Hans Diepstraten

Washed ashore on a lonely island in the sea is my latest guest, DJ and radio presenter Hans Diepstraten.

Since 1993, Hans (with co-presenter Harry Van Vliet) has run the weekly soul radio show Fingerpoppin' Soul out of Amsterdam with a guest list that reads like a complete "Who's Who" of soul music.

Over to you Hans...

Starting Out

"I was raised in a middle-class family in the college town Tilburg in the South of Holland. My parents were not into music at all, and neither were my brother and sister both younger than me, but I was hooked from an early age. The first record I ever bought was Gilbert O’Sullivan’s 'Nothing Rhymed' which I bought when I was about ten years old. Or rather, I bought the picture sleeve cover because inside was Dave Edmunds 'I Hear You Knocking', another hit at the time. It was as if someone was pointing me towards R&B from the start. 

After that I started buying the lead 45s in the hit parade. LPs were beyond us financially at that time. Then when I entered secondary school it was time to get serious: Deep Purple 'Live in Japan', Pink Floyd 'Umma Gumma' as well as Tom Waits with 'Closing Time' and some of the country rock records by Poco, the Eagles and CSNY. 

No soul records entered my universe until at least 1975. Actually the first soul records I acquired were Motown records: the compilation LP 'The Big Wheels of Motown' and (incredibly) Marvin Gaye’s 'What’s Going On' which I received as a birthday present and which went way over my head at the time."

Punk and Reggae
"Then came Punk, which changed my whole musical frame of reference. The Ramones first LP on Philips, Blondie on Private Stock, The Modern Lovers on Beserkley, The Damned on Stiff… I really was a punk before you were a punk. 

With that territory came (Punky) Reggae, and records by Culture, Steel Pulse, Burning Spear, Israel Vibration, Pablo Moses and the Heptones. At that time I was still not truly bitten by the Soul bug. There was no (Northern) Soul scene in Holland, and there was no access to this music in the Dutch media, or at least I was not aware of anything. However, UK music magazines such as NME and ZigZag did mention soul music and I started investigating here and there. I would like to be able to say there was some sort of revelatory moment where I saw the light but I must admit that my immersion in Soul Music was a gradual affair that took maybe some five years. By that time it was the 80s, possibly the worst era in soul music so it was a small miracle that I ventured that way at all."

Clubbing and Pirate Radio
"When I seriously started clubbing it was the 80s (I was late to the game) and at the time soul and funk were the main styles played in clubs, together with the post wave sounds of things like PigBag and Tears For Fears. You could always count on Marvin Gaye’s 'Sexual Healing', Chaka Khan’s 'Ain’t Nobody' or the live version of Maze’s 'Joy and Pain'. Those really were the records that drew me in. They made me start looking for similar records as well as other styles of soul music I had ignored before, or which maybe had not really clicked in my head. I discovered Kent records and before long I was buying mainly soul music LPs and the occasional 45.

In the mean time I had taken an interest in (pirate) radio and the station I was always listening to (RVZ) was advertising for new DJ’s. This station was a superb quality non-commercial affair run by a close group of music addicts much like New York’s WFMU. Anything was possible there, as long as it was real. I applied and after a shaky and nervous few try-outs I was accepted, mainly because I chanced on the tune 'Heaven Must Have Sent You' by the Elgins, a Northern Soul classic and a favourite of one of the leading DJs at the station. 

So that was the start of my radio “career” which has now lasted for nigh on thirty years. Initially I played anything that fit in the broad format of the station (from alternative rock to African music, Black music and Reggae) but at some point I started a shared show “The Soul Squad” with the soul-oriented guys and then my collecting passion fast became black music only."

From TeenBeat to Fingerpoppin’ Soul
"After a few years the pirate station RVZ was raided by police and that was the end of that. The core group of DJs started a legal local station and after some changes I was asked if I wanted to take over a specialized show with a focus on early sixties pop music called TeenBeat. This show played a lot of late fifties and early sixties pop music, with a focus on girl groups, Phil Spector type sounds and early soul like Barbara Lewis. 

I did that weekly show for about a year and then a watershed event happened that actually changed my life in multiple ways. We had the great idea to start a nightly show called Vinyl Junkies and invited listeners to apply for a spot. A number of interesting characters applied (people specializing in Indian Ragas, obscure psych, dark wave etc) plus one guy who just wanted to play soul music. That guy turned out to be Harry Van Vliet, and he became a lifelong friend and my fellow DJ for what later became the Fingerpoppin’ Soul radio show, which we still run today. After about 4 weeks of Harry doing his Vinyl Junkies hour and my TeenBeat hour we decided to merge the show into a two hour TeenBeat. Then after a little more time we changed the moniker of the show, to better align with the actual music played on the show. And so Fingerpoppin’ Soul was born.

It was 1993."

Expanding the collection
"Once Fingerpoppin’ Soul was underway we initially had to fight constantly to keep it on the air. At that time the legal radio station was run by a set of decidedly “hip” people, without a clue about history or classic soul. Only the latest new imports should be played, and what we were doing was considered old hat and “music for old people”. That is why we had to attend every management meeting just to make sure we weren’t cut out of the schedule. In the mean time we had to feed the weekly radio show with interesting records to play. That meant that rather than just buying records at a relaxed pace there had to be new sounds to play every week. We could not play the same record twice of course. So over time, when the Fingerpoppin’ Soul format got established this led to an acceleration in the acquiring of soul records, and mainly LPs. In that period eBay started as well, giving unlimited access to a wealth of records I never knew existed before. I started a fanatical search for obscure records.

One thing to recognize as well is that, mainly through listening to other people’s great radio shows I developed an eclectic taste and broad view on music. This also fed into our radio show, where we play many different types of black music. This resulted in an orientation quite at odds with the mainstream of the UK soul scene, and this difference is still very clear today.

The arrival of on line forums on the web, such as Essential Modern Soul, the Southern Soul email group, Soul Source and Soul Strut made it possible to hook into other people’s knowledge and to grow the record collection through their posts and information. Especially the early Essential Modern Soul forum, blossoming around the year 2000, I believe, was a treasure trove of information as well as a collection of highly knowledgeable and opinionated soul collectors and DJs. I learned an immense amount from the people on that forum."

Today

"Over the last few years I have also been buying Latin, Brazilian and Jazz records. By and large, this is because there are fewer and fewer soul albums still “out there” for me to find, with the exception of the occasional major Grail for which I have to fork out significant money. 

To feed my collector’s habit, I have had to expand into other genres like the ones mentioned. Currently for every soul album I find there are at least three other "non-purist" albums flowing into the collection. I do believe however that it ultimately all comes from the same well. My radio experience has shown me that these genres naturally flow together and form a cohesive whole.

...which leads me to the five discs that play and played an important role in my life."

The Modern Lovers - Pablo Picasso

"This record is the first one that really grabbed me from the start and never let me go again. Simple music, almost stark, heart felt, real, soulful without being soul, and resonating with the insecure teen I was at the time mainly because of the angst in Jonathan Richman's delivery. This was before his conversion to nursery rhymes, and produced by John Cale it remains a monument of expressive rock music."

Phil Flowers - The Mirror Cried

"When our friend Tom de Jong played 'The Mirror Cries' by Phil Flowers off his album 'Our Man In Washington'. It blew our minds. 

Phil Flowers was the ultimate “journeyman soul singer” and his discography is wider than the Amazon river. Beat ballads, Northern Soul, Heavy Psychedelic Funk, Two Step, Gospel, he did everything and did everything very well. We met him in Washington DC too which was great."

The Impressions - I'm So Proud

"I met my future wife at a friend’s party and on our second date we ended up at my place and slow danced to the Impressions. At our wedding party the first record played was this one. Nuff said.

The Impressions will be played at my funeral, although to be honest I probably will not care at that point… "

Eric & The Vikings - It's Too Much For One Man To Take Too Long

 

"This is another all time classic for me. I first heard it played by Brian Goucher on a UK radio station and the lyrics and delivery are breath taking. This song also represents the richness of the Vocal Group seam in soul music."

Tim Maia – I Love You, Girl

"Brazilian soul singer Tim Maia is an enigma. He should have been a superstar. He made this after he left the Racional sect in the mid-seventies and recorded a full album in English, tried to get it released and when he failed threw the test pressings away, making this by far the rarest Tim Maia LP in existence. Thankfully it is on Youtube in full and it was reissued (albeit badly mastered) on CD in Brazil. Almost all of his records are magic."

...

"I could have easily picked a hundred other songs, and I see there is no Gospel, no Rocksteady or Lover’s Rock, no Bobby Bland and no Dells, no Neo Soul, no Doo Wop, no Latin Soul. 

Basically this list sucks big time.  ;0)"

...

As Hans mentioned above, the Fingerpoppin' Soul radio show has a different orientation to the UK mainstream soul scene and I urge you to give it a try as I'm sure you will not be disappointed.

Here's a link to the Fingerpoppin' Soul  facebook site :  

click on the picture

Hans & Harry also produce a podcast of their show and this is available on Mixcloud :

click on the picture

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Martin Fuggles

My latest guest to be washed ashore on a lonely island in the sea is the legendary Ricky Tick DJ, Martin Fuggles.

In May 1962 Martin Fuggles cut his DJ teeth at The Carlton Ballroom, Slough when Lou Preagar, dance band leader and the owner, asked him to take on the second half of the ‘Sunday Marathon’ as the afternoon DJ, Phil Jay, had another commitment in Hounslow in the evenings. Then in April 1965 he took a significant pay cut (from £3 to £1 a night!) to make the prestigious move to the Ricky Tick.

From its early beginnings in a dark and smoky back room at the Star and Garter in Windsor (where a then unknown band called the Rolling Stones played many times in late 1962 and 1963), the Ricky Tick became an iconic part of the rhythm & blues and mod scene in the mid-60s. 

In April 1964 the club moved to Clewer Mead, the ‘jewel in the crown’ - a big, rambling mansion by the river on the outskirts of Windsor. It was renowned for its unique décor – black walls with large white faces in outline – and was one of the places to go, drawing audiences from many miles away. It even had its own boutique known as the Boutick!

All the top British rhythm and blues acts appeared at the Ricky Tick including (in no particular order) Cyril Davies, Alexis Korner, John Mayall’s Blues Breakers, Georgie Fame and the Blue Flames, The Yardbirds, Graham Bond, The Stormsville Shakers, Brian Auger, Geno Washington and the Ram Jam Band, Moody Blues, Ronnie Jones and the Nightimers, Manfred Mann, Cliff Bennett and the Rebel Rousers, Zoot Money, Herbie Goins, Downliners Sect, Chris Farlowe, Jimmy James and The Vagabonds, Spencer Davies, The Animals, The Action, Alan Price, Shotgun Express, Amboy Dukes and The Who.

Many American guests also appeared including Stevie Wonder, Ben E King, Rufus Thomas, Lee Dorsey, Arthur Alexander, Lou Johnson, Solomon Burke, Patti LaBelle and her Belles, Clarence “Frogman” Henry, Larry Williams with Johnny Guitar Watson, Goldie and the Gingerbreads, Screaming Jay Hawkins, Inez and Charlie Foxx, John Lee Hooker, Sonny Boy Williamson, Memphis Slim, Little Walter, Sister Rosetta Tharpe, Jimmy Reed, Howling Wolf, Roy C, Prince Buster – and even the Rock n Roll legends, Bill Haley and his Comets and Jerry Lee Lewis.

Martin mainly played at the Ricky Tick ‘HQ’ at Clewer Mead then at The Thames Hotel but he also appeared at other Ricky Tick venues in the Home Counties. Martin retired in July 1967 when the Ricky Tick closed and his records were left to gather dust.

After meeting Paul ‘Smiler’ Anderson a couple of years earlier to provide some input to his excellent book, "Mods: The New Religion" which was published recently, Martin finally gave in to Paul’s persistence and powers of persuasion and agreed to make a guest appearance at a Ricky Tick Special Club Rude! on February 17^th 2011. After a couple of records Martin felt like he’d gone back in time... although the idea of cueing in records was an alien concept! 

Having got a taste for it again, he now gets behind the turntables whenever he can playing the very same records that he played back in the 60s at the Ricky Tick. He can be heard at various Old Soul and Motown Nights and Ricky Tick revival events.

The Crickets - That'll Be The Day

“In the 4^th and 5^th year at senior school (years 10 and 11 in new money, I think) I sat next to John Eyre in Geography. This was quite an honour and privilege as John was one of the ‘In crowd’ that nearly everyone else looked up to while I was the youngest in the year. One day he sat there tapping the desk and ‘singing’ That’ll be the Day. I went out and bought the record on the strength of that! So began my adulation of Buddy Holly and the Crickets. 

Interestingly Buddy’s name did not appear on the label of the record although Peggy Sue in his name was out at the same time. John and I went to see them at the Kilburn Gaumont State on March 2^nd 1958. Still the best concert I’ve ever been to although recent Impressions gigs have run it very close.”

The Impressions - It's Alright

“To me this record is the epitome of the Ricky Tick. Curtis Mayfield and the Impressions at their very best although there were a lot of other great records by them that I used to play and I’ve Been Trying runs it very close. 

A year or so before I came out of retirement, Smiler had persuaded me to go along to a Club Rude! night to meet Brian Lovegrove who used to go to the Ricky Tick back in the day. Brian started to tell me about the records that I had in effect introduced him to and this was the first one he mentioned. It just had to be the first record I played when I started again on that fateful day and I now nearly always open one of my sets with it.”

Major Lance - Sweet Music

“I often used to play Major Lance’s Um Um Um Um Um Um (no British covers for me!) at the Ricky Tick. One evening a guy called Ray Isaacs (although everyone knew him as George) asked me to play the other side. I loved it from the first hearing and still do. 

I still haven’t worked out what some of the words are! Does it matter? No, of course it doesn’t. It’s just a great track. Sweet music indeed!”

Ace Spectrum - Don't Send Nobody Else

“Since I retired in 1967 a lot seems to have happened in the music scene including something called Northern Soul. As part of my voyage of discovery of what happened since,  Brian and I went on a Soul Cruise with our other halves last year.

Apart from a few early Motown tracks I didn’t recognise most of the tunes that were played although I was very surprised to hear Wooly Bully by Sam the Sham and the Pharohs and Out of Time by Chris Farlowe. Ricky Tick tracks certainly but Northern Soul? They certainly got a reaction on the dance floor. 

There was one other track that I heard 2 or 3 times that caught my attention – this one. It took a bit of detective work to find out what it was then I had to resort to eBay to get a copy from the States... the only record I bought last year, but I’m glad I did!”

Beth Neilsen Chapman - All I Have

“And now for something completely different! 

For several years during the late 90's and early 00's I used to have a 40+ mile drive to work. I often used to listen to Terry Wogan in the mornings mainly to hear what interesting names he and his correspondents could come up with. He and his producer, Paulie Walters would occasionally play an interesting record and then I heard this one. 

Such a melodic song and meaningful lyrics. More country than anything else but for me there’s something soulful in her voice. I’ve since seen Beth in concert several times and never been disappointed. 

A perfect song to close your eyes and listen to on a deserted island!”

...

You will be wanting to experience the sounds of the Ricky Tick - on vinyl - for yourself, won't you ?

So check out Martin's site for the dates of his Soul & Motown Nights and Ricky Tick Revivals with a click on the banner below :

You can also hear Martin guesting on Peter Sinacola's excellent Night Train Show on Soulstice Radio : 

Why not join Martin with Peter Sinacola and Paul Anderson at the Night Train Road Show : 

Now read all about Martin, the Ricky Tick, the music and the faces in Paul Anderson's classic mod bible...  'Mods : The New Religion'

Available now at Amazon, Waterstones and all good booksellers.

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Drew Schultz

Washed ashore on a lonely island in the sea is my latest guest, the wonderfully talented Drew Schultz.

Starting at the age of nineteen, Drew Schultz earned his stripes as the drummer, percussionist, archivist, and substitute conductor of the legendary Motown group the Four Tops. During his time with the Tops he also performed with artists including The Temptations, Aretha Franklin, Martha Reeves & The Vandellas, The Dramatics, The Miracles, The Contours, Harold Melvin’s Bluenotes, The Velvelettes, Chairmen of the Board, Freda Payne, and more. 

As a journalist, he has published several articles on soul and R&B musicians in Modern Drummer Magazine.

Drew is the spearhead of the "Back To Class" project, a series of his original songs featuring legendary soul artists, with 50% of profits benefiting the music programs of the Detroit Public Schools. Special guests on the project have included the Four Tops, Funk Brothers, Melvin Davis, Spyder Turner, Dennis Coffey, James Jamerson Jr, Pat Lewis, McKinley Jackson, Lenny Pickett of Tower of Power/Saturday Night Live, Ken Knox of Chairmen of the Board, Joey Kingfish, and many more. 

He hopes to continue to spread the legacy of his heroes and mentors, keeping the soul alive!

"Here it is !!!  Picking only five songs is TOUGH though!"

Earl Van Dyke - The Flick

Written by James Jamerson, Earl Van Dyke, and Robert White

"I think this song is a fantastic example of the pure energy and virtuosic ease of The Funk Brothers, the legendary studio band who played the instruments on nearly every hit Motown song from 1959-1972 regardless of songwriter, singer, or producer. Lead by organist Earl Van Dyke on this 1970 live recording from Detroit's Hi Chapparal night club, the guys are absolutely tearing it up. Along with saxophonist George Benson, Earl is joined on stage here by several of the Funk Brothers' key members; drummer Uriel Jones, guitarists Robert White and Eddie Willis, percussionist Eddie "Bongo" Brown, and the game changing bassist James Jamerson. These guys truly play as a cohesive unit, with the simple song form of "The Flick" breathing alongside Van Dyke's flitting organ fills, Benson's jazzy saxophone spotlight, White's blues drenched guitar solo, and the airtight rhythm section of Willis, Brown, Jones, and Jamerson.

The jaw dropping, head bobbing climax comes when the band breaks down to let Jamerson just sit in the groove out front while Uriel's hi hat pattern and Bongo's bed of hand percussion surround his creative bass lines. Van Dyke sneaks back in with another section of organ soloing, and the entire band just barrels full force into a final hold at the performance's finish. I believe that the slick, effortless combination of jazz, blues, and raw funk on this song is a testament to how these musicians, along with the rest of the regular cast of The Funk Brothers, could feasibly be responsible for more number one hits than the Beatles, Rolling Stones, Beach Boys, and Elvis combined!" 

The Impressions - Keep On Pushing

From the 1970 album 'The Best Impressions: Curtis, Sam & Fred' written by Curtis Mayfield.

"Originally released on the 1964 LP of the same name, Curtis Mayfield & The Impressions' anthem "Keep On Pushing" is one of my all-time favorite songs. Whenever I'm hitting a patch of difficulty and self doubt, this song is always there. It might sound simple, but a line like "I've got my strength and it don't make sense not to keep on pushing" can be exactly what I need to hear at times like these. In my eyes, this tune is the epitome of persistence and motivation. It's fascinating because the lyrics never give an idea of what Curtis is pushing for, and the song never gives closure with a moment of completing the tasks at hand. It just simply says that someday he'll get there, he'll push past the obstacles ahead, and keep on keeping on.

While the original version has been a staple of radio play and compilations for the past five decades, I actually prefer the obscure, oddball re-recording that The Impressions created in 1970. At that time, having recently split with ABC-Paramount to join Curtis Mayfield's own independent Curtom Records, The Impressions were compiling a "best of" album. Instead of licensing the original recordings of their early hits from ABC, they opted to entirely recreate them specifically for this release entitled "The Best Impressions: Curtis, Sam & Fred." This new version of "Keep On Pushing" has a brand new arrangement, with the very first horn stab hitting hard like a punch in the gut. Fred Cash and Sam Gooden sound like they're quite literally pushing harder in their vocals too, with the initial harmonies in the song cutting like a hot knife through butter. A brand new vocal arrangement brings some intricacy to the verses, and Curtis even throws in a nice call back to his seminal hit "People Get Ready."

As a drummer, I'm absolutely floored by the playing on this recording. Based on the intricate, intelligent, and ballsy fills played here I would guess that the drummer is Tyrone McCullen, who was part of Curtis' band on his Curtis/Live record from NYC's Bitter End night club the following year. The fills played during the transition into the prechorus each time get more and more complicated, eventually abandoning the swung eighth note feel for mind bogglingly arrow-straight sixteenth note riffs across the kit. This is some absolutely fearless playing, and it's genius!"

Tower of Power - Both Sorry Over Nothing

From the 1973 album 'Tower of Power' written by Stephen "Doc" Kupka, Emilio Castillo, and Lenny Williams.

"Man, I'm such a sucker for a funky ballad. You know what I mean, those songs that aren't quite dance songs, but still a little too groovy to be considered a slow jam. "Both Sorry Over Nothin'" fits like a glove right into that walking tempo feel that I love so much, and it's absolutely beautiful.

The song starts right into the extremely catchy chorus, and drops into a sullen verse as the horns build up behind some tasteful guitar fills, then smoothly dropping right back into the chorus. Lenny Williams delivers a crystal clear, completely heartfelt vocal while the Tower of Power horn section weaves in and out of each phrase. After the second chorus, a series of hits and vocal riffs just melts into a smooth bridge section before shifting back into a third verse and chorus.

While all of this is some pretty creative song structure, what happens next is a totally unexpected change of pace. The last section of the song is a completely different groove introduced solely for the fade-out. Williams' vocal improvisations leave ample room for some staccato horn hits while David Garibaldi's churning, syncopated drum beat snakes between them both. On top of this bubbling beat, a subtle clarinet solo by Lenny Pickett enters, only playing for a few seconds before the song begins to fade. This last section feels like a huge tease, as the band had just reached this incredible moment that I could have listened to forever. That final section makes the journey through the song pay off in a huge way only to fade out and end far, far, far too quickly. Whoever made the decision of how quickly to end this song created an addict of me, continuing to hit the repeat button to get that final feeling of the song just opening up into that perfect groove."

8th Day - You've Got To Crawl (Before You Walk)

From the 1971 album '8th Day' written by Angelo Bond, General Johnson, Greg Perry, Ron Dunbar.

"It's hard to explain, but I feel like this song is just perfect. It was written by an absolutely all star cast of Detroit Soul legends. Angelo Bond, Ronald Dunbar and Greg Perry had collectively written for acts including Shorty Long, Freda Payne, 100 Proof Aged In Soul, Glass House, Honey Cone, and many more. General Johnson was the iconic, pleading lead singer and songwriter for Chairmen of the Board, famous for their smash hit "Give Me Just A Little More Time." On top of it all were the owners of the record label for this release, the powerhouse writing/production team of Holland, Dozier, & Holland. HDH were responsible for countless hits by the Four Tops, Supremes, Marvin Gaye, Martha Reeves & The Vandellas, and more. 

The 8th Day was a fascinating group - the name was originally used as a vehicle for a one-time release called "She's Not Just Another Woman," featuring lead singer Steve Mancha. That song became a surprise hit, but Mancha had since been assigned to the group 100 Proof Aged In Soul, responsible for the lead vocal on their hit song "Somebody's Been Sleeping In My Bed." HDH was left scrambling to find a new lead singer for a follow up release under the 8th Day name. Upon choosing Detroit drummer/writer/singer/producer Melvin Davis to lead the new 8th Day configuration, they struck gold. Melvin had been a writer responsible for tons of songs recorded on artists including J.J. Barnes, Darrell Banks, Dennis Coffey, Johnnie Taylor, Steve Mancha, Edward Hamilton, and many more. His first group, The Jaywalkers, included future Temptations' lead singer David Ruffin, and you can hear a similarity to Ruffin's gruff phrasing in his lead vocal on "Crawl." 

Melvin's vocal on this song is a powerful display of gritty chops and musical consideration. His past as a drummer with groups like Smokey Robinson & The Miracles and the Dennis Coffey Trio allowed him to apply some creative rhythms to his singing, which frequently switches between a regimented eighth note phrasing and a more conversational cadence. The record feels like a live performance with Melvin giving his all, including the entertaining stage antics that might go with it. The first line feels like he's speaking to an audience, preparing to tell them a story of a woman scorned. The insanely catchy chorus repeats his girl's insistence that he apologetically crawl back to her. The song builds into a fantastic interlude where Melvin finally gives in, breaking down onto his knees, all the while making sure that no one is around to witness him swallow his pride. The song is playful, clever, and incredibly hard to get out of your head. Just by listening to it, it's easy to picture Melvin crouched on stage, bashfully looking around as he prepares to beg for forgiveness. Underneath all of this is another masterful performance by The Funk Brothers, moonlighting for HDH's own label.

This is Detroit Soul at its finest!" 

Four Tops - (It's The Way) Nature Planned It

 

From the 1972 album 'Nature Planned It' written by Frank Wilson and Pam Sawyer.

"I think this might be my favorite song.

The year was 1972, and Motown was moving. The label had been slowly building a presence in Los Angeles with the MoWest label, Berry Gordy's new motion picture efforts, and productions on artists like the Jackson 5 being recorded out west. As the company was migrating away from Detroit some artists followed suit, while others remained in the Motor City. One of Motown's flagship acts, the Four Tops, wanted to stay in Detroit. Deciding to take more creative control of their music, they did not to renew their contract with Motown, and this tune was their swan song from the label that had made them superstars.

What a fitting send off it is - the song is a combination of thick harmonies from the Tops, a raw and earnest lead vocal by Levi Stubbs, and a lush arrangement. An orchestral swell builds from nothing, and Levi quietly enters before a guitar flurry announces the song's introduction. The verse settles into a laid back groove with sparse drums and percussion, floating strings, and flowing woodwinds. A quick set of hits gives way to the chorus, while an inhumanly quick switch from drums played with sticks to drums played with brushes betrays the Funk Brothers' subtle use of two drummers on the track. 

The LP that houses this song was one of the few to credit the musicians by name, and it appropriately lists "Bass (Personified) - James Jamerson." In addition to another typically incredible performance by The Funk Brothers, the lyrics on this song always get me. It initially sounds like a sweet love song, with Levi explaining that the love he feels is as natural and inexplicable as the sky, explaining that he'll never leave his woman. However, the very last line of the song turns the entire meaning around. As the song fades, the very last thing you hear Levi say is "why do I feel this pain?" Suddenly it's clear that this love is an unrequited one, and the song is now accompanied by a melancholy weight that might have otherwise gone unnoticed. I'm not sure whether this was a written segment of the lyrics on the part of Frank Wilson and Pam Sawyer, or if it was a simple improvisation by Levi, but it's absolutely brilliant."

...

Drew's excellent 'Back To Class' is available as both audio CD and MP3 download from the usual sources, including Amazon, CD Baby and iTunes, with 50% of profits benefiting the music programs of the Detroit Public Schools.

available here

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Adam - Revival Sound System

Washed ashore on a lonely island in the sea is my latest guest castaway, Adam Tadesse of Revival Sound System, San Francisco.

Adam cut his teeth in the L.A. Ska-Punk band 'Grandpa Knucklehead' and then began collecting rare Jamaican 45s before founding the Revival Sound System.

In addition to his DJ residency with the Revival Sound System at Festival '68 in San Francisco's Make Out Room, Adam plays a wonderful selection of Calypso, Ska, Blue Beat, Ska, Rock Steady and early-Reggae on his entertaining, and very informative, KPOO-FM 89.5 radio show, Wake the Town. 

"Thank you so much for including me on this. There are some amazing people taking part in this as I've read on the web page so far. So it's an honor to be among the ranks of those already aboard." 

Wailing Wailers – Ten Commandments Of Love

"As a child in the early 70's, my father had a record collection and would play records at home for friend or a party etc. I remember that he'd keep the tunes that were on heavy rotation around the house on one of those old metal 45 storage grates, of course with no sleeves etc.

I cringe when I think about this now.  

Anyway, he had Harvey & The Moonglows 'Ten Commandments Of Love' 45 and I remember him playing it all the time. His friends would come by and they would all be partying, playing tunes and having a good time. The Moonglows tune always struck a chord with me to the point where I learned all of the lyrics by heart.

Fast forward to 2 or 3 years later, hanging at a classmate's house who's father was a musician. I just remember being at his house and his father playing a cassette of reggae music (it could have been any group, I was too young and it was too long ago to recall what exactly was playing). Then The Wailers 'Ten Commandments Of Love' came on the cassette. I remember thinking as the intro unfolded that I knew this song and how familiar it was. When the main vocal came in I was blown away at this "other" version I had never heard. I recited the lyrics as it was playing and my friend's father was blown away that I knew the song.

While I do remember seeing The Wailer's 'Catch A Fire' and Jimmy Cliff's 'The Harder They Come' LP's around the house, this was my very first encounter with The Wailer's muzik and even at that point I still had no idea how much impact their muzik would have on my young life." 

Clifford Brown & Max Roach – Delilah

"Late '80s early '90s I played bass in a Ska-Punk band in my hometown of Los Angeles. We had a great following and would play clubs and bars that we shouldn't have been old enough to get in to at the time.

When I hear this song it reminds me of those times. I just remember hanging out with the guitarist in the band. We'd end up back at his mom's house for a smoke session. We'd put the Cliff and Max album on and 'Delilah' was the first tune. I just recall being totally sedated by the music, and us being in this ska/punk band listening to this album just wishing we were Cliff and Max instead of in the band we were in!

A couple years later I would get deep into collecting Jamaican singles. One of those singles acquired was a tune by Prince Buster : '7 Wonders of the World'. Fun fact : If you listen to the end of this Buster tune, during the outro the organist is soloing and includes the head of 'Delilah' in his solo. Now I don't know for a fact that the organist did this as an homage to Cliff and Max's 'Delilah', but it sure does sound like the melody there.

Listening to 'Delilah' always brings me back to Los Angeles 1989-90. A very carefree, happy-go-lucky time in my young life."

The Impressions – That's What Love Will Do

"Ah yes, The Impressions. One group that has been covered many, many times and will continue to be until the end of time I'm sure.

Let me just say that no one has or will ever be able to do the music of The Impressions better than they already have. That is final.

In the late '60s Kingston, Jamaica made many attempts and in my opinion came the closest but still, nowhere near the magic of the original.

With that said, it wouldn't be right to have at least one Impressions tune (could have easily been all 5 picks here) packed."

The Fabulous McLevertys – Don't Blame It On Elvis

"Everything about this tune I love. It has a playful feel in the lyrics and they go along so well with the accompanying rhythm. Outstanding musicianship and the chorus is so catchy... I dare you to try and not sing this one to yourself hours after listening to it. It will without doubt be in your head long after hearing it.

One quick fun fact about The Fabulous McClevertys... They were the band that for many performances and a few recordings backed calypsonian "The Charmer" a.k.a Nation of Islam leader Minister Louis Farrakhan.

If I am going to spend time alone on a Deserted Island, and I only have 5 songs to choose, it would make sense to me to bring at least one tune with an Island feel to it."

Skatalites – Old Broadway

"I figure if I am going to be a castaway on a deserted Island, I will surely want something to remind me of the big city life that I've grown up in. This song is that something.

For me, I can close my eyes, turn this on and immediately get visions of fast lane driving, larger than life billboards, city lights and the hustle and bustle everyday big city living.

One of the greatest musical combinations is that of Prince Buster (on vocal or production) and The Skatalites (my opinion of course). You just cannot lose with a combo like this and this song represents the best of that combination.

The Best Ska band in the world and the King of Ska.

Boom!"

 ...

If, like me, you are really into 60's Blue Beat, Ska and Rock Steady, then Adam's Wake The Town radio show is essential listening. 

Great music, of course, but there's also a goldmine of background information on Jamaican music provided by Adam and his guests... and there's even a full podcast available if you can't catch the show live.

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