“In late 1958, Audio Lab was formed as a budget label subsidiary to Cincinnati-based King Records. From 1959 -1962, Audio Lab released a lot of material that had never appeared in album form, including rare albums by Bullmoose Jackson, Annie Laurie, April Stevens, Lattie Moore, [Hank] Penny, the Light Crust Doughboys, Bob Newman, H-Bomb Ferguson, Sticks McGhee and John Lee Hooker.”
One track that enjoyed a second lease on life via Audio Lab was the first (non-45) album appearance of a song that would become a part of the American cultural fabric years later when used as a recurring skit on TV’s “Hee Haw” – link to related Zero to 180 history piece. As Both Sides Now observes, “The original version of [‘Pfft! You Were Gone‘] made its first (only?) LP appearance on [the Kentucky Colonel] Audio Lab album” (Bear Family’s 20-track CD compilation from 1984 Hangover Boogie doesn’t count).
Another great example of King material previously not available on LP —
1962 Audio Lab LP attributed to Moon Mullican entitled Instrumentals (that also, oddly, includes two tracks by Hank Penny and one song each by Mel Cox & Cowboy Copas).
All of these instrumentals are fairly obscure, especially the 1947 Cowboy Copas B-side “Jamboree” that got much better buzz in Billboard ‘s Dec. 13, 1947 edition compared to its A-side “I’m Tired of Playing Santa Claus to You”: “Plenty of good hill country guitar and fiddle in an instrumental potpourri of folk melodies” [streaming audio for “Jamboree” not yet available on YouTube, unfortunately].
Gerald Wilson Orchestra’s early 1954 Los Angeles sessions for Federal and King – including “Mambo Mexicana” – would be reissued five years later on an Audio Lab LP entitled Big Band Modern, a reminder of the mambo mania that had gripped the nation at the time this song (today’s featured track) was released:
“Mambo Mexicano” Gerald Wilson Orchestra 1954
Based on available discographical information, these 1954 recordings would appear to be among the earliest in a career that would span well into the new century, as NPR’s 2011 piece “The Gerald Wilson Orchestra: A Living Legacy” affirms (Wilson, as it turns out, is one of many famous jazz musicians who “did time” in Earl Bostic’s band — in this case, one of four trumpeters who played on a December 4, 1958 Los Angeles recording session (six tracks, including “My Reverie” and “All the Things You Are“).
Today’s featured artist: Gerald Wilson & HIs Orchestra
Kicking off our rogue’s gallery of Classic Audio Lab LP Covers is this modernist gem:
Grammar maven in me cannot allow disparity in song titles below go unremarked:
Zero to 180’s sprawling history trawl “Rare & Unreleased King” made passing reference to another surf-ploitation LP issued by King Records – 1963’s Surfin’ on Wave Nine – and even threatened to make that album the focus of a future history piece … whose time has come today.
Compared to Look Who’s Surfin’ Now (King LP previously celebrated here) Surfin’ on Wave Nine is a bit more of an organic affair, with only a modest amount of jiggery pokery involved.
According to Ruppli’s 2-volume Kings recording sessionography, we can only be certain that two of these songs — “The Fox” and “Buzz Bomb” by The Vice-Roys — were recorded in Cincinnati.
The Vice-Roys would record their songs for King in three sessions: c. Nov/Dec 1961 (“Moasin'”); c. September, 1962 (“Seagreen”); and April, 1963 (“The Fox” & “Buzz Bomb”). Worth noting that King would issue a split single in 1963 with “Seagreen” by The Vice-Roys chosen as the flip side for “That Low Down Move” by Hank Ballard & the Midnighters. But, as Discogs notes, “Seagreen” actually began life as an A-side issued on Bethlehem with the title “Seagram’s” – ostensibly a salute to the whiskey brand. Both Sides Now Publications recounts the controversy:
In 1960, an instrumental rock band called the Viceroys brought Bethlehem an instrumental master they called “Seagrams,” apparently thinking the name of a hard liquor brand would be hip for teens. Bethlehem liked the tune and released it. Unfortunately, Seagrams Corporation didn’t think it was funny and threatened to sue for trademark infringement, and some stations refused to play a song with the name of a commercial product without being paid for advertising time. A sheepish notice in Billboard on March 23, 1960, said, “We Goofed!” and explained that “Seagrams” was now changed to “Seagreen.”
Worth noting that in that same March 23, 1960 edition of Billboard along with the official industry notice from King Records saying “We Goofed!” 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 Vice-roy 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.
The Nu-Trons would record two sessions for King — the first (“Tension” and “Wild Side”) in May, 1963 (possibly in Cincinnati — Ruppli is uncertain) and the second (“Malibu Mal” and “Ninth Wave Out” in June, 1963.
The Tramps‘s sole contribution “Maharadja” is the earliest contribution to this various artists compilation (August, 1961), but alas — the recording is leased from another label.
Mickey Baker‘s guitar instrumental classic “Zanzie” (previously celebrated here) was recorded – along with “Gone” – June, 1962 in Paris.
Without a doubt, the song most likely to grab your attention is “The Wobbler” which likely was recorded late (November?) in 1961 by The Wobblers:
“The Wobble” The Wobblers 1961
Listen to King Surf Albums on the Radio!
This Saturday – September 8, 2018 from 6-8 PM – there will be a King Surf Party! In 1963, King Records released several surf albums, Surfin’ on Wave Nine, Look Who Surfin’ Now and Freddie King Goes Surfin’, in response to the California craze. Join WAIF FM radio hosts, Rock-it Rick, Midwest Surf Guy and Handsome Dan, as they play tracks from these King compilations on the legendary “Rockin’ & Surfin’ Show.” Those who live outside Cincinnati can tune in on the web – click on the link to WAIF 88.3 FM.
Hard to believe it was only 20 years or so ago I was having cheese coneys with The Cincinnati Enquirer‘s preeminent music writer Larry Nager and asking what it would take for the city to finally “own up” to its King Records history. Last week, to my utter delight and amazement, the City of Cincinnati, under Mayor John Cranley’s leadership and with the support of City Council, leveraged the power of the state on behalf of music history — so now Zero to 180 will have to find something else to complain about.
Thanks to a $1 land swap deal, there will be no wrecking ball for the original structure used by Syd Nathan and his talented team to birth a musical enterprise that enabled King the ability to ship out in the morning a piece of music that had been recorded the evening before. As Brian Powers point out in his King Records Scrapbook, no other label – including almighty Columbia – had the nimbleness to operate in this capacity.
Photo courtesy of Brian Powers
Unique among fellow King chroniclers and researchers, Powers organizes his King Records Scrapbook categorically — The Executives; A&R Men; Sound Engineers; Session Musicians; Recording Artists — rather than chronologically, while throwing in fun tidbits, such as a King Records Timeline of historical highlights plus street addresses of selected King artists and executives, including Syd Nathan (who once lived in Bond Hill an easy walk from the home of drummer, Reg Grizzard, and about a mile and a half from my boyhood home in Roselawn, as the crow flies).
Rob Finnis, in his extensive liner notes for Ace UK anthology King Rockabilly, reveals some of the audio engineering aspects behind King’s legendary sound (e.g., “Fever” by Little Willie John):
The live, upfront studio sound attained by engineer Eddie Smith had the bass and drums leaping out of the speakers with maximum impact. [Charlie] Feathers wasn’t the only beneficiary [“Bottle to the Baby“]. This sharp, larger-than-life ambience characterizes several other titles on this compact disc including “Move” [Boyd Bennett], “Peg Pants” [Bill Beach], “No Good Robin Hood” [Delbert Barker], and “Rock n’ Roll Nursery Rhyme” [Dave Dudley]. “That old King studio had a terrific sound,” explained Henry Glover. “It had a very high ceiling, maybe 24 feet, and the control room protruded into the studio in a V-shape like the bridge of a ship so the engineer could see in front and to the side of him. I sent for an engineer by the name of Eddie Smith who was a very good technical man. He stayed with King for about 12 years and later worked over at Bell Sound in New York.
Everything was done at one time, there was no multi-tracking; you would continue making cuts until you got every instrument, every voice, on the 1/4 inch tape and that was considered your final mix. In those days, we were even thinking of frequencies and emphasis on various instruments. Out of the regular upright bass, we got a sound just like today’s electric Fender bass by close-miking it with a microphone called the 44BX and surrounding it with live-surfaced acoustic isolation panels. The drum sound in those days was generally gotten by releasing the drum snares completely and you’d put a heavy object like the drummer’s wallet – or Syd Nathan’s wallet – on the snare and the really hard-driving backbeat stroke was actually a rimshot.
Glover would be even more emphatic in his praise for King as a facility with great sound in this passage from Arnold Shaw‘s classic roots rock historical critique, Honkers and Shouters (which includes a chapter devoted to King Records entitled “Record Company in an Icehouse”):
Shortly after he joined King Records, Glover moved to Cincinnati “because Syd Nathan had built one of the finest recording studios in the country and staffed it with Eddie Smith, a former musician who was a brilliant engineer.”
Calvin Shields behind the kit [photo courtesy Brian Powers]
Last year, on the eve of the city’s Historic Commission vote to consider the request for demolition, The Cincinnati Enquirer would subtitle Sharon Coolidge’s feature story on King in the Sunday edition, “Fight to Preserve the Legacy of King Records and Founder Syd Nathan at Crossroads” and include quotes from Patti Collins (Bootsy Collins Foundation), Elliott Ruther (Cincinnati USA Music Heritage Foundation), Jon Hartley Fox (author of ‘King of the Queen City’), L.A. Reid (who actually grew up in Evanston), Otis Williams, Mayor John Cranley, former mayor Dwight Tillery, and Anzora Adkins of the Evanston Community Council.
Can you spot the gaffe?
Elliott Ruther, in the Enquirer piece, notes the progressive hiring practices employed by Nathan – in his attempt to extend his song publishing fortunes across the color line – that put King in the forefront of American race relations. Powers point out that Calvin “Eagle Eye” Shields, in his studio work from the late 1940s to the late 1950s, may have been “the first black drummer to record country music.”
CALVIN ‘EAGLE EYE’ SHIELDS – 1950 [PHOTO COURTESY OF BRIAN POWERS]
Quotes from Henry Glover & Calvin ‘Eagle Eye’ Shields
[special thanks to Brian Powers*]
“I started using drums for the first time for country music with Moon Mullican. He fell in love with a black drummer that I had been using on several dates around Cincinnati called Calvin Shields. He was better known as ‘Eagle Eye.’ He was very, very friendly and dear to Moon Mullican. He played on many of his sessions, and many of the other country & western records when they began to use drums, which they didn’t do when I first came to King. [With] Moon Mullican, I would use a heavy backbeat that this drummer called Eagle Eye, that came there with Tiny Bradshaw a few years back and made Cincinnati his home, he was ideal for that, the backbeat.” – Henry Glover
“Moon had such a great soul. He was just like a black man to me, you know, like he thought, felt, and expressed himself and everything else. Like we would say he had a whole lot of soul, Moon did.” – Henry Glover
“Drums were a must for Moon. Moon wanted drums. And he fell madly in love with this drummer called Calvin Shields that we called Eagle Eye.” – Henry Glover
“Moon Mullican was the first to use a black band at King. In just about every case, we had a black bass or maybe a black drummer with Moon in order to get the rhythm because Moon played like a black man and he even thought like a black man – in fact, I sometimes had my ideas about whether he was black or not! He was the very first white man, I believe, that caught my eye as being not filled with bigotry or hatred … he found himself as comfortable among blacks as he did among whites. And it’s a very funny thing – both races in those days were displaying standoff-ish attitudes — not Moon. Moon would make most of the black clubs in the worst parts of town and all of his friends during the course of his stay would be black people. He’d play in black clubs and they would give him a standing ovation. It was very rare.” – Henry Glover
“Glover introduced us. I walked in and all those white cats sitting around wondering, ‘Hey, he’s got a black man playing his music.’ So I don’t say nothing to them and they don’t say nothing to me. So we played and that’s when I fell in love with him because it swung. So Moon says ‘This is my drummer,’ so when he went to buy some whiskey for the group, he bought a bottle for them and a bottle of whisky for me and him. He said, ‘Man, I want you to take me over to the Cotton Club,’ and I took him. Tiny Bradshaw invited him up and he played nothing but Duke Ellington music.“ – Eagle Eye Shields
“When a cat becomes a studio musician, he’s a musician who plays anything they bring in front of him to play. When I played with Moon Mullican, I enjoyed it. When I played that Country music, I learned to swing with that Country-Western cause I got into their mood and into their groove. When I got ready to play Rhythm & Blues, I got into their groove. When I play dance music, legit music, I get in to a legit feel cause I am a musician. I didn’t become a superstar. My thing was to be good, in order to be in demand, to be sought after.”– Eagle Eye Shields
[Moon had a number of hits in 1950 produced by Henry Glover including “I’ll Sail My Ship Alone,” “Mona Lisa” & “Goodnight Irene”; Mullican accepted the invitation to join in the Grand Ole Opry that year.] “Then Moon said, ‘I want to take you on the Grand Ole Opry with me, man.’ I said, ‘No, I don’t want to go on that.’ He asked me if I would travel with him. I told him if I’ll be out there in them towns, them junctions, you might not be around and they’ll done grab me and lynch me.’ But now I wish I had because, if I had got out with Moon, I might have made a name for myself. I might have ended up with the big one – Willie Nelson.” – Eagle Eye Shields
Moon Mullican & Henry Glover
Shields, who took not only his father’s name but nickname as well, came to King through his membership in Tiny Bradshaw’s Orchestra. Eagle Eye would conduct his session work for King in between performances with Bradshaw in town at Cincinnati’s Cotton Club and on the road in New York City. Shields would subsequently serve as drummer for the Billy Williams Quartet (1957-1961), Della Reese (1967-1973) and music director/drummer for Redd Foxx (1978-1984).
Calvin Shields with Paul Bryant (organ) & Norris Patterson (sax) – 1962 in NV
The index in King Labels: A Discography, edited by Michel Ruppli (with assistance from Bill Daniels) helpfully identifies sessions where Calvin Shields served as the drummer, thus allowing Zero to 180 to compile a special list of suggested recordings — all of them captured on tape in Cincinnati (except Willis Jackson – NYC):
Abstract expressionist cover art for 1952 French LP
Furthermore, Eagle Eye is believed – as best as Brian Powers can determine – to have played on Moon Mullican‘s version of Tiny Bradshaw’s “Well Oh Well” [recorded July 3, 1950] and the classic “Cherokee Boogie (Eh-Oh-Aleena)” [December 8, 1950], written by Moon with Chief William Redbird, plus Hawkshaw Hawkins‘ version of Tennessee Ernie’s “Shotgun Boogie” [January, 1951] and Al Dexter‘s “Hi De Ho Boogie on a Saturday Night” [May 19, 1950] — all recorded at King’s Cincinnati studio. Documentation from King’s early years, unfortunately, is often scant.
Shields would also keep time on an enchanting Latin-flavored instrumentalé tropicalé whose musical hook is a gloriously deep bass blast of the horn (B-flat):
Mack Rice wrote “Mustang Sally” following a visit to his friend, singer Della Reese in New York City. Reese had off-handedly mentioned that she planned to buy her drummer a Lincoln for his birthday. Calvin Shields, the drummer, appreciated the thought but reportedly replied, “I don’t want a Lincoln, I want a Mustang.” Shields’ response confused Rice. He could not understand why anyone would want the small Mustang instead of the bigger and more powerful Lincoln. After returning to Detroit, Rice began work on a song titled “Mustang Mama.” A serendipitous visit to Aretha Franklin’s house led to the name change to “Mustang Sally.” Franklin believed that “Mustang Sally” fit better with the music. And so the song was born.
*Henry Glover quotes are from an 1980s interview with the Country Music Hall of Fame *Calvin Shields quotes are from an interview conducted by Brian Powers in 2009.
**Willis “Gatortail” Jackson played a pivotal role in Jamaican music history when spies working for Duke Reid identified the source of Coxsone Dodd’s theme song (i.e., “Coxsone’s Hop”) that cemented Downbeat‘s status as the superior sound system in Kingston: “Later for the Gator” by Willis Jackson[1958 – sounds not a little unlike ska]. In those pre-Internet days, operators of competing mobile sound systems would use American 45s with the labels scratched off as proprietary source material. Duke Reid’s discovery of Coxsone’s source material would prompt Dodd into creating an original Jamaican sound in 1962 – ska – in time for the birth of JA’s independence. Much more direct evidence of the Cincinnati-Kingston connection can be found here and here.
<Note: For optimal presentation, avoid viewing this website on a smartphone>
Just when you thought you couldn’t take another version of “Steel Guitar Rag,” this 1959 version by The Dynatones, surprisingly (despite the absence of a steel guitar) swaggers:
“Steel Guitar Rag” The Dynatones 1959
Here’s a great swing boogie version by Rudi Wairata & His Hawaiian Boys that brings to mind the radical rockabilly sounds produced by the Brothers Tielman, featuring Andy and his 10-string electric guitar:
“Steel Guitar Rag” Rudi Wairata & His Hawaiian Boys 1963
Roy Smeck‘s manic, rapid-fire arrangement from 1938 still amazes and amuses more than seven decades later:
“Steel Guitar Rag” Roy Smeck 1938
Buck Owens & the Buckaroos, as you would expect, play “Steel Guitar Rag” Bakersfield-style in an arrangement that spotlights the sophisticated steel guitar stylings of Tom Brumley:
“Steel Guitar Rag” Buck Owens & the Buckaroos 1965
If you’re curious to hear “Steel Guitar Rag” as a sax instrumental led by King Curtis, then I have good news: :
“Steel Guitar Rag” King Curtis 1957
Check out Hardrock Gunter‘s version from 1972, with Merle Travis-style multi-track guitars that sound recorded at half-speed for that ‘Alvin & Chipmunk-style’ tinkly effect when played back at regular speed:
Note: Many versions of “Steel Guitar Rag” list three composers – McAuliffe, Merle Travis, Cliff Stone – versus the lone songwriting credit for McAuliffe, who first recorded the song with Bob Wills & the Texas Playboys in 1936 on Chicago’s Lake Shore Drive (I assume it’s safe to disregard Rudi Wairata, who would also put in his own songwriting claim in 1963). Song publishers, music historians — what sayeth ye?.
Interesting to see Kelly Gordon and (especially) Shorty Rogers attempt to muscle in on the hot rod scene with a late 60s concept album — contemporaneously titled Bug-In!— that pays musical tribute to the hot rod’s off-road counterpart, the dune buggy. Gordon and Rogers splurge on a gatefold album design packed with photos – but alas, no musician credits. Can only conclude that Los Angeles studio musicians (á la., “Wrecking Crew”) are the unnamed members of Gordon ‘n’ Rogers’ Inter-Urban Electric A & E Pit Crew and Rhythm Band.
Capitol LP – 1969
The final track on side one, “Baja Boot,” caught my ear — here is an edited version (just under two minutes) that makes the song even more radio-friendly:
Pssst! Click on the link above to play a (shortened) version of “Baja Boot” by Gordon n’ Rogers’ Inter-Urban Electric A & E Pit Crew and Rhythm Band
The barely-legible text on the front cover points out how Gordon & Rogers’ contribution to the racing community fills a dunester niche that only now is being filled:
The newest [illegible] on wheels … actual sounds of the various buggies in action … musical themes capturing the total emotional input of the drivers … music recreating the unique visual characteristics of the different dunesters.
Silodrome – a website that highlights aspects of our “Gasoline Culture” – reveals the fascinating story behind the Baja Boot: a 450 hp dune buggy built in complete secrecy by top GM automotive engineer, Vic Hickey (in just under 4 weeks) and then raced by Steve McQueen in 1968 and then again in 1969. How did the “King of Cool” (and cinema’s own Cincinnati Kid) fare with the massive 4×4 dune buggy, the ‘Baja Boot’? Click here to learn the hilarious outcomes of both events – more info at Steve McQueen Online.
Steve McQueen (or possibly Mad Max) racing his Baja Boot
James Glickenhaus would buy Steve McQueen’s renowned dune buggy in 2010 – although ScoutDude would loudly question its authenticity on this blog’s comment section.
Sad to discover that the dune buggy is the neglected stepchild of the musical hot rod world, as very little has been written since The Surfaris released “Dune Buggy” in 1964. Other notable songs that celebrate the lowly dune buggy? Zero to 180 wants to know.
Thanks to Harry Hawks‘ biographical portrait of master percussionist (& sometime vocalist) Uzziah ‘Sticky‘ Thompson for Reggae Collector’s Artists Hall of Fame, we learn that (1) ‘Sticky’ gets a shout-out in the intro to Baba Brooks’ “Girls Town Ska” from 1965 [Q: “Hey Sticks, where you going tonight?” A: “I’m going down by Girls Town”] and (2) Thompson firmly asserts that it is he – not Baba Brooks – who voiced the ’65 ska classic “Guns Fever“!
“Guns Fever” Uzziah ‘Sticky’ Thompson (?) & Baba Brooks Band 1965
Hawks writes that “[Thompson] recalled, ‘I also did a song for Duke Reid named “Gun Fever”‘… which was credited to the Baba Brooks Band.”
“A classical, highly influential deejay who was great at his job before there was ever a job description,” continues Hawks, “he was rarely credited on his releases and the only way the listener knows it’s Cool Sticky is by recognising his exciting, highly individual delivery.”
David Katz‘s biography of Lee ‘Scratch’ Perry, People Funny Boy, provides some very useful biographical details about master percussionist, Uzziah ‘Sticky‘ Thompson:
“For the rest of , Perry worked closely with a variety of artists for [Joe] Gibbs, including future percussionist, Uzziah ‘Sticky’ Thompson, then a popular deejay known as Cool Sticky. Born on August 1, 1936, in the rural district of Mannings Mountain, Thompson was the third of five children born to a poor contractor. The family’s poverty meant that Thompson was unable to complete his education, and at age 15 he moved to Western Kingston in search of work.
“As the ska era approached, Thompson was one of the many box lifters assisting Coxsone Dodd with the running of his sound, and his friendship with Lee Perry dates back to this period. Gradually, King Stitt began passing the mike to Thompson at dances because of his ability to make certain sounds with his mouth, and when Coxsone heard these sounds, he recorded Thompson’s vocal oddities on the Skatalites’ hit ‘Guns of Navarone.’ The success of the song saw Duke Reid using Thompson for the exciting introduction of the Skatalites’ ‘Ball of Fire,’ and the lasting success of this rival hit saw Thompson toasting regularly on the Treasure Isle sound system”:
“Ball of Fire” The Skatalites 1965
Katz also reveals the source behind Thompson’s distinctive stage name:
“It was while toasting on Duke Reid’s sound that his capacity to excite a packed audience led to his peculiar nickname: ‘When I started to play Duke Reid’s sound, it always stuck up-stick up, so they just put the name on me, Sticky.’ In the late rocksteady period, Sticky provided Scratch and Joe Gibbs with a dynamic toasting style on songs such as ‘Train to Soulsville,’ an outlandish take on The Ethiopians’ ‘Train to Skaville’ given a James Brown workout.”
Uzziah himself would like to make an important clarification via Reggae Collector‘s website:
“You have a Sticky named Count Sticky … I know him! He always worked on the North Coast. He played the congas, but he is a calypso man! He used to live in Pink Lane … and I’d go and check him and he’d say, ‘Hi Sticky’ and I’d say, ‘Hi Sticky!’ The two of us used to live nice, but we do a different work … totally!”
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)
My 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:
Organ: James Brown Guitar: Eddie Setser & Troy Seals Bass: Tim Drummond Piano: Tim Hedding Drums: William ‘Beau Dollar’ Bowman Trumpet: Ron Geisman Alto Sax: Alfred ‘Pee Wee‘ Ellis 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
Biff! Bam! Pow! This is the thirteenth bout tagged as a Musical Fight
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.”
The Drifters’ original 1961 version of “Sweet for My Sweets” has a distinct Latin feel – which brings to mind a piece of writing by Dave Marsh that I found to be illuminating some years ago, still do.
In his 1984 article for The Boston Phoenix – “Rock and Roll’s Latin Tinge” – Marsh recounts how, in his frustration over failed attempts to convince a colleague that Latin forms were, indeed, a significant factor in the evolution and development of rock and roll, he compiled (with the help of John Storm Roberts‘ The Latin Tinge) this somewhat detailed list of rock & roll’s Latin roots and influences:
Bo Diddley’s beat (derived from the mambo);
Professor Longhair’s piano rhythms, which extend to New Orleans pianists from Fats Domino to Allen Toussaint;
Chuck Willis’ “C.C. Rider” & Ray Charles’ “What’d I Say” (both grounded in the rhumba);
The Drifters and their use of the Brazilian baiao rhythm;
Ritchie Valens (whose big hit, “La Bamba” was a Mexican folk song);
“96 Tears” by ? and the Mysterians, a band of Chicano migrant workers;
“Land of 1000 Dances,” both because Chris Kenner was a Longhair disciple and because Cannibal & the Headhunters, who did the best version of the song, were Chicanos from East LA;
Surf music, whose entire guitar style, the raison d’etre of the form, can be said to derive from “Malaguena” and similar Mexican-American standards;
The Premiers’ “Farmer John,” an impeccable frat-rocker written and performed by another East LA band;
Such doowop groups as The Teenagers and Harptones, all of which had key Latin members;
The Sir Douglas Quintet and the rest of the Tex-Mex bands;
The boogaloo (based on the Latin bugalu, which was popularized in 1966 by Joe Cuba’s instrumental version of “Bang Bang”);
Santana (Woodstock’s breakout stars who famously fused rock and Latin American music);
War’s low-rider rock and its trickle-down effect on Stevie Wonder’s midseventies records;
The slick psychedelicized salsa of Earth, Wind & Fire during their “Serpentine Fire” period;
And finally the disco movement, which continues to adapt Caribbean rhythmic accents and arrangements.
In 1958 one Latin-flavored instrumental went to the top of the pop and R&B charts – “Tequila” by The Champs. What a long and healthy life that song has lived, as indicated by the number of cover versions on Wikipedia (e.g., George Benson having recently visited the tune on 2011’s Guitar Man). Of course, there were near-covers, as well, such as “Cerveza” by trumpeter Shorty Rogers using the alias, Boots Brown.
“Cerveza” Boots Brown & His Blockbusters 1958
The Accidental Hit
“Tequila” was written by Dan Flores (the one who also played the “dirty” sax solo), but because he was already under contract with another label, the songwriting credit is attributed to alter ego, Chuck Rio. “Tequila,” however was originally a fun jam song that was recorded impromptu at the end of a recording session at Hollywood’s Gold Star Studios for Dave Burgess (a rockabilly artist under contract to Gene Autry’s Challenge label) by his backing musicians. The song was originally the B-side to Dave Burgess’ “Train to Nowhere” – a single that was (ironically, perhaps) not going anywhere until DJs began playing the flip side, thus making “Tequila” the first pop instrumental to hit number 1 on the Billboard charts (and, according to the Long Beach Press-Telegram, “the first instrumental group to go to the top spot with its first release”). What’s funny is that “The Champs” didn’t exist until this song unexpectedly blew up large, at which point one had to be created in order to tour off the success of that song’s sales.