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
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Ike & Tina Turner “Stagger Lee and Billy” (Sue, 1965) (Click title to download) 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.

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

(Click title to download)

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.

10
09
The Meditations “Rebounce” (Bullwackie’s, 1982 - Re/Issued 2002) (Click title to download) This track can be found in “Singles Mixer Vol. 1” A pretty depressing couple of events last week with the passing of two luminaries Fred Shuttlesworth and the passing of Sylvia Robinson along with endless videos of police brutality surfacing every ten minutes calls for a deep moment of silence and reflection and then the necessary re-bounce brought to you today by The Meditations. The Meditations “Rebounce” appears on this Basic Channel re-issue of the 1982 “I Love Jah” sessions recorded in the states at Llyod “Bullwackie” Barnes’ studio / record label / storefront after he too moved from Jamaica and set up shop in the Boogie Down Bronx. Before moving to the states The Meditations were a very able set of voices that were used in sessions with all the major figures of Reggae from Rasta-fied Roots to Dub with The Congos, Lee Perry and Bob Marley all calling on their unique talents live and in the studio. The Meditations made any number of deep contributions and continue to play today (with a modified line up) but it’s thier line “open your heart and let me come right in there” that are carrying their weight today.

The Meditations “Rebounce” (Bullwackie’s, 1982 - Re/Issued 2002)

(Click title to download)

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

A pretty depressing couple of events last week with the passing of two luminaries Fred Shuttlesworth and the passing of Sylvia Robinson along with endless videos of police brutality surfacing every ten minutes calls for a deep moment of silence and reflection and then the necessary re-bounce brought to you today by The Meditations.

The Meditations “Rebounce” appears on this Basic Channel re-issue of the 1982 “I Love Jah” sessions recorded in the states at Llyod “Bullwackie” Barnes’ studio / record label / storefront after he too moved from Jamaica and set up shop in the Boogie Down Bronx.

Before moving to the states The Meditations were a very able set of voices that were used in sessions with all the major figures of Reggae from Rasta-fied Roots to Dub with The Congos, Lee Perry and Bob Marley all calling on their unique talents live and in the studio.

The Meditations made any number of deep contributions and continue to play today (with a modified line up) but it’s thier line “open your heart and let me come right in there” that are carrying their weight today.

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”