ERIC AND THE VIKINGS - VIBRATIONS

Hailing from Detroit, this was the debut single from Eric & The Vikings; the song was a HUGE hit in Detroit, which allowed producer Popcorn Wylie to sign them to Motown for a few excellent singles. The record is another fantastic example of the early 70's group harmony revival, capped off with an incredibly smooth lead vocal from Eric McClinton.

from 1970...

ERIC AND THE VIKINGS - VIBRATIONS

THE DECISIONS - STOP PLAYING AROUND

Hailing from Atlanta, GA, the Decisions were a young harmony group that were picked up by Los Angeles based Sussex Records. Looks like the group was moved to L.A, as producer Mike Stokes was the label's house producer. The group cut what looks like three singles, including one (probably) cut in Detroit.

The single has that excellent, early 70's swing capped with sweet group vocals, driven along by that excellent bubbling bass guitar.

from 1972...

THE DECISIONS - STOP PLAYING AROUND

CARMEN COLE - I JUST DON'T UNDERSTAND

Deeply soulful vocal? Check. Waltz time? Check. Fuzz guitar? check. HARMONICA solo? check. All ingredients for the kind of thing that is GUARANTEED to get my attention. Most strangely of all, this amazing record was produced by guitar legend/ country-politan pioneer Chet Atkins.

Carmen Cole released a few other records, but I'm afraid that I don't know any biographical info about her. I find these type of records fascinating; a well known country music producer branching out into a whole new thing.

from 1965...

CARMEN COLE - I JUST DON'T UNDERSTAND

Tribute to Bob Welch: THE SEVEN SOULS - I STILL LOVE YOU b/w I'M NO STRANGER

I was very sad to hear that legendary musician Bob Welch ended his life at his own hand. I believe this to be his first recorded work, and shows his guitar skills laid out over two amazing sides. Bob, of course, went on to lead the "interim" Fleetwood Mac (after Peter Green and before Lindsey Buckingham) and had some solo hits that were some of the most inspired '70's rock.

(Originally posted 8/2009) One Of the greatest (and quite possibly THE finest) west coast soul record, this sublime 2 sider is a record I dreamed of owning for a long time, and happily it now resides in a special place in my collection. Sure, the labels may be in rough condition but the record sounds great and I am just glad to have it any any condition, and very happy to share it with everyone here. Part of the fun in collecting records is the anticipation of getting certain ones, and if we had 'em all, there's nowhere else to go (so I don't mind if it takes me many years to get that particular record; it's worth the wait).

The Seven Souls were formed at the University of Oregon, and were an integrated group who moved south to Los Angeles and were taken under the tutelage of musician/ producer/ pimp Larry Williams who cut this absolutely perfect record with them. Sadly, they only released one other record (OK but not at the other worldly level of this one). The group sported not only two phenomenal lead singers (Ivory Hudson takes the lead on 'I Still Love You", and sax player Henry Moore sings I'm No Stranger) but young Bob Welch (later of the early 70's lineup of Fleetwood Mac which gave us "Sentimental Lady") is playing those tasty guitar licks.

from 1967...

THE SEVEN SOULS - I STILL LOVE YOU

b/w I'M NO STRANGER

ROAD RUNNERS - GOODBYE

Fresno, California (located in the hot, dry central valley) is as far away culturally from L.A or San Francisco as Iowa. I'm not knocking those areas, simply stating that the areas are far more rural and less progressive and free spirited as the coast.

Taking into account their geography it makes it that much cooler that such a great single can come out of an area like this. Road Runners were a TIGHT garage band (just the type that I love) and their instrumental and song craft were shown to great affect on this record. The production on this record, while raw, is excellent- the big mass of instruments (organ, fuzz guitar, sax, those pounding drums) are all heard very clearly with the vocals framed in perfect sonic space.

A truly excellent record that could have been a big hit had it seen bigger distribution.

from 1966...

ROAD RUNNERS - GOODBYE

SOLOMON BURKE - HOME IN YOUR HEART b/w WORDS

Simply because there are SO MANY fabulous records that were released during my favorite era of music, I am hesitant to make up top ten lists or pick favorites. Listening to this record today, however, I can think of none that are "better"; this is absolute music perfection, laid out between two sides that total 4:41.

Today is my birthday, and I tend to get reflective on days like this. Thanks to social networking (it's not ALL bad, you know), I been flooded with incredible words from friends all around the world. I'm not trying to brag, but I feel incredibly fortunate that I have been able to work in the music biz all around the world, and have met hundreds of incredible people along the way, and it shows that the gap between us all is incredibly small. We may be thousands of miles away, but we're all very, very similar; languages and colors are NOT a divider, only a reminder that life is not black and white but made up of billions of colors, and the flavor of our diversity is akin to how we season our food. If there is no flavor, it's bland and who wants that?

King Solomon. We lost him recently but the records that he bequeathed upon us are some of the most moving, beautiful and REAL pieces of art that can ever grace our ears. I know I'm writing more than usual today, but there are so many moments in "Home In Your Heart" that are mindblowing; first off, whoever is behind the drum kit has a direct hotline to MY heart, and his stop time fills are not only impressive but so effective to complement the lyrics. Then there's the matter of Solomon's voice; in a world full of musical fakery, this is a man that fully believes what he's singing here, and throws his entire soul into the performance, sending the microphone, preamps, and/or tape machine into distortion at JUST the right times, as the distortion drives home words that he wants to enunciate with even more color. It's all capped off with a slightly sinister laugh at the outro...I've listened to it a dozen times this morning and I could easily listen a dozen more.

"Words", the other side, is one of those southern soul ballads that helped make Solomon the stuff of legend early in his career; Solomon's effect on his female fans is the type of lore that is best devoured in Guralnick's excellent "Sweet Soul Music" book.

I hope you enjoy today's post; it's possibly the greatest record ever made. But I could just as easily give that award to "Cry To Me"... Good, better, best doesn't really matter; I'm simply thankful for ALL of it. Since I've already turned in more words than normal, I'll tell you the story on why I started this blog. I had just been through the most difficult breakup of my life, and I realized more than ever that music was the salvation, specifically those little records that spin at 45 RPM. I figured that since they brought so much happiness to my life, it only made sense to spread the love; it's heartwarming when I receive messages thanking me for what I do, because it's validation that my intention has been a success.

from 1963...

SOLOMON BURKE - HOME IN YOUR HEART

b/w WORDS

THE CARTER BROTHERS - I DON'T CARE

This is the type of record that I find most difficult to write about; I don't know much biographical info on the group, and the fact that it's a sweaty, smoky, lowdown, booty shaking r&b jam doesn't allow much in the way of descriptive writing (or perhaps it just DID and that's all I need to say).

Albert, Jerry & Roman Carter, from Garland, Alabama, cut this record in Shreveport, LA with Jewel Records owner Duke Coleman. The group recorded a small handful of other singles before the group ended in '67, allegedly because Albert & Jerry were drafted. Roman Carter continued on as a blues performer, and as far as I know nothing has been heard collectively from the Carter Brothers since.

from 1966...

THE CARTER BROTHERS - I DON'T CARE

EDDIE KENDRICKS - DATE WITH RAIN

Songwriter/ producer Bobby Miller created one of Motown's greatest, dreamiest records here with former Temptation Eddie Kendricks; this song has taken on mythic proportions over the years, and it's strange to think that it languished as a b-side on a non-hit single upon its original release.

Every element, every instrument and Eddie's vocal are the stuff of musical perfection here; Bobby Miller applied the same type of magic to (most notably) the "comeback" era of The Dells, culminating with the tracks and singles which became the "There Is" LP- one of the finest soul LP's ever released.

from 1972...

EDDIE KENDRICKS - DATE WITH RAIN

THE WHISPERS - I WAS BORN WHEN YOU KISSED ME

While so many vocal groups saw numerous lineup changes through their runs, The Whispers (one of the longest running of all) saw very few; the original core of twins Wallace "Scotty" & Walter Scott, Gordy Harmon, Marcus Hutson and Nicholas Caldwell remained intact from 1964 until 1973, when Gordy Harmon was replaced by Leaveil Degree. The group remained solid in their lineup until 1992, when Marcus Hutson left due to illness; he was not replaced, as the group chose to continue as a four piece. The group was formed in the Watts section of Los Angeles, and with the exception of a brief period recording in Philadelphia, their entire career was spent recording in L.A.

The Whispers harmony blend is the stuff of legend; their early singles from L.A based Dore records are some of the finest soul ballads of the era. This dreamy track is yet another great example of the group's sound; framed by a fabulous lead vocal from Scotty Scott, the group harmonies are simply divine.

from 1966...

THE WHISPERS - I WAS BORN WHEN YOU KISSED ME

MOD CHICAGO is coming! June 22-23

I'm truly honored to be part of such a stellar lineup of DJ's from around the globe, all gathering in Chicago the weekend of June 22-23. This is the tenth anniversary of Mod Chicago, and we need YOU to make it the best one yet.

ANN COLE - GOT MY MOJO WORKING b/w I'VE GOT A LITTLE BOY

I didn't know until recently that Muddy Waters' version of "Got My Mojo Working" not only was a remake, but also Muddy basically lifted the song. Written by Preston Foster, Ann Cole cut the original version of "Mojo", and while they were on a joint tour, Muddy learned the song, reworked a few lyrics and claimed authorship (makes the thievery of Jimmy Page/ Led Zeppelin look a little better, perhaps)! Foster's publisher sued Muddy's publisher and while the judgement was found in favor of Foster, Muddy's records still listed him as author for many years.

Ann's reading of Mojo here is downright frightening, and the b-side is nearly an equal- Ann takes an incredibly simple lyric and turns it into a primal haiku over a flat out rocking track.

Ann Cole was WAY ahead of her time on this record; both sides sound far more like 1960 in their raw intensity. I can only imagine what it would have felt like in 1956 to hear a woman sing with such power and fury in the context of the times.

from 1956...

ANN COLE - GOT MY MOJO WORKING


b/w I'VE GOT A LITTLE BOY