FMF Guest Mix Series: COOP

The artist COOP and one of his amazing pieces.

Well, I’ve been talking this up for a few weeks, and since I had a really great response, I figured I would start this Guest Mix Series off a little earlier. Our first guest, if I can be honest, I’ve been a fan of for quite sometime. I was first introduced to his art in college via various Rock posters. One that really sticks in my mind was a Southern Culture on the Skids poster for the Troubadour, which portrayed a Rat Fink looking ghoul farting while simultaneously having sex with some country bumpkin girl in the back of a hot rod. I believe I was sold on COOP shortly after that. Fast forward to 2007, and imagine my surprise that an artist I admire is a fan of Flea Market Funk. Music and art go hand and hand, and I am honored to kick off the Guest Mix Series with this man. He’s got great taste in music, plus an insane knowledge and appreciation for all things that are Funky; whether it be cars, toys, photography, etc. When not creating mind blowing duotone paintings by hand, or hanging out with major league photographers taking great photos, he can be found over at Positive Ape Index giving you a peek inside his world. Here’s a nice mix from my man COOP.

1. No No No / Dawn Penn
2. Barbwire Disaster / Augustus Pablo & King Tubby
3. Kentucky Skank / Lee “Scratch” Perry & The Upsetters
4. Steppers / Scientist
5. Ital Stew / The Revolutionaries
6. Chucky No Lucky / Big Youth
7. Vigorton Two / King Stitt
8. Surfin / Ernest Ranglin
9. Throw Me Corn / Brentford All-Stars
10. Electric Shock / The Music Doctors
11. Mun-Dun-Gu / Cedric ‘Im Brooks & The Sound Dimension
12. Bionic Horn / Aggrovators Feat. King Tubby & Bunny Lee
13. Coco-Macca / Vin Gordon, Lee Perry & The Upsetters
14. K.G.’s Half Way Tree / Augustus Pablo & The Simplicity People
15. Natty Dread Dub / The Revolutionaries
16. More Scrubbing the Dub / Derrick Harriott
17. Middle East Rock / Dillinger
18. Meditation / Count Ossie
19. Ghetto Organ / Jackie Mittoo

Dig The Ghetto Organ: A Jamaican Mix Made by Coop for Flea Market Funk.

Buy COOP’s art here.

Welcome Back with Damp Diggin’

Every table was wet, but records were to be found if you dug deep.

It seems like it’s been a while since I hit the Spot. It actually has. The weather finally broke this morning, and I was up early on my way to a damp, wet, flea market that could have been a wash out. I think people were so eager to just get out, that they didn’t care about the dank feeling in the air. They just wanted to sell or buy, and for me, I needed to get my hands dirty and find some scores. Jack the Ripper beat me there first and called me with a report: water everywhere, and lots of people setting up. With some Coltrane blaring I hit the road and pulled into the Spot. As soon as I got out of the car I got bum rushed by the Meatball. “I’m now selling to the public”, he blurted out. Now selling to the public? Who were you selling shitty records to, Iran? He had some bad Disco, but a nice Black Jazz piece dangling in front of me. I passed, he wanted way, way too much for it because he saw it on E Bay for some ridiculous price. I hit up the Old Man, who had a small stash of Funk and Soul for me, plus some Jazz Lps in a crazy metal box. There was no Stinkie Steve today, but word has it he was trying to move between two tables and his big Caddy was a little too big, resulting in ripping the handle off the car and scratching the thing like it was in a Dukes of Hazzard car chase. With Steve out of the picture, I only had to deal with Eggbeard, who was, of course being himself. He was moving at a pace of a speed walker (at his age is fast, he’s old), and was lurking around the vehicle of Johnny No Change (”No Change man, sorry”). Johnny talks a good game, but sets up late. He has two (but only brought one today) kids and this wife who is always chasing them around. Bringing kids to the fleas is a tough move, and JNC has his hands full. Johnny No Change eventually set up, but I didn’t have to put up with Eggy at his table too much today. I saw the Psycho Killer casing his prey, a life size doll baby with horse hair. Rob Hell made an early appearance, but I’m sure there wasn’t enough action for him. I don’t blame him. Big Gay Joe was singing “Sunrise, Sunset” over and over, and didn’t blink an eye as I pulled out some 90’s Pete Rock produced goodness on 12″. The records were kind of scarce, but JNC, the Old Man, Big Gay Joe, and my man Wally were good to me today. JTR had to bolt so Silent G and I finished out the morning by grabbing what we could from Johnny No Change. No $3000 Psych records to be found today, much to the chagrin of certain record dealers. Speaking of Psych, Psych Dave, where are you? Call me, I need a fix.

Here’s today’s scores for those who have a scorecard:

Lps:
O’Donel Levy - Dawn of A New Day/ Groove Merchant
Phil Woods - Round Trip/ Verve
InI - Fakin Jax/ Elektra
Neil Young - Neil Young/ Reprise
Ahmad Jamal - Free Flight/ Impulse!
Kings and Queens of Soul - Various Artists/ Columbia
Ralph MCDonald - Sound of A Drum/ TK

45s:
The Sweet Inspirations - To Love Somebody/ Atlantic
Neil Diamond - Girl You’ll Be A Woman Soon/ Bang
Joe Cocker - Woman To Woman/ A&M
The Searchers - Hi Heel Sneakers/ KAPP
The Ventures - Out of Limits/ Liberty
Peggy Scott & Jo Jo Benson - Lovers Holiday/ SSS Soul
The Unifics - Court of Love/ KAPP
Donald Byrd - Change (Makes You Want to Hustle)/ Blue Note
Isley Brothers - Warpath/ T Neck
The Free Movement - I Can’t Convince My Heart/ Decca
3 Stars - Jersey Slide/ Stang
Major Lance - Everything I Need/ Osirus
King Curtis - Jump Back/ ATCO
Syl Johnson - Bout To Make Me Leave Home/ Hi

The True Face of Jack the Ripper

Keep Diggin’!

Roy Ayers Ubiquity - Everybody Loves The Sunshine

Roy Ayers Ubiquity - Everybody Loves The Sunshine from the Polydor Lp of the same name

It seems like just when a few nice days come about, I’m either working inside all day in New York City, and by the time I get to enjoy things, the weather has switched to rain. That’s the case for about the 4th week in a row, and the forecast for the weekend doesn’t look any better. I was hoping to get some digging in this upcoming weekend, but like a Magic 8 Ball would say: “All signs point to no.” There is one glimmer of hope, as my man Greg from Highland Park will be having his monthly sale on Sat. morning, so I may hit that. That being said, I’m trying to con myself into thinking the weather is good. I do not have to con myself into thinking this record is good, however. Before I jump into it, shouts to the people who have jumped aboard The FMF Guest Mix Series, also shout out to Colin over at Keeping Soul Alive, who is doing a bang up job of putting out a mix a week, and is on post 2500. Good on you Colin. Now let’s get back to business with Roy Ayers Ubiquity and “Everyone Loves the Sunshine” from 1976 on Polydor Records.

Roy Ayers was born in Los Angeles, CA in 1940. He came from a musical family, where his mother played piano, his father trombone. Although he was given some vibes mallets by Lionel Hampton at an early age, he would continue to go to public school and not get into the instrument until he was 17. It didn’t hurt that his neighbor was a young Bobby Hutcherson either. Early gigging with Chico Hamilton would lead to a stint at the famous Lighthouse in Hermosa Beach, where Herbie Mann would grab the young vibist up for six years. During that period he’s recorded on his own: Virgo Vibes, 1967; Stoned Soul Picnic, 1968, and Daddy Bug in 1969. Ayers would come into his style in these years, and eventually break off from Mann (not before recording one of my fave records: Memphis Underground with him) to form Ubiquity. This R&B/ Jazz/ Rock ensemble if you will, would be influenced by Electric Miles Davis and Herbie Hancock among others, but would also feature players such as Alphonse Mouzon, Billy Cobham, Sonny Fortune and others. He would add wah wah and fuzz tones to his vibes, and really get experimental. His relationship with Polydor Records was fruitful, scoring the soundtrack to Coffey starring Pam Grier, but his sound was about to change. Disco was just starting up, and Ayers would move along, as many artists did with the times. His fusion type stuff led to Disco influenced beats and dance floor friendly numbers. On the way as a band leader, he did put out some great stuff, including Mystic Voyage (”Life Is Just A Moment” is a favorite side of mine), “He’s Coming”, “A Tear to a Smile”, “Change Up the Groove”, “Vibrations”, “Lifeline”, “Fever”, and many others. His massive dance floor groover “Running Away” spawned from Lifeline. Roy still continued to be a trailblazer, and in 1979 went to Africa with Fela Kuti to tour, made a record together, and became even bigger. Through the 80’s Ayers would go on to form his own record label Uno Melodic, and got his career revived by guesting on the original Jazzmatazz series by Guru. (Let’s not forget the guest he also did with Jazzy Jeff and the Fresh Prince!) The man continues to be a pioneer in Jazz, Soul, R&B today.

“Everybody Loves The Sunshine” is one of Ayers most well known hits. Just because it was popular, doesn’t mean it wasn’t dope. The man was straight slick on this track people. Ayers was mixing his Funk style with some smoother R&B, and the outcome, to me, was pure heaven. Keeping it soulful, Ayers and company were moving, and pushing into another direction. While it may not have been busting down the Pop charts, it has been considered a classic. Nothing puts you in Brooklyn in the middle of a Summer heatwave and has you “Getting Down in the Sunshine” than this very side. He got some great help on this record as well: Ayers on vibraphone, vocals, electric piano, Arp synthesizer, Arp string ensemble, and percussion, Philip Woo on piano, electric piano, Arp synthesizer, and string ensemble, Doug Rhodes on drums, Chano O’Ferral on congas and percussion, and finally, the Chicas on vocals. With a stellar line up like this, he couldn’t go wrong. I’m hoping wherever you are this song has chased some rain away, or just made you feel like being in the sunshine. Keep Diggin’!

Tony Newman - Soul Thing

Tony Newman and his Boxer band mate Ollie Halsall

The label is beat but the song is pure HEAT!

Tony Newman - Soul Thing from the Parrot Records 45

As real world moves encroach on my blog world this week, I bring you a really great record, that was passed on to me many years ago from the sale box of on Larry Grogan from Funky 16 Corners. I had just started to make the serious transition from Lp and part time 45 collector to full on 45 junkie. Larry said: “You might be interested in this.” As a matter of fact, I was, and have played it out (at the inaugural Asbury Park 45 Sessions), and included part of it on the first Flea Market Funk Mix/ Podcast from last February. Before I get into this, I’d like to shout out my friend and great DJ, DJ Andy Smith. Congratulation to the King of the Document Mix Series and his missus as they celebrate the birth of their two new twins. Best of luck. Andy can be seen working doubles (of kids!) on his MySpace page and website. Here we go midweek with Tony Newman and “Soul Thing” on Parrot Records.

Richard Anthony “Tony” Newman was born in 1943 in Southampton, Hampshire England. Inspired by a combination of Bill Haley’s “Shake, Rattle, and Roll”, and Louis Belson, Newman would escape a not so great home life by playing drums. His perseverance and natural ability landed him a gig on Gene Vincent’s 1960 record “I’m Going Home”. From there he has played with as Sounds Incorporated, Jeff Beck, David Bowie, Three Man Army, T.Rex, May Blitz, Donovan, Mick Ronson, and a long list of notables. He at any time, would open up for The Beatles, and many other major league acts. Newman tells tales of opening up for the Fab Four at Shea Stadium in 1969, and for the most part was a veteran studio drummer and all around journeyman musician throughout the Rock scene. Apparently quite a character as well as a bad ass drummer, the Englishman would eventually relocate to Nashville, where he’d be involved with Crystal Gayle and the Everly Brothers and Country Music. He now resides in Las Vegas, where he still performs.

“Soul Thing” does not disappoint. A Hammond monster with a heavy drum beat provided by Newman, I can easily say that this is one of my most favorite 45’s. Newman took a cue from UK library guru Keith Mansfield on this side, and put out one of two solo efforts in his career (the other was “Hoolie Ghoolie”). There’s lots of funny coincidences about this side, Quentin Tarantino has used it in both Kill Bill and Death Proof ( it was background music before both films), also pointed out to me by a coworker as the theme song from Queen Street Gang by psych/ fuzz band Arzachel. That version was a bit slower, but there is no mistaking it’s “Soul Thing”. You can read more about this record in the old Funky 16 Corners webzine from back in the day. Another shining example of a non Funk or Soul guy laying down some funky, funky stuff. FMF recommended. Have a great one, and we’ll see you Friday. Keep Diggin’!

Freddy Robinson - Black Fox

Freddy Robinson - Black Fox from the World Pacific Jazz 45

Here we are on Monday. It was a long weekend of DJing, and I am trying to enjoy a day of sunshine finally. But before I do that, I need to get this record out there. What better way to celebrate a nice sunny day with some Bluesy Jazz Funk. I am a fan of the Blues, and I sometimes feel as if I should probably cover the genre a bit more, as artists cross over from Blues to Jazz to Funk and back again. Before we get into this slice of goodness, I wanted to say that I have another Guest DJ for the Flea Market Funk Guest DJ Series. It’s the one and only Devil Dick, who will be throwing out a specialty mix of his own. I’m not gonna give it away, but it’s supposed to be on the rare side. I’m looking forward to that one for sure. At any rate, let’s slide into a Monday morning 45, shall we? Here’s Freddy Robinson and “Black Fox”, on World Pacific Jazz Records from 1969.

Freddy Robinson was born in Memphis, TN in 1939. He grew up in Arkansas, and started playing the guitar at the age of 9. Initially he was a Bluesman, playing behind such notables as Little Walter, Willie Dixon, and Howlin’ Wolf. His biggest asset was that he could really just switch up genres, and that’s a favorite here at FMF. He could go from a Blues to a Jazz context with no problem, and is most likely one of the reasons he was able to get a variety of studio musician gigs. That ability to switch it up had him appear on Cobblestone, Checker, Queen (King subsidiary), Enterprise (Stax subsidiary), ICA, Liberty, and Checker. Besides his Blues work, he’s done records with Monk Higgins (who wrote this side), the Blossoms, aforementioned Little Walter, Louis Armstrong, Jazz Crusaders, Blue Mitchell, John Mayall, Stanley Turrentine, amongst a throng of other people. He was flexible in both bass guitar and the guitar, which of course gave him an advantage as a studio musician as well as a front man. Later on in life, he would convert to Islam and change his name to Abu Talib. World Pacific Jazz was a division of Pacific Jazz Records (after it was bought by Liberty Records), founded by Richard Bock and Roy Harte in 1952. They boasted a roster of Paul Desmond, Chet Baker, Gerry Mulligan, and Gerald Wilson, among others. Known for that cool, West Coast Jazz sound, it was later bought up by EMI.

“Black Fox”, to me is a great way to start off your week. Robinson’s guitar moves me as Grant Green or Wes Montgomery does. With the addition of the strings (Monk’s doing?) and a beautiful piano throughout, “Black Fox” is smooth and sexy. Despite not being a household name, Robinson definitely made an impact on not only the people he played with, but for himself, as a Blues/ Jazz guitar virtuoso. It always makes me happy to see a guy who can do things his own way and plow a successful path doing his own thing, on his own accord. By no means was his career a cakewalk, all artists struggled in that time period. Whether it be race relations, or just struggling to get your music accepted by a closed ears society, Robinson pushed on to have a successful career. I hope you enjoyed this side as much as I did, and until the next time, Keep Diggin’!

Outer Space Mayhem at the Lanes

Phenomemauts

the AKA’s

Maldroid

Along with the specialty nights I do at Asbury Lanes, I also DJ there when bands play. I got asked to do this show a while ago, and despite some severe back pain , I’m glad I stayed on the gig. The tour that rolled through your favorite Jersey Shore town (at one time the only Ghetto on the entire East Coast): The Phenomemauts, the AKA’s, and Maldroid,was quite a party. This eclectic trio of bands, a punk rock band sandwiched in between a “Space Surf Rock” and a some electronic party business, was too much of a good time. The smaller crowd was a bit of a damper, but the music and people there themselves, were quality. I enjoyed doing what I do, playing the Deep Funk, Soul, Reggae, and Classic Hip Hop, along with some Punk Rock and Rock breaks, and the crowd surely stuck until the end. It’s not often that I actually enjoy every band I play with, but I can honestly say that last night I did, and I wanted to give the bands a shout out. Thanks to Jerry from Maldroid, Josey and Mike from the AKA’s, and all the Phenomemauts who made my night by digging the music, and also shooting toilet paper onto the crowd with some sort of futuristic leaf blower/ gun. I will definitely spin again when you guys come though town. For those of you who are interested, check out the band links. I’m off to spin again tonight at The Brickwall, and hopefully catch up from a hectic week tomorrow. Keep Diggin’!

Music Specialists - Dynamic Pressure

Music Specialists - Dynamic Pressure from the Steady Records 45

Here we are at Friday already. I was feeling some Reggae vibes as I went through my records this week, and I decided to put this piece of organ filled Reggae hotness on the turntable. I knew it would be a challenge to get much info about it, but I felt it sat in the pile labeled “For Review” for far, far too long. Before I do, I would like to add COOP and Aaron Soma to the list of Guest Selectors in the FMF Guest DJ Series. I am really excited about this series, and like I said yesterday, as the list keeps growing, I will keep you posted on who’s on board. For now, let’s check out “Dynamic Pressure” by the Music Specialists on the Steady Records label out of Kingston, Jamaica.

This is a record that has been in my queue for quite sometime, and honestly, I have not found too much about. It’s been one of several I have dug up on the Steady Records label, which has New York City address. This record itself was recorded at one of the first record studios to start recording reggae singles in the early 1960’s, Federal Record Manufacturing Co. Ltd., on Marcus Garvey Drive, in Kingston, Jamaica. While the writers of the song really turned up no dice, the producers were a bit easier to track down. I say a bit, which means really only a bit. Jamaica is notorious for releasing hundreds upon hundreds of records a week, and there really is no “Who’s Who” of thousands upon thousands of studio cats. If I could only be so lucky. Ken Lazarus got his start as the lead singer for Byron Lee’s Dragonaires. He became a household name in the Carribean, and was known for his many popular covers. Then again, what Reggae musician do you know that didn’t have a grip full of commercial covers (most better than the original) in their repoirtoire of songs? Lazarus did have that, and eventually would change up his style later on his career, focusing on a more Rootsy approach to his music. He would arrange and produce, as he did on this record, for artists such as Ernest Ranglin, again on the Steady Records label. He’s been associated with The Blues Busters and Derrick Harriot among others. As far as Richard Khouri goes, allegedly his involvement as a producer at Federal, was his relation to Ken Khouri, the owner of the famous recording studio. He’d produce for Steady and also Trojan, and has been featured as a producer on many of the reissue Reggae comps floating around, most notably the Trojan stuff

So who were the Music Specialists? I do not know. If I had to hazard a guess, I’d say a group of studio musicians who decided to cut a disc or two on their off time. Whoever they were, they knew what was up. This piece of funky reggae can give Funky Nassau or Funky Kingston a run for their money. It may not have been the most popular of records (that I know of), but it’s a side like this that puts a smile to my face, reminding me of blazing hot Summer days on the beach, and a group of cats making music in Jamaica just to make it. I can see it now in the studio: smoking ganja, getting in the groove, and proving that they were really music specialists. Have a great weekend and Keep Diggin’!

Guest Mix Series and a Nice Write Up

I know that I normally do not post up on Thursdays, but today is a special occasion. It’s been two weeks in a row that I got some shine here in the blogosphere from some good people. Eric over at Dirt Castle was kind enough to put me up with the big boys and their mixes last week, and Evan Mix of Listen In did a feature on FMF yesterday. It definitely excites me that this blog is getting out there to people that are as passionate about this music as I am. Big Ups to all of you, and more great things to come here in the future.

Which leads me to the following announcement: The Flea Market Funk Guest DJ Series is about to kick off at the end of this month. I told you I wanted to do something special for the first year anniversary, so I decided to combine that with my rapid approach to 200,000 hits (which is unbelievable, it seems that I was just at 100,000). I’ve sought out a bunch of people who have been contributing to this Funk and Soul game for a long time, as well as some of my peers, who definitely have some great music to share. This list is far from complete, but as of FMF time today, I had commitments from the following DJ’s:

-Cosmo Baker (The Rub)
-DJ Mr. Supreme (Soul Gorilla)
-Larry Grogan (Funky 16 Corners)
-Jason Perlmutter (Carolina Funk)
-DJ Bluewater (Bluewater Music)
-COOP (the Artist)
-Aaron Soma (Milwaukee, WI )
-DJ Prime (Prime Cuts Ltd.)

I’m pretty excited to start this off, and even more excited to bring some other DJs into the mix. I will keep you posted on the progress of the project and when exactly we’re gonna kick it off. Thanks for all the support and Keep Diggin’!

Shirley Scott - Soul Shoutin’

Shirley Scott - Soul Shoutin’ from the Prestige Records Lp of the same title

With all this inclement weather coming my way this week, I thought I’d put some music out there that reminded me of a sunny Spring day. It’s music like this, that I can listen to anytime, but what really makes me feel like I’m hanging out on a day with no rain. I’ve been buying up everything I can find out in the field from this woman. It’s this kind of Jazz that I featured on The Real Roast Mix previously. So, no matter where you are, let Shirley Scott give you a bit of “Soul Shoutin’ ” with Stanley Turrentine on Prestige Records.

Born in the City of Brotherly Love, Philadelphia, PA in 1934, Shirley Scott would start out her musical career by playing the piano and trumpet. However, she’d make that progression to the B-3 Hammond, in the vein of maestro Jimmy Smith, and turn be one of the most notable female Jazz organists around. A Philadelphia Jazz scene veteran, Scott would often play with a younger John Coltrane. She caught the eye of Basie alum Eddie “Lockjaw” Davis, and her recording career began. Scott and Davis would record many a record, most recognized for their 1958 hit “In the Kitchen”. Her career was long and she recorded for all the big labels: Prestige, Impulse, Cadet, Atlantic, Strata East, and much later in her career, Muse and Candid. She would marry saxophone great Stanley Turrentine, where she would make most of her greatest music with. Scott stood out, not only because she was female, but because her mastery of of the organ and versatile playing of Jazz, Blues, Gospel, and eventually a newer genre called Soul Jazz. The organ’s popularity would soon fade out, but regain it’s popularity in the early 80’s. Masters like Groove Holmes, Jimmy McGriff, Jimmy Smith (who Scott was a great admirer of) would be back on the scene respectively, still tearing it up throughout the country. Despite their age, Soul Jazz had made a bit of resurgence, and these players were exposed to a whole new appreciative audience. Shirley Scott’s health would fail, as she would be involved with the drug fen-phen, eventually winning an $8 million lawsuit from the manufacturer before she succumbed to heart failure in 2002.

“Soul Shoutin’ ” is a brilliant piece of Soul Jazz for sure. Scott and Turrentine are both playing like they hadn’t a care in the world, almost if they were just happy playing as husband and wife. Drummer Grasella Oliphant (Grant Green, Bobby Hutcherson) keeps the time on the drums, while Earl May (Dizzy Gillespie, John Coltrane, Billy Taylor Trio) lends his massive bass skills to the quartet. It’s this organ sound, that really grabs me every time. The fact that it was recorded in Bergenfield, NJ, is also near and dear to me. I am proud to be from the Garden State, who has turned out some pretty damn good Funk, Soul, and Jazz musicians. The fact that Rudy Van Gelder recorded this thing doesn’t hurt either. I’d love to ask him about this session, but getting him to talk is like winning the lottery. I hope you enjoyed Mr. and Mrs. Turrentine doing their thing on this record. I’ll be back Friday with some more of the good stuff. Keep Diggin’!

**PS: Hopefully within the next week or too I’ll have some Flea Market Funk vinyl stickers. I will keep you posted. Put one on your portable turntable.

Counts - Funk

Counts - Funk from the Aware Records 45

Well we had a big turn in the weather this weekend. The Summer like conditions dropped back into the 50’s and brought rain, which deterred me from getting my dig on on Saturday morning. Not to worry though, I believe I have a few 7″ records that are piling up in my queue. This one is a recent purchase, and on second thought I should have bought both copies the guy was offering. I’m happy with this piece of Funk though, so much that I featured it as the first track on my collaboration with DJ Jack the Ripper, Funk and Soul for Losers. Get on down with The Counts, and an aptly entitled record, “Funk” from the Hotlanta Sound label Aware.

The Fabulous Counts, as they would start out as, were formed in 1968 in Detroit, Michigan. They were comprised of: Mose Davis (organ), Leroy Emanuel (guitar), Demo Cates (alto sax), Andrew Gibson (drums), Jim White (tenor sax) and Raoul Keith Mangrum (percussion). Typical story of the time, the band backs national acts while they come to town, plays locally and makes a name for themselves. They would eventually hook up with producer Richard “Popcorn” Wylie, who would record their classic “Jan Jan” on Detroit label (and Atlantic affiliate) Moira. Like so many of these bands, and god damn if it bums me out to keep hearing the same story over and over, the commercial interest for this urban, edgy, Funk band was slim. Detroit Funk would keep rolling though, and they would release one full length on Cotillion, Jan Jan, produced by Oliie McLaughlin. Their string of 7″s, “Get Down People/ Lunar Funk” and “Dirty Red” on Moira, “Pack of lies” on Westbound, and this line up and name changed 45 have solidified them with some cult staus among the diggers. Both of the full lengths on Cotillion and Westbound have been reissued, and they were featured on the What It Is! box set. As far as the Aware record label, it was started by Mike Thevis, and besides the cool owl and “Hotlanta Sound” tag line on the label, boasted such acts as Delia Gartrell, King Hannibal, Loleatta Hollaway, Deep Velvet, and the Counts among others.

“Funk” is the epitome of a description of the genre. If someone would ask me, what exactly is this Funk music you’re so crazy about? I feel confident I could pull out this gem (and definitely not their best) of a 45 and illustrate my point with it. Funky organ, check. Great wah-wah guitar, check. Midtempo funky ass beat, check. Inaudible mumbling and screaming at some point, check. Even though the Fabulous Counts changed their name, their location, and some of their players, they remained true to themselves and kept it funkay. It didn’t hurt that their publishing company was called Fudgie Lips, I mean if any of the members read this, please contact me, I need to know that story. See you midweek with some Soul Jazz organ. Keep Diggin’!