music clip of the day

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Category: soul

Friday, 10/12/12

Singers who come out of gospel bring something to everything they touch—conviction.

Bobby Womack, live (Later . . . with Jules Holland, BBC), 10/2 & 5/12

“Please Forgive My Heart” (B. Womack & R. Russell)

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“The Bravest Man in the Universe” (B. Womack & R. Russell)

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lagniappe

reading table

my home village
even behind the outhouse
pure water gushes

—Kobayashi Issa, 1812 (translated from Japanese by David G. Lanoue)

Monday, 10/8/12

neo neo soul

D’Angelo, “The Charade,” live, Switzerland (Zurich), 2012

Wednesday, 9/19/12

street music: New York

Acapella Soul

“When We Get Married,” 2009

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“Ooo Baby Baby,” 2012

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“Just My Imagination,” 2011

Saturday, 9/1/12

basement jukebox

The Falcons (feat. Wilson Pickett [vocals], Robert Ward [guitar])
“Take This Love I’ve Got” (1963)

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The Ohio Untouchables (feat. Robert Ward [vocals/guitar])
“I’m Tired” (1962)

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lagniappe

found words

Singer, 43, Snapped In Tiny Bikini

—AOL Headline, 8/31/12

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This active fluidity and tidal composite of duration is the condition of the aesthetic.

—George Steiner, The Poetry of Thought: From Hellenism To Celan (2011)

Tuesday, 8/7/12

favorites

“La-La (Means I Love You)” (T. Bell & W. Hart)

Bill Frisell (guitar) with Tony Scherr (bass) & Kenny Wollesen (drums), live, Rochester (NY), 2007

(Originally posted 5/28/10.)

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The Delfonics, 1968

(Originally posted 2/14/12.) 

Wednesday, 8/1/12

basement jukebox

The Falcons, “Good Good Feeling” (1967)

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Otis Clay, “That’s How It Is (When You’re In Love)” (1967)

Saturday, 7/7/12

basement jukebox

The Valentinos (feat. Bobby Womack), “Lookin’ For A Love,” 1962

*****

Billy Stewart, “Sitting In The Park,” 1965

Tuesday, 5/22/12

basement jukebox

Bobby “Blue” Bland, “That’s the Way Love Is” (Duke 1962)

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O.V. Wright, “That’s How Strong My Love Is” (Goldwax 1964)

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Jimmy Ruffin, “What Becomes Of The Brokenhearted” (Motown 1966)

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lagniappe

found words

You’ve got [Cubs left fielder] Alfonso Soriano out there with Mickey Mantle’s knees. I’m not talking metaphor here. I think he really has Mickey Mantle’s knees.

—Jim Memolo, WGN Radio, Sunday’s post-game call-in show, following the Cubs’ third straight loss to the White Sox

Friday, 5/18/12

James Brown, live, Boston, 4/5/68

“Cold Sweat”

Part 1

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Part 2

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“I Got the Feelin'”

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More?

Here’s the whole show.

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On the morning after the assassination of Dr. Martin Luther King, Jr., city officials in Boston, Massachusetts, were scrambling to prepare for an expected second straight night of violent unrest. Similar preparations were being made in cities across America, including in the nation’s capital, where armed units of the regular Army patrolled outside the White House and U.S. Capitol following President Johnson’s state-of-emergency declaration. But Boston would be nearly alone among America’s major cities in remaining quiet and calm that turbulent Friday night, thanks in large part to one of the least quiet and calm musical performers of all time. On the night of April 5, 1968, James Brown kept the peace in Boston by the sheer force of his music and his personal charisma.

Brown’s appearance that night at the Boston Garden had been scheduled for months, but it nearly didn’t happen. Following a long night of riots and fires in the predominantly black Roxbury and South End sections of the city, Boston’s young mayor, Kevin White, gave serious consideration to canceling an event that some feared would bring the same kind of violence into the city’s center. The racial component of those fears was very much on the surface of a city in which school integration and mandatory busing had played a major role in the recent mayoral election. Mayor White faced a politically impossible choice: anger black Bostonians by canceling Brown’s concert over transparently racial fears, or antagonize the law-and-order crowd by simply ignoring those fears. The idea that resolved the mayor’s dilemma came from a young, African American city councilman name Tom Atkins, who proposed going on with the concert, but finding a way to mount a free, live broadcast of the show in the hopes of keeping most Bostonians at home in front of their TV sets rather than on the streets.

Atkins and White convinced public television station WGBH to carry the concert on short notice, but convincing James Brown took some doing. Due to a non-compete agreement relating to an upcoming televised concert, Brown stood to lose roughly $60,000 if his Boston show were televised. Ever the savvy businessman, James Brown made his financial needs known to Mayor White, who made the very wise decision to meet them.

The broadcast of Brown’s concert had the exact effect it was intended to, as Boston saw less crime that night than would be expected on a perfectly normal Friday in April. There was a moment, however, when it appeared that the plan might backfire. As a handful of young, male fans—most, but not all of them black—began climbing on stage mid-concert, white Boston policemen began forcefully pushing them back. Sensing the volatility of the situation, Brown urged the cops to back away from the stage, then addressed the crowd. “Wait a minute, wait a minute now WAIT!” Brown said. “Step down, now, be a gentleman . . . Now I asked the police to step back, because I think I can get some respect from my own people.”

Brown successfully restored order while keeping the police away from the crowd, and continued the successful peacekeeping concert in honor of the slain Dr. King on this day in 1968.

history.com

Monday, 3/19/12

Here, to start off the week, is a thought experiment: imagine what American popular music would sound like without gospel.

The O’Jays, “Love Train”

TV Show (David Letterman), 2006

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Recording & Video, 1973