TN. handgun permits on the rise and Molly Caldwell Crosby chronicles…
TN. handgun permits on the rise and Molly Caldwell Crosby chronicles the 1878 epidemic in Memphis 5 min 46 sec - Dec 1, 2006 Memphis metro area recorded 1,197 violent crimes per 100,000 residents. In 2000, 3,916 Shelby County residents had handgun carry permits. Five years later, in 2005, that number had more than doubled to 7,838. This year, permits are on pace to hit 8,000. The American Plague is a book about the Yellow Fever epidemic in Memphis in 1878 and medical hero Walter Reed, who, with his colleagues and volunteers in Cuba, discovered the cause of yellow fever — the Aedes aegypti mosquito — in a series of dangerous and, in some cases, fatal experiments.
Iggy Pop Music legend Iggy Pop was born in Muskegon, Michigan. He started out as lead singer of the Stooges in the late ’60s. Co-penned “China Girl,” which became a huge hit for Mr. David Bowie. Iggy on Toronto TV, ‘77: “Punk rock is a word used by dilettantes and heartless manipulators about music …
“Shooting the Shiznit” goes Prime Time!! Yes, and unlike Corey Maclin and Memphis Wrestling, it is prime time. LOL “Shiznit” moves to 8:00 PM to 9:00 PM on Thursday nights in it’s new summer time slot!! “Shiznit” with host Brian Tramel and co-host Brian Thompson will be joined by SIE with only two w…
LOS ANGELES (Reuters) - The life of Pau Gasol improved dramatically in February when he heard the words, “you’ve been traded.” Then, for him anyway, came the best part. “You’re going to the Los Angeles Lakers.” Overnight, Gasol left the success-starved Memphis Grizzlies and landed with one of the mo…
The Complete Sun Singles - Vol. 1Disc 11. Flat Tire - Johnny London2. Drivin’ Slow - Johnny London3. Got My Application, Baby - Handy Jackson4. Trouble - Handy Jackson5. We All Gotta Go Sometime - Joe Hill Louis6. She May Be Yours - Joe Hill Louis7. Baker Shop Boogie - Willie Nix8. Seems Like a Mill…
Ipod Shuffle: Random Playlist for the Week
Dappled Things: 1. "Vamos a Bailar," Paola e Chiara 2. "Cotton-Eyed Joe," Walter Brennan
3. " Walking in Memphis ," Marc Cohn
4. " Estrellitas y Duendes ," Juan Luis Guerra
5. " Why Does Someone Have to Die? " Philip Glass
6. " T Quieres Volver ," Gipsy Kings
7. " Reel Around the Fountain ," The Smiths …
From Beale Street’s barbecue, blues and rock n’ roll in Downtown Memphis to the city’s eclectic 5-star dining selections, art and theatre and family attractions, you’ll have no …
SUAPP at the University of Memphis links existing units within the College of Arts and Sciences to create alliances that focus on urban and regional problems and creates an …
In the news… Dr. Firouzeh Sabri involvement in the Mars Phoenix Lander Mission. Dr. Sabris expertise in materials science and thin film technology, made …
Welcome to the Division of Public and Nonprofit Administration in the School of Urban Affairs and Public Policy at the University of Memphis. This is the place where you can begin …
Philadelphia Inquirer, The - Bad to worse: Memphis beats 76ers
January 17, 2007 — The 76ers may have played some ugly basketball games this season, but they just might have saved their worst one for tonight against the only team in the NBA with a record worse than theirs. The Sixe
“I have no business running around on stage like a young boy… I’m eighty-one years old,” Chuck Berry explained as he excused himself for launching into a signature duck walk during the song “School Day.” The passing of time clearly weighed heavily on his mind last Friday night - he choked up mentioning the recent death of his good friend Bo Diddley on more than one occasion, and obviously felt as if he needed to apologize to the audience for time having finally caught up with him in regards to his ability to run, dance, jump, and duck walk around stage the way he used to. Yes, the duck walk. And he can still pull it off. Kind of. Or, not really. But given the man’s age, it was as rousing and impressive a feat as I could’ve imagined. Here was one of the fathers of rock and roll - at eighty one years old - so caught up in the moment that he couldn’t help himself. He was on fire, mid-solo, and it just happened. The audience erupted and he finished the song with a huge smile on his face.
About a third of the show went just like this, a living legend living up to his name. The rest of the show was partially uneven, out of tune, and aged. However, the spirit of Chuck Berry carried the night handily; most memorably, as he caught himself repeating a song mid-set and then admitted that he’d forgotten what he was playing…
(pictures and live video after the jump)
above: Chuck Berry @ BB King’s slideshow Berry had just finished a medley of hits (including a rocking version of “Roll Over Beethoven”) while showing a hint of difficulty remembering the lyrics to one song. He paused briefly before beginning “My Ding-A-Ling” to reassure the audience that he’d “remember the words to this one.” Indeed, he did. However, after leading the crowd through the song he went right into “Roll Over Beethoven” - again. An air of unease settled over the room as everyone but Chuck realized immediately that we’d just heard “Roll Over Beethoven.” Within measures Berry realized what he’d done and stopped mid-song. “I actually forgot what I was playing… I’ll admit it!” he confessed, “Politicians oughta do that - admit it!” His handling of the moment brought levity and refreshing honesty to what could’ve been a miniature disaster. Instead, he went right into “Brown Eyed Handsome Man” without pause. You can see the whole thing for yourself below.
For the final two songs of the night, Chuck invited “six young ladies” to join him on stage. The “six” ended up being closer to fifteen or twenty women, and they brought Chuck Berry right back to late-’50s form… rocking, rolling, dancing, and strutting around the stage. He even ventured out into the audience while rocking out before departing to a standing ovation with his impromptu entourage of twenty screaming female fans in tow. The concert was one third amazing, one third showing signs of old age, and one third pure entertainment. No matter how you slice it, a living legend.
I was recently gifted a book of illustrations by the american cartoonist Robert Crumb. It packages together the Heros of Blues, Early Jazz Greats, and Pioneers of Country trading card sets that he created in the 1980s. If you are unfamiliar with R. Crumb’s work I suggest you seek out Terry Zwigoff’s incredibly fascinating documentary about him, his brothers and their world of comics, simpley called ‘Crumb’. Besides from that film he is probably best known for the album cover artwork of Big Brother and the Holding Company’s ‘Cheap Thrills’, the comic ‘Fritz the Cat’ and the phrase Keep on Truckin’. Crumb is also a purveyor of old time blues, jazz and country, a musician and a 78 rpm record collector. With the book comes a CD of music from 1927-31 selected and compiled by Crumb and it’s from that disc that today’s tunes come.
Moran Lee ‘Dock’ Boggs was a banjo player and singer/songwriter who hailed from Virginia and played in an old-timey Appalachian style. ‘Sugar Baby’ also features on Harry Smith’s Anthology of American Folk Music, which I will get round to blogging about one of these days.
Frank Stokes is the book’s cover star. He was born in Tennessee and was a popular entertainer in Memphis back in the day. I must admit I don’t know much of Stokes but I really enjoy ‘I Got Mine’, particularly the bit where he sings “I belong to the knock down society but… I got mine”.
The Memphis Jug Band were a collective of musicians centered around singer/guitarist Will Shade. They made many recordings and must be commended for employing the, in my opinion, under-utilized sounds of the jug and the kazoo. ‘On the Road Again’ isn’t the original version of the Canned Heat song of the same name but is equally spirited.
The instrumental ‘Mojo Strut’ could be my pick of the bunch. What a party starter; this track actually lives up to its name. It features ‘Tiny’ Parham on piano who, going by the illustration, was anything but.
Bennie Moten’s Kansas City Orchestra give us their tribute to Philadelphia’s Kater Street. Sounds like a fun place.
And, if you’re near London town this coming Thursday June 12 you may be interested in this flyer that’s “adapted” from some Crumb illustrations. It promotes a night a couple of mates and I are running at the 3 Blind Mice bar in Shoreditch. Do drop by.
The gang of boys in Team Robespierre are heading out this summer to play pretty much any venue that will take them. They’ll be hitting up the east coast, a bit of the Midwest and some Canadian territories along the way, joined by a bevvy of infectiusly talented groups, ncluding our Brooklyn faves Matt & Kim, emerging artists Mannequin Men, brattier-than-thou kids DeathSet and a huge huge huge rager at New York’s HIghline Ballroom with Circle Jerks and Dillinger Four. Ha ha ha, indeed, boys. Ha ha ha.
Jun 17 Baltimore, MD Sonar W/ Matt & Kim, Deathset & Monotonix Jun 18 Washington DC Black Cat W/ Dan Deacon, Matt & Kim, Deathset, Monotonix & Mannequin Men Jun 19 Winston-Salem, NC The Werehouse W/ Matt & Kim, Deathset, & Monotonix Jun 20 Roswell, GA Whirlyball Atlanta W/ Matt & Kim, Deathset & Monotonix Jun 21 Birmingham, AL The Bottletree W/ Matt & Kim, Deathset, & Monotonix Jun 22 Gainesville, FL The Atlantic W/ Matt & Kim, The Deathset, & Monotonix Jun 23 Tampa, FL Skate Park Of Tampa W/ Matt & Kim, Deathset, & Monotonix Jun 24 Pensacola, FL Sluggos W/ Deathset & Totally Michael Jun 25 Baton Rouge, LA The Spanish Moon W/ Matt & Kim, Deathset, & Monotonix Jun 26 Houston, TX Walters On Washington W/ Matt & Kim, Deathset, & Monotonix Jun 27 Austin, TX The Mohawk W/ Matt & Kim, Deathset, Brother Reade & Keith Morris Jun 28 Fort Worth, TX 1919 Hemphill W/ Matt & Kim. Deathset, & Brother Reade & Keith Morris Jun 29 Memphis, Tennessee Odessa W/ Momotonix, Crystal Antlers, & Brother Reade Jun 30 St. Louis, MO Bluebird W/ Monotonix, Crystal Antlers + One More
The July dates after the jump.
Jul 01 Iowa City, IA The Mill W/ Monotonix & Special Guests Jul 02 Minneapolis, MN The Tripplerock W/ Monotonix & Crystal Antlers Jul 03 Chicago, IL Stan Mansion W/ Matt & Kim, Deathset, Monotonix, & Mannequin Men Jul 04 Kalamazoo, MI Fuck Yeah Fest! Jul 05 Columbus, OH Skylab W/ Monotonix & Totally Michael Jul 06 Buffalo, NY Sound Lab W/ Deathset, Monotonix, & Totally Michael Jul 07 Toronto, ON Sneaky Dees W/ Brutal Knights, Monotonix & 1 More Jul 08 Ottawa, QC Fuck Yeah Fest! Jul 09 Montreal, QC La Sala Rosa W/Brutal Knights & Monotonix Jul 10 Brattleboro, VT The Tinderbox W/ Matt & Kim, Monotonix & Brutal Knights Jul 11 Philadelphia, PA Starlight Ballroom W/ Circle Jerks, Dillinger Four, Matt & Kim, Paint It Black, Monotonix Jul 12 New York, NY Highline Ballroom W/ Circle Jerks, Dillinger Four, Matt & Kim Jul 13 Brooklyn, NY Club Exit W/ Circle Jerks, Dillinger Four, Matt & Kim, Monotonix Jul 20 Brooklyn, NY McCarren Park Pool W/ Liars
Often times our Sunday Music Spotlight band is some kind of exotic, foreign band who plays some kind of strange or challenging music. This week’s band couldn’t be further from that. The Hold Steady is from Minnesota, currently based in Brooklyn, and plays good old-fashioned American rock n’ roll.
Ironically, this all-American rock band got its inspirations from a bunch of Canadians. Frontman Craig Finn and guitarist Tad Kubler were in a band called Lifter Puller which played 80s-inspired synth-rock. One day they were watching the classic concert movie The Last Waltz, which chronicles the final concert of classic rock legends The Band, when they decided that was the type of band they wanted to be in. They enlisted drummer Judd Counsell and bassist Galen Polivka, and got to work.
The band’s debut album, 2004’s Almost Killed Me, earned them critical acclaim and started to build their following. In 2005 they parted ways with Counsell, added drummer Bobby Drake and keyboardist Franz Nicolay, and released their second effort, a pseudo-concept album called Separation Sunday. It follows a character named Holly on a quest to balance her Catholicism with the traditional trappings of rock n’ roll. Ambitious stuff, and difficult to top.
But top it they did. They released their third album, Boys and Girls in America in 2006, and it basically took the music press by storm, showing up on numerous publications’ Best Of 2006 lists. If you listen to the critics you’ll think that this album should take a place alongside Springsteen’s Born to Run, Nirvana’s Nevermind, and The Beach Boys’ Pet Sounds in the pantheon of Great American Rock Albums. When you listen to it you’ll find that it’s not quite there, but it’s not far off either. It’s got a epic and timeless quality about it that recalls some of those albums. It propelled The Hold Steady into the spotlight, and set the bar almost impossibly high for their future work.
Which brings us to today. The band’s fourth album, Stay Positive is set to be released next month. After their past successes expectations are going to be ridiculously high. Is there any way they can live up to them? Well, having heard the album, all I can say is “dear god yes.” While I’m not sure that Stay Positive has vaulted the band into the rarefied air of Springsteen or The Beach Boys, it shows another big step in their progression. And it’s probably the best album of the year so far.
While the album may not be quite up to its level, this song’s arrangement and production make it sound like an outtake from Born to Run. Listen closely for all the layers of instrumentation.
Greetings, and welcome to the 2008 Funky16Corners Pledge Drive. The Funky16Corners blog will, this November, complete its fourth year of existence. I started the Pledge Drive three years ago to help offset the cost of storing the sound files and graphics for the blog and the web zine. Initially this was in response to a sudden (though welcome) spike in attendance that briefly knocked the blog out of commission, necessitating the move to a new server with a more generous helping of bandwidth. Since that time, in addition to the individual tracks Ive put together and posted all of the Funky16Corners Radio mixes (as well as several mixes Ive done for other blogs), eventually assembling them for permanent availability in the Podcast Archive (the most popular part of the blog) where there are currently over 60 mixes for download. In the last six months or so Ive also begun to up the bit rate on the podcasts, improving the sound quality, but also making the files larger. Though the WordPress blogging tool allows me to keep the blog going free of charge, the server space where all the files are stored costs money, the bill for which comes due this time every year. Each of the podcasts (and the individual files) get downloaded several hundred (occasionally thousands) of times and this consumes a fair amount of bandwidth. That said Funky16Corners is, and always has been (and will continue to be) a non-profit operation, so I only resort to this annual beg-a-thon to keep it that way. The money raised not only goes to keeping the blog(s)* going, but also the Funky16Corners Web Zine Archivewhich has been up and running for since 2000. If you feel that we provide a form of public service here, letting the soulful ones and zeros flow on a regular basis, and you can afford to throw a couple of bucks into the tip cup (a familiar image from my old mans decades playing in piano bars), then please do so via the Paypal link. If you cannot (or just dont feel we deserve it, or are against throwing money at the interwebs on general principle), thats cool too. Above all, this enterprise is a labor of love in the truest sense of the word. Music in general, and soul music specifically is a major part of my life, and sharing it with you all is as well. As always, thanks for stopping by, and know that no matter what happens, therell always be something new and interesting here to help keep your ears (and the rest of your head) happy. Thanks Larry
Irma Thomas I Wish Someone Would Care (Imperial) Eldridge Holmes An Open Letter To My Love (Kansu) Laura Lee Hang It Up (Chess) Otis Redding Ive Been Loving You Too Long (Volt) James & Bobby Purify I Dont Want To Have To Wait (Bell) Roosevelt Grier Yesterday (MGM) Percy Sledge When She Touches Me (Atlantic) Walter Jackson Funny (Not Much) (Okeh) Mighty Sam In the Same Old Way (Amy) Lyn Collins Aint No Sunshine (People) Bobby Bland Do What You Set Out To Do (Duke) Baby Washington What Becomes of a Broken Heart (Cotillion) Solomon Burke These Arms of Mine (Bell) Thelma Jones Never Leave Me (Barry) James Carr To Love Somebody (Goldwax) Howard Tate Part Time Love (Verve) Freddie Scott Where Were You (Shout) Lou Rawls Your Good Thing (Is About To End) (Capitol) Betty Harris Nearer To You (Sansu) O.V. Wright Please Forgive Me (Backbeat) Irma Thomas Time Is On My Side (Imperial)
I should begin by recognizing that this, Funky16Corners Radio v.50 marks approximately the second anniversary of this podcast (the first volume appearing around the beginning of May 2006). Those of you that have been here from the beginning (or have come up to speed via the Podcast Archive) will already be aware that the style of the Funky16Corners Radio thang has evolved over the past two years, due in large part to my own increased comfort on the technological end of things. When things got started, these podcasts were pretty much straight song-to-song mixes with no additional content. I did not have the wherewithal to add anything to the mixes because I had no idea how to do it. This thanks in large part to a few crucial pieces of software** changed, and the Funky16Corners Radio Podcast evolved into its present form, something between a classic DJ mix and an actual radio program (at least the kind of program that Id do if I was actually on the radio). With any luck, if time allows, it will evolve even further. That said, in the fifty odd mixes to date, all manner of soulful sounds have been featured, including no less that five devoted to New Orleans soul and funk, several Hammond mixes, three Philly Soul mixes, a number of soulful and funky jazz mixes, mixes focusing on individual artists like James Brown, the Soulful Strings, Jerry O, Lee Dorsey and Sly Stone, three volumes of Beatles covers (and one on the Stones) and a wide variety of themed/vibe specific (funky, downtempo etc) mixes. Theres pretty much something in the Podcast Archive for anyone with a taste for funk and soul. A point that I made recently, is that I make these mixes as much for myself as for those that come to the blog. I have a playlist in iTunes more than two days long - composed entirely of Funky16Corners and Iron Leg mixes (as well as the guest mixes Ive done for other blogs) and it is by far the most frequently accessed playlist on the old iPod. Of all the selections in that playlist, none is played more than the one mix I put together devoted to soul ballads, Funky16Corners Radio v.18 Blues, Tears and Sorrow. Since I first dropped that mix in January of 2007, Ive wanted to get a second volume of ballads together, and Funky16Corners Radio v.50 is it. Ive always been of the opinion that great soul ballads are in many ways the realest, or at least the deepest kind of soul records. This has a lot to do with the fact that even years into the soul genre, the ballad sides retained traces of the very birth of the sound. Many of the records in this mix bear the marks of gospel, blues, and rhythm and blues vocal harmony, and are at least for me the most deeply emotional records in my collection. This may have much to do with the subject matter therein, i.e. love, unrequited, lost and stolen, and the fact that these sentiments are being delivered by some of the greatest singers around. I love all kinds of soul; fast paced Northern-style dancers, rough soul shouting and sweet harmony, but theres something more going on in the best soul ballads. It could be the drama, or the way a great ballad envelops you, grabbing your heart as well as your ears, but I find myself coming back to, and reexamining great ballad performances more intently than I do a hard-hitting dance floor mover. Im sure it also has a lot to do with the fact that there is no greater showcase for a great singer (or a more thorough betrayal of a bad one) than a ballad. If you really want to hear why Otis Redding or Eldridge Holmes are so revered, you need only listen to their performances in this mix. If you get the chance, Id suggest saving this one for a warm night. Set yourself up by a window, feel the breeze of a summers evening and let the sounds (and soul) wash over you. You wont regret it. There’s a little over an hour of deep soul herein. The mix starts out with one of my personal favorites, Irma Thomas sweeping ballad I Wish Someone Would Care. Her Imperial Records catalog is filled with amazing records, but none of them come close to the epic scope of I Wish Someone Would Care. The core of the record, Thomas singing against a basic rhythm section, is built upon gradually, adding backing singers, and in the chorus even Spectorian chimes, but none of it matters when Irmas voice takes on an edge and soars above it all. Regular readers will already be aware that I think Eldridge Holmeswas an amazing and dreadfully underrated vocalist. During the decade he was recording (most often under the aegis of Allen Toussaint) Holmes made several of the finest soul records to come out of New Orleans in the 60s and 70s, from R&B, to soul and right on into funk. The last record he made interestingly enough not with Toussaint but with another great NOLA producer Senator Jones was An Open Letter To My Love. If you ever needed proof of Holmes remarkable talent, you need go no further than this record, probably the most obscure side in his discography. Its one of those performances that you can listen to over and over again and find something new each time. Laura Lee is best known for her funkier Invictus/Hot Wax material, but the seven 45s she recorded for Chess between 1967 and 1969 are all outstanding. Hang It Up, her second to last record for Chess in 1969 is a powerful performance, not in the least because she seems to be threatening to murder her man. Heavy stuff. As far as Im concerned, there was no greater soul singer than Otis Redding, and I couldnt very well put together a mix like this without including what I feel is his greatest song, Ive Been Loving You Too Long. Originally appearing on his 1966 LP Otis Blue, Redding went on to record a couple of brilliant live versions of this track. James and Bobby Purify made some scorching upbeat sides (I Take What I Want, Shake a Tail Feather), and one of the great classics of sweet soul (Im Your Puppet), but I Dont Want To Have To Wait proves that they could deliver a solid ballad. Roosevelt Rosie Grier is one of the most interesting crossover stories of all time. A star as a professional football player in the 60s, Grier made a number of soul records (some of the rarer sides being popular with the Northern Soul crowd) and had a pretty successful career as a TV and film actor. It was on a recent digging expedition that I turned up his first single for MGM, 1967s Slow Drag b/w Yesterday. I picked it up for Slow Drag (which Ill feature in the future), but when I flipped it over I ended up hearing what is probably my favorite version of the Beatles Yesterday. Recorded in Memphis at American Studios, Griers deeply soulful yet minimalist take on the tune has really grown on me. Interestingly enough, the guitarist on Yesterday sounds like the same player on the previous track by James & Bobby Purify. Percy Sledge will reside in the soul ballad hall of fame for all eternity for When a Man Loves a Woman, but I prefer another cut from that album, the slightly lower key When She Touches Me. I love the combo organ on this one. This tune was also covered by Solomon Burke and Mighty Sam McLain. Many of the records in this mix hew pretty closely to the southern soul sound, but Walter Jacksons Funny (Not Much) is a slice of pure torch song heaven. Jackson, who at times sounded like a slightly grittier version of Johnny Mathis recorded for a number of labels in the 60s, but his best work was laid down for the Okeh imprint. Funny (Not Much), was originally recorded by Nat King Cole and later covered by Etta James and Marvin Gaye. The tune is a real heartbreaker, and in the hands of a lesser talent may have been maudlin, but Jacksons amazing reading of the tune makes it a winner. Mighty Sam McLain was like James and Bobby Purify a discovery of DJ Papa Don Schroeder. A native of Louisiana, McLain recorded a number of classic 45s for Amy in the mid-to-late 60s. One of these, In the Same Old Way features McLains wonderful voice wrapped around a haunting Dann Penn/Spooner Oldham tune. Like a few other Penn/Oldham songs, this was also covered by a country singer, in this case Bobby Bare. Lyn Collins is best known for the funk classic Think (About It), but in addition to her talents as a funky diva, she could also work a ballad, as illustrated by the flipside of that record, her cover of Bill Withers Aint No Sunshine. Collins may be the ragged yin to Withers mellow yang, but I really dig her take on the song. Despite the fact that he is thought of by many as a blues singer, Bobby Bland (one of the truly classic vocalists of his era) recorded many a great soul side. Do What You Set Out To Do which sounds like it could have been recorded years before its 1972 released date, features a powerful vocal by Bland over a smooth, string laden arrangement. Baby Washington had a long career that lasted from the mid-50s until the late 1980s. Though the title is changed, What Becomes of a Broken Heart is actually a cover of Jimmy Ruffins 1966 hit What Becomes of the Broken Hearted. Recorded in 1969 and released as the flip side of her superior version of Breakfast In Bed, Washington reels in the emotion of Ruffins original, applying a layer of deep southern soul. One of the greatest soul artists of all time, Solomon Burke appears here covering another, that being Otis Redding. Burkes version of These Arms of Mine appeared on his 1969 Proud Mary LP. His velvety tenor provides a great contrast to Reddings rougher original. Despite the fact that I own several 45s by Thelma Jones (including her original version of The House That Jack Built, later made famous by Aretha Franklin), Ive never been able to find out much about her. Never Leave Me, was the a-side of her first Barry 45 from 1966 (the flip is the hard charging Stronger) . She would record a total of five 45s for the label between 1966 and 1968 and then drop out for several years, making a comeback during the disco era. James Carr is another Funky16Corners fave. His cover of the Bee Gees To Love Somebody which Barry and Robin Gibb wrote with the intention of giving the song to Otis Redding was covered by a wide variety of artists, from the Flying Burrito Brothers, to Dusty Springfield and Nina Simone. I dont think it would be too much of a stretch to say that Carrs is the definitive soul version. The original Funky16Corners Radio ballad mix led off with Howard Tates Get It While You Can. The bluesy Part Time Love a cover of the Clay Hammond song also recorded by Little Johnny Taylor - is another strong cut from the 1967 Get It While You Can LP. Freddie Scott recorded for a number of labels in the 60s (his first hit was the wonderful Hey Girl on Colpix) but he is best remembered for his Shout sides. Where Were You was the b-side of his first 45 for the label in 1966. One of the highlights of Funky16Corners Radio v.18 was the original version of Your Good Thing Is About To End by Mable John (a personal fave of mine). The version featured in this mix is the cover by the great Lou Rawls (the flip of his cover of Donovans Season of the Witch), which was a hit in 1969. It may lack some of the emotional power (and the Stax house band) of the OG, but I still dig it. If youve been around since the web zine days, you know that I ride for Betty Harrisin a big way. Her Sansu recordings (under the direction of Allen Toussaint) are all excellent, but the only hit was her heartbreaking ballad Nearer To You. Another return visitor from v. 18 is the mighty O. V. Wright, one of the greatest southern soul singers. His Backbeat recordings, starting in 1965 are uniformly excellent. Released in 1973, Please Forgive Me was his second to last 45 on the label. This edition of Funky16Corners Radio closes out as it began, with a classic 45 by Irma Thomas. Time Is On My Side is another great example of a song that should have been a hit, but wasnt until it was coopted/covered by a white rock band (in this case the Rolling Stones, but you already knew that). Irmas take is much more animated than the Stones laconic reading, and its a great way to finish the mix. I hope you dig the sounds as much as I did compiling them, and Ill see you next week with much more goodness. .Peace Larry
*The plural indicating the addition as of last summer of Iron Leg, my 60s pop/rock blog to the Funky16Corners family. **Props to DJ Prestige for turning me on to Audacity
Rep. Steve Cohen and Rep. John Conyers
<p><a href="http://www.flickr.com/people/dk2u/">america_in_08</a> posted a photo:</p>
<p><a href="http://www.flickr.com/photos/dk2u/399437955/" title="Rep. Steve Cohen and Rep. John Conyers"><img src="http://farm1.static.flickr.com/159/399437955_45fee3b32a_m.jpg" width="240" height="154" alt="Rep. Steve Cohen and Rep. John Conyers" style="border: 1px solid #ddd;" /></a></p>
<p>TN-09 Representative Steve Cohen and MI-14 John Conyers at the Lorraine Hotel Memphis, National Civil Rights Museum, Town hall meeting Feb. 22, 2007</p>
The gang of boys in Team Robespierre are heading out this summer to play pretty much any venue that will take them. They’ll be hitting up the east coast, a bit of the Midwest and some Canadian territories along the way, joined by a bevvy of infectiusly talented groups, ncluding our Brooklyn faves Matt & Kim, emerging artists Mannequin Men, brattier-than-thou kids DeathSet and a huge huge huge rager at New York’s HIghline Ballroom with Circle Jerks and Dillinger Four. Ha ha ha, indeed, boys. Ha ha ha.
Jun 17 Baltimore, MD Sonar W/ Matt & Kim, Deathset & Monotonix Jun 18 Washington DC Black Cat W/ Dan Deacon, Matt & Kim, Deathset, Monotonix & Mannequin Men Jun 19 Winston-Salem, NC The Werehouse W/ Matt & Kim, Deathset, & Monotonix Jun 20 Roswell, GA Whirlyball Atlanta W/ Matt & Kim, Deathset & Monotonix Jun 21 Birmingham, AL The Bottletree W/ Matt & Kim, Deathset, & Monotonix Jun 22 Gainesville, FL The Atlantic W/ Matt & Kim, The Deathset, & Monotonix Jun 23 Tampa, FL Skate Park Of Tampa W/ Matt & Kim, Deathset, & Monotonix Jun 24 Pensacola, FL Sluggos W/ Deathset & Totally Michael Jun 25 Baton Rouge, LA The Spanish Moon W/ Matt & Kim, Deathset, & Monotonix Jun 26 Houston, TX Walters On Washington W/ Matt & Kim, Deathset, & Monotonix Jun 27 Austin, TX The Mohawk W/ Matt & Kim, Deathset, Brother Reade & Keith Morris Jun 28 Fort Worth, TX 1919 Hemphill W/ Matt & Kim. Deathset, & Brother Reade & Keith Morris Jun 29 Memphis, Tennessee Odessa W/ Momotonix, Crystal Antlers, & Brother Reade Jun 30 St. Louis, MO Bluebird W/ Monotonix, Crystal Antlers + One More
The July dates after the jump.
Jul 01 Iowa City, IA The Mill W/ Monotonix & Special Guests Jul 02 Minneapolis, MN The Tripplerock W/ Monotonix & Crystal Antlers Jul 03 Chicago, IL Stan Mansion W/ Matt & Kim, Deathset, Monotonix, & Mannequin Men Jul 04 Kalamazoo, MI Fuck Yeah Fest! Jul 05 Columbus, OH Skylab W/ Monotonix & Totally Michael Jul 06 Buffalo, NY Sound Lab W/ Deathset, Monotonix, & Totally Michael Jul 07 Toronto, ON Sneaky Dees W/ Brutal Knights, Monotonix & 1 More Jul 08 Ottawa, QC Fuck Yeah Fest! Jul 09 Montreal, QC La Sala Rosa W/Brutal Knights & Monotonix Jul 10 Brattleboro, VT The Tinderbox W/ Matt & Kim, Monotonix & Brutal Knights Jul 11 Philadelphia, PA Starlight Ballroom W/ Circle Jerks, Dillinger Four, Matt & Kim, Paint It Black, Monotonix Jul 12 New York, NY Highline Ballroom W/ Circle Jerks, Dillinger Four, Matt & Kim Jul 13 Brooklyn, NY Club Exit W/ Circle Jerks, Dillinger Four, Matt & Kim, Monotonix Jul 20 Brooklyn, NY McCarren Park Pool W/ Liars
Often times our Sunday Music Spotlight band is some kind of exotic, foreign band who plays some kind of strange or challenging music. This week’s band couldn’t be further from that. The Hold Steady is from Minnesota, currently based in Brooklyn, and plays good old-fashioned American rock n’ roll.
Ironically, this all-American rock band got its inspirations from a bunch of Canadians. Frontman Craig Finn and guitarist Tad Kubler were in a band called Lifter Puller which played 80s-inspired synth-rock. One day they were watching the classic concert movie The Last Waltz, which chronicles the final concert of classic rock legends The Band, when they decided that was the type of band they wanted to be in. They enlisted drummer Judd Counsell and bassist Galen Polivka, and got to work.
The band’s debut album, 2004’s Almost Killed Me, earned them critical acclaim and started to build their following. In 2005 they parted ways with Counsell, added drummer Bobby Drake and keyboardist Franz Nicolay, and released their second effort, a pseudo-concept album called Separation Sunday. It follows a character named Holly on a quest to balance her Catholicism with the traditional trappings of rock n’ roll. Ambitious stuff, and difficult to top.
But top it they did. They released their third album, Boys and Girls in America in 2006, and it basically took the music press by storm, showing up on numerous publications’ Best Of 2006 lists. If you listen to the critics you’ll think that this album should take a place alongside Springsteen’s Born to Run, Nirvana’s Nevermind, and The Beach Boys’ Pet Sounds in the pantheon of Great American Rock Albums. When you listen to it you’ll find that it’s not quite there, but it’s not far off either. It’s got a epic and timeless quality about it that recalls some of those albums. It propelled The Hold Steady into the spotlight, and set the bar almost impossibly high for their future work.
Which brings us to today. The band’s fourth album, Stay Positive is set to be released next month. After their past successes expectations are going to be ridiculously high. Is there any way they can live up to them? Well, having heard the album, all I can say is “dear god yes.” While I’m not sure that Stay Positive has vaulted the band into the rarefied air of Springsteen or The Beach Boys, it shows another big step in their progression. And it’s probably the best album of the year so far.
While the album may not be quite up to its level, this song’s arrangement and production make it sound like an outtake from Born to Run. Listen closely for all the layers of instrumentation.
Greetings, and welcome to the 2008 Funky16Corners Pledge Drive. The Funky16Corners blog will, this November, complete its fourth year of existence. I started the Pledge Drive three years ago to help offset the cost of storing the sound files and graphics for the blog and the web zine. Initially this was in response to a sudden (though welcome) spike in attendance that briefly knocked the blog out of commission, necessitating the move to a new server with a more generous helping of bandwidth. Since that time, in addition to the individual tracks Ive put together and posted all of the Funky16Corners Radio mixes (as well as several mixes Ive done for other blogs), eventually assembling them for permanent availability in the Podcast Archive (the most popular part of the blog) where there are currently over 60 mixes for download. In the last six months or so Ive also begun to up the bit rate on the podcasts, improving the sound quality, but also making the files larger. Though the WordPress blogging tool allows me to keep the blog going free of charge, the server space where all the files are stored costs money, the bill for which comes due this time every year. Each of the podcasts (and the individual files) get downloaded several hundred (occasionally thousands) of times and this consumes a fair amount of bandwidth. That said Funky16Corners is, and always has been (and will continue to be) a non-profit operation, so I only resort to this annual beg-a-thon to keep it that way. The money raised not only goes to keeping the blog(s)* going, but also the Funky16Corners Web Zine Archivewhich has been up and running for since 2000. If you feel that we provide a form of public service here, letting the soulful ones and zeros flow on a regular basis, and you can afford to throw a couple of bucks into the tip cup (a familiar image from my old mans decades playing in piano bars), then please do so via the Paypal link. If you cannot (or just dont feel we deserve it, or are against throwing money at the interwebs on general principle), thats cool too. Above all, this enterprise is a labor of love in the truest sense of the word. Music in general, and soul music specifically is a major part of my life, and sharing it with you all is as well. As always, thanks for stopping by, and know that no matter what happens, therell always be something new and interesting here to help keep your ears (and the rest of your head) happy. Thanks Larry
Irma Thomas I Wish Someone Would Care (Imperial) Eldridge Holmes An Open Letter To My Love (Kansu) Laura Lee Hang It Up (Chess) Otis Redding Ive Been Loving You Too Long (Volt) James & Bobby Purify I Dont Want To Have To Wait (Bell) Roosevelt Grier Yesterday (MGM) Percy Sledge When She Touches Me (Atlantic) Walter Jackson Funny (Not Much) (Okeh) Mighty Sam In the Same Old Way (Amy) Lyn Collins Aint No Sunshine (People) Bobby Bland Do What You Set Out To Do (Duke) Baby Washington What Becomes of a Broken Heart (Cotillion) Solomon Burke These Arms of Mine (Bell) Thelma Jones Never Leave Me (Barry) James Carr To Love Somebody (Goldwax) Howard Tate Part Time Love (Verve) Freddie Scott Where Were You (Shout) Lou Rawls Your Good Thing (Is About To End) (Capitol) Betty Harris Nearer To You (Sansu) O.V. Wright Please Forgive Me (Backbeat) Irma Thomas Time Is On My Side (Imperial)
I should begin by recognizing that this, Funky16Corners Radio v.50 marks approximately the second anniversary of this podcast (the first volume appearing around the beginning of May 2006). Those of you that have been here from the beginning (or have come up to speed via the Podcast Archive) will already be aware that the style of the Funky16Corners Radio thang has evolved over the past two years, due in large part to my own increased comfort on the technological end of things. When things got started, these podcasts were pretty much straight song-to-song mixes with no additional content. I did not have the wherewithal to add anything to the mixes because I had no idea how to do it. This thanks in large part to a few crucial pieces of software** changed, and the Funky16Corners Radio Podcast evolved into its present form, something between a classic DJ mix and an actual radio program (at least the kind of program that Id do if I was actually on the radio). With any luck, if time allows, it will evolve even further. That said, in the fifty odd mixes to date, all manner of soulful sounds have been featured, including no less that five devoted to New Orleans soul and funk, several Hammond mixes, three Philly Soul mixes, a number of soulful and funky jazz mixes, mixes focusing on individual artists like James Brown, the Soulful Strings, Jerry O, Lee Dorsey and Sly Stone, three volumes of Beatles covers (and one on the Stones) and a wide variety of themed/vibe specific (funky, downtempo etc) mixes. Theres pretty much something in the Podcast Archive for anyone with a taste for funk and soul. A point that I made recently, is that I make these mixes as much for myself as for those that come to the blog. I have a playlist in iTunes more than two days long - composed entirely of Funky16Corners and Iron Leg mixes (as well as the guest mixes Ive done for other blogs) and it is by far the most frequently accessed playlist on the old iPod. Of all the selections in that playlist, none is played more than the one mix I put together devoted to soul ballads, Funky16Corners Radio v.18 Blues, Tears and Sorrow. Since I first dropped that mix in January of 2007, Ive wanted to get a second volume of ballads together, and Funky16Corners Radio v.50 is it. Ive always been of the opinion that great soul ballads are in many ways the realest, or at least the deepest kind of soul records. This has a lot to do with the fact that even years into the soul genre, the ballad sides retained traces of the very birth of the sound. Many of the records in this mix bear the marks of gospel, blues, and rhythm and blues vocal harmony, and are at least for me the most deeply emotional records in my collection. This may have much to do with the subject matter therein, i.e. love, unrequited, lost and stolen, and the fact that these sentiments are being delivered by some of the greatest singers around. I love all kinds of soul; fast paced Northern-style dancers, rough soul shouting and sweet harmony, but theres something more going on in the best soul ballads. It could be the drama, or the way a great ballad envelops you, grabbing your heart as well as your ears, but I find myself coming back to, and reexamining great ballad performances more intently than I do a hard-hitting dance floor mover. Im sure it also has a lot to do with the fact that there is no greater showcase for a great singer (or a more thorough betrayal of a bad one) than a ballad. If you really want to hear why Otis Redding or Eldridge Holmes are so revered, you need only listen to their performances in this mix. If you get the chance, Id suggest saving this one for a warm night. Set yourself up by a window, feel the breeze of a summers evening and let the sounds (and soul) wash over you. You wont regret it. There’s a little over an hour of deep soul herein. The mix starts out with one of my personal favorites, Irma Thomas sweeping ballad I Wish Someone Would Care. Her Imperial Records catalog is filled with amazing records, but none of them come close to the epic scope of I Wish Someone Would Care. The core of the record, Thomas singing against a basic rhythm section, is built upon gradually, adding backing singers, and in the chorus even Spectorian chimes, but none of it matters when Irmas voice takes on an edge and soars above it all. Regular readers will already be aware that I think Eldridge Holmeswas an amazing and dreadfully underrated vocalist. During the decade he was recording (most often under the aegis of Allen Toussaint) Holmes made several of the finest soul records to come out of New Orleans in the 60s and 70s, from R&B, to soul and right on into funk. The last record he made interestingly enough not with Toussaint but with another great NOLA producer Senator Jones was An Open Letter To My Love. If you ever needed proof of Holmes remarkable talent, you need go no further than this record, probably the most obscure side in his discography. Its one of those performances that you can listen to over and over again and find something new each time. Laura Lee is best known for her funkier Invictus/Hot Wax material, but the seven 45s she recorded for Chess between 1967 and 1969 are all outstanding. Hang It Up, her second to last record for Chess in 1969 is a powerful performance, not in the least because she seems to be threatening to murder her man. Heavy stuff. As far as Im concerned, there was no greater soul singer than Otis Redding, and I couldnt very well put together a mix like this without including what I feel is his greatest song, Ive Been Loving You Too Long. Originally appearing on his 1966 LP Otis Blue, Redding went on to record a couple of brilliant live versions of this track. James and Bobby Purify made some scorching upbeat sides (I Take What I Want, Shake a Tail Feather), and one of the great classics of sweet soul (Im Your Puppet), but I Dont Want To Have To Wait proves that they could deliver a solid ballad. Roosevelt Rosie Grier is one of the most interesting crossover stories of all time. A star as a professional football player in the 60s, Grier made a number of soul records (some of the rarer sides being popular with the Northern Soul crowd) and had a pretty successful career as a TV and film actor. It was on a recent digging expedition that I turned up his first single for MGM, 1967s Slow Drag b/w Yesterday. I picked it up for Slow Drag (which Ill feature in the future), but when I flipped it over I ended up hearing what is probably my favorite version of the Beatles Yesterday. Recorded in Memphis at American Studios, Griers deeply soulful yet minimalist take on the tune has really grown on me. Interestingly enough, the guitarist on Yesterday sounds like the same player on the previous track by James & Bobby Purify. Percy Sledge will reside in the soul ballad hall of fame for all eternity for When a Man Loves a Woman, but I prefer another cut from that album, the slightly lower key When She Touches Me. I love the combo organ on this one. This tune was also covered by Solomon Burke and Mighty Sam McLain. Many of the records in this mix hew pretty closely to the southern soul sound, but Walter Jacksons Funny (Not Much) is a slice of pure torch song heaven. Jackson, who at times sounded like a slightly grittier version of Johnny Mathis recorded for a number of labels in the 60s, but his best work was laid down for the Okeh imprint. Funny (Not Much), was originally recorded by Nat King Cole and later covered by Etta James and Marvin Gaye. The tune is a real heartbreaker, and in the hands of a lesser talent may have been maudlin, but Jacksons amazing reading of the tune makes it a winner. Mighty Sam McLain was like James and Bobby Purify a discovery of DJ Papa Don Schroeder. A native of Louisiana, McLain recorded a number of classic 45s for Amy in the mid-to-late 60s. One of these, In the Same Old Way features McLains wonderful voice wrapped around a haunting Dann Penn/Spooner Oldham tune. Like a few other Penn/Oldham songs, this was also covered by a country singer, in this case Bobby Bare. Lyn Collins is best known for the funk classic Think (About It), but in addition to her talents as a funky diva, she could also work a ballad, as illustrated by the flipside of that record, her cover of Bill Withers Aint No Sunshine. Collins may be the ragged yin to Withers mellow yang, but I really dig her take on the song. Despite the fact that he is thought of by many as a blues singer, Bobby Bland (one of the truly classic vocalists of his era) recorded many a great soul side. Do What You Set Out To Do which sounds like it could have been recorded years before its 1972 released date, features a powerful vocal by Bland over a smooth, string laden arrangement. Baby Washington had a long career that lasted from the mid-50s until the late 1980s. Though the title is changed, What Becomes of a Broken Heart is actually a cover of Jimmy Ruffins 1966 hit What Becomes of the Broken Hearted. Recorded in 1969 and released as the flip side of her superior version of Breakfast In Bed, Washington reels in the emotion of Ruffins original, applying a layer of deep southern soul. One of the greatest soul artists of all time, Solomon Burke appears here covering another, that being Otis Redding. Burkes version of These Arms of Mine appeared on his 1969 Proud Mary LP. His velvety tenor provides a great contrast to Reddings rougher original. Despite the fact that I own several 45s by Thelma Jones (including her original version of The House That Jack Built, later made famous by Aretha Franklin), Ive never been able to find out much about her. Never Leave Me, was the a-side of her first Barry 45 from 1966 (the flip is the hard charging Stronger) . She would record a total of five 45s for the label between 1966 and 1968 and then drop out for several years, making a comeback during the disco era. James Carr is another Funky16Corners fave. His cover of the Bee Gees To Love Somebody which Barry and Robin Gibb wrote with the intention of giving the song to Otis Redding was covered by a wide variety of artists, from the Flying Burrito Brothers, to Dusty Springfield and Nina Simone. I dont think it would be too much of a stretch to say that Carrs is the definitive soul version. The original Funky16Corners Radio ballad mix led off with Howard Tates Get It While You Can. The bluesy Part Time Love a cover of the Clay Hammond song also recorded by Little Johnny Taylor - is another strong cut from the 1967 Get It While You Can LP. Freddie Scott recorded for a number of labels in the 60s (his first hit was the wonderful Hey Girl on Colpix) but he is best remembered for his Shout sides. Where Were You was the b-side of his first 45 for the label in 1966. One of the highlights of Funky16Corners Radio v.18 was the original version of Your Good Thing Is About To End by Mable John (a personal fave of mine). The version featured in this mix is the cover by the great Lou Rawls (the flip of his cover of Donovans Season of the Witch), which was a hit in 1969. It may lack some of the emotional power (and the Stax house band) of the OG, but I still dig it. If youve been around since the web zine days, you know that I ride for Betty Harrisin a big way. Her Sansu recordings (under the direction of Allen Toussaint) are all excellent, but the only hit was her heartbreaking ballad Nearer To You. Another return visitor from v. 18 is the mighty O. V. Wright, one of the greatest southern soul singers. His Backbeat recordings, starting in 1965 are uniformly excellent. Released in 1973, Please Forgive Me was his second to last 45 on the label. This edition of Funky16Corners Radio closes out as it began, with a classic 45 by Irma Thomas. Time Is On My Side is another great example of a song that should have been a hit, but wasnt until it was coopted/covered by a white rock band (in this case the Rolling Stones, but you already knew that). Irmas take is much more animated than the Stones laconic reading, and its a great way to finish the mix. I hope you dig the sounds as much as I did compiling them, and Ill see you next week with much more goodness. .Peace Larry
*The plural indicating the addition as of last summer of Iron Leg, my 60s pop/rock blog to the Funky16Corners family. **Props to DJ Prestige for turning me on to Audacity
The Hold Steady aren’t a band that I’ve typically enjoyed as thoroughly as most. Aside from what Pitchfork says, they don’t reflect my ideals. I mean the guy sounds like John Hiatt (if he was really unsure of himself) most of the time and certainly doesn’t look the part. And I usually find his brand of rock a little too power-punk, something I stopped listening to when I was in 7th grade. But the following song on their upcoming album Stay Positive turns my preconceived notions upside down.
Update: track removed via request. Replaced with “Sequestered in Memphis”
All I keep thinking is the music of this song running through the empty halls of a highschool into the girls’ bathroom where Cindy sits taking a razor to her leg. “What’s that heavenly noise?” she says. “Finally, a song for me! Finally a song that hurts-so-good just as much as cutting does! Thank you, Hold Steady. I willStay Positive.”
Just kidding. The song is awesome. ‘Nuff said. More MP3s here and here.
If youre reading this, it should be apparent that at least a few of us made it to the end of the week with our wits about us. I should note that on Monday, though you may stop here for the musical equivalent of your morning bagel and coffee, you will be redirected to the great Fleamarket Funk blog where your host DJ Prestige will be serving up a little guest mix I prepared in honor of his one year anniversary. It contains some very hot items which I think you’ll dig. Once you’re done listening. stick around and check out the many excellent features (individual posts and mixes) that Pres has to offer. I have to start out by admitting that I only got hip to the Dynamics First Landing LP in the last few years. There were a couple of groups named the Dynamics, and more than one of them were (like these Dynamics) from Michigan. Im happy to inform you that as far as I can tell, only one of these groups made a one hundred percent kick-ass soul album for Cotillion in 1969. The tune I bring you today - Aint No Sun (Since Youve Been Gone) - may sound familiar because before the Dynamics got their hands on it, the song was recorded by the Temptations (the OG I believe), Gladys Knight & the Pips, and Chuck Jackson. Philadelphias Ambassadors also recorded a version in 1969 and there are apparently versions (unreleased at the time but later unearthed for compilations) by the Supremes and Dusty Springfield. The tune and the rest of the First Landing LP is a fantastic amalgam of Detroit group sounds with a big helping of Southern grit (like their fellow Motor City movers the Dramatics, the Dynamics recorded in Memphis). Aint No Sun (Since Youve Been Gone) is a stone killer with a propulsive (yet somehow laid back) dance beat, solid harmonies and horns and a booming bass. Do yourself a favor and grab the recent reissue of this album, give it a spin or two and marvel at how it wasnt a HUGE hit when it first came out. Though The Ice Cream Song was a modest hit upon its release, there isnt a song on this LP that couldnt have been a radio hit on its own. Next to Aint No Sun I also really dig their cover of the Masqueraders I Dont Want Nobody To Lead Me On. I hope you dig the tune, and that you have a great weekend. Ill see you on Monday. Peace Larry
PS Don’t forget to get your Memorial Day Weekend off to a solid start at the latest edition of the Asbury Park 45 Sessions, tonight Friday May 23rd at the World Famous Asbury Lanes.
On Peggy Phillip
she was the News Director at Raycom Media’s WMC in <b>Memphis</b> from 1998 to 2006. <b>…</b> <b>Memphis</b>, Peggy had news management and producing roles in Chicago, <b>…</b> Mediaverse:<b>Memphis</b> is an online trade publication covering the media in <b>Memphis</b>.
New Memphis City Schools superintendent to be known tonight commercialappeal.com (subscription), TN - 5 hours ago Two Florida educators will find out tonight which will be the next superintendent of Memphis City Schools. School board members will meet starting at 5:30 …
