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By Larry, July 8, 2010 8:28 pm

Clay Tyson

Listen/Download – Clay Tyson – If You See a Ring Around Your Bathtub (Baby You Know I’ve Left You Clean)

Greetings all.
I hope you’ve all avoided melting in the ungodly heat. I’m still solvent but on the verge of liquefaction should I spend more than my allotted time in the sun. Like my ancestors before me, I am a pale man, with white-blond hair and my love for sunshine is decidedly one-sided. My childhood is filled with repeated, drastic episodes of sunburn, only repeated in adulthood during simultaneous bouts of alcohol consumption (as in ‘Oh come on, a little sun never hurt anyone!’, except – of course – me, who spent the next week clutching a bottle of aloe and praying for death).
I fear that my Irish/Viking genes have been passed on to both of my sons, who look like Casper and any one of the ghostly trio. They cannot head to the beach without shirts, sunscreen and hats lest they burst into flames.
It’s that bad.
There was a very brief window, right after I moved into my first apartment (which was a block from the beach) where I spent time at the beach every day, rationing my time in the sun where I developed something like a mid tan, but decided that the discomfort of sand in my pants outweighed any ‘healthy glow’, so I never tried again.
That said, I sit here now, ensconced in conditioned air, tapping away at yon laptop in an effort to get the blogging done before I nod off.
Before I start, make sure to check out the Funky16Corners Radio Show this Friday night at 9PM EST at Viva internet radio. This week – as in all weeks – what you’ll be hearing is the best in funk, soul, jazz and rare groove, brought to you in living, crackling color, harvested from original vinyl sources and mixed live for your delectation.
You should also fall by the Gentleman’s Guide to Midnite Cinema podcast to dig the filmic discussion, and to sample my inaugural contribution of a weekly, funky track (see episode #89).
Also, stop by Iron Leg where I go on at length in reflection about 25 years of zine (paper and web) production by yours truly.
The tune I bring you today is something I picked up a while back, mainly on the strength of the Identify label. For those of you that aren’t familiar, it was a James Brown-related imprint, and until I found this 45, the only one I’d ever seen in person was the A.A.B.B. 45 ‘Pick Up the Pieces One By One’, featured here many moons ago.
The disc was cheap (probably because of a noticeable edge warp, but since it was so unusual I decided to risk the dough and take it home.
Good thing too, because when I finally got to give it a spin, I realized that what I had was not only funky, but also funny, making it yet another entry in the soulful comedy sweepstakes (wherein I have a bunch of similar sides and ought to get down to making a mix).
The performer was a cat named Clay Tyson, who according to what little I’ve been able to find was a ‘chitlin circuit’ comic who hooked up with the Godfather of Soul and released a couple of 45s; one on King, and the one you see before you today (in addition to a number of other records on other labels).
When I was researching this record I happened upon a previous post over at the mighty Stepfather of Soul blog (and if you are not familiar, you should get…familiar that is) where my man Jason says that the King 45 (which I do not own) is pretty much the same two routines on the Identify disc, redone with different backing tracks.

What you get here with ‘If You See a Ring Around Your Bathtub…’ , is James, jiving alongside Mr. Tyson (with the JB’s I’ll assume) with a tight funk groove. Oddly enough, it’s pretty much like any James Brown record of a similar vintage, only you get a series of so-so jokes (which James seemed to think were HILARIOUS) instead of the HYEEAAHH!s and YOWW!s and whatnot. I’m not suggesting that this is as good as a James Brown or JBs 45 (though in a lot of ways, that’s what it is), but that the funk is right, tight and naturally, out of sight, and since the tune is co-credited to the mighty Fred ‘Trombonicus Rex’ Wesley, you know it’s a quality sound.
I hope you dig it, and I’ll be back on Monday.

Peace

Larry

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By Larry, July 6, 2010 6:37 pm

Lyn Collins

Listen/Download – Lyn Collins – Give It Up Or Turnit A Loose

Greetings all.

Welcome to the middle of the first authentic, brain-baking, sweat-inducing heatwave of the summer of two-thousand-ten.
The Fourth of July festivities were an authentic pain in the ass. The fam and I have been heading down to Asbury Park for the fireworks for the last three years, on account of it’s been a very chill scene. Unfortunately/fortunately, the restoration of Asbury Park, which has made the town a very cool place to be has increased its appeal to the point where the 4th of July turned the city into a veritable mob scene with near-gridlock conditions, and the Funky16Corners-mobile and all that sailed upon her were forced out of Asbury Park, first to Ocean Grove (which was also packed to capacity) and then further south into Bradley Beach* until we located a parking space (my three-year-old son ‘Thanks for parking Daddy!!’) well over a mile away (maybe two) from the fireworks about 10 seconds before the fireworks commenced.
We were a long way from the boom-boom, but the rockets red glare was still visible and the kids dug it, so all things considered it was enough of a success to keep the peace (but also enough to let Mrs Corners and I know that we were going to have to retool the entire Independence Day experience next year).
That said, I couldn’t very well let the descent of the oppressive heat go by without whipping a little bit of volcanic funk on you as the accompanying soundtrack.
Hows about some Lyn Collins?
I thought you might like that…
Arguably the pinnacle of that rarified species known as James Brown’s Funky Divas, Miz Collins, aka the Female Preacher is best remembered as the woman responsible for the 1972 atomic explosion known as ‘Think (About It)’ one of the funkiest records ever recorded and the very heavily sampled source for the heart and soul of Rob Base and DJ EZ Rock’s ‘It Takes Two’, a 45 that I pack in my record box on the reg on account of it’s a funky killer all on its own.
The record I bring you today is something from a few years further down Lyn Collins discography, her 1974 cover of the Godfather’s 1969 hit, ‘Give It Or Turnit A Loose’. For some bizarre reason I was unaware of this record’s existence until recently, and when I heard it I was filled with an odd mixture of ‘DAMN this record’s hot’ and ‘Where has this been all my life?’ but more importantly ‘Where can I get myself a copy?, the answer to the last question being answered within a few weeks.
Aside from being Soul Brother Number One, Mr Dynamite, Mr Please Please Please and the Hardest Working Man In Show Business, James Brown was above all an astute judge of talent, packing his band with dead on the super heavy funk players, and his stable of performers with some of the finest female soul and funk singers to have ever graced this mortal coil. I mean, sure Lyn Collins was bad-ass, but when you step back and realize that she stood alongside voices like Vicki Anderson and Marva Whitney it’s an awful lot to take in.
Collins’ version of the tune is updated to the slightly smoother, certainly more synthesized 1974-era funk, but it still kicks ass in a BIG way. There’s all the crispness of your run of the mill James Brown production, as well as the complex, clockwork funk, but there’s something else at work, the heart of which is Lyn Collin’s mighty voice.
Collins had the ability to leap from a soulful growl to a jagged edged scream in no time at all, and she does so several times in the course of this record.
While there are synthesizers, and it was 1974, and I don’t doubt for a second that this record set any number of discotheques afire, there’s never any question that the music pouring from the grooves is anything but funk.
So, get up out of your seat, on your feet and start moving your ass. If you thought you were done sweating, you have another think coming brothers and sisters.
See you on Friday.

Peace

Larry

*Yes, I know these town names are meaningless to people outside of the area. Please bear with me…

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By Larry, July 4, 2010 5:19 pm

The Many Faces of Arthur Conley

Listen/Download – Arthur Conley – Love Got Me

Greetings all.

I hope the new week finds you well.
The tune I bring you today was something of a nice surprise from an odd digging session last year.
I’d been tipped off to a store I’d never been to before, and went hoping that I’d be coming home with the proverbial butt-load of soul 45s, and perhaps and LP or two.
Well, I rolled up on the place and at first glance it had all the look of soul vinyl nirvana. Old store, small town, boxes of records on the sidewalk…you know the drill.
When I got inside it wa almost immediately apparent that what I was faced with was something else entirely.
There were very few 45s (of any variety, let alone soul/funk) and what appeared to be mountains of non-soul LPs lining the aisles which were roughly a foot wide. It was the kind of place that seemed like it might cave in at any moment, and thanks to the close quarters, the digging was somewhat difficult.
I did manage to score a couple of cool 45s (some of which have already appeared in this space), and a huge pile of cheap pop and rock LPs (all Iron Leg type stuff).
There was a soul/funk LP section, but it was by and large fairly common and uninteresting stuff.
With a few minor exceptions, one of which included today’s selection.
I’ve always felt oddly ambivalent toward Arthur Conley, and to be honest, I’m not sure why.
Though he might be orbiting in the vicinity of the one hit wonder galaxy (he actually had a couple), the hits he did have were fantastic. Who among you can stand up and say truthfully that their head hasn’t started bobbing and their feet moving when either ‘Sweet Soul Music’ or ‘Funky Street’ came on the radio?
But other than those two songs, and his participation on the Soul Clan’s ‘Soul Meeting’, I can’t say I’d ever heard anything else by Conley.
By all reports Conley had an odd, spotty and itinerant career, his intersection with Otis Redding having been it’s highlight. He recorded several 45s (for several labels), and a few Lps before relocating to Europe and changing his name in the 70s. He passed away in the Netherlands in 2003.
Anyway…one of the LPs I managed to grab that day was Conley’s ‘Shake Rattle and Roll’ album.
When I got the record home and got down to work digimatizing, I heard something very familiar. It took me a while to figure out where I’d heard ‘Love Got Me’ but when I did it was one of those smack yourself in the head moments when you realize that a song you’ve known and loved for years was in fact a cover, in this instance the coverers being the Inmates and the coveree, Mr Arthur Conley.
Back when I was in high school, and a big fan of the end of the new wave spectrum in which bands were stirring the embers of what would erupt a few years later as the garage/mod revival, one of the bands that I really dig was the Inmates. It was via the Inmates that I first heard songs originated by the Standells (Dirty Water), Jimmy McCracklin (The Walk) and thought it took me 30 years to realize it, Arthur Conley.
One of the really interesting things about Conley is, that despite his status as a kind of minor, peripheral figure in the annals of soul, he wrote a fair amount of his own material, ‘Love Got Me’ being one of his best. The song illustrates the fact that although Conley was far from a major stylist (and sitting in the shadow of Otis wasn’t helping him in that respect) he was capable of writing and performing some top notch soul material.
The ‘Shake Rattle and Roll’ album, which features a couple of excellent tracks like Conley’s own ‘Hand and Glove’ and the Penn/Oldham killer ‘Keep On Talking’ is available on a two-fer CD with ‘Sweet Soul Music’. Pick that up (along with a 45 of ‘Funky Street’) and you’ll pretty much have all the Arthur Conley you’ll ever need.
I hope you dig the tune, and I’ll be back on Wednesday with something cool.

Peace

Larry

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By Larry, June 29, 2010 7:56 pm

Dolly Parton and her hair…

Listen/Download – Dolly Parton – Busy Signal

Greetings all.

I hope you’re all having a good week, and that you’ve taken the time to check out Tony C’s F16C Soul Club mix, on account of it’s a banger.

I think it’s safe to assume that many of you are already scraping your jaws off of the floor, having read the name of today’s artist, Dolly Parton.
Allow me to ‘splain…
[cliché] The 60s were a turbulent time [/cliché].
The above statement is true on many levels, and aside from the politics and social upheaval, musically things were going nuts. Take a look at a random Top 40 chart from any week between 1964 and 1968 and you are in for some real surprises.
The pop music scene of the mid 60s was incredibly diverse (maybe more diverse than at any other time) and within that diversity, where Frank Sinatra and Ed Ames bumped up against the Turtles and the Buffalo Springfield, there formed a vast, diffuse crucible of sorts where all of those crazy threads were – on occasion – woven together in very unusual ways.
Part of this weaving was deliberate, wherein some enterprising soul, perhaps used to doing things one way, decided to take a shot at another part of the market.
It was just such a shot that made today’s selection.
I can’t recall exactly where I first heard Dolly Parton’s ‘Busy Signal’, but I do remember being knocked flat on my ass when I did.
I doubt there are many among you who don’t already know who Miss Parton is, but I also doubt there are more than a few of you who had any idea that her discography harbored anything this interesting (outside of a country music context, natch…).
The world of ‘blue-eyed soul’ (which is kind of a bullshit term, since if a record is soulful there really ought not be a need to make note of the race of the performer, and yes I know I’ve used it here but when I get some extra time I’ll cook up something more appropriate, and yes your suggestions are welcome…) is generally the province of performers who were mainly, or at least peripherally performers of music in a soul, funk or R&B style. When you listen to folks like Billy Harner, Mitch Ryder, Steve Colt etc, what you hear is an artist devoted to recreating the sound of black music.
When you take a look at the long and distinguished discography of Dolly Parton, you generally see something else, that being a country singer.
I have no idea how she came to record ‘Busy Signal’, but the other name on the label, composer and producer Ray Stevens give us a clue or two.
Stevens, who had his first pop hit in 1962 with ’Ahab the Arab’ (his forte was novelty records) and his last in 1975 with ’Misty’ was, in addition to his own recording career, a busy songwriter, producer and session musician on the Nashville scene of the 1960s. He recorded with Brenda Lee, Brook Benton, the Blue Things, BJ Thomas and countless others in his many capacities.
The records he worked on, as well as his own recordings indicate that he was able to tap into a wide variety of styles, from rock’n’roll, to country, to pop.
‘Busy Signal’ is a perfect example of the fact that he was also conversant in soul.
The record opens – not surprisingly – the sound of a busy signal, created with human voices. Dolly drops in with the initial statement of the lyric, followed by a wonderful shift marked with the sound of a snare drum and a chorus of backing singers. While her voice is readily recognizable, the style she uses here travels in that grey area where girl group sounds cross over into soul, which of course could lead into another discussion of country music as “soul” music of another kind, and all the various and sundry intersections of the two, usually racially segregated styles in the actually segregated south. There’s certainly a book or two that could be written about the way white and black artists were exchanging (actively and passively) musical ideas and the countless amazing records that came out of that bubbling stew pot.
‘Busy Signal’ was released late in 1965, and as far as I can tell met with little success (though the flip side is fairly traditional, mid-60s Nashville country). Whether Steven’s was deliberately attempting a soul record, or just happened to toss the right ingredients into the pot at random, the world may never know.
Naturally, as if often the case with unusual, soulful records bouncing around the periphery of soul itself, ‘Busy Signal’ enjoys a certain level of popularity with the Northern Soul crowd over in the UK. It’s a record that can get fairly expensive, and one I chased for a long time (and was outbid on more than once). I can’t help but sense an element of kismet in the fact that when I did finally get myself a copy I grabbed it for less than three flimsy US dollars (my hands shaking pretty much from the time I won it to the moment my trusty mail carrier brought it to the house). It only got here this week, but I felt I had to move it right to the front of the queue. I hope you dig it as much as I do.
Peace

Larry

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By Larry, June 13, 2010 4:00 pm

Mr. Ross Carnegie at work on the Hammond

Listen/Download – Ross Carnegie & Co. – Open Up Your Mind

Greetings all.

I hope the new week finds you all well.
I spent Thursday, Friday and the rest of the godforsaken weekend dealing with yet another in a seemingly endless parade of kidney-related roadblocks. Long story short, one of the newer kidney stones (which weren’t supposed to be happening) became dislodged from its home in the “meat” of the kidney (as my doctor likes to call it) and scored itself an eagle, dropping directly into the ureter, which in accordance with Murphy’s Law, was too narrow to afford it egress. As a result, my doctor (always properly cautious) dragged me back into the surgi-center and reinserted a stent, so that my sole, remaining kidney would not fail.
How’s that for fun?
This all sounds a lot worse than it is. Aside from being a huge inconvenience (with the added risks of anesthesia), if the greatest minds of the urological/nephrological world could figure out why I’m still getting stones, and cause it to cease, there would be no problem at all.
Until then, I’m trapped in this bizarre loop where I go through another surgical procedure, only to discover another speed bump when I emerge on the other side.
That (and the fact that I had to take my sick three-year-old to the doctor) is why there was no Friday post.
But, all is – if not well – at least back to the status quo, so continue on I will.
The tune I bring you today is something of a slightly later vintage by a great producer of Hammond 45s, Mr. Ross Carnegie.
I first heard/heard of Mr. Carnegie via the legendary ‘Vital Organs’ comp which featured his song ‘Cool Dad’, as well as his visage on the cover.
Some years later, deep into my own Hammond obsession I scored a copy of ‘The Kid’ (as featured in Funky16Corners Radio v.48), also very groovy.
Anyhoo, the tune I bring you today falls somewhat later in Mr. Carnegie’s limited discography, bears no date but the sound in the grooves suggests to me a recording sometime in the early-to-mid 70s.
Ross Carnegie emigrated to New York from Canada as a young man to work as a jazz pianist. He ended up working not only on piano but mastering the Hammond organ as well, eventually leading his own band which featured a young Alphonse Mouzon on drums in the late 60s.
Later on, Carnegie became known (at least locally) as the pianist in the White Plains, NY Nordstroms department store.
Today’s selection, ‘Open Up Your Mind’, credited to Ross Carnegie and Co. , is a funky, semi-blaxplo experience with all manner of keyboards – analog and synthesized – horns, police whistles and chants (no doubt courtesy of the ‘& Co.’ of the title) of ‘Open up your mind’.
While there are elements that would later come to signify disco, this is most decidedly a non-disco affair (though Carnegie would later release the tune ‘F-Minor Disco’ on his El-Con label, using the same exact catalog number as ‘Open Up Your Mind’).
I hope you dig the tune, and, assuming I’m not hit by a bus or falling space junk, I’ll be back mid-week.

Peace

Larry

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By Larry, June 10, 2010 4:11 pm

Greetings all.

Thanks to some unexpected and decidedly unwelcome crap that just crowbarred itself into my life, I spent the time I’d usually be writing, digimatizing et al, behind the wheel of the Funky16Cornersmobile. As a result the regularly scheduled Friday posts – here and over at Iron Leg – will be preempted.
Fortunately, I have to turn in my Viva Radio shows a week in advance, so the Funky16Corners Radio Show will go off this Friday night at 9PM EST as scheduled.
It’s a good one this week – if I say so myself – with a collection of reggae soul that I think you’ll dig.
Make sure you tune in via the interwebs, and if you can’t, either pick up the stream at Viva afterward, or wait until Saturday and I’ll have the episode archived here for download.
I should be back on Monday.
Until then….

Peace

Larry

PS If you haven’t done so already,now might be a good time to catch up with the F16C Soul Club and archived F16C Radio Show mixes…

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By Larry, June 8, 2010 3:33 pm

Miss Gloria Jones

Listen/Download – Gloria Jones – Tainted Love

Listen/Download – Judy Street – What

Greetings all.

The middle of the week is here, so what better time for a couple of very tasty bits of Northern Soul (with a very interesting backstory)?
As someone who experienced the 80s firsthand, I have to admit that I don’t find nostalgia aimed in that direction all that entertaining, especially since so many of the nostalgic aren’t old enough to have weathered it the first time.
You see, alongside MTV, crazy haircuts and quirky new wave music, there was of course the reality of the Reagan era, during which the American right kicked open the door and let in the wide variety of religious and political pests that 30 years down the line have completely infested this country.
So, you’ll understand if I’m not in my garage slapping together a time machine so that I can take the ride all over again.
This is not to say that the music was all bad, since a lot of it was very good. The best of new wave was in essence high quality reworking of the 60s pop palette.
One of the biggest new wave hits, that has become a major musical symbol of the era, is Soft Cell’s 1981 hit ‘Tainted Love’.
I’ll even cop to digging it the first time around, years before I had any idea that it was a synthesized reworking of a Northern Soul anthem.
In fact, a few years on, during the whole mod/garage explosion of the mid-80s, when I was initially clued in to the fact that the song had originally been recorded by a singer named Gloria Jones, I was still a decade away from even the tiniest inkling about the existence of the Northern Soul movement.
As a result, I didn’t consider Soft Cell’s covering of ‘Tainted Love’ to have any more subtext that Phil Collins’ execrable mangling of the Supremes’ ‘You Can’t Hurry Love’.
Flash forward twenty-five odd years and yours truly is neck deep in the sounds of the Northern movement, with all manner of storming Wigan faves spilling out of my record boxes. I’m rambling around YouTube looking for videos of Northern Soul dancers (and of you haven’t seen them, you simply must on account of it’s a wild bag that they were/are in) and I happen upon a short documentary that featured lots of the acrobatic terpsichorian delights.
About six minutes into the video a song came on the soundtrack that knocked me on my ass with its propulsive tempo and pop hooks. A little bit of the Googling, and I discover that the record in question was called ‘What’ by a singer named Judy Street.
A little more exploration on the interwebs and I found myself a copy of same, since I wanted to give it a good home and hear it blasting over some of those big club speakers we all love so much.
Once I had my hands on the 45 (a 1977 era reissue, but more on that in a minute) I started digging into my reference books, and back on the web and I discovered something very interesting about ‘What’, that were I a bigger Soft Cell fan, or a resident of the UK, I might have already been aware of, that being that the group had their second UK hit with this very song, which, not at all coincidentally was also a huge Northern Soul anthem.
‘Hmmmmm…’ says I, realizing that I was going to have to dig a little bit further.
Two hits in a row by one of the great synth-pop acts of the 80s, both yanked from the Northern Soul canon was indeed a curious thing.
As it turns out, aside from the odd juxtaposition of styles, it wasn’t that curious at all.
But first, a little musical history.
Gloria Jones was still a teenager when she was discovered by songwriter/producer Ed Cobb (who also penned ‘Every Little Bit Hurts’ for Brenda Holloway) in 1964. The following year she recorded Cobb’s ‘Tainted Love’ for the Champion label.
Jones’ version of the song was – when I finally heard it – a real shocker, every bit as propulsive and soulful as the Soft Cell cover was wan, dissipated and blasé. It was immediately obvious how it had become a very popular spin on the dance floors in the North of England.
Jones went on to record a stack of 45s for Uptown and Minit in the 60s, eventually going on a European tour with the cast of ‘Hair’, where she met none other that former ace face converted into post-psychedelic mushroom gobbler Marc Bolan of T-Rex. She and Bolan fell in love and had a son, performing together until his untimely death in 1977, after which Jones returned to the US and recorded both as a solo and as a backing vocalist.
Jones was herself a songwriter, composing a number of songs for Motown artists, co-writing ‘If I Were Your Woman’ for Gladys Knight and the Pips.
There isn’t much information out there about Judy Street. Her original version of ‘What’ was recorded for HB Barnum’s LA-based Strider label in 1966 (I’ve never seen a picture of the original label), and promptly dropped off the face of the earth. Interestingly enough there was another (inferior) recording of ‘What’ by Melinda Marx (daughter of Groucho, seriously) on VeeJay. Come 1977, and Judy Street’s recording is a popular Northern Soul spin, so much so that John Anderson reissued it on his Grapevine label, where it went on to become the label’s biggest selling 45.
It was during this time period that a young lad named Marc Almond was (according to famed DJ Russ Winstanely) a habitue of the storied Wigan Casino, where he first heard, requested and danced to the records you see before you this fine day.
A few years later, he had the good creative sense to cut a small but significant segment of one scene and paste it on top of another, creating two pop hits (one huge, one not so much). Chances are while any number of soulies were poleaxed when they heard Soft Cell’s ‘Tainted Love’ and ‘What’ on their radios (or saw them on Top of the Pops), the vast majority of the pop audience had little or no inkling of where these songs had come from, or that so many of their countrymen and women had been dancing to the original versions of these songs for years.
I don’t know about you, but I find this kind of cross-pollination to be very interesting, and the kind of thing that the post-modern, post-internet, post-everything else culture has all but erased. Would such a scenario be possible today, where McLuhan’s Global Village has rendered international communication and sharing of obscure facts but a mouse-click away? I doubt it.
Either way, I hope you dig the tunes and I’ll see you all on Friday.

Peace

Larry

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By Larry, June 6, 2010 2:41 pm

Dr Feelgood & the Interns – Piano Red/Dr Feelgood (left), Roy Lee Johnson (3rd from right)

Listen/Download – Dr Feelgood & the Interns – Mr Moonlight

Greetings all.

Welcome back to the Funky16Corners blog.
I have to start by thanking those of you who contributed to the 2010 Pledge Drive.
While this wasn’t the best year, you’d have to be locked in a subterranean bunker somewhere to know that it REALLY hasn’t been a good year for a lot of people. That fact makes it all the more significant that some of you felt strongly enough about Funky16Corners to dig deep and send something our way.
I’ve never taken advertising on the blog (though it has been considered) for a couple of reasons.
First and foremost, I don’t like the way it looks, and second, I don’t like the way it would change the feel of Funky16Corners.
In some ways – especially thanks to the response I’ve gotten over the years at fund-raising time – Funky16Corners has always been a collaborative effort. Those of you that stop by to partake in the discussion – often furthering it with new information and other leads – and those of you (more often than not some of the same people) who chip in during the pledge drive, are what keep the blog (and the blogger) going.
Despite the fact that blogging can often devolve into solipsism, I prefer it when it breaks through to a level where it really is a shared effort, not just with the music itself, but with the feeling of the music and the history behind it.
While I’m sure there are a lot of people who just stop by to click the links and collect the MP3s, there are a lot of folks, readers, collectors, fellow DJs and musicians who take the time to join in the conversation and make the blog something greater than the sum of its parts.
I’d like to take the time to thank all of you, because without you it wouldn’t really be worth the effort.

So, THANK YOU, VERY MUCH!

Consider this yet another new beginning, recharged for another year in the blog-o-mos-phere.
If you look up at the header, you’ll notice a couple of changes.
First, as promised the Funky16Corners Soul Club is up and running, with all the mixes that were up last week (and if you haven’t checked them all out, take the time to do so because they’re all excellent).
Second, following a number of requests, I’ve mixed down and archived the last several editions of the Funky16Corners Radio Show that I do for Viva internet radio. The shows date back to the end of April when I started doing the live mixes and the show moved to its Friday 9PM (EST) time slot. There are no playlists (I back announce every song) but there are short descriptions about what you can expect in each episode.
If you haven’t yet checked out the radio show, take the time to pull down a couple of episodes and check it out. I think you’ll like it.
Also, make sure you stop by Fleamarket Funk over the next few weeks. The Asbury Park 45 Sessions crew managed to record all the sets from the 5/28 session, and DJ Prestige will be posting them up over the coming weeks.

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The tune I bring you today is an old fave that I only got my hands on (in 45 form) last year.
Something you might have picked up on over the years is that I am a regular hound when it comes to the original versions of songs covered and made famous during the 60s by (mainly) white singers, mostly associated with the British Invasion. This is mainly due to the fact that I came to much of the soul music I love via these covers when I was but a lad.

Today’s selection, ‘Mr Moonlight’ by Dr Feelgood and the Interns was covered by the biggest of them all, namely the Beatles (on the US LP “Beatles 65′).
Though my youthful Beatle-mania introduced me to the Fabs version when I was about 13, it wasn’t until decades later that I heard the OG. When I did I was blown away, especially when I began to dig a little.
As it turns out, ‘Mr Moonlight’ was penned (and sung) by Mr. Roy Lee Johnson, the performer of one of my all time fave 45s, 1966s ‘Boogaloo #3’. That, and the fact that ‘Dr Feelgood’ was a pseudonym for blues legend Piano Red (aka William Lee Perryman) who was 51 when this record was recorded. Perryman, who was playing and recording with Blind Willie McTell in the mid-1930s, spent years as both a musician and under the Dr Feelgood name, as a DJ in the Atlanta area.
It is in fact Perryman singing on the 45s A-side ‘Dr Feelgood’ which was a minor R&B hit.
It was the B-side, ‘Mr Moonlight’ which would – a few years later – put more than a few dollars in the pockets of Roy Lee Johnson.
One of those records that presents a perfect bridge between the harmony records of the 1950s and the soul of the 60s, ‘Mr Moonlight’ has a melody worthy of a Tin Pan Alley standard, and Johnson’s vocal is nothing less than epic.
This is one of those songs that I can’t help wailing along with when I play it in the car (or anywhere else I think I won’t get caught).
I hope you dig it, and I’ll be back on Wednesday with something cool.

Peace

Larry

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By Larry, May 27, 2010 4:09 pm

The Mad Hatters

Listen/Download – The Mad Hatters – The Monkey Children

Greetings all.

The end of the week is here, and as usual, I am just about tapped out.
Things have been busy hereabouts, with all the bloggish stuff, and all of the real world stuff that keeps the old datebook stuffed full of commitments.
Next week will see the arrival of the 2010 Funky16Corners Pledge Drive, and as I’ve mentioned a few times in the last week I have something very cool lined up for he occasion (the main thing that’s been keeping me busy).

Also, this Friday sees the long awaited return of the Asbury Park 45 Sessions at the World Famous Asbury Lanes. The whole crew will be there, and will without a doubt be packing some serious heat of the funk and soul variety, so, if that sounds like a bag that you’d like to be in, and you’re withing driving distance it would be a very groovy thing if you were to fall by and check out the doings.
The tune I bring you today is something I picked up off of a sale list a while back, mainly because it looked very cool. I’d never heard of the group – The Mad Hatters – but one look at the combo in the picture above, and a glance at the song titles on the album convinced me that it was more than worth my while to unfold a couple of dollars and grab the disc.
I’ve gone on at length in this space (and elsewhere) about my love for, and definition of soul jazz. I am without question a huge fan of the genre, as well as a connoisseur thereof, in that I’ve spent way too much time putting what might be described as ‘too fine a point’ on what I consider true ‘soul jazz’.
There are those that will lump pretty much everything with an organ on it into the genre, or similarly anything with the slightest leaning toward rhythm and blues. Much of the music so defined is – at least nominally – soul jazz, but this says more about the omnipresence of the sound between the late 50s and the late 60s, than it does about the people making those sounds.
If there’s a point I’m trying to make, it is that while many people were including soul jazz as part of their own musical bouillabaisse, there were others who devoted themselves to, and specializing in this particular sound. The music of the Mad Hatters would suggest that the group fell into that latter category.
I haven’t been able to discover anything about the group. My instincts (and the jacket photo on the record) suggest to me that the Mad Hatters were a working outfit, as opposed to some anonymous grouping of studio heads.
The music on the album, represented here by the track ‘The Monkey Children’ is pure soul jazz, bluesy and swinging, never overplayed or taken too close to the edge, ultimately the kind of music with which to nod your head (and tap your feet) between sips of a cold beer or the cocktail of your choice.
Groovy stuff, and the kind of thing I can still listen to for hours on end.
I hope you dig it, and I’ll be back on Monday with the Pledge Drive extravaganza.

Peace

Larry

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By Larry, May 25, 2010 4:32 pm

Listen/Download – La May – Free the Soul Man

Greetings all.

I just got in from mowing the lawn and I figured I’d steal some time in which to blogify, as it were.
Got me a busy shed-jool this week, so I’m trying to keep things going as smoothly as possible. In addition to the real world shit I have going every week, I have a normal blogging schedule, as well as preparation for next week’s Funky16Corners 2010 Pledge Drive. Things are moving along at a brink place, but I really need to keep my ducks in a row or else the chaos that is always on my tail is likely to overtake me and bollix up the whole deal.
The tune I bring you today is something I picked up a while back in an e-dig. After hearing a sound clip I made my bid, and fortunately for me, this record is either slept on, or does not meet the strict requirements of the funk 45 diggers of the world, because I ended up getting it for a (relative) pittance.
‘Free the Soul Man’ by La May is – I suspect, since I haven’t been able to date it conclusively – a mid-to-late 70s side created by someone (La May, I assume) who was likely the president of the local James Brown appreciation society. Like some Lee Fields (and others, I’m sure) 45s of a similar vintage, what you are hearing is something like the wake of the SS Soul Brother Number One, piloted by its funky captain who’s influence was for a time so wide ranging as to be almost inescapable (and La May clearly did not escape).
‘Free the Soul Man’, has some tight snappy drums, and a JB-esque vocal, but it also bears the mark of a later production era (as well as some synthesizers), so much so that I imagine that some of the crate diggers out there with impossibly high standards of the grit level in a funk 45 might not dig it, hearing something that is less gut-bucket than it is sequins and jheri curl and being drawn in by the orbit of the Disco Death Star.
This is not to say that ‘Free the Soul Man’ is disco, on account of it isn’t. It’s clearly funk, and even though some of those Mothership/FONK signifiers are there, the production is so enamored of James Brown that no matter how moogy/arpy things get, the good foot is still in the picture.
As far as provenance, SPQR – in its earlier days a storied R&B and soul label out of southern Virginia (with acts like Jimmy Soul, Lenis Guess and Sir Guy) – seems to have been reactivated in the 70s, since the discographies I’ve been able to find for the label seem to trail off before the end of the 60s. The label says that the tune was recorded in New York City at Guess Recording Studio (Lenis Guess???), but the label address is – as in the old days – Norfolk, VA.
If anyone knows more about La May, or the later years of the SPQR label, please drop me a line.
See you on Friday.

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, May 20, 2010 4:10 pm

Horace Andy

Listen/Download – Horace Andy – Show and Tell

Greetings all.

The end of the week is here, and I’m feeling mellow (as a cello), so I figured I drop some sweet island soul on you.
This is one of those times, where I wish I had a selection of paragraph-long explanations linked in the sidebar, so instead of belaboring a point made in this space several times in the past, I could instead insert a footnote/hyperlink, which – when followed – could present the boilerplate, i.e. a shorthand of sorts.
That system never being put in place, I will instead try to distill the thought into a single sentence:

I love reggae, collect it when I can, but qualify the statement by saying that I in no way present myself as an expert on the subject.

How’s that?
That said (briefly) I recently grabbed a handful of nice reggae 45s, including a couple of nice soul covers. I was tempted to do another all-Jamaican week, but decided against it, feeling it might be cooler to spread out the individual sides over the course of the coming months, including the reggae as a seasoning of sorts.
Though I’ve danced around the idea a little bit in the past, I would say that although there is a stylistic divergence based largely in the rhythms specific to Jamaica and its denizens recording abroad (especially in the UK), much of the music described as reggae, ska, rock steady and what have you during the 60s and 70s is so closely related to (and often derivative of) R&B, soul and funk that it wouldn’t be much of a stretch to just wrap it all up in the same bag, and then to go ahead and slice it up by sub-genre.
There are clear differences, but the roots are in most cases the same, and though it has largely been a one way street (i.e. passing from the US to Jamaica but rarely in the opposite direction) there has been a lot of sharing of material.
Today’s selection is a great example thereof.
Horace Andy is one of the great Jamaican vocalists of the 70s and beyond, having worked and lived in his home country, the US and the UK, eventually working in dub and even triphop, collaborating with Massive Attack.
The song I bring you today is a fantastic, laid back cover of Al Wilson’s huge 1974 soul (and pop) hit ‘Show and Tell’. I haven’t been able to date this recording conclusively, though it wouldn’t seem to be any later than 1981 (when it saw issue on the Studio One label). I suspect it’s probably from a few years before that.
The tune adapts well to the reggae rhythm, with some tasteful, subdued lead guitar moving in and out of the mix. Andy’s sweet tenor – at times lifting into falsetto – is supported by female backing singers. The arrangement is spare compared to the original by Wilson, but since Andy is a completely different kind of singer, it works well.
It’s very groovy indeed and I hope you dig it.

NOTE: Don’t forget to check out the Funky16Corners Radio Show on Viva internet radio this Friday night at 9PM.

Have a great weekend.

Peace

Larry

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