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.

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.

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.

Some Records That Arrived At My Doorstep

I have nothing going on but here are some new records that have arrived at my doorstep.

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 think the only way this happened is because

Binky Griptite and the Mellomatics - "Mellomatic Mood" Part One & Two (Daptone Records cat. DAP-1033)

The Sound Stylistics - "Soul Dynamite" b/w "The Players Theme" (Freestyle cat. FSR7033)

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 an incredible groove and you can whistle to it. Turns out the 7" is quite a find because "Arecibo"

Jakcie Edwards & The Soul Makers - "Che Che" (Daran Recording Co. cat. 0112)

The Pac-Keys - "Stone Fox" b/w "Dig In" (Hollywood Records cat. 1108)
Holy crap! This is one great instru-fucking-mental!

Bill Dolan and Primitive Sound System - D.C.'s Tavern Thursday July 5th from 9PM to Closing

Hello Y'all
Sometimes I think I spend too much time on the little things. There are much bigger issues than the 7" 45RPM record. Considering I only have one 16" (no pun intended) I am talking about the 12" LP. This week at D.C.'s I am breaking out my big 12" records. I was filing records and realized that I was ignoring some amazing songs that I only had on LP. To make it a little easier on myself I chose records only of the 60's Garage variety. Let's drop some acid, grab a beer and hit the dance floor!

- pat.
Primitive Sound System

Bill Dolan and Pat. Longo
Thursday July 5th
Spun Gold from 10 to Closing
D.C.'s Tavern
505 8th Street
Hoboken, New Jersey
PH: 201-792-5550
MyBarStool - http://myspace.com/dcstavern
UnUsed Web SIte - http://www.dcstavern.com

The LP's:

Captain Beefheart And His Magic Band - Safe As Milk (Buddah Records cat. BDS 5001 (stereo) (solid red label with bumper sticker and inner sleeve)
"May The Baby Jesus Shut Your Mouth And Open Your Mind." "CAUTION: Electricity May Be Hazardous To Health"

Count Five - Psychotic Reaction (Double Shot cat. LP-DSM 1001 (complimentary copy))
After being obsessed with the 45 of "Psychotic Reaction" I only got the full LP after reading Lester Bangs book ("Psychotic Reactions and Carburetor Dung"). I wish there was an LP called "Carburetor Dung" but so it goes. There are very few Garage songs that can even touch the greatness of "Psychotic Reaction" but the Count Five tried very hard to top it throughout this amazing LP. If you are only as good as your competition then they really had something to prove. As seems to be true of most Garage bands they can play the hell out of their instruments. Oh yeah, what also seems to be true is Garage bands LOVE the Who! I really don't understand people who hate the Who. Actually, if someone says they don't like the Who I have a very difficult time taking ANYTHING they say about music seriously. The Count Five like the Who a lot ("My Generation" and "Out In The Street" are included here) so I want to hear what the have to say. I also want to hear what they have to offer musically and the stellar recording on this record offers more than just a glimpse into their sound. The Count Five don't change the formula in anyway from many other Garage bands but they just do it better. "Pretty Big Mouth," and "She's Fine" make me want to hit the dance floor as well as sit back and enjoy the fuzz and pounding beats. "The World" gives us a taste of the Blues as only 60's Garage bands could. Side One close with the classic "Psychotic Reaction" and we are once again reminded of the musicianship and shear energy that The Count Five had. Side Two opens with the one song that gives "Psychotic Reaction" a run for its money, "Peace Of Mind." "Peace of Mind" is nothing if it isn't intense. Musically it is a short burst of trippy fuzz but at its heart it is a positive message. The silly "They're Gonna Get You" is certainly not a throw away nor is the completely spooky "The Morning After." I wish there was an instrumental of this because this would make the best theme song for a movie. I have played "Can't Get Your Lovin'" out just because I like the fast tight drumming. At times the vocals comp the Beatles a bit but sometimes that does work. The side closes with easily my favorite early Who song, "Out In The Street." Nice try guys but The Who CRUSH this song. Viva le Townsend!

Elmer Gantry's Velvet Opera (Epic cat. BN 26415 (stereo))
So I sat and stared at an original British copy of this on the wall of Finyl Vinyl for close to five years. The cover begged me daily to sample its grooves yet its price tag screamed DON'T COME NEAR IF YOU KNOW WHAT IS GOOD FOR YOU! Oh how right that price tag was. One day, some six or seven years later a very nice man strolled through the door looking to lighten his load of LP's (most of them given to him, most were promo copies). He drove a Volvo and was dressed like your average Joe. This usually didn't result in a collection worth our time but I politely agreed to sample a box or two (hey I am a junkie, I can't help but flip). Who says nice guys finish last. Turns out our clean cut man of the 'burbs was The J. Giels Band's original manager and he had a crazy collection to unload. I only grabbed four records from the entire collection but all have made me extremely HAPPY. The "Intro" alone on this LP is all you need to hear to realize this is going to one sick opera. Each song better than the next including an odd choice like Oscar Brown's "But I was Cool." Soon I hit "Walter Sly Meets Bill Bailey" and I was hooked for life. This is Garage / Psych / Prog at its finest. Heavy ass bass, drums and riffing pummel you as you try to make sense of where this is going. Where will it end? Medieval? Exotic? Spacey? Things start to come apart at the seams and soon a twenty second version of what may be Bill Bailey played by some Billy Childish band is soon interrupted by the same frantic noise that led up to it. The theme is stated again and the drums and bass get to pound you until you are tender enough to handle what is next. "Air." I have listened to XTC for as long as I have been hooked on Garage rock and knew there was a connection. That connection couldn't have been any more obvious when XTC released the amazing Dukes of Stratosphere ep. Well they could have EASILY included "Air" and no one would have questioned it as not an original composition. Floating on a beautiful sitar progression and a simple beat the world slips away. If all this wasn't enough side two ignites with the AMAZING "Flames." Unfortunately and horrifically the song is marred with a nasty scratch which skips. Normally this would make me put a record back and say I'll find a better copy but something about this record made me know it was now or never. (Shortly after I found a NM promo copy of the "Flames" 45 so no harm no foul.) The heady mix of Garage / Psych and Prog continues through side two. "The Long Nights Of Summer" is a spectacular breezy Pop song that brings to mind the genius of P.F. Sloan. "Dream Starts" would have sat comfortably on a Soft Machine or Caravan record but is every beat a perfect fit with the material presented here. The tortured "Now She's Gone" closes out side two but usually I just flip it over and start the whole thing over again. Layers of ideas and sounds played to perfection by passionate and talented musicians. Sadly I have never heard any other record by this band but something tells me I would be disappointed.

The Litter - Distortions (K-Tel cat. 835-1) -
So I dug this out of a pile on the floor of Kim's in NYC in the early 90's, probably not long after it was released. I relieved it from them for a dollar . Man I would have paid TWICE that! This is one of the best garage records I have ever heard and unfortunately every issue of it is rarer then the next. If you really need one the Get Hip! version supposedly sounds great. The Litter keep the vocals clean for the most part but certainly know how to fuzz, squeal and make their guitars generally sound as if they are in pain. "Action Woman" is a classic garage romp that opens with all the guitars sounding as if they were shot out of a cannon. Moody, soulful vocals coo and chastise all at once. The drums and keyboards are not as prominent as most Garage songs but the groove is undeniable. A crazy, one take sounding version of the Who's "Substitute" is followed by an instrumental called "The Mummy" which almost comes off as the best outro for "Substitute" ever. Maybe it is me but side one closes with the best song The Bongos never recorded, "The Egyptian." Side two is just as fantastic running through fuzz drenched Blues based noise like "Rack My Mind," "Blues One" and the KILLER version of "I'm A Man," (one of the bonus cuts) a fine selection of covers and the brilliant original, "Soul Searchin'." It seems Mr. Kane saved this particular vocal sound for the originals; smooth as silk and soulful as hell. The sound on this is clean and clear with miles of separation making this one of the best recorded tracks amongst an already great sounding recording. Find your copy tomorrow!

The Orange Peels - s/t (????)
What the hell is this?! I picked it up because the completely unassuming cover made it impossible to pass by (all white cover with just text listing the band name and members on the front and just the song titles on the back). I think this may have been recorded on a child's portable recorder. The playing is as raw as the recording and the track selection is largely a greatest hits of late 50's early 60's instrumentals. Everything about this record makes me smile. Coldly and matter of factly introduced in the opening grooves, "THIS IS THE GROOVY SOUNDS OF THE ORANGE PEELS!" and I couldn't agree more. I believe "The Bennet Hunch" is an original. I say I believe because there are bits and pieces of every great instrumental poking out of the soft peel. This doesn't make it any less great. Let me explain, you know when you are walking around and you start humming a song but suddenly you sense that you are humming a different song. You then try to get yourself back and lo and behold a third song pops up. That is the genius of "The Bennet Hunch." The covers get the same raw, one take, "Look Ma no hands" treatment as the originals. "Apache," "King Bee," "Stranger From Durango," "Runaway," "Honky Tonk," "Samoa," "Mashed Potatoes," and "Rebel Rouser" are all represented here and completed whether or not each member remembered their parts. These guys have heart and soul and play with a sense of caution that makes every song sound as if it is going to unexpectedly stop and then taken from the top for another go. What disturbs me most is that if this was released today it would be relegated to the internet and sullied by the scourge of sound know as MP3 quality audio. True raw recordings need not be compressed further so that they are crap but need to be heard, felt, lived and devoured. Kick out the jams motha-fuckers! Are these guys available for my next party?

The Premiers - Farmer John live by... (Warner Bros. Records cat. 1565 (stereo))
Being at the recording of some legendary session would be story worthy for a lifetime. But, for the most part recording sessions are pretty boring. Dancing frantically and spilling beer in every direction in the crowd at The Rhythm Room in 1964 would be a black out to try to remember... for a life time. It is very hard to get passed the hard grooves of "Farmer John" and "Don't You Just Know It" which open this beer drenched soundtrack but there is barely a bad cut throughout. By the third track the band invites us to get close with our partner because "We Go Together" but what I like most is that the drummer never backs off the intensity. No brushes here. Let's get close but lets grind 'em and keep the sweat flowing. OK, enough of this slow shit let's hop back to it! "Look At Me" as the floor bounces right back into a frenzy but ya know what? The booze is taking hold and every chic within ten feet is looking pretty damn good so back to the grinding as we go "Over The Mountain, Across The Sea." "Tell me more about my eyes." Suddenly "Annie Oakley" shoots first and we hit the floor scared for our lives shaking our shoulders and stomping our feet. Side Two opens with another slow dance but at this point even if your are courting a wooden pole or facing a corner bleary eyed making out with a beer you need a moment to, well drink up! Anyone "Feel Like Dancing?" Sounds like half the crowd is ready willing and able and the fun never stops. As far as we can tell the majority of the crowed is "Ruined" but clapping is the easiest way humans express themselves all except for the greatest drunken screams on any record. Let's give our lady with the siren like pipes a break and meet her in the middle of the floor because lord knows "I Won't be back Next Year." The promises and begging keep coming but there is no more honesty here than, "the check is in the mail" ... I swear... I will write you this Summer... "Cross My Heart." For one last song we storm the floor with our sweet "Mary Ann" and hope we haven't blown it. Now that his a night to remember... or better yet... not.

The Pretty Things - S.F.Sorrow (Rare Earth Records cat. RS 506 (die cut / stereo))
This is considered the first Rock Opera. If Quadraphenia was the only other one recorded that would be wonderful. Call me crazy but all I can think of when I hear "Rock Opera" is Mr. Fucking Roboto. The opening is jangly and acoustic and S.F. Sorrow's birth is one filled with lush string arrangements, drama and majesty. Moments of this LP call out familiar sounds and feels but then you realize this was 1969 and predates almost everything that comes to mind by as much as three - five years. "She Says Good Morning" is all snot nosed aggression blended with Pop perfection. Briefly "She" is Sorrow's only happiness. For days after listening to "She Says Good Morning" I find myself hearing the chorus and that giant fuzz heavy riff that clobbers you about half the way through repeated and echoing in my head. If you haven't guessed the story of Sebastian F. Sorrow is not a happy one. It would be too easy to say that life sucks and then you die and Sebastian's life is twisted and pushed him up against historical moments, fantastical moments and the tragedies we only experience in our homes or amongst friends. Sadly the best thing about Sorrow's life is this LP. The Pretty Things create a fitting soundtrack to the vivid landscapes and imagery they evoke throughout this masterpiece ranging from devastatingly heavy to lilting and sweet. The guitar sound is spectacular and the vocals are never presented as if they are simply a voice over to the happenings. The proceedings are so tragic you almost don't want to let "Loneliest Person" finish because you know this is Sorrow's demise.

The Shadows of Knight - Back Door Men (Dunwich cat. 667)
The second I dropped the needle on this LP I placed it on my pile of "Must Haves." There is a great mix of originals and covers and the icing on the cake for me is of course an instrumental, "The Behemoth." The Shadows of Knight didn't just imitate the Blues, which I guess some people actually like, but they choose to smash it against Rock and fuzz and then speedball the mix. If you need to hear the Blues buy a Howlin' Wolf record already. How do you pick a track to play off a perfect LP? No, really I have no idea. No matter what I choose to play off here I will go home thinking why the hell didn't I play some other track. It is almost a disservice to go through the two sides and describe each song. "Bad Little Woman" could be your favorite song of all time until you hear "Gospel Zone," until you hear "The Behemoth," until you hear "I'll Make You Sorry," until you hear... get the picture?! Just like The Premiers, The Shadows of Knight look to New Orleans and Huey Piano Smith and the Clowns for a party worthy, dance floor blast with "High Blood Pressure." The Blues are equally represented here with their spectacular versions of "Spoonful" and "Hey Joe." Sundazed has reissued this and the Gloria LP so make with the clicking and buy some 180 gr vinyl perfection.

Some more great LP's:

The American Breed - Bend Me, Shape Me (Acta cat. A-38003 (stereo))
The Animals - The Best of... (MGM Records cat. E-4324)
Booker T & The MG's - 'Hip Hug-Her' (Stax S717 (stereo))
The Crazy World of Arthur Brown (Track Records cat. SD 8198 (stereo))
Donovan - Barbajagal (Epic cat. BN 26481 (stereo))
Julie Driscol & Brian Auger & The Trinity - Open (Atco cat. SD 33-258)
The Electric Prunes - (Travel Up To The) Underground (Reprise cat. cat. 6262 (stereo))
The Jimi Hendrix Experience - Are You Experienced (Reprise cat. 6261 (stereo sticker on a mono jacket))
Tommy James & The Shondells - Crimson & Clover (Roulette cat. SR-42023 (stereo))
Kinks - Well Respected... (Marble Arch cat. MAL 612)
Classics IV - Spooky (Imperial Records cat.LP-12371 (stereo))
The Liverpool Scene - The Amazing Adventures of... (RCA cat LSP-4189 (stereo))
Manfred Mann - The Manfred Mann album (Ascot cat. AM 13015)
Monkees - Head (Colgems cat. COSO-5008 (stereo))
The Moody Blues - Go Now (London cat. PS 428 (stereo))
Paul Revere & The Raiders - Midnight Ride with... (Columbia cat. CL 2508)
The Rolling Stones - Around and Around (Decca cat. SLK 16 315-P (Germany red label)
Mitch Ryder and the Detroit Wheels - Take a Ride... (New Voice Records cat. New Voice 2000)
The Seeds - A Web of Sound (GNP Crescendo Records cat. GNP 2033 (stereo))
The Shocking Blue - s/t (Colossus Record Corp cat. CS-1000 (stereo))
Sly & The Family Stone - Dance To The Music (Epic cat. BN 26371 (stereo))
The Sonics - s/t (Etiquette cat. ETALB 027 (1984 Pacific Northwest Rock Collection Series)
Soul Survivors - When The Whistle Blows Anything Goes With The... (Crimson LP 502)
The Stooges - s/t (Elektra cat. EKS-74051 (stereo))
Them - Belfast Gypsies (Grand Prix cat. GP-9923)
Traffic - Mr. Fantasy (United Artists cat. UAS 6651 (stereo))
The Velvet Underground - s/t (MGM SE-4617 (stereo))
The Who - ...sings My Generation (Decca DL74664 (stereo))
Wilmer & The Dukes - s/t (Aphrodisiac cat. APH 6001 (stereo))
Yardbirds - Greatest Hits (Epic cat. LN 24246)
Golden Hits - The Original Hits - Golden Instrumentals (Dot Records cat. DLP-25820 (stereo))
You Are What You Eat - OST (Columbia cat. OS 3240 (stereo))

Primitive Sound System and Bill Dolan - D.C.'s Tavern - Thursday June 7th - 10 - Closing

Hello Y'all,
About a month ago we returned from the Great North West. What I learned 10 years ago when we were last there is that I would not be disappointed with the crate diggin'. Some things I picked up along the way were things I have been looking for a long time. Others I have never heard of like Jack Brokensha's great "Pricilla." The beauty of all of it is that only one record broke the $20 mark and the majority of these were under $5 each. With a little knowledge and limited time I certainly was not disappointed. There are some great record shops out that way and honestly I can't wait to go back. Stops along the way like Voodoo Doughnuts, A Pizza Schoals and Salumi in Seattle made the travels quite delicious as well.

"You'll be a winnin' when we come a spinnin'!" (sung to the tune of Popeye if you will).

- pat.
Primitive Sound System

Bill Dolan and Pat. Longo spin 'em as they hear 'em
Thursday June 7th - 10 - Closing
D.C.'s Tavern
505 8th Street
Hoboken, New Jersey
PH; 201-792-5550
MySpaced - http://www.myspace.com/dcstavern

Arthur (Guitar Boogie) Smith and his Cracker-Jacks - Fingers On Fire e.p. - "Fingers on Fire," "Boomerang," "Banjo Boogie," and "Mountain Be Bop" (MGM cat. X1043)
Arthur Smith can certainly play guitar and boogie. "Fingers of Fire" comes on at first with a bit of a Hawaiian flare and then speeds into finger picking and some beautiful strumming. The Cracker-Jacks can stop on a dime and jump right back in with Arthur as he plays some of the most dynamic guitar you will ever hear. Mr. Smith can play anything with strings and at times it seems like he is playing all of them at once.

Dave Lewis - "Lip Service" b/w "Little Green Thing" (A&M Records cat. 735)
Nothing like a Garage Instrumental to make me smile from ear to ear. This one is recorded really well with lots of separation between the Organ, Guitar and Drums. The recording is very modern sounding. The pace is slow but not boring or plodding. There is a very committed feel to the playing like as if they mean to impress with their control and style. I am impressed. So much so that I immediately sought out another 45 by Mr. Lewis...

Dave Lewis - "David's Mood - Part 1 & 2" (A&M Records cat. 724)
This one is certainly made for a the party. The "chorus" is lyrical and I can picture people dancing, jumping up and down and falling all over the beer soaked floor. Something about this reminds me of the "Chicken Twist" but maybe it is just the ever looping groove. I am guessing I will be seeking out some more of Mr. Lewis' Garagey Stomps.

The Shades - "The Combination" with H. J. Harden b/w "Skip It" Instrumental (Joey Records Inc. cat. J-6206)
I am not sure what we are supposed to be skipping or if we are just supposed to be skipping. Doesn't matter. This is just plain and simply a party packed 2:30! Bass, Organ Drums and Guitar slam, bang, clang, bounce and oh yeah... SKIP around on top of and through each other. The song stops for breathers about every 15 seconds to allow our pounding man of the throne to give another introductory roll.

Jack Brokensha On Vibes - "Twistrist" b/w "Priscilla" (Contrast Recordings cat. CR 199 (D.J. Copy))
YIKES! "Twistrist" is one fast flying vibes and flute workout. I am not sure who needs to be in better shape our man with the bird calls or the mallet maniac. I think it is a toss up and neither of them is showing signs of fatigue. A nice throaty sax comes in and seems to chastise our vibesman but nothing is holding him back. Believe it or not this isn't even the good side! But out of the two titles which would you have listened to first? It's called "Twistrist." From the name the B-side of this gem should be a ballad and especially after the manic run we just had. That may be what they thought they were doing. Funky out front drums lead us off here; no breaks, just good solid drumming. "Priscilla" is definitely in a Funky Soundtrack mode with some slightly corny flourishes but nothing to throw your interest. A good example is the ever so brief, weirdly classical woodwind run in one of the breaks. Towards the end our woodwind creatures return as the drums are still hitting and it sounds pretty damn cool.

Cash MC Call - "When You Wake Up" b/w "You Ain't Too Cool" Instrumental (Thomas Records cat. 307)
I didn't expect this at all. What an amazing instrumental on the B-side on this simple pedestrian Soul 7". There is almost a "Let's Go Baby (Where The Action)" is sounding intro. I mean it is real close but then the horns come in and the band settles back into a moody groove. Almost like a Cal Tjader Electric Lounge cut. The horn is haunting and the drums go from a funky mode to a more Jazzy / Rock instrumental beat. They lift it up a points, teasing the listener with happy bursts but then slide right back into the moody smoke filled room.

Shadows Of Knight - "Shake" b/w "From Way Out To Way Under" (TEAM cat. TM 520 (A Product of Katsentz-Katz Assoc., Inc.))
Here is easily one of my favorite records of all time. I have had this on a comp forever and finally decided to find the 45. It was pretty damn easy to find and cheap too. Everyone should own one! Yes, I want to sample the intro and loop it over and over; it gives me chills EVERY TIME! This is one of those grooves that dares you to sit still. And yes, if you are curious there is cow bell. Nothing sophisticated, nothing complex just raw Dancing in the Garage and breaking shit while you do it. The B-side is an odd instrumental that doesn't really go any where but does have some nice fuzzy guitar.

The Kingsmen - "Get Out My Life Woman" b/w "Since You Been Gone" (Wand cat. WND 1174 (promo))
I hope this works playing this out. I think it is UNBEATABLE! But sadly it sounds like Iggy pop recorded this during his TV Eye Live sessions. The worst part about it is it seems like the audience sounds throughout are canned. Let's see we have one of the rawest versions of one of the greatest songs ever written so let's muck it up with canned audience sounds. it is SO canned that it fades in and out and at the end it drops in much louder than throughout for one second. Hmm, stop me if I am wrong but did I just possibly describe the greatest record of all time?! The "Get Out My Life Woman" break is there and happens many times throughout but is far more simple than the traditional one.

Etta James & Sugar Pie DsSanto - "In The Basement - Part 1 & 2" (Cadet cat. 5539)
This was one on top of my list for a long time. I got this so cheap and I couldn't be any happier. This would be an amazing instrumental which is maybe why it hits so hard. Sharp playing with a sax solo over a groove that could make zombies get up and dance. But it is the stellar vocals tossed back and forth that make this one of the true must haves. There is a very live room sound to the recording adding to the party feel. We don't have a basement but from what I can tell I need to get one real soon.

Effie Smith - "Harper Valley P.T.A. Gossip" b/w "The Natural" (Eee Cee Records cat. EC 100)
I have only heard some of the older music of Effie Smith so you can imagine my surprise when I dropped the needle on this track and she is backed by some Funky Bass, Guitar, Drums and Organ. The band seems to be playing live as Effie Raps her way through some trash talk about her neighbors. If this is one day's worth of gossip in Ms. Smith's neighborhood someone should go there with a camera. The track is raw and Effie seems to be able go on without ever taking a breath. Something about this cut sounded really familiar but I don't think I never knew it was Effie Smith.

Maurice Rodgers - "Coo-Coo-Ca-Choo (The Love Bird Song)" b/w "Coming In Out Of The Rain" (Double Shot Records cat. #143)
I can't stop playing this. I heard it in March on the wonderful Downtown Soulville program selected by the one and only Mr. Fine Wine (Fridays 7pm - 8pm on WFMU 91.1 fm 90.1 fm - http://wfmu.org/playlists/SV) and I couldn't imagine living without it. I found one pretty quickly and it is in perfect shape. The drums are just fucking killer and there is the most bizarre keyboard sound darting in and out. Mr. Fine Wine tells me that Mr. Rodgers (Did you think I could resist?) has re-invented himself a few times through out the years and is currently singing the Blues. On this track he almost sounds like he is going to cry. A beautiful, emotion filled performance. The band seems to be on the smaller side with Organ (possibly Bass, but it could be the Organ), the crazy Electric Piano, Drums and little else. It really is hard to make out much more but the song does not lack in any way and actually this stripped down sound is what I find so appealing. The Organ and Piano duel it out in the break with the organ grooving it up and the piano getting morose. I can't say I had ever heard this before March but who cares I have one now. Thank you Mr. Fine Wine.

The Magnificent Freedom - "F*ck Off And Leave Me Alone" b/w "Leave My Beats Alone" (Our Label cat. OUR-003)
OK. I love instrumentals. Nothing makes me happier. Most of the ones I listen to are from the 50's - the 70's but there have been some great ones in the past 20 years as well. Many of them come out of the New Funk scene which is more like a sound since the bands are most definitely not from similar surroundings. This nasty as hell, pounding track comes from the UK. The 45 is apparently very limited and came out under the tasteful ear of Keb Darge. The band is tight and can play forcefully without losing their way. The Drumming is steady, the Bass is heavy and when the Sax comes in screaming, twisting and burning it sends chills up my spine. The breaks are Drum filled but not necessarily the kind you sample. There is almost a "Spaghetti Head" feel to the breaks with spare Bass and Guitar.

Russian Circles - "Upper Ninety" b/w Re-Enter (Suicide Squeeze Records cat. S-058 (multi colored vinyl))
Instrumental music has come in many sounds. in the late 80's Chicago was home to many a talented vocal-less bands. Recently two more bands come by way of the Windy City, never say a word and are anything but silent. I heard of Pelican first and have been obsessed ever since. In a constant search for bands willing to impress and entertain with composition, musicianship and imagination rather than simple sentiments and nauseating Indie Rock fodder we stumbled across Russian Circles. From what I can tell these guys can do no wrong. Trio and all powerful. Bass, Guitar and Drums. Dynamics are very important when playing Rock based instrumentals and unfortunately some bands us it as a crutch. Russian Circles can move from one emotion, sound, landscape, discussion, etc, to another with heavy handedness that throws your body against a wall or a soothing warm hug that can put your whole existence at ease. There can not be a weak link in an instrumental trio because if there is the music and concept fails. Russian Circles is constantly successful and consistently brilliant. A coin toss will decide which side I play and no, we are not worthy.

Ray Martin And His Orchestra - Comic Strip Favorites (RCA / Camden cat. CAS-2012 STEREO)
I had been searching this out for quite a while. Diggin' my way through the Great North West I unearthed a few of the allusive gems on my short list. I am not sure why but it appears that EVERYONE in 1966 wanted to cover the theme to Batman. I want to say Thank You! There is barely a bad version. I heard this particular version a very long time ago in Footlight Records (NYC RIP) and it was one of the reasons I started tracking other versions down. This copy was under $5 and in perfect shape. I brought this home and dropped the needle and let the first side play. "Batman" was as great as I remembered it. A very Garage version with almost sweet chorus throughout. The organ and sax keep things from becoming too precious and the drums are big and echoey. Letting the side play out we suffered the "Little Orphan Annie" theme (but only once) and jumped to the fantastic "It's Superman" which is even more revved than the "Batman" theme and includes so very uninspired voice overs. Once again the chorus Drums and Organ keep everything hyped. Look. Up in the sky. It's a Bird, it's a plane, it's "Flash! there Goes Gordon!" That's right kids 3 great tracks and a whole nutter side to go! "Flash" is truly amazing with our chorus repeating the title over a pause in the groove that includes sirens and muted trumpet. Vocaleze and horns all over pounding Drums, jangly Guitar and Organ. My favorite is when they try to say GORDON GORDON GORDON over and over toward the end. Lift it on the William Tell Overture (The Lone Ranger) and gallop over to side two for a crazy guitar filled romp inspired by Tarzan. It's says this is the "Theme of Tarzan" but if it is I really missed something when I saw the movie. Slip passed Tom Mix and sneak up on "Richard Tracy, Esq. (Call Me Dick)." A weird mix of Lounge, Garage Rock and just plain odd combine for a real winner. The band ponds out a steady groove until the ladies sweetly repeat "Richard Tracy, Esq." only to be gently told... "Call me Dick." popeye and Alley Oop make a great attempt but they pale in comparison to Dick.

and many many more along for a spin...

45's:
Boots Brown and his Blockbusters - "Block Buster" b/w "Shortn'in Bread" (RCA Victor cat. 47-5110)
The Chartbusters - "Why (Doncha Be My Girl)" b/w "Stop The Music" (Mutual Record Co. cat. MUT-508 (in a Mutual Records paper sleeve))
The Rascals - "See" b/w "Away Away" (Atlantic cat. 45-2634)
The Raspberries - "Every Way I can" (Capitol cat. 3546)
Nat Kendrick and the Swans - "(Do The) MAshed Potatoes)" Part 1 & 2 Vocal: "King" Coleman (Dade Records cat. 1804)
Roy Head And The Traits - "Treat Her Right" (Back Beat cat. 546)
New York Dolls - "Dance Like A Monkey" b/w "Beauty School" (Roadrunner Records cat.10167 (pink vinyl promo))
Benny Latimore - "Let's Move And Groove Together" b/w "It's Just a Matter Of Time" (Dade cat. 54-2015)
The Gaylads "Popeye - The Sailor" b/w "Ah So" (Audan Records cat. 120)
Josie & The Pussycats - "Josie (Main Theme)" b/w " "With Every Beat of My Heart" (Capitol Records Creative Products cat. CP-59 (Record 2))
Hank Marr - "Down In The Bottom" b/w "Soup Spoon" (King cat. 45-6167)
Dave "Baby" Cortez - "Hot Cakes" 1st Serving b/w 2nd Serving (Chess cat. 1850)
Gene Chandler - "Soul Hootenanny" PT. 1 & 2 (Constellation Records cat. C-63-141)
Carl Spencer - "One Last Kiss" b/w "The Duck Walk" (Wren cat. W-306)
Leo Valentine Trio - "Behind The Out House" b/w Kitchen Sink" (Camelia Records of Richness cat. 45-100)
Jamo Thomas & His Party Brothers Orchestra - "I Spy (For The FBI)" b/w "Snake Hip Mama" (Thomas Records cat. 303)
The Larks - "The Jerk" (Money Records cat. 106)
Sam The Sham and The Pharaohs - "Ring Dang Doo" b/w "Don't Try It" (MGM cat. K 13397)
Helena Ferguson - "My Terms" (Compass cat. CO-7009)
The Bamboos - "Get In The Scene" featuring Ohmega Watts b/w "Get In The Scene" Instrumental (Tru-Thoughts cat. TRU7124)
Black Hawk feat. Soul Investigators - "I Got The Number" Instrumental (Number Nine Records cat. NNR-007 (promo copy))
Rev Cleatus presents The Fantastics - "Cheeba's Couch" b/w "Chicken Lickin' - Live" (Raw Wax cat. RW 45006

LP's:
Dyke & The Blazers - We Got More Soul (The Ultimate Broadway Funk) (BGP cat. BGP2 180)
El Mexicao - El Funk Pesado Y Rock EP ((BOOTLEG) cat. LSD 003)
The Impressions - Keep On Pushing (ABC - Paramount cat. ABC 493)
...at home with Ernie and Bert (Children's Television Workshop / Sesame Street cat. CTW 22089)
Fire On The Strings - Great Country & Western Instrumentals (Starday / RCA Victor Record Club Exclusive cat. SYS 0127(e))
Classics IV - Spooky (Imperial Records cat. LP-12371)
Barbara Lewis - The Many Grooves Of Barbara Lewis (Enterprise Records cat. ENS 1006)
Footsteps On The Moon (The Epic Journey of Apollo 11 july 17 to July 24, 1969 (Command / ABC Records cat. 948)
Sonny Terry & Brownie McGhee - Sonny & Brownie (A&M cat. SP 4379)
if - s/t (Capitol cat. ST-539)
The Turtles Present The Battle of the Bands (White Whale cat. WWS 7118)

"The New Funk... The Brand New Funk - Part One" - Pat. James Longo a.k.a Primitive Sound System

Written for Raw Wax Records (UK) magazine The Vault

Somewhere around 1991 or so I met Phillip Lehman while he was trying to convince Robert Cohen (the owner of Finyl Vinyl in NYC) to carry his compilation, "PURE!" Phillip's knowledge of Soul and Funk was beyond impressive and he had the collection to back it up. After a while his compilations plus the Break Downs, Vinyl Dogs and The Sound of Funk series on Goldmine became checklists for me. I had been collecting Funk / Soul and Jazz since the mid-80's but who knew that so many small batches had been brewed up in every corner of the States. A few years passed and he began to record his own bands trying to pass them off as original artists, claiming them as unreleased sessions recorded in the late 60's early 70's. He once told me he never thought anyone would take the music seriously if they saw him first and then listened to his music. He needed to get his message to the people and then bring them to his house. Well, fake names aside and despite their belief that they actually sounded as good as the JB's, these guys weren't half bad. There was something really appealing about them playing out live and they began playing regularly at the Lounge at CBGB's. I had already been going to Giant Step events and to see current Acid Jazz and Soul Jazz shows (including seeing Neil Sugarman at Windows on The World before he and Phillip met). Weirdly the raw and unpolished sound the Desco crew (Phillip's newly formed label) were putting down was far more appealing than anything I heard prior in the unchartered terrain of new funky sounds. Acid Jazz was becoming exclusively a slick affair so someone needed to crawl back into the cave.

I started buying singles by bands not part of the Desco / Soul Fire stable. To this day releases come out fast and furious and it's getting harder to keep up. Impressively, the quality is going up with each new release from labels like Tru-Thoughts, Tramp, Freestyle, Raw Wax, etc... Bands like The Calypso King and The Soul Investigators seem truly unstoppable and are by far and away the most creative of the genre. Their Keep Reachin' Up LP is nothing short of brilliant and has a maturity associated with the house bands of say Stax or Muscle Shoals. Creatively, look no further than the amazing Didier's Sound Spectrum LP on Lifesaver. Didier is the multi instrumentalist and house producer of the prolific Timmion Records (based in Finland) for whom The Soul Investigators record. The Didier LP is an experimental outing that holds a groove and never seems forced. Similar releases have come out of Chicago from Directions in Music (Bundy K. Brown), Tortoise, Isotope 217, Euphone, 5ive Style, Denison / Kimball Trio, etc... Want to talk about perfection then check out the Little Barrie LP, "We are The Little Barrie." Think Tony Joe White, Faces, Rolling Stones, Jon Spencer Blues Explosion (and the obvious influences that come with that comparison), even early G. Love and The Special Sauce, and a heaping bucket of pure Funk all simmered slowly to create their own incredible sound. After almost five years The Bamboos form Australia have FINALLY released an LP. Their debut 7" "Eel Oil" has been in constant rotation since its release in 2001. Luckily for those who do not have the 7" it is included on the LP; UNFORTUNATELY for me I feel I am owed two more songs... I'm waiting, no hurry just send them to me when you are done. The point to all this is that I realized something very important to this record collecting thang. My passion for Punk came from many sources but the one that now seems most important is the fact that the music was current. Produced, written, performed distributed by people like myself. Buying the records and going to the shows meant we were sharing the experience. So, being able to find new Funk and Soul records had the same excitement to me as those early Punk obsessed days. Picking through the multitude of releases and bands to find the ones that really touch my soul keeps it all interesting. Here are 12 new Funk records that are all must haves and unlike a rare, $100 record most of these are still currently available.

In NO particular order:

1.) The Other Side - "(Don't Look Back) Behind The Shack" (Desco cat. DS-LP-001)
When Phillip Lehman gave me the final mix / promo cassette of this the band was listed as The Funky Pack. Wow, that is a horrible name. Luckily the music on the tape and subsequently the released LP was so great it could have been called anything. In retrospect, it is apparent where many of the later New Funk releases faltered; they assumed as long as you have the beat right (or break beat) the rest of the song doesn't matter. The Other Side LP is complete with arranged compositions, soulful grooves, inspired soloing and stellar musicianship. The LP flies by leaving the listener wanting more. Gimme some mo'!

cont...

The Other Side - "Diggin' In The Yard" (Desco cat. DS-1003)
The Other Side was one of Phillip Lehman's first forays into the world of New Funk. Phillip was so set on making people believe these tracks were old unknown or unreleased tracks that he would out and out lie in every conversation we had to the point where it became comical. Like all musicians, Philip was proud of his drumming and every now and again would slip and say so. I don't believe this is Lehman on drums on the Other Side only because they seem far more polished than his style. The Other Side The JB's with early Kool and The Gang and comes out sounding pretty tasty and unique. "Diggin' In The Yard" sounds just as good today as it did when I first heard it sometime in the 90's. Pumping organ, smooth bass, ensemble horn lines, steady drumming and a wonderful trombone solo keep this cut just diggin' in any yard.

2.) Ravi Harris And The Prophets - "Path Of The Blazing Sarong" (Gemini Records cat. 13005)
When Phillip first brought these into Finyl Vinyl he really tried to convince us that these were old. There was something about the sound that just didn't sound old to me and then I noticed that the United Pressing number was not that far off from the one recently issued to my bands 7". Phillip was bummed that we figured him out. One day he brought a few boxes by and I helped him dirty up the covers by stepping on them and rubbing them on the disgusting carpet of Finyl Vinyl. Perception is everything and people believed these were old store stock. The sound here is very simple and tastefully done. Combine equal parts James Brown, Ananda Shankar and Sound Library music and you get one hell of a Lounge Funk record. Years later when I worked for Grooovy Sounds Unlimited (of "Grooovy Sounds Unlimited and Mr. Fine Wine Presents Vital Organs: Volume One" fame) this got a whole lotta spins at our weekly "Air India" party where it shared the tables with the aforementioned Mr. Shankar, Asha Puthli, Ravi Shankar, Dave Pike, R. D. Burman, etc, etc...

3.) Sugarman Three - "Funky So-And-So" (Daptone Records cat. DAP-1003)
Not wanting to seem too anxious Mr. Sugarman waited until Daptone's 3rd release to strut his stuff; Daptone was of course his new venture with former Desco partner Gabe Roth and this was their second attempt at getting everything James Brown...DOWN. The Sugarman Three are hugely talented and would sound amazing playing nursery rhymes. Here they go for a bit more Southern feel in the guitar and organ while the drums pump as if the life of the band depended on it. A slightly New Orleans groove is especially noticeable on the breaks. As would be suspected Mr. Sugarman grabs a grooved solo before the drums get one more break on the fade.

4.) Calypso King and the Soul Investigators - "C'mon Boot-It" (Jive cat. ????)
This mid-tempo stormer, comes out of Finland. Calypso King? OK, if you say say. What this really is, is hard as nails funk and it is played so beautifully it should be included on any list of top Funk 45's regardless of recording date. "C'mon Boot-It" opens with a deep plucking guitar that is anchored by solid drumming from start to finish. The organ takes a very note heavy, rolling solo that double times the rest of the instruments but some how never disrupts the pace. This was only the second outing for the Soul IG's and it was obvious that these guys were destined for greatness. Like the Other Side, The Soul Investigators seemed less worried with trying to imitate the James Brown sound as much as it was just one of many, many influences. Since this release the Soul Investigators have put out one great song after another.

5.) The Whitefield Brothers - "In The Raw" (Soul Fire Records cat. SF-018)
OK, most people would disagree with me but The Whitefield Brothers are better than Poets Of Rhythm. No contest. The Poets can be a little too slick for my liking and that too often "wimps" up their groove. The Whitefield Brothers on the other hand brought to Soul Fire what Phillip Lehman had always been searching for; raw, slamming heartfelt late 60's Soul/Funk. "In The Raw" starts as if the band needs to be wound up before being able to play. The song is bloody red raw with a tight small group sound made up of guitar, drums, organ and congas. The organ solo is one of the few "old" sounding organ parts on any of the New Funk records. How they got this amazing sound is beyond me but I am very grateful they did. This is so heavy and so big that I picture The Flintstones pounding the hell out of massive, oversized instruments made of stones and fallen trees and grinning ear to ear. This ranks in the top 5 of my favorite New Funk records and probably ranks pretty high against the forefathers as well. Slow, tight, dirty and mean. (The LP by the same name is just as great.)

Poets Bonus Beat...
The New Process - "Freedom" b/w "Bus People Theme" (Tramp Records cat. TRI 1001)
Originally recorded in 1993 but not released until 2003 this slamming little slice of funkiness best anything I have ever heard from The Poets Of Rhythm. Maybe it's the raw tin can sounding drums or the over modulated bass but whatever it is, it's raw and I like it. Both sides are hard and genuine.

6.) The Bamboo's - "Eel Oil" (Bamboo Shack cat. BR-001)
There are few records I try not to play. I am terrified something will happen to this and then I'll have to replace it which could prove to be very difficult and possibly very expensive. At one point in every band's career they hope to write that one song that both defines them as well as stands the test of time. Imagine doing that on your first release and better yet they apparently had NO IDEA when they recorded this how good it was. Talented and humble. I have no idea what the uses are for "Eel Oil" but I do know it burns very hot. A break heavy intro leads off this affair and is soon joined by guitar and organ. The instruments communicate with what seems to be a secret language that keeps things flowing and heavy. Each player gets a moment in the spotlight including an inspired guitar solo that sounds straight out of Memphis. The organ buzzes along with the drums in a very Meters fueled sound but one that never imitates. This is one of the Modern classics that can fool the ear of even the most seasoned connoisseur de funk. Schooled by the land down under.

7.) Breakestra - "Getcho Soul Togetha" (Stones Throw cat. STH7002)
The Breakestra have a very tough sound that puts much of the emphasis on the "break" half of their name. Breaks are something that that they take very seriously but they do specialize in fully fleshed out compositions which are punctuated with sharp horns, organ and very tasty guitar. More so than many of the modern Funk outfits this group knows how to Swing, Swang, Swung. The band has improved steadily over the years but that is not to say that their debut "Getcho Soul Togetha" has not remained one of my favorites. The intro sounds like it is shot from a cannon; the band wobbles its way to the first break (of which there are many) before the organ gets everyone in line and focuses the action. Guitar riffs capture the rhythm and lead the horns into the mix with bright bursts and lyrical passages. An extended break introduces the horns once again and the band falls back into the pocket. One thing is for sure, Breakestra came out of the gate a winner and have lead the pack ever since.

8.) Soul Snatchers - "Get Yourself Together" b/w "Sniffin & Snatchin" (Social Beats Modern Stereo Recordings cat. Social701)
Both sides of this thing are MONSTERS. Side One takes off at a pretty fast clip. Drums are off and in the pocket right from the start making everyone else's job that much easier. Our man on the throne rules with a steady beat so if you can't keep up get the fuck out. The horns go from deep soul lines to in sync ensemble horns reminiscent of a much bigger band. Bass and drums dog it out for king of the hill but the horns refuse to be left out. The whole thing is amazingly sharp and well rehearsed throughout. Side Two gets a bit more deep with a groove that would be right at home as the intro to an action film. The drums are way out front again and breaking like crazy. The other instruments seem fearful of tangling with them and choose to poke in and out of his devastating beat. WEIRDLY and what I think is a perfect choice... flute takes a go at it and although the drums never let up the effect is really tasty. The next challenger is the organ who can definitely hold his own against the beat but the man at the throne is relentless. Great work all around and a great two-sider if there ever was.

9.) Speedometer - "At The Speakeasy" (Freestyle Records cat. FSR7004)
Speedometer have quite a lot of releases under their belt spread across many different labels. Any one of those releases could have been listed here including an amazing 10" released on Kennel Klub. "At The Speakeasy" is a very deceiving title. I expected something a bit Jazzy and even mellow Loungey. Oh, how wrong I was. "At The Speakeasy" slams open with an interplay between the band and the guitar which is eventually used as the theme throughout the song. After the brief opening the doors are thrown open to reveal quite a party going on. Drums push along the horns in a tight groove complimenting the steady bass and powerful organ as the percussion holds everything together. They revisit the theme very soon to remind us where it all began and suddenly we are off again. No complaints here because not only are we treated to a great sax solo but a quick interplay between drums and congas gives the whole thing an extended feel before a partial stating of the theme.

10.) The New Master Sounds - "Better Of Dead" (Cooker Records NMS7002)
That electric sitar thingy is one cool sounding instrument. Here The New Master Sounds make great use of it over a very funky backing. The coolest thing about this track is that they don't seem concerned to make the track sound even the slightest bit Eastern. They are using the electric sitar as the lead throughout most of the track and it makes quite a racket. Only during the fiery organ solo does it take the back seat but does pop in at the very end just enough to remind us of the the bizarre trip we just took. I wish I had purchased every New Master Sounds record but money and timing can some times be a bitch.

11.) The Baker Brothers - "All Baked Out" (Peddler cat. PDLR001)
Damn I can't get enough of The Baker Brothers. Adding Modern/Acid Jazz touches to their 70's funk sound has them standing just left of center of the other progenitors of late 60's early 70's funk. "All Baked Out" is no exception. The Brothers push snapping drums, stylish guitar and searing sax to the limit on this mid tempo head bobber. The recording quality on The Baker Brothers material is a real pleasure. Talented mothers if there ever was.

12.) Clarence Foster and the Internal Revenue Service - "Fry Chicken In Your Hot Pants" b/w "Dunk It Down Chocolate Thunder" (Freestyle cat. FSR7014)
Damn fast drumming leads off the oddly titled "Fry Chicken In Your Hot Pants" and never lets up for one moment except to break the hell out of the groove. Each instrument tries to subdue the slamming beast but none are able to tame this manic player even for a moment. The bass tries to throw a blanket of warm tones over our man but he aint having it. The whole thing cuts off quite abruptly most likely to let our man on the throne catch his breath. I have played this three times in a single night... no one ever complains. "Dunk It Down Chocolate Thunder" pays homage to one of my favorite athletes of all time. Sixers center, the one and only, Darryl Dawkins. Our manic drummer is back out front again but this time he lets the others play along with his heavy ass, raw drumming. The recording has a very 60's quality to it with separation between instruments and a raw live feel and sound. "Dunk" is raw and funky with scratch guitar, bass and an odd sounding keyboard mixing it up and throwing it down. There is not much variety in the groove on this side but again... no one is complaining.

Bussey, Tuschen, Kantor, and Longo Trio - D.C.'s Tavern - Thursday March 8th

Hello Y'all,
This Thursday D.C.'s Tavern will host a night of Jazz. Brian Kantor busts out of the wood shed and dusts off his chops for a swinging good time. Kantor can usually be found behind the kit with the incredible Higgins (http://www.myspace.com/higgins) where his chops are equally matched with his creativity and meet at the center of Rock and Pop for your listening pleasure.

Defining Jazz is one of the reasons some people never even make it to listening to Jazz. What the hell is and isn't Jazz? What is worse is music that claims to be Jazz doesn't even have to fit into any of the little categories that make up Jazz... which may then make it more Jazz than most. Confused? Don't be. Regardless of definition there is pretty much a sub-genre of Jazz to satisfy any soul or tastes. Mr. Kantor and his extended Trio will play their way through a few styles and genres including Hard Bop and Soul Jazz but who knows where that may lead them or how they will bring it all to an end.

Bussey, Tuschen, Kantor, and Longo Trio

Joe Bussey (bass)
Ty Tuschen (guitar)
Brian Kantor (drums)
Pat. James Longo a.k.a. Primitive Sound System (dusty Jazz 45's and LP's)

D.C's Tavern Night of Jazz
Thursday, March 8th, 2007 9PM - Closing
Admission is FREE
Address and info
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
and of course see 'em on http://www.MySpace.com/dcstavern

Some Jass:

Jimmy Smith - Root Down - Jimmy Smith Live! (Verve cat. V6-8806)
No explanation.

Gary Bartz Ntu Troop - "Drinking Song" from Harlem Bush Music (Taifa) (Milestone cat. MSP 9031)
"The music of both volumes of Harlem Bush Music (Taifa and Uhuru) is humbly dedicated, respectively, to the memories of Malcolm X and John Coltrane." - Gary Bartz.
The combination of Gary Bartz and Andy Bey is nothing short of perfection. Bartz swings, grooves, screeches and whales sometimes as if possessed by his own instrument and Bey's voice seems to be pushed out of his body by a spiritual force that he channels. The sound of Bey's voice is produced by his entire body, being and existence. Similarly the Ntu Toop is a small unit that produces quite a complex and powerful noise. "Drinking Song" is a great example of this collective as an explosive force that can also tighten up and get Funky. Bey's voice is as much an instrument as Juni Booth's thunderous bass, Bartz's crazed sax and a rhythm section that should back every group. Bettis' congas accent every drum roll Harold White tosses his way making them sound like a single percussionist with multiple arms. I hope the words of "Drinking Song" are not true because I am writing this as I sip my wine from my Elmer Fudd glass. No, I do not own "Un Mansion and Un Yacht."

Leon Thomas - "Shape Your Mind To Die" from Blues And The Soulful Truth (Flying Dutchman cat. FD 10155)
"Shape Your Mind To Die" opens with spooky piano and the rest of the musicians soon follow suit filling in the dark corners with sax, vitar, percussion and piano. Leon Thomas's voice is the very definition of Jazz, it combines Blues, Gospel, Soul and Jazz styles and twists them to produce a unique quality and one that is extremely original. He laughs, cackles, yodels and soon comes right back at you with a soulful whisper that is round and warm. John Blair takes a solo on the Vitar that is so good it makes you almost forget that this is one of those instruments that reminds us of the Keytar. Moody.

Archie Shepp - "Back Back" from Kwanza (ABC / Impulse cat. AS-9262)
I remember the first time I dropped the needle on Side A of this I pulled it to check and see if it was the right record. Bizarrely the cut has a weird Batman groove to it but hell that is never a bad thing for me. Spinning Organ and pounding drums throughout allow Shepp, Jimmy Owens, Grachon Moncur III, James Spaulding and Charles Davis to toss off lines with each other as if forgetting the world of Free Improvisation for a moment and just kick out the jams for a while. Then again when you have Bernard "Pretty" Purdie behind the kit what else are you going to do?!

Clifford Coulter - Do it now! Worry About It Later (ABC Records / impulse! (University Of Fine Recordings) cat. AS-9216)
So when I bought this I had no idea what the hell expect. All I knew was the cover had a picture of a man kicking a cop for writing him a ticket and after 3 short scenes our hero(?) ends up in the chair. The song titles include a track called "Yodelin' In The Whatchamaname Thang." And the band is a pretty great combination of players most of which I recognized. To this day I still have NO idea what to think or how to categorize this LP but it remains a favorite and a frequent visitor to my turntable. The music combines all things Soulful with all things Jazz and comes out the other side sounding (no surprise here) like Soul-Jazz. As Thursday approaches I still don't know what cut I will play. Let's all be surprised together.

Paul Jackson - Black Octopus (East World / Toshiba-EMI Limited cat. EWLF-98006)
Obsessions are sometimes a wonderful thing. Oddly I am not a completeist when it comes to many artists. When I first started picking up LP's by Herbie Hancock I felt myself leaning toward obsession very quickly. The great thing about obsession when collecting music is that it leads to related musicians, influences, side dates, etc. I was no stranger to Paul Jackson and his music but had no idea of this LP's existence until Aldo at A-1 dropped the needle on "Tip-Toe Thru The Ghetto" one night just before he was closing up. The store was pretty empty and the speakers were LOUD. That drum beat hooked me immediately. Needless to say moments after looking at it, seeing the lineup and then spotting "Funk Times Three" FINALLY listed on an LP I dug deep into my pocket and handed over fistfuls of cash. I have no idea what I paid him as this was easily 10 years ago if not more but what ever it was it was worth it.

Roland Kirk - "Hip Chops" from Gifts & Messages (Mercury Records cat. MG 20939 (white label promo))
This song aint 'bout nuthin' but HIP CHOPS! Manzello, flute and sax punctuate the soulful roll of Hip Chops. Tambourine helps keep it all together but like all of Kirk's work it was never about to come apart. He lets the arrangement fall apart just to show you how easily he can bring all back around. There is also one of my favorite drum parts at the end albeit brief but it always catches my ear because it follows the bright piano line and Kirk's restatement of the theme. Beaten brushes! Roland Kirk was sent here from another world. A world where sight was not important only soul and creativity proved your worth. Who has the hippest chops n the world? Let's just say Kirk is leading the race.

Bill Dolan and Primitive Sound System - D.C.'s Tavern Thursday March 1st from 9PM to Closing

Hello Y'all,
February is past and we march into Spring from here. Of course this means I can be found standing behind the bar at D.C.'s spinning some tasty little slabs of wax while Bill recoups from his dirty set by dancing shirtless and balancing his beer. Sex and Rock-N-Roll at its best. C'mon it's a bar for god's sake; two out of three ain't bad. I certainly have some new stuff in me bag-o-tricks since me day of birth has recently passed and I can't wait to give 'em a test spin and see how they handle.

- pat.

Bill Dolan and Pat. Longo Spin-in' a New Month
Thursday March 1st
From 9PM to Closing
D.C.'s Tavern
505 8th Street
Hoboken, New Jersey
201-792-5550
http://www.myspace.com/dcstavern

Here's a sampling:
Gate Wesley & Band (Vocals: Billy LaMont) - "(Zap! Pow!) Do The Batman" (Atlantic cat. 45-2319)
There doesn't seem any end to my obsession with Batman songs and it is really amazing to me the number of songs based on or from The Batman series that are nothing short of spectacular. This one is particular great and has a weird 50's meets 70's Funk feel to it. Squonky horns, twangy yet sharp guitar and jet sounds thump, bump and clang under LaMont's gravely voice. He sounds a bit like a drunk on a corner screaming at people as they go by but somehow it is perfect for the groove. I'll take 10 more just like this please.

Dyke & The Blazers - "Black Boy" b/w "Let a Woman Be a Woman Let A Man Be A Man"
Both versions here are unreleased. Of course the B-side is one of Dyke's greatest moments on wax but this is a more raw, slightly slower version with a longer break section than the classic original. If "Let A Woman..." wasn't already one of my favorite tracks of all time this can certainly push it to number one. From the first second I heard Dyke & The Blazers I was immediately hooked by their insanely tight tracks and Dyke's raspy, beautiful voice all recorded in what sounds as first takes. There is nothing more beautiful to me in music and art than when something is perfectly flawed.

The Spooks - "The Spook Walk" from "Vampires, Cowboys, Spacemen & Spooks - the very best of Joe Meek's instrumentals"
So you get a little obsessed with the occult and eventually it consumes you and you kill yourself and your undeserving land-lady. You would think this act alone would overshadow ANYthing you did when you were one a little less OUT OF YOUR FUCKING MIND, BUT Joe Meek leaves behind some of the greatest music I have ever heard. On this amazing ep There are three issued tracks and one unreleased one. "The Spook Walk" is a creepy, mid-tempo, guitar headed soundtrack with an eerie organ that sounds very Lurch. The guitar gets most of the spotlight and deservedly so as it has a round full sound with an almost vocal quality.

The Shadows of Knight - "Oh Yeah' b/w "Light Bulb Blues" (Dunwich cat. 45-122)
I can't decide which side to drop on this little gem. "Oh Yeah" is almost comical in its I can give a crap attitude and sparse arrangement. The more I think about it, it takes balls to do this and walk out of the studio saying, Yeah that is done, we nailed it. Pretty classic. But, "Light Bulb Blues" is pretty wild. Far more revved up and inspired. Fuzzed guitar, a pounding beat and desperate vocals make for quite a trip.

"Big" John Patton - "Ain't That Peculiar" b/w "Amanda" (Blue Note cat. 45-1926)
Hmmm. I can't decide on this one either. "Amanda" is the far more Jazzy side but is more close to a Soul Instrumental than Jazz with a steady beat, groovy guitar and Patton's screaming organ throughout. "Ain't That Peculiar" is more of a Mod dancer. It starts out with the guitar giving a pretty straight read of the tune but soon busts wide open to a pounding, party, floor stomp that I find myself air drumming to every time I listen. It closes out with the guitar giving another read of the theme and fades to give us a moment to catch our breath.

Stolen Moments on Sunday...

Hello Y'all,
Tomorrow is me burfday and I am doing a short set at Stolen Moments the Jazz-esque event hosted by $mall ¢hange and DJ Sims at 5PM. I'll be running through 50's instrumentals, Jazz of all kinds and leaning heavy on the Latin. Seems like space is limited so I am only passing this along to a few fine folks. I hope some of you can make it.

- pat.

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You are invited to attend this private event.


Stolen Moments returns.


Sunday, February 25
5 - 11 pm


At Chateau Oh No!

50 Bridge Street, #610
at the corner of Water Street
DUMBO, NY 11201 (if you are MapQuesting)
or F train to York

(Just take the F train to York (be at the back of the train if you are Brooklyn-bound). Exit station. Walk down the hill on Jay Street. At Front Street (the 2nd block) make a right. Walk one block to Bridge Street, and make a left. Walk one block, cross River Street, and #50 will be right there on your left.)


Six DJs Downstairs:

5 Stylus
6 Nappy G
7 G-Funk
8 Emskee
9 Small change
10 Geo Leche

Six DJs Upstairs:

5 Pat. James Longo aka Primitive Sound System
6 Phast Phreddie & Phast Nancy
7 Sims
8 Lionsound
9 Moosaka
10 Danny Spaceboy

Also check out Go Further In; an interactive lily pad tunnel installation by Adrienne, visual and performing artist (www.myspace.com/blipsqueak). And Visualist Peter Kirn (peterkirn.com, createdigitalmotion.com) will be remixing Breakfast at Tiffany's live, on the spot, along with other cinematic eye candy and a live camera.

Please byob, dress spiffy, and come to have fun!


James Dier aka $mall ¢hange
http://djsmallchange.com

Primitive Sound System Spinning 78's and Swapping Wax - Fri. Feb. 24th & Sat. Feb. 25th

Hello Y'all,
Two big nights this weekend to tell you about. First up is Friday February 24th for the Soul Station Party at 58 Gallery in Jersey City. Aside from Hammond B grooves pumped from an actual B and its conjoined twin the Leslie; my Brother Michael and I will be spinning 78's and nothing but. We spent the better part of Saturday night going through some 2-300 78's in preparation and I gotta say I was extremely impressed with what we have and truth be told he has a massive collection at this point. The 78's breath new life into listening to music. Big, full sound that wraps you in the recording studio's atmosphere with clarity you have never known if you have never experienced the grooves deep in that shellac. Take that you MP3 listening lemmings! "I can fit 10 million songs I my iPod. So what that it isn't the best fidelity" Ehh, go on! One Big Joe Turner 78 is enough sound for a lifetime. "What's the matter the groove to big fo' ya?!"

Second up is our quarterly bin flip at DC's Tavern. Saturday February 25th is the next installment of the DC's Tavern Record Swap. We have got these on a pretty regular schedule at this point (though May's date is still a bit flexible) and I know there are folks who truly look forward to the day. If all works out we'll have several DJ's including Greg Tormo, Mr. Fine Wine, Joe Belock, Peter Gunn and myself. I know there is someone I missed so I apologize. Please come by regardless if you have anything to buy sell or trade... heck there is always alcohol and smokes.

- pat.
Primitive Sound System
FULL DETAILS: http://www.primitivesoundsystem.org

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DETAILS:

February 24th 9PM
Soul Station Party
On Friday February 24th my brother Michael and I will be kick'n it way Ol' Skool! That's right bitches we're breaking out... the 78's! Dun' get all up'n my grill 'cause... 78's are very delicate. They're shellac dammit. This is a dream gig if there ever was, we'll be spinning 78's in between Jazz Organ sets on Matt Barton's 78RPM DJ Coffin.

Bryan Beninghove & The B3 Explosion are having another Soul Station Party at 58 Gallery and they are dragging a real Hammond B3 along for the ride. It doesn't get any better than this. The details are below or visit the gallery site for directions - http://www.fifty8.com/About/about.html
Joe Kapp plays a vintage Hammond B-3 w/ Geoff Clapp & Gene Segal
The Longo Brothers spin rare 78's on a modded up DJ coffin with a tube amp!

58 Gallery
58 Coles St, Jersey City, New Jersey - $10 at the door

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February 25th around 2PM (or so) until closing
DC's Tavern Saturday Record Swap
At DC's Tavern we look for reasons to stay out of the light with plenty of alcohol, good music and the pleasant company of friends... at least until they have had one too many. The swaps are one of the few days we shut down Michael's iPod (the jukebox) and cover the pool table but of course this is for the noblest cause of all... the amicable exchange of vinyl recordings (styrene or shellac is also allowed). Bring a box to sell or trade. Bring a friend. Bring money for alcohol. Remember, if you're drinking don't drive, if you're driving don't drink and always tip your bartenders. (Jersey still smokes... for now, I think.)
Fun for girls and boys!
Music and money will be exchanging hands from 1:30PM-8PM. DJs spinnin' an unholy mix from decades past and present, taps pournin' beer to help you rationalize your purchases. Come for the music come for the beer but come often.

[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.]

DC's Tavern
505 8th Street, Hoboken, New Jersey
PH: 201-792-5550 - Operators are standing by!
http://www.myspace.com/dcstavern

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Some junk in the trunk...
Sadly all my 78's are in a different storage area so I wouldn't do the justice with long distance descriptions but here are some titles I am bringing along:
Charlie Parker - "Carving the Bird"
Slim and Slam - "Flat Foot Floogie"
Louis Jordan - "Caldonia" and "Boogie Woogie Blue Plate"
Ike Quebec - "Hard Track"
Milt Jackson - "Bag's Groove"

All I know is I have a box and my brother has two! You gotta be there when I whip out my big 10 inch... record of a band that plays the blues. You aint nothin' if you aint makin' the scene Daddy-O!

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Record Swap spins:

2 new finds join the set...
J.J. Jackson - "I Dig Girls" Calla Records cat. C-125)
I heard this song long ago and for some reason never figured out who it was and always forgot to ask the right person at the right time. When I would remember to look into it I would always come up with Booby Rydell, and no offense to Mr. Rydell I knew that is not what I was looking for. Oddly a very current piece of technology gave me the answer. While torturing Pandora ( http://www.pandora.com/ ) with diverse genres and obscure artists to see what it would play I some how formulated the right question for the right person (?). Starting off with a Dragnet Groove, the organ and drums try to keep up with Mr. Jackson's throaty, gravelly style. Simple lyrics about all kinds of "girls" are pushed around the floor by the aforementioned drums and organ and not to be outdone the horn section has a secret weapon in the sax section. He slowly builds with some traditional honking style but when given his moment he takes it and wails with the rest of them. I wonder what else Pandora has in her box?

Boogaloo Joe Jones - "Right On!" (Prestige cat. 45-733)
I can never get enough of Soul Jazz / Funk Jazz. I have a longer version of "Right On!" on a comp but never found a clean enough copy of the LP to drop the money for it. In the long run I'll stick with this fine little record since, hard as I try, I can't sit through Jazz interpretations of Pop songs and this era of Prestige and Blue Note are full of them. One of the ways I have kept a limit on my collection (HAHAHA, no really...) is that when it comes to LP's if I can't listen through them from start to finish out they go. Unfortunately in the world of Jazz this happens a lot. I digress. Nice echoey drum starts off this cut followed immediately by guitar and bass. The horns jump in to state the theme and off Mr. Jones goes soulfully and skillfully tossing off lick after lick without ever losing the groove. His extended solo reminds me of Bill Mason's insane organ solo on Rusty Bryant's "Fire Eater." It all comes to a head but not before the bass gives you a little taste of what is to follow on the full length version that is.

Hank Marr - "No Rough Stuff" (Federal cat. 45-12538)
Hank Marr was one of the featured artists on the James Brown LP "Jump Around with James Brown and other great artists." I had the LP for a very long time before finding a copy of this 45 and we have been friends for a very long time now and it is still a favorite. Organ and drums jump up right from the start on "No Rough Stuff" followed quickly by the horns. I am a sucker for screaming sax and organ solos and this 2:41 tune is jam packed with both. There is a Spy Theme feel to the chorus that pushes this one into Top Ten status for me. Smoking!

Hank Jacobs - "Monkey Hips and Rice" (Sue Records Inc. cat. 45-795)
Animals and food all in one title, how the hell can you go wrong?! Piano and organ all in one song... holy shit I think I am going to explode. This little number bounces along in a total party mode. Hand claps and hoots punctuate this unchanging garagey jam. Bouncing, jumping and skipping are all welcome. (The other side ("So Far Away") is a moody instrumental that I love as well.)

Betty Wright - "Shoorah! Shoorah! (Alston cat. 3711)
I first really took notice of this song on Mr. Fine Wine's show on WFMU - ( http://wfmu.org/playlists/sv ). Then I discovered it made my lady dance and I had to have my very own copy. I have since burned through about 4 copies. Penned by Allen Toussaint and driven by an undeniable New Orleans groove (me), Shoorah! Shoorah! is filled with shouted choruses and hand claps that give this medium tempo tune a party feel hard to pull off at such a pace. The lyrics are a game of cat and mouse which I think anyone would be lucky to play with Ms. Wright.

"King" Coleman - "Loo-key Doo-key" Pt. 2 (Dade Records cat. Record No. 1807)
"Ha Ha Ha Ha Ha... IS YOU READY?! King Coleman sounds like he would be a blast to hang out with. From what I know he was a DJ and a recording "personality." What a great life. As nutty as part one is, it is tame compared to his mood on part two. Much to Coleman's delight the sax gets to go off on part two which prompts him to exclaim that he can do the Loo-key Doo-key all day. Classic.

Andre Williams - "Humpin' , Bumpin' and Thumping" (Checker cat. 1187)
If there ever was a title that warrants the, " 'nuff said" description more I can't think of it. Call me crazy but does Andre really ask at the intro, "Does anyone gotta raw egg?" The drums are heavy and out front and punctuated by gritty organ lines. The sax solo is weirdly Coaster-esque but all in all this song is down right raw, dirty and funky all over.

Something old, something new, something found on the internet...
The Victims - "Head" (Golden Disc Records cat. GDR 1002)
Here's one of those incredible stories for you. A good friend of mine was extremely surprised to find out that is estranged father was a one off member of The Misfits. He joined the band for a brief time in 1978 for the Canadian leg of the tour plus a stop in Detroit. My friend had, for all intensive purposes, never met his Dad. Pop skipped when he was not even two and apparently there was a reunion, albeit brief, when he was five. Searching some info on The Misfits he stumbles upon a timeline and there it is; 1978 Rick Reily replaces...etc, etc. The rest really didn't matter. His fucking dad was a member of The Misfits! The Misfits, one of Punk Rocks most legendary bands and one that any kid getting into Punk / Hardcore is required to hear. Turns out Rick Reily was the leader of another legendary band of sorts; The Victims. A true Punk band from the late 70's. The Victims have the dubious honor of being the only non-Misfits act to record for Danzig's Plan 9 Records. And speaking of dubious, their LP came out after their day in the sun (1979) but includes from what I can tell the original (and FAR superior version) of "Real Wild Child" a song later slaughtered for commercial purpose by Iggy Pop and worse yet the remake of Josie and the Pussycats. "Real Wild Child" is the "A" of this 45 but "Head" (previously known as "I Want Head" for the Plan 9 release) shows the band's true Punk ethic. "Head" starts off with a revved up KISS sound taken at double time but that is broken by the wailing 60's Garage harmonica and Arthur "Killer" Kane sounding vocals. The lyrics are perfectly stupid and the chorus is pounded into your brain until you embarrassing sing it publicly ("I WANT HEAD 'TIL I'M DEAD") while the band kicks the shit out of the bands you never heard of from this era and most of the ones you have. (Thanks to Vin Li of Generation Records for filling in the pieces).