Mitty Collier's Georgia Soul

Mitty Collier - What Do You Want

Mitty Collier's legacy in the history of soul music is generally associated with Chicago and Chess Records, where she recorded the classic "I Had a Talk With My Man" and other fine records like "Sharing You" (my personal favorite of her Chess sides), which mixed a sophisticated Chicago soul sound with Collier's gospel contralto. In 1969, Mitty left Chess and signed with Stax singer William Bell's Atlanta-based Peachtree label for a three-year stint. None of her five Peachtree singles did well commercially, but all of them are outstanding. Today's selection was an unissued Peachtree recording that was included in the fantastic Grapevine compilation William Bell Presents Atlanta Soul: The Peachtree Records Story (see Brian Poust's review for more information about this must-have CD). "What Do You Want" is deep soul to the nth degree. The stunning opening is followed by Collier's fantastic reading of the tune. It's a powerful recording and it's one of my favorites on the CD.

A quick post script: after one post-Peachtree single in 1972 Collier decided to leave the secular music business and to return to the church. Now Rev. Mitty Collier, she pastors a church on the South Side of Chicago, where she helped retro soul man Eli "Paperboy" Reed forge his career during an apprenticeship as a church musician.

The Memphis Queen, Alone

Carla Thomas - Guide Me Well



Today's post came about due to a very thought-provoking post by Preston on his excellent Memphis Sound: Lost and Found blog in response to a recent Memphis Commercial-Appeal article about the alleged lack of respect in Memphis for the legacy of Rufus and Carla Thomas. (Preston's post includes a link to the newspaper article.) In reading his strong remarks, the article, and responses to both by commenters to the blog (to which I added my two cents' worth), I couldn't help but feel sad about Marvell Thomas' perception that the Thomases are being slighted (see also on Preston's blog a Rufus Thomas interview excerpt in which Thomas himself mirrors that view), but I was even more sad about how Carla has basically been a recluse, making very sporadic appearances here and there. I decided that since, as I have stated before, Carla Thomas is my favorite female soul singer (period), I needed to do a post about her today.

By 1970, when her Memphis Queen LP was released, Carla was indeed the Queen, at least of Memphis soul (Aretha had usurped the "Queen of Soul" crown by 1968, some time after Carla's classic The Queen Alone LP), with her fantastic recordings for Stax. Carla's soulfulness, coupled with her great diction and poise, shone through on everything from ballads (from the Stax-establishing "Gee Whiz" to tunes like today's selection) to midtempo stuff like "B-A-B-Y" to sassier fare ("A Dime a Dozen"), but as Stax itself was changing gears at the dawn of a new decade, Carla's spotlight began to dim. As noted in the newspaper article, Stax was moving toward the funky '70s and Carla's sweeter style just didn't fit in as well. She bounced from producer to producer (including her brother Marvell and Detroit's Don Davis) and scored a few minor hits, but by the time she appeared at Wattstax in 1972, she was all but through as a recording artist and her final Stax 45 was released in 1973. After Stax folded she made music a part-time priority, and her apperances became more and more sporadic in the following two decades. She appeared pretty extensively in the 2002 documentary Only the Strong Survive, but it was clear that time had not been too kind to her: she was in great vocal form, but I will diplomatically say that she lacked all of the style and glamour that she had possessed in her heyday, making her part in the film pretty bittersweet to me.

Today, though, I choose to focus on just how great of an artist Carla Thomas is, and reach for one of her last hits, "Guide Me Well" from her Memphis Queen album, to put things back on a positive note. Carla's monologue makes up the bulk of the 1970 recording, and she really puts it over. When she moves into the gospelly song it moves me mightily and reminds me again and again why she's my favorite.

(POST SCRIPT - Despite the pessimism surrounding the Thomas legacy, there is at least one bright spot. As noted in the article, Concord Music, the new owners of the Stax catalogue, are taking a very aggressive tack in reissuing material, and in addition to the "Stax Profiles" compilations they released on both Rufus and Carla, they are working on a comprehensive Rufus Thomas compilation and are issuing, for the first time, a live album Carla cut in Washington, D.C. in the mid-'60s. So at least for us soul fans, the Thomas legacy lives on.)

Emanuel's Detroit Magic

Emanuel Laskey - I've got To Run For My Life

Detroit soulster Emanuel Laskey has appeared on this blog before, and his "Don't Lead Me On Baby" is part of the most recent podcast (#18). His great singing is worth another feature today, so without any further ado, here it is - "I've Got To Run For My Life." Run on, Emanuel! (Again, check out the article at Soulful Detroit that appears in the prior blog entry, and make sure to get Issue #3 of There's That Beat! to read the fond remembrance of Laskey that appears in its pages.)

Let's Have Church Up In Heah!

Rev. Cleophus Robinson - Sacred Meditation

The bluesy gospel sound of Cleophus Robinson has been featured on the blog before (see this post for more information about the famed preacher and singer). Today's selection was the flip of his Nashboro record "Wrapped Up, Tied Up, Tangled Up" and has been getting a lot of plays on the iPod lately, so I thought I'd feature it today.

When it comes to performing, the singing preacher has an advantage over other gospel singers because he or she can slide between preaching (which is a mighty performing art in its own right) and singing with tremendous ease. In live performance this will "wreck the house" - the preaching has stirred the crowd up so strongly that the singing is the "push" that sends people to shoutin', cryin' and carrying on. Records by the most famous singing preachers, like those of C.L. Franklin or W. Leo Daniels, would find the song coming at the tail of a sermon, and would go to the fade with shouting sisters in the background. (Over at the great Just Moving On blog, Cies comments about how any albums by Rev. Daniels he has found are always well-played; that's why!) Cleophus Robinson's "Sacred Meditation" is a studio cut, so the excitement level is somewhat lesser, but as Robinson spins his sermonette about the "mother and a son" he slips and slides in and out of preaching and singing, and by the time the moaning fade comes along you know you've had "church"!

(POST SCRIPT - If you need a little more of Rev. Robinson at work, check out this You Tube clip of Robinson singing on "TV Gospel Time" with the Loving Sisters, an outstanding gospel group in their own right!)

The Spurling Zone!

Charles Spurling - That's My Zone (He's Pickin' On)



'60s and '70s soul artists not affiliated with James Brown are often overlooked in a discussion of King Records' soul legacy. Of course, to be fair, JB was really the bread and butter of the label with his numerous hits, but Cincinnati's soul scene had a lot going on, and King Records was there to record a lot of it. Fortunately the King soul catalogue has started to get more attention in the last decade or so, most notably from Ace/Kent, which to date has released two King Northern Soul comps, two King's Serious Soul discs, the King New Breed Rhythm & Blues comp, and ...King Funk to show off a wide range of material. Joining the fray is the Spanish Vampi Soul label with Crash of Thunder, available both on CD and on vinyl (as ten reissue 45s). WFMU's Mr. Fine Wine ("Downtown Soulville") did a great job picking out a set of soul dancers, funky soul and outright funk that is certainly worth checking out.

Charles Spurling makes a couple of appearances on the set, and today's selection is one of my favorites. (I refer you to my "Popcorn Charlie" post for more on Spurling, including a very informative comment from Christopher Burgan about Spurling and his career.) "That's My Zone (He's Pickin' On)" is a serious Northern Soul-bent groover on which Spurling warns that he's just about had it with this guy trying to get close to his girl. Although Spurling's vocals don't quite sound as threatening as his lyrics, the heavy horn chart and insistent groove makes it clear that he's as serious as a heart attack! Stay out of the "Spurling zone," if you know what's good for you (except to dance, of course)!

A reader of the blog recently emailed me to tell me that he met Spurling at a music store in Cincinnati recently. Spurling was impressed with the writer's keyboard playing and, after he had told him about some of his credentials, asked the writer to do some keyboard work for him in the future. I wish the both of them luck!

Funky Blues Friday!

Lowell Fulsom - Lovin' Touch



Lowell Fulsom's blues records have graced three episodes of the podcast so far and one blog entry, so it's obvious that I really like his work. So, to go into the weekend, I think a Fulsom funky blues is just what the doctor ordered. After "Tramp" was a hit for Fulsom (and Otis and Carla took it to new heights with their cover version), Fulsom and associates went back to the well for several follow-up records. Personally, I prefer the follow-up records, because the shaky groove of "Tramp" is strengthened in the latter records and the arrangements are sharper: with "Make a Little Love" (featured on Episodes 4 and 16 of the podcast), the faster groove and femme background singers really sell the song, and with "Lovin' Touch," today's selection, the groove is hard-hitting and the horn charts are very effective. Fulsom's in full confidence with the funk by this time, and his usual warm vocals are very nice.

Don't You *Ever* ...

Harmon Bethea - Talking About The Boss And I

Some time ago the MadPriest featured today's selection, along with its flip, "Roaches," on his long-defunct music blog, but I'd like to dust it off here to be today's post. Harmon Bethea, the Maskman, has been covered on this blog before (go here for my short write-up about Bethea and his records) and has made appearances on a few podcasts, so I'll just jump right into today's post with no further ado.

"Talking About The Boss And I," a 1973 Musicor single billed in Bethea's Christian name, finds the Maskman putting a dollop of '70s funk into the proto-rap formula he had perfected with his '60s hits "One Eye Open" and "My Wife, My Dog, My Cat." On this record, the nagging wife is replaced by a racist boss, and the Maskman can't help but to react. "Don't you *ever* slip up and call me a 'boy' no more," he bellows. "If you *ever* slip up and call me a 'boy' again, I'll hang a sign over your eyes saying 'Closed For The Weekend'!" Whatever black pride sentiment the tune has ("there ain't no more 'yes ma'am' and 'yassuh' - the word is 'right on'!") is somewhat deflated by the last verse, which slips back into the Maskman's usual comic territory, but by then he had made his point.

He Said, She Said!

The Soul Children - Hearsay



The Soul Children made their debut on this blog awhile back ago, and I'll refer you to my prior post about them for the group's history. The strutting 1972 record "Hearsay" was a #5 R&B chart hit (and was just outside of the Pop Top 40 at #44) that was written by Norman West and John Colbert (aka "J. Blackfoot"), the group's two male vocalists, and it's one of my favorites by the group and one of my favorite "finger-snappin'" era Stax 45s.

"Hearsay" is one of those tunes where everything just fits together the right way. The vocals are outstanding: Blackfoot really lays down the lyrics; the group provides very strong vocals at the ends of the verses and with the "he said, she said you did it" riff in the tune's midsection and coda; and Blackfoot and one of the female singers (which one I forget) do a good spoken interlude in the middle of the record. The groove is so "in the pocket" that you would think it was a record from the label's "stax-o-wax" era. Of course, it didn't hurt matters that Stax founder Jim Stewart, along with Al Jackson, produced the cut (Stewart had pretty much removed himself from producing at Stax by '72, tending instead to the numerous business details the then-burgeoning label had), and having Donald "Duck" Dunn playing bass on the record shaped that groove as well. (Rob Bowman notes that Colbert and West wrote the song to be faster, but Duck couldn't play his part the way they envisioned it, so the compromise was a more relaxed groove.) This is good ol' Southern soul get down, no doubt about it!

It should be noted that Bowman also writes that live performances of the song were also very good, as Norman West would get involved in the little skit, playing an instigator. He's right - check out the version of the tune the group does on the Wattstax soundtrack: the tempo is quicker but also hard-hitting; the vocals are very good, of course; and the skit is great ("I don't give a damn what Shirley has to say")!

The Mystery Gospel of Gideon

Gideon & Power - Follow Your Dream

A few years ago a spring cleaning session at my wife's grandmother's house resulted in my bringing home a bunch of old LPs that belonged to my wife's late uncle. Gideon & Power's I Gotta Be Me was without a sleeve and pretty banged up, but upon playing it I was pretty impressed. A quick search of eBay netted me a mint copy of the album and gave rise to today's mystery.

I have been unable to find out much about gospel singer Gideon Daniels except that he and his multiethnic group, Power, cut the LP I Gotta Be Me around 1972 and at least one single, "Hallelujah (I Feel Like Shouting)" b/w "I'm Movin' On," for Bell. I have also learned that Daniels was friends with Elvin Bishop (he provided some vocals for Bishop's Let It Flow album), and that at one point Power included singer Mickey Thomas, who would later join forces with Bishop (he's the singer on the classic "Fooled Around and Fell in Love") and then become part of Jefferson Starship. If anyone has any further information about Gideon & Power, it would be greatly appreciated.

The I Gotta Be Me LP was produced by New Orleans expats Harold Battiste and Melvin Lastie. Gideon & Power bring a "gospel-meets-Woodstock" touch to the proceedings, recorded live at a Los Angeles (or maybe San Francisco - my memory fails me as to the record liner notes) nightclub. Gideon's high tenor and falsetto whoops effectively carry tunes like the black pride-oriented "I Gotta Be Me," gospel ballads like "I'm Movin' On" (the live version presented on the LP includes a funny yet scathing sermonette from Gideon, delivered in a growling preacher voice, about the misuse of Christianity - "Jesus is cool, but he don't pay the rent," Gideon says), and "flower power"-optimistic tunes like "Peace and Love" and today's selection. "Follow Your Dream" features a nice slow funk groove with some great New Orleans-styled piano playing, rhythmic hand clapping and Gideon's soulful lead vocal. It's an uplifting groover that is a highlight of the LP. Now only to find out more about this group!

Get on Down With Episode #18!

Episode #18 of the podcast is now online and can be downloaded from the links section! Here's the playlist:

1. Simtec Simmons & Band - Limber Up
2. Jimmy Holiday - I've Been Done Wrong
3. Homer Banks - A Lot Of Love
4. Johnny & Jake - It's A Mess I Tell Ya'
5. Rose Batiste - Come Back In A Hurry
6. Emanuel Lasky - Don't Lead Me On Baby
7. Otis Redding - "Stay In School" PSA
8. Jimmy McCracklin - My Answer
9. Little Johnny Taylor - Zig Zag Lightning
10. Wallace Johnson - Something To Remember You By
11. Albert Collins - Do The Sissy (background music)
12. Soul Brothers Six - Thank You Baby For Loving Me
13. The Valentinos - I've Got Love For You
14. Fontella Bass - Coca-Cola Radio Ad
15. Gino Parks - My Sophisticated Lady
16. Ike & Tina Turner - Tell Her I'm Not Home
17. The Gospel Stars - Have You Any Time For Jesus
18. Eddie Purrell - The Spoiler
19. The Kittens - Ain't No More Room
20. Ollie & The Nightingales - You're Leaving Me
21. Betty Everett - Your Love Is Important To Me
22. Lattimore Brown - Bless Your Heart (I Love You)
23. The Lafayette Leake Trio - After Hours (closing theme)

Get On Down With Badfoot Brown!

Bill Cosby - Mouth of the Fish

After the fleeting tease of funk in yesterday's post it's only fair to provide a full-on, full-length funker to go into the weekend!

The '60s and '70s soul and funk forays of Bill Cosby have been covered on this page before, and again I will refer you to the great article at Funky 16 Corners about Cosby's musical projects for more information. What's neat about the Cosby musical records is that on all of them he surrounded himself with top-notch musicians who were able to turn what would otherwise be a collection of novelty -and perhaps even vanity - recordings into gems that record collectors and soul fans can appreciate. The Hooray For The Salvation Army Band LP had the Watts 103rd Street Rhythm Band working out the funk behind Cosby's strained singing, and subsequent LPs found the Cos working with some of the top jazz and soul session artists. Two LPs that merit particular interest in relation to high-level musical talent are the Bill Cosby Presents Badfoot Brown and the Bunions Bradford Funeral Marching Band albums that came out in 1970 and 1971 on Uni and Sussex, respectively. The Uni LP consisted of two long instrumentals, the moody "Martin's Funeral" (based on the assassination and funeral of Martin Luther King, Jr.) and a freewheeling funky jam session entitled "Hybish, Shybish." The Sussex LP was a mixed bag of material, and from that LP comes today's selection.

The Sussex Bunions Bradford album found longtime Cosby musical collaborator Stu Gardner lending his talents to the proceedings and some vocals, too, on tunes like the eccentric "Blues" (whose lyrics are silly enough to sound like a "Cosby Show" joke but features an interesting arrangement) and today's selection. "Mouth of the Fish" is straight-up funk, and it hooks you (pun intended) right away with an awesome drum-and-bass groove. Gardner brings gospel fire to the vocals and the background singers provide strong support, but the groove is the star of this recording, and accordingly the last half of the record is instrumental. That half of the record is the funkiest two minutes you'll ever associate with Bill Cosby: there's some horn solos, but then the band reprises the intro and a piano rides that groove on home.

Cosby would go on to record several more musical LPs throughout the '70s, all with Gardner's involvement, for Capitol and Stax (the At Last Bill Cosby Finally Sings LP on Partee; note also that Gardner released a solo LP, Stu Gardner & The Sanctified Sound, on Enterprise), and Gardner would work with Cosby from those days onward, composing the theme to "The Cosby Show" and then working with Bill on some jazz albums in the '90s.

What The Funk?!?

Ray Charles - Never Ending Song of Love

Okay, folks, your ever-lovin' Stepfather of Soul has an oddball on deck for today's selection. Everyone knows that Ray Charles was conversant in most genres of music and had no problem synthesizing them in his recordings (he wouldn't be the putative creator of soul music were it not the case, nor would the classic Country & Western albums have been made if he couldn't have brought his soulful magic), but "Never Ending Song of Love," from his 1972 ABC/Tangerine LP Through the Eyes of Love, finds Ray handling funk and country, discretely, within the same record. The way-too-short intro finds Brother Ray on the electric piano working it out with a funky drummer ("that's a new lick, isn't it?") and then, without skipping a beat, sliding into the country tune. And it's not even a funky country tune; it's one of the more cornier country tunes in Ray's discography, replete with a "Sing Along With Mitch"-styled chorus providing backup and some horn charts that were borderline comic. But, of course, since it's a Ray Charles record it actually works, as Ray brings his usual enthusiasm to his overdubbed vocals. It's a weird record, to be sure, but I guess that's why there could only be one "Genius."