Covered: "Eleanor Rigby"

“Really? A soul cover album of Beatles songs? The hell you thinking? That stuff is untouchable. Un-touch-a-ble. No.”

If Soulive didn’t have that conversation, they should smack someone. And if you agreed with that, get smacked — let 'em try.

“You still gonna? Well damn, good luck to you.”

The covers on the trio’s September release, Rubber Soulive — you’re fine with it now that you heard how perfectly the title works, right? No? Okay — have been licked Soulive smooth. They leave the songs’ brilliance in a new sonic sheen.

Alright — yes, sometimes they slobber.

But “Eleanor Rigby,” from Revolver. Mm mm mmm. The chorus. The chorus, the chorus, the chorus. The licking just feels right: it swells and breathes; it explores the regret in the song’s loneliness. Just close your eyes and let your chin swivel — and not to say, “No.”

The Beatles (album version):


Soulive (live):

I could’ve posted the album version — but their studio recordings always sound a little too shiny clean. And on that note: here’s download from archive.org of a taping of this year’s downright funky Sept. 11 show at the Wescott Theater in Syracuse, NY, which I attended. The “Eleanor Rigby” to “I Want You (She’s So Heavy)” thing — mm mm mmm.


(Photo: Arthur Shim for Royal Family Records. Note the black suit, skinny-black-tie hat tip to The Beatles' original style.)

Soul Spotlight: Kings Go Forth

If a dude named Black Wolf is a lead singer, your sound better be some real ish. And if, on top of that, the band hails from the soul music capital of the world… Milwaukee, Wisconsin — alright, alright, but seriously: Black Wolf.

And it is some ish. Damn your feet if they don’t start shuffling and your hips if they don’t start shaking to Kings Go Forth’s sound. The 10-piece band (two lead singers, a backup, bass, guitar, drums, congas, trumpet, trombone) can downright get down and ’ll tug you along with them until you follow for yourself, running. So you might as well damn your feet if they can’t move quick, too.

The drums on the band’s April album from Luaka Bop, The Outsiders are Back, often edge the music to nearly breathless — like the break-beats might break down and trip you at anytime. The horns are tight, some spike for your behind. The congas’ tickling make you realize how much you miss them. And the bass bumps its thumping ass right up next to the drums in the rhythm section’s forefront — hello, hip-hop era.

The rhythm section pushes you forward, but it’s the singers’ melodies grasping your hand. When Wolf’s spine arcs to hit the high ones, his African garb creases, his dreadlocks rattle and his paintbrush mustache’s bristles shiver in that sort of way that shows he just felt something. (Your own spine might mimic.) Apparently, they’ve got some occasional pitch problems—so if you’ve got some sensitive ears, well, damn. But really singing cracks your voice; it’s that passion breaking through.

“One Day” and “Don’t Take My Shadow” have been the showcased cuts. But to give your feet and hips a head’s up, you could also check out “I Don’t Love You Know More.” And when taking a breath on “Paradise Lost,” listen for the Wolf’s “hey hey hey-e-yeah-yeah” to learn why he deserves his dope name.

[Quick post script: Milwaukee apparently produced some truly soulful records in the days; they just didn’t have the reach of the tracks from the soul capitals.]

Bonus: Download a free Kings Go Forth performance, courtesy of NPR Music.



(Photo: Kings Go Forth's Facebook)

The Links: John Legend & The Roots' Performances

John Legend and The Roots are doing their thing publicizing their new album Wake Up!, which dropped a week ago tomorrow. That included streaming a live show at Terminal 5 in NYC over YouTube last Thursday, and having Spike Lee shoot it. It also included going on NPR's "World Cafe" the next day.

And as Legend tells the NPR host, "It's an album that's really made to be played live." The thing is, as he explains, Legend may not be able to tour with The Roots, who have jobs getting down daily on a Late Night with Jimmy Fallon, amidst other gigs. So these were as good an opportunity to hear the tracks live as you can get.

Now, if you're shaking your head and thinking, 'Damn, I missed it,' steady yourself. All the Thursday night videos are available online here, along with some of its own interviews too, and the NPR performance is here.

The sound quality on both (and the video quality on YouTube) are solid — just make sure you use some headphones or some speakers other than those on your computer.

(Photo: Screenshot from the YouTube performance)