Tag Archives: Johnny Adams

Four records at a time

It took a pandemic for me to listen to a bunch of my records. Not sure what that says about me, but there you go.

Staying home and socially distancing wasn’t too bad until the weather turned cold up here in Wisconsin and really kept us inside. So I just kept dropping record after record onto the turntable. No ripping to digital. Just let it go, man.

Four records make for a nice night of listening while surfing or writing.

Some records take me right back to where I found them, a nice memory.

Some records have startling moments. Those, I’ll circle back on and rip a little something from. Eddie Floyd’s “Down To Earth” LP was the first eye-opener. Then the scorching “Involved” by Edwin Starr. Then “Dreams/Answers,” Rare Earth’s rarely-seen debut LP. Then a couple of alternate Beatles takes from the 2017 re-release of “Sgt. Pepper’s Lonely Hearts Club Band.” 

There you have it, four records.

Four records also make for a nice visual presentation when you post to Facebook or Twitter. If you follow me either place, you’ve seen a lot of them, especially this month for Black History Month. Today will make it 23 such posts — 92 records, all by Black artists — over 28 days and nights.

From the Black History Month social posts, some records that’ll get more spins:

— “Young, Gifted and Black” is by far the best Aretha Franklin record in my crates. That was a $1 record. Looked rough, played fine.

— Didn’t know about Johnny Adams, but, man, could he sing.

— Marvin Gaye’s “What’s Going On” has lost none of its punch.

— The instrumentals on “James Brown Plays New Breed (The Boo-Ga-Loo)” really cook.

— Ike and Tina Turner’s early live records are astonishing.

— Definitely going back for seconds on the “Cleopatra Jones” soundtrack featuring Joe Simon and Millie Jackson. That was a $3 record found in a box on the floor at a record show in Indianapolis.

— Timmy Thomas got a lot of mileage out of that syncopated beat on “Why Can’t We Live Together,” which isn’t necessarily a bad thing. Found that at a record store that no longer exists.

There you have it. Eight records, two nights’ worth of listening.

When I spent a couple of nights listening to blaxploitation soundtracks last week, I circled back to the first record I ever wrote about here. I’m talking ’bout “Shaft.”

I was 14 when I bought this record in 1971.

With that, we quietly mark 14 years here at AM, Then FM. Can you dig it?

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Filed under February 2021, Sounds

Three under the tree, Vol. 34

Bootsy Collins’ “Christmas Is 4 Ever,” sampled here in Vol. 33, might not be the best Christmas record of the ’00s, but it’s pretty close when you’re thinking of Christmas records you can enjoy, cut after cut, start to finish. There aren’t many like that.

Perhaps the only ’00s records we’ve enjoyed more from start to finish are “A Wild-Eyed Christmas Night” by .38 Special, from 2001, and “Let It Snow, Baby … Let It Reindeer,” by Relient K, from 2007, sampled in Vol. 32.

But that got me to thinking. What are some of the other Christmas records we’ve enjoyed from start to finish from other decades?

As I look over all the stuff from the ’90s, one record stands out. Every time I post a tune from it, someone raves about it, and rightly so.

I once sent the whole thing to a guy who said his wife would be so thrilled to have it that he was certain they’d be parents nine months hence. Too much information? I think he also said he once had it on cassette, but that it had become “worn out and broken.”

That record is “A Creole Christmas,” released in 1990 on Epic/Associated.

That title is a little misleading. Though tasty, there’s no Creole seasoning. Recorded in New Orleans and New York, this CD gathers almost a dozen performers with deep New Orleans roots. It’s all R&B, soul and zydeco, and that’s just fine. Listen for yourself.

“White Christmas,” Allen Toussaint. All the more special now that I’ve seen Toussaint play live. He’s an American treasure. This is a rollicking piano romp, nicely complemented by the horns.

“Please Come Home for Christmas,” Johnny Adams. This one will give you a good idea of how Adams crossed over from gospel in the ’50s to R&B in the ’60s. Smooth.

“O Holy Night,” Irma Thomas. This is for Rob, who calls this version “goosebump-inducing stuff.” Damn straight. It’s reverent but thrilling, done as a dirge with some terrific Hammond organ.

All from “A Creole Christmas,” 1990. It’s out of print and hard to find.

A couple of other good long-players from the ’90s, though admittedly guilty pleasures: “Star Bright,” by Vanessa Williams, from 1996, and “Have Yourself A Tractors Christmas,” by the Tractors, from 1995.

Tomorrow, a good one from the ’80s.

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Filed under December 2009, Sounds