Unlimited Four - Slow Down

Unlimited Four - Slow Down from the Chanson 45

Aahhh the start of yet another week, and I can think of no better way than starting off the week than with some Funky Soul. Last week’s posts were all about the house band, and although I just kind of fly by the seat of my pants and pick what I’m feeling to review, I might just have to get with it and start to put some theme posts together one of these days. I want to shout out a bunch of new Flea Market Funk family, guys like Dr. Diggins and Joe Ro from On The One, who are doing it their own way. (Nice first post btw Joe!) Thanks for stopping by and welcome to the family. Also a shout out to Scholar from Souled On, who has been sending people over here to FMF by the bus load. Much obliged, and I’m hoping that they’re enjoying the ride. A quick update on the September 14th Asbury Park 45 Sessions, as we have added two guest selectors for the event, the one the only Vincent (or shall we say Soul Chef) of Fu Fu Stew fame, and a guy with some deep crates, hailing from the town of Providence, Rhode Island, DJ Save1. I know it’s a bit early to start promoting (or is it?), but I figured I’d get the ball rolling. DO NOT MISS THIS ONE!. The lineup is strong, and mix that up with the residents, it’s gonna be a heavy affair, all on 45 of course.

I’m starting the week off kinda short and sweet, with another band who I couldn’t dig much up on, but just had to share with you all. It is a double sider, one Funky Soul, and the other a Northern Soul classic. I’m gonna stick to the Funky Soul, and throw out the side I’m feeling as of late: “Slow Down” by the Unlimited Four on Chanson Records. Like I said previously, I don’t know much about this record’s history, other than Chanson was distributed by All Platinum Records. All Platinum put out bands like Willie and the Mighty Magnificents, Dave “Baby” Cortez, The Moments, and Sylvia among others. ( I swear there is a surplus of Sylvia “Pillow Talk” records in this area. They’re like mosquitoes in the summer). The beginning of this side starts off with some quick harmonizing and a scream. As I listened to it more and more, the scream sounded familiar. It reminded me of Roger Collins, of “Foxy Girl In Oakland” fame. There is an H.Collins listed on the writing credits, but I can not be sure there is a connection at all. He’s yelling to her, “Slow Down long enough to find a friend”, all the while slipping into some falsetto voice and then switching back to normal. This aural concoction has all the right ingredients a good Funky Soul dish should have: a jangley guitar driven riff, a funky as three week old broccoli bass line, plus a drum beat that not only is on time, but really out of sight. It’s a two sider too, as the flip side, “Slow Down”, is Sweet piece of Soul that will make you fall in (or out of, depending how you listen to the song) love with the record instantly. I know I did. It’s the kind of record I find out digging, and win no matter what side I drop the needle on. I’d really like to know more about this record, so if anyone has any clue as to who this band is, drop me a line so I can share it with the people. I’ll be back later on this week with some more goodness. To keep you up to speed, I have two mixes that will drop shortly. One is going to be for Vault Magazine, called “Sumptin’ Heavy”. The other is called “Get Ready”, and it’s a guest mix for Mike, aka DJ Blueprint over at This Is Tomorrow. So keep your ears open for those two mixes to drop very soon. The Vault Mix will be an exclusive mix included in an upcoming issue of the magazine, while DJ Blueprint will be celebrating his first year anniversary on the intrawebs. Big up Luxembourg! See you all on Wednesday. Keep Diggin’!

**PS: This Wednesday on your local PBS Station, set your Tivo or DVR for this:

Great Performances : Respect Yourself: The Stax Records Story

Wednesday, August 1, 9:00pm

I’ve been waiting for this for a while, and it should not be missed.

Road Trippin’, More Saturday Digs

With the threat of rain looming hard, I decided to bypass my local digging spot and head up to a record sale in North Jersey with the one and only Devil Dick. He said he had bought a record from a guy on E Bay, who sent him an e mail about a record sale, and that he had in the neighborhood of 30,000 45s. Yeah that’s right, 30,000. He didn’t reveal that number until we got there. It’s funny because a friend e mailed me with a Craig’s List ad that coincidentally was the same sale. So at the butt crack of dawn, DD picked me up and we trucked our old asses up the Parkway to what turned out to be a really great sale. The sky looked like it would open up any time, and the guy running the sale in his back yard was ready with some tarps. At that point, when he said: “The 45s are ready”, it could have rained cats and dogs, because I found a dry spot to sit and listen near the garage. What happened next, was basically a dream day digging. There were a few people going through the 45s, but really we had the run of the boxes. I don’t know if the chance of rain really held people back, but whatever the case, it was to our advantage. We dug for well over two hours, and both came back with hand fulls of sweet Soul and gritty Funk 45s. I was so excited I didn’t take any crate pics, but I’ve enclosed a few pics of the booty I pulled home. There were a few weird record guys (besides us), most notably a guy we’ll call “The Gospel Slob”. This guy made it well known he was looking for Gospel records, on Savoy if we saw them. I threw in some non-Savoy Gospel and he had a hissy fit. He then let out a large belch in front of a few women without blinking an eye, hence the slob moniker. Then, the portable set up by the seller broke, and the Gospel Slob was trying to get his hands on mine, which wasn’t happening. Actually, a lot of people kept picking my portable up, and were a bit scared when I told them it wasn’t for sale. I mean I am in no way, shape, or form intimidating, but I do have a few tattoos (and so does DD), so maybe that put them off. It’s a 70’s child phonograph made of plastic, not a Sherman tank and these people were tossing it around like they didn’t care. At any rate, a good diggin’ experience, and I’m looking forward to getting some more of this guy’s stash of records. Below is a list of what I got for those who are interested.

Sat Digs:

Clarence Reid - Nobody But You Babe/ Alston
Syl Johnson - Someone But You/ Hi
Moody Scott - (We Gotta) Bust Out of the Ghetto/ Sound Stage 7
Soul Sisters - I Can’t Stand It
Betty everett - I Got To Tell Somebody/ Fantasy
The Crusdaer - Greasy Spoon/ Chisa
Bad Bascomb - Bo Diddly/ Paramount
Jimmy McGriff - The Bird/ Capitol
David T. Walker - Can I Change My Mind/ Revue
Jimmy “Bo” Horne - Let Me Be Your Lover/ Sunshine Sound
Dave “Baby” Cortez - Funky Robot/ All Platinum
Lou Donaldson - Everything I Do Gohn Be Funky/ Blue Note
Bobby Byrd - Keep On Doin’ What Your Doin’/ Brownstone
Masters of Soul - I Hate You (in the Daytime and Love You at Night)/ Duke
Little Milton - Friend of Mine/ Glades
Linda Perry & Soul Express Eddie Billups - I Need Someone/ Mainstream
Lou Johnson - A Time to Love, A Time to Cry/ Big Top
Bobby Powell - Do Something For Yourself/ Whit
Syl Johnson - Same Kind of Thing/ Twinight
General Crook - Do It For Me/ Down to Earth Records
LLoyd Price - They Get Down/ GSF
Creative Funk - Funk Power/ Creative Funk
Lou Toby and His Heavies - Heavy Steppin’/ Peach-Mint
One G Plus Three - Summertime/ Paramount
Rasputin’s Stash - Your Love Is Certified/ Cotillion
Barbara & the Uniques - What’s the Use/ Arden
Carlton Moore - Soul Jamaica/ Tobin
Dorothy Norwood - Get Aboard the Soul Train/ GRC
Lou Rawls - You Made Me So Very Happy/ Capitol
Gloria Taylor - You Got to Pay The Price/ Silver Fox
Eddie Harris - Instant Death/ Atlantic
King Curtis & the Kingpins - Whole Lotta Love/ Atco
Lee Eldred - Shackin’ Baby/ Mercury

Seven Seas - Pat’s Jam

Seven Seas - Pat’s Jam from the Glades 45

Well we made it. It’s been a long week here at the FMF household, and I wanted to get a short post going for Friday. Thanks to all who commented on The Politicians, I believe they were indeed a great house band and a whole lot more. Which leads me to this band today: Seven Seas. This band is the band that backed up Clarence Reid for his TK record sessions. TK Records falls under the umbrella of the Henry Stone Empire: Glades, Alston, Cat, and the list goes on. I get into the Stone record labels more in my previous Little Beaver review. House bands were important, and even though this was their only release, it was an important one. I almost feel like Reid was throwing them a bone by putting out their side, or maybe Stone was, who knows. At any rate, it’s a great side. Let’s jump into “Pat’s Jam” by Seven Seas on the Glades label from 1975.

“Pat’s Jam” is a stone groove baby. Definitely a piece of the sound coming from Miami during the early 1970’s, rich will horns, a deep bass line and of course that funky beat. Kind of sleepy at times, the wah-wah guitar reminds you to keep that head nodding. The man’s persona changed like the wind, from Clarence Reid to Blowfly. The dude who who wrote hits for Betty Wright, Gwen McCrae, and a few for himself, sure knew how to pick a backing band. Teaming up with producer Willie Clarke, you could call them The Mighty Two of the Miami sound, they had their hands in a lot of music Henry Stone was putting out. Of course later, Reid reinvented himself into the XXX musician/ entertainer Blowfly, and the rest is history. I wasn’t trying to have a theme this week, it just worked out that way. You see, don’t sleep on the backing or house band. These guys are important. Without these guys, who were able to take it to the bridge, hit it and quit it, come back on the one, the stars would be standing there by themselves. I’m hoping you enjoyed this backing band as much as I did. Sorry for the short post, I’ll be back over the weekend with some digging stories and hopefully some new treats. Keep Diggin’!

**This cut was featured on the What It Is box set, along with a slew of other great funk sides. If you don’t have it, it comes highly recommended from FMF.

The Politicians - Free Your Mind

The Policticians - Free Your Mind from the Hot Wax 45

What’s up FMF family? It’s time to get back to some Funk this Wednesday. From the amount of downloads and views Joe Gibbs & the Professionals got, I guess I should let some of that reggae I have out from under wraps out. I’m glad I’m not the only one who can appreciate some really good Reggae, as opposed to the Reggaeton bullshit that will hopefully go away sooner than later. It looks like Devil Dick got some good vinyl scores off a street corner this past week in West Philly, and I am jealous at the Black Jazz Lp you got my brother. That was a nice score. Thanks for reminding me of the “wig guy”, which I can most definitely touch upon after Saturday’s digging. I figured since I never do a theme that often, I’d continue on from the post on Monday with another house band. Now this just isn’t your run of the mill, everyday house band. These guys were on some other shit ya dig? They were the house band for the Holland Dozier Holland’s label after they parted ways with Motown, the one and only Hot Wax Records. This time we visit the Motor City with The Politicians and “Free Your Mind”.

After getting out of Motown, HDH took their legendary song writing ability and status and started Hot Wax. They featured artists such as The Honey Cone, Laura Lee (which I will visit in the future), The Flaming Ember (definitely on deck), 100 Proof Aged Soul (also in my cue..funkiest white boys in Detroit), and Warlock. Where the Honey Cone was the more successful of the groups over time, the Politicians were a band that had their hands (and ears) in a lot of releases, both on Hot Wax and Invictus. They were the house band for Invictus/ Hot Wax, and were lead by trombone player McKinley Jackson. McKinley had come over from the Funkadelic camp, so you know where this guy’s head was at. He had a hand in Funkadelic’s 1971 tune: “Back In Our Minds”, and then broke free on his own, letting the people know where the back of his mind was at: Psychedelic Funk and Soul. Fortunately, some of that gritty Funkadelic sound rubbed off on him, (it wasn’t just Little Beaver!), and Detroit was a better place. The Politicians were known for playing the club circuit in the Detroit area, and backed up many touring bands that came through the city. The band consisted of Jackson, Melvin Griffin (Sax and Electric Piano), “Peanut” Roderick Chandler (Bass and Sax), “Clay” Clarence Robinson (Organ and Trumpet), and Zachary Slater (Drums and Percussions). This band was equal parts Motown Soul, Funkadelic, and Sly Stone; all wrapped in to one fuzzed out Rock, Soul, Funk and Psychedelic package. This record was previously released on Invictus (9098-B) by The 8th Day as “It’s Instrumental To Be Free”. It’s been sampled by the likes of Profesor Griff and Nikki D.

The side itself with it’s strong bass line start, galloping organ and fuzzy guitar show the obvious Funkadelic and Sly Stone influence from the get go and just don’t let up. I’m sure played live, the middle was extended for some sweet conga and drum breaks, as well as assorted trading off of the funky stuff. I can just imagine these guys taking the stage in the Detroit area a few nights a week when they weren’t recording, and just tearing the place apart. Music like this is what’s missing today. With the exception of the Daptone, Truth and Soul, and some Melting Pot bands, the scene today is void of house bands like the Politicians. They were a band that could hold their own when not backing up another artist, and do it 7 nights a week. Maybe I just live in my little FMF bubble, but if there are some bands that can do it, I want to review them and go see them live as well. Drop me a line and I’ll do my best to spread the word. So there you have it, another house band that could do it to it. Whether it’s Jamaica or Detroit, or even Jamaica imitating Detroit (as the case was a lot of times), don’t count out the band the backs up the star. See you on Friday. Keep Diggin’!

Joe Gibbs & The Professionals - Kick To Yu Chin

Joe Gibbs & The Professionals - Kick To Yu Chin from the Belmont 45

Hanging at the Reggae Van on Saturday inspired me to start the week off with some Reggae. I do have a fair amount, and Old King Bravo hooked me up with some more good 45s from JA, and this next side is one of them. I’d like to give a shout out to Mike Schwiegert at Electric Tattoo in Bradley Beach, who hooked me up with a pair of sweet Funk and Soul script tattoos on my feet. If you’re in the Central Jersey area and in need of a tattoo, stop in, they do a mighty fine job. The record I’m gonna get into to get you grooving in your cubicle, on your bike, or while you sit in traffic is Joe Gibbs & The Professionals with “Kick To Yu Chin”, on Belmont Records.

Joe Gibbs (born Joel Gibson) started out as an electrical engineer, eventually opening a TV repair shop in Kingston, and making a progression to selling records out of the back of the shop. From there, under the tutalege of Lee “Scratch” Perry (who Gibbs hired to “oversee” his sessions) and prodding of Bunny Lee,, he would go on to form the Amalgamated record label in 1967, where he released what people may consider the very first rock steady record: “Hold Them” by Roy Shirley. When Perry took off to form the Upsetter label, apparently the split was far from a good one. Perry would go on to release “People Funny Boy”, while Gibbs would answer with “People Grudgeful Boy”. This is neither here nor there, and well, they both went on to have very successful careers and were two tremendously influential Jamaican producers that have put out many a good side. Gibbs has worked with a slew of artists including Ken Parker, Peter Tosh, Errol Dunkley, the Versatiles, the Slickers, the Pioneers, Culture, Junior Byles, Gregory Isaacs, and a host of other notables. The Professionals were Gibb’s Studio band, and featured players like bassists Lloyd Parks and Robbie Shakespeare, drummer Sly Dunbar, guitarists Earl Chinna Smith and Bingi Bunny, organist Ossie Hibbert, and various alumni from the Jets. They put out “State of Emergency” and got a bit of spark on the charts. Prior to this, Gibbs had gotten some notoriety not just in Jamaica, but in England with Culture’s “Two Seven’s Clash”. From here Gibbs went on with further success, joining forces with session leader Erol Thompson (formerly of Randy’s), and doing records with Dennis Brown, plus releasing other instrumental sides with a gaggle of other artists. The Mighty Two were hot, and would release well over a hundred hits while working together. Joe Gibbs was on top of the world, or so you might have thought. You see, there ’s a little thing called royalties, and Joe Gibbs was not paying them, especially in the case of a Charley Pride song “Somebody Loves You,” covered by J.C. Lodge and produced by Gibbs. The legal red tape involved in the case, which Gibbs lost, would cripple him financially and force him to be out of the picture in Jamaica for a while. He eventually got back to producing in 1993, reformed the Mighty Two, and produced hits from Tanya Stevens, Alton Ellis, Lloyd Parks, and Gregory Isaacs (once again). The addition of Pioneers vocalist Sidney “Luddy” Crooks to his production team was a step in the right direction, and with the help of his son Rocky, was able to release sides and eventually compilations of his early work.

Starting off like a Jackie Chan movie (the flip side would be Jah Grundy’s “Shaolin Disciples”), this 1978 side is right on point. Gibbs chose to start with some chimes, then into the sleepy riddim which featured the Professionals horn section, and an isolated organ keeping time with the rhythm section. For sure, this Version could back up a scene in some weeded out Kung Fu flick, and Gibbs choice of a martial arts theme was right along many records put out by Jamaican artists, even paralleling his former partner Scratch, who has put out a Kung Fu themed side of his own. The Professionals, on a whole, could challenge any other studio band of the time, and for that matter IMHO, the 70’s. The proof is in the pudding, as Gibbs was a winner throughout the whole decade, and his revolving door of musicians proved that his production could yield hits no matter who sat in and backed the artist up. I’ve got a whole case full of Jamaican 45s, and will start to get them in rotation in the future. I know my man Jah-nee Gill from MTV’s Tempo channel will be pleased. I can hear it now (Respect, Respect!). See you midweek, Keep Diggin’!

PS: Here’s a few snapshots of the Funk/ Soul tattoos I got:

Hanging at the Reggae Van and Saturday Finds

It’s Saturday, and of course it means it’s time to go record digging. Today was pretty fruitful, as I scored some great 45s, and a handful of Reggae 45s and Lps out of what I call, The Reggae Van. About a month ago, I see this older Jamaican guy with records, so of course I stop to chat. I can not pass up some 45s straight from JA. His patois is not super thick, but he introduces himself as King Bravo, and claims he has played with the Skatalites. The first few times I bought from him, I got some Soul, and a really nice Roots full length. The van is literally filled with junk, but the records are kind of neat, and you really have to go through them. All the while there are a couple, yes a couple (he switches from one to the other) of radios and tape players blaring Soul or Reggae. As the music is playing, he’s talking about Tommy McCook, and how he himself started out in Calypso, then switched to Ska. It’s definitely interesting, but the music is so damn loud, it’s hard to sample records. The great thing about the van is that it’s almost like a Sound System, and he’s got the inside of the van doors open, speakers out, having a soundclash with the old lady cranking up smooth Jazz in the next spot. Bravo has a lot of record covers taped to the inside of the van doors, covers of Moms Mabley, various Reggae and Skatalites Lp jackets. You can see by the photos below.

This man loves his Reggae and Ska, and he will talk about it for days. He said he is having a hard time making it here, because the petrol costs him way too much to get where he needs to go. I had to dig, and I got some great records, which hopefully helped out with the petrol until next weekend. The jury is still out whether or not he has played with the Skatalites.

The usual suspects were out this weekend.. In fact, they were crowding Stinkie Steve’s table. Word has it around the spot that he has been banned from yet another flea market, so he is ever present at my spot. (The story goes is that he was banned from setting up a table, but if he paid 2 bucks he could sell in the parking lot. Well, he didn’t want to pay the 2 bucks, so he got banned for life.) In fact, it was like a stare down when I walked by his table and didn’t buy records from him. I saw “Egg Beard” (thanks Tommy for that one), who was rumored once to sell a quarter record for like 2 grand, and will try to push you out of the way, even going as far as to dig in your same crate. For me, I don’t go for that shit, and haven’t had to elbow him in the chest as a close acquaintance of mine did, but am not against a little shove if one of these record crazies gets in my personal space. I’m serious about records, but some of these guys who do it for a living get a bit wacky and will try to see how far they can get with you, even try to intimidate you, which is hilarious. It’s the flea market for God’s sake. I moved on. “Johnny No Change” only had one and a half crates, the half was nothing but Bowie records and the other mixed. I had to wait because this really annoying guy who is always digging through crates with one hand, while the other is on a cell phone to someone probably Popsiking everything in each crate. It goes a little something like this: “Urbie Green..yeah Jazz. Mott the Hoople, yeah the grey label, wait here’s a Quincy Jones”…on and friggin’ on every week. He’s next on the list. If I have to wait one more time for him, he might just get the elbow. DJ Jack the Ripper was hanging tough (I hope he got some good stuff) at Steve’s table, but honestly, there are enough records to be bought elsewhere. The process you go through to get prices, it kind of wears on you. I may eventually go back to him, but who knows. Steve is gonna miss out on my buying. I buy a lot of records every week, so it’s his wallet that’s gonna hurt. My normal dealer set me up with some great records (as always), and I was happy to get out of there in about two hours before the heat of the sun really started warping what’s for sale. Here’s a list of the 45s I got:

Seven Seas - Pat’s Jam/ Glades
Sandy Wynns - Love Belongs to Everyone/ Champion
Al Wilson - Keep On Lovin’ You
Otis Clay - This Kind of Lovin’/ Cotillion
Mary Wells - Can’t You See/ Atco
Chairman of the Board - Finder’s Keepers/ Invictus
Black Blood - A.I.E./ Mainstream
Ike & Tina Turner - Beauty Is Just Skin Deep/ Tangerine
Black Ivory - Love Won’t You Stay/ Buddah
Garnet Mimms - Stop and Check Yourself/ GSF
Renaldo Domino - Just Say the Word/ Blue Rock
Jacob Miller - All Day Til Daylight/ Jam Sounds
Flick Wilson - Keep the Troubles Down/ Ultra
Roman Stewart - Doing Fine/ Aiken
Jah Brundy - Shaolin Disciples b/w Joe Gibbs and the Professionals - Kick To Yu Chin/ Belmont

I got a couple of nice original Bob Marley records from Bravo, and some assorted sampling records from the “Old Lisp Guy”, who is happy even when it rains. I had to buy 3 records to make a buck, so I copped a Blue Magic and a George Baker Selection to round it off. All in all, not a bad day. I’d say the best score of the day was the Flick Wilson and the Seven Seas, which will definitely be reviewed sooner than later. I also picked up an old Jazz Encyclopedia for 2 bucks, plus some crazy comic book that looks like it could be good flyer material by an artist named Tom Skinner. It’s called “Up from Harlem”, and it’s a blaxploitation Christian comic, but the imagery will work for some future gig flyers. Stay tuned in the upcoming weeks for a special treat. I got an interview with a Rare Groove and Funk artist from the Louisiana area. I actually tracked him down and we spoke briefly yesterday, so that’s on the horizon. Keep Diggin’!

Mongo Santamaria - I Can’t Get Next To You

Mongo Santamaria - I Can’t Get Next To You from the Atlantic 45

Here we are at Friday again folks. I trust Judy Clay showed you an example of how Southern Soul does it from a female perspective (if you didn’t know already). If she didn’t do it for you, I have plenty more for you in future posts. I’m keeping my fingers crossed that this weekend will be rain free, because I have an itch that needs to be scratched, that even a Rufus Thomas record couldn’t cure…ok maybe it could. A rare groove HEAVYWEIGHT has thrown his hat into the blog ring this week, and I urge you all to go pay a visit. You will most definitely learn something from one half on the “Kings of Diggin’” (as they are sometime called), but better yet, their new project Off Track should keep you wondering where these audio treats are coming from. I’m speaking none other than Kon, from the duo Kon and Amir. These guys have been an inspiration over the years, and it’s good to see them spreading some of their record love over the intra-webs. These guys are pure class, and know what they are talking about. So listen up! I started off the week with a Latin Funk/ Jazz Cover, and I’m gonna end the week with another one, Mister Ramon “Mongo” Santamaria with “I Can’t Get Next To You” on Atlantic Records. I’ve been into Mongo for a while, I was introduced to him about 10 or so years ago. I used to DJ alongside a Funk band called Brown, and the two cousin percussionists got me into him. I never pass up some Mongo, and Funky 16 Corners did a great post about him here , with his cover of “Lady Marmalade”, which I narrowly missed digging up recently. DJ Prime got it before me, but that’s ok, there’s always more Funk and Soul records out there. I don’t mind losing records to my friends, it’s the guys who I don’t know, that started infiltrating my spot, that I do mind. If I don’t give up my digging spots, forgive me, I’m not being rude, but I just want to continue to be able to dig for records in peace. Nahmean? It’s taken me almost 20 years to uncover a lot of these gems, and well, I wouldn’t have the great flea market stories to share if I didn’t keep some of my spots under my hat. That being said, let’s get to Mongo, shall we?

Born in Havana, Cuba in 1922, this legendary percussionist paid his dues at the Tropicana Club, before making the trek to New York City in 1950. Starting off with Perez Prado, he cut his teeth in the greatest music city in the world. His skills as a conguero grew to be well respected amongst his peers, and soon he played sideman to the legends like Tito Puente, and one of my favorite Latin Jazz cats, vibraphonist Cal Tjadar. Santamaria caught the public’s ear in 1963, with a cover of Herbie Hancock’s “Watermelon Man”, which for it’s time was pretty damn good. (also rumored to be out of a jam session with Hancock showing the band his new song, then so good, Santamaria got whisked away to the studio to get it down) Considering it was early in the Funk and Soul game, Mongo layed down the foundation of what was to come in the next 10 years or so from him musically. Recording sides for Fantasy, Battle, Vaya, Riverside, CBS, Buddah, Concord Picante, and even some live stuff on Pablo, his long career has made him one of the most well known Cuban musicians in the world. His ability to fuse Latin Jazz with Funk, Afro-Soul, Rock, R & B, and even straight ahead Jazz, made him not only a great musician, but a premier band leader as well. His ability to transform the popular music of the time into Latin flavored goodness was a contributing factor to his career long success. He continued to perform and record up until his death following a stroke in 2003 in Miami, FL.

This cover of The Temptation’s 1969 smash hit “I Can’t Get Next To You” is some funky Latin Soul here kids. Starting off h-e-a-v-y on the drums and percussion (would you expect anything else?), the horn section wastes no time in belting out the lyrics, and we’re on our way. It’s all upbeat Latin Funk from here, finally coming to a crashing halt, only for a second, and then the drum break (or should I say percussion break?), which builds a bit and then goes out in a blaze of Latin Jazz Funk history. Of course this is on Atlantic, who I never have doubted to be one of, if not the greatest record label of all time. It’s from the full length “Feelin’ Alright”, and is one of the more successful commercial Mongo records. For some reason, I am drawn to every Mongo Santamaria record I see. From straight ahead Latin Jazz, to his Funk, Afro-Soul and the like, I can’t really get enough of the man, and I urge you to get into him as well. I haven’t had a hard time finding his stuff in the field, although I’m not actively seeking it, some side of his always turns up, and not really for a lot of dough either. Last week’s find of “Stone Soul” is a definite keeper. Tomorrow is digging day (actually I’m headed out with my neice and nephews on Sunday as well), so of course I will give you the weekend digging report. For all of you in the Asbury Park area tonight, Friday the 20th of July, there is a James Brown Documentary at 7 PM being played at the Baronet Theater entitled: Get on the Good Foot: James Brown: The Man, The Music, The Message. It’s part of the 33rd Newark Black Film Festival, and promises to be a good one. I will be there for sure. Keep Diggin’!

Judy Clay - You Busted My Mind

Judy Clay - You Busted My Mind from the Scepter 45

Good midweek to the FMF family. I trust you got your Latin Jazz Funk on, and Pucho Brown showed you how to do a cover right with the last post. I’m still taking in all the latest vinyl scores I got over the weekend, and also a nice little package I got from DJ Save1 out of Rhode Island. He hooked me up with a few sweet sides: The Hidden Cost “Bo Did It” on Marmaduke, The Dynamic Corvettes “Key to My Happiness” on Abet, and The Detroit Night Riders with “Getting Funky” on Mutt. Good looking out my man. I’m trying to arrange him to come down to be a Asbury Park 45 Sessions guest, so look out for that in the future. Speaking of that, it looks like Vincent from FuFu Stew will be making an appearance at the Sept. 14 installment of the Sessions. **Not to be missed, as Vince’s quiver of 45 gems is heavy. While I’m on the subject, the new flyer for Sept. will be designed by SF artist Alex Valdez, which is exciting as well. Ok, that being said, let’s travel to North Carolina via Brooklyn and Harlem, NY, with Judy Clay and “You Busted My Mind” on Sceptor records.

Judy (Guions) Clay was born in St. Paul, North Carolina, relocating to Brooklyn, NY in her teens. As with many of these soon to be Soul singers, she got her start in the church. Adopted by Lee Drinkard (the sister of Cissy Houston and mother of Dionne Warwick) while singing in a Harlem choir, she soon was a part to the Drinkard Singers of Gospel fame. Three records were released, and in 1961 she went solo, putting out the side “More Than You Know” on Ember. In fact, she would go on to do sides for Lavette, Scepter, Stax, and Atlantic. She was part of the first male/female interracial duet, a song with Billy Vera, (”Storybook Children”) to ever appear on a major label. She never really charted well with all her singles (there were a few that did actually chart), but was said to have possessed one of the greatest Soul voices, reminiscent of the great Mahalia Jackson. After releasing a string of records on Scepter (home to her sibling Warwick), she was let go on her contract and snatched up by Atlantic producer Jerry Wrexler to Stax for the aforementioned duet with Billy Vera. As groundbreaking as that duet was, the times got the best of the situation, and executives from major television stations refused to air their appearance at the famed Apollo theater. Another blow to this woman’s career, which seemed like she could never really get a break. Her next move was a duet with famed Stax man William Bell, which yielded Clay the best hit of her career (finally!), “Private Number”, in 1968. Known to not take any BS from anyone, her fiery disposition was an object that stood in the way of her success. A reunion with Vera was thwarted when she refused to do another Apollo appearance over money, and it seemed like that jump start the duet with Bell gave her career was fading fast. She continued to tour and record (there is a great Muscle Shoals solo project she did) until the late 70’s. She became a back up singer and has singing credits with the following artists: Donny Hathaway, Patti LaBelle, Wilson Pickett, Booker T. & the MG’s, Ray Charles, Mongo Santamaria, Eddie Harris and Les McCann and Yusef Lateef, among others. In 1979 Clay had an operation to remove a brain tumor shortly after that, and vowed never to sing secular songs again, returning to her native North Carolina and the church.

“You Busted My Mind” is a sweet little piece of Southern Soul. The horns play a major part in this scorcher, as a response to Clay’s calls of a scorned woman. This side is upbeat, and the beat itself reminds me of a faster rhythm of “Knock on Wood” by Eddie Floyd. She’d been hurt (maybe this song mirrored what was going on in her life at the time?), and her beautiful voice was telling everyone that would listen. The song was arranged and produced by Tommy Kaye who’s produced stuff by The Shirelles, ? and the Mysterians,Three Dog Night, Link Wray, Jay and the Americans ,and many others in his long sordid career. Kaye was head of A & R at Scepter at the ripe age of eighteen, where he went on to lead a hard life in the music biz which left him broke and hurting, finally passing away in Upstate New York in 1994. It’s hard for me to comprehend why a woman with such great talent, a superb voice, and a decent career, just couldn’t make it. Maybe it was the times, an ignorant nation caught up with the color of someone’s skin mixed in with a woman burnt by the shady side of the music business that contributed to Clay not staying in the spotlight. Who knows? What I do know is that the music she’s left us is a definite reminder of what Soul music is supposed to be. I’ll finish up with a quote from her son. “It was raw and effortless,” Leo Gatewood says of his mother’s singing. “She was pure Soul. You can call the music what you want, but she was probably the most soulful person I’ve ever known–because my definition of Soul is not just singing on the off-note. It’s singing from the soul, and that’s what she did.” Keep Diggin’!

Pucho & Latin Soul Bros. - Freddie’s Dead

Pucho & Latin Soul Bros. - Freddie’s Dead from the Zanzee 45

Well, we made it through another weekend, and damn if the summer isn’t flying past us. There were lots of great records to be dug up this weekend, first from my local spot, and also at the Asbury Lanes Vinyl Swap. My digs from that will be at the bottom of this post. Even though I have a que of older records, I’m gonna push this one right to the top, as I have been looking around for it, and it popped up this weekend. It was a toss up between Mongo Santamaria doing “I Can’t Get Next To You” on Atlantic, and Pucho and His Latin Soul Bros. with “Freddie’s Dead” on Zanzee Records. Pucho wins out this week, we’ll save Mongo for another post, although he is connected to Pucho Brown musically. Now I know what you’re thinking, another cover of Curtis Mayfield. No one is ever going to top the original. That may be true. Fishbone’s, (yes, I’m referring to the hardest working, most under rated funk ska band that should have made it in the 80’s and 90’s) version is outstanding. Pucho & His Latin Soul Brothers is different, and a great cover in it’s own way.

Henry “Pucho” Brown grew up in Harlem, NY. Brown grew up listening to the Latin sounds of Mambo, R & B, and of course jazz. He is a timbale player, and started out with Los Lobos Diablos early on, before being a member of Joe Panama’s band. That band broke up in 1959, and Pucho went on to form his own group. There is a common misconception about Pucho, that he is Latino; however he is not. He is of African American descent, which goes to show you that music transcends cultures, boundaries, and these things that so many people in today’s world get hung up on. His reputation as a band leader and musician was building, and it wasn’t long before guys like Mongo Santamaria and Wille Bobo were recruiting his band members from him left and right. One player that would be lured away would be none other than a young Chick Corea. That’s another whole story entirely. Pucho had some requiremnts for musicians to be in his band, which has carried over to modern times as well. “A piano player and a bass player in my band has to play three types of music, ” he says. “He has to play jazz, he has to play funk, and he has to play Latin, just as a good jazz musician, just as a good funk musician, just as a good Latin musician . . . those cats are hard to find!” When he did, this unit was as tight and in the pocket as any band in all three of the genres. In 1966 he signed to the Prestige label. He had a nice stretch on the on the label, and became known for doing unique covers of Funk, Soul Jazz, and the like as well as originals. Pucho and all the Latin Soul Bros. we’re doing it they’re own way. He was a pioneer of the term Latin Boogaloo, and was known for his sound and touring prowess on the Chitlin’ Circuit. The stand out factor was the percussion section of the band, which of course featured Pucho on the timbales. This was what kept him a step above the rest. Then, in the early 1970’s, things started to dry up. Brown split up the band, and was on an almost 20 year hiatus of sorts playing at resort hotels in the Upstate Catskill region of New York state. Then in the 1990’s, something happened. The acid jazz crowd in England started to generate an interest in his older songs. This lead to him doing recordings on the Ace label, and finally going with Ubiquity off shoot Cu Bop. I first discovered Pucho in the 90’s as well, and can remember playing “Hot Barbecue” over and over and over. It was CuBop where I discovered him (and coincidentally he was rediscovered by a whole new fan base), so any of his back catalog to me was like a bonus at the time.

This song was from the 1972 Zanzee record “Superfreak”. Originally this track was a part of a 15 minute plus medley and included “Pusherman” and “Super Fly”. The 45 however, is just “Freddie’s Dead”. This full length was kind of snubbed by the critics because it was a distant cry from Pucho’s original Latin sound (the straight ahead Latin Jazz was now replaced by Psychedelic heavy organ Soul). I believe that if it wasn’t for his exploration into another genre, the future discovery (and sampling) of Pucho Brown wouldn’t have occurred, possible leaving him in a lifetime of gigs where the audience was all over 70 and went to bed at 7 PM. Thankfully, this was not the case. The tune starts off with a funky bass groove and a load of percussion. The vocals are replaced with the psychedelic organ, and a horn section. I did say a load of percussion, because this track is heavy through and through, combining a funky Latin style and psychedelic organ style which work well together. The flute and horn solos alone keep this Mayfield classic fresh. I mean there have been a lot of covers of Curtis, and IMHO, this version is a great take on a song you really can’t improve. Keep an eye out for a review of the Mongo Santamaria record coming in the future.

The Asbury Park Vinyl Swap/ Sale was definitely a good time today, here’s a list of some records I dug up:

45s:
Edwin Starr - Agent Double 0-Soul/ Ric Tic
Jesse Gresham Plus 3 - Shootin’ the Grease/ Head
Ron Holden - I Need Ya/ NOW…thanks Larry for finding this one for me.
Elvin Bishop - Slick Titty Boom/ Capricorn

Lps:
King Hannibal - Truth/ Aware
Idris Muhammad - Power of Soul/ Kudu
Grover Washington Jr. - Inner City Blues/ Kudu
Jerry Butler - The Soul Goes On/ Mercury

Flea Market Characters and Saturday Finds

Saturdays are always a good day for me. I get to go digging. Sometimes with my wife, sometimes not. She is really good at sniffing out records and doesn’t mind waiting while I dig/ listen. She also hates getting up early though, so today I went at it alone, but met my 45 Session compadre Jack the Ripper and his friend Glen. I knew that my record guy had some stuff for me, so since it was the butt crack of dawn, we went straight to him. I was able to dig out some good finds, which of course I’ll list at the end of the post. I wanted to speak on a few more of the characters I deal with, and today we’ll focus on a guy who tries to keep up with the big boys, but can’t, and ends up half assing it all the way. After my Stinkie Steve fiasco last week, I’ve decided not to get any more records from him for a while, because he thinks guys like me are below dealers, and don’t deserve to find good records. He was just pissed that someone got good records before he did. You gotta get up early to really beat me to the vinyl, I’m just saying. At any rate, we have a guy we call Mario Brothers. He’s a short, chunky Italian guy who looks like either one of the Mario Brothers from the Nintendo game. He’s been selling for a few years, but I can honestly say the best thing I ever bought from him was a Black Heat record. Most of his stuff is straight up garbage, 45s without sleeves, totally rinked or scratched up, and every now and again he gets something worthwhile. For the most part he’s selling scratched up Doo Wop and Jazz, and whatever mangey photos, audio equipment, movie posters, and stuff he picked from the garbage. He always ends his sentences with: “I have some original Beatles records, they’re authentic.” The man is no record dealer, however, the sun shine’s on a dog’s ass every once in a while. Last week was just that occasion. He had a copy of the Soul Tornadoes “Funky Thang” on Burt. When I asked him how much, he said: “Not For Sale. I have to do research on it.” I offered him 20 bucks on the spot (which was probably a bit high, but I wanted the record. I went home to research it as well, mint it only goes for no more than $20. His copy was probably VG.) He said another guy wanted it, but whoever came to him first he would sell it to. Fair enough. When I came back today, he was like, here’s your record, it’s $20 bucks. I said “the $20 offer was last week. Did you research it? ” He replied: “You’re doing bad business, I held the record for you.” I said, “No, you held the record to see if you could get more money from anyone. I know what the record is worth, and it’s not worth 20 bucks.” I do admit I got a bit loud, which is always fun at the Flea Market, because seriously, we’re buying junk. It burns me up though, because you would think that these guys were selling me a copy of “Hercules” by Aaron Neville. I just hate guys who think that E Bay is an excuse to inflate record prices, especially when they have no business selling them in the first place. I did get reasonable with him (and bought a few other records), but not after I said my piece, which was basically don’t advertise if your not selling. I think I got my point across.

The next guy, who isn’t a dealer, but is a guy who claims to have over 20,000 records (Mostly Funk, Soul, and Jazz), and is, according to his story, an old boy from the music scene. We call him POW Record Guy. He totally bullshitted DJ Prime into thinking he was gonna sell him records, which lead to me getting bullshitted as well. I finally put two and two together one winter morning, while I was freezing, and digging. I knew he had no idea what he was talking about when we were sifting through crates side by side and I picked out a Curtis Mayfield “Live!” record and he was like: “Is that good?” He’s also claimed he was a POW in Iran and Iraq for 10 years. He doesn’t really walk around, nor does he wheel around in a wheel chair. He’s got this kind of walker/ bench thing with wheels that he pushes backwards while sitting down. Half of the flea market is dirt! I have no idea how he makes it from table to table. Well, there you have it: two of the characters I deal with on a weekly basis. They are sometimes the source of my frustration, although these days it’s more like my entertainment. I’ll be back early in the week with a review of one of my new finds. Until then, here’s a list of some of the records I dug up:

Mongo Santamaria - Feelin’ Alright b/w I Can’t Get Next Tou You/ Atlantic
The Broadways - Goin’ Goin’ Gone/ MGM
Larry Williams - Wake Up/ Venture
Pucho & Latin Soul Bros. - Freddie’s Dead/ Zanzee
The Fans - Ballad of Dr. J/ Gold
The Hesitations - Is This A Way To Treat A Girl/ GWP
Soul Tornadoes - Funky Thang/ Burt
The Winstons - Amen Brother/ Metromedia
Toussant McCall - The Touissant Shuffle/ Ronn
The Politicians - Free Your Mind/ Hot Wax
The Gaslight - I’m Only A Man/ Grand Junction
Gene Burks - You Got It/ Calla
Rose Davis - Yes I’ve Been Crying/ Excello
Chris Clark - I Want To Go Back There Again/ V.I.P.
Unlimited Four - Walk Away Lover/ Chanson
Judy Clay - You Busted My Mind/ Scepter
James Brown - Soul Power/ King
The Chevelles - The Gallop/ Flaming Arrow
Deodato - Watusi Strut/ MCA
Charles Wright - You Threw It All Away/ Dunhill
Ernie Andrews and the Fuzzy Kane Trio - Something/ Phil L.A. of Soul
Johnny K. - I Got Bills To Pay/ Buddah
The Van Dykes - You’re Shakin’ Me Up/ Mala

**PS: Tomorrow is the vinyl swap at Asbury Lanes from Noon til 5. There will be a bunch of us there, so if you can make it, there’s some good records to be dug up. See you there.