James Brown and The Famous Flames “Shhhhhhh (For A Little While) (Delta-Canadian Pressing!- 1968)

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This track can be found in “Singles Mixer Vol. 1”

Not a whole lot to write about with this one, James and the Flames absolutely murdering it with heavy drums and some bonkers organ with James tossing in some occasional grunts and words of advice (‘gimme some respect’).  Though getting late in the 60s i like the lack of horns and the pared down quartet (there’s a guitar buried in there!) vibe that swings back to his more R&B oriented records of the mid / early 60s but with a brutality that comes with his harder funk of the late 60s/early 70s.

I picked up this copy in Montreal so it’s on Delta the Canadian label lucky enough to get distribution of the King material Brown released in the states.

Enjoy!

“Musical Episode: Get Yourself Together”

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Evening Everyone.

Psyched to be putting up my first hour long mix since I accidentally stopped posting them a year or so ago.

The frustrating part of writing about these records is I want to give each one a lot of attention and dig into the record a little more than just listing the song title, artist and label but when I’m putting twenty of them together in succession like this mix it’d be a friggin book if i wanted to dedicate even three paragraphs to the histories of and my feelings about the records.

The mix opens up with a totally killer record by “the 14 year old sensation” Little Carl Carlton.  Yes, the Bad Mama Jama Carl Carlton!  He has some absolutely essential 45s on the Back Beat label from this era.  Label art on this track is particularly awesome, reads that it plays at 46rpm.  The second track is by The Amazers and their knockout track “Without A Warning.”  Rowdy Chicago soul, worked with Curtis Mayfield (he wrote/produced the flip side).  Released on the Thomas label in 1967.  Up next is the super sweet Darrell Banks track “Open The Door To Your Heart.”  He had the sweetest voice and the record performed accordingly selling a million copies.  He moved on to make a couple records for Stax, none of which made much noise before hit untimely death in 1970.  “I Can’t Stop” by The Notations follows.  Released in 1970 on the Twinight label this is actually the B side to their “I’m Still Here.”  I was lucky enough to see these guys perform on the Numero Soul Revue a couple years back, they were amazing performers and super nice guys.  (They signed this copy!)  Sticking with the Chicago theme, The Accents cut it up with their track “New Girl.”  I love this song for a million reasons but the way this group works together and seamlessly includes doo-wop/vocal styling with an upbeat soul backing always impresses me.  The O’Jays “Whip It On Me” switches things up a little with a latin-tinged hip shaker that I never hear people get psyched on, but I really like all the early (and later!) O’Jays stuff. 

Ray Johnson’s instrumental generically titled “Soul City” is next but it’s a real foot shuffler and butt wiggler and definitely a stand out.  Betty Lavette (before the spelling changes) drops a serious piece of soul with her Calla single “I Feel Good (All Over).”  As always she brings heat and serious strength to the microphone.  Heading back to Chicago, The Five Stairsteps bring their (kind of ominous) track “Change of Pace.”  With heavy stomping in the mix it’s an upbeat number but the song carries a heaviness in it that I find kind of striking, the horns are really heavy and even the vibraphone feels kind of scary.  A nice switch up for the sweetness (or, alternately, sadness) that is often associated with Chicago.  Toussaint McCall’s instrumental monster “Shimmy” is next on the decks, (Apologies, this is my scratchy copy, before i traded up.  Just imagine you’re sitting by the fire while listening to this one!)  A super minimal track, Toussaint totally kills it on the Hammond with only a drummer to accompany him.  Awesome record.  Sticking with the organ-driven jams, The Emperors “Karate” takes the stage giving you a chance to work out your unused martial arts dance moves.  Barbara Lynn’s “You’re Gonna Be Sorry” maintains the pace but trades the organ in for a piano and Barbara’s minimalist guitar playing keeping the track in hot shuffle. 

Juggy’s “Buttered Popcorn” is only one of two tracks from 1970 and with it’s vamping horns definitely is the closest to “funk” that’s in this mix though it still feels closer to the r&B of the early Bar-Kays to me.  Bob and Earl a favorite type of record of mine, where instead of trying to create a dance, they just talk about a lot of different type of dances you can do, I can imagine this song could fill an entire set, stretching it out to give each dance a couple minutes. 

Now that I haven’t mentioned Chicago in three sentences, lets get back to business.  “Michael” by the C.O.D.s was a massive regional hit and you can hear why, it’s bubbling, upbeat and absolutely infectious!  I remember reading about this song and was psyched to learn a little about it and when they interviewed on of the band members they were like “yeah, it was about this guy in our neighborhood, Micheal.  Man, he got ALL the girls.”  So good.  Another dance record.  Another chicago record… “Do the 45” by The Sharpees released on the awesome One-Der-Ful label is a great track that sounds like it’s recorded with one mic and as a result a pretty unusual mix.  It also sounds like someone had been listening to some Jr. Walker just before hitting the record button, not a bad thing in my book.  Chuck Wood’s “Seven Days Is Too Long” gets us back into sentimentality.  My copy is a UK pressing (no doubt a result of this being a Northern Soul anthem) though stateside it was released on the Roulette label.  A perfect combination of danceable and beautiful, this song is a real heavy hitter.  The Flamingos (Yes, the doo-wop Flamingos!) drop a come-back, genre shifting scorcher with “Boogaloo Party” (I wonder if the Boogaloo Party took place in Soul City?)  Sugar Pie DeSanto’s “Soulful Dress” is one of the few songs that makes me mime wearing a dress while I’m dancing to it.  This was her biggest hit with Chess though most of her records on there are all bona-fide winners.  In particular her collab with partner in crime Etta James “In The Basement.” 

Up next is Shorty Long with his “Sing What You Wanna.”  Most well known for his funny and funky “Here Comes Da Judge” it’s easy to think he can’t put together a tune, especially not one of this caliber but here you have it, replete with all the motown fixins it’s a worthy slab of clean emotive soul music.  Jumping back to the beginning of the decade to experience an early Aaron Neville single.  Coming from the slightly murky waters of the murder ballad I always feel a little uneasy when I spin this record and people are dancing to a song that threatens to kill their lover if they leave them.  Neville is in top form, delivering an extremely menacing and convincing track while never losing a touch of his angelic falsetto.  Lightening the mood Wendy Rene waxes about the joys of her favorite food BBQ (isn’t it everyone’s favorite, I’m a vegan and I love the stuff).  Mid 60s Stax, literally untouchable.  To be fair I had to get one harmonica in there somewhere (and didn’t want to turn to Stevie) so Slim Harpo drops his rolling rumbling R&B shoulder shaker “Baby, Scratch My Back.”  Closing out the night the inimitable Eddie Holland (from Holland-Dozier-Holland fame) graces us with his scolding of the bad behavior of men “Leaving Here.”  A great number, it would probably serve some fellas to listen close.

Hope you enjoy the mix!

Tracklist:

Little Carl Carlton: 46 Drums and 1 Guitar (Back Beat, 1968)

The Amazers : Without A Warning (Thomas, 1967)

Darrell Banks : Open The Door To Your Heart (Revilot, 1966)

The Notations : I Can’t Stop (Twinight, 1970)

The Accents : New Girl (M-Pac, 1963)

The O’Jays : Whip It On Me (Imperial, 1965)

Ray Johnson : Soul City (Infinity, 1963)

Betty Lavette : I Feel Good (All Over) (Calla, 1965)

The Five Stairsteps : Change of Pace (Windy C, 1967)

Toussaint McCall : Shimmy (Ronn, 1967) (sorry, this is my scratchy copy!)

The Emperors : Karate (Mala, 1966)

Barbara Lynn : You’re Gonna Be Sorry (Jamie, 1965)

Juggy : Hot Popcorn (Sue, 1970)

Bob & Earl : Dancing Everywhere (Mirwood, 1966)

The C.O.D’s : Michael (Kellmack, 1965)

The Sharpees : Do The 45 (One-Der-Ful, 1965)

Chuck Wood : Seven Days Is Too Long (Mojo, 1967)

The Flamingos : Boogaloo Party (Phillips, 1966)

Sugar Pie DeSanto : Soulful Dress (Checker, 1964)

Shorty Long : Sing What You Wanna (Soul,1969)

Aaron Neville : Over You (Imperial, 1960)

Wendy Rene : B-B-Q (Stax, 1964)

Slim Harpo : Baby, Scratch My Back (Excello, 1966)

Eddie Holland : Leaving Here (Motown, 1963)

The Stylistics “Let The Junkie Bust The Pusher” 45 (Sebring, 1970)

In 1968 The Stylistics were born from the ashes of rival Philadelphia high school singing groups The Monarchs and The Percussions with departing members from each group moving on to careers, college and the armed services the remaining members, Russell Thompkins Jr, James Smith, Herbert Murrell, Airrion Love and James Dunn forming what would be a Philadelphia powerhouse over the next decade.

This record was released to minimal fanfare due to Sebring owner Bill Perry’s limited resources but was a big enough regional hit that they were signed to Avco / Embassy who would release the same record 2 years later and watch it climb the charts and begin the Stylistics meteoric rise on the wings of Philadelphia wunderkind Thom Bell accompanied by the writing of Linda Creed.

Though the A side was the charting hit the B side is a real stand out for me, both in the Stylistics discography and as a pretty unusual track outside of that chronology.  An upbeat stomper with some sinister horns and absolutely frantic drumming and while it fits in with the requisite “drugs are bad” songs in most artists of the time catalog, this one really feels urgent.  There’s and absolutely KILLER break/breakdown with everyone’s voice getting into a desperate plead that makes the song that much heavier.  Also of note, this song marks Thompkins’ falsetto as a secondary voice before Thom Bell got in the mix and moved him to first chair, an arrangement that makes them a really dynamic group (to in no way second guess Mr. Bell’s choice.)

Enjoy a side of politically aware, late 60’s soul with a soon to be legendary group in their raw, formative stages.

Download here.

This track can be found in “Singles Mixer Vol. 1”

The Classetts “I’ve Got To Space” (Ultra-Class Records, 1973)

Today brings an absolutely choice funk 45 on the Chicago based label Ultra-Class courtesy of the Classetts.  Though billed as the Classetts, usually an all male group, on this record they joined by the awesome talents of Georgianna McCoy who lays down an absolutely searing vocal track backed by the super funky classetts.  This is the flip to the much heralded “I Don’t Want Nobody Else” which is a nice funk/soul hybrid that McCoy also voices.

Ultra-Class was a subsidiary of the Mod-Art label and Distribution (along with Ultra-Sec Records) run by man about town Charles Sibit out of Chicago.  Sibit was not only the business man behind the operations but also wrote and produced a number of the records released on his labels including co-writing this slice of sweetness.  (The cynic could point out that label-dudes in his position often got “writing credits” in order to recoup even more on the record through royalties- see Alan Freed for the most publicized case- but Sibit released at least three records of himself letting loose.)

The Classetts were more or less the same group as “The Class-Set” which put out a number of 45s and LPs on both Ultra-Class and Mod-Art (including the same record featured here, but with lead singer Michael Quinn resuming his duties.)

In 2003 the publishing rights for the Ul-Trac publishing arm along with the rights for Ultra-Class, Ultra-Sec and Mod-Art Labels were sold which paved the way for the “Funky Funky Chicago” compilation that has made the flip to this record much more available.   Though she’s listed on that compilation separately this 45 doesn’t make the distinction which is a little confusing because the record had already been released under the name “The Classetts” in 1972 on the same label.  What’s also frustrating is where the hell did Georgianna McCoy go?  Can’t find any other information about her out there;  possible pseudonym?

There’s a slightly interesting link to the “Mod Lads and Singers” record I’ll be posting next, but all the liner notes aside, this record absolutely slays.  So do yr download thing, sit back and enjoy.

Download here.

This track can be found in “Singles Mixer Vol. 1”

Marv Johnson “I’ll Pick A Rose For My Rose” 45 Gordy, 1968

This song is definitely not for the weak willed, recently single or overly sensitive romantic types.  I can say because in my coldest, darkest, most cynical moment hearing this song will shatter the illusion that I am a man of any spartan cut; my ability to remain stoic and logical in the face of Marv’s recorded longing simply does not exist.

Marv Johnson, for those uninitiated in his work, was a solid member of the Motown family, having the first single on Anna released under his name though it was picked up by United Artists (don’t be fooled like I was for so long, just because the label is really ugly - in the bad way- it doesn’t mean his sides aren’t worth your time!) for national distribution. 

Side note, Gordy was probably pretty lucky that happened, there are too many stories of tiny labels releasing absolutely stellar records that have massive national demand which the label meets, paying and paying and paying for a million and a half singles only to see the middle men, stores and distributors slow (if ever) to pay effectively bankrupting a group of people who just displayed musical, if not business, brilliance. 

Side-Side Note, lucky they didn’t get hooked into some eventual shit storm distribution deal like Stax-Atlantic allowing Gordy, ever the astute businessman, to retain rights to his artists and work.

Back to this absolutely gorgeous 7inches of circular acrylic.  Cut in 1968 it wasn’t the smash it should have been (who the shit didn’t have something to be totally depressed about or long for in 1968, I mean, really?!) in America but, as is often the case with soft soul dancers like this, it caught on in a big way in the UK the following year.

Marv’s career with Motown continued into the 70s primarily as a song writer but this record, for me, marks the peak of his recording though you’re not going to feel disappointed if you pick up any of the records you come across.

Download here

This track can be found in “Singles Mixer Vol. 1”

Ruby Winters “Just Like A Yo-Yo” 45 (Diamond 1969)

Please excuse some of the surface noise on this record, it’s not the cleanest 45 in my collection but I have such an affection for it (and the surface noise is not that invasive) that I felt like this song deserved some air time and it’s also a good excuse for me to put in on 15 times in a row while I prepare this review.

There’s scant biographical information I can find about Winters outside of her being born in Kentucky, raised in Cincinnati and being introduced to the small New York label Diamond Records on a duet with Johnny Thunder (The saucy “Make Love To Me”) in 1967.  She had a few minor hits though this particular track is not one of them.  Why it wasn’t a sizable hit (at least maybe in chicago which Diamond seemed to have some line on, a bunch of their records making noise in that already busy market) is absolutely lost on me.

Not to belabor the point, but hot damn, why was this record not a hit?  Winters has an amazing voice, she sounds like her voice would be a little thin with a subtle, but dominant falsetto yet she carries so much weight (including holding an amazing note/wail as the song approaches the end) and is so affective with her voice that you’re never thinking of anything except how sad you feel for the way this bozo is treating her in the song and how beautifully she makes her case.

The song also has a pretty high production quality that you maybe wouldn’t associate with a label of this size.  A pretty straightforward mid-tempo pop soul number, the song is replete with backing arrangements that speak to a much higher budget than someone who’s only had two or three minor hits on a not gigantic label.  There are some wind arrangements in the background, touches of strings (very sparingly arranged with a really nice feel for emphasis at the end of phrases), clean, on key and well mixed background vocals and a good job in the control booth tucking the bass into the rhythm track in a song dominated by the drummer.  All of this going on and you never lose sight of the fact that Ruby is trying to figure out when this guy is going to stop messing with her.

Not a terribly expensive record (just don’t excited if you see the label in bin somewhere, 9 times out of 10 it’s Ronnie Dove and NEVER the ray men - link and vernon wray’s alternate spelling who released some sides in the early years of the label) and works in a lot of settings.  If you let dance floors determine your purchasing habits (which I’m totally guilty of) this one is an easy choice and if you just like hearing songs about some poor girl getting jerked around while you sit at your desk on the internet, this too is for you my friend.

Download here.

This track can be found in “Singles Mixer Vol. 1”

Mamie Galore “It Ain’t Necessary” 45 St. Lawrence 1966

Where do I begin on one of my favorite 45s of all time?  Well, first off you can look at the label and I’m sure your mind (if you don’t already drool at the sight of it) can put together why this is sooooo good.  Co-written by Jerry Butler, a mega-star (especially in chicago!), produced by Monk Higgins, a man of considerable experience (who would chart the same year with Who-Dun-It?- a record I’ll have to post later) and on a small Chicago label at the height of independent labels making amazing records.

Born Mamie Davis, she cut her teeth as a singer in the backing band for Ike and Tina for a year then jumped on board the Little Milton train, singing with him for a few years before ending up in Chicago.  It was here she changed her name on her first record, also on St. Lawrence, the bond/spy-craze inspired “Special Agent 34-24-38.”  Though a sort of gimmick record it still holds water if you run across it out there. 

Her second record, the one we are psyched about here today, “It Ain’t Necessary” was a much bigger deal locally (and I’d say historically).  A raucous number, it brings the smooth tambourine driven soul that you’d expect out of detroit or chicago but Mamie, drawing on her years pushing the limits with Ike, Tina and Little Milton adds an unmistakable and absolutely beautiful hard edge to the song making the lyrics “you don’t have to climb/ no mountain/it ain’t necessary” feel absolutely triumphant with the lyric-less refrain of “woo hoo” bordering on the ecstatic.

This is a record that is an absolute mover, both emotionally and on the dance floor.  Only down side is the stunning emptiness to her discography following this monster record.

Download here.

This track can be found in “Singles Mixer Vol. 1”

The Intruders “All The Time” 45 (1966 Excel)

Weather appropriate track for everyone on the Eastern Seaboard enduring the lashing or licking that Hurricane Irene has been dropping on us over the past couple days. 

This is an early production/release by the soon to be massively famous team of Gamble and Huff on Excel Records which was their stepping stone into Gamble Records, then on into the Philadelphia International umbrella.  The Intruders were constant companions of the Gamble and Huff team who, relative to what they were able to do with some artists and ‘The Philadelphia Sound’, never really broke out the way they should have with the big blip that carried them being the classic “Cowboys to Cowgirls.”

This record is (along with being weather relevant) a really great uptempo dancer that is carried by an awesome performance by Sam ‘Little Sonny’ Brown who manages to give the otherwise bubbly song a touch of emotion to accompany “the birds may sing, but they don’t sing sweet all of the time” tone of the song.

Clearly an early Gamble and Huff work it lacks any of the touches that became their trademark instead following a driving Detroit sound and adding in some of the doo-wop like back ups this track is definitely an interesting stepping stone in the musical path that Gamble and Huff blazed.  They’re super interesting dudes if you ever get the chance to read up on them.

Download here

This track can be found in “Singles Mixer Vol. 1”

Howlin Wolf “Do The Do” 45 Chess (1971)

Clocking in at just over two minutes this slice of electric blues sure as sugar gets a whole lot done.  Sounding like a a recycling truck formed a marching band just to jam at double time with Howlin’ Wolf talking smooth and easy (though still gravely and gruff), barely reaching his voice into a howl.

The writing credits belong to the legendary Willie Dixon though there’s record of T.Valentine (of “Lucille, are you a lesbian?” fame) is supposed to have written and released the song in the early 60s on his VAL label (recently comped by Norton.)  Whoever actually wrote the tune is sort of irrelevant because Wolf so clearly owns this version and does justice by whoever owns the writing credits.  Further, who’s ever heard of a blues song being re-done?

This may change depending on how your home entertainment (read: earbuds) are set up, but one of my favorite things about this song (besides EVERYTHING) is the mixing; there’s a borderline riot going on behind the drum kit but the damn egg shaker is mixed right up front with Wolfs guitar.  There’s a poor piano that sounds like it’d be adding some really great frenetic flourishes but the poor thing is being strangled for any air time at all. 

This 45 is taken from the “London Howlin Wolf Sessions” which features a bevy of second wave (british) blues musicians before they got annoying and spent their time being shadows of themselves.  A particularly inspired performance (am I about to type this?) by Clapton on lead guitar can be heard being faded out as the song disappears at the 2:10 mark.

Download here.

This track can be found in “Singles Mixer Vol. 1”

George Kerr Orchestra “Back Lash” 45 All Platinum (1970)

This 45 is a little hard to put my thumb on, it’s clearly coming from a soul perspective though the end result that ends up working it’s way off the record and into yr earhole is something, in my opinion, all together different. There’s a mod / hard soul / garage feel that I can’t escape and does not fit with the work of NY native Kerr. The track is unrelenting with a sort of live energy that gets running with the ominous organ and stomping bass drum intro, never letting up with the no-reverb-lead guitar line that repeats and repeats only pausing briefly to mash out some chords briefly and it sounds like even missing a few notes here and there, kind of losing some steam after the second breakdown.

Not to say that counts against it, the sort of desperate, frantic energy, including straight up dropping notes during the final go round makes me get even more psyched on the performance and enhances the sort of general weirdness of the song. Like a bloodied boxer getting a little sloppy but fighting with all his heart.

Released in 1970 on New Jersey’s All Platinum, the record’s details, despite my enthusiasm, suggests this side was probably not much more than filler with its frantic drumming, technical errors and the “one take, done live” vibe. Further the writing credits belong to Kerr and label owner Sylvia Robinson which is the same as the A side, a verifiable soft soul, croon fest “3 Minutes to Hey Girl” that was the actual hit they were interested in getting to market. (Reminds of you the Cliff Nobles “Love is Alright” vs. “The Horse” situation except “Back Lash” is more of a rave up sweat machine that a catchy dance tune.)

Kerr’s other productions work (O’Jays, Linda Jones, Whatanuts) has nary a hint of the adrenaline contained in one measure of “Back Lash” instead, his work was often refined and smooth, which is great and worth checking out when you’re in a dim the lights, pour some cognac kinda mood, but for now, thank you for the filler!

Download here.

This track can be found in “Singles Mixer Vol. 1”

This record is not much of a secret, Betty Harris is rightfully regarded in the top tier of (female) soul voices despite a limited discography. After a brief stint and some success working with the (awesome) Bert Berns in New York for Jubilee Harris began working with another outstanding talent in the form of Allen Toussaint and releasing music on his label Sansu. While this record wasn’t the highest charting it’s arguably been one of the most enduring of her hits, not that we need to really rate the records, they’re all really amazing and worth your ear’s time.

I’m Evil Tonight is a super heated mid-tempo (though I can’t muster the mind to dance to it) track that absolutely oozes emotional intensity in both the understated, restrained verses into the release of “if you don’t minnnnnd” of the chorus.

Allen Toussaint’s arrangements are, no surprise, so strong and mirror the subtlety and explosiveness of the Harris’ performance, from the muted guitars during the verses to the strings and vocals buried in the background behind a ominous piano and the definite punctuation of the xylophone.

Ultimately, you could have Betty singing along to a damned spoon and whistle orchestra and you’d still feel this song like a punch to the gut
because she’s that good of an artist.

Download Here

This track can be found in “Singles Mixer Vol. 1”

The Four Sonics “It Takes Two” 45 Sport Records

There’s no Rob Base, DJ EZ Rock or Lyn Collins samples here but The Four Sonics put together a pretty rowdy little number that is, in context, definitely a great dance record.

From the ashes of the Velvet Angels (a group that credits their 45 with being “recorded in a jersey city hotel room”!) the Four Sonics -named after their production company cut a couple 45s on Sport Records, sometime home of the venerable Andre Williams, one of which we have here today.

The vocal group origins of the Four Sonics is only a hair’s breath away with an awesome, dominant bass performance by Jay Johnson but the record has a definite rollicking soul vibe that places the record pretty clearly in time, 1968 to be precise.

Enjoy!

Download here.

This track can be found in “Singles Mixer Vol. 1”

Ruby Andrews “You Made A Believer (Out Of Me)”  45 Zodiac Records

Mississippi born but Chicago expressed Ruby Andrews (Ruby Stackhouse) drops an excellent middle ground 45 on us with “You Made A Believer (Out of Me).”  Not unlike Etta James who was identified with Chicago because of her label but drew from Southern Soul influences, Ruby Andrews’ Zodiac releases seem to skirt identification based solely on region.  The Chicago elements are there, hints of detroit and enough grit to float down the Mississippi river a ways.

This is a favorite of mine, the opening break feels like it could be on any De La Soul record, the dominant piano gives the record a very personal feel, the persistent background vocals and lyrical themes suggest a secularized gospel feel and the song does not let up at all even when it briefly drops into a minor chord feel half way through.

Released in 1969 it was a slightly lesser hit than her previous single “Casanova (Your Playing Days Are Over)” though I’m definitely partial to this record, Casanova is a pretty unusual specimen that I’ll upload when I get a chance.  I don’t come across her records too often (especially not in shape to write home about) but if you do, pick em up!

Download here.

This track can be found in “Singles Mixer Vol. 1”

Lloyd Price “Bad Conditions” 45 on Lloyd Price’s Turntable

Where to start on this record?

Yes, this is Lloyd Price of “Personality” and “Stagger Lee.”  Despite some of the energy behind his version of “Stagger Lee” (which saw much more intense readings in my opinion) I never would have wagered a wet snot on good old Lloyd knocking out a total barnstorming funk bomb like this sweet 45 released on his own label.

A confusing 45, it was released in 1969 and the label is conflicted on whether it was recorded in NYC (where he was based at the time) or West Indies, Jamaica.  Price was based out of New York at the time running a night club of the same name as his label which could have just been stock label art and the silver print would actually indicate where the track was recorded.  Lloyd would only release a few records on this label before a personal tragedy would compel him to move to Africa where he maintained a low profile creatively but worked with, surprisingly, Don King to help book Muhammad Ali and Joe Frazier among others.  Who knew this dude would be behind the scenes of so many things I like?!

I love the artwork on this label and never tire of hard, gut punching funk/hard soul that points out how shitty the world was in the late 1960s.  Infinitely curious what a club called “Lloyd Price’s Turntabler” run in late 60s NYC would be like?  Show me the jukebox!

Download here.

This track can be found in “Singles Mixer Vol. 1”