three-sixty-five45s

It Ain't No Big Thing

2009-01-07T18:28:00.000-08:00

A good mix tape (or CD) reveals itself over time; some tunes hit you straight away, while some tunes grow on your over time. If you find yourself skipping over the tunes you used to love, and consequently overplayed, to get to the new songs that have gotten under your skin, you have experienced this. And often, the second group of tunes challenge you in some way. Well, this Personal Touch 45 fell into the second group for me on a comp CD someone made me. I like a good 70s soul tune, but I generally stay away from disco. Personal Touch's "It Ain't No Big Thing" brings in a good bit of both, and mixes it just right.

Musically, "It Ain't No Big Thing" has several things going for it: that fantastic bass line that powers the tune, the booming interplay of the bass and drums during the chorus, and just the right tempo. And the lyrics are great, too: It's an angle of the end of a relationship that isn't often explored in song: it's over, and it ain't no big deal. As she states "You and I should have no fears / About leaving this unhappy home / This love affair we've both outgrown". Nicely delivered, too.

A belated Happy 2009 to everyone.

Sissy Walk

2008-11-30T18:16:00.000-08:00

I promised myself I would get back into the blog game by Thanksgiving, and just under the wire I offer Freedom Now Brothers' "Sissy Walk" on the All Brothers label outta Philly. After stating in my last post that I had pretty much sworn off e-bay, I must admit that this was an e-bay purchase.

"Sissy Walk" is a fairly well known funk tune, having been sampled years ago, as well as reissued with the fantastic Ann Robinson tune 'You Did It" on the flip. Still, it's a quality tune that is heavy on the horns as well as the drums.

From what I have been able to find on the internet, the All Brothers label was run by Philly DJ Sonny Hopson, and had only 3 releases:

42269 - Freedom Now Brothers "Sissy Walk / It's Our Thing"
61069 - Ann Robinson "I'm Still Waiting / You Did It"
72869 - Emanon's "Look In The Want Ads" / Emanon's Orchestra "Birdwalking"

I placed them in order of what seems to be their release number. If anyone has any additional details or information, it would be appreciated. If any more details come my way, I will update this post.

Love Gonna Pack Up (And Walk Out)

2008-09-18T18:05:00.000-07:00

My modus operandi this summer has to been to lay off e-bay and the internet in general for records, and just go out and see what I find at records shows, flea markets, yard sales, etc....I've become lackadaisical about my hobby. It seems to be much more fun to see what I stumble upon instead of having a list of records I must own and seeking them out. It makes for some ups and downs, some surprises, as well as some serious disappointments.

Why do I tell you this? Because, upon hearing Sly, Slick & Wicked's "Love Gonna Pack Up (And Walk Out)" on a mix CD a month or so ago, I broke with my standard way of doing things and hunted down a copy off the internet pronto. The tune is stripped down soul of the highest order - no horns or orchestration, just the vocalists, the drums, and organ, and an occassional appearance by the bass and guitar players. Just those snapping drums holding everything together while the organist supports the vocal harmonies (and, when playing in between the vocals, adding a nice bit of moodiness to the tune). A special mention about the lead vocalist, who really tears up this tune by wringing the emotions out of the lines like "does it matter / whose fault it was?" by pushing the first half and pulling back on the latter half. Finally, the whole tune has a 'roughness around the edges' to it that works well for the subject matter. Fantastic stuff. More tunes like this, please.

Vinyl Record Day, 8/12/2008

2008-08-11T19:23:00.000-07:00

I'm coming in on the tail end of Vinyl Record Day, but wanted to add my thoughts and well wishes for this celebration of all things round and meant to be played on a turntable.

This summer I've done something different and taken a break from my normal record collecting habits (focusing on soul, funk, jazz 45s), have given up on e-bay, and have just relied on the record I have been able to find at various flea markets, yard sales, thrift shops, as well as record shops and shows. It has made for some interesting listens, as I have bought obscure hip-hop 12s at a yard sale, someone's collection of chanting records from a thrift shop, psychedelic and early 70s rock LPs from the only box of records at a flea market at a church in Trenton. Basically, I have spent this summer buying records outside of my comfort zone, which has sometimes surprised me, sometimes disappointed me.

On this Vinyl Record Day I want to advocate something different: before you put on your favorite record, give something that hasn't quite clicked with you another chance. You just might be surprised.

There's a number of blogs celebrating Vinyl Record Day, and the full list of participants can be seen over at The Hits Just Keep OnComin blog.

El Pito

2008-04-23T18:30:00.000-07:00

Here's a latin scorcher that I bought for the flipside, a cover of Jr. Walker's "Shotgun", last year, and recently flipped over. Boy was I wrong about the side to listen to on this one. Anyway, "El Pito" is a cover (originally done by Joe Cuba) taken from an LP entitled "King of the Boogaloo" by Pete Terrace.

Opening with a a whistling interlude, this tune gets right down to it, and is fueled by hand-clapping over the groove. The handclapping never stops, no matter what the instruments do, and there are plenty of tempo changes throughout. And every time the tune begins to build again, there's that catchy piano line, and then the drums come in, and then vocals come in, and we're off.

This is probably one of those tunes that shouldn't be written about. This tune's purpose is very direct: get up off your butt and dance.

Tell It Like It Is

2008-03-19T17:48:00.000-07:00

Tonight's 45 is a record by S.O.U.L. (Sounds of Unity and Love) outta Cleveland, Ohio. S.O.U.L. released 10 45s and 2 LPs on the Musicor label in the early 70s, and their LPs are particularly sought after, as well as at least one of their 45s (who's got a copy of 'Burning Spear' for me?). I wish I could say that I'm always buying their 45s when I come across them, but unfortunately, it's not very often that I see them at shops or shows.

This tune is a solid groover that has plenty of changes throughout. The vocals are sung by a number of the members of the group, which gives the tune a "show band" sound to me. The vocals and thewah-wah of the guitar are up in the mix, bass and organ in a support role underneath. There's a couple breakdowns where everything falls away except the drums, bongos andwah-wah of guitar behind the vocals, the second breakdown features a separating of the voices before going into a piano-led outro. I dig that falsetto. Would have liked to heard more of that, but nothing to complain about here.

I Can't Believe You Love Me

2008-03-11T17:13:00.000-07:00

I've been meaning to feature this great 45 by the Ambassadors that I bought last year, somehow misfiled, and only recently had the opportunity to really sit down and listen to. Like the Helene Smith 45 featured a while back, this was another record I pulled from a box ofunsleeved 45s at my local flea market (looking at unsleeved 45s being a practice I only really took to last year). Anyway, enough talk of my collecting habits, and, instead, let's talk about this fantastic slice of soul by The Ambassadors released on Arctic in 1969.

Opening with a steady beat, a lovely bit of jangly guitar, and ace harmonies, the song settles into it's groove and then when the lead vocalist comes in, the song really takes off. His vocals are spectacularly soulful. He consistently brings his vocals up out of the tune, and in the choruses, he works with, or juxtaposes against the backing vocals, sometimes finishing their lines to very nice effect. Lines like "When I speak your name in the sweetest tone, It's just as though I'm all alone" just knock me out. The production is quality, a rich sound of horns, piano, bass and drums grounding the vocals (especially like the bass sound of the horns as the vocals soar).

The more I hear on this label, the more I am impressed. Quality stuff.

Too Hot To Hold

2008-02-28T17:27:00.000-08:00

Let me start off by saying that this is my favorite 45 right now. Pulled from a $2 box at the WFMU record show last November, it wasn't until after the new year that I had a chance to clean it and give it a proper listen. And since then, I've got it burned to a CD and it's on constant rotation on the way to and home from work (generally the only time I have to actually listen to music). Anyway, it's a stormer - as Tina sings in the very tune - it "sets my little soul on fire".

Tina's voice is at the top of it's register from the very start, propelled by steady drumming and a bass that's well up in the mix. Then there's that scratchy bit of guitar that wonderfully contrasts with the bass, and the organ that bubbles underneath. For the choruses, the horns come in, build, and then the band crashes down on them. And let's not forget the backing vocals, which are as strong as Tina's.

The second verse is my favorite, where Tina pulls it back just slightly and sings:
I thought I knew everything a girl's supposed to know
About how to keep cool when the heat is on
You taught something I never learned
You made me hot enough baby, hot enough to burn

And then the group takes it right back up. And they sound damn good throughout. This is one smoking slice of soul right here.

I believe this is the 3rd 45 titles "Too Hot To Hold" I've featured. Anyone recommend any others?

Forget Him

2008-02-22T18:17:00.000-08:00

I thought I'd stay with the Carnival label and feature this wonderful 45 by Barbara Brown, "Forget Him", which was released in 1965. I bought this at a flea market last year, and the seller had placed a small pink post-it note on the 45 label that read "worth a lot". So when I handed him the four 45s I was interested in, I expected the worst, but was pleased when he asked for $5 for the lot. I believe another 45 had a note that read "hard to find". Funnily enough, I have kept these post-it notes, and they now reside on the paper sleeves that house the 45s.

Barbara Brown's "Forget Him" is built on a solid drum beat, a percussive piano, guitar and bass. There's a slick little guitar line that opens the tune, and re-appears throughout, often working in concert with the drums to almost reset the tune. Horns work in the background, primarily via a mournful trumpet that helps the maintain the mood of the tune. Barbara's delivery is sometimes down, advising the other lady to forget the guy in question, to sometimes soaring, when reminiscing about him. Likewise, the tempo moves between a slower pace to mid-tempo. Start to finish, though, everything is spot on: another quality production by Carnival.

This tune can also be heard on Soulclub. Check it out.

Also, if you're in the Asbury Park area, there is a record show this Sunday, February 24th at the Asbury Lanes. I will be there selling some LPs and 45s, so stop by if you can. More info here.

I Love You More

2008-02-17T18:32:00.000-08:00

Well, I was hoping to have a new 45 on the blog last week, but with the arrival of my daughter's first molars, it was a night-waking, sleep-deprived, caffeine-fueled week. I was so tired that, even though I bought the Valentines cards before the actual day, I didn't remember to sign them until Thursday morning. Anyway, here's a belated love song, Lee Williams & The Cymbals' "I Love You More" on Carnival Records.

"I Love You More" is a slowie, opening with some plaintive guitar, the bass, and a crisp drum beat. Other than this, there's some very low horns (tuba?) and the vocals of the group. And those vocals are simply outstanding. There's not much variation in the musical theme of the tune, just some slighly scratchy guitar, plenty of bass and tuba to give it plenty of bottom, and those spot on drums. The tune is direct, yet with plenty of depth. Singing "I love you more than anybody's ever loved anyone" could backfire on you, but it never does here. Simply brilliant. You can check it out on SoulClub.

I believe I have mentioned this in a prior post, but I highly recommend the "A Carnival of Soul" CDs (on Kent) that feature sides from this label. Quality soul music through and through.

Keep Your Chin Up

2008-01-28T17:48:00.000-08:00

Here's a fantastic soul side by Jackie Ross on the Brunswick label, "Keep Your Chin Up". Jackie had a number of 45s released on the Chess label in the mid-60s before she moved to Brunswick for 2 45s, this one from '67, and one more in '68. This tune has had some plays on the northern soul scene, and really got under my skin when I participated in a CD swap last year. I knew I had to find this record, and my opportunity came last week when a copy was sitting in the cheap bins of a local shop.

Right off the bat, "Keep Your Chin Up" gets me with the interplay of Jackie's high voice and the falsetto of the backing male vocals. From the opening guitar lines, the production really seems to do what is the song is all about, uplifting the spirits of someone who is helplessly in love. The drums, bass, bongos, even a vibraphone are there to propel the tune (there's a real lightness to the song when it's just these 4 instruments, never overpowering Jackie's vocals) to the chorus, where the strings and horns take the tune to a crescendo. And then guitar comes back in, everyone resets and we're off again. Brilliant stuff.

You can hear this tune over at Soul Club.

The Pussyfoot

2008-01-24T18:42:00.001-08:00

Here's a tasty 45 I bought last November at the WFMU show in NYC. Somehow, it got misplaced, and I just recently dug it out an gave it a proper cleaning and listen. And it's really striking a chord with me, especially since I've taken a break from the jazzier side of 45 collecting for the last half year.....

This 45 by Quincy Jones is backed with "For Love of Ivy", which is the same name
of a movie released in 1968. From what I have been able to find out, "The Pussyfoot" did not make it onto the soundtrack LP. A shame, really, as this track is real nice.

"The Pussyfoot" has a real swinging groove, led by the piano and bass. The piano is perhaps the real driving force, though, so percussive and direct. Underneath this,
an organ bubbles up and around the main theme, playful, yet giving it a soulful feel, too. The tambourine jangles fleshes things out, and the drums - when they're in the tune - are truly in a support role: the piano is the real percussion here.

This is what I love about jazz and jazzier side of things on 45, the directness. Forget all that soloing and give me a groove I can nod, or even dance, to.

Time to re-open the record box

2008-01-23T18:14:00.000-08:00

I haven't forgotten about this place. Things have been hectic, real hectic, and time has just gotten away from me. My daughter is 14 months today, and very mobile. Absolutely amazing how a child can nearly master walking in a month.
Anyway, I have some quality 45s that have been added to the record box, and it's time to sit down and get back to the music. Look for an update soon!

Did My Baby Call?

2007-11-13T17:58:00.000-08:00

Recently, I got a handful of new 45s, many of which were demo copies. Let me just say this: I am really a sucker for white demos these days. There's nothing like finding a great tune on 45, and if it's a white demo, it just makes it that much better (these sentiments were echoed in an article on the excellent Hitsville Soul Club website a while back). Now, I'm not gonna turn the blog into a demo 45 only site, but you will probably see a few more in the coming weeks.
Anyway, tonight's selection is a tasty 45 on the Stax subsidiary Volt from 1972, The Mad Lads' "Did My Baby Call?". Opening with the hi-hat and an organ, the tune builds over a stutter step drumbeat. The horns come in as the group nears the first chorus, and then the strings, which add a nice layer to the song. From here, the tempo pick up a bit and the tune is more of a dancer. When the group pulls back, a flute comes in, signifying almost a bit of introspection. And then back to the question: Did My Baby Call?......such a quality tune.

The Arabian

2007-10-10T18:18:00.001-07:00

This is one of the more interesting 45s I've found in the last month or so, "The Arabian" by the Johnny Frigo Sextet (and oddly enough 2 weeks later I found another 45 by them, "El Negro", which was featured on the excellent Office Naps blog). From Office Naps and other sources, it seems that the Orion label released tunes by Johnny Frigo that were written for Giordano's dance classes. If ever I could make a video request: a dance class practicing to "The Arabian". Who has this in their archives?

"El Arabian" is heavy on the percussion, fueled by an unrelenting bongo and a drummer playing the top of the cymbal. There's some nice interplay between a saxophone and a trumpet. Then there's the drum bit where everyone steps back, except for the everpresent bongos. They continue to propel the tune along even as the drummer is doing his own thing. The overall feel is a like a speeding through a dark night on a winding road - the lights never shine on where you are until you get around that next bend. Quality stuff.

This track is featured on a collection of the Johnny Frigo Sextet, which has been released by Ubiquity Records.

How Come My Bull Dog Don't Bark

2007-10-03T18:18:00.001-07:00

I can't believe a month has passed since my last entry. Time certainly seems to move right along these days. And there's not much time for finding records or, more importantly, sleep! Anyway, tonight, I'm having a bit of a trip down memory lane. Back when you would trade cassettes of 45s and LP tracks with your friends. That's where I first heard Howard Tate's "How Come My Bull Dog Don't Bark". A friend made me a tape of soul, r'n'b, jazz 45s. And it was quite an eye(ear?)-opening experience. Well, last month I was able to upgrade my copy, and also had the pleasure to remember what a great record this is. I must have played it 15 times the first night.

"How Come My Bull Dog Don't Bark" is a straight-ahead slice of r'n'b. Built on a strong, steady drum beat, there's some tasteful guitar and plenty of organ bubbling up. After the first chorus, the sax and horns come in, and then we really got a tune that makes you wanna dance. Even though the tune is about his woman possibly cheating on him, this tune always makes me feel good and puts a smile on my face. Apologies Mr. Tate.

You can check this tune out (as well as other soul tunes) at Soulclub.

You Got To Be A Man

2007-08-29T17:55:00.000-07:00

A few weeks back I took the week off for a vacation that amounted to just hanging out with the family and taking a few day trips. I also made it a point to visit the local flea market that happens on Wednesdays and I usually miss due to work commitments. Overall, there wasn't much happening on the record front, except for a box of 45s that was being pulled by one of the last tables as I was making my way out. Now it was a box of unsleeved 45s, which I generally avoid, as the records generally are worse for wear. But having no luck and no need to rush home, I figured it was worth the look. I'm glad I stopped, as I stumbled across this 45 by Helene Smith I had been after. I didn't realize it until after some research that this record had been released on Deep City Records out of Miami, and was picked up by Phil-La of Soul for national distribution.
This tune is propelled by the bass, which is up in the mix, right behind Helene. The drums also support the tune, as well as the organ that seems to be just bubbling under everything. The horns come in after each line, as if to pace the tune. All these musical elements come together for a quick break, and then right back to Helene, and the tune continues on. I love how straightforward this song is. And, believe it or not, the marks on the record resulting in the noise in the background adds a nice bit of grit to the message.

Numero Group released a comp of Deep City as part of the Eccentric Soul series. I got a copy last week & it is highly recommended. Click here for details.

Ain't No Love Lost

2007-08-21T17:49:00.000-07:00

On Vinyl Record Day I was able to do some record shopping, and I hoped to find a handful of items to present that night, but it was not in the cards. Instead I walked away with only a few items. The highlight was five 45s I bought for $2.00, which included this lovely tune by Patti Jo on Scepter, "Ain't No Love Lost". There's scant info on Patti Jo out there. It seems she only had one other record, a 45 on Wand, "Make Me Believe In You / Keep Me Warm". And supposedly she was 16 years old when she made these recordings. And then there is obviously a Curtis Mayfield connection, as he wrote and produced this recording.

"Ain't No Love Lost" chugs along right from the get-go. Underpinning it is the bass, the hi-hat, the ever-present bongos. As Patti's vocals come in, the strings show up, and they really flesh out the tune. And the occassional piano flourishes are a nice touch. The subject matter is Patti's response to her man playing, which can be summed up in: "From you I don't want no part". Along the way she has some great lines, including "Who am I to say / how man are supposed to play?", which gets me every time. I love how the groove is maintained by the bass and hi-hat. The drums are rarely employed, and when they are, it adds a dramatic effect. Very nice indeed.

If anyone has any details on Patti Jo, it would be greatly appreciated.

Vinyl Record Day, August 12th

2007-08-10T18:31:00.000-07:00

I recently learned that Sunday, August 12th is Vinyl Record Day. It marks the anniversary of Edison's invention of the phonograph, and a number of blogs are participating in the celebration of records. I thought it would be a good time to move outside of my usual 45-specific posts and talk about last year when I finally awoke to jazz LPs. I have been a jazz 45 fan and collector for a number of years, very much into the cut-to-the-chase nature of jazz tunes when on the format. No need for all the solos, just give me something uptempo to dance to, preferably on the Prestige label. Yes, this is perhaps heresy to some, but that was my stance, 45s only.

One Sunday at a flea market, when there were no 45s around, I picked up a number of jazz LPs for $2 each. Lee Morgan's "Sidewinder", Miles Davis' "E.S.P.", Donald Byrd's "A New Perspective", some Willie Bobo titles, and others. When I got home, I cleaned a number of them, and the first title that made it onto the decks was Lee Morgan's "Sidewinder". I put on the headphones, and, being familiar with the title track, I went to "Totem Pole", and the interplay of Lee Morgan's trumpet and Joe Henderson's sax at the intro just struck me. The solos made sense, the playing just knocked me out. My eyes lost focus as I was absorbed in the tune, and as the song was winding down and the trumpet and sax became intertwined again, I thought to myself "What was I thinking?". I continued through side 2 and concluded that I had been missing out.

After a month or so of playing this record several nights a week after my wife went to bed, I sat down and really listened to Miles' "E.S.P.", which, which, well, for lack of a better term, blows up my mind every time I listen to it. And right now is no exception.

I have slowly made my way through the titles I bought that day. My interest in jazz LPs has grown, much to the chagrin of my wife, who likes to remind me that when we met I told her "I am a 45 guy". I no longer make such a claim.

I went back to the flea market the following week and bought a handful more jazz titles. All in all I bought about 30 jazz LPs. This is the basis of my jazz collection, and when I want to listen to something after everyone is in bed, these records are what I usually turn to first. The record sellers told me that they bought the records off a 91 year old neighbor. He wrote a "C" in black marker on the bottom right of the back of the LP covers. Well, Mr. C, you have good taste in music, and I'm very much enjoying the records. They opened my eyes to something I had been missing.

Check out all the blogs participating in Vinyl Record Day over at The Hits Just Keep On Coming. There are a number of great blogs participating.

Jesus Rhapsody

2007-08-09T18:41:00.000-07:00

This excellent slice of gospel soul finally arrived yesterday, and I had planned on featuring it the day it arrived, but responsibilities got in the way. Instead, tonight, I am going to ignore my desire for sleep and get this together before a few more weeks get away from me, which is often the case these days.

This tune has such a rich musical texture: opening with a cascading harp, bass, congas, and a steady hi-hat, the guitar and strings come in, only to have it all drop of for a drum solo. All this in the first 45 seconds or so. And then the tune takes off. Several times, the group takes a step back and the chorus sings "Jesus, Lord Jesus", and the tune returns to the instruments present at the very start - the harp, bass and congas - as if the they are catching their collective breath before the guitar and string comes in and it builds again, this time into the lead singer's vocal crescendo that could rival some of the best soul and funk records out there.

The prescence of so many instruments is just amazing - the harp paired with the bass, the guitar with it's effects, the congas underneath everything, the strings - it all sounds so good together. Makes me wish they'd release Part 2.

This 45 was featured on the fantastic "Good God! A Gospel Funk Hymnal" released by Numero Group last year. A highly recommended compilation.

You Wore Your Lie Well

2007-07-18T18:20:00.000-07:00

Well, I was very happy to have this 45 show up on my doorstep yesterday. I don't have much time to listen to, let alone find, records these days, so when I can actually knock something off the wants list, it's a good day. A very good day.

Unfortunately, the tune is not about a happy matter. Mamie has been fooled by her lover, a situation that can best be summed up by the lines "I gave you everything you could ask for / how dare you stand there and say we're just friends?". As the song builds, she seems to move up in her register, a very nice touch.

The music is a bass-heavy slice of funky soul. It's amazing how effectively the bass propels the tune along. The percussion plays the supporting role, but fills in all the openings nicely. There's a bit of wah-wah behind everything, too, that often fuzzes out. The horns come in for dramatic effect, just a jab or two when all the other musicians step back. Simply fantastic.

My World

2007-06-25T17:16:00.000-07:00

Here's a brand new release by Lee Fieldson the Truth & Soul label, "My World / Love Comes And Goes". Let me get right to it - it's a scorcher. I heard this last week over at Galactic Fractures, and it immediately knocked me down. I had to find a copy. Thankfully, a copy popped through the mail slot on Saturday.

What strikes me right away is how stripped down the tune is, even with the horns and strings. Nothing is flamboyant, instead all the instruments are used sparingly, and so precisely, it perfectly sets the mood behind the Lee's vocals. I haven't had a chance to absorb all the words, but there's a somber tone. Listening closer, this is a very topical tune, seeming to take issue with the illusions that surround us. I especially like the lines "Brought up by a mother / And tricked by a brother / Destroyed by the poison inside / We raise our children / under false illusions /Shatter hopes and self ?" (not sure about that last word - I'm gonna have to sit down and write out these lyrics). All throughout, the band doesn't crowd the vocals, but lets him speak his peace. Everything is nicely understated.

15 listens in, and this record gets better and better. Do yourself a favor and get this 45. It is the best new soul record I've heard in a long time. The 45 can be found at dustygroove.

Check out Galactic Fractures via the link above. Not only do you get to hear this track, but a Big Ella tune that I've not heard before (hell, I didn't even know about that one), as well as a number of other quality tunes.

Black Boy

2007-06-14T17:51:00.000-07:00

I'd been meaning to feature this 45, but things seem to be taking longer to accomplish these days. Anyway, Beat Goes Public (BGP) recently released a double LP by Dyke & The Blazers, and one of the tunes featured was this unreleased killer, "Black Boy". Before I talk about the song itself, I wanna take my hat off to folks who reissue quality music, and are on the look out for unreleased gems that may be lying in the vaults. Your hard work is much appreciated.

OK, now on to "Black Boy". It's a very topical tune, opening with "I'm the black boy, from the ghetto" over a spanking rhythm. From there he states "I know what it means / to have to walk in through the back door". Nothing is held back, either lyrically or musically. The music is tight, the drums are right on, the bass is in your face, the horns are there when they're needed. Ace playing from the guitarist as well. The vocals are a bit raw, too, which really adds to the tune.

The flip side features an alternate take of the utterly fantastic "Let A Woman Be A Woman, Let A Man Be A Man". Highly recommended record.

That's In The Past

2007-05-30T17:53:00.000-07:00

Well, it's been a few weeks since the last post and I really thought that I'd get my act together over the Memorial Day weekend, but things didn't pan out as I thought they might........but anyway, my little girl is six months old and settled down into a pattern of going to bed by 8 pm, so hopefully I can return to a more regular posting schedule. I say that now, but if those beautiful blue eyes were to open, I'd step away from this keyboard in an instant.

Anyway, today's treat is one of a handful of 45s I've bought in the last 6 weeks. Yes, it's been pretty dry lately. Thankfully tunes like Brenda & The Tabulations' "That's In The Past" on Dionn can be found for a decent price.

This tune just captures me right from the intro. The song builds nicely with a jangly guitar, a roaming bass line, and a slightly funky drumbeat supporting Brenda. And then the horns come in, and then those soaring strings, and the song wraps you up.......brilliance. The production gets me as well, as the music - the strings especially - almost overpower the vocals. But Brenda does a great job of making the song hers with the support of those well-placed male backing vocals.
Quality stuff.

Midnight Boogaloo

2007-05-06T18:12:00.000-07:00

I figured I'd keep the promo 45 in a company sleeve look and feature a 45 by the ever-impressive Ray Barretto. This is the second 45 I have found by Mr. Baretto on the UA label, and it is very much the opposite of "Do You Dig It?", which is a manic slice of boogaloo. On the strength of these two 45s, I guess I should hunt down the LP, but it's alot harder to sneak an LP into the house than a 45......

'Midnight Boogaloo" is a restrained and jazzy affair, building and changing tempos throughout. The piano player opens the scene, and, after some interplay with the guitar and bass, the drums and horns come in. That snare is a-snapping, and it sounds fantastic. The horns help the tune to ebb and flow, always returning everything to that opening piano line. A solid tune that would certainly let the dancers breath while the band continues to smoke.

I would be curious to hear of any other Barretto 45s on UA, and if anyone has seen any stock copies. I believe he only had one LP on the label, so I can't imagine there is many more......

I'm Getting Hip (To Your Ways & Actions)

2007-04-23T17:56:00.000-07:00

Here's a tasty mid-70s soul tune from Ujima, "I'm Getting Hip (To Your Ways & Actions)" on Epic. A tune I never heard before it was purchased, this record has really gotten under my skin. From the opening notes, where horns build over a bit of wah-wah, Ujima go full throttle, and it is such an enjoyable ride. The singer has a bit of a roughness to his voice which really works with the subject matter, and it contrasts nicely with the backing vocals. In the middle of the tune they take it up a bit and the singer puts it all out there - "I get sick and tired / of that he said, she said jive / I've got to leave you baby". The music is nice and dense, solid rhythm section, an organ with almost a fuzz effect on it, horns and strings moving in the background.

I've become much more of a fan of mid-tempo and slower stuff, but give me more uptempoo stuff like this anyday. Just spectacular. Info on Ujima can be found on the soulwalking website.

Unwed Mother

2007-04-06T09:12:00.000-07:00

One record I was hoping to find at the Allentown record show was Joe Bataan's "Young Gifted and Brown" which I had been plying again and again the days before that Saturday. Well, it just so happened luck was on my side, and I found a copy. But, to sweeten the deal, when I got it home and flipped the record over, I was even more impressed with the tune that resided on the other side, "Unwed Mother".

Joe is particularly soulful on this tune, perhaps the most soulful I've ever heard him. And the whole production - the tempo, the playing, the subject matter just works so well. Instead of blathering on and on about it (which I could do cause this tune just knocks me over), have a listen to the soundclip below. I'm gonna have to look out for the LP this record is off of.

Unwed Mother

Master Piece

2007-04-03T18:45:00.000-07:00

After a few weeks away, things are settling down around here. The baby is getting into a pattern, although she is never predictable. After trying to catch up on some sleep (I still can't guarantee that I'll make any sense in any upcoming posts), I figured it's time to turn my attention back to the blog. A few weekends back was the 45s and 78s only show in Allentown, PA. I'd been saving my money for this show, and I was not disappointed. There were a couple 45s I was especially happy to find, one of them being this slice of funky soul from Mr. Clarence Reid, "Master Piece".

"Na, Na-Na, Na-Na-Na-Na" over some tough drums is how Mr Reid kicks this tune off. Then right into the chorus - "Your Love is a Master Piece...." - which builds into the verses that are uptempo, straight up soul. And then things are stripped back down to those hard, mid-tempo drums, the bass and some horns for the chorus. There are a few lines in this tune that lead me to believe that the use of "master piece" is a double-entendre....hhhhmmmm.

Have a listen here: Master Piece

Top Of The Stairs

2007-03-06T17:09:00.000-08:00

Another hiatus. Has it really been since February the 12th? Time flies when a young one enters your life. It seems like the baby just came home from the hospital, and now she has started day care and my wife has returned to work. Things are ever-changing at such an amazing rate...and it seems it will never slow down from here.

Anyway, I am back with a wonderful piece of modern soul, Collins And Collins' "Top Of The Stairs" on A&M. Released in 1980, this 45 is a cover of the Ashford & Simpson original, which I must admit I have not heard. Anyway, as I mentioned a while back, I have really become a fan of the modern soul sound, often a more polished and commercial sound.

"Top Of The Stairs" features a male and female vocals singing to each other over a layered, mid-tempo beat that is ratcheted for the chorus. And when the chorus kicks in, the tempo picks up, the strings kick in, and the song wraps you up. It's as if the verses are gentle winds and the chorus is a tornado, as I am always swept away when this tune comes on. I can imagine hearing this in a club is an experience.

Highly recommended record. It has been comped a number of times, so it is easily available. Or if you prefer vinyl, I believe the LP is cheaper than the 45. Either way, check this tune out.

90% Of Me Is You

2007-02-12T18:58:00.000-08:00

Here's a tune that recently got under my skin in a very big way...Gwen McRae's "90% Of Me Is You" on Cat. Perhaps it is old hat to many readers, but I had only recently heard a partial clip in an e-bay auction, and with that 1 minute I heard, I knew I had to find myself a copy.

So many things converge on this record to make it special: the strings that move in the background, the underpinning of the solid drumbeat and the bass (which is nice and loud), the bit of wah-wah that flutters underneath. Female vocals back up the tune, butt only sing one line, "What can I do?", perhaps to reflect the pointlessness of trying to resist the overpowering emotion. But what really gets me is Gwen's delivery, just spot on, and those lyrics, especially:

gonna be the kind of woman that no man can move
i wanna have the kind of mind that no man can fool
i wanna look you in the eyes without getting weak in the eyes
i wanna be able to do without you despite all my needs

Just brilliant, brilliant stuff. So much good soul out of the state of Florida.....

Listen To Your Mama

2007-02-07T18:26:00.000-08:00

Well, it's been much longer than I anticpated - over 2 months - since I've featured a new 45 on the blog, and I apologize. My wife had our first child on Thanksgiving day, a beautiful little girl named Ella Victoria. She recently started to go to bed before midnight, so life seems to have settled down a bit. Hopefully enough that I can share some records on a more consistent basis.

My record purchasing habits have slowed down and seemingly mellowed a bit. I've been buying less funk and more mid-tempo soulful stuff. And I'm really digging modern soul as of late, too. Expect to see some of this stuff in upcoming features.

I thought I would focus on a 45 with a parenting bent, Les Tres Femmes' "Listen To Your Mama", that has a Philadelphia connection thanks to the label. And it looks lovely on the white demo (I've never been a promo 45 collector, but the white demo has suddenly started to look especially attractive). Opening with a strong drumbeat, the girls proceed to tell their cautionary tale about not listening to the sage advice of their mother. 'Listen To Your Mama' is built on a stripped-down groove - drums, bass, and guitar - with an organ bubbling underneath, sometimes overflowing. Horns come in for the chorus, completing the 1-2 punch. I dig how loose the tune is. Sing on girls, sing on.

Georgia On My Mind

2006-11-16T16:56:00.000-08:00

Here's a recent acquisition, knocking off one of the few remaining Prestige 45s I'd like to find, Pucho and the Latin Soul Brothers' version of 'Georgia On My Mind'. And it's an intriguing 45 at that. A poly-rhythmic latin groove propels the tune with vocals, horns, and strings more fitted to a soul track round it out. This version is up-tempo, 100 miles per hour, and it doesn't hurt that the 45 is pressed nice and loud. The lead vocals are impassioned, somewhat coarse, and it's a nice contrast with the softness of the strings and vibes. The vocalist really doesn't hold anything back, even name-checking James Brown near the end. And behind it all is that rhythm, that incessant and catchy rhythm. I think I have to give this another spin, and then what else can I spin?.....looks like it's gonna be latin night!

The Proposition

2006-11-12T08:44:00.000-08:00

New York's afro-soul group, The Budos Band, has done it again. Their second 45, 'The Proposition' b/w 'Ghost Walk', features a new tune from their forthcoming album on the top side, and an organ burner from their first album on the B-side. A very nice pairing indeed.

'The Proposition' is a mid-tempo, horn-led tune. The trumpet and the saxophone interplay and take turns leading the tune. And when the horns come together for the main theme, they seem to originate from the ground itself. Behind everything is that spot-on poly-rhythmic groove. "Ghost Walk' opens with some tough drums, and then lets the percussion support a moody organ and a succinct guitar line. Some nice percussive breakdowns propel the song. The tune has a somber, dirge-like quality, and it really seems to be jumping out at me right now. I'm going to have to go back and listen to their album again. It seems that since this tune doesn't have the drums and horns, there's almost an 'other-worldly' feel to it.....hence the title?

Anyway, great two-sider here. Highly recommended record, and I'm looking forward to the new album. More information available here at Daptone.

Song To The System

2006-11-08T18:07:00.000-08:00

One thing I've been really digging lately is soul and funk with a socially-conscience edge. There's really nothing like a quality tune coupled with lyrics that are still relevant 30 plus years after the record was released. Tonight's selection is one of a handful that I've been enjoying, Segments of Time's "Song to the System' on Sussex. I'd stumbled across many releases on this label, but this one was a complete surprise.

Opening with some strings, the song comes together, building the groove as the group sings "Think about it", the chorus throughout the tune. The groove is dense, drums, bass and percussion up in the mix, fuzz guitar moving through the background, tambourine ever-present, and horns in the background. The vocals duties are shared by the group, and they each have different voices and deliveries, from smooth to intense. Very nice. They take it down to vocals and percussion, and then are escorted to the end by the fuzz guitar, tambourine and vibes.

I believe that Segments of Time also released an LP. Anyone know what it sounds like? Is this tune typical of the whole album?

Stormy Weather

2006-10-31T17:41:00.000-08:00

Dorsey Brockington's "Stormy Weather" is a new 45 of previously unreleased material. Released on the Plut label (which I assume is outta Virginia as that is where the recording is from) within the last few months, this record is has really knocked me out. I find it hard to believe it never got a release, it's so good.

"Stormy Weather" opens with the sound of rain on concrete, thunder menacingly cracking in the background. Barbara Stant and Debbie Taylor come in and sing the opening lines and then turn things over to the horns. The focus is shared between the female vocals and the horns. And while the vocals are in sync, the horns move between lines that are synced and lines that weave around each other (which sounds fantastic). Behind this the drums, bass and guitar keep it all grounded. The thunder comes in for a false ending as vocals plead to 'let the sun once more', but as things die down, the drums come in, and the horns pick it up again until the rain and thunder closes the song. The production is just top notch.

Very highly recommended 45. Get a copy before they're sold out.

Said To Myself

2006-10-22T19:12:00.000-07:00

Here's a record I was very happy to stumble across recently, Willie West's "Said To Myself". Don't know much about how this Sansu production got on the Warner Bros. label, but this is one hell of a 45!

The production is straightforward, a solid bass line over a bubbly drumbeat, tasteful guitar lines with a nice amount of wah-wah. Horns are restrained and help the tune to build. What the song builds to are moments where the song really opens up. The horns slowly build behind seriously soulful vocals, the drums switch it up, the guitar soars. This is the what really gets the song under my skin. And it doesn't hurt that the music is tight, either. Buy this one on sight.

Two Wings

2006-10-19T17:38:00.000-07:00

Here's one of those gospel 45s I promised a while back, "Two Wings" by The World Wonders on the Cherub label outta Chicago. It's a very nice mid-tempo tune featuring some great group vocals.

It opens with an organ and guitar over the drums, and then the group vocals come in, and the harmonies just take you away. When the lead comes in for the opening chorus, it's almost an angelic voice, similar to Sam Cooke almost. The group then take turns singing verses, and it's a nice range of delivery styles, and that's what this song is all about. The band never strays very far from it's rhythm, just some guitar flourishes here and there, a subtle change in the tempo, allowing the voices to be the focus. Very nice.

Mellow Fellow

2006-10-08T18:58:00.000-07:00

Well, this weekend I found a record I had been keeping an eye out for for a number of years, Etta James' "Mellow Fellow" on Argo. I believe this got a black label Argo issue too (the first press?). I've been trying to remember where I heard this tune, probably an old mod tape, and, unfortunately, it's been a while since I've played any cassettes. It may be time to break into them again and see what other 45s I should look out for. Anyway, this storming slice of soul from 1964 sounds pretty good to these ears with it's hard-hitting drums, the hip guitar work, and the punchy horns.

Anyway, instead of being long-winded, I'm gonna point you directly to Soul Club to give the tune a listen. You'll have to scroll down the page, but it's near the bottom on the right.

I also bought a number of gospel 45s, as well as some jazz and soul 45s, so expect to see some of those featured in the next couple of weeks as time permits.

If You Believe Your God Is Dead (Try Mine)

2006-10-03T17:28:00.000-07:00

As I mentioned in my last post, I'm a novice when it comes to gospel. I have been exploring the genre a bit, but I'm sure the titles I have bought are more soul & funk -oriented, and probably not for the gospel purist. Anyway, one of the records I have bought that has really knocked me over is The Swan Silvertones' "If You Believe Your God Is Dead (Try Mine)" on Hob is Gospel.

"If You Believe" opens with a guitar, bass and organ getting it together a bit before the drums come in, and they all get in the groove. It's when the vocals come in that they really take off. The sound is tough, funky drums up in the mix, the guitar is nice and scratchy, the bass rumbles.....lovely stuff. There's also some tastyy, very percussive piano that moves throughout the background. The lead vocals are great. He is barely able to contain himself, and gives an intense performance throughout. Highly recommended record here.

From what I could find about the Swan Silvertones, they had a long recording career and it seems that many of their releases are still available.

Bring Back Peace to the World

2006-09-27T18:01:00.000-07:00

Here's an amazing 45 I bought a few months back, The Spencer Jackson Family's "Bring Back Peace to the World" on Scarab Records. Supporting the Spencer Jackson Family on this record are The Pharoahs, whose 45 on the same label I featured last year. Unfortunately, I have not been able to find any information on The Spencer Jackson Family via the internet (you would think most records would have some information in a corner of the web somewhere....). That being said, I am not sure how I am going to be able to describe the intensity of this performance.....

Opening with mellow, gospel-like* vocal harmonies, the voices give way to a female voice that pierces the tune, and a chunky groove comes in. From here on, layers of vocals are created by several groups each singing their own lines, until they reach the chorus when they come back together. I originally thought the vocals were split into male and female groups, but there are more than two groups of vocals present. It is a dense and powerful web they are weaving. The music behind the singing is spot on, and aside from the when the groove is initially laid down, it stays in the background, supporting the vocal group. Great, great record. I love the deep male vocals, "If I had my way, I would stop the hate".

*I gotta be honest and say my exposure to gospel is very limited. It's just what comes to mind when I hear the opening lines.

I Can't Go On

2006-09-20T18:24:00.000-07:00

Except for an hour at a local flea market, I spent nearly all of last weekend painting the baby's room. Good thing I went to the flea market, as I purchased a few soul 45s out of the back of a truck. One 45 has really captured me, Deon Jackson's "I Can't Go On", released on Ollie McLaughlin's Carla record label in 1968. This record is great. Nothing fancy to it, just a solid mid- to up-tempo dancer. Deon is backed by female vocals and - for the most part - a stripped down backing band, just drums, bass and guitar. Horns come in only for dramatic effect, an organ sometimes helps make the transition from verse to chorus. Really, the show is all Deon's. And his smooth vocals and relaxed delivery are spot on.

You can hear this tune over at Soul Club. I highly recommend giving it a listen if you're unfamiliar with the tune.

There's a great article on Ollie McLaughlin over at Hitsville Soul Club.

(It's Got To Be) Now Or Never

2006-09-10T18:01:00.000-07:00

It's been over a week since my last post, much longer than I expected to be away from the blog, but with 11 weeks to go until my wife's due date, all the things that are required to be done before that date are jockeying for my attention.

Tonight, a tune from Little Dooley, "It's Got To Be (Now Or Never)", which I am assuming was released in 1972 (the flip side of the label has radio station call letters and the date of 11/27/72 written on it). Like the Boby Franklin 45 featured a short while back, I first heard this record on the Saucy 70s cassette (if I recall correctly - I still haven't been able to find the cassette - and I would really like to). Anyway, I bought this 45 today, and it's been on repeat. It's a very nice mid-tempo soul tune built on a simple groove. Strings and horns move through the background, never overpowering the rhythm. Little Dooley's vocals are so smooth and so soulful, and very restrained for the topic he's singing about. Such a well-constructed and executed tune. Perfect for a late night when the lights are down low.

You can listen to this tune at Soulclub.

Communications Is Where It's At

2006-08-30T18:00:00.000-07:00

I've been going through alot of records, etc. that I had placed in the spare room to get it organized and cleaned in preparation for the arrival of our first child. I've been looking through cassettes I haven't played in years, organizing some records that I need to sell, and listening to alot of things I haven't heard in a while. Looking back, I decided I'd pull out some records I first bought when I got into funk, jazz, etc. Tonight's selection is Billy the Baron & His Smokin Challengers' "Communication Is Where It's At" on Grill. Bought this in the 90s at the Thanksgiving Record show in my area, if I remember correctly.

"Communication" has a loose funk sound pinned down by a solid groove and a chunky bass. There are 2 guitars, sometimes playing the same lines, often stretching out in their own directions, one wah-wah, one scratchin'. Organ moves through the background, seeming to fill in the gaps that the singer leaves. A male chorus supports the singer, stressing lyrics for importance. A nice mover. Have a listen to some of it at funk45.com.

All I Need Is Your Love

2006-08-24T18:35:00.000-07:00

In the mail today was the debut issue of There's That Beat!, a new soul fanzine. Inside is an article on Carnival Records, a label that released records out of northern New Jersey. After reading the article, I immediately went looking for the few Carnival 45s I own (and wondered why I don't own more....). I also realized that I had yet to feature one of my favorite soul records, The Manhattans' "All I Need Is Your Love".

Opening with a guitar line, the horns and rhythm come in and the backing vocals set up the chorus. The lead vocals come in and it's all business. The sound is a textured, multi-layered sound, vocals and backing vocals supported by the guitar, horns covering the background, the percussion - drums and congas - seeming everywhere (especially like how the cymbals and the congas interact at the start). The group is tight, the production is crisp. A vibraphone accompanies the conga for the bridge, which adds a nice transitional element. Then the group comes back together to bring it on home. Brilliant, brilliant stuff.

The Ladies Choice

2006-08-21T17:19:00.000-07:00

Here's a great early 70s mover, Boby Franklin's "The Ladies Choice". Originally released on the Fee label outta Detroit, this 45 received spins on the northern soul scene in the mid-70s. I first heard it on a Golden State Soul Club cassette entitled "Saucy 70s" min the late 90s. At the time, I was not a fan of the 70s soul sound, and that cassette helped to widen the soul spectrum for me. One of the featured tunes was "The Ladies Choice".

"Ladies Choice" has a crashing 4/4 beat, a wah-wah guitar, and a bass that supports it all. A vibraphone moves through the background, adding a nice texture. Male backing vocals support the lead, and they help to add depth. Come to think of it, this is a pretty rough tune, there's an edge here - primarily in the guitar and that thunderous beat. Sounds great on vinyl. Now if I could only find that "Saucy 70s" cassette, I need more 70s recommendations.

Just Ain't No Love (Without You Here)

2006-08-15T18:45:00.000-07:00

Here's an atmospheric, laid back 70s soul tune by John Gary Williams, "Ain't No Love (Without You Here)". It's a great shuffler with female backing vocals, lush orchestration, and horns that seem to move about the back of the song. And lets not forget the unassuming flute bits that hover just above the other elements. "Ain't No Love" is pretty mellow throughout, never straying from the mid-tempo rhythm, even when the vocals intensify near the close. The bass and horns move closer to the fore, the vocals become more urgent, but the song stays the course. Exactly the kind of tune that'll get me through a humid August day......

Are You Man Enough

2006-08-13T16:55:00.000-07:00

On a Motown-related note, I had the pleasure of finally finding a minty copy of this great 45 by The Four Tops this weekend at the monthly record show I attend. This 45 comes from the 'Shaft In Africa' soundtrack.

The tune has a suspenseful opening, featuring an interplay between strings and I believe a harpsichord. This opening theme appears a few times throughout, but the song mainly sticks with heavily textured sound: plenty of wah-wah, soaring strings, plenty of low end courtesy of the bass (I would argue that the bass owns the goove here, more so than the drums). Mr. Stubb's vocals are top notch as well.

Derfinitely a 45 I recommend buying on sight. You can hear a soundclip on Soulclub (scroll down to play the tune).

Baby, Baby Don't Cry

2006-08-09T17:37:00.000-07:00

One of the things I have been trying to do this summer is buy more Motown 45s. The hunt for obscure titles has often made me pass over 45s that seem more common, and I have come to the conclusion that I am doing myself a disservice. Especially when a 45 of this quality is out there. I am sure the name of this group is familiar to most folks, but if the title is not (which is what not for me, and it charted), I highly recommend you check this 45 out.

It has many elements I seem to favor in soul tunes: falsetto lead, a tempo that stops and starts, vocal harmonies, and a solid groove. And one thing I normally avoid, spoken parts. But it all works. The song ebbs and flows thanks to the strings and the rhythm section, gently moving between the highs and lows. Smokey really steals the show, though, with those vocals. Perhaps I need to listen to more stuff by The Miracles, but his delivery sounds so much better than on the few records of theirs I've heard. And that Motown production just convinces me I've not spent enough energies on this catalog. Any recommendations would be appreciated......

Helpless

2006-08-04T17:42:00.000-07:00

A few weeks back I featured a Jackie Wilson 45 that knocked me out last year, 'It's All Over'. Well here's another 45 by Jackie Wilson, 'Helpless', that's been on heavy rotation.

'Helpless' has a big sound, featuring a snapping drum beat, congas, flourishes of horns, and some very nice female backing vocals. The group is tight, tight, tight. Jackie's delivery is confident and spot on. After each chorus, the band gets to groove a bit before they get back to the tune. And then in the middle, Jackie changes his delivery slightly for only a few lines, and the band accompanies him by loosening up the tempo. And then they get back to it. There's a bit of a breakdown near the down, the intensity of the tune seeming to bubble over......really interesting tune, and one I would love to hear out at a club. Recommended 45.

You Got To Have Money

2006-07-31T17:14:00.000-07:00

Here's a fantastic double-sider that I'm a couple years late on, The Exits "You Got To Have Money" on the Gemini label. According to the wonderful Ohio Soul Recordings website, the group was from Los Angeles. Unfortunately, I don't know anything else (save for their is a good amount of discussion out there about the green label issue vs. the yellow label issue). What is known is that the tune seems to be popular with both soul and funk collectors.

I think the reason is the rhythm of the tune - it's almost straight-ahead, but has a just above mid-tempo groove. And the tune has plenty of swagger, with just a bit of a rough edge to it. I'm talking about the juxtaposition of the vocal harmonies in the background with those tough guitar lines, the harsh reality in the foreground. Seems to musically support the singer's contention that "a man needs money, got to have money" to get somewhere.

There is a soundclip of the great tune on the flip, 'Under The Street Lamp' on Soul Club. I recommend checking it out - just scroll down to find it.

Things Could Be Better

2006-07-27T18:17:00.000-07:00

A while back - it may have even been about a year go - I featured a 45 on the Fordom label outta New Orleans, Ernie and The Top Notes' "Dap Walk". Well, this 45 shares the music with the song on the flip of that record, "Things Are Better", with the addition of Raymond Winnfield on vocals.

I have seen "Things Could Be Better" described as 'suicide funk', and it does seem to have a dark cloud over it, with Raymond's vocals being straight from the blues. His vocals are of a man who's barely keeping afloat, and he has several blood-curdling yells that jump outta the grooves. Even though the music is courtesy of the Top Notes, none of the feel-good qualities present in "Dap Walk" are here. The tempo is slower, the guitar and bass have none of the bounce, and those drums that would have you on your feet can't break the specter that hangs over the tune.......a bummer, but damn good.

Go Go Train

2006-07-24T18:15:00.000-07:00

Unfortunately, sometimes records fall through the cracks. I've been a fan of this record since I bought a few years back, but I somehow mis-filed it and just got it on a CD so I could play it in the car. It's been on heavy rotation ever since. Opening with some tough drums, "Go Go Train" is a gritty handclapper loaded with tambourine and horns. There's even some organ bubbling under it all. A solid mid-tempo rhythm underpins it all. Jackie's voice has a bit of an edge to it, which is just perfect for the tune. The lyrics name-check alot of folks, from Shirley Bassey to the Righteous Brothers to Jimmy Reed, all with a job on the train. A dance tune through and through, but one with a real r'n'b feel. A quality outing here from Jackie Paine.

Wheel of Faite

2006-07-17T18:05:00.000-07:00

Now here's an interesting one that I'm probably gonna have a hard time describing.....The Flint Executives' "Wheel of Faite" on Star Route. Opening with vocals only and the very sober lyrics "What the world needs know is a little more understanding", "Wheel of Faite" is a quality group harmony tune with socially conscious lyrics. The vocal duties are almost equally shared, the falsetto bits really getting me. Musically, it is constructed with flute and organ over a funky backbeat. The real focus here, though, is the vocals and the subject matter. There's a saxophone solo near the end that adds an extra bit of gravity. There's a real mix of sounds here - gospel, soul, jazz - in the less than the 2 minutes that the song lasts. Although a short tune, it is very powerful, and one that has me wishing there was more.

You can check it out on one of Mr. Fine Wine's "Downtown Soulville" shows from February 2006.

Third Flight

2006-07-13T17:43:00.000-07:00

Here's a hell of a tune outta St. Louis on the Yodi label, 3rd Flight's "Third Flight". And I'm not quite sure I can do a good job explaining it. The song is a first person account of drug addiction backed with a tough psych-funk groove. Musically, it's plenty of fuzz guitar, horns that ebb and flow, bongoes, and it's all very loose, which lends itself to the subject matter. Also, there is a call and response with a falsetto voice throughout - seemingly another voice of the protagonist who warns of the dangers throughout. I find this particularly inventive.

The song opens "I don't believe that I can get no higher / I have reached the third flight / I've been taking everything I could, girl / Just trying to get myself right" and from that the tale of experimentation, progression to cocaine, and wanting to kick - knowing that kicking is a must - unfolds. "Third Flight" seems to mean both the highest highs as well as referring to the third time that he used, when he felt he was hooked.

Can't find anything about this 45 and 3rd Flight on the internet - besides the Young Disciples mentioned on the label, no clues. Perhaps 3rd Flight was a vocal group backed by the Young Disciples?

EDIT 7/17: Over the weekend I received the latest issue of Shades of Soul, which featured an article on this label. One thing that hit before I even started reading the article was that YODI = Young Discples......guess I overlooked the obvious. Anyway, I recommend Shades of Soul if reading about soul artists and records interests you. Ordering information is located here.

The Budos Band

2006-07-11T17:29:00.000-07:00

We interrupt our normal posting schedule & musical format coverage to mention this fantastic album by the Budos Band. Somehow I did not buy this CD when it was first released, and I am regretting it. Start to finish, this is probably the best new funk release I have heard in 2006.

On the back of the CD they describe their sound as "afro-soul", and that seems a very apt description. There is plenty of percussion and they are heavy on the horns throughout (just check their version of 'Sing A Simple Song'), yet do a great job of mixing up the feel of the songs. Some tunes are dark and heavy like the flute-led 'King Charles', while 'Monkey See, Monkey Do' has a laid-back, almost latin feel to it. Then there's the explosive 'Budos Theme' that is one for the dancefloor.

For me the standout track is 'Eastbound', with the solid groove, a guitar that is stripped down and yet has some "wah", the almighty horns, and a phenomenal bit of flute and trumpet playing. But when followed by an organ-funk track like 'Aynotchesh Yererfu', it's hard to pick the top track. Do yourself a favor and get The Budos Band on your turntable or in your CD player. It's very highly recommended.

The Micro Mini

2006-07-10T18:21:00.000-07:00

OK, so I ended up taking an extended 4th of July break from the blog, but that's because there's been quite a bit going on around here. Barring any substantial rainfall, I have a contractor coming out next week to replace the windows and put up siding on the house, and my wife is 5 months pregnant, so it's time to start thinking a room for the new member of the family. And if that weren't enough, it looks like fall will be a busy time at the j-o-b. But, for right now, the chores are done, my wife has gone to bed, and I have the earphones on & a stack of records in front of me.

Tonight's feature looks like it's gonna be Harvey Averne's "The Micro Mini" on Fania (might as well pick up not too far from where I left off). This tune was also released on Atlantic, and from the sound clip I have been able to find on the web, it seems that the Atlantic 45 is more percussive and features less vibes....unless it was just a crummy soundclip (can anyone confirm?). "The Micro Mini" is a humurous hipshaker about a young lady being taken to court for her mini skirt, "the shortest one in town". The groove is top notch, percussive as hell, the vibes are quality (keeping the mood light), and the horns add the necessary punch (that's why I'm always on the look out for latin sounds, those glorious horns). There is even a bit of rock-ish guitar to boot. Fun and topical, definitely one for the dancefloor.

Uptown

2006-06-29T17:43:00.000-07:00

Here's a recently purchased 45 that has really gotten under my skin, Joe Bataan's "Uptown" on Fania. It's unlike the feel-good uptempo boogaloo 45s I usually buy on the label. Sure, it has the same rhythms underneath, but this is a moody affair, owing as much to Bataan's delivery as to the clavinet (I may be wrong about the instrument here...any help?). He's backed by a chorus that seems to be singing "Uptown, shooby-dobby, Uptown, Pow!", which adds a bit of swing and lightness to the subject matter. Don't forget those fat horns, either. It's the most soulful performance by Bataan that I've heard, telling a tale of an 'uptown' life, and when he slows everything down to say that 'his life is like a pearl, always in the dark', and then a moment later declares 'It's gonna be my time!', very nice. Swingin' yet soulful, a very nice combination. More Fania sounds, please.

Sunny

2006-06-26T17:59:00.000-07:00

What we have here is a cookin' version of the Bobby Hebb classic "Sunny". The Billy Taylor Trio, (Billy Taylor on piano with bassist Ben Tucker and drummer Grady Tate) just burn right through it. Moving between a furious pace and a more laid back approach, they're always tight. There's plenty of stutter-stepping on the drums, and when the piano stretches out and they all come back in together, it's just quality. They come back to center and slow down to take it out. A real nice record.

Chocolate Sugar

2006-06-22T18:08:00.000-07:00

Seems like it's been a while since I featured an instrumental, and that probably has something to do with the fact that I'm listening to more soul than funk this summer. Anyway, I've been keeping my eyes open for funk sides as well (I can't quit completely no matter what other music engrosses me), and this one came off the 'bay for a nice price....and appears unplayed to boot. It's a UK pressing, but I believe the US label that 'Chocolate Sugar' got a release on was LeCam Records out of Texas. The group name on that release was Six Feet Under, but it seems to be the same recording.

'Chocolate Sugar' is a tempestuous 100 mph organ groover. The organ nearly drowns out the rhythm section, but the drummer manages to hold his own while the guitarist lives in the slight pauses. About 3/4 the way through the organ recedes and the drummer - backed by the horns - gets some, and then the tune closes back on itself, the organ backing off a bit, and they make their exit........

Have a listen to this tune over at funk45.com.

I Know You Don't Want Me

2006-06-19T18:25:00.000-07:00

Here's a 45 that I've wanting to find for the last couple of months, The Endeavors' "I Know You Don't Want Me" on Stop. The only bit of information I can find on The Endeavors is that they were from Ohio (courtesy of the Ohio Soul website).

"I Know You Don't Want Me" is a frantic, falsetto-led, funky soul tune. Bass, guitar and snappy drums are the foundation, and over this vocal harmonies soar and horns provide the punch. The song starts and stops for a quick bit of vocal harmonies, before the song really takes off. The combination of the tempo and the amount of things that seem to be happening at once is almost overwhelming. It also helps to accentuate the short break that occurs half way through, when they get reflective, but the emotion quickly builds and they pick up the breakneck pace again. It all stops at the end to showcase the vocal harmonies again (I can't even describe the sound they're getting), and the song ends on that note. I haven't stated this earlier, but the vocal harmonies are falsetto backing falsetto. And it sounds great.

This is probably one of those records that folks would either love or hate. For me, there's really nothing else out there - that I know of - that sounds quite like it. Just a fantastic record.

I've Fallen In Love (With You)

2006-06-15T17:13:00.000-07:00

Tonight, a beautiful 45 by Carla Thomas, "I've Fallen In Love (With You)". I'm somewhat embarrassed to admit this, but this is the first 45 I've bought by Carla. Boy, have I been missing out. I'm not even going to attempt to say much about this record, as it leaves me speechless.....it's so powerful, nearly sublime. Right now, this is the best record I've bought in 2006.

Spend a moment and check it out at soulclub (scroll down a bit and you'll find it in the left column).

It's All Over

2006-06-12T18:47:00.000-07:00

Here's a solid tune from 1973 by the amazing Jackie Wilson, "It's All Over". The purchase of another 45 by Mr. Wilson (coming soon) this weekend triggered the realization of two things: 1. Jackie's discography is full of nice surprises, and 2. I never featured this 45.

"It's All Over" has two halves, the verses where Jackie sings over a bass, a touch of guitar, the hi-hat of the drums, & a building string section in the background, and the string-led, multi-layered, chorus where the drums come in, the guitar sounds like it's got a bit of wah-wah (although it's drowned out by the strings), and the ever-present bass. The bass is way up in the mix, and I really want to thank whoever is responsible for this. Sounds great. No doubt, this song has a quirky tempo, and it's probably one for the more patient dancers, but the construction of tune also allows Jackie to really shine. His voice is just fantastic.

If you've never checked out any of his recordings, I highly recommend you do so.

Mr. Fixit

2006-06-06T17:38:00.000-07:00

Here's a gritty soul tune courtesy of Thelma Jones, "Mr. Fixit" on the Barry label out of New York. It was a favorite when I found it a few years back, and it sounded just as good tonight when I played a reference CD I included it on. The one positive about not buying many new records is you can re-discover records in your collection.....

"Mr. Fixit" opens with an organ over a tough groove (dig that metallic-sounding conga), which is the backbone of the tune. Thelma comes in with a straightforward delivery, perfect for the tune, backed by some supporting ladies. A few lines in, the horns appear, and they really seem to flesh it all out. In the chorus, they have a tight little circular line, seeming to perfectly fit in the groove of the tune. Not many soul tunes that I know of have the organ moving throughout them, but it's a nice addition here. Very nice.

Who's Gonna Take The Weight

2006-06-02T18:41:00.000-07:00

It's always nice when a new Prestige 45 shows up on my doorstep. As I've stated before, this is perhaps the only label I actually collect. I say perhaps because my desire to own all the Prestige 45s has waned, and, outside of a handful of LPs, I'm not going to chase the LP catalog. That being said, it is still my favorite label, and when one of the Prestige wants is crossed off the list, it's a good day.

'Who's Gonna Take The Weight' is a cover of the classic Kool and the Gang tune off Sparks' "Spark Plug" LP, and the session featured Virgil Jones, Leon Spencer Jr., Grover Washington Jr., and Idris Muhammad. What really grabs me about this tune is how tight it is, uptempo yet restrained, everything spot on. Gone is all of the loosemess of the original.

After a jangly guitar intro, everyone comes in and a solid groove is laid down. The infamous horn line of the original is so lean, stripped down, but still packs a punch. The guitar gets a bit of the solo with the organ supporting, and there is a tasty bit of drumming accompanied with horns on either side of Melvin's solo. Love the sound of the snare. It all builds into a crescendo of horns and guitar, and then it slowly fades out.......

All We Need Is A Miracle

2006-05-31T17:54:00.000-07:00

Sometimes you can buy a record and not have it hit you right away. When I found a bunch of interesting 45s at a thrift shop last year (to my complete surprise), this is one I set aside in the "keep" pile. It got a number of spins a few months ago, but lately, it really has made an impression.

Opening with a somber piano line, the song suddenly picks up steam as the group goes into the chorus. The verses of the song are a mellow affair, vocals that are lowly sung - as if into the ear of her lover - over bongoes and simple guitar lines that slowly build into the chorus again. There sounds like there might even be some harp in there. The chorus is uptempo, loudly sung, with strings and horns behind the rhythm section. A bit of piano as well. Eventually the differences between the verses and chorues disintegrate, at least vocally. And it works to very nice effect. Damn nice tune.

Israelites

2006-05-25T19:38:00.000-07:00

Sadly I read today that Desmond Dekker has died at the age of 64. Desmond had an incredibly soulful voice that especially knocked me out when his vulnerability seemed to be at the forefront of the song, like on my favorite by him, "It Is Not Easy". His death is a terrible loss.

There are certainly people who are more knowledgable about Desmond Dekker's catalog and his place in Jamaican music, but I just wanted to say thank you for the fantastic songs...."007 (Shanty Town)", "Fu Manchu", "Keep A Cool Head", "Unity", "It Is Not Easy", and of course, "Israelites". It's probably been a year since I played these tunes, but they sound as good as ever. If you are not familiar with Desmond Dekker's records, I highly recommend investigating one of the reissue CDs that are available.

Cowboys to Girls

2006-05-22T18:39:00.000-07:00

Here's a 45 I bought recently, The Jalynne Sound "Anything You Wanna Do" b/w "Cowboys to Girls", the Gamble & Huff penned tune. Both sides are instrumentals for the most part, this side being that one that captivated me at the record show.

Their version of "Cowboys to Girls" is an instrumental that moves between a smooth, saxophone-led, laid back groove, some horns soaring in over the drums and congas that make up the bottom end, and an uptempo boogaloo rhythm with the sax in r'n'b mode, some tight guitar lines, and even some fake crowd noises come in. Both grooves are solid, although the crowd noises could have been left off. Then again, the more I listen to this tune, the less it bothers me. Perhaps it is serving to separate the two parts.....or else I am just not minding it.

Now who were the Jalynne Sound? Anyone?

Blue Dashiki

2006-05-18T18:05:00.000-07:00

OK, here's one I unfortunately have not been able to turn anything up on: "Blue Dashiki" by Bob Bateman Association. The only possible connection I can make is that perhaps this is the same Robert Bateman that worked with Lou Courtney on a few of his releases (as mentioned over at the great Funky16Corners blog), but that search has not panned out either. At this point, I am wondering if this even got full release (anyone have a stock copy?).

"Blue Dashiki" is a flute-led groover that could probably best be described as on the funkier side of soul jazz. There's plenty of percussion, making the groove nice and chunky (this is also thanks to the unselfish playing of the guitarist). After the opening section, layers of horns come in, some supporting the flute, some moving beneath, like the saxophone and some of the trumpets. The tune doesn't stray too far from the original pattern, just lays it down and stays with it. Very nice.

What's Your Game?

2006-05-16T17:22:00.000-07:00

Apologies for the amount of time between postings, but so much has been going on around here that my energies had to be directed elsewhere. Anyway, this slice of sweet soul from the 70's has been making the drive to and from work a bit more enjoyable, M-D-L-T Willis' "What's Your Game?", a tune written and produced by the Jackson Five. I bought the 45 for the uptempo flip, but this mid-tempo tune is really where's it at.
"What's Your Game?" has a dense laid-back groove built on up-front drums, the bass, and some effects that follows the bass pattern. Behind this, other instruments move in and out of the picture: the cascading guitar, the smooth saxophone, the strings, and some backing "oooohhhhhssss", all very smooth, all acting as a counterbalance to the drums. Fronting this is a lovely female voice (whose name I would really like to know). She really does a great job with the tune. Now I gotta admit I'm not too keen on the chorus, but otherwise this tune is very nice. Perhaps because that counterbalance is lost, or could it be that the other bits have an atmosphere about them that is lost in the chorus? Either way, I still really dig the tune. A cheapie, I believe, and one to pick up when you see it.

Footsteps Across Your Mind

2006-05-04T17:36:00.000-07:00

Just a short post tonight, as I'm wiped out. A lovely slice of 70's soul, Shock's "Footsteps Across Your Mind" is a tune I've been playing quite a bit of lately. The vocal harmonies really knock me out. It's a smooth mid-tempo effort with plenty of strings, not unlike the Philly soul sound popular at the time. You can hear this track at soulclub. Scroll half way down the page, and it'll be on the right side.

Horse

2006-05-02T17:30:00.000-07:00

Here's one I recently bought and have not been able to find out anything about, "Horse" by The Legionnaires on Kama Sutra. I even tried to get some information out of the deadwax markings, but I was unable to come away with anything conclusive based on the on-line references I found.

Anyway, "Horse" is a beaty affair, with an organ working out over a hipshakin' groove. It opens with the drums coming in the right channel, then the left channel, before the bass and organ come in. There's a nice horn line that is established and returned to, but, in between, the horns just appropriately pierce the song for affect. For a short passage mid-way through some effects are added to the organ playing (and a saxophone gets a short solo), but then the main theme is re-established as the group takes it on home. I gotta say kudos to the drummer and bassist for just hanging in and working that pattern. And the sound they got, damn nice.

Not out and out funk, but one for you fans of mod funk. I can certainly see this working at a mod do as well as a funk night.

I'm Gonna Get Your Thing (Get You)

2006-04-30T17:22:00.000-07:00

I got this 45 in the mail last week, and it has just knocked me out. On Forte Records outta Kansas City, Missouri, this was one of two releases by Lee Harris on the label.

The song opens with a terrific crunch, the guitar and horns and drums all coming together to set off the tune. And from that auspicious start, the band (drums and tambourine especially) just don't let up, either in tempo or volume. The bass is up in the mix, the guitar has a great lead that it returns to whenever the group takes a secondary break, the horns are uptight. But what really knocks me out is Lee's delivery: he never struggles to sing over the band, he just tells his story, and when it's necessary, he raises his voice. Just fantastic.

Some of it can be heard on funk45.com. Can anyone tell me if Lee Harris had any other releases beside the ones on Forte? I wanna hear more.

The Burg

2006-04-24T16:56:00.000-07:00

"The Burg". A tune dedicated to the city of Pittsburgh. I imagine if you are unfamiliar with this record, you could be asking what's it doing on a site about soul 45s. I mean, how good can a tune be that goes on for 3 minutes about a city? Let me just say, surprisingly good. In fact, very, very good. Larry McGee's "The Burg" just knocked me down from the start, and, even though it's outside the time frame and sound I normally collect, I had to find a copy. And it sounds better than ever on these lovely, unseasonably warm spring days - it's definitely a summer tune.

What first got me about "The Burg" was the catchy, meaty bassline and those synths. They are complete opposites, the bass grounding the tune, and the synths moving just above your head, but do they ever work together. Plus I dig those falsetto backing vocals (what are they singing - "say boop boop"?), and that bit of electric piano getting a short solo. But the killer is when the backing vocals spell out "P-I-T-T-S" and the Larry comes in with "B-U-R-G-H"......gets me every time......

As you can see, I have a hard time being objective with this record. If you're not up for chasing the original, this tune was reissued on Licorice Soul as a 12" last year, although there no longer seems to be copies left. Should be copies floating around somewhere, though (start with e-bay or gemm). If you visit Licorice Soul, check the short interview with Larry McGee on the site, as well the other titles they've released.

Apple Cider

2006-04-20T17:15:00.000-07:00

Yeah, I normally focus on 45s of the soul, funk, and jazz variety, but every now and again I need something a bit different. Right now that record is this mover from Five By Five, "Apple Cider" (which is, of course, an illicit drug reference, although I am not sure which one - acid?). I actually only heard this record a few weeks back on the ModChicago site, so I was pleased to find a copy last weekend. I don't quite remember how I ended up on the ModChiago site, but I have returned several times to play the soundclips and to have a look around (I dig alot of the music played on the mod scene).

"Apple Cider" is an uptempo hipshaker that features plenty of organ & has a great pattern of the band falling away to let the focus be the manic drums that propel the tune. There's plenty of fuzz guitar along the way (and even a guitar solo that I don't mind). What really catches my attention is the prominience of the organ in the mix and the stop start of the tune that I imagine does wonders in a club. I couldn't imagine anyone who digs garage music would be able to sit still.

Move Your Hand - Part 1

2006-04-16T16:25:00.000-07:00

A couple of weeks back I plucked this great jazz 45 off the 'bay after looking for it all over the local record shops to no avail. Usually coming up with jazz 45s here and there is not a problem, but suddenly they don't seem to be anywhere. Anyway, Lonnie Smith's "Move Your Hand - Part 1" (from the LP of the same name, released 1969) has been on heavy rotation ever since.

"Move Your Hand" has a solid mid-tempo groove with percussion that's spot on, lovely guitar work (that little bit of jangly-ness works), the organ bubbling underneath, and some powerful horns, but what really cinches it for me, what really knocks me out is those raspy, soulful vocals. And it's only a couple of lines before then the groove comes to the fore and the soloing begins, but it really sets this tune apart.

Have a listen here. Highly recommended & it shouldn't set you back much at all.

I Can't Wait Until I See My Baby

2006-04-11T17:33:00.000-07:00

Here's a recent 45 acquisition, a lovely record by Justine "Baby" Washinston from 1963, "I Can't Wait Until I See My Baby's Face" on the infamous Sue label. Probably not the sort of fare I usually feature on the site, and certainly earlier than I normally collect, but what can you do when a song just grabs you?

A mid-tempo, almost mellow, soul tune, it opens with a flute and some cooing vocals before Justine comes in and becomes the main focus. And her delivery is what this song is all about. So nice. The song is built on a simple beat (with the drums well up in the mix) accompanied with guitar and bass and that flute that seems to appear again and again. Some horns are present now and again for mood, but never venture out into the spotlight. The same could be said for the backing vocals.

What a great tune. You can hear this tune over at the great soulclub site. Scroll down to the bottom of the page to get to the soundclip.

Live It Up

2006-04-03T18:34:00.000-07:00

Well, I finally got a copy of this fantastic funk 45, James K-Nine's "Live It Up" on Federal, one of a few that are not expensive, but terribly sought after, so the competition is always furious. I actually bought a demo copy a few months back, but that had to be sent back (graded VG++, it played - and even looked - VG-). Anyway, another copy of this monster tune was sitting in the mailbox today. As you can see on the label (or maybe not due to the scan - apologies), this tune was written by the one and only Eddie Bo, and it's one of the best he was involved in.

"Live It Up" is just a straightahead, stripped down funk tune. Nothing but drums, guitar and bass for the most part, with piano coming in about a third of the way through. But these simple elements are nearly perfect: the drums have some fantastic echo on them, the bass is up in the mix, and the guitarist is playing some tough guitar lines. As I believe I've mentioned earlier, I love funk with piano in it, and here, the piano just seems to resonate. I don't know what they did when this tune was recorded, but the piano just takes this tune to another level. Have a listen to some of it here. Simply brilliant.

I Want My Baby Back

2006-03-30T16:43:00.000-08:00

Here's another one I recently bought and haven't been able to find anything about, Sonny McLaurin & His Mustangs "I Want My Baby Back". I believe Fayette is a Philly label, and the run-out groove says Virtue Studio, so I'm assuming this group is somewhere from the Philadelphia area. I guess it could also be courtesy of the note from the seller on the sleeve that says "off-wall Philly". Any details on this 45 would be greatly appreciated, as well as any information on the Fayette label (a discography would be great).

"I Want My Baby Back" is a raucous, uptempo r'n'b tune just chugs along nicely. It's straightforward, almost trance-like in it's furious little groove. I like the horns in the middle that sound outta tune, but that doesn't stop them. They just keep chugging along. I didn't say it was pretty, but it is damn catchy.

The only mention of this record I've found on the web is it's inclusion in Mr. Finewine's "Downtown Soulville" show from August 6, 2005. I think I'm gonna give the show a listen. Some quality r'n'b there.

Baby, Do That Thing

2006-03-26T16:49:00.000-08:00

Tonight, a great 45 courtesy of Honey & The Bees, "Baby. Do That Thing", released on the Arctic label in 1969. Honey & The Bees released a number of 45s on the Arctic label and then subsequently moved to Josie, and finally, the Bell label (a full discography is available at the Soulful Kinda Music website).

"Baby, Do That Thing" has a churning mid-tempo groove propelled by by solid drumming, plenty of bass, some modest guitar lines and punchy horns. And let's not forget the bongo player who gets the spotlight when everyone stops on a dime. An indirect dance tune, "Baby, Do That Thing" has lyrics that persuasively implore "baby" to hear the music, get on the floor, make their hips move; meanwhile, the audience is moving their hips and feet as well. An addictive tune, one I can easily have on repeat.

Unfortunately, I do not have a sound clip for this tune. But I strongly recommend checking out the soundclips available at www.soulclub.org, especially "Love Addict", another favorite that I hope to bump into on 45. For now, I'm gonna find me a Honey & The Bees collection on CD since I do most of my listening in the car these days.

Home Cookin'

2006-03-23T15:11:00.000-08:00

Last weekend was the 45s and 78s only show in Allentown, and after a quiet start to 2006, I managed to pick up a number of 45s that I had been after. One of them was the 45 featured tonight, The Trend's "Home Cookin'" on Capital. Before I say anything about this track, have a listen here. Heavy on the horns, and it moves at a breakneck pace for the entire tune. Later on, the sax gets a solo & then other horns come in and play various lines, seeming to weave in and out of each other, which is a nice effect. Then the horns pull back and let the organ have some over the drums and the guitar. Then the horns crash in, and they're back to the original theme to take it on home.......

It seems alot of collectors solely chase independent releases, but hard-hitting funk sides on major labels always make me curious and leave me wondering. Throw-away side? I don't think so.

Fonky First

2006-03-20T15:01:00.000-08:00

I'm surprised that I have really not been able to find much information on this 45. I know it comes from a sought after LP entitled "Conversations With..." (which the drum break on "Fonky First" has something to do with), but I have not been able to find anything as to where the group was from, what year the 45 or LP was released, etc. Segue Records has an address of Pittsburgh, PA, and I thought I had heard that the group itself was from that area, but I have not been able to confirm that.

"Fonky First" builds on a sparse groove featuring some tough drums & heavy bass, adding wah-wah guitar, some ace flute bits & a touches of xylophone. The guitar gets fuzzed out as the vibes come in, and then the sax appears as the song crashes in on itself for a spell, only to have the elements separate out as the sax solos over the original elements of the drums and bass and guitar. Quality.

Black Is Beautiful

2006-03-15T16:34:00.000-08:00

Tonight, a very special 45 that I was lucky to purchase last year, The Trinikas' "Black Is Beautiful / Remember Me" on Pearce Records. A great double-sider, "Black Is Beautiful" just edges out the other side for me. This tune has been on repeat all evening.

I don't really think there is much need to comment about this tune, as it speaks for itself. Have a listen here (scroll down most of the page until you see Trinikas on the right hand side).

Don't Mess With My Lovemaker (Part 2)

2006-03-10T14:55:00.000-08:00

Here's a great 45 by Frankie Newsome, "Don't Mess With My Lovemaker (Part2)" on Savern (which for some reason I believe is a Chicago label, but I am not 100% sure). A blind purchase from a few years back that certainly pleases. Especially on a March that got around 70 degrees......

Starting off nice and heavy on the percussion, the bass rumbles in, and then the guitar and horns to fill in the gaps. Frankie repeatedly exhorts everyone in hearing distance not to mess with his baby, and that is echoed by both male and female backing vocals. In the middle, the guitar, bongoes and a tambourine combine only then they dissolve and over the original percussion, Frankie makes his declaration:

Now I gave up everything just to keep her satisfied,
Fellas! hands off unless you wanna lose your life,
Now when you see my baby, forget that silly grin,
Cause when you mess with my baby that's when I come in

I guess that pretty much sums up this tough funker. Hear a clip here.

Pretty Li'l Mama

2006-03-06T15:44:00.000-08:00

Here's a great record out of Chicago, The Soul Crusaders' "Pretty Li'l Mama" b/w "Funky Jive" on More Soul Records. I believe this 45 is generally bought for the flip side, and it is quite a hard-hitting funker, but "Pretty Li'l Mama" is the side for me with it's big band funk sound (note the group name - Soul Crusaders Orchestra).

Opening with a sinister bass line and some hard drumming, these elements converge with piano, guitar, and a chorus of horns to establish the groove. And there's not much mucking about with a good thing, so they just ride it out, throwing in a bit of respectable guitar soloing near the end. What a solid tune, and it won't set you back much more than a tenner.

Have a listen to part of this tune here. The flip side can also be heard here.

Love (Your Pain Goes Deep)

2006-03-01T16:55:00.000-08:00

There are 2 reasons why my posting since the new year has been less than in previous months: the additional responsibilities at my job and the necessity to return 45s won or bought on-line that were properly graded. Consequently, I have cut back on my record purchases significantly, as going to the post office to return 45s is a chore I don't need in the middle of a busy workday. Looks like I'm going to have to resort to only buying 45s I can see before handing over my money......

The good thing about this is that I had a number of 45s that I had bought in the latter half of last year that I had not given a proper listen to, and there have been a few surprises. It's funny how one can hear a song and it doesn't grab them, but several months or years later the same song can elicit the opposite reaction, seeming to grab them by the collar. Tonight, I present a record that has suddenly grabbed me - "Love (Your Pain Goes Deep)" by The Eddy Jacobs Exchange.

With some tough drums, a slow groove is established, and over top of this, there's a forboding wah-wah guitar (with some rock leads), touches of electric piano, and solid jabs from the horns. Strings find the high crevices of the tune, and help the intensity build as the song comes to it's climax. The vocals are full of anguish and supported by a chorus of ladies. Amazing tune that seems to be overshadowed by the Frankie Beverly version of this tune & the sought after "Pull My Coat" funk 45.

Tears of the World

2006-02-26T14:15:00.000-08:00

I bought this amazing 45 last week by Robert Moore, "Tears of the World", on the Blue Candle label. It's a record that has just captivated me with the incredible soulfulness of his delivery, especially the chorus where it is punctuated by the horns. Unlike the chorus, the verses are sparse, a bluesy groove, featuring piano and bass and only a touch of the horns. And I love the last line of the first verse, how he moves from being very serious, and then breaking out the rhythm he's established with a specific example. Gets me every time. Following are the words to this tune, which are still very relevant today. Highly recommended 45 here.

Tears of the world keep falling,
Oh, but one day we won't have to cry no more
no, no, no
(x2)

I've been down a crooked road, I've been down a straight road
I've been down a high road, I've been down a low road
I've had some bad times, oh how I had some good times,
Drinking and gambling, and listening to my friends tell a bunch of lies.

I said tears of the world keep falling,
Oh, but one day we won't have to cry no more
no, no, no
(x2)

I hear the news man talking, it's enough to scare you to death
People talk about the birds in the trees,
Polluted air 'bout to choke them to death
Don't it make you kinda wonder, where we're gonna go from here?
If anybody knows the answer, shout it out so the world can hear

I said tears of the world keep falling,
Oh, but one day we won't have to cry no more
no, no, no
(x2)

Things are gonna get better one day,
Oh, we won't have to cry no more....

Trespassin'

2006-02-21T17:44:00.000-08:00

Rummaging through the boxes for a tune I haven't spun in a while and I pulled out this great 45 by The Ohio Players (yes, those Ohio Players) on the Compass label, "Trespassin'".

A tightly wound groover, "Trespassin'" has this great guitar line with just a touch of effect on it. Then there is the percussion, like the well placed tambourine and the bit of conga under it all (that I just noticed - and I've only had the 45 for 8 years!). The horns add such a powerful punch, whether it's the quick stabs or the full sound of the chorus. And then there are the lyrics....about trespassing.....which I'll leave to the song itself. Check a soundclip here.

Watermelon Man.....Wabble

2006-02-17T18:25:00.000-08:00

Here's a quality latin 45 that showed up this week, Ray Terrace's "Watermelon Man.....Wabble" on Jubilee. It has become my favorite version of the Hancock classic, overtaking the splendid Mongo Santamaria 45 on Battle. It's just a bit rougher, has a bit more punch, than any other versions I've heard (although maybe not as dancefloor-friendly as the Mongo 45).

I found a soundclip on Tamla63's website here. Highly recommended site, as there are some quality tunes there.

Take Me

2006-02-14T17:24:00.000-08:00

I'm trying to get back into my earlier schedule updating this blog. Unfortunately, added responsibility at work (for the same pay...) and not as many records coming in makes that difficult. Anyway, here's a purchase from a couple years back that is quite good and shouldn't set you back much, maybe $10 tops, Betty Everett's "Take Me" on Uni.

"Take Me" has a real driving rhythm (thanks to the guitar and bass) that is buoyed by an interplay of horns and strings. The drums have a stutter-step pattern that the horns and strings seem to feed off of, creating layers behind the vocals. The vocals are strong yet soothing, and loud enough so as not to be overwhelmed by the music. The song builds, and by the end it so intense it's nearly cacophonous. Some horns are hitting the lows while the trumpets are reaching over the top and the strings are moving in between. Nice.

Yes We Can

2006-02-12T09:17:00.000-08:00

After being at a trade show in Dallas all week, cut off from my music and having no time for the internet (OK, I had time for a few bids on e-bay), I must say it's good to be home.

Here's a classic tune by Mr. Lee Dorsey that I found last month that has consequently been on heavy rotation. A mellow groover, this tune has some great elements: tight drums, very nice guitar plucking, organ bubbling in the background, and the topper: great socially-conscious lyrics. Oh yeah, there are the great horn bits, too. All around, just an amazing tune.

If you don't know this tune, I recommend you google out a soundclip, and then buy one of the reissue CDs that are out there.

Ridin' High

2006-02-05T11:52:00.000-08:00

Couldn't find anything about this 45 on the internet, although I remember reading somewhere that the flip side, "Slums of the City", is the same tune as the New Establishment 45 released on United World. Not sure if it is the same recording or an another recording of the tune. Any knowledge that could be shared would be appreciated.

Anyway, "Ridin' High" starts off with a bit of fuzz guitar, and then settles down into a great soul tune with some nice percussion underneath congas and tambourine over the drums). The lyrics are about being young and not seeing the end - that bit of life when you don't see your mortality - and it's sung with a gravity, a weight, that almost seems at odds with the groove, which is played at a brisk pace.

A highly recommended 45.

Funky Booty

2006-01-31T17:25:00.000-08:00

"Funky Booty" by The James Young Blues Band shares a sound similar to Jean Knights' "Mr. Big Stuff".....but with a bit more bounce. The bass has this plucking quality to it, and those drums, pretty frisky. Throw in the horns and you have a winner.

Have a listen here.

Can I Feel It

2006-01-23T17:21:00.000-08:00

Here's another 45 that's returned to the playlist after a couple of years, Al Trahan's fantastic funk outing from '76, "Can I Feel It". Sounding like it should have been made several years prior, this is one hell of a tune. And one of those 45s that's worth the full price.

Starting off with tough drumming, some raw wah-wah guitar joins in to set the groove & let Al have his way. No horns, no other instrumentation, just the drums, bass & guitar - in other words, straight up funk. My favorite part is when the tune changes, and it seems custom tailored for the dance floor, as Al tells an audience he has 'some raw funk for ya', and then has his band break it down. And then they just bring it on home.

Quality tune, which you can hear a clip of here.

Come Down Baby

2006-01-20T17:04:00.000-08:00

Lately I've been playing CDs I made a few years back, and there are a couple of tunes that have re-captivated me. One is Beginning of the End's "Come Down Baby - Part 1" on Alston. Beginning of the End formed in Nassau in the Bahamas, and had a hit with "Funky Nassau" (and released an LP of the same name).

The song starts off with some jangly guitar and then the drums and bass come in with it's tricky yet captivating rhythm. All kinds of percussive elements make up the groove (love the flecks of conga I can occassionally pick up). And some glorious horns ebb and flow to punctuate portions of the song. Little bit of organ in the mix, too.

What really sets 'Part 1' apart is the vocals, where the singer extols the beauty of Bermuda, his home, and so soulfully I am convinced. Lines like:

Come where the water is so nice
Come on down sail on the water
Come on down, swim in the deep blue sea

But my favorite line out of it all, in the midst of him describing the pink sand, the dancers in the street, the music, the gambling, and the good times, is this line sung with a slightly different timbre:

Come where every man can be what he wants to be

Now how can you argue with that? A 45 to buy on sight.

Jerk Loose

2006-01-17T17:19:00.000-08:00

The funny thing about recording collecting is that you never know what tune will really grab you when you buy blind. And when buying blind, you really can't go wrong with the name Oliver Sain (some bio info here) on the label.

"Jerk Loose" is best described as a soul instrumental. A nice goove, a solid guitar line, horns that come in with plenty of punch, and a fantastic saxophone solo. Straightforward and clean.....and proper stuff.

Soul Talk (Part 2)

2006-01-13T17:53:00.000-08:00

One of the things I'm trying to do in early 2006 is knock off the few remaining Prestige 45s that I am after. Johnny "Hammond" Smith's "Soul Talk" was one of them, which happened to show up today. This 45 is from his album of the same name, and the featured players were Rusty Bryant, Wally Richardson, Bob Bushnell, and Bernard Purdie.

Now I like both sides of this 45, side A featuring the organ, but Mr. Purdie's extended drum solo on part 2 just eeks by the organ-led soul jazz that makes up part 1. Side 2 opens with a solid groove, but then that all gives way to Pretty Purdie, who pretty much takes it all the way to the end. The solo is quite amazing, so amazing I can't do it justice (you can barely hear someone yell 'oww!' in excitement in the background during the middle of it). The organ comes in for a nice flourish here and there, but it is all Purdie's show. Then group comes back in to finish the show, re-establishing the tune featured in part 1. Great 2-sider.

Some Lonely Heart

2006-01-10T17:18:00.000-08:00

Tonight, an interesting release on the Fania label. My exposure to this label has been latin sounds, primarily boogaloo, but Ronnie Marks' "Some Lonely Heart" is a straight soul record, and a good one at that. Fania collectors - any other quality soul 45s I'm missing out on? If so, please enlighten me.

What I really like about this tune is that it seems to envelope the room, the wah-wah guitar almost overwhelming everything. The horns come in to punctuate the mood, strings crawl in the small spaces they can. Layers upon layers, and then a few more. Ronnie's voice is in all of this, solid and strong. The bass player is tight, yet all over the neck of his guitar. A quality tune.

If there is a drawback to this record, it's that it seems that the pressing is not very good. The vinyl looks like it is in excellent shape, but, unfortunately, it plays with noise. But what a tune.

I Do The Jerk

2006-01-08T17:53:00.000-08:00

After a record-free week spent at a trade show for work, I'm back with a few new 45s. While many collectors (records or otherwise) are completists, I, for the most part, am not. I do not need to own every release by a paricular artist or label. Why do I bring this up? Some funk collectors chase every James Brown-related record, and this happens to be one of them. From what I have been able to find out about this 45, it was recorded by the Original Drifters in December 1964, even though it is only credited to Bill Pinkney, who was the bassist.

The tune itself is a rough, early soul dancer, almost having a "frat" garage sound, perhaps due to the guitar having the lead. And when the guitar comes crashing in with the horns, it's plenty good. The backing group repeat the dance in a simple mantra: "Jerk, Jerk, (quick pause) Jerk, Jerk" while the singer screams the steps to the dance. It's the kind of tune that one could imagine would have been jaw-droppingly intense when performed live.

(Can't Help It, Baby) This Is My Thing

2006-01-01T18:55:00.000-08:00

The holidays have come and gone, the new year is here, and I am looking forward to things returning to normal. Unfortunately, I am going out of town this week for business, so I guess I'll have to wait a bit longer.

Anyway, I thought I'd present another great 45 that just so happens to have a gold label, Tommy Bass's "(Can't Help It, Baby) This Is My Thing", which was released on Soulful Records out of New York. Not sure if there were any other releases on this label, but this 45 certainly lives up to the label name.

"This Is My Thing" is a gritty funky soul tune. Tommy's delivery is amazing, moving through a range of emotions as he lays out his heart to the woman that's left him. The music is straightforward, drums, bass & guitar with horns coming for occassional flourishes. Straightforward is the perfect description here, as everything is put right out there. Fantastic stuff.

Have a listen to some of this tune here.

Break It Loose (Part 1)

2005-12-28T16:46:00.000-08:00

Tonight, it is my pleasure to feature a fantastic 70's funk 45 that my wife gave me for Christmas, Onyx's "Break It Loose". Onyx hailed from the Bay Area and released this 45 on their own Nia label (in fact this 45 has been reissued on the "Bay Area Funk" compilation released on Ubiquity Records). It is important to note that the rhythm on this 45 is provided by Equal Rights.

"Break It Loose" kicks off with the vocalists holding a high note, and then they release it to the let the electric piano, strings, wah-wah guitar, bass and drums begin to weave the dense sound that will support the group through the rest of the tune. And what a glorious sound, especially when the vocalists return to create their own harmonies, a group of falsetto vocals alternating between 'Break It Loose' and 'Let It Go' among other vocals that circulate throughout. I can only imagine what this sounds like in a club, the tune seems to wrap around the room, taking up every unoccupied centimeter. Then there's a breakdown about 2 minutes in that features the vocals over the electric piano which is quite nice.

Simply put, this is an amazing record. It's a shame there's not more recordings by Onyx and Equal Rights; they're a hell of a combination.