sweartotellthetruth

October 27, 2013

Blues and Rhythm Show 103 on 93.3 CFMU (Hamilton, Ontario)

Filed under: Uncategorized — Tags: , , , , , , , , , , — cmcompton @ 4:54 pm

Swear to Tell the Truth for Tuesday, October 29th, 2013 (1:00-2:30 pm)

We have not programmed a lot of white country blues week to week. Recently, we took a look at our composite playlist and recognized how little of this music we’d managed to fit into the show. We suggested last week we might do a feature on Western Swing but the feature we have put together would be better characterized as Old Timey, covering the period 1924-1935. White Country Blues serve some of the same functions as blues in the African-American tradition. They serve at times  as ironic commentary, humour, and even social protest. Some singers, like Jimmy Davis, Gene Autry and Cliff Carlisle, specialized, at least part of the time, in “blue” blues. White Country Blues also at times betrayed a fascination with African American music, speech and behaviour. Some white blues amounted to parody of black style, like the minstrel tradition, and, as with the minstrel tradition, some parody appeared to be sympathetic, even, at times, admiring, and some contemptuous and hateful. 

In the set we’ve prepared we haven’t sought out the songs that were topical or salacious. It’s a selection of blues that we hope will illustrate simply that blues was a significant part of Old Time or Hillbilly music, beside the ballads and breakdowns. 

On the Show

Lonnie Johnson – Bukka White – Big Chief Ellis  – Morgan Davis – Uncle Dave Macon – Frank Hutchinson – Dock Boggs – Charlie Poole & the North Carolina Ramblers – Riley Puckett – Holmes Brothers – and many others

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until November 26th.

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (November 5th)

Undetermined as of today. We’ll update.

Errors and Omissions

Last week (BRS 102), we played Curtis Jones, but we failed to mention that, like Memphis Slim and Eddie Boyd, Curtis Jones moved to Europe in the 1960s and made records there. He also made a well-received album for Delmark, in Chicago.

We experienced several skips on the CD track we played by Curtis Jones, “Bad Avenue Blues”. The CD players at the station are quite sensitive. We examined the surface of the disc to see a flaw or anything on the surface to cause the problem but couldn’t find the source of the malfunction.

cmc

 
 

October 21, 2013

Blues and Rhythm Show 102 on 93.3 CFMU (Hamilton, Ontario)

Filed under: Uncategorized — Tags: , , , , , , , , , — cmcompton @ 5:19 am

Swear to Tell the Truth for Tuesday, October 22nd, 2013 (1:00-2:30 pm)

This week, we have a feature devoted to piano blues of the 1930s, 1929-1941, to be precise. The end of the 1920s saw a recording trend towards piano-guitar duos but, by the end of the thirties, larger combos prevailed and, though several of the leading figures on records were piano players, the piano may seem to have been less important as a lead or solo instrument in blues than at the beginning of the decade.  At the same time, the piano was prominent as part of an ensemble of  accompanying instruments on records by Big Bill, Memphis Minnie, Bumble Bee Slim, Tampa Red and many others in the second half of the 1930s.

Most blues recording in this era was controlled by a handful of individuals employed by or contracted to record companies, who among themselves determined who made blues records and what combination of instruments would be used on recordings. Lester Melrose controlled blues recording at both at Victor-Bluebird and at Columbia’s various subsidiaries. We don’t know to what extent the combos who made records reflected the way music was heard live. We do know that the Harlem Hamfats are said to have been a studio group who performed together rarely, if ever, live. In twenty years, the phenomenon of live music recreating recordings would be well under way. That development was in its infancy in the 1930s but the men controlling the studios for the three big companies were already utilizing certain performers, including piano players,  over and over, as studio musicians. This practice produced a certain sameness and predictability to recording sessions but the system was overturned after the war by the rise of the many independent labels recording blues and R&B–even though some of these companies would adopt a similar approach to the majors.

Our feature will look at some of the piano players who appeared most often as solo artists or leaders as well as at some players who were usually employed as accompanists to other artists.

We’ll also play a couple of numbers by preachers who made records, some West Coast bluesmen who are not household names, and a few minutes of soul out of Memphis.

On the Show:

Elder Solomon Lightfoot Michaux – King Solomon –  Al King – Lee Green – Lucille Bogan – Lil Johnson – Curtis Jones – Barbara and the Browns – Rita Chiarelli

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until November 19th.

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (October 29th)

Undetermined as of today. We’ll update.

 cmc

October 14, 2013

Blues and Rhythm Show 101 on 93.3 CFMU (Hamilton, Ontario)

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Swear to Tell the Truth for Tuesday, October 15th, 2013 (1:00-2:30 pm)

This week’s program begins with some blues, including several instrumentals. The second part of the show is devoted to gospel soloists, mostly between 1937 and around 1959.

The 1950s saw the proliferation of outstanding solo gospel singers on recordings and in live performances, singers like Mahalia Jackson, Brother Joe May, Bessie Griffin, Robert Anderson and others. Some of these performers usually recorded without vocal accompaniment; some often recorded with backing singers or choirs; and still others were members of vocal groups like the Caravans or the Roberta Martin Singers that featured the different members of the group as soloists. In fact, we are using the term simply for its convenience to identify gospel figures who have been recognized as solo performers rather more than they have as members of a particular group.

It’s probably because so many gospel acts have been quartets, groups or choirs that the distinction has been made but singers in all styles of gospel have begun their public careers singing solo in church or fronting a choir.

Records by solo gospel singers began not long after the first African-American quartets and groups were recorded, to the mid-1920s, but the emergence of Rosetta Tharpe and Mahalia Jackson in the years after World War II has the appearance of something new.

On the Show:

Downchild Blues Band – Earl Hooker –  Steve Strongman – Jimmy McCracklin – Gospel Soloists – Mahalia jackson – Georgia Peach – Brother joe May – Edna Gallmon Cooke – Alex Bradford

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until November 12th.

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (October 22nd)

Undetermined as of today. We’ll update.

Errors and Omissions

On last week’s program (BRS 100) we played “New Orleans Hop” by Monte Easter and His Orchestra. We failed to make mention of the fantastic tenor solos by Maxwell Davis, who may appear on more records played on Swear to Tell the Truth than any other artist and was the producer on as many records as he played on.

cmc

October 7, 2013

Blues and Rhythm Show 100 on 93.3 CFMU (Hamilton, Ontario)

Filed under: Uncategorized — Tags: , , , , , , , , , — cmcompton @ 12:44 am

Swear to Tell the Truth for Tuesday, October 8th, 2013 (1:00-2:30 pm)

This week will be our 100th original show. (We were absent a couple of times and the station played repeats.) Instead of any single theme, we’re going to survey the areas we cover on the program and, as always, we try to bring you music you aren’t likely to hear on any other program.

The emphasis on Swear to Tell the Truth falls upon the history of the music. There are other programs, including programs on CFMU, that place greater emphasis on contemporary blues and related music. We try to bring you an entire tradition, including the stuff on the margins. We like to play the classic recordings but we also like to bring you the less obvious tracks and things other programmers aren’t likely to bring to air.

The internet is changing the way music is distributed and disseminated but it remains the case that only some of the recorded history of the music is available to the public at any one time. Ace Records of Britain and Bear Family of Germany continue to reissue a great deal of music in definitive editions, and all of it properly licensed, but as large as their catalogues have become, there’s a limit to what they can make available and keep in print. Researchers and collectors continue to uncover music of the past and make it available but mainly to a specialist audience through “grey-market” labels. New material keeps on appearing but it is harder to find on albums with liner notes and session details, even as a lot of older albums have found a home on iTunes and other downloading sites. We have long passed the high point of major label reissue projects and a lot of what was available a decade ago is gone or consigned to digital downloads.

The internet has also made music available on YouTube and you can find both classic tracks and completely out-of the-way music on YouTube but it’s quite unpredictable and a very long way from being a comprehensive source.

We remember listening to Dave Booth (“Daddy Cool”) on CFNY and John Norris’ That Midnight Jazz on CBC, and other shows,  not just to hear music we knew about but to hear the music we didn’t know about and we think there should be places on radio today that serve that part of the audience that wants to dig a little deeper and find the hidden capillaries of blues, gospel and soul–as there should be for other forms of music. There are many more radio stations today than in the past and hundreds of blues shows but we think there is certainly room for more shows that delve into the history of blues, gospel, R&B and soul.

There’s a great irony in the fact that we know more today generally about blues than we do about the mainstream popular music of the day. How many people know about popular music giants of the nineteen tens to the thirties like Sophie Tucker, the early Bing Crosby, or Russ Columbo today, compared to those who know a bit about about Robert Johnson and Memphis Minnie? On the other hand, we think we the story of blues and gospel have been too much distorted by the perspective of today, with too little regard for the complexities and ambiguities of history.

To the extent that we are able to provide a narrative around the music we play, we want to make sure that it is the right narrative and not the clichėd, incurious,  and misleading story we often encounter. And we want to try to address questions about why and how blues, mostly an African-American creation, widely despised and denounced in their time, are important to us today. What is our relationship to the older music and people who created it and what do they mean to us today?

We try to address these questions on Swear to Tell the Truth and, more immediately, we try to understand the people who made and consumed this music as more than names on record labels and “good-time” or “hard-luck” caricatures.

On today’s program, some R&B, some blues, some gospel and some soul…

On the Show:

Monte Easter – Velma Nelson –  Calvin Boze – Pearl Woods – Fenton Robinson – Morgan Davis – Reverend Louis Overstreet – Sweet Inspirations – Sam Cooke – Majestics

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until November 5th.

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (October 15th)

We’ll include a feature on great gospel soloists in the program.

Upcoming programs

We will definitely be presenting special features on the King and Modern record labels. We also have plans to look at the Library of Congress recordings of the thirties and forties in some detail. We’ll continue to look at different eras in blues as reflected in the recordings of the time and also some artist profiles, including Memphis Minnie and Big Bill. We’re looking at a couple of Gospel label profiles–Peacock and VeeJay, for now. We’d also like to do something with Duke and Peacock‘s Houston-based R&B and soul recordings. At some point, we plan to begin a series of year-by-year surveys of R&B hits and significant recordings. And we’ll make sure we fit in some programs featuring post-war electric blues.

Errata

We sometimes make mistakes on the air and we’ve decided to correct any mistakes we catch in this space.

Last week, we indicated both that Gene Phillips recorded for Modern in September, 1945, and that he first recorded for the label within a week of a September, 1946 session recorded by Johnny Moore’s Three Blazers, in September, 1946. Obviously, the two assertions contradict each other and one assertion was incorrect. The session took place in September, 1946, and, as we mentioned, appeared not to be issued immediately.

Twoo weeks ago, we mentioned Frederick Knight‘s recording of “I’ve Been Lonely For Too Long”, in reference to the song “Hard Times by Johnny B. Moore. Knight recorded the song for Stax, not for Chimneyville, as we suggested.

cmc

September 30, 2013

Blues and Rhythm Show 99 on 93.3 CFMU (Hamilton, Ontario)

Filed under: Uncategorized — Tags: , , , , , , , , , , — cmcompton @ 5:36 am

Swear to Tell the Truth for Tuesday, October 1st, 2013 (1:00-2:30 pm)

R&B vocal groups are mostly to be found in the Soul Discography rather than the Blues Discography (both available from Eyeball Productions of Vancouver) but they’re probably better understood in relation to the blues tradition than soul, which is really a phenomenon of the sixties. African-American vocal group music covered a wide spectrum of styles from the forties onward. There were groups who sang mostly popular songs, groups that straddled the worlds of gospel and R&B and groups rooted in the blues. In the 1940s, a number of groups brought the excitement and fervour of the church to secular material even before Roy Brown or Ray Charles. We’re not going to try to closely document the evolution of R&B vocal groups this week but we’ll present a brief survey of the blues side of vocal group sounds. The great blues writer Paul Oliver once wrote that blues were not suited to vocal group treatments. We think that he came to this conclusion because his definition of blues was too narrow.

Also on the program a very brief look at the early days of Modern Records of Los Angeles. It will be a prelude to a special feature on the Modern label we plan to bring to air some time in the next few months. From Hadda Brooks to Roy Hawkins to B.B. King to Etta James, Modern was among the handful of great and enduring labels in blues and R&B.  

On the Show:

Hadda Brooks Trio – Gene Phillips –  Amos Garrett – Mississippi John Hurt – Big Three Trio – Ravens – Midnighters – Richard Berry – John Ellison – Ike & Tina Turner

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until October 29th.

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (October 8th)

Our 100th show.

Upcoming programs

It’s a new season and we’re working on some rough ideas for programming themes for The Blues & Rhythm Show in the coming months. We’ll list some of them on this blogsite soon–but not this week. 

cmc

 

September 23, 2013

Blues and Rhythm Show 98 on 93.3 CFMU (Hamilton, Ontario)

Filed under: Uncategorized — Tags: , , , , , , , , , , , — cmcompton @ 4:18 am

Swear to Tell the Truth for Tuesday, September 24th, 2013 (1:00-2:30 pm)

Most of this program will feature music emanating from –. Not that we planned a special on Chicago. It just worked out that way.

Chicago was home to a distinctive style of blues in the fifties and beyond. Mention Chicago blues and people have an idea of what you are talking about. After World War 2, independent record companies sprang up in Chicago to exploit local talent and markets. Miracle, Aristocrat-Chess, Parkway, Chance, VeeJay, United/States, USA were among the labels recording blues and gospel in the city. This evolution of local labels and studios supporting local music continued through the sixties with the rise of soul music and Chicago represented its distinctive soul styles on both locally based and on national labels. OKeh and Brunswick each operated from Chicago offices for a period of time. In the end, both blues and soul were eclipsed by disco and, later, hip-hop but not before the labels that recorded and marketed the music disappeared one by one or were the object of corporate takeovers, like GRT Corporation’s purchase of Chess and the move of Chess company headquarters to Los Angeles. 

All of the above is background to the music which was created by waves of African-American migrants to Chicago as well as and in combination with native born Chicagoans like Billy Boy Arnold. And even after the labels folded or were bought out, artists like Syl johnson and Tyrone Davis continued to perform for local audiences while new generations of performers have emerged to carry on and renew the blues and soul traditions of the city in a changing demographic. As national trends shifted away from blues and soul, Chicago still had the critical mass of support to sustain some kind of local scene.

Included on the program, once more, will be three of the headliners of the Blues Explosion show, scheduled for this coming Friday, September 27th, at Hamilton Place.

On the Show:

L.C. McKinley – Howlin’ Wolf –  Mighty Joe Young – Johnny B. Moore – Ricky Allen – Erma Franklin – Lucy Smith – Staple Singers – Norfleet Brothers – and others

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until October 22nd.

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (October 1st)

We don’t have a plan yet for next week’s show. We might include some R&B vocal groups.

Upcoming programs

It’s a new season and we’re working on some rough ideas for programming themes for The Blues & Rhythm Show in the coming months. We’ll list some of them on this blogsite soon.

cmc

 

September 16, 2013

Blues and Rhythm Show 97 on 93.3 CFMU (Hamilton, Ontario)

Filed under: Uncategorized — Tags: , , , , , , , , — cmcompton @ 1:10 am

Swear to Tell the Truth for Tuesday, September 17th, 2013 (1:00-2:30 pm)

Just a brief outline for you today. This week we’ll be looking at the headliners from the Blues Explosion scheduled for September 27th at Hamilton Place. We’ll also be be picking up on a few themes we’ve talked about on recent shows, about early blues, on the one hand, and early blues recordings, on the other.  We won’t have time to get very far into it this week but we may take a longer look soon on a future program.

We’ll just note for the moment the difficulty of knowing exactly when songs originated. Some lyrics were recorded for the first time by theatre singers and appeared later in down home performances but where did the songs originate? Sometimes the lyrics were snatched from folk sources by professional songwriters, sometimes by the classic singers themselves. In other cases theatre singers and down home performers were possibly drawing from the same folk sources. And it’s easily forgotten that the marketplaces where songs and bits of songs were exchanged was likely to be a city, whether Kansas City, Nashville, or New Orleans–to name only the places that feature in this week’s program

On the Show:

Carolina Chocolate Drops – Henry Thomas (“Ragtime Texas”) –  Cleo Gibson – Mainline – Matt Murphy – Eddy Clearwater – Sugar Blue – Ted Hawkins

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until October 15th.

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (September 24th)

Nothing planned as yet but we’ll likely be looking at some gospel , perhaps a gospel feature

cmc

 

September 9, 2013

Blues and Rhythm Show 96 on 93.3 CFMU (Hamilton, Ontario)

Filed under: Uncategorized — Tags: , , , , , , , , , — cmcompton @ 5:03 am

Swear to Tell the Truth for Tuesday, September 10th, 2013 (1:00-2:30 pm)

Well, we survived our live broadcast in the McMaster Student Centre and then, unaccountably, became quite ill for a few days, so we had to scramble to get a program together for this week, operating at a little less than optimum efficiency. What we’ve done is to revise a feature we did a year and a half ago on Savoy label R&B. If you happened to catch that early program, we’ve retained part of the playlist from the feature but changed several tracks. The non-feature portion will all be brand-new, including something new in The Walter Davis Project, new little Miss Higgins, Alvin Youngblood Hart–here on the 27th at Hamilton Place–and the Butanes Featuring Willie Walker. Also a track from the reissue CD, The Cry of the Wounded Jukebox. Anybody know whose CD that might be?

On the Show:

Walter Davis – Little Miss Higgins – Harrison Kennedy –  Hot Lips Page – Gatemouth Moore – Paul Williams – Helen Humes – Billy Wright – Brother Napoleon Brown – Bessie Griffin. Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until October 8th.

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (September 17th)

We’ll be fortunate to get this program to air. No idea about next week as yet.

cmc

 
 

August 31, 2013

Blues and Rhythm Show 95 on 93.3 CFMU (Hamilton, Ontario)

Filed under: Uncategorized — Tags: , , , , , , , , , , — cmcompton @ 5:27 am

Swear to Tell the Truth for Tuesday, September 3rd, 2013 (1:00-2:30 pm)

This coming week is Welcome Week on the McMaster Campus. We’ll be broadcasting live from the ground floor lobby of the McMaster Student Union Centre. Just as CFMU introduces new and returning students to the role of the radio station in Welcome Week , so,  this edition of Swear to Tell the Truth will be our attempt to introduce new listeners to all that we do week in and week out on the program. Because of the venue, emphasis will be greater on the music than on any commentary. We’ll have a mix of Blues, R&B, Soul and Gospel on the show (no filler), including tracks showcasing Eddy Clearwater and Matt Murphy, slated to appear at Hamilton Place September 27th along with Sugar Blue and Alvin Youngblood Hart.

We’ve also unwisely volunteered to fill a vacant hour of programming before The Blues and Rhythm Show on Tuesday. Not sure what we’ll do with that hour. Something we have to figure out tomorrow.

On the Show:

Lou Pomanti – Eddy Clearwater – Deitra Farr –  Jo-Ann Kelly – Big Maybelle – Nappy Brown – Kansas Joe & Memphis Minnie – Casey Bill – Kendall Wall  Blues Band – Betty LaVette – Inez Andrews

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until October 1st.

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (September 10th)

No plan as yet but, time permitting, we may put together a feature on Savoy label rhythm & blues.

cmc

August 26, 2013

Blues and Rhythm Show 94 on 93.3 CFMU (Hamilton, Ontario)

Filed under: Uncategorized — Tags: , , , , , , , , , — cmcompton @ 6:32 am

Swear to Tell the Truth for Tuesday, August 27th, 2013 (1:00-2:30 pm)

We haven’t missed a program in the past year and this week’s program will be live but it will be a repeat of a special on Alan Lomax’ Southern Journey of 1959 and 1960.

As with the first time we presented this special, our focus is on the music more than it is upon Alan Lomax’ life and career. Lomax’ life could certainly be the basis of a radio documentary and we’re sure it has been.

One of the most memorable events in his life occurred at the Newport Folk Festival of 1965. That was the appearance of Bob Dylan with members of Paul Butterfield Blues Band playing electric for the first time at Newport. By some reports, Lomax had precipitated Dylan’s decision to play electric by slighting the Butterfield Band when he introduced them a day earlier. In conflicting accounts, Lomax either pulled the plug or tried to pull the plug on Dylan, precipitating a tussle with Dylan’s manager Albert Grossman, who was punched by Lomax. To understand Lomax, it helps to know that, like his father, he was motivated by a kind of folk purism, similar to what instinct that caused Samuel Charters and Mack McCormack to insist that Lightnin’ Hopkins put aside his electric instrument and play an acoustic guitar. It’s hard to imagine that kind of dogmatic musical correctness today but it’s part of who Alan Lomax was and a source of the energy he put into preserving traditional music. 

It could be argued that the very results of the search for traditional music by Alan Lomax in 1959 and 1960 provided strong indications that game was up or soon would be. Many of the musicians he recorded were older performers he had recorded twenty years before. Others took their song material from commercial records. 

The Southern journey was a remarkable accomplishment but Lomax wanted to shape musical culture of the present and future by preserving musical tradition. Newport 1965 probably showed why Lomax’ vision was impossible. The folk revival of the late fifties and early sixties soon petered out. Lomax’ researches and recordings have surely influenced musical culture but not as much as he wanted them to. The legacy of the recordings will continue to influence and inspire musicians, although it remains to be seen whether the influence of the recordings will remain as powerful once they are only available as digital downloads.

(Our original notes to this program can be found in the blog entry for Blues and Rhythm Show No. 82.)

On the Show:

James Carter & prisoners  – Ora Dell Graham – Angelina Quartet –  Wade Ward – Lonnie Young – Henry Ratcliff – John Dudley – Bessie Jones & Georgia Sea Island Singers – Rev. R.C. Crenshaw – others

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until September 24th.

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (September 3rd)

Our annual Welcome Week program live from the lobby of the McMaster Student Union Centre. Listen on the air or via the web or hear us in person. The show will be a survey of everything we do on the program–blues, gospel, R&B, soul. Not to be missed.

cmc

 
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