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While 'I'm Rowed Out' may be a blatant re-write of The Who's 'Can't Explain', something about the energy of the record and the performance practically trumps the record that it was aping. To be fair, though, 'Can't Explain' was a record that was basically rewriting 'Louie Louie', and there's no denying that imitation can bring about great art. 'I'm Rowed Out' captures the excitement and nose thumbing of the beat era as good as any other record of the era. This record completely tanked commercially (along with the rest of The Eyes catalog), was never released outside of the UK, and as such it's exceedingly scarce- it's one that was on my want list for a LONG time. In my opinion, this record is the greatest of all the so-called 'freakbeat' records of the era!
Unlike many singles of the era, both sides are equally stellar, and the moody and raving 'When The Night Falls' (the A side when the record was released) is probably the more unique of the two tracks.
The Eyes, from the Ealing district of west London, saw no fewer than SIX name changes during their brief existence between 1964-67.
Ann Peebles is best known for her biggest hit - 1973's amazing 'I Can't Stand The Rain', but her raw, soulful vocals grace PLENTY of other red hot 45's and LP's. 'Somebody's On Your Case' is pure southern soul- smoky, sexy and hotter than a pan of boiling grits.
Like so many other soul singers, St Louis-born and raised Ann began singing in church at a young age, where her father was a minister. While in her early 20's, Ann was touring with bandleader Oliver Sain, where she caught the attention of Hi Records recording artist/ talent scout Gene 'Bowlegs' Miller, who helped her sign with the label, all before she turned 21 in 1968. Ann also proved to be a prolific songwriter, often collaborating with Don Bryant, who she married in 1974.
Detroit singer Hattie Littles was discovered by Motown producer/ songwriter Clarence Paul while she was singing at a local talent show. With a rich, powerful, bluesy voice, she could have added a different kind of dimension to the Motown sound. Sadly, she succumbed to substance abuse, and none of the other sides she recorded in the '60's were released. She did have a resurgence, when English DJ/ producer Ian Levine found her and brought her over to England to record and perform in the '80's & '90's.
Showing the influence of the type of Latin infused soul that producer Bert Berns was churning out in New York City, 'Here You Come' was, technically, the b-side, but I find it a bit stronger than the bluesy (also excellent) 'Your Love Is Wonderful'.
Sadly, the record went nowhere, and allegedly Hattie herself didn't like it.
Why oh why would someone intentionally scratch out the name of the group on the label, on both sides to boot? This record did get re-released by a larger label, so perhaps after the record was licensed to the other label Locket Records wasn't supposed to sell it anymore? Who knows, but it sure is sad to see!
Both sides are excellent Chicago group vocal soul; 'Fear Not' is more uptempo and swinging, while 'Gotta Let You Go' is a typically pretty ballad of the era (and location). Both sides show that The Ledgends were yet another very talented vocal group that got lost on the shuffle of the very fertile Chicago soul scene.
Margie Evans, backing vocalist extraordinaire for the likes of Bobby Bland and Johnny Otis, had her first chance to step out on her own in 1973, some 15 years after her career began in Los Angeles after moving west from her native Louisiana. And what a cool record it is, taking Margie's powerful, bluesy vocals (mixed up front and LOUD) on top of a super funky track, which was arranged by the always cool Monk Higgins.
I woke up with this song ('Contact') in my head this morning playing on repeat, so I take that as a sign that it's time to feature it here on this very forum. In fact, I think I was dreaming about listening to it- no surprise, as those three heavenly voices are certainly daydream inducing.
The 3 Degrees formed in Philadelphia in 1963 and went through a few
lineup changes before settling into their hit making (and brilliant) mid '70's
soul-disco
sound. This record is a departure from their earlier Swan releases (which feature a strong Motown influence and also happen to be some of my most cherished girl group 45's), although the same producer (Richard Barrett) was behind the glass. 'Contact' takes the whole space race scene and turns it into something completely poetic, with an arrangement that's complex, swinging and downright mind blowing, thanks to veteran musician/ arranger Sammy Lowe (his arrangements include James Brown's orchestral flights of fancy 'It's A Man's Man's Man's Man's World' and 'Prisoner Of Love', along with arrangements for Nina Simone, Sam Cooke and countless others).
The flip side, 'No No Not Again' is another fine example of the soul waltz; a style which was never utilized as much as it should have been, in my opinion, but those records that incorporate it are very near and dear to me. Once again, those heavenly Three Degrees harmonies will melt the ice and warm the heart.
This single was a one off for Warner Brothers Records, and perhaps it was just too far out to attain hit status.
Another great one has left us: James Shaw, aka The Mighty Hannibal, aka King Hannibal.
I featured this primal dance jam during my first year of posting here at Daily 45, and it was around the same time I was fortunate enough to catch him live at The Ponderosa Stomp in New Orleans. even though the man had lost his sight (due to glaucoma), he put on one HELL of a show, albeit a too-brief one.
Hannibal cut his great '60's records in his home base of Atlanta, and he cut quite an image onstage, often wearing a gold turban (which he wore at the 'Stomp, much to the delight of the crowd). 'Jerkin' The Dog' is one of those records that I've DJ'ed in several cities and countries and no matter WHAT shape the party is in, this record immediately connects with the loins and groins of folks of many cultures and gets things MOVING.
After the release of the controversial (and spectacular) anti-Vietnam War single 'Hymn No 5' in 1966 (which featured another great dancer, 'Fishin' Pole' on the flip side), Hannibal spent a year in prison, which (fortunately) broke him of a nasty heroin addiction. His records in the early '70's (as King Hannibal) took on a funkier edge that showed a new found spirituality.
Thank you for the amazing music and for sharing your unique vision with the world, Mr Hannibal. You will be missed.
I don't know of any other records by Faye Crawford, or at least any under that name. A pity, as her voice is equally adept at a heartbreaking mid-tempo ballad ('What Have I Done Wrong'), or the uptempo flip side, 'So Many Lies'. Just listen to how her voice nearly gives out at the end of 'So Many Lies'; pure soul, baby. Considering the producer (Bert Keyes), it's safe to say that this is a New York City record. A drop-to-the-knees gorgeous record.
This is a lovely record out of Columbus, OH that definitely takes on characteristics of the Detroit sound, but is made unique by a joyful, very enthusiastic, and downright innocent group sound. Apparently this is the only record that the group released.
from 1968...
THE CHANDLERS - (NEVER BEFORE) YOUR LOVE KEEPS DRAWING ME CLOSER
Joe Bataan is one of the most influential musicians of the New York City scene that took elements of jazz, Latin, and soul music and created a whole new thing, initially centered around the Boogaloo dance craze that was all the rage in 1967.
Joe Bataan also has a way with deep soul ballads such as this; a lovely slow jam that's also found on his classic LP Saint Latin's Day Massacre.
Happy birthday to the AMAZING Barbara Lynn! She's a soul singing, guitar slinging, songwriting wonder, and she's still out there amazing audiences to this very day.
Anyone who has followed this blog knows that Ms. Lynn is a real hero of mine, and I have now featured nearly all of her 45's on this site. This particular record is incredibly scarce, and it took me a long time to finally find a copy. Barbara still plays this song in concert currently, and it's a number that was more famously cut by Lazy Lester back in 1958. Barbara lays out some red hot R&B on her recording, highlighted by a super soulful vocal.
