second line social

Feb. 26th

2009-02-26T09:55:00.000-08:00

now that i've got the chatters out with my last post, i'll go back to my lazy, non-expressive sharing of musics. dig it.

Alvin Christy -
How Fast Does The Wind Blow

Mike And Ike -
Ya Ya

Camille "Lil" Bob -
Stop

Harry Brown -
Funky Jerk

Oliver Morgan -
The La La Man

Feb. 19th

2009-02-16T10:45:00.000-08:00

As promised, and in celebration of Mardi Gras, here is my secret little treasure. I have been on the hunt for Brass Band 45s for several years now. Needless to say, there aren't very many. There is a far more extensive library on LP, but even then, it is hard to find the really good stuff. I was first exposed to this music in the mid-90's by a roommate who had the Dirty Dozen Brass Band's Voodoo LP (which by the way has a fantastic version of Bobby Wommack's "It's all over now" w/ Dr. John on the vocals). The initial pull for me was the instrumental brass sound of Dixieland jazz basically "funked" up. The modern Brass Band style has come to incorporate the groovier elements of soul, funk and blues musics, while staying rooted in the early jazz traditions. It is not uncommon nowadays to hear a Brass Band do a cover of a Gap Band song, followed by a gospel traditional, like "I'll fly away". It wasn't until the late 70s and throughout the 80's that Brass Bands adapted to modern music like this. As far as my research has taught me, there is really only 1 band who were the pioneers and trendsetters in this area. That band was Harold Dejan's Olympia Brass Band. To this day, there is no Brass Band who has been so influential to not only Brass Bands, but to New Orleans' jazzy, soulful history.

Dejan's Olympia Brass Band

The Original Olympia Brass Band was founded in the late 1800's. Later, in 1958, Harold "Duke" Dejan, a saxophonist and member of an incarnation of Eureka Brass Band, split to form his own band and revived the name. Even more so than Dejan, i believe it was Milton Batiste (Asst. Leader) who really brought a young and new perspective to an older music. One of the reasons for this theory is because Dejan was getting fairly old in years towards the peak of the Bands success. This is when Batiste really carried the torch and became the de facto leader. ALL Brass Bands of recent past and present follow in the wake of the Olympia Brass Band. They first put to use the formulas which have become standard. Very rarely in music is it allowed that such a diverse repertoire of styles become so standardized. They played gospel. They played jazz. They played the blues/dirges. They played r&b/soul. They played every music that was socially relevant throughout the life of the band. As tell of their trendsetting status, now you see modern Brass Bands incorporating 80's and 90's soul/r&b and hip-hop. One of the largest reasons why this "sampling' of other musics got to be so popular was because of Mardi Gras and it's defined anthems. ALL New Orleans musicians, not just the Brass Bands, HAD to learn to play songs like Professor Longhair's "Mardi Gras in New Orleans", or older cultural traditionals like "Lil Liza Jane". These were party favorites that stayed in high demand year round and if you didn't know them, you didn't work.

Dirty Dozen Brass Band

Probably the most famous Brass Band, especially outside of New Orleans, would be the Dirty Dozen Brass Band. They were founded in the late 70s, spawning from a Church band that was devised to help youth focus their energies positively. At that time, there was not the stronghold for work amongst Brass Bands, as there is now. In part, that stronghold came from their popularity in the early 80's. They first recorded in 1980, with the help of a local radio DJ who then played their material regularly on his show. From this, they grew in notoriety which led to them landing their first larger gig at the world famous New Orleans club, Tipitina's in '82. They released their first album in 1984, entitled "Feet can't fail me now", which has become their signature tune. (Side Note: The 45 version of this song that I am featuring is a different take than the LP cut and I haven't been able to document whether it was recorded before or after the LP version. My guess is before, because it seems a little rawer and more lo-fi.) Nowadays in an attempt to be "edgier" or more modern, Dirty Dozen has replaced several traditional instruments for modern ones. Instead of the bass drum, they now have a "kit" drummer and they have also added both a keyboard player and an electric guitar player to the line-up. Just personal taste (I guess), but I prefer the more traditional elements and their "modern" approach doesn't quite equal a "Brass Band" to me. I do, however, respect their history and appreciate everything that they have contributed to develop this now thriving scene.

Rebirth Brass Band

The Rebirth Brass Band, although its members were slightly younger at the time, began around the same time as the Dirty Dozen. They became regionally successful around that time, but didn't really gain nationwide fame until a few years later. Rebirth is probably the only Band from "back in the day" that has maintained a solid sound, stayed rooted in the founding traditions, and been positively accepting to modern influences. They have had a longstanding (anybody know how many years?) Tuesday night gig at the New Orleans famed Maple Leaf Bar. Take my word, it's a must when in NOLA.

Hot 8

The Hot 8 are, by far, the hometown favorites nowadays. There is not another Brass Band who has such acclaim, presence and notoriety amongst ALL the regions of New Orleans. They too have learned to balance the traditions of old with the modern urban cultures of today. Although they have never released a 45 (i know, I'm working on it), they have recently released a 12" single version of Marvin Gaye's "Sexual Healing" which is phenomenal. I must also say that for 2 years now, I have brought Hot 8 to Austin for Mardi Gras, and i have never smiled so hard or had so much fun. If you happen to be around Texas and can make it out, the show is this Sunday! Info can be found HERE.

Here are more noteworthy Brass Bands with links to their respective sites/info:

Eureka Brass Band
Tuxedo Brass Band
Young Tuxedo Brass Band
Soul Rebels Brass Band
Youngblood Brass Band
Mama Digdown's Brass Band
Pinstripe Brass Band
Treme Brass Band
New Birth Brass Band
Lil Rascals Brass Band
Trombone Shorty

There is far more variety of Brass Band music available on LP and even more on CD, perhaps I will do an LP version of this post for next years Mardi Gras. Anyways, here some of my best kept secrets for your listening pleasures. HAPPY MARDI GRAS!!

Dejan's Olympia Brass Band -
Mardi Gras In New Orleans

Dejan's Olympia Brass Band -
It Ain't My Fault

Dirty Dozen Brass Band -
Feet Can't Fail Me Now

Rebirth Brass Band -
Do Watcha Wanna

Hot 8 Brass Band -
Sexual Healing

Floyd Anckle & Majestic Brass Band -
Hey Pocky-A-Way

Feb. 12th

2009-02-12T08:35:00.000-08:00

here's another batch of 45s for your listening pleasure. this week i'll be putting together next weeks blog especially for Mardi Gras. make sure to check back next week for that, it should be good. if you are even a semi reader of my blog, you'll know that i am a huge Gino Washington fan and i figured i'd kick off today's blog with the 45 that started it all for me. Both sides are amazing and completely capture all of the elements of why he is one of my favorites. i've also been on a huge Hannibal kick lately, so i'll end the post with a great, early one from him. See you next week.

Gino Washington -
Gino Is A Coward
b/w
Puppet On A String

The Falcons -
Oh Baby

Teddy & The Continentals -
Tighten Up

Bruce Channel -
Satisfied Mind

Hannibal -
Baby, Please Change Your Mind

Feb. 5th

2009-02-05T09:54:00.000-08:00

today... i hurt.

dang red wine. here are some records...

Johnny Otis -
She's All Right

Alpha Zoe -
You Beat Me To The Punch

Bo Diddley -
Wrecking My Love Life

The Temptations -
Hum Along And Dance

Gloria Gaynor -
She'll Be Sorry

Jan. 29th

2009-01-29T09:35:00.000-08:00

Today, I'm going with some older stuff. Really, it's the Jive Bombers 45 that I'm most juiced on right now (Thanks Buck!), so I figured I'd put a few other things in the vein to go with it. I know the Cookie 45 is pretty common, but it remains one of my all time favorites for the early R&B sound. Enjoy - G

The Jive Bombers -
Bad Boy

Ruth Brown -
I Don't Know

Veretta Dillard -
Mama Don't Want

The Emeralds -
I Kneel At Your Throne

Cookie And The Cupcakes -
Mathilda

Jan. 22nd

2009-01-22T11:02:00.000-08:00

thanks to all for all the emails/responses i got from the gospel mix. i am really feeling it and am glad to know that y'all are digging, too. here are another few 45's to hold you over until i get off my bum and find something interesting to say.

SIDE NOTE: I'm really trying hard to find this first artist, Little Charles. He hails from the Dallas area, and thus far, I've had no luck finding any contact info. If you are him/know him/etc., PLEASE put me in touch!!!

Little Charles -
My Baby

Chris Kenner -
What's Wrong With Life
b/w
Never Reach Perfection

The Ikettes -
Heavenly Love

Bobby Moore's Rhythm Aces -
Go Ahead And Burn

Johnny Adams -
Time And Time Again

Jan. 15th

2009-01-15T18:19:00.001-08:00

sorry for getting this up so late in the day, I've been having some technical difficulties with my recording set up. I'm gonna get straight to it, I've been feeling the gospel stuff a lot lately so here is a mix of some of my favorite gospel 45's, as of late...

The Gospel Mix

playlist:

Rev. George-James Morton - Wade in the water (Hi-Q)
Lloyd Reese & Lloyd Reese Singers - Spread a little sunshine (Glori)
The Wonderful Harmonizers - I've tried (Praise)
The Gospel Keynotes - The flowers you give (Nashboro)
Salem Travelers - Things I used to do (Ha-lo)
Rev. Billy H. Grady - Holy Rock (Act's)
Sacred Harmonizers - He said he will (Revelation)
Victory Five - Evening Sun (Fortune)
The Highway Q.C.'s - Teach Me (Vee-Jay)
Sister Pattie Miller and the Millernetts - I have to cry (No label)
Bells of Zion - Do you know him (Peacock)
The Consolers - Around God's throne (Nashboro)
The Gospel Keynotes - One more time (Nashboro)
The Nightingales - Blood for me (Peacock)
Victory Five - Please, Lord (Fortune)
Salem Travelers - This time another year (Ha-lo)
Meditations - My soul got happy (D-town)

Jan. 8th

2009-01-08T09:22:00.000-08:00

Well...I hope everyone's holiday was pleasant. Mine was cool, fairly mellow. Santa brought me an Arhoolie shirt and a Stax shirt, which was pretty dope of him. I'm gearing up for the big Mardi Gras show late next month, so keep posted because I think I'm gonna do a special, in depth Brass Band post just before it. Here are a few 45s (some new and others that have come back around) that I have been feeling...

Bobby Powell -
I'm Gonna Leave You

Here's one I've had for a while and it tends to fall in the cracks. I recently found it again, and it is back in my play box. I think I'll do a Bobby Powell tribute, just as soon as I find the one last record that will complete the Whit run for me.

The Volumes -
Come Back Into My Heart

Similar story with this one. I recently rediscovered this 45 and it's back on my list of favorites. The vocals remind me of early Gino Washington, and as I'm pretty sure I've stated before, anything that sounds like Gino is good with me. The Volumes also have a couple other 45s that are as equally top notch.

James Brown -

Dancing Little Thing

At some point in digging, most reach a point where you feel like you've seen every James Brown record ever made. I recently found this one and was stumped. I didn't recognize the title at all, which threw me for a loop. It's very early and primitive, which is the best part of it. Either they had not yet perfected the super-tight band sound, or they were already solid and purposefully chose to sound slightly "off". Either way, I can dig it.

The Electras -
Ten Steps to Love

Here's another recent discovery. I don't know much of the band or the label. I'm always a sucker for the catching-the-ghost, gospel-style stomper. Add a little bit of soul clap and it can't be beat.

Dec. 25th/Jan. 1st

2008-12-21T14:54:00.000-08:00

January 1st edit: i am taking the new years day off and will return with more goodies next thursday. I'll leave my Xmas post up to get you through 'til then. Happy New Year!

Dec. 25th

for this christmas, i've put together a few christmas and seasonal tunes, along with a few gospels that go along. i know that the gino washington track falls quite short of most of his other material (of which i am a HUGE fan), but really, when am i gonna have a chance to share it again, if not now. hope yall dig. merry xmas.

Carla Thomas -
Gee Whiz, It's Christmas

Nathaniel Mayer -
Mr. Santa Claus

Irma Thomas -
Two Winters Long

Gino Washington -
It's Winter

Staple Singers -
Had No Room

Swan Silvertones -
Oh Mary Don't You Weep

Dec. 18th

2008-12-18T14:30:00.001-08:00

This week I'm posting another mix, which I made for some friends to host on their website's jukebox (I'll have a little more on that subject later). I figured I'd give my blog readers first dibs on hearing it, so here you go. There are quite a few records on the mix that I've already blogged about, but rest assured, there is some new & quality stuff, too. Hope you dig. - G

Get Down With It

playlist:
Bobby Marchan - Get Down With It (Dial)
The Charmettes - One More Time (Marlin)
The Blendtones - Come On Home (Success)
Gino Washington - Puppet On A String (Correc-tone)
Lelan Rogers - Hold It (Lynn)
O.S. Grant - Greyhound (Sarg)
Matt "T.I." Madison & Minit Men - Don't Make Me Cry (Ebony)
Duke Ekud - Please Believe Me (Spec)
The Five Dollars - You Know I Can't Refuse (Fortune)
The Fashions - Try My Love (Ember)
The Parliaments - I'll Wait (Atco)
Royal Masters - Don't Leave Me This Way (Guyden)
The Dorells - Maybe Baby (Atlantic)
The Persians - Teardrops Are Falling (Goldisc)
Curley Moore - Soul Train (Nola)
Eddie Bo - Fence Of Love (Seven-B)
Derek Martin - Daddy Rolling Stone (Crackerjack)
Lee Moses - Reach Out, I'll Be There (Musicor)
Clifford Curry - Ain't No Danger (Elf)
Eldridge Holmes - Humpback (Jet Set)
Hot Tamales - Out Of Sight (Diamond)
The Coasters - Down Home Girl (Date)
Zilla Mayes - All I Want Is You (Tou-Sea)
Smokey Johnson - I Can't Help It (Nola)

Dec. 11th

2008-12-11T09:44:00.000-08:00

Recently on the forums at RnB45.com, we've been posting mixes for sharing for the holiday season. I highly recommend browsing the mixes (and joining the forum, too!), there is a lot of good stuff to get hipped to. For today's post, I'll share the mix that I put together for the holiday mix share. There's a few old favorites, but mostly its stuff i've gotten recently. Enjoy.

The Comin' Home Mix

playlist:
gino washington - i'm coming home (wand)
lloyd price - baby please come home (specialty)
billy ward - sixt minute man (king)
the shields - thats the way its gonna be (tender)
lc cook - blue tears (checker)
the delacardos - thing-a-ma-jig (ua)
ivory joe hunter - i got to learn to do the mambo (atlantic)
tippie and the clovers - the bossa nova (tiger)
hank ballard - do it zula style (king)
joe turner - teen age letter (atlantic)
the fabulous playboys - nervous (apollo)
jessie hill - sweet jelly roll (minit)
mac rebennack - the point (afo)
ruth brown - i dont know (atlantic)
bobby bland - shoes (duke)
johnny adams - time and time again (watch)
billy washington - i wanna come in (tcf)
chuck danzy - git down (nu-tone)
bronc-glows - charge (bull city sounds)
gloria gaynor - she'll be sorry (jocida)
grover mitchell - thats a good idea (veejay)
jc davis - monkey (chess)
larry williams - boss lovin (el bam)
the dynamics - misery (big top)
the jewels - gotta find a way (dimension)

Dec. 4th

2008-12-04T10:11:00.000-08:00

One of these days I swear I'm going to get off my lazy but and do another detailed piece (or a few) on some records. The muck has been thick lately, hence, the lack in motivation. Either way, lazy or not, you'll at least keep getting the tunes.

Hope You Enjoy.

Bobby Marchan -
Quit My Job

Oscar Boyd -
When Things Get A Little Better

Ray Agee -
Leave Me Alone

Bobby Powell -
Why (Am I Treated So Bad)

Nov. 27th

2008-11-27T08:32:00.000-08:00

It's Thanksgiving day, so I'mma get straight to the point. There's grub, family time, and lots of lounging to be had. Here's some tunes to get you through 'til next week.

The Flares -
The Monkey Walk

Reuben & The Chains -
When You Love Someone

Hank Marr -
Philly Dog '67

Little Willie John -
You Hurt Me

Eddie Bo -
Fence Of Love

Nov. 20th

2008-11-20T09:35:00.000-08:00

Eldridge Holmes is one of the most truly unique soul singers (and writers) to ever come out of Louisiana, and more so, out of the 1960s. His career was fairly long and fruitful, especially due to his early connection with producer and legend, Allen Toussaint. Holmes hailed from Violet, Louisiana and starting recording with Toussaint's Alon label in 1962. He continued to make great music throughout the 70s, recording a total of just over 30 sides or so. Although he had a longer career than most, Holmes worked as a bus driver, nursing assistant, asbestos worker and mechanic through his later life, and then passed away in late 1998. I can't say enough about Eldridge Holmes, but all that can be said has been said before. My fellow record bloggers, Larry Grogan at Funky 16 Corners and Dan Phillips at Home Of The Groove have both done very in depth articles on Holmes (in fact, Phillips has done two), and any thing I can say about the fairly elusive Holmes, has been done 10 times better on their sites. Please visit them for more info on Eldridge and recordings of more of his material.

The Sooner You Realize

Working In The Coal Mine

Where Is Love
b/w
Now That I've Lost You

Beverly
b/w
Wait For Me Baby

Humpback
b/w
I Like What You Do

Pop, Popcorn Children

Nov. 13th

2008-11-13T09:58:00.000-08:00

Life is rough. This has been proven time and time again, throughout history. Today I'm dedicating my blog to the deep soul tunes of those in peril, those in the struggle, the heartbroken, the lonely, the desperate, the regretful, and the blue. For every dance that we dance, there must be the low that counter-balances it and adds the unfortunate, but necessary dynamic to our lives. To me, it is the raw emotion that comes out in these moments (and only then) that signifies the peak of humanity. This is when we are our worst, our best, and most importantly, our most pure. Here are 5 songs that I believe are drenched in that rawness and purity. Hope you enjoy.

The Entertainers -
I Tried To Tell You

Diamond Joe -
Moanin' and Screamin'

Larry Williams -
Call On Me

Mighty Hannibal -
Trying To Make It Thru

Jimmy Norman -
Love Is Wonderful

Nov. 6th

2008-11-06T08:56:00.000-08:00

With all the excitement and hullabaloo the last week, I'm feeling especially brain-dead. This, as you could have expected, means straight music and no chatter. In honor of this upcoming weekends festivities, I'm going to attempt to set the mood. Friday, myself and

WAXPLOITATION! DJ's will be throwing the official funky president party at Club Deville, in celebration of our newly elected president. Then on Sunday, me and the Sock Hop gang will be twisting the night away at the Parish for the Second Sunday Sock Hop. It will be a long and dance-filled weekend.

I'll kick off with two funk jams in honor of Friday's gig, then hit you with two R&B cuts for Sunday's gig, then close it out with the clutch-and-hug ladies choice.

The Contributors of Soul -
We Can Get It On Later On

Charles Wright and the Watts

103rd St. Rhythm Band -
Must Be Your Thing

Earl King -
Everybody's Carried Away

The Ambers -
Never Let You Go

James Washington Lee -
I Need Somebody

Oct. 30th

2008-10-30T10:38:00.000-07:00

I seemed to have lost y'all with my antiques from last week, so I'll follow it up with some good-ole crowd pleasers. I haven't posted any funk for a while, so that's what I'll do. Me...giving the people what they want. Not more of that old-timey crap.

Gate Wesley & Band -
(Zap! Pow!) Do The Batman

In honor of the upcoming holiday, I'm posting the closest thing to a Halloween record that I have. (Zap! Pow!) Do The Batman is an amazing (and slightly novelty) funk/soul cut, and while Gate Wesley and his band have very little info to be found, Billy LaMont, the lead vocalist (and seen here), had a fairly fruitful career. He recorded through the 50s and 60s with the Okeh, Savoy, and King labels, as well as several small ones, too. His most notable 45, "Sweet Thing", features a very young Jimi Hendrix on it. He and the producer for "Do The Batman" (and many other LaMont recordings), Johnny Brantley, also worked on several recordings for Herman Hitson and for one of my favorite artists ever, Lee Moses. You can jam this one on your MP3 player while you terrorize the neighborhoods for sweets. Enjoy.

Allen Toussaint -
Get Out Of My Life Woman

I really can say nothing about this record that hasn't already been said. Toussaint, the premier producer in New Orleans for several decades, is backed by Art Neville and the rest of The Meters to do one of the most classic New Orleans anthems. The cut was originally penned by Toussaint, popularized by Lee Dorsey, covered by oh-so-many, and perfected here. Crucial.

Jodi Gales - You Gotta Push

This 45 is a recent find for me. As far as I can tell, Jodi Gales hailed from Illinois and released one other sought after 45, "Put your money where your mouth is" on the Savern label. Aside from that, all there is to say is enjoy the slice of Sister Funk!

Gail Anderson - I Can't Stop It

Gail Anderson. Guess What? No info. Surprise. The only known things about this record is that it's featured on a compilation of Galaxy rarities and that it was produced by the producer/A&R for Galaxy, Ray Shanklin, whose claim to fame, outside of running Galaxy with partner Cliff Goldsmith, was that he composed the "Fritz The Cat" soundtrack. Anticlimactic, huh? At least the track is slamming.

Kool & Together -
Sittin' On A Red Hot Stove

This record was high on my want list for many years and finally, I have one. The cut was produced by the Crazy Cajun, Huey Meaux, at his Houston based Sugar Hill studios. I've never heard of any information on the band ever surfacing but the label, Pacemaker, was primarily a country and swamp pop label to the best of my knowledge. Although it has been on 1 or 2 bootleg comps, I don't think it has ever been legally reissued. I would love to know if there were any other works of the time that compare.

Oct. 23rd

2008-10-23T12:19:00.000-07:00

It is normal for me to share my favorite 45s every week, which usually are some form of R&B, Soul, etc. This week I am switching it up, as I have decided to share one of my (equally as great) other passions. Over the last years, I have really taken to the sounds of 20's and 30's music. Because most music was released on 78s then, the die-hard collectors go for those, and the collections which were released on LP (which are compilations of the 78 material) usually can be found for fairly cheap. Throughout my getting into the sounds, and with the help of a certain 7-foot aficionado friend, I have become enamored with the Jazz Guitarist, Eddie Lang. This weeks blog is centered around him and his many various works.

Eddie Lang, to many, was considered the first virtuoso guitarist. His unique style incorporated all the finer elements of Jazz, Blues, and contemporary European musics, which were all just forming within the birth of the commercial music industry. Lang was born Salvatore Massaro, son to an Italian instrument maker who immigrated to Philadelphia. He studied the violin for 11 years before leaving it to play banjo, then guitar. He was 16 when he started to play professionally, where he joined the already formed Mound City Blue Blowers. Shortly thereafter became an increasing industry interest in his unique guitar work, which placed him in many recording sessions with the "who's who" of early jazz. As was/is common, Jazz thrived on the spontaneity and distinctness of the moment. Many sessions were unique, in that the line-ups would regularly change. Although he got around, Lang regularly worked with a violinist and childhood friend, Joe Venuti. They recorded many sides together and had a chemistry that was completely unprecedented. In fact, there would only be one other relationship that would culminate that was anywhere comparable, and that would be his ongoing work with fellow guitarist, Lonnie Johnson. Johnson and Lang, when together, had an impeccable talent for creating these huge, interwoven soundscapes, where one guitar can not be distinguished from the other. The mesh was flawless. Almost oppositely, Lang's playing with Venuti was more parallel. Because of the drastic difference in the harmonics of the violin and guitar, each player would stay on their respective side, usually making a combination which accents different octaves, heavy harmonies, or at times, can take the form of call-and-response. Lang's works with Lohnson and Venuti have become his most revered over the years, but he has also played as an accompanist for many greats and many great sessions. Throughout his career, he joined/played/toured with the bands of Louis Armstrong (& His Orchestra), Carl Kress, King Oliver, The Boswell Sisters, Benny Goodman, Bessie Smith, Bix Beiderbecke, and Tommy/Jimmy Dorsey. In the late 20s, Lang, along with Lonnie Johnson and King Oliver, began Blind Willie Dunn and His Gin Bottle Four. Dunn was a pseudonym for Lang, which was rumored to come from a newspaper vending friend of his, but others say was an attempt to cash in on African-American blues records which were growing in popularity (i.e. - Blind Lemon Jefferson,etc.). When Lang was 30, he was playing with popular vocalist Bing Crosby, and while undergoing a tonsillectomy, had complications and died due to blood loss. Below are select tracks, all of which feature Eddie Lang on guitar.

Joe Venuti & Eddie Lang - Doin' Things

Album: Venuti-Lang 1927-8 (Parlophone)

Personnel:
Eddie Lang - Guitar
Joe Venuti - Violin
Arthur Schutt - Piano
New York, May 4th, 1927

Lonnie Johnson & Eddie Lang - Handful Of Riffs

Eddie Lang & Carl Kress - Finding My Way

Album: Pioneers of the Jazz Guitar (Yazoo)

Personnel:
Eddie Lang - Guitar
Lonnie Johnson - Guitar
Carl Kress - Guitar
New York, May 8th, 1929 & Unknown

Louis Armstrong & His Orchestra - Knockin' a Jug

Album: Eddie Lang & Lonnie Johnson: The Jazz Makers (Swaggie)

Personnel:
Eddie Lang - Guitar
Louis Armstrong - Trumpet
Jack Teagarden - Trombone
Happy Caldwell - Tenor Sax
Joe Sullivan - Piano
Kaiser Marshall - Drums
New York, March 5, 1929

The Boswell Sisters - Shout Sister Shout

Album: Boswell Sisters - It's The Girls! (Living Era)

Personnel:
Eddie Lang - Guitar
Joe Venuti - Violin
Jimmy Dorsey - Clarinet
Tommy Dorsey - Trombone
also with Dorsey Brothers Orchestra
Unknown, April 23, 1931

Blind Willie Dunn's Gin Bottle Four - Jet Black Blues

Album: Eddie Lang - Joe Venuti: Stringing The Blues (CBS)

Personnel:
Eddie Lang - Guitar
King Oliver - Cornet
Unknown - Piano
Justin Ring - Percussion
Unknown - Vocals
Unknown, May 1, 1929

To close, here is a short clip of Eddie Lang playing with Joe Venuti...

Oct. 16th (wedding day)

2008-10-10T14:40:00.000-07:00

Today is the day in which I will marry my fiance, Inger.

Technically speaking, I am writing this with a few days to go, but you will be reading this and I will be scrambling to make sure all is in order, greeting families and friends, and generally freaking out. I have put together some appropriate wedding tunes (sorry, no research) for you to enjoy as I journey down the aisle.

See you next week, hopefully.

Trux - Rose Light

I just found this 45 this week. It hails from Grand Prairie, TX and when I heard it, we still needed a tune for my fiance to walk down the aisle to. When I dropped the needle, I knew this would be the one. Seems like a good place to start for today's theme.

Bo Diddley -
We're Gonna Get Married

Rico & The Ravens -
Don't You Know

Side Note for those who care:
This will be the track that plays at the end of our ceremony.

Spooner & The Spoons -
Do You Wanna Marry

The Flamingos -

I Only Have Eyes For You

Not an uncommon record, I know, but very crucial.

More Side Notes: This will be our "first dance" record.

Oct. 9th

2008-10-09T09:16:00.000-07:00

Life has been a whirlwind, hence the no-post last week. It continues to get crazier, and now that the record convention has come and gone, it's wedding time. That's right, next Thursday I am to be wed. Needless to say, I have very little time right now and although I will still be sharing some records with you (next week I'll have a special wedding edition!), I have no time to research them and write about them, as I usually try to do. Therefor, I hope you can just dig the tunes and when the dust settles, I can pick up on the stories that go with the music.

these are all 45's I picked up at last weekend's record convention...

Jessie Hill -
Oogsey Moo
b/w
My Love

Harold Smith -
If I Ever Lose Your Love

Les Cooper & The Soul Rockers -
I Can Do The Soul J erk

Bobby Harris -
Ain't That Love
b/w
Lonely Intruder

Sep. 25th

2008-09-22T07:55:00.000-07:00

The history of Tejano music spans back to the turn of the century, fusing the foundation of traditional Mexican music with elements of central and southern Texas immigrants (German, Polish, Czech). The polka bounce and accordion accent which is now most recognizable as traditional Tejano first became popular in the late '30s and blossomed more throughout the 40s. Tejano bands were hired to play weddings, parties, birthdays, etc. and the songs they played have now become legendary throughout the Texas Mexican-American communities. It was about 10 years later that traditional Tejano music, consisting mostly of Polkas, Boleros and Conjuntos, began to incorporate the sounds of modern radio music, namely the early rock-n-roll and doo-wop sounds. To be able to please the crowds at said functions, these bands would do covers of the latest national hits in between their songs, which were rarely heard or known outside of Texas. Especially with mid-to-late 50's doo-wop, the sound resonated and many Tejano bands made it routine to mimic and build upon it. Many of these early versions and originals are considered classics to this day, and can be found on many a "lowrider" style compilation. As English speaking music became more acceptable within the Tejano scene, an explosion of cross-cultured talent arose. Names such as Freddy Fender, Little Joe, Joe Bravo, The Sunglows, Sunny & The Sunliners, Spot Barnett, Royal Jesters, Augustine Ramirez, and Doug Sahm all contributed to make the backbone and foundation for Tejano, and Mexican-American music in general. I have put together some Tejano records that fall in the category of Chicano Soul an Rock and were all generally recorded around the mid 60's. When Tejano artists covered/created soul and rock music, there was always a slightly awkward edge to it. You can hear it usually in the vocals (and often the accordion accompaniment), the slight waviness which seems almost out of tune at times. It is almost as if the artists are trying to maintain the doo-wop style vocals and reuse them in the new format, which often had graduated too far for such an implant to work seamlessly. It is in these awkward moments and "slightly-offs" that i have come to love Tejano rock and soul. They hold an innocence and originality that, because of their "flaws", would never be allowed mass national exposure and a grit and "umph" that, although they are duplicating Black and White musics, represents uniquely and fully the 1950's and 60's Texas Chicano.

Sunny & The Sunliners -
No One Else Will Do

Sunny Ozuna is the Elvis, Beatles and Sinatra of the Mexican-American music world. No singer in Tejano history has made as much of an impact or had such a long and fruitful career. He began with a group called the Sunglows, then decided to leave Sunglow records and join up with Huey Meaux's Tear Drop label, where he reformed his backing band and called them the Sunliners. After an early tweak in members, the band stayed the same line up for over 10 years. As did most Tejano groups of the time, they predominately recorded polkas and boleros, but as the doo-wop and r&b sounds became more popular, they would find ways to incorporate these sounds into their sets to please their audiences. Sunny (seen here, on the right) has made several outstanding Chicano Soul sides, but after my years of searching them out, this one still remains my personal favorite.

Henry & His Kasuals -
Little Girl

Henry & His Kasuals is another in the long list of San Antonio bands with little-to-no information about them. Their only recorded material was released on the Cobra label throughout 1965 and 1966. The record credits the producer as Abe Epstein, who owned and played a significant role in many other Tejano labels, including the successful Jox label. Henry Pena was the leader of the Kasuals, who consisted of Gordy Saldivar, Frank Lujan, and Richard Hernandez. Henry was a local DJ at KUKA, which also employed another successful Tejano artist, Jesse Vallado (aka Little Jr. Jesse) at the time.

Los Stardusters -
All Night Worker

Little is known about Los Stardusters. There were releases by a Houston group called The Stardusters on the Pic-1 label (also run by Huey Meaux), but it has not been confirmed that they are the same group. Here they cover the Rufus Thomas classic "All Night Worker" and work it out quite nicely. There is an LP with the same name, and thus far, I haven't been able to track one down. One day.

The Royal Jesters -
Take Me For A Little While

The Royal Jesters are one of the more successful groups to have come from the San Antonio Tejano scene. They changed members quite often, but always maintained a quality group sound. When Dimas Garza joined the group in 1962, he brought to Tejano a profound increase in the soul and harmony that was becoming widely popular in black musics. The Jesters continued to produce great Chicano Soul, while implementing the hip sounds of the times. They even have more disco influenced records that aren't too shabby. This song is a bit of an oddity, combining the beefy production of soul music with a more pop-psych edge to the writing and arrangement. It gets a little "out there" at times, but is always followed by the minimalist bass and drums that really draw me to the track.

Side Note: There is very little written trail of information about the history of Tejano soul and rock. It is quite hard to find out who the players were and what happened when. To date, the most informative resource (and pretty much, only resource!) i have found is a book that was put out about a year ago, called "Chicano Soul" by Ruben Molina. It is quite informative and has many great pictures and label scans. I recommend checking it out.

Sep. 18th

2008-09-18T12:51:00.000-07:00

Although i have owned the book for quite a while now, i have finally started to read "Rhythm & Blues in New Orleans", by John Broven. Paired with the fact that i have started working on putting together next year's Mardi Gras show here in Austin, it has begun to stir up the intense longing for the music, food, and culture that hails from the greatest city in American history. I have put together 4 "double-siders", which for me capture the essence of New Orleans and not only the spirit of Mardi Gras, but the rich blood line of everyday NOLA culture and heritage. I hope you dig.

Professor Longhair -
Bald Head
b/w There Is Something On Your Mind

When speaking on New Orleans Rhythm & Blues, one of the first names to be mentioned will inevitably be Professor Longhair. While Fats Domino had the most fruitful career to come out of the Crescent City, Longhair (or Fess, as he was called) undoubtedly had the most respect. To this day, every New Orleans musician I've ever heard or read, credits Fess as the backbone of the cities distinct musical sound. Fess (for whom my son is named after) began recording in the late 40's under his given name, Henry Roeland Byrd. His biggest hit was his first release, "She ain't got no hair", which is the original version of "Bald Head", as heard here. Throughout his career, he managed to record several prolific sides for the Mercury, Federal, Atlantic, Ebb, and Ron labels. This single was the last that Longhair would ever release, as his 3rd for the Watch label (the 1st being the titanic "Big Chief" and the second being "Third house from the corner"). On the other two Watch sides, the vocals were done by Earl King, with Fess on piano. With Fess returning to his awkward vocal style, he updates and personalizes not only his first hit, but "There is something on your mind", another New Orleans standard made popular by Bobby Marchan, of Huey Smith & The Clowns fame.

Clarence Henry -
It Won't Be Long
b/w I Found A Home

Clarence "Frogman" Henry's claim to fame was his big hit, "I ain't got a home", where he mimics a frog and a girl for two of the three versus. Oddly enough, the songs success put him in the big leagues, where he was able to perform with Ike & Tina, James Brown, and even tour as the opening act for the Beatles for a small stint. This 45 was released 1 year later, as a follow up to the big hit. The B side, in fact, is the response, entitled "I found a home". "Frogman" started out his musical career emulating the styles of Fats and Professor Longhair. He was even said to have dressed up like Fess for a school talent show. All of the early pioneers in New Orleans music can be heard in these two songs, along side a decent dose of the up and coming rock and roll sound, a combination that many New Orleans musicians to come would embrace and try to duplicate.

Earl King -
Those Lonely, Lonely Feelings
b/w You Can Fly High

Earl Johnson, AKA Earl King, was a power player in the New Orleans R&B scene for most of his life. He began early, playing guitar and duplicating the sound of his idol, Guitar Slim. He then had the opportunity to BE Slim, when Slim was injured and he sat in, posing as the Guitar great. King went on to record several sides for Savoy and Specialty, but when he landed at Ace, he stayed for 5 years and recorded/composed some of the more amazing sides the label has ever released. This record marks the beginning of his Ace career. "Those lonely, lonely feelings" put King on the map, peaking at #7 on the R&B charts. After his Ace deal, King went on to write and perform many hits, including "Trick Bag", "Come On", and the Mardi Gras staple, "Big Chief."

Dejan's Olympia Brass Band -
Gotta' Woman
b/w Tuba Fats and Drums

The Olympia Brass Band, led by Harold "Duke" Dejan, has a history longer than any band I've ever heard of. The band dates back to 1883 and while the sound and influences of the times have caused the band to morph their music (as well as their name), the traditions and focus always stayed the same. Olympia single handedly paved the way for all the modern-day Brass Bands of New Orleans, including Dirty Dozen, Rebirth, Hot 8, and the Soul Rebels (who used to be known as the Young Olympia, a youth program of sorts, overlooked by Dejan). Dejan's band was the first tradional styled jazz band to emcompass the rising R&B sounds which rang through the city. Of course, even the covers, such as this version of Ray Charles' "I got a woman" (called here, "Gotta' Woman"), are as close to the originals as they are to the Dixieland roots of the Brass Band. The sound falls somehere offet, in the middle where, if you take a step back, you can see that the most influential and progressive music in New Orleans' history tends to be. A fusion (or gumbo, if you will) of all the key factors in society and culture. As many close friends know, i have been fascinated with the history of the Brass Band in New Orleans and continue to do research for their music and stories. I am sure that i will be sharing more of my finds with you in the future.

Sep. 11th

2008-09-11T09:16:00.001-07:00

Patty & The Emblems -
Mixed Up, Shook Up Girl

Patty and The Emblems were a relatively one-hit-wonder, with this being their one. The tune was written by Leon Huff (of Gamble and Huff fame) and was originally released in '64. The group and Huff both hail from Camden, although Huff later moved to New York, then Philly to do work on many successful sessions (i.e. The Ronettes, Carol King, etc). Pat Russell lead the group, which was also comprised of members Eddie Watts, Vance Walker, and Alexander Wilde. "Mixed Up, Shook Up Girl" reached its climax at #37 on the Billboards. They went on to do more recordings for Herald, then Congress and Kapp, but all fell slightly short of the hit mark.

The Sevilles - Baby

This LA group is a mystery of sorts. The members weren't exactly clear, but it is known that they share members with another L.A. group, The Jaguars (seen in pic), including Manny Chavez and Herman "Sonny" Chaney. The songwriting credits throughout their career elude to the idea that there might have been switch in members over the years. The Sevilles recorded for several West Coast labels, including JC, Cal-Gold and Galaxy. Through the moves, they maintained a strong relationship with producers Fred Smith and Cliff Goldsmith, most famous for their work with another L.A. group, The Olympics. The biggest hit for The Sevilles was "Charlena", which was released originally on JC, then again on Galaxy. "Baby" was released in 1963, and was to be the last record put out by the group. As is the L.A. style, I am assuming they probably disbanded to become involved in other projects.

The Royal Masters -
You're The One
b/w
Don't Leave Me This Way

I recently went to Houston, to sit in on a dj set with my buddy Brett Koshkin. The following day, I ended up scoring this record through one of our mutual friends. This is a doo-wop grail of sorts, and both sides are completely mind blowing. The Royal Masters cut this 45 in the late '50s, and it is produced by the amazing and notorious Huey Meaux, better known as THE Crazy Cajun. Meaux shopped this record to NY-based Guyden, but no too long after its release, the band, lead by songwriter Fred Kibble, changed its name to Masters of Houston and then to Masters of Soul (seen in pic) and began to put out several colossal records for the legendary Houston label, Ovide. - Thanks to JW for lacing me with this one!!

Side Note: Brett Koshkin is a music writer and also has a blog featuring rare Houston soul, psych, and garage. It can be found HERE.

Wesley Paige & Master Three -
Got To Find Out For Myself

This soul stomper has been one of my favorite spins as of late. There is no info to be found on Wesley Paige (or the Master Three), but the label, Rojac, has a profound and soulful history. The New York label has many collectible 45s including a roaring version of "96 Tears" by Big Maybelle and the funk grail "Baby Don't Cry" by The Third Guitar. The label was run by Jack Taylor, who also ran it's sister label Tayster. Taylor penned most of the Rojac library, including this upbeat B-side, as well as the deep soul flip. Towards the early 80's, Taylor steered Rojac in the direction of the up-and-coming Hip Hop scene and released several influential rap singles, including several by pioneers Lovebug and Starski.

Sept. 4th

2008-08-31T14:59:00.000-07:00

To kick things off this week, I'd like to plug a new site that my buddy Mike Hooker and I developed. It is called RnB45.com, and is a site/forum dedicated to promoting, selling, trading, and general chat on the subject of records, in particular, 45s from the 50s through the mid-60s. If you dig what i have on my blog, come check it out.

This week, I've got 4 records that are all more obscure songs done by fairly well-known artists. I have always enjoyed trying to hunt down those lesser-known, outstanding titles by established artists. It's a lot like finding a big Hollywood actor's small, quality art film. Or discovering your favorite restaurant has a delicious non-menu item. It is basically the theory of the "road-less-traveled" side of the road more traveled. Because the artists were all decently popular and have plenty of resources for biography, discography and related info, I am going to take this opportunity to play hookie (sort of) and just share the tunes. I'll offer some links to info on the artists, for those who would like to know more about them.

See y'all next week with more goodies...

The Isley Brothers vs. The Coasters...

Here are two very different versions of an amazing, not-so-known tune, both of which were put out by Atlantic Records. The Isley version was released in February of '61 and the Coasters' version was released exactly 1 year later, in February of '62.

The Isley Brothers -
Teach Me How To Shimmy

More On the Isley Brothers

The Coasters -
Teach Me How To Shimmy

More On The Coasters

And More...

Betty Lavette -
Let Me Down Easy

More On Betty Lavette

John Fred & The Playboys -
Highheel Sneekers

More On John Fred & The Playboys

Don Covay -
Shingaling '67

More On Don Covay

Aug. 28th

2008-08-28T08:49:00.000-07:00

Thanks to all the folks who have been writing me and commenting on my blog. Seems like i'm getting into a groove. I don't remember a time when i enjoyed studying so much. Such is life.

in to the grooves...

The Spidells - Find Out What's Happening

The Spidells' 45 is one of my more exciting finds of the last year or so. They only released 3 records (to my knowledge), 2 for the Nashville-based Monza label, and one several years later for Coral. "Find Out What's Happening", cut in '64, is the perfect blend between all of the prominent sounds of Nashville at the time. Throughout the song, it leans towards being Rockabilly, then R&B, then Doo-Wop, and never really settles into one perticular style. This song was their closest ever to a hit and later recieved some notariaty when it was covered by Elvis. The Spidells (seen here holding copies of this record) originally were formed at Tennessee A&I State University (now known as Tennessee State) in 1962. The group was comprised of 5 vocalists, four freshman and one senior. The group was backed musically by another college band called "The Exotics" (bottom left), who mostly were a party band, but backed several other Nashville groups at the time. The groups 2nd release, "Hmm...With Feeling Darling", falls a little short in comparison to their debut, but it and the flip are both decent tracks.

Art Neville - You Won't Do Right

As being one who worships and studies New Orleans R&B/Soul/Jazz, there are several family names which can not be avoided (i.e. - Batiste, Barbarin, Carbo, etc.). At the top of the list, though, is the Nevilles. They were easily the most influential band-of-brothers (and cousins, etc) in the New Orleans scene. The early works of the Nevilles tend to be overshadowed, but i prefer them over the latter in many instances. What few know is that Art (oldest of the siblings), truly paved the way for the Neville's stardom. His first release was as the lead singer of the Hawkettes, whose classic parade anthem, "Mardi-Gras Mambo", though released in '54, can still be heard throughout the streets of NOLA to this day. He then had a stint working for Specialty Records, where he released several solo records and backed many of the big names playing piano and sometimes singing. He can be heard (barely) as one of the backing vocalists on Little Richard's "The Girl Can't Help It" and as the pianist on Larry Williams' "Oh Baby" and "Rockin' Pneumonia" and on Jerry Byrne's "Lights Out." In 1960, his brother Aaron took the stage and started recording for the Minit label. The following year, Art signed to the Instant label, where he would stay nearly a decade. Throughout his stay at Instant, Art rarely ventured out. The only side projects he did at that time were backing Willie West on his early Frisco recordings and cutting two solo 45s for the (very small) Eddie Bo affiliated, Cinderella label. Around the 67, Art ( founded one of the most prolific bands to come from the Crescent City, The Meters (pictured here, Art in black). They started as studio musicians for Allen Toussaint's Sansu/Amy work, backing the likes of Lee Dorsey, Betty Harris and many others. They then recorded their own material, which would place them at the forefront of the New Orleans soul scene.

Leon Haywood - Cornbread and Buttermilk

Houston native, Leon Haywood has been amidst the movers and shakers of the R&B and Soul scenes since the early 60's. He has played with the likes of Guitar Slim, Sam Cooke, The Packers, Dyke and the Blazers and many more. This cut is actually the B side to one of his only charting records, "It's got to be mellow." I prefer the "Cornbread and Buttermilk" side over the A because the organ work is in the pocket and the drums stay mellow but snappy the whole time. My cup 'o tea. After this '67 release, Haywood went on to score a hit with "I want to do something freaky to you." He also wrote several hits for others through the 70's and 80's, the penicle being "Bad Mama Jama" for Carl Carlton.

Side Note: I'll be adding a Haywood organ rendition of the Bobby "Blue" Bland hit, "I'll take care of you" sometime in the next few weeks, so look out for that.

Gentleman June Gardner - It's Gonna Rain

Albert "Gentleman June" Gardner was a drummer in the New Orleans jazz and R&B scenes throughout most of their early histories. He began playing mostly jazz in his early professional career, making his early name with a group called the Gandoliers. He then moved on to backing Lionel Hampton and Roy Brown for brief stints. Towards the mid-'60s, he took up with Sam Cooke's band, and often toured with them until Cooke's death in '64. Around New Orleans, he also received a lot of work backing many of the staple R&B artists of the time. He did a number of sessions for the Toussaint-famed Sansu label, as well as some Amy work, including the Lee Dorsey sessions for "Working In A Coalmine", and the other pre-'67 hits. He only cut a few solo 45s, the most noteworthy being "99 plus 1", which he originally recorded for the New Orleans based Hot Line label, who sold the rights to the Mercury subsidiary, Blue Rock. The song became a hit amidst the musicians scene because of its balance in blending the soulful side of jazz with the modern (at the time) sound of R&B. June (barely seen here on drums) also put out a solo LP, entitled "Bustin' Out" on the Emarcy label, which includes "It's Gonna Rain", as well as some previously recorded material. This song was originally written by Sonny Bono, and was released as the Sonny and Cher B-side to "I got you babe." Go figure.