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By Larry, July 17, 2011 3:25 pm

Jerry Ragovoy

Listen/Download – Howard Tate – Get It While You Can (1)

Listen/Download – Lorraine Ellison – Stay With Me (2)

Listen/Download – Lorraine Ellison – Try (Just A Little Bit Harder (3)

Listen/Download – Erma Franklin – Piece Of My Heart (4)

Listen/Download – Garnett Mimms and the Enchanters – Cry Baby(5)

Listen/Download – Irma Thomas – Time Is On My Side(6)

Listen/Download – The Olympics – Good Lovin(7)

Listen/Download – Terry Reid – Stay With Me Baby (8)

1 – Written/produced/arranged by Jerry Ragovoy

2 – Written by Jerry Ragovoy and George David Weiss, produced by Ragovoy

3 – Written by Jerry Ragovoy and Chip Taylor, produced by Ragovoy

4 – Written by Jerry Ragovoy and Bert Berns

5 – Written by Ragovoy and Berns as Meade and Russell

6 – Written by Jerry Ragavoy with additional lyrics by Jimmy Norman

7 – Produced by Jerry Ragovoy

8 – Ragovoy/Weiss

Greetings all.

I hope everyone is well.

I come to you this day with a heavy heart, since the news came down last week that one of the greatest soul songwriters and producers of the classic era, the mighty Jerry Ragovoy had passed away at the age of 80.

His name was probably familiar to label scanning record nerds (like myself) and soulies, but largely unknown to the general public.

The same cannot – thankfully – be said of the music he made as a songwriter, producer and arranger.

Ragovoy got his start working as a music buyer for an appliance and record store in his native Philadelphia. He eventually found work as an arranger and writer for Chancellor Records, before moving to New York and hooking up with Bert Berns with whom he wrote his first big soul hit, Garnett Mimms and the Enchanters ‘Cry Baby’ in 1963.

Through the 60s, under his own name and psuedonyms like ‘Norman Meade’ and ‘Norman Margulies’ – it’s been said that he thought the record he worked on would lose airplay if he was listed as producer and songwriter – he wrote or co-wrote a string of genuine soul classics for the likes of Howard Tate, Erma Franklin and Lorraine Ellison, and had his songs covered by the James Gang, Terry Reid and most famously, Janis Joplin.

I don’t exaggerate when I say that many records from the Ragovoy canon hold a special place of honor in my record box and my heart.

The most important of these is Howard Tate’s ‘Get It While You Can’.

One of the greatest soul ballads of the 1960s by any measure, it’s the finest thing that Ragovoy and Tate created during their time working together, and epic in every sense. Co-written by Ragovoy and Mort Shuman, ‘Get It While You Can’ is a slow building show-stopper with a brilliant lyric, delivered with both intensity and nuance by Tate (and piano by Ragovoy himself). It is a record of singular power that never fails to bring me to tears.

It would be a gross understatement to say that Ragovoy had a special talent for grand soul ballads. If the best songs he wrote were spread over the catalogs of a few different songwriters they would be hailed as masters.

How surprising must it be for some people to discover that the same man wrote or co-wrote ‘Time Is On My Side’, ‘Cry Baby’, ‘Piece of My Heart’, ‘Stay With Me’ and ‘Get It While You Can’, and then even more shocking when you realize that he also produced the landmark versions of many of them?

There’s the famous story of the creation of Lorraine Ellison’s ‘Stay With Me’ (co-written by Ragovoy and George David Weiss) in a block of abandoned Frank Sinatra studio/orchestra time, one of the greatest soul ballad performances ever, put together on incredibly short notice.

It is also a testament to the power of Ragovoy’s songs that they translated so well in the rock world.

The first Jerry Ragovoy song I remember associating with his name was the James Gang’s 1969 version of ‘Stop’ (originally recorded by Howard Tate), long a teenage favorite of mine which I only discovered was a cover years later when a friend played Tate’s version at a party.

The only rock take on one of Ragovoy’s tunes I bring you today has become one of my favorite recordings in any genre, Terry Reid’s 1969 recording of ‘Stay With Me (Baby)’.

Though he is not well known in the US, Reid had a brief heyday on the the underground FM airwaves of the late 60s and early 70s. he was possessed of a voice reminiscent of a somewhat more refined version of Steve Marriott and in the midst of an era filled with overkill, his recording of ‘Stay With Me Baby’ is a revelation. The instrumentation is fairly spare and restrained, giving Ragovoy’s melody full attention and is, at least in my opinion, every bit as majestic in its own way as Ellison’s version (whose 1968 original recording of ‘Try (Just A Little Bit Harder)’, another tune covered by Joplin, is also included).

For those that haven’t heard Erma Franklin’s original (1967) version of ‘Piece of My Heart’, it too should prove to be an eye-opening experience. Franklin’s approach to the song, cross-breeding lamentation and defiance and delivered in her deeply soulful voice employs a dynamic range and casual power that Joplin  – at least to my ears – never really achieved.

Also worth hearing is a great example of Ragovoy’s work as a producer, the Olympics 1965 recording of ‘Good Lovin’ (arranged, as was Franklin’s ‘Piece of My Heart’ by Gary Sherman).

Ragovoy continued to write and produce into the 70s and went on to open and run the famous Hit Factory recording studio from 1969 to 1975 when it was sold.

If the sounds herein interest you, make an effort to pick up the outstanding Ace Records comp ‘The Jerry Ragovoy Story’ which covers his best work as a songwriter and producer from the early 50s into the 70s.

He was a master, and will be missed.

Peace

Larry

____________________________________________________

PS  – Don’t forget, Monday, 7/18 I will be sitting in for DJ Perry Lane and spinning at Spindletop @ Botanica (47 E. Houston St, NYC). I will be joined by M-Fasis and Joe Cristando, so come on by for some hot music and some cold drinks…

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recreational events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (6)

By Larry, July 14, 2011 11:07 am

Johnny ‘Hammond’ Smith

Alphonso ‘Fonce’ Mizell and Larry Mizell

Listen/Download – Johnny Hammond Smith – Shifting Gears (45 Edit)

Listen/Download – Johnny Hammond Smith – Los Conquistadores Chocolates (45 Edit)

Greetings all.

The end of another week is upon us, and while I am as always up to my substantial ass in alligators, they are all (for a change) well trained and waiting to be fed.

I will be taking to the airwaves of the interwebs once again this Friday night at 9PM for this week’s edition of the Funky16Corners Radio Show on Viva Radio. This time out I have a very groovy, very summery set prepared, so if I was you I’d be muddling the mint and the lime for and icing up the mojitos since this will provide a better than suitable soundtrack for the sipping of hot weather beverages.

As always, if you have something better to do when the show airs, but still think that stuffing some groovy music into your ears will be beneficial, you can always stop by the blog over the weekend and pick the show up in MP3 form.

That said, if you’re in New York City on Monday night, 7/18 I will be manning the decks at Spindletop @ Botanica and will be joined by my friends M-Fasis and Joe Cristando for the spinning of the funky vinyl. I assure you that the sounds will be, in a word, oustand-a-licious (it’s made up, but it’s still a word), so you should fall by, see Dan at the bar about a cocktail and settle in for a night of good music.

As promised I will be using the end of week post to pay tribute to the passing of the great Alphonso ‘Fonce’ Mizell.

If you don’t know the name, Fonce Mizell, over the course of a career that lasted more than forty years left his mark on countless fantastic records.

He came up in Englewood, NJ alongside his brother Larry and their classmate Freddie Perren, all of whom eventually headed down to Howard University in Washington, DC (where they would cross paths with both Donny Hathway (student) and Donald Byrd (teacher).

Following graduation, Larry Mizell would detour for a time into a non-musical career as an engineer, and Fonce Mizell and Freddie Perren would head west to Los Angeles. They would both eventually be signed to Motown as staff writers, where they would eventually become (with Berry Gordy and Deke Richards) part of the songwriting and production team known as ‘The Corporation’.

The Corporation made their biggest mark working with the Jackson Five, writing and producing the group’s biggest early hits like ‘ABC’, ‘The Love You Save’ and ‘I Want You Back’.

After The Corporation went their separate ways in 1972, Larry and Fonce Mizell reunited, forming Sky High Productions, working in the studio with artists like Donald Byrd, Gary Bartz, Bobbie Humphrey, the Blackbyrds and today’s featured artist Johnny Hammond Smith.

The tracks featured today are the 45 edits of two tracks from Hammond’s 1975 ‘Gears’ LP (his second with the Mizells) , produced and almost completely written by Larry and Fonce Mizell. The album featured Sky High stalwarts like Harvey Mason (drums) and Chuck Rainey (bass) and both the Mizell brothers on backing vocals.

The oft-sampled ‘Shifting Gears’ is a funky electric piano showcase for Smith with fantastic contributions from Michael White on electric violin. The tune is a wonderful example of the Mizell brothers ability to craft a mixture of jazz fusion and funk with modern, dance floor-friendly production.

‘Los Conquistadores Chocolates’ is really the standout here, and a quick listen reveals why it was an early favorite at David Mancuso’s Loft parties and the disco scene in general. Opening with synthesized piano, drums, guitar, the tune bursts out into waves of stylish, synthesized strings. It never loses the propulsive power that so endeared it to the dancers, yet the Mizells and Smith manage to weave together a complex mixture of Smith’s Hammond organ, piano (electric and acoustic), vibes, guitar, drums and percussion that never gets crowded and is always pleasing and intriguing to the ear. The 45 edit omits the trippy opening interlude from the album, as well as the last minute and a half of the tune (you can hear the whole thing over at YouTube).

Though the Mizells did much to move fusion forward in the first half of the 70s, they moved on to have their biggest success producing Taste of Honey (who’s ‘Boogie Oogie Oogie’ was the Mizell brothers biggest hit) and LTD.

The brothers retired in the early 80s.

Fonce Mizell was 68.

I hope you dig the tunes, and I’ll see you all on Monday.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recreational events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (1)

By Larry, July 12, 2011 3:09 pm

Billy Butler (center) and the Chanters

Listen/Download – Billy Butler – Right Track

Greetings all.

Before we get rolling I have a few short items on the agenda that must be addressed.

First, I heard yesterday that the might composer and producer Alphonso ‘Fonce’ Mizell had passed away. I will be paying tribute to him this Friday with both sides of an exceptional 45, so stay tuned.

Also,  I will share a bit of late breaking news with you, that being that this coming Monday, 7/18 I will be sitting in for DJ Perry Lane and flying solo at Spindletop @ Botanica (47 E. Houston St, NYC). I will be packing the finest soulful 45s at my disposal and would like it very much if some of you fine folks would fall by, grab yourselves a beer and join me. Things get rolling at 10PM and will likely continue until my eyelids start to droop. Hope to see you there.

When I was dipping into the old to-be-blogged archive and letting my head, heart and hands battle it out to figure what I’d be posting this fine day (I assure you it’s not always this complicated) I was faced with what might be termed an embarrassment of riches.

What I usually do – if I don’t already have something specific in mind – is open the folder with the label scans and roll through it, backwards in time and see what grabs me.

The first thing that rang my bell was a 45 by Billy Butler and the Chanters called ‘I Can’t Work No Longer’.

It was probably the soulfully hypnotic Okeh label that caught my eye, with its rich purple background, the prominent script logo, and of course the big ‘45’ on the lefthand side of the label, but I have a bunch of those (ran one just last week) and ultimately it was Mr Butler’s name that sealed the deal.

A man with a tasty catalog of his own, he is known to most outside of hardcore soulies as the brother of the famous Jerry, an original Impression and one of the leading lights of Chitown soul.

However, as mentioned, Billy made some incredible records with the Chanters (originally Enchanters) as a single, and with the group Infinity.

Now, as we return to the decision-making process, while ‘I Can’t Work No Longer’ would have been a sound choice, with composition by the mighty Mr. Mayfield, and its status as Billy Butler and the Chanters biggest hit (in 1965), however, there was a somewhat crackly spectre looming in the background (a few rows down in the folder) that simply would not be denied.

There are a few truly great Billy Butler 45s, but none looms as large as his 1966 solo side ‘Right Track’, which is justly revered as a mod and Northern Soul anthem.

Problem is, it is not only increasingly (45 years on) uncommon, but also in demand, and thus is harder to find and somewhat costly, which is in a very roundabout way my way of saying that I decided to post that particular song instead.

I sought a copy of ‘Right Track’ for my DJ box for a long time, lost out on it more than once and ultimately settled on a copy in less than pristine, but ultimately playable condition, since as most DJs will tell you a loud sound system and pulsing dance floor make for a more forgiving sonic environment in which the sometimes scratchy, crackly sins of a well-traveled 45 can be overcome by the power of a great record.

These sins are much more evident when played through headphones, so I warn you before you pull down the ones and zeros that you might be in for a rougher ride than you’re used to, though a cursory examination of the label pictured above would tell the same story.

I mean, take a look at that label. That is a record that has been places. Whether those places were a teen’s record player, jukebox, flea market cardboard box or all of the above, that label shows every second of its 45 years, and truth be told makes it look a lot worse than it sounds.

That said, ‘Right Track’ is revered for a number of reasons, first and foremost being that it is a stellar example of dance floor soul that builds gradually from the opening guitar riff, drums and tambourine, strings and then on to Billy’s vocal. Pushed along by a piano and rhythm guitar, the tempo picks up steam until the backing vocals come in during the chorus, at which time the record’s Northern Soul bona fides are immediately evident.

The stomping beat, coupled with the repeated chants of ‘I believe! I believe’’ then ‘I believe that I’m on the right track!’ is undoubtedly powerful, but the full weight of the signature line:

“I’m gonna keep on steppin’ never looking back I believe that I’m on the right track.”

Whether taken in the context of civil rights, viewed through the prism of working class mod or simply as a bold statement of perseverance in the wider context, in which you prefer your manifestos delivered at a danceable tempo, there is no denying that ‘Right Track’ is as anthemic a 60s soul record as was ever made.

It is powerful in every conceivable meaning of the word, and thus I must bring it to you, snaps, crackles, pops and all.

I will now bring the post to a close so that rug cutting (or at least fist pumping) may commence.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recreational events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (1)

By Larry, July 10, 2011 3:53 pm

James and Bobby Purify

Listen/Download – James and Bobby Purify – Let Love Come Between Us

Greetings all.

I hope everyone’s head is screwed on securely and that you’re all enjoying the summer so far.

As has been discussed here many a time, I have a serious Northern Soul jones and as a result the large and throbbing ‘to-be-blogged’ file in the Funky16Corners Blogcasting Nerve Center and Record Vault is verily swollen with it.

However, firm in the knowledge that it’s not everybody’s bag, and one must keep the stylistic lamp lit in all corners of the soul spectrum, it behooves me to let it out one small, delicious bit at a time so as not to tax the sensibilities of those who dig things on the funkier tip.

That said, today’s selection hails from a 45 that has lived in my crates since the earliest days of my soul collecting, when my mind was fixed on all things southern and I was grabbing up everything I could from the region.

James and Bobby Purify (aka James Purify and Robert Lee Dickey) hailed from the sunny state of Florida and recorded a grip of tasty soul during the 60s and 70s (when the role of Bobby was taken over by Ben Moore).

They got things rolling with a huge hit, the certified soul classic ‘I’m Your Puppet’ in 1966, following it with a string of Pop and R&B chart hits through 1968 (though the continued to record for Bell, Casablanca and Mercury through the mid-70s).

The tune I bring you today ‘Let Love Come Between Us’ was a Top 20 hit in the US in 1967, charting again in the UK in 1969.

It’s a stellar bit of semi-sweet, danceable soul with a beat that endeared it to the UK Soulies (not yet dubbed Northern). It had enough of a poppy edge to maintain their hit momentum in 1967 but remains solidly soulful in all other respects.

In an interesting footnote, ‘Let Love Come Between Us’ was originally recorded in 1966 by the Georgia-based Rubber Band and was written by two of it’s members, Joe Sobotka and John Wyker. The original version (which you can check out on YouTube) was sung by the group’s lead singer Johnny Townsend who would go on to sing lead on the Sanford-Townsend Band’s 1977 FM hit ‘Smoke From a Distant Fire’. John Wyker was later a member of the group Sailcat, and co-wrote their 1972 hit ‘Motorcycle Mama’.

Very groovy all around, and I hope you dig it.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recreational events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

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By Larry, July 7, 2011 9:35 am

Washington Smith aka Nat Wright

Listen/Download – Washington Smith – Fat Cat

Listen/Download – Washington Smith – Don’t Take Your Love Away From Me

Greetings all.

The end of an exceptionally long (in spite of the holiday) week is finally at hand, and in commemoration I bring you something exceptionally groovy.

But first (always with the “but first”…) I should remind you that the Funky16Corners Radio Show, your source for all things soul and funk, will once again be taking to the airwaves this Friday night at 9PM over at Viva Radio. As always, I promise you an hour of the best groovy gravy pulled from the catacombs of the Funky16Corners Blogcasting Nerve Center and Record Vault, so fall by and glue your ears to the interwebs, or stop here at the blog over the weekend to pick up the MP3 version of the show.

A little while back, Oscar winning songwriter Joe Brooks took his own life in the midst of a very dark scandal.
Known mainly for writing the 70s uber-schmaltz of ‘You Light Up My Life’, Brooks also had a little known and incredibly cool chapter in his past.

As covered here back in 2008, Brooks was the man behind one of the great breakbeat funk 45s of all time, ‘Yo Yo’ by Richard’s People.

Thanks in large part to the mighty Matt ‘Mr Finewine’ Weingarden, who provided some crucial information I was able to get to the bottom (or as close as possible) of the story.

When Brooks passed, Finewine made a Facebook post about it, first including a clip of ‘Yo Yo’, then a record I had never heard before, by a singer I’d never heard of named Washington Smith.

As soon as I hit the play button I was blown away, and even more so when I realized that the song in question ‘Fat Cat’ was another Brooks composition, and in this case (co) production.

What it also was/is, is as smoking a slice of Mod soul as you’re ever likely to hear.

Opening with a vaguely Beatle-y bass/guitar riff, the tune zips from zero to sixty in no time at all, with Smith (wait, there’s more on old ‘Washington’) blazing in with a Jackie Wilson-esque vocal, backed by a girl chorus and a pounding piano.

Things get kicked up to another level when a wild harmonica solo comes in. Though not always a welcome addition to a soul record, the harp gives ‘Fat Cat’ a hot R&B edge that makes for absolute, soulful perfection.

Interestingly, ‘Washington Smith’ appears to have been a nom de wax for a cat named Nat Wright, who also recorded under the pseudonym ‘Nat Love’. As Wright he recorded jazz, soul and R&B vocals, as Washington Smith and Nat Love soul and R&B, and then later on in his life, jazz again as Tony Moore. Wright also performed on Broadway in the 1950s.

There are clips on YouTube of some of his other efforts (soul and jazz)  as Nat Wright.

The flip side of this 45 (which was originally issued on the Rainbow label, then picked up for national distribution by Okeh in 1967) is an excellent, Walter Jackson-esque ballad called ‘Don’t Take Your Love Away From Me’ (also written by Brooks) which had a great deal of potential in its own right.

That said, ‘Fat Cat’ is a gasser of the first order and will be traveling with me (in yon record box) the next time I spin the 45s.

I hope you dig it as much as I do, and I’ll see you all on Monday.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recreational events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (2)

By Larry, July 5, 2011 12:49 pm

The Players LP

Listen/Download – The Players – Get Right

Greetings all.

It’s getting hot and humid her in NJ, which since it’s July shouldn’t come as a surprise, but there’s still nothing worse that stumbling out the front door, half awake and stepping from crisp, conditioned air into soupy humidity.

It’s positively gruesome, with my brain dialing down two notches and the rest of me following closely.

It’s times like this that you need something bracing to help you get back into the bag of your choosing, and what better than a tasty soul 45?

If memory serves I first heard the Players ‘Get Right’ when some groovy soul from the UK posted it on Facebook, and it instantly turned into one of those deals where I could think of little else. The song shot directly into the pleasure centers of my fevered brain (and my feet). I immediately waded into the interwebs in search of a copy but was initially stymied.

It took a few months of waiting before a copy of the 45 turned up, and then another week while I hung by my thumbs waiting to see if I was going to be outbid.

In the end, it was President Jackson and I that won the day (and the record) and in a few more weeks (as the 45 had to cross the mighty Atlantic) it was in the door and spinning on turntable number one.

The record in question is a storming, Northern-ready soul killer with some pulsing organ, a powerful horn section and of course the vocals of the Players. I especially dig the baritone sax solo.

Led by vocalist Herbert Butler who was ably assisted by several members of the Dells , the Chicago-based Players recorded three 45s (and an LP) for the Minit label, with ‘Get Right’ appearing on the final disc.

The group’s only success – as it was – was with their initial waxing, the ballad ‘He’ll Be Back’.

That a brilliant record like ‘Get Right’ didn’t hit the charts is probably a testament to a marketplace crowded with genius, no doubt aided by poor promotion.

The disc was written by the Artistics lead singer Robert Dobyne (with his writing partner Charles Jones) and produced by Cal Carter (staff producer at the Vee Jay label).

It is just over two and a quarter minutes of soulful dynamite and I dig it very much.

I hope you do too, and I’ll see you all on Friday.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recreational events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (0)

By Larry, July 3, 2011 2:59 pm

Touch

Listen/Download – Touch – Love Hangover (Breaking Down)

Greetings all.

I hope all is groovy in whatever burgh you call home.

The first tune I’ll bring you this week is something very interesting that I happened upon during a recent, unscheduled dig.

A friend had dropped me a line that a local record store had gotten in an interesting collection, but regularly scheduled family stuff precluded a trip over there, so I figured I’d try to get over later in the week.

Then, the following day I had to do some Dad stuff, which just happened to end in the late morning, so I bundled up Thing 2 (the little guy) and took a drive North so that I might paw through the records in the hour before lunch.

Good thing too, because while the collection might not have been spectacular (the really heavy stuff was out of my price range or areas of interest) but I did score a grip of excellent jazz funk for about half the going rate, and a couple of cool looking things that were not familiar, but interesting (and cheap) enough that I figured I’d grab them.

The tune I bring you today was on one of them.

I’d never heard of the group Touch (no relation to ‘The Touch’), but since it was a mid-70s LP on Brunswick that I’d never heard of it definitely piqued my interest.

What really grabbed me though was the presence of a tune on the album entitled ‘Love Hangover (Breaking Down)’. I couldn’t remember who had written the Diana Ross tune, but it had a Jobete publishing credit so I figured it had to be related.

And (you probably figured this out already) it was.

The tune in question was in fact (as described in the title) the breakdown from Diana Ross’s ‘Love Hangover’, i.e. a reworking of the fast instrumental part at the end of her record.

Now, I love the Diana Ross record, but I have to admit that if the song were truncated to remove the first half, I wouldn’t miss it all that much.

That is exactly what Touch did, and their version (which you will hear as soon as you pull down the ones and zeros) is quite good, a little funkier and with a slightly rougher edge than the original.

While I haven’t been able to find out much about the band, the record was produced by disco movers and shakers Tony Valor and Tom Moulton, the first a prolific producer and the second one of the original remix masters.

A little research reveals that Valor had a habit of recycling material, with some of the backing tracks on this album also appearing on a ‘Do the Hustle’ LP, and the only other credits I can find for the members of Touch are on other Tony Valor productions. My best guess is that they were likely his main studio band and either got the chance to make their own album, or were just repackaged as a group out of convenience.

Either way, this track is especially cool, and there are a number of cool tracks on the album that would serve as a great example of a sort of higher level of disco, with thoughtful songwriting and quality playing.

I hope you dig the track, and I’ll be back on Wednesday.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recreational events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (6)

By Larry, June 26, 2011 4:01 pm

In black and white, like the keys, dig?

Dee Felice Trio – There Was a Time (King)
Don Randi – Taxman (Reprise)
New London Rhythm and Blues Band – Soul Man (Vocalion)
Ramsey Lewis – African Boogaloo Twist (Cadet)
Roy Meriwether Trio – What’s the Buzz (Notes of Gold)
Overton Berry Trio – Guacamolean Shuffle (Jaro)
Gene Harris – Green River (Blue Note)
Johnny Watson – Hold On I’m Coming (Okeh)
Mr Jim and the Rhythm Machine – Mrs Robinson (Date)
Junior Mance – Thank You Falettinme Be Mice Elf Agin (Atlantic)
Cha Cha Hogan – Grit Gitter (Soulville)
The Stokes – Crystal Ball (Alon)
Allen Toussaint – HandsChristianAnderson (Bell)
The Music Company – The Word (Mirwood)
Mary Lou Williams – The Credo (Mary)
Backyard Heavies – Expo 83 (Scepter)
Ray Bryant – Up Above the Rock (Cadet)

Listen/Download – F16C Radio v.94 – The Living Piano – 86MB/256K Mixed MP3

Listen/Download – F16C Radio v.94 – The Living Piano – 63MB ZIP File

Head on over to the Funky16Corners Radio Podcast Archive to Check This One Out

Greetings all.

As mentioned previously, this is a Funky16Corners vacation week, but I love you mugs so much that I couldn’t very well decamp without leaving something to keep your ears busy while I was away.

The mix I bring you this week is something that had been percolating in my fevered brain for a long time, and was finally spurred on to fruition by the recent passing of Mr. Ray Bryant.

Though we have covered the piano before (see Funky16Corners Radio v.81) it was recordings of the electric variety thereof.

Having been brought up in a house with a master of the acoustic piano (that would be my Pop), I have always wanted to assemble my fave funky and soulful acoustic piano tracks, and so you have it (the mix, that is…).

Most of the numbers in this mix will be familiar to longtime followers of the Funky16Corners blog, whether via appearances in previous mixes, or having appeared by themselves at some point.

There are a number of previously unheard/unposted numbers as well, so dig those too.

Though the electric piano is the version of the instrument generally associated with funk and soul (mainly due to the electrification of music in general during the era in question) there were a number of recording artists – many of them rooted in jazz – who took the old-style acoustic piano, a massive conglomeration of wood, wires and ivory, and managed to wring a little funk out of it.

Though I love electric piano, there’s something special about the way a real piano resonates, especially when it’s played by someone that really knows the instrument.

Some of the recordings in question go back to the earliest days of my crate digging and blogging, including the Mary Lou Williams and Cha Cha Hogan 45s, where others are fairly recent acquisitions.

There are a couple of unusual tracks in the mix, in particular Johnny ‘Guitar’ Watson’s one-off piano instrumental 45 for the Okeh label.

You also get a couple of tracks featuring Allen Toussaint, first with his early group the Stokes (dig ‘Soda Pop’s not so subtle variation on ‘Fortune Teller’) and a rare solo 45 (Hands Christian Anderson).

Mr Jim of ‘Mr Jim and the Rhythm Machine’ (with the swinging version of ‘Mrs Robinson’) is Philly area composer/arranger/keyboardist Jimmy Wisner who recorded a couple of 45s under this name for the Date and Wizdom label.

There are also a couple of anonymous pianists working it out here, including whoever tickled the ivories for the New London Rhythm and Blues Band (likely a UK studio musician) and the pianist for the Music Company, an LA studio group that recorded an album of Beatle covers for the Mirwood label in 1966.

Of the known jazz heavies in the mix, you get to choose from the likes of Mary Lou Williams, Don Randi, Gene Harris, Ramsey Lewis, Roy Meriwether, and Overton Berry, and the man we eulogized just this past week, Ray Bryant.

Having given it a number of spins, I can attest to the fact that it’s a lot of fun to listen to and I hope you dig it.

See you next week.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo), in regard to the April 2nd walk.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg for some very tasty UK Folk Rock.

Comments (3)

By Larry, June 23, 2011 11:31 am

Too much popcorn…

Listen/Download – The Rivingtons – Pop Your Corn Pt1

Listen/Download – The Rivingtons – Pop Your Corn Pt2

Greetings all.

I’m going to try to make this short and sweet (like I always say, and almost never do…)

I’m trying to get this week finished up and next week’s stuff all prepped and swinging, since the Funky16Corners fam is going to try to slip some vacay into the shed-jool and my days of dragging my laptop with me on the road resulted in a lot of web surfing when I should oughtta be having real fun, so I won’t be doing that.

I am planning on a mix to keep your ears happy while I’m off the grid, so stay tuned for that.

The Funky16Corners Radio Show will be dropping this (and next, and the one after that, and so on) Friday night at 9PM at Viva Radio. It’ll be quite groovy, so strap yourselves in with a cold beverage and the snack food of your choice and let your ears fill up with the best in funk, soul, jazz and rare groove. It will of course be archived and ready for download over the weekend, right-cheer at the old blog.

The tune I bring you today is another one of those cool, late career revivifications wherein an artist best known for their work in an earlier era gets back on the horse and drops something of a more contemporary (at least at the time) nature that allows those of us who follow such things to reconsider their place in the musical landscape.

The group in question is the Rivingtons, and the tune is ‘Pop Your Corn Pts 1&2’.

The Rivingtons, who’s members had been recording in other groups since the very early 50s, released their first and best remembered record, ‘Papa Oom Mow Mow’ in 1962. It was a minor hit, and followed the next year by another one called ‘The Bird Is the Word’, which, when stolen and stitched together by a group of Minnesotans called the Trashmen the year after that, became a much bigger hit by the name of ‘Surfin’ Bird’, after which the members of the Rivingtons hired a lawyer and took the Trashmen to court, where they successfully sued for redress of griveances.

That said, though the Rivingtons recorded fairly steadily through the 60s for labels like Liberty, Reprise, Vee Jay and Columbia, they weren’t meeting with much success.

The record I bring you today was the last thing they recorded in the 1960s, and sees them glomming onto the Popcorn wave on 1969.

There are countless dance crazes through the 60s that inspired a lot of records (i.e. the Popeye, the Twist etc) but few of them took off like the Popcorn. Not only were there a grip of Popcorn 45s in 1969, but for a while James Brown turned the dance into something of a cottage industry (see Funky16Corners Radio v.14 Butter Your Popcorn).

The Rivingtons of ‘Papa Oom Mow Mow’ are not entirely absent on ‘Pop Your Corn’ (dig the bass vocals) but the buttery flavor is much funkier than they were known for, with some tight, snappy, break-y drums, a guitar riff lifted directly from the JB ‘Popcorn’ and some wailing soul vocals.

Make sure you listen to both parts of this one, since the drums get a little bit heavier in Pt2.

It’s cool one and I hope you dig it.

See you on Monday.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recreational events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (9)

By Larry, June 21, 2011 12:29 pm

Ray Bryant

Listen/Download – Ray Bryant – Up Above the Rock

Listen/Download – Ray Bryant – Quizas Quizas Quizas

Listen/Download – Ray Bryant – Soundray

Listen/Download – Ray Bryant – Stick With It

Greetings all.

I hope the middle of the week finds you all well.

As promised, I’m going to take a little time to pay tribute to the soulful genius of one of my favorite pianists, the mighty Ray Bryant.

Bryant, who passed on June 2nd was one of the mainstays of soul jazz piano in the 50s, 60s and 70s.

As has been mentioned in this space several times, I have strong feelings about the term ‘soul jazz’, in that so little of the music labeled as such really fits the bill in any meaningful way.

There are veritable mountains of wax with jazzers wading into more popular waters, especially in the 60s, but a jazzbo with a pop cover does not soul jazz make (especially since the style came into being organically).

The truth is, that where many – often purely in the interest of keeping their heads above water (and away from a day job) – jazz musicians took to a more “accessible” style in the 60s, many of them had no real aptitude for it, making for much of the bland and uninspired sounds that so many crate diggers are referring to when they badmouth the style.

The real heart of the sound – as is the case in vocal soul music – can be traced to gospel, wherein jazz and soul intersect on a giant (and wholly imaginary) venn diagram.

As the 50s became the 60s, many jazz musicians (with a concentration on organists, guitarists and saxophonists) while still stretching out on post-bop and modal jazz, began to experiment with gospel and R&B at the same time that those styles were evolving into what would become soul music.

By the early 60s, countless organ (and piano, guitar, sax, vibes and all of the possible combinations and permutations possible) combos were coming out of inner city clubs and into recording studios for labels like Prestige, Blue Note, Argo, Riverside and countless smaller independents and compressing the aforementioned mixtures into 45 sized, jukebox friendly slices.

As the popularity (and sales figures) of straight jazz began to decline, jazz musicians concentrated more on soul and pop jazz, hoping to cross over enough to put a little bread in their pockets. While many of these musicians were merely attempting to cash in, some of them found that they had a natural affinity (whether via age or inclination) for these sounds and found ways to innovate and make them swing.

One of the finest of these was Mr. Ray Bryant.

Bryant came up in Philadelphia (his brother Tommy was a bassist) and played alongside many of the giants of the bebop and hard bop eras.

He started recording under his own name in the 50s, and even found some pop success with his 1960 hit ‘Madison Time’.

The tracks featured today all come from Bryant’s tenure with the Cadet label between 1966 and 1969. He recorded seven albums for Cadet in those years, all a mix of original material, jazz standards and pop and soul cover material. He recorded in small and large group settings, often with the production assistance of none other than Richard Evans.

I’ve included tracks from his two final albums for the label in the 60s (he would return for one more in 1974), ‘Up Above the Rock’ (1968) and ‘Sound Ray’ (1969).

The title track of ‘Up Above the Rock’ is a shade over three minutes of pure brilliance, with a stunning Grady Tate breakbeat that makes it the most sought after (and expensive) of his albums. The mix you’re hearing today is from the album. The 45 mix is a little bit hotter, with the drums and the handclaps higher in the mix (check it out on Youtube).

The group is the trio of Bryant on piano, Ron Carter on bass and Tate on drums, augmented by Snookie Young on fluegelhorn and Dobbie Hiques on trumpet. The track sounds light years ahead of its time. No matter how many times I hear it, I expect someone to start rapping as soon as the piano comes in. If you listen to the way Kool G Rap and DJ Polo flipped it (barely) for ‘On the Run’, it’s not too far removed from the original. It’s about as funky as acoustic piano records get, and a great showcase for Bryant’s heavy, straightforward sound. It’s one of those records that I have to listen to multiple times in a sitting.

The other track from ‘Up Above the Rock’ is Bryant’s cover of Osvaldo Farres’ ‘Quizas Quizas Quizas’. The recording here is taken from my 45 and while still somewhat funky, has a much looser, more swinging feel to it. It was also sampled (with a little more subtlety) by Queen Latifah on ‘I Can’t Understand’.

The two remaining tracks are both from the 1969 ‘Sound Ray’ album. A trio session, recorded with Jimmy Rowser on bass and Harold White on drums, ‘Sound Ray’ is another funky session, produced again by Richard Evans. The album sees Bryant stretching out a little more, but still keeping things locked in the groove.

The title track is a hard charging tour de force (I love the opening duet with the bass and drums) with some wonderful keyboard work by Bryant.

‘Stick With It’ is a much more subdued affair, that sounds like a rebuilt version of Horace Silver’s ‘Song For My Father’ (which, oddly enough was also covered on the album).

Ray Bryant would go on to record for Atlantic, Pablo and EmArcy (among many others) through the 70s, 80s and 90s with his last album being a live, solo set recorded at Rutgers University in 2004.

He was a giant, and will be missed.

See you on Friday.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recr events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (3)

By Larry, June 19, 2011 3:57 pm

Jimmy Helms

Listen/Download – Jimmy Helms – Your Past Is Beginning To Show (My Love)

Greetings all.

The new week is here and summer is (at least in the Funky16Corners Blogcasting Nerve Center and Record Vault) officially underway.

Everyone in this crib is on vacation and the challenge is always to make the most of our leisure time without driving each other insane in the process.

It promises to be an eventful summer, so I’m confident that it will be memorable (in the good way) as well.

I’m still planning the Ray Bryant tribute for later this week (waiting on a crucial piece of vinyl), but there are lots of groovy things to write about (and listen to) until we get there, so let’s get started.

The tune I bring you today was something I picked up after seeing it on a friend’s sale list.

I’d never heard of Jimmy Helms before, but since the song was cool, and the price was right I picked it up, since there’s nothing cooler than more soul music.

As it turns out, Mr Helms is a member of that relatively small but always interesting soul music sub-strata, that being the American ex-pats.

Like Geno Washington, Mr Helms was an American who eventually settled in the UK, where he would find success as a performer.
He recorded his own records, and worked steadily as a studio singer through the 60s, 70s and 80s, before scaling the charts in the UK and Europe as the lead singer of the group Londonbeat, best known for their 1990 hit ‘I’ve been Thinking About You’.

The tune I bring you today is a stomping bit of soul from 1969 called ‘Your Past Is Beginning To Show (My Love)’.

It sounds every bit a solid piece of southern soul. Helms’ vocal cooks, and the arrangement, featuring pounding piano, tight horns and some cool fuzz guitar (even a little bit of electric sitar!) is perfect for the dance floor.

It would appear that ‘Your Past…’ was recorded before Helms’ migration overseas. The Oracle label was based out of the Boston area and was distributed by GRT, and later Capitol Records. The other acts I’ve seen listed for the label appear to have been pop and rock bands, including one with the improbable, Uncle Remus-inspired name of Brother Fox and the Tar Baby. I have seen references that mention Helms performing in and around Boston in the late 60s (this appears to have been issued in 1969) and he seems to pop up in the UK around 1972.

It’s a cool record, and I hope you dig it.

See you on Wednesday.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recr events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (4)

By Larry, June 16, 2011 10:19 am

Mr Don Covay

Listen/Download – Don Covay – Money (That’s What I Want)

Greetings all.

I was going to do a post about the late Ray Bryant today, but I’m postponing it until next week (It’ll be worth the wait).

I know that it’s all just a part of the vast randomness of the universe, but it always seems to me that these soul, funk and jazz cats fall in rapid succession, as if they were all sitting waiting for the bus to the great beyond and got on at the same time.

The really sad thing is that what we are ultimately dealing with is the natural movement of the classic generation of soul and funk performers (precious few of the earlier generation of jazz and R&B performers are still with us) into their later years.

That said, we’ll just keep on keeping on, paying tribute to the known and the unknown so that the sounds they made are not forgotten.

I should also remind you that the Funky16Corners Radio Show returns to the airwaves of the interwebs this Friday night at 9PM on Viva Radio. It’s the perfect soundtrack for your summer, with all kinds of groovy funk, soul, jazz and rare groove with which to enjoy the icy cocktail of your choosing.

The tune I bring you today is some solid, ass-kicking funk from an artist whose songs are (sadly) better known than he is.

I first heard Don Covay’s version of ‘Money’ a few years back while spinning alongside M-Fasis and DJ Bluewater at the late, lamented Master Groove in NYC. As soon as the needle hit the record my ears perked up and started vibrating and I was all ‘What the hell is that?” followed immediately with “Where Can I Get Me One?”

It was a long time before I finally found a copy, and as is often the case, because I was patient the gods of vinyl brought me my very own copy for the cost of one crumpled, green dollar.

Now if the only thing Don Covay ever did in his life and career was to write and record ‘Sookie Sookie’ – one of the ur documents of funk and soul, a record so mighty as to be imprinted in the DNA of any human to ever dirty their fingers pawing through vinyl or stomp upon a soulful dance floor – he’d deserve eternal fame, but he’s also the dude that laid down ‘Mercy Mercy’, ‘See Saw’ and ‘Chain of Fools’ sang with the Soul Clan and much much more.

This record, the one right here, this is the shit.

The opening alone, in which Don appears to have a snootful of rocket sauce and manages to momentarily out-James Brown the Godfather, is a mindbender, but then he and his band set themselves on fire and it’s almost a full minute before you realize that this funky tornado is in fact a cover of the old Barrett Strong chestnut.

Like the young George Foreman, this record is heavy, yet also fast and dangerous and ought to have a place in the traveling record box of anyone who brings the funk to the people.

Dig it you must.

See you on Monday.

Peace

Larry

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recr events, and any contribution you could make would be greatly appreciated.

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.