A Foolhardy Endeavour Pt.5

Ann Peebles - Breaking Up Somebody's Home

Ann Peebles – Breaking Up Somebody’s Home / Trouble, Heartaches & Sadness (1972) *

70s Soul. Queen of. Ann Peebles should really be as popular as Al Green; in the early seventies both singers were signed to Hi Records where both benefitted from the gorgeously gritty grooves of the genius Willie Mitchell, his crack house band and the Memphis Horns, but choice of material was probably the reason Peebles was a less commercial proposition than Green. The sound is exactly the same, but the songs are often darker; in Peebles’s Memphis pretty much all the men are bastards, everyone seems to be cheating on everyone and it’s always raining.

The a-side of this particular single is just 2½ minutes, but it manages to perfectly distil the moment where late (rainy) night loneliness tips over into bitterness and desperation. And what a title too; I’ve never quite decided whether she wants to just drive round to her beau’s house and do something to split him and his wife up, or if she’s actually thinking about smashing shit up. Peebles does the other woman and woman-done-wrong-and-fighting-back better than pretty much anyone. ‘I Will Survive’? pffft, Ann’s gonna break things and tear your playhouse down.

I originally came to this one via a mixtape from a friend, where the track was obviously recorded from the radio, a clipped syllable from a DJ’s voice coming in at the end over the fade-out.  Even better, the voice was clearly John Peel’s! You can’t help wondering what he was playing either side of this, Napalm Death? The latest Fall record of the time?  Anyway, this became my favourite track on the tape (I can’t remember anything else that was on it now), its brevity demanding continual rewinding.

For some reason I didn’t initially investigate any further into her catalogue, but then one Friday at work I was talking to another friend who loved Ann Peebles. The next day, on my way into town to the shops, I decided I simply had to buy a Peebles record. My first stop was Reckless in Berwick St, which still had a basement where  a box of soul singles sat on the counter. Having inherited not only my dad’s hoarding tendencies, but his acute sense of relative value, I’ve never bought many 7″s (or “45s” as we must trendily refer to them now) and 9/10 times I deliberately avoid looking beyond the LP and 12″ sections in any shop. I was on a mission this time though and miraculously, as I began to flick, there it was, second record in the box, as if I’d just willed it there. I excitedly parted with my £3 and while I have no memory of what if anything else I bought that day, I remember it was definitely raining. Getting the record home, I had a bonus discovery with the equally brilliant b-side, part of whose intro is the backbone to a GZA track I was a bit obsessed with at the time (a huge proportion of early RZA production relies on the Hi back catalogue). In contrast to the a-side, the song is much more positive than its title indicates: she’s bidding goodbye to her troubles and sadness, or rather, as is more customary for Peebles, telling them to piss off.

I now have all this stuff in digital form, having bought an ex-girlfriend the Complete Hi Recordings CD set and copied it, but if you see the Straight From The Heart LP going cheap, please pick it up for me.

AnnPeebles - Trouble, Heartaches & Sadness

* I’m abandoning the countdown numbers, I don’t need the trouble, sadness and heartaches they’ll surely bring.

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A Foolhardy Endeavour Pt.4

Cristo Redentor front cover

97. Harvey Mandel – Cristo Redentor (1969)

On the surface (OK, the cover is pretty intriguing) this doesn’t seem too promising: Cristo Redentor is ostensibly an instrumental blues-rock album by a virtuoso guitarist who went on to join Canned Heat and even record with the Stones after they’d got a bit shit. However, part of what makes Mandel an admired maestro is his ability to draw from and deftly utilise different styles. Most of his late sixties/early seventies albums have worthwhile moments that surpass the usual white boy blues wankery so prevalent at the time, and this first – and best – one covers a lot of good ground, from pretty full-on psychedelia to jazz and a touch of country.

The story of my relationship to this record starts with my good friend Martin, who’s something of a blues expert (he won a harmonica playing competition at a blues festival, which may or may not have been judged by Charlie Musselwhite who appears on this LP, when he was about 12). In the nineties I used to go to the dilapidated house he shared with a couple of friends, where we’d smoke, listen to early Wu-Tang and delve through Martin’s impressive vinyl collection. This was where I first heard Beefheart and other artists I’d go on to love and obsess about, but late one night I pulled out Cristo Redentor, by an artist I’d never previously heard about, and asked to put it on. The title track, a cover of a gospel-y jazz tune by Duke Pearson, opens side 1 with a wordless soprano, harp and big strings, Mandel just adding subtle reverbed licks over the top. Gorgeous, atmospheric and a pretty ego-free opener for a solo guitar album, it took me in immediately and has gone on to feature on many a mixtape.

Not so long after my first exposure, the album became mine when Martin sold off his entire collection. I got a few other great records* off him, but this one has remained the firm favourite. I immediately started playing side 2’s incredible version of the gospel standard ‘Wade In The Water’, as well as the following ‘Lights Out’, in DJ sets alongside funk and hip-hop. The former has since been sampled and compiled several times: an open drum break, strings, and guitar that pans across the stereo field, veering between a jazzy bright-toned bounce and psychedelic backwards fuzz – it’s got everything for diggers and dancers. The latter track which piles on more slow funk, more strings and more winding backwards guitar really deserves more of a look-in though. A great one for anyone into David Axelrod. And if you want weird, wait for the multitracked guitar drone to appear amidst the uptempo rhumba-style groove of ‘Before Six’.

I now own three different issues of this album (none of which are in terribly good condition, to be honest), including the dodgy computer graphic-adorned 1989 version on the Editions EG label, who put out/reissued a lot of Eno’s stuff. So, avant-rock/prog progenitor, blues rock journeyman or halfway mod, as the back cover of the original might have it? I’ve seen this and other Mandel albums filed under rock, jazz, fusion, and that favourite crate-digger-cum-curator-invented genre ‘funky rock’. And the fact it’s so hard to place is admittedly part of its charm.

Cristo Redentor - versions

Thanks Martin!

*I didn’t take those daft Groundhogs albums that seem to be so fashionable these days.

A Foolhardy Endeavour Pt.3

Max Roach - M'Boom - front cover

So, we come to the jazz…

98. Max Roach – M’Boom (1980)

Not just jazz, but jazz from the bloody eighties. Sort of jazz anyway, and recorded in 1979 if that helps. This is credited to Max Roach, who formed the M’Boom ‘re:percussion ensemble’ around 1970, but it’s very much a group work. The ensemble features a bunch of experienced drummer-percussionists – Roy Brooks, Freddie Waits, Joe Chambers, Ray Mantilla etc – whose extensive CVs are summarised on the back. Before you run away with thoughts of endless soloing, this is an album of tunes, using “more than 100 different instruments of determinate and indeterminate pitch”, which means a whole lot of marimba, vibes, xylophones, timpani, gongs, bells, and pretty much every instrument you can bang on. Banged on by men who really know how to bang on shit.

My discovery of this album is somewhat bittersweet: I got it for a couple of quid at Rhythm Records (once the only good reason to visit Camden), where it was reduced because they were closing down. Now usually when something’s that cheap, even in a sale, it’s for good reason, but I took a chance on it because I knew about some of the players and I like music that clangs and bangs. At the very least I figured it might have something I could sample for a track I’d never finish.

Upon getting it home, I discovered it delivered far beyond merely being OK. Alright, so my girlfriend at the time did say the (great) opening track ‘Onomatopoeia’ sounded like it was “written for some dodgy modern interpretive dance” and lo and behold, when I looked it up on YouTube recently, this was the first thing I found. However, there’s a lot more going on here. The beautiful Mingus tribute ‘January V’ (which later appeared on Four Tet’s edition of the Late Night Tales series) is all vibes, chimes and marimba, and might come across to contemporary ears like something from the late nineties Chicago branch of post-rock, except better and more emotionally charged than that. And closer ‘Kujichagalia’ rides on a killer funk rhythm, led by steel drums and snares, backed up with woodblocks, cowbells and assorted African instruments.

The first M’Boom album from 1973 really is rare as fuck, but this one can often be found for way less than it’s worth (to me at least); while record digging in Massachusetts last year, I practically forced John Twells to pick it up for a paltry $3-4. I hope he’s played it*.

“For fans of”: Steve Reich, Tortoise, Konono Nº1, gamelan, and, er, Parasol Trap

*update from John: apparently he has played it, DJed with it and made others buy it. So there, I’m not alone.

A Foolhardy Endeavour Pt. 2

David Crosby If I Could Only Remember My Name front cover

Before we proceed…

I started this thing yesterday and have already had a big rethink about how it might go. While it was largely inspired by Woebot’s incredible list from a few years ago, I don’t think this exercise is going to cover all my absolute favourite records, but just ones I own and treasure, and which hopefully have a story behind them.

I’ve never really thought of myself as a collector and before the advent of invisible (digital) music, I was never really overly bothered about records as physical objects, it was always pretty much about the music itself. And nowadays, I’m not going to like something less because I only have it on my hard drive, but I do LOVE records, and as men (mostly men) of a certain age are constantly telling us on the internet, there is something to be celebrated in the tangible. I will post photos for all these records, but if you’re after some real physical format fetishism, head straight to Colin’s beautiful Hard Format site.

And yes, I’m already worried that I started counting down from 100.

99. David Crosby – If I Could Only Remember My Name… (1971)

David Crosby If I Could Only Remember My Name back

First solo album from that fucking filthy, disgusting, pompous, bloated, gun-toting, hippie junky misogynist degenerate, ex-CSNY member and appalling example of a human being. A rare example of a record where the story and culture surrounding it seem so wrong, but the music is pretty much pinpoint perfect in every way. For my money (twice, see below) better than anything by The Byrds or the like, and undoubtedly one of the greatest records of all time. Floaty, but intensely focussed, with a thick paranoid atmosphere, it sums up/laments the passing of the sixties as perfectly as Performance or Gimme Shelter, just with an added glint of West Coast sunshine. Or, as the cover indicates, sunset at least.

I was first given this in MP3 form by Scott Mapsadaisical during our “jazz years”. It was the odd one out, a pleasant afterthought, added to a CD full of files – we must have been at that midway point between the purely physical and purely digital phase – and as such it immediately struck me. When it was reissued on vinyl about a year or so ago, I finally picked it up. Of course, I then went to the States and found an original – which has a much nicer matte finish cover – for a lot less. Sadly, though it looks in near perfect condition, said original has some scratchy noise on the first track, so I’m not giving you the repress. You really should buy it in some form though. There are nice pictures of the vast crew of Cali hippie royalty/scum that played on it inside the gatefold and Crosby looks amusing, i.e a complete fucking state, on the back.

Oh, and that Indian girl? She wasn’t an Indian, she was the law.

A Foolhardy Endeavour

Gang Starr - Take It Personal front cover

Let’s see how far we get with this then…

Prompted by Matt Poacher, I recently returned to Woebot’s “100 Greatest Records Ever”, a fantastically wide-ranging but supremely subjective and personal list consisting completely of records the author owned. The original blog post is long gone, but the full list with commentary is still available in all its glory.

So, I foolishly started thinking about what might happen if I tried to compose a similar list. With the emphasis on the physical/owned artefact, it seems fitting to begin on International Record Store Day. I don’t think these will be in any order, but let’s see how far we get…

100. Gang Starr – Take It Personal / DWYCK (1992)

Gang Starr - Take It Personal back cover

I know this record from the time, but somehow, despite having spent an awful lot of time in record shops since my teenage years, I never owned it until today. I went into Soho for the always painful Record Store Day and managed to get absolutely nothing from the RSD exclusive list, but Sounds Of The Universe had a bit of a sale in their secondhand basement where I found this for a reasonable (if not cheap) price, twenty years after it was released. Twenty! Christ.

This is what used to be called the “lead single” – from Gang Starr’s third album Daily Operation.  I have the LP, but the 12″ is pressed better and has the brilliant DJ Premier instrumentals. It’s nice to own it as in the years since it came out, this has always been down in my mind as the best Gang Starr record and one of the best hip-hop singles of all time. Its 1992 release marks it as coming from the tail-end of what is commonly accepted to be the genre’s “golden age” and it represents the pinnacle of the duo’s powers.

Premo’s technique of taking the best drum breaks, reconfiguring them, compressing them and adding only the most minor (almost) melodic embellishments alongside that scratching eventually became a bit of straitjacket, but this was the birth of his zen-like methodology.

The late Guru is at his best too, just before he overestimated the power of his (admittedly great) voice and adopted a slightly more awkward flow on much of 1994’s Hard To Earn. The b-side, ‘DWYCK’, which eventually appeared on that next LP, is probably more famous than ‘Take It Personal’ and is the source of the ridiculous but memorable “Lemonade was a popular drink and it still is” line .

You can YouTube/Spotify them yourself.