Shot Of Rhythm

[ Thursday, July 13, 2006 ]


New release round-up

I thought I'd spotlight the recent works of three fine songwriters, Guy Clark, Peter Mulvey and Rhymefest, all three of whom have released/are about to release new albums that demonstrate their work beautifully. The Clark tracks prove that the old dog's still got some new tricks, the Mulveys showcase the young talent's developing songcraft, and the Rhymefest cuts both prove the ebullient excitement of the hip-hop auteur/producer/MC that has made the last few years in the genre so exciting.

Guy Clark - "Magdalene," from WORKBENCH SONGS

Guy Clark - "Funny Bone," from WORKBENCH SONGS

Peter Mulvey - "Abilene (Eisenhower Blues)," from THE KNUCKLEBALL SUITE

Peter Mulvey - "Girl In The Hi-Tops," from THE KNUCKLEBALL SUITE

Rhymefest - "Devil's Pie," from BLUE COLLAR

Rhymefest (feat. Ol' Dirty Bastard) - "Build Me Up," from BLUE COLLAR

On the box right now: Arthur Conley, VERY BEST. Do you like good music? (Thanks, Mr. Kollath!)


Dove With Claws [8:27 PM]

[ Tuesday, July 11, 2006 ]


Songbird got soul

Today, I offer up three tracks by Sandy Posey, most famous for pop hit "Born A Woman" and a few minor country hits in the 1970s. Posey is one of many underappreciated players in the story of country-soul, the fully-desegregated musical movement that brought an astounding number of important music and musicians under the same collaborative umbrella for two decades in Memphis, Muscle Shoals and Nashville. Posey, who began her career as the secretary at American Studios in Memphis, recorded with various important country-soul players and writers over the years, and - even though Posey's artistic achievements are scattershot - she offers her own roadmap of this rich, complicated interchange.

-First is a version of Dan Penn and Spooner Oldham's first of many songwriting triumphs, "I'm Your Puppet," famously recorded by James and Bobby Purify. Posey recorded this in the Shoals, at Fame Studios. Covering Penn and Oldham hardly makes Posey unique (since damn near everybody who came through a Southern studio in the 1960s and 1970s did so), but it's interesting how easily this song translates to Posey's signature brand of vulnerable-yet-perseverant feminity. Another piece of evidence for my argument that Penn/Oldham had a notable talent among male songwritiers in writing for the female voice.

"I'm Your Puppet"

-Next is "One Man Woman," a Posey cut written and produced by Joe South, perhaps as true a country-soul artist as can be found. Interesting to note here how "Wall Of Sound"-esque South's production strategy was, as well as the way the bridge is clearly modeled after gospel in both melody and lyric.

"One Man Woman"

-Finally, here's Posey working with American Studios vet Tommy Cogbill in the late-70s, on a song that treads a fine line between country, pop, gospel, soul and even a little bit of disco.

"Why Do We Carry On (The Way We Do?)"

I've also added a link on the left to There Stands The Glass, a fine blog that y'all should check out.

On the box right now: Rhymefest, BLUE COLLAR.


Dove With Claws [12:37 PM]