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By Larry, January 25, 2011 3:50 pm

Chic

Listen/Download – Chic – Dance Dance Dance (Savarese 45 Edit)

Greetings all.

Here’s hoping you’re all warm, dry and happy.

As has been discussed here several times, I am in the midst of a decades long effort to wrap my ears around disco.
Like any music, but especially music that has at times been reviled by a large segment of the population, disco has been misunderstood, if not totally written off by many. This happened for lots of reasons including race, musical subculture, homophobia, and as is also often the case, poor musical quality.

This is by no means an indictment of disco, but rather an acknowledgment of the fact that when any kind of music becomes hugely popular, it is often the worst of it, i.e. the most homogeneous, with the widest possible appeal to the lowest common denominator, that makes the most lasting mark.

There are of course always exceptions to the rule. But 30 years on, it’s not subtleties that get remembered.
It’s also important to note that by the time disco emerged from the nightlife underground and burst onto the national consciousness, much of the finest music that had gotten people out onto the dance floors had been supplanted by horrible, poorly constructed knock-offs, and all of the ephemera of disco culture.

Ask people old enough to remember the denouement of the disco era and you’re likely to get a word stew, equal parts Studio 54, cocaine, pre-AIDS sexual abandon and plodding, awful music.

However – there’s always one of those, isn’t there??? – do some digging (and as today’s records illustrate, you don’t have to go very deep) and there are lots of great sounds to be heard.

The real story of disco, a sound that is desperately in need of a new, better name that it will never get because nothing accurate (like 70s, urban, R&B based club dance music) rolls off the tongue quite as easily as what we already have, is a huge, interconnected saga of musicians transitioning out of the 60s soul era, pioneering DJs, producers and engineers, and of course the dancers, who for a few years in the mid -70s built a huge wave that is still breaking today.

Sadly, it seems that despite some very astute journalism on the subject (see links in this post), the true story of disco will likely never break out beyond the people that experienced it’s glory days first hand, and of course, record nerds. And to be totally honest, as is often the case, even though I know more about it than some folks, I’m barely scratching the surface. There are people out there that have spent years collecting this music, delving into the wildly varied permutations available with some records.

Unlike the music it replaced on the R&B spectrum, disco is harder to nail down because it had fundamental, structural differences.

Though a lot of the soul music the preceded it was meant to be danceable, disco, once it started to be ‘purpose built’ in the era of the 12 inch single, i.e. after the day of Loft classics like Eddie Kendricks ‘Girl You Need a Change of Mind’, was an entirely new kind of dance music.

There were auteur-producers before the 70s, but once disco began to happen, musicians, producers and engineers began deconstructing and rebuilding many of these records to fit the long-form dance experience.
Sometimes, when the raw materials were worthy, and the remixers talented (and occasionally visionary) the results were transcendent.

Of the Loft-era records that have been discussed here, specifically Booker T and the MGs ‘Melting Pot’ and the aforementioned Eddie Kendricks tune, what you were getting was an ‘organically’ long record with its own set of rhythmic and dynamic shifts that just happened, thanks to groundbreaking DJs like David Mancuso, to capture, and propel dancers.

As the mid-70s approached, and dance club culture (and the need for product) expanded, remixers stepped in and created longer – and in the best cases, better – records from raw material.

They also created a lot of pulsating, sonically uninteresting stuff as well, but as today’s selection illustrates, when it was good, it was REALLY good.

When I mentioned earlier that you didn’t have to dig very deep, Chic’s 1977 debut, ‘Dance Dance Dance (Yowsah, Yowsah, Yowsah)’ is the perfect example.

Released in 1977 (on Buddah, right before Chic signed to Atlantic*) was a Top 10 Pop and R&B hit.

Chic is an especially interesting example, because in an era, and a style of music often thought of as the product of faceless session musicians, they were an actual band. Formed by guitarist Nile Rodgers and bassist Bernard Edwards in 1976 (the pair had been playing together since 1970), with drummer Tony Thompson and vocalist Norma Jean Wright, the music that they made in the 70s and 80s is proof that disco could be much more than just a thumping beat.

‘Dance Dance Dance’, which was mixed/edited by Tom Savarese a popular NY area DJ (one of the first disco DJs to receive a label credit for his mix),  in both 45 (3:40) and 12 inch (8:21, you can get the long version on iTunes) versions.

The cool thing – at least to me – is that ‘Dance Dance Dance’ is not in any way (other than purely musical) a ‘deep’ record. The lyrics are spare (calling out popular dances, with the intermittent ‘Yowsah Yowsah Yowsah’**), but the music is nothing short of brilliant. It is the kind of record that forces you to move.

Compare it to a record like Bobby Freeman’s 1964 ‘C’Mon and Swim’, which although basically a laundry list of popular dance steps is still a brilliant dance record because of the combination of Freeman’s spirited delivery and a dynamic instrumental backing. It’s as basic as it gets, and in the wrong hands the formula can be leaden and idiotic, but in when done properly it can be anthemic and inspirational.

Opening with Edwards powerful, pulsing bass, Thompson’s sharp drumming and Rodgers slinky rhythm guitar, it also has (and this is the part I really dig) vocals that double as a device to carry both the melody and pure, rhythmic punch. The way the singers (including a young, unknown Luther Vandross) deliver the ‘BAH BAH BAH BAH BAH’s is as visceral as (occasionally more so than) the bass and drums and is truly a thing to behold.

I love the way the strings and the horns weave in and out of each other, as well as the latin percussion accents and hand claps.

Produced by Rogers and Edwards with Kenny Lehman (who gets a co-writing credit) is a record that bears up to close, repeated listening, as well as (naturally) dancing.

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

Peace

Larry

*The 12 inch version was eventually released on both Buddah and Atlantic

**The chant originated in the 1920s with orchestra leader Ben Bernie and was resurrected in the 1969 film (about 1930s dance marathons) ‘They Shoot Horses, Don’t They’

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By Larry, January 16, 2011 1:42 pm

Willis ‘Gator Tail’ Jackson

Listen/Download – Willis ‘Gator Tail’ Jackson – Bow Legged Daddy

Greetings all.

I don’t know about how things are where you reside, but I am good and freaking sick of snow. We got clobbered right after Christmas with 34 inches, and got almost another foot the other night. The landscape around here is getting crazy, with the rivers of snow, edged with piles of dirty snow (up against even dirtier snow), which just get dirtier every single day. I keep hoping for a thaw, but I know when that comes it’s just going to uncover stuff that needs to be fixed or cleaned up.

No fun…

That said, I still have my records to keep me warm!

The tune I bring you today is something that I acquired passively, i.e. as part of a big lot of 45s. I originally made the purchase to get one particular single (a psyche thing I’d been after for years) and managed to get about 200 other records in the deal.

Aside from the whole thing being packed in what appeared to be shredded newspaper (which I was cleaning up for a couple of weeks afterward) there were about two dozen keepers in the bunch, bringing the per-record cost (after junking most of them) to about 50 cents per, which is not bad at all when you consider that the record I bought the lot for was worth about three times what I paid for the whole thing.

It was a nice grab bag, with some groovy 60s pop, a couple of cool soul 45s, and a few funky things as well, which included today’s selection.

When I pulled out a 45 by Willis ‘Gator Tail’ Jackson my interest was piqued, Jackson – a tenor saxophonist – was one of the OG soul jazzers, having recorded a string of dates for Prestige, Verve and even Muse in the 70s.

The second point of interest on the 45 was that it was on Paul Winley Records.

Winley was a New York based label owner who issued a bunch of doo wop and early rock in the 50s and early 60s, before moving into funk and soul in the early 70s, and then on into the early days of hip hop.

This 45 features vocal and instrumental versions of the song ‘Bow Legged Daddy’, the vocal credited to Paul’s daughter Ann Winley (uninspired) and the instro (which we feature today) to Willis ‘Gator Tail’ Jackson.

Though the tune seems to have it’s roots in standard R&B/blues, it’s a shuffle, laid down in a funky style with some groovy organ.

The interesting thing seems to be that this may very well be the group otherwise known as the Harlem Underground Band.

Sometime in the early-to-mid 70s Winley recorded a session that was rumored to include George Benson, Willis Jackson, Ann Winley, Dave ‘Baby’ Cortez and/or Reuben Wilson on organ and released the session under the name ‘Harlem Underground Band’. That album included the track ‘Smoking Cheeba Cheeba’ which went on to have its break harvested for a number of rap records.

That session was issued under a few different names/covers, one clearly meant to capitalize on the success of Benson, whose picture was displayed prominently on the cover of the later version. Benson had recorded with Jackson years earlier. There’s also a record on the Upfront label (a notorious recycler/re-labeler of sessions) that appears to be the same group (if not the same exact session).

I can’t say for sure if this is the exact same group, but since Winley and Jackson were part of the original recording, and the organist on this session sounds like he has some chops, I wouldn’t be surprised.

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

Peace

Larry

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By Larry, December 26, 2010 1:23 pm

Funky16Corners Radio v.91 – Year End Soul!

Playlist

Listen/Download 800MB/256kb Mixed MP3

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 14, 2010 2:51 pm

Calender

Listen/Download – Calender – Hypertension Pt1
Listen/Download – Calender – Hypertension Pt2

Greetings all.

The tune I bring you today is a little bit of stylish, late period New Jersey funk.

Back about a year or so ago, when I pulled this 45 out of a box at a record show, I grabbed it because the label was familiar (and from NJ).

I’d never heard of the group, but I figured (as I often do) that all signs pointed to ‘cool’, and the price was right, so I took it home.

When I finally got a chance to put it on the turntable I was pleased.

Though the group, Calender, was a complete mystery, the song ‘Hypertension Pts 1&2’ turned out to be an extremely cool number from the era when funk was on a speeding train to Disco City.

This is not to say that the tune itself is actually disco, but that it comes from a period where the artists and producers were clearly less interested in crafting a short, one-sided 45 statement than they were in stretching things out so that the dancers might have some time to get down.

Since the group name and song title led only to various sites concerned with high blood pressure, I decided to search on some of the names on the label, which turned up some interesting info.

The tune was written and produced by Paul Kyser, a Jersey City, NJ based record man who had his biggest successes with Jimmy Briscoe and the Little Beavers, a teenaged funk band from Baltimore, MD who had a number of hits in the mid-70s.

Kyser had his own label, Kyser Records in the 60s, recording Robby Lawson among others. He also worked with the Soul Generation, Super Disco Band, and Rhyze (formerly known as the Nu Sound Express, who recorded two excellent funk 45s for Silver Dollar), who had a minor hit with the tune ‘Just How Sweet Is Your Love’ in 1980.

‘Hypertension’ is a great slice of sophisticated, string laden funk in the style of B.T. Express. There’s more than enough real musicianship in the grooves, but enough grooves in the playing to get people out on the dance floor. The production and arrangement by Kyser is perfect; smooth but never slick. There are bits of synthesizer here and there, but they never overpower the band. Make sure to stick around for Part 2, which features some great flute work.

The group included two sets of brothers, John and Michael Barbee and Gerry and Hurley Fair, as well as Stanley Haygood, William Jones and Donna Ahjuder, and recorded this 45 (in 1975) and an LP called ‘It’s a Monster’ for Pi Kapp in 1976 with all songs either written or co-written by the group, Kyser and his frequent writing partner Leon Stuckey.

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

Peace

Larry

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By Larry, December 12, 2010 11:57 am

Mr Roy Ayers

Listen/Download – Roy Ayers Ubiquity – Everybody Loves the Sunshine

Greetings all.

I come to you following a long, busy weekend that included the beginning of a massive, long awaited 45RPM reorganization.

The project started with 10 new, much sturdier record boxes than I had been using, since my 45s are a serious investment and deserve to be treated well so that they remain in decent condition. It was almost immediately apparent that 10 boxes were not nearly enough to do the trick, but they did provide a solid start, allowing me to get my DJing genres sorted and boxed.

In the process I unearthed a grip of excellent stuff that I’d been neglecting for a long time, which I set aside to be recorded for presentation on the blog and on the Funky16Corners Radio Show.

Speaking of the radio show, this Friday’s episode will be special, all Philly funk 45 excursion that I think you’ll dig. Next Friday – Christmas Eve – will see the arrival of the first Christmas edition of the radio show, featuring some old faves as well as some groovy new stuff.

I’ll also be featuring some Christmas 45s on the blog next week, so stay tuned for that.

Today we’re going to engage in a little bit of creative visualization.

As I sit here writing this, I can hear the wind howling outside and sheets of rain lashing the windows. We’re coming off a sever cold snap, and according to the news this morning, on our way into another one. Our friends in the UK are just getting over terrible winter storms, and folks  in the Midwest are in the process of getting dumped on in their first blizzard of the season.

Whether or not we have crossed the official seasonal dividing line, winter is most definitely upon us.

What we’re going to do is work a little Roy Ayers Ubiquity into the mix.

I came to Ayers R&B/jazz funk period fairly late in the game.

I was a big fan of his work as a straight jazz artist. One of my earliest jazz LP finds many years ago was a copy of a superb album that Ayers recorded backing pianist Jack Wilson. That, and his work in the 60s as vibraphonist* in Herbie Mann’s band, then his early solo work for Atlantic were always in heavy rotation here at the Funky16Corners crib.

Later on, as I started to explore the world of samples, breaks and beats, the Roy Ayers Ubiquity started to pop up everywhere.

Following his stint with Mann, Ayers formed Ubiquity in 1970 and spent the next decade moving from jazz funk, into R&B and disco. The band didn’t have much in the way of chart success (aside from an R&B Top 20 hit with ‘Running Away’ in 1977), but the music they made would create a wellspring for hip hop producers.

Today’s selection, ‘Everybody Loves the Sunshine’ has itself been sampled more than a dozen times.
But we’re not here today to talk about deconstruction.

We’re here to introduce a little warmth into your life.

Pull down the ones and zeros, and let the sound of summer wash over you.

‘Everybody Loves the Sunshine’ is about digging your feet into the hot sand at the beach, or watching the waves of heat rise off of a tar roof in the city. It’s about – as they say in the song – bees and things and flowers – and watching condensation roll down the outside of a cold glass.

It’s a deceptively simple, but extremely powerful song that  forces you to stop what you’re doing, slow down and step inside of the vibe.

So slap on the headphones (or lay down between the speakers), close your eyes and feel the music.

Everybody does love the sunshine, and if mother nature is being stingy, you can always use the power of the mind (and Roy Ayers) to bring it back for a few minutes.

See you on Wednesday.

Peace

Larry

*Oddly enough Ayers doesn’t play the vibes on this track, sticking with keyboards

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By Larry, November 14, 2010 3:30 pm

Geno Washington & the Ram Jam Band

Listen/Download – Geno Washington & the Ram Jam Band – (I Gotta) Hold On To My Love

Greetings all.

I never thought I’d say this, but thank heavens for Mondays.

I come to you having weathered a truly weird weekend. Yours truly and all the local Corners are groovy like gravy, but we have intersected with some odd shit this past weekend. There is definitely something to be said for having the dark hand of misfortune brush past you instead of crushing you like a walnut (for a change), but it still carries with it the stink of dread, and naturally sympathy for those who have not been spared.

That said, I am most definitely in the mood for some upbeat, forward moving, nay storming soul sounds.
The record I bring you today was one of several I adopted from the archive of my man Mr Luther, my guide for all things Mod who just happened to be paring down his crates, while I happened to be (perpetually) stuffing mine.

Naturally, I did the only correct thing, and gave some of those hard earned records a good home where they would be surrounded by others of their ilk (and quality), spun for good folks like you, and of course blog-i-mo-fied, like this.

I’ve known the name Geno Washington for a long, long time.

He was the most prominent example of US ex pat-GIs, who went overseas and found themselves part of the music scene across the pond.

Some – most – of these cats did their thing as patrons of the R&B scenes in the UK and on the mainland, but some, like Mr Washington stepped into the picture and made their own sounds. Washington and the Ram Jam Band had two huge hit LPs in the UK, which both happened to be live albums (both composed almost entirely of covers).

As I mentioned, I knew his name, which appeared frequently in histories of the UK scene, where he was namechecked by many of his contemporaries, however, I never heard a note of his music until I pulled some green from my pocket and traded it for the 45 you see pictured above.

This was done solely on the recommendation of Mr Luther – who has never steered me wrong in matters musical- who said, though the A-side had caught my eye (a nice cover of the C.O.D.’s ‘Michael (the Lover)’, which was a hit in the UK in 1967), I needed to hear the flip.

Good call sir, since – as I was forewarned – ‘(I Gotta) Hold On To My Love’, a soul banger by any means, also happens to sport a chorus which includes a tip of the hat to one of my fave soul records, Chris Clark’s ‘Love’s Gone Bad’, not to mention the Lord Buckley quote (which was also the title of their second album) ‘Hipsters, Flipsters and Finger-Poppin’ Daddies!’

The reference is fairly subtle, and kind of sneaks up on you, but eventually reveals itself in the horn and guitar lines leading up to the title lyric. It is by no mean overpowering, and the song as a whole goes its own way, but it makes an already groovy record a little bit better, and honestly, how can that be a bad thing?

It most certainly is not.

So take a moment to pass this one onto the MP3 delivery device, sneak away from your desk and cut a rug in one of the conference rooms.

See you on Wednesday.

Peace

Larry

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By Larry, October 9, 2010 12:49 pm

John…

and Antoine…

Listen/Download – Fats Domino – Everybody’s Got Something To Hide Except Me and My Monkey

Greetings all.

This is a previously unplanned post, but that’s just the way we roll here, since one must allow themselves to be guided by inspirado, or something like that.

This weekend marks what would have been the 70th birthday of John Lennon.

I have gone into my deep and abiding love for the Beatles in this space before (and over at Iron Leg), but something I haven’t discussed is my growing ambivalence about Mr. Lennon.

I would not have discussed it at all were I not spurred on to introspection about this specific subject by various and sundry celebrations of the aforementioned occasion in every conceivable nook and cranny of the media, but especially the postings of my many Facebook friends, many of whom have exceptional taste in music.

The Beatles were the first music that I truly loved and connected with, and for a few years in the time when I was passing from childhood into adolescence they were pretty much all I listened to with any regularity (other than the jazz and classical music that was played by my father).

The walls of my room were plastered with clippings about the Beatles that I had collected from newspapers and magazines, as well as posters and ephemera like the inserts from the ‘Sgt Peppers Lonely Hearts Club Band’ album.

This is all said only to indicate that the Beatles – as musicians, cultural avatars and people – and the music they made meant, and mean a great deal to me.

However, over the many, many years (I turned 48 this year) I have read a great deal about them, their impact on the culture and the way they created their records, and my impressions of the four Beatles have evolved considerably for a wide variety of reasons.

Back when I was younger, obsessed with rock’n’roll and with all the signifiers of “authenticity” that go along with it when you’re young and full of a wide variety of things, from beans, to piss and vinegar, and what in retrospect – if you’re being honest – something that is clearly shit, I followed the script that said that McCartney was the sellout, Lennon the rebel, Ringo the good natured post-Fabs hitmaker and Harrison the incorruptible mystic.

This had a lot to do with my brain being young, soft and unable (or unwilling) to process anything more complex than a handful of cliches.

That said, as I aged, and read more, I came to understand that the Beatles were much more complex and human that I was willing to allow them to be when I first fell in love with them and the wondrous sounds that they made.

Unfortunately, this evolution softened my appraisal of McCartney (no mean feat) and poked a number of holes in how I saw Lennon.

I’ll let you read up on your own, but I came to the end of this long reappraisal not liking John Lennon all that much.

What I’ve come to discover over the last few weeks of thought and discussion is that this is ultimately my own problem, and should be rightfully separated from his music.

That and the fact that while he wasn’t a saint, he wasn’t a complete asshole either.

John Lennon was a human being, just like the rest of us.

A prodigiously talented (and flawed) human being, but a human being nonetheless, who was never comfortable with the idolatry of many of his fans, and at the end of the day, he was also a Beatle, and responsible for some of the finest music of the last half of the previous century.

And when I say music, I don’t mean the Beatles recordings exclusively, but also their songs as interpreted by others.

Funky16Corners, while always a kind of free-flowing deal – as far as musical style goes – has always found it’s way back to a focus on funk, soul and jazz, and it was by way of that short list that I’ve paid my own sort of tribute to the Beatles and their music over the last five years.

I did so by compiling six mixes (se below) of funk, soul and jazz Beatles covers (one’s a shorter one, but I like it anyway), all of which I’ve pulled out of the Podcast Archive to repost today.

I’ve also included a cover of ‘Everybody’s Got Something To Hide Except Me and My Monkey’ that I picked up after all of these mixes were assembled.

The version here is by the mighty Fats Domino. It was recorded in 1970 (I picked it up on an old Warner/Reprise sampler) and John Lennon was reportedly pleased to have one of his songs covered by one of his own idols.

Fats does a very nice version of the song, which is groovy, and brings things full circle since he was the stylistic inspiration for ‘Lady Madonna’.

I hope you dig it, and that – have you not already partaken (partooken???) that you dig into these mixes.

The day when Lennon would have turned 70 (!?!?) is a big deal, and since we only have two Beatles left, it’s worth celebrating.

There’s lots of groovy stuff.

See you later.

Peace

Larry

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Funky16Corners Radio v.28 – Rubber Souled Pt1

Funky16Corners Radio v.28 – Rubber Souled Pt1

Playlist
Billy Preston – Eight Days a Week (Exodus)
Music Company – TheWord (Mirwood)
Bunny Sigler – Yesterday (Parkway)
Stevie Wonder – We Can Work It Out (Tamla)
Vontastics – Day Tripper (St Lawrence)
Chris Clark – Got To Get You Into My Life (Motown)
El Chicano – Eleanor Rigby (Kapp)
Junior Parker – Tomorrow Never Knows (Capitol)
Bill Cosby – Sgt Peppers Lonely Hearts Club Band (WB)
Soulful Strings – Within You Without You (Cadet)
Bud Shank – I Am the Walrus (World Pacific)
Soulful Strings – Hello Goodbye (Cadet)
Soulful Strings – The Inner Light (Cadet)

Listen/ Download 37MB Mixed MP3
Download 37MB Zip File

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Funky16Corners Radio v.29 – Rubber Souled Pt2

Playlist
Ramsey Lewis – Mother Natures Son (Cadet)
Bobby Bryant – Happiness Is a Warm Gun (Pacific Jazz)
Orchestra Harlow – Larry’s Complaint (Me & My Monkey) (Fania)
Ramsey Lewis – Back In the USSR (Cadet)
Chubby Checker – Back In the USSR (Buddah)
Groove Holmes & Ernie Watts – Come Together (Pacific Jazz)
Jazz Crusaders – Golden Slumbers (Chisa)
Gene Ammons – Something (Prestige)
Ike & Tina Turner – Get Back (UA)
Shirley Scott – Get Back (Atlantic)
Mohawks – Let It Be (Supreme)

Listen/ Download 37.5MB Mixed MP3
Download 37.5MB Zip File

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Funky16Corners Radio v.30 – Rubber Souled Pt3

Playlist
Overton Berry Trio – Hey Jude (Jaro)
Freddy McCoy – Hey Jude (Cobblestone)
Jimmy Caravan – Hey Jude (Vault)
Clarence Wheeler & the Enforcers – Hey Jude (Atlantic)
Fabulous Counts – Hey Jude (Cotillion)
Wilson Pickett – Hey Jude (Atlantic)

Listen/ Download 25MB Mixed MP3
Download 25MB Zip File

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Funky16Corners Radio v.54 – Come Together

Funky16Corners Radio v.54 – Come Together

Playlist

Funky16Corners Radio v.74 – Day Tripping

Comments (8)

By Larry, September 26, 2010 5:46 pm

Funky16Corners Radio v.88 – Throbbing Organs

Playlist

You can check out this mix in the Funky16Corners Radio Podcast Archive

This is being prepared in advance of my excursion to Washington, so any reporting on that trip will have to wait until later in the week.

Hopefully it was a gas and I found lots of groovy records.

That said, it’s been a while since the last organ mix (a live mix, back in January), and I can’t go very long without a Hammond infusion, so I figured it was time.

This mix is all over the map, with some hard driving R&B, soul, funk and even a little bit of soul jazz, but since we’re talking about the universe of the Hammond organ, that’s kind of how these things swing.

A couple of these tracks have seen the light of day here on Funky16Corners individually (none recently), but since two slices of bacon is always better than one, and organ records are the soulful and delicious equivalent of bacon in the musical food pyramid, it couldn’t possibly hurt to hear them again.

Anyhoo… this week might be a little light, since I’m one hundred and eleventy seven percent that I will be returning from DC exhausted, and then I have a little surgical type thingy on Tuesday which is sure to knock me on my ass for a few days, but it’s one of those ‘gotta do it when you gotta do it’ deals, so there.

I hope you dig the mix, and I’m sure I’ll make it back onto the scene by the end of the week (if not sooner).

Peace

Larry

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By Larry, September 14, 2010 10:30 am

Carlton ‘King’ Coleman

Listen/Download – King Coleman – The Boo Boo Song Pt1

Listen/Download – King Coleman – Freedom

Greetings all.

Welcome to the second – and hopefully the last – installment in the latest string of ‘in memorium’ posts here at Funky16Corners.

I heard of the passing of the mighty Rev. Carlton ‘King’ Coleman literally minutes after I found out about Diamond Joe.

Though I can’t say that I know a lot about King Coleman, what I do know cements his position as one of the great R&B/soul journeymen of the 60s.

He worked as a disc jockey, emcee, and vocalist (he debuted as the vocalist on Nat Kendrick and the Swans ‘(Do the) Mashed Potatoes’) going on to record a series of dynamite 45s.

The greatest of these (at least in my humble opinion) is the positively, unfuckwithable ‘Boo Boo Song’, as powerful and raucous a slab of party power as has ever been committed to vinyl.

The King eventually found his way to the Lord and continued to record religious music that was still soulful and funky, eventually returning to his radio roots hosting a gospel program on WMBM in his native Florida.
I’m going to repost both King Coleman tracks that have appeared here previously, the aforementioned ‘Boo Boo Song’ and the much more serious ‘Freedom’.

Separated from the ‘Boo Boo Song’ by barely a year, ‘Freedom’ (released on Philadelphia’s storied Fairmount label) is a spoken-word civil rights anthem, and quite a departure for the man that spent the previous decade shimmying, hully gullying, and engaging in all manner of madness.

I’m also going to repost the write-up I did about the ‘Boo Boo Song’ back in 2006. It pretty much says all I want to say about that amazing record.

Peace
Larry

_____________________________________________________________________________

Originally posted April 2006

So it’s the middle of 1967, and you just rolled into your job at the local six million watt AM radio powerhouse. You pour yourself a disgusting cup of lukewarm coffee and grab a box of new 45s, to see what might make it onto the air. You work your way through all manner of budding psychedelia, sunshine pop and middle-of-the-road instrumentals, when you reach into the box and pull out something called ‘The Boo Boo Song Pts 1&2’ by a cat calling himself King Coleman. Though you are unfamiliar with the artist, you decide to give it a spin anyway, knowing that despite the suspect title, anything is possible. You unsleeve the record, place it on the turntable and absentmindedly apply needle to wax. The next few second are a blur. All you can remember is that following seemingly innocent opening, female singers chanting;

A hunting we will go A hunting we will go We will catch that fox and put him in a box And will not let him go!

You momentarily figure you have a childrens record on your hands. And then, something happens that causes you to spit out your coffee and jump from your chair like your pants were on fire. There, booming out of the speakers is something that sounds like a bug-eyed madman on a caffeine bender.

Boo bo boo bo boo boo boo bo bo bo bo Bay bay buh baybay bay buh buh bay bay Bo bo bo bo bo bo bo (etc etc…)*

It sounds like the kind of guy, that if a certified lunatic like Screaming Jay Hawkins saw King Coleman coming up the sidewalk, he’d pull the bone from his nose, avert his eyes and cross to the other side of the street, murmuring to himself, “Omigod, omigod, omigod. It’s that King Coleman…PUH-leeze don’t let him see me….”

Suffice to say, that as far as you were concerned, things only got worse. The wild babbling emanating from the grooves builds to a crescendo, a mess of corrupted nursery rhymes, nonsense syllables and wild wailing. You rake the needle across the record, pull it off the turntable and break it into little pieces, run into the next room and tell your secretary that if she ever lets ANYTHING like that through again she’s going to be looking for work. You of course are a tasteless bastard, and this little memory goes a long way toward explaining why you currently live under a highway overpass, grilling pigeons over a campfire.

Now if it were me back then (I’d be 5 years old), I’d have immediately requested several extra copies of ‘The Boo Boo Song’ so I’d have some spares ready as I wore them out. That’s just the kind of kid I was (and am). You see, I think King Coleman was one of the great geniuses of his day, erupting like a rhythm and blues volcano, wrecking the joint with all manner of Mashed Potatoes, Hully Gullys, Loo-key Doo-keys, Alley Rats (and Soulful Mice) and Booga-Lous.

Between 1959, when he moved from his work as an emcee and disk jockey into the world of R&B as the voice on Nat Kendrick & The Swans ‘(Do The) Mashed Potatoes Pts 1&2’ – and the late 60’s, Carlton ‘King’ Coleman laid down some of the butt-shakingest, eye-rollingest, high-stepping soul and funk 45s to ever roll down the pike. Every last one of them** is a guaranteed party starter. ‘The Boo Boo Song Pts 1&2’ is possibly the finest of them all, because it manages to rope in (barely) his explosive vocalizing, pairing it with some booming drums, blaring horns and organ, all of which make it a storming slice of soul evangelism – guaran-freaking-teed to peel off the wallflowers and send those already dancing into a sweaty trance. If you haven’t done so already, I would suggest most vociferously that when you play this track, you loosen your tie, turn the volume way up and let it wail. I would also recommend that if you have any small kids around, you play it for them too. I played it for my two-year old son, and he thought it was a hoot.

* Yeah, I know that isn’t an exact transcription, but if you think I’m going to spend a half an hour, restarting the song 50 times so I can accurately count all the BOBO’s and BAYBAY’s, you my friend have another think coming…

** The only exception – and a track that was omitted (for obvious reasons) from the Norton comp is the fascinating ‘Freedom’, which came out on Fairmount in 1965 or 66. It’s a mostly spoken word, civil rights anthem that is an extreme departure from the rest of his oeuvre. I’ll post it here sometime in the future

Peace

Larry

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By Larry, September 11, 2010 5:24 pm

‘Diamond Joe’ Maryland.

Listen/Download – Diamond Joe – Fair Play

Listen/Download – Diamond Joe – Gossip Gossip

Listen/Download – Diamond Joe – The ABC Song

Listen/Download – Diamond Joe – Look Way Back

Greetings all.

Those of you that have been here for a while might remember a time a few years back where there was a period of a couple of months where there seemed to be an obit posted here at least once a week.

I take no joy whatsoever in reporting the deaths of the musicians we revere, but considering the lack of respect many of these artists got during their lives, or are like to get after they pass, it seems only fair that we all stop and take a moment to remember them and the music they made.

A few days ago, I got an e-mail notification that someone had signed the Guest List at the Funky16Corners webzine.

The webzine has been around for a decade, and there’s lots of content there, from feature stories and discographies to simple 45 reviews, and it’s depth and longevity has turned it into a huge Google-net of sorts, in that it sends up results for all kinds of searches, some related, some not.

This has proven to be an interesting by-product, since lots of musicians and their families have gotten in contact with me via hitting the webzine.

Unfortunately, as is the case with all news, sometimes it’s good, and sometimes it’s bad.

When I went to collect the message, I was struck with an odd mix of sadness and excitement. Sad because it led to an obituary for one of my all-time favorite soul singers, and excitement because I had no inkling of his whereabouts, and at one time had heard that he was homeless.

That man was Joseph ‘Diamond Joe’ Maryland.

The world of 60s soul is filled with stories, many of which are short, bittersweet and ultimately incomplete.
Diamond Joe, a masterful singer and accomplished songwriter, who made two of my Top 10 soul 45s during his very short career, starred in such a story.

What little I’ve ever been able to find out about him has been by and large related to his recordings, made during a period that lasted less than a decade.

He was a New Orleans singer who recorded all of his work alongside the mighty Allen Toussaint, but like a few other artists in that orbit, also wrote some of his own material.

I probably first heard his amazing voice when I encountered his 1966 Sansu 45 ‘Gossip Gossip’ on an old Charly Records CD comp. It was an eye-opening experience in that it was clear from the very first time I heard it that ‘Gossip Gossip’ was one of the truly great soul 45s of the 60s.

What was also clear was that I had never heard the tune, nor its singer before, and as is always the case, its started me on a years-long search for the rest of his recordings.

The first sad marker in this saga was discovering that he had only recorded seven 45s in his short career.
I’ve been collecting obscure music for most of my life, and while a lot of it is good, some of it great, every once in a great while you discover a record that is absolutely brilliant. Diamond Joe recorded two of these records, and his reward was utter obscurity.

This is galling because, as it is with anything in life, when you find something that blows your mind, you’d naturally like to find more of it, and when that something begins and ends with just over a dozen songs, and then trails off into nothingness, it borders on infuriating.

Diamond Joe was, like Eldridge Holmes (who also worked almost exclusively with Toussaint) a singer of great talent, as adept with epic ballads as he was with rough edged, fast moving soul. He was possessed of a gruff baritone that could move from a growl to the most subtle whisper within the few minutes of music on a 45.

As tempting as it is to wonder why he wasn’t more successful, the point is ultimately moot. Whether it was because he was lost in a huge pool of talent in New Orleans (there are TONS of amazing New Orleans 45s that never got heard much outside of the region), or an even bigger pool nationally, or that he was just fated to create great records that few would hear (cruel fate, that), as far as I can tell be never recorded after his last Deesu 45 (both sides of which are included here today).

Until I saw the picture posted with his obit (seen above) I had no idea what he looked like.

The four tunes I post in his memory include both of my favorites, as well as a few other great ones to illustrate the breadth of his talent.

The earliest of these is 1963’s ‘Fair Play’, written by Earl King and Allen Orange. ‘Fair Play’ is an absolutely mid-bending record. In just over two minutes you get to hear Diamond Joe wrap his amazing voice around a heartbreaking melody, all contained within a stunning arrangement (how many soul records have you heard with autoharp??). No matter how many times I hear this one, it still haunts me.

‘Gossip Gossip’, from 1966 is one of those records that in a just world would have been a hit. Once again you combine a great arrangement (I believe that’s Toussaint’s speaking voice you hear at the beginning) that combines rough organ, chopping rhythm guitar and a majestic horn chart, all dwarfed by Diamond Joe’s powerful vocal.

The last two songs here are the two sides of Diamond Joe’s final 45, recorded for the Deesu label in (I believe) 1968.

‘The ABC Song’ and ‘Look Way Back’ were both written by the singer with one side funky and the other side a preaching ballad. He’s great in both styles/

I’d say you should head out there and pick yourself up some Diamond Joe, but as far as I can tell, nothing remains in print. His 45s are not easy to come by.

I hope you dig what you’re hearing today and my heart goes out to his family.

Peace

Larry

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By Larry, August 22, 2010 1:18 pm

Earl King

Listen/Download – Earl King – Tic Tac Toe

Greetings all.

I’m sitting here, and it’s early. No one (except the kids, natch) has had enough sleep, but it’s relatively quiet so I figured I’d better get some writing in before the day gets rolling.
The summer – bracketed by Memorial Day and Labor Day – is almost over, and that, surprisingly enough, is a good thing.

Labor Day is approaching, and with it comes the exodus of the tourists. This glorious occasion is followed by a month of great weather, a serious drop in traffic and crowds, and with it the gradual restoration of my peace of mind (which seems in constant danger of extinction).
The tune I bring you today is a kicking slice of New Orleans funk, with as solid a pedigree as these things ever have.

The artist in question is the mighty Earl King.

You do not know him?

I say ‘au contraire, mon frere!’, because while Earl King may not have had any big hits, he was directly or indirectly responsible for many great pieces of music, including Professor Longhair’s legendary ‘Big Chief’ (which King wrote and sang on), the blues/soul standards  ‘Come On’ (which Jimi Hendrix covered on ‘Electric Ladyland’) and ‘Trick Bag’, in addition to being an indispensable part of New Orleans music in the 50s, 60s and 70s.

One need only dip into their New Orleans crates (you can substitute theoretical boxes of New Orleans 45s if you don’t have real ones) and see how many great records were either recorded by King, or bear the mark of his pen and/or performance (often under his real name, Earl Johnson).

The tune I bring you today is one of the few vinyl remnants of a 1970 King session, helmed by no less a light than Allen Toussaint and backed by a certain local combo called the Meters. This conglomeration recorded an album’s worth of material, but since a satisfactory deal never materialized, all that ever saw the light of day at the time was a few 45s.
One of these, ‘Street Parade’ (on the hard-to-find Kansu label) was featured in this space back in ought-seven. As Mardi Gras tributes go, they don’t get much better (or funkier) than ‘Street Parade’.

‘Tic Tac Toe’ which hails from the same sessions is lyrically uninspiring (pretty much standard issue dance craze boilerplate) but King is in fine voice, and the backing band featuring most of the Meters (Dan Phillips at the mighty ‘Home of the Groove’ noted previously that Art Neville’s keyboards seem to be MIA) is tight.

There’s a great, repeated bass guitar riff that kind of pushes the rhythm, Zig Modeliste’s snappy drums, and a nice horn chart riding in the background.

Despite the uninspired lyrics, it’s always great to hear King’s voice, and in the end what you are supposed be doing with this record is dancing, not parsing the meaning of the words, so take it all as a very groovy whole, and shake your thing a little bit.

I hope you dig it, and I’ll be back on Wednesday with something mellow.

Peace

Larry

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PS Head over to Iron Leg for a Lennon/McCartney tune.

Comments (7)

By Larry, August 1, 2010 3:37 pm

Ralfi Pagan

Listen/Download – Ralfi Pagan – Make It With You

Greetings all.
I hope everyone had themselves a sweet summer weekend.
Things were low key hereabouts, with my youngest son celebrating his fourth birthday, for which he got (and I assembled this morning) and old-school tricycle.
Right now, the sky is beginning to lighten after a torrential downpour, and Scooby Doo is on in the background, while my cup of iced coffee sweats next to the laptop…in other words, Sunday.
The tune I bring you today is another one of those records that I knew of for many, many years before I actually heard it, or owned a copy.
I am a big fan of Latin soul, especially mid-60s boogaloo, but every once in a while I get wind of something a little later in the game, maybe a little mellower, and it hits all the right pleasure centers in the brain (and then some), and Ralfi Pagan’s 1971 cover of ‘Make It With You’ is one of those records.
Pagan was a Bronx-born vocalist who recorded for Fania between 1969 and his untimely death in 1978*.
He specialized in ballads, delivered in a voice that sounded like a cross between Little Anthony and Smokey Robinson.
His version of Bread’s ‘Make It With You’, which was a Top 40 R&B hit in 1971 made Pagan a star with the Chicano audience, where the record remains something of a lowrider classic.
Though only three and a half minutes in length, ‘Make It With You’ manages to work as a minor epic. First and foremost is the arrangement (by Johnny Pacheco), which starts off sounding like an outtake from a Neil Young session, melts (with an odd key change) into a perfect bit of sweet soul.
Now, at the risk of sounding like a rube, I’ve always had a soft spot (how appropriate) for Bread’s early singles. David Gates had a real knack for crafting solid melodies. Unfortunately, he also had a real talent for matching them up with era-appropriate lyrics, thick with post-hippie, California sentimentality, always delivered with a completely straight face, which is probably why they were so successful.
Despite what any brigade of hipster douchebags might think, nobody was appreciating Bread, or the Carpenters ironically back when they first came out.
People loved those records because they took the earnest, heart-on-sleeve-ery of a Hallmark card and wrapped it up in just enough long hair and denim to make it palatable for “the kids”.
Ralfi Pagan took ‘Make It With You’ – which was Bread’s first hit (their only #1) in a long string of chart records that lasted until 1977 – and recast it, ever so slightly, arresting the tempo and delivering the lyrics in a soulful falsetto, that takes the ‘first wedding dance’ feel of the original and moves it into a back seat make out session.
The interesting thing is that the only real indicators that this is a ‘Latin’ record (aside from the Fania label** and its popularity with Latino audiences) is the very end of the record when Pagan starts singing in Spanish (echoed by the backing vocalists).
It’s a great record, and definitely worth a couple of close listens.
I hope you dig it, and I’ll be back on Wednesday.

Peace

Larry

PS This week’s edition of the Funky16Corners Radio Show is now available for download. Just click on the Radio Show tab in the header.

*Pagan was killed while on tour in South America

**This record was also issued on Wand

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