This week I had the increasingly rare pleasure of being able to share music in the best way possible; with a very good friend, at home, picking out LPs as the conversation unfolded in the rambling, unexpected ways that can only happen with people you’ve known for years and years. The Deniece Williams LP (see below) was on the turntable when he arrived which in turn gave way to Ramsey Lewis’ Mother Nature’s Son, and then the new DJ Muro compilation on BBE, a couple of Quincy Jones soundtracks (The Lost Man and The Pawnbroker) and then some of my friend’s music that he was working on.
As I get older I realise how precious these evenings are, and whilst our conversations on Wednesday were very wide-ranging, it’s music that is the consistent thread running through it. It was another friend who introduced me to David Crosby’s LP If Only I Could Remember My Name which I wrote about in the original run of these posts back in September 2021. I’ve included that post below and if you’re not familiar with the record I’d highly recommend giving it a spin. Over the last year or so it’s become one of my most played albums, and Crosby’s passing earlier this week reminded me that I need to dig into more of his back catalogue. There’s always more music to discover….
David Crosby - If Only I Could Remember My Name
There was a nice bit of serendipity around me getting to know this album. A couple of weeks ago my friend Ben posted about this record on twitter, calling it one of his all time favourites. As is my way with recommendations I find online I bookmarked the album on my phone and dug into it properly that evening. Within 2 tracks I was moving to Discogs and the vinyl landed on my doorstep on Saturday.
Before I’d had a chance to even open the package I found an article about Crosby in the weekend paper. I didn’t know much about him - I was aware of The Byrds of course and I know a couple of CSNY tracks but Neil Young is the only one of the group that I’m familiar with in any great detail. As with many musicians of his (or indeed any) era he’s had a chequered history with addiction which in turn led to many fall-outs with his peers, some of which endure to this day.
More surprisingly I discovered that this record was critically panned on initial release, with Lester Bangs et al giving it a brutal going over in print. In recent years it’s been reappraised and rightly so; it’s a warm embrace of an LP, intricate (if not fussy) folk-guitar and California stoner lyricism creating a soft, comforting blanket of a record. It’s not a million miles away from the Beth Orton LP from a few days back, but it also puts me in mind of Nick Drake, Fairport Convention, Peter Green and Cat Stevens.
I’ve realised this year how much I love that seam of folk rock and I’ve idly started to put together a list of tracks for a mix or radio show. Hopefully by writing down that intention here it might actually happen (unlike the majority of my creative ideas). If it doesn’t appear by the end of the year feel free to give me a (metaphorical) kick. (Note - this hasn’t happened, maybe 2023 will prove more fruitful)
January 16th • Natalie Bergman - Mercy
I picked up this remarkable record some time last year - I think through a recommendation on Bandcamp. I wasn't aware of Natalie Bergman previously; this is her first solo record after several years in the brother/sister duo Wild Belle.
The backstory to this is harrowing; in October 2019, while waiting to go on stage at the Radio City Music Hall she got a call informing her that her father and stepmother had been killed by a drink driver. This is recounted in unsparing detail on album closer Last Farewell, a song that still takes my breath away after multiple listens.
Wary of falling into despair, Bergman took to a monastery in the Chama Valley for a silent retreat. On returning she wrote, recorded and mixed Mercy at her brothers home studio. The album is about faith, but unlike many other records built around that theme it isn't abstract. It is personal, raw and vital - it is faith that allows her to continue, and mercy that she has something that can pull her out of unending despair.
It makes for an unexpectedly uplifting album, despite the devastating subject matter. That said the final song (the aforementioned Last Farewell) offers no answers, just a heartbreakingly frank description of her feelings in the immediate aftermath of the accident that killed her beloved father.
Sonically it draws from gospel and psych soul with a pinch of folk in the harmonies and vocal style. Really though, it's something all of it's own, in almost every way imaginable. To handle grief of this kind is one thing, but to channel it into such a distinct piece of art is almost supernatural.
In a 2021 interview with NPR, Bergman had a far simpler explanation:
"Faith has been my greatest consolation in losing the people that I love. It's what I turn to. And it's what allows me to come back to life. I've tried other things. And I found that my faith is the most persistent thing that I have. And it's a healing agent, you know? And I certainly didn't write these songs to sound preachy or impose my beliefs on anyone. But I wrote them because I needed to. I wrote them out of necessity."
January 17th • Lord Kitchener - London Is The Place For Me Vol 8
I was up in King Cross today for a few meetings, and when one cancelled I was able to wander into the Coal Drops Yard branch of Honest Jon's. Whilst idling through the jazz LPs I remembered that I had an HJ record in my Bandcamp cart - the 8th instalment of the excellent London Is The Place For Me series, which I grabbed on the spot.
This volume focuses on the artist behind the compilation title; calypso trailblazer Lord Kitchener. Running to a generous 24 tracks, the vinyl release also includes lyrical sleeve notes from Anthony Joseph that add depth to the sprightly compositions that Kitch excelled at creating.
It is such warm and light sounding music, delivered as if he hasn't a care in the world. This is cut through with the often serious subject matter, taking in race, homesickness, politics and the more personal tales of love and family life. This duality was made all the more interesting by a section in the liner notes: 'Some calypsonians songs supported the crown and colonial authority. At times calypsonians could clandestinely encode such songs with double entendre which cut while it appeared to grin. It's worth remembering this when we listen to Food From The West or London Is The Place For Me.'
That gave me pause for thought - elsewhere Joseph notes that this the lyrics to 'London....' are also a statement of intent: even though he has barely set foot on English soil, Kitch knows that London is his to make his mark on.
His dapper presence and gentle tone allow these messages to slip by unnoticed, which makes it all the more powerful, particularly on tracks like If You're Not White You're Black. This cuts both ways however, and I could do without the casual references to domestic violence in Too Late Kitch; made especially jarring by the jocular tone in which they are delivered.
That aside it's a quietly political record that serves as an aural history of stories both big and small, one of the early building blocks that helped establish Black British music that has given so much to this country and our collective culture.
January 18th • Deniece Williams - This Is Niecy
Maybe it's just the nerdy music circles that I move in, but it sometimes seems as if soul music has to be obscure to be revered. I suppose this could be applied to other genres too, but it seems particularly prevalent in soul, funk and other associated scenes.
This is natural I suppose; I know it's a great song, but after 25 years of DJing I could probably survive without hearing Superstition by Stevie again in my life. The quest for rarity is understandable too - it's fun to find new gems that others don't know about. Sometimes this is altruistic; the joy in giving life to a forgotten classic, and sometimes it's a little more selfish; check out the amazing record that only I know about.
Either way the result can be that popular soul cuts are not given their dues, which is a shame. We get so used to the casual brilliance of Aretha, Al Green, The Supremes etc, that we almost forget that they exist.
It occurs to me that maybe this applies to Deniece Williams. Whilst she's possibly not in the same league as the artists mentioned above she still has some killer records in her catalogue, particularly her 1976 debut This Is Niecy.
This popped back on my radar a week or two back, via a list of favourite Charles Stepney productions from the International Anthem crew. I must admit I hadn't realised that Stepney and Maurice White were at the helm for this LP, but listening back it's kind of obvious. A lot of the tracks could have appeared on Minnie Ripperton's records from around the same time, and Williams shares Minnie's phenomenal vocal range.
On that note, I hadn't realised that Williams was on BVs for two of Minnie's LPs, as well as for Stevie Wonder and Syreeta before striking out as a solo artist in her own right.
This is a great record, seven tracks of lush 70s soul that hit just right. The highlight is the single Free', which could stake a claim for the title of greatest intro to a number one single: 90 seconds of shimmering, jazz-soul giving way to the kind of groove that Maurice White and his brothers (Verdine and Fred make up the rhythm section) do like no-one else. What a song and what an album.
January 19th • Makaya McCraven - In These Times
Yesterday we announced a new release on First Word from New Sector Movements; which is a big one for me. I've been a fan of IG Culture's for a minute now and the NSM joints were always my favourites in his output. It's an honour to be involved in their first new music in over a decade.
The new EP is called These Times and yesterday while putting a few records away I chanced upon this almost-namesake record from Makaya McCraven. As chronicled elsewhere in these posts I was sent a demo by Makaya many, many years ago which I ultimately didn't act on. As with other acts who we got close to working with I don't feel so bad about it; International Anthem have undoubtedly done a better job with his music than I would have and sometimes it's nice to just be a fan of a great artist without feeling the need to be involved personally.
The title In These Times is central to the record: the 11 tracks here are united in having odd-meter time signatures (if that's the right terminology). Given its unified and consistent sound, I was surprised to learn that the LP was put together over a period of more than 7 years using 5 different studios and a rotating cast of musicians from the extended IA family.
Honestly speaking, when I see music described in technical terms I generally take a deep breath before pressing play, expecting something impressive if not necessarily fun. Mercifully that is far from the case here; these are warm, wondrous tracks, ebbing and flowing with an ease that modern jazz often struggles with.
The album blurb describes Makaya's compositions as 'organic beat music' which is totally spot on. I can hear the influences of hip hop in amongst the jazz and it occurs to me that a lot my favourite jazz musicians of recent times are as inspired by other genres as by the one they choose to express themselves within.
I love that this is a co-release with XL Recordings too. The idea of an instrumental jazz record released on the same label as Adele would have sounded fanciful a decade ago and it's a testament to Makaya's talent and graft that it now seems totally natural. I love this record and I can't wait to see what he does next.
January 20th • Busta Rhymes - The Coming
When you think about your favourite artists, how many of their best albums are their debut? There's an alchemy in bottling the magic of a young artist bursting with ideas, arrogance, talent and naivety. It's not always the case of course, some artists are slow burners that need time to master their craft, but the energy of a debut is undeniable.
As I listened to this LP today I wondered if this is Busta's greatest record. Given the all-time classics that it counts within its 13 tracks this should be an easy call, but a glance at the many standout moments in Busta's career makes that a harder question than it might seem. To take just one aspect of his output, think about his guest verses; Scenario, Ante Up, Do It Now with Mos Def, the list goes on and on. I'd imagine rappers must covet and fear a Busta guest spot in equal measure. Sure, he's gonna make your track better, but will anyone remember your own verse? Unlikely.
Calling your debut The Coming is such a confident move and it sums up the moment in hip hop that this record dominates. No longer the plucky upstart, rap music was seeping into every area of popular culture and Busta was happy to place himself at the heart of it.
Hip Hop is a genre defined by highlights and with this album Busta has created a bonafide highlights reel; Woo Hah, Abandon Ship, Ill Vibe, Still Shining and my personal favourite Everything Remains Raw bear witness to a talent manifesting itself on the global stage.
On a personal level it takes me back to my late teens and early twenties. Loud clubs and even louder cars; thick smoke and ringing ears; those moments as a DJ when you know the crowd is ready to go. Busta's rasping drawl is the sound that defines those years more than most and even 20+ years later it's no less potent.
As the man says..'Til my dragon Baby, stop whinin', I see my influence still shinin' Rrrroaw! Rrrroaw! Rrrroaw!
January 21st • Jackson Conti - Sujinho
A sunny day in London had my thoughts turning to summery music and this 2008 record from Madlib and Azymuth drummer Ivan 'Mamao' Conti. I realised that this is the second Madlib record I've picked this year and a question my children often ask me presented itself: who is your favourite artist.
The only answer I have to this question is 'it depends'. The list of things it depends on is almost endless, including: time of day, time of year, my mood, who else is there, where I am (car/club/home), where I'm going, how tired I am, what I'm doing etc, etc, etc.
I'm not going to ask you for your favourite artist, but maybe I can ask another question: if you had to choose just one artist to listen to for the rest of your life, who would it be? By this reckoning, Madlib presents himself as a frontrunner, not just because I love his music, but because of the breadth and scale of what he has produced over the last 25 years.
Every shade of hip hop is catered for, from obtuse instrumentals to club bangers. There's soul, reggae, funk, jazz and on this record, Brasilian music. Now whilst this doesn't cover everything I love in music it caters for a lot more than most and along with Jay Dee he's probably the artist I've listened to most in the last couple of decades.
A little back story: Madlib went to Brasil in 2002 with the Mochilla crew and whilst there made sure he met with Ivan Conti, drummer of jazz-fusion titans Azymuth. A studio session in Rio resulted in the rhythm tracks that were the catalyst for this record, which effectively serves as Madlib's love-letter to the music of Brasil.
It's an ideal match as Madlib's impatient, angular hip hop style compliments Mamao's distinctive drum patterns perfectly. Breezy melodies drift in and out of focus and samba rhythms meld with blunted b-boy sensibilities to unique effect. This is all held together by Madlib's unquestionable reverence for the music. As with the High Jazz record I covered earlier this month, this is Otis Jackson the music fan getting to live out his dreams. For fans it's another thread in the musical tapestry that this most singular of artists is continuing to weave. Long may it continue.
Finally catching up on last week’s post, and I’m so glad to have circled back to ur article. Really enjoyed reading about the Busta, Deniece Williams, Makaya McCraven and Jackson Conti LPs. The Lord Kitchener comp u talked about is my discovery from this post, and considering how there’s many other volumes to the series there are means I have some homework to do.
Hi Aly. Thanks for making these posts available via this platform - I catch someone Instagram,but not all, and its great to re-read those anyway. I’ve been lucky enough to be in Australia since mid December and although its bloody lovely (even Melbourne has been kind with the weather in the week or more we’ve been here) it does feel a long way away from where things are happening. There’s stuff in Melbourne for sure, but Sydney feels a bit of cultural desert. Maybe I just needed to dig deeper. But I did meet a great guy - Nick of Aeroplane Records in Hobart, Tasmania. Tried to persuade him to get to We Out Here 23.
But whatever - your posts have been lovely little blasts of a musical community that I can’t really define but feel part of. And on the detail - re the Lord Kitchener LP, I was interested (and pleased)you commented on the ‘casual references’ to domestic violence. I had a similar thing with the Georgie Fame Box Set “the whole world’s shaking” a few years back - its full of terrific stuff but there’s some dreadful sexist /mysogistic stuff in the odd track as well which really jars. And thanks for the lovely celebration of the This Is Neicy LP. The number of times I’ve flicked over that in a store ! I won’t skip it next time.
Keep up the great work