Above: The Charles Wright & Watts 103rd St Rythym Band, borrowed from Soul-Sides.
It is an unbelievably nice day here in the Windy City, so I had a earth shattering idea to head out for lunch and I happened upon a relatively new record store. They had the usual hipster nonsense on offer—autographed (by Thurston!) copy of Bad Moon Rising, etc.
I did notice that they had a Cheap Section, which of course drew me in.
After about 20 minutes, I came up with the following:
The Digging…
Bar-Kays Cold Blooded Volt James Brown Make it Funky Pts 2&3 King James Brown Super Bad Pts 1,2&3 King Dennis Coffey Taurus Sussex Major Lance I’m So Lost Okeh Lalo Schiffrin Theme From Medical Center/Spill The Wine MGM Charles Wright Your Love (Means Everything To Me)Warners
And the Damage done…
$2.72 including tax (Chicago tax highest in USA!!!)
Needless to say, maybe there is a copy of Apache in there somewhere, I will be back. I did notice a couple of Buddy Miles LPs, too.
Back in the desert days, I used to actually hang out with Sepultura from time to time, or rather they would end up at the house where I used to live.
This video of The Incredible Bongo Band has been "remixed" to Convicted in Life by Sepultura. Spending a few minutes on You Tube brings up all sort of nonsense related to Apache...
Amen Brother by the Winstons from 1969 is the most sampled 6 seconds in music history according to stuff that I found posted on the internets. A little trolling of the youtube came up with the stuff.
The breakbeat comes in at 1:27 on the file above. It should be familiar to anyone with ears even if you can't place where you last heard it.
A friend from the Bay Area (JZ-the rollercoaster was awesome on Saturday night!) shared this clip with me that tells the story behind Amen Brother.
The presentation above is delivered in a Speak and Spell type mode. So there is entertainment value in that alone.
First the break was used in a straight forward manner like in Straight Out of Compton. Then it was used in the Jungle and Rythm and Bass musical genres used as the complete basis of their sound. They even share a clip of Perry Farrell (yes, him) doing a cover of Whole Lotta Love in a Jungle mode using Amen as the basis of the song.
The example of commercials using the break are pretty funny, especially as they are potentially sourced via bootleg cds. Eventually the presentation makes the point that more stringent copyrights are a bad thing.
How were the Winstons compensated? It appears that they were never paid. Mainly because they never persued a legal battle.
The Tidal Waves "She Left Me All Alone" HBR 482Here is a moody downbeat number that I have heard on various comp cdrs. I came across it at The Loyola Record Swap. I believe that they later became The Unrelated Segments.The flip is actually a pretty rockin' take on "Farmer John," not one of my favorite compositions.To counter a recent conversation on garagepunk.com, the Garage Punk Forum CDs did nothing for me other than make me want the original vinyl discs even more than I did before. Reissues generally suck sound wise, esp. if they are on CD. The forum CDs have better sound as they are "mastered" from original discs.But to hear a garage punker in its glory requires the original disc in either good or scratchy shape-- hence more digging for discs!
And the new comment:
Nope! The Tidalwaves actually didnt turn into the Unrelated Segments although they were friends.They were made up of brothers Tom and Jon Wearing,Robert Slap,Mark Karpinski,and Vic Witkowski all went to school together in a Detroit suburb.Most stayed in the business and had reasonable success.
The internet does rule for information exchange. Thanks for the correction, Anonymous!
After spending the past couple of days in Gotham, I found myself reading the hard copy of the NY Times a bit more, actually I only read the hard copy when I am physically there.
This article is pretty cool. DJ JU works Best Buy during the day and in the evenings he spends hip hop cds at the street basketball games.
“On a dance floor, if you’re losing the crowd, you have time to change things up,” he said. “But with players on a court, I have to make split-second decisions. You can definitely change the outcome of a game depending on what you decide to play, because the players feed off the music and the crowd. If the music’s not hitting, everyone loses interest and the game might as well be over.”
A friend hipped me to this. Totally cool. The chase scene with a side by side GPS map of where the chase ocurred. Great SF period piece, and of course there is the cars...
Here is a mix to get you through the weekend, I put this one together specifically with a summer weekend in mind. This was mixed live in Cratedigger Labs with care. Please enjoy.
There is a fair amount of variety here. Starting with the obvious, who doesn't love a quick intro from none other than Redd Foxx? Ending with an upbeat groover from Jimmy McGriff is also a great thing.
I think my favorite track is Singing Funky Music Turns Me On. Let me know your favorite in a comment.
Hot Summer Weekend Tracklist:
01 Intro Redd Foxx (King) 02 Black Berries Pt 1 Isley Brothers (T Neck) 03 Little Ol Man Bill Cosby (Warners) 04 Singing Funky Music Turns Me On Jackie Moore (Kayette) 05 CC Rider Wayne Cochran (King) 06 Ball of Confusion Temptations (Gordy) 07 Skate Now Lou Courtney (Riverside) 08 Gettin A Little Hipper James Brown (King) 09 Rock Steady Aretha Franklin (Atlantic) 10 Here Come Da Judge Buena Vistas (Marquee) 11 Finders Keepers (vocal) Chairman of The Board (Invicta) 12 Jumpin at The Woodside Jimmy McGriff (Sue)
Sonotheque proudly presents an evening of funky 45's, sensational soul and inner city struttin' rhythms. Featuring 3 of Chi-town's premier crate diggin', soul searchin' groove purveyors: Supreme Court (Danny's Tavern)Sean Qualls (Danny's Tavern)Joe Mama aka Joe Bryl (Sonotheque)Featuring rare blaxplotation films and trailers! 9pm - 2am$5 cover$5 drink specials Funky link: http://funky16corners.tripod.com/intro.htmhttp://www.funk45.com/http://www.blaxploitation.com/http://www.funk.ch/http://www.dustygroove.com/http://www.djsoulsister.com/http://www.tuffcity.com/http://superdeluxe.typepad.com/http://www.homeofthegroove.blogspot.com/ Get down on your groove thang and shake your money maker on this night of funky 45 madness. That's right, our 3 wax poets will be spinning the freshest and funkiest 45's and albums of the 70's. Yes, no cds, no downloaded files - just the grittiest grooves and down-right danceable dusties for a night of super sweet struttin'. So we're calling all the dapper dudes, mack daddies and marvelous mamas out tonight for this soul-sensational soiree. - Funk is a many splendored thing. Funk is a nasty vibe, and a sweet sexy feeling. Funk is funkiness, a natural release of the essence within. Funk is a high, but it is also down at the bottom, the low-down earthy essence, the bass elements. Funk is at the extremes of everything. Funk is hot, but funk can be cool. Funk is primitive, yet funk can be sophisticated. Funk is a way out, and a way in. Funk is all over the place. Funk is a means of release that cannot be denied. Village Voice writer Barry Walters explained The Funk as well as anyone could: “Trying to put that thang called funk into words is like trying to write down your orgasm. Both thrive in that gap in time when words fall away, leaving nothing but sensation.What Is Funk – Ricky Vincent In 1964, Justice Potter Stewart tried to explain "hard-core" pornography, or what is obscene, by saying, "I shall not today attempt further to define the kinds of material I understand to be embraced . . . but I know it when I see it .” An individual is confronted by the same difficulty in explaining what Funk may be whether one is a common layman or a well-versed academic. Funk’s essence, like its musical predecessor Soul, is based on its spiritual/emotional features. It casts its web by tugging on one’s raw primordial feelings, but unlike gossamer its netting is substantial and inherently human. Its musical heat is at times direct and comes on in rush while it can also slowly simmer and build in a measured unhurried pace. Evolving from both R&B and Soul, Funk’s primary rhythm was driven by an intensive groove using a mixture of a strong interplay between guitar, bass, drums and horns. Its primary accents on the 1 and 3 count (of 4) moved the rhythm to become more prominent and complex with its extensive use of syncopation. James Brown, the undisputed “Godfather of Funk” began pushing the sound in the late Sixties with his musical innovations that combined frenzied grunts and punctuated movements resembling African polyrhythms. In a 1990 interview, Brown commented on his simple yet altering musical innovation: “ I changed from the upbeat to the downbeat.” These changes were quickly picked up by other musicians and a style all of its own began to grow. Artists as diverse as Dyke & The Blazers, Charles Wright and the Watts 103rd Street Rhythm Band, Black Heat, Funkadelic, The Fatback Band, Kool & The Gang, The Meters , War, The Bar-kays and too many others to list began feeling the heat and developed their own individual take on Funk. The gospel of Funk was spreading the world and influencing other artists. Its affects became visible with its incorporation with jazz-based musicians and crossed the globe from Africa to Brazil and back. Whether the music came from such luminaries as Miles Davis, Herbie Hancock (with his Headhunters band), Grover Washington Jr. Les McCann and Eddie Harris or was exported to Africa melding itself to finally becoming Afrobeat in the hands of Fela Kuti; Funk moved constantly forward as a powerful voice in popular music. And although the golden era of Funk is long gone, its continual influence is felt in the Washington Go-Go scene and its use of sampling in Rap and Hip-Hop. Giving tribute to the amazing influence and history of Funk, Sonotheque proudly showcases “Superfunk”. So as George Clinton would shout “Get up on the down-stoke – everybody get up” and “Tear the roof off the mother-fucker” we welcome all super-freaks to shake their booty, leave their inhibitions at the door and get down tonight! Supreme Court & Qualls - 'The Supreme Court Hearings': Playing deeply soulful music from around the world ‘Supreme Court Hearings’ features a wide range of soulful/funky tracks, many of which are rare 45’s from the personal collections of the featured djs. Musical styles include soul, funk, r&b, jazz, Latin, African & Brazilian. Previously, ‘SCH’ featured the talents of Phil Cohran & The Hypnotic Ensemble and The Molemen. Currently, with Dante Carfanga they host a monthly residency at Danny's Tavern on the 1st Wednesday of each month. Joe Mama (aka Joe Bryl): DJ Joe Bryl was once named by the Chicago Tribune as Chicago's "Most Interesting DJ.” He has been working in the club and entertainment industry for the last 20 years and was an original partner in the creation of HotHouse. A true pioneer continuing to push the international sounds as a DJ, he is also the artistic director for the club Sonotheque where he presents internationally renowned DJs.
After watching the Prisoner a few years back, I once again became aware of the Lotus marque. In particular, I have always been fond of the Lotus 7's odd looks- cycle type fenders, eyeball looking headlamps, etc.
Apparently there is a movement afoot, to build replicas of these cars on the cheap and then to refer to them as Locost sports cars. Above is a pic that I found online of a Lotus run in Perth.
What is most interesting is the power to weight ratio on on of these, 1200-1500 lbs. Put a little four banger in there and go. Also the handling appears to be tremendous as well.
This looks really intriguing. Of course it reminds me of Einstruzende Neubauten and their stuff from the 80s in concept.
Been listening to Fear of Music and Remain In Light in the hooptie lately. Maybe I can hit it sometime this summer.
CREATIVE TIME PRESENTSPlaying the Building: An Installation by David ByrneThe Battery Maritime Building10 South Street, New York, NY (Map)31 May – 24 August 2008 Open Friday, Saturday, Sunday: Noon – 6PM (Free)
Creative Time presents Playing the building, a sound installation in which the infrastructure, the physical plant of the building, is converted into a giant musical instrument. Devices are attached to the building structure — to the metal beams and pillars, the heating pipes, the water pipes — and are used to make these things produce sound. The activations are of three types: wind, vibration, striking. The devices do not produce sound themselves, but they cause the building elements to vibrate, resonate and oscillate so that the building itself becomes a very large musical instrument.
United Travel Service: Dale Sweetland, John Reeves, Ben Hoff, Steve Bennet
People that know me, realize that one of my preferred musical genres is 60s Garage. So, you can imagine my surprise when I posted a track from United Travel Service a little over a year ago and I received an email from the drummer a few days ago. He saw my post and reached out.
While United Travel Service is not Back From the Grave rare or anything, I was very honored to have the chance to help tell their story. Dale Sweetland agreed to answer some questions via email and here are the results.
Cratedigger:Could you share a brief rundown of the band roster and your releases with record catalog numbers?
Dale:Primary Core: Ben Hoff, John Reeves, Dale Sweetland Part-time: Ray Doern, Jim Roberts (only on 1 recording) Steve Bennet (alternate bass player) Wind and Stone UK4M-1179 BMI Record No R-5120 Rust Records,NY Drummer of Your Mind UK4M-1180 BMI Record No R-5120 Rust Records,NY Gypsy Eyes N/A Echo of You N/A
Cratedigger:How did you meet the other members?
Dale:I was going to school in Corvallis, OR and met John Reeves, who put an ad in a local paper for "Drummer wanted for band, call ....", so I called. He said, "Well, there's really no band, but if you're not busy why don't we get together", so that was the beginning. John was from the SF area and heavily influenced by SF rock, and that was my introduction to it. Ben had a group in Portland with a drummer who couldn't keep time, so that was a shoe-in for me, then we just used whatever bass player was available, I don't remember Dave Mathew, sorry Dave, you will have to refresh my memory.
Cratedigger:What got you into music?
Dale:I started tap dancing at age 4, accordion at 7, but didn't like the sound or having to drag it out and play a tune for anyone coming over to visit, once I began playing drums, (13 or so), that ended.
Cratedigger:How supportive were your families of Rock and Roll?
Dale:My dad was a very good musician from another time so he wasn't fond of the type of music I was playing but it kept me out of trouble for the most part.
Cratedigger:What types of shows did UTS play?
Dale:We did a lot of college dances, not too many small venues.
Cratedigger:How long were the sets and what was the ratio between original and cover material?
Dale:There wasn't much planning in this area, that is a little un-clear, but we did about 30-70 ratio original to cover, the trouble for us was most of the people at the dance came to socialize, not necessarily to see us and wanted to hear the current material on the radio.
Cratedigger:What was it like playing in a garage band in Oregon in the 60s?
Dale:We were mostly a basement band, we got together to learn tunes and prepare for the next gig, we were not harassed too much by the neighbors or the police, we weren't late nighters', but it certainly wasn't as much fun as gig'n, that was our main focus.
Cratedigger:Were there other bands that you hung out with and played with?
Dale:I played with "Madrid and the Counts"(national releases on Rust as well), "Sunday Morning" very popular Portland band at the "Stone Balloon", "The Classmen", "Aesop and the Fables", ...
Cratedigger:What was your favorite recorded track?
Dale:I really like "Gypsy Eyes", I would like to do a re-do of that, or at least get to re-mix it.
United Travel Service in the studio: Dale, John, Ben
Cratedigger:I read about the Dentist Recording sessions, do you have any other cool 60s recording sessions stories? If not perhaps you could provide a recap.
Dale:I don't know where Dave got his info, but the 1st studio we recorded in was Ken ?'s basement, he was an engineer of some kind in Portland, and Rick Keefer operated Ridon productions in the basement, as far as I know or Ben for that matter, there was no doctor's basement. It was quite a small space in the middle of a residential neighborhood in a Portland suburb, which occasionally flooded from lack of drainage and too much rain. We would have to stand on boxes to keep from being shocked. After the basement studio, Rick moved to Vancouver and Ripcord productions where we recorded "Echo of You" and "Gypsy Eyes", and I think "Snow" and "Slightest Possibility", which were never released. I also need to say none us of us made a single penny off these recordings, nothing, I'm not complaining just so you'll know, but don't expect a bundle from your studio work, it won't happen, but I wouldn't trade it for anything. Our recording ended when Rick wanted to start charging us to record, that was it, end of band.
Cratedigger:If you could change anything about the band, what would it be?
Dale:I would buy the guys an electric tuner. We started one gig totally out of tune, as the people came pouring in. Being a guitar band, we didn't have a keyboard reference to tune to, so it was sometimes an argument over who to tune to.
Cratedigger:How did Viet Nam or other political factors affect the band?
Dale:Personally, I hated our involvement in Vietnam, it really tore up our generation, you had to peace/love side, and the "fight for our country" side, I will fight and die but for something I believe in, not some stupid political war on the other side of the world, I couldn't serve anyway, I was 4F, couldn't pass a physical because of a heart murmur.
Cratedigger:UTS opened for the Doors. Do you have any stories that you can share about that?
Dale:The most memorable thing about that was what most garage bands will only experience their 1st time out on a really big stage. Your band mates are so far away, the sound is totally different than it is in the basement/garage, everyone is so far from each other, it's like playing by yourself, very weird, and not much fun, I felt like telling them to come back over and crowd around me like in the basement/garage, you can't wait for it to be over, the monitor mix was something you didn't even discuss or think about, I really couldn't hear anyone else except myself, and was just hoping I was at the right part in the song at the right time! We did our portion, and I just remember "The Doors", coming out from the side, no words exchanged, just looks, like let's get this over, they weren't very friendly and I think kind of tired of the road at that point.
Cratedigger:How did the whole Flower Power thing affect you and the rest of the band?
Dale:We never really talked about it, we were mainly concerned with the next gig or recording. It was a great time to be around, there's nothing like it now or never will be, it was a pretty friendly time. Ray was in the service, so he didn't have many choices, John was from the SF area and HIGHLY influenced by FPower, he was also in the ROTC program at college, Ben has always been a free thinker not really hindered by what other people think he should do, pretty shy to say the least, but a great guy. The FPower thing for me was my first introduction into total involvement with the music, putting on some tunes, headphones, laying on the floor and totally grooving out, there's nothing like it, let yourself go, thanks to John.
Cratedigger:What is it like to get contacted 40 years after the fact by fans of your music.
Dale:This is the weirdest part of the whole thing, when we recorded there were no computers or internet, no cell phones, and if you didn't have money (none of us did) you could barely make a long distance call. It's a thrill to be contacted after all this time by people you didn't even know you touched with your music, let me repeat, A THRILL!!
Thanks to Dale for reaching out to Cratedigger, now I need to get a copy of this 45. Here is their track Gypsy Eyes:
I was able to sneak out from work for a long lunch on Thursday, which also was the opening day of the 25th running of the Chicago Blues Festival. It was started the year after Muddy Waters passing.
The Blues Fest is the largest free Blues Festival in the world. Based on Thursday' mid day crowd, the world comes to Chicago for this event. I was one of the youngest attendees, but obviously middle aged Germans are big blues fans.
I saw Jimmy Burns lead the Chicago Blues Roundtable on a stage called The Mississippi Juke Joint. There was an assembly of bluesmen whom I did not recognize but when they did their intros, a couple said that they played with Muddy for 10-18 years each. The gentleman that used to play harp for Muddy was resplendent in a mint green suit and Cuban heeled boots, Man could he play.
I was not able to catch any pics but, The Chicago Tribune has a user uploaded photo gallery. If you look at image 13, you will see a picture of Jimmy Burns on the left, and a former guitarist for Muddy Waters on the left.
This compilation is a prime example of why dropping some coin on a reissue is warranted. The folks at Soul Jazz records include a nice slipcase, and a thorough booklet with real liner notes that make listening to this release a joy and educational at the same time.
I purchased this item at Rockit Scientist the last time that I was in Manhattan a couple of weeks back. Robert suggested that it was a must have CD.
For me, the back stories really make it. I am sure that many in the audience know these bits of trivia, but they are new to me. An example of this is the date, May 17, 1970. This is the date when WardellQuezegue, the producer and arranger extraordinaire took King Floyd, Jean Knight and Bonnie and Sheila to the Malaco recording studio in Jackson Miss. to record. These three sessions on the same da brought up the following results; King Floyd hit with "Groove Me"(Chimneyville), and Jean Knight hit with "Mr. Big Stuff "(Stax). Pretty amazing hit rate, even though Bonnie & Sheila failed to hit on King with "You Keep Me Hanging On.
Another nugget, "Fortune Teller" was written by Naomi Neville-- a pen name for Allen Toussaint. Is it laziness, or what, not sure, but I was never aware that was the origin of the much covered song. Benny Spellman was the first artist credited with this song in '62 on Minit Records.
The music seems to really follow the muse of New Orleans, as it features, R&B, funk, and a wide variety of other influences -- jazz blues, African rhythms. A great overview, I will have to keep my eye out for V. 1.
It has been a while since there has been enough reading material included with a CD that I have purchased to keep me occupied for the entire listening experience. This release is a keeper and gets the nod from Cratedigger Labs.
Hello again, finally back in the mix with another set straight from the 1200s chez Cratedigger Labs. I have put together some thoughts to go along with the jams. Hope you dig this mix. Happy Spring into Summer!
This set is dedicated to both the pending Summer season as well as to my favorite power plant, the Ford 289, pictured above. Turn up the system and crack a cold one...
Starting everything off is a track from the Master, Richard Groove Holmes. The Hammond is in effect and should put you in the mood for more grooving to come.
Mixing it up, Archie Bell and The Drells bring it home with the track, "There's Gonna Be A Showdown." This version is certainly better than the NY Dolls, although I profess a weakness for that version as well.
"Testify" is one of my fave 45s, when done by Mr. Clinton and the rest of the Parliaments, but Johnnie Taylor's version still is able to make me attempt to sing along with the chorus. A shaker, undoubtedly.
The next track by The Presidents is a bit sappy, but still a strong track. I am sure it will sound familiar to many of you out there.
The Profiles 45 on Duo was a recent record show find. There to pick up the mood a bit.
And to get a bit weird, take the Funkadelic path where Mssrs. Clinton, Worrell, Collins and Hazel are here to bake your brains. I dig that fuzzy guitar buried in the mix.
Back to the land of Hammond and Jimmy McGriff with "The Worm."
More into the Northern Sound with Nella Dodd. This one makes me move, you?
"Soul Sister" is strong groove instrumental.
Betty Wright is a strong vocalist and the vocal on "Let Me Be Your Lovemaker" is not exception. I love the bassline here.
The instro "Cissy Strut" should be familiar to all, however everytime I spin the record, I am amazed at the ability of the Nevilles to pull it all together at all times. Tight.
Combustion Tracklist
01 Groove's Groove Groove Holmes (Prestige) 02 There's Gonna Be A Showdown Archie Bell & The Drells (Atlantic) 03 Testify (I Wonna) Johnnie Taylor (Stax) 04 5-10-15-20 (25-30 Years of Love) The Presidents (Sussex) 05 Got To Be Your Lover The Profiles (Duo) 06 I'll Bet You Funkadelic (Westbound) 07 The Worm Jimmy McGriff (Solid State) 08 Come See About Me Nella Dodds (Wand) 09 Soul Sister Four Gents (HBR) 10 Let Me Be Your Love Maker Betty Wright (Alston) 11 Cissy Strut The Meters (Josie)
I just spent the past few days in Gotham, and it was actually pretty good.
I am starting to find my way around record finding places there. Some of the locals are saying that there are parking garage/lot flea markets on the weekends. Granted these are not local cratediggers, but they say that records are there.
Academy Records on 18th, west of 5th Ave, is always good for a couple of jazz CDs, this time I came away with Sonny Stitt with Jack McGriff on Prestige. The prices are good there as well as I think I paid $8 for it.
I made another stop at Rockit Scientist on St. Marks, but on the walk over there from Union Square, I stumbled upon a guy that had some crates out on the street. I came away with a sealed copy of the Baby Huey LP on Curtom and a King Sunny Ade Hot Banana LP. That was pretty cool. Once in Rockit Scientist, Robert recommended the New Orleans Funk V. 2 on Soul Jazz, I have not listened to the whole thing yet, but it looks solid.
Robert recommended that I head over to Botanica on Houston Street to check our Mr Finewine. It sounded like a plan to me.
After that I hiked over to Madras on 2nd Ave between 4th and 5th for some vegetarian Indian cuisine. The samosas went over very well with the Taj Mahal beer. The entree of cauliflower and green peppers was excellent and very fresh tasting. A litte bit of spicy burn was present, but not enough to break a sweat or anything. The service was a bit grumpy but they warmed up after my constant use of "Thank you."
The night got the better of me and I did not make it out to see Finewine. I hear that he has a residency at Botanica on Wednesdays so I will have to take a rain check.
Here is the latest baker's dozen from Cratedigger Labs, and so sorry for the delay in getting some hip grooves out to you all. Sometimes life gets in the way.
Once again this here mixed was mixed live on the 1200s, this time on a recent Friday night, with a couple of beers in hand. It's all vinyl all the time here at Cratedigger.
I truly hope you dig it.
Friday Funk Track list 01 Jan Jan The Fabulous Counts/ Moira 02 C'Mon And Swim Bobby Freeman/ Autumn 03 The Funky Judge Bull & The Matadors/Toddlin' Town 04 We've Got To Have Love Wilson Pickett/ Atlantic 05 (For God's Sake) Give More Power To The People Chi-Lites/ Brunswick 06 Watermelon Man Herbie Mann/ Atlantic 07 Want' A Do Somethin' Freaky To You Leon Haywood/ 20th Century 08 I Likes To Do It The People's Choice/ Phil-La of Soul 09 How Do Yeaw View You? Funkadelic/ Westbound 10 Anything You Do Is Alright The Radiants/ Chess 11 Clean Up Woman Betty Wright/ Alston 12 Get It (Instrumental) Wilmer & The Dukes/ Aphrodisiac 13 You've Got To Crawl The 8th Day/ Invictus
After a night of sake, udon noodles, and Asian snack shopping in Gotham, I turned the corner and ventured down St. Marks. I went down the street and visited Robert and Rockit Scientist Records. I had my co worker with me, so I did not spend too mush time in digger mode.
I had to buy something, so I picked up the last CD copy of Black Merda. This is a Russian version of the Chess Records release. Could this have originally been released in 1967? Below are my thoughts based on a listening session in my Union Square hotel room.
Black Merda takes a place in the post Hendrix rock pantheon. The 1st track, "Prophet" with the refrain, "Set Me Free," sets the tone in a fuzzy manner. The next track "Think of Me" is a more lightweight number.
The next track, "Cynthy Ruth" familiar to listeners of the "Black Chains and Exhaust" boot from a few years back. Jimi-styled husky vocs on top of a fuzzy guitar riff and a funky wah-wah rythm guitar.
"Over and Over" takes an instro electrical blooz and makes it psychedelic at the same time. Mucho distortion on the constantly riffing lead guitar. Since this record originally came out on Chess Records, the sound here makes sense as "Electric Mud" and the psychedelic Howlin' Wolf LP were in the near future.
"Ashamed" takes a Northern Soul style sound and dirties it up a bit and makes the vibe quite a bit more angry.
Flip the cd over and side 2 starts with "Reality" which again shows evidence of a grittier Chitown sound. No stretch could compare this with the Chilites-although Black Merda definitely listened to them.
"Windsong" shows evidence of experimentation as the guitar sounds more acoustic and less distorted. Some sound effects are underneath-wind blowing-and there is a bit of organ buried in the mix. Instro and pretty much throw away, or perhaps a break in the set to roll another? Mellow...
"Good Luck" kicks the distortion throb up to "Cynthy Ruth" levels. They just beat the riff into submission, but the lazy tempo makes the listener think that it could fall apart at any point- it doesn't. Odd fade out and end to the track, though.
"That's The Way It Goes" has a good bassline that drives the track. Kind of a fragment of a song.
"I Don't Want To Die" has a lyrical content that may be related to drugs, the Viet Nam War, or perhaps Race Relations, all topics for 1967 lyrical discourse.
"Set Me Free" ends the set as a 43 second fragement acsoustic in nature that actually works well as a coda.
I'm with Dante on this one. "Cynthy Ruth" is the killer track here and the highpoint of the record. Chess had a winner in Black Merda. I am sure that no one noticed at the time. An interesting time capsule. I am glad that I picked it up.
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