Get on Down With Donny Hathaway ... Live!

Donny Hathaway - Voices Inside (Everything Is Everything)



Sometimes there's nothing like a nice get-down jam session to get someone in a weekend frame of mind, and so today's feature, a live Donny Hathaway recording, can lead the way! I'll defer to the All Music Guide for Hathaway's biographical details so as to get right down to cases.

"Voices Inside (Everything Is Everything)" was the title track of Hathaway's 1970 Atco debut LP, and its groove had already inspired a cover version by the Soulful Strings (whose guitarist, session guitar ace Phil Upchurch, had actually played on the Hathaway album) by the time Hathaway did a nice long workout of it for his 1972 Live LP. Hathaway had some serious heavy-hitters behind him for this LP, most notably Cornell Dupree (who was probably the most in-demand session guitarist in R&B at the time) and bass guitarist Willie Weeks (more on him later), and this performance of "Voices Inside" found Hathaway and company stretching out in order to give almost every member of such a talented crew opportunities to solo. Hathaway, in a show of his classical training, refers to each section as a "movement" and the audience's enthusiasm builds with each one.

But then Willie Weeks steals the show with his "movement." Bass solos are often underappreciated in most recorded R&B and are, accordingly, infrequent. Willie Weeks' solo here ranks right up there with Bob Babbitt's legendary solo on Dennis Coffey's "Scorpio" and Fred Thomas' solo on "More Peas" by the J.B.'s as one of my favorite bass solos. Weeks starts off by laying a basic groove foundation but then he moves into more and more daring territory, culminating in a cascade of flurrying notes at the end of the solo that has the crowd cheering before he eases back into the tune's groove with a playful take on "Shortning Bread." Weeks' solo "makes" the recording, in my opinion, and I think it makes for a nice "get down" to take into the weekend. Get on down, y'all!

POSTSCRIPT - Donnie Hathaway's musical education included studies at Howard University, where he was friends with Carla Thomas, who was at the time the Queen of Stax Records (and was touring and recording during breaks and weekends). As I mentioned in my recent Carla Thomas post, Concord is going to issue, for the first time, a live album Carla recorded in D.C. in 1966 but that Stax did not release. Hathaway was part of Carla's backing band for the album; this may be one of the earliest recorded Hathaway appearances!

Come, Brothers; Hum Real Pretty Now!

Bunny Sigler - Love Train (Pts. 1 & 2)

Walter "Bunny" Sigler was no novice to showbiz when he took a break from his songwriting chores at Philadelphia International Records to record the 1974 LP That's How Long I'll Be Loving You, having had hits in the '60s for Cameo-Parkway (most notably with a medley of "Let the Good Times Roll" and "Feels So Good") and having penned quite a few hit records for Gamble and Huff's label, such as the O'Jays' "Sunshine." Although Sigler enjoyed a few hits at PIR (I believe today's selection was his biggest hit for the label) and then afterward for Goldmind and Salsoul, he never reached the level of success of many of his brothers-in-TSOP, but his recordings were consistently satisfying and showed off Sigler's immense talent.

Sigler's take on the O'Jays' 1972 smash "Love Train" was pulled from the 1974 album to be a two-part single that same year. Sigler turned the Philly dancer into a slow, churchy thing, with great effect. Taking the tempo down allows Sigler to really bring out the "People Get Ready" nature of the song's lyrics and the vocal work by the TNJ's (a group from Trenton, New Jersey that Sigler worked with) is the icing on the cake. Sigler gives the group ample opportunity to shine, with their humming intro effectively setting the tone of the tune and then providing a nice "church" moment later in the tune. After giving the group's hometown a shout-out, Sigler says "come, brothers; hum real pretty now." And they do!

It's Not Just Funky, It's a Funky Plus!

Simtec & Wylie - Put an Added Plus to Your Love

The story of Simtec & Wylie is told in part in a post I did some time ago regarding Simtec Simmon's "Limber Up" (which kicked off the latest podcast as well). Although the duo is best-known for their sides for Mister Chand in the '70s, some soul fans consider their 45s for Shama (Syl Johnson's label) to be their best. "Put an Extra Plus to Your Love" was coupled with "Gimme Some of What You Got," another fine funky 45, as a Shama single in 1970. This is sockin' soul power at its finest, with Simtec & Wylie bringing their usual hard singing to a strong groove.

RIP Bill Moss

I just learned from The Black Gospel Blog that legendary gospel artist Bill Moss, founder of The Celestials, brother of Mattie Moss Clark, uncle to the Clark Sisters, and father of gospel artist/producer J. Moss, not to be confused with the Capsoul label owner/"Sock It To 'Em Soul Brother" singer, has died. Moss & The Celestials were one of the earliest acts to bring a contemporary sound to gospel, as the YouTube clip shown below demonstrates. Moss owned the Bilesse label and the group recorded on Bilesse, Westbound and Jewel, to name a few labels, in a long, soulful career. I will feature a Celestials track the next "Sunday Gospel Time," but enjoy this appearance by the group on Jubilee Showcase in the meantime (note that at the end of the clip there are other related clips to enjoy also).

Nothing Special?

The Emotions - Runnin' Back (And Forth)

The five-year tenure of the Emotions on the Volt label (1969-74) yielded little in terms of hits - outside of their Volt debut, "So I Can Love You," which made a splash upon release, it would take an affiliation with Maurice White, who took them to the top with tunes like "Best of My Love" in the latter half of the '70s, to accomplish that - but did result in some good femme soul sides, my favorite being the funky "Blind Alley." "Runnin' Back (And Forth)" had two single releases on Volt in 1973, once as an A-side and then as the B-side to the Wattstax tie-in single of "Peace Be Still." An All Music Guide reviewer stated that "Runnin' Back," an Eddie Floyd-Mack Rice composition, "should have been cut by someone else." I think that's a bit unfair, as the group did a competent reading of the tune. It's true that it is nowhere near their best recordings, but it's a nice uptempo thing that is of some value, as Sheila Hutchinson and the group lay down some sass and their usual good harmony work.

Let Brook Fix It!

Brook Benton - Let Me Fix It



After a long and successful tenure with Mercury Records, Brook Benton's career had started to wane, but hooking up with Atlantic in 1968 gave his career a major shot in the arm. He was assigned to the Cotillion subsidiary and he struck paydirt with Tony Joe White's atmospheric "Rainy Night in Georgia," a major R&B and pop hit in 1969. Benton stayed with Cotillion through 1972 but never hit big as he did with "Rainy Night in Georgia." He did, however, record a lot of good material, including a nice soul version of the Frank Sinatra anthem "My Way" and today's selection. After he left Cotillion he moved from label to label, leaving behind records on Stax (the great "I Keep Thinking To Myself," my personal favorite) and All Platinum, among others, but he never matched the successes of his early Mercury sides and the Cotillion material.

The fun and funky "Let Me Fix It" was the b-side of "Shoes" and was part of Benton's 1970 Cotillion LP Home Style. The tune starts off with Brook casually sings the first verse over a jazzy organ rhythm before the Dixie Flyers come in and bring a swamp soul groove to the proceedings. Brook opens up then, and with his velvet baritone he sweetly but aggressively - and apparently successfully - woos a female vocalist (uncredited on the Cotillion 45, but actually Cissy Houston, whose Sweet Inspirations provided backup vocals on the LP), whose responses to his lines change from sassy to inviting over the tune's four-and-a-half minutes. Benton, who wrote the tune, is having a lot of fun here, and by the time he's running scales with the phrase "fix it" by the end, he's won the listener over also. Fix it, Brook!

The Soul Gospel Message!

Robert Banks - So Much To Thank Him For

Gospel singer, pianist and choral leader Robert Banks is best known among soul fans, and Northern Soul fans particularly, for the rocking "A Mighty Good Way" on Verve, which was featured on this blog some time ago. Banks recorded an album for Verve, The Message, which featured Banks and other soloists doing gospel tunes with touches of soul and pop such as "A Mighty Good Way" and today's selection. "So Much to Thank Him For" has a nice groove and good singing by Banks and a femme chorus.

Blues Gettin' Down!

Harmonica George - Get Some Order (About Yourself)

I don't know very much about Harmonica George, except that his "Get in the Kitchen and Burn" and "Get Some Order (About Yourself)" was a punchy 45 on Toddlin' Town from 1968 or 1969. Both sides feature a taut rhythm section and nice harmonica work from George, whose vocals have a King Coleman-esque sound. "Get in the Kitchen and Burn" appears on one of the first episodes of the podcast. "Get Some Order (About Yourself)" is featured today. The groove and George's vocals are joined by a male chorus on this one, and it's a fine record.

EDIT (6/23/07, 3:15 PM) - This in from Marc Demuynck:

(Liner Notes to Delmark LP 624-"Chicago Ain't Nothin' But A Blues Band")

Born June 12,1934 in Aberdeen,Mississippi,George W. Robinson learned harp from an older brother,Jesse.He came to Chicago in 1952 and started sitting-in in 1954.He began working with his own band a year later at The Embers,Grand & Damen,played the old Sylvio's at Oakleigh &Lake in 1956 with Elmore James,Howlin' Wolf and his own group.At the time these sides ("Sad And Blue / Sputnik Music"-for the Rev. Harrington's Atomic-H label) were recorded in the summer of 1959,he was working at the Happy Home,2200 blk. on West Madison.Other jobs have been with Elmore at the Grand Terrace Ballroom (famous for Jazz activity in the '20s and '30s) and a year later at the Playhouse Club,43d & Lake Park.After 1961 he worked as a cab-driver,though he has recorded for Toddlin' Town and Twinight since then.Perhaps Twinight will release an LP he made for them in July of 1969...(Bob Koester)

Thanks Marc!

Ride On!

Louisiana Red - Ride On Red, Ride On

I'll start today's post with a plug: if you haven't already, take some time and check out Rob Baker's Hot Slop podcasts at Garagepunk.com (see links section). Rob's mixture of soul, garage, and '50s and '60s R&B (and Rob sure knows how to play some serious R&B rumpshakers!) is a guaranteed good time. Rob had considered ending the podcasts, but fortunately for all of us has decided to continue. I always enjoy hearing the show and hearing Rob spin at "Rhythm & Booze," where his picks keep dancers very happy.

Rob turned me on to today's selection when he guested at "Rhythm & Booze" back in May. I refer you to bluesman Louisiana Red's official website for biographical data about Red, born Iverson Minter, and about what he's up to now. "Ride On Red, Ride On" was a 1963 Roulette release that finds Red talking about his move to the North to escape Jim Crow discrimination, finding time to mention various "citizen's committees" and Little Rock along the way. Although Red is telling it like it was, the star of the tune is the highly-danceable groove, with its catchy bassline (try getting it out of your head after listening!) and great drumming. Ride on, Red! Ride on, Rob!

I Was So Mad, I Wanted To Cuss ...

Charles Leonard - Funky Driver on a Funky Bus (Pt. 1)

Today I'm grouchy and in a funk, so I picked a nice piece of funky complainin' for today's selection. Charles Leonard's 1971 Loadstone record "Funky Driver on a Funky Bus" finds Leonard grousing about a commute gone bad while a nice guitar-led funk groove pushes along. Today I join Leonard's "I was so mad, I wanted to cuss" sentiment, but at least this funky groover puts a little smile on my face!

Fatback's 1980 Throwback

Fatback - Street Band

The Fatback Band's good-time groove graced recordings from the late '60s into the 1980s for Perception, Event and Spring (the later recordings credited only to "Fatback"), and although they never were as big as some of their contemporaries (like Kool & The Gang), the band's dancefloor slant, be it on minimalist funk records like "Wicky Wacky," disco-slanted stuff like "(Are You Ready) Do The Bus Stop" or club funk records like "Get Out On The Dance Floor" or the proto-rap "King Tim III (Personality Jock)," gave the group exceptional longevity and regular chart presence. Although I prefer the older Fatback material generally, finding the latter records to be too slick for my tastes, today's selection is a pleasant exception.

"Street Band" came from Fatback's 1980 Spring LP Hot Box, and it gained single release as the flip side to "Gotta Get My Hands On Some Money." "Street Band" features a nice shuffle groove that is more akin to records like "Doing It To Death" than to the go-go groove that was bubbling up at the time. After a very good sax solo sets the tone, the warm vocals and good-timing nature of the tune seals the deal, even down to the call-and-response scat singing at the end. Although some of the "1980 sound" sneaks in here and there (especially in the horn break late in the tune) the overall result is a pleasant throwback record. It's a funky good time!

More From The Correction Section

Gino Parks - My Sophisticated Lady

On the most recent edition of the podcast I included today's selection, but since I was trying to study for my Securities Regulation class while I was recording the show, I ended up questioning why Gino Parks' "My Sophisticated Lady" seemed to be trunctuated in the mix but then saying during the show's close that I must have been mixed up, because the tune was complete. Well, I was actually mixed up at that point, because the tune was trunctuated (it fades near the end of the last verse) - I must have accidentally hit a button or something while I was working on the show and studying simultaneously. To rectify that, I'll post the full tune today.

Gino Parks, who had recorded for Motown in the label's earliest days (his "For This I Thank You" is a great record I need to get a copy of for my collection), recorded "My Sophisticated Lady" for Golden World with Andre Williams producing. The intro features a proto-funk break beat (pretty funky for late 1965!) but then settles into a nice mid-tempo groove. Parks' (double-tracked?) vocals and the fine arrangement (dig how the strings quote "Any Day Now" in the tune's vamp and in the coda) really make this a nice one.