Author: thedailyrecord

Review Roundup – Rakim, Dodos, Naomi Shelton, Blakroc and Daptone Gold

by thedailyrecord, posted in Album review

(Above: The title song from Naomi Shelton’s debut album.)

By Joel Francis
The Daily Record

The first month of 2010 is almost in the history books. Fortunately, there’s still time to take one last look at some overlooked releases from the final quarter of 2009.

The Dodos – “Time to Die”

The Dodos third album isn’t a major departure from 2007’s “Visiter.” Several subtle elements, however, make “Time to Die” an improvement. First off, the San Francisco-based indie duo has added vibraphonist Keaton Snyder to their ranks. His playing adds new textures and new rhythms to the songs. Like Vampire Weekend, the Dodos add elements of African music to their arrangements. Unlike Vampire Weekend, though, the Dodos don’t use world music as a template. They incorporate its ingredient into already solid songs. At times the album recalls a more sophisticated Shins. “Time To Die” is filled with a high sense of melody and smart indie rock songwriting bolstered by intricate arrangements that serve the song.

Blakroc – “Blakroc”

Dan Auerbach and Patrick Carney have been making great garage blues albums for nearly a decade as the Black Keys. After about five albums, however, some staleness started to creep into the formula. After recruiting Danger Mouse to produce their 2008 release, and Auerbach’s early ’09 solo album, the pair dropped their biggest transformation. “Blakroc” pairs the Keys with former Roc-a-fella co-owner Damon Dash and a host of MCs, including Mos Def, Ludacris, Q-Tip, Pharoahe Monch and members of the Wu Tang Clan. The result is the expected mash-up of rap vocals and raw gutbucket rock that exceeds expectations. Auerbach’s dirty, fuzzy guitars and Carney’s drums add an urgency often lacking in the urban world of sampling. In turn, the MCs feed off the vibe, responding with more bounce and personality in their delivery. More, please.

Naomi Shelton and the Gospel Queens – “What Have You Done, My Brother?”

Naomi Shelton’s back story should sound familiar to fans of Bettye LaVette. Shelton palled around with pre-fame Wilson Pickett, Otis Redding and Lou Rawls. Despite their encouragement, success eluded Shelton, who played regular gigs around New York City. Thirty years later, Shelton became part of the “Daptone Super-Soul Revue,” but it took another decade for her debut album to emerge. “What Have You Done, My Brother?” is a classic gospel album that sounds like it could have been cut 50 years ago. Despite its traditional arrangements, the album finds contemporary resonance in the title song, which questions the war in Iraq. Shelton’s cover of Sam Cooke’s “A Change Is Gonna Come” is especially poignant. A survivor of the civil rights movement, Shelton combines the longing of Cooke’s vision with the optimism of the Obama-era.

Various Artists – “Daptone Gold”

Daptone Records found fame with the diminutive dynamite Sharon Jones, but the entire stable should appeal to Jones’ fans. “Daptone Gold” is a 22-track sampler of the Daptone roster. While Jones is appropriately represented (sometimes through non-album tracks), there are no bum cuts. The old school gospel of Naomi Shelton sets nicely next to Antibalas’ political Afrobeat and the instrumental soul of the Budos Band. Other artists include Stax throwbacks Lee Fields and Charles Bradley. Hip hop fans will recognize “Make the Road By Walking,” the Menahan Street Band track Jay-Z smartly sampled for his own “Roc Boys (And the Winner Is).” At 78 minutes, this generous sampler will certainly send newcomers diving into the back catalog for more.

Rakim – “The Seventh Seal”

Rakim made his name as one of rap’s premier MCs with his groundbreaking albums with Eric B in the late ‘80s and early ‘90s. It’s been 10 years since the world has heard anything from Rakim. During that decade he toured sporadically and signed with Dr. Dre’s Aftermath label. The prospect of Dre making beats for Rakim made fans salivate, but unfortunately “The Seventh Seal” is not that long-awaited album. It’s difficult to forget about that hypothetical masterpiece with all the b-list production that plagues “The Seventh Seal.” Rakim sports enough killer flow to justify his reputation, but tracks like “Won’t Be Long” and album opener “How To Emcee” are more stilted and dated than anything on “Paid in Full” or “Follow the Leader.” While there are enough moments on “The Seventh Seal” to make it a must-have for old school fans, casual listeners should probably just ask the devoted to cull a few cuts from this for a killer Rakim mixtape.

(Below: “Holy Are You,” one of the better cuts off Rakim’s “The Seventh Seal.”)

Keep Reading:

More album reviews from The Daily Record.

KC’s MCs throw down this weekend

by thedailyrecord, posted in Kansas City music scene, Kansas City Star
(Above: Supernatural takes on Juice in one of the most famous MC battles of all time.)

By Joel Francis
The Kansas City Star

Practice is vital but when it comes to rapping, nothing improves skills like a live, trial-by-fire MC battle. This weekend, several rappers will have a chance to compete for money.

The third annual Versus Emcee and Beat Battle goes down Saturday night at the Record Bar, 1020 Westport Road. A pre-battle show will be held tonight at the Riot Room.

“Battles are how you prove yourself and show how far your skills have developed,” said Clarence Draper, who goes by the MC name Vertigone. “This is also a way for people who aren’t actively involved in the scene or new to the area to get up and connect and get involved.”

The contest is open to the first 16 MCs who sign up. Draper encouraged them to arrive between 8:30 and 9 p.m. The winner will take home $500.

“This is first-come, first-served, so they need to be there early,” he said. “Plus people should come out to see the beat battle.”

In the beat battle, six DJs will use their own equipment and go head- to-head in six rounds that include using a common sample to create distinct productions.

Draper said the final evening will resemble the battle scenes in “8 Mile” but without scripts. Everything that comes off the stage must be spontaneous.

“At Versus we reward the freestyle,” Draper said, “which is the most pure idea of the MC not having anything and being ready to rhyme.”

Draper practices his freestyles during his normal routine, incorporating things he sees, such as traffic signals, into rhymes.

“The socially conscious stuff I do on my albums is not going to win you any battles,” he said with a laugh. “I practice all the time how to rhyme, which words work together. I focus mainly on two-syllable words like ‘eventually’ and ‘century.’ It’s not all ‘cat’ and ‘hat.’”

MC Les Izmore, who releases albums on his own and performs as part of Hearts of Darkness, participated in last year’s Versus battle. For him, the night is more about building his skills than beating others.

“I know a lot of people practice their freestyle, but I’m not prepping,” Izmore said. “(Last year) was a thrill. I didn’t know what was going to happen. I may not know the person I’m up against, but I’m there to challenge myself as an MC.”

Although boasts and insults are a large part of the battle repertoire, presentation plays a large role. In other words, sweat the technique.

“Battling is more than insulting people. You have to have style and swagger to how you do it,” Draper said. “You have to work the crowd as much as your opponent. When someone says something that sways the crowd, you have to win them back.”

While the Versus battle is only in its third year, its tradition runs deep in Kansas City. During the city’s jazz heyday, musicians would spar in ‘head cutting’ contests nearly every night in the 18th and Vine District.

“I’ve been at the Mutual Musicians Foundation and seen the musicians, all of them were just in this mood, this groove,” Draper said. “And then they started jumping off of that with solos, each person trying to outdo the other. It’s the same thing we’re trying to do in a freestyle.”

Vertigone and his friend Raymond “Kartoon” Hardy hosted the initial Versus battle because they felt there was a void in the community after the demise of the successful Mic Mechanics battles in Lawrence.

“Battle rhyming starts out under the street lights and on the corners in the neighborhood,” Draper said. “Eventually you get tired of that and want to take on other people. We are trying to keep this going for anyone who doesn’t have an outlet. It’s as much about social networking as anything.”

Izmore has one final word of advice for everyone joining him onstage this weekend.

“When I was up there (onstage last year), I could feel a ton of raw energy,” he said. “You gotta make sure to come with your best, because you don’t know what will come up next time.”

The Supremes – “Up the Ladder to the Roof”

by thedailyrecord, posted in Motown, Song Review

The Supremes – “Up the Ladder to the Roof,” Pop # 10, R&B # 5

By Joel Francis
The Daily Record

Life in the Supremes had been rocky for a while. First, Diana Ross got top billing, then founding member Florence Ballard was replaced by Cindy Birdsong. To add insult to injury, several tracks credited to Diana Ross and the Supremes were glorified Ross solo tracks, recorded with no input from Birdsong or Mary Wilson.

When Ross finally left to launch a solo career, Wilson regained control of the group. As the sole original member, she became the unofficial leader. For the first time in a while, Wilson’s voice was prominent among the backing vocals. In her autobiography, Wilson recalled that the backing vocals were recorded with the three Supremes sharing a microphone, something the group did frequently in the early days but had not done in years.

Although she never reached the same level of fame as her predecessor, Terrell was an excellent replacement for Ross. Terrell’s voice had greater range and tone with a strong gospel emphasis. Producer Frank Wilson (no relation to Mary), frequently told Terrell to dial back her performance during the recording of “Up the Ladder to the Roof” because he thought Motown listeners wouldn’t like her soulful delivery.

The title is a nod to Gerry Goffin and Carole King’s 1962 hit for the Drifters, “Up on the Roof.” In the Drifters’ song, the roof is a romanticized utopia, free of the worries and stress of urban life. For the Supremes, however, the roof represents not only sex (check the way Terrell coos the lines “where we can be closer to heaven” in the chorus) but commitment and a new life together, stopping just short of being a marriage proposal. Although the string arrangement gives the song an elegant feel, the funky wah-wah guitar and percussion breakdown in the middle is definitely a nod to the times.

“Up the Ladder” successfully launched the “new Supremes,” lodging at No. 10 on the Pop chart and making it all the way to No. 5 on the R&B chart. It was covered by Bette Midler in 1977, the a capella group the Nylons in the early ‘80s and Al Green during his gospel phase later in the decade.

Review: “The Oxford American: Book of Great Music Writing”

by thedailyrecord, posted in book review

(Above: Drivin’ N’ Cryin’ are one of many artists to get some love in a recent Oxford American music writing anthology.)

By Joel Francis
The Daily Record

The Oxford American “Southern Music Issue” is an annual treat, loaded with great writing that unearths wonderful stories on longtime favorites and introduces several new discoveries. Coupled with a CD – in recent years it’s come with two discs – the magazine effectively serves as the ultimate set of liner notes to a killer compilation.

Now in its 11th year, these editions are been rightfully prized; back issues frequently fetch more triple face value online. Fortunately, there is a more affordable way for new readers to access the previously published essays and features.

The Oxford American: Book of Great Music Writing compiles the best articles from the magazine’s first decade. The 420-page book reads like a mixtape, transitioning smoothly from all the usual suspects – blues, country, jazz, rock and bluegrass – and spiking the playlist with pieces on Southern metal, the Sex Pistols and the art of playing.

Several of the best features provide an intimate view of the artist or their environment. Tom Piazza’s account on hanging out backstage at the Grand Ol’ Opry with snubbed bluegrass legend Jimmy Martin is so awkward Ricky Gervais could turn it into a screenplay. Similarly, John Lewis’ weekend at Ike Turner’s house puts the much-savaged abuser in new light, particularly when the host shows up in his pajamas at the end of the day to thank Lewis for coming and hug him goodnight.

A history of jazzman Bob Dorough by Paul Reyes takes us from the obscure keyboard player’s origins touring with Sugar Ray Robinson, recording “Blue Xmas” with a dismissive Mile Davis and ultimately as the force behind Schoolhouse Rocks. The line from “Up a Lazy River” to “Conjunction Junction” was never so clear.

Beth Ann Fennelly’s description of a night at Junior Kimbrough’s juke joint with R.L. Burnside and Cynthia Shearer’s search for understanding in Janis Joplin’s hometown of Port Arthur, Texas both paint a clear picture of the artists’ native perspectives. One can feel the plywood sweat at Junior’s Place and imagine Joplin longing for some niche in town where she felt comfortable and ultimately yearning to get the heck out.

Despite a mention of Wu Tang Clan producer RZA in the introduction, the book eschews hip hop and most new music. A dated piece on R.E.M. circa “Automatic for the People” is the only time when the mainstream and the modern intersect. But while the book doesn’t touch on modern artists, it will certainly send readers scrambling back to dusty old platters, either on vinyl, acetate or plastic, to unearth old favorites, possibly for the first time.

Easier to carry than a stack of magazines, less trouble to hunt down online, the Oxford American: Book of Great Music Writing will be a pleasant voyage for adventurous fans of both good writing and good music.

Open wide for Mouth

by thedailyrecord, posted in band feature, Kansas City music scene
(Above: Mouth deliver “Snake Charmer.”)

By Joel Francis
The Daily Record

Fans wanting to pigeonhole Mouth’s music, do so at their own risk.

The three-piece Kansas City band combines elements of funk, jazz, pop, hip hop, electronica and progressive rock in their unique, dance-friendly instrumental songs.

“People have tried to make us either a jam band or a jazz/fusion band,” drummer Stephen “Gunar” Gunn says as guitarist Jeremy Anderson finishes the sentence. “Whatever genre people pigeonhole us as, they always complain.”

Talking with the band, which also includes bass player Zach Rizer, is like trying to catch a ping pong ball in a shower stall. The three are just as in synch in conversation as they are when playing. Words zip around as the three finish each other’s sentences and try to complete their own thoughts.

“I used to be afraid of being pigeonholed by the jam-band crowd,” Anderson says. “Honestly, they’re a lot more open-minded than anybody.”

They also provide a nice business model. Mouth tape all of their shows and try to saturate the market with recordings in hopes that the music will find its way out ahead of the band.

“These shows in Topeka and Wichita are the first time we’ve done two shows out of town in a row,” Gunn says of a recently completed road trip. “Right now we’re just trying to figure out how to play and get out on the road where we’ll at least earn near our gas money.”

Mouth – the name is a play on the fact that there’s no vocalist – perform in Springfield, Mo. on Saturday and will celebrate their first birthday on Jan. 29 at the Jazzhaus in Lawerence, Kan. One year ago the trio was playing a First Friday art exhibit and dipping their toe into the scene at the Jackpot Saloon.

Download the Mouth album “Escape from the North Pole” for free at http://www.abandcalledmouth.com/music/.

“I don’t know if I’ll be able to get a cake in, but I want to make party favors, maybe put songs on a CD and give them out,” Anderson said. Several friends of the band, including guitarist Matt DeViney, who co-founded Gunn’s previous band Groovelight, and local MCs Reach and Phantom will also help celebrate with the band.

Although hip hop is now a staple of the band’s catalog and all three members were longtime fans, embracing the genre was purely a business decision.  After six months of drawing meager crowds, Rizer looked at what was getting covered in the music press and where people were going and decided hip hop was the way to go. As soon as they made the switch, they attracted some attention in The Pitch. They also started growing unexpectedly as musicians.

“When you take anything from samples, you not only have to learn the parts, but you have to learn how to put them together,” Rizer says. “There are a lot of subtle things at work, like tambour and tone. The funny thing about hip hop is that DJs will play samples against each other you wouldn’t think to combine.”

For Anderson it was a chance to add his favorite elements of progressive rock – long, intricate parts – and incorporate them in a hip hop setting.

“Our songs are structured like progressive rock, but feel like hip hop,” he says. “We’re not playing prog hop, though. We’re playing hip hop.”

The members of Mouth grew up in musical families. Anderson’s little brother got a guitar, but never played it, so the 10-year-old started noodling on Steely Dan and King Crimson licks. Gunn grew up immersed in music. His dad was a drummer in the band Heat Index and moved out to California in his ‘20s to pursue a career in music. The white bass drum in Gunn’s kit was originally part of his dad’s rig.

“When I was 13, my dad didn’t want me to play because he thought it was bad for my ears,” Gunn says. “He put the kit away in the attic, but I kept getting it out and playing.”

Rizer’s father was also a musician. His dad and grandpa, both named David Rizer, were jazz musicians. Grandpa Rizer played guitar with Oscar Peterson and Charlie Parker. David Jr. plays trumpet, bass and sings and plays regularly with Everette DeVan at the Blue Room.

“My dad never pushed, but I was always surrounded by music,” says Rizer, who counts Bootsy Collins, Jaco Pastorius and Motown bassman James Jamerson among his influences. “I didn’t listen to anything rock-ish until I was older.”

At Shawnee Mission Northwest High School, Anderson introduced Rizer to rock and roll, while Rizer shared his love of funk, soul and jazz. Gunn, meanwhile, forged his own path, eventually performing at Wakarusa Music Festival with Groovelight in 2005.

“That show was kind of a turning point for me,” Gunn says. “At the time, I was into the whole progressive side, with odd time signatures. I was into Mahavishnu Orchestra and Return to Forever. At Wakarusa I realized people want to dance, not just listen. I used to play for the one guy who would appreciate us and tell us about that one measure 13/8. Now it’s come full circle to just wanting people to dance.”

One number the trio play is “Bad Wolf,” a new song that takes its name from Doctor Who. Anderson is seated, bent over his guitar, his nimble fingers dancing across the frets. When told his playing is reminiscent of Adrian Belew, he humbly replies “It should. I have his guitar and amp.” As Rizer’s groove takes over the melody, Gunn applies a hip hop/reggae rhythm on the drums. There’s very little eye contact; each musician lost in his own world.

“When we’re onstage, we definitely look at each other more,” Anderson said. “We’re constantly trying to push the boundaries of the song and include different elements.”

After a year together, Mouth has no future goals beyond continuing to push each other and trying to find a balance between the written and improvised.

“I’m looking forward to seeing where the music goes,” Gunn said. “We just pour ourselves into different scenes and see what happens.”

The Originals – “Baby I’m For Real”

by thedailyrecord, posted in Motown, Song Review

The Originals – “Baby I’m For Real,” Pop # 14, R&B # 1

By Joel Francis

The Originals had appeared on nearly a dozen Motown hits before they finally landed one with their name on the label. As backing vocalists, the Detroit quartet saw their performances on “Function at the Junction,” “Twenty-Five Miles,” “For Once In My Life” and “My Whole World Ended (The Moment You Left Me)” – to name but a few – rise to the top of the chart.

When Marvin Gaye had the group sing on his singles “You” and “Chained” he felt an immediate rapport and took it upon himself to give them the breakout single they deserved. Working with his wife Anna (label boss Berry Gordy’s sister), Gaye penned the lyrics for “Baby I’m For Real.”

With its soft arrangement and doo-wop influences, the song was an about-face from the psychedelic soul singles Motown was sending to the top of the charts. Gordy balked, insisting Gaye release the other song he wrote and produced for the Originals, “You’re the One.” When it flopped, Gaye convinced his brother-in-law to release “Real.”

With its quivering strings, silky saxophone and smooth vocals, the song fit more into the Philly soul mold than the Motown model. Even the drums on the track are gentle and the performance floats by like a cloud across a lazy summer afternoon sky.

Gaye’s intentions were not entirely altruistic. He wanted to spread his wings and used the song’s success to convince Gordy that he was capable of producing hit material. The triumph of “Baby I’m For Real” was quickly parlayed into the Originals’ follow-up hit, “The Bells” and helped paved the way for Gaye’s groundbreaking “What’s Going On” album.

Nearly a generation after its original release, After 7 refurbished this classic and, blending it with Bloodstone’s “Natural High,” took it to No. 5 on the R&B chart. In 1972, soul singer Esther Phillps put her spin on the number. Faux-soulster Michael McDonald included his take on the more recent “Motown Two” album.

Review: Allen Toussaint

by thedailyrecord, posted in Concert review

(Above: A snippet of Allen Toussaint’s cover of Paul Simon’s “American Tune” from one of his regular appearances at Joe’s Pub in New York City.)

By Joel Francis
The Daily Record

At his first-ever performance in Kansas City, New Orleans pianist Allen Toussaint transformed the Folly Theater into a place where “mardi gras” was a verb and Fat Tuesday occurred every night.

The soon-to-be 72-year-old songwriter, arranger and producer delivered around 100 minutes of material he wrote for others, recorded himself or wished he had written for a nearly sold-out crowd.

From the first chords of the opening vamp it was obvious that Toussaint and his four-piece band were determined to melt a little of the mounds of snow stacked outside. Thanks to the jumping introduction, the party was already in full swing by the time Toussaint launched into “There’s A Party Going On.”

Although Toussaint’s heart lies in the Big Easy, his influences were all over the map. “Sweet Touch of Love” ended with Toussaint adapting the melody of “An American in Paris” over a modified Bo Diddley beat. The effervescent “Soul Sister” moved between a stately melody and calypso rhythms and felt like the type of number Billy Joel and tried – and failed – to write at least 20 or 30 times.

The most impressive juxtaposition was Toussaint’s classical piano solo during “Everything I Do Gonna Be Funky (From Now On). For several minutes the maestro interspersed snippets of well-known concertos against contemporaries Professor Longhair and Dave Brubeck.

Two songs stemmed from Toussaint’s recent jazz album, “The Bright Mississippi.” The title song, a Thelonious Monk number, was a syncopated throwback to the Dixieland tradition of New Orleans jazz and featured saxman Brian “Breeze” Cayolle on clarinet. It was followed by “St. James Infirmary,” which found the drummer slapping his knees and snapping his fingers to keep time while Toussaint and his barefoot guitarist traded licks.

Toussaint may not be a household name, but the artists he’s worked with are. His songs have been recorded by everyone from British invasion bands like the Yardbirds, Rolling Stones and the Who to soul singers such as O’Jays, Lee Dorsey and the Pointer Sisters, to artists ranging from Jerry Garcia and Iron Butterfly to Warren Zevon and Devo. Toussaint has also recorded with Paul McCartney, Elvis Costello, the Band, Dr. John and the Meters.

The set’s centerpiece was a medley several of Toussaint’s best-known hits, including “A Certain Girl,” “Mother-in-Law,” “Working in a Coal Mine” and “Fortune Teller.” It was followed by his most-recorded number, “Get Out of My Life Woman.”

Between several numbers, Toussaint told stories about working with Ernie K. Doe and Costello, plugged upcoming TV appearances, and recalled his impression of a chocolate commercial set to his song “Sweet Touch of Love.” The stories were entertaining on their own, but the beautiful beds of chords Toussaint created under his monologues made especially scintillating.

The night’s only flaw was a slightly sour mix, which buried Toussaint’s piano and vocals during the opening number. The piano was quickly lifted to its proper place over the drums and guitar, but the vocals remained faint throughout the evening.

After sharing the spirit of Mardi Gras, Toussaint closed his main set by going one step further. Walking along the lip of the stage, he threw out beads and masks and searched for the perfect girth to receive a t-shirt. After a few moments, the band returned and Toussaint delivered a breathtaking, unaccompanied performance of “American Tune.” Toussaint’s experiences during Hurricane Katrina added extra resonance to Paul Simon’s lyrics, and the pin-drop quiet crowd burst into approving applause as the last note faded.

Setlist: There’s A Party Going On, Whatever Happened to Rock and Roll?, Sneaking Sally Through the Alley
Sweet Touch of Love, Who’s Going to Help a Brother Get Further?, Soul Sister, Bright Mississippi, St. James Infirmary, Medley: A Certain Girl/Mother-In-Law/Fortune Teller/Working in a Coal Mine, Get Out of My Life Woman > Everything I Do Gonna Be Funky (From Now On), Mr. Mardi Gras, Southern Nights. Encore: American Tune, Shoorah Shoorah > Fun Time.

KC Recalls: Elvis Presley at Kemper Arena

by thedailyrecord, posted in Concert review, Kansas City music scene, Music history

(Above: Elvis brings a mid-year Christmas to Kemper Arena in 1977.)

By Joel Francis
The Daily Record

When Elvis Presley, who would have celebrated his 75th birthday today, rolled into Kansas City for the first of two concerts at Kemper Arena, he was far from the hungry, hunky artist who terrorized parents and could only be shown on television from the waist down.

Presley played the arena twice in the last 18 months of his life. Although the monarchy was waning, the King could still captivate a crowd. Jess Ritter wrote about Presley’s initial show on April 21, 1976, in the Kansas City Times.

“From the moment (Elvis) strode onstage last night, though, he proved clearly that, at age 41, he is still one of the most charismatic entertainers in America,” Ritter wrote. “Elvis worked hard in his stint, which lasted well over an hour. The punk hip gyrations of the past are gone and all his movements are carefully choreographed, but they are vividly real – and insinuating. In his ice-blue shirt, white singlet and tight white pants encircled at the waist with a massive rhinestone belt, Elvis dominated the stage without trying too hard.”

Ritter doesn’t mention many of the songs played in the brief review, focusing instead on Presley’s medical conditions and history. The only number mentioned by name was “Return to Sender.”

Presley’s bicentennial show wasn’t his first stop in town. He played Municipal Auditorium – the biggest concert hall in town prior to the construction of Kemper Arena – in 1971 and 1974. The venue was also the site of Presley’s only previous Kansas City concert, on May 24, 1956.

Such frequent performances were part of the King’s new motif. After the success of his ’68 Comeback Special, Presley ditched Hollywood and returned to the stage. The TCB Band, anchored by former Ricky Nelson guitarist James Burton, accompanied him on most of those occasions.

The band that rolled into Kemper 14 months later, in June, 1977, was more or less the same, with two exceptions. Drummer Larry London had replaced Ronnie Tutt, who left to join the Jerry Garcia Band. Tony Brown debuted with the band that night on keyboards – without the benefit of any rehearsals.

Brown, now a Nashville music executive, spoke with an Australian Elvis fan site about his time in the TCB Band. He said Presley liked to surprise the band. One night the King called for “Blueberry Hill, which wasn’t in the repertoire.

“I just started playing the rhythm of the song, you know,” Brown said. “This is in front of, like, 20,000 people. I’m sweating. I mean you can feel the water rolling.”

Brown suffered the collective skunk eye from his bandmates until Presley bailed him out.

“Elvis says, ‘That’s not the way it goes,’ walks over to the piano, sits down and plays something. Then the band kicks in,” Brown recalled. “He started singing it and got up and left and out in front and did the next couple of songs I was worthless. I mean total embarrassment, you know.”

While Brown fared better in his debut, his boss was not so lucky. Shifra Stein described the spectacle for the Kansas City Times.

“Looking in desperate need of a rest (Presley) drank frequently on stage from a paper cup. Sometimes he stood to one side, eyes closed, and let his show troupe take over for him,” Stein wrote. “At other times, in mocking self-parody, he ran through all his old songs – ‘Jailhouse Rock,’ ‘It’s Now or Never,’ ‘Hound Dog,’ ‘Don’t Be Cruel’ and so on. In several instances he forgot his lyrics, and at one point sang ‘My Way’ reading the lyrics from a paper, explaining to the audience ‘I can’t remember the words.’”

But the sold-out crowd didn’t care.

“The arena was filled with thousands of aging teenagers,” Stein wrote, “mostly women in their 30s whose voices rose to a maddened shriek when their beloved idol climbed on stage about 10 p.m.”

They bought $5 belt buckles, “souvenir programs with poorly reproduced Elvis photos for $3” and snapped up tickets being scalped for $50. Stein estimated the evening “represented almost one-quarter of a million dollars in profit for Presley who is currently raking it in on tour across the country.”

The concerts were the crown jewel of Kansas City’s return to national prominence at a time when the city boasted Major League Baseball, NFL, NBA and NHL franchises and hosted the 1976 Republican National Convention. Although an outdated relic today, Kemper Arena was the bait that lured the NHL and NBA teams and RNC to town.

The night after Presley played Kemper, his band took the stage in Omaha, Neb. That performance and the following nights in Lincoln, Neb. and Rapid City, S.D. were immortalized on the album “Elvis in Concert.” Just five nights later, Presley concluded his spring tour in Indianapolis. That June 26 concert, little more than a week after his performance in Kansas City, would be his last. Six weeks later, Presley was dead.

Setlist: Elvis Presley, Kemper Arena, June 18, 1977

2001 Theme, See See Rider, I Got A Woman, Amen, That’s All Right, Blue Christmas, Are you Lonesome Tonight?, Big Boss Man, Love Me, Jailhouse Rock, O Sole Mio, It’s Now or Never, Little Sister, Teddy Bear, Don’t Be Cruel, And I Love You So, My Way, Early Morning Rain, What’d I Say, Johnny B. Goode, I Really Don’t Want to Know, Hurt, Hound Dog, Can’t Help Falling In Love, Closing Vamp

Keep Reading:

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KC Recalls: The Coon-Sanders Night Hawk Orchestra

The Day the Music Survived

Down on “Cyprus Avenue”

The Temptations – “I Can’t Get Next To You”

by thedailyrecord, posted in Motown, Song Review

The Temptations – “I Can’t Get Next To You,” Pop # 1, R&B # 1

By Joel Francis

Surprisingly, “I Can’t Get Next To You” was the first Temptations single to top both the pop and R&B charts since “My Girl,” five long years before. Although these Temptations featured 80 percent of that lineup – David Ruffin had been replaced by Dennis Edwards – the group had been handed off from Smokey Robinson’s smooth, straightforward approach to Norman Whitfield’s groundbreaking psychedelic arrangements.

In other words, just because they had the same name and most of the same members, the Temptations of “My Girl” were long gone by the time “I Can’t Get Next To You” reigned at No. 1.

The song opens with canned applause and a barrelhouse piano roll that sets the song in an old parlor or juke joint before the chicken-scratch and wah guitars thrust the song into the future. Just as they did on the previous year’s “Cloud Nine,” the five Tempts trade lines, adding kinetic energy to the track. The guitars, electric piano and insistent drums and percussion make the song feel like a cousin to something Sly and the Family Stone would have cooked up. When Edwards finally erupts with the line “girl, you’re blowing my mind,” the song carries the same intensity and sexuality of James Brown’s hard funkin’ “Sex Machine.”

There was very little happening on Motown like this at the time. Ironically, the next act to incorporate this much funk was a group aimed at a younger audience, the Jackson 5. They Indiana quintet re-appropriated the bridge from “I Can’t Get Next To You” for their 1970 hit “ABC.”

One year after it’s mid-1969 release, Al Green transformed the song into a smoldering cry for love. Green eliminated the kaleidoscopic vocals and swirling arrangement, building the song around his voice and a slinky guitar line. The only element these versions hold in common is the lyrics. Green rode his arrangement to No. 11 on the R&B charts.

An unexpectedly versatile song penned by Whitfield and Barrett Strong, “I Can’t Get Next To You” was transformed into a jazz number by Woody Herman, converted to reggae by the Jay Boys and given the pop treatment by the Osmonds and Edwin McCain. Most recently, it was covered by Anne Lennox on her 1995 album “Medusa.”

Review: Flaming Lips New Year’s Freakout

by thedailyrecord, posted in Concert review

(Above: “Us and Them,” one of the few unaltered numbers from the Flaming Lips performance of Pink Floyd’s “Dark Side of the Moon” in the early hours of 2010.)

By Joel Francis
The Daily Record

OKLAHOMA CITY – The average Flaming Lips concert already feels like the greatest party on earth. Spending New Year’s Eve with the band in their hometown felt like living inside a kaleidoscope.

For nearly three hours, the Lips said goodbye to 2009 and hello to 2010 with a 90-minute main set and a rare performance of Pink Floyd’s classic album “Dark Side of the Moon.” For that feat, the band had assistance from Stardeath and White Dwarfs, the opening act, fronted by lead Lip Wayne Coyne’s nephew, Dennis Coyne.

The Lips/Stardeath version of “Dark Side” is less an homage than a deconstruction. If Floyd’s vision was a Cecil B. DeMille epic of careful, layered arrangements, then the Lips’ plays like one of Steven Soderbergh’s handi-cam experimental films, loving thrown together on a low budget, more intent on capturing the spirit than articulating the original performance.

“Breathe” was stripped of its shimmering guitars and lush harmonies and given the same blocky textures and blunt rhythms and bass lines that fuel much of the Lips’ new album, “Embryonic.” Similarly, “On the Run” was no longer a pattern of tape loops and manipulations, but fuzzed-out orgy of noise.

“Dark Side”’s most well-known number was also the least recognizable. The minimalist take of “Money” reduced the song to its signature bass line, with electronically manipulated vocals.

There were several nods to Pink Floyd in the Lips’ original material. “Vein of Stars” foreshadowed the straightforward reading of “Us and Them,” right down to the piano part and laser effects. “Pompeii am Götterdämmerung” sounded like something the Syd Barrett era of the Floyd would have pounded out in the late-‘60s London underground.

The spirit of Floyd was also evident in the material from “Embryonic.” Its songs are a little more abstract and less focused than anything the band has delivered in more than a decade. Although it was a bit jarring to shift from the ultra-catchy fan-favorites to the new material, it was nice to hear the band spazz out.

With its perpetual thump of bass and guitar, “Sea of Leaves” felt like being run over by an 18-wheeler. Wayne Coyne delivered the last half of “Silver Trembling Hands” from the shoulders of a person in a gorilla suit, a bizarre vision for a bizarre song.

The poppier moments of the first set drew the biggest response. The crowd threw a lot of force into “The Yeah Yeah Yeah Song” and the air was charged when the house lights came up and everyone joined in on the chorus (“with all your power”). The slower arrangement of “Yoshimi Battles the Pink Robots (Part 0ne)” felt like a giant campfire. “She Don’t Use Jelly” was a reliable feel-good moment.

Although the arena was two-thirds full and loaded with energetic fans, the band seemed to have trouble filling the void. It was unusual and unexpected, because I’ve twice seen them rock a vast field at the Wakarusa Music Festival. Maybe it was the abundance of slower, spacier songs and unfamiliar new material, but the Cox Arena – which resembles a slightly larger, late-‘60s edition of Kansas City’s Municipal Auditorium – felt spacious.

Whatever the reason, it wasn’t for lack of trying. Most bands tarp off the unseated sections behind the stage. The Lips filled them with balloons. As fans filed in, hundreds of the brightly colored latex orbs waited to be bumped, thrown and ultimately popped when the appointed moment arrived.

As the Lips floated into a poignant, sing-along reading of “Do You Realize??,” the balloons slowly started cascading from the balcony to the floor. When the song ended, it was nearly midnight and the house lights came up. As the crowd counted down, the band vamped and balloons filled the coliseum, obscuring the stage. Somewhere in the melee a wedding proposal was accepted.

While the music blared and balloons bounced, the stage crew had the thankless job of clearing debris from the stage for the second act. A flurry of confetti fell again over the crowd as one of the stage hands used a leaf blower to clear the area.

Despite the crew’s efforts it was a tedious 40 minutes of sound checking and testing before the Floyd set took flight. Once-giddy fans now laid or sat down in the back of the floor and yawns abounded. When the heartbeat that signaled the start of “Breathe” finally started, the crowd responded with a cheer of both anticipation and appreciation.

Material aside, the second set was markedly different from the first. After the powerful downbeat and swirling intro to opening number “Race for the Stars” the arena was awash in balloons, confetti and streamers. As the audience danced, Coyne grabbed a fistful of streamer and started twirling around like a cross between a color guard and Roger Daltrey.

But that was hours ago. The joviality and props disappeared when the band ventured into the “Dark Side.” In their place was a hovel of nearly a dozen musicians, surrounded by fog, hunched over their instruments. Although Coyne still danced, striking a cymbal with his maraca in the center of the stage, it was obvious this was Serious Music.

Coyne may have been the ringmaster, but “Dark Side” was clearly guitarist/keyboard player Steven Drozd’s show. He served as conductor, signaling the changes and conducting the performers. During “Great Gig in the Sky,” he sang the wordless melody into a megaphone, creating the musical equivalent of an epileptic seizure.

Nepotism aside, Stardeath were a great enlistment for the feat. The majority of the songs in their 45-minute opening set had a druggy, progressive bent straight out of the early ‘70s. The band showed their hand early by opening with a cover of Black Sabbath’s “Sweet Leaf.” Uncle Wayne showed his approval rocking out from the wings of the stage.

Stardeath’s centerpiece was “The Birth,” a side-long proggy throwback complete with Theremin solo and lengthy bass/drums breakdown. The set ended with an imaginative cover of Madonna’s “Borderline.”

As the final pulse of “Eclipse” beat out, a last blast of confetti showered the crowd. The New Year was only 90 minutes old, but had already logged its first great rock moment.

Set List:
Race for the Prize, Silver Trembling Hands, The Yeah Yeah Yeah Song, Vein of Stars, In The Morning of the Magicians, Convinced of the Hex, Evil, See the Leaves, Yoshimi Battles the Pink Robots, Pompeii, The W.A.N.D., She Don’t Use Jelly, Do You Realize?? New Year’s countdown and intermission. Dark Side of the Moon (with Stardeath and White Dwarfs): Speak To Me, Breathe, On the Run, Time, The Great Gig in the Sky, Money, Us and Them, Any Colour You Like, Brain Damage, Eclipse.