shake it, shake, shake it

I've been a sucker for falsetto love songs lately (see: I Think It’s Gonna Work Out Fine). “Shake It Up” by the Vibrations begins with a break, transitions into some dialogue, before diving into some nice falsetto. It's catchy, light-hearted, and has lots of energy squeezed into its 3-minute duration. The harmonies enhance the active arrangement, which sounds like a mix between Smoked Sugar's "I'm A Winner" and The Moments' (& The Whatnauts') "Girls" .

"Shake It Up"

The Vibrations formed in Los Angeles in the '50s, consisting of Don Bradley (bass), Carl Fisher (second tenor), Dave Govan (baritone), Jimmy Johnson (lead), and Richard “Ricky” Owens. They were active until the mid-‘70s, releasing hit singles under different handles for different labels including, Checker, Chess, Okeh, and Epic. Initially, they recorded as The Jay Hawks before changing their name to The Marathons, and finally settling as The Vibrations. One of their members, Ricky Owens, left the group and joined the Temptations for a brief period as well. They had a handful of charting singles and is believed to have disbanded in 1976. Click here for more info on these guys, their music, and their history. Shake it up!

sugar on my tongue

I can’t believe it’s taken me this long to touch on Sugar Simone. “King Without A Throne” has been a consistent favorite of mine forever.

Born in Jamaica, Keith “Sugar” Simone rose to local prominence as a gospel singer and left for Britain in ‘61 to further his schooling. He became an engineer while singing on the side, juggling both worlds respectively until 1963 where he auditioned at Old Planetone Studios. There, he met Alan Crawford, a radio exec who signed Simone to Carnival Records. After cutting a half-dozen singles for Carnival, Simone signed to Island Records where he recorded some of his most well known works as Sugar Simone (he would also record under the name Tito Simon, but those fall under the boring category).

Simone was always more popular oversees than in the states, touring Germany, Italy, Spain, Portugal, and Switzerland until the ‘70s. As far as I know, he only cut one LP as Sugar Simone (Alive & Well, kinda lackluster, shown above), profited slightly off a handful of dope 45s, and later signed to Beacon Records where he made more singles and released a few LPs as Tito Simon. But his late ‘60s singles are the most sugary. Here they are.

His first and most famous single, “King Without A Throne”, for Island Records in 1967. Notice the jacked “Stand By Me” bassline.

“Take It Easy”, another nice late ‘60s cut, all rhythm and horns galore!

“I Want To Know”, the other really slick 45 he made for Trojan.

sad bastard blues

Chris Jackson’s work was released on Soul City Records. Besides that, I can’t find anything on him (hit us up if you have any info!). "Little" Jimmy Scott on the other hand has had a long, illustrious, and fully documented career.

“Forever I’ll Stay With You” by Chris Jackson is so endearing. It doesn't knock, nor is it especially unique. But Jackson sounds so desperate and is totally unflinching about it. The fact that he isn’t particularly that great of a vocalist adds even more character. Some singers sound gruff, some sound smooth, some powerful, but Jackson sounds nerdy, and it works.


And if Jackson isn’t soft enough, "Little" Jimmy Scott says, “It’ll rain 40 days and nights” from his "eyes” if his girl leaves him, on his late ‘60s hit, “40 Days and 40 Nights”. It's upbeat for a sad song, and the lyrics are typical of the time, but I like the way Scott delivers on this one. Dude's heartbroken and doesn't care who knows. Get a grip man.


Check these out if you’re in the mood for great sad bastard soul tracks.***The great "Little" Jimmy Scott, pictured above.

Rubber Soul Train

Derek’s Daily 45 dropped this one on me. “Devil In His Heart” by The Donays is not only amazing, but was also an early Beatles cover. I like how Derek explores the notion that the Beatles were listening to soul around the time they first began.

Check out the original post from Derek’s Daily 45, HERE!

The Donays’ version is below. It reminds me that the best songs are simple ones.


With The Beatles is where this version appears. George Harrison on lead vocals yo.

Because I'm Getting Old...

…songs about youth make a lot more sense. Maybe its because I’m 28 and my hairline is 48. But I digress…

The Parlettes’ “Because We’re Very Young” (flip side to record above ) is a doo-wop-ish gem with a back beat that knocks. I know nothing of the group, so I’m not gonna front like I do (if anyone has info about the song or its makers, please drop us a line!). Clocking in at just under 2-minutes, the tune is long enough to make its mark, and short enough to make you wanna hear it again. This is a girl-group banger with killer harmonies, thick drums, and a sweet melody. Aahhh, to be young (or at least, just not old).

Hear it here:

Heavy Rotation: Carolina Funk

For months now, I keep going back to Now Again’s brilliant Carolina Funk: First In Funk compilation. The release, like others in the series, are lost recordings of heavy, sweat-drenched funk tunes. Artists like The Soul Drifters, Frankie & The Damons, and The Tempo’s Band, are stellar examples of the comp's level of excellence. It’s no wonder Cut Chemist sampled portions of these tracks. This, right here, is rhythm caught on record.

Below is my favorite (among many favorites) from the release:
Roy Roberts’ “You Ain’t Miss It”. Notice how everything--the bass, guitar and vocals--cuts through the muddy recording to compliment each other perfectly.


And check back in a few weeks where we’ll be talking to Egon, general manager of Stones Throw and esteemed headmaster of the Now Again label.

***If you dig the track above, please visit http://www.stonesthrow.com/nowagain/ to purchase the comp and get more info on Now Again. While you’re at it, peep more landmark releases from the series (Midwest Funk, Florida Funk and Texas Funk). They won’t disappoint.

May 3rd, 1933 - Dec. 25th, 2006

Today, May 3rd, is James Brown's birthday.

Happy birthday sir. Thank you.

Nothing can be said about JB that hasn't been said already. Why talk and say nothing? Dig it? (heh!)

"Talkin' Loud And Sayin' Nothing Pt.1:" Original version from King Records (not Polydor release)

Anonymous Exuberance (Revisited): Interview With Ken Shipley, Numero Group Founder

Recent re-issues are constantly touted as “lost masterpieces” or “holy grails” of some sort. And surely, some are stunning discoveries. The recent flood of funk and soul re-issues are deserving of their allure, but like everything, some are just better than others. As Nate Nothing outlined, the Numero Group has had a remarkable recent show of success. While patterns emerge as to which labels uncover gems--and which make embellished assertions--Numero has done an outstanding job in a consistent, careful manner.
The label consists of founder Ken Shipley (above, right) and a dedicated team that scours the country for forgotten music. The forethought displayed in Numero’s releases are gleaming; The Eccentric Soul series [17 and counting] come with liner notes that contextualize the music and its makers, adding depth to the crackly recordings. Most of the records uncovered have rarely been heard, if ever. The silliness and sorrows are depicted with dignity and, almost always, add staggering perspective to the music.

I've been impressed by each Numero release, and the recognition they quietly gain. We’re lucky to have Mr. Shipley show us his "terribly unglamorous" operation and explain exactly how, and why, he does what he does. Thanks for humoring us Ken. Here's to your outstanding label.

Please introduce yourself for fans wondering who you are?
Ken Shipley, the Numero Group’s minister of information.

How many members are on your staff?
Six.

Take us through a typical day at Numero headquarters.
Doors open at 9, though typically bodies don’t cross the threshold until 10. There is no set schedule, other than that the mail needs to go out at noon and UPS comes at 5:30. Everything else in between can be shifted to earlier or later depending on its priority. 90% of what we do is terribly unglamorous. Books need to be kept, boxes get packed, purchase orders go out, just like any other workplace. Once a month we crunch hard and finish a project, and that’s generally the most interesting work. Rob and I lock our selves in our offices and write for hours, take it home, swish it around, argue, rewrite, take antacid.

How much of the year do you spend traveling, looking for records?
These days not nearly as much, as most of what we do is on the phone and through the mail. We generally do a few trips a year and get a handful of things lined up on the way. In the case of Grand Bahama Goombay, we actually got Recording Tap and Outskirts Of Deep City rolling at the same time.

Is your personal record collection insane or what?
Rob’s is probably the deepest, though we both have rooms dedicated to records at our houses.

How did the first release in the Eccentric Soul series come about?
I had just lost my job at Ryko Disc and wanted to start a new label. Rob and I had a mutual friend and ended up meeting in a bar. He had an idea for a compilation called Eccentric Soul; I took that idea, tinkered and came back with something bigger. The catalyst for taking it beyond the random compilation of 45s that Rob wanted to do was Bill Moss, who informed me that he had made a few dozen recordings, not just the two Rob was talking about. I thought labels would be much more interesting and could tell a nice tightly wrapped story.
What were the main motivating factors that made you want to start the label?
At Ryko I had a few projects I wanted to do that never happened and ended up taking one of them with me. Meeting our other partner Tom Lunt in a grocery store while we were both unemployed didn’t hurt either. At the same time I was spending a lot of time at Sheer Magic’s soul night in Chicago, just listening and talking to other soul aficionados. The music of those nights needed to be heard, and it seemed like there wasn’t enough people trying to make that a reality.

What was the first record you found for the label that blew you away?
Antena, though I found it for another label.

Can you tell us which are your favorite tracks off of some of these Eccentric Soul releases?

-Mighty Mike: "Loaded To The Gills", "I’ve Got To Have You", "Function Underground"

-Prix Label: "You Got Me (Demo)", "Mystic", "Wait A Minute"

-Home Schooled: "I’m Not Ready For Love", "Time", "Now That School Is Through"

-Deep City: "Am I A Good Man", "Someone To Fulfill My Needs", "I am Controlled By Your Love"

Where do you typically hear about these records and where do you normally find them?
The larger world of collecting is the best resource. Talking to people, listening to their mixes, bumming MP3s, and listening is the key. Finding the originals is rarely my goal as most of this stuff is impossibly rare. I collect masters these days.
How many records do you sift through before deciding on the ones that make it onto the comp?
With some compilations it seems like you’ve barely got enough! We like to find between 16-20 songs for a record, but it’s key to use only the best stuff. In the case of Twinight and Tragar we had to make a bunch of painful cuts because the material was so good.

Which was the most difficult project in the series to put together?
They’re all tough in their own way. You forget how difficult it was after you finish. But if I had to pick, I’d say Twinight because it took us two years to finish and we kept getting better stuff. The record just never wanted to end.

Which was the easiest and why?
Lenaburg definitely. John Dixon handed us the entire thing and all we did was color in the story.

Who mainly gets to keep these discovered records?
We have library in our office for all the treasure. Like Alexandria meets Ft. Knox.

What are some future Numero releases you have in the works?
NUM020 Eccentric Soul: The Tragar & Note Labels
NUM021 Soul Messages From Dimona
NUM022 A Local Custom: Downriver Revival

Do you get a chance to listen to contemporary music?
There are people I like, but I don’t have as much time to listen to outside music as I’d like. It’s hard enough just listening to the stuff we’ve got on the whiteboard. That said, I enjoy the moody stylings of Cat Power and Hope Sandoval, cut and paste shit like the Avalanches or Dilla’s Donuts, and am eagerly anticipating GnR’s next album.

What advice, if any, would you give to others who want to start a label like Numero?
Now is clearly not the time. Save your money and go to business school.

What does the label envision for itself in the future?
We’re going to be the next Folkways. Wait and see.

**For more information on the Numero Group and their releases, please visit http://www.numerogroup.com/

Riddim & Blues: A Look At David Isaacs

David Isaacs (no relation to Gregory Isaacs) is said to have been responsible for launching the Trojan label into worldwide acclaim with his debut LP, A Place In The Sun. Mr. Isaacs recorded between the late ‘60s and early ‘80s, releasing five albums and numerous singles, many of which were produced by the great Lee Perry. During this time, he recorded one of the saddest songs ever, “Just Enough To Keep Me Hanging On”. The aesthetic of the recording; the slight echo of the vocals, and the lonely, bare-bones feel are really effective. Hear it here:



Mr. Isaacs also did a great cover of Stevie Wonder’s “A Place In The Sun”, the title track to his revered first album (also produced by Lee Perry). Wonderful stuff, enjoy.

Rock It Real Good: Etta James Gets Down

Most of Etta James’ songs are sweet, soulful tunes that highlight her warm voice (see: “At Last”). But on her Rocks The House record, Ms. James gets down several times over grimy, uptempo soundscapes. I recently came across “Seven Day Fool”, a delightful track** from said album that’s totally drum-driven, and needless to say, very, very charming. I’m sure I’m a latecomer to the recording, but it’s here for your enjoyment nevertheless.



**The version above is the studio recorded version of "Seven Day Fool" and isn't the version off Rocks The House (a live album) where it originally appeared.

El Perro Del Mar vs. The Gayletts

The Gayletts were a female group from Jamaica in the late ‘60s to early ‘70s. They were a trio made up of Beryl Lawson, Merle Clemonson, and Judy Mowatt (pictured below, left). The group disbanded when Lawson and Clemonson left for America in 1970. Mowatt remained, and went onto join Bob Marley’s famous backup troupe, The I Threes (below, alongside Marley). Mowatt continued to record for decades after, including a prolific spree of gospel albums between 1998-02.

Like a lot of pre-dub, rocksteady tunes of the era, The Gayletts were minimal and have touches of soul, and even doo-wop at times. They have some real sly 45s on the Hour Glass label, including a nice cover of “Son Of A Preacher Man”, and this, perhaps their best song, “Here Comes That Feeling”.







El Perro Del Mar’s first self-titled album includes a cover of “Here Comes That Feeling.” The greatness of the remake is based on the merit of the original, but nevertheless, is pretty smooth. Enjoy.

The Marketts vs. Four Tet

The Marketts were a Hollywood-based group that gained slight fame during the surf craze of the 1960s. In fact, they weren’t really a band, but a collection of session musicians gathered and guided by Joe Saraceno (producer of The Ventures, Gene Mcdaniels, The Sunshine Company, The Routers, Bobby Vee). Their songs were mainly instrumentals, most of which had strong rock, soul, and weird sci-fi touches. They’re not terribly memorable, but nevertheless made some great recordings between 1961-1977.

If Marketts sound somewhat familiar, it’s because they appeared on the popular Pulp Fiction soundtrack. The song, “Out Of Limits”, was #3 on the charts in 1964 and remains their highest ranked single. My favorite of theirs is "Bella Dalena", and is actually the b-side to the famous single. It's short and succinct, has a steady groove, and is guided by some really great drums***. It’s the kind of song you can hear twice in a row.

***The drums you hear at the beginning were lifted and used on the Four Tet track below, “Carmella”.


“Carmella” is from the Four Tet: Remixes album, and uses a song by Beth Orton. The track builds slowly and the layering is superb (typical Four Tet), but is also about 6–minutes too long (typical Four Tet). Who would’ve thought Four Tet, Beth Orton, and The Marketts would mesh so well?

Anonymous Exuberance: The Numero Group is Killing It

Chicago-based archival label The Numero Group has emerged as one of the most reliable record labels in the world in the past five years. This post will focus on their Eccentric Soul series, which is exactly what it sounds like; lovingly detailed reissues of below-the-radar soul sides that have never been widely available outside of their respective localities. My curiosity was initially piqued by their stark packaging (one picture on the front, a number, and a plain white back cover with no further info, track titles, or clues as to the contents) yet deterred by high price tags (generally $20 or so for CDs and around $25 for wax). However, now that I've had a taste, I feel like I'm addicted to these comps, scouring eBay for originals I can't afford, re-reading liner notes, and finding things to like about the tracks that didn't initially stand out. My personal history with the label goes a little something like this (hit it!):

I was lucky enough to find a used copy of this one, and it was the gateway drug for one simple reason. I had no idea that there was a funk scene in Phoenix, AZ in the 60's. It seemed incongruous, but the evidence is in the grooves (technically it's in the digits, sadly this one's CD & Mp3 only). Centering on the various productions of 'Mighty' Mike Lenauberg, this one really opened my senses to some desert heat. My pick of the litter has to be "Loaded to the Gills," by Michael Liggins and the Super Souls, which was also re-issued in 12" format by the good folks at Now-Again. It is one of several tracks that feature some tough flute laid over the top, and what sounds like vocal percussion (On a personal note, I tend to really like songs where people vocalize the instruments; see the Mills' Brothers' version of 'Caravan', late-era Tom Waits, and the entire catalog of Biz Markie.) clip-clopping along in the background. This and the sixteen other tracks are bold assertions of vitality that got me thinking about the wealth of undiscovered or merely previously unpopular music I have been privy to, and the common thread that tied them together was an undeniable openness that I termed "anonymous exuberance." The basic unscientific thesis goes something like this: The fact that these artists never developed a national profile only enhances my ability to relate to their joys and sorrows. Much like underground MCs who portray an everyman persona despite dizzying lyrical skills, these extraordinarily talented performers were real people with real problems, and expressed them in an unhinged manner that would only have been diminished by participation in the studio-dominated international music business. My next encounter with this remarkable label would only deepen these initial reactions.

Hearing lost recordings from Columbus, Ohio's Prix label was a revelation. It's one thing for a song to move my head to nod or my feet to tap, but a few of these tracks genuinely moved me on an emotional level. The entire selection is uniformly excellent, but there are a few tracks toward the end that really stand out. After a truly intriguing tape-spliced outtake of "studio moves" by the Harmonic Sounds Band comes a stripped down demo version of Eddie Ray's "You Got Me." Though the completed version is included on the release, I am partial to the rough outtake. It is the sound of a man alone with a guitar really singing his heart out, vocalizing all of the pain and elation that love can bring. The completed version, though a more full and polished arrangement, really loses something by the addition of the other players. I smooths off the rough edges of vulnerability that make the demo so endearing. Next up is the beautiful ballad "You and Me" performed by Penny & the Quarters. Atop the pillow-soft bed of the Quarters' harmonized backing vocals, Penny's voice cuts right to the heart of the matter; "If the stars don't shine, if the moon won't rise, if I never see the setting sun again, you won't hear me cry, this I testify, please believe me boy you know I won't lie, as long as there is you and me." It is the perfect encapsulation of young love at its most naive and triumphant. Though I have come to love this song deeply, the final track on the album somehow tops it. The sublime "You Got Me" (starting to notice a pattern with these titles?) once again by Eddie Ray, accompanied by a very funky hand drummer and Joe King's serpentine guitar, is one of the most unrestrained, passionate vocal performances I have ever heard. Halfway between and gospel shout and Otis-esque growl, he wrings the truth out of lines that in the hands of a lesser performer would come across as mere platitudes. I have come to regard this "throwaway" demo as one of the best songs in the world, and that's usually how I introduce it to people when I play it for them.

Home Schooled: The ABCs of Kid Soul is as close to a novelty record as these guys have come to releasing, and while it's organized around an adolescent theme, it can be a rewarding listen for the discerning soul-obsessed adult. More so than any other set in the series, this comp is a lot of fun. Initially, hearing kids sing about matters of the heart is a bit disconcerting, and the first night I brought it home, the roomies and I spent a lot of time wondering where the songs came from, and how many of these kids were "Joe Jackson-ed" into playing and recording them. My cut on this one is the boisterous "I'm Not Ready For Love." by Promise, a paean to the perils of precociousness with a world-class breakdown. Hearing the sweetly-sung assertions, "I'm not ready to fuss and fight, I'm not ready to cry all night, love is a thing I'm not ready to face, so you just better go your way," I can only smile, nod and agree. Me neither, kids. This one's a great party album, primo mixtape fodder, and a curious musical artifact all wrapped in one beautiful, lovingly assembled package. The pictures contained in the gate fold are easily worth the price of admission.

Though I've only recently become acquainted with Numero 007, The Deep City label, it's already revealing itself as one of the finest releases of this young year. The album opens with the haunting "Am I a Good Man" by Them Two. Penned by label founder Willie Clarke and the immortal Clarence Reid, the lush organ-fuelled arrangement and strong lead vocals recall Phil Spector-era Righteous Brothers. Further along, there are a few tracks by the secret weapon of the Miami soul scene, Helene Smith. Though none of them rival her performance on the stunning "You Got To Be a Man," (not included on this comp but recently reissued on 45) she provides backing vocals on 'good man' and contributes several strong solo tracks. A really nice feature about this album is that they close out the set with a full side of instrumental versions of some of the best cuts on the album, a practice normally reserved for hip-hop records that I'd love to see become standard practice in all genres.
Check back in a few weeks, we're preparing an interview with the hard-working founders of the Numero Group where we'll get to ask them about the process of discovering and re-issuing these and other lost gems.

--ed note: instead of posting these songs, we want to encourage you to peruse the numero website, where you can listen to snippets, purchase CDs, mp3s, and vinyl directly from the label at www.numerogroup.com