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For some unknown reason (probably as simple as the wrong master being sent out), a few countries in europe received an alternate take of this track- peppier, a few seconds longer and in my opinion even better than the more commonly released British version. This is from the Swedish release, and it shows yet another side of the genius of this legendary group.
For whatever reason, this incredible side by the GODFATHER seems to have slipped through the cracks of becoming a "legendary" side in JB's massive catalog.
Strangely enough, this record made the POP charts at #77, but somehow MISSED the r&b charts. How strange is that? This song bridges the gap nicely between raw r&b and the groundbreaking nascent funk that James would lay out less than two years after this record was cut.
Just when I thought I'd heard every Eddie Bo track of note (thanks to originals as well as the swell reissues that have kept us collectors salivating), out pops THIS record which was unknown to me until a few months ago.
Sounds like it's from another planet, and New orleans is pretty certainly another place entirely...
Suggested by the brother of Patti (of the Patti & Linda duo who made up 2 Of Clubs) after he heard the track as a Petula Clark b-side, 2 Of Clubs cut this astonishing debut single at King Studio, Cincinnati.
Both Linda and Patti worked as singers at a Cincinnati nightclub called Guys & Dolls, and it was eventually suggested that the two sing together; a fantastic suggestion, as they voices blend together perfectly.
The group cut a handful of great singles; most of which did well regionally (this one did big business in Chicago as well) but the group never had the push to national attention that they deserved.
Allegedly named by George Clinton (after an actual hall in Chicago), this Detroit group shows a very strong P-Funk influence on this track (especially in the red hot lead guitar which is very reminiscent of Eddie Hazel).
The LP that this song was taken from (Your Love Is My Desire) saw very little distribution outside of Detroit and in the interim years has become a massive collector's item (it has since been reissued).
Seventies soul is sounding better and better to me these days.
Little Bob (Camille Bob) has been active on the New Orleans music scene for over fifty years!
A few years back I featured his genius boozin' anthem "I Got Loaded", and I have been hot on the trail of this particular 45 for YEARS. Very tricky to find, but I recently scored a copy. It's a lovely rollicking summertime groove that showcases Bob's sweet vocals in the most raw, direct way possible. I love the stripped to the bone sound of this record, straight out of the basement.
Made up of sisters Betty & Rose Collins, The Teen Queens cut a number of hits in LA starting around 1955, and by the time of this record Betty was 20 and Rose was 19. Written by the great west coast blues/ r&B legend Big Jay McNeely, this outright funky sides show the sisters had come a long way since "Eddie My Love" from just a few years prior. This was their third to last release as the Teen Queens, but they cut a few more sides as Betty & Rose.
Sadly, both ladies succumbed to drug addiction and passed away many years ago.
With such high quality of output, it was only inevitable that certain Stax/ Volt releases slipped thru the cracks and either hovered on the lower regions of the charts or never charted at all. Sadly, this great track from this Arkansas based group was one such track. The group (made up of sisters Jeanne and Dee Dolphus, Jeanne’s daughter Paula, and family friend Phefe Harris) suffered no lack of talent, and the song (from the pen of Hayes-Porter) is infectious, catchy and driving.
Don't you just love the 29c sticker on the factory sleeve?
The Moving Sidewalks featured Bill (later Billy) Gibbons on vocals and guitar, pre- ZZ Top. The group became one of the big draws on the Houston scene and not only opened for fellow Texans The 13th Floor Elevators but also when big time touring acts came thru town. Legend has it, when the Sidewalks opened for the Jimi Hendrix Experience, Jimi was so taken by Billy's playing that he gave him a pink Stratocaster and Hendrix was on record as stating how much he liked Gibbon's playing.
Two Sidewalks were drafted, which revamped the lineup and the band became ZZ Top in late 1969.
A great story, and the band's singles are the stuff of legend. "99th Floor" (a past 45 of the day) gets most of the attention as it has been on many comps (and for good reason), but this follow up is almost as grand.
Featuring one of the greatest drummers in history (Sam Lay) and arguably the two greatest white US bluesmen (Paul Butterfield on vocals/harp, and Michael Bloomfield on guitar), the original Butterfield band was bursting at the seams with talent.
It's unclear when this single-only release was cut; some sources say before the 1965 self titled debut LP (relatively straight Chicago blues); but, as it seems to have been released shortly afterwords, it seems like a great transition piece to 1966's more experimental "East West" LP.
"Come On In" shows the band right at home with the then current soul/r&b market in this blazing 2 minute slab of soul/beat that was distilled through the funky waters of this great period of Chicago blues.
I had an incredibly long day of travel yesterday, so in lieu of no post for Saturday, here are two lovely sides for today.
This record is the epitome of pure class. Both sides of this debut 45 show the southern roots and depth (Garland was born in Mississippi) with the upbeat urban Chicago sound (where Garland's family moved when he was 16), although the record was recorded in Detroit after Jo Armstead and her then husband Mel Collins caught Garland opening for Lou Rawls in concert.
