Samuel R. Parker and The Holy Family Choir - Put Your Hand In God's Hands (1987)

This right here is a real rare gem in many ways. Besides just being a record which has scarcely been written about (I couldn't even find a picture of the album cover), this album is rare for one major reason: this is a Gospel recording done by a (predominantly) Black Catholic choir. I don’t really count myself as an expert on religion, but I’m fairly certain there aren’t many Black Catholics, much less Catholic Gospel choirs. That being said, this one is especially interesting to me because it happens to be recorded by a choir based in Chicago, just blocks from where I went to high school.

According to several blurbs on the album sleeve, Holy Family Catholic Church has been standing since the mid 1800’s, before the Great Chicago Fire – they even claim that the pastor at the time prayed that the fire would spare the church. This made me laugh, because I recalled a lesson by a former History professor about churches on the South and West sides of the city (as Holy Family is) claiming to have survived the Chicago Fire due to the miracle of prayer, regardless of the fact that the fire burned North and East. No matter, the blurb goes on to state that in 1987 when Put Your Hands in God’s Hands was recorded, Holy Family Catholic Church was in a dire state of disrepair, and so the choir and their director, Samuel R. Parker, recorded this album, “a symbol of the living community known as Holy Family Catholic Church.” So here we have a great album with a great story behind it.

Samuel R. Parker, the man whose efforts are at the core of this album (and whose soft-focused and Jeri-curled glamor photos are all over the sleeve), turns out to be somewhat of a virtuoso. He has been playing piano since the age of 5, became choirmaster by age 11, and has been Minister of Music at Holy Family since 1973. Mr. Parker apparently also made weekly appearances on a local Gospel television program called “Rock of Ages,” which aired on WCIU-TV. Most importantly, he not only arranged every song on this album, but wrote the majority of them as well. Once you hear this album, I think it will become clear what a great achievement that is.

The music itself has wide secular appeal and feels very contemporary, funky, raw, soulful and personal. Mr. Parker lends his unique vocals to several tracks, and contributes piano and heavy music production knowhow throughout. As a “crate-digger” of sorts myself, this album is pretty much wall-to-wall sample-fodder (that’s a compliment for those not “hip” to the “lingo”). From the funky keys of “Keep Your Hands…” to the mind-boggling sparse-yet-heavy arrangement of “Somebody’s Knocking at the Door” to the awesome Blues-Rock meets Catholic Metal chanting of “Wash All My Sins Away” to the Reggae-on-Syzzurp lost homie anthem of the finale “Move On Up A Little Higher,” this album is a delightful surprise at every corner. One band member was so delightful and surprising that I felt I should give him special tribute here, and that is Arthur (“Da Bass”) Sutton, who slaps his bass like it owes God money.

While doing my final stage of research for this blog entry, I discovered a couple things that made me very happy: not only is Holy Family Catholic Church still standing today (and I’d like to think that this great album helped to make those big repairs possible 25 years ago), but Samuel Parker is listed as Choir Director on their website (I’m hoping it’s really him, and not a Samuel Parker, Jr.). I may just have to play the role of the rabid fan and go collect an autograph some Sunday in the near future.

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Kenny Burrell with The Brother Jack McDuff Quartet - Crash! (1963)

On this album, the extremely prolific Jazz guitarist Kenny Burrell teams up with the excellent organist (Brother) Jack McDuff, and his Quartet of 60’s Jazz somebodies, including Harold Vick on tenor sax, Count Basie’s own Eric Dixon on flute, Ray Barretto on conga, and of course, the funky drummer Joe Dukes. Together, they made an excellent Jazz album during an era when excellent Jazz albums were a dime-a-dozen. However, don’t expect the moody, provocative styles of Miles Davis or John Coltrane here, nor the spacey, spiritual futurism of Sun Ra or Pharaoh Sanders. 

Crash! is a “Bop” album – much more cheerful, up-tempo, and even funky compared to much of what is remembered most from this era – which just goes to show what a broad genre Jazz is. Although we may tend to remember the rule-breakers of the 60’s the most, some of the more traditional artists were still creating masterful works like this one.

The musicianship here is truly excellent, as one would expect from these names. Brother Jack’s organ maintains a bright, “take me out to the ballgame” feel on all his solos. Kenny Burrell’s guitar work sounds breezy and care-free. The drum breaks are always funky. Everything is done with a sense of joy and innocence – even during the album’s more nostalgic moments – although the sophistication of the music is never in question.

Crash! may not have been the nail that stuck out most, but it is still doing an excellent job of holding the house that Jazz built together. I find this album perfect for a joyful evening with friends and summer cocktails – even dancing. It would also pair nicely with a Woody Allen montage. 

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Johnny Nash - Celebrate Life (1974)

Johnny Nash is the pimp king of Dad Rock. I was totally unaware of this guy (at least by name – it turns out he had some huge hits in the Pop Reggae world, and even produced records for Bob Marley and Peter Tosh before they were famous) before I found this record at the 46th Anniversary sale at Shake, Rattle and Read; a fantastic little independent used book/record/magazine/comic store, which specializes in Sci-Fi novels, vintage Playboys, and pristine used Rock and Jazz vinyl, and which has exponentially outlasted a hugely hyped Borders just one block away (hello, America?). Anyway, back to the record. I knew I had to buy this record just by looking at it: both the front and back covers of this album are quite stunning.

On the front, Johnny is dressed in the most immaculate Pimp suit – complete with matching cane – while he takes a jolly stroll through the park. There is a bright, fuzzy glow – seemingly emanating from his body – which lends the notion that maybe he is some kind of Supernatural Pimp Angel who only you can see. All of these things might be true. Also, the tall, skinny font used on this record is really great.

On the rear cover, a man – who might be Johnny Nash (it’s kind of hard to tell) – is looking like the shirtless, Afro’d Bizarro Zorro who comes from a world where everything looks like a black and white photograph. It’s hard to tell whether they (man + horse) were really rendered in black and white, or whether the costume and lighting departments did a mind-blowingly good job, either way – the image is eye-catching. The background is in color, but appears to be muted, save for a very trippy, contrasting purple sky.

Enough with the descriptions of the artwork – the point is, you can tell exactly why I was originally reeled into this record before ever hearing it. Oh yeah, it gets better.

Johnny Nash’s music sounds kind of like what it would sound like if Sam Cooke and the Beach Boys formed a Reggae Jam Band, and then tried to win the hearts and minds of Southern Rock fans. If you are human (please verify via Captcha), this analogy should be one which causes both confusion and intrigue, in equal measures. But fear not: though the analogy is mostly true, it is true in only the best possible ways. The production style is very simple and pleasant – heavily using the powers of stereo mixing to their maximum – which makes for a really exciting listening experience, especially on a pair of good speakers or headphones. The music itself utilizes elements of Barber Shop, Doo-Wop, Reggae, Soulful Ballads, and straight-up Dad Rock, and manages to create a really unique, groovin’ celebratory sound, much as the album’s title suggests. Johnny Nash’s vocals are really interesting too – his phrasing seems unrehearsed, and the melodies seem to expose themselves almost accidentally – and yet, his vocals are effortlessly beautiful.

This is music that could be found at a beach party or at a working class divey Cheers bar and achieve the same effect. This feels, to me, like music that brings people together. Johnny Nash earned his greatest success just one album previous to this one, with his song “I Can See Clearly Now.” The material on Celebrate Life still has that recognizable Reggae influence, but definitely has some great straightforward Soul and Rock moments as well.

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Psychedelic Tokyo 1966-1969 Vol. 3 - Slitherama! (1991)

If you are anything like me, you get giddy when you hear a unique, original cover song. This compilation is jammed full of them. Slitherama! is the third volume of psychedelic 60s Japanese garage rock released by Italian label Planet X. This was purchased at Time Bomb Records in Tokyo's America Town (making it the all-around most cosmopolitan record I own) by my good friend Manny of LBP Stunts, and I am forever grateful for this addition to my collection.

Anyone who is a fan of heavy reverb, rumbling Hammond organ, screaming bluesy guitar solos, and Engrish accents is sure to be taken on quite a journey. There isn't much about the music on this collection that is definitively Japanese (besides the monster movie soundtracks which bookend each side of the record), but it all rocks in a way that is far more rebellious than whatever passes as Rock 'N' Roll these days. Every selection here is a memorable discovery, and for those who own a physical copy, I'd just like to note that it's pressed on awesome marbled color vinyl!

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P.S. If you like this, you might also want to check out a little remix I cranked out the other night. May your necks be as sore as mine was when this was completed.

Khansahib Abdul Karim Khan - (19--?)

Khansahib Abdul Karim Khan was a classical singer of the Karina Gharana style from Northern India. He died back in 1937 before your grandparents were probably even born. These recordings were made some time in the 1930's, and reproduced for this record who-knows-when. My guess, due to the heavy weight of the high-density vinyl would be some time in the 50's or 60's.

Most of the music sounds kinda like a guy making Scooby Doo ghost voices over mellow sitar and tons of crackles and static. What can I say this thing is ancient, and not necessarily in the best shape. However, this music is very mellow and definitely has a spiritual quality to it. If you can tolerate the poor audio quality, this is a real interesting album.

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Phil Medley and The M.V.B. Orchestra & Chorus - Happy Walk (1976)

Phil Medley, whose big ol' face adorns the back of this album, was a songwriter most famous for "Twist and Shout," as originally performed by the Top Notes (produced by a not-yet-mad-genius Phil Spector!), then made famous by the Isley Brothers, then made famous-er by The Beatles. I should note that Mr. Medley is also the uncle of one Sharon Brown, famous for the 80's hit "I Specialize in Love."

From what I can gather, Happy Walk  is the first album released under his own name (with the help of his M.V.B. Orchestra & Chorus) followed by only one other full-length a year later. Not sure what happened to the guy, because his talent for funky breaks and groovy melodies is hard to ignore. 

The album is mostly instrumental, with some sparse vocals thrown in here and there, and rides the line between Funk and Jazz masterfully. I would say it feels like Isaac Hayes collaborated with the Rat Pack, and everyone felt good about it. Not many albums will make you want to learn how to waltz and  break dance, but this is one of them.

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Blowfly - Disco (1977)

Today is the 4th of July - Independence Day here in the States. I wanted to upload something special for everyone to play at their BBQ's - something that really represented what makes this country so special - and so I thought 'who better than Blowfly, masked defender of free speech?' Although I'm not sure this is what the founding fathers had in mind when they wrote the constitution, Blowfly definitely kicked the ass of censorship left and right.

Looking like a blend between the Bee Man from The Simpsons and some sort of horror movie nightmare, Blowfly was a contemporary of Rudy Ray Moore's funky X-rated sense of humor - the general gist of all his records is to take current hits and re-write the lyrics as childishly perverted odes to the carnal act. This here is his Disco album, and it is no different. B.T. Express' "Do It" becomes "Suck It", "What a Difference a Day Makes" becomes "What a Difference a Lay Makes" and the list goes on.

So today, while you are setting off your fireworks and waving your flags, let Blowfly's sleazy spin on classic Funk and Disco be the soundtrack. It's sorta kinda what the founding fathers would have wanted.

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Detroit Emeralds - I'm In Love With You (1973)

Wow. Just wow. I can't really explain why this is one of the best albums I've ever heard, but I promise you that it is. You probably have an idea of how important music is to me, and considering how much of the stuff I chew up and spit out on a regular basis, this proclamation is definitely on the bold side. In other words, you should probably just stop reading here, and jump straight to the download button.

You still need convincing? Okay, you asked for it. This album has been sampled at least twice by J Dilla - once for his legendary Donuts album, and again for Common's song "The Light". This same exact sample has been flipped by the likes of RZA, Large Professor, and Pete Rock, among others. So this just goes to show, I'm In Love With You is one of those hidden gems *cough* Emeralds *cough* that the most respected of music connoisseurs love dearly - a love they seem to re-visit frequently. Oh, and the Wizard of Oz leisure suits. Come on. 

Listening to this album is always an incomparably joyful experience. Something about it is so... perfect. In every way. I honestly believe that at least one of these fellas sold his soul to the Devil (if such a thing exists), especially when you consider all the troubles that struck, and eventually split, the group. 

The music is simple, which gives it a nice clean sound, flying free without the unnecessary weight of overly embellished compositions. And yet, the harmonies and rhythms are unique and sophisticated. They just don't overwhelm one another. Think of this album as a gourmet meal, perfectly seasoned so that you can taste and appreciate every last ingredient - each in its perfect place. 

It is both gut-wrenchingly soulful, joyful and oh-so-funky, rockin', groovin', and sweet-talking its way into a very special place in my collection. And yours too.

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Rodney Dangerfield - Rappin' Rodney (1983)

First off, I want to say that I'm very sorry to have taken such a long break between posts. One month, officially. I have been having a lot of issues with my audio capturing software, and I also recently came into temporary possession of a friends thousand-piece record collection, which I have been mining for potential entries as well. So that's my apology paragraph, now on to Rappin' Rodney.

At first glance, this is a completely embarrassing novelty record, and is about as uncool as a rap record can be. Something which Mr. Dangerfield's handlers probably felt was a good idea, and would make him relevant with the youth of 1983. Something you would never listen to un-ironically. 

And then you give it a spin anyway.

I love this song. Something about it not only makes perfect sense within the greater Rap/Hip-Hop canon, but feels almost pioneering for its unconventional subject matter. When you think about it, comedy - or at least a sharp wit - has always been an integral element of Hip-Hop. With emcees being lauded for their clever punchlines and witty metaphors, it makes perfect sense that someone who makes a living off of a similar talent - albeit without a back beat - would be able to do right by Hip-Hop if they ever gave it an honest effort. 

Not only is this record full of classic Rodney witticisms, but Rodney's extremely self-deprecating humor makes this a really unique Hip-Hop song. You see, usually Rap lyrics tend to use wit and cleverness to build ones own reputation to new heights of prestige, or at least lower the reputation of anyone who dares challenge your coolness. Rodney has always been the exact opposite - taking self-deprecating humor to the point of self-directed insult comedy. Although at first glance, this may look like Rodney totally sold out and made a lame rap song, in fact Rodney stayed so true to himself that he may have made the first self-dis track in the process. If this were a rap battle, Rodney would have absolutely destroyed himself (he even spends the middle of the song dissing the backup band).

Galaxxy - Galaxxy Featuring Ron Aikens (1982)

This is a really nice Boogie Funk album made in Philly in 1982. Galaxxy was basically The Ingram Family (or just Ingram) on the production and musician side of things, with the addition of Ron Aikens and some brothers by the name of Jinkens on the vocals. What matters most is that the end result was a very, very funky one.

The Ingram brothers are just so nasty on the production side of things here - steady, driving drum breaks, deep, funky bass lines, punchy horns, fantastically fun synth work, great guitar riffs - you name it, they can do it better. One of the reasons I chose to upload this over so many other funk albums, is that - besides lack of exposure - this is one of the few funk albums I've heard where the slow jams are just as captivating as the dance numbers. They have a really fantastic cover of Kenny Rogers' "Lady" (written by Lionel Richie!) that just adds so much soul to the original. But most of all, it is the funk that I fell in love with. From the very "Atomic Dog"-ish groove of  "Give Your Dog a Bone" to the simple party raps of "You Got It" this album is full of really fun, impressive 80s funk jams that could really fill up a dance floor.

I must apologize for the somewhat crunchy sound of this album - I've been having some software issues and unknowingly ripped this one at a low bitrate. For what it's worth, if I get any requests to, I wouldn't mind re-uploading this one at better quality.

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Lady Isa - Kuteleza Si Kwanguka (198?)

There's very little I can confidently say about the background of this record. I'm guessing by the production qualities that it was produced some time in the 1980s, but with African records, sometimes it is very hard to tell for certain. I am not even entirely positive where the artist - Lady Isa - comes from, though seeing that the record was produced in France, the lyrics are mostly in Swahili, and the music is mostly Central African Rumba, or Soukous, I can probably narrow her origin down to The Democratic Republic of Congo. Still, without a website, Wiki, or Discogs out there on her, it's just a guess on my part.

Nonetheless, it's the music that really counts, and to that extent, this record is a real gem. The songs are atmospheric, yet dance-able. Poppy, yet traditional. Completely happy, yet not manic. The rich, bright textures of the music seem to emanate a warm glow, and it certainly makes me feel at a blissful peace when I listen to it. Also, on a side note: the bass and guitar solos are credited to a guy named Rigo Star, and if you share my taste for the absurd, that might be enough on its own to pique your interest. 

I picked this one up at "The Thing" in Brooklyn, which is basically the world's biggest dollar bin. I could settle down and live in that shop if it wasn't for the inescapable smells of mildew and cat pee that go along with storing thousands of donated records.

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The Mad Musical World of Mel Henke - La Dolce Henke (1962)

In 1952, Mel Henke was a commercial industry composer and songwriter who came up with this sweet little jingle for Chevrolet:

Ten years later, the "swingin' 60's" were in full effect when Mel released a very swingin' (in more ways than one) album called La Dolce Henke. Here, he gathered plenty of his friends from the world of commercial jingles - musicians, voice actors, singers, Foley artists - and composed a poppy Cocktail Jazz album full of innuendo, naughty winks and nudges, wacky sound effects, and plenty of moaning ladies.

This is the album that Austin Powers would have recorded if he were a musician/real person. 

ENJOY.

Purple People - Paisley Punk Promo (1998)

First off, yesterday was Record Store Day, and it is safe to say that I have acquired plenty of interesting gems to keep this blog awesome for many months to come. This song was not one of my finds - I have actually had this for several years. This is a white label 12", meaning that there is absolutely no information about the song or artist on the sleeve or on the record itself, besides a small, round purple sticker with the words "Purple People Paisley Punk Promo" in bold white letters. These words (and the color of the sticker), sent one clear subliminal message to my brain: "This has something to do with Prince." And I was right.

This is the only song that turns up on Discogs for the person/group Purple People, but if it is a trusted source, then this was released in 1998 in the UK. What "Paisley Punk" turned out to be, is a fairly standard-sounding 90's House remix of Prince's song "1999." This started several debates in my brain, bouncing back and forth between 'What's the point? "1999" was already a perfect dance song, why did they have to dumb it down into some 4-on-the-floor club fodder? This is offensive.' and 'Ooh! Prince done up to sound like a 90's Fatboy Slim song!!' 

At the end of the day, both of my brains were right. This song does a solid job of dumbing down a really great dance song that everyone is already familiar with, but it's also kind of cool how the Purple People, whoever they may be, used Prince's cool drum rolls, kept the mix really lo-fi and muddy, and threw in a thick-as-pea-soup bass line that nearly wipes out the rest of the track. Okay, so it's not amazing, but it's a lot of fun just for the novelty of hearing Prince, Lord and Master of Copyright Law, being remixed in such an unambitious crowd-pleasing manner. Enjoy.

The Puppies - The Puppies (1994)

I think it's fair to say that The Puppies were one of the greatest brother/sister lil' kid Rap groups of all time, although I can't think of many others. Even outside of this gimmick, The Puppies definitely hold their own and made an extremely entertaining party record in 1994, simply called The Puppies, which earned them a bona fide top-40 hit with "Funky Y2C":

The rest of the album lives up to, or exceeds the fun quality of "Funky Y2C," and the production, kept in the family and handled by their father and uncle Calvin Mills II and Carlton Mills, is pretty top notch. The beats will make you dance, and the bass will probably make you vomit if you stand too close to the speaker. Which is a good thing.

The members are made up of little brother Big Boy, who fills the Uncle Luke role in the group as the yelling guy who gets the party hype, and big sister Tamara Dee, who is more of a "rapper's rapper." All in all, this venture feels like the effort of a genuinely talented family rather than a couple kids being exposed by their parents. The Puppies handle diverse subject matter ranging from Summertime fun, puppy love (ha), and shaking booties. The lyrics are all clean of course, but it doesn't give you that nauseating Kidz Bop feeling, so it really is fun for the whole family. Enjoy!

HERE.