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By Larry, February 8, 2011 3:28 pm

Listen/Download -Sebastian – Living In Depression

Greetings all.

I hope you are all well.

This has been a busy week, but what might be described as ‘good’ busy, as opposed to up to your ass in hungry, snapping alligators i.e. ‘bad’ busy. I have a lot on my plate but it’s the kind of stuff that keep things moving forward in a positive (if incremental) way, so I think I can dig it.

Everyone has their own pile of responsibilities, some more pressing than others, and naturally the quest is always to find a way to balance it all, keep your life in between the lines and maybe, just maybe squeeze a little enjoyment out of the process.

So far, so good.

The tune I bring you today is something that I happened upon (as is often the case) via another collectors ‘finds’s list. The collector in question was someone who’s taste I hold in very high regard, and his description of the disc was so intriguing I set out to find myself a copy.

The acquisition thereof was both rapid and financially painless, which is more than I can say for the quest for information that followed.

The groovy thing – once the record fell through the mail slot – was that it was immediately apparent that ‘Living In Depression’ was in fact a vocal laid over the top of Little Royal and the Swingmasters funk 45 classic ‘Razor Blade’.

I set off in search of info, and found almost nothing, except for an intriguing scrap of info that placed Sebastian in Virginia.

That was months ago, and I found nothing else, so I moved the track to the back of the line and went on about my bid’ness.

So, I was dipping back into the reservoir and decided that I’d make another run at this track, and lo and behold I discover that the fine folks at the Funky Virginia blog had laid out the whole story in detail, so allow me to direct you over there for all of the pertinent info.

The track does suffer a little bit from a bad mix (especially in the beginning), but if you dig ‘Razor Blade’ as much as I do, I think you’ll enjoy hearing it laid down as a vocal.

I hope you dig it, and I’ll be back on Friday.

Peace

Larry

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By Larry, February 3, 2011 2:52 pm

Gene Ammons

Listen/Download – Gene Ammons – Son of a Preacher Man

Greetings all.

The end of the week is upon us, and so I must pause here to share a few important programming notes.

First, I was supposed to do a guest spot at the After the Laughter Soul Club at Lulu’s in Greenpoint this Friday night, but received word on Wednesday that the gig was cancelled. I was really looking forward to this one (had some especially hot 45s ready to go) but sometimes these things happen.

I’ll make sure to let you all know when it gets rescheduled.

Of course, you can always tune in to the Funky16Corners Radio Show on Viva radio, this Friday at 9PM, where I will be spinning lots of great sounds, including some cool new acquisitions and some old favorites, followed of course by the posting of the show in MP3/Podcast form at the blog over the weekend.

That all said, how about some jazz funk?

I grabbed this 45 as part of a two-fer deal with a buddy of mine, and ended up getting them both for nothing in return for a previous, record related good deed on my part. I hadn’t heard this particular 45 before, but since I knew Gene Ammons, and am constitutionally incapable of passing by a cover of ‘Son of a Preacher Man’, I grabbed it.

Good thing too.

The other 45 (the one I knew) is a groover, and will be featured in this space soon enough, but this is one I needed to share with you as soon as possible.

There is, at least in the world of jazz and jazz-related, a long tradition of covering songs in what we shall call a unique manner. This often has something to do with advanced concepts of harmony and music theory, since we’re dealing not with back alley guitar smashers, but rather a somewhat more elevated class of instrument wranglers who made their mark applying sophisticated musical concepts to the popular song.

This is sometimes displayed in subtle shifts in key where a song is rebuilt on a new frame and is still kind of floating in the background for those with more sophisticated (or receptive) ears (any of the headier bop or post bop sounds) , and other times shows up as the end result of free-wheeling jamming, wherein the musicians allow themselves to be swept up in and carried away by the creative currents.

I would suggest that Gene Ammons version of ‘Son of a Preacher Man’ is a little bit of both.

Recorded in 1970 for his Prestige LP ‘Brother Jug’ (his first after a long stretch in prison), with support from organist Sonny Phillips, guitarist Billy Butler and drummer Bernard Purdie (among others), Ammon’s take on ‘Son of a Preacher Man’ is, until late in the side, barely recognizable as said song.

It is undeniably funky, with the tight drums, and the wah wah, and the overall groove, but if you showed up expecting any taste of the famous Dusty Springfield hit, you would have to listen long and hard, with exceptionally wide open ears, and it’s not until almost two minutes into the song that Ammons states the familiar theme, and even then it’s a little bit off the track.

This is not meant as a criticism of Ammons or the 45, since he was one of the great tenor players of his day, and the 45 is certainly tasty, but rather a caveat for those expecting something a little bit closer to the original source.

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

Peace

Larry

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By Larry, January 30, 2011 2:33 pm

Funky16Corners Radio v.92 – Regular Funk

Playlist

Listen/Download 115MB/256kb Mixed MP3

Download 93MB Zip File

I hope you’re all ready to step into a week.

I should let you know that this coming Friday (2/4) I’ll be guesting at the After the Laughter Soul Club at Lulu’s, 113 Franklin St., Greenpoint, NY. I’ll be joining DJ Hambone and Ben Carey for a night of funk, soul and R&B, all on 45. Things get going at 10PM and go into the wee hours of the morning, so make sure you fall by for some beer, pizza and hot wax.

That said, who wants to pull down the ones and zeros for some of what we record collectors refer to as ‘the funk’?

This is not to say that Funky16Corners Radio v.92 – Regular Funk is all one kind of thing, since it was assembled and mixed under a somewhat larger umbrella than some of you might be accustomed to.

You get some funky soul, some in the regular funk 45 stylee, and some jazz funk as well. I think it all fits together nicely, and hopefully once you stuff it into your ears, you will too.

Things get started with a little taste of Memphis groove, with the Bar-Kays and ‘Don’t Do That’. The flipside of 1967’s ‘Give Everybody Some’, ‘Don’t Do That’ is positively dripping with that Stax/Volt sound, including some very twangy gitbox, which comes to the fore when the horns aren’t blazing.

Buddy Miles is one of those groovy artists who kind of dwell in a gray area between soul and rock, working ably on both sides of the line, and mixing the two together whenever he got the opportunity. ‘Easy Greasy’ is an instrumental from his 1970 ‘We Got to Live Together’ album, and it carries with it much of the horn heavy vibe of the time, with the BST’s and the Chicago’s and naturally the Electric Flag’s, and Buddy manages to whip it all into a nice swaggering groove, that when you least expect it drops in a little bit of a quote (today’s kids might think of it as a sample) from Led Zeppelin’s ‘Bring It On Home’. Things even manage to get a tiny bit psychedelic – which was the style of the time – so settle in and dig it.

The mighty Syl Johnson appeared in this very spot but a few short weeks ago. He was – as has been stated previously – 100% badass – and his take on the Temptation’s ‘Get Ready’ has a lot of grit in its groove.

Despite a bit of searching, I haven’t been able to nail down Nate Turner, but Venetta Fields (big time backup singer of the day) and the Mirettes were familiar. The tune ‘Rap, Run It On Down’ is a cut from the soundtrack to the 1969 Sidney Poitier vehicle ‘The Lost Man’. I dig the vibe on this one (co-written by Quincy Jones, Dick Cooper and Ernie Shelby*), and the flip side (on which Venetta sits out), ‘Sweet Soul Sister’ is also cool, in a more downtempo way.

I always assumed that the Toddlin’ Town Sounds were an anonymous amalgamation of Chitown sessioners, or perhaps an instro track that someone leased to the label. Either way, their funky stomper ‘The Dud’ (flip of their better known cover of the Isleys ‘It’s Your Thing’) is a killer (dig that chopping rhythm guitar).

‘Funky Tambourine’ by C and the Shells has always been a fave of mine, simply because it defies narrow categorization. It is funky, but it also has an odd, fast moving time signature, as well as some stinging fuzz guitar. There might even be a little bit of gospel flavor weaving in and out of this one as well.

The Crusaders, once a tight soul jazz outfit (as the Jazz Crusaders) evolved into the funky R&B band that hit the charts in the 70s. Led by keyboardist Joe Sample (lots of tasty electric piano here), drummer Stix Hooper and saxophonist Wilton Felder (all three of whom did a lot of work on other people’s records in the 60s and 70s) lay down a very tasty groove indeed on 1973s ‘Gotta Get It On’.

‘Sams Funck’ is blues legend Magic Sam’s entry into the blues guys get funky sweepstakes. Based loosely on the ‘It’s Your Thing’ template, recorded in the lowest of fi’s (as it were) you still get to hear some of the guitar action that made the man a legend. If you find yourself a copy of this one, flip it over, since the vocal version ‘I’ll Pay You Back’ is quite nice indeed.

The Backyard Heavies got their start as a North Carolina show band called the Tempests. ‘Expo 83’, one of the funkiest piano driven 45s in my crates was sampled by Pete Rock for ‘The Basement Intro’.

Does Bobby Byrd need and introduction to the likes of you? Since you’re one of the fine folks that falls by Funky16Corners I’d say no. Mr. Byrd was for years James Brown’s on-stage wing man, but also stepped out to make some hot as hell 45s under his own name. ‘Back From the Dead’ is from a period when Byrd had separated from the Brown organization and found his way to Henry Stone’s Florida-based TK label subsidiary International Brothers. Bobby is in fine form, and lays down a solid bit of dance floor funk.

Eddie Harris has appeared in this space many times. He was one of the true giants of soul jazz, and as 1974’s ‘Get On Down’ illustrates, he could also be quite funky. The cool thing is that you get to hear Eddie double on keys and sax (which he also did on earlier albums like ‘Mean Greens’).

The Fame Gang was the house band at the storied Alabama studio of the same name. Their cover of the Isley Brothers ‘It’s Your Thing’ is another groovy cover of that funky classic. Much like Archie Bell and the Drells ‘Tighten Up’, ‘It’s Your Thing’ is one of those records that was not only had scores of straightforward covers, but was also (see Magic Sam above) ripped off, reprocessed and renamed countless times.

From the funk 45 column comes Pt2 of the Showmen Inc.’s ’Tramp (from Funky Broadway)’, working one of my favorite vibes, that being an intertwining of two separate dance crazes in the same record. The famed break is on the other side, but I’ll make sure to get that one up onto the blog sometime soon.

Jr. Walker and the All Stars are one of those Motown groups that had a huge, omnipresent radio hit in the 60s (Shotgun) that is so much a standard on oldies radio that it tends to make you take them for granted. Well, get yourself out and grab some of their records, because they’re filled with solid, hard hitting gems like ‘Baby You Ain’t Right’.

Now Andre Williams is a dude that has yet to get his props. Williams, acting as performer, writer and producer had his hand in some incredibly good records out of Chicago and Detroit in the 60s. He was an OG badass, with that gangsta lean, lots of greasy soul and attitude for weeks. ‘It’s Gonna Be Fine in ‘69’ is another one of his masterpieces for the Chess/Checker/Cadet family of labels. It features some wild guitar, snapping drums, and of course Mr Williams on the vocal.

Wilbur Bascomb and the Zodiact recorded under their own name, as well as backing other artists. ‘Just a Groove in G’ features a classic drum break, some wailing organ, and some imspired if spasmodic guitar action.

Billy Cobham is one of the great drummers of the jazz fusion era. His 1974 ‘Crosswind’ (also covered, very nicely by Woody Herman!) is a funky killer, with tight drumming by Billy, grooving electric piano and tasty horns. Sampled by Gang Starr among others.

Another jazz hero with funky tendencies was the mighty Grant Green. A seriously talented hard bopper who contributed to countless classic Blue Note sessions as a sideman, also had quite the discography under his own name. As the 60s rolled to a close, he got progressively more funky, so much so that his albums from that period are crate digger faves and his 1971 set ‘Shades of Green’ is no exception. His ‘James Brown Medley’ is a laid back, funky, extended take on the Godfather.

This edition of Funky16Corners Radio closes out with a cool bit of Motor City funk, ‘Tick Tock Baby (It’s a Quarter To Love)’ by the Quickest Way Out. Groovy because it shares a backing track with Reggie Milner’s raging ‘Soul Machine’. The Quickest Way Out take on the tune is a little more laid back, and the break is open, so what’s not to like.

I hope you dig the mix, and I’ll be back later in the week with something cool.

Peace

Larry

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By Larry, January 23, 2011 4:01 pm

Gene West (aka Barry White)

Listen/Download – Gene West – In the Ghetto

Greetings all.

I hope the world is treating you all well at the dawn of a brand new week.

It was a groovy – if frigid – weekend, with me and the little corners having a boys day on Saturday, and then on Sunday Miles and I went out for some digging and Vietnamese food.

We headed over to the once great Record Store That Shall Not Be Named (even though it’s near a major NJ Ivy League university…) and much to my surprise I scored some cool LPs, despite the fact that whoever is pricing the new arrivals section appears to also be sniffing glue. The place really is a huge crapshoot these days, which – when you have to drive almost an hour to get there – makes it difficult to get motivated, but sometimes it’s actually worth the trip.

I don’t know about you all, but I’m sure that if they ever lock me up in a padded cell, it will have something to do with my obsession with cover songs, who was being covered and who was doing the covering.

The tune I bring you today is something I knew nothing at all about until stumbling over it recently, the musical equivalent of finding a twenty dollar bill in the street.

What caught my eye was not the song title (I was still unaware that this was the same song that Elvis made famous), but the mention that the artist in question, a certain Gene West, was in actuality the master of sexy, soulful sounds, Mr. Barry White.

Once I got my hands on the record (at what turned out to be a very nice price, always cool) it was immediately apparent that this was the same ‘In the Ghetto’, written by Mac Davis and taken onto the charts by Elvis.

The voice delivering the tune was unmistakably that of Barry White.

As it turns out, in the short time between the end of his tenure working with Bronco/Mustang records, and the launch of his extremely successful solo career, Barry White was at loose ends. During this time (1967 – 1970) White did a lot of studio work, as well as writing lost gems like ‘Doin’ the Banana Splits’ for – of course – the Banana Splits. And recording today’s selection.

Why he (or the folks at Original Sound) thought that ‘Gene West’ sounded better than Barry White I do not know (perhaps contractual entanglements, though his real name appears on the label as arranger), but the record, released in the summer of 1970 is a lost classic.

Despite any fondness one might have for Elvis’s version (I haven’t got much…), White takes the tune from a dark, almost maudlin place and funks it up, adding a layer of defiance to the lyrics that are completely absent in the earlier recording.

Oddly, White was a big Presley fan. I’ve read anecdotes that state that when a teenaged White, just having finished a jail sentence for stealing $30,000 worth of tires, heard Presley’s ‘It’s Now Or Never’ he decided to devote himself to a career on music, for which I will say for the first and last time in my life, ‘Thanks Elvis!’

I hope you dig the tune.

Peace

Larry

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By Larry, January 18, 2011 3:34 pm

Miss Ruby Andrews

Listen/Download – Ruby Andrews – Casanova (Your Playing Days Are Over)

Listen/Download – Wayne Bennett – Casanova (Your Playing Days Are Over)

Greetings all.

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

The tune(s) I bring you today represent one of the finest ‘love gone bad’ soul songs of the 60s, as well as a groovy instrumental spin on same.

Ruby Andrews was a Mississippi-born, Chicago-based singer who recorded for, and scored a string of R&B hits with the Zodiac label between 1967 and 1971.

I first heard Ruby via a mix tape that included the pulsing funk of ‘You Made a Believer Out of Me’, which was a Top 20 hit in 1969. That record was a big fave of mine for a few years before I finally scored a copy of Ms. Andrews biggest hit, the tune I bring you today, ‘Casanova (Your Playing Days Are Over)’.

An R&B Top 10 hit (and Pop Top 50) in the summer of 1967 (with Casanova spelled ‘Casonova’ on the label), ‘Casanova (Your Playing Days Are Over), co-written by Joshie Armstead and Milton Middlebrook, and bearing a characteristically fantastic arrangement by the mighty Mike Terry, is a dramatic, emotional record that sounds years ahead of its time.

The second version of the tune came to me quite by accident.

Last year, during the Funky16Corners Pledge Drive and the premier of the Funky16Corners Soul Club, my man Tarik Thornton included the track ‘Rocking Funky Broadway’ by Wayne Bennett in his mix.

Not too long after that I spied that record on a sale list and picked it up.

It wasn’t until it fell through the mail slot that I discovered that the flip was a version of ‘Casanova’.

Bennett was a journeyman jazz/blues guitarist who had played on some of Bobby Bland’s landmark recordings.
His version of ‘Casanova’, basically his guitar lead overdubbed onto the original backing track from Andrews’ 45, was released on the Chicago-based Giant label (for which Armstead herself recorded some excellent 45s) in 1968. Bennett lays down the melody line with a bold, jazzy flair, creating a more memorable performance than one would expect from such a reworking.

There were later cover versions of the song by Loleatta Holloway (1975 Aware) and the disco group Coffee (1980 DeeLite).

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

Peace

Larry

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By Larry, January 13, 2011 4:37 pm

Funky16Corners @ Spindletop – Early Set 1/10/11

Playlist

Listen/Download 80MB/256kb Mixed MP3

The end of another week is upon us, and as promised I have recreated part of my three-hours worth of soul jazz from this past Monday’s Spindletop night at Botanica in NYC.

When I was pulling 45s to bring with me last week I started to build my set and decided that I’d get things started with a slower, moodier set than I normally do, kind of easing my way onto the burning Hammond groovers.

What I ended up with was a very interesting mix of soul jazz, soul instros and even laid back funk, all of which seemed to stick together when all was said and done.

I mentioned on Wednesday that we were unable to get a signal out of the mixer to my digital recorder, so I had to re-record this selection on my decks at home. I was originally thinking of re-recording the whole night, but then I realized that I’d played no less than 60 45s and I just didn’t have the time to do it.

I enjoy presenting the live mixes here at the blog, so hopefully next time I hit Botanica we’ll have figured the problem out.

At the request of a number of people who were at the gig, I have included the entire set list below.

The mix features some old faves and some stuff that hasn’t been heard in this space before. As I mentioned above, it’s a mellow affair, so pour yourself a snifter of brandy (or a mug of cocoa, whichever), dim the lights, sit back and let the sounds flow gently into your ears.

If you’re close to the interwebs this Friday at 9PM, make sure to tune in to the Funky16Corners Radio Show on Viva Radio. This week we have an hour of funky 45s from New Orleans to get the party started. The show will of course be archived and ready to download at the blog over the weekend.

I’ll be back next week with more of the funk and soul you love.

Have a great weekend.

Peace

Larry

The rest of the evening’s music:
Harry J All Stars – Liquidator (Harry J)
Winston Wright – Heads or Tails (Green Door)
Gary McFarland – Fried Bananas (Verve)
Cal Tjader – Moneypenny (Skye)
Dave Davani Four – The Jupe (Capitol)
Sonny Knight Quartette – Let’s Get It On Pt1 (Aura)
Odell Brown and the Organizers – No More Water In the Well (Cadet)
Freddie Roach – One Track Mind (Prestige)
Merl Saunders – Soul Groving (Galaxy)
Alan Price Set – Iechyd Da (Decca)
Hank Marr – White House Party (Wingate)
Georgie Fame – El Bandido (Imperial)
Brown Brothers of Soul – Cholo (Specialty)
Mel Brown – Chicken Fat (Impulse)
Federalmen – Soul Serenade (Steady)
Freddy McCoy – Funk Drops (Prestige)
Afro Blues Quintet Plus One – La La La La La (Mira)
Benny Poole – Pearl Baby Pearl (Solid Hit)
Cha Cha Hogan – Grit Gitter (Soulville)
Perry and the Harmonics – Do the Monkey With James (Mercury)
Gentelman June Gardner – It’s Gonna Rain (Emarcy)

Lionel Hampton – Greasy Greens (Glad Hamp)
Fabulous Counts – Jan Jan (Moira)
Boogaloo Joe Jones – Right On (Prestige)
Fred Ramirez – Hold On I’m Coming (WB)
Dee Felice Trio – There Was a Time (Bethlehem)
Louis Chachere – The Hen Pt1 (Paula)
Toussaint McCall – Shimmy (Ronn)
Lou Garno Trio – Chicken In The Basket (Giovanni)
Albert Collins – Cookin’ Catfish (20th Century Fox)
Andre Brasseur – The Duck (Palette)
Memphis Black – Why Don’t You Play the Organ Man (Ascot)
Cal Tjader – Soul Sauce (Verve)
Soulful Strings – Burning Spear (Cadet)
Keith Mansfield – Boogaloo (Epic)
Mohawks – The Champ (Philips)
Wynder K Frog – I’m a Man (UA)
Goldie & the Gingerbreads – The Skip (Decca)
Tony Newman – Soul Thing (Parrot)
John Philip Soul and His Stone Marching Band – That Memphis Thing (Pepper)
La Bert Ellis – Batman Theme (A&M)
James Brown – Shhhhhhhh For a Little While (King)
The Impacts – Thunder Chicken (Marmaduke)
Dave Baby Cortez – Getting’ To the Point (Chess)
RD Stokes – My Sandra’s Jump (II Bros)

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By Larry, January 6, 2011 3:18 pm

Miss Lorna Bennett

Listen/Download – Lorna Bennett – Breakfast In Bed

Greetings all.

I hope that you’re all weathering the weather (there’s got to be a better way to phrase that) better than I am. This cold is kicking my ass. The first few hours of the day should be spent wrapped securely in a warm blanket, easing into a mellow state of awake-ness, instead of rolling out of the sack and into 20 degree temperatures in the space of 45 minutes, which is what I did this morning.

Fortunately, after getting the little Corners on the bus, and running various and sundry errands I have returned to my desk, deep inside the well-heated, secure Funky16Corners command center.

Before we get started, I should remind you that this Friday night at 9PM – as is always the case – the Funky16Corners Radio Show will be taking to the airwaves, this week with an upbeat, hard-charging Northern Soul special guaranteed to get you out on the floor. Make sure to fall by Viva Radio, or if plans preclude timely listening, hit the blog on Saturday to pick up an MP3 of the show, which you may listen to at your leisure.

I will remind you once again that I’ll be taking part in the Spindletop night with DJ Perry Lane next Monday night (1/10) , beginning at 10PM at Botanica, 47 East Houston Street (between Mulberry and Mott) in New York City. There will be many shades of organ grooviness, as well as vibes, snappy drums and what not.

Now that I’ve wasted space complaining about the cold,  what better time for a little bit of island soul?

I have to admit, although I featured the Baby Washington version of ‘Breakfast In Bed’ in this space back in 2006, the first time I ever heard the song was via the 1988 cover version by UB40 and Chrissie Hynde.

At the time it was getting some airplay on the local alternative station, as well as on MTV. I dug the tune a lot, and eventually picked up a radio station promo CD single (no doubt liberated from the aforementioned local station and resold), which I still have banging around somewhere.

I was unaware that the song was a cover until I saw the writing credit for Eddie Hinton and Donnie Fritts, and even then I had no idea who did the original version.
What I wouldn’t discover until many years later, was that the UB40/Hynde version was in its way a cover of a cover (cover once removed??).

The song was written by Hinton and Fritts for Dusty Springfield’s 1969 ‘Dusty in Memphis’ album. Shortly after that, Baby Washington recorded her own – in my opinion, superior – version of the song (eventually released on Cotillion)*.

Oddly enough, for such a finely crafted piece of Southern soul neither Springfield nor Washington’s version of the song met with any chart success.

Flash forward to 1972, when a young Jamaican singer named Lorna Bennett recorded her own version for the Harry J label.

Produced by Geoffrey Chung, Bennett’s version of the tune was a #1 hit in Jamaica, also garnering a substantial amount of airplay in the UK (which is likely where the boys in UB40 heard it first).

Though Bennett’s version of ‘Breakfast In Bed’ lacks the dynamic shifts and drama of the Springfield and Washington recordings, it does have a certain pleasant, laid back vibe (repeated in the UB40/Hynde version) that locks in with the reggae beat.

Bennett went on to have a few more Jamaican hits (including a cover of the Dixie Cups’ ‘Chapel of Love’) before retiring to practice law in 1974. She returned to performing in 2001.

I hope you dig the tune, and I’ll be back on Monday.

Peace

Larry

*There were also early covers by Carmen McRae (1970) and Shirley Bassey (1971)

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By Larry, January 4, 2011 4:10 pm

Vernon Garrett

Listen/Download – Vernon Garrett & Marie Franklin – Second To None

Greetings all.

I hope all is groovy on your segment of the sphere.

I’m slowly getting back into the swing of things, following a long and snow-infested Christmas break, during which the fam and I were literally trapped in the house for a few days. It’s not that we don’t enjoys each other’s company, but when the food and beverage choices start moving into crisis mode (what can you make from a can of tomato soup and a pack of instant rice) folk’s nerves start to get on edge.

Fortunately we were eventually plowed out and took a drive up to visit my in-laws, located much further north, and (oddly enough) under a whole lot less snow.

I did manage to get in a digging session, in what used to be one of my favorite ‘road’ spots. Unfortunately it looks like the place has changed ownership and I walked out of the store with every good record in the place, all eight of them.

It was mostly unusual rock stuff, but there were a couple of nice soulful selections as well, so all is well.

I should mention again that I’ll be taking part in the Spindletop night with DJ Perry Lane next Monday night, beginning at 10PM at Botanica, 47 East Houston Street (between Mulberry and Mott) in New York City. Expect all manner of Hammond grooves, Mod soul, International au go go goodies etc.

The tune I bring you today is yet another gem from the stash that keeps on giving.

As mentioned in this space many times, some years back my father-in-law came upon a deposit of several thousand 45s, which he was kind enough to procure on my behalf. Though I made several passes through the crates over the last five or six years, there are still a few stacks left that I head back to now and then, and as luck would have it, they still yield some goodies every once in a while (this being one of them).

I have to admit that before I heard Vernon Garrett and Marie Franklin’s ‘Second To None’ I didn’t know much about the Venture label, other than Calvin Arnold’s ‘Funky Way’ from 1967.

The label was founded when Mickey Stevenson (and his wife Kim Weston) left Motown and relocated to the West Coast in the mid-60s. The pair hooked up with MGM Records, which established Venture as a soul subsidiary*.

Though the label didn’t produce many hits, there were a number of solid artists on its roster, including Larry Williams, The Mighty Hannibal and the Ballads.

The raging ‘Second to None’, heard here in a duet with Vernon Garrett and Marie Franklin, was originally recorded as a solo by Garrett in 1968 as the first of his three 45s for the label.

Garrett had been recording since the early-50s, waxing gospel, R&B, duets with his wife Jewel (who died in the late 60s), and as a solo for a wide variety of labels like Kent, Venture, Watts USA, Gator and ICA.

Marie Franklin is even more of a mystery. After her duet with Garrett, she recorded at least one 45 for Tangerine, as well as the killer ‘You Ain’t Changed’ for Maverick.

‘Second To None’ is a rock solid, right on the edge of out and out funk 45, with heavy guitar and fantastic vocal interplay between Garrett and Franklin. Both singers have especially raw, soul-shouting voices and it pains me to think that they didn’t go on to record more as duet partners.

The tune was written by Darryl Carter, Dick Cooper and Ernie Shelby, with Carter (as a solo) and Shelby (as a member of the Seven Souls) both having recorded for Venture.

Interestingly, the flipside of ‘Second to None’, ‘Without You’ hit the R&B Top 40 in 1969.

I hope you dig the tune, and I’ll see you on Friday.

Peace

Larry

*There were also a couple of rock bands on the label, including the 49^th Parallel and Southwind

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By Larry, December 26, 2010 1:23 pm

Funky16Corners Radio v.91 – Year End Soul!

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I hope that everyone is grooving on the good will and brother – and sister – hood of the holiday season.

Obviously not everyone celebrates Christmas, but we can all soak up the peace and goodwill that floats in the ether this time of year.

This has been a big year for Funky16Corners.

The first quarter saw the move off of the free WordPress platform onto our own server space, which – despite any technical limitations yours truly might be encumbered with – worked like a charm.

This May saw the ‘opening’ of the Funky16Corners Soul Club series of live DJ sets, with contributions from lots of groovy people, as well as number of my own sets from various and sundry DJ gigs.

Thanks go out to all of you who once again contributed to the yearly Pledge Drive, which kept the Funky16Corners empire solvent for another calendar year. Your continued generosity makes me glad that I started the blog six years ago. In fact, it just occurred to me as I write this that I neglected to mark the sixth anniversary of the blog this past November.

Such is the chaos of my daily life that I neglected to remember, let alone mark the occasion.

Another groovy milestone that we marked in 2010 was the rebirth/re-engineering of the Funky16Corners Radio Show on Viva Radio. The folks at Viva were nice enough to bump me into a better time slot, and I responded by changing the way I do the show, hopefully for the better. We continue to broadcast every Friday night at 9PM, followed by uploading the show every Saturday so that you fine people can pull down the ones and zeros and append each week’s broadcast to the MP3 delivery device of your choosing.

On the DJ front, I’ve been up to New York City (and will be again on January, 10 2011, watch this space for details), down to Washington, DC (thanks to the mighty DJ Birdman for facilitating the journey). Hopefully 2011 will provide more opportunities for me to pack up my record box and hit the road, and (if all goes well) maybe even the return of the Asbury Park 45 Sessions.

The New Year will also see the return of our sister blog, Iron Leg, where we’re in a 60s pop/garage/psyche bag. Real world commitments caused me to put the blog on hiatus a few months back, but I’ve decided to bring it back – albeit with an abbreviated posting schedule – in 2011. I’ll be posting a year end wrap-up mix today, and regular posts will recommence next week.

So, once again, allow me to say thanks to all of you for stopping by and engaging in our ongoing conversation about music and how it moves us.

Since the fam and I will be out and about visiting family, I’ll be dropping the mix you see before you and taking the rest of the week off.

I’ve gathered the best of the upbeat and funky tracks from the past year and whipped them into a nice little party mix that you can play during your New Years Eve festivities (or whenever you need a lift).

There are lots of faves, plenty of funky rhythms with which to set loose your caboose, and enough grooves to grease your way past Father Time and into 2011.

I hope you dig it, and that you all have a safe and healthy rest of the year.

Peace

Larry

NOTE: There’s no accompanying zip file with this mix, since all of the tracks included have appeared here individually this past year.

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By Larry, December 16, 2010 12:24 pm

The Kelly Brothers performing on The Beat

Listen/Download – The Kelly Brothers – Crystal Blue Persuasion

Greetings all.

It’s the end of another week, and I’ve been a busy fella.

I’ll assume that some of you already know this, but the Funky16Corners blog was preceded, or more accurately grew out of the Funky16Corners web zine. I published the first issue online in 2000, after 15 years of doing paper fanzines on a variety of topics.

Though my web skills were rudimentary at best, I thought it would be cool to be able to write about funk and soul, include color pictures, and have it all up on the interwebs where anyone with a computer and access, anywhere in the world could check it out.

I did thirteen issues of the web zine before switching over to the blog format, and though I haven’t updated the site in almost five years, I maintained it so that people could access the various articles and discographies.

Unfortunately, due to some poor planning on my part, and switching/upgrading computers a few times since then, I did not have access to the site I had built. In fact, when I finally resurrected the old computer where I thought I had it stored, I realized that what I had was an older, incomplete version of the zine that was missing the last three issues.

What I wanted to do was get the files and upload them to the same server where I keep the blog.
This turned out to be quite the production, since I had to download the three missing issues (and all the attending artwork) from one server, weave them together with the files I had, and then upload the whole shebang. This involved work that was both painfully complicated and monotonous, but since I have no one to blame but myself for the mess it had become, I can’t really complain.

That all said, the move is finally complete. For those of you that were linked to www.funky16corners.net , aside from a few minor cosmetic changes, the transition should be flawless. If you haven’t been to the webzine, you can click on the link in the sidebar and check it out. Once you’re there, make sure to click on the ‘Archived Issues’ link to access all the older content.

Be forewarned that there are a couple of pages with formatting problems that I’ll have to correct over the coming weeks, but nothing that should prevent you from reading it.

I will be updating some of the articles for both factual and cosmetic reasons, and may even generate some new, long-form content.

I would also at some point like to redo the entire look of the site, so that you don’t have to deal with the existing colored type on black background theme, but like everything else, that will have to be added to the to-do list, and will be taken care of as time allows.

I should also take this opportunity to remind you all that this Friday night at 9PM you should fall by Viva Radio to check out the latest installment of the Funky16Corners Radio Show. This week (12/17) is an all Philly Funk 45 special, and next week (12/24) is the first annual Funky16Corners Radio Show Christmas special, featuring all kinds of groovy funk and soul in the holiday spirit.

Next week I’ll be posting a couple of nice Christmas 45s, so make sure to stop by for that.

The tune I bring you today is a very nice cover of a very well known song, by a group that until recently I knew nothing about.

I can’t recall where I first heard the Kelly Brothers version of ‘Crystal Blue Persuasion’, but I do know that I dug it because I went in search of my own copy. That search ended earlier this year when I did a DJ set at the Washington DC Record Fair and found a mint copy sitting in a box between two extremely rare (and well out of my price range) soul 45s.

The Kelly Brothers got their start recording gospel in the mid-50s. Between 1956 and 1962 they recorded gospel for the VeeJay, Nashboro and Federal labels. They changed their name to the King Pins, and switched to recording secular soul in 1963, remaining with Federal.

They moved to the Sims label from 1964 to 1967, eventually landing at Excello, which is where they recorded today’s selection in 1969.

The original recording of the tune by Tommy James and the Shondells was a huge hit earlier in 1969.

The Kelly Brothers were hardly alone in their migration between the sacred and the profane. Countless soul artists got their start singing and recording gospel, and there were other artists – the Staple Singers come to mind – that passed back and forth between the genres.

The brothers (Curtis, Andrew and Robert Kelly) along with TC Lee and Offie Reese put the powerful harmonies they learned in church to good use during their soul period. There’s a great video them performing their 1966 Sims 45 ‘I’m Falling In Love Again’ on the Nashville-based TV show The Beat.

The group’s version of ‘Crystal Blue Persuasion’ adds a great soulful edge to the pop classic, with the rhythm guitar and piano playing off of each other, horns, organ and some powerful drumming as well. I love the way the Kelly Brothers kick up the tempo and lay on the harmony. I’ve always enjoyed the Tommy James original (one of the first songs I remember really well from my childhood) but it seems anemic in comparison to this version.

Interestingly, the song has long been rumored to have a religious underpinning, though a glance at the lyrics reveals that there is at least as much late 60s hippie vibe in the mix.

There’s also a great comp of the Kelly Brothers soulful stuff from their time at the Sims label at Amazon.

I hope you dig the tune, and I’ll see you all next week for the holiday festivities.

Peace

Larry

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By Larry, November 28, 2010 3:30 pm

Miss Nina Simone

Listen/Download – Nina Simone – See Line Woman

Greetings all.

I return to you, post-Thanksgiving having enjoyed a delightful holiday weekend with the family, despite having thrown my back out the day before the turkey fest.

Fortunately, while I was unable to climb trees or bend down to pick up lucky pennies, I was able to indulge in turkey, stuffing and sweet potatoes, so I can’t very well complain.

I got some reading done and we took the little Corners to the symphony for the first time as well, which is always a good thing.

I hope everyone dug last week’s mix, as well as Friday night’s Funky16Corners Radio Show (archived and available for download as we speak).

I’m gonna get the week started with some heat from the mighty Nina Simone.

Though she certainly had funky and soulful numbers in her vast catalog, it’s neither accurate nor fair to refer to Nina Simone as a funk or soul artist.

She preferred to think of herself as a jazz singer (which she was at times) but it’s probably more accurate to see her as a cross between an old school chanteuse, i.e. interpreter of songs and what used to be called a singer-songwriter.

The breadth of her repertoire is both stunning and daunting. During her career, which spanned five decades, Simone recorded for a wide variety of labels, often re-interpreting material many times over. The fact that her records have been repackaged so many times, in so many configurations makes focusing on her art all the more difficult.

Earlier this year I read ‘Princess Noire: The Tumultuous Reign of Nina Simone’, Nadine Cohodas exhaustive, and exhausting biography of the musical giant.

Simone led a troubled life informed by her youth in the segregated south, racial injustice, a chronic inability to find an audience of long standing as well as a mounting struggle with mental illness.

Though Simone is best known for her interpretations of standards, as well as introducing songs like ‘Don’t Let Me Be Misunderstood’ (taken into the pop charts by the Animals), her most far reaching recording (for a few different reasons) is today’s selection ‘See Line Woman’.

A reinterpretation of a southern folk song/rhyme, first recorded in Mississippi in 1939 by a Library of Congress field researcher.

Nina Simone recorded it in 1964, and to say that her version could be described as epic is almost an understatement.

Featuring Simone’s powerful voice over a backing of percussion (and hand claps) and flute, with call and response backing by her band, ‘See Line Woman’ could be almost be described as funky.

I wouldn’t make any assumptions about the lyrics, since they seem to have changed over the decades*, and there appears to be some question as to what they originally were, including the possibility of coded messages from the Underground Railroad.

If you listen to the original field recording of sisters Christine and Katherine Shipp (you can hear a sample here) , it is immediately apparent that the basic framework of Simone’s version was present in 1939 (though much more explicitly as a kind of playground rhyme).

It is also obvious, once you listen to today’s selection that Simone, while reaching back into the warp and weft of southern culture, took the song into an entirely new place, building into it a sense of urgency, drama and perhaps even menace.

‘See Line Woman’ explodes with the power of an incantation.

It is without a doubt, some seriously deep stuff, not to be taken lightly, and a landmark in the long journey of Nina Simone.

Simone’s re-imagination of the song also launched it into the future.

It was covered (quite successfully) in 1967 by the Easybeats, and then again in the 90s (also very cool) by Feist, both versions (which can be heard on Youtube) borrowing heavily from Simone’s.

I hope you dig it.

See you on Wednesday.

Peace

Larry

*See this Wikipedia entry for a look at the variations the song has taken over the years.

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By Larry, November 21, 2010 3:03 pm

Funky16Corners Radio v.90 – Soul In Harmony

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Thanksgiving week is here (at least in the US), and this year I have lots to be thankful for, as well as lots to do.

I’ve decided to drop this mix today, and pretty much take the rest of the week off.

There will be a new episode of the Funky16Corners Radio Show on Viva radio this Friday at 9PM, so make sure you check that out, should you be passed out next to the internet, in a turkey and pie induced food coma.

Funky16Corners Radio v.90 – Soul In Harmony is one of those mixes that has been cooking (in my head, anyway) for a long time.

I’m not sure how much it has been visible here on the blog (anyone have time lapse footage of the last five years?), but my tastes – often spurred on by a periodic excavation in my record room – are always evolving.

Back in the day, when I first started to collect soul 45s, it was all about the rough and ready Southern sound, fast moving and loud.

It would be years before I really started to examine soul ballads, and then I started to dig into funk, and then Northern Soul, then to disco and on and on, hopefully ad infinitum.

The latest spike on the evolutionary time-line popped up sometime in the last year, spurred on by the sounds of sweet soul.

The AM radio of my youth was filled with bands like the Chi-Lites, the Stylistics, Blue Magic and others, and to be honest, it all struck me as a little mushy, but then again I was 10 years old.

As I got older, and started to listen and dig, ever deeper into the sounds of soul, I discovered a fair amount of sweeter, soul harmony stuff, often on the B-sides of more upbeat, aggressive records, and as is often the case, despite the comparative ‘lightness’ of some of these records, I was drawn in by what always grabs me, that being good songs.

The first record in this style that really knocked me out was the Intruder’s ‘A Love That’s Real’ still one of my favorite records.

Thanks to both geographic proximity and the quality of the music, I’ve collected Philly soul for a long time, and one thing the cats in Philly knew how to create was solid harmony soul. Almost a third of the records I put into this mix are by Philly groups, another third from Detroit or Chicago, and the rest spread over the map (including one by my Jersey Shore homeboys the Broadways).

The importance of tight harmony singing has been a hallmark of black music, from the Mills Brothers and the Ink Spots in the 30s and 40s, countless groups in the 50s and of course everything in this mix, from the classic soul era.

There’s really something special about harmony singing. Done well, it’s not just an accidental meshing of random voices, but rather an aural tapestry woven from perfectly complementary elements.

The ‘classic’ soulful blend, with a tenor, or sometimes baritone lead, a bass and often someone capable of singing in falsetto provides a basic sound, but when some (or all) of these roles are filled by extraordinary singers the end result is something magical.

All of the songs in this mix hail from between 1966 and 1970, a period when a certain maturity and creative growth was on the rise in soul music, when the finest groups intersected with great writers and producers to make music of increasing sophistication and depth.

Though there is a general stylistic thread running through this mix, the tempos vary between pure balladry, upbeat, danceable soul and slightly rougher edged sounds.

There are a few songs that have appeared here before, but when I started assembling the playlist, I knew that they had to be included.

Things get started with the truly amazing ‘I Don’t Know How To Say I Love You (Don’t Walk Away)’ by the mighty Superlatives. I have sung the praises of this record before, but it certainly can’t hurt to hear it again. The combination of sweet vocals, heavy drums and that stellar arrangement are truly amazing.

The Broadways, without any question the greatest soul group to come out of the Jersey Shore recorded two solid 45s for MGM. Their ‘You Just Don’t Know’ is a staple of my Northern Soul sets, and while ‘Sweet and Heavenly Melody’ also packs a driving beat, it has a lushness to it (how about those strings) that sets it apart.

I don’t know much about the Hesitations. I’ve seen their records – often packed with covers – for years, but only bought on for the first time a few months ago. ‘Stay In My Corner’ is a marvel, with the singers alternating leads over dynamic backing vocals.

The Ethics recorded a series of excellent 45s for Philadelphia’s Vent label in the late 60s, including the Northern classic ‘Look at Me Now’. ‘Think About Tomorrow’ is a much slower, much sweeter, falsetto-led ballad that was clearly tailored to reflect the sounds that Gamble and Huff were creating at the same time.

One of the rougher sounding, yet oddly pretty songs in this mix is ‘I’ll Be Loving You’ by the Soul Brothers Six. The flipside of the classic ‘Some Kind of Wonderful’, ‘I’ll Be Loving You’ features what is, in comparison to most of the records in this mix, remarkably spare instrumentation, with rhythm guitar, thumping bass, drums and tambourine, all sounding like it was recorded in one take. The real star here, aside from John Ellison’s wonderful lead vocal, is the second guitar, which has a kind of chiming overtone to it that from a distance sounds like vibraphone accents. The more I listen to this one the more I love it.

The next cut is by the Blue Notes (as in Harold Melvin and…). Right before they began their run of hits with Philadelphia International, the group recorded two 45s for the Uni label. ‘Never Gonna Leave You’ (from 1969) was the B-side of the funky ‘Hot Thrills and Cold Chills’. The 45 was reissued a few years later, no doubt to capitalize on the success of their PI hits.

‘I’ll Make It Up To You’ by the Magictones is the bottom half of one of the truly great Detroit soul 45s (the A-side being their epic cover of the Parliaments’ ‘Good Ole Music’). Much like the Superlatives record (also released on Westbound), the Magictones juxtapose their harmonies with a heavy background, including some tasty electric sitar.

Though they’re best known for their early, doowop sides, Little Anthony and the Imperials recorded well into the classic soul era, including and excellent run of 45s for the Veep label between 1966 and 1969. ‘It’s Not the Same’ which features Anthony Gourdine’s unmistakable falsetto, and a classy arrangement (in which the Imperials are often doubled by female backing singers), bears a slight (but not overpowering) similarity to ‘Goin’ Out of My Head’ (also from 1966).

Speaking of Philadephia soul, there are few groups who were as successful – artistically and on the charts – as the mighty Intruders. ‘Everyday Is a Holiday’ (from 1969) is a great showcase for their unique harmonies and a muscular production and arrangement by Gamble and Huff. Listen closely to the bass and drums (almost funky), as well as the horns and staccato piano accents in the verse.

Chicago’s Artistics were reliable hitmakers for the Brunswick label in the late 60s. ‘What Happened’ is another record that seems to run on the outskirts of funk, as well as displaying the influence of the Temptations.

Another group with solid roots in the doowop era, that also made some great soul records was the Platters. Though they had few (if any) original members by the time they recorded ‘Sweet Sweet Lovin’ in 1967.
Featuring a great lead vocal by Sonny Turner, ‘Sweet Sweet Lovin’ is typical of the kind of upbeat, danceable soul the group was making in this period.

We head back to the City of Brotherly Love with the Ambassadors. One of the truly great Philly bands of the late 60s and early 70s, the Ambassadors recorded some excellent 45s for Atlantic before moving on to Arctic records where they would record several outstanding 45s and an LP. They were adept a certain brand of funky soul, best displayed on 1969s ‘A.W.O.L.’.

When I wrote about the Precisions ‘You’ll Soon Be Gone’ back in 2008, I compare the sound of the record with a lot of the later period stuff that the Parliaments recorded for Revilot (it probably featured a lot of the same musicians. It has a much harder sound than their other Drew 45s.

Chicago’s Radiants recorded some of my favorite soul 45s of the 60s. By the time they recorded ‘I’m Glad I’m the Loser’, their lead vocalist Maurice McAlister had departed. I’m not sure who’s singing lead on this one, but he tears it up.

The Originals recorded a string of great records for Motown in the late 60s, their biggest hit being 1969s ‘Baby, I’m For Real’. ‘Love Is a Wonder’ is a brilliant bit of late 60s Motown, mixing tight, tight harmonies and a powerful arrangement. The lead vocalist sounds like someone Daryl Hall probably spent a lot of time listening to.

Another great tune that bears a passing resemblance to a previous success is the Intrigues ‘I’m Gonna Love You’. The Philadelphia group hit the charts in the summer of 1969 with ‘In A Moment’, a song with a similar vibe and arrangement to the tune in this mix. They recorded a number of cool 45s for the Yew label and hit the R&B (and occasionally Pop) charts a few times between 1969 and 1971.

If you’re a regular visitor to Funky16Corners, you’ll already know that the mighty Volcanos are one of my all time favorite soul groups. Led by singer Gene Faith (born Eugene Jones), the Volcanos recorded some of the finest soul singles to come out of Philadephia in the 1960s for the Arctic and Harthon labels. They had the instrumental backing of the core of the famed Philly rhythm section and material from some of the best songwriters around. ‘You’re Number One’ is a bright, fast moving dancer with lots of sweet background harmony lifting Faith’s lead. Many of the Volcanos went on to form the core of the Trammps who went on to much success in the 70s.

The Vontastics (who took their name from Chicago’s black radio powerhouse WVON) recorded a couple of truly amazing 45s for a variety of Chitown labels (mostly St. Lawrence) between 1965 and 1969. ‘You Can Work It Out’ sports a stylish arrangement (dig those horns!) and some razor sharp vocals in a song that sounds like a tip of the hat to the Miracles ‘Shop Around’.

I first heard the Unifics a few years back when I scored a copy of their monumental 45 ‘It’s a Groovy World. A product of Washington, D.C.’s Howard University (like Roberta Flack and the Blackbyrds) the Unifics hit the charts a few times in 1968 and 1969, their biggest hit being ‘Court of Love’. They recorded some 45s and an excellent LP for the Kapp label under the guidance of songwriter and producer Guy Draper. The amazing ‘Which One Should I Choose’ was co-written by Draper, lead singer Al Johnson and yet another Howard alumni, the mighty Donny Hathaway (who also plays piano on the track).

The Formations were another Philadelphia group with a Northern Soul classic – ‘At the Top of the Stairs’ – to their credit. ‘Love’s Not Only For The Heart’ shows a harder edged side of the group that went on to perform and record as the Corner Boys (for Neptune), the Silent Majority (for Hot Wax) and Hot Ice (for Atlantic).

The next track is a personal favorite of mine. One of my earliest ‘cool’ Philly 45 scores, the Producers 45 (on Gamble and Huff’s short lived Huff Puff label) is a very solid two sider. ‘Love Is Amazing’ (the only tune in this mix with a female lead, provided by Mikki Farrow) is one of those records that should have been a substantial hit, yet never really (as far as I can tell) made a dent anywhere, even in Philly). It does have it’s partisans in the UK, but remains (unjustly) obscure.

The Parliaments, led by George Clinton are best known as the group that started the Parliament/Funkadelic empire, but recorded some of the finest soul 45s to come out of Detroit in the 60s. ‘Time’ (from 1968) was the upbeat flipside of the psyched out breakbeats of ‘Good Ole Music’.

The Four Sonics – another Detroit group – had connections to Nolan Strong and the Diablos. The unusual, bass-heavy vocals of ‘It Takes Two’ (not the Marvin Gaye song) appeared on the B-side of their epic version of Dusty Springfield’s ‘You Don’t Have To Say You Love Me’.

I recounted the tale of the Masqueraders in this space not too long ago, but I couldn’t very well do a mix dedicated to soul harmony without including their incredible ‘I Don’t Want Nobody To Lead Me On’. A group of Texans, who relocated first to Detroit, and then ended up recording their best stuff in Memphis, the Masqueraders ought to be much better known. This song was also covered by the Dynamics.

This edition of Funky16Corners Radio closes out with the only white group in the mix, Pennsylvania’s Magnificent Men. ‘Peace Of Mind’, written by lead singer Dave Bupp and trumpeter Buddy King, which hit the R&B charts in 1966 is an outstanding example of the influence of Curtis Mayfield specifically, and Chicago soul in general. Bupp has been quoted as saying that the song was written with Walter Jackson in mind, and it’s not hard to imagine the master balladeer doing a fine version of the song. The Magnificent Men were one of the few white soul harmony groups to have success with black audiences in the 60s, though there must have been something in the water in Pennsylvania, with folks like Len Barry, Billy Harner and the Temptones (featuring a young Daryl Hall).

As always, I hope you dig the sounds, and have yourselves a great Thanksgiving.

Peace

Larry

NOTE: This past weekend I installed software that allows users who view the blog via a handheld (iPhone, Android, Blackberry etc) to see a new theme that allows easier navigation in the small screen size. If you have one of these devices, check it out and let me know what you think.

Thanks – Larry

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