I can see why many of you soul folk think this is the case, but Stepney wasn't doing anything that remarkable. Granted, he respun a handful of soul-makers, but he was using the same technological advances that most of 60s garage and psychadelia had been weaving into their music years before Cadet.
Cadet was a commercial flop -- those Ramsey Lewis records are straight cheeseball, even though I like some of them. It's no mystery why his records sat in the bin all of those years, though. Face it: much of the Rotary Connection output is filler (Stones cover anyone?) with the occasional moment of brilliance like "Black Gold." Basically, it's shampoo'd "Hair."
I can see why many of you soul folk think this is the case, but Stepney wasn't doing anything that remarkable. Granted, he respun a handful of soul-makers, but he was using the same technological advances that most of 60s garage and psychadelia had been weaving into their music years before Cadet.
Cadet was a commercial flop -- those Ramsey Lewis records are straight cheeseball, even though I like some of them. It's no mystery why his records sat in the bin all of those years, though. Face it: much of the Rotary Connection output is filler (Stones cover anyone?) with the occasional moment of brilliance like "Black Gold." Basically, it's shampoo'd "Hair."
The legacy of Stepney is finding Minnie Riperton.
I can agree. But I can also disagree. He did not innovate the technology he used, but he had his own sound. He brought the right talent together/worked with good artists rather than doing Lawrence Welk albums (no disrespect Dizzy). Whether Cadet had commercial success or if Ramsey Lewis holds any artistic merit is besides the point. It's all in the sound. His arrangements are great, and he was able to give cover songs a whole new dimension and present them in an entirely new light--something that was not common practice. (Did he give birth to the remix?) He just did shit right with what he had, and went above and beyond where most would normally go.
I can see why many of you soul folk think this is the case, but Stepney wasn't doing anything that remarkable. Granted, he respun a handful of soul-makers, but he was using the same technological advances that most of 60s garage and psychadelia had been weaving into their music years before Cadet.
Cadet was a commercial flop -- those Ramsey Lewis records are straight cheeseball, even though I like some of them. It's no mystery why his records sat in the bin all of those years, though. Face it: much of the Rotary Connection output is filler (Stones cover anyone?) with the occasional moment of brilliance like "Black Gold." Basically, it's shampoo'd "Hair."
This could be the most blasphemous thing I have ever read on SoulStrut.
I can see why many of you soul folk think this is the case, but Stepney wasn't doing anything that remarkable. Granted, he respun a handful of soul-makers, but he was using the same technological advances that most of 60s garage and psychadelia had been weaving into their music years before Cadet.
Cadet was a commercial flop -- those Ramsey Lewis records are straight cheeseball, even though I like some of them. It's no mystery why his records sat in the bin all of those years, though. Face it: much of the Rotary Connection output is filler (Stones cover anyone?) with the occasional moment of brilliance like "Black Gold." Basically, it's shampoo'd "Hair."
i found that record for the first time 3 months ago.
everything with CS production deserves attention.
but this may be the best i've heard.
Well, I don't think Stepney's quite as unimpeachable as some people do--in fact, I only really like a handful of his records--but this is one of his very best.
I also like the Terry Callier records, Marlena Shaw and the Howlin' Wolf album... which is much better than the two Muddy Waters LPs on Concept.
i found that record for the first time 3 months ago.
everything with CS production deserves attention.
but this may be the best i've heard.
Well, I don't think Stepney's quite as unimpeachable as some people do--in fact, I only really like a handful of his records--but this is one of his very best.
I also like the Terry Callier records, Marlena Shaw and the Howlin' Wolf album... which is much better than the two Muddy Waters LPs on Concept.
agreed.
the electric mud record is saved only by the insert featuring Mr. Morganfield's perm sequence for the gatefold shot.
that said there are certain records i listen to for production elements independent of the overall composition.
i found that record for the first time 3 months ago.
everything with CS production deserves attention.
but this may be the best i've heard.
Well, I don't think Stepney's quite as unimpeachable as some people do--in fact, I only really like a handful of his records--but this is one of his very best.
I also like the Terry Callier records, Marlena Shaw and the Howlin' Wolf album... which is much better than the two Muddy Waters LPs on Concept.
agreed.
the electric mud record is saved only by the insert featuring Mr. Morganfield's perm sequence for the gatefold shot.
that said there are certain records i listen to for production elements independent of the overall composition.
Speaking of Minnie, wasn't that a great scene in Inherent Vice when they were in a doctor's office and "Les Fleurs" was playing and right there working as a receptionist was her daughter?
Comments
how dare you make a statement about music we can both agree on.
ahh now thats better
Respect & Sunshine of Your Love > Black Gold of the Sun
I can see why many of you soul folk think this is the case, but Stepney wasn't doing anything that remarkable. Granted, he respun a handful of soul-makers, but he was using the same technological advances that most of 60s garage and psychadelia had been weaving into their music years before Cadet.
Cadet was a commercial flop -- those Ramsey Lewis records are straight cheeseball, even though I like some of them. It's no mystery why his records sat in the bin all of those years, though. Face it: much of the Rotary Connection output is filler (Stones cover anyone?) with the occasional moment of brilliance like "Black Gold." Basically, it's shampoo'd "Hair."
The legacy of Stepney is finding Minnie Riperton.
I can agree. But I can also disagree.
He did not innovate the technology he used, but he had his own sound. He brought the right talent together/worked with good artists rather than doing Lawrence Welk albums (no disrespect Dizzy). Whether Cadet had commercial success or if Ramsey Lewis holds any artistic merit is besides the point. It's all in the sound. His arrangements are great, and he was able to give cover songs a whole new dimension and present them in an entirely new light--something that was not common practice. (Did he give birth to the remix?) He just did shit right with what he had, and went above and beyond where most would normally go.
For artistic merit -> Come to my Garden
This could be the most blasphemous thing I have ever read on SoulStrut.
everything with CS production deserves attention.
but this may be the best i've heard.
WELCOME TO SOULSTRUT !!
..................plaese stay
Well, I don't think Stepney's quite as unimpeachable as some people do--in fact, I only really like a handful of his records--but this is one of his very best.
I also like the Terry Callier records, Marlena Shaw and the Howlin' Wolf album... which is much better than the two Muddy Waters LPs on Concept.
agreed.
the electric mud record is saved only by the insert featuring Mr. Morganfield's perm sequence for the gatefold shot.
that said there are certain records i listen to for production elements independent of the overall composition.
So you're saying you collect breaks?
among other thangs
and the one where they did all covers
awww hell I Love all their stuff
i think you can see minnie passing a joint on the cover of first lp
what's better than that?
B O I N G !