Queen of Soul Aretha Franklin passes musical scepter and crown to Candi Staton

Aretha Franklin (1942–2018)

On this day in which we mourn the passing of the Queen of Soul, Aretha Franklin, it seems fitting to acknowledge a similarly renown 78-year-old soul singer from the tiny north Alabama town of Hanceville whose new album will be released soon.

Aretha Franklin at FAME Recording Studios, in Muscle Shoals, AL. Her first Number One hit “I Never Loved a Man (The Way I Love You)” was written for her by her friend Ronnie Shannon, produced by Jerry Wexler, and released in 1967 – was recorded at FAME Studios with the guidance and direction of Rick Hall. It almost didn’t get cut (and was the only song recorded at that session) because of tensions between her then-husband Ted White and a member of the Muscle Shoals Horn Section, and Jerry Wexler and FAME owner Rick Hall.

The two artists share numerous similarities, and could – for all practical purposes – be considered musical sisters by virtue of their musical upbringings. The producers, musicians, engineers and others – including their families – in whose orbit they traveled, are similar, if not identical, as are their life stories.

The other to whom I refer is Candi Staton.

Linked below, NPR previews the album (linked on the page) which will be released August 24, and supplies a brief story about her 30th album which is entitled “Unstoppable.”

“Unstoppable” is Candi Staton’s 30th album.

That woman, of course, is the unstoppable Candi Staton, whose previous album “Life Happens” released in 2014, was also the very last one her early mentor Rick Hall of FAME Recording Studios in Muscle Shoals – who guided her career change from gospel to soul, including that of Aretha Franklin with her first Number 1 R&B hit “I Never Loved a Man (The Way I Love You)” – produced before he died of prostate cancer on the second day of this new year aged 85. On that album, she collaborated with other Alabamians of musical renown, including Jason Isbell, and

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Walk Into The Desert

Fans of Maria Muldaur recall the song “Midnight at the Oasis” and its incongruous line about

Green Pastures

As I awakened this morning, in my mind, I was hearing the refrains of this gentle song… “Going up home to live in green pastures, Where we shall live and die nevermore. Even the Lord will Be in that number when we shall reach that Heavenly Shore.”

Troubles and trials
Often betray us
Tempting the wearing
Body to stray
But we shall all meet
‘Side the still waters
With the Good Shepherd
Leading the way

Those who have strayed were
Sought by the Master
He who once gave His
Life for the sheep
Out on the mountain
Now He is searching
Bringing them in
Forever to keep

Going up home to
Live in green pastures
Where we shall live and
Die nevermore
Even the Lord will
Be in that number
When we shall reach that
Heavenly Shore

We will not heed the

Give Me One Reason

In a November 18, 2015 interview with Tavis Smiley, singer-songwriter Tracy Chapman talked about her forthcoming “Greatest Hits” album and the remastering of her songs for it, and said in part about that process that, “Often turning the volume up means compression. And when you compress things, it’s great in a way because it’s louder, but it also takes the dynamics out. So we were really careful because, when you start to do that too much, you lose all of those little low and high moments, and a lot of those things matter in the sparse arrangements that, you know, are represented on some of these songs.” 

In audio recording, the term “compression” means that

“Gotta’ Travel On” Was Early Cross Over Hit

The song “Gotta’ Travel On,” written by by Billy Wayne Grammer (August 28, 1925 – August 10, 2011), is perhaps among the most renown songs in modern recorded history, and for good reason. It was one of the very first songs to have ever had broad “crossover” appeal.

The song’s melody is a traditional one, and the lyrics are thought to be based on a fragment of an unnamed song found in the archives of the Virginia Folklore Society entitled “Done Laid Around,” though there are versions of the song with the same title which typically use a different set of stanzas.

February 22, 1958, Pete Seeger became the first musician to have recorded it and the lyrics with which most are now familiar – which were written by Paul Clayton, David Lazar, Larry Ehrlich, Fred Hellerman, Pete Seeger, and Lee Hays. The BMI Award Winning Song is BMI Work #503008 in the repertoire, and is 100% controlled by BMI.

Pete Seeger performs “Gotta Travel On”

It was only very shortly thereafter, in 1959, when Billy Wayne Grammer recorded and released that song, that it charted on the Country (ranking 5th), Pop (ranking 4th) AND R&B (ranking 14th) music charts! That was no small feat! While not the very first such crossover song,”Gotta’ Travel On” was certainly one of the first. And in the years since, many songs have increased popularity among wider audiences by artists whose interpretations have brought nuance, and even complete change to a song.

Of the numerous musicians have since lent their interpretations to, and re-recorded “Gotta’ Travel On,” which include musical luminaries such as

Playing Piano With Grandmother In The Rain

As a child and youth – even later in life – when visiting my maternal grandmother, I would often play her baby grand piano.

As a child, when a summer thunderstorm would approach, she would tell me to stop playing, because, as she said, lightning would strike the piano because of the metal wires in it. She falsely supposed it to be an attractive force of some type.

Of course, at the time, I thought such an idea to be preposterously absurd… and still do. And in retrospect, I saw my obedience, then rebellion, and later obsequiousness, more as a reflection of my love to, and respect for her.

Naturally, as a youth, I attempted to reason with her by asking her if she’d ever heard of, or knew anyone who’d ever had their piano struck by lightning while being played during a thunderstorm, and she said

Beans So Bad Even My Dog Won’t Eat ‘Em

Dogs’ll eat anything.

Well, almost anything.

Yeah, they were are that bad!

You know beans’ve gotta’ be REALLY bad when even a 4-day hungry dawg won’t eat ’em!

Or, any food.

You KNOW food is genuinely bad when even a hungry dog won’t eat it!

It’s summertime, and truth be told, folks and critters don’t do much eating.

‘Cept for bears. Bears chow down during summer. They eat up, meat up, and sleep it all off over winter.

But this was the case with

Divining Jesus’ Humanity: Was He fully human? What does that mean?

So one of these nights and about twelve o’clock
This old world’s going to reel and rock
Saints will tremble and cry for pain
For the Lord’s gonna come in His heavenly airplane

If God had a name, what would it be?
And would you call it to His face,
If you were faced with Him in all His glory?
What would you ask if you had just one question?

You’re probably not like me.
You’ve probably never given a second thought to the holiness of the Almighty.
You’ve probably never struggled with Jesus Christ’s humanity.
You’ve probably never given a second thought to the fact that His shit stunk just like yours.
You’ve probably never given a moments thought to the fact that He pooped His diapers like your kids.
You’ve probably never imagined that, like every normal

Medical News You Can Use: “Musician’s Friend” Edition – Wind Instruments Lower Sleep Apnea

Playing A Wind Instrument Could Help Lower The Risk Of Sleep Apnea

A study performed in India suggests wind instrument musicians are at lower risk for Sleep Apnea. Seen here, a B-flat trumpet.

A new study has found that wind instrument players have a reduced risk of developing obstructive sleep apnea. The findings, presented at the Sleep and Breathing Conference held in April in Barcelona, Spain suggest that this could be considered beneficial to those individuals who are at high risk of developing sleep apnea.

Researchers in India conducted lung function testing in

Duck Dynasty’s Phil Robertson visits Alabama and advocates teen brides

In a town infamous for it’s bigoted, inglorious racist history, and “dry” Oktoberfest, comes this not-so-unusual item.

The north-central Alabama town of

Sweet Soul Music Alive & Well in Muscle Shoals, Alabama

‘Paperboy’ hot off the press

By Robert Palmer Staff Writer | Posted: Sunday, August 4, 2013 11:00 pm

MUSCLE SHOALS — Eli “Paperboy” Reed isn’t 30 years old yet, but the singer and guitarist is steeped in southern soul as well as rhythm and blues in a way one would expect from a much older person.

Reed was at FAME Recording Studios last week, recording two tracks, one of which is slated to be on the soundtrack CD of the movie “Muscle Shoals.” He chose Jimmy Hughes’ classic “Steal Away,” one of FAME’s earliest hits, for the soundtrack.

Eli “Paperboy” Reed, left, sings along to a track Wednesday during a recording session at FAME Recording Studios. Reed, who is highly influenced by the Muscle Shoals music scene, recorded two songs at the studio. Photo by Allison Carter/TimesDaily

Wednesday afternoon, he was working with a horn section on a rousing version of the Violinaires’ 1960s gospel song “I Don’t Know What the World Is Coming To.” He said the song could be included as a bonus track on an upcoming CD.

For Reed, a student of soul, R&B, blues and gospel, the visit to FAME and Muscle Shoals was a dream come true.

“ ‘Steal Away’ has become my song” in live performance, he said of the 1964 hit that launched FAME Records. “I’d read Peter Guralnick’s ‘Sweet Soul Music,’ and I knew that was from FAME and Muscle Shoals.”

Reed grew up listening to his father’s record collection and playing harmonica to his guitar tunes.

“I discovered Muscle Shoals when I got into rhythm and blues and reading liner notes on record jackets,” he said.

As a teenager, he said, he

Pussy Riot: Now that Putin’s in charge again, the gulags aren’t all that bad!

People everywhere cry for freedom.

Oppression of political speech?

Or something else?

Putin asked the courts to go easy on them.

And yet, cries of ‘six more years’ was not heard after the verdict was rendered.

Either way, Putin‘s gotta’ go.

Reckon Aleksandr Solzhenitsyn is turning over in his grave?

—

Russia: Pussy Riot and the investor

August 17, 2012 5:28 pm by Stefan Wagstyl

Members of the all-girl punk rock band Pussy Riot have been recently convicted in Russian court of “hooliganism,” for performing an impromptu song in a Russian Orthodox Church which was critical of Russian President Vladimir Putin.

On the face of it, there would appear to be little reason why foreign investors should worry much about Russia’s Pussy Riot court case.

So what if three young female punks have been jailed for two years, as they were on Friday, for hooliganism after a noisy performance in Moscow’s Christ the Saviour Cathedral? After all, there are many western countries where such a provocative public display would also result in prosecution.

But that is to misunderstand Russia. In fact, the case should give even the most hard-headed international business people pause for thought.

First,  it’s a reminder – not that we need one – of the heavy-handed arbitrariness of the Russian courts. The three women could have been

More music dies…

Change is inevitable.

Will things change for the better?

—

Doug Dillard, Bluegrass Banjo Virtuoso, Dies at 75

Doug Dillard, left, with Gene Clark, one of the founders of the Byrds. The men formed their own duo, Dillard and Clark. (A&M Records)

By PETER KEEPNEWS
Published: May 27, 2012

Doug Dillard, a banjo virtuoso who began the 1960s by helping to introduce a generation of listeners to bluegrass and ended the decade as an early advocate of country-rock, died on May 16 in Nashville. He was 75.

The cause was a lung infection, said Lynne Robin Green, the president of LWBH Music Publishers, which publishes his music.

Mr. Dillard rose to fame with the Dillards, a bluegrass band that also included his younger brother, Rodney, on guitar; Dean Webb on mandolin; and Mitch Jayne on bass. The Dillards’ instrumentation was traditional (except for the absence of a fiddle player) and so was much of their repertory, but they occasionally played electrified instruments and sometimes used a drummer. This approach alienated some purists, but it also helped interest young listeners in a style that the country-music establishment had come to consider passé.

Mr. Dillard’s skillful banjo work, which has been cited as

Legendary Finger Picker Guitarist “Doc” Watson dead at 89

“Doc” Watson was proof that no matter the difficulties, trials or tribulations that life throws your way, if you put your heart and soul to whatever your hand finds to do, you can excel.

May his memory be blessed.

—

Doc Watson, Blind Guitar Wizard Who Influenced Generations, Dies at 89

May 29, 2012
By WILLIAM GRIMES

Doc Watson, the guitarist and folk singer whose flat-picking style elevated the acoustic guitar to solo status in bluegrass and country music, and whose interpretations of traditional American music profoundly influenced generations of folk and rock guitarists, died on Tuesday in Winston-Salem, N.C. He was 89.

Doc Watson performing in New York in 2005. (Jack Vartoogian/FrontRowPhotos)

Mr. Watson, who had been blind since he was a baby, died in a hospital after recently undergoing abdominal surgery, The Associated Press quoted a hospital spokesman as saying. On Thursday his daughter, Nancy Ellen Watson, said he had been hospitalized after falling at his home in Deep Gap, N.C., adding that he did not break any bones but was very ill.

Mr. Watson, who came to national attention during the folk music revival of the early 1960s, injected a note of authenticity into a movement awash in protest songs and bland renditions of traditional tunes. In a sweetly resonant, slightly husky baritone, he sang old hymns, ballads and country blues he had learned growing up in the northwestern corner of North Carolina, which has produced fiddlers, banjo pickers and folk singers for generations.

His mountain music came as a

Satchmo! New vinyl of previously unreleased recordings to be pressed & sold.

Fans everywhere of the “Ambassador of Goodwill” should rejoice!

Now, years after his death, his performance at the National Press Club will be released, AND on vinyl!

But… there’s a caveat.

It’s limited.

VERY limited.

How limited?

Only 300 pressings will be made.

But, if you’re into digital, you won’t be left out.

It’ll be available on CD & iTunes.

—

Louis Armstrong’s memorable National Press Club performance to be rereleased

By Matt Schudel, Tuesday, April 24, 7:53 PM

Beginning in the 1920s, Louis Armstrong was the undisputed fountainhead of American jazz. With his bright, clear trumpet and his ebullient, gravelly voice, he more or less defined how jazz is meant to be played and sung.

Everything he did is of interest to musicians and scholars, and few American lives have been better documented. But until this week, little was known about a performance he recorded in Washington five months before he died in 1971.

On Friday, at a news conference at the site of Armstrong’s original recording at the National Press Club, the music he

Alabama: I love my state, and despise her corrupt officials.

This entry starts out in a wee bit different tenor, then points directly at the problem.

Read on to see what I mean.

Not many folks may recall Alabama‘s state song, which lyric reads, “Alabama, Alabama, I will aye be true to thee. From thy Southern shore where groweth, by the sea the orange tree.”

As a kid, I kinda’ thought it was

Why don’t we do it in the road? Beatles’ photo site now historically protected

2 December 2010 Last updated at 13:09 ET

Beatles‘ Abbey Road zebra crossing given listed status

The crossing is described as a Mecca for Beatles fans

http://www.bbc.co.uk/news/uk-england-london-12059385

Related stories

• Abbey Road studios ‘not for sale’
• Lloyd Webber considers Abbey bid
• National Trust may buy Abbey Road

The Abbey Road zebra crossing in north London – made famous after appearing on a Beatles album cover – has been given Grade II listed status.

The crossing – the first of its kind to be listed – is being recognised for its “cultural and historical importance” following advice from English Heritage.

The Beatles were photographed on Abbey Road in Ian Macmillan‘s iconic cover shot for the 1969 album Abbey Road.

Steve Earle, Steve Earle, please write a song for me.

Steve Earle
CCKMP

Cocaine cannot kill my pain
Like a freight train through my vein
Cocaine cannot kill my pain

Whiskey got no hold on me
Left them chains in

Who are You?

The Eastern Shore of Lake Tahoe, also known as Galilee Image via Wikipedia

 

Some years ago, a good friend of mine had encouraged me to begin a blog.

“Why do I want or need a blog?,” I asked him.

“You write very well, and a blog would seem to be a natural outlet for your thoughts,” he said.

Never being one whom chronicled or maintained a “dear diary” in my youth, I was quite amazed to hear his words. I had, however, been periodically sharing thoughts with my kindred and friends via e-mail. Alan was kind enough to host my writing for quite some time, gently guiding me through the technical process.

As things go – at least according to the Law of Entropy – things tend toward deterioration, decay and chaos. In other words, they move from order to disorder. And in time, because of the age of his servers, the bulk of traffic and the increasing complexity of software, he began migrating his servers to another resource, at which point he also began encouraging me to move my blog, which I have, and which you are now reading.

I had purposed to republish my original writings – and inspired by a recent status update posting I’d made to FaceBook – piqued my desire to republish this one post immediately.

Some background: I was in Lake Tahoe, NV at the time of the writing, staying with an extended family member, having traveled West in response to a spiritual urging I sensed. The events surrounding the same are another story in themselves, which I shall reserve.

Without further ado, I give you…

“So Into You,” by Atlanta Rhythm Section

From the Summer of ’77, the “Boys of Doraville” brought us this easy-going Southern Rock genre tune that made it to the Top Ten, and which catapulted the band to fame.