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Posted By Guest Writer js:
Where I differ, I think, from Justin and from Geoff, and what always makes me feel vaguely ashamed when I’m talking about music with them, is that I’m not a real collector. I mean, I collect albums, and I am forever slowly expanding the number of songs and sides I have at my fingertips, but I really couldn’t care less about two things that are inherent to record collecting: value and rarity.
I’m not saying that I’m pure of commercial considerations or that I don’t want hard-to-find things, but both of those are sort of secondary. The blunt fact is that there is too much music out there for me to ever worry too much about stockpiling things for cash or for posterity, or even to lord over other music collectors.
This weekend, I picked up a handful of New Wave albums that I had never really thought about owning, and passed on something that I’d been looking for for a while, and basically subverted any inner record collecting instincts that I had.
I picked up Toni Basil’s first album (Devo plays half the backing tracks!), another copy of the Cars first album (mine has scratches and skips), ABC’s Lexicon of Love (their best by far), Blondie’s Plastic Letters (I only owned it digitally), B-52s Whammy (which I haven’t listened to yet), some Tony Orlando gig called The Flirts, and Squeeze’s The Squeeze is On which kind of sucks.
And I passed on The Wild Tchoupitoulas’s self-titled album.
The Wild Tchoupitoulas album shows why I’m not a collector. I had been curious about it for years, after getting a Souljazz New Orleans sampler that included a pretty nice second-line (which is what the Mardi Gras Indians, of which the Wild Tchoupitoulas are one “tribe,” are) tune. It was a full-on percussion stomp, with polyrhythms and call-and-response vocals and it was a hell of a lot of fun. Neville Brothers and the Meters collaborating with a bunch of faux-savages. So, ever since then, I’ve looked for the full album. I’ve seen it on eBay for $50 to $70 (though I always imagine that those are fake bids when I see an album spiral up like that). And yesterday I saw it at a local record shop.
It was a little warped, and a little scratched up, but was $22.50, and I’d likely never see that album again. My best bet would be to either stumble upon it when downloading music, or forget it existed. So I grabbed it up and did a couple of needle-drops at the listening station.
It… It just wasn’t very good. It was a bunch of smooth, relaxed grooves, but instead of The Meters who did Gris Gris with Dr. John, instead of the Struttin’ Meters, it was the “Witchita Lineman” smooth Meters. There was no depth to the production, and the vocals were all inept “Indians” with the Neville Brothers crooning like velure.
If I were a record collector, I would have bought it. But I just couldn’t.
Instead, I bought a bunch of New Wave detritus for $2 an album and loved it. I listened to most of them today, and they were fucking excellent. No one is ever going to want to buy that Flirts album off of me, although (as my girlfriend Amy informed me), “(Don’t Put Another Dime in That) Jukebox” was a radio hit. But it’s a damn fine album. I didn’t know that I was looking for it, but it fills a perfect niche between The Go-Gos and Adult., and I couldn’t be happier.
Why go to the flea market when you can dig right here?
Mention this promotion by Oct. 7th to Justin and get free flat rate shipping on your next order (unlimited records). US customers only. Email him at cousins AT cousinsvinyl DOT com, subject SUNDAY DIGGING PROMO. If you’re not a funk/soul/R&B fan, check out our store for more genres, which also apply.
We say it’s bluegrass weekend. Maybe it’ll change later this weekend. We won’t know ’til Saturday morning and the coffee’s brewing. But for right now, it’s bluegrass. We want original thoughts and stories from you. Hop on the Cousins Train cuz it’s a rollin’ now
Let me warm us up with this. Echos Des Prairies Levis Bouliane, et ses Blue Grass Ramblers. On London, MB 128. These guys knew how to ramble. Anyone know anything about these guys? Plug in, grab a beverage and listen to Reel Du Sucre D’erable. What does it tell us? Sounds to me like Irish roots + Mexican roots = on the border bluegrass heaven.
Ford Nix. Self titled on Detroit’s Walker label. Some great rockin’ bluegrass. Has a two-headed banjo, which he plays like the devil himself. I’ve got some other records from Ford Nix. I could google this guy, but anyone out there have any original info on him? Please comment below and tell us a story. Or tell us what you think.
listen to Mama Don’t Allow No Music Around Here:
We’ve heard from the Mexican border, we’ve heard from good ol’ De-troit, Michigan. But the Frenchies? Some raggety Paris hippies who scrapped up cash in June of 1973 to fly to the States, bought a junk car, and hit every major bluegrass festival possible? Can they hold it down?
Taking in consideration that Herve de Sainte Foy is listed on the musican’s credits as “In Spirit”, listen to La Bluegrass Connection’s Va Va Va, off their Bluegrass Francais LP on Puritan:
The Violent Femmes found Bluegrass and Jesus, perhaps at the same time, at least temporarily, and recorded Jesus Walking On The Water for their Hallowed Ground record on Slash. Jesus, as you know, is a common theme in bluegrass music, as is evident on the next selection, which you may have seen posted here before. But wait, first listen to the group who was also known for a smash hit about, umm…you know.
Jesus is a Soul Man. That’s what Sandusky Ohio’s Pathway Quartet says and I ain’t arguing with ‘em. Sam and Dave said they were Soul Men; I say they were and so was Jesus. And so are all of us.
listen:
But what about that authentic homegrown Kentucky bluegrass?
I rediscoverd this record just now while writing this post. I don’t want to rush to post a track, cause every one I listen to I want to post. It’s the Osborne Brothers and Red Allen, Country Pickin’ and Hillside Singin’. I’m going to enjoy this for a while and then decide. Jess is gone, which explains the size of this bluegrass entry. It’s Friday, I’ve got the Tigers on the big screen, the record player going full blast, the beer flowing - that sort of thing. So hold on while I enjoy this record.
Little Ella is due in a month now. It’ll be me, Jess and Ella. I put on this song this morning for both my girls. This 1967 Tamla LP, fittingly titled I Was Made To Love Her, is my favorite Stevie Wonder album. It also has a great version of Please, Please, Please that goes on all my soul mix tapes. Stevie is The Greatest.
You can’t help but be in a good mood when you hear this song on a beautiful fall Friday morning in Michigan.
enjoy:
I’m going to dedicate this to President Bush:
Bunny Wailer, quiet Rastarfari spiritual leader of the Wailers, knew the battle of Good versus Evil. On his Tribute LP on his own Solomonic label, he sings, Time Will Tell.
Listen:
From the back cover, John Sinclair’s always fantastic liner notes:
The Sound of Detroit is the sound of a city on the move - from the narrow neighborhood streets to Woodward and the Boulevard, from Davison to the Chrysler to the Edsel Ford and the John C Lodge, into the city and out to the suburbs or the factories. Detroit is the crossroads where native energy meets the industrial crunch, and the music this city has produced is known the world over for it’s intensity and drive.
The Lyman Woodard Organization, Saturday Night Special LP, put out in 1975 on the Strata label, is one that gets better with further listening. With further listening, I mean that it needs more attention. Like a 1975 Cadillac, it needs to be driven right - cruised, as it takes you over those streets Sinclair describes. At first, it seems slow. But it demands a good sitting down and letting go, and then it explodes in sonic Motor City nightscapes and textures.
There’s a lot to this album, it’s well planned. It sits on a certain vibe throughout - you can hear the Yusef Lateef influences, but then also the Dennis Coffey style percussion breaks and drawn out drum solo arrangements. It’s high energy and mellow at the same time, with a subtle funk edge that keeps it going. The contrasts between the percussion and the mellow organ, electric guitar, bass, and even mellotron work beautifully. I picture a strange light-night hipster party in the 70s, with like-minded people lurking behind smokey shadows, moving to the grooves. It’s an after hours record, is what I’m trying to say.
This is Detroit jazz all the way - raw and real, gritty and pretty - with a side of funk, blues and soul.
The last song on side A has a vocal, although it’s not Lyman Woodard, it’s the drummer, Leonard King. He sings: Creative musicians, keep on rolling right along…
Listen: Creative Musicians
Country, Blues, Rockabilly 45s end in a few days.
70s Jazz just listed last night. Lots of good stuff.
Go Lions!
The Ann Arbor News reported yesterday that Ann Arbor legendary street character and blues musician Shakey Jake died Sunday evening.
I’ve written about ol’ Shakey Jake here before. I was born and raised in Ann Arbor, and living in Ypsilanti now, I still used to see Shakey Jake around town.
Spotting Jake on the streets of downtown Ann Arbor was thrilling. You’d see him with his old guitar case slung on his back, clean pink suit with matching hat and think, “there’s Shakey Jake!”. When I got a little older I’d talk to him and ask him how he was doing. He’d always reply by barking out his catchphrase, “I’m on the move, man, on the move!”. Or I’d shout to him when I was passing by in the car, “Hey Shakey Jake!”. He’d smile and wave and say, “On the move baby!”
Shakey Jake was Ann Arbor’s most beloved person. The city was his family. He had coffee shops and diners where he’d go everyday and get a free meal. He’d walk around and everybody knew him, everybody said hello. He’d play his guitar, badly out of tune or with broken strings, but it didn’t matter. He was the town celebrity.
I was really, really sad when I read that he died. I say, Shakey Jake lives! He’ll be around Ann Arbor - he always said he’d live forever.
The Rod Wilson Group, Back On Mulberry Road/Why Is It, Glass Records.
This group was from northern Traverse City, Michigan, down on Mulberry Road. Mulberry Road seems like a sacred place, a good ol’ place, a dirty, dusty place, a place where rock n roll meets Sunday morning gospel and got all mixed in and swirled around with beer, smokey bars, and smoked out recording sessions that produced tracks like on this 45.
I know Traverse City. I had a good friend, a crazy friend from Traverse City named Josh. I went up to visit for a week back in college, mowing lawns during the day for his brother’s business and hanging out at the local bars at night. The music was great - kind of a hippie blend of bluegrass, funk, and rock and roll. I think I blew everything I made mowing lawns out at night, but it didn’t matter. We stayed up til 4 in the morning every night, then woke up at 7:30 and worked a 10 hour day and did it all over again.
The Rod Wilson Group must have graced those same bars back in the 70s, drawing burned out crowds who must have gone crazy over the song about Mulberry Road. The lead singer is super raw, but the groove is there and they jam it out pretty well, and you can really hear the distinctive Michigan garage sound in the music.
The B Side is even stranger, it’s all instrumental but has this weird sort of faint voice in the background. Maybe if I play it backwards it’ll tell me the secrets of the universe or something. I don’t know. My wife can appreciate it, but she thinks it’s kind of bad. It is, kind of, but it’s really pretty sweet. I like it, it’s a good find. I’m not sure if I’ll sell it yet. I think I’ll just stick it in the 45 box for a while, and bust it out to try to out-obscure someone. I bet Max will like it.
I think it’s worth another listen when the night is right.
listen to a clip of “Back on Mulberry Road”
Detroit’s legendary Fortune Record’s biggest selling act was this group of Detroit teenagers led by unique tenor Nolan Strong. This LP, along with the follow-up, Vol. II (which Justin has), is definitly worth picking up if you can find it. Detroit had some great music going on pre-Motown/northern soul era, and this album is a prime example.
All members of Nolan Strong and the Diablos were in their early teens when they were discovered by Fortune in the early 50s. They might be best known for the haunting song, “The Wind”; my personal favorite is the more uptemp, “If I”.
listen to a clip:
We’re working on a new Jazz LP batch, a Classic Rock LP batch, and possibly some 45s. Look for these going up on Monday.
Trivia question:
Who were the first three artists/groups, in order, to do “Respect”?
The Detroit soul-garage group The Capreez recorded this 45 in 1966 on the Detroit Sound label. The A side, Rosanna, was the bigger hit, a dreamy ballad about missing a girl (Rosanna) that hit on the local charts in the summer of that year.
The B side, Over You, again sings about a lost love, but has a great swinging blues sound with a killer hamonica thrown in. A perfect song for this overcast fall Sunday morning.
I’m going to email the lead singer of the Capreez, Al Reid, and see if he’ll comment on this and tell us more about the band. If he does respond I’ll repost this with his story.
Listen to a clip of Over You:
The deadline to apply for the winter Ypsilanti Shadow Art Fair is Oct. 1st. Go here to view the application. There’s also a poster design contest - go here to view that application.
I criticized the Shadow Art Fair this past summer for not having enough paintings, sculptures, photographs, ect, and too much clothing and crafts. So, I encourage anyone out there who has skills in those areas to apply. This is a great opportunity for someone to display/sell their work for the first time, as well as another great venue for the experienced market artist.
This year’s Winter Shadow Art Fair will be again held at the Corner Brewery near Depot Town, on December 1st from noon to midnight.
You heard it here. In fact, I wanted to post this right after I saw Kenny Rogers pitch the first two innings last night. They squeaked out a win last night in the 11th and then won in the bottom of the ninth today against the White Sox. Now they’re only 3 games back of the Yankees for the wild card with 20 some games to go.
The Tigers WILL make the playoffs this year, and they will WIN the World Series. That’s right. They’re gonna do it. They’re gonna get hot. Kenny Rogers is going to will them to a championship and then retire. Sheffield is going to come back and start knocking the ball all over the park again. Inge is out of his slump. Maggs has some magic left. The starting pitching is back on track, and so is the bullpen. Here they come - watch out Yankees!
For karma, listen to songs from their last two championships (both recorded before they won it). And you better bet I’ll be drinking beer out my lucky blue Tigers pint glass from here on out.
1984’s Ain’t No Stoppin’ Us Now Tigers:
And 1968’s Go Get ‘Em Tigers:
Harry “Mac” McClintock, The Bum Song / Hallelujah! I’m A Bum; Victor 78
I’ve told you about how I discovered this song, and how then it turned up in the backstock on the bottom of a pile of old 78s that Justin was sorting out. I brought it home yesterday and I’ve played it about 20 times already on my Magnavox cabinet player.
Recorded in 1926, this song has to be considered one of the masterpieces in the history of American folk music. As Gerard said, the most humble and unusual song he has ever heard. There’s something magic about this - it’s the only song I’ve heard that sings praises for having nothing. And it romanticizes being a bum or a hobo - something that I’ve always secretly wished I could be (maybe for just a month or so).
You can listen here. I don’t have my 78 player hooked up to my recording program.
