The (Young) Rascals - A Beautiful Morning

All throughout the time leading up to, and during, this year’s Wimbledon tennis championship the BBC were playing snippets of this tune. Hearing it again sent me digging and I pulled it, ripped it and scanned it (with the intention of posting here during that time; unfortunately work got in the way).

Better late than never (?) tonight’s offering is from a ‘blue-eyed’ soul band. The Rascals (originally The Young Rascals) were responsible for a number of singles during their first incarnation (1965-1972); with tonight’s offering from January 1968.

A Beautiful Morning is exactly as the name suggests, an up-beat offering extolling the joy of being outside (“It’s a beautiful morning; I think I’ll go outside a while and just smile; just take in some clean fresh air, boy. Ain’t no sense in staying inside, If the weather’s fine and you got the time, It’s your chance to wake up and plan another brand new day. Either way, It’s a beautiful morning when the sun is shining…“) a vocal led song with an up-tempo back-beat. The only thing I don’t like about this song is the rather harsh fade at the end – can catch you unawares.

Rainy Day on the other hand is a piano led ballad, a rather dreamy sound with an unexpected (and unwelcome) jump to some super fast violins half way through – ruins what could be a great slow-dancer.

The band constituted Eddie Brigati on vocals, Felix Cavaliere on keyboard and vocals, Gene Cornish  on guitar and Dino Danelli  on drums. Despite the apparent continued success; Brigati left the group in 1970, followed by Cornish in 1971.

After the Atlantic Records 40th Anniversary Celebration (1988), the Rascals reunited for a brief reunion tour; but Brigati opted not to participate. The (Young) Rascals were inducted into the Rock and Roll Hall of Fame in 1997 and for the first time in years, all four original members appeared together and in 2010 all four members of the Rascals reunited for the Kristen Ann Carr benefit.

Jesse Anderson

I’ve mentioned before how work has a habit of getting in the way, but I am determined to use these late nights in hotels to share some of my favourite tunes. Tonight’s offering is from Jesse Anderson; I bought this for the flip (his instrumental cover of the Curtis Mayfield (and Baby Huey) song “Mighty Mighty”). This version is, I believe, a very catchy up-tempo sound with some great guitar, flute and a wicked drum break.

However, when I pulled this record at the weekend I realised that although I grabbed a few copies of this (some spares to trade with if anyone is interested), I’d never really paid the A-side much attention. I’m pleased to say, having played it through a couple of times, that I love it!

“I Got A Problem” is a funky vocal, where we share Jesse’s pain at balancing his lover(s) with his wife… “my wife is number 1, my woman is number 2, but my woman will do things for me that my wife wouldn’t do…”

Manship lists this side as Northern, I can’t ever recall hearing it spun, but I remember less and less these days

Manship books this at £20, that’s quite a bit more than I paid per copy and more than we usually see it change hands for.

A recent post on YouTube suggested that Jesse is still very much alive: “Jesse Anderson is alive and well, living in Wichita, KS. He has recently released Funk N Blues, an album compilation of his songs from the 70′s. He’s working again with Gene Barge on some new material and possible record deal. ” and indeed, having dug a little deeper I see the CD is available on Amazon and thankfully includes these very tracks.

Jesse Anderson left home (Muskogee, Oklahoma) at the age of 19, in 1960, and travelled to Chicago with a band of like minded musicians to make vinyl for Federal Records. After releasing several records the group disbanded and Jesse returned to Chicago and work with a number of artists (Earl Hooker, Pinetop Perkins, Otis Rush, Jimmy Johnson and Syl Johnson) and became a recording artist under the production of Gene Barge, writing several hits together and recording for Chess Records, Thomas Records and Outta Sight Records.

Jesse co-wrote Somebody Loan Me a Dime which was recorded by Boz Scaggs and The Blues Brothers. Buddy Guy covered “I Got A Problem”, and Tyrone Davis did Let Me Back In. Jesse is an accomplished funky saxophonist and was frontman on several recordings and also plays guitar (often filling in for Earl Hooker). When rap music came into the scene, it affected many blues artists in the 70′s as radio stations wanted to get with the new sound, deserting the blues; at this time Jesse took a sabbatical.

I truly hope that this compilation brings Jesse some well deserved recognition (and money!). In the meantime, enjoy…

Billy Guy : You Move Me

A quick midweek drop to share one of my recent acquisitions with you, listed as “Billy Guy & The Coasters”. I am sure The Coasters need no introduction with a list of band members longer than my arm… today’s offering is from Billy Guy (30/06/1936 to 05/11/2002).

Born Delmar Phillips on June 30, 1936 in Itasca, (Hill County), Texas. Billy moved to Hollywood at the tender age of ten;  started acting as a child and worked in Johnny Otis’ new club The Oasis in the mid 1950s. He became very popular in the south of California, and is believed to be a one time member the Emeralds, Billy also recorded with Emmanuel Perez as Bip & Bop (Guy was Bip). He was invited to join the Coasters by Carl Gardner, who lived across the street in Watts. Billy stayed with the Coasters up to 1973 on recordings and acted lead on most of the Coasters’ later recordings – starting with Searchin’ and later The Shadow Knows, Wake Me, Shake Me, Wild One, Wait A Minute, Little Egypt, and the notorious Let’s Go Get Stoned. Guy continued his solo career for Chalco, Sew City, Verve and other companies and did singles as Billy Guy & The Coasters in 1975

Billy, who lived near Las Vegas during his later years, lost his wife June several years earlier and lived with girlfriend Vanessa Van Klyde for 30 years until his death. He was the victim of bad business advice during later years. Billy Guy died in his home at sleep (from a suspected heart attack) in Las Vegas, Nevada on November 5, 2002.

His releases appear to be:

• Ding Ding Dong/Du-Wada-Du  on Aladdin (#3287) in 1955 as Bip and Bop
• As Quiet As It’s Kept/Here I Am on ABC Paramount (#10320) in 1962
• It Don’t Take Much/She’s A Humdinger on ABC Paramount (#10397) in 1962
• Whip It On Me, Baby/Women (aka The Prophet) on Double-L (#719) in 1963
• Foxy Lady/?? on Chalco exact date unknown
• I’m Sorry ‘Bout That/Lookin’ Like A Nut Nut on GuyJim (#GJ-587) believed to be 1967 as The New Way
• Lookin’ Like A Nut Nut/Here ‘Tis on Sew City (#109) in 1967 as Billy Guy & The Odds ‘N’ Ends
• If You Want To Get Ahead, Shake A Leg/I’m Sorry About That on Verve (#10485) in 1967
• Let Me Go Getto/?? on All Platinum (#2320) in 1970
• The Ugly/Hug One Another on All Platinum (#2323) in 1971
• All I Need Is Love/Shake A Leg on Bell (#124) in 1971 as Happy (also released as Happy Cats)
• Watergate (Put Some Funk On, Cause The Money’s Been Long Gone)/Hockey-Puck on Black Circle (#102) believed to be 1970′s as Billy Guy and The Coasters
• You Move Me/Take It Easy Greasy on Sal-Wa (#1001) in 1975 as Billy Guy and The Coasters
• Ain’t No Greens In Harlem/Jumbo Bwana on Polydor (#2040-273) in 1977 as Billy Guy and The Coasters

The track in bold above is the only one in my collection (so far) and that is a recent purchase (from the ‘bay); have a listen and see what you think.

Tonight, as I sit sweltering in a West Midlands hotel room (again); I am determined to share a few tunes that have ‘haunted’ me for a number of years…

Wanted Dead or Alive - Voices of East Harlem

Many, many, years ago I remember hearing a tune that captivated me, grabbed me, slapped me and left me dazed, but begging for more. For years I was convinced I knew what this tune was and after much scouring found a copy and grabbed it.

When the vinyl plopped on my doormat you cannot imagine my disappointment to discover that, although essentially the song I remembered… something was amiss, not least that the vocals were female!

The tune I had been carrying in my head all these years had the line “wanted, dead or alive; distinguishing features, he’s got cold and shifty eyes” and I had mistakenly assumed it was the following: Cold and Shifty Eyes... yes, Female Vocals?!?!

However, it was not the Voices of East Harlem – Wanted Dead or Alive that I had been coveting, recorded in 1974 (I later came to realise that this was later than the version I had been seeking – making it the ‘cover’ and I put cover in inverted commas as it does not share the same name… confused? stay with me; all will be revealed!).

Released on Just Sunshine Records (JSA-517) the Voices of East Harlem’s “Wanted Dead or Alive” is a tune in its own right and worthy of a spin. Discussions with my friend James (Curry Music) convinced me to check the album version: Still not what I sought...

But even this did not quench my thirst for that tune I’d heard all those years ago…

So, inspired to dig further I delved deep into the archives of the global interwebbynet thingy and eventually, I surfaced this: Found it!

Hypnotics - Beware of the Stranger

And here my journey ends, with a smile on my face that (at last) I had sourced that elusive tune I’d heard (far too) many years before, I finally had Hypnotics’ Beware of the Stranger…

Released on Reprise Records (REP-1140); laid down in 1973 it is interesting to note that Beware of the Stranger is written by James Thompson and E. Dixon; a quick check of the label for the Voices of East Harlem’s “Wanted Dead or Alive” confirms it is indeed the same tune, albeit released with a different title.

I know which version I prefer and I suspect, having read this far (thank you), you know my preference; but as is the case with all music, my preference is personal and subjective. I invite you to listen to the two versions (3 if you include the LP version) and make your own mind up.

If time (work!) permits I hope to be back soon with another Bootsy, Funkadelic or Parliament mix with a special (exclusive?) drop of Christopher CoShea Campbell’s new cut of “Blackbird Singing Accapella”…

Eddie Campbell & Ernie Johnson

I’ve been promising to do this for some time and when Christopher CoShea Campbell (Eddie’s son) got in touch, I decided this was the catalyst I needed. Christopher is the son of the late William Edgar Campbell, aka Eddie Campbell, of ‘Eddie & Ernie’ fame and as you may know, Christopher recently featured on a Hook & Sling article (if you missed it… go here!) and then got in touch with me to discuss our shared admiration of Collins, Clinton, etc.. Christopher has kindly agreed to give his personal thoughts on the Eddie & Ernie tunes I have in my collection.

Eddie & Ernie were William Edgar Campbell (23/12/1940 to 10/7/1994) and Ernest Johnson (22/10/1943 to 20/8/2005); prolific songwriters and artists who performed with “The Crusaders”, “The Heavenly Travellers”, “The All Stars” and “Little Worley & The Drops” before setting up as the duo “Eddie & Ernie“. Eddie & Ernie’s discography is much larger than the 9 singles I have in my collection (highlighted in bold below); during their partnership they released the following (I have omitted tunes they release independently or as part of larger groups):

1963:
It’s A Weak Man That Cries / Who’s That Knocking On My Door – Nightingale (5102)
It’s A Weak Man That Cries / Who’s That Knocking At My Door – Checker (1057)

1964:

That’s The Way It Is / Time Wait’s For No One – Tomorrow (5105)
Time Waits For No One / That’s The Way It Is – Eastern (602)
Black label, silver writing. Both songs are credited to C. Derrick & C. Kendrick as well as E. Johnson & E. Campbell (Ernie & Eddie).
Time Waits For No One / That’s The Way It Is – Checker (1086)

1965:
I’m A Young Man / Turn Here – Eastern (603)
The Cat / Turn Here – Eastern (603)
Silver label, black writing. Both songs credited to Eddie & Ernie, plus H. Murrell on “The Cat”.
I’m Goin’ For Myself / The Cat – Eastern (606)
Silver label, black writing. Both songs credited to Eddie & Ernie, plus H. Murrell on “The Cat”.
Outcast / I’m Gonna Always Love You Eastern (608)
Matt  silver label, black writing and black lines. Both songs credited to Eddie & Ernie. Outcast is my favourite Eddie & Ernie tune…

1966:
I Can’t Do It (I Just Can’t Leave You) / Lost Friends - Eastern (609)
I Believe She Will / We Try Harder – Shazam (1004)

1967:
I Beleive She Will / We Try Harder – Chess (1984)
White label, DJ copy, black writing, misspelling of “Believe”. “We Try Harder” credited to Eddie only (“I Believe She Will” to Eddie & Ernie).
Doggone It / Falling Tears (Indian Drums) – Columbia (44276)
White label, DJ copy, red writing. Both tracks credited to Eddie & Ernie.

1970:
Woman, What Do You Be Doing / Thanks For Yesterday – Revue (11049)
Orange label, yellow logo, black writing. “Woman, What You Be Doing” credited to H. Murrell & Ernie and “Thanks For Yesterday” to Pete James & Ernie.

1971:
You Give Me Love To Go On / Tell It Like It Is – Revue (11063)
Orange label, yellow logo, black writing. “You Give Me Love To Go On” credited to Eddie & Ernie & Pete James and “Tell It Like It Is” to G. Davis & L. Diamond.
Hiding In Shadows / Standing At The Crossroads – Buddah (250)
Technicolour label, DJ copy, black writing. “Hiding In Shadows” credited to Charles Richard Cason and “Standing At The Crossroads” to Eddie & Ernie and Pete James.

Audibly presenting each the songs I own, here’s Christopher’s comments on each track:

Christopher: “Time Waits For No One…. It was a major hit in New York City landing the #1 spot on the New York station WWRL. This got them a show at the Apollo Theatre on the bill with The Temptations and Wilson Pickett. I have always dug this song. I can see why it was a hit.

“That’s The Way It Is…. A good song and what I call a cool ”Go Go” type of track. A lively, up tempo cut. Right in line with what was happening in r&b at the time. Good flipside to Time Waits For No One. It shows their versatility as songwriters as well as vocalists.”

Christopher: “Turn Here… One thing I always felt about Eddie and Ernie’s material was on certain tracks, they showed they had the ability to add another element to the r&b soul sound of their material. What I phrase as a ‘crossover sensibility’. My father certainly had that in his solo recordings and writings as well.

“The Cat… A fun, novelty song. One of the only instances where Eddie &Ernie actually tapped into a trend that was happening at that time in r&b music. It was popular to have a song with the word “Cat” in the title for some reason since there were several other artists who were including it as well.”

Christopher: “I’m Going For Myself… A great song. What I dig mostly about this is the strong gospel vocal phrasing as well as my father’s choice of chords and his guitar playing which on this, is straight ‘church’. An underrated track by Eddie & Ernie, I feel.”

Christopher: “Outcast… Here is another example of what I mentioned earlier about Eddie & Ernie’s ability to infuse another type of element into an r&b song. My father, being the musician of the two, wrote all of their original material on the guitar. My father’s playing style and other musical tastes besides r&b would often come out in some of Eddie & Ernie’s material. This being one of them. No accident the British rock band The Animals dug this song and did a cover version of it on their album Animalism a year after Eddie & Ernie’s.

“I’m Gonna Always Love You… The flip side to the Outcast 45 single which again showcased Eddie & Ernie’s versatility as songwriters and vocalists. As always, great vocals by my dad and Ernie. Their vocals were nicely blended on this and it showcases my father’s lower vocal register.”

Christopher: “We Try Harder… Another what I call ‘Go Go’ type of track. It has a great hook too. Again, my dad’s guitar playing keeps it kicking and well executed vocals by Eddie & Ernie. Much like Outcast, this has a mid 60′s rock slant to it. Again, another example of my father’s taste in music that went beyond r&b.

“I Believe She Will… Very nice vocals and I like my father’s guitar playing on this as well. Again, good flip side to the We Try Harder 45.”

Christopher: “Doggone It… This song has always reminded of some of my father’s solo material. Nice horn sounds and very spirited vocals from both Eddie &Ernie.

“Falling Tears (Indian Drums)… Aaaah, one of my favorites by Eddie &Ernie. This is a perfect example of my father’s musical tastes and how he incorporated that into Eddie & Ernie’s original material. This song is certainly NOT your standard r&b soul song. Lyrically or musically. Great chord changes and great arrangement. A VERY underrated song. I remember when I was really young seeing my father playing his guitar and singing this song at home.”

Christopher: “Woman What Do You Be Doing… A much more ‘boogie’ styled track than other Eddie & Ernie material. Good vocals and horns.

“Thanks For Yesterday… A very nice ballad with yet again, very tasteful guitar playing by my father. The last recording of Eddie and Ernie as a duo.”

Christopher: “You Give Me Love To Go On… Definitely one of the more funk based cuts Eddie & Ernie recorded as a duo. Even has a slight Sly and the Family Stone vibe to it in spots.

“Tell It Like It Is… A rare time Eddie and Ernie has done a cover. Cool version of it too.”

Christopher: “Hiding In Shadows… One of my favorite songs by my father. This along with the flip side Standing at the Crossroads was a 45 single that was billed incorrectly. This song, along with Standing at the Crossroads was recorded AFTER Eddie and Ernie had disbanded as a duo. These two songs are solo recordings of my father doing all of the vocals, lead and backing, alone. Great production by my father and Ray Jackson. This was intended for my father’s solo album. Underrated song.

“Standing at the Crossroads… Obviously my all time favorite song to be released of my father’s. This along with Hiding In Shadow” as I mentioned, was a solo vocal recording by my father. Prior to this recording, Eddie & Ernie had already broken up and went their separate ways. My father, mother and myself had already moved up here to Hollywood, California specifically for my father’s solo career. Both Standing at the Crossroads and Hiding In Shadows were recorded up here in Los Angeles with Ray Jackson on piano and James Gadson on drums (both who later went on to tour in Bill Wither’s backing band) and were recorded with many other songs that have remained unreleased that were intended for my father’s solo album. James Jamerson, famed Motown bassist and friend of my father’s, is playing bass on Standing at the Crossroads.

“Hadley Murrell, a former dj turned record promoter/producer who was at the time my father’s business asscociate, knowing Standing at the Crossroads and Hiding In Shadows were both great songs, wanted a rush release while the iron was hot. He took them to Neil Bogart’s Buddah Records and because of my father’s most known past releases had been billed as Eddie and Ernie, that’s how it was billed on the Buddah 45.

“Similar scenerio with last year’s release by Daptone Records with my father’s solo recording with Bullets Don’t Have Eyes. Anyway, my father’s recording of Standing at the Crossroads written along with Ernie and Pete James, to me, is one of the great ballads, ever. Fantastic, heart felt vocals, great overdub harmonizing by my father. Again, this as well as Hiding In Shadows are perfect examples of my father’s singing in full flight. This captured by Ray Jackson’s fantastic production with the orchestration on Standing at the Crossroads. A totally underrated masterpiece.”

Montclairs - Hung Up On Your Love (Honest!)

What can I say, that most of you don’t already know… a fantastic mid 70′s release on Paula that become a favourite on the Northern Soul scene, virtually from its first play. I remember the first time I heard it, early 80′s all-nighter… hooked!

Mistakenly released as a misprint on Paula (381) instead of “How Can One Man Live” before it’s official release, again on Paula (390), these two versions command reasonable prices when they do arise; with the misprints fetching up to £40 and the actual issue up to £100.

I am lucky enough to own both, so have included both here for your audio-delight tonight.

The Montclairs were a vocal group from East St. Louis, Illinois reportedly named after a brand of cigarettes! Originally comprised of Phil Perry lead singer, David Frye, George McLellan, Kevin Sanlin and Clifford “Scotty” Williams they were representative of the vocal group resurgence of the 70′s when sweet vocals were fashionable.

Montclairs - Hung Up On Your Love

Their first single “Hey You! Don’t Fight It!” was recorded in 1969 on Arch Records (1305), but was only distributed in the St. Louis area. The following year they began recording for Oliver Sain at his Archway Studio. It was Sain who arranged for the group to sign to Paula Records (of Shreveport, Louisiana).

Whilst with Paula they released a few hits that charted: “Dreamin’ Out Of Season” (1972), “Make Up For Lost Time” (1974) and “Baby You Know (I’m Gonna Miss You)” (1974). They also released an album, “Dreamin’ Out Of Season” (1972) from which the track “Prelude To A Heartbreak”/”I Need You More Than Ever” was released as a single the following year.

The Montclairs also recorded tracks for Vanessa, Premium and United International. In 1974, Clifford Williams was drafted into the U.S. military and the group continued as a quartet until, when they left Paula in 1975, they disbanded. Like so many of the favourites of the Northern Soul scene, it’s such a shame these people didn’t get the recognition they so rightly deserved.

Bonnie & Lee : The Way I Feel About You

As requested by a visitor, today’s 45 is Bonnie & Lee’s “I Need Ya (Gotta Have You For My Own)” & “The Way I Feel About You”.

My copy is a DJ Promo issue (as shown) with a black and white label, the issue has blue and white stripes and “Fairmount” is in red.

When I was asked to feature this my first reaction (to myself) was “Bonnie & who? Do I own it?”

I think that’s because I’ve not played it much which itself is probably due to the A side (I Need Ya) being a ballad…

However, flip it and “The Way I Feel About You” is classic Northern Soul.

I can’t find any information on Bonnie & Lee, nor a discography. There appears to be no evidence of this record having been bootlegged or re-issued (probably due to its low value, c£20). Anyway… rather that me waffle on… enjoy the sounds.

The Emotions

Merry Xmas/Happy Holidays… and a big thanks to Mr Double Down for his great guest mix (which if you missed, you can still find here).

In between tackling the turkey and pigs in blanket leftovers I wanted to bring you a couple of festive tunes from the fantastic female vocals of The Emotions.

At the time of these recordings, on Volt, the members were Sheila Hutchinson, Wanda Hutchinson and Teresa Davis (a former member of Our Ladies Of Soul), but the band’s composition changed many times over the years:

Originally founded as the The Heavenly Sunbeams the original members were Sheila Hutchinson (born January 1953, Chicago, Illinois), Wanda Hutchinson (born December 1951, Chicago, Illinois) and Jeanette Hutchinson (born February 1951, Chicago, Illinois) the band had the following incarnati0ns: Three Ribbons & A Beau (Sheila Hutchinson, Wanda Hutchinson, Jeanette Hutchinson and their father Joe Hutchinson (born February 1931, Tennessee; died September 1985, Chicago, Illinois), The Hutch Stereos (Sheila Hutchinson, Wanda Hutchinson and Jeanette Hutchinson), The Sunbeams (Sheila Hutchinson, Wanda Hutchinson and Jeanette Hutchinson) and The Hutchinson Sunbeams (Sheila Hutchinson, Wanda Hutchinson and Jeanette Hutchinson) before finally settling on the name The Emotions during which time the members always included Sheila and Wanda Hutchinson with the third member changing between Teresa Davis, Jeanette Hutchinson, Pamela Hutchinson and Adrianne Harris.

The two tracks I drop today are two of my favourite Xmas picks (Santa Claus may be coming to town for the Jackson 5, but my needle will NEVER drop on that track!); both recorded during The Emotions time with Volt, and both are the vocal versions of the tracks (each was released with an instrumental version on the flip).

“Black Christmas” was recorded in 1970 and released as Volt 4053 and the melancholic  “What Do The Lonely Do At Christmas” was recorded in 1973 and released as Volt 4104.

Black Haze Express : Won't Nobody Listen

The last of tonight’s posts is another massive funk track, this time from Sam Dees (performing as Black Haze Express).

Won’t Nobody Listen/Pretty Soon is one of two singles Sam recorded as Black Haze Express, this one in 1971 on Clintone (005); the other is Stop This Merry Go Round/Black Tattler in 1972 on Vulcan (111).

Both Black Haze Express releases are collectable, with Won’t Nobody Listen booking at £75 and Stop This Merry Go Round at £100. I have two copies of Won’t Nobody Listen, but doubt the authenticity of one (looks too clean and the grooves are far tighter than the (marginally scruffier) one I believe to be the original issue); I have no evidence that the record has ever been bootlegged, so can only assume this to be a re-issue, or an (as yet) un-documented boot.

The intro on Won’t Nobody Listen has to be amongst the best ever, a pained Sam Dees expressing his anguish that nobody seems to care enough to change anything… listen and get hooked as the drum roll and guitar leads us to his wails of “No, no, no, no, no…”

Pretty Soon carries similar sentiments about the need for change; but a hint of optimism that change is a’ coming…

[See post to watch Flash video]

Pazant Brothers : Loose And Juicy

Tonight’s third post is the final post of by Pazant Brothers trio of tunes; this one if by far my favourite tune; this is Loose And Juicy, released on Vanguard (35191), it’s yet another produced and arranged by Ed Bland.

This single is released with the band name as The Pazant Brothers And The Beaufort Express; but I am unable to find any information on who else contributed to the single besides Al & Ed.

I am assuming this was released in 1975 to coincide with the release of the album of the same name.

Loose And Juicy is, not surprisingly, a horn driven monster. A full five minutes of funk, with female vocals, some awesome hammond work, sax solo and sympathetic drumming to back up the horns. Have a listen and perhaps you will understand my preference for this over (the more widely acclaimed) Skunk Juice.

The flip, Back to Beaufort, starts off with the usual Pazant horns, but unlike most Pazant tunes has male vocals (doing more than just shouting!) and some nice woodwind instruments. Not as infectious as Loose And Juicy, but worth a listen none-the-less.

I hope you have enjoyed the trio from Ed & Al… as I said in the original post, if you know of any more 45s missing from my discography (or have any Pazant tunes you’re willing to part with); please do let me know.

Sam Dees coming up soon…

[See post to watch Flash video]

Pazant Brothers : Juicy Lucy

The second of tonight’s posts, is the second of the Pazant Brothers trio for you this evening, this time it’s Juicy Lucy on GWP (506); another promo copy (this one’s label is in far better condition than my copy of Skunk Juice).

There’s not a lot I can add to this post that I haven’t already said about the Pazant Brothers, it’s another Ed Bland arrangement and production.

I am a big fan of their infectious drum and horn funk; this is a familiar tune even on first hearing. Slightly slower than Skunk Juice (hence slightly lower down my top 1000 list); the flip to Lucy, the juicy gal, is Work Song; another familiar sound… enjoy!

Pazant Brothers : Skunk Juice

I promised to bring you some Pazant Brothers tunes, and here we are. We open with perhaps their best known and my second favourite, Skunk Juice, released on RCA (9634).

Alvin & Edward Pazant, aka the Pazant Brothers stomp into our consciousness with a drum and horn driven classic that will be so familiar to those who appreciate the finer funk sounds to come out of Spanish Harlem. Flip the vinyl for the equally tastefully named Toe Jam (another horn and drum classic).

Produced, arranged and conducted by Ed Bland with whom they collaberated on a number of 45s as the Pazant Brothers (on RCA and GWP), as the Chili Peppers (on GWP), backing Betty Barney on “Momma Momma” (GWP) and on the (highly collectable) Loose and Juicy album in 1975 (Vanguard).

As far as I can tell, the Pazant Brothers continue to record music and are active on the internet (I found MySpace and FaceBook accounts in their name).

You can see from the scan, that my copy has some serious damage to the label, but the vinyl is okay and this promo issue sits nicely in my favoured funk boxes alongside Loose & Juicy and Juicy Lucy, which I’ll be bringing to you very shortly to complete the trio of Pazant Brothers tunes in my collection.

Pazant Brothers Discography (45s):

Skunk Juice/Toe Jam
Loose & Juicy/Back to Beaufort
Juicy Lucy/Work Song
Back to Beaufort/Water Front Blues
Dragon Fly/Dixie Rock
Fever/Groovin’
Mboga-Chakula (Greasy Greens)/Chick A Boom

Please let me know if you know of any more 45s I’ve missed off the list.

Third Guitar : Baby Don't Cry

The Third Guitar’s Baby Don’t Cry is amongst my most prized possessions – an original issue on Rojac (123) from 1968 in near mint condition.

I was fortunate enough to get it at about a quarter of its then book price (£400); although I did get hammered with an import duty from those lovely people at Her Majesty’s Customs & Excise. It takes pride of place in my funk boxes and is often reached for and played.

Written by The Third Guitar’s lead singer, Eddie Holloway, this was the 1968 recording for Jack Taylor’s New York-based Rojac label. This was the second time Eddie had recorded this tune, the first time was in 1965 whilst Eddie was a member of the Miami-based group The Soul Pleasers (the famous Funk45 re-issue has The Soul Pleasers’ earlier version on the flip, which itself is a tune worth a listen. I have a copy somewhere and when I locate it I’ll update this post with the Soul Pleasers’ version too).

The version you see and hear here was also recorded in Miami, but was given national distribution via Rojac. Unfortunately, like the other Third Guitar releases on Rojac (Sad Girl/Lovin’ Lies – Rojac 120 & Been So Long/Down To The River – Rojac 127), it did not make it big. Which really boggles the mind… what has become one of the best loved and most sought after funk singles of all time failed to hit on its release!

It is believed to have been bootlegged, but I can unearth no information on the bootleg. It has also been re-issued (the 2005 Funk45 reissue and a couple of unofficial 12″ releases). It also features on numerous compilation LP/CD (Florida Funk, Keb Darge Experience, Funk Spectrum II, etc.) and of course is in the Brainfreeze of 1999 mix that caused the resurgent interest in the song.

You do occasionally see it surface on the interweb auction sites, I recently spied a (rather ropey looking) copy with a ‘buy it now’ price tag of US$1,999.00!

The flip on this original issue is a soulful ballad, might be worth a quick listen – but I cannot believe anyone would buy this Rojac issue for the B side.

The Third Guitar – Lead Singer Eddie Holloway (other members and status unknown). Eddie appears to be alive and well and enjoying a career as a blues singer; if anyone can furnish any bio for Eddie I’d be grateful, also any information on who else contributed to the tune as The Third Guitar.

[See post to watch Flash video]

Eddie Bo

Another Bo tune…given my love of Eddie’s music it can come as no surprise, that today’s post is yet another Eddie Bo outing, this time on the Bo-Sound label.

Today I bring you “We’re Doing It (Thang)”, parts 1 & 2; by Eddie Bo & The Soul Finders. Not quite on a par with “Hook And Sling” or “Lover And A Friend”, but still a great, funky, tune from one of New Orleans greatest.

Part 1 opens with what sounds like maracas & whistles and a vocal sound off…

Female: “Hey everybody we’re doing it”…
Male: “Doing what”…
Female: “The Thang”…
Male: “Right on!”

Part 2 is slightly less upbeat with Bo talking us into the Thang; but with a stronger drum backbeat throughout.

The soundbyte is taken from a re-issue (not my image); the original Bo-Sound issue (5005) is surprisingly pricey to obtain, often changing hands for around the book price of £200. I say surprisingly as I do not rate it as amongst his best, it just seems copies do not surface that often. As with the other Bo tunes I’ve posted, I can find no evidence of this being bootlegged; so you should be safe if you uncover one whilst digging.

Much as I did with Hook And Sling, I’ll leave you to make your own mind up which side/part you prefer… as is often my preference with Bo two-parters, I’m inclined towards part 2.

Eddie Bo – Edwin Joseph Bocage (September 20, 1930 – March 18, 2009).

Eddie Bo : Hook & Sling

Perhaps not unsurprisingly, I follow up my previous post with yet another Bo tune. I mentioned before that Lover And A Friend would make it into my top 50; perhaps top 10 (if my mood permitted), this track is one that will always, always, be in my top 10.

Probably the first track I heard that convinced me (after years of attempts from friends) that my deep set passion for Northern Soul could be enhanced by “letting a little funk into my life“. I first heard this on a New Orleans funk CD compilation (that I’d reluctantly purchased to see if my friends were right) and for the life of me I can’t remember what that CD was called, nor can I find it in my collection; but I know that as soon as I heard Eddie Bo I was hooked and I have been a fervent collector of the Bo sounds ever since.

This track has probably the best drum intro I have ever heard, courtesy of some serious drumming from James Black… Whenever I reach for this vinyl, I am always torn as to which side to play, I love part 1 because, … well it’s the intro to part 2!

The soundbyte (and image) seen here is from the Scram issue (117); valued at £50 (seriously underpriced in my humble opinion). As with most Bo tunes, I can find no evidence of this being bootlegged or re-issued on Scram (there are some dodgy re-issues that sound like they were recorded off a mono stereo in a garage, but they are not on Scram, if I recall correctly they are Tuff City/Funky Delicacies/Vamp re-issues); so you should be safe should you uncover a Scram copy whilst digging. I am also sure that I once had a blue label copy as well (but can’t recall where that copy went and have no idea what the difference between green and blue is – apart from the colour).

I’ll leave you to make your own mind up which you prefer… at the time of writing I’m erring towards part 2; but then again…

Eddie Bo – Edwin Joseph Bocage (September 20, 1930 – March 18, 2009).

Eddie Bo & Inez Cheatham

Anyone who knows me knows that I’m a sucker for Eddie Bo, anything he plays/sings on, anything he produces… anything at all. But, of all the tracks I have, this has to be amongst my top 50; perhaps top 10 if I’m in the right mood.

Whilst it may not grab you with its opening bars in the way Hook And Sling does (which is a masterpiece of drum work from James Black that, in my humble opinion, is unbeaten and unbeatable); it always stops me in my tracks every time I hear it (albeit momentarily – it’s never long before my feet start tapping).

Listen as Bobby Williams’ pounds the drums, the lead guitar comes in and then Bo & Cheatham come in with a joint shout of  “Shoop!” I just know you know what I mean!

Eddie Bo worked with many people in his long and varied career and otfen recorded under pseudonyms (or Noms De Guerre according to your viewpoint). He has a varied discography as a solo artist; but also recorded some stonking tunes with female accompaniment (Mary Jane Hooper, Explosions and Inez). This particular collaberation dates from January 1968 (when I was a mere four years old). There has been, for some time, some discussion on the interweb that Mary Jane Hooper and Inez Cheatham were one and the same person. Lately, this appears to have been debunked and it is now widely accepted that the two were different people (both very talented vocalists).

This is one of two copies I own, the one you hear (and see here) is the nationally licensed Capitol release (2150 promo) valued at £75 which, sadly, failed to be a national hit; the other is the Seven B issue (7107) valued at £150, which was such a hit in New Orleans it prompted the national release. The flip is a nice deep soul ballad (If I Had To Do It Over). As far as my research suggests neither copy has ever been bootlegged or re-issued, so you should be safe in your digging.

Eddie Bo – Edwin Joseph Bocage (September 20, 1930 – March 18, 2009).