Primarily focusing on American Soul, R&B and Funk music presented on the glorious 45 format. I'll be posting write ups of some of my favorite records along with longer mixes.

All tracks come from vinyl that's in a box somewhere in my room.

I regularly DJ here in western mass (and nearby) with my homeboy DJ Cashman and a bunch of other great folks. If you're in the area be in touch if you're interested.

If you have any questions or corrections: gwmyers@gmail.com

Feel free to share and repost. Where possible always try to support artists and record stores!

Enjoy!

George / Snack Attack
hello! theme by cissysaurus
11
01
“You Ain’t Too Cool” An hour of Soul and R&B 45s (Click title to download)  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)

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

(Click title to download)

 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)

09
15
The Superlatives “We’re So Lonely” (Uptite, 1966) (Click title to download) 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.

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

(Click title to download)

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.

08
23
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”

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”