The song’s got a shakuhachi flute and an organ with what sounds a lot like a Leslie cabinet. DAYSF has wanked on about psycho-acoustics before, and while the appeal may be gimmicky these two instruments sound really good and even better together.
Sado Okesa features on Ace/Kent’s Nippon Guitars (WIKD297) compo along with highlights of Tekashi Terauchi’s career and excellent liner notes on the man and the whole Eleki genre. There are interesting parallels to be made with Rautalanka, and DAYSF might get around to it someday.
Downer Soul always goes down a treat here at DAYSF headquarters. And that’s hardly surprising, really. Just like an electric current flows between points that have a difference in electric potential, Soul moves from those who have it to those who don’t.
Today we celebrate the unjustly neglected Little Ann. NPR has a nice article on this very track, with Soulful Detroit filling in the gaps once again. Deep Shadows is available on the posthumous album of the same name released on Timmion Records (TRLP-004), home of the Soul Investigators.
My Time appears on the excellent Minimal Wave Tapes vol. 1 compo from Stones Throw (STH2223).
When I started DAYSF lo! these many months ago, I made a commitment to post every Monday, Wednesday and Friday. What was implicit was that I was committing to this schedule for this year 2012 with an option to re-up for 2013.
Well, the year is winding down. There’s not even three full months left and it seems to me I’ve covered most of the bases I wanted to cover in the first place. There’s one theme though I haven’t written as much about as I planned to. Here it is, concisely summarised:
Appreciating music isn’t a competitive sport.
It sounds obvious, it’s rational, it’s pragmatic. It even feels right, for what it’s worth. And yet, if all you ever read was this blog and the million others like it, you’d never know it.
In a perverse, egotistic way digging music is cool because you get to like things only a very few do. It shouldn’t matter. Quality should be the only thing that matters. And still, one of the ground rules around here is that a YouTube video has to have fewer than 25,000 views to be a candidate for a blog post.
Let’s consider the talented Miss Foxx. She recorded a handful LPs and a number of Soul singles on her own and with brother Charlie, most notably for Stax/Volt. Crossing Over the Bridge features on the 1973 album Inez Foxx at Memphis alongside Let Me Down Easy. At this time, the former has ~5,300 views and the latter ~157,000. Both are equally gorgeous slabs of Soul and are actually pretty similar. And yet, somehow being popular makes one song less worthy. There’s a lot to unpack there.
Hipster Mojo is bad mojo.