Sir Mack Rice - Bump Meat
The Bump was one of the more successful disco dances, probably because it was fun and easy to do. It probably also didn't hurt matters that there was a slew of records that cashed in on the dance (a far from exhaustive list would include personal favorites such as Rufus Thomas' "Do the Double Bump," Bobby Marchan's "Bump Your Booty," Ed Townsend's "Maybe I'll Bump," Ground Hog's "Bumpin'," Joe Tex's "Ain't Gonna Bump No More (With No Big Fat Woman)" and today's selection). Further, the fact that men and women got to bump booties probably made the dance even more popular.
Speaking of booties, it's interesting to see how many R&B songs of the '60s and '70s may have set the template for the booty worship that exists in rap music today (starting with stuff like E.U.'s "Da Butt" and the infamous classic "Baby Got Back"): James Brown made his preferences known with tunes like "Mother Popcorn (You Gotta Have a Mother For Me)" ("mother" being his code word for a big behind) and "For Goodness Sakes, Take a Look at Those Cakes," and lots of tunes made reference to the blues archetype of the "big leg woman," most notably Israel "Popper Stopper" Tolbert's "Big Leg Woman (With a Short, Short Miniskirt)." With "Bump Meat," a 1974 Truth single, soul legend Mack Rice got his proverbial two cents in on the topic, plus he got to get in on the dance craze. So shake that bump meat, y'all!
Thursday, November 30, 2006
Wednesday, November 29, 2006
Georgia Slop!
Big Al Downing - Georgia Slop
"Big" Al Downing was truly one of the most diverse musical acts of his time, having started out doing rock 'n' roll and rockabilly in the '50s and early '60s before switching to country soul later in the decade, having disco hits in the '70s, and then closing out his career as a country artist with a few Billboard chart hits and appearances at the Grand Old Opry. I'll defer to the official Big Al Downing website for Al's bio, discography and more (check out Al's "disco" pictures from the '70s). Although Al never reached the level of stardom his talent warranted, his recordings are probably only second to those of Ray Charles in their breadth. Perhaps on this blog I will feature tunes stretching across Downing's long and varied career (assuming, of course, that you, my readers, don't bail out when I put a country song on here!)
Today I'll start with one of his most popular rockin' R&B cuts of the '60s. "Georgia Slop" was a cover of a Jimmy McCracklin tune that was released on Columbia in (I believe) 1963. This is white-hot rock-n-roll here, with the rushed beat, harsh guitar and Downing's pounding away at the keys. Downing's vocal is full of warmth and good cheer, alternately belting out the story of the party at Peg Leg Lee's (gotta love the names of the characters that populate songs of this type) and then almost sensually giving dance instructions over the stop-time portions of the tune. It's fast, furious and fun - get on down with it!
"Big" Al Downing was truly one of the most diverse musical acts of his time, having started out doing rock 'n' roll and rockabilly in the '50s and early '60s before switching to country soul later in the decade, having disco hits in the '70s, and then closing out his career as a country artist with a few Billboard chart hits and appearances at the Grand Old Opry. I'll defer to the official Big Al Downing website for Al's bio, discography and more (check out Al's "disco" pictures from the '70s). Although Al never reached the level of stardom his talent warranted, his recordings are probably only second to those of Ray Charles in their breadth. Perhaps on this blog I will feature tunes stretching across Downing's long and varied career (assuming, of course, that you, my readers, don't bail out when I put a country song on here!)
Today I'll start with one of his most popular rockin' R&B cuts of the '60s. "Georgia Slop" was a cover of a Jimmy McCracklin tune that was released on Columbia in (I believe) 1963. This is white-hot rock-n-roll here, with the rushed beat, harsh guitar and Downing's pounding away at the keys. Downing's vocal is full of warmth and good cheer, alternately belting out the story of the party at Peg Leg Lee's (gotta love the names of the characters that populate songs of this type) and then almost sensually giving dance instructions over the stop-time portions of the tune. It's fast, furious and fun - get on down with it!
Tuesday, November 28, 2006
Rufus Thomas, Blues Man!
Rufus Thomas - Talking 'Bout True Love
Today's "Tuesday Is Blues Day" feature is from Rufus Thomas, who's no stranger to this blog. When Rufus wasn't walking the dog or doing the funky chicken/penguin/robot/bird, he was a solid blues shouter - truthfully, even his funkiest stuff was steeped in the blues - and Rufus' blues numbers, generally B-sides (today's selection was the flip to "Sister's Got a Boyfriend") or album tracks (check out "Soul Food" on Do The Funky Chicken), are worth checking out. On today's selection the Stax musicians do their usual good work and Rufus makes good use of the "one and one is two, two and two is four" blues lyric.
Today's "Tuesday Is Blues Day" feature is from Rufus Thomas, who's no stranger to this blog. When Rufus wasn't walking the dog or doing the funky chicken/penguin/robot/bird, he was a solid blues shouter - truthfully, even his funkiest stuff was steeped in the blues - and Rufus' blues numbers, generally B-sides (today's selection was the flip to "Sister's Got a Boyfriend") or album tracks (check out "Soul Food" on Do The Funky Chicken), are worth checking out. On today's selection the Stax musicians do their usual good work and Rufus makes good use of the "one and one is two, two and two is four" blues lyric.
Monday, November 27, 2006
Get on Down With Oliver Sain!
Oliver Sain - Bus Stop
I returned to work this morning to learn that while I was away for Thanksgiving my work computer bit the dust. I've lost the handy 600- or 700-song MP3 list I kept on the computer, so I'll have to plan these posts a bit more than I have lately, which is actually a good thing. When looking at iTunes to pick some songs for the week I realized that I have not featured this selection, one of my favorite '70s instrumentals.
St. Louis-based bandleader/multi-instrumentalist Oliver Sain's status as a Chess Records A&R conduit brought Little Milton, Fontella Bass and Bobby McClure into the Chess stable in the '60s, a feat for which his name is forever cemented in soul music history. Sain also was a successful bandleader, and his '70s recordings for A-Bet, although only moderately successful commercially (only his disco-funk singles "Party Hearty" and "You Make Me Feel Like Dancin'" (not related to the Leo Sayer hit) got any chart action), were some of the best slabs of soul and funk the Nashboro label group put out in that decade. The 1974 instrumental "Bus Stop" is a funky thing featuring Sain's sax and a hot groove anchored by some seriously-scratchin' guitar and a bumping bass. The breakdown on this one is worth the price of admission all in itself.
I returned to work this morning to learn that while I was away for Thanksgiving my work computer bit the dust. I've lost the handy 600- or 700-song MP3 list I kept on the computer, so I'll have to plan these posts a bit more than I have lately, which is actually a good thing. When looking at iTunes to pick some songs for the week I realized that I have not featured this selection, one of my favorite '70s instrumentals.
St. Louis-based bandleader/multi-instrumentalist Oliver Sain's status as a Chess Records A&R conduit brought Little Milton, Fontella Bass and Bobby McClure into the Chess stable in the '60s, a feat for which his name is forever cemented in soul music history. Sain also was a successful bandleader, and his '70s recordings for A-Bet, although only moderately successful commercially (only his disco-funk singles "Party Hearty" and "You Make Me Feel Like Dancin'" (not related to the Leo Sayer hit) got any chart action), were some of the best slabs of soul and funk the Nashboro label group put out in that decade. The 1974 instrumental "Bus Stop" is a funky thing featuring Sain's sax and a hot groove anchored by some seriously-scratchin' guitar and a bumping bass. The breakdown on this one is worth the price of admission all in itself.
Tuesday, November 21, 2006
Get on Down With Gladys Knight & The Pips!
Gladys Knight & The Pips - Daddy Could Swear, I Declare
I don't think anyone who reads this blog regularly needs any introduction to Gladys Knight & The Pips, whose fine recordings covered nearly four decades. Today's selection is one of their lesser-known hits, which was pulled for single release from the group's 1973 album Neither One of Us, whose title track was a big hit that year. "Daddy Could Swear" was written by Gladys and her brother Meryl (one of the Pips) and it's a tasty piece of get down, featuring some great acoustic guitar work and a groove that, although not really funky or dance-oriented, makes you want to bob your shoulders a little bit while Gladys and the fellows play off each other in their usual awesome way.
(EDITOR'S NOTE - I will be visiting Chicago for the holidays, so there will be no posts or blog maintenance between now and Sunday or Monday. Happy Thanksgiving!)
I don't think anyone who reads this blog regularly needs any introduction to Gladys Knight & The Pips, whose fine recordings covered nearly four decades. Today's selection is one of their lesser-known hits, which was pulled for single release from the group's 1973 album Neither One of Us, whose title track was a big hit that year. "Daddy Could Swear" was written by Gladys and her brother Meryl (one of the Pips) and it's a tasty piece of get down, featuring some great acoustic guitar work and a groove that, although not really funky or dance-oriented, makes you want to bob your shoulders a little bit while Gladys and the fellows play off each other in their usual awesome way.
(EDITOR'S NOTE - I will be visiting Chicago for the holidays, so there will be no posts or blog maintenance between now and Sunday or Monday. Happy Thanksgiving!)
Monday, November 20, 2006
I Got Some Boogie For Ya!
Rufus Thomas:
Boogie Ain't Nuttin' (But Gettin' Down) (Pt. 1) b/w (Pt. 2)
As Stax Records entered its desperate last days in late 1974 and early 1975, many of the longest-tenured Stax artists stayed true to the company, recording and keeping the faith until the label was forced to close in early 1976. It is only fitting that Rufus Thomas, whose duet with daughter Carla, "Cause I Love You," was Stax's first hit record, would be one of the last to have a single release on the label, with "Jump Back '75." Today's selection was a 1974 Stax single that actually made it into the lower fringes of the R&B charts, but by the time of its release Stax was fading fast. For some reason producer Tom Nixon had Rufus record "Boogie Ain't Nuttin'" at FAME studios rather than at Stax, and the tune, accordingly, had a much lighter groove than most of Rufus' material. It's a nice groove, though, featuring some nice electric piano and good horn work. Thomas, whose long career certainly made him an authority on the subject, links "boogie" from its 1974 proponents (name checking Eddie Kendricks and Kool & The Gang, both of whom had scored hits that year with "Boogie Down" and "Jungle Boogie," respectively) to the '40s and '50s R&B greats like Wynonie Harris and Roy Brown over both parts of the single. History lessons aside, it's a nice piece of boogie all by itself, and Rufus' "I got some boogie for ya" chant is right on the money.
Boogie Ain't Nuttin' (But Gettin' Down) (Pt. 1) b/w (Pt. 2)
As Stax Records entered its desperate last days in late 1974 and early 1975, many of the longest-tenured Stax artists stayed true to the company, recording and keeping the faith until the label was forced to close in early 1976. It is only fitting that Rufus Thomas, whose duet with daughter Carla, "Cause I Love You," was Stax's first hit record, would be one of the last to have a single release on the label, with "Jump Back '75." Today's selection was a 1974 Stax single that actually made it into the lower fringes of the R&B charts, but by the time of its release Stax was fading fast. For some reason producer Tom Nixon had Rufus record "Boogie Ain't Nuttin'" at FAME studios rather than at Stax, and the tune, accordingly, had a much lighter groove than most of Rufus' material. It's a nice groove, though, featuring some nice electric piano and good horn work. Thomas, whose long career certainly made him an authority on the subject, links "boogie" from its 1974 proponents (name checking Eddie Kendricks and Kool & The Gang, both of whom had scored hits that year with "Boogie Down" and "Jungle Boogie," respectively) to the '40s and '50s R&B greats like Wynonie Harris and Roy Brown over both parts of the single. History lessons aside, it's a nice piece of boogie all by itself, and Rufus' "I got some boogie for ya" chant is right on the money.
Sunday, November 19, 2006
RIP Ruth Brown
Belatedly, I note that R&B pioneer/singer/actress Ruth Brown passed away recently at age 78. Brown's '50s recordings for Atlantic helped get that label off the ground (the label was referred to in those days as "the house that Ruth built"), and her material, ranging from belting blues to mambo mania, made Brown a major star of those days. Brown didn't fare so well after her tenure with Atlantic ended in the next decade, and she never really broke through in the soul business (although "You're a Stone Groovy Thing" is a rare soul fave). Fortunately Brown made a major comeback in the '80s, and her performance in the film Hairspray is a personal favorite. I've seen Ruth and several documentaries (including the great Lightning in a Bottle, where she ruled the stage and backstage as true Queen of R&B, and her spunk and talent, both shown in the films, will be missed. The MadPriest has a tribute mini-set on his blog, and it's certainly worth checking out.
Bishop Manning Calls 'Em As He Sees 'Em
Bishop Manning and the Manning Family:
This Is Everybody's Song b/w
The People Don't Pray Like They Used to Pray
Today's selections are two good-timing gospel sides by Bishop Manning and the Manning Family, a gospel group about which I do not know anything except that this tasty 45 came out on Su-Ann. Manning's vocals are warm and the group provides good backup while the band rambles along. "This Is Everybody's Song" finds Manning essaying on everything from the high cost of living (references to Nixon, the 1973 oil embargo, Ford and inflation leads me to believe the record was made in 1974 or '75) to parents skipping church to people sleeping in church over a slightly-funky groove. "The People Don't Pray" has a gospel blues feel, and Manning addresses the shortcomings of church folk, ranging from money-driven preachers to men with long hair (perhaps this is more a product of the times, as Manning takes time out to "preach a little while" on that topic!) to women with short dresses; sermonizing aside, though, this tune, like "Everybody's Song," is laced with Manning's obvious sense of humor.
(Thanks to John Glassburner and H.C. Robinson for these tracks.)
This Is Everybody's Song b/w
The People Don't Pray Like They Used to Pray
Today's selections are two good-timing gospel sides by Bishop Manning and the Manning Family, a gospel group about which I do not know anything except that this tasty 45 came out on Su-Ann. Manning's vocals are warm and the group provides good backup while the band rambles along. "This Is Everybody's Song" finds Manning essaying on everything from the high cost of living (references to Nixon, the 1973 oil embargo, Ford and inflation leads me to believe the record was made in 1974 or '75) to parents skipping church to people sleeping in church over a slightly-funky groove. "The People Don't Pray" has a gospel blues feel, and Manning addresses the shortcomings of church folk, ranging from money-driven preachers to men with long hair (perhaps this is more a product of the times, as Manning takes time out to "preach a little while" on that topic!) to women with short dresses; sermonizing aside, though, this tune, like "Everybody's Song," is laced with Manning's obvious sense of humor.
(Thanks to John Glassburner and H.C. Robinson for these tracks.)
Saturday, November 18, 2006
Soul-Blues Saturday: Thinkin' 'Bout Pickett
Wilson Pickett - Outskirts of Town
One of the saddest events to be noted on this blog was the passing of Wilson Pickett. At that time I did a series of posts about his great recordings and did a tribute set, which is still downloadable (see the "Podcasts" section). I included today's selection in the set, but I felt like featuring it today.
Wilson Pickett won a Handy Award for It's Harder Now, his triumphant comeback album. At the time of the album's release, Pickett and everyone involved boasted about how there was nothing synthetic about the album, and although the album wasn't the home run that Solomon Burke or Bettye LaVette would have with their comeback albums, it was a great effort and Pickett is shown to be in great voice and spirit. The documentary Only the Strong Survive was made during that time, and Pickett's moments in the film, made in part while Pickett was shooting stills for the album and promotional materials, found Pickett to have overcome the various demons that befell him in the '80s and '90s to be both wise and wise-cracking ("Did I have a good summer?" Pickett replies to the greeting he receives when met by the interviewer, "I had a good winter too! And a good fall, and that ain't all!") Had Pickett cut a song like "Outskirts of Town" during his Atlantic prime it would've been a hit, as all of the elements of a good soul record are there. It's my favorite from the album, and so it makes a repeat performance here!
One of the saddest events to be noted on this blog was the passing of Wilson Pickett. At that time I did a series of posts about his great recordings and did a tribute set, which is still downloadable (see the "Podcasts" section). I included today's selection in the set, but I felt like featuring it today.
Wilson Pickett won a Handy Award for It's Harder Now, his triumphant comeback album. At the time of the album's release, Pickett and everyone involved boasted about how there was nothing synthetic about the album, and although the album wasn't the home run that Solomon Burke or Bettye LaVette would have with their comeback albums, it was a great effort and Pickett is shown to be in great voice and spirit. The documentary Only the Strong Survive was made during that time, and Pickett's moments in the film, made in part while Pickett was shooting stills for the album and promotional materials, found Pickett to have overcome the various demons that befell him in the '80s and '90s to be both wise and wise-cracking ("Did I have a good summer?" Pickett replies to the greeting he receives when met by the interviewer, "I had a good winter too! And a good fall, and that ain't all!") Had Pickett cut a song like "Outskirts of Town" during his Atlantic prime it would've been a hit, as all of the elements of a good soul record are there. It's my favorite from the album, and so it makes a repeat performance here!
Friday, November 17, 2006
This Is Serious Soul!
The Persuaders - Thin Line Between Love and Hate
I will admit right away that today's selection is not the more rare thing I've ever put on this blog, but when I was scanning through my MP3 folder this morning it caught my eye, and when I played it I remembered just how totally awesome this song is. The Persuaders would never again enjoy the smash success they had with "Thin Line Between Love and Hate," which came out on the Atco-distributed Win or Lose label in 1971, despite having R&B hits with fine songs such as "Love Gonna Pack Up (And Walk Out)" and "Some Guys Have All the Luck" (which Rod Stewart would hit with in the '80s). But had "Thin Line" been their only record, it would've been enough, as the group waxed one of the strongest soul records of '70s. This record is as serious as a heart attack, warning the listener that taking one's significant other for granted can have dire consequences. Adding to the intensity of the words is the extremely atmospheric arrangement: from the opening piano line to the strong yet silky instrumental track to the anguished lead vocal and the sharp background work, the tune consumes the listener and drives home the song's message like a velvet-covered sledgehammer.
I will admit right away that today's selection is not the more rare thing I've ever put on this blog, but when I was scanning through my MP3 folder this morning it caught my eye, and when I played it I remembered just how totally awesome this song is. The Persuaders would never again enjoy the smash success they had with "Thin Line Between Love and Hate," which came out on the Atco-distributed Win or Lose label in 1971, despite having R&B hits with fine songs such as "Love Gonna Pack Up (And Walk Out)" and "Some Guys Have All the Luck" (which Rod Stewart would hit with in the '80s). But had "Thin Line" been their only record, it would've been enough, as the group waxed one of the strongest soul records of '70s. This record is as serious as a heart attack, warning the listener that taking one's significant other for granted can have dire consequences. Adding to the intensity of the words is the extremely atmospheric arrangement: from the opening piano line to the strong yet silky instrumental track to the anguished lead vocal and the sharp background work, the tune consumes the listener and drives home the song's message like a velvet-covered sledgehammer.
Thursday, November 16, 2006
Let's Have a Little Get Down!
Act I - Tom the Peeper
Today's post is short and sweet because, unfortunately, I don't know anything about this group except to say that they lay down a nice proto-disco groove on this 1973 Spring single. You know it's fun, when you have lines like "Can he see? Man, that dude's got spyglasses!"
Today's post is short and sweet because, unfortunately, I don't know anything about this group except to say that they lay down a nice proto-disco groove on this 1973 Spring single. You know it's fun, when you have lines like "Can he see? Man, that dude's got spyglasses!"
Wednesday, November 15, 2006
Chicago Cool Breezin'
The Five Du-Tones - Outside the Record Hop (Trying to Get In)
The Five Du-Tones' crazed 1963 hit "Shake a Tail Feather," although covered more famously by artists ranging from James & Bobby Purify to Ike & Tina Turner to Ray Charles (whose version is a highlight of the soundtrack to the immortal The Blues Brothers), set the ball rolling for the Chicago group, who made a series of great recordings for George Leaner's One-Derful! label. Unfortunately, the group never reaped the benefits that "Tail Feather" should have earned them, and despite a strong live show (they were part of the Five Du-Tones Revue, which included the female group the Du-Ettes ("Please Forgive Me") and soloists Johnny Sayles and Stacey Johnson) the group would disband within a few years, with Du-Tones singers and musicians later forming other acts (two of the Du-Tones and some of the musicians would form the Southside Commission, which would have a disco hit with "Free Man"). Today's selection was the group's last single, which was released on One-Derful! in 1966. "Outside the Record Hop" has more of a 1963 than a 1966 sound, with its bluesy groove and swinging singing, but the tune builds steam as it goes along, and by the time the song reaches its happy ending it's enough to make you want to do the Jerk, Slop, Twine, and Barracuda just like the lead singer is doing!
A quick postscript - Retro-soul singer-guitarist Eli "Paperboy" Reed and his band, the True Loves, feature "Outside the Record Hop" in their newest recordings. Reed and his band are doing to '60s soul what Sharon Jones and similar artists do with '60s and '70s funk - check out his website and see and hear for yourself!
The Five Du-Tones' crazed 1963 hit "Shake a Tail Feather," although covered more famously by artists ranging from James & Bobby Purify to Ike & Tina Turner to Ray Charles (whose version is a highlight of the soundtrack to the immortal The Blues Brothers), set the ball rolling for the Chicago group, who made a series of great recordings for George Leaner's One-Derful! label. Unfortunately, the group never reaped the benefits that "Tail Feather" should have earned them, and despite a strong live show (they were part of the Five Du-Tones Revue, which included the female group the Du-Ettes ("Please Forgive Me") and soloists Johnny Sayles and Stacey Johnson) the group would disband within a few years, with Du-Tones singers and musicians later forming other acts (two of the Du-Tones and some of the musicians would form the Southside Commission, which would have a disco hit with "Free Man"). Today's selection was the group's last single, which was released on One-Derful! in 1966. "Outside the Record Hop" has more of a 1963 than a 1966 sound, with its bluesy groove and swinging singing, but the tune builds steam as it goes along, and by the time the song reaches its happy ending it's enough to make you want to do the Jerk, Slop, Twine, and Barracuda just like the lead singer is doing!
A quick postscript - Retro-soul singer-guitarist Eli "Paperboy" Reed and his band, the True Loves, feature "Outside the Record Hop" in their newest recordings. Reed and his band are doing to '60s soul what Sharon Jones and similar artists do with '60s and '70s funk - check out his website and see and hear for yourself!
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