Monthly Archives: October 2007

Willie Bobo – Bobo! Do That Thing

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Bobo! Do That Thing 45

Wille Bobo – Bobo! Do That Thing from the Tico 45

After a few days off I’m feeling a little more relaxed. I’ve been sitting on this side for a little bit, and even though I had a Halloween side lined up, I figured since I couldn’t turn up too much about it as of yet, I’d hit you with some Latin Soul. It was only after I posted this that I noticed that Scholar over at Souled On Music had a Willie Bobo side. Go check that out, as well as some really nice treats he’s offering. Scholar knows what’s up in the record game, and always offers up some great sides and guest commentary as well. Speaking of that, DJ Prime has reached out and would like to contribute a little something to FMF in the future, so you may see a post or two by him. I’ve definitely been into the Latin Soul for a while, and when I picked up a copy of the Juicy reissue on CD a while ago on Verve Records, I was always on the hunt for some Willie Bobo. Let’s check out “Bobo! Do That Thing!” on Tico Records.

Born William Correa in Spanish Harlem, this timbale and conga player began his foray in Latin music at age 14. Starting off his music career playing with greats such as Mongo Santamaria, Perez Prado, and then 4 years with Tito Puente, Bobo (earning his nickname from Jazz pianist Mary Lou Henderson) was well on his way at age 19. He went on to part of George Shearing’s band, and later on a member of Cal Tjader’s Modern Mambo Quintet (said to be the best lineup Tjader had in his career). He would reunite once again with Santamaria (a member of MMQ with Tjader) with Sabroso! on the Fantasy label in 1960, and also record the classic Afro Blue. He eventually stepped into the spotlight as a band leader in 1963. He’d enlist class A players such as Joe Farrell and Clark Terry to be on board. Bobo would go on to release Do That Thing/Guajira on Tico, and on Let’s Go Bobo on Roulette. He was an integral part (as was Santomaria) in Tjader’s Jazz classic Soul Sauce on Verve. This would start a relationship with Verve that would last for 7 records. Not only was Bobo known as a bandleader, he was well known as a sideman as well, playing with guys like Herbie Hancock, Herbie Mann, Chico Hamilton, Miles Davis, Cannonball Adderly, Sonny Stitt , Carlos Santana and others. Willie Bobo would record a much sought after record for Sussex Do What You Want To Do with the Bogents, which contained the single “Broasted or Fried” (never released properly on a 7″). The side has been reissued by Now-Again here. After leaving Los Angeles, he would contribute musically to Bill Cosby’s TV show Cos, and would succumb to cancer in 1983 at age 49. His music does live on. His records have been reissued, and his son Eric Bobo (Cypress Hill) has teamed up with Super Producer Mario Caldato Jr. to release many tracks of his father’s that have not seen the light of day. Stay tuned to Stones Throw for that.

“Bobo! Do That Thing” showcases the many facets of Willie Bobo: as bandleader, singer, and conguera. Mixing his classic Latin Jazz style with some upbeat, Funky Soul, he croons and plays his way through this side. While his conga playing is a bit overshadowed by his yelling and carrying on in the track, this side features a bit of the old shing-a-ling style that for me, really makes it worth it. This side may not be as strong as a “Juicy”, or his take on “Knock on Wood” from the aforementioned Verve release, but it’s a winner in it’s own right. Bobo may have been taken from us too early, but thanks to his son, there is still a lot of Bobo to go around in the years to come. Keep Diggin’!

Johnny Hammond – Shifting Gears

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Johnny Hammond

Shifting Gears 45

Johnny Hammond – Shifting Gears from the Milestone 45

It’s another start of the week, and I thought I’d share one of my favorite sides. It took me a while to finally dig it up in the field, but I was finally glad I did. Today’s post is going to be a bit on the short side, as I took a few days off to relax. Not to worry, I’ve got podcast #17 in the can, and it will be ready shortly. This tune is featured on it, as well as a bunch of other dusty gems, and a special Latin side I’ve been saving. Also, I’ve added all the mixes I’ve done so far to the tool bar on the right. There are 16 mixes for your downloading pleasure, all for free. Please enjoy! Let’s jump into “Shifting Gears” by Johnny Hammond on Milestone Records.

John Robert Smith was born in Louisville, Kentucky in 1933. Taking up the piano as a child, he eventually switched to the organ after moving to Cleveland, OH and hearing Wild Bill Davis. The official switch was in 1958, where he would accompany vocalist (and newcomer) Nancy Wilson. By 1959, he was a band leader and signed to the Prestige label, where he would remain until 1970. During that time, he recorded many records, most notably Soul Talk, Black, Coffee, That Good Feeling, and Black Feeling! among others. In 1970, however, as he got funkier and funkier on the Hammond B-3 (where his nickname comes from), he switched to Creed Taylor’s CTI Records, where he released the classic Breakout, plus 4 other full lengths that are funky as hell. His version of “Rock Steady” (that was on my last mix) is a keeper as well. He then hooked up with the Mizell Brothers for a stretch, and during that time released Gears on Milestone, where this side can be found on. The man really earned his nickname because he was a master of the B-3. His straight ahead Jazz stuff from the 60′s is fantastic, but for me as he got funkier, he got better. He would continue to release music, but eventually retire from Jazz all together in the late 1970′s. He taught at Cal Poly Pomona College in the 80′s, and reignited his spark in the early 90′s for recording. He would go on to die of cancer in 1997.

What is there not to say about this record? It’s a classic, one of my favorites of all time. From the beginning bass line to the upbeat fadeout at the end, I can’t get enough of it. If you’re not familiar, this record was picked up by the Acid Jazz set and brought back to life. It’s a tune B-Boys from all over the world get down to. Even DJ Z-Trip named his record after this particular side (whether it’s 100% the reason, we’ll have to ask him…so Z, inquiring minds want to know). It’s a monster, and I dare anyone not to be able to keep the floor filled with this thing on your turntable. It’s infectious organ groove won’t be able to keep you in your seat. If JB had ants in his pants, the Johnny Hammond had fire, because this record (some 30+ years later) is still H-O-T. This side comes highly recommended by FMF, and although it’s not a rare side and easily accessible, it’s a fantastic record. Good music is good music, and this fits the bill. Keep Diggin’!

The Peppers – Pinch of Salt

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The Peppers

Pinch of Salt 45

The Peppers – Pinch of Salt from the Event 45

Here we are on Friday, and I had a few choices for today, but this one won out. Now don’t get me wrong, they’re all winners, this particular side just won out earlier than the others. Before I get into this treat to start your weekend off, I want to give a shout out to Maceo, Lafayette, Raymus and Mannases, the 4 Brothers Beats. These cats have been generating a lot of hits for me, and I want to say thanks. So check these guys out, they have a lot of knowledge in the record game. Tell ‘em Flea Market Funk sent you. Also Truth and Soul Records started a blog, it looks pretty cool so far, swing on over and check them out. Everyone knows I’m a sucker for the Hammond already, and I’m not going to turn away a good Moog on any day either. This next record has lots of it, and we’re going to have to travel over to France and check out this French trio. This record is on the Polydor distributed Event Records Inc. label from 1973. Check out The Peppers with “Pinch of Salt”.

When I first checked out this side, it was in a lot of records I hauled in one Saturday morning. I was familiar with the label, grabbing some Fatback Band 45s when ever they became available. This looked interesting, and it could have really turned out to be a tepid turd, however, it definitely did not. Compared a bit to the band Hot Butter, (You remember “Popcorn”, and you know you loved it), the Peppers were definitely more on the funkier side, and could have definitely found their way on some sort of Blaxploitation film soundtrack had the need arisen, despite an early electronic sound. The band originally started out doing music for TV commercials. Producer Roger Tokarz, who believed that the band had some commercial potential, held back some of their studio creations from their then corporate client. These tunes would become the basis of their full length release entitled Pepper Box. Musicians Mat Camison (Keyboards), Pierre-Alain Dahan (Drums), and Tonio Rubio (Bass) made up this funky Moog dominated band. This guys when not playing in a band named after vegetables, were off making library records. You know the kind, the ones you can’t find at the local thrift or Salvation Army, but the ones you’ll pay two month’s rent for. They recorded this record at Bagatelle Studios, and I’m wondering if the French duo Air may have borrowed a bit from the Peppers. Their Premiers Symptomes is a great record that compiles B-Sides and other funky electronica from the band’s career, who may have been influenced a bit by these guys, among others. The Bagatelle Studios was home to the publishers of Serge Gainsbourg, and some how I suppose the dreamy sound from one of the best known French grandfathers of electronic sounds might have snuck in there as well. What I do know is that there is an organ that you will dig, as well as a nice groove to make the kids move throughout. It may sound a bit on the Euro Pop side, but remember these cats were making music for TV commercials and library records, so this is par for the course. They were definitely no slouches, this side is a Funk filled groover. Enjoy an organ filled funky ride from the Peppers. Keep Diggin’!

Clifford Curry – Soul Ranger

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Clifford Curry

Soul Ranger 45

Clifford Curry – Soul Ranger on SSS International

Well here we are at Wednesday already, and I’m hoping you guys were digging the latest podcast. I was digging on a lot of those sides, and today I’m going to take one of those sides and talk a little about it. Before I do, I’d like to give another shout out to Allen over at Soul Spectrum, and to Memo who’s pointed me in the right direction for a Sound Burger. Devil Dick has aroused some interest in his Soul Invaders quest, getting an e mail from one of the original band members about the record. It’s really cool when a family member (or the real musician) contacts you about their music. I’ve got some shout outs from families of Wilbert Harrison, Linda Jones, and Jay Walking label owner Robert Fulton. Most people are happy we’re keeping this music alive. That’s why it’s so important to have audio blogs like this one and the ones linked in my blogroll, this music needs to be preserved! That being said, let’s jump into this little slice of Soul on SSS International Records by Clifford Curry, “Soul Ranger”.

We’re gonna take a trip to Knoxville, Tennessee and take a look at this veteran of Soul music and his long career that is still relevant today. Starting out in the late 50′s, while he was in high school, he joined The Echoes, who were later renamed The Five Pennies. They released “My Heart Trembles” and “Mr. Moon” on Savoy Records, and eventually disbanded and went their seperate ways. Royalty disputes led to other bands being formed, ( the Four Pennies and the Bingos) , and being renamed ( The Hollyhocks) , but those royalty and money problems would not go away. Curry was a journeyman Soul singer, who bounced from label to label, group to group, and persona to persona, but he perservered and kept close to his roots and Soul music in general. He recorded with the Bubba Suggs Band, The Contenders, The Fabulous Six, and as a solo artist as Sweet Clifford, Clifford Sweet, ( not always by choice) and Clifford Curry. The theory of try until you succeed would definitely prove to be true for Curry. He had some level of success on labels like Savoy, Elf, Excello, SSS, Caprice, Abbott, Ridgecrest (as small as it was), Blue Sky, Nasco, CC, Woodshed and later on in his career, Buddah. His highest degree of success was with Knoxville DJ Rob Galbraith, where he contributed his writing skills to the side. This selection on Shelby S. Singleton’s SSS International label is a pretty strong offering as well.

The fact that the record was on blue vinyl made it catch my eye, but the SSS International label always has some great sides, so really this record was a no brainer for me to pick up. Clifford Curry is a true Soul veteran. His voice carries out on this side, and he does prove that he is indeed a Soul Ranger, moving from town to town, group to group, and stage name to stage name, spreading the word of Soul to everyone. He’s mending broken hearts, giving that shoulder to cry on, and this is only in the lyrics. The killer bass line and horn section reinforce the fact that this side is a definite Soul banger. So if he’s the Soul Ranger, he’s definitely a super hero for Soul. This man has sacrificed lots to get where he is today. He may not have topped the charts, but he made an honest living, preaching the Gospel of Soul throughout the United States, one song at a time. Keep Diggin’!

Move On Up – FMF Podcast Vol. 16

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FMF Vol 16

Download or Listen to Move On Up – Flea Market Funk Pocast Vol. 16

I don’t know about any of you out there, but I love vinyl. I love the smell of it, I love the feel of it, and I definitely love the sound of it. Freshly dug up vinyl has this certain musty, stale smell to it. The feeling I get after a dig and have the records in my hand and that smell starts to waft up out of my record bag, man I know that I’ve had a great day when that happens. The feel of each record, whether it’s an acetate, vinyl or styrene (each with their unique characteristics and feel) I can dig. It could be cracked a little (or a lot in the case of the Brother Jack McDuff “Electric Surfboard” I got this past weekend) and still play or even the sheer weight of 180g repressing, I like them all. Then there is the sound. Pops, clicks, a small amount of surface noise, I don’t care. You don’t get that sound anywhere else, and that’s why I will never stop buying vinyl. That being said, let’s talk about this latest mix.

It’s Monday, and that means only one thing, the start of another week. After a great weekend of digging ( Good looks on some of the suggestions Andy!) and some recovery time on Sunday, I bring you the latest podcast here at Flea Market Funk: Move On Up – FMF Vol. 16. I’ve been stockpiling 45s and couldn’t take it any more, I had to get these sides into a mix. I was able to sample a spoken word record I picked up over the weekend and a few sides I got at the last record show, plus a few I have actually reviewed in the last month or so. I still have not forgot about the Hip Hop Mix that I talked about earlier, I’m thinking of dropping that on my 100,000 visit, which will be coming up shortly.

So, wherever you are this Monday, start your week off and Move on Up like Curtis Mayfield with some Raw Soul and Deep Funk courtesy of Flea Market Funk.

Here’s the track list:

Little Razor & the Swingmasters – Razor Blade/ Tri Us
Dennis Coffey – Getting It On ’75/ Sussex
Senor Soul – It’s Your Thing/ Whiz
The Dynatones – The Fife Piper/ HBR
Truman Thomas – Mr. Soul/ Veep
Cal Tjader – Solar Heat/ Skye
Bobo Mr. Soul – H.L.I.C/ Ovide
Brother Soul – Feelin’ Funky/ ElmCor
The Family – Family Affair/ North Bay
Elijah & The Ebonies – Hot Grits/ Capsoul
Gus “The Groove” Lewis – Let The Groove Move You/ Tous Sea
Brother Jack McDuff – Black Is!/ Cadet
Johnny Hammond – Rock Steady/ Kudu
Clifford Curry – Soul Ranger/ SSS International
The San Remo Golden Strings – I’m Satisfied/ Ric Tic
Let’s Groove Together – Our Ladies of Soul/ Kelton

Keep Diggin’!

Cold Chillin’ Saturday Diggin’

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Cold Chillin Scores

I took a week off at the Spot last week, but this week you know I had to get back into it. I had a friend with me today, fellow digger DJ Andy Smith. Andy and I have been talking back and forth the last few years, and I told him when he came into town, if he had time I’d take him to the Spot. I wasn’t sure it was going to work out because of his hectic schedule, but fortunately he had some free time and we were able to hit a few key spots today (the man took a 6am train from NYC to get here, that’s a dedicated digger people). The vinyl Gods smiled upon both of us as we hit a load of Cold Chillin’ 7″ promos straight away, and it only got better from there. We were both able to score some good sides, and Andy got a taste of American Flea Market characters. I was a bit disappointed that Stinky Steve was absent, because everyone has to experience that man, just once. There are enough characters to go around though, and the guy who has a cat on a leash had a huge stash of mostly unsleeved 45s that we got a chance to go to town on. We were fortunate because it’s his last trip up here from Baltimore until next season, so I was glad to have caught him before he flew South for the Winter with his cat and trailer full of memorabilia in tow.

Andy is a seasoned digger with great record knowledge, and known for his genre crossing Document Series Mixes, plus the load of other genre specific mixes that are just fantastic. Check out some of his mixes you can download for free here. There were a few of the usual suspects about, and for once, it was someone else that got the question of “What is that?” By that, I am referring to Andy’s Sound Burger portable record player that no one ever sees over here due to it’s hefty price. People really amaze me with their stupid questions, I mean seriously, we both have headphones on, and there is a pile of records next to us, as well as one spinning on the platters. Could it be any more obvious? I guess not. At any rate, if anyone has a lead on a Sound Burger (or Mr. Disk as they were called here in the States) that’s in great shape (new in the box would be cool), and that will not break my bank account, feel free to contact me. I’ve been looking for one. At one time Ice Cube said it was a good day, and today that song would fit : the weather was great, the Spot wasn’t too crowded, and there were definitely records to be had. Be sure to check out DJ Andy Smith coming to a venue in your town in the future, and make sure you ask him to play some Cold Chillin’ stuff. Here’s a list of the records I got for those who are keeping score:

45s:

Three Dog Night – I Can Hear You Calling/ Dunhill ABC
Biz Markie – Vapors/ Biz Goin’ Off/ Cold Chillin’
Roxanne Shante – Go On Girl/ Cold Chillin’
Tyrone Brunson – The Smurf/ Believe In a Dream
The Hammond Chord Organ/ ZCTV
Diana Ross & the Supremes – He’s My Sunny Boy/ Motown
Philip Upchurch Combo – You Can’t Sit Down/ Boyd Records Inc.
Mable John – Your Good Thing/ Stax
Heatwave – Super Soul Sister/ Epic
Shirley Brown – Yes Sir Brother/ Truth
Edwin Starr – Back Street/ Ric-Tic
The Intruders – Up and Down the Ladder/ Gamble
The Temptations – I Can’t Get Next To You/ Gordy
Miami featuring Robert Moore/ Party Freak/ Drive
The Main Ingredient – Magic Shoes/ RCA
First Choice – Gonna Keep On Lovin Him/ Philly Groove
Ella Andall – Hello Africa/ Shorty
Pride – Come On Get Dancing/ Disco Record Co.
Donald Byrd – Dominoes/ Blue Note
Timmy Thomas – Cold Cold People/ Glades
Ike Turner – Right On/ United Artists
Tyrone Davis – I Had All the Time/ Dakar
Judy Clay & William Bell – Private Number/ Stax
The Persuaders – Thigh Spy/ ATCO
James Brown – Body Heat/ Polydor
King Floyd – Everybody Needs Somebody/ Chimneyville

LPs:

Shirley Bassey – Is Really Something/ United Artists
Cat Stevens – Iz It So/ A & M (what’s up DITC sample?) thanks Andy!
Tom Jones – The Fever Zone/ London
Paula & Carole – In the Magic Garden/ Cap
The Crown Heights Affair – Dreaming A Dream/De-Lite
The Definitive Jazz Scene Vol. 2/ Impulse!
Americans in Europe Vol. 1/ Impulse!
Thelonious Monk – The Unique/ Riverside (reissue)
Jackie McClean & Michael Carvin – Antiquity/ Steeple Chase
The Impressible Impulses – Impluse!
The Isley Brothers – Go For Your Guns/ T-Neck

Keep Diggin’!

**Check out the newest addition to the FMF Family, Allen over at Soul Spectrum. He’s got some great rare goodies to download as well as some other record related things you will find interesting. His specialty is Brasilian music, and I am really looking forward to checking out some of his posts. Welcome to the fam Allen, and I’m digging your blog already.

Leroy Hutson & the Free Spirit Symphony – Feel the Spirit (in ’76)

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Leroy Hudson and Curtis Mayfield

Feel the Spirit 45

Leroy Hutson & The Free Spirit Symphony – Feel the Spirit from the Curtom 45

Before I get started this Friday, I wanted to give a shout out to Terry Jones, the daughter of New Jersey’s “Queen of Soul”, who contacted me in regards to the review I did on her mother. You can check out her comments here. Ok, on with today’s selection.

It took me a long time to be proud of where I’m from. Every time I’d say I was from New Jersey, I’d get the third degree. There were always Guido jokes, “The Garbage State” nickname, and I distinctively remember an Irish bartender in San Fran being surprised because I wasn’t pushy. As I got older, I accepted my Jersey roots, the fact that we’re also nicknamed “The Porkroll State”, that we’re close to Philly and NYC (which is a blessing), living at “Da Shore” (even though Asbury Park was the only ghetto on the East Coast at one time, I’m OK with it), and we even got our own shirt that said “New Jersey: Only the Strong Survive”. When I got into records, and serious digging, I also got to be proud of our musicians that came from the Garden State. In fact, I always pick up a Jersey record no matter what, it’s just what I do. Today’s selection is an artist from Newark, NJ. He could be possibly one of the most underrated Soul singers of the 1970′s (Rolling Stone magazine would agree). I’m talking about Leroy Hutson. Let’s jump into Leroy Hutson & the Free Spirit Symphony with “Feel the Spirit (In ’76) on Curtom Records from 1975.

Newark, NJ ( or Brick City as Redman would call it some years later ) would be a city in Jersey that would not only produce some talent, but be a hot bed of Clubs where one could see live Jazz, Funk, Soul, and later on Rock. Check out any of the late 60′s and early 70′s Blue Note Live records, and you’ll see what I’m talking about (my favorite being Grant Green Alive!). As mentioned previously, Hutson hailed from Newark, NJ, and as a teen was a member of the The Nu-Tones. Joining up with Deborah Rollins to form Sugar and Spice, the duo released a few singles on Kapp Records. Hutson’s life would take a huge turn when he was in college attending Howard University. It was here he met Donny Hathaway and also was introduced to musicians such as Herbie Hancock and Roberta Flack. He joined the Howard formed Mayfield Singers (hand picked by Curtis Mayfield himself) and later helped Hathaway record a huge favorite hit of mine “The Ghetto”. By 1971, he was asked to replace Mayfield in the Impressions. He did have a short, successful career with the Impressions, but that just paved a road for his solo stuff that retains an underground following to this day. His affiliation with the Curtom label and Chicago Soul is undeniable. Curtom was founded as one of the first ever African American owned labels. That’s huge for it’s time. With Curtis Mayfield and The Impressions as their flagship artists, they also put out records by Hathaway, Baby Huey and the Babysitters, The Natural Four, The Staple Singers and others. There are many artists who modeled themselves off of the Curtom sound, and it would be an absolute crime to not recognize this record label as a driving force in Soul music history.

Leroy Hutson played mutiple instruments ( saxophone, keyboards, clavinet, piano), and also did some producing and arranging in his time ( Roberta Flack, Natural Four, Linda Clifford among others). He was definitely a cult Soul favorite. “Feel the Spirit” is a great example why. This recording comes in right in the beginning of Disco. It’s driving beat and soulful back up singing celebrate the 200 years of our country’s inception in a way that Hutson only knows. If you weren’t feeling any spirt before you listened to this, Hutson and company beckon you to feel what they’re feeling. After all, it’s only a feeling, they say, and you can celebrate it in your own way. While Disco is definitely not one of my favorite genres, I can dig some of the early stuff, as the artists were in between the times, trying to infuse this new sound with the sounds they were already prolific with. This raw infusion is exactly what I like, and it’s something that you see Jazz cats doing all the time. They mixed the straight ahead Jazz stuff with a Funk or Soul song, and BAM!, you have a winner. Leroy Hutson did the same, and that’s one of the reasons he’s a success, even today. I’m hoping you felt some kind of spirit with this side. Keep Diggin!

Jimmy “Bo” Horne – Let Me Be Your Lover

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Jimmie Bo Horne on Bike

Let Me Be Your Lover 45

Jimmie “Bo” Horne – Let Me Be Your Lover from the Sunshine Sound 45

During the early 1990′s we were hit by a barrage of sample based bands. Me being a young buck in the record game, I had no idea at the time this record was the basis (and basically the meat of) one of the songs that was MTV heavy when MTV actually played videos. I hope the original artist was paid handsomely for the use of this song. The more I think about it, I hope Jimmy Smith was paid more than handsomely for the complete rip off of “Root Down (and Get It)” by the Beastie Boys, who really just lifted the whole song to craft their “Root Down” off of Ill Communication. That’s for another time though, (and for the record I’m a huge Beastie Boys fan and supporter, not a basher). The original song I’m speaking of is “Let Me Be Your Lover” by Jimmie “Bo” Horne in 1978 on Sunshine Sound Records.

Jimmie Horace Horne Jr. aka Jimmy “Bo” Horne was born in Miami, FL in 1949. He grew up around music, and like this author was heavily influenced by his Father’s record collection, and also by his Mother’s Gospel singing. He received his nickname “Bo”, because he was bowel legged, and kept the nickname to let people know what Jimmie he was. He took to singing early on, and won a scholarship for voice at Bethune Cookman College in Daytona, FL. He was another Florida artist that was affiliated with Henry Stone of Alston and TK records fame. Originally signing to Dig he 1967 and released “I Can’t Speak”, as well as “If You Want My Love”, and “Street Corners”. After signing with Alston in 1972 ( produced by Clarence Reid and Willie Clarke), he released the answer to Betty Wright’s “Clean Up Woman”, the aptly titled “Clean Up Man”, written by Reid, Clarke, and Little Beaver. He renegotiated his contract shortly after and then was moved to affiliate TK and Harry Wayne Casey (KC of the Sunshine band). This move would prove to be the right one for him. Horne would capitalize on the latest Disco craze ( and of course TK was the place to be for that ). His first single “Dance Across the Floor” was well received, and is his best known single to date. As a matter of fact, it was a cross over hit for Horne into the white radio markets. Not many white radio stations knew of his early records, and thought that this record was his first record out. He then put out “Gimme Some” (which was my first taste of the genius of this artist) on the brown and white Alston label, a catchy tune with a great hook. It didn’t really chart, but I definitely dig it. His later singles “Spank”, “You Got Me Hot”, and “Is It In” weren’t received too well, and at first glance they really look like 70′s porn titles starring John Holmes rather than song titles. They were they swinging 70′s though. Disco was in, but not always number one in his heart. “I was unhappy about the fact that my records made me seem like a mediocre singer”, says Jimmy. “It didn’t satisfy the passion of my heart, but I was happy that it took care of my family.” He was first and foremost a Soul singer in his mind, and that opportunities to express himself in that genre during the Disco’s hey day weren’t there. He toured throughout the 80′s and has remained pretty low key despite his reworking of his hits sometimes in the early 90′s. He does better in Europe rather than the States (isn’t it always the case…hello Daptone Record label and a myriad of other artists), and is still involved in music today.

“Let Me Be Your Lover” is best known for being sampled by the Stereo MC’s on their hit “Connected”. As a matter of fact, I still sneak that tune in during sets. I will play the original too, because really, it’s a decent record. It’s an upbeat little side with a great bass line and horns. Horne croons his heart out (probably in polyester pants), but you’ll soon be doing the Bump to this as you sit in your computer chair. The record isn’t too hard to come by, and if you see it in the field, I’d recommend picking it up. DJ Prime was the first of my digging friends to get a copy of it, and I found one not too long after him. Henry Stone knew how to churn out artists and hits, and Florida Funk, Soul, and Disco was and still is a force to be reckoned with. Keep Diggin’!

Go here to check out the video for “Let Me Be Your Lover”.

Check out the Stero MCs “Connected” video for the finished sampled product.

The Dynatones – The Fife Piper

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HB & Yogi
Hanna and Barbera make records with more than just Cartoons.

The Fife Piper 45

The Dynatones – The Fife Piper from the Hannah Barbera Records 45

If there is one thing that always amazes me, it’s that every time I think I get a handle on some record knowledge, well, along comes a thousand other records that I had no idea that existed, and I have to add to my ever growing wants list. Maybe it’s a Midwest record, or maybe it’s some New Orleans thing, or maybe, just maybe it’s a record put out by a company that primarily made children’s cartoons. Really good cartoons that even as an adult I can still dig. Maybe it’s because they make me feel nostalgic. Maybe because the music was cutting edge (although today the Cartoon Network has taken music to the next level by using everyone from Calexico to Danger Doom in their shows), and it was something that was new to me when I was younger. Whatever the case may be, this is where we are today. Here’s a record recommended to me by Funky 16 Corners as we were elbows deep in some dusty box of records. I’m pretty psyched he did. Not only do I dig the old cartoons, if you haven’t realized, but I am a sucker for some jazzy grooves and a nice beat. Let’s jump into “The Fife Piper” by the Dynatones on Hanna Barbera Records from 1966.

William Hanna and Joseph Barbera founded H & B in 1958, and would go on to release many great cartoons, such as the Flintstones and the Jetsons, but it was cartoons like Johnny Quest, the Herculoids, Atom Ant, Quickdraw McGraw, Magilla Gorilla, The Funky Phantom, and the Wacky Races among others, that always had me glued to the TV set on a Saturday morning. It wasn’t until 1965 that HB would try their hand at actually releasing proper records (some which would go on to chart). They had released children’s records of their cartoon characters in the past via Colpix Record Company, but this was their foray into the music business. With the inception of Hanna Barbera Records, they put out R & B, Garage, Pop, Soul, Folk, and Psych. While there weren’t too many hits getting turned out of this camp, some were classics in their own right, sought after by collectors. From the West Coast Jazz scene, to rural West Virginia to Vegas, HB had music from all over the country. Although it was short lived (1965-67), it opened up doors for other HB productions, such as The Banana Splits, who were television and record stars in their own right. I still crack up whenever there is some Danger Island on, Jan Michel Vincent was a trip.

The only thing I know about this band is that they were from Clarksburgh, West Virginia. This instrumental quartet led by flutist Ray Figlar, was based out of Salem College. This isn’t a first pressing, as the original record label was St. Clair from the Iron City of Pittsburgh, PA. While researching this piece, I did find that Ray Figlar is still playing music in a band called Jazz’R'Us out of New Martinsville, West Virginia.

It’s exactly what you would expect from a cartoon company that started a record label. The electric piano and mid tempo drum beat get the groove going, and the flute of Ray Figlar just take over. It’s definitely a head nodder, that picks up about halfway through (with a slight psych tinge) until the fife piper starts to do his thing again. Herbie Mann would have been proud. I’m sure this quartet was the funkiest, jazziest band to ever come out of Salem College. The beat goes on and if this thing wasn’t released for radio play, it would have no problem finding a slot in one of the many cartoons of the day that Hanna Barbera were putting out. So here you have it family, some Jazzy grooves courtesy of one of the best cartoon companies ever (with Tex Avery running a close second). I’ll see you midweek with some more goodness. Keep Diggin’!

Bonus: Wacky Races: The Great Cold Rush Race

The Tremeloes – Instant Whip

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The Tremeloes

Instant Whip 45

The Tremeloes – Instant Whip from the CBS 45

I’m all about keeping an open mind when I DJ and when I listen to music. This record is all about that. While not a traditional Funk or Soul record at all, I was pleasantly surprised when this thing made it’s way into my record box via a private sale. A few of my DJ friends have definitely turned me on to some Rock drum breaks, and as of late I’ve been picking up more things like Atomic Rooster and some Psych stuff that has a raw, even funky edge to it. I did a review early on of The Illusion out of Long Island, NY, and I think you’ll be pleasantly surprised at the drums on this next one. I want to thank DJ Bluewater for turning me on to this slice of British goodness. I’m referring to the Tremeloes with “Instant Whip” from CBS Records in 1969.

Original formed in 1958 as Brian Poole and the Tremeloes, Poole split in 1966 as Alan Blakey took the reigns as leader and the replacement of the old bassist Alan Howard with Len “Chip” Hawkes (also as lead singer) gave them a fresh start. Previously they were on Decca Records, and had a handful of minor hits performing cover songs of Roy Orbison, the Contours, and others. It was move to CBS Records and a cover of a Cat Stevens tune “Here Comes my Baby” in 1967 that opened doors for songs like “My Little Lady”, “Hello World” and the number one “Silence is Golden” (yet another cover, this time of the Four Seasons). The hits seemed to dwindle after 1971, and the line up changed a few times. Some member opted for solo careers, ( Len Hawkes ) and outside producing gigs, only to reunite with the band years later. Like I said there were many line up changes, and the original quartet did score a minor hit in 1992, but there wasn’t success with this band like they had in the earlier years.

The wailing of Chip Hawkes can be heard through out this tune, and on the real, it’s a guitar driven Rock track. Hold up. I know, I said Rock track. But wait, there is more. This thing is drum heavy. It’s all courtesy of drummer Dave Munden. The man is an animal on this track. You know I couldn’t let this side pass through Flea Market Funk without some heavy drums. There they were in 1969, and these English cats are drawing influence from everyone from the Isley Brothers and Cat Stevens ( and obviously some Funk Rock..maybe some Sly?), and they manage to turn out a banger like this. I know this may not be your everyday cup of tea, or something you’ve grown to expect here at FMF, but you can’t deny the beat. Sometimes it’s just all about that, the beat. We’ll see if the weather holds up for some digging this weekend, but at any rate, I have some treats lined up no matter what. Props to Coop over at Positive Ape Index for showing FMF some love and for that sweet little mix he put up this week. Go get it will you? Keep Diggin’!

Cal Tjader – Solar Heat

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Cal Tjader

Solar Flare 45

Cal Tjader – Solar Heat from the Skye Records 45

I am still reeling from the Sharon Jones show last weekend. I can not stop listening to the new record, and urge you to support them. You can purchase the record here. I was pretty excited to see that Brooklyn Vegan used a quote from my review on their front page. I thought I’d throw this next side out because it’s a great combination of genres. This time I’m hitting up a little Latin infused Funk, courtesy of Mr. Cal Tjader and friends. I included some Cal Tjader on my Real Roast Mix. It got me thinking about the funkier sides he has done, and well, I was lucky enough to come across this side recently, and I wanted to share it. Here’s “Solar Heat” from 1968 on Skye Records.

Cal Tjader was born in St. Louis, MO in 1925. There was entertainment in the blood, as his parents were a vaudeville entertainers. Tjader danced, was present in the theater, but eventually settled down with the drums. ( Tjader also played the bongos, congas, timpani, and the piano ). He was hired some years later to work with the great Dave Brubeck, after getting introduced to him by Army buddy Paul Desmond. The Dave Brubeck Octet became a trio soon after,and a staple on the San Francisco Jazz scene. Tjader taught himself the vibraphone during that time. This instrument would be one that Cal would master and go on to make Latin Jazz for many years to come with. He was an influential Latin Jazz musician, but was not of Latin descent. Tjader would leave Brubeck and join up with George Shearing in 1953. This short stint with Shearing would yield his next group, one that would, capitalize on the current Mambo craze, the Modern Mambo Quintet, where some say this was the best lineup Cal has ever assembled in a Latin Jazz sense. He did record some straight ahead jazz with The Cal Tjader Quartet whose members were Gene Wright (bass), Al Torre (drums), and Vince Guaraldi and Cal himself. The mighty Creed Taylor signed him to Verve in 1963, where he went on to do a lot of notable work. His Jazz take on many popular songs of the time kept him working, as did his Latin Jazz, where he became a very well respected musician, sideman, and leader of the genre. In 1964 he released “Soul Sauce”, a take of a Dizzy Gillespie tune which propelled him into the living room of Space Age Bachelor pads everywhere. He continued to record for Verve and played along side such notables as Willie Bobo, Kenny Burrell, Eddie Palmieri, Donald Byrd, Chick Corea, and Lalo Shifrin among others. In the latter part of the 1960′s he went on to found Skye Records with Gary McFarland and Gabor Szabo. The record label released independent Jazz and folded in 1970, where the masters were leased out to Buddah. This is the period where this particular tune comes from. Some say his sound at this time was the root of Acid Jazz of the 1990′s, where artists drew much influence off of the Tjader sound. The 1970′s were tough for Tjader. He moved around on labels, and eventually ended back on the label he founded, Fantasy. Check out the write up Funky 16 Corners did on his Fantasy years here. Cal moved on to Concord later on, but still continued to tour. As a matter of fact, he died of a heart attack on tour in Manila, Phillipines in 1982.

This 45 is a definite groover. Combining his excellence in the Latin genre, he mixes it with a Funk sound, and it’s easy to see why this was reissued some years later with much success. Joining Cal on this record were Michael Abene (Harpsichord and Electric Piano), Ray Barretto (Latin Percussion), Gary McFarland (Arranger, Vibraphone),Chuck Rainey (Bass), Bobby Rodriguez (Bass), and Orestes Vilato (Latin Percussion). The addition of João Donato on organ gives this record it’s proper groove. Cal was just beginning to change with the times, adding in electric instruments to his lineup, and this addition along with his traditional Jazz sound really make a difference. This record definitely comes highly recommended from FMF. See you on Friday, Keep Diggin’!

Sharon Jones & the Dap Kings Live at the Apollo Theater 10.06.07

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125 St. Subway Mural

Now on any other Saturday night, I’d most likely be going through the day’s record scores, making a mix, or just relaxing. On Saturday I get a phone call midday from Cool Hands Luke. He had a last minute cancellation for the Sharon Jones & the Dap Kings record release party at the Apollo Theater in Harlem NYC. Last minute cancellation, (how bad does that person feel?) I mean, if it is one show you see this year (besides the Bad Brains reunion tour), it’s Sharon Jones at the Apollo. That’s the pinnacle people, the Apollo. You play there well received, you get bragging rights, Period. We had third row orchestra left seats, and we could have seriously just reached out and would have been on stage. Not bad for a cancellation. Imagine my surprise too when I sat down in my seat, only to have a complete stranger say to me: “You’re the guy from FleaMarket Funk!”. Not only was I seeing a great show in one of the best places to see a Funk, Soul or Jazz band, but I end up meeting someone who actually reads this blog. Shout outs to Allen for schooling me on the finer points of Brasilian music. Obrigado.

The opener for Sharon was Seleno Clarke’s Harlem Groove Band, featuring some really great players and Ian Hendrickson-Smith of the Dap Kings on tenor sax (who killed it!). Everyone knows I’m a sucker for the Hammond, and this band was definitely out of sight. Seleno hosts his Harlem Legacy Jam every Sunday night at The American Legion Hall located at 248 West 132nd St., New York. Sounds like a great time, they even have some home cooked meals. Looks like a FMF field trip might be in order.

With Binky Griptight leading the Daptone Soul Review and calling the shots JB style, and Bosco “Bass” Mann (aka super producer Gabriel Roth, yeah I said it, the guy is a genius) leading the band, the Dap Kings warmed the crowd up before Sharon took the stage. A special appearance by the one and only Lee Fields (complete with gheri-curl and sequin shirt) got the crowd even more hyped for the Queen of Funk to come out. When she did come out, the place went nuts. She jumped right into it, taking off her shoes and earrings to give us a taste of the dance party that was to come. The band itself (complete with a string section at times) was tight the whole night. She ran through a lot of old stuff: “Pick It Up, Lay It In The Cut”, “How Do You Let A Good Man Down”, and threw in some new stuff: “100 Days and 100 Nights”, “Be Easy”, “Let Them Knock”, the show lasted close to two hours, and nobody, let me reiterate that point, nobody, was sitting down. The band paid a very fitting tribute to the man, the Godfather of Soul, Mr. Dynamite, the hardest working man in show biz, James Brown. Lee Fields rejoined her for a medly of JB tunes, and when Sharon sang “This is a Man’s World” in tribute to her hometown fellow musician, it was heavy. I like Lee Fields, but I think by the end his enthusiasm was getting a bit much. I did see Gabriel Roth try to get Sharon to slow him down a bit during the medley, only to kind of laugh it off as Fields took off his jacket and did his best JB impression. He also did his hometown dance called the “Boweled Leg”, which killed the crowd. Sharon had her choice of men to pull up and bump and grind, sing to, and even knock them off the stage at her whim. Most guys did not embarrass themselves with the exception of the dude that just about knocked Luke over as he was trying to grab Sharon’s hand and get on stage. (Better luck next show Cool Hands) She pulled a b-boy type up (not once, but twice) who wooed her and definitely shined in his 15 minutes. The real star, however was Sharon Jones. From beginning to the end she danced, sang her ass off, and showed everyone in that Apollo Theater why she is the best female Funk/ Soul singer today. Last night, sitting at the Apollo, I realized something. Nobody makes music like this anymore. Nobody entertains like this anymore. Nobody except Daptone. For 12 years they have been doing things their way, working hard and paying dues. Now they finally did it their way, at the Apollo Theater. They may be stuck in the days of 2 inch tape, vintage sound boards, and vinyl records, but as Roth uttered this borrowed phrase on WNYC radio Saturday: “You can’t roll a joint on an mp3.”, I can’t help think that the master of the vintage Funk and Soul sound out of Brooklyn is on to something.

Sharon Jones at the Apollo

Sharon Jones, DJ Prestige (looking like a crazed killer), Cool Hands Luke at The Apollo Theater 10.06.07

Keep Diggin’!

Saturday Digging Report

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Diggin Stack

I’m gonna be short and sweet today people. I’m still reeling from last night’s show at the Apollo Theater in Harlem, NYC. I attended the Sharon Jones & the Dap Kings Record release party there, and well, I’m tired as hell. I did manage to dig yesterday, but got the call midday to head up to the city. It was a great time, I got to check out the famous Lenox Lounge afterwards (where I got stuck in the bathroom), and I want to give a shout out to Cool Hands Luke for inviting me to the show. Tomorrow’s post will be a review of the Daptone Soul Revue at the World Famous Apollo. For now, here’s a list of the scores from Saturday.

45′s:

The Armada Orchestra – The Drifter/ Scepter
Joe Tex – Skinny Legs and All/ Dial
Don Covay – Please Don’t Let Me Know/ Rosemart
Willie Bobo – Bobo! Do That Thing/ Tico
Johnny Hammond – Rock Steady/ Kudu
Butts Band – Get Up Stand Up/ Blue Thumb
Metaphor – Summertime/ Dasher
Leroy Hutson & the Free Spirit Symphony/ Curtom
The Five Stairsteps – Don’t Waste Your Time/ Windy C
Ray Charles Orchestra – Boody Butt/ TRC (I have this but it’s a different spelling on this label. Interesting.)
Little Milton – Bet You I Win/ Stax
Jean Wells – The Best Thing For You Baby/ Calla
The Unifics – Court of Love/ Kapp
Donald Austin – Crazy Legs/ Eastbound

LP’s

Blowfly – Blowfly’s Party/ TK
The Ventures – Super Psychedelics/ Liberty
Beatles – Abbey Road/ Apple
Jimi Hendrix Experience – Are You Experienced
Ghostly Sounds – A. Ghost/ Peter Pan
Captain Sky – Super Sperm/ Dynamic Sounds

Keep Diggin’!

The Harlem Shuffle – Bob and Earl/ The Traits/ The Nite Liters

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It’s Friday already folks, and I am sitting here staring at a massive pile of 45s to listen, clean, and get ready to review. It’s like a never ending puzzle, but i do enjoy it. As silly as it sounds, I actually enjoy cleaning the records I dig up, it’s kind of therapeutic. It feels good too, because if it’s all gunked up and looking bad, usually by the time I get done with it, it looks 100% better (and normally plays better). I really should invest in a vacuum machine. Maybe someday, but for now it’s by hand. Actually jack the Ripper knows someone who has another Magic Solution, but it will take two of us to get it. Hopefully we’ll get a good post out of it. I want to give a few shout outs, one to my main man from Milwaukee, WI, Aaron Soma, who along with Andy Noble(this guy has some sick records, check the Downtown Soulville guest spot he did a while back) have got the Beer City on lock. There is an article about them (and the movie about Noble and his Brothers just out) here. Aaron and I, although we haven’t met face to face (get to a 45 Sessions dude!), really both share the same passion for finding old 45′s. Although I’m not digging up Harvey Scales records here in the Garden State, there is always hope. I mean I never would have thought that between the Turbo, Loma, and All Platinum Records that show up by me, that I’d find a copy of Mickey and the Soul Generation’s “Iron Leg” either, so you never know what can turn up on any given day. The other of course to an all around great digger and DJ, DJ Andy Smith, who will be on the East Coast in a few weeks doing Boston, Philly, and NYC dates. If you can check him out, I’d highly recommend it. He knows what he is doing. OK FMF family, what we have here is a special treat. It’s a Triple Threat, three versions of the same song. I tried this earlier with Sharon Jones and The First Edition ( I didn’t have a copy of the Betty Lavette record, but thanks to Soul Brutha Dave for hepping me to it!) and it worked out pretty well.

Harlem Shuffle B&E 45

Bob & Earl – Harlem Shuffle from the Marc 45

I previously did a review of half of the first duo Bob and Earl, one Earl Nelson, aka Jackie Lee, who hit in 1963 with this tune on Marc Records. Bobby Day was the original Bob, but left soon thereafter, and was replaced by Bobby Relf, who had worked with Barry White in various L.A. groups. As a matter of fact, White would go on to arrange the tune. The song itself was a minor hit, but resurfaced again in the UK in 1969, where they had some success with it. You may recognize the opening horns from House of Pain’s “Jump Around”. The Stones did a cover of it in 1986 (unfortunately), and if I didn’t mention that my co-worker Jake would get mad.

The Traits Harlem Shuffle 45

The Traits – Harlem Shuffle from the Scepter Records 45

The second version I have here is a record I bought in a lot of unsleeved 45s from my spot. I immediately recognized the Scepter label, but was unsure of the history of the Traits until I stared researching. Lead by the ever versatile Roy Head, a Texas man who could perform Rock, Soul, Funk, and Country with ease. This record was recorded by the second wave of The Traits ( the first wave were all high school pals). Head would cut many records with the Traits (and on his own), and this upbeat version of the original is a nice floor stomper. When he says: “Come on baby, with a whole lot of Soul!”, I can’t help thinking of how this blue-eyed Soul version had people moving and grooving at the local dance spot. This is a nice come up if you can get a hold of it, and it looks like it shouldn’t go for more than $30 or so.

Nite Liters Harlem Shuffle 45

The Nite Liters – Harlem Shuffle from the Sounds International 45

I don’t know much about this record, but I scored it for $5 at the Hazlet show. I called over to the Groove Merchant to see if Cool Chris knew what was up. He didn’t know much about it, but referred me to Rooky Ricardo’s. Rooky wasn’t around, but Thomas helped me out as much as he could (Thanks dude!). Still no luck. I wanted to get this out for Friday, so here’s what I gather so far: This is a garage record, sung by some white boys who definitely dug their Soul. This version is more on the upbeat side, and has a cool organ throughout, making it bit funky, with a slight psychedelic feel to it. It’s definitely Soulful at times, and the horns are strong! If anyone knows what’s up with this band, please shoot me an e mail so I can update this post. I will be back tomorrow with some digging stories (and hopefully some good vinyl scores). Keep Diggin’!

Bonus Video: French Singer Vigon covers this tune. Apparently he was the French James Brown.

If you still need more: learn how to do the Harlem Shuffle Here

Ruby Andrews – I Just Don’t Believe It

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Ruby Andrews

RA 45

Ruby Andrews – I Just Don’t Believe It from the Zodiac Records 45

Well it seems The Real Roast Mix has gone over well. I’ve definitely got a heck of a lot more Jazz to share, so please stay tuned for that in the near future. I want to give the cats over at Raw Wax a shout out. They sent me over some smoking Funk 45s from their stable and it’s greatly appreciated. When the interview I did with them in Vault Magazine comes out, I’ll put a scan of it up. That should be out shortly. More on those guys in a post to come. Like I said last week, I have too much Soul in my que to let it just sit there. I do buy a lot of records (maybe an understatement), but my Soul 45s are slowly catching up to my Funk 45s in quantity. I’ve been picking up records by this next artist for a while, mostly 45s, as I understand the Lps can be a bit pricey. You don’t see many of her full lengths in the field, but you better believe if you see ‘em, pick them up. Let’s check out “Whatever It Takes” by Ruby Andrews on Zodiac Records from 1967.

A Chicago musician via Hollondale, Mississippi, Andrews was associated with Ric William’s Zodiac label. She turned out sides that were produced and written by the team of Fred Bridges, Robert Eaton and Richard Knight ( BKE ). These three previously recorded as The Brothers of Soul, and had a lukewarm hit “I Guess That Don’t Make Me A Loser” (Which is definitely going to be reviewed here at FMF). She would also go on to cover that tune some years later. Prior to releasing her song “Casanova (Your Playing Days Are Over)”, Andrews was associated with The Vondells and was a night club dancer. Her Windy City vocal style put her on the Soul map, ( but unfortunately she did not blow up) and she released sides such as “Hey Boy Take A Chance On Love”, “Wonderful Night”, and “The Love That I Need” among others. The BKE production team molded Andrews emotional Funky Soul sound into something special. Sometime overlooked, I believe her sound was definitely bold and unique. Her career had a small resurgence when Casanova was covered in the 80′s in the UK, spawning a Swamp Dogg produced record some years later in 1991 called “Kiss This”.

This particular side is the flip of Cassanova. The first thing I noticed is that it wasn’t produced by BKE, but rather McGregor and Terry. Chicago music experts where you at out there? If you have some insight on this producing duo, please share it. Starting off with with some great strings and what sounds like a melodica, Andrews pleads her case with a Soul voice of reason. It’s hard to imagine not listening to what she had to say, because her voice is really beautiful and quite persuasive. This side is mid tempo, with a decent drum beat, but the real thing that sticks out is Ruby’s voice. This woman definitely did not get the recognition she deserved I feel. There have been some compilations , which definitely give you a peek into what this woman could really do. This is some emotional Sister Soul people, and another great artist out of the Windy City. Don’t sleep on this one, you’ll be sorry you did. I’ll be back on Friday with something dusty from the crates. Keep Diggin’!