Friday Fun: Happy National Fragrance Week!

Friday Fun:

Happy National Fragrance Week!

 

Observed the first full week of June, this celebration puts the emphasis on those scents we can't live without.

And for moi and many others?

We are talking man scents.

Yes - aromatherapy can equal bromo-therapy .

Oh, the natural funk of a man can be more intoxicating than the best poppers.

A whiff of a pit. A bit of fresh natural sweat. The odors that drift from a recently worn jock.

All can send me to the very heights of rapturous wonder. 

For others it may be a sock, or a shoe, or a feast of the feet.

Whatever floats your odiferous boat, my dears...

Go ahead, get your freak on! 

Celebrate it today, and every day.

To each their own self be true.

In life, such pleasures are but few.

And with that thought I bid you adieu.

- uptonking from Wonderland Burlesque

Mine Smell Like Honey - REM

Smells Like Funk - The Black Eyed Peas

Who Did It Better? Always There

Who Did It Better?

Always There

Sometimes a song simply resonates with musicians, leading it to be covered repeatedly. For today's Who Did It Better?, we examine the history of a song which had been around a long time and covered many times, but didn't find its way on the charts until it found its way into the clubs.

Always There is a song written in 1975 by Ronnie Laws and William Jeffrey.

It first appeared on Laws' album, Pressure Sensitive, as an instrumental. It was released as a single on Blue Note Records and it hit #45 in the US on Billboard's R&B chart.

And that could have very well been the end of the story for the song...

However, in 1976, the song found new life when producer Wayne Henderson of The Crusaders enlisted lyricist Paul B. Allen III to add lyrics to the tune. This version of the song was recorded that same year by the R&B group Side Effect. It would appear on  their third album, What You Need. It became a modest hit for the group and their first charting single. It managed to snag the #56 spot on Billboard's R&B chart and #20 on the Dance chart.

Dance artist Paul Hardcastle, known for his international hit '19', would record it as part of his1989 album, Sound Syndicate. 

That same year, vocalist Charvoni would release it as a dance single as part of the compilation album Black Havana. Her version would reach #78 in the UK. 

On June 17, 1991, the song was released by the British acid jazz band Incognito, featuring vocalist Jocelyn Brown. It proved to be Incognito's big breakthrough hit, although Brown had been on the scene and charting since the 1970's. Released as the second single from their album, Life, their version became a world wide hit, reaching #2 in Luxembourg and the Netherlands, #6 on the UK Singles chart and #1 on the UK Dance chart, #8 in Belgium and Switzerland,  #19 in Sweden, #20 in Germany, #25 in Ireland, #31 on Billboard's US Dance Club Songs and #48 in France.

But that was not the end for Incognito's version of the song. For it would re-chart for the group five years later, in 1996, as part of a remix album, snagging the #29 spot in the UK, while going to #1 on the UK's Club chart. In addition it managed to go to #31 on the US Dance Club Play chart and #34 in Scotland.

And that's the whole story.

Now? On to the competition!

The Song: Always There

The Competitors: Law vs. Side Effect vs. Hardcastle vs. Charvoni vs. Incognito feat. Joceyln Brown

Always There - Ronnie Laws

Always There - Side Effect

Always There - Paul Hardcastle

Always There - CharVoni

Always There - Incognito feat. Jocelyn Brown

Ronnie Law

Spacey intro. I'm getting a very Stevie Wonder Superstition vibe. Very funky and lively. 

Oh, this is an instrumental. The original version of the song, before William Jeffrey got a hold of it. 

That spring effect - a synth? It's fun. Might wear out its welcome. I like the mix. The sax is great, too. I suppose it would be easy to dismiss as it sounds like a generic soundtrack cut. But it is cooking just right. 

Laws plays the saxophone like a trumpet. 

Ah, the breakdown at the 3:03 mark... actually quite welcome. That's a sweet break. 

And then we rev up again, all too soon, basically starting over from the beginning.

This is as funky as can be and well done, but a bit generic to my ears. I like the overall groove, but there's not enough variation to keep me engaged. 

Side Effect

Their groove is not as deep as Law's. There's a richness to the mix missing from note one. Like that vocalist. She's got a lived-in voice. Wow, she has a big sound. Listen to her stretch out on verse two. The chorus was sweet, too. Like the backing vocals, very Pip-like. 

A tiny breakdown breaks things up. I have to say the lyrics are a welcome addition. But that's me - I'm singer/songwriter oriented, so it's rare that an instrumental is going to have me bringing the love. 

The vocalist is Helen Lowe (now known as gospel singer Helen Baylor). And her gospel roots are showing throughout. It's a bit unfocused - she does a lot of fill work, but its a great sound. I simply don't think the song offers her enough to do, which is why she's getting busy on her own, filling up all the space. I wish she'd trusted the groove a bit more and worked with it. 

This must have been fun to dance to in the clubs. 

Another breakdown. Nice guttural stuff from Lowe, though I must admit I was pretty much done with this song at the 2:50 mark. 

Oh, my... but I'm glad I didn't go home. When she springs back into the rev up, she really starts to bring the vocal fireworks. Some fun stuff as she plays with the back beat follows. 

A third breakdown? I must say, they are taking this all the way to the five minute mark. I don't know that it's warranted. But, while this is funk, it's still for the disco market, and those cuts tended to go long. 

The horn charts are spot on. And you have to hand it to Lowe, she keeps on burning. I love the back up vocals and the mix is good. It's very Gladys Knight and The Pips, but dirtied up and it actually does fill out and warm up, so... this is the one to beat. 

Paul Hardcastle

Hardcastle wisely cuts this down to just under three and half minutes. This is an instrumental and as such it's rather slight. He fails to recreate the deep warmth of the funk of the original and this ends up sounding like what it is... a cover. 

That drum machine is the problem. It has all the personality of a No. 2 pencil. And those supposed 'horns' are so light, their stabs fail to impale. This is nice, clean, pleasant elevator music. 

The drum machine is mixed too high and kind of dominates things, which is too bad, as it is the least interesting thing going on. 

This is like the television theme song version of this song. 

There are some pretty synth sounds in there. While the 'horns' fail to stab, that counter synth is sweet. 

And I'm wondering why he bothered with having a breakdown, but then that somewhat acoustic piano comes in and it is welcome relief. And then we have a bit of jungle-inspired fun before jumping back into the main sax theme. Interesting switch up from the sax to... what is that supposed to be? A soprano sax? An oboe? 

Well, he's managing to fill this out with a variety of takes. Unfortunately, all the faux instrumentation comes off a bit sterile, leaving me cold. 

And he wisely starts the fade at the 3;13 mark.

The best thing I can say about this is that I listened to it. 

Charvoni 

Cowbell disco intro. Very thin sounding. 

The vocals rule this. Charvoni sounds amazing. Those are some fully realized vocals. It's a cleaner sound, too, as she is the first to truly establish the hooks in this song. 

The rhythm track is problematic and that tick tick quickly wears out it's welcome. 

Deep mix, this is not. 

The backing vocals are great, too... though they compete just a bit too much at times. 

I have to say, the undoing of this one is that rhythm track - mixed too high and threatening Charvoni, who refuses to concede. She is an incredible vocalist. She'd give Chaka a run for her money.

The scat piano is fun, but messed up by that stupid rhythm track. Just kill that noise. 

The piano goes on for a bit too long with nothing much to say. Sometimes less is more. 

Solid backing vocals, solid lead. 

Well... this worked on one level. I miss the funk, though.

Incognito feat. Jocelyn Brown

Also stripped down to 3:25. Great, warm, spacey intro. 

Great horn chart.

Brown sounds great and in focus. I would have given her a bit more reverb to round out the edges a bit, but there's no arguing with her vocal attack. The horns are tight and super supportive. This is a clean mix, with everything - so far - properly focused. 

That slight keyboard riff is the super secret key to the success of this arrangement. How fun. Even the rhythm track feels right on. 

Those backing vocals! On fire. 

This is very C+C Music Factory, but funky enough all on its own. 

At the 1:40 mark, we get a bit of keyboard fill - nice and warm, followed by a bit of swirling via a synth pad, before breaking into a really decent instrumental slice. The horns and keyboard play nicely off one another before we slide back into the vocals and start the whole song over again - which I don't mind at all, because it's so solid it's deserving.

Great arrangement in league with a vocalist who brings the funk. 

The Verdict

No question here. Incognito feat. Jocelyn Brown takes it. 

Rarely does a guest vocalist and arrangement sync up so finally - and when it does - boom - you got yourself a bona fide hit.  

You have to give props to Side Effect, though. As unfocused as their version is, it's truly lively. Also, props to the original architect, Ronnie Laws. Without Laws' deeply funky groove, a sound no one else comes even close to, we would not have Incognito's version.

Paul Hardcastle? Television theme song fodder.

Charvoni? The vocals are very much there, but the arrangement fails on so many levels. It sounds cheap and Charvoni deserved better.

Incognito's arrangement is tight and fun, supplemented with incredibly powerful, solid vocals. They find the hooks, clean 'em up and serve 'em up hot and tasty. They would have me heading to the dancefloor every time. 

So, for me - and I love dance music - it's Incognito feat. Jocelyn Brown all the way! 

--- ---

And that's enough of me.

Your turn: you know what to do! Leave your choice and thoughts in the comments section. I love to hear a differing opinion. 

That's all for now.

Until next time...

Thanks for reading... and listening!

Always There - Incognito feat. Jocelyn Brown

Wonderland Burlesque's The 12 Days Before Xmas: Day Three / Santa Claus Go Straight To The Ghetto - James Brown

Wonderland Burlesque's 

The 12 Days Before Xmas: Day Three

Santa Claus Go Straight To The Ghetto - James Brown

Why be in a funk when you can have some funk?

And the answer cat for that? 

The man with the solution to rid you of your emotional pollution?

That would be James Brown.

Santa Claus Go Straight To The Ghetto is a song written by Alfred Ellis, Charles Bobbit, and Hank Ballard. Recorded by James Brown for his 22nd album, it first appeared on 1968's A Soulful Christmas on King's Records.

Note: The title was lifted by Snoop Dogg for a holiday number he and his crew released in 1996, but has nothing to do with the original.

Nope. This one? This is pure James Brown!

Santa Claus Go Straight To The Ghetto - James Brown

Who Did It Better? Never Can Say Goodbye - Part I

Who Did It Better? 

Never Can Say Goodbye - Part I

Today, we begin a series of three posts So... this marks 101 songs we've examined as part of the Who Did It Better? series. You know, when I began this series I thought I would be lucky to find 35 or so songs to give a listen to. Well, not only have we made it past #100 - I have an additional 75 songs on a waiting list, a list I am sure will continue to grow.

Here's how it will work: we'll be examining three at a time. The number of votes a version receives in the comments section, plus mine, will determine if it makes it into the final round. The fourth post in the series will feature the three finalists going head to head. Yes, a bit of a trek, but it should make for a very interesting contest.

This song is evergreen, as in, to this day, artists continue to discover and cover it, each bringing something unique to the mix. And did you know that it was originally written for and intended for one group of artists, only to be given to another? 

Well, you do now!

Never Can Say Goodbye is a song written by actor Clifton Davis. Davis starred in the television sitcoms That's My Mama and Amen. In addition to his many television, Broadway and movie credits, he was a songwriter, responsible for Lookin' Through The Windows and Love Song (The Jackson 5), Can We Fall In Love Again (The Supremes) and the perennial favorite Never Can Say Goodbye.

Never Can Say Goodbye was originally slated to be recorded by The Supremes in 1971, the year after Diana Ross had officially left the group - and a recording with Jean Terrell on lead vocals was, indeed, made. That version was shelved, finally seeing the light of day in 2002 as part of a retrospective release of The Supremes' 1970's post-Diana Ross recordings.

Turns out the powers that be at Motown thought the song was a better fit for The Jackson 5. Included on their 1971 album, Maybe Tomorrow, it features a 12 year-old Michael Jackson on lead. Released as a single, the song would peak at #2, remaining there for three weeks in May of 1971, kept from the top spot by Three Dog Night's Joy To The World. Their version did go #1 on the US R&B chart, while also snagging the #33 slot in the UK.

That same year, Isaac Hayes recorded a version of the song - in his very distinctive style - for his Black Moses album. Released as a single, it reached #22 on Billboard's Hot 100, # 5 on the R&B chart and #19 on the Easy Listening chart.

As I am sure you're aware... there's much more to the history of this song, but these are the three versions we will be taking a look at today. 

Don't worry - we'll get to the others soon enough.

Now?

On to today's competition!

The Song: Never Can Say Goodbye

The Competitor's: The Supremes vs. The Jackson 5 vs. Hayes

Never Can Say Goodbye - The Supremes

Never Can Say Goodbye - The Jackson 5

Never Can Say Goodbye - Isaac Hayes

The Supremes

That is a very heavy horn arrangement. And this tempo! Slinky as hell. 

Jean in not Diana. Her vocals are pointed, with a bit of Eartha Kitt's attack coloring the proceedings. 

The backing here is all part of Motown's The Corporation - and there are some who say the other two Supremes were not present at this session and are not the voices singing back-up. 

Still, it's a slice of history. Jean gets a bit strident, but then she's also working against those sludgy sounding horns, so I don't think that's a bad thing. When she drops out on the repeat of the song's title, I am a bit disappointed. 

I also take issue with her phrasing - she drops phrases in the middle. That may be due to unfamiliarity with the song. We also don't know how much time was spent in the studio putting this together. And when she moves into spoken word, oh... honey, no. That is a sign of a singer who is lost. By the 1:25 mark, with "more and more and more" and "is it so"? Well, that's a singer who is drowning. It's very unfocused, in fact, it wobbles. And she's a tad under some of those notes. 

Oh, dear, those backing vocals at the 1:30 mark. Eek.

And the rushed, syncopated "no, no, no"... no. Very Las Vegas. 

I have to say, not only did Motown have no idea what or who The Supremes were after Diana went solo, but a lot of the joy had gone out of the Motown sound by this point. Ambition was still fully on display, along with a desire for mass appeal. I think all of that is working against poor Jean doing her best with this. She got saddled with a very hoary arrangement. What could have been Curtis Mayfield slinky/sexy quickly becomes very workmanlike. 

Listen to that weird note she ends with at the 1:50 mark. Tuneless. She's working without guidance. And that cheesy orchestration that follows? Ugh.

Who is singing that third verse? Wow. Jean is back. On target with that. She gets two lines off that are perfect, only to lose focus on what follows. I have a feeling she simply wasn't given enough time to find herself in the song. A vocalist has to inhabit a song in order to know exactly what to do with it... what powers it forward. She keeps giving hints that she could have digested this song and come up with a much better vocal performance, even with that rather indifferent arrangement.

But I'm equally baffled as to why The Corporation didn't go with something more joyous, harking back to the group's original sound. Diana was not the only ingredient that worked in The Supremes sound. The indifference on display here? It's rather appalling.

An arranger, a producer? Never let's a singer drown. 

That's pretty much their only job.

Somebody was asleep at the wheel on this one.

The Jackson 5

So, this is a product of The Corporation - a group of Motown insiders who had an ear for what pops. 

Odd harpsicord opening, suggestive sigh, and then some freaky sounding beats being laid down. With a virginal sounding Michael singing on top... well, he might as well be female - his tone is so pure and bell-like. Pristine. The backing vocals are suitably subdued. 

But as we ramp up the intensity, future Michael comes into play. He's got an edge to him, backed up by a fascinating rhythm section. Oh... and a flute. Yeah. Well... it was kind of a Jackson 5 thing, right? That flute. 

Oddly enough, hearing this, you can well imagine The Supremes with Diana Ross recording this song. It's a perfect fit. And Michael is summoning a bit of Diana's precious princess-vibe as we mellow back down to a second verse.

And for all of the pop-smarts that Michael's vocals bring to the proceedings, I have to say... that by verse two that backing track is sounding a bit canned - a bit too adult-contemporary, considering this is a bunch of teens. Another reason this would have worked better for the Supremes. 

Love that breakdown at the 1:29. Michael carries the day, doing a little James Brown imitation there.

And again, verse three? We get the smoothness of Diana. He had great pipes and glommed on to all the right influences. It's hard to believe this is coming out of a 12 year-old singer, but then again, by this point, he was already road-tested and seasoned.

The interplay with the flute? It works on some level. Gets pretty busy, though. 

I do have a problem with this. These boys are too young to be singing this very adult song. Not only is the arrangement adult contemporary, but the subject matter? Well, I don't know too many teens who could articulate the ups and downs of a relationship in this manner. That The Jackson 5 pull it off only proves what old pros they'd quickly become. 

Isaac Hayes

Love the bell tones. Love that bass. Nice percussion. 

Those of you who think that Hayes begins and ends with Shaft... well, you don't know Hayes. He paved the way for Barry White, just as assuredly as Curtis Mayfield paved the way for Hayes. 

So, I adore the funky vibe, though his voice in breathless mode doesn't quite work for me. I like him deep-throated. And the flute? Welcome to the early 70's. I think it was written somewhere that all songs must contain flute. 

I appreciate all the space being allowed each individual element of this arrangement. I never feel overwhelmed; there's plenty of breathing room.

Well, all I can say is... this man can seduce me any day. Sigh. This is laid back and lovely. He's got the slow hand I been needing!  Sexy AF. (I have a new crush.)

The backing vocals introduced on verse two? So far, okay. Hope they keep them in check. 

Ooo, no. Don't like his choice on the song's title the second time through, nor do I like that backing vocal bridge. Followed by? Double flute? No. Though I do like the little gospel organ fill that follows. 

There is something very immediate about his vocals that I adore. When he sings? I am there. Can't you hear Barry White doing this? 

His breathy break up on words like 'why' sort of undermines his seductive powers. 

Interesting male backing vocals at the start of the playout. Reminds of The Spinners. Wow... love Haye's falsetto. Why he hasn't employed that more, I have no idea. 

This is lovely. And my personal choice, today. It has issues, but overall, it hits me where I live.

The Verdict

That said...

Michael Jackson's vocals are superior, among these three. He may only be twelve years-old, but he gets to the heart of the song and carries the day.

Jean Terrell could have sold this, too... had she been given the opportunity to inhabit the song for awhile. Her version sounds exactly like what it is... a demo. That sludgy arrangement? Doesn't help matters.

Isaac Hayes' version is the one I want to hear again. But then, that's my groove. I do have issues with the instrumental bridge and the backing vocals that accompany it. 

The Jackson 5 got the hit with this one, as well they should have, though, again... I have issues with that arrangement; a little too adult contemporary and pedestrian for my taste.

But... The Jackson 5 are the ones that get my vote.   

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And that's enough for now...

Tune in next week for the next three versions.

Be sure to to voice your choice in the comments section. The version from today's trio that gets the most votes in the comments section (plus mine) will make it into the final round.

Until next time...

Thanks for reading... and listening... and voting!

Never Can Say Goodbye - The Jackson 5

Never Can Say Goodbye - Isaac Hayes

Friday Fun: Happy National One Cent Day!

Friday Fun: Happy National One Cent Day!

I was so happy to discover this is an actual holiday!

Happy One Cent Day!

I have so many favorites, but there is one (s)cent that stands heads above the rest...

Man scent.

I love my men au naturale... and all natural.

So, stow your cologne. Forget the deodorant. As long as you had a shower that morning... we're all good.

For me? Nothing beats it.

Yes, it's even better than poppers!

So... lie back and allow me to indulge myself. And if the spirit moves you?

Feel free to partake yourself.

(Wait a minute... Did I misread this?)

(Happy April Fools' Day!)

--- ---

Whatever moves you, my dears.

Indulge. Savor. And breathe it all in.

"Will you promise not to let this life slip by?"

- uptonking from Wonderland Burlesque

Women Like Men Who Smell Like... 

Smell The Funk - Inner Drive