The Tarantulas “Vera Brown” (Stop, 196?)

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Happy Memorial Day to you all, I hope none of you have friends or family out in harm’s way and if you do, may they return safely. 

Today’s 45 is by The Tarantulas, most well known for their eponymous Atlantic single with the Black Widow flip, they were one of those great 60’s bands that everyone can lay claim to; surf-rock, R&B and rockabilly (is that everybody?).

A great band who recorded in Memphis, TN, The Tarantulas (originally named The Spyders), included Bob Tucker, the writer of today’s song, who later became the stand-in for Bill Black in 1963 when he began to be to ill to tour.  Upon Black’s death in 1965 Tucker purchased Black’s studio in Memphis and continued to tour with the Bill Black Combo for the next 30 years.  (Here’s an interesting piece about Tucker finding the Ampex recorder he bought from Sam Phillips in the back of his Bus Warehouse.)  Many of the other members of The Tarantulas ended up in the Bill Black Combo (sans Black) to tour with The Beatles (at their request) in 1964.

About the record, there’s another issuing of this 45 out there on the Silver-Dollar label with an address listed in Memphis with no production credits but my copy is on the Boston based Stop label (though I did find this record in New England, I’ll be damned if I’ve ever seen a record on that label in all my years digging in Boston…) and it lists “Skippy” White as the producer and he was based out of Bean town.  Despite the “production” credit, based on The Tarantulas small reach and immersion in the Memphis scene, my guess is it was released on Silver Dollar first then picked up by the (relatively) larger Stop.

I can’t find anything out there on the year it was released but I’m swinging for the fences with 61?

All the best, see you soon.

-George / Snack Attack

Edit:  It appears Stop was owned by Pete Drake, the legendary lap steel guitarist and based out of Nashville, Skippy White was a Boston producer that worked in Gospel, Blues and R&B so that fact seems to sit right, just not sure how the two meshed.  Would love to hear any ideas you all have!

The Commands “Hey, It’s Love” (Dynamic, 1966)

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Please excuse any typos in this post, they’re a result of my unbridled enthusiasm for today’s 45.  I have been trying for quite some time to secure a copy of this gem and it came in the mail today after a lucky snag off an unnamed internet auction site and I literally can’t wait to share it with the world.

“Hey, It’s Love” is an absolutely beautiful, literally shockingly smooth track from San Antonio, TX.  The Commands were a group of guys who came together from, no surprise from their name, an Air Force base.  The arrangements and sensibility do not suggest they spent their time tearing up the pub on the base but instead were more focused on harmony and singing, not something unknown to those parts of Texas with Dan Henderson delivering a monster performance on what is a B-Side performance. 

The Commands themselves were actually just a vocal group with all the backing music provided by the Dell-Tones and boy, what backing music it is!  Crisp (but mellow) drums, including a gorgeous opening drum break are accompanied by super clean almost harp-like guitar.  Truly amazing stuff.

Released on the local Dynamic label, the record was picked up by the nearby powerhouse of Backbeat in Houston for national distribution and exposure even leading to the O’Jays covering the A-Side “No Time For You.”  There were a few more records released but none with the popularity of “No Time For You / Hey It’s Love” and fate intervened to take the lead Singer (of the A-Side) Sam Peoples to a station overseas before we were able to see what the group was really able to do.

This is literally one of my favorite records and if you’re listening I’m sure you understand why.

Enjoy the music and be good to each other,

-George / Snack Attack

John Holt “For The Love of You (Part 1)” (Impact, 1975)

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John Holt is about as big a name as you can get in reggae without being Robert Nesta.  As lead singer of the Paragons (and still a pretty young dude) he penned and sang a number of massive hits including Tide is High later covered by Blondie.  When Holt struck out on his own he was even more successful both with original compositions and a series of cover songs including today’s 45.

The song “For The Love of You” should be more than familiar with your ear/brain combo as one of the many scorching ballads the Isley Brothers dropped on us in the 70’s and Holt handles it masterfully as he did with all his lover’s rock ballads.

Hope you enjoy today’s record, it’s a favorite.

-George / Snack Attack

Eddie & Ernie “Outcasts” (Eastern, 1965)

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I’m glad to be back and more or less recovered from my brief trip overseas and the bummin cold/cough I got while traveling and ready to lay another 45 on you all!

I figured with all the absolutely bummin news coming out of Arizona these days it would only be right to try and shine some positive light on one of our Southwestern states.

Eddie and Ernie were a great (and as is often the case) overlooked duo from Phoenix, Arizona whose recorded output lands mostly in the mid-60s.  They recorded for a number of labels (Columbia, Chess and Revue) but today’s record was released on the (adopted) hometown Eastern label.

This little slab of wax is kind of a heavy record.  You know, not in a Sabbath type of way heavy but instead, it’s the meditative, slightly noodley and somber guitar that opens the track that kind of weighs on you.  And while the beat is up-tempo and the horns feel like they’re reaching upwards, it all comes together to just ooooooooze melancholy.  Of course you have Eddie (Campell) and Ernie (Johnson) delivering an exquisite vocal performance that assures you feel their pain when they cry “I don’t know how long I’m gonna last.”  The song breaks after the first chorus and lets you feel that awesomely sad and clean guitar break (with a touch of organ buried under there) again this time knowing full well you’re into so deep territory.

An all around great track that stays on repeat in my room (even in my happy moments!) was surely helped out by the production of the great Juggy Murray (who I swore I had featured in one of my longer mixes, but apparently not!) of Sue Records.

I hope your month is winding down peacefully, happily and healthily and you enjoy today’s track as much as I do!

-George / Snack Attack.

Ike & Tina Turner “Stagger Lee and Billy” (Sue, 1965)

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For anyone who has read Griel Marcus’ excellent book Mystery Train, every version of Stagger Lee that you come across while digging should at the least illicit an a slight additional twinge of curiosity about the contents of the record.  I’d also bet that anyone who sees and Ike & Tina single from the mid-60’s has another appeal that will result in them walking out the store with said 45.

This record is a bit of a curiosity because it does not follow the (very well established) traditional Stagger Lee narrative and instead recreates from Tina’s perspective, a bar fight from which she can’t escape where Billy beats the living snot out of Stagger Lee.  Nothing too subtle in that if you’re familiar with the turbulent history of Ike & Tina…

On the second point, this record delivers without question, pure mid-60’s greased out (but kinda up tempo) R&B with an absolutely killer boot-dusting guitar and vocal intro.

This record came 5 years after their first hit with Sue “A Fool In Love” though they were never tied exclusively to the label.  Over the course of the sixties there were releases coming out, for both Ike & Tina and The Ikettes, on as many labels as they could sign on with:  Sonja, Warner Bros, Kent, Loma, Modern, Philles, Innis, Blue Thumb, Minit, A&M and others.

Tony Morgan & Muscle Power “Racial Segregation (Vocal)” (Chess, 1973)

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What wonders the world holds for us, it’s into December and the only blizzard of the season is a month behind us and we’re otherwise enjoying a string of moderate days.  (Maybe though, it’s less of a wonder and more of a direct byproduct of global warming turning New England into a more temperate zone as the Earth is put into our hand made tanning booth.)

Today’s 45, and what a 45 it is, by Tony Morgan & Muscle Power is appropriately world travelling, bringing the some amazing afro-cuban (nearly west african) rhythm to us via the Chicago blues label founded by Polish Jew Leonard Chess.

Released on Chess in 1973 “Racial Segregation” was written, arranged and produced by Eddy Grant, who you may know from his gigantic 80’s hit Electric Avenue or if you dig below that his massive 60’s hit with The Equals “Baby, Come Back” or my personal favorite “Black Skinned Blue Eyed Boy.”  After a medical issue in 1971 Eddy left his adopted home in the UK to return to his native Guyana to run his Ice label, where he produced this and a cover of “Black Skinned Blue Eyed Boy” along with a few others for Tony Morgan & Muscle Power (alternately spelled ‘Mussel Power’, not sure if that’s a food pun or failed translation, but it shows up regularly).

This record was released on a number of labels internationally, but for American distribution Chess, now run by the much more psychedelically inclined son Marshall Chess, got the nod.  My copy is a DJ Promo so I’m not sure how much noise this made on the charts (nothing according to what I can tell by the silences in Billboard/Cash Box etc) but since when did chart action equate to the quality of a record?

This record is an absolute shaker with every part of the arrangement- voice, clean guitar, horns, percussion- heavy and locked in enough to carry the whole song.  It’s worth noting the flip is an instrumental version that hits just as hard but I prefer the fearless politicizing of the vocal.  A pretty unique record on most accounts and without a doubt worth dropping the coin on if you come across it in your travels.

Till next time, health and happiness,

-George / Snack Attack

“You Ain’t Too Cool” An hour of Soul and R&B 45s

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 Greetings from the dark and freezing valley of Western Mass as we recover from the Halloween snow massacre that took out power, phones, internet and all the other advances of Western Civilization that have been chipping away at our ability to talk to other real-life human beings. 

Just in from a digging trip to Chicago I got home with a massive box of 45s and I was eager to listen to a lot of my finds (no listening stations in stores, no portable) and of course the first thing to happen when I get home is the power goes out for 2.5 days!  As a result, despite this new cache of wax, I didn’t include too much of that stuff, but I got a ton of great sides and made my pilgrimage to the Dusty Groove brick and mortar spot which was great.

Today’s serving of bumpin and thumpin draws heavily on Northern tracks, with some funk(y) tracks sprinkled in the middle and closing up with some R&B.  The JJ Barnes and Radiants track that open the mix are both standard bearers of their respective cities, JJ’s clap/tambourine beat couldn’t scream Detroit more loudly if it had a wall of Man O War amps and The Radiants track has all the hallmarks of Chicago with the falsetto vocals, trading off leads and delicate handling of the arrangements. 

The Ikettes and Barbara George sauce things up a little with the horns turning from soft to vamping and introduce us to a little of the New Orleans flavor.  The Sister and Brothers also hail from Louisiana and drop some seriously killer funk/soul with their ‘Yeah, You Right.’  Adding to the gumbo there’s a nice Lee Dorsey Track and Marie ‘Queenie’ Lyons, who though raised in NYC, was born and recorded in Louisiana.  Bettye Swann another transplant was from Louisiana but relocated to Los Angeles where she recorded some (of my favorite) sides.  Irma Thomas also fits this transplant mold that is coming to shape here, being a NO staple but recording this side of decidedly Stax inspired beauty for the Chess label.

Linda Jones and Willie Mitchell are the two tracks who are geographically dislocated here but it doesn’t mean they aren’t welcome additions to the mix, Willie bringing his rager of a track “That Driving Beat” that feels more at home in the Jr. Walker vein than the restrained Hi-Records sounds we’re used to hearing from him.  The Linda Jones track would be comfortable coming out of any number of studios over a pretty wide swath of time so it’s fine with me we share the love with the coastal Mid-Atlantic. The flip to this record is just as legit and def worth your time if you come across it.

Sprinkled in for good measure are a few other instrumental movers and shakers; the classic Phil Upchurch anthem “You Can’t Sit Down”, a nice groover from Cash McCall (picked that up in Chicago this past week), a record I hadn’t seen before by the memorably named “Robert, Ron & Eddie” (sounds more like dudes around a cooler than a band), Otis Spann’s freakout “Walking” featuring the smooth dudes Fleetwood Mac showing their teeth and The Interpretations rave up “Snap-Out”.

The last batch of records gets us rolling and rocking with Johnny Rivers’ cover of the Willie Dixon song (made famous by Willie Mabon!) Seventh Son, similarly unusual, we have Ruth Brown reprising her hit “Mama…” which was an early hit for her on Atlantic almost 10 years later on the Phillips label, Andre Williams drops some greasy moralizing in Cadillac Jack in a way that makes it seem like he could just breath songs like this without even trying.  I really like how chill the Willie Mabon track is, like it’s missing the deep gut in some of the other R&B tracks but not in a way that’s lacking punch, it’s more conversational and relaxed.  The mix wraps up with an absolute scorcher by Donoman and the Lakettes doing “Here Comes The Fool” a track I never ever tire of listening to, no matter what my mood.

Alright everyone, I’m going to go back to thawing my toes.  Hope you enjoy.

-George / Snack Attack

Tracklist:

J.J. Barnes “Please Let Me In” (Ric Tic, 1965)

The Radiants “Voice Your Choice” (Chess, 1964)

The Ikettes “Don’t Feel Sorry For Me” (Modern, 1965)

Barbara George “If You Think” (Sue, 1962)

The Accents “New Girl” (M-Pac!, 1964)

Robert, Ron & Eddie “Love Potion #9” (UniSFERE, 1968)

Sister & Brothers “Yeah, You Right” (Uni, 1969)

Marie “Queenie” Lyons “See And Don’t See” (De Luxe, 1970)

Bettye Swann “Don’t Take My Mind” (Money, 1967)

Irma Thomas “Cheater Man” (Chess, 1967)

Linda Jones “I Can’t Stop Loving My Baby” (Loma, 1967)

Lee Dorsey “Behind The 8 Ball” (Fury, 1962)

Cash Mc Call “You Ain’t Too Cool” (Thomas, 1966)

Willie Mitchell “That Driving Beat” (Hi, 1966)

Otis Spann “Walking” (Blue Horizon, 1969)

The Interpretations “Snap-Out” (Bell, 1969)

Phil Upchurch Combo “You Can’t Sit Down” (Boyd, 1961)

Johnny Rivers “Seventh Son” (Imperial, 1965)

Ruth Brown “Mama (He Treats Your Daughter Mean)” (Phillips, 1962)

Willie Mabon “Too Hot To Handle” (USA, 1963)

Andre Williams “Cadillac Jack” (Chess, 1968)

Donoman and the Lakettes “Here Comes The Fool” (Thunderbird, 1960)

The Magic Tones “Lets Let Our Love Roll On” (Mah’s Records, 1968)

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Nothing to help brighten a pretty dark New England Fall day than a little bit of mid-tempo upbeat Detroit soul.  Today’s cold rain and monochrome grey sky is no challenge for this shimmering bit of beauty brought to us by the Magic Tones.

Released in 1968 on Mike Hank’s label Mah’s Records this 45 was well received and got some decent distribution through Ric Tic before they folded up their operation in the buyout with Motown.  The Magic Tones were actually the reason that Hank re-started the Mah’s label which was active mostly in the early part of the decade in a string of labels that Hanks operated/produced/wrote for included but not limited to D-Town, Wheelsville, Wheel City and an association with a number of other small Detroit labels (including Soul, before it was bought by Motown).

The Magic Tones had been working with Hank as session musicians doing back up vocals and evidently had his faith to revive the Mah’s label to release the hit “Together, We Shall Overcome.”  A massive hit that was recorded days before Dr. Martin Luther King was assassinated and rushed to press selling over 100,000 copies in a short couple of weeks.   It was on the success of that release that two more Magic Tones 45s, including the beautiful piece of music you’re hearing today, were released.

Shortly after this record, with the distribution deal with Ric Tic over, The Magic Tones moved over to Westbound where they made some records with Calvin “Doc” Stephenson later leaving to become a member of The Undisputed Truth.

For all you beat diggers, this track starts with a totally open break with, unusually, a very clean acoustic guitar accompaniment.  It also is worth noting it’s quite clear that Hanks had 10 years in the studio behind him because this song is IMPECCABLY produced.  An acoustic guitar lead with a horn section?  You got it!  Super crisp drums with a little percussion sprinkle?  No problemo.  How about three back up singers behind that lead?  Easy!  It’s the type of stuff that gets overlooked but for me it really separates this record from a lot of others in my collection.

Hope you enjoy! 

The Soul-Mates “I Want A Boyfriend (Girlfriend)” (Era, 1963)

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

Today’s serving of brain melting soul comes courtesy of the talents of Brenda Holloway and Robert Jackson who got together for this solitary single as The Soul-Mates on the Era label in the year that introduced Tab soda and killed our 35th president John F. Kennedy, 1963.

A real deep, heated scorcher, you can feel the sweat soaked shirt sticking to your back from the second the arpeggiated guitar starts the track and you’re lucky if you’re still wearing it by the time Brenda starts the second verse.  An intense two minutes, the song is basically one absolutely killer hook that trades gender perspective and a sweet, pleading refrain for a sweet boy or girl to make their dreams come true. 

Brenda Holloway is a known in this case, producing a decent sized stack of memorable records on Motown (including the absolutely brutal/beautiful “Every Little Bit Hurts” which served as her break-out record).  Prior to coming to the Detroit label she had, obvious from the record, a back ground in gospel, (not so obvious) a classically trained background in the violin, and a lengthy track record of backing bands coming through the area with her girl group Four J’s who cut the EXCELLENT and only record “Will You Be My Love” in 1964 before heading to Motown and remarkably, to open for the Beatles at Shea Stadium in 1965.  Brenda’s move to Motown should come as no surprise, Hal Davis, co-writer on this track was later named head of Mowest, Motown’s west coast offices.

Robert Jackson is a wild card here, anyone got anything other than the unverified internet rumor that he’s Gloria Jones’ brother and that he is the co-writer of this track ?  Either way, the pair have great chemistry and it’s unfortunate they only did two sides together.  The upside is Brenda has a sizable body of work to enjoy even if we must sit and wonder if Robert ever found a girl to hold him tight, every night.

Would be a killer mix-tape track if people still made those anymore.

The Superlatives “We’re So Lonely” (Uptite, 1966)

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

Today’s record that’s had me flipping my wig for about a year is a barn storming Jersey City vocal group The Superlatives and their B side “We’re So Lonely.” 

I swear I’m not looking for obscurity points here by posting the flip to “I Still Love You” which was at the time a big regional hit and has since endured (primarily in the Northern Soul scene) and been one of the main reasons people still remember this group, if they do at all.  While both are upbeat tracks, the second side in question here stood out to my ears as the show stopper whereas the first side, while a great track, felt like a less intense version of “We’re So Lonely.”

Co-written by Jersey City man about town Paul Kyser who would work with a variety of other groups in a variety of capacities (Soul Generation, Kool and The Gang, Rhyze, etc) and produced by Industry vet Hal Wess at the Cameo-Parkway studios, this record was in the middle of a storm of east coast talent.  This Superlatives group is not to be confused with the Detroit Superlatives who made some great records (in particular 1968’s “I Don’t Know How (To Say I Love You).”

Not for the weak of heart or the heavy of foot, this record has mania inducing, dance demanding music spill forth from beginning to end.  I hope you enjoy it as much as I do.

“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)

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.

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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”

Major Lance “Hey Little Girl” 45 on Okeh

Every time I hear people talking about Chicago it’s like “windy city” or “pizza” or “How is the acquisition of Marion Barber going to effect Jay Cutler now that they have a powerful play action?” When really people should think “Johnny Pate’s arrangements” or “Curtis Mayfield’s writing ability” or “Carl Davis production work.”

This Major Lance records has all of the magical elements that Okeh had assembled in the early 60s. In terms of his output it’s clearly referencing his hit “Um, Um, Um, Um, Um, Um” both in the phrasing of the guitar line and the descending arrangement. But it’s still a really beautiful piece of music that is a bit more upbeat than its predecessor and with all these beautifully working parts Major Lance is really at ease and delivers a great performance.

This era of Okeh is really a gold mine of material that reckons with the best of them.

Download here.

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