Archive for December, 2007

Funky16Corners Radio v.41 – 2007 Year In Review

December 30, 2007


Yours truly massaging the wheels of steel…

Funky16Corners Radio v.41 – 2007 Year In Review


Joe Tex – You’re Right Ray Charles (Dial)
Edwin Starr – Headline News (Ric Tic)
Lorraine Ellison – Call me Anytime You Need Some Loving (Mercury)
Superlatives – I don’t Know How (To Say I Love You) Don’t Walk Away (Westbound)
JJ Barnes – Chains of Love (Groovesville)
Tom Jones – Keep On Running (Parrot)
Big Al Downing – Gimme Good Loving (House of the Fox)
Banana Splits – Doin’ the Banana Split (Kelloggs)
Earl King – Street Parade Pt1 (Kansu)
Marva Whitney – Things Got To Get Better (Get Together) (King)
Gene Waiters – Shake & Shingaling Pt1 (Fairmount)
AABB – Pick Up the Pieces One By One (Identify)
Betty Wright – Clean Up Woman (Alston)
Mongo Santamaria – Lady Marmalade (Vaya)
Little Richard – Nuki Suki (Reprise)

To hear this mix, head on over to the Funky16Corners Radio Podcast Archive


Greetings all.
I know I said that I probably wouldn’t be back prior to the New Year, but you know how these things go. I swear I won’t go near the interwebs and I wind up pulling a podcast out of my ass (figuratively of course) at the last minute, yadda yadda yadda, so on and so forth ad infinitum.
In the spirit of all things green this podcast is created (like Pamela Anderson) using 100% recycled materials. I was scanning the old server last week and I thought that it might be a nice idea to gather a bunch of my favorite individual tracks from the past year and assemble them as a sort of ‘year in review’ edition of Funky16Corners Radio. This way, if you missed these gems the first time out, you get to dig them now, and if you are already familiar, you get this nice little party mix to use as the soundtrack for your Cold Duck and cocktail weenie extravaganza on New Years Eve.
What you get (feel free to Google-ize all the original posts) is a high quality mix of Northern Soul, funk and a couple of slices of funky disco. The connecting factor is – as always – that they’re all kickass and ought to provide enough heat to inspire even the most lackadaisical house guest to hop up off of the davenport and cut themselves a slice of rug.
This has been an excellent year here at the blog, with new attendance records set each month, lots of enthusiastic feedback from the readership, and last but hardly least, lots of fun for yours truly.
In other news, last week’s inaugural 4th & Kingsley Soul Club was a blast, with a steaming live set from the Budos Band (has it ever been any other way?) and lots of hot wax from DJ’s Prestige, Bluewater and of course your pal Funky16Corners (see Fleamarket Funk for set lists).
So, Happy New Year to you and yours. I’ll see you all in ought-eight with a grip of new records, podcasts and of course lots and lots of words.


PS Head on over to Iron Leg for a new Psych Podcast!


Funky16Corners Christmas 2007

December 21, 2007


The Magic of Christmas


Richard Evans

Miss Doroth Ashby

Listen – Soulful Strings – Jingle Bells”
Listen – Soulful Strings – Merry Christmas Baby”

Greetings all .
It’s time for the third annual* Funky16Corners Christmas post.
Christmas is nearing rapidly, and I couldn’t very well let it go by without dropping some soulful goodness of a holiday variety.
If you’re a regular reader of the blog you’re familiar with my ongoing trials and tribulations (some would say too much so, but that’s just the way things are around here).
Two thousand and ought seven has been a real yin yang of a year, with the duality of trouble and good fortune engaged in a perpetual tug of war. All thing considered, however, I’ve got it pretty good.
On the personal side I have a wonderful wife and two incredible children. I took a long time to get started on the family thing, but it’s worth every bit of time and energy one might invest in it. That, in the end, is what it’s all about.
On the creative side things have been banging. I’ve had the opportunity to work on the Asbury Park 45 Sessions alongside a great bunch of people (shout outs to Connie T Empress and Bob Shannon, Jack the Ripper, DJ Prime, MFasis, DJ Bluewater, Vincent the Soul Chef, Devil Dick and all the other guest selectors that have spun in the past year), with special thanks going out to my man DJ Prestige, who started it all and has been a good friend and an inspiration. His blog – Flea Market Funk – has grown into one of the best funk and soul blogs out there and if you haven’t checked it out, you ought to do so post haste. I’ll be joining him tomorrow night (12/21) at the World Famous Asbury Lanes for a new night, the 4th and Kingsley Soul Club, which with the addition of live bands (this time out it’s the mighty Budos Band, straight outta Shaolin!) to the mix should be a gas.
Keep in mind that the 4th and Kingsley Soul Club DJ sets will also be broadcast live on the interwebs over at JamNow, so if you can’t join us in person, you can dig the sounds at home (starting just after 8PM).


Things here at Funky16Corners – as well as over at Iron Leg, the blog I started this summer – have never been better. I couldn’t ask for a better creative outlet, and special thanks go out to all of you that stop by here on the reg and engage in the conversation. I couldn’t do it without you.
As I’ve stated repeatedly in the past, I’ve never been much of a holiday music collector. However, once in a while a personal obsession of mine also happens to have a Christmas record. In the case of Richard Evans and the Soulful Strings, their 1968 LP ‘The Magic of Christmas’ is a real gem.
The first tune I selected was the obvious choice (at least for me) because I can’t think of another version of ‘Jingle Bells’ that opens up with an honest to goodness drum break. I’m not sure who’s laying it down here (though it sounds like the same drummer that Evans used on Marlena Shaw’s ‘California Soul’, which I’ll be blogging in the next few weeks).
The second selection is a lush, sublime reading of Charles Brown’s classic ‘Merry Christmas Baby’ which features the brilliant Dorothy Ashby on harp. If you aren’t familiar with Ashby – I included her ‘Soul Vibrations’ on my collab with DJ Prestige ‘Beat Combination Pt2’ (check out the Flea Market Funk Mixes page)– she was one of the few harpists who could actually play jazz on the instrument, and the three albums she recorded for Cadet between 1968 and 1970 (in collaboration with Evans) are brilliant.
If your nerves are frayed (like mine) and the consumerist madness of the holiday season has you down, give this version of ‘Merry Christmas Baby’ a listen and all will (at least for a few minutes) be well.
I’ll be taking the next week off to enjoy the holiday with my family and do a little visiting. I will most definitely be back with something for New Years Eve, so hang tight, enjoy your Christmas and I’ll see you all soon.

*Though this is the blogs fouth Christmas, for some reason I didn’t do a holiday post in 2004

PS Head over to Iron Leg for some Christmas garage action.

Funky16Corners Christmas (Redux) Pt1

December 19, 2007

Greetings one and all.
I hope you’re all digging the mix.
I found out that the most excellent ‘I’m Learning To Share’ blog has the entire George Conedy Christmas LP up for the download, so I figured in anticipation of the all new, all fabulous Funky16Corners Christmas post I have planned for the end of the week that I’d repost the tunes from last Christmas to tide you all over.
So, head on over to ‘I’m Learning To Share’, and I’ll be back later in the week with some cool, freshly digi-ma-tized grooves for your delectation.

PS I just realized that I forgot to include the Funky16Corners 45 Beats Mix in the Podcast Archive, so I just added it. How’s that for service?


Clarence Carter



Listen – Clarence Carter – Back Door Santa ”

Listen – George Conedy – El Nino del Tambor”

Greetings all (and Ho Ho Ho).
It’s time for the second annual* Funky16Corners Christmas post.
As I’ve gone over a few different times, I’ve never been a big collector of (any) holiday themed funk and soul. I may pick up a piece here and there – when it turns up – but I don’t generally seek it out. This is the main reason it may take a decade or so before you see me post a Christmas edition of Funky16Corners Radio. I just don’t have the raw material at my disposal.
That is not to say that I would ever let the time of year go by unnoticed, and this time out I have a couple of excellent funky yule logs for ye, one you may have heard, and another that you almost certainly haven’t.
The former may very well be my all time favorite funk/soul Christmas record, by one of the truly great voices of 60’s and 70’s soul. The singer, Mr. Clarence Carter, the song, ‘Back Door Santa’.
First off, I suspect that someone, somewhere in the funky blog-o-sphere will be dropping this chestnut, and I don’t care, on account of I love this record, and you should too, and much like spinach and yams, more than one serving will only serve to improve your overall well being.
That said, Clarence rips it up here, whipping every last bit of funk they had hidden at Fame studios on you (as well as jingle bells and egg nog), with all the good Santa-related double (hardly) entendres money can buy. Get this on thy-Pod post haste, so that over the weekend, when some wet blanket tries to throw ‘Grandma Got Run Over By a Reindeer’ (or, God forbid that thing where the dogs bark out ‘Jingle Bells’) on at the Christmas gathering, you can parry (and thrust) with this big, jangling set of Christmas balls and really get the party started.
I mean, seriously…how can your ears suck up this groovy gravy, and your butt fail to respond– in the words of the great Lee Dorsey (without whom everything you do can’t be funky) – with the make-a-shake-a-make-a-hula, or however it is you likes to shake it (but don’t break it).
By the way, if some youngster starts tugging on your scarf when this starts playing, it’s because he heard this songs very essence sampled by none other than Run DMC (It’s Christmas in Hollis Queens! Etc etc).
On the flippity flop, I bring you the result of a happy accident (referring not to the recording of the record, but rather the circumstances by which it landed in my Crate du Hammonde).
The record in question popped up a while back on the sale list of a pal of mine, who’s taste in music I hold in very high regard (howdy Agent 45…).
So, on this list I see a record with the brief (but wholly sufficient description of “funky Hammond version”), directly adjacent to a very reasonable price, which was at the end of a line that began with a Spanish song title (which I didn’t bother to translate). So, I pay my money, some time elapses and the record in question pops through the mail slot at Funky16Corners headquarters. I whipped it on the turntable, and in a few short seconds (about as long as I suspect it will take you) it became apparent that the title was in fact ‘The Little Drummer Boy’ en Espanol.
I have to say that even as a tike, when they still showed the animated special of the same title, this was far from my favorite Christmas tune, certainly not the kind of thing I thought capable of funk-a-fi-zation. Little did I know that sometime in the late 60’s or early 70’s an organist named George Conedy laid down an LP of Christmas tunes for the gospel subsidiary of the Kent label, which I am assuming was the source of the music on this very 45**.

All I have to say is that George took an overly solemn carol and turned it into a slow, funky jam that sounds like it dropped out of the long lost (so long lost as to never have existed..) Santa-sploitation classic “Superfly Santa the Hard Way” aka “Hell Up in the North Pole”, in which our hero, Saint Nicky, wearing a red (of course) velvet suit, and driving a red and white Caddy brings Christmas joy to all the poor kids (and a few of the better looking women) on his route.
I’ve gone a-Googling, and as far as I can tell Mr. Conedy has vanished into the ether.
Well, wherever you be I say Huzzah! And Merry Christmas to you George!

And the same to all of you readers.

Even if you don’t celebrate Christmas, go out and suck up some of that Christmas cheer. It’s good for the soul.
I may not post until the middle of next week (days off, visiting with the family and all that) but I promise you some excellent pre-New Years grooves.

*Though this is the blogs third Christmas, for some reason I didn’t do a holiday post in 2004

**For some strange reason the flip side of the Conedy 45 is a recording of Billie Holiday singing ‘God Bless the Child’. I get the thematic connection, just not why thelong deceased BH ended up on the b-side of a George Conedy 45.

PS Don’t forget the 4th & Kingsley Soul Club, this Friday 12/21 at the World Famous Asbury Lanes.


Funky16Corners Radio v.40 – Is It Funky Enough?

December 17, 2007


Rufus Thomas and his Funky Penguin…

Funky16Corners Radio v.40 – Is It Funky Enough?


Communicators & Black Experiences Band – Is It Funky Enough? (Duplex)
Tender Joe Richardson – Hip Huggin’ Mini (Hot Biscuit)
Jackie Moore – Singin’ Funky Music Sho Nuff Turns Me On (Kayvette)
Emperors – Mumble Shingaling (Brunswick)
Willie & the Mighty Magnificents – Funky 8 Corners (All Platinum)
Billy Sha Rae – Do It (Spectrum)
Rufus Thomas – Do the Funky Penguin (Stax)
Maceo & All the Kings Men – Got To Getcha (House of the Fox)
Rimshots – Save That Thing (All Platinum)
Deacons – Sock It To Me Pt 1 (Shama)

To hear this mix, head on over to the Funky16Corners Radio Podcast Archive


Greetings all.
I hope the dawning of a new week, and the onrush of the holiday season doesn’t have you cowering in terror under your couch. As far as the “Christmas Spirit” goes – even with two wonderful children – I’m not feeling it this year. Nothing against Christmas in and of itself but as Robert Johnson once said, I got (metaphoric) stones in my passway, which I rather weren’t and life is hectic where it really oughtn’t be and I’d just like a day or two to catch my breath and engage in a little peaceful meditation.
We took a ride down to the beach today to check out the (relatively) massive waves brought on by the most recent Nor’Easter. It’s truly a thing to behold. As any Jersey Shore surfer will tell you, we don’t get too much in way of tidal pyrotechnics hereabouts and when a major storm rolls through all of a sudden it gets all Hawaii Five O and slackjawed goons (like myself of course) are standing on the boardwalk marveling at the roaring surf like a bunch of awed troglodytes. It is pretty cool, and unfortunately about as exciting as things get around here on a cold and rainy Sunday afternoon.
This is not necessarily a bad thing. I can’t very well whine about needing peace and then laugh in the face of the power of nature in the same breath (or can I), but I’m just not in a very positive frame of mind. Things seem to be on the upswing, though, so I’ll try to look on the bright(er) side of things.
On that note, it’s been a while since I dropped a good ol’ funk mix, so in the words of the old blues master, “Wanna hear it? Hear it is!”
Before I get too deep into things, it behooves me to mention that this coming Friday if the inaugural Fourth and Kingsley Soul Club at the World Famous Asbury Lanes. Your host DJ Prestige will be joined by yours truly spinning before and after a performance by the mighty Budos Band, who if you haven’t seen them (or heard either of their excellent albums) you’re missing out. I opened for the Budos this summer at Lucky Cat in Brooklyn, and it was – both literally and figuratively – HOT.
I can assure you that although the temperature outside is falling, Prestige and I will be bringing the heat this Friday, and the Budos – in the manner of the cover of their first album – will surely have the lava flowing.


I can’t very well start rapping about the tunes in this mix without thanks to Prestige (as well as my man DJ Bluewater) from whose trade/sale crates I procured the lion’s share of the records in this mix. Though there are a couple of sides in this mix that I probably would rather have dropped on their own, giving them a little more TLC, I had so much fun putting this mix together that I can’t really complain.
Things get started with a bang with a record that haunted my want list for a long time. I only recently scored a copy (via Norway no less) so I figured it would do nicely as the lead off side (and title song) of this edition of Funky16Corners Radio.
The Communicators and the Black Experiences Band hailed from Durham, North Carolina, and the answer to the musical question ‘Is It Funky Enough’ is of course, ‘Hell yes.” I really dig the crazy, slightly off kilter horn fanfare that opens this record, and the groove laid down by the BEB is dead on the money, honey. Though some of my fave funk sides work off of a modified, heavy 4/4 groove, ‘Is It Funky Enough’ manages to take a little bit of the herky jerky and make it funky funky. I’m not sure I could dance to it, but then I’m not sure I ought to be seen dancing to anything…
I don’t know much about Tender Joe Richardson, other than he apparently worked as a guitar player for the Shirelles at one point, and recorded a few 45s under his own name for Veep and Hot Biscuit (a New York based label). I also know that I have another version of ‘Hip Huggin’ Mini’ by Sunny and the Sunliners, though I have no idea who did the song first. Either way it’s a cool tune, with a nice vocal by Richardson.
Jackie Moore was a journeyman(woman) soul singer who started out recording 45s for Shout, Wand and Atlantic in the late 60’s/early 70’s before making it to Kayvette in 1975 (though I’ve seen a discography that dates this record as 1981?!?) for ‘Singin’ Funky Music Sho Nuff Turns Me On’. It should come as no surprise that Moore went on to have some success as a disco artist, as ‘Singin’…’ is one of those funky sides that seem to be edging up against a flashing dancefloor. I wouldn’t call it disco, but it sounds like the Funk moving into that neighborhood.
The Emperors were probably the greatest soul/funk band to come out of Central Pennsylvania in the 60’s. Their 45s for Mala, from their biggest hit ‘Karate’, their atmospheric version of Don Gardner’s ‘My Baby Likes To Boogaloo’ and their cover of the Coasters ‘Searchin’ are all excellent. Lesser known – but also very cool – is the one 45 they laid down for Brunswick, ‘Karate Boogaloo’ b/w ‘Mumble Shingaling’. ‘Mumble Shingaling’ has a rough sound with the same garagey edge as their Mala sides.
We take a moment out for a little home-grown New Jersey funk from Willie and the Mighty Magnificents. Led by guitarist Willie Feaster, the band released their first 45 in 1968 and dropped the very groovy ‘Funky 8 Corners’ – play it twice for a nice round Funky16 – in 1969. There’s a taste of ‘Tighten Up’ here, just like as in Lee Dorsey’s ‘Four Corners’, though Willie and the boys take things at a slightly more relaxed pace.
We head up to the Motor City for a gritty slice of funk from Billy Sha Rae. ‘Do It’, which has released on a couple of different labels rocks on a James Brown tip, with extra credit for repeated shout outs to do the ‘Iron Leg’. There’s also an instrumental version of this tune by Johnny Griffith on the Triple B label. If you drop by the Asbury Park 45 Sessions in January I might have to segue from one into the other.
If you recognize the sweet break at the beginning of Rufus Thomas’s ‘Do the Funky Penguin’ that’s because it’s been sampled a couple of dozen time by the likes of Public Enemy, Big Daddy Kane and a Tribe Called Quest. Though Rufus is best known for his earlier less funky sides, DO NOT SLEEP on his later stuff, as it is all funky and of an extremely high quality.
Maceo and all the Kings Men, are of course Mr. Parker and the rest of the JB’s working outside the purvey of the Godfather of Soul. ‘Got to Getcha’ was also sampled numerous times, and it’s not hard to see why. The only mystery is what Maceo and the boys plan to do with a turtle’s egg once they get their hands on one.
The Rimshots were another New Jersey funk outfit, working for a time as the house band for All Platinum and related labels. Their early 45s, like their note for note cover of the Ramrods ‘Soul Train’ were a lot funkier than their later stuff which is pretty much in a disco bag. ‘Save that Thing’ is a slow, but funky workout with some groovy electric piano in the beginning which sounds like the Rimshots were trying to mop up a little bit of that Isley Brothers gravy (if you know what I mean).
The mix closes out with one of my fave Chitown instro sides ‘Sock It To Me Pt1’ by the Deacons. Much like ‘Do It’ (but in reverse) this is an instrumental workout on a vocal side, that being Syl Johnson’s ‘Come On Sock It To Me’. The Deacons take the track and Hammond-i-fy it to groovy effect. I had a copy of this record for years but when offered the opportunity to “mint up” as they say, I could not resist.
So, that’s where it’s at brothers and sisters. I’ll probably be back with an individual track later in the week, and then something for Christmas.
Either way, I hope to see some of you on Friday, and as always, I hope you dig the sounds.

PS Head on over to Iron Leg for a cool Zombies cover!

PSS Oh, uh…this is for my wife: RIP Dan Fogelberg, we hardly knew ye…

Ike Turner RIP

December 13, 2007


I’m sad to say that the word on the street is that R&B/soul/funk legend Ike Turner has passed on at the age of 76. Say what you will about Ike “the person” (see below for more on that) but his musical importance is undeniable, with and without Tina.
I don’t have the time to whip together a proper tribute, but I just happen to still have my very favorite Ike Turner instrumental up on the server.
So, here you go, reposted from January of this year, Ike Turner & the Kings of Rhythm.
Rest In Peace, Ike…

PS If you prefer your Ike with some Tina on the side, click into the Podcast Archive in the sidebar and scroll down to Funky16Corners Radio v.6, the ‘Bold Soul Sisters’ mix, which includes the funk 45 of the same name. You can also check out Funky16Corners Radio v.29 – Rubber Souled Pt2 for Ike & Tina’s cover of the Beatles’ ‘Get Back’.

PSS I decided to add the other two Ike-related posts I did back in 2005 and 2006. Unfortunately I don’t have the soundfile on hand for the Ike/Tina/Ikettes number. If I can turn up the file I’ll add it later.


That’s right. I just drank that huge bottle

of Coke and I’m ready to rock.


Listen – The New Breed Pt2 MP3″

And a hail-fellow well met to you and yours.

The weekend is at last approaching with unstoppable momentum, and whether or not you left all of your party in some rest room on New Years Eve, the track I bring you today is guaranteed to get some of it back for you (if just a little).
This has been the longest “short” week in recent memory. I’m still not digging my new job all that much, but I guess I am getting used to it (somewhat). I won’t bore you with the details, but it seems the problem is not what the new job is, but rather what it isn’t – that being my old job, in which I was as free as an organically raised asparagus, growing wild in my little corner of the world, my creative juices flowing like pancake syrup in a lumber camp, my ability to tap into the zeitgeist and then hang on like a lamprey practically boundless. Now I find myself moved from protective custody into the general population where my free-range sensibilities are more liability than asset, and I have to watch my step, which really sucks because for the first time in a long time, someone else is watching it too.
Life is unfair…but then so was Ike Turner (how’s that for a segue of the week nominee???)
That’s right friends, we return to the mighty recorded legacy of America’s most notorious, wife-beating a-hole, who just so happened (once upon a long time ago) to have also been one of the country’s great musical assets.
Back in the days of yore, when the sharkskin suited, be-conked Ike strode across the landscape of rhythm and blues like some kind of gargantuan, guitar mangling (and shoe throwing) colossus, he was laying down some serious musical heat.
There are those that will swear by his “and Tina” recordings (as will I), but there are others (a group of which I am oddly enough also a member) that will hep you to the fact that Mr. Turner made some outstanding platters without the benefit of his wife.
Today’s selection is one of those.
I remember the day I picked up this disc, in the days before I headed into battle with a GP3 in my holster, flying blind – or deaf – as it were. I was rifling through what was probably the 100th crate of the day at some record show or other when I happened upon this 45. My curiosity was piqued by the name Ike Turner, but the hit that sent the ball over the left field wall was the title, i.e. ‘The New Breed’.
There’re some powerful – loaded – words for you.
In a classic dip into the steam of consciousness (may I invoke the zeitgeist one more time) we have the Brand New Bag, out of which Papa (that being the late, great James Brown) pulled the first reference that I ever heard to the New Breed. Then years later, when I found myself surrounded by parkaed and bowling shoed Mod types, the Jam (those parkaed and bowling shoed Mod icons from the other side of the pond) namechecked the New Breed once again, in their own conscious soul-worship, “ain’t we bad covering Heatwave” thang, not to mention that there were other ‘New Breed’ tunes, by Jackie Wilson and Jimmy Holiday..sooooo, what does it all mean??? Hmmmmm??
I dunno. I suppose that the likely explanation (outside of the unlikely scenario in which all of the artists listed above were involved in animal husbandry) is that the ‘New Breed’ is a self-serving announcement/boast meant to suggest a changing of the guard in music, style, whatever. The fact that Ike and his Kings of Rhythm chose to make their New Breed statement an instrumental says to me that Ike didn’t need words to announce his arrival on the scene.
For that he had his gee-tar.
And what an axe that was children, because when I say that Ike was bending those strings with a vengeance (no doubt channeling his uncontrollable anger/machismo/testosterino combo into his playing), I am not yanking your chain. You need only listen to this record once to realize that the recording thereof resulted in a pile of twisted, and snapped guitar strings (hell…probably a couple of busted guitars as well). I chose to lay Part the deuce on you because in my humble opinion, the guitar wrassling is just a little bit more frantic on that side of the record, in which he takes the whammy bar and forever turns it into the whamm-ing bar.
No matter how you slice it, this is one tough 45 that 42 years hence is still redolent of sweat, cold beer and cigarette smoke and should be listened to while shaking the ass (preferably your own, but if you ‘ve got someone that’ll let you shake theirs, go for it amigo).
Anyway, that’s your Friday party starter (or continuer) for this week.
Have a great weekend.

BUY – Ike’s Instrumentals – at

(originally posted June 2006) Ike & Tina Turner & the Ikettes – There Was a Time / African Boos


Ike & Tina Turner


Hey, hey, hey….. It’s Wednesday morning, and I am feeling about as well as anyone whose two-year-old son decided to wake him up at 5:45AM, i.e. I am tired. My eyes feel like two tennis balls, and the urge to crawl under my desk and take a nap is almost impossible to resist. However, the need to remain gainfully employed, and the inner pilot light that ignites my ‘The blog must go on’ impulse is maintaining just enough of a connection between my ears, brain and fingers to get today’s entry typed out. The only remedy, of course, is to open up what beer-swilling, ham-fisted goons normally refer to as a “can of whoopass”, or what I like to call – coincidentally – a “can of whoopass”. This may betray the fact that sometime in my cloudy past I may have aspired to – and achieved – beer-swilling, ham-fisted goon-hood, but that is a risk I must take, because if there is a can of whoopass near enough to grab, it has a label that reads:

Ike and Tina Turner Revue, Handle with Caution!

That’s right chillun. By clicking on today’s MP3 link, you will be unleashing into your computer (and of course your ears) a blast of just over six minutes of absolutely, unrelentingly, spine-twisting, brain-softening, eye-popping soul power. It may have been recorded more than 35 years ago, but like a bottle of ripple, it has only gotten more powerful (maybe even dangerous). I have dropped some Ike and Tina action in this space before, and though I bow to their power without hesitation, it is only fair to say that when it comes to the Turners, I am often conflicted as to what category they and their music should inhabit.

They are certainly soulful, but are they “soul”?

While capable of undeniably funky moments, are they “funk”?


Does anyone but me care about these distinctions? Perhaps not, but I’m gonna keep writing anyway. Ike and Tina Turner, by sheer force of talent and personality, managed to embrace all aspects of black music during their prime, while simultaneously transcending labels. They were purely rhythm and blues, but their sound passed through (and marked) soul, funk and even rock’n’roll.

They managed to create explosive and popular music that while rooted in roadhouses and chittlin’ circuit theaters almost always ended up going in other directions. How much of this power resulted from their famously contentious and violent partnership, is not for me to say. Despite Ike’s obvious talent, he was reportedly a wife-beating asshole, tyrant and all around unpleasant individual, and I can’t imagine this inspiring Tina to do anything other than pack a bag, grab her kids and hit the road (which she eventually did). The only answer – for me, anyway – is that they were both very talented, and they managed to create dynamic music in spite of their problems.

That said, they also managed to put together a shit-hot act, a large part of which was their backing group the Ikettes. Though I can’t say with any certainty which Ikettes are performing on today’s selection, but I can says that over the years their ranks included Clydie King, Vanetta Fields, Jo Armstead, P.P. Arnold and Bonnie Bramlett, and that they managed to crank out some outstanding 45s under their own name (and later as the Mirettes).

Today’s selection(s) hails from a 1969 Minit LP, ‘In Person: Ike and Tina Turner and the Ikettes’. Though by this time the Ike & Tina Turner Revue was playing psychedelic ballrooms and festivals, they were still hitting the supper clubs, and as things open up, the appropriate vibe seems to be in place. The band is vamping on a vague approximation of King Curtis’s ‘Soul Serenade’ and KSOL DJ Herb Campbell – who sounds like he’s chairing the local Kiwanis– is greeted by polite applause as he comes out to introduce the band. He calls out the Ikettes, who take the stage and thank the audience. Then, it happens. Forgetting that they’re in a supper club and not looking out over a sea of muddy hippies, the band turns the volume up to 11, and proceeds to explode into a cover of James Brown’s ‘There Was a Time’. I can only imagine some of the tuxedoed swells in the audience gagging on their cocktail onions as the band tears into the song at about 150 miles per hour. ‘There Was a Time’ is one of my fave JB songs, and I’m here to tell you that the Ikettes more than do it justice. They take the song and turn it into an extended intro – warning? – as Tina is preparing to take the stage. The Ikettes finish up, and Campbell returns to the stage to bring Tina on. ‘The beautiful, talented, Queen of Soul, Miss Tina Turner!’ Tina walks on – I’m assuming, this is after all a record – and the band fires back up and take things at an even faster rate (if that’s possible). There’s an extended vamp, with Ike bending the strings, and the drummer (whoever he was) laying down a hard, fast groove, and you can imagine Tina and the Ikettes doing that frantic Pony-variation that they did so well. Tina drops in and starts things up.

One used to be the Shotgun

Two used to be the bad boogaloo

Three used to be the swingin’ Shingaling

Four used to be the Funky Four Corners

Down on Funky Street

Diggin’ the funky beat

Down on Funky Street Where the grooviest people meet!

OUCH! It like Arthur Conley is there on the stage, his face streaked with tears as Tina and the Ikettes are dancing all over his prone, shattered form. It’s that powerful. And then, after two (very) short verses, the whole affair comes to an abrupt end. The audience sits there, eyelids peeled back, lapels afire, wondering why they gave up a chance to see Robert Goulet to subject themselves to the Ike and Tina Turner Revue, for which they were obviously not prepared. It’s just like that sometimes.

* PS I’m not exactly sure which part of this medley “African Boos” is, unless that’s what Ike decided to call the part of the song where the band is vamping on ‘There Was a Time’, which in all hoesty just should have been called ‘There Was a Time’.

(Originally Posted 9/14/05)  Ike & Tina Turner – Bold Soul Sister


Mr. & Mrs. Turner


Ike Turner was a wife beating tyrant in a Beatle wig. There you have it. Ike Turner’s career history (as it currently stands). There’s also a lot of music in there (somewhere), but none of it matters now. Unless….you actually own some of his records. I’m not here to defend Ike Turner’s behavior (I’m not sure even he’d feel comfortable trying to do that). No matter how great your music is, nobody scores points in the great beyond when said music is created using a cuban heeled boot as a weapon. That said, it doesn’t help that most people only know Ike as the bass voice going “ROOOOLLLLIN’, during the slow parts of ‘Proud Mary’. The truth is a little more complicated than that. Starting in the early 50’s, Ike Turner and the Kings of Rhythm not only recorded what many believe is the first rock’n’roll record (“Rocket 88”), but also spent time in the studio backing folks like Elmore James and Howlin’ Wolf. Then Ike met Tina (or Annie Mae as she was known in 1956). After a hitch as a backup singer, Tina moved to the front of the band and recorded the R&B smash ‘A Fool In Love’ in 1959, and the musically fertile – but otherwise torturous – period began. Between 1960 and 1966 Ike, Tina, the Ikettes and the Kings of Rhythm laid down a serious pile of quality wax for a variety of labels, including Ike & Tina cuts like ‘I Idolize You’ Ike & the KOR stuff like the mighty ‘New Breed’ and Ikettes numbers like ‘Don’t Feel Sorry For Me’. This catalogue, taken as a whole (assuming, properly that while quite possibly a complete psycho, Ike was also an auteur of sorts and was largely responsible for the sounds on those records) is one of the great transitional artifacts linking R&B, rock’n’roll and soul. Ike Turner – unbridled id, violent, coke-addled nutjob – was also a hell of a songwriter, guitarist and bandleader. Then, in 1966, Ike and Phil Spector ended up in the same studio and a monumental explosion was heard that flattened trees and blew out windows in the surrounding area. That explosion was ‘River Deep Mountain High’, the record that despite it’s high quality would fail to make much of a mark on the US charts (though it was a hit in the UK), and would send Spector into a reclusive, gun-toting tailspin from which he never completely recovered. It also marked the beginning of the end for the Ike & Tina Turner Revue, in that Tina’s star began to eclipse the rest of the show. In the next few years they would record no less than three live albums, the last of which, ‘Ike & Tina Turner In Person’ included the Ikettes smoking version of James Brown’s ‘There Was a Time’. By 1969, the Ike & Tina machine was running full speed ahead. That year alone they would release 9 albums. One of those LPs was ‘The Hunter’. Composed largely of blues & R&B covers (Albert King, Jimmy Reed, Barbara George and others), ‘The Hunter’ was also home to the funkiest record Ike & Tina Turner ever made, that being ‘Bold Soul Sister’. It’s important to note that Ike & Tina didn’t record all that much out and out funk. They made some “funk-y” records, some rocking soul, and a shitload of chittlin’ circuit R&B and blues, but not much to whet the appetite of the funk 45 crowd. ‘Bold Soul Sister’ on the other hand, is a record so powerful, so savage that it takes the energy of any ten other funk records and distills them down into a single, brutal cut. Borrowing the riff from Sly & The Family Stone’s ‘Sing A Simple Song’, ‘Bold Soul Sister’ opens with Ike’s rusty sounding guitar, some very “live” sounding drums and a scream from Tina. Tina then goes into her rap:

Thangs and stuff and stuff and thangs and…and stuff

I’m a Bold Soul Sister! BSS!

Then the Ikettes drop in with a:“Boooooollld Soul Sister!” Then Tina raps about a ‘sockitome biscuit’ (???) and a bunch of other crazy stuff, and the Ikettes are right there behind her

‘Doin’ whatcha wanna when ya wanna how ya wanna now, do your thing soul sister!’

And Ike and the band are funking it up the whole time in the background, sounding like Fat Alberts Junkyard Band coming down off a LSD, Jello Pudding and Cold Duck high. The overall feel , that of a revival meeting gone acid-fried can be attributed to some degree to the production of Bob Krasnow, who’s curriculum vitae was at the time was composed in it’s entirety of the first two Captain Beefheart LPs. It’s not too hard to draw a line from the sound of Beefheart’s ‘Zig Zag Wanderer’ to Ike & Tina’s ‘Bold Soul Sister’. Same jagged energy, same blues roots, same reach for psychedelic salvation folding back in on itself like some kind of demented Moebius strip (as any Moebius strip that started with Captain Beefheart and ended with Ike & Tina Turner would have to be). It helps to take a look at the cover of the LP. Ike is there, looking mean in his mod suit, Tina looking equally mean with her Wilma Flintstone goes to Nutbush City Limits getup (fur sandals???) – the two of them surrounded by creepy mannequins. Huh?? Thangs and stuff and stuff and thangs indeed…. The following year Ike & Tina would have their biggest hit (Top 40 in most markets, Top 10 in a few) with their explosive cover of Creedence Clearwater Revival’s ‘Proud Mary’. After that it was all down hill. The next 35 years can be condensed into a single sentence – Tina finally fought back, escaped from Ike, became a huge solo star, wrote a book, ended up on Oprah, Ike Turner’s a dick etc, etc, etc.

Lou Bond – That’s the Way I Always Heard It Should Be

December 12, 2007


The mysterious Lou Bond


Listen – That’s the Way I Always Heard It Should Be MP3″

Greetings all.

I hope the middle of the week finds you well.
Here at Funky16Corners headquarters the holidays continue to be marred by stress. I’d say that I’m a little less fried than last week, but still running with the meters in the red (if you know what I mean).
Still, I got to spend some time with my oldest son (who’ll be four in a month) putting up Christmas lights outside, which was a gas, and we’ve been doing a little bit of Chanukkah here and there which he’s been digging as well. I never thought I’d enjoy hearing ‘Rudolph the Red Nosed Reindeer’ sung over and over again quite so much, but I guess shows that when things are tough, life hands you tiny little gems of wonderfulness to remind you to keep on keeping on.
I’m surprised nobody’s chimed in about Monday’s selection.
Is it not hitting you like it hits me?
Hello? Is this thing on???
Well, is that doesn’t grab you, today’s selection, coming from a part of the soul music spectrum light years away from James Barnes & the Agents, might just do the trick.
Lou Bond is one of those cats that I’d heard about for years and never really intersected with in any meaningful way. Until – that is – one of my brethren over at Soulstrut was raving about it as part of a list of newly excavated vinyl, and I discovered that the album was available for download in iTunes.
This fact was in and of itself pretty freaky, since Lou Bond, after recording his one and only album for a little known and decidedly short lived subsidiary (We Produce)of the Stax label*, pretty much disappeared. His self-titled LP is, while not impossibly rare, little known outside of the collector world and when it does turn up it isn’t cheap. That an obscurity of this level should turn up on iTunes is a testament to the good taste of the people running the Stax reissue program, and also to the value/concept of digital music as well.
Stax has reissued a number of titles in digital form only, which serves the purpose of making the music available to a new audience, without the label incurring the bricks and mortar expense of a physical reissue.
Certainly, were this practice to become widespread, the days of the MP3 blog might be numbered, but since I fall on the same side of this issue (i.e. the whole purpose of this enterprise is to get the word out about lesser known music) I would be more than happy to find something else to write about should you one day be able to track down stuff by James Barnes, Lou Courtney or other Funky16Corners favorites on a well-run, DRM free, properly licensed (i.e. money to the artists) commercial download site.
However, since I see the availability of the Lou Bond album as an anomaly, I’m not too worried about my own obsolescence (at least not in this regard, heh heh…).
That all said, if you haven’t heard of Lou Bond prepare yourself for a pleasant surprise.
Bond – who recorded a couple of early 45s that are prized by the Northern Soulies – had a sound that was a unique mixture of ‘What’s Goin’ On’ era Marvin Gaye, with the confessional singer/songwriter types of the day. Though at first glance there might be a temptation to line Bond up along with someone like Terry Callier, I find that Bond was working a slightly more post-hippie topical vibe without any of Calliers jazz edge.
One of the things that make the album so unusual is the fact that Bond’s solo acoustic core is wrapped in an aura of orchestration (courtesy of the Memphis Symphony Orchestra string section) which makes it something of a soulful cousin to the likes of Nick Drake. The big difference is that Bond was clearly an R&B/soul styled singer, his tenor voice occasionally soaring into falsetto range.
Today’s selection is a very unusual cover of Carly Simon’s first chart hit, 1971’s ‘That’s the Way I Always Heard It Should Be’. I’ve always loved Simon’s original (not something I can say about too many of her records) both for its haunting melody, and for its unbelievably dark message of resignation. It really is something of an anti-love love song.
I mean really:

You say we can keep our love alive
Babe, all I know is what I see
The couples cling and claw
And drown in love’s debris
You say we’ll soar like two birds through the clouds
But soon you’ll cage me on your shelf
I’ll never learn to be just me first
By myself

 Bond opens the song with a brief spoken passage that acknowledges the sad underpinnings of the song and then takes it at a similar pace to the original. He deviates from the melody slightly in the chorus, but it seems more like a case of interpretation than the limitations of his range (which certainly seems substantial enough to deliver the song).
While Lou Bond may not be for everyone, I really think that his album is something of a lost classic and at the very least deserves a cult of its own.
I hope you dig it.

*The only other artists on the We Produce label were the Temprees and Ernie Hines. We Produce – like Ardent, Hip, Gospel Truth and Partee – was an attempt by the later-period Stax organization to branch out (Ardent and Hip both featured rock bands and Partee was a comedy imprint). Unfortunately these labels came at a time when Stax would have probably been better off consolidating than spreading themselves too thin.

James Barnes & the Agents – Good and Funky

December 10, 2007


Everyone’s Favorite Candy…


Listen – Good and Funky MP3″

Greetings all.

I’m back (for now). I can’t say as our troubles have subsided, but at the risk of jinxing the whole deal, I think we may be standing on the verge of getting it together.
I’m not going to bore you with the details, but long story short, it’s what the evil hoodoo types in corporate training might refer to as an “unexpected challenge”. I’m not one of those ‘get lemons, make’em into lemonade’ types. I’d really rather not get the lemons in the first place, but in the interest of maintaining my status as a responsible husband and father I’m trying not to dig a hole in the park and jump in like the guy on Seinfeld.
It also pays to note, as I said in passing last week, there are people out there with much more serious problems on their agenda, so I’ll just try to keep things in perspective and be happy that I have a great family.
The business I work in is also entering its regularly scheduled, year-end, all eye-rolling, all teeth-gnashing litany of financial sorrows (which last year resulted in a little bit of downsizery coming my way), so who knows what the hell is going to happen. I’m keeping my fingers crossed…
Today’s selection is a record that I knew about for a long time, but hadn’t actually heard until I got my hands on a copy earlier this year.
Suffice to say, ‘Good and Funky’ by James Barnes & the Agents is both.
Initially, my research came across some rumors/assumptions that ‘James Barnes’ was in fact famous Northern Soul fave and all around good guy ‘JJ Barnes’. This had a lot to do with the fact the both Barnes’s (though it seems that James might in fact have also worked under the name ‘Jock Mitchell’, and I have no idea which is the pseudonym) were operating out of the close-knit Detroit soul scene, crossing paths with many of the usual suspects. It has also been reported that ‘Good and Funky’ shares a backing track with JJ Barnes ‘I Ain’t Gonna Do It’ on Ric-Tic.
However, give both singers a listen, and I think you’ll agree with me that they sound nothing alike.
That all said (and if any of you know the real deal, drop me a line), the record is a killer. The opening sounds like someone was hanging on the doorknob of the tightly sealed closet of Funk, and the recorder was turned on just as it flew open, an avalanche of musicians being propelled into the room.
The record has just the right amount of low-fi charm with the bass, drums and horn section clearly sending the meters into the red, so much so that there are points where the music seems about to tear the record in two. I love the soul clapping and the xylophone accents, and the vocalists are clearly having a lot of fun, which is of course what you might expect were you to spin this one for a roomful of sweaty partygoers.
Interestingly enough, the Golden Hit discography – a brief four records – are all in some way Agents related, with two attributed to James Barnes & the Agents (with the b-side of the second listed as ‘James Barnes & the Funky Four’, one to ‘Jock Mitchell and the Fabulous Agents’, and the last to the ‘Funky Four Plus’, with a couple of tracks recycled as instrumentals among them.
I hope you dig it.

PS Check out the new psychedelic podcast over at Iron Leg…


The Grand Scheme of Things

December 5, 2007


Listen – Wilbert Harrison – Let’s Work Together MP3″

Listen – Stylistics – People Make The World Go Round MP3″

Listen – War – Me and Baby Brother MP3″

Listen – Eddie Kendricks – Keep On Truckin’ MP3″

Listen – Funky16Corners Radio v.24.5 – The Beat Goes On Mixed MP3″

Greetings all.

Just a short note – and some recycled material – to let you know that I’ll be taking a few days off to deal with the intrusion of real life into my little bubble of blog.
Nothing tragic – not like last year anyway – but something that requires some serious consideration, a little bit of reflection and a lot of concentration.

Normally I can keep a few balls in the air, but right now I just don’t feel like I can give the blog the attention it deserves, at least until I can get a handle on some other things.
I’ll be back next week.
Until we meet again, have a Happy Chanukah, and in the words of the great Bob & Ray:

“Write if you get work, and hang by your thumbs.”


PS Welcome, Theodore.

Funk16Corners Radio v.39 – Return To Soulville

December 3, 2007


(One of) The King(s), aka Prince Albert (not in a can…)

Funky16Corners Radio v.39 – Return to Soulville


Lou Courtney – You Can Give Your Love To Me (Verve)
Carl Holmes & the Commanders – My Lonely Sad Eyes (Verve)
Guitar Ray – Patty Cake Shake (Hot Line)
Eddie & Ernie – The Cat (Eastern)
Georgia Soul Twisters – You Shot Me Through the Grease (Mainstream)
Albert King – Night Stomp (Stax)
Jimmy Hanna & the Dynamics – Leaving Here (Seafair-Bolo)
Mighty Hannibal – Fishing Pole (Shurfine)
Sir Mack Rice – Mustang Sally (Blue Rock)
Howard Tate – Baby I Love You (Verve)

To hear this mix, head on over to the Funky16Corners Radio Podcast Archive


Greetings all.
I hope all is well on your end.
Last week, when I was taking advantage of a rare bit of free time, with which to hover, unmolested over the turntable, I decided that it had been quite some time since I dropped a good old – non themed – soul mix, and that in furtherance of this very run on sentence (not yet conceived of at the time, yet obviously floating somewhere in the ether), the situation ought to be remedied.
And so…it is.
A brief stroll through the hallowed, marble-columned halls of the Funky16Corners Radio Podcast Archive will show that I dig making a mix with a conceptual underpinning, whether it be regional, temporal or otherwise. However, sometimes I find that rummaging through the crates, pulling out otherwise random sides that grab me can be a lot of fun. I allow myself to be led by inspirado and if the records I pick happen to fall together in some unforeseen way – like how I ended up with three quality soul sides on the relatively un-soul-friendly Verve label – then I’ll consider it a happy accident, a bit of kismet if you will.
The other important by-product of grazing in the crates is that I get to listen to things that have been for whatever reason, unjustly neglected. A certain amount of this is inevitable when you’re sitting in the middle of thousands of 45s. It’s just not possible – without an astounding level of anal-retentive focus – to give every single record the attention it deserves. However this is balanced out by the thrill of rediscovery. Kind of a “Hey! Now I remember why I bought that record!” thing.
Things get rolling with yet another side by Funky16Corners fave Lou Courtney. I don’t think I’d be going out on a limb by saying that Courtney’s Verve sides are – as the kids say – slept on, in a MAJOR way. This may have something to do with the fact that they’re a bitch to track down (though not terribly expensive). It took me a long time to find both of them, much longer in fact than it took to score either ‘Hey Joyce’ or ‘Hot Butter’n’All’. It also has something to do with popular trends and the marketplace. ‘Hey Joyce’ got the Shadow/ Cut Chemist seal of approval, and the demand was met in short order by the supply, in that every record dealer was on the lookout for ‘Hey Joyce’ and hundreds of diggers and DJs were lining up to grab a copy.
‘You Can Give Your Love To Me’ is less funk, than funky, but there is no denying that it ought to be a much better known record. Courtney is –as always – in fine vocal form, and like his other 67- 70 sides is high energy funky soul with just enough pop polish to point it (however unsuccessfully) in the direction of the charts.
Carl Holmes and the Commanders are one of the more interesting journeyman R&B/soul groups of the 60’s. They recorded through the decade in a variety of styles, for Atlantic, Parkway, Black Jack and Verve, before morphing into the Carl ‘Sherlock’ Holmes Investigation on CRS. Based out of Philadelphia, but apparently spending a lot of time in New York City, the group once claimed none other than Jimi Hendrix as a (non-recording) member. ‘My Lonely Sad Eyes’ is an interesting Latin-tinged bit of pop soul from 1966, and was their only release on the label.
Guitar Ray recorded a couple of sought after 45s for the New Orleans-based Hot Line label. ‘Patty Cake Shake’ is a hot little number that’s not nearly as “novelty” as the title might lead you to believe, and features arranging and production by no less a light than Wardell Quezerque.
Eddie (Campbell) and Ernie (Johnson) recorded a number of high quality 45s though the 60’s and the early 70’s for a variety of labels, including the highly collectible Artco imprint. ‘The Cat’ – from 1965 – was one of six 45s they recorded for the Eastern label has a decidedly Curtis Mayfield-ian vibe to it.
I haven’t been able to find out anything about the Georgia Soul Twisters, other than that they recorded a few 45s for local Georgia labels like Waxwing. They also recorded at least one record as the Fabulous Georgia Soul Twisters. ‘You Shot Me Through the Grease’ was released on the Mainstream label, and is a supercharged bit of party soul.
Albert King is better known (for good reason) as a giant of the blues. He was a brilliant guitarist who was a major influence (along with players like Buddy Guy) on a young Eric Clapton. He recorded some outstanding soul/blues for the Stax label, a fine example of which is the storming ‘Night Stomp’ – which I believe features some or all of the MGs backing King.
Jimmy Hanna and the Dynamics were a white R&B/soul group from the Seattle area. They recorded for the Seafair/Bolo labels, releasing a full length LP in 1964 as well as a number of 45s. The group, which featured not only future jazzer Larry Coryell on guitar, but three future members of garage punkers the Springfield Rifle, recorded their excellent cover of Eddie Holland’s ‘Leaving Here’ in 1965. Among their labelmates were the mighty Northwest Hammond king Dave Lewis, as well as the group Tiny Tony & the Statics, which featured future pop star Merilee Rush.
If you’ve passed through these parts in the past, you might recognize the name of the Mighty Hannibal. Known to soulies far and wide for his insanely amazing ‘Jerkin’ the Dog’, Hannibal recorded for a variety of labels in the 60’s and 70’s. ‘Fishin’ Pole’, a not so distant cousin of ‘Jerkin’ was released locally on Shurfine, and nationally on Josie on the flipside of his minor hit ‘Hymn No. 5’.
Sir Mack Rice has done a lot of things in his career, such as singing in the Falcons (a group that also spawned Wilson Pickett and Eddie Floyd), and writing a grip of great tunes, including ‘Respect Yourself’ for the Staple Singers, but perhaps his most significant achievement was writing (and recording the original version of) ‘Mustang Sally’. While not as sharp as the Wicked Pickett’s famous cover, the original is still very cool, and surely underplayed, and underappreciated.
Things close out with a deep cut by another big Funky16Corners fave, the mighty, mighty Howard Tate. A cut from his fantastic 1967 Verve LP, ‘Baby I Love You’ is proof that behind anthems like ‘Get It While You Can’ and ‘Stop’, Tate had a lot of substance in his catalog.
I hope you dig the mix, and I’ll see you all later in the week.

PS Locals – or regionals – ought to know that the man that brought you the Asbury Park 45 Sessions – none other than DJ Prestige, who’ll be dropping a new mix presently – has announced the inaugural session of another hot night, the Fourth & Kingsley Soul Club. I will be joining Pres on the decks, and in addition to lots of hot wax, the Soul Club will also include live bands, starting out with no less than the legendary Budos Band.
I spun with the Budos a few months back up at Lucky Cat in Brooklyn, and let me tell you brother, THEY KICK ASS. They’ll be falling by the World Famous Asbury Lanes on December 21st with the full bakers dozen of horns, guitars keys and whatnot, and if you are within traveling distance you need to come check them out.
More details will be forthcoming as the date nears.

 PSS Head on over to Iron Leg for some NJ 60’s Garage Pop!