Thursday, July 29, 2010

Cut of the Week 7/29/10


Upon someone's (I cannot remember who exactly) recent urging, I finally got around to checking out The Cramps. These guys are largely credited with creating a new genre at the tail end of the 1970s called psychobilly, which is described as a synthesis of punk and rockabilly sensibilities. With founding members who took stage names such as Lux Interior and Poison Ivy, The Cramps boast an over-the-top approach to traditional rock n' roll that can be easily seen as the precursor to goth rock. Zombie rock is a great way to describe their sound.

This track, "Garbageman," is off their 1980 debut album Songs The Lord Taught Us which was produced by power pop pioneers Big Star's late frontman Alex Chilton. The Cramps definitely are a creepy bunch, but the music is deceptively simple, straightforward rock with some darkly humorous overtones. Lux's vocals exhibit an unbridled snarl that drips with sleaze and swagger and is eerily reminiscent of Iggy and The Stooges in their heyday. I mean, you have to be a larger than life badass to convincingly pull off the opening line, "You ain't no punk, you punk."

Take a listen and enjoy.


The Cramps - "Garbageman" link

Monday, July 19, 2010

Episode #23: Smooth As Soul

Inspired by a recent “Cut Of The Week” selection from Bobby Womack, I thought it would prove a worthwhile exercise to delve deeper into the sounds of 1970s soul. This era was marked by many artists who got their start in the Motown tradition in the mid to late 1960s. However, in the 1970s, soul music began to morph: the tone of the music is at times much darker (i.e. Curtis Mayfield’s “(Don’t Worry) If There’s A Hell Below, We’re All Going To Go”) and more concerned with cool stylistic posturing that paralleled the explosion in blaxploitation films. Given that these films explored the underworld of pimps, prostitutes, and drug dealers, soul music (used for the countless soundtracks) also shifted its focus and texture. Some arrangements incorporated the heavy use of strings and the music now was dripping with exaggerated braggadocio and a sense of impending danger lurking just around the corner.

Nevertheless, not all 70s soul music dealt with the underbelly of ghetto life. That’s why I chose to include a track from Betty Lavette who is a great counterbalance to the swagger of the solo male singer and has experienced a remarkable resurgence of interest in her music in the last five years. Also, the inclusion of Al Green’s “Strong As Death,” Lamont Dozier’s “Peddlin’ Music On The Side,” Bobby Womack’s “You’re Welcome, Stop On By” and Freddie Scott’s “You Got What I Need” illustrate that the softer, more introspective side of soul was certainly not absent during the 1970s.

Finally, check out Labi Saffre’s “I Got The Blues” and see if you can spot the source of the sample for Eminem’s first smash single, “My Name Is.”

The 1970s was a time when soul experimented with different genres, often using harder funk rhythms, wah-wah guitar effects, and even flirting with disco elements. Regardless, this was a great period for soul music and its slinky coolness provides a perfect vibe for relaxing and letting loose in the summer heat.

Give it a listen and I hope you enjoy.

Track listing:
1) Slick (3:36) – Willie Hutch
2) Strong As Death (4:23) – Al Green
3) I Got The (Blues) – Labi Siffre
4) You’re Welcome, Stop On By (3:44) – Bobby Womack
5) Who Is He (And What Is He To You) (3:13) – Bill Withers
6) (Don’t Worry) If There’s A Hell Below, We’re All Going To Go (7:44) – Curtis Mayfield
7) Tomorrow I May Not Feel The Same (2:14) – Gene Chandler
8) Walk On By (4:34) – Isaac Hayes
9) Let Me Down Easy (3:09) – Bettty Lavette
10) Easin’ In (3:13) – Edwin Starr
11) Why Can’t People Be Colors Too (4:12) – The Whatnauts
12) We Live In Brooklyn, Baby (3:46) – Roy Ayers
13) You Got What I Need (3:00) – Freddie Scott
14) Peddlin’ Music On The Side (4:45) – Lamont Dozier

Saturday, July 10, 2010

Cuts of the Week 07/11/10

This week I've dug up a great pair of interconnected cover songs for your listening pleasure. The first is an acoustic cover of Prince's "When Doves Cry" by Irish crooner Damien Rice. To date, he hasn't delivered a strong follow up to rival his critically acclaimed debut "O" which contained the huge song, "The Blower's Daughter." That song has been translated into at least 2 other languages and just may have enjoyed bigger success than the original. I make that unofficial assessment based on the fact that when I was in Brazil in 2006, Seu Jorge and Ana Carolina's live cover "É Isso Aí (The Blower's Daughter)" was EVERYWHERE (and Brazil is huge...)

Anyway, take a listen to Rice's cover of Prince (he even includes a mini-Led Zeppelin cover within the song). As an added bonus, check out Seu Jorge and Ana Carolina's cover of Damien Rice's "The Blower's Daughter. It doesn't matter whether you can speak Portuguese or not, the feeling will come across clear as day.

Enjoy.



Damien Rice - "When Doves Cry" link




Seu Jorge & Ana Carolina - "É Isso Aí (The Blower's Daughter)" link

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