Sunday Soul - Jimmy Hughes

There are some albums that are just so powerful, or historical, or just plain amazing, that it takes me a little while to muscle up the nerve to try and tackle writing a post about them. I'm just nervous that I'll do the album a disservice by not adequately covering it and losing the chance to turn people on to it because I did a crappy job. The Best of Jimmy Hughes fits into all three of those categories: powerful, historical, and amazing.

Jimmy Hughes' name has sunk out of the collective consciousness, even though he was one of the earliest stars of southern soul music. Originally a gospel singer (as many of the early soul singers were brought up as), Hughes turned to secular music after being inspired by Arthur Alexander, another unsung star of early soul music. After seeing the fruits of Alexander's early success and his driving around town in a Cadillac, Hughes said to himself, "I'm gonna go get me one of those too." The result: Hughes signed up with FAME studios.

His story is tied to that of FAME Recording Studios, which was founded in 1959, and home of the Muscle Shoals Sound. Although Stax gets the lion share of respect and props for generating the southern counterpart to what Motown was doing in Detroit, FAME was just as important in its day. Originally opened only as a recording studio, its doors welcomed such distinguished artists such as Wilson Picket, Otis Redding, and Aretha Franklin at various points in its hey-day. In 1964, Rick Hall (its owner) also started the FAME record label, and Jimmy Hughes' Steal Away was its first release and its first hit (hear it below).

And now, FAME is releasing its first catalog collection in over thirty years: The Best of Jimmy Hughes. The compilation includes all seven of Hughes' FAME hits, and sixteen of the eighteen tracks on the album are seeing their first ever digital release. Also included on the CD are two MP3s recorded recently with all the players from FAME studios who were involved in the 60's and 70's talking about their recollections. It's really historically amazing stuff, so make sure to listen to them (warning: they won't show up in a music player - you need to find the actual files on the disc yourself). If everything goes as planned, this will be the first of many re-issues from the studio of material that's been languishing in obscurity for too long.

As a side note, Jimmy Hughes would later go on to record with Volt Records (a subsidiary label of Stax), and release five singles between 1968 and 1971 before choosing to retire from the music industry. The first, I Like Everything About You, you can listen to below.

Jimmy Hughes - High Heel Sneakers : The Best of Jimmy Hughes

Jimmy Hughes - Steal Away : The Best of Jimmy Hughes

and one from his Volt years:

Jimmy Hughes - I Like Everything About You : The Complete Stax-Volt Soul Singles, Vol. 2: 1968-1971

Visit Fame Studios' website and become Jimmy's friend on MySpace.

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Arthur Alexander - "You kinda want to get paid..." (intro to Genie In the Jug) : Lonely Just Like Me: The Final Chapter

Arthur Alexander -Genie In the Jug (live on Fresh Air) : Lonely Just Like Me: The Final Chapter

Sunday Spotlight - Rebecca Martin

I know the Sunday Spotlights have been few and far between the last few months, but it hasn't been from lack of effort. Unfortunately, many artists and bands have other, more important things to do than share their thoughts with me. That being said, Rebecca Martin was gracious enough to take the time to do just that, and talk about a track from her latest release, The Growing Season. I'm particularly thankful for her time as she's the mother of a three year old and an active member in her community forming a neighborhood civic group (KingstonCitizens.org).

The track she opened up about it titled The Space In A Song to Think, the lead off track from the album. Besides having a beautiful title, it's one of the best cuts from the album. Without further ado, on to the song. As is usual, text in red is Rebecca's and questions in black are mine.

Rebecca Martin - The Space In A Song to Think : The Growing Season

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The Space in a Song To Think: Lyrics

The Space in a Song To Think is a tune that came out of a series of disputes with people that I was intimately involved with, and who’s perspective I respected at that time. What struck me, and became the idea for this song – was finding myself in these arguments that were seemingly unnecessary – as we saw things in the same way. But the way we communicated due to being informed by our experiences made it seem not so. ‘The glass is half empty – or half full’ is a very curious and humbling idea to contemplate. Furthermore, if we are patient enough to sit in what is uncomfortable before we are to speak on it – we will find that as much as we identify with the next person, we are ultimately and utterly alone in our lives. A fact that is unnerving for us all.

I’ve read some journalists interpret the tune as being a bit of a sarcastic play on the way that my music is perceived. I am often asked what ‘genre’ I see my singing in - and I am quite adamant that these genres are marketing tools and have nothing to do with the interpretation in my singing – or the lyrics and songs that I write. I understand why that conversation persists. But it’s not my intention to relay my experiences through song in that simplistic way.

The Writing Process

I find that I write the very same way from song to song. The harmony and melody come – and the words are all gibberish at first, to create sounds to support the melody line. Phrases eventually come that start to make some sense – and from those phrases, a sentiment helps support the lyric. ‘The Space in a Song To Think’ was written over the course of about two weeks. It came swiftly which is not always the case.

The Recording Process

I work very hard to create a whole structure in every song that I write. The strength of that structure dictates the bands performance. It is rare when that changes during a record date (though there are tunes on the Growing Season that ended up being different then how they were originally written due to Kurt Rosenwinkel’s work as producer).

And three additional questions:

1.) It's hard to believe that the song (The Space In A Song To Think) came out of disputes. Listening to the entire album, it's hard to imagine you arguing with anyone, it's so calming and level! Anyway, it's a beautiful metaphor that you craft, the idea of a space. Concerning the unnerving revelation of being alone, do you not feel that deeply loving and genuine relationships eliminate that ultimate aloneness that you mention?

For me, a song is the balanced end result of all things flowing and/or challenging. The calm that you hear in my records is the art in making records, where the listener gets the very best of me. Taking all that is chaotic, confusing, lonesome, disappointed – the gamut – and making it round. Capturing all that in a jar. That is a song.

As for the idea of deeply loving and genuine relationships. I’m not sure if that exists in such a simplistic way. Some people wish and want that kind of love in their lives so badly that they can trick themselves into thinking that’s what they have and even impose that on others.

I’m thinking a lot about not personalizing my experiences and relationships to see how that feels, and it’s not a comfortable spot. There is a sense of control by attaching yourself to something. A person, a belief, an idea... whatever. It can give one a sense of belonging and sometimes, false meaning. I don’t think anything can take away the feeling of being ultimately and utterly alone. Not if you are really conscious and aware, and those who are the latter are most likely not bothered by that fact.

These are some of the ideas that I’m working through in my current songs. Your question is timely, but I’m afraid I haven’t any concrete answers.

2.) Since your last album, you've had a son (who's now almost three). Being the father of a four year old, I know the obvious practical changes that your life takes, but how about on a deeper level musically? Do you feel that this album "sounds" different because of your son?

Having Charlie in my life has created such a big change. You hear this from parents before you become one, but I had no idea that it would be... this profound. This enormous. The singing in ‘The Growing Season’ has an ease and a more relaxed quality to it then any of my past recordings. A bit like I’m not hiding behind the singing any longer – and it’s easy to do. You hear a great deal of hiding in singing today. Simply put, one of the wondrous parts of becoming a mom is that there is a settling. A surrender. I’m thankful for it. But the practice of all these new things I’ve only just begun.

3.) In the early 90's you and Jesse Harris formed a band together (Once Blue). I believe that it was the beginning of both of your professional musical careers, no? The two of you have gone your separate paths, and have both been successful in your own ways. I know that he co-wrote one of the tracks on your new album (Talking). Do the two of you keep in touch much? Ever reminisce or think "what if we had stayed together?"

Yes. We found each other in NYC. I from Maine, and Jesse from Manhattan. It’s funny how people are focused on ‘Talking’ as if it’s a full circle for Jesse, Kurt and I. No one ever asks me if that is true. They have just assumed it.

‘Talking’ is one of the oldest songs in my catalog, which just wasn’t ever recorded in the way that I wanted it. It was the very first song I wrote on guitar, before I was even playing regularly back in 1997. Jesse collaborated on the bridge way back then... so it was not a reunion as I think some believe it to be. It’s just an old song that fit perfectly in my new ones.

Jesse and I were together for four years writing songs. You can imagine that that means there are a lot of tunes from that time period. I haven’t recorded them all, and look for projects that suit those in line. Perhaps for several more recordings, you may see one pop up here and there. We haven’t written anything new since 1998.

As for do I reminisce about the ‘what if’s’? I used to. I consider Jesse to be the very start of my true creative process. I had been singing all of my life, but in search of the words and melodies in me. He and I together quite organically realized that good stuff. We grew up together in some magnificent ways.

Ending the first anything is tough. Today when it comes up either in conversation or in my private mind, I’m just grateful. That’s what’s left. Time and space does that.

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As hinted at above, the album conveys a calm steadiness throughout that obviously comes from experience (both musical as well as worldly). Below Martin's regal voice of womanly wisdom lies instrumentation that hovers on the edge of imperceptibility yet still contributes to the overall texture. This is an album of contemplation, one for playing at quite moments. Enjoy the following sample.

Rebecca Martin - The Space In A Song to Think : The Growing Season

Rebecca Martin - Make the Days Run Fast : The Growing Season

Visit her website, her label Sunnyside Records, and become her friend on MySpace.

The Script

Here's a sneak peak listen at a new Irish trio, The Script. They're the newest signing for UK label Phonogenic Records (also home of Natasha Bedingfield), and have been picked up by Epic Records here in the United States. Their self-titled album is a home-brewed creation of celtic / R&B / pop. They're purportedly huge in the UK, and are attempting to make inroads on this side of the pond. Check out their first single below.

I completely apologize for the 30 second ad before the video. If you want the video sans ad, check it out on YouTube (which unfortunately isn't embeddable).

More Videos

Purchase the single for We Cry, and Script, the full length album it comes from (import only right now unfortunately - get it digitally on iTunes).

Visit their website, their American label Epic Records, and become their friend on MySpace.

Marykate O'NeilULTRA

Looking for some upbeat, light hearted, female fronted indie pop? Try giving Marykate O'Neil a spin. Her latest release (her third), the six track mkULTRA, came out a little over a week ago, and if you listen carefully, it might surprise you. While on the surface it's got the peppy poppy texture, but lyrically you'll find touches of cynicism.

Of the album's six tracks, two are covers: Randy Newman’s Living Without You and Happy, by her friends and collaborators Jill Sobule (who co-produced the EP and also appears as a musician on it) and Adam Schlesinger (of Fountains of Wayne). Here's the opening track, along with some older ones to round out the picture.



Marykate O'Neil - Green Street : mkULTRA

one from her last album

Marykate O'Neil - Things are too Good (They're Bound to go Bad) : 1-800-bankrupt

and another older one from a tribute compilation for The Monkees

Marykate O'Neil - Pleasant Valley Sunday (Monkees cover) : Through the Looking Glass: Indie Pop Plays the Monkees

Visit her website, her label 71 Recordings, and become her friend on MySpace.

Visit The Whispertown 2000

For those of you who are fans of Gillian Welch, you'll be interested in checking out The Whispertown 2000, the first band to be signed to her and David Rawlings' (her longtime musical partner) new label Acony Records. You might jump to some conclusions about the band's music based on that connection, and many of those conclusions will probably be correct. Their music has an old time country/bluegrass feel to it that mates up well with the vocals of Morgan Nagler and Vanesa Corbala, whose voices handle the country inflections well.

There are some instances where the music jumps into overdrive, almost a westernized version of the Breeders with a pair of female voices up front over a simple yet booming sound, but just as quickly things cool down. For instance, half way through the album, the loud Erase the Lines eases into Atlantis, a piano driven number featuring a four woman choir made up of Nagler, Corbala, Gillian Welch, and Jenny Lewis. Yea, THAT Lewis. The same Lewis who said, "Morgan Nagler is my favorite songwriter. Period." Talk about a celebrity endorsement!

The album came out at the end of last month and is available now. Enjoy the opening track, 103, which reminds me of the Beatles' When I'm Sixty-Four. Then there's From The Start/Jamboree, a straight ahead hoe-down number. If you enjoy the pair, you'll most likely enjoy the rest of the album.

The Whispertown 2000 - 103 : Swim

The Whispertown 2000 - From The Start/Jamboree : Swim

Visit their website, their label Acony Records, and become their friend on MySpace.

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Gillian Welch - Elvis Presley Blues : Time (The Revelator)

A Delicious Rmxxology

"While many of Delicious Vinyl's most famous tracks were created in the pre-sampling law era when the dominant hip-hop production style was based around familiar loops, Delicious RMXXOLOGY affords today's most talented artists the opportunity to create new music to accompany these classic raps."

-Peter Relic, from the liner notes for RMXXOLOGY

Following up on the success of the summer release of RMXXOLOGY, Delicious Vinyl is coming back with a knock down punch: the DELUXE 2 CD edition, which includes all of the original tracks PLUS four new unreleased remixes PLUS four classics from their catalog PLUS instrumental versions! Damn, that's a lot music!

They're drawing upon a strong back catalog of classic hip-hop artists including Young MC, Tone-Loc, The Pharcyde, Masta Ace, and others, remixed by a strong list of modern day mix masters including Don Rimini, Peaches, Hot Chip, Diplo, Aaron LaCrate, etc... Put old skool with new and you get some great tunes that, for some, will bring back memories, and for others will introduce them to some classic beats that don't feel like old folks' music.

Tone Loc feat. Peaches - Wild Thing (Peaches Extended RMX) : RMXXOLOGY Deluxe Edition (Disc 1)

The Pharcyde - Soul Flower (Remix) : RMXXOLOGY Deluxe Edition (Disc 2)

Visit the Delicious Vinyl website.

History in the Making?

from Sly & Robbie and Amp Fiddler's Inspiration Information, Vol. 1

New Ben Sollee EP

Early in the summer I wrote a little about cellist Ben Sollee and his album Learning to Bend (back here). Last week I got wind of a new, short, two track EP (titled Something Worth Keeping) that Ben's putting out, along with some words that Ben had about them, which seem aptly suitable to share today. Here's his note, below you can stream the two tracks.

The beauty of people is anchored in imperfection; it is not that we are destructive but that we are ignorant to a better way. We dream big with even bigger costs. Furthermore, we learn the lesson daily that we don’t know what we have until it is gone. Combined, these two qualities are child-like but ever present.

When I look around I see a lot of things that are worth keeping: the mountain tops of Appalachia, family and community farms, art and music in schools, and, most of all, a government by the people and for the people. But how? The challenge that our leaders and us face is that we don’t know how to accomplish these goals. There are many eloquent ideas out there about renewable energy, educational systems, and governing, but realizing them means trying new things; which is daunting at least, and terrifying at most. As my generation takes the reins we should not sacrifice some qualities of this nation and the land in its boundaries to the wayfaring spirit of economy. They are important for Americans, our children, and the rest of the world.

These thoughts inspired these two new songs. But they are only songs…

Digitally purchase the Something Worth Keeping EP.

Visit his website, his label Sona Blast! Records, and become his friend on MySpace.

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Upcoming Tour Dates

5 Nov - Nashville TN / The Basement
6 Nov - Atlanta GA / The 5 Spot
7 Nov - Chapel Hill NC / Nightlight
8 Nov - Washington DC / Iota
11 Nov - Brooklyn NY / The Bell House
12 Nov - New York NY / Mercury Lounge
13 Nov - Boston MA / Great Scott
14 Nov - Philadelphia PA / World Cafe Live
15 Nov - Pittsburgh PA / Club Cafe
17 Nov - Chicago IL / Schuba's
18 Nov - Minneapolis MN / 400 Club
21 Nov - Seattle WA / TBA
22 Nov - Portland OR / Balcony Bar At The Hawthorne Theatre
24 Nov - San Francisco CA / Cafe Du Nord
25 Nov - Los Angeles CA, Hotel Cafe

DEFinition Chapter 1: Hip-Hop and Street Art

"Writers were the loudest quiet cats you'd ever meet. Quiet in the sense that they were working without microphones. Loud in the sense that they wanted their monikers to have the same brand-name recognition - or volume - that Coca-Cola did. Kids got into graf writing for different reasons. Some felt beat down by the system and sought release through writing. Others were bored vagabonds with itchy spray-trigger fingers. Regardless of how they came to the art, it was a conscious conceit for these kids to get their names up in as many places as possible. This was what really mattered. This was where their heads were really at" (16).

A few weeks ago I dropped a post on DEFinition: The Art and Design of Hip-Hop and promised that as I was making my way through the book I'd share. Well, I've been a little busy since then, but I've made it through chapter one, which is titled Getting Up and Getting Over: Hip-Hop and Street Art. It covers the graffiti movement from 1969 right up to the present day, and shares some info on some of the hottest taggers to throw-down in the style wars that raged across the walls and subways of New York City right into the upscale art galleries. Also briefly mentioned was the movie Wild Style, one of the first (and most authentic) film that captured the spirit of the movements (MCing, turntablism, graffiti and breakdancing). The chapter doesn't stop with the traditional wall art though. It continues on with art of other sorts: paintings on canvas, ink prints, steel statues, paper collages, proving that a spray can isn't the only tool of choice for expression by these artists. Here's a sample for you:

Order a copy of DEFinition: The Art and Design of Hip-Hop to check out the rest of the pics.

And here's a cut for you to listen to from Wild Style:

The Cold Crush Bros. vs. The Fantastic Freaks - Basketball Throwdown : Wild Style - 25th Anniversary Edition (Original Soundtrack)

Ingrid Michaelson and David Ford, Live

On Saturday night I was able to check out a dynamic duo of artists: David Ford and Ingrid Michaelson. I'd been looking forward to the show ever since finding out about it as I sincerely enjoy both of their musical output. David's latest album, Songs For the Road - which came out earlier this year, is a brilliant album that I had every intention of writing about but somehow didn't.

It's his second solo effort, and while only nine tracks, is worth every penny (be it American or British, as he hails from England). David is an amazingly skilled performer who has a voice that carries such fire. It's amazing how much emotion and intensity that he's able to convey regardless of the lyrics or the song. Be it loud or soft, he's able to share powerfully genuine emotions. David opened his short set with the opening track from the new album, Go to Hell. Check out this video of him performing it (not from Saturday's show) where he plays about two dozen instruments himself (including some kitchen utensils).





David Ford - Go To Hell : Songs for the Road

Visit his website, his label Original Signal Recordings, and become his friend on MySpace.

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There was a HUGE crowd on hand to catch Ingrid Michaelson take the stage. In fact, rumor had it that the Iron Horse was sold out completely. Over the course of the evening, she went through the majority of the tracks off of her debut album (including a few of my favorites: The Hat and Breakable, and the hidden track at the end, Far Away), a few from her latest, Be OK (including the title track, Lady In Spain, You and I, and her encore, the Judy Garland cover Over the Rainbow), and a couple of brand new songs.

While completely enjoyable, the highlights of the set would include when she sang You and I and performed both the girl and boy parts (including a manly voice for the boy parts), and when she intro'ed into The Way I Am by weaving part of Ice Ice Baby into the theme from The Fresh Prince of Bel-Air into the song proper! Highly comical, artistically creative, and complete cheese...in other words, awesome!

Another pleasant surprise for the evening was catching Bess Rogers playing in Ingrid's band. In case you didn't catch it, Bess released her own album, Decisions Based on Information, earlier this year and I featured her in a Sunday Spotlight back here in April.

The pair will be on tour for the rest of the month, so check dates below to see if they're playing near you.

Ingrid Michaelson - The Way I Am (Daytrotter version) : Daytrotter Session (studio version on Girls and Boys)

Visit her website , her label Original Signal Recordings, and become her friend on MySpace.

The Fresh Prince - The Fresh Prince of Bel-Air Theme : The Fresh Prince of Bel-Air

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Upcoming Tour Dates

NOV 4 HOUSE OF BLUES ANAHEIM, CA
NOV 5 HOUSE OF BLUES SAN DIEGO, CA
NOV 6 EL REY THEATER LOS ANGELES, CA
NOV 7 GREAT AMERICAN MUSIC HALL SAN FRANCISCO, CA
NOV 8 HARLOW’S SACRAMENTO, CA
NOV 10 NEUMO’S SEATTLE, WA
NOV 11 WONDER BALLROOM PORTLAND, OR
NOV 13 BELLY UP ASPEN, CO
NOV 14 GOTHIC THEATER DENVER, CO
NOV 16 SLOWDOWN OMAHA, NEBRASKA
NOV 17 PANTAGES THEATRE MINNEAPOLIS, MN
NOV 18 BARRYMORE THEATRE MADISON, WI
NOV 19 PARK WEST CHICAGO, IL
NOV 20 THE ARK ANN ARBOR, MI
NOV 21 THE MADISON THEATER COVINGTON, KY
NOV 23 TLA PHILADELPHIA, PA
NOV 24 CLUB CAFÉ PITTSBURGH, PA
NOV 25 THE BIRCMERE ALEXANDRA, VA

Sunday Soul - Booker T. and the MGs

A hearty congratulations to Booker T. and the MGs for getting inducted into the Musicians Hall of Fame earlier this week (news article here). I've posted about them before, but for those not keeping score, the group WAS the fabled Stax sound (and a lot of the Atlantic sound for that matter) of 60's and 70's soul music. Listen to almost any Stax album of the period and you're more than likely listening to the MGs whether their name is on the cover or not.


Booker T. and the MGs - Groovin' (Rascals cover) : Groovin' 7"

Booker T. and the MGs - Slim Jenkin's Place : Groovin' 7" B-side

Get them both on Hip Hug-Her.

Made In Iceland

Map of Iceland

While Iceland's economy might be going down the tubes, by no means does that mean there are less beats coming out of the small island. While Bjork, the Sugarcubes, and comparatively more recently Sigur Ros (who contribute a track to this collection) might be the best known musical exports, there are a wide range of artists simmering in the tiny country. Need proof? Look no farther than the Iceland Airwaves Festival. Started in 1999, the festival not only brings in top shelf acts from around the world but also showcases numerous locally grown bands.

Need more proof that you can listen to in the comfort of your own home? Check out Made In Iceland, a compilation of fifteen tracks from fifteen different Icelandic artists put together by Iceland Music Export. Just like with any compilation, there will be a few tracks that don't spin your wheels, but if you give it a chance, it also just might turn you on to some new bands that you wouldn't have experienced otherwise. Here are a few of my favorite tracks:

Seabear - Libraries : Made in Iceland (from their album The Ghost That Carried Us Away)

Seabear plays a dreamy sounding indie-pop that jaunts along at the speed of sunshine resplendent with angelic choruses echoing in the background. With its seven members, its sound has a lot of different parts all woven together to form a sound fuller than the initial comparison that springs to mind: Belle and Sebastian.

Visit their website, their label Morr Music, and become their friend on MySpace.

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Emiliana Torrini - Me And Armini : Made in Iceland (from her album Me And Armini)

This is the fourth track from the album and is a relatively simple sounding number with extremely light instrumentation backing up Emiliana Torrini's charming vocals singing about "stalkerly love." If you happened to see the Lord of the Rings movies, Emiliana sang Gollum's Song for the soundtrack.

Visit her website, her label Rough Trade Records, and become her friend on MySpace.

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The CD was supposed to be available on iTunes as an iMix on October 28th, but I haven't been able to spot it yet. Keep your eyes open for it and enjoy the above two tracks in the meantime.