Wednesday, December 12, 2007

"Like grooves in shellac through the Victrola, so are the sounds of our records."

Hello Y'all,
We're looking to start the Baby New Year's music education from day one. We'll be hoisting the heavy discs onto the platters and listening to to the glorious past the way Edison intended it. The groove is about four times as large as an LP or 45 and the needles look like 8 penny nails but the sound is like nothing you have ever heard (unless you are insane enough to collect 78's as well). That's right kiddies, we're talking 78RPM records here. 10" wide, weighing in at about a pound and a guaranteed knock out with every spin. Mike Longo is setting up the 78 DJ coffin complete with tube mixer and equalizer that actually dials in the sound by year! Mike and Larry will be selecting from their vast collections spread across many genres and years. They would also like to invite anyone interested in spinning a short stack to bring 'em by and lay 'em down. With this set up you can cross fade! Woo, I am almost passed out from the excitement. Come on by and enjoy a cocktail, beer wine or sip from the bar rag while the big sounds of 78's sooth, groove and move you. Larry is pickling a peck of pickled vegetables to make it that much more difficult to stick to your New Year resolution of only ten Bloody Mary's per hangover.

Mike and Larry featuring the the mixology of Larry The Hunter
Tuesday January 1st Opening to Closing
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
http://www.dcstavern.com
http://myspace.com/dcstavern

Thursday, December 06, 2007

Primitive Sound System and Bill Dolan - D.C.'s Tavern Dec 6th 9PM-Closing

Hello Y'all,
I couldn't find an email for November so I am guessing I didn't send one. Well, I was busy building some shelves and storage so I could better organize. With that said there were a whole bunch of records to file away which means there are a whole bunch of records to write about. The reason for this wonderful overflow was the FMU Record Fair. As always and of course the "Dollar Guys" done me good! Also I snatched up two long time want list discs from a well known source for a very nice price

Looks like Three Shall Be this week as Joe is back at the tables along with my esteemed colleague Mr. Dolan. There is barely a record in my box this week that has seen the dim lights of D.C.'s more than once so this should be a fun one.

Without making this too sad I would be remiss if I did not mention a tragedy from mid November. Early Sunday morning on November 18th a small electrical fire started in my brother's studio that spread to a large foam couch. The couch sat next to shelves of some of the rarest Jazz, Latin and Country records. Luckily no one was injured but the records couldn't take the heat. The fire fused the entire Latin section into solid block of vinyl. Some of the Jazz and Country records suffered the same fate but most just warped or "melted" from the heat. Heat closed the grooves of sometimes only portions of a record and you could clearly see a silhouette of the flames and heat waves that licked the surface. Throwing each damaged record into the trash made everyone sick and almost brought me to tears. Weirdly the fire did the least damage. The sprinkler system which kept the fire from spreading beyond the couch and the record shelf standing near by devastated floors of the building and hundreds more of Michael's records. Clear plastic bags which were meant to prevent damage became torturous, water chambers for the records trapped inside. Covers melted in your hand as you tried to save them. A lot of the vinyl was saved and cleaned but without covers or inner sleeves their collector value is lost. Bill and I are planning a small benefit to help Michael get back some of his records. In the past Michael has DJ'd weddings for free and has ALWAYS been the first to step up when a DJ cancels or when someone needs equipment for an event. As we have more details and a date we will let everyone know.

- pat.
I am still compiling all these emails here - "Audio Visual Triumphs and Disasters" - http://primitivesoundsystem.blogspot.com

Primitive Sound System, Bill Dolan and Joe Raaen
Thursday December 6th 9PM to Closing
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
http://www.dcstavern.com


The Records:

Batman and Robin - "Who The Fuck Is Superman" / "Whatever, I Hate Rock 'N' Roll" b/w "Batmobile" / "Be Scared!" ( / Be Scared! Records cat. BR-12 / BS!-04 (numbered 155/300)
OK, so I love a lot of different music. Music from almost every genre and sometimes sources that the average person would never even consider to be music. But, sometimes the simplest is truly the best. If I had to pick one record that grabbed my mind, body and soul this year it was this STOOPID FUCKING BLAST! of PUNK ROCK IDIOCY! This is pure and perfect. Raw and visceral. From the very first listen you immediately say, "I can do that.?!" But you don't, you haven't, you won't, and you probably couldn't even if you had the balls tohttp://www.blogger.com/img/gl.link.gif try. Oh yeah, and you never will, so... FUCK YOU SUPERMAN! These refined lads are from Austria and sing in what sounds like a drunken version of English, is that what an Austrian accent sounds like? "LOOK ROBIN...HOLY MACARONI BATMAN...WHO THE FUCK IS SUPERMAN!" "Who..." is basically a version, of a version of a thousand other songs you may or may not have heard. The band, all two of them, is pounding as hard as they possibly can and it sounds like it could have been recorded in an abandoned building or possibly the hallway of some unsuspecting building. Next stop, free studio time, fifth floor. The next three songs BRILLIANTLY do they same thing as "Who...". Each is intro'd by the band; each containing some catchy little hook you won't be able to shake for weeks like a virus. This really isn't music you write about. You hear it, you break shit, vomit, you drink more and you do it all again. Unfortunately currently I am writing about it and doing laundry. I need to kick my own ass! BE SCARED! One more thing you pathetic citizens of Gotham... the COVER! The cover illustration is so damn perfect for all of this that you should buy it for this alone. Easily one of my top 10 favorite record sleeves of all time and definitely my favorite record of 2007. Batman Theme *NA*NA*NA*NA*NA*NA*NA*NA,*NA*NA*NA*NA*NA*NA*NA*NA FUCK YOU!

Big Joe Louis and the Soul Investigators - "Go-Go Train (Is Gonna Carry Me Away)" b/w "Rolling Down The Tracks" (Timmion Records cat. Timmion # 014)
Once again the folks at Timmion Records break the mold and show everyone else how it is done. The Soul Investigators will never loose sight of why so many people listen to what they do. They certainly don't adhere to a formula and are able to present their style in so many different unique ways without ever loosing a single fan. Here they get down in a 'lectric Blues groove that tries as it might to stay that way but rips at the seams in the final moments to expose its Funky beating heart. The train like beat sets the pace and the horns seem afraid to get to involved as the drums and Big Joe just might crush them. Joe has a very seasoned voice and the sharp high pitch of the organ compliments him perfectly. The pace is slow but somehow moves along enough to shake some shoulders, bob some heads and hopefully shake a few asses. After all it is a Go-Go Train so ALL ABOARD! The timing on "Rolling Down The Tracks" almost seems like someone messed with your turntable but as the drums gallop away you realize everything is right with these rails. This is of course the very strangely mixed instrumental of "Go-Go Train" making this a round trip.

Caribean Gay Torpedoes - "Tropical Fever" Part - 1 & 2 (Welcome to Tropical Breeze Hotel & Luxury Beach Resort cat. TB 6772)
"The Gay Torpedoes Performing Every Night at the Tropical Breeze Night Club." This harks back to a time when Gay could still be confused for happiness but then again this is no naive little disk... one letter away from a laugh right there. The band comes on like a pool side party filled with tanned bodies and suntan lotion, drinks stuffed with too much fruit and umbrellas, and an anything goes attitude. Disco with a Funk beat played endlessly for hours on end. Spoken vocals smoothly rap over the unending groove, "TROPICAL FEVER...ehhh...." Horns help to break things up and a soft organ sound does laps in the low end. There is an odd trumpet solo that sounds as if the player has his / her attentions elsewhere. Side two picks up the action right where they left off but players are given more space to solo and change things up. Here the playing almost feels loose even though the rhythm remains unchanged.

The Black Hollies - "Hush" b/w The Dansettes - "Forty Days" (Ernest Jennings Record Co. cat. EJRC 029 (red vinyl))
Sometimes knowing a song, really knowing a song in that unconscious way that allows you to sing it while doing something completely unrelated is not always the best song you would choose to do as a cover. The Black Hollies take on one of the late 60's biggest tracks, the song made most famous by the one and only Deep Purple..."HUSH." The Black Hollies definitely know their way around what makes a 60's or 70's Rock track just plain devastate. Pounding drums, ample organ and sharp guitar. Much in the way that Deep Purple took this Country Jam into the world of Soul via Rock The Black Hollies keep the asses shaking with the Organ of JB Flatt and the vocals of the lovely ladies of the Dansettes. "Hush" is one of those tracks that helped define 70's guitar rock despite its soulful swirling organ solo or maybe because of it. The Black Hollies trick out a few parts with effects but lay down a raw bass and drums sound that grounds the track perfectly in a timeless place that all great music resides.

On the flip of this beautiful red vinyl disc is an original composition penned by the aforementioned JB Flatt for his band The Dansettes. The pace is slow to medium with a moody intro of organ, drums and the extremely warm vocals by Jamie Kozyra. There is a decided Motown sound here but as if the early 60's Sound was handled by the powerful Norman Whitfield. You can thank Gabe Roth of Daptone Records fame as he recorded this beauty and it is mixed to perfection by Carl Rusk. The instrumentation is layered with piano, hand claps and the stunning backing vocals of the remaining Dansettes (Leah Fishman and Jennie Wasserman). We are even treated to a vocal break over organ reminiscent of the Shangri-Las. Toward the end the guitar leaps out in a tribute to both Motown but steals nicely from Steve Cropper as the vocals and band build in intensity before it all fades. this will get a lot of play.

The Black Hollies - "Tell Me What You Want" (The Black Hollies/Lyrics by J.A. Morey) b/w "Tired of Being Lonely" (The Black Hollies/Lyrics by J. Gonnelli) (Ernest Jennings Record Co. cat. EJRC 020 (white vinyl))
Too often bands like the Black Hollies get called Retro. That just bugs the shit out of me. I guess Kanye West is retro because Hip Hop is 30 years old as well. This is good old fashioned Rock-N-Roll. "Tell Me What You Want" has a party feel as well as an edge warning you that someone just might get hurt. Justin Morey pleads in a similar way that the vocals of Richard Hell are pleading. He's not really asking as much as he is telling. "Tell me what you want, you can get it from me." What ever the hell it may be, doesn't really matter, he let's her / him / it know he can produce. The guitar cuts through and threatens everyone one in its path as the band slows just enough to make sure not to hit any on coming traffic. Soon they are off again barreling down the street, eyes closed, pounding the pavement and eventually crashing to a stop. "Tired of Being Lonely" shifts gears a bit and snaps with a more modern feel but certainly not like anything you would hear break the Top 100... and that is a shame. The guitar has this amazing organ sound to it and the rhythm guitar rains over it as if to remind us that sometimes it is OK to be sad. Does that sound wimpy? It does but somehow it comes off as a punch in the face. I fear I may go mad repeating "DON'T YOU COME ROUND HERE TRYING TO TELL ME, JUST BECAUSE YOU'RE TIRED OF BEING LONELY" for days on end. What happened to songs with Pop hooks and balls? Apparently they are an every day occurrence where the The Black Hollies live.

Baby Charles - "No Controlling Me" b/w "Invisible" (Hip Drop Records cat. HD 101)
Baby Charles can hit harder than most Rock bands. There is something to the way they assert themselves that lifts them up above and possibly through any of the bands mining a similar territory. "No Controlling Me" is a great name for this track. The band is amazingly tight (as always) and Ms. Charles is a forceful combination of Poetry / Soul Jazz era singers like Camille Yarbrough and Sherry Scott (Earth Wind And Fire). There is no containing this band. They can push in all directions yet make it all sound as tight as classic era JB's. The drums take a particularly strong roll in making this an aggressive Funky affair as the horns punctuate each expressive moment . Miss Charles sings and yells but never causes the band to get off point instead they are following her in her very confident march forward as she clearly makes her point that there is no controlling her or the band. Don't bother, just lay back and let them work a while. "Invisible" is anything but and is the closest I have heard Baby Charles hit a somewhat JB's groove. Talk about attitude. This track is full of it. Ms. Charles sings in short but measured phrases not wasting a word, a breath or a beat. The band ticks along like a metronome and eventually kicks up a little dust during what could be considered the chorus. A few sharp strikes and blasts and they are back ticking away. The horns are velvety smooth and gently lay on top of the groove enticing us to follow them and seduce us. Let's face it with music like this we don't need much coaxing. If they are invisible they are certainly worth looking for. Completely essential.

Leslie Overdrive - "A Tad Askew" b/w "Oily" (Hammond Beat cat. HB7-01 (Ltd to 250 copies)
I love that this, the first vinyl 7" release on Hammond Beat, opens with a plunky guitar and deep bass and not the organ with its Leslie screaming. Obviously it doesn't take long for the Organ to jump in but again like the songs intro there is nothing predicable about the choices. Rather than go for the throat and squeeze the organ the sound here is more flowing and even mellow. Mellow but extremely groovy. The band (guitar, bass (unless this is the organ peddles) and drums) does a little stretching out and grooving before the guitar breaks it all up with a very sharp, very Rock solo but one that is always aware of the beat. This really winds things up and the organ has no choice but to try and match the intensity. The band breaks back and states the theme and punctuates it with quick stop/starts just to let us know this AINT no Jam Band. Nothing askew about it, this shit is dead on. "Oily" is a version of the Juggy Murray Classic (uncredited on the label, for shame Hammond Beat!). Unfortunately for Juggy Murray, "Oily" is a classic to a limited group of enthusiasts so this better be good... everyone is watching. The band chooses to mellow it out a bit and this is certainly not a bad choice. The groove is impossible to ruin so the slower tempo for the first half gives them more room to pick up the pace as the music progresses. They even try some expressive organ playing and possibly a little improvising which adds an unexpected dynamic. Despite this being a great version the "A" side is just that much better. A very good 7" and easily one that can be called a two-sider. (I hope someone gets paid for side two, I believe the family is fighting after Mr. Murray's death).

Low Fidelity Jet Set Orchestra - "Bahia Soul" b/w "Jazz Rocker" (Hammond Beat cat. HB7-02 (Ltd to 250 copies)
There is an amazing BIG sound on this tiny little slab of diversity. Organ and Brazilian percussion dance around and over a controlled beat dispelling a groove that could relax the most up-tight among us. The organ gets to go for a ride about mid way and tackles some known styles and even cliches with such class and sophistication that the time allotted seems to drop you hard just as you began to loose yourself in the moment. I want to loop this and have tall drinks in my backyard and hope the neighbors are all away. "Jazz Rocker" comes out of the pocket like a lost Sound Library gem worthy of the great John Cameron. BIG BASS, DRUMS AND ORGAN pound, move, jump and connect to form one of the liveliest Organ tracks I have heard in a while. Horns and Fuzz Guitar only make the affair that much more enjoyable and extend the controlled chaos long enough to tingle the spine and break the drums again. There is a good amount of time after the break to build on the theme and really elevate the excitement. This is one great track and it shows what a band can do when they really push themselves. This will get lots of play.

The Soul Impossibles - "Interpretation: Soul Power No 1" b/w "Souladelic" (Jazzman Records / Funk 45 cat. Funk45.036)
James Brown is easily one of the most important if not the most influential force singularly responsible for late 60's early 70's Soul and Funk. Jazzman / Funk 45 drop one giant slab of 70's Funk in this small package. The Soul Impossibles obviously were very determined to show the world that not only could they hold their own with Soul Brother number 1 but they could extend one of his grooves, throw in a triple time break (for lack of a better word) and prove that they could easily take this thing called Funk to new heights and in different directions. The horns and percussion come off a bit like an Afro-Beat band but it is obvious from the organ, guitar, bass and vocals that these guys are straight up Funk. The little vocal blurb at the end throws a bit of a monkey wrench in the works. The vocal hints at the fact that this was "just another take (or song) for these guys. Vamping in this way comes naturally to The Soul Impossibles in the same way it may have for JB himself. That is not always evident in other tracks from the same time and even ones of the same caliber. "Souladelic" is crazy fast with a frantic tambourine and guitar leading the way. Once again it shows off how in the pocket these guys could be.There is a very 60's Garage sound to the organ which only makes it that much better for me. At times though it sounds as if the organ is being choked by the out of control pace. Again the track ends in such a way to make you think this was tossed off sans rehearsal. I'd be very curious to hear more by The Soul Impossibles but if this is all that exists I am very thankful to Jazzman records for making it available. These guys truly believed that nothing is impossible.

Johnny Cameron & The Camerons - "Funky John" b/w "I Love You (Yes I do)" (Atlantic cat. 45-2734)
I am never sure how to describe the sound of the guitar that opens this cut. The best way I have found is to call it "throaty." "Funky John" has always reminded me of early Earth Wind and Fire. There is a definite party feel with shouts, hoots, laughs and the occasional "UHH!' There are horns a plenty and they speak loud and clear creating a vocal complete with a chorus and even chicken squawks. The reason I have not picked one of these up previously is the lack of Organ but this Funky monster definitely does not suffer because of it. It is a hard hitting instrumental that never lets up.

Kool And Together - "Sittin' On A Red Hot Stove" b/w "Hey Now Baby" (Pacemaker Records cat PM-1977 (Producer: Huey's Sugar Hill Studios, Houston Texas))
Easily one of my longest standing want list records and it is NOT an instrumental. Quite the opposite. This track is all about the tortured voices struggling to get their words out. There are two definite lead vocals and neither one even tries to sing in Harmony with the other. Their pleas seem to fall upon deaf ears as they repeat themselves over and over. If this is advice it couldn't be less clear what they are trying to say. More likely they are pleading their case to a young lady who may be a little cooled by their reputation. "Sittin' On A Red Hot Stove, You're Gonna Be Fine... Put'Cha' On A Red Hot Stove, You're Gonna Be Fine." and again and again. GROOVE ME BABY! No matter what it is, I love it. The music is beautifully simple and hard as hell. The perfect mood is set by Heavy HEAVY Bass, close mic'd Drums that pound you in the face, Percussion and Guitar that seems content to be in the background occasionally peppering the sound with moments of volume. There is a Bass break toward the end mimicking the intro and it will always make me say DAMN! as it slowly starts things up again The vocals jump back in and it all fades out within seconds.

Menomena - Friend or Foe (FILM Guerrero FG27)
The first I heard this was via the putrid mis-service known as MP3's. After only a few seconds of the LP I wanted to flog myself and apologize to each member of Menomena individually. The LP has a very full sound with miles of depth. Songs like "The Pelican" jump off the LP and explode with atomic bombs as well as party snappers. FUCK! I HATE MP3's! Menomena have a formula for what they do and if you believe the band they also have a computer program that controls a lot of the composition. BUT, this is a formula worth sticking with. Art Rock and emotional as well as aggressive and pissed. Sometimes influences are obvious (XTC) but for the most part Menomena are truly original. The packaging, like all the band's releases, is definitely worth mentioning. Stunning, black brush and ink (?) drawings cover every inch of the tri-fold gatefold cover drawn by the band's friend Craig Thompson. The cover is die-cut to expose the inner workings through a belly, a mouth, a thought and a brain . Through these windows we can read each song title by spinning the paper disc riveted into the cover. The angelic, (halo included) oblong, pure white creature dead center exposes the song sequence with numerical values and a blank stare. You could look at this cover for hours on every drug known to man in every possible combination and it will always be the best single illustration to represent the complexity of flavors, tones, textures, sounds, feelings and irritations contained in the grooves.

The Three Suns - "Just One More Chance" b/w "The Creep" (RCA Victor cat. 47-5553)
"The Creep" reigns pretty high on my "favorite tracks of all-time list." I have had this on 78 for many, many years and have enjoyed it when ever I can get over to my brothers and enjoy a 78 the way it was meant to be heard. Not long ago my Brother and I DJ'd a party with nothing but 78's and I believe we spun this two or three times. Maybe the very mysterious Three Suns thought this was as scary as they possibly could get. Maybe it was down right spooky when it was released BUT what intrigues me most is the very 60's organ sound pumping in the background. Heavy baritone honks step out of the shadows as guitar and squeeze box chase each other around. The organ goes from spooky almost Theremin sounds to traditional fifties Lounge style to what can only be described as 60's Soul Jazz Organ. Not in an out right Funky Soul way but more so from a tonal aspect. Despite my love of the organ it is the guitar that is the star of this Haunted House. It sits back after its initial interplay with the others but the guitar really lets loose about half way in. At the break the creepy baritone honks let us know we are back to where we started. The organ sneaks up behind before leaping out in that 50's Lounge meets 60's Soul SSSSOUND. It all wraps up wonderfully with a quick re-statement, quick guitar lick and an ending that can only be described as ghosts slipping into an attic as the door closes slowly. I true favorite for both myself and apparently Mamie Eisenhower. The Space Group - http://www.spaceagepop.com/threesun.htm & this very researched site http://www.tothcorp.com/threesuns

Johnny Lee Wills and Boys - "Blub Twist" b/w "Your Love For Me Is Losing Light" (SIMS Records cat. 129)
WOW! This is one special little rekkid. Johnny Lee Wills is of course the brother of Bob Wills and his renamed Texas Playboys as just plain and simple Boys. This thing comes out kicking with guitar and sax blasting and the big ass band jumping in line. Apparently Johnny Lee and Boys had the honor of hosting the longest running continuous live music broadcast (25 years) in radio history. "Blub Twist" has a touch of the Pat Boone cleaning up Little Richard but it certainly is NEVER corny. My favorite moment is the trumpet solo which is rarely ever hear on a Rock Instrumental. Usually that honor is bestowed on the sax or guitar (and sometimes even both).

Thursday, November 08, 2007

Bill Dolan and Primitive Sound System - D.C.'s Tavern Thursday November 8th from 9PM to Closing

Hello Y'all,
I couldn't find an email for November so I am guessing I didn't send one. Well, I was busy building some shelves and storage so I could better organize. With that said there were a whole bunch of records to file away which means there are a whole bunch of records to write about. The reason for this wonderful overflow was the FMU Record Fair. As always and of course the "Dollar Guys" done me good! Also I snatched up two long time want list discs from a well known source for a very nice price but without saying much more let's just say he is back there in the Shadow(s). I thank you kindly sir.

Looks like Three Shall Be this week as Joe is back at the tables along with my esteemed colleague Mr. Dolan. There is barely a record in my boxes this week that have seen the dim lights of D.C.'s more than once so this should be a fun one.

Without making this too sad I would be remiss if I did not mention a tragedy from mid November. Early Sunday morning on November 18th a small electrical fire started in my brother's studio that spread to a large foam couch. The couch sat next to shelves of some of the rarest Jazz, Latin and Country records. Luckily no one was injured but the records couldn't take the heat. The fire fused the entire Latin section into a block of vinyl. Some of the Jazz and Country records suffered the same fate but most just warped or "melted" from the heat. Heat closed the grooves of sometimes only portions of a record and you could clearly see a silhouette of the flames and heat waves that licked the surface. Throwing each damaged record into the trash made everyone sick and almost brought me to tears. Weirdly the fire did the least damage. The sprinkler system which kept the fire from spreading beyond the couch and the record shelf standing near by devastated floors of the building and hundreds more of Michael's records. Clear plastic bags which were meant to prevent damage became torturous,soaking chambers for the records trapped inside. Covers melted in your hand as you tried to save them. A lot of the vinyl was saved and cleaned but without covers or inner sleeves their collector value is lost. Bill and I are planning a small benefit to help Michael get back some of his records. In the past Michael has DJ'd weddings for free and has ALWAYS been the first to step up when a DJ cancels or when someone needs equipment for an event. As we have more details and a date we will let everyone know.

- pat.

Primitive Sound System, Bill Dolan and Joe Raaen
Thursday December 6th 9PM to Closing
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
http://www.dcstavern.com
http://myspace.com/dcstavern

The Records:

Big Joe Louis and the Soul Investigators - "Go-Go Train (Is Gonna Carry Me Away)" b/w "Rolling Down The Tracks" (Timmion Records cat. Timmion # 014)
Once again the folks at Timmion Records break the mold and show everyone else how it is done. The Soul Investigators will never loose sight of why so many people listen to what they do but can present it in so many different unique ways and never loose one fan. Here they get down in a 'lectric Blues groove that tries as it might to stay that way but rips at the seams in the final moments to expose its Funky beating heart.

The Mighty Soul Patrol Records Presents Outer Space - The Soul Investigators - "Outer Space" b/w The Minutemen - "Seven Minutes Special" (Monster Groove Records - a subsidiary of Soul Patrol Records cat. SPL005) Pretty cool extended grooves. The Investigators track clocks in at almost 14 minutes.

Caribean Gay Torpedoes - "Tropical Fever" Part - 1 & 2 (Welcome to Tropical Breeze Hotel & Luxury Beach Resort cat. TB 6772)
"The Gay Torpedoes Performing Every Night at the Tropical Breeze Night Club." This harks back to a time when Gay could still be confused for happiness but this is no naive little disk... one letter away from a laugh right there. The band comes on like a pool side party filled with tanned bodies, drinks stuffed with too much fruit and umbrellas, suntan lotion and nothing but free time for free love. Disco with a Funk beat played endlessly for hours on end.

The Black Hollies - "Hush" b/w The Dansettes - "Forty Days" (Ernest Jennings Record Co. cat. EJRC 029 (red vinyl))
Sometimes knowing a song, really knowing a song in that unconscious way that allows you to sing it while doing something completely unrelated is not always the best song you would choose to do as a cover. The Black Hollies take on one of the late 60's biggest tracks, the song made most famous by the one and only Deep Purple..."HUSH." The Black Hollies definitely know their way around what makes a 60's or 70's Rock track just plain devastate. Pounding drums, ample organ and sharp guitar. Much in the way that Deep Purple took this Country Jam into the world of Soul via Rock The Black Hollies keep the asses shaking with the Organ of JB Flatt and the vocals of the lovely ladies of the Dansettes. "Hush" is one of those tracks that helped define 70's guitar rock despite its soulful swirling organ solo or maybe because of it. The Black Hollies trick out a few parts with effects but lay down a raw bass and drums sound that grounds the track perfectly in a timeless place that all great music resides.

On the flip of this beautiful red vinyl disc is an original composition penned by the aforementioned JB Flatt for his band The Dansettes. The pace is slow to medium with a moody intro of organ, drums and the extremely warm vocals by Jamie Kozyra. There is a decided Motown sound here but as if the early 60's Sound was handled by the powerful Norman Whitfield. You can thank Gabe Roth of Daptone Records fame as he recorded this beauty and it is mixed to perfection by Carl Rusk. The instrumentation is layered with piano, hand claps and the stunning backing vocals of the remaining Dansettes (Leah Fishman and Jennie Wasserman). We are even treated to a vocal break over organ reminiscent of the Shangri-Las. Toward the end the guitar leaps out in a tribute to both Motown but steals nicely from Steve Cropper as the vocals and band build in intensity before it all fades. this will get a lot of play.

The Black Hollies - "Tell Me What You Want" (The Black Hollies/Lyrics by J.A. Morey) b/w "Tired of Being Lonely" (The Black Hollies/Lyrics by J. Gonnelli) (Ernest Jennings Record Co. cat. EJRC 020 (white vinyl))
Too often bands like the Black Hollies get called Retro. That just bugs the shit out of me. I guess Kanye West is retro because Hip Hop is 30 years old as well. This is good old fashioned Rock-N-Roll. "Tell Me What You Want" has a party feel as well as an edge warning you that someone just might get hurt. Justin Morey pleads in a similar way that the vocals of Richard Hell are pleading. He's not really asking as much as he is telling. "Tell me what you want, you can get it from me." What ever the hell it may be, doesn't really matter, he let's her / him / it know he can produce. The guitar cuts through and threatens everyone one in its path as the band slows just enough to make sure not to hit any on coming traffic. Soon they are off again barreling down the street, eyes closed, pounding the pavement and eventually crashing to a stop. "Tired of Being Lonely" shifts gears a bit and snaps with a more modern feel but certainly not like anything you would hear break the Top 100... and that is a shame. The guitar has this amazing organ sound to it and the rhythm guitar rains over it as if to remind us that sometimes it is OK to be sad. Does that sound wimpy? It does but somehow it comes off as a punch in the face. I fear I may go mad repeating "DON'T YOU COME ROUND HERE TRYING TO TELL ME, JUST BECAUSE YOU'RE TIRED OF BEING LONELY" for days on end. What happened to songs with Pop hooks and balls? Apparently they are an every day occurrence where the The Black Hollies live.

Baby Charles - "No Controlling Me' b/w "Invisible" (Hip Drop Records cat. HD 101)
Baby Charles can hit harder than most Rock bands. There is something to the way they assert themselves that lifts them up above and possibly through any of the bands mining a similar territory. "No Controlling Me" is a great name for this track. The band is amazingly tight (as always) and Ms. Charles is a forceful combination of Poetry / Soul Jazz era singers like Camille Yarbrough and Sherry Scott (Earth Wind And Fire). There is no containing this band. They can push in all directions yet make it all sound as tight as classic era JB's. The drums take a particularly strong roll in making this an aggressive Funky affair as the horns punctuate each expressive moment . Miss Charles sings and yells but never causes the band to get off point instead they are following her in her very confident march forward as she clearly makes her point that there is no controlling her or the band. Don't bother, just lay back and let them work a while. "Invisible" is anything but and is the closest I have heard Baby Charles hit a somewhat JB's groove. Talk about attitude. This track is full of it. Ms. Charles sings in short but measured phrases not wasting a word, a breath or a beat. The band ticks along like a metronome and eventually kicks up a little dust during what could be considered the chorus. A few sharp strikes and blasts and they are back ticking away. The horns are velvety smooth and gently lay on top of the groove enticing us to follow them and seduce us. Let's face it with music like this we don't need much coaxing. If they are invisible they are certainly worth looking for. Completely essential.

The Soul Impossibles - "Interpretation: Soul Power No 1" b/w "Souladelic" (Jazzman Records / Funk 45 cat. Funk45.036)
James Brown is easily one of the most important if not the most influential force who is singularly responsible for late 60's early 70's Soul and Funk. Jazzman / Funk 45 drop one giant slab of 70's Funk in this small package. The Soul Impossibles obviously were very determined the world that not only could they hold their own with Soul Brother number 1 but they could extend one of his grooves and even throw in a triple timed break (for lack of a better word) to show that they could easily take this thing called Funk to new heights and in different directions. The horns and percussion come off a bit like an Afro-Beat band but it is obvious from the organ, guitar, bass and vocals that these guys are straight up Funk. The little vocal blurb at the end throws a bit of a monkey wrench in the works. The vocal hints at the fact that this was "just another take (or song) for these guys. Vamping in this way comes natural in the same way it may have for JB himself. That is not always evident in other tracks from the same time and even ones of the same caliber. "Souladelic" is crazy fast with a frantic tambourine and guitar leading the way. Once again it shows off how in the pocket these guys could be.There is a very 60's Garage sound to the organ which just makes it that much better for me. At times though it sounds as if the organ is being choked by the out of control pace. Again the track ends in such a way to make you think this was tossed off sans rehearsal. I'd be very curious to hear more by The Soul Impossible. but if this is all that exist I am very thankful to Jazzman records for making it available. These guys truly believed that nothing is impossible.

Menomena - Friend or Foe (FILM Guerrero FG27)
The first I heard this was via the putrid mis-service known as MP3's. After only a few seconds of the LP I wanted to flog myself and apologize to each member of Menomena individually. The LP has a very full sound with miles of depth. Songs like "The Pelican" jump off the LP and explode with atomic bombs as well as party snappers. FUCK! I HATE MP3's! Menomena have a formula for what they do and if you believe the band they also have a computer program that controls a lot of the composition. BUT, this is a formula worth sticking with. Art Rock and emotional as well as aggressive and pissed. Sometimes influences are obvious (XTC) but for the most part Menomena are truly original. The packaging, like all the band's releases, is definitely worth mentioning. Stunning, black brush and ink (?) drawings cover every inch of the tri-fold gatefold cover drawn by the band's friend Craig Thompson. The cover is die-cut to expose the inner workings through a belly, a mouth, a thought and a brain . Through these windows we can read each song title by spinning the paper disc riveted into the cover. The angelic, (halo included) oblong, pure white creature dead center exposes the song sequence with numerical values and a blank stare. You could look at this cover for hours on every drug known to man in every possible combination and it will always be the best single illustration to represent the complexity of flavors, tones, textures, sounds, feelings and irritations contained in the grooves.

The Three Suns - "Just One More Chance" b/w "The Creep" (RCA Victor cat. 47-5553)
"The Creep" reigns pretty high on my "favorite tracks of all-time list." I have had this on 78 for many, many years and have enjoyed it when ever I can get all antiquarian technology and shit. Not long ago my Brother and I DJ'd a party with nothing but 78's and I believe we spun this two or three times. Maybe the very prophylactic Three Suns thought this was as scary as they possibly could get. Maybe it was down right spooly when it was released BUT what intrigues me most is the very 60's / 70's organ sound pumping in the background.

Johnny Lee Wills and Boys - "Blub Twist" b/w "Your Love For Me Is Losing Light" (SIMS Records cat. 129)
WOW! This is one special little rekkid. Johnny Lee Wills is of course the brother of Bob Wills and his renamed Texas Playboys as just plain and simple Boys. This thing comes out kicking with guitar and sax blasting and the big ass band jumping in line. Apparently Johnny Lee and Boys had the honor of hosting the longest running continuous live music broadcast (25 years) in radio history. "Blub Twist" has a touch of the Pat Boone cleaning up Little Richard but it certainly is NEVER corny. My favorite moment is the trumpet solo which is rarely ever hear on a Rock Instrumental. Usually that honor is bestowed on the sax or guitar (and sometimes even both).

Orgone - Killion Floor - So far AMAZING!

Every year I try to get one Christmas and I found one recently that I heard a long time ago. I always thought it was some weird remix thing:
Electric Jungle - "Funky Funky Christmas" b/w "Soul Santa" (Nike Records cat. 1002) "Funky Funky Christmas" is a twisted funky slab of holiday cheer. "Soul Santa" is pretty pedestrian and I will probably will never play again unless I can't remember what it sounds like.

Les McCann & Eddie Harris - Swiss Movement (Recorded Live at The Montreux Jazz Festival Switzerland) - "Compared To What" b/w "The Generation Gap" (Atlantic cat. SD 7-1537 Produced by Atlantic Records especially for Little LP's Unlimited LP #123 (flapped sleeve))

Johnny Cameron & The Camerons - "Funky John" b/w "I Love You (Yes I do)" (Atlantic cat. 45-2734)

Kool And Together - "Sittin' On A Red Hot Stove" b/w "Hey Now Baby" (Pacemaker Records cat PM-1977 (Producer: Huey's Sugar Hill Studios, Houston Texas))

Little Alfred & The Linden Black Youth Choir - "For The Money" b/w "I am Dreaming Of A Black Christmas" (Wizdom Records cat. W 1983)

Harvey Scales & The Seven Sounds - "Broadway Freeze" b/w "I Can't Cry No More" (Magic Touch Records cat. MTA 16001)

Tender Joe Richardson - "Hip Huggin' Mini" b/w "I Aint Going For That" (The Hot Biscuit Disc Company cat. 1451 (label sleeve))

Spoonbread - "How Can You Mend A Broken Heart" b/w "I'm The One" (Stang Records cat. ST-5043)

Charles Spurling - "Mr. Cool" b/w "You'd Be Surprised (The Way I Love You)" (King cat. 45-6077 (label sleeve))

Freddy King - "I Hear Jingle Bells" b/w "Christmas Tears" (Federal cat. F-12439)

Eddie Harris - "Get On Down" Mono / Stereo (Atlantic cat. 45-3256 (promo - not for sale))

Milt Jackson - "Project X" b/w "Ev'ry Time We Say Goodbye" (Limelight cat. L-3057)

The Afro Blues Quintet plus One - "Liberation" b/w "Walk On By" (Mira Records cat. 224)

Clark Terry & Bob Brookmeyer Quintet - "Blindman, Blindman" b/w "Straight No Chaser" (Mainstream Records cat. 610)

Grady Tate - "Slaves" b/w "Gary McFarland - "Slaves" (instrumental) (Skye cat. #4516)

Jimmy Smith - "Bashin" b/w "Ol' Man River" (Verve Records cat. VK/10262)

Jimmy Smith - "Goldfinger" Part I & 2 (Verve Records cat. VK/10346)

Horace Silver - "The Jody Grind, Part 1 & 2" (Blue Note cat. 45-1932)

The Three Suns - "Stumbling" b/w "Dancing Tambourine" (RCA Victor cat. 47-2756)

The Surfers - "A Touch of Pink" b/w "Mambo Jambo" (Orbit "A Sound That Is Out Of This World" cat. R 538X45)

Tommy Wills - "Night Train 66 Style" b/w "Honkey Tonk II 66 Style" (Air Town "A New Soul Sound" cat. 001)

Lloyd Green - "Green Strings" b/w "Skillit Lickin" (Hilltop Records (A Product of Pickwick International cat. 3010 (wht lbl promo)

The Who - "Pinball Wizard" b/w "Dogs Part Two" (Decca cat. 732465 (pic sleeve / Tommy pre-release promo))

SUNDAZED! 7-inches:

The Byrds - "You Movin" b/w "Boston" (Sundazed Kustom Shop cat. KS7-01 (yellow vinyl))
These sides show The Byrds in a slightly more Garage Rock vain than what was soon to come. The guitar sound is there and even some of the harmonies but this is pure cave stomp. "Boston" comes a bit closer to the traditional Byrds sound but even here it is still caught up in the sounds of the day.

The Pyramids - "Carol Ann b/w "Bikini Drag" (Sundazed cat. S-111)

Shadows Of Knight - "I Got My Mojo Working" b/w Potato Chip" (Sundazed cat. S-123)

The Counts IV - "Discussion Of the Orthodox Council;" "Spoonful;" b/w "It's All Over Now Baby Blue" (Sundazed cat. SEP 179)

Saturday, October 13, 2007

REMINDER: Saturday, October 13th from 2PM to Closing - DC's Tavern Record Swap

"I Got It At The Swap!"

Hello Y'all,
Looks like we'll be Bar-B-Queing fresh meats, drinking beer and spinning some fresh hot wax. Maybe there will be a cookie or two as well. So far each swap has been better than the last so if you haven't been by yet make this your first. That's right, you ALWAYS remember your first. Come for the music, come for the beer but come often. We'll have guest DJ's all day (and night) including Todd-O-Phonic Todd, Joe Belock, Greg Tormo, Justin (The Black Hollies), Inbetween, Hank Fischer, Peter Gunn, Therin, Primitive Sound System, and if things work out the fabulous Mr. Fine Wine will bring a few rare slabs to the party.

Remember if you're driving don't drink, if you're drinking don't drive and always be kind to your barkeep.

See the Poster! - http://www.patjameslongo.com/posters.html

[Keep in mind, not everyone is a hardcore collector. Just some guys and gals who want some good tunes whether it is rare or not is not an issue. Condition is not always everything when you are looking for records to listen to! Of course rare gems and mint condition records are always welcome.]

D.C.'s Tavern Record Swap
Saturday October 13th - 2PM - Closing

DC's - "Back In Back"
505 8th Street (Between Jefferson and Madison)
Hoboken NJ
For More Info:
phone: 201-792-5550
web: MyBarStoolSpaceInterwebThang.com
email: dcs@dcstavern.com

Tuesday, October 02, 2007

PSS - Bill Dolan - Joe Raaen at D.C.'s Thursday Oct 4th and D.C.'s Swap Info

Hello Y'all,
Just a reminder that this Thursday we are bringing a guest in to help crank the tables while Bill and I hold the tone arms in place. Joe Raaen is almost to Hoboken. He is gently carrying his collection on his back as he walks. "Vinyl Across America." It's a beautiful gesture isn't it? If he passes through your hometown makes sure you get out there and cheer him on. GO JOE!

A few more records showed up in the mail so looks like I'll be weeding out a few to make room for the new ones. Also, I have been uploading all these emails dating back to 2004 to a Blog - http://primitivesoundsystem.blogspot.com It is not even close to being completed BUT if you liked something you read about it is really easy to search for it there.

Here's the Swap info again:

AND... AND... (did you heard me?)... AND... Saturday October 13th we will be hosting another Record Swap inside the beer soaked walls of D.C.'s. This one is going to be great with a fine list of guest DJ's lining up for their turn at the Stack-O-Matic. As always we will have flames fueling the Bar-B-Que and some meats of assorted sizes and shapes. Remember if you bring it you grill. "IF YOU DON'T WORK; YOU CAN'T EAT!" Please bring by a box or two (or three) to sell, trade or giveaway (promos welcome). The Swaps have always been a blast but the more records there are the better the day is. [Keep in mind, not everyone is a hardcore collector. Just some guys and gals who want some good tunes whether it is rare or not is not an issue. Condition is not always everything when you are looking for records to listen to! Of course rare gems and mint condition records are always welcome.]

- pat.

D.C's Tavern Record Swap - poster - http://www.patjameslongo.com/posters.html
Saturday October 13th 2PM - Closing
DJ's and Grub all day.
Bring records to swap, sell or use as coasters.
(More info here)

Primitive Sound System, Bill Dolan and Joe Raaen - "THREE IS THE MAGIC NUMBER"
Thursday October 4th 9PM to Closing
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
D.C.'s Tavern
MySpace

More for the tables:

Bobby Byrd tunes:
"Time Will Make A Change" (Smash cat. S-1984)
"I Need Help (I Can't Do It Alone)" (King cat. 45-6323)
"I Know You Got Soul" (King cat. 45-6378)
"Keep On Doin' What You're Doin'" (Brownstone cat. 45-4205)
"Try It Again" (Kwanza Records cat. KWA 7703)
"Back From The Dead" (International Brothers cat. 901)
"Byrd's In Flight" (Strawberry cat. STW 109)

Stoned Soul Picnic - "One Dollar Hotel" Pt 1 & 2 (Raw Wax Records cat. 007 (ltd. ed. 200 - promo copy))
A couple of years back I bought a single on the newly formed label Raw Wax Records. Everything about the record was perfect and despite the fact that the band was a known, current act they created a mystique that the release was old, rare or a lost track. This philosophy spins its way through every aspect of who Raw Wax is and what they do right down to the website. If there were websites in the late 60's / early 70's this is what they would have looked like (http://www.rw45.com). I swear you can hear the pages turning as you click through. Raw is not just in the name of the label but it also permeates its Soul. Raw Wax prefers things down and dirty and I have to agree. The first release was by the wildly great and extremely productive Speedometer and once I got a taste of what Raw Wax had to offer I was hooked. I pestered the label (via email and not my giant rotary phone) about a schedule of releases because I selfishly wanted no make that needed more. Wisely they ignored me. This is now their seventh release and they show no signs of slowing down. To say they are getting better with each release would lessen their achievements thus far. It is up to each band that passes through their door to raise the bar a little and prove themselves worthy of a release. Stoned Soul Picnic kick the bar off the charts and it is going to be hard for others to follow. A heavy roll gets this affair started at this fleabag hotel. One Dollar gets you about three minutes in this joint and honestly I don't think many can handle much more. Stoned Soul Picnic lay heavy on the Organ which makes them tops in my book. The track is taken at a smooth pace that gets the head bobbing in a slow strut. Don't let the pace fool you because this is no smooth affair. The recording is rough but lets each instrument grab a piece of the ear. The guitar chugs and struts over a heavy, meaty bass line. Everything gets thrown forward and the band is lurching around the floor like a four headed giant just before they fall into another organ led blast and a restatement of the theme. Everyone is giving 100% and pushing each other almost as if they are waiting to see who will slip up first. BRILLIANTLY Side Two is not a fade in, instead they crack open the jewel box and pull out a big ol' break. The drums break for most of side two as the organ and guitar dance around and tease it. The bass desperately tries to hold it all together as the rest of the band slams, stabs, smashes and breaks everything in the room. "One Dollar Hotel Room?" It aint even worth that when Stone Cold Picnic get through with it but this is what makes legends most. Looks like I'll be staying in this room quite often.

High On Fire - "Death Is This Communion" (Relapse Records cat. RR 6705-1 (ltd. ed. 2000))
High On Fire improve their brand of deadly assault with each outing. There was something appealing to their earlier releases which sounded as if the mics were submerged in muck and mire... just for good measure. It's not like I am not a fan of shitty recording quality. Actually I prefer it. But in the case of High On Fire one of the most dense and heavy bands I have ever heard there needed to be a little separation even if it was just to appreciate the musicianship buried beneath. There is nothing more pure than the Power Trio. Crank up the volume, pound the shit out of the drums and you have the perfect formula for the musical equivalent of a raw nerve or uncontrolled aggression but balanced beautifully and distributed equally amongst the players. Music is expression. Anyone who chooses to not push that expression of self, of thoughts, of confrontation or control to the limit is wasting their time and usually results in a pedestrian effort. High On Fire are one band that will never be described as pedestrian. This is not wallpaper, again quite the opposite this is music for demolition. What is most noticeable about this new release is the use of instrumental passages to connect the entire record as a piece rather than a collection of new songs. This wasn't really needed or possible with the older recordings as the hum and feedback that was the primary sound blended one song to the next with little effort. The record opens with an intro that would make the boys of Dethklok quake. Hey, let's face it they are mining a similar territory. Each song on Death Is This Communion surges, and then crushes everything that has come before it. The drums crash through most of the songs like a rolling sea that builds in intensity the closer it gets to shore and then without warning lays waste to everything in its path. The cymbals are punctuation throughout. A period here a question mark there and a whole lot of exclamation points. The guitar and bass are (as always with High On Fire) so closely intertwined they only separate for solos and the occasional accent. This conjoined twin relationship is what really brings power to the trio. The sound of two amps actually turned up to 11. Don't be fooled by that description that these guys are a one trick pony. Remember, they are never pedestrian. High On Fire bring a level of musicianship and composition to the slaughter that few bands can even come close to. The fascinating, folk inspired instrumental entitled "Khanrad's Wall" that leads into the DEVASTATING track called "Turk" is a perfect example of variety in sounds, attention to song order and how it will all sound as a finished piece. Side Two is not just simply more of the same. "Headhunter" into "Rumors of War" gave me chills when I first heard it. Of course something must be noted about their ability to wear the influences on their sleeves like the skulls of their defeated opponents. In the case of "Rumors of War" Matt Pike channels Lemmy and eventually steals his soul as the band lays waste to Motorhead but you can feel their passion and know that all the while the reverence is there.

Wednesday, September 26, 2007

Primitive Sound System, Bill Dolan and Special Guest Joe Raaen - D.C.'s Tavern Oct. 4 - 9 PM to Closing

Hello Y'all,
Seems like Mr. Bill and myself will be eating for three this coming First Thursday of October. We will be joined by Joe Raaen former booking agent of the legendary Cafe Du Nord in San Francisco. In a world where everything has a shelf life, and most of them shorter than the jug of milk you just opened, the Cafe Du Nord has been going strong since even before its notorious speak easy days prior to Prohibition. Nothing says dedication more than a person willing to fill a bag with an assortment of their finest records and walk 2563.79 miles from San Francisco to New York to ensure freshness and to keep them from harm. All this just to audibly satisfy the fine folks who frequent D.C.'s. BRAVO to you Joe!

AND... AND... (did you heard me?)... AND... Saturday October 13th we will be hosting another Record Swap inside the beer soaked walls of D.C.'s. This one is going to be great with a fine list of guest DJ's lining up for their turn at the Stack-O-Matic. As always we will have flames fueling the Bar-B-Que and some meats of assorted sizes and shapes. Remember if you bring it you grill. "IF YOU DON'T WORK; YOU CAN'T EAT!" Please bring by a box or two (or three) to sell, trade or giveaway (promos welcome). The Swaps have always been a blast but the more records there are the better the day is. [Keep in mind, not everyone is a hardcore collector. Just some guys and gals who want some good tunes whether it is rare or not is not an issue. Condition is not always everything when you are looking for records to listen to! Of course rare gems and mint condition records are always welcome.]

D.C's Tavern Record Swap - poster - http://www.patjameslongo.com/posters.html
Saturday October 13th 2PM - Closing
DJ's and Grub all day.
Bring records to swap, sell or use as coasters.
(More info here - http://www.primitivesoundsystem.org/PSS_upcoming.html#first_saturdays)

Primitive Sound System, Bill Dolan and Joe Raaen - "THREE IS THE MAGIC NUMBER"
Thursday October 4th 9PM to Closing
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
http://www.dcstavern.com
http://myspace.com/dcstavern

Some of dem vinyl formed platters:

First off I will be paying tribute to Bobby Byrd throughout the evening with some of my favorites that he blessed us with:
"Time Will Make A Change" (Smash cat. S-1984)
"I Need Help (I Can't Do It Alone)" (King cat. 45-6323)
"I Know You Got Soul" (King cat. 45-6378)
"Keep On Doin' What You're Doin'" (Brownstone cat. 45-4205)
"Try It Again" (Kwanza Records cat. KWA 7703)
"Back From The Dead" (International Brothers cat. 901)
"Byrd's In Flight" (Strawberry cat. STW 109)

High Society Brothers - "Don't Spill The Wine" (Port Arthur "Gateway To The World; Port Arthur Fl.) cat. 418)
Drums Drums and MORE Drums! The High Society crew knows how to bring the beat to the party. Bass and Drums break for about 30 seconds of this amazing little 45 before we realize this ain't no loop. Is this a re-issue? Is this some masterful plan to lure people into a world of unknown breaks and impossible to find records? The Guitar strums a mid tempo groove as horns cut and jump around the beat. This is one of the RAWEST and FUNKIEST tracks I have ever heard. Whoever these "guys" are they know the meaning of groove. There is something laid back yet extremely edgy as if something evil this way comes. By-the-way there are two sides of this. For the past few months I have been dedicating the last hour to "Schooling The Drummers" and you would have thought this 45 was recorded just for this purpose. Each Thursday I noticed just before closing that the room had around 3 - 6 drummers so why not play to the room? I think you will know when school is in session when the needle hits this record. Pinkies up for the High Society.

Marsha Gee - "Peanut Duck" b/w Count Yates - "Chimpanzee" (Penniman Records cat. penn 45013)
So, this is a re-issue of the bootlegged, one off acetate, found in Philly some 30 years ago of probably the most memorable song you will ever hear. The singer is not really known though the name Marsha Gee was an actual Soul singer. Confused yet? The song needed an artist and Unknown was already working that night so Marsha Gee got the gig. Whoever the hell this is she kicks the hell out of this would be novelty tune. The music is classic 60's dance floor filler. Heads can bob, shoulders can shake and mouths will smile. Said singer seems almost to be improvising as the band stays tightly cracking in the pocket. She runs down what we need to do to groove with the Peanut Duck all the while assuring us that the Shing-a-ling aint the thing (sorry Kym). About two thirds of the way in the fine Ms. Gee scats a kind of vocalese that would make Yusef Lateef stand up crying and clapping. There something really cute about the whole thing yet it is still raw and sexy. It's hard to explain except I know it is great. "QUACK QUACK...PEANUT DUCK!"

Herbie Hancock - "Fat Mama" b/w "Wiggle Waggle (Warner Bros. / Seven Arts Records cat. 7358 (bootleg?))
One of the few artists I am a completeist about is Herbie Hancock. I know this will illicit some screams and yells but I only go up as far as "Secrets." Regardless there are a few records that are almost IMPOSSIBLE to come by. To the best of my knowledge the soundtrack for "The Spook Who Sat By The Door" was only pressed as promos and most given away at the premier. A flexi disc was also made for the soundtrack as a promo and I actually held one in my hands but could not afford it at the time. This 7" promo from Fat Albert Rotunda may not be as insanely rare but I had heard that it existed yet I have never seen one. For now this bootleg will have to do. I keep writing bootleg because I can't imagine anyone gave clearance for this. Regardless of its authenticity these are certainly two of the Funkiest tunes from the Fat Albert Rotunda LP. What really is noticeable on these tracks is that the drums are out front similar to a Funk or Rock record. These tracks and the LP they are taken from walk a very, very fine line between Instrumentals and Jazz. Maybe it is this blurred line that I have always been drawn to in Mr Hancock's music. Right out of the gate he gave the world "Watermelon Man" to do with it as we pleased and many have covered it almost with the same level of perfection that he created it. Blurring the lines seems to be the basis of all he does right up through "Rock-it" for better or worse. "Fat Mama" is slow and Funky. The groove is set by the bass and percussion and soon that sharp electric piano that punctuates all the tracks on Fat Albert Rotunda dances its way through. Horns burst, call and twist as the level of excitement is built with each measure all the while the rhythm section never waivers. There is soloing but not in a traditional sense since no individual player is given the space commonly granted each instrument. "Wiggle Waggle" has a more Action Movie chase them feel which maybe gives it a more Jazzy feel. The drums are no less hard and actually the solos are a bit more aggressive than on "Fat Mama." The songs length also gives the Sax, Trumpet and Electric Piano ample time to express themselves and really push the groove. FUCKING ESSENTIAL!

Baby Charles - "Back Of My Hand" b/w "Coming From A Higher Place" (Record Kicks cat. RK45 012)

Primarily I know Record Kicks as a re-issue label but apparently the Baby Charles LP is forthcoming and they are actually a new band who tour and all that. The record has a very bright, sharp, new recording quality to it yet Ms. Charles tone makes it all sound much older. Her tone is nice and round with a touch of The Queen of Soul. A warm hug all the while threatening to put you in your place or simply kick your ass. The band is exceptionally tight and knows how not to be a Modern Funk band and better yet just a Real Funk band. Too often this can turn out sounding like a wedding band and this is anything but. The opening is a slow guitar tease that BLASTS OFF! into Funk heaven. Organ, drums, guitar, horns and fine vocals all add up to a track I know I will play quite often. Did I mention a throaty sax solo, guitar vamp, and a conga / drum break to boot. From the description you would think this is a 60 minute song. Incredible. Sharon Jones, Nicole Willis, and Alice Russell may have some ample competition on their hands. WOO! Wait a second. Talk about REAL. On the flip of this fucker the band is sounding AMAZING! How the hell are you supposed to choose on this little slab of greatness. I guess play 'em both. This opens like a band far more seasoned than a debut release. A big ensemble sounding intro kicks into a rolling groove with guitar, bari sax , drums and YES FLUTE! You ladies in the horn section rule. An Instrumental that should be someone's theme or at least played every-time you feel you need to look cool cruising in your automobile. Damn, you aint kidding "Coming From A Higher Place." WINNER! - http://www.myspace.com/babycharlesband

Cookin' On 3 Burners - "Cook It" (featuring Fallon Williams) b/w "Settle The Score" (featuring Kylie Auldist) (Freestyle cat FSR7035)
Grabbing a bit of the James Brown gold instrumentally "Cook It" sounds right at home in the JB's camp BUT Mr. Williams has a very Rufus Thomas sound to his throat so no better recipe really exists. The band even throws in a very Allen Toussaint styled piano solo to add more greatness to the ingredients and a freshness to their sound. When you are dipping into so many pots the sound is really yours when you can do it this well. DELICIOUS! "Settle The Score" is a bit more raucous. A really expressive guitar intro slams up against some really heavy drums and bass to get things started. Kylie Auldist has a perfect voice for what is going down here. One thing she will not have a problem with is settling the score and that is for certain. She packs more attitude into her voice than most Ultimate fighters do pre-bout. The band even has a bit more snot nosed exuberance to their gate and makes sure not to be showed up but shoulder to shoulder in their performance with their chosen lead. Cookin' On 3 Burners gets that it is variety that gives you longevity in the Funk / Soul game. From what I can tell they are mixing things up with no signs of running low on ideas.

Kokolo - "Our Own Thing" vocal b/w instrumental (Freestyle cat FSR7036)
The Kokolo Afrobeat Orchestra seems to have trimmed their name to Kokolo. Their sound has not changed and that is a very good thing. Comprised of some of the best musicians to grace a stage it is nice to see they are still together because their music is more fluid than it has ever been. The rhythms flow over the melody effortlessly and the vocals only punctuate the groove as a sax solo or trumpet would. Flow is what they seem to be about and the first solo goes to the guitarist who doesn't trip up the rest instead gives a few tasteful bars. He seems to be the featured break until strong minded horns kick it up and the trumpet takes the flow with him. Repetition is used to great effect here and it is the type of groove that certainly could be locked. Lucky for us the whole repeats on the "B" as an instrumental. Don't take this the wrong way but the instrumental offers no surprises after losing yourself in the vocal side. The guitarist still has his mood and so do the horns. One thing that is far more noticeable is the slight pause that occasionally throws the band forward. This is a very, very nice touch. Kudos Kokolo.

Wake & Bake! - "Funky Blue Beard" b/w "Funkie Pie" (Tramp Records cat. TR-1009)
Tramp reords is a two headed monster. One head for re-issues and the other for original music. Wake A Bake! are as new as you can get. They move along in a Soulful Funky way and one that has variety to keep you interested in its 3:12. There is a chunky, fuzzy guitar that hangs out in the back like as if he was a little to hyper to join in the smoke filled den. After the guitar settles down players drop out to make room for a nice percussive chill out that grounds a little break and some nice interplay which includes the now relaxed guitarist. ARRR! it's a badass groove indeed. "Funkie Pie" is a little more raw and stripped down. there is a lot of the Meters in this sound but yet it never actually imitates them. The organ player is especially tasteful on both sides of this 45 and definitely stands out. I guess with the name it was inevitable so here comes the sitar and possibly a tambura. Again tastefully done. Adding any "exotic" instrument to Funk music can usually sound forced but here the sound is integrated perfectly and has a very natural feel.

Wednesday, September 05, 2007

PSS and Bill Dolan at D.C.'s Sept 6 2007

Hello Y'all,
So I broke away for a minute and wound my way to 12th Street to see my buddy Jared's new store (I was bummed his partner Steve was not in but like I said I only had a minute). It is a sliver of a store and packed with nothing but top notch cuts of grade "A" vinyl. I shot-the-shit, listened to a few things and grabbed what I could. Some things I never heard before (The Shelton's amazing take on Lalo Schifrin's already amazing "The Cat" ), some things I have wanted for a while and heard recently reminding me that I needed to pick up the search (Irene Reid's take on "Dirty Old Man") and a little bastard that has alluded me FOREVER (Oliver Sain's "St. Louis Breakdown"). Jared looked tired and as well he should. The place was hopping and I left shortly after 8PM when he was supposed to close. Who can say not to junkies itching for a fix so he stayed opened and satisfied their need?

- pat.

Primitive Sound System and Bill Dolan
Sticking their necks out with odd choices so you don't have to!
D.C.'s Tavern
505 8th Street
Hoboken, NJ
PH: 201-792-5550
http://myspace.com/dcstavern

D.C.'s TAVERN RECORD SWAP - SATURDAY OCTOBER 13th 2007!
(details and poster coming soon)

Big City Records - 521 East 12th Street NYC 212-539-0208

Da New:
The Firebirds - "Soul Sonata" b/w "I Just Don't Believe You" (Excello cat. 2307)
"Soul Sonata" is a Lounge track wrapped in a Funk instrumental. The intro is break heavy and you get all ready for some great rolling Funk walk and suddenly you find yourself at the door of a Space-Age Bachelor Pad. The drums are Purdie influenced and then the track winds its way into the Loungier moments of early Three Sounds. My head actually hurts at all the directions this little ditty goes in. One from column A, B, C, D and E. Yup, the more I listen to it the more I like it. "I Just Don't Believe You" is a mid tempo instrumental with a really interesting guitar sound. The drums drive along with a bit of aggression but the guitar has a lap-steel sleepiness to it. Nothing will hurry the guitar along but that sounds great to me. There are equally mellow horns punctuating the background giving the track a bit of a Stax sound. This one is s coin toss on what side gets spun.

The Lively Set / Jack and the Beans - "There's Nothing Like Coffee" Vocal b/w Instrumental (Straight Ahead Records cat. SB 10266 (pic sleeve))
Side A of this is a way to cheery ode to the greatest discovery of early man. COFFEE! The Lively Set comes on like a caffeinated Up With People. I bet that would be a great brawl, battle of the waspy cheerbags. The B-Side is an equally cheery affair but far more palatable as an instrumental. They leave out the coffee commercial music intro and rev things up a bit. The brand of coffee that used that riff somehow eludes me but I think it was Maxwell House. Hand claps and organ lead the way to the pot of joe but the guitar and drums seem to have gotten there first grinding away and accelerating tempos. This would make the best instrumental theme song for a TV show.

The Pacers - "Big Batman" b/w "Gotham City" (Razorback Records cat. R-125)
"Big Batman" is slow going with some really silly lyrics. Unfortunately this sounds like it was cut in one take and before the band got really familiar with the song. Don't get me wrong, sloppy and raw is what I love but this seems cautious and a little uninspired. The Pacers cut what is easily my favorite Garage Instrumental called "Skeeter Dope" so I know what they are capable of. "Gotham City" is a bit more in the vein of "Skeeter Dope" with very little of that signature Batman sound. Soulful and Garagey in all the right ways. The guitar is sharp and the piano is percussive. The drums and bass are rock solid making it very easy for everyone else to shine. The harmonica takes a solo towards the end and regardless of the dead stop ending I have a feeling people are still doing the Batdance in Gotham tonight.

The Sheltons - "The Cat" b/w ""Find It" (Dot Records cat. 45-17174 (audition copy))
I can't wait to play this for people. First off, Lalo Schifrin is easily one of my favorite composers, arrangers and musicians of all time. The man is a powerhouse and rarely misses the mark. The B-Side of this is pretty pedestrian and oddly the vocal track. If you heard it on the radio you would probably say that is a good Mitch Ryder type garage rocker. There are party sounds, people clapping hands and they even throw in a little James Brown to keep things going. This would make a good theme for the Yellow Pages. "You gotta find it...Find if you want it; Find it... Find it if you can." The A-Side revs up Lalo Schifrin's "The Cat" with Garagey organ sounds, shouts, moans, claps and wordless vocalese. The drums ride the rim the whole way through giving it that extra snap and a cowbell keeps the clave. The horns get mixed right in with the voices and percussion so the track sounds like it is just organ and drums drenched in atmosphere. The whole thing has an endless loop feel and could probably go on for 30 minutes before you either lost it or nodded off. Hypnotic and trippy all the while going to the Go-Go. Damn, damn, damn this is good!

Bill Doggett and Orchestra - "Funky Feet" b/w "Blue Pint Of View" (Chumley Records cat. CHA-90001)
I had a copy of this a long while back but it was really messed up. I forgot how good it is. The sound is very clean and there is a modern-ness to it. It feels at any moment it could slip into the musical Black Hole known to the world as... Fusion but gladly it does not. Maybe it has that feel because the playing is so exceptional and tight. The horns are big and heavy as if it were a line of baritone saxes, the guitar tosses off a short funky solo but this is only an introduction for Doggett to just kill on the organ.

Kool & The Gang - "Kools Back Again" b/w "The Gangs Back Again" (De-Lite Records cat. DE 523)
I didn't buy too many Kool & The Gang 7-inches over the years because I was so obsessed with the LP's. I had a few but I never grabbed one of these. Just like all music, when you separate one from the herd it gives the track another life and even sounds different than the album cut. On LP "Kools Back Again" is "Kool Back Again." The two cuts on this 45 make up one longer track so it is nice to have them separated. These guys were as perfect as you can get right from the first note. They forged their own sound even though the worshipped James Brown and his bands. They seem to steal equally from the Meters, Stax, and the LA Bands like War yet in the end the sound was all Kool. Everything you could ever want in a Funk instrumental is here stabbing guitar, sharp horns, heavy bass, breaking drums, and vocals that are more about uncontrolled excitement than telling any story or even acknowledging the listeners.

Sammy Gordon and The Hiphuggers - "Upstairs On Boston Road" PT. 1 and 2 (Archives Recording Co. cat. AR 1-70)
I have held this 45 in my hands about a thousand times over the years but for some reason or another it never makes the cut. Listening to it through the headphones at Big City Records I declared myself an idiot and quickly dropped it in the take pile. This has that party feel I love in any genre but especially instrumentals. Heavy bass and drums punctuate the horns as the organ accents everyone in the most complimentary way. The guitars toss off leads and rhythm in equal measure as the tempos shift and the band moves from smooth to hard effortlessly. The percussionist beats the hell out of the cowbell in the breaks, the sax comes out of the break blowing like his life depended on it. Part two picks up not from where we left off but coming out of a break somewhere just after the fade on side one. The guitar takes a great Soul Jazz / Funk solo as the band seems to get even tighter and the groove more deep. The band is just too excited and jump back in before the guitar is finished and finish he will as he winds things up and pushes the tack right off the run out groove.

Oliver Sain - "St. Louis Breakdown" b/w "Comin' Down Soul" (abet cat. Abet 9445 (Juke Box Copy))
I have been looking for a copy of this since the first time I heard it. It is the reason I bought a copy of a compilation called The Big Cheese in 1993. I have looked for and bid on copies for a very long time. Of course there are always records that elude us which is why we continue to collect or better yet OBSESS. There is something about that quivering sax sound that Oliver Sain gets that separates him from the rest. "I want everybody to get up and do the St. Louis Breakdown." The bass gives this a similar sound to the great Bohannon Stop & Go record. Sain never seems hurried whether singing, rapping or playing. He is measured and Funky, Soulful and groovy. Bass, drums and organ keep things simple but never boring and of course downright Funky. Sain raps about all the people and places and things that should, could and would... Break it down. He eventually grabs a piece of the action, ever so briefly, with his horn but quickly gets back to his rap and passing the solo time to the drums who opts for a little break. The organ also goes for it but they are real close to the fade and he leaves you wanting more.

Gary Bartz Ntu Troop - "Drinking Song" b/w "Uhuru Sasa" (Milestone cat. MS - 701 (wht lbl promo))
Jazz 45's have always been an obsession of mine. Originally I was fascinated that they even existed at all. First off, I only wish I sat in the bar in the 50's and 60's that had a Juke Box spinning these gems. There is also a very odd choice in doing any Jazz song as a 7" considering the average Jazz composition contains each member taking a solo capped by the theme and the re-stating of the theme at the end. This common arrangement results in no songs shorter than five to six minutes. The obvious problem is, who do you cut out? What is considered not essential by the band and the producers? Who tells the eliminated player? Regardless, I love them. At this point I probably have over 600 of them.

Gary Bartz' LP Harlem Bush Music: Uhuru Sasa is easily my favorite by this incredibly talented and prolific artist and "Drinking Song" has always gotten a lot of attention. "Feed - your - mind... while - there's - time." Andy Bey is a unique vocalist and always a standout on any session and here is not difference. The band lays back and lets Bey get his message out but as soon as he allows them space the band Rocks and pounds the groove in hopes to keep us sober and attent, "Never be a revolution; while your drinking wine...." Bartz can make his sax sing, wail, cut or heal just as Bey does with his voice and words. The band is heavier than your average Jazz outfit and the recording favors the rhythm unlike most Jazz LP's. This goes somewhere in the top ten of those 600 plus 45's.

Heartstoppers - "Court' In Mama" b/w "Marching Out Of Your Life" (All Platinum cat. AP-2341)
In the past few years I started taking more notice of the dynasty created by Sylvia and Joe Robinson. My curiosity was peaked in 1999 after a very disturbingly funny phone conversation I had with Mr. Robinson regarding the Skull Snaps. While compiling The Vital Organs Vol. One we figured we should line up as many tracks for future releases considering we were in the middle of our research and certainly on a roll. I only had two, let's call them, difficult phone conversations during the entire process. One was when Marshall Sehorn did not remember our almost hour long conversation just one week prior. Of course this was on the sad side of disturbing since it was obvious poor Mr. Sehorn was experiencing memory loss. The other was speaking to Joe Robinson. Basically Joe did all the speaking. I only laid out how we were doing the compilation and that was enough to elicit a lecture filled with cliches and curses that lasted about 20 minutes. Our favorite line from that conversation was, "Son I don't know what "business' you are in but I am in the Music Business." Well, I wish no harm or ill will to anyone but suffice it to say I heard from John at Scorpio Distribution that Joe went bankrupt not long after that conversation. Maybe he was ripped apart by the inevitable or maybe he just did business in this way and it finally caught up to him. All I know is we would have put about $1500 in his pocket and he could care less.

Side one of this 45 is about as disturbing as the aforementioned conversation. I gotta tell you the truth, I almost don't want to listen again to figure it out. It sounded pretty creepy. "Marching Out Of Your Life" is a raw Soul burst of defiance. Basically a "You suck, I'm gone, you lose" song. The backing is more raw than the vocals which has a great effect. The singer has a high pitched voice that can be smooth and still cut like a knife. Bass, organ, drums and guitar are all you need with male and female backing vocals filling in the gaps. The song is uncomplicated and direct and can definitely shake your shoulders.

Irene Reid - "Dirty Old Man" b/w "Just Loving You" (Old Town Records cat. 2004)
Not taking anything away from the amazing talents of Delaney and Bonnie but Irene Reid kicks the crap out of this tune. The band is hard and Ms. Reid is harder. Heavy piano, screaming guitar and way out front drums beat, punch roll and rip the Dirty Old Man a new one while Ms. Reid tells us all how it is. What this is, is a great Southern sounding Funk tune which I know I will play quite often.

Eldridge Holmes - "Pop, Popcorn Children" b/w "Cheatin' Woman" (Atco Records cat. 45-6701)
So this has been way high up on my want list for a very, very long time. This copy is an unplayed store stock copy that I got for a very reasonable price. I could write a book about this track. The excitement builds right from the first introductory guitar notes and the little drum rolls that immediately follow tell us we are definitely in for a ride. Mr. Holmes has a voice with that similar sandpaper raspiness that makes Dyke so appealing. The band (The Meters) is as tight and funky as always. One of the tracks best features is that instead of going for the obligatory break the band decides (or Allen Toussaint, who produced it) to break down in half time in an almost comical fashion (Nah Nah Nah Nah Nah Nah). The line descends and falls off the tune ever so briefly but only enough so that you feel a bit dizzy. They catch themselves just before they hit the floor and wind it up again. It doesn't hurt to have the best timing and feel of any band that ever entered a studio. Holmes keeps coaxing everyone to Popcorn and gives a few raw screams and yells. Through the pounding there is a sound like hardware hitting the floor, cymbals with rivets maybe. I picture the equipment and the studio falling apart from the aggression and rawness of the playing.

The Sound Stylistics - "Soul Dynamite" b/w "The Players Theme" (Freestyle cat. FSR7033)
Super groups are usually not... super, but in the case of The Sound Stylistics everything more than came together for these super stars (in a very, very small scene). The original session was recorded in 2002 for the Burton Library (a prestigious sound library company based in the UK) and unfortunately never saw the light of day. Thanks to the flawless minds of Freestyle Records we are treated to two 7" "must haves." The band is truly stellar made up of easily some of the best musicians to grab onto New Funk and make it as genuine and real as the originators. Pick up literally any record by any one of the members of The Sound Stylistics and you will see why this was such a powerful and talented mix. The band is made up of James Taylor (James Taylor Quartet (JTQ), The New Jersey Kings), Jim Watson (Incognito), Mark Van der Gucht (Galliano], Eddie Roberts (New Mastersounds), Neil Robinson (JTQ), Simon Lee (Dr. Seuss), Andy Ross (The Herbaliser), Mike Smith (Jamiroquai), Nichol Thompson (Brand New Heavies), and Snowboy.

Joe Cuba Sextet - "El Pito (I'll Never Go Back To Georgia)" b/w "Arecibo" (Tico cat. T-470)
I love to whistle when I walk. No shit. I really do. I find air drumming is really dumb looking and I don't need any help with that so... I whistle. One of the songs I find myself whistling more than any other is "El Pito" I have looked for this 7" for a very long time but most are really messed up. I understand that because it is so good I will probably play this until it is worn out as well...oh yeah, and you can whistle to it. Turns out the 7" is quite a find because "Arecibo" is just as good as "El Pito."

Jackie Edwards & The Soul Makers - "Che Che" (Daran Recording Co. cat. 0112)
"Che Che" sounds like it could have been on the Gabor Szabo LP High Contrast which features Bobby Womack. It has that Black Jazz feel or better yet the sister track to Booker T & the MG's "Melting Pot.". "Che Che" is where Soul meets Jazz regardless of whatever the band cut (I think they are more Chicago Blues / Soul band) prior or after this soulful track. I assume Edwards is the guitarist considering the amount of time the guitar is featured on side one but the organ weighs in pretty heavily on side two enough so that I would say it is also featured.

The Pac-Keys - "Stone Fox" b/w "Dig In" (Hollywood Records cat. 1108)
Holy crap! This is one great instru-fucking-mental! Slow and low with a nice heavy break to get us rolling (similar to the Chakachas "Jungle Fever"). Medium to slow tempo adds to how heavy this sounds. bass, guitar, horns, organ and drums are only lightened by the piano touches throughout. The guitar takes a plucked solo and the organ sounds like it is being wound up just as the solo ends. The organ and drums keep things heavy even into the fade.

Long Playing Records:

Beastie Boys - The Mix Up (Capitol / Music From EMI 0946 3 94085 11)
The Beastie Boys take a far more mellow route on this collection of instrumentals than their first all instrumental release "In Sound From The Way Out." Weirdly this LP is advertised as their first all instrumental release but I guess they mean first all instrumental record composed as such. Each song has that very large studio sound that were prevalent on previous songs like "Groove Holmes" and "Bobo On The Corner." Of course I don't mean big as in budget or technique but big as in the sound of the room. Disturbingly even now the Beastie Boys don't seem to get the credit they deserve as musicians. Simply put, these boys can play and certainly know their way around a composition. Rick Rubin recently said in a New York Times article that when he started Def Jam he wanted to make sure that composition was the most important aspect putting an LP together. Well the Beastie Boys were obviously great students.

Let's Dance with The Villains!! - The Batman and Other Dance Hits For Villains and Good Guys!! (Somerset "The Wondrous World of Stereo Fidelity - The Entire Sound Spectrum" cat. ALBUM SF - 25000)
"Best gosh darned dance program since The Beatles - Gee Whiz!!" The Batman Chase - Zoink! Wap! Fiends A Go-Go!! Give 'em Zap Old Chap - Fruggin' the Riddle - Pow! Zop! Wham! The Livin' End - Golly Gee Whiz!! What a Beat!!! And that is just the descriptions on the cover! So I got back looking for more Batman stuff this year. I had stopped somewhere around five 45's and ten LP's. I have found some real winners this year and this is definitely NO exception.

Thursday, August 02, 2007

Bill Dolan and Primitive Sound System - D.C.'s Tavern Thursday August 2nd from 9PM to Closing

Hello Y'all,
I had already decided to bring the usual all over the map, no genre unturned mix this Thursday but then I figured why not feature... DRUMMERS! I have a particular bias when it comes to drummers so to me there is no more important player on stage or in the studio. Drums really can make or break a band or song. This is not to diminish the contributions or abilities of the other musicians but I have seen and experienced what a disaster bad drumming, a shitty drummer or just a blown part of a song can be like or sound like. EVERYONE notices. This Bud's for you keeper of the throne. "It's the beat, the beat, the beat!"

"I think the drummer should sit back there and play some drums, and never mind about the tunes. Just get up there and wail behind whoever is sitting up there playing the solo. And this is what is lacking, definitely lacking in music today."
- Buddy Rich

Primitive Sound System and Bill Dolan
Rattling them Pots and Pans
Thursday August 2nd
D.C.'s Tavern
505 8th Street
Hoboken, NJ
PH: 201-792-5550
http://myspace.com/dcstavern

Beat of The Traps!

Only a few descriptions this time around. Sorry.

The LP's:
Hal Blaine - "Rumble" from the LP "drums! drums! a go go" (Dunhill cat. DS-50002)
Hal Blaine and The Wrecking Crew played close to 200 Top Ten Hits in the 60's and 70's and 40 of those went to number one. Take that all you One Hit Wonders! (Including the ones Hal Blaine played on.) "Rumble" is just explosive.

Earl Palmer - "One Mint Julip" from the LP "Drumsville!" (Liberty cat. LRP 3201)

Gentleman June Gardner - "Hammerhead" from the LP "Bustin' Out" (Emarcy cat. SRE 66014)

Sandy Nelson - "Pandora's Golden Heebie Jeebies" from the LP Chetah Beat (Imperial cat. LP-9340)

The Soulful Drums of Joe Dukes with The Brother Jack McDuff Quartet - "Greasy Drums" (Prestige cat. 7324)

Jack DeJohnette - "Epilog" from the LP "Sorcery" (Prestige cat. P 10081)

Joe Farrell - "Seven Seas" from the LP "Upon This Rock" (CTI cat. CTI 6042 S 1)

Tony Williams Lifetime - "To Whom It May Concern (Us)," or "Vuelta Abajo" from the LP "(turn it over)" (Polydor cat. 24-4021)
There are few LP's that are as powerful as this. One look at the back cover and you can see why. The spiraled white text credits on the solid black cover direct us to "Start here:" and we read that Tony Williams is joined here by Khalid Yasin (Larry Young) on Organ, John(ny) McLaughlin on guitar and Jack Bruce on Bass. This is the Jazz equivalent of Blue Cheer. The songs on this record blend together like a suite and barely pause to take a breath. Williams occasionally "sings" which is a very bizarre audio experience and honestly sounds like the only logical choice with the atmosphere created.

Buddy Rich - "Big Mac" from the LP "The Roar of '74" (Groove Merchant cat. GM 528)

Ed Thigpen - "Harper" from the LP "Out Of The Storm" (Verve Records cat. V-8663)

Grassella Oliphant - "Get Out Of My Life Woman" from the LP "The Grass Is Greener" (Atlantic cat. SD 1494)
OK so this is too easy. But this is one of the best versions of this amazing Allen Toussaint track and I'll take any chance I can to play it out. This entire LP is great with a list of players to match. Oliphant on drums with Grant Green on guitar, John Patton organ, the under rated and sadly unknown sax player Harold Ousley, Clark Terry on Trumpets and Flugelhorn and Major Holley on Bass and Electric Bass.

Sarah Webster Fabio - "Jujus / Alchemy of the Blues" Vocal / Instrumental from the LP "Jujus / Alchemy of the Blues Poems By Sarah Webster Fabio Read By Sarah Webster Fabio with Musical Background" (Folkways Records cat. FL 9714)
I first heard this (like most people) as the theme song on one of my favorite radio shows "Doug Shulkind's Give The Drummer Some" on WFMU (91.1 FM). There are few songs you can listen to literally every week and it sounds just as good if not better every time. The band is quintet made up of Guitar, Bass and Drums with Congas, Special Effects and an assortment of saxes, flute and piano. The band is aggressive and progressive all in the right amounts.

Some 45's:

Lunar Funk - "Slip The Drummer One" (Flashback Records cat. FLB 76)

Cozy Cole - "Topsy" 1 & 2 (Love Records cat. 5003)

"Philly" Joe Jones - "Ping Pong Beer" (Warwick Records M 663)

Pretty Purdie - "Funky Donkey" (date cat. 2-1568 (Special Rush Service / White Label Promo))

Grady Tate - "Be Black Baby" Mono b/w Stereo (Skye cat #4520)

Shelly Manne & His Men - "Peter Gunn" (Contemporary cat. C45-367 (White Label Promo))

The Dave Bailey Sextet - "One Foot In The Gutter - Part 1" (Epic cat. 5-2200 (Radio Station Copy / White Label Promo))

Idris Muhammad - "Super Bad" (Prestige cat. 45-743)

Alphonze Mouzon - "Spring Water" (Blue Note cat. BN-XW261-W)

Gene Norman presents A Drum Concert Featuring Art Blakey, Sabu Martinez, Ed Shaugnessy with the orchestras of Buddy De Franco and Charlie Ventura - "Star of America" (Gene Norman Presents cat. ep 0-1)

Christian Garros Et Son Orchestre - "Chat Chat Rock" and "Drums Rock" from the ep "Rockin' With Garros" (Columbia cat. ESDF 1131)

Herman Kelly & Life - "Dance To The Drummers Beat" (Alston cat. 3742)

The Incredible Bongo Band - "Bongolia" (MGM Records cat. K 14588)

The Winstons - "Amen, Brother" (Metromedia Records cat. MMS-117)

The Meters - "Groovy Lady" (Josie cat. 45-1026)

Booker T & The MG's - "Boot-Leg" (Stax cat. S-169)

Marvin Holmes & The Uptights - "Ooh Ooh The Dragon - Part 1" (UNI cat. 55111)

Dyke And The Blazers - "Funky Walk Part II (West)" (Original Sound cat. OS-79)
I don't think many drummers hit harder with more groove and feel!

I know there is about a ZILLION more and I buy my records by the beat.

Wednesday, August 01, 2007

Primitive Sound System & Bill Dolan at D.C.'s Tavern Thursday August 2nd

Hello Y'all,
I had already decided to bring the usual all over the map, no genre unturned mix this Thursday but then I figured why not feature... DRUMMERS! I have a particular bias when it comes to drummers so to me there is no more important player on stage or in the studio. Drums really can make or break a band or song. This is not to diminish the contributions or abilities of the other musicians but I have seen and experienced what a disaster bad drumming, a shitty drummer or just a blown part of a song can be like or sound like. EVERYONE notices. This Bud's for you keeper of the throne. "It's the beat, the beat, the beat!"

"I think the drummer should sit back there and play some drums, and never mind about the tunes. Just get up there and wail behind whoever is sitting up there playing the solo. And this is what is lacking, definitely lacking in music today."
- Buddy Rich

Primitive Sound System and Bill Dolan
Rattling them Pots and Pans
Thursday August 2nd
D.C.'s Tavern
505 8th Street
Hoboken, NJ
PH: 201-792-5550
MySpace Page

Beat of The Traps!

Only a few descriptions this time around. Sorry.

The LP's:
Hal Blaine - "Rumble" from the LP "drums! drums! a go go" (Dunhill cat. DS-50002)
Hal Blaine and The Wrecking Crew played close to 200 Top Ten Hits in the 60's and 70's and 40 of those went to number one. Take that all you One Hit Wonders! (Including the ones Hal Blaine played on.) "Rumble" is just explosive.

Earl Palmer - "One Mint Julip" from the LP "Drumsville!" (Liberty cat. LRP 3201)
Gentleman June Gardner - "Hammerhead" from the LP "Bustin' Out" (Emarcy cat. SRE 66014)
Sandy Nelson - "Pandora's Golden Heebie Jeebies" from the LP Chetah Beat (Imperial cat. LP-9340)
The Soulful Drums of Joe Dukes with The Brother Jack McDuff Quartet - "Greasy Drums" (Prestige cat. 7324)
Jack DeJohnette - "Epilog" from the LP "Sorcery" (Prestige cat. P 10081)
Joe Farrell - "Seven Seas" from the LP "Upon This Rock" (CTI cat. CTI 6042 S 1)

Tony Williams Lifetime - "To Whom It May Concern (Us)," or "Vuelta Abajo" from the LP "(turn it over)" (Polydor cat. 24-4021)
There are few LP's that are as powerful as this. One look at the back cover and you can see why. The spiraled white text credits on the solid black cover direct us to "Start here:" and we read that Tony Williams is joined here by Khalid Yasin (Larry Young) on Organ, John(ny) McLaughlin on guitar and Jack Bruce on Bass. This is the Jazz equivalent of Blue Cheer. The songs on this record blend together like a suite and barely pause to take a breath. Williams occasionally "sings" which is a very bizarre audio experience and honestly sounds like the only logical choice with the atmosphere created.

Buddy Rich - "Big Mac" from the LP "The Roar of '74" (Groove Merchant cat. GM 528)
Ed Thigpen - "Harper" from the LP "Out Of The Storm" (Verve Records cat. V-8663)

Grassella Oliphant - "Get Out Of My Life Woman" from the LP "The Grass Is Greener" (Atlantic cat. SD 1494)
OK so this is too easy. But this is one of the best versions of this amazing Allen Toussaint track and I'll take any chance I can to play it out. This entire LP is great with a list of players to match. Oliphant on drums with Grant Green on guitar, John Patton organ, the under rated and sadly unknown sax player Harold Ousley, Clark Terry on Trumpets and Flugelhorn and Major Holley on Bass and Electric Bass.

Sarah Webster Fabio - "Jujus / Alchemy of the Blues" Vocal / Instrumental from the LP "Jujus / Alchemy of the Blues Poems By Sarah Webster Fabio Read By Sarah Webster Fabio with Musical Background" (Folkways Records cat. FL 9714)
I first heard this (like most people) as the theme song on one of my favorite radio shows "Doug Shulkind's Give The Drummer Some" on WFMU (91.1 FM). There are few songs you can listen to literally every week and it sounds just as good if not better every time. The band is quintet made up of Guitar, Bass and Drums with Congas, Special Effects and an assortment of saxes, flute and piano. The band is aggressive and progressive all in the right amounts.

Some 45's:
Lunar Funk - "Slip The Drummer One" (Flashback Records cat. FLB 76)
Cozy Cole - "Topsy" 1 & 2 (Love Records cat. 5003)
"Philly" Joe Jones - "Ping Pong Beer" (Warwick Records M 663)
Pretty Purdie - "Funky Donkey" (date cat. 2-1568 (Special Rush Service / White Label Promo))
Grady Tate - "Be Black Baby" Mono b/w Stereo (Skye cat #4520)
Shelly Manne & His Men - "Peter Gunn" (Contemporary cat. C45-367 (White Label Promo))
The Dave Bailey Sextet - "One Foot In The Gutter - Part 1" (Epic cat. 5-2200 (Radio Station Copy / White Label Promo))
Idris Muhammad - "Super Bad" (Prestige cat. 45-743)
Alphonze Mouzon - "Spring Water" (Blue Note cat. BN-XW261-W)
Gene Norman presents A Drum Concert Featuring Art Blakey, Sabu Martinez, Ed Shaugnessy with the orchestras of Buddy De Franco and Charlie Ventura - "Star of America" (Gene Norman Presents cat. ep 0-1)
Christian Garros Et Son Orchestre - "Chat Chat Rock" and "Drums Rock" from the ep "Rockin' With Garros" (Columbia cat. ESDF 1131)
Herman Kelly & Life - "Dance To The Drummers Beat" (Alston cat. 3742)
The Incredible Bongo Band - "Bongolia" (MGM Records cat. K 14588)
The Winstons - "Amen, Brother" (Metromedia Records cat. MMS-117)
The Meters - "Groovy Lady" (Josie cat. 45-1026)
Booker T & The MG's - "Boot-Leg" (Stax cat. S-169)
Marvin Holmes & The Uptights - "Ooh Ooh The Dragon - Part 1" (UNI cat. 55111)

Dyke And The Blazers - "Funky Walk Part II (West)" (Original Sound cat. OS-79)
I don't think many drummers hit harder with more groove and feel!

I know there is about a ZILLION more and I buy my records by the beat.