Amy Winehouse's loss is Sharon Jones gain. There's no doubt that with the decline, and now tragic death, of Amy Winehouse, the boys at Daptone have been spoon-feeding Jones their A-list material. Jones packs a wallop into her tiny Southern frame, delivering fierce sermons that rival the rawness of Betty Lavette. She's also developed quite a formidable stage presence as well, if she were younger and more attractive she'd be a breakout star. But thanks to Daptone's authentic memory banks, we can enjoy our walk down this overgrown path of soul roots without fear of overcrowding.
Buy this record if the old lady wants you to clean the house but you think it's just fine the way it is.
I wanted to avoid exploiting Amy Winehouse's death by writing anything about her, but several people have called her out as a talentless hack, saying that other people are responsible for her success. Then this demo bootleg fell into my lap. First off, Amy Winehouse had been singing since a very early age, she was frequently reprimanded in grade school for singing in class, and she learned to play guitar when she was 13. She was no musical novice when her career took off. Now Mark Ronson could be accused of engineering her success. He produced her Back To Black record, helping mold the voice and music into the final product that we all hear. But it's obvious from these demos that Winehouse wasn't just some hack singer who could be auto-tuned into acceptable listening. People have also speculated that her success was due largely to her being white. Well, I would make that argument for almost the entirety of the rock genre, as well as the blues. Elvis Presley and Jerry Lee Lewis were just the first of countless white artists to benefit from African and African-American musicians hard work. Conversely, I could make the argument that the Dap Kings, a predominately white, Jewish group of musicians who backed up Amy on her Back To Black record, are guilty of reaping the rewards of their black predecessors. So that finger can be pointed in many directions. Amy Winehouse was not successful because she was white or because four individuals played music on her record, she was a gifted singer song-writer. You may not like her style of music, but it's hard to deny the artistry in her songs. It also remains to be seen if her name will be mentioned with the likes of Joplin, Morrison, Hendrix, et al in twenty years, but it'll be interesting to see how her legacy plays out. That being said, this demo contains four songs from the Back To Black sessions: "Rehab" and "Back To Black" showcase Amy singing early versions with the live band, while "He Can Only Hold Her" has Amy singing her vocal track over pre-recorded music. The real gem on this bootleg is a beautiful version of "Love Is A Losing Game" that features just Amy and an acoustic guitar, creating the air of a personal living room show. This particular song is a great reminder of Amy's singular talent.
Buy this record if you don't care about the context.
Hi Records possessed one of the most revered session bands in the soul genre and was renowned as "the" soul label in Memphis. It also catapulted the careers of Al Green and Ann Peebles. As such, the music accompaniment is flawless throughout this collection of smooth and deep soul numbers from the late 60's/early 70's. George Jackson contributes some real gems: "So Good To Me" is a take-off on Marvin Gaye's hit "How Sweet It Is", "Aretha, Sing One For Me" Jackson's biggest hit and most well-known composition that was also covered by Cat Power on her Jukebox record, and the silky smooth groove of the 1973 penned track "Let Me Know You Care". James Fry supplies some spot-on, emotive vocals to a stone cold horn section on a trio of tunes, "Tumbling Down", "Still Around", and "I've Got Enough". Hi Records stands as a great example of the power of a strong, seasoned backing band to elevate and inspire vocalists to turn it up to 11, so to speak. It doesn't hurt when the song-writing is of such a high caliber also.
Buy this record if there's a blackout in town, but you got some candles and a joint at the ready.
Mr. Wiggles, aka Sterling Harrison, presents a collection of mostly up-tempo R&B and soul numbers, mixing Sound of Soul recording artists with Mr. Wiggles original compositions. A native of Richmond, VA., Harrison's greatest claim to fame was having a young Jimi Hendrix play guitar in his backing band in the mid-60's, but he remained in relative obscurity until his death in 2005 despite an active recording career. Mr. Wiggles & Friends rip the album open with the muscular horns and funked-up bass of "You Upset My Mind" by Little Tommy. Brother Love's "I Can Be" is a sweet ballad in the Philly Soul vein while the Wigglin' Men lay down a spirited instrumental, "Wigglin'", that would fill any sock hop dance floor with its tremolo blues guitar fills and blazing sax solo. Mr. Wiggles himself does a hammy "Johnny B Goode" imitation on "Ride Paul Revere" and the gospel closer "Children of God" by Larry Sander feels out of place here, but the collection has enough satisfying material to validate Harrison's efforts.
Buy this record if you plan on overlooking your friend's stupid name because he has something important to say.
Recorded in 1977, this would be the last Covay record until Adlib in 2000. Covay is best known for his song "See-Saw", but also penned some classics for other famous artists: "Chain of Fools"-Aretha Franklin, "Pony Time"- Chubby Checker, "Letter Full of Tears"- Gladys Knight & The Pips. The recording break was probably much needed because Funky Yo-Yo feels like a rehearsal, not a fully fleshed out album. The playing is sparse, often sloppy, with the band vamping while Covay tries to improv vocals seemingly made up on the spot. It's got some down-home blues coursing through it but overall it's really quite a mess and not what you would hope for from an artist the caliber of Don Covay. However, don't let this discourage you from checking out his back catalog.
Buy this record if the parole hearing's been postponed and you've just carved a shank out of your toothbrush.
A hodge podge of smooth bopping soul tracks from various Mid-Western and New York labels: Veejay, Blue Cat, Dynamo, Maxx Records, and more. You'll find early Ohio Players and Gladys Knight & The Pips songs plus a great opener by the androgynous sounding Dee Clark "That's My Girl". This collection is firmly rooted in the jukebox soul era, with a nod to Northern Soul. Just another comp displaying the brilliant expanses of the soul genre.
Buy this record when you're getting gussied up for a night out on the town.
This collection, painstakingly put together by legendary UK DJ Richard Searling, documents the waning years of the soul movement before it morphed into the Devil's infernal Disco. Soul aficionados will recognize several artists represented: Ben E. King, Mary Wells, Donny Hathaway, Tower of Power. Some of the rarer of rare and more memorable of modern tracks include the sweet Philly soul from Pittsburgh native Terry Collins on "I L.O.V.E. Y.O.U.", the smooth thrills of The Aristocrats "Let's Get Together Now", the funky mating call of Prince Phillip Mitchell's "One On One", and "Don't Let Me Lose This Dream", a beguiling track from The Queen of Soul Aretha Franklin. Soul collectors will rejoice at finding in one compilation what they would otherwise spend years searching for. You really need to bow down to Searling and clap your hands rhythmically to this compilation.
Buy this record because you love, you hate, you just can't hesitate.
Vampisoul is known for it's quality reissues of obscure bands and labels, and is responsible for this collection of Mexicano soul from LA. Most of the record is instrumental and could easily pass for soundtrack music to Beach Blanket Bingo type movies or as filler music. Many tracks are derivative take-offs of early soul staples. There's nothing inherently unique to this collection, as it doesn't stand up to several of Vampisoul's other releases, but it's still a good way to kick off your sock hop.
Buy this record if you can't stay away from the hardware store and need another tool for the shed.
Even though Barbara Brown is urging you to "Forget Him" because she wants her man back, you can't feel bad about having stolen him because this collection from one of soul's main stables, Kent Records, feels so good. Highlights include: "My Love Is Yours Tonight" by The Turner Brothers, two standouts from Lee Williams & The Cymbals "I Love You More" & "It's Everything About You", and "'Til You Come Back To Me" by The Manhattans.
There are some burners on this collection but it's the ballads that really shine. Volume One of this 3-part series cuts a wide swath through Northern Soul, Doo-Wop, and Deep Soul. I'll probably review the other 2 collections here soon, but you should check them all out regardless.
Buy this record when you need to make sweet love to that person who is giving you the make sweet love to me vibe.
