The Dapps at King Records

Music writer/historian, Randy McNutt, in King Records of Cincinnati, points out the irony of “How You Gonna Get Respect (When You Haven’t Cut Your Process Yet)” – a Hank Ballard single “obviously aimed at the R&B market” – being voiced by mostly white musicians:

[James] Brown discovered [The Dapps] in Cincinnati’s Inner Circle nightclub and used the band on his and other performers’ recordings.  At various times the band included guitarist Troy Seals, who became a major Nashville songwriter; Tim Hedding, organ; Eddie Setser, guitar; Tim Drummond, bass; Les Asch, saxophone, and [William] Beau Dollar [Bowman], drums.

McNutt also notes the band’s shared history with Jo Ann Campbell prior to the formation of The Dapps, in The Cincinnati Sound:

Petite vocalist Jo Ann Campbell made her mark as a 1950s recording artist who appeared on disc jockey Alan Freed’s live rock-and-roll shows.  She recorded an answer song called “I’m the Girl on Wolverton Mountain.”  By 1964, however, she had married Troy Seals, a Fairfield, Ohio, bass player [born in Bighill, KY] who had toured with Lonnie Mack and other Cincinnati acts.  Campbell and Seals moved to Cincinnati, formed their own white soul band called The Cincinnati Kids, and started performing at the Inner Circle near the University of Cincinnati.  The band was one of the hottest acts in town.  When Campbell became pregnant, she dropped out, and the band evolved into the Dapps.

Image courtesy of Dave Parkinson —
CLICK on image TO VIEW IN HIGH RESOLUTION

[L to R] Dave Parkinson; Eddie Setser; Jo Ann Campbell; Troy Seals;
Tina, the “designated” go-go dancer; Tim HedDing; Doug Huffman

.

Don TigerMartin, one of The Great Drummers of R&B, Funk & Soul and an early member of The J.B.’s, shared his memories of The Dapps in 1996 with drummer, educator and historian, Jim Payne:

Sometimes we come and watch the Dapps, an all-white band.  You remember the white guy who used to be like James [Brown] — Wayne Cochran?  Well, he used to come to town all the time and everybody would go and see him.  His band was real tough [Jaco Pastorius played bass for Cochran – Jim Payne notes].  Well, the Dapps had a better white band than him.  They were so cold they were ridiculous!  ‘Beau Dollar’ played drums and sang lead, and they had another drummer named Ron Grayson, who was bad.  Ron could play right-handed or left-handed.  Tim Drummond, the bass player, was also in the Dapps.

Prior to becoming The Dapps, the group had already released two 45s under the name, Beau Dollar and the Coins.  The band’s second single features a classic arrangement of “Soul Serenade” that is, in fact, a track produced by Lonnie Mack for Fraternity Records, with Chuck Sullivan on lead guitar, Wayne Bullock on Hammond B-3, and Bill Jones on bass   According to Stuart Colman‘s liner notes from the Ace UK anthology, Lonnie Mack — From Nashville to Memphis:

“Sax supremo King Curtis could hardly have imagined the kind of track record that his immortal ‘Soul Serenade’ would one day generate.  Not long after its public debut, this mellifluous instrumental became part of the Lonnie Mack repertoire where it sat alongside such well-loved favourites as Don and Juan’s ‘What’s Your Name‘ and Bobby Parker’s ‘Watch Your Step‘.  The personnel of Lonnie’s road band at this point included guitarists Troy Seals and Eddie Setser, who’d previously worked together backing Johnny Tillotson and Tommy Roe, along with a remarkably solid drummer named Bill Hargis ‘Beau’ Bowman Jnr.  However, with a line-up that was in a constant state of flux the trio departed for pastures new, leaving the Lonnie Mack legend to take a significant turn during 1965 towards a musical enterprise known as Soul Incorporated.”

As Randy McNutt recalls in a piece from 2011 entitled “Who Knows Beau Dollar:

“Beau was the really funky one.  I remember hearing Beau Dollar and the Coins at a forgotten club in Middletown, about twelve miles north of Hamilton [Beau’s hometown].  Back then he had curly brown hair–sort of a white man’s afro–and sang some terrific blue-eyed soul.  He came up with his name as a play on Bo for Bowman; he paired it with dollar because of the natural connection:  a beau dollar, an old Southern term for silver dollar.  By the mid-1960s, Beau Dollar and the Coins had become one of the area’s more popular white soul bands, with a devoted following that enjoyed dancing.  Beau sometimes wore a fancy vest befitting his name–a beau, or a dandy. He seemed poised for the local radio charts

In those days, you could find white soul bands, many of them with good horn sections, in clubs throughout southwest Ohio–places called the Half-Way Inn (halfway between Hamilton and Middletown [and owned by the parents of guitarist, Sonny Moorman]), the Tiki Club in Hamilton County, and the Hawaiian Gardens in Cincinnati.”

Brian Powers‘ first-rate interview [42-minute mark] with saxophonist Dave Parkinson  (of Canton, Illinois) for Cincinnati’s WVXU answers so many questions about how Beau Dollar and The Dapps first converged:

“We were a popular band in the Cincinnati area called The Cincinnati Kids, and we were the house band at The Inner Circle, which is now Bogart’s.

INNER CIRCLE — ORIGINALLY 1890 VAUDEVILLE THEATER
[IMAGE COURTESY OF FORT THOMAS MATTERS]

“Troy Seals and Jo Ann Campell headed up the band, and I played saxophone, and Les Asch was the other saxophone player, and Eddie Setser — we called him “Fat Eddie” — was the guitarist.  Tim Heding [sometimes spelled with one D] played keyboards, and Tim Drummond played bass with us for a time, although Troy Seals doubled on bass and sang a good amount of that time.  We had Ronnie Grayson play drums with us, and we had two or three different drummers.  Doug Huffman, who lives in Indianapolis now, played drums with us when I first joined the band.  I don’t recall any other drummers.  A good friend of ours was Beau Dollar, but Beau was more of an entity to himself, and he never actually played with the band.  He didn’t necessarily record with us at King that I remember, but I know he did some recording with James [Brown].  Beau was a big part of the music scene around the Cincinnati area.  He was a really good funky drummer and a great singer.

“I think James just started coming around The Inner Circle.  Of course, that was a big thrill for all of us, and he started to sit in occasionally with the band.  That was about the time “Cold Sweat” and “There Was a Time” — it was about that era, ’67-’68, I guess — and James became interested in the group.  That was a kind of delicate time racially, and I think James thought it might behoove him to become involved with white groups similar to ours.  We did a lot of soul and we did pop covers, too, but the rhythm and blues and soul was pretty much our forte.

[On how The Cincinnati Kids became The Dapps] “That would have been after we became disassociated with Troy and Jo Ann, and actually, James tagged the name The Believers on us, that was our first name with James.  We eventually turned into The Dapps.”

For this same 2018 WVXU broadcast, Brian Powers also interviewed Eddie Setser,  who wryly remarked, “It was hard to believe we got $45 for, like, a three-hour session.”  Setser informed Powers that their first studio collaboration, “I Can’t Stand Myself (When You Touch Me),” was originally inspired by a riff from a jazz artist, possibly Kenny Burrell, but altered substantially enough by James Brown as to be unrecognizable. When asked to describe James Brown’s creative process, Setser told Powers:

“When he starts doing things, these arrangements are put together, he always does the drums first, then the bass.  He gets the groove going, then he’ll do the guitars and then, you know, the horns will do their thing. The keyboard works in there somewhere.  You get the groove going and you just keep playing it, you know what I’m sayin’?

One local music venue where the group enjoyed playing, located in the basement of Cincinnati’s Hotel Metropole, was called The Trip when The Dapps played there, says Setser, who added that later it became a club – Tommy Helms’ Dugout – named for the Reds’ second baseman (and later one of the first area discos, with “girls in cages” and all the frippery).

In this hotel’s basement once dwelled a club called The Trip

Zero to 180 spoke with both Les Asch and Dave Parkinson in May/June/July of 2020.  During our first phone conversation,  Dave Parkinson expressed his own confusion over the irony that “The Dapps” ended up being known as James Brown’s white backing band when, in fact, the original concept was to have a show band that featured black members of JB’s renowned live orchestra.

Parkinson auditioned for the group in late 1965 (possibly early 1966) at the Holly Oak in Indianapolis — a storied venue that once hosted Fats Domino, Little Richard, Wayne Cochran, Wayne Newton, Kenny Rogers, and Dolly Parton, according to the fine folks at East Side Tire & Wheel.

This building – confirms East Side Tire & Wheel – was once the Holly Oak

Thanks to RoadArch.com companion for the helpful tip!

At the time of Parkinson’s audition, the group was named for its two lead artists, Jo Ann Campbell and Troy Seals who – as “Jo Ann and Troy” – recorded a pair of singles for Atlantic in 1964-65.  With regard to the band’s membership at the time of his audition, Parkinson, who played tenor sax and “a little alto,” recalls Seals and Roger Troy  sharing bass duties, with Eddie Setser on guitar, Tim Hedding on keyboards, and Doug Huffman on drums.

Soon after the audition, the group played a 10-week engagement at The Beachcomber in Seaside Heights, New Jersey “having more fun than anyone has a right,” according to Parkinson, who indicated that Ronnie Grayson also went along for the ride.

The Beachcomber — saved by sprinklers in massive 2013 boardwalk blaze

The band subsequently anchored itself in the Cincinnati area, playing the three big music clubs at the time:  The Inner Circle, Guys and Dolls, and The Roundup Club, the latter two venues located in nearby Northern Kentucky.  Les Asch joined the band during this period and recalled that the group — billed as Troy Seals and the Cincinnati Kids — had a regular Wednesday-through-Sunday engagement at The Inner Circle, with Jo Ann Campbell joining the group on Saturday and Sunday nights.

Guys and Dolls (formerly Grayson’s Inn) + Erlanger’s Roundup Club

Asch remembers Troy Seals bringing in another drummer, Tommy Matthews, when Ronnie Grayson (who would later play on Delaney Bramlett’s 1972 debut album with Tim Hedding) was recovering from injuries sustained in an auto accident.  During this recovery period, Seals would insist that Grayson remain a contributing band member.  Grayson, it turns out, had some trumpet experience, and thus was recruited for the horn section, where he played under the stage name, Ronnie Geisman.

After Grayson had healed, Tommy Matthews was then let go by Seals, prompting some of the band members — Eddie Setser, Tim Hedding, Les Asch and Dave Parkinson — to defect from the group temporarily to link up with Lonnie Mack, who was present at the Inner Circle when Matthews got his pink slip, according to Asch.

The Cincinnati Kids, with Lonnie Mack now at the helm (and Eddie Setser on bass), continued at the Inner Circle for another five to six weeks, says Asch, before Mack informed the group of an engagement in Florida at a place called Johnny’s Hideaway.  The gig proved a bust after only a couple weeks, however, when a liquor violation shut the club down.  Tim Hedding, fortunately, would field a phone call from Troy Seals, who informed the musicians of a work opportunity at a Hamilton, Ohio music venue named The Halfway House.  After locating a U-Haul trailer for Les Asch’s 1966 Plymouth Fury, the group then reformed in Cincinnati.

Tim Drummond (of Canton, Illinois) – Dave Parkinson’s original connection to the band – had almost certainly joined by this point.  According to Parkinson, “Tim joined us for a few months prior to when he left to go with the James Brown band” — sometime in 1967, by his estimation.  James Brown’s guest appearances with the band at The Inner Circle led to invitations to record at King Studios for other artists produced by Brown, such as Bobby Byrd, Marva Whitney, and James Crawford.

The Dapps backing James Brown @ The Trip
[L to R] Les Asch, Dave Parkinson; Panny; James Brown; Eddie Setser

Dave Thompson – in his Funk listening companion – states in the entry for “Beau Dollar & The Dapps” that James Brown “took the group into the studio that same year [1965] to cut the two-part ‘It’s a Gas‘ single, intended for release on King under the name the James Brown Dancers.”  However, “Brown’s then ongoing dispute with the label saw the single go unissued, but Brown kept tabs on the Dapps.”  By the way, you can now hear both sides of this unreleased 45 (originally slotted for February 1967), though the odd thing is, when you scrutinize Alan Leeds‘ musician credits for “It’s a Gas” on James Brown: The Singles, Volume 4 (1966-1967), none of the players are from The Dapps.

Q:  When do Troy Seals and the Cincinnati Kids (i.e., The Dapps) make their first appearance in Ruppli’s King Records sessionography?

A:  The session for James Brown’s “Why Did You Take Your Love Away From Me,” the lone track recorded at Cincinnati’s King Studios on April 27, 1967:

Special Note:  Les Asch (who plays baritone, tenor and/or alto saxophone) and Dave Parkinson (who plays primarily tenor) both agree that some of the horn credits below might have been unwittingly switched in the Ruppli session notes – a red asterisk (*), therefore, is used to indicate such instances.

> AUDIO LINK for “Why Did You Take Your Love Away
by James Brown [with The Dapps]

Written by James Brown & Bud Hobgood

ACCORDING TO RUPPLI’S SESSION NOTES —

James Brown:  Vocals
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Troy Seals:  Guitar
Eddie Setser:  Guitar
Tim Hedding:  Piano
David Parkinson:  Tenor & Baritone Sax*
Les Asch:  Tenor Sax*
Ronnie Geisman:  Trumpet

“Why Did You Take Your Love Away” would end up on 1968’s, I Can’t Stand Myself When You Touch Me album, whose rear cover reveals Brown’s endorsement deal with the Vox musical instrument company (whose guitars Eddie Setser did not enjoy as much as his Fender Telecaster and Gibson ES-335).

Rear cover — I Can’t Stand Myself When You Touch Me

 

These twelve tracks were sold in Europe under a different title, This Is James Brown, (albeit with “Fat Eddie” as the final track rather than “Funky Soul #1), while in France and Israel, this same set was issued as Mr. Soul. (and in Argentina as El Rey Del Soul – “The King of Soul”).

US album cover       vs.        UK album cover

Germany — 1968                                       France — 1968

The Dapps returned to King Studios on August 8, 1967 to serve as Bobby Byrd‘s  backing band on “Funky Soul #1,” a song that calls out praises to key musical destinations — NYC, DC, Atlanta, Chicago, Los Angeles, The Bay Area, Philadelphia, New Orleans, and Detroit:

> AUDIO LINK for “Funky Soul #1 (Pts. 1 & 2)” by Bobby Byrd

Written by James Brown, Bud Hobgood & James Crawford

ACCORDING TO RUPPLI’S SESSION NOTES —

Bobby Byrd:  Vocals
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Troy Seals:  Guitar
Eddie Setser:  Guitar
Tim Hedding:  Keyboard
David Parkinson:  Saxes*
Les Asch:  Tenor Sax*
Ronnie Geisman:  Trumpet

US 45 — 1968                                      Iran EP (c. 1968)

Ruppli’s session notes (below) indicate that this King master recording [K12439 “Funky Soul (Vol. 1)” = red star] was used as the backing track for James Brown‘s own recording of “Funky Soul #1” onto which Brown overdubbed organ at a King recording session [marked with a red circle] that took place exactly two weeks later on August 22, 1967.  Billboard‘s September 23, 1967 edition predicted Bobby Byrd’s version would “reach the R&B singles chart,” while the November 25, 1967 edition predicted Brown’s organ version would “reach the Hot 100 chart.”

Red star = “Funky Soul #1” master recording

This organ instrumental serves, fittingly, as the final track on 1968 LP I Can’t Stand When You Touch Me, as well as the B-side for “The Soul of JB” — although note that the 45 label credits “James Brown and the Famous Flames.”

Also notice in the King session notes posted above that James Crawford, one of the song’s authors, recorded “I’ll Work It Out” at King Studios on August 8, 1967 — the same date as the Bobby Byrd “Funky Soul #1 session — with “possibly same [personnel] as on K12439” [green circle].   Seems pretty reasonable to assume that The Dapps backed both vocalists that night.

> AUDIO LINK for “I’ll Work It Out
James Crawford backed by The Dapps?

Written by James Brown, Bud Hobgood & James Crawford

Billboard predicted in its October 23, 1967 issue that “I’ll Work It Out” would “reach the R&B Singles chart.”  Cash Box‘s review in their November 4, 1967 edition:  “James Crawford could grab a nice piece of airplay with this feelingful, slow-paced, James Brown-produced moaner.  Give it a spin.  Flip: ‘Fat Eddie‘”  Record World gave it a “four-star single” with this review in the November 11, 1967 issue:  “Nitty gritty wild one here [‘Fat Eddie’].  James sings the slow ballad with all the soul he can muster [I’ll Work It Out].”

US — 1967                                    France — 1968

Marva Whitney would also have a go at “I’ll Work It Out” which found release in 1968 as a King 45 — is it possible that The Dapps provided musical backing on this recording?

> AUDIO LINK for “I’ll Work It Out” by Marva Whitney

The Dapps backed James Brown on the next (undated) session listed in Ruppli’s notes (wrongly attributed to “prob. band without James Brown“) that yielded “The Soul of J.B.” plus one ‘unknown title’ left in the can.

> AUDIO LINK for “The Soul of J.B.
by James Brown [with The Dapps]

Written by James Brown, Bud Hobgood & Gladys Knochelman

According to Discogs

James Brown:  Organist, Arranger & Producer
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Troy Seals:  Guitar
Eddie Setser:  Guitar
Tim Hedding:  Piano
AlfredPee WeeEllis:  Alto Sax
Les Asch:  Tenor Sax*
David Parkinson:  Baritone Sax*
Ron Geisman:  Trumpet

US — Nov. 1967

James Brown – The Singles, Volume 5 (1967-1969) affirms that the same Dapps lineup above were the musical unit that laid down the sounds for “Just Plain Funk,” recorded August 30, 1967 and used as the B-side for “I Guess I’ll Have to Cry, Cry, Cry” — a single that saw release in both Rhodesia [now Zimbabwe] and South Africa.

> AUDIO LINK for “Just Plain Funk
by James Brown [with The Dapps]

Written by James Brown, Bud Hobgood & Troy Seals

aCCORDING TO Discogs

Bobby Byrd [?]:  Organ
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Troy Seals:  Guitar
Eddie Setser:  Guitar
Tim Hedding:  Piano
AlfredPee WeeEllis:  Alto Sax
Les Asch:  Tenor Sax*
David Parkinson:  Baritone Sax*
Ron Geisman:  Trumpet

Italy — 1968                                             South Africa — 1968

One week after the “Just Plain Funk” session, Hank Ballard laid down a pair of tracks with unnamed musicians at the King Studios on September 7-8, 1967 that would be released as a King 45 — “Which Way Should I Turn” b/w “Funky Soul Train.”  Given that the A-side was written by James Brown, Bud Hobgood, Beau Dollar & Troy Seals, could it be possible that The Dapps backed Hank Ballard on these two tracks?

You might think that The Dapps served as the backing band on the James Crawford recording session at King Studios on September 14, 1967 that produced a song entitled “Fat Eddie” — undoubtedly named for guitarist “Fat” Eddie Setser.  However, you would be mistaken.

Ruppli’s session notes say that The Brownettes recorded a pair of songs on October 17, 1967 at King Studios — and nothing more.  Thanks to Nothing But Funk Volume 3, however, we can rejoice in knowing the names of both the singers and players of instruments (as noted below):

> AUDIO LINK for “Never Find a Love Like Mine” by The Brownettes

> AUDIO LINK for “Baby Don’t You Know” by The Brownettes

Both sides written by James Brown, Bud Hobgood & Troy Seals

ACCORDING TO Discogs

Grace Ruffin, Martha Harvin & Sandra Bears:  Vocals
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Troy Seals:  Guitar
Eddie Setser:  Guitar
Tim Hedding:  Organ
David Parkinson:  Baritone Sax*
Les Asch:  Tenor Sax*
Ronnie Geisman:  Trumpet

Is it a coincidence that the vinyl seller who has received the highest bid yet on Ebay ($82) for the Brownettes King 45 is also the one who added “Dapps” to the title of the auction?  Interesting to note that the 45 seller is from Japan.

Ruppli’s session notes state that Vicki Anderson recorded two songs at King Studios on October 23, 1967 with unnamed musical support.  1998’s double-disc celebration, James Brown’s Original Funky Divas, fortunately, named names, so we now know that The Dapps were Anderson’s backing band on these two tracks (as detailed below).  The A-side, interestingly, had already been recorded six days prior by The Brownettes, while the Lowman Pauling-penned B-side was originally recorded by The5Royales:

> AUDIO LINK for “Baby Don’t You Know
by Vicki Anderson [with The Dapps]

> AUDIO LINK for “The Feeling Is Real
by Vicki Anderson [with The Dapps]

ACCORDING TO Discogs

Vicki Anderson:  Vocals
William ‘Beau DollarBowman:  Drums
Tim Drummond:  Bass
Eddie Setser:  Guitar
Troy Seals:  Guitar
Tim Hedding:  Organ
David Parkinson:  Saxophone
Les Asch:  Saxophone

One week later on October 30, 1967, a lean contingent of The Dapps returned to King Studios to back James Brown on “I Can’t Stand Myself (When You Touch Me)”:

> AUDIO LINK for “I Can’t Stand Myself (When You Touch Me) Pts. 1 & 2
by James Brown and the Famous Flames

Written by James Brown

ACCORDING TO RUPPLI’S SESSION NOTES —

James Brown:  Vocals
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Organ

Spain — Feb. 1968

Dave Parkinson points out that Tim Drummond enjoys the distinction of being the one band member called out by name (at the 2:50 mark) on this recording.

Troy Seals and the horn section then joined Brown on “Baby Baby Baby Baby,” recorded at that same session and included on 1968’s I Can’t Stand Myself LP:

> AUDIO LINK for “Baby Baby Baby Baby
by James Brown and the Famous Flames

Written by James Brown, Bud Hobgood & James Crawford

ACCORDING TO RUPPLI’S SESSION NOTES —

James Brown:  Vocals
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Organ
Les Asch:  Tenor Sax*
David Parkinson:  Baritone Sax*
Ronnie Geisman:  Trumpet

By year’s end, The Dapps would finally get a recording session under their own name at King Studios on December 12, 1967.  But wait a minute, it’s not what you think — “The Dapps Featuring Alfred Ellis,” in this case, means Clyde Stubblefield (drums), Bernard Odum (bass), Jimmy Nolen & Alfonzo Kellum (guitars), Alfred ‘Pee Wee’ Ellis (tenor sax & arranger), and Maceo Parker (tenor sax), according to Alan Leeds’ liner notes for James Brown – The Singles Vol. 5 (1967-1969).  These musicians recorded two instrumental tracks at that session, “Bringing Up the Guitar” and “Gittin’ a Little Hipper.”

The Dapps first 7-inch release

A-Side by James Brown
B-Side by James Brown and Bud Hobgood

Cash Box‘s review from their February 3, 1968 issue:

Dapps (King 6147)

“Bringing Up the Guitar” (3:00)
[Dynatone, BMI-Brown] James Brown
penned instrumental that carries a zest
which could score with r&b audiences.
Very fine staccato track with plenty of
dance appeal.  Flip: “Gittin’ A Little Hipper”
(2:59) [Golo, BMI-Brown, Hobgood]

March 5, 1968 was an especially productive day at King Studios, according to Ruppli:

THE DAPPS:
Incl. Alfred Ellis                                               Cincinnati, March 5, 1968

K12588   The Rabbit Got the Gun                   King 6169
K12589   I’ll Give You Odds                             unissued

VICKI ANDERSON:
Vicki Anderson (vo) with prob. same band      Same date

K12590   I’ll Work It Out                                   King 6221, 6251; Brownstone 4204

BOBBY BYRD:
Bobby Byrd (vo) with prob. same band            Same date

K12591   My Concerto                                      King 6165, LP1118

JAMES BROWN:
James Brown (vo, org) Bobby Byrd or Timothy Hedding (p) Eddie Setser (g) Tim Drummond (el b) William Bowman (dm).          Cincinnati, March 5, 1968

K12592   Shhhhhhhh (For a Little While)          King 6164, LP1031
K12593   Here I Go                                                          —            —

James Brown (vo, p) Eddie Setser (g) Tim Drummond (el b) William Bowman (dm).  Same date.

K12594   Maybe I’ll Understand (pt. 1)              King LP1031, LP1047
K12595   Maybe I’ll Understand (pt. 2)                        —               —

Notice the musician credits listed for “Shhhhhhhh (For a Little While)” and “Here I Go” (released as a King 45 that “bubbled under” the Hot 100, you might recollect) — both songs also included on 1968 LP I Got the Feelin’:

> AUDIO LINK for “Shhhhhhhh (For a Little While)
by James Brown and the Famous Flames

Written by James Brown and Bud Hobgood

According to Discogs

James Brown:  Organ
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Piano

Brazil — 1968

But then check out the musician credits for “Here I Go” as supplied by Alan Leeds in James Brown – The Singles Vol. 5 (1967-1969), and notice the inclusion of two horn players:

> AUDIO LINK for “Here I Go
by James Brown and the Famous Flames

Written by James Brown, Bud Hobgood & Ron Lenhoff

According to Discogs

WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Piano
Les Asch:  Tenor Sax
Ronnie Geisman:  Trumpet

Ruppli’s session notes above indicate that three members of The Dapps backed James Brown on “Maybe I’ll Understand (Pts. 1 & 2)” at this same March 5, 1968 session:

> AUDIO LINK for “Maybe I’ll Understand
by James Brown

Written by James Brown and Bud Hobgood

According to Ruppli’s session notes —

James Brown:  Vocals
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Eddie Setser:  Guitar
[Tim Hedding:  Piano]*

These Discogs credits* credit Tim Hedding for piano on “Maybe I’ll Understand” (though not on Ruppli’s notes above).

But take one last critical look at the Ruppli session notes for March 5, 1968 and notice that the Bobby Byrd track (“My Concerto”), as well as the Vicki Anderson recording (“I’ll Work It Out”) both indicate “with probably same band” as the one listed at the very beginning of the list — The Dappswithout actually naming any of the musicians who played on “Rabbit Got the Gun” and “I’ll Give You Odds,” vexingly enough, other than Alfred Ellis.

> AUDIO LINK for “My Concerto
by Bobby Byrd [with The Dapps]

Written by James Brown, Fred Wesley & Bobby Byrd

> AUDIO LINK for “I’ll Work It Out
by Vicki Anderson [with The Dapps]

Written by James Brown, Bud Hobgood & James Crawford

> AUDIO LINK for “Rabbit Got the Gun
by The Dapps Featuring Alfred Ellis

Written by James Brown, Bud Hobgood & Reggie Lavong

The Dapps second 45

“There Was a Time” — you might recall — came close to cracking Billboard‘s Hot 100.  Cash Box‘s review in their June 15, 1968 edition [musician credits further down]:

“James Brown produced this has-to-be-heard instrumental reworking of his while back hit.  Albert [sic] Ellis’ hard driving sax stirs this side to a frenzy sure to make it a disko favorite.  Should produce good sales.  Flip: ‘The Rabbit Got The Gun‘.”

As was also recently noted, future Neil Young and Bob Dylan bassist, Tim Drummond, played the famous funk lines on  “Licking Stick Licking Stick” — one of five James Brown sides recorded at Cincinnati’s King Studios on April 16, 1968, along with two others by different vocalists:

Ruppli’s King session notes [pg. 397]

K12597  Licking Stick, Licking Stick (Pt. 1)
K12598  Little Fellow [instrumental]
K12599  Go On Now [instrumental]
K12600  Fat Soul [instrumental]
K12601  Licking Stick, Licking Stick (Pt. 2) = James Brown [April 16, 1968]

K12602  You’re Still Out of Sight [unissued] = Bobby Byrd [April 16, 1968?]
K12603/123604  no information (rejected titles)
K12605  You’re Still Out of Sight = Leon Austin “with probably same band”  [April 16, 1968]

James Brown:  Vocals
Bobby Byrd:  Vocals & Organ
John Sparks:  Drums
Tim Drummond:  Bass
Jimmy Nolen:  Guitar
Maceo Parker:  Tenor Sax
Alfred Ellis:  Alto Sax
St. Clair Pinckney:  Baritone Sax

April 29, 1968 also ended up being a particularly productive day of recording at King Studios, as indicated by Ruppli‘s session notes:

THE BELIEVERS:
(actually The Dapps)

K12606    I’ll Be Sweeter Tomorrow
.               (Than I Was Yesterday)                              King 6201
K 12607   A Woman, A Lover, A Friend                             —

MARVA WHITNEY:
Marva Whitney (vo) with prob. James Brown band   Cincinnati, April 29, 1968

K12608   Things Got to Get Better                             King 6168

JAMES BROWN:
Prob. same band                                                        Same date

K12609   Soul With Different Notes                            King LP1034

THE DAPPS:
Incl. Alfred Ellis                                                            Same date

K12610   In the Middle                                                 King 6205
K12611   There Was a Time  (instr.)                             King 6169

I’ll Be Sweeter Tomorrow (Than I Was Yesterday)” b/w “A Woman, A Lover, A Friend” is the third King 45 to be credited to “The Dapps” — Ruppli’s notes above from an undated session do not name any musicians, however.  Guesses anyone?

A-Side by Stanley Poindexter, Jackie Members & Robert Poindexter
B-Side by Sidney Wyche

Tim Drummond is the sole Dapps member to perform on Marva Whitney’s “Things Got to Get Better,” in addition to funk instrumental, “In the Middle” and a horn-heavy take on “There Was a Time.”  :

Clyde Stubblefield:  Drums
Tim Drummond:  Bass
Jimmy Nolen:  Guitar
Alfonzo Kellum:  Guitar
James Brown:  Piano
AlfredPee WeeEllis:  Tenor Sax
St. Clair Pinckney:  Baritone Sax
Waymon Reed:  Trumpet
Fred Wesley:  Trombone
Levi Rasbury:  Valve Trombone

Ruppli’s session notes above say that the musicians used for Marva Whitney’s “Things Got to Get Better” is “probably the same band” who backed James Brown on “Soul With Different Notes” — used as the eight-minute opening track for 1968’s James Brown Plays Nothing But Soul.  Zero to 180 just noticed that the B-side “What Kind of Man” (co-written by Troy Seals) is not listed in the Ruppli sessionography, though the presumption is that its recording took place at the same April 29, 1968 session.

Worthy of mention:  Two of The Dapps — Les Asch & Dave Parkinson — participated in a June 27, 1968 New York City recording session that produced six songs that were included on Thinking About Little Willie John And a Few Nice Things, plus one that ended up (“Let Them Talk”) on Say It Loud I’m Black And I’m Proud [click on song titles below for streaming audio].

ACCORDING TO RUPPLI’S SESSION NOTES —

James Brown:  Vocals
Bernard Purdie:  Drums
Al Lucas:  Bass
Wallace Richardson:  Guitar
AlfredPee WeeEllis:  Organ & Piano
Les Asch:  Tenor Sax*
David Parkinson:  Baritone Sax*
John Grimes:  Trumpet
Waymon Reed:  Trumpet
Sammy Lowe:  Music Director

» “A Cottage for Sale” «
» “Suffering With the Blues” «
» “Home at Last” «
» “Talk to Me, Talk to Me” «
» “Heartbreak (It’s Hurtin’ Me)” «
» “Bill Bailey” «
» “Let Them Talk” «

Back in Cincinnati at King Studios the following night, June 28, 1968, Hank Ballard laid down two songs that were released as a King 45.  Ruppli’s session notes do not list any musicians, but thanks to Nothing But Funk Volume 4, we now know who provided musical support on “I’m Back to Stay” — a track you won’t find on Ballard’s 1968 album, You Can’t Keep a Good Man Down:

> AUDIO LINK for “I’m Back To Stay
by Hank Ballard [with The Dapps]

Written by James Brown, Hank Ballard, Reggie Lavong & Lucky Cordell

According to Discogs

Hank Ballard:  Vocals
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Organ
Pee Wee Ellis:  Alto Saxophone

Likewise, thanks to Nothing But Funk Volume 2, we can see who’s behind the big horn sound on the flip side, “Come on Wit’ It” — although, I am a bit surprised to see such a vastly different lineup, with only one member of The Dapps overlapping between the two bands recorded the same night at King Studios:

> AUDIO LINK for “Come On Wit’ It
by Hank Ballard

Written by James Brown, Hank Ballard & Bud Hobgood

According to Discogs

Hank Ballard:  Vocals
Clyde Stubblefield:  Drums
Tim Drummond:  Bass
Alphonso Kellum:  Guitar
Jimmy Nolen:  Guitar
James Brown:  Piano
Maceo Parker:  Tenor Sax
St. Clair Pinckney:  Baritone Sax
Waymon Reed:  Trombone
Fred Wesley:  Trombone
Levi Rasbury:  Valve Trombone

“Come on Wit’ It” was predicted by Billboard “to reach the R&B Singles chart” in their July 20, 1968 editionCash Box‘s singles review from their July 27, 1968 edition:  “Hank Ballard, absent from the hit scene for quite some time, makes his comeback bid with this pulsating, highly danceable outing which is vaguely autobiographical.  Good juke box & disko item.  Flip: ‘Come On Wit’ It’.”

Sometime in July of 1968 (best guess), The Dapps recorded two songs (likely at King Studios) that remain unissued, according to Ruppli’s session notes — “Who Knows” and “I Can’t Stand Myself.”

On September 6, 1968, James Brown recorded an organ instrumental with The Dapps at King Studios entitled “Shades of Brown” (a.k.a., “A Note or Two”):

> AUDIO LINK for “Shades of Brown
by James Brown [with The Dapps]

Written by James Brown

According to Discogs

James Brown:  Organ
WilliamBeau DollarBowman:  Drums
[unknown]:  Bass
Eddie Setser:  Guitar
AlfredPee WeeEllis:  Tenor Sax
Les Asch:  Tenor Sax*
David Parkinson:  Baritone Sax*

B-side in Japan (left) and Germany (right)

On September 11, 1968, according to Ruppli, Hank Ballard was joined by The Dapps at King Studios to record two songs that got released as a King 45 plus an early attempt at “Thrill on the Hill” (that remains unissued) — thanks to Nothing But Funk Volume 4 for providing musician credits:

> AUDIO LINK for “How You Gonna Get Respect (When You Haven’t Cut Your Process Yet)”
by Hank Ballard Along With “The Dapps”

Written by James Brown, Hank Ballard & Bud Hobgood

According to Discogs

Hank Ballard:  Vocals
John ‘JaboStarks:  Drums
WilliamBeau DollarBowman:  Drums
Charles Summers:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Organ
David Parkinson:  Saxophone
Les Asch:  Saxophone
Ken Tibbetts:  Trumpet
Ron Geisman:  Trumpet

“How You Gonna Get Respect” peaked at #15 on Billboard‘s R&B Singles chart on December 14, 1968.

> AUDIO LINK for “Teardrops on Your Letter
by Hank Ballard Along With “The Dapps”

Written by Henry Glover

Same Hank Ballard recording session = Per Discogs

Hank Ballard:  Vocals
John ‘JaboStarks:  Drums
WilliamBeau DollarBowman:  Drums
Charles Summers:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Organ
David Parkinson:  Saxophone
Les Asch:  Saxophone
Ken Tibbetts:  Trumpet
Ron Geisman:  Trumpet

1968 single — France

Inferring from Ruppli’s session notes, October 1968 is approximately when The Dapps (thanks to these musician credits supplied by Alan Leeds) backed James Brown on three recordings for the Thinking About Little Willie John LP — “I’ll Lose My Mind” plus “What Kind of Man” (co-written by Eddie Setser and Troy Seals) and “You Gave My Heart a Song to Sing.”

> AUDIO LINK for “I’ll Lose My Mind
by [The Dapps Along With Bobby Byrd]

Written by James Brown, Bobby Byrd & Bud Hobgood

WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Troy Seals:  Guitar
Eddie Setser:  Guitar
Bobby Byrd:  Organ
Tim Hedding:  Piano
AlfredPee WeeEllis:  Alto Sax
Les Asch:  Tenor Sax*
David Parkinson:  Baritone Sax*
Ron Geisman:  Trumpet

> AUDIO LINK for “What Kind of Man
by [The Dapps Along With Bobby Byrd]

Written by James Brown, Bud Hobgood, Eddie Setser & Troy Seals

WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Troy Seals:  Guitar
Eddie Setser:  Guitar
Bobby Byrd:  Organ
Tim Hedding:  Piano
AlfredPee WeeEllis:  Alto Sax
Les Asch:  Tenor Sax*
David Parkinson:  Baritone Sax*
Ron Geisman:  Trumpet

> AUDIO LINK for “You Gave My Heart A Song To Sing
by [The Dapps Along With Bobby Byrd]

Written by James Brown, Bobby Byrd & Bud Hobgood

WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Troy Seals:  Guitar
Eddie Setser:  Guitar
Bobby Byrd:  Organ
Tim Hedding:  Piano
AlfredPee WeeEllis:  Alto Sax
Les Asch:  Tenor Sax*
David Parkinson:  Baritone Sax*
Ron Geisman:  Trumpet

The Dapps returned to King Studios on October 23, 1968 to back The Soul Believers on a pair of tracks that comprised a King 45 — “I’m With You” and “I Don’t Want Nobody’s Troubles”:

> AUDIO LINK for “I Don’t Want Nobody’s Troubles
by The Soul Believers With The Dapps

Written by Orlonzo Bennett

According to Discogs

The Soul Believers: Vocals
WilliamBeau DollarBowman:  Drums
Tim Drummond:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Organ
David Parkinson:  Saxophone
Les Asch:  Saxophone
Ken Tibbetts:  Trumpet

Expect to shell out three figures for a vintage copy of this 45 (someone just recently forked over $540).

B-side written by Lowman Pauling — one of ‘5’ Royales’ final King A-sides

Ruppli’s notes indicate that The Dapps recorded a version of “White Christmas” (presumably at King Studios) c. mid-November 1968 that remains ‘unissued.’

Les Asch and Dave Parkinson both recall The Dapps supporting James Brown at Madison Square Garden, a concert we know to have taken place November 22, 1968, thanks to Asch’s mother, who purchased this program on the night of the performance:

Image courtesy of Les Asch —
CLICK on image TO VIEW IN HIGH RESOLUTION

Menu for May 8, 1968 White House State Dinner attended by James Brown
(included in Madison Square Garden concert program)


[Thank you, Maralah Rose-Asch]

.

James Brown Scores Knockout With Soul Music at the Garden” was the title of Robert Shelton’s review in the November 23, 1968 edition of the New York Times.  Dave Parkinson remembers Count Basie and Slappy White (et al.) being on the bill that night.

It was during this same New York City visit that Hank Ballard & the Dapps appeared on the November 27, 1968 episode of The Merv Griffin Show, along with James Brown  (plus Lily Tomlin early in her career).

The Dapps on The Merv Griffin Show [clockwise from rear]:

Ken Tibbetts (valve trombone); [unnamed] “English” trumpeter; Bob Thorn (trumpet)
Jerry Love (drums); Eddie Setser (guitar); Les Asch (tenor sax)
Dave Parkinson (tenor sax); Howie McGurty (baritone sax)

This image has an empty alt attribute; its file name is Dapps-on-Merv-Griffin-Show-Nov-1968-a-edited-1.jpg

[Dapps Photos courtesy of Dave Parkinson]

Indianapolis News TV listing for December 4, 1968

Parkinson also recalls The Dapps accompanying James Brown as guests at The Apollo Theater, where they were acknowledged from the stage by Joe Tex and Little Johnny Taylor.

The Dapps – along with The Sisters of Righteous (sisters Geneva “Gigi” Kinard and Denise Kinard together with cousin Roberta DuBois) – would next back James Brown at a King recording session that took place December 2, 1968 and yielded two songs, “Sometime” and “I’m Shook,” plus one track – “Bobby Kaie” – that was ultimately ‘rejected.’

> AUDIO LINK for “Sometime
by James Brown [with The Dapps & The Sisters of Righteous]

Written by James Brown and Bud Hobgood

According to Discogs

James Brown:  Vocals
GenevaGigiKinard:  Backing Vocals
Denise Kinard: Backing Vocals
Roberta Dubois: Backing Vocals
WilliamBeau DollarBowman:  Drums
Bob Thorn:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Organ
Les Asch:  Tenor Sax
Ronald Lewis:  Baritone Sax

B-side of this German 45 — released Nov. 1969

> AUDIO LINK for “I’m Shook
by James Brown [with The Dapps & The Sisters of Righteous]

Written by James Brown

According to Discogs

James Brown:  Vocals
GenevaGigiKinard:  Backing Vocals
Denise Kinard: Backing Vocals
Roberta Dubois: Backing Vocals
WilliamBeau DollarBowman:  Drums
Bob Thorn:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Organ
Les Asch:  Tenor Sax
Ronald Lewis:  Baritone Sax

My eyebrows go up as I read these notes on Discogs related to the “I’m Shook” 45:

“[45] Never got a full distribution.  Most copies were probably pulled back for unknown reasons and a few quantities of this exist.  Both tracks [“I’m Shook” b/w “Little Groove Maker Me“] feature on It’s A Mother.  ‘I’m Shook’ is a different recording than featured on the album.”

Ruppli’s sparse notes also indicate an undated session (early December 1968?) in which Hank Ballard was supported by unnamed members of The Dapps on two recordings, “You’re So Sexy” and “Thrill on the Hill.”  Just before the guitar break on “You’re So Sexy” (around the 1:20 mark), Hank calls out “Fat Eddie, play your thing” — so at least we know that Eddie Setser was part of the backing ensemble.

> AUDIO LINK for “You’re So Sexy
by Hank Ballard Along With The Dapps

Written by James Brown, Hank Ballard & Bud Hobgood

Ruppli then follows with two entries for December 10, 1968 at King Studios — (a) the first session has Hank Ballard recording “How You Gonna Get Respect” with unnamed musicians plus two ‘unknown titles’ — all three tracks unissued; (b) the second entry is for The Dapps, with one attempt at a track named “Later for the Saver” that remains in the vaults.

Who Knows” — recorded by The Dapps c. July 1968 though kept in the can — finally got a release by King, although attributed solely to Beau Dollar, as the B-side of his second and final King single, “(I Wanna Go) Where the Soul Trees Grow”:

> AUDIO LINK for “Who Knows
by Beau Dollar [with The Dapps]

Written by James Brown, Bud Hobgood & William ‘Beau Dollar’ Bowman

According to Discogs

WilliamBeau DollarBowman:  Drums
Bobby Byrd:  Tamborine
Charles Summers:  Bass
Eddie Setser:  Guitar
Tm Hedding:  Organ
David Parkinson:  Saxophone
Les Asch:  Saxophone
Kenny Tibbetts:  Trumpet

How curious to discover that in 1992 Pure Records, a French boutique label, decided to pair Beau Dollar’s “Who Knows” with a funk track by Lee Majors (“The Bull Is Coming“) for a twelve-inch “maxi-single.”

According to Ruppli’s session notes, Beau Dollar, along with unnamed musicians, recorded 21 songs over the course of three days [January 20-22, 1970] most likely at King Studios — 12 selected for King LP 1099 (to be titled Beau Dollar), plus 9 other tracks that remain ‘unissued’ to this day.  The funny thing, however, is how utterly impossible it is to retrieve an image of the album cover on the Internet.  Ruppli refers to King LP 1099 as an actual release, yet Discogs has no entry (yet) for this King LP.  The King LP discography at Both Sides Now Publications references it by catalog number and album title but no cover image, curiously, nor song titles (the latter which you will find listed at 1540brewster.com).

There are a few other ‘unissued’ Beau Dollar recordings from 1969 (“My Concerto”; “Looking For Someone to Love”; “But It’s Alright”; “I Gotta Get Away From You”) in addition to the outtakes from Beau Dollar’s alleged LP (“Funky Street”; “Everybody’s Talkin'”; “Na Na, Hey Hey, Kiss Him Goodbye”; “You’ve Made Me So Very Happy”) that remain in the vault.

Fast forward to 1971 — 45Cat’s RogerFoster points out that “Just Won’t Do Right” by Lyn Collins “is actually a duet with James Brown and according to the booklet notes by Alan Leeds in the 2009 CD compilation James Brown – The Singles Volume Seven: 1970-1972 this was to be released with Mr. Brown being the headline act on King 6373 but only promos were made.”  Ruppli gives no indication as to when Collins made this recording at King Studios with The Dapps:

> AUDIO LINK for “Just Won’t Do Right
by Lyn Collins [with The Dapps]

Written by James Brown

According to Discogs

WilliamBeau DollarBowman:  Drums
Julius Reliford:  Congas
Dave Harrison:  Bass
Eddie Setser:  Guitar
Tim Hedding:  Organ
AlfredPee WeeEllis:  Alto Sax
Les Asch:  Tenor Sax*
David Parkinson:  Baritone Sax*
Howard McGurty: Trumpet
Ken Tibbetts: Trumpet

“Just Won’t Do Right” was picked by Record World as one of its “Hits of the Week” in the January 8, 1972 issue and praised thusly:  “James Brown both wrote and produced this impressive debut disc.  Powerful r&b ballad of the kind that crosses-over pop so often these days.”

“Just Won’t Do Right” was the B-side to “Wheels of Life” when released in France with a charming sleeve designed by noted graphic designer, Jean-Claude Trambouze, who also did complementary designs for a dozen other James Brown productions out of the King studios.

1968 FRENCH B-SIDE
SLEEVE DESIGNED BY JEAN-CLAUDE TRAMBOUZE

Dapps Chart Trivia

Joel Whitburn Presents Across the Charts: The 1960s has an entry for “The Dapps Featuring Alfred Ellis” that identifies two 45s:

(1) “There Was a Time” (King 6169), which bubbled under Billboard’s Hot 100 at #103, and (2) “How You Gonna Get Respect (When You Haven’t Cut Your Process Yet),” (King 6196) which peaked at #15 on Billboard‘s R&B chart.

By 1970, The Dapps had disaffiliated itself with the James Brown organization.  According to Les Asch, the first fissure occurred early on when Brown’s studio manager, Bud Hobgood, attempted to get the group under contract, only to find out that Troy Seals and Jo Ann Campbell were already signed to Atlantic Records.  Ultimately, The Dapps ended up working for James Brown without any contractual arrangement.  As Dave Parkinson confessed to Bob Miller in 1991:

“If I’d stuck with Troy [Seals] I would be quite well off today.  But Troy was a lot more patient than the band, we had stars in our eyes and when we got an offer to join James Brown’s production company, it was a mass defection.”

During the James Brown years, recalls Les Asch, Beau Dollar was first accorded bandleader duties within The Dapps, followed by Dave Parkinson and then Asch.  At one Dapps rehearsal held at The Inner Circle, Asch made the “mistake” of admitting (perhaps in the egalitarian spirit of the times) that, as bandleader, he was being paid double.  When band members balked, Asch met with Mr. Brown to inform him that this differentiated pay scale was “killing morale.”  Brown, however, was not only unsympathetic but profoundly disappointed that Asch would make such a tactical error as the band’s musical director.  At that point, relations between The Dapps and the James Brown organization would cease.

When asked by Brian Powers why The Dapps broke up, Eddie Setser had this to say:

“[Bud Hobgood] kept saying we were gonna be making all this money, big money.  Thought we were doing pretty good, but he put us on a retainer, and the guys didn’t like it.  Hank Ballard came and told us, he said, “You ain’t gonna be making any money. He says, “You’re all gonna be paid the same thing” … the thing just kind of blew up.”

The Dapps, however, carried on with that name for somewhere between six months to a year, reckons Asch, with The Golden Lion, a short jaunt up Interstate 75 in Dayton, essentially serving as base of operations.  Dave Parkinson informed Brian Powers in that same interview for WVXU how The Dapps first joined forces with Roger “Jellyroll” Troy (née McGaha):

“After The Dapps had become disassociated with James [Brown], we were the house band at a place called [The Golden Lion in Dayton, Ohio], and we were there about a year under the leadership of a guy named ‘Jellyroll,’ Roger Troy.”

2014 issue of Oct. 27, 1969 live performance by the Stan Kenton Orchestra

Trumpeter BobMaynardVandivort (who spoke to me over the phone recently) auditioned for The Dapps during this period at The Golden Lion.   Leader (along with Jerry Gehl) of The Hi-Fi Band and later, Maynard & the Countdowns, who opened for Lonnie Mack at The Hawaiian Gardens and played many of the area’s sock hops, roller rinks, and teen clubs in the early 1960s, Vandivort’s experience would be marked by the Vietnam War.  Three of the Countdowns, including drummer Dave Listerman, received their draft notices soon after winning a “Battle of the Bands” contest, while Vandivort (who did Air Force ROTC at the University of Cincinnati) himself would get called up on March 23, 1966.  Vandivort — who studied under Frank Brown (later lead trumpet for James Brown) and Bill Berry (who played with Duke Ellington) — served at Fort Knox in the 158th Army Band, a unit whose function was to recruit volunteers, and a job that kept the musicians on the road six months out of the year.  Owning an automobile during his three years of active duty made Vandivort a valuable commodity, as he often shuttled fellow musicians to James Brown gigs in Indianapolis and Louisville (while “lookalikes” would be used as stand-ins for the AWOL soldiers).  Bud Hobgood and Vandivort, coincidentally, were once neighbors at Charlestown Square in Cincinnati’s western area (one-time home for Les Asch, too).

James Brown was initially furious at the continued use of the Dapps name and sent Charles Bobbitt to order the band to desist.  Asch recalls that, thanks to the largesse of the Dayton club owners, an attorney was hired to defend the band.  The court would make a determination that the musicians — having been seen in a public capacity as The Dapps (i.e., Merv Griffin Show appearance, Madison Square Garden concert, and the visit to the Apollo) — therefore, had “inherent properties” with respect to the band name, according to Asch.

Despite the legal victory, the band continued only briefly as The Dapps, as the Dayton scene began to sour for the band, and the musicians were heading in various directions.  Asch remembers a late-night stealth mission to liberate Roger Troy from his current engagement with The Fendermen (a stint at the Holly Oak, no less) that involved the unforgettable image of a jettisoned laundry bag landing within inches of the car, followed by Troy’s exhortation to the band, “C’mon boys, let’s skirtsy!”

Once liberated, the group of musicians then headed to Boston for a three-week stint playing five hours a night, seven days a week at a place called (I’m not making this up) K-K-K-Katy’s.

K-K-K-Katy” was a popular WWI-era “stammering” song

During this period (c. late 1969), the group — which numbered ten musicians — made some demo recordings at a Boston-area sound studio, with one of the stand-out tracks being the band’s arrangement of Jimmy Webb’s “By the Time I Get to Phoenix.”

Following the Boston engagement, the band would return to Dayton and find itself ensconced at The Golden Lion’s main competitor — The Diamond Club, owned by Jennie Krynzel.

Images courtesy of Diamond Club Facebook group

Meanwhile, drummer/manager Stu Perry told his friend Richard Podolor (engineer behind albums by Three Dog Night and Iron Butterfly (et al.), along with Bill Cooper) that he knew “this group from the midwest” and gave him a copy of the Boston demos.  Particularly impressed by the band’s arrangement of “Phoenix,” Podolor in turn sent these recordings to Jay Lasker, president of Kapp Records, who then set about arranging a showcase for the band at one of the music venues on Sunset Strip.

The band would subsequently relocate to the West Coast to take advantage of this new major-label opportunity — although the ten-member ensemble would not survive the cross-country trek.  For one thing, Stu Perry’s involvement meant that Jerry Thompson was no longer the drummer.  Also bowing out of the venture were saxophonist Howie McGurty and bassist Ken Tibbetts, who also played trombone.  [Tibbetts’ response would be to gather Thompson and McGurty and organize a funky new horn-heavy outfit called Melting Pot, whose 1970 debut album on Ampex was produced and engineered by Johnny Sandlin].

Band residence during the Jellyroll sessions — according to Les Asch

The Jellyroll-led outfit that played for Jay Lasker at a private after-hours showcase, sadly, only numbered seven musicians.  Asch recalls Lasker being distinctly underwhelmed by the band’s overall sound, which was noticeably thinner than the larger ensemble recorded in Boston.  Nevertheless, Kapp would commit to a full-length album that featured an elaborate design in a gatefold cover.  A $50,000 advance, according to Asch, went to the group’s attorney, who “doled out money in dribs and drabs.”

Jellyroll‘s debut album was released in 1971 on MCA-owned Kapp (and reissued in 2015 in South Korea).  Discogs notes that a test pressing of the album was actually done in 1970, with the group’s debut 45 “Strange” b/w “Help Me Over” issued September 1970 in the US, according to 45Cat (although curious to note that two completely different tracks were selected for the 45 release in Turkey).  Tim Hedding wrote one of the album’s tracks (“Quick Trip“), Eddie Setser got co-writing credit on another (“Standing on the Inside“), and the band itself is listed as the author on half the songs.

Gatefold LP cover art

Roger Troy:  Bass & Lead Vocals
Stu Perry:  Drums & Percussion
Cosme Joseph Deaguero:  Congas
Ed Setser:  Guitar
Tim Hedding:  Keyboards & Backing Vocals
Les Asch:  Alto, Tenor & Baritone Saxophones
Dave Parkinson:  Tenor Saxophone
Bob Thorn:  Trumpet

45 – Mexico                                             45 – Turkey

There was no accompanying tour, sadly, to promote Jellyroll’s debut album.  Roger Troy and five of his bandmates — Tim Hedding, Eddie Setser, Les Asch, Dave Parkinson, and Stu Perry — soon found themselves back in Cincinnati, this time based at a club named Reflections, located at Calhoun and Vine in the University of Cincinnati area.  But alas, after just a couple weeks, Stu Perry (following an argument with Roger Troy)  snuck into Reflections one night and removed all of his percussion gear without informing the band.  The owner of the club, according to Les Asch, was livid when notified by the band that they could not fulfill their engagement.  This would prove to be the group’s last gasp.

History, however, demands that I make mention of Roger Troy’s participation in a local recording session for Wayne Perry — at the behest of his producer, Randy McNutt — that ended up generating a buzz in English clubs when reissued in 2020 nearly fifty years later as a limited edition 45 that sold out in three months!  McNutt recounts the tangled tale on his music history blog, Home of the Hits:

We cut “Pain” in the summer of 1972 at Rusty York’s Jewel Recording in suburban Cincinnati, where we did much of our local work.  Now this part is important–vital–to understanding this story:  We cut two versions of the song.  Both shared the same rhythm track, so they sound nearly identical.  Wayne sang the first version; Wayne and a guy from Alaska sang the second as a duet.  Their voices sounded a lot alike, and they sang the choruses together and exchanged on the verses.  Shortly after recording the duet version of “Pain,” the narrative began to get muddied.  We had two vocal versions that used the same rhythm track.

The track cooked from the start.  This was due to the musicians.  They included Roger “Jellyroll” Troy, a singer-bassist who led the group Jellyroll on Kapp Records. Roll, as we called him, had come home on vacation, and Wayne asked him to play on the session.  On drums was Jerry Love, a popular blues-rock drummer in Cincinnati.  He did a lot of sessions over at King Records.  He was a favorite of guitarist Lonnie Mack, the father of Cincinnati’s blue-eyed soul movement.  The B-3 organist was a kid (only 17) named Terry Hoskins, who lived in our home city, Hamilton, Ohio, about 25 miles northwest of Cincinnati.  We just let him wail on that song.  We had to get his father’s permission to take him to the studio with us.  On guitar we hired Gary Boston, a freelance session man at King and a local band veteran.  Like so many of these guys, Gary also did some work at King’s studio and at times worked on sessions with James Brown.  (Today, I use Gary on new recordings.)  The horn guys were Les Asch, Craig Shenafeld, and Terry Burnside.  They also played on some James Brown sessions over at King.  On the day we cut the rhythm track, we were all standing in the little studio, talking about the song, and suddenly a guy we didn’t know walked in and asked, “Hey, who owns the cool Firebird sitting out front?”  Jellyroll said proudly, “Why, I do!”  The guy said, “Well, it just got repossessed.”

The original 45 was issued on McNutt’s own Beast imprint, which was distributed by Shad O’Shea‘s Counterpart label.  Though the single did not see much action beyond the tri-state area initially, both mixes of “Pain” were included on 2012 compilation,  Souled Out: Queen City Soul-Rockers Of The 1970s.  At one point, a songwriter friend informed McNutt about the growing buzz on YouTube, where the 7-inch was first uploaded in 2010.  Nik Weston of London’s Mukatsuku Records then contacted McNutt in 2018 about reissuing the two “Pain” mixes as a 45 (that remains “out of stock“).

> AUDIO LINK for “Pain” by Wayne Perry

Post-Jellyroll:  In a Nutshell

Roger “Jellyroll” Troy (who played on Shades of Joy’s Music of El Topo LP from 1970 with Jerry Love) would join The Electric Flag for their final album, The Band Kept Playing, before going on to collaborate with Mike Bloomfield, Howard Wales, Jerry Garcia, Mick Taylor, and the Goshorn Brothers, among others.  Troy Seals, under the mentorship of Conway Twitty, went on to enjoy a successful songwriting career in Nashville, where he was inducted in the Nashville Songwriters Hall of Fame in 1988.  Seals, in turn, provided similar strategic guidance for Eddie Setser, who also became one of the Nashville’s top songwriters (before leaving us this past January).  Tim Hedding (who played organ on Delaney Bramlett’s 1973 album, Mobius Strip) became part of Gregg Allman’s band for 1987’s “comeback” album, I’m No Angel and its follow-up album, When the Bullets Fly.  Howard McGurty, holder of numerous industry patents and inventor of the first Phantom Sound speaker system, is founder of a Mason, Ohio-based company that has provided sound systems for such clients as Bruce Springsteen and the Cincinnati Symphony.  Dave Parkinson, who returned to Central Illinois in 1971 to tend to his mother’s health, has been a leading light in Peoria’s jazz scene, as well as founding member of funk-fusion group, Kriss Kross, a local favorite.  Les Asch continued to play locally after The Dapps disbanded at places such as The Roundup Club before deciding to pursue work opportunities outside the music industry.

In 2013, Egon of Now-Again Records penned a paean to Beau Dollar for Red Bull Academy that spelled out his contributions to the field of funk drumming using precise music terminology:

“‘I Can’t Stand Myself When You Touch Me,’ recorded in October 1967, is a different beast altogether. Its groove surely owes a debt to Stubblefield’s ‘Cold Sweat’ rhythm, but gone are his swinging eighth note hi-hats, replaced by William Hargis ‘Beau Dollar’ Bowman’s lockstep quarter notes, bashed onto a slightly askew hi-hat.  Bowman avoids the ‘one’ – the first beat of a measure, all important to James Brown’s establishment of funk – in the second half of each two bar phrase and builds up to the one’s return with 16th note bass drum interplay, and what rhythm researcher Alan Slutsky called ‘two accented snare drum attacks.’  Brown ‘gave’ Stubblefield four uninterrupted bars in ‘Cold Sweat’ and the drummer was able to showboat.  In contrast, Bowman’s metronomic groove doesn’t change when Brown explains to his band that he wants ‘everyone to lay out but the drummer.’  Brown, notifying Bowman of his task the same way that he would soon instruct Stubblefield on ‘Funky Drummer,’ seemed to know when he needed to keep a drummer under a tense bridle.

Had Bowman only recorded ‘Can’t Stand Myself,’ his place amongst Brown’s elite cadre of funk drummers would have been earned, and his enduring presence assured.  While no one can say definitively who invented the style, Jim Payne, author of Give The Drummers Some, calls Bowman’s groove ‘the Quarter Note High Hat style – quarters on the high hat and everything else beneath it: a difficult thing to do, by the way.’  Its influence grew.  To follow the timeline from 1967 onwards is complicated, but to my ears it goes something like this:  Bowman hears Stubblefield’s ‘Cold Sweat’ and ponies up a response when Brown crashes his band’s – the all-white The Dapps – recording session for an improvised vocal performance.”

Dave Parkinson Remembers
My Association with James Brown, Bud Hobgood
And All the People at King Studios

It all started at a place called The Inner Circle in Clifton up by the University of Cincinnati.  I was playing tenor sax with a band called the Cincinnati Kids led by Troy Seals and Jo Ann Campbell.  Tim Drummond from Canton, IL near where I grew up was playing bass.  Tim later joined James’ traveling group.  He recorded on many of James’ hits, including “I Can’t Stand Myself When You Touch Me” and many more.  James started frequenting the Inner Circle and sitting in with us.  Most memorable was “Cold Sweat” and “There Was a Time.”  James gradually wooed Tim, Les Asch, Tim Hedding, and “Fat Eddie” away from Troy and Jo Ann and we signed to James Brown Productions.  We recorded behind Bobby Byrd, Marva Whitney, Hank Ballard and many others.

“Good God!  A Thousand Dollars” was coined by James’ brilliant manager, Bud Hobgood.

This is the time we met and befriended Bud Hobgood.  He always had a $1,000 bill in his wallet, which he would show us once in awhile.  Bud was a long, tall shrewd country boy who advised James and kept him in line.  I think to this day, that if Bud was still alive, James would be too.  When we recorded with James or watched him set up tunes with his band, he would go to each member; horns, percussion, bass, guitar, conga and tell or sing to them their parts.  It invariably came out perfect and amazingly funky.

I was in the studio when he did “Say It Loud, I’m Black and I’m Proud” with those children and it brought tears to my eyes.

I recorded “Honky Tonk” and the band recorded “The Rabbit Got the Gun” and we covered instrumentally a lot of James’ hits.

At first James called the band the “Believers.”  I remember one night he got us all together and kind of sized us up as to what role we played in the band.  When he came to me, he gave me the biggest compliment I’ve ever had.  He said, “Dave, you the musician”  I can’t describe how good that made me feel.  For a time, he made me the band leader and we went to New York to the main offices of Cash Box magazine and he introduced me to the CEO.  It wasn’t long after that Billboard picked James up and the rest is history.  During that stay in New York we played Madison Square Garden with Count Basie, Slappy White, and many others.  The next evening we all went by limo with James to the Apollo Theater and saw Little Johnny Taylor, Joe Tex and a host of other great talent.  We then went to Lloyd Price’s club and someone tear gassed the place.  James then took us to Long Island where his father stayed and fed us some incredibly hot chili.  The next day, we did the Merv Griffin Show, along with Lily Tomlin.  The following day, James took me to A & R Studios, where I played with his band.  I remember walking in and Bernard Purdie had an easel set up that said “Purdie, Purdie.”  He was on the session.

After returning home, James put us on the road to Atlanta with Hank Ballard.  Had too much fun with Hank!  He looked at me one night in my apartment in Cincinnati and said, “You’re a Scorpio, right?”  He was dead on.

Then James took us to Cleveland to see Marvin Gaye in an intimate nightclub setting.  It was indescribable!

Then we were off to L.A. to do the Donald O’Connor pilot show [1968], which flopped.  Remember, Bud Hobgood was in the wings, keeping a lid on everybody.

After that, things began to taper off.  I could have gone to the Ivory Coast and Vietnam, but marital problems were getting in the way.

Getting back to Troy Seals, I had the privilege of sitting in on a meeting in Troy and Jo Ann’s apartment in Hamilton, Ohio between Troy and Conway Twitty.  After that meeting, Troy and Jo Ann moved to Nashville where Troy’s career went to the stratosphere.  Troy became one of the biggest writers and producers, writing songs like “I’ve Got a Rock and Roll Heart” [Eric Clapton], “Honky Tonk Angel” [Conway Twitty] and many more.  He took “Fat Eddie” Setser with him and they collaborated on “Seven Spanish Angels” [Ray Charles & Willie Nelson] and numerous others.  “Fat Eddie” was the guitar player for the Cincinnati Kids.  He was a very gifted writer in his own right.  I collaborated with Troy on a song called “But I Do,” which was picked up by The Oak Ridge Boys who put it on their Room Service album.

Back in 1970 I had a meeting with Mac Heywood.  Not being too well versed in business and the Hollywood scene, nothing came of it; but shortly thereafter, I started seeing the Heywoods all over television.  Quiz shows and the like.  The meeting with Mac took place at The Roundup Club in Erlanger, Ky., just across the river from Cincinnati.

When I first came to the Cincinnati area, I became fast friends with guys like Lonnie Mack, Beau Dollar, Roger “JellyRoll” Troy, Ronnie Grayson, Jerry Love and later on Glen Hughes of The Casinos.  Just about every time I went to L.A., I’d run into Gene walking around Hollywood.

The members of The Believers were:  Panny Saracason on bass, Les Asch on tenor with me, Tim Hedding on B-3, and “Fat Eddie” on guitar.

I cannot stress enough the role Bud Hobgood played in James Brown Productions.  He was the bedrock that kept James grounded.  As I stated earlier, if Bud was still alive, so would James be.

We went to Nashville where John R. and Hoss Man Allen of WLAC produced us on several tunes.

I’m about out of things to say, but my friend Bob “Maynard” Vandivort can add a lot and maybe fill in some blanks.

 

4 Out of 5 Physicians Agree:
Zero to 180 best viewed on a big screen – not smart phone

The Upsetters at King Records

I am only just now discovering that Little Richard‘s musical influence had a direct impact on King Records, first when his live backing band, The Upsetters, became Little Willie John’s support group after Richard renounced rock ‘n’ roll in 1957, and then again soon after when the Upsetters backed James Brown for a time.

On December 2, 1958, Little Willie John did a session for King in New Orleans — at Cosimo Recording Studios, no doubt — in which The Upsetters served as his backing band.  Four songs were recorded that day:

> AUDIO LINK for “Do You Love Me

> AUDIO LINK for “The New Thing

> AUDIO LINK for “It Only Hurts a Little While

> AUDIO LINK for “Write Me a Letter

Musician credits according to Ruppli’s session notes —

Little Willie John:  Vocals
Emile Russell:  Drums
Olsie Robinson:  Bass
Milton Hopkins:  Guitar
Wilbert Lee Smith:  Piano & Guitar
Jimmy Booker:  Piano
Grady Gaines:  Tenor Sax
Clifford Burks:  Tenor Sax
Melvin Lastic:  Trumpet

2016 Spanish EP —
INCLUDES “DO YOU LOVE ME” & “LEAVE MY KITTEN ALONE”

Fun to point out that exactly one year later, on December 2, 1959, Emile Russell served as the drummer on a Hank Ballard and the Midnighters recording session at King Studios that netted four songs, including “The Coffee Grind” and “I Love You, I Love You So-o-o.”  Would you be surprised to know that Emile Russell was also the drummer at Little Willie John‘s June 3, 1959 session in New York City that produced “Leave Me Kitten Alone,” along with “Let Them Talk,” “Right There” & “Let Nobody Love You“?

Grady Gaines, by the way, is also connected to King through his brother, Roy Gaines, who released two 45s for King subsidiary label, DeLuxe in 1957 – “Annabelle” b/w “Night Beat” plus “Isabella” b/w “Gainesville” – the latter tune being one of his signature guitar statements.

Important to note that Little Richard battled mightily with Specialty Records owner Art Rupe to be allowed to record with The Upsetters, who Richard favored over the studio session players.  As Robert Palmer wrote for the New York Times in 1990:

“The early Upsetters sessions present a band that lacked studio polish, but made up for it with a remarkable ensemble cohesion and rhythmic creativity.  The Upsetters’ drummer, Charles Connor, has been credited by no less an authority than James Brown with sparking the rhythmic transition from fifties rock & roll to sixties funk.”

New Orleans’ Ponderosa Stomp — who pronounced The Upsetters to be “quite possibly the greatest touring rock and roll band on the planet during the mid-1950s” — wrote a lengthy tribute in 2017 to drummer Chuck Connor, who elaborated on the origins of the band:

“A guy by the name of Wilbert Smith—his professional name was Lee Diamond—we looked alike and everything.  I was a little taller than him.  We were struggling musicians around Nashville,” says Charles.  ‘I was starving, man.  I was kicked out of the hotel room, and I was behind in my rent.  Little Richard heard us and brought us back to Macon, Georgia because he wanted New Orleans musicians.  Richard had to get my drums out of the pawn shop.  He paid for all of that, and he brought us to Macon, Georgia, and that’s when we formed Little Richard and the Upsetters.”

Just a couple weeks after Little Willie John’s session with The Upsetters, James Brown and the Famous Flames recorded a session in Los Angeles on December 16, 1958 with “Lee Diamond” on tenor sax and Chuck Connor on drums that yielded four songs:

> AUDIO LINK for “Got to Cry

> AUDIO LINK for “It Was You

> AUDIO LINK for “I Want You So Bad

> AUDIO LINK for “It Hurts to Tell You

Musician credits according to Ruppli’s session notes —

James Brown:  Vocals
John Terry, Bill Hollings & [unidentified]:  Backing Vocals
Chuck Connor or Nat Kendrick:  Drums
Bernard Odum:  Bass
Bobby Roach:  Guitar
AlvinFatsGonder:  Piano & Organ
Lee Diamond:  Tenor Sax
J.C. Davis:  Tenor Sax

All four songs included on 1959 King LP,  Try Me

Most of these same musicians reconvened on January 20, 1959 at a recording facility in New York City to record two more songs with James and the Famous Flames:

> AUDIO LINK for “Don’t Let It Happen to Me

> AUDIO LINK for “Bewildered

Musician credits according to Ruppli’s session notes —

James Brown:  Vocals
John Terry, Bill Hollings & [unidentified]:  Backing Vocals
Chuck Connor:  Drums
Bernard Odum:  Bass
Bobby Roach:  Guitar
AlvinFatsGonder:  Piano & Organ
Lee Diamond:  Tenor Sax
J.C. Davis:  Tenor Sax
[Unidentified]:  Trumpet

Saxophonist J.C. Davis (“with prob. same band”) recorded two numbers as bandleader at that same NYC recording session:

> AUDIO LINK for “Doodle Bug

> AUDIO LINK for “Bucket Head

1959 single attributed to James Davis

Lee Diamond, as it turns out, had already crossed paths with King Records before — as Wilbert Smith, part of the horn section for James Brown and the Famous Flames’ 1956 breakout hit, “Please Please Please“!  Smith has two co-songwriting credits on “Hold My Baby’s Hand” and “Chonnie-On-Chon” — notice the vocal resemblance to Little Richard on the latter track — both from 1956.

Chuck Connor explains the impact of his New Orleans musical upbringing on the development of James Brown’s music:

“We would work the clubs around Macon, Georgia, like the VFW clubs, the Elks clubs, and places like that.  And I’m playing behind James Brown.  The drummer always sits in the back.  We didn’t have no riser in these little small clubs in those days.  We only had drum risers in the big theaters.  So I’d be playing behind James and I’d do a little second-line thing, a syncopation on my bass drum.  But I was doing that to attract the girls’ attention.

“James Brown would say, ‘Hey, that’s funky! That’s funky!’

‘I’d say, ‘I’m doing the second-line!’

‘I like that! I like that!’

“And he discovered that I put the funk to the rhythm.  Because a lot of drummers weren’t using the bass drum that much.  But a lot of New Orleans drummers used their bass drum a lot.  I got that from the second line.  So that’s why he said, ‘Charles was the first to put the funk into the rhythm.’

Susan Whitall writes in her biography of Little Willie John — Fever:  A Fast Life, Mysterious Death, and the Birth of Soul:

“When Willie and the Upsetters became a team and hit the road, Richard insists there were no hard feelings.  He was proud that the Upsetters, at one time or another, backed up the heaviest hitters in rhythm and blues.  ‘Sam Cooke also had them for awhile and Sam Cooke’s brother L.C. as well,’ Richard recalled.  ‘Little Willie John and James Brown traveled with my band as me, once I was famous.’  The Godfather of Soul screaming ‘Wop bop a doo wop’ – it’s not such a stretch.  ‘We had some dates booked and my manager wanted to fulfill the dates, so they had James go out and be me,’ Richard explained.”

Chuck Connor confirms that James Brown really did do shows billed as Little Richard:

“Lee Diamond started playing with James Brown, but when Richard came out (to L.A.) to do the screen test for the movie [The Girl Can’t Help It], he left 15 dates behind.  So Clint Brantley, the booking agent, he didn’t want to lose the deposits on those dates.  So guess who played those dates for him?  James Brown!  And it was Little Richard’s picture on the placards.  But James Brown played Little Richard’s dates.  People would complain and say, ‘He don’t look like him!’  James is short.  ‘He don’t look like Little Richard to me, but he sounds good!’  But he fulfilled all those dates, and then when Richard came back from the West Coast, James wanted me to go on the road with him too.  I said, ‘Well, James, I’m going to tell you—I don’t mind, but I can’t disappoint Richard because Richard was the one that helped me when I didn’t have nothing, paying my hotel rent, and he bought me shoes, and he fed me and everything.’  So that would have been a guilt trip, so that’s why I didn’t go with James Brown.  He wanted to take me on the road too.  But I remained with Richard.”

James Brown himself recounted the experience of being billed as Little Richard in his autobiography, James Brown:  The Godfather of Soul:

“Not too long after I got to Macon, some people started hitting on Richard about recording for them instead of Peacock.  Eventually Bumps Blackwell got him for Art Rupe’s Specialty label out of Los Angeles.  After ‘Tutti Frutti’ broke, Richard left Macon for California, left everybody without saying a word—[Little Richard manager, Cliff] Brantley, the Dominions, the Upsetters, and a lot of bookings.  Mr. Brantley asked me to fulfill Richard’s dates.  He put me together with the Upsetters and the Dominions and sent me out as Little Richard.  Meantime, Byrd and the fellas were doing the Famous Flames bookings.  I was getting paid as Richard while Bobby was getting paid as me.  I guess I did about fifteen of Richard’s dates.  I’d come out and do ‘Tutti Frutti’ and all those things, and then I’d do some Midnighters’ stuff, some Roy Brown, and even ‘Please Please Please.’  I guess the audience thought I was really Richard.  then, near the end of the show, I’d say, ‘I’m not Little Richard.  My name is James.’  After a few shows like that, Fats [Gonder, organist/emcee], who also went on the tour, started announcing me as Little James.  I didn’t that stay too long, either.”

Historian (and James Brown manager), Alan Leeds, offers another perspective in There Was a Time:  James Brown, The Chitlin Circuit, and Me:

“In 1955, when Little Richard went to Hollywood to sign with Specialty Records, he left behind a band and some unfulfilled bookings.  A young James Brown, who shared managers with the Georgia peach, reluctantly agreed to pose as Richard for a couple weeks.  According to Johnny Terry, one of Brown’s original Famous Flames, it came to an end one night in Nashville when somebody—a fan, or maybe the local promoter—recognized that James was not Little Richard.  After a hasty retreat in which gunshots were reportedly fired, Brown decided it might be better for his well-being to concentrate on his own career.”

Life Imitates Art: 
The 1000-Mile Trek As “The Upsetters

Later in his autobiography when The Famous Flames got word that King Records was ready to record its new act, James Brown recalled a comic aspect to the grueling drive from Tampa to Cincinnati:

“We were working down in Tampa when Clint [Brantley] called to tell us that King wanted us in Cincinnati to record right away.  We hadn’t heard from anyone there since Ralph Bass signed us the morning after he’d seen us at Sawyer’s Lake.  Since then we’d been working clubs around Tampa and Jacksonville, and we were beginning to wonder if he’d really liked us

We drove the four hundred miles from Tampa to Macon, stopped and picked up some money there, and continued for another six hundred miles to Cincinnati in a station wagon that had The Upsetters painted on the side.  Clint had let Little Richard use the car before, and now we were jammed into it with all our clothes and instruments.  We rode all night, stopping only for gas.  It was the first time out of the South for any of us, and when we got to the outskirts of Cincinnati somebody came out from King and let us to the hotel, a place caled the Manse.  It was a fleabag, but it was better than anything we’d stayed in before.”

 

First Four-Bar Rock ‘n’ Roll Drum Intro?
Rock’s Roots Bear Fruit 

Until Little Richard’s passing, I was similarly clueless about the well-known “secret” that Chuck Connor‘s drum intro on “Keep a Knockin'” (recorded at a small radio station in Washington, DC close to the Howard Theater) served as the source of inspiration for John Bonham‘s famous intro on Led Zeppelin‘s “Rock and Roll” — listen for yourself:

Keep a Knockin’” by Little Richard

Rock and Roll” by Led Zeppelin

Chuck Connor claims in that same Ponderosa Stomp piece that “Keep a Knockin'” was the first four-bar drum intro on a rock and roll record:

“Richard was saying, ‘I want the guitar to play the four-bar intro.’  So the guitar player, he tried it.  Then Richard tried it.  He said, ‘I don’t like that.’  Then he let the saxophone play the four-bar intro.  I said, ‘Wait a minute, Richard.  Let me do something.  Let me do a four-bar intro because this has never been played on a rock and roll record!’  It had never been played on a rock and roll record.  So I came up with a ‘tat-tat-tat-tat-tat-tat-tat-tat…’  Richard gave me a thousand dollars for that idea, and that was a lot of money in those days.”

King 45s That “Bubbled Under”

My ambitiousness got the best of me with the posting of the two-part history piece, “Quirky 45s That Bubbled Under (1959-1976).”  If you go to Zero to 180’s home page now (as of April 2020), you might be frustrated that it takes so goshdarn long to finish loading all the content (i.e., 200+ audio clips spread out amongst the two parts).   This latest piece — a tribute to all the 45s released by King and its subsidiary labels that “bubbled under” the Billboard Hot 100 chart — features “only” 50 (ish) audio clips.  However, coming on the heels of the previous two-parter, all that additional “weight” only compounds the problem, unfortunately.

Thanks once again to Top40Weekly.com, who generously provides chart information about these uncharted songs that peaked just beyond the reach of Billboard‘s Hot 100.  As with the previous post, this piece is chronologically arranged and begins in 1959, the year Billboard began keeping records of these near-hits.  Given the amount of historical detail below, I have highlighted some of the big takeaway points and discoveries that came out of this research:

Summary Highlights

  • Lowman Pauling, whose work with The ‘5’ Royales as both a songwriter and guitarist was under-recognized for its influence on the emerging soul music (not to mention Jamaican ska), would later be championed by King (James Brown, Vicki Anderson, Hal Hardy) and non-King artists (Shirelles, Mamas & the Papas, Detroit Wheels).
  • Whodunit around the authorship of “Cute Little Ways” — was the song written by Hank Ballard or Henry Glover?
  • Speaking of whodunit, why exactly did “Please Please Please” by James Brown and the Famous Flames come close to entering Billboard’s Hot 100 four years after its original release?  Two theories offered.
  • Syd Nathan was not afraid to dust off an older King recording, “modernize” the sound and/or spiff up the artist name, if that’s what it took to sell records, as in the case of “Every Beat of My Heart” by Henry Booth (or is it?) and the Midnighters (the song by Johnny Otis that would launch the career of Gladys Knight and the Pips).
  • Hard to believe that “Please Come Home For Christmas” never officially entered the Hot 100 given how often Billboard deemed it a “Christmas Best Bet” throughout the 1960s, as well as the song’s enduring popularity, as evidenced by all the many cover versions.  Fun to find out that Charles Brown’s original recording is held in especially high regard “along the route from Houston to New Orleans.”
  • How ‘Mad Men’-esque to learn that King’s promotional efforts for “Seagrams” (a “Tequila”-inspired instrumental ) by the Vice-roys included “half pint of Seagram’s VO whiskey and a package of Viceroy cigarettes” to select personnel at radio stations around the country.
  • Lonesome 7-7203” by Hawkshaw Hawkins was written for Jean Shepard by Justin Tubb, who points out that the song was originally conceived from a female perspective.
  • More evidence of the Cincinnati OHKingston, JA connection via Hank Marr’s organ instrumentals.
  • A shift in cultural consciousness can be seen manifesting itself with Billboard renaming its “R&B” chart as “Soul” Singles beginning in the August 23, 1969 edition (as pointed out in the Marva Whitney section below).
  • Even if King’s entire roster consisted solely of James Brown, hard to overstate the global impact of this one artist alone — be sure to look for the “Hey America” World Tour of 45 picture sleeves plus a news item about King’s “largest promotional/merchandizing budget”  used for the “ James Brown Month Of Soul” campaign in March 1969.
  • In a bonus section of Fraternity 45s that “bubbled under” the Hot 100, we learn from Harry Carlson himself — one of the most beloved figures in the music industry — what a struggle it was to go ten years between hits (i.e., from 1957’s “So Rare” by Jimmy Dorsey to 1967’s “Then You Can Tell Him Goodbye” by The Casinos).
  • King Trivia!

Q:  Name of subsidiary label that was financed by Mickey Stevenson and distributed by Starday-King, announced via a full-page ad in Record World‘s  December 11, 1971 issue?
A:  Mpingo — three Mpingo 45 releases in all before Starday-King ceased operations.

NoteClick on song title links below to hear streaming audio of songs.

AUDIO LINK for “I Know It’s Hard But It’s Fair” by The ‘5’ Royales

peaked at #103 on June 8, 1959 [King]

  • The Lowman Pauling-penned “I Know It’s Hard But Fair” also serves as the kickoff track of 1959 King LP, The Five Royales — an album that some are willing to pay several hundred dollars to acquire.
  • Sundazed saw fit to reissue the original mono LP on vinyl in 2015 and had this to say:

Suddenly in the news thanks to their recent induction into the Rock And Roll Hall Of Fame, the ‘5’ Royales also recorded for King.  Sundazed’s 180-gram reissue of their self-named 1959 King LP (which butchered the spelling of their ‘5’ moniker on its cover) is a romping overview of some of the R&B vocal quintet’s then-recent singles.  The gospel-drenched lead vocals of Johnny Tanner (or sometimes, his brother Eugene) presaged the rise of soul music, but it’s the blistering guitar of chief songwriter Lowman Pauling, a primary influence on Steve Cropper, that grabs most of the glory now.” 

King LP 678 = It’s gonna cost you

AUDIO LINK for “Let Nobody Love You” [B-side] by Little Willie John

peaked at #108 on July 13, 1959 [King]

  • This B-side of “Leave My Kitten Alone” [covered by The Beatles but unissued until 1995’s Anthology I] was co-written by Rudy Toombs and Henry Glover.
  • Both sides were reviewed in Billboard’s June 22, 1959 edition:  “The artist has two potent entries that could get him back on the charts.  He gives ‘Kitten’ a feelingful belt over strong New Orleans type ork backing.  ‘Let Nobody’ is a ballad with beat, and he’s given a fem chorus assist.  Either can score.”
  • “Let Nobody Love You” also reached the #29 position on Cash Box‘s Rhythm & Blues Top 50 chart for the week ending September 26, 1959.
  • Johnny’s Record House in New Orleans reported in the October 31, 1959 issue of Cash Box that “Let Nobody Love You” was a top ten seller.
  • One British music enthusiast shelled out £68 in 2004 for the UK single release.

UK 45 — 1959

AUDIO LINK for “Cute Little Ways” by Hank Ballard and the Midnighters

peaked at #106 on September 7, 1959 [King]

  • Billboard‘s review in the August 24, 1959 edition:  “Hank Ballard sells an uptempo blues with a lot of spirit, over a strong backing.  Could get coins.”
  • “Cute Little Ways” also reached the #24 position on the “Singles – Looking Ahead” chart, Cash Box‘s equivalent of Billboard‘s “Bubbling Under” releases.
  • Detroit’s Horn Records reported in the October 3, 1959 issue of Cash Box that “Cute Little Ways” was a hot 45, as did Wilkes-Barre’s Joe Tomato of WBAX.
  • Important to note that when issued in Denmark, the 45 label indicates the song to have been written by Henry Glover (who wrote the flip side, “House With No Windows“) — not Hank Ballard, as it says on all other King releases.  The truth?

See?  it says “Henry Glover” on the Danish 45 release

AUDIO LINK for “I’m With You” by The ‘5’ Royales

peaked at #107 on June 27, 1960 [King]

  • Billboard‘s March 14, 1960 edition includes this review:  “A slow and strongly gospel flavored chant by the group.  Lead offers a good shouting sound.  Spinnable.”
  • Cash Box listed “I’m With You” as #6 on its “Singles – Looking Ahead” chart for the week ending June 25, 1960 while still holding strong at the #10 position on the same chart for the week ending August 6, 1960.
  • 45Cat stalwart mickey rat offers up this praise:  “Great gospel tinged proto-soul from hugely influential group.  This one has a riffing ‘ska’ beat, another example of the kind of R&B that influenced Jamaican artists.  Flip [“Don’t Give More Than You Can Take“] is a fast rocker featuring Lowman Pauling’s distinctive guitar.”
  • Noted roots rock author, Peter Guralnick points out on his blog:  “The ‘5’ Royales were always at the heart of the discography of my book, Sweet Soul Music.  As one of their album titles proclaimed, their music represented “the roots of soul.”  Further down the page, Guralnick adds, “By 1960, even with such transformative songs as ‘I’m With You’ and ‘Wonder When You’re Coming Home,’ the ‘5’ Royales were slipping off the charts, and it was the Shirelles and James Brown who were recasting Lowman’s music.”
  • Robert Christgau – “Dean of American Rock Critics” – takes Collectables to task for not including “I’m With You” on their Very Best of the ‘5’ Royales anthology, even though, oddly, the song is listed on this 2004 CD release!

1968 Sam & Dave French B-side

AUDIO LINK for “If You’re Lonely” by Annie Laurie

peaked at #104 on July 25, 1960 [DeLuxe]

  • Written by jazz trumpeter/bandleader, Harry James, along with Zanesville-born trumpeter and King music director, Andy Gibson, “If You’re Lonely” also peaked at #17 on Billboard‘s R&B chart on July 18, 1960.
  • “If You’re Lonely” was pegged as an R&B “Best Buy” in the July 18, 1960 edition of Billboard.
  • Thanks to 45Cat’s jukebox george, who informs us that the July 30, 1960 edition of Cash Box lists “If You’re Lonely” #23 (out of 25) on their “Looking Ahead” singles chart for the “possibility to break into the Top 100.”
  • Jon Hartley Fox writes in King of the Queen City:  The Story of King Records — “‘If You’re Lonely’ made the [R&B] Top Twenty in 1960, but that was the only other hit from her second stint on DeLuxe.  Laurie reportedly retired from secular music not long after that and devoted her magnificent voice solely to church work.”

AUDIO LINK for “Shim Sham Shuffle” by Ricky Lyons

peaked at #104 on October 17, 1960 [Federal]

  • Co-written by Ricky Lyons and Rudy Toombs, 45Cat’s jukebox george points to evidence (i.e., lower matrix number) that “Shim Sham Shuffle” might be one of those B-side breakout hits that “attracted attention” to a much greater degree than the intended A-side.
  • However, Billboard‘s selection of “Shim Sham Shuffle” as one of the “Spotlight Winners of the Week” in their October 3, 1960 edition leads me to question accusations of the song’s B-side status — this review puts the matter to bed:  “The younger chanter comes thru with an exciting vocal here of a rocking item based on ‘The Eagle Rock.’  Flip is ‘Have No Fear.’
  • Cash Box picked “Shim Sham Shuffle” as one of its “Best Bets” for the week ending October 15, 1960:  “The ‘latest’ dance is conveyed with solid rock-blues vigor by the singer and combo.  Deck’s got sound and humor.”
  • Spectropop playfully observes that Ricky Lyons’ vocal “adds a Bob Wills-style whoop to the R&B lexicon.”
  • “Shim Sham Shuffle” was also released as a King single by Johnny Brandon in 1956 — although, a quick listen to the earlier release reveals the existence of two completely different tunes that merely share a song title.
  • 45 reissued on King in 1965 — Discogs contributor, bob.dalrymple.7 notes the two releases by the same parent company and makes the distinction between “one with bells [i.e., vibraphone] at the end and one without,” adding that the “King release doesn’t have the bell ending [likely played by Gene Redd].”

AUDIO LINK for “Please Please Please” by James Brown

peaked at #105 on October 21, 1960 [Federal]

  • Having a devil of a time trying to determine why this #6 R&B hit from 1956 almost hit the Billboard Hot 100 four years later, as I can only find two single releases by King – 1956 and 1964 – with neither of them 1960 (or its environs) — theories, anyone?
  • Possible theory #1:  Might The5Royales’s version released in 1960 (on the Home of the Blues label) explain the resurgence of the original version by Brown and the Famous Flames?
  • Possible theory #2:  Is King’s 1959 “Please Please Please” EP release the more likely explanation for the song’s appearance on the Billboard “Bubbling Under” chart?

1959 “Extended Play” King 45

  • Billboard reviewed “Please Please Please” in their October 31, 1960 edition:  “Brown intones a pounding chant with the Flames lending a good gospel flavor to the backing.  A lot of spirit here.”
  • Billboard‘s January 3,1957 edition pegged “Please” as one of 1956’s Top Rhythm & Blues Records with regard to “best seller in stores” (#17), “most played in jukeboxes (#48), and “most played by disc jockeys (#20).
  • What delicious irony that Syd Nathan (who initially and loudly dismissed “Please” as a “piece of [dung]”) made the decision to add live crowd sounds to the original studio recording for release in 1964 (during a contract dispute with Brown), no doubt to capitalize on the runaway success of 1963’s Live at the Apollo (another Brown recording of some renown that Nathan famously fought at first).
  • 45Cat’s teabiscuit, however, boldly asserts — counter to received wisdom — that  “by 1960, not 1964, the overdubbed ‘live’ version of the A side was issued.”

B-side of 1960 Japanese single release

AUDIO LINK for “Hold It‘ by James Brown Band

peaked at #112 on February 13, 1961 [King]

  • Alan Leeds’ “James Brown Drummers Discography” (included in Jim Payne’s The Great Drummers of R&B, Funk & Soul) notes that Brown himself served as the drummer on this track.
  • Billboard‘s review in their December 31, 1960 edition:  “A wild instrumental version of the Bill Doggett oldie, complete with screams, that could get some action if exposed.  The screamer also comes through with a slight vocal now and then.”
  • Billboard‘s February 13, 1961 edition notes another James Brown single — “Bewildered” (a ‘Regional Breakout’ hit in Philadelphia) — in an ever higher position (#103) than “Hold It” on the same “Bubbling Under the Hot 100” chart.
  • “Hold It” is the lead-off track for the 1961 King instrumental LP, Night Train.

AUDIO LINK for “Sweethearts on Parade” by Etta Jones

peaked at #115 on April 3, 1961 {King]

  • Written by Carmen Lombardo and Charles Newman, “Sweethearts on Parade” appeared on the “Bubbling Under” chart, along with another Etta Jones 45 (although recorded for Prestige), “Canadian Sunset,” for two consecutive weeks — March 27 and April 3, 1961.
  • Not to be confused with Matt Ward’s “Sweethearts on Parade.”

AUDIO LINK for “Every Beat of My Heart” by Henry Booth & The Midnighters

peaked at #113 on May 15, 1961 [DeLuxe]

“Note that the lead singer with the beautiful smooth sound isn’t Henry Booth, but Charles Sutton.  Because of the success of Gladys Knight and the Pips’ remake of ‘Every Beat Of My Heart’ in 1961, King’s DeLuxe subsidiary reissued it, with the label crediting ‘Henry Booth and the Midnighters.’  Possibly they just got it mixed up or possibly Henry was still with the Midnighters at that point.  Whatever the reason, R&B fans have believed over the years that Henry was doing lead; he isn’t.”

  • The two versions of “Every Beat” by The Midnighters and The Pips made Cash Box‘s Top 100 chart for the week ending May 27, 1961 and, if I’m not mistaken, tied for the same position (#70)!  The same phenomenon would take place the following week (#48).
  • Billboard‘s review of this 45 side in the May 8,.1961 edition was (unwittingly) their second one:  “Henry Booth and the Midnighters turn in a very pretty and restrained reading of an attractive tune penned by Johnny Otis.  It has a chance.”
  • Billboard‘s original review of The Midnighters’ debut 45 in the April 12, 1952 edition (page 36) has this to say about the flip side, “Every Beat of My Heart”:  “This is a little disappointing after the fine performance [“All Night Long“] on the other side.  Judged from these two efforts, the Royals are more effective with a tempo that has a strong beat.”
  • Jon Hartley Fox in King of the Queen City notes that “Every Beat” is “the hit that launched Gladys Knight and the Pips.”
  • Also worth reading the comments about the original 1952 release from various 45Cat contributors, such as mickey rat, who opines, “Right from the start the Royals/Midnighters used an electric bass in the rhythm section and I have to say that’s what I liked about a lot of later ‘50s King R&B product.”

The Matador” by George Scott and the Bud Mote Orchestra

peaked at #104 on June 12, 1961 [Fairlane]

[streaming audio not yet available]

  • 45Cat contributor jukebox george informs us — “Cash Box May 6 1961 (pg. 38): New York – D.L. ‘Boots’ Woodall, formerly veep of the National Recording Corp. (NRC), has announced the first release on his new Fairlane label, a master purchase from the Margo label tagged “Matador.”  King Records is handling Fairlane’s distribution.”
  • Billboard‘s review in their May 8, 1961 edition:  “Here’s a different kind of instrumental, featuring a mariachi-styled brigade of trumpets against strong guitar work.  Has a solid rhythm in the Mexican groove and it can move.”
  • Billboard Music Week would also review this 45 in their April 10, 1961 issue:  “Here’s a bit of slower-paced fare again much in the polka tradition.  There’s also a touch of flamenco about the horns here.”
  • Cash Box‘s review from their April 8, 1961 edition:  “Interesting color to this fast-beat stand, featuring guitarist Scott & trumpets, on a catchy Spanish-flavored tune. Original sound that could mean something for the Atlanta label.”

AUDIO LINK for “Hully Gully Callin’ Time” by Jive Five with Eugene Pitt

peaked at #105 on March 1, 1962 [Beltone]

  • Released on King-distributed Beltone, “Hully Gully Callin’ Time” was a “Regional Breakout” in the NYC area, as reported in Billboard‘s April 21, 1962 edition.
  • Two weeks later, Billboard filed this report from Chicago:   “[New independent distributor] Kent is also working on what it hopes will be its first big hit, ‘Hully Gully Callin’ Time’ by the Jive Five on Beltone.  The tune has hit position 28 on the influential WLS Silver Dollar Survey and is getting good supporting air play around the city.”
  •  Billboard‘s review in the March 3, 1962 edition:  “Attractive hunk of teen wax with the lead selling the hully gully effort solidly over listenable support by the group.”
  • Cash Box listed “Hully Gully” at the #37 position on its “Singles – Looking Ahead” chart for the week ending March 24, 1962.

AUDIO LINK for “I Wish I Could Cry” [B-side] by Little Willie John

peaked at #116 on June 30, 1962

  • Billboard had high hopes for this 45’s A-side — “Every Beat of My Heart” (!) — while saying nothing about the flip side in its review published in the May 28, 1962 edition.
  • Cash Box was a little more optimistic about the prospects for this B-side (near) breakout hit in its review for their May 26, 1961 issue:   “Here the songster and the ork-chorus up the tempo slightly to a shuffle-beat-ballad pace.  Take your pick.  Both ends have the goods.”
  • The following year, Cash Box reported in their July 28, 1962 edition this brief news item:  “Sue Sandler, co-cleffer of Little Willie John’s ‘Until Again My Love‘ and ‘I Wish I Could Cry,’ excited with all the action on the artist’s 2 King releases.”

AUDIO LINK for “Wonderful One” by The Shondells

peaked at #116 on October 13, 1962 [King]

  • According to our old friend, mickey rat — “Almost certainly produced in Los Angeles by Johnny Otis … Songwriters on a couple of their other songs registered with [Library of Congress] were Shirlee Brooks, Jacqueline Scruggs, Rosemary Reeves, Beverly Simmons & Novella Simmons, so I’m guessing they were all members of the group.”
  • Coincidentally or not, “Wonderful One” was cited by Billboard as a “Regional Breakout” single in Los Angeles.
  • Billboard would review this single’s A-side in the July 21, 1962 edition — and it wasn’t “Wonderful One” (B-side breakout hit?) about which the reviewer had nothing to say.
  • Cash Box listed “Wonderful One” at the #42 spot on its “Singles – Looking Ahead” chart for the week ending September 15, 1962.
  • Forgotten Hits music blog says The Shondells (not to be confused with Tommy James’ backing group of the same name) are from Cincinnati — is this true?

AUDIO LINK for “Please Come Home for Christmas” by Charles Brown

peaked at #108? on December 22, 1962 [King]

  • Did Top40Weekly.com misfire with the inclusion of this stellar yuletide track — written by Charles Brown and Gene Redd — that has been covered by Willie Nelson, Aaron Neville, Johnny Adams, (“Little“) Johnny Taylor, Johnny & Edgar Winter,  Freddy Fender, William Bell, The Eagles, Martina McBride, and Bon Jovi, among others?  Billboard tells us this 45 peaked at #76 on January 6, 1962.  However, is it somehow possible this track came close to entering the Hot 100 later that same year close to Christmas?  As it turns out, yes!  Billboard‘s December 22, 1962 issue confirms that, indeed, “Come Home For Christmas” bubbled under at the #108 position.
  • That same Billboard edition also reported “Christmas” to be a “Regional Breakout” single in New Orleans, while one year prior. Billboard noted the song’s strong performance in the Philadelphia market.  The 1963 Christmas season would also find this track no less diminished in popularity, says Billboard, who would also peg this single in 1967 as one of its “Best Bets for Christmas” and then again in 1969.
  • The original 1960 release — which peaked at #21 on Billboard‘s R&B chart on December 31st that year — features another Christmas classic, Amos Milburn’s “Christmas (Comes But Once a Year),” on the flip side.  This 45 squeaked into Cash Box’s Top 100 chart (#96) for the week ending December 31, 1960. “Christmas” also made Cash Box‘s Top 50 R&B chart (#30) for the week ending December 24, 1960, and then again, even higher (#21), for the week ending January 6, 1962.
  • Chris Varias contributed a special piece to The Cincinnati Enquirer in 2017 about the enduring appeal of a classic Christmas song that was “born in Cincinnati” at King Studios — article features reminiscences from Don Henley and Cincinnati native, Nick Lachey, as well as music history from Cincinnati Public Library’s own, Brian Powers.
  • The Houston Chronicle‘s Rick Campbell wrote a humorous item in 2015 entitled, “‘Please Come Home For Christmas’:  A Holiday Song I Don’t Hate.”
  • Lake Charles, LA’s 92.9 (“The Lake”) offers up “The Story Behind ‘Please Come Home For Christmas” in which we learn the regional popularity of the song in a particular part of the Deep South:  “In 1960, King Records released ‘Please Come Home for Christmas’ and the song, for some reason, went nowhere nationally, but along our part of I-10, it became an instant classic.  Since 1960, radio stations all along the route from Houston to New Orleans have played the record every single Christmas.”

Lead-off track on this Indespensible Christmas LP

AUDIO LINK for “The Bossa Nova Watusi Twist” by Freddy King

peaked at #103 on Feb. 2, 1963 [Federal]

  • “Bossa Nova Watusi Twist” — a “Regional Breakout Single” in two large metro markets, Memphis-Nashville and Dallas-Fort Worth — was given a “Four-Star” rating in Billboard‘s January 12, 1963 edition.
  • Although there no musician credits in Ruppli’s King Labels sessionography, this song — recorded at Cincinnati’s King Studios on November 27, 1962 — no doubt includes the drumming work of legendary session musician, Philip Paul, who also played on the previous featured track by Charles Brown.
  • Small news item in the January 26, 1963 issue of Cash Box:  “With promo man Ralph Cox, the biggies to watch are “Seagrams” by The Vice-Roys (Bethlehem), “The Bossa Nova Watusi Twist” by Freddy King, Hank Ballard’s “The Rising Tide” and “Every Beat Of My Heart” by James Brown.”

AUDIO LINK for “Seagrams” by The Viceroys

peaked at #127 on March 30, 1963 [Bethlehem]

  • The fluke hit of 1958’s “Tequila” inspired a host of alcohol-themed instrumentals in its wake, including that same year’s more generic “Cerveza” (‘Boots Brown’ a.k.a., Shorty Rogers), as well as the brand-specific 1961’s “Bacardi” and “Seagrams” from the previous year.
  • As previously noted, 1960’s “Seagrams” by The Viceroys was issued on Bethlehem, a subsidiary label of King.  Seagrams Corporation, however, did not take kindly to the appropriation of its name and threatened to sue for trademark infringement, with some stations refusing to play a song named for a commercial product without being paid for advertising time.  A sheepish notice in Billboard’s  March 23, 1960 edition said, “We Goofed!” — more specifically:

“When this instrumental came to us, it was titled ‘Seagram’s.’  We missed the possible legal conflict with the Seagram’s trademark and also the policy at many radio stations of not playing a record with a commercial product name in its title.”] and indicated that “Seagrams” was now changed to “Seagreen.”

  • Worth noting that on page 22 of that same March 23, 1960 edition of Billboard  was this wink-wink news item:

    Just Call This a Real Loaded Idea

    SAN FRANCISCO— A novel record promotion originated by Bob Earl, San Francisco branch manager for King Records, has been picked up by the national record distributor and will be repeated in Cincinnati, Chicago and New York.

    Bethlehem’s new recording of “Seagram,” sung by the Vice-roys, prompted Earl to include a half pint of Seagram’s VO whiskey and a package of Viceroy cigarettes when delivery the disk, all wrapped up in gay “Mardi Gras” gift paper.  Uniformed messenger delivery personnel called upon local deejays in the four top r & b and rock and roll stations in San Francisco and Oakland — KSAN, KEWB, KDIA and KYA.

innocent mistake

AUDIO LINK for “Lonesome 7-7203” by Hawkshaw Hawkins

peaked at #108 on April 6, 1963 [King]

  • Just three days after this song’s release, notes West Virginia Public Broadcasting, Hawkins perished in a plane crash that also took the lives of fellow King recording artist, Cowboy Copas, as well as country superstar, Patsy Cline.
  • Justin Tubb, who wrote the song, recounts in this 1997 episode ofCountry Family Reunion” how he gave the song originally to Jean Shepard – Hawkshaw’s widow – who recorded it for Capitol (in whose vaults the song remains unissued).  Tubb points out that “Lonesome” strikes him as a “girl’s song” because “when a husband and wife break up, it’s usually the guy who has to leave, and the wife stays home and keeps the house and furniture.”
  • Billboard‘s review in their February 2, 1963 edition:  “A fine new weeper ballad.  Hawkshaw’s girl has walked out and he pleads with her to call him on his new phone.”
  • The biggest hit of Hawkins’ career, “Lonesome 7-7203” stayed on top of the Country chart for four weeks after his death.
  • The single’s flip side — titled (ironically, in hindsight) “Everything Has Changed” — was written by King A&R executive and producer, Ray “Starr” Pennington, who produced Hawkins’ final album, “one of the first country albums to feature both black and white session musicians,” as noted by Rocky 52.
  • Still trying to make sense of this 45Cat catalog record which indicates “Lonesome” to have been released (a) not only as a “split” single in January 1963 with “Seagram’s” by the Vice-Roys on the flip side [!] but also (b) issued with a different label on each side (i.e., King on the A-side, Bethlehem on the B-side).  For real?

AUDIO LINK for “The Greasy Spoon” by Hank Marr

peaked at #101 on January 18, 1964 [Federal]

  • Written by Hank Marr and Gene Redd, “Greasy Spoon” — which came within a hair of hitting Billboard‘s Hot 100 chart — was a “Regional Breakout” single in the Memphis-Nashville area, as reported in Billboard.
  • “Greasy Spoon” also hit the #68 spot on Cash Box‘s Top 100 Singles chart for the week ending January 11, 1964.
  • Billboard‘s August 26, 1972 edition noted that the “Greasy Spoon” single was one among many reissued by Starday-King in a news item entitled, “32 King Oldies Released; Many Are Classics.”
  • Randy McNutt in King Records of Cincinnati writes that “King groomed Marr as Bill Doggett’s successor,” also noting that later in life, “Marr became a music professor in Columbus.”

45 picture sleeve from 1964 — Netherlands

AUDIO LINK for “Again” by James Brown and the Famous Flames

peaked at #107 on April 25, 1964 [King]

  • Billboard‘s review in the April 11, 1964 edition makes direct reference to the fact that James Brown had (temporarily) left King for Mercury/Smash:  “Brown has a string of ’em on his former label and he’s got another romantic side here.  Tender reading of the standard that’s not in conflict with his other release.”
  • “Again” just squeaked onto Cash Box‘s “Singles – Looking Ahead” chart (#50) for the week ending April 25, 1964 — this same chart also includes one of Brown’s singles (his cover of Louis Jordan’s “Caldonia“) recorded for Smash.

“Again” included on rare South Korean edition of Prisoner of Love LP

AUDIO LINK for “Wee Wee Hours (of the Nite)” [B-side]
by James Brown & the Famous Flames

peaked at #125 on April 25, 1964 [King]

  • Billboard awarded this single four stars (i.e., “new singles with sufficient commercial potential in their respective categories to merit being stocked by dealers, one-stops and rack jobbers”) in its February 8, 1964 edition.
  • This full-page King ad of James Brown releases published in the previous week’s edition of Billboard (a) touts the new “live” version of “Please Please Please” [discussed above] and also (b) reveals that “Wee Wee Hours” ended up being yet another B-side breakout hit. (a James Brown original, by the way, not to be confused with Frank Sinatra’s 1955 classic, “In the Wee Small Hours“).

AUDIO LINK for “How Long Darling” [B-side]
by James Brown & the Famous Flames

peaked at #134 on June 6, 1964 [King]

  • Speaking of B-side breakout hits, “How Long Darling” is the B-side of “Again” — the single that was discussed mere moments ago.
  • Cash Box‘s April 18, 1964 edition provides this review — and once again speaks of Brown’s contractual relationship with King in the past tense:  “James Brown has been running extremely hot recently and this top-notch item, ‘Again,’ cut during his days with King should quickly develop into a best-seller.   The tune is a slow-moving, shuffle-beat pop-blues lament with a nostalgic while-back sound sold with authority by the songster.  On the flip, ‘How Long Darling,’ Brown dishes-up a funky, traditional, low-down r&b weeper with a contagious repeating riff.”

“How Long Darling” — included on this 1966 EP from the UK

AUDIO LINK for “So Long” by James Brown and the Famous Flames

peaked at #132 on June 27, 1964 [King]

  • “So Long” was pegged by Billboard as “Hot Pop” in the “Programming Specials” section of its June 6, 1964 edition.
  • Cash Box‘s review in their June 6, 1964 issue:  “The chanter might well do Top 100 business with this hard-driving full ork-backed pop-r&b teen-angled danceable weeper cut during his days with King.  Loads of potential here.”
  • “So Long” also spent two consecutive weeks on Cash Box‘s “Singles – Looking Ahead” chart (#48 and #50) before dropping off altogether at the end of June.

“So Long” — included on this 1965 EP from the UK

Silver Spoon” [B-side?] by Hank Marr

peaked at #134 on March 27, 1965 [Federal]

[streaming audio not yet available]

“Silver Spoon” included on this 1965 King LP

Tears of Joy” by Vicki Anderson

peaked at #131 on September 23, 1967 [King]

[streaming audio not yet available]

  • Cash Box‘s review of Anderson’s version of “Tears of Joy” — written by Lowman Pauling for The ‘5’ Royales — was included in their July 15, 1967 issue:  “Anderson vocalizes nicely on this shuffling, soul-filled romance ode.  Bears watching.”
  • “Tears of Joy” hit the #46 spot on Record World‘s Top 50 R&B chart, as reported in the September 30, 1967 issue.  That same issue also listed “Tears of Joy” at the #40 position on their “Singles Coming Up” chart, Record World‘s equivalent of Billboard‘s “Bubbling Under” chart.  Record World also reported the previous month that the single was “selling well in Atlanta.”
  • Here is a link to King’s half-page ad for “Tears of Joy” that was published in Billboard‘s September 2, 1967 edition.

“Tears of Joy” included on this 1968 King Compilation LP

AUDIO LINK for “You’ve Got to Change Your Mind
by Bobby Byrd & James Brown

peaked at #102 on March 16, 1968 [King]

  • “You’ve Got Change Your Mind” – which came this close to making the Hot 100 – was predicted by Billboard to reach the Top 20 of the Top Selling R&B Singles chart, as noted in their February 10, 1968 issue:  “Byrd and Brown join forces in this groovy rock ballad that’s given a wailing, soulful vocal workout.  Loaded with top sales potential for both pop and r&b markets.  FLIP:  ‘I’ll Lose My Mind‘.”
  • Cash Box posted this review in the issue for the week ending February 10, 1968:  “Outstanding pairing of James Brown and Bobby Byrd makes for some grand spinning material for r&b deejays.  The team grooves slowly on a [indecipherable adjective] ballad that shows strength without speed through powerful vocals and throbbing orchestral backing.  Cute lyrical snatches should stir up plenty of excitement for the side.”
  • “Change Your Mind” — a “Regional Breakout” single in the Washington DC market — also peaked at the #47 position (for two consecutive weeks), as reported in Billboard.
  • “Change Your Mind” also hit the #93 spot on Record World‘s 100 Top Pops chart for the week ending February 24, 1968.
  • Written by Brown and Byrd along with Gene Redd and Ron Lenhoff (with an arrangement by Sammy Lowe), “Change Your Mind” features Bernard Purdie on drums, Al Lucas on bass, Carl Lynch & Wallace Richardson on guitars, and Alfred “Pee Wee” Ellis & St. Clair Pinckney on tenor saxophones.

“Change Your Mind” b/w “Lose My Mind — 45 from Netherlands

AUDIO LINK for “Shhhhhhhh (For A Little While)”
by James Brown & the Famous Flames

peaked at #102 on June 15, 1968 [King]

  • “Shhhhhhhh (For A Little While)” was part of Billboard‘s “Special Merit Spotlight” (i.e., new singles deserving special attention of programmers and dealers) in its May 4, 1968 edition:  “Raunchy instrumental is given a powerhouse workout by the Brown band.”
  • Written by James Brown and Bud Hobgood, “Shhhhhhhh” was released around the time Brown and his band toured Vietnam and the Far East, as reported by Ed Ochs in his “Soul Sauce” column for Billboard shortly after their return:  “Brown opens the National Soul Festival at Yankee Stadium, Friday as his three singles, ‘Licking Stick,’ ‘America Is My Home‘ and ‘Shhhhhhhh (For A Little While)’ work their way up the charts.”
  • The previous month, Ed Ochs filed this report in the same Billboard column:  “James Brown, everybody’s ‘Soul Brother No. 1,’ will trail his ‘I Got the Feelin’‘ giant with ‘America Is My Home,’ a song that echoes one man’s patriotism, which James already proved with his words to thousands on TV in Washington and in Boston last month.  Another single, ‘Lickin’ Stick,’ will also be released and will join ‘Shhhhhhhh (For A Little While),’ an instrumental with James on the organ, and ‘You’ve Got the Power‘ with [Vicki] Anderson — all on King Records.”
  • “Shhhhhhhh” hit the lucky #13 spot on Cash Box‘s “Singles – Looking Ahead” chart for the week ending June 15, 1968.
  • King’s ad in the June 1, 1968 issue of Record World predicted this 45 (along with “Lickin’ Stick”) to be a US #1 record.

B-side in Argentina (left) and Brazil (right)

AUDIO LINK for “There Was a Time” by The Dapps Featuring Alfred Ellis

peaked at #103 on July 27, 1968 [King]

  • “There Was a Time” reached the #27 position on Billboard‘s Best Selling Rhythm and Blues Singles chart, the week prior to November 2, 1968.
  • This 45 also appears to have peaked at #45 on Cash Box‘s Top 50 R&B singles for the week ending July 27, 1968.
  • Cash Box‘s review in their June 15, 1968 edition:  “James Brown produced this has-to-be-heard instrumental reworking of his while back hit.  Albert [sic] Ellis’ hard driving sax stirs this side to a frenzy sure to make it a disko favorite.  Should produce good sales.  Flip: ‘The Rabbit Got The Gun‘.”

AUDIO LINK for “Soul Pride (Pt1)” by James Brown

peaked at #117 on April 5, 1969 [King]

  • Co-written and arranged by Alfred “Pee Wee” Ellis, “Soul Pride (Pts. 1 & 2)” features the musicianship of Clyde Stubblefield (drums), Alfonzo Kellum (bass), Jimmy Nolen (guitar), Alfred Ellis (alto sax), Maceo Parker (tenor sax), Fred Wesley (trombone), and Richard “Kush” Griffith & Waymon Reed (trumpets).
  • Cash Box‘s review in their March 8, 1969 issue:  “Booming instrumental side with the brash James Brown brass and a terrific bass showing make the songster’s new side a solid programming choice with blues and pop deejays.  Splendid dance side here that should see the same good response his instrumental of last year met.”
  • “Soul Pride” reached the #38 position on Billboard‘s Best Selling Rhythm and Blues Singles in their April 12, 1969 edition.
  • “Soul Pride” just made it into the bottom reaches of Cash Box‘s Top 100 Singles chart in late March and early April 1969.
  • Cash Box‘s March 8, 1969 issue would also feature this exciting news flash:

King’s ‘March Is James Brown Month’ Label’s Strongest Drive Ever

NEW YORK — King Records has allocated the largest promotional and merchandising budget in its history for a special “March Is James Brown Month Of Soul” campaign.

Col. Jim Wilson, Starday-King Vice President of Marketing, said that the national program will extend through the month of March and is designed to further “accentuate the all-market appeal and widespread saleability” of James Brown recorded product at the consumer level.

Special deejay kits which include an exclusive “not-for-sale-radio programming only” EP album along with James Brown spot intros and bio material have gone forward to radio stations.

A deluxe packaged Brown album, Say It Loud, I’m Black And I’m Proud, featuring the title song along with other James Brown chartsellers hits such as “Lickin’ Stick” and “Good-Bye My Love” has been prepared for immediate release to coincide with the “Month of Soul” campaign.

In addition to the current top-writing chart hit single, “Give It Up Or Turnit A Loose,” a new instrumental single “Soul Pride” featuring James Brown playing and conducting his band has just been shipped to radio stations and all King distributors.

Additionally, attractive James Brown calendar posters, cut-out floor displays, complete album and singles catalogs and other point-of-sale dealer aids are available at all King distributors.

Network TV appearances during March, including the Hollywood Palace Show and Johnny Carson’s Tonight Show, plus an intensified ad campaign will add further impetus to recognition of the month-long drive.

1969 picture sleeve — France

AUDIO LINK for “Things Got to Get Better” by Marva Whitney

peaked at #110 on August 23, 1969 [King]

  • Written by Alfred “Pee Wee” Ellis and James Brown, “Things Got to Get Better (Get Together)” also reached the #22 position on Billboard‘s Soul Singles chart on September 6, 1969.
  • Transition Alert!  You can see for yourself the change in terminology from “R&B” to “Soul” by examining the same chart from just a few weeks before, where the Marva Whitney 45 can be found at the #49 spot on Billboard‘s “Rhythm and Blues Singles” chart, as of August 16, 1969.  By the following week (when the 45 has inched up to #48), that same chart has been renamed the “Soul Singles” chart for the week ending August 23, 1969.
  • “Things Got to Get Better” reached #11 on Cash Box‘s “Singles – Looking Ahead” chart for the week ending July 26, 1969.  That same week, Record World listed this 45 at the #49 position on its “Singles Coming Up” chart.

“Things Got to Get Better” = Kickoff track on 1969 live album

AUDIO LINK for “From Atlanta to Goodbye” by The Manhattans

peaked at #113 on October 7, 1970 [DeLuxe]

  • Ed Ochs reported the following King/DeLuxe news in his “Soul Sauce” column published in the September 19, 1970 edition:

“New James Brown album titled Sex Machine and featuring hits like ‘Mother Popcorn,’ ‘I Got the Feeling‘ and ‘Lickin’ Stick.’  And due this week is James’ new single, ‘Super Bad.’  On DeLuxe, The Manhattans’ ‘From Atlanta to Goodbye’ and Bobby Wade’s ‘Blind Over You.'”

  • Related news item entitled “Gil Music Into Soul” from Billboard‘s October 17, 1970 edition:

“Gil Music, headed by veteran publisher George Pincus noted for easy listening hits such as ‘A Taste of Honey’ and ‘Calcutta,’ is invading the soul music field.  The firm is scoring with disks by Carolyn Franklin on RCA Records, ‘All I Want to Be Is Your Woman’; Little Richard on Reprise Records, ‘I Saw Her Standing There,’ and the Manhattans on DeLuxe Records, ‘From Atlanta to Goodbye.'”

  • “From Atlanta to Goodbye” entered Billboard‘s Top 50 Soul Singles chart at the #48 position on October 31, 1970.
  • “From Atlanta to Goodbye” also reached the #7 position on Cash Box‘s “Singles – Looking Ahead” chart on October 10, 1970, while Record World listed the song at the #12 spot on its Singles Coming Up chart.

AUDIO LINK for “Hey America” by James Brown

peaked at #105 on December 12, 1970 [King]

  • Co-written by Nat Jones and Addie Williams (Jones), “Hey America” was predicted by Billboard to reach the Pop Top 60 in their December 12, 1970Spotlightsingle review:  “Brown swings back to his message lyrics and this one is set to a driving rock beat loaded with Hot 100 and Soul chart potency.  Much of the potential of his recent ‘Super Bad’.”
  • “Hey America” reached #27 on Cash Box‘s “Singles – Looking Ahead” chart for the week ending December 26, 1970.
  • “Hey America” also reached the #43 position of Record World‘s R&B Singles chart for the week ending December 26, 1970.
  • Billboard reviewed the Hey America Christmas album (cover by Dan Quest) exactly one week later:  “Here is a delightful blend of Christmas and Soul, packaged the way only Soul Brother No. [1] could do it.  Into his inimitable soul format, Brown has woven messages of peace, love and happiness that are applicable, not only at Christmas, but throughout the year.  The material here is all original, written by Nat Jones.”
  • Billboard also reviewed in that same issue Bobby Byrd’s King album, I Need Help,  (two spaces to the left of Hey America):  “From the James Brown Show and the original Famous Flames comes singer-organist Bobby Byrd, who broke the soul market wide open with his ‘I Need Help‘ hit.  Byrd sounds like he’s in for a big run as a top soul attraction with a distinct, but popular brand of funk to make his ‘You Got to Change Your Mind,’ ‘You Got to Have a Job‘ and ‘Hangups We Don’t Need‘ successive hits.”

When’s the Last time you’ve seen a King 45 picture sleeve?

Everyone Sing along  — C’mon, it’s good for you

“Hey America” world tour

Belgium — 1971                                             France — 1971

Germany — 1971                                             Italy — 1972

Lebanon — 1972                                               Portugal — 1971

Jamaica — 1970                                              Turkey — 1972

AUDIO LINK for “I Know You Got Soul” by Bobby Byrd

peaked at #117 on June 26, 1971 [King]

  • Co-written with Charles Bobbitt and James Brown, “I Know You Got Soul” — predicted by Billboard on May 15. 1971 “to reach the Soul Singles chart” — in fact, made it all the way to #30 on Billboard‘s Soul chart on July 10, 1971.
  • “I Know You Got Soul” also reached the #24 position on Cash Box‘s Top 60 R&B chart on July 24, 1971 (not to mention the #23 spot on their “Singles – Looking Ahead” chart in that same issue).
  • Thanks to 45Cat’s RogerFoster for providing this review of “I Know You Got Soul” b/w “If You Don’t Work, You Don’t Eat” from the June 23, 1971 edition of UK’s Blues and Soul:  “More of that infectious James Brown beat, with the music being supplied by the man’s own band, the J.B.’s.  In fact, both sides have been hits for Bobby in the States and they are both ultra-funky dance items in the ‘I Need Help’ vein.  If anything, the top [i.e., A] side is stronger than ‘I Need Help’.  The rhythm, as always, is the dominant factor and this is something that James specializes in.  A big R&B record that won’t go ‘pop’.”

A-side of 4-song UK 12-inch release — 1988

AUDIO LINK for “A Million to One” by The Manhattans

peaked at #114 on May 27, 1972 [DeLuxe]

  • “A Million to One” is also the title track of their second album for Starday-King released on the newly-revived DeLuxe subsidiary label.
  • Ed Ochs would report on March 11, 1972 in his “Soul Sauce” column for Billboard that “Starday King has landed Ben E. King and the Vibrations.”  Also, this just in: “The Manhattans’ ‘A Million to One’ is still strong in the song”

Part of full-page King ad (pg. 43) — 12/11/71 issue of Record World

Click on image above to view in high resolution

AUDIO LINK for “One Life to Love” by The Manhattans

peaked at #102 on October 21, 1972 [DeLuxe]

  • “One Life to Love” reached the #68 position on Record World‘s Top 100 Singles chart for the week ending November 18, 1972.
  • Cash Box‘s November 22, 1980 issue includes a lengthy biographical profile most likely underwritten by Columbia in celebration of their first gold single for “Big Red” after leaving Starday-King:

“Early in 1972, The Manhattans recorded ‘A Million To One,’ written by Teddy Randazzo, whose publishing was handled by Hermi Hanlin.  The group was looking for new management at the time, and after ‘Million To One’ charted, Hanlin took over.  The group soon found itself in King’s studio in Macon, Ga. [i.e., Bobby Smith Studios] cutting its second Deluxe LP, A Million To One, with Bob Riley producing.  It resulted in another big hit with the single ‘One Life To Live,’ written by Lovett.  Although its records were charting regularly in the R&B field, pop success remained too elusive.  ‘One Life To Live’ caught the attention of Columbia’s Mickey Eichner, and as King Records was in its death throes, he brought the group to Columbia late in 1972.”

  • Elsewhere in that same profile, longtime friend, Rob Riley, looks back on a long career:

“The Manhattans were very much into what I commonly refer to as “my kind of music,” the ballad — filled with that old street corner churchy harmony.  I had listened to them for years on Jo Evans’ Carnival Records.  But in 1972, there we were, face-to-face in the Starday-King‘s Records office in Nashville, Tenn.

My normal function with King had been strictly national R&B promotion.  That particular morning, Hal Neely, the president, had requested that I make certain I was in the city for I was to meet with The Manhattans and their manager, Hermi Hanlin.

I walked in expecting to meet another cocky group with a manager full of ‘why nots’ and ‘how comes.’  My notes were ready to cover the last single release, ‘A Million to One,’ the ‘why nots’ and ‘how comes.’  Instead, here sat five guys smiling and an oval-faced jovial female who immediately said, ‘Okay, Bob Riley, when do we start cutting our first record?’  It was a challenge – more in jest.  Although I had produced some Joe Henderson, Joe Tex, and a couple of Midnighter sides along the way, I thought what kind of joke is this?  Me, Bob Riley producing The Manhattans!

But this is what Hal and Hermi had agreed upon prior to my arrival.  Immediately, it was a warm and open thing which seemed to flow among the seven of us — the five Manhattans, Hermi and myself.  We actually forgot Hal was there for a few minutes as we talking about many things, mostly outside the realm of music.

It was agreed that I was to take the group down to Macon, Ga. to King’s other studio which was handled by Bobby Smith, the actual discoverer of Otis Redding.  The session became a team effort with the greater position of the input flowing around through Blue, Hermi and myself.  The session produced a good album, out of which came one hit song, ‘One Life to Live.’

AUDIO LINK for “Back Up” by The Manhattans

peaked at #107 on February 24, 1973 [DeLuxe]

  • Julian Coleman, in his “Soul Sauce” column for Billboard, picked “Back Up” as one of the “Picks and Plays” for the week of January 6, 1973.
  • “Back Up” entered Billboard‘s Soul Singles chart at #46 on January 13, 1973, climbed up to #41 the following week, made it to #24 by February 10, 1973, and then inched up to #20 the week after (there the chart trail goes cold).
  • “Back Up” peaked at #18 on Cash Box‘s R&B Top 65 chart on March 3, 1973.
  • After The Manhattans signed with Columbia in 1973, Starday-King released two more singles on DeLuxe, with the final one — “Do You Ever” — reviewed in the August 11, 1973 edition of Record World, who deemed it a “Hit of the Week”:  “Group established themselves as crossover giants with their last outing [Columbia’s] ‘There’s No Me Without You.’  Their old label releases this ballad and the outcome could spell h-i-t.  We’ll take Manhattans!”

Other 1/2 of Dec 71 Record Mirror ad — new Starday-King subsidiary, Mpingo

Click on image above to view in ultra-high resolution

  • Review of Mpingo’s debut 45 — “Nobody” by Hodges, James, Smith & Crawford — in the January 1, 1972 issue of Record World:  “Mickey Stevenson’s new label has a super strong soul side as its first release.  Powerful vocal work by new girl group gives it real hit potential.  Watch out!”

H  O  N  O  R  A  B  L  E      M  E  N  T  I  O  N

AUDIO LINK for “60 Minute Man” by The Untouchables

peaked at #104 on October 7, 1960 [Madison]

“Here’s a new version of ‘Sixty Minute Man’ that swings even more than the original Dominoes record did.  It could be a hit again.”

AUDIO LINK for “Twistin’ Fever” [B-side?] by The Marcels

peaked at #103 on March 1, 1962 [Colpix]

  • “Twistin’ Fever” was a “Regional Breakout” single in the Hartford area, as reported in Billboard‘s March 31, 1962 edition.
  • Cash Box‘s 45 review in their April 7, 1962 edition assumes “Twistin’ Fever” to be the B-side:
THE MARCELS (Colpix 629) 

(B+) “FOOTPRINTS IN THE SAND”
(2:19) [Wemar BMI — 
Elias, Reid, Richards] Guys who put 
“Blue Moon” and some other standards
on the teen map with their 
whacky chant style offer an exciting 
teen sound here. Lead and fellow 
songsters do a very slick job on the 
first-rate item, and they’re supported 
by a strong Latinish instrumental 
sound. Can be another chart go for the 
team. 

(B-f) “TWISTIN’ FEVER” (2:05) 
[St. Louis BMI — Blackwell, 
Scott] Old ditty gets a sly, grow-on-you 
twist reading. Should also be eyed.

AUDIO LINK for “Fever” by Alvin Robinson

peaked at #108 on September 19, 1964 [Red Bird]

  • Alvin Robinson’s version of the King classic was a “Regional Breakout” single in Baltimore, Cleveland, Detroit, Atlanta, Chicago, Charlotte & Houston, as reported in Billboard‘s September 19, 1964 edition.

AUDIO LINK for “Sixty Minute Man” by Trammps

peaked at #108 on October 7, 1972 [Buddah]

  • Trammps’ proto-soul-flavored version of “Sixty Minute Man” was a Pop singles pick in Billboard‘s September 23, 1972 edition.
  • In February of 1975, the single would reach the Top 40 in the UK.

AUDIO LINK for “Let’s Go Let’s Go Let’s Go” by The Chambers Brothers

peaked at #106 on March 16, 1974 [Avco]

B  O  N  U  S      B  U  B  B  L  I  N  G      U  N  D  E  R :

F R A T E R N I T Y   &   L O N N I E   M A C K

Here are the 45s that “bubbled under” Billboard‘s Hot 100 chart from Fraternity, Cincinnati’s other notable “indie” label from the original roots rock era.  Founded by Harry Carlson in 1954, Fraternity was a “one-man operation” that did business out of Carlson’s office/residence in Cincinnati’s old Sheraton Gibson Hotel.  Carlson sold Fraternity in 1975 to Counterpart RecordsShad O’Shea, who later sold Fraternity to Victor Piagneri in 2008 “with the promise that he would keep the labels active,” according to Big Boppa‘s Fraternity labels and company sleeves website.

AUDIO LINK for “Book Of Love” by Bobby Bare (Fraternity 878)

peaked at #106 on May 29, 1961

  • Billboard‘s review in their April 10, 1961 edition:  “A big, big ballad gets a mighty convincing vocal from Bare over a soaring string and choral group accompaniment   Flip is ‘Lorena‘.”
  • “Book of Love” – a 45 that enjoyed release in Australia, also somehow ended up (licensed?) that same year on a Swedish EP, whose wild cover image makes promises that the music in no way can come close to delivering.

1961 EP — Sweden

AUDIO LINK for “What Kind Of Girl (Do You Think I Am)” by The Charmaines

peaked at #117 on September 18, 1961 (Fraternity 880)

“The Charmaines were a soul girl trio.  Sisters Marian (who used the name Gigi on some of the records) and Jerri Jackson had sung together, but at the start of the girl group sound in 1959/60,  Marian started a trio with Irene Vinegar and Dee Watkins.  The group was signed to Fraternity records and started recording at King studios.  They released two 45s on Fraternity, with the second one, “What Kind Of Girl” being their highest charting record, although only making it to #117 in the Billboard [Bubbling Under] charts.  They had a one shot 45 on Dot before returning to Fraternity.

While recording their own 45s, the sessions included other local musicians like Kenny Smith and most notably, Lonnie Mack, who got his big break thanks to a Charnaines session that finished early, allowing him time to record ‘Memphis.’.[which peaked at #12 on Billboard‘s R&B Singles chart]”

THE CHARMAINES 
(Fraternity 880) 

(B+) “WHAT KIND OF GIRL 
(Do You Think I Am)” 
(2:22) [B. F. Wood ASCAP— Seneca, 
Steward] Gals display lots of  
rhythmic-rock polish, and are backed 
by an infectious combo arrangement. 
Upbeat sound that might make the 
chart grade. 

(B-h) “ALL YOU GOTTA DO” 
(2:14) [Dorsey ASCAP — 
Starr, Kahn] The larks move quickly 
again, and come-up with more catchy 
teen doings.

Fraternity Recordings — Ace UK anthology (2019)

AUDIO LINK for “Where There’s A Will” [B-side] by Lonnie Mack

peaked at #113 on October 30, 1963 (Fraternity 918)

  • The Charmaines provide backing vocals on “Where There’s a Will” as well as the flip side, “Baby What’s Wrong.”  According to PragueFrank, these two sides were recorded at the same 1963 King Studios session as “Wham!” and “Suzie-Q,” where Lonnie Mack was assisted by Wayne Bullock [bass], Ron Grayson [drums], Irv Rusetto [sax], and Marv Lieberman [sax], with Carl Edmondson serving as producer.
  • 45Cat’s Juke Jules points to the 1959 recording by The Five Blind Boys (Vee Jay) as the inspiration for Mack’s version.
  • “Where There’s a Will” also reached #27 on Cash Box‘s Singles – Looking Ahead chart for the week ending December 28, 1963.
  • Billboard’s November 9, 1963 “Pop Spotlight” review tags “Where There’s a Will,” however, as the B-side:  “The ‘Memphis’ man, Lonnie Mack, enters the singer’s ring on this side culled from this current LP,  [‘Baby What’s Wrong‘] is a Jimmy Reed blues that has strong sell and swing.  The flip is ‘Where There’s a Will’.”
  • Gibson Guitars relays this amusing related anecdote in a tribute piece entitled “Unsung Guitar Hero — Lonnie Mack:  “Mack’s staggering soulfulness is clearly on display on ballads like ‘I’ll Keep You Happy,’ ‘Why,’ and ‘Where There’s a Will There’s a Way’—Lonnie’s third Fraternity single and a tune that received airplay on black radio stations, including one in Birmingham, Alabama, until Lonnie arrived one day for an interview and revealed he was white.”
  • “Baby What’s Wrong” (the A-side) peaked at #93 on Billboard‘s Hot 100 chart.

1964 — Australia (“A Fraternity Recording from U.S.A.”)

AUDIO LINK for “Lonnie on the Move” by Lonnie Mack

peaked at March 7, 1964 (Fraternity 920)

  • Cash Box‘s singles review in their February 15, 1964 issue:  “The versatile vocalist-instrumentalist can get back in the chart swing-of-things with his newest for Fraternity.  It’s a frantic, hard-driving all-instrumental affair, tabbed ‘Lonnie On The Move,’ that can go the ‘Memphis’-‘Wham!’ smash route.  The easy-on-the-ears beat-ballad romantic shuffler,[Ray Pennington’s] ‘Say Something Nice To Me‘ displays Lonnie’s winning vocal way.”
  • Cash Box‘s March 7, 1964 edition reported that “Lonnie on the Move” was in a group of 45s that were “going strongly” with “juke box ops [operators]” even though “not on Cash Box‘s Top 100″ — also listed at #41 on Cash Box‘s Singles – Looking Ahead chart.that same week.
  • According to Led Zeppelin biographer, Mick Wall, prior to Zep’s first ever rehearsal, Jimmy Page played for John Bonham “a single called ‘Lonnie on the Move’.  It’s like ‘Turn On Your Lovelight‘ [by Bobby Bland] as an instrumental, and it’s got this drumming that’s really super hooligan [and] I said, ‘This is the kind of angle I’m coming in at’.”
  • “Lonnie on the Move” has been part of Jeff Beck’s live repertoire in recent years, as these YouTube performance clips indicate.
  • The YouTube contributor who uploaded the above audio clip indicates the vocal contributions of The Charmaines.

1970 B-side on the short-lived (and mysterious) Buccaneer label

AUDIO LINK for “I’ve Had It” by Lonnie Mack

peaked at #128 on May 2, 1964 (Fraternity 925)

  • Billboard cited “I’ve Had It” to be a Regional Breakout single in Cincinnati, as reported in their May 9, 1964 edition.
  • Originally recorded by The Bell Notes in 1959 [#6 Pop & #19 R&B], “I’ve Had It” has also been paid tribute by Fanny, and Alex Chilton.
  • According to PragueFrank, the early 1964 recording session that produced “Lonnie on the Move,” “I’ve Had It,” “From Me to You” and four other songs was the first time Mack had recorded anywhere other than King Studios — in this case, RCA Victor Studio in Nashville.
  • “I’ve Had It’ reached #34 on Cash Box‘s Singles – Looking Ahead chart for the week ending May 16, 1964.
  • Cash Box‘s June 6, 1964 edition reported that “I’ve Had It” was “going strongly” with “juke box ops [operators]” even though “not on Cash Box‘s Top 100″ chart.

1964 single – Canada

AUDIO LINK for “A Public Execution” by Mouse

peaked at #121 on February 26, 1966 (Fraternity 956)

  • Record World‘s review in their February 19, 1966 issue as a “four-star” singles pick:  “Well done protest type song.  Mouse will get the cheese with.  Lyrics capture imagination.”
  • “A Public Execution” entered Cash Box‘s Top 50 Singles – Looking Ahead” chart at the #50 position on March 12, 1966 and reached the #27 spot two weeks later.
  • “Execution” also reached #5 on Record World‘s “Singles Coming Up” chart for the week ending March 5, 1966.
  • Mouse is short for Mouse & the Traps, garage rockers from Tyler, Texas.
  • “Public Execution” enjoyed a second life thanks to Lenny Kaye’s decision to include the recording on the original 2-LP Nuggets garage rock retrospective released in 1972 (reissued in 1976 on Sire before getting the 4-CD box set treatment in 1998).

AUDIO LINK for “Heart” by 2 of Clubs

peaked at #125 on October 8, 1966 (Fraternity 972)

“Linda is from Cincinnati and I’m from Covington, Kentucky, just across the Ohio River,” says Patti.  “There was at the time a very popular nightspot called Guys & Dolls.  Linda and I each worked there, but not together at first. Singing at Guys & Dolls was my first paying job.  Before that I performed anywhere a band was willing to let me get up and sing.  Some were sort of bad news places, and at first I wasn’t even old enough to be in them.  Ben Kraft, who owned Guys & Dolls, heard about me from people who’d seen me perform. He came to listen to me, liked what he heard and hired me. At some point, it was discovered that Linda’s voice and mine blended together really well, and we decided to become a duo.  Linda was married to Carl Edmondson, who headed up the house band.”

  • One 45Cat contributor reports that this debut 45 was a “sizeable hit in the Albany, NY market (#2), held out of the top by The Royal Guardsmen” and then asks “where else did this do better locally than nationally?”  Answer:  Cincinnati, where “Heart” was a Regional Breakout single, as reported in the October 15, 1966 issue of Billboard.
  • Spectropop also reports that “Heart” was recorded at King Studios and “reached the Top 10 in places like Chicago.”
  • Billboard‘s November 19, 1966 edition found “Heart” included on its “Spotlight” list of 45s “predicted to reach the Hot 100.”
  • “Heart” also reached #21 on Cash Box‘s Singles – Looking Ahead chart, as well as #22 on Record World‘s Singles Look Up chart in October of 1966.

Debut 45 — Germany

AUDIO LINK for “How Long Has It Been” by The Casinos

peaked at #121 on June 17, 1967 (Fraternity 987)

  • The Casinos started out as The Legends, a teenage doo wop group whose members had attended Woodward High School, according to White Doo-Wop Collector music history blog.
  • Billboard‘s review in their June 17, 1967 edition:  “The well-blended vocal group should ride high on the charts with this top rhythm ballad.  Has the feel and sales appeal of their big one ‘Then You Can Tell Me Goodbye.’  Powerful entry.  Flip: ‘Forever And a Day’.”
  • Excerpt from Record World article entitled, “Fraternity’s Big Comeback Story,” published in their February 4, 1967 issue:

“The show business fraternity has always loved a comeback story, and none is being more warmly received today than that of Harry Carlson and his Cincinnati-based Fraternity Records.

Currently racking up hefty sales on two singles, ‘Walk Tall,’ by the 2 of Clubs, and ‘Then You Can Tell Me Goodbye,’ by The Casinos, Carlson told Record World last week that it has been about 10 years since his label had a real hit:  Jimmy Dorsey’s ‘So Rare.’  Now, however, things are really swinging for Fraternity and Carlson has just singed four new artists:  Danny Scholl, Cal Starr, Kitty West and Chris St. John.

‘All our artists are signed to long-term contracts,’ noted Carlson.
Furthermore, the company is about to bring out four new albums featuring the Casinos, who have signed with Premier Talent, the 2 of Clubs, Lonnie Mack and Cal Starr.  ‘This is the first time we’ve had in release more than one LP at a time,’ Carlson further revealed.

Carlson attributes much of the success they are having with ‘Then You Can Tell Me Goodbye’ to the Acuff-Rose publishers of the John D. Loudermilk tune.  ‘They’ve given me greater support than anyone else in this business ever got.  For example, on one Friday, there were three areas in which I needed help; on Monday, Acuff-Rose sent promo men into the area.’

The song had been discovered by producer Glen Hughes (following a few recordings of it that failed to click) who then started using it in clubs.”

  • Carlson, noted Shad O’Shea in Greg Evans’ history of “The Cincinnati Sound” for Cincinnati Magazine, “really was loved by the entire record industry worldwide.”  Glen Hughes of The Casinos (and later Glen Hughes Promotion out of Nashville) enthuses unabashedly that Carlson “was one of the sweetest, kindest men in the world, like a father to everyone who recorded for him.  You hear about musicians in those days didn’t receive all their royalties?  I honestly think Harry overpaid us — he was worried about us not getting our fair share.”
  • Glen Hughes reveals in that same 1986 Cincinnati Magazine piece how their Top Ten hit was a spontaneous decision in the studio (like “Tequilaby The Champs)  when confronted with time to fill at the group’s King recording session:

“I had originally heard ‘They You Can Tell Me Goodbye’ on a Nashville station.  It was sung by Johnny Nash, and we had no idea of recording it — we just thought it would be a good song to play in clubs.  We kept getting a tremendous response from it, and requests for it.

One day we were recording a jingle for WSAI at King, and we had some time left on the session, so we cut ‘Goodbye.’  We took it to Harry Carlson and he said ‘I believe that’s a hit.’  The song, released in December of 1966, was a hit, reaching number four on the Billboard charts and selling 1.3 million copies.  The group which contained as many as nine members, mostly old neighborhood friends from Over-the-Rhine, began touring the country, spurred on by the success of the single.”

“How Long Has It Been” — not included on The Casinos’ 1967 LP

AUDIO LINK for “Sometimes You Just Can’t Win” by Mouse and the Traps

peaked at #125 on June 8, 1968 (Fraternity 1005)

  • Tragedy befell the band around the time they were promoting this single, as Billboard reported in their April 27, 1968 edition in an ironic news item entitled, “Ya Jes’ Can’t Always Win:

“CINCINNATI—The Mouse and the Traps, who recently scored handily with their ‘L.O.V.E.‘ single on Harry Carlson’s Fraternity label, suffered the loss of some $9,000 in equipment recently when their car and trailer went off the road and overturned near Jackson, Tenn., while on the hop from Texarkana, Ark. to Louisville.  With borrowed instruments, the group appeared on the ‘Upbeat’ TV-er in Cleveland the next day.  The boys feel the loss incurred in the accident ties in neatly with their latest Fraternity release, ‘Sometimes You Just Can’t Win,’ which last week received its first big play in the Midwest area.”

  • Cash Box‘s review in their April 27, 1968 issue:  “Coming off a noise-maker with ‘L.O.V.E.’ the group carries on in a heavy pop ballad with arrangements that highlight a fine lead vocal.  Flip:  ‘Cryin’ Inside‘.”
  • Billboard‘s June 1, 1968 edition reports “the platter showing exceptionally well in Louisville; Columbus, Ohio, and Dallas” — those same three areas cited in a  Record World May 18, 1968 news item.

US picture sleeve — 1967

Singing aloud is therapeutic, you know — rear sleeve

Primary source for Billboard “Bubbling Under” chart info:  Top40Weekly.com

US Hot 100 Bubbling Under

Friendly Reminder:  Zero to 180 best viewed on a big screen – not smart phone

Birth of The JB’s @ King Records

The two-volume King Labels recording sessions discography (i.e., “the red books“) compiled by Michael Ruppli with assistance from Bill Daniels, can be frustratingly incomplete, especially with regard to musician credits.  Although this reference source is a great starting point, scholars of James Brown funk are forced to do quite a bit of digging on their own in order to piece together a more complete history.

Your ears might tell you, for instance, that William “Bootsy” Collins played bass on “Licking Stick,” a song first released as a two-part King 45 in May, 1968.

> AUDIO LINK for “Licking Stick Licking Stick (Pt. 1)”
James Brown and the Famous Flames (1968)

This classic funk bass riff, you might be startled to learn, was played by future Nashville session musician, Tim Drummond — one of six musicians who accompanied Mr. Brown on a Vietnam tour that same year.  “Licking Stick” would also be issued as a single track on 1969’s Say It Loud I’m Black And I’m Proud album.

Spain & Germany — 1968                               France — 1968       

Musician credits, however, are absent on the original gatefold LP release — a common occurrence with King.  This kind of information would not become more widely known until decades later, when these recordings were reissued on compact disc, with some of the better anthologies including detailed liner notes.

Say It Loud‘s barren back cover, information-wise

Bootsy first appears in Ruppli’s King Records discography — along with his brother Phelps “Catfish” Collins — as part of the studio backing band on an undated 1969 session (possibly July) for Hank Ballard‘s “Butter Your Popcorn:

> AUDIO LINK for “Butter Your Popcorn
Hank Ballard (1969)

According to Ruppli’s session notes —

Hank Ballard:  Vocals
Don Martin:  Drums
William Collins:  Bass
Phelps Collins:  Guitar
Clayton Garnell:  Piano
Robert McCallum:  Tenor Sax

“Butter Your Popcorn” was originally released as a 45 track only and not included on Ballard’s You Can’t Keep a Good Man Down LP released the previous year.  Subsequent reissue in the UK in 2008 would see the song included as a bonus track.  “Butter Your Popcorn” can also be found on Ace UK’s seminal anthology, King Funk.

“Butter Your Popcorn” test pressing

Sold at auction for $72 in 2012

 

What Ruppli doesn’t tell you, however, is that Bootsy, Catfish and the other members of The Pacesetters* had been enlisted earlier to back Bill Doggett on what would be the A-side of a King 45 – “Honky Tonk Popcorn” – recorded on June 4, 1969 at (what is assumed to be) Cincinnati’s King Studios and released that same month:

> AUDIO LINK for “Honky Tonk Popcorn
Bill Doggett (1969)

As R.J. Smith writes in On the One, his biography of James Brown:

Henry Glover started hiring the band [i.e., The Pacesetters* — Frank “Kash” Waddy (drums), Phillippé Wynne (vocals), Robert “Chopper” McCullough (saxophone), and Clayton “Chicken” Gunnels & Darryl “Hasaan” Jamison (trumpet)] on sessions, including an Arthur Prysock record and Bill Doggett’s contribution to popcornography, “Honky Tonk Popcorn.”

                US — Jun 1969                          King LP – art by Dan Quest

Check out this full-page ad in the September 6, 1969 edition of Billboard placed by Starday-King on behalf of James Brown’s then-current single “World (Pts. 1 & 2)” that also name-checks five other “red hot sizzling” King 45s, including both Hank Ballard’s “Butter Your Popcorn” and Bill Doggett’s “Honky Tonk Popcorn.”

R.J. Smith’s tip (thank you!) leads me to a May 13, 1969 session at Cincinnati’s King Studios for Arthur Prysock that lists no musician credits for the four songs recorded that day, all but one included on 1969’s Where the Soul Trees Grow album produced by Henry Glover, who also wrote the title track that kicks off the LP:

> AUDIO LINK for “Where the Soul Trees Grow
Arthur Prysock (1969)

Is that Bootsy and other members of The Pacesetters* backing Arthur Prysock on  “Where the Soul Trees Grow“; “Soul Soliloquy” & “If I Were Young Again” [plus one unissued track “Let’s Talk Things Over“]?  “Soul Soliloquy” b/w “Soul Trees” (both, in fact, penned by Henry Glover) were released as a King single, with a promo 45 issued June 1969, according to 45Cat.  This album review from the November 22, 1969 edition of Billboard notes “Prysock’s move to the King label” and opines that this LP’s mix of “contemporary and standard songs demonstrates why he is one of the best singers around.”

Promo 45 — June 1969                                   King LP

The rest of the album, as it turns out, was recorded at another session that took place on June 16, 1969 at Cincinnati’s King Studios.  Ruppli’s session notes list 9 songs recorded that day (though no musician credits), with a re-worked uptempo “Fever” being one of the standout tracks.  Did members of The Pacesetters* play on both session dates for the Arthur Prysock album?

> AUDIO LINK for “Fever
Arthur Prysock (1969)

*                    *                    *

*Name Check:  Pacesetters or Pacemakers?

You will see this group of Cincinnati musicians referred to as either The Pacesetters or The Pacemakers — so which is it?  I have to go with Don MartinBootsy Collins, and FrankKashWaddy who all say The Pacemakers.

Hold on a second, some funk scholars would assert — these Cincinnati musicians actually entered the picture back in 1967, thanks to songwriter (and future King A&R executive), Charles Spurling, whose “The Boy Needs a Girl” for Junior McCants was his initial connection to King Records.  Charles Waring provides the back story about Spurling, who grew up in Lincoln Heights and was part of a gang whose rivals were The Isley Brothers:

More importantly, perhaps, Spurling was allowed to cut his own records for the company, and issued five singles, of which the driving, Motown-esque “She Cried Just A Minute”—released in 1967—has achieved cult status on the UK’s Northern Soul scene.  (Original copies of the 45 can exchange hands for three hundred dollars.)  Says Spurling about the song’s inspiration: “I had this woman, and every time I wanted to make love, she said, ‘Just a minute.’  She was always putting me on hold.  So I decided to write a song about it.  That’s a true story.  She was the same girl that inspired ‘Ball Of Fire,’” as recorded by Connie Austin and Marva Whitney.

Backing up Spurling on the session was a teenage group he had discovered in Cincinnati that included bassist Bootsy Collins and his brother Catfish on guitar.  They would later become [The Pacemakers] and, in 1970, the nucleus of James Brown’s backing band, the JB’s.  “I was riding through town and I heard these guys practicing,” recollects Spurling.  “I just stopped, parked, and listened to them.  And I said to myself, ‘All these guys need is a little bit of coaching.’  So then I went in, introduced myself, and sat down and listened to them.  They was at their mother’s home.  We ended up on the road for three years.”  When Syd Nathan asked Spurling to assemble a studio house band for King, the singer-songwriter knew who to call up:  “I said, ‘Mr. Nathan, I know some guys who had been with me for three years.  We’re tight and they’ll play anything.’  He said, ‘I’ll leave it up to you because if they play like you, these guys are good.’  So then I went and found Bootsy and them.”

Spurling used another Ohio band, Dayton’s The Untouchables, on some King sessions—they later morphed into The Ohio Players—and also nurtured a white band called The Dapps, which James Brown took under his wing.

Is it true (as Chuck Da Fonk and Charlie Fishman declare) that The Pacemakers’ first session at the King Studios was when they provided musical support for Charles Spurling on “That Woman,” recorded in early November 1967 along with its flip side “Which One”?

> AUDIO LINK for “That Woman
Charles Spurling (1969)

Would love to know who backed Charles Spurling on this classic slice of soul, but unfortunately, the King recording session info (page 392 of Ruppli) is bereft of even a recording date, as you can see:

(Click on image to view in High Resolution)

Fortunately, drummer Don Martin was at this session, and he was able to confirm with Zero to 180 these musician credits:

Charles Spurling:  Vocals
Unknown:  Backing Vocals
Don Martin:  Drums
William Collins:  Bass
Phelps Collins:  Guitar
Artie Sherman:  Piano

Artie Sherman would later become part of Midnight Blue, a Chicago outfit that has served as backing band for Buddy Guy, Jimmy Vaughn, and Aaron Neville, according to Discogs.

Bootsy’s next entry in the Ruppli sessionography is one that somehow escaped the book’s index — an uncredited appearance that is a bit of an oddball situation.  That is, on page 427 you will find a listing for “More Mess on My Thing (Pt. 1 & 2)” by a group identified as The New Dapps but who we now know (thanks to these musician credits) to be The J.B.’s.  Ruppli indicates that a single — King 6271 — was issued, and yet, no evidence exists of any releases whatsoever by a group called The New Dapps.  Even stranger, check out this 45 Discography for King Records – 6000 Series and notice that the entry for King 6271 is a duplicate listing of its neighbor, 6272!

50 years later (this past November 29th, to be exact), “More Mess on My Thing” would finally be liberated, thanks to Now-Again Records, whose liner notes (by noted James Brown historian, Alan Leeds) indicate the recording to have been made at Cincinnati’s King Studios on July 2, 1969.  How exhilarating to hear Bootsy, through sheer determination and the ferocity of his playing, will the musicians – who initially drop out at the 4:40 mark – back into the performance (after James Brown counts the band in) for one final musical burst:

> AUDIO LINK for “More Mess on My Thing
The J.B.’s (1969)

Musician credits according to Discogs

Don JuanTigerMartin:  Drums
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Robert “ChopperMcCollough:  Tenor Sax
ClaytonChickenGunnells:  Trumpet
Ron Lenhoff:  Engineer
James Brown:  Composer (& Coach)

The remaining months of 1969 and into the first few months of the new decade would see various players occupy the bassist chair, including the aforementioned “Sweet” Charles Sherrill, as well as West Coast session musicians, Ray Brown and Bob West, plus various collaborations with Cincinnati-area musicians, including Lee Tucker of The Dee Felice Trio.

Bootsy next appears in Ruppli’s sessionography on the legendary “Sex Machine” session that took place April 25, 1970 at Starday-King’s Nashville studios.  This session yielded the “Sex Machine” recording released as a two-part King 45 in June 1970:

> AUDIO LINK for “Get Up I Feel Like Being a Sex Machine (Pt. 1)”
James Brown (1970)

Musician credits According to Ruppli —

James Brown:  Vocals
JohnJaboStarks:  Drums
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Bobby Byrd:  Organ
RobertChopperMcCullough:  Tenor Sax
ClaytonChickenGunnells:  Trumpet
DarrylHassanJamison:  Trumpet

“Get Up (I Feel Like Being a) Sex Machine (Part 1)” — a #2 R&B hit that also peaked at #15 on the Pop chart on August 8, 1970 — enjoyed a chart run that lasted 9 weeks.

France — 1970                                           Spain — 1974

Germany — Aug 1970                                          Japan — Nov 1973

US – June 1970

May 20, 1970 found The J.B.’s making their first solo recording – “The Grunt” – at Cincinnati’s King Studios, a two-part 45 released on the heels of “Sex Machine” (and whose opening sounds would be famously sampled on “Rebel Without a Pause” by Public Enemy):

> AUDIO LINK for “The Grunt (Pts. 1 & 2)”
The J.B.’s (1970)

Musician credits according to Discogs

FrankKashWaddy:  Drums
Johnny Griggs:  Congas
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Bobby Byrd:  Piano
Robert McCullough:  Tenor Sax
ClaytonChickenGunnels:  Trumpet
DarrylHasaanJamison:  Trumpet
James Brown:  Producer
Ron Lenhoff:  Engineer

Billboard, in its August 8, 1970 edition, would select “The Grunt” as part of that week’s Top 20 Soul Spotlights “predicted to reach the Top 20 of the Top Selling R&B Singles Chart.”

US 45 — July 1970                                      French B-side — 1972

That same May 20, 1970 Cincinnati session also produced a gospel recording by vocalist Kay Robinson, who enjoyed musical support from members of The J.B.’s on “The Lord Will Make a Way Somehow:

> AUDIO LINK for “The Lord Will Make a Way Somehow (Pts. 1 & 2)”
Kay Robinson (1970)

“The Lord Will Make a Way Somehow (Pts. 1 & 2)”     Kay Robinson     1970

Musician credits according to Ruppli —

Kay Robinson:  Vocals & Piano
FrankKashWaddy:  Drums
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
James Brown:  Backing Vocals
Charles Bobbitt:  Backing Vocals
Faye Pridgon:  Backing Vocals

According to the bio on Discogs:

Dr. Kay Robinson currently lives in Columbus, Ohio, and started singing at the age of 18.  She recorded for King Records and James Brown Productions.  James Brown flew her down to Cincinnati from Dayton (she was living in Springfield) for recording sessions.  Her career with James Brown Productions ended when she wouldn’t record R&B songs.

     US promo — 1970                                    New pressing — 2006

The May 20, 1970 session at the King Studios also yielded a two-part James Brown track written by David Matthews — “The Drunk” — (on which Bootsy plays bass) that was issued on King subsidiary, Bethlehem.  According to Ruppli’s notes, Part Two ended up being issued as the B-side of “A Man Has to Go Back to the Crossroads,” with Part One locked away to this day in Polydor’s vaults.

> AUDIO LINK for “The Drunk
James Brown (1970)

Musician credits according to Discogs

WilliamBeau DollarBowman:  Drums
WilliamBootsyCollins:  Bass
Kenny Poole:  Guitar
Frank Brown:  Trumpet
Jerry Conrad:  Trumpet
Marie Speziale:  Trumpet
Millard Dusenbury:  Trombone
Larry Dickson:  Baritone Sax
David Matthews:  Composer & Arranger

US — Jul 1970                                          Canada — 1970

The double-album set Sex Machine, meanwhile, combined studio tracks disguised to sound as stage recordings, along with actual live performances recorded in concert at Atlanta’s Bell Auditorium on October 1, 1969, with a large ensemble that featured three personnel on drums — Clyde Stubblefield, John “Jabo” Starks & Melvin Parker — plus a six-member horn section, and Charles Sherrill on bass, among others.

Ruppli’s sparse notes (no musician credits) indicate the three-song medley on side B to have been recorded in Cincinnati on July 23, 1970 (along with unissued versions of “The Boss” and “There Was a Time“) — musician credits for Sex Machine‘s medley (below) provided courtesy of this German pressing:

> AUDIO LINK for “Bewildered” [part one]

> AUDIO LINK for “I Got the Feelin’” [part two]

> AUDIO LINK for “Give It Up Or Turnit A Loose” [part three]

Musician credits taken from Discogs

James Brown:  Vocals
Clyde Stubblefield [prob.]:  Drums
Johnny Griggs:  Congas
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Bobby Byrd:  Organ
RobertChopperMcCullough:  Tenor Sax
ClaytonChickenGunnells:  Trumpet
DarrylHassanJamison:  Trumpet

There Was a Time” (a.k.a., “I Got to Move“), from the July 23, 1970 Cincinnati session referenced above, found freedom 25 years later as track number five on a collection of 1970 James Brown recordings that feature members of The J.B.’s, Funk Power – 1970: A Brand New Thing:

> AUDIO LINK for “There Was a Time (I Got to Move)”
James Brown (1970)

Musician credits according to Discogs

James Brown:  Vocals
JohnJaboStarks:  Drums
Johnny Griggs:  Congas
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Bobby Byrd:  Organ
RobertChopperMcCollough:  Tenor Sax
ClaytonChickenGunnels:  Trumpet
DarrylHasaanJamison:  Trumpet
Ron Lenhoff:  Engineer
James Brown:  Producer & Songwriter

That same Cincinnati session also produced a version of “Sex Machine” that, according to Ruppli, is the nearly 11-minute version you hear kicking off side A of the Sex Machine LP released in September of that year.  Amusing to note that Augusta, GA and Cincinnati are the first two cities name-checked by Brown in his wide-ranging roll call of US cities prior to the song’s final bridge:

> AUDIO LINK for “Sex Machine (Extended LP Version)”
James Brown (1970)

MUSICIAN CREDITS TAKEN FROM DISCOGS
[SAME Cincinnati SESSION AS “LIVE” MEDLEY]

James Brown:  Vocals
Bobby Byrd:  Vocals
Clyde Stubblefield [prob.]:  Drums
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Bobby Byrd:  Organ
RobertChopperMcCullough:  Tenor Sax
ClaytonChickenGunnells:  Trumpet
DarrylHassanJamison:  Trumpet

Sex Machine would peak at #29 on Billboard‘s Top 200 album chart [#4 R&B].

Brown’s next album Super Bad would give the King engineering team another opportunity to fashion a “live” album — via the superimposition of concert crowd sounds — from recordings produced at Starday-King’s studio facilities in both Cincinnati and Nashville.  “Super Bad,” the 9-minute opening title track recorded on June 30, 1970 in Nashville, is the album’s sole selection to feature The J.B.’s:

> AUDIO LINK for “Super Bad (Pts. 1-3)”
James Brown (1970)

Musician credits According to Ruppli —

James Brown:  Vocals
JohnJaboStarks:  Drums
Johnny Griggs:  Conga
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Bobby Byrd:  Organ
RobertChopperMcCullough:  Tenor Sax
ClaytonChickenGunnells:  Trumpet
DarrylHassanJamison:  Trumpet

“Super Bad” — a #1 R&B hit for James Brown (#13 Pop, peak date Nov. 21, 1970) — would spend a total of 10 weeks on the chart.  The Super Bad album, meanwhile, would reach as high as #4 on Billboard’s R&B chart, #61 on the Pop chart.

Germany — 1970                                           France — 1970

Iran (unofficial) — Jan 1971

At that June 30, 1970 session, The J.B.’s also laid down two of their own recordings:  **When You Feel It, Grunt If You Can” (includes musical quotations from songs by Kool & the Gang, The Meters & Jimi Hendrix) and “I’ll Ze:

> AUDIO LINK for “When You Feel It, Grunt If You Can
The J.B.’s (1970)

> AUDIO LINK for “I’ll Ze
The J.B.’s (1970)

Musician credits According to Ruppli —

James Brown:  Vocals
JohnJaboStarks:  Drums
Johnny Griggs:  Conga
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Bobby Byrd:  Organ
RobertChopperMcCullough:  Tenor Sax
ClaytonChickenGunnells:  Trumpet
DarrylHassanJamison:  Trumpet

NoteThese liner notes say that (1) Frank “Kash” Waddy played drums on “I’ll Ze” and (2) Clyde Stubblefield [possibly Frank “Kash” Waddy] played drums on “When You Feel It, Grunt If You Can.”

Also captured on tape at that June 30, 1970 Nashville session was a vocal tune by James Brown, with help from Bobby Byrd and backing by The J.B.’s, that was initially kept in the can — “Since You’ve Been Gone” — but has since been issued on such collections as 1988’s Motherlode and 1996’s Funk Power – 1970: A Brand New Thang:

> AUDIO LINK for “Since You’ve Been Gone
James Brown (1970)

Musician credits According to Discogs

James Brown:  Vocals
Bobby Byrd:  Vocals
Clyde Stubblefield:  Drums
Johnny Griggs:  Percussion
Bootsy Collins:  Bass
Catfish Collins:  Guitar

Ruppli’s session notes for “Since You’ve Been Gone” state “same band” as the personnel used for “Super Bad” — on which “Jabo” Starks served as the drummer, not Clyde Stubblefield — so I feel compelled to point out the discrepancy with the credits above.  Starks played drums on “When You Feel It, Grunt If You Can” & “I’ll Ze” – tracks all recorded the same day – so it stands to reason, perhaps, that he performed likewise on “Since You Been Gone.”

On September 10, 1970, The J.B.’s laid down the title track “These Are The J.B.’s.for what was intended to be their debut long-player:

> AUDIO LINK for “These Are the J.B.’s
The J.B.’s (1970)

Musician credits according to Discogs

Clyde Stubblefield:  Drums
Johnny Griggs:  Percussion
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
St. Clair Pinckney:  Flute & Baritone Saxophone
Robert McCullough:  Tenor Sax
ClaytonChickenGunnels:  Trumpet
DarrylHasaanJamison:  Trumpet
James Brown:  Producer
Ron Lenhoff:  Engineer

                US — Nov 1970                         Belgium (Rugby typeface) — 1971

Ruppli’s session notes indicate this recording to be part of King LP 1126, a four-song test pressing engineered by Ron Lenhoff (as previously noted) that would be shelved, once James Brown inked a new contract with Polydor, in favor of a more expansive ten-track debut album on James Brown’s People label in 1972  [By the way, that original four-song mix of These Are The J.B.’s finally saw daylight in 2014, thanks to Now-Again Records, with liner notes again by Alan Leeds — the previous year, someone had paid $1600 for a copy of the test pressing that allegedly came from the estate of Hal Neely (who directed operations for the merged Starday-King labels after Syd Nathan’s passing on behalf of new owner, Lin Broadcasting)].

$1600 test pressing (1971) for These Are the J.B.’s

Given that Myra Barnes (a.k.a., Vicki Anderson) made her recording of “Message From the Soul Sisters (Pt. 1 & 2)” at Cincinnati’s King Studios on September 10, 1970 — the same session where “These Are The J.B.’s” was recorded — it should come as no surprise to learn that The J.B.’s provided musical support:

> AUDIO LINK for “Message From the Soul Sisters (Pts. 1 & 2)”
Myra Barnes (1970)

Musician credits According to Discogs

Myra (“Vicki Anderson”) Barnes: Vocals
Clyde Stubblefield: Drums
WilliamBootsyCollins: Bass
PhelpsCatfishCollins: Guitar
Bobby Byrd: Piano
St. Clair Pinckney: Baritone Sax
Robert McCollough: Tenor Sax
ClaytonChickenGunnells: Trumpet
DarrylHasaanJamison: Trumpet

October 1, 1970 would find The J.B.’s backing James Brown on a pair of recordings made at Bobby Smith Studios in Macon, Georgia, with one of the tracks (“We Need Liberation“) locked away in the vaults never having been issued, while the other — “Talkin’ Loud and Sayin’ Nothing” — was held back for release until January, 1972:

> AUDIO LINK for “Talkin’ Loud and Sayin’ Nothing
James Brown (1970)

Musician credits According to Discogs

James Brown:  Vocals
Bobby Byrd:  Vocals
Clyde Stubblefield:  Drums
Johnny Griggs:  Congas
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
HearlonCheeseMartin:  Guitar
Bobby Byrd:  Organ
St. Clair Pinckney:  Baritone Sax
RobertChopperMcCollough:  Tenor Sax
ClaytonChickenGunnells:  Trumpet
DarrylHasaanJamison:  Trumpet

“Talkin’ Loud (and Sayin’ Nothing)” was a #1 R&B hit (#27 Pop) that would spend 7 weeks on the chart, having peaked on March 18, 1972.

Belgium — 1972                                     Germany — 1972

But wait!   One additional recording (not mentioned in the Ruppli discography) was made at that October 1, 1970 session — a J.B.’s instrumental named “The Wedge” that only saw freedom when issued as the second track on the More Mess On My Thing album released this past November:

> AUDIO LINK for “The Wedge
The J.B.’s (1970)

2019’s More Mess On My Thing album — mixed by Mario Caldato directly from the original multi-track masters — also features a 22-minute version of **When You Feel It, Grunt If You Can” (see credits below) recorded in Nashville on June 30, 1970:

> AUDIO LINK for “When You Feel It, Grunt If You Can” [complete take]
The J.B.’s (1970)

Musician credits according to Discogs

Clyde Stubblefield:  Drums
FrankKashWaddy:  Drums
Johnny Griggs:  Congas
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
RobertChopperMcCollough:  Tenor Sax
ClaytonChickenGunnells:  Trumpet
DarrylHassanJamison:  Trumpet
James Brown:  Vocals [i.e., “Right On!”s]
Ron Lenhoff:  Engineer
Written by = James Brown, with help** from a few friends:
[“Chicken Strut”] = Art Neville, George Porter, Jr., Joseph Modeliste & Leo Nocentelli
[“I Was Made to Love Her”] = Hank Cosby, Lula Hardaway, Stevie Wonder & Sylvia Moy
[“Let the Music Take Your Mind”] = Gene Redd + Kool & The Gang
[“Power of Soul”] = Jimi Hendrix
[“Something”] = George Harrison

The first week of November, 1970 would see two big King 45s committed to tape at Cincinnati’s King Studios.  Ruppli tells us that Vicki Anderson‘s response record to “Super Bad” (penned by James Brown ) — “Super Good (Pts. 1 & 2)” — was recorded on November 3rd, while Dave Thompson, in his Funk listening guide, confirms that “Bootsy Colllins-era JBs” are the backing band on this single, as Ruppli’s notes do not contain musician credits:

> AUDIO LINK for “Super Good (Pts. 1 & 2)
Vicki Anderson (1970)

Musician credits according to Discogs

Vicki Anderson:  Lead Vocals
James Brown:  Backing Vocals [Comments]
JohnJaboStarks:  Drums
Johnny Griggs:  Congas
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
HearlonCheeseMartin:  Guitar
Robert McCollough:  Tenor Sax
St. Clair Pinckney:  Baritone Sax
DarrylHasaanJamison:  Trumpet
JeroneJasaan SanfordMelson:  Trumpet

US — 1970                                              France — 1970

Nigeria — 197?

Get Up, Get Into It, Get Involved (Pts. 1 & 2)” —  a #4 R&B (#34 Pop) hit that spent a total of 8 weeks on the charts, having peaked on February 6, 1971 — was also recorded in early November at King Studios:

> AUDIO LINK for “Get Up, Get Into It, Get Involved
James Brown (1970)

Musician credits according to Discogs

James Brown:  Vocals
Bobby Byrd:  Vocals
Clyde Stubblefield:  Drums
Johnny Griggs:  Congas
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
HearlonCheeseMartin:  Guitar
RobertChopperMcCollough:  Tenor Sax
St. Clair Pinckney:  Baritone Sax
DarrylHasaanJamison:  Trumpet
Ron Lenhoff:  Engineer
James Brown:  Producer

Germany — Feb 1971                           Norway — Feb 1971

Ruppli’s session notes also identifies five tracks recorded at the King Studios on November 5, 1970 by James Brown (backed by a group of unnamed musicians) that remain unissued:  “All the King’s Men” (a name later used for Maceo Parker’s own band) and “I’ll Be There” (presumably, a version of that year’s big Jackson 5 hit), plus three recordings of no fixed title.  Could this Untitled Instrumental (taken from 1988’s Motherlode funk compilation) be one of those unnamed recordings from the session at the King Studios on November 5, 1970?

> AUDIO LINK for Untitled Instrumental
James Brown (1970)

January 26, 1971 would find James Brown at Washington, DC’s Rodel Studios, with “Soul Power” being one of the key recordings captured that day.  Ruppli neglects to mention, however, that The J.B.’s provided musical support on these tracks:

> AUDIO LINK for “Soul Power
James Brown (1971)

Musician credits according to Discogs

James Brown:  Lead Vocals
Bobby Byrd:  Backing Vocals
JohnJaboStarks:  Drums
Johnny Griggs:  Congas
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Bobby Roach:  Guitar
St. Clair Pinckney:  Tenor Sax
Fred Wesley:  Trombone
ClaytonChickenGunnells:  Trumpet
DarrylHasaanJamison:  Trumpet

“Soul Power” reached as high as #4 on the R&B chart (#29 Pop) and spent 9 weeks on the charts, having peaked on April 3, 1971.

Germany — Apr 1971                                     France — 1971

Iran (Unofficial) — 197?

Zero to 180 asked DC’s Dave Nuttycombe if he knew where Rodel Studios was once located, to which he typed forth this reply:

[Rodel] was in Georgetown, off Wisconsin down by Key Bridge.  The “Ro” was Fritz Roland, perhaps the top cinematographer in town.  The studio did a lot of film post-production, back when DC was churning out industrial and government films.

Dave’s friend, Paul Dunlap, meanwhile provides this complementary bit of information:

The “Del” in Rodel was Del Ankers, Fritz’s partner.  Fritz shot all the Wilkins Coffee commercials there with Jim Henson too.

During the same January 26, 1971 session at DC’s Rodel Studios, Lyn Collins also recorded the A-side of her next single — “Wheels of Life” — which was then completed, according to this website, the following month on February 15, 1971 at Bobby Smith Studios in Macon, Georgia:

> AUDIO LINK for “Wheels of Life
Lyn Collins (1971)

Musician credits according to this website

Lyn Collins:  Vocals & Handclaps
James Brown:  Piano
Don JuanTigerMartin:  Drums
Johnny Griggs:  Tambourine
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Bobby Roach:  Guitar
St. Clair Pinckney:  Tenor Sax
ClaytonChickenGunnells:  Trumpet
DarrylHassanJamison:  Trumpet
Fred Wesley:  Trombone

US — 1971                                                 France — 1971

“Wheels of Life” was issued as the fourth single release on People – a subsidiary label for James Brown Productions that was active from 1971 through 1974 – as well as King.

Ruppli also informs us that Roberta Dubois – one of The Sisters of Righteous – recorded “Who Am I” on January 26, 1971 at DC’s Rodel Studios (with these same musicians, one presumes).  “Who Am I” would be selected as the A-side of King 6375.  Good luck, however, finding a copy.

US — 1971                                               Test Pressing

Tip of the hat to 45Cat contributor jukebox george, who points us to a 1995 Billboard review of the Bobby Byrd anthology Bobby Got Soul, in which it is revealed that James Brown, along with Roberta Dubois and Geneva “Gigi” Kinard of The Sisters of Righteous, provided vocal support on Byrd’s “I Need Help (I Can’t Do It Alone),” a Top 20 hit on the Soul Singles chart (that also hit #69 on the Pop chart in 1970).

Dubois was not the first King artist to record “Who Am I,” as this song makes several appearances in the Ruppli sessionography around this time, interestingly enough,  Ruppli’s notes for King master K13740 indicate that “Who Am I” attributed to King recording artist Leon Austin (who had taught James Brown “the right way to play piano,” according to biographer Don Rhodes) was “transferred to K13792” on September 10, 1970.  When you then skip to K13792 (an undated entry), you find the song “Who Am I” instead attributed to The Famous Flames — a King 45 released December, 1970.   James Brown would record his own unissued version the following month, shortly before Vicki Anderson then recorded her version of “Who Am I’ at the Cincinnati studios on January 21, 1971 that also never saw the light of day.

Which brings us to the final entry of The J.B.’s in volume one of the Ruppli “red books”:  King LP1137.  Go to Discogs and type the terms “King 1137” and you will encounter a lot of “noise” — but if you go back and add the word “Olympia,” notice that you pull up exactly one item for a triple-album test pressing of an unenhanced live performance of James Brown & The J.B.’s recorded March 8, 1971 at the Olympia Theatre in Paris that got shelved for 20 years, until the release of Polydor’s Love Power Peace CD in 1992, an edited mix of the concert.  In 2014, Sundazed performed a tremendous public service with their issue of a 3-LPtrifoldalbum that included the following statement:

This collection represents original stereo mixes, as overseen and approved by James Brown in 1971, of materials intended for a 3-LP set with uniquely titled discs:  “Love,” “Power,” and “Peace.”  Documentation shows that the sides would have been presented in then-common automatic record changer, with side one and side six appearing together, sides two and five, and three and four following suit [i.e., “auto-coupled“] to facilitate continuous play; we have honored that intention in this edition.  In the aftermath of both a change in labels and key members of the band departing just after these [eight-track] masters were completed, the project was not issued.  Although a CD edition of the album was issued by Polydor in 1992, it was not the complete show and was newly mixed.  This is the first time this storied slice of searing soul has been available exactly as James Brown envisioned.

Musician credits according to Discogs

James Brown:  Vocals
Bobby Byrd:  Vocals
John (Jabo) Starks:  Drums [Primary]
Don Juan (Tiger) Martin:  Drums [Secondary]
William (Bootsy) Collins:  Bass
Phelps (Catfish) Collins:  Guitar
Hearlon (Cheese) Martin:  Rhythm Guitar
Bobby Byrd:  Organ
St. Clair Pinckney:  Tenor Sax
Clayton (Chicken) Gunnells:  Trumpet
Darryl (Hassan) Jamison:  Trumpet
Fred Wesley:  Trombone
David Matthews:  Conductor [Horns And Strings]
Ron Lenhoff:  Engineer

      1971 King 3-LP test pressing                             Sundazed’s 3-LP set — 2014

To replicate concert, play 3-LP set “auto-coupled” on a Crosley Stack-o-Matic

Compared to the 1992 CD with 17 tracks, check out the three-LP Sundazed mix that has a total of 31 selections across six sides.  These three discs contain the entire Paris show with one notable exception — “Who Am I” recorded January 12 and April 12, 1971 at King Studios, Cincinnati, Ohio (with Kenny Poole on guitar).

Worth mentioning that on page 452, close to the end of Ruppli’s King sessionography, you will find an undated session on which The J.B.’s recorded a pair of unissued songs, “My Brother” and “Texas Green.”

1972’s Get on the Good Foot album includes one recording with the Collins brothers — “The Whole World Needs Liberation” — that must be among their last recordings with James Brown:

> AUDIO LINK for “The Whole World Needs Liberation
James Brown (1972)

Musician credits according to Discogs

James Brown:  Vocals
Bobby Byrd:  Backing Vocals
Hal Neely:  Backing Vocals
Lois Wong:  Backing Vocals
Clyde Stubblefield:  Drums
Bootsy Collins:  Bass
Catfish Collins:  Guitar
H.B. Barnum:  Conductor

After their departure from the James Brown organization, Bootsy Phelps and Complete Strangers put out a single, “Fun In Your Thang (Pts. 1 & 2)”:

> AUDIO LINK for “Fun in Your Thang (Pt. 1)”
Bootsy Phelps and Complete Strangers (1972)

Released in 1972 on General American, an independent label out of Columbia, Missouri (that was also based in Cincinnati), this 45 would be re-issued the following year on Cincinnati-based Philmore Sound:   Would love to know where this recording was made – possibly at King Studios?

1972 single                                                      1973 release

But check this out:  Mere months ago (August 23, 2019), Shake It Records — in collaboration with Bootsy Collins — remastered a number of classic 45 sides directly from the master tapes and produced The House Guests Meet The Complete Strangers and Bootsy, Phelps & Gary, a new 12-inch vinyl LP!  Shake It reports that the orange vinyl edition has already sold out, but black vinyl is still available.

This vinyl-only collection (with liner notes by RJ Smith + these musician credits) is a limited edition release from Shake It Records, who have this to say —

A slab of Cincinnati hard funk slammers – most reissued (legally) for the first time! Post JB’s / Pre-P-funk outfits headed up by brothers Catfish & Bootsy Collins along with a Cincinnati who’s-who of top club players who could turn it out night after night after night in places like The Psychedelic Grave or The Round Up Club – that featured a caged bear in the club!

This selection, hand picked by Bootsy, highlights that youthful output under various names as The House GuestsThe Complete Strangers and Bootsy, Phelps & Gary. The monikers may have changed, but what they brought to the stage every night – leaving the club and audience devastated – never did.

A D D I T I O N A L     R E L A T E D     R E C O R D I N G S

Maceo and the Macks would incorporate new horn work (as well as audio excerpts from Dr. Martin Luther King Jr.’s stirring “Mountaintop” speech) on a reinvigorated mix entitled “Soul Power ’74” that saw release in October 1973:

> AUDIO LINK for “Soul Power ’74
Maceo and the Macks (1973)

Musician credits according to Discogs

JohnJaboStarks:   Drums
Johnny Griggs:  Congas
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
Bobby Roach:  Guitar
Bobby Byrd:  Organ
Maceo Parker:  Alto Sax [Overdubbed]
St. Clair Pinckney:  Tenor Sax
St. Clair Pinckney:  Tenor Sax [Overdubbed]
ClaytonChickenGunnells:  Trumpet
DarrylHasaanJamison:  Trumpet
Ike Oakley:  Trumpet [Overdubbed]
JeroneJasaan SanfordMelson:  Trumpet [Overdubbed]
Fred Wesley:  Trombone

“Soul Power ’74 (Part 1)” would “bubble under” Billboard‘s Hot 100 chart, peaking at  #109 on January 19, 1974.

  US — Oct 1973                                        Netherlands — 1973

From poking around in Discogs, I have discovered that 1995’s Bobby Byrd anthology Bobby Got Soul includes two obscure 45 tracks, plus a pair of previously unreleased recordings that feature Bootsy, Catfish and The J.B.’s —

Also this recording that can be found on James Brown’s Funky People Volume 3 — “Doin’ the Doo” by Bobby Byrd Featuring The J.B.’s:

> AUDIO LINK for “Doing the Doo
Bobby Byrd Featuring The J.B.’s

Musician credits according to Discogs

Bobby Byrd:  Vocals & Songwriter
James Brown:  Backing Vocals
John “Jabo” Starks:  Drums
Johnny Griggs:  Percussion
WilliamBootsyCollins:  Bass
PhelpsCatfishCollins:  Guitar
HearlonCheeseMartin:  Guitar
St. Clair Pinckney:  Tenor Sax
ClaytonChickenGunnells:  Trumpet
DarrylHassanJamison:  Trumpet
Fred Wesley:  Trombone

Bootsy in far-left corner of inset photo on Byrd’s European LP cover

Bootsy Talks King History @ National Public Radio

November 1, 2017’s edition of NPR radio show “What’s Good With Stretch & Bobbito” features Bootsy Collins, who reflects on his experiences at Cincinnati’s King Records (starting at age 17), as well as the birth of the J.B.’s, among other things.

AUDIO LINK — click here 

[32-minute program = includes transcript]

Ω          Ω          Ω

A Mad Magazine Salute to James Brown

September 1971 issue

Mad Fold-In by Al Jaffee

James Brown’s “Hot Pants” — released June 1971 — was a #1 hit R&B [#15 Pop] that spent 11 weeks on the chart and whose popularity reached its apex on Aug. 7, 1971, around the time this issue of Mad Magazine was hitting the presses.

“Hots Pants” Picture Sleeve – Europe

For Optimal Experience:  Zero to 180 best viewed on a big screen – not smart phone

Bernard Purdie at King Records

Zero to 180 is thrilled to learn that two titans of funk who both recorded for King – BernardPrettyPurdie and WilliamBootsyCollins – are teaming up for a set of new recordings.  In accordance with this event’s historical significance, the Mayor of Cincinnati, John Cranley, recently paid tribute to Purdie’s King drumming legacy by proclaiming January 5, 2019 to be “Bernard Purdie Day“!  Zero to 180 is honored to have provided the King Records Building Non-Profit Steering Committee with background research in preparation for this proclamation.

<Click here to view Mayor Cranley’s Bernard Purdie Day proclamation>

Bernard Purdie @ King Records – 1/5/19

Photo by Celia Purdie

Purdie’s first King sessions for Mickey and Sylvia, actually, precede his work for James Brown and yet, nevertheless, connect him once more to hip hop history, as vocalist, Sylvia Robinson (née Vanterpool) – “the Mother of Hip Hop” – would go on to found Sugar Hill Records!   Ruppli’s King Labels recording sessionography lists Bernard Purdie as the drummer on Mickey and Sylvia’s big hit,  “Love Is Strange” — not the original 1956 recording but a “redoof the song several years later for the tiny Willow label, as Purdie recounted for Drum Magazine in their January 16, 2013 edition.

But wait — as Ruppli reveals, Willow was, in fact, a label distributed by King Records. Furthermore, Discogs asserts Willow to have been a subsidiary label “created in 1961 by Mickey [i.e., Baker, long-time King session guitarist] and Sylvia.”   Purdie’s name is listed as drummer for Mickey and Sylvia on at least 4 sessions for Willow in 1961 that produced six songs [click on all song titles below for streaming audio]:

⇒ “Love Is Strange
⇒ “Walking in the Rain
⇒ “I’m Guilty
⇒ “Since I Fell for You
⇒ “He Gave Me Everything
⇒ “Darling (I Miss You So)”

Check out Mickey Baker’s searing guitar work on “Darling (I Miss You So)” – a fantastic 45 waiting to be rediscovered:

“Darling (I Miss You So)”     Mickey & Sylvia & Bernard     1961

Five years later, Purdie would lay down drums on the first of six recording sessions for James Brown between the years 1966-1968, according to Ruppli’s session notes:

Session #1> March 30, 1966 — New York City

James Brown with Band – Sammy Lowe, arranger/conductor – including Waymon Reed, Dud Bascomb & Lamar Wright (trumpets); Haywood Henry (baritone sax); Unknown (trombone); Nat Jones (piano); Jimmy Nolen or Wallace Richardson (guitar); Unknown (bass) & Bernard Purdie (drums) plus strings:

EP France – 1966                                               45 Italy – 1966

45 Germany – 1966                                     45 Australia – 1966

Session #2> January 25, 1967 — New York City

James Brown with Band – Sammy Lowe, arranger/conductor – including Joe Newman, Waymon ReedDud Bascomb (trumpets); Ernie Hayes (trumpet/piano); Richard Harris, Jimmy Cleveland & Garnett Brown (trombones); St-Clair Pinckney (baritone sax); Carl Lynch & Wallace Richardson (guitars); Al Lucas (electric bass) & Bernard Purdie (drums):

  • Kansas City
  • “You’ve Got the Power” [unissued version]
  • Think” [issued as by James Brown & Vicki Anderson]
  • Fever

45 Spain – 1967

EP Spain – 1967                                               45 France – 1967

Session #3> March, 1967 — New York City

James Brown with Orchestra – Sammy Lowe, arranger/conductor – including Unknown (trumpets, trombones & French horns); Ernie Hayes (trumpet/piano); Jimmy Nolen or Wallace Richardson (guitar); Al Lucas (electric bass) & Bernard Purdie (drums) plus strings:

  • “I Guess I’ll Have to Cry, Cry, Cry” [unissued]
  • “Too Much”  [unissued]
  • You’ve Got the Power” [issued as by Vicki Anderson & James Brown]

ALSO = Vicki Anderson “with prob. same band” on “prob. same date” recorded “(Something Moves Me) Within My Heart” [although unissued].

ALSO = King Coleman (vocals) “with similar band” – Sammy Lowe, arranger/conductor – on two tracks:

45 USA – 1968                                                   45 USA – 1967

Session #4> April 5, 1967 — New York City

James Brown with Band – Sammy Lowe, arranger/conductor – including John GrimesDud Bascomb & Waymon Reed (trumpets); Ernie Hayes  (trumpet/piano); Richard Harris, Jimmy Cleveland & Garnett Brown (trombones); AlfredPee WeeEllis (tenor sax/piano); St.-Clair Pinckney (baritone sax); Carl Lynch & Wallace Richardson (guitars); Al Lucas (electric bass) & Bernard Purdie (drums):

*ALSO = Vicki Anderson “with prob. same band” on “prob. same date” recorded “People” [although unissued].

Promo 45 USA – 1968                                     45 Canada – 1968

                        45 USA – 1967                       “Stagger Lee”/”Fever” 45 Nigeria – 1968?

Session #5> October 4, 1967 — New York City

James Brown with Band – including Dud BascombJohn Grimes, & Ernie Hayes (trumpets); Richard Harris (trombone); Haywood Henry (baritone sax); Wallace Richardson & Carl Lynch (guitars); Al Lucas (electric bass); Bernard Purdie (drums); Julian Cabrera (congas); Rafael Rivera (timbales) & Edward Williams (percussion) plus strings [Selwart Clarke; Charles Libove; Harry Katzman; Sam Ram; Winston Collymore; Harry Melnikoff; Nick Hardone; Matt Raimond; Marion Cuabo; Sidney Edwards]:

           45 France – 1968                                 45 Germany / Italy / Spain – 1968

EP Mexico – 1968                                         45 Rhodesia – 1968

Session #6> June 27, 1968 — New York City

James Brown with Band – Sammy Lowe, arranger/conductor – including John Grimes & Waymon Reed (trumpets); Les Asch (tenor sax); David Parkinson (baritone sax); AlfredPee WeeEllis (organ/piano); Wallace Richardson (guitar); Al Lucas (electric bass) & Bernard Purdie (drums):

   6 of 7 tracks above included on 1968 LP     …..     as well as stereo 8-track Tape

ADDITIONAL James Brown tracks!

According to musician credits posted on Discogs, Bernard Purdie also played drums on James Brown B-side “I Know It’s True” [1972], as well as “Woman (Pts. 1 & 2)” [1973] — both songs arranged by Sammy Lowe (though, “Woman (Part 2)” appears not to have been issued in the US market, curiously).

45 Belgium – 1972                                            45 Germany – 1972

45 France – 1972                                            45 Netherlands – 1974

 45 Netherlands – 1973                                        45 France – 1973

45 Germany – 1973                                           45 Belgium – 1974

Update on King Records Preservation Efforts:

“King Dream Team” at 1540 Brewster Ave.

[L to R] Philip Paul; Bernard Purdie; Celia Purdie; Otis Williams; Bootsy Collins; Anzora Adkins

Photo by Elliott V. Ruther

According to Herzog Music, “The City of Cincinnati now owns the King Records buildings on Brewster Avenue in Evanston.  The King buildings are being stabilized with $700,000 of city and Evanston funds, thanks to a united City Council.”

“With Mayor John Cranley and the City of Cincinnati, a restricted fund for the buildings has been established through the King Records Building Non-Profit Steering Committee to raise private funds and realize the revitalization vision.  The Steering Committee comprises leadership of Evanston Community Council, Bootsy Collins Foundation, King Studios and Cincinnati USA Music Heritage Foundation (CMHF).

“CMHF will acknowledge the tax deductible donations and share with each Steering Committee organization as it works to formalize the non-profit arrangement with the City.  CMHF is a non-profit, 501(c)(3) organization — donors may deduct contributions as provided in IRC 170(c)(3) of the U.S. Tax Code.”

You can be part of the King Records revitalization success story — please consider a donation to the King Building Fund.

The Men in Black:  Bernard & Bootsy

Photo courtesy of the Bootsy Collins Foundation

Stay plugged in:   Bernard Purdie and Bootsy Collins

Special thanks to Elliott V. Ruther of the Cincinnati USA Music Heritage Foundation

Derek Trucks wearing a Bernard Purdie shirt on Austin City Limits


The JB’s Debut: Polydor not King

The debut album by The JB’sJames Brown‘s backing band that included a group of Cincinnati musicians who would soon join forces with George Clinton’s Parliament-Funkadelic and later form the core of Bootsy’s Rubber Band — was originally scheduled for release in July, 1971 on the King label (SLP 1126), as noted on Discogs.  Starday-King even issued a test pressing, with Ron Lenhoff overseeing the engineering and editing of this four-song LP, half of which (“The Grunt” and “These Are the J.B.’s”) was recorded at King’s Cincinnati studios on May 19, 1970, and the other half (“I’ll Ze” and “When You Feel It Grunt If You Can”) recorded at Starday Studios in Nashville on June 30, 1970.

But alas, it was not meant to be** — as one Discogs contributor wryly observes:

Mmm. I wonder how many people have one of these [test pressings] … other than James Brown himself, Hal Neely, Dave Matthews, Charles Bobbit and anybody directly involved in King Records (as in office staff), most of the members of the band probably never got a copy of this TP, as this was at the precise point when JB’s catalogue got bought out by Polydor and the JB’s (Mk.1) had already exited stage left.  Probably 25-50 made max.

The original These Are the J.B.’s LP comprised just four tracks (click on audio links):

“These Are the J.B.’s”     The J.B.’s     recorded in Cincinnati – May 19, 1970

Bass: WilliamBootsyCollins
Guitar:  PhelpsCatfishCollins
Drums:  Clyde Stubblefield (A1 & B2)
Drums:  FrankKashWaddy (A2 & B1)
Congas:  Johnny Griggs
Flute & Baritone Sax:  St-Clair Pinckney (A1)
Tenor Sax:  Robert McCullough
Trumpet:  ClaytonChickenGunnels & DarrylHasaanJamison
Organ:  James Brown (A2)
Piano: Bobby Byrd (B1)
Engineer:  Ron Lenhoff
Producer: James Brown

James Brown would describe the band in his 1986 autobiography thusly:

They were called the Pacesetters and were all from Cincinnati.  They’d hung around King for awhile and then started doing session work there.  I had used them myself on several things.  Bootsy Collins (who later went on to become a big star with the Parliament-Funkadelic Thang and his own Rubber Band) was the bass player; his older brother, Phelps ‘Catfish’ Collins played guitar; Frank ‘Kash’ Waddy played drums; Robert McCullough played sax; a fella called Clayton ‘Chicken’ Gunnels played trumpet.

“These Are the J.B.’s” – songwriting credits per Discogs

Written by Phelps CollinsClayton Isiah GunnelsClyde StubblefieldDarrell JamisonFrank Clifford WaddyJohn W. GriggsRobert McCollough and William Earl Collins

“The Grunt” – songwriting credits per Discogs

Written by – Phelps Collins, Clayton Isiah Gunnels, Clyde Stubblefield, Darrell Jamison, Frank Clifford Waddy, James Brown, John W. Griggs, Robert McCollough, and William Earl Collins

“Medley: When You Feel It Grunt If You Can” – songwriting credits per Discogs

Written by – Art Neville, Gene Redd*, George Porter Jr.*, James Brown, Jimi Hendrix, Joseph Modeliste, Kool & The Gang, and Leo Nocentelli

Note:  “When You Feel It Grunt If You Can” includes portions of “Let The Music Take Your Mind,” written by Kool & The Gang and Gene Redd Jr.; “Chicken Strut,” written by The Meters; and “Power Of Soul,” written by Jimi Hendrix.

The following year in 1972, when Polydor released what would be known as the debut album by The J.B.’s, a much different collection of songs would would end up in the marketplace, as Food For Thought comprised ten songs [“The Grunt” & “These Are the J.B.’s (Pt. 1)” being the only overlapping tracks] vs. the four song set as mixed and sequenced by Ron Lenhoff.

Funk fans worldwide rejoiced in 2014 when the original four-song mix enjoyed release on vinyl (as well as digital download) for the first time, with a 12-page booklet of liner notes by Alan Leeds stating that, in fact, only two test pressings are known to have existed (so says a Discogs contributor).  Worth pointing out that “the originally scheduled issue of this album included overdubbed crowd noise — for this issue of the album, the original, undubbed two-track stereo mix was used as source.”

Given the variant titles and track listings in various markets worldwide, Discogs advises caution:

Different original editions and reissues have different titles and artwork, including Food For Thought; Pass The Peas; and Food For Thought – Pass The Peas – I Mean Gimme Some More.

Main cover (US, Canada, Spain)

Alternate cover (UK, Germany, France, Turkey)

Cover – Japan

“The Grunt” – famously sampled for 1987’s “Rebel Without a Pause” by Public Enemy – would enjoy single release on King in August of 1970, just three months after being recorded.  Billboard would select the single in the August 8, 1970 edition for its Top 20 Soul Spotlights “predicted to reach the Top 20 of the top-selling R&B Singles chart.”

King 45 + UK 45 on Mojo + Test Pressing of “The Grunt” – a steal at $120

A second single – “These Are the J.B.’s” (Pts. 1&2)” – followed in November, 1970Billboard‘s Ed Ochs would select the 45 for his “picks and plays” for the week of October 24, 1970 in his ‘Soul Sauce’ column.  Interesting to point out that the same Billboard November 21, 1970 issue that mentions Starday-King release of “These Are the J.B.’s” also notes that “the James Brown Show played Fargo, N.D. recently – the good response was particularly encouraging because this was the first time his show had ever played that state.”

Obituary for Phelps ‘Catfish’ Collins
Billboard — August 10, 2010

R&B guitarist Phelps “Catfish” Collins, a veteran of James Brown’s J.B.’s, Parliament-Funkadelic and his younger brother William “Bootsy” Collins‘ Rubber Band, passed away at his home in Cincinnati on Aug. 6 at the age of 66, following a long battle with cancer.

Bootsy Collins issued a statement saying that “my world will never be the same” without his brother.  “Be happy for him, he certainly is now and always has been the happiest young fellow I ever met on this planet.”

Bootsy’s wife, Patti Collins, told The Cincinnati Enquirer that Catfish “was a father figure to my husband.  He’s the reason why Bootsy is who he is.”

Catfish, eight years Bootsy’s senior, was the one who suggested his brother put bass strings on an old guitar, and the two were part of a Cincinnati group called The Pacemakers that became the rhythm section for the city’s famed King Records label.  James Brown recruited the Collins brothers, and starting in 1968 they played on Brown classics such as “Get Up (I Feel Like Being a) Sex Machine,” “Give It Up or Turnit a Loose,” “Super Bad” and “Soul Power” as the J.B.’s.

By 1971 they had left Brown’s employ, going on to form The House Guests and then joining Funkadelic in 1972 for albums such as America Eats Its Young and Cosmic Slop.  Catfish remained with the group — which also lost guitarist Garry Shider to cancer in June — until the mid-’80s.

“(Catfish) was a hell of a musician,” keyboardist Bernie Worrell, who played with the guitarist in Funkadelic, told the Enquirer.  “People seem to forget that the rhythm guitar behind James Brown was Catfish’s creative genius, and that was the rhythm besides Bootsy’s bass.”

George Clinton alumnus Dumine DePorres seconded that notion, telling Billboard.com that Catfish’s particular niche was playing “the subliminal stuff, those inferred parts that you might not be able to hear right out front but without it there’s a big hole.  It’s like the glue that holds the glue together.”

After Funkadelic, Catfish went on to play in Bootsy’s Rubber Band and also recorded with Deee-Lite, Freekbass and H-Bomb [Ferguson].  In 2007 he reunited with Bootsy, Worrell, Clyde Stubblefield and others for the soundtrack to the Judd Apatow comedy “Superbad.”  A number of Cincinnati musicians gathered to play a tribute show for Catfish during July at a club in Roselawn, Ohio [Celebrities night club in the Valley Shopping Center on Reading Road, just a mile down the road from the Carrousel Inn].

Funeral arrangements have not been announced for Catfish, who had two children.

Bootsy’s Brother Succumbs to Cancer
Cincinnati Enquirer — August 6, 2010

KENNEDY HEIGHTS – Before there was Bootsy, there was Catfish.

The older brother of Cincinnati’s legendary funk icon, Phelps “Catfish” Collins was a jovial guitar player with a huge smile, a mentor who helped shape his brother’s musical career as well as his life.

“He was a father figure to my husband,” said Patti Collins, William “Bootsy” Collins’ wife. “He’s the reason why Bootsy is who he is.”

Phelps Collins died Friday after a long battle with cancer. He was 66.

Mr. Collins was a lifelong musician and Cincinnati resident. He was born eight years before Bootsy, who gave him the nickname “Catfish” because he thought he looked like one.  He was fiercely protective of his family, once threatening to kill his father with a butcher knife if he saw him hurt their mother again, Bootsy told the Enquirer in an interview last year.

In 1968, Phelps and Bootsy Collins helped form local R&B band the Pacemakers, which became the rhythm section at the renowned King Records in Evanston.  They played with James Brown, backing him on such songs as “Get Up (I Feel Like Being a) Sex Machine” as part of a group that became known as the J.B.’s.

James Brown & the J.B.’s – Bologna, Italy – April, 1971

In 1971, the brothers formed a flashy funk group called the House
Guests with band mates including drummer Frankie “Kash” Waddy and
former Pacemakers singer Philippé Wynne.  Wynne went on to lead a group
called the Spinners, and the rest joined the free-wheeling Parliament-
Funkadelic.

Rock and Roll Hall of Fame keyboardist Bernie Worrell played with the
Collins brothers in Parliament-Funkadelic.  Worrell said he and Catfish
were the elders of the group.

“He was a loving, caring person, but at the same time, he wouldn’t
take any bullcrap when it came to business,” Worrell said.  “He was a
hell of a musician.  He taught me a lot about rhythms.  People seem to
forget that the rhythm guitar behind James Brown was Catfish’s
creative genius, and that was the rhythm besides Bootsy’s bass.”

Phelps Collins later joined Bootsy’s Rubber Band and would go on to
play rhythm guitar on albums by Deee-Lite, Freekbass and H-Bomb [Ferguson].  He also performed on the soundtrack to the 2007 Judd Apatow comedy
“Superbad” with Bootsy Collins, Bernie Worrell and other original
members of the J.B.’s.

“He was one of probably the most underrated musicians in R&B and funk
history,” said Cincinnati bassist Chris “Freekbass” Sherman, who cites
both Collins brothers as influences.  “He’s such an amazing guitar
player.  No one did it like him.”

Patti Collins said her brother-in-law, a father of two who lived in
Kennedy Heights, made a life of music and continued to collaborate
with Bootsy as the brothers grew older.

About a month ago, local musicians gathered at Celebrities in Roselawn
to perform a tribute to Catfish, said Lincoln Ware, who hosts a daily
radio show on WDBZ-1230 AM.

Ware said Mr. Collins, always a boisterous and smiling presence,
clearly wasn’t feeling his best that night.  But he sat back anyway,
soaking in the music that had always meant so much to him.

Services are pending.

Fall, 1971 – “What So Never the Dance (pts. 1 & 2)”

The Other Lost King Album With the JBs

As it turns out, more than one planned project got shelved when James Brown made the big decision to leave Starday-King and sign on the dotted line with Polydor, to wit:

**TONIGHT – One Night Only!

Friday, September 28, 2018 from 6-8 PM | James Brown’s Lost King Album.

In August 1971, James Brown planned to release a triple vinyl album of his electrifying March 1971 concert at the Olympia in Paris, backed by the original JB’s, featuring Bootsy and Catfish Collins.  Sequenced and mixed by Brown himself for a King Records release, he considered it among his best work.  However, when Brown’s contract was sold to Polydor Records, the masters were shelved and the album was not released.  The complete concert recording would not be heard until 43 years later when Sundazed Records released it on “tri-fold” vinyl in July 2014.  Join Bootsy Collins protege, Freekbass, as he plays the album on his own Funk Radio show = streaming on Radio Artifact, and simulcast on Cincinnati’s WVXU FM (listen here).

Note:  Cincinnati music history fans will be interested to know that Kenny Poole (guitar) and arranger, David Matthews (organ) join The JB’s on one song — “Who Am I” — a tune on which James Brown plays on drums (assuming that Zero to 180 is correctly reading the musician credits).

Who’s Left Holding King’s Bag?

[For an update on the perilous status of the original King Records site, click here]

A recent Cincinnati visit allowed me the chance to verify that the former King Records complex is still standing.  But for how long?  Polly Lucke, Zero to 180’s West Coast correspondent, recently brought to my attention a battle over this city-designated historic landmark that pits the current owners (there are two of them) against an influential group of supporters (the city’s mayor being one of them), with Cincinnati’s taxpayers caught in the middle.

King Records circa 1966

King Records Complex - 1960s-x

This past summer there was reason for optimism.  In August, 2015 the City Planning Commission had voted unanimously (1) to approve the application submitted by the Bootsy Colllins Foundation and the Cincinnati USA Music Heritage Foundation and (2) refer the matter to City Council, as reports WCPO’s website in an August 21, 2015 article entitled, “Support Grows for King Records HIstoric Preservation.”  One parcel in the King complex remains vacant, while the other serves a warehouse – according to the Cincinnati Enquirer in an October 7, 2015 piece, “King Records Now a City Landmark” – and Dynamic Industries (owner of the vacant property) seeks a demolition permit in order to expand:

“Mayor John Cranley said Wednesday his administration is working to acquire the King Records property in good faith. Cranley, recalling his days on City Council, said King Records preservation efforts date back to 2008 after council approved a motion to work toward designating the properties as historic. The motion, he said, was approved prior to the owner purchasing the property and the buyer should have known the designation could eventually happen.”

Cincinnati taxpayers, thus, were given an opportunity to vote in early November whether to tack on about $35 a year per $100,000 of assessed home value (i.e., Issue 22, the “parks levy”) in order to generate enough funds to “transform” 13 of the city’s public spaces, including the King Records Evanston Pavilion (as well as the vacant Jewish Community Center in Roselawn, my old stomping grounds).  As you may have inferred from the first paragraph, insufficient numbers came to the polls, sadly, to pass the new property tax.  King’s future, therefore, is in limbo.

Rendering for Xavier University‘s King Experiential Learning Center

King Records rendering

Martha Harvin – James Brown’s longest-running female vocalist – might possibly have set foot in King’s Evanston recording studios.

Photo of Martha Harvin courtesy of Blind Faith Records

Martha HarvinHarvin began her career as part of DC vocal group, The Jewels, who toured with the James Brown Revue in 1966 and did some studio recordings before Harvin’s singing partners grew tired of life on the road and returned home.  Harvin would remain with the James Brown Revue for more than 30 years.

Hundreds of handshakes to filmmaker, Jeff Krulik (Heavy Metal Parking Lot; Led Zeppelin Played Here, et al.) for directing me to Eli Meir Kaplan, who interviewed Harvin (a.k.a., “Martha High”) in December, 2014 for his DC music history blog, Soul 51.

Jewels Federal 45Jewels King 45-aJewels King 45-b

The Jewels, it turns out, would record one single each for Federal and King.  More intriguing, however, is the Jewels 45 written and produced by James Brown and released on the obscure (and mysterious) Dynamite label, “Papa Left Mama Holding the Bag,” a playful rejoinder to Brown’s breakthrough funk of 1965, “Papa’s Got a Brand New Bag“:

“Papa Left Mama Holding the Bag”     The Jewels     1966

Cincinnati’s CityBeat includes a piece in its September 9, 2015 edition about the challenges of creating heritage tourism in the city landmark overlooking Interstate 71 — “The Once and Future King:  In an Effort to Boost Evanston, Community Leaders Race to Preserve Its Famous Musical Legacy.

Jewels Dynamite 45

The Duel: Organ vs. Sax

In the early part of this century, reissue label, Hip-O, put out a comprehensive series of James Brown single releases that were issued from 1956-1981.  Historians & researchers will no doubt be studying these liner notes in decades to come as they try to organize and make sense of the James Brown legacy, particularly given the volume of recordings issued over the course of his lifetime.

One thing I discovered by simply looking at the musician credits:  those bongo drums sound unusual on “Let Yourself Go,” because bongos – believe it or not – were not part of JB’s pioneering percussion sound, generally speaking.  According to the musician credits in this singles series that someone kindly posted on the Discogs website, I only see a handful of recordings (five by my count) between the years 1966-1973 that include the bongos.

Thanks to the missus, I am fortunate to own the 2-volume reference set, The King Labels:  A Discography as compiled by Michel Ruppli.  And yet I am discovering time and again that Ruppli’s discography is not authoritative as I had originally assumed.  Thank goodness, therefore, for the input of other music fanatics and actual participants who were there when history took place.  For example, if I simply relied on Ruppli, I might have continued to labor under the delusion that the Famous Flames backed James Brown on another great single from 1967 when, in fact, it was The Dapps.

James Brown & The Dapps (Les Asch holding horn)

JB & The DappsMy appreciation to Mitch Bowman, thus, for pointing me to James Brown’s “Funky Soul #1″ b/w “The Soul of JB” 45 originally released on King.  Ruppli tells me that the A-side was recorded on August 17, 1967 in Cincinnati but has very scant information about its mate.  Moreover, the B-side is attributed (wrongly) to “James Brown and the Famous Flames” and adds (incorrectly) “probably band without James Brown.”  That’s about it for the historical details – only the year is listed, no musician credits – although Ruppli does add, intriguingly, that another composition of “unknown title” was recorded but remains (to this day?) unissued.

Thanks to James Brown – The Singles, Volume 5 (1967-1969) for affirming Bowman’s assertion that his brother-in-law, Les Asch, and his fellow Dapps were the musicians who backed James Brown on this double A-side instrumental excursion.  Gather around everybody for a musical fight, and hear for yourself as the organist and saxophonist duke it out on their respective instruments:

“The Soul of JB”     James Brown & The Dapps     1967

According to Discogs

Organ:  James Brown
Guitar:  Eddie Setser & Troy Seals
Bass:  Tim Drummond
Piano:  Tim Hedding
Drums:  William ‘Beau Dollar’ Bowman
Trumpet:  Ron Geisman
Alto Sax:  AlfredPee WeeEllis
Tenor Sax:  Les Asch
Baritone Sax:  David Parkinson
Producer & Arranger:  James Brown

If I were in the producer’s chair (I see you rolling your eyes), I would have followed James Brown organ solo in the left speaker with Pee Wee Ellis’s alto sax solo in the right speaker in order to underscore the dueling aspects of this musical match.  As it stands, both solos erupt from the west.  Note, too, the writing credits that include Gladys Knochelman – would love to know her role in the creative process, as her name appears ever so infrequently in the epic story of James Brown.**

There’s no denying the global impact of the fresh funk created by James Brown and his various support players over the years, much of which was recorded in Cincinnati — note the impact felt as far away as Japan, as this web tribute to JB attests.  Hey, check out some of the prices that Dapps singles command on Ebay.

Don’t believe the hype:  The Dapps are the backing band here

James Brown & Dapps 45-bJames Brown & Dapps 45-a

Biff!  Bam!  Pow!  This is the thirteenth bout tagged as a Musical Fight

**Historical Postscript

Tony Oulahan would subsequently contact Zero to 180 to shed light on this piece’s playful reference to Gladys Knochelman‘s artistic contribution to “The Soul of JB”:

“So my grandmother was Syd Nathan’s assistant for most of her time at King records.  She also was a copywriter at one point as well.  She died close to 20 years ago.  She had close relationships with James, his band and many of the other artists at King.  She had a couple of engraved jewelry pieces that James gave to her.  I wish I could say otherwise, but she had nothing to do with the creative process on the album.  And from what I know it wasn’t James directly that gave her the credit.  She loaned someone in his group some money and they couldn’t pay her back.  They gave her this credit in lieu of payment.  It could have been his manager or someone else in the band.  I’m almost positive that it wasn’t James himself, I can’t remember exactly who it was.”

Funk Under Fire (Literally)

Years ago I remember being spellbound by a Mojo feature article that interviewed several of the musicians in The Famous Flames who had toured Vietnam with James Brown in 1968 and played for a large number of very grateful soldiers right in the heart of the war zone.  I quickly devoured this piece – and then filed it away with my other 20 years or so of music magazines … into the abyss.

Recently, in the course of researching SW Ohio’s glorious contributions to the history of funk and soul, I got to thinking — “Sure would be nice to put my hands on that article about that harrowing time James Brown and his band did a musical tour of Vietnam in 1968.”  Fortunately, I got the urge to try an Internet search, and lo and behold – “July 2003” would be the Golden Ticket.  One minute later, after a trip to the archives, I had the July 2003 issue of Mojo in my hand.  What on earth had I been waiting for all this time?

Hats off to James Maycock, who tells this incredible story where music and politics would intersect spectacularly, with lives being put on the line in a moving demonstration of the American credo, E Pluribus Enum.  How fascinating to find out, for example, that James Brown had offered to take his entire 22-piece band orchestra to entertain the US troops in Vietnam on his own dime – and yet the federal government, surprisingly (or not), said no.  James Brown would eventually lobby LBJ himself at a Presidential State Dinner in May, 1968 — a direct consequence of Brown’s own heroic intervention in Boston in the wake of Martin Luther King, Jr.’s assassination that kept untold numbers of people safe at home and out of harm’s way due to his insistence that his group’s live performance on April 5, 1968 be locally televised.

JB & Boston Mayor, Kevin White – Boston Gardens – April 5, 1968

James Brown & Mayor Kevin WhiteMaycock reveals the political machinery at work:

“The trip was the outcome of James Brown persistently pushing the US authorities for offical consent to tour.  ‘I’d been trying for a long time to get the government to let me go over there.  I offered to pay all my expenses.  But for some reason they didn’t want me to go.  I don’t know if they thought I would be too political.’  Like an increasing amount of the American public, Brown was also conscious that a disproportionate number of Afro-Americans were being drafted.”

JB’s stylist, Marva Whitney, grappled with vietnam’s heat & humidity – to no avail

James Brown in Vietnam-bb

Thus arranged (or so they thought), Brown’s 22-member ensemble began their musical tour in Korea, with the understanding that the whole orchestra would press on to Vietnam.  But with the escalation of hostilities, Brown was given word that only a 6-member musical crew would be allowed to continue at that point.  How moving then to discover that, while most of the group was only too happy to bow out of the tour, Tim Drummond (a “playing cat” as Brown would characterize him) immediately jumped at the chance:

“I said, I want to play Vietnam, because I want to show people back here that black and white can get along.”

Ultimately, Brown would carry out his musical tour of Vietnam with these six band members:   Clyde Stubblefield (drums), Tim Drummond (bass), Jimmy Nolen (guitar), Maceo Parker (saxophone), Waymon Reid (trumpet) & “esteemed funky diva” Marva Whitney.  As the writer points out, “Bob Hope retreated to the safety of Bangkok in neighbouring Thailand after each of his shows, but as Drummond points out, ‘We were in the thick of it.'”

By way of illustration, Tim Drummond would recount:

“So we come in 20 feet off the ground where the Viet Cong were sleeping.  They only moved at night … Right where we had just [crash] landed, here comes the Viet Cong who were coming after the plane.  We’d woken them up.  [The US] were bombing the Viet Cong, who were coming after the plane thinking we’re still on it.  That was a real toe-tapper!”

Marva Whitney describes the preceding “white-knuckle emergency crash”:

“The pilot said, ‘Everybody get out!  And I mean move it!  We’re in the marshes, the doors open, no time for a ladder.  Would someone give me a helping hand?  Forget it.  It was every man for himself, including me.  I had to jump from the plane.”

Clyde Stubblefield (out of view), James Brown & Maceo Parker

James Brown in Vietnam-aa

Being in a war zone meant having to be ever alert and strategic in your actions – Drummond describes one particular situation:

“In my hotel room, the window was facing the president’s palace.  It had a sign on it saying, ‘Don’t open the blinds with the light on behind you at night, you will be shot as a sniper.'”

These seven musicians (appointed honorary Lieutenant Colonels for this tour) would play three performances a day, often in the sweltering 120+ degree tropical heat.  According to Drummond, “That was the best the band ever sounded, stripped down like that.  Oh, we got tight!  Man, I wish we had recordings of that [stuff]!  We were smoking!”

Among the funk highlights in the band’s set:  “Get It Together“; “I Got the Feeling“; Papa’s Got a Brand New Bag” and a particularly key track from pop’s peak year – “Let Yourself Go“:

James Brown & the Famous Flames     “Let Yourself Go”     1967

[Check out Brown instructing 2nd drummer, John “Jabo” Sparks to hit an accent on the snare each time JB emits a grunt (*note: video since removed – above mix differs).]

James Brown 45-aJames Brown 45-b

Brown claims that it was Hope himself, interestingly enough, who would clinch the Vietnam tour at the May, 1968 State Dinner:  “[He] told some of the USO people, ‘If you’re going to get anybody to perform for the troops, James Brown is the man.”  The sad joke at the time was that “Armed Forces Radio Network offered two kinds of music:  country and western.”  Soul offerings were rather limited at the military PX — says Maycock:

“Prior to Brown’s 1968 visit, the United Service Organisations had brought over to entertain soldiers were generally insipid country and western troupes.  Drummond admits, “We’d call them ‘Tex Nobodies’ – meaning they were country singers who hadn’t made it!”

Compared to previous USO offerings, these shows were clearly a huge deal for the soldiers – Drummond says they easily outdrew Bob Hope (over 40,000 at one show, he claims).  According to Brown, “Dug out of the side of a hill, around the rim, at the top, tanks were pulled up like at a drive-in.  Guys were sitting in their hatches looking down on the show.”

And yet the surreality of the bitter warfare, coupled with the rampant drug use among the soldiers, would induce serious cognitive dissonance amongst the musicians.  Maycock writes:  “Indeed, the musicians were understandably uptight, although they concealed their feelings from JB.  Marva: ‘They weren’t going to let the boss man see.'”

Whitney remembers, according to Maycock, “some GIs just wanted to touch her hand.  Others confided in her.  Marva says, ‘The fellas with the less education were put on the front lines — “We’re in trouble over here!”  They would say that.'”

Several months after returning home, Whitney would be completely thrown by an unexpected moment of post-traumatic stress:

“I’m walking down New York City, shopping.  All of a sudden, I start shaking and can’t stop.  I’m going into shock.  I know it.”  Brown himself would later say, “I don’t know how I made it.  God was carrying me all the time, it was like footprints in the sand.”

James Brown in Vietnam – courtesy of Corbis

James Brown Performs for American Soldiers in Vietnam

One final quote from Maycock’s riveting piece of history underscores music’s special ability to nourish the soul and bring people together in peace and fellowship (from Vietnam veteran and musician, Dave Gallaher):

“Tim Drummond being there did more good than anyone might realize.  Because of the hostilities that had developed racially, I think James showing up with a white musician put everyone on a little bit of notice about cooling out.  Showing that a white man could get in there and play that music.  I think it was very timely.”

“From the Back Side”: James Brown’s Parting Gift to King?

Son’s of Funk – i.e., Fred Wesley & the JB’s – with their 1972 single release on the King label:

“From the Back Side (Pt. 1)”     Son’s of Funk     1972

Is it really true – as YouTube contributor, BuckeyeCat2002, recalls – that “this James Brown / Fred Wesley cut was given to King Records as a going away present by James Brown?”

As it turns out, both parts of this rare soul 45 would be included in Ace’s top-notch collection of King Funk, and Dean Rudland’s CD liner notes affirm that this two-part instrumental recording by The JB’s was, indeed, “given to King as a favour by James himself a couple of years after he had left to go to Polydor.”

Even though the artist on this track is but one of several amusing variant names for Fred Wesley & the JBs, it is fascinating nevertheless to discover that this 45 would be the only one to be released under the name, Sons of Funk.

Brown’s last release for King would be “Soul Power (pt. 1),” which reached #3 on the soul chart and hit the US Top 40 (#29), as well as UK Top 100 (#78) in 1971.  The Collins brothers, Bootsy and Catfish – neighborhood kids who lived close to the King studio – played as part of The JBs on “Soul Power,” an epic 3-part soul tune that was, curiously enough, recorded in Washington, DC.

Brown’s first single release for Polydor meanwhile – “Escape-ism (pt. 1)” which was written by Brown’s arranger & bandleader, David Matthews – would hit Top 10 R&B (#6) and Top 40 (#35) in the US.