SOUL-PATROL DIGEST MAGAZINE

Transcription

SP Digest Magazine
11/2002 Volume 1, Issue 2
Great Black Music From
The Ancient To The
Future:
http://www.soul-patrol.com/
SOULSOUL-PATROL DIGEST
MAGAZINE
TABLE OF CONTENTS: Click on a topic to go to that page!
INTRO: WELCOME TO THE SOUL-PATROL DIGEST MAGAZINE ............................. 2
CONTACT INFO AND CREDITS.................................................................................... 2
COMMENTARY, REPORTS AND MORE ...................................................................... 3
EDITORIALS ............................................................................................................................. 3
Segregation (By Genre?)...................................................................................................... 3
Jam Master Jay & The Illest Rhyme .................................................................................... 3
Should Classic Soul Artists Take The INDEPENDENT Route? (No Brainer) .................... 5
Sammy Davis Jr. ................................................................................................................... 9
CLASSIC SOUL .......................................................................................................................10
Audio Interview: David Ruffin/Eddie Kendricks and Temptations Music ........................10
Book Review - RAY CHARLES Man and Music by Michael Lydon...................................11
Make Sure They Pay: Record Company Audits.................................................................13
The Fuzz: Pure Teenaged Eroticism...................................................................................14
Tribute To: Dion DiMucci.....................................................................................................15
CD Review: 'DOO WOP CHRISTMAS'.................................................................................17
Q & A: What are the Blues? ................................................................................................17
Audio Tribute: Jet Magazine Soul Brothers Top 20 from April, 1967 parts 1 & 2 ...........19
FUNK........................................................................................................................................20
Bio/CD Review: “Billy Preston: Ultimate Collection” ........................................................20
Album Review - First Choice - "Greatest Hits" ..................................................................22
The Funk House...................................................................................................................23
Review: Bob Marley “Catch A Fire CD Deluxe” .................................................................24
CD Review: OSCAR JORDAN – “MR BAD LUCK...............................................................26
Track By Track Review Of Sonny Boy - "Lovechild".........................................................28
Rock N’ Roll.............................................................................................................................30
What is Rock n Roll? ...........................................................................................................30
Outline for a REAL Jimi Hendrix Movie..............................................................................33
The Aleems Bio 2000 ...........................................................................................................34
JAZZ.........................................................................................................................................36
Betty Carter: Songs in the Key of E....................................................................................36
Free Jazz Recommendations..............................................................................................37
MARVIN GAYE "LET'S GET IT ON" CD DELUXE LISTENING PARTY ..................... 37
NOVEMBER SOUL-PATROL EVENTS ....................................................................... 46
SOUL-PATROL UPDATE............................................................................................. 49
SOUL PATROL SPONSORS ....................................................................................... 50
Soul-Patrol Digest
Magazine
INTRO: Welcome To The Soul-Patrol Digest Magazine
Welcome to the November issue of the brand new Soul-Patrol Digest Magazine!
Soul-Patrol is a 100% Black owned and operated Informational, news gathering and educational series of
internet resources focused on funk, soul, jazz, blues, rock artists, music and culture.
Printed out in hardcopy format, it’s the same graphical quality of any magazine on the marketplace.
However because it utilizes some of the technology capabilities of the Adobe .pdf format, it’s
actually best read online. Notice that where there are links, you will be taken to the corresponding
website and/or audio programming.
For example, click here and listen to an overview of the magazine and it’s capabilities:
http://www.soul-patrol.net/sp_mag.ram
In addition to the articles (composed by what we think are the best music/culture writers on the
internet), the magazine contains links to excusive audio and web links not available elsewhere on the
Internet. Click on any of the entries, you will be taken directly to it’s location within the document.
Hopefully you will enjoy the content as well as the format of the Soul-Patrol Magazine and decide to
become a subscriber. Feel free to drop me an email with your thoughts.
If you are an artist, entrepreneur, organization, individual etc., who is interested in becoming one of the
sponsors of the Soul-Patrol Magazine and delivering your message to our subscriber base, then feel free
to contact me via email or telephone so that we can discuss your ideas.
--Bob Davis
[email protected]
Contact Info and Credits
Davis Industries:
http://www.davisind.com
Soul-Patrol:
http://www.soul-patrol.com
Editor: Bob Davis
798 Woodlane Road #10264
Mount Holly, NJ 08060
Phone: (609)-351-0154
Soul-Patrol Digest Magazine Contributors:
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Charles Duke
Genna SapiaRuffin
Chris Hayden
Ron McIntyre
Neftali Santiago
Kindah Blue
Bob Davis
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Den Belmont
Mike Boone
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Darrell McNeill
Judi Smith
Debra Walker
Baron Keels
Selah Eric Spruiell
E-Mail:
[email protected]
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Davis Industries All Rights Reserved
Soul-Patrol Digest
Magazine
Commentary, Reports and More
soul-patrol magazine, soul-patrol magazine, soul-patrol magazine
while thinking for myself, independently (and not
only WRT music tastes...). My grandmother
(Goddess bless her...) and my mother (her child)
both had a saying:
God gave you five senses. You might as well
use them.
:It's the industry that through it's "marketing
wisdom", does the very best job they can at
keeping things segregated. Segregation is good
for business:(divide and conquer).
Unfortunately for our society, the public buys
into the segregationist policies of the music
industry, thus maximizing their profits and
helping to keep people apart.
Amen... And, once again, thanks for listening,
folks. Let's keep on learning and sharing with
each other, and pass on the practice to others. It
seems as if that is one of the best antidotes to
the illness of "ignorance".
--Debra Walker
(Debra Walker is an author, currently residing in
Chicago)
EDITORIALS
Segregation (By Genre?)
...And (to me), such corporate/industry practices
also help keep the general public ignorant about
the TRUE, vast scope of the music (past,
present, and future) that is REALLY out there for
us to discover/hear/(maybe) enjoy/etc Perhaps,
that may be a major reason why a lot of great
music (recorded, or otherwise) does not always
get released and/or recorded so that the (again)
"general public" gets to check it out.
Ignorance is simply a lack of knowledge. As far
as I am concerned, and can tell/see, there is a
LOT of stuff out there (past, present, and
heading into the future), musically. The key is
LEARNING about it, and, then, forming one's
own opinions and/or developing one's own
tastes/interests WRT the music. As with many
other things, when it comes to music, I think that
"knowledge is key". And, it's not a cliché to me.
Knowledge is power, truly, and the best antidote
to ignorance that I know, at all levels of
comprehension, and across the board
otherwise. However, the quest for knowledge, in
many regards, e.g., WRT music and other
aspects of the arts and culture, these days, can
be a very hard, arduous task, in reality. It can,
often, take a lot of work, a lot of heart, and... it
just AIN'T easy <g>.
Music appreciation is a part of my OWN past,
present, and future, as well as a major element
in my/our culture as civilized human beings. I am
just feeling blessed that I have this forum (Soul
Patrol), where I can learn/share things about
music with other like-minded, and, often, very
knowledgeable folks. I also praise the Lord (the
Goddess, for me) that I learned, a long time ago,
to go my own way and pursue my own interests,
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::::ADV::::
Discovering and sharing our culture, heritage
and ourselves-- is the backbone of the Black
Community.
Online we continue this tradition with leads
to hot web sites, great bulletin board
discussions and terrific Community
Members!
[email protected]
communities.prodigy.net/blackexperience
Jam Master Jay & The Illest
Rhyme
Everybody wants credit but nobody wants
responsibility. Every emcee wants to be known
for spitting the sickest rhyme, but nobody wants
to question the impact it has on kids listening.
Every producer wants to be known for blowing
up the most twisted emcee on the planet, but
nobody wants to cop to the impression it makes
on Black youth. Every record executive wants
accolades for picking a hot ghetto thoroughbred
to ride to the top of the charts, then plays dumb
when that horse lives up to its ghetto code.
Every radio station wants to be the first to break
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a "blazing, hot" joint—regardless of how amoral
or abhorrent its message—but no one cops to
how this serves as the soundtrack to death and
mayhem on Black streets. It's never the music.
It's never the media.
It's all "just entertainment."
It astonishes me—stupefies me—that music
industry clowns still buy into this bullshit. We're
now nearly a decade-and-a-half deep mired in
commercially mass-produced hip-hop nihilism
and thuggery. This was the same excuse made
when Tupac Shakur was killed. When Notorious
B.I.G. was killed. Big L. Freaky Tah.
All "just entertainment."
Jay-Z stabs Lance "Un" Rivera in front of
hundreds of people and walks because he
throws a butt-load of cash at the problem.
Puffy—I could give a rat's ass what he's calling
himself now—beats up Steve Stoute and skates
'cause he throws a butt-load of cash at the
problem (cash dried up, I guess, when protégé
Shyne got caught out there with his boss
shooting up a Times Square club). At times, you
see hip-hop and R&B acts in "urban" magazines
and it reads like a police blotter. It's to the point
now where even White boys with ghetto passes
are getting into the act—Eminem, Nick Carter,
Leo DiCaprio, various and sundry 'N Sync-ers,
copping poses of cool ignorant Negro chic.
It's all "just entertainment."
Well, Jam Master Jay, one of the driving
forces behind putting hip-hop on the national
stage, is dead now. And there ain't a
goddamn thing entertaining about it.
Five years ago, I wrote than when Tupac was
killed I was sad and when Biggie killed I was
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pissed off. Now Jay is killed and I'm incensed.
Livid. Choleric. Because Jay was mine. RunDMC were mine. They were my gateway into
hip-hop—they made hip-hop live for me. And
some street knuckleheads took him away—and
by extension any validation my peers or I have
in hip-hop.
Today's hip-hop is overrun with knuckleheads—
from the street to the control room to the
boardroom—who continue to infest it with a
spiritually cancerous cartoon of street life, the
very antithesis of what Run-DMC represented.
And as more bottom-feeders masticate up the
food chain—feasting on the bounty from those
whose shoulders they stand on—30-somethings
are told they are unwelcome. Unwanted. See ya,
wouldn't wanna be ya.
For those who would scoff, I need only point to
the abysmal treatment of Crown Royal, RunDMC's last commercial release. Nobody played
it. Nobody created any buzz for it. Nobody
promoted it. Nobody bothered to rescue the tour.
Meanwhile, those indefatigable geriatrics, The
Rolling Stones, put out a hits package—with
new songs illuminating how beyond their prime
they are—and sell out arenas worldwide.
Now, we're treated to the late, lamented
choruses of what a hip-hop icon Jam Master Jay
was and what he meant to the community. We're
treated to the facile song and dance of music
industry parasites wondering aloud "How could
something like this happen?" Jay's death is
graphic icing on this rapidly degenerating cake.
Sure, one could make the argument that this is
just a microcosm of a greater undercurrent in
society at large—one that revels in its own
violence, ignorance, avarice, extravagance,
lechery, xenophobia and misanthropy. "Jackass"
is the number one movie in America. "The
Sopranos" is the number one TV show. Howard
Stern is the number one radio jock. The
President points at an enemy—real or
imagined—and a post 9/11 shell-shocked
citizenry snarls with Pavlovian frenzy.
But there's a key distinction that must be
made—an empowered society has the
infrastructure to keep it from sinking too far into
its own morass. A disenfranchised society does
not.
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Three guesses which category Black folks fall
in?
The Black community at large is already taxed
beyond capacity with the socially engineered
inequities of the ruling class. It is farcical to
assume that it can continue to bear the brunt of
the consequences from those who pimp ghetto
misery for profit. Jam Master Jay stayed in his
community—one of the rare cases of a
superstar who does—and got a bullet in his
brain for the trouble.
Consider this notice served: It's time for all of us
who place any sort of value on music in
general—Black music in particular and hip-hop
especially—to take it back from these leeches in
the music business. They don’t deserve it. They
don't even know what the fuck to do with it. They
are thieves in the temple and must be called out
as such. They can't make music any better—
they can only continue to desecrate it under the
guise of "profitability." And our community can
no longer afford the poison they inject into our
collective subconscious.
Rest in peace, Jay. You're still (forever) the
King of Rock.
--Darrell M. McNeill: Director of Operations
(and Official Windbag) Black Rock Coalition
Should Classic Soul Artists
Take The INDEPENDENT
Route? (No Brainer)
THE CASE FOR CLASSIC SOUL ARTISTS
EXAMPLE: THE EMOTIONS,
Last year I had the pleasure of interviewing one
of my favorite all time groups, the Emotions.
I truly enjoyed talking with the Emotions
They are also one of my all-time favorites (as
you could tell from the conversation)
Now I would like to take this conversation to "the
next level" (if you will)
In my view the Emotions are a PERFECT
example of what we are talking about here
How many "hard core fans" do the Emotions
have RIGHT NOW in the year 2001/2002?
I don't know the answer to that question,
however I do know that so far, around 1,000
people have listened to that interview, since it
was put up.
So I'll guess that they have at least "1000 Hard
Core fans" for the purposes of this discussion....
If that is true, then they are in a position to make
$50,000 off of the Internet!
They could do this by employing the SAME
EXACT BUSINESS MODEL that Prince does
Of course I think that the number for the
Emotions is MUCH higher than 1,000....
Let's postulate for a moment that it's 25,000
That would mean a potential of 1.25 MILLION
DOLLARS just from Internet sales alone for a
new Emotions CD.
Sound impossible?
It isn't...
If Prince could do it with 100,000 fans, why
couldn't the Emotions do the same thing with
25,000 fans?
Back a few years ago, when Prince was doing
his "Emancipation tour", according to Fortune
Magazine, he generated over 30 MILLION
DOLLARS in ticket sales, for a concert tour that
MOST OF YOU NEVER EVEN HEARD OF.
Of course the beauty of it was that Prince was
able to put most of the 30 million DIRECTLY
INTO HIS OWN POCKET and keep that money
OUT OF THE HANDS of BLOODSUCKING
PROMOTERS.
So let's take those numbers and extrapolate
them for the Emotions...
If they have 1/4 the number of fans, then
potentially they could make 1/4 of the money
from a self-promoted tour?
Sounds like a potential 7.5 MILLION DOLLARS
to me.
Do these numbers sound good to you?
They would only have to have a hard core of
25,000 fans in order to accomplish this
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I wonder how these numbers would
sound to the Emotions?
I wonder if they BELIEVE IN
THEMSELVES ENOUGH TO
Question:
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IMPLEMENT THIS BUSINESS
MODEL?
I wonder if they think it would be worth
taking the risk for?
I wonder if the fans out there who call
themselves "hard core fans", would PUT
THEIR MONEY WHERE THEIR
MOUTHS ARE?
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I am not picking on the Emotions here, I am just
using them as an example do some "thinking out
loud" here.
I would argue the point that this kind of math
could be done for ANY of our Classic Soul
artists.
The "trick" here would be for them to be willing
to take the risk, and treat the LEGACY THAT
THEY OWN AS A BUSINESS and for their fans
to accept them on those terms and respond in
kind.
In the business world, this is referred to as
"vertical and horizontal market integration".
This occurs when the producer of the goods (in
this case our Classic Soul artists) are willing to
assume the responsibility for TOTAL CONTROL
OF THE VALUE CHAIN FOR THEIR PRODUCT
I can only speak for myself, but as an Emotions
fan, I would certainly support them by
purchasing their CD and going to their live show.
Would the rest of you here be willing to do that?
If not for the Emotions, would you do it for:
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Edwin Starr?
Martha Reeves?
Delfonics?
Jon Lucien?
Spinners?
Dramatics?
Shuggie Otis?
Sly and the Family Stone?
Chantels?
Little Richard?
Moments/Ray, Goodman & Brown?
Living Colour?
Marlena Shaw?
Michael Henderson?
Billy Griffin?
Brian Augar?
Denise LaSalle?
Tyrone Davis?
etc.?
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The circumstances as well as the numbers
would of course be different for each of these
artists.
But the math is the same!
Music fans write to me EVERY DAMN DAY
telling me how much they love this artist or that
artist and how much they wish that the artist in
question were still performing/recording, etc...
The REALITY IS...
How many of YOU would fork out $50 to see
them perform live or to buy their new CD via the
Internet or mail order?
(How many of YOU are just "talking loud and
saying NOTHING"?)
Can this happen?
I think it can...
Calvin Coolege said...
"The BUSINESS of America, is BUSINESS"
Osama Bin Laden, not with standing, in my
opinion, that is the truth.
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I think that it's about time for Classic
Soul artists to begin to understand
this and to begin participating in this
system!
I think that it's time for those of us
who call ourselves "fans" of Classic
Soul music to begin participating in
this system
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The world is a cruel place...
The music business is even crueler!
QUESTIONS ARE FREE (answers cost
something)
"no GUTS, no Glory..."
Soul-Patrol Digest
Magazine
Since we are playing around with numbers, let
me throw another one out at you, for your
consideration...
ONE HUNDRED
Lets just use that as a number to play with as a
"guesstumate" as to the number of "Classic Soul
Artists" who are out there that could
IMPLEMENT a BUSINESS PLAN that is similar
to what Prince has done.
The actual number might be more or it could be
less, but let's just use that number for the
purposes of "just thinking out loud"...
If 100 "Classic Soul Artists" were to implement
this plan successfully in the year 2002
something AMAZING and UNPRECEDENTED
would occur!
Literally overnight "100 PROFITABLE &
INDEPENDENT BLACK OWNED MULTIMEDIA ENTITIES" would suddenly exist in an
environment where they had not existed
previously.
Note: obviously there are also some white
classic soul artists that would also fit in this
category (ex: Rascals, Rare Earth, AWB and
others), I do not mean to exclude these artists,
however most of the 100 or so artists that we
are discussing here are Black
If this were to occur, it would forever change the
economics of the entertainment business.
Right now the record business and the concert
promotion business is pretty much DOMINATED
by a few large media companies such as AOL,
Clear Channel Communications, Viacom, etc.
We have discussed the specifics of this many
times here on Soul-Patrol, so I am not going to
"re-hash" them at this time.
Suffice it to say that this kind of centrally
controlled monopoly situation exists and works
to the detriment of Classic Soul Artists.
We also know from the experience of the fascist
controlled Soviet Union that "centralized
economies" DON'T WORK, yet with respect to
the music business, this is just what we currently
have.
If these "100 PROFITABLE & INDEPENDENT
BLACK OWNED MULTI-MEDIA ENTITIES"
were to suddenly appear, those monopolies
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would NOT be able to exist, because the music
consumer would now have an alternative.
So what does the fact that most of these newly
created "100 PROFITABLE & INDEPENDENT
BLACK OWNED MULTI-MEDIA ENTITIES"
mean?
The whole issue of Black Owned Businesses
has long been a major opportunity as well as a
major source of frustration for Black people.
(uh oh here comes ol' racist Bob talking about
Black Owned Businesses again)
Well...(too bad)
I realize that many of you like things JUST THE
WAY THEY ARE CURRENTLY
I don't
The way things currently are, causes my people
to suffer. I AM NEVER GOING TO BE
SATISFIED WITH THAT
I want to see the ORIGINATORS of the music
that we are discussing here (mostly Black folks)
in complete, 100% control of the LEGACY THAT
THEY HAVE CREATED.
For YEARS, I have heard Black people saying
things like...
"if we had our own businesses, we could be just
like the Jews, the Chinese, Italians, etc and
recycle that money in our own communities and
make it work for us..."
I have heard...
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My parents saying it
My friends saying it
My teachers saying it
Liberals say it
Conservatives saying it
City folk saying it
Country folk saying it
I have heard Jessie Jackson say it
I have heard Richard Nixon say it
I have even heard Rush Limbaugh say
it!
I have heard EVERYBODY SAY IT
I am convinced that it is the correct course of
action. I am convinced that this country was
conceived on and still to this day believes that it
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is a good thing for people to own their own
businesses
Yet Black people still won't do it
Those that do, claim that when they establish
these businesses that Black people WILL NOT
support them
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Even some "Classic Soul Artists" that I have
spoken with about this say things like....
"Bob, I hear what you are saying, but YOUR
PEOPLE would much rather buy stuff from
the CULTURE BANDITS than from me..."
* "Bob, the local Black radio station won't even
sell me advertising time because I am not with a
certain concert promoter..."
So once again we are left with the whole "white
man's ice is colder" situation
Maybe I am barking up the wrong tree?
Perhaps I should just be content to "wallow in
nostalgia", play some old scratched up records
here at home and ask trivia questions about long
forgotten 30-year-old songs here on the
Internet?
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Maybe the artists themselves don't
care?
Maybe the fans don't care?
Maybe the music industry professionals
that I talk with are correct when they say
that there is NO MARKET for the
music/artists you are talking about?
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Well I am not quite ready to give up yet
I truly am an "old fashioned/out of touch hippie"
who believes that these...
"100 PROFITABLE & INDEPENDENT BLACK
OWNED MULTI-MEDIA ENTITIES"
Would make a HUGE DIFFERENCE in the
quality of music that was available to us as
music consumers. They would also be well
positioned to fundamentally change the music
business and ensure that the legacy of the
music/culture that we are discussing here on
Soul-Patrol is PRESERVED for OUR
CHILDREN
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These "100 PROFITABLE &
INDEPENDENT BLACK OWNED
MULTI-MEDIA ENTITIES" would form
business relationships with suppliers in
the Black community, thus creating a
multiplier effect
MULTI-MEDIA ENTITIES" would create
jobs within the Black community
MULTI-MEDIA ENTITIES" would be
places where new talent could be
developed, nurtured and exposed
MULTI-MEDIA ENTITIES" would be in a
position to pump money into new radio
stations, TV networks, Satellite
operations, ISP's, Performance venues,
etc to create infrastructures capable of
sustaining the music/culture
I realize that some of you folks out there DO
NOT WANT TO SEE THESE KINDS OF
THINGS HAPPEN
Some of you are:
• "Culture bandits", who make money off
of the existing system
• "Self hating black folks", who don't want
to see ANY Black folks succeed
Personally I think that it's HIGH TIME for BOTH
the "culture bandits" and the "self hating blacks"
to be DIVESTED OF THEIR POWER OVER
OUR COMMUNITY.
we can't afford them ANY MORE, the COST IS
TOO HIGH
The business model that Prince has laid out is a
good one because it EMPOWERS THE
ARTIST. More importantly, for the artists that
we are discussing here on Soul-Patrol, it
EMPOWERS THE BLACK ARTIST.
By empowering the artist, they have a chance to
turn the legacy of their lifetime of work into
LIVING AND BREATHING BLACK HISTORY
that will be around for future generations to not
only enjoy, but also to learn from
Here are some of the things that could happen...
I THINK THAT IF ONE HUNDRED BLACK
ARTISTS WERE TO STEP UP TO THE PLATE
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AND CONTROL THEIR LEGACY...1,000,000
Black music fans would stand up and support
them by buying CD's and going to live shows
Sammy Davis Jr.
I would contend that if 1,000,000 people get
together to do ANYTHING, it changes our entire
society!
My generation was supposed to be the
generation that was going to change our society
for the good. Thus far, we have done a pretty
PISS POOR job of that. Maybe it's not too late?
ONE HUNDRED: it's just a number for us to
play around with
Now I am going to shut up about this topic and
go from a "public thinking out loud mode" to a
"private detailed planning mode" with some of
our "Classic Soul Artists" to see if we can
accomplish anything along these lines during the
year 2002.
However these plans manifest themselves I will
report back to you on them.
When I do report back you, I will most certainly
ask for the assistance of the members of SoulPatrol with the implementation of these plans.
My hope is that a few of you will respond.
Thanks for listening
--Bob Davis (CEO/Editor of Soul-Patrol)
::::ADV::::
I had the privilege of going to see Sammy Davis
Jr. at Radio City in 1978. The young lady I was
seeing and I tried to convince 2 other couples to
go with us and they refused. They said they
didn't like Sammy and thought he was "too
white". 10 years after the fact they still resented
him because he hugged Richard Nixon. So the 2
of us went and sat in a sold out audience of
white folk. Sammy walked on stage with a glass
of booze and a cigarette. The audience gave
him a standing ovation and wouldn't stop
applauding and cheering. He stood there and
smoked and sipped. Then the brother went to
work. He sang, danced, played instruments, told
jokes, did impressions and talked about his
peers.
Yeah, he talked a lot about his boys Frank and
Dean but he also told stories about Billie
Holiday, Lena Horne, Count Basie, Sarah
Vaughn, Louis Armstrong and Nat King
Cole.(seems Nat was such a gentleman even
the Rat Pack watched their language and drank
sparingly around him)
http://www.soulofamerica.com/
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He spoke about racism in America, Apartheid
abroad and why he would never play South
Africa. This was BEFORE the free Mandela
movement gained world wide momentum. He
said he didn't like then California Governor
Ronald Reagan. Seems when Regan was errr
an "actor" he dissed Sammy in racist manner.
Sammy let him know how he felt (said he'd kick
his ass) and the two never really spoke after that
although they were neighbors. Something
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Sammy said Reagan really didn't like either. I
have never seen such a talent.
He did this tap dancing routine in which he
compared the different tapping styles of famous
hoofers. How many tap dancers could
demonstrate that degree of tapping nuance?
The style of Bill Robinson vs Teddy Hale who
was a tap dancer who danced with a flat footed
style because he was a heroin addict and often
performed high. Teddy Hale was also Gregory
Hines' principle influence.
Sammy was walking chitlin circuit, and Las
Vegas headliner. He experienced it all. He
talked about his childhood and made people
laugh and at one point cry. He NEVER attended
school, performed mostly year round one
nighters since he was 3 years old. As child he
often slept in pay bathroom stalls at bus stations
along with his uncle and dad. The pay
bathrooms were cheaper and sometimes nicer
than the "colored" hotels. He recalled being
about 6 years old and sitting on a staircase
between shows at the Regal Theatre in Chicago.
He looked out the window and saw some kids
doing something. He didn't know what they were
doing but it looked very interesting to him. Years
later he realized the kids were PLAYING which
was something he never did.
What a life! Onstage he brought all his joy, pain,
love and anger with him. When I saw him he
was in the "I'm not taking no more shit" stage of
his life. He would later stop drinking and
smoking. Unfortunately he died just as he put
aside his self destructive lifestyle. Sammy said
there wasn't a drug he hadn't done. Mind you he
was performing to a conservative white
audience and they loved him and hang on to
every word. I promised myself I would see him
again but I never did. But I can say I saw Mr.
Entertainment and he truly lived up to his name.
Television, films and records never did his talent
justice. You had to see Sammy Davis onstage to
appreciate and "understand" him.
--Ron Mcintyre
(Ron Mcintyre is an author, Soul-Patrol
Coordinator, and media/marketing consultant
currently residing in Georgia)
::::ADV::::
SoulSounds.com
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Legal Rulings
Copyright & Trademark Info.
Buy CDs
Record Company Audits
Music Industry Links
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tel:(760) 947-3169
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E-mail: [email protected]
http://www.soulsounds.com/
CLASSIC SOUL
Audio Interview: David
Ruffin/Eddie Kendricks and
Temptations Music
45 min David Ruffin/Eddie Kendricks Audio
Interview (1991): featuring Eddie Kendricks and
David Ruffin giving us the history of the
Temptations, their perspectives on the music
industry and more. Includes music from the
Temptations and their respective solo careers.
It's the last interview ever conducted with David
Ruffin :(
A magazine containing an audio interview with
two deceased legends?
Who ever heard of such a thing?
10
Soul-Patrol Digest
Magazine
Book Review - RAY CHARLES
Man and Music by Michael
Lydon
touring men in showbiz--if you visit his website,
you'll discover that he's probably due to come to
a venue near you sometime soon.
RAY CHARLES: Man and Music tells the story
of his life, on the road, in his various homes,
and in the studio; and the times, the background
against which he lived his life. In terms of the
focus of this website, it tells how important and
influential Ray was to the birth and development
of Soul Music.
Lydon begins his tale in Greenville Florida,
where his subject was born Ray Charles
Robinson ("RC" to everybody who knew him)
some time in September 1930 (no birth
certificate exists) and carries us through his
early years and education to his genesis as a
professional musician in Jacksonville, Orlando
and Tampa. There he became a jazz pianist
able to comp the styles of anybody from Bud
Powell to Art Tatum and a singer who could do
dead on imitations of Nat King Cole and Charles
Brown.
RAY CHARLES
Man and Music
by Michael Lydon
436 Pages, Riverhead Books(1998), $27.95
“Ray Charles is the black wind of
Kilimanjaro, Screaming up-and-down blues,
Moaning happy on the elevators of my time.”
From "Blues Note" by Bob Kaufman
In the worlds of entertainment and music Ray
Charles has achieved the status of Willie Mays
in baseball, Michael Jordan in basketball, Duke
Ellington or Satchmo Armstrong had in Jazz-that of Legend or Near Myth, or Icon.
After nearly 60 years playing, recording,
performing and turning the mother out he is now
a Beloved Show Biz Entertainer like Sinatra or
Bob Hope-- he is ubiquitous and everywhere; he
makes still appearances on television, his hits
are still played on the radio, and nary a patriotic
holiday or occasion passes when you don't hear
his rendition of "America the Beautiful" (some
stations sign off with it).
He is an acknowledged musical genius is one of
the best known celebrities on the planet, and still
retains the distinction of being one of the hardest
11
We follow him to Seattle in the late 40's(where
he met a young Quincy Jones and started using
heroin) his first records and his first tours.
Searching for his own voice with the
encouragement of Jerry Wexler and Ahmet
Ertegun of Atlantic Records in the fifties, we
watch him fuse Gospel Holy Ghost fervor with
rhythm and blues on hits like "I Got a Woman"
(1955) and "What'd I Say" (1959).
According to Lydon, Ray, like other sons of the
church, Little Richard, Chuck Berry, Sam Cooke,
and yes, Elvis Presley, was considered a Rock n
Roller. True, though he did gain his first national
fame at the same time as they did and he did
scandalize some, as they did, with the unbridled
eroticism and unholy zeal of his work, to me he
defied categorization. You could only call him a
Musician, and call what he made Music!
He signed with ABC in 1960 when his contract
with Atlantic ran out (Wexler and Ertegun would
remain bitter about it for a long time; to them it
was a betrayal, to him it was business) ,in a
move calculated by his management to cross
over, that is, score hits on the pop (ie white)
charts. And he did ,using sweet pop
arrangements, strings and country music ( He
came to it honest. In addition to listening to it all
his life he gigged in 1947 in Orlando, Florida,
with a white country band, The Florida
Soul-Patrol Digest
Magazine
Playboys)he would score #1 hits like "Georgia
On My Mind (1960)", "I Can't Stop Loving
You"(1962.
other Soul Men. He is a wizard in the studio;
before Prince he was practically producing his
own records.
Though this work was popular, long lasting and
influential, Lydon writes that it was Ray's Atlantic
Records Years that the rockers and Soul Men
of the sixties cited as their inspirations.
Indeed, he would return to his gritty roots in the
later 60s with songs like "Let's Go Get
Stoned"(1965).
And like Rock n Roll and Funk (both
euphemisms for the sex act) Soul is sexy and
Lydon gives us the skinny: Ray had (and has)
sex and plenty of it ("In order to be a Raelette,"
he wrote "A girl had to "let Ray" :).
Lydon, a professional musician who was a
founding editor of Rolling Stone and author of
(Rock Folk (1971) and Boogie Lighting (1974)
has written a fine telling of these times, as well
as Ray Charles' later career from 70's, when he
experienced a slump, to the 80's and 90's when
he became a household name and part of the
American cultural fabric.
Soul is Honest : Lydon has written an honest,
tell it like it t-i-z warts and all Soul book early on
is a Blues lick; Ray, born to a single mother;
blind at four years old, just months after the
trauma of seeing his infant brother George
drown right before his eyes; orphaned at 14
when his mother Retha died.
And Soul is Triumphant, Celebratory ("Say It
Loud, I'm, Black and I'm Proud")and Ray's story
is a triumph, over being left all alone in the
world, physical handicapped; over the hard grind
of the chitlin' circuit and the road over addiction,
and the ups and downs of music biz, life the
universe and everything.
Honesty and triumph, it's all here, the drug busts
and the blown gigs, and his decision and
successful effort to clean up. Lydon could have
played us muzak, painted us an empty,
saccharine, PR-friendly picture of his subject, he
doesn't; he reports he flinty and sometimes
unlovable side of Rays' character; his suspicious
nature and on his sometimes- less-thanpleasant dealings and relations with and abrupt
terminations of band members, employees,
wives girlfriends and business partners.
He also writes of Ray's lifetime regard for and
friendship with Quincy Jones.
We discover here that Ray is not a naïf, but a
canny businessman. He made a
groundbreaking deal in 1960 with ABC Records
that resulted in ownership of his masters--he did
not wind up broke, busted and disgusted like
12
"What is Soul?" George Clinton asked on his
groundbreaking 1970 album FUNKADELIC.
Here is what The Genius had to say about it on
page 264;
"Soul is when you take a song and make it
part of you-- a part that's so true, so real
people think it must have happened to you.
It's like electricity. We don't really know what
it is, do we? But it's a force that can light a
room. Soul is like electricity, like a spirit, a
power.”
A good book about music or musicians has you
hearing the music in your head while you're
reading it, makes you want to put it on the player
or run right out and buy up all the records by the
artist you can.
Have a greatest hits CD already on the player
when you start this book lest you keep having to
stop and run and play Ray's songs.
When you have finished this book, you may
exclaim, as did San Francisco Beat Poet Bob
Kaufman did at the end of the poem, "Blues
Note".
"Ray Charles is a Dangerous man (way cross
town), And I love him"
Chris Hayden
DIGEST MAGAZINE:
month ($24.00/yr).
Soul-Patrol Digest
Magazine
Make Sure They Pay: Record
Company Audits
This section is devoted to naming record
companies around the world engaged in failure:
a] to pay proper royalties
b]obtain mechanical licensing
c] failure to account
d] reprinting so called cutouts with stale
dates to avoid payment of royalties.
The rating system is designed to keep it simple,
so everyone can understand it. The system
rates a record company based upon on our
database in addition to reports received by other
companies, the factors utilized include such
matters as timely payment of royalties, failure to
account, companies not adopting fair
compensation since the inception of compact
disc recordings, companies with unjustified write
offs, charges to artist accounts, and records
companies with very questionable legal title to
the product[s] they market.
RATING CODE:
5 ] A very trustworthy company and a
organizational structure which will tend to work
with you to settle any problems in a very timely
manner.
4] Some risk associated, usually due to change
in ownership, location, merger or key middle
management changes. Problems tend to smooth
out for better or worse within 12 to 18 months.
Any label we rate below a 4 we strongly urge
you to obtain independent legal counsel to
review prior to signing any new documents or
accepting lump sum settlements for back
royalties.
3] About average you either hate them or love
them, but in either case all royalty statements
should be reviewed against previous reports.
2] If you are rich are just a plan old gambler
these are your best bets; all want to be's; most
end up never being heard from again after you
sign the paper work.
1] Start up labels, know who all the players are,
require minimum 10,000 units up front
payment[s] and termination clause in the event
of default or bankruptcy.
13
0] Stay away, your legal fees will be more then
you will ever collect.
SoulSounds first posting of rating codes was
April 1, 2000 no pun intended, just the facts.
This rating is based upon accounting through
September 30, 2001. In all cases you should the
check 1099's received against royalty
accounting for the year in question.
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Universal / MCA/ Polgram [3]
Time Warner/Atlantic/ Rhino [3]
EMI/Capital/Virgin [2]
Thump Records [3]
Quality Records [1]
Ace Records Ltd. [3]
Original Sounds [3]
Fantasy [2]
K-tel [No Longer Able To Rate]
Classic World Productions [3]
Quality Records [-0]
Collectable Records [1]
BMG/NEM [2] If you are due funds from
NEM please contact SoulSounds as we
are in the process of preparing a class
action suit.
San Juan / New Cuts [1]
St. Clair Entertainment Group [0] If you
are due funds please contact this office
as we are in the process of preparing a
class action suit.
KRB [0] If you are due funds please
contact this office as we are in the
process of preparing a class action suit.
All Record Clubs are rated below zero and we
advise against licensing to any record club.
--Joe Vincent
(Joe Vincent is a founding member of the
Treneers and is an advocate for artists rights)
DIGEST MAGAZINE:
month ($24.00/yr).
Soul-Patrol Digest
Magazine
"Then I love you when
Our passions like the summer sun
when June is here to stay...."
Back during the time...."when the future really
did look so bright that I had to wear shades..."
The Fuzz: Pure Teenaged
Eroticism
The Fuzz were a trio of girls from Washington
DC. Sheila Young was the lead singer for the
group. They first recorded Smokey's old hit
"Ooo Baby Baby", then "I Love You For All
Seasons" from The Fuzz LP on Calla SC-2001)
issued in 1971 and "Like An Open Door".
Sheila Young, Barbara Gilliam, Val Williams.
They were originally called the Passionettes.
Sheila Young composed and wrote the "I Love
You For All Seasons".
"I Love You, For All Seasons" - The Fuzz
Sometimes I get "nostalgic" just as much as
anyone else here does. I have just spent the
last 1/2 hour listening to the same 3 minute song
OVER AND OVER AGAIN...
It's a song that I probably haven't heard in about
3 years, but it doesn't matter how long it's been
since I heard it, the POWER and BRILLIANCE
of it's artistry resonates deep within my soul
ANYTIME that I do hear it.
IT NEVER FAILS TO STOP ME DEAD IN MY
TRACKS!
"I love you, for so many reasons
(which means)
I love you, for all seasons
First of all I love you with the freshness of a
spring day..."
This is one of those songs that is permanently
stored in your memory banks. Stored not simply
as a song, but also as an archive of an important
"life event".
It wasn't a huge hit. Not by a long shot.
The artist isn't one of the people that is ever
going to have a BET special about them, bleach
their skin white, change their name to an
unpronounceable symbol, have sex with under
aged girls, shoot up a nightclub, etc.
In fact the artist is practically unknown, outside
of the inner recesses of the minds of middle
aged men like myself, who occasionally think
back to that magic time in their lives when they
were a good lookin 13 years old, with an afro
that reached the sky...
14
Back during the time when the erotic voice of
another teenager playing thru the small 3 1/2
inch speakers of a static filled AM radio, tuned to
one of those stations waayyyyy down at "the
other end of the dial", sounded like the voice of
an ANGEL....
"I don't know how to explain the seasonal
change
it's seems never the same
all I know is I love you, for so many reasons
(which means)
I love you, for all seasons
I love you with the gentleness
of a falling leaf on an autumn
kind of day...."
Back during the time when the same 13 year old
boy, just knew that he could dance just like
James Brown, because he was wearing his
brand new "PLAYBOY'S" to the Jr. High School
dance.
Back in the days when that same 13 year old
would disappear into the shadows at the dance
when the slow jams would come on, because he
didn't want anyone to know that he didn't know
how to slow dance.
"But most of all I love you
with the briskness of a winter day when the
snows come back to stay.
I don't know how to explain (explain) the
seasonal change it seems never the same
All I know is I love you for so many reasons
(which means) I love you, for all seasons.
(autumn) (spring) (winter) (summer)
I love you, for so many reasons
(which means)
I love you, for all seasons.
Ooooo Baby..."
But somehow when the song sung by the
teenaged angel came on, courage that he didn't
know that he had came to the surface.
And instead of withdrawing into the shadows of
the Junior High School gymnasium, the 12 year
old with the big fro' decides to move in the other
direction and find his own personal "angel" that
will honor him with a GRIND.
Soul-Patrol Digest
Magazine
And that's why a 45 year old man will sit at a
computer in the year 2002, listening to the same
3 minute masterpiece of a slow jam OVER AND
OVER again, more than a quarter of a century
after he first heard it.
It's because he recognizes PERFECTION in the
song and more importantly, he recognizes the
magnitude of influence that the long forgotten 45
has had on his own life....
BD
Brother Bob:
The album that the song is from was tilled "The
Fuzz: Val • Barbara Sheila" (Calla SC-2001)
(Calla was a subsidiary of Roulette Records,
and was also the label of J. J. Jackson ["But It's
Alright"], The Sandpebbles ["Forget It," "Love
Power"], and Jean Wells ["After Loving You"]). It
was probably the ONLY album that ever came
out on Calla (though I think I may have seen one
on J. J. Jackson); the inner sleeve of the album
promoted all Roulette "at-the-time" current
albums, including: The Three Degrees "Maybe,"
Alive 'N Kickin' ("Tighter, Tighter"--["hold on--a
just a little tighter now baby/I love you so much
and I can't let go..."]), Count Basie, the late Latin
music star La Lupe (she was actually signed to
Roulette's Latin music subsidiary, Tico Records),
Pearl Bailey, and others.
set-up the actual songs, ranging from 42
seconds to 2:32, with the first prelude being the
longest. Side A was really in the vein of a
"concept album:" each song followed a
relationship that lasts from its beginning in
Spring ("I Think I Got...") to its end in Winter ("It's
All Over"--an original; not a cover of the Walter
Jackson/Impressions song mentioned earlier.)
Side B:
1) Like An Open Door
2) Search Your Mind
3) Leave It All Behind Me
4) Ooh Baby Baby (the album's only cover, and
it's longest track at
5:32)
5) I Love You For All Seasons
Singles from the album were "I Love You For All
Seasons," "Like An Open Door," and "I'm So
Glad."
--Charles Duke
(Charles Duke is an, author, activist, educator
and entrepreneur currently residing in NJ)
Tribute To: Dion DiMucci
The LP was entitled "The Fuzz..." and was
produced by Carr Cee Productions, with
arrangements done by Joe Tate. It was released
in 1971. The album itself gives precious little
information about the group or any recording
information. Carroll “Mr. C” did liner notes
The song line-up was:
Side A:
1) I Think I Got the Makings of a True Love
Affair (Prelude)
2) I Think I Got the Makings of a True Love
Affair
3) I'm So Glad (Prelude)
4) I'm So Glad
5) All About Love (Prelude)
6) All About Love
7) It's All Over (Prelude)
8) It's All Over
(Note: The "preludes" were like spoken
intros/reflections on love and relationships that
15
The Legendary Dion DiMucci hanging out with
Soul-Patrollers Cheryl Page and Mike Boone
I just read your tribute to the one and only Dion
DiMucci, and it was great to see an artist I
admired for years recognized by you. I
remember I first heard Dion about ten years ago.
I caught by chance a radio program on a kind of
"youth oriented" radio station one day, a
program where an artist plays 5 of their favorite
tracks. This time I remember it was a member of
one of the greatest bands of all time, Primal
Scream, so I listened up. He sure played music
Soul-Patrol Digest
Magazine
you wouldn't associate with a "vanguard" act like
Primal Scream on the surface, but it goes to
show that the British artists often have that
admirable quality of awareness and love for all
kinds of music.
I remember this is where I first heard the
amazing "Rock Your Baby" from George
McRae, too. But the thing that really knocked me
over, man!! Without announcing the artist, up
came this beautiful, haunting, echo-drenched ,
string and slide-guitar laden "American Ballad"
chord progression, real slow and taking its time.
I always loved those R&B ballads like Lloyd
Price, but this was a whole different setting put
over it. Then the voice comes in - "Ooh, I wake
up by your side / You give me what I need
, you keep me satisfied /Ooh, thru and thru / I
was born born born born, to be with you" Jesus,
this voice sounded so unique to me - I never
heard the "Bronx blues" prior to this, so it was
like a whole new world, and it killed me. It was
so beautiful, the way the words were phrased
and played with by this man, but also there was
a lot of "attitude" with them, little asides and
interjections that I never heard Rhythm and
Blues singers do that way before, a great mix of
tenderness and firmness. Then, when the singer
went for the higher notes, now that really could
kill somebody, the bends and moans, so clear
and full of that same duality in his delivery.
Those "born born borns" rang like a bell in my
mind for the next eight years before I heard the
song again, there was no way of ever forgetting
it! Then, at the end of the song, a few bars of
scatting like no other artist could replicate
- I was sold!
Then it was announced that this magician was
Dion with "Born To Be With You" - I knew right
away that this Italian - American artist is in a
school of his own. And subsequently that is what
I found to be true. Dion, as well as being one of
the greatest singers of all time, is also one of the
most undervalued . See, you did not ever put
himself in a box for the industry, he followed his
heart. Whether it was acoustic folk, gospel,
blues, or hardcore R & B, he progressed as an
artist, not as a commodity.
In fact, when I saw him in 1995, I was living in
Australia, and he played in a hotel, then a
suburban "club", dinner shows both. I was
saddened by the fact that one of the greatest
contributors to the diversity and strength of
American music had to make his money playing
in this environment, like some "nostalgia act"
when it was clear he was on top of his form with
tons of ideas. I remember some idiot asking for
16
"Runaway", and Dion just gave this pained look
as a reaction, like " God, what am I doing
here"... But at the same time, it was obvious this
was just one little aspect of his career, and he
was full of positive energy and good humor. And
in fact at the same time he was leading the
"Little Kings" in New York, with younger
musicians from the NY punk-rock scene, playing
new material in the "alternative" venues,
material full of muscle and verve. So Dion is
always on top of the bull***t, he is one of those
people one need not worry about!
He, as you said, gets better as he gets older,
and apparently his latest CD from last year,
called "Deja Nu" (Ace Records I think), is his
greatest ever, with every track a killer - though I
am yet to experience it.
And his ever-youthful positively and love come
through on every note he sings, as well as that
elusive "humanness" in his songs or
interpretations.
Thanks for reminding me and everyone about
one of the real heroes still standing tall!
-- Den Belmont
::::ADV::::
SISTA FACTORY is dedicated to producing
shows that showcase talent and provides a
warm spiritual vibe. So many great artists
have graced our stage and we are truly
grateful.
A Few of Our Artists:
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Kelli Sae
Felicia Collins
Julie Dexter
Sandra St. Victor
Abby Dobson
Ledisi
Karen Bernòd
Liza Jessie Peterson
Join us as we continue our journey as
advocates of the performing artist and their
music.
http://www.sistafactory.com/
Soul-Patrol Digest
Magazine
CD Review: 'DOO WOP
CHRISTMAS'
Have Yourself A Merry Doo Wop Christmas!
Just what is a Doo Wop Christmas you ask? It
is a wonderful collection of Christmas music
done in Doo Wop style as performed on the
street corners by various Doo Wop groups and
making spirits bright! 'Doo Wop Christmas' was
released in 1992 on Rhino Records.
This collection includes such classic Christmas
songs like 'Rudolph the Red Nosed Reindeer,'
'White Christmas,' 'Santa Claus is Coming to
Town,' and 'White Christmas', and novelty
Christmas songs such as 'Jingle Jangle,' 'Merry
Twist-mas', and 'It's a Happy Holiday.' There
are also soulful Christmas selections to enjoy
like 'Can This be Christmas,' 'It's Christmas
Time,' You're My Christmas Present,' 'It's
Christmas Once Again,' Merry Christmas Darling
(and a Happy New Year too)' and 'Merry
Christmas Baby.'
The earliest recorded tune on this album is from
1948 (The Orioles) 'It's going to be a Lonely
Christmas'. The holiday season is nicely
rounded off ringing in the new year with 'What
Are You Doing New Year's Eve,' and 'After New
Year's Eve.'
Singing these songs in great Doo Wop harmony
are such musical groups as The Penguins, The
Drifters with Clyde McPhatter, The Harmony
Grits, The Falcons, The Five Keys, The
Skyliners, The Cadillacs, Frankie Lymon, Margo
Sylvia and the Tune Weavers, The Marcels, The
Moonglows, The Orioles and more.
17
This is a wonderful assortment of Doo Wop
Christmas tunes and a must-have Christmas
collection for Doo Wop and oldies collectors!
Track listing:
• Jingle Jangle-The Penguins
• White Christmas-The Drifters featuring
Clyde McPhatter-Bill Pinckney
• Santa Claus is Coming to Town-The
Harmony Grits
• Can This be Christmas-The Falcons
• It's Christmas Time-The Five Keys
• Rudolph the Red-Nosed Reindeer-The
Cadillac’s-Jesse Powell Orchestra
• You're My Christmas Present-Jimmy
Beaumont-The Skyliners
• It's Christmas Once Again-Frankie
Lymon-Hugo Perettie Orchestra
• Merry Merry Christmas Baby-Margo
Sylvia-The Tune Weavers
• Merry Twist-mas-The Marcels
• Merry Christmas Darling (and a Happy
New Year Too)-The Uniques-vocal by
'Stuffy'
• Just a lonely Christmas-The
Moonglows-Red Holloway Orchestra
• (It's gonna be a) Lonely Christmas-The
Orioles
• A Christmas long ago (Jingle Jingle)The Echelons
• It's a Happy Holiday-The Shells
• White Christmas-The Statues
• What Are You Doing New Years EveThe Orioles
• After New Years Eve-The Heartbeats
--Judi Smith
(Judi Smith is an author, and a nurturing force
on Soul-Patrol currently residing in California)
Q & A: What are the Blues?
Q: First of all, what are the Blues?
A: If only I had time to answer that.
Q: Where did that term come from and what is it
attempting to describe, does the term refer only
to hard times?
A: It may have started out that way, but it
evolved into all that life encompasses.
Soul-Patrol Digest
Magazine
Q: If the term comes out of the "African
American experience", has anything changed
about that experience that would give us any
clues as to how "blues music" may have
evolved today?
A: Yes. So much to say, so little time.
Q: Is there a connection between Blues, Gospel,
and Doo Wop?
A: Call and response, syncopated vocal
harmonies...the rich vocal tradition of Black
American music in general. The AAB form of
song structure.
Q: Why is it that some artists like the
Temptations, Gil Scott-Heron, Miles Davis, PFunk, Ohio Players, etc sometimes refer to
THEIR music as "blues"?
A: Because what these artists did, evolved from
different aspects of the blues. And it still
contains a lot of those elements.
Q: Could a song with lyrics like "since I lost my
baby, I feel so sad" be sung by someone like
John Lee Hooker?
A: Of course.
Q: Can white artists have the "blues"?
A: Yes.
Q: If the Rolling Stones play a Muddy Waters
song, is that "stealing"?
A: If they make money from it without the
allotted money going to Muddy or his estate,
yes. If they claim (by either keeping quiet about
who the pioneers are or verbally taking credit
for the art form) to be the pioneers of this type
of music that has distinct African characteristics,
yes. If not, no in both cases.
Q: If John Lee Hooker were to sing such a song,
would blues fans listen to it, even though it was
written by Smokey Robinson?
A: Hooker would probably change the
arrangement of the song.
Like I said, so much info, so little time.
-- Kindah Blue
(Kindah Blue is an author/musician currently
residing in California)
::::ADV::::
Q: If Otis Redding sings a Rolling Stones song
is that "giving away the culture"?
A: No. Bands like the Rolling Stones and their ilk
were just re-selling to America what they heard
in England through America by Black American
musicians/singers. Therefore, Redding is just
singing his interpretation of a Rolling Stones
interpretation of a Black American artform. If ya
know what I'm sayin'. :)
Q: Do the "blues" ever manifest itself in hip hop
music?
A: Field hollers were singing work songs,
spirituals, and blues (in an earlier form--it came
to be called blues later on) and folk/protest
songs. So, since there have been protest hip
hop songs, yes, this is one of those
manifestations. Musically, there is no doubt that
blues has manifested itself in hip hop; blues is
one of the elements of r&b, soul and funk. There
is also the rock and roll aspect of sampling in hip
hop which is not hard to find. These styles can
easily be found in hip hop samples, and are
played by a hip hop group called The Roots.
You can also hear these elements in early hip
hop records by Kurtis Blow, Sugar hill Gang, etc.
that were played on instruments instead of
sampling.
18
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Soul-Patrol Digest
Magazine
Audio Tribute: Jet Magazine
Soul Brothers Top 20 from
April, 1967 parts 1 & 2
::::ADV::::
Baron Keels and Mike Boone count down the
Jet Magazine Soul Brothers Top 20 from April
1967, in a tribute to celebrate the anniversary of
the first Soul Brothers Top 20 back in 1967.
•
Jet Magazine: Soul Brothers Top 20
from April, 1967 part 1
•
“The Vibe is Feel Good and the Grooves are all
the way Live, as in Live bass, guitars, drums,
percussion & keyboards…”
A. Scott Galloway – Urban Network Magazine
The Debut CD
Now Available Via The Internet
Two hour audio presentation (in 2 parts) of the
top 20 songs for the week April 6, 1967, as listed
by Jet magazine.
Featuring a reverse countdown of the songs
(including some of the B sides), along with the
history of the music, the artists and events of
that week. A complete history lesson presented
as a time capsule of 1 week in the history of
Soul Music
•
•
Take a listen and be sure to share it with your
children
DIGEST MAGAZINE:
Become a monthly subscriber, and get the
Soul-Patrol Digest Magazine EVERY
MONTH?
month ($24.00/yr).
19
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Andra Hines
Executive Producers:
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For Booking and Info Contact:
InterSoul Music
PH: 818 832-8705 FX: 818 832-5136
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FUNK
•
Bio/CD Review: “Billy
Preston: Ultimate
Collection”
INSTRUMENTAL JAM of all time with
“Outta Space”
In 1979 he combined with the angelic
voice of Syreeta Wright to create the
erotic/blasphemous masterpiece “With
You I’m Born Again”
Both songs and many more Billy Preston songs
appear on the recent HIP-O records release
entitled “Billy Preston: Ultimate Collection”
Go to the HIP-O website and check it out
•
Check it out at the HIP-O website
Billy Preston is a true pioneer of our music!
Much like Jimi Hendrix, his music is so diverse
that it defies classification
He is Blues, Soul, Rock, Funk, Gospel, Show
Tunes, etc all at once and then some!
Billy Preston was born on September 9, 1946 in
Houston Texas. By age ten, he was playing
keyboards with gospel diva Mahalia Jackson. At
age twelve he stared on the Silver Screen,
playing the young WC Handy in the movie “St
Louis Blues”
•
Billy Preston was a prodigy on organ
and piano, recording an instrumental
gospel album called The Most Exciting
Organ Ever, for Vee Jay records in
1966.
During the 60’s Billy Preston also played
with and toured with the Little Richard,
Sam Cooke, Ray Charles and the
Shindig TV show, where he was a
regular.. He was a regular on the mid'60s ABC-TV Shindig series, proving his
talent as both vocalist and pianist.
In 1968 George Harrison brought Billy in
to play keyboards on some of the tracks
on the Beatles album Let It Be . Billy
Preston is the STAR of the Get Back hit
single and the Beatles even give him a
credit on the 45!
Next to Jimi Hendrix, he is probably the
most famous of the 60’s group of “Black
Rockers”.
During the 1970’s in retrospect, his
career was kinda like a “prototype” for
the kind of career that Rick James
would later have, in my opinion.
In 1972 he laid down what was perhaps
the WILDEST, FAR OUT
•
•
•
•
•
20
WILL IT GO ROUND IN CIRCLES
“I got a song ain’t got no melody, I’m a gonna
sang it to mah friends…”
Now if EVER someone sounded like they were
high when they wrote a song, this was it…..lol
But it was a hit record and people used to J-A-M
on this record at house parties.
Can I explain the song?
(of course not, even he says that he can’t
explain the damn thing…..lol)
Just know that it’s PHUNKY
•
OUTA-SPACE
Sometimes when writing these reviews I run up
against the limitations of the english language
and the total inadequacy of using text as a
medium to describe music.
This is one of those times.
I am TOTALLY UNABLE TO PROVIDE A
WRITTEN DESCRIPTION OF THIS SONG
MYSELF.
So this one time I am going to rely on someone
else,
Spoiks of the Acid Logic website….
“You really can't deny that Billy Preston is the
funkiest, grooviest MF on the planet. And to anyone
that says Billy Preston isn't the funkiest, grooviest MF
on the planet, I say "Step back, b*tch! I've got words
*for your mother!"
It all comes down to the Preston classic, "OuttaSpace" (a tune most recently re-introduced to
American culture through a series of Intel ads.) How
can you not groove to this funkified instrumental
madness - a montage of clavinet grooves, moog
madness and spiny guitar. It's not a song about
"melody" or "chord progressions" but simply vibe. A
vibe of spacey grooviness: the kind of hoodoo John
Glenn must have tripped out on when he was jiving
Soul-Patrol Digest
Magazine
with the star people. That is "Outta-Space": pure
mood music, man... and the mood is full speed freak!
The way it zooms in and out of cosmic asteroids
towards the trippathon of lunar madness. No doubt,
P-Funk owes a lot of it's spacey iconography to way
out groves of Billy P. James Brown may have
invented Funk, but it was Billy Preston who invented
Psychedelic Funk - the kind of juice you get flowing
when you mix your Angel Dust with your LSD. Laid
down and groovy, it's the kind of funk that let's you
soak up the sweet sugar of the opposite sex while
tripping the light galactic. With Preston, funk flew to a
whole new level, “
http://www.forbisthemighty.com/acidlogic/billypre
ston.htm
Outta Space surely has to be the FUNKIEST
jam to ever be a #2 record on the Pop Charts
•
SLAUGHTER
•
I WROTE A SIMPLE SONG
“They changed the words and the melody, now it
all sounds wrong, it sounds like a symphony…”
Uh oh
Somebody tried to mess with Billy’s song…
This song is Billy Preston’s first song as a solo
artist to be released on A&M records
his mellow "I Wrote an Simple Song" sing-a-long
•
THAT'S THE WAY GOD PLANNED IT
(LIVE)
badd, badd, badd, badd, badd, badd, badd,
Now I am not usually a fan of Gospel music, but
this song has always been one of my favorites
and looking back the song was perfect for the
times.
This is a live recording from the George Harrison
Bangladesh LP, however if one looks back at
the 1970’s FUNK movement for the traces of
“spirituality in the music, this one isn’t a bad
place to start
• STRUTTIN'
Much like on “Space race”, Billy is trying too
hard on this one.
Although this record did make it to #11 R&B and
#22 Pop, Billy Preston and his GOD SQUAD
would NEVER again be able to take that damn
trip to OUTTA SPACE again ☺
•
FANCY LADY
21
This song does nothing for me and approaches
“muzak”. It could easily have also been done by
Frankie Beverley and Maze ☺
• YOU'RE SO UNIQUE
More filler
• SPACE RACE
Now yall remember this song, much like “Outta
Space”, it’s a FUNK BOMB!!!
But it’s different from “Outta Space” as “Stand” is
as different from “There’s a Riot Goin On”. To
me “Space Race” sounds like a “commercial
version” of “Outta Space”. It sounds
controlled/contrived in comparison
Space Race sounds like it’s from NYC…
“Outta Space”, sounds like, well, it sounds like
it’s NOT of this earth ☺
• GET BACK
When the Beatles first did this song I liked it
(remember, Billy Preston played on the original
and is sometimes called the “5th Beatle”)
I like the Billy Preston solo version just as much
• BLACKBIRD
Another Lennon/McCartney song, sounds kinda
boring to me
• WIDE STRIDE
This joint is SLAMMIN, it’s also an instrumental,
and it’s MUCH FUNKIER than “Space Race”
• NOTHING FROM NOTHING
I have always liked this song a whole lot. I
remember that it was a pop hit for Billy Preston.
It’s sounds kinda schmaltzy, however it’s a very
nice pop song, with a positive message.
• I'M REALLY GONNA MISS YOU
Billy Preston in some ways is like Rick James in
that when it is only when he sings a slow song,
do you realize that the man is actually an
excellent singer!
This song starts out with a MIGHTY gospel
organ and turns into a very nice slow jam. This
is a GREAT slow jam that could have been done
just as easily by the Dells, Temps, etc of the
same timeframe
•
YOU ARE SO BEAUTIFUL
•
WITH YOU I'M BORN AGAIN
(W/SYREETA WRIGHT)
Soul-Patrol Digest
Magazine
Of course this duet with the former “Mrs.
Steveland Morris”, is well known as a song
which went to #4 on the pop charts.
It’s also one of the most beautiful/erotic love
songs EVER laid down on wax!
The words are beautiful, but Billy and Syreeta
make lovemaking sound like it’s truly a religious
experience (and I agree with them).
This song has been FULLY ROAD TESTED by
me (several months ago when I first got the
album) and I can assure you that it’s best
listened to with NO CLOTHES ON and it
certainly contributed to a “personal spiritual
experience” for yours truly
BILLY:
Come bring me
Your softness
Comfort me through all this madness
Woman don't you know with you
I'm born again
SYREETA:
Come give me
Your sweetness
Now there's you there is no weakness
Lying safe within your arms
I'm born again
BILLY:
I was half not whole
In step with none
SYREETA:
Reaching through this world
In need of one
BILLY & SYREETA:
Come show me
Your kindness
In your arms I know I'll find this
BILLY:
Woman don't you know with you
I'm born again
Lying safe within your arms
I'm born again
•
•
•
•
SINCE I HELD YOU CLOSE
GO FOR IT (W/SYREETA)
ONE MORE TIME LOVE
I'M NEVER GONNA SAY GOODBYE
Album Review - First Choice
- "Greatest Hits"
Now i know that a few of you are wondering why
I would choose to review this album?
After all, what's so special about it? It's just a
compilation album of songs by a "disco group"
right?
Well, I think that it's quite a bit more than just
that :)
Some of you might recall a few months ago,
when I mentioned a trip to Manhattan that I had
made, where I purchased 10 "el cheapo"
cassettes for$3.99 each, at my favorite record
store, Bondy's. Well this was one of them and
since I purchased it, this tape hasn't been very
far away from the cassette player in my car :)
1. Smarty Pants
This song was a pretty big hit back in the day, of
course this was "pre-disco" and only got airplay
on Black radio and of course in clubs
2. Love Thang
FUNK ALERT, FUNK ALERT, FUNK ALERT,
FUNK ALERT, FUNK ALERT, FUNK ALERT,
FUNK ALERT. Yes that's right I said FUNK, not
disco. This joint is SLAMMIN, I guess that must
be MFSB playing behind them?
3. Newsy Neighbors
As I recall, this song was the follow up to
"Smarty Pants", once again a club/Black radio
hit.
4. Guilty
ok
5. Double Cross
22
Soul-Patrol Digest
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ok
6. Doctor Love
This was their breakout "disco hit", I never liked
it much
7. Love Freeze
ok
8. Armed And Extremely Dangerous
This is a VERY interesting song, as i recall it
"crossed over" just a little bit, but it really came
out before the mass market disco craze hit.
When this record first came out, I thought it was
by the group Honeycone, because it was similar
in style to their music. Anyhow I always liked it.
9. Let No Man Put Asunder
This is the best song on this album, SUPER
FUNKY with a beat that just won't quit (and it
has a message). Very underrated as is this
group in general
10. Love And Happiness
ok cover of the Al green hit, good illustration of
the vocal talents of First Choice, as they sing
parts of the song accapella
11. The Player (Part I)
Great song, with a pro women's liberation
message
12. This Is The House
ok
13. Hold Your Horses
ok
So what's the point here?
My point is that sometimes in your hunt for
"Funky Jams", you don't always have to pay a
lotta money and sometimes you can find them
hidden away in artists that you may not have
previously considered as "funk artists"
previously :)
Also sometimes "funk artists" are not always old
Black men with no teeth, sometimes they are
beautiful females dressed in sequin gowns, with
voices like angels
"This ain't no game, (what it is, what it is, what it
is) .......it's a LOVE THANG...."
The Funk House
There was a place in Brooklyn, near the corner
of Nostrand and Eastern Parkway (Crown
Heights), that you would have never know
existed unless you were "in the know".
You would go to what appeared to be a
storefront enter thru the doorway & walk down
the stairs. As you walked downstairs you would
begin to hear music which would get louder &
louder as you got closer to the bottom of the
stairs. Once you got to the bottom, there was an
enormous space that opened up that was
packed with people (obviously many were "in the
know" !!)
It was a scene similar to the one that was in the
movie Lets Do it Again (I think) where there was
a ton of people inside jamming their butts off.
You would pay the damage of $3.00 to get in
and party till 5am. This joint was badd !!
Everything was cool, people were grooving and
the DJ was live. This was the club that I heard
the jam "Soul Makossa" for the first time. Does
anyone remember that one ??
It was quite a big deal, because at that time the
record was an "illegal" import from Africa.
It was said that you could purchase the 45 for
$25.00 (if you knew where to find it !!). The only
people who had copies of it were DJs, so the
only place you could actually hear the record
was in clubs (I’m talking 1973 folks !!)
One night when I went there I walked downstairs
only to find that the door charge had increased
to $6.00, as I started to walk back up the stairs,
the person collecting the money in a cigar box
yelled back to me:
"we got Harold Melvin & the Bluenotes up in
here tonight".
I turned around & coughed up the $6.00 &
danced to Harold Melvin & the Bluenotes, as the
rocked the house !!
Sadly this place is no longer in existence I never
even knew the name of it.
Another type of "Funk House" was our local
"Polish Hall". Local groups would rent it out on
Friday/Saturday nights, hire a band, put up
posters advertising the event and roll.
These bands would usually be local cover bands
decked out in "full funk regalia". So it was like
23
Soul-Patrol Digest
Magazine
having a mini version of an EWF, Ohio Players,
Commodores, etc concert.
These places usually had a stage, tables and a
huge dance floor and a "bar" where you could
purchase "set ups" VFW's, American Legion
Halls and other venues of that type were often
used and converted in to a Funk House for a
night.
Since these affairs were always "byobb" it was
always interesting to see just how all of the
underage funkateers would manage to bring
something in the joint to "mix" with the setups :)
“American Pie”… The Corleone family meets
the world in “The Godfather”. The US launches
Christmas bombing campaign against Hanoi,
North Vietnam…”Pong “ introduces the video
game craze…”The Walton’s premier on
American TV.
:::ADV:::
Review: Bob Marley “Catch
A Fire CD Deluxe”
Michael Manley stated that "Poverty by itself
does not undermine democracy; it creates social
tensions which sometimes manifest themselves
in violent incidents and political upheaval".
“ Slave driver the table is turned. Catch a fire so
you can get burned ”
The slave ship, Henrietta Marie, in the summer
of 1700, sank shortly after unloading a cargo of
enslaved Africans in Jamaica. In 1972, Black
diver Mel Fisher and his crew discover the
wreckage… Here in the U. S. that year FBI
Director J. Edgar Hoover dies and the
Cointelpro investigations ended after ten years
into the investigations of numerous people
involved in the civil rights struggle…. The movie
“Superfly” is released… Don McLean releases
24
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Soul-Patrol Digest
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Jamaica, facing severe economic problems
elects Michael Manley of the People’s
National Party who in turn created a socialistic
government. It was time in Jamaica for equal
rights and justice to come to the forefront much
to the chagrin of the ruling middle class.
REGGAE COMES TO THE FOREFRONT WITH
THE RELEASE OF CATCH A FIRE ON
ISLAND RECORDS FOR WIDESPREAD
INTERNATIONAL DISTRIBUTION
“ Today they say that we are free. Only to be
chained in poverty ”
In 1972 Coca-Cola “teaches the world to sing”
and proclaims it’s “the real thing ”. Chris
Blackwell found “the real thing” in the Wailers,
Bob Marley, Bunny Livingstone, and Peter
McIntosh after losing Jimmy Cliff to the EMI
label. The actual association began around
1961-62 when Chris Blackwell had released the
singles on Island produced by Leslie Kong
entitled “Judge Not” and “One Cup of Coffee”. In
addition you may recall one of those singles
released on Island was the big hit by Mille Small
in 1964 called “My Boy Lollipop”.
In 1971 Bob was working with Johnny Nash in
Sweden. In the meanwhile Bob had secured a
recording contract with CBS and recorded the
single “Reggae On Broadway”. While promoting
that single, the Wailers found themselves
stranded in Great Britain. As a last ditch attempt,
a meeting came about with Chris Blackwell and
Brent Clarke. As a result of that meeting the first
recording of an entire album by a Reggae band
was initiated.
The Wailers were at the forefront of the socially
conscious cultural community that sprung up in
the Back O’ Wall section of Trenchtown in
Kingston and numerous other places in
Jamaica. The call for social justice, for “truth and
rights” mirrored the sentiments of so many in
Jamaica who were sick and tired of being
……sick and tired.
“They say we don’t need another little hungry
mouth to feed. But what I would on the double is
we don’t really need no more trouble! Let’s all be
trouble free! No more troubles to bother me!”
Like the Impressions four years earlier with
“We’re a Winner” promoting African American
identity and pride, “Catch a Fire” did the same
25
for Jamaica, the Caribbean, and the world. “No
More Trouble”, “Slave Driver”, “400 Years”, and
“Concrete Jungle” were a wake up call that
stirred the Reggae revolution and gave it the
push that was needed to bring other artists to
the forefront as well. At the time it was decided
to add elements that would bring Rock
audiences on to the Reggae bandwagon and
expand the international marketplace. The
addition of other musicians such as John
‘Rabbit” Bundrick, Wayne Perkins, a young
Robbie Shakespeare, and Tyrone Downie on
the Island release didn’t hurt either.
Nowadays the rootsier sounding Jamaican
recording of “Catch A Fire” is my personal
favorite, with the addition of the tunes “High Tide
or Low Tide” and “All Day All Night”. Bob, Peter
and Bunny always had a way of putting those
slow jams in there amid songs of
consciousness.
“Said I’ll never gonna give my love to nobody but
you babe. And If I’m gonna give my love to
nobody but you babe. So love me forever. Oh
baby love me not just for pleasure, love me
always forever. Because I love you, couldn’t be
better”— from ALL DAY ALL NIGHT
“Oh will you quench me when I’m thirsty? Come
and cool me down when I’m hot? Your recipe,
darling, is so tasty, and you sure can stir your
pot. So…stir it up, little darling, stir it up. ----From STIR IT UP
You will notice below that the songs on the
Jamaican version are placed differently as
compared to the released version. I suppose
that was to attract a wider audience in 1972 as
well.
DISC ONE
CATCH A FIRE ….THE UNRELEASED
JAMAICAN VERSIONS
•
•
•
•
•
•
•
•
•
•
Concrete Jungle
Stir It Up
High Tide Or Low Tide
Stop That Train
400 Years
Baby We’ve Got A Date (Rock It Baby)
Midnight Ravers
All Day All Night
Slave Driver
Kinky Reggae
Soul-Patrol Digest
Magazine
•
No More Trouble
DISC TWO
CATCH A FIRE…. THE RELEASED ALBUM
(ISLAND ILPS 9241)
•
•
•
•
•
•
•
•
•
Concrete Jungle
Slave Driver
400 Years
Stop That Train
Baby We’ve Got A Date (Rock It Baby)
Stir It Up
Kinky Reggae
No More Trouble
Midnight Ravers
You know…this LP broke all the rules back then.
It was heavily promoted and beautifully
packaged. It had not one, but two different
album covers!!!
When dub poet Linton Kwesi Johnson made
some comments a few years back on “Catch A
Fire” he stated: “A whole new style of Jamaican
music has come into being. It has a different
character, a different sound…what I can only
describe as International Reggae. It incorporates
elements from popular music internationally:
Rock and Soul, Blues and Funk. These
elements facilitated a breakthrough on the
international market.”
I have been fortunate in my radio career to
interview and become friends with many people
who are members of Bob Marley’s musical and
immediate family such as Aston “Familyman”
Barrett, Earl “Chinna” Smith, our beloved brother
Peter Tosh, Earl “Wire” Lindo, and sons Steven,
David, and Kymani.
I urge you all to pick up this historic recording
and sample it for yourself. Thanks to the folks at
Universal/Island/Tuff Gong who made the
recording available to review.
CD Review: OSCAR JORDAN –
“MR BAD LUCK
Oscar Jordan has been a friend of mine for
about 3 years and together we have done battle
against the “slime of the internet” ☺
You all know him here as an important
contributor to the Soul Patrol website.
He has written several articles for us on Jimi
Hendrix, which you can read at:
http://www.soul-patrol.com/funk/jh.htm
as well as his review of the Best of Buddy Miles
CD which is currently being featured on the PFunk Review Web Site at:
http://www.soul-patrol.com/funk
However he is much more than that.
He is an accomplished musician and lyricist
In my opinion, everyone here should
immediately go to Oscar’s web site at:
http://artists.mp3s.com/artists/144/oscar_jor
dan.html
And click on the link to purchase this album
You won’t be sorry
Here is my track by track review of…
OSCAR JORDAN – “MR BAD LUCK
IT’S THE TRUTH
Kinda starts out sounding like a Stevie Ray
Vaughn song, then shifts into a roadhouse blues
type of song with Oscar playing a nasty little solo
in the middle.
Nice opening for the CD
“It’s the truth about me baby, I’m just as bad as
bad can be”
LIVE TO TELL
This is a tale of modern day urban living,
couched in the type of humor that hits pretty
close to the truth..
One love,
--Kevin Amos tha Funkoverlord aka H. Dread
26
“Married a gambler, drinkin booze, chain
smoking woman, cheater too, took all my
money, she left me alone, I messed up my credit
and burned down my home”
Soul-Patrol Digest
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Took my money, I went to the store, Robbery in
Progress, bodies on the floor, bad time and
place, man it wasn’t real, next thing I know,
MISTAKEN ID”
I’m smiling here as this song begins because
once again it sounds like a Stevie Ray Vaughn
song.
The title tells you exactly what the song is about
I left Chicago, hitched on a train, southbound to
Texas, changed my name, jumped off in Dallas
to avoid the man, walked into a meeting of the
Klu Klux Clan…”
NO TIME FOR SWEET TALK
The song features a woman discussing her love
life with Oscar over the telephone!
(a bit of voyeurism perhaps?)
This is the weakest cut on the album in my
opinion
These lyrics are pretty funny, yet reflect the
realities of modern urban life
I like this song a lot
YOU BETTER RUN
A s-l-o-w b-l-u-e-s
This is a song about friendship…
….The kind of friendship that’s gone bad
You better run, you better watch your back and
duck your head…cause there’s a man on your
tail and wants to see you DEAD”
This song is a THREAT
No doubt about it….
He’s in trouble, BIG TIME
I wouldn’t want to be in his shoes
He stole $200.00 and left a “wrinkle in his bed”
I let you meet my woman, for about a minute or
three, twenty minutes later, she wants to move
away from me…”
THINKING OUT LOUD
This song sounds like it comes straight outta
that wonderful and most dangerous of all United
States ghettoes, Algiers, Louisiana
Think about the music of Dr. John here
Nice bouncy cut
HEY NOW BABY
Oscar gives us a little Big Band blues here, with
just a hint of “rockabilly”
Watch out Brian Setzer…
THE ONE THAT GOT AWAY
This wonderful song about a lost love sounds
like Van Morrison/Micheal Franks territory.
In other words, just like a Stevie Ray Vaughn
album, this is the one cut on the album that
could be earnestly be called jazz.
I like this one a lot as well
BETTER OFF
I REALLY dig the groove of this song
It’s another s-l-o-w b-l-u-e-s and it reminds me
of one of those bars in the ghetto that you walk
into at 3 in the afternoon and the place is full.
(yall know the kind I’m talking about)
Most of the people in the place are between 45
and 75. The jukebox is wailing with a constant
stream of Bobby Blue Bland, Otis Redding, Sam
Cooke, Little Walter, Muddy waters, etc. And
there are 5-6 couples on the dance floor doing
the NASTIEST GRIND that you would ever want
to see
CHRISTMAS DAY
A modern day classic that I am sure will become
a part of everyone’s holiday tradition ☺
This song is a FUNKY as a four dollar bill!
As FUNKY as a backed up sewer, in the middle
of winter
FUNKIER that Bill Clinton walking down the
streets of Harlem in a Red, Black and Green
Liberation Jumpsuit
It’s a FUNKY as…
(well you get the idea )
-So..
What is my overall assessment of the CD?
I like it, I like it a LOT, and you can be sure that
some of these cuts will find their way into the
rotation on Soul-Patrol.Net Radio
In my opinion, everyone here should
immediately go to Oscar’s web site at:
And click on the link to purchase this album
You won’t be sorry
MISTER BAD LUCK
27
Soul-Patrol Digest
Magazine
Track By Track Review Of
Sonny Boy - "Lovechild"
heard over the past few years. It sounds like
something that would fit in with the album "No
Mystery" - Chick Corea and Return To Forever
2.MAMA'S GOT SOMETHING FOR YOU
No it's not a Jazz-Funk album. This song
reminds me of the DC/MD based band that you
have heard me speak of called "Soul Element".
It's got a beat reminiscent of many different
Prince songs (although I can't put my finger on
just which one). Cool groove, nice lyrics. If all
were right with this world, you would be hearing
this joint all over KNEE-GRO RADIO STATIONS
right now.
3.DAMN BABY
If you close your eyes and just listen, this
sounds like Sly Stone, circa 1973
I realize that more than a few of you out there
are eagerly awaiting the return of Sly Stone.
A few of you are even thinking that perhaps
George Clinton or Rick James have another
great album or two in them?
Some of you are also anxiously awaiting a new
release from the "Purple One" to get your FUNK
FIX
Well, while yall are waiting, I got something
BRAND NEW for you, that might just help you to
"Git Your Groove On"!
I'd like to introduce you to a NEW CD from exMazarati (so he comes from the Prince camp)
Sheldon Riser and his new group Sonny Boy "Lovechild"
And if you like what you read and hear check out
theFunkStore.com where they are running a
special deal on this album, just for Soul
Patrollers...
--Bob Davis
HERE IS MY TRACK BY TRACK REVIEW OF
SONNY BOY - "LOVECHILD"…
1.LAVATRIP INTRO
This intro is only 45 seconds, however it's one of
the best 45 seconds of new funk that I have
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4.YOU AIN'T DONE NUTHIN'
Another song in the "Sly Groove", but is also
reminiscent of Lenny Kravitz (a la "Let Love
Rule"). It's a slow song that could also be
labeled as "Alternative" by the geniuses who
decide what genres songs belong to.
5.MAKING LOVE IN THE SUMMERTIME
Remember the album "Emancipation" from a
few years ago that I labeled the "best album of
the 1990's"? This song reminds me quite a bit of
the song from that album which is my favorite
called "Sex in the Summer". Nice sax solo too!
6.JUST ANOTHER BROTHER
1970's "wah wah" and a bass line reminiscent of
a Willie Hutch song, add in a nice funky but
subdued organ and you have a song that
sounds like it was magically transported here
straight from a Blaxploitation movie. And the
subject matter of oppressed Black man, fits the
theme as well
7.COLOR THING
The subject matter here is obvious from the title.
This song deals with racism. But it's not the
"angry Black man" song about racism. Once
again Sheldon reaches into the "Sly Stone bag
of tricks" of the song "Everyday People". Nice
song with plenty of hard rockin guitar work
reminiscent of some of Living Colour's jams
8.REVEREND JONES
This is a song about the hypocrisy of organized
religion and the need for actual spirituality
9.BLACK CHILD
Soul-Patrol Digest
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Nice cut about the plight of children growing up
in the inner city. More Willie Hutch/Curtis
Mayfield type styling mixed in with a horn
section that is reminiscent of Tom Scott and the
LA Express. Very nice cut that has HIT SINGLE
written all over it, if not for the FASCIST
hypocrisy of KNEE-GRO RADIO STATIONS
Well this CD isn't going to be "unknown" here on
Soul Patrol and those of you with the foresight to
go out and cop this CD for yourself will be able
to laugh 20 years from now, when all of the "rock
critics" pronounce this CD as being a "lost
treasure"!
10.LOVE DON'T COME FOR FREE
Reggae flavored cut, that doesn't do much for
me.
11.DOWN WITH ME
Awwwwwww, "sukie sukie now", this is my
second favorite cut on this CD. This song has a
nice slow burning groove to it that I have heard
before. In fact I have heard it before 1,000 times,
yet I can't quite put my finger on it. Needless to
say this is the song I would release as a single if
it were up to me
12.BUTTERFLY KISS
This is a GREAT song. It's traveling in Minnie
Riperton/Phoebe Snow territory. It even has
"birds" in the background. It's one of those kind
of songs that has true greatness marked right on
it
DIGEST MAGAZINE:
month ($24.00/yr).
::::ADV::::
13.LAVATRIP - PART TWO
Checks in at 1:05, this song is GREAT also. A
continuation of part one, which kicked off the
CD!
I want to hear the rest of this "space groove"!
Maybe Sheldon will give us a full blast of this
SONIC FUNK on his next album?
Overall I like this album quite a bit.
It's totally derived from many different stylings of
the 1970's.
The influences range from Curtis Mayfield to
Willie Hutch to Sly Stone to Chick Corea to
Minnie Riperton to Tom Scott and into the
1980's with Living Colour and Prince.
Yet the songs sound fresh and would most likely
be very appealing to today's audiences if they
should ever get the chance to hear it.
However I doubt that they will, because of the
FASCIST/MIND CONTROLING programming
policies of today's KNEE-GRO radio stations.
All I know is that I'm holding on to my copy of
this CD, because I know that much like Shuggie
Otis, 20 years from now someone is going to
"discover" the album "Lovechild" by Sonny Boy
and declare it to be an "unknown gem"
29
http://www.blackrockcoalition.org/
Soul-Patrol Digest
Magazine
trying like mad to out-rock each other. This new
music had an extremely powerful beat.
Rock N’ Roll
What is Rock n Roll?
Hi Mr.Davis,
"Rock & Roll is freedom."--Chuck Berry.
Before 1947, the only people who talked much
about "rocking" were gospel singers. They were
rocking their souls in the bosom of Abraham,
and singing "Rock me Jesus," and "Rock me in
the cradle of Thy love," and "Rock me Lord," and
"Rock Daniel," etc. Black secular dance music
at that time was boogie woogie. Then, in 1947,
Roy Brown did a blues called "Good Rocking
Tonight" that was a parody of gospel, only
instead of rocking the Lord, he had church
people like Deacon Jones and Elder Brown
doing a different kind of rocking, meaning, sex.
The song caught on, but Brown's version was
not a rocking song at all, it was a slow ballad
style thing.
Along comes Wynonie Harris. He caught
Brown's joke, about these church people
"rocking," and he changed the rhythm to a
gospel rhythm, also in 1947. The
difference between Wynonie Harris' version and
Brown's is the gospel rhythm
of rocking on the 2nd and 4th beat of the 4/4
measure, as you hear in
Wynonie's rocking hand-clapping, like there had
been in uptempo gospel music
for decades. For example, this recording from
1928 or this 1934 recording.
He wasn't the first to sing blues with a gospel
beat, as others like Big Joe Turner had been
doing this for years. And Brown was not the first
to use the term "rocking" for sex, as that was
being done since at least the 1920's. But it was
Harris' record that started the rocking "fad" in
blues and R&B in the late 1940's. After Harris'
record, there was a massive wave of rocking
blues tunes, and every black singer had a
rocking blues record by 1949 or 1950. It was a
sweeping fad that changed R&B forever.
"Rocking" was in, boogie woogie was out, and
between 1949 and 1951 most R&B artists were
30
Now that the music had arrived, all it needed
was a name. R&B was too broad a term,
because R&B was a category which included all
forms of black music except for jazz and gospel.
Anything else was considered R&B, regardless
of the actual musical style. It could be a ballad,
old-style jump blues, crooners like the Ink Spots,
blues shouters, or anything else, it would be
classified as R&B. But this rocking music was
new and revolutionary, and therefore it needed a
new name, so the disc jockeys, led by a
Cleveland DJ named Alan Freed, started calling
it rock and roll. This was in 1951, and many DJ's
followed suit, such as Waxie Maxie in DC,
Hunter Hancock in LA, Porky Chedwick in
Pittsburgh, and New York City's Jocko. With the
music in place, and with the name rock and roll
now official, the story has been told. Forget all
the myths you hear about 1954, rock and roll
was already here, named, recorded, and given
airplay, long before then.
In 1952 and '53, rock and roll was becoming
more characterized by mellow love ballads by
teen-aged vocal groups with bird names like The
Crows, Ravens, Orioles, Cardinals, etc., Usually
the flip sides of these records were the uptempo
dance numbers, which were called the rockers.
In various parts of the USA, people were adding
their local flavors to it. In the northern cities, the
Italian and Puerto Rican communities were
playing rock and roll their way. On the West
Coast, Chicanos were playing it in Spanish. In
the south, country singers were adding rock and
roll to their hillbilly boogie, and rockabilly was
born. Cajuns in Louisiana were adding rock and
roll to their music, and zydeco was born.
Overseas, the British were adding rock and roll
to their music, and skiffle was born. All this
happened in the early 50's, and it all became
lumped together into the great melting pot called
rock and roll.
With the sudden emergence in 1954 of the
world-wide audience that rock and roll received,
the impression has been held in the minds of
most people that rock and roll actually began
that year. Most people as a whole never have
known about the original rockers of the Hoy Hoy
era, 1947-1953. That's why we are here.
When you read most books on the origin of rock
and roll, they describe an explosion that hit
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Magazine
around 1954. All of a sudden, Elvis, Bill Haley,
Chuck Berry, Little Richard and others were
playing perfectly developed rock and roll, as if it
came out of nowhere. Some portray it as a
magical moment in a recording studio, with
musicians goofing around during a break and
playing some unrehearsed jam, and somehow
accidentally inventing a whole new type of
music. The more sober authors say it was a
mixture of country music and R&B (an accurate
description of rockabilly, which was not the
original form of rock and roll). When these books
describe the "roots" of rock and roll, they usually
start with the blues of the 1930's or earlier,
artists like Robert Johnson and Charley Patton,
and make references to 1940's Chicago blues
artists like Howling Wolf and Muddy Waters, and
then jump right up to 1954, completely skipping
over the hard rocking sax-based R&B of the
period 1949 to 1953. There are several reasons
for this:
1. On the radio in the late 40's and early 50's,
R&B was taboo, although there were some
pioneering DJ's who broke the rules and played
it anyway. The first R&B to be heard on the radio
in NYC, for example, was in the later part of
1952, and even then it was only heard after
midnight. Some large cities had R&B programs
before this, but in general, there was almost no
R&B on the radio in the early days. Without
radio, the only place that R&B was widely known
was in black neighborhoods before 1952, but by
then, the music had changed around and R&B
was mostly changing over to the doo wop vocal
groups, popular among teenagers, which means
the earlier-style R&B never became widely
known.
2. By the time R&B was becoming widely heard
on radio stations, the 78 RPM format had just
recently been replaced by the new 45 RPM
records. Radio stations had just bought all new
records and dumped out the old ones, since the
78's were heavy and cumbersome, and broke
easily. Unfortunately, all the early R&B was
recorded on these 78's, so when R&B started
being played on the radio, these 78's were
already in the dumpster. Later on, when "golden
oldies" were being played, that meant old 45's,
since the 78's had long since been discarded.
So, these Hoy Hoy era 78's were never played
much on the radio.
In addition, there is the story of the juke box. In
1950 and 1951, most of the juke boxes in
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wealthier neighborhoods were being upgraded
to play the 45's, while most R&B records were
still being issued only on 78. Thus, Hoy Hoy era
R&B was caught in the trap of being among the
last records issues on a doomed format, and
most of this music was lost to the newer world of
the 45 RPM listener. (This story is also
somewhat true for hillbilly or "country" music).
3. When rock and roll became fully entrenched
after rockabilly arrived, and even more so with
the British invasion of the early 60's, it became a
guitar-based music, and these guitarists
naturally looked towards other guitarists as the
pioneers of the music. Thus, Eric Clapton would
listen to B. B. King records, Keith Richards
would listen to Muddy Waters, etc. and espouse
these artists as their inspiration. Record
companies then became interested in reissuing
the older stuff, so long as it had a guitarist in the
lead. But R&B before 1953 was saxophonebased, with very little guitar at all. Since the sax
was virtually dropped from rock and roll after
about 1956, most of the early stars remained
forgotten. This is also true about the piano,
which was probably the instrument that rock and
roll was first played on.
4. In the mid-50's, when rock and roll was
popular, each major record company had a few
megastars they were trying to sell. RCA had
Elvis, Decca had Bill Haley and Buddy Holly,
Capitol had Gene Vincent, etc. It was not in the
best interest of these record companies to reissue the recordings they already had of the
earlier rock artists, since that would take away
from the momentum of their "product," which
was their new artists. Thus, for example, even
though RCA was sitting on a gold mine of early
rocking R&B recordings by artists including
Piano Red and Big Boy Crudup, their attention
was directed towards promoting Elvis.
It was also obviously not in their best interests to
mention or promote the music of the earlier
artists on the small independent labels, which
did not have the resources to compete with the
major labels. Thus, the R&B artists of 1949 to
1953 faded into oblivion. The mid-50's teenagers
thought of these artists as being old blues
singers whose records weren't worth listening to.
The only popular R&B artist from the 1949-53
era who also made it big in mainstream rock and
roll after 1954 was Fats Domino, who had
smash hits going back as far as 1949 (Little
Richard had records as early as 1951 but they
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weren't big sellers and he wasn't famous until
Tutti Frutti in 1955. Chuck Berry was a popular
local performer in St. Louis during the Hoy Hoy
era, but he never recorded before 1955 when he
became famous with Maybelline).
5. In 1954, the name "rock and roll" became
commonly applied to the music, which was now
being marketed to white teenagers, who
identified themselves with that new moniker.
There was little incentive for these young fans to
listen to earlier music with some other name.
The common name for the earlier music was
R&B, and the racial connotation of that name
kept most rock and roll fans from exploring the
earlier records, though it was the same type of
music. Besides, these records had been geared
towards adults, and the kids just weren't ready
for them. The exceptions to this rule were the
few black artists who somehow had their records
promoted as rock and roll records, rather than
R&B records. These artists were Little Richard,
Chuck Berry, Bo Diddley, Fats Domino, and the
vocal groups. The black artists whose records
were promoted as R&B did not sell much to
white teenagers. For example, Ike Turner had
been selling rock and roll records since 1951,
but his name is never even mentioned in "roots
of rock" books, simply because his music had
been promoted as R&B. The music itself,
however, was the same.
•
"Rock & Roll" was a Black slang term for
sex long before the term was applied by
Alan Freed to a new style of music
almost 45 years ago.
Rock & Roll is Little Richard's piano
playing.
Rock & Roll existed before Jerry Lee
Lewis, Bill Haley, Carl Perkins, and Elvis
Presley made it even more famous for
White teens.
Little Richard says "rock & roll" is boogie
woogie and r&b uptempo.
Rock & Roll contains the "shout" that
comes from the church of Black
Americans.
Rock & Roll is John Bonham's
drumming.
Rock & Roll is Elvis Presley's stage
performances in the '50s (yes, I just said
that) long before he became the Vegas
Elvis.
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Rock & Roll sometimes contains the call
and response started by field hollers
during slavery.
Rock & Roll is three Chuck Berry guitar
chords.
Rock & Roll is a Louis Jordan-led party.
Rock & Roll isn't something you go to
school to learn to play. You may learn to
play an instrument by going to school for
it, but you learn rock & roll by listening to
rock music, not by taking lessons in
school. Sort of like you don't learn to
play blues in school. It's
everyman's(woman's) music to play.
No music degrees are needed to
participate.
Rock & Roll was built on the AAB form
(which is a standard blues form). A=first
line, A=the first line repeated, B=a new
line (sometimes sort of answer line).
Rock & Roll is a bluesy song called
"Midnight Rambler" by the Rolling
Stones (who of course took their name
from a Muddy Waters song of the same
name).
Rock & Roll is Mitch Mitchell's Elvin
Jones inspired drumming propelling Jimi
Hendrix's "Manic Depression".
Rock & Roll was understood by Sam
Phillips when he told someone "If I could
find a White guy that sounds like a Black
man I'll make a million dollars", before
he helped launch Elvis Presley's career.
Rock & Roll was pioneered by Black
Americans and co-opted by White
Americans, to the point that now there
are very few Black Americans playing it
or going to see rock concerts (the same
way that there are more White
Americans that attend blues and jazz
concerts today---two other forms of
music created by Black Americans).
Rock & Roll taps into the alienation,
gawkiness, and outsider status that
most teens feel during their upbringing.
The great Leiber & Stoller will tell you
that rock music comes from the Black
experience.
Rock & Roll is Fats Domino singing "I'm
Walking".
Hendrix & Led Zeppelin put the blues on
steroids, thus becoming rock & roll.
Rock & Roll ceases to be itself when
there is complacency in a performance.
This is what the punk movement in the
Soul-Patrol Digest
Magazine
late '70s was a response to. Fat cats
can't play rock & roll. Corporate rock has
no passion. Passion is REQUIRED for
rock & roll (and any other form of great
music).
Rock & Roll is not Pat Boone making
this music more palatable for parents of
baby boomers to love.
Rock & Roll is embraced by outsiders,
because rock & roll was created by
mostly outsiders.
Rock & Roll is "Rocket 88".
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"The Blues had a baby and they called it 'rock &
roll'." --Muddy Waters.
-- Kindah Blue
(Kindah Blue is an author/musician currently
residing in California)
Outline for a REAL Jimi
Hendrix Movie
Here is what I would like to see in a Hendrix
movie:
The script should be laced with references to
both Native American Mysticism and to the
legendary life story of Robert Johnson, whose
life story and Jimi 's have an amazing parallel!
One thread of the story should revolve around
the lifelong friendships that Jimi Hendrix had
with Buddy Miles and Billy Cox. Jimi first met
Billy while he was in the Army and met Buddy
during his chitlin circuit days. The fact that the
three of them would later hook up to form the
Band of Gypsy's, at a time when Jimi was in
"deep doo doo" is the stuff that true friendships
are made of.
Much controversy has developed over the years
as to who should play Jimi Hendrix in a
theatrical movie. My opinion is that finding a
talented "unknown" Black actor who is about 25
years old should be the way to go.
More established actors could be found to play
cameo's and provide the "star power" that would
be needed to insure box office success. Much
like the TV series "Roots", a movie about the life
of Jimi Hendrix would be full of opportunities to
showcase established actors because you
would need to cast the roles of.
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Otis Reading
Little Richard
Ronnie Spector
King Curtis
Isley Bros
Ike and Tina Turner
Albert King
Sly Stone
etc
In my opinion, 2/3 (or more) of the movie should
be devoted to Jimi's time BEFORE the
Experience was formed and AFTER the
Experience was disbanded. To me these are
the most interesting periods in the life story of
Jimi Hendrix.
These are the periods where "experienced" the
most personal growth and offer the most
important lessons for younger people who would
go to see the movie.
Other major characters would include Al
Hendrix, Devon Wilson, Chas Chandller, Eric
Burdon, Ed Chaplin, Mitch Mitchell and Noel
Reading.
Other minor roles to be cast include, John
Hammond, Bob Dylan, the Last Poets, Allan
Douglas, Miles Davis, Eric Clapton, Mick Jagger,
the Allen Brothers and others
The soundtrack for the movie should be NEW
INTERPETATIONS of copywrited Hendrix songs
done by the Black Rock Coalition Orchestra
(BRC). This would result in a HUGE financial
windfall for the Hendrix family, in addition to the
massive profits they would make from the movie
itself! The soundtrack album would sell
somewhere in the stratosphere!
The movie should ONLY be made with the
blessing of the Hendrix family. Hopefully they
would insure that a knowledgeable Black
director would be at the helm. It doesn't have to
be Spike Lee, since there are many qualified
Black directors around who would recognize the
historical/social importance of "getting the story
right". Once that is established, they should go
away and leave the director alone till the movie
is completed :)
A movie about Jimi Hendrix should depict a
complex/multi dimensional young man (as
opposed to the "simple minded Uncle Tom" he is
usually depicted as), who much like Malcolm X
Soul-Patrol Digest
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was still evolving (as both a person and a public
figure) at the time of his death.
Harlem. Their special project was to re-insert
Jimi back into the black community.
This type of movie would establish once and for
all that Jimi Hendrix was indeed a human being
and counteract the mass media/culture bandit
exploitation that his life and image have
undergone since the time of his death.
Hendrix established his own production and
publishing company to give the "Ghetto
Fighters" wider exposure. Together they called
this project, Jimi Hendrix Presents: "Ghetto
Fighters". This project came to a halt when
Hendrix died in September of 1970. The twins
were deeply saddened, and decided to put the
tapes they had been working on with Jimi aside
and move to the next phaseof their careers. The
twins are constantly asked to do interviews
about their life with Jimi like the one documented
in the film, "The Jimi Hendrix Story".
If anyone out there has the power to make such
a movie, by all means take my ideas and run
with it, I will even forego any consulting fees :)
I just want to see the REAL DEAL brought to life!
The Aleems Bio 2000
From the 1960's until now the legendary twin
brothers, Albert, and Arthur Allen have proven
themselves in the record industry as performers,
and producers. They began their careers
working, traveling, and socializing with the
greats of rhythm & blues some being, Big
Maybelle, Bobby Womack, Sam Cooke, Sam
and Dave, Otis Redding, Clarence "blowfly" Ried
etc..
They learned the inner workings of the music
industry through their association with the
Harlem legend Fat Jack Taylor, owner of RoJack Records an independent label. While
working with Ro-Jack records the twins came
into contact with Jimi Hendrix while he was still a
side-man touring with Little Richard, The Isley
Brothers and others. During this time Albert,
Arthur, and Jimi shared a place together in
Manhattan's West Village. The three formed a
bond which would indelibly shape their lives, and
careers.
Upon Jimi's successful return from Europe, the
twins began to work with Hendrix as singers,
calling themselves "Ghetto Fighters"in the
process. They sang background vocals on three
albums with Hendrix, "Cry Of Love", "Rainbow
Bridge", and "War Heroes". In addition to
working with Jimi the twins had their own
projects. In 1969 they realized Jimi's frustrations
with his management and his apparent lack of
connection to the black community. They helped
Jimi out by organizing the famous Concert in
34
A few years later Earl "The Pearl" Monroe met
the twins and started his own record labels
called "Pretty Pearl" and "In Your Face". The
Twins signed with the Pearl under the name
"US". US also included the their sister and
cousin. A single was released called "Ostrich"
distributed by Polydor records.
US asked Mandrill's Neftali Santiago now
known as "Funkadrill" to play drums on the
track. Us later changed their name to Prana
People and traveled to L.A. with producer Al
Brown to record an album for Warner Bros.
Records. The twins called on Funkadrill to
perform on the entire lp.
At the present the Allen brothers have changed
their name to Aleem. Tunde-Ra, on keyboards
and vocals, and Ta-harqa, guitar specialist and
vocals. As a group they are known as the
"Aleems". The twins have taken up where Jimi
and themselves left off on the Ghetto Fighter
project. The twins are working with a wealth of
film and audio archival material that they have
assembled on Jimi Hendrix. They will present
rare unreleased studio recordings and film
footage of Hendrix.
Their project known as Jimi Hendrix Presents:
“Ghetto Fighters"/ Time Travelers will showcase
Band Of Gypsy members Buddy Miles, Billy
Cox, and Juma Sultan as well as Funkadrill and
a host of others. The film will explore the
personal and musical involvement they shared
with Jimi Hendrix. In deciding to devote their
energies to this labor of love.
"The Aleems" have now come full circle
presenting the legacy of their friend and mentor
to a new generation of music lovers.
Soul-Patrol Digest
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Tunde-Ra, and Ta-harqa co-founded the famous
Harlem World club with Fat Jack Taylor. The
club was a spawning ground for a large number
of pioneer rap acts.
During the early1980's the twins owned their
own independent label, "Nia Records". They
performed on the label as artists as well calling
themselves "Fantastic Aleems".
Their first single on the label was "Hooked On
Your Love". The Aleems used "Luther Vandross"
as a background singer on the track. (this was
Luther's
first recorded performance).
::::ADV::::
The brothers had the foresight to see Rap as an
upcoming phenomenon in the industry. Music
critics agreed and have attributed Nia Records
as the innovators in bridging the gap between
R&B and Rap. The Aleems focused their
attention on studio production founding
"Konkrete Recording Studios".
Wu-Tang Clan recorded part of "36 Chambers"
at Konkrete.
Nia Records artists include :
Captain Rockin a series * Dr. Jekyll & Mr. Hyde *
Introduction of the "DJ Marley Marl Scratch"on
the Fantastic Aleems
"Release Yourself" * MC Shan *
MC Sparky D, and DJ Red Alert, song (Sparky's
Turn Roxanne You're Through)
battle with Shante * Supa' Kids featuring the
Intelligent Hoodlum, Tragedy recording as MC
Jade * Gravediggaz (a Wu-Tang Clan offshoot) *
Wu-Tang Clan's first single "Protect Ya Neck"
(distributed regionally) *Leroy Burgess (former
vocalist for Black Ivory).
The Aleems also worked with: Rick James *
Kashif * Technotronic * New Kids On The Block
In the community the Aleems founded a nonprofit organization: "The Reconstruction Of
Black Civilization",( R.O.B.C.) to affirm their
strong commitment and ties to the black
community. R.O.B.C. sponsored a trip for the
Ethiopian Royal Family to come to New York's
Harlem to present several events featuring the
Royal family in conjunction with black music and
art.
--Neftali Santiago
(Neftali Santiago is an author, artist & musician,
best known as the drummer for Mandrill)
35
http://www.lisagayandthrill.com
Soul-Patrol Digest
Magazine
JAZZ
Quite a few times, on summer nights, I sat down
on the stoop of the music school and received a
very special treat in the form of a concert coming
from Betty's house.
Betty Carter: Songs in the
Key of E
Be Bop Betty Carter (who died 3 yrs ago of
pancreatic cancer) was arguably one of the
greatest female jazz singers who ever lived.
When one mentions female vocalists, one
mentions Ella Fitzgerald, Sarah Vaughn and
Betty Carter, in that order, followed by the also
great Carmen McRae. I saw Betty perform
many times and in my opinion, she was the best
of all of them. She was the master of scat and
improvisation. In my humble opinion, she
surpassed Ella in that idiom.
Betty was a big hipped, big mouthed, sensuous
singer who liked to swing her ample hips with
abandon while she sang, swaying on the
microphone like it was the rudder of a great
ship. I used to watch her on the big, 8 ft high
stage at the now defunct Club Baron in Harlem.
Watching her perform was mesmerizing. My
mouth was always wide open.
A few of the so called "young lions" of jazz got
their start playing for Betty. Danny Mixon; Geri
Allen, Cyrus Chestnut, John Hicks, Curtis Lundy,
Benny Green, Lewis Nash, Alex Blake (from
Tilden High School) and numerous others also
put in time with Betty. It was said that working
with Betty was much like going to school, just as
it was working with Art Blakey or Miles Davis.
Before she died, Betty started a jazz workshop
for jazz vocalists with the sponsorship of the
Brooklyn Academy of Music and the Kennedy
Center in DC. It was thought that with the
deaths of Ella, Sarah and Carmen that Betty
would finally be universally acknowledged as the
undisputed queen of jazz, and indeed she was.
However, she died at the relatively young age of
68, a few years after the deaths of the
aforementioned big three. Her death was
another huge loss for jazz.
Betty was a leader in the DIY movement. In
1968 she started her own recording company,
BET-CAR, which she ran out of her living room.
In 1970 "Look What I Got" became the first
independently produced album to win a
Grammy. One of the last albums she made was
with the aforementioned Carmen McRae and
Geri Allen. This is a "must get"for your album
collection. Also pick up the famous album that
she made with Ray Charles, featuring the
absolutely goosebump rendering version of,
"Baby It's Cold Outside". I strongly suggest that
you play this album on a winter night when you
are feeling randy and you want some nooky. If
playing this album, along with candlelight and a
bottle of fine wine(or some other spirit) doesn't
get you what you want,... you ain't gettin any.
Well, that's all for now. See you in the next
installment, and remember;
"Do nothing till you hear from me."
Betty lived in my Fort Greene, Brooklyn
neighborhood and could often be seen going to
the corner store to get milk or eggs, wearing her
bathrobe, her hair up in curlers, pink bunny
slippers on her feet. Betty owned a brownstone
on South Elliot Street, around the corner from
the Brooklyn Academy of Music and across the
street from the Brooklyn Music School. She
very often rehearsed her band at her house.
36
--Selah Eric Spruiell
Soul-Patrol Digest
Magazine
label in 1962 ("Ballads," "Coltrane/Ellington")
and 1963 ("Coltrane/Hartman").
Free Jazz Recommendations
I always felt "Out" ("avant garde",
"free"...whatever) jazz is an acquired taste. It's
one of those "you dig it or you don't" type of
things. However, I don't think it hurts to be a
musician in order to understand it.
I can't get into all of it--but I will say that the
majority of what I've heard over the years works
for me. Some of my favorite "out" stuff is by
John Coltrane ("Meditations," "Expression,"
"Interstellar Space," and "Live In Japan"),
Pharaoh Sanders, and Albert Ayler. And one of
my favorite pieces of all time is "He Loved Him
Madly" by Miles Davis (from the album/CD "Get
Up With It"), a track that's very "out" in its
approach (thought not theoretically and "out"
track). I love the cultural richness of some of the
Art Ensemble of Chicago's more "out" stuff.
Admittedly, there are some recordings I've heard
sound like "noise," and you have to wonder if the
musicians aren't just "effing" around with the
listener/buyer. One of my greatest
disappointments over the last year was the
much-anticipated release of John Coltrane's last
recorded concert at The Olatunji Center, April
23, 1967--just 2-1/2 months before he died. As
much as I love Trane, that recording was utter
garbage--in fact, I think it may the ONLY
recording that has been released on Trane that I
DIDN'T like.
Rashied Ali totally trashed the performance with
his completely overwhelming drumming; and
Pharoah Sanders sounded like he was being
electrocuted every time he blew. The results
were truly horrifying.
The music of Kahil El'Zabar, Billy Bang, and
Kahil's Ethnic Heritage Ensemble has lifted me
sooo much over the past year--much worth
listening to when you get the chance and if you
are so led.
One note: Trane recorded his "out" stuff after the
albums/CDs you mentioned. The three you
mentioned ("Ballads", "John Coltrane and
Johnny Hartman" and "John Coltrane and Duke
Ellington") were all released on the Impulse!
37
Trane's "out" output (no pun intended) really
began in 1965 with "Ascension." My favorite
Coltrane CD/album of all time, "Kulu Se Mama"
(containing some "out" elements) was also
released in 1965. Other albums released by
Trane that year would include "The John
Coltrane Quartet Plays," "Transistion" (another
GREAT CD/album), "Sun Ship," "Live in
Seattle," and "Meditations."
Charles
MARVIN GAYE "LET'S GET IT
ON" CD DELUXE LISTENING
PARTY
Click on the following link to listen in:
http://www.soul-patrol.net/lgo.ram
earthjuice: Hey Gary.....I was just replying to
your email
Gary: I bought the CD and MAN, words can't
describe how great this CD package is.
earthjuice: The CD is wonderful, I know that
some people just think I am "hyping" the CD,
but......what they did was to take one of the
BADDEST albums of all time and make it better!
Gary: I'll check your reply later. I couldn't miss
being in the chat room tonight. I will be playing a
few tracks on the dusties show in 2 weeks.
Soul-Patrol Digest
Magazine
earthjuice: I wish that you could hear the SoulPatrol broadcast of the CD so that you could
give me some feedback on my presentation of it
Gary: By no means is this a hype. I took it work
with me and let some of my co-workers hear it.
They want to borrow it, but I had to use the
classic line, "no my brotha &; sista, you have to
buy your own.(lol)
earthjuice: We will probably have several
"surprise" guests in here tonight
Gary: Not to worry, I have it in my CD player
and if you mention a track #, I can go right to it.
Gary: Is one of the surprise guest M H ?
earthjuice: hee hee hee :)
Gary: ha,ha,ha,:-)
Gary: this is wonderful.
Gary: the instrumental tracks are tha bomb.
Gary: I wish Marvin’s version of "I Love You
Secretly" was included.
earthjuice: Ask Harry about that
earthjuice: There is a story behind why it's not
there
Gary: overall, I love it. It’s a shame NEGRO
RADIO aren't playing anything from this.
Gary: okay, I know it was on the boxed set that
is now out of print.
earthjuice: they wouldn't touch it, however there
are several songs that could be hits right now if
released, such as "Where Are We Going"
Gary: did you read my post on Thomas
McClary?
Gary: all four of the Wille Hutch tracks should
receive some airplay.
Gary: "Where Are We Going " is nice.
earthjuice: yes it was a nice follow up on the
review I posted this morning
Gary: "Running From Love" (version 1) is funky!
earthjuice: "SUPER phunky"
Gary: I also like "Cakes".
earthjuice: who ever knew that Marvin had such
STANK FUNK in him?
Gary: simply amazing.
Gary: for real, but if you listen to "T Plays It
Cool" from the 'Trouble Man' soundtrack, Marvin
was showing us the funk side then.
Gary: I like the demo mix of "Let's Get It On".
earthjuice: yes I can.... www.soulpatrol.com/soul/temps.htm
earthjuice: our guest tonight, the producer of
the Marvin Gaye CD Deluxe set Mr. Harry
Weinger, who will be providing commentary and
answering your questions relative to this CD set
and Marvin Gaye
Gary: oh yeah, I forgot to say thanks again for
Jimi show on SP Radio.
38
joyful49: I m excited Mr. Gaye is one of my
favorite
earthjuice: The show is SLAMMIN Gary and the
response so far has been pretty good
earthjuice: You will be able to listen to
highlights from the new CD online tonight at the
following link... http://www.soul-patrol.net/
Gary: Why thank you, I couldn't have done it
without you. Thanks again, Bro.
joyful49: I just heard samples of his new CD
today
earthjuice: Just scroll down and click on the
Marvin Gaye banner when u see it
earthjuice: Not during the chat session, this is
devoted strictly to the Marvin Gaye CD Deluxe
earthjuice: Yesl, the session will be starting in
about 5 min
JOIN: Harry-W has joined. (24.4.252.69)
earthjuice: Everyone say hello to our special
guest Mr. Harry Weinger, who will be providing
commentary and answering your questions
relative to this CD set and Marvin Gaye
Gary: Harry, I want to be the first to say you
really did a excellent job with this CD. The
"What's Going On" deluxe CD is great, but this is
just as good. Thank you so much for bringing
this out to the public. It's worth every dollar I
spent.
Martha-Roberson: Mr. Weinger where can the
cd be purchased?
Martha-Roberson: I haven't had the pleasure of
hearing it yet
earthjuice: You can purchase the CD at your
local CD store
Martha-Roberson: Thank u
Charles: Hello Harry!!!! Great job with this
package!!!
earthjuice: Greetings BILL......say hello to our
guest tonight, the producer of the Marvin Gaye
CD Deluxe set Mr. Harry Weinger, who will be
providing commentary and answering your
questions relative to this CD set and Marvin
Gaye
Charles4752: Harry, why did it take soooo long
to be released?
Harry-W: Hi everybody. It's a pleasure to be
invited. What we hope to do tonight is to provide
some insight to the journey Marvin Gaye took to
get to 'Let's Get It On' - an important album then
and now as any - and how I was able to begin to
lift the veil from what was known to what was
Soul-Patrol Digest
Magazine
underneath... at least as far I could go. Don't
pretend to have every intimate detail - I just
followed the music.
earthjuice: Greetings Charles and Paul......say
hello to our guest tonight, the producer of the
Marvin Gaye CD Deluxe set Mr. Harry Weinger,
who will be providing commentary and
answering your questions relative to this CD set
and Marvin Gaye
Charles: Harry, you've been doing
WONDERFUL work--for YEARS!!!! We're
grateful!!!
earthjuice: You can listen to highlights from the
new Marvin Gaye "Let's Get It On" CD Deluxe
online tonight at the following link...
http://www.soul-patrol.net/
Charles: What song are y'all on?
Charles: I can't wait to get to the
instrumentals...When I played this for the first
time last week, it was like getting at least TWO
new Marvin albums/CDs.
Harry-W: This album falls under a series called
'Deluxe Edition' - where we (at Universal Music
catalog) choose important albums that both can
tale the weight of additional material and also
HAVE additional material worth revealing.
Delving into WHAT'S GOING ON was a dream
of mine for years, and once that 30th
anniversary hit, that provided an opportunity to
kick off looking into Marvin Gaye's great albums.
I spent several months listening to a LOT of
music - but it was difficult to connect the dots.
Harry-W: apologies for TYPOS!
earthjuice: Good point Charles, I felt like I had
discovered "hidden gold" when I first heard it
earthjuice: Don't worry bout typos Harry :)
Charles4752: Harry, do you have a favorite
song on the album?
Harry-W: Connecting those dots takes TIME that's why it took so long to come out. You will
hear on this Deluxe Edition so many amazing
songs, both finished and unfinished.. who knows
why they were left behind except to say (as do
many who knew him), "That's Marvin!"
Gary: You did a great job Harry I must say.
Charles: Harry, could you elaborate on
"connecting the dots?"
Dennis-Nesky: I have all albums of Marvin
except this. I write Marvin style music. How
much more unheard music Marvin recorded is
hidden in recording studio vaults that we haven't
heard? Sometimes the BEST takes or versions
never get released.
Harry-W: I have many but one of my sleepers is
MY LOVE IS GROWING - Disc 1, cut 10, cowritten/produced by David Van DePitte w/Herbie
39
Hancock (!!) on piano. I think I posted to SP on
that one
Gary: Harry I really enjoy the instrumental
tracks. Words can't describe how great these
tracks are.
Charles4752: How much time did Marvin spend
recording this album?
CLARA-BROWN: I GREW LISTENING TO
MARVIN GAYE, I LOVE HIM THAN AND I
STILL LOVE HIM AND HIS MUSIC, I WOULD
LIKE TO KNOW THE YEAR HE MADE
DISTANT LOVER?
Dennis-Nesky: Harry, I am really looking
forward to the CD. As a MG style writer, I am
eager to listen and listen to any and all studio
tracks and alternate versions.
Charles: Gary, I'm with you! Those instrumental
tracks are real GEMS!!! Harry, do the balance of
the archives indicate that Marvin had a "jazz
album" inside of him dying to get out?
earthjuice: Dennis....You can listen to highlights
from the new Marvin Gaye "Let's Get It On" CD
Deluxe online tonight at the following link...
Charles4752: In your opinion, what do you think
Marvin would think of this deluxe version?
Harry-W: There are many great surprises on
this collection - those instrumentals were cut by
Marvin w/Van DePitte BETWEEN recording the
song LET'S GET IT ON and the rest of the
album, but were forgotten
Gary: Harry,I also enjoy the Willie Hutch tracks.
earthjuice: Will Chill.....what are your thoughts
on the CD?
Harry-W: Those Willie Hutch tracks are super
bad! They were cut before Trouble Man but they
fit into the album because they were among the
things Marvin tried out but let go before he
turned to Ed Townsend to help focus his mind.
Charles: Harry, regarding the instrumentals and
the track "Where Are We Going" (which was
done by Donald Byrd on his legendary "Black
Byrd" album), is it fair to say that Marvin had a
jazz album inside of him dying to get out?
Harry-W: pardon - they fit into LETS GET IT ON
not Trouble Man - that is thought of as a 'side
project' (great as it is)
DISC 1: 1. Let's Get It On, 2.Please Don't
Stay (Once You Go Away), 3. If I Should Die
Tonight, 4.Keep Gettin' It On, 5. Come Get To
This, 6. Distant Lover, 7. You Sure Love To
Ball, 8. Just To Keep You Satisfied, 9.Song #3
- (instrumental), 10. My Love Is Growing, 11.
Cakes - (instrumental),
Harry-W: When I mentioned the instrumentals
from sessions w/Van DePitte, I was referring to
Soul-Patrol Digest
Magazine
disc 1 tracks 9-11. The funky stuff on disc 2
were JAMS done with MICHAEL HENDERSON,
RAY PARKER, et al...
earthjuice: 12. Symphony - (undubbed
version), 13. I'd Give My Life For You (alternate mix), 14. I Love You Secretly - The
Miracles, 15. You're The Man - (alternateversion 1), 16. You're The Man - (alternateversion 2), 17. Symphony - (demo vocal)
Charles: And (regarding my last question) throw
in the "Trouble Man" album (very underrated!)
Gary: Harry, may I ask why Marvin's version of
"I Love You Secretly" was not included on this
CD compilation?
will-chill: Mr. Weinger, bob &; I previewed the
CD on my show the other night (sunday) and all
kinds of questions popped up such as why didn’t
Marvin release a instrumental only album
Charles: Harry, are these different mixes on the
"original" tracks of the albums? It sounds so
much more "spaced apart."
Harry-W: Let me dial back a minute: LETS GET
IT ON was cut in many many stages. He began
all songs on side 2 except You Sure Love To
Ball as far back as 1970, but there was no
center to them. The songs on side 1 were cut in
a flash in 1973. When I began work on this
Deluxe Edition, I looked at all of his recordings
during that period.
Harry-W: Michael Henderson says the funk and
jazzy instrumentals from disc 2 were intended to
be part of a "YOU'RE THE MAN' album - and
when Michael, Ray Parker and Bohannon got
big, Marvin always threatened playfully he would
put them out. But they are largely unfinished.
DIGEST MAGAZINE:
Become a monthly subscriber, and get the
Soul-Patrol Digest Magazine EVERY
MONTH?
month ($24.00/yr).
Harry-W: I LOVE YOU SECRETLY was begun
in 1970 and apparently intended for the
Originals in a BABY I'M FOR REAL vein. He got
40
around to producing the vocals for it in 1973 at
the same session as YOU SURE LOVE TO
BALL. Marvin's version is NOT on this edition
because he did not do any vocals then.
Dennis-Nesky: Harry: How long did it take to
mix this CD? Did you have to leave out material
for lack of space?
Gary: That's a shame the album never surfaced.
Tracks 17 and 18 (from disc 2) are Badd!
Charles4752: Would Marvin like this CD???
Harry-W: Marvin finished cutting on the Miracles
but still had a slightly different take of the rhythm
backing on tape - Art Stewart dragged it out of
the vault and had Marvin cut a vocal that some
of you may know, "MY LAST CHANCE" - but,
that vocal was cut in 1976. Perhaps on a deluxe
I WANT YOU, if we get that far!
JOIN: MICHAEL-HENDERSON has
joined. (209.240.222.132)
earthjuice: You can listen to highlights from the
new Marvin Gaye "Let's Get It On" CD Deluxe
online tonight at the following link...
TheDuchess: Hello Mr. Harry! Jammin' to the
deluxe right now. Love the instrumentals!
"Song #3" is the Sh@!#$% LOL.
Everyone say hellow to the GREAT Bass player
and Vocalist Michael HENDERSONwhose
PHUNKY Bass playing can be heard on several
key tracks on the CD
Gary: Cool, I was going to ask if a deluxe edition
of "I Want You" was next on the list of things to
come.
Harry-W: I overspent the studio budget for this
but it was well worth it. Sometimes Kevin
Reeves and I would mix, then I would send him
out of the room so I could 'vibe' - and vice
versa;. Some material had to be left out for
space but some would only be worth hearing if
you were an absolute completist.
Sheila: Hello Harry! This is a wonderful CD, I've
heard the highlights several times
Charles: Harry, how do projects like this get
done? Do you approach the label with a concept
and a plan of what tracks you want to use--after
which, the record company gives you the green
light?
will-chill: speaking of last chance, why were 2
different versions released?
Gary: Hey Mike, glad you're still around. You're
playing on ths CD is remarkable! On the one.
Charles: Hello, Mr. HENDERSON! A pleasure
to meet you!!!
Harry-W: MICHAEL HENDERSON was my latenight angel... please let me tell a short story...
Soul-Patrol Digest
Magazine
we were about to print the booklet without
musicians listed for some tracks. I called a friend
who knew Michael - and he called me back
LATE at night and we spent many days rapping
about this music and Marvin. We help up the
printer and drove the designer’s craazy and IT
MADE ALL THE DIFFERENCE. Thank you bro'
Sheila: Marvin was a true musical genius.
Hearing this cd brought back so many
memories. I saw Marvin at the Nassau Coliseum
on Long Island, singing Distant Lover. I was in
the third row.
Harry-W: This project was supported by
everyone at my company from jump. Even when
I pushed the release date back several months
'cause it just wasn't right
Harry-W: In this process I got to hear some of
Marvin's different vocal passes, which are
present in the alternates and demos on disc 2.
He is a vocal genius, we all know that, but the
nuances are DEEP
will-chill: hello michael, where have u been
lately? hope u got something about to drop!
you've been missed...
earthjuice: MICHAEL HENDERSON (living,
walking & talking ENCYCLOPEDIA of the
last 30 years of Black Music as a DIRECT
contributor to the music of Miles Davis, Aretha
Franklin, Marvin Gaye, Stevie Wonder,
Dramatics, Norman Connors and of course his
own sterling solo career)
Gary: Harry,I also like the way you added both
the Monitors and the Originals version of "Just
To Keep You Satisfied".
Harry-W: Remember too that while WHAT'S
GOING ON was one of the last major complete
albums cut at Motown in Detroit, this album
represents Motown's transition to L.A. - Michael
on YOU'RE THE MAN and the instrumentals on
disc 2 were some of the last tracks ever
recorded in Detroit. Yet Marvin pulled those
pieces together so beautifully.
Charles: Harry, I'm listening to "Song #3" right
now; was this Marvin's "answer" to Barry White's
"Love Theme?" There are many musical
similarities.
Gary: was the song "You're the Man" used in
the James Earl Jones movie from the seventies
called The Man?
Harry-W: For those who do not yet have this
edition of the album - ?!? - this project almost did
41
NOT get done. Because Marvin could pull so
many elements together so beautifully WHEN
HE GOT FOCUSED, for several moments I
thought there was no reason to lift that veil. But
he music just flowed down, those songs could
not be denied.
Charles4752: Harry, was Marvin difficult to
satisfy?
Harry-W: In response to the q about SONG #3 that was cut long before Love's Theme was
released. Would love to have heard what it may
have been had Marvin finished it!
Harry-W: Charles4752, don't understand the
question
Sheila: Mr. W Do you think this cd will let
genXers get a sense of the man behind the
classic, Let’s Get It On?
TheDuchess: Marvin being as insecure as he
was, I think he would cringe at hearing that first
"If I Should Did Tonight" being released because
it's just not close to being done.
p-j: help to be,it's a pleasure to listen to marvin
music
Harry-W: I hope this album gives EVERYONE a
sense of the man - who, even in his confusion,
could PUT IT DOWN.
Harry-W: Ah, but Duchess, aren't you glad you
could hear the difference? Many artists today
would have been satisfied with that first take.
But Marvin had to feel it, and he came back to it
when he did. )See Ed Townsend's quote about it
in the essay.)
Jazz: Hey, Harry! I LOVE the CD
Dennis-Nesky: Harry: Did you mix these songs
directly from the 24-track analog masters [or
however many tracks they were]. OR, were
these mixed from digital backup safety copies? I
would think that any and all, released or
unreleased, Marvin tracks would be backed up
for safety.
Harry-W: Most of the sessions were on 16-track
analog. Safeties are made as we go.
earthjuice: DISC 2: 1. Let's Get It On (demo), 2. Let's Get It On Pt. 2 (a.k.a Keep
Gettin' It On) - (complete), 3. Please Don't Stay
(Once You Go Away) - (alternate mix), 4. If I
Should Die Tonight - (demo), 5. Come Get To
This - (alternate mix) 6. Distant Lover (alternate vocal), 7. You Sure Love To Ball (alternate mix),
earthjuice: 8. Just To Keep You Satisfied - (a
cappella with alternate vocal), 9. Just To Keep
You Satisfied - The Originals (1970), 10. Just
To Keep You Satisfied - The Monitors (1968),
11. Where Are We Going? - (alternate mix),
Soul-Patrol Digest
Magazine
12. World Is Rated X, The - (alternate mix), 13.
I'm Gonna Give You Respect,
Charles: What made listening to these tracks
doubly great last week was that I was reading
English writer Sharon White's book on Marvin, "I
Heard It Through the Grapevine."
Jazz: Are there plans to reissue I WANT YOU in
deluxe format?
TheDuchess: Harry I'm TOO GLAD I get to
hear the difference, but there is always that part
of me that feels weird because I know Marvin
would kind of cringe a bit. Ed Townsend's essay
was great. You could tell he has mad love for
Marvin. I'm just so glad they teamed up to give
us this masterpiece.
earthjuice: 14. Try It, You'll Like It, 15. You
Are That Special One, 16. We Can Make It
Baby 17. Running From Love - (instrumentalversion 1) 18. Mandota - (instrumental) 19.
Running From Love - (instrumental-version 2)
20. Come Get To This - (live from Oakland)
Harry-W: Re I WANT YOU: There are always
PLANS, but nothing etched in stone yet
Gary: I hope it happens.
Jimmy: Harry, how about ' Trouble Man ' and '
Here My Dear ' ?
Jazz: of course, and I want you to know that I
prefer the alternate of Where Are We Going?
you and your team really did a masterful job!
Harry-W: I wouldn't DARE touch HERE MY
DEAR. Trouble Man in intriguing - the movie
score is different than the LP (!)
earthjuice: In my opinion, "Where Are We
Going", would be HIT record RIGHT NOW if it
were to be released as a single!
Charles: Listening to "Cakes" as I type, the
sound of that just takes me back to some great
memories--like going to see the latest
"Blaxploitation" flick with my high school sweetie
on a Friday night!--LOL!!!
will-chill: mr w. did u have any problems with
the estate of marvin & them letting u
release this & hopefully future "lost &
unreleased gems" such as this?
Harry-W: I cherish the whistling on the intro to
WHERE ARE WE GOING? And yes, dag, it
should be a single
Charles4752: Harry, did Marvin demand or
expect perfection from everyone??
Gary: I wish I could stay, but I have to get ready
for work. Harry, keep up the good work. I know
Marvin would be happy with your work. Michael,
don't be a stranger. We want to hear some new
music from you. Goodnight everybody and have
a great weekend. Peace :-)
42
TheDuchess: Hey yall, listen to Marvin's version
of "Just To Keep You Satisfied" from disc #2.
When he gets to the end (you know the "it's too
late for you and me" part), just concentrate on
the overlapping of the original track and this
newly discovered alternate. It's so beautiful that
I think I actually like the ending better on that
one than on the orginal. Genius stuff!
Jimmy: I know about ' TM '. I really enjoy the
original score. There are times when I play the
video of the movie just to enjoy the soundtrack. I
kinda like the original version of ' TM ' , from the
movie, versus the released track.
Charles: TOUCH IT! TOUCH IT! (regarding
"Here, My Dear")
Harry-W: Michael - did Marvin demand
'perfection' when you worked with him?
MICHAEL-HENDERSON: marvin was the best
earthjuice: "the essence of your
togetherness..."
Jimmy: The ONE and ONLY Micheal
HENDERSON! Good evening, Sir !
Charles: Harry, it had been YEARS since I
heard "Where Are We Going." I was only familiar
with it from Donald Byrd's "Black Byrd" album-Marvin did a GREAT job!!!
Harry-W: Michael told me - and we put this in
the notes - that working with Marvni was like
working with Miles. They were always working
on new ideas, even when you thought they 'went
away.'
Dennis-Nesky: I understand that Marvin wrote
in the studio allot, often starting with just vowel
sounds and no real words, and magically was
transformed into a lyric [with or without help].
There must have been many many takes and
the lyric progressed and developed. Did you find
alot of alternate vocals different tracks, or did he
just record over one lead vocal track until he got
it finished?
TheDuchess: Harry, is there a "Love Man"
album in the vaults?
MICHAEL-HENDERSON: marvin did demand
the very best.
Jazz: btw, that track w/hamilton
bohannon...running from love...is a masterpiece,
imo
earthjuice: MICHEAL HENDERSONN: the
ULTIMATE FUNKATEER
Soul-Patrol Digest
Magazine
Sheila: Hello Michael- When you say Marvin
was the best, do you mean musically,
personally, socially responsibly or what?
Harry-W: Motown generally only kept master
takes. The few alternates we have are quite
nearly it. Marvin also did a LOT of 'punching in' erasing little mistakes. MY LOVE IS GROWING
has that improv quality about it though - the
entire second half is all ad-lib vocals.
Harry-W: Which version of RUNNNING FROM
LOVE - the funk bomb or the mellow groove
version?
Jazz: the mellow groove
earthjuice: funk BOMB
Jazz: speaking of mellow...i never liked you're
the man until i heard the alternate (#2)
22:54:12: earthjuice: you can listen to highlights
from the CD at the following link
MICHAEL-HENDERSON: hi harry and bob!!
Harry-W: the alternates of YOU'RE THE MAN
blew my mind, no doubt
MICHAEL-HENDERSON: harry you did a great
job!!
Harry-W: Hey Michael - I'm testifying - thank
you again and again
Daniel-Cleveair: Greetings Harry, As a
soundtrack fan...I would love an exploration of
the Trouble Man soundtrack. The motion picture
has DIFFERENT versions of all the songs and
would be PERFECT for the Deluxe Series. Is
this something that you have considered?
Please forgive me if this was answered already!
Charles4752: THANKSSSSSS HARRY!!!!!!
Jazz: it would be nice to see his unreleased
LOVE MAN see the light of day *hint hint*
earthjuice: Hey Mike.....everyone who hasn't
say hello to Micheal HENDERSON, SUPER
Bass player and Hitmaking vocalist (who can be
heard playing on several tracks on the Marvin
Gaye "Let's Get It On" CD Deluxe")
Harry-W: The alternate version '2' of YOURE
THE MAN was cut after the original version was
out in the streets - We believe Marvin intenede
to bookend the album with his two takes on it
Charles: I'm getting to "You're The Man" in a
second--The Miracles' "I Love You Secretly" is
playing--Hey Harry--you got any influence to get
"Renaissance," the first Smokey-less Miracles
album, released on CD???!!!
Harry-W: Quick word on LOVE MAN - it is likely
Marvin erased his vocals when he instead did IN
OUR LIFETIME. There is no final mixed version
of LOVE MAN in the vault.
43
TheDuchess: The "woman president" part was
hilarious to me because I heard Marvin was a
self-professed male chauvinist LOL.
Daniel-Cleveair: Not Marvin related
directly...but I am a big MIRACLES (post
Smoke) champion myself!
Sheila: Mr. W why were these cuts never
released before?
Harry-W: Marvin had a sensitive side, right? He
was feeling the women's movement
Karl: Hello, Harry and the rest of the patrol , just
got in from my sisters birthday party and wanted
to say just one thing: This was Marvins
Masterpiece. I was surprised to hear that
Michael HENDERSONwas on the sides, dam
man this was great. I have Marvin’s What's
Going On Sessions and The Sexual healing
sessions , but nothing compares to this, I am
thoroughly impressed. This has got to be the
Album of the year.
earthjuice: I Love You Secretly is one of those
jams that now heard in this context truly sounds
like it could easily have been a part of the
ORIGINAL "Let's Get It On"
Harry-W: Who knows why any of these were not
either finished or released. Ever write a note to a
friend and then crumple it up? In some ways...
the same thing...
Jimmy: I'm sorry, Harry, I had to switch pcs. I
missed what you might have said about '
Trouble Man ' .
earthjuice: Hey Karl....Micheal
HENDERSON(surprise guest) is here in the chat
room, say hello to him!
Sheila: Wow! Some note
MICHAEL-HENDERSON: they where never
released it because of here my dear
Sheila: Ah ha! A woman scorned...
23:01:01: Karl: Brother Man , I love all your
work, but I am impressed by your work with the
Dramatics. Your collaboration with Roberta
Flack on At The Concert is one of the all time
jams of the century
TheDuchess: I have been waiting for that live
Oakland version of "Come Get To This" to be
released and was totally shocked when it wasn't
released on the newer "Live" CD. I'm glad it's
been released again, the background on that cut
is slammin'!
Sheila: Love is a powerful thang- alive or when
it dies
HENDERSON: thank you for at the concert
Karl: Mike listen I'm from Chicago and we got
Mike coming back to the NBA, can't you come
back too, you got my money Brother, because
You Are the Man.
Soul-Patrol Digest
Magazine
23:03:05: Jazz: oh yeah, Harry...you're other
work...You did an EXCELLENT job on James
Brown's work...the deluxe edition and Star Time,
in particular; but I also love the instrumentals
and the Brand New Bag collection
Jimmy: By the way, Mr. HENDERSONn, I've
got all of your cds, except ' Slingshot '
Charles: Duchess--I could never get into that
live Oakland version; the original "Come Get To
This" from the "Let's..." album was FAR TOO
TOUGH!!!!
Harry-W: Just staying true to the music
Karl: Wide reciever, hit me from ...no I aint going
there.......
earthjuice: This CD....Marvin Gaye: "Let's Get It
On" is the BEST CD release of the year 2001 (in
my opinion)
Sheila: Hearing this cd is a wonderful, wonderful
thing Mr. W you are to be commended
Harry-W: tho' I have done it 3 times now I am
new to this chat thing and sometimes I got to
reach out and get some he'p
Sue-Porter: Hi there! Glad to be here!
TheDuchess: Charles, I love Marvin's vocal on
the original "Come Get To This", but that damn
bongo drum or whatever was bugging the hell
outta me LOL.
Karl: Hey Harry, love ya man, Marvin like Paul
Williams of The Temptations was one of the few
artists who could transfer his pain to vinyl and
God knows not every artist can accomplish this.
Michael jackson has tremendous pain but he
can't transfer that pain too his music.
Daniel-Cleveair: If you saw my question about
Trouble Man, are you considering an expanded
exploration of THAT, the motion picture has
DIFFERENT PERFORMANCES that the LP.
MICHAEL-HENDERSON: you can get slingshot
from BMG records
earthjuice: Harry, you do just fine, everyone
here really respects what you have done for the
history of the music
TheDuchess: I've been online for over a year,
but this is my first chat.
TheDuchess: Karl, my homie, I LOVE me some
Paul Williams too!
earthjuice: Go to this link and you can hear
highlights of the CD http://www.soulpatrol.net/lgo.ram
Charles: Well, I gotta get outta here. It was
great being with y'all. Harry--another fantastic
44
job!!!!! Definite "Producer of the Year" stuff,
here!!! Now repeat after me:
Miracles/"Renaissance",
Miracles/"Renaissance",
Miracles/"Renaissance", Miracles...
MICHAEL-HENDERSON: thank you Karl no
your the man!!
Daniel-Cleveair: Feelin U on the Yanks thing
HW, hadda catch my breath from the RVD
match 2 night....Cant wait till the triple threat at
NO MERCY. No more non M.P.G. talk fro me.
Harry-W: One last comment on TROUBLE MAN
- IF we get there, yes, the score was different in
the film from the LP. Marvin has been quoted as
not liking the original score and set about
creating a serious album for the released
soundtrack
Harry-W: Micahel - wanna tell on Marvin's
stereo?
earthjuice: Jimmy hey Jimmy, this is Bob
Davis.....did you see your review posted up on
Soul Patrol's Marvin Gaye page?
Sue-Porter: That was a jammin' cut on the page
right before I came in the chat room...it's hard to
believe Marvin didn't lay that track last month...it
sounds very fresh and contemporary. Like
Jahiem (sp) sounds now.
Jimmy: Thank you Harry, about ' Trouble Man '.
You know, I think that I would buy a cd with just
Marvin singing the Yellow Pages !
earthjuice: Sue, that cut is actually from the
WHAT'S GOIN ON CD Deluxe ...it's called
"Headtitle", an earlier version of "Distant Lover"
Jimmy: Yes, Mr. Davis! And thank you. That
was indeed an honor.
earthjuice: Hey Jimmy, what u wrote was badd,
I was honored to put your commentary up on our
site :)
Jimmy: This is why I LOVE SP !
Harry-W: Thank you everyone who came by for
vibing with Marvin Gaye. I hope these songs
provide a glimpse not just in to him but in to the
creative process. And in these times, remember,
it's SO important to 'get it on' - however that
phrase translates to you. How about 10 more
minutes and then we say good night?
Charles: Mr. HENDERSONn, I'd love to get you
and my man James Mtume in this room so y'all
could talk about how it was to put down rhythms
for one of music's all-time great aggregations,
Miles Davis (c. 1972-1974)
MICHAEL-HENDERSON: i would love to have
mtume do a chat with us!!
TheDuchess: Or better yet, I'd buy an album of
Marvin just humming! BTW, what is the
whispering stuff???
Soul-Patrol Digest
Magazine
MICHAEL-HENDERSON: marvin could sing
about the bible and we all would buy it!!
Sheila: Well folkx, got to go, Bob as usual, you
are providing all of us with a wonderful
opportunity on Soul Patrol YAY! Night All!
earthjuice: Everyone say thatnk you to Harry for
taking the time to chat with us tonight
Sue-Porter: It jams, it's gorgeous...I'll buy the CD
based on that cut alone!
Harry-W: Any last questions??
Karl: Harry there is genius in your bones, When I
get to New York, I'm looking you up. I'll see ya'll
later . This has been a great experience.
Michael HENDERSONdo something quick ,
cause the folks in Chi Town are waiting for you
....you know this Man !!! Yeah I was just
listening to Miles and Quincy Live At
Monteaux......dam this is the shhhhhhhhhhh
Dennis-Nesky: Before everyong signs off - I live
in Manhattan Beach, CA - Looking for a Marvin
sound alike [this can never be - but in his vein]
singer for my original Marvin Gay style songs. If
you know of one, let me know. Thanks.
Harry-W: I THINK and yes pray about a lot of
stuff - hope next time we again have more great
music to rap about. Peace & good night
earthjuice: You can listen to the CD at the
following link http://www.soul-patrol.net/lgo.ram
MICHAEL-HENDERSON: jimmy thanks for
sherel.
Karl: /Harry-W Love ya Man
Sue-Porter: I must not be doing something
right...I'm not seeing responses fast
enough...how're you doing earthjiuce? I love
this song playing now...
TheDuchess: Thanks Harry and Michael! Hope
more gems are in the vaults (Tempts stuff too especially Paul leads). Later.
Jimmy: I have been a Micheal
HENDERSONfan since back in tha day ! Still
have all of my vinyl.
earthjuice: How many of you have already
picked up this CD?
Sue-Porter: Next time I won't be tardy...this
music is doing me in...wanna dance with
somebody...bye, everybody...
Daniel-Cleveair: I have my HENDERSONvinyl
and the Import versions (Unidisc) of all the
Michael HENDERSONLPs that Right Stuff did
not see fit to release...
earthjuice: Jimmy....."On The Corner"
earthjuice: You can get it at most CD outlets
locally (or Amazon.com)
Jimmy: I have also been letting a lady friend of
mine listen to Micheal's music, too. She cannot
get over just how great he is.
45
earthjuice: Most people are amazed because
they usually think of him only as a vocalist (but
little do they know?)
Jimmy: Miles thought so..
Jimmy: Will do !!
Jimmy: As a matter of fact, I was just playing '
Solid ' earlier today.
earthjuice: see there (God was trying to tell u
something Jimmy......lol)
MICHAEL-HENDERSON: marvin was an
inspiration for me on solid
Jimmy: Maybe I'll pull out some of those old
Miles Davis joints, and plug in a blacklight tube.
Now we're talking !
Jimmy: Is that right? Marvin was ?
earthjuice: I hear ya Jimmy.....lol
Jimmy: Bob, you're right !
Jimmy: I do feel that Mr. HENDERSONwas (
and is ) waaaay ahead of his time.
Jimmy: Bob, I want to be able to contact you, so
that I can touch base with Mr. HENDERSON.
earthjuice: He certainly is, Jimmy and there is
even more that most folks don't know about him
to be learned, I am just glad that he is hanging
out with us here on Soul-Patrol to tell the story
earthjuice: just email me at
[email protected]
Jimmy: Yes, this is really a treat. Thanks to you
Bob.
Jimmy: Mr. HENDERSONn, what was it like
working with Ms. Hyman ?
MICHAEL-HENDERSON: it was great great
great!!
Jimmy: It had to be. I truly miss her. I think of all
of these ' so-called ' female vocalists today, and
well.............
earthjuice: Thanks for stopping by Mike
MICHAEL-HENDERSON: no problem
earthjuice.
Jimmy: Ok peeps. I've got to run ! Mr.
HENDERSONn, and Mr. Davis, it was truly great
!
Jimmy: Bob, ' YOU'RE THE MAN ' !
MICHAEL-HENDERSON: thank you!!
Jimmy: One LOVE to all of the SP
family..............
earthjuice: Thank you everyone for your
participation (I gotta split now)
MICHAEL-HENDERSON: okay thank everyone
im gone.PEEACE
Soul-Patrol Digest
Magazine
::::ADV::::
Best-Selling Novelist
Karen E. Quinones Miller On Tour
Ray, Goodman & Brown, The Chilites & The
Dramatics. Tickets can be purchased at
Crampton or Ticket Master
For further information contact Zenobia Leviston.
Last Updated: October 20, 2002, at 5:24 pm ( Server Time )
Week of November 3 - 9, 2002
Sunday, November 3, 2002
An Evening with George Duke
( All Day )
Location: The East Brunswick,NJ - Hilton Hotel & Towers
•
•
Holiday Inn King of Prussia, PA
Saturday, November 9, 1-5 p.m. Atlantic Book
Post Literary SalonBlack History Resource
Center Alexandria, VA
www.atlanticbookpost.com
Saturday, November 16 Darjeelings Tea/Book
Club Philadelphia, PA
•
For more Info, go to Karen’s site at:
http://www.karenequinonesmiller.com/
NOVEMBER SOUL-PATROL
EVENTS
Friday, November 1, 2002
First Fridays
7:00 pm - 9:00 pm ( EST )
Location: Pittsburgh -- Homewood Branch / Carnegie Library
Community Media , presents in partnership with
the Homewood Branch of Carnegie Library, First
Fridays a 12 month film series featuring films
from throughout the diaspora. The screenings
are free...that's right...FREE.This is a great
outing for the whole family. To support the fine
work of Community Media I would suggest
making a donation. For more information about
the screenings or about Community Media, call
(412)731-5086.
For further information contact Kevin Amos.
Last Updated: January 21, 2002, at 2:28 pm ( Server Time )
Saturday, November 2, 2002
70's Soul Jam Tour
( All Day )
Location: Crampton Auditorium-Howard Univ. D.C.
46
Sunday, Nov3rd, 2002 8:00PM ...
One performance only
"An intimate Sunday Evening with the Master,
Director, Producer, Songwriter, Composer
East Brunswick, Hilton Hotel
3 Tower Center Blvd.
(exit 9 NJ Tnpk to Rte 18)
East Brunswick, NJ
Also appearing is Soul Patrol's very own Sultry
Jazz Vocalist Shirley Marshall
This is a very special evening for Soul Patrol.
Besides a fantastic performance we will also be
treated to a very special meet & greet
afterwards.
right now there are still seats available ... please
hurry and make your reservations by calling 1732-0831 or e-mail
"[email protected]
For further information contact Blanche McDaniel-Valentine.
Last Updated: October 27, 2002, at 7:46 am ( Server Time )
Capital Jazz All-Stars
( All Day )
Location: Warner Theater Washington, D.C
Kirk Whalum, Rick Braun & Norman Brown.
Purchase tickets at The Warner or ticket master.
Jazz Workshop INC. presents Family
Night
5:30 pm - 9:30 pm ( EST )
Location: Pittsburgh- Homewood Carnegie Library. Hamilton
Avenue
Come one, come all!!! It's A a Family Night of
Jazz, Poetry, and more at the Homewood
Branch of the Carnegie Library. This event is
sponsored by the Jazz Workshop INC which is
headed by Mr. Harold Young. This is a great
weekly year-round event that takes place
EVERY Wednesday evening starting at 6PM. In
the summer months the event takes place
outdoors on the steps of the library. The last
Soul-Patrol Digest
Magazine
time I attended there were at least 20 children at
the FREE evening performance enjoying
themselves and getting into the music and the
free food on hand. The library is located at 7101
Hamilton Avenue and for more information you
can call (412)731-3080. The Jazz Workshop
INC. also has weekly Saturday instruction and
sessions that are FREE TO THE PUPLIC.
Last Updated: April 25, 2002, at 10:05 pm ( Server
Time )
Fan Tribute to “Mr. Soul” Sam Cooke
9:00 am - 9:00 pm ( EST )
Location: Atlanta: Marriott Grand Marquis Hotel
The First Annual Fan Tribute to MR. Soul "Sam
Cooke" is less than a month away. The Cooke
family has confirmed their attendance. The 2day (s) event will take place November 8-9,
2002 in Atlanta. For those who are traveling
form out of town, the last day to reserve a room
at the exquisite Marriott Marquis Hotel at the
special rate of $99 is Oct 18th. All events will
take place at the Marriott.
For more information contact Reginald McDaniel
at 205-222-8656 or
[email protected] or
Friday, Nov. 8, 2002 6:30 p.m.– Registration, 7
p.m.- 8 p.m. "Night Beat" Happy Hour
8 p.m. - "Let The Good Times Roll" Party
Saturday, Nov. 9, 2002 10a.m.-11:a.m. Cooke
‘Good News’ Media Conference
1pm – 4pm, Cooke Fan Memorabilia Exhibit and
Meeting
THE SAM COOKE FAN TRIBUTE DINNER
AND DANCE
7 p.m.- 1 a.m. "HAVING A PARTY" (location
tba)
All events at the Atlanta Marriott Marquis unless
otherwise noted
Reginald McDaniel (205-222-8656) or
[email protected]
For further information contact Saturday, November 9, 2002
5th Annual Blues R&B Fest
( All Day )
Location: Showplace Arean Upper Marlboro, MD
This show will feature Eddie Holman, Maxine
Brown, The Soul Survivors & Eddie "Knock On
Wood" Floyd Cabaret Style tickets $35.00.
$30.00 tables & Chairs and $25.00 Arena
Seating.
47
DyvaNaye's New Year Celebration
( All Day )
Location: To be announced
An Official Soul-Patrol Event It's Soul-Patrols' very own, DyvaNaye's Birthday.
And Soul-Patrol is going to celebrate. We're
going to have a nice dinner and then we're going
to burn the calories off to some classic soul
music.
Venues to be added later.
For further information contact cheryl page.
Wednesday, November 13, 2002
Night
5:30 pm - 9:30 pm ( EST )
Avenue
sponsored by the Jazz Workshop INC. which is
Last Updated: April 25, 2002, at 10:05 pm ( Server Time )
Verizon Music Festival
( All Day )
Location: Crampton Auditorium-Howard Univ. in D.C.
Roy Ayers & Teddy Pendergrass. Tickets can be
purchased at Crampton or Ticket Master.
Standing In The Shadows Of Motown
6:00 pm - 10:00 pm ( EST )
Location: Venues to be announced later
An Official Soul-Patrol Event
Dinner and a movie!!!
"Standing in the Shadows of Motown" is a terrific
movie about the Funk Brothers.
Soul-Patrol Digest
Magazine
The Funk Brothers were the house band for
Motown and played on more #1 hits than
ANYBODY!!!! Remember "Bernadette", "Cool
Jerk", "What's Going On"? Well that's just the tip
of the iceberg.
November 15th is opening day for this film - and
Soul-Patrol will be there.
Location of movie and dinner will be announced
later.
Wednesday, November 20, 2002
Night
5:30 pm - 9:30 pm ( EST )
Avenue
sponsored by the Jazz Workshop INC. which is
48
Last Updated: April 25, 2002, at 10:05 pm ( Server Time )
Sonny Boy!!!!!!!
11:00 pm - 1:00 am ( EST )
Location: The Cutting Room - 19 West 24th St,, B'way & 6th
Ave.
An Official Soul-Patrol Event!
Sonny Boy!!! He's so good, once is not enough!!
If you missed the last show, here's your
chance!!! Sheldon Riser and Sonny Boy tore the
place up and they did it in a 45 minute set. But
this time Sonny Boy will headline this event with
a 90 minute set!!
Just in case you don't know who Sonny Boy is,
go to check him out on the web at: and find out
for yourself!!
The Cutting Room, 19 West 24th Street (B'way
& 6th Ave.) NYC 212-691-1900 Cover ($12 &
$10 with printed email or flyer).
49 Digest
Soul-Patrol
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Soul Patrol Chat: Hosted Booby Womack, Mandrill,
Delphonics, Chaka Khan, Candi Staton, Gene
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"straight music". We don't believ e
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"Killin g Is Ou t, Sch ool Is I n" - James Bro wn’s New si ngl e
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Rick James LIVE co ncert from 1981
Origi nal P (Parliame nt -F unka delic ) - Liv e Co ncert
Marvele ttes
Soul Genera tio n
To mmy H un t (Flami ng os) I ntervie w
Intervie ws Fr om The 200 1 R& B F ou nda tio n A wards – Fred die
Stone, E mo tio ns, Larry Graha m, H ollan d Bro s, F ont ella Bass
Frankie Cr ocker Tri bu te
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Philly River Ja m Interviews – (Marcia Ball, Iv an Ne ville, Maceo
Parker)
Celebrate Kin g Day - Dr. Marti n L ut her Kin g
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Archie Bell, Gla dys H orto n
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The M usical, Poli tical a nd C ult ural Evol uti on of FUN K
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Will's Place: music/co mme ntary from Will Chill (Master of the
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Jimi He ndrix Career Retros pec tive
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Clevelan d So ul - J oh n "Sly " Wilso n
The S ou nd of Philly – “Gian t” Ge ne
Talkin g A bo ut So ul - Mik e Bo one an d Baro n Keels
Fu nkiest S tati on I n T he Nati on - DJ Caz and the Brew Crew
Blues Be at - Bradley Alston
African I nfl uence d Voc als - P OP EB
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Jazz and Soul!
http://216.254.125.62/redirect/?d=phillysounds
The Groove Doctors are an in-house studio
ensemble in the tradition of The Funk Bros.,
Mar-kees, MFSB, & Stuff
http://216.254.125.62/redirect/?d=groovedoctors
Home of GREAT Classic Soul, Jazz, Funk and
Blues reissues!
http://216.254.125.62/redirect/?d=hipo
New release from UME of the GODFATHER of
Soul. Captured live at the Apollo, it’s 70 +
minutes of FUNK. Emceed by Frankie Crocker!
WATCH WHAT HAPPENS: Soothing, yet still
funky right from the start.. Excellent quality that
features REAL singing with REAL instruments
http://216.254.125.62/redirect/?d=lisagayandthrill
Mighty Sam is the BEST SOUL SINGER ALIVE
RIGHT NOW. Pick up his GREAT NEW CD,
called "BLUES FOR THE SOUL”
Ray, Goodman and Brown (aka the MOMENTS),
one of the all time favorite slow jam groups
http://www.raygoodmanandbrown.net/
The “Beast From The East” is back with a brand
new CD for the new Millennium.
http://www.mandrillis.com/
New released from the LA Based Soul/Funk. A
combination of Sade, Brand New Heavies, with
a splash of New Birth
http://www.riosoul.com/
In the tradition of the musical artistry of Sly
Stone, Jimi Hendrix, Prince, Billy Preston, meet
the challenge of a new generation!
http://www.sonny-boy.com
SUBSCRIBE TO THE SOUL-PATROL DIGEST MAGAZINE:
50
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SOUL-PATROL DIGEST MAGAZINE

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