Syl Johnson – Soul Heaven (Is It Because I’m Black Instrumental)
Syl Johnson – I Resign
Syl Johnson – Right On

Just in time for the holidays, the Numero group has unfurled perhaps their most ambitious project yet. Dubbed the “Complete Mythology” this 4 CD/6 LP box set covers just about the entire career of a far to often overlooked soul singer Syl Johnson. The title “Mythology” is very apt, since there is a good bit of myth telling and myth-making in Syl Johnson’s career. He was born in Mississippi in the mid-1930s, claimed to be Robert Johnson’s illegitimate kid, though this seems to be a myth, primarily raised in Chicago and began in the blues scene up there with Magic Sam and Matt Guitar Murphy as good friends. Later on Syl would perform with Billy Boy Arnold and Jimmy Reed. Johnson cut at least 60 sides during his career from the early 60s to the mid 70s, recording primarily for the Twinight and Hi record labels. This collection covers music recorded from 1959 to 1971 when he left for Hi records, (if you want to pick up the story you’ll need to get the Complete Syl Johnson on Hi Records collection that was released in 2000), and then includes a few sides cut in 1976-77.

Syl Johnson as a singer, strikes me as falling somewhere in the spaces between Ronald Isley and Wilson Pickett. An interesting mix of something very sweet and smooth with something a bit rough and rusty, even in his early 1960s output. Perhaps that’s part of the reason why he never was able to achieve consistent stardom, despite several hits, “Sock It To Me,” “Different Strokes,” “Dresses Too Short” and “Is It Because I’m Black.” His legendary status, especially among those of us in the Hip-Hop generation is primarily because of two very different sessions.

Though it’s not the most sampled song in history, “Different Strokes” is one of the most distinctive samples with an intro that is instantly recognizable in a number of Golden Era tracks from the likes of The Beastie Boys, De La Soul, NWA, Public Enemy and Eric B & Rakim. What I’d never known is that the woman laughing on this track that gives it that distinctive sound, is none other than Minnie Ripperton, who at the time was a secretary at Chess Records in Chicago. It’s amazing, as soon as I knew that fact, it made perfect sense, cause who else would be capable of laughing like that.

The other reason Syl’s music has legendary status amongst a number of us is because of his landmark, though often overlooked masterpiece, “Is It Because I’m Black.” The first time I heard the song was actually Ken Boothe’s cover version. Somebody mentioned that I should hear the original, and at some point in the early 2000s I finally did (though from a vinyl reissue, I’ve never seen an original copy, generally they run $300-400). “Is It Because I’m Black” stands as one of the best in a handful of social commentary soul records from this period of time, eclipsed by Marvin Gaye’s “What’s Goin’ On,” even though “Black” was released a good 13 months before Marvin’s classic. Part of what makes this record is the commentary in the title track and others such as “Concrete Reservation” and “Right On.” The song, “Is It Because I’m Black,” might just be the best song of this type from this era, touching on an often felt but rarely articulated question that forms in the minds of people of color when things do not turn out as they expect, or when someone just out right treats them wrong. Almost 40 years later, the song remains a powerful statement on the experience of racism.

But the number one thing that keeps bringing people back to this music and makes that album such a desired LP is the great feeling in Syl’s voice and the funky funky playing of his band. The band featured with Syl at this time was called the Pieces of Peace, and they more or less were the backing band for Brunswick records (another bit of Soul trivia I learned from this box set, this was the actual group playing on “Soulful Strut” which doesn’t really even feature Young or Holt). It’s that great feeling for soul that Syl and his many bands display throughout these many tracks that makes this set something truly special.

The entire package itself, especially the design, is also a truly special thing. Numero really should be proud of themselves on this one. The “Complete Mythology” took 4 years to complete and Numero really went all out, not simply remastering tracks or conducting interviews, but they even went so far as to convince one of the holders of Syl’s songwriting credits to negotiate a better royalty deal for Johnson, better than the original and scandalous 1.5 cents per unit he signed in 1959. Attention to detail is one thing, but mixing that with social justice is entirely another, and that in addition to all the magnificent music contained within, is more than enough of a reason to splurge on this big box of soul.

Now, with 80+ songs, perhaps you expected me to post more, but I’ve chosen only three to give a brief snap shot of the collection. “I Resign” is actually featured twice, in very different arrangements and spread a few years apart. The soulful sweetness of this version floors me every single time. “Right On” is a monster of a funk song, that is featured on “Is It Because I’m Black” and gives that legendary song a run for its money. I especially love how they decided not to use a cleaner take, as Syl attempts his trademark howl, and his voice cracks. He shrugs it off in the song, simply stating, “I cracked that time, but we still got a good thing…” before letting loose with his proper signature sound. The drums that close things out, remain some of my favorites of all time. Also here is “Soul Heaven” which is track that many of you will instantly recognize as the instrumental version of “Is It Because I’m Black,” though it was released on a 45 under a different artist’s name. These tracks only scratch the surface of an amazing soul singer, who, thanks to the efforts of the Numero group and countless DJs, is likely to only see his mythology grow with each passing generation.

…and since I didn’t include it with the tracks above, here is the full length version of “Is It Because I’m Black” just in case you haven’t heard it before.

I think one of the many things I appreciated about Captain Beefheart was the way he had with words. Here are my favorite lyrics from the Good Captain, sometimes insightful, sometimes playful, sometimes just plain silly, but always absolutely original.

“Ashtray Heart” from Doc At The Radar Station (1980)

“You used me like an ashtray heart,
Right from the start…a case of the punks,”
Another day, another way,
Somebody’s had too much to think,
Open up another case of the punks!”

“Dirty Blue Gene” from Doc At The Radar Station (1980)

“She’s not bad, she’s just ge-net-i-ca-lly mean,
Don’t you wish you’d never met her?”

“Grow Fins” from The Spotlight Kid (1974)

“I’m gonna grow fins,
And go back in the water again,
If you don’t leave me alone,
Imma take up with a mermaid and leave you landlubbin’ women alone…”

“Nowadays A Woman’s Gotta Hit A Man” from Clear Spot (1972)

“Nowadays a woman has to haul off and hit a man to make him know she’s there,
Other night a woman came up and hit me like I wasn’t even there,
Yeah, um, dawned on me man,
That a man been doin’ a woman unfair”

“Click Clack” from the Spotlight Kid (1972)

“We’ll I had this girl, threatened to leave me all the time,
Threatened to go down now,
Go down to New Orleans, get herself lost and found”

Chaweewan Dumnern – Sao Lam Plearn

Still digging my way out of a pile of final exams as I wrap up a semester of teaching at CSULB, but definitely wanted to make sure I say a little about this amazing comp., one that almost slipped under my rader. I’m always on the lookout for interesting hybrid styles of funky music and this comp. points me in a new direction, with some wild sounds from Thailand recorded from 1964-1975. The star of the show, if you ask me, has to be Chaweewan Dumnern, not only because they have the most tracks (3) on this 19 track collection, but because all of them are extra killer, with “Sao Lam Plearn” being the best of the bunch. Don’t sleep on this one, this might be one of the best compilations of 2010.

Would have liked to have given these away over the air, but since we’re off the air today for the fundraiser, some of you are going to be lucky people indeed, getting a chance to see Dum Dum Girls return to the stage here in LA at the Echoplex December 21st along with Abe Vigoda as part of IHeartComix, Media Contender & LA Record’s Check Yo Ponytail 2 series of concerts.

Dum Dum Girls, in my mind, leads the pack of the current wave of “girls in the garage” bands, including Vivian Girls, Best Coast, Agent Ribbons, Frankie Rose & the Outs, and on and on. The band recently rescheduled their US tour for 2011, this will be the first show they’ve played since Dee Dee’s mother passed. I’m also trying my hardest to get them into the KPFK studios sometime before February. If you want to see them live and in person, make sure to e-mail me (michael[at]meltingpotblog.com) before 6pm on Monday.

Here’s something a little different, DDG unplugged at Barcelona’s Primavera Sound Festival May 2010:

{Finally tracked down the original cassette that I recorded this show on, so the sound is a bit more improved (at least for a 15+ year old cassette) and no more of those annoying clicks. I’ll be doing a new 2 hour tribute to Captain Beefheart this Sunday on KPFK’s Melting Pot from 4-6pm}

Just heard some news that deeply saddens my heart, Don Van Vliet, better known as Captain Beefheart passed away today at the age of 69. Captain Beefheart was and remains one of my favorite artists of all time, a man of tremendous talent and creativity. I’d always hoped that somehow someway I’d get a chance to interview the Good Captain, even though he’d been so far removed from the music industry and making music over the last 15-20 years. He certainly left quite a legacy. It especially pains me that because of the fundraiser on KPFK I won’t be able to pay him proper tribute on my radio show, perhaps I’ll do 2 hours on him on the 26th, instead of the vinyl show I’d planned on doing.

I was able to dig up a 2 hour show of Captain Beefheart’s music I did in the mid or late 1990s (I’m thinking 1996 or 1997) when I lived in Atlanta on WRAS 88.5, Album 88. If I can find the cassette copy of this, I’ll replace this version (which has frequent computer clicks, since this was one of the first things I ever transferred into a digital format, 7 or 8 years ago) with slightly better audio, but this will have to do for now as a tribute to one of the most original musicians I’ve ever heard.

Captain Beefheart Freeform on WRAS Album 88 9-26-1996: First Hour
Captain Beefheart Freeform on WRAS Album 88 9-26-1996: Second Hour

Zion I – The Sun Came Out

Perhaps it’s just me, but 2010 seems to have been a fairly weak year for good Hip-Hop. I’m just now starting to come up with my “Best Of” lists and there’s not a lot of Hip-Hop that’s coming to mind. Thankfully, there is this fairly recent release from Bay Area stalwarts Zion I, which I feel like is a marked improvement over 2009’s The Takeover, a record that a lot of people seemed to dig, but left me wanting something better. “The Sun Came Out” erases any lackluster feelings I had about this group, and makes this album worth a listen all on its own.