Soul on the Air #14 - "Ugly" Al Dixon, 1975

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I am thrilled to get back to business with Get on Down ... after a too-long hiatus! Honestly, between a lack of time and some personal doldrums I was about to toss in the towel on the blog, but I've found some new inspiration, my energy is rebuilding and I am ready to get back to sharing this great music! Let's start with an aircheck, shall we?

Today's feature is an awesome 37 minutes from February 24, 1975 from Rev. Alvin (aka "Ugly Al") Dixon on Montgomery, Alabama's WAPX. The aircheck is sheer fun, as discussed later, but research about the man proved to be quite interesting.

I was able to find out more online about Dixon that many other soul jocks, because in 1969 he became the national president of the National Association of Television and Radio Announcers, an organization of black disc jockeys and television personalities, after serving as a regional president. Dixon headed NATRA for two years before forming a splinter group, Broadcast and Musical Arts, whose "BAMA" acronym reflected the sentiment of its members that the concerns of southern disc jockeys were not taken seriously by the northern jocks in NATRA. (See this Jet article from 1972 about the split, archived at Google Books.) I'm not sure what happened to BAMA, but I know that Dixon became a minister in the early '80s and later founded the Montgomery-Tuskeegee Times newspaper.

It is clear that Dixon considered himself a "race man" first and foremost. An opinion piece he wrote for a Billboard Magazine's "World of Soul" feature in 1970 pulls no punches:

Soul music has been adulterated, castigated, renovated, analyzed, televised, utilized, used, abused, confused, directed, reflected, selected, collected, protected, affected, taken and foresaken ... [t]he destiny of soul music depends upon the Black broadcaster ... who is black enough to continue to program the real Black soul music and restore the music formats, the jazz that ethnic-appeal station owners and managers have systematically taken from the ears of Black people. (Emphasis in the original; read the entire article at Google Books and scroll through to see the entire issue, which is very fascinating.)

And here's Al commenting on why he started a newspaper:

Starting the newspaper developed out of a need for a source of information for us by us, written by black folks, controlled by black folks, seeing what the interest of black folks and doing it from a first hand perspective because I am black.

The politics of Al Dixon, however, are nowhere to be seen in this funny aircheck. Dixon holds court over some fine soul and funk from Al Green, Barry White, Bobby Byrd, Willie Hutch and others, spinning solid patter for the platters. "Here's my namesake, his name is Al, too," Dixon says as Al Green's "L-O-V-E" begins. "Oh, I don't know whether they call him 'ugly' or not ... he's one of the Green boys ... well, he may be Jolly Green Giant's brother! Or cousin or something." That's just a taste of the fun on this aircheck - his discussion later in the aircheck about being a "cocky disc jockey" and how WAPX dominates the competition is fantastic.

It's Promo Day!

I haven't done a "promo day" post in awhile, where I take a moment to talk up stuff that usually may not usually appear on this blog, but (1) I do like it and (2) kind folks have shared it with me. Today I'll feature two tracks that I'm really enjoying these days. One is by a very familiar name, the other is a hip-hop treat.

1. "Don't Know Why" - Smokey Robinson



Motown's poet laureate is certainly not a person who's out of place on Get on Down ..., and his new CD, Time Flies When You're Having Fun (Robso), a celebration of Robinson's 50 years in the business, shows that Smokey can still craft fine songs. Interestingly, though, the first track from the CD to get attention is a cover. Norah Jones' hit "Don't Know Why" gets a delightfully jazzy, "after hours" reading by Robinson, and it really works. The rest of the CD features a decidedly "quiet storm" bent, but Smokey's in good form, and guest turns by Joss Stone, Carlos Santana and Inda.Arie are also good.

2. "Don't Be Sheep (On Friday Night)" - Audible Mainframe



Hip-hop doesn't get much attention on this blog, but I do enjoy it, and I particularly enjoy stuff that's outside of the mainstream sounds that flow, unfortunately sometimes noxiously, from urban radio. I've found that hip-hop bands tend to be much more palatable, and the band Audible Mainframe's new CD, Transients, which is out tomorrow, is a great mixture of thoughtful, intelligent rap and fantastic music. The rock guitar-lead "Don't Be Sheep" is really doing it for me these days. The groove rushes along, and the catchy chorus will stick with you. It's a great slab of "get on down" that stands out on the album.

I'll try to do another "Promo Day" feature later in the week. But for now, dig these two!

Soul on the Air #13 - Bill "Butterball" Crane, 1967

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The parade of WVON "Good Guys" continues with today's "Soul on the Air" feature, and of all the "Good Guys," I have received more than a few requests for today's subject, Bill "Butterball" Crane. Although Bill Crane was not the only "Butterball" plying his trade on R&B radio in the '60s and '70s - there was a Butterball in Philadelphia, and a "Butterball Jr." in Detroit, to name two - he's the only one for whom I've found any airchecks.

Bill Crane grew up in Chicago's Ida B. Wells housing projects, where he cultivated a love of radio and electronics. Crane parlayed this interest into a radio career, and after a stint at Chicago's ill-fated WYNR he joined the WVON stable and local fame followed. I don't know much about his post-WVON career except that at the dawn of the twenty-first century he was a senior engineer for WGN radio, and I found a post on Soulful Detroit stating that he is alive and well. Hopefully I will be able to get more information after this post!

On to the aircheck itself. Today's feature finds Butterball holding court on August 25, 1967. In addition to Butterball's patter and the records, there's a lot of good stuff, ranging from the usual commercials of the era to an "On the Scene With Geraldine" segment ("On the Scene" featured ladies' fashion and homemaking advice by Bernadine C. Washington, one of the station's two female "Good Guys" - the other was Sunday gospel host Isabel Joseph Johnson) and a news break focused on the Democratic primaries in Jackson, Mississippi, in which black voters were expected to make an impact with their relatively-new freedom to vote. All of that good stuff, however, is just icing on the cake, as Butterball's slick and funny patter really shines among the great soul records that fill the aircheck. Dig Butterball's intro to Linda Jones' "Hypnotized," his plea to the engineer to allow him to play "O-O I Love You" by the Dells twice in a row, his comment about his "raggedy" "natural" hairdo during a Billy Stewart record and his shouting over King Curtis' "Memphis Soul Stew" that kicks off the second part of the aircheck. "Who's that ringing my telephone? Who's calling me?" he bellows. "Mr. Chess [either Leonard or Phil, Chess Records and WVON owners] says I can't have no company, y'all!" Although Herb Kent makes it clear in his memoirs that such a rule wasn't always followed (he mentions that sometimes he and other jocks would pay the engineer to set up long uninterrupted sets so that the jocks could, ahem, entertain), it tickles me every time I hear it. Near the end of the aircheck, Butterball hands off to E. Rodney Jones, and the first few minutes of his show close out the aircheck.

One last note about the various "Butterballs": Crane and at least one of the other "Butterballs" also were part of the parade of soul DJs who tried their hand at making soul records. Our Butterball's Lock two-parter "Steppin' Tall" is a funk favorite, but even bigger among funk fans is a "Butterball" (from where, I don't know) whose "Butterballs" is a seriously-slamming, hard-hitting, piece of funk that features some of the strongest proto-rap I've heard on any 45 by a soul jock. Both tunes are very good, though, and I will try to feature them on the blog at some point. But for now, get on down with the Butterball of WVON!

A Little Self-Promotion Never Hurt, Right?

Bobby Jones - Talkin' 'Bout Jones

Today's selection is from Bobby Jones, who I mentioned oh-so-briefly in a post from some time back featuring the Expo 45 "No Messin' Around" by Jones and Pauline Chivers (Shivers). As I noted then, Jones never broke into the big time on a national level, but "Talkin' 'Bout Jones" made a lot of noise in Chicago in '68 or thereabouts. "Jones" has a tasty Chicago soul groove over which Bobby lays down "no brags, just facts" about how great a lover he is - with touches of Clarence Carter in his voice - while a femme chorus chirps supportingly. It's a nice dancer, and I understand that the backing track also fueled Chris Campbell's USA 45 "You Gotta Pay Your Dues." Not sure which came first, but I'm sure the Campbell record also made good use of the groove. But this post isn't about Campbell - we're talkin' 'bout Jones!

Please Support "Loaves & Fishes"

Red Kelly has posted on The B-Side that Loaves & Fishes, a soup kitchen in Biloxi, Mississippi, is experiencing financial difficulties that may force it to close next month. Loaves & Fishes has provided lots to the community since its inception, including providing food for Sir Lattimore Brown. Please go to The B-Side for more info and to see a video featuring Lattimore about Loaves & Fishes. Your support would be greatly appreciated. You can make a donation through Red's site, or you can contribute below. As we roll into Independence Day here in the States, it's important to remember that as long as the "least of these" are left without help, none of us are free.

Get on Down With the Stepbrothers of Soul!

After quite a hiatus, the "Get on Down ..." podcast is back, and joining the Stepfather of Soul is the Electro-Phonic Brian Phillips. The show was fun to do, despite having to address the recent passing of Koko Taylor and Michael Jackson. Here is the playlist:

1. Eloise Laws - You Made Me an Offer I Can't Refuse
2. Jimmy Hughes - Which Side of the Door
3. Mitty Collier - I Can't Lose
4. Tender Joe Richardson - The Choo Choo
5. Sir Arthur - Louie, Louie
6. Carla Thomas - Sweet Sensation
7. Darrow Fletcher - My Young Misery
8. Vernon & Jewell - Just To Hold My Hand
9. Koko Taylor - Egg or the Hen
10. Top Hat & Little Jeff - Mississippi Bump
11. The O'Jays - That's Alright
12. The Olympics - Girl, You're My Kind of People
13. Jean Battle - When a Woman Loves a Man
14. The Ovations - Mr. River
15. Little Johnny Taylor & Ted Taylor - Cry It Out Baby
16. Theron & Darrell - I Was Made To Love Her
17. Ricky Allen - Can I Come Back Home
18. Van Preston & The Night Rockers - Who Done It
19. Otis Redding - Scratch My Back
20. The Jackson 5 - Big Boy

RIP Michael Jackson

The Jacksons - Enjoy Yourself


Wow ... where does one begin in writing a post eulogizing the King of Pop, Michael Jackson? I suppose I should take a page from my James Brown posts from a couple of years ago. With that in mind, let me talk a moment about MJ and then I'll talk about the first Michael Jackson-related record I ever heard.

As a child of the '70s and '80s, Michael Jackson was iconic. We had a copy of Thriller, and the title track was such a favorite that my brother and I would "perform" the song, with my brother singing and me doing the Vincent Price part at the end. (I was dared at a work social to do it, but I can't remember all of it now.) So many of his songs were favorites of mine, and to watch him perform was completely electrifying. Of course, like everyone else I was aware of all the scandal that surrounded him, and joined many "Lord help that man" conversations that put more emphasis on his man-child eccentricities than his talent. But to say I was shocked to hear that Michael was dead is an understatement. As soon as I heard the news I called my wife, and I told her that his passing was our generation's version of Elvis' passing (my mother can tell you exactly where she was and who she was with when she learned that Presley was dead). I know the blogosphere will have plenty of memorials to Jackson in due time, and they will all be truly deserved.

Now, on to some music. My mother's copy of the 45 of "Enjoy Yourself" by The Jacksons got a lot of spins when I was growing up. The funky groover from 1976 kicked off the post-Motown era for Michael and his family members (the Jackson Five had left Motown - and brother Jermaine, who was married to Berry Gordy's daughter - in the middle of the '70s, and Gordy retained the rights to the group's name; they added a few of the younger siblings and kept on going). "Enjoy Yourself" was a Gamble-Huff composition and production that was released on a joint Epic/Philadelphia International label, and it rocketed up the charts upon release. It's easy to see why, because from the funky guitar intro to the bumping groove to Michael's invitation to the girl "sitting over there, staring into space" to get up and boogie, it's a solid record. Of course, Michael would stay with Epic for nearly two decades, and would turn the music world upside down in the '80s. What a way to start, though!

RIP Michael Jackson. Although the last two decades weren't the kindest to you, your singing, dancing, music videos and overall talent will forever enshrine you as part of the legacy of total entertainers like Sammy Davis, Jr. and James Brown. Thank you for making the world a better place with your music.

A Motown Moment With Chuck Jackson

Chuck Jackson - Pet Names

Chuck Jackson's legacy in the annals of R&B history are linked to his great records for Wand, where uptown arrangements and Chuck's fiery baritone made for fine alchemy. When Jackson and Wand boss Florence Greenberg fell out by the end of the '60s, he moved over to Motown and recorded for a few years. Although Chuck's recordings on Motown and then V.I.P. (can you say, "demotion"?) are not bad at all, the Motown sound just didn't create the same kind of magic that he'd enjoyed earlier. Today's selection was Jackson's final V.I.P. 45 from 1971. Smokey Robinson wrote and produced "Pet Names," which joined Jackson's string of non-hits for the label. Probably the song was too sweet and maybe even somewhat corny at a time when the Temptations, Marvin Gaye and Stevie Wonder were laying down substantially heavier material (maybe this would've been a better Jackson Five side). There's something about it, though, that I do like, so I invite you to listen and to judge for yourself.

We're Not Through With Sir Lattimore Brown!

The excitement behind the Sir Lattimore Brown story never seems to abate. Film maker Chase Thompson, whose Roy C Forever, featuring "Sex & Soul" artist Roy C. Hammond, is forthcoming, has also begun the task of documenting the rediscovery and triumphant New Orleans stage return of Sir Lattimore Brown in I'm Not Through, a Soul Detective production from my main man, Red Kelly. Here's the fantastic trailer!



We're not through with Sir Lattimore Brown!

A New Soul Commitment From Ireland!

Laura Izibor - From My Heart to Yours

A few weeks ago I was introduced to the new R&B singer Laura Izibor, whose "From My Heart to Yours," today's selection, is making quite a bit of news in R&B circles. This past Friday I had the pleasure of attending a concert by Izibor in Atlanta in anticipation of her album, Let the Truth Be Told (Atlantic), which will be released this Tuesday. Vintage soul fans, look out - Laura's got the goods to join Mmes. Winehouse, Duffy, and Stone in the pantheon of newer singers who appreciate the sounds of classic R&B and bring refreshment to the wrecked shoals of contemporary R&B - no Autotune here!

Izibor is a native of Ireland, a fact that she joked about at the show ("Do you guys know where I'm from? Did you know there are black people in Ireland?" she playfully asked), and I'm glad to say that not only "The Commitments" bring the sounds of soul from the Emerald Isle. Laura, backed by a top-notch band, ran through her album, which in parts summons forth the sounds of '70s soul and funk with just a few touches to give it a modern R&B flavor. I've pre-ordered the album and I'm already deeming it a classic. (It doesn't hurt matters that the album art is redolent of the Atlantic LPs of the '60s!) If you'd like to sample the album, you can go to VH-1's website, where the whole thing is steamable! Check this out right away!

"From My Heart to Yours" features a nice bouncy groove and Izibor's fine vocals and piano playing. When she performed it in Atlanta the crowd ate it up, and I think you will too. There are tunes on the album that I think will please the discerning soul fan even more. I recommend it heartily! Get on down, Laura!

(EDITOR'S NOTE - I'm hoping to get a new podcast up one of these days; please bear with me!)

RIP Koko Taylor

Koko Taylor - That's Why I'm Crying

I have learned that the "Queen of the Blues," Cora "Koko" Taylor, has passed away at the age of 80. Throughout her long career, Taylor was a fixture in Chicago, recording for Checker and Alligator and at one point owning a blues club. It was at this club, the Celebrity Lounge, that I had the pleasure of meeting Taylor back in 1999. My wife and I dropped in one Saturday night to see Roy Hytower perform. While Hytower put on his goodtimey show, Taylor came in donning a glittering jacket and sat quietly at the bar. When Hytower finished singing he announced her presence and she received a hearty round of applause from the crowd. When my wife and I got up to go home later in the evening, Taylor took our hands and sincerely thanked us for coming to the club. I will never forget the warmth and kindness she showed us that night.

Although I'm partial to Taylor's Checker sides, especially sock soul-slanted tunes like "Fire" and "Separate or Integrate," her Alligator material is of high quality and today's selection comes from her first Alligator LP. "That's Why I'm Crying" finds Taylor toning down the shouting style from some of my favorite Checker sides, instead laying down some smoldering vocals while the band, featuring Mighty Joe Young on guitar, lays down a slinky minor-key blues.

RIP Koko. There is no one who will be able to "pitch a wang dang doodle" like you.

Bellson, Nelson and Brown

James Brown - The Man in the Glass (Pt. 1)

I was inspired to do a James Brown post today after having seen a set of great JB videos on YouTube this weekend. One contributor has added some great stuff, including a medley of "Get Up, Get Into It, Get Involved" and "Soul Power," performed by James (in an awesome outfit, I must add) and Bobby Byrd on a soundstage, and a guest spot by James on "Dinah's Place," where James, backed by the show's house band (led by Fred Wesley), tears through "Get on the Good Foot." Get over to YouTube and do a search for this stuff; you'll be glad you did.

Today's selection was the fruit of the Soul on Top sessions, in which JB recorded a mix of standards, show tunes, a few new songs and remakes of some of his hits backed by jazz drummer Louis Bellson's big band, conducted by Oliver Nelson. Although the concept sounds somewhat baffling on paper, and the 1970 LP did not sell well at the time, the truth is that the material is actually very good. James' vocals are powerful, the song selection is strong and the band actually grooves nicely. Fortunately for soul fans, the LP has had a CD reissue on Verve. "The Man in the Glass," credited to Brown's long-time associate Bud Hobgood, was part of the album and a portion of an alternate version, which is featured here, was also included on Brown's 1970 LP It's a New Day So Let a Man Come In. "Man in the Glass" fits right in with tunes like "World" and "I'm Not Demanding" (which was also included on It's a New Day and was scheduled for two 45 releases, both of which were scrapped). On all three songs, Brown does some serious emoting about serious topics in dramatic arrangements that were unlike a lot of what JB was doing at the time. The "man in the mirror" lyrics of today's selection are powerful and even thought-provoking. Dig them!