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By Larry, November 3, 2016 12:04 pm

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Funky16Corners: Keep On Keepin’ On

Woody Herman – Fanfare for the Common Man (Fantasy)
Timmy Thomas – Why Can’t We Live Together (Glades)
Staple Singers – Step Aside (Epic)
NF Porter – Keep On Keepin’ On (Lizard)
Odetta – My God and I (Polydor)
Diamond Joe – Fair Play (Minit)
King Curtis – For What It’s Worth (Atco)
William DeVaughn – Be Thankful For What You Got (Roxbury)
Joe South – Games People Play (Capitol)
Brenda Lee- Walk a Mile In My Shoes (Decca)
Cymande – The Message (Janus)
Jimmy Cliff – The Harder They Come (Island)
Sly and the Family Stone – Stand (Epic)
Gladys Knight and the Pips – Friendship Train (Soul)
Lee Dorsey – Yes We Can (Polydor)
Sonny Terry and Brownie McGhee – People Get Ready (A&M)
Curtis Mayfield – We’re a Winner (Live) (Curtom)
Otis Redding – Change Is Gonna Come (Volt)

Listen/Download – Funky16Corners: Keep On Keepin’ On 115MB Mixed MP3

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Greetings all.

This is a heavy one, so strap yourselves in.

I have taken time to address social/political issues a few times over the years, including Presidential elections, mid-terms and police violence.

Funky16Corners has never been primarily concerned with such matters, but there is no escaping the fact that when dealing with black music created during the classic soul era, you are listening to sounds forged on the anvil of the civil rights era.

I used to assume that anyone with a love for this music would understand how much racism, violence and the struggle to defeat both had to do with the music I feature here, but sadly I have discovered that this is not always true (like every time I post something along these lines).

This year’s election is starkly different from those of the past for several reasons, but first and foremost because of the rise of Hate (you didn’t think I was going to do him the honor of using his name, did you?).

Hate is an existential threat to this country, not only because he leads the Republican Party, which has been doing everything in its power to hobble government and its capacity to do good for the last four decades, but because of the poisons that he has stirred into the process.

Hate has taken the GOP’s once (barely) covert flirtations with racism, sexism, religious hatred, xenophobia and anti-government zealotry and placed them front and center, making them the core elements of its campaign for President.

Mirroring similar right wing movements around the world, Hate and the Republicans have taken advantage of anger and anxiety over the death of white hegemony and tossed gasoline onto a smoldering fire, making legions of hateful, scared (and often well-armed) people comfortable speaking the unspeakable and acting on those same fears and hatreds.

This, combined with horrifying levels of voter apathy, a dying press and the rise of an electronic media that further truncates the shortened attention span of a growing number of people, has allowed a media virus with an utter lack of competency, intellect, empathy or history of public service a chance to lead this country.

And if the only problem was that he was unqualified, it would be bad enough, but he is a singularly horrible person. Dishonest, arrogant, hateful, racist, sexist, vain, and patently incurious about anything that doesn’t satiate his base desires for social and sexual domination, further inflate his diseased ego, or add more money to his bank account.

He professes business acumen, yet leaves in his wake countless lawsuits, multiple bankruptcies, as well as scores of unpaid vendors, and his refusal to honor traditional levels of financial disclosure suggests that things are even worse than they seem.

There are those that would have you believe that the rise of Hate can be tied to the slow, painful death of the middle class and the loss of manufacturing jobs in this country, yet he has provided no evidence that he knows how to fix the problem, and has very likely contributed to it.

Every election is important, but this one is especially so. It is the very definition of a tipping point, as well as a defining moment in the history of the United States.

This is the moment when we discover if the American Experiment has failed, and if we as a people have any interest in the continued existence of the nation, or if we simply wish to burn it to the ground.

The time to realize that your vote is not merely a method of personal expression, but a mark of participation in a democracy, in which we strive to cooperate with our fellow citizens to honor the sacrifices made for this country, demonstrate the humility needed to admit to, and correct the mistakes made along the way, and the strength and vision to make this union a stronger one.

The key word in that last paragraph is one we don’t hear very much these days: humility.

Webster lists the simple definition of the word as “the quality or state of not thinking you are better than other people”.

We are fighting to demonstrate that humility is a possibility, and a crucial part of a democracy. We are faced with a force to which humility is anathema, seen not as a strength, but a fatal weakness. A force that wields nationalism/jingoism as a hammer with which to smite their enemies, real and perceived.

But unless we can show that we are capable of humility, by owning up to the dark chapters of our history (and our present) we will never be able to face down Hate.

No matter how much these people struggle, white superiority will die. It’s only a matter of when, and how much damage is done as it claws its way down the drain.

We need to remember that even though Freedom of Religion is enshrined in the Bill of Rights, this is, and always has been a secular country and efforts to impose religious doctrine on the population in general is a refutation of the Constitution.

We need to put an end to the idea that this country exists to serve the needs of business, destroying the financial security of our people, and the health of the environment to line the pockets of corporate interests.

We need to re-emphasize the fact that the police exist to protect and serve all of us, acknowledge the social and economic forces that create crime, and foster those that do away with it.

We need to acknowledge the level to which guns have become a destructive force in this country and realize that reasonable regulation is needed.

And most of all, there needs to be a renaissance of civic engagement. Participation in democracy through voting is essential, and realizing that if we do not participate, all of the important choices will be made for you by those that do.

So, what I ask of you is that you stop, and think.

Think about your fellow man.

Think about women.

Think about how we treat and educate our children.

Think about people of different faiths.

Think about your LGBTQ brothers and sisters.

Think about how the way you live, and the policies you support effect other people, here at home and in other countries.

Think about your privilege.

Think, and vote.

It’s not much to ask.

If you believe that America is truly great, display it to the world through our work and example.

The mix I’m posting today (and leaving up for a while) is largely one of recognition and optimism. I believe that we have it in us to weather this storm and continue on doing the good work that identifies us as a nation.

Do yourself a favor and listen to the words in the songs. There are a lot of heavy ones in there.

I will close by making two requests.

The first: VOTE.

The second, as always (and in all ways),

Keep the Faith

Larry

PS Don’t forget the very special Election episode of the Funky16Corners Radio Show, dropping this Friday, 11/4!
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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived!

The stickers are 4″ x 3″ and printed on high quality, glossy stock.

They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US).

Click here to go to the ordering page.
Also, make sure that you check out the links below to the Be The Match Foundation and POAC (click on the logos for more info).

PS Head over to Iron Leg, too

Comments (0)

By Larry, October 25, 2016 9:58 am

Funky16Corners: You Gotta Have Soul!
An Hour of Soul and Funk Instrumentals

Booker T and the MGs – One Mint Julep (Stax)
Brothers and Sisters – Shake a Lady (Capitol)
Travis Wammack – Karate Time (Atlantic)
Watts 103rd St Rhythm Band – Brown Sugar (WB)
Chip and Dave – 7th Round (Sure Star)
Daddy Kae Trio – Shug!!! (Fairmount)
Lloyd Price Orchestra – I Heard It Through the Grapevine (Turntable)
E Rodney Jones – R&B Time Pt2 (Tuff)
Marketts – Richie’s Theme (WB)
Buena Vistas – Here Comes the Judge (Marquee)
Ricky Allen – Skate Boogaloo (Bright Star)
Sam Rhodes – Shake Your Soul Honey (Inst) (Capitol)
Alvin Cash and the Registers – No Deposit No Return (Mar V Lus)
Soul Machine – Twitchie Feet (Pzazz)
Leon and the Burners – Crack Up (Josie)
Johnny Watson – Coke (Okeh)
Little Sonny – Latin Soul (Revilot)
Gravities (Johnny Newton’s Band) – Do the Whip (Inst) (Mercury)
Sandy Nelson – I Don’t Need No Doctor (Imperial)
El Dorados – New Breed (Port)
The Peddlers – Steel Mill (CBS UK)
EJ’s Ltd – Black Bull (Back Beat)
Noble Watts – F.L.A. (Brunswick)
Les Demerle – The Raven (UA)
Soul Continentals – Bowlegs (Sound Stage 7)

Listen/Download – Funky16Corners Presents – You Gotta Have Soul 112MB/256K Mixed MP3

Greetings all.

The mix you see before you today is something I whipped up a while back for the great This Is Tomorrow blog.

It features a solid of of soul and funk instrumentals, guaranteed to make you get outcha seat and onto the floor (whether your dancing, or just on the floor is up to you).

There are a grip of recent acquisitions, including many tunes that have not appeared on the blog or the radio show before.

As always I hope that you dig it, and I’ll be back with some more stuff on Friday.

Keep the faith

Larry

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.

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By Larry, October 18, 2016 11:12 am

Charles Edward Anderson Berry of St Louis, Missouri…

Listen/Download – Chuck Berry – Back Too Memphis MP3

Greetings all.

I come to you today with a previously unscheduled communique on the occasion of the 90th (holy shit…) birthday of the mighty Chuck Berry.

It is tempting to say – considering what the initial response would be from most people who actually remember who Chuck Berry is – that Mr B has managed to outlive his greatness.

There is little disputing the fact that Chuck Berry hasn’t made a significant recording for more than 40 years. His last chart hit was in 1972, and ironically (considering what many people remember him for today) it was ‘My Ding-a-ling’ (it hurts to type that).

Chuck’s ding-a-ling having been the source of much of his troubles….

That said, it would be downright tragic if those of us that knew better, weren’t continuously engaged in reminding people how monumental and long-lasting Chuck Berry’s musical/cultural footprint was prior to 1972, and raising hell about how that mark has been minimized by an ugly combination of race, cultural appropriation, the simple passage of time (and the death of the American attention span) and decades of gross misunderstandings of rock’n’roll.

Chuck Berry was a goddamn genius.

His numerous peccadilloes aside (and frankly, aside from the demonstrably pervy stuff – and if that’s a sticking point Rock and Roll Penitentiary is going to be a very crowded place…Jimmy Page…COUGH) it would be very difficult for anyone without tin ears to make even a cursory survey of his oeuvre and not come out on the other side hail hail-ing Chuck Berry.

From the intial shot across the bow, ‘Maybelline’ in 1955, Chuck stomped into, and right through America’s consciousness (at least the consciousness of the emerging youth culture and Black America – he rode the R&B charts as aggressively as the Pop charts) laying a granite-strong musical foundation, without which little else of rock consequence would have been built in the rest of the 50s and all through the 60s.

Of course, Little Richard, Bo Diddley, Fats Domino, the Everly Brothers, and in a more elemental way (maybe they were in the quarry cutting out the granite in the first place) giants like John Lee Hooker, Muddy Waters and Jimmy Reed, were right there beside him, but Chuck is – at least in my opinion – the most important of all in a purely musical sense.

Though it seems like a painfully obvious thing to say now, Berry was black. He was physically black, which in the 1950s and early 1960s was clearly a huge pain in the ass for the person wearing the skin, especially if he managed to intrude upon the artificial quietude of White America, and it got old Chuck into all kinds of extra trouble he probably would have been spared had he been, say, as white as an Elvis or Jerry Lee, two other rockers with a taste for teenage girls.

The glaring hole in his chart history indicates the period (1960-1963) when Chuck Berry went to prison for violating the Mann Act. The story of how he ended up in prison is a complicated one, and undoubtedly the kind of thing that people before him and after him (mostly, but not exclusively white) walked away from. That Berry didn’t walk, but sat on ice for what should have been three of the most productive years at the peak of his career, and climbed right back onto the charts in 1964 with some of the best stuff he ever did is a testament to his greatness (and also to what might have been).

All of the great early figures of rock were synthesizers, of blues, gospel, jump blues/R&B, and most of them were explosive stylists in both sound and presentation, but Chuck Berry’s stew – even though it appeared seamless to the naked ear – was a much weirder, finer thing altogether.

Berry’s music blended R&B (as well as pure blues, and even jazz) with a huge dose of country (if he was a car he’d be running down rockabilly singers right and left) and it was all assembled with a songwriting talent as big as just about anyone who people take seriously as a songwriter, including everyone from Tin Pan Alley, Broadway or anywhere else.

He was an absolutely brilliant lyricist in a time when anything that appealed to teenagers was immediately dismissed by critics, and was a powerful enough performer, and record-maker (sometimes mutually exclusive pastimes) to drill those lyrics, many of them purely poetic, deep into the brains of a generation of Americans in a way that made them seem like they’d always been there, like the green grass and the blue sky.

It isn’t often that a popular musical figure has an impact like that, but Chuck Berry did.

Bo Diddley and Little Richard were elemental, as was Chuck Berry, but his contributions were further reaching, making their way into the DNA of culture and stringing themselves up on the double helix like a set of Christmas lights.

He was a 30 year old man preaching (and converting) legions of teenagers by speaking to them in their own language and making them dance, which as far as pearl-clutching Middle America was concerned was pure corruption. Cultural miscegenation.

And they were right.

Too bad.

So sad.

Sometimes things have to die for a reason and McCarthyite American needed stake driven through its ugly heart, and Chuck was – along with a bunch of others- right there, hammering away.

If you don’t already, see if you can get your hands on the compilation ‘Chuck Berry – The Anthology’, released in 2000 by Chess/MCA.

Though old Chuck has been anthologized, rehashed and repackaged dozens of times over the years, this 2-CD set (which you can still get in iTunes) is as fine a distillation of his catalog as you’re likely to find.

Clocking in at just over two hours (even if you omit the 4:18 of ‘My Ding-A-Ling’) it manages to present a solid picture of why I said everything I just said about Berry, as well as why he was an idol at his peak, why the Beatles, the Rolling Stones and the Pretty Things (among many others) worshiped at his altar, and why you should ignore every stupid thing Chuck Berry has done in his life (or has had done to him) and listen to his music.

Because the music is what’s important here, and it is VERY IMPORTANT.

And for those of you who think all Chuck Berry songs sound the same, you are wrong, because Chuck Berry’s songs don’t sound the same any more than Mozart does, and the only way you’re going to figure it out is to stop treating it all like wallpaper and use your ears like a vault instead of a kitchen junk drawer.

It’s all there.

So go get it – or head to a decent record store, or to Amazon, or anywhere they stock fine Chuck Berry music – and set aside two hours to listen to it. And when you’re done (unless you’re already hip and have been shaking your head in assent the whole time you were reading this) see if you don’t think differently about him.

I think you will.

The song I bring you today isn’t on that comp, because it comes from the chart desert that stretched from the end of 1964 to the arrival of ‘My Ding-A-Ling’ in 1972.

That period, when Chuck was recording for Mercury and Chess alternates between treading water and making some of the most interesting and neglected music of his career.

It would be a lie to say that these years were as significant as 1955-1964, but to hear Chuck whipping a little soul into the mix, and keeping his eyes on the prize, hands on the wheel before colliding with (and climbing onto) the Nostalgia Express is a thing of beauty.

Today’s selection, ‘Back To Memphis’ was recorded in Memphis (on the album, titled, unsurprisingly, ‘Chuck Berry In Memphis) with the American Studios band, and produced by Roy Dea and Boo Frazier.

‘Back To Memphis’ has something unusual in Chuck Berry records, that being a big, fat bottom, with the bass and drums pushing the record along like a kick in the ass, with the horn section and Chuck’s guitar at the wheel. It is a dance floor killer, and a reminder that Berry was a force to be reckoned with.

Unfortunately, nobody was listening here in the US, though ‘Back To Memphis’ was a Top 40 hit on the pirate station Radio London, in the UK (1966’s ‘Club Nitty Gritty’ had also been a hit on the pirates, charting on Radio London, and Radio City, both).

So go home tonight and play some Chuck Berry. Open the windows, turn the speakers toward the street and crank it up until your neighbors start dancing, or hammering on your front door, in which case turn it up more.

Happy Birthday Chuck.

Keep the faith

Larry

*Thank you, Jim Bartlett

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.

Comments (2)

By Larry, September 13, 2016 1:01 pm

The Chambers Brothers performing ‘Call Me’ on Hollywood A Go Go

Listen/Download – The Chambers Brothers – Call Me MP3

Greetings all.

The Chambers Brothers are one of the coolest, and also most misunderstood acts of the 1960s.

Though they created one of the signature psychedelic records of the era in ‘Time Has Come Today’, one of those tunes that serves as musical shorthand for the 60s itself, their discography is much more diverse and interesting than that record would suggest.

Hailing from Mississippi, the Chambers Brothers – George, Lester, Willie and Joe – got their start singing gospel (evidenced in their strong, tight harmonies), worked their way up through the folk revival – appearing at Newport in 1965 and backing Barbara Dane and Hoyt Axton on a couple of records.

‘Call Me’ was one of their very first recordings, released on the LA-based Vault label in 1965 (it appeared on their debut LP ‘People Get Ready’).

The song has touches of contemporary rock, though the brothers’ voices push it well into the realm of R&B. They even do a little homage to the Isley’s ‘Twist and Shout’ in the middle of the song.

There’s a great clip of the group performing the song on Hollywood A Go Go.

They had a great knack (like Sly and the Family Stone) for wiping away the dividing lines between soul and rock, recording records like ‘Uptown’ and the oft-sampled ‘Funky’ as well as out-and-out psyche like ‘Time Has Come Today’. They would record well into the 1970s for Columbia and Avco (with Vault releasing material recorded in the mid-60s for years), getting funkier along the way.

Though the early Vault 45s can be kind of hard to find, their Columbia material is everywhere and is highly recommended.

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

See you on Monday.

Keep the faith

Larry

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.

Comments (0)

By Larry, August 21, 2016 8:52 am

Dig that crazy label design!

Listen/Download – The Grand Prees – Jungle Fever MP3

Greetings all.

It occurred to me, since it was Monday and all, and most of the world is dragging themselves to work or school, that I might whip something a little crazy on you to help get you moving.

Not too long ago I was perusing a sales list and I happened upon the disc you see before you today. Since I am constitutionally unable to pass by a record entitled ‘Jungle Fever’, I clicked on the link, listened to the sample, and knew I had to grab it for my crates.

The Grand Prees (with alternating lead vocalist – Douglass Pettijohn on this side) only ever recorded one 45, which was released twice, first on Candi (in 1961), and then again on the much cooler looking Golden Grooves imprint (in 1962).

These labels (and the Barvis label) were both the work of one JJ Chavis, who operated out of Wilmington, Delaware in the early to mid 60s recording Philadelphia-area R&B, soul and gospel 45s.

Opening with a very Chips/Rubber Biscuit-like doo-wop vocalization (Mr Pettijohn I presume?), a high female voice, organ and guitar drop in, and grooviness ensues.

The whole thing is rough (not Plookie McCline ‘Gorilla Walk’ rough, but pretty rough) with the lead vocal straying off-key, and the backing, especially the male voice and the organ, verily reeks of inspiration, as in ‘these people will never be this good, on anything else again’.

Chavis worked a lot with gospel groups, and ‘Jungle Fever’ sounds like a bunch of gospel records fell on the floor and were pieced back together by someone that was good and lit.

The organist especially, sounds like someone shackled to the amen corner that was yearning to let his (or her) freak flag fly.

The flip side is your basic, yearning ballad, without much to recommend it.

That said, ‘Jungle Fever’ is worth repeat plays.

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

Keep the faith

Larry

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.

Comments (0)

By Larry, August 7, 2016 11:51 am

Junior Parker – Taxman (Capitol)
Jackie Wilson – Eleanor Rigby (Brunswick)
Don Randi Trio – Love You To (Reprise)
Gary McFarland – Here There and Everywhere (Skye)
London Jazz 4 – Yellow Submarine (Polydor)
Don Randi Trio – She Said She Said (Reprise)
Linda Divine – Good Day Sunshine (Columbia)
Maceo and All the Kings Men – For No One (Excello)
Don Randi Trio – I Want To Tell You (Reprise)
Chris Clark – Got To Get You Into My Live (Motown)
Junior Parker – Tomorrow Never Knows (Capitol)

Pictured: Jackie Wilson, Junior Parker, Linda Divine and Maceo Parker

Listen/Download – Funky16Corners Presents: Revolving In Soul 54MB Mixed MP3

NOTE: The always excellent Any Major Dude With Half a Heart blog did a similar (though more stylistically all-encompassing) mix that you should definitely check out. There’s some crossover, but I think you’ll dig both mixes – Larry

Greetings all.

I was puttering around in the Funky16Corners Blogcasting Nerve Center and Record Vault the other day and some friends brought it to my attention that the 50th anniversary of the release of the Beatles epic ‘Revolver’ LP – one of the most important and paradigm-shifting albums of the 60s – was upon us.

Naturally, having devoted several mixes to the songs of the Beatles (as covered by soul, funk and jazz artists) I had to see if I could put together a mix of covers that approximated the track listing and running order of the original.

I had to cheat a little bit (what you see here matches the track listing of the US issue of the album, i.e. the one I grew up with, but not the longer/more interesting UK issue, which you see on CD reissues of ‘Revolver’) and the running time is almost the same (with the mix running about two minutes over).

That is due to the fact that there aren’t many covers of material from the UK album that fit inside the (admittedly broad) stylistic brackets I mentioned above. There are a grip of soul/funk covers of songs like Eleanor Rigby, but none at all of ‘I’m Only Sleeping’, ‘And Your Bird Can Sing’ or ‘Doctor Robert’.

That said, I did have bunch of cool things on hand.

The saving grace was Don Randi’s 1966 ‘Revolver Jazz’ LP, contributing no less than three tracks to the mix, the swinging version of ‘Yellow Submarine’ by the London Jazz 4 (good luck finding a version of that song that isn’t meant for kids or played for comedy), and Maceo Parker’s stunning and wholly unexpected version of ‘For No One’.

A couple of the tracks in this mix have appeared here in some form before, but I couldn’t resist the pure novelty and record nerd-ery of recreating Revolver.

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

Keep the faith

Larry

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.

Comments (0)

By Larry, July 12, 2016 11:04 am

Jackey Beavers and Johnny Bristol

Listen/Download -Johnny and Jackey – Someday We’ll Be Together MP3

Greetings all.

The tune I bring you today is the fruit of one of my (many) personal obsessions, that being the – often forgotten – original versions of songs.

I have to admit that I was ignorant of the roots of the 1969 hit by Diana Ross and the Supremes until hearing today’s selection on a satellite radio countdown a few years ago.

It wasn’t so shocking that the song had been recorded before, but rather that even in 1961, that familiar guitar figure was right out there in front.

Johnny Bristol and Jackey Beavers were two southern transplants to Detroit (Bristol from North Carolina, Beavers from Georgia) who would both have long careers writing and recording well into the 1970s, with Bristol having a string of R&B hits.

The duo recorded a string of 45s for Anna and Tri-Phi between 1959 and 1962, having a minor pop hit with ‘Lonely and Blue’ in 1960.

They wrote (with the great Harvey Fuqua) ‘Someday We’ll Be Together’ and recorded it in 1961.

The record opens with the solitary sound of maraccas, soon joined by a booming, picked guitar line (recreated on the Supremes record with guitar and strings), then by their voices. The arrangement is spare, but Bristol and Beavers’ voices really carry it. It’s a refreshing experience to juxtapose it with the Supremes hit.

The duo split up when Tri-Phi (and its publishing) was swallowed by Motown , with Beavers going off on his own and both Fuqua and Bristol joining the larger label.

Apparently Bristol was working on recording the song with Jr Walker and the All Stars when Berry Gordy decided to give the song to Diana Ross (who was on the verge of leaving the Supremes to go solo). The record ended up being the last Supremes hit with Ross on lead, going on to hit Number One on both the R&B and Pop charts.

The song was covered again in 1970 for the country market (where it was a Top 10 hit) by Bill Anderson and Jan Howard (check it out over at Iron Leg).

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

Keep the faith

Larry

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.

Comments (1)

By Larry, June 5, 2016 11:33 am

Funky16Corners Presents: Queens
Vicki Gomez – Boys Are a Dime a Dozen (ABC/Paramount)
Rita and the Tiaras – Gone With the Wind Is My Love (Dore)
Apollas – Mr Creator (WB)
Clara Ward – The Right Track (Verve)
Gloria Jones – Heartbeat Pt1 (Uptown)
Sandy Wynns – Love Belongs To Everyone (Champion)
Tina Britt – The Real Thing (Eastern)
Brenda Lee – Dancing In the Street (Decca)
Candy and the Kisses – Keep On Searching (Scepter)
Dorothy Berry – Shindig City (Planetary)
Marie Queenie Lyons – Drown In My Own Tears (Deluxe)
Mirettes – Now That I Found You Baby (Mirwood)
Bobbettes – Tighten Up Your Own Home (Mayhew)
Funky Sisters – Soul Woman (Aurora)
Ella Fitzgerald – These Boots Are Made For Walkin’ (Salle)
Sari and the Shalimars – No Reason To Doubt My Love (Veep)
Judy Clay – Sister Pitiful (Atlantic)
Lesley Gore – Take Good Care (Of My Heart) (Mercury)
Barry St John – Cry Like a Baby (GRT)

Listen/Download – Funky16Corners Presents: Queens 86MB Mixed MP3

Greetings all and welcome to the 2016 Funky16Corners Allnighter/Pledge Drive!

This is the time of year where I and some of the finest selectors I know create some brand new mixes and post them here in the hope that you will all show your appreciation by clicking on the Paypal link and tossing something into the hat to help cover our yearly operating budget. This is the 10th Anniversary of the Pledge Drive and the 6th year of the Allnighter format.

This year’s line-up includes mixes from Asbury Park 45 sessions alums DJ Prestige, DJ Prime Mundo, DJ Bluewater, Vincent the Soul Chef, my man in the UK Ben Gibson, Tarik Thornton, HeavySoulBrutha Dave B, Chris Lujan of the M-Tet and the Dirty Dirty Podcast, DJ RP of Funkdefy Ohio and yours truly book-ending the whole thing.

The mixes this year are uniformly excellent, with sounds ranging from funk 45s, to Northern Soul, sweet soul, reggae, modern funk instros, soul jazz and everything in between.

We’ll be posting a mix each weekday for the next few weeks.

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Your donations help to keep Funky16Corners up and running, with the blog, Funky16Corners Radio Show podcast and hundreds of hours of archived mixes.

Everyone that donates will get the new 2016 Funky16Corners badge and bumper sticker, with which you can adorn the garment and flat surface of your choosing.

So pull down the ones and zeros, dig deep and Keep the Faith!

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We’re going to get things started (and eventually finished) with a two-part mix by yours truly, entitled Queens & Kings. These are each an hour long and feature an hour of danceable soul, first by the ladies, and then by the fellas.
I’ve picked up a lot of outstanding stuff in the past year, including some of my personal Northern Soul grails, a couple of unexpected things (from people you wouldn’t expect, naturally) and lots of other groovy sounds!

So dig it, and we’ll be back tomorrow with DJ Prime Mundo!

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Keep the faith

Larry

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.

Comments (0)

By Larry, June 2, 2016 12:01 pm

Funky16Corners Presents ‘Hot Gravy’ – Guest Mix for Music for Modern Living
Albert Collins – Cookin’ Catfish (20th Century)
Billy Davis – Stanky Get Funky (Cobblestone)
Wynder K Frog – Dancing Frog (UA)
Mighty Hannibal – Fishin’ Pole (Shurfine)
Billy Clark and his Orchestra – Hot Gravy (Dynamo)
Gate Wesley and Band feat Billy Lamont – (Zap! Pow!) Do the Batman (Atlantic)
Albert Collins – Sno Cone Pt2 (TCF-Hall)
Bettye Lavette – Feel Good All Over (Calla)
Timmy Thomas – Have Some Boogaloo (Goldwax)
Jerry Lee Lewis – Shotgun Man (Smash)
Isley Brothers – Nobody But Me (Wand)
RD Stokes – My Sandra’s Jump (II Bros)
Bob Seger and the Last Heard – Heavy Music Pt2 (Cameo/Parkway)
Bobby Hollaway – Cornbread, Hog Maw and Chitterlins (Smash)
Maggie Thrett – Soupy (From the Soul)
Jimmy Holiday – The New Breed (Diplomacy)
Howlin’ Wolf – Pop It To Me (Chess)
Roy Ward – Horse With a Freeze Pt2 (Seven B)
African Beavers – You Got Something (RCA)
Banana Splits – Doin’ the Banana Split (Kelloggs)
TV and the Tribesmen – Trip City USA (HBR)
Jimmy Preacher Ellis – Put Your Hoe To My Row (Round)
Buena Vistas – The Soul Ranger (Marquee)
Danny White – Natural Soul Brother (SSS Intl)
Bobby Freeman – C’Mon and Swim Pt1 (Autumn)

Listen/Download – Funky16Corners Presents – Hot Gravy 138MB Mixed MP3

Greetings all.

The end of the week is here, so I will remind you once again to check out the Funky16Corners Radio Show podcast, which drops each and every Friday with the best in funk, soul, jazz and rare groove, all on original vinyl. You can subscribe to the show as a podcast in iTunes, listen on your mobile device via the TuneIn app, check it out on Mixcloud, or grab an MP3 right here at the blog.

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I should also say that the Funky16Corners 2016 Allnighter and Pledge Drive will start next Monday, June 6th.

As in years past, you will get a string of new mixes by myself and some of my favorite selectors, posted one every weekday over the course of more than two weeks.

These mixes will be accompanied by a Paypal/Donate button, so that those of you that dig what we do here (blogs, radio show, hundreds of hours of archived mixes) will toss something into the hat towards the operating budget for the next year.

All donors will also receive the new 2016 Funky16Corners badge and bumper sticker to affix to the garment and flat surface of your choice!

So stay tuned for that (lots of good stuff this year).

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The mix you see before you today – Funky16Corners Presents – Hot Gravy – was assembled at the behest of the most excellent Music for Modern Living blog, where it premiered last weekend.

Nigel has a good thing going over there, and has presented a number of very cool guest mixes by the best selectors in funk and soul.

This is a solid, hour-long kick in the pants, composed of some of the hottest dance floor soul and R&B bangers in my crates.

There are lots of old faves, a couple of things that might not be familiar, and with the weather finally getting warm, it should provide adequate moving and grooving for your weekend.

I hope you dig it, that you check out Music for Modern Living, and that as always, you…

Keep the faith

Larry

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.

Comments (0)

By Larry, May 29, 2016 11:52 am

Ronnie and the Pomona Casuals (Charlie Lett, center)

Listen/Download – Ronnie and the Pomona Casuals – Out of Sight MP3

Listen/Download – Ronnie and the Pomona Casuals – I Wanna Do the Jerk MP3

Greetings all.

Ever since digging into the history of ‘land of 1,000 Dances’ back in the day I have had an interest in the East LA/Chicano music scene of the 1960s.

Southern California was a hotbed of Chicano bands that specialized in a a very groovy mixture of R&B, rock and soul. Groups like Thee Midniters, Cannibal and the Headhunters, the Atlantics and the Blendells laid down some of the hottest 45s (and a couple of excellent LPs) of the day.

Among their ranks was a multi-racial powerhouse by the name of Ronnie and the Pomona Casuals.

Led by guitarist Ronnie Duran, the band included his brother Jimmy on sax, lead singer Charlie Lett, drummer Philip Duran (not a brother), organist Robert Arroyo, bassist Ryan O’Brien and baritone saxophonist Bob Foley, the Casuals met and formed in high school.

They were managed by Billy Cardenas (who also produced their LP) who also handled a lot of the bigger area bands.

They recorded their album for Bob Keane’s Donna records in 1965, with none other than Arthur Lee (pre-Love) assisting on songwriting and backing vocals.

The album is a great example of the kind of blend that the East LA bands were so good at, with mostly R&B/soul material played with an exuberant, rocking feel.

The tunes I bring you today are the group’s ‘I Wanna Do The Jerk’ (rumored to have been written by Arthur Lee), and their cover of James Brown’s ‘Out of Sight’.

‘I Wanna Do the Jerk’ is one of those records where you can just picture a gym full of sweaty kids getting down while the band works it out on stage.

Their take on ‘Out of Sight’ (also covered by Cannibal and the Headhunters) has the same ragged but right feel of the rest of the record (I have no doubt that these guys played their own instruments in the studio) and the vocal by Lett is excellent.

The liner notes on the LP were written by DJ Gene Weed, who was also the host of Shivaree, one of the coolest 60s ‘dance party’ shows, which featured a lot of interesting pop, soul and R&B acts.

In addition to their LP, the Pomona Casuals recorded a handful of 45s for Donna and Mustang, and continued playing into the 1970s.

I hope you dig the tracks, and I’ll see you on Wednesday.

Keep the faith

Larry

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.

Comments (2)

By Larry, May 3, 2016 11:49 am

Prince, Mitch Ryder and the Pointer Sisters (dig that 80s typography…)

Listen/Download – The Pointer Sisters – I Feel For You MP3

Listen/Download – Mitch Ryder – When You Were Mine MP3

Greetings all.

I can remember the first time I saw Prince.

I first became aware of his music when I was still in high school, and he popped up on the Midnight Special playing ‘I Wanna Be Your Lover’. He was unlike anything I’d seen before, and at the time, unlike anything I was listening to.

When ‘Controversy’ came out in 1981 it was the first Prince tune that really caught my ear, but it wasn’t until 1984, when ‘Purple Rain’ came out that I actually owned one of his records.

Prince has never appeared here on Funky16Corners before, due mainly to the fact that we concern generally ourselves with soul and R&B of a much earlier vintage. That said, no matter how much, or how often Prince transcended those genres, he was a master of both and tribute must be paid.

Prince was one of those artists for whom the term ‘sui generis’ seems to have been created.

Though, in retrospect, it’s pretty easy to suss out his roots and influences (though maybe less so with the visual element stripped away, which considering that his fame came about during the video age may be a moot point), one of the reasons that he first rose to prominence was precisely because he was hard to pin down stylistically.

He was mixing then contemporary funky R&B with new wave and rock, reaching for the same threads that George Clinton had grabbed (Hendrix, James Brown*) and pulling them into a more streamlined future where he would expand on their appeal to the larger pop audience.

His status as a giant in modern culture, as a songwriter, musician, performer, discoverer and nurturer of other people’s talent in unquestionable and the size of the gap he leaves behind is sure to widen as the years go on and people have the opportunity to take in the full scope of his work and influence.

Though the first thing most people think of is Prince as a remarkable performer – a man who was able to combine the flash and virtuosity of Jimi and JB with the outsized showmanship of the P-Funk empire – he was also a great (and prolific) songwriter, evidenced not only is his own work, but by how many of his songs have entered the public consciousness via other artists.

The first time I can recall hearing a Prince song done by someone else was when Chaka Khan took ‘I Feel For You’ (then a five year old album cut by Prince) to the top of the charts in 1984. I didn’t know it was a Prince song when I heard it, but finding out that he had written it gave me a whole new level of respect for him.

The next decade saw Prince songs becoming hits by the Bangles, Sinead O’Connor, Sheila E and many others.

The cuts I bring you today are two earlier covers of his songs from the years right before Prince turned from a singer into a genuine phenomenon.

The first is one that I had no idea existed for years (probably because it was overshadowed by the Chaka Khan version), is the Pointer Sisters 1982 cover of ‘I Feel For You’.

Prince had originally recorded the song as a demo intended for Patrice Rushen, and it first appeared on his self-titled 1979 album.

Recorded for the group’s 1982 ‘So Excited’ album (the title track would hit the charts twice, in 1982 and then again in 1984), ‘I Feel For You’ follows the Prince original pretty closely, taking the tempo down a hair and pushing the electric piano to the fore. It provides an interesting contrast to (and bridge between) Prince’s original and Chaka Khan’s hit, which was by any measure one of the most exciting records of the 80s.

The second tune I bring you today is Mitch Ryder’s 1983 cover of ‘When You Were Mine’. First recorded by Prince for the ‘Dirty Mind’ LP in 1980, and then appearing as the flipside of the ‘Controversy’ 45, the song was recorded by Ryder for his 1983 ‘Never Kick a Sleeping Dog’, produced by John Mellencamp under the pseudonym ‘Little Bastard’.

Ryder had been one of the best blue-eyed soul singers of the 60s, and had by this time settled into a more rock/pop style. That wasn’t a hindrance, since Prince’s version of ‘When You Were Mine’ was pretty much a straight ahead new wave record. The song was a great fit for Ryder’s seasoned rasp and it was the last time he made a dent in the Hot 100. The song was covered the following year by Cyndi Lauper on her first album.

Though it’s likely many of you have already explored Prince’s discography, if you haven’t, check it out (especially the early stuff).

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

Keep the faith

Larry

*There’s a bootleg recording of Prince at the Fillmore in 2004 that features a scorching version of the JB’s ‘Pass the Peas’ featuring none other than Maceo Parker on sax.

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.

Comments (1)

By Larry, April 14, 2016 9:26 am

Big Jay McNeely and Band – The Squat (Swingin’)
Big Jay McNeely and Band – Without a Love (Swingin’)
Leon Haywood – The Fat Fish (Fat Fish)
Leon Haywood – A River’s Invitation (Convoy)
Leon Haywood – Soul Cargo (Fat Fish)
Leon and the Burners – Whiplash (Josie)
Leon and the Burners – Crack Up (Josie)
The Packers – Hole In the Wall (Pure Soul Music)
The Packers – Go Head On (Pure Soul Music)
The Hideaways – Hide Out (Mirwood)
Leon Haywood – Soul On (Imperial)
Leon Haywood – Cornbread and Buttermilk (Imperial)
Leon Haywood – 1-2-3 (Imperial)
The Soul Machine – Bag of Goodies (Pzazz)
The Soul Machine – Twitchy Feet (Pzazz

Listen/Download – Funky16Corners Presents: Leon Haywood at the Organ 1962-1968 MP3

Greetings all.

The end of the week is here, and so is the Funky16Corners Radio Show, dropping each and every Friday with the best in funk, soul, jazz and rare groove, all on original vinyl. You can subscribe to the show as a podcast in iTunes, listen online via the TuneIn app or Mixcloud, or grab an MP3 right here at the blog.

News came down the pike last week that the great Leon Haywood had passed away at the age of 74.

Fans of 60s and 70s soul would have been familiar with vocal hits like ‘It’s GotTo Be Mellow’, ‘Mellow Moonlight’ or ‘I Want’a Do Something Freaky To You’.

However, as I discovered – quite by accident, years ago – Leon Haywood was not only a smooth singer, but a Hammond wrangler of the first order.

Turning over a few of his Decca and Imperial 45s revealed organ instrumentals, and then delving deep into the mystery behind that recording of the Packers’ ‘Hole In the Wall’, it was gradually revealed that in addition to a great singing voice, Haywood was just as comfortable on the keys.

He recorded on organ and piano frequently through the 1960s, often as a backing musician, or under a group alias, and then pretty much abandoned the sideline as he got more popular in the 70s.

I had this mix simmering long before he passed away, but as soon as I heard he was gone, I moved it to the front burner.

Born in Texas, he moved to California in the early 60s where he hooked up with the band of R&B saxophonist Big Jay McNeely, with whom he made his first records as an organist. I’ve included both sides of one of his 1962 McNeely 45s, both tunes co-written by Haywood. ‘The Squat’ and ‘Without a Love’ both feature Haywood using a wide open, slightly distorted/overmodulated organ sound in a heavily reverbed production. ‘The Squat’ is a wild R&B dancer, with it’s flipside working a more sedate, bluesy side of the street.

The next few songs fall into the window of 1965-1966, and I wouldn’t be surprised if they weren’t in exact chronological order.

Haywood recorded a full album for the LA label Fat Fish in 1966, which included a few vocal numbers (but did not include his big Northern Soul number ‘Baby Reconsider’ which was on a later Fat Fish 45), as well as a grip of piano and organ instrumentals. I’ve included three tracks from this album, including the tunes ‘Fat Fish’, ‘Soul Cargo’ and his swinging cover of Percy Mayfield’s ‘A River’s Invitation’, which appeared on the album as well as a Convoy 45 (where I first heard it).

Next up is both sides of a 45 that I had for at least 15 years before I realized it was Haywood, by Leon and the Burners. ‘Whiplash’ – which uses a similar organ sound to the McNeely 45 – owes a debt to Alvin Cash’s ‘Twine Time’. The flipside, ‘Crack Up’ has a lean, Memphis sound to it.

The next two sides see Leon Haywood walking into the midst of the one of the most interesting musical mysteries of the classic soul era. The Packers ‘Hole In The Wall’ was a Top 5 R&B/Top 40 Pop hit in the Fall of 1965. The session was put together by LA DJ the Magnificent Montague, and included most of Booker T and the MGs (minus Duck Dunn) who were in LA recording with Bobby Darin, saxophonist Packy Axton of the Mar-Keys, and none other than Leon Haywood on organ (Booker T on piano) and Earl Grant on bass.

All would have been clear enough had this been the only record the Packers did, but Axton went on (with a variety of other players) to record a bunch of “Packers” records over the next few years, as well as both sides of the ‘Hole In the Wall’ 45 being issued in the US and the UK as two differently named songs by someone named Joe S. Maxey (more here).

Complicating matters even more, is the fact that Nat Nathan, sometimes with Haywood (sometimes without) would also record a bunch of ‘Hole In the Wall’-esque 45s (you can see the roots of the Packers “sound” in Haywood’s Fat Fish sides), including ‘Hide Out’ by the Hideaways on the LA Mirwood label.

As I mentioned earlier, Haywood included organ and piano instrumentals on his Decca LP ‘It’s Got To be Mellow’ and on the B-sides of his Decca and Imperial 45s. Included here are the originals ‘Soul On’ (45 only) and ‘Cornbread and Buttermilk’ (from the LP) and the 45-only cover of Len Barry’s ‘1-2-3’.

The last two tracks in this mix are the two sides of a great, funky 1968 Hammond 45 that I was after for years, only bagging a copy late last year. The Soul Machine’s ‘Twitchie Feet’ b/w ‘Bag of Goodies’ (recently covered by the Incredible Say Whats) were played, produced and written by Haywood, during his time with the LA-based Pzazz label (where he also recorded with Little Janice).

Now, I have no doubt whatsoever that there are gaps in this mix, especially where Haywood’s work as a sideman, or pseudonymous bandleader are concerned. I have a few 45s that I suspect are his handiwork, but no hard evidence to go on. If any of you have any records to add to the list, please let me know.

Haywood spent time between his 60s and 70s hits working in the studio, backing people like Shuggie Otis. He also started his own Evejim label, and worked as a producer.

He was a talented performer, and will be missed.

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

Keep the faith

Larry

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Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived! The stickers are 4″ x 3″ and printed on high quality, glossy stock. They are $2.00 each, with free shipping in the US ($2.00 per order shipping outside of the US). Click here to go to the ordering page.

PS Head over to Iron Leg too.