Muxtapes: EarFuzz discovers Web 2.0

EarFuzz Junior Side A

EarFuzz Junior Side B

It's like a record stuck on loop but apologies again for the break in posting. I've been on holiday the last week and a bit and actually spent time away from both my music and the computer during this period. After the initial withdrawal symptons it was actually pretty pretty good.

Anyway, I haven't had a chance to trawl through the dusty crates yet but it's always nice to go into the weekend with some music and noticed Oliver talking about this Muxtapes site over at Soul Sides. Funnily enough, I recently put together a mix CD for one of my girlfriend's friends whose only request was that it needed to be the kind of stuff that got played round ours after a night out plus something that would fit with the new and very welcome sunshine hitting British shores. So, job done, and with the CD sitting there it seemed logical to put it up on muxtapes to supply some summer tunes while I sort out more posts.

I've had to split the CD into two tapes to fit on the site which mindblowingly are titled Earfuzz Junior Side A and EarFuzz Junior Side B. There's nothing extravagantly rare or unheard of on there and it was actually quite refreshing to put together something where overwhelmingly common (Bobby Byrd) could sit alongside less well known tunes like Alice Clark. I'll probably put together something more along the lines of Soulsides sneak preview collection in the coming month but sometimes, to paraphrase Liberace, it's nice to return to the classics.

Have a good weekend anyway and I'll be back with the dustier Mp3s next week.

Wonder For The Weekend

Minnie Riperton: Perfect Angel
From: Perfect Angel [Epic, 1974]

Syreeta: Spinnin' And Spinnin'
From: Stevie Wonder Presents Syreeta [Motown, 1974]

Spinners: We'll Have It Made
From: Essential Collection [Motown, 1971]

G.C. Cameron: If You Don't Love Me
From: Love Songs & Other Tragedies [Motown, 1974]

Yeah, I know, the title, it's bad, sorry. Anyway, forget that and concentrate on the music.

I've wanted to do a post on Stevie Wonder for as long as I've been doing this but the problem is that when you're as well loved as the Wonder there's very little material that hasn't been featured to death already. Therefore I'm going round this problem by focusing on some of the song's he wrote for other artists during his golden seventies period.

I've featured songs by both Minnie and Syreeta in my blogging past (over three years ago? Damn!) and my feelings on both haven't changed. Perfect Angel off the album of the same name is a great example of Stevie forcing Minnie to showcase a different style of vocal gymnastics as the melody switches up and around.

Syreeta was in many ways Wonder's perfect muse, contributing to his song writing as well as seeming to inspire him to pen stunning tracks. Spinnin' And Spinnin' off her second album, Stevie Wonder Presents...... is just an absolutely amazing track in every way - from Syreeta's wonderfully delivered vocal to the hook to the production. If you don't already own her first two albums then can I make it your one essential purchase for the weekend please.

Speaking of Stevie/Syreeta writing together they actually joint penned the massive massive It's A Shame for The Spinners which I won't post up here for you today. However they also penned the far less well known We'll Have It Made which is a lovely little tune in it's own right and worthy of wider appreciation.

Finally to wrap it up, keeping with the Spinners, I give you their lead singer G.C. Cameron's If You Don't Love Me off his widely ignored album Love Songs & Other Tragedies. This song is pure upbeat funky Wonder at his best and Cameron delivers a great vocal to do it justice. Still not widely known, this song really needs to become more of a staple in people's playlists.

Apart from the above I know of Wonder's work with Ramsey Lewis and Smokey though apparently he also delivered some songs for Martha and The Vandellas that I'm yet to track down. Any other recommendations?

Nobody Can Live Forever: The Music Of Tim Maia

Tim Maia: Nobody Can Live Forever and Me Enganei
From: Tim Maia [Philips, 1976]

Following on from J.'s post about mixes that have caught the ear, I've recently been playing DJ Ferrari's America Du Sol mix to death. Available as a free download from his website or from Waxing Deep, this mix has been constantly reminding me that I really, really, need to step up my Latin American music game.

While my collection and knowledge is shamefully small, I can claim to be familiar with the work of Tim Maia whose Nobody Can Live Forever is featured on the mix.

One of those larger than life characters who occasionally bless the music industry with their unique take on the world, Maia's life was one lived to extremes; taking in everything from heavy cocaine and alcohol abuse to a couple of years spent in an extra terrestrial cult. I'm still waiting for a definitive biography to come out and give his story the write up it deserves though I've heard that Waxpoetics may be doing a feature on him soon.

However, the highs and lows of Maia's personal life shouldn't distract the attention away from his impact on Brazilian music and world music in general. Often credited as the man who brought soul music to Brazil, Maia put out a great collection of soul/funk albums in the seventies which covered a wide range of musical tastes and styles, unhelpfully self titling many of them Tim Maia.

My favourite two of Maia's albums are Tim Maia from 1970 and Tim Maia from 1976 though I thought I'd focus on the latter today with it's link to Ferrari's mix.

Nobody Can Live Forever is a tune built round a monster of a bass riff with Maia switching to English to offer up his thoughts on life, religion, and anything else that comes into his head. Ably supported by his band, Maia mixes up the instrumentation just enough to ever stop the groove getting stale - a real headnodder of a tune.

Me Enganei operates in that lovely place where disco and funk met and cohabited for a short while. An uplifting melody is combined with vocal harmonies and strings that assist rather than overpower the tune to craft a song that was a perfect fit for my walk from the station this morning as spring sunshine blessed the pavement around me.

Flicking through his albums while preparing this post, I'd forgotten just how much good music this man crafted so be prepared for another ode to Maia sometime soon.......

Darondo Vs Rene Costy: Didn't I Scrabble

Darondo: Didn't I Scrabble

Quickie today with a blend that hasn't left my playlist for a week now. If you don't know about Darondo by now you must get familiar as a matter of urgency. The original Didn't I is undoubtedly one of the sweetest soul songs I've ever cupped my ear to and is night on perfect in itself. What makes this blend work so well is that the constructor recognises that less is most definitely more in this case and matches the song beautifully with Rene Costy's Scrabble to deliver a slightly faster Darondo perfect for the dancefloor. So simple and yet so good.

I've been asking around about where this originated from but no one seems to want to own up for it. Happy to give credit if someone wants to step up (and a higher quality mp3 wouldn't go amiss either).

Something Smooth For The Weekend: Lamont Dozier

Lamont Dozier: Shine and All Cried Out
From: Black Bach [ABC, 1975]

Lamont Dozier: Trying To Hold On To My Woman
From: Out Here On My Own [ABC, 1974]

Switching up styles today with some downtempo delights to smoooooooooth you into the weekend. Maybe it's the 6 month British winter or just a general shift in tastes but I've found myself getting into the groove of mid seventies lush soul more and more over the last couple of months. I'm well aware that one listener's soul is another listener's shite so I'm not going to submerge you in it but did feel an overwhelming urge to post up some solo output from Lamont Dozier.

Originally making an impact as part of the Motown golddust team Holland-Dozier-Holland, Lamont's solo output is best known nowadays for the unfadeable Going Back To My Roots. However, Dozier actually had a pretty successful solo career which isn't bad going considering that most members of groups have a hard time making an impact after the split and when you're part of one of The Great Teams it must be even more of a bitch to prove your own worth.

Part of this is no doubt down to Dozier's role as the production wizard within the team, a talent he shows no sign of having lost on his 1975 album Black Bach. The most obvious parallel Dozier seems to be pulling with his album title is in the lushness of the musical structure he brings to the table and you can't fault him in this department.

Shine kicks off the album with aplomb as the artificial crowd calms down and the music begins, starting with a crescendo of strings Dozier switches up the melody with supreme confidence, reducing the layers of sound down before bringing it back up for the chorus.

All Cried Out hits me in my saccharine week spot. A track that hooks me from the get go and featuring a melody that rises and falls with the lead guitar I could just listen to a loop of this all day.

As a bonus I just couldn't resist featuring Trying To Hold On To My Woman from Dozier's earlier Out Here On Our Own. I forgot to crop off the interlude so you get a nice minute or so of string laden funk before the tear jerker kicks in. I'm a big big fan of "I've screwed up please give me another chance" ballads, the more overblown the better, and think this holds it's own commendably. This song is also a great example of the expressive set of pipes Lamont has as he delivers his vocal absolutely beautifully.

As it goes I've just noticed that Art Decade posted up Going Back To My Roots two weeks ago (great minds etc etc) so consider that an additional bonus track here. Also, while the originals seem tricky to come by you can pick up a best of Lamont pretty cheap from the usual places.

There you go, my ode to sweet smooth soul. Be interested if any readers want to step up to rep their own private mellow gems.........

Let The Soul Shine Through: Brighter Side Of Darkness

Brighter Side Of Darkness: Just A Little Bit and Something To Remember You By
From: Love Jones [20th Century, 1973]

More of the rare today with seventies Chicago soul group the brilliantly named Brighter Side Of Darkness. Most famous for their interestingly titled and extremely successful Love Jones single, the band did release a longplayer to go with it which actually exceeds the quality of their biggest hit.

Similar to both the Jackson Five and, my own special favourites, the Five Stairsteps, BSOD brought together a number of talented young musicians with an even younger lead vocalist. However, while the band did embrace the funk, their sound is on more of a mellow tone than the above with a mixture of ballads and grown man soul delivered by Lovelites producers Clarence Johnson and Johnny Cameron.

It feels wrong to not feature the title track in this post but, seriously, you can pick this up from approximately 1 trillion seventies soul compilations so instead I'll keep the focus on the lesser known and, in my opinion, superior album cuts that the band produced.

Just A Little Bit is lush seventies dramatic soul at it's best; strings swirling over the beat as horns break in and out of the track. So well executed is this song that it was only on listening to the instrumental version on side two that I noticed how much oomph the track has. It has it in spades. On a side note, I can't emphasise enough how much I love these soul tracks that plead and beg the song's muse to reconsider their options in love. I've amassed a fair few over the years but any new suggestions are always eagerly accepted.

Something To Remember You By is a lovely track that skips along with an uplifting percussion driven arrangement. Featuring the vocal talents of twelve year old Darryl Lamont the track also possesses one of those gorgeous sweeping male harmony style leads into the main chorus. Beautiful.

Unravelled Soul - Bare Threads

Bare Threads: Killer Track
[Unsigned, 2008]

Alongside plumbing the crate depths it's always a pleasure to feature music from up and coming artists on the Fuzz and it brings me special pleasure today due to the fact that I actually know the band.

Bare Threads are a group from Bristol who are currently rising up at a stupendous pace, having laid down their first songs in the studio mere weeks ago. However, you'd be hard pressed to spot the wetness behind their ears from the tracks that they have delivered from these sessions. Two of the group are certified crate diggers and the love of good music through the years shines through with a sound that draws from the past and the present. The band are coming to the scene at just the right time as well with the likes of Nicole Willis et all currently breaking through.

Killer Track does exactly what it says on the tin as the band showcase their mixture of funk, soul and rock plus their ability to spot a good tune. Starting with the lightest of jazzy riffs vocalist Jo sets up the tune by laying down her intentions before the heavier percussion and bass line kick in. One of those tunes that I like more and more each time I play it, I'm seriously expecting big things from this band over the next twelve months as they keep up Bristol's superb musical heritage.

You can hear a couple more of the group's tunes on their Myspace page which are well worth checking out and the band are beginning to get radio play as well. If you're one of the UK visitors to this site and are resident down south then I'd also recommend checking out their debut gig at Gimme Shelter in Bristol this Friday.

Who Knows The Best Song You'll Hear Today.(?)

Who Knows - Marion Black
from 7" on Capsoul (1970). Also available on The Numero Group's Eccentric Soul No. 1.

Smoke & Mirrors - RJD2
from 12" on Definitive Jux (2003). Also on the Dead Ringer album.

Who Knows - Quantic Soul Orchestra f/ Kabir
from the album Tropidelico on Tru Thoughts (2007).

Hello readers. I apologize for being so long between posts, my excuses are a tough bought of cold gettin' ill that knocked me out for a week and subsequent intense endeavors in nanophotonics and casimir force studies. But Junior really held it down solo style and Kevin brought another anatomy of a sample super-post, so you've been in good hands.

Briefly, I am putting up a wonderfully bluesy soul song (or a beautifully soulful blues song) by Marion Black called "Who Knows." From the small and short-lived Columbus, Ohio, Capsoul label, this track is so wonderful with great vocals, a killer bass guitar riff, tight drums, and the real sprinkles on my cupcake is the piano vamps. Just about a perfect song...I even dig how the recording just runs out on the 45 while the song feels like it will go on like our hero.

Columbus's own RJD2 utilized this track heavily in "Smoke & Mirrors" off his debut album Dead Ringer. The drums and bass guitar are still there and the vocals of course just a little slowed down. This track is so great, just listen to all the tricks and pans and subtle textures (the second vocal track and piano heavy 3rd minute being the toppest notch). I could go on and on about my love of this track and Dead Ringer in general, but I'll stop in a poor effort to keep this post at a reasonable length. I do want to put in my 2 cents about the hate that flowed around RJD2's emo/rock album and DJ Shadow's half hyphy/third rock/one sixth electronic album this year. I recognize the desire to hear the next Endtroducing or Dead Ringer but regardless of how much i like the results, I'm excited to see these cats try something off track from their other work and explore. I saw an interview with George Lucas where he was asked about getting pilloried for the original Star Wars re-edits and the maudlin tone of the pre-quels and he said, "These are the movies I wanted to see so I made them. If people are so convinced it is wrong, they should make the movie they want to see."

One guy who has been filling the need and craving for beat driven album is Will Holland (aka Quantic) who puts out a wide range of funky material either electronic (as Quantic) or recorded with a band (as Quantic Soul Orchestra). The latest QSO album is one of my favorite albums of the year (look for the definitive list coming soon) and low and behold it has a superb cover of "Who Knows" with Kabir Malik Green of Panama's Los Fabulosos Festivals on vocals. Most of the Tropidelico album is far more Latin in flavor as it was inspired by Holland's extensive traveling and performing throughout Central and South America, but it is all amazing.

Merry Christmas and Happy Holidays to all.

Ike Turner RIP pt2

Ike Turner
November 5, 1931 - December 12, 2007

Ike & Tina Turner: I Idolize You and It's Gonna Work Out Fine
From: The Sue Records Story [Capitol, 1994]

Ike & Tina Turner: Bold Soul Sister
From: The Hunter [Blue Thumb, 1969]

Following on from yesterday's post, I've pulled out a couple of Ike's earlier recordings on the Sue label including the original I Idolize You which I personally prefer to the later Spector produced version. I also had to put up Bold Soul Sister cos it's just so so damn funky.

Funky16Corners has reupped a couple of his fantastic posts on Ike which I would highly recommend reading, tons of knowledge jewels being dropped.

I always feel a slight moral quandary with these musicians who make fantastic music but appear to have spent much of their private lives being absolute shits. Ike certainly wasn't the first or last of these and I hope you can appreciate the musical gifts he gave to the world.

Ike Turner: RIP

Ike Turner
November 5, 1931 - December 12, 2007

Ike Turner & The King's Of Rhythm: Thinking Black
From: A Black Man's Soul [Pompeii, 1969]

Whatever personal feelings you may have about Ike Turner's private life there's no denying that the man was an extraordinary musical talent who helped sculpt modern music as we know it. I'll try to put up some more rare gems from the troubled man later on but for now here's one of his best known solo tracks.

RIP.

Tripping Through The Life Cycle: The Earth Disciples

The Earth Disciples: Life Cycle and Bitter End Part 1
From: Getaway Train [Solid State, 1969]

So how do you follow up a post like Kevin's Anatomy Of A Sample pt 2? Well, the simple answer is I can't really. So instead I've opted for a change of pace and a journey once more into the raer.......

The Earth Disciples are a group veiled in the mystery of time, allowing their music to speak for them. Which is to say that, despite my best googling efforts, I can find absolutely squat about the band behind this release.
What I can tell you is that the album is one of the rarest records on Solid State but still seems to turn up reasonably often on Ebay. You could describe the music as Soul-Jazz, Jazz-Fusion,Rock-Fusion or a number of other relatively meaningless terms but at the end of the day all that really matters is the music and I love this album to pieces.

I'm not ashamed to admit that I had a momentary face melt the first time I heard Life Cycle. Starting with a funky rock riff the track seems to be settling into a groove before it breaks down into the first of many sublime tempo changes. Building on a piano led theme the band develop the mood with layer upon layer, reverb taking the listener off on a journey before the groove brings them back down to earth. This track is absolutely fantastic by any measure.

Bitter End Pt 1 is a more straightforward jazzy number featuring some nice breakdowns and excellent playing from the band once again.

As I mentioned, despite it's rarity, I've seen this LP pop up a number of times on ebay so if you like what you hear it's worth keeping an eye out for it. I'm off to celebrate my birthday now but should be back next week with some more breakface related gems. Have a good week.

A Message From Harlem

The Voices Of East Harlem: Right On Be Free and For What It's Worth
From: Right On Be Free [Elektra, 1970]

'We know who we are and what we are and we're free' is a pretty powerful statement to have on the sleeve notes to your first album and when it comes from a twenty strong ensemble of singers you'd expect and hope that the music offered up an equally powerful righteousness. Luckily The Voices Of East Harlem's debut album from 1970 doesn't disappoint with it's blend of more traditional gospel and damn funky covers of hits of the day.

The gospel group were formed in 1970 and ranged from the prepubescent to the early twenties, offering up a mix of sweet vocals and youthful energy over four extremely solid albums. It must have been somewhat of a head scratcher for producer/manager supremo Jerry Brandt to capture the energy of the group on vinyl but he succeeds on this debut release with great results.

Right On Be Free, the title track, is a great upbeat combination of gospel vocals and funky percussion, kicking off the album with aplomb as the band get able support from a cracking backing band including Ralph McDonald's congas and Richard Tee's keyboards.

The real highlight of the album for me though is one of the funkiest covers of For What It's Worth that you'll ever hear. The band ably transform the mellow atmosphere of Buffalo Springfield's original into a bass heavy monster with rattling percussion and a great group workout vocal from the singers themselves.

Happily for once the album has been reissued so you can pick up a far cleaner copy than my scratchy original, plus you get bonus tracks. Anyway, enough from me, enjoy the weekend.

One Soulman And His Dog: Danny Woods - Aries

Danny Woods: Roller Coaster and Try On My Love For Size
From: Aries [Invictus, 1973]

Back once again with another slept on gem to bring tingles to your ear drums. Chairman of the Board are one of those long established soul groups that most listeners will be at least familiar with a song or two by. Enjoying more than reasonable success in the early seventies the group split and subsequently suffered the curse of the 'nobody cares about you when you're alone' solo album flops. Needless to say it wasn't long before the group reformed and they are still touring to this day.

As an obsessive collector with a high streak of curiosity I love coming across band member's solo albums as they always offer an interesting insight to how an artist takes forward their sound when given the freedom from the group. Band vocalist Danny Woods' only solo effort, Aries, from 1973 doesn't offer up anything extraordinarily different to the band's sound but what it does have is some extremely solid songwriting and some superb production.

Roller Coaster is a stonking little tune with it's stuttering kickdrums and the steel drums placed deep in the mix.

Try On My Love For Size is one of those pleading soul songs that I just can't get enough of complete with whoop whoop backing singers and more excellent percussion and rhythm work.

It's a shame this album wasn't rewarded with more success at the time, maybe its throwback style didn't sit well with listeners who had adjusted to the Hi/Stax sound or maybe it was the choice of another, god awful, what were they thinking, front cover but nows your chance to give Danny and his dog some love.

I Get Monae, Monae I Got

Janelle Monae: Sincerely Jane



From: Metropolis Suite 1 [Wondaland Arts Society, 2007]

Janelle Monae: Lettin' Go
From: Got Purp Vol 2 [Virgin, 2005]

First of, excuse the title pun, what can I say, it's been one of those weeks. Following on from J.'s post earlier this week about newer music that's been catching the ear I give you Janelle Monae's new EP on the Wondaland Arts Society label. Slated to be the first section in a four part series, the EP once again showcases her talents for offering up something different to the mainstream.

I first heard Janelle's work on her two tracks on Big Boi's Got Purp vol 2 and while Time Will Reveal left me pretty cold Lettin' Go was a definite highlight of the compilation with it's upbeat, dare I say it, Acid Jazz overtones and throwback swing production of strings and 4/4 beats. I've included it here just in case you missed it first time round. On a side note Got Purp has some great tracks hidden away in there, don't sleep.

Needless to say I was intrigued when I got a heads up on Janelle releasing her debut solo work and it's a pretty wild bunch of various styles and genres. However, the stand out track for me by a mile is the EP's closer, Sincerely Jane; it's a difficult trick to merge classic soul with something more modern but I think this track achieves it with aplomb. The song's stylings actually remind me of Nicole Willis with an incredibly catchy chorus and great horn section. Throw in some scratching for good measure and you've got a song which promises great things for the future releases. As the EP is only a few tracks long and you can get the whole lot for $4.99 I thought it only fair to stream it for now.

Back with some older, dustier, selections next week.

Friday Fuzz 45s

The Mighty Dogcatchers: It's Gonna Be A Mess Pt 1
From: Florida Funk [Now Again, 2007]

The Shades Of Black: Mystery Of Black Pt 1
From: Quantic Presents: The World's Rarest Funk 45s [Jazzman, 2006]

Carlos Garnett: Mystery Of Ages
From: Cosmos Nucleus [Muse, 1976]

Eddie Henderson: The Kumquat Kids
From: Sunburst [Blue Note, 1975]

Jerome Prister: Say You'll Be
From: Say You'll Be 12" [Tuff City,1989]

Back again today with a selection of music that's perfect for taking you into the weekend. There is no grand overarching theme to the music that I give you today beyond

a) They're all tracks I find put me in a Friday mood
b) They're songs that I've been meaning to post up for an age and a half but have always fallen through the cracks.

So, enough of the blah blah blah - on to the music.

I first heard The Mighty Dogcatchers' It's Gonna Be A Mess Pt 1 on the excellent Florida Funk collection that came out early this year - my joy was increased when I discovered it had been reissued on 45 and I've been playing it out ever since. Starting with a break the track introduces a truly evil bassline, horns and organ to create a rolling groove that just won't stop.

Mystery Of Black Part 1 by The Shades Of Black is another awesome funk 45 now reissued. Starting with a catchy percussion line what really catches the ear is the instrumental break in place of a chorus - an unexpectedly lush breakdown which works brilliantly.

I've been meaning to write up something about Carlos Garnett for quite some time now and sadly still haven't got round to it. So while I pull my finger out here is his absolutely sublime Mystery Of The Ages from his 1976 LP Cosmos Nucleus. A masterful combination of fearsome vocals and soaring horns make this a standout track for the Soul Jazz genre in my ears.

Eddie Henderson's The Kumquat Kids off his Sunburst album has a bassline that will make all headhunter fans eagerly clicking repeat as he offers up an electronic groove complete with futuristic swooshes which blends with a jazz funk percussion and horn section to great effect.

I first got introduced to Jerome Prister's Say You'll Be by Fuzz contributor Mawhie and was sold as soon as the main beat kicked in and I furiously hunted down the album that Jerome belatedly released a while after this song's success. In true digging fashion the album turned out to be shit but it still doesn't detract from Jerome's achievements on this single -absolutely awesome - why can't more late eighties soul be like this?

Checking In To See What Condition My Condition Is In

Sharon Jones & The Dap-Kings: Something's Changed



From: 100 Days, 100 Nights [Daptone, 2007]

So, how you doing? Apologies for my absence of late, a house move has caused a general level of unplanned turmoil to my life and bastard companies that will remain nameless seem to be determined to withold connecting my home internet access for as long as humanly possible (it's currently scheduled for sometime next month).

Massive props to J, Kevin and B for keeping the site going with some outstanding contributions and I'll hopefully be back to regular contributions next week as soon as I get some of my digitally ripped files on to my work computer a computer I can post from.

In the meantime, thought it might be worth reminding you that the new album from Sharon Jones is now out and well worth giving a listen. I've been fiddling round with these streamer thingamijigs as well (look what I can do Ma!) so I've attached another track from the album for your listening pleasure.

Enjoy and, fingers crossed, I'll be back with some more obscure stuff very soon...

Even More Nicole Willis - New and Old

OK. Evidently by "tomorrow" I meant "96 hours later," but I wanted to let B's nice Redbone post have some time and I just got this up slower than I anticipated.

As I mentioned in the last Nicole Willis post there is a remix album of Willis's Keep Reachin' Up album with the Soul Investigators coming out soon. I am afraid I don't know if this Natural Self remix of "Feeling Free" is going to make that album, but I really dig it. Actually I've been digging Natural Self's production without reservation for some time now, and he certainly deserves a post of his own soon. Self's remix is in the same vein as the Mr. Scruff Remix from last post: dancefloor oriented with some great added elements (more elegant bassline madness) and keeping the basic outline and vocals.

Feeling Free (Natural Self Remix) - Nicole Willis and The Soul Investigators
from the 12" on Above The Clouds Records (2006)


Promise - The Repercussions
from the 12" on Mo' Wax (1992).

Like a lot of (obsessive) folks the greatness of Keep Reachin' Up has had me Still Diggin' Down into bins looking for other Nicole Willis output. She's had a remarkably long career delivering her soulful vocals in various settings for over two decades now. One part of her history that I've really developed an affinity for is her early to mid-90s work with the NYC-based, soul & hip hop group Repercussions. Up today is their track "Promise" which would sit lovely next to the Natural Self remix if there were club nights that played stuff like this any more. It has to be mentioned that this is the first ever release on the ultra-important Mo' Wax label also, so it is kind of neat (and nerdy) for the completists alone. Lots more information at her website.

Nicole Willis Remixed - Tempting Fate Soon at a store near you

NOTE: We're experimenting today with streaming mp3 instead of the usual downloads at the reasonable request of the good folks at Above The Clouds Records. Please let me know how this goes.

If This Ain't Love (Mr. Scruff Remix) - Nicole Willis & The Soul Investigators


If This Ain't Love (Elizabeth Shepherd Trio Mix) - Nicole Willis & The Soul Investigators


Following the astounding and thorough success of Nicole Willis and the Soul Investigator's brilliant Keep Reachin' Up, Above The Clouds Records is releasing a remix compilation of that album. ATC handles the UK distribution for the NW & TSI, so one can hope that their US label, Light In The Attic, will also be putting this out. However, currently their website appears to have no info on this.

While I am as hungry for Nicole Willis (and of course the amazing Soul Investigators) material as any of their adoring fans, the task of remixing such really superb and well loved tracks will mean a great deal of scrutiny. Of course the remix album is completely unlikely to match the original for cohesion and wall to wall brilliance, but the Mr. Scruff version really gets things started in the right way. A dancefloor version to be sure with big mixable intro and outro for whatever DJs might still be out there. While the Mr. Scruff version pumps up the boogie, jazz combo Elizabeth Shepherd Trio takes her remix into firmly dancey jazz track with great piano vamping.

Both the Scruff and E.Shepherd versions appear on a single drop by Above The Clouds on September 24th, and the full remix album to be released sometime in October. Hopefully the super-excellent Natural Self remix of "Feelin' Free" will also make that album (I haven't seen a track-listing for that yet). More Nicole Willis tomorrow including that Natural Self track.

Dap Is Back - Sharon Jones & The Dap-Kings

Sharon Jones & The Dap-Kings: 100 Days, 100 Nights
From: 100 Days, 100 Nights [Daptone, 2007]

I love the Nicole Willis album and have even bobbed my head to a Winehouse song occasionally. However, no one in the game at the moment can hold a torch to Sharon's vocals and the queen of the scene is back with a new album at the beginning of October.

Hot album cover, hot title song, what more can I say? To add to the joy the group are about to go on tour as we speak.

Pre-order your copy of the album now.

This Is The Soul Generation

Soul Generation: Super Fine and Sweet Thing
From: Beyond Body & Soul [Ebony Sounds Records, 1972]

Sometimes you hear a track and it stops you in your tracks, makes you exclaim "God damn" and before you know it has become a staple of your playlist. A recent addition to this treasured group was the Soul Generation's Super Fine off their debut album Beyond Body & Soul.

Colour me disconnected but the Soul Generation were a group I was unfamiliar with till pretty damn recently and it was only after I heard the album that I bothered delving into their history. It appears that the group were actually pretty big around the time of their debut in 1972, scoring a hit with the track Body & Soul along with a number of follow ups. Still, better late to the party than missing it altogether I suppose and I am now heavily into the band's sound which offers the kind of sweet soul vocals that reach straight into the heart alongside a more funky sound than many of their contemporaries.

The track Super Fine features that lovely mix of horns and strings so prominent in early seventies east coast soul alongside swooping vocals. What really sets it apart for me though is the earthy desire and longing emanating from the track; these guys don't just want to woo the woman, this is as much for the bedroom as the heart. Awesome awesome song.

Sweet Thing offers a more falsetto, less sexualised, soul vibe but with the same lovely mixture of sweet production and hooks full of horns and soft strings. To be honest this is an album where the temptation to post up the whole thing for your ears is only tempered by my eagerness for you to go out and get your own copy. Beyond body and soul indeed.

Making It Sweet: Coke Escovedo

Coke Escovedo: Easy Come, Easy Go and Make It Sweet
From: Coke [Mercury, 1975]

Don't you love it when a song randomly comes on to your Mp3 player/stereo and it syncs perfectly with your mood and situation? I had one of those pleasant moments yesterday when the constant British rain was interrupted by some absolutely glorious sunshine. As the first rays hit my brow Coke Escovedo's Easy Come, Easy Go started piping into my ears and everything felt right for a blissful few minutes.

Needless to say the sun didn't last long but it was a necessary reminder that I've never featured the group in all my years of blogging. Some background info: Coke Escovedo was a percussionist who honed his act first in Santana and then on Azteca's first two albums in the early seventies before enjoying some moderate solo sucess, particularly with the breakbeat classic I Wouldn't Change a Thing. Thanks god for the hour of sunshine as the blend of styles Coke and band display on his self titled debut is more than worthy of a post offering up a lip smacking mix of latin funk and soul.

The afore mentioned track, Easy Come, Easy Go, is a great piece of stop/start funk with a post Loading Zone Linda Tillery delivering a vocal performance that absolutely rips it up. Thumbs up for the bongo breakdown as well.

Make It Sweet is, as the title suggests, a sweeter effort. Starting with a whooping audience the track slowly picks up speed as Linda's vocals are joined by some smooth playing and percussion, crafting a track perfect for a dancefloor get down.

Different Strokes For Funky Folks

Don Covay: Why Did You Put Your Shoes Under My Bed and Standing In The Grits Line
From: Different Strokes For Different Folks [Janus, 1970]

An undeniable fact of digging is that, through the process of collecting old records, most diggers develop special affections for a few seemingly random performers. Normally this isn't just down to the music itself (though it obviously plays a large part) but also down to factors such as "discovering" an artist for yourself and a feeling that you need to champion their forgotten contributions to the art.

One such artist for me is Don Covay who, while widely respected and acknowledged within the industry, I still treasure like a rare gem. The track which did it for me personally was when I first heard Covay's What's In The Headlines which I featured back on Evigan Funk around two a half years ago. I also gave a summary bio of the man's life then and, since I'm a far lazier poster these days, you can check the archive for that.

All this is a roundabout way of me returning to the album What's In The Headlines is taken from, Covay's 1970 release, Different Strokes for Different Folks. Contrary to what Headlines may have suggested, the album finds Covay in furiously upbeat mood, bringing a mixture of R&B and funk to an impressively solid collection of songs.

Why Did You Put Your Shoes Under My Bed is a blistering funky number full of high octane playing and anguished raw vocals from Covay. The sparse use of horns adds extra punch when it does come in and the play between Covay's main vocals and backing track all add to the pulsating rhythm.

Standing In The Grits Line is more laidback but no less funky featuring an irresistibly catchy guitar and horn riff from the Jefferson Lemon Blues Band that Covay exploits to it's fullest.

Unfortunately the album is still out of print (maybe there's some debating going on about whether to keep Covay's original, "unique" front cover - I mean, it hardly screams funky delights does it?) but you can actually compose your own complete version from the bonus tracks on the reissues of Funky Yo Yo and Super Dude. So there you go.

Sweet Funky Machine: 14" of funk both old and new.

Papa's Got A Brand New Bag - Sweet Vandals
from 7" (with "Charlie Love") on Unique Records (2007).

I Can't Help Myself - Funky Music Machine
from 7" on Black Top Records (196?/7?) re-released on Truth & Soul Records (2006).

Two funky covers up today for your pleasure and through provocation. The first is from one of the latest entries into the retro-soul/retro-funk world, namely The Sweet Vandals. After the pioneering work of Poets of Rhythm and the recent success of Sharon Jones and the Dap-Kings and Nicole Willis and the Soul Investigators, this subgenre is starting to get populated with releases. Populated but far from crowded. I am loving this infusion of funky good tunes with a stridently old style and sound. It is almost unfortunate hubris to cover such a well-known James Brown track for your first single and album. I say almost because despite the faithfulness of the cover and the unapproachable nature of the original, vocalist Mayka Edjo twists things up just enough to give everything her own spin. Additionally, drummer Javier Gomez channels Bernard Purdie and really shines. The rest of the band is Carlos Coupe on Hammond organ, Santi Martin on bass, and Jose Angel Herranz on guitar and they form a very tight and promising combo (see cartoon rendition of them above). Their self-titled album isn't available in the states yet, but if you're feeling the single I'd recommend it as a decently priced import

Conversely to the tight, in the pocket quality of the Vandals, is the delightfully sloppy cover of the Four Tops's "I Can't Help Myself (Sugar Pie Honey Bunch)" by Funky Music Machine. Tyrone Ashley is the vocalist here with his band FMM, but Ashley is (only slightly) better known as Sammy Campbell (pictured above right) who lead the Del Larks in the 50s-60s. He also released at least one record as Black Velvet before officially recording as the FMM. Truth and Soul has uncovered his old recordings (many never released) and have started to get these out over three decades later. In Ashley/Campbell's hands and voice the cutesy baked-goods selling "I Can't Help Myself" gets a great big bottom end and a lot more vocal edge. It still makes me want some Duncan Hines brownies, but now I will boogie to the kitchen for them.

PS...Sweet Vandals reminds me that I had at one point decided that if I ever got a Puff Daddy complex and had to start a girl pop-vocal group I'd name them The Pretty Thieves and their first album would be Pretty Larceny.

Three Good Reasons To Be Optimistic

Optimistics: If I Could Influence Man , You Put Something New In My Life and Man
From: Optimistics [All Platinum, 197?]

So, first off thanks to Jazzsucka who kindly shared a copy of this out of print album over on the 'Strut.

I don't know an awful lot about this group beyond the basic facts: They were from Baltimore, they were formed by Billy Butler in the late sixties, and, most importantly, they were produced by George Kerr - the man behind the more well known Whatnauts sound.

Taking the above into account, it's no surprise that the album sounds fantastic, with a mixture of strings, beautiful falsetto vocals and funky percussion throughout the LP.

There were a number of tracks I was dithering about posting from this but in the end I've gone for If I Could Influence Man, with it's hypnotic guitar lick and Temptations style funk, and You Put Something New In My Life with it's gorgeous blend of sweet harmonies and absolutely stellar production.

As an apology for the break in posting and as the album doesn't seem to be looking to be reissued anytime soon I also couldn't resist including the funk track Man which is just waaaaaaay too good to be ignored. The kind of track that comes roaring out the gate, it's full of blistering energy with heavy percussion and wild falsetto vocals. This is dynamite stuff my friends.

Enjoy and maybe one day they'll actually reissue it for us all to get our hands on a copy.......

Lonely No More: Frederick Knight

Frederick Knight: I've Been Lonely For So Long and Take Me On Home Witcha
From: I've Been Lonely For So Long [Stax, 1973]

So posting has been slow again but at least I have a genuine excuse in that we're currently in the early stages of moving to a new home. However, the lack of spare digging time has allowed me to go through music that I hadn't explored to it's fullest. One of the first i picked up was Frederick Knight's I've Been Lonely For So Long.

Now, hand on my heart, I actually thought I'd posted this about a year ago so it came as a shock to find I'd never actually highlighted how great this album is.

While never a major star, Frederick did enjoy success with the title cut from this, his first album on Stax. A lovely lilting soulful breeze of a tune, it highlights the light touch that Knight brought to his music, the guitar hook carrying the tune with Knight's voice which is full of real emotion that shines through.

Take Me On Home Witcha starts in an almost modern soul vibe before unleashing a great great feel good hook that seems to stay rolling round my head for days after I play it. Funky enough to dance to while soulful enough to play while mellowing, I adore this song.

Lovely soul music that deserves far more recognition than it has received. Don't Sleep.

Reintroducing Shuggie Otis

Shuggie Otis: Oxford Gray and Jennie Lee
From: Here Comes Shuggie Otis [Epic, 1970]

Anyone who's been following my meandering posts for a while will know of my utter worship of Shuggie Otis's Inspiration Information album. One of my personal favourite albums of all time, I'm also a big fan of his earlier Freedom Flight album which got an awareness boost when it was featured on the rerelease of Inspiration Information a couple of years ago.

However, what seems more slept on or dismissed as a straight blues album is Shuggie's second (his first was the very bluesy Al Kooper Introduces Shuggie Otis, in 1969) solo release Here Comes Shuggie Otis. Let me warn you now, people who ignore this album are doing themselves a big disfavour.

While less experimental and psychedelic than Freedom Flight and Inspiration Information the album does start to display the individual route that Shuggie would take with his future releases featuring some great funk and moments of genuine beauty, particularly in the first half before Shuggie settles into a more blues orientated structure. The album is also helped by having reliably great production from Shuggie's dad Johnny Otis Jr., highlighting the delicacy of Shuggie's melodies and playing.

Shuggie kicks off the album in fine style with the extended instrumental funk of Oxford Gray, playing with the listener's expectations as the music increases and decreases in tempo, meaty percussion making way for calming strings before the track kicks off once again.

Jennie Lee is a personal favourite of mine, a love song which shares similar qualities of genuine tenderness and beauty with Otis' greatest tracks from his following two albums and once again underlines the amazing talent that he brought to the table. Listen to this and try and remember that the man was only 17 at the time of recording. Amazing.

Inside The Mind Of A Soul Superstar

From: Mingering Mike: The Amazing Career of an Imaginary Soul Superstar

Something slightly different today readers, a departure from music into the world of literature. However this isn't any old book. On a semi hiatus again from the Fuzz, as work has become an overwhelming factor in my day to day life and some truly bizarre illnesses have crossed my doorstep, one thing has been keeping me sane. That thing is the newly released book on Mingering Mike.

Mike's work first came to the attention of the digging world when Dori Hadar, a long time contributor to the Soulstrut forum, posted up a collection of hand drawn album covers he'd discovered at a boot sale. Not only did the covers show an amazing amount of detail right down to credits, lyrics, and bar codes but they also included cardboard records with grooves drawn into them. This whole find featured one connection, they were either written by, performed by, or produced by a man calling himself Mingering Mike.

Understandably all good diggers were more than a little intrigued by this and Dori spent the following months tracking down the man behind this collection and the story behind it. When he eventually found him the true story was possibly even more amazing than the album covers suggested.

I won't spoil any more of the tale but hopefully this whets your appetite for the newly published book on Mike's collection that features interviews with the man himself and full colour prints of his work. It's a book that anyone who's ever spent an afternoon picking through grime covered crates can relate to whole heartedly, the attention to detail and love that has gone into every part of the work (my jpegs above really don't do it justice) is a sight to behold as is the ever developing career of Mike as he racks up the platinum album sales.

You can find out more about the book at the official website. The guys are also going on a tour displaying the original work which, being the wrong side of the Atlantic, I am unlikely to see in person but word is it's even more amazing up close.

I can only urge people to check this book out, it's not only an amazing and life affirming insight into an ordinary man's alternate reality but also a stunning collection of art that is truly one of a kind.

I Can Be Cool

Bob & Gene: I Can Be Cool and Gotta Find A Way
From: If This World Were Mine [Daptone, 2007]

One thing I never get tired of in the world of digging is the reissue of gems thought lost to history. Not only does the music often dazzle and surprise, you can bet that the backstory will also offer up an intriguing mix of fate, devotion and, finally, crushed dreams.

The Daptones have uncovered a gem of this type with their release of Bob & Gene's If This World Were Mine. I won't go into the backstory here but it's definitely worth checking out featuring all the required elements that make a digger's heart swell.

There's always a danger with this type of project that the music itself is over glorified merely due to its unexpected unearthing but Bob & Gene's output would stand up if it had been a staple of compilations for the last forty years.

I Can Be Cool exhibits such a raw charm that it won my heart as soon as it hit the deck. I've never been able to say no to songs about unrequited love and Bob & Gene's attempts at wooing are played out over a lo fi sound that complements their unpolished vocals brilliantly. I love the way the shuffling drums pick up in the final third to a kind of Soulful Strut melody performed on what to my untrained ear sounds like a couple of recorders.

Bob & Gene were all about sweet soul and I Gotta Find A Way is so on the money it hurts. Once again exploring the world of that ever elusive girl's love the duo's voices play of each other to great effect. Maybe I'm just a sucker but I have my suspicions that this song would have half the power without the raw production. The two young guys singing their hearts out over the melody make this a special treat indeed.