Well, I think I made it pretty clear how I love playing 45s, so here is round 2 of the mixes I made. Enjoy!

Once again, easier to grab a screen shot from iTunes than retype it all...

Once again, nothing that’s brand new to you, but probably some things you don’t often hear on 45. I know everyone in the whole wide world has heard the sample that starts the mix… but most may not know much about Jimmy Castor, who passed away just days after I recorded the mix. “Rappin Duke” I’ve written about before, and the next six jams also need no introduction. In fact, these 45s have been in my collection since they were released! The “Posse’s on Broadway” cut even got me into some trouble at my first middle school dance, when I learned the hard way that sitting on the bass bins for a popular song was an honor that had to be earned.

Most of the 45s laid out for the mix... aka "sorry honey, I'll clean it up soon"

After the ancient hip hop section, the funk begins. Again, I’m not trying to unearth rare gems, just trying to play some of my favorite tunes the old fashioned way. Some DJs used to look down on me for my 45s back in the 1990s, but would be quite jealous when my toolbox of 45s sounded 10 times better than their beat up K-tel compilations. Hopefully you’ll like what I’ve done with them, extending a few of those famous breaks.

I noticed when cueing up “To Be Real” that it was too warped to scratch in or match the beats, but I didn’t think it’d skip while playing. Turns out it did skip, but at that point, I wasn’t going to start the mix over again! Oh well, just part of the “realness” of 45s!

The last track, “Amen Brother,” has quite a bit of history, as many of you know. Its crossover use and abuse has led to quite a bit of controversy, especially because of the relative anonymity (and lonely death) of the original artist. The video below explains the rest (although it sounds as if it narrated by a computer that cannot pronounce any important words correctly). The break is so ubiquitous, it even has its own app. If the song sounds strange on the mix, it’s because I play the song at regular speed, and it echoes out just after the break. Then I “cut” or extend the break with two records at 33 1/3 rpm (the speed you hear it sampled in hip hop) and switch it back to 45 rpm just after the break. Yeah, that’s why this blog post is also categorized as “Nerdy Stuff.”

Like Volume 1, there are no reggae songs on the mix, as a memorial to the box of irreplaceable 45s I had stolen. But don’t worry, pretty much all the reggae mixes on this blog are made with 45s!

Check out our other Mix Tape Monday Features!

Mixtape Monday: 45-7 Tribute to 45s Volume 1

Mixtape Monday: DJ Crimson’s Tribute to Stax

Mixtape Monday: Delgado in Dub

Mixtape Monday: Matthew Africa’s Soul Boulders 2

Mixtape Monday: DJ Enki Breaks It Down

Mixtape Monday: DJ Delgado’s Wifey’s Request

Mixtape Monday: DJ Pipo’s Bringin 88 Back

Mixtape Monday: DJ Gaffle’s Hip Hop Heads Rejoice

Mixtape Monday: DJ Treat U NIce’s Girls Mix

Mixtape Monday: DJ Delgado’s Fire Volume 8 (Old School Dancehall)

Mixtape Monday: DJ Platurn’s Best of A Tribe Called Quest

Mixtape Monday: DJ Delgado’s Fire Volume Vol 4 (Old School Dancehall)

Mixtape Monday: DJ Boom Bostic’s Fast To Slow

Mixtape Monday: DJ Delgado’s Bicycle Mix

Mixtape Monday: The 10 Best Hip Hop Songs of All Time?!?!

Mixtape Monday: DJ Joe Quixx’s Heavy Duty Volume 1

Mixtape Monday: DJ Odiaka’s Soul Meeting

I’m diggin’ through records (what else is new) because the sixth graders are reading The Watsons Move to Birmingham 1963 (highly recommended). Came across this gem by the Marcels, which is one of my earliest great music memories/song obsessions. In the early 80s, my dad listened to a lot of 560 KSFO & 1050 KOFY (amazing how radio stations & music purveyors stick with you), and I was introduced to this song. I bought the tune for him later (when I was in Jr High) at Brown & Berrigans on a compilation from Rhino.

Here’s the YouTube version:

Happy Valentine’s Day! I think Otis is the greatest American male vocalist of all time, so here’s one of his best songs. It’s not a love song about a person, it’s a love song about love.

I got two copies of this one, that’s how good it is!

Turntables. Record players. Decks. Wheels of steel. Tables. They get called just about everything except for their original name: phonograph. And they almost didn’t even get called that! Check out the list of names Thomas Edison & the crew thought of before deciding on “phonograph.”

I ran across this on the blog “Lists of Note,” and you can find a transcription below. Personally, I really like “Sphygmophone,” Klangophone,” “Symphraxometer,” and “Melodograph.”

Rough transcription:
Auto-Electrograph = Electric Pen
Tel-autograph
Tel-autophone
Polyphone = Manifold Sounder
Autophone = Self sounder
Kosmophone = Universal Sounder
Acoustophone = Sound hearer = Audible speaker
Octophone = Ear-sounder = speaker
Anitphone = Back-talker
Liguphone = Clear speaker
Minuttophone = Minute-sounder
Meistophone = Smallest sounder
Anchiphone = Near sounder or speaker
Palmatophone = Vibration sounder
Chronophone = Time-announcer = Speaking clock
Didaskophone = Teaching speaker, Portable teacher
Glottophone = Language sounder or speaker
Climatophone = Weather announcer
Atmophone = Fog sounder or Vapor-speaker
Palmophone = Pendulum sounder or Sounding pendulum
Pinakophone = Sound Register
Hemerologophone = Speaking almanac
Kalendophone = Speaking Calendar
Sphygmophone = Pulse speaker
Halmophone = Heart-beat sounder
Seismophone = Earthquake sounder
Electrophone = Electric speaker
Brontophone = Thunder speaker
Klangophone = Bird-cry sounder
Surigmophone = Whistling sounder
Bremophone = Wind sounder
Bittakophone = Parrot speaker
Krogmophone = Croaking or Cawing sounder
Hulagmophone = Barking sounder
Trematophone = Sound borer
Telephemist telephemy telepheme
Electrophemist electrophemy electropheme
Phemegraph = speech writer
Omphegraph -gram = voice writer or researcher
Melodograph Melograph Melpograph -gram = song writer
Epograph = speech writer, lecture or sermon
Rhetograph = speech writer
Kinemograph = motion writer
Atmophone = vapor or steam sound
Aerophone = air sound
Symphraxometer = pressure measurer
Synothemeter = pressure measurer
Orcheograph = vibration record
Orcheometer

I wonder what they would have called all the different parts???

This January, I tried something new. Although I love the creativity possible thanks to Serato and digital DJing, I find that it also erodes some basic DJ skills and makes me (and others) a bit lazy. In order to challenge myself and get back to my roots, I decided to only DJ with real vinyl for all of January. 

It was a fun experiment and really got me refocused on fundamentals, and I think also has resulted in a more fun experience for the crowd as well. It’s also resulted in four new quick mixes that I made, and here is volume one for you folks!

This mix is a tribute to my favorite kind of vinyl—the 7 inch single, aka the 45. I have sung their praises before on this blog, and myself & the homie Saul Drumm switch off on a semi-regular series of 45 Fridays. DJ Platurn and the Oakland Faders have created a dope monthly event to celebrate them, as well. Why all the love for an out-dated music format?

A few copies of Otis Redding's "Tramp," which can be found on the mix AND is the inspiration for the cover

For so many of us, 45s are just special. Generations of us started on them young, buying those first few singles the cheapest way we could, and we still have those songs memorized. DJs sometimes gravitate to them for simplicity’s sake: it’s cheaper (and lighter) to buy the one song you’re going to play for a crowd instead of a whole album full of songs you won’t play. Some genres, most notably reggae, were almost entirely based on 45s. Each disc is also identified by literally by the label—the design only reflects the publisher of the music, which makes it easier to find good music you may be unfamiliar with if you trust the label. For DJs, though, 45s are also a problem: they are smaller and spin faster than most records, so they are harder to manipulate and scratch with. Since so many were bought by teens and others looking for top 40 music, many are were destroyed or treated poorly, and it is harder and harder to find decent copies of good tracks. Luckily, age is an asset in collecting 45s, and I’ve had quite a while to stockpile good ones.

Like all material things, attachment to 45s can bring misery as well. In 2005, I drove the

All these things were passed over by the thief, but he took my 45s

trailer of equipment down to our annual Good Friday party. Upon my return, the trailer was broken into, and out of all the thousands of dollars of DJ equipment, including amplifiers and generators, all that was stolen was one of my boxes of 45s. Of course, it was the “special” box of 45s, with many of my dubplates and original jamaican pressings—100s of records that can never be replaced. I can only imagine the thief thought they were tools since they were in a tool box, but I will never know. In memory of those tunes, there is no reggae on volumes 1-4 of my tribute to 45s mixes. But believe me, I do have plenty of good reggae 45s, too.

Clearly, 45s are a special case. Hard to find and hard to use. I had a good time with this mix, just spent a little while picking out songs I know folks like or would like, and then trying to emphasize the parts of those songs that I love. There were a couple false starts but this is 45 minutes straight of recording at the house. I tried my best to throw some low grade turntablism in amongst the good tunes, hopefully you will enjoy. The only things not coming directly from those wonderful 45s are the effects (courtesy of my Rane 68 mixer) and the drops at the start and end of the mix.

The songs are listed below, as you can imagine some are pretty rare on 45. Some I’ve had

Vol 1 of 45-7, laid out in reverse "order," after the recording session. Beautiful, beautiful vinyl.

for decades, others I recently came across. If you dig through old soul, the songs are not new to you, but I’m sure you will love them and I hope you enjoy how I manipulated them. If the songs are new to you, I’m sure your life will improve having met them. Either way, I know you’ll enjoy the fact that they are all played off of 45.

It was easier to find the songs in iTunes than it is to type them all out!

There are a million reasons we 45s special, but the short version is that they are the perfect delivery system for music, despite being difficult to find and deal with. Enjoy the mix.

This is the first volume of the mix, and at the time I wasn’t planning on other volumes. As a result, I hit some records that have a ton of sentimental value to me (including the Edie Birkell, which I bought in 1988, and then bought another copy of a year or so ago because I forgot I had it),  Oakland Favorites Sly & the Pointer Sisters, and I’ve always loved the Tramp beat, as many of you know. I feel like the William DeVaughn and the Frankie Beverly tracks are two of the best soul songs ever, and finding those tunes on 45 was a thrill for me, so I had to work them in. Find out next week what made Volume 2!

The mix is also on divshare, in case sound cloud does not cooperate:

Check out our other Mix Tape Monday Features!

Mixtape Monday: DJ Crimson’s Tribute to Stax

Mixtape Monday: Delgado in Dub

Mixtape Monday: Matthew Africa’s Soul Boulders 2

Mixtape Monday: DJ Enki Breaks It Down

Mixtape Monday: DJ Delgado’s Wifey’s Request

Mixtape Monday: DJ Pipo’s Bringin 88 Back

Mixtape Monday: DJ Gaffle’s Hip Hop Heads Rejoice

Mixtape Monday: DJ Treat U NIce’s Girls Mix

Mixtape Monday: DJ Delgado’s Fire Volume 8 (Old School Dancehall)

Mixtape Monday: DJ Platurn’s Best of A Tribe Called Quest

Mixtape Monday: DJ Delgado’s Fire Volume Vol 4 (Old School Dancehall)

Mixtape Monday: DJ Boom Bostic’s Fast To Slow

Mixtape Monday: DJ Delgado’s Bicycle Mix

Mixtape Monday: The 10 Best Hip Hop Songs of All Time?!?!

Mixtape Monday: DJ Joe Quixx’s Heavy Duty Volume 1

Mixtape Monday: DJ Odiaka’s Soul Meeting

I hear cassettes are coming back in style, at least in a retro way… although I told a friend I was coming out with a new mix and was going to put it out on cassette, and he said he didn’t know if he’d even be able to play it. Well, either way, He couldn’t play it like this guy—in fact, I can’t even play records like this!

This is the pile of 45′s I came across at a random sale the other day. Great pile of Southern Soul, although some are scratchy as hell. Looks like I have some enjoyable listening to catch up on!

So far, lots of Joe Tex, including these two, and quite a bit of Johnny Taylor. Good stuff, that’s for sure. My next step is to clean and listen to them all, put them in sleeves (they didn’t come with any) and label the sleeves. (A great thing to do while watching TV). I am rather particular about how I store my records, but the homeboy Sama really has a quality database if you really want to get into it.

There is also a bunch of Rufus Thomas in the bunch. I am some sort of magnet for Rufus Thomas. Ironically, most of his songs are instructions for various dances, and ever since the hokey-pokey I have hated being told what to do when music is playing. But the songs (and breaks) are dope.

Here are some of the biggest tunes of the bunch, hope you enjoy. Many of them will be available on mixtapes here soon!

Joe Tex:

Rufus Thomas:

Random question to close it out:

When searching for videos of these tunes, the descriptor “Northern Soul” comes up a lot, which is strange because the artists themselves would no doubt describe their sound as “Southern.” The term “Northern Soul” is more British, where it started as a way to describe a scene. Now it seems the term is used to mean “awesome Black American Music from the 60′s and 70′s,” but to me these tunes are just true Southern Soul.

Starting their recording careers like so many artists at Studio One in Kingston, they were one of Jamaica’s many popular vocal trios. They recorded at Studio One for legendary producer Coxsone Dodd from 1966 until the early 70′s, with lead singer Leroy Sibbles doing double duty as the regular session bassist. In that role, he played iconic reggae basslines like the “full up” riddim (you know, the one from “Pass the Kutchie/Dutchie“) and the “Three Piece Suit” riddim.

As the Jamaican sound slowed from rocksteady to what most call roots reggae today, the Heptones moved on to working with Joe Gibbs and Harry J and released the classic Night Food album pictured above. One track, “Book of Rules,” garnered world renown and great popular succes.

In fact, it was so popular as a crossover, it was even covered by Grateful Dead survivor Bob Weir.

Of course, my favorite version mentions my name…. Here is the dubplate direct from Leroy Sibbles himself!

Download it here….

Check some other dubplates here!

Happy New Year!

2011 was a great year for me and my family, hope it was for you and yours as well. The turn in the year also marks the one year anniversary of this blog—hopefully you’ve enjoyed the year here as well. Mixtape Mondays has been a popular feature, and I hope to be able to bring you many more in the future, as well as lots more remixes, 45 Fridays, and new music! I’m also working on a few longer features as well, so hopefully I can get those done over the last few days of vacation.

For now, we’ll have lots of “best of” list of songs for 2011 as well, and here’s Earworm’s entry of all the most popular songs of the year… in one.

In the meantime, hopefully you all enjoy your various New Year’s Eve events… I will be at a private party and thus manage to avoid “amateur night” out at the clubs. There is a flyer below that explains exactly why I try to avoid the big clubs for the night!!

Lastly, I know we’re all making lists of “changes” for 2012… here’s Woody Guthrie’s list that he made for 1942, from the great site listsofnote.com. Enjoy.

About a month ago, I saw that my homeboy DJ Crimson posted on his facebook that he was waiting for a guitarist so that he could finish his mixtape. I was super intrigued by the idea that a DJ would bring live instrumentation into a mixtape—it struck me as really unique and creative. Of course, having seen Crimson work with live artists on a regular basis at the Skillet, it knew we would be in for a treat. When he told me later that all this work was going to result in a Stax mixtape, my jaw dropped. I couldn’t wait to get my hands on it, and it was well worth the wait. Of course I had to do a feature, and Crimson was very accommodating and gave us a great mix and a great interview to break down the entire process as well!

Download and listen to the mix below, and while you’re listening, check out the insightful interview! After the interview is the tracklist and two bonus tracks from Crimson!

Delgado: First of all, what was your inspiration for this mix? What do you want your audience to come away with?

DJ Crimson: A couple years ago I was posting up some of my mixes, and I realized that I had never really let myself go all out on a mix. I wanted to create something that would stand alongside some of the classics: Vinroc’s Reconstruction, Spinbad’s 80′s mixes, the homies Icewater and Platurn’s mixes, etc. There were also a couple of really solid mixtapes that came out when I started on this project: Boogie Brown’s Legends of Soul mix, which is divided up into 6 segments each paying tribute to a different soul singer that had passed, and B Cause’s best of Roger & Zapp. Those two mixes gave me some kind of framework and inspiration as far as how to go about putting together a theme-based mix.

Of course there was also the fact that I loved the music and wanted to pay tribute to it, and like Bink$ says, to pay tribute to the whole era. One goal was to make this music that may sound dated more accessible, to show how timeless it is. That’s why I included things like the conversation snippets where we’re talking and cracking jokes. I wanted it to have a warm, loose feel, like we were right there in the room chopping it up with you about the music. The scratching, the rapping, the conversation, it all brings this music into the present.

Delgado: I know that for me, the Stax label was really one of the first types of music that I could connect with even though the songs were older than I was. What was your first introduction to the label?

Otis!

Crimson: Honestly, I grew up on hip hop. So I didn’t realize it at the time, but my first introduction to the Stax sound was through the samples, like the Rza and Biggie samples that most hip hop fans of my generation recognize. Of course I had heard Otis Redding, but some of those songs, like “Dock of the Bay,” are so ubiquitous that it’s hard to get into them. For me it wasn’t until I dug further into the catalog that I really started loving the sound. Then I circled back around and was able to appreciate the more mainstream stuff. One of the things I love about the label is that a lot of the songs really do have a darker, grittier sound. That’s probably why hip hop producers have sampled Stax material so much. Take “Walk On By” by Isaac Hayes, which came later than the era I focused on. It was nine minutes long, it was hella slow and dark, the track runs for like two minutes before the vocals even come in. And it was a huge multiplatinum success! That right there is the essence of Stax for me.

Crimson: Well, not to dash anybody’s illusions of me digging through stacks of 45′s for years, but I built this mix from a box cd set of the complete Stax singles from 1959-1968. That gave me some structure to work with, even though I allowed myself to use outside sources when it made sense. I knew I had to include at least some of the classics, so I started with Otis Redding, Sam & Dave, and Booker T. & the MGs. Of course, there were the sampled songs that Rza used. Aside from that, some of the more obscure songs I felt like I had to include were “Soul Girl,” “Bar-b-q,” and “Don’t Hit Me No More.” ”Soul Girl” was an unsuccessful attempt to duplicate the success of “Soul Man.”  At the time it came across as a corny sequel, but now it sounds dope. “Bar-b-q” was a song that Wendy Rene sang, and she said that when she was recording it she just assumed it was for a commercial. Then after she was done they were like, “no, we’re pressing this up as your record.”  “Don’t Hit Me No More,” maybe some people would find it offensive or just depressing, but it’s definitely a song you don’t forget. It shows how much has changed in society and in songwriting since then. It’s a subject that’s pretty close to being untouchable nowadays, and it never would have come out back then on a more mainstream label like Motown. I had to include it as a historical artifact, at least.

Crimson: I think of Stax, especially in those early years, as an extended family first and a business second. Jim Stewart and Estelle Axton, the founders, were brother and sister; a lot of the writers and performers were neighborhood kids who hung out in the record store in front of the studio. It seemed like it all came about real organically. But the other side of it is that I don’t think the artists had much of a sense that the larger world was listening, and the label as a whole didn’t have the full business and marketing vision that Motown had. Later on when Al Bell took over, they did develop that branding sensibility, but then the original vibe was somewhat lost. So it’s a tradeoff.

Crimson & the Fellas

Crimson: Talking about music with other djs is one thing, but talking about it with musicians and songwriters gives me a deeper appreciation for the craft. I get together with K.nightshift and Chioke (from The Dime) and Bink$ Win$ton pretty regularly to rehearse, and we always kick it outside and chop it up for a bit before we get started. One time I was playing “Save Their Souls” by Bohannon, which Jay-Z sampled on his first album. Bink$ was listening to it and he pointed out how sometimes the simplest lyrics are the most powerful.  That song is basically just three lines repeated, but it hits home. I had never paid much attention to the lyrics before, and it gave me a different perspective on the song and a deeper appreciation for it. I guess it just makes the music more of a living, breathing thing done by real people, instead of just being a hot sample or whatever.I’m still learning how to work with other people on recording music, and it’s definitely an art. There’s a balance to be struck between giving people your vision and making sure they’re on the same page, but not micromanaging and trying to control every little thing, because that just kills the spirit of the music. And with this project especially, I made a decision to just let go and let them do their thing. Fortunately they know what they’re doing, so it worked out.

One funny thing is that when we were getting ready for a show about six months ago, they asked me if I had “Green Onions,” because they wanted to write something to it. And I was like, yeah, it’s already on my mix. It was just one of those things that tells you it was meant to happen. I was hella surprised, too, because that’s definitely not an easy song to rap over. But they killed it.

Thanks again to DJ Crimson, be sure to check out his blog, the monthly Skillet, and follow him on facebook and twitter. The Dime and Bink$ Win$ton, whom you hear on the album, are well worth following, too!

Here are the bonus tracks from Crimson:

My Type, with the live instrumentation

Tracklist:

1. Don’t Have to Shop Around – The Mad Lads
2. I Thank You – Sam & Dave
3. The Memphis Train – Rufus Thomas
4. I’m Going Home – Prince Conley
5. Knock On Wood – Otis Redding
6. Tramp – Otis & Carla
7. Hold On I’m Comin’ – Sam & Dave
8. Pop-Eye Stroll – The Mar-Keys
Reefer Man (Skit) /
9. Making Love and Sniffing Cocaine – DJ Crimson
10. Jump Back – Rufus Thomas
11. Grab This Thing (Part I) – The Mar-Keys
Isaac Hayes on writing Soul Man
12. Soul Man – Sam & Dave
13. Soul Girl – Jeanne & The Darlings
14. Born Under a Bad Sign – Albert King
15. Tearz – Wu Tang Clan
16. After Laughter (Comes Tears) – Wendy Rene
17. No Tears – The Tonettes
18. C.R.E.A.M. – Wu Tang Clan
19. As Long As I’ve Got You – The Charmels
20. Closer to My Baby – Dorothy Williams
21. What Can I Do – Bobby Marchan
22. My Type – K.nightshift (The Dime) with DJ Crimson and Conrad Anthony
23. My Services – Bink$ Win$ton
24. Can’t See You When I Want To – David Porter
25. A Place Nobody Can Find – Sam & Dave
26. Motown vs. Stax (Booker Loo) – Booker T & the MGs
27. Rollin’ / Groovin’ – Bink$ Win$ton / Booker T & the MGs
28. Be My Lady – Booker T & the MGs
29. Boot Leg – Booker T & the MGs
30. Soul Dressing – Booker T & the MGs
31. Frog Stomp – Floyd Newman
32. Green Onions 2012 – K.nightshift & Bink$ Win$ton
33. Burnt Biscuits – The Triumphs
(Midnight Hour – Reflection Eternal)
34. Bar B -Q – Wendy Rene
35. The Hawg, Part I – Eddie Kirk
36. Bush Bash – The Mar-Keys
37. Cold Feet – Albert King
38. Ain’t That Loving You (For More Reasons Than One) – Johnnie Taylor
39. Empty Yo Pockets – Bink$ Win$ton
40. Each Step I Take – Deanie Parker
Jake (Skit)
41. Bang for Your Buck / Can’t Ever Let You Go – Bink$ Win$ton / Rufus Thomas
42. Can’t Explain How It Happened – Ivory Joe Hunter
43. When My Love Comes Down – Ruby Johnson
44. I’ve Been Loving You Too Long (To Stop Now) – Otis Redding
45. That’s How Strong My My Love Is – Otis Redding
46. Don’t Hit Me No More – Mable John
47. If I Ever Needed Love (I Sure Do Need It Now) – Ruby Johnson
48. I’ll Show You – William Bell
49. Winter Snow – Booker T & the MGs
50. Ghost Dads – K.nightshift (The Dime)

Check out our previous Mixtape Monday features as well for more great music and wisdom!

Mixtape Monday: Delgado in Dub

Mixtape Monday: Matthew Africa’s Soul Boulders 2

Mixtape Monday: DJ Enki Breaks It Down

Mixtape Monday: DJ Delgado’s Wifey’s Request

Mixtape Monday: DJ Pipo’s Bringin 88 Back

Mixtape Monday: DJ Gaffle’s Hip Hop Heads Rejoice

Mixtape Monday: DJ Treat U NIce’s Girls Mix

Mixtape Monday: DJ Delgado’s Fire Volume 8 (Old School Dancehall)

Mixtape Monday: DJ Platurn’s Best of A Tribe Called Quest

Mixtape Monday: DJ Delgado’s Fire Volume Vol 4 (Old School Dancehall)

Mixtape Monday: DJ Boom Bostic’s Fast To Slow

Mixtape Monday: DJ Delgado’s Bicycle Mix

Mixtape Monday: The 10 Best Hip Hop Songs of All Time?!?!

Mixtape Monday: DJ Joe Quixx’s Heavy Duty Volume 1

Mixtape Monday: DJ Odiaka’s Soul Meeting