Fellow Soul Clansman Don Covay pays tribute to the big JT.
Sunday, February 26, 2012
Saturday, February 25, 2012
Friday, February 24, 2012
Debbie Does WFMU
 |
| I have prizes for you! |
Tune in today 3-5 PM EST! This is my one and only marathon show this year. Today is the day to show your support to WFMU's Rock 'n' Soul Ichiban. See you on the radio!
Joe Tex month day 24: The Soul Clan
In 1968 Joe Tex found himself in yet another one of those situtations where he was ahead of his time and involved in something that has interesting echoes in modern day soul, r&b and rap: the Soul Clan.
Originally conceived by Don Covay and Solomon Burke, the original Soul Clan was supposed to be the following individuals: Covay, Burke, JT, Wilson Pickett, and Otis Redding.
The idea was that these huge soul stars would record together, pool their resources, and become a positive force for the black community. They would take the proceeds from their recordings and set up trust funds for their children and for the community. The concept was sort of like an early version of, say, Roc-a-Fella records, and was in part inspired by Sam Cooke's forming of SAR records - the notion that the best way for black entertainers to achieve financial independence by setting up their own collective.
Unfortunately, Otis died in the plane crash, and Pickett backed out, claiming he didn't need to be a part of the Soul Clan, that he had plenty of hits on his own. Redding was replaced by Arthur Conley, Pickett by Ben E. King. The group released their first 45, which was supposed to set them on a pathway to world domination.
But the only thing that ever came of the Soul Clan concept beyond that 45 was a single, dodgy, compilation LP.
The recording itself also has something of the vibe of later hip-hop singles, where rappers guest on each other's records - all the vocals were done around a pre-recorded backing track in separate studios at separate times, with the performers each taking a verse, doing their own schtick and call outs, based around their own hits and personas. The Soul Clan never really met in the studio.
Solomon Burke claimed the Soul Clan 45 was stopped on its run up the charts by mysterious corporate forces, who shut the record down.
"The Soul Clan was deliberately destroyed because we were becoming a power structure. Our interest as a Soul Clan was to build a financial empire, and once that was found out, we were destroyed."
Whether this is true, or if it's more likely that the Soul Clan single didn't top the charts because it depends more on star caché than truly good songs or artistic chemistry, is at this point a matter of speculation. It's still a heck of a thing to get to listen to.
King, Tex, Covay, Pickett and Burke - from an apparently disastrous
attempt at a reunion gig in the early 80s
Peter Guralnick's Sweet Soul Music is the source for this post. The book remains a great read 26 years later.
J.R. Williams' Ichiban One-Liners!!!
Make a pledge of $50 or more to Ichiban before today at 5 PM EST, and you could win this fabulous compilation of Ichiban One-Liners by our own J.R. Williams!! Check the complete track listing HERE!
*Please specify that you would like your pledge to be credited to Ichiban! Otherwise, I won't see it and you won't be entered!!
Help keep us on the air for another year!!
The Tradewinds - Gotcha
Thursday, February 23, 2012
More Golden Gassers!!
Tune in to Music To Spazz By tonight from 9 PM - Midnight when head chimp, Dave the Spazz tap dances for your dollars to keep WFMU on the air for one more year. These are desperate times and desperate times call for desperate measures! Gaylord Fields will personally thank you on the air!!!
 |
| $75 pledge |
Joe Tex month day 22: The "uptown" albums
After recording his two greasiest records in '68 and '69, the ever attuned-to-the-times Tex switched up his sound for his next two records, going for the slightly more sophisticated soul sounds of the early 70s. Not that JT was going to in any way go all Isaac Hayes on us, but these records do represent an attempt to sophisticate the hard southern soul of JT, with mixed results.
It mostly works on the With Strings and Things album. For one thing, it's only about half transitional - much of it is business as usual. It's like there were some standard Textracks in the can and a slightly more uptown session was recorded to justify the name. Tex even talks about the fact that he's in transition on the album's hit, "You're Right, Ray Charles", which we discussed in the Dapper Dropper post.
There are many other snazzy songs on this LP. The lead track, "Everything Happens on Time" has one of the oddest arrangements of any JT song, and Joe responds with a lyric that is another wild metaphor typical to the man who spent a lot of his time buying books, digging gardens, and picking plums (in the same old soup).
"Take My Baby a Little Love" is a killer mover with many classic lines, like: "I've got to stop being the town clown before I tear myself down!"
And "A Little Friendly Advice" is one of those weird "addressed to a specific individual male with a single syllable first name" songs we've heard throughout Joe Tex Month. It is probably also his best pure country song.
Joe's next album, From the Roots Came the Rapper, is one I have never been able to crack the code on. There is just so much wrong with it. From the outset - look at that weird mod cover - what does that have to do with our down-home, nitty-gritty philosopher?
The album was recorded in Muscle Shoals studios with Eddie Hinton and some of his fellow Shoalers, so the playing is fine, but this really does sound like Joe trying to make an Isaac Hayes album. There's only one original on the record, and one of the two "raps", on the tediously eternal version of Burt Bacharach's "I'll Never Fall in Love Again", is one of the few times I can't connect with a Tex sermon. Sure there's some ringer songwriters - future Ichiban month candidate Jerry Williams Jr. (aka Swamp Dogg), Don Covay, and the Left Rev. Eugene McDaniels, but overall things just feel off.
I suspect that the main reason the record doesn't really launch is because it's produced by Dave Crawford and Brad Shapiro, rather than Joe's main man, Buddy Killen. It's the only record that Killen didn't produce after Joe joined Dial, and it shows. JT sounds more uptight and serious than usual, and the whole thing is just kind of a drag. Anyone who has any insight into why this album is worthwhile is encouraged to open my ears to it.
A new direction was coming, though, as was Joe's biggest hit yet.
Wednesday, February 22, 2012
Let's Have A Wing Ding
I'll be live on the WFMU Rock 'n' Soul Ichiban webstream this Friday from 3-5 PM with MC Julie from the Dark Night Of The Soul With Julie, heard every Tuesday 3-6 AM on WFMU. We will be giving away prizes in exchange for your dough. We need full participation from all the Ichibaners!! If you are listening while you're at work getting paid, please PLEDGE! Make sure to specify "Ichiban" to be entered into the drawing for fabulous prizes, like rare records and DVDs.
$15 = entered into drawing
$50 = entered into drawing + grand prize drawing (CD compiled by J.R. Williams)
$75 = all + Ichiban One-Liners Volume 3 with artwork by Takeshi Tadatsu
$180 = all + WFMU Vintage Pack + 3 DJ premiums + T-shirt, bag, naming rights
More swag here.
Please specify you'd like to credit your pledge to Ichiban to qualify.
Week 2: Chris T will take over hosting duties.
Thanks to listener Jonathan Lemon for the video!
Road Runner Twice
Thanks to listener Sean Bonnell for sending in this amazing clip of Bo Diddley doing his thing circa 1972!! Wembley Stadium - London, England. Check out this lineup!!
Joe Tex month day 21: JT and the sons of a gun from next door
Howdy, neighbor, howdy!
ca. the early 50s
If there was one thing that Joe Tex didn't much care for, it was somebody dippin' in his business. From as early as his King-era cover of "Ain't Nobody's Business What I Do", Joe made it loud and clear, again and again, that your business was yours and his business was his, so take your nose and put it somewhere else, thanks.
And who knows your business better than anyone? Those nosey nosey neighbors!
Joe's adversarial relationship with his neighbors began in earnest when he was confronted on an early Dial side by that "Hand Shakin, Love Makin, Girl Talkin, Son-of-a-Gun from Next Door". Admittedly, the HSLMGTSOG from next door seemed to be dippin' in more than Joe's business, so Joe had every right to be perturbed.
Further evidence that JT had a less than kindly disposition towards his fellow tenants comes in the hilarious Drifters parody "You Can Stay". One glance at the title and you'd think it was a welcoming song, but the implied parenthetical title is "(But that noise has got to go)". Maybe Joe's lived next door to Mouse and the Traps.
As much as the neighbors drove him crazy, their antics also amused him - he always got a kick out of petty jealousies and social climbing antics, like in this oddball fuzz 'n' harmonica waltz, "Funny Bone".
How, exactly, do you sit on your elbows?
But the last thing in the world you want to do to Joe if you're a neighbor is to try and borry something. This time-honored complaint has been the subject of many a classic tune since even before Jerry McCain had to loan his neighbor a suit to bury grandpa in. Here's Joe's take, from the Different Strokes, the 1975 winner "My Neighbor's Got the Gimmes". And this is no funny business: "If Jesus would've have lived around neighbors like y'all, y'all would make the man hate you himself!"
But is it me, or does he borrow from (of all people!) Frankie Valli and the Four Seasons for the slowed down middle section of that song?
Subscribe to:
Posts (Atom)
