Sam Amidon At Le Poisson Rouge

I saw Sam Amidon at LPR last night playing a show in honor of the release of his new album, Bright Sunny South. For now, here’s one of his older songs:

Sly Slick And Wicked

Listening today to the The Lost Generation’s “The Sly, Slick, And the Wicked,” it struck me how similar the bass line is to Lee Fields’ “Love Comes And Goes.”  The Lost Generation were a short-lived Chicago vocal group who had this one awesomely-named hit at the beginning of the 70s. It was the title track of their debut album and the standout; many of the other songs were covers of other vocal groups, like the Delfonics and the Moments.  The album’s title was cool enough that several groups then named themselves Sly, Slick, and Wicked (and one of those groups recorded “Sho’ Nuff,” which recently provided the soul sample for Justin Timberlake’s hit “Suit And Tie”).

 

Lee Fields included his song “Love Comes And Goes” on his 2009 album, My World, which signaled his transformation from a James Brown styled shouter to a much smoother, shimmering type of soul man. The bass is easier to hear in the more recent recording, but during the verses, both songs follow the bass through an exaggerated series of circles, as it moves back and forth indecisively over the same series of steps. When I saw Fields play live, the bass player was amazing.

Want To Be Free

Deniece Williams is one of those people who has a knack for finding opportunities and making the most of them. She managed to meet Stevie Wonder backstage at a concert and ended up with an audition and a paying gig in the group Wonderlove. A couple years later, she met Maurice White, then at the peak of his powers in the band Earth, Wind & Fire. With his help — and instrumentation from other players in Earth, Wind & Fire — Williams recorded her debut album, This Is Niecy.  It’s immaculately produced late-70s funk, with every flicker of guitar, twirl of electric keyboard, and muted horn toot sounding perfectly clear. Once the lead single, “Free,” gets going, Williams keeps working to get airborne as the thick pound of the rhythm section (maybe D’Angelo built around that heavy, bass-laden plod when he recorded “Feel Like Makin’ Love“?) tries to bring things back down to earth. Love the vibraphone action.

 

Mr. Rodgers’ Sisters

This post sent me back to all my old Nile Rodgers albums. It’s hard to pick a favorite Rodgers’ song, but “Thinking Of You,” which he recorded with Sister Sledge in 1979, has to be near the top of the list. The Sledge gals teemed up with Chic’s founders in search of an elusive commercial breakthrough, and they got it big time — the We Are A Family album was a huge success. The album’s title track remains a ubiquitous example of disco, but why isn’t “Thinking Of You” still circulating in the same way? A trademark Rodgers riff skips and stutters, strings swoop, the bass struts and bounces. Pop at its finest.

Easy Evil

I compiled a recent mix I made for a friend on Spotify, listen here:

http://spoti.fi/15UxZP7

Lenny Williams

This love-affirming ballad was a hit for Lenny Williams in the late 70s. It’s slow and fraught in the manner of Teddy Pendergrass or other post-funk singers of deep, soul-baring tunes. Part of my appreciation for this stems from the fact that Terius Nash, a.k.a. The Dream, supposedly once sang this over the phone to his interviewer while being interviewed for an article. Performed live by Williams below.

 

Postelles

I reviewed the new Postelles album for Popmatters.  One of their new songs below:

Child Of The Streets

I’d never heard of Sam Dees till about a week ago where I read an article that mentioned him in passing. I’m glad I followed up on the lead.  Dees did a lot of soul songwriting in the 70s — most successfully for Larry Graham (the original bassist in Sly & the Family Stone) and Gladys Knight — but put out just one full-length album.  The Show Must Go On, from 1975, has a weary, resigned title, and it’s a sad album, full of titles like “Just Out Of My Reach,” “Troubled Child,” and “Worn Out Broken Heart.” There’s plenty of good material here, but the first track, “Child Of The Streets,” takes the cake, with it’s flute-and-string heavy beginning gradually fading away in front of a muscular, unhurried rhythm section. Dees sings of society’s troubles, but it all sounds so damn good.

Mr. Rodgers

Daft Punk’s new single revolves around a guitar line from Nile Rodgers that’s groovy enough to both overcome Pharrell’s terrible singing and make you wonder — what the heck has Nile Rodgers been up to lately? The man helped found the band Chic, a group that ruled disco and changed pop in the late 70s. Then in the 80s, Rodgers was an unstoppable writer of hits, helping out the likes of Madonna, David Bowie and Mick Jagger. But he hasn’t put out any exciting music in a while.

When he wasn’t in the studio with celebrities, Rodgers also put out a couple under appreciated solo albums in 1983 and 1985, Land Of The Good Groove and B-Movie Matinee respectively. Land Of The Good Groove has the better title, but B-Movie is the better album, filled with driving, brittle drums, jabbing synthesizers, and waves of Rodgers’ intricate guitar parts.

Below, an excellent music video for “State Your Mind,” one of the best tracks off of B-Movie. Hopefully he’s got a B-Movie sequel in him.

He Would Die 4 U

I reviewed the music journalist’s Toure’s new book I Would Die 4 U for Paste. It’s about PRINCE. But I think you can’t really do the man justice in print. . .

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