LISTEN TO THE CHI-LITES 2005 - CHI-LITES LIVE (From Their New CD/DVD Package): Are You My Woman, More Power To The People, Lonley Man, I Want To Pay You Back, Stoned Out Of My Mind, You Don't Know My Name, Letter To Myself, Oh Girl, Have You Seen Her, Low Key
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CHAT LIVE WITH THE LEGENDARY CHI-LITES IN THE Soul-Patrol Chat Room ON March 3 2005 @ 10 pm est. "THE LEGENDARY CH-LITES WILL HELP US CELEBRATE BLACK HISTORY MONTH 2005 The Chi-Lites will be on hand LIVE in the Soul-Patrol Chat Room to discuss their career, their NEW CD releases, the history of Chicago Soul Music, the challenges facing Classic Soul artists and more…
Soul-Patrol Newsletter Headlines (03/1/2005)
1. Biography: 2005 Rock n' Roll Hall of Famer Buddy Guy
2. Biography: 2005 Rock n' Roll Hall of Famer Percy Sledge
3. Biography: Rock n' Roll Hall of Famer's The O'Jays
4. Billboard Reviews Soul-Patrol.Net Radio
5. Review: LA Soul-Patrol Event (Rio Soul, New Birth, Slapbak, Ray Parker Jr, Digital Underground, Gibson Bros, Calloway)
Welcome to Soul-Patrol Newsletter:
1. Biography: 2005 Rock n' Roll Hall of Famer Buddy Guy
Buddy Guy is the greatest living exponent of classic Chicago electric blues. He is a thrillingly inventive guitarist, a passionately soulful singer, and a peerless showman. In the course of a 45-year professional career, he has sold over two million albums; earned four Grammy Awards; and won nineteen W.C. Handy Blues Awards - more than any other single artist.
In 2001, Buddy Guy released Sweet Tea - one of the most sonically innovative and critically acclaimed albums of his career. On that disc, Buddy offered exciting new interpretations of songs originally recorded by such blues primitives of the North Mississippi hill country as Robert Cage, T-Model Ford, and Junior Kimbrough. Working with producer Dennis Herring at Sweet Tea Studio in Oxford, Mississippi, Buddy stripped away the horn sections, keyboards, and guest vocalists of his Nineties recordings to create a fierce, stripped-down sound. The music of Sweet Tea evoked "a world full of temptation and cruelty" (Rolling Stone) and resulted in "the guitarist's best album since his 1991 breakthrough, "Damn Right, I've Got The Blues" (Guitar World). It also earned a Grammy nomination for Best Contemporary Blues Album.
Buddy Guy's new Silvertone/Jive album, Blues Singer, extends the journey into blues history that he began with Sweet Tea. This twelve-track collection of pure acoustic blues comprises a unique entry in his lengthy discography.
Buddy has recorded in the acoustic mode before, most famously with the late Junior Wells on Buddy and the Juniors (1970) and Last Time Around - Live at Legends (1989). But these were loosely organized jams that relied on familiar blues standards. Blues Singer, on the other hand, is a carefully selected set of songs that Buddy has never recorded previously-including "Hard Time Killing Floor" (Skip James), "Louise McGhee" (Son House), "Can't See Baby" (Jack Owens), "Moanin' and Groanin'" (Johnny Shines), and "Lucy Mae Blues" (Frankie Lee Sims).
The aesthetic model for Blues Singer is an album recorded in September 1963 by the late great Muddy Waters-with 27 year-old Buddy Guy on second guitar. Muddy Waters, Folk Singer is a captivating all-acoustic set of pure Delta blues that Chess Records made to capitalize on the emerging folk-blues boom ignited by the success of Bob Dylan, Dave Van Ronk, and Tom Rush, to name a few. Today, the inclusion of Muddy's "I Live the Life I Love" on Blues Singer comprises a loving tribute to one of Buddy Guy's greatest blues idols and teachers.
"That was when the white kids was just beginning to listen to blues," Buddy recalls. "And Leonard Chess had found out that he could sell this kind of stuff through the colleges. Lightnin' Hopkins, John Lee Hooker-they was switchin' to the acoustic to play these colleges.
"Leonard Chess calls up Muddy Waters and says, 'I want you to take a trip to Mississippi and find me some of these old guys who know how to play this shit. We got to rush this album out!' So Muddy calls me early in the morning-'cause Chess sessions was always held in the daytime-and says, "motherf***er, I want you to come down here and play acoustic on this album we gonna make." "I said, 'but we haven't rehearsed.' And he said, 'I don't want no rehearsal-just me and you and Willie Dixon (bass).' "I said: 'What are we playin'?' And Muddy said, 'Some of my old shit!'
"When we got to the studio, man, Leonard and Muddy start cursing each other out. 'Motherf***er, I told you I wanted somebody who could play this old sh*t!'-see, Leonard didn't think Muddy could do this. He had wanted him to go down South and scout out some of the older guys.
"Well, we start playing and after about 45 minutes, Leonard Chess is standing there with his mouth open. Says, 'motherf***er, how'd you learn to play like that?' I said, 'I don't know what I'm doing myself, man. I'm just doin' what Muddy asked me.' I think I played one of Muddy's guitars-I didn't even have an acoustic guitar then, just my one brown Strat [Fender Stratocaster]. I used to sleep with that damn thing."
For the Blues Singer sessions, Buddy Guy (acoustic guitar, vocals) is joined on selected tracks by some equally legendary friends. B.B. King (acoustic lead) and Eric Clapton (acoustic slide) both perform on Buddy's version of the John Lee Hooker classic "Crawlin' Kingsnake"; Eric also plays on "Lucy Mae Blues." On occasional drums is Jim Keltner, whose 40-year résumé includes recording sessions and tours with Neil Young, Bob Dylan, Ry Cooder, James Taylor, Tom Petty, Elvis Costello, and George Harrison. Tony Garnier, on upright bass, is a longtime stalwart of Bob Dylan's touring band who's also worked with Lucinda Williams, Marshall Crenshaw, and Asleep At The Wheel. Mississippi native James "Jimbo" Mathus (guitar and slide guitar) is a member of both the Squirrel Nut Zippers and his own Knockdown Society; he first worked with Buddy on the sessions for Sweet Tea. Blues Singer is produced by Dennis Herring (Counting Crows, Cracker, Camper Van Beethoven, Jars of Clay) and mixed by Ed Cherney (Rolling Stones, Bonnie Raitt, Eric Clapton, Bob Dylan, Jackson Browne).
George "Buddy" Guy was born July 30, 1936 in Lettsworth, Louisiana. "I was so far out in the country, man. We didn't have running water, no electric lights, no radio, and I didn't know nothing about no electric guitar. We used to get the catalogs, like from Sears, and that's how our mother would order our clothes. Didn't have no stores there to buy clothes from."
Today, Buddy Guy is an internationally celebrated symbol of the living blues. The owner of the Chicago club Buddy Guy's Legends, he continues to tour the world with his dynamic live show. On February 7, 2003 at New York's Radio City Music Hall, Buddy Guy broke up the house in a gala "Salute to the Blues." This all-star show included B.B. King, Macy Gray, Alison Krauss, the Neville Brothers, and Aerosmith, among other artists-but "the evening seemed to belong to Buddy Guy," according to Billboard. "The night's leading figure was Buddy Guy," wrote The New York Daily News while The New York Post proclaimed "it was Buddy Guy who stole the show."
"It's the blues that keeps you young," Buddy once told Guitar Player magazine. "When you stretch that string, you're stretchin' your life."
2. Biography: 2005 Rock n' Roll Hall of Famer Percy Sledge
If you mention the name Percy Sledge to just about any music fan in the world, you'll invariably elicit a woebegone version of "When A Man Loves A Woman." That song is Percy's signature and a tune that defined the summer of 1966 and every one thereafter. Percy Sledge is, however, far from a one-hit wonder. He's had a number of significant chart hits including "Take Time To Know Her," "Warm And Tender Love," "Out Of Left Field, "It Tears Me Up," "I'll Be Your Everything" and others; his is a successful career that is now in its fifth decade.
Nine years ago, Percy made a comeback album that received worldwide critical acclaim, solid sales, a Grammy® nomination and won The Blues Foundation's WC Handy Award for best Soul/Blues Album of the Year. It was Blue Night, an album produced by the team of Saul Davis -- who had worked on projects by Gene Clark, Mick Taylor, Lucinda Williams, Phil Seymour, Jackie Lomax, etc. -- and Barry Goldberg (Mother Earth, Charlie Musselwhite, James Cotton, Solomon Burke, Bob Dylan, etc.) that brilliantly showcased Percy's commanding yet emotionally plaintive vocal attitude. The wonderful reception accorded Blue Night, combined with Percy's being awarded the Rhythm and Blues Foundation's Pioneer Award showed that, the eternal "When A Man Loves A Woman" notwithstanding, Percy Sledge was back in the forefront of soul's resurgence.
While Percy Sledge has been touring internationally in the years since Blue Night's 1994 release, the expected follow up album hasn't been a reality until now, almost ten years later. During the intervening time, a combination of circumstances conspired to keep Percy and his production team apart. Says Percy of that time, "I was waiting and wishing and hoping things would line up and they finally did. I just knew it would be worth the wait." The result is Shining Through The Rain, an album of soul music the way it was truly meant to be. The process that begat the new album actually began more than four years ago when Percy, Saul and Barry began to marshal their resources to see if they could, once again, all work together.
Percy's relationship with his producers can only be described as, to borrow a phrase, "warm and tender." Barry Goldberg used to come to Muscle Shoals, Percy's old stomping ground, as far back as the 1960s. The two finally met in the late '80's when Barry was working on the soundtrack for "Adventures In Baby Sitting." Percy was taken with his new friend. "Everything that he talked about hit me in the heart," he confides. He's effusive and genuine about his production team. "It's so easy to fall in love with Barry and the same goes for Saul. When I met Saul, he was like an angel; he took me under his wing. Both of them just love music so much."
Barry Goldberg notes, "When I was getting my chops together playing the blues in Chicago, I was also digging the R&B of Otis Redding, Sam Cooke, Wilson Pickett and, of course, Percy Sledge. Never, in my wildest dreams, did I ever think that I would remotely somehow be connected to such a great legacy. When Saul Davis asked if I was interested in working with him on a Percy Sledge album I was ecstatic. We had great reverence for all the people who had made the great Percy Sledge records before in Muscle Shoals and a responsibility to do our best for Percy's great voice. We were very proud of Blue Night; Shining Through The Rain was another challenge for us. We wanted to bring a little more of a contemporary vibe into the arena, without losing the feeling of a Percy Sledge record. The flavor of Muscle Shoals is there, thanks to Clayton Ivey (piano, organ) Larry Byrom (guitar) and (engineer) Steve Melton. The sensitivity of Bob Glaub on bass, and the groove solid drumming of Ed Greene, along with the other great musicians, writers and singers makes me feel that we have done our job. It's a labor of love, of course, to be working with the man himself, Percy Sledge. He's truly inspirational."
Saul and Barry used old school recording techniques and equipment -- tube amplifiers, analog machines, old microphones -- and launched an all out effort to make the album that would be Shining Through The Rain as soulful as possible. They imported engineer Steve Melton, the Muscle Shoals engineer who had worked with Percy in the past, to Los Angeles where the album was recorded earlier this year. They flew in Ivey and Byrom from Muscle Shoals and Greene from Nashville as they enlisted the aid of such friends of the project as Jakob Dylan, Paul Jones, guitar great Phil Upchurch and the aforementioned Glaub.
Vintage recording equipment, simpatico producers and great guest musicians are fine but for Percy, the song has always been the thing. He reveals his method for making material his own. "First thing, I look at the lyrics, and then I listen to the melody. If the melody gives me any kind of thrill, I work with it and try to get a feeling going. I kind of 'try it on' to see how the song fits me." Saul Davis and Barry Goldberg did their utmost to find songs perfectly "tailored" to fit Percy's musical physique. Percy had full confidence in their ability to do just that, "They really know what I'm about."
3. Biography: Rock n' Roll Hall of Famer's The O'Jay's
The O'Jays are one of soul music's most popular and long-lived vocal groups, among soul music fans they are at the same level as, Temptations, Dells. Spinners, Four Tops, etc. Lead singers Eddie Levert and Walter Williams voices are as recognizable to soul music fans as Marvin Gaye, Levi Stubbs, Al Green, etc. Their songs resonate not only with the message of love, but also with the message of social change that showed the way for a generation of Americans.
The O'Jays were formed in the summer of 1958 in Canton, Ohio, where the five original members - Eddie Levert, Bill Isles, William Powell, Walter Williams and Bobby Massey -all attended McKinley High School. Eddie and Bill inspired to start a group after harmonizing together at school between classes and seeing a performance by the Drifters, at the Canton Auditorium, first calling themselves the Emeralds and later to the Triumphs, after performing for a few parties, cabaret's, and talent shows. By their own admission, they began performing at local YMCA shows and hops just to hear the girls scream.
The O'Jays thus began their long journey [name changes, producers, record labels, personnel changes, etc.], which would ultimately lead them to the Rock n' Roll Hall of Fame.
* Names: Emeralds, Triumphs, Mascots, The O'Jay's
* Producers: Don Davis, H B Barnum, George Kerr, Richard Tee, and Gamble & Huff
* Record Labels: King, Daco, Apollo, Little Star, Imperial, Bell, Neptune, Philadelphia International, EMI, and Sanctuary
* Personnel: Eddie Levert, Bill Isles, William Powell, Walter Williams, Bobby Massey, Sammy Strain, Nathaniel Best and Eric Grant
For example, perhaps the most long lasting of these changes involved Cleveland Disc Jockey Eddie O'Jay who eventually became their manager. Eddie O'Jay took the Mascots to Detroit where he discovered there was another group called the Mascots, so they changed their name to "The O'Jays" in 1961, in honor of their manager Eddie O'Jay.
The O'Jays moved to Imperial Records and in the summer of 1963 they charted the number one single in Cleveland, Ohio on WJMO for five weeks. The success of this record afforded them the opportunity to open for artists such as "Stevie Wonder and Smokey and the Miracles. The O'Jay's first album entitled "Coming Through" (containing the hits "Lonely Drifter" & "Lipstick Traces"). The group continued with some excellent sides for Imperial through 1966 including "The Storm Is Over" and "Oh, how you hurt me", their highest charting singles during this time were "Lipstick Traces (#48Pop, #28 R&B, 1965) and "Stand In For Love" (#95 Pop, #12 R&B).
In 1966, after Bill Isles left, the O'Jays were now a 4-man group. They went to New York and signed with Bell Records, where under the guidance of producers George Kerr and Richard Tee, the O'Jays scored a top 10 R&B single "I'll Be Sweeter Tomorrow" going to number 8 R&B and number 66 pop. Bell delivered their second album with the hit: "Look Over Your Shoulder". Next they were signed to the Chess distributed Neptune label owned by Gamble and Huff. Their debut for Neptune, "One Night Affair" (#5 R&B/#68/1969) was followed by "Deeper In Love" (#64/1970) . Over the next year & a half, the O'Jays placed four of their six Neptune releases on the chart.
In 1972 Gamble and Huff regrouped and re-formed under the Philadelphia International Label and the O'Jays moved there in l972 despite offers from Motown and Invictus. Massey departed the group for a career in record production leaving the group in its final "trio" format. Their first 45 was a departure from the groups previous love song style. "Back Stabbers" had a socially conscious lyric, but the beat, Levert's rugged vocal, the minor key harmony, and Thom Bell's arrangement made the record a monster hit that reached number one R &B, number three Pop, and number 11 in the UK a mere 14 years after the resolute Canton kids had begun their career. A series of smashes followed that included Love Train (#1 Pop and R&B), "Put Your Hands Together" (#10pop,#1 R&B) and "I Love Music"(#5 Pop, #1 R&B). The O'Jays lost the services of William Powell who was stricken by cancer and left the group in early 1976 (he died on May 26, 1977). Powell's replacement was Sammy Strain, (formerly w/Little Anthony and the Imperials). The O'Jays regrouped on the albums of "Traveling' at the Speed of Thought"(1977) and "So Full of Love"(1978) the latter of which produced their fifth and last million seller, "Use To Be My Girl" (#4 pop/#1R&B).
Leaving Philadelphia International for EMI in 1987, they recorded "Let Me Touch You", which melded their classic sound with up to date urban R&B production. With Nathaniel Best replacing Sammy Strain, 1991's "Emotionally Yours and 1993 "Heart Breakers" also placed very well on the R&B charts. The O'Jays comeback didn't really extend to the pop side, and didn't attract the sort of critical praise earned by their 70's classics; as the new jack swing subsided, so did the group's recording activity, though they remained consistent draws on the live circuit. In 1997, now with Eric Grant joining Levert and Williams, they returned with "Love You to Tears". The group signed with MCA and debuted for the label "For The Love" which was released in 2001. The O'Jays are currently signed to "Sanctuary Records and have released their new CD "Imagination".
With their induction into the Rock n' Roll Hall of Fame, the O'jays are finally recognized as being one of the "greatest of the great" and their 40 + year legacy is on display for those who seek to "walk in their footsteps".
4. Billboard Reviews Soul-Patrol.Net Radio
It would seem that the "mainstream: has been keeping an eye on our little "internet radio experiment".
Soul-Patrol.Net Radio - http://www.soul-patrol.net
I found the following article yesterday at the Billboard Magazine site. This represents the first time to my knowledge that anyone from a "mainstream music publication" has ever written anything about Soul-Patrol.Net Radio
February 15, 2005, 11:15 AM ET
By Antony Bruno
SOUL ON PATROL: The enduring legacy of Ray Charles that powered a several posthumous Grammy awards also is responsible for the resurgent interest in the music style he pioneered: soul.
Those looking to explore this genre beyond the limited offerings on today's radio playlists or most online music services, Soul-Patrol.net Radio is waving the banner high with what it calls an Internet-based "experiment" in music listening and appreciation.
Although slim on design, the multifaceted site offers archived links to themed radio shows, live concerts and online listening parties, as well as news, concert and CD reviews, upcoming events and links focused on soul music, as well as R&B, funk, Motown and jazz.
Fans can find in-depth tributes to such artists as Bo Diddley, Jimmy Castor and Barry White and such live recordings as the 2002 Montreux Jazz Festival, a 1981 Rick James concert and the original P-Funk lineup at the Roxy in Boston. There are also guest DJ-hosted tributes to musical legends such as Quincy Jones, Ron Holloway, Etta James, the O'Jays, Maceo Parker and Ray Charles himself.
In addition to the classics, Soul-Patrol.net makes a point of featuring new music and acts as well. Of the 40 most popular shows played last year, 12 feature new music, according to the site's year-end survey.
An events calendar offers localized listing of soul-music related activities in a given area, including local chat sessions and CD listening parties, as well as various offline events. Also available are interviews with leading musical artists and authors and a free bi-weekly newsletter. The site requires RealNetwork's RealPlayer multimedia software to access streaming content.
The printable version of this article is available right here from Billboard's site
(for any of you who might want to print it and frame it…..like I did....lol)
Thanks to all of the artists and DJ's who have donated their time and work to enabling us to continue with our non profit "experimental" internet radio station. It seems that people are not only listening to us, by also "watching us".
Interesting how we are able to accomplish this without any assistance from the usual list of suspects that Black folks are usually willing to sell out our culture to...(Live365, BET, Yahoo, AOL, MSN, VH-1, Clear Channel, etc.)
We plan to continue our "experiment" for as long as we can provide some educational value to our site visitors. (or until the status quo or the culture bandits shut us down)
5. Review: LA Soul-Patrol Event (Rio Soul, New Birth, Slapbak, Ray Parker Jr, Digital Underground, Gibson Bros, Calloway
Now at times like this I wish that I lived in Los Angeles. This sounds like it was a truly SLAMMIN show. Maybe one of these days I will be invited to a West Coast Soul-Patrol Event???
Thanks FunkyMoon for the report....
Just wanted to let you know I had a incredible time at the Soul-Patrol West Coast event Saturday night. I met Sally at the door of B.B. King's in LA. Once inside, she introduced me to your cousin Vernon, who reminds me of Paul Mooney. Vernon and Sally got a table reserved for Soul-Patrol right next to the stage.
Sally then introduced me to Soul-Patrollers RioSoul before they took the stage. When they took the stage, they started their set with D.M.S.R. by Prince. This was the first time hearing RioSoul, even though I was aware of them for a long time because of Soul-Patrol. The band was great and Rio - well what can I say! Something told me this was a start of a great night of live music. Later in their set, they brought up Soul-Patroller Leslie Wilson of New Birth! His voice sound the same as when he sung "I Can Understand It" years ago - simply amazing! RioSoul later played a cover of "The Stick" by The Time that had everyone on their feet dancing. I even danced with Sally! Their set ended too soon for me, but there was another band waiting to play.
During the break in between acts, Stevie Martin, bassist for RioSoul sat down at our table and said that we'd like the next band Slapbak which was real funky. Boy was he right!!! Slapbak sounds like a combination of Parliament / Funkadelic, Sly & The Family Stone, Cameo, Prince and Outkast. During their set, they brought Digital Underground to the stage. Shock G took the mic and urged Xhibit who was in the house to join them on stage. They had the joint jumping with "One Nation Under A Groove/ The Humpty Dance". Shock G then told the crowd about how they worked on Slapbak's unreleased CD "II Black IV Black Radio" (I know what you're thinking Bob! lol). Slapbak's founder Jara Harris introduced their manager, who in turn introduced another one of his groups, The Gibson Brothers. The brothers are talented soulful vocalists with a promising future. At the end of their first song they brought on Ray Parker Jr. and one of the Calloway brothers (sorry, I forget which one) from Midnight Star and Calloway. They played with The Gibson Brothers for one song. Then the Calloway brother stepped to the mic and started playing the flute. Ray Parker Jr. joined in on guitar to start an impromptu jam session. It was GREAT! Slapbak returned to the stage to close the show. It was a great night! To see so many r&b and soul legends on the same stage one the same night was just incredible! I want to thank Sally, Vernon and Soul-Patrol for a night I won't soon forget. As we we're leaving, Verdine White of Earth, Wind & Fire came in and walked right past us and went to talk to Ray Parker Jr.
RioSoul will be back at B,B. King's on on March 3rd and 4th with the legendary BarKays! You can count on me being there. Hopefully more Soul-Patrollers will be there!
PS- I bought RioSoul's "Rhythms Of The Soul" and "The Cure" and Slapbak's "II Black IV Black Radio" for $10 each. I've been jammin' since!
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