TONY OWENS - CONFESSIN' A FEELING

Releasing only a scant 12 singles in a 24 year period, this New Orleans singer made a far deeper mark on the city's soul scene than his small discography would otherwise indicate. Tony has been performing in NOLA clubs since the '60's, and after a hiatus he is back on stage (I saw him @ The Ponderosa Stomp a few years back, and he sounded fantastic).

This record did make the national r&b charts, but it also seems to be one of those records that regionally (NOLA and the south) did far better than the actual chart position. I featured Sly, Slick & Wicked's version of thios song here a few years back, and I have to say I love both version equally. Simply an incredible song!

from 1970...

ANN MASON - YOU CAN'T LOVE ME (IN THE MIDNIGHT HOUR)

Absolutely NOTHING is known about the "Ann Mason" heard on this record, and little is known about the backing group (Little Mac & The Boss Sounds, who are believed to be from North Carolina).

Whatever the story, I LOVE this side and Ann's answer to the wicked Pickett.

from 1965...

COLOSSEUM - THE KETTLE

This song doesn't have much going for it in the way of lyrics, but that's completely unimportant as this particular kettle contains the type of thick psychedelic stew that conjures up images of trippy light shows and wildly dancing girls in minis. JUST the kind of concoction that guarantees a spot of reverence on the daily 45.

Funnily enough, the Colosseum were known more as a jazz rock group; however, they seem to have unleashed their inner mod minds one last time for this record. I thank them for that.

from 1969...

THE OPALS - I'M SO AFRAID

The story of The Opals is a story that is practically made for this blog in that it incorporates so many of my favorite performers/ producers. The Opals, from East Chicago, IN (a grim steel mill town just outside Chicago) were discovered in 1962 by The Dells, at a performance in Gary, IN (near East Chicago). The Dells (possibly the finest male harmony group of all time) liked what they heard in these lovely ladies and allegedly worked with them as their pupils; shortly after the discovery they were singing backups on Betty Everett's "Shoop Shoop Song (It's In His Kiss)". They eventually made their way to being a sort of house girl group for Okeh Records, were they backed Otis Leavill and the mighty Major Lance on a number of records.

Producer Carl Davis felt the ladies were due to step out on their own, and cut a few sides which included this lovely Curtis Mayfield number which turned out to be their final release. Sadly, this was the last thing heard from these talented gals.

from 1965...

THELMA JONES - THE HOUSE THAT JACK BUILT

While Aretha's version of this song is, no doubt, incredible (practically everything Aretha cut during '67-'69 is pure MAGIC) this ORIGINAL version is white hot as well and if all were fair and just in the universe, would have been the hit. Perhaps it was just a tad too raw for the masses...

Southern by birth (North Carolina), Thelma relocated to New York c1967 and cut some incredible singles (including this one, as well as "Stronger" which is a past 45 of the day) that should have propelled her to stardom.

from 1968...

ROSE BATISTE - COME BACK IN A HURRY

While it doesn't scale to the heights of the untouchable (and previously posted) "Hit & Run/ I Miss My Baby" (and admittedly that record is in a very special class that few others enter), Rose's other very collectable single is still a fantastic listen. Sorry for the heavy surface noise on the intro, but I have waited too long to find a cleaner copy and I couldn't wait any longer to share this gem.

Practically any record pressed with Mike Terry's name on it is worth a listen. Mike left a BIG mark on the world playing baritone sax on major Motown hits; he left the label in 1965 and began working with the Golden World/ Revilot team(s) immediately afterwords, spreading his creative genius to songwriting and producing. Sadly, he was not part of the Funk Brothers reunion/ "Standing In The Shadows Of Motown" film project which would have brought this amazing music figure to light before his death in 2008.

As for Rose Batiste; she should have been a star; not only did she have an awe inspiring voice, but pictures show that she was gorgeous with a genuine, charismatic smile. Recent video performances show that she still has *it*. This was her final single.

from 1968...

RAY CHARLES - TELL ME HOW DO YOU FEEL?

This incredible b-side from the Genius was Ray's release just prior to the immortal "What'd I Say", and taking that track along with this one is almost like hearing the birth of the soul style. I know it would be be downright silly to try and pinpoint what the "first" soul record was, but between this track and the two parts of "What'd I Say" the mold was certainly cast and the blueprint drawn.

Written in collaboration with Percy Mayfield (one of the greatest, most underrated songwriters of all time), this track seems to be relatively forgotten by most. I'll admit, I didn't have it in my collection of 75+ Ray Charles 45's until I found this lovely French EP last summer.

While this track was relegated to a b-side, this track alone could show somebody who had never heard any of Ray's music (perhaps a visitor from another planet?) the immense genius of this artist; those vocals, that organ, the rhythm and those Raelettes; leaves me speechless.

from 1959...

JOHNNY TALBOT - WHATCHA WANNA DO

This hot shot record has quickly become one of my favorite bay area releases; Johnny Talbot (real name Tolbert) was born in Texas but moved to Oakland at a young age. He has had a long career and is known mostly for his blues/ funk sides (as well as being a staple of the local live scene). Here. on this early release, we find him churning out a fantastic uptempo r&b scorcher that starts in fifth gear and doesn't let up for two and a half minutes.

I am only guessing the year; if you know better, please contact me!

from c1965...

ANDY MACK - DO YOU WANTA GO b/w LATER THAN YOU THINK

Andy Mack was actually Andy Magruder, founding member of the 5 Blue Notes and part of a later lineup (late 50s) of The Spaniels. This was his only solo record, and he seems to have disappeared from the music business after its release.

Andy and the rest of the 5 Blue Notes left their home in Washington DC when they were still of high school age to try to snag a recording contract in Chicago (which they did, but by the time the record was released Andy had joined the Marines!) When Andy was discharged in 1958, he formed a new 5 Blue Notes, who lasted until 1959 (at which point Andy joined the Spaniels).

Andy left the Spaniels in 1963 and cut this record for Chess; apparently this record was cut in Washington DC (and not in Chicago, Chess' home base). Both sides are fantastic and show a strong Impressions influence, with some very unique and lovely vocals by Andy (and great backing from fellow Chess group the Carltons).

from 1964...

DO YOU WANTA GO

LATER THAN YOU THINK

THE DAYLIGHTERS - OH MOM (TEACH ME HOW TO UNCLE WILLIE)

I've been on a serious hard driving r&b kick lately, as evidenced by yesterday and today's posts.

This is one WILD record, from a group known more for smooth vocal harmonies. The Uncle Willie dance was a massive sensation in Chicago during '63-'64, and spawned many records related to the craze. Out of all of them that I've heard (I have a handful of them) this is by far my favorite and it's so much more EXTREME than the other Uncle Willie records! The Uncle Willie itself is a cool, simple step that involves shuffling the feet heel to toe; dancing the Uncle Willie to this song is sure to be a great way to lose weight and have fun in the process.

from 1964...

THE DAYLIGHTERS - OH MOM (TEACH ME HOW TO UNCLE WILLIE)

DOROTHY BERRY - YOU'RE DRIVING ME CRAZY

It doesn't matter by whom or when they were cut; I will add any record that sounds like this to my collection or want list without question!

Dorothy Berry was married to Richard Berry (writer of "Louie Louie" and "Have Love will Travel") and it is believed that she was the inspiration behind the "fine little girl, she waits for me" line in "Louie". Richard also sold off the rights to three songs (including "Louie") to raise $750 to marry Dorothy.

Dorothy went on to become one of Ray Charles' Raeletts for many years until she was tired of the road.

from 1962...