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By Larry, April 26, 2011 11:22 am

Lurking in the shadows with a loaded turntable…

OV Wright – Love the Way You Love (Backbeat)
Billy Butler – Right Track (Okeh)
Lynne Randell – It’s a Hoe Down (Epic)
Thelma Jones – Stronger (Barry)
The Platters – Sweet Sweet Lovin’ (Musicor)
Christine Cooper – SOS (Heart In Distress) (Parkway)
Irma Thomas – What Are You Trying To Do (Imperial)
Henry Lumpkin – Soul Is Taking Over (Buddah)
Barbara Banks – River of Tears (Veep)
Luther Ingram – If It’s All the Same To You (Hib)
Chuck Wood – Seven Days Is Too Long (Roulette)
Maurice and the Radiants – Baby You’ve Got It (Chess)
Parliaments – Don’t Be Sore At Me (Revilot)
O’Jays – I Dig Your Act (Bell)

(Full set list at the bottom of the post)

Listen/Download – F16C Soul Club Presents – Soulshake! Funky16Corners Live at the Subway Soul Club 61MB/256K Mixed MP3

Yours truly, Luther Ingram (spinning) and Chuck Wood (cued up)

Phast Phreddie the Boogaloo Omnibus

Girlsoul selects another winner!

The mighty M-Fasis on the dance floor.

The crowd

Everyone’s records, ready to go.

Greetings all.

I have – like the prodigal son – returned from my wanderings tired, but satisfied.

The past week saw a mini-burst of DJ activity, with the Subway Soul Club (which we’ll be rapping about this fine day) last Saturday (4/16), then driving up to Massachusetts for Sweet Exorcist on Friday 4/22 in Greenfield, and Wooly Bully on Saturday 4/23 in Northampton (which we will cover next week).

I even managed to get in some unexpected 45 digging in New York, which turned up a couple of nice funk 45s, a few disco things and a couple of doubles for the old trade box.

Wrapped around all of this tomfoolery was a family vacation, with the swimming, the sightseeing, the fine dining (pho and New Haven pizza on the same trip!!) and a lot of close quarters, but much fun (if little actual relaxation) was had, and now here we all are, back in the daily groove.

As I mentioned, I spent the evening of Saturday 4/16 alongside Phast Phreddie the Boogaloo Omnibus, Girlsoul and PJ Lozito (Connie T Empress had to cancel) whipping the best in soul on the crowd at the storied Subway Soul Club, at Public Assembly in Williamsburg, BK.

Despite the fact that the area was in the midst of a near-monsoon, which made motoring to Brooklyn a real hoot, there was a nice turnout, and by midnight the floor was full of good people soaking up the sounds of soul and cutting themselves what the old folks used to refer to as a slice of rug.

I have probably said this numerous times, but it bears mentioning once again, I love nothing more than to spin soul and funk for people that like to dance. There is something magical about pulling an especially cool record out of your box, slipping it onto the turntable and watching the crowd react when the sounds make their way out of the speakers.

Subway Soul Club is really a dancers scene, with people grooving steadily for several hours (I honestly have no idea where some people get the energy), especially to Northern Soul. This was a very appreciative/receptive crowd who dug what we all were spinning, and the experience was, as you can imagine, exceptionally rewarding.

The mix you see above is the second set I spun that night, and features a number of favorites, all floor-fillers, including a bunch of things that have had a home in my crates for many years, as well as a few recent acquisitions.

I also managed to snap a couple of pictures, and while I’m no Scavullo, I think the results manage to capture the vibe fairly well.

Big thanks go out to Phreddie and our host Lady Dawn, the other DJs (who were uniformly excellent) and especially the dancers, without whom it wouldn’t have been nearly as groovy.

I hope you dig the sounds, and I’ll be back on Friday with some funk for your weekend.

If things go as planned, I’ll have some live mixes (and pics) from Massachusetts for you next week.

See you on Friday

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 recr 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.

Funky16Corners Subway Soul 4/16 Set List

Set 1
Harold Melvin & the Blue Notes – Get Out (Landa)
Bettye Lavette – Feel Good All Over (Calla)
Dean Courtney – We Have a Good Thing (RCA)
John Williams and the Tick Tocks – Do Me Like You Do Me (Sansu)
Peggy Scott and Jo Jo Benson – Soul Shake (SSS Intl)
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)

Set 2

OV Wright – Love the Way You Love (Backbeat)
Billy Butler – Right Track (Okeh)
Lynne Randell – It’s a Hoe Down (Epic)
Thelma Jones – Stronger (Barry)
The Platters – Sweet Sweet Lovin’ (Musicor)
Christine Cooper – SOS (Heart In Distress) (Parkway)
Irma Thomas – What Are You Trying To Do (Imperial)
Henry Lumpkin – Soul Is Taking Over (Buddah)
Barbara Banks – River of Tears (Veep)
Luther Ingram – If It’s All the Same To You (Hib)
Chuck Wood – Seven Days Is Too Long (Roulette)
Maurice and the Radiants – Baby You’ve Got It (Chess)
Parliaments – Don’t Be Sore At Me (Revilot)
O’Jays – I Dig Your Act (Bell) (fade out)

Set 3

Mickey Lee Lane – Hey Sah Lo Ney (Swan) (partial)
R Dean Taylor – There’s a Ghost In My House (VIP)
Scatman Crothers – Golly! Zonk! It’s Scatman (HBR)
Eyes of Blue – Heart Trouble (Deram)
Rodge Martin – Lovin’ Machine (Bragg)
Cooperettes – Shing-a-ling (Brunswick)
Darrell Banks – Our Love Is In the Pocket (Revilot)
Spellbinders – Help Me (Get Myself Back Together Again) (Columbia)
Olympics – Mine Exclusively (Mirwood)
Chubby Checker – (At the) Discotheque (Parkway)
Peaches and Herb – I Need Your Love So Desperately (Date)
Rex Garvin and the Mighty Cravers – I Gotta Go Now (Out On the Floor) (Like)
Dean Parrish – I’m On My Way (Laurie) (fade out)

End of Night Wrap Up

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)
Intruders – All the Time (Excel)

Comments (3)

By Larry, April 7, 2011 9:35 am

Bo Diddley by Mat Vullo

Listen/Download – Bo Diddley – I Can Tell

Greetings all.

The end of the week is finally here, and I hope you’ve all gotten good and oiled up with this week’s mix as your soundtrack.

The track I bring you today ought to put a nice cap on the whole deal, but first some news you can use.

This Friday night – just like every Friday night – sees the return of the mighty Funky16Corners Radio Show, on the equally mighty Viva Radio. This is the thang where you get to sit down with me (or at least the dulcet tones of my voice) and some of the best in funk, soul, jazz and rare groove vinyl for an hour of sheer, unadulterated musical pleasure. If you can’t be there during the broadcast, you can always fall by over the weekend and pick yourself up an MP3 of the show, or several dozen past shows to stuff into your iPod.

Also, I will be returning to Spindletop @ Botanica (47 E Houston St, NYC) this coming Monday (4/11) to join my man Perry Lane for some more of that good, vinyl-based groove grease. This will be the first gig of an unusually busy month for yours truly, and I’ll be bringing along a pile of new arrivals/discoveries, so if you’re in the area, and feel like a frosty beverage and some hot music, join us.

You should also pop on over to Fleamarket Funk, where my man DJ Prestige has undertaken a redesign, as well as added a new feature called ‘Big Ups’, in which yours truly has been featured. Make sure you stop by to take a look.

I’ll assume that as soon as this page loaded in your browser, the first thing you noticed was the exceedingly groovy illustration of our friend Mr. McDaniels by Mat Vullo.

Mat and I have been Facebook pals for a long time, he an admirer of the Funky16Corners Blog, and I digging his groovy illustrations. We put our heads together and settled on an illo for a Bo Diddley feature, but you really need to go by his site and check out his other stuff. If you dig the sounds herein, you will most certainly dig the visuals over there.
Many thanks to Mat.

That all said, the tune I bring you today is yet another Asbury Lanes Garage Sale find. It was one of those ‘I’ve spent most of my dough and I’m on my way out the door and I think I’ll paw through one last box before I split’ things, and good thing too since I dig me some Bo Diddley and don’t have all that much of his original vinyl in the crates.

He was one of the true elemental forces of the Chess/Checker Chitown arsenal, alongside Muddy Waters, Howling Wolf and Chuck Berry (and many others, but those are the stony visages on that particular Mt Rushmore).

The cool thing is, though Bo has shared roots with some of his labelmates, in many ways he is the very definition of sui generis, straddling the worlds of the electric blues and rock’n’roll, existing on a stylistic island all his own. This is not to say that he did not at times record what might be seen as conventional blues or rock, but rather that at his best, with tunes like the eponymous ‘Bo Diddley’, he created something without equal.

One need only look at his impact on the British Invasion (and all that flowed from it) to realize that that darkness you sensed was actually his titanic shadow draped over the whole thing. London in 1963 was almost like Jackson Pollock had dipped his brushes in a huge vat of Bo Diddley and splattered it every which way. The Kinks, Pretty Things (named for a Bo song with no less than four of his tunes on their first album), Johnny Kidd and the Pirates, Rolling Stones, Yardbirds and many others, all quaking in their pointy boots from the reverberato shock wave started by Bo Diddley’s massive stomp and rightly so because even though this lot liked to pay tribute to Messrs Morganfield, Burnett, Reed et al, nobody smacked them in the gob like Bo Diddley, because where all of the others were deep and menacing, Bo Diddley was also fun in his own, oblong, horn-rimmed, wobble-legged way.

Bo was the shit, and the tune I bring you today (which I first heard by the aforementioned Pirates, who lay it down with a rockabilly twang which is also cool since Bo’s version has a little country in it) is just another bit of evidence in that case.

‘I Can Tell’ is Bo’s rough-edged lament at a love cast aside, packed end to end with his ringing guitar, Jerome’s maraccas, and someone pumping a bass guitar con brio.

The fact that he manages to namecheck no less a light than Charlie Brown – the greatest sack of sad that the world has ever known – as the guy that elbowed in on his action speaks volumes.

You can just see his eyes rolling back into his head when he finally loses his shit and shouts ‘I Can Tell You Don’t Love Me No More!!!’

Heavy, heavy stuff, and if someone doesn’t get their shit together and erect a huge statue in his image soon…well…I don’t know what I’ll do but it ain’t gonna be nice.

That said, have a lovely weekend 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), in regard to the April 2nd walk. The whole Funky16Corners gang will be walking in support of autism services, 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, February 17, 2011 4:04 pm

Tony Clarke

Listen/Download – Tony Clarke – The Entertainer

Greetings all.

I sit here tapping away on the laptop at the end of yet another busy week (I suppose I should get suspicious when things aren’t busy).

I figured since the previous post was so heated, it behooved me to cool things down.

But first, the bid-ness must be taken care of.

I should remind you that I’ll be returning to Spindletop at Botanica this coming Monday evening (2/21) , at 10PM for an evening of soul on 45. I’m thinking of taking a Northern Soul tack this time, so if stylish 60s dancers are a bag you’re in, fall by, grab yourself a cocktail and groove to the sounds.

Speaking of groovy sounds, this Friday night at 9PM I’ll be doing me regular thing, that being the Funky16Corners Radio Show on Viva Radio. Tune in for the best in funk, soul, jazz and rare groove all on vinyl, and all engineered to please the ear. If you can’t be there at 9PM, you can always come by the blog over the weekend and pick up the show as a downloadable MP3 which you can stuff into the iPod or iPod-esque device of your choice.

Now, as I mentioned, the tune I bring you today is something a little smoother, a tiny bit mellower and of course, soulful to ease you into the weekend.

Though I knew the name Tony Clarke, I didn’t actually hear (or own) any of his records until I picked up today’s selection in a huge lot of 45s (which I bought to get something else, making this one what the hipsters of yore would refer to as ‘gravy’).

When I pulled ‘The Entertainer’ out of the box, I took one look and didn’t have much hope that it would be playable, since a cursory glance would indicate that at some time it had duct tape attached to it (I can’t imagine why).

Fortunately, as you’ll hear, it cleaned up pretty well.

Clarke was a NY born, Detroit raised singer who recorded a number of 45s for Chess between 1964 and 1968.

Among these was ‘The Entertainer’, a Top 40 hit in 1965, and  1967 ‘s ‘Landslide’ which would become a Northern Soul classic.

Though it’s not the stormer that ‘Landslide’ is, ‘The Entertainer’ has a certain laid-back, Chicago sound to it that is smooth yet still danceable.

It opens with drums and organ, and a riff inspired by George Gershwin’s ‘I Got Plenty O’Nothin’ (from ‘Porgy and Bess’) as well as some classy guitar work. The arrangement by Phil Wright, including some tasteful horns, is especially nice.

Sadly, Clarke would be killed in a domestic incident in 1970. He was only 26.

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

Peace

Larry

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 for some prime UK psyche/prog.

Comments (1)

By Larry, February 13, 2011 1:08 pm

Phil Upchurch

Listen/Download – Phil Upchurch – I Don’t Know

Listen/Download – Phil Upchurch – Bacn’ Chips

Greetings all.

I hope the dawn of a new week finds you all well and in a soulful groove.

I spent the better part of the weekend configuring a new workstation after the old (original) Funky16Corners laptop, that I had passed on to the kids, went belly up. Fortunately the transition from Vista to Windows 7 was a lot easier (and much less expensive) that that from XP to Vista, where a lot of the software I use for blogging and podcasts was suddenly rendered obsolete.

As we speak, I have completed the Monday posts for Funky16Corners and Iron Leg, and started work on next week’s Funky16Corners Radio Show, so it appears that we’re up to speed.

I should let you know that next Monday (2/21) I will be returning to Spindletop @ Botanica in NYC. It’s a very cool bar, and I assure you I’ll be bringing some very groovy records with me, so if you’re in the neighborhood, and feel like a cocktail and some soul might hit the spot, drop by.

The tunes I bring you today hail from the discography of one of the truly great and innovative labels of the 60s, Cadet.

They also come to you courtesy of the plectrum of one of the label’s greatest session musicians, Mr. Phil Upchurch.

If his name is familiar, it may be because he had a genuine hit in 1961, with the Phil Upchurch Combo and ‘You Can’t Sit Down’.

It’s more likely you’ve seen his name on the backs of (and the fronts of some) countless albums, where he contributed his talents on the guitar.

Upchurch was born in Chicago, and it was to that city he returned after his stint in the Army.

If you’re a devotee of the Cadet sound, you’ve heard Upchurch’s playing on productions by both Richard Evans and Charles Stepney (who produced/arranged this session), including albums by the Soulful Strings, Ramsey Lewis, Odell Brown, the Rotary Connection, Jack McDuff and even Woody Herman’s sessions for the label.

Upchurch also had the opportunity to record a few albums of his own for Cadet, including ‘Upchurch’ in 1969, and the album that includes today’s selections ‘The Way I Feel’ in 1970.

The two tracks I bring you today give you a flavor not only for Upchurch’s prodigious skill as a guitarist, but also for the way the Cadet sound synthesized the various and sundry musical threads coursing through the atmosphere at the time.

Both ‘Bac’n Chips’ and ‘I Don’t Know’ are both soulful, occasionally funky, with touches of rock (I hear bits and pieces of Hendrix) as well as the smooth, stylish, even artsy feel of Stepney’s best work.

Like Richard Evans, Stepney was nothing less than a visionary, instilling the records he worked on with imagination and style.

Upchurch would go on to record sought out sessions for Blue Thumb, as well as decades of making the records of other artists better than they might have been.

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

Peace

Larry

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 for some prime UK psyche/prog.

Comments (4)

By Larry, January 9, 2011 1:11 pm

Syl Johnson

Listen/Download – Syl Johnson – Different Strokes

Greetings all.

How’s by you?

I had a groovy weekend hanging with the extended family (some of whom had to truck up from South Crackalack for late Christmas) and doing my level best to chill (as opposed to freeze, which is what I’ve been doing lately).

If anyone hasn’t already been hipped to the fact by my constant mentions, I will be spinning many groovy rackords this Monday with the one Perry Lane at Spindletop at Botanica in NYC. If you are in the neighborhood, you really ought to fall by and soak up some of the groove grease. I will be bringing much Hammond goodness, some groovy vibes and some au go go swingers and the vinyl will start to cook at 10PM. I hope to see some of you there.

That said, who feels like getting a good swift kick in the ass?

I have paid tribute to the mighty Syl Johnson in this space a number of times over the years.

He is perhaps the greatest of the cats who started out working the blues and made the passage into soul and funk, and thanks to a swanky – and comprehensive – set by the Numero Group, Mr. Johnson is as they used to say, the man of the hour.

It should go without saying – though you already know I’m gonna go ahead and say it anyway – that Syl was badass, never bringing just 100 percent when 200 would do, and that was never more obvious than with today’s selection.

Syl Johnson is very close to the top of the list of soul singers that, whenever I see one of his 45s in the field, if I don’t have it, I grab it, and if I’m not sure (and with someone of my advanced vintage and declining mental capacity, this happens more than I like) I grab it anyway, because there’s just no such thing as too much Syl.

However, as long as I’ve been prowling the crates, I never happened upon a copy of ‘Different Strokes’, and there’s a good reason for that.

Thanks to the age hip hop and turntablism, even if a record is a killer all by its own bad self, should it contain a drum break, loop, ill horn stab or other sample bait, it ends up on the want lists not only of regular old record collectors, but also of beatheads and producers, who hope to emulate those that have found success slicing and dicing before them, or maybe just to say that they pack all the tastiest breaks and beats in their record box (or on their laptop, or whatever).

‘Different Strokes’ is one such record. It is unquestionably what Slim Gaillard would anoint a ‘killer diller’ on it’s own, but since it has been sampled a few dozen times (see the list below*) it is sweated by many, and as a result, it is harder to nail than many other Syl Johnson 45s.

Fortunately for me (and now you all) I was eventually able to scoop up a nice, clean copy, which I will whip on you presently.

‘Different Strokes’ isn’t quite what I’d call pure funk. It is undeniably funky, but it’s really a hard charging bit of high octane sock soul with enough groove to put a dip in your hip. It’s like an angry bear showing up on funk’s front stoop, clawing at the door, but never really busting into the house.

This is not to say that I would for a minute hesitate to drop it during a funk set, on account of if you can’t get your dance on to this record you need a soul transplant (or at least a few more drinks).

That all said, if you were not hip to Syl, you are now, and you should either run out onto the intertubes and score that Numero set, or hunker down into the crates and find you some 45s.

See you all on Wednesday.

Peace

Larry

*Songs sampling ‘Different Strokes (from the Breaks.com)
Boogie Down Productions’s “Criminal Minded”
Boss’s “Recipe of a Hoe”
Brand Nubian’s “Try to Do Me”
Compton’s Most Wanted’s “Give it Up”
De la Soul’s “The Magic Number”
DOC’s “Beautiful But Deadly”
Dr. Octagon’s “Bear Witness (Extended Mix)”
EPMD’s “It’s My Thing”
Fear of a Black Hat’s “Fuck the Security Guard”
Ice Cube’s “Robbin’ Hood (Cause It ain’t All Good)”
King T’s “At Your Own Risk”
Kool G Rap’s “F U Man”
Kool G Rap’s “Talk Like Sex”
Kwame’s “Ownlee Eue (Reprise)”
Louise’s “Beautiful Inside”
Michael Jackson’s “Blood on the Dancefloor”
Mr. X & Mr. Z’s “Respect”
NWA’s “Real Niggaz Don’t Die”
Poison Clan’s “Jeri Curl”
Public Enemy’s “Fear of a Black Planet”
Rodney O & Joe Cooley’s “Wake up New York”
Scarface’s “Mr. Scarface”
Style’s “The Assassinator”
TLC’s “Ain’t 2 Proud 2 Beg”
Tupac’s “Nuthin’ But Love”
West Coast Rap All Stars’s “We’re All in the Same Gang”
Whodini’s “Funky Beat”
Wu-Tang Clan’s “Shame on a Nigga”
Yomo & Maulkie’s “Mockingbird”
Young Black Teenagers’s “Sweatin’ Me”
Zhigge’s “Toss it Up”

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 for some cool pop from an unusual, yet familiar source.

Comments (8)

By Larry, December 16, 2010 12:24 pm

The Kelly Brothers performing on The Beat

Listen/Download – The Kelly Brothers – Crystal Blue Persuasion

Greetings all.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Peace

Larry

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

Comments (9)

By Larry, November 21, 2010 3:03 pm

Funky16Corners Radio v.90 – Soul In Harmony

Playlist

Listen/Download 110MB/256kb Mixed MP3

Download 81MB Zip File

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Peace

Larry

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

Thanks – Larry

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By Larry, November 3, 2010 7:21 am

Curtis Mayfield

Listen/Download – Curtis Mayfield – Move On Up

Greetings all.

Welcome back to the house with sixteen funky corners.

I’m writing this prior to the Election, since the fam and I are heading out for a few days of much needed rest and relaxation.

The crispness of Fall is in the air (along with lots of leaves), so hopefully all of us will be able to get outside, clear our heads and have a good time.

Because this is being written prior to any voting or the results thereof, and since realism does not allow me the luxury of optimism, I’m just going to go ahead and assume that come Wednesday morning, I’m not going to be happy, and a whole new set of challenges will lie ahead for this country, and progressive causes in general.

That said, what better time for a positive message, from the man that I (and I’m sure a lot of other people) consider to be the greatest of the socially conscious soul masters, the mighty Curtis Mayfield.

I’ll go ahead and assume that you all know something about Curtis – and if you don’t, step out into the day and read up on your read ups – via his hits with the Impressions, his stellar solo work or the countless amazing records that he either wrote, arranged, or produced (or all three) for others.

Among his finest ‘message’ songs, is today’s selection ‘Move On Up’ from the brilliant 1971 ‘Curtis’ album.

I’ll let Curtis Mayfield speak for himself, with the added note, that if the lyrics below are not words to live by, I don’t know what else to say.

Move On Up

Hush now child,
and don’t you cry
Your folks might understand you
by and by
Move on up
towards your destination
You may find
from time to time
Complications

Bite your lip
and take a trip
Though there may be
wet road ahead
You cannot slip
Just move on up
and peace you will find
Into the steeple
of beautiful people
Where there’s only one kind

So hush now child
and don’t you cry
Your folks might understand you
by and by
Just move on up
and keep on wishing
Remember your dreams
are your only schemes
So keep on pushing
Take nothing less –
not even second best
And do not obey –
you must have your say
You can past the test

Move on up!

I’ll be back later in the week with my Marvin set from my DC trip back in September, and of course this Friday’s Funky16Corners Radio Show, which is dedicated entirely to the Harthon sound, and the memory of Weldon McDougal III.

See you then.

Peace

Larry

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Comments (25)

By Larry, October 28, 2010 9:14 am

Funky16Corners Radio v.89 – Things Got To Get Better (Get Together)

Playlist

Funky16Corners Radio v.89 – Things Got to Get Better (Get Together)

As first hinted at, then promised, and finally warned about (for those of you who are diametrically opposed politically), Funky16Corners Radio v.89 – Things Got To Get Better (Get Together), aka the ‘election mix’ has finally arrived, been posted at the top of the blog, where it will remain until the election is over.

I know I normally run Halloween themed posts this time of year, but we have real things to be scared about.
There is a Halloween set in this week’s Funky16Corners Radio Show on Viva Radio (Friday night at 9PM) so you can get your fix there.

As far as I can recall, I haven’t approached the readers of the Funky16Corners blog with anything sociopolitical since the ‘Two From the Stonewall Jukebox’ post back in July of 2009, and before that the posts about the Presidential election of 2008.

Though I think most of you have some idea of my political orientation, it’s not a frequent subject here, because ultimately Funky16Corners is about music.

However (big however coming here)…

We are currently in the midst of a very dark time, not just in the US, but worldwide.

The rise of the ultra-right and the ensuing anti-immigrant, anti-gay and ultimately anti-intellectual wave that is poised to wash away decades of important social gains in this country is the single most important issue at hand.

Having grown up in the 1970s, I find the idea that this great country would ever descend again into a maelstrom of religious lunacy, open hatred of immigrants and homosexuals, demonization of organized labor (especially teachers) and hateful, empty Rand-ian ‘libertarianism’ is beyond insane.

The economy is in terrible shape, and is unlikely to get better any time soon, and those that have been able to return to work often find that the salaries are lower and the benefits non-existent.

How have some of our countrymen reacted to these challenges?

Not well.

An increasingly angry minority, funded by the mega-rich have become a political force, eager to build fences (literal and figurative) to keep those they consider ‘undesirable’ from participating fully in our democracy.

The rise of these deeply ignorant ‘patriots’ (they love to wrap themselves in the flag, unable to embrace its true meaning), marching alongside religious ideologues and plutocrats has woven together a rancid fabric, its warp and weft rife with xenophobia, racism, class warfare, homophobia and various and sundry fringe hatreds.

You may step back and see these negative forces as smaller, separate issues, but the truth is that they are all part of the same, ugly reaction.

When the going got tough, the right got nasty.

Those institutions tasked with keeping us informed have collapsed under the collective weight of corruption by and collusion with those that have the most to gain by a population ignorant of the truth.

I still have a basic faith in the goodness of the human race, but it is being sorely tested.

I want my children to grow up in a world where they are indifferent to the color of a person’s skin, the language they speak or their sexual preference, but we are surrounded by those that would deny them that future.

This includes people of supposed deep religious faith who forget that their own freedom to worship and express the tenets of their faith includes the freedom of others to find their own path. These are the people who continually fight to deny gay, lesbian, bisexual and transgender Americans their civil rights.

These are the people who want to rewrite the textbooks in our schools to cleanse them of science and fill them with creationism and revisionist (racial and political) history.

This also includes a lot of people, many of them radicalized after the attacks of 9/11, who have turned against American citizens of Muslim faith, and stoked fears (alongside similarly radicalized anti-Muslim forces in Europe and Scandinavia) of all Muslims, as well as immigrants in general.

These are the people who allowed 30 years of Republican propaganda to turn them against organized labor, while simultaneously building an obscene faith in big business that allowed massive deregulation and tax cuts, as well a cheering our way into two insane wars.

This is the same big business that – thanks to a bizarre Supreme Court decision – is now allowed to flood the political system with piles of cash (anonymously) to attack those that would put a stop to our slow (but seemingly inevitable) march to plutarchy.

Please don’t mistake this as an endorsement of President Obama specifically, or the Democrats in general.
Despite promises to the contrary, the President has continued to fight the right of gays to serve in the military, and has stated that he opposes the idea of gay marriage.

Many of those that serve with the (D) next to their name have also thrown their lot in with the ‘whatever big business wants’ crowd as well.

There may be something “trickling down” onto the middle class and the poor, but it’s not money.

However (another big one here), the alternative is people like Joe Miller in Alaska, Sharon Angle in Nevada, the execrable Rand Paul in Kentucky, deeply ignorant Christine O’Donnell in Delaware, Ken Buck in Colorado, Marco Rubio in Florida and countless others who have embraced the insane ideas of the radical right.
These people are only the larger public face of this movement.

While they run for national office, their foot soldiers are poised to fill seats in state legislatures, county and local office, and worst of all, school boards.

There are those that would have you believe that the system is utterly broken, and that an appropriate response is not to vote at all.

This is insane.

Is there any among you that really think that the way to right a staggering democracy is to withdraw from it?
Not only should every one of you exercise your right to vote, but you should do what you can to convince your family and friends that they should as well, because one thing the forces of the radical right do, religious or otherwise, is vote.

These are the people that are counting on apathy to help them get their hooks into the government where they can start to punch holes in the Constitution they ironically wave like a battle flag.

So what does this have to do with Funky16Corners?

Like the mighty James Brown says:

People, people we got to get over before we go under!

Tell’em Godfather!

The majority of the soul and funk music we celebrate here was created during a time when the forces of the right were attempting to tighten the screws of the status quo, while the forces of peace, racial equality and sexual liberation were battling in the streets (and the ballot box) to upend it and seize their rights.

Soul and funk are the sounds of struggle and liberation. Not every number here has an explicit political/social message, but the music of black America, created in the 60s and 70s in its core rarely says anything else.
Funky16Corners Radio v.89 is an attempt to string some of the more powerful musical statements of the time together, along with spoken intervals by important thinkers.

Things get off to a depressing, yet wholly realistic start, but work their way up through anger, defiance and ultimately (hopefully) triumph.

Not every number here carries an explicit message, but taken together they make an important statement.
The voices heard between the songs include some very well known (civil rights figures like Dr Martin Luther King, Malcolm X and Jesse Jackson), and some lesser known (Dorothy Day*), and in a few cases dreadfully misunderstood and demonized (Saul Alinsky**, Noam Chomsky), but their words all have in common is their relevance to the world we live in today.

I’m not saying that things are going to be fixed if the opponents of democracy are defeated in this election (since many of them clearly won’t be), but rather (to borrow an old saw) the journey of 1,000 miles begins with a single step, and stepping into the voting booth and making yourself heard is that step.

Far too many Americans take a pass on that important responsibility, and if they continue to do so, they’ll have no one to thank but themselves when the world around them gets worse.

So, once again in the words of James Brown:

Get Up, Get Into It, Get Involved.

Educate yourself.

Educate others.

Don’t allow hatred and disinformation to go unchallenged.

Don’t be afraid.

Peace

Larry

*Dorothy Day is an especially important figure in the history of social justice and charity. If her name is unfamiliar, dig a little deeper and read about this great woman.

**Saul Alinsky has been demonized by the right to the point where his name has become a kind of shorthand (with just the tiniest bit of anti-semitism attached to it) for leftist subversion. I doubt most of the people that throw his name around as an epithet have read anything about him. His voice – like most of those in this mix – was an important one in the struggle to transfer power from the haves to the have nots (which goes a long way to explaining why those that shill for the mega-rich hate him so). If all you’ve ever heard about him are bad things, do yourself a favor and read up on his life (outside of right wing web sites).

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By Larry, September 16, 2010 7:45 am

Andre Williams

Listen/Download – Andre Williams – Cadillac Jack

Greetings all.

The end of the week is here, and I am happy to say that the Funky16Corners obit page is closed (for now).
Losing both Diamond Joe and King Coleman in the same week was a colossal drag, so I figured I close things out with something a little, how do they say, bad-ass.

But first, some news.

Should you be in New York City this Sunday evening and have developed a taste for the funk 45s, might I suggest you fall by Fat Buddha (formerly known as Forbidden City) 212 Ave A as I and my records will be making our return to Master Groove alongside residents DJ Bluewater and M-Fasis. I’ll be spending the next few days rifling through my crates to select only the finest funk that can be delivered via seven-inch platter, and I hope you can make it out to hear some of them, and perhaps, should the spirit take you, get off your ass and shake a tailfeather.

In even more exciting news, my records and I will be piling into the Funky16Corners-mobile and heading down to Washington, DC for a weekend of fun. Saturday evening 9/25 I will be spinning at Marvin with my man DJ Birdman, bringing the finest in funk, soul and disco to perk up your ears and move your feet. The following day I will be spinning a set at the DC Record Fair, as well as spending money on records (who among you didn’t see that coming?), after which I will be dragging my exhausted ass back to New Jersey.

You should also be hip (if you aren’t already) to the Funky16Corners Radio Show which drops every Friday night at 9PM on Viva internet radio, and is then archived for download (as an MP3) at this very blog the following day. I have lots of groovy stuff in store, so you should be real nice and feed your iPod something healthy.

As I said a few graphs ago, I was in the mood for some funky bad-assery, so I dipped into the crates and whipped out a little number by Mr. Andre Williams.

I won’t go too deep into his history, which is long and convoluted, aside from letting you know that Mr. Williams, working in Detroit and Chicago had a hand in creating many, many great records during his day, including writing or co-writing tunes like ‘Shake a Tail Feather’ and ‘Twine Time’, and burning up the studios with his own brand of groove grease with tunes like ‘Bacon Fat’, ‘Jail Bait’, ‘Loose Juice’, ‘Rib Tips’ etc, and working behind the scenes on records like ‘Uhuru (African Twist)’ by Jomo and ‘Pig Snoots’ by the Natural Bridge Bunch. During the 50s and 6os he recorded for labels like Fortune, Avin, Sport, Ric-Tic, Checker, Chess Wingate and many more.

The tune I bring you today (from 1968) is a tale of a very heavy cat named ‘Cadillac Jack’ which is sung (narrated?) by Andre who gambles, fights and (of course) drives a big white Caddy, until he meets his end at the barrel of a gun, eventually trading his own Caddy for the long, black one from the funeral home.

As Mr Williams says, ‘He sure was a mack!’.

So was Andre, and despite hitting some very hard times a while back, he made a comeback and is still performing.

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

Peace

Larry

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By Larry, May 23, 2010 3:27 pm

Listen/Download – Premiers – Funky Monkey

Greetings all.

The new week is here, and odd as it may seem, I face it with guarded optimism.
Despite the nasty surprise that our local Vietnamese restaurant (home of sublime banh mi and pho) had closed – which we discovered as we drove up to the front door – things are on an uptick of sorts.
My health issues seem to have temporarily leveled off, and next week will see the arrival of the 2010 Funky16Corners Blog Pledge Drive, for which I am cooking up something very groovy indeed. I won’t spill the beans quite yet, but I assure you that something cool is afoot in the land of the funky corners.
The tune I bring you today is a little something I picked up in a trade with my man DJ Bluewater. He always packs some heat in his sale box, and I am always ready and willing to grab some of it for my crates, whether by exchange of folding money or by barter.
I haven’t been able to find out a whole lot about the Premiers or their song ‘Funky-Monkey’.
The J.O.B. label, named for its founders Joe Brown and James Burke Oden was a Chicago blues label that issued its first platter in 1949, a side by St. Louis Jimmy (aka James Burke Oden). Between 1949 and 1974, J.O.B. released dozens of sides by a variety of artists including Snooky Pryor, Sax Kari, Willie Cobbs and a cat named Eddie ‘Mr Kleen’ Clark.
Sometime around 1970, Clark wrote, produced and arranged the Premiers’ ‘Funky-Monkey’ for J.O.B.
This was the only 45 that the group would record for the label.
Interestingly enough, ‘Funky-Monkey’ was also issued on the Mississippi-based Odex label.
‘Funky-Monkey’ – which gets started with some tight, snappy drums – includes a sly, repeated guitar line, climbing bass, horns and of course, lots of (I’m assuming) human-produced, monkey sound effects. The Premiers don’t overdo it with the monkeyshines, but there is just enough to push ‘Funky-Monkey’ up against the novelty side of things.
This is not to say that the record is not funky, which it most certainly is, and there were tons of similarly adorned sides out there in the classic funk era. I mean honestly, line this up against the beginning of the Meters’ ‘Chicken Strut’ and it ends up looking like the very model of subtlety.
What you end up with is a nice little slice of urban funk, more than competently performed and altogether groovy.
I haven’t been able to ascertain if these Premiers (and there were several) went on to record anything else.
I hope you dig the tune, and I’ll be back on Wednesday.

Peace

Larry

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By Larry, March 11, 2010 4:53 pm

Junior Wells

Listen/Download -Junior Wells – You’re Tuff Enough

Greetings all.

Friday is here, and I’m happy to say that last night’s Master Groove @ Forbidden City was an unqualified gas.
There was a nice crowd and as is always the case, the hot sounds were flying fast and furious.
This time out I got my shit together and recorded my set, which I’ll be posting on Monday.
Since I am currently sleep deprived (and have a day’s worth of errands ahead of me) I’ll be uncharacteristically brief.
If you’re a fan of Chicago blues, the name Junior Wells should be a (very) familiar one. In a career that spanned more than four decades, Wells, as both a harp master and a vocalist laid down lots of very tasty music. His collaborations with the mighty Buddy Guy are legendary and have rightly secured him a place of honor in the blues pantheon.
However, like many of his contemporaries (Guy included) Junior Wells dabbled (with more success than many) on the soul and funk side of things. Today’s selection is one of his finest efforts from that side of the stylistic street.
Last year, on my Massachusetts digs, I happened upon a hippie-ish record store in a back alley of an ivy encrusted college town. To my delight, their bins were filled with all kinds of groovy 60s pop and rock LP, and in addition to some stuff I hadn’t heard of, I pulled a couple of longtime wants as well.
Toward the end of my time in the store I noticed a small bin of 45s on the side, and while it didn’t look all that promising, I’ve learned through experience that only a fool passes up a  stack of unexplored 45s. Good thing too, since the first handful of singles I picked up yielded the song your hearing today.
A subsidiary of Chicago-based Mercury Records, Blue Rock had a discography that stretched from 1964 to 1969 and was home to all kinds of groovy soul, funk and blues sides. Junior Wells recorded four singles for the label in 1968 and 1969, the first of which was the slamming ‘You’re Tuff Enough’.
While I wouldn’t say that ‘You’re Tuff Enough’ crosses the line into funk territory, I wouldn’t hesitate to drop it into a funky DJ set. It’s a searing bit of powerful sock soul, with a great vocal by Wells and a kick-ass arrangement (by none other than the mighty Charles Stepney!).
Certainly the best two dollars I’ve ever spent in Massachusetts.
I hope you dig the tune, and I’ll be back with that live set on Monday.
Have a great weekend.

Peace

Larry

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