DUSTY NUGGETS: FEEDING YOUR WAX ADDICTION

TOUGH BREAKS: YOUR FAVORITE SAMPLES

2012-02-01T17:21:00.000-08:00

AN ODE TO THE ART OF SAMPLING. DOWNLOAD HERE

RADIOPHONIC ODDITIES: FALL 2011

2011-10-02T11:36:00.000-07:00

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ROOTS & GROOVES

2011-04-20T14:21:00.000-07:00

Tune in every Thursday from 2-6 PM (PST) at KMHD

"DUSTY NUGGETS PRESENTS THE WORD! VOLUME IV"

2011-02-28T16:09:00.001-08:00

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After the last volume of The Word! in 2009, I thought for sure that the the series had reached its inevitable conclusion. Not only was the process of collecting the material itself exhausting, the crates had also run dry--there was no more gold left to mine. It had been a good run.

Yet, here we are again, two years after the the release of Volume III--and now, hundreds of LP's and 45's later, Dusty Nuggets is once again happy to present the fourth volume. Culled from largely out-of-print/ rare LP's and obscure 45's, Volume IV, as you've come to expect, digs deep--spotlighting eclectic, genre-bending, mind-blowing cover songs and reminding us that the Beatles' music is simply unrivaled in pop music for its adaptability. With that in mind, Volume IV brings together perhaps the most diverse group of artists and variety of musical treatments in the whole series.

To start, The Alan Copeland singers juxtapose the lyrics of "Norwegian Wood" over the distinctive 5/4 cadence of Lalo Schifrin's "Mission: Impossible" score. While it sounds awful on paper, Copeland's version is simply too much fun not to include. Bit-A-Sweet's cover of George Harrison's "If I Needed Someone" is a prog/psych rarity, notable for a big, chunky drum break at the top the song. Ghanian-born singer Charlotte Dada delivers a soulful, warm take on "Don't Let Me Down." The swinging version of "Paperback Writer" comes from the London Jazz Four, who also made an appearance on Volume I.

Lowell Fulsom's blues-rock cover of "Why Don't We Do It In the Road" is a scorching, gritty effort. The Ventures, also known as the best-selling instrumental band of all time, deliver a spacey, economic version of "Strawberry Fields Forever" without sacrificing any of the original's psychedelic luster. Bobby Bryant brings us a dramatic, dynamic arrangement of "While My Guitar Gently Weeps," while Living Jazz give us an energetic version of "Eleanor Rigby" with a huge drum break. Bill Deal and the Rhondells speed up "Hey Bulldog" a bit, and give the song a different urgency, whereas Fats Domino takes "Everybody's Got Something to Hide (Except for Me and Monkey)" a few clicks down in BPM--its relaxed and effortless, and it sure sounds like Fats was having some fun.

The Gentle Rain's LP Moody (1973) sold poorly, but has since become a cult favorite for its dazzling instrumental arrangements; witness what they do with "Across the Universe." British pop/library composer Keith Mansfield brings a soaring, uplifting "All You Need Is Love." Organist Zygmunt Jankowski takes "The Ballad of John and Yoko" (from 1972's Hammond Pop Party) and sprinkles some funky Hammond work throughout--saving the song from camp territory. Also making good use of the organ are the Rob Franken Organization, their lone 1969 LP featuring the brief, funky version of "Fool on the Hill."

"Lady Madonna" comes from a 1968 LP called The Peter Thomas Sound Orchestra Presents, and it's a frenzied, brass-heavy arrangement. Reggie Milner's "And I Love Her" is a soulful archive from Stax; the psychedelic sitar strains of "A Day in the Life" come from a bizarre Dutch album called Okko Sitar & Electronics. The Bo Street Runners, an English R&B act, give us a rollicking version of "Drive My Car," and Ramsey Lewis makes his third appearance on The Word series with his stunning treatment of "Dear Prudence."

I almost excluded Ike & Tina Turner's "Come Together" from the final set--I wasn't sure listeners would want yet another version. Yet Tina sings the everloving hell out of it, and the band sounds in top form. Fred Van Zegveld's "Hammond Organ Dynamite" (1969) is where the 6-minute barnstormer "I Wanna Be Your Man" comes from, and Petula Clark does a fantastic version of "Rain." Brooklyn's Budos Band reimagine "Reppirt Yad" (read the title backwards) as a dark, menacing Afrobeat dirge. Closing out the set, the British band Amen Corner cover "Get Back" from their 1969 LP Farewell to the Real Magnificent Seven.

So...is this the end of the series? Maybe. Maybe not. I've got a few ideas kicking around should ever a Volume V come to fruition. Thanks to everyone who has emailed, shared, and supported this series. But for now, we'll conclude by simply saying, Thanks, and I hope we passed the audition.

"Say the word and you'll be free."

"RADIOPHONIC ODDITIES RETURNS: FEBRUARY 2011"

2011-02-04T14:39:00.001-08:00

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PS: Please remember to sort by ALBUM in iTunes, otherwise it will play the tracks alphabetically, and thus out of sequence.

"LET'S MAKE CHRISTMAS MEAN SOMETHING! (VOLUME III)"

2010-11-16T11:26:00.000-08:00

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Happy Holidays!!

"DUSTY NUGGETS PRESENTS: HALLOWEEN"

2010-10-21T12:53:00.000-07:00

Because there's only so much of "Monster Mash" and "Thriller" you can take, Dusty Nuggets ventures into Halloween territory with a devilishly delightful soundtrack for your costumed adventures.

(As always, remember to sort by "Album" in iTunes...or just burn a CD.)

DOWNLOAD HERE

"EGG ROLL"

2010-10-14T12:31:00.000-07:00

Originally released in 1970 on Montreal’s Trans-World label, Strawberry Soul is a rare and amazing instrumental deep funk album released by African-American ex-pat trumpeter Billy Martin. Martin also released an album called I Turn You On via Onion Records where his hit “Funky Feelin” also appeared. He was a local star on the Canadian R&B scene for a while, but disappeared without a trace after this amazing release. (Courtesy Music Direct.)

https://sites.google.com/site/dustynuggetsvault5/vault

"INSIDIEUSEMENT LES ELFES"

2010-09-22T12:45:00.000-07:00

Originally released in 1970 on Montreal’s Trans-World label, Strawberry Soul is a rare and amazing instrumental deep funk album released by African-American ex-pat trumpeter Billy Martin. Martin also released an album called I Turn You On via Onion Records where his hit “Funky Feelin” also appeared. He was a local star on the Canadian R&B scene for a while, but disappeared without a trace after this amazing release. (Courtesy Music Direct)

https://sites.google.com/site/dustynuggetsvault5/vault

"YAMASUKI"

2010-09-15T11:33:00.000-07:00

This pseudo-Japanese concept album was the brainchild of prolific French production duo Jean Kluger and Daniel Vangarde. Based on a dance named the "Yamasuki", it was originally released in very small quantities on the independent label Biram in 1972, inadvertently becoming a useful educational tool for French students keen to learn Japanese. "Yamasuki" is a collection of beautiful pop songs, sung by a Japanese choir, offset to pounding drum patterns, vibes and fuzz guitar work-outs. The hip-hop-esque beats of ‘Yama Yama’ and ‘Kono Samuri’ have made the original LP a highly sought after relic for break collectors, the hip-hop market and beatmakers.

The amazing crew at Finders Keepers Records reissued this gem, and to them: big thanks.

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"BLIND ALLEY"

2010-09-01T14:44:00.000-07:00

The Emotions are an American all female soul, disco, and R&B singing group. The group was formed in their current hometown of Chicago, Illinois in 1968, and originally consisted of the three Hutchinson sisters, all the children of Joseph and Lillian Hutchinson.

Their 1971 Stax LP, Untouched, features the classic break "Blind Alley," sampled hundreds of time, perhaps to best effect by Big Daddy Kane in "Ain't No Half Steppin."

We had this in the bins at Hall of Records for a whole ten minutes before a lucky customer snatched it up.

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IT'S GO TIME.

2010-08-18T18:32:00.000-07:00

A few months back, you might remember we teased you with a quick post about Hall of Records. After many months of hard work, blood, sweat, and tears, we are happy to announce that we'll be open on THURSDAY AUGUST 19th, from 4:30-midnight. Our address is 3342 SE Belmont, Portland, OR.

If you enjoy the music featured on here, we hope you'll come by and say hello. You can also read the Hall of Records saga at our blog.

Our grand opening is scheduled for SATURDAY SEPTEMBER 18TH.

Punch it, Chewie.

"ONE FOR THE ROAD"

2010-08-18T13:17:00.000-07:00

Greg Perry was one of major staff writers for Invictus/Hot Wax and co wrote most of the hits of Chairmen of the Board, Freda Payne etc. His first solo album, originally released on Casablanca in 1975, was called One for the Road. It is now regarded as one the best soul albums of all time.

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"TALK"

2010-08-16T10:09:00.000-07:00

Two true masters of French jazz - Michel Colombier and Ivan Jullien - teamed up in 1970 with other well known musicians from the French scene to record this excellent album at the famous Barclay Studios in Paris. The music was composed and played by Colombier and Jullien together with an allstar ensemble of finest studio players. Famous drummer Andre Arpino can be heard aswell as hammond master Eddy Louiss, Maurice Vander on piano, and Raymond Gimenez on electric guitar. Riviera Sound No.1 stands out as one of the perfect moments in French jazz funk, never reissued before and remaining on top of collector`s lists since years. There are not many facts to be found about this vinyl artifact, although nearly everybody of the featured musicians earned himself an excellent worldwide reputation.

The ten piece horn section delivers a great funky big band style from start to finish; wicked jazz funk is mixed with soundtrack or drama library sounds, like "Opening", that was also released on an impossible to find 45 single in the same year. "Crescendo" tears up every dancefloor, while "Talk" provides a monster open drum break at the beginning. Softer titles like "Edith" or "The Looser" draw their inspiration from cool jazz, modern jazz or pop music of the time. "I Remember Otis" is a soul and funk infused tribute to Otis Redding in a delicate Majestics or Mohawks style and the perfect groover "Wake The Monster" was re-recorded by Ivan Jullien later on for the always in demand Italian mod beat band "I Pyranas".

Ivan Jullien studied architecture and worked as a memorial inspector before he was sent to the Indochina war between 1952 and 1954. Back in Paris, trumpet playing became his main profession within the Paris jazz and variety scene of the time. He was soon playing in famous orchestras before accompanying big names like Johnny Griffin, Lester Young, Benny Bailey, Bud Powell, Dexter Gordon or Maynard Ferguson in the orchestra of the famous Olympia. In 1964 he was playing, arranging and recording for the likes of Johnny Hallyday, Francoise Hardy, Sacha Distel, Claude Nougaro, Charles Aznavour or Charles Trenet. All in all he did write thousands of arrangements for countless well known names from France and also started to compose and arrange big soundtracks like Claude Lelouche`s Un homme et une femme.

"Big Jullien" also started to lecture music analysis and music arrangement in 1983 and organized several big bands between 1965 and 1983. In 1993 he arranged "Carmen Jazz" featuring Dee Dee Bridgewater for the Vienna Festival, followed by special jazz arrangements of French chansons for Michel Leeb, finally performed by the Count Basie Orchestra in 2001. He received the "Prix Django Reinhardt" in 1971 and was also awarded with the "Prix Boris Vian" for his jazz adaption of "Porgy & Bess" together with Eddy Louiss. In 2003 he also received a "Victoires de la Musique" for his lifetime work. Moreover the man is "Chevalier des Arts et des Lettres", still working strong and arranging for his own big band today.

Michel Colombier learned to play the piano at the age of six, discovered jazz by eleven and soon performed or wrote for small combos and big bands. Later on he was playing and conducting the widest range of sounds from chamber orchestra to jazz band before being hired as artistic director for Barclay Records. The man stands out as one of the most important French music personalities of the 20th century. He not only composed music for more than 100 movies but also arranged some of the well known sounds by Prince or the first English album by Charles Aznavour, produced by Quincy Jones for release in the US. On the jazz scene he did write for many big names like Branford Marsalis. His classical works include titles for the Kronos Quartet aswell as various ballet musics. Michel Colombier passed away 2004 in Los Angeles.

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"NEW ORLEANS"

2010-08-05T08:37:00.000-07:00

The album If was released on Nathan Davis’s tiny bespoke Tomorrow International record label in 1976 and only 1000 copies were ever pressed. Davis leads his super-funky group along the narrow path between jazz and funk that so many failed to navigate successfully in the second-half of the 1970s. It’s an album by an artist who is a musician’s musician. More importantly - it’s a killer LP.

Nathan Davis’s career has made him a connoisseur’s favourite and his records are all extremely collectable. In the 1960s Davis was drafted into the US army, and was based in Germany and France (working with everyone from Art Blakey to Donald Byrd and Ray Charles). Davis also worked as musical director of a TV and radio station, wrote film scores, studied anthropology at the Sorbonne and released a number of important records.

He returned to the US at the end of the 60s and continued to release a number of amazing jazz records – all of which have now been long out of print. His avoidance of the major record industry, working instead with various small independent labels with limited distribution has made all his releases very collectible. But have no doubt; Davis is one of the most important jazz artists of his time with a 50-year career span that continues to this day.

The early Tomorrow International releases, especially If, have become serious collector’s items, as indeed have most of Nathan Davis’s catalogue of recordings. Today, more people want these records than when they were first made and demand outstrips supply. Those who own Nathan Davis albums don’t sell them - and none more so than If.

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"COLD FEET"

2010-07-29T11:42:00.000-07:00

Albert King's 1969 LP, King of the Blues Guitar, is a product of his most fertile period--his 1966-68 tenure at Memphis's Stax Records. Stax chief Jim Stewart had been reluctant to sign blues artists because he felt straight blues wouldn't mesh with Stax's patented Memphis soul. Ironically, the fusion of King's sharp guitar wails with the dynamic rhythms of Booker T. & the MGs--the Stax house band--was what set King apart from other bluesmen. The unique blend produced classic after classic: King's ripe and mellow vocals are a perfect match for the soul-drenched music while his dramatic string bends leap out.

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"JERK MACHINE"

2010-07-23T12:02:00.000-07:00

More great library work, this time from Roger Roger Et Son Orchestre, giving us a brief, giddy, spastic two minute groove with a fantastic drum break. The track is from the legendary Chappell Music Library Mood Music series, Volume 24.

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"THE LOPE SONG"

2010-07-22T15:02:00.000-07:00

Eddie Russ was an impressive jazz keyboardist-composer-arranger who worked with numerous legends through several decades, including Sonny Stitt, Sarah Vaughn, Dee Dee Bridgewater, Dizzy Gillespie, Stan Getz, Roland Kirk, Hank Mobley, Cal Tjader, and Clark Terry, among many others. Russ came into his own in the 1970s with trend-setting excursions into jazz-funk that mirrored James Brown’s forays into hip-hop and dance.

Since the 70s his commercial fame in England eclipsed that earned in the U.S., but his dedication and contribution to jazz in Michigan is a career highlight he cherished the most. Russ earned awards from the Michigan Council for Arts (1986), "Best Keyboardist" by Arts Midwest (1986), and his trio made a cameo appearance in the motion picture "American Beauty, Ltd.", winner of the 1990 Berlin Film Festival.

Russ, born and raised in Pittsburgh, PA, started piano lessons at age 11 and made his performing debut at 14. His teenage music activities included sitting in at all the jazz clubs with almost any artist who came through town. A popular hangout came to be the Musicians Club, where he credited learning jazz from major name figures.

His career took a major turn for three years in Traverse City at the Park Place Hotel, playing with bassist Mike Grace and drummer David Koether. There, Russ honed his creative hand and developed a bankable collection of original compositions. After the Park Place gig ended, Russ journeyed back to Albion to form the group Mixed Bag, with Koether, bassist Ron Brooks, saxophonist Larry Nozero, guitarist Jerry Glassell, and drummer Danny Spencer.

Russ’s Mixed Bag playtime fortuitously created opportunities to record five albums with legendary alto saxman Sonny Stitt (then, a Saginaw transplant from Boston), including "Portrait of a Legend" (Jazz Masters), and three solo albums for the Monument label ("Take A Look At Yourself," "See The Light"). His seminal 1974 album, Fresh Out (Soul Jazz Records) with the hit jazz-funk single, "The Lope Song," took Europe by storm.

Russ died in 1996 after an extended bout with chronic kidney failure. Below, an MP3 of "The Lope Song."
(Courtesy the Eddie Russ page preserved online at the Flint Jazz Festival)

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"COOL"

2010-07-19T16:16:00.000-07:00

Ultra hip, mega rare work from the John Danser octet. This all-instrumental jazz-funk record originally released on LP in 1977 is a must-have, and was recently reissued by Grapevine.

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RADIOPHONIC ODDITIES: SUMMER 2010

2010-07-08T13:49:00.000-07:00

Your new summer mixtape. Make sure you sort the mix by "Album" in iTunes for proper sequence. (The first track should be "The Subject Is Jazz.")

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"COME CLOSER TO ME"

2010-06-27T16:40:00.001-07:00

The Mad Lads were from Memphis, Tennessee, and were comprised of John Gary Williams, Julius Green, William Brown and Robert Phillips. Although not one of the premier Stax Records acts, this quartet enjoyed seven R&B hits between 1965 and 1969. After changing their name from the Emeralds, their first single, "The Sidewalk Surf", flopped, but the group placed three singles in the R&B Top 20 in 1965-66, the best-known being "I Want Someone". Their first hit, "Don’t Want To Shop Around", was curiously anachronistic, owing more to doo-wop than southern soul. Later releases, including the perky "Sugar Sugar", were more typical, but the group was increasingly obscured by its more successful counterparts. In 1966, Williams and Brown were drafted and replaced by Sam Nelson and Quincy Clifton Billops Jnr.

Their '66 LP, Mad Lads in Action, features some classic soul tracks like "Come Closer to Me." There's also a killer drum break on their version of "Get Out of My Life, Woman."

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"OJELE WOMAN"

2010-06-25T12:14:00.000-07:00

From DJ Mighty Mike's website:

The Ikenga Super Stars of Africa, led by Vincent Okoroego, a former member of Steven Osita Osadebe’s Nigeria Sound Makers were a leading Igbo “guitar highlife” group of the seventies and eighties in Nigeria. The Ikengas called their style of music “Ikwokilikwo”, a fast-paced form of highlife popularized by Oliver de Coque and Godwin Kabaka Opara of the Oriental Brothers, amongst others.

The band went on to record several LP’s, while establishing themselves as one of the most beloved Nigerian groups of all time, not only in their homeland but across Africa and in Europe as well. It has long been rumored that “Nkengas in London” was an Osita Osadebe master tape hijacked by Okoroego and other members of the Nigeria Sound Makers who defected in the early seventies. Absent any evidence to the contrary, this seems likely. “Nkengas in London” sounds not at all like other Ikengas recordings, for instance, “Ikenga in Africa.” The vocals, the instrumentation, even the spoken comments at the beginning of the songs, are all classic Osadebe.

The Ikengas have had numerous personnel changes and defections over the years and while they were basically an “Igbo” group, over time they took on a broader character, enlisting musicians from other ethnic groups and Cameroun.

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"MODESTY BLAISE"

2010-06-23T11:41:00.000-07:00

Sir John Phillip William Dankworth, CBE (20 September 1927 – 6 February 2010), known in his early career as Johnny Dankworth, was an English jazz composer, saxophonist and clarinetist.

After years of gigging with big bands, Dankworth began composing film and television scores around 1966. His soundtrack for the film Modesty Blaise is groovy and kitsch in places (in keeping with the wacky film), dark and menacing in others. Jazz and pop are blended in equal measure. And of course, there's that famous break and horn sample that Gorillaz later recyled for "Rock the House."

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"SHIMMY"

2010-06-19T10:54:00.000-07:00

YToussaint McCall (born 1934, Monroe, Louisiana) is an American R&B singer and organist.

His one major success was with the single and LP "Nothing Takes the Place of You", which reached #5 in the US R&B chart, issued on Ronn Records in 1967. Although further singles and an album followed, McCall did not repeat its success.

He continued performing and recording for local record labels, and in 1988 made a cameo appearance in the John Waters film, Hairspray, lip syncing to his hit song.

The entire LP is in a soulful vein and everybody who likes deep, strong, soulful music, and also features some very funky instrumentals like "Shimmy."

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"MOWGLI"

2010-06-10T11:00:00.000-07:00

Nino Nardini's Jungle Obsession is an album of production music recorded in 1971 and released for public consumption almost 30 years later. As the title suggests, all tracks have an exotic bent -- think Martin Denny; however, the '70s production adds a more solid bass-and-drums bottom end. Some tracks are more mellow and feature loads of strings while others have primitive electronics, vibes, wah guitar and organ.

Here's the track "Mowgli," which features some luscious, dreamy arrangements and instrumentation.

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"LES DUNES D'OSTENDE"

2010-06-03T11:00:00.000-07:00

François de Roubaix (April 3, 1939, Neuilly-sur-Seine, Hauts-de-Seine – November 22, 1975, Tenerife, Canary Islands) was a French film score composer.

Roubaix did not receive any formal education in music, but began studying jazz on his own at age 15, forming a band and learning trombone as an autodidact. His father, filmmaker Paul de Roubaix, made educational films, and offered to let François compose scores for them. His first film score was for a 1961 film by Robert Enrico; through the late 1960s and early 1970s he scored films for Enrico, Jose Giovanni, Jean-Pierre Melville, Jean-Pierre Mocky, and Yves Boisset. Notable in his style is his use of folk elements, as well as electronic musical instruments such as synthesizers and early drum machines. Roubaix had a home studio where he would overdub parts until he was satisfied with the result. He died in 1975 in a diving accident; in 1976, his score for Le Vieux Fusil was awarded a César Award.

Here's a short piece from the score for the 1970 French film Les Levres Rouges.

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"BLACK RITE"

2010-06-02T13:02:00.001-07:00

Crammed with percussion-heavy stompers like the utterly astounding "Black Rite" and the splendid "Moon Goddess", Mandingo's The Primeval Rhythm of Life comes over like a top class KPM best of.

Recorded in the mid-'70s, using state of the art analogue equipment and techniques, this album was very highly regarded by Hi-Fi buffs world wide for its clarity, dynamics, sonic response and broad stereo spectrum. A groundbreaking mix of exotica, Afro Funk, and electric 70s production, this was Mandingo's first album of savage jungle electronics and the record's a landmark from the Brit easy scene, but it's also got an amazing Funky sound that sets it apart from anything else like it. There's heavy percussion, weird electronics, fuzzy guitars -- and incredible production throughout.

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"BORDER CROSSING"

2010-05-28T09:18:00.000-07:00

Jerry Goldsmith was a film and TV composer born in LA in 1929. He will be remembered for providing the soundtracks to many of the most popular films and TV series' from the 1960s onwards, including The Twilight Zone, Star Trek and The Omen.

Goldsmith studied music at USC before taking a job in the music department at CBS, working as a clerk by day and composer by night. His earliest work was for radio, before moving onto TV, where he scored The Twilight Zone, The Waltons and The Man from U.N.C.L.E. He got his breakthrough into cinema when he wrote the music for John Huston's Freud, for which he received an Oscar nomination. This led to 20th Century Fox and that opened the doors to an array of big budget, high profile work.

Goldsmith has applied his talents to projects across the spectrum of cinema with sci-fi (the Star Trek films), drama (Chinatown), horror (The Omen), westerns (Rio Lobo), and comedy (Mr Baseball). One of the things that set him apart from his contemporaries was his use of unusual instruments, or the use of instruments in unusual manners. The score for Alien used steel drums and the medieval 'serpent', plus some filtering techniques to produce new and interesting sounds.

Goldsmith was recognised by awards committees throughout his career. By the time of his death in 2004, he had amassed nine Golden Globes, five Grammys, and 16 Academy Award nominations.

His soundtrack to the 1971 film The Last Run contains some great work, with tracks like "Border Crossing" creating rich, deeply evocative, dramatic soundscapes that are inherently funky.

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"ME LIBERTEI"

2010-05-27T09:53:00.000-07:00

Tony "Toni" Tornado is an actor and Brazilian singer, born in Sao Paolo in 1930.

Toni Tornado is associated with the Black Power movement in Brazil. Along with people like Tim Maia, Cassiano, Hyldon, Jorge Ben, and Banda Black Rio, Tornado was just one of a group of artists in Brazil that were taking cues from black music in the US, which made them rather polemical at the time, culturally speaking. Embracing black music from North America was one way of shaking up this attitude and asserting a black identity in a place where people had always tended to aspire towards the ideal of whiteness, which is where and how social mobility happened. This musical community, like others in West Africa and elsewhere, was building an aesthetic of its own, embraced and celebrated by the DJs of the big parties of the favelas.

In 1970, Tornado won the national phase of the V International Song Festival with the socially conscious song "BR-3". One year after Toni won the Festival, Tornado released a very rare funk and soul-influenced self-titled album, accompanied instrumentally by the Tender Trio. deon Records/EMI re-released a CD of this landmark Brazilian album back in 2002, but original copies of the LP remain nearly impossible to locate. With heavy, sample-ready tracks like "Me Libertei," it's easy to see why this Brazilian record has remained a must-have for crate diggers.

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"WHAT NOW, MY LOVE?"

2010-05-25T10:12:00.000-07:00

Carolyn Ann Franklin (May 13, 1943 – April 25, 1988) was an American Gospel and Rhythm & Blues singer and songwriter.

Carolyn was born on May 13, 1943 in Memphis, Tennessee. She was the youngest sibling of Aretha Franklin, and the daughter of Detroit preacher C. L. Franklin and Barbara Siggers Franklin, a pianist and Gospel vocalist. Carolyn and her family moved to Detroit, Michigan while Carolyn was still a baby.

Carolyn Franklin recorded in her own right, releasing numerous albums throughout the 1970s and serving as one of Aretha's background vocalists for some years as well as writing some of her songs, including "Ain't No Way" and the 1973 #1 R&B hit "Angel."

Carolyn was living at her father's West Side home in Detroit, Michigan when he was shot in 1979. She appeared as one of Aretha's background singers in the 1980 movie "The Blues Brothers."

Having never married, Carolyn died in Aretha's Bloomfield Hills, Michigan home from breast cancer on April 25, 1988, at age 43. Just ten days prior, she was awarded a B.A. in Music Education from Marygrove College. Her oldest sister, Erma Franklin, died of throat cancer in 2002.

Carolyn - like her other deceased family members - is interred at Detroit's historic Woodlawn Cemetery on North Woodward Avenue.

Carolyn's 1969 LP, Baby Dynamite, features the track "What Now, My Love?", a heavy funky female scorcher if there ever was one.

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"CHILI MAC"

2010-05-21T10:56:00.000-07:00

Preston Love was a renowned alto saxophonist. The Preston Love Orchestra was the top orchestra in the Midwest for several years before Preston moved to California in 1962. While in California, he became a top studio woodwind player and made countless recordings and television shows with nearly every big name artist. As a leader of the West Coast Motown Orchestra, Preston was the regular bandleader for the following when they were on the west coast: The Supremes, The Temptations, Smokey Robinson and the Miracles, The Four Tops, Stevie Wonder, Marvin Gaye, Aretha Franklin and others too numerous to mention. Prompted by his love for Omaha and the Midwest, Preston returned to live in Omaha where he recorded Omaha Bar-B-Q with Love's best friend Johnny Otis and Otis' regular band--which by this time included the blistering guitar playing of his 14 year old son-- a kid named Shuggie Otis.

"Chili Mac" is my favorite cut from the album; greasy in all the right ways, it's a great blend of party-oriented, danceable funk and rootsy improvisation.

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"THE TIGER"

2010-05-04T12:54:00.000-07:00

Into the Wind marries a unique blend of ancient tradition with studio trickery. Eschewing all notions of superficial "Asian-fusion," this uplifting, genre-bending sound clash, recalls the afro centric harping of Dorothy Ashby and hypnotic spiritual jazz of Alice Coltrane. With Lee adding equal doses of hip hop, electric jazz, and soul sensibility to the backing tracks, the captivating sound of Bei Bei’s Guzheng (a 2000 year old Chinese string instrument) comes alive on peaceful mellow joints as much as it does on Kung-Fu flavored funk tunes.

https://sites.google.com/site/dustynuggetsvault5/vault

"THE SOIL I TILLED FOR YOU"

2010-04-26T21:11:00.000-07:00

A classic 1970s Chicago soul group led by singer Bill Brown along with vocalists Christopher Allen (aka Chris Bernard), Charles Scott IV, and Earle Roberts, Shades of Brown began as the Fortrells, changing their name to the Mentors during a short stay at ABC Records (they recorded two singles -- four tracks in all -- for ABC but none of this music was ever released), and became Shades of Brown when they signed to Chess Records subsidiary Cadet Records. Working initially with producer Billy Davis, the group really found its stride when Dells maestro Bobby Miller took over the producer's chair, and Shades of Brown, helped by marvelous musical arrangements from Richard Evans and Charles Stepney, released three wonderful singles and a LP, S.O.B., for Cadet, none of which had much commercial success. Leaving Chess, the group recorded some material for producer Clarence Johnson (which, again, was never released) and then issued a final single (produced by Calvin Carter), "How Could You Love Him" b/w "He Ain't Heavy," in the early '70s on the On Top Records imprint before calling it quits. Shades of Brown had a wonderful, almost Motown-like (via the Dells) Northern soul ensemble sound, and their lack of commercial success is baffling, although their sole album has become a samplers favorite in recent years, particularly on the opening drum break on "The Soil I Tilled for You." (Check out "Excursions" from The Low End Theory for further listening).

https://sites.google.com/site/dustynuggetsvault5/vault

BECOME A FAN OF HALL OF RECORDS ON FACEBOOK

2010-03-26T21:16:00.000-07:00

Click here to fan us on Facebook.

"PORTRAIT"

2010-03-16T14:50:00.000-07:00

Milan Svoboda founded his first jazz big band during his studies at the Prague Conservatory in 1974. The ensemble was called The Prague Big Band and quickly made its name among the best Czech jazz groups and gained renown abroad as well. In the beginning the Orchestra drew inspiration from the big bands of Thad Jones/ Mel Lewis, Buddy Rich and Don Ellis. But soon original compositions completely took over the repertoire. During the first decade the ensemble featured Jiří Stivín, Michael Kocáb, Ondřej Soukup, Zdeněk Šedivý, Rudolf Ticháček, Michal Gera and others. The modern sound of the Prague Big Band brought fresh air to the Czechoslovakian jazz scene in the late 1970s. The group regularly won polls as the Best Jazz Orchestra and frequently received high ratings also in European jazz magazines.

In 1978, the band released their classic and highly sought after LP Portrait. The album remains a high watermark for Eastern European jazz in the 70's, as the Prague Big Band effortlessly interweaves between funk, fusion, and swing.

https://sites.google.com/site/dustynuggetsvault5/vault

"HERE'S LOOKING AT YOU, KID"

2010-02-26T14:42:00.001-08:00

Henry Mancini was an award winning film score composer best known for The Pink Panther theme.

Mancini learned to play the flute and piano as a child, and went on to formal music education at the Julliard School of Music, although being drafted during the Second World War interrupted his studies. After the war he worked with the Glen Miller Band, although it was his move to Universal Studios that marked the beginning of the career for which he is renowned. During his time there, he worked on "Creature from the Black Lagoon," "This Island Earth," "The Glenn Miller Story" and over one hundred other films.

He set up his own writing company, and was approached by film director Blake Edwards to write for the TV series "Peter Gunn." This was the beginning of a long term partnership, and Mancini would go on to write for most of the directors output, including "Breakfast at Tiffany's", "10" and "The Pink Panther" series of films. He also wrote for other directors, with "The Glass Menagerie" and "The Great Waldo Pepper" amongst his credits.

The track "Here's Looking At You, Kid" comes from one of his coolest records--The Return of the Pink Panther. Grand Puba sampled this track for "I Like It."

BARE WITH ME...

2010-02-24T11:54:00.001-08:00

That newspaper you see up on those windows means we've been quite busy lately getting Hall of Records ready for our April/May grand opening.

Needless to say, I've been neglecting the blog the last few weeks. Hang in there while we finish up some construction. Priority #1 is Getting Our Store Open.

And once we do, we promise it'll have been worth the wait.

HALL OF RECORDS: E-MAIL LIST

2010-02-09T12:13:00.000-08:00

No spam, no joke.

SIGN UP HERE!

RADIOPHONIC ODDITIES: FEBRUARY 2010

2010-02-06T14:50:00.000-08:00

Straight from vinyl to your consciousness.

Come and get the new February mix right here.

"SOFT SOUL"

2010-02-05T11:12:00.001-08:00

There's hardly anything "soft" about Lavell Kamma's little-known Afro Soul Review, judging from this rare 45 on the Tupelo Sound Label out of Mississippi. From what we know, Kamma was an R&B/jazz alto sax player and produder who built up a strong funk following in Florida, of all places.

The song features an insistent, funky mid-tempo groove, a punchy horn section, and plenty of "Good God!" shouts from Lavell Kamma himself. Needless to say, the Afro Soul Review seemed to be absorbing a lot of fellow southerner James Brown's deep funk sound.

HALL OF RECORDS: COMING SOON

2010-02-02T10:29:00.000-08:00

If you enjoy the music featured on Dusty Nuggets, then you'll want to read the story of how Hall of Records came to be--and come visit us in April/May for our Grand Opening in Portland, Oregon.

"HADD MONDJAM EL"

2010-01-30T17:49:00.000-08:00

If you were to tear a hundred pages from Pamela Des Barre's 'I'm With The Band', a fistful of anecdotes from 'The Abba Story', and the most titillating tales from Marianne Faithfull's biography and staple them all together you may well find a mutant monograph which is brave enough to hold a flickering candle to the story of Sarolta Zalatnay.

The protective packaging of this, first ever, compendium of Zalatnay's crown jewels would not provide anything close to the adequate ink space for a worthy account of her life in the Hungarian public eye (which has previously and periodically been documented in a series of autobiographies which are unlikely to ever benefit an English language translation).

After ten successful albums, drawing together a veritable who's-who of Hungarian progressive and psychedelic rock and utilizing some of the toughest dancefloor friendly metronomic drum breaks and a hard funk-rock sound years ahead of their Western European counterparts, the decline of communism in Hungary Western music, literature and cinema predictably infiltrated Hungarian culture overnight and the young record buying public began to turn their backs on home grown music and many faithful Eastern European artists were demoted to mum and dad's record shelf like musical photo albums. Don't worry though - Gal Costa is a huge name in Portugal but not many Portuguese people have heard 'Tuareg'. The youth of Hungary certainly know who Zalatnay is... but how many of them have heard that break at the start of "Hadd Mondjam El"?

"THE CAT WALK"

2010-01-21T09:28:00.000-08:00

The Village Soul Choir were an obscure R&B act from New York City. Their guitarist, Edward Arrington, Jr., was a one-time Motown studio musician. Not much is known about the band, other than that they recorded a classic children's album in the late 60's when they released Soul Sesame Street.

The group are a vocal quintet with a solid harmony sound, initially recasting versions of Sesame Street hits, but eventually moving into some of their own numbers on the second side of the album. Highlights include the group's own funky classic "The Cat Walk."

GEMS AND GIANTS: ONLY THE FINEST IN SOUL AND FUNK

2010-01-18T12:48:00.001-08:00

THE TAKING OF PELHAM 123 ("MAIN THEME")

2010-01-15T15:02:00.000-08:00

For 1974's brilliant action film, The Taking of Pelham One Two Three, composer David Shire used a funky multicultural rhythm section for "Main Theme." He intended to evoke the bustle and diversity of New York City, and his dense, funky composition has become an unofficial theme for the 6 subway line (the local Lexington Avenue Line that is depicted in the film). Shire received two Grammy nominations for his work on the film.

One of our favorite soundtracks ever--and the track has been sampled by Mixmaster Mike, Showbiz & A.G., and Xzibit.

GUNSHOT ORCHESTRA (RUSSIAN PRIVATE PRESS PSYCH JAZZ/FUNK)

2010-01-14T17:36:00.001-08:00

I don't know much about Russia's shadowy "Gunshot Orchestra," which, according to beat-digging lore, was a collective of Soviet rare groove musicians who recorded TV and film library music in 70's Moscow. Others have told me they were a hardworking Psych/Funk band originally from the Ukraine--in fact (if you believe the legends), the band was so hyped, they played a single, sold-out show (with a full orchestra, natch) at a club in London--and then never performed live again.

The producer/arranger--and the only one credited on this bizarre 12"--is Faddei Vladik Kozlov, a multi-instrumentalist and widely respected Russian producer who was responsible for some devastating library work that came out of the Iron Curtain. He was also the owner of SRG Studios, a recording studio and vinyl pressing plant on the outskirts of Moscow. (Kozlov's father, Grigory, was part of the Bolshevik Red Guard.)

I've never heard another track by the so-called "Gunshot Orchestra"--maybe I never need to. Sometimes one track is enough, and the legend IS the story.

The vinyl is undoubtedly bootlegged/private press. This particular track name is untitled, and features a bizarre mix of drum breaks, spacey synths, chaotic orchestral noise...and of course, gunshots.

SHADY BLUES

2010-01-12T13:56:00.000-08:00

Lee Mason’s infamous, elusive and decidedly sleazy ‘Shady Blues’ has finally been brought to justice courtesy of Jazzman Records. A track that’s downright dangerous; that’s been sampled dozens of times; that’s appeared on numerous dodgy bootlegs and has had record hounds tracking its scent for years - has finally been nicked and locked down to wax. The story started in the mid-‘90s when library fever was about to grip the nation, and the good libraries still rubbed shoulders with the bad.

But the time soon came when the good ones just disappeared, leaving the shite behind… where did they all go? Collectors, DJs, dealers and producers (Madlib, The Outsidaz) and are all responsible for removing these records from our midst, but few of them ever even saw the elusive UK Chappell library LP Lee Mason & his Music, let alone capture one for themselves. The bootleggers released ‘Shady Blues’ and named it after Peter Moore to throw people off the scent, but now after all this time, reproduced from the original studio mastertapes, you can hear the ultimate combination of ultra fat drums and awesome flute in all its naked glory.

GEMS AND GIANTS: ONLY THE FINEST IN SOUL AND FUNK

2010-01-06T18:11:00.001-08:00

First 2010 Throwdown.

THE CHAMPION-PART I (R.I.P. WILLIE MITCHELL)

2010-01-05T12:20:00.000-08:00

Sad news today out of Memphis, Tennessee.

Willie Mitchell, a record producer and musician who worked with Al Green and dozens of others, has died. He was 81.

Mitchell's son, Lawrence Mitchell, said his father suffered a cardiac arrest on Dec. 19 and died at Methodist University Hospital in Memphis at 7:25 a.m. Tuesday.

Mitchell was born and raised in Ashland, Miss.

At the age of eight, he began to play the trumpet. While in high school, he was a featured player in popular local big bands. He later formed his own combo, which from time to time included musicians such as trumpeter Booker Little, saxophonists Charles Lloyd, and George Coleman, and pianist Phineas Newborn, Jr. A trumpeter and bandleader in his own right, Mitchell released a number of popular singles for Hi Records as an artist in the 1960s, including "Soul Serenade."

Mitchell landed a job with the Home of the Blues record label as a producer, then left to join Hi Records as both a recording artist and a producer. When the founder of Hi Records, Joe Cuoghi, died in 1970, Mitchell suddenly found himself in charge of the label. What could have been a turbulent transition turned out to be a smooth one: a year before Cuoghi's passing, Mitchell had signed an up-and-coming soul singer named Al Green to the label. Under the guidance of Mitchell, Green's career would soon skyrocket and he became one of the '70s top soul artists with Mitchell co-producing and engineering all of Green's albums from 1970 through 1976 (the singer's most successful period), as well as such classic Top Ten hit singles as "Tired of Being Alone," "Call Me (Come Back Home)," "I'm Still in Love with You," "Here I Am (Come and Take Me)," "Let's Stay Together," "You Ought to Be with Me," "Look at What You Done for Me," "Let's Get Married," and others.

Known at the recording studio as "Papa Willie", Mitchell earned his nickname by taking over the reins of Hi Records in 1970 and guiding it through its most successful period. Mitchell's productions have been much noted for featuring a hard-hitting kick drum sound (usually played by pioneering Memphis drummer Al Jackson, Jr. of Booker T. and the MG's).

For further (and highly recommended listening), check out The Hi Masters.

Rest in peace, Willie. Here's a good track to remember him by: 1965's "The Champion (Part I)," a fierce Northern Soul workout.

GRILOS

2010-01-04T13:40:00.000-08:00

Erasmo Carlos, born Erasmo Esteves on June 5, 1941, in the Tijuca area of Rio de Janeiro, is a Brazilian singer and songwriter. A core member of the Jovem Guarda ("Young Guard") scene of 1960's Brazilian pop-rock, Erasmo often appeared on television, in magazines and feature films with fellow teen idols Roberto Carlos and Wanderléa.

In contrast to his simpler pop-rock early sound, Erasmo went on to produce several of the more moody and introspective MPB records of the 1970s, including Sonhos e Memorias, which featured the classic track "Grilos." The album is often considered just plain psychedelic, but it actually mixes an eclectic blend of smooth Latin-jazz, dreamy pop-psych, afro-Brazilian funk-soul and electro-acoustic folk-rock.

FUNKY HIGHLIFE

2009-12-30T09:07:00.000-08:00

C.K. Mann is a guitarist originally hailing from Moses Kweku Oppong's band Kakaiku in the 1960s. In the '70s, Mann left Oppong and began his own band, Carousel Seven, in which he began composing his own songs and holding a basic osode beat with a solo guitar. The outcome of this combination was a mildly melancholy sound which was quite popular on the Ghanaian West Coast market.

Originals of this extremely rare LP have fetched over $350.

LET'S MAKE CHRISTMAS MEAN SOMETHING! VOLUME II

2009-12-19T13:06:00.000-08:00

Jack Frost nipping at your nose? In-laws driving you crazy? Holiday travels stressing you out? Christmas season bringing you down?

Alas, my weary friends, we're here to help give Santa Claus a soul transfusion--and put a little extra kick into that mistletoe kiss.

Just in time for the impending madness of Christmas week and New Years, we're proud to present Volume II in our Let's Make Christmas Mean Something! series.

So thanks to all of you, dear readers, for another great year, and we'll see you in 2010! Big things to come.

DOWNLOAD

HOGIN' MACHINE

2009-12-15T07:25:00.000-08:00

After Les Baxter made his mark in the late 50s and early 60s with classic exotica albums such as Ritual of the Savage and Tamboo!, he contributed soundtracks for a bunch of B-movies, including some classic horror flicks like Black Sunday and Baron Blood. As a composer of genre flicks circa late 60s, early 70s, it should come as no surprise that Baxter did some biker flicks as well. Hell's Belles, a 1970 Maury Dexter film, features one of the many American International Pictures with Baxter's cinematic scoring.

The highlight of the record is a 90 second fusion of spaghetti western and fuzz-funk called "Hogin' Machine," featuring one of the all-time great drum breaks at about :40 or so. The track was sampled by MF Doom ("Doomsday") and ShowBiz & A.G. ("Never Less Than Ill.")

SOCK IT TO ME SANTA

2009-12-13T20:45:00.000-08:00

Before Bob Seger's name became synonymous with the Chevy "Like A Rock" commercials, he was just another hard working singer-songwriter from Detroit in the 60's.

In 1966, after playing in dozens of local bands without much success, Seger formed a new backing band called The Last Heard, which ultimately featured musicians he would continue working with for a while, consisting of Pep Perrine on drums, Carl Lagassa on guitar, and Dan Honaker on bass. With the Last Heard, Seger unleashed a furious James Brown/Wilson Pickett-influenced Christmas 45 called "Sock It To Me Santa." If only all Christmas music packed this kind of gritty soulful punch.

KBOO BENEFIT @ REPORT LOUNGE: DECEMBER 16TH

2009-12-08T09:31:00.001-08:00

Hall of Records will be on hand with vinyl for sale.

GO DOWN DYING

2009-12-07T15:12:00.000-08:00

The huge and comfortable sound of Ray Brown's bass was a welcome feature on bop-oriented sessions for over a half-century, playing with, and for, legends like Dizzy Gillespie, Charlie Parker, and Bud Powell. Brown's quick reflexes and ability to accompany soloists in a swinging fashion put him near the top of his field. After playing with Jazz at the Philharmonic, he married Ella Fitzgerald (their marriage only lasted during 1948-1952), and for a time led his own trio to back the singer. Brown recorded with an early version of the Modern Jazz Quartet (under Milt Jackson's leadership), and then became a permanent member of the Oscar Peterson Trio (1951-1966).

After leaving Peterson, Brown settled in Los Angeles, worked in the studios, continued recording jazz, and worked as a manager of several artists (including the Modern Jazz Quartet and Quincy Jones). He played with the L.A. Four starting in 1974, did a great deal to revive the careers of Ernestine Anderson and Gene Harris, and recorded extensively for Pablo and Concord.

One of Brown's more peculiar and funky efforts in his discography is the soundtrack to the film The Adventurers from 1970, and it's a mouthful of an album title: Harold Robbins Presents the Music of Antonio Carlos Jobim: Music from the Adventurers with the Ray Brown Orchestra Conducted by Quincy Jones. Though the film was a commercial and critical flop, the soundtrack became immortalized when Bjork sampled the track "Go Down Dying" for "Human Behavior."

Brown continued touring up until his death, dying in his sleep while napping before a show in Indianapolis on July 2, 2002.

GEMS AND GIANTS: ONLY THE FINEST IN SOUL AND FUNK

2009-12-01T16:21:00.001-08:00

Your presence is most requested.

PIMP

2009-11-30T14:48:00.000-08:00

This moody downtempo tune shows the influence of Latin styles and Jamaican reggae in early 1970's Trinidadian music culture. The theme is said to be derived from Venzuela and was adapted by rapper 50 Cent for his massive smash "P.I.M.P.". Chief Mocambo engineer Steven "Def Stef" Tantrum did a wonderful job in restoring the old 8-track tape and mixing the track.

LET'S MAKE CHRISTMAS MEAN SOMETHING!

2009-11-22T11:56:00.000-08:00

Guaranteed For A Soulful, Funky Christmas®!

(When adding to your iTunes, make sure you sort by Album Title for proper sequencing. The opening track should read "Intro.")

DOWNLOAD

RADIOPHONIC ODDITIES: FALL 2009

2009-11-03T17:43:00.000-08:00

Ah, fall: the leaves are changing colors and falling lazily to the earth, the darkness of early evening nips at the heels of a blustery afternoon, the deep exhalations of our breath become visible in bleary, midmorning dazes.

Lovingly, as always, we are happy to share with you another mix of Radiophonic Oddities and Dusty Nuggets, deeply mined from the crates for your aural pleasure. As usual, the music is admittedly a veritable smorgasboard reflecting wildly eclectic records, to say the least.

So hit this here DOWNLOAD button, and hey....consider yourself informed. (And entertained.)

Big ups to DJ Clarence Duffy for assistance.

Tracklist:

1-Intro
2-The Dreaming Mind (Part 2)/Quantic & His Combo Barbaro
3-Jive Samba/Llan Thelwell
4-Fistfight in the Master Bath/Big Pimp Jones
5-The Empire Strikes Back Kenner Collection
6-No Sugar Tonight/The Shirelles
7-Madalena/Tania Maria
8-An Elephant Called Slowly/Howard Blake
9-Roy Rogers Quick Shooter Hat
10-Late Train/Ken Aldin
11-Pass the Pipe/Alliance
12-Rhyme Writer/Pete Rock
13-Fitch Shampoo
14-Don't Take My Kindness for Weakness/Soul Children
15-Latin Illusion/Natural Yogurt Band
16-Let's Get On Down/The Black Aces of Soul & The Eyes of Ebony
17-Paint It Black/Gil Scott Heron
18-Truth Spoken Here/Dorothy Ashby
19-Make the Most of It/Starfire
20-Losing You/Courtial
21-Goodyear's Magnificent Research Laboratory
22-Strip Club/Dudley Moore
23-How Good is Good/Mickey & The Soul Generation
24-Cissy Strut (Outro)/Sacramento Senior High School

Running Time: 55:53

YOUR AUTUMN OF TOMORROW

2009-10-30T12:43:00.001-07:00

Truly one of the odder and more obscure 45's from the rich, overwhelming legacy of Northern Soul, The Crow's "Your Autumn of Tomorrow" is a doozy; it's a daring, even somewhat disorienting blend of jazz, soul, funk, rock, and psychedelia. In 2 and a half minutes, it's packed with more ideas than some songs double its length, and, listening to it now, it certainly sounds like a product of the genre-blurring directions of black music in the late 60's. It's raw and gritty, yet has an unmistakable dancefloor heart pumping.

KWVA MUSIC FAIR

2009-10-30T12:30:00.000-07:00

Hall of Records will be selling some vinyl next Saturday at KWVA's Music Fair in Eugene.

The event is from 12-3pm on Saturday, Nov. 7th. It takes place in the Fir Room of the EMU building that is located on the U of O campus.

Dan Berkman describes it as a "fair where you can shop around for vinyl, cds, cassettes, t-shirts, posters, and more."

There will be live music from the Ladies n’ Jackson, Dinner Pelonca and Boy Eats Drum Machine.

This is a free event.

Consider yourself informed.

NUKLEAR WESSELS

2009-10-22T16:38:00.001-07:00

AT THE SOUL IN

2009-10-21T16:53:00.000-07:00

Preston Love--the famous alto saxophonist and bandleader from Omaha--once owned a record label with Otis Renwho, alongside his brother Leon, had owned the earliest black independent labels on America's West Coast: Exclusive and Excelsior Records. They later formed Class Records, scoring rock'n'roll hits in the late 50s. Leon's son Googie recorded for Class in the 60s, scoring with tracks like "Chic A Boo" and "Smokey Joe's La La."

In the mid 60s they set up another label, Soul Bag, which saw the release of the classic 45, Count Yates and the Rhythm Crusader's "At The Soul In." Produced by Googie Ren this is now an incredibly hard 45 to track down. Featuring some incredibly funky keyboards and a playful, rowdy atmosphere (not an unusual occurrence considering bands, especially soul and funk acts, actually used to record in the same room together), it's one of my favorite 45's of all time. It just has a great sound all its own.

HOW YOU GONNA GET RESPECT

2009-10-14T09:32:00.000-07:00

With his grinding guitars, distorted sound and fervid call-and-response of those and many other recordings made for the King and Federal labels, Hank Ballard helped define the sound of rock and roll. He also ushered forth one of its greatest dance crazes, having written and first recorded “The Twist.” By the early 1960s, he’d charted 22 singles on the R&B charts, including “Work With Me, Annie,” which was the biggest R&B hit of 1954. It sold more than a million copies and spawned more than 20 answer records (including Etta James’ “Roll with Me Henry").

By the late '60's, Ballard was working as a solo act, often with James Brown's revue, and 1968's "How You Gonna Get Respect (If You Haven't Cut Your Process Yet?)" was a minor R&B hit, and is one of the funkiest tunes from his catalog.

EL CAMIENTE SOLITATARIO

2009-10-13T10:22:00.000-07:00

La Kabala were a psychedelic funk/rock outfit from Mexico, who seemed to have only released one self-titled album. The LP is mega-rare and has gone for as high as $700 on Ebay.

"El Camiente Solitatario" opens with a single-note staccato piano and drum pattern before the rest of the band kicks in with flute, organ, guitar, bass, and great vocal harmonies. It's a great blend of psychedelia and funk, with a cool arrangement and a distinctive sound.

TEMA RIO 65

2009-10-09T12:30:00.000-07:00

Dom Salvador is a renowned Brazilian jazz musician with extensive international experience as accompanist of MPB acts like Elis Regina, Quarteto em Cy, Jorge Ben, Edu Lobo, Rosinha de Valença, Sílvia Telles, and Elza Soares. His Rio 65 Trio had maybe the best Brazilian drummer of all time, Edison Machado, and bassist Sérgio Barroso. They performed around and recorded Rio 65 Trio in the same year.

It's one of the greatest, and naturally, rarest, samba LP's of the 60's (a decent copy will run around $250); a masterpiece of dynamic, adept playing that captured the essence of Brazilian samba and jazz.

FRY CHICKEN IN YOUR HOT PANTS

2009-10-02T12:35:00.000-07:00

Here's a good reason why working a day job pays off - Clarence Foster; a Philadelphia born IRS employee with a whole lot of funk in his trunk. Thankfully instead of continuing the theme and having song titles along the same lines, Mr Foster conjured up tributes to some of his favorite things: Frying chicken, hot pants, and basketball.

Just like it's hard to find an old school hip-hop rhyme without references to Superman, it's hard to find funk records that don't reference either Fried Chicken or Hot Pants, two of funk's finest staples. So why not combine them into one? Check the MEGA drum break that begins at :35. Grab it from Freestyle Records!

HECTOR

2009-09-28T11:34:00.000-07:00

The Village Callers were one of the best bands in East Los Angeles in the late 60s. They were also arguably the first band with members with roots in the "Eastside Sound" of the early to mid-60s to utilize Latin percussion. Their repertoire was a mix of r&b, Latin, and Latin jazz. They recorded an album in 1968 for Eddie Davis' Rampart Records called "The Village Callers Live." The album included an instrumental with a Latin jazz feel named after their manager called "Hector," which did very well at the time and has become one of the Eastside Sound's classic recordings. It's been reissued on several compilations, used in movies, and sampled by artists such as Cypress Hill and the Beastie Boys. "The Village Callers Live" has also been reissued on the Vampisoul record label, which is based in Spain and internationally distributed, and on Barrio Gold Records, based in Japan. The Village Callers also have the distinction of having recorded a Latin rock version of "Evil Ways" before Santana.

The Village Callers were born out of a band in East L.A. called Marcy & the Imperials. Marcy Alvarado was a bluesy singer, guitarist, and band leader. (Marcy went on to get a masters degree from U.C.L.A, but passed away in the late 70s.) Gradually, Marcy & the Imperials evolved into the Village Callers, and the new members brought different influences into the mix. Ernie Hernandez (guitar) loved the music and style of guitarist Wes Montgomery. Johnny Gonzalez was into the blues organ style of Jimmy Smith. The music of Latin artists such as Mongo Santamaria and Willie Bobo were also added to the brew. With the new lineup in place they could play Latin, Latin jazz, rhythm & blues, and oldies but goodies. They became very popular in East Los Angeles, playing all the top venues such as the Big Union Hall, Roger Young Auditorium, and Montebello Ballroom. They also enjoyed a long run at the Plush Bunny nightclub in Pico Rivera, despite the fact they were underage. The Village Callers were an extremely dedicated band. They rehearsed five days a week, five hours a day. Already out of high school at this point, they also had a no drinking or smoking rule.

The manager of the Village Callers, Hector Rivera, knowing that the band was ready to record, invited producer and record company owner Eddie Davis to come and hear the band at the Plush Bunny. Eddie loved the band and wanted to do a "live" album recorded right there at the Plush Bunny where they were creating such excitement. The band's lineup on the record was Joe Espinosa (bass), Charles Masten (congas & sax), Johnny Gonzalez (organ & piano), Manuel Fernandez (drums & timbales), Ernie Hernandez (guitar), "Fuzzy" Martinez (sax), and Angie Bell (lead vocals). The Village Callers recorded most of their album, The Village Callers Live, in one night. It was recorded very simply with a few overhead microphones and a live mix. The band did go into a studio and record a few songs, including the classic break 45 "Hector." To add fatness to the record, the bass parts were tripled. The song wound up being so long that it was divided into "Hector Part 1" and "Hector Part 2" for the single. "Hector"-- with its hip Latin groove and Fuzzy's comedic spoken word contribution--caught on in East L.A. and began to get airplay on the big time am radio stations in Los Angeles.

Aside from the classic "Hector," the album also featured a heavy version of Willie Bobo's "Evil Ways," which was enjoying a lot of airplay, particularly in San Francisco. Word later got to them that Santana's producer heard their version on the radio and got Santana to record it. And that was that. (For further reading check out Mark Guerrero's website)

LOVE GONNA PACK UP

2009-09-22T11:26:00.000-07:00

"Love Gonna Pack Up (And Walk Out On Us)" was the second single by the Persuaders, following their huge hit, "Thin Line Between Love and Hate." However, what Sly, Slick and Wicked do with it is take out the electric guitar and replace it with keyboards instead and in softening up the edge of the song, it really brings out the sublime, sweet soul qualities of the song that improve on the sound that The Persuaders' introduced. It's not a radically different song on the surface but listen to them side by side and it actually sounds like the Sly, Slick and Wicked's version would be the original and The Persuaders' is the cover. (The lower-fi quality of SSW's version doesn't hurt).

(Just to be clear too: There were two groups in 1970s named Sly, Slick and Wicked. One was from Cleveland and recorded for Paramount and People. The other (above) were from Los Angeles. Just to make things even more confusing, there was the soul group called The Lost Generation who had a decent hit in the same era with a song called "Sly, Slick and Wicked"). (Courtesy Soul Sides)

The track also bears more than a striking resemblance to the opening cut on a recent release I adore, Lee Fields' My World. The Fields/Expressions tune, "Do You Love Me," is basically a rewrite of the Persuaders cut. Not that there's anything wrong with that.

BIG DIG RECORD SHOW: SEATTLE

2009-09-18T13:42:00.000-07:00

If you're in Seattle, we'll be selling vinyl tomorrow at the Big Dig!

Come on out!

WALK ON BY

2009-09-16T15:19:00.000-07:00

When Isaac Hayes passed away, the fine folks at Truth & Soul in Brooklyn compiled a fantastic EP of covers, performed reverently by the crack musicians in El Michels Affair.

Their version of "Walk On By" is slow, seductive, and deeply funky, and is a fitting tribute to one of the most enduring songwriters of the 20th Century.

WOMAN OF THE GHETTO

2009-09-15T15:47:00.000-07:00

Hortense Ellis (18 April 1941, Trenchtown, Kingston, Jamaica - 19 October 2000) was a reggae musician, and the younger sister of fellow artist, Alton Ellis.

Her father worked on the railways while her mother ran a fruit stall. Hortense was just 18 years old when she appeared on the Vere Johns Opportunity Hour, then Jamaica's foremost outlet for young undiscovered talent. Her version of Frankie Lymon's "I'm Not Saying No At All" so impressed both audience and panel that she was invited back the following week. Hortense went on to enter many more competitions and showcases and she reached six semi-finals and four finals. In 1964 she was awarded a silver cup as Jamaica's Best Female Vocalist and went on to repeat this feat five years later.

During the sixties, Hortense toured Jamaica with Byron Lee and The Dragonaires and had begun recording with some of the island's top producers like Ken Lack ("I Shall Sing", "Hell And Sorrow" and "Brown Girl In The Ring"), Coxsone Dodd ("Twelve Minutes To Go"), "Ill Come Softly") and Duke Reid. Alton Ellis was also recording with Dodd at this time and the family connection was cleverly exploited by Dodd who produced "female" adaptions of some of Alton's hits (for Hortense to record) including "Why Do Birds" and "I'm Just A Guy". Dodd also paired Alton and Hortense in a run of classic duets such as "I'm In Love" and "Easy Squeeze".

The siblings toured Canada in 1970 but the following year, Hortense was back in Jamaica where she married Mikey "Junior" Saunders with whom she had five children in quick succession. Although her live performances suffered as a result, Hortense remained busy in the studio. Recording under the name Mahalia Saunders for producer Lee "Scratch" Perry, she cut several sides including "Right On The Tip Of My Tongue" and "Piece Of My Heart". Hortenese's biggest success came in the late seventies with a song cut for Gussie Clarke. "Unexpected Places" was a big hit in Jamaica and also in Britain where it appeared on the Hawkeye label.

For producer Bunny "Striker" Lee, Hortense became Queen Tiney for her "Down Town Ting" - an "answer" record to Althea and Donna's big hit "Uptown Top Ranking" which had itself been based on the rhythm of Alton's big hit "I'm Still In Love With You".

Around this time, Hortense recut many of her Coxsone/Studio One sides with Soul Syndicate, The Agrovators and the up and coming team of Sly Dunbar and Robbie Shakespeare. The rise of the Lovers Rock genre in the late seventies and early eighties led to Hortense cutting cover version of several popular soul classics including "Down The Aisle" (Patti Labelle) and "Young Hearts Run Free" (Candi Staton). Following her divorce from Mikey Saunders, Hortense spent much of the eighties living in New York and Miami. On returning to Jamaica in 1989, she began suffering health problems, but managed to carry on with occasional local live performances. She recovered sufficiently to make a private visit to New York in the summer of 1999 and then to Miami the following year where ill health finally caught up with her.

Hortense Ellis died in her sleep in a Kingston hospital on October 18, 2000 from a stomach infection. Below is her classic version of a soul-funk diva classic, "Woman of the Ghetto." (Biographical information courtesy of Wikipedia.)

PICKIN' COTTON

2009-09-10T16:03:00.000-07:00

Johnny Talbot was born in Texas and raised in the Bay area of California, to be more specifically, Oakland. While attending high school, he was involved in Doo-Wop bands, and like many musicians of the time, naturally graduated towards Soul, R & B, and in his case, Funk, as the times and tastes of music changed around him. He played guitar, and the bands he played in hit up the West Coast club and Bay area bar circuit. Eventually, Talbot went on to become the front man for De-Thangs, (the name given because no one could think of a thing to call the outfit ), and lay down some very funky stuff, earning him the nickname: “The Father of Oakland Funk”.

His turbo fueled mix of funky Texas style guitar and Rhythm Blues has inspired many Bay area artists including Tower of Power, and his bands backed up greats like Etta James and Marvin Gaye, plus other touring bands that came through town. Sort of like The Politicians from two weeks ago. This side was the first record put out on James Moore’s Jasman label, an Oakland based label that would go on to put out sides by Talbot and Sugar Pie DeSanto among others. He has gotten a bit of a resurgence in popularity since the 90’s, this time with a much younger crowd, from reissues by Ubiquity Records, courtesy of their Bay Area Funk compilations. (Via Flea Market Funk)

I'M GONNA GET YOUR THING

2009-08-27T10:48:00.001-07:00

On Forte Records outta Kansas City, Missouri, this was one of two releases by Lee Harris on the label.

STRAIGHTEN IT OUT WITH YO MAN

2009-08-25T11:43:00.000-07:00

Born Umpeylia Marsema Balinton, Sugar Die DeSanto was given her stage name as well as her recording debut by rhythm and blues ubermensch Johnny Otis. He dubbed her "Little Miss Sugar Pie" in 1955, and not because she had a sweet tooth or liked to bake. "While we were in the studio he named me Sugar Pie," DeSanto recalled in an interview, "Because I was so little. I wore a size three shoe and I weighed about 85 pounds. I was very tiny." She's a half-pint in size, true, but in talent or voice assuredly not. Although typecast as a blues singer, she also takes care of business on the soul end of things and is a convincing jazz vocal stylist as well. That would be enough to gain most singers a reasonable slice of glory, but DeSanto also happens to be a hilarious comedienne, a show-stopping dancer, and a superb and highly original songwriter whose compositions have been cut by Fontella Bass, Billy Stewart, Little Milton, Bobby McClure, Minnie Riperton, Jesse James, the Dells, and the Whispers.

Otis discovered her performing at the Ellis Theater, the venue which she feels was sort of a birthing ground for her musical style. Otis dropped by one of the venue's regular talent shows only to observe DeSanto walking off with first prize. He promptly offered her a contract to come to Los Angeles to cut her first record ever. From the late '50s onward she performed regularly at rhythm & blues havens such as the Apollo in New York, the Regal in Chicago, and the Howard in Washington, D.C. At the Apollo she made quite an impression on the so-called "Godfather of Soul," James Brown, leading to her becoming his opening act for two years.

In 1964, DeSanto was the only female performer on a touring American Folk Blues Festival bill with a lineup that would make a blues fan soak the concert program with drool, including Willie Dixon, Sleepy John Estes, Clifton James, Sunnyland Slim, Hubert Sumlin, Lightnin' Hopkins, and Sonny Boy Williamson II, also known as Rice Miller. She has written some 100 songs and prefers to perform her own material. DeSanto's on-stage workout has always totally bypassed her record releases in terms of creativity and intensity, and her advancing age isn't stopping her from continuing to expand her talent base: she recently branched out into country & western.

MAMA DIDN'T LIE

2009-08-23T11:04:00.000-07:00

Jan Bradley (born Addie Bradley, July 6, 1943, Byhalia, Mississippi) is an American soul singer.

Bradley grew up in Robbins, Illinois. She was noticed by manager Don Talty (who also managed Phil Upchurch) at a high school talent show. After graduating, she auditioned for Curtis Mayfield, and soon recorded the Mayfield-penned "We Girls", which became a hit regionally in the Midwest. Several singles followed, and another Mayfield song, "Mama Didn't Lie" (b/w "Lovers Like Me"), was released nationally in the U.S. by Chess Records in 1963 and hit #8 R&B and #14 on the Billboard Hot 100.[2]

Following the single's success, Mayfield and Chess got into a legal battle over the publishing rights to Mayfield's songs, and as a result Bradley was no longer able to work with him. She started writing her own songs and released several further singles on Chess. "I'm Over You" hit #24 R&B in 1965; other Chess releases included "Just a Summer Memory" b/w "He'll Wait on Me", "It's Just Your Way", and "These Tears" b/w "Baby What Can I Do". Bradley continued working with Talty after her arrangement with Chess ended, releasing singles for Adanti, Doylen, Spectra Sound, and Night Owl.

Bradley stopped singing professionally in the early 1970s; she raised a family and became a social worker. She resides in the south suburbs of Chicago and has two children. She is also the grandmother of three and continues to sing in her church choir. Her records remained popular among devotees of Northern soul. (Courtesy Wikipedia)

Below, an MP3 of "Mama Didn't Lie," a quintessential slice of A-Plus Chicago soul in the early 60's.

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BACK TO THE VAULTS: RADIOPHONIC ODDITIES VOLUME 7

2009-08-20T13:26:00.000-07:00

Back from the vaults and recently exhumed from its slept-on status is another robust and hearty broth of Radiophonic Oddities and Dusty Nuggets, guaranteed to both quench your musical thirst and satiate your carnal hunger for only the finest vinyl that your discerning ears have come to demand. It's a dirty job, but someone's gotta do it.

Once again, buckle the f*ck up, and get ready to feel somethin stirrin.

DOWNLOAD HERE

TRACKLIST:
1. Intro
2. Time Capsule/Weldon Irvine
3. Crustaceatron/John Medeski and Billy Martin
4. Truth & Soul
5. Slim Jenkin's Place/Booker T. & The MG's
6. Struggling My Way/Calypso King
7. Creation/El Michels Affair
8. Freddie's Dead/Young Holt Unlimited
9. Sitting Duck/The Three Sounds
10. Skimming the Skum/Lefties Soul Connection
11. Soul Heart Transplant/Ebony Rhythm Band
12. Bold Soul Sister/Ike & Tina Turner
13. Killing/The Apples
14. La Valle/Bronx River Parkway
15. Stretch Your Rubber Band/The Meters
16. Hot Pants Road/James Brown
17. Fat Mama/Herbie Hancock
18. Feel Good Inc./Cookin' On 3 Burners
19. I'm Thankful/Spanky Wilson & Quantic Soul Orchestra
20. It's Your Thing/Cold Grits
21. Rock Steady/The Marvells
22. Cheney Lane/Nostalgia 77

STUPIDITY

2009-08-18T17:49:00.000-07:00

While gospel was a key influence for many of the great voices of '60s soul, few artists brought the spiritual and the secular together with as much skill and emotional gravity as Solomon Burke (no great surprise, given that he became a preacher later in life). However, Burke's influences went beyond gospel. He had a real gift for country influenced material, and his "Just out of Reach (Of My Two Empty Arms)" scored significant airplay on Southern C&W radio; there was plenty of raw blues in his recipe; and he had a potent sense of drama (the man's knack for a recitation was unequaled) as well as a subtle but keen wit (who else would record a dance tune called "Stupidity" and make it work?). While Burke made worthwhile records for a number of labels (and continues to do so at this writing), his strongest body of work remains his Atlantic Records sides that represent the crème de la crème for anyone with a taste for Southern soul. (Courtesy Mark Deming of Allmusic)

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FORGET IT

2009-08-17T15:52:00.000-07:00

From New York City, The Sandpebbles were comprised of Calvin White, Andrea Bolden and Lonzine Wright. White had been a member of the Gospel Wonders in the early 60s and he brought some robust gospel-style singing to the Sandpebbles when he formed the group. Under the aegis of New York producer Tony Vann, the Sandpebbles enjoyed big hits with "Forget It" (number 10 R&B, number 81 pop) and "Love Power" (number 14 R&B, number 22 pop) for the Calla label in 1967. The Sandpebbles changed their name to C & The Shells in 1968, and produced by Jerry Williams, had a hit with a softer-styled "You Are The Circus" (number 28 R&B) in 1969. C & The Shells left Cotillion in 1970, and joined the tiny Zanzee label, where they recorded with little success. The last release by the group was in 1973.

Here's their classic 45 "Forget It."

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COME TOGETHER

2009-08-13T11:41:00.000-07:00

If you're a reader of this blog, it should come as no surprise that I'm a huge fan of both The Beatles and funky, and occasionally obscure, cover versions of Beatles songs.

While this track certainly isn't obscure to an Ike and Tina fan, it is definitely one of the funkiest moments in their career, and is one of the best versions you'll ever hear of Lennon's classic. Drenched in delay, echo, and fierce attitude, here's Ike and Tina.

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FROM THE ARCHIVES: RADIOPHONIC ODDITIES/DECEMBER 2006

2009-08-09T11:35:00.000-07:00

Back by popular demand, here's another mix from 2006 of funky oddities and rare gems, mixed lovingly for your pleasure.

Initially distributed in a limited run of 250 CD's, this expansive set quickly became one of the most requested volumes in the Radiophonic Oddities series.

DOWNLOAD HERE

CUMBIA EN DO MENOR

2009-08-07T13:45:00.000-07:00

Rafael "Lito" Barrientos was a renowed musician from El Salvador who created and formed the famed "Orquesta Lito Barrientos International."

He got his start as a trombonist and marimba performer in the 1940's with the group Alma India. Over the next 20 years, he would continue to tour in countries like Spain, Costa Rica, Panama, Colombia, and other regions of South America, where he expanded his musical palette. When he formed his famed Orchestra, the band signed a contract with legendary Colombian record label Discos Fuentes; the Orchestra became famous for one of the most famous cumbias of all time, “Cumbia En Do Menor".

Barrientos passed away last year at the age of 93.

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RADIOPHONIC ODDITIES: AUGUST 2009

2009-07-29T15:32:00.000-07:00

(image courtesy Dan McPharlin)

Just in time to help you cool down a bit, as summer slowly winds its way inevitably down, is another volume in the continuously expanding universe that is the Radiophonic Oddities series. So clean out the wax in your ears, pour yourself a cold one, hell...invite the Boss and his wife over. Tell him how much you want that promotion. Tell him unless they make you partner, you walk.

We'll be back sooner than you know with another entry.

"Get ready to feel." -DJ Clarence Duffy

Tracklist:
1-Intro (Hipsters)
2-Fingertips/Little Stevie Wonder
3-Modern Times/Midas Touch
4-Flintstones & Winstons
5-This Is My Country/Little Joe & the Latinaires
6-Black Beauty/Ike Turner & the Kings of Rhythm
7-Algo Mais/Os Mutantes
8-PBR
9-Take A Taxi/Etienne Cap
10-Hey Now Baby/Professor Longhair
11-I Got A Groove/JJ Callier
12-Beavis & Butt-Head/Gin and Juice
13-Cantinflas/Dom Salvador
14-Al's Tune/Kashmere Stage Band
15-Strung Out/Gordon Staples & the Motown Strings
16-Robin Harris Gives the Cops A Piece of His Mind.
17-Rhythm on Rhythm/The Sookie All Stars
18-The Horse/Marvin Holmes & The Uptights
19-Apache Talk/Luiz Bonfá
20-Kerouac.
21-Up Above My Head/Al Green
22-Momma's Gravy (Yum Yum)/Calypso King & The Soul Investigators
23-Carry Me Back to Old Virginny/Ray Charles

Running Time: 54:41

DOWNLOAD HERE

AUDIO PLAYERS

2009-07-22T18:44:00.000-07:00

Please make sure you have the most recent version of FLASH installed on your system to ensure you can hear audio.

The audio player is a simple flash player and should appear below the text.

Please email me if you still have problems:
dustynuggetsblog at gmail dot com.

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THE UPSET

2009-07-22T14:17:00.000-07:00

Paul Kelly is best known for the soul songs "Stealing in the Name of the Lord", which was a major hit in 1970, and "Hooked, Hogtied & Collared". He also wrote "Personally", which has been widely-covered, and was a hit for soul singer Jackie Moore, as well as country singers Karla Bonoff and Ronnie McDowell. Other songs have been covered by gospel artists, including the Mighty Clouds Of Joy and The Staple Singers.

Kelly was born in Overtown Miami, Florida, the fourth of six siblings. Kelly was brought up by his grandmother. In about 1956, Kelly's brother Henry formed a vocal group, with Paul as lead vocalist. It only lasted a few months, before Henry left Miami to go to college. Paul then formed a group with school friends from 20th Street School — The Spades, later known as The Valadeers. Another member was Jimmy Cherry, who later sang with The Fantastics.

In 1960, Kelly went left the group to go solo, recording the standard, "I'll String Along With You" for Dade Records, which was never released, following a dispute between Kelly and the label. A Miami-based singer/songwriter/producer, Clarence Reid (who would later perform as Blowfly), heard Kelly rehearse and asked him to fill in on lead vocals with his group, The Delmiros, whose lead singer had laryngitis. Kelly recorded a single, "Down With It, Can't Quit It"/"Sooner Or Later", which was released on Selma Records in 1963, under the name Clarence Reid & The Delmiros. Kelly began performing the song live in clubs and became associated with the song. Reid asked him to join The Delmiros on a permanent basis.

Kelly's official debut solo single appeared on the Lloyd label in 1965, and featured the classic soul tune "The Upset (inspired by the surprise boxing victory of Cassius Clay over Sonny Liston.) The track features big, dramatic horn stabs, chunky rhythm guitar, and a compelling, bold arrangement that make it a standout from that era.

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GEMS AND GIANTS: THURSDAY JULY 23

2009-07-21T18:10:00.001-07:00

TURN TO ME

2009-07-17T15:59:00.000-07:00

Immensely catchy soul courtesy of a group that is pretty much UnGoogleable, "Turn to Me" is propelled by a simple piano line and fantastic vocal harmonies. It is just under 2 minutes of pure, early 60's soul songwriting perfection.

This one's been stuck in my head all week.

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JUST PLAIN FUNK

2009-07-15T19:33:00.000-07:00

James Polk comes from one of the most musical of American cities: Austin, Texas. There was and still is stiff competition amongst the numerous bands and musicians in the town, and in 1969 James Polk managed to rustle up some of Austin's finest to create his band The Brothers.

Good enough for James Brown himself to ask them to open for him, they promptly won the local talent contest 2 years in a row! Polk then knew it was time to commit his sound to wax. In the spirit of many other funk 45s, Polk bypassed the local and major record labels to release his music on his own label, Twink Records.

Polk released two singles on Twink: "Power Struggle" and "Just Plain Funk," the latter of which is a loping head-nodding deep funk groove that'll leave you looking to the sky craving an explanation as to why this fantastic band didn't record more like this.

(Courtesy Jazzman Records )

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AMOR BUENOS AIRES

2009-07-10T09:16:00.000-07:00

Jorge López Ruiz is a highly respected Argentinian arranger, composer and bassist. He played with a legendary quintet led by Lalo Schifrin in 1956-1957; the featured saxophonist was Gato Barbieri. López Ruiz had also been Schifrin's big band bassist along with Gato. López Ruiz always played with the best musicians in Argentinean jazz.

Originally recorded in 1971 under the LP title Bronca Buenos Aires, it was mysteriously re-released by the Catalyst label as Amor Buenos Aires. While the original album featured spoken word lyrics based on the writings of Jose Tcherkaski, the extremely rare Catalyst pressing interestingly featured only instrumental versions of the same songs.

Dusty Groove's review:

"...A great set [featuring] funky, cinematic big band swing and choral arrangements... featuring arrangements that range from big band with heavy horns and strings and a very late 60s/early 70s soundtrack feel, to intimate solo work from players that include Chivo Borraro on tenor sax and Fernando Gelbard on piano...It's got a lot of sweeping, cinematic funk things going on -- for great kinda early 70s soundtrack
jazz vibe!"

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YO YO

2009-07-07T12:06:00.000-07:00

Conceived by label owner Adrian Gibson and made into reality by The Bamboos’ Lance Ferguson, the Black Feeling project is all about taking it back to the source to the music that has inspired, instigated and accompanied many a musical journey over the years. Following a sell out gig at the Jazz Café, band leader Lance rounded up a bunch of fellow minded musicians from the Aussie funk scene to collaborate on a covers album. Consisting of members of The Bamboos, Cookin On 3 Burners and many more guest musicians, listening to the tracks would give even the most discerning pair of ears the impression of a rare, lost-in-time album you would find digging in a Caribbean record shop or American thrift store.

One of the tracks on the record is a cover of a mysterious 45 called "Yo Yo" by the band Richard's People. "Yo Yo" features one of the sickest and most oft-sampled opening drum breaks in funk lore. The fine gentlemen at Funky16Corners did an amazing piece about the 45 in March of 2008 that I won't attempt to summarize.

Below is a killer version of "Yo Yo" by the Alvarado Rodriguez Trio that captures the greasy, raw spirit of the original.

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LIBERTAD @ THE GOODFOOT

2009-07-03T11:01:00.001-07:00

Come out and celebrate the 4th by hearing some great tunes by our partner-in-crime, Standing 8.

HEY JOYCE

2009-07-02T12:53:00.001-07:00

When Lou Courtney is remembered nowadays, which isn’t too often, he’s usually remembered for early his 70’s smooth soul sound, which was sort of in the realm of Marvin Gaye or Donnie Hathaway. But in the mid-60s he was working a funkier, Staxy boogaloo dance craze style, similar to like Arthur Conley. A one-time member of legendary band The Fifth Dimension, Lou cut an absolute classic with the mega-funky "Hey Joyce."

The opening drum break has made this 45 quite a popular item in recent years.

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GIVE A MAN A BREAK

2009-06-30T10:17:00.000-07:00

The youngest of three brothers hailing from Orangeburg, SC, Charles Mintz would sing together with his siblings for friends and family until a cousin hooked him up with a band called The Majestics. Charles began to sing covers at record-hops, high schools, and college shows. His English teacher got on his case about his developing talent, she said, "If you use all that energy to sing someone else's songs, why don't you write and sing something of your own?" And that's how it all started. Charles wrote a song in school called "There's No Need Crying," and the young ladies would go crazy when he would perform. Charles moved to Philly in the late 60's and in the early 70's he met up with manager and producer Gene Lawson.

Mr. Lawson is best known as Otis Redding's Publicist, and also for recording Teddy Pendergrass, before joining Harold Melvin and the Bluenotes. In fact, Pendergrass sang background vocals on Charles' first recording session. Gene Lawson eventually introduced Charles to Otis Redding who took an interest in Charles's voice, and his writing ability. Otis Redding recorded one of Charles' songs called "Free Me" and wanted to bring him into the Stax record family, but fate would not let it happen. Otis Redding was killed in a plane crash Dec. 10, 1967.

Then Gene Lawson decided he wanted to start his own record label called UpLook Records, and he signed Charlez Mintz as his first artist. The first song was called "Since I Found You" and was written by Mintz. "Give A Man A Break", the second single, was written by Eugene Jones of the Volcanoes. (Courtesy In Dangerous Rhythm)

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WE GOT MORE SOUL

2009-06-27T08:57:00.000-07:00

Arlester "Dyke" Christian was born in Buffalo, NY, in 1943, and by the mid-'60s was singing and playing bass with the O'Jays backing band, the Blazers. After a tour in 1965, the band was left stranded in the unlikely--and not altogether funk-friendliest city--of Phoenix, Arizona after the O'Jays could not afford to bring them back to Buffalo.

Relocating in Phoenix, the newly minted Dyke & The Blazers began to come together as a group, with Dyke taking role as the lead singer. The group were discovered by local producers Art Barrett and Austin Coleman of Artco records. The label put out a tune that Dyke had written to go with a dance he had also created called "Funky Broadway". The record had a rapid play in South west and was licensed by DJ Art "Oldies But Goodies" Laboe for his Original Sounds label in Los Angeles in 1966. Many of the musicians on the Blazers sessions would later play in the Watts 103rd Street Band (guitarist Al McKay would later be in Earth, Wind & Fire). According to Original Sound producer Art Laboe, most of the singles came from 15-to-20-minute jams that were edited down to a length that could fit on the 45 RPM format.

After Dyke signed with Original Records, he churned out hit after hit on the label. "Funky Broadway" was so popular that even Wilson Pickett released a cover version of the song and took it straight to the R&B and Pop charts in the summer of 1967. By 1969, Dyke & the Blazers had Top Ten R&B singles with "We Got More Soul" and "Let a Woman Be a Woman -- Let a Man Be a Man," and smaller sellers with "Uhh, " "You Are My Sunshine," and "Runaway People." Dyke Christian, sadly, was fatally shot on the street in Phoenix on March 13, 1971 over a reputed drug debt. Understandably, the band never recovered.

When Dyke & The Blazers sang "We Got More Soul," they MEANT it--you can hear it in their fiery performances. (Biographical information courtesy of Wikipedia and Allmusic)

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SLEPT ON: WITH DJ CLARENCE DUFFY

2009-06-26T13:46:00.000-07:00

Back by popular demand, DJ Clarence Duffy will be filling in tomorrow night @ the Night Light (2100 SE Clinton) here in Portland.

Hope you can make it.

TONIGHT: GEMS AND GIANTS @ THE JADE LOUNGE

2009-06-25T10:42:00.000-07:00

The reclusive DJ Clarence Duffy will be doing his thing with Standing 8 tonight.

Come on out, have a drink, hear some good music. Win/win/win.

LUPITA

2009-06-24T11:36:00.000-07:00

Nico Gomez was a Belgian orchestra leader with Dutch roots (born in Amsterdam, came to Belgium in 1947). He had his mark in Belgium where he lead a series of different bands (and recorded under his own name). Active during the 50's, 60's and 70's with latin flavoured big band jazz. Father of Belgian rocker Raymond Van Het Groenewoud.

His best known outfit were the Chakachas who scored a cult hit in the '70s with "Jungle Fever" (on Polydor no less) but he also headed up the El Chicles. There are few Belgium composers from that era with a more consistent track record for straight up funky and Latin-flavored tracks.

Recorded in the early 70s in Belgium, Ritual is a tasty batch of Latin funk grooves, with a deep Afro-soul sound thrown into the mix, and some slight Chicano rock touches, like fuzzy guitar and heavy organ. The conga sound is right up front, and the tracks roll along with a nice heavy funk beat that cuts across from a lounge/library groove to a killing super deep percussion battering vibe.

Here's the classic dancefloor jam "Lupita."

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FOOTBALL

2009-06-23T10:02:00.000-07:00

Another 45 tangentially related to late Kashmere Stage Band director Conrad Johnson, Acres of Grass was a group featuring members from Houston legends TSU Toronadoes. Former Toronadoes drummer Dwight Burns claims the group was pulled together by guitarist Michael Spencer, not in the group, who studied under the tutelage of late Johnson. This gritty guitar-led instrumental (except a few shouts about doing the football, baby) is one hell of a 45.

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FUNKY D.J.

2009-06-22T09:11:00.000-07:00

Here's a classic deep funk 45 from 1976 courtesy of Bubba Thomas & The Lightmen (moonlighting as an outfit called "Fried Chicken").

The Lightmen originally hailed from Houston, Texas and were led by their drummer Bubba Thomas, teacher of Ronnie Laws, and formerly a student of Conrad Johns who later directed the Kashmere Stage Band.

The track was recorded in Baton Rouge, Louisiana at Deep South Recording Studios. Interestingly, "Funky D.J." is basically a note-for-note rewrite of Earnest Jackson’s “Funky Black Man” from 1974 (again on the Stone label, also produced by Ron Shaab).