Les Baxter – Hot Wind
Les Baxter – Dan Again
Les Baxter – Hogin’ Machine

Still not finished with grading so I thought I’d post something that I don’t really need to say anything at all about (though I will still say a little something about it), the soundtrack to Hell’s Belles. An original copy of this has been a “white whale” of mine every since I first ran into it in the KALX library back in 2000. There’s a reissue that you can cop for $10 or less, but I can tell you the sound is vastly superior on the original and it’s worth the price. I’m not sure there’s a record that has harder drums and fuzzier guitars out there, even if virtually every song is just a slightly different take on the same basic theme. If only there was a soul clap on all these tracks instead of the occasional tambourine it would be the greatest record of all time.

Cheers,

Michael

Rotary Connection – Life Could
Rotary Connection – V.I.P.
Rotary Connection – Paper Castle

Still locked in grading mode at the end of the semester, but definitely wanted to share this one. There are so many reasons to dig on Rotary Connection. They featured some truly unique psychedelic sounds along with massive arrangements and production from the genius of Charles Stepney and finally the otherworldly vocals of Minnie Ripperton. I’d always felt like Rotary Connection put out better songs than full length records until I tracked down this concept record, their second release, from 1968. Though the album has a couple of tracks that seem to fit the title, it works better as a critique of mainstream culture in the 1960s.

The best example and best song is “Life Could,” a track I could listen to on repeat all day long.  In a nutshell it represents everything that was amazing (or overblown depending on your perspective) about this group, gigantic punchy horns, hard charging drums (and a classic and clean break 3/4 through), bright fuzzy guitars and well matched duet vocals. When the song really gets started it threatens to knock you over with all the elements. Lyrically, the sentiment right now is something that fits me to a T, almost like an anthem (though I’m still not sure I’m hearing the final line of the chorus clearly).

Wake up in the morning
Work 5 days a week
Never had much money or fame
The way it’s gonna be

Just a common person
Do you know my name?
Never be important in life
Always be the same (the same 2x)

{Chorus}
But I don’t need your pity (pity)
And I don’t want your money (money)
Because I’m oh so happy (yeah)
I’ll never have much money or fame
Guess i’ll always be the same
Life’s too short to let it slip by
Never stayin’ low, always flyin’ high

That sentiment continues throughout on “V.I.P.” which considers the dreams “little” people have and on “Let Them Talk” which champions staying true to yourself regardless how others see you and closes with “Paper Castle” which is certainly a critique of 60s America, but works surprisingly well for the 21st century too. Musically what’s especially interesting to me about that last track is how the tempo appears to build and build, when it actually doesn’t, it’s because of the changes in the guitarists playing, from longer sustains to very short and increasingly manic notes as the song moves towards resolution, that produce a tension that makes it seem like the song is going faster than it actually is.

I know most feel like “Hey Love” is the best Rotary Connection record (though really that one is basically Minnie Ripperton’s second solo record) or that the debut had the most impact (especially for Hip-Hop with “Memory Band”) but to my ears this one is the best realized and most consistently original of all their records and the one I continue to enjoy the most.

Cheers,

Michael

Machito – Hold On I’m Comin’
Machito – Green Onions
Machito – Soul American

Been focused on grading at the end of the semester and haven’t had much time to devote to the blog, but thought I’d knock a quick post out at the end of the week. I’ve never been big on “covers” records that focus more on renditions of “the hits” instead of original material, but when I ran into this record at Groove Merchant I couldn’t resist. Machito is one of the founding fathers of Latin jazz and mambo music. This record finds him updating his sound in mostly predictable ways, but in a few cases the results are latin soul perfection, especially the (mostly) spanish version of Sam & Dave’s “Hold On I’m Comin’.”

Cheers,

Michael

I’ve mentioned a couple times here how much I appreciate the most recent addition to Los Angeles area diggin’ scene, the aptly titled, Records LA. Since I haven’t done a 45 edition of Dig Deep in a while, it made good sense to feature a few 7”’s I’ve picked up at the store. While there are loads of quality LPs in many genres (that Cactus record was a recent pick-up), it’s the 45s that really set this store above the rest (that and the seemingly regular Saturday BBQ, Beer, Blunts and Breaks extravaganzas that go on here).

Scott, the owner of Records LA, used to be a DJ in the Detroit area and he knows his records. But thankfully his store is not designed solely for deep pocketed collectors, it’s really for everyman DJs, who love a choice funky side. Not all of the 45s will be in tip-top condition, but even some of the very rare ones will be at affordable prices. I’ve picked up several 45s that I know generally go for $75-100 or more for $10, $15 or far less. You’ll find many classics for incredibly reasonable prices, I’ve already mentioned finally tracking down “A Lover Was Born,” I also picked up a decent copy of “Different Strokes” from Syl Johnson for just $2. So, here are a couple of things I’ve dug up there in this special all 45 edition of Dig Deep.

From a conversation with Scott, this is basically the first project put out by his former mates in Detroit. Nice crisp retro-funk style with a nice heavy break at the start and what appear to be mostly improvised lyrics that still ring righteous and true. The flipside is a nice instrumental by Will Sessions, currently the mastermind behind Detroit’s legendary Funk Night. Very limited press on this, highly recommended you getcho copy sooner as opposed to later.

As best I can gather, Bennie Sharp was a musician out of St. Louis, with strong connections to Chicago, as evidenced by Oliver Sain producing this single, and perhaps Syl Johnson co-writing it. This track has a nice clean break at the top (on both sides, which explains the $10 price tag, still way more affordable than other places I’d get it at), and a Sly Stone meets Funkadelic kind of groove to it. Part I & Part 2 are almost identical, Part 1 has a different vocal approach, but much of the same feel as represented in the flipside above.

Here we have a track with a definite Syl Johnson connection. The Deacons were his backing band for a time, even featuring his brother Jimmy. This is more or less a Syl-less version of Johnson’s “Come On And Sock It To Me,” the A-side features a wild atmosphere and vocals from the Sequins, the B-side which is here is the instrumental proper with tasty organ and some soul claps which I can’t resist, especially not for $2.

Bobby Powell was a singer out of Baton Rouge, mostly obscured, but he does have a CD collection of music he recorded from 1966-1971 on the Whit and Jewel record labels. I originally picked this up (also for just $2, though not in the greatest condition) because of the cover of Sly Stone’s “Into My Own Thing,” but actually am much more fond of this side with it’s mid tempo groove and some pretty macktastic lyrics.

Cheers,

Michael