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Posts Tagged ‘King Curtis’

By Joel Francis

The weather is nice and cabin fever is real. Stay safe and keep the faith.

Brian Wilson – Reimagines Gershwin (2010) The opening minute of this album is an absolute dream. Layers of harmony vocals music fans have enjoyed for more than half a century cascade into the melody of the iconic “Rhapsody in Blue.” The rest of the album isn’t quite as exquisite, but maintains the same premise: Two intimately familiar musical styles melting into something new. Wilson’s versions of “Summertime,” “They Can’t Take That Away From Me” or “I Got Rhythm” won’t make anyone forget about the legion of stellar interpretations that have come from Miles Davis, Ella Fitzgerald or Willie Nelson, to name but a few. But they do show how Gershwin’s pen was subconsciously at work in Pet Sounds, “Cabinessence” and “Surf’s Up.”

Rhett Miller – The Interpreter: Live at Largo (2011) In April, 2008, a few days after the University of Kansas Jayhawks won the men’s national basketball championship, my wife and I were in Los Angeles for vacation. I had heard about the club Largo over the years and was hoping to see their unofficial artist in residence, Jon Brion. The multi-instrumentalist wasn’t performing the when we were going to be there, so we happily grabbed tickets for Rhett Miller’s show instead. The Old 97s frontman was in a great mood, telling stories and playing some of his favorite songs by other people (and previewing material from the upcoming 97s album, Blame It On Gravity). About halfway through the set, Jon Brion took a seat behind the piano and the two banged out tunes like a pair of long-lost brothers. That night – and the following one, where Brion wasn’t present but Pixies guitarist Joey Santiago was – comprise the selections here on The Interpreter. Because I was there, it is impossible for me to grade this album objectively. It always takes me back to that night and makes me wish the full performance would be released on Nuggs or something similar. Your mileage may vary, but if you enjoy Miller’s voice and the songwriting of David Bowie, Elvis Costello, Ray Davies, Jeff Tweedy, Tom Petty and Bob Dylan, you are definitely in the right place.

King Curtis – Live at Fillmore West (1971)
Aretha Franklin – Live at Fillmore West (1971)
Both of these landmark live albums are taken from the same run of shows at the historic San Francisco venue, where King Curtis and his Kingpins were backing the Queen of Soul. Franklin’s album has more contemporary rock covers than her better-known soul material. After marching through Stephen Stills’ “Love the One You’re With,” Simon and Garfunkel’s “Bridge Over Troubled Water” and the Beatles’ “Eleanor Rigby,” Franklin manages to make Bread’s “Make It With You” engaging. Franklin starts cooking on the second side. After the slow blues “Dr. Feelgood,” Franklin and her incredible band – including Billy Preston on organ and the Memphis Horns – tear through “Spirit in the Dark.” As the song winds down after about five minutes, Ray Charles comes out and they do it all over again for another nine minutes.

Although less well-known, Curtis’ Fillmore album is just as incredible. Setting the table with “Memphis Soul Stew,” Curtis blasts through the Moody Blues’ “A Whiter Shade of Pale” and destroys Led Zeppelin’s “Whole Lotta Love.” The second side is just as good, with readings of “Signed, Sealed, Delivered I’m Yours” and “Ode to Billie Joe.” Unfortunately, this album also served as Curtis’ swan song. He was fatally stabbed outside his New York City apartment a week after it’s release.

In 2005, Rhino released a limited-edition collection of all three Fillmore shows in their entirety. Finally, fans could hear the music as it was presented each night, with Curtis opening the show, then Franklin coming out. This four-disc box set is definitely worth seeking out.

Jay-Z – American Gangster (2007) Sean Carter rolled into his alleged retirement – Did anyone really believe he was done? – on a hot streak. I confess to wondering if he could rise to the occasion on his inevitable comeback. And he didn’t – until American Gangster. Inspired by the Denzel Washington movie, Jay-Z played to his strengths and crafted 15 songs that revisit his oft-celebrated days as a drug dealer and Washington’s portrayal of black drug lord Frank Lucas. Though the album feels a couple songs too long to my ears, there isn’t a bad cut on the record. The long-awaited track with Nas lives up to the anticipation. American Gangster isn’t as good as The Blueprint or The Black Album, but it’s not far behind them either.

Two quick anecdotes before we move on. For a long time the downtown location of The Peanut hosted Hip Hop and Hot Wings on Sunday nights. (The Peanut has some of the best wings in Kansas City.) The fun usually started late and lasted later, which made for a rough Monday so I never got to attend as often as I wanted. About a month after American Gangster came out, around Christmas time, one of the DJs dropped the needle on “Roc Boys (And the Winner Is)” and the entire room exploded like a grenade had gone off. Strangers were high-fiving and everyone was signing along and dancing. “Roc Boys” got bonus local points for featuring Kansas City Chiefs running back Larry Johnson in the video.

Alright, the second story. On the same vacation in Los Angeles that I discussed in the Rhett Miller entry, my wife and I had tickets to see Jay-Z and Mary J. Blige at the Hollywood Bowl. Despite leaving hours early, we got there just in time to hear the opening song (all the traffic was between the exit and the parking lot). Jay-Z was touring in support of American Gangster and it was incredible to hear those songs in person, with a huge band backing him up. MJB was a solid bonus for the evening.

William Onyeabor – Who Is William Onyeabor? (compilation) Even though this collection spans three LPs and 13 tracks, by the end we are nowhere closer to knowing the answer about William Onyeabor than when we started. According to internet reports, the Nigerian producer self-released eight albums between 1977 and 1985, which were quickly bootlegged. It is not hard to see why so many people would want this music. It’s primitive electronics – clunky drum machines and Casio keyboards – married to Afro-beat rhythms, with a little P-Funk stirred into the sauce for good measure. Who is William Onyeabor? Well for the 75 minutes of this album he’s a fillpin’ musical savant. That’s who.

Various Artists – Red Hot + Riot (2002) The Red Hot charity albums have generally been pretty good, but this one, honoring Afro beat legend Fela Kuti, stands above the rest. For one, it features some of the top socially conscious/backpack rappers of the time: Blackalicious, Talib Kweli, Common and Dead Prez. Plus a mix of great soul singers, including D’Angelo, Macy Gray, Me’Shell Ndegeocello, Kelis and Sade. Finally, a sprinkling of jazz legends (Archie Shepp, Roy Hargrove), African musicians, Kuti’s son Femi Kuti and bluesman Taj Mahal. If this roll call doesn’t pique your interest, trust me, the result is even more impressive. Rap, jazz, blues, soul and gospel all flow into a river leading back to Mother Africa. Can you dig it?

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grapevine
Gladys Knight and the Pips – “I Heard It Through the Grapevine,” Pop # 2, R&B # 1

By Joel Francis

Unlike nearly every other soul singer at the time, Gladys Knight didn’t want to go to Motown. She was (rightly) worried she and her group, the Pips, would end up playing second fiddle to Diana Ross and the Supremes. However, the Pips were a democracy. When the rest of the group voted to migrate to Hitsville, Knight reluctantly acquiesced.

“I Heard It Through the Grapevine” was a thrice-heated leftover when Norman Whitfield presented his song to the group in 1967. Smokey Robinson and the Miracles cut a version the previous year that didn’t make it out of Berry Gordy’s Quality Control meeting. A second Miracles recording of “Grapevine” was buried as an album cut on 1968’s “Special Occasion” LP.  The Isley Brothers were rumored to have recorded a version during their brief stint on the label, but no recording has surfaced to date. Several Motown scholars believe a recording session with the Isleys to cut “Grapevine” was scheduled, but then cancelled.

This is likely the case. In 2005, Motown released the two-disc clearinghouse “Motown Sings Motown Treasures.” This incredible and enlightening collection presented many recordings – Kim Weston performing “Stop! In the Name of Love,” the Supremes doing “Can IGet A Witness,” and the Miracles original, unissued version of “Grapevine,” among others – previously locked in the vaults. It seems unlikely that the Isley Bros. version of “Grapevine,” if it exists, would have been omitted from this collection.

Although it wouldn’t be released for another year, Marvin Gaye had also cut his reading of “Grapevine” by the time the Pips were hearing Whitfield’s pitch.

Whitfield’s latest “Grapevine” arrangement was inspired by Aretha Franklin’s “Respect” and Whitfield’s desire to “out-funk” Franklin. It’s clear from the great snare-and-cymbal intro that Whitfield was on to something new. Motown had been a lot of things until that point, but it had rarely been so overtly funky. In the coming years, Whitfield would help place Hitsville at the epicenter of psychedelic soul. This recording was one of the first steps down that path.

Whitfield’s attempt to out-do the Memphis soul sound Aretha was getting from Atlantic producer Jerry Wexler was buoyed by Knight’s singing. The gospel background isn’t as obvious in Knight’s delivery, and her voice is a little earthier than Franklin’s, but Knight’s vocals can soar just as high. In fact, the song is little more than drums, piano and Knight’s powerful voice until a scratch guitar enters during the first chorus.

Stealing a page from the Holland-Dozier-Holland production book, the tambourine is mixed front and center. The instrument serves as a tractor, dragging the entire song it its wake. The signature organ line that introduces Gaye’s chart-topping “Grapevine” makes a cameo on the piano about a minute into the song. The saxophone solo bisecting the song is a straight-up homage to King Curtis, the Memphis soul legend. Even the juiciest gossip is rarely this much fun.

The fourth time was the charm for Whitfield, as the Pips’ powerful “Grapevine” finally made it past Gordy’s Quality Control meeting. That didn’t guarantee label support, though, as Knight was forced to rely on her DJ connections to promote the song. When “Grapevine” finally caught on, it caught fire holding the top spot on the R&B chart for six weeks and stalling behind the Monkee’s “Daydream Believer” at No. 2 on the pop chart. Although it was Motown’s best-selling single to date, the “Grapevine” story was far from over.

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roadrunner

Jr. Walker and the All-Stars – “(I’m A) Roadrunner,” Pop #20, R&B# 4

Not to be confused with similarly titled hit by Bo Diddley, or the great pre-punk anthem by the Modern Lovers, this “Roadrunner” is a pure Holland-Dozier-Holland confection. Jr. Walker has clearly overcome his earlier trepidation with the microphone to confidently deliver this paean to the open road. Answering his vocals with stinging sax lines, Walker proves to be his own best all-star. The elastic guitar lines show Shorty Long’s blues influence on the label, while the organ buried in the mix is the subtle glue that keeps the performance together.

The song isn’t even in the Top 5 of Walker’s biggest hits, but it’s held up better than better-charting songs like “What Does It Take (To Win Your Love)” and “How Sweet It Is (To Be Loved By You).”

Walker’s ’60s sax rival King Curtis was the first to cover the song, but the enduring number was also covered by a post-Peter Green, pre-Lindsey Buckingham Fleetwood Mac, Jerry Garcia, Humble Pie, Peter Frampton and, most recently, James Taylor in 2008. – by Joel Francis

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