Re: soul, etc
I've deferred on my response to this as I've been trying to find an old article clipping in which Berry talks about his beginnings and how he credits Chess, Stax (and others) as the impetous for his success. I think you'll find that the label Gordy Berry would credit most for inspiring him was Vee Jay--which was, after all, black-owned and operated and did produce crossover pop hits. (Motown eventually put out an excellent compilation on Motown called "Hits from the Legendary Vee Jay Records" with Betty Everett and Jerry Butler and Jimmy Reed and Dee Clark and Roscoe Gordon and the Dells and BobEarl--talk about a label Elvis knew!...not to speak of that little British import act the Beatles they quietly introduced.) Stax was gritty and Motown was pretty. I love both, except I think Stewart allowed more artistic freedom, whereas I've heard that Gordy flaunted the whip with his artists. Much good music came out of Motown, but still I have to wonder how much of it was "manufactured" for top 40 sake? Tera Well, it was ALL manufactured to get to Top 40 if it could! And they both had distinctive sounds, after all. But Motown's ambition was to do something else--to produce acts that could break through to take in he big bucks and yes respect appearing live anywhere--including Las Vegas, night clubs, movies, television--none of which had very much been possible. You could say that Motown wasjust doing more than Stax-Volt to "make it with the white folks"--but then, I suppose you'd have to say the same thing about Col. Parker and Elvis--who wanted excatly the same Big Time show biz goals! As for Stax=grit and Motown=pretty--as a longtime fan of both, I'd have to say that this rounds out their depth and breadth too much. Martha and the VDs pretty not gritty? The Temptations? (And what David no doubt likes about those Philly folks is that crossing of gritty and pretty.) Maybe what us Stax supporters would say is that it's definitely the most country of the three! Though there wer other southern soul labels that could do that too, at this they were unsurpassed. And when these hard soul artists turn to n outright country lyric, it never seems a stretch. The Supremes sing Country? Well they did--but they never thought to get David's advice on picking the right Countripolitan records to play with... See, that might have been ineteresting! Barry
Re: soul, etc
At 10:36 AM 2/2/99 -0600, good ol' Stormin' Soron wrote: I'm not disagreeing, David, and I'm not putting words in your mouth, but this seems to me to be a heartbeat away from the commercial assumption that, if it sells well, it must be good. I guess I'm saying it doesn't work EITHER direction--commerical success doesn't mean music will suck, and it doesn't mean it will be great either. Though if we look back through the history of American pop, it's important to remember most of what gets heralded as great was also popular--which is exactly what it was trying like hell to be. I think "entire" and "resounding" are too strong for what you are saying. I mean the "entire" not to refer every single single ever put out, hardly, but to mean every part of the American popular musical tradition. And resounding, from where I sit, probably isn't strong enough. --david cantwell PS: I don't know about Jerry Curry's record collection, but MINE sure is good! g
Re: soul, etc
On Tue, 2 Feb 1999, David Cantwell wrote: PS: I don't know about Jerry Curry's record collection, but MINE sure is good! g Huh.just waking up after being prodded here. My record collection? Well, my record collection is quite um, eclectic. it's also in pretty poor shape since a large percentage of my vinyl came direct from garage sales flea markets. Quite strong in early 70's arena rock and mid 80's Euro-synth pop. Really lacking in the soul area. However, I'm making up for that by acquiring CD's right left. Again, my vinyl is destined for digital reformatting and then I'll divest it. Just takes too much damn room. When I say digital reformatting, I'm talking DVD-R, NOT that damn CD-R technology. Not enough space savings in my humble opinion. Jerry - who is picking up a Sharp Mobilon handheld tomorrow. Death to all laptops, I say.
Re: soul, etc
On Tue, 2 Feb 1999, Scary Jerry wrote: Come on over folks for a great dose of Bad Company, Foghat, Rainbow, Deep Purple, UFO, Yes, Asis, Al Stewart, Blancmange, Ultravox, Communards. You just *had* to name names, didn't ya? Don't you realize that it's almost lunchtime on the West Coast? Jeez, and I was actually kinda hungry before reading Jerry's post. What's most frightening about Jerry is a fella with that kind of a musical "background" could somehow end up with fairly decent taste in twang. *All* of us should think seriously about what that means.g--don
Re: Soul
Speaking of which, has P2 ever talked about the whole California country rock style of harmony where it's always in unrelentingly sweet thirds-no tension, no dissonance, no variation? Obviously, the Bakersfield thang was another kettle of fish, but I find this particular style I'm talking about cloying whether it's the Byrds, the Eagles, Desert Rose...whoever. Anybody care to edify me regarding this longstanding sweeping generalization of mine? Kelly Well, Kelly, I basically have to agree with you here, and I lay it at the feet of that cocaine-swilling, joint-bogarting monster known as Crosby, Stills, and Nash. If I hear another person telling me how great their weak, vanilla-assed harmonies are, I'm going to get out my Soul Stirrers disc and beat em over the head with it. Yeah, I'll give you something to helplessly hope for. Anyway, I will say that the Byrds sometimes managed to transcend what you're talking about (sometimes, in fact, while guilty of it). Songs like Drug Store Truck Drivin Man, Mr. Spaceman, and even Wasn't Born to Follow don't seem fall into that vocal tar pit. That is, they sound--to me anyway-- like there's a good separation of voices. And while a few songs, like Eight Miles High, Time Between, or Thoughts and Words do kinda have that unvariegated vocal arrangement, I find that the music is interesting enough so it doesn't really bother me. I've also noticed that Neil Young gets lumped in with this crowd, too, and no doubt he's been guilty. But, that's what songs like Come On Baby, Let's Go Downtown and Time Fades Away are for. Cleansing the palate of the pap. Lance (who's cranky because I have to stay up all night and do research) . . .
RE: Soul
Speaking of which, has P2 ever talked about the whole California country rock style of harmony where it's always in unrelentingly sweet thirds-no tension, no dissonance, no variation? Obviously, the Bakersfield thang was another kettle of fish, but I find this particular style I'm talking about cloying whether it's the Byrds, the Eagles, Desert Rose...whoever. Er, ah, that's your basic bluegrass harmony. Not Stanley mountain music, bluegrass. Via Chris Hillman, Herb Pedersen, Doug Dillard, Bernie Leadon, Jim Dickson (producer), et.al. Check out the newly-reissued Scottsville Squirrel Barkers, the Hillsmen reissue (Sugar Hill), the Dillards comp (There Was A Time, Vanguard), etc. Where's that dang Budrocket when you need him, anyhow? He's got a pretty good grasp of the details. Neil Rosenberg has a couple of pages on the SoCal bluegrass scene and its influence on/connection to SoCal country-rock in _Bluegrass: A History_, but I'm too tired to drag it out now. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Soul
um, it also has the advantage that everyone can sing it. Linda, still sodden with with populism in the wake of Friday night's concert for the People's Music Network for Songs of Freedom and Struggle featuring Pete Seeger In a message dated 1/31/99 7:28:23 AM Central Standard Time, [EMAIL PROTECTED] writes: Er, ah, that's your basic bluegrass harmony. Not Stanley mountain music, bluegrass. Via Chris Hillman, Herb Pedersen, Doug Dillard, Bernie Leadon, Jim Dickson (producer), et.al. Check out the newly-reissued Scottsville Squirrel Barkers, the Hillsmen reissue (Sugar Hill), the Dillards comp (There Was A Time, Vanguard), etc. Where's that dang Budrocket when you need him, anyhow? He's got a pretty good grasp of the details. based on the esteemed Ms. T.X. Rubies post: Speaking of which, has P2 ever talked about the whole California country rock style of harmony where it's always in unrelentingly sweet thirds-no tension, no dissonance, no variation? Obviously, the Bakersfield thang was another kettle of fish, but I find this particular style I'm talking about cloying whether it's the Byrds, the Eagles, Desert Rose...whoever.
Re: Soul
"Walker, Jason" [EMAIL PROTECTED] writes: All this re:soul business has jogged my memory about something - postcarders who own a copy of "On Golden Smog" may care to look at the hand-drawn cover, theres a sign above a barroom door that reads "Tonight: Resoul Hawkrun". As you can see, I have too much time on my hands. And of course Golden Smog's _Down By The Old Mainstream_ also featured a nice cover of Bobby Patterson's Jewel/Paula cut _She Don't Have To See You (To See Through You)_. My view of country-soul btw would be epitomised by William Bell's _You Don't Miss Your Water_ (anyone else think the Byrds cover on _Sweethearts Of The Rodeo_ completely devoid of soul?) I'd include black artists such as Otis Redding, Solomon Burke, James Carr, Joe Simon, Arthur Alexander, Clarence Carter etc etc (I know I'm missing a lot here) all of whom incorporated elements of country music into their sound. np: The Byrds - _Sweethearts Of The Rodeo_ (for comparison) cheers, - james matthews [EMAIL PROTECTED] "boogity boogity boogity boogity shoop"
Re: Soul
On Sun, 31 Jan 1999 15:17:09 +1300 James Matthews said: "Walker, Jason" [EMAIL PROTECTED] writes: All this re:soul business has jogged my memory about something - postcarders who own a copy of "On Golden Smog" may care to look at the hand-drawn cover, theres a sign above a barroom door that reads "Tonight: Resoul Hawkrun". As you can see, I have too much time on my hands. And of course Golden Smog's _Down By The Old Mainstream_ also featured a nice cover of Bobby Patterson's Jewel/Paula cut _She Don't Have To See You (To See Through You)_. My view of country-soul btw would be epitomised by William Bell's _You Don't Miss Your Water_ (anyone else think the Byrds cover on _Sweethearts Of The Rodeo_ completely devoid of soul?) I'd include black artists such as Otis Redding, Solomon Burke, James Carr, Joe Simon, Arthur Alexander, Clarence Carter etc etc (I know I'm missing a lot here) all of whom incorporated elements of country music into their sound. And let us not forget Ted Hawkins - even if his blend of folk, blues, country and soul is a tad more idiosyncratic than the above 1960s guys. Evan Cooper (who also likes Brian Eno's version of You Don't Miss Your Water on the Married to the Mob soundtrack. np: The Byrds - _Sweethearts Of The Rodeo_ (for comparison) cheers, - james matthews [EMAIL PROTECTED] "boogity boogity boogity boogity shoop"
Re: soul
Walker, Jason wrote: Muscle Shoals studio in Muscle Shoals, Alabama where artists such as Dan Penn, Eddie Hinton and Arthur Alexander to name just a few Or one of my personal favourites by Boz Scaggs after his Steve Miller Blues Band stint, but before silk suited aliens inhabited his body, the self titled Boz Scaggs. This li'l beauty included the famed Muscle Shoals rhythm section, lovely girl backup singers, and most especially Duane Allman sliding through "Loan Me a Dime" and others. The first tune I learned on Dobro was off this record - Waiting For A Train. I could use a copy of this one if it is available on CD. Course, a CD would probably not include the large as life full frontal nudity as found in the LP jacket. William W Western
Re: soul
You guys are all the samesheesh! gActually, there probably wouldn't have been a Motown without Stax or Chess. But, Ms. Nixon wants to know if any of us like Motown. Heck yes! From The Temptations to The Supremes...very likeable music which got many of the record-buying public to delve deeper into roots music: rb, blues...etc. I "discovered" Bessie Smith after hearing her named as an influence. Also checked out B.B. King and Muddy Waters and today also list Buddy Guy as an influence on my musical tastes. Also listen to John Hall. I love the blues and its various incarnations. The music I like most incorporates country, blues and rockabilly. If you want to hear some really good stuff, I suggest you get a hold of Ray Charles: The Country and Western Recordings. Released last fall, it is a wonderful collection of pure country soul. I can't say enough about it...except it gets constant play in my house. Tera -Original Message- From: William W Western [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Thursday, January 28, 1999 11:18 PM Subject: Re: soul Waiting For A Train. I could use a copy of this one if it is available on CD. Course, a CD would probably not include the large as life full frontal nudity as found in the LP jacket. William W Western
Re: soul
[EMAIL PROTECTED] wrote: Ah yes, another fine example. Although one I'll suggest doesn't quite work as well as I'd hope is what I've heard of Jim Lauderdale's work. A wonderful voice and the boy's got plenty of twang 'n soul in him. So how come I find it all mostly dull? I've tried hard too, and it may be just me, but in general I dont find the songwriting up to snuff.Maybe he gives his best stuff away (You Dont Seem to Miss Me...) Stevie
Re: soul, etc
At 03:13 AM 1/29/99 -0500, Tera wrote: You guys are all the samesheesh! gActually, there probably wouldn't have been a Motown without Stax or Chess. I can see, I guess, how we might argue that Chess paved the way for Motown in that it proved there was a crossover market for black artists (Chuck Berry, Bo Diddley), but if that's what you mean, why not also include King or Imperial and whoever else? More to the point, though, how is it that, without Stax, "there probably wouldn't have been a Motown"? In truth, the two labels followed almost eerily simultaneous paths to success. However, if we have to choose a chicken or egg here, it's clearly Motown that came first, not Stax. If our standard is which label released the first single, then Motown wins: Smokey and the Miracles' "Way Over There" came out on Tamla the summer of 1959. Stax's first release (actually called Satelite at the time) was The Veltones' "Fool In Love" from September, '59. If instead our standard is first chart hit, then Motown squeaks out another victory. Smokey's "Shop Around" debuted on the RB chart in Dec. of '60 (on its way to number one and number two pop) while Stax and Carla Thomas didn't chart until Feb.of '61 with Gee Whiz (and didn't do quite so well there either: #5 RB, #10 pop). Elsewhere, Tera said: You could probably say the same of Elvis Presley who took a "rb" image concept and transferred it to rockabilly. This seems off. Presley fused country and rb to create rockabilly, not rb and rockabilly to create...what? (In fact, without rb in the first place, how do you even get rockabilly, let alone transfer rb back to it?) Do I like Motown? Hell yes! Indeed, catalogue to catalogue, and with a gun to my head, I'd prefer its output to Stax's, though barring the gun I don't really see any need to choose. I will, however, give a shout out to Gamble and Huff and Philly International (the O'Jays, Harold Melvin, etc.) which I will proclaim loudly as my favorite of all the great soul labels. Especially if we can include the work that Philly house arranger Thom Bell was doing, simultaeously, with the Spinners and Stylistics at Atlantic (and for that matter, what Philly Int.'s other arranger, Bobby Martin, was doing with the Manhattans at Columbia) then to my taste the more general term, Philly Soul, describes the best there ever was. --david
Re: soul (Motown, etc.)
You guys are all the samesheesh! gActually, there probably wouldn't have been a Motown without Stax or Chess. But, Ms. Nixon wants to know if any of us like Motown. Heck yes! From The Temptations to The Supremes...very likeable music which got many of the record-buying public to delve deeper into roots music: rb, blues...etc. Tera Well, I never really thought about it before, but it isn't very cool to like Motown--in the same way it is to like Stax, that is. I think Tera has a point here. Part of the reason for my greater appreciation for Stax, though, is because I'm constantly bombarded by those 60's Motown songs--either on radio, TV ads, background music in movies, VH-1 specials, etc.--in a way I'm not by the Stax stuff. And as for the No-Stax-No-Motown assertion, I don't know if that's true. The Stax machine is predated by the Satellite imprint, for sure, but until Atlantic picked up distribution in 1960 (following Carla Thomas' "Cause I Love You"), I don't know if many people outside of the South heard any Stax stuff. And that was also the same year that Berry Gordy hit with "Shop Around" (The Miracles on Tamla) and "Bye Bye Baby" (Mary Wells on Motown), so they seem to be concurrent enterprises. Anyway, I still stand by those late 60's/early 70's Temptations/Norman Whitfield records. These are still "dance records," but they add VERY heavy wah-wah guitars, funky-ass bass lines, aggressive polyrhythms, and some frighteningly honest lyrical moments. As cool as anything on Stax (IMO). As for country-soul, does anyone else listen to Joe Tex? And how about Messrs. Sahm and Yoakam? Or Ms. McKee's "You Gotta Sin" LP? Or, even Jon Spencer's collaboration with RL Burnside? I think all these records are knee-deep in the groove AND grits . . . Lance
Re: soul, etc
Carl: On the fabulous Hi label where Willie Mitchell produced so much fine music. Does anyone here own the Hi box set? Is it a representative collection of that label's finest releases? Oh yeah. WIllie Mitchell was a recording genius Besides Ann Peebles, what else *is* in that box set? I've always wondered too. --junior
Re: soul, etc
Joe Gracey writes: There is no substitute for a 60s-era soul review. Take my word for it. Okay, as sad as it is, I'll provide a bookend to Joe's James Brown story. The year was 1988. I had graduated from college about a year earlier and was working and teaching bass at a local musical instrument store in Keene, New Hampshire. A local promoter was booking a few shows at the county fairgrounds that summer, one of which was a bill featuring Johnny Rivers, Chuck Berry, Carl Perkins, Roy Orbison, and James Brown. I'm not a *huge* Johnny Rivers fan (other than "Secret Agent Man," that is) but was nuts for everyone else on the bill. And Rivers *is* a good performer, no doubt about it, and everyone else was great, too. Hell, even Chuck Berry turned in a fine performance. So James is the final performer of the day and his band comes out and starts playing funk instrumentals. James' personal problems were well-known during this period (he was awaiting trial for his famous car chase at that time and was also known to be having marital problems) and there was a lot of curiosity as to how the performance would go. So the band is playing...and playing...and playing. This goes on for about thirty minutes and there's no James Brown yet. People are starting to get a little worried and then Brown finally comes out and turned in a fine performance. Not quite great, and he was a little more incoherent than I'd expected, but certainly nothing to be embarassed by. Meanwhile, outside of town, James' estranged wife had come up to New Hampshire and tried to burn down the motel where James and his band were staying, not knowing that he was at the fairgrounds at the time. She was caught and charged with attempted arson, though I can't remember what the end result of that was. A couple of days later I was at work and a friend of mine came into the store. Said friend worked on the sound crew at the show and was telling me about what it was like backstage. We ended up talking about the arson thing that James' wife had been arrested for and he proceeded to tell me some horror stories about what it was like backstage before Brown's set. I really don't want to get into what he told me *too* much because none of it would come as a huge surprise at this point and James has admirably stuck to the straight-and-narrow in the intervening years. Safe to say, though, there was a good reason why the band was playing instrumental vamps for a half-hour before he finally went onstage. I was really impressed that the performance was as good as it was after hearing my friend's backstage stories. I truly wish I'd seen Brown in the '60s. A few years back PBS ran an old bw videotape of his 1968 Boston TV performance the evening of Martin Luther King's death; one of the most amazing TV concerts I've ever seen. The anger and energy in the audience came through loud and clear, twenty-five years after the original event. The way that Brown and Boston's then-mayor Kevin White handled the situation onstage saved Boston a lot of destruction that a lot of other cities weren't as lucky to avoid. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: getting Jim Lauderdale (was Re: soul)
I 'll jump in to say Sr. Silvers nails this situation--Lauderdale's records have somewhat varying sounds, but they're more miss than hit than picking up his strengths as a performer--and he's definitely got those. His live solos veer towards the dramatically soulful (in a Memphis sense!)--which takes the audience by surprise in about the same percentages as the "I don't et him" comments from the records! And whether he's with Lucinda Williams, Buddy Miller or Ralph Stanley (and I've seen him with all three in the past year) he does lend great harmong support. (Plus, he has really great friends.) If he comes around with someobody, playing solo and dually--which happens--maybe that's the way to take a chance. Barry
Re: Buddy Guy (was Re: soul)
Why does GE Smith get so slagged? I think it's the hair and the grimaces he makes. g Jim, still smilin' You're walking on thin territory Jim. Barry Shag-challenged and grimmacing. In a nice way. (Maybe he could change his name to RCA Smith. More retro.)
Re: getting Jim Lauderdale (was Re: soul)
Jerald Corder wrote: So what's my point? He has written alot of great songs scattered on his cds and covered on others. I smell a compilation tape that might open some eyes. But then it might not. I did one for an unnamed P2er. Fell into the "might not" category, but it was fun to do. Hey Jerald, let's work one up and offer it to the list. I remember how David Cantwell looked when I asked him about how his Starkweathers comp tape offer went a few months later. g b.s.
Re: Buddy Guy (was Re: soul)
Why does GE Smith get so slagged? While I may not be a huge Hall Oates fan and band leading SNL might not be the most cred producing gig, I've always thought the guy can play. I'm sure he can, but as someone else said just watching the guy was painful. I use to watch a good deal of SNL in those days with buddies of mine who were pretty good guitarists themselves, and they would look upon those skit-ending close-ups on him as comedy sketches in their own right... Dan, who is honestly looking forward to the long-rumored "Sprockets" movie...g
Re: soul, etc
[EMAIL PROTECTED] wrote: Meanwhile, outside of town, James' estranged wife had come up to New Hampshire and tried to burn down the motel where James and his band were staying, not knowing that he was at the fairgrounds at the time. this is cool. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Buddy Guy (was Re: soul)
Sez Carl Z: Speaking of which, the local PBS station aired a tribute to Muddy Waters this week which featured a number of luminaries guesting with a house band featuring G. E. Smith (ugh), Johnnie Johnson Charlie Musselwhite. The highlight was a very long appareance by Buddy Guy... I saw some of that and what knocked me out flat was Johnnie Johnson's spare and oh-so-tasty foil to Phoebe Snow. Phoebe left me pretty cold. Who can tell me more about Johnnie Johnson?
Re: Buddy Guy (was Re: soul)
On Fri, 29 Jan 1999, Kelly Kessler wrote: Who can tell me more about Johnnie Johnson? I can't tell you a damn thing. Listen to some Chuck Berry records, Johnnie's all over them. Also, rent that Keith Richards flick about celebrating Chuck's birthday. Johnnie's in that, with some good shots of his hands. -- Mike Woods
Re: Buddy Guy (was Re: soul)
On Fri, 29 Jan 1999, Kelly K. wrote: Who can tell me more about Johnnie Johnson? Barry replied: Already am experienced Midwest keyboard man (St. Louis or Kansas City originally, I think) when he met Chuck Berry--this was the guy who played piano on the likes of Roll Over Beethoven, Maybelline. Thirty Days, Brown-Eyed Handsome Man, Too mUch Monkey Business, Memphis, Almost Grown., Little Queenie and Carol...It's widely accepted that his piano licks had significant influence on Berry guitar lick and therefore on all of rock and roll (with apologies to Louis Jordan and T-Bone Walker, who Berry knew just as well). This is it, in a nutshell. Johnny still plays around St. Louis quite often, usually fronting his own combo but occasionally still sitting in with Chuck or other local bluesmen. He's a very sweet old guy, and not the type to draw attention to himself. He can still play just fine, too. I catch Johnnie when I can because he's one of the last remaining links to '50's rock n roll at its very best. Kip
Re: soul
Claire Nixon wrote: Does anyone here like motown? I'm not real fond of the records, but I love the bass player... -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: soul
Excerpts from internet.listserv.postcard2: 28-Jan-99 Re: soul by Joe [EMAIL PROTECTED] Does anyone here like motown? I'm not real fond of the records, but I love the bass player... James Jamerson, for those of you scoring at home. Carl Z. fond of Jamerson, many Motown records, and Joe's fine post on Jimmy Day
Re: soul
On Thu, 28 Jan 1999, Claire Nixon wrote: Does anyone here like motown? When it comes to Soul music I prefer Stax stuff, but...yeah! Motown Records put out some very heavy sides, especially in the '60's. Twang content: Records that *successfully* combine country and soul elements are as wonderful as they are rare.
Re: soul
Some but prefer Stax/Volt Memphis stuff Iceman Claire Nixon wrote: Does anyone here like motown?
RE: soul
O, yeahh. A day without some soul music is like a day without sunshine. Favourites: Arthur Alexander - Back Roads, In The Middle Of It All Aretha Franklin, James Carr, Percy Sledge, Otis, Booker T The MGs - I know they're not strictly Motown but, what the hell. Junior Walker -- From: Claire Nixon[SMTP:[EMAIL PROTECTED]] Reply To: [EMAIL PROTECTED] Sent: Friday, 29 January 1999 5:47 To: passenger side Subject: soul Does anyone here like motown?
Re: soul (of Carol Kaye)
On Thu, 28 Jan 1999, Joe Gracey wrote: Jeff Sohn wrote: Don't forget Carol Kaye who also played on many Motown sessions including those of Stevie Wonder, Four Tops, Supremes, and Marvin Gaye. I may be completely wrong, but wouldn't that be later on after Motown moved out to LA? She was the LA session player who was part of the Wrecking Crew with Leon Russell and all them guys who played on everything from Phil Spector to Beach Boys to Byrds etc. Check out her web site - http://www.carolkaye.com She has also been a regular contributor to several bass players' lists I've been on such as the Bottom Line, and she always manages to hold her own in the rough and tumble world of the Internet. -- Geff King * [EMAIL PROTECTED] * http://www2.ari.net/gking/ "We were having trouble getting a good clean bass sound. So instead of going with a standard 2/4 beat, I said, `Let's try a 4/4 bass and a shuffle rhythm,' and it cut. It cut clean through." -- Ray Price, on recording 'Crazy Arms'
Re: soul
Kip: Twang content: Records that *successfully* combine country and soul elements are as wonderful as they are rare. Neal: totally, because the down side means twangless groove rock with an acoustic guitar. Can you say "Dave Matthews Band"? Care to share some good examples? Well, the first one that really pops into my head as a prime example of good country-soul fusion is...the Band! Think of the way Danko's groovy bass works with Levon's dry-as-dust drumming style, and how the rhythm section then complimented the slinky guitar parts of Robbie Robertson, all while playing songs that easily and organically combined country, folk, blues and rock'n'roll elements. M. Mighty tasty. Kip
Re: soul
totally, because the down side means twangless groove rock with an acoustic guitar. Can you say "Dave Matthews Band"? Exactly. In fact, the more I thought about it, the more it seems like the country-soul equation gone awry equals AAA in general. Anyhoo, the Band is a marvelous example. Guess I gotta go hear some right now. In some way, I think Dave Alvin might be living in between such genres, but I guess it's more blues and country than it is soul. Neal Weiss
Re: soul
Thanks to Joe for that great Jimmy Day piece. This is what music is all about, isnt it? Joe also wrote about Muscle Shoals: Yeah, I produce an artist from France who recorded there and told me stories. Another great source for good stories is Peter Guralnick's "Sweet Soul Music," which has some wonderful stuff about those old music backwaters like Muscle Shoals and Macon. Will Miner Denver, CO
Re: soul
Boy, when I hear the words "country" and "soul" in the same sentence, the first person that comes to mind is Buddy Miller. I guess over the last couple years his albums have stayed in my favorites as long as anyones. Tasty! Ah yes, another fine example. Although one I'll suggest doesn't quite work as well as I'd hope is what I've heard of Jim Lauderdale's work. A wonderful voice and the boy's got plenty of twang 'n soul in him. So how come I find it all mostly dull? Neal Weiss
RE: soul
All this re:soul business has jogged my memory about something - postcarders who own a copy of "On Golden Smog" may care to look at the hand-drawn cover, theres a sign above a barroom door that reads "Tonight: Resoul Hawkrun". As you can see, I have too much time on my hands. Junior Walker -Original Message- From: Ph. Barnard [SMTP:[EMAIL PROTECTED]] Sent: Friday, 29 January 1999 5:25 To: passenger side Subject: Re: soul Although Stax-Volt and Al Green ultimately rule the roost, as far as I'm concerned, that early Muscle Shoals stuff is right up there with it. Up until Barry Beckett and the other Muscle Shoals session guys had their falling out with Rick Hall (Fame Studios), that unit could go head-to-head with the Memphis boys. Not only the Arthur Alexander tracks someone mentioned earlier today, but lots of others by Aretha, Otis, Wilson Pickett, Clarence Carter, etc. If you ever want to hear some good Muscle Shoals gossip, drop by Fame the next time you're driving through northern Alabama (assuming you have occasion to drive through northern Alabama...). Rick Hall's wife still works the front desk at the studio, and she can dish dirt with the best of them!!! g. Neal also mentions: Ah yes, another fine example. Although one I'll suggest doesn't quite work as well as I'd hope is what I've heard of Jim Lauderdale's work. A wonderful voice and the boy's got plenty of twang 'n soul in him. So how come I find it all mostly dull? Sadly (sort of?), I have to agree. I respect Lauderdale, he's worked with a lot of great people, etc., but his own stuff just never moves me. Oh well. --junior
Re: soul
On Thu, 28 Jan 1999 [EMAIL PROTECTED] wrote: the down side of (fusing country and soul) means twangless groove rock with an acoustic guitar. In fact, the more I thought about it, the more it seems like the country-soul equation gone awry equals AAA in general. Ouch! But I must agree. AAA, or the worst of it anyway, takes elements of soul, rock and country-folk and then blends it all into a sort of bland porridge test marketed to dentists receptionists and hair salon clerks, carefully removing any of the grittier or more alarming aspects of the genres plundered. Remember, AAA radio consultants *will* be among the first up against the wall when the revolution comes. Che Kip
Re: soul
If you ever want to hear some good Muscle Shoals gossip, drop by Fame the next time you're driving through northern Alabama (assuming you have occasion to drive through northern Alabama...). Rick Hall's wife still works the front desk at the studio, and she can dish dirt with the best of them!!! g. I did just that a few years ago on a trip to Northern Miss. to visit relatives and sure enough, at the front desk, the lovely wife and Rick in the studio with Shenandoah. I was able to weasel into the studio for an hour and watch Rick work. The place is filled with Gold records wall to wall and just perusing the history on the walls is great fun, Mike Hays np:Elena Skye NOW ONLINE, www.TwangCast.com TM RealCountry netcast 24 X 7 Please Visit Then let us know what you think! Mike Hays www.MikeHays.RealCountry.net For the best country artist web hosting, www.RealCountry.net
