Doctor Mooney's 115th Dream: May 2010

Shades of Heartache: Doris Duke’s “I Don’t Care”

Doris Duke’s killer, long-lost, deep, southern soul gem I’m A Loser is a women’s album. Taken from the liner notes: Every woman who hears this album will have the emotional shock of the forgotten past, being vividly brought back into focus; to the point that they will relive the sadness, jealousy, anger and heartbreak, that once was theirs…

Soul connoisseur, Dave Godin, the man responsible for introducing Mick Jagger to ‘black music,’ called I’m A Loser, “the best album I have ever heard” and after a few listens this hard hitting LP is rising fast on the asylum charts.

Recorded in 1969 and produced by former Atlantic Records writer/producer Jerry "Swamp Dogg" Williams Jr. I’m A Loser was recorded at Phil Walden's Macon, Georgia Capricorn Studios and was later issued on Canyon Records in 1970: “I [Jerry Williams] walked the streets of New York for six months trying to give it away, then onto Los Angeles. I totally believed in this concept when I walked into Wally Roker's Canyon Records. He played it once and said he had to have it. I damn near paid him.”

The one cut that stands hand and stethoscope above the rest is the hard-hitting “I Don’t Care.” This track is a one-of-a-kind treasure that will send chills down your spine – an unequaled, gripping trifecta of heart-wrenching emotion: singing, writing and razor-sharp production.

The Funky Fox has the uncanny ability to channel pain and heartbreak through her songs. “I Don’t Care” begins with a woman leaving the city from the deep south and ends with her contemplating suicide after adopting the world’s oldest profession: "Then I met a guy as smooth as silk, in a midtown bar / He said with my good looks, I'd go very far // I didn't know what he meant / I thought he was heaven-sent // Until I found out his sweet talkin' / Added up to street walking".

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Doris Duke…

MP3: Doris Duke – “I Don't Care Anymore”
Canyon Records LP 7704
Written by: Jerry Williams, Jr. & Gary Bonds & Maurice Gimbel
Jerry Williams Music/No Exit Music/Wally Roker Music; Bmi

MORE PRESCRIPTIONS
Hidden Charms of The Undertones’ 'Teenage Kicks' EP
Eli ‘Paperboy’ Reed, Soul’s Prodigal Son, Readies For Launch on “Explosion”
The Black Keys Slay Peel Session at Old Corn Exchange
The Lone Star Seduction of Townes Van Zandt’s “Waiting Around To Die”
The Gypsy Tinged Soul of The Mumlers, "Don’t Throw Me Away"

Get the goods at emusic.com or amazon.com

At first listen, The Undertones’ debut 4-track, rollicking hormonal fueled Teenage Kicks E.P. will sock you in the gut and then make you weep countless waterlogged tears of jubilation. This is the kind of record that seizes moments – the kind you spin countless times in a row. In fact, BBC Radio 1 DJ John Peel played the potent elixir of “Teenage Kicks” back to back on his September 12, 1978 broadcast: ‘wasn’t that the most wonderful record you’ve heard in your life?’ then Peel played it again.

Belfast’s crown prince of punk, Terri Hooley signed The Undertones - a Derry, Northern Ireland based group - to his Good Vibrations record label in 1978, “I wasn’t sure about them because nobody liked them. People crossed the road just to spit at Feargal Sharkey.”

On June 16th, 1978, The five-piece cut the first-rate Teenage Kicks E.P. at Wizard Studios in Belfast during a rip roaring one day session, for £100 plus an £8 VAT. Produced by Dave Smyth, the E.P. greets the listener with a quavering belch of pulverizing, yet lackadasical, heart-wrenching teenage amplified, garagescuzz-pop mania; a white-hot collection of magnificent two-minute, three chord tunes. Such a description ought to get yer heart racing in your cage because “Teenage Kicks,” “True Confessions,” “Smarter Than You” and “Emergency Cases” are a collection of pure punk-pop treasures. You are in for a treat if these are new to yer ears.

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Feargal Sharkey (Lead Vocals)
John O'Neill (Rhythm Guitar)
Damien O'Neill (Lead Guitar,Backing)
Billy Doherty (Drums)
Mickey Bradley (Bass,Backing Vocals)

GOT4 - The Undertones - Teenage Kicks 7"

Cover Printed By: Print Workshop
Cover Concept and Part Layout: Terri Hooley
Photographs and Part Layout: Paddy Simms
Roadie: Bernie McNamey
Recorded at: Wizard Studios, Belfast

Enjoy these 4cc of The Undertones…

MP3: “Teenage Kicks”
MP3: “Smarter Than You”
MP3: “True Confessions”
MP3: “Emergency Cases”

MORE PRESCRIPTIONS
Eli ‘Paperboy’ Reed, Soul’s Prodigal Son, Readies For Launch on “Explosion”
The Black Keys Slay Peel Session at Old Corn Exchange
The Lone Star Seduction of Townes Van Zandt’s “Waiting Around To Die”
The Gypsy Tinged Soul of The Mumlers, "Don’t Throw Me Away"
The Heavy Unleash Sinister “Sixteen”

Get the goods at emusic.com or amazon.com

Be advised that Boston-bred, Brooklyn-based soulster Eli 'Paperboy' Reed and his zippy seven-piece band, The True Loves have created a fiery barnburner that packs quite a wallop. On “Explosion” - the closing track of their upcoming major label debut on Capitol Records, the Paperboy channels the swagger of Otis and gunpowder wail of Pickett, while his band delivers a 100-mph soul drenched treatment of ferocious punchy horn blasts, pounding drums and frantic turbulent grooves. It may sound like a revival, but Eli is trying to make it all his own, “For me, it’s all about writing pop songs. Soul music was the greatest pop music of the 20th century and its influence is so far-reaching. When I pick up a guitar to write a song, the influence of the music I love invariably comes out. I can’t sing or write any other way than I do.” Gonna be an explosion, indeed.

Come and Get It is out August 10 in the U.S.

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Eli 'Paperboy' Reed and The True Loves...
MP3: Eli 'Paperboy' Reed and The True Loves – “Explosion”

MORE PRESCRIPTIONS
The Black Keys Slay Peel Session at Old Corn Exchange
The Lone Star Seduction of Townes Van Zandt’s “Waiting Around To Die”
The Gypsy Tinged Soul of The Mumlers, "Don’t Throw Me Away"
The Heavy Unleash Sinister “Sixteen”
Run Away with Taj Mahal’s “Leaving Trunk”

Get the goods at emusic.com or amazon.com

This is a good one, patients.

To celebrate the release of The Black Keys’ sensational new long player, Brothers, the doctors and nursemaids would like to open up the asylum vaults and serve up a slice of pounding glycerin-laced distortion from the wicked messengers’ Peel Session at the Old Corn Exchange in Brighton, England.

In 2003, The Black Keys took their rock 'n blues menagerie to the UK and recorded three Peel Sessions (Maide Vale 4, Peel Acres, Old Corn Exchange) for the BBC’s patron saint of disc jockeys, John Peel.

The Old Corn Exchange session exhibits all that is great about the primitive, soul-squeezed two-ring stomp of The Black Keys: lusting midnight moans, raunchy fuzzed-out licks and irresistible soulful grit. Throughout the seven song set their double barreled, locomotion blues chug bleeds crude urgent stomps and overwhelming throbbing blasts of distorted blazing energy – the kind of bad-assed, junkyard scuzz that busts cracks in the foundation, depletes the ozone and taunts the listeners’ eardrums.

This knock out set is a total success on all fronts, especially after the full-blown, rusted nail hollers of “Heavy Soul.” John Peel closes out the show by saying, “It’s not in my contract to come and speak to you at after the bands have played, but I think you’ll agree with me, what is so great about these two, is they just don’t know how good they are.” Indeed.

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy these 8cc of The Black Keys…

October 28, 2003
Producer - Andy Rogers
Engineer - Jamie Hart
Studio – Old Corn Exchange

The Black Keys are Dan Auerbach and Patrick Carney

MP3: John Peel Intro
MP3: “Thickfreakness”
MP3: “Busted”
MP3: “Yearnin’”
MP3: “The Breaks”
MP3: “Have Love Will Travel”
MP3: “No Trust”
MP3: “Heavy Soul”

MORE PRESCRIPTIONS
The Lone Star Seduction of Townes Van Zandt’s “Waiting Around To Die”
The Gypsy Tinged Soul of The Mumlers, "Don’t Throw Me Away"
The Heavy Unleash Sinister “Sixteen”
Run Away with Taj Mahal’s “Leaving Trunk”
Is Muddy Waters Your Doctor? He Thinks So

Those who kneel before the altar of Townes Van Zandt know that “Waiting Around To Die” is an unquestioned masterstroke, an eerie ballad of 190 proof cowboy soul and dusty prairie romance. If you are unfamiliar with the celebrated bare-boned gutbucket balladeer, he can be best summed up by Steve Earle, "Townes Van Zandt is the best songwriter in the whole world. And I'll stand on Bob Dylan's coffee table in my cowboy boots and say that." Of course, Townes later said, "I've met Bob Dylan and his bodyguards, and I don't think Steve [Earle] could get anywhere near his coffee table."

After penning a varied assortment of talking blues ditties, “Waiting Around To Die” was Townes’ first attempt at writing a serious song. Originally appearing on his debut LP, For The Sake of the Song in 1968, the tune, along with two others were rerecorded for his stunning self-titled set in 1969.

The magic of Townes Van Zandt reads like a roadmap to the dusty backroads of excess and heartbreak. Townes recalls the inspiration for the song: “I talked to this old man for a while,” continuing, “and he kinda put out these vibrations. I was sitting at the bar of the Jester Lounge one afternoon drinking beer, thinking about him, and just wrote it down.” On “Waiting Around To Die” Townes subscribes to the life of a drifter, never up for pardon from his boxcar; where shadows are your friend and booze and codeine are his muse. The haunting beauty, mournful finger picking and ten-gallon, weather-beaten Texas groan on “Waiting Around To Die” offers a straightforward and revealing look at a dark side of life. Put simply, a one-of-a-kind tune, one of the finest cuts that TVZ laid down, an essential listen.

“Waiting Around To Die”
Written by: Townes Van Zandt

Sometimes I don't know where this dirty road is taking me
Sometimes I can't even see the reason why
I guess I keep on gamblin', lots of booze and lots of ramblin'
It's easier than just a-waitin' 'round to die

One-time friends I had a ma, I even had a pa
He beat her with a belt once cause she cried
She told him to take care of me, she headed down to Tennessee
It's easier than just a-waitin' 'round to die

I came of age and found a girl in a Tuscaloosa bar
She cleaned me out and hit it on the sly
I tried to kill the pain, I bought some wine and hopped a train
Seemed easier than just a-waitin' 'round to die

A friend said he knew where some easy money was
We robbed a man and brother did we fly
The posse caught up with me, drug me back to Muskogee
It's two long years, just a-waitin' 'round to die

Now I'm out of prison, I got me a friend at last
He don't steal or cheat or drink or lie
His name's codeine, he's the nicest thing I've seen
Together we're gonna wait around and die

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Townes Van Zandt…

MP3: Townes Van Zandt – “Waiting Around To Die”

MORE PRESCRIPTIONS
The Gypsy Tinged Soul of The Mumlers, "Don’t Throw Me Away"
The Heavy Unleash Sinister “Sixteen”
Run Away with Taj Mahal’s “Leaving Trunk”
Is Muddy Waters Your Doctor? He Thinks So

The Mumlers deserve a feverish round of applause for the impressive follow-up to their 11-song Galaxia Records released debut long player, Don’t Throw Me Away. Recorded at San Francisco’s Ruminator Audio Studio, the album is filled to the gills with loose salvation army sounds that are doused in haunted swathes of first rank cool and rooted in the eerie colors of the blues, soul, folk, and country.

The beauty of the San Jose sextet’s sophomore release is that every track might end up being the favorite of the gal next to you. But, the shining light for the doctors and nursemaids is the hypnotizing slow cooker, title track, “Don’t Throw Me Away.” This is a song with guts: chief songwriter, vocalist Will Sprott and band channel the macabre spirit of Victorian-era trickster, William H. Mumler with a parade of slinking Ouija board grooves and a wistful cascading guitar line that swing like a pendulum. Towards the last quarter of the song the mercury rises as Sprott pleads in a chilling quicksilver snarl, “Won't you change your mind / How could you ever want to be so unkind?” A mesmerizing strangled mess of emotions “Don’t Throw Me Away” is a pure triumph and will be sure to clear your mind of any clutter.

“Don't Throw Me Away”
Written by: Will Sprott

Oh love, don't throw me away
How can you be so unkind?
My whole life
I'm going to try to change your mind

Oh love, stay here with me
Just one more night
Tomorrow the sun is going to rise
& the boat that we rowed through our lives will capsize

You say you don't want me
You're talking to a black hole
Your wicked words will never find my ears

But if you say you want to love me
& ease my soul
I would wipe away all of my salty tears

Oh love, don't throw me away
How can you be so unkind?
My whole life
I'm going to try to change your mind

Won't you change your mind
How could you ever want to be so unkind?
Please change your mind

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of The Mumlers…

MP3: The Mumlers – “Don’t Throw Me Away”

MORE PRESCRIPTIONS
The Heavy Unleash Sinister “Sixteen”
Run Away with Taj Mahal’s “Leaving Trunk”
Is Muddy Waters Your Doctor? He Thinks So
’Get Back’: The Beatles As Nature Intended

After one spin of The Heavy’s unmerciful “Sixteen,” one will be quick to recall the spooky stomp of Screamin’ Jay Hawkins “I Put A Spell On You” or imagine a fairy tale Sonics recording session at Stax. The lead single off of last year’s The House That Dirt Built tells the story of a sinful 16-year old schoolgirl and Satan. "What the devil wants/Believe the devil gonna get." The fact of the matter is that this quintet from Noid, England serves up a filthy love potion of neo-retro soul, covered in black soot and laced with back alley grooves. A noisy knockabout that swings like mad and makes you wonder how they charmed the hoodoo man with such a bewitching blend of psych-soul.

The Heavy are:
Vocals: Swaby
Guitar: Dan "T" Taylor
Bass: Spencer "Big Daddy Spence" Page
Drums: Chris Ellul

I saw her dancin' with the devil
And he was wearing my shoe
Black and white Jordan leathers
And she was looking for abuse
Now she looked just like heaven
But her mind reeked of hell
Now I know I shouldn't be telling
But I guess I guess if you know her well
She's the kind of girl
She can believe me when I say, she can

She's already ready there, and already there.

Now what the devil want
Believe the devil gonna get
He gonna stretch her out
Like a tape in a cassette
And when you see these kinda girls
They all look big as fun (???)
But the devil know the devil know
There is only one thing tonight she gonna suck
Cuz she wont no she cant
Believe me when I say
She cant
She's already there
She's already there

We got sixteen year olds acting like they forty year olds
Yo we need to do it and we need to re-clense the souls
I have an idea, lets take rich style high tronic system and we crush em out

Cuz she wont she cant
Believe me when I say
She's already there
She's already there.

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of The Heavy...

MP3: The Heavy - “Sixteen”

After a short stint with Ry Cooder in folk-blues band The Rising Sons, Taj Mahal hit Studio 3 at Columbia Records to record his dynamic downhome David Rubinson-produced debut LP with Jesse Ed Davis (lead guitar), Ry Cooder (rhythm guitar), Gary Gilmore (bass) and Chuck Blakwell (drums).

It’s “Leaving Trunk,” the ruthless Sleepy John Estes penned opening track that will hit you straight in the gut like a barbwire-wrapped sledgehammer. The gritty delta jam immediately invokes a vivid portrait of bandits hotfooting it into town, swilling Mexican wine, armed to the teeth with groo-vay electricity.

The tune lures you in with a pair of twin devils – a stormy harmonica line blown out by Taj Mahal and Jesse Ed Davis’ filthy lick that surely hasn’t bathed in days. Once Taj’s tenacious holler kicks in you will be sure to be clapping yer hands and stomping yer feet.
Clocking in at nearly five minutes, this relentlessly powerful littly ditty brings true meaning to the saying, the blues had a baby and they named it Rock ‘n Roll.

“Leaving Trunk”
Written by: Sleepy John Estes

I went upstairs to pack my leavin' trunk
I ain't see no blues, whiskey made me sloppy drunk
I ain't never seen no whiskey, the blues made me sloppy drunk
I'm going back to Memphis babe, where I'll have much better luck

Lookout Mama you know you asked me to be your King
She said you kiddin' man, if you want it, keep it hid
But please don't let my husband, my main man catch you here
Please don't let my main man, my husband catch you here

The blues are mushed up into three different ways
One said go the other two said stay
I woke up this mornin' with the blues three different ways
You know one say go "baby I want to hang up", the other two said stay

Lead 1

Wake up mama I got something to tell you
You know I'm a man who love to sing the blues
Now you got to wake up baby, mama now, I got something; I got something to tell you
Well you know I'm the man, oh yes and I love to sing the blues

Come on Davis
Come on, come on

Lead 2

I went upstairs to pack my leavin' trunk, you know
I ain't see no blues or whiskey made me sloppy drunk
I ain't never seen no whiskey, the blues made me sloppy drunk
I go home baby and I lay down on the lawn

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Taj…

MP3: “Leaving Trunk”

When Muddy Waters puffs his chest and offers up a double dose of love you take it. He does just that when he socks it home on the rare 1960 Chess single “I’m Your Doctor,” a true gem of rusted wire blues fury.

Released during the Mojo Man’s second decade as a recording artist and during the year in which he released five tasty singles, a powerful tribute to Big Bill Broonzy and the big boss blues of Live at Newport. “I’m Your Doctor” is a deep groove fever, everything you would expect from a killer Muddy tune: foot stomping urban cured tones, white-hot fervent brooding, stinging rhythm; a potent elixir of magic medicine. Entwined with Muddy’s slashing tombstone bullets are sharp waves of spicy harp assaults by Little Walter. The kind of dynamic darting tones that tear through the bullseye each and every time.

You know when Muddy unleashes the fiery order, “Woman, I’m your doctor and girl I will take care of you” that he is, indeed, your doctor.

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Muddy…

Chess 1752 (1960)
Side A MP3: “I'm Your Doctor”
Side B: Read Way Back

At an asylum tea party get down one of our trusty patients lent us a copy of The Beatles first bootleg called Kum Back. Now our jukebox crucifix, pendulum hands and rock ‘n roll stethoscopes are swingin' as the rough and ragged sounds of the Get Back sessions are whistlin' through the asylum halls. If yer not familiar with Kum Back, it was created from an early acetate of the shelved Get Back album. Later known as Let It Be after the symphonic madman Phil Spector took over the helm.

Patients, we don't have the Kum Back bootleg for you today. But, to celebrate the 40th Anniversary of Let It Be we have the four-ringed electric circus, known as Get Back: With Don't Let Me Down and 12 Other Songs. According to Beatles folklore, the album was produced by Glyn Johns and taken from that one month rock 'n roll revival session in 1969 when The Beatles recorded every waking moment of their, back to basics album. Of course you'll recognize the six years past Please Please Me-esque cover. You know the whole story.

"The tape ended up like the bootleg version. We let Glyn Johns remix it, we didn't want to know. We just left it to him and said, 'Here, do it.' It's the first time since the first album that we didn't have anything to do with it. None of us could be bothered going in. Everybody was probably thinking, 'Well, I'm not going to work on it.' Nobody could face looking at it."

- John Lennon

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy these 14cc of Get Back, Version III...

Side One

MP3: “One After 909”
MP3: “Rocker/Save The Last Dance/Don’t Let Me Down”
MP3: “Don't Let Me Down”
MP3: “Dig A Pony”
MP3: “I’ve Got A Feeling”
MP3: “Get Back”
MP3: “Let It Be”

Side Two

MP3: “For You Blue”
MP3: “Two Of Us/Maggie Mae”
MP3: “Dig It”
MP3: “Long and Winding Road”
MP3: “I Me Mine”
MP3: “Across The Universe”
MP3: “Get Back (Reprise)”

"I'd like to say thank you on behalf of the group and ourselves, and I hope we passed the audition."

Released in 1960, the Sue Records single “A Fool In Love” b/w "The Way You Love Me" was the starting line for the funked-up Ike & Tina hit parade. The single rode the R&B charts all the way to #2 and hit #27 on the Pop charts. According to lore, leading up to this session, Anna Mae Bullock, then known as Little Ann was a member of the Ikettes. Ike had originally written "A Fool In Love" with a male vocalist in mind but after the lead vocalist missed the session, a heavily pregnant Tina took over and recorded the soul chantey as a demo. The result: a dose of Tina’s feral growl and unrelenting gravel jagged soul that sizzles and pops with ferocious energy. The song marked the beginning of a succession of hits by the Ike & Tina Turner Revue. Give 'er a listen and let us know yer thoughts patients. Is there any doubt that this soul chug will bring you straight to your knees.

“A Fool In Love” Lyrics
Written by: Ike Turner

Theres something on my mind
Wont somebody please, please tell me whats wrong
You’re just a fool, you know you’re in love
You’ve got to face it to live in this world
You take the good along with the bad
Sometimes you’re happy and sometimes you’e sad
You know you love him, you cant understand
Why he treats you like he do when hes such a good man
He’s got me smiling when I should be ashamed
Got me laughing when my heart is in pain
Oh no, I must be a fool
Cause I do anything you ask me to
Without my man I don’t wanna live
You think I’m lying but I’m telling you like it is
Hes got my nose open and thats no lie
And I, I’m gonna keep him satisfied

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of the Ike & Tina Turner Revue...

Side A MP3: “A Fool In Love"
Side B "The Way You Love Me"

The veiled seduction knife-edged swagger of Bolan's boogie is back a huh-huh. That's right patients, Marc Bolan has chained our hearts to our rock ‘n roll stethoscopes and "T.Rextasy" is, again, in full bloom here... causing the doctors and nursemaids here at the asylum to put dashes of glitter on our rock 'n roll stethoscopes.

King of the Asylum Commeth

Bolan's rock 'n roll turing point happened when he shortened the name from Tyrannosaurus Rex to the dino-ragin' T. Rex and released "Ride A White Swan." But it was "Hot Love" that changed it all. Released as a four-piece, in 1971, the 12-bar bebopin' electric swinging sounds of T.Rex's second single "Hot Love" became their first number one hit; sittin' on the toppa the U.K. charts for six weeks (March-April 71). The two original B-Sides: "Woodland Rock" and "King Of The Mountain Cometh," both non-album tracks are ablaze with stinging cosmic grooves that radiate magic medicine.

On "Hot Love" a splendid time is guaranteed for all... the mystic peddler and his band create some six-string glitter boogie grooves that we can't get outta the speakers here at the asylum press office. Think a fuzzed-up folk-pop-nursery rhyme with a la la la la la la la singalong finale in the vein of "Hey Jude".

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy these 3cc of T.Rex...

Side A MP3: “Hot Love”

Side B MP3: “Woodland Rock"
Side B MP3: “ Woodland Rock"
Side B:"King Of The Mountain Cometh "

How are you doing out there? ... I said, how ARE, you DOING, out THERE patients. When the doctors and nursemaids here at the asylum need a grand dose of live soul we don't turn to the first James Brown Live at the Apollo record, Jackie Wilson Live at the Copa or even Otis Redding's Live In Europe. Indeed, all are great performances, but, our rock 'n roll stethoscopes listen to the real deal that is raw in emotion and gritty in delivery. That album is Sam Cooke's Live at the Harlem Square Club. That's right, when we are singin' the standards in the shower we like to acknowledge Sam Cooke as a primary influence. Patients, check all you know about Sam Cooke at the asylum door - this album is sure to blow yer minds and have you begging for mercy.

Recorded in a, well over capacity, jam-packed Miami night club on Jan. 12, 1963 the Harlem Square performance captures Mr. Soul at his best, his sharpest. Flanked by King Kurtis and a cast of gritty players, Cooke delivers a hit of raw dangerous sexual electricity– the kind you contact high off of by just being in the room.

RCA executive Ray Geller stated, "They'd clearly been recorded with the idea of putting together a live album. But Cooke kept having hit after hit, and apparently the release of the Harlem Square material was put off in favor of studio albums spotlighting the hits. A year and a half after it was recorded, they taped 'Sam Cooke at the Copa' and decided to put that out instead. Then Cooke was murdered, in December 1964, and the Harlem Square tapes stayed in the can. Over the years, all the people at RCA who knew the tapes existed left the company. The material was easy to find when I went to work at RCA and started snooping around."

There are two versions of this performance on CD: One Night Stand: Sam Cooke At The Harlem Square Club was released in 2005, but fails to capture the room in the same way that the this recording does-the original 1985 release. Don't fight it patients, you wanna move and groove to this soul classic.

Sam Cooke – vocals
King Curtis – saxophone
Clifton White – guitar
Cornell Dupree – guitar
Jimmy Lewis – bass
Albert "June" Gardner – drums
Tate Houston – saxophone
George Stubbs – Piano

“Right now, ladies and gentlemen, we’d like to get ready to introduce the star of our show, the young man you’ve all been waiting for, Mister Soul, so what d’you say let’s all get together and welcome him to the stand with a great big hand, how ‘bout it for Sam Cooke.”

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy these 9cc of Sam Cooke...

MP3: “Feel It” (Sam Cooke) – 3:46
MP3: “Chain Gang” (Cooke) – 3:11
MP3: “Cupid” (Cooke) – 2:46
MP3: “Medley: It's All Right/For Sentimental Reasons” – 5:11
MP3: “Twistin' the Night Away” (Cooke) – 4:19
MP3: “Somebody Have Mercy” (Cooke) – 4:45
MP3: “Bring It On Home to Me” (Cooke) – 5:37
MP3: “Nothing Can Change This Love” (Cooke) – 3:45
MP3: “Having a Party” (Cooke) – 4:09

Shades of Heartache: Doris Duke’s “I Don’t Care”

Hidden Charms of The Undertones’ 'Teenage Kicks' EP

Eli ‘Paperboy’ Reed, Soul’s Prodigal Son, Readies For Launch on “Explosion”

The Black Keys Slay Peel Session at Old Corn Exchange

The Lone Star Seduction of Townes Van Zandt’s “Waiting Around To Die”

The Gypsy Tinged Soul of The Mumlers, "Don’t Throw Me Away"

The Heavy Unleash Sinister “Sixteen”

Run Away with Taj Mahal’s “Leaving Trunk”

Is Muddy Waters Your Doctor? He Thinks So

‘Get Back’: The Beatles As Nature Intended

The Ike & Tina Turner Revue’s Scorching Debut Single, “A Fool In Love”

“Hot Love” or How the Electric Boogie Launched T.Rextasy

Better Than A One Night Stand: Sam Cooke Live at The Harlem Square Club

Find Yer Fix