sweet (LimeLinx)
"Diamond Studded Eyes"---Bit 'A Sweet (YSI)

From the Hypnotic 1 LP (1968)

Sampled On:

"Kissin' The Curb (Instrumental)"---Jake One ft. Bishop Lamont & Busta Rhymes (LimeLinx)
"Kissin' The Curb (Instrumental)"---Jake One ft. Bishop Lamont & Busta Rhymes (YSI)

Produced by Jake One
From the White Van Music LP (2008)


"Requiem 820 Latham"---The 5th Dimension (LimeLinx)
"Requiem 820 Latham"---The 5th Dimension (YSI)

From the Magic Garden LP (1967)

Sampled On:

"Benzoin Gum"---MF Doom (LimeLinx)
"Benzoin Gum"---MF Doom (YSI)

Produced by MF Doom
From the LP Special Herbs Vols. 3 & 4 (2003)

*A vocal version of this track was also released under Doom's King Geedorah alias as "Krazy World" featuring Gigan


"Don't Let It Go To Your Head"---Jean Carn (LimeLinx)
"Don't Let It Go To Your Head"---Jean Carn (YSI)

From the Happy To Be With You LP (1978)

Sampled On:

"Don't Let It Go To Your Head"---Brand Nubian (LimeLinx)
"Don't Let It Go To Your Head"---Brand Nubian (YSI)

Produced by Chris "CL" Liggio
From the Foundation LP (1998)


"That's The Way I've Always Heard It Should Be"---Lou Bond (LimeLinx)
"That's The Way I've Always Heard It Should Be"---Lou Bond (YSI)

From Lou Bond's self-titled LP (1974)

Sampled On:

"Marry Me"---Murs & 9th Wonder (LimeLinx)
"Marry Me"---Murs & 9th Wonder (YSI)

Produced by 9th Wonder
From the Sweet Lord LP (2008)


"I'll Take Care Of You"---Bobby "Blue" Bland (LimeLinx)
"I'll Take Care Of You"---Bobby "Blue" Bland (YSI)

From the Two Steps From The Blues LP (1961)

Sampled On:

"Forgive Me"---Blue Sky Black Death (LimeLinx)
"Forgive Me"---Blue Sky Black Death (YSI)

Produced by Blue Sky Black Death
From the Late Night Cinema LP (2008)

"Trouble So Hard"---Vera Hall (LimeLinx)
"Trouble So Hard"---Vera Hall (YSI)

Appears on Alan Lomax's Sounds of the South: A Musical Journey From the Georgia Sea Islands to the Mississippi Delta

Sampled On:

"Natural Blues"---Moby (LimeLinx)
"Natural Blues"---Moby (YSI)

Produced by Moby
From the Play LP (1999)


"Ammonia Avenue"---Alan Parsons Project (LimeLinx)
"Ammonia Avenue"---Alan Parsons Project (YSI)

Fom the Ammonia Avenue LP (1984)

Interpolated On:

"Heartless"---Kanye West (LimeLinx)
"Heartless"---Kanye West(YSI)

Produced by Kanye West and No ID
From the 808s & Heartbreak LP (2008)

Word From Your Moms:

"Somewhere in the archives of crudest instinct is recorded the truth that it is better to be endangered and free than captive and comfortable."

"Our individuality is all, all, that we have. There are those who barter it for security, those who repress it for what they believe is the betterment of the whole society, but blessed in the twinkle of the morning star is the one who nurtures and rides it, in grace and love and wit, from peculiar station to peculiar station along life's bittersweet route."

"Actually, there are countless ways to live upon this tremorous sphere in mirth and good health, and probably only one way - the industrial, urbanized, herding way - to live here stupidly, and man has hit upon that one way."

"Anybody who maintains absolute standards of good and evil is dangerous. As dangerous as a maniac with a loaded revolver. In fact, the person who maintains absolute standards of good and evil usually is the maniac with the revolver."

"If you believe in peace, act peacefully; if you believe in love, acting lovingly; if you believe every which way, then act every which way, that's perfectly valid - but don't go out trying to sell your beliefs to the system. You end up contradicting what you profess to believe in, and you set a bum example. If you want to change the world, change yourself."

*All above quotes by Tom Robbins

We Be So Sincere With This Here...

"The Waves Are High Today"---Don Adams (LimeLinx)
"The Waves Are High Today"---Don Adams (YSI)

Although I've been known to call out the pompous audacity of blah-blah-bloggers whose egos are too big for their tight-ass spandex britches, I have to speak for a moment with the bloated arrogance of a self-appointed tastemaker and declare this: you're stupid, uncool, and crazier than cat piss if you don't like Don Adams .

Not only was Adams a mesmerizing vocalist who could effortlessly channel the spirits of Jackie Wilson and Otis Redding, he was somewhat of an intriguing and enigmatic character as well. Born in Glasgow in 1942 (I see you, Styler), the amazing vocalist was the youngest in a family of seven children. He was a scrawny kid who got picked on quite mercilessly during childhood, but he literally came out swingin' after undergoing intense daily training to become a boxer. As legend has it, Adams (born Donald McKay) emerged a scrappy little ass-kicker, feared by...well...just about everyone.

Even as he began to pursue a career in music, it apparently wasn't uncommon for his violent temper to flare, often fighting people in the audience who didn't care for his performances. Perhaps not surprisingly, the first band Adams sang with was called The Macho's. He teamed up with the group in Germany, having moved there in the late '60s as a staff member of the musical Hair.

The ballsy singer became a regular fixture of the club scene, and would soon come to be known as "the black voice from Munich". From a purely physical standpoint, that particular description was no more reliable than the other label that's often haphazardly applied to his style~ blue-eyed soul (see the pic below to test the questionable veracity of these claims).

While the drive to categorize every-fucking-thing is a naggingly persistent feature of the human condition, it's often misleading and downright moronic to apply stereotypes or phony organizational principles to something as variable and unpredictable as music. Hearing Adams' stirring and incredibly affecting vocals will undoubtedly affirm this notion: the only way one can fully appreciate the immense gift of his artistry is to approach his material with absolute colorblindness and an uncluttered mind. Close your eyes and tell me the homie Don Adams ain't had no soul, children...

Watts Happening (a reference to the 1965 LA riots) was originally recorded in Munich in 1969 and was treated to a limited release on the German Sunset label. The record was such an obscurity that it was damn near impossible to obtain, until Sonorama graciously reissued the LP in 2007 (along with bonus tracks culled from the archives). In addition to showcasing Adams' immeasurable talent, the LP boasts an impressive array of musicians who once comprised the cream of the local jazz scene in Munich.


Following the album's original release date, Adams continued recording studio tracks, although the consensus was that his later material never matched the quality of his earlier efforts. In the '70s he appeared on German television as a member of Love Generation, and later relocated to Hamburg to join the Les Humphries Singers. However, according to the liner notes on the Watts Happening reissue, the vocalist's health and career began a downward spiral due to years of bad habits and excesses. He passed away in London in 1995 due to complications with his liver.

"Sometimes I Don't Like Myself"---Steve Colt (LimeLinx)
"Sometimes I Don't Like Myself"---Steve Colt (YSI)

APPEARANCES CAN BE DECEIVING: PART 2

The first Steve Colt track I was introduced to was "Dynamite", an irresistibly infectious groove that's highly revered by a good many collectors who really know their shit. Larry Grogan of Funky 16 Corners aptly described the single as follows:

"Speaking of brilliant proto-funk, Steve Colt's 'Dynamite' is as heavy as it comes. If ever another white guy laid down a 45 as heavy as this I haven't heard it. Colt grunts and screams his way through the tune backed by slamming drums and bass deep enough to throw the tone arm off the wax."

I never actually copped the original 7" (sometimes compilations make life way too easy), but I used to occasionally price it on the internets just to check the going rate. The first time I saw the label on the 45 I was floored. This dude lookin' like the long-lost brother of Potsie on Happy Days laid down those killer vocals on "Dynamite"? Noooooo shit...(furrows brows, rubs chin).


While the image on the label surely makes for a fascinating conversation piece, I didn't realize how badly I needed to have this side in my crates until DJ Blueprint (aka Mike from This Is Tomorrow) dropped the B-side ("Take Away") as one of his stellar contributions to the Love Lockdown series. Evidently I'm not the only one who fell in love with the song. Quite a few readers e-mailed me to see if I could possibly send them something else by Mr. Colt, so I decided to share one of the best songs from his Paradox LP (Vanguard, 1970).


This particular track, and Paradox as a whole, was quite a different look for Colt in comparison to the vibe he had goin' on with "Dynamite" and its flipside. There's the obvious fact that he grew a nice furry David Crosby porn 'stache in the interim, but the music itself also underwent a fairly radical transformation towards the softer side. Many of the songs were written and produced by Brand Harris, but the album also features soulful interpretations of "Walk Away Renee" and Dylan's "Memphis Blues Again". In sum, if you dig the Muscle Shoals/Stax-Volt sound, there's a very good chance that you'll be feelin' this record as well.

"Sometimes I Don't Like Myself" is arguably a bit maudlin and self-deprecating, but its vulnerability is also undeniably earnest and charming. You may find that it's more subdued and less gripping than "Take Away" in an immediate sense, but it's still tremendously affecting once the substance of the song settles in your soul.

If you missed the post with "Take Away", be sure to take a moment to rewind.


"Dumb I Sound/ATLiens (Tor Mix)"---Outkast vs. Sufjan Stevens (LimeLinx)
"Dumb I Sound/ATLiens (Tor Mix)"---Outkast vs. Sufjan Stevens (YSI)

It's not difficult to harbor some resentment towards Danger Mouse for dropping the Grey Album. I thought it was pretty damn terrific at the time, but who could have foreseen all the ugly little demon spawn that would be gratuitously birthed from its grossly overproductive loins?

Fast forward to 2009, and the guy who's trying to be adorably quirky by smashing apples and oranges into the fruity concoction du jour is a Canadian fella by the name of Tor. In all honesty, I downloaded his Illnoize EP fully expecting to loathe every horrific moment of it. I couldn't imagine that it was going to be particularly aurally delightful to hear Sufjan Stevens' songs of emasculated tenderness struggle beneath the weight of some of the heaviest hip hop lyrics of all time.

As it turns out, my fears were only half-assed justified~ a few of these mixes are actually rather legit. The Outkast redux is my favorite at the moment, but I fuck with a few of the other tracks as well. All in all, I gotta give Tor all due propers for...almost...changing the mind of a stubborn skeptic.

Download the EP in its entirety here

And...if (for some bizarre reason) you find yourself jonesin' for more Sufjan remixes, The Metermaids also dropped a free remix of Stevens mash-ups called...mmm hmmm...Illinoise.


"Hang On To A Dream"---Cissy Houston (LimeLinx)
"Hang On To A Dream"---Cissy Houston (YSI)

Hopefully most of you know a thing or two about Whitney's mama, but if not, here is a brief rundown...

Cissy Houston (born Emily Drinkard) entered the world on September 30, 1933 in Newark, NJ. Five years later she was already pursuing her musical aspirations, singing in a gospel act called the Drinkard Singers with her siblings. As a member of The Sweet Inspirations, she laid down backing vocals for countless artists and recorded a couple of albums with the group before deciding to go solo. In addition to recording her own material, Houston has performed in some capacity with the likes of Dionne Warwick (her niece), David Bowie, Nina Simone, Aretha Franklin, Elvis, Chuck Jackson, Luther Vandross, Patti LaBelle, Dusty Springfield, and of course, her daughter Whitney.

In 1970, the powerhouse vocalist recorded a supreme album for Commonwealth United, entitled Presenting Cissy Houston. In what can only be seen as an unfortunate turn of events, her contract was sold to Janus Records later that year. While she recorded quality material for the label well into the mid-70s, she never received the promotional support she needed to facilitate her success. A prime example of this is that she rendered the original recording of "Midnight Train To Georgia", a song that popular culture clearly associates with Gladys Knight and the Pips.

Midnight Train To Georgia: The Janus Years is a collection of her work with the label that showcases many of the forgotten highlights of her career. "Hang On To A Dream" is one of the finer moments, Houston's striking cover of a beautiful tune penned by Tim Hardin.

Houston has been granted most of her accolades for her gospel recordings, but if you're more interested in delving into her secular material, this digitally remastered compilation serves as quite a worthy introduction.

Dig deeper...


"Funky Cat"---James Knight And The Butlers (LimeLinx)
"Funky Cat"---James Knight And The Butlers (YSI)

The music scene in Miami during the late '60s and early '70s never achieved the same legendary status as Muscle Shoals, Memphis, or Motown, but the southeastern region of Florida undoubtedly spawned some incredibly heavy funk and soul acts in the years preceding the disco invasion. The Miami Funk compilation spotlights some of the region's funkiest citizens, celebrating not only the artists who released major hit records, but some who were rather underappreciated and obscure. James Knight was a phenomenal musician and frontman who unfortunately happened to fall into the latter category.

Born in Miami in 1946, Knight began playing the drums at age 2, joining a calypso band only four years later. At age 14, he started playing around on his brother's guitar, and became so accomplished within a short time that he was jamming with the likes of Sam & Dave, Gwen McCrae, Betty Wright, Frankie Beverly and Ben E. King by the following year.

Around the time Knight turned 19, he formed a group called The Butlers (aka The Fabulous Butlers). The ensemble started doing shows outside of the Miami area, and would eventually perform with Joe Tex, The Chambers Brothers, John Lee Hooker, The Persuaders, James Brown, Muddy Waters, and many more of the era's most popular artists.


While it certainly appeared that Knight was destined for success, his professional woes began shortly after he recorded his Black Knight LP in the '70s. According to the artist's website, the album was put on the back burner because studio executives cautioned him that the material was at least 20 years before its time. It's since been reissued and is available through many online retailers for a fairly reasonable price.

"Funky Cat" has probably been comped the most times (with "Fantasy World", sampled by DJ Shadow, running a close second), and in my opinion, it's the standout track on the LP. It's to your discretion whether your dollars are better spent on copping Black Knight or a more diverse collection of tunes such as Miami Funk. I've read glowing reviews that compare Knight to stalwarts such as Jimi Hendrix, Charles Wright, and Sly Stone, but other collectors have expressed a degree of disappointment with the album as a whole (individual tracks can also be purchased via Knight's website, linked below). I personally kinda dig it, but my suggestion is to stream those bitches before you unass any cash, children.

Dig deeper...


"Kickin' Afrolistics"---The Afros (LimeLinx)
"Kickin' Afrolistics"---The Afros (YSI)

One of the illest things about having a giant music collection coupled with a long-ass history of abusing weed is...aww snap...I forgot. Nah...I'm just playin'. What's dope about it is pulling out throwback joints that you haven't listened to in forever because...ta da...those shits get to be brand new all over again. I had love for this record back in the day (produced by Davy D and Jam Master Jay), but right now it might just sound better than ever.

If you skipped class on The Afros the first time or your silly ass wasn't born yet (dayuuuuummmm....it's hard to believe this album is almost 20 years old), get your learn on by diggin' deeper.


"Oh, Baby"---The Time (LimeLinx)
"Oh, Baby"---The Time (YSI)

Every once in a while, I have to throw in a jam that will ensure the future generation of soul children, so you know...quit reading and go make some beautiful babies for the love revolution.

Dig deeper...

Before you check out, one last little bit of feel good~ a video by my homies Lady Daisey and Batsauce called "Magical". It actually came out quite a while ago, but it never loses its sublime sweetness and power to uplift. More from these two coming soon at SO:



Word From Your Moms:

"A verbal art like poetry is reflective; it stops to think. Music is immediate, it goes on to become."---W. H. Auden

"It is the stretched soul that makes music, and souls are stretched by the pull of opposites--opposite bents, tastes, yearnings, loyalties. Where there is no polarity--where energies flow smoothly in one direction--there will be much doing but no music."---Eric Hoffer

"All paths lead nowhere, so it is important to choose a path that has heart."---Carlos Casteneda

I May Be Paranoid, But Not An Android

How we doin' out there, soul babies?

Apologies for momentarily dipping out on you again---I realize it only takes half a nanosecond to be forgotten in the vicious cycle of relevance peculiar to the blogosphere. Nonetheless, those of you who still throw down with me despite my erratic and often unpredicatible blogging behavior are the only people I really give a fat damn about in the first place. Thanks for staying true.

Anyway, I was working on a post the other night, but clearly I was too mentally tired to write/type anything remotely intelligible. At the same time, I wasn't able to sleep no matter how many fuckin' chubby white sheep I attempted to count. Somewhere in the midst of this wide-eyed and half-crazed dilemma, I started compiling some of my favorite Radiohead reduxes, and it was in the early hours of that morning that the I'm Kinda Sleep Ee mix was born.

My familiars know that I'm a Radiohead stan, but for the most part I'm a purist. Too many DJs have (inadvertantly?) done their damnedest to make a mockery of the band's music---I mean, hey...can we all agree that there's nothing particularly cute about mashing "Creep" with a Britney Spears joint, children?

In spite of said skepticism, I'm inexplicably inclined to peep the trainwreck, and find myself obsessively collecting the entire gamut of their remixed material. Even the most absurd reworkings can make for an entertaining conversation piece, and I'm Kinda Sleep Ee will hopefully provide substantial evidence that quite a few of these mixes truly don't suck. Some of them might even be described as borderline genius...or so said my sleep deprived brain, anyway.

For those of you who aren't feelin' Radiohead, I offer my sincerest heartfelt regrets. I'll be diggin' from the funk and soul crates again before you can say "Scholar's a silly fuck up" 99 times. Word.


Preview/ Download via Limelinx:
I'm Kinda Sleep Ee: An Insomniac's Tribute To Radiohead

Download the mix via Sharebee

Track List:
Sooo Tired---DJ Panzah Zandahz
Five Step---Overdub Bootleg
Nude---Shanghai Restoration Mix
Atoms For Peace---Four Tet Remix
Weird Fishes---AmpLive Remix
Reckoner---Elijah's Horrible Wind Remix
Skip Divided---Modeselektor Remix
Nude---Three Leaves & A Head Remix
Get Em High//Videotape---Hippomothamus
How Ya Want It---DJ Panzah Zandahz ft. Jungle Bros.
No Karma---Jaydiohead
Paranoid Android---B2 Mix
Nude---DR's Raggedy Anne Remix
Change Order---Jaydiohead
Nude---sayCet Remix

Fundamental Supplementals:

My man Mike from This Is Tomorrow requested that I share a link to the beat tape he just released, a collection of dope remixes he crafted in Sept/Oct. of last year. Check it here, where you can also find links to some of his other remixes and fantastic workouts on the ones and twos.

Track List:

01. Intro
02. 1nce Again featuring A Tribe Called Quest
03. Stakes Is High featuring De La Soul
04. Stick To Your Gunz featuring MOP And Kool G Rap
05. Universal Magnetic featuring Mos Def
06. The Light featuring Pharaohe Monch
07. Broad Factor featuring Quasimoto
08. Funkorama featuring Redman
09. Boom featuring Royce 5'9
10. The Man, The Icon featuring Big Daddy Kane
11. The Revolutionist featuring Guru
12. Outro

Word From Your Moms:

"Sleep is the most moronic fraternity in the world, with the heaviest dues and the crudest rituals." ~Vladimir Nabokov

"Sleep... Oh! how I loathe those little slices of death...." ~Henry Wadsworth Longfellow

"Happiness consists in realizing it is all a great strange dream" ~Jack Kerouac

Dead Men Walking Don't Dream...

MUSIC:


"Gotta Get Away"---Gloria Barnes (LimeLinx)
"Gotta Get Away"---Gloria Barnes (YSI)

I've been interested in hearing Gloria Barnes' Uptown LP for quite some time, but unfortunately I didn't treat it as a matter of great urgency. I have notebooks full of albums I plan to dig for at some point in the future, and I'd be hard-pressed to put the slightest dent in this ever-growing list before the Funky Mothership arrives to collect my soul. Thankfully I have some of the illest readers in the universe, and one of them sent me a rip of the LP a few weeks ago. Hearing this for the first time put me on the kind of natural high that record junkies live for, so I had to share some love with everyone who hasn't had an opportunity to hear this yet. If I was a contortionist, I swear I'd kick my own ass for failing to be up on this sooner.

The most reliable information and insightful commentary about Barnes I've run across comes by way of my friend Colin Dilnot's blog, In Dangerous Rhythm. Colin featured a breakdown of every track on this Harlem vocalist's killer LP, and was also involved with Uptown's reissue on Castle/Sanctuary Records in 2007. The reissue is part of the Outta Sight Soul Essential series, and is paired with The Chosen Few's Taking All The Love I Can LP for a ridiculously generous price. The common denominator of these fine albums is that they were produced by Johnny Brantley, whose underappreciated mastery is also evidenced on records he cut with the likes of Jimi Hendrix, Lee Moses, The Ohio Players, Jimmy Castor, and Hermon Hitson.

This stellar 2-for-1 release (aka Soul Twins Vol 2) is available as an import via Amazon for collectors in the US, and can also be purchased through numerous online retailers in the UK and beyond. I can assure you that the Gloria Barnes tracks are worth the price of admission alone, and The Chosen Few is another hands down Souled On favorite.

Enjoy.


"Let It Be Me"---The Voices Of East Harlem (LimeLinx)
"Let It Be Me"---The Voices Of East Harlem (YSI)

I think "Let It Be Me" is one of the sweetest love songs ever written, although David Hasselhoff put its good reputation in jeopardy by fucking it up beyond belief on an episode of Knight Rider (note: bad outfits, lip-synching, offensive amounts of hair spray and a giant disco ball were also abused during this travesty). Despite being lightweight emotionally scarred by that unfortunate incident, gratifying renditions by artists such as Roberta Flack, Nina Simone, Chuck Jackson & Maxine Brown, Betty Everett & Jerry Butler, and The Sweet Inspirations have gone a long way toward restoring my faith in the song. Ultimately, I had to just get over myself and...you know...drop it like it's Hoff.

"Let It Be Me" was originally a French song called "Je T'Appartiens". It was first recorded in 1955 by Gilbert Bécaud, who co-wrote the tune with Pierre Delanoë and Mann Curtis. The English version first came about when Jill Corey performed the song on the television series Climax. Corey released her version as a single in 1957, enjoying only a moderate degree of chart success. The song didn't fully penetrate mainstream culture until The Everly Brothers released their cover in 1960, a runaway hit that peaked at #7 on Billboard's Hot 100. Although they were hardly the only recording artists to popularize the tune, their harmony arrangement became the blueprint for countless versions that were subsequently released.

The Voices Of East Harlem were a vocal ensemble that was comprised of as many as 20 members, ranging in age from 12 to 21 years. They released four albums between 1970 and 1974, working with soul legends of the caliber of Donny Hathaway, Curtis Mayfield, and Leroy Hutson. The group's obvious gospel/inspirational overtones caused them to be widely overlooked by the soul/R&B community, although their material gradually moved towards a more secular vibe.

Their debut album, Right On Be Free, may have been more heavily steeped in the gospel tradition than its successors, but it's every bit as soulful as it is righteous. While I don't necessarily find it quite as listenable as their latter LPs, I've come to appreciate it as an essential link in the evolutionary chain between gospel and soul music. Their rendition of "Let It Be Me" is a fine example of this: it's instantly reminiscent of holy sanctified Sunday mornings, although there's only the slightest hint of religiosity to be found within the content of the lyrics.

Initially, the song struck me as somewhat of an oddball choice for a choral ensemble. The other renderings I've heard have been a far more intimate affair, and I'm still not sure that this is the sort of song best suited to interpretation by a massive group of kids, but one day the brilliance of this record just sort of dawned on me out of nowhere and I've given it quite a bit of play ever since. Hopefully the spirit of this groove moves some of you as well.

Dig deeper...


"Baba Nla Iya (Intense Suffering)"---Kaleta & Zozo Afrobeat (LimeLinx)

" Baba Nla Iya (Intense Suffering)"---Kaleta & Zozo Afrobeat (YSI)

While I'm on the subject of amazing ensembles, I've been remiss in failing to mention Zozo Afrobeat up to this point. This phenomenal 13-piece collective is fearlessly led by Kaleta (aka Leon Ligan-Majek), one of the mightiest living legends of African music. Having recorded and performed during his formative years with Nigerian kingpins Fela Kuti and King Sunny Ade, Kaleta's style remains deeply rooted in the provocative sociopolitical messages and captivating musicianship associated with his predecessors. That said, he embodies his own distinct contemporary flair, and has toured in recent years with the likes of Fela's son Femi and Lauryn Hill. Based in NYC, Kaleta and the rest of Zozo Afrobeat hail from various countries around the globe, forging an eclectic sound that effortlessly blends a cornucopia of diverse musical origins.

What I've posted for you is an instrumental edit of "Baba Nla Iya (Intense Suffering)" that originally appeared as the B-side of their "Country Of Guns" 7-inch (Tramp, TR-1008). A longer vocal version appears on the Country Of Guns LP, but my guess is that fewer of you have gotten to hear the flipside of the single. Despite its somber title, this is a groove you can actually dance to...or at least my ass has made the attempt.

I realize that a lot of you snitches are afraid of anything you might consider "world music", but if you're adventurous enough to give this is a spin, I think you may be pleasantly surprised...

Dig deeper...


"4 AM Instrumental"---6th Sense (LimeLinx)
"4 AM Instrumental"---6th Sense (YSI)

"AM Set"---6th Sense & Wildabeast ft. Andras (LimeLinx)
"AM Set"---6th Sense & Wildabeast ft. Andras (YSI)

6th Sense is easily one of the illest hip hop producers on the scene at the moment, and the fact that he's also a prolific songwriter/MC makes him all the more worthy of your undivided attention. Heavily influenced by J Dilla, Miles Davis, Jay-Z, Nas, Stevie Wonder, and Kanye West, 6th draws his inspiration from some of the greatest to ever do it. These lofty aspirations are quite evident in the impeccable quality and precision of his output, and these echoes of the past are part of what makes him such a formidable contender for hip hop royalty in the present and future.

His latest effort, It’s A 6th Sense Beat, Yo!, was released on February 3rd, and is available for free download via Nodfactor. If this is your first introduction to his work, you'll also want to check for his free mixtapes with Mick Boogie, the killer tracks he's released with Wildabeast, and his It's Coming Soon LP. You should definitely do some checking on your own, but a couple more spots where you can find lots of free and legal downloads are included below.

Dig deeper...


"Amnesia"---Blu (LimeLinx)
"Amnesia"---Blu (YSI)

"Just Relax (Dan Aikido Remix)"---Noah ft. Blu (LimeLinx)
"Just Relax (Dan Aikido Remix)"---Noah ft. Blu (YSI)

I waited for Blu's new mixtape, Her Favorite Colo(u)r, with the same pins and needles anticipation that causes old people to get grumpy when the morning edition of the newspaper doesn't arrive on time. Blu simply can't release music quickly enough for myself and other members of his cultlike fanbase.

For the most part, I'm not sure what kind of reviews writers, bloggers and critics have been giving it. I usually try to form my own opinion about things so that I don't find myself falling under the influence of other people's thought processes. However, I did come across one writer (no sense giving him a shout) who essentially argued that emotionalism has no place in hip hop. Now I won't front---lyrically, Her Favorite Colo(u)r stands in stark contrast to the standard fare issued by prototypical gun-toting MCs...think 808s & Heartbreak minus the Auto-Tune. However, hip hop really ain't shit if it isn't the voice of the people. There are plenty of releases geared towards those who prefer heavy doses of misogyny, playerism and pimpitude. By the same token, however, there is undoubtedly a growing audience clamoring for Blu's more confessional style of lyrical poetry. Anyone who's so uncomfortable with the latter that they want anything heartfelt to be excommunicated from the genre evidently has some issues with their manhood. Stop typing and start checkin' for your balls, son.

Anyway, I would guess that many of you are already up on Blu's new mixtape, so I threw in a couple of bonus tracks to accompany "Amnesia", my favorite joint from Her Favorite Colo(u)r. Dan Aikido's remix of "Just Relax" is representative of jazz-hop at it's very finest, and Billie Holiday's "Am I Blue?" is the phenomenal Lady Day track that was artfully sampled on "Amnesia".


Bonus:

"Am I Blue"---Billie Holiday (LimeLinx)
"Am I Blue"---Billie Holiday (YSI)

*Sampled On "Amnesia"


"Once I Have You (I Will Never Let You Go)"---The Originals (LimeLinx)
"Once I Have You (I Will Never Let You Go)"---The Originals (YSI)

Although The Originals have quite a few outstanding sweet soul offerings in their canon of works, their legacy tends to be overshadowed by many of their Motown labelmates who were infinitely more successful. The group's popularity climaxed in 1969 with the release of "Baby I'm For Real", followed the subsequent year with another successful single, "The Bells". Marvin Gaye produced these two hits for The Originals in addition to a handful of other tunes, and this formula undoubtedly resulted in some of the most memorable moments of the group's recording career.

By the time they released their Naturally Together LP, the group was already beginning to lose their commercial appeal. Although "God Bless Whoever Sent You" rose to #14 on the R&B charts, the album as a whole didn't sell nearly as many copies as its predecessors. That said, there are a few gems on this record that I wouldn't want to live without, and "Once I Have You (I Will Never Let You Go)" is certainly one of them. The soaring harmonies and unfeigned lyrical sincerity certainly push the song to the very edge of sappiness, but if you happen to be a fool in love, the syrupy flavor might just be to your liking.

If you're interested in seeking out more from The Originals, the collection pictured above serves as an excellent primer. I've always been forthcoming about the fact that I much prefer the grittier vibe of southern soul, but no matter how bitter one might be, a little spoonful of sugar every now and then ain't never hurt nobody.

Dig deeper...


"Hometown Glory (Chewy Chocolate Cookies Remix)"---Adele (LimeLinx)
"Hometown Glory (Chewy Chocolate Cookies Remix)"---Adele (YSI)

"Make You Feel My Love (Remot Remix)"---Adele (LimeLinx)
"Make You Feel My Love (Remot Remix)"---Adele (YSI)

I honestly had to swear off British blue-eyed soul divas for a while after my ex-girlfriend Amy Winehouse went and fell in love with a crack pipe. It made some sort of twisted sense at the time, but I was wrong to intentionally look past Adele for such a completely illogical reason. Truth be told, the differences between the two are every bit as relevant as their commonalities, despite the fact that the media has incessantly plugged Adele as a kinder, gentler answer to Winehouse's unique brand of frenzied delerium.

The fact that Adele is somewhat of a safer and more wholesome option doesn't necessarily add to her appeal in and of itself. Some of my favorite artists of all time were insufferably tragic human beings, but it can be quite a nerve-wracking affair to stand by and wait for someone you admire to spontaneously self-destruct. It seems that if Adele leaves us it won't be with eyeliner smudges running down her face and a big needle sticking out of her arm. No...she's far more likely to accidentally drown herself in a bowl of oat bran cereal or something equally innocent and seemingly innocuous.

All ridiculousness aside, I do often find Adele's 19 LP refreshing, and the melodic lullaby of her mellifluous vocals can be all too engaging when I'm in the proper frame of mind. That said, my love affair with her material has only gotten more serious after numerous DJs and producers started releasing killer remixes of the tracks from 19. In many instances, these reduxes have inflated the replay value of her work, and effectively preserved the viability of her music long before it could descend into tedium and monotony. The CCC and Remot remixes are a couple of first class examples of why it's still easy to catch me these days with Adele bumpin' out the windows of my ride. If you can't respect that, your whole perspective is wack.

Dig deeper and deeper...

ART:


For those of you who aren't familiar with the revolutionary artwork of Emory Douglas, please do your homework. In his role as the Black Panthers’ official artist and Minister of Culture, Douglas created countless provocative images that were regularly printed in the organization's weekly newspaper. His graphic illustrations were crucial in visually defining the organization's ideology, and became a vital means of extending their message and objectives, even to those who were unable to read or write. While the philosophy and methodology of the Black Panther Party continue to incite much controversy and debate, it is virtually impossible to deny Douglas his rightful iconic status. The historic, cultural and sociopolitical significance of the boldly symbolic images he created simply cannot be forgotten or overlooked.

In 2007, many of these visual artifacts were reprinted and preserved in the book Black Panther: The Revolutionary Art of Emory Douglas. I would recommend buying this book only if you intend to actually open it, as opposed to casting it off as a coffee table prop to make your friends think you're cooler and more intellectual than you really are.

Recently, Station4 in the UK teamed up with Douglas to produce a series of limited edition silk-screened prints that are signed and numbered by the artist himself. The first few are already available, although there will be 12 in total before the series is complete. I ain't gonna lie...these are some expensive-ass posters, but they may be a worthy indulgence for yourself or someone you love if you've got it like that. The irony of these prices being so...ahem...unrevolutionary hasn't been lost on many critics, but on the flip side, it's mighty difficult to avoid participating in the great paper chase. Any thoughts?



NEWS & POLITRICKS:

The Obama administration releases a top secret Bush memo authorizing warrantless seizures of terror suspects; vows to continue releasing previously protected documents.


God isn't responding to your prayers quickly enough? Have you tried leaving a message on his answering machine?

The fearless leader of the No Cussing Club edges closer to persuading LA County to honor a weeklong silence on four-letter words. Scholar says: Fuck yeah!

LIFE:

If this doesn't make you smile today, nothing will (assholes aside, of course):



Word From Your Moms:

"Reality is wrong. Dreams are for real."---Tupac Shakur

"Those who dream by day are cognizant of many things which escape those who dream only by night."---Edgar Allan Poe

Love Lockdown: The Souled On Music Edition

Well children...this is it...the final episode in the Love Lockdown series. I've been savin' all my love for you, Whitney Houston style, to make sure that my friends could get their collective groove on first. I would hardly consider this a grand finale considering the caliber of what has already been brought to the (turn)table this past week...but as the host of this prolific love jam, I thought it only right for me to throw in my two cents.

As far as my selections are concerned...yes, I dug a handful of "what the fuck?" records from the crates from my tiny little heart to all of yours. If you're a regular visitor to this spot, you know that I tend to feature a love song in almost every post. However, I usually primarily focus on classic soul, funk, and hip hop music, so I wanted to branch out a bit for this exercise and roll with some joints that might not otherwise get any play around here.

I have to tell you that for the most part, romantic love is an exceptionally bitter pill for me to swallow, although I do believe that it's absolutely essential for the fortification of the soul. I'm quite sure that these song choices will reflect my overall ambivalence, and like many of my fellow audiophiles, I ended up having to get a bit random in terms of what I elected to post. I can't claim these tracks to be objectively superior in any way, and on another day this list may have easily consisted of something altogether different. I will stand firmly behind them on one account, however...at some point in my life they have all profoundly resonated with me for some deeply personal reason.

Much gratitude to all of my friends for your outstanding input, and to the rest of the Souled On family for passing through to vibe with us during our countdown to Valentine's Day.

It's still all love, kids...

Scholar


"Do I"---Alice Smith (LimeLinx)
"Do I"---Alice Smith (YSI)

This track doesn't deviate from the norm quite as much as some of the others, but with relatively few exceptions, I don't fuck with a whole lot of post-1974 mainstream R&B albums. Despite this informal and arguably snobbish rule of thumb, Alice Smith is quite a different story altogether. Simply put, I unabashedly adore her.

For Lovers, Dreamers and Me is a fully engaging front-to-back listen, but "Do I" still gives me chills every time I hear it. It's evidently in my DNA to complicate the living shit out of...everything...and this is perhaps especially true as it pertains to matters of the heart. If by chance I find myself overanalyzing, scrutinizing, and anticipating the ultimate failure of a relationship, this track sort of grabs me by the nape of my neck and pulls my stupid head out of my ass.

Loving someone can be so easy when you allow your convoluted thought processes to take a momentary rest. Believe me.

Qualifying lyrics:

I don't wanna
have to think about
The ways that we'll be bad
I don't wanna think about
The days that we'll be sad
Do I?

"Jism"---Tindersticks (LimeLinx)
"Jism"---Tindersticks (YSI)

Let me qualify this selection by stating up front that this is not your typical love song with a title that doubles as a slang word for sperm. "Jism" is at first a far more elegant affair than its connotations and implications might otherwise suggest...it is however, one of the most beautifully troubling songs I've ever heard. The music somewhat deceptively lures you in by treading rather softly, but the song begins to bear a tremendous heaviness once the gravity of the lyrics finally settles into the imagination. Perhaps not the most suitable listening for the faint of heart, but a powerful depiction of love's morally reprehensible underside nonetheless.

Qualifying lyrics:

Need these paper cuts
Need those gravel grinds
Need those pinches to wake me
Give up the drugs
Take the power I offer
Oh the deeper I go
The further I fall
The more I know
The tighter your grip around me

"Move You Run"---Smith & Mighty w/ Tammy Payne (LimeLinx)
"Move You Run"---Smith & Mighty w/ Tammy Payne (YSI)

Without getting unnecessarily personal, suffice it to say that I often have an inclination to run like hell when love starts getting too close for comfort. Human nature rightly lends itself to a fight or flight reaction whenever one feels...ummm...threatened, and quiet as it's kept, I don't have a violent bone in my body. This song is intended as an apology for every time I've gone ghost like Swayze just as the intensity was beginning to build.

Qualifying lyrics:

I know you can see that I wanted to try


"Absolute Beginners"---David Bowie (LimeLinx)
"Absolute Beginners"---David Bowie (YSI)

When I pulled this song out the other day, it suddenly sounded somewhat dated. That said, it can never lose its personal relevance considering that it was one of the songs playing most loudly in the background the first time I fell in love. It serves as a painfully pleasant reminder that I will never be so fiercely innocent ever again. That's a miraculous blessing...and a wicked curse.

Qualifying lyrics:

I've nothing much to offer
There's nothing much to take
I'm an absolute beginner
And I'm absolutely sane
As long as we're together
The rest can go to hell
I absolutely love you
But we're absolute beginners
With eyes completely open
But nervous all the same

If our love song
Could fly over mountains
Could laugh at the ocean
Just like the films
There's no reason
To feel all the hard times
To lay down the hard lines
It's absolutely true

Nothing much could happen
Nothing we can't shake
Oh we're absolute beginners
With nothing much at stake
As long as you're still smiling
There's nothing more I need
I absolutely love you
But we're absolute beginners
But if my love is your love
We're certain to succeed

If our love song
Could fly over mountains
Sail over heartaches
Just like the films
There's no reason
To feel all the hard times
To lay down the hard lines
It's absolutely true


"Legs"---PJ Harvey (LimeLinx)
"Legs"---PJ Harvey (YSI)

There's an underlying pathology to this song that makes it as eeriely disturbing as it is undeniably compelling. PJ Harvey's first couple of albums (Dry and Rid Of Me) were especially riddled with crash-and-burn heartache and histrionics, which made her music an appropriate soundtrack to the classic unhealthy, angst-ridden, dizzyingly psychotic romance.

I was listening to Rid Of Me quite a bit when I first became involved with a very intense artist who stayed locked up in a bedroom for 3 days (on a strict diet of cigarettes and Dr. Pepper) in order to render a near-perfect portrait of Ms. Harvey as a gift to yours truly. It remains one of my most prized love artifacts to this very day.

Qualifying lyrics:

wail scream wail..."you were going to be my life/ damn it"


"Country Feedback"---R.E.M. (LimeLinx)
"Country Feedback"---R.E.M. (YSI)

Out Of Time is the album that sort of marked R.E.M.'s transition from indie darlings to a commercially viable mainstream act. A great deal of the LP's success can be attributed to its blockbuster international hits, "Losing My Religion" and "Shiny Happy People", but on my cassette, the tape was worn thinnest at the point of "Country Feedback".

Stipe sings the narrative so convincingly from a first-person perspective that the lyrics sound like a catharsis of his own inner demons. "Country Feedback" comes across as a tormented confessional, and it may be trite to say so, but you can literally feel his pain. The quiet chaos, desperation, and bumbling confusion Stipe exudes envelopes the listener in a whirlwind of contorted emotions, and the cyclone simply won't let your feet touch the ground until the very last chord is played.

Qualifying lyrics:

This flower is scorched
This film is on
On a maddening loop
These clothes
These clothes don't fit us right
I'm to blame
It's all the same
It's all the same

I was central
I had control
I lost my head
I need this
I need this

It's crazy what you could have had


"JC"---Sonic Youth (LimeLinx)
"JC"---Sonic Youth (YSI)

I've always been of the mindset that only pretentious assholes claim to understand the precise meaning behind your average Sonic Youth joint. My experience with their music is purely visceral...I think it's a grave error to overintellectualize just about anything from their canon of works. Their lyrics are confoundingly abstract, and it often sounds as if they tuned their guitars to the sounds of the subway, so it seems foolish to apply the usual standards for critical analysis to the majority of their output. For myself, I put on their records to simply lose myself in the throes of their emotive fuzziness.

Bearing that in mind, "JC" may not have actually been intended as a love song...or was it? For all the hell I know, they may have been enigmatically tipping their hat to Jesus Christ, or perhaps the whole affair was a blissful, psychedelic byproduct of a pleasantly drug-addled sunny day afternoon. Who knows...who cares? This is what love sounds like to me...bewitching, undefinable, and occasionally cacophonous.

Qualifying lyrics:

And air so thin it weighs a ton - you can see as far as fun
You're nothing but a history - a second here and then you're gone
Quicksand, quicksand all around - turn the corner just beyond
The shadows move and change the groove - and something tells me not to brood

You're walking through my heart once more
Don't forget to close the door - I'm not certain of what you found

"Leif Erikson"---Interpol (LimeLinx)
"Leif Erikson"---Interpol (YSI)

All forms of art are open to subjective interpretation, but I've always thought that the reference to Leif Erikson in this track's title is a metaphor for exploring uncharted emotional territory.

I found myself listening to this song a lot while a very long-term relationship was winding to a close. It seemed unlikely that anyone could understand what I was going through, let alone inspire a spontaneous regeneration of everything I'd lost, misplaced, or voluntarily severed during that period of my life. Emotional investment in the aftermath of a disastrous relationship is indeed analogous to learning a new language.

Qualifying lyrics: "she doesn't know that I left my urge in the icebox"


"Who Are You?"---Tom Waits (LimeLinx)
"Who Are You?"---Tom Waits (YSI)

Tom Waits' "Who Are You" is anything but everyday listening for me...in fact, I hadn't pulled out my Bone Machine CD in quite some time. It's strange even to me that it made this list, but many years ago this was one of my favorite 3 a.m. songs. After a night of partying or socializing, I usually spend an hour or more chain-smoking and collecting my thoughts before I go to bed. The records I choose to meditate on usually bear a hint of melancholy...they at least tend to encourage reflective contemplation more so than something along the lines of NWA that I might listen to during the day.

It would be a struggle to explain my intensely personal relationship to this track...it's complicated...but I will say that some of the lyrics are reminiscent of a particular love of my life, and all these years later, those same words continue to resonate.

Qualifying lyrics:

All the lies that you tell
I believed them so well. Take them back
Take them back to your red house
For that fearful leap into the dark
I did my time
In the jail of your arms
Now Ophelia wants to know
Where she should turn

Go on ahead and take this the wrong way
Time's not your friend
Do you cry? Do you pray?
Do you wish them away?
Do you still leave nothing
But bones in the way?
Did you bury the carnival
Lions and all?
Excuse me while I sharpen my nails
And just who are you this time?

How do your pistol and your Bible and your
Sleeping pills go?
Are you still jumping out of windows in expensive clothes?

Well I fell in love
With your sailor's mouth and your wounded eyes
You better get down on the floor
Don't you know this is war
Tell me who are you this time?


"Simple Twist Of Fate"---Bob Dylan (LimeLinx)
"Simple Twist Of Fate"---Bob Dylan (YSI)

Dylan's music has been dissected with the sharp-edged scalpel of some of the greatest writers of all time, so it would be complete foolishness for me to even attempt to analyze the composition of "Simple Twist Of Fate" from a critical standpoint. Rather than making objective assertions about its meaning, I only care to illustrate how I view the song through my personal lens.

I left home when I was a very young teenager, and as a result, I found myself living somewhat of a nomadic lifestyle in order to survive. It was typical for me to crash at people's houses for a few weeks and then move on to my next destination. No matter where I stayed, I always got around to asking if it was okay if I checked out the host's record collection. One of the places I stayed had a vinyl copy of Blood On The Tracks, and I remember listening to "Simple Twist Of Fate" throughout the tenure of my stay. I'm not sure that it was attached to anyone in particular...probably just some fleeting crush or something of that nature...but that song profoundly impacted my soul. It stayed in my head forever after that. I used to have to simply recall it in my mind until I was stabilized and able to afford my own copy. If that's not love, I don't know what is.

Qualifying lyrics:

They sat together in the park
As the evening sky grew dark,
She looked at him and he felt a spark tingle to his bones.
twas then he felt alone and wished that he'd gone straight
And watched out for a simple twist of fate.

They walked along by the old canal
A little confused, I remember well
And stopped into a strange hotel with a neon burnin bright.
He felt the heat of the night hit him like a freight train
Moving with a simple twist of fate.

A saxophone someplace far off played
As she was walkin by the arcade.
As the light bust through a beat-up shade where he was wakin up,
She dropped a coin into the cup of a blind man at the gate
And forgot about a simple twist of fate.

He woke up, the room was bare
He didnt see her anywhere.
He told himself he didnt care, pushed the window open wide,
Felt an emptiness inside to which he just could not relate
Brought on by a simple twist of fate.

He hears the ticking of the clocks
And walks along with a parrot that talks,
Hunts her down by the waterfront docks where the sailers all come in.
Maybe shell pick him out again, how long must he wait
Once more for a simple twist of fate.

People tell me its a sin
To know and feel too much within.
I still believe she was my twin, but I lost the ring.
She was born in spring, but I was born too late
Blame it on a simple twist of fate.

Fundamental Supplementals:

For those of you who miss my regular steez, here are a couple of my quintessential love jams from the soul side...


"You Are Everything"---The Stylistics (LimeLinx)
"You Are Everything"---The Stylistics (YSI)

"Give Me Your Love (DJ Danny Krivit's Extended Edit)"---The Sisters Love (LimeLinx)
"Give Me Your Love (DJ Danny Krivit's Extended Edit)"---The Sisters Love (YSI)

Word From Your Moms:

In the desert
I saw a creature, naked, bestial,
Who, squatting upon the ground,
Held his heart in his hand
And ate of it.
I said, “Is it good, friend?”
“It is bitter—bitter,” he answered;
“But I like it
Because it is bitter,
And because it is my heart. –Stephen Crane, “The Heart”

Love Lockdown: The This Is Tomorrow Edition

Curtis Mayfield - Give Me Your Love (Love Song) (YSI)
Curtis Mayfield - Give Me Your Love (Love Song) (Limelinx)

Freddie Scott - (You) Got What I Need (YSI)
Freddie Scott - (You) Got What I Need (Limelinx)

S.O.U.L.- My Cherie Amour (YSI)
S.O.U.L.- My Cherie Amour (Limelinx)

Lou Courtney - Come To Me (YSI)
Lou Courtney - Come To Me (Limelinx)

The Third Wave - Don't Ever Go (YSI)
The Third Wave - Don't Ever Go (Limelinx)

Steve Colt - Take Away (YSI)
Steve Colt - Take Away (Limelinx)

My man DJ Blueprint (aka Mike) from This Is Tomorrow and I have collaborated on a few joint ventures prior to this.

My very first mix to be posted on the internet debuted on his site. Check out my Got Soul? mix here.

Meanwhile, Blueprint's guest mixes for Souled On can be accessed here and here.

Word From Your Moms:

"It is better to have loved and lost than never to have lost at all."---Samuel Butler (1835 - 1902)

"There is always some madness in love. But there is also always some reason in madness."---Friedrich Nietzsche (1844 - 1900)

Love Lockdown: The Lavoe Revolt Edition

The Soul of Izayaa By Sunez

Soul, the natural essence of supremacy, that animating principle nameable yet unquantifiable, that actualizing reality of all, where creator and creation become one and the same. This Soul is Blackness, the biochemical nature of all my Original people ("High Yellow Gal…If your mind could really see you’d know your color the same as me" – Curtis Mayfield). This Soul is animated by the principle of mathematics where one knows self yet continues to wonderfully just understand. This Soul is the union of all that we are in all that we manifest in an ultimate expression of love. This love is the binding element of all creation and it fortifies the sublime word, the 180 martial moves of bian xing and the myriad notes of keys, bars and measures of song.

To honor the soul song is to honor the lady in my life, Izayaa Allat, that hand-in-hand we shall create the best part with. That we have been forged in the mist of song is all in this list of select tracks I distill of her love. That these songs are from five women, from an everlasting list of crates I exhaustively excavate, reflect my Earth’s rhythm of sentiment and rhythm of sharing offered to me sublimely.

The enlightenment of the self sparks many words. So much was unknown, so much was lived abnormally, so much attachment to falsity, all masked as contradiction, truisms and belief. Yet she had seen that I would only heal her, only be the champion of all she is and from that moment be the father of her family. And so there are many words but making a long story short…


Gladys Knight – Make A Long Story Short (YSI)
Gladys Knight – Make A Long Story Short (Limelinx)

"Words…I could use a thousand words to say/ what I’ve got on my mind/ What’s the use of beating round the bush/wasting words/wasting time/mmmm…boring you with talk ain’t what I want so I’ll try to get right to the point./ To make a long story short, oooo baby I love you"

In 1977, Gladys Knight shared this jewel on the Still Together album. It is the softness of the lyrics, that there is a way of immediacy in her soft hums and her refusals to do nothing but tell him "I love you." The soothing strings that will not roar but carry us carefully to her abruptness is what I was told. So Izayaa had just told me. Letting tears stream her eyes, her heart pounded with fulfillment. An endless story still must be told…

…On a night of beauty where intimacy is realized, we are lovers that have become one. All our children forthcoming shall be testament to the sincerity of our hearts. I remember the footsteps to her, seeing someone alike to me and letting my chivalry be more than plotted plays but a revealing of my nature. Able to understand her every insight whilst excited so effortlessly by her voluptuousness, I was as thrilled as she. So the mind I read was my own and I let her acknowledge the time of our enjoining in infinite space.


Angela Bofill – Tonight I Give In (YSI)
Angela Bofill – Tonight I Give In (Limelinx)

"Somebody walked into my life/And he's right on time/Somebody looked into my eyes/And he read my mind/And its true/I only need to tell you/that it's you/You're every thing/I ever dreamed would come to me/ Somebody walked into my heart
And to my surprise/ Somebody tearing me apart/ And it feels just fine/ And it's you
I've waited oh so long to say/it's you/You're every thing/I ever dreamed"

In 1983, Angela Bofill uttered my love’s words of submitting love on her Too Tough album. This too titillating track crescendos the realization of submission with soft piano keys offering the most luscious bed. A song of exquisite peaks and intense declaration, Angela’s command of flow is supreme lush. That a man may know his supremacy with many facts and figures, or lust the beauty of a woman with many pictures and videos is nothing. To understand himself and so her too. To see her become everything she has ever wanted to be, all that she knew she was deep inside and be that foundation of insight and ear with embrace and hand to hold. Sharing, listening, caressing and leading a realized intimacy.

And so, how is this love evermore? In all ways and actions is it rejuvenating? How must the loveliest woman I shall ever know have her mood? It is what the woman becomes with that man that shows the worth of that man. If he is just and true, her thoughts will flower a field of eternal possibilities. She may take her lover’s hand and learn of herself, see herself as supreme, with the evidence of her splendor as well as any and all science that chooses to document her. So it must be so. That when her Sun ez shining on her, dreams of grandeur become proposed propositions proven paradise.


Phyllis Hyman – In A Sentimental Mood (YSI)
Phyllis Hyman – In A Sentimental Mood (Limelinx)

"In a sentimental mood/I can see the sun come through my room/And your lovin' attitude/Is like a flame that comes and lights the gloom/On the wings of every kiss/Drifts a melody so strange and sweet/And the sentimental bliss is like a dream/My paradise complete/Rose petals seem to fall/It's all like a dream to call you mine/My heart's a lighter thing/Since you made this night a thing divine/In a sentimental mood/I'm within a world, so heavenly/And I never dreamt that you'd be lovin' me/My paradise complete"

In 1981, Phyllis Hyman sang Duke’s immaculate song for Broadway's Duke Ellington revue Sophisticated Ladies. All the women that sing Izayaa’s heart have voices that can soar, that punctuate as well timed as the most erudite composition and bring that special "ooooo" as the most profound elegance spontaneity can manifest. Phyllis was a master of pitch, flow and sang lyrics as if they were truly her understanding. And with Izayaa in paradise, she shall know that I am there with her. And when we stare at the world as warriors, she looks toward me and tells me that nothing will ever destroy our family, our Soul. And to what lengths does the strength of love reach?

There are tears that only the Soul can bring. Those special tears at the witness of a rarity. It is that our oppressed people have so much awe inspiring power and wonder locked in cages of assimilation and mind numbing content. That if and when it is let out we see glimpses of all our trials, all of our desires, all of our insights. That there may be a clue in the reckoning with art’s beauty as a testament that we all can create a culture that secures our freedom. And each and every moment, my Izayaa comes to know it when true love is in the context of all this hell, these unspeakable yet livable horrors. She stands firm and cries become advanced swordplay, crooning moves as the deadliest wing chun animal forms and each word a detailed exhale of iron lung breath. And only the fatality of that which cannot die can sever such.


Linda Jones – That’s when I’ll Stop Loving You (YSI)
Linda Jones – That’s when I’ll Stop Loving You (Limelinx)

"When the birds no longer use wings to fly, no-no/And the raindrops stop falling, yeah, /from the sky, oh yeah/When mathematicians find, yeah-yeah-yeah-yeah, that one plus one isn't two/Now don’t ya know that that's when,/ah don’t ya know that's when I'll stop lovin' you, Baby/ Oh-oh-oh-ooh, stop lovin' ya, Darlin', yeah/When there is no remedy for, oh-ooh, for aches an', for/aches and pains, yeah-yeah-yeah/And when the flowers, the flowers they no longer, no longer/grow from the rain, oh-ooh, yeah-yeah/And when old Broadway, Broadway changes to Fifth Avenue/Now don’t ya know that that's when, wooooh-whoooooh, that's when I'll stop lovin' you, aw Baby, no-ooh/The only way I'll stop lovin' ya, Darlin'/You've shown me the joy love can truly bring, yes ya did now/And you made my, my sad life like the first day,/ like the first day, woooooooooooh, the first day of Spring Oh-ooh-Oh, now when the rays of the Sun are gone/No longer, it no longer gives us heat/And this ol' heart of mine, don't y'all know, that one day it's gonna refuse to beat/ And one last thing I've got to say/And if I wake, if I awake and find there's no more, no more mornin' dew/Now don’t ya know that that's when, OOOOOOOOOOOOO........"

The martial way of Soul was the domain of Linda Jones’ unfortunately brief career. Her unique "Yeah" furthering the lines or her trademark "Oh-ooh-Oh" making the end of every lyric beautiful. Her climatic "wooooohh-ooooooo" were exclamations of a woman that will fight for love, that immerses herself in every morsel of a man’s offerings and knows the joy of loving that much greater. To capture Linda live, as on the live LP recorded in 1970 in Ohio (Never Mind the Quality), is to show and prove that her power, clarity and intensity must never be forgotten. Her voice lived, escaping the cages of contentment and becoming the definitive definition of Soul. Yes. My Izayaa is known. That she will cry out upon any injustice with inflating vicissitude from tame adorability of a bunny’s physique into vicious challenger as a towering tigress. Be it the defamation of any of the lovely attributes she loves of me or the questioning of any truism that challenges the prosperity of principle, she gallops as a heart that has built legs for itself to step in front of hate or armed to sift and gather the all the endearing vitals to victual as the right foods. Her soul nurtures mine and so she must be grand…as the Earth…

…The personification of the supreme Black woman in song is Anita Baker. That before I met my Izayaa it was Anita who reminded me of what true love ought to be, the emphasis of her passions, the details of her longing, the way she will live for you, with you. So many discourses beginning with those wavy "ooooohhhhss" and words that melt away annunciation’s restrictions into soft aural waters through gilded pastures of keys and drums. All telling the story of our love.

On that night, Izayaa would open that Harlem Café door and our memory became stained with love. A picture in our memory of the day when we first met when solo became duet. Now I was her Angel and with whatever it takes she just knew to love me to the letter. And giving me the best that she got was and will be done just because. It was more than I could ever know at the time and it is the blessedness of life to bring her joy.


Anita Baker – You Bring Me Joy (YSI)
Anita Baker – You Bring Me Joy (Limelinx)

"You bring me joy/When I'm down/Oh, so much joy/When I lose my way your love comes smiling on me/I saw your face/And then I knew/We would be friends/I was so afraid but your eyes they'd say "come to me"/So I'd say to you/"Can we talk for a while?" You'd say it's "alright"/When you love me, I smile/I feel your hands and you feel mine/You bring me joy/You bring me joy/Don't go too far away/If I can't see your face, I will remember your smile/But can this be right?/Oh and should we be friends?/I get lonely sometimes and I'm mixed up again/'Cause you're the finest thing I've seen in all my life/You bring me joy/My joy, my joy/Oh baby this is gonna be what you want it to be/I just love you, I love you, oh can`t you see/That you're the finest I've seen in all my life/You bring me joy/My joy . . . you are ...you're my joy/My joy . . . my, my joy/ohhh Thank you baby, thank you baby/I just love you, baby...I just love you baby... I just love you/When I lose my way, your love comes smiling on me"

On the night of July 26, 2007, the perfected sound of Soul was in form at New York’s Radio City Music Hall. The most luxurious woman on my arm listening to her vocal incarnation. It was when she sang "You Bring Me Joy," from her Rapture LP in 1986 where all one must do is embrace one’s lover and let Soul’s inflections freckle the path of attraction with light. Our attraction to our every reality melded with Anita’s ‘oooohhhss’ and the immense truth in her reverberating cadence is our story. Yes, Izayaa, has the eyes of joy. That the tempos our hearts have measured are the rhythm of intimacy, secret to all yet sung by us. That this alike supreme being is the forum for all life I shall impregnate my understanding through, how many songs may the God yet sing. Forever I commence to chant creation…

…Izayaa is pure sweet Blackness, this tender yellow Queen of mine. She is the infinity that pairs with knowledge. Izayaa is my love. Izayaa is the Soul Allat. These are some of her songs.

Edward Sunez Rodriguez is a veritable scholar in every sense of the word. As an accomplished writer, editor, radio personality and lecturer, Sunez has published/presented 280+ articles in magazines such as XXL, Vibe, Stress, and The Source. In addition to all of his other awe-inspiring achievements, he's also lectured courses and seminars in history, ethnomusicology & Black/Latino culture.

You can catch up with Sunez via the blog and MySpace for Lavoe Revolt

Word From Your Moms:

"Among the different arts, the art of music has been especially considered divine, because it is the exact miniature of the law working within the whole universe. For instance if we study ourselves we shall find that in the beats of the pulse and the heart, in the inhaling and exhaling of the breath, all is the work of rhythm."---Hazrat Pir-o-Murshid Inayat Khan

Love Lockdown: The 33 Jones Edition

For most people, the thought of Valentine's Day tends to elicit one of two reactions: either that of optimism, with the idea that true love is some sort of attainable goal, or that of cynicism, viewing the holiday as little more than an annual bailout of the chocolate, flower and greeting card industries. My own thoughts tend toward an even darker point of view than the latter, as the yearly tribute to Saint Valentine leaves me in a state not unlike that of the waking moments after a night of heavy drinking, struggling to simultaneously remember and forget the regrettable decisions made while under the intoxicating effects of Love. Like a real life reenactment of a poorly scripted romantic comedy starring Dane Cook, the postscripts to my long term relationships typically find my significant others heading on to far greener pastures after parting ways.

Of the three relationships in my adult life that might be categorized as "serious," the first ended with my girlfriend packing her bags and flying off to Europe after a chance encounter with a pro ball player who happened to be in the U.S. while serving as a goodwill ambassador for his European team (his mission was a success, I suppose). Shortly after the conclusion of the second relationship, ex number two married a third stringer from the NFL and went on to become what they refer to as a "TV personality," her nationally syndicated talk show serving as an inescapable reminder of what might have been. As for the third, well, let's just say that she and her new girlfriend seem to be quite happy together. I offer up the details of my love life not to garner any form of sympathy, but merely as an explanation to the reader for why the following track list came to mind when Scholar asked for my selection of songs about love. If your love life has been anything like mine, pop in the following songs and commiserate. If you're lucky enough to have found some success in this game called love, just listen and use the time as an opportunity to appreciate what you've got.

Mos Def - Ms. Fat Booty (YSI)
Mos Def - Ms. Fat Booty (Limelinx)

Pharcyde and Led Zeppelin - Passin' Me By (Fidelski Remix)(YSI)
Pharcyde and Led Zeppelin - Passin' Me By (Fidelski Remix)(Limelinx)

Jay-Z and J Dilla - Song Don't Cry (DJ Soul Remix) (YSI)
Jay-Z and J Dilla - Song Don't Cry (DJ Soul Remix) (Limelinx)

J Dilla - Two Can Win (YSI)
J Dilla - Two Can Win (Limelinx)

Bless 1 - The End (YSI)
Bless 1 - The End (Limelinx)

Lest you be left with the impression that I'm a completely heartbroken wretch, I should note that I do have one ongoing relationship in my life that has been a near endless source of satisfaction; namely, hip hop. We've had our ups and downs over the years - her latest fling with this guy Antares has, admittedly, caused me to question what it is I see in H.E.R. - but we always end up getting back together. The women in my life will continue to come and go, Cupid willing, but hip hop will always be there for me. So with that said, here is my final selection, dedicated to the true love of my life.

The Roots featuring Common - Act Too (Love of my Life) (YSI)
The Roots featuring Common - Act Too (Love of my Life) (Limelinx)

Fresh is my friend, homeskillet, amigo, compadre, partner in crime, etc. Stop by 33 Jones and show some overdue appreciation.

Word From Your Moms:

"That word love is a very serious thing and if you don't watch out, I tell you that love's gonna get'cha." - KRS-1

Love Lockdown: The Hip Hop Is Read Edition

At Last - Etta James (YSI)
At Last - Etta James (Limelinx)

Come As You Are - Nirvana (YSI)
Come As You Are - Nirvana (Limelinx)

Hey - The Pixies (YSI)
Hey - The Pixies (Limelinx)

Hold Me Tight - The Beatles (YSI)
Hold Me Tight - The Beatles (Limelinx)

My Girl - The Temptations (YSI)
My Girl - The Temptations (Limelinx)

Peep Ivan's everyday hustle via the highly exalted Hip Hop Is Read

Word From Your Moms:

You
don’t send
me
flowers
anymore
fuckface.

–Andre Segui, “How the Bloom Leaves the Rose”

Love Lockdown: The Almighty Styler Edition

Well here is my humble selection of 'love jams', better late than never and a good deal harder to compile than one first thought, due to my being rather partial to the songs of lovelorn, heartbroken troubadours and down 'n' out bluesmen while I console myself with a good single malt.

Anyway, it must be said that I can still appreciate a nice happy song about happy people in love with each other and having a really swell old time of it, revelling in their new found love etc....the swines!

So without further ado here are my five :


"Turn On Some Music"---Marvin Gaye (LimeLinx)
"Turn On Some Music"---Marvin Gaye (YSI)

A love jam list isn't really complete without the sexy soulfulness of a far too good looking gent who goes by the name of Marvin Gaye. I'm quite sure I will not be the only one to include this legend and as such I will hopefully pick a less obvious joint from the vaults of Marvin's Room. The temptation to post the classic "Let's Get It On" or "I Want You" was always going to be there, so I have opted for a track from his final album, 1982's Midnight Love ....no not "Sexual Healing", rather "Turn On Some Music" which has Marvin boasting about his sexual prowess and stamina....

"The time has passed, An hour and a half, I love you baby, I'm strong enough to last" etc. etc.......Get your Tantric help guide out guys, we've got a lot to live up to.


"I Wanna Be Where You Are"---Michael Jackson (LimeLinx)
"I Wanna Be Where You Are"---Michael Jackson (YSI)

This is a great wee number, which was also recorded by the aforementioned Mr Gaye on his I Want You album, however the version here is by the artist it was written for, the still young and barley pubescent dark-skinned kid with a groovy 'fro, who along with his brothers was the toast of Motown. I am of course talking about Michael ''What the fuck happened there?'' Jackson

"I Wanna Be Where You Are" was written by Leon Ware and Arthur "T-Boy" Ross (you might know his big sister Diana) for young Jacko's first solo album, Got To Be There (1972). The duo also wrote the Marvin Gaye hit "I Want You" amongst others.

"Caruso"---Andrea Bocelli (LimeLinx)
"Caruso"---Andrea Bocelli (YSI)

This is a beautiful and popular Italian love song written by Lucio Dalla in 1986 and dedicated to the great and iconic Italian tenor Enrico Caruso. The lyrics are open to interpretation as to whom the man is singing to, is it his beloved or his daughter? As my Italian is not at all good, I cannot give you and answer, however with a stirring chorus starting "Te voglio bene assaie Ma tanto, tanto bene sai..." ("I love you very much So much, so much you know..." ) It matters not.

This version is by far my favourite and was included on Andrea Bocelli's first international album release 1997's Romanza (his fourth studio album). It is a much more stripped down take on the oft-covered song, with Bocelli's beautiful voice and piano conveying all the emotion of Dalla's music.


"As Long As I Have You"---Garnet Mimms (LimeLinx)
"As Long As I Have You"---Garnet Mimms (YSI)

Any song that was good enough for the mighty Led Zeppelin to cover (in fact Robert Plant had been rockin' it pre Zep) and play on some of their early kick ass shows, you know has to be a good one. And this little baby is just that, a sure-fire hit if ever there was one, the only problem being it was never released as a single and that is probably why Garnet Mimms, a really great soul singer, is relatively unknown by the masses. He cut the hit "Cry Baby" in 1963 with The Enchanters, a song which was later popularised by Janis Joplin. After a couple of well-received singles, he split with The Enchanters in 1964 and released a number of solo records with United Artists, including the album As Long As I Have You in 1965. However, he was soon not seen as a priority to United Artists, being moved to their subsidiary label Veep in 1967, and as such was never promoted as much as he should have been.

Anyway, after hearing this track you'll want to put it back on again and be singing along with it, wishing you were still with your baby as you dance the night away....at least that's what I do when the whisky's a-flowin'.

"So Much In Love With You"---John Martyn (LimeLinx)
"So Much In Love With You"---John Martyn (YSI)

My last choice is by one of the greatest songwriters my country has ever known and a true folk hero. Mr John Martyn, who sadly passed away on Jan 29th, was an all time favourite of mine and many others for his heartfelt and soulful music and guitar playing that put him head and shoulders above many contemporaries. As I mentioned in my last post for Souled On, if you have not heard enough of him, then do yourself a favour...the big man's a fuckin' legend and an absolute joy to listen to.

He wrote many a fine love songs and it was a hard task to try and narrow one down, so as I had posted a video for quite possibly one of the best love songs written, "Couldn't Love You More" in my last blog, I will have to choose another and go with the final track from his 1973 album Inside Out. RIP and much love from one Glasgow Walker to the other.

Many thanks and peace to you and yours people.

Fundamental Supplementals:

This video is a live take of "Great Expectations" from Elbow's third studio album Leaders Of The Free World (2005), and is nothing short of perfection. The song may be about the heartbreaking memory of ones first full blown love affair, which is now just that. Or indeed remembering when you first made a connection with the one that still holds your heart as you do theirs. There is a story that lead singer Guy Garvey, whilst on a bus, spotted an old couple, who appeared to have very little, but their love for one another was beautifully evident and he was inspired to compose yet another wonderful song:



A Note From Scholar: If you wanna hear more from my man Styler (and you'd be crazy not to), you need look no further than the pages of Souled On, where he's begun to amass his own cult-like following.

Word From Your Moms:

In celebration of Robert Burns' 250th birthday, which was on January 25th, and in keeping with the theme of the day, I have included one of The Bard's love poems for your reading pleasure.

Jean

Of a' the airts the wind can blaw,
I dearly like the west,
For there the bonie lassie lives,
The lassie I lo've best:
There's wild woods grow, and rivers row,
And mony a hill between;
But day and night my fancy's flight
Is ever wi' my Jean.
I see her in the dewy flowers,
I see her sweet and fair:
I hear her in the tunefu' birds,
I hear her charm the air:
There's not a bonie flower that springs
By fountain, shaw, or green,
There's not a bonie bird that sings,
But minds me o' my Jean.

(airts = direction / points of the compass)

Love Lockdown: The Heavy Soul Brutha Edition

First off, let me thank Scholar for the generous invite to participate in this little tribute to LOVE! It's a privilege to be asked and make an appearance on, what I consider, one of the very best spots on the web.

When I think of Love Jams, I think of 1980 to about 1986/87 and my first introduction to that late night program, that was probably in every city in the US, called "The Quiet Storm." It actually originated in the mid-70's in Washington DC by a DJ named Melvin Lindsay. It usually started around 10pm and lasted four hours. I was between eleven and seventeen years old then and I used to fall asleep listening to our show here in Richmond VA, pretty much every night. Friday nights were the best as I could stay up and listen to the whole show and record it over a few Maxell Cassette Tapes to use for mix tapes. It always opened up with Smokey Robinson's, "Quiet Storm." In between you would have an almost constant mix of contemporary slow jams as well as gems from back in the day. And our local DJ would keep the groove going for extended periods with a rare commercial here and there and always fade the show out by revisiting Smokey's get down every night. CLASSIC!

So, here is a mix of what I would consider the quintessential representation of my perfect hour of a show if I was spinning the records. You'll no doubt recognize them all, but these are, as we used to say, "some of the best bone jams" you can ever put on the hi-fi if you are trying to get a little snuggle on with your loved one. I've no doubt I could easily come up with enough tunes for a full four hour show, but here's just a taste.

I really hope you enjoy be sure and follow TP's instructions. "Turn Off The Lights and Light A Candle."

HeavySoulBrutha's Quiet Storm Mix Extended Player! (LimeLinx)

01. Intro: Quiet Storm - Smokey Robinson
02. Turn Off The Lights - Teddy Pendergrass
03. Yearning For Your Love - The Gap Band
04. Adore - Prince
05. Reasons (Live) - Earth Wind and Fire
06. Sparkle - Cameo
07. Love Ballad - LTD
08. For The Love Of You - The Isley Brothers
09. Fire And Desire - Rick James & Teena Marie
10. Superstar/Until You Come Back To Me - Luther Vandross
11. Quiet Storm Outro...

Peace and SOUL,
Dave...

Keep diggin' with HeavySoulBrutha via his phenomenal website, Put The Needle On The Record

Word From Your Moms:

"You know, as far as I'm concerned, it's about love. Y'know? You love someone...and how hard can the world be? I mean, people will come and go and so will problems, and ultimately, if you have love on your side and deep, deep down in your soul, what's a problem gonna be that takes your attention away from that?"

Spoken by the character of Jerome wooing porn star Becky Barnett. From the film Boogie Nights. Words written by Paul Thomas Anderson.

Love Lockdown: The Old Money Edition

Somehow in the warped Old Money universe, listing a top 5-or-so love jawns of all time became, well, something else.

That said, we present to you, in no particular order, our top 5-or-so Clips of Love, and top 2-or-so poems of the moment by a couple of friends of ours.

And for the record, Dwayne Wayne busting into Whitley Gilbert's wedding and making it his own (Episode 25, Season 5) would have certainly made the list, if the youtube clip didn't look like an old kung-fu flick:



1. Elizabeth Acevedo

To Be

He speaks saxophone
And I want to be his favorite Nina Simone song.
Maybe "Feeling Good" or "Wild is the Wind",
Want him to breathe me.

Let me be a memory,
He will tell grandchildren about,
As he becomes the wrinkles at the corners of my eyes,
Proof of smiles and sunlight

I want to be his un-chartered, un-finished city
But only if he'll be my architect
Kissing blueprints onto my spine
I want him to be a town I've never visited
And I refuse to be a tourist in,
One, that one day, I will call home

Let him be fire, I will be air
So together we will be fire-breathers
Sun eaters, holding stars in our mouths,
Smoke speakers, teachers of interlocking elements.

As he becomes the wrinkles at the corners of my eyes!! Proof of smiles and sunlight! Yea son, we're suckers for metaphor, and the vision in those two lines alone...This piece is just crazy. Actually, we were just gonna include this one, but she has another one that's buh-nanas, and was recently published in the Urban Word NYC Youth Anthology: Connect Politic Ditto

Plaiting

My feelings
are smooth cornrows
Neatly twisted, and perfectly presentable
Do not undo them,
because beneath that polished exterior
Is unbounded, spiraling energy.

Shivers dance electric slides across my spine
as your fingers pirouette on my temples,
I attempt to
French braid thoughts of French kisses
Curb the tongue of my body; speaking drumbeats
How I want to learn the pattern of your hands

Such painful silence lives in our polite contact
My fingertips cannot betray
The logical walls we have built
And lust does not have the right
to break so many bricks.
Because besides our burning blood
Not much else can we offer:
You refuse to provide more,
I refuse to accept less.

So nightly, I take these feelings and plait them tightly,
Knowing us, as "just friends", could not survive their unwinding.

Shiiiiiieeet...in one form or another, we've probably all been there.

2. Aja Monet:



"Sitting the moon in your eyes like rocking chairs at night"

Excuse us, but that imagery is absolutely O/D!!!!!!
---------

1. Martin



After a break up Martin wins Gina back w/ a soulful rendition of his own

2. Coming To America



An ode to all the Queens out there

3. The Cosby Show



Cliff plays some delicious Jazz

4. The Jamie Foxx Show



Jamie gets his jingle on in a jingle-off, sparking a competitive flame

5. Kings of Comedy



Steve Harvey lets us know about keepin' it old school
----

Old Money. We outta here mang!

Show Old Money some love via Attorney Street as well as their website and MySpace.

Word From Your Moms:

"There are more love songs than anything else. If songs could make you do something we'd all love one another."---Frank Zappa

Love Lockdown: The Fufu Stew Edition

Hello, kiddies.

Always a pleasure to drop by and hang out with you all. When I got the email from Scholar, I just couldn't pass up the chance to actually play some records. Being chained to my computer learning Algebra has consumed my time, so I suppose the key word here is "therapy"...

Here is my contribution to the Valentine's Day spectacular. I dug into a pile of 45s, (most of which haven't seen the light of my turntable in a number of years) with songs about love as opposed to the traditional love song, even though there's a few of those thrown in too. After all, it is Valentine's Day, right? This all 45 rpm exercise was edited and assembled on the fly in about two hours tops. *I must send a big thank you to my man Rob for the loaners...Of course, much respect to Scholar... thanks for the invite :)



Please download and enjoy Souled On Love as a continuous mp3 mix, a zip file, or as individual tracks:

01 I Want To Do Everything For You-Joe Tex (Dial) (YSI)
01 I Want To Do Everything For You-Joe Tex (Dial) (Limelinx)

02 Like An Open Door-The Fuzz (Calla) (YSI)
02 Like An Open Door-The Fuzz (Calla) (Limelinx)

03 Piece Of My Heart-Erma Franklin (Shout) (YSI)
03 Piece Of My Heart-Erma Franklin (Shout) (Limelinx)

04 I Can't Live Without You-The Soul Brothers Six (Atlantic) (YSI)
04 I Can't Live Without You-The Soul Brothers Six (Atlantic) (Limelinx)

05 Nothing From Nothing Leaves Nothing-Etta James (Cadet)* (YSI)
05 Nothing From Nothing Leaves Nothing-Etta James (Cadet)* (Limelinx)

06 Eight Men Four Women-O.V. Wright (Back Beat) (YSI)
06 Eight Men Four Women-O.V. Wright (Back Beat) (Limelinx)

07 It's Better Not To Know-The Royalettes (MGM) (YSI)
07 It's Better Not To Know-The Royalettes (MGM) (Limelinx)

08 Oh Baby Don't You Weep Pts. 1&2-James Brown (King)* (YSI)
08 Oh Baby Don't You Weep Pts. 1&2-James Brown (King)* (Limelinx)

09 Because Of Love-The Sandpebbles (Calla) (YSI)
09 Because Of Love-The Sandpebbles (Calla) (Limelinx)

10 Seems Like I Gotta Do Wrong-Whispers (Soul Clock) (YSI)
10 Seems Like I Gotta Do Wrong-Whispers (Soul Clock) (Limelinx)

11 It's I Who Love You (Not Him Anymore)-Bobby Byrd (King) (YSI)
11 It's I Who Love You (Not Him Anymore)-Bobby Byrd (King) (Limelinx)

12 Why Don't You Lead Me To Love-Stevie Wonder (Tamla) (YSI)
12 Why Don't You Lead Me To Love-Stevie Wonder (Tamla) (Limelinx)

13 Handle With Care-King Floyd (Chimneyville) (YSI)
13 Handle With Care-King Floyd (Chimneyville) (Limelinx)

14 Spellbinder-The Rhythm Rebellion (Tangerine) (YSI)
14 Spellbinder-The Rhythm Rebellion (Tangerine) (Limelinx)

15 Mind Body And Soul-The Flaming Ember (Hot Wax) (YSI)
15 Mind Body And Soul-The Flaming Ember (Hot Wax) (Limelinx)

16 Where There's A Will There's A Way-Brenda & The Tabulations (Top And Bottom) (YSI)
16 Where There's A Will There's A Way-Brenda & The Tabulations (Top And Bottom) (Limelinx)

17 Let Me Keep On Walking-Prophecy (All Platinum)* (YSI)
17 Let Me Keep On Walking-Prophecy (All Platinum)* (Limelinx)

18 Remember The Rain-The Vibrations (Okeh)* (YSI)
18 Remember The Rain-The Vibrations (Okeh)* (Limelinx)

19 I Am Your Man-Bobby Taylor & The Vancouvers (Gordy)* (YSI)
19 I Am Your Man-Bobby Taylor & The Vancouvers (Gordy)* (Limelinx)

20 I Can't Do Enough-The Dells (Cadet) (YSI)
20 I Can't Do Enough-The Dells (Cadet) (Limelinx)

21 Put Our Love Together-Arthur Conley (Atco) (YSI)
21 Put Our Love Together-Arthur Conley (Atco) (Limelinx)

22 I Don't Wanna Live Without Your Love-The Fantastic Four (Ric Tic)* (YSI)
22 I Don't Wanna Live Without Your Love-The Fantastic Four (Ric Tic)* (Limelinx)

23 I Found A Love Part 2-Wilson Pickett (Atlantic)* (YSI)
23 I Found A Love Part 2-Wilson Pickett (Atlantic)* (Limelinx)

Go check out some more of the bold and zesty Soul Chef's delicious grooves at Fufu Stew.

Word From Your Moms:

I hold it true, whatever befall; I feel it, when I sorrow most;
'Tis better to have loved and lost than never to have loved at all.
-Alfred Lord Tennyson

Love Lockdown: The Soul Psychadelicyde Edition

I think it goes without saying that I'm honored to be a part of this; Scholar is one of the best bloggers hands down and Souled On feels like a big happy family.

This task was really overwhelming, especially when I had the phrase 'of all time' in my head. It was much easier to think of favorites since that's just my opinion. There's no possible way I'm NOT leaving out whole genres of music. And my top five favorites do change from day to day. In fact, I'm writing this blurb on a different day than the day I sent my 5 songs, and today I'm ok with my choices but I also kinda want to say: "what love got to do with it? / ask SV it's all bullshit / you know what love is" ("Look of Love"- Slum Village)

Cassandra Wilson - Love is Blindness (YSI)
Cassandra Wilson - Love is Blindness (LimeLinx)

John Coltrane and Johnny Hartman - My One and Only Love (YSI)
John Coltrane and Johnny Hartman - My One and Only Love (LimeLinx)

Aretha Franklin - Baby I Love You (YSI)
Aretha Franklin - Baby I Love You (LimeLinx)

Erykah Badu - Green Eyes (YSI)
Erykah Badu - Green Eyes (LimeLinx)

Mos Def - The Beggar (YSI)
Mos Def - The Beggar (LimeLinx)

Get your groove on with my girl Lily Kane over @ Soul Psychadelicyde

Word From Your Moms:

"Love is or it ain't. Thin love ain't love at all."---Toni Morrison

Love Lockdown: The Cheese Sandwich Edition

Very Yes---Bootsy Collins (YSI)
Very Yes---Bootsy Collins (Limelinx)

Beddie Biey - Steve Arrington (YSI)
Beddie Biey - Steve Arrington (Limelinx)

Sure Know How To Love Me - Darondo (YSI)
Sure Know How To Love Me - Darondo (Limelinx)

I've Been Watching You (Move Your Sexy Body)- Parliament (YSI)
I've Been Watching You (Move Your Sexy Body)- Parliament (Limelinx)

Sweet Sticky Thing - Ohio Players (YSI)
Sweet Sticky Thing - Ohio Players (Limelinx)

Enjoy life, music, and a bunch of other shit over a classy Cheese Sandwich

Word From Your Moms:

"I like big butts and I cannot lie."---Sir Mix-A-Lot

Love Lockdown: The AM, Then FM Edition

Love songs, eh? There are but three uses for love songs.

The love song as a guide to life:

When a 13-year-old kid in Wisconsin started listening to the radio in 1970, love songs spoke to him. They helped that kid – who had no older brothers and no sisters – navigate social situations for which there were no instructions. Some love songs coached him on what to say, how it say it and when to say it. Other love songs simply were eye-openers.


We've Got To Get It On Again - The Addrisi Brothers (YSI)
We've Got To Get It On Again - The Addrisi Brothers (Limelinx)

Lessons also learned from: “If You Don’t Know Me By Now,” Harold Melvin and the Blue Notes, 1972; “Me and Mrs. Jones,” Billy Paul, 1972; “Show and Tell,” Al Wilson, 1973; and “Third Rate Romance,” the Amazing Rhythm Aces, 1975.

The love song as soundtrack:

The soundtrack to a certain time spent with a certain girl. The soundtrack to a six-week romance during that Wisconsin kid’s senior year in high school. These love songs weren’t for that certain girl. Rather, they were on the radio as that kid eagerly drove to her house and then floated home again. Hearing them today, those six weeks rush back.


Everlasting Love - Carl Carlton (YSI)
Everlasting Love - Carl Carlton (Limelinx)

You're The First, The Last, My Everything - Barry White (YSI)
You're The First, The Last, My Everything - Barry White (Limelinx)

Other soundtrack selections: “When Will I See You Again,” the Three Degrees, 1974; and “Laughter in the Rain,” Neil Sedaka, 1974.

The love song as mood music:

As the ‘70s ended, that Wisconsin kid was a senior in college, where he met another girl. He spent time at her house, too. They never made it much beyond her couch, except when it was time to flip the record. They’re still together all these years later. Yet to say they have a song that’s theirs is a bit of a stretch. Well, this was on in the background.


Affirmation - George Benson (YSI)
Affirmation - George Benson (Limelinx)

Other mood music: Uhhh, what? “This Masquerade,” George Benson, 1976. Oh, yeah, and Blondie’s “Parallel Lines” album (1978) and “Squeezing Out Sparks” by Graham Parker and the Rumour (1979). And some double album on which I cleaned the dope. It wasn't Isaac Hayes' Shaft, but that's some sweet mood music, too.


Cafe Regios - Isaac Hayes (YSI)
Cafe Regios - Isaac Hayes (Limelinx)

Check out more dope stuff courtesy of Jeff at the inimitable AM, Then FM

Word From Your Moms:

"Put a little love in your heart, and the world will be a better place ... for you and me, you just wait and see."---Jackie DeShannon, 1969

Love Lockdown: The Metal Lungies Edition

When Scholar invited me to choose my five favorite love joints for Valentine’s Day, I figured, rather than just put together a random grab-bag of mushiness, I would create a musical path through the formation of the perfect relationship – the five types of love that that special someone invokes in you. What do I know about “love” and the “perfect relationship”? Not too much from experience, other than that the only thing more difficult to find than the former is the latter. In fact, my lack of experience was probably what inspired my song choices. Some may call me (and a few people have called me) “naïve”, but, to them I ask… is there any holiday that encourages naivete more so than Valentine’s Day?

(Well, there is April Fool’s Day… OK, Christmas, too – it certainly requires some degree of naivete to imagine an old fat guy dressed in red sliding down your chimney with reindeer posted up on the roof… OK, you can argue for Columbus Day, seeing as it also requires some naivete to swallow the pill that Christopher Columbus discovered America, though that’s a debate for another day… and, yes, technically Valentine’s Day isn’t a “holiday”, but rather a creation by greeting card companies to make money… for heaven’s sake, man, it was a freaking rhetorical question! No wonder you’re alone on Valentine’s Day!)

Zapp – “I Wanna Be Your Man” (YSI)
Zapp - "I Wanna Be Your Man" (Limelinx)

This is that secret admirer, “I had my eyes on you for a while and just now worked up the nerve to approach you” type of love music.


D'Angelo – "Cruisin' (Dallas Austin Remix)” (YSI)
D'Angelo - "Cruisin' (Dallas Austin Remix)" (Limelinx)

This is that hanging out and doing nothing but looking each other in the eyes type of love music (… remixed by Dallas Austin).

Mos Def – "The Panties" (YSI)
Mos Def - "The Panties" (Limelinx)

This is that lit candles, bubble bath, gripping the bedsheets type of love music.

The Intruders – "Together” (YSI)
The Intruders - "Together" (Limelinx)

This is that saving up a couple of paychecks for a ring because this one right here might be a keeper (and a cubic zirconia just ain’t gonna cut it) type of love music.

The Isley Brothers – "Voyage To Atlantis" (YSI)
The Isley Brothers - "Voyage To Atlantis" (Limelinx)

This is that together forever, complete ignorance of the fact that 50% of marriages end in divorce, essentially ruining your life but still couldn’t be happier type of love music.

As for those of you who aren’t big fans of Valentine’s Day – which includes myself, now that I’ve stepped out of the fantasy world I was in while writing this post – head over to ML for five songs that may be more up your alley.

Word From Your Moms:

"If somebody says, 'I love you,' to me, I feel as though I had a pistol pointed at my head. What can anybody reply under such conditions but that which the pistol-holder requires? 'I love you, too.' ---Kurt Vonnegut, Jr.

Love Lockdown: The Go Nicole Yourself Edition

Hello Disciples of Scholar – Welcome to Go Nicole Yourself’s V-Day Post. A couple of years ago, Scholar and I bonded over a Roberta Flack song and now I’m lucky enough to call Scholar my friend. I might even say that my friendship with Scholar has been a journey – only he can truly know what that means, right bro? (Hahahahah) Anyway, Scholar asked me to participate in the V-Day posts and I was honored to be able to do so. I’m not a crazy crate digger like Mr X but I am a music fan, not unlike the rest of you. I chose songs that meant something to me. And in keeping with Souled On tradition of posting cover songs, here we go:

I grew up in a house where Otis Redding, Smokey Robinson, Doo Wop and Salsa were played often. My dad could only listen to music LOUDLY, so it was inevitable that I’d learn to enjoy music, but particularly soul music.


My parents were married for 40 years on February 2nd of this year. Their wedding song was Stevie Wonder’s version of “For Once in My Life” The original was done by a woman named Jean DuShon but didn’t reach its full popularity until they gave it to Stevie. Here is the original, plus a few good covers of the song.

For Once In My Life: Jean DuShon (YSI)
For Once In My Life: Jean DuShon (Limelinx)

For Once In My Life: Stevie Wonder (YSI)
For Once In My Life: Stevie Wonder (Limelinx)

For Once In My Life: Michael Buble (YSI)
For Once In My Life: Michael Buble (Limelinx)


If I ever get married, my wedding song will DEFINITELY be a Stevie Wonder song. My song? “As”. I can’t hear that song and NOT be happy, nor stay still. The only people to do a cover that I sort of like are George Michael and Mary J Blige. Don’t hate on me for loving Georgie. He’s scandalous but Wham was the SHIT.

As: Stevie Wonder (YSI)
As: Stevie Wonder (Limelinx)

As: George Michael w/Mary J Blige (YSI)
As: George Michael w/Mary J Blige (Limelinx)


Gladys Knight was another staple in my house. I love too many of her songs to pick just one, but this track was nicely covered by Alicia Keys and Bettye LaVette. No one can do unrequited love quite like Gladys…

If I Were Your Woman: Gladys Knight & The Pips (YSI)
If I Were Your Woman: Gladys Knight & The Pips (Limelinx)

If I Were Your Woman/Walk On By: Alicia Keys (YSI)
If I Were Your Woman/Walk On By: Alicia Keys (Limelinx)

If I Were Your Woman: Bettye LaVette (YSI)
If I Were Your Woman: Bettye LaVette (Limelinx)



Another one of my favorite love songs is “First Time Ever I Saw Your Face” Originally written in 1957 by Ewan MacColl for his wife Peggy Seeger who recorded it as a folk tune. It was then covered most notably by Roberta Flack. My personal favorite cover is by The Stereophonics. The singer's voice does the song justice imho.

The First Time Ever I Saw Your Face: Peggy Seeger (YSI)
The First Time Ever I Saw Your Face: Peggy Seeger (Limelinx)

The First Time Ever I Saw Your Face: Roberta Flack (YSI)
The First Time Ever I Saw Your Face: Roberta Flack (Limelinx)

The First Time Ever I Saw Your Face: The Stereophonics (YSI)
The First Time Ever I Saw Your Face: The Stereophonics (Limelinx)

The First Time Ever I Saw Your Face: Johnny Cash (YSI)
The First Time Ever I Saw Your Face: Johnny Cash (Limelinx)



Last – but hardly least – is a cover song by someone who isn’t considered a soul artist, but anyone who knows his stuff, knows that soul music doesn’t necessarily have to sound like everything else. My favorite artist ever - Peter Gabriel covered “The Book of Love” for the ‘Shall We Dance’ soundtrack, originally done by the Magnetic Fields on their 1999 triple album - 69 Love Songs.

The Book of Love: The Magnetic Fields (YSI)
The Book of Love: The Magnetic Fields (Limelinx)

The Book of Love: Peter Gabriel (YSI)
The Book of Love: Peter Gabriel (Limelinx)

The Book of Love: Mike Doughty (YSI)
The Book of Love: Mike Doughty (Limelinx)


Fundamental Supplementals:

Secret World - Peter Gabriel (YSI)

Whole Thing - Peter Gabriel & Friends (YSI)

Sky Blue - Peter Gabriel (YSI)

Washing of the Water - Peter Gabriel (YSI)

Summertime - Peter Gabriel (YSI)

A Note From Scholar: We obviously needed some estrogen in here, so I hope that you enjoyed Nicole's post. I have to say that without her, this V Day celebration wouldn't have been possible. She's been helping me organize, edit, upload, etc. Thanks to her, I'm still marginally maintaining my sanity. When you get done reading this, Go Nicole Yourself.

Word From Your Moms:

"We're looking at the same moon, though we're miles apart. We're wishing on the same star when you're deep in my heart. I don't know if you know, but when we miss each other so, look up. I'll meet you at the moon." - Imelda May

"You know how I know? Because I still love him and want to be with him, even when he's so stupid that I want to shove an umbrella up his ass and open it" - Go Mom Yourself (when asked how she knew she still loved Go Dad Yourself)

Love Lockdown: The No Trivia Edition

Brandon's V-Day Mix (LimeLinx)

Brandon's V-Day Mix (YSI)

Here’s the thing. When I make any kind of mix for a girl—which is ostensibly what a Valentine’s Day mix is—it’s light on soul songs. It’s light on soul songs because when every dope in the world’s trying to seem sensitive or whatever, they slap Barry White or Al Green on a CD and like, I don’t want to treat the genre like that.

So yeah, there’s a girl out there with a tape from me that had Prince’s “Another Lonely Christmas” on it, and I’ll use a soul song here and there, but to simpletons, the plurality of soul music’s lost. It just means “makin’ out music” and I like to come off a little better than that. But this is Souled On and this is Scholar we’re talking about, so I wanted to keep the mix at least, tangentially connected to the Soul genre, while still fumbling around with all the crazy emotions of loving or even just really liking somebody:

-“I’m Alone In the Wilderness” by Culture off Two Sevens Clash

This song is not being in love and maybe like, being so out of love you haven’t even talked to anyone in a while and you’re going a little crazy. This heartbreaking track from Culture’s end-of-days masterpiece sums up that feeling well.

-“Shoot Em’ Up Movies” by Deele off Eyes of a Stranger

Meeting the girl of your dreams amidst violence—even if it’s just on the screen—seems appropriately bittersweet and the right kind of weird to base a relationship on. This song’s also a like secret test to a girl because if she laughs at this shit, her ironic ass has got to go!

-“Frontin’ (9th Wonder Remix)” by 9th Wonder

There’s always that early moment with “that special someone” where you’re stuck in your asshole patterns still and you front or lie about something and if you want this good thing to last, you get-real and admit it and hope she understands. 9TH replacing The Neptunes’ synthetic funk stabs with the warmth of Stevie’s “My Cherie Amour” highlights the pathos hiding inside Pharrell’s and Jay’s swagger.

-“Betcha By Golly Wow” by Grant Green off Live at the Lighthouse

This song is falling in love and that’s something that can’t be articulated or verbalized, so a soaring, happy-sad instrumental is perfect. Monique taught me how to ride a bike two summers ago (you’re allowed to laugh) and for whatever reason, biking at three A.M, I found myself humming the melody of “Betcha”, specifically hearing Grant’s version.

-“You” by Bobby Womack off B.W. Goes C&W

Just a flat-out, super-obvious love song from Bobby Womack’s slept-on “country” album. What’s so great about this track is that it still touches on the insecurities and “maybe you’ll leave” worries we always have and it’s important to not forget that stuff. I always look at this song as an unofficial sequel to Bobby’s “Facts of Life/He’ll Be There When the Sun Goes Down”…the “game-spitting” phase—which is how every relationship starts--turned to pleasant nights next to the fireplace.

-“That’s Us/Wild Combination” by Arthur Russell off Calling Out of Context

Just listen.

-“Send It On” by D’Angelo off Voodoo

“If you’re feeling insecure/You can be sure…”

More wisdom from Brandon can be readily obtained via the highly sophisticated No Trivia

Word From Your Moms:

"Your equivalent of my orchids may always seem merely weird, merely idiosyncratic, to practically everybody else. But that is no reason to be ashamed of, or downgrade, or try to slough off, your Wordsworthian moments, your lover, your family, your pet, your favorite lines of verse, or your quaint religious faith. There is nothing sacred about universality which makes the shared automatically better than the unshared. There is no automatic privilege of what you can get everybody to agree to (the universal) over what you cannot (idiosyncratic)."-Richard Rorty

Love Lockdown: The Has-Lo Edition

"So Many Ways To Die"---Barbara Jean English (LimeLinx)
"So Many Ways To Die"---Barbara Jean English (YSI)

"Two Can Win"---J Dilla (LimeLinx)
"Two Can Win"---J Dilla (YSI)

"It's Alright With Me"---Mike James Kirkland (LimeLinx)
"It's Alright With Me"---Mike James Kirkland (YSI)


"Golden Lady"---Stevie Wonder (LimeLinx)
"Golden Lady"---Stevie Wonder (YSI)

"Coco Butter"---Cormega (LimeLinx)
"Coco Butter"---Cormega (YSI)

"Just The Way You Are"---Barry White (LimeLinx)
"Just The Way You Are"---Barry White (YSI)

"Albany"---Kev Brown (LimeLinx)
"Albany"---Kev Brown (YSI)

"I Say a Little Prayer"---Aretha Franklin (LimeLinx)
"I Say a Little Prayer"---Aretha Franklin (YSI)


"Fall in Love"---Slum Village (LimeLinx)
"Fall in Love"---Slum Village (YSI)

"Child's Play"---Ghostface Killah (LimeLinx)
"Child's Play"---Ghostface Killah (YSI)

You snitches should know by now that Lo's one of my favorite MCs...if you haven't already, make it a point to check him out on MySpace

Word From Your Moms:

"For it is the suffering flesh, it is suffering, it is death, that lovers perpetuate upon the earth. Love is at once the brother, son, and father of death, which is its sister, mother, and daughter. And thus it is that in the depth of love there is a depth of eternal despair, out of which springs hope and consolation."---Miguel de Unamuno

Love Lockdown: The Haha Music Edition

"Simply Beautiful"---Al Green (LimeLinx)
"Simply Beautiful"---Al Green (YSI)

"A Case Of You"---Joni Mitchell (LimeLinx)
"A Case Of You"---Joni Mitchell (YSI)

"Another Girl Another Planet"---Only Ones (LimeLinx)
"Another Girl Another Planet"---Only Ones (YSI)

"Train In Vain"---The Clash (LimeLinx)
"Train In Vain"---The Clash (YSI)


"You Send Me"---Aretha Franklin (LimeLinx)
"You Send Me"---Aretha Franklin (YSI)

Be sure to check out more from Adam Jacobson at hahamusic

Read Adam's previous guest spot at Souled On here

Word From Your Moms:

"The only people for me are the mad ones. The ones who are mad to love, mad to talk, mad to be saved; the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow Roman candles exploding like spiders across the stars."---Jack Kerouac