In With the Old, Out With the New: An Eau Clairian’s Take on the Musical Year in Review

"From the desk of..."

Let’s face it folks. 2012 held, in its grasping and rough-hewn hands, many ups and  downs for most of us. The times are (perpetually) changing, but it seems like 2012 swung the scales to both extremes and back again numerous times both nationally and locally. Due to this exaggerated sway, this writer found himself falling back on some of his favorite albums for the times behind as well as the times ahead. They say an optimist looks to the young year ahead at the clang of midnight, while the pessimist is ready to sweep that old, bitter chrono-dust under the rug, but I think it’s important to remember the experiences that have made us who we are: the people who have come and gone, the places we have been and left behind, the words we have had etched on the backs of our eyelids or forgotten forever. It’s important, in these reflective times, to remind ourselves of a question family friend Steve Betchkal taught me: What are we but the history of our love? 

The music we love is perpetuated by the people we enjoy it with, the times we had while  cranking the volume dial to ten, and the emotions we experienced, both joyous and despairing, all along while trying to paddle our proverbial flippers through the choppy river confluences of our microcosmic lives. Sometimes, just like the old Chippewa and Eau Claire, the waters run high enough to threaten bridge abutments or low enough to cause it all to run dry. Subtly and suddenly, music becomes a constant in the background to even things out. With that, I give you some old standbys and new finds that have gotten me through it all, the end of the world and beyond. Keep yourself going on with these, my picks for 2012.

Etta James At Last

When Etta James passed on January 20th of this last year, I dove into her music to find out why she became so important to music history. Though the first part of her career was lackluster, she hit it big with the song and corresponding album she will forever be known for, the title track off this staple of soul and R&B music. Every song on this album, as with many quintessential works, deals with love and loss and the in-between. From impossible situations to the purest form of mutual endearment, from rocky tempestuousness to the serenity of feeling whole again, Ms. James’ growl is a constant, calming presence throughout. Every track is great for an early morning cup of coffee on the way to work, but deep-cut gems include “All I Could Do Was Cry,” a track about a love not acted on soon enough, and “Spoonful,” a reworking of Howlin’ Wolf’s classic about the effect love can have on us. I’ve appreciated this one while enduring below-freezing weekend mornings as a reprieve from window-scraping. 

Kalispell Westbound

I wrote an unpublished review of this album this past summer, so I thought I’d use this opportunity to turn you all out there in Radioland on to this one. Kalispell’s had a banner year—both locally and nationally—always doing it in their own way. I’ll let this excerpt from the article speak for itself: “One of the songs that stands out on the album is 'Lucky a Hundred Times.' It is a song that creates the perfect balance between feelings of sadness and optimism. The lonesome traveler and the hopeful searcher alike will appreciate the tale spun by the song, which follows a man who appreciates the life he has lead but who is also looking for a love-filled horizon. 'Staring down a cold street light/ Darling won’t you tell me when it’s in the right?/ Your goodbyes had me./ I’ve been lucky a hundred times.’ In this writer’s humble opinion, the lyrics speak to a howl etched by coyotes in the cold moonlight, the heavy rope burn of unrequited love, and the sun inching up over the horizon, painting the workingman’s fields an indescribable red-orange hue. 

It is this beauty, combined with Shane’s guitar picking and attention to genre-appropriate details, that makes Westbound perk the ears of old-time aficionados and pop-bent listeners alike.”

The Flaming Lips Yoshimi Battles the Pink Robots

The F-Lips have always been a staple in my musical collection, but the album that got me a (albeit late) start to the band was Yoshimi. A friend of mine played the album at a summer camp just before my senior year of high school, and my musical life has been changed ever since. I was able to return the favor when the album was repressed on vinyl fairly recently. Though not truly a concept album, it turned me on to the idea that an artist could sing about cartoon karate femme fatales versus robots, and them systematically dispatch the surreal at the same time with lyrics like “And instead of saying all of your goodbyes/Let them know you realize tat time moves fast/ It’s hard to make the good things last/You realize the sun doesn’t go down/It’s just an illusion caused by the world spinning ‘round.” This is a great listen for letting go of regrettable moments and moving forward. Also, it’s a blaster for the summer sun.

Amateur Love It’s All Aquatic

These guys were all the rage as I was growing up in EC. I remember the iconic synthesizer tee floating up and down the halls of Memorial High School almost as much as the school colors a few years back. It’s funny that they have since returned to the high schools for a new generation thanks to Chigliak Records. And, with the rumors that Josh Scott is getting his chops back, this would be the album to revisit. It’s also been great music as an energy boost for when the going gets tough. I think 2013 will see this album as a staple for learning new things. 

Wilco Sky Blue Sky

I wasn’t exactly a latecomer to this album, but something about the music appealed to me this year. I read an article on Jeff Tweedy that painted him as a regular guy with a lot of inner turmoil, and this album shows off the lyrical ability of Tweedy along with a throwback rock-western sound. A great number of songs deal with the reality of life and love and show off the guitar stylings of one Nels Kline, known for a raucously-controlled  guitar solo or two. Great for walks over one of the many snowy bridges we seem to be having this year. 

Wilson Pickett Wilson Pickett’s Greatest Hits

Last but most certainly not, in terms of the cosmic, planet-aligning R&B continuum, least comes this throwback giant-of-an-artist. I’ve been on Wilson Pickett ever since a friend of mine turned me on to The Commitments, an overseas soul band film starring a young, pre-Once Glen Hansard (whose 2012 album Rhythm and Repose is also worth checking out). Since then, I’ve grown accustomed to his sweet horn lines and sweeter background harmonies. “If You Need Me” (25-24 on the jukebox at the Joynt) is a great way to roll yourself back a few years while drinking a glass of your favorite beverage. It’s also a great way to keep your heart warm and yearning during the winter months.

Ray Charles and James Brown: The Voiceless Prowess of R&B's Greatest Voices

Leaving the microphone behind is not an issue
for these R&B and Soul legends.

James Brown and Ray Charles: definitively the two biggest names in R&B and Soul music history. Arguably, they are the majority molders of many popular genres of music today. Together and separate, the two musicians fought through countless hurdles during their heyday, both within the music industry and outside it, in order to accomplish something greater than themselves. Ray Charles struggled to have his music heard by a segregated South, eventually having his song, “Georgia On My Mind,” adopted as the Georgia state song in honor of his ability to overcome. James Brown opened up a televised set in a riot-torn Boston the day after Martin Luther King Jr.’s death in 1968, showing a divided population that it was possible to unite through music. These were great men, musicians, and, most importantly, movers in the U.S. and beyond.

These two individuals were known for many things, some good and some bad, but one of their united transcendental qualities is easily their respective vocal chops. Ray could be silky smooth, but he often pushed the envelope of his voice, giving it the grit that he’s known for on tracks such as “Night Time is the Right Time” and “Drown in My Own Tears.” J.B., on the other hand, had that grit from the start, evident in early tracks like “Please, Please, Please” and “Try Me.” His grittiness, however, matured to a point where he became known for his guttural, percussive sounds used to accent the prowess of his songwriting and backing band. 

It might be considered ironic, then, that I recently came across two record albums that remove these two songsters’ voices from the mix, allowing the instrumental talents of the groups  to shine through. On Atlantic Jazz Anthology:The Best of Ray Charles, the sounds of David “Fathead” Newman’s tenor and alto saxophone become more integral, shining through on leads on “Hard Times,” a reworking of the seminal Charles’ track, and others. Ray’s impeccably delicate piano playing is also a highlight of the album; he is even featured blowing a bluesy alto sax solo on “How Long Blues,” which also features vibraphonist great Milt Jackson. 

On Grits & Soul: The Instrumental Sounds of The James Brown Band, James Brown sidles up to Ray’s instrumental band sound, but he adds a decidedly James Brown feel. The organ is a key instrument used, which is different from the all-piano tracks found on the Ray Charles album. Grits & Soul also features more of the band itself, but Brown definitely throws in a tasty lick or two when he is playing the keyboards. This particular album is also interesting because it provided Brown a way to record outside of the label he resided on at the time. According to this source, his contract had a vocal stipulation on him, and he was able to circumvent legalities by removing his voice from the music entirely.

No matter why these albums were made, they are treasures that take both of these great, game-changing musicians out of their popular element. Crossing genres is a tricky thing, especially in the twentieth and twenty-first century, and this proves that both James Brown and Ray Charles will not only stand the test of time as innovators, but that they have shown that they are all-around experts in their craft of music-making. They not only created music for themselves and others, but were both able to lead their bands and the world closer to greatness. 

Chicago's Record Store Gems: Funk, Jazz, and Soul Searching in the Windy City

Chicago may be known for its breezy demeanor, deep dish ‘za, and its distinctive version of the blues, but what many people don’t know is that it’s a great place to find vinyl records. As far as my research goes, though it’s hardly definitive, there are quality record stores numbering into the double digits. In 2010, in fact, three of Chicago’s stores made Rolling Stone’s list of top record stores in the country. I checked out one of the stores that made the list, as well as a jazz specialty store, during a recent visit. 

The first stop was Jazz Record Mart, located in downtown Chicago, just off of Michigan Avenue. Downtown has some great architectural accoutrement, but it can be hard to have a small business downtown that stands out. Jazz Record Mart has overcome this hurdle by displaying oversized covers of classic jazz albums as well as some newer up-and-comers in the genre. Entering the store, I got the distinct feeling of the grittiness of an old record store—the overstock shelves loaded with records was reminiscent of older, over-the-counter type stores—and the huge selection of records pressed prior to World War Two was unique and impressive. 

Jazz Records draws you in with ample poster bling.

"As an English teacher, I was impressed that both Jazz Record Mart and Dusty Groove prominently displayed literature about the music they sold. This is a hearty plus for anyone wanting to learn more about the respective genres."


There was a great selection of reissued jazz, and the used albums they had were not your normal fare and very reasonably priced. I found an early album of Chicago native Gil Scott Heron, and was happily delighted in my interaction with the staff member at the desk. When I asked about a certain Jimmy Smith album on LP, he told me he hadn’t seen it but engaged me in a conversation about The Beastie Boys sampling of the album and Gil Scott Heron’s poetry. I wandered out into a downpour, thankful to have visited and that the only records I purchased were still in the shrink.

The next day, I sought out Dusty Groove America, a store known for its rare funk cuts and soul collection. I wasn’t planning on making another trip into the city, but this writer has a soft spot for anything that has a great 60’s and 70’s era, as the kids these days put it, “drop.” This store didn’t disappoint in delivering a great selection of records, though it was definitely a more new-school record shop. Dusty Groove does a lot of business online, but they didn’t sacrifice anything in-store. There was a clean, mainstreamed ambience that would appeal to many different types of people, but this isn’t a crate-digging place. Prices are at a premium, but they had some interesting compilations of world music (Bossa Nova, Indian-Psych-Funk, Afrobeat, to name a few), and a number of James Brown deep cuts. I didn’t have much of a chance to talk to the staff, but they seemed friendly enough. 

Dusty Groove is spacious and well-organized: easy
for an in-and-out visit when you know what you want.

One thing to note about Dusty Groove is that I noticed an interesting collection of music-related books, and I found my favorite record publication, Wax Poetics, there. As an English teacher, I was impressed that both Jazz Record Mart and Dusty Groove prominently displayed literature about the music they sold. This is a hearty plus for anyone wanting to learn more about the respective genres. 

Though there are many more stores that I have yet to check out, I would be willing to make a bet that the Windy City could easily make a run for the Midwest record capital title alongside its numerous NBA Championships, award-winning food, and record-setting skyscrapers. Based on these two stores alone, I’d give a high recommendation to looking for your favorite music on vinyl record in this city, a mecca flush with musical goodness. 

The Man, the Myth, the Organ: "Respect" by Jimmy Smith

Historically, jazz musicians have always been regarded at the top of the list when it comes to having “cool factor.” Jimmy Smith was arguably located in the coolest category of jazz musicians: jazz organists. From Wild Bill Davis to Joey DeFrancesco, jazz organists’ fingers have always flown across the key bed with an effortlessness that seems to mystify even the most casual music listener. 

Jimmy was not only in the coolest category of jazz musicians; he was the coolest. From his laid-back demeanor to his nonchalant virtuosity, he was the go-to man for hipness when it came to finding the right balance between funk and jazz sensibilities. And, he was dedicated. Rumor has it that, when he decided to switch from piano to organ in the 1950’s, Jimmy locked himself away in a warehouse with a hammond organ in order to learn to play bass parts with his feet. 

If you haven’t seen a jazz organist play live before, it is a syncopated dance in which the player, for all purposes, is a one-man band. A traditional jazz organ trio might include only a guitar, drums, and organ, which oftentimes leaves the organ player to fill out the lead, bass, and comping parts. Though the album “Respect” also includes Ron Carter on bass, it features Jimmy Smith as the powerhouse groove-making machine that he was, powerhouse enough to many years later be sampled by the Beastie Boys. 

“Respect” is a highly-recommended album of reworked soul tunes from the Sixties including the title-track, the ubiquitous Otis Redding-turned-Aretha-Franklin mega hit of the era. Strangely enough, this track isn’t the highlight of the album. Its tight-fitting form doesn’t lend itself well to Jimmy’s band’s “jam-it-out” mentality, but an interpretation of Wilson Pickett’s “Funky Broadway” and a b-side blues called “T-Bone Steak” allow the band the time they need to find the groove and explore that true Jimmy Smith sound that has spanned nearly five decades. If you’re looking for instrumental interpretations that still carry the weight of 60’s soul stand outs, look no further than Jimmy Smith’s “Respect.” If you’re looking to hear one of the best keyboard players to ever hit that high jazz prodigy stage, look no further than Jimmy Smith. Plus, who doesn’t like a man doing karate poses in front of a B3 organ?