REV. JOHN WILKINS: A TRIBUTE

On the morning of October 6, 2020, The Reverend John Wilkins passed
away at the age of 76.  A talented guitarist and performer, Wilkins
was enjoying some late in life success thanks to his recently released
albums YOU CAN’T HURRY GOD and TROUBLE.  He was a popular performer at
Blues festivals and because of his unique Country/Blues guitar playing
style, many considered Wilkins to be one of the last living links to a
musical period long gone. He is survived by a loving family (some of
whom performed with him at his concerts) and will always be
remembered by members of the church where he was a pastor in Como,
Mississippi.

Born in Memphis in 1943 into a musical family Wilkins began playing
guitar at a young age thanks to his father, pre-war Blues guitarist
Robert Wilkins.  Best known for his song “Prodigal Son” (which was
covered by The Rolling Stones in 1968), Robert Wilkins had a career
that started in the late 1920’s but didn’t enjoy mass success until
his “rediscovery” in 1964 as part of the Blues revival. From about
1936 until his rediscovery in ’64 Robert temporarily gave up playing
Blues and began focusing on Gospel music. It was during these years
that young John came into this world and began performing alongside
his father at church.  While his father was probably his biggest
influence on his playing directly, John also soaked up the musical
sounds of Memphis during the 50’s and 60’s. He would go on to do
studio sessions and play in various groups around the city before
eventually settling down and becoming a pastor of the Hunter Chapel in
Como, Mississippi in 1985.

Even though Hunter Chapel had its fair share of blues musicians as
part of their congregation over the years once Wilkins took over as
pastor he gave up playing guitar entirely. He finally picked it up
again in 2003 after he attended a funeral for his friend, musician
Otha Turner. Inspired to pick up playing music again he got back into
performing and in 2010 he released his debut album YOU CAN’T HURRY GOD
(Big Legal Mess Records).  The record was well received by many and
soon Wilkins found himself bringing the sound of the Mississippi Hill
Country (or as Wilkins called it “Hand-clappin’ foot-stompin” music)
to places like London and Paris. He became a major fixture at Blues
festivals all over the world and in 2019 recorded a follow up album.

All seemed to be going well for Wilkins and his family until April
2019 when he contracted COVID. Like many who have contracted the
disease Wilkins first found himself having trouble breathing and
feeling like he had the flu. He phoned his daughter and was quickly
admitted to a local hospital where he was hooked up on a respirator.
He stayed in the ICU for 5 weeks before his health slowly started to
improve. Then in mid June, Wilkins got the good news he was all clear
and returned home!  Not long after his release from the Hospital he
released the album TROUBLE (Goner Records) that he recorded in 2019.

Recorded in Memphis at the legendary Royal Studios, TROUBLE was
finally released September 18th, 2020 and received rave reviews upon
its release . Formally the recording home of Willie Mitchell’s
Hi-Records (Al Green, Syl Johnson, Ann Peebles) Royal Studios has been
one of the prominent spots to record in the south since 1957. The
recording session was sort of a homecoming for Wilkins as he performed
on sessions here in his earlier years. The studio is also known for
taking Soul music to the next level in the 60’s and 70. So, it seems
only fitting that the album Wilkins recorded here would be musically
diverse. Featuring a little something for everyone, TROUBLE is truly a
Memphis record. Here we find Wilkins and his band mixing Country and
Soul along with their normal mix of Blues and Gospel thus giving the
album more of a “Southern Soul” feel then his previous record. It also
must be said that one of highlights on this record is hearing Wilkins’
own daughters perform alongside him.  Tangela Longstreet, Joyce Jones, Tawana Cunningham are all very talented in their own right and give the band sort of a Staple Singers sound on tunes like “Wade In The Water”, “Walk With Me”, and “Darkest Hour”.

If there’s any part of TROUBLE that is a bummer it’s that Wilkins
wasn’t alive long enough to see it enjoyed by his fans.  As previously
mentioned he passed away October 6, 2020 from unknown causes. While he
will be missed by many all over the world we are fortunate he left us
two wonderful albums of music along with a lifetime of memories.
Hopefully his music will live on and find new listeners in the years
to come. After all, who doesn’t love some good Hand-clappin, foot-stompin’ music!

REV. JOHN WILKINS albums are currently available for streaming on Spotify and for purchase through most on-line retailers. 

YOU CAN’T HURRY GOD (Big Legal Mess Records) 2010

TROUBLE (Goner Records) 2020

THE BLIND BOYS OF ALABAMA: ALMOST HOME

THE BLIND BOYS OF ALABAMA: ALMOST HOME single lock records
For fans of Mavis Staples, Aretha Franklin, Al Green, Southern Soul
The Blind Boys of Alabama are a true American treasure. The band is about to enter their eighth decade as a group and the guys have done just about everything you could hope to do in the music business. They’ve performed in front of tens of thousands of people, won countless awards, and have even performed at the White House for three different presidents. Quite an achievement for a group of African American musicians that grew up in the segregated south where they couldn’t even perform in most venues. The group’s founding members originally met when they were very young at the Alabama Institute for the Blind in 1939. Not able to perform “black gospel” music at their own school (which was run by whites) the group took to the road. Needless to say, touring came with it’s own challenges thanks to the south’s Jim Crow Laws. Regardless, the band stuck it out and after many years of bad contracts and line-up changes the band started to enjoy some success.
In the early to mid 1950’s the band really began to take off and was an in-demand live act. They toured tirelessly throughout the American South and played to packed halls, churches, and auditoriums. Unfortunately for the group as the 50’s drew to a close gospel music’s popularity began to fade. Even gospel giants such as Sam Cooke started to crossover and begin recording secular music. Not interested in changing their sound the band continued to record and perform religious music. As the 60’s began the band was still a household name on the gospel music circuit and became very involved in the Civil Rights movement. Along with gospel contemporaries like Mahalia Jackson and the Staple Singers the band regularly performed benefit shows for Dr. Martin Luther King. Sadly the decade ended andso would the band’s popularity. The next several decades were tough on the band. Members of the groups came and went and their audience dwindled, radio airplay for the group was non-existent.
 Down but never out, the band pressed on and in 1983 thanks to their part in the musical “The Gospel at Colonus” they enjoyed a second wave of success that they still ride today. More popular than ever these days the group is not only still a dynamite live act but  they’re also a force in the recording studio. A large part of this new success can be attributed to their willingness to try new things and expand their musical palette. A perfect example of this occurred in 2001 when the group released the albums SPIRIT OF THE CENTURY and HIGHER GROUND for Real World Records.  These albums found the group not only covering contemporary artists such as Prince and Tom Waits but also recording fresh new versions of gospel standards. Both albums were very successful and introduced the group to a whole new younger audience.
 In the years since the release of the albums for Real World Records the group has continued to regularly release albums. While most of the albums have been pretty strong, their best moment on record is the group’s recent album ALMOST HOME.  Originally recorded 2017 as an Amazon exclusive the album is now available on all streaming mediums courtesy of Single Lock Records. Featuring songs “Stay on the Gospel Side” and “Almost Home”, the album tells the story of the band’s amazing career.  It also should be noted that a portion of this album was recorded at the legendary FAME studios in Muscle Shoals, Alabama. Like the Blind Boys themselves, FAME studios has been a fixture in the music industry for decades and is still going strong today.
ALMOST HOME opens with the country soul flavored “Stay on The Gospel Side”. A wonderfully uplifting story of staying true to yourself, this tune is exactly what we need right now. The song was co-written by singer songwriters Marc Cohen and John Leventhal with input by former Blind Boys frontman the late Clarence Fountain. Mr. Carter’s gruff vocals give the song it’s authenticity and sets the tone for the rest of the album. Another stand out track on the album is “Let My Mother Live”. Opening with a bluesy Allman Brothers-esq guitar riff, this song finds the band starting to open up vocally and is reminiscent of Clarence Carter’s country-soul hit “Patches” (also recorded at FAME studios). Like “Patches” the song has been well received by those in the industry and was nominated for a grammy.
 For the songs on ALMOST HOME the band collaborated with the team of Cohen/Leventhal for the majority of the album but also worked with several other songwriters such as Valerie June, Phil Cook, and Cris Jacobs. They also tackled a number of covers including “Live Forever” by Billy Joe Shaver and “I Shall Be Released” by Bob Dylan. All that said, the album’s strongest track might be the gospel ballad “God Knows Everything”. Regardless of whether you’re religious or not, this is a beautiful song. Again, this tune is penned by the songwriting team of John Leventhal and Marc Cohen. For those unsure of what sacred soul music should sound like, start here.
It goes without saying that ALMOST HOME is the strongest and most cohesive recorded that the Blind Boys have ever released. Unfortunately as it was initially released as an Amazon exclusive not everyone got the chance to hear it when it first came out. But, such is the way things are now in the music industry. Thankfully Single Lock Records is giving the record second chance and has made it more widely available. Now that all can enjoy this historic group’s finest hour, do yourself a favor and check out, ALMOST HOME today.

THE DEDICATED MEN OF ZION: Can’t Turn Me Around

CAN’T TURN ME AROUND Bible & Tire Records

For fans of Sharon Jones and The Dap Kings, The Blind Boys of Alabama, and The Staple Singers

The new record from the Dedicated Men of Zion reminds us that the lines between traditional gospel and R&B are blurry at best. Filled with foot-stomping rockers and swinging soulful ballads, CAN’T TURN ME AROUND, is just as appropriate for Saturday Night as it is for Sunday morning. Hailing from rural North Carolina the group has gone through a number of lineup changes since it’s incarnation in 2014. In 2018 the group’s current lineup, consisting of Anthony Daniels, Antoine Daniels, Dexter Weaver, and Marcus Sugg caught the attention of The Music Maker Relief Fund. The Music Maker Relief Fund is a non-profit organization that helps musicians in the rural south meet their day-to-day needs and promote their music. Even though the band was already popular regionally, working with the Music Maker Relief fund helped the group reach a larger audience and eventually find the ears of Bruce Watson’s Bible & Tire Record label.

Bible & Tire Records was started by Bruce Watson in 2018 as a vehicle for him to record and release “sacred soul” music. A music industry veteren, Watson has made a career out of recording and producing different forms of roots music, most notably albums by Hill Country Blues artists for Fat Possum records. Now with his attention focused squarely on sacred soul artists, Watson’s hit it outta the park again with CAN’T TURN ME AROUND by the Dedicated Men of Zion. Although this might technically be a gospel record, Watson and the Dedicated Men of Zion show us you don’t need to be religious to enjoy religious music, all you need is a pulse.
 The album opens with the hard-driving blues shuffle of “Father, Guide Me, Teach Me”.  One thing that’s immediately noticeable here is that even though the Men of Zion obviously have some incredible vocal abilities they also know how to leave space for each other. As with other gospel groups like The Dixie Hummingbirds or Blind Boys of Alabama everyone gets a chance to showcase their talent but it’s their harmonies that make this group special. While it’s obvious the Men of Zion have a special chemistry with each other, that isn’t the only reason they work so well together. All the guys have spent years performing not only in churches but also performing as hired guns backing up some of music’s biggest acts. Having that type of talent along with the musical maturity to know that “less is sometimes more”, is why these guys are well seasoned performers of the highest caliber.
The album’s second track is the haunting “A Leak in This Old Building”. Here the guys successfully bring down the tempo (but not the energy) as they vocally sway back and forth over a sweltering organ part. This is where gospel and soul music intersect. Sounding a little like a mix of Ray Charles’ “Hard Times” and Isaac Hayes “Walk On” this song makes you understand that while the guys have experienced real pain in their lives, they still press on. Fortunately the somber mood doesn’t last long as guys bring the mood back up on the next two tracks “Down Here Lord” and “I Feel Alright”.
Another stand out track on the album is “It’s a Shame”.  A statement about the current troubled state of today’s society is more inspiring than sad. Thanks to a danceable groove this song might not make you want to dance but instead get up and march. It’s also the most traditional “soul” song on the album and is reminiscent of music recorded in the late 60’s at Stax Records. Speaking of Stax, a big part of the record’s vintage sound is the amazing back-up band.  Mark Stuart (bass), George Sluppick (Drums), Calvin Barnes (Hammond Organ) and Will Sexton (guitar) are all in-demand studio musicians from Memphis, and play with a style reminiscent of Stax studio legends Booker T. & The MG’s. Like many famous studio bands, they provide a solid foundation for each song that allows the vocalists the space to do great things. In short, you might not necessarily notice them when listening to this record but if they weren’t there you’d miss them.

 The bottom line is that The Dedicated Men of Zion’s new record CAN’T TURN ME AROUND is a record that is desperately needed today. It’s inspiring, hopeful, and most of all reminds us that yes, things have been bad before but if we work together we can survive this and make it to the promised land.. whatever you deem that to be.

GOSPEL MUSIC IS THE ROOTS?

The late great Willie Dixon once said “The Blues is the roots, everything else is the fruits”.  While it might be taboo to disagree with a musical legend like Dixon (especially while he was alive as he was also a 300-lbs boxer), I must respectfully do so.  In my personal opinion, it is Gospel and spiritual music that we have to credit with being the musical tree that provided us with most all other forms of popular music.
While popular music may have evolved further and further away from it’s roots in Gospel and spiritual music over the years you can still hear the genre’s influence in some of today’s popular music.  Example, when you listen to artists like Beyonce’, Childish Gambino, and Bruno Mars you can definitely hear that somewhere along the way they were influenced, maybe indirectly, by artists like James Brown, Aretha Franklin, and Ray Charles.  James, Aretha, and Ray were all influenced heavily by Gospel music.  Aretha grew up in the in the church, Ray took a song by the little known gospel group The Southern Tones and turned it into “I Got A Women”, and Mr. Brown’s stage show was basically a secular version of a baptist revival. Same with Country music. You’d be hard pressed to find a country artist today that wasn’t inspired by Johnny Cash, Dolly Parton, or George Jones in some way.  Each of those artists recorded gospel albums over their long and impressive careers.  Rock music? Same thing.  Most modern rock bands in some way have been inspired by artists like The Beatles, Stones, Zeppelin, etc. Those artists listened to the Blues and Blues came from Gospel and spiritual music. We could talk about how Jamaican Reggae and Ska musicians listened to Blues, R&B, and Gospel music in the 1950’s over radio waves they picked up from America, but my feeling is you’re getting my point. The roots of most genres of popular music begin in Gospel and spiritual music.
Now, while one might enjoy the melodies in Gospel music there still might be a hang up when it comes to the lyrics.  I totally understand that.  Personally I am not a religious person and identify more as an atheist. Still, I LOVE classic gospel and spiritual music!  I love the passion in the music and the wonderful melodies.  Also, I appreciate how Gospel music has helped a lot of folks through some very rough times in history.  So while I may not have all the same beliefs as the person singing the music I am still able to enjoy the music.
Here are some of my favorite Gospel albums and artists that I hope you’ll check out.
STAPLE SINGERS
FREEDOM HIGHWAY epic records
 While a live album of the same name was released in 1965 (which is also excellent) this record is compiled of studio versions of Gospel classics such as “Will The Circle Be Unbroken”, “Nobody’s Fault But Mine”, and “Wade In The Water”.  The record also features probably the best song band leader Roebuck “Pops” Staples ever wrote, “Why Am I Treated So Bad?”. Pops wrote the song after watching the events surrounding “The Little Rock Nine” unfold on television.  The song became a hit not only for the Staple Singers but also an anthem of the Civil Rights movement during the 1960’s.
BROTHER JOHN SELLERS
BAPTISTS SHOUTS & GOSPEL SONGS smithsonian folkways recordings
Born in Mississippi in 1924, Brother John Sellers was one of the best (and most underrated) Blues/Gospel singers ever to record. His larger-then-life voice is best showcased here on his 1959 album BAPTISTS SHOUTS & GOSPEL SONGSSellers was discovered by the great Mahalia Jackson when he was a youngster performing in local gospel showcases.  As an adult he became an in-demand entertainer performing all over the world with legends like Big Bill Broonzy, Sonny Terry, Jo Jones, and Jackson herself. He passed away from diabetes related complications in 1999.
MAHALIA JACKSON:
MAHALIA! SINGS GOSPEL RIGHT OUT OF THE CHURCH columbia records
During Mahalia Jackson’s impressive career she introduced millions of music lovers all over the world to Gospel music. She inspired artists such as James Brown, Sam Cooke, and Aretha Franklin, performed for world leaders, and was a powerful presence in the civil rights movement.  While she has hundreds of recordings my personal favorite is MAHALIA! SINGS GOSPEL RIGHT OUT OF THE CHURCH.  The material is mostly up beat and beautifully recorded. Even though this record came out later in Jackson’s career her voice has never sounded better.
THE DIXIE HUMMINGBIRDS
20th CENTRY MASTERS COLLECTION
MCA Records
Few Gospel vocal groups have been more influential then The Dixie Hummingbirds. During the 1940’s and 50’s (generally referred to as “The Golden Age of Gospel”), they were megastars. They packed arenas, paved the way for future vocal groups like The Temptations and The Four Tops, and sold piles of records.  You can even trace their influence to modern pop groups like Boys II Men and N’Sync.  While the Hummingbirds have many recordings available a great place to start is their “best of” collection “THE DIXIE HUMMINGBIRDS 20th CENTURY MASTERS”. This collection gives you a good overview of their sound and features their Grammy winning hit “Loves Me Like A Rock”.
THE SOUL STIRRERS
JOY IN MY SOUL: THE COMPLETE SAR RECORDINGS
ABKCO Music & Records
The Soul Stirrers were another group that were megastars during the Gospel’s golden age.  While they are best known for being the group that kick-started Sam Cooke’s career in the 1950’s, the group’s origins go back to the mid 1930’s.  With Cooke in the group the Stirrers achieved rockstar-like status and recorded several hits for Specialty Records.  While the group was at their musical best when they were with Cooke, my personal favorite collection of theirs is JOY IN MY SOUL: THE COMPLETE SAR RECORDINGS.  This collection features recordings the group did for Sam Cooke’s own record label SAR Records after he had officially left the group. Many of these recordings were produced by Cooke himself and show that even in their later years the group was one of the very best vocal Gospel groups.
SISTER ROSETTA THARPE
GOSPEL OF THE BLUES
MCA RECORDS

Born in Arkansas in 1915 Sister Rosetta Tharpe influenced Rock and Popular music more then most people know.  A young Little Richard got his start by opening for her before anybody knew who he was. Elvis, Johnny Cash, and Bob Dylan all cite Sister Rosetta as a major influence, and during her heyday she performed for stadium sized crowds all over the world. In short, Sister Rosetta was a rockstar before Rock n’ Roll even existed.

While there are many recordings of Sister Rosetta available a good place to start when wanting to learn more about her music is a collection of her early recordings entitled THE GOSPEL OF THE BLUES.  This collection is complied of tracks recorded 1938 – 1948 and features a dynamite version of her hit “Shout, Sister, Shout”. The record also features a number of her recordings with Lucky Millinder’s Orchestra and the Sammy Price Trio. These tracks show that Sister Rosetta could swing as hard as she could rock!

BETTY HARRIS: THE LOST QUEEN OF NEW ORLEANS SOUL

 Soul Jazz Records 

For fans of James Brown, Irma Thomas, Tina Turner, and The Meters

When you think of the greatest Soul singers of all time you probably don’t think of the name Betty Harris. Despite being as talented as superstars like Tina Turner and Etta James, Ms. Harris isn’t a household name. During the 1960’s she only released a handful of singles and only a few of those became hits. She then retired in 1970 to focus on her family. While her music has become very popular among Soul record collectors and aficionados over the years, it has never reached a mass audience. Fortunately the good folks at Soul Jazz Records are trying to change that with their recent release, BETTY HARRIS: THE LOST QUEEN OF NEW ORLEANS SOUL!

THE BEGINNING

Born in Orlando FL, in 1941 (or possibly 1939) Ms. Harris started out singing gospel music when she was very young. Part of a very religious family, Harris wasn’t allowed to sing secular music while under her parent’s roof. She left home in her late teens to perform Blues and Soul music in California. After several years on the West Coast she moved to New York City where she hooked up with songwriter/producer Bert Berns. In 1963 she recorded her first hit, “Cry To Me”, a slow rendition of a tune singer Solomon Burke had recorded a year earlier. The song became a big hit for Harris and actually surpassed Burke’s original recording on the national charts! The success of “Cry To Me” inspired a few more releases from the Berns/Harris team including a fiery number called “Mo Jo Hannah”. Unfortunately none of these other recordings because hits and Burns and Harris went their separate ways.

WORKING WITH ALLEN TOUSSAINT

Shortly after her relationship with Burt Berns ended Harris met master Musican/Songwriter Allen Toussaint and began recording for his New Orleans based record label Sansu. Even though only one of the singles she recorded for Sansu charted nationally, the recordings she made while at the label are classic and make up the material on BETTY HARRIS: THE LOST QUEEN OF NEW ORLEANS SOUL. The music on this compilation is all killer-no-filler and ranges from classic R&B to hard funk! While it’s Harris’ larger-then-life vocals that commands the most attention on these songs we must also note that the backing band is made up of some of New Orleans’ finest musicians, including members of the legendary Funk group, The Meters. Like the Funk Brothers at Motown or Booker T. & The MG’s at STAX, The Meters are as important to the recording as the artist they are supporting. Finally, we must also acknowledge that none of these recordings would’ve been possible without master musician/producer Allen Toussiant behind the board. Not only do his talents as a producer take these recordings to another level, he also wrote almost all of these songs!

 

 

MAVIS STAPLES: A Tribute to a legend

 

Mavis Staples is a living legend.  Over the past 60 years she’s not only brought Gospel music to the masses but she’s also been a voice of hope and strength for those fighting for Civil Rights. Her career started in Chicago during the late 1940’s when she and her siblings would perform in churches alongside their father, the legendary Roebuck “Pops” Staples.  With a sound that was rooted in Southern Gospel and Delta Blues “The Staple Singers” soon became local favorites and in the early 50′s began recording sides for labels like VeeJay, Riverside, and Checker.  In addition to gospel music fans the band was also embraced by the folk music scene during the folk revival of late 50′s and early 60′s. It was during this time that the band became very active in the civil rights movement and regularly performed at rallies and events hosted by Dr. Martin Luther King.

In the late 60′s and early 70′s the music scene was changing and the band changed right along with it. They signed with the legendary STAX Records and under the guidance of STAX A&R man Al Bell they started adopting more of a Soul-Gospel style. Their music might have become a little funkier but it still contained the same message of hope, love and compassion. Songs like “Respect Yourself“, and “I’ll Take You There” made the band a household name and catapulted them into stardom. Unfortunately, due to some questionable business decisions by Al Bell STAX Records filed for bankruptcy in 1975 and was forced to shutdown.

The Staples pressed on and over the next several years put out several releases for a variety of different labels. While they had success with their 1975 album LET’S DO IT AGAIN the group mostly was out of the spotlight until the 1990’s. During the 2000’s Mavis continued to perform and release solo albums. Paired with producers such as Ry Cooder and Wilco’s Jeff Tweedy, these records introduced Mavis to a whole new audience. In 2013 her Jeff Tweedy-produced album You Are Not Alone won a Grammy for “Best Americana Album”.

This year Mavis will turn 75 years young and she’s just as popular as ever. People all over the world still cram into venues to see her perform and she’s a regular musical guest on late-nite TV.  Her music still carries with it a message of hope and tolerance. A message that reminds us that even though there have been victories in the struggle for civil rights, the fight is far from over.

 

STAPLE SINGERS/MAVIS STAPLES SUGGESTED LISTENING

The Staple Singers: Uncloudy Day (VeeJay)

The Staple Singers: Freedom Highway (Epic/Legacy)

The Staple Singers: Be Attitude: Respect Yourself (Stax)

The Staple Singers: The Staple Swingers (Stax)

The Staple Singers: The Best of The Staple Singers (Stax)

Mavis Staples: We’ll Never Turn Back (Anti) produced by Ry Cooder

Mavis Staples: You Are Not Alone (Anti) produced by Jeff Tweedy

Mavis Staples: One True Vine (Anti) produced by Jeff Tweedy

 

LEE FIELDS: Emma Jean

lee-fields-emma-jean

LEE FIELDS & THE EXPRESSIONS EMMA JEAN Truth & Soul Records

For Fans of: Issac Hayes, James Brown, Solomon Burke, and Charles Bradley

This summer Lee Fields & The Expressions are back on the scene with a new record full of sweet soul music!  Entitled Emma Jean in honor of Lee’s late mother, this record finds the band incorporating more elements of Folk and Gospel into their sound more then they have in the past. In fact, the album’s first single is a soulful version of the J.J. Cale tune “Magnolia”. Sounding a little like Solomon Burke, Lee croons his way through this Folk classic with help from pedal-steel guitar master Russ Pahl. While the song is stylistically a little different then songs Lee and his band have done in the past, they still sound great.  That being said, Emma Jean has something for everyone. Fans of classic hard-soul will enjoy songs like “In the Woods” and “Stone Angel” while fans of the teary-eyed ballads will have a new favorite song in “Don’t Leave Me This Way”.  The album’s standout track however is the piano-driven “Eye to Eye”. In this song the band sways back and forth while Lee pleads with his lover to take him back. Singing like his life depends on it, Lee is clearly still at the top of his game. For a guy who’s been releasing music since 1969, this album might be his crowning achievement.

 

 

RESPECT YOURSELF: The Story of STAX Records

STAX

RESPECT YOURSELF: THE STORY OF STAX RECORDS Bloomsbury USA

Author Robert Gordon has been writing about the music of Memphis for almost 30 years. In Respect Yourself: The Story of STAX Records Mr. Gordon not only tells the story of STAX but also the story of the Civil Rights movement in Memphis.  Passionately written and meticulously researched this book takes you from the label’s meager beginnings in a garage outside Memphis to it’s bankruptcy in 1975.   Along with Mr. Gordon’s narration you hear from the people that made STAX happen, making this book one of a kind.

A LITTLE STAX HISTORY…

Started by Jim Stewart and his sister Estelle Axton in 1957, STAX Records was more then just a record label.  It was a voice in the community.  The label’s open door policy made it possible for anyone to come in off the street and set up an audition. It didn’t matter where you were from or what the color of your skin was, you were welcomed at STAX as long as you had a passion for music.

Right from the beginning STAX did things it’s own way. Segregation may have been alive and well in Memphis during the 1960’s, but that didn’t stop STAX founder Jim Stewart from hiring an African American DJ named Al Bell to be his lead promotions man.  Working together side by side Jim, Estelle, and Al turned STAX records from a little indie label into a household name!  STAX artists like Otis Redding, Booker T. & The MG’s, Carla Thomas, and William Bell put the label on the map with singles that started appearing on the R&B and Pop charts.  Money was coming in and things were really rolling, until one very dark December day in 1967…

Today many people can remember exactly where they were when they learned that the plane carrying Otis Redding and The Bar-Keys went down. Otis was the soul of STAX and the voice of soul music.  A few months later while the people of STAX were still grieving over the loss of Otis and the Bar Keys their world was rocked again.  On the evening of April 4, 1968  Dr. Martin Luther King was assassinated at the Lorraine Motel in Memphis.  Needless to say, after the assassination of Dr. King everything was different, especially in Memphis.  If all this wasn’t enough,  the label’s distributor Atlantic Records ended it’s relationship with STAX.  With it’s biggest star gone and no way to get music to the stores most label’s would have called it a day, but most labels didn’t have Al Bell.  It was then that Al and the folks at STAX hunkered down and staged one of the biggest comebacks in music history.

The early 70’s found STAX again at the top of the Soul music world. This time around STAX would reach heights that were even greater then it did in the 1960’s.  Al Bell gained full control of the label and STAX rode the success of artists like Isaac Hayes, The Emotions, Johnnie Taylor, and The Staple Singers all the way to the top of the charts.  Sadly this rebirth would be short lived as some questionable business decisions and over expatiation lead to STAX eventually having to declaring bankruptcy in 1975.

All that said, STAX has lived on in many different ways. Many of their artists are still celebrated today and have found new audiences. Artists such as William Bell, Mavis Staples, and Eddie Floyd still perform and continue to release new music while others like Sam Moore are mostly retired but still appear at the occasional music festival. The studio was rebuilt and is now a museum (possibly the best museum in Memphis not named The National Civil Rights museum). There is also the Stax Music Academy, a music school that is focused on providing music education to local youth. So while the days of Otis roaming the halls and Al Bell running the office might be gone all is not lost. The future of Stax is very bright.

CHARLES BRADLEY & THE MENAHAN STREET BAND

charles-bradley-victim-of-love

Charles Bradley “Victim Of Love” Daptone/Dunham Records

If you’ve every heard Charles Bradley you know he’s the real deal.  From his James Brown like scream to his energetic stage show Mr. Bradley doesn’t just sing Soul music he LIVES IT. For those who aren’t aware, Charles Bradley was discovered while working as a James Brown impersonator in clubs around Brooklyn, New York when he caught the ear of Daptone Records co-founder Gabriel Roth.  He released his debut album, NO TIME FOR DREAMING, in 2011 at the age of 63 after a lifetime of playing clubs and working odd jobs to make ends meet.   The album was a success and sent Mr. Bradley on tour across the U.S., Europe, and Canada. Now at an age when most artists are slowing down the big man returns with a new album entitled VICTIM OF LOVE, his second release for Dunham/Daptone Records.

VICTIM OF LOVE finds Mr. Bradley again backed by Menahan Street Band, a group of  young but seasoned players that co-wrote NO TIME FOR DREAMING with him.  The album’s gritty sound isn’t much different then Mr. Bradley’s first release but as they say, if it ain’t broke why try to fix it?  Mr. Bradley screams and shouts as he tells the listener about the ups and downs of real life and the band is tight while still sounding human.  Tunes like “Strictly Reserved For You”, “Love Bug Blues” and “Where Do We Go From Here?” are perfectly suited for Mr. Bradley’s voice and could have sounded right at home on his last album.   “You Put The Flame On Me” is an upbeat shuffle that is reminiscent of early Al Green and the title track “Victim of Love” is a beautiful love song that will become a slow dance classic.  All that being said, the money-shot on this album is the album’s closer “Through The Storm”.  On this balled Mr. Bradley offers thanks to those who’ve helped him through the hard times.  If you’ve ever seen him perform live you know that on many occasions he ends the show by walking into the crowd and hugging members of the audience.  It’s no surprise that a song of hope and love would be the song to end the second album. Here’s hoping Mr. Bradley will be around for a long time to come.