Incredible Bongolia

Michael Viner's Incredible Bongo Band - Bongolia

This is the second time that Perry Botkin Jr has featured in a Diddy Wah post. The first was as the orchestral arranger for Jose Feliciano's version of 'Satifaction'. Today's track, 'Bongolia' is credited to Botkin. It was composed and arranged by him along with record industry executive, Michael Viner. Viner was a Bongo player who put together a bunch of session musicians to record some percussion heavy tracks for the soundtrack to the film, 'The Thing with Two Heads'. The 1972 film's premise is that a racist white doctor has his head transplanted onto the body of a black convict. Yeah, sounds grrreat. Viner continued with his pet project, now called 'Michael Viner's Incredible Bongo Band', and in 1973 released an album on the Pride label (an MGM subsidiary that he ran). The album, 'Bongo Rock', features 'Bongolia' as well as a version of The Shadows' 'Apache', featuring a seminal drum break, a favorite of early Hip Hop DJs and one of the most sampled ever. In 1974 they released a follow up, 'Return of The Incredible Bongo Band'. Other than Viner and Botkin, some of the musicians who contributed include Jim Gordon, King Errisson, Bobbye Hall, Hal Blaine, Glen Campbell, Freda Payne and even Ringo Starr.

There's not much to say about the track itself. If you like funky bongo beats in a surf instrumental, you'll love this.

Perry Botkin homepage
The Thing with Two Heads review

Memo From Jagger

Mick Jagger - Memo From Turner

A little while back I posted a series of Stones covers and now for the real thing. Well sort of. Actually, not really, but it almost sounds like it. This track was taken from the soundtrack to the movie 'Performance', starring Mick Jagger as a reclusive rock star and James Fox as a gangsta on the run. Performance was a stylistically influential film and, along with Easy Rider, the soundtrack set the scene for future original movie soundtracks. Produced by Jack Nitzsche, it features such diverse artists as Randy Newman, The Last Poets, Merry Clayton, Buffy Sainte-Marie and Ry Cooder, who plays the wild bottleneck guitar on today's mp3.

Cooder has been quoted as saying that Mick just mailed in a tape with the vocals and he, along with some other session musicians (including Little Feat's Lowell George on guitar) laid down the music one day and still had time to record a track with Randy Newman. It's also possible that Nitzsche was not happy with the drums from that session and had ex Byrd Gene Parsons re-record them.

Mick's lyrics related to the film's gangsta premise, and although not mentioned in the song, the Turner from the title is his character's name in the film. 'Memo From Turner' features in a memorable scene, something of an early music video. Nitzsche is well worth looking up if you haven't already done so. He has an amazing body of work and the production on 'Memo From Turner' is brilliant. I love the fuzzy bass and the psychedelic waves of lead guitar, presumably Lowell George's.

Note this is not the version of the song on the Stones Metamorphosis album. That one featured a whole different cast of musicians.

Performance review
Spectropop - Jack Nitzsche

Dem Craaazy Blues

Koko Taylor - Insane Asylum

Born Cora Walton to poor sharecroppers just outside of Memphis, Tennessee, Koko Taylor earned her nickname from a love of chocolate. She learnt to sing in church and from a young age also listened to the blues music broadcast on B.B. King's radio show. At 18, Koko moved to Chicago and began cleaning wealthy folks' houses during the day, and getting on stage with some of the greatest Chicago bluesmen at night. After seeing her perform one evening, Chess Records impresario Willie Dixon decided to record Koko. In 1966 he wrote and produced her biggest hit, the million selling 'Wang Dang Doodle'. Willie also produced her two Chess albums before she moved to Alligator Records in the mid 70's and cemented her title "The Queen of the Blues".

From her debut self-titled 1969 album comes 'Insane Asylum'. A truly bone shaking duet between her and Willie Dixon. 'Insane Asylum' is surely inspired by the traditional hospital blues song, 'St. James Infirmary'. It tells a slight different, but equally tragic, story. This tune has a dark spooky feel, like something you would expect from Screamin' Jay Hawkins, and Willie and Koko's vocals are rich and powerful enough to throw you right out of your rocking chair. Don't say you wern't warned.

Alligator Records - Koko Taylor

Stevie's Hard Road

Stevie Wright - Didn't I Take You Higher

Stevie Wright is a deadset Aussie rock'n'roll legend. At 16, Little Stevie, as he was known at the time, was the lead singer of Australia's biggest mid-sixties groups, The Easybeats. Also in the group were Harry Vanda (aka Hendrickus Vandenburg) and George Young. In 1967 The Easybeats had their biggest international chart sucess, 'Friday On My Mind', but after moving to the UK the band dissolved just two years later. Stevie performed with other groups until, in 1972, he joined the cast of the Australian production of 'Jesus Christ Superstar'. He was back in the limelight playing the role of Simon Zealotes for two years. It was during this time that he began taking heroin.

In 1974, Stevie again joined Vanda & Young who produced and helped write his first solo album, 'Hard Road'. The first single, 'Evie (Parts 1, 2 & 3)', a true rock epic, was a massive hit. The whole album is great, it shows off the talents of one of Australia's most dynamic and exciting frontmen, as well as the early production capabilities of two guys who went on to have a hand in some of Australia's biggest 70's success stories, including Rose Tattoo, The Angels and AC/DC (featuring George's younger brothers, Malcom and Angus).

For today's post I've chosen the almost disco rock track, 'Didn't I Take You Higher'. Boy this track grooves. It must have been partially inspired by Sly's 'I Want To Take You Higher', and features a long percussion breakdown, some energy raising siren sounds and Stevie's frenetic vocals, all in the framework of a rock song. The album featured Malcom Young as a guest guitarist and overall does sound a bit like early AC/DC, but with a funky edge.

Stevie went on to record a second solo album but his drug and alcohol dependancy was getting the better of him. After trying to kick the habit using the usual methods (methadone etc.), he submitted himself to two Sydney doctors for their 'deep sleep' treatment. This involved induced comas and electroshock therapy and the results were disastrous. After just two weeks of "treatment", Stevie's brain was so badly damaged that he was unable to write songs for the next ten years. Sadly, he was still hooked on smack.

Over the next twenty five or so years he has made a number of attempted "comebacks". In 2003 I saw him sing at a small one-off Melbourne music festival, where he managed four songs. It brought mixed feelings. Drugs are bad, mkay. Recently some of the young(ish) Aussie rock vanguard have recorded a version of 'Evie (Parts 1, 2 &3) under the name, The Wrights, with proceeds going towards Stevie's drug and alcohol rehabilitation programs.

Milesago - Stevie Wright biography

Whole Lotta Love, But Not Enough

King Curtis - Whole Lotta Love

This 1971 'Live at Fillmore West' recording was made just six months before King Curtis was stabbed to death outside his apartment in New York City in an argument involving an air conditioner. Along with Curtis on sax, were his band, 'The Kingpins'. Together they were the back up band for a series of Aretha Franklin gigs which also featured 'The Memphis Horns' and organist Billy Preston. Aretha also released a live album from the concerts.

Born in Fort Worth, Texas, Curtis had already had an impressive career, playing in sessions with many groups including notably on The Coasters, 'Yakety Yak'. He also had hits of his own, including 'Soul Twist', 'Soul Serenade' and 'Memphis Soul Stew'.

This instrumental version of the Led Zeppelin stormer, 'Whole Lotta Love', starts heavy and doesn't let up. The band is super tight and just lifts and lifts until, after just two (and a bit) minutes, it's all over. There must be a twelve or fourteen minute version out there somewhere. There must be, and I want to hear it. But for now I'll just listen to this one over and over and over.

King Curtis VH1 biography

The Cincinnati Underground Arrives

The Lemon Pipers - Through With You

In 1966 The Lemon Pipers formed in Ohio when Ivan Browne left Ivan & the Sabers to replace Tony in Tony & the Bandits. They played garage rock in a style that was very popular locally at the time. In '67, "Super K" producers Jerry Kasenetz and Jeff Katz added them to the Buddah Records stable, initially with full creative control. After one dud single, K&K forced the Shelly Pinz (songwriter) and Paul Leka (composer) song 'Green Tambourine' on the band. It was only under the duress of being dropped from the label that The Lemon Pipers recorded their biggest hit (by far). It went all the way to number 1 and the band subsequently released an album of the same name.

Although some of the album tracks were straight up psychedelia, because they became synonymous with the "bubblegum" sound (their follow up single was called 'Rice is Nice') when that fad passed, so did they.

Lead guitarist, Bill Bartlet, went on to be a part of Ram Jam, and even teamed up with K&K again for their big hit, the disco funk version of Leadbelly's 'Black Betty'.

'Through With You' is the final track from 'Green Tambourine'. It has some harmonious vocals at the beginning and end, but for the most part what we've got here is over nine minutes of beautiful spacey guitar played over a solid beat and bass line. If you feel like indulging in a serious wig out then this is for you.

The Lemon Pipers

Thanks to Jess for doing three fantastic posts while I was off visiting the homes of Motown and Chess Records. I had a great time, cheers.

Guest Post: A Natural, Man

Lou Rawls - A Natural Man

As a kid in Chicago in the 1940’s, Lou Rawls shared a classroom with Sam Cooke. Even though their friendship nearly killed Rawls (he was temporarily pronounced dead after a car accident while on tour with Cooke) it was an auspicious start to a remarkably eclectic career. Despite making inroads in the fifties, Lou really started rolling the following decade after signing to Capitol Records. His trademark social monologues took hold, most notably on the seven minute “World of Trouble”, and in 1967, his David Axelrod produced album, “Dead End Street”, yielded Lou’s first grammy.

1971’s “A Natural Man” was Lou’s first MGM recording and a very succesful one, making the top 20 on both the pop and R&B charts and bringing home a second grammy. It opens with a short monologue before Lou’s powerful four octave vocals kick in. Smooth, languid, smokey and proud, it’ll have you standing taller, sitting straighter and swinging from the hip. The song’s timeless soulful pop was celebrated by The Dirtbombs in 2001, whose grittier version appears on the b-side to their “Ode To A Black Man” single.

Lou’s output on MGM quickly turned south after “A Natural Man”. He then shifted between Epic, Bell Records, PIR and Blue Note, and while he continued to achieve commercial success with that undeniably beautiful voice, it’s hard to see the sugar for the cheese on most Rawls slabs.

Lou Rawls Factoids:
1. Rawls provides backing vocals on Sam Cooke’s “Bring It On Home To Me”.
2. At 17, singer Candi Staton ran away with Rawls until his mother sent her back home. Staton later married Clarence Carter.
3. Rawls served in the army as a paratrooper in 1956.
4. In 1962, he opened for the Beatles in Cincinnati.
5. Acting credits include 77 Sunset Strip, Fantasy Island and Leaving Las Vegas.
6. Rawls lent his tonsils to TV’s cartoon feline, Garfield, for musical numbers.

Posted by j.lil

The Lou Rawls Home Page

Guest Post: 'Black Brown White' Part 2

Big Bill Broonzy - Black, Brown, White

“If you're Black, get back/ If you're white, you’re alright/ If you're Brown, stick around/ If you're Yellow, you must be one mellow fellow.”

Vic Simms and Big Bill Broonzy both mined this early 20th century rhyme for their respective songs about discrimination. Broonzy penned “Black, Brown and White” in 1947 in response to an experience at his long time job when he watched a new guy he'd spent a month training get promoted to become Broonzy's own boss. Not surprisingly, “Black, Brown and White” was extremely controversial at the time. While numerous labels refused to release it Stateside, Broonzy reportedly considered it the most important song he ever wrote, and in the 1950’s he happily traded American audiences for a new and more appreciative legion of fans in Europe.

By then, Big Bill Broonzy had already enjoyed a thirty year career that saw him recording for Paramount, Columbia, Okeh! and Bluebird. He also played and recorded with the likes of Sonny Boy Williamson, Memphis Slim, Brownie McGhee, John Lee Hooker and Memphis Minnie. In short, Broonzy went from literally being born on the banks of the Mississippi, to pioneering a Chicago legend.

This simple accoustic version of “Black, Brown and White” was recorded the year before Broonzy’s 1958 death. It appears with a spoken word introduction on the Smithsonian/Folkways album, ‘Trouble in Mind’. Clean and seemingly effortless, Broonzy’s rich voice and guitar are only enhanced by the occassional sound of his tapping toe.

Posted by j.lil

'Trouble in Mind' review

Guest Post: 'Black Brown White' Part 1

Vic Simms - Get Back Into The Shadows

In a Diddy Wah first, I'm filling in for a dam dj while he motors to Detroit and Chicago for the weekend. I shall do my best to maintain his impeccably high standards!

Vic Simms grew up on the aboriginal reserve of La Parouse in New South Wales, Australia. In 1957, when he was 11, he was discovered performing 'Tutti Frutti' at the local footy club by then popular singer, Col Joye. By 15, Vic was well on his way—he'd toured the country with Joye, supported Shirley Bassey, appeared on countless Australian variety shows and released two solo recordings.

But his career soon stalled, and by 1973 Vic was serving a 9 year prison sentence for robbery. While in jail, he taught himself guitar and started writing songs. By chance, he was overheard one afternoon by a group of visitors with an RCA connection. On receiving his demo, RCA dispatched a recording crew and backing band to Bathurst prison, where authorities begrudgingly allowed two hours for Vic to record live in front of his fellow inmates.

This session became 'The Loner'. Set to a scorching rhythm, soul and country beat, the album encapsulates the deep frustration felt by black Australians at the time. On "Get Back Into the Shadows", Vic's perenially groovy vocal style is positively bopping alongside a swinging beat punctuated by funky horns. It's a remarkably upbeat accompaniement to a story of a man persecuted by racism, based on a well known black saying.

This and one other cut from 'The Loner' appear on 'Buried Country', a 2000 compilation of aboriginal recordings. Other than that, it's a near impossible record to find. Despite the initial popularity of 'The Loner', Vic's refusal to become a poster boy for the NSW prison system meant that it became difficult to promote, and by the time he was released, its time had passed. Even Vic claims not to have a decent copy and, despite his own efforts to have it re-mastered, no label is biting. Vic and his band still play around Sydney.

Posted by j.lil

Vic Simms Biography
Vic Simms Interview

Pentangling

The Pentangle - Way Behind The Sun

Like The Mamas and the Papas, The Pentangle were a collaboration of known entities from the mid sixties folk scene, only the location was the UK. Guitarists Bert Jansch and John Renbourn, had already made a name for themselves playing together and solo. The rhythm section of Danny Thompson (bass) and Terry Cox (drums) had been playing in Alexis Korner's Blues Incorporated and Jacqui McShee was versed in singing American blues as well as British traditional folk. The Pentangle recorded six albums before disbanding in 1972 to focus on solo and other projects.

Today's track, 'Way Behind The Sun', is from their debut 1968 self-titled LP. Not that long ago this bluesy number would have sounded way (way!) too clean for my tastes but recently I've begun to appreaciate the fine vocals and intricate jazzy instrumentation of this tune.

Jacqui McShee's Pentangle Home Page

Everybody Needs A Pleasure Trip

The Mamas and the Papas - Midnight Voyage

The Mamas and the Papas formed out of the fertile early 60's folk movement and, to many, they embodied hippy idealism. John Phillips (the tall one) was the group's originator, leader and main songwriter. When he was 26 he left his wife and kids for 17 year old Michelle Gilliam (the blonde). Meanwhile, Canadian Denny Doherty had moved to New York, where he joined Cass Elliott's group, The Big Three (later The Mugwumps). When John and Michelle, now married, recruited Denny for a musical collaboration, he insisted on Cass's involvement. While in New York, John wrote 'California Dreamin' and soon after, the group moved to the West Coast. In 1965 they signed to Dunhill Records and became big stars when 'California Dreamin' went to number #1. In the next few years the band recorded some great albums, but had internal issues. After the disclosure of an ongoing and longstanding affair between Michelle and Denny, Michelle was sacked from the band and replaced by producer Lou Adler's girlfriend, Jill Gibson. But Michelle was reintroduced to the line up by the time they recorded the 'The Papas and The Mamas' in 1968. 'Midnight Voyage' is the final track on that LP.

Cass is the lead singer on this incredibly harmonious folky tune that stops midway for some studio banter between John and Michelle regarding Michelle's timing. Then all four voices fully kick in with perfect powerful harmony before the song reprises. Although the voices--Cass's in particular--are the main focus on this track, I'd also give the instrumentation, production and songwriting full points. Dazzling.

I feel it's important to mention that the cause of Cass Elliott's death, in 1974, was from a heart attack (due to obesity), not from choking on a ham sandwich, as has been widely reported.

Creeque Alley -- A Mamas and Papas fansite

Fee Fi Mo Mirley, Shirley!

Shirley Ellis - The Clapping Song (Clap Pat Clap Slap)

Born in The Bronx, Shirley Marie Ellison got into the music business at the tender age of 13 when a song she wrote was recorded by The Chords (aka The Sh-Booms). It was 1954. Around that time she won the amateur night at the Apollo Theatre in Harlem and joined the group, The Metronomes. In 1959 she teamed up with Lincoln Chase who became her manager, producer and song-writing partner. Two years later, she made her first solo vocal recording. But it was in '63 that she had a smash with 'The Nitty Gritty'. She recorded a follow up along the same lines called, '(That's) What the Nitty Gritty Is', and also had a big hit in 1964 with 'The Name Game'.

Todays selection, 'The Clapping Song (Clap Pat Clap Slap)', was recorded and released in 1965 and made it to #8 on the pop charts. It's an irresistible percussive slice of pure pop that sounds like a nursery rhyme, and is very easy to sing and dance -- or at least tap your foot -- to. Her only other chart success came in 1967 with the Columbia release, 'Soul Time'.

Six trivial facts regarding Shirley Ellis and 'The Clapping Song':
1. In 1982, The Clapping Song was covered by seven piece UK girl group, The Belle Stars and went to #11 in the UK and #4 in Australia.
2. The Clapping Song featured in Doug Pray's 2002 DJ documentary, Scratch, and was a favorite of hip hop pioneers.
3. The Clapping Song is on the soundtrack to the children's film, 'Because of Winn-Dixie', starring a dog.
4. The Clapping Song is on an advert for a discount clothing store, Matalan.
5. Shirley's 'Soul Time' is sampled by UK band, The Go! Team, for their track 'Bottle Rocket'
6. 'Soul Time' is also the theme to the best Northern Soul radio show in Australia.

Spectropop presents Shirley Ellis

GNM part 7. - Flash

Ananda Shankar - Jumpin' Jack Flash

This'll be the last in this series of Rolling Stones covers, though I'm sure I'll post some more in the not too distant future. Again, it's from an album that I've already posted a track from, so if you want to find out about it, click here. Ananda is one wild sitar player and this version of Jumpin' Jack Flash really burns up dancefloors.

Ananda Shankar bio

GNM part 6. - Sugar

Little Richard - Brown Sugar

This cover of a Stones stomper is from Little Richard's 1971 album, 'King of Rock and Roll'. A short while back I posted a track from this album, so you can read about it here. This is more of the same, and that's a very good thing.

Little Richard interview

GNM part 5. - Acid Queen

Tina Turner - Under My Thumb

Tina Turner beat David Bowie for the role of the Acid Queen in The Who's rock musical, 'Tommy'. Around the same time she released an album, 'Acid Queen', with the Pete Townsend penned title track and a bunch of rock covers on one side, and all Ike Turner tunes on the other. The Ike Turner material, which he had a hand in the production of, doesn't have much spark, but there are some real gems on the rock side.

Almost ten years after the original, Tina's 'Under My Thumb' was produced by Denny Diante and Spencer Proffer. Instead of Brian Jones' wonderful vibes, this is a guitar driven song, however it does feature a large array of sounds, from Moogs to maracas. While Mick's original vocals suggested the perverse deriving of pleasure through the dominance of a lover, Tina's more aggressive interpretation feels like she's opening a can of whoop-ass on a man who has done her wrong; punishment. Enjoy.

Swingin' Chicks of the 60's - Tina Turner

GNM part 4. - Bitter Sweet

Photo by Philip Townsend

The Andrew Oldham Orchestra - The Last Time

Andrew Loog Oldham managed The Rolling Stones from 1963 to 1967. He famously encouraged Mick and Keith to start songwriting and put the 'g' into The Rolling Stones. During that period he also recorded four albums with his own group, 'The Andrew Loog Oldham Orchestra', including in 1966, 'The Rolling Stones Songbook'. This is an album of instrumental versions of Stones songs played by an orchestra, arranged by Oldham -- Phil Spector style. According to Oldham it was meant to promote Jagger/Richards songwriting talent and help generate some more press for the Stones.

This track, 'The Last Time', has its own story, which centres around its use in The Verve's aptly titled, 'Bittersweet Symphony'. I won't go into details, but it's suffice to say The Verve were screwed out of 100% of the publishing royalties of their biggest hit. It is interesting to note that the Stones version of 'The Last Time' was itself inspired by The Staple Singers arrangement of a traditional spiritual, 'This May Be The Last Time'.

This is a beautiful tune and well worth a listen, but it is hard to get past the absent vocals of Richard Ashcroft.

Andrew Loog Oldham interview

GNM part 3. - Gimme

Merry Clayton - Gimme Shelter

The daughter of a Baptist reverend, Merry Clayton was born in New Orleans and like so many great singers, she learnt to sing in the church. As well as recording her own solo material, Merry has joined some big names in the studio; Bobby Darin, Elvis, The Supremes, Roy Ayres and Joe Cocker. She was also once a member of Ray Charles' back up group, The Raelettes, but is probably best known as the impassioned singer on the original 1969 Stones version of 'Gimme Shelter', where she hits the high notes that Mick can't.

Today's selection is her own version of 'Gimme Shelter' from an album of the same name that she released in 1970. For the most part it sticks to the powerful original winning formula, but a pinch of funk is added here and there. The obvious main point of difference is Merry's super-strong-gospel-trained lead vocals warning of the threat'ning storm with such conviction that only a fool would doubt her.

Rocks Off - Merry Clayton

GNM part 2. - I Can't Get No

Jose Feliciano - (I Can't Get No) Satisfaction

In 1945, Jose Feliciano was born blind in Puerto Rico. Five years later his family relocated to Harlem, New York. He began playing music at the age of three and by the time he turned sixteen, was self-taught on a number of instruments, including the acoustic guitar (his instrument of choice), and had started making money playing the happening Greenwich Village coffeehouse circuit. The stylistic mixture of flamenco, folk and pop he played then, has gone largely unchanged throughout his long career. After having some success in Latin markets, Jose's biggest hit came in 1967 when his version of 'Light My Fire' sold over a million copies, making Feliciano a household name. Perhaps trying to emulate that success, Jose's English speaking songbook mainly consists of classic rock and pop tunes (he has also recorded at lot of original, and traditional material in Spanish). His own style is always distinct in these interpretations; he has an emotional singing voice and plays latinoized folky guitar.

Jose's version of 'Satisfaction' came out on the 1970 LP, 'Fireworks'. The percussion, strings, horns and even flute, incorporated into this track by orchestral arranger, Perry Botkin Jr., act to really fill out the sound without over-shadowing Jose's guitar playing and unique singing style (which surely couldn't ever be over-shadowed). The result is up-beat, almost loungy, and stylistically miles away from the original, but great.

Jose Feliciano - The Fantastic

Gathers No Moss part 1. - Jumpin'

Wynder K. Frog - Jumpin' Jack Flash

On this day in 1962, Mick Jagger and Keith Richards met Brian Jones...well not really, that was April 7th. I was looking around for an excuse to launch a series of Stones cover-version posts, but had no luck finding any "35 years ago on this day" type trivial tidbits. However, I'm not letting that stop the onslaught of Jagger/Richards interpretations.

Organist Mick Weaver has played with many artists including, Eric Burdon, Ronnie Lane, Joe Cocker and more recently, Taj Mahal. In the late 60's he made three albums under the name Wynder K. Frog. Today's selection is from the second one, released in 1968, 'Out of the Frying Pan'. To kick off Diddy Wah's Stones period -- a cool instrumental cover of one of the Stone's most rockin' hits. Keep an ear out for the way Wynder uses his organ as a vocal substitute.

Funky 16 Corners - Wynder K. Frog

I'll have a squincy bit less blog time for the next little while. I'm a gonna try and regularly update the tunes, but the number of accompanying facts might drop.

Sixto Diaz Rodriguez

Rodriguez - Crucify Your Mind

'Crucify Your Mind' is one of the most musically beautiful songs from Rodriguez's debut LP 'Cold Fact', though it carries a sad tale of drug addiction. Rodriguez is one of those fascinating artists who made these amazing recordings in Detroit, his home town, in 1969, and recorded some more in London in 1971, and then virtually disappeared. During the mid seventies and early eighties, his music was released in Australia and South Africa and he developed a strong following. He even toured Australia with Midnight Oil in 1981, the same year he graduated from Wayne State University with a B.A. in philosophy. He describes himself as working class and has run for various public offices, including Mayor -- twice. In 1997, after rumors of his death, a couple of folk set up a website searching for Rodriguez. They found him alive and well, and in 1998 he toured South Africa and released a live album. He has also played shows in Sweden and Nambia, but to this day, has never played a gig in the country of his birth, or the UK. In 2001, rapper Nas sampled the track 'Sugarman' on 'You're Da Man', and the following year David Holmes included it on his mix CD, 'Come Get It, I Got It', and even had him sing backing vocals when he records his own version in 2003.

'Cold Fact' was arranged and produced by Dennis Coffey and Mike Theodore, who also play guitar and keys respectively on the album. Funk Brother Bob Bobbet plays bass and Andrew Smith is on drums. 'Crucify Your Mind' features brassy lushness, a perfect sprinkle of vibes and a touch of funk, but it's the well crafted dark-but-real lyrics that will blow you away. The only thing I can think to compare it to is Nick Drake, but it sounds nothing like that.

I highly recommend the wonderful Official Rodriguez Website. It's an evolution of the website that found Rodriguez, and an invaluble resource.