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By Larry, June 11, 2013 12:02 pm

The mighty Dells, Marvin Junior at the top.

Listen/Download The Dells – Stay In My Corner (LP)

Listen/Download The Dells – There Is (45)

Greetings all

The world of soul was saddened last week to hear of the passing (on May 29) of the mighty Marvin Junior of the Dells.

I have to admit that for many years I was largely ignorant of the breadth of the Dells catalog.

The groups remarkable 1968 hit ‘There Is’ knocked me on my ass when I first heard it as a kid, even though I thought I was listening to the Four Tops.

I eventually figured out the truth, grabbed myself a copy of the 45 and always dug inserting its explosive power (especially that conga break)  into DJ sets.

Other than that, and a couple of their obvious bigger hits (like the 1969 version of ‘Oh What a Night’) I knew little of their vast discography (they were together, with the original line up for over 50 years!).

It wasn’t until I grabbed a copy of the ‘There Is’ LP that I had my mind blown by their epic ballad ‘Stay In My Corner’.

I first had to grapple with the fact that I already knew (and loved) the song, as done in a more uptempo version by the Hesitations.

That, and the fact that the track is over six minutes long, practically unheard at the time outside of the rock world.

Written by Wade Flemons, Barrett Strong and Bobby Miller (the latter producing the album with arrangements by the great Charles Stepney),’Stay In My Corner’ was first recorded by the Dells in 1965 for VeeJay. That version – which grazed the R&B Top 20 – was not only much shorter (2:17) but sung with a different rhythmic pulse.

The 1968 recording, which topped the R&B charts and made the Pop Top 10, was, on both the LP and the 45, a six-plus minute epic and a master class in soul singing.

The Dells had their first hit (the original version of ‘Oh What a Nite’) in 1956, and the traces of that earlier era of R&B harmony are evident throughout ‘Stay In My Corner’.

The first time I listened to the song, the opening struck me as almost schmaltzy, but any hesitations I had disappeared as soon as Marvin Junior started singing.

Though the basic drive train of the song is an almost standard ‘late night soul ballad’ thing, what the Dells do with it over those six minutes is truly remarkable.

The song takes a couple of unusual melodic turns, which the group takes full advantage of, shifting the tone subtly but powerfully.

There’s a section around the 2:40 mark where they harmonize on the word ‘stay’ that just about shoots through your ears like a bolt of lightning.

As I mentioned before, the Dells brought bits and pieces of old school, streetcorner singing into the later soul era, and there are a number of times where Johnny Carter’s falsetto breaks out in (for 1968) unusual, and very cool ways.

The most amazing part of the record, comes at just after the five-minute mark, where Marvin Junior stretches out the word ‘baby’, holding the note for well over 15 seconds, in a move that in the hands of lesser singer would seem pretentious or operatic. Yet Junior’s voice was a remarkable, soulful instrument and you never get the impression that there’s a second of it that he doesn’t feel in the deepest part of his soul. I get choked up every time I hear that section of the song. It boggles the mind and reminds me why music is as close as I get to a religion these days.

‘Stay In My Corner’ is the kind of record you need to sit down with, slap on the headphones and really get inside of with repeated listens.

It’s that good.

The Dells were an amazing group, and Marvin Junior a mighty singer.

He will be missed.

See you all on Friday.

Keep the faith

Larry

___________________________________________________________________________________________

Also, the brand new Funky16Corners ‘Keep Calm and Stay Funky’ stickers have arrived!

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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.
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PS Head over to Iron Leg too.

Comments (3)

By Larry, June 6, 2013 11:07 am

Ben Tucker (Left) & Bob Dorough (Right) & Mel Torme (Bottom)

Listen/Download Mel Torme – Comin’ Home Baby

Greetings all

It’s almost that time, by which I mean the time when the Funky16Corners Radio Show takes to the airwaves of the interwebs on Viva Radio. This and every Friday night at 9PM you get to hear my dulcet tones rapping about/alongside the finest in funk, soul, jazz and rare groove, all on original vinyl. If you can’t be there at the time of broadcast, you can always subscribe to the show as a podcast in iTunes or grab an MP3 here at the blog.

I had something else planned for today’s post, but had to push the rest button when one of my jazz inclined Facebook friends (hey, Nick) noted in a post that bassist Ben Tucker had passed away.

I realize that most of you will have no idea who Ben Tucker was, so bear with me.

Tucker was a well-traveled sideman on a wide variety of jazz sessions through the 50s and 60s, working the arco and the pizzicato beside heavies like Grant Green, Dexter Gordon, Wes Montgomery, Art Pepper and a busload of others.

That, despite the obvious quality of his work, is all largely beside the point, because it was as a composer – of one particular song – that has Ben Tucker’s name chiseled into the wall at the Hall of Fame.

That song – which you see before you was written by Tucker and first recorded by the Donald Bailey Quartet in 1961, but really took off the following year after the mighty Bob Dorough (yes, the coolest cat to ever turn the times tables into groovy music) added some lyrics to the tune, and it was recorded by the old Velvet Fog, Mr Mel Torme.

That version of the song (oddly enough, recorded almost exactly a week after my birth) was a hit for Mel, and went on to become a cornerstone of the swinging vibe (as well as a Mod jazz fave).

The song itself became a soul jazz/jazz standard, bipped, bopped, and rearranged countless times by many, many people, in many different guises.  ‘Comin’ Home Baby’ is – along with songs like ‘Listen Here’, ‘Sack’O’Woe’ and ‘Work Song’ – one of the building blocks of the classic era of soul jazz.

No matter how many times you hear it done, though, nobody, but NOBODY dropped it like old Mel.

With a foundation of piano, bass, drums and the insistent chank of a rhythm guitar, you soon get Mr Torme (and some ladies in the background) showing you all how you can be super smooth and cutting in the same breath.

‘Comin’ Home Baby’ is especially groovy, and enduring because along with your jazz (Torme is one of the most respected jazz voices of his time) you get an undercurrent of R&B, in a Ray Charles stylee that gives the record an extra, propulsive kick that never lets up.

It’s one of those 45s that literally pulls people up out of their seats, on account of the groove is so deep and wide that even the moldiest fig can’t help but shake a leg.

When he died, Ben Tucker had long since relocated to Savannah, GA where he became a fixture of the local scene as both a musician and businessman.

He will be missed, but the mighty song he penned will live on.

Have a great weekend.

Keep the faith

Larry

___________________________________________________________________________________________

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.

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By Larry, April 21, 2013 2:58 pm

Vince Montana

Listen/Download The Volcanos – Storm Warning

Listen/Download The Ethics – Think About Tomorrow

Listen/Download Georgie Woods – Potato Salad Pt1

Listen/Download Brothers of Hope – Nickol Nickol

Listen/Download The Family – Family Affair

Listen/Download Montana Sextet – Heavy Vibes

Listen/Download Montana Sextet – Heavy Vibes (Club Mix)

Greetings all

It was with great sadness that I heard last week of the passing of the mighty Vincent Montana Jr.

Unless you’re a Philly soul or disco head, that name might not be familiar, but the music he helped to make over a career that lasted more than 50 years most certainly is.

Montana, known first and formost as a vibraphonist, but also a busy arranger and percussionist was one of the most important instrumentalists in the history of Philadelphia soul and funk.

Though he got his start backing local artists like Frankie Avalon, Montana went on to be one of the core members of the Philly “house band” that would become better known as MFSB.

His vibes stand out on countless Philly soul records from the mid-60s on, and his arrangers credit appeared on many of those record’s labels.

Montana’s work is all over various and sundry smaller local labels (and recorded under various band names) as well as just about every major Philadelphia International session.

Montana was also key in the formation of the Salsoul Orchestra, and through the disco era recorded with his own groups the Montana Sextet and Goody Goody.

The tracks I’ve selected really just scratch the surface of Montana’s catalog, but all touch on some important point.

The first is one of the greatest 60s soul 45s to come out of Philadelphia, and the first place I ever noticed Vince Montana coming through the mix as a sideman. ‘Storm Warning’ by the Volcanos is beloved by fans of classic soul, and Vince Montana’s vibes have a lot to do with that. Vibes are – at least to my ears – one of the key sonic elements in Northern Soul, along with the baritone sax, and Montana’s playing on ‘Storm Warning’ manages to keep driving the song forward while adding bright accents.

The Ethics are another great Philly vocal group. ‘Think About Tomorrow’, arranged by Montana, was a local hit in 1968. Give this one a couple of close listens and dig how Montana uses the strings, horns and vibes to frame the rhythm section. It’s an exquisite example of the kind of classy record that would come to represent the Philly sound.

Georgie Woods “The Guy With the Goods’ was a Philadelphia radio legend, who decided in the late 60s (like so many of his radio brethren around the country) to dip his toe into the world of recording. ‘Potato Salad’ – also arranged by Vince Montana – is an ‘adaptation’ of vibraphone legend Lionel Hampton’s ‘Greasy Greens’. You not only get to hear Woods laying down his rap, but also plenty of Montana’s vibes working their way through the mix.

The players that would form the core of MFSB would make records under a number of different names in the late 60s and early 70s. If you collect funk 45s, you’ve heard bands like the Interpretations, Hidden Cost, Daley’s Diggers, the Alliance, the Electric Indian and many more, all basically played by the same set of brilliant musicians, including Vince Montana.

My favorite of these pseudonymous 45s is ‘Nickol Nickol’ by the Brothers of Hope. One of the great, mid-tempo funk 45s of all time, ‘Nickol Nickol’ features Montana’s vibes throughout, but especially at the end where he lays down the ‘Eleanor Rigby’ quote in the run-off groove. This one was slept on for a long time, but the price has gone up considerably in the last few years.

The Family – Family Affair, acetate and North Bay 45

Though I’m not featuring any MFSB ‘proper’ in this post, the Family’s cover of Sly and the Family Stone’s ‘Family Affair’, which was first released on the North Bay label, is basically an edited version of the track that would appear on the first MFSB LP.

Vince Montana was – for most fo his career – a ‘background’ player, working behind the scenes, but in 1982 he had a dance hit in the US and the UK with the track ‘Heavy Vibes’. ‘Heavy Vibes’ is a sophisticated, jazzy/funky bit of disco, with plenty of vibes (naturally…). Here you get to check out both the edit and the extended club mix – both worth hearing.

Vince Montana was a master, and though he was more involved than most, he was a very solid example of the importance of the unseen/unheralded musicians that provide the backing for the music we love. People will do lip service to the house bands of labels like Stax, ensembles like the Funk Brothers or the Muscle Shoals group, but only the people with their heads (and ears) deep in the game know who the individual components of those outfits were, and that’s a shame.

The next time you hear the vibes ring through one of those great Philly records, elbow the cat next to you and say ‘That’s Vince Montana.’

I’ll see you all on Wednesday.

Keep the faith

Larry

___________________________________________________________________________________________

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 (3)

By Larry, March 5, 2013 12:53 pm

The Staple Singers (l-r) Cleotha, Pops, Pervis and Mavis

NOTE: a reader says that I have the family members
misidentified in the picture above. Can anyone confirm this?

Listen/Download Staple Singers – For What It’s Worth

Greetings all

Got a little sad news last week when word came down that Cleotha Staples, the eldest of the singing siblings had passed away at the age of 78 after a long battle with Alzheimer’s disease.

Staples, the soprano of the group – alongside sister Mavis, brother Pervis (who left the group in 1968) and father Roebuck ‘Pop’ Staples – may have taken the lead only rarely, but her voice was an important part of the group’s wall of sound (perhaps a more apt use of that colloquialism). There are few things in music as powerful as the sum of several strong voices and the Staples were mighty indeed.

Though there were countless soul singers that got their start and training singing gospel in church (many often recording gospel before working in the secular realm), the Staples were already a famous gospel group prior to their huge crossover success with the Stax label.

Though they had recorded folk/protest material before, their cover of the Buffalo Springfield’s hit ‘For What It’s Worth’ (originally posted here in 2009) probably seemed like bold and unusual choice.

The original version had been a hit in January of 1967 (recorded just a month earlier), as a reaction to the Sunset Strip riots.

The Staple Singers version came out in September of that year, and despite the LA country rock roots of the song, they did a little k-turn and drove it right through church.

Opening with Pops Staples’s unmistakable, Delta-soaked guitar, the group harmonies – soaring over a simple drum and handclap rhythm track – have a richness and power that make the record (in no way a popular success) a landmark of sorts.

As I wrote in 2009, ‘For What It’s Worth’ has a broad enough reach to transfer easily from the youth culture to the civil rights movement seamlessly.

The Staple Singers recorded for Epic from 1964 to 1968, when they made the move to Stax, having their first big hit with ‘Heavy Makes You Happy’ in 1970. They had their last hit in 1984 with a cover of the Talking Heads’ ‘Slippery People’.

Following the death of Pops Staples in 2000 (the year after their induction into the Rock’n’Roll Hall of Fame) the group disbanded. Not long after that Cleotha developed Alzheimer’s, leaving sister Mavis the only remaining performing member of the family group.

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

Keep the faith

Larry

___________________________________________________________________________________________

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, January 27, 2013 12:33 pm

The Ohio Players: Sugarfoot at top left (sporting that awesome conk)

Listen/Download -Ohio Players – Find Someone To Love

Greetings all.

I had something else lined up for today, but then word came down that the mighty Leroy ‘Sugarfoot’ Bonner, guitarist and singer of the Ohio Players had passed away.

Though details are scarce at this time, Bonner was in his early 70s and had previously suffered one or more strokes.

He joined the Ohio Players in the mid-60s after the group’s initial incarnation as the Ohio Untouchables and recorded with them during their time with Compass, Capitol and their peak years on Westbound.

I first posted today’s selection a little less than two years ago, and it’s a great window into the kind of thing the group was doing in their early years.

I hope you dig it, and raise a glass in tribute to one of the true icons of 70s funk.

Keep the faith

Larry

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Originally posted 3/17/11

The tune I bring you today is a bit of instrumental genius from the early days of the mighty Ohio Players.

With a lineage that goes back to 1959 (when the group came together as the Ohio Untouchables), on into their mid-decade rebirth as the Ohio Players, after which they worked in New York as the house band for Compass Records (releasing two singles for the label in 1967 and 1968).

They were working with producer Johnny Brantley’s Vidalia productions when they hooked up (for one album) with Capitol Records.

The tune I bring you today comes from that partnership.

Interestingly, their recording from this period, for both Compass and Capitol had been recirculated on the exploit/ripoff label Trip/Upfront as the album ‘First Impressions’, which is where I first heard ‘Find Someone To Love’. Their Capitol LP, ‘Observations In Time’ isn’t incredibly rare, or expensive (copies go for between 40 and 100 bucks) but it doesn’t show up that often.

The group’s vocal material from this period has always reminded me of the Parliaments stuff from the mid-60s, with a slightly more raucous edge.

‘Find Someone To Love’ features Sugarfoot Bonner’s wobbly, deeply funky guitar prominently, as well as hard hitting drums, droning organ and the band’s horn section. It’s a much deeper, grittier groove than the flashy, fonky stuff they’d hit the charts with a few years later.

Not exactly the Love Rollercoaster, more like the funhouse on the way there.

I dig it a lot, and I hope you do too.

__________________________________________________________________________________________

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By Larry, January 6, 2013 2:42 pm

Jimmy McCracklin

Listen/Download Jimmy McCracklin – Dog Pt1

Greetings all

Welcome to the new week.

As we discussed last week, as we marked the passing of both Marva Whitney and Fontella Bass,  2012 proved to be a severe kick in the pants for fans of soul music.

In the space of a week we lost those great singers, and the man who’s song I bring you today, the legendary Jimmy McCracklin.

McCracklin’s name first came onto my radar when the UK band the Inmates had a NY area FM radio hit (circa 1980) with their cover of his 1958 hit ‘The Walk’.

Later on (years after I first heard the record) I realized that McCracklin had co-written Lowell Fulson’s ‘Tramp’, which went on to be a big hit for Otis Redding and Carla Thomas, as well as the template for the Mohawks’ ‘Champ’.

McCracklin – who was born in the midwest but settled in the San Francisco Bay area – made his first record in 1945, but wouldn’t hit the charts until ‘The Walk’. Through the 40s and 50s he recorded for labels like Modern, Irma and Peacock, finally setting up shop with Imperial in 1962.

He waxed the record I bring you today – the very Tramp-like ‘Dog’ in 1967, a year after his last brush with the R&B charts (he had 7 R&B top 40 hits between 1958 and 1966).

As I mentioned, ‘Dog’ follows the ‘Tramp’ lead (with the addition of a female interjecting during the tune), with McCracklin rapping over a funky bass/drum line and a groovy sax solo.

Though the foundation of his sound was the blues, McCracklin was always willing to whip some soul onto the plate as well.

McCracklin continued to record with Imperial/Minit until 1970, but he kept recording for a variety of labels (and touring) into the 1990s.

He will be missed.

Keep the faith

Larry

___________________________________________________________________________________________

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 (3)

By Larry, January 3, 2013 11:23 am

Miss Fontella Bass

Listen/Download Fontella Bass and Bobby McLure – Don’t Mess Up a Good Thing

Greetings all

Since the end of the week is upon us it behooves me to remind you that the Funky16Corners Radio Show is as well, airing each and every Friday night at 9pM on Viva Radio. If you can’t fall by at airtime, you can always subscribe to the show as a podcast in iTunes, or grab an MP3 here at the blog.

We have to start off 2013 in much the same way as we did 2012, that is eulogizing the fallen greats of funk and soul (Miss Marva Whitney a few days ago and Jimmy McCracklin this coming Monday).

Today we mark the passing of Miss Fontella Bass.

Those that know me have heard my complaints about Ms Bass’s biggest hit, 1965’s ‘Rescue Me’ as a song so ubiquitous that I would feel safe never having to hear it again.

This is of course no fault of hers, but rather the tastemakers/compilers of oldies radio and movie soundtracks who have made that particular record an all but inescapable shorthand for 60s soul, much like James Brown’s ‘I Feel Good’, or the Four Tops ‘(I Can’t Help Myself) Sugar Pie Honey Bunch’, all in their way great records, but beaten so soundly into my brain as to have sucked all the joy out of the music.

Every time ‘Rescue Me’ is cued up it just conjures up images of ‘The Big Chill’ and makes me want to strangle a Baby Boomer with a tie-dyed shirt. And the remarkable thing is that it’s not even on that soundtrack, but rather just another house picked up by and forever swirling around inside of that horrifying tornado of nostalgia.

Though I have owned a copy of ‘Rescue Me’ for years, I have not pulled it out of the crates to play it, and for all intents and purposes, Fontella Bass was well off my radar.

That was, until one lazy day, when I was sprawled on the couch channel surfing and happened upon a soul documentary that while generally unpromising, was light years better than everything else on the tube.

It was during this program (on one of the VH-1s) that a clip came on with a song that I hadn’t heard before and my ears perked right up.

There on the screen were Fontella Bass and Bobby McClure belting out a tune called ‘Don’t Mess Up a Good Thing’.

There’s no question that my lack of interest in all things Fontella Bass was unfair, but in my defense, I had no idea that she’d done anything else, especially anything this cool.

I listen to a tremendous amount of music (especially soul and funk), much of it pulled out of dusty boxes and shoved directly into my ears, and I was, unfortunately, unaware of this record, but that’s the way things go. Despite what some people might say or think, you must be humble enough to admit that you cannot know every good record there is (and I do not, though maybe someday…).

That said, ‘Don’t Mess Up a Good Thing’ hit the R&B Top 5 and the Pop Top 40 in February of 1965.

Fontella Bass, Bobby McClure and the bandleader on the date Oliver Sain (the flipside of the 45 was ‘Jerk Loose’ by Sain and his orchestra) all hailed from St Louis, MO.

Bass had started out as a gospel singer, her mother Martha Bass being a member of the Clara Ward Singers. She got her start in the world of secular music playing piano in Little Milton’s band (alongside Oliver Sain).

She signed with Chess/Checker in 1964, had the duet hit with McClure in early 1965 and went on to have her biggest hit with ‘Rescue Me’ in September of that year, making it to the Number One spot on the R&B charts and the Pop Top 5.

Bass had three more R&B Top 40 hits in 1965 and 1966 but left the label after being denied a co-writing credit on ‘Rescue Me’.

She married avant garde jazz trumpeter Lester Bowie, with whom she moved to Paris in the late 60s where she recorded two albums with the Art Ensemble of Chicago, including the sought after ‘Les Stances a Sophie’.

Following her return to the US, Bass recorded more soul sides for the Paula label through 1972 but eventually retired from music.

She returned to record both gospel and jazz later in life but suffered a series of strokes in the last few years of her life and was in hospice care when she succumbed to a heart attack.

She will be missed.

Keep the faith

Larry

___________________________________________________________________________________________

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 (5)

By Larry, January 1, 2013 3:08 pm

Miss Marva Whitney

Listen/Download Marva Whitney – It’s My Thing

Listen/Download Marva Whitney – Things Got To Get Better (Get Together)

Listen/Download Marva Whitney – This Girl’s In Love With You

Greetings all

It was just a few days short of Christmas (the very day that the Godfather of Soul slipped the surly bonds of earth but six years ago) that word filtered down to me that the mighty Marva Whitney had died.

Marva Whitney – one of the great divas of the classic era of the James Brown Revue – was born in Kansas City, KA in 1944, where she grew up performing gospel music.

It wasn’t until the mid-60s that she made the move to the secular side of soul, eventually joing James Brown and recording her first 45 with his organization in 1967.

During her tenure with Brown, running from 1967 to 1970, she recorded more than a dozen 45s and three albums (one unreleased) before moving on to record sides for T-Neck, Forte and Excello.

She left music for a time in the 1980s before returning to perform with various and sundry James Brown alumni, eventually working with Osaka Monauril (big ups to DJ Pari who was instrumental in her return to the studio), recording new music and touring extensively in the 2000s.

Whitney had one of the most powerful voices in the realm of classic funk.

Though she didn’t have much in the way of commercial success in her heyday, Whitney is treasured both by crate diggers, who verily worship her hard-hitting funk sides, but also by the hip hop side of things for heavily sampled tracks like ‘Unwind Yourself’.

The three tunes I’m posting today have all appeared at Funky16Corners over the years and are staples in my crates and playlists.

The first is my personal favorite. ‘It’s My Thing’ – an obvious “answer” to the Isleys – was her biggest hit, making it into the R&B Top 20 in the Spring of 1969.

It’s a killer from its opening notes, and right up there with the best singles of James Brown’s King-era. The instrumental backing is rock solid, yet fairly rudimentary, with Marva’s remarkable voice dragging the whole show behind her in the dust.

The second is another banger, which ought to be familiar to listeners of the Funky16Corners Radio Show, via the whole song, but also from the sample of her voice that graces so many drops. ‘Things Got to Get Better (Get Together)’ is a fast mover with a tasty horn chart that propels the song from the bottom up. There’s a fantastic live performance clip from he show ‘Music Scene’ in 1969, with Marva laying it down in front of the mighty James Brown band that must be seen,not just for the undeniable power of the music, but for Ms Whitney’s platinum afro, which is a thing to behold.

The last track is something extra special that I was introduced to some years back when Dave Withers guested at the Asbury Park 45 Sessions.

Marva Whitney’s ‘This Girl’s In Love With You’ (a distaff remake of the huge Herb Albert hit) from 1969 is one of those records that ought to be much better known. Every time I play it out I see the same reaction that I had the first time I heard it, that being “where has this record been all my life?”.

It is in turns sweet, funky and a remarkable contrast to the harder edged stuff in Marva’s catalog. I’m not sure who did the arrangement, but it’s fantastic and the fact that this record doesn’t seem to have charted anywhere just makes me shake my head.

Though some of Marva Whitney’s old-school vinyl can be hard to come by and costly, you can find her 2006 comeback LP with Osaka Monaurail ‘I Am What I Am’ in iTunes, and most of her classic tracks can be found on the ‘James Brown’s Funky Divas’ collection (along with a lot of other indispensable music).

I hope you dig the sounds, and when you get a chance, get down in memory of the great Marva Whitney.

Keep the faith

Larry

___________________________________________________________________________________________

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 (1)

By Larry, September 7, 2012 3:56 pm

Earl Grant

The wrong side of the LP, natch…

Listen/Download Earl Grant – Walk a Mile In My Shoes

UPDATE: Well, I just had my mind blown a little bit. I was over reading Red Kelly’s tribute to Joe South at the B Side, and gave the tune he posted  – ‘Shelter’ – a spin. As soon as it started playing I realized that I was hearing one of my favorite Tams records, and had no idea that it had been written (and also recorded by) Joe South!

I suggest strongly that you go check out Red’s tribute, and when you get a chance, dig into Funky16Corners Radio v.96 Condition Red, which includes that Tams version of that great song. – Larry

Greetings all

This is an unplanned post, but considering that I forgot to plug the Funky16Corners Radio Show (this and every Friday night at 9PM on Viva Radio, also available as a download via iTunes or the Funky16Corners blog the day after broadcast) I thought it probably wouldn’t hurt.

The occasion – sad as it is – was new coming down the pike of the passing of the mighty Joe South, who slipped off this mortal coil at the age of 72.

I suspect that many people only know South via his own hits, ‘Games People Play’ (1969, not the Spinners song) and ‘Walk a Mile In My Shoes’ (1970, credited to Joe South and the Believers).

The whole story is a lot deeper than that.

South was first and foremost an accomplished songwriter (he wrote the Tams first hit ‘Untie Me’ in 1962), crafting songs like ‘Hush’, ‘Down In the Boondocks’ and ‘I Knew You When’ (all for Billy Joe Royal) and ‘I Never Promised You a Rose Garden’ (a massive crossover hit for Lynn Anderson in 1971).

He was also a performer, recording many excellent albums under his own name, as well as working behind the scenes as a guitarist (that’s his swampy lick at the opening to Aretha’s ‘Chain of Fools’) and producer.

South was a very interesting guy, weaving all of the various threads of Southern music including rock, soul, country and gospel (and even a little psychedelia) into a unique sound.

The tune I bring you today is an unusual (mainly because of the source) cover of ‘Walk a Mile In My Shoes’ by Earl Grant.

Grant was a vocalist and keyboardist (mainly organ) who had a number of hits – mainly aimed at the middle of the road – during the 50s and 60s. His tune ‘House of Bamboo’ is an exotica fave.

A few years back I was out digging and happened upon Grant’s self-title 1970 LP, and grabbed it because it included a couple of interesting cover versions, one of which you see before you today.

Sadly, the LP was the last thing Grant ever did. A few days after he completed the sessions he was killed at the age of 39 in a car crash.

He takes South’s ‘Walk a Mile In My Shoes’ at a slightly faster pace than the original, and does a pretty nice job, working it out on the piano as well as singing.

The rest of the album is a mix of contemporary cover material and even a few reggae-influenced instrumentals.

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

Keep the faith

Larry

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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.

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Comments (2)

By Larry, May 17, 2012 12:52 pm

Donna Summer and Giorgio Moroder

Listen/Download Donna Summer – I Feel Love 12″ Edit

Greetings all.

I should start be reminding you all that the Funky16Corners Radio Show takes to the airwaves of the interwebs this (and every) Friday night at 9PM on Viva Radio. We have a very special tribute to the Ladies of Soul lined up for you, so I hope you’ll fall by and open up your ears. You can always come by the blog over the weekend and pick yourself up an MP3 of the broadcast, or any of the more than 100 previous episodes in the archive.

This has been an incredibly brutal week as far as losses to the world of soul, funk and now disco, with the news of the passing of the great Donna Summer.

Summer, who died after a battle with cancer at the age of 63 was a huge part of disco, and later the world of pop soul.

The song I bring you today is by far one of my favorite disco records, but was really much, much more than that.

I’ve gone on the record at length of my long and somewhat rocky history with the sounds and culture of disco, from my callow youth (when it was all going down) right on through to my more mature appraisal in recent years.

Back in the day, there were a lot of records now thought of as disco that I loved – and many that I did not – but few have such a solid place in the pleasure centers of my memory as the tune I bring you today, ‘I Feel Love’.

When Donna Summer first entered my ears in 1975 with ‘Love To Love You Baby’ I was smitten, but I think it would be fair to say that it had as much to do with the erotic nature of the song and its effects on my adolescent mind as anything else.

However, two years later when Summer’s collaboration with Giorgio Moroder ‘I Feel Love’ came pulsing out of my radio* my mind was good and truly blown.

The song, which managed to hit the Top 10 on the R&B and Pop charts, was a remarkable bit of visionary dance floor artistry that would anticipate a lot of what was to come in dance music of all stripes over the next decade.

It’s always interesting to listen to the evolution of the synthesizer, from its roots in experimental music, on through novelty, psychedelia and on into dance music.

That its users struggled to imbue it with real musicality is without question.

That Giorgio Moroder and Pete Bellotte managed to win that fight and create something remarkable is also – once you’ve slapped on the headphones and poured this concoction into your brain – a certainty.

Listening to ‘I Feel Love’ 35 years later, even after High Energy, House, and synth pop, it still sounds new and innovative.

A lot of this has to do with Summer’s remarkable voice, the element that managed to take the mechanical pulse of the synthesizers into the human realm.

The mix I bring you today clocks in at just a hair over eight minutes, but there was also a 15 minute mega-mix of the song and it’s not hard to imagine a disco full of chemically altered party people moving with the beat for the whole record, eventually collapsing into a blissful heap.

This is the record about which Brian Eno is reported to have raved –

“I have heard the sound of the future. ‘This is it, look no further. This single is going to change the sound of club music for the next fifteen years.”

Donna Summer went on to have a huge career in the 80s, crossing over heavily into the pop market with a much more conventional sound (which can still be heard on oldies radio, and at weddings wherever they happen).

Nothing she did, though, hits me like this.

The song was later covered by Bronski Beat (with Marc Almond) in a very cool version.

I hope you dig it.

Lets all hope for a better week next week.

Keep the faith

Larry

*I wore out the 45 I bought back then and upgraded to this 12″ a few years ago

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Comments (3)

By Larry, May 16, 2012 4:20 pm

Chuck Brown

Listen/Download Chuck Brown and the Soul Searchers – Bustin’ Loose Pt1

Greetings all.

Well….

A crappy week just got even worse with word coming down that the mighty Chuck Brown, longtime DC fixture and the Godfather of Go Go had passed away at the age of 75.

Though he is known to most for heat like the Soul Searchers’ uber-break/mega-sample ‘Ashley’s Roachclip’  (featured here back in 2008, I just reactivated the link) Brown was bringing the funk from the 1960s (the early Soul Searchers recorded a fantastic, and rare cover of James Brown’s ‘There Was a Time’) , first backing other artists before forming the Soul Searchers.

It was with that band that he recorded a couple of outstanding albums for Sussex, ‘We the People’ (1972) and ‘Salt of the Earth’ (1974).

The Soul Searchers hit the R&B Hot 100 five times (many of those in the Top 40) between 1972 and 1975, and then again in 1978 with the hot biscuit I bring you today, ‘Bustin Loose Pt1’ which made it all the way to Number One (hitting the outer edges of the Pop Top 40 as well).

The cut is a burner from start to finish, and might be familiar to some of the younger heads from its recent appearance in a commercial for chocolate chip cookies.

Chuck Brown was a master, and he will be missed.

Keep the faith

Larry

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).

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Comments (9)

By Larry, May 13, 2012 2:44 pm

The Mighty Duck

The Law Firm of Jones, Dunn, Cropper and Jackson Esqs

Listen/Download Booker T and the MGs – Sing a Simple Song

Listen/Download Booker T and the MGs – Chicken Pox

Listen/Download Booker T and the MGs – Melting Pot

Greetings all.

I had other plans to start the week (how many times have I typed those words in the last year?) but when I woke up this morning and turned on my phone, the very first thing I saw, while I was still rubbing the sleep from my eyes was news of the passing of the mighty Duck Dunn.

Donald ‘Duck’ Dunn, the longtime bassist for the legendary Booker T and the MGs died in his sleep while on tour in Japan.

He was 70 years old.

It is at this point that I make a somewhat embarrassing confession (at least as far as soul is considered) that being that the first time Duck Dunn really came onto my radar was as a member of the Blues Brothers.

I was 16 years old when ‘Briefcase Full of Blues’ came out, and like zillions of others my age (and otherwise) I bought the album.

Though I knew who Booker T and the MGs were – ‘Green Onions’ was then, and still is an elemental part of my musical foundation – I had never heard the names of Dunn and guitarist Steve Cropper before the Blues Brothers came onto the scene.

That album was the first place my fragile young mind touched base with the sounds (once removed) of Junior Wells, King Floyd, the Chips and a few others. As odd as it may seem, that first Blues Brothers album (I never bought another) was a serious jumping off point for me (as many other unlikely records would also be in the following decades).

What I didn’t know at the time, was that I was already deeply in love with the sound of Booker T and the MGs, via their role as Otis Redding’s band on the Monterey Pop recording.

I didn’t start buying soul 45s until I was in my mid-20s, but when I did I grabbed each and every Stax 45 that popped up in front of me, whether at record shows or at dusty flea markets (there twarn’t no interwebs back then, kids…), and many of them were either by Booker T and the MGs, or featured some or all of them as the backing band.

The decades that followed saw me – like any other self respecting soul fan – picking up Booker T albums wherever I found them.

While their oeuvre was, like every other instrumental band of the era, seasoned liberally with filler, they had more high points (and quite a few Everests) in their catalog than just about any other similar outfit.

The MGs were as tight as they came, with Dunn and uber-drummer Al Jackson creating as deep a pocket as has ever been heard.

The selection of songs I bring you today is by no means comprehensive, but I think you’ll find it quite groovy nonetheless.

There will be no Green Onions served, since Dunn wasn’t yet a member of the group* when it was recorded.

I have included a very tight Sly and the Family Stone cover, and two brilliant tracks from the last album the band did together.

Their cover of Sly’s ‘Sing a Simple Song’ comes from their 1969 LP ‘The Booker T Set’ and opens with a bit of a drum break from Jackson, soaked thoroughly in reverb, before the band kicks in. It sees the heavy kick of Jackson’s bass drum move into a more explicitly funky place, and while it never really moves into Sly-esque overdrive, it is tasty indeed.

‘Chicken Pox’ the first track from the group’s 1971 LP “Melting Pot’ (the last by the classic line-up) is the sound of the Meters breathing down the MG’s collective neck. The band is moving into a funkier place, and doing so with style, but the spectre of their Crescent City competition always seems to be there. Oh, how I wish this one was on a 45…

The last cut I bring you today is the title cut from ‘Melting Pot’, and by far one of the most interesting things they ever did.

Lasting in excess of eight minutes, ‘Melting Pot’ is important not only because it shows signs of the MGs stretching out into more progressive directions, but also because it became one of David Mancuso’s deeply influential Loft parties in New York City.

I’ll spare you an excess of words here, but if you have any interest in digging a little deeper, you can refer back to the piece I wrote on the record in early 2010.

Suffice to say, if all you ever knew was ‘Green Onions’, ‘Melting Pot’ will be a revelation.

Duck Dunn was – in addition to his better known gigs – a prolific session musician, both during and after the Stax era.

He was a legend, and he will be missed.

See you later in the week.

Keep the faith

Larry

*Though Dunn was a longtime part of the Stax/Memphis crew, being a boyhood friend of cats like Cropper and Packy Axton (Dunn was in the Mar-Keys) he didn’t join the MGs until he replaced Lewis Steinberg in 1965

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).

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.