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LIVE REVIEWS

Live Review: Lee Fields, Charles Bradley & The Menahan Street Band, Brooklyn, NY, April 1, 2011

It was another funky Friday night at the Music Hall of Williamsburg in Brooklyn, as singer Charles Bradley & The Menahan Street Band opened for Mr. Lee Fields. Both men are recording artists associated with the Daptone family—home of Sharon Jones And The Dap-Kings and purveyors of a cottage industry of soul revivalists catering to young people eager to dance. And dance they did. The 62-year old Bradley has been getting a lot of attention lately, thanks to a some acclaimed performances down in Austin at SXSW and an engaging, better-late-than-never debut album, No Time For Dreaming.

Bradley’s lifelong personal/professional struggles and recent emergence into the limelight seem to be the story here, but it was his heartfelt, soulful performances that captured the imagination of the supportive Brooklyn crowd. Opening with an emphatic take on the stirring, biographical “Heartaches And Pain,” Bradley was clearly touched by the loving enthusiasm of his audience, thanking them profusely and exclaiming his love for one and all. Over the course of Bradley’s short set, the Menahan Street Band, replete with a full horn section and backup singers, played with passionate precision, building its dramatic sound while Bradley swiveled his hips and dropped to his knees like an aging James Brown.

Bradley’s angst-ridden and philosophical laments are certainly universal enough for the 21st century, and with songs like “The World (Is Going Up In Flames)” and the LP’s title track, he connected with his audience on a truly visceral level. Bradley even pulled off an earnest mid-tempo cover of Neil Young’s “Heart Of Gold,” with his Brooklyn-based guitarist/producer Thomas Brenneck sounding (to these ears) like Steve Cropper throughout.

Bradley left everything he had out on the stage in about 45 minutes and was promptly relieved by headliner Fields, with the Menahan Street Band staying put and subbing for Fields’ usual backing group, the Expressions. Looking like a pint-sized Lou Rawls, veteran singer Fields ably continued the retro-exploration into Daptone’s dictionary of journeyman soul. As with Bradley, Fields is an older fellow influenced by the torchy, balladic nature of artists like James Brown and Bobby Womack as well as Al Green and the Hi Records crew. Performing songs from recent album My World, Fields was a consummate showman, but he was still upstaged by new hometown hero Bradley.

Together, Bradley, Fields and the Menahan Street Band made for a tidy little soul revue. Although the energy level of the entire evening stayed somewhere in the middle range, the personal intensity of these fine performers was totally off the scale. After the show, you could see Bradley quietly crying, sincerely thankful for his chance to perform and eagerly receiving adoration from his newfound fans.

So, let’s hear it for Charles Bradley’s tears. It doesn’t get anymore real than that.

—Mitch Myers

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FREE MP3s

MP3 At 3PM: Bronze Radio Return

This Hartford, Ct., sextet takes its name from the large bronze radio that resided in the art studio of frontman Chris Henderson’s father, a place Henderson spent a lot of time as a child. The members of Bronze Radio Return met while students at the Hartt School of Music in Hartford and eventually recorded 2009 debut Old Time Speaker. The album and the band’s constant touring earned it quite the reputation locally, which led to Bronze Radio Return being invited to perform for President Obama at an event in Bridgeport last year. The six-piece just returned with sophomore LP Shake! Shake! Shake!, a dozen-track album the band self-released. Download opener “Down There” below.

“Down There” (download):
https://magnetmagazine.com/audio/DownThere.mp3

Categories
DAVID LESTER ART

Normal History Vol. 106: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 27-year run, with text by vocalist Jean Smith.

Carol pulls several folded pages out of a small, dog-eared, spiral-bound notebook. The stapled sheets are called A Proposal For The Dartmouth Summer Research Project On Artificial Intelligence. She looks at the first page of the notebook where her mother, Verna-Lee—a certified genius at age five—had printed in tidy rounded letters.

July 15, 1956
They want to make a machine that can think. If a machine can use words to solve a problem, then a problem can be solved using math. One man asked me questions about words, but I don’t think he liked my answer. He made a face and looked away. He wants to know if English is the most logical language to use for the thinking machine. I keep telling him math is the most logical language for any machine.

In another notebook, Carol finds a reference to both anarchism and feminism, written when Verna-Lee was 15.

October 12, 1967
The visitors from New York held a meeting to rap about the women’s liberation movement and how it affects higher education. Since I’m the only female in human sexuality research, I was the only one who could attend the women-only meeting. One of the New York women explained that there were basic questions they used to get things going, one of which was about having a child. If, when we thought about having a child, would we rather have a boy or a girl? When it was my turn to rap, I said I had a child, so I couldn’t answer. One woman—Margaret—thought I was being a smart Alec. Or, in this case, a smart Alice. She asked how old I was and where I lived and why I was involved in research at Princeton. She pretty much subverted the whole rap session into questioning me. I wouldn’t tell them if I had a boy or a girl, because logically, I was disqualified from responding. She was waving her papers around at me, trying to get me to answer a different question. She wanted me to imagine not having a child. Now which would I prefer? A boy or a girl? I told her she needed to re-think the logic of her question. Before I knew it, I managed to add that I’m drawn to anarchisms for stimulating material on progressive social change and not any one strain of feminism. At this point, she really lost it. She asked who sent me, who was I really. Her friends suggested she sit down and that maybe someone else could rap about whether they’d like a boy or a girl, but nobody else wanted to rap very much after that. I talked to one of the other women after the meeting ended. I told her anarchism logically included feminism, and she seemed a bit happier. Maybe I reminded the woman who had the hairy of her kid sister. She sure reminded me of my sisters, not that my sisters would ever be at a meeting about feminism, but they are just as illogical.

Flipping through a later notebook, Carol finds a section written in Chicago, at the Democratic Convention in 1968. Verna-Lee would have been 16.

Chicago, August 27, 1968
Of all people to bump into. Margaret from the New York women’s group that visited Princeton last year. She didn’t recognize me, and then she was suspicious of my being there. She asked me where my son was. She knows very well I never said if I had a daughter or a son, but I told her Carol is with my parents. The matter at hand is so much larger than our little meeting. Not the time to hold a grudge. Turns out Margaret left the women’s group to join the peace movement. She went to the meeting in the spring in Lake Villa to plan the protest march, but she’s definitely more frightened than angry about the cops attacking people. She’s going to hear the speeches in the park, too. She was there, too, when the speaker on the stage, a Black man, said that whether we like it or not, we’re responsible for this sick and insane nation. She doesn’t think the cops attacked because of any one comment, though. I’m not so sure about that.

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GUEST EDITOR

Smoking Popes’ Josh Caterer Needs You Around: The Smiths’ “The Queen Is Dead”

Aside from having the coolest name of any punk-leaning Chicago-area band since Big Black, Smoking Popes have been blessed with core fan base that refused to quit on the outfit. When leader Josh Caterer pulled the plug on the Popes in 1998, it came little more than a year after releasing what might have been the group’s best album, Destination Failure, perplexing many but apparently offending few. Seven years later, a sold-out reunion show in the Popes’ hometown was all it took to get Caterer back in a creative mood. From there, Josh and brothers Matt (bass) and Eli (guitar) pretty much picked up where they left off, releasing Stay Down in 2008 and compilation It’s Been A Long Day last year. The new This Is Only A Test (Asian Man) is a concept album that only occasionally comes across as such, with the 38-year-old Josh taking on the role of an angsty teenager to convincing effect. Josh and Matt will be guest-editing magnetmagazine.com all week. Read our new Q&A with Josh.

Josh: When I first heard the Smiths, I didn’t get it. Meat Is Murder had just come out, and people said they were great. So my brother Matt got the record, and we listened to it, and I was like, “What is this?” We were listening to a lot of angry punk back then, and I just wasn’t ready to go where the Smiths were trying to take me. But the next year, they came out with The Queen Is Dead, and our friend Joe wouldn’t stop playing that cassette in his car. Every time I rode with him, he would crank it up and sing along. Pretty soon, I started singing along too. And when I got it, I really got it. It’s like I became infected with the Smiths. For a while after that, I could listen to nothing else. There was no other music that spoke to me as deeply as that. And Morrissey’s voice really affected me. It opened me up. I think that’s how I got started as a singer, driving around with Joe, singing along with Morrissey at the top of our lungs. All the Smiths’ albums are totally brilliant, but The Queen Is Dead will always have a special place in my heart.

Categories
VIDEOS

Film At 11: Bell X1

On April 12, Bell X1 returns with Bloodless Coup (Yep Roc). The 10-track LP is the Ireland band’s fifth and the follow-up to 2009’s Blue Lights On The Runway. “Velcro” is the first single from Bloodless Coup, and when it came time to make a video for it, the members of Bell X1 say they were inspired by a segment from Sesame Street. Watch the clip for “Velcro” below, and watch the band perform the song on The Rachael Ray Show here.