…well? Can you? It’s mind-blowing to me that this song was recorded and released after Michael went solo. He was already one of the biggest stars in the world, and he decided to make another record with his less talented and weirdly perma-smiling family. I’m pretty sure they made another one after this as well. The music on Triumph and Destiny is unimpeachable, though. Super-duper tight corporate R&B. Can’t stay mad at that.
Demo: “Bad Side”
Here’s a new tune. I’ve been working on this one for a few weeks, although the skeleton of it has been in place from the start. I’m pretty pleased with it, although the home recording, as always, leaves plenty to be desired. In particular, the ad lib vocal over the final refrain is rough and raw, but I figured that I might like that later. I just did it a few moments ago, so time will tell. But isn’t this what the internet is for? Sharing things with people before you’re really ready to?
Filed under Dap who? Never heard of them.
Aretha Franklin – “You Send Me”
I love a bit of obscure soul as much as the next nerd, but when someone is obsessively collecting all the 45s Major Lance ever released, I sometimes wonder if s/he spent enough time with Aretha Franklin. This is a live performance of her Sam Cooke cover from my favorite Aretha album, Aretha Now. It’s the piano intro that gets me. By the way, we’re playing at Memory Lanes a week from today. It will be great.
Filed under Uncategorized
Millie Jackson – “I’m Tired Of Hiding”
From Millie’s 1974 masterpiece, Caught Up. There’s not a bad cut on the entire album, and the whole thing hangs together not just as a concept album, but as a narrative album. Millie became notorious for her sexually explicit lyrics in the 1980s, but she was already explicit here – the pedestrian details, the confessional tone. Rap and pop music has taken a sharp turn in this direction in the last couple of years. On the tip of the iceberg, Ke$ha and Drake are basically reading their diaries over synth pop, while rappers like Danny Brown, Zeroh, Yelawolf, Quelle, Playboy Tre, Z-Ro, and dozens of others have created their own brands of confessional rap, all eschewing the broad strokes we’ve painted pop music with for so long. I doubt there’s a direct Millie Jackson influence there, but she was laying foundation years ago.
Filed under Things Millie said to your wife
Sterling Cooper Presents: The Mad Men of Soul
This one is going to be good. Really, really good.
On Saturday, April 16th, join us in celebrating all things Mad Men. Whether or not you share our love of the award winning AMC series about the ad industry of the early-mid 1960s, you’ll find something to love about this show.
Let me walk you through it. In advance of the show, head down to Blacklist Vintage at 25 E. 26th Street in Minneapolis, and mention the Mad Men of Soul event – they’ll knock 10% off any item in the store, and they’ll probably help you pick out something to wear to the show.
On the night of the 16th, head down to Memory Lanes with a few friends and get yourself a lane and some dorky-looking shoes. Take advantage of the drink specials on juleps and martinis, and take in a few episodes of Mad Men while bowling a few frames and waiting for the show to start.
At 10pm, Hip Replacement will knock your socks off with their airtight horn-based funk music.
At 11pm, local neo-soul luminaries Soulacious will insist that you put your damn socks back on.
Finally, at midnight, the Robinson Caruso Organization will do what the RCO does. If you don’t know, you’d better ask somebody.
It’s like fries and milkshake – all our favorite things mixed together. If you plan to go, do us a solid and RSVP, then spread the word. Let’s make it a party.
Filed under The best thing ever
Ray Charles – “Hard Times”
It’s Springtime in Minnesota, which means it’s snowing again. This song seemed fitting.
Ray had a serious winning streak on the Atlantic label – if you’re a soul music fan, there aren’t many of his sides from those years that you wouldn’t recognize. This is my favorite. I can’t break it down – I need to leave it just as it is. I will note, however, that the very best Ray Charles songs ALL feature a David “Fathead” Newman sax solo. I think he has four bars in this one. Four bars. That’s all he needs.
Filed under Fathead steals the show
