Hello Y'all,
So I tried and tried and I can't come up with anything witty for April Fool's Day so screw it. One thing is for sure, Bill and I will be spinning our usual eclectic mix of Adult Contemporary, Classical Music and Show Tunes this Thursday April 1st at D.C.'s in Hoboken, New Jersey. We dig deep each month to bring the most inoffensive, light listening experience you can have in any bar or Lounge. As always Larry will have the aroma therapy candles burning and of course a big warm smile for each and every patron. We look forward to grooving easy with everyone so swing on by, relax to the mellow tunes and toss back some cocktails.
It feels like it has been forever since I have buried the needle in the groove and since January I have picked up a lot of pretty plastic. I wish there were many more hours in the day so I could write about my experiences with each and everyone of them and the lasting impressions they leave on me. Since time is limited I hope to get at least five of them down on paper. I do know this, the box is filled with some of the most varied sounds ever. This is going to be fun.
- pat.
Primitive Sound System
VINYL RULES!
"Audio Visual Triumphs and Disasters" - http://primitivesoundsystem.blogspot.com
Bill Dolan and Primitive Sound System - Thursday April 1st - 9PM to Closing
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
http://www.dcstavern.com
http://myspace.com/dcstavern
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The Mod Squad - "Charge" b/w "Mod Squad You All" (Tangerine Records cat. TRC-1004)
I love instrumentals, I have probably said that about a million times. Sometimes I stretch that to songs with a rap or talk over but when there is a full conversation happening - that's when things get weird. "The Charge" is apparently a dance the male lead is trying to coax a young lady into doing. Let's face it, men love to watch woman dance. And if you have a funky band cranking behind, you better give it a shot. He explains this is a dance they are doing back in his home town but she seems more interested in making him do it. He explains the moves and then proceeds to cut a rug. I assume like most woman she was hoping to get a bit of a chuckle from this but he displays his moves and she does seem mildly impressed. She then one ups him with a dance she knows ironically also called, "The Charge and Discharge." Oh yeah, this would be a good time to mention that despite the label reading, "The Charge," the dance is called "The Charge and Discharge." What? Was it too long of a name? C'mon. Her version aint country like his, her version is the way the city folk do it. He encourages and compliments her nicely in the hopes that she will stick around longer. Usually this is where our story would end and the woman dances off looking for someone she is more interested in but our lead has one more move up his sleeve or in his pants if you will, "Since ah... you got your thing... and I got my thing let's put 'em both together and see what happens." YES, our man seals the deal! And I have one amazing, funky 45 to spin. Just like "The Charge," "Mod Squad You All" sounds creepily like some other song. The guitar intro is played at about four times the tempo of the song that follows. The riff throws you at first but when the same riff closes the song it does a perfect job of announcing the end and book ending the song. The song being appropriated here is "Country Girl" by Johnny Otis. The Mod Squad do an incredible job making the theme their own. The drums, organ and congas are heavy as hell but the groove runs deep and you can certainly see bodies moving slow to this one.
Biggie Ratt - "We Don't Need No Music" b/w "Escape" (APT / ABC Records cat. 26001)
When we decided to go to California I hoped to stumble on some Apt Record releases. My holy grail from the label was "Escape" by Biggie Ratt. I was convinced there was no way I would unearth one but one can dream can't they. We spent our last nights in San Francisco and I set aside a day to go to The Groove Merchant and Rooky Ricardo's. Let's say that was a great idea and one that turned out to be extremely good for my collection. I went through each box of 45's at Groove Merchant and wished I had endlessly deep pockets. The store is on the small side but there is not one mediocre record in the entire place. This is one of the most thought out and cared for stores I have ever been. This is the West Coast compliment to Big City Records in NYC. This record was one of the first I came across in the first box I was going through. Of course I assumed there was something horribly wrong with it. it was in great shape and now it is mine. "Escape" has almost everything I could ever want in an instrumental. After a very "normal" drum and guitar intro things immediately take a left turn and get weird in the best of ways. The guitar sound flips back and forth between moments that are almost countryish to moments that could have been lifted from a DNA record. The beat is broken at times yet remains insanely funky with the drums and congas running along aside each other as if they were a team in a three legged race. They even drop out so dead on the same moment it would seem they aren't separate instruments or separate players at all. The track is brief (just 2:15), raw and makes me smile from ear to ear. "We Don't Need no Music" is equally as raw but far less unique than "Escape" but I can see getting a lot of play from both sides. "We Don't Need No Music," has shouted vocals over thudding bass, pounding, pounding, pounding drums and congas that should make you drop out of breath just from listening. Basically the lyrics are the title repeated over and over and happily there is some clapping as the whole thing fades. Thank you Chris (Groove Merchant) and thank you California, I will be back.
Untouchable Machine Shop - "Machine Shop (Part One) b/w "Machine Shop (Part Two) (Wavelength Records cat. 3890)
Another 7" from The Groove Merchant. This was one of the very first "rare" Funk 45's I ever heard. I had a nice collection of records and many of those remain my favorites to this day but I couldn't be more excited when I realized there were hundreds and hundreds of records I knew nothing about in the Funk genre. At the time I had no idea how deep this Funk 45 thing really went. Little did I know it was actually thousands and thousands of records from around the world. At the time there were only a few comps and the interweb certainly was not brimming with all the Blogs that are there now, YouTube or any other useful resources. There was funk45.com and a forum that I can't remember the name of but that quickly degraded into geeks threatening each other in the lamest way possible, on the internet. Every time I heard this record since that very first time it made me desire it more and more. I even went as far as getting two different comps just to get both sides of it - Phat Funk Volume 1 (Phat Grooves cat. PGLP-101) and Funky Jams III (Hubbub records cat. HUBLP4). Machine Shop sounds as if The Nite-Liters, Kool & The Gang, The Pharaohs / Earth Wind & Fire and The Counts came together for one inspired day in the studio. Over the top of a perfect rolling groove are shouts and laughs from the band. The horns blare in unison as if cheering on the moment but when things get pared down to the basics they immediately get tough, raw and funky. Drums, congas, beautiful fingered bass and aggressive wah-wah style guitar come together in a classic funky sound. Your head is sure to be bobbing from start to finish.
The Philharmonic - "Jesus Country" b/w "Billy Tell Overture" (Silverhill cat. SH-301)
Records do not get more bizarre than this. The first side is a HORRIBLE Christian Rock song. You can picture their arms in the air as they repeat over and over, "Singing for Jesus!" ...and over and over. It is so bad that even the idea of what was possibly lurking beneath almost went unnoticed. It is so bad even the kicking little break toward the end with the cool conga accompaniment doesn't make me want to go back ever again. Side two is "The William Tell Overture" renamed and performed by a corny ass looking band. On the picture sleeve there is a photo of the band standing in a field proudly holding up their instruments... including the drummer?! This can't be good. The seven words that begin the liner notes certainly did not instill confidence that anything worth listening to was etched in the grooves, "One of the leading "Jesus People" bands..." UGH! But, as I dropped the needle on side two I was truly surprised. After the typical "Willie Tell" intro, played like a bad cartoon theme, the band lays deep into the groove and unearths something about the song that is hidden to most of us. By far this is not the greatest instrumental I own. Moments are bizarre as I mentioned earlier, moments are totally rocking, parts are even damn funky and others are as corny as the band in the photo. And yet I have listened to this about a thousand times. I did search for some info and one of the few mentions I found was that The Funky & Groovy Music Records Lexicon was looking for one. This is certainly not a cut for everyone and I am sure "The Hunter" may threaten me, and demand I raise the needle but as persistent as this version is I will be determined to play it through. Believe it or not skipping the annoying intro changes the atmosphere completely so that is exactly what I will be doing. HI-HO-SILVER!
Gino Washington - "Gino Is A Coward" b/w "Puppet On A String" (Ric - Tic cat. RT - 100)
NA-NA-NA-NA-NA-NA! This is a Soul Stomper if there ever was but WOW, what a brave self examination Gino goes through and the exposure of his most personal thoughts he shares on this disc. The title is no joke, poor Gino explains how difficult it is for him when it comes to love. Not just with the one he loves but the whole damn concept. He admits he would ride the back of a dinosaur, he is one brave mother, but not when it comes to those four scary letters... L-O-V-E. The band is pounding away in their Garage meets R&B style that gets the blood going and makes me want to jump up and down and flail myself around the room. The backing for my favorite Gino Washington songs sound like they were recorded in one take. Not that they are flawed but just the opposite, they have a live immediacy to them that makes every beat and note exciting. There is an all to brief guitar solo that is just bursting to go on but I am quite happy it cuts short before it meanders. As soon as the solo ends Gino returns to remind us of his in his inadequacies. Damn. This track has balls, musically, lyrically and for the title alone. This was one of the many essential records that I picked up at Rooky Ricado's in San Francisco. I almost passed it up because I have such a thing about condition. It's not NM- or VG+ which is what I look for when I am out digging. This is VG and worth every gently scratched second of it. Rooky Ricardo's was one of the coolest record stores I have been to and the owner and his card buddies were entertaining as they were knowledgeable. I even got two of his amazing CD mixes ("Working Your Mojo" and Down Home -N- Horny") which I can't stop listening to. I can't wait to get back there.
Della Reese - "It Was a Very Good Year" b/w "Solitary Woman" (ABC Records cat. 45-1084)
I was digging with a friend and I was sampling through some later Della Reese 45s. One was nice and soulful with some funky moments. I mentioned it to my friend and he said, "Yeah, that's OK but have you ever heard her version of "It Was A Very Good Year?"" Sadly, I had not. I immediately started looking for a copy and figured out what label it came out on, what year it came out, etc, etc. Then I searched YouTube and was floored by the sound. This is mining a similar territory as Nina Simone's version of the Ike & Tina track, "Funkier Than A Mosquitoes Tweeter" does. The drum is aggressive and funky, there is swirling organ, a throaty horn and Ms. Reese speaks each line bringing attention to every word. She works the phrasing so that her words spill in between each beat, emphasizing the negative space as well as letting each beat be heard. She is confident and her sense of humor comes through as mocks her own words as the age of the subject in the song increases. I was so into this version that bought the live LP that it also appears on, Della Reese - "One More Time." The LP is a soulful and sometimes funky Lounge record recorded at the Playboy Club in LA with her then band; Bobby Bryant (trumpet), Herman Riley (tenor), Haley Caliman (tenor), Henry Cain (organ) and Carl Lott on drums. It may be safe to assume this is the same band on the studio version found on the single. It is definitely safe to assume that I will be playing this a whole lot.
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SOME MORE GREAT RECENT FINDS:
Personal and the Pizzas - "Search and Destroy" "I Don't Wanna Be No Personal Pizza" "I Don't Feel So Happy Now No More" "I Can Read" (GOOC Entertainment 001)
Pissed Jeans - "Don't Need Smoke to Make Myself Disappear" b/w "Love Clown" (S>U>B P
Shannon and the Clams - "Hunk Hunt" (Weird Hug Records cat. WHR-003)
Gloria Walker - "Papa's Got The Wagon" b/w "My Precious Love" (people cat. 45-2504)
Bo Diddley - "500 Percent More Man" b/w "Let The Kids Dance" (Checker cat. 1123)
Alvin Robinson - "Searchin'" b/w "Something You Got" (Tiger Records cat. TI 104)
Junior Parker - "If You Don't Love Me" b/w Same (Duke cat. 364 (Promotional Record / Not For Sale))
The Big Beats - "Big Boy" b/w "Clark's Expedition" (Columbia cat. 4-41072 (Promotion Record / not For Sale))
Tony Joe White - "Voodoo Village" b/w "The Daddy" (Warner Bros. Records cat. 7468)
Dick Hyman - "the man from O.R.G.A.N." ep (Command Records cat. SE 80SD)
Dick Hyman and "The Group" - "In The Heat Of The Neat" b/w "Respect" (Command cat. RS 45-4114)
Dick Hyman - "Green Onions" b/w "Aquarius" (Command cat. 45-4129)
Richard Groove Holmes - "Don't Mess With Me" b/w " Theme From Love Story" (Blue Note cat. SBN 1967)
Jimmy McGriff - "Bump De Bump" b/w "Turn Blue" (Sue Records cat. 45-128)
Hash Brown With The Milestone Singers - "Dear Andy" b/w "Stringy Mash Potatoes" (Philips cat. 40061 (For Broadcast Only / Not For Sale))
Julia Lee's "Party Time" ep (Capitol Records cat. EBF 228)
Dap Sugar Willie - "Big Jim" Mono & Stereo (Philadelphia International Records cat. ZS8 3598 (Demonstration not For Sale))
Hudson & Landry - "The Soul Bowl" b/w "Frontier Christmas (Harlowe & the Mrs)" (Dore cat. 880)
The Trends - "Chug-A-Lug" b/w "The Beard" (RCA Victor cat. 47-7733 (Hugo & Luigi Production))
The Saints & Sinners - "Ooh-Poo-Pah-Doo" b/w "Mercy, Mercy" (Moon Records cat. SS 401 (Recorded Live at Glen Island Casino New Rochelle, NY))
Odell Tukker & The Tukkered Outs - "The Drunker I Sit Here" b/w "Honky Tonk Women" (Hala cat. HALA-1017)
The Ice Man's Band - Come Together" and "Ain't Understanding Mellow" b/w "It's Down To That" and "People Make The World Go Round (That's What Makes The World Go Round)" Stereo Edited Version (Mecury cat. MEPL-22 (Promotional Copy / Not For Sale))
Ronnie Hawkins - "Bo Diddley" Mono Short Version b/w "Bo Diddley" Stereo Short Version (Monument cat. ZS7 8573 (Radio Station Copy / Not For Sale))
Crowbar - "Oh What A Feeling" Long Version b/w "Oh What A Feeling" Short Version (Paramount cat. PAA-0078 (Promotional Copy / Not For Sale))
Charles Bevel - "Porcupine Meat" b/w "Sally B. White" (A&M cat. 1501 (Promotional Copy - Not For Sale))
Chimo - "In The Sea" Mono b/w Stereo (Epic cat. 5-10770 (Radio Station Copy))
Buster Brown - "Raise A Ruckus Tonight" b/w "Gonna Love My Baby" (Fire Records cat. RECORD NO. 516)
Jesse Gee - "Don't Mess With My Money" b/w "Baby, I Need You" (Barry BRY 1019)
Bob Kennedy - "I Might As Well Marry A Monkey" b/w "I Told You I'd Get You, Didn't I" (Roulette cat. R-7155 (DJ Copy / Not For Sale))
Wilmer & The Dukes - "Heavy Time" b/w "I'm Free" (Aphrodisiac cat. SME 261)
101 Strings - Million Seller Hits of 1969 (Alshire cat. S-5185)
Living Guitars - Music From The Pink Panther and Other Hits (Rca / Camden cat. CAS 827)
