It's So Hard To Say Goodbye To Yesterday

Anyone who remembers The Flex’s version of “It’s So Hard To Say Goodbye To Yesterday” from the House Party II Soundtrack will find it hard to be convinced otherwise but take my word for it – Sometimes it’s not that hard. The photograph you see below happens to be of The Albert Memorial in London but this is largely incidental. Take a look at the sky. Slate grey is how I would describe its color and that is at 2 in the afternoon.









The next photograph you see is the view from the new Twelve Bar offices in LA at 7 in the morning in the middle of Winter - We finally made it!!! Thanks once again to Ben and Bobby from The one and only Hundreds for the warm welcome home and the 07 is going to be a big one for the whole family. Get ready for the next generation.









On a semi-related note, and please excuse the shameless self-promotion, make sure you check out the latest “Yasi Asks” at http://www.thehundreds.com/ to get the know-how on what happened to real men brought to you courtesy of yours truly, a resident expert on this sort of thing, and also, if you have time, head over to http://www.mash-life.com/, where the guys pulled out all the stops and scaled over 100 stairs with all their camera equipment on a Saturday evening to put together a video interview with me – Quite why I’m not so sure!

That’s about it for now. The 07 is the year for taking this game to the next level.

Solid Gone

Another year done and, depending on your persuasion, another turkey gobbled. Whatever the case, this Soulflower is wishing you Happy Holidays.









The turning of Father Time's annual clock is often a time for reflection and so it seemed apt, in a true Twelve Bar fashion, to remark on the passing of some true greats in 2006. Not least of all the saddest of Christmas morning greetings with the news that theGodfather of Soul has shimmied his last shuffle and will be getting on the good foot on God's left shoulder from now on. What can you say about James Brown that hasn't been said a thousand times? Nothing, and so I will simply leave you to dig out your old cuts and remind yourself of what true groundbreaking
genius sounds like.










Also passing through to other spheres in 2006 was 60's psychedelic pioneer Arthur Lee, frontman of Love, and a wayward yet inspired and inspirational character. For those unfamiliar with the seminal 1967 Forever Changes LP, and there should be few amongst you, it is a masterpiece which perhaps stands above the other 67 classics Sgt. Peppers and Are You Experienced.









We have already noted on these pages the sad passing of Pink Floyd's founder Syd Barrett in the summer, but honorary mention must also go to Malian Bluesman Ali Farke Toure who left on a creative high with his posthumous release Savane. Desmond Dekker left us, as did the "fifth Beatle" organist Billy Preston, Wilson Pickett and pioneering soul queen Ruth Brown. Of course we also lost a true genius of the game in the incomparable Jay Dilla, rest in peace.




























Others too, luminaries and support players, but all important to music's rich heritage and tapestry. So while enjoying some much needed down time this holiday why not take a moment to reflect. More importantly why not dig out some of the musical memories left by these and others and be thankful that, as ever, the music lives on. And be thankful also that the hardest working man in showbusiness is finally having a well-earned rest.

What You Won't Do For Love

I know you may have read about this already on some of the other sites out in cyberspace but there was no way I couldn't make today's blog update about the video for the latest J Dilla release "Won't Do" from his amazing album "The Shining" released earlier this year.

This is partly because a lot of the people who made this happen are extended Twelve Bar family but more than that because, in a sea of mediocrity, both the track and the video are absolutely amazing and there's nothing better than just good music.

Huge props to Pete and Eddie from BBE for putting this record out, to LA's finest, the one and only Mazik, for directing the video, to the Fruition crew from Las Vegas for the impeccable styling and of course to the late J Dilla himself for blessing this world with his unique talent.

Peep the video here and enjoy:

http://jdilla.imeem.com/blogs/2006/12/18/1JGsyC3K/

Let's keep building into the 07 and on and on.

Soulsville USA

Good news for all soul and R&B connoisseurs out there. Months of rumours have finally given way to certainty with the confirmation that the legendary Memphis label Stax Records is to be relaunched in the new year, with 2007 also being its 50th anniversary. The label will produce re-releases of catalogue material from its past greats which of course include Otis Redding, Isaac Hayes, Booker T and the MGs, Sam & Dave, Carla and Rufus Thomas, the Bar Kays and Wilson Pickett, amongst others. However it will also sign and record new acts. Hayes himself has returned to the label, keen to produce more groundbreaking material along the lines of 1969's incredible Hot Buttered Soul LP, and has been joined by none other than Angie Stone who will release a long-player in 2007. A Story to Tell will watch this space and of course let you, dear readers, know of any further interesting developments. What remains unclear about this story is the involvement, or not, of none other than Mr Lovesexy, Justin Timberlake. Rumours persist that he is part of the consortium behind the revival of Stax in his hometown of Memphis. What's more, talk is that he is also looking to buy Sun Records, home of course to the early career of Elvis Aaron Presley and many would say to rock'n'roll itself. Irrelevant to a certain degree, but it will certainly be interesting to see if this turns out to be true, and by extension what direction these legendary stables will then be taken in. What is clear, with regards Stax at least, is that 2007 will be a bumper year for some of the greatest soul and funk ever put to wax. As Sam & Dave might say themselves, Hold On, I'm Coming!!

Disposable Hero?

It is a somewhat bizarre misnomer in the world of hip-hop that a genre of music which has done so much to push the boundaries of wordplay, musical production and social commentary can at once be so progressive and expansive, and at the same time stiflingly inward looking. Posturing and hackneyed stereotypes rule 80% of output, and scorn is often poured on people who dare to challenge or invert these norms.

Hip-hop with a country music inflection? No thank you! Dabble in drum and bass? Well, alright but only this once and only because you are Outkast. Make a meaningful statement about conflict diamonds? Oh go on then, but make sure you promote bling culture for the rest of the album. Don't get me wrong, there are many rappers out there who take the message in their music seriously, and we know who they are, but one who never seems to me to get the props he deserves is giant rap-rock-dub-soul merchant Michael Franti. We all remember the channelled anger and frustration of the Disposable Heroes of Hiphoprisy challenging materialism and misogyny, but less is known of his output since, as part of his band Spearhead, and as a solo artist. And this is a shame as his work remains musically fresh and lyrically forthright and important. He has been described by Chris Blackwell as the most important artist recording and touring today who has yet to reach the mass audience and this is no empty hype.

In his latest project, a DVD, book and CD trilogy, Franti travelled to Israel, Palestine and Iraq with a video camera and a guitar and simply spoke to normal people and the western troops caught in this sea of confusion about their experiences of living in a warzone. What could be a trite and halo-polishing ego project is actually one of the most revealing and emotive responses to the world in 2006 as you will find. It is perhaps easy to be a liberal "stop the war"-monger, but less easy to actually do something meaningful about putting actions to words and seeking to really understand issues from different perspectives. Yellfire is the album and I Know I'm Not Alone the documentary and book. It is worth checking out because it reminds you just how powerful music can be as an expression of desire to change the world, even by small degrees.

I'm Sorry Miss Jackson

As has been noted on numerous occasions in the annals of A Story To Tell, the 80s are big on the party scene. Not much of a secret I hear you cry, but interesting nonetheless that the cheese of yesteryear is often proving to be today's party accompanying creme de la creme. And interesting also that even amongst this phenomena for pop hits heard through rose-tinted speakers there is still space for the crate-digger, and the kudos that goes with dropping a forgotten gem on a dancefloor who would remain more than happy to lap up some old Michael Jackson and Tiffany for their 80s kicks, maybe even risking some Footloose if the time is right.

That is the job of the disc-spinner to a certain extent. Give them what they want, and then give them a little extra that they didn't know they wanted in the first place. And one seam which is a rich enough mine for all tomorrow's parties can be found in the work of Minneapolis' own Jimmy Jam and Terry Lewis, and especially their work with Janet Jackson. It has always astounded me that the work of the future Mrs Dupri has not found greater critical or party-popping favour, particularly that from 1986's Control album which is essentially a showcase of the production talents of Jam & Lewis. Control forms a magnum opus of sorts for the Flyte Time team, and offers up some of the purest examples of their urban, computerised funk and pounding bass, so important in the emergence of the New Jack Swing sound later in the decade. The hip-hop tinged feel of much of the production pretty much changed the face of R&B at that time, and their work with Janet really paved the way for aggressive and strong female voices within that genre. There is, as ever, so much to say about this production team that one entry will never suffice. But for now, next time you are at that 80s party and the usual suspects come through, why not ask the DJ if you can hear some of that Nasssty basss!!

Places And Spaces

You all know the Donald Byrd track right. Well if you don’t you should check it out as not only is it totally amazing but it really sums up my life over the past two weeks. I’ve been traveling so much I don’t know whether I am coming or going and, given that I have been seriously lagging with the blog which I am doing my best to remedy, I thought I’d try and just give you all a little fever for the flavor of what I have been up to without boring you to tears.

The first stop was the city where the hypebeasts dwell – New York – and yes this is what you think it is.














It’s always the best catching up with my crew over there and Rex from Ecko, Verni and Scott from Akademiks were on good form as always at the Large Professor jam in deepest darkest BKNY. April was rocking it as well although I still have no idea why she was donning the skiing goggles when it was t-shirt weather outside – I guess some trends I’ll never be able to understand.


























Unfortunately it wasn’t all pleasure although I have to confess that the business side of things this time was pretty enjoyable too. I caught up with my girl Tomo from Warp Magazine – Peep the latest issue for the worst picture of me ever not that I am the most photogenic person in the world – and the Hoon guys were in town too from Paris so we sat down to conversate about a few things.

























Without wishing to blow up any spots, think about the Twelve Bar logo and what Hoon do and get ready for something special in the 07. You heard it here first.

Then from the Rotten Apple it was off to Tokyo for a week of sales and other madness over there. I spent most of my time there in the showroom working like crazy and taking a few breaks to kick it with my boy Dai, the only and only DJ Quietstorm and Nemo from Calquinto and Bingo from Mack Daddy.






































In the few moments free I did have, I caught up with the mystic man himself Yone who took this mildy entertaining photo of me.













I had dinner with the Warner Bros Japan crew who very kindly ordered this plate of vegetables and got the restaurant staff to shape it in the design of the Twelve Bar logo.













I strolled around town where it was good to see Andre representing to the fullest and that someone has been putting our stickers in the right places.

























And I also met another girl with crazy nails.













Finally from Tokyo it was back to beautiful London to pack everything up for the bounce to LA.

























The 1000% HF Be@rbrick will also be making the move with us. See you on the West Coast very soon. Right now I gotta get some rest like this dude.

Lucky For Some

For those of you who browse the delights of the Twelve Bar online store, or even read this humble blog, whilst listening to the deft selection of tunes found in the Twelve Bar Sessions, I would urge you to go straight to track 13 of this month's selection. For, though unlucky for some, this number proves to be fortune itself, as a simple click of the mouse can reveal a true musical gem.

Arnold Blair's "Trying To Get Next To You" is heralded as a rare groove classic, and extremely rare it is too. Information about this stunning slice of pre-disco soul from 1975 is hard to come by, other than the fact that it was produced and
co-written by Leroy Hutson and released on his Gemigo imprint, a subsidiary of Curtis Mayfield's incredibly fertile Curtom label. Blair never released an album, and probably not another single, and unfortunately the why's and wherefore's are lost in the musical mists of time, although he is featured as provider of backing vocals on a number of other Hutson productions, and probably did so on other Curtom releases also. A bit of painstaking research also revealed him as backing vocalist on a 1996 gospel album by the Reverend Patrick Henderson, "Saints Praise and Worship". So perhaps there is more information out there. That is for another time however, and what we are left with at the moment is a glimpse of just how good soul from that era was, and a track that simply melts the world away.

If you click one track forward on the sessions you can hear Hutson's Lucky Fellow, which is further proof of his own much over-looked genius, and again of the great music emanating from Chicago's Curtom stable. There is much to say about this label's output, not to mention Hutson himself, but this will have to wait for now as I know you are itching to reload track 13.

You Know How To Love Me

All this week whilst doing seven days of Twelve Bar sales in Tokyo I have been talking to various people around the planet about music. It all started when I had to ask my girl Catzie from Dork Mag in Illadelph who was behind the classic track Weekend Girl which she has playing on her My Space homepage. She proudly informed me that it was the S.O.S Band – I really should have remembered that I know - and it just so happened that whilst we were chatting she was in a room with my brother from another mother Anwar (who is shortly going to be opening his store Custody in Philly) who was watching old Jodeci videos on MTV.



















This led to an in depth discussion about New Jack Swing, Uptown Records and for some reason Jaheim (I think I am the only Jewish guy in the world who has all his albums apart from whoever it is that owns his label) and later in the day I found myself talking to my girl Amelian in Las Vegas about New Edition, Bobby Brown and Jermaine Dupri. At the same time I was chatting to my sister in Sydney about Wajeed from the Platinum Pied Pipers playing Chaka Khan during his set in Tokyo last week and to my old friend Dan in London about a D’Angelo and David Sanborn cover of Bill Withers’ “Use Me” that he had found on You Tube and sent through to me.










As un-profound as it may sound, it really does continue to amaze me that the one thing that brings everyone together is music which, as I sit here in my hotel room typing this blog entry at 1.30 in the morning, helps keep me inspired to keep pushing Twelve Bar forwards and I promise I do actually do some work from time to time.

On a less serious note, the tune that is blowing my mind at the moment is Phyllis Hyman’s You Know How To Love Me. It’s bigger than everything I’ve talked about this week so make sure you check for it as soon as possible and, if anybody wants me to send them an MP3, hit me up at appreciation@twelvebar.com.









More in the morning – I am getting back on this by dope demand.