NOTE: As of 11:00AM we appear to be back online. Let’s hope the dam holds.
NOTE: As of 11:00AM we appear to be back online. Let’s hope the dam holds.
The Gene Ludwig Trio
NOTE: A day ago I was notified by the great Gene Ludwig that two tracks in the zip file for this mix were misidentified. I assured him that I would make the correction and repost the zip.
Famous last words…
I got home tonight, sat down to relable the two tracks and soon discovered that EVERY TRACK IN THE ZIP FILE was mislabeled.
Well…I went through, track by track and retagged all the MP3s, made a new zip and uploaded it. I feel really bad because the Funky16Corners Radio Zip files get downloaded by a two-to-one ratio over the mixed MP3s (I wish it was the other way around, but whatever….). This means that several hundred trusting souls have been bopping around grooving to a grip of mistakenly identified Hammond tracks.
Please accept my apologies for:
a. Handing you what Bob & Ray used to refer to as ‘the old rubber peach’
b. wasting your time/bandwidth
I generally only drop the mixes onto my Ipod, but I’ll checking the zip files from now on.
The new zip remedies the situation (I’m reposting the mixed MP3, but that was correct the first time around).
Happy 4th of July…
Leo Valentine Trio – Behind the Out House (Camelia)
Jon Thomas – Hot Tip (Mercury)
The Three Souls – Chittlins Con Carne (Argo)
RD Stokes – My Sandras Jump (II Bro’s)
Dave Baby Cortez – Getting to the Point (Chess)
The Mark III – Jaw Breaker (Night Owl)
The Lloyd Price Band feat. James Booker – Ooh-Pee-Day (Double L)
Dave Davani Four – The Jupe (Capitol)
Brother Jack McDuff – Grease Monkey (Prestige)
Gene Ludwig – The Vamp (Travis)
Big Bubbles & the Soul Brothers – Ginger Snap Pt1 (Raldo)
Luther Randolph & Johnny Stiles – Talkin’ Bout You Pt1 (Harthon)
Leo’s Five – Hold It (L-G)
Freddy Robinson & Paul Hankins- The Hawk (Queen)
Terrell Prude – Frog Eyes (TRC)
Sonny Knight Quartette – Let’s Get It On Pt1 (Aura)
Rhoda Scott Trio – Hey Hey Hey (Tru-Sound)
Charles Kynard – Here Now! (World Pacific)
Funky16Corners Radio 25.5 – Scream Mackula Scream!Playlist
Kool & the Gang – Funky Man (De Lite)
Ron Holden – Need Ya (Now)
Jay Dee Bryant – Get It (Come and Get It) (Enjoy)
Chambers Brothers – Funky (CBS)
Joe & Everyday People – Sleep Walk Pt1 (Brooks)
Bronc Glows – The Charge (Bull City Sounds)
Lee Bates – International Playboy (Instant)
Fred Lowery, Big Bo & the Arrows – Ride the Iron Horse (Cotillion)
King Earnest Baker – Somebody Somewhere (Funk)
L’il Willie & the Rockin’ Imperials – Crazy Stomp (Golden)
Roy Hightower & Gant Green – False Advertising (Number One)
Nu Sound Express – Ain’t It Good Enough For You (Silver Dollar)
Barrett Strong – Stand Up & Cheer for the Preacher (Epic)
Otis Goodwin & the Casternetts – I Feel It (Just a Little Bit) (Jazz-EE)
Niteliters – Tanga Boo Gonk (RCA)
Hiedy-Ho, and a happy Monday to you.
I hope everyone had an excellent weekend, getting out of doors and soaking up some of that good, vitamin D enriched sunshine (and maybe a beer or two).
Things were mostly groovy hereabouts.
I got my windshield replaced, and the work week sailed to a fairly smooth close.
Then we decided to head down to the boardwalk for some family fun on Saturday.
While we were driving around in a fruitless search for a parking space, we stopped to let someone cross the street (it’s the law here in NJ) and we got rear-ended by some incoherent alter cocker, who, when my wife stepped out of the car to wave him over to the side of the road, hit her (albeit very slowly) with his giant old man cruising vessel (a Buick or some such).
Well…I put the car in park (it was my wife’s car this time) jumped out and went batshit, until I realized that this guy didn’t seem to have a firm grasp on reality (at least 80 if not 85 and very slow on the uptake), which is when I had my wife call the cops, in the hopes that they might get him off the road before he rode over the curb and plowed down a bunch of pedestrians.
So, the cops show up (on bicycles no less), and I explain to them that I’m less concerned about the condition of our car (just a scuffed bumper), than what Methuselah there might do if he were to continue down the busy street.
The police decided that they were going to cite him for something (they were waiting for their Sergeant to arrive to choose the offense, likely reckless driving) , and once we assured them we were all OK, they sent us on our merry way.
That was a hoot.
This evening we returned to the scene of the crime, but this time were successful in finding a place to park the car, and ended up sucking down some boardwalk pizza and taking Miles on the kiddie rides (filling me with nostalgia for the times I went on the rides in the late-60’s/pre-decrepitude Asbury Park). A good time was had by all, and I managed to get home in time to write this up.
Anyway…last week, when I had to take the day off to wait for the guys to show up and replace my windshield (they actually come to your house!), I put some of the downtime to use putting together a nice beginning-of-summer, meat and potatoes funk mix.
The title of this particular edition of Funky16Corners Radio came about by virtue of the fact that when I was fishing for sound samples to insert in the mix, I happened upon a long string of dialogue from ‘The Mack’ (one of the truly great pimp-sploitation flicks of the 70’s), as well as some crazy Blacula stuff (which I happened upon when I was trying to find the clip from the Simpsons where they see the commercial for the afternoon movie ‘Blacula Meets Black Dracula’ (see pic below). These were combined, and you can figure out the rest (at least I hope you can…).
In short form, there are a couple of rarities here (‘Sleep Walk’, ‘Crazy Stomp’) mixed in with a grip of blue plate funk 45s* that any self-respecting funk fiend ought to make room for in their crates. It’s all engineered to move your funky butt, setting fire to your vacation bar-b-que, or to the beginning of another dreadful week working for the man.
Either way, I hope you dig it
I’m going to bed…
*Many of these 45s appeared over at the Funky16Corners web zine, so get to Googling if you require more info
PSS The latest edition of the mighty Asbury Park 45 Sessions is approaching rapidly, and it behooves you – assuming you are within reasonable traveling distance (say 500 miles) – to git down, to get down this coming Friday (7/6) at the world famous Asbury Lanes.
I’m branching out with a new blog, called ‘Iron Leg’.
It’ll have music (of the non-soul/funk variety) as well as books, movies and other pop-cult nonsense.
Think of it as a home for my scribblings about things other than the soul and funk we all love so much.
Check it out. If it’s not your bag, I’ll still be here.
PS New F16Radio mix coming late Sunday/Early Monday….
Mr. Gene Chandler
“Listen – You Can’t Hurt Me No More MP3″
Here’s hoping that the middle of this fine summer week (not quite officially, but I’ll take 88 degrees as “summer” if you will) finds you well.
I come to you well rested, having given my brain a well deserved break– however brief – on Sunday/Monday.
Today’s selection is another lesson in fate, chance, the all encompassing reach of the musical Tao and a sort of unified field theory of soul 45s (well, not really, but it sounds deep, doesn’t it?).
I purchased this record years ago, so many that I can’t recall exactly where it came into my possession. The best guess is a record show of some sort, a conclusion I come to via the records nice condition (i.e. I didn’t dig it up in a dusty flea market or garage sale), and my certainty that I did not grab it on Ebay.
What seems likely is that it must have come fairly cheaply, and that I bought it because:
a. I was familiar with the label
b. I knew that it was probably a “soul” side, i.e. of a slightly later vintage than the Duke of Earl era
c. With a title like ‘Everybody Let’s Dance’, it was probably an upbeat selection.
Well, all of the above were true, but nothing about ‘Everybody Let’s Dance’ grabbed me, so, like an ignoramus, I ignored the flipside and filed the 45 away in my Chicago box where it lay, largely forgotten for a long, long time.
Flash forward to a few months ago. I was digging the compilation ‘Curtis Mayfield’s Chicago Soul’, a survey of his work as writer, producer and arranger for Okeh records, the mighty soul powerhouse. Though many of the artists on the comp were familiar to me (Billy Butler, Walter Jackson, the Artistics), there were a few that I had never heard before, one of them being the Opals.
While I can’t tell you much about the Opals, I can assure you that their recording of Mayfield’s ‘You Can’t Hurt Me No More’ – which opens the comp – is a spellbinding bit of girl group harmony melodrama, wrapped around one of the master’s most haunting melodies. For the better part of a week ‘You Can’t Hurt Me No More’ was in heavy rotation on the old iPod, as were several other tunes like Billy Butler and the Chanters ‘Nevertheless’ (covered in this space previously), and Walter Jackson’s ‘Funny, Not Much’.
So…. A couple of months go by and the time arrives (as it always does) for me to climb back into the Funky16Corners record cave for a little bit of selective spelunking so that ye olde bloggspotte might once again play host to the finest in funk and soul sounds, converted – as always – to convenient, downloadable ones and zeros, which here, at the end of a monumental run on sentence, is rather beside the point.
Anyway, in my digging, I always try to grab a handful of sides that I’ve either forgotten about, or didn’t hit me the first time I gave them a spin, and check them out to see if – as is often the case – I should have been paying closer attention.
Well…I pull a bunch of 45s, one of which is ‘Everybody Let’s Dance’ by Gene Chandler.
I place the 45 on the turntable, drop the needle, and… wait for it….’Everybody Let’s Dance’ is as uninspiring as it was so many years ago when I bought it. Then, though I was tempted to move on, I decided to flip it over and check out the b-side. It took a few seconds, but it wasn’t long before the big light bulb went off over my head and I realized that I had heard this song before. A quick look at the label confirmed that I was hearing another version of ‘You Can’t Hurt Me No More’.
Spooky, n’est ce pas?
I suppose when you’re sitting on a veritable mountain of vinyl, the likelihood that a digger might be unaware of a selection or two in his possession is fairly large (and it’s happened before), but the chances that I’d happen upon this very 45 while the other version of this fantastic song was still echoing around in my head were somewhat (considerably) smaller.
It’s as if the fickle finger of fate was guiding your faithful servant.
Probably not as spooky as a voice from the beyond – or an encounter with the Loch Ness Monster – but spooky nonetheless, and an odd enough coincidence to make me wonder about the interconnectedness of all things, or more specifically great soul records.
That said, Gene Chandler (the Woman Handler) is best known to those that know him at all as the ‘Duke of Earl’, but he went on to a serious career as a singer of soul and funk, hitting the charts (R&B and pop) many more times, peaking with ‘Groovy Situation’ in 1970.
He made his way to the Constellation label following the collapse of his previous vinyl home, that being VeeJay records, via his manager (and co-owner of Constellation) ‘Bunky’ Sheppard. Between 1963 and 1966 (when Constellation folded, and he moved to Checker) Chandler recorded 16 45s and several LPs for the label. His first chart success for Constellation was another Mayfield tune ‘Think Nothing About It’ which hit the R&B Top 40 in 1964.
It was that year that the Opals recorded the original version of ‘You Can’t Hurt Me No More’ for Okeh. Chandler recorded his version in 1965, and once again made his way back into the R&B Top 40.
While the arrangement on the Chandler version doesn’t have quite the ethereal quality of the Opals (I heartily encourage you to grab the ‘Chicago Soul’ comp), Chandler’s solo vocal is one of the finest he ever committed to vinyl. It’s filled with raw emotion, abetted in no small part by the ultra-heartbroken lyrics of the song – and the arrangement (by Johnny Pate) , which contrasts classy uptown strings with some understated but effective soul guitar, is a gem.
Chandler’s post-Constellation/pre-Mercury discography may not have sported a great many hits, but did include some very high quality records, including his cover of the Godfather’s ‘There Was a Time’ and ‘From the Teacher to the Preacher’ (a duet with Barbara Acklin, that will no doubt appear here in the future) both on Brunswick.
Fortunately for all concerned, Gene Chandler is still performing today, and much of his best work is available in reissue.
See you on Friday with yet another new mix.
The Funky16Corners Boys at the Zoo
I’m taking Fathers Day off, so no Sunday night/Monday morning post this week.
There will however be a midweek post, as well as a new mix on Friday.
In the meantime, check out our friends in the blogroll, especially my man DJ Prestige who has a Fathers Day mix up over at Fleamarket Funk.
Happy Fathers Day to all the dads out there (esp my Pop).
Joe Tex & Buddy Miles
“Listen – Joe Tex – You’re Right, Ray Charles MP3″
“Listen – Buddy Miles – Joe Tex MP3″
I hope everyone is having a groovy week, and is deep in preparation for an even groovier weekend.
Me…I’m tired. This is of course the usual state of affairs at the Funky16Corners compound, especially at the end of the week, but I figured it couldn’t hurt to say so.
As I referenced earlier in the week, I have some cool new mixes in the hopper, but unfortunately I haven’t the time to write any of them up tonight, and since I dropped two Funky16Corners Radio podcasts in the last week, I figured it could wait a few days.
Besides, I have something else cool to post – I always do, don’t I? – so dig this instead.
Back in April, as the Funky16Corners fam traversed the Northeastern-most reaches of the US of A, I (of course) took some time to do a little vinyl hunting. One of my Maine-based scores was a copy of Buddy Miles’ 1971 LP ‘A Message for the People’.
For those that don’t know, Miles was a drummer/vocalist with the Electric Flag, the Buddy Miles Express and then Band of Gypsys, as well as the composer of the funk/soul standard ‘Them Changes’. Post-Hendrix, Miles went onto record a grip of excellent LPs on his own as well as supporting the likes of John McLaughlin and Carlos Santana.
Other than his recordings with Hendrix (and the seemingly countless covers of ‘Them Changes’), I wasn’t all that familiar with Miles work until a few years back when my brother hepped me to the fact that Miles had recorded an excellent cover of the Allman Brothers ‘Dreams’. Since hearing that cover, I’ve kept my eyes/ears peeled for his albums.
Interestingly enough, ‘A Message to the People’ includes ‘Midnight Rider’, another Allmans cover.
However, it was a tune entitled ‘Joe Tex’ that piqued my curiosity.
The LP contains many excellent tracks, but ‘Joe Tex’ is by far the funkiest, bringing to mind a certain early-70’s Kool & the Gang vibe. I was curious as to why Miles had named an instrumental after Tex, and after a bit of Googling discovered the gist of the story I relate to you today.
It turns out that in a bit of proto-hip-hoppery, Miles had taken the horn riff from a Joe Tex record (in this case ‘You’re Right, Ray Charles’, adding yet another layer of reference/reverence to the musical onion) and riffed on it until it became the song ‘Joe Tex’.
If you know me at all, you know what I did next, right?
Of course…I went looking for a copy of the Joe Tex record.
Tex released ‘You’re Right, Ray Charles’ on his 1970 LP ‘Joe Tex with Strings and Things’ (as well as on the 45 you see above), which was recorded in Memphis at American Studios.
The tune is the tale of how Ray Charles told Tex how heavy he was and that he had an ‘outta sight show’ but how he had to change to make his music appeal to the kids by giving them something to dance to. The tune is Joe’s testament to the value of Brother Ray’s good advice. Tex’s tune is a solid slice of funk with a great rolling piano/organ riff and of course those great horns.
A year later Buddy Miles and his band grabbed the horn riff and built upon it an entirely new song, upping the funk quotient considerably (not to mention the crazy cover art by no less a talent than Mati Klarwein who also painted the covers of ‘Bitches Brew’ and ‘Abraxas’).
Though jazz musicians had been building new songs on appropriated riffs, chord structures and transposed melodies for decades, it was a fairly new thing for rock and soul cats like Miles and in this case, pretty much lost to the ages since neither record was able to match its artistic success on the charts.
Lost no more.
Have an excellent weekend.
See you on Monday.
“Listen – In the Midnight Hour MP3″
I hope you’re all still digging the Sly mix from the beginning of the week.
This will be a quick one.
I’m in the middle of a couple of days off, spending some quality time with the fam, scouting out day care facilities and engaging in some general, free-form chilling (free-form in that the only consistent aspect of said chilling is a steady supply of iced coffee).
I did take some time today to punch up an existing Funky16Corners podcast (which had not yet been posted) and put together yet another volume. I’m in the midst of a bit of a creative streak, due in no small part to my introduction – via my man DJ Prestige – to a fine piece of software known as Audacity. Audacity is a free download which is basically an audio editor that is capable of recording ANY sound playing through your soundcard (i.e. MP3, WAV, RA, YouTube clips etc etc), and then paring said sound sample down into usable form. The ease of use of this program has allowed me to create drops for the Funky16Corners Radio mixes VERY quickly and easily. Without belaboring the point, what used to take a long-assed time now takes but a few minutes, making it much easier for me to include interesting elements in the mixes.
This is not to say that recording the records has become any easier (when will someone come up with a vinyl digitizer that will allow me to feed 45s into a slot – Jetsons style – with MP3s and WAV files dropping out the other end), but that creating something a little more interesting and stylish for the podcasts, has. I hope you’ll dig it.
Today’s selection is by yet another one of those journeyman soul artists that spent the 60’s recording quality sides for whatever label would have them. I’ve been collecting 45s by Benny Gordon & the Soul Brothers for years, and have never been able to find out much about them, until my man Red Kelly over at the amazing Soul Detective (a wholly owned subsidiary of the B-Side/A-Side organization) actually got in touch with Benny Gordon (see the story here, scroll wayyyy down the page to the J Hines post, and then keep scrolling). Read the piece that Red wrote, but I have to mention that until I read it, I had no idea that Sammy Gordon (of the ‘Upstairs on Boston Road’ Hiphuggers) was not only Benny’s brother, but also a member of the Soul Brothers.
That said, Benny Gordon & the Soul Brothers recorded 45s for Enrica, RCA, NewMiss, Capitol, Estill, and even Phil L.A. of Soul. The 4 or 5 45s that I’ve been able to track down are of a consistently high quality, including a couple of unusual covers (J.D. Bryant’s ‘Get It’ and Jimmy Ruffin’s ‘I’m Gonna Give Her All the Love I Got”). A couple of their mid-60’s 45s have that great funk-on-the-horizon vibe, and a rough Southern feel (they recorded many of their 45s in NYC but hailed from South Carolina).
Today’s selection, a cover of the Wicked Pickett’s ‘In the Midnight Hour’ is taken at a slightly slower, slightly heavier pace with the “jerk” rhythm stretched out to fine effect.
It’s a very solid record, and ought to fortify you against all manner of mid-week travails, holding you until we all get together again on Friday.
Mr. Al Hirt
“Listen – Honey Pot MP3″
The middle of the week has come and gone and I’m a day late (but not a dollar short) with my midweek post. My only defense is that I wished that the reader/listenership would have time to savor my mix collab with the mighty DJ Prestige – which will of course remain available for the stragglers and newcomers alike.
Folks seemed to dig the idea of the split podcast, and we certainly had a great time putting it together, so there will definitely be an encore performance sometime in the future.
In other business, I check out my blog stats all the time, and for some reason an old post on Ray Charles has been getting a lot of hits and I can’t figure out why (generally when someone is linking in to one of my posts, the originating link appears in the stats). Has there been a sudden upswing in Ray Charles-related interest? Is it all a bizarre coincidence, or has someone, somewhere linked to my post. Is it Brother Ray himself, clicking in from the beyond????
Someone let me know before I start freaking out (well, not really…).
This evening’s post comes to you courtesy of a VERY unlikely source, that being portly trumpet legend Mr. Al Hirt.
Well, not all that unlikely when you take into consideration that Al was one of the most prominent exponents of New Orleans jazz in the second half of the 20th century, as well as being the man who put a huge wad of cash into the pockets of young Allen Toussaint (more on that in a sec).
My Dad has always been a huge fan of what our Limey brethren refer to as Trad Jazz, better known on these shores as Chicago Style, or even better known as Dixieland Jazz. When I was a kid, I distinctly remember Dad tuning in to the Tonight Show when Al Hirt and/or his New Orleans homeboy Pete Fountain would show up to whip a little Dixie on the Burbank squares.
I remember Al – who, like my Dad and myself was a big fella – blowing some ka-razy high notes, no doubt putting the very fear of Jeebus into Johnny Carson’s own be-sequined trumpet whiz Doc Severinson (known also to spend a little time working Maynard Ferguson’s side of Trumpet Street).
Hirt’s first big chart success came in 1964, with a little ditty entitled ‘Java’ (I don’t have an MP3 of Hirt’s recording, but check out a sample on iTunes. You’ll probably recognize the tune). That tune had been written, and originally recorded in 1958 by another famous son of New Orleans, that being Mr. Allen Toussaint (then recording under the name ‘Al Tousan’). Hirt’s version of ‘Java’ wasn’t the first recording of a Toussaint tune to bring in some royalties, but it was at the time, the biggest – until a few years later when another Toussaint tune – ‘Whipped Cream’, originally recorded by Toussaint’s band the Stokes – ended up as the theme to the Dating Game (in a cover by Herb Alpert & the Tijuana Brass).
So, that all said, though Hirt mainly worked in a Dixieland bag, he managed to record in a wide variety of pop settings, and even made one, soul-oriented LP, that being 1967’s ‘Soul In the Horn’.
Now, I have to tell you that I probably never would have grabbed my copy of this LP were it not for it’s rep as sample fodder, specifically the cut ‘Harlem Hendoo’ which was used by De La Soul on ‘Ego Trippin Pt2’. That fact tucked away in my cluttered brain, I happened upon ‘Soul In the Horn’ during a record stop on my last vacation (I think this LP came from Saratoga, but I can’t remember for sure). Not traveling with my GP3 (it would be poor taste to embark on a family vacation with digging supplies in tow), I didn’t get to listen to the album until I got home, and when I did I was pleasantly surprised.
While ‘Soul In the Horn’ isn’t going to set the funk 45 diggers back on their heels, it has some very interesting moments, the best of those being ‘Honey Pot’.
When I first unsleeved the LP, ‘Honey Pot’ caught my eye because it was the only track on the LP not co-written by keyboardist Paul Griffin (who seems to have helmed the sessions with arranger Teacho Wiltshire). The tune was in fact written by Steve Cropper, Duck Dunn, Al Jackson Jr. (aka the MGs) , Isaac Hayes, Wayne Jackson, and Andrew Love and originated on the 1966 LP ‘Great Memphis Sound’, on which the “Mar Keys” were made up of those musicians (Wayne Jackson and Andrew Love better known as the Memphis Horns)*.
Hirt’s version of the tune is quite tasty, featuring some heavy drums. While I can’t say for sure who the drummer is, my guess – based on his frequent session work with Griffin – would be Bernard Purdie. The tune is actually pretty soulful, with just a touch of mid-60s au-go-go flavor. While I wouldn’t suggest dropping a lot of dough on the LP (I didn’t, and you really just downloaded the best track on the album), it’s worth having, if only for the groovy cover, as an addition to your crate of sample bait, and as insurance for that day in the future when Al Hirt suddenly becomes cool again.
Just remember where you heard it first…
*The tune was also covered by Willie Mitchell
Listen – Beat Combination Part One MP3
Hey, hey, and once again HEY..
I hope everyone had a fantabulous Memorial Day Weekend (or for those outside of the US, a regular old weekend plus one day of pointless toil).
Here in Joisey, placing ying securely next to yang, I contrasted a certain amount of warm-weather slackitude (cold beer, books and tunes on the deck) with a touch of productivity, the results of which (the productivity, not the slackitude) you see before you today.
Regular visitors to the Funky16Corners-adelicament thang will surely be familiar with the name DJ Prestige, the man behind the Asbury Park 45 Sessions, an institution that I am proud to be associated with, as well as one of the blog-o-spheres fastest growing souful oases, Flea Market Funk. For a while now, Pres and I have been mulling over the idea of a live mix/joint podcast, in which we would take our Asbury 45 act up on into the interwebs. That collab, know heretofore as ‘Beat Combination: Beats and Treats From the Vault’ (parts Uno y Dos) is contained in the link below (or on the server that the link is pointing to, but you already had that figured out…dintcha???).
The catch – not much of a catch really – is that you pick up the first half of the mix here, and then jet on over to the Flea Market Funk Blog to grab the second (it’s up there now, go look).
Pres and I, with some soopah doopah Trinidadian curry action (I simply MUST have more pigeon peas and plantains), laid down a live mix, each of us dropping two sides and then stepping aside so the other might do the same. Yours truly leads off part one, and Pres starts part two.
It wouldn’t be sporting of me if I didn’t state for the record, that Pres did all of the technical heavy lifting here, working up all the drops, as well as pulling the whole dillio into digital form (and designing the graphics). I can assure you that this is but the first of many such co-spinnings. It’s always a blast hanging with Pres, and he brought some heat (that Fatback tune is KILL-LAH, as is the Jorge Ben).
I have to give a shout out to our Asbury Park 45 Sessions co-selectors Connie T. Empress (who introduced me to the Isleys track) and Jay Boxcar (for reminding me what a brilliant fucking record ‘We’re a Winner’ is).
So, get to those ones’n’zeros (each half of the mix clocks in at around 34 minutes), let us know what you think, and I hope that Beat Combination gives you something to groove to at the beach, at your bar-b-que, or in your car while your cursing the tourists clogging up the roads (like I’ll be doing every single weekday this summer).
Set List for Part One
Keith Mansfield Orchestra – Soul Thing/ Pronil
The Lou Garno Trio – Chicken in the Basket/ Giovanni
Fatback Band – Goin Home to See My Baby/ Perception
Soul Machine – Bag of Goodies/ Luv N’ Haight
Chuck Carbo – Can I Be Your Squeeze?/ Canyon
Isley Brothers – Keep On Doin/ T Neck
Jake Wade and the Soul Searchers – Searching for Soul/Mutt
Sidney Pinchback and the Schiller Street Gang
-Soul Strokes/ Twilight
Ernie K. Doe – Lawdy Mama/Janus
The Family – Family Affair/ North Bay
Buddy Merrill – Funky/ Accent
Sonny Stitt – California Soul / Solid State