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By Larry, December 25, 2011 2:41 pm

Felice Taylor

Listen/Download – Felice Taylor – It May Be Winter Outside (But In My Heart It’s Spring)

Listen/Download – Felice Taylor – I’m Under the Influence of Love

Listen/Download – Felice Taylor – Love Theme (Inst)

Greetings all.

I’d like to take this opportunity to ease you all into another groovy week here at the Funky16Corners.

I hope all is cool in your part of the universe and that those of you that celebrate had a wonderful Christmas.

Right now, my lovely wife is home with us through the New Year, so we’re all very happy about that.

I picked up the first of today’s selections  last year on the same day I got my car towed in Jersey City.

I’m always on the lookout for soul 45s on the Mustang label (known mainly for the Bobby Fuller Four) because of the involvement of none other than Barry White.

When I happened upon this disc by Felice Taylor, though I wasn’t familiar with her music, I did know that she was one of the artists that White had worked with, so I grabbed the record.

Good thing too, because when I got it home I discovered some very nice uptempo Northern soul, with a singer that bore a striking vocal resemblance to Diana Ross.

The California-born Taylor didn’t have an especially long recording career, having started recording as a member of the Sweets (with her sisters Darlene and Norma) in 1965, and then closing out her career three years later in the UK on the President label.

She recorded two 45s with White at Mustang, ‘It May be Winter Outside (But In My Heart It’s Spring) and ‘Under the Influence of Love’, in 1966 and 1967.

‘It May be Winter Outside’ is taken at a brisk but relaxed pace with a sweet, almost baroque opening before dropping down into a danceable beat. The record is a remarkable slice of imitation Motown, up to and especially because of Taylor’s voice.

‘Under the Influence of Love’ is more of a floor filler, with an opening that seems as if it were modeled after ‘Reach Out’ by the Four Tops. It’s with this 45 that the resemblance to Diana Ross is most pronounced, making it perhaps the finest Supremes 45 the group never actually recorded.

I’m also including the instrumental dub from the flipside (entitles ‘Love Theme’) which I’ve played out before.

I find it surprising that records this infectious didn’t make a dent in the charts and I’m thinking that Barry White felt the same way because in 1973 and 1974 he would resurrect both of these songs and re-record them with Love Unlimited.

Taylor would go on to record two 45s for Kent, and then in the UK, two more for the President label, with two-sides of one of them (see picture sleeve above) written and produced by none other than Derv Gordon and Eddy Grant of the Equals.

After that, it would appear that she never recorded again.

I hope you dig the sounds, and I’ll be back later in the week with the 2011 Year In Review mix.

Peace

Larry

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

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By Larry, December 7, 2011 10:50 pm

Dobie Gray – at the go go.

Listen/Download – Dobie Gray – The In Crowd
Listen/Download – Dobie Gray – See You At the Go Go
Listen/Download – Dobie Gray – Out On the Floor

Greetings all.

I was going to drop this for Friday, but the music has my mind racing and if I don’t post it now, I’m not gonna sleep.

I come to you at the end of what has been an especially tough week for fans of quality sounds.

Things got started with the passing of Howard Tate, followed with the loss of Howlin’ Wolf’s guitar man Hubert Sumlin, and closes now with news that the mighty Dobie Gray had slipped the surly bonds of earth.

Though he was known to most for his huge 1973 hit ‘Drift Away’, any soul fan worth their wax will tell you that he made his first and most lasting mark with the ‘In Crowd’ in 1965.

That particular record holds a very special place in my heart and my own soul music ‘story’.

Back in the garage/mod days of the mid-80s, most of my experience with the sounds of soul was limited to the Southern sounds of Stax, Goldwax and the like.

Fortunately for me (and my ears) I fell in with a pack of modernists, the scooter riding, parka wearing kind, who hepped me to the stylish sounds of the mod dance floor.

A cornerstone of my introduction to that sound was ‘The In Crowd’.

Though that record has its obvious sonic charms – it has a subtle, but driving power – it’s the lyrics that really made a dent in my mind.

When you’re a young cat, on the prowl with your mates, out to hear some loud music, drink some cold beer and ease your way up beside a fine young lady, you are, whether in actuality or just in your own fevered brain, in the ‘In Crowd’.

If there was a song made during the classic soul era that was tailor made for such a scene and its adherents that was better than ‘The In Crowd’, I have yet to hear it.

I’m in with the in crowd
I go where the in crowd goes
I’m in with the in crowd
And I know what the in crowd knows

Anytime of the year
Don’t you hear
(Havin’ a ball)
Dressin’ fine, makin’ time

We breeze up an down the street
We get respect
From the people we meet
They make way day or night
They know the in crowd is out of sight

From the opening snare roll, through the horns and the throbbing bass, the song is positively brilliant. Even yours truly, with gravity and grace my sworn enemies found myself driven out onto the floor, hand clapping, head moving, heart pounding.

You ain’t been nowhere til you’ve been in.

Hell yes, Dobie Gray.

Despite the fact that he wouldn’t really have another chart hit until ‘Drift Away’ you cannot mention Dobie Gray and ‘The In Crowd’ without making note of the fact that that particular record is only the cornerstone in mod dance floor trilogy of sorts, running through ‘See You At the Go Go’ and ‘Out On the Floor’*.

If you’re going to discuss one, you have to discuss them all because they are all very, very groovy, and because they all speak to facets of the same basic experience.

It’s as if your set stepped out the door with ‘The In Crowd’, made their plans with ‘See You at the Go Go’ and then put their moves to work ‘Out On the Floor’.

They were released in 1965 and 1966 (all on Charger), and the sound of the three records blends together brilliantly (the first two written by Billy Page, the third by Fred Darian and Al DeLory).

All three are well regarded, but ‘Out On the Floor’ is a big record with the Northern Soul crowd, so much so that it grazed the UK Top 40 in 1975, nearly a decade after its initial release.

They are all testament to the early greatness of Dobie Gray.

If you get the chance, head out on the floor this weekend in his memory.

See you on Monday.

Peace

Larry

*Unfortunately I do not own an OG of ‘Out on the Floor’ (yet…) thus the change in sound quality.

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

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By Larry, December 3, 2011 11:22 pm

Mr Howard Tate

Listen/Download – Howard Tate – Get It While You Can

Greetings all.

It bums me out to have to pass on the news that one of the great soul singers of the 60s, and the man behind one of my personal Top 5 soul 45s, the mighty Howard Tate has passed away at the age of 72.

Though I’d settled in for the night, I knew that it behooved me to get my ass out of bed and pay tribute to a man who’s voice has touched me so deeply.

I have yet to get details on the circumstances of his passing, but suffice to say Howard Tate had it all, lost it all and got a fair amount of it back before he left this earth.

‘Get It While You Can’ is an epic soul record which has appeared in this space at least three times, including (sadly) to mark the passing of Jerry Ragovoy earlier this year.

It is a record that hit me in the heart the first time I heard it and every single time after.

Howard Tate made a lot of great music during his career, but none of it comes close to the power of ‘Get It While You Can’.

The article below was originally posted back in 2005 when this blog was barely a year old.

Dig it, and remember how great Howard Tate was.

Peace

Larry

Howard Tate in the early 70s

Originally posted 10/25/05

To say that the 1960’s was a golden age for music (especially soul music) isn’t exactly breaking new ground.

The 60’s were a turbulent time…blah, blah, blahhhhh.… That said, there was so much great soul music being made back then, that much of it has been forgotten (if it was ever noticed in the first place). It certainly doesn’t help that the heart of this “golden age” was almost 40 years ago, meaning that most of the people that experienced it first hand have forgotten, moved on, or sadly REALLY moved on (i.e. expired…). Sure, there are lots of folks like me (and my ilk…) who jump up and down, waving our hands like a bunch of kooks trying to get people to remember, but aside from the curious few (which is – don’t get me wrong – far better than the curious “none”), spontaneous stampedes created by a newfound upswell in soul music fandom are few and far between (if not completely non-existent…).

I am also reminded – frequently – that as obscure as my tastes are (and they are obscure with a certain populist seasoning added), the world of record collector-dom is filled with people who’s focus is much more laser-like than mine, drilling ever deeper into the dark labyrinth of forgotten/neglected vinyl. As long as their purpose is to eventually share the information and music they excavate, more power to them. These kinds of things work like ripples on a pond. Even if the first impact/discovery is visible to an isolated group of collectors/specialists, the ripples spread, and with enough momentum, and enough popular appeal built in (on account of some things are obscure and forgotten for a good reason…) the obscurities will reach a much larger audience.

It would be unfair to list Howard Tate among those “lost” artists. Though it seems likely that were you to stop 100 people on the sidewalk, 99 (or more) of them wouldn’t know Howard Tate from Larry Tate, he actually had a long career making quality records for a relatively major label, some of which hit the charts, and as a result shouldn’t be counted with the Chicken Shack Johnson’s of the world.

Howard Tate, a singer of undeniable talent had the extremely good fortune to catch the ear of songwriter/producer Jerry Ragovoy. With songs and guidance from Ragavoy, and the backing of the Verve label (albeit not the best label for a soul singer), Tate laid down a string of powerful – and ultimately influential – singles and an LP for Verve between 1964 and 1968. The combination of Tate’s adaptable voice, and Ragavoy’s pop savvy (and fantastic songs) made for musical dynamite.

As I just mentioned Tate’s recordings were influential, and it’s entirely likely that you’ve heard today’s selection before (if not his version). ‘Get It While You Can’ became (along with other Ragavoy gems like ‘Cry Baby’, a hit for Garnett Mimms with whom Tate sang in the Gainors) a signature number for Janis Joplin.

Now, I’ve gone on record in the past as saying some rather uncharitable things about Janis, especially when it comes to her renderings of songs that I (and a lot of other folks) consider to be soul/R&B classics. While my estimation of Ms. Joplin’s talents may have been harsh, I think that if you line her covers up against the originals by Garnett Mimms, Etta James and Howard Tate (among others), the end result would not be favorable for her. While there’s certainly something to be said for an artist like Joplin’s value as a “popularizer” of lesser-known material, I’d be willing to bet that the number of people that went out and dug up Howard Tate records because they heard Janis sing ‘Get It While You Can’, is actually quite small (as they often are in these situations).

Howard Tate after his comeback

To take it to an even more basic level, I’d posit that Tate’s version is so good as to be definitive, and as a result any attempt to recreate that magic is wasted. I’m willing to admit that that statement is kind of unfair, but that’s my gut feeling every time I hear someone making hay off of a substandard reworking of a brilliant original (which seems to be the modus opperandi for the majority of the “product” generated by the entertainment industry, especially Hollywood these days). There are certainly exceptions to the rule even where the songs of Howard Tate are concerned, specifically the covers of ‘Stop’ by L’il Bob & The Lollipops and…get ready….here it comes….the epic reworking by the James Gang (you weren’t expecting that, right??? No one expects the James Gang!!!).

So, despite the fact that Howard Tate managed to graze the Top 50 a few times, his impact on the world of music was largely an artistic triumph and a commercial failure. ‘Get It While You Can’ is one of the great, shoulda/coulda/woulda stories of it’s day. When you add up all the talent involved, and the incredible performance (I’d rate it alongside great soul ballad tours de force like Otis Redding’s ‘Try a Little Tenderness’ and James Carr’s ‘Dark End of the Street’), the end result should have been a huge hit, well remembered by one and all and dragged out perennially as an example of all that was great about 60’s soul.

Unfortunately, the calculus of popularity being what it is, ‘Get It While You Can’ is a favorite of soul fans and record collectors and not too many others. The arrangement by Ragavoy is a testament to the value of understatement. Opening with quiet piano triplets, Tate comes in with a deep, gospel-inflected vocal, which builds into the anthemic (albeit brief) chorus. With the successive verses, the horns and guitar come aboard and the “build” becomes more powerful each time. Tate’s vocal soars like a beam of light from the Amen Corner, with the line ‘Don’t turn your back on love’ standing as a shining example of how amazing the fusion of gospel and rhythm & blues could be in the right hands. A lot of this has to do with the lyric by Mort Shuman, which is a simple, yet eloquent classic. Whether or not Shuman was tapping into the zeitgeist when he wrote –

“In this world, where people are fighting with each other. Nobody to care on, not even your own brother.”

– or was simply laying down a soulful tale of woe (with a word to the wise in the chorus), his words, as delivered by the mighty Tate hit home.

Following his tenure with Verve, Howard Tate recorded 45s for Lloyd Price’s Turntable label, Epic, and an LP for Atlantic (also done in tandem with Ragovoy). After 1974 Tate didn’t record for more than 25 years. He was reunited with Jerry Ragavoy in 2001 for the critically well received LP ‘Comeback’ and is touring and recording today. His Verve and Atlantic sides are available as reissues.

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

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By Larry, October 23, 2011 11:34 am

Curley Moore

Listen/Download – Curley Moore – Soul Train

Greetings all.

How’s things?

Allow me to welcome you all to a new week here at Funky16Corners.

The tune I bring you today has something of a saga attached to it, at least in reference to the quest to acquire it.

Way back in the day, one of the comps that was instrumental in pointing me in the direction of New Orleans was an import collection on the Charly label that included two songs that would become longtime favorites, Diamond Joe’s ‘Gossip Gossip’ and Curley Moore’s ‘Don’t Pity Me’.

When I started down the long, dusty road of digging for original New Orleans 45s, I happened upon a copy of ‘Gossip Gossip’ fairly quickly, mainly because it is a record of undeniable greatness that also happens to be, how the kids say, ‘slept on’.

However, lo these many years later, Curley Moore’s ‘Don’t Pity Me’ still eludes me, in fact holding the position of the only 45 on the Sansu label that I do not own (and probably never will unless I get astoundingly lucky and find it out in the field). The few times it has shown up in the last few years it has sold for several hundred dollars, once for over a thousand! It’s one of those 45s that has dual appeal, with one side slightly funky and the other Northern-ish, so that it is not only rare, but coveted by two very eager constituencies.

That of course is neither here nor there, but to get closer to somewhere, I should also mention that the first time I heard ‘Soul Train’, it was not by Curley Moore, but rather by another New Orleans group by the name of Bobby and the Heavyweights (you can hear their cover in Funky16Corners Radio v.24).

Their version was included on the stellar Soul Jazz ‘Saturday Night Fish Fry’ comp (which is where I first heard it). Bobby and the Heavyweights slightly faster take on the song was released in 1967, first (locally) on the Mor-Soul label and then nationally on Atlantic (I’ve managed to find both).

It was only a few years later that I discovered that Curley Moore had done it first in 1965, at which point I set out to get myself a copy.

Here’s where we take a turn down Easier Said Than Done Street.

While Moore’s version of ‘Soul Train’ was released on two different New Orleans labels, first on Hot Line and then on Nola, it is fairly hard to find, especially in good condition. My first copy (on Nola) was exceedingly over-graded (@!!?%$) and not suitable for either home listening or posting here on the blog.

It was a few more years before I finally got myself a decent copy (on the groovy, if incredibly faded Hot Line label), which you see and hear before you today.

Curley Moore was the owner of one of my favorite soul voices to come out of the Crescent City, a little bit thin, kind of high pitched, but possessed of a tremendous amount of soul.

He recorded a 45 for Nola, three more for Sansu, at least one for Teem (which I’ve never heard), one for Scram and the excellent (drum heavy) ‘Sophisticated Sissy’ for Instant. He was also the voice heard at the beginning of Eddie Bo’s (billed as Curley Moore and the Kool Ones) House of the Fox 45 ‘Shelly’s Rubber Band’.

His version of ‘Soul Train’ is a positively sublime bit of soul with the tiniest pop edge to it. Arranged and produced by the mighty Wardell Quezerge, the instrumental backing is fairly spare, with piano, bass and very understated drums, with a subtly arranged horn chart that bubbles under, breaking in periodically for emphasis.

The record was pressed at least three times (I’ve seen two Hot Line variations and the one on Nola), so I’m guessing that it must have had some local success, but as my man Dan Phillips at the Home of the Groove notes, the record has a kind of odd, underlying sadness to it which makes it so special, but might have kept it a connoisseurs choice, falling short of chart success.

It was definitely worth the years it took to track it down, and I hope you like it too.

See you on Wednesday.

Peace

Larry

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

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By Larry, October 20, 2011 11:43 am

Freddy King

Listen/Download – Freddy King – San-Ho-Zay

Greetings all.

The end of yet another week has arrived which means it’s time for me to remind you all that the Funky16Corners Radio Show will be back pulsing through the airwaves of the interwebs this Friday night at 9PM on Viva Radio with the finest in funk, soul, jazz and rare groove all engineered to keep your ears wiggling and your feet sliding across the floor. If you can’t make the soiree, fall by this very blog on Saturday to pick up the show in easy to use MP3 form to be listened to at your leisure.

I come to you today to tell you that Freddy King was a mighty man.

Nine feet tall, hands like country hams, feet like canal boats and a high, shiny conk that outshone the sun whenever he picked up his tiny guitar.

Of course none of that is true, but were this a just world Freddy King would stand astride the world of the guitar the same way Paul Bunyan towered over any run of the mill forest.

He was a master of the guitar, but not in any of the teenage wet dream virtuoso way of so many of those he influenced.

Freddy King made it look easy.

I have to thank my buddy the Bluesman, who lo these many years ago hit me up with a handful of cassettes (remember those?) of cats like Slim Harpo, Albert King and of course Freddy, all of which helped me lock into the blues, at least enough so that I could proceed on my own.

The thing I remember most, especially with Freddy and Albert (no relation) is how much of the UK rock ‘masters’ I realized had appropriated their sounds and styles. Had either of these gents succumbed to a childhood illness old Slowhand would still be mopping up a chip shop somewhere instead of rolling around naked in piles of hundred pound notes.

That said, I don’t dig out my Bluesbreakers albums much these days, but I do find myself dialing up Freddy King on the old iPod, digging the way the power of his guitar solos rise up and transcend the pops and crackles of the 45s they were recorded from.

As I mentioned a few weeks back, I pick up JBs 45s wherever I find them, and the same goes for Freddy King. While some of his rarer discs have evaded me, I have all the bigguns, and they don’t get any bigger than the mighty ‘San-Ho-Zay’.

He laid down today’s selection for the good folks at Federal in Nineteen and Sixty One, and though he barely hit the pop charts, ‘San-Ho-Zay’ was a Top 5 R&B hit. It wasn’t his biggest (the influential ‘Hideaway’ would hit Top 5 R&B and Top 40 Pop that same year) but it’s among his boldest, led by his axe in a way that guitar instros just don’t seem to be capable of anymore.

Interestingly, ‘San-Ho-Zay’ might also ring a bell because it was, how do they say, borrowed from a couple of New Orleans cats (see Dan Phillips great article on the history of the tune at the mighty Home of the Groove blog).

It’s a killer record and a great start to the weekend.

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

Peace

Larry

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

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By Larry, September 27, 2011 10:10 am

The Originator: Babatunde Olatunji

Carlos Santana, wailing at Woodstock

Candido Camero on the congas…

Listen/Download – Michael Olatunji – Gin-Go-Lo-Ba

Listen/Download – Santana – Jin-Go-Lo-Bah (Jingo)

Listen/Download – Candido – Jingo

Greetings all.

I have something very special indeed for your ears this fine day.

Early last year I ran a series of posts under the ‘Disco/Not Disco’ banner celebrating the sounds played by pioneering DJ David Mancuso at his legendary Loft parties in NYC in the early 70s.

Mancuso had become something of an idol/guiding force for me, in so far as I have tried to emulate his DJing ethos as it were during my own sets.

He was a trailblazing record wrangler because he always kept one specific thing in mind, that being the dance and played anything that kept things moving. His Loft sets were filled with unusual sounds, including in his sets music from the worlds of rock, soul, funk, world music and anywhere else he could find the groove.

The Loft predated and strongly influenced the ‘disco’ scene and Mancuso’s eclecticism was carried out into the clubs by the other DJs that attended and had their minds blown at his parties.

One of the records that was a cornerstone of his sets, and has on its own a very interesting history, was a cut by the name of ‘Gin-Go-Lo-Ba’ by Michael ‘Babatunde’ Olatunji.

Olatunji was a Nigerian drummer and educator who emigrated to the United States as a student to attend Morehouse College.

He eventually moved to New York City to attend NYU where he put together his own percussion group and drew the attention of two especially influential figures, the mighty John Coltrane and record impresario John Hammond.

Olatunji recorded the LP ‘Drums of Passion’ in 1960, which included the track ‘Gin-Go-Lo-Bah’*, as well as the less influential (but also important) ‘Akiwawa’.

I first heard of Olatunji back in 1990 when I read Mickey Hart’s remarkable book ‘Drumming at the Edge of Magic: A Journey into the Spirit of Percussion’** which led me to Olatunji’s 1988 recording ‘Drums of Passion: The Invocation’. It was many years later when I first read about David Mancuso that I made the Loft connection.

Mancuso would make the Olatunji version of the song a cornerstone of his Loft sets for obvious reasons. It has a driving rhythmic force and the accompanying chanting that would no doubt grab and shake any mass of dancers, and would also mix well with any number of more ‘conventional’ dance records.

It was at the end of the 1960s that Carlos Santana and his band would adapt and record the tune under the title ‘Jingo’ (which is the version that most people have heard). I’m including that version (the 45 edit at least) here for reference, and because it kicks all kinds of ass. Interestingly, the Santana 45 uses an approximation of the Olatunji title, though the album (and subsequent 45 releases) truncates it to ‘Jingo’. It’s amazing to listen to how a pack of electrified (in all senses), racially integrated hippies get deep inside the rhythm and blow it up.

A full decade after the Santana recording, the song would be resurrected yet again by another fixture of Mancuso’s Loft sets, Cuban conguero Candido (born Candido Camero), also under the title ‘Jingo’.

Candido’s version of the song takes the African percussion and chant of the original and recasts it inside an electric/disco setting and despite the fact that the edges may have been smoothed a little, the cut loses none of its propulsive power. Even after almost two decades, the song was still dance floor gold.

The mix here is the 45 edit, which clocks in at only 3:17. I wish I had a copy of the 12”, which goes for almost six more minutes.

‘Jingo’ was later redone for the dancefloors yet again in 1987 by Jellybean.

Babatunde Olatunji passed away in 2003 after a lifetime of teaching, social activism, and above all, drumming.

I hope you dig the tune (and maybe dance a little) , and the drums and I’ll be back on Friday.

Peace

Larry

*Oddly, the catalog number of the Olatunji 45 suggests that it was released sometime in 1967, long after the LP released but before the Santana cover

** If you have any interest at all in the power of drums and rhythm and the way they can propel human consciousness through the dance ritual I recommend Hart’s book highly.

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (3)

By Larry, September 7, 2011 4:00 pm

The Mighty Wardell Quezergue

Listen/Download – Earl King – Trick Bag (Imperial)

Listen/Download – Professor Longhair – Big Chief Pt2 (Watch)

Listen/Download – Marie Boubarere – I’m Going Home (NOLA)

Listen/Download – Robert Parker – Everybody’s Hip Huggin'(NOLA)

Listen/Download – Willie Tee – Walking Up a One Way Street (Atlantic)

Listen/Download – Willie Harper – A Certain Girl (Tou-Sea)

Greetings all.

I hope that everyone is in a groovy place nearing the end of the week.

It behooves me to remind you all (as it always does) that the Funky16Corners Radio Show will be hitting the airwaves of the interwebs this Friday evening at 9PM at Viva Radio. This week we have an interesting one, with half the show devoted to the funky side of disco, and the other half to the sounds of classic-era soul. I know you’ll dig it, and if you can’t bet there to hear it, you can always drop by on Saturday to pick up the show in MP3 form here at the blog.

Also, if you have yet to check out the DJ Forty Fivan mix from earlier this week, please do so. It is excellent and really worth your time.

It was with great sadness that I heard the news this week of the passing of one of the last giants of New Orleans soul, Mr. Wardell Quezergue.

Working mostly as an arranger (but also in the producers and composers chairs) Wardell was instrumental (pun fully intended) in grafting the New Orleans sound onto the brains of the listening public. It has been said that he created every record he touched from the ground up, applying his talents to best fit the song, and the individual artist, giving his catalog a tremendous amount of stylistic breadth.

Known as the ‘Creole Beethoven’, WQ (his last name was often misspelled – at times by yours truly –  as Quezerque) was born in 1930. He served as a musician in military bands during the Korean War, and rejoined Dave Bartholomew’s band upon his return to the Crescent City.

He really started to make his mark in the early 60s, with his work on classic 45s by Earl King (‘Trick Bag’ is included above) and the formation of the storied NOLA label where he would arrange some of the finest R&B, soul and funk to come out of the city in the 1960s.

His first big hit was Robert Parker’s ‘Barefootin’ in 1965 (he arranged all of Parker’s sides for the label), still one of the biggest hits to come out of New Orleans.

His biggest success however would come half a decade later with his work for the Chimneyville/Malaco labels and huge hits like King Floyd’s ‘Groove Me’ and Jean Knight’s ‘Mr Big Stuff’ – both recorded on the same day in 1970 – and Dorothy Moore’s ‘Misty Blue’ in 1976.

The tunes included here are a random sampling of Wardell Quezergue’s work that I’ve covered here at Funky16Corners over the years, whether as individual tracks, or in various and sundry mixes. I’ve tried not to duplicate what I’ve seen in other tributes (make sure to check out Soul Sides).

I mentioned Earl King’s ‘Trick Bag’, but I’ve also included Part Two of Professor Longhair’s 1964 landmark ‘Big Chief’, which was written by King and features his vocal.

There are also two tracks from WQ’s extensive NOLA discography, including Marie Boubarere’s Eddie Bo-penned ‘I’m Going Home’ (a live session) from 1967, and Robert Parker’s funky ‘Everybody’s Hip Huggin’ from 1968.

One of the more interesting, and testimony to WQ’s considerable talent as an arranger (dig the way the trumpets and the saxes play off of each other in the horn chart), is Willie Tee’s ‘Walking Up a One Way Street’.

The last track is one that appeared here last summer, and remains one of my favorite Quezergue-related sides, especially since he produced and arranged it. The record in question is Willie Harper’s version of Ernie K Doe’s (written by Allen Toussaint) ‘A Certain Girl’.

Unlike most covers of the tune, Harper and Quezergue take the song at a slow, New Orleans roll, in one of the great examples of bridging the old-school NOLA feel and then contemporary (1968) soul music. It’s also interesting because it has WQ producing an artist who had worked almost exclusively with Toussaint, on one of Toussaint’s labels, as he also did with Warren Lee’s ‘Underdog Backstreet’, also on Tou-Sea.

I’ve never gotten the whole story on why Toussaint seemed to loosen the reins a bit during this period, but the records that came out of it (including another WQ production/arrangement with Gus ‘The Groove’ Lewis’s ‘Let the Groove Move You’) were consistently excellent.

Unfortunately Wardell Quezergue was stricken in his later years by poor physical health, as well as the being victimized by the  destruction of forces natural (Hurricane Katrina) and otherwise (the record industry).

He will always be remembered by fans of the New Orleans sound as one of its greatest geniuses.

He will be missed.

______________________________________________________________________________

Don’t forget that I’ll be spinning some tunes during the annual Point Pleasant Lions Seafood 5K and 1 Mile FUN Run/Walk on Saturday, September 17th in Pt Pleasant Beach, NJ. The run benefits the JT Foundation for Autism Awareness and runs right before the Seafood Fest (which starts at 10AM). I’ll be spinning all of the funk soul and disco you’d expect, so if you’re in the area, come on down and run, sit and watch people run while listening to music, or get your groove on before hunting down some delicious seafood. It’s a great cause and there’ll be good music, good people and good food, so what else do you need to know?

____________________________________________________________________________________

See you on Monday

Peace

Larry

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (0)

By Larry, August 31, 2011 6:16 pm

The Royalettes

Listen/Download – The Royalettes – Out of Sight Out of Mind

Greetings all.

I have returned unexpectedly to bring some news, as well as some music.

I just learned that I’ll be spinning some tunes during the annual Point Pleasant Lions Seafood 5K and 1 Mile FUN Run/Walk on Saturday, September 17th in Pt Pleasant Beach, NJ. The run benefits the JT Foundation for Autism Awareness and runs right before the Seafood Fest (which starts at 10AM). I’ll be spinning all of the funk soul and disco you’d expect, so if you’re in the area, come on down and run, sit and watch people run while listening to music, or get your groove on before hunting down some delicious seafood. It’s a great cause and there’ll be good music, good people and good food, so what else do you need to know?

As mentioned last Monday (before we were knocked on our asses by the deaths of Jerry Leiber and Nick Ashford) , with the sweet, soulful reggae of Ken Boothe and his take on the Royalettes ‘It’s Gonna Take a Miracle’I was reminded that I had the most excellent flip side of that very Royalettes record sitting in the to-be-blogged vault, ready and raring to go.

I don’t recall where I first heard ‘Out of Sight Out of Mind’, but I suspect it was via a friend’s Facebook post, and I knew as soon as I heard it that I had to have a copy for my record box.

We last discussed the Royalettes in this space roughly two years ago, right after I scored myself a copy of their brilliant cover of Barbara Banks’ ‘River of Tears’ (1967).

‘Out of Sight Out of Mind’ came out in 1965 on the flipside of the group’s biggest hit, the Teddy Randazzo-penned ‘It’s Gonna Take a Miracle’. The record hit the R&B Top 40 and just missed the Pop Top 40 (#41?!?).

The Royalettes hailed from Baltimore, MD, and recorded their earliest 45s for Chancellor and Warner Brothers before signing with MGM where they had a run of two LPs and nine 45s.

While ‘It’s Gonna Take a Miracle’ is a soul ballad classic, ‘Out of Sight Out of Mind’ is a powerful, fast-moving dance floor killer with a slightly dark edge to it.

The group trades off call and response vocals, over a forceful rhythm track, punctuated with a rumbling horn section (the trombones are nuts) and a sharp guitar solo.

If you have the opportunity, slap on the headphones and crank up the volume. There’s a crazy rhythm guitar track scratching around underneath all the power that’s really interesting.

It’s not unusual to have a ballad backed with an upbeat dancer, but is exceedingly rare to have both sides rise to such a high level of quality.

The Royalettes would have one more minor hit in 1965, and would eventually part ways with MGM in 1966, moving on to Roulette for that one last, incredible single (‘River of Tears’ you can hear the Royalettes version in the mix F16C Soul Club Presents – Funky16Corners Live at Master Groove 9/19/10 ).

There are a couple of comps of their stuff out there, one exclusively MGM material, as well as a singles comp that appears to include the indispensible ‘River of Tears’.

I hope you dig the tunes, and I’ll be back on Monday with a most excellent guest mix that I know you’ll all dig!

Make sure to tune into Friday’s edition of the Funky16Corners Radio Show over at Viva Radio, and I’ll see you all on Monday.

Peace

Larry

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (2)

By Larry, August 28, 2011 3:32 pm

Set List

Felice Taylor – Under the Influence of Love (Mustang)
Frankie Valli – You’re Gonna (Hurt Yourself) (Smash)
Four Larks – Grooving at the Go Go (Tower)
Broadways – You Just Don’t Know (MGM)
Volcanos – (It’s Against) The Laws of Love (Inst) (Arctic)
Bob Brady and the Conchords – Everybody’s Going to the Love In (Chariot)
Jean Wells – With My Love and What You Got (Calla)
Danny White – Natural Soul Brother (SSS Intl)
The Contours – Just a Little Misunderstanding (Gordy) (Fade out)
Timmy Willis – Mr Soul Satisfaction (Sidra)
Clydie King – Bout Love (Lizard)
Producers – Love Is Amazing (Huff Puff)
Pat Lewis – Look at What I Almost Missed (Solid Hit)
Poets – She Blew a Good Thing (Symbol)
Chuck Jackson – Good Things Come To Those Who Wait (Wand)

Listen/Download – Funky16Corners – Soul Satisfaction – Recorded Live at Subway Soul Club 4/2011

Greetings all.

I hope that all of you are well, and that everyone in the path of Hurricane Irene is safe.

I was supposed to be traveling this week, meeting up with some friends and doing some family sightseeing and merry-making, but then the ominous specter of the hurricane popped up on the radar (with us folks here in NJ sitting right in the middle of things) so all plans were shelved, supplies were procured and hatches were battened.

The Funky16Corners Blogcasting Nerve Center and Record Vault is located relatively close to the ocean so the fam and I were on alert.

As it turns out, we were extraordinarily lucky. Aside from some big tree limbs down (I had to fire up the chainsaw) and 7+ inches of rain we did pretty well. The same cannot be said for those a few miles closer to the ocean who got hammered last night, with substantial flooding, destroyed boardwalks and severe wind damage.

We’re keeping our fingers crossed that everyone gets through this with as little hassle as possible.

The fam and I decided that once the storm passed, assuming that all was well, we would spend our pre-allocated vacation time traveling close to home, but since I’m going to try to relax, I decided to stick with my original (blogging) plan and post up some live DJ action.

If you recall, I guested at the storied Subway Soul Club in New York City back in April and I had a blast. I originally posted my second set from that night.

What you’re seeing, hearing, downloading today is the usable parts of my first and fourth sets, edited together (not really much editing at all, just simple cut and paste) to make one tasty 35 minute collection of (mostly) Northern Soul.

There are a bunch of things that haven’t yet appeared at Funky16Corners, but surely will (with individual write-ups) in the future.

I hope you all dig the sounds, remember to tune into the Funky16Corners Radio Show this Friday at 9PM over at Viva Radio, and then pick up the MP3 here on Saturday.

See you all next week.

Peace

Larry

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (0)

By Larry, August 26, 2011 2:10 pm

The mighty Volcanos!

Listen/Download – The Volcanos – Storm Warning

Greetings all.

This is a previously unplanned post, but it was spurred on by some unplanned, meteorological happenstance, that being hurricane Irene.

I’ve mentioned the location of the Funky16Corners Blogcasting Nerve Center and Record Vault in general terms, but in a more specific geographical pinpoint, we are, how do they say, close to the ocean.

Not close enough (yet) for mandatory evacuation, but close enough that the onset of the hurricane has presented us with a fair amount of worry and put us in serious prep mode.

We spent yesterday afternoon procuring non-perishable supplies, and today dismantling everything on our deck (screen tent, furniture, gas grill included) and locking it all in the shed.

We’ll be making another pass early tomorrow to make sure that any bric-a-brac that might turn into a missile in 85MPH wind is secured, but aside from that we are basically sitting and waiting.

In fact, it’s bright and sunny outside as I write this, though 24 hours from now the rain will most certainly have begun, and shortly after that the wind.

As I was mulling this all over, it occurred to me that I have never posted one of my Top 10 soul 45s here at Funky16Corners, at least not in a stand-alone post.

Sure, the Volcanos ‘Storm Warning’ has popped up in mixes (live and otherwise) and the group has been written about many times (check out the long form article at the web zine), but what better time to pull it out of the record box than in light of an actual storm warning.

It is – in the briefest description possible – a truly amazing record, and a landmark in the sound of Philadelphia.

I hope you dig it, and if you’re in harm’s way, that you take all necessary preparation and stay safe.

Make sure to tune into tonight’s edition of the Funky16Corners Radio Show over at Viva Radio, and I’ll see you all on Monday.

Peace

Larry

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (1)

By Larry, August 25, 2011 8:06 am

Nick Ashford and Valerie Simpson

Listen/Download – Marlena Shaw – California Soul

Listen/Download – Marvin Gaye and Tammi Terrell – California Soul

Listen/Download – Undisputed Truth – California Soul

Listen/Download – Tamba 4 – California Soul

Listen/Download – Steve Allen and Oliver Nelson – California Soul

Greetings all.

Before we get started I’d like to remind you all that the Funky16Corners Radio Show returns to the air this Friday night at 9PM at Viva Radio. You can also pick up the MP3 download of the show here at the blog (click on the Radio Show tab in the header) the day after the show airs.

This has been another one of those exceedingly sad weeks when musical giants seem to be falling whenever you turn around.

This particular week has been an especially bad one when you take into account the loss of not one but two exceptional songwriters, first Jerry Leiber, and then the mighty Nick Ashford.

Though he’s known to a generation or two as part of the singing duo of Ashford and Simpson (with his wife and writing partner Valerie Simpson), soul and R&B fans know him first and foremost as part of the team that wrote a long list of certifiable soul music classics.

During the mid-to-late 60s, Ashford and Simpson (sometimes with the help of Jo Armstead) composed a series of hits for artists like Ray Charles (Let’s Go Get Stoned and I Don’t Need No Doctor), Marvin Gaye and Tammi Terrell (Ain’t No Mountain High Enough, Ain’t Nothing Like the Real Thing, You’re All I Need To Get By), Diana Ross (Reach Out and Touch (Somebody’s Hand), and Chaka Khan (I’m Every Woman), before hitting as a performing duo, from ‘Don’t Cost You Nothin’ in 1977 to their biggest hit ‘Solid’ in 1984.

Both Ashford and Simpson had recorded as solos in the 60s, including Ashford’s original versions of ‘Let’s Go Get Stoned’ and the song we remember today ‘California Soul’.

The first time I remember hearing (and falling in love with) ‘California Soul’ was in 1969, when my Mom was playing the hit version by the 5th Dimension (also the first place I ever heard a Laura Nyro song).

Many years later, when I was digging for funk and soul and became enamored of the work of the genius Richard Evans, it was the version by Marlena Shaw that I sought, after hearing is chopped by DJ Shadow and Cut Chemist.

The song has become my favorite Ashford and Simpson composition for a number of reasons, but mainly the chord changes and the lyrics.

It harkens back to a time when California held a special place in the American imagination as a spot on the western horizon filled with the promise of a new, sunshine-filled life and prosperity (though it would be very interesting to juxtapose any vocal version of this with Barry Mann and Cynthia Weil’s less optimistic ‘Black California’).

Like Jerry Leiber, Nickolas Ashford was the main lyricist in the songwriting duo, and ‘California Soul’ is a fantastic example of his prowess in the regard, especially the following stanza:

They say the sun comes up every morning
And if you listen oh so carefully
The winds that ride on the high time
Whistle in melody
And so the people started to sing
And that’s how the surf gave birth untold
To California soul, California soul

Collecting versions of ‘California Soul’ became something of a hobby, and over the years I’ve found several, many of which I bring you today.

First and foremost is the Marlena Shaw take. I’ve spun this out at funk and soul night’s many times, and while the appeal may start with that stellar break (Morris Jennings Jr) it only grows when Miss Shaw starts singing. Hers is by far the most powerful version of the song I’ve heard, from her own voice to the brilliant arrangement by Charles Stepney and production by Evans. It simply kills from start to finish.

Next up we have a couple of takes from the Motown stable.

Marvin Gaye and Tammi Terrell’s version, while not as dynamic as Shaw’s features their fantastic vocal blend, so it is definitely worth hearing.

The Undisputed Truth’s version of the song, produced by none other than Norman Whitfield is a tiny bit funkier, and most definitely more atmospheric. I really dig the bass, as well as the background vocals. This is the moodiest of the versions I’ve heard.

The most unusual take on the tune is the rare promo-only version by Brazil’s Tamba 4. Recorded in 1969 for an LP that was never issued, Tamba 4 take the tune at a brisk pace and feature the electric piano.

The last version of ‘California Soul’ that I’ll bring you today is my most recent find, from a 1969 album by Steve Allen and Oliver Nelson. While Allen’s contributions to the sessions seem to be limited to his celebrity and some keyboard noodling, the arrangement by Nelson is (as always) top notch.

It’s a fantastic song no matter how you look at it (or hear it) and it is really worth hearing it interpreted several ways.

I hope you dig it, and raise a glass in memory of Nick Ashford.

See you on Monday.

Peace

Larry

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

Comments (9)

By Larry, August 23, 2011 11:57 am

Mike Stoller and Jerry Leiber

Listen/Download – Alvin Robinson – Down Home Girl

Listen/Download – The Coasters – Down Home Girl

Listen/Download – The Coasters – Soul Pad
Greetings all.

Sweet weeping jeebus I am bummed, on account of last night, as I was settling in for my rest word came down that one of my all-time musical idols, Jerry Leiber had passed away.

If the name is not immediately familiar, pair it with that of Mike Stoller, and then step off the curb into an abyss of rock’n’roll, R&B and soul history, where the pair stand astride the past 50 plus years as a mighty colossus of songwriting and production.

To say that Leiber/Stoller songs were a huge part of my musical mindset would be a giant understatement.

As I sit here writing this tribute, with the Coasters version of ‘Down Home Girl’ playing on a loop in my headphones, tears welling up in my eyes, I think of how much Leiber and Stoller’s work, from the Coasters on up through Miss Peggy Lee (see Iron Leg next Monday) has meant to me.

Though both of them hailed from the East Coast, Leiber and Stoller came together in Los Angeles in the early 50s where their songwriting empire (using that word to denote a kingdom as opposed to merely a financial construct) came into being, where their earliest successes formed a veritable cornerstone of 50s R&B, with ‘Kansas City’ and ‘Hound Dog’ (the proceeds of which probably yielded enough hundred dollar bills to compact them into solid blocks and build a literal foundation).

They went on to work with the Robins, which begat the Coasters for whom L&S created almost two dozen chart hits, on to the Drifters (There Goes My Baby, On Broadway), Ben E King and countless others.

The pair also had their own labels for a time, with the Red Bird/Blue Cat/Tiger axis that brought us the Dixie Cups, Shangri Las, Alvin Robinson, Ad Libs, Bessie Banks, Evie Sands, and many more.

The thing that always grabbed me about their best work as songwriters/record crafters was the fact that they were almost unequalled in the amount of gritty joie de vive that they could pack into the grooves of a three-minute record.

Though the Coasters were always known for the comedic feel of their 45s, the records they made with L&S were far more sophisticated than “funny”. They were kinetic, explosive, sexy, and manic, layered with heart and soul.

Though their collaboration (which often expanded to include other songwriters like Artie Butler, Phil Spector or Mann and Weil) could be described as symbiotic, the lion’s share of the lyrics were created by Jerry Leiber.

Of all the classics they created, none resonates with me more than ‘Down Home Girl’.

I first encountered the original recording by Alvin Robinson many years ago on a comp of New Orleans soul and though I came away from that record wanting to know more about many of the artists, none of the songs kicked me in the ass like ‘Down Home Girl’.

I can’t think of a finer bit of pop poetry:

Lord I swear the perfume you wear
Was made out of turnip greens
And everytime I kiss you girl
It tastes like pork and beans
Even though you’re wearin’ them
Citified high heels
I can tell by your giant step
You been walkin’ through the cotton fields
Oh, you’re so down home girl

Everytime you monkey child
You take my breath away
And everytime you move like that
I gotta get down and pray
Don’t you know that dress of yours
Was made out of fiberglass
And everytime you move like that
I gotta go to Sunday mass
Oh, you’re so down home girl

Oh, you’re so down home girl

I’m gonna take you to the muddy river
And push you in
Just to watch the water roll on
Down your velvet skin
I’m gonna take you back to New Orleans
Down in Dixieland
I’m gonna watch you do the second line
With an umbrella in your hand
Oh, you’re so down home girl

I’m with ya baby
You’re so down home
Ow! Yeah, too much
Outta sight
You’re so down home girl

The fact that Leiber and Stoller thought to have Alvin Robinson, an obscure New Orleans guitarist and singer (who just happened to have a remarkable voice) deliver such a vivid, lascivious, funny set of lyrics is one of the great musical intersections of their long, stellar career.

It’s a record that these many years later I still find new things to love every time I listen to it. Robinson’s vocal is up to the task (and then some) of delivering one of Leiber’s finest lyrics, packed with subtle twists and turns.

The Coasters remarkable 1967 two-sider of ‘Down Home Girl’ and ‘Soul Pad’ was almost a half-decade past their last hit, and despite its obvious quality, did not return them to the charts.

Their slightly funky take on ‘Down Home Girl’ shows a more relaxed side of the group, but their old selves still manage to poke through here and there.

‘Soul Pad’ is – at least in my opinion – one of Leiber’s funniest lyrics with references to Thelonious Monk and psychedelics, and the arrangement by Mike Stoller is perfection.

Jerry Leiber may not be with us any longer, but the music he created over more than 60 years will live forever. I know that sounds like a cliché (and it is, really), but it’s also true.

You know that somewhere, long after we’re all gone, some space amoeba in the far reaches of the universe will be splitting over and over again to the reverberations of a Leiber and Stoller song, pulsing on radio waves, galloping through the ether.

As it should be.

See you all on Friday with a tribute to the mighty Nick Ashford.

Peace

Larry

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

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

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.