Soul
I Still Really Really Love You…
Feb 28th
The sweat is pouring off of me even though the air conditioner is humming away right above my head. It’s the end of July and I’m in Southern Illinois. Murphysboro to be exact. I’m sprawled out on my dad’s couch watching MTV. As the videos roll before my entranced eyes, music in the year 1984 is bursting to life. I see U2, R.E.M., Culture Club and the Police. I also see Yes, Billy Ocean, and the Thompson Twins. They all sound great. I close my eyes to really dig on the music. This is what I live for…
A new song comes on that I have never heard. My eyes are still closed. I’m half delirious from the heat. It’s a slow samba beat, followed by a slinky bass, and then…a crush-my-heart wonderful saxophone. Then I hear her voice.
She’s telling the story of a man. A man who is a world traveler who preys upon women – leaving a trail of broken hearts strewn about the earth. The tale is so compelling that even as I am sitting in a small southern town, I feel as though I am “coast to coast L.A. to Chicago” and “across the north and south to Key Largo.”
I am a world traveler now and am bearing witness to these tragic, passion-soaked events over a martini and a game of Baccarat. This would be the power of music. It transports your mind, heart, and soul to faraway lands that lie outward and inward. It’s a sacred, holy power that in the hands of woman makes it truly blessed.
In the hands of Sade Adu, it’s a monumental gift.
From the day I first heard the song “Smooth Operator” (nearly 26 years ago) until the present, I have worshiped at the feet of this elegant woman. Her sultry voice with the slight Brit accent overwhelms with each new album release. The first two albums came rather quickly…in 1984 and 1985 respectively. Then we had to start waiting a little bit. Three years for the third (and best) album, Stronger Than Pride; four years for Love Deluxe; six years for Lover’s Rock, and now ten years for Soldier of Love.
None of this matters, of course. I’d wait fifteen or twenty for the next one. They’re all filled with gorgeous music that rains kisses all over me. Each one has the ability to transport and transform a person – a rarity in music of any generation – and something to be embraced immediately. Her backing band (Stuart Matthewman, Paul Spencer Denman, Andrew Hale) have a lot to do with this fact. In addition to setting the scene and preparing us for the journey perfectly on each album, they fill in the long gaps between Sade releases with their own music: the fantastic Sweetback. The song “Mountain” on Sweetback’s second effort, Stage, should be at the top of the play list for any romantic evening.
Honestly, ten years wait was well worth it considering how Soldier of Love grabs you immediately and just…captivates. The first track, “The Moon and The Sky” begins with a gentle flamenco guitar and then bursts to life with chill out power combined with a nod to the balance we find in the sacred feminine. Put on any chill out track from the last fifteen years, b to the w, and hear how ALL of them owe their muse to the goddess that is Sade Adu. Next up is the title track and I recommend listening to it while mulling the album cover. As a fellow soldier said when looking at the cover, “Her right hand…”
Mmm-hmm…
As the rest of the album unfolds with her usual, cherished themes of faith, devotion, heartbreak, and loss, a new theme reverberates: hope. We hear it first in “Long Hard Road” and then again in “Bring Me Home.” I guess this idea isn’t all that new for her, though. She expressed an abundance of hope in the song “Love is Stronger Than Pride” and, quite honestly, it was more than that.
She told us in that song that is was okay to capitulate to the wonder and terror of love. It was alright to be weak because with that kind of love weakness is actually a strength. This is that love that makes you stronger in all of the other relationships in your life. It’s relentless and it simply can’t be helped. There’s just too much, so it spills out to everyone. This is the power of your beloved. It represents a testament of hope for lovers everywhere that needs to be nourished forever.
I am a Soldier of Love… are you?
—
Buy Soldier of Love [+digital booklet]
Visit: Sade’s Official Site
The Soul Train Documentary on VH-1
Feb 11th
For those of you who haven’t seen it yet, be sure to set your DVR for the next airing of VH-1’s Soul Train: The Hippest Trip In America. Yes, buried amongst VH-1’s vapid, putrid pile of reality shows is actually a quality 90 minute documentary about the late great Soul Train – a show that lasted 36 years (the longest running syndicated show in TV history). It was interesting to learn the full story behind the show, and the groundbreaking genius of Don Cornelius – who owned and produced the show from its inception in 1970 – when it was broadcast locally in Chicago – all the way to its finale in 2006.
It goes without saying how influential and groundbreaking the show was – providing an outlet for Black American performers, dancers, and their viewers at home. Even the first TV commercials ever targeted to an African American audience appeared on Soul Train. It only took a couple of years for the show to become a smash, even spawning a Dick Clark-produced “Soul Unlimited”, which Cornelius quickly snuffed out. Its crossover appeal touched me personally too. In the early-mid 80’s when Prince’s music took me by storm, and I immersed myself in popular black music, I spent hours watching Soul Train – and forming adolescent fantasies around some of those dancers. Yow!
My only complaint about the special was its short running time (90 minutes – 60 if you’re DVR’ing thru the commercials). It didn’t leave a lot of time to focus on the legendary performances (James Brown, Aretha, Marvin Gaye, Stevie Wonder, and on and on …). The clips were abbreviated, and left you wanting more. My favorite clip of the doc was this Al Green performance of “Here I Am (Come and Take Me)”. The first thing I did afterward was march to the Mac and find the full performance…
Next broadcasts of the documentary are:
- Saturday, Feb. 13th – 12:30am ET/PT
- Friday, March 5th – 12am ET/PT
Single: Sade, “Soldier of Love”
Dec 8th

In the past 25 years Sade has only put out 5 records – not accounting for live, remix and hits compilations – and it’s been nearly ten years since their last release, the brilliant Lovers Rock, so it’s a bit hard to anticipate what to expect of the group. Surely, you can count on it to sizzle; to find that slow burning subtle groove and unleash Sade Adu’s seductive tone and prose. I suppose it is that expectation that left me surprised me upon hearing the new single “Soldier of Love” – from the forthcoming album of the same name. There is absolutely nothing subtle about this track. Opening with a single trumpet and staccato string stabs over a driving cadence Sade croons “I’ve lost the use of my heart, but I’m still alive”, sounding more like a woman scorned than a woman in love. The track builds at a slow, almost clunky, pace and never really resolves itself, rather leaving us hanging and “Still waiting for love to come.” While I’d be lying if I didn’t say that that it’s wonderful to hear Sade’s voice again, I’d be equally libelous if I didn’t say it comes with some disappointment. But even in disappointment I’m thoroughly enjoying this song and look forward to hearing the rest of the record.
You can hear for yourself at the band’s official site.
Incoming: Gaslight Anthem, Citizen Cope
Aug 31st

My next two shows are in the books…
The Gaslight Anthem - September 15th – Martini Ranch, Scottsdale | I’m not crazy about the venue – right in the heart of Old Town Snottsdale – but for Brian Fallon and the boys of Gaslight Anthem, I will endure the surrounding douchery. They’re fresh off a summer festival season highlighted by a couple of guest appearances by fellow Jersey boy Bruce Springsteen, and hallelujah, they’re back in Arizona for their second appearance in 6 months. Bless you boys.
The Gaslight Anthem – Boomboxes and Dictionaries (mp3) | Official Site | Tour Dates

Citizen Cope – September 25th – Marquee Theater, Tempe | About as laid back of a stage presence as you’ll find, Citizen Cope brings the cool with a really unique mix of earthy soul & roots music. I really enjoyed my first Cope show in the same venue a year and a half ago. Part of what made it great was the presence of sexy soul songstress Alice Smith. I think she’s still tagging along with Cope – here’s hoping she’s part of it again.
Citizen Cope – Hurricane Waters (mp3) | Official Site | Tour Dates
New Tunes: Rob Murat
Aug 27th

Rob Murat is a singer/songwriter/producer who just dropped his first album, So Much To Say. I like the soul revival feel of this one. Sort of sounds like something Amy Winehouse would sing (only with “fuckery” and “Blake incarcerated” added to the lyrics). Blake, what on earth did you do to that girl? You look like you spent 5 years face down on a puke-stained floor of the South Kensington tube station – you must really hold sway in the sack, you dog.
You can check out Rob’s Official Site for every link you need…
Rob Murat - Ready To Love (mp3)
New from The Heavy: Sixteen
Jul 7th

The pride of Noid, England, The Heavy hit my radar back in January ‘08 with a hard funkin’ tune called “That Kind of Man”. So when I heard they were getting set to release a new full length album, The House That Dirt Built, my ears perked up. The record doesn’t drop until October, but we do have a chance to hear the first single – “Sixteen”. If this tune isn’t heavily influenced by the Screamin’ Jay Hawkins version of “I Put A Spell on You”, I don’t know what is, people.
Listen: Sixteen (mp3)
Watch: Video of “Sixteen”
Visit: Official Site | MySpace
New Nino Moschella: Boom Shadow
May 24th

Slipping just under my radar last week was the new release from California funk-soulmeister Nino Moschella. His debut a couple years back, The Fix, was heavy on the retro 70’s soul/funk sound – think Parliament, Sly, Shuggie Otis and the like (yep even Prince) – and his new one continues down that road – but advances even further production-wise.
The album is Boom Shadow, and even with all the comparisons and retro feel, you’ve still never heard anything like it. Moschella’s arrangements and production work on this album is a huge progression from The Fix. The horns, the synths, the innovative rhythms and vibes…
Just take a listen to this pair of tunes – tracks 5 and 6 on the album – and tell me this isn’t completely off the charts. Much like I said with his first album, if you long for the days when Prince used to drop crazy, innovative work on us, then you will really dig Boom Shadow.
Hear: Looking At Your Face (mp3)
Hear: Continue to Call (mp3)
Buy Boom Shadow on Amazon, on the Ubiquity Records site, or on
.
Side note: If you’re on iTunes, be sure to download iConcertCal. The latest version is killer. It integrates as a visualizer into your iTunes, takes a look at your iTunes library – then shows you who in your library has an upcoming show in your area, and when they have new albums scheduled. Take a look & download here. Highly recommended by yours truly.
Ick’s Pick (Week XI): Black Joe Lewis & the Honeybears
Mar 19th

This week’s new releases were a pretty blah bunch as far as I was concerned. I lost my focus listening to Old Californio’s new album over and over. But alas, I committed to listening to one new album every week of this year. So week 11 (xi), here we go.
It’s SXSW week, and as much as I try to ignore the mountain of e-mails and Tweets and coverage everywhere I turn, the fact is I’m jealous, and I’d drink a gallon of hot sauce to be in Austin right now. I’m shooting for next year as my 1st SXSW experience.
Black Joe Lewis & the Honeybears are from Austin, and they’re playing around town this week in support of their brand new album, ‘Tell ‘Em What Your Name Is!‘
This release stuck out from the rest as something I clearly needed to hear: Black Joe Lewis channels his inner James Brown, Wilson Pickett, and Otis Redding for some soul revival craziness. This album clocks in at 30 minutes, and is filled with Lewis’s spirited, good humored (and sometimes explicit) hootin’ and hollerin, tasty retro (60’s) soul grooves, and a great horn section courtesy of some members of Austin’s Grupo Fantasma.
This one will be perfect for a weekend barbecue and some cold beer. You may wanna grab a babysitter though, unless you want your kids jumping around to “Get Yo S***”, “Humpin’”, and “Big Booty Woman”. You can thank Black Joe for leaving “Bitch, I Love You”, another one of his songs, off this record (don’t worry, Joe’s no misogynist – even you ladies will be groovin’).
BUY Tell ‘Em What Your Name Is!
Links: Official Site | MySpace |Twitter
Take a listen to the horn blasts on “Gunpowder”, the album’s opener…
Between the Cracks: Sly and the Family Stone’s “A Whole New Thing”
Jan 26th
Hello, Ickies!
I know that my posts here have been minimal for some time. I’m busy looking for a job, wrapping up the dissertation, and playing Rock Band 2. But I promised Pete that my New Year’s resolution would be to post here with more frequency. This is a way to (potentially) force more regular posts out of me. I’ll just say that these will be “regular” or “occasional,” though I’d like to shoot for “monthly.” I make no promises.
I present the first of a new “column” so to speak, Between the Cracks. The series will focus on forgotten, underrated and misunderstood albums that are worthy of reexamination.
This edition takes a look/listen to the 1967 debut from Sly and the Family Stone, A Whole New Thing.
Truth be told, this post has been stewing in my mind for over a year. Last Christmas (2007), my girlfriend gave me the Sly and the Family Stone boxed set – all seven albums, remastered with bonus tracks. I’d coveted this set since it’s release, and was eager to devour it thoroughly. I’m pretty familiar with Sly’s catalog already, but put A Whole New Thing on my stereo with some hesitancy. The common problem with these comprehensive collections is that the artist’s best work is often sandwiched between generally uninteresting developmental early material, and bland, mediocre final albums.
Within 30 seconds of hearing the album’s opener, “Underdog” however, I felt like Sly had slapped me across the face with a fistful of funk for having doubted him. Playing the song a few days later for a fellow music geek and drinking buddy, he was similarly floored. And that’s kind of the way A Whole New Thing works as a whole – it’s a solid, sophisticated dose of soul and funk that shows surprisingly no weaknesses for a debut album.
But then the question remains – why is this disc largely forgotten?
My ponderings on this point were reignited recently while reading Nelson George’s Death of the Rhythm & Blues, where George briefly mentions Sly’s “debut” album, Dance to the Music. I was a bit flabergasted as to how or why a well-versed music journalist (and arguably, a music historian) would brush right over A Whole New Thing.
Perhaps it’s because the album did nothing commercially. Upon release, A Whole New Thing failed to chart at all. Indeed, it wasn’t until the aforementioned followup, Dance to the Music, that Sly and the Family Stone gained any substantial notoriety.
Nevertheless – hindsight is always 20/20, and it is this blogger/geek’s opinion that A Whole New Thing can stand strong with the rest of Sly’s classic catalog.
The album is admittedly more focused on the soul side of things, likely indicative of the time. In 1967, Motown and Stax were still going strong, maintaining their hold on the youth record buying public. Yet A Whole New Thing isn’t merely a Motown ripoff. In fact, it’s one of the more interesting soul records that I’ve ever heard.
“The Underdog” is undoubtedly the album’s strongest track, and its opener. Beginning with a minor key version of “Frere Jacques,” the song quickly jumps into a punchy, uptempo romp with strategically placed one-measure breaks where we can all catch a breather. I admit it’s become one of my ass-kicking anthems.
Sly & the Family Stone – The Underdog (mp3)
The rest of the album generally stays within the soul genre, but does so in a refreshing way. Yet even within the soul genre, A Whole New Thing is all over the place – cut time barn burners (“Turn Me Loose”), soulful downtempo ballads (“Let Me Hear it From You,” “This Kind of Person”), driving bass grooves cut with syncopated horn lines (“Bad Risk,” “If This Room Could Talk”), and tracks that would be sampled in classic hip hop cuts decades later (Public Enemy sampled “Turn Me Loose” for “Power to the People,” while “Trip to Your Heart” provides the groove for LL Cool J’s 1990 hit “Mama Said Knock You Out”).
One of the real treats of this release is the bonus track “What Would I Do.” I’m just going to let this one speak for itself, and leave you to ponder how in the world it was passed on as a single or album track.
Sly & the Family Stone – What Would I Do (mp3)
It’s all here. A Whole New Thing has all the makings of a classic soul album, yet the world slept on it upon its release, and it remained forgotten even as Sly and the Family Stone rocketed to legendary status with their blend of soul, funk and pop music that laid the groundwork for so much of the music that followed (Funkadelic and Prince, to name but two). I highly recommend it. I’ll say that the Sly boxed set is one of the better multi-disc investments I’ve made (or received), although all of the albums are also available separately.
Until next time, I go back into the cracks.
-Gonzo
The Temps’ Silent Night – Merry Christmas
Dec 24th

I was searching around for some info about when the Temptations version of “Silent Night” was recorded, and stumbled across a very heartfelt 2004 piece from the Washington Post. Writer Neely Tucker describes his relationship with the song – one of joy and sad nostalgia.
Turns out the song was recorded in 1980, with the post- Eddie Kendrick and David Ruffin Temptations lineup : Otis Williams, Richard Street, Melvin Franklin, Glenn Leonard, and Dennis Edwards (who replaced Ruffins as lead vocalist). In the piece, Tucker describes the origin of the tune:
So this is the part in the story when I tell you how the song was recorded at Motown in Detroit, at the tiny “Hitsville USA” studios on West Grand Boulevard on a snowy winter night back in the day, with the Rev. C.L. Franklin (Aretha’s daddy) doing the arrangements, and I would love to, except for the fact that it isn’t true.
The best Christmas song ever put to disc was recorded off Santa Monica Boulevard in Los Angeles in a couple of hours on a sunny day in the summer of 1980, according to Otis Williams, the only surviving original Temptations member.
“Gil Askey had the arrangements there when we went over to his house, so we sat down and worked out the melody line and vocals,” says Williams, speaking from his home in Los Angeles. “Then we went to the studio. I think it took a couple of hours.”
I certainly recommend you click right here and take some time to read Tucker’s piece. You’ll be better for it.
From the House of Ickmusic to wherever you may be, I wish you all a very Merry Christmas…
The Temptations – Silent Night (mp3) – My favorite version of my favorite Christmas song. Ever.


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